Chapters 5, 6, and 7 from "Understanding Art, 9e"

1. Drawing Everybody draws. There can scarcely be a person above the age of two who has never made a drawing. Two qualities often associated with drawing are familiarity and intimacy. Drawing is familiar in that it uses the materials we are accustomed to – the pencil, the pen, the stick of chalk. Drawing seems intimate because it is frequently the artist’s note-taking. We think of drawings as direct expression, from brain to hand.

4. Silverpoint Figure 5.3, p.108: ALPHONSE LEGROS. Head of a Man (19th century). Silverpoint on white ground.

5. Leonardo da Vinci- Silverpoint

7. Pencil Figure 5.6, p.109: ADRIAN PIPER. Self-Portrait Exaggerating My Negroid Features (1981). Pencil on paper. 10 ” x 8 ” .

8. Pablo Picasso-pencil

10. Charcoal Figure 5.7, p.110: KATHE KOLLWITZ. Self-Portrait (1924). Charcoal. 18 1/2 x 25 in.

11. Carracci-charcoal

13. Figure 5.9, p.111: MICHELANGELO. Studies for The Libyan Sybil (1510–1511). Red chalk. 11 3⁄8 ” x 8 3⁄8 ” . Chalk and Pastel

14. Figure 5.11, p.112: EDGAR DEGAS. Woman at Her Toilette (1903). Pastel on paper. 30 ” x 30 1⁄2 ” .

15. Raphael-colored chalk

18. Vincent van Gogh-ink and pen

19. Figure 5.18, p.115: GIOVANNI BATTISTA TIEPOLO. Hagar and Ishmael in the Wilderness (c. 1725–1735). Pen, brush and brown ink, and wash, over sketch in black chalk. 16 1⁄2 ” x 11 1⁄8 ” . Pen and Wash

20. Tiepolo-ink wash

22. Fig. 5-25, p.119 MARGARET HONDA. Exchange (2003-2004). Vinyl on Mylar. 50 Elements, Dimensions variable.

23. New Drawing Media

24. Richard Long

25. Richard Long

26. Beth Secor

27. Beth Secor

29. Figure 5.1, p.106: REMBRANDT VAN RIJN. Copy of Leonardo da Vinci’s Last Supper. Red chalk on paper. 14 ” x 18 1⁄4 ” .

30. Figure studies by Rembrandt

32. Jason D’Aquino

35. Kathleen Gilje

40. Figure 6.1, p.122: GIOTTO. Lamentation (c. 1305). Fresco. 7 ’ 7 ” x 7 ’ 9 ” .

44. Figure 6.2, p.123: Mummy Portrait of a Man (Egypto-Roman, Faiyum, c. 160–179 CE). Encaustic on wood. 14 ” x 8 ” .

48. Figure 6.5, p.125: FRANZ GERTSCH. Silvia (1998). Tempera on unprimed canvas. 9 ’ 6 1⁄4 ” x 9 ’ 2 1⁄4 ” .

49. Tempera

53. Figure 6.6, p.126: FOLLOWER OF REMBRANDT VAN RIJN. Head of St. Matthew (c. 1661). Oil on wood. 9 7⁄8 ” x 7 3⁄4 ” .

58. Figure 6.13, p.131: RALPH GOINGS. Rock Ola (1992). Watercolor on paper. 14 ” x 20 3⁄4 ” . Nolde and the transparencies of tinted washes in his watercolors

61. Figure 6.11, p.129: ROGER SHIMOMURA. Untitled (1984). Acrylic on canvas. 60 ” x 72 ” .

63. Figure 6.15, p.132: CRASH (JOHN MATOS). Arcadia Revisited (1988). Spray paint on canvas. 96 1⁄4 ” x 68 ” .

66. Figure 6.16, p.133: HOWARDENA PINDELL. Autobiography: Water / Ancestors, Middle Passage / Family Ghosts (1988). Acrylic, tempera, cattle markers, oil stick, paper, polymer photo-transfer, and vinyl tape on sewn canvas. 118 ” x 71 ” .

67. Figure 6.17, p.133: MIRIAM SCHAPIRO. Maid of Honour (1984). Acrylic and fabric on canvas. 60 ” x 50 ” .

69. If you have ever received a a handmade greeting card for Christmas or for your birthday or as an invitation to a party, then you will appreciate the difference between an art print and a mass-produced reproduction. Commercial greeting cards are cranked out by the thousands, even the millions, by the major card manufacturers. A homemade card has a more personal touch. The design is unique- a personal expression of the individual who created it. Also, each card will be slightly different due to the human touch which we find missing from commercial products.

70. Monotype Edgar Degas, Female Torso, ca. 1885.

86. Lithography

87. Lithography Honor é Daumier,”This Mr. Courbet paints such coarse people,” 1855.

88. Screen Printing

89. Screen Printing Andy Warhol, Marilyn Monroe from Ten Marilyns, 1967.