|aThe natural way to draw :|ba working plan for art study /|cby Kimon Nicolaïdes.
|aBoston :|bHoughton Mifflin,|cc1969.
|axiv, 221 p. :|bill. ;|c24 cm.
|aContour and gesture -- The comprehension of gesture -- Weight and the modelled drawing -- Memory drawing and other quick studies -- The modelled drawing in ink-the daily composition -- The modelled drawing in water color-right-angle study -- Emphasis on contour-the head -- Special form studies -- An approach to the subject of technique -- The simple proportions-effort -- The study of drapery -- The figure with drapery-the subjective impulse -- The sustained study -- Light and shade -- An approach to the study of anatomy -- The long composition -- Exercises in black and white crayon -- Studies of structure -- Analysis through design -- Study from reproducation -- The muscles -- Exercises in black and white oil color -- Analysis through design-continued -- The subjective element -- An approach to the use of color.
Kimon Nicolaides was born in Washington D.C., in 1891. His first contact with art was a subconscious familiarity with the oriental objects imported by his father. He decided early that he wished to paint, but he had to run away from home to study art because his parents were unsympathetic to the idea. He supported himself in New York by whatever came to hand - framing pictures, writing for a newspaper, even acting the part of an art student as a movie extra. His father was finally won over by his obvious seriouness and financed his instruction at the Art Students' League - under Bridgman, Miller, and Sloan.When the United States entered the first World War, Nicolaides volunteered in the Camouflage Corps and served in France for over a year, receiving a citation. One of his assignments, involving the study of geographical contour maps, first opened up for him the conception of "contour" which constitutes Exercise One in this book.After a period of work in Paris (1922-23), he was given his first one-man show by the famous Bernheim Jeune gallery there. Back in New York, he held his first exhibit at the Old Whitney Studio Club, now the museum, and settled down to painting and teaching. As a painter, choosing to work painstakingly and exhibit seldom, he became known to the critics gradually but unmistakably for "the range of his work," "originality of technical approach," "richness of mental concepts" and his "eager, restless pursuit of new aesthetic experience." As a teacher, during the next fifteen years, he became, as the Art Digest put it, "second father" to hundreds of students who passed through his classes at the Art Students' League of New York. Scrupulously honest and high-principled, endowed with humor, richness and warmth of personality, sanity and balance, his extraordinary talent for human relationships grew with his wide contact with increasing numbers of students. Although he died in 1938, at a tragically early age, he left behind a tremendously devoted following of brilliant young artists, as well as the unique and concrete system of art teaching presented in this book.