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
“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?
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
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
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,
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
A. One course from 2 of these 5 areas:
Middle Eastern cultures
B. One course from 3 of these 4 disciplines:
Art historical or archaeological studies
Language or literary 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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- Winter '12
- Leonardo Da Vinci, Black Chalk, the 00, in 00, Leonardo da