View Full Version : Chp4:The Practice And Science of Drawing

11-02-2006, 10:41 AM
Hi and good day! Welcome Speedies! to chp 4 LINE DRAWING

Already washed up my brushes from painting this morning.
Should wait untill my eyes are wide-open to see. lol

Here are some things that caught my eye while reading
this chapter.

Most artists whose work makes a large appeal to the imagination are strong on the value of line.

Make note to investigate this appeal to imagination...
is this what one should strive for?

Example is Blake, I'll have to find some images to post for our study.


All through the work of the men who used this light and shade (or chiaroscuro, as it was called) the outline basis remained. Leonardo, Raphael, Michael Angelo, Titian, and the Venetians were all faithful to it as the means of holding their pictures together; although the Venetians, by fusing the edges of their outline masses, got very near the visual method to be introduced later by Velazquez.

Pretty interesting names to consider along with Blake that keep to outlines.
More names to go along with the above. Looking here for patterns of study.

There was the Archaistic movement in Greece, and men like Rossetti and Burne-Jones found a better means of expressing the things that moved them in the technique of the fourteenth century. And it was no doubt a feeling of the weakening influence on art, as an expressive force, of the elaborate realisations of the modern school, that prompted Puvis de Chavannes to invent for himself his large primitive manner. It will be noticed that in these instances it is chiefly the insistence upon outline that distinguishes these artists from their contemporaries.

Parthenon at Athens and Stonehenge are two more examples of line.

And this.....I like this expression of thought!

Something of the same combination of primitive grandeur and strength with exquisite refinement of visualisation is seen in the art of Michael Angelo. His followers adopted the big, muscular type of their master, but lost the primitive strength he expressed; and when this primitive force was lost sight of, what a decadence set in!

Chapter 5 will lead us to mass drawing. This is just starting. Once we get into chapter 6, I know I'll be slowing down. Want to really pull out all the good stuff Speed has to teach.

11-02-2006, 01:57 PM
Found some examples of line work online


William Blake, English, 1757–1827

Monotype finished in black chalk, pen and watercolor, coated with gum or size
Museum of Fine Arts, Boston


Study for the Kneeling Leda
(c. 1505 - 1507)
Leonardo da Vinci.
Source: http://www.visi.com/~reuteler/leonardo.html

11-02-2006, 02:00 PM

Raphaels Geburt am Charfreitag 1483 (Kupferstich, J 5.3)
Source http://www.ruhr-uni-bochum.de/kgi/raffael/kap_16/kap_16_3.htm (Ruhr-Uni Bochum)
Date 1816
Author Franz und Christian von Riepenhausen


Study for the Libyan Sibyl , 1511, Metropolitan Museum of Art, New York
Source:Web Gallery of Art

11-02-2006, 02:03 PM



Leinwand; 2400 x 1860 cm;

um 1568;

Madrid, Museo del Prado


11-02-2006, 02:08 PM

Dante and Beatrice, study for The Rose Garden
Preliminary sketch for The Rose Garden and
titlepage of "The Early Italian Poets".
before 1861
Artist: Dante Gabriel Rossetti, English, 1828–1882

Graphite on heavy cream wove paper
Museum of Fine Arts, Boston


Edward Burne-Jones
Study for the Head of Fortune for

"The Wheel of Fortune"
c. 1877-1883

oil on canvas
37.3 x 39.6 cm

National Gallery of Canada

11-02-2006, 02:10 PM

Title · o de: Hl. Maria Magdalena in der Wüste
Artist Puvis de Chavannes, Pierre-Cécile
Year 1869
Technique · o de: Öl auf Leinwand
Dimensions · o de: 48 × 36,8 cm
Current location · o de: Rijksmuseum Kröller-Müller,o de: Otterlo


11-03-2006, 08:37 AM
To those who approach a picture with the idea that the representation of nature, the "making it look like the real thing," is the sole object of painting, how strange must be the appearance of such pictures as Botticelli's.

Botticelli at ARC (http://www.artrenewal.org/asp/database/art.asp?aid=356)

A mini "aha!" moment for me. I could never pinpoint why I liked Botticelli. After reading this chapter, I understand why I love looking at the studies and line drawings behind so many paintings. I enjoy lines.

As children we are exposed to an understanding of line through our own artwork and then again through coloring books and often times illustration of our favorite books.

Art, like life, is apt to languish if it gets too far away from primitive conditions. But, like life also, it is a poor thing and a very uncouth affair if it has nothing but primitive conditions to recommend it

This statement sticks on my brain as I continue to read. Perhaps I will use it to inspire me to play with lines.

11-04-2006, 07:51 PM
Here is a link to Chp 5 on Mass Drawing


Hi Shehaub, the lines are starting to make sense to me now.
I feel the same way too, want to play with lines. :)

Precious Mazie
11-06-2006, 12:45 AM
"From this wealth of visual material, to which must 57be added the knowledge we now have of the arts of the East, of China, Japan, and India, the modern artist has to select those things that appeal to him; has to select those elements that answer to his inmost need of expressing himself as an artist."

How very fortunate we are to be able to just tap the keys of the computer and see any example of art we want. I am sure a picture of the art work is not like seeing it in person but how many of us could afford to visit all the beautiful art we see on the net in person? I for one have been very influenced by Chinese and Japanese art because of the beauty and simplicity of line in it. I lived in Athens Greece for a year in 1970. I could see the acropolis from my front window. I used to visit the Parthenon almost weekly and the best time to visit was during the full moon when you could go up on the acropolis free and stay there as long as the moon was out. I don't think you are allowed up there at all now. But that year was the impetus for me to study art history and I fell in love with classical form.

11-08-2006, 02:43 PM
This chapter was really encouraging for me . When I would start drawing I'd do lines and feel inadequate or infatile and then I'd know I had to add the mass and the shift I was making felt so strange and I didn't know what or why I was doing those things.