FOREWORD 



THE keynote of the paintings and drawings 

 reproduced in this volume is Movement. 

 Work so full of force and originality 

 speaks for itself, but its interest is enhanced by an 

 introductory article in which the artist explains what 

 he maintains to be fundamental principles in the 

 drawing of movement. " The words, Life is Move- 

 ment," he once remarked in conversation, " should 

 be in capital letters over the studio door." And 

 in a sense it is true, for even the massive and 

 apparently immovable cathedral is obeying the laws of 

 movement, gaining stability as the outcome of the bal- 

 ance of opposing forces thrusting and resisting. In 

 this article Mr. Luard tells us also from a scientific 

 point of view just how we are impressed by movement 

 in nature, though he does not mean to imply that 

 movement in Art needs to include all such impressions. 

 In his Introduction he speaks with so much au- 

 thority and writes with so stimulating an appeal to 

 every student of drawing, that one feels that any 



further preface is superfluous. If, therefore, I have the 

 sense of trespassing on another man's private property, 

 my excuse and justification must be my own admira- 

 tion of Mr. Luard's work, and the hope that a fairly 

 intimate knowledge of the artist and of his aims and 

 methods may enable me to show how admirably these 

 drawings embody the principles which he upholds. At 

 any rate, it is possible for me to refer more directly to 

 his work than the artist's own modesty would permit, 

 and to emphasize the close relationship between 

 Mr. Luard's theory of drawing movement and his own 

 practice, as illustrated in what I 

 feel to be the remarkable, and 

 in many ways unique, series of 

 paintings and drawings repro- 

 duced in this volume. 



But first, for the benefit of 

 students who are interested in 

 these drawings, as they surely 

 must be, something should, I 



