Art 110 ch 2.1 and ch 2.2

Chapter 2.1
Drawing
PART 2
MEDIA AND PROCESSES
Copyright © 2011 Thames & Hudson

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Introduction
 Drawing—defined as the depiction of shapes and
forms on a surface, primarily by means of lines—is a
fundamental artistic skill
 Even before we learn to write, we learn to draw
 Drawing provides a primal outlet for artistic energy
and ideas
 Artists draw for many reasons
 To define their ideas
 To plan for larger projects
 To resolve design issues in preparatory sketches
 To record their visual observations

2.1 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
• Leonardo considered whether
humans might also be able to
fly if the mechanics of a bird’s
wing were re-created on a
human scale
• His drawing of a flying
machine illustrates a concept
that had never been
considered in this way before
• Drawing provided Leonardo
with a way to express his ideas
beyond what could be said in
words

2.2 Leonardo da Vinci,
Studies of the foetus in the
womb, c. 1510–13. Pen and
ink and wash over red chalk
and traces of black chalk, 12
x 8¾”. Royal Collection,
England

Leonardo da Vinci,
Studies of the foetus in the womb
• Drawings like this are rare
because the Church banned
all acts that desecrated the
body, including dissection
• Leonardo may have been
allowed to record his
observations because he
practiced his drawing
methodically and with great
care
• Some speculate that the
Church was interested in
Leonardo’s observations as
possible evidence of how the
human soul resides in the
body

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
Functions of Drawing
 All artists draw for the same reasons as Leonardo:
as an end in itself, to think, and to prepare and plan
other works
 Drawing played an essential role in Raphael’s
planning of his fresco The School of Athens

2.3a Raphael, Cartoon for The School of Athens, c. 1509. Charcoal and chalk, 9’4¼” × 26’4⅝”. Biblioteca Ambrosiana, Milan, Italy

2.3b Raphael, The School of Athens, 1510–11. Fresco, 16’8” × 25’. Stanza della Segnatura, Vatican City

Gateway to Art:
Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
Raphael, The School of Athens
Drawing in the Design Process
 Raphael’s preliminary drawings allowed him to refine
his ideas and perfect the image at a smaller scale
• The artist began the painting process by creating a large
drawing of the work
• This design, called the cartoon, was perforated with
small pinholes all along where the lines were drawn
• 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
• The impression left behind would aid Raphael in drawing
the image onto the wall

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
The Materials of Drawing: Dry Media
 Dry media offer the artist some unique and
versatile properties

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
Dry Media: Pencil
 A deposit of solid graphite was discovered in the
mid-1500s and gave rise to the manufacture of the
basic pencil we know today
 Pencils have different degrees of hardness
 The B or black graphite pencils are softer and darker
 The H or hard graphite pencils create a relatively light mark
2.4 Pencil hardness scale from 9H to 9B

2.5 Ilka Gedö, Self-portrait,
1944. Graphite on paper,
11⅝ x 8⅜”. British Museum,
London, England

Ilka Gedö, Self-portrait
• 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
– Notice how softly the artist
handles the graphite in the
areas representing the skin
compared with the hair or
clothing
• Gedö was a survivor of the
Holocaust
– This drawing records her gaunt
features shortly after her
internment

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
Dry Media: Color Pencil
 Color pencil is manufactured much like the
traditional graphite pencil, but the mixture that
makes up the lead has higher amounts of wax and
pigment
 Color pencils are used just like graphite pencils,
although their marks may be harder to erase or alter

2.6 Birgit Megerle, Untitled,
2003. Pencil and colored
pencil on paper, 16¾ x 11¾”.
MOMA, New York

Birgit Megerle, Untitled
• Megerle applies the
colored pencil lightly,
allowing the whiteness of
the paper to dominate
• These pale tones of color
give the drawing a light
overall appearance
• Megerle’s highly regarded
style communicates a
sense of stillness

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
Dry Media: Silverpoint
 Silverpoint is a piece of silver wire set in a holder to
make the wire easier to hold and control
 The artist hones the end of the wire to a sharp point
 Because of the hardness of the silver, artists can create
finely detailed drawings
 Because silver tarnishes, the drawing becomes darker and
the image more pronounced over time
 Historically, artists have drawn with silverpoint on
wood primed with a thin coating of bone ash

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

Raphael, Heads of the Virgin and
Child
• Because silverpoint has
such a light value and is
usually drawn with very thin
lines, much of the white
paper is exposed
• Closely overlapping many
parallel lines across each
other creates the illusion of
a darker value. This is
called hatching
• Artists use this technique to
darken values and create
the effect of shading

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
Dry Media: Charcoal
 Charcoal smudges easily, creates lines that can be easily
shaped and altered, usually has strong dark value, and is
soft compared to metal-based drawing materials
 Artists choose charcoal as a drawing material when they
want to express strong dark tones, add interest to a
surface, and make something look solid rather than linear
 Vine charcoal is made from thin vine branches and is very soft
and easily erased
 Compressed charcoal, to which a binding agent such as wax is
sometimes added, is much denser
 To draw with charcoal, an artist drags the stick across a
fibrous surface, usually paper, leaving a soft-edged line

2.8 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
• In her self-portrait we feel a
sense of energy from the way
Kollwitz applies the charcoal
• Although she renders her own
face and hand realistically, in
the space between we see the
nervous energy connecting the
eye to the hand
• Kollwitz draws with a
spontaneous burst of charcoal
marks along the arm, in
expressive contrast to the
more considered areas of the
head and hand

2.9 Léon Augustin Lhermitte,
An Elderly Peasant Woman,
c. 1878. Charcoal on wove
paper, 18¾ x 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
• The charcoal’s dark value
accentuates the contrast
between the highlights in
the face and the overall
darkened tone of the work
• Lhermitte has controlled
charcoal’s inherent
smudginess to offer an
intimate view of the effects
of aging

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
Dry Media: Chalk, Pastel, and Crayon
 Sticks of chalk, pastel, and crayon are made by
combining pigment and binder
 Binders include oil, wax, gum arabic, and glues
 Chalk is powdered calcium carbonate mixed with a gum
arabic (a type of tree sap) binder
 Pastel is pigment combined with gum arabic, wax, or oil,
while crayon is pigment combined with wax
 Conté crayon is a heavily pigmented crayon sometimes
manufactured with graphite

2.10 Michelangelo, Studies
for the Libyan Sibyl, 1510–11.
Red chalk, 11⅜ x 8⅜”.
Metropolitan Museum of Art,
New York

Michelangelo,
Studies for the Libyan Sibyl
• Drawn using red chalk
known as sanguine
• Made in preparation for
painting the Sistine Chapel
ceiling in Rome
• The artist’s study
concentrates on the
muscular definition of the
back and on the face,
shoulder, and hand, and
gives repeated attention to
the detail of the big toe
• These details are essential
to making this twisting pose
convincing

2.11 Edgar Degas, The Tub, 1886. Pastel, 23⅝ x 32⅝”. Musée d’Orsay, Paris, France

Edgar Degas,
The Tub
• Degas is noted for pastel
studies that stand as
finished works of art
• Degas lays down
intermittent strokes of
different color pastels
• The charcoal-like softness
of the material is used to
blend the colors together,
giving them a rich
complexity and creating a
variety of contrasting
textures

2.12 Georges Seurat, Trees
on the Bank of the Seine
(study for La Grande Jatte),
1884. Black Conté crayon
on white laid paper, 24½ x
18½”. Art Institute of
Chicago

Georges Seurat,
Trees on the Bank of the Seine
(study for La Grande Jatte)
• Conté crayon drawing
• 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
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Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
Erasers and Fixatives
 Erasers are used not only for correction but also to
create light marks in areas already drawn
 In this way the artist can embellish highlights by
working from the dark to light

2.13 Robert Rauschenberg,
Erased de Kooning Drawing,
1953. Traces of ink and crayon
on paper, in gold leaf frame,
25¼ x 21¾ x 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 Willem de Kooning
• De Kooning agreed to give
Rauschenberg a drawing,
understanding what the younger
artist had in mind
• But, in order to make it more
difficult, de Kooning
gave Rauschenberg a drawing
made with charcoal,
oil paint, pencil, and crayon
• It took Rauschenberg nearly a
month to erase it
• Rauschenberg’s idea was to
create a performed work of
conceptual art and display the
result

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
The Materials of Drawing: Wet Media
 The wet media used in drawings are applied with
brushes or pens
 Wet media dry or harden as the liquid evaporates

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
Wet Media: Ink
 Ink is a favorite of artists because of its permanence,
precision, and strong dark color
 Carbon ink, made by mixing soot with water and gum, has been
in use in China and India since around 2500 BCE
• A contemporary version of carbon ink, called India (or Indian) ink,
is a favorite of comic book artists
 Most European ink drawings from the Renaissance to the
present day are made with iron gall ink
• 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 usually a yellow-brown color, and sepia, a
brown medium that is derived from the secretions of cuttlefish

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
Wet Media: Quill and Pen
 Traditionally a quill—the shaft of a bird’s feather, or
a similarly hollow reed—is carved to a point to apply
the ink
 A slit, running parallel to the shaft, helps control its
rate of flow
 The artist can control the flow of the ink by pressing
harder or more softly
 The artist can further increase or decrease the width
of the drawn line by holding the pen at different
angles

2.14 Vincent van Gogh, Sower with Setting Sun, 1888. Pen and brown ink, 9⅝ × 12⅝”. Van Gogh Museum, Amsterdam,
Netherlands

Vincent van Gogh,
Sower with Setting Sun
• Van Gogh uses a reed pen
and brown ink
• By changing the way he
applies his pen strokes and
by controlling their width, he
creates an undulating,
restless design
• Van Gogh’s emphatic
direction of line expresses
the characteristic energy of
his work

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
Wet Media: Brush Drawing
 The ancient Chinese used brush and ink for both
writing and drawing
 These brushes are made with a bamboo shaft and
either ox, goat, horse, or wolf hair
 Traditionally, Asian artists use a stick of solid ink
that they hold upright and grind on a special ink
stone with a small amount of water
 Artists wet the brush by dipping it into this reservoir,
and then adjust the shape and charge of the brush
by stroking it on the flat of the grinding stone

2.15 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 finely planned design
contains carefully controlled
brushstrokes as well as loose,
freer ink applications
• Because the artist uses only a
few shapes, the arrangement
of the bamboo leaves
becomes like a series of letters
in a word or sentence
• Wu achieves the changing
dark and light values by adding
water to create a wash and
lighten the ink
• This work was intended as a
model for Wu’s son to follow as
he learned the art of brushwork
from his father

2.16 Claude Lorrain, The Tiber from Monte Mario Looking South, 1640. Dark brown wash on white paper, 7⅜ x 10⅝”. British
Museum, London, England

Claude Lorrain, The Tiber from
Monte Mario Looking South
• Thoughtful brushstrokes
give us a feeling of the
great expanse of the
Italian countryside
• The wash that Lorrain
uses 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
Paper
 Paper was invented in China by Cai Lun, who
manufactured it from pounded or macerated plant
fibers

2.17 Hishikawa Moronobu,
Papermaking in Japan,
showing the vatman and the
paper-drier, from the Wakoku
Shoshoku Edzukushi, 1681.
Woodblock print

Hishikawa Moronobu,
Papermaking in Japan
• This work depicts how the fibers
are suspended in water and then
scooped up into a flat mold with a
screen at the bottom, so that the
water can escape
• The fibers are now bonded to
each other enough to keep their
shape when they are taken out
• The sheet is then pressed and
dried
• Handmade 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

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
2.18 Surface texture of wove and laid paper

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
The Drawing Process
 Life drawing is the practice of drawing from a live
model
 We associate this process with nude models, but life
drawing can also involve animals, plants, and
architecture
 Life drawing is one of the core skills that art
students learn
 Two types of introductory drawing methods are
popular in the teaching of life drawing: gesture and
contour

2.19 Henri Matisse, Themes
and Variations, series P,
Woman Seated in an
Armchair, pl. 2, 1942. Pen
and ink, 19¾ x 15¾”. Musée
des Beaux-Arts,
Lyons, France

2.20 Henri Matisse, Icarus, from Jazz, 1943–7. Page size 16⅞ x 12⅞”. MOMA, New York

Gateway to Art:
Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
Matisse, Woman Seated in an Armchair
and Icarus, Line and Shape
 Contour lines provide linear clues about the surface of
an object
 The outer profile and undulating surfaces of the figure in
Woman Seated in an Armchair are depicted in a long
continuous line
 Matisse’s interest in economically defining a shape can be
seen not only in his contour drawings but also in his
“cutouts,” such as Icarus
 Matisse described his cutouts as “drawing with scissors,”
implying that to him there was no great difference between
working with contour lines and paper cutouts

Chapter 2.1 Drawing
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MEDIA AND PROCESSES
Gesture Drawing
 Gesture drawing aims to identify and react to the
main visual and expressive characteristics of a form
 Since artists often confront changing subjects and
situations, capturing the energy of the moment is the
essential goal of gesture drawing

2.21 Umberto Boccioni,
Muscular Dynamism, 1913.
Pastel and charcoal on
paper, 34 x 23¼”. MOMA,
New York

Umberto Boccioni,
Muscular Dynamism
• In this drawing the
movement of the body is
implied
by the undulating strokes
of the chalk and charcoal
• The rhythms of the
composition lead our eye
through a series of
changing curves and
values that give us a
feeling of the energy of
the figure

Chapter 2.1 Drawing
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MEDIA AND PROCESSES
Contour Drawing
 Contour drawing aims to register the essential
qualities of three-dimensional form by rendering the
outline, or contour, of an object
 An artist uses contour drawing to sharpen hand–eye
coordination and gain an intimate understanding of
form, increasing his or her sensitivity to essential
detail

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
Conclusion
 As an innate part of our humanity, we may have the
urge to draw in order to record, visualize, and
express ourselves
 Artists use a variety of dry media, including pencil,
silverpoint, and charcoal; and chalks, pastels, and
crayon
 Artists achieve the rich blackness or softly subtle
washes in their wet media drawings by applying a
variety of inks with either quills, pens, or brushes
 Gesture and contour drawing are two techniques
that aim to capture the essence of the subject

PowerPoints developed by CreativeMyndz Multimedia Studios
Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
This concludes the PowerPoint slide set for Chapter 2.1
Gateways to Art: Understanding the Visual Arts
By Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
2.1 Biblioteca Ambrosiana, Milan
2.2 The Royal Collection © Her Majesty The Queen
2.3a Biblioteca Ambrosiana, Milan
2.3b Stanza della Segnatura, Vatican Museums, Rome
2.4 Ralph Larmann
2.5 © DACS 2011
2.6 Museum of Modern Art, New York, The Judith Rothschild Foundation Contemporary Drawings Collection
Gift. Courtesy Daniel Reich Gallery, New York
2.7 British Museum, London
2.8 © DACS 2011
2.9 Photo Peter Nahum at The Leicester Galleries, London/Bridgeman Art Library
2.10 Metropolitan Museum of Art, Purchase, Joseph Pulitzer Bequest, 1924, Acc. no. 24.197.2. Photo
Metropolitan Museum of Art/Art Resource/Scala, Florence
2.11 Musée d’Orsay, Paris
2.12 The Art Institute of Chicago, Helen Regenstein Collection, 1966.184
2.13 San Francisco Museum of Modern Art, Purchased through a gift of Phyllis Wattis. © Estate of Robert
Rauschenberg. DACS, London/VAGA, New York 2011
2.14 Van Gogh Museum (Vincent Van Gogh Foundation), Amsterdam
2.15 National Palace Museum, Taipei
2.16 British Museum, London
2.17 From Wakoku Shoshoku Edzukushi, 1681
2.18 Ralph Larmann
2.19 Musée des Beaux-Arts de Lyon. © Succession H. Matisse/DACS 2011
2.20 Teriade Editeur, Paris, 1947. Printer Edmond Vairel, Paris. Edition 250. Museum of Modern Art, New York,
The Louis E. Stern Collection, 930.1964.8. Photo 2011, Museum of Modern Art, New York/Scala, Florence.
© Succession H. Matisse/DACS 2011
2.21 Museum of Modern Art, New York, Purchase, 330.1949. Photo 2011, Museum of Modern Art, New
York/Scala, Florence
Picture Credits for Chapter 2.1

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
STUDY QUESTIONS
CH 2.1

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
1. Which English artist and poet suggested that drawing is a
fundamental artistic skill?
a. William Blake
b. Geoffrey Chaucer
c. William Shakespeare
d. e. e. cummings
e. Henry Wadsworth Longfellow
Feedback/Reference: Page 166

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
2. Leonardo da Vinci engaged in which illegal activity in order to
get detailed drawings of the human anatomy?
a. cremation
b. embalming
c. dissection
d. cannibalism
e. nudity
Feedback/Reference: Pages 166–67

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
3. When Raphael transferred his drawing of The School of
Athens to the wall for painting he forced which substance
through perforations in the paper?
a. clay
b. paint
c. ink
d. charcoal dust
e. none of these

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
4. Which material that looks and writes like lead, was discovered
in the mid-1500s, and became the medium for use in
pencils?
a. charcoal
b. graphite
c. silver
d. pewter
e. petroleum

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
5. Historically, when artists used silverpoint for a drawing they
did so on wood that was covered with a thin coating of
______.
a. gesso
b. ink
c. bone ash
d. chalk
e. paint

Chapter 2.1 Drawing
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MEDIA AND PROCESSES
6. The German artist Käthe Kollwitz used charcoal to express
______ in her self-portrait of 1933, even though she
rendered her face and hand in a static, realistic way.
a. a sense of humor
b. a sense of energy
c. a sense of balance
d. common sense
e. sense of proportion

Chapter 2.1 Drawing
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MEDIA AND PROCESSES
7. Chalk, pastel, and crayon are created using pigment with a
binder. Which of the following is a binder?
a. gum arabic
b. wax
c. oil
d. glue
e. all of these

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
8. Robert Rauschenberg created a work titled Erased de Kooning
Drawing by erasing a work by the Abstract Expressionist
artist Willem de Kooning. How long did it take
Rauschenberg to erase the whole drawing?
a. nearly a month
b. about an hour
c. nearly a week
d. almost six months
e. ten minutes

Chapter 2.1 Drawing
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MEDIA AND PROCESSES
9. Which of these is not used to make the bristles for a brush
with a bamboo shaft, like those used by Asian artists?
a. wolf hair
b. horse hair
c. goat hair
d. ox hair
e. all of these are used

Chapter 2.1 Drawing
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MEDIA AND PROCESSES
10. Paper was invented by Cai Lun in China around the end of
the ______ century ce. He used macerated vegetable fibers
suspended in water.
a. first
b. tenth
c. sixteenth
d. nineteenth
e. twentieth

Chapter 2.1 Drawing
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MEDIA AND PROCESSES
Introduction
 Artists have painted surfaces of many kinds for tens
of thousands of years
 Paint in its most basic form is composed of pigment
suspended in a liquid binder that dries after it has
been applied
 Pigments have been extracted from minerals, soils,
vegetable matter, and animal by-products
 Binders are traditionally beeswax, egg yolk, vegetable oils
and gums, and water; in modern times, art-supply
manufacturers have developed such complex chemical
substances as polymers

Chapter 2.1 Drawing
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MEDIA AND PROCESSES
Encaustic
 To use encaustic, an artist must mix pigments with
hot wax and then apply the mixture quickly
 Artists can apply the paint with brushes, palette
knives, or rags, or can simply pour it
 A stiff-backed support is necessary because
encaustic, when cool, is not very flexible and may
crack
2.22 Palette knife, a tool that can be
used by the painter for mixing and
applying paint

2.23 Portrait of a boy, c. 100–150 CE.
Encaustic on wood, 15⅜ x 7½”.
Metropolitan Museum of Art, New York

Chapter 2.1 Drawing
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MEDIA AND PROCESSES
Portrait of a boy
 This type of portrait would have been used as a
funerary adornment that was placed over the face of
the mummified deceased or on the outside of the
sarcophagus in the face position
 Was made by an anonymous artist during the
second century CE in Roman Egypt
 Encaustic portraits from this era are referred to as
Fayum portraits after the Fayum Oasis in Egypt
where many of them were found

Chapter 2.1 Drawing
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MEDIA AND PROCESSES
Tempera
 Painters who use egg tempera have different ideas
about what parts of the egg work best for tempera
painting, but artists during the Renaissance
preferred the yolk
 Tempera is best mixed fresh for each painting
session
 Tempera is usually applied with a brush and dries
almost immediately

2.24 The Virgin and Child
with Angels, Ferrarese School,
c. 1470–80. Tempera, oil, and
gold on panel, 23 x 17⅜”.
National Gallery of Scotland,
Edinburgh

Chapter 2.1 Drawing
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MEDIA AND PROCESSES
The Virgin and Child with Angels,
Ferrarese School
 Tempera paint consists of pigment and egg yolk
 Also incorporates oil and gold leaf, a common
combination at this time
 Artist has chosen to paint an illusionistic frame that
makes us think we are looking at the back of a
damaged canvas
 Tempera is normally painted with short thin strokes
and lends itself to such careful detail

2.25 Riza Abbasi, Two Lovers,
Safavid period, 1629–30.
Tempera and gilt paint on
paper, 7⅛ x 4¾”. Metropolitan
Museum of Art, New York

Chapter 2.1 Drawing
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MEDIA AND PROCESSES
Riza Abbasi,
Two Lovers
 Islamic artists enjoyed the sensitive detail that can
be achieved with tempera, and some used tempera
with gold leaf to create rich images for the ruling
class
 This work, Two Lovers, combines a rich gold-leaf
finish with the high detail of tempera
 The artist used the transparency of the medium to
make the plant life look delicate and wispy
 The intertwined lovers stand out proudly from the
softness of the plants in the background

Chapter 2.1 Drawing
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MEDIA AND PROCESSES
Fresco
 This technique involves pigment mixed with water
painted onto a freshly applied lime-plaster surface
 The pigment is not mixed into a binder, as it is in
other painting techniques
 Once this chemical reaction is complete the color is
extremely durable, making fresco a very permanent
painting medium
 The earliest examples of the fresco method come
from Crete in the Mediterranean (the palace at
Knossos and other sites) and date to c. 1600–1500
BCE

2.27 Michelangelo, The Libyan
Sibyl, 1511–12. Fresco. Detail
of the Sistine Chapel Ceiling,
Vatican City

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
Michelangelo,
The Libyan Sibyl
 Michelangelo used the buon fresco method to paint
the Sistine Chapel ceiling
 It took four years to complete
 The artist used a strategic approach in order to
disguise the seams between separate days’ work

Chapter 2.2 Painting
PART 2
MEDIA AND PROCESSES
Click the image above to launch the video

2.28 Diego Rivera, Sugar Cane, 1931. Fresco on plaster, 4’10” x 7’11”. Philadelphia Museum of Art

2.29 Melchor Peredo, Remembrance Fresco, 1999. Fresco, each panel 4 x 8’. Harton Theater, Southern Arkansas University,
Magnolia

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
Perspectives on Art:
Melchor Peredo
Fresco Painting Inspired by the Mexican Revolution
 In the 1920s a group of artists decided to champion the
struggles of ordinary Mexicans and express the ideals of the
Mexican Revolution by reviving the art of fresco painting
 The muralists were political radicals who were
influenced by the ideas of socialist and communist leaders
 Diego Rivera’s fresco Sugar Cane portrays the exploitation
of workers on the large sugar farms in Morelos, south of
Mexico City
 Peredo studied with the great mural painters
 His Remembrance Fresco focuses on important historical
figures and local folklore, based on ideas given to him by
students and members of an Arkansas community

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
Oil
 Artists used oil paint during the Middle Ages, but
have only done so regularly since the fifteenth
century
 The oil most used as a binder was linseed oil, a by-
product of the flax plant from which linen cloth is
made
 Giorgio Vasari, an Italian Renaissance writer and artist,
credits the fifteenth-century Flemish painter Jan van Eyck
with the invention of oil paint

2.30 Jan van Eyck, The
Madonna of Chancellor Rolin,
1430–34. Oil on wood, 26 x
24⅜”. Musée du Louvre, Paris,
France

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
Jan van Eyck,
The Madonna of Chancellor Rolin
 Although Van Eyck did not invent oil paint, he was
an exceptional practitioner of oil painting
 This painting exhibits his masterful use of thin layers
of color called glazes
 Glazes attain a rich luminosity, as though lit from
within

2.31 Joan Brown, Girl in Chair, 1962.
Oil on canvas, 5 x 4’. LACMA

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
Joan Brown,
Girl in Chair
 Used oil in an impasto (thickly painted) fashion
 The paint can pile up, giving Brown’s work a three-
dimensional presence

2.32 Hung Liu, Interregnum, 2002. Oil on canvas, 8’ x 9’6”. Kemper Museum of Contemporary Art, Kansas City, Missouri

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
Hung Liu, Interregnum
 Hung grew up in Communist China before
emigrating to the United States
 Hung’s images express her Chinese roots
 The traditional Chinese style is reflected in the idyllic
figures in the upper part of Interregnum
 Hung’s work shows the discontinuity between reality
and the ideal

2.33 Artemisia Gentileschi, Judith
Decapitating Holofernes, c. 1620.
Oil on canvas, 6’6⅜” × 5’3¾”.
Uffizi Gallery, Florence, Italy

2.34 Artemisia Gentileschi,
Self-portrait as the Allegory
of Painting (La Pittura), 1638–9.
Oil on canvas, 38 x 29”. Royal
Collection, London, England

Gateway to Art:
Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
Gentileschi, Judith Decapitating
Holofernes and Self-portrait as the
Allegory of Painting, Paintings as Personal
Statements
 Gentileschi was the daughter of an artist, and her talent was
recognized and fostered by her father
 Gentileschi often depicted strong female figures with
emotion, intensity, and power
 Artists have always made self-portraits to show off their skill
and define themselves as they wish others to see them
 “Allegory” means an image of a person that represents an
idea or abstract quality
 Gentileschi’s self-portrait shows her succeeding in the male-
dominated world of the professional artist

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
Acrylic
 Acrylic paints are composed of pigments suspended
in an acrylic polymer resin
 These paints have only been in use since about 1950
 They dry quickly and can be cleaned up with relative
ease, using water
 When dry acrylics have similar characteristics to
those of oil paint

2.35 Roger Shimomura, Untitled, 1984. Acrylic on canvas, 5’½” × 6’¼”. Kemper Museum of Contemporary Art, Kansas City, Missouri

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
Roger Shimomura,
Untitled
 Shimomura uses acrylic paint to create works that
investigate the relationships between cultures
 He merges traditional Japanese imagery with
popular culture and typically American subjects
 This combination of styles reflects the mixing of
cultures resulting from communication and contact
between nations
 The painting explores the effects of conflict between
two cultures

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
Watercolor and Gouache
 Watercolor and gouache suspend pigment in water
with a sticky binder, usually gum arabic
 Watercolor is transparent
 An additive (often chalk) in gouache makes the paint
opaque
 Usually watercolor and gouache are painted on
paper because the fibers of the paper help to hold
the suspended pigments in place
 Any white area in a watercolor is simply unpainted
paper
 White gouache can be used to cover areas of a
watercolor that become too dark

2.36 Albrecht Dürer, A Young Hare,
1502. Watercolor and gouache on
paper, 9⅞ x 8⅞”. Graphische Sammlung
Albertina, Vienna, Austria

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
Albrecht Dürer,
A Young Hare
 Reflects direct observation of a natural subject
 Combination of watercolor with opaque white
heightening
 Conveys a sense of the creature’s soft, striped fur

2.37 Sonia Delaunay, Prose of the Trans-Siberian
Railway and of Little Jehanne of France, 1913.
Watercolor and relief print on paper, support 77 x 14”

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
Sonia Delaunay, Prose of the Trans-
Siberian Railway and of Little Jehanne
of France
 Delaunay was the first woman to have her work
shown at the Louvre Museum during her lifetime
 Prose… is an artist’s book
 Collaboration with the poet Blaise Cendrars
 If all 150 copies of the first edition were placed end
to end, it was intended they would stretch the height
of the Eiffel Tower
 Meant to be folded like a roadmap
 Illustration progressively changes as the reader
advances down the page

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
Ink Painting
 If you are drawing on a surface that is not fibrous
enough, you need to modify the ink
 Painting inks are slightly different from drawing inks
because they have a binder
 Ink can be painted in much the same way as
watercolor
 Artists sometimes incorporate ink into their
watercolor paintings to give extra richness and
darker values

2.38 Suzuki Shonen, Fireflies at Uji River, Meiji
period, 1868–1912. Ink, color, and gold on silk;
hanging scroll, 13¾ x 50”. Clark Family
Collection

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
Suzuki Shonen,
Fireflies at Uji River
 The luscious darkness of the ink on silk-scroll
supports the retelling of a night scene from an
eleventh-century Japanese novel
 The story, from The Tale of Genji, describes a young
man trying to overhear the conversation of two
young women
 The rushing waters of the Uji obscure their words
from the eager ears of the would-be suitor
 The artist emphasizes the power of the rushing water
with strong brushstrokes and powerful diagonals

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
Spray Paint and Wall Art
 Spray paint is one of the oldest painting techniques
 Some images on the cave walls of Lascaux, France,
were applied by blowing a saliva-and-pigment
solution through a small tube
 Although today’s spray paint comes in a can, the
technique is essentially the same as it was 16,000
years ago
 Because the spray spreads out in a fine mist, the
ancient spray-paint artist, like today’s spray painters,
would mask out areas to create hard edges

2.39 John Matos, a.k.a. “Crash,” Aeroplane 1, 1983. Spray paint on canvas, 5’11¼” × 8’7”. Brooklyn Museum, New York

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
John Matos, a.k.a. “Crash”
Aeroplane 1
 Practitioners of spray-painted graffiti art are
considered vandals and criminals by local
governments when they paint places without the
permission of the property owners
 Because of this, many artists keep their identity
secret and sign their work with an alias, called a tag
 John Matos (b. 1961), whose tag is “Crash,” is
considered a founder of the graffiti art movement
 He began spray painting New York City subway cars
at the age of thirteen

2.40 Blek le Rat, David with the Machine Gun, 2006. New York

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
Blek le Rat,
David with the Machine Gun
 Uses stencils as a quick way of transferring his
designs to surfaces
 Ironically juxtaposes an image of Michelangelo’s
famous statue David with a superimposed machine
gun
 Blek le Rat is considered an artivist: an artist/activist
 Part of a larger movement, called culture jamming,
that draws attention to social or political issues
 This unauthorized rendering was spray painted on a
building in support of Israel

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
Conclusion
 The wax of encaustic, the egg of tempera, and the
wet plaster of fresco have all offered artists
technically demanding ways of combining pigment
with a binder to depict subjects in durable and vivid
color
 The invention of oil paint helped artists achieve
astonishing naturalism and luminosity of light
effects
 Acrylic is a water-based medium with results similar
to oil
 Watercolor, gouache, and inks are other kinds of
water-based paint

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
This concludes the PowerPoint slide set for Chapter 2.2
Gateways to Art: Understanding the Visual Arts
By Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
2.22 Ralph Larmann
2.23 Metropolitan Museum of Art, Gift of Edward S. Harkness, 1918, 18.9.2. Photo Metropolitan Museum of
Art/Art Resource/Scala, Florence
2.24 National Gallery of Scotland, Edinburgh
2.25 Metropolitan Museum of Art, Purchase, Francis M. Weld Gift, 1950, Inv. 50.164. Photo Metropolitan Museum
of Art/Art Resource/Scala, Florence
2.26 Please note that this image is not available for digital use but can be found on page 182 of the textbook
2.27 Vatican Museums, Rome
2.28 Philadelphia Museum of Art, Gift of Mr. and Mrs. Herbert Cameron Morris, 1943. © 2011 Banco de México
Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F./DACS
2.29 Photo Steven Ochs
2.30 Musée du Louvre, Paris
2.31 Los Angeles County Museum of Art, Gift of Mr. and Mrs. Robert H. Ginter, M.64.49. Digital Image Museum
Associates/LACMA/Art Resource NY/Scala, Florence. Courtesy Gallery Paule Anglim
2.32 Kemper Museum of Contemporary Art, Kansas City. Bebe and Crosby Kemper Collection, Gift of the William
T. Kemper Charitable Trust, UMB Bank, n.a., Trustee 2006.7. Photo Ben Blackwell © the artist
2.33 Galleria degli Uffizi, Florence
2.34 The Royal Collection © Her Majesty The Queen
2.35 Kemper Museum of Contemporary Art, Kansas City. Bebe and Crosby Kemper Collection, Kansas City,
Missouri. Museum Purchase, Enid and Crosby Kemper and William T. Kemper Acquisition Fund 2000.13. ©
the artist
2.36 Photo Austrian Archives/Scala Florence
2.37 Photo Tate, London 2011. © L&M Services B.V. The Hague 20110512. © Miriam Cendrars
2.38 Clark Family Collection. Image courtesy The Clark Center for Japanese Art & Culture
2.39 Courtesy Art Link International, Florida. © the artist
2.40 Photo Sybille Prou
Picture Credits for Chapter 2.2

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
CHAPTER 2.2
STUDY QUESTIONS

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
1. Pigment names are often derived from their source. For
example the pigment that we call umber is named after
______.
a. a zinc extraction process
b. the stone lapis lazuli
c. Umbria, Italy
d. Afghanistan
e. none of these

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
2. The Roman-era encaustic portraits from Fayum are excellent
examples of Roman painting in wax. What was Fayum?
a. an oasis
b. a mountain retreat
c. a river
d. a volcano
e. a Roman road

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
3. In The Virgin and Child with Angels, an egg tempera painting
from the Ferrarese School, the artist has chosen to paint
______ frame that looks like the back of a canvas.
a. a golden
b. a Byzantine
c. a flower covered
d. an illusionistic
e. none of these

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
4. Fresco painting was practiced in which of these locations?
a. Egyptian tombs
b. Roman houses
c. Sistine Chapel ceiling
d. Palace at Knossos
e. all of these

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
5. Diego Rivera, a Mexican muralist, practiced what kind of
painting when he created large-scale works to celebrate the
Socialist movement in Mexico?
a. fresco
b. encaustic
c. tempera
d. oil
e. watercolor

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
6. Linseed oil came into general use as a painting binder in the
fifteenth century, particularly in this country.
a. Italy
b. Flanders
c. China
d. India
e. Greece

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
7. Such artists as Jan van Eyck took advantage of the
transparency of oil paint glazes to attain a rich ______ , as
though lit from within.
a. impasto
b. texture
c. luminosity
d. smell
e. sound

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
8. Artemisia Gentileschi lived at a time when women were not
easily accepted into the art profession but she was
supported by ______, who was also an artist.
a. her husband
b. her father
c. her brother
d. her uncle
e. a female relative

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
9. The binder used to suspend pigment in acrylic paint is ______.
a. gum arabic
b. honey
c. beeswax
d. casein
e. polymer resin

Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
10. Which painter and watercolorist was the first woman to have
her work shown at the Louvre during her lifetime?
a. Artemisia Gentileschi
b. Rosa Bonheur
c. Georgia O’Keeffe
d. Sonia Delaunay
e. Joan Brown

Art 110 ch 2.1 and ch 2.2

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