prebles' artforms - mycsu – columbia southern university · closer look: guillermo del toro,...

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



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.



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.



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



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]



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



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

http://media.pearsoncmg.com/ph/hss/SSA_SHARED_MEDIA_1/art/MAL/discovering_art/media/drawing/index.html

http://media.pearsoncmg.com/ph/hss/SSA_SHARED_MEDIA_1/art/MAL/discovering_art/media/drawing/index.html



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



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

http://media.pearsoncmg.com/ph/hss/hss_preble_artforms_9kit/guided_tours/PGT_06/index.html

http://media.pearsoncmg.com/ph/hss/hss_preble_artforms_9kit/guided_tours/PGT_06/index.html



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



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]



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.



Vincent van Gogh. Carpenter. c. 1880.Black crayon. 22" × 15".

Kröller-Muller Museum, Otterlo, Netherlands. [Fig. 6-5]



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

http://media.pearsoncmg.com/ph/hss/SSA_SHARED_MEDIA_1/art/web_resources/Web_Resource_Vincent_van_Gogh_Museum.html

http://media.pearsoncmg.com/ph/hss/SSA_SHARED_MEDIA_1/art/web_resources/Web_Resource_Vincent_van_Gogh_Museum.html



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



Vincent van Gogh. Self-Portrait with Felt Hat. 1888.Oil on canvas. 17-1/4" × 14-3/4".




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".




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



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



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]



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]



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]



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

http://media.pearsoncmg.com/ph/hss/shared_hss_assets/art/WPSGlobalModules/guided_tours/FB_44/index.html

http://media.pearsoncmg.com/ph/hss/shared_hss_assets/art/WPSGlobalModules/guided_tours/FB_44/index.html



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.



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



Drawing Tools and Their Characteristic Lines.[Fig. 6-13]



Types of Hatching.[Fig. 6-14]



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]




• 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



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]




• 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



Vija Celmins. Web #5. 1999.Charcoal on paper. 22" × 25-1/2".

Private Collection, NY. Courtesy McKee Gallery. [Fig. 6-17]




• 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



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]




• 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



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]



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]




• 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



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]




• 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



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]



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]



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



Windsor McCay. Little Nemo in Slumberland (detail). April 4, 1906.Published in New York Herald. [Fig. 6-24]



Gilbert Hernandez. Cover of Fear of Comics. 2000.Courtesy Fantagraphics Books, Inc. © Gilbert Hernandez, 2007. [Fig. 6-25]



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



Marjane Satrapi. Page from Persepolis. 2001.L'association, Paris. [Fig. 6-26]



Janusz Jaworski. Untitled abstract comic. 2001.Ink and watercolor on paper.

Courtesy of the artist. [Fig. 6-27]



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



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

http://media.pearsoncmg.com/ph/hss/hss_sayre_thehumanities2_myartslab/art21/jmmural_large.html

http://media.pearsoncmg.com/ph/hss/hss_sayre_thehumanities2_myartslab/art21/jmmural_large.html

http://media.pearsoncmg.com/ph/hss/hss_sayre_thehumanities2_myartslab/art21/jmconvservatorlucabonetti_large.html

http://media.pearsoncmg.com/ph/hss/hss_sayre_thehumanities2_myartslab/art21/jmconvservatorlucabonetti_large.html

http://media.pearsoncmg.com/ph/hss/hss_sayre_thehumanities2_myartslab/art21/jmassistants_large.html

http://media.pearsoncmg.com/ph/hss/hss_sayre_thehumanities2_myartslab/art21/jmassistants_large.html




• 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



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

http://abavtooldev.pearsoncmg.com/VP_Sandbox/singleplay.php?projectID=Bob_White&clipID=Heibert.flv

http://abavtooldev.pearsoncmg.com/VP_Sandbox/singleplay.php?projectID=Bob_White&clipID=Heibert.flv



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]




• 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.



David Hockney. The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty-eleven)—4 January. 2011.

iPad drawing. 56-3/4" × 42-1/2".© the artist. [Fig. 6-31]

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