The document discusses the history and techniques of drawing. It covers dry media like metalpoint, chalk, charcoal and graphite used by artists from the Renaissance like Leonardo da Vinci. It also discusses liquid media like pen and ink, wash and brush. Examples are given of works that demonstrate techniques like hatching with metalpoint, building up layers with pastels, and varying line width with calligraphy brushes. The document examines how drawing has been used as a creative process as well as a finished artwork throughout history.

1. WORLD OF ARTWORLD OF ART
CHAPTER
EIGHTH EDITION
World of Art, Eighth Edition
Henry M. Sayre
Copyright © 2016, 2013, 2010
by Pearson Education, Inc. or its affiliates.
All rights reserved.
Drawing
8

2. 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.

3. 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.

4. 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]

5. 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]

6. From Preparatory Sketch to FinishedFrom Preparatory Sketch to Finished
Work of ArtWork of Art
1 of 51 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.

7. From Preparatory Sketch to FinishedFrom Preparatory Sketch to Finished
Work of ArtWork of Art
2 of 52 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.

8. 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]

9. From Preparatory Sketch to FinishedFrom Preparatory Sketch to Finished
Work of ArtWork of Art
3 of 53 of 5
• 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.

10. From Preparatory Sketch to FinishedFrom Preparatory Sketch to Finished
Work of ArtWork of Art
4 of 54 of 5
• 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.

11. 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]

12. From Preparatory Sketch to FinishedFrom Preparatory Sketch to Finished
Work of ArtWork of Art
5 of 55 of 5
• 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.

13. 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]

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

15. Dry MediaDry Media
1 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.

16. Dry MediaDry Media
2 of 112 of 11
• 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.

17. Dry MediaDry Media
3 of 113 of 11
• 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.

18. 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]

19. The Creative ProcessThe Creative Process
1 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.

20. 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]

21. 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]

22. The Creative ProcessThe Creative Process
2 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.

23. 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.
[Fig. 8-9]

24. Dry MediaDry Media
4 of 114 of 11
• 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.

25. Dry MediaDry Media
5 of 115 of 11
• 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.

26. 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]

27. Dry MediaDry Media
6 of 116 of 11
• 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.

28. 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]

29. Dry MediaDry Media
7 of 117 of 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.

30. 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]

31. Dry MediaDry Media
8 of 118 of 11
• 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.

32. 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]

33. Dry MediaDry Media
9 of 119 of 11
• 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.

34. 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]

35. Dry MediaDry Media
10 of 1110 of 11
• 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.

36. 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]

37. Dry MediaDry Media
11 of 1111 of 11
• 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.

38. 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]

39. Liquid MediaLiquid Media
1 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.

40. Liquid MediaLiquid Media
2 of 52 of 5
• 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.

41. 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]

42. Liquid MediaLiquid Media
3 of 53 of 5
• 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.

43. 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]

44. Liquid MediaLiquid Media
4 of 54 of 5
• 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.

45. 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]

46. Liquid MediaLiquid Media
5 of 55 of 5
• 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.

47. 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]

48. Innovative Drawing MediaInnovative Drawing Media
1 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.

49. Henri Matisse, Venus.
1952. Paper collage on canvas, 39-7⁄8 × 30-1⁄8". National Gallery of Art, Washington,
D.C.
© 2015 Succession H. Matisse/Artists Rights Society (ARS), New York. [Fig. 8-21]

50. Innovative Drawing MediaInnovative Drawing Media
2 of 62 of 6
• 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.

51. 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]

52. Innovative Drawing MediaInnovative Drawing Media
3 of 63 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.

53. Innovative Drawing MediaInnovative Drawing Media
4 of 64 of 6
• 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.

54. 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]

55. 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. 8-23b]

56. 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. 8-23c]

57. Innovative Drawing MediaInnovative Drawing Media
5 of 65 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.

58. Innovative Drawing MediaInnovative Drawing Media
6 of 66 of 6
• 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.

59. 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]

60. The Critical ProcessThe Critical Process
Thinking 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.

61. 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]

62. 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.