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Chapter 2.1 Drawing

PART 2

MEDIA AND PROCESSES

Introduction

Drawing is defined as the depiction of shapes and forms on a surface, primarily by means of lines

Provides a primal outlet for artistic energy and ideas

Basis of all visual communication

Chapter 2.1 Drawing

PART 2

MEDIA AND PROCESSES

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Even before we learn to write, we learn to draw

Artists draw for many reasons: to define their ideas, to plan for larger projects, to resolve design issues in preparatory sketches, and to record their visual observations

Drawings can also be finished works of art

Functions of Drawing

Drawing is a fundamental artistic skill

Used, to some degree, in every artistic medium

Artists draw for many reasons: as an end in itself, to think, and to prepare and plan other works

Chapter 2.1 Drawing

PART 2

MEDIA AND PROCESSES

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Leonardo da Vinci, Drawing for a wing of a flying machine

2.1.1 Leonardo da Vinci, Drawing for a wing of a flying machine, from the Codice Atlantico, fol. 858r. Pen and ink. Biblioteca Ambrosiana, Milan, Italy

Leonardo da Vinci, Drawing for a wing of a flying machine

Da Vinci used drawing to examine the world

He investigated the mechanics of a bird’s wing and considered how it may be re-created on a human scale

Illustrates a concept that had never been considered in this way

Chapter 2.1 Drawing

PART 2

MEDIA AND PROCESSES

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Leonardo da Vinci’s (1452–1519) sketchbooks illustrate both speculative thought and careful observations

Dissected human bodies and drew what he saw

Studied the works of other writers and artists, and observed the effects of light and shadow on a form

Artwork: Leonardo da Vinci, Studies of the fetus in the womb

2.1.2 Leonardo da Vinci,

Studies of the fetus in the womb, c. 1510–13. Pen and ink and wash over red chalk and traces of black chalk, 12 × 8¾". Royal Collection, London, England

Leonardo da Vinci, Studies of the fetus in the womb

This drawing is revolutionary

Rare because the Church banned all acts that desecrated the body, including dissection

May have been allowed because he practiced his drawing methodically

Chapter 2.1 Drawing

PART 2

MEDIA AND PROCESSES

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Some speculate that the Church was interested in Leonardo’s observations as possible evidence of how the human soul resides in the body.

Artwork: Raphael, Cartoon for The School of Athens

2.1.3a Raphael, Cartoon for The School of Athens, c. 1509. Charcoal and chalk, 9'4¼" × 26'4⅝".

Biblioteca Ambrosiana, Milan, Italy

Artwork: Raphael, The School of Athens

2.1.3b Raphael, The School of Athens, 1510–11. Fresco, 16’8” × 25’. Stanza della Segnatura, Vatican City, Italy

Raphael: Drawing in the Design Process

A full-scale drawing (cartoon) served as the design for the final painting, and allowed Raphael to refine his ideas

An impression of the cartoon was transferred onto the wall before he began to paint

Gateway to Art:

Chapter 2.1 Drawing

PART 2

MEDIA AND PROCESSES

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Italian painter Raphael (1483–1520) perfected the image in drawing form before investing in the more expensive painting materials used in the final version

The cartoon was perforated by making small pinholes along every line of the drawing

It was then positioned on the wall where Raphael intended to paint the work, and powdered charcoal dust was forced through the small holes in the cartoon’s surface

These marks would aid Raphael in drawing the image onto the wall

He applied a thin layer of plaster, repowdered the charcoal dust through the cartoon if necessary, and then began to paint

Artwork: John Biggers, Night of the Poor

2.1.4 John Biggers, Night of the Poor, 1949. Preparatory study for mural, Pennsylvania State University

John Biggers, Night of the Poor

This drawing served as a model for a larger mural installed at Penn State

Highlights how denial of education to the poor has a chilling effect on their future prospects

Although preparatory, it stands as a great work in its own right

Chapter 2.1 Drawing

PART 2

MEDIA AND PROCESSES

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

African-American artist John Biggers (1924–2001) used pencil drawing in his preparation process, leading to large, permanent mural works

Night of the Poor is installed in Burrowes Hall, where Penn State’s School of Education is housed

Biggers approaches this pencil drawing with the same energy and resolve that other artists might reserve for a grand painting

The Materials of Drawing: Dry Media

Before creating a drawing, an artist must choose between dry or wet media

Dry media offer the artist some unique and versatile properties

Chapter 2.1 Drawing

PART 2

MEDIA AND PROCESSES

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Silverpoint

This tool was popular in the Italian Renaissance

Uses hard silver wire to draw images

Creates fine detail due to sharp point

Usually drawn on wood primed with bone ash

Because silver tarnishes, image becomes darker over time

Chapter 2.1 Drawing

PART 2

MEDIA AND PROCESSES

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Almost every metal will leave a mark on a fibrous surface

Artists during the Italian Renaissance (c. 1400–1600) used lead, tin, copper, and silver to draw images (silverpoint was the most common)

Silverpoint is a piece of silver wire set in some type of a holder, usually wood, to make the wire easier to hold and control

The artist hones the end of the wire to a sharp point

Working on colored paper creates distinctive effects and was particularly popular in Renaissance Italy

Artwork: Raphael, Heads of the Virgin and Child

2.1.5 Raphael, Heads of the Virgin and Child, c. 1509–11. Silverpoint on pink prepared paper, 5⅝ × 4⅜". British Museum, London, England

Raphael, Heads of the Virgin and Child

As silverpoint has a light value and is usually drawn with very thin lines, much of the pale paper is exposed

To create dark value Raphael uses hatching (parallel lines) and cross-hatching (overlapping parallel lines)

Chapter 2.1 Drawing

PART 2

MEDIA AND PROCESSES

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Hatching and Cross-Hatching

2.1.6 How hatching and cross-hatching lines are used

to create the effect of shading

Planar contours

Hatching and cross-hatching

Shaded planes

Chapter 2.1 Drawing

PART 2

MEDIA AND PROCESSES

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Many artists use this technique to darken values and create the effect of shading.

Pencil

Modern pencils are created from solid graphite (discovered in mid-1500s)

Pencils have degrees of hardness

The B pencils are softer and darker than the harder, lighter H series

2.1.7 Pencil hardness scale from 9H to 9B

Chapter 2.1 Drawing

PART 2

MEDIA AND PROCESSES

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Most artists’ pencils differ from those used for writing and are categorized by their relative hardness or softness

Graphite looks and writes like lead, but without its weight

B (black graphite); H (hard graphite)

Artists carefully choose the grade of the pencil lead they use

Artwork: Ilka Gedö, Self-portrait

2.1.8 Ilka Gedö, Self-portrait, 1944. Graphite on paper, 11⅝ × 8⅜". British Museum, London, England

Ilka Gedö, Self-portrait

Gedö's use of varied pencil pressure suggests texture and creates emphasis

Graphite is handled more softly in the areas representing the skin

Gedö was a Holocaust survivor; this drawing records her gaunt features shortly after her internment

Chapter 2.1 Drawing

PART 2

MEDIA AND PROCESSES

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Hungarian artist Ilka Gedö (1921–1985) used thick dark lines to imply darkness and thin light lines to suggest lightness

The dark value of the eye and wavy hair, where the pencil has been pressed hard, concentrates our attention on the artist’s face

Color Pencil

Manufactured much like the traditional graphite pencil, however, the color pencil contains more wax and pigment

Harder to erase or alter

Chapter 2.1 Drawing

PART 2

MEDIA AND PROCESSES

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: D. J. Hall, Piece of Cake

2.1.9 D. J. Hall, Piece of Cake, 1987. Colored pencil on paper, 30 × 39½".

Metropolitan Museum of Art, New York

Digital rights not available for this image. See p. 197 of the textbook.

D. J. Hall, Piece of Cake

Hall exploits the richness of colored pencil in this drawing

Pushes color into the fibers of the paper while leaving strong white areas

Gives a sense of the intense light of a California afternoon

Chapter 2.1 Drawing

PART 2

MEDIA AND PROCESSES

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

California artist D. J. Hall (b. 1951).

Charcoal

Samples from cave drawings in France date back to 30,000 bce

Smudges easily, usually has strong dark value, and is soft, creating lines that can be easily shaped

Works best on paper with a rough texture (tooth)

Chapter 2.1 Drawing

PART 2

MEDIA AND PROCESSES

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Vine charcoal is made from thin vine branches and is very soft and easily erased; compressed charcoal is much denser

A binding agent, such as wax, is sometimes added to compressed charcoal

To make charcoal, finger-length pieces of wood (often dried willow) are placed inside an airtight container and heated in an oven until all the wood has been burned

The amount of pressure exerted while drawing controls darkness/lightness

An artist can achieve a soft visual effect by rubbing the charcoaled drawing surface with a bare finger or tortillion (rolled-paper cone)

Artwork: Käthe Kollwitz, Self-portrait in Profile to Left

2.1.10 Käthe Kollwitz, Self-portrait in Profile to Left, 1933. Charcoal on paper, 18¾ × 25".

National Gallery of Art, Washington, D.C.

Käthe Kollwitz, Self-portrait in Profile to Left

The face and hand are rendered realistically

In contrast, she uses a spontaneous burst of charcoal marks to draw the arm

We see the nervous energy connecting eye to hand

Chapter 2.1 Drawing

PART 2

MEDIA AND PROCESSES

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

German artist Käthe Kollwitz (1867–1945).

Artwork: Léon Augustin Lhermitte, An Elderly Peasant Woman

2.1.11 Léon Augustin Lhermitte, An Elderly Peasant Woman,

c. 1878. Charcoal on wove paper, 18¾ × 15⅝". National Gallery of Art, Washington, D.C.

Léon Augustin Lhermitte, An Elderly Peasant Woman

Each line and blemish on this woman’s face has been carefully rendered

Highlights in the face contrast with the overall darkened tone

Control over smudginess of charcoal offers an intimate view of aging

Chapter 2.1 Drawing

PART 2

MEDIA AND PROCESSES

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

French artist Léon Augustin Lhermitte (1844–1925).

Artwork: Zhang Chun Hong, Life Strands

2.1.12 Zhang Chun

Hong, Life Strands, 2004.

Charcoal and graphite

on paper, 38' × 4'11".

Private collection

Zhang Chun Hong, Life Strands

Zhang uses both charcoal and graphite in this work

Charcoal provides the deep, dark values of the braided hair

The strand represents the passage of time from the dark, full hair of childhood to the grayed and thinning hair of old age

Chapter 2.1 Drawing

PART 2

MEDIA AND PROCESSES

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chinese-born artist Zhang Chun Hong (b. 1971) uses drawing on a long Chinese scroll to make parallels between life and art.

Chalk, Pastel, and Crayon

Chalk, pastel, and crayon are made by combining a pigment and a binder

Chalk is powdered calcium carbonate and gum arabic

Pastel is pigment combined with gum arabic, wax, or oil

Crayon is pigment mixed with wax (Conté crayon is a variation)

Chapter 2.1 Drawing

PART 2

MEDIA AND PROCESSES

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Traditional binders include oil, wax, gum arabic (a type of tree sap), and glues

The type of binder gives each material a unique character

Conté crayon is heavily pigmented crayon sometimes manufactured with graphite, invented by Nicolas-Jacques Conté, a French painter and army officer

Artwork: Michelangelo, Studies for the Libyan Sibyl

2.1.13 Michelangelo, Studies for the Libyan Sibyl, 1510–11. Red chalk, 11⅜ × 8⅜". Metropolitan Museum of Art, New York

Michelangelo, Studies for the Libyan Sibyl

This is a preparatory drawing for the Sistine Chapel ceiling in Rome

Drawn using a type of red chalk called sanguine

The study concentrates on muscular definition and gives repeated attention to the detail of the big toe

Chapter 2.1 Drawing

PART 2

MEDIA AND PROCESSES

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

The Italian artist Michelangelo Buonarroti (1475–1564) uses hatching and cross-hatching to build up the values and give the figure depth.

Portal Artwork: Michelangelo, The Libyan Sibyl

2.2.6 Michelangelo, The Libyan Sibyl, 1511–12. Fresco. Detail of the Sistine Chapel ceiling, Vatican City, Italy

The final result of Michelangelo's chalk study for The Libyan Sibyl in the Sistine Chapel.

Artwork: Edgar Degas, The Tub

2.1.14 Edgar Degas, The Tub, 1886. Pastel, 23⅝ × 32⅝". Musée d’Orsay, Paris, France

Edgar Degas, The Tub

Degas is noted for pastel studies that stand as finished works of art

Lays down intermittent strokes of different color pastels

Charcoal-like softness of the material is used to blend the colors together

Chapter 2.1 Drawing

PART 2

MEDIA AND PROCESSES

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

French artist Edgar Degas (1834–1917) was a master at re-creating the effects of light and color seen in nature.

Artwork: Georges Seurat, The Ploughing

2.1.15 Georges Seurat, The Ploughing, 1882–83. Conté crayon 9⅔ x 12½". Musée D’Orsay, Paris

Georges Seurat, The Ploughing

This is work was drawn using Conté crayon

Seurat designates the foreground by using darker values

He allows the color of the paper to be more dominant in areas he wants to recede into the distance

Chapter 2.1 Drawing

PART 2

MEDIA AND PROCESSES

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

French artist Georges Seurat (1859–1891) uses hatching and cross-hatching

Because this drawing was a study for a subsequent work (La Grande Jatte), Seurat also took special care in organizing the composition

(History/Themes)

Théodore Géricault: Raft of the Medusa

Georges Seurat: Sunday on La Grande Jatte

Videos on Drawing

Or for more on another artist who drew many studies before completing his final painting, watch:

Video:

PART 2

MEDIA AND PROCESSES

Chapter 2.1 Drawing

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Erasers and Fixatives

Erasers can be used to create light marks and highlights in areas already drawn

Fixative is a coating that preserves the appearance of a drawing by making the dry medium adhere to the surface of the paper

Chapter 2.1 Drawing

PART 2

MEDIA AND PROCESSES

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Most artists use “workable” fixative that can be removed by erasing the surface of the coating

Most commercial fixatives are available in an aerosol can or spray bottle

Artwork: Robert Rauschenberg, Erased de Kooning Drawing

2.1.16 Robert Rauschenberg, Erased de Kooning Drawing, 1953. Traces of ink and crayon on paper, in gold-leaf frame, 25¼ × 21¾ × ½".

San Francisco Museum of Modern Art

Robert Rauschenberg, Erased de Kooning Drawing

Rauschenberg created a new work of art by erasing a drawing by the famous artist Willem de Kooning

The drawing was made with charcoal, oil paint, pencil, and crayon; it took nearly a month to erase

Chapter 2.1 Drawing

PART 2

MEDIA AND PROCESSES

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artist Robert Rauschenberg (1925–2008)

After being approached by the young Rauschenberg, de Kooning agreed, understanding what the younger artist had in mind

Rauschenberg’s idea was to create a performed work of conceptual art

Some in the art world dubbed Rauschenberg “L’Enfant Terrible,” which means a young person who behaves badly

Willem de Kooning,

Woman I

Robert Rauschenberg, Rebus Bed

MoMA Videos

To learn about other artworks by Robert Rauschenberg, watch this video of a MoMA lecturer talking about

Rebus and Bed:

To learn more about Willem de Kooning, the artist whose work Rauschenberg erased, watch this video of a MoMA lecturer talking about Woman I:

MoMA Video:

PART 2

MEDIA AND PROCESSES

Chapter 2.1 Drawing

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

The Materials of Drawing: Wet Media

Wet media are applied with brushes or pens

Wet media dry or harden as the liquid evaporates

Chapter 2.1 Drawing

PART 2

MEDIA AND PROCESSES

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Ink

Ink provides permanence, precision, and strong dark color

Carbon ink is made from soot, water, and gum; used in China and India since around 2500 bce

Since the Renaissance, most European ink drawings are made with gall ink

Chapter 2.1 Drawing

PART 2

MEDIA AND PROCESSES

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Carbon ink tended to discolor over time and could become smudged in moist or humid environments

A contemporary version of carbon ink, called India (or Indian) ink, is a favorite of comic-book artists

Gall ink is manufactured from a mixture of tannin (from oak galls—parasitic growths on oak trees), iron sulfate, gum arabic, and water

Gall ink is not entirely lightfast, however, and tends to lighten to brown after many years

Other types of fluid media include bistre, which is derived from wood soot and is usually a yellow-brown color, and sepia, a brown medium that is derived from the secretions of cuttlefish

Brush Drawing

East Asian artists use brush and ink for both writing and drawing

Brushes are made with a bamboo shaft and either ox, goat, horse, or wolf hair

Artists control value by diluting the ink with water to create an infinite range of grays (called a wash)

Chapter 2.1 Drawing

PART 2

MEDIA AND PROCESSES

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Wu Zhen, leaf from an album of bamboo drawings

2.1.17 Wu Zhen, leaf from an album of bamboo drawings, 1350. Ink on paper, 16 x 21". National Palace Museum, Taipei, Taiwan

Wu Zhen, leaf from an album of bamboo drawings

This work contains both controlled and loose, freer brushstrokes; it reflects the Daoist belief in balanced opposites

Achieves different values by adding water to create a wash

Intended as a model for Wu’s son as he learned the art of brushwork

Chapter 2.1 Drawing

PART 2

MEDIA AND PROCESSES

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Fourteenth-century Chinese artist Wu Zhen (sometimes spelled Wu Chen) (1280–1354) uses brush, ink, and wash to create a masterpiece of simplicity.

Artwork: Claude Lorrain, The Tiber from Monte Mario Looking South

2.1.18 Claude Lorrain, The Tiber from Monte Mario Looking South, 1640. Dark-brown wash on white paper, 7⅜ × 10⅝". British Museum, London, England

Claude Lorrain, The Tiber from Monte Mario Looking South

Lorrain's thoughtful brushstrokes give an impression of the great expanse of the Italian countryside

Use of wash gives a sense of depth by making the values of the foreground areas both the darkest and lightest of the whole drawing

Chapter 2.1 Drawing

PART 2

MEDIA AND PROCESSES

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

French artist Claude Lorrain (1604/5–1682).

Quill and Pen

Traditionally a quill—the shaft of a bird’s feather, or hollow reed—is carved to a point to apply the ink

Artists control the flow of the ink by pressing harder or more softly

Pen-and-ink drawings can employ hatching and cross-hatching to create variations in value

Chapter 2.1 Drawing

PART 2

MEDIA AND PROCESSES

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

The modern version is a pen with a metal nib

Apart from choosing different widths of nib, the artist can further increase or decrease the width of the drawn line by holding the pen at different angles

2.1.19a Frida Kahlo, pages from the artist’s diary, c. 1944-54

Artwork: Frida Kahlo, pages from the artist’s diary

2.1.19b Frida Kahlo, The Two Fridas, 1939. Oil on canvas, 5'8" x 5'8", Museo de Arte Moderna, Mexico City, Mexico

Artwork: Frida Kahlo, The Two Fridas

Kahlo: Artist Sketchbooks

Kahlo created this diary while recovering from the effects of childhood polio and a back injury

These pages feature sketches of “Ojosauro” (Eyesaurus)

This monster represents her many painful operations and procedures

Gateway to Art:

Chapter 2.1 Drawing

PART 2

MEDIA AND PROCESSES

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Mexican painter Frida Kahlo (1907–1954)

Married to Diego Rivera, a Mexican Muralist

The Two Fridas is an expression of both her Native Mexican American and European ancestries

Artwork: Vincent van Gogh, Sower with Setting Sun

2.1.20 Vincent van Gogh, Sower with Setting Sun, 1888. Pen and brown ink, 9⅝ × 12⅝".

Van Gogh Museum, Amsterdam, The Netherlands

Vincent van Gogh, Sower with Setting Sun

Van Gogh made this artwork by using a reed pen and brown ink

He varies the way that he applies his pen strokes and controls their width and direction

Creates an undulating, restless design

Chapter 2.1 Drawing

PART 2

MEDIA AND PROCESSES

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Dutch artist Vincent van Gogh (1853–1890).

Vincent van Gogh, Starry Night

To learn about another artwork by Vincent van Gogh, watch this video of a MoMA lecturer talking about

Starry Night:

MoMA Video

MoMA Video:

Chapter 2.1 Drawing

PART 2

MEDIA AND PROCESSES

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Paper

Before the invention of paper, drawings were made on papyrus, cloth, wood, and animal hide (parchment and vellum)

Invented in China around the end of the first century ce by Cai Lun

Manufactured Initially from pounded or macerated plant fibers

Chapter 2.1 Drawing

PART 2

MEDIA AND PROCESSES

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Hishikawa Moronobu, Papermaking in Japan

2.1.21 Hishikawa Moronobu, Papermaking in Japan, showing the vatman and the paper-drier, 1681. Woodblock print from the four-volume Wakoku Shōshoku Edzukushi, 1681

Hishikawa Moronobu, Papermaking in Japan

The artist depicts how fibers are suspended in water and then scooped into a flat mold with a screen at the bottom

The fibers are bonded to each other enough to keep their shape

The sheet is then pressed and dried

Chapter 2.1 Drawing

PART 2

MEDIA AND PROCESSES

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Hand-made papers are still manufactured this way in many countries, mostly from cotton fiber, although papers are also made of hemp, abaca, flax, and other plant fibers.

Surface texture

2.1.22 Surface texture of wove and laid paper

Chapter 2.1 Drawing

PART 2

MEDIA AND PROCESSES

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Paper is classified by:

Surface texture of paper

Depending on the construction of the mold, the paper usually has a surface texture described as either wove or laid

Weight of paper

Paper in bulk is normally measured by the ream (500 sheets)

The standard measurement for defining the character of paper is its weight per ream in the paper’s basic sheet size

For example, if 500 sheets of 17 × 22-in. paper weigh 20 lbs., the paper is referred to as “20 lb.”

Heavier papers are stronger but more expensive

Life Drawing

Life drawing is the practice of drawing from a live model

Often associated with nude models, but can also involve animals, plants, and architecture

Two methods used to teach life drawing: gesture and contour

Chapter 2.1 Drawing

PART 2

MEDIA AND PROCESSES

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Gesture Drawing

This method aims to identify and react to the main visual and expressive characteristics of a form

Capturing the energy of the moment is the essential goal

Chapter 2.1 Drawing

PART 2

MEDIA AND PROCESSES

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Alberto Giacometti, The City Square

2.1.23 Alberto Giacometti, The City Square, 1949. Ink and colored ink on paper, 12⅜ × 20⅛", MoMA, New York

Alberto Giacometti, The City Square

This artwork is an example of gesture drawing

Captures a moment in time

Abrupt marks give indications of architectural features, the surrounding landscape, and figures moving in space

Chapter 2.1 Drawing

PART 2

MEDIA AND PROCESSES

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Swiss artist Alberto Giacometti (1901–1966)

Practiced gesture drawing in a way that exemplifies its function

Artwork: Umberto Boccioni, Muscular Dynamism

2.1.24 Umberto Boccioni, Muscular Dynamism, 1913. Pastel and charcoal on paper, 34 × 23¼". MoMA, New York

Umberto Boccioni, Muscular Dynamism

The movement of the body is implied by the undulating strokes of the chalk and charcoal

Captures the essence of movement by reacting to the subject and employing gestural movement of the human hand

Chapter 2.1 Drawing

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MEDIA AND PROCESSES

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Italian artist Umberto Boccioni (1882–1916)

The energy of the human figure is evident in Muscular Dynamism

Umberto Boccioni, Unique Forms of Continuity in Space Dynamism of a Soccer Player

To learn about other artworks by Umberto Boccioni, watch this video of a MoMA lecturer talking about Unique Forms of Continuity in Space and Dynamism of a Soccer Player:

MoMA Video

MoMA Video:

Chapter 2.1 Drawing

PART 2

MEDIA AND PROCESSES

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Contour Drawing

This method of drawing aims to register the essential qualities of three-dimensional form by rendering the outline, or contour, of an object

Sharpens the artist's hand–eye coordination

Increases sensitivity to detail

Chapter 2.1 Drawing

PART 2

MEDIA AND PROCESSES

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Because the artist concentrates his or her attention on a single point and incrementally progresses slowly along the visible edge, attributes of the subject may be slightly exaggerated, drawing attention to visual cues that might otherwise have been overlooked.

Artwork: Egon Schiele, Mother and Child

2.1.25 Egon Schiele, Mother and Child, 1918. Black Conté crayon on paper, 11¾ × 14⅝".

Egon Schiele, Mother and Child

Schiele uses the method of contour drawing in this work

Economy of a single line carries so much descriptive information that it supports the entire right side of the composition

Chapter 2.1 Drawing

PART 2

MEDIA AND PROCESSES

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Austrian artist Egon Schiele (1890–1918)

If you look carefully at the long line that describes the right side of the woman’s back, you will see many subtle changes in line direction, indicating stretching muscles that the mother is using as she embraces her child

Drawing

(Media/Processes)

Video:

Chapter 2.1 Drawing

PART 2

MEDIA AND PROCESSES

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 2.1 Copyright Information

This concludes the PowerPoint slide set for Chapter 2.1

Gateways to Art: Understanding the Visual Arts

Third Edition

By Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 2.1 Drawing

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MEDIA AND PROCESSES

Picture Credits for Chapter 2.1

2.1.1 Biblioteca Ambrosiana, Milan

2.1.3a Biblioteca Ambrosiana, Milan

2.1.3b Stanza della Segnatura, Vatican Museums, Rome

2.1.5 British Museum, London

2.1.6 Ralph Larmann

2.1.7 Ralph Larmann

2.1.9 Courtesy of D.J. Hall and Craig Krull Gallery, Santa Monica

2.1.10 National Gallery of Art, Washington, D.C., Rosenwald Collection, 1943.3.5217

2.1.11 National Gallery of Art, Washington, D.C., Gift of Mr. and Mrs. James T. Dyke, 1996.30.1

2.1.12 Image courtesy the artist and White Rabbit Gallery, Sydney

2.1.13 Metropolitan Museum of Art, Purchase, Joseph Pulitzer Bequest, 1924, 24.197.2

2.1.14 Musée d’Orsay, Paris

2.1.15 Photo RMN-Grand Palais (Musée d’Orsay)/Michèle Bellot

2.1.16 San Francisco Museum of Modern Art, Purchased through a gift of Phyllis Wattis. © Robert Rauschenberg Foundation/DACS, London/VAGA, New York 2018

2.1.17 Collection National Palace Museum, Taipei, Taiwan

2.1.18 British Museum, London

2.1.19b Museo de Arte Moderno, Mexico City. © Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F./DACS 2018

2.1.20 Van Gogh Museum (Vincent van Gogh Foundation), Amsterdam

2.1.21 from Wakoku Shoshoku Edzukushi, 1681

2.1.22 Ralph Larmann

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Chapter 2.1 Drawing

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MEDIA AND PROCESSES

Picture Credits for Chapter 2.1 (contd.)

2.1.23 The Museum of Modern Art, New York, Gift of Alexander Liberman in honour of René d’Harnoncourt, 1365.1974. Digital image, The Museum of Modern Art, New York/Scala, Florence. © The Estate of Alberto Giacometti (Fondation Annette et Alberto Giacometti, Paris and ADAGP, Paris), licensed in the UK by ACS and DACS, London 2018

2.1.24 Museum of Modern Art, New York, Purchase, 330.1949. Photo 2012, Museum of Modern Art, New York/Scala, Florence

2.1.25 Christie’s Images/Corbis

PowerPoints developed by CreativeMyndz Multimedia Studios

Chapter 2.1 Drawing

PART 2

MEDIA AND PROCESSES