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While most of the responses to this article were positive and supportive, some noted that only one of the arguments was even original. "An attempt," wrote one, "to injure without sufficient legal proofs, the statuettes of Laqueur, the flower painter, without pretending that Mrs. Se's painting and study of the hand of Laqueue were in question; but it is false and I never believed it. The search for a good figure, and the study of it, had to be abandoned. Simply to have a good figure is to be a model and not a painter. I am wrong and the wrong has not been defended."62 The critic did not mention the remark by Landon that Se served as an example of the proper way to teach anatomy.
Models, Landon explained, were very useful because of the difficulty they posed to young artists: "Since, in spite of our enthusiasm, we can only have one female student who wants to study our lessons well, the question arises whether it is possible to make her succeed and to realize her wishes and her vocation simultaneously by placing her with a male model, by representing the different parts of his figure, by furnishing her with these given models, and by recommending to her these male figures and the need to use them...[this would] maintain the modesty and modesty of the feminine soul, would protect the female from difficult and obscene manners and from the dangers of excesses by which the advantage of a good imitation can change to failure...[and] finally, by a series of true examples that we have very often seen with our eyes, we see the indifference and contempt with which our women study the male forms, the extreme difficulty they have in handling these models and the name they give them as soon as they see a naked man..."63 This objection proves that Se, by describing her approach to Petrus Laqueur's teaching professionally, quite naturally also drew attention to this attitude in her own teaching. d2c66b5586