A NOTE ON THE DRAWING OF MOVEMENT 



29 



over ; and when you run you must incline your body 

 forwards, or your legs will outrun your body and you will 

 fall upon your back. 



The horse leans forward into his collar, and back 

 into his breeching ; the driver leans against the cart to 

 help it up the hill. In principle, walking, running, 

 pushing are partly falling, and, as such, are inclined 

 between the vertical and horizontal, the habitual 

 positions of repose ; and the artist, following nature, 

 instinctively uses in pictures of motion patterns that 

 are neither upright nor prone. 



If in discussing movement I have confined myself 

 practically to discussing it from the point of view of line 



patterns it is because rhythm, which is the essence of 

 all movement, imphes direction, and of direction the 

 simplest expression is line. 



Spacing, tone, colour, handling and other qualities 

 have, of course, their place in heightening the effect of 

 movement. There must be a sympathy between them 

 and the rhythmic pattern of the picture. In the Tin- 

 toret, the Rubens, the " Shipwreck," there are sharp con- 

 trasts of tone and colour which would be out of character 

 in the three quiet pictures. Is there not m this a consis- 

 tency true to nature ? 



When we watch a scene of rapid movement or 

 vigorous action only the stronger variations of tone and 



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