Ever since the Renaissance, drawing has gradually been losing its anonymous and utilitarian status in the eyes of artists and the public, and its documents have been increasingly valued and collected. It is thus plausible that the esteem in which drawing was held should have developed parallel to the value placed on individual artistic talent.
Furthermore, because of the immediacy of its statement, drawing expresses the draftsperson’s personality spontaneously in the flow of the line it is, in fact, the most personal of all artistic statements. Bodies, space, depth, substantiality, and even motion can be made visible through drawing. Autonomous, or independent, drawings, as the name implies, are themselves the ultimate aim of an artistic effort therefore, they are usually characterized by a pictorial structure and by precise execution down to details.įormally, drawing offers the widest possible scope for the expression of artistic intentions. Not until the late 14th century, however, did drawing come into its own-no longer necessarily subordinate, conceptually or materially, to another art form. With sinopia-the preliminary sketch found on a layer of its own on the wall underneath the fresco, or painting on freshly spread, moist plaster-one reaches the point at which a work that merely served as technical preparation becomes a formal drawing expressing an artistic intention. Long before the appearance of actual small-scale drawing, this procedure was much used for monumental murals. Such preliminary sketches may merely indicate the main contours or may predetermine the final execution down to exact details. As shown by an increasing number of findings and investigations, drawings form the material basis of mural, panel, and book paintings. Essentially, every painting is built up of lines and pre-sketched in its main contours only as the work proceeds is it consolidated into coloured surfaces.
Similarly, points and lines marked on a raw stone block represent auxiliary drawings for the sculpture that will be hewn out of the material. Thus, the usefulness of a ground plan drawing of a building that is to be erected decreases as the building goes up. Often the drawing is absorbed by the completed work or destroyed in the course of completion.
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Archival footage supplied by the Internet Moving Images Archive (at ) in association with Prelinger Archives See all videos for this articleĪlthough not every artwork has been preceded by a drawing in the form of a preliminary sketch, drawing is in effect the basis of all visual arts. Georgette Seabrooke in an excerpt from A Study of Negro Artists, a silent film produced by the Harmon Foundation and released in the 1930s that features many artists active during the Harlem Renaissance.
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