World off art 8th edtion by henry m sayre chapter 08

From Preparatory Sketch to Finished Work of Art 1 of 5 • Through drawing, artists can illustrate different approaches to compositions.. From Preparatory Sketch to Finished Work of Art 4

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by Pearson Education, Inc or its affiliates.

Drawing

8

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Learning Objectives

1 Discuss the history of drawing in the

Italian Renaissance and how it came to

be considered an art in its own right.

2 Distinguish between dry and liquid

drawing media and list examples of

each.

3 Give some examples of how drawing

can be an innovative medium.

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• The video for the band a-ha's "Take On

Me" was animated via rotoscope by

Michael Patterson and Candace

Reckinger.

 Viewers became entranced by the

young woman's being inserted into the world of drawings.

• Drawing can be both a starting point and a finished artwork in itself.

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Video for a-ha's "Take On Me".

1985 Video stills Animation by Michael Patterson and Candace Reckinger Directed by

Steve Barron

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Video for a-ha's "Take On Me".

1985 Video stills Animation by Michael Patterson and Candace Reckinger Directed by

Steve Barron

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From Preparatory Sketch to Finished

Work of Art

1 of 5

• Through drawing, artists can illustrate

different approaches to compositions.

 It is useful in its directness as well as its ability to record visual history.

 Today, drawing may be viewed as an

activity accessible to both artists and

ordinary people.

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Work of Art

2 of 5

• An early drawing, possibly by the

workshop of Maso Finiguerra, shows a

youth working on expensive paper

which he would have sanded clean after each drawing.

• Paper was not manufactured in the

West until the thirteenth century and

was preceded by papyrus in Egypt and parchment in ancient Rome.

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Workshop of Maso Finiguerra, Youth Drawing.

1450–75 Pen and ink with wash on paper, 7-5/8 × 4-1/2" The British Museum, London

1895,0915.440 © The Trustees of the British Museum [Fig 8-3]

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Work of Art

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• Gutenberg's invention of the printing

press spurred a need for paper.

• Because it required large quantities of cloth rags to produce, paper remained

a luxury commodity and drawing was

often not done on paper.

 Students learned painting from copying

a master's work.

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Work of Art

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• In Lives of the Painters, Giorgio Vasari

wrote that crowds flocked to see

Leonardo's cartoon drawing for

Madonna and Child with St Anne and

Infant St John the Baptist.

 This account is the earliest recorded

example of the public admiring a

drawing.

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Leonardo da Vinci, Madonna and Child with St Anne and Infant St John the Baptist.

1499–1500 Black chalk and touches of white chalk on brownish paper, mounted on

canvas, 4' 7-3/4" × 41-1/4" National Gallery, London

National Gallery, London/Scala, Florence [Fig 8-4]

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Work of Art

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• Leonardo's Study for a Sleeve shows

fluidity and spontaneity of line.

 The arm is still and smooth in contrast

to the swirling drapery.

 In drawing, Leonardo reveals the

imbalance between the unmoving sitter and his own imagination.

 Such drawings are preserved and

collected by connoisseurs as fine art.

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Leonardo da Vinci, Study for a Sleeve.

ca 1510–13 Pen, lampblack, and chalk, 3-1/8 × 6-3/4" The Royal Collection

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Drawing Materials

• Drawing materials are often divided into

dry media and liquid media.

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Dry Media

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• Dry media includes metalpoint, chalk,

charcoal, graphite, and pastel.

• Coloring agents, or pigments, are

sometimes mixed with binders,

although binders are not necessary if the pigment can be applied to the work directly.

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powdered bones and gumwater.

chemical reaction produced line.

delicate; it cannot be made thicker by

increasing pressure.

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Dry Media

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• Metalpoint

 Leonardo's Study of a Woman's Head or

of the Angel of Vergine delle Rocce

exhibits shadow rendered with careful hatching.

• The drawing could not be erased without resurfacing paper, so the loose and

expressive lines here are particularly impressive.

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Leonardo da Vinci, Study of a Woman's Head or of the Angel of the Vergine delle Rocce.

1473 Silverpoint with white highlights on prepared paper, 7-1/8 × 6-1/4" Biblioteca

Reale, Turin, Italy

Alinari/Bridgeman Images [Fig 8-6]

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The Creative Process

 In the studies for The Alba Madonna,

Raphael worked on both sides of a single piece of paper.

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Raphael, Studies for The Alba Madonna (recto).

ca 1511 Red chalk 6-5/8 × 10-3/4" Musée des Beaux Arts, Lille, France

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Raphael, Studies for The Alba Madonna (verso).

ca 1511 Red chalk and pen and ink, 16-5/8 × 10-3/4" Private collection

Bridgeman Images [Fig 8-8]

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The Creative Process

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• Movement and Gesture: Raphael's Alba

Madonna

 The circular format of the final painting

is fully realized in the second study.

• While not all facial expressions are fully indicated, the emotional atmosphere is apparent in the fluency of the figures' composition.

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Raphael, The Alba Madonna.

ca 1510 Oil on panel transferred to canvas, diameter 37-1/4 in., framed 4' 6" × 4'

5-1/2" National Gallery of Art, Washington, D.C

Photo: José A Naranjo [Fig 8-9]

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Dry Media

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• Chalk and charcoal

 While the chief concern of metalpoint is

delineation, chalk and charcoal are

able to give a volumetric sense of their subject.

 With the invention of a variety of chalks

by the sixteenth century, artists could make more gradual transitions from

light to dark.

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Dry Media

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 Georgia O'Keeffe's Banana Flower

achieves volume and space rendered

with charcoal.

 Charcoal, however, was not widely used

in Renaissance works aside from

sinopie, or tracing the outlines of

compositions drawn on a wall prior to

being painted as frescoes.

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Georgia O'Keeffe, Banana Flower.

1933 Charcoal and black chalk on paper, 21-3/4 × 14-3/4" Museum of Modern Art, New York.Given anonymously (by exchange), 21.1936 © 2015 Digital image, Museum of Modern Art, New York/Scala, Florence © 2015 Georgia O'Keeffe Museum/Artists Rights Society (ARS), New

York [Fig 8-10]

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Dry Media

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immediacy of charcoal made it popular for modern artists.

 Käthe Kollwitz's Self-Portrait, Drawing

features the figure's arm realized by

angular gesture lines, expressive and

raw.

hand and face.

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Käthe Kollwitz, Self-Portrait, Drawing.

1933 Charcoal on brown laid Ingres paper (Nagel 1972 1240), 18-3/4 × 25" National

Gallery of Art, Washington, D.C

2015 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn [Fig 8-11]

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Dry Media

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• Graphite

 Lead pencils became increasingly

popular after black chalk became harder

to find in the sixteenth century.

 At the request of Napoleon and due to dwindling availability of imported

pencils, the Conté crayon was

invented.

• It partially substituted clay for graphite.

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Georges Seurat, The Artist's Mother.

1882–83 Conté crayon on Michallet paper, 12-5⁄16 × 9-7⁄16" Metropolitan Museum of

Art, New York

Joseph Pulitzer Bequest, 1951; acquired from the Museum of Modern Art, Lillie P Bliss

Resource/Scala, Florence [Fig 8-12]

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 Vija Celmins's Untitled (Ocean) further

demonstrates the capabilities of

graphite drawing to be photorealistic.

• The arbitrary frame of a camera lens suggests a continuance of space.

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Vija Celmins, Untitled (Ocean).

1970 Graphite on acrylic ground on paper, 14-1/8 × 18-7/8" Museum of Modern Art,

New York

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Dry Media

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• Pastel

pigment and a nongreasy binder; the

more binder, the harder the stick and

less intense the color.

 Edgar Degas was attracted to its direct, unfinished quality for the portrayal of a series of women at their bath.

pigments in layers with fixative.

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Edgar Degas, After the Bath, Woman Drying Herself.

ca 1889–90 Pastel on paper, 26-5/8 × 22-3/4" The Courtauld Institute of Art, London

©The Samuel Courtauld Trust, The Courtauld Gallery, London/Bridgeman Images

[Fig 8-14]

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Dry Media

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• Pastel

 Mary Cassatt became a student of

Degas and used pastel even more boldly than her mentor.

features gestures of line that exceed their boundaries and seemingly arbitrary blue strokes throughout.

• Her freedom of line was praised as a symbol of women's strength.

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Mary Cassatt, Young Mother, Daughter, and Son.

1913 Pastel on paper, 43-1/4 × 33-1/4" Memorial Art Gallery of the University of Rochester

Marion Stratten Gould Fund mag.rochester.edu/ [Fig 8-15]

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 Sandy Brooke's Fate and Luck: Eclipse

exhibits smeared and transparent

effects, lending to the theme of

ambiguity of omens across cultures.

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Sandy Brooke, Fate and Luck: Eclipse.

2011 Oilstick on linen, 30 × 24"

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Liquid Media

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• Pigments are suspended in liquid

binders that flow more easily than dry media.

• They can also be applied with a brush.

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Liquid Media

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• Pen and ink

 Renaissance works featured iron-gall ink, which browns with age despite

being black upon application.

 Elisabetta Sirani utilized a quill pen to create her lines, which vary in width.

• She produced pieces with such speed that she was forced to work in public to ensure that her work was her own.

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Elisabetta Sirani, The Holy Family with a Kneeling Monastic Saint.

ca 1660 Pen and brown ink, black chalk, on paper, 10-3/8 × 7-3/8" Private collection

Photo © Christie's Images/Bridgeman Images [Fig 8-17]

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Liquid Media

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• Pen and ink

 Jean Dubuffet's Corps de Dame

(meaning both a group of women and women's bodies) shows great variation

in line, from hairline to strokes about a half-inch thick.

• It could be interpreted as an attack on the formal perfection of academic figure drawing.

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Jean Dubuffet, Corps de Dame.

June–December 1950 Pen, reed pen, and ink, 10-5/8 × 8-3/8" Museum of Modern Art,

New York

[Fig 8-18]

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Liquid Media

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• Wash and brush

 Ink is diluted with water and applied by brush in broad, flat areas.

 Giovanni Battista Tiepolo's Adoration of

the Magi is layered with graphite sketch,

pen and ink, and a brown wash.

• These layers help define volume and form to create dynamics.

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Giovanni Battista Tiepolo, The Adoration of the Magi.

1740s Pen and brown wash over graphite sketch, 11-3⁄5 × 8-1⁄5" Iris & B Gerald Cantor

Center for Visual Arts at Stanford University

Mortimer C Leventritt Fund, 1950.392 [Fig 8-19]

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Liquid Media

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• Wash and brush

 Drawing with a brush was a popular

tradition in the East, possibly due to its dual use as a writing instrument.

• Chinese calligraphy carries a range of line width with every stroke.

• Liang Kai's representation of Tang poet Li

Bo juxtaposes strokes of diluted ink with detailed brushwork, as seen in the

figure's face.

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Liang Kai, The Poet Li Bo Walking and Chanting a Poem.

Southern Song dynasty, ca 1200 Hanging scroll, ink on paper, 31-3/4 × 11-7/8" Tokyo

National Museum, Japan

Image: TNM Image Archives [Fig 8-20]

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Innovative Drawing Media

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• Henri Matisse considered working with

scissors to be a kind of drawing.

 When he was confined to a wheelchair,

he cut large swathes of color freehand and arranged them into his desired

compositions.

 In Venus, the goddess's form is featured

in the negative space of the

composition.

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Henri Matisse, Venus.

1952 Paper collage on canvas, 39-7⁄8 × 30-1⁄8" National Gallery of Art, Washington, D.C

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installation recreating a 1920s North

Texas house.

 The African-American family that lived there is portrayed life size in charcoal, based on actual photographs.

 The medium was inspired by the artist's

1993 visit to an Italian villa that had

been owned by a slave trader.

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Whitfield Lovell, Whispers from the Walls.

1999 Mixed-media installation, varying dimensions Courtesy of DC Moore Gallery, New York

Courtesy of DC Moore Gallery, New York [Fig 8-22]

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3 of 6

• South African artist William Kentridge

employs drawings in his animated films.

 These films are made of hundreds of

photographs of charcoal drawings that have been altered successively through erasure, additions, and redrawings.

 The work is inspired by the concept of

memory, particularly of apartheid in

South Africa as well the working force.

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4 of 6

• South African artist William Kentridge

employs drawings in his animated films.

the meaning of white businessman Soho Eckstein's life; the theme is recognition

of both his own and white South

Africans' responsibility to admit their

guilt.

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William Kentridge, History of the Main Complaint.

1996 Stills Film, 35 mm, shown as video, projection, black and white, and sound (mono),

5 min 50 sec Courtesy of Marion Goodman Gallery, New York

Courtesy of Marion Goodman Gallery, New York [Fig 8-23a]

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Courtesy of Marion Goodman Gallery, New York [Fig 8-23b]

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Courtesy of Marion Goodman Gallery, New York [Fig 8-23c]

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5 of 6

• In the world of popular culture, comic

books prize the medium of drawing.

• Marjane Satrapi was inspired to create

her graphic novel, Persepolis,

particularly by Art Spiegelman's Maus:

A Survivor's Tale.

 Satrapi was ten years old when

fundamentalists under Ayatollah

Khomeini took over Iran.

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• The featured page from the "Kim Wilde"

chapter of Persepolis shows the heroine

defiantly wearing clothing from Western culture, an act encouraged by her

parents.

 The black and white illustrations signify the lack of moral middle ground in

revolutionary Iran.

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Marjane Satrapi, page from the "Kim Wilde" chapter of the graphic novel Persepolis.

2001 Ink on paper, 16-9/16 × 11-11/16"

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