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Academy of
Realist Art
Toronto: [email protected] 416-766-1280 | Boston: [email protected] 617-426-3006 | www.AcademyofRealistArt.com
CLASSICAL INSTRUCTION FOR
A NEW GENERATION OF OLD MASTERS
This cast drawing was executed by Sophia Panova, a part-time student at ARA since the age of 14. Originally from Kazakhstan, Sophia has always had a passion for art in all forms. During high school a teacher introduced her to ARA, where she discovered the discipline she needed to achieve her lifelong dream of being an architect. Having now completed her undergraduate degree, Sophia credits the school for providing the foundations and support she needed to help her along her career path.
You can also learn to draw and paint beautiful, accurate, realistic artwork based on the teaching traditions of the Renaissance and the great academies of the 19th century. Our fine art training offers a step-by-step approach to mastering fine art skills. Whether you are a hobbyist, seeking a career in traditional drawing and painting, or a trained professional, this results-oriented system will help you achieve your ambitions and expand your skills.
We offer flexible full-time and part-time programs with individualized instruction to suit your skill levels and schedules. You can choose from an ongoing weekday class schedule or join us for one of our workshops taught by our full-time instructors. Topics include portrait and figure sketching and painting, still life and landscape painting, red chalk drawing, and a variety of great artists’ techniques.
At ARA, the results are always beyond your expectations.
“I’ve been interested in art since I was a child, and tried all sorts of classes as I was growing up. When I was 14, ARA took me in as a part-time student. I was intimidated at first, but as soon as I had my first lesson with Fernando, it was so easy to understand. I quickly realized just how professional and well-designed a program it is. I hadn’t seen anything like it anywhere. ARA was an ideal way to build my technical skills, because architecture is also very precise, calculated, purposeful and delicate. What I learned at the studio has definitely played a part in my success throughout university.
I can’t wait to come back.” —SOPHIA PANOVA
2 Drawing /Winter 2013 W W W.ARTISTDAILY.COM
TABLE OF
CONTENTS
WINTER 2013
34
Advice for Composing a Landscape:
The Three Key Principles
60
Measuring the Figure Made Easy
68, 74, 82
Colored Pencil: 3 Artists Discuss Their
Materials and Techniques
68
Use Household Materials to Enhance Your Drawing
82
Surfaces That Make Your Drawings Pop
ON THE COVER
6 EDITOR’S NOTE 8 CONTRIBUTORS 12 SKETCHBOOK 96 NEW AND NOTABLE
DEPARTMENTS
COVER IMAGE
Étude: Fawns Leap— Catskills (detail)
by Thomas Kegler, 2008, ink and gouache on toned paper, 9 x 12. Collection the artist.
82
50
68
90
4 Drawing /Winter 2013 w w w.ArtistDAily.com
feAtures
22
Choosing Color
A sponsored guide to colored pencils.26
To Sketch and To Sculpt
Don Gale creates sculptures and drawings that relish the possibilities for drama and movement inherent in the human figure. We sat down with the artist to talk about the role that drawing plays in his practice, how he captures the gesture of a model, and why quick poses are the essence of the artistic process.
34
Understanding the
Anatomy of the
Landscape
by Austin r. williAms
Thanks to years of careful observa-tion and diligent study, Thomas Kegler is able to create landscapes that are true to the laws of nature and honor his own vision.
42
Why We Draw
We asked several instructors at the American Academy of Art, in Chicago, to share their thoughts on
contents
68
Work With
Whatever Works
by nAomi ekperigin
Pat Averill has worked with colored pencil for more than 20 years. Here, she shares some of the self-taught techniques that continue to invigorate her practice.
74
Colored Pencil
Demonstration:
Combining Techniques
for a Unified Drawing
by gAry greene
82
Megan Seiter:
Colored Pencils or Bust
by nAomi ekperigin
In just three short years, this young artist has developed a signature style and passion for colored pencil that informs her process for creating emotive still lifes.
90
Cataloguing
Imagination
Artists of all stripes are invited to submit to The Sketchbook Project’s library and touring exhibition. the importance of drawing in an
artist’s education. Their answers shed light on many of the ways that drawing can advance one’s practice.
50
Curator’s Choice:
10 Masterpieces From
The Crocker Art Museum
In this new series, we ask leading art institutions to select some of the best drawings from their collections and discuss what artists today can learn from these masterworks. Here, we visit the Crocker Art Museum, in Sacra-mento, where William Breazeale, the museum’s curator of European art, chose 10 amazing drawings that take us from Mannerist Italy to the bohemian salons of 19th -century France.
60
Drawing Fundamentals:
Measuring the Figure
by jon DemArtin
Using this easy technique, you can measure key proportions in the early stages of drawing and be sure you have an accurate foundation from which to work.
60
26
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Naomi EkpErigiN
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(“Colored Pencil Demonstration: Combining Techniques for a Unified Drawing”) is the author of The Ultimate Guide to Colored Pencil, Creating Textures in Colored Pencil, and Creating RadiantFlowers in Colored Pencil, all from North Light Books (www.northlightshop.com). Gary has won
numer-ous awards, including three Awards of Excellence from the Colored Pencil Society of America. He has conducted workshops, demonstrations, and lectured nationally and internationally since 1985. For more information, visit www.ggart.biz.
JoN dEmartiN
(“Drawing Fundamentals: Measuring the Figure”) is a New York City artist whose work can be found in many private collections. He teaches life drawing at Studio Incamminati, in Philadelphia, and at Parsons The New School For Design and the Grand Central Academy of Art, both in New York City. DeMartin is a contributing artist at Hirschl & Adler Modern, in New York City, and John Pence Gallery, in San Francisco. He is featured in a new instructional DVD from AmericanArtist about painting the grisaille. View his work at www.jondemartin.net.
austiN r. Williams
(“To Sketch and to Sculpt,” “Understanding the Anatomy of the Landscape,” “Sketchbook,” and “New & Notable”) is an associate editor of Drawing.Contributors
Compete and Win in 5 Categories!
ABSTRACT/EXPERIMENTAL ANIMAL/WILDLIFE LANDSCAPE/INTERIOR PORTRAIT/FIGURE STILL LIFE/FLORAL
For complete prizes, guidelines and to enter online, visit
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Secrets to Composition
Barbara Nuss
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Galen (detail, colored pencil, 12.5x24) by Tanja Gant
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Zentangle Untangled, with Kass Hall
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2013 Artist’s & Graphic Designer’s Market with Mary Burzlaff Bostic
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Journal Fodder 365
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Claudia Nice
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Watercolor Wisdom
Learn from experienced watercolor artist Jo Tylor as she shares her favorite and most valuable watercolor painting tips and techniques. Soon you’ll be painting in watercolor with confi dence and be able to work from a foundation of knowledge. Each lesson in organized with artists in mind, highlighting rules and guidelines for making the most of your time at your canvas.
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ITEM # V9232 RETAIL: $29.99
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Easy Mixed Media Techniques for the Art Journal,
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95 MINUTES, DVD
ITEM #V8703 RETAIL: $24.99
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Classic Pet Portraits - How to Draw a Dog, with Joy Thomas
Draw your favorite pets using techniques of the Old Masters as you work in charcoal on colored and toned paper. Joy shows you everything you need to get started with her review of materials and the subject.
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In Sketchbook Confi dential 2 you’ll hear from more than 41 masterful artists. Great for art students, teachters, aspiring artists and art afi cionados alike this book is a trusted reference for those looking to create and live a more artistic life. 176 PAGES, PAPERBACK
ITEM #W4467 RETAIL: $24.99
OUR PRICE: $16.32
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Art journaling is a fun way to collect and celebrate your creative thoughts and inspirations. Driven by the concept that we are all in-spired in different ways, Alternative
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personal and unique journals. 128 PAGES, PAPERBACK
ITEM #Y1757 RETAIL $24.99
YOUR PRICE: $16.49
Colored Pencil Explorations, with Janie Gildow
Award-winning colored pencil artist Janie Gildow teaches workshops for the Colored Pencil Society of America and Creative Colored Pencil Workshops.
144 PAGES, PAPERBACK
ITEM #V8221 RETAIL: $26.99
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Secrets of Drawing - Figures and Faces, with Craig Nelson
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ITEM #V0610 RETAIL: $12.99
YOUR PRICE: $10.26 Draw Animals in Nature,
with Lee Hammond
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144 PAGES, PAPERBACK
ITEM #W0654 RETAIL: $24.99
YOUR PRICE: $16.49
Zentangle Untangled, with Kass Hall
This is the fi rst full-length title on the process of Zentangle; an art form that uses repetitive patterns to cre-ate striking works of art that anyone can achieve, regardless of age or artistic ability.
128 PAGES, PAPERBACK
ITEM #W5533 RETAIL: $24.99
YOUR PRICE: $16.32
2013 Artist’s & Graphic Designer’s Market with Mary Burzlaff Bostic
Gain quick access to the contact information and submission guidelines for more than 1700 publishers, galleries, art fairs & ad agencies.
672 PAGES, PAPERBACK
ITEM #V7966 RETAIL: $34.99
YOUR PRICE: $19.75
Journal Fodder 365
with Eric M. Scott & David R. Modler
A workshop that lasts all year, readers get art-journaling ideas, exercises and prompts to engage on a daily, weekly and monthly basis, all with a bit of personal introspection and an opportunity to learn cool art techniques. 144 PAGES, PAPERBACK
ITEM #W5871 RETAIL: $24.99
YOUR PRICE: $14.11
w w w.ArtistDAily.com Drawing /Winter 2013 13
12 Drawing /Winter 2013 w w w.ArtistDAily.com
The Many Uses of Graphite
T h r o u g h M a r c h 10
Indianapolis Museum of Art Indianapolis, Indiana (317) 923-1331 www.imamuseum.org
Experienced draftsmen know that graphite comes in many formats oth-er than No. 2 pencils. It can be ma-chined or carved; used as a powder, liquid, or in stick form. “Graphite,” a current exhibition at the Indianapolis Museum of Art (IMA), explores the diverse uses for the centuries-old medium in both traditional drawings and more contempoarary art forms. The exhibition examines the ways that the material itself is used for-mally and conceptually with a look at drawings, sculptures, and installa-tions, created by 15 artists during the past decade.
“By bringing together works that share only the basic similarity of the use of graphite, we hope to provoke a re-examination of topics like materi-al choice and the experience of an ob-ject—ideas embedded in contempo-rary artistic practice but often taken for granted,” says Sarah Urist Green, IMA’s curator of contemporary art. “This exhibition seeks to create a con-versation about the significance of medium at a time when the subject has been largely ignored.”
Among the more than 50 works in the exhibition is Carl Andre’s
Graphite Cube Sum of Numbers,
which comprises 164 geometrically arranged units of machined graph-ite. In this company, Robert Longo’s recent miniatures paying tribute to the work of earlier artists
appear almost classical. Other artists represented in the exhibition include Kim Jones, Dan Fischer, and Karl Haendel.
A digital catalogue ac-cessible via web brows-ers and e-readbrows-ers—which will include video and audio elements—will be available in early 2013.
Diamond No. 2
by Karl Haendel, 2009, graphite on paper with MDF frame, 90 x 66. Courtesy the artist and Harris Lieberman Gallery, New York, New York.
W W W.ARTISTDAILY.COM Drawing /Winter 2013 13
12 Drawing /Winter 2013 W W W.ARTISTDAILY.COM
The Many Uses of Graphite
OPPOSITE PAGE
Untitled (After Lichtenstein, WHAAM! , 1963)
by Robert Longo, 2008, graphite on paper, 31⁄16 x 75⁄16. Courtesy the artist
and Metro Pictures Gallery, New York, New York.
BELOW
Graphite Cube Sum of Numbers
by Carl Andre, 2006, graphite cubes, 4½ x 229½ x 40½. Image courtesy Sadie Coles HQ, London, England. © Carl Andre/Licensed by VAGA, New York, NY.
Among the more than 50 works in the exhibition is Carl Andre’s
Graphite Cube Sum of Numbers,
which comprises 164 geometrically arranged units of machined graph-ite. In this company, Robert Longo’s recent miniatures paying tribute to the work of earlier artists
appear almost classical. Other artists represented in the exhibition include Kim Jones, Dan Fischer, and Karl Haendel.
A digital catalogue ac-cessible via web brows-ers and e-readbrows-ers—which will include video and audio elements—will be available in early 2013.
14 Drawing /Winter 2013 w w w.ArtistDAily.com
Graphic Designers Take Center
Stage in Philadelphia
Double Portrait: Paula Scher anD
Seymour chwaSt, GraPhic DeSiGnerS
T h r o u g h A p r i l 1 4
Philadelphia Museum of Art Philadelphia, Pennsylvania (215) 763-8100
www.philamuseum.org
Paula Scher and Seymour Chwast’s influential illustrations and designs have graced record albums, books, magazine covers, and posters, and also include typefaces, logos, and oth-er graphics. Both artists are mem-bers of the Art Directors Club Hall of Fame and recipients of the medal of the American Institute of Graphic Arts. In conjunction with their receipt of the 2012 Collab Design Excellence Award, the Philadelphia Museum of Art has mounted the exhibition “Double Portrait,” which marks the first time the husband-and-wife pair’s work will be shown together.
Chwast studied at the Cooper Union, in New York City, and co-founded Push Pin Studios in 1954 with class-mates Milton Glaser and Edward Sorel. The group broadened the boundaries
of modern design, proving widely influential on a range of graphic styles. Chwast’s designs have been used in advertising, animated films, and editori-al, corporate, and environmental graphics, and in publications such as The New York Times, The New
Yorker, The Atlantic, and Time.
Scher began her professional career as an art di-rector designing record covers for CBS and Atlantic Records, and she went on to develop an influential approach to typography. She has developed identi-ty and branding systems, promotional materials, graphics, packaging, and other designs for a broad range of clients, including The Museum of Modern Art, the New York City Ballet, Citibank, Microsoft, and the Sundance Film Festival.
above
Lucent Technologies Center for Art Education, New Jersey Performing Arts Center
by Paula Scher, 2001, paint.
above right Seymour
by Seymour Chwast, 2009, digital print, 35 x 23¾. ph oto : p et er m au ss /e sto
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14 Drawing /Winter 2013 w w w.ArtistDAily.com
Graphic Designers Take Center
Stage in Philadelphia
Double Portrait: Paula Scher anD
Seymour chwaSt, GraPhic DeSiGnerS
Paula Scher and Seymour Chwast’s influential illustrations and designs have graced record albums, books, magazine covers, and posters, and also include typefaces, logos, and oth-er graphics. Both artists are mem-bers of the Art Directors Club Hall of Fame and recipients of the medal of the American Institute of Graphic Arts. In conjunction with their receipt of the 2012 Collab Design Excellence Award, the Philadelphia Museum of Art has mounted the exhibition “Double Portrait,” which marks the first time the husband-and-wife pair’s work will be shown together.
Chwast studied at the Cooper Union, in New York City, and co-founded Push Pin Studios in 1954 with class-mates Milton Glaser and Edward Sorel. The group broadened the boundaries
of modern design, proving widely influential on a range of graphic styles. Chwast’s designs have been used in advertising, animated films, and editori-al, corporate, and environmental graphics, and in publications such as The New York Times, The New
Yorker, The Atlantic, and Time.
Scher began her professional career as an art di-rector designing record covers for CBS and Atlantic Records, and she went on to develop an influential approach to typography. She has developed identi-ty and branding systems, promotional materials, graphics, packaging, and other designs for a broad range of clients, including The Museum of Modern Art, the New York City Ballet, Citibank, Microsoft, and the Sundance Film Festival.
End Bad Breath
by Seymour Chwast, 1967, offset lithograph, 37 x 24.
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16 Drawing /Winter 2013 w w w.ArtistDAily.com
T h r o u g h J u n e 2
Minneapolis Institute of Arts Minneapolis, Minnesota (888) 642-2787 www.artsmia.orgDestitution on Paper
Picturing Poverty:
Artistic views
of the Poor in the
BAroque erA
Beggar Seen From Behind
by Jean-Pierre Norblin de la Gourdaine, 1787, etching and drypoint on Japan paper.
During the 17th century,
artists in Europe began looking to everyday life for their subjects, pay-ing special attention to the poor. The plight of the impoverished came to the fore during the Thirty Years War (1618– 1648), which reduced broad swaths of Europe to subsistence living or starvation. As this ex-hibition demonstrates, many artists were able to find a sort of ragged dignity in the lower levels of society. They showed the poor in at-titudes of industrious acceptance or stoicism, where a battered hat became a crown of vir-tue, a sign of resolute endurance of a miser-able life.
Such fortitude found adherents, especial-ly in France with the Le Nain brothers, whose sympathies are evident in their works portray-ing poor farmers in all their deprivation and
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16 Drawing /Winter 2013 W W W.ARTISTDAILY.COM
resignation. A strong note of compassion also informed the work of Stefano della Bella and Rembrandt, whose portrayals of wretched hu-manity often took on a remarkably personal character. In other cases, an insistent attention to the decorative value of tattered and patched clothes, wrinkles, and sagging cheeks suggests a colder curiosity—a simple pleasure in the representation of the picturesque and a will-ingness to caricature misery.
T H R O U G H J U N E 2
Minneapolis Institute of Arts Minneapolis, Minnesota (888) 642-2787 www.artsmia.orgDestitution on Paper
PICTURING POVERTY:
ARTISTIC VIEWS
OF THE POOR IN THE
BAROQUE ERA
Adoration of the Shepherds
by Abraham Bloemaert, ca. 1566–1651, pen-and-black-ink, brown wash, and white and black chalk on laid paper.
During the 17th century,
artists in Europe began looking to everyday life for their subjects, pay-ing special attention to the poor. The plight of the impoverished came to the fore during the Thirty Years War (1618– 1648), which reduced broad swaths of Europe to subsistence living or starvation. As this ex-hibition demonstrates, many artists were able to find a sort of ragged dignity in the lower levels of society. They showed the poor in at-titudes of industrious acceptance or stoicism, where a battered hat became a crown of vir-tue, a sign of resolute endurance of a miser-able life.
Such fortitude found adherents, especial-ly in France with the Le Nain brothers, whose sympathies are evident in their works portray-ing poor farmers in all their deprivation and
18 Drawing /Winter 2013 w w w.ArtistDAily.com
Rembrandt and Co.
rembrandt’s century
J a n u a r y 2 6 t h r o u g h J u n e 2
de Young MuseumSan Francisco, California (415) 750-3600
http://deyoung.famsf.org
CloCkwise from top left
Shell: Major Harp (harpa major) by Wenceslaus Hollar, ca. 1646, etching, 311⁄16 × 59⁄16. All artwork this exhibition © Fine Arts Museums of San Francisco; San Francisco, California. Village Romance by Adriaen Van Ostade, ca. 1652, etching, 63⁄16 × 47⁄8.
A Youth Singing attributed to the Candlelight Master, 1650, oil, 26½ x 19½.
The Large Cat by Cornelis Visscher, 1657, engraving, 511⁄16 × 75⁄16.
Salt Flats at Le Croisic by Lambert Doomer, ca. 1671–1673, brown ink and brown and gray washes on ledger paper, 97⁄16 × 161⁄8. This new exhibition at San Francisco’s de
Young Museum comprises a wide range of artworks from many 17th-century
artists, but the core of the show is a group of etchings by Rembrandt. Also includ-ed are works by contemporary European artists both famous—Wenceslaus
Hollar, Jusepe de Ribera—and forgot-ten. “Rembrandt’s Century” explores the artist’s predecessors and the impact of the master on followers in Holland and around Europe. The collection on display includes engravings, ink drawings, and watercolors, and focuses on the rich body of prints produced in the era.
“Rembrandt’s Century” will comple-ment the de Young’s concurrent exhibi-tion of one of the world’s most recogniz-able paintings, Vermeer’s Girl With a Pearl
Earring. The masterpiece is on loan to the
museum while its permanent home at
the Mauritshuis, in the Hague, undergoes renovation and will be displayed alongside 34 other paintings from the collection of the esteemed Dutch museum.
Both exhibitions reveal the shifting subject matter and techniques used by artists over the course of the 17th century,
as secular subjects began to replace reli-gious themes and portraitists turned their attention toward ordinary people. “The Fine Arts Museums of San Francisco are thrilled to have this rare opportunity to share these works from the Mauritshuis,” says Dr. Lynn Orr, the museums’ curator of European art. “The brilliant flowering of the Dutch school exemplified in these paintings was a unique achievement, and the works continue to intrigue and de-light to this day.”
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with activation by 03/31/13IMPORTANT CONSUMER INFORMATION: DoubleTime offer valid on Basic 19 Plan and applies to new GreatCall customers only. Offer ends 3/31/13. Offer valid until plan is changed or cancelled. All GreatCall phones require a one-time set up fee of $35. Coverage and service are not available everywhere. You will not be able to make 9-1-1 calls when cellular service is not available. Rate plans do not include government taxes or assessment surcharges and are subject to change. No roaming or long distance charges for domestic calls within the U.S. There are no additional fees to call GreatCall’s 24-hour U.S. Based Customer Service. However, for calls to an Operator in which a service is completed, minutes will be deducted from your monthly balance equal to the length of the call and any call connected by the Operator, plus an additional 5 minutes. 1 We will refund the full price of the GreatCall phone if it is returned within 30 days of purchase in like-new condition. We will also refund your first monthly service charge if you have less than 30 minutes of usage. If you have more than 30 minutes of usage, a per minute charge of 35 cents will apply for each minute over 30 minutes. The activation fee and shipping charges are not refundable. Jitterbug and GreatCall are registered trademarks of GreatCall, Inc. Samsung is a registered trademark of Samsung Electronics Co., Ltd. Copyright ©2012 Samsung Telecommunications America, LLC. Copyright ©2012 GreatCall, Inc. Copyright ©2012 by firstSTREET for Boomers and Beyond, Inc. All rights reserved.
NEW
W W W.ARTISTDAILY.COM Drawing /Winter 2013 21 Robert Barrett shows you all the techniques and tips you need to
draw the human fi gure from life. Not just another anatomy book, this guide includes hundreds of fi gure drawing examples, advice on drawing materials (charcoal, pencils, pastels and more) and detailed step-by-step lessons on drawing from life:
The basics of fi gure anatomy, proportion and design— including the face, feet and hands
How to use light and shadow to create form How to draw drapery and backgrounds How to capture your subject’s character
How to create compelling drawing compositions using the center of interest
draw the fi gure with
LIFE and PERSONALITY
This and many more North Light products are available at your favorite art & craft retailer or bookstore. They can also be found online at
northlightshop.com, or call 1-800-258-0929
to order.
an imprint of F+W Media, Inc. ArtistsNetwork
Degas In-Depth
DEGAS, MISS LA LA, AND THE CIRQUE FERNANDO
F E B R U A R Y 15 T H R O U G H M AY 1 2
The Morgan Library & Museum New York, New York
(212) 685-0008 www.themorgan.org
For several evenings in 1879, Edgar Degas (1834–1917) attended perfor-mances at the Cirque Fernando by the famous aerialist Miss La La. For her ex-traordinary act, Miss La La was slowly hoisted nearly 70 feet into the circus’s domed roof, suspended solely from a rope clenched between her teeth.
Degas produced a number of studies of the performer, leading up to his cel-ebrated painting, Miss La La au Cirque
Fernando. The Morgan’s current
exhi-bition brings together this remarkable painting—on loan from the National Our goal is to make every issue of Drawing magazine as informative
and inspiring as possible. In order to achieve this, we need you to share your thoughts about the publication. Please visit http://bit.ly/
DrawingSurvey2013 to take Drawing’s reader survey, where you can:
• recommend artists to be featured in the magazine • tell us which articles are most useful for you
• let us know what materials and subjects you would like to see cov-ered more often in Drawing
Additionally, everyone who takes the survey receives a discount on future purchases at the North Light Shop and is entered for a chance to win a $100 gift certificate.
Please visit http://bit.ly/DrawingSurvey2013 by February 28— your input is extremely valuable to us.
ANNOUNCING THE
READER SURVEY!
W W W.ARTISTDAILY.COM Drawing /Winter 2013 21 Robert Barrett shows you all the techniques and tips you need to
draw the human fi gure from life. Not just another anatomy book, this guide includes hundreds of fi gure drawing examples, advice on drawing materials (charcoal, pencils, pastels and more) and detailed step-by-step lessons on drawing from life:
The basics of fi gure anatomy, proportion and design— including the face, feet and hands
How to use light and shadow to create form How to draw drapery and backgrounds How to capture your subject’s character
How to create compelling drawing compositions using the center of interest
draw the fi gure with
LIFE and PERSONALITY
This and many more North Light products are available at your favorite art & craft retailer or bookstore. They can also be found online at
northlightshop.com, or call 1-800-258-0929
to order.
an imprint of F+W Media, Inc. ArtistsNetwork
Degas In-Depth
DEGAS, MISS LA LA, AND THE CIRQUE FERNANDO
F E B R U A R Y 15 T H R O U G H M AY 1 2
The Morgan Library & Museum New York, New York
(212) 685-0008 www.themorgan.org
For several evenings in 1879, Edgar Degas (1834–1917) attended perfor-mances at the Cirque Fernando by the famous aerialist Miss La La. For her ex-traordinary act, Miss La La was slowly hoisted nearly 70 feet into the circus’s domed roof, suspended solely from a rope clenched between her teeth.
Degas produced a number of stud-ies of the performer, leading up to his celebrated painting, Miss La La at the
Cirque Fernando. The Morgan’s
cur-rent exhibition brings together this re-markable painting—on loan from the
LEFT
Miss La La at the Cirque Fernando
by Edgar Degas, 1879, black chalk with touches of pastel, 18½ x 125⁄8.
Courtesy Trustees of the Barber Institute of Fine Arts, University of Birmingham; Birmingham, England. All artwork this article courtesy Morgan Library & Museum, New York, New York.
BELOW
Miss La La at the Cirque Fernando
by Edgar Degas, 1879, oil, 461⁄8 x 30½. Collection
National Gallery, London, England. © National Gallery, London / Art Resource, NY.
Our goal is to make every issue of Drawing magazine as informative and inspiring as possible. In order to achieve this, we need you to share your thoughts about the publication. Please visit http://bit.ly/
DrawingSurvey2013 to take Drawing’s reader survey, where you can:
• recommend artists to be featured in the magazine • tell us which articles are most useful for you
• let us know what materials and subjects you would like to see cov-ered more often in Drawing
Additionally, everyone who takes the survey receives a discount on future purchases at the North Light Shop and is entered for a chance to win a $100 gift certificate.
Please visit http://bit.ly/DrawingSurvey2013 by February 28— your input is extremely valuable to us.
National Gallery, in London—with nearly all of the artist’s preparatory works, as well as artwork by Degas’ con-temporaries, providing further context for his treatment of circus spectacle.
Winter Jan 7Mar 17
Spring Apr 8June 16
Summer July 8Sept 15
Fall Oct 7Dec 15
Gesture Portraits II
by Jeffrey R. Watts
6.5 Hours $95
Watts Atelier
Online
Launching
Summer 2013
Watts Atelier
Experience the Difference!
Watts Atelier of the Arts, llc
171 Calle Magdalena Ste. 103 Encinitas, CA 92024 760.753.5378 www.WattsAtelier.com
2013 Term Dates
For Class & Workshop Dates,
Descriptions and Pricing
Visit:
www.WattsAtelier.com
22 Drawing /Winter 2013 w w w.ArtistDAily.com w w w.ArtistDAily.com Drawing /Winter 2013 23
SPECIAL ADVERTISING SECTION SPECIAL ADVERTISING SECTION
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22 Drawing /Winter 2013 w w w.ArtistDAily.com w w w.ArtistDAily.com Drawing /Winter 2013 23
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24 Drawing /Winter 2013 w w w.ArtistDAily.com
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w w w.ArtistDAily.com Drawing /Winter 2013 27
26 Drawing /Winter 2013 w w w.ArtistDAily.com
Don Gale creates sculptures and drawings that relish
the possibilities for drama and movement inherent in the
human figure. We sat down with the artist to talk about
the role that drawing plays in his practice, how he captures
the gesture of a model, and why quick poses are the
essence of the artistic process.
to sketch
to sculpt
and
w w w.ArtistDAily.com Drawing /Winter 2013 27
26 Drawing /Winter 2013 w w w.ArtistDAily.com
Drawing:
Is drawing for sculpture much
different from other modes of drawing?
Don gale:
There’s a difference between howsculptors and painters draw. Sculptors such as Michelangelo and the Florentine artists drew in line that defined the form. They were interested in where the form began and ended. Painters define form through light and through shades, so a lot of the time they don’t show the whole bound-aries of a form in their drawings. When
Left
Three-Brained Man No. 6
1985, bronze, 19 x 13 x 9. Collection Seven Bridges Foundation, Greenwich, Connecticut.
OppOsite page
Study for Three-Brained Man
1984, black iron oxide chalk, 12 x 16. All artwork this article collection the artist unless otherwise indicated.
sculptors sculpt, they have to make the whole form—they can’t create it just with tone.
Dr:
Do you create many drawings
specifically in preparation
for a new sculpture?
Dg:
Drawing, for me, is a way of under-standing form, and more often I’ll make drawings to understand a specific part of the figure. I’ll make a drawing that depicts an arm, for example, to studyw w w.ArtistDAily.com Drawing /Winter 2013 29
how to create an arm. Then I put that knowledge to work in a sculpture.
DR:
Do you find that the physicality
of sculpture and the physicality of
figure drawing are closely aligned?
DG:
Yes, but they are also different. The physicality of drawing is instantaneous—it’s muscle memory, it’s how the hand works. In sculpture, the challenge is to maintain the energy much longer; that same level of energy and excitement needs to be there whenever you’re working. If you get tired, you should leave your work and come back later. If you work on a sculpture when you don’t have the right energy, you’ll destroy it.DR:
You are a dedicated draftsman of quick
poses. After having drawn thousands of
them, what still compels you to draw
two-, three-, or five-minute poses?
DG:
Creativity takes place in the unknown— the discovery of a form or image not yet manifested. It is why artists make art. Consider Van Gogh in the last 70 days of his life—he created about one painting a day. Why? It doesn’t seem his motivation was money. Just imagine coming back each day with a painting, propping it up on the bed, and wondering where the image came from.I believe what motivated him to go out the next day and paint again and again was the excitement of not knowing what was go-ing to happen next. That excitement is also the reason I draw quick poses. It is like au-tomatic writing, where you put words on the page without judgment or thought. It also leaves the door open for the possibility of ac-cidents. Just look at all the things that have been created by accident—penicillin, choco-late, champagne, Teflon, popsicles. My wife once said that in my drawing, even accidents are correct. You want to work on the form as you see it, but leave room for accidents. The quick pose also has a lot of unob-structed, instantaneous energy to it because you don’t have much time. You see some-thing, and you’re excited about it, and you want to get it down on paper. There’s no
“Some teacherS are oppoSed
to Skill becauSe they feel it
killS creativity. but in fact
it’S the oppoSite—Skill giveS
you the capacity to create.”
right Fakir 2008, bronze, 32 x 26 x 10. far right Standing Figure
1980, black iron oxide chalk, 16 x 12.
w w w.ArtistDAily.com Drawing /Winter 2013 29
how to create an arm. Then I put that knowledge to work in a sculpture.
DR:
Do you find that the physicality
of sculpture and the physicality of
figure drawing are closely aligned?
DG:
Yes, but they are also different. The physicality of drawing is instantaneous—it’s muscle memory, it’s how the hand works. In sculpture, the challenge is to maintain the energy much longer; that same level of energy and excitement needs to be there whenever you’re working. If you get tired, you should leave your work and come back later. If you work on a sculpture when you don’t have the right energy, you’ll destroy it.DR:
You are a dedicated draftsman of quick
poses. After having drawn thousands of
them, what still compels you to draw
two-, three-, or five-minute poses?
DG:
Creativity takes place in the unknown— the discovery of a form or image not yet manifested. It is why artists make art. Consider Van Gogh in the last 70 days of his life—he created about one painting a day. Why? It doesn’t seem his motivation was money. Just imagine coming back each day with a painting, propping it up on the bed, and wondering where the image came from.I believe what motivated him to go out the next day and paint again and again was the excitement of not knowing what was go-ing to happen next. That excitement is also the reason I draw quick poses. It is like au-tomatic writing, where you put words on the page without judgment or thought. It also leaves the door open for the possibility of ac-cidents. Just look at all the things that have been created by accident—penicillin, choco-late, champagne, Teflon, popsicles. My wife once said that in my drawing, even accidents are correct. You want to work on the form as you see it, but leave room for accidents. The quick pose also has a lot of unob-structed, instantaneous energy to it because you don’t have much time. You see some-thing, and you’re excited about it, and you want to get it down on paper. There’s no
Right Walking
1985, bronze, 34 x 16 x 11. Collection Tom Chess.
30 Drawing /Winter 2013 w w w.ArtistDAily.com w w w.ArtistDAily.com Drawing /Winter 2013 31
time to worry about getting it exact. When working on something more prolonged, part of the challenge is to maintain that same level of intensity. If you can do that, you can create something really remarkable. The
Mona Lisa is an example. Leonardo worked
on it for four years, and he painted it with a brush as thin as a hair. And it has an in-tensity way beyond most painting—it’s not overworked at all. How do you work on a painting for four years and not overwork it? It’s incredible.
DR:
Your figure drawings possess a
tre-mendous sense of gesture. What is the
importance of the gesture, and how do
you capture it in a drawing?
DG:
The gesture is a representation of the total figure, and drawing is all about the total figure—learning to see the total figure and find how the parts relate to that whole. If you can conceive of the total figure and keep it in mind as you’re drawing the indi-vidual parts of the body, you can’t miss.I draw the gesture as a line of action that comes all the way up through the fig-ure. It’s almost an abstract line; there’s Left
Quick Pose No. 2
2012, charcoal, 18 x 12.
BeLow Left Quick Pose No. 3
2012, charcoal, 18 x 12.
BeLow Right Quick Pose No. 4
2012, charcoal, 18 x 12.
