An artist ought to draw on broad human sympathies and an intense commitment to his craft. In both respects, Charles Church qualifies. As a youngster, he set off for art school, in search of instruction, and found it: a worthless curriculum. There was no copying of Old Master drawings (no drawing of any kind), no still lifes, no painting from the nude: no attempt to hold the youngsters’ noses to the grindstone of technique.
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