Drawing
Art and Materials
Johannes Vermeer, The Allegory of Painting, 1665-1666
Henri Matisse, The Red Studio, 1911
Why do artists draw?
• To record.
• To practice technical skills.
• To sketch preliminary studies.
• For an immediate form of expression.
Leonardo, Madonna and Child with Saint Anne
and Infant St. John the Baptist, 1505-1507
cartoon – a preliminary drawing
done to scale for a painting
or fresco
Leonardo da Vinci, Hurricane over Horsemen and Trees, c. 1518,
pen and ink over black chalk
How Do You Learn To
Draw Well?
Practice, Practice, Practice
“Sketch subjects quickly. Rough out
the arrangement of the limbs of your
figures and first attend to the
movements appropriate to the mental
state of the creatures that make up
your picture rather than to the beauty
and perfection of their parts.” - Leonardo
“Sketch subjects quickly. Rough out
the arrangement of the limbs of your
figures and first attend to the
movements appropriate to the mental
state of the creatures that make up
your picture rather than to the beauty
and perfection of their parts.” - Leonardo
Raphael, Study for the Alba Madonna,
c. 1511, red chalk, pen and ink
The Genius of Drawing
Observation and Preparation
From the sketchbook of Elmer Bishoff, ca. 1950
graphite and ink
From the sketchbook of
Isabel Bishop, ca. 1950
graphite and ink
Drawing Media
Different Media, Different Qualities
Dry Media
Raphael, St. Paul Rending His
Garment, 1514-1515
Dry Media:
Metalpoint – involves the use of a
metal stylus applied to paper
prepared with powdered bones or
lead white and gumwater. Popular
in Italy late 15th-early 16th century
but rarely used today.
linear in character, hatching or
crosshatching provide darker
values adding white chalk creates
highlights
St. Luke drawing with
metalpoint on parchment,
c. 1435
Rogier Van Der Weyden, St. Luke Drawing
the Virgin and Child, c. 1435
Charcoal: smooth, fluid lines and a wide
range of values created by smudging
encourage chiaroscuro and blending;
intensity of color depends upon hardness
of stick; dry pastels and charcoal are
examples.
Kathe Kollwitz, Self-Portrait, Drawing, 1933
Kollwitz exploits the tremendous expressive
potential of this medium.
Georgia O’Keeffe, Banana Flower,
No. 1, 1933, charcoal and black
chalk on paper
Graphite: tonal qualities
and line qualities are subtle
and based upon pressure
of application and hardness
of the graphite
Jack Nichols, Merchant Ship Leaving at Night, 1943
Vija Celmins, Untitled (Ocean)(Venice, California), 1970
pencil on paper
Willem de Kooning,
Seated Woman, 1952
Pastel and Pencil
Pastel on paper
Degas preferred
pastels because of
the immediacy of the
and its unfinished
quality.
Edgar Degas, After the Bath, Woman Drying Herself, 1889-1890
Oil Pastels: similar to chalk pastels,
except the binder is oil based making
them take longer to dry, but they are
less prone to smudging and flaking
Beverly Buchanan, Shackworks, 2000
Liquid Media
Pen and Ink: creates varied linear qualities, encouraging expressionist
works; modeling is created by hatching and cross-hatching
Jean Dubuffet, Corps de Dame, June-December 1950
Ink Wash: provides a wider
value range
Giovanni Battista Tiepolo,
The Adoration of the Virgin and Child, 1735
Innovative Media
Alternative Media: Scissors
Henri Matisse, Venus, 1952
After suffering a stroke
that limited his use of
traditional drawing
materials, Matisse was
inspired to “sketch” by
cutting out shapes of paper
using scissors.
The Art of Ryan
McGinness
Icons, Logos, and Art????
Ryan McGinness
Born in Virginia Beach, VA
Carnegie Mellon University, BFA
Curatorial Assistant, Andy Warhol
Museum, Pittsburgh, PA
Currently lives and works in
Manhattan, NYC
His work is described by some
critics as, “a Warhol for the
21st century…..”
And by others as, “simple, graphic
doodle…..”
“ARAB CADILLAC GENERATOR,” 2006,
ACRYLIC ON WOOD PANEL, 48 IN. DIA.
“KISSING,” 2006,
ACRYLIC AND
POLYESTERURETHANE
ON FIBERGLASS,
104 x 48 x 48 IN.
“EQUO NE CREDITE, TEUCRI,” 2006, INSTALLATIONVIEW,
AUTOMOBILE PAINT ON STEEL 24 IN. DIA. X 2 IN. EA.),
PUBLIC ART FUND, METROTECH, BROOKLYN, NY
“SURRENDER,” 2005, ACRYLIC ON CANVAS,
60 x 72 IN.
Express Yourself!!!
Communicate with Drawings
Imagine that you are in a foreign
country and your only means of
communicating with the natives is
through drawing.
Draw symbols, icons, logos or pictures that
communicate a question or message to the
person who does not speak your language.
Use one or any combination of drawing media
that will best convey your message.
Printmaking
Gutenberg Bible, 1450-1456,
University of Texas at Austin.
One of five complete copies in the
United States.
•
Gutenberg Bibles were the first books printed with movable type.
•
Originating in the West, printmaking was used almost exclusively
to illustrate books such as bibles and scientific texts.
•
Beginning in the 19th century, the art world began to explore
printmaking.
WHY????
•
To respond to the industrialized where mass production was
innovative and new.
•
Like photography, printmaking allows artists to creatively
investigate mechanical modes of reproducing imagery.
•
Printmaking made art more affordable than unique works like a
painting or sculpture.
•
This technology expanded the artists’ audience and market
($$$$$$$$!!!!!!!!).
Terms to Know
• Print – a single
impression of a
multiple edition of
impressions, made on
paper from the same
matrix.
• Edition – the # of
impressions made
from a single matrix.
• Matrix – the master
image on the working
surface.
Terms to Know
• Original Print – an
impression made by
the artist or under
the artist’s
supervision.
• Proof – trial
impressions made
before the final
edition is run.
• Artist’s Proof –
designated “AP”;
original plate usually
destroyed after
edition is made.
Five Basic Processes
• Relief
• Intaglio
• Lithography
• Silkscreen
• Monotype
Relief
Any printmaking in which the image to be
printed is raised off the background in
reverse.
Woodcut
•
Woodcut – the earliest form
of relief printing.
•
A wood block surface is
cut or gouged away with
a knife.
•
The surface is rolled with a
thick ink.
•
Paper is rolled through a
press directly against
this raised, inked surface.
What Is a Print?
Emile Nolde, Prophet, 1912
18th and 19th century Japanese woodcut prints
are called ukiyo-e, or “pictures of the
transient world of everyday life.”
Hokusai, The Great Wave off Kanagawa, 1823-1829
Kitagawa Utamaro, Utamaro’s Studio, c. 1790
Kitagawa Utamora, Shaving a Boy’s Head, c. 1795
Japanese woodblock prints
revived an interest in this
process among 19th century
European artists.
Van Gogh owned
hundreds of prints
and often copied
them directly.
Vincent Van Gogh,
Japonaiserie: The Courtesan, 1887
Wood engraving –
fine, narrow grooves cut
into the block and do not hold
ink.
The grainy end of the wood
block is used for this process.
The result is extremely finite
modeling and contrasting is
possible.
Linocut –
matrix is made from
one linoleum block.
For color prints, the
block is printed after
each successive stage of
printing.
Pablo Picasso, Luncheon on the Grass, after
Eduoard Manet, 1962
Intaglio (Italian for
“engraving”)
Areas to be printed are below the
surface of the plate.
Intaglio (engraving)
•
A burin, a small v-shaped rod, is
pushed across a metal plate
forcing up metal slivers in front
of the line.
•
Burins vary in size and depending
on the force use, lines created
can range from very fine to very
broad.
•
The cut or incised lines are filled
with ink.
•
The surface is wiped clean and a
dampened paper is pressed into
the plate with a heavy roller.
Engraving
Albrecht Durer,
Adam and Eve, 1504
wisdom and language
evil
melancholy
laziness
blood
anger
deceitand cruelty
Etching
•
A more fluid and free process of engraving.
•
Metal plate is coated with a acid-resistant
ground which is drawn upon.
•
The plate is exposed to an acid bath causing
“scratched” areas to become etched into
the plate.
•
The strength, depth, or appearance of
individual lines can be controlled by stopping
out a section through the application of
varnish or another coat of ground.
What Is a Print?
Etching
Rembrandt van Rijn, The Angel Appearing to the Shepherds, 1634
Lithography
Literally, “stone writing.”
Lithography
• The printing surface is flat.
• This is NOT a relief process.
• The method depends on the fact that
grease and water do not mix.
Lithography
• It is a very direct
process, actually a
drawing on stone.
• It has been the favorite
printmaking medium for
19th and 20th century
artists.
• It offers an artist the
type of spontaneity and
immediacy found in
drawing.
What Is a Print?
Lithograph
Honore Daumier, Rue Transnonian, April 15, 1834, 1834
Lithograph
Elaine de Kooning, Lascaux #4, 1984
Silkscreen Printing
A printmaking process in which the
image is transferred to paper by forcing
ink through a mesh.
Silkscreen
•
It is the newest form of printmaking.
•
Allows the freedom of drawing similar to
the lithographic process.
•
No expensive, heavy machinery is needed.
•
It was originally used in commercial
printing, particularly in the advertising
industry.
•
Became a very popular artist process in
the 1960’s.
What Is a Print?
Silkscreen
Andy Warhol, Marilyn,
Silkscreen
Andy Warhol, 30 Are Better Than One, 1963
Monotypes
A combination of plate and press
printing, it creates a unique image.
• The artists forms an
image on a plate with ink
or paint and requires
considerable planning.
• The paint is applied in
layers so the foreground
elements must be applied
first.
• The image is transferred
to paper under pressure,
usually with an etching
press.
Pop Art
The Art of The Thing
What Is Pop Art?
• An American-born art movement.
• First exhibition – New Realists – Nov.-Dec. 1962.
• Subject matter is derived mostly from the
commercial domain.
• It was a complete departure from the preceding
art movement, Abstract Expressionism.
From this…….
Jackson Pollock, Number 8, 1949
To this……..
Robert Indiana,
Love, 1967. Screenprint
“Pop is everything art hasn’t been for the last two decades.
It is basically a U-turn back to representational visual
communication. – Robert Indiana, 1963
“I don’t know – the use of commercial art as subject matter.”
– Lichtenstein, 1963
Roy Lichtenstein, Look Mickey, 1961, oil on canvas
“….its contribution is the isolation and glorification
of “Thing.” – Lichtenstein, CAA annual meeting, 1964
“Yes. It’s liking things.” – Warhol 1963
This “Thing”
sold for $71.7
million in May, 2007
Andy Warhol, Green Car Crash, 1963. Screenprint.
“I am not a Pop artist!” – Johns, 1963
Jasper Johns, Beer Cans, 1960. Cast bronze.
“I dislike labels in general and Pop in particular, especially
because it over-emphasizes the materials used.”
– Wesselmann, 1963
Tom Wesselmann, Bathtub Collage #3, 1963.
Oil on canvas and collage.
“When I use a combination of fragments of things,
the fragments or objects or real things are caustic to
one another, and the title is also caustic to the
fragments.” – Rosenquist, 1963
James Rosenquist, Nomad, 1963. Oil on canvas.
Claes Oldenburg
The Store
107 East 2nd Street, New York
“I am for an art that is political-erotical-mystical, that does
something other than sit on its ass in a museum.” – From,
Store Days, Documents from the Store (1961) and Ray
Gun Theater (1962). - Oldenburg
Claes Oldenburg, The Store,
Dec. 1, 1961-Jan. 31, 1962.
Multi-media installation.
Andy Warhol
The Things in the Factory
(Hey babe, take a walk on the wild side.)
“Home” to Lou Reed, Bob Dylan, Truman Capote, Mick Jagger,
The Velvet Underground……………..
Andy Warhol in The Factory, 1967
In 2003, VH1 named Sticky Fingers the “No. 1 Greatest Album Cover
Of All Time.”
Andy Warhol, Album Cover for Sticky Fingers,
Rolling Stones, 1971
Lou Reed wrote, “Walk on the Wild Side,” for Holly Woodlawn and
the other Warhol drag queens.
Photo of Warhol and His
Factory-era Protégés, 1967
Andy Warhol, 200 Campells Soup Cans, 1962.
Oil on canvas.
Andy Warhol, Triple Elvis,
1963. Screenprint.
Andy Warhol, Jackie, 1964.
Screenprint.
Andy Warhol, Cambells Soup
Can, 1968. Screenprint.
Andy Warhol, Electric Chair, 1965. Screenprint.
Andy Warhol, Camoflage Self-Portrait, 1986.
Photograph and screenprint.
Andy Warhol,
John Wayne, 1986.
Screenprint.
Why do you think Warhol believed
that 30 Mona Lisas are better
than one?
What does this suggest for
Warhol’s attitude toward
“original” works of art?
Why did he call his studio,
The Factory?