A showcase of the Courtauld Gallery’s outstanding Parmigianino collection.
Accompanying an exhibition at London’s Courtauld Gallery, this stunning catalog presents works by the Renaissance artist Girolamo Francesco Maria Mazzola, better known as Parmigianino (1503–1540).
Fundamentally a draftsman at heart, Parmigianino drew relentlessly during his relatively short life, and around a thousand of his drawings have survived. The Courtauld’s collection comprises twenty-four sheets. In preparation for the catalog, new photography and technical examinations have been carried out on all the works, revealing two new drawings that were previously unknown, hidden underneath their historic mounts. They have also helped to better identify connections between some of the drawings and the finished paintings for which they were conceived. This stunning illustrated catalog presents the whole Courtauld collection and sheds light on an artist who approached every technique with unprecedented freedom and produced innovative works that are still admired by artists and collectors today.
John Marin was a major figure among the cutting-edge circle of American modernist artists who showed his work in Alfred Stieglitz’s New York galleries from 1909 until 1950. A new collection of the artist’s work at the Arkansas Arts Center, given by Marin’s daughter-in-law, forms the basis of this first book of essays and images to concentrate on Marin’s drawings in the context of Marin’s life, his watercolors, and his etchings.
We follow Marin to his most famous subject matter: New York City and the coast of Maine. Foundational drawings and an unfinished watercolor of the towering Woolworth Building, still under construction when they were made in 1912, begin the story of a renowned group of watercolors first exhibited in 1913 at Alfred Stieglitz’s 291 Gallery and then at the ground-breaking 1913 Armory Show. Other images take us to lesser-known locales, such as the Ramapo Mountains in New York and New Jersey where Marin often painted when he couldn’t get to Maine. More obscure aspects of the artist’s career explored in this collection include portraits of friends and family, charming drawings of animals, and circus scenes.
Becoming John Marin invites readers to look over this important artist’s shoulder as he created and honed the sketches he would interpret into completed watercolors and etchings, illustrating the evolution of his style and methods as he transformed from intuitive draftsman to innovative modernist watercolorist and etcher.
Eszter Szép’s Comics and the Body is the first book to examine the roles of the body in both drawing and reading comics within a single framework. With an explicit emphasis on the ethical dimensions of bodily vulnerability, Szép takes her place at the forefront of scholars examining comics as embodied experiences, pushing this line of inquiry into bold new territory. Focusing on graphic autobiography and reportage, she argues that the bodily performances of creators and readers produce a dialogue that requires both parties to experience and engage with vulnerability, thus presenting a crucial opportunity for ethical encounters between artist and reader. Szép considers visceral representations of bulimia, pregnancy, the effects of STIs, the catastrophic injuries of war, and more in the works of Lynda Barry, Ken Dahl, Katie Green, Miriam Katin, and Joe Sacco. She thus extends comics theory into ethical and psychological territory that finds powerful intersections and resonances with the studies of affect, trauma, gender, and reader response.
A comprehensive study of the techniques of drawing, this is both a historical work, covering the period from the late Middle Ages to the present, and a useful manual for contemporary artists. It presents the old masters’ techniques by means of a thorough study of the historical and written evidence of the tools and materials used. The author also includes a series of workshop procedures he has developed with which the contemporary artist may produce the equivalents of the techniques of earlier draughtsmen. This book comprises a body of knowledge that is essential to students of art history, curators, collectors and artists, and is a significant addition to the literature on drawing.
In addition to his scholarly investigation of earlier practices, the author identifies materials and processes used by such important artists as Rembrandt, Van Gogh, Romney, Picasso, Michelangelo, Watteau, Holbein, Tiepolo, and Delacroix. For the artist interested in reproducing the effects achieved by these and many other acknowledged masters, there are full discussions and specific directions concerning the making of inks, styluses, reed and quill pens, fabricated chalks, and instructions for preparing grounds for metalpoint drawings. At every step, the discussion is supplemented with illustrations from laboratory experiments and from drawings by both old and contemporary artists. Of the more than sixty illustrations included, thirty-six are reproductions of master works, and among the others there are microphotographic enlargements of detail showing the differences in density and texture produced by various tools on different papers or grounds. Thus, as a collection of master drawings, the book is worthy of the art lover’s library; as a technical study, it is an indispensable aid to the art student and practicing artist.
Drawing -- The Process
Edited by Jo Davies and Leo Duff Intellect Books, 2005 Library of Congress NC710.D73 2005 | Dewey Decimal 741
Drawing - The Process is a collection of papers, theories and interviews based on the conference and exhibition of the same name held at Kingston University in 2003.
Much debate and research is currently undertaken in this area and it is the intention of the book to galvanize this, while providing a vehicle for deep enquiry. The publication will firstly comprise a collection of refereed papers representing a breadth of activity and research around the issues of drawing within the broad context of art and design activity. The second dimension of the book will be an examination of the drawing processes of high profile practitioners.
The publication will encompass the best contemporary investigation of a subject pivotal to art and design activity, and should be recognized as a fundamental text for students at both undergraduate and postgraduate levels.
In recent history, the arts and sciences have often been considered opposing fields of study, but a growing trend in drawing research is beginning to bridge this divide. Gemma Anderson’s Drawing as a Way of Knowing in Art and Science introduces tested ways in which drawing as a research practice can enhance morphological insight, specifically within the natural sciences, mathematics, and art.
Inspired and informed by collaboration with contemporary scientists and Goethe’s studies of morphology, as well as the work of artist Paul Klee, this book presents drawing as a means of developing and disseminating knowledge, and of understanding and engaging with the diversity of natural and theoretical forms, such as animal, vegetable, mineral, and four dimensional shapes. Anderson shows that drawing can offer a means of scientific discovery and can be integral to the creation of new knowledge in science as well as in the arts.
In the early days of the digital revolution in graphic design, many designers and teachers of design were convinced that the era of drawing on paper was over—that there would soon no longer be a place for craft-based drawing at any stage of the design process.
It soon became apparent, however, that technological progress had not obviated the inherent value of drawing, and that, in fact, it opened up new avenues for convergent and hybrid drawing practices. This book traces the evolution of design-based drawing through analysis of a series of research projects from the 1980s to recent years that have sought to characterize the changing practices of design within various industries. Built on more than three hundred interviews with designers, academics, and design students, and an exhaustive analysis of thousands of drawings, it aims to generate discussion around historical and contemporary models of the design process.
Drawing on Anger: Portraits of U.S. Hypocrisy is a collection of Eric J. García’s most unabashed political cartoons about U.S. history and politics from 2004 to the present. They offer a scathing indictment of Republicans, Democrats, and the self-proclaimed greatest country on earth. Garcia reconstructs pivotal moments in history—such as U.S. complicity in the disappearance of forty-three Mexican students, genocide and torture in Iraq, and femicide along the U.S.—Mexico border—and reflects on the larger themes of anti-immigration laws, global imperialism, veterans affairs, and the conquest of the Americas. His cartoons are equally critical of both political parties and of both the United States and Mexico–lobbing criticism and satire in every direction.
For over a decade García has been serving up inked visuals with the sharpest of political critiques through a Chicano lens. If you’re looking for funny punch lines, these aren’t the cartoons for you. But if you want to pull down Uncle Sam’s pants and see what’s really going on, this is your book.
Late nineteenth-century Britain experienced an unprecedented explosion of visual print culture and a simultaneous rise in literacy across social classes. New printing technologies facilitated quick and cheap dissemination of images—illustrated books, periodicals, cartoons, comics, and ephemera—to a mass readership. This Victorian visual turn prefigured the present-day impact of the Internet on how images are produced and shared, both driving and reflecting the visual culture of its time.
From this starting point, Drawing on the Victorians sets out to explore the relationship between Victorian graphic texts and today’s steampunk, manga, and other neo-Victorian genres that emulate and reinterpret their predecessors. Neo-Victorianism is a flourishing worldwide phenomenon, but one whose relationship with the texts from which it takes its inspiration remains underexplored.
In this collection, scholars from literary studies, cultural studies, and art history consider contemporary works—Alan Moore’s League of Extraordinary Gentlemen, Moto Naoko’s Lady Victorian, and Edward Gorey’s Gashlycrumb Tinies, among others—alongside their antecedents, from Punch’s 1897 Jubilee issue to Alice in Wonderland and more. They build on previous work on neo-Victorianism to affirm that the past not only influences but converses with the present.
Contributors: Christine Ferguson, Kate Flint, Anna Maria Jones, Linda K. Hughes, Heidi Kaufman, Brian Maidment, Rebecca N. Mitchell, Jennifer Phegley, Monika Pietrzak-Franger, Peter W. Sinnema, Jessica Straley
Despite recent technological changes that have digitized many forms of artistic creation, the practice of drawing, in the traditional sense, has remained constant. However, many publications about this subject rely on discipline-dependent distinctions to discuss the activity’s function. Drawing: The Enactive Evolution of the Practitioner redefines drawing more holistically as an enactive phenomenon, one reliant on motor responses, and makes connections between a variety of disciplines in order to find out what happens when we draw. Instead of the finite event of producing an artifact, drawing is a process and an end in itself. By synthesizing enactive thinking and the practice of drawing, this volume provides valuable insights into the creative mind, and will appeal to scholars and practitioners alike.
Drawing the Future: Chicago Architecture on the International Stage, 1900–1925 is an illustrated catalog with companion essays for an exhibition of the same name at the Mary and Leigh Block Museum of Art at Northwestern University. Drawing the Future explores the creative ferment among Chicago architects in the early twentieth century, coinciding with similar visions around the world. The essays focus on the highlights of the exhibition. David Van Zanten profiles Walter Burley Griffin and Marion Mahony Griffin, Chicago architects who created an influential, prize-winning plan for Canberra, the new capital of Australia. Ashley Dunn looks at the two exhibits at the Musée des Arts Décoratifs in Paris, one devoted to the Griffins in 1914 and the other to the French architect Tony Garnier in 1925, demonstrating the impact of World War I on city planning and architecture. Leslie Coburn examines Chicago’s Neighborhood Center Competition of 1914–15, which sought to redress gaps in Daniel Burnham’s plan of 1909. The ambition and reach of Chicago architecture in this epoch would have lasting influence on cities of the future.
In the American imagination, the Soviet Union was a drab cultural wasteland, a place where playful creative work and individualism was heavily regulated and censored. Yet despite state control, some cultural industries flourished in the Soviet era, including animation. Drawing the Iron Curtain tells the story of the golden age of Soviet animation and the Jewish artists who enabled it to thrive.
Art historian Maya Balakirsky Katz reveals how the state-run animation studio Soyuzmultfilm brought together Jewish creative personnel from every corner of the Soviet Union and served as an unlikely haven for dissidents who were banned from working in other industries. Surveying a wide range of Soviet animation produced between 1919 and 1989, from cutting-edge art films like Tale of Tales to cartoons featuring “Soviet Mickey Mouse” Cheburashka, she finds that these works played a key role in articulating a cosmopolitan sensibility and a multicultural vision for the Soviet Union. Furthermore, she considers how Jewish filmmakers used animation to depict distinctive elements of their heritage and ethnic identity, whether producing films about the Holocaust or using fellow Jews as models for character drawings.
Providing a copiously illustrated introduction to many of Soyuzmultfilm’s key artistic achievements, while revealing the tumultuous social and political conditions in which these films were produced, Drawing the Iron Curtain has something to offer animation fans and students of Cold War history alike.
Drawing the Line: Comics Studies and INKS, 1994–1997 collects some of the most important essays from INKS: Cartoon and Comic Art Studies, the first peer-reviewed scholarly journal devoted exclusively to comics studies. The volume, edited by Lucy Shelton Caswell, the journal’s founding editor, and Jared Gardner, editor of the new Inks: The Journal of the Comics Studies Society, celebrates this foundational moment in the fast-growing field of comics studies and also serves as a call to contemporary scholars to revisit the roads-not-taken mapped out by these scholars and cartoonist critics.
Included in the volume are essays by pioneering comics scholars on newspaper comic strips, Japanese manga, Chinese lianhuanhua, comic books, graphic novels, and editorial cartoons, alongside writings and artwork by celebrated cartoonists such as Will Eisner, Oliver Harrington, Charles Schulz, and Frank Stack. This volume serves as an invaluable resource for anyone interested in the history and study of the comics form, visual culture, or the history of journalism.
Though once a source of violent conflict, the border dividing the Republic of Ireland from Northern Ireland has been relatively stable in recent years. The border’s creation in 1921 exacerbated hostile relations between Ireland and Britain in the subsequent decades, hostility that frequently broke out into violent conflict until the breakthrough Good Friday Agreement of 1998. That landmark policy declared that there will be no change in the status of the border unless there is a majority decision in Northern Ireland in favor, and the relaxation in tensions it brought has been hailed as one of the great breakthroughs for peace in our era. Now, however, as the UK prepares to leave the European Union in 2019, the Irish border is once again a hot-button issue and pivotal to any settlement reached. To enable a fuller understanding of this open question, Drawing the Line provides a concise explanation of the current controversy by sketching it in its full historical context.
How Japanese coastal residents and transnational conservationists collaborated to foster relationships between humans and sea life
Drawing the Sea Near opens a new window to our understanding of transnational conservation by investigating projects in Okinawa shaped by a “conservation-near” approach—which draws on the senses, the body, and memory to collapse the distance between people and their surroundings and to foster collaboration and equity between coastal residents and transnational conservation organizations. This approach contrasts with the traditional Western “conservation-far” model premised on the separation of humans from the environment.
Based on twenty months of participant observation and interviews, this richly detailed, engagingly written ethnography focuses on Okinawa’s coral reefs to explore an unusually inclusive, experiential, and socially just approach to conservation. In doing so, C. Anne Claus challenges orthodox assumptions about nature, wilderness, and the future of environmentalism within transnational organizations. She provides a compelling look at how transnational conservation organizations—in this case a field office of the World Wide Fund for Nature in Okinawa—negotiate institutional expectations for conservation with localized approaches to caring for ocean life.
In pursuing how particular projects off the coast of Japan unfolded, Drawing the Sea Near illuminates the real challenges and possibilities of work within the multifaceted transnational structures of global conservation organizations. Uniquely, it focuses on the conservationists themselves: why and how has their approach to project work changed, and how have they themselves been transformed in the process?
Life can sometimes hinge on the turn of a card—not only the gambler’s life but also the lives of those close to him. For Jodi Varon, one fateful turn changed her father’s life—propelling her into a search far from home that will lead readers to a new contemplation of family ties and lost cultural legacies.
Benjamin Varon never rode a horse and preferred his beef hanging in a cooler, but he still thought of himself as a cattleman—that is, until he disappeared after losing his meat-supply business in a high-stakes poker game. In recalling how a hardscrabble New Yorker sought his fortune in Colorado’s cattle country, Varon also relates a daughter’s quest to understand and forgive.
Drawing to an Inside Straight is a bittersweet story of growing up in Denver during the 1960s. As Varon recalls life at home with parents Benjamin and Irene—Jews of decidedly different backgrounds, he a Ladino-speaking Sephardi from New York, she a Yiddish-speaking Ashkenazi from Denver’s close-knit Jewish community—she tells of a childhood nourished by pireshkes and cronson, hamantashen and challah. These stories and other culinary delights are contrasted with her father’s childhood of stolen fruit and his longing for the aromas of the Mediterranean spice markets of his ancestors.
Against the backdrop of America in the Vietnam era, and amid tales of Joseph McCarthy’s tyranny, Burma-Shave divination, domestic nerve-gas stockpiling, suburban wife-swapping, murder, and suicide, Varon offers an intriguing look at Sephardic history and culture. Behind her own story looms that of Benjamin, who transformed himself from an immigrant’s son sneaking into Yankee Stadium, to a tough GI, to a quixotic dreamer willing to stake his hard-won business in a game of chance.
Rather than cast off his European past, Benjamin embraced it, insisted upon it, tried to celebrate what was different. All the while, he was dogged by his favorite Ladino adage—“We left on a horse. We came back on a donkey”—which served to remind him of the caprices of fortune that would follow him to that fateful poker game. Varon’s story of her own journey to Spain, in search of her father’s lost heritage and his adoration of the Sephardim’s Golden Age, helps seal her understanding as it heals wounds left open too long.
Varon’s account is an insightful view of what it means to be American without losing one’s past to the proverbial melting pot, with its insider’s look at Sephardic culture and depictions of Denver’s ethnic communities that challenge stereotypes of the Anglo-American West. Drawing to an Inside Straight is a book that will make an immediate connection with readers—even those whose fathers weren’t compulsive gamblers—who struggle with mixed emotions about childhood or are in search of their own roots.
For thousands of years, Native Americans throughout the Eastern Woodlands and Great Plains used the physical act and visual language of tattooing to construct and reinforce the identity of individuals and their place within society and the cosmos. The act of tattooing served as a rite of passage and supplication, while the composition and use of ancestral tattoo bundles was intimately related to group identity. The resulting symbols and imagery inscribed on the body held important social, civil, military, and ritual connotations within Native American society. Yet despite the cultural importance that tattooing held for prehistoric and early historic Native Americans, modern scholars have only recently begun to consider the implications of ancient Native American tattooing and assign tattooed symbols the same significance as imagery inscribed on pottery, shell, copper, and stone.
Drawing with Great Needles is the first book-length scholarly examination into the antiquity, meaning, and significance of Native American tattooing in the Eastern Woodlands and Great Plains. The contributors use a variety of approaches, including ethnohistorical and ethnographic accounts, ancient art, evidence of tattooing in the archaeological record, historic portraiture, tattoo tools and toolkits, gender roles, and the meanings that specific tattoos held for Dhegiha Sioux and other Native speakers, to examine Native American tattoo traditions. Their findings add an important new dimension to our understanding of ancient and early historic Native American society in the Eastern Woodlands and Great Plains.
The book traces major concepts including: the creation of the visual effects of accuracy through careful action and training; the development of visual judgment and connoisseurship; the role of a network in the production of knowledge; balancing readers’ expectations with representational conventions; and the effects of acts of collecting on the creation and circulation of knowledge. On the one hand, this study uncovers that approaches to knowledge production were different in the seventeenth century, as compared with in the twenty-first century. On the other, it reveals how the early modern struggle to sort through an overwhelming quantity of visual information - brought on by major changes in image production and circulation - resonates with our own.
Charles Le Brun’s drawing manual on human emotions has been used for centuries by artists and students as a model for depicting facial expressions. In David Schutter’s work, Le Brun’s manual is set to a different direction—a series of abstract drawings recalling vestiges of the human face animated by emotion. But Schutter’s drawings are neither copies nor portraiture. Rather, they are reflections on how Lebrun’s renderings were made.
Collected here, Schutter’s work recreates not the subject matter but the very values of Lebrun’s drawings—light, gesture, scale, and handling of materials. The cross-hatching in the original was used to make classical tone and volume, in Schutter’s hand the technique makes for unstable impressions of strained neck and deeply furrowed brow, or for drawing marks and scribbles unto themselves. As such, these drawings end up denying a neat closure—unlike their academic source material—and render unsettling states of mind that require repeated viewing. Accompanied by essays from art critic Barry Schwabsky and Neubauer Collegium curator Dieter Roelstraete, The Escape will appeal to students, critics, and admirers of seventeenth-century, modern, and contemporary art alike.
The first comprehensive collection in English of Antonin Artaud’s writings on his artworks.
The many major exhibitions of Antonin Artaud’s drawings and drawn notebook pages in recent years—at New York’s Museum of Modern Art, Vienna’s Museum Moderner Kunst, and Paris’s Centre Georges Pompidou—have entirely transformed our perception of his work, reorienting it toward the artworks of his final years. This volume collects all three of Artaud’s major writings on his artworks. “The Human Face” (1947) was written as the catalog text for Artaud’s only gallery exhibition of his drawings during his lifetime, focusing on his approach to making portraits of his friends at the decrepit pavilion in the Paris suburbs where he spent the final year of his life. “Ten years that language is gone” (1947) examines the drawings Artaud made in his notebooks—his main creative medium at the end of his life—and their capacity to electrify his creativity when language failed him. “50 Drawings to assassinate magic” (1948), the residue of an abandoned book of Artaud’s drawings, approaches the act of drawing as part of the weaponry deployed by Artaud at the very end of his life to combat malevolent assaults and attempted acts of assassination. Together, these three extraordinary texts—pitched between writing and image—project Artaud’s ferocious engagement with the act of drawing.
In Knowing and Seeing, Douglas Cooper reflects on his long career as a muralist in various cities around the world, including in Pittsburgh. The essays are also personal discussing family, memories from his childhood, mentoring from his Carnegie Mellon University professors, and his collaborations. They are also instructive. Murals are not walls but provide the appearance as such and require the artist to have a different skill set that is part architect, part painter, and part builder.
In this brilliant essay, Jacques Derrida explores issues of
vision, blindness, self-representation, and their relation to
drawing, while offering detailed readings of an extraordinary
collection of images. Selected by Derrida from the prints
and drawings department of the Louvre, the works depict
blindness—fictional, historical, and biblical. From Old
and New Testament scenes to the myth of Perseus and the
Gorgon and the blinding of Polyphemus, Derrida uncovers in
these images rich, provocative layers of interpretation.
For Derrida drawing is itself blind; as an act rooted in
memory and anticipation, drawing necessarily replaces one
kind of seeing (direct) with another (mediated). Ultimately,
he explains, the very lines which compose any drawing are
themselves never fully visible to the viewer since they exist
only in a tenuous state of multiple identities: as marks on
a page, as indicators of a contour. Lacking a "pure"
identity, the lines of a drawing summon the supplement of the
word, of verbal discourse, and, in doing so, obscure the
visual experience. Consequently, Derrida demonstrates, the
very act of depicting a blind person undertakes multiple
enactments and statements of blindness and sight.
Memoirs of the Blind is both a sophisticated
philosophical argument and a series of detailed readings.
Derrida provides compelling insights into famous and lesser
known works, interweaving analyses of texts—including
Diderot's Lettres sur les aveugles, the notion of
mnemonic art in Baudelaire's The Painter of Modern Life, and Merleau-Ponty's The Visible and the Invisible. Along with engaging meditations on the history
and philosophy of art, Derrida reveals the ways viewers
approach philosophical ideas through art, and the ways art
enriches philosophical reflection.
An exploration of sight, representation, and art, Memoirs of the Blind extends and deepens the
meditation on vision and painting presented in Truth and Painting. Readers of Derrida, both new and familiar, will
profit from this powerful contribution to the study of the
Celebrated architect Ralph Knowles, Distinguished Emeritus at USC’s School of Architecture, has carefully crafted a book for architects, designers, planners—anyone who yearns to reconnect to the natural world through the built environment. He shows us how to re-examine a shadow, a wall, a window, a landscape, as they respond to the natural cycles of heat, light, wind, and rain. Analyzing methods of sheltering that range from a Berber tent to a Spanish courtyard to the cityscape of contemporary Los Angeles, Ritual House shows us the future: by coining the concept of solar access zoning, he introduces a radical yet increasingly viable solution for tomorrow’s mega-cities.
To most of us, Rose O'Neill is best known as the creator of the Kewpie doll, perhaps the most widely known character in American culture until Mickey Mouse. Prior to O'Neill's success as a doll designer, however, she already had earned a reputation as one of the best-known female commercial illustrators. Her numerous illustrations appeared in America's leading periodicals, including Life, Harper's Bazaar, and Cosmopolitan. While highly successful in the commercial world, Rose O'Neill was also known among intellectuals and artists for her contributions to the fine arts and humanities. In the early 1920s, her more serious works of art were exhibited in galleries in Paris and New York City. In addition, she published a book of poetry and four novels.
Yet, who was Rose Cecil O'Neill? Over the course of the twentieth century, Rose O'Neill has captured the attention of journalists, collectors, fans, and scholars who have disagreed over whether she was a sentimentalist or a cultural critic. Although biographers of Rose O'Neill have drawn heavily on portions of her previously unpublished autobiography, O'Neill's own voice--richly revealed in her well-written manuscript--has remained largely unheard until now.
In these memoirs, O'Neill reveals herself as a woman who preferred art, activism, and adventure to motherhood and marriage. Featuring photographs from the O'Neill family collection, The Story of Rose O'Neill fully reveals the ways in which she pushed at the boundaries of her generation's definitions of gender in an effort to create new liberating forms.
Increased public and academic interest in drawing and sketching, both traditional and digital, has allowed drawing research to emerge recently as a discipline in its own right. In light of this development, Writing on Drawing presents a collection of essays that reveal a provocative agenda for the field, analyzing the latest work on creativity, education, and thinking from a variety of perspectives. Bringing together contributions by leading artists and researchers, this volume offers consolidation, discussion, and guidance for a previously fragmented discipline. Available for the first time in paperback, it will be an essential resource for artists, scientists, designers, and engineers.