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WORLD OF ARTWORLD OF ART

CHAPTER

EIGHTH EDITION

World of Art, Eighth EditionHenry M. Sayre

Copyright © 2016, 2013, 2010by Pearson Education, Inc. or its affiliates.

All rights reserved.

Drawing

8

Learning ObjectivesLearning 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.

IntroductionIntroduction

• 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.

Video for a-ha's "Take On Me".1985. Video stills. Animation by Michael Patterson and Candace Reckinger. Directed by

Steve Barron.Courtesy of Rhino Entertainment Company © 1985 Warner Music Group. [Fig. 8-1]

Video for a-ha's "Take On Me".1985. Video stills. Animation by Michael Patterson and Candace Reckinger. Directed by

Steve Barron.Courtesy of Rhino Entertainment Company © 1985 Warner Music Group. [Fig. 8-2]

From Preparatory Sketch to Finished From Preparatory Sketch to Finished Work of ArtWork of Art

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• 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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• 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.

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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• 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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• 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.

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.Purchased with a special grant and contributions from Art Fund, Pilgrim Trust, and through a public appeal organized by Art Fund, 1962. NG3887. © 2015. Copyright

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


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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.

Leonardo da Vinci, Study for a Sleeve.ca. 1510–13. Pen, lampblack, and chalk, 3-1/8 × 6-3/4". The Royal Collection.

© 2015 Her Majesty Queen Elizabeth II/Bridgeman Images. [Fig. 8-5]

Drawing MaterialsDrawing Materials

• Drawing materials are often divided into dry media and liquid media.

Dry MediaDry Media1 of 111 of 11

• 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.


• Metalpoint This style, popular beginning in the late

fifteenth century, involved a metal stylus applied to a surface prepared with powdered bones and gumwater.• Wherever the stylus was applied, a

chemical reaction produced line. A metalpoint line is pale gray and

delicate; it cannot be made thicker by increasing pressure.


• 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.

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]

The Creative ProcessThe Creative Process1 of 21 of 2

• Movement and Gesture: Raphael's Alba Madonna Raphael was inspired by the freedom of

movement found in Leonardo da Vinci's drawings.

In the studies for The Alba Madonna, Raphael worked on both sides of a single piece of paper.

Raphael, Studies for The Alba Madonna (recto).ca. 1511. Red chalk 6-5/8 × 10-3/4". Musée des Beaux Arts, Lille, France.

© RMN-Grand Palais/Hervé Lewandowski. [Fig. 8-7]

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]

The Creative ProcessThe Creative Process2 of 22 of 2

• 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.

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.Andrew W. Mellon Collection. Photo © 1999 Board of Trustees, National Gallery of Art.

Photo: José A. Naranjo. [Fig. 8-9]


• 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.


• Chalk and charcoal 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.

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]


• Chalk and charcoal The expressive directness and

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.• This contrasts with the carefully rendered

hand and face.

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.Rosenwald Collection, 1943.3.5217. © 2015 Board of Trustees, National Gallery of Art. ©

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


• 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.

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

Collection, 55.21.1. © 2015. Digital image Metropolitan Museum of Art/Art Resource/Scala, Florence. [Fig. 8-12]


• Graphite Georges Seurat's Conté crayon study

exhibits the wide range of tonal effects afforded by the new medium.

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.

Vija Celmins, Untitled (Ocean).1970. Graphite on acrylic ground on paper, 14-1/8 × 18-7/8". Museum of Modern Art,

New York.Mrs. Florene M. Schoenborn Fund, 585.1970. © 2015. Digital image, Museum of Modern

Art, New York/Scala, Florence. © 2015 Vija Celmins. [Fig. 8-13]


• Pastel Pastel is a chalk medium with colored

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.• He invented a new method of building up

pigments in layers with fixative.

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]


• Pastel Mary Cassatt became a student of

Degas and used pastel even more boldly than her mentor.• Young Mother, Daughter, and Son

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.

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]


• Oilstick Oil made with wax and molded into stick

form allowed the painter to draw with density without the interference of a brush.

Sandy Brooke's Fate and Luck: Eclipse exhibits smeared and transparent effects, lending to the theme of ambiguity of omens across cultures.

Sandy Brooke, Fate and Luck: Eclipse.2011. Oilstick on linen, 30 × 24".

Courtesy of the artist. © 2011 Sandy Brooke. Photo: Gary Alvis. [Fig. 8-16]

Liquid MediaLiquid Media1 of 51 of 5

• Pigments are suspended in liquid binders that flow more easily than dry media.

• They can also be applied with a brush.


• 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.

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]


• 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.

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.Jean and Lester Avnet Collection, 54.1978. © 2015 Digital image, Museum of Modern Art,

New York/Scala, Florence. © 2015 Artists Rights Society (ARS), New York/ADAGP, Paris. [Fig. 8-18]


• 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.

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]


• 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.

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]

Innovative Drawing MediaInnovative Drawing Media1 of 61 of 6

• 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.


• Whispers from the Walls is an 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.

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]


• 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.


• South African artist William Kentridge employs drawings in his animated films. History of the Main Complaint explores

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.

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]


5 min. 50 sec. Courtesy of Marion Goodman Gallery, New York.Courtesy of Marion Goodman Gallery, New York. [Fig. 8-23b]


5 min. 50 sec. Courtesy of Marion Goodman Gallery, New York.Courtesy of Marion Goodman Gallery, New York. [Fig. 8-23c]


• 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.


• 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.

Marjane Satrapi, page from the "Kim Wilde" chapter of the graphic novel Persepolis.2001. Ink on paper, 16-9/16 × 11-11/16".

Courtesy of the artist. © Marjane Satrapi. [Fig. 8-24]

The Critical ProcessThe Critical ProcessThinking about DrawingThinking about Drawing

• Frank Auerbach's Head of Catherine Lampert VI was created through a series of drawings that were wiped out over a period of years. An eraser established light planes across

the figure's face.• Auerbach's studies were often an effort

to capture the subject's energy for later creations.

Frank Auerbach, Head of Catherine Lampert VI.1979–80. Charcoal and chalk on canvas, 30-3/8 × 23". Museum of Modern Art, New York.

Purchase, 436.1981. © 2015. Digital image, Museum of Modern Art, New York/Scala, Florence. © Frank Auerbach. [Fig. 8-25]

Thinking BackThinking Back

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.