Prebles' ArtformsAn Introduction to the Visual Arts
CHAPTER
ELEVENTH EDITION
Prebles' Artforms, Eleventh EditionPatrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.All Rights Reserved
Drawing
6
Prebles' Artforms, Eleventh EditionPatrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.All Rights Reserved
Learning Objectives
1. Characterize drawing as an immediate means of communicating with visual images.
2. Distinguish the use of drawings to record ideas, as preliminary studies, and as independent works of art.
3. Discuss drawing tools and techniques used with dry and liquid media.
Prebles' Artforms, Eleventh EditionPatrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.All Rights Reserved
Learning Objectives
4. Compare effects achieved through different drawing techniques.
5. Recognize the role of drawing in comics and graphic novels.
6. Examine contemporary drawing technologies.
Prebles' Artforms, Eleventh EditionPatrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.All Rights Reserved
Introduction
• Drawing
An immediate and accessible way to communicate through imagery
Conveys an artist's imaginings
• Henry Moore's Shelter Drawings
Londoners sheltering from Nazi bombing raids
Valuable record of events where cameras could not function
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Henry Moore. Study for Tube Shelter Perspective. 1940–1941.Pencil, wax crayon, colored crayon, watercolor, wash, pen and ink, Conté crayon on
wove paper. 8" × 6-1/2".Reproduced by permission of The Henry Moore Foundation. © The Henry Moore Foundation. All Rights Reserved, DACS 2013/www.henry-moore.org. [Fig. 6-1]
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The Drawing Process
• Children draw often before reading or writing, but it is a learned process.
• The meaning of drawing
To pull, push, or drag a marking tool across a surface to leave a line or mark
• Sketchbooks
For developing ideas or taking notes
• da Vinci's Facial Proportions of a Man in Profilei
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Leonardo da Vinci.Facial Proportions of a Man in Profile. 1490–1495.Brown ink, charcoal, and red chalk. 11" × 8-3/4".
Academia Venice. © 2013. Photo Scala, Florence—courtesy of the Ministero Beni e Att. Culturali. [Fig. 6-2]
Discovering Art: Drawing
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The Drawing Process
• Sketchbooks
Director/producer Guillermo del Toro's pages detailing Pan's Labyrinth
• Receptive drawing
Attempts to capture the physical appearance of something before us
• Projective drawing
Drawing something that only exists in our minds
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Guillermo del Toro. Pages from sketchbook. 2006.Pan's Labyrinth.
© MMVi. New Line Productions Inc. Photo appears courtesy of New Line Cinema/Time Warner. [Fig. 6-3]
Closer Look: Guillermo del Toro, Sketchbook
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The Drawing Process
• Projective drawing
Martín Ramírez, Untitled No. 111
• A train passing through an impossible tunnel
• Work based on imagination
Favored today by artists in Europe and the United States
• Drawing process deeply important to artists' creativity
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Martín Ramírez. Untitled No. 111 (Train and Tunnel). c. 1960–1963.Gouache, colored pencil, and graphite on pieced paper. 15" × 31".
© Estate of the artist. [Fig. 6-4]
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The Drawing Process
• Some artists present exceptional ability as children, but some who had to develop it include:
Paul Cézanne
Vincent van Gogh
• Carpenter compared to Old Man with His Head in His Hands, made two years later
• Good drawing can appear deceptively simple.
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Vincent van Gogh. Carpenter. c. 1880.Black crayon. 22" × 15".
Kröller-Muller Museum, Otterlo, Netherlands. [Fig. 6-5]
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Vincent van Gogh. Old Man with His Head in His Hands. 1882.Pencil on paper. 19-11/16" × 12-3/16".
Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation). [Fig. 6-6]
Web Resource: Vincent van Gogh Museum
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Forming Art
• Vincent van Gogh: Mastering Drawing
Believed he had to master drawing before allowing himself to use color
• Struggled with drawing
Did not wish to achieve photographic accuracy
• Drawing from life
Admired more simple styles of drawing, preferring Japanese style
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Vincent van Gogh. Self-Portrait with Felt Hat. 1888.Oil on canvas. 17-1/4" × 14-3/4".
Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation). [Fig. 6-7]
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Vincent van Gogh. Trees with Ivy in the Asylum Garden. 1890.Reed pen and pen in ink on cream wove paper. 24-1/2" × 18-1/2".
Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation). [Fig. 6-8]
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Purposes of Drawing
• Serves three functions
Notation, sketch, or record of something seen, remembered, or imagined
Study or preparation for another, usually larger and more complex work
As an end in itself, a complete work of art
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Purposes of Drawing
• Michelangelo's studies
Reclining Male Nude for the painting of the figure on the Sistine Chapel ceiling
Careful drawing from observation
Repetition of parts needing further study
• Picasso's studies for Guernica
Forty-five studies are preserved
Gestural lines convey work's essence
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Michelangelo Buonarroti. Study of a Reclining Male Nude. c. 1511.Red chalk over stylus underdrawing. 7-5/8" × 10-1/4".
The British Museum © The Trustees. [Fig. 6-9]
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Pablo Picasso. First Composition Study for Guernica. May 1, 1937.Pencil on blue paper. 8-1/4" × 10-5/8".
Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain. © 2013 Estate of Pablo Picasso/Artists Rights Society (ARS), New York. [Fig. 6-10]
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Pablo Picasso. Composition study for Guernica. May 9, 1937.Pencil on white paper. 9-1/2" × 17-7/8".
Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain. © 2013 Estate of Pablo Picasso/Artists Rights Society (ARS), New York. [Fig. 6-11]
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Pablo Picasso. Guernica. 1937.Oil on canvas. 11' 6" × 25' 8".
Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain. © 2013 Estate of Pablo Picasso/Artists Rights Society (ARS),
New York. [Fig. 6-12]
Closer Look: Pablo Picasso, Guernica
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Purposes of Drawing
• Preliminary sketches not generally considered finished pieces
Treasured for intrinsic beauty of process
• Cartoon
Full-size drawing made as a guide for a large work in another medium
Often used for fresco painting, mosaic, or tapestry.
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Tools and Techniques
• Lines
Hatching
• Parallel lines suggesting shadows or volumes
• Cross-hatching, seen in Preacher
• Contour hatching
• Paper
Smooth surface or surface with tooth
• Rough grain that gives texture
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Drawing Tools and Their Characteristic Lines.[Fig. 6-13]
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Types of Hatching.[Fig. 6-14]
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Charles White. Preacher. 1952.Pen and black ink, and graphite pencil on board. 22-13/16" × 29-15/16" × 3/16".
Collection of Whitney Museum of American Art, New York. Purchase. 52.25. Photo by Geoffrey Clements, New York ©1952 The Charles White Archives. [Fig. 6-15]
Prebles' Artforms, Eleventh EditionPatrick Frank
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Tools and Techniques
• Dry media
Include pencil, charcoal, Conté crayon, and pastel
Varying degrees of hardness
• Controls darkness and line quality
• The softer, the darker
States of the Mind: The Farewells
• Boccioni's variety of tools and techniques exhibited
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Umberto Boccioni. States of Mind: The Farewells. 1911.Charcoal and Conté crayon on paper. 23" × 34".
Museum of Modern Art (MoMA) Gift of Vico Baer. Acc. n.: 522.1941 © 2013. Digital image The MoMA, New York/Scala, Florence. [Fig. 6-16]
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Tools and Techniques
• Dry media
Charcoal
• Dark passages drawn quickly
• Not all particles bind to the surface
• May be set with a thin fixative varnish to prevent smudging
• Wide range of values
• Vija Celmins, Web #5
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Vija Celmins. Web #5. 1999.Charcoal on paper. 22" × 25-1/2".
Private Collection, NY. Courtesy McKee Gallery. [Fig. 6-17]
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Tools and Techniques
• Dry media
Conté crayon
• Graphite mixed with clay
• Resists smudging with similar variation of charcoal
• Wax crayons avoided by serious artists
• Georges Seurat, L'Echo
Pastels
• Similar characteristics to natural chalk
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Georges Seurat. L'Echo, study for Une Baignade, Asnières. 1883–1884.Black Conté crayon on Michallet paper. 12-5/16" × 9-7/16".
Bequest of Edith Malvina K. Wetmore. Yale University Art Gallery, New Haven, Connecticut, USA. [Fig. 6-18]
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Tools and Techniques
• Dry media
Pastels
• Mostly pigment with little binding material
• Do not allow much detail
• Rosalba Carriera's sensitivity of medium
• Edgar Degas's constructed compositions showing casual, fleeting glimpses of everyday life
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Rosalba Carriera. Portrait of a Girl with a Bussola. 1725–1730.Pastel on paper. 13-3/8" × 10-1/2".
Gallerie dell'Accademia. © Cameraphoto Arte, Venice. [Fig. 6-19]
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Edgar Degas. Le Petit déjeuner après le bain (jeune femme s'essuyant). c. 1894.Pastel on paper. 39-1/4" × 23-1/2".
Private Collection/Photo © Christie's Image/The Bridgeman Art Library. [Fig. 6-20]
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Tools and Techniques
• Liquid media
Include black/brown inks, washes of ink (thinned with water), felt- and fiber-tipped marker pens
Hokusai, Tuning the Samisen
• Elegance of line created by control over a responsive brush
• Same brush used for writing and drawing
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Hokusai. Tuning the Samisen. c. 1820–1825.Brush drawing. 9-3/4" × 8-1/4".
Freer Gallery of Art, Smithsonian Institution, Washington. D.C.: Gift of Charles Lang Freer, F1904.241. [Fig. 6-21]
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Tools and Techniques
• Liquid media
van Rijn, Eliezer and Rebecca at the Well
• Compositional arrangement for a possible painting
• Lightened shade using white gouache, an opaque watercolor
Nancy Spero, Peace
• Smudged ink creates an aura of exuberant, impulsive force
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Rembrandt van Rijn. Eliezer and Rebecca at the Well. 1640s.Reed pen and brown ink with brown wash and white gouache. 8-1/4" × 13-1/16".National Gallery of Art, Washington D.C. Widener Collection 1942.9.665 [Fig. 6-22]
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Nancy Spero. Peace. 1968.Gouache and ink on paper. 19" × 23-3/4".
© Estate of Nancy Spero/Licensed by VAGA, New York, NY. [Fig. 6-23]
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Comics and Graphic Novels
• Comics
Sequential artforms based on drawing
Culmination of development through ancient Egyptian murals, medieval tapestries, and print series in the 1730s
Featured in newspapers
• Little Nemo in Slumberland
More serious in recent years
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Windsor McCay. Little Nemo in Slumberland (detail). April 4, 1906.Published in New York Herald. [Fig. 6-24]
Prebles' Artforms, Eleventh EditionPatrick Frank
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Gilbert Hernandez. Cover of Fear of Comics. 2000.Courtesy Fantagraphics Books, Inc. © Gilbert Hernandez, 2007. [Fig. 6-25]
Prebles' Artforms, Eleventh EditionPatrick Frank
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Comics and Graphic Novels
• Graphic novels
Marjane Satrapi's Persepolis
• Could have been written as a narrative without pictures, but Satrapi combines word and drawn image to add power to both.
Untitled abstract comic of Janusz Jaworski
• Leaves context to imagination of viewer
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Copyright © 2014, 2011, 2009 by Pearson Education, Inc.All Rights Reserved
Marjane Satrapi. Page from Persepolis. 2001.L'association, Paris. [Fig. 6-26]
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Copyright © 2014, 2011, 2009 by Pearson Education, Inc.All Rights Reserved
Janusz Jaworski. Untitled abstract comic. 2001.Ink and watercolor on paper.
Courtesy of the artist. [Fig. 6-27]
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Contemporary Approaches
• Drawing in combination with other media
• Julie Mehretu, Back to Gondwanaland
Swatches of cut paper along with drawn ink lines
Shapes suggest the impersonal public spaces of today's mass-produced world
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Julie Mehretu. Back to Gondwanaland. 2000.Ink and acrylic on canvas. 8' × 10'.
Collection A & J Gordts-Vanthournout, Belgium. Courtesy of the artist and Marian Goodman Gallery. [Fig. 6-28]
Video: Art21: Julie Mehretu: Painting Conservator Luca Bonetti
Video: Art21: Julie Mehretu: Studio Assistants
Video: Art21: Julie Mehretu: Mural
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Contemporary Approaches
• Christine Hiebert, Reconnaissance
Lines made directly on the walls with blue tape normally used by painters to mask negative spaces
• Resemble drawn lines
• Ingrid Calame, #334
Colored pencil drawing from rubbings taken in an abandoned steel plant in NY and the Los Angeles river
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Christine Hiebert. Reconnaissance (view #2). 2009–2010.Blue tape and glue on wall. Wall coverage c. 110'
running wall length × c.35' high.Installation view from the Davis Museum and Cultural Center
at Wellesley College. Photo © the artist. [Fig. 6-29]
Podcast: Christine Hiebert, Brooklyn, NY
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Ingrid Calame.#334 Drawing (Tracings from the L.A. River and ArcelorMittal Steel). 2011.
Colored pencil on tracing Mylar. 115-1/4" × 75" × 3-1/4".Courtesy of Susanne Vielmetter Los Angeles Projects and James Cohan Gallery, New
York/Shanghai. [Fig. 6-30]
Prebles' Artforms, Eleventh EditionPatrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.All Rights Reserved
Contemporary Approaches
• Electronic media
David Hockney's iPad drawings
• A drawing every day for several months in 2011
• Marks made with finger on screen
Technology makes new movements of art possible.