OF ALL THE CLASSES and all the masters the outdoor sketching class and Mr. Latimer were my favorites. Every Wednesday morning those students who wished met the master at the ferry boat. There were students who preferred to remain in the Art School and work rather than be exposed to insects, staring eyes, and sun freckles. We sketchers crossed the Bay to some quiet spot and I must say people did stare. Thirty or forty men and women of all ages and descriptions done up in smocks, pinafores and sunbonnets, sitting on campstools before easels down in cow pastures or in vacant lots drawing chicken houses, or trees, or a bit of fence and a bush, the little Professor hopping from student to student advising and encouraging. Outdoor study was as different from studio study as eating is from drinking. Indoors we munched and chewed our subjects. Fingertips roamed objects feeling for bumps and depressions. We tested textures, observed contours. Sketching outdoors was a fluid process, half looking, half dreaming, awaiting invitation from the spirit of the subject to "come, meet me half way."
Outdoor sketching was as much longing as labour. Atmosphere, space cannot be touched, bullied like the vegetables of still life or like the plaster casts. These space things asked to be felt not with fingertips but with one's whole self.
[This vinette is from Emily Carr's autobiography 'Growing Pains' — a series of short essays describing her upbringing in Canada]Copyrighted Materialbooks.google.comNature