28 - 1/10/12 DRAWING (and disegno) Chief media: ink...

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Unformatted text preview: 1/10/12 DRAWING (and disegno) Chief media: ink (applied by pen or brush); metalpoint; red and black chalk; graphite/lead; charcoal; pastels; wax pencils; crayon Dürer, 1484 Rembrandt, c. 1654 1 1/10/12 Dürer, Self-Portrait, 1484, silverpoint on cream ground paper. Inscribed: “Here I portrayed myself in the year 1484 in a mirror when I was still a child Albrecht Dürer.” (He was born 21 May 1471 so is 12) Were drawing sold and considered as valuable as finished works of art? Or are they in a different class as in some drawing are sketch-like while others are complete and final? Early art patrons and collectors came to place high value upon the under drawings [sic] which painters would sketch before starting a project. What meaning can be drawn from studying these under drawings [sic] and why does the art community tend to devalue the artistic process which they represent in the face of completed paintings? 2 1/10/12 The colorito/disegno debate in terms of planning (and assumed intellectual contribution) “Venetians … were famous for overturning the conventions of Central Italian procedures, which required preparatory drawings on paper to fix a composition. The pentimenti of Velázquez and the Venetians [and Caravaggio] or, more precisely, their habit of drawing directly on the canvas suggest a more subtle rejection of Florentine conventions: that the artists, in fact, did not necessarily bother to make preliminary drawings on paper.” Based on your knowledge and King's essay, do you agree with the conclusion that changes in arBsBc technique were in pursuit of "different, not improved, goals"? Why or why not? Uccello, Chalice, c. 1450-70, pen and brown ink over ruled stylus and compass 3 1/10/12 As menBoned in Disegno and desire in Pontormo’s Alessandro de’ Medici on page 659, the skills of arBsts in disegno were important in fields other than art ­ ­namely, war planning. What other unusual areas can you think of in which arBsBc skills are of use? 4 1/10/12 Leonardo da Vinci (attrib), Drapery Study, c. 1470, bodycolour with white heightening applied with brush over traces of black chalk on linen coated with grey bodycolour Pisanello, fresco underpainting for a mural, 1439-42 or 1447-c. 1455, charcoal with brush and red and black paint, Sala del Pisanello, Palazzo Ducale, Mantua 5 1/10/12 Leonardo da Vinci, Adoration of the Magi, 1481-2, monochrome oil underpainting on panel, Florence, Uffizi 6 1/10/12 Leonardo da Vinci, drawing for “Adoration of the Magi,” c. 1480-1, pen and ink over silverpoint with wash on pink prepared paper, Florence, Uffizi 7 1/10/12 In Catherine King’s invesBgaBon into the prominence of drawing in Renaissance Era art, she observes that many fiTeenth ­ century masters used sketching as a means of research for their pieces, regardless of the medium they intended to complete it with. To what extent should arBsts be judged on the basis of their ability to capture realisBc perspecBve and proporBon rather than their use of colors or other medium specific techniques? Leonardo da Vinci, study for “Virgin and Child with St. Anne, St. John the Baptist and the Christ Child,” c. 1500-16, pen and ink with grey wash with some white heightening over black chalk on paper 8 1/10/12 Did each drawing arBst have a specialty, or were they to be strong in all manners of drawing, as there was a secBon in the reading discussed about a guild and a young boy learning a trade. Jan van Eyck, St. Barbara seated before her tower, 1437, watercolour, oil and stylus on panel 9 1/10/12 Rogier van der Weyden, St Luke, c.1435-40, oil and tempera on panel, Boston, MFA 10 1/10/12 (1) As discussed in the reading, are “shadow” drawings something una\ainable by the arBst? Do they represent the “desire” the arBst holds for the object being studied or drawn? Thus are we as viewers driven by our desire to know more about the figure being drawn? 11 1/10/12 (2) If using the idea of “memoria,” a figure is no longer present but simply the memory; therefore, are these drawings simply ideals of the figure or object? Does this link to shadow drawings (i.e. shadows are warped as are our memories)? (3) Is it necessary to know the back ­story of the piece in order to grasp its concept and meaning? Is it important for the viewer to believe the figure being drawn in the painBng is also out of reach (alluding to the idea of desire)? 12 1/10/12 13 1/10/12 A Minor in Medieval and Early Modern Studies A. One course from 2 of these 5 areas: African cultures American cultures Asian cultures European cultures Middle Eastern cultures B. One course from 3 of these 4 disciplines: Historical studies Art historical or archaeological studies Language or literary studies Musicological studies MEMS Minor Requirements: 15 credit hours (5 courses), including at least 2 upper ­division courses, in the medieval and early modern periods, chosen in consultaBon with the MEMS minor advisor. A single course may count toward both geographic and disciplinary distribuBon requirements. 14 ...
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