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,111

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Prol · ··mena
Thinkin about Drawing
1

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9

Part One
Dr.a in a ntinuum
1

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50

Part Two
The Lin ar E ,c nomy
7

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rawin . a i i -·lin
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Part Five
rrawing tb 0th, r
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f e d Acknowledgements he !;t':Ilt""Sl of tl11,
( ok li~'I Hl t t ih. 10T1 -r,,
Pril1ll1()'
1
,~r
fJnnPill'!,!: A u .4 rlf. 1 ,· T,,.i1: 111 , } i eh I e I ct r • ll)l1~ l '"G u ri 11
.u1d Tl, . ulh n 11k , ntrc 1[ llC)I. Allll) g1'1 lll p1c1 · 1c a!
.UJ ri l r 't:IJ l:l ·r ] drc.\.\ Íl1!'->- ceotrcLl iuce tl1e 1970 .
re eº r h. tor th . · 1b1t1on e fl 1rtned tl1. _ · iV, ,t lo ki11 at ~

hi torical . rr 1 · em . r ry dr· ·111rr 1n 1nu1·e 11n gallery· J.11d

r1v. te • 1[ -ti 11 . l c,rino· .i 11 g i pr "n . · n ir. vv ng

'tud. r(l , l11 · i, .1 \ ay<; 11lc.1..;, tr.1l1 · ( n :i · v l tl r)1 : 11<; ~ n 1 ·it-
1

i 1g I" • >n t:n11r)l· liv ~ · y tur11 . f . reu1 .. · 11 ' ue f llil' dctJ11i11u

1

1 ursu1 s uf 1 ' lifl'. l ut idL: tbc studi . 11ot uitc cqtralle b,

tl1"" ·e ards o ~ rt histor1cal rest:arch 111 Jibir ri .. L akin · , t
r;.1 ,,i ~ j~ u 11L ll,' 1 re pr tr e d h· n n1a ·11g e'\7 e11 the
:l, \ - 1 ktl1!:_)' iJ \ 1 i1 111) ;\'11 , . r y 1e:rh~r, te Ir~ ,\ ·ing
l r,t ·tic . F a 1 11b i111 rh \\ li g ti 1 ,r i , r ,_ :v-i n-
t 1 -n1 k,"ug b k. \ a. "Dra\\ in~: M ,1kint;, ,111 1 Tl1i11k.i1 g·, l ut
111u, 1J I d ided , retu1"11 in r ar tl e tle f lhe or g1-
11~tl ~ r ~ .ct. altho llgh tl1 i: t k l ~ d fi 1n
th i e.. 11 pra 1 J:. • J1d l"r rµ.1:.c. prop d h1 ha . r- fr
exh1l"lit1 l11.
[ t , 1..; he late , ,, eu ratli ,, hc., ptT 11t1\e1.i t< l 111 tl1 t 1 . h Juld.
.axtcnd 11 c ·1t li u t'"i · } i 1t J a llt> · • 111 1 tl1e " r ordi 1r
~1111 u11t f i11. · i u tj 111.tl · 11d ii1divil tta:l u pp rt l 111 r . , iv d
f r tb..i" ,.rc exte11ded pro · ct 1 pro f - ho,v 1111p rt.. rrt dra,ving
i nsidered to 1:e. I c::111.0 t1.r1 ;varn1 11 11~h ,~T
Tds t e.-pre s
111)' gr· 1 o h \/\ h h~ - h 1p d n1e l I i I TI rj ur11 .'·
M ;
irs tl1n1 . ;r
r Th H ll'l 1T f F und .. i ! an ITl1
J

El J 11a11t Tru t. h.c \ .irJ d T 1 ul1l 1.>rt gr, nt. t,,r r "it', r ·J ir Lo
1

,111 e.· '" 11 ·i 11 < f the r' hin.1! ·. t~1l u 11 19 ~"'"'· 1 f 11 ) ing
, r, L9t _ • J v a: hc \ cry -r a ef 1 re ipie11 J e,,, 11-mo1 tb
1-l -~ .. r 11 Ft'll<,\ i,hip i-c, 111 t 1 Leverl1t1l.t 1 T u.... . , a11d it , -a
durit1t 19~2. Jlld I , 3 tb.1t J uud rt k rc"~eJJ:cb u1. dra\ in~ ca -
inet in 111usct1111s 111 t1r: · · e and b Ur1it d _t - . 1 a11 , e •
1

b'T· ~tid ,e j( 1 n l lt·r ld ,1nd B . .ni t.: R · f r t1 r-tn -r. 11"

u cce · tl1 · ~a e 111 to the 1 ra,vi11 :· ,,_, ... . ]l ·ti n 1n the · \u tn11
.
1

of M d rr A1· ·• York. Il r l ) ·< _-. h I J , :l, e\•,~ rd · . tl1r -

n nth _t"i 1nr •{J ltuff l,y th < nd tti n T - ili~.., (An · .. 1 1n r
'c},Ju111 r r t Fo 111datí ~l. rJtlC ) 1 h d \\•'rÍtten a iir. t Llr 1f o
m . t c]1 pte . W r · \ i11t rru_pt . d f r tnr . e. r - , }1cn 1
, JJpointed I rof •·. f)r nf 1 ra ing . t i1 R )_11 •, ,Uegt: f :.rt 111
1 .• 11d lÍL.uung. [ 1is
t! eri( ' , u l.' r :it'.a 1 fi I eh ~ - n111t .)
l.'xti:11 lt'd 111to 1tl1c t urinrr -b1~ 1t1 1 Tl,c Q11ic 1U1tf 111, Dt,ul:
rfis1. 011d . lH (Thllll) ', ,r ,. ni i l1. hc 1-lJ)T\ • r aU ry f 1~ tl1 ·
1

A1 (~ u11 ·i] r 11 gL11d. [1 , ~9 f , a, gra eh:11 t.., b

, .. li , d R
L . r l Lt'.: Ttai1t
•
he ,./Ju ts I Hll .11' nitie ·
Il ·s .u- h C 1.111 11 hi h ail ~ed x11 eh
du Ü1g LI , ·pru 1_r T;· t 1
tio11aJ cl .J.pret .
.
f \ T;)~ ,1bl IO r urn to 111- i11 e re~earch 11r111 r 2000-01
• 11 l , l 1 i11 h ( · r •· 1 t' s ln tituc J. 11, ui 1 1 1scLn , •
tt: rb ia: thre-e h pLer . 'J h · t' n lTle
n1onths "vcre very productive, with support fro1n Lee l--Ie11dri.'(
and the Dratvi11gs Coilectio11 of tl1e ML1se111Tt. the l11ternacio11al
Scholars and !)ost-Doctoral FeLlows; the helpfül staff of the
Library and To1n Cr0\V, Cl1arlec; Salas a11d ali tbe members of the
Research lnstitute. Support for rny researcl, was ge11eróusly
extended by che Universicy of cbe Wesc of E11gland, Bri~tol, vi<1
my appointment asArnolfi11i Professor ofDravving in the facu]cy
of Art, Media a11d Design fi:0111 2.002 to 2006, and I o,ve a debt
to IJaul Gougl1, 110w Pro Vice-Cl1anccllor, Rcscarch, for his
support. 1 have been able to attend to the final stages of the
preparation of this book and nun1erous re,vrices through che
support of the University of Lincoln while I vvas llesearch
Professor of l)rawii1g, 2007-9.
l)rodLLctior1 of tlús book l1as benefited fro111 t\.vo very gener-
ous granes. I ai11 very grateft.11 to the Rootstein l-lopkins foun-
dation for :1 Special Grant i11 2007 towards e1nplo)·ing assistance
vvith pictt1re (esearch. The 1naJl)' coloured i1lustratio11S ii1 the
book "3re due to the- generosicy of the Annenberg Fou11dation,
and r offer n1y hearc-fe lt thanks co Lauren Don a11d che Cl,ora
Project for rr1aki11g cl1is possible. My deepest tl1a1iks to Gilli::111
Malpass for st1pporting this project, design.ing the book and
v.·orking so closcly ,vith 111e to bring it to publication, a11d to
JacqLúe Meredith. ])elia Gaze, EmiJy A11gus ai1d GeoffTowler.
1 am indebted to the a11011y1nous readers of tJ1e text and grate-
f u1 for their comments, suggestions and persiscence with such a
long l)ook. 1 offer 111y affectioriate tl1anks co D ~1vid A1ston wl10
steer~d a course tl1rougl1 tl1e n1udd]e(i l1y- \,vays of a first draft,
and to Margaret Garlake for J1er sterlu1g worl 011 the very
le11gtl1y second versio11, and for l1er generosity a11d ho11escy. l a1n
very grateful to Martin t>ostle for readii1g a chapter, to JL1üet
Barea11 Wilson for ber essencial correcuons and to 1nany, 1nany
drawing speci,a1ists, artists, are historians êlnd n1useutn curator~
\\'ho have advised and helped along tl1e "vay in innun1erable
ways, i11cludit1g Elias A.i,donopo ulos, Malcob11 Baker. Wendy
Baron, Giuli:i Bartru111, I lugh Belscy, T)avid Bindt11a11. 1-Iugo
Cl1ap111an. Martin c:layto11, Sir Tin1othv (~lifford. Stl'phen C(>p-
peJ, Diana l)ethlo:ff. Anto11y Gr1fl:iths. tbe late Charlls Harr1s011.
Michael Harriso11, Cl1arle!> Hope. Susan Lan1bcrt, Jacquehne
L1chcenstein. Marco Livi11gstone, Jan.e McAu~land. SuzaruJe
McCullagb, Mark M cf)onald. Jane Munro. She1IJ (.)'Connell,
Martin Roval , ton-Kisch, Nicho la~ S.ivage. l)a\ iJ Scrace, Tessa
~
Sidey, I~oberc Skelton, JGJ11 Slo.111, Nic.k Wadley, Ai1gc:la Weight,
Tim Wilcox, Ai1dre\\' Wilton. Jon Whiccley, Catl1cr1ne Wh1stler.
l)etcr Zcgers. Most of 1ny Lo11don-bascd rcscnrch l1as takcn place
i11 thc Natio11al Art Library in tl1e Victoria and Albert Museu1n,
and I thank tl1e staff for their u1ifaili11g l1el1-1fi..1lness. Ai1gela
1<...oche and cl1e staff in tl1e ]Jrints and Dr.1v·,ing'\ Study Ro<.)111 ar
the I3ritü,h Mu!>tu111 have been exceptionally helpful a.nd gener-
ous ,:vith tl1eir ti.n1e. I tried l>LLt so111e of 111y idea'> in a lecture
series at the N,1tio11al Galiery. London, iu association vvith tbe
Ur1i\Tersity of the Ai·ts, and nJy warn1 thai1ks go to Clive Garland
for having set this up ,vhen he ,vas at Can1ber,\.·el1 College of
Are a11d to Kathleen Adler a11d Colin Wi.ggins.
Many people havc= l1elped 1ne \Vith o·acing in1age, for the
book or '.'!Ltpplied phocographs. and I ,,vould like especially to
thar1k Stepheu Blytl1Jllau1 Tu11otl1y I-Iyu1an. Je111úfer Ran1kala-
vvo11. Stcpl1c11 Lloyd, Hcle11 Luckett, Dav,11 Ades, Joa1111a Sel-
bourne, Willian1 Feaver and lUchard Morphett. Thanks to Maggi
Hambling, Eddo KenoL1f,Jacqueli11e Morreau, Ansel JZrt1t. D01110
Baal and aJJ the other artists :.111d galleries ,;vh·o have supphed
i1nages or allowed 111e to r~procluce their ,vork.
T woulJ like es11eciaJly to tl1a11k Anné and Joseph R yh.vvert,
Roger Malbert and those friends ,,,!,o have encourageJ 111e
through years of obsess1ve engagen1e11t. l1oused n1e duru1g
\Vorking l101idays. or lister1ed to 1ny problents and offered me
succour. includ.ing tl1e late Bryan Robertson and Peter T0\\·11-
send. And 1nost of all, r thank 111y siscer Claire and niece Cillian
v,ho have kept n1e going, \vhile Pan1, \vho l1elped \vitl1 the
index. h,1s always bcen tl1erc tàr 111e aud has beeu a tovver
of strc11gth.
PR[íACE AND ACKNOWLEDGEMENTS x
 1----

VH tor Ne\v•on,e. Pn!/rlr Hcad. !')82. black ,halk :-ind charcoal ,v1rh hl.ick 1nk, he1ghtened Wlrh acry hc ,vhae, ~quared 111 p enei!. 32ii X 460111rn. London,
Tbc Unri,h Mt15<.:L1111, 1983.0521 . 30
Prolegomena
Thinl<ing about Drawing

lntroduction
l l<now of no art wh1ch calls ío1 the use oí more •ntel/igence than thal of draw1ng. Whethel
lt be a quest1on of conJur' ng fivrn the whole complex of what tS seen, Lhe one pencil
stroke that 1, r igl t, of surnn1anZJng a st1·uc.ture, of not lelting one·s hand wande1: or deci-
phenng and rnentally (orsnu/a!Jng before pur.111 e down. 01 whether lhe mon1ent be dom-
1nated by creaiiori, the rontrolhng 1dea growing richer and cfe,1rer w1th wha t lt becomes
on ,he paper and under one's eyes; evei-y ment.,1 facuhy íinds 1u furict1on tn ,he task.
Paul Valéry'
This book is based 011 the pi:L'>:sio11ate belief tl1at dra\.vii1g is tbe
bnsis of a11 art an.d visual chi11.kir1g. A t a tin1e vvhen drawing is
relati·vely 11eglected in ped~gogy a11d theory, altho1.1gb making a
vigorous con,eback in contemporary art practice, r believe there
is an urgent ncted to establish ir as a co111prehensive ~tudy that
li11k:i tl1e _prcseut witJ1 tbe pasc, anel practice \vith cheory aud
hiscory.
There are four interrelated asstu11ptions underlyi11g the text as
ir scts out a rheory and partia! history of dra,ving practice,
growing out <.)f rny belief in the self-awareness and knowing
intelhgen ce of artists, architects and desigi1ers as expressed in
lh eir sketches, stttdies, working and finished drawit1gs. Althot1gh
a trLtisn1, the u,ost i111portant 0f tb.ese is d1e pr1111al s-ignificauce
of dra,ving in ct1e gencration of vist1a:l concept~ ar1d processes in
aTt. Many other torn1s of endeavour, such as 1nl..fSic, dance and
literat1.1re, architecrurc, de~ign and engi11eering, ~on1e sciences ar1d
n1ach e111atics, ~i111ilarly develop ideas fro111 a fir<;t '>ketch. Tn art,
even tl1ougl1 tl1e n:1atio11.s]1ip of drawi11g to ocher for111s of visual
practice has radically chaugcd i.n the last decades, sk.etcbing con-
ti11ues to be identified witl1 tl1e 111ventio11 of 11ew ideas, ,vitl1 the
recording of, or response to, the e2'.'ternal physical vvorld, as \vell
as constin1ting the private sig,1s of the subjectíve and emotive
crearive self.
The second supposition is tl1.ic dn.1,.vi11g co11stitutes a discrete,
if c11joi11cd, discot1rse withi11 visual ai-t, witl1 its úw11 in.ter11al
eco11001y. Although drawit1g participates .in the smne systems of
representation and culturJ.l coJ1tex.'t:S as pai11ting, printing and
sculpture a11d otb.e r for111s of visual art, ir bas its o,vn cech niqt1es,
irs O\.Vn cypologies, codes, -;y<;te111s and strategies, ics ovvn po,ver
relations, its own 111arkec and colleccors, and a very ~pecific
history. Jts auto-reprcsentations are clearly distit1guisbed fro111
those of painti11g, and its various manifestatio11s are n,a1ned a11d
rer1arued and constai1tly redefi.ned througl1out Westcr11 cultural
histoty ,vitlún cl1angú1g episten1ologies.
Thirdl)~ because drav\i.ng creates hnkages bet,veen the past and
cl1e present by the serial and te111poral nat1.1re of its linearity, it
is d'> profoundly e1nbed<led in l1ü,tory as in the present.The struc-
ture of this book is therefore decer1ninedly trans-h..istorical, and
every atteu1pt "vill be made to contcxtuali&e co11te111porary ideas
about drávv.Í.11.g, 111cludiug tl1e idcologjes of the 111odernist av.u1t-
garde and posrn1odernisrn, within a livi11.g past, and to exa11-'lÍl1e
reinventions and continuities of arriscic praccice, a<; vvell as, occa-
<;ionally, ack.i,ovvleclging ruptures.
Fourtl1ly, because drawi11g re11ders thougl1t visil1le tl1rough its
su11ple tools a11d u11in1pcdcd tcchnique, and functiot1s .1-s the 111ost
direct external.isation of the co11ceptl1al, I vvill bc exan1i11ing
physical 1narks on paper, that is, the drawings the1nselves, in asso-
ciation \Vith artists' thoughts abo11t dra"vi11g, and directly quoting
fi·o111 their ,vritinbrs where th<1t is possible. While acknowledgi11g
the in1p<)rtance of n1aterials and their relacio11sh i11 to the uses,
 types of dra,ving a11d strategies of 111;:iking, I "vil] refere11ce a ,víde The Shape of the Book
range of theoretical and historical c;ource~ in so far as these have
Thc book is divided u1to six pares. Son1e cb,1pters sct out brc>,tll-
~erved to shJpe che private thoughts and publíc ideologies bein,g
based rheor1es about dra"vit1g p.ractice \V1.thin a histor1cal narra -
expressed rlzro11glz and i11 the drav,1 it1gs. Drawu1g as visuaJ th111k-
tive, ,vlúle other'i are based 011 exan1in,1rions of sr>eCJtic then,atics
1ng is profoundly in1portant for 111ost artists, Ltnco11sciously
and contextualised disct1s~ions of topo1. The final cl1apcer co1J-
ec.l1oing Willia.1J1 Blak.e's passia1iate conviction about art that '1
ce11craces on conre11111otary dra\.\ ing pr,1ctice.
am really drunk ,vith intclleccual vision whenever l take a pe11ctl
,, f begin v\'ith rhe noti()ll of'Dr..iw1ng cl\ C'{)l1t111lllllll', \Vl1ich f
or graver into n1y ha11d.'~
I s1,all be e111ployi11g an unashan1ed1y pragn1atic and experi-
ofl:er as a 'itructuraJ paradig1n in lieu or a.n all-erubracing anel
inevitably flavved ciefinit1on of dr.1wir1g. Tl1e J1near concu1uun1
e11cial n1ecl1odology in order to cou11teract the co111plex i nren-
e111braces a.11 types of dra"''ing &0111 the opcn-endcd skctch to
tions of this project. There is a rapidly gro\.ving literature 011
the finished work; ir asserts íts difterence frou1 tl1e art :u1d design
co11ten1porary dra\.vÜ1g, but generally its practical and tl1eoreti-
forn1s ,1/ich ,vhicb it is ii11plicated ::it 011e end of the spectrum
cal scudy lias been badly neglected i11 art a11d desigt1 schools ru1d
and coale~ce\ "' ith chern at che ocher. I introduce chi-; notion by
i11. univer&ity luscory of art or visual studies depart111ents. l per-
an analy~is of the topos of the Origins of l)ra,ving and ics n.•la-
ceive the need for a ,veb of em1-1ir1ca.l 11odules .lnd connections,
tiouship to line. ln reclai ming che Pliriian n1yth for dra,ving
to be unpicked, refi1ted, critiqued and l1opefi1lly reconstructed
(rather tha,1 as a general thteory of the origitl5 of art). l intcrprcc
by c;tudencs, historia11s and praccit101lers in fun1re rec;earch, and
the outline aro1.111d che shado~r that 1s dra,..,,.,. by che da1.1gl1ter of
have responded ,vitl1 an a111l)itious book that ~ets a very broad
the potter Butades, and ,vhJch is filled in ,vith clay by l1er facber,
agenda. ln son1e cl,aptcrs I access areas of cradirio11al art lustory.
as a 111etaphor for the pocency of che 1n1tial sketch, ~yhich gen-
s~1.cl1 as ico1'1ology and socia.l history, \.Vl1ere these seem co ili u-
erate,; a develop1nental cl1ain of proces~ thac ca11 be co1n1-ileted
1n1nate drawing practice; occasior1aliy, I shape ideas ~,itbin th.e
u1 ~notl1er 111etliu111. Uy con1paring cwo eighceenth-cencury
conte}."t of cultural theories. Whilc acknovvleLiging tbe hubr1s of
dravvings d1at illustrace thi~ topic, one an ope11-e11ded sketch an<l
suei, grandiose ai111s, l have spread n1y net as widely as possible,
the otl1er a lugluy fuusl1ed grapl1ic incerprctatio11 of a fashío11-
covering an enorn10L1<; hisroricaJ spa11 fi·o1n the fifteenth cc:ncury
able sL1bject. I set the scene for the following chapcers, which
co che prese11t, ai1d en1bracing dra\.vings fron1 111any Liiffere11t
exanune che polarities of fi11iro and 1101, .fi11ito (finish ::rn.d un-
European culn,res and geographically diverse artists. Tl1e book
finisl1), betvveen ,vhich tl,e Vinear continuL1111 of dra"ving is
deals prin1arily vvith Wester11 art. altl101.1gh 1 l1ave discussed
stretched .
Ii1di:111 draw:iI1gs on a few occasiotis, because they vvere ger111ane
ln 'The Persiscent Cult of tl1e Sketch' I argue agai11sc t]1e usual,
co rhe topic. 1 have not dealc wich any other cultu1·es, except
conflicting l1iscorical c1ain1!i thac 5ketcl1iL1g vvas inver1tcd, or sud-
passing references to Chinese and Japanese brus~ a~d i~k
de1ily be€aine very i111porta11t, at specitic n10111ents in Wescern
drawing, because l lack tl,e background for 111ean1ngful d1s-
are liistory. lnst~ad. l set out to den1011Strace that skeccbiug is an
cussio11~ in the,;e areas. Hov,rever, n1y rule of nol invescigating
essenual, ,,aJaed and contin1.1ous aspect ofWestern dr~1\\i11g prac-
tl1e dra,vi11g of non-Western culture in order noc to be token-
tice, cheori-,ed as pare of a n ongoing di<;coirrse of.fi11it<.> and 11011
iscic breaks do\vu in relation to tl1e globalis11J of couce111porary
finito. Tt is tl1e c.tegree to \.Vhicl1 idea'1 developed fro111 tl1e first
practice. Althougl1 l have concentrated on c:he greac dra~:ers
·sketch are valued at different hiscorical pcriods thac co11stitutcs a
Leonardo da Vinc1 and Mjchelangelo Buonarroti,AJbrecht Durer,
cha11gii1g bistorical spectrun1. l suggc!>t that thcorisations of the
lle1nbrandt Har1nensz. van R.ijn, Francisco de Goya y Luciences,
sketch rhar valorisc its sL1ggcstive ru1d u1tlinished qualities as
Jean-Auguste-DonuniL1ue Ingres, Vincent van Gogh, . He11ri
essencial for gencrating nevv ideas or capn1ring 11uances of the
Mati,;se ar1d Pal,lo Pica-iso co lugl1lighc historical narrattves or
observed vvorld have persisted across rhe centuries, and ha,·e bee11
explaiI1 then,atic conti11uities, I have also tried to bri11g to che
reconstin1ted ín conte1nporary theories of cogniti\'e psycholOb')•
fcore fi21.1res sucb as Andrea Con111iodi, Jan de Bisschop. Pietro
b
rn exan1ini11g cr1.1cial concepts such as 11e111i,11e111i (c<)rrectio11s or
Testa, Jacques de GJ1ey11 rr, Gabriel de Saint-Aubin, Huberc
seco11d tl1<)ughts), brevity and econo111y ('four ~trokes of c1 pen'),
Robert, Johan Tobias Sergel, Christoffer Wil.11eln1 Eckersberg,
and n1etaphoric associatio11s ,vitl1. spirit. genius, fire a11d spced,
Rodolphe Bresdin., Alfred l(L1bin and Jda Applebroog, wbo are
I dra,v the conclusion that these paradign1.<1. "vhicl1 once con
Jess celel1rated ch;111 111::rny of their conten1poraries, little kno~·n
stitu.ted. 111. elaborate rhetoric. have beco111e mcreas111gly subli-
out,;ide their o,vn countrie~ or undervalucd because their
11uced over cl1e cencur1es, and in our tin1e are narural1sed 1n
practice is 111ainly graphic.
cheorv and 1ntern:ilised 111 per!sonal prartice. The C<)nsrruct1on of
o o o
the sketch a~ tht:' n1odel for ,vider arti,tic prac.urc i, refêrrc.>d tc1
often in the cour"e of tl1e book. and i, rt·-exa111i11t·d i11 r\."Ltrion

INTRODUCTION
 to L.lrH.: 1t1.111; and u1 t t~ co11te111porary n1a1utestat1ons in tl1e final
ch.1pters.
ln ch.1pter chrel\ ' f-i11i-;hcd, At11lHl<)111ou, ,,nd J>re~enc.1rion
1)1 .1\\ 1ng,:. 1 pnip<)-.. e th,ll .1urc>t1~)lllOL1<; .111J highl> fi111,hed dra,v-
111g<;. ll>l e:,,..1111plc. thc c,Lr.1orJ111.1rily v1rtut):;i<.. pen \\'()rkc; of
And.rc.1 J\:l:.u1Lcg11.1. 11e11Jr1ck Goltztu, .u1d lngrcs, .ire indcl1bl1·
111,irked .1nd dcfu1ed b,r thc1r pc11od, urilikl' rough sketches,
,vh1ch c~c.1pe 111 111.111,· resi"c::cts tron1 che c11Jt1.1ral in1perac1ves of
the ir t1111e,. "l'he epoc h.,I 111d ph ilo-;oph1cal specíficiry of ltnish
111ih11te\ ,tgain,t l1i'ltoric ,1 gent•1 .1li-..1lit)ll'>. ,111d therefure T
c·x,u11u1e i11d1v1du.1I Jr,\\,\'Íng~ Crt>nt J1iTerent centur1es in co11.'iid-
erablc dLt,iil in relation to tbe1r condiuons of produccio11 and
rt·cept1011. C'hi,1n,s(t1n, (n1odcll 1ng in light and sbade) 1s a u·adj-
t1c1n,1I ~cr.1tegy of tini1t>. 111ov1ng dr,1,ving to\vard'> plasc1city,
, hro111city ,111d 1ni111es1,, .1nd ac; \uth 1:-. :1n exrren1el} in1porranr
.1,pect of c1c.1tlcn1ic n1cthodology. Otl1er accun1ulative stracegie~
th.1l '>Crvc to rl'placc the cxprcssivcncss of linc and gest ure a11d
Jirectl,, convev e1noc1ou it1 looser skctcl1es relate to thc devei-
op111ent of co111pos1r1onal dran1a and 11a1·r-0ci,·1cy. or facial a.nd
bodily C'X]_1n.·ss1,·1ty. Although finic;h ge11erally rnarks che public
'>t,1ru, o( ,1 ,~·ork.. draw1ng,; thal p,1rric1pate 111 rhe <;y111bolic
cco110111y t,f•giri:ing·. ac; exe111plifted l1y Michelangc:lo\ 11resenca-
t1on liravving!-., can be unfi111sbed, i11, inng the parricipation of thc
patro11. Cartoons a11d 111(1dclli at che end of a devclopn1cnta l cl1ain
of grap hi c cxploration, ,vh1ch are con1plcce 111 111::iny rcspcccs, buc
not fin:-1I bec.1u,c of their lack of rolour, sp:111 the i11terest1ngly
hybrid caregor1 of gri.,ai/le. lron1call1, it is tl1e ~itrisüillc work~ of
Cuhisn1, accon1111odaring the collalJor,1l ive and revolu rio11ary
cxpcr1111c11ratio11~ of n1oder11is111, tl1at hJve radically i111pacted on
t\,'entJetb- ,tnd t\venl")'-rirst-century .1tticude5 to finisl1.
]>art C\-VO. 'The Linear Econom)r', is ch_e key part of tl1t' book
111 relaoon to practJce. 13y ,;e,,ri□g dra,,ring as an econon1y \Vnere
the articulanonc; of che con,t1tt1e11t parts can be analysed a11d
co111p,1rt.'d. 1 l1:1ve been .1ble to isolate cru cial e1en1enr-; and
rc<;ources: ind1cate how tl1ey íuncri,)11 an<l are 111anaged; and sc ru-
ri11ise the 1nterplay bct\veen rhc dtfrêrenc parte; of che systcn1.
·rhis h,1s helpcd to establish rhc spccificjry of dra,viug JS prac-
cice. as ,ve11 as chart-ing 1ts si nular1ties to, and ditferences fro111,
clo~ely rt!lated arr for111<:. 1 have unravelled and separated ot1t
th1:,e interrelated n1c>d.1litie'I, but, <)Í cour,;e, ali ac;pect'- of the
line,1r eco110111, work cogether .1\ 1nL1tually reinforcing sysc~111s,
tn \vh1cb 11iaki11g mc.i thinkiug ,lrc inextrjtably ünkcd, just as tbe
atleca,·e pr.1ct1ce and 1ntentio11ality of dra,ving. and its reccption
by others, .lre 111separable 1-)arts of a linear reciproc1ty. Viev.red as
J 11011-te-111por;il con,;crucr, tlie ln,ear econon,y extends ,vell
beynnd the l<)llfine'- of Dn1e-per1od Qr specifi cs of 111ediun1 and
'it) lc, ,111d it const1tttte, .tn expJnded field.'
13) anal) si11g chc .1ppare11t propercic'> of line or n1atcrials or
dra,, 111g strategie~. 1 an1. to so111e cxte11t. c111bracing notions of
1nstrun1encalit,, and deltbera.celv sh1ft1ng a~vay fro111 the relativism
T~l1',f: tNG AB0 0 T DRAWING
and reception oriencanon oi- post-structt1rahst criticai theory. This
is nora retun, to naive for111alisn1, but an atte1n11t to analyse and
rev1ralise in1portanr -;tructt1ral .and expres~ive as11ects oí praclice
in ,1s,;ociatio11 \,\'itl1 tl,e incernaJ authorial critique a11d cxter11.1I
<líscourscs tliat 111od1fy sucl1 outpttt. 1t serves the perceived nced
to exa11rinc tbc 11on-discursive conditíor1s of drawing as an
archac'ology. 1
In rl1e chapter ' Line, Mark, Li11ear Codes and Touch' 1 inves-
tiga te the psychody11a111ics of lines and gestu raJ 111ark-n1aking
fron1 l1and dra"'•ing to linc~ 111,tde ou the co111pt1ter usi11g stan-
dard graphicaJ user 1nte1{aces in digital s,·stems or personally
authorcd algorirh111 tc prograi11s. L1ne appears to ·,vrite rin1e', and
tbe 111-0,,ng lines of dr::iwing contain the lustory of their ovvn
111aking as a11 internai structural n:1rrative, vvhich enable recon-
structive readi11gs l)y vievvers, dratuing tl1e111 into a potentially
i'i<)111orphic interrelationship with the nffective procGsses of
n1aki11g.~ A~ .1 ratifying ele111c11t of its differentiation &0111 colour.
Jine is rradiuo11ally organised inro sign syste111s or grapbic codes
for representmg volun1e, space .u1d cext11re." Some graphic codes
evolved i11 antiquit; and c;pecific renaissan ce usages have been
1
,
appropr1ated into con1pL1ter gr.1phical interfaces. Fo r exan1ple,
:;imple 'iÍXteenth-cenrury 'vvi.re-fi·an1e' figures, as co11structed by
Dürer. bave been trausforrned inro tl1-c con1plex polygo11 figures
that toru1 thc uúi-astruct11re o f soplusticated computerjscd a1u-
n1ation. The phe110111e-nolog1cal relatedness of vision and tactil-
iry 111 the gesrural aspects of d raw1ng consrit11ces a discourse of
touch. "''hich i,; bocl1 tra11sitive ;-ind ii1transitive, and is in1plicated
in spatialicy, Jistance, scale and relationship with rhe papc'r
support. 111 arder to reinforce the fact tl1at a si11gle artist can
easily explore a.lJ. these aspects of linearit,· ,vithit1 a co1nprehen-
si.ve graphic cxuvre, the chapter is illustrated "'·itl, a rar1ge of
(;01,a 's dra,,riugs, as well as ocber cr::tns-h1storicaJ ex:1mples.
Chapter five, 'Material Traces·, 1nve~tigates the purely practical
aspects of clrawing, alongside co111n1entary fron1 ::i rtists about
technique, usage and the ideological and historical values
attachcd to practicc. and attei11pts co sorc out the confusion
benveen n1edium., maceri:-tl, too1 and process that is cudenuc to
discttssio11s of drawing. Traditio11ally, n1aterials ha,,e bee11 defined
b)r their ease or resistance to erasure, as \,veU as specific charac-
reristics. There have been fe,v invenrion:. in drawing technolo-
gie.<i beyo11d those shared '-'v itl1 writir\g anel pri11t-1naki11g, a11d
the range of ne,v drawil1g 111edia tba.t bave bee11 developed i11
recent ycars prometes hybrid practices. lu this chaptcr drav.ring:;
are 1nvestigated to illustrate the deternunistic relationship
between ,na teria Is and types of bnes and 111arks. M ateriais opera te
\virhin a pracrica l conrinuum, from the use of a 111onon1ediun1
such as charcoal to seria l co111binations of con1plex processe~;
fro111 exploitaci<.)n of çhe parcicularitie-; of a n1ediun1 co ics c;ub-
vcrsio11; .111d fro1n u1sistcncc 011 the abstract qualities of tbe
n1ediw11 to optü1úsation of its n1i111ctic st1ggestibility.
 Iu 'Dra\-vu1g Strategie~' 1 pro}10se tl1at 111any f.1ctor~ of c.ira,ving
coalesce to forn1 cert~1in co111111011 straccgics ,vhe11 associated
vvítl1 particular types of subject ot artistic í11te11tions. These prob-
abJy develop fi·o111 lear11ed siruatíons, but beco □1e internahsed ns
t1nconscious or instinctíve aspect~ of making so :.is so1netin1es to
confou nd cat1sal argun1ents of o riginal and copy, or influence
and appropriatil)Jl. T refer to those ca~es \vhen artists n,ake spon-
tancous and appare11dy or iginal drawn staten1ents, ,vhicl, 11ever-
theless appcar to rcinveut ,vays of drawing used by others in tbe
remo te pasc. ln illuscration of this pl1enon1enon, J trace a par-
ticu11.r strategy of econon1y and focus in porrr<1it dra~mgs
e111ployed by lngres and Matisse, for exan1ple, and compare a
group of twi11ned drawings fi-0111 tl1e sixteentl1 century co che
nventieth that en1ploy re111arkably sínúlar 111ea111,, altl1ough arising
fi·o111 totalJy ditferent conditioni-,, p~riocl!> and cultures. Dra\vi11g
strategies involve certain co,11111011 taccics. such as rul1biJ1g. can-
cellir1g a11d bJurru1g an inicial gestur:.11 mark in order to gener-
ate graplnc ideas; the necting of tor111s "'-id1in a nest of
1neanderi11g lines; and reliance on found blocs, 111arks a11d Sllr-
faces to stin,ulate invenrion. Such processes Gln have a syn1bolic
as \Vell a,; a practícal function, for exan1r,le, in cc1ntributing to .1
_{1111.-..: rhetoric of sponcaueity, obse~sion or childlike il111oce11ce.
Framing, squarir1g, pricking and pou11ciJ1g a11d ocher 111etbods of
Lifting i111agery fron1 011.c st1pport to another act as significant
rupn1res tl1at assISt the develop111e11taJ eco11on1y of a drawing
chain or constitute the top1c or for111~1I s11bject n1atter of an
abstract work, ::ilong wíth <;yste1natic patterns of order and d1s-
order builc around ii1tern1ittent geon,etries. Other popular
conte111porary strategies. v:l1ose 111odel'i sre111 fi·on1 so- called
psycl1otic, naive or prin1itive art, are built upon obsessive pat-
cer11s of reiteracion, horror v,1(1ti a.nd erasing disti11ctions betwee11
'
drawíng a11d text.
ln 'Iuvisible Lines: TJ1e A:ftective Se1niorics of Design nnd
Compositioo' 1 examine the distinction betvveen drav.ring and
de-;ign, J1istorically íncorporated in theoriec; of diseg110 and dessei11.
The invi~iblc sy~te111<; T refer to ,1r~ either those Lt11t1erlying
fran1ev1orks by n1ea1is of wlricl1 ,ve ide11tify rococo curves or Art
Deco sryles of designing, or el5e scructural perspective ai1d chc
rule-based systeiT1s tl1a.t constitL1tc the invisible infrastr11cture of
pictoria1 co1nposition. All these abstracr syste111s coalesce co forn,
the affective, sy111bolic and expressive aspects of an artwork and
it<: recepcion. Thíc; conjunction i-; rraced l1ack,.,vards to 11eo11la-
conic roots, parlícularly Giovanlli Paolo Lon1azzo's so- called
Bible of Ma1111crisu1, i11 which en1otious (alJects) are syn1boli-
cally associated ~·ith geometric shapes. l1un1ours and eleu,ents. 7
William Hogarth's theory of the Serpe11tine Line developed from
this c;ource, a.nd together ,,,;xb s01ne aspeccs of Cbarle~ le l:3n1ns
brraphjc sy'>tetn of phys1ognorrrics and the ir1fluente of Johann
Cc1spar Lavater, the-~e éle111e11ts v,ere later conjoined in the linear
sen,iotic~ of the Dutcl1 artist and cl1eoreticia11 Hu111bert dt:
Su}1erville 111 hi~ E,soy ()li 1he [!11c1J11ditio1u1/ ,<;(~11s i11 1lrt (1 Íl.!7,,
v.'hich gre,v oul of the late eigl1teentb-ce11tury t:1scin,1tion \vid1
language a11ti syste11,s of grai.11111ar. Sue 11 notions ,, cre L'111br.1ced
by Cl1arles Bla11c ai1d t-L1e logíc,,J po~itívíst Ch,1rl~s I--le11ry i11 tl1e
ninetee11[h century. so that a coherent doctrine chat .1ssigned
e111otional properties co line and Linke.:I the111 c]()sel1• \\.'ith
colour, i11 ,111 affective gra111n1ar of synac::sthesia vvas already in
place before tl1e 111oder11isc e,peri 111eut~ at cl1c turn oCche t'v\·en-
tielh ce11tury, \-vhich 'liberated' cbe fc,r111JJ e]t:'111ents of .ut fro111
subjcct n1atter ai1d lustory pa.i11tit1g c.L-1rough thc po,verful for-
mLtlations of Wassily l{anclin.s ky and PJul Klcc. ,1n1on~t otber~.
Thts historicaJ narrative about tbe evol11 □ on of the affecn,,e
syncax of dra,v111g j., brieAy contextualised 10 relation to !ater
t\Yentieth-century a11d co11te111porary praçrice.
Discussion of thc- rulc-s of con1po<;ition lead" logically to 1,sues
of pedagogy in part thrce, 'l)ra\v111g as l)iscípline', ,, hi ch <leal,;
v,·itb those aspects of dra,v.i ng practice co11cer11el-i ,vitl1 tl1e
.1cqL1isicion and rnaintc11ance of tech11ical e>--pertíse and visual
kno,vJedge, botl1 u1.5ide a11d Ol]to;ide the acade111y and chrough-
out an :.u·tist'o; lifetín1e. Tbe signiftcant i~sue of everyday practice
in dr:-1,ving, di~cussed botb as a hi'>tor1cal topo~ 111tfl,1 dies $i111 1i111.'a
(11cver a tiay without a lin e) anti. an internalised 11,> chologiçal
con,;truct of artistic beha,,iour, opens cha}1ter eight, 'l)ra\ving and
Lcarni11g'. Tl1e humanist progran1111es dee111ed ncccssary tor cl1c
instructlon of the lear11ed artist in ltalian re11aissa.nce ci111es, tl1c
pictor rltlCT11s, i11clt1ded instruct1011 in n1ache1T1:.1t1cs and a11ato111,',
and cht: syn1bolic reprec;entations of -;uch ideal acade111ies :1re dis-
ct1ssed as n1odels of la ter royal and ,tate .1caden1ies. Tt is ,ugge'lted
tl1at notion~ of aurl1ority. ]1jerJrchy, co11ci11uicy and c;uccessjou,
wl1icl1 are ritualised in life classes through. control of po~e. dura-
tío11, Jigl1ting and vie,vu1g clista11ce. constitt1te a cliscoursc of
povver. This is mirrored it1 the symbolic Europcan pedagogic
journey from aspiration to n1astery e111bodied 111 the pilgrin1:ige
to R.ot11e. The rebe11ion against the 011press1011 of the acadei11ic
~ysten1, tl1e e~tablish111ent of industrial dra\ving schools i11 the
nincteench cencury a11d cl1e reforn1uJation of priociple'I of de-.ign
in rhc Dauhaus are vcry brieAy cxa111ined. as 1s the ne\v acade-
11ricism of contc111porary u11ivcrsity art departn1ents.
Dra,,mg ns n conduit for assembling divcrsity is cx;:11n111ed in
'Bodies in Pie-ces·. rhro-u gh tl1e prisn1 of the traditio11al prachce
of ;issen1bling a body fi-on, a kit of parts, cypified by wordless
dravving 111anuals. Suei, 111arlual\, ,vl1icl1 <>tTe-r a visual alpl1abet <>f
body parts for assen1blagc. arl' con111arl.'d ,vitl1 published a11ato111y
books. ra11gi11g fi_·o111 tl,e florid tropes of nu1u1erist a□d baroqlle
fantasy to the 111ore sober realise 0.11d classic1su1g compilatio11s of
che e1gl1tee11tb and early llJ1ecee11th centuries publ1shcd espc-
cia!Jy for art1sts. 130th type-!; of ma11t1:1l dcpend on cur and pa'lte
cechniques. collaging fragi11entt:d 1111.,gt", and ~n1ppecs of infor-
111acio11 as ,1 11hy~ical :111al<)gt.1e of notinn~ of disintegr,1rio11 and
'lynthesi'i. A-11 ex.urti11Jtion of proportion. syn1111etr) and thc di, is-
INTRODUCTION S
 161ln, of p.11 t,; 101.~use, on thL' n1,1111h?r 10 ,,viu eh perceptual and
1de.1hs1ng str.1regie, co.1lesce 111 dr.I\Vlllg, a, exé'n1pltfied in <;ftH.he<;
of hody p.1rt, by Ingrc,. The ,tructur1l ,y,re111 fi.)r recon,tiluti11g
hndtt·, 1. 111 .ti,<) be Jll tl',le11s1hly rt·,1li,;.t pr<.ljt'll into \.Vhi<.h ,cvercti
part~ ca11 111:.· fittl'ti .1s 1( the) to11,t1tt1tc J perct:ptu,11 verity. as in
a gruup of t upy dr.1,, in!-.rs b\ Van c;o~h. 'T he broad h1storv -;et
out in rbis chaprer e,tabl1shes rhar n1odes of d1s1ntegrat1011 and
reinteµrarion .ire' re~'lilar ÍilCtor~ of che Lli-.cipline of dr;1,,ring over
rhe ce11tur1t',, (<)nsi,tt·n tlv• re-thec>r1-.ed in rernl'> of current
deb.1te~ 111d pr,1<. tlCL''>.
ln th.ipter Lt·u, ' The Co111ple, Co11rr.1d1ction'i of Cop,wg', J
exJ1111nc qucst1011s of dra,vu1g m rt.l:i.tion to cop),·1ng fi-0111 his-
tor1cal cxe-n1plars. but do not ,;pecific,1IJ), addrcss rhc 1ssue of
copv-.1,-f;ike. 1:3r1eAy conrextu.1h,ed ,vitl1in di,cu~sions of
111i111e~1,. C<)p) 111g ti-0111 n,1ture .111d classic,11 exen1plars , thc first
-..ection Cl')lllt'lltrate\ on the Dutch conten1pt>raries Jan de Diss-
chúp J11d RL"n1braudt. as an ,1n1at1.'ur a11<l a protessjonal artist
involved witl1 d.iJ:ferent <L'>pects of 11nítanon at1d tr.111stOrn1ation
of n1odeJs. The traceable mterconnections iUnon~ artists across
northern ~n,d southern Europe- dt1rÍ11g tJ1e seve11teenth centu ry
serve .1s a <.panal n1otlel of che 'i()·l1-.nc ,111d ide<)lc)gtcal relacion-
'>hi1,-; c<>ndicio11cJ l1y ,1catlen11cally -;aoctio11ed copying pr,tctices.
Such histor1ca1 thcorics ,upply ,1 GL,onon1y tOr cxa111Ílwg the
pracncc and psychody11a111ics of cop)'lng an1011g n1odern arrists.
,vhere thc urge ro lc,1r11 by 1111jraring exen1plars has been rrans-
torn1ed 1nto other graphic 111ot1vat:ion~, includj11g che pleasure of
excrcising ,kill- o r theory-based strategies of yuesrioni11g author-
-.hi1, through Jppropriatio11. Moclel anJ copy nre particularly n:!1-
cvanl to tl1i: ne\v reproductive tecl1nologie.~ of thl' twe11ty-first
century and the co11te111porary culc of the ready-n1ade.
ln part fou1-, ·Dra,,.'Í11g the ~eJ f'. it is proposed that drav,'llgs
of arnsts in the act of dra,ving, incl11dü1g selfº-portraits, are not
sin1ple exerci'ies of rerording ,,·hac is ro hand ., but consricuce
1nea11 i11gful, differenci.iced topoi. ln a ~ec or concrasting n1ode~ of
\elf-represe11tatio11. tl1e artist j-, eirher recording nature vvhile
sc..1ted 111odestly on rhc groL111d ,vith ,1 drawu1g boar<.i or sittu1g
gra11dly ar an casei, conw1andu1g tl1e 'A'ürld fi-0111 thc studio. Tl1e
fo1-n1er ir11age celebrates rhe act of fookin,I!. through drawing and
C<>-Opts che arhst 1nco a supposedl 1 'natural' relationship ,vich. the
out,ide \Vt)rlJ. "' hile the lacter. n1ore hicr,1cic 1111,1ge. \Vhich attains
'>yn1bolic reson.111ce lrünl the Plininn legend of che visit of
Alexauder the Grcat to the studio of ApttlJes, procl,ti111s the legit-
unacy of draw1ng 111 rela.tion to otber for1n5 of art-rnakíng and
celebrares che culttu-a l povver of the n1ale ;irtist.
The n1ed1t·v.il 1111age or Sr Luke genuAect111g before the Virgin
as he dra,v\ her servt·!> as the 111odel of the renaissance artisr
copv1ng fro111 the a11ti(1ue, or arter the 'grea t n1aster~· in church
or cÍt). in ·J)rav-·111g Lhe Dra,ver: The Naturalisati<.>ll of !)r~ctice'.
Skecchin.g in 11ature. tht artist i~ tlepicted ,v1tl1 back turncd to
rhe spccracor or on che edges of the frar11e, con1111andiJ1g a vic,v
6 THINKING ABOUT DRAWll'.JG
tron1 rhe n1::irg,11s: a.n observer <?_{ landscape 111 landscape, 111ediat-
1ng rhe natural world for others, who-;e act or w1tness is .1 -_ig-
nifiranr part t1f che topic of the tlra,ving. Thc cultural pilgrü11age
to llo111c- ai1d tl1e recording or 11arional topograpl1i~s are exan1-
i11ed i11 chis cl1aptt:r i11 a brief ovcrview of rl1e relatio11Sliip of
a.reises, both profess1o nal ;111d an1ateur, co la.ndscape.
By contrast, i11 • l)ra,v111g tl1e Stucho: Power and Legitín1ar.ion ·
ir is argued that depicti<)ns of the artist ac the ea~el constitt1te a
~elf-aggrandising pr<>ject abouL the econon1ic, political and nu11ti-
!l()llS pocen cy of che artisc, chc social eL1ual of his patror15 '"ticl1
po,ver over thc body of thc 1nodcl. The rcso11ance of tJus gen-
dered 1co11ography, ,vhich csrablishcs chc studio as a sen,i-public
place of heroic perforn1ative acts, as \,·cll as private scates of
reverie, !;Un·ives even in tv11encietl1-century dra\\ing-. for
exan1ple. in dra,vinb"'i by Picas,o an<l Pl1ilip Guston. The chapcer
ends ,vitb a cüscu~sion of 111irror doublit1g and reflexivity in a
group of 11udc self-i111ages. \vluch illustra.te l1ow artists co11Struct
visual n1aiúfestos of creac1víty through dra,vu1g an :ipparently
s11n11le 1rnage of 'lelf
T,vo chaprcrs e,-plore aspecrs of ' I)ra,v111g the Ocher', in the
fifth 1.1a1·t <>f che book. 'C harged Line~ and Vernacular Bodies·
covers a very \vide l1i~torical spcctru111 in identifying thc uni-
versal existencc of caricature n~ a spccificall,· grap hic praccice, in
,vliicl1 tl1e cl1arged lü1e is both satirical a11d subvcrsive. althot1gb
arrists ,vho dra,v caricau1res are 110c easily accepted into the
gra11d canons of tradicional art hisrory. r disting11i<;]1 lJet\veen eco-
non1ically and SJ)eedily !>ketcl1ed caricature!), which deliberacely
;ldopt scrategies of de1,k illi ng and in fancilis111. aud tl1e co111posi-
tio11al and 11arrative co111plexjcjes of public caricatures, \vhich
e111pJoy deliberate g;rapluc tcchniqucs of satirica.l cxaggcrarior1.
Having traced the roots of c.ar1cat1.tre m tl1e vernacular depic-
tion of ,vorking bodies, as weli as a profane fa<;citiation ,,vith tbe
grotesque, <;ten1n1ing li·o111 Leonardo, 1 briefly exan1ine its rela-
tion<;hip to the bodily and facial theories of ex1,ression of Le
Brun a11d Lavater. Caricatural linear expressivity can readily
rcvt:al darker psychologicaJ processes or be co-opted for polici-
cal co11u11e11tary·, and 1 trace ho\v tliis tu1casy bt1t potc11t cate-
gory of artistic alcerit;• has i111pacted strongly on 1nodern drawi11g
pract1ce'>.
'Drawi11g Dearh and Desirt!' explore~ the notion that sexu,il-
ity exi-;ts as a st.1te of excess within representation. ,v]1ícl1 requires
i o.scription chruugh deliberace ')LTatcgies if the perso11al arousal of
tl1e a.rtisc is to be co1mI1wiica.ced. A1nongst a gro up of display
nudes, both male and fe111ale, \\' Itere the n1odcl's ,gaze is out-
wardJy d1rected at -che desirii1g spectator, áS forertm11ers of
Edo1.1ard Manec's 111odern Of)'111p1a, I tücus on ::i red chaJk
drawing of circa 18 10 by che Danisb arcisc C. W Eçker<;berg. I
analy~e dra\Villgs by Picas~o, Auguste Rodi11 and Egon Scl1ielc,
and note that thc potencial .frisso,1 of past <;exual 111orcs, ~ucb a!)
a wou1an puttu1g 011 her stocki11gs ::u1d chose pcrtaiiung to per-
sonal fetishis1n 111 tl1e drawings of HenTy Fuseli, can be so The Study of Drawing
encoded as ro be invisible to conte1nporary VIC\Vers. Tbis dis-
lc is a curiou-., ir significant íac:l chat therl· 1s no cl,:,11 tt•rn1inol-
cussio11 cherefore hinges on rhe distinctions bet\veen pmt;:tte and
ogy for Lhe 5tudy of dra,, ing, cven tbougl1 an i111111enst· litl.'ra-
pul1lic that have becon1e opaquely identified in po<;tn1odernisn1,
turc atcests to the strengtl"a and rigo11r of its histor1c.1l allli
but vvhich were ceutraJ to the con1n1unicacion of desire. l
contcn1porary existence as an 1ndcpende11c epIStcmr ~'ltru11 arr
con1pare ,von1en's dra\cvi11gs of male and fernale sexuality and
h1story and the sct1dy of collections. My r1eolog1sm oXFÔtoypa<p1CY.
their de-fanuliarisation of ger1craliscd historical ropoi with tl1e
Í'i coined fron1 the ter1n skliedhin (dra,ving, des1g11. -.kecch). \vhich
unconsciot1sly pttnishing male rcprcsentations of old \von1.cn
exists in both ancienr and 111otlern Greek and JOíns 111;arly with
beyo11d fertility. symbolised i11 the h:n1gin.g d11gs of jealous crones
,..(!,rap!,i11 as study ., nd discour&e.~ Tl1e sufiix appro11riatcly lonnote5
and evil fen1ale vvitches. The cl1::ipcer ends \vith a brief Jook at
bc>lh writi11g and dravving, signaUit1g thc graphic and textual
proscriptio11s in relation to the reception of deach in i111agery
nexus ,viclm1 ,vhicb dra,vwg is in1pLicated but fron1 v,:hicl1 it 15
and c]1e gra1,hic conventíons e1nployed in dtatl1bed portrc1it
also separate and autono1nous. ~kediography cl1erefore niak:es
drawu1gs.
clai111s ro be1ng a con1prehe11.sive, syncretic yet focused stnd>" of
[u 'Dra,vi11g Now', in the fu1al part, J briefly lay out so111c
dravving. in cluding its practice and conremporary re1é'vance, as
of the history of vvhat J }1ave tern1ed the regressive alliance,
vvelJ a'i its l1istory and literature.
whereby cwentietb-century arti.scs turn.e d again and aga111 to the
TraditionaJ con1n1entary 0 11 drawing ha'i centrt'd 011 de~crip-
are of chiJdren, 'primicives' and 'psychotics' or popt1lar or follc-
tions, attributions and ow11crship of Old Mascer dra\vi11g,. a
art for111.s to fi11d [resh 111odes of expression 11ot tainted w1tl1
no111cnclah.1re tl1at l "',jjl delibcra.tely noc be tu;ing 111 tlus book.
n1uch-derided acaden1ic skills or literal forn1s of representation.
preferrmg the less sexist and exclusive tern1 lustor1cal dra,~11gs.'J
Ava11t-garde bclief in constant renevval, invol,·en1ent v..ith process
The substantial literatt1re 011 historical dr::iwings is to bc tound
a11d strategies of deskilling as thi.! authe11tic sigi1s of self a11d
in tl,e catalogues of n1useun1 and private collectio11s a11d exl1i-
'genius' conti11ue to coe.l\."Íst in tl1.e twer1cy-first c~ntl1ry along-
birions, as ,vell as scholarly n1onographs involving pheno,nenal
side the Duchai11pian cuJt of the ready-111ade and 1ts powerfully
feats of n1e111ory, de<luctio11 a11d art bistorical k11owledge. tl'1ually
de-legitin1ising critjque of tl1e rra11sforn1ative possíbilitie~ of
structt1red witl1i11 a traditio11al paradigi11 of con11oisscurship.
drawing. I ex:11nine various 11ractices t],at sten, fi·on1 popular
An equivalenc body of iti.formatio11 about twentieth-ce11tt1ry
co111ic-strip n1odels at both énds of a gallery-based or global
dravving cxists a11d co111111c11tary on co11temporary drawing is
co □ m1ercíal spectrt1111. Tn particular, T propose that there has been
being assembJed, v,.•ith n1ost exhibitions and publicatiom c;te~-
a 111ajor paradigi.11 shift i11 the relationsl1ip of drawi.11g to the post-_
n,ing f1·on1 Ai11erica. Franct' and Gern1any, bac;ed on rather dif-
a.1.odem developn1ent of artistic multipractice. Dravving's lack of
ferent tl1eoretical n1odels. Wirh regard to discu-;sions of th<:' ac/ C>f
syste1nic relacionsl1ip with practice 1ueans that in 1T1a11y ,vays it
dra,ving. however. tbe literature is 111uch 111ore patchy, altbough
is liberaced as an autonon101.1s mediun1, but this ne\V role also
it has a very long lineage, dat111g back to earl>' renaissance cin1cs.
serves to suppress its traditio11al capabilicies as being critical, sub-
when it vvas co1.1taincd in arrisrs· tracts ;u1d carly corupilations of
versive and interrogatory.
artiscs' Livcs. 1~be embedding of tb.ese passages illt1strates the
Defore e111barking on tl1e capacious project chat T have detailed
scructural and all-embracing role of dra\vi11g as rhe pri111.al, u11dit:_
above, I con1pJctc this introductory section of Thc Pri111a(11 v_{
fc:;rentiated 1nediun1 "vithiJ1 which ali art-1naking Aoacs. and the
Drat11i11~ít witl1. a brief ovcrview of conte111.porary \,,,riti11g on
in,n1t'nse difficulry of defining son1etl1ing so Auid a11d inderer-
drawing, a critiqt1e of traditional connoisseurship and a co111.-
n1jnate. Yet i11 ali d1es~ work!>. \ivritten i11 Lhe n1ai11 by arti-;c/the-
1nenta ry 011 tra11s-historicism and historophobia. 1 do this
orists. exte11di11g fron1 che SL'Cteenth cc11tt1ry co tl11.! 111anjfescos of
through iJ1troducing, half jokingly, a cerm for tbe proposed port-
the early years of the t\ventietb, there :ire hcro1c atten1pts at
n1anteau i;t1.1dy of drawing, skhed!,iograpl,y or skediography. T11ere
con1prehensive defi11it1oru oí drav,,iJ1g. 10 _
has been a long hi,;tory of such neo1ogisn1s and altl1ougl1 f do
ln try1ng to define dra,v111g, djscussions have been tac:u~ed o·a-
not really believe that n1ine ,vill ever be adopted, l use it to
ditionally "vithin and around three- dic;cursive top1c,;: definition-;
bri11o- ho1ne the need for a broad-bascd raft of stttdies clustering
of disel!"º (dessei11) and theoretiral oppo~1ti(1ns of line and colour:
arou7id tl1.e history, theory :llld pract1ce of drawing, \ivh:ich can
pl1ilo~~ph.ical nocions of n1ín1esis, reprcscntacion .ind c~1pying;
be united inco a single discipline.
a11d the rclationship of drawing to rc::iching and acadenuc pro-
o o )
gran1111.cs. These are dealt " 'Íth ÍJ1 thc cotirse of this book in
:,,ore or lcss decai 1. Although atten1pts to theorise dravving as ::in
independe11t practice (as opposed to i1r:ictical ho,v-co-do-it
nianuals) have really exi,;ted only ~ince tl1e end of the ninetet·nth

INTROOUCTION 7
lCnt11r~. th t') h.1, e C<)llli11ut><l to (ollt)\V che'>t. -,tru<.'lltt.tl p,1r.1dign1s
01 h,\\ e bcc11 h-1~1:d l)ll t.1xo1101111cs o! pr.1ct1c(. J.nd historie.ai
.111,d) ~e., c,rg.t111st.·d .ll"t)llt1d tcctu1ique, proccss ,u1d scyle, a sysren1
c~t.1bl1,;hl·d b~ Joseph Mcdcr ::it the bcg1nning ot the t\-vent1eth
1
Ct.' ll t Uf\'.
, lated into Englisl1 i11 , 960. r:- Of cat.1 logue essay'i, i11cluding tl1ose
i\1 t·dt·r tiefin ed dr.1,, 1ng .1, ·.1 uni que ,vork of art (ofte11 pre-
p.11·.1tory tn ,1 n1ore de\'elopcd ,vork. but exi:,,ting equ,1lJ> in ics
{)\\ 11 ri ~ht) ,, ho \t' te 1. hnique 1~ ~r.1phic. closer to ,, ritn1i than
t0 p.1.111t111g: ,, l1ose ::iupport i~ 11ormilly paper: and \vhose 111ed1a
Jo not coyer th t· c11nre suppor1:·. 2 When t>h1lip lZa,,,son_ can1e
to ,vr1te h1, 111u{ h-loved, ofte11-c1c-ed nnd rt:'is~ued lJook l)ra11 1fr1g
.tl the end l1f thc 1yóos. he ,cated his intennon of e,p.111ding
l1ey<)11d Jo,e1,h Meder\ 'lurutcd range o[ Eun..,pcan . L1rav.ring
bet\Yecn tbe M1ddlc- Agc'i .u1d tl1c uinctcenth cc11tury' .ind bCf,'<lll
,, 1th J 111uch sl1111111cr, if still catcgorical defirntio11 of drawing as
·thJt elen1ent 1n a ,,~ork of are ,vhich is independe11r of colo1.1r
or ;1cn1al tbrt>e-di111ensional ,pace, che underlying conceptual
..,trt1Ctltrt: ,, hi1.h 111ay bi: indicarcd by to11t' alone'. 1\ The book
sp,t11~ a s11ati.i_l ,u1d llistoric,11 universe Íll it"> broad-bru~h defi1u-
t1011s and graphic cxan1ples, and contaiiis 0111) personal foot11otes.
110 b1bho~rrapJ1-y ar1d 11ot a si □gle reference. As a work of lugb
111oder111s111. ,vh1cb o,ves n1uch to KJndinsky and Klee, Ra,vso11 's
tor1nalisr .ind universal1sc pronou11cen1encs. '"'·hich he described
,1s ,1 '111eta-lauguage of fàrn1', are autl1oritative if not .dv.ay" clear.
Likc I3auhaus pcdagog1cs they so111cti111es esc,1pe frou1 the pre-
rc11cc of disintcrestcd thcory inro i11srructional i1npcratives:
'For1m shouJd l1a\·e the \\·idcsc possjblc scope of rccoUcction ·
(,vhacever that 111eans): rhere ,1 re 'fi)ur gen.eraJ caregories of Ji11ear
inAex,on· t111der ,vhich 'any hne. in so t:1r as 1t is a clearly con-
ceivt~d for111, 111u'>t falr ,1n,i so on. 1~ The co111l1i11.1tio11 o( univer-
sa lisi ng narrati,·t" and niysrificacion in tl1ese revealed crutl1s
pcrhaps accounts for cl1e book's continuing popularjty ,,,ith prac-
cising arr1sts. ()ccas1011ally, ltav-·so11-'s adn1.011jrions evoke the cat-
egorical exhorca cions and 111oralising certainties ofJohn ll.us.lan.
When lta,vson declares, ,vith L111asha111ed part1sanship. 'the
endless repetition of a 1,ingle-graded and Aatte11ed curve was; 0111::
of the evil tendencie, rhat afllic ted 111::iny drat1gl1ts111en of po<:t-
Rcnais\auce Europe fi-0111 13.111dinelli dow11 to FJaxn1au a11d
Fuscli'. l1e seen1s to be cvoking R1.1sk.i11's lav; of curvature -
·c:race-fi.1) curvaturc is disti11guished fi.·on1 ungracefi.11 by ... ics
111oderabo11 ... and secondly, by its va1:iatio11'. 1~ ln positio11-ing
dra,v111g 111ecl1od'i ,1s u nive r,;al -;e1nanti c ,;vsten1<;,
~ , Ra,vso n covers
dra,vin~ fi·on1 c.:ave arl co Chinese calligr,1phy co Greek vase
pJ111ung a11d Europc.:·an 111oder11iry, <lnd h e cnds ,vith a taxonon1y
of dra\\'1ug types, '" llicb again 1~ postulaccd ,1s app licablc to ali
cu lture,.
(;enerallv. che con1pelling hter::iture 011 dra,v1ng ,vithin the
pJsl fift) c)r ,n year~ (\Vtlh exceptions s1-1ch as Ann 13erminghan1's
L ca111ÍIII! /11 [)n111, \(11dics i11 riu· C11/t11rnl Hi i·tory <~r
t1 Police a11d
8 -rHI NKI '\I ( , A.BOU l DRAW lí IG
(. rs~fi,/ ....lrt. 111ajor con Lribution to tl1e \ocial hi.,tOr) o[
a
dra,,·iug) 1" l1as bccn short a.rticles or chapcers ín catalogues or
111011ographs, che most 111spiring of ,vluch are J>aul VaJéry's runu-
nations 011 dra\.v1ng 111 Deitas, ,\ 11111er, /Vforisot, v.,hich ,vas cra11s-
by non-,1rL historians in, itecl lby Fra11çoise Vi,1tre of cl1e Depart-
n1e11t of Gra11lúc Arts at tbc LoLLvre to parti cipatc iJ1 a uoique
st:ries of Pc1rti Prís exl1ibitiolli, Jacques Derr1dn's · Mer11oirs of the
1:3lj1)d: The Self:-1Jortrait a11d C)ther Ruins' of [990 has been the
n1osr 1nAttent1al and thought-11ro\·oking. 111 ln the United State-;,
13ern 1<:e R ose's A ll~!lOl'ies e!( .1 Joder11is1n: Cc1111e1111,orary Dra11 1i11g, a
caca logul' of an exbibition held at tbe Museu111 of MoLlern Art
i11 Ne,v York in 1992, was thc mo~t controvcrsial of a ra11ge of
in1prcssive cxllibitio11 publicatio1LS fi:om l\>10MA, to be followed
ten years larer by rhe equally controversjaJ Dra111i11,r: l\/0111: Ei_~/,t
/Jropositic111s of 2002 by Laura H optinan; while joh.n Elderfield
has wrircen n1ost beaucifully and inforn1atively abont drav,ing in
in~ighttul cat.1loguc.> es~ay\ fi-0111 Marisse L() Prud'hon. ln che past
tvvo dccades J11any tl1oüghtful and inAucllciaJ publicatio11s l1avc
e111erged fi:01n thc Dra\J\.·ing Cienter in Nev-· Yo1·k. especially those
under d1e edito rship of Catherine de Zcgber. 1') 011e of the 1nost
rev,arding essays on dra,ving in recent year<; has be-en Da,rid
l.'.tosand's 771e .\len11i11,(l c!f rl1e A /ark: Leo11nrdo 1111d Titia11, a pub-
1
lisl1ed lecture of 1988. "vl1icl1 propl)Secl a pl1eno111enologic:1l
relationship bctv.·ec11 drav.,ing and the u1aker's body, based on
.
rea d 111gs ot. M aurice
. M crlcau- 1>onry.-1 '>
A develop1nent of this sen,inal cssay, cogeth cr Vl'Íth other
111aterial. appears in l:losa11d"'s ilnportant book Dra11IÍ11g .4cL~:
Sturlies í11 GraJJhic E.Ypressio11 and R e11rese11tatíc111 of 2002. Rosand,
,vho .:ickno\, ledges his dt:bt to the subjettive, art hiscorical .u1d
forn1a]ist condjtious of con nois!>eurship. understands tl1at it pro-
vides invaluable ai1alysis of graphic style: 'Tbe drafts111ai1's cl1oicc
of 111-edit11u, the flo,v o[ lus line and tl1e characteristics of bis
touch , the disrribucion of for11,s and aece11ts over rhe page: t11ese
are so111e of the fi1ccors that deternline grapbjc scyle, the prunary
object of connoisseurship.' 21 He prOJ.10se'> a posirion that is beyo11d
con11oi~seursbip:
If we accept that the act of dr::r\ving is i11deed ,,·hat ,ve
respond to, then ic is rhat tl1at 111u!)t bec()1ne tl1e object of cTit-
ica] atteution. We owe ic to our ov.'n experie11ce ro take tl1e
creati11g process itself as seriously as th.e created vvork, indced.
as a11 ii1tegral d.il11cnsio11 of the work: as u11portant, \.Ve o,ve
it to the draftsrnar1. 11
Suice l ha,,c positio11ed 111yself in a differént rclationship to con-
11oisseursJ1ip a.ud, as an art1st. fce1 toc:ally cngagcd ,vicb the impor-
rance of pr::ictice. 1 fecl ic nccessary to lay out my understanding
of th1s co11tested ficld at son1-e lengtl1-.
Authorship and Connoisseurship
Jo11arha11- Richardson the Elder. 1 Although 1líchardson is one of
There 1s one Quallfrcat1on absolut-ely necessary to h1m that would know Hands. and d,s:.
t1nguish Copp,es from Ong1nals; As 1t also 1s to whosoever would 1udge vVell of the Good-
ness of a P1cture, or Drawing . and that 1s, He musl know how, and Accustom h1mself
to Take in, Relain. and Manage Clea1; and Distinct ldeas.
Jona than Richardson 1
Chlldren may .. be taughl draw1ng not Lo prevent them mak,ng rrustakes 1n lheir own
purLhar.es of obJects of art. nor 1n order thal they may nol be ,mposed on when they
are buy1ng or selling them. but perhaps rather because 1t makes !.hem iudges of the be.:iuty
of the human forrn. Always to be runn1ng after the stnclly useful 1s not becom1ng to free
and exalted souls
Ans:lotle1
hit11, 'there i~, in ,ill tl1e n1a~rers, cl1oug]1 not in ali equally, a
Giorgio Va}>ari, rh~ c.:hroniclt'r of ,,rtists' lt\1..'~, \\'::11> 111tL'1Jsel)
involvt'd ,vith collecting and identif,·ing dra,vings. \Vhich hc
grottped a11d elaboratcly wou11ced i11 hi~ '13ook <Jf l)r,1,ving, · (li
libra de' disci111). So v.ere the se-vcntecnth-ccnlllr), hc1r, to this
tradit1011. inclt1ding Fiuppo Bald111L1cc1, wl10 adv1sed Leopoldo
de' Mediei on h1c; encyclopacdic dra\\'lngs co1Ject1on. 1 Nonon,;
of connoi<;seurship. in rhe .;enc;e of a body of k110\, ledge ,:i. hereb)'
11011-practitic.)ner~ 111ake judge111enrs about 1;.)1--ig111,1liry ,tnd ,1L1t<>-
grapl1, were addressed in Frauce by Abral1.11n Uo'i'iC ,111d R()ger
d.t· l)iles ü1 the sevc11tce11th, cc11tury, a11d fui!) forn1ul.1tcd early
it1 the làllowing century by tl1e grcat E11glisl1 coll1101sseur
che fe,v v11-r1ters on art ro stress rhe differences racher than tbe
~i,nilaritie'i of dra\vii1g, painting aud print-1naking, his fort11l1la-
tio11 of the rules ~)f connoi~seurshi11, like other<;. de1,1;•nds c>n an
eu<l-deternú11ed conceptio11 of artistic practicc. 5 ln thi'i relJtio11.
drav,ings. u1uch as they are appreciated as bcautiful a11d revcla-
tory obJects, functio11 as formaJ cvidc11cc of fi1úshed art\vorks 111
other 1nedía and are legitu.11.ated 111 relaoon co those ,vorks - or
cheir abse □ ce_c, This is one of the co11te11tions of connoissetu·-;hip
th.1r I believe is out of -,tep vvith conten,por.1ry rhinking abouc
dra,vi11g a11d its practice.
T)ra,vings, especially skt!tches as \<vorkiug studio docun1e11t<,, are
usually u11signed, therefore attributi11g author!1l1-ip and debating
autl1enticity of autograpl1 constitute the defining aspc-ccs of
drav;ing connoisseursbip. Attributions depend on analysis of
forn1al dra\7\ring q-ualities .-ind apprcciation ot- chose special dif:..
ferences that constitute personal aut()graph; v11hi1t Richard<;on,
follovving a long tra<lition. refers to as 'Lhe l1antl·. According ro
certaii1 characte-r, and peculiarity that runs tlu·ough all their
vvorks in son1e 111cas1.tre, and ,vh-ich a good co11noisseur kno,,,s,
~-

tho11Jl1 he ca,11101 describe it to a1101hcr' (n1y ítalics) .7 Prescnc-day

analyses of dra,ving ttyle, which. ac; Rosand has pointe<l otit, are
high]y su bjective, generally ren1:1in tacit, representi11g the secret
,tnd und1sclosed su111 of i11dicators vvhereby ar1 expt!rl arrives ,lt
conclusions of autl1orsl1ip alter n1a11y ycars of !t)oking and st1.1dy-
ing. s Tbe nineteentl1-centur>' ltalia.n conuoisscur Giovanru
MoTelli attempced to forn1alise methods of attribucion througl1
the 111ii1nte ex::i11iinacion o{ autographic 1narks, m1d 1nany schol-
ars □-y to 1nake these procedures crans~1arent and rule-based,
although clai111s fur scie11rific 'iysten1s of forn,al .111.1lysis can be
very unsatisfactory.'1 Thjs is noc because rl1e noLion of per<;on.1I
aucograph is a ficcion, buc because Lhe ,,cry nature of dra¼ing as
a rcsponsivc a11d 1abilc poetics n1ilitates agai11st rig1d cochlicat1011
of stylc a11d hand.
There is a ver)' basic disJunct1011, I suggest. bt·tv.·et':'n che tixed
.iio1s and valt1es nnd son1erin1es incoht':'renc 111echodolo1:,rit'<; of
connois-ieurship .incl the diver~e and unfixt'd dynan1ic, t,f art-
111aki11g. The core concept of C()n11oi!)st'ur~hip i-; che irrt:Llucibil-
 lt) oi 1ucho1 ,;l11p. ,, hl'rl',1'- 111udt.·rn ,chol.1rid1ip h:is. convinc111gl).
n..'( cJ nl1gi1rL·d .111thor,hip 1, ,1 111t1ri.> tiuid ,1nd rel:1rive srate. fhe-
0 11c: oi .1rt h.1, e .11,, ,,y, pri\'tl1.•gcd d11.· in1pnrl,lt1l·e l)( i11ve11ti<111
.111d r1.•11 1.· ,,al. l 011den111111g ,1.·1t:.i1111t,1Li<>ll u1J the t' 1sy pt1r\L1tl t)f
,1 fixed ,1L1tbt,r1.d ,l) ll.. \11 ]<1.,hu.1 llcv11old'i. tor cxa111ple, pro-
cl.1i111l.·,i th.1t 'thl' •grt•,tte,t 11.1tu1·.1l •g;e111us l\lllllOt <,t16s1st 011 tr<, O\\'tl
,tnck: hl• \\'ho rl.',l,l\'L''- never to r.111-;ack ,111) nu11d buc h1s o,vn,
,, 111 bl.' 'i<Hlll rl.•duçed, tro111 111t're barn:•nnc-;s, tc1 the pooresr of
.d! i1nit.1t1u11,: l1t 11•iff hc (11,f,~cd r,1 11111(11/1 lii111sc{{' (111) italic,). 11
Tlic 1efi.1t,lll<>ll ( ) r ,e lf-i111it:lll{) ll i, ,1 rull.· of thu111b in n1uch con-
ll'111)10J,11'\' .
, l t it1ci,111. ,111d tho~e ,1rtists ,vhl1Sl' sr,·le 1s to<> 1n~is-
Ltntl, tdl:nl1b,1hJe ,lrl: rt'Jtlll,• lJbcllcJ scalc. 111ecl1:inistic,
,1.·ll" cltchéd. l l1e ,:1t1r1c.1l tl)pos of thL' ,1rt:1st and the conno1sseur
ll odd, \Vlth l'.ll 1, <>ther 111 fr011r (.)( thl' \VC)rk ()f slTt, v;hich J
t·,plnrL b1 H.·ll\' 111 rh.1pte1 t\\·el,·L", ,llte,t,; LO rhe !(>11g av:are11e,;s
l)r thh lOl1f1 1ct or v,due,
The prl'v,nling 111ude of ct1nnoiso;eurship can bcst bc dctu1ed
.1~ . fi1rc11sic, \V1tli reg,1rd to tbc 111a1u1er of co1Jccri11g and cescing
~ ~
ev1dL·nce .1nd the 1111porra11cc gi,·en to cl1e opi11.1ons of expert
\Yitt1e,._e,. l3ur bec:111se expert \\ itnesses very seldo111 agree -
1 scu lpt1.1rc or design, anel ,;uggests a taccical refusal to theorise
ho,vt·vc-r sei upulou~ly tr:.nned .111d .1ccredited- anel tl1ere is no
,1rb1ter t11 jtu..lg;t· ,lct ep Lablc to .ili p.1rlie~, the Jr,t\\ i11g~ u11Ller
st ruL11l\ can fin..illy hc r.1t1fieJ 011Jy b> chc .1ccu111u lation of
lc,u·ol·d t>puuo11s ,u1d tl1e quotat100 of precede11ts. fhis legalistic
1111pcr.1t1ve i, one of rhe reasons •0:l1y dr1wiug catalogues are
e,rrt't11ely thorough 111 r1t1ng publt~hed opin101:1-;, hovvever
nb<;t ure lbt' ~nurl't'!- or ref~rt'llCe.
Thc tl.1n~cr or
.. 1>( tht: !"ort'n,ic 111ode rase lavv, ho,vever, is ch,ic
1l l)fTcr'\ in1pcdi111cnts to exanúning the dra,v111g q11a drav,1ing, J1ot
.1u,t a, a piece of l:,·idcnce in a chai n of reasoning or bearing a
hurden of styli5t1c or dcvclopn1eJ1tal proof. Not onJy is the attri-
but1011 of rhe dra,, ·ii1g dependenc npon a very si111ple one-co-
0111:- n:l.1tion,l11p vvith .1 k11011•11 fini~hed \VOrk (if ,1 p~1i nting by
P.1r111igi.111 i11c) co11t,lÍ11~ a fe111ale figure ,pinning tl1read tl1eu tl,i.,
t>b,crv,1tit111.1l dra\\ ing i, iudubitabl) b> Parnligianino. othenvise
11 1111ght hJve to bc \cl100J of}. but 1t c..in also u1duce a curi-
()U'ily .111aJo~ic.1l extens1on 111to banal considerations of pragmat-
1cs, 111 ()rder to bol.,çer che 'ihakine'i'i of second-tier 'itylisttc
.11crihu1ion. 11 For t'xa111ple. 111 che hi-;torica1 clra,v1ng literature,
l.1nd,lapl· dra,,·ing i~ very often cc:-;ted for its relation te.> re,il
topl)gr.1phical ,itc,. no 111.1tter ho,~· sy111bolic t)r convt:ntionali!-ied
tbe stvll· and 111ctht)d. Si111íl.1rl~. Fi~Ufl' drJ,viug::. are 11early al\.vays
dt'cl.1n.·d to bc fi-on1 thc hfe irre.::pccti,·e of 5C)'listic clues to t11e
contra~ ••u,d oh,·1ousl\ 111t1ch t1n1e i-; spent in traci11g, arg-u1ng
fi.,r ,1nd n.11111ng pt1rtrair sub.1erts. Skerche!>, ho,\.·e,·er wild and fui!
t>I° 11,·11ri111c11ti, .trl.' ll'~led t)ni 1 .1ga in,c che 1ronograph) of tht' final
\vork. \\1Lhouc cons1der,\ L1011 th.1L thl'V could be trial srudies
' '
.tucont.1t1( doodlcs or cvcn lud1t 1dt'<l'- th,1t led no,vl1ere. (Ir i-; ,l
tribute ro rhe11 \V()rk-obsc-;st.·cl i111,1g;l' th,1l, pr1(,r to 111oder1usn1,
.1rn,;t, .trl' bt ltt>vt·d 11c1'cr ro h.1vc been playn.1L 1ndttlgcnc or ,vasre-
10 Tl'ilNI NG ABOU T DRAWING
ful!) 'fhis den1gration of the experi111ental and in,aginative
i111portance of dra,ving pr,1ccite (v-.1l1ich 1 argue for evidentially.
even ,virhin the t~1r-off renais\ance v-.·or~sho11) l,ac; a ritttal exten-
!-.io11 in tbe uanung, or rachcr reluctance co 11a1ne. certain dra\V-
in.gs w1thin collcctions.
B)· clu.s 1 a.111 not referring tt1 thc nan1i11g of me putative artist.
that 1s, the ascr1ption of Juchorsh1p according ro a cotnplicated
code rhat denote,; degrees of elJUÍ\'OCation: attributed to. a~c1-ibed
to, school or, clo'>e circle of, accon1panied or 11ot accon1panied
by questio11 n1arks. In~tead. I an1 rcferri11g co che reluctancc by
dealers or n1u.seLtn1 curacors to designate tl1e drawing itself until
it has been fitted to a :fi11ished vvork, as tl1e result of legitima-
tion b·y tl1e requisite 11un1ber of expert opinions. l)eüberately
'neutral' descriptions are en1ployed for de'icribing che \\·ork in
catalogue~, for exan1ple. Bec1rded O/d ,\[a11 ,11irh 7il'o Cliildren racher
than Lhe auchor.itative (and. therefore, prcsu111Jbly. contentious)
Chro11os 111ith P11tti, The refusal to na111e a dravving bcforc it has
~
bccn aurhenticated ,vit11 refere11ce to :l convinci11g citacion places
dra\.ving in :i scricrly hierarchical relation to finíshed painting,
dra,v1ng in its own right. Yec, it n1ust be argued tl1at drawi ngs
are as n1ucl1 th~ co11tai11cl1 c;ité'i of ,nean.i.ng as aoy otl1er cultural
production.And the fact tb.a t 111eani11gs, "\vlllcl1 ha,·e been loosel)·
a11d tc11tatively u1dicated in an early sketch, nllght be appropri-
ated and re,\·orked 111 anocher context does not rob the111. of
valtd1ty in their in,tial n1a11ifestations.
Tl,e 11011-~pecific, but de~criptive na111ing of drawi11gs in col-
lectiou~ ,vitlún tl1e context of a h.ierarcllical value systcn1 i,; at
thc very root of arcl1aic systc111s of muscw:u taxouomy. Dravv-
it1gs, like pri11ts ,vhich are catalogued by size, havc been grouped
for centuries under bro,id cacegories of figt.1re studies. landscapes,
portrait heads, fi.1ll-le11gth porcraits, ani111al studies, and so on, and
,vithin these categor.ies (wbicl1 approx;n,ate to a certain extent
to pai11ci11g genre~) clost' .1 ttention is paid co nu111ber, bodily dress
or u 11<.iress, ge11der. direction of 1110\·e1nent and setti11g. 11 Tbus:
'to1.1r figu.res, nvo clothed felll1ales, one reclining 011 the river
bruik and 011e ui.ale holding a <;pear facing left with a dog barki.11g
ac bis feet'. l11vestigacions inco tbe early 5i~teenth-cencu ry princ
collection of Ferdinand Colun1bu-; bave revealed that chis taxo-
110111ic '>ysten, ,vas al rcady in i.:1se at tl1i~ early date in Spain. 1., A
-,tro11g reliatice is plact:d on tl1e presu111ed dispassion of 1,uch
descriptio11s, as if tl1is so111eho1v bcsto\\·s a sen1i-scicncific lcgiti-
111acy upon che \vhole .1ctivity of politely vvithhcld attribucion.
ln addition to these coded descriptions, works are ordered
chronologically ,,ritl1i11 the arti.sc's a>u,·re, ,u1d individual artists
are classified under date and gt:ographic regjon: Souchern Italían,
sixteenth cenrury and so <Jn.
ln 111ucb otl1erwise invaluable collection literature, therefore,
dra,vings reside in a sh.rouded Spàce o[ iudeteru1in..1L-y at the vcry
hcarc of a r1g1d, forn1ulatc and enfra11ling ta.,ononii c systern, beld
in place or even sewn up by the 111aterial v,:cight of cxpert val-
orisatio11. A tàrensíc a11d public pedigree not only secu rés the
n1onetary value of a particular dra,ving (dependi11g 011 a co111-
plicated calcLil,1rio n of the ratio o f rarity to prob:1biltcy o f attri-
11utio11), buc al!io the degree of sacra1isati ()ll bestov.,ed on ic by
the institution roncerned, and the syn1bo lic legi tiu, ,,cy accor<led
by the reputation of thc scholars involvcd. 14 (BecaLtse of thesc
11111tually depe11dent li1octio11s, expert scholars at variance are
forced to assu111e tl1e 11rbane role of co11se11ru1g ene1rues,
although passions run high .) The occlL1ded values tbac cluster
around isslleS of o,vners;hip can easi ly be :ippropriated into
natit1nali5tic narratives. TJ1is wa~ so witl1 the Ren1br~1ndt project,
wl1ere n1ajor and vvide-ra11ging de-attributions of l~cn1l)ra11dt's
dra\vings (shift:ing, alo11g ,vith thc rcst of hb ~uvre. bet,vee11
tl1e 111astcr a11d b.is workshop) ,vere argued along li11es of disiI1-
rerested scholarship by the interested experts of 111ajo1· i11stit11-
tio11s, but were obviously shaped by passionate. if obscured,
n.1tior1alisti c as11irations ,111.d institucional loyaJty. Affir111atio n of
the i111portance of the n1aster, even in W(1rkshops like llen1-
brandt's wl1ere pupils a11d assista nts had been tra ined in tbe
bt)Jily dyna1nicc; 01· his very o,vn autograpl1, leads to t11e cuJt of
incontrove.rtibJe ·111ascerpicccs', a.od thc subseque11t denigrat:ion
of unattributed or l.1n.firusl1ed dra,vings, vvhich cai111ot be fitced
lllto gra11d narratives of biographica.l developn1ent. l n rhe nin e-
teenrh centu r)· the markerplace readily ~upported hacks for fin-
ishing off sketc hy drawings, including Re111brandt\, te) che
required degree of elaboration fc>r colleccors ,vho subscribec1 to
chis view, and evc11 coday, in tl1c face of tl1e curre11t passio11 for
the slight, thc skctchy aJ1d tl1e u1 1Finishcd, son1 e n1uscu1ns acquire
only heavily ,vorked a11d/ or consecrated ,naste1,:vorks for their
dr.iwi.ng coJlections. The nirg1d concept of che ·1naster,s hat1d-
v\,ricing', although inc:vitably accon1panied b)' analysis of early,
111iddle c111<l late styliscic periods, neve rtheless posits autograpllic
persi,;ten ce or clear and definab]e sh iffs of stylt!. In co11travencio 11
of tl1is b~lief, I believe Lbat autograpb ca11 be interJ1t ittent. delib-
erately suppr~sed or overlaid, and l argue tlus on occasio11S iu
the tà1lowi11g pagcs, citi11g chose h1storical as well as modero
moven1enrs (11eoclassicis1n, Cubisn1 and M.inin1alis1n, for exan1ple)
,vhere artists have clone their best to suppress it1dividual z1 uro-
grapl1 in favour or clariry and/or anonyn1 ity.
ft is ger111ane to n1y analysis to ren1i11c{ us th,1t Foucault's
critique of rl1e dllthor fun ctíon as n1aintaining a co,1stanc level
of value. conceptllal coherence a,1d stylístic unity r11at 'neutral.ises
contradictions' ,vas proposed ia ref11tation of St Jeron1e 's fou.r
criteria of Christian saintliness. St Jeron1e's □ otions that inferior,
coucradictory and stylist:Jcall)r inco11sistent ,,.rorks should be
struck ol'T the canonic tables sti ll find an echo in the cult of
n1asculi11e genills encapsulated in 1nodern co11noisseu rship ''i
belier i.n Luneless n1aster-drawings, irrefucablc autograpb a11d
rcjcction of transitionaJ ,vorks - espcc1ally thosc ovcr ,vhich rhe
cxperts c,111not agrce. 15 Foucault questioued tl1e idcolog1Lil status
of author1ul gc11111s in tern1S of .1 shifi: to discoursL. ,vluch
invol,:es a con1plex relarionsh1p (or non rel.1tio11sl1ip) \\·ith rhe
author. 1n 11oting rhat authors can al,o be ·founders of discur-
sivity'. l1e n1adc· a th:-.t1nct1on l1ec,vee11 st ience and d1-,curs1\'e
1,ractices ,vht>re the 11et>d to 'rett1r11 to rhe origin' consticutl'" 'an
elTective ;:n1d ncces5,lry task of cranstoruling tl1c <lisci1rsive prac-
tice 1tsclf'. Ih By ignorin.g d1S€011r:-e tl1eor; .u1d ics , aric<l 1110Lle,
of circ1tlatio11, vaJorisation, attt1button a11d appropr1at1or1. :u1d b-v
its reluctance to qucsc1011 any ot thl' teuecs ot 1ts belief struc-
tures, connoisseuri::il scholarship eas1ly ~hps hack 1nro a sep;iransr,
self-co ntained and self-refere11ti.al t1111e \Narp. The ,·ery speci:1]
pbysical conliitionf. of drav;ing collections. ,,·11ich requ1re to l1c
separately l1oused fi.-0111 paii1ting ai1d -.culpturc and ,ubject lo dif-
ferent co11ditio11s of storage, conscrvation and display. part1cula.rl,-
lo,v ligbt le,,els, go a lo11g \.Vay to e11ge11derin.g such a l1cr111etic
111ystigue, vvhich n1anifests itself 111 rítuals of scholarly ownersh1p
and relLt ctance co ,velconie visitors or pt1r W()rks 011 display,
exrept for very lin1ited peric)ds. 17 lt even 111ilitatl's .again<;r cl1e
collection of C()llten1_porarJ dra,ving. Sin ce ~o 111any tvventiech-
anLl tvventy-first-century vvorks are eitl,er very large. or on a
,vide variety of support.s, a11d most certa11tly do not fit 111to the
Solandcr boxes or scorage cabinets desi.gned for tradicional paper
s1zes, argun1ents for 11ot coUectiI1g th e111 can be rnade to sou11d
very reasonable indeed. 1~
Th e Th inki ng H and
ln relacion to ulÍs critique of traditional con11oisseursh:ip, it 1n11st
be stated that, of course, I do not deny the specificity of an artist's
autogràph <)r handwi·icing, t)r the necessicy of detern11nÍJ1g <;uch
facto r'i ín parti cular cí rcu n,sta nces. A.-, a i:,r.icti~ing artíi;t. I 11 an1-
raUy acknovvledge authorsJ1ip as tl1e 111ost ,ignificant aspect of
tbe personal dynanlics of practice a11d the specific co11ditious
of prodL1tt1on. alth ougl1 l am loath to acknov>.•ledgc ic as cl1c
donlinant sigrufier of value ,vichjn a ,11onctary or syi11bolically
co11secrated art eco110111)'· Questions of authorsl1ip are co nt111-
ge11t, needing to be conrextuJ1ised ,vithin the ,videst of pbilo-
sophical debates and shaped by the relativity of cultur,11
CO llStTUCt'l.
In a book tbat privilegc:'> pr.1ct1ce, it has been ii11portu1c. tàr
exan1ple, to exanú11c the u1a,1ncr in ,vl:úcl1 an arrisr craii1s th!.!
hai1d in coorcür1ation V\'Ítb the eye an d unasri.nation. Pe,rforma.-
civt' skill in any tield of Cl.llttTr.:d act1v-ity tr;1d1t1onall)' evt) kes qual-
1tacive distinction<, 11etween n1ech.u1ic;1] ('1nere ') 5k11l .1nd cl,e
thoughrful, en1ocive or 1uio,;yncratic exerc i,e (>f Lrained abiliue~.
ln the ficl<l of dra,ving, ,vhere acqu1s1tion of cech111cal facility
li as aJ,vays bcc11 both prou,otcd a11d contesccd. thc 11oun and
verb, drav,·i11g/to drav., havc assim1cd .1 problcn1at1c S)'lJecdochic
AUTHORSHIP ANO CONNOISSEURSHIP 11
1 1 11tl11, UH>ll \\ 1th 11o t10 11\ \,1 u11111ct1c c x,1( LitttdL·. fbe co111-
11,cHtl) 1 ( 11d huc nt·~~.1\1\t c r1t1 L1ue tli.1t 'l t>r hL· or ... hc can't draw·
1 tu ili, n..: tc.: 1-. t,, 1n 111,1hd11\· r11 rL'prt.·,enr thc• 111.1tc:1r1,1 I ,vorld
1cLu1,11c·ly. hu i 1, ,, 111, 11111.: ,,ptll <,( 1cch11it .il pr<1ítctt·nry. The
l>L·lt el 1lt.11 111 d r,1,v .111 ol~)L'LI in tltL· ,,·orld - t.tkc .1 hkene~~• .lS it
u,1.; d to hl' pl11 ,1,L·,I 1, .111 .1,· t t>f .1pp1oµr1.1tion Lhat gue~ bcvu11d
\\n 1d, 111 W c•,tl't 11 ,u l SLrc11gthc11, d11s 111,1tcriilisr u11dcr~ta11d1ng
101
u i d1 .l\\l11 g ·" 111 111H: (H ,kdl.
li111 l1 llll rl' 111 t np) ,,t sk1 ll .111d 1ned 1.1tecl . . tr.llt>p;ie-, th,1t h.ive
dt t· p,>Ll' lllt ,tl lllt t' t l'.1t111 g 'lllllt'lhing llt'\V .trt' lt>t .,ted in relc1Lit>11
1n lhe· l1.1t1d 111 1li1, IL'S)'l.'l t ti 11tighl b1.· u,t·lul to C'\,1111ine tht
l 1111 tl'fll til th v '1hough tful h.111d ' ll> d1'lti11gu 1 ,h bt't\o\Ce11 dilft·r-
,·111 k111d, ui ,k1 U I b.1\l' bntTl)\Vc'd th1., tcr 111 lron1 Martin l-lc 1-
dl·g , ,l.'1 ,, IH, ~1ltt·11 rccurnt·d t{> t''<.llTlllllflg thc nor,on of hand,
.111d !-/,111d/1111,~ .1, .1crio11, propo~1ng th.1r 'Ever 1 111otiun <)f the
11.111d Ili l ' \t'I \' lllll' oi I[\ \\'()I k, ldl rie'> itsl'lr 1hrough thc elen1cnt
~
t>i" il1111k111g. t'\L' l\' bl·,1r111g o i- tl1L' h,u1d hc.irs itsl'lf in tli at
20
l'k' tllLlll AI I thl' \\l>rk o( thl' h,111J i-. rt)Ult'd in thinkjng.' Thc
th111k111g h,11 1d 1-. .1b,t) rt)Otl'd u1 looku1g aud n1ediatcd by tbe
pht·n111111:11t1log1L.tl .1,pt'( cs o~ t·n1bc)tlit•d responst'. I'ho~e k1nd'i of
dr.1,, 111g rh,1t t, 111,t1curt.· ,111 .,ct <)( k110,v111g the e-xtern.il ,,.·orld.
ri,1 ,., 1111plt·. ,t 11.1tp1.1l h1~1nry dra,v111g ora c ir;~r.ire, dt'pend on
,1 l t1l u,cd H uir), ui· lonk 111g. e11 i<) 1't ed by Lhe bodily 1 "c:~po11,;e'i of
llltll li .111d h.1nd l111~ (111 tht.· L 11 glish llll'.lni11g) .111d 111e111oric,; of
b,,dil, L'Xj'L'l l t.' l ll l'\ l lc1Llc:ggcr, f0Uo\v111g pJ1ilo~opliic traclitio11.
l,1II, .i t tl·nrHHl co rh t• cab1nccn1akcT ,vho '111okc'I J11r11self anS\\'er
.111 d r,·,po11d .1hnvL" .til te, the d,flercnt k1nd ~ c)f v-vood and ro the
,lt.,pl'' ,lu111he1 111g ,v1thin rhe ,,ooll' U ntc)rtunately, H eidegger\
l,1h1 11l·1111.tkL·r. ,\\ LD lldllÍl llr tllC)Ughtful 111;1\..i11g. has practicall y
, .11u1-hL·d o ll thl' 1:1cl' or Liit.· l':ll Lh. an d l lcicleggcr\ di!)tinction
ht.·l \\.t'l'll h.111d ,\ r1ung .111d lhl' typcvvritt.'r. ,vhich ·teari. \Vrici11~
11,1111 tht· t.',,t·1111.1 l IL'.1 1111 oi tht.· hand, i. e. rbe real111 of the \-VOrd'.
1
1, 111 ,,v,1t l.1v, \'t' ry prc)hl t.·n 1.1nc.' ~uch oppos1Lions of yester-)·ear
1, l\'L' 11.111,l.1tl'd rhe1t 1-;clvc•, tllrt> tht' , 11ck contern1)or.1 ry oppo-
, 1t1011 hl'l\\t'l'll c1)11 1pu1e1-,lidt·d dra,ving (<At>) as n1cc h::111i<;tir
(1 t· .• n l .t ll',\t' I urdl'r) ,111d hand dra,ving. J !1111d::.l'ichn111~{!, ,1-; v,1Jid,
\V hl'rL· ,, ll1 L· .1ri1,u n1L·11t 1,; 111orc con1.plcx. ln our tinlc. thc c1ncr-
µt.·nt ,kd l, in u,111~. co111hin1ng Jnd subvl'rtu1g dr.1,viug progran1s
fill < rl'.tt tve purpn,l', ça11 devclo p 011-ly chrough thoughtful ha11 -
dl111.~. ,111 d ll i, til rhi, e nntcx t th:tt I adhcre to a distinctio11
bl'l\\l'L'll 111t·c h.111 1t".II ,J..tl l, ,1nd the th(>t1gl1tfi.d processe, of pr11.xis
lll Lhe l lllll 'l' {)r th1, bot>k..
1 ht· quc·,t1011 oi .1uthorsh1p. ll( p.1rli( lrlar rclcvancc to dra,ving.
1, .d,l>, 1 hl'ht.·, L', ,0 11 1L·th111g ru hl' n.·-ex.1n1ined ,v1thi11 a plLtral-
iry ll l dt~l llllrSt''i A, ,1 p1-;1ct1-;1 11g ,1 rttSt. 1 caunot condone those
l'\:IIL' lll t' thL·ntl'tlt.d po-.1t 1on, rh.1t h.1ve tot,1ll y de-centrrd the
.11 ll\l n1llHH, u11de1111111111~ rht·1r rrc•.1uve re~po n~1biliry fê>r çhe
.11 t ,,cirk .111d nltL' 11, 1111nil til,, rcpl.1ct·d the dl'v.ilucd rreator with
d1l- rc·v.1lu,·d ,111d t·11tpo,,c1Ld 111t·Lli,tt(,>r. l11te11tionJlity i, a ,:vidt'ly
tlL·h.11t·d tc·1111. hut 1>ul,1dc· pllllo~oph1Lal d L·l1 111tion~ 1 passionately
61.!lievc that arttsts kno,v '\'.'J1at they are don1g a11d ""'hy, a11d tl1at
tbe rcJd111g of:, dTa\\'ing requ1res an e111pathetic respo11se to th1~
centr:ility alo11gside all the ocher pqssibilitie~ of 111eaning con-
'itruclion. The fen1i11i,;t ar( hi)torian Norn1a 13roudc lias put thi-.
i-.suc ,o clc.1rl y that 1 ,vill quote her at lengcl1:
I ,vould argue thac it is nor only possible to identify an artist\
t)rig.inal intentio n buc tl1at it i~ all che 111ore e5sential lo Jo so
\VhL'tl ... that intcntion ,vas qui cl<ly subsu111cd by co1npeting
interests a11d discours<::s in contc111porary and succeeding cuJ-
ru1·es. For \ve will never fuUy con,µre hend che fi·::igi hty of
art1sric inter1uon in the face of these larger ~o rces of cultttral
hi~cory n,aking- no r ,vill -...ve ever adet}tlately 111easure the
pt)wer of tbe do111i11aJ1t culture to absorb tlissenting val Ltes and
to i111pose 111eani11g ou a11d tbrough work~ of art - if ,vc dcny
ourselvcs this 11..istorical starti11g point: tl1e artist's conccption
of his or her Ov\.TJl uni9t1e inr:ention (110\vever cultural!)· pre-
detern1ined or ph1losophically n,istaken chis 1này see111 to
. ,~
son1e today). -
Trans-historicism
The only possrble att11ude to theoret1cal tradmon: an 1nseparable assert1on of both con-
t1nu1ty and rupture.
Pierre Bourdíeul'
To each d1menslon, ,1s, w1th the flight of time 1t dísappears from Vtew, we should say
now you are becom1ng i:he Past But possibly !ater at a criticai perhaps forwnate
momenl we may meet <1ga1n on a new dimens1on. and once again you may become the
Preser\t.
Paul Klce 1
Ln order to reinforce contingent □ otion s of authorship, "'rithin
the va~t hic;tor-ical -;cope ()f chi~ book, 1 have deliberacely set out
to co ncexcualise individunl dra\lvings -.v itl1i11 cheir historie per-iod
,vhile co111paring Lhc111 wirh drawinbrs frt)n1 other tin1es, ph1ces
and psyc hic space. J first ratio11aliscd thc tncthodology of jLtxta-
posinp; contempor.iry and htstor1cal Í.11 thc catalogue of tbc cx.hi-
bition '11,c l'ri111aC)' ~rDra11 1it1,sr. A11 Artist's f/íeu, (r99r). suggesring
th:it the untinished, open-ended and fragn1-e11ted 11ature of most
dra,ving~ puts then1 i11 ::i different relation~hip to cl,ose hege-
111c)11ic force~ tl1at sh::ipe cultural specificity at any one period in
.
tl n1e.
ln spitc of, ,111d ,l'\ a ch.allenge to. tl1e a.uti-hístor-ical i111pera-
ti,,es o f conten1porary art and theory. 1 adhere to the belief that
ar t can never be cut otf fron1 the bistor1caJ 11exus of its mea1is
or produt"tion, and the li11earity aod seriality of d1-a,"·ing
in t'virahly establish non-cau<;al Link.1ge,; or one '\Ort or anorher.
Walter 13enja11lin pr0pose<;. racher 11octically, 'a science c)f histOr)
\,Vhose subjcct n1atter is nota tanglc of 11urely factua l decails, but
consist" rarl1er of the nun1bered group of rhreads that represeut
tbe ,vett c.>f tht! p.ist .is it fee-d,; into the ,varp ot· the pre~ence ·.
He add-., 111 parenthesis: ·1t ,vould be ,1 n1istake to equate this
,veft ,viLh the 111ere ne:\us ()f cau~ation. Ratl1er ... tl1reads 111ay
l1ave been lc.1st for ce11turie:-. that tl1c prese11t coursc of histor,·
erratic.1.lly, inco11spicuously picks up ag,1in.' 25 'Tl1e 11otio11 of
erratic n~surgences of visual fragi11e11ts it1 tl1e relativcly sponca-
neous a11d unfettered sketches of artists - u1ilike d1e shards of past
tr,1djtions that are structurally e111bedded iu acaden,ic or n1edi-
ated dr:i,ving syste111o; - coexists ,vith the hunter and gatherer
1
insti11cts of visual ::1rtiscs a11d Jesigners. ~' Dy thal T n1ea11 tl1at
arti"ts readily s11.itch unconi;idercd triAes fron1 any 11un1ber of
sources .1nd appropri.1ce tl1c111 iuto tbcir Ovv11 pcoject..,. Me1no-
ries of che original sources appear to be qt1ite deliberacely oblir-
erated by th.e eager unconscious, i11 arder for st1ch ideas to be
internaliscd and processed, l1etore re-e111erging in a re-11aturalised
tor111. Such strategie~ have been observed and applanded over tl1e
ce11turies. ]e~1ding to 111y conclu-siou tl1at the co1n11lex dynan1ics
or un,,1cting rcinvcntion are .1 pri111ary condition, and even a
necessary dyna111jc of drawing.
The jLtXtaposition of umelated dravvings is therefore as essen-
tiaJ to rny project, as is the trans-historical n1ecbodology. By
looking so very widely at h1story, and proposing unexl1ected
connections, r tílk.e up an i11tern1edi;1te or third po~ition betvveen
totalising narratives <.)C continuit,· and the ()fte11 proble111atical
accowics of rupture tl,ac ca11 aTiSé fro111 lhe n1yopia of u1tc11se
periodisaLion and special isation, or strict co11forn1ity ,vith theo-
retical orthodo;,..'ies.
P1rst-hand kno,vledge of practice allo,vs artist,; a cert.1u1 ease
and conhdence whe11 ,iewing unt~u11iliar ,vorks fi·on, another
hi,;toric::il tin1e or u11kllown cu lture: thí<; is ofte11 ren1:1rked upon
by art hisrorian<;, and is n1ucl1 prized by pr::icritioner5. Never-
tl1eless, for 111auy practising artists, a11 igi1or.u1ce of l1iiitory ic;
co111placently regardcd as a condition of aflirn1,1tivc contcn1po-
raneiC)' (or post-post-111odernicy). lndeed, a propagandist belief
thac art 11eeds to be u1 a conrínual state of revol-utionary rencwaL
bo1.1nd by no threads ro yesterday. assures ,1 worsl1ip of ruptures
and schis111s. These conceits scen1 fi-0111 notions of the avant-garde
thnt were so esse11tia l t<.) the for111ation,; or 111odernity. They have
persiste<.-! .1~ unshakeable truths and the necessé.lry conditions oC
creativity in art scbool<;, v''hcre very Licrle art bic;cory is taugl1t.
Tbis is no't to deny that students are stin1ulated and cxoceJ b)·
the textual otTe17ng-; of depnrcn1ents ot \'1.Sttal ._tt,dies. but the
entire eth<)<i of <it11d10 vvork i" prt>thc.1tt"d on .1 scate e.)( self-
t-lisc.:ovt·ry 111 a theoretical vacuu111 of ll<)v.·-ne.-,,_ .1nd ct1ntL'n1por-
aneity tJ1at is viJ·ulently historo11l1obic. A11<l thc \,1n1c could be
said for 111any othcr playcr:. iJ1 the .1rt ,vorld. li-0111 'gall1.>ristes' anJ
curators to collcctors.
l11 tbis co11tcxc. 1ny desire co open up the past in relacion ro
the present as a cr1ticaJ adj1.1nct and necessary co11dition of
dra\ving is filled ,vith crusatiing ze:il, although undert.1l-en w1ch
considerable treJ,idatil)ll. ln r>articul,1r, I .u11 fearfül ofl1avi11g prt'-
'iented an over-ho111oge11ised, blantl or Ull'i<..h<>larly vit!'A of lhe
past. l b.1vc ccrtain ly en1ploy•ed easy catcgorie:-. of 111!)torical
periods and gcograpJucal distribution, wluch toulcl bc re~1dily
criciqued. Tbe dates tb_at l h-ave, relucta11tly, ascr1bed to drav.'U1gs
illu-,t.r::ited in the texr are ge11eraJly vague :u1d ,v1de rangir1g. Th1s
is n,ainly l1ecauc;e 1 have nor been in a po"ition t<, tootnote ali
the relevanl sup11orting literacure, but also, 1 freei}· adn1it, becau~e
I an, not necessarily kJ10,vJedgeable abol1t tl1e statu~ <)f scl1olar-
ship related to sucl1 c1 large 11n111ber of Jrtists of dift~rcnt periods.
A.i1d in a book tl1at is so co111preh.ensivc u, its scope, there are,
of necessity. are:is vvhere I have not acccssed the ne,vest or n1.ost
s1gi11fica11c ltterature and ,vill have n1issed che poinr for 111ost spe-
ciali'its. 1 do not deal sutlicie11tly ,vith ,;ketchbook,, dra\vn por-
tra1ture, still life, Ao,ver, bird .tnd c1nin1.II drav.·ing:-. or otl1er kind~
of literal 0r ~cienrific recurdings; and decc,rative arts, design.
architectural and e11oi11eerin,r
::, b drav.•ÍJ1u~
t-i <>re
fL-.1
re,rrcttabJ,.. 111e11-
, ::, }"'
t1011ed only in passing. 27 Finally. ir 111usc bc nored tbat the
n1ethodology of eh.e book is not consisce11tly trar1s-luscor1caJ,
silice iJ, cert:1111 chapters I deaJ ,v1th tl1e111es that ::ire specific to
particular cin1es 1 ,vhile in others I sketch a loose bist()rical
oYervic~', or fi1ter hi~tory through tl1c pri-;111 of ..,pecific icono-
gr;_1p lucal topoi.
"fl1e topos of th~ s111all figure of tl1e .irtist drawing in 11ature
is perhaps en1blematic of my º'''º positio11 as ,-,,iottld-bc theorist
;111d bistorian in tbe bubristic project of skediography tllllt 1
propose 1n this book. A n,iniscule figure squatt1ng on the
111argin-; ,vith pen and drc1,,·ing block, l ,1 tten1pt to 1ned1ate the
grand vist,1 <>f dr.iv:ing for the diver-,e but in\ i~1ble lipcctator'i
behi11d 111e, even tbougb l a111 a,1 u1tegral .1nd Aa,vl·d part of chc
'\ct:ne t.hat l'n1 observ111g, describing JDl1 interprcting.
AU~~~ORSHIP ANO CONNOISSEURSHIP 13
 •

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•
•

'

•
•

.
•
Part One
Drawing as Continuurn
 ,,,11dd lo t li1·
t r On lt

1•:-,.:plu1.t lldtt
li1

ui
1,· .1-,1111.dil1• 1c1 1•,11,·1 1 111,11 .t liu11k dt•v1111·d

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a 11 d t t1 e P1- i 111 a e y o f Li n e p111v1·d 111 1111 111, l1111l11v 111 ,1tlL'lltpl 111u, , 111 lt .t 1.1,I,., t\ 11 , lill 1111tl,1
,,,11 1ld h,1\1' 111,· 11111111p .1,, 1lt 1• 111d1•l111.il,l1 ,1.1111, ,111d 11, 1111.1di1

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,,,l,1· 111111 .1 ,,1·h 1d d1,1l.1 111111,,

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d,p1 ttd \lll ,1•1, <li l'\I 1i, ~11111.11y l.11111 1,. /\ 111(,lllt l lglttl d1l111 111011

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hl't \\ l ' l li l1111· .1 11.I l 11101 11 Ili li td l'1· d l H'I \\l'l'II d, ,I\Vlll)J, .1t1d dl',1µ 11.

l l111 lll f', 1l1l' 111.1 11\ \'l',11 ~ , p111• 11 ·i.t ·.111 lti11 ,~ tlti , hoo~. 1 h,1Vl'

d, \llll·d 1111111, l l llll' t,, li\ 1111,; t11 p111 11()\,\'1I , 11t l1 ddll'll'llll: il i~,lll'\,

1'\l'11 1l11H1gl1 tl11 , ,, ,1 1111111.11, , 11.111'!\'' 11, th.11 11,;1 1.tl lv 1i,lll>,vt·d

111 dl ,I\\ 111g , 1,1d11 ·, \\ l1t· 11· dl ,l\\'1 11~~ .111• ,1 pp11·11 .llt•d [111 l ll l'tl ,111 1

11.1111,v~ ln , ,111k, 111 11tli11 11H•1ll .1 1.1 ll1t ·1 1l 1.111 I IHII d11lc1l·111c, ,
111,11 ,1d. til\ g111\\ 111)~ ,I\V,11('11\'\!I 11 1 1111\,\' l ,t, tl) 'il i( 1, 11.1,d \\\1 11 ,111d

l, ,111 1l1111 d1l l1· 11· 111 "' 1 ll l l.q1 ,1 111111 \\lll' ,11111d1t·1 ,111d hl11 1 .111d Çl),I

l.- ~, l' lt.l\ l1•d 1111' ltl dl'\' l\\' ,Ili ,dlt 111,111\l' \~/,(l'lll llll t·,.1 111111111g

tl11, 11111.111.1hl1· , 11li11, 1 .111 n111•11 <'11dcd s, ltl' lt1 .1 111 dt,111 1111(! 111 ti

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•
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dt,I\\ Ili~\ .111 d l111 t·, 11 ll\ ,

D, ;,wing a~ Co ntinuun,

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V11 ,, ,·11 u lJ 11111

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11I .t ll . ,l ll h tt l'1 lllll' lllll tlt·,1 1-\11 .1 ( 11 11<· ,·11d ui tll\' l111l',\I , p t·1' l111111

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li1•1,,1•t•1 1 Ji111ri1 .111d 11,,11 J111i1,,. h1·1,, ·,•,·11 l't 1,.111· .111d p11h l11, l H·1,v1•1·11

tlH 11\fllt'pt11.il .111d Ih, ,1h~11.11l, 111d ti,, l't' lll'J1l11,d .111d tlil'
lllllllt'lll . 1 lt\' 1'111,11 \ ''l'l'il/, l (ltl l l', 1h.1t p11ll dt.l\\ 1111~ hl l\\\'i'll
0

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11111\ 111~
•
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b.1 ..t•d
1 tf.1,111i: /'•'~') l •I l\l ;,· l l,111111.-,, /711 1 )11~111 ,,, l',11111111~. 1ll111 1 , S11,
l lt,, \(llli 1111 .d lll1ldl'I j,; ptlll'l\\t'd lit•t ,lll'll' ,h.1,, 111g i, h,,th
l'I li 11111 h11•1\ li 111!., h111,li 11111 [,111\\ ll 111,I ~.1,·, \\.hli ''li 1 'fl llllll
11,,·l1 .111d 11\\11,· tl,.111 11,1·11 1 )1,1,, 111~; 1, .111 111dvp1•11dc111 j'l,111 11 t',
1'11111,11111 , N 1 1'11111 [1\\ll ll111,,1,11, \11 l\\\1"' 11111 l,iit "' l 1111k )-\\,'li
l\\o1tln· 1 li :,;.,,,, I> hut 1, .ti,,, 1dc11lilll·,I ,, 1th \'.\lt1t111~\. p11111 111,11'111~. ,, 11l1,t1 11\'.
 rLilltl'l tllrt· .u1d tle,1gn ..u1d a \Vl1ole h o~t o f o tl1er rrad1cion,tl
Jnd lOnte111po1.1ry 111edid. i\ltl1ou~h al\\ 3\'~ 11.;1111ed, and mam-
ca1n111g tt, 0\\tl 1dent.1ry, ir 1s ned 111to rec1procit)~ ,v1th the-;e o ther
111t•th,1, .1lthough not nect'.,s.1rdy regarded as being of equal st,1tt1,.
Thi" rec1prot'1t1 u-;u.dly 111v<lkt'" dr.1,v1ng ;l~ rh e fi·ee. ti·c1g111ented,
,po11t.111ent1, and pr1, ,ltt' other to tl1t: ,y11thc:~1sed. public and fi11-
1~hed \\l>rk 01· painti11g. sculpcure or prillt-111.tklllg, vvl1icl1 can
.1lso bc u1gci;ted i11to the body of che object or perforrumcc as
thé spark .u1d in1pulse of 1t<; or1gir1ation. The inco111plete11ess of
a dr,1,ving h,1s ir~ O\Vn vibrating life. but a]-;o inV1tt'S 1ts con11Jle-
tio11 i n <lther 1neJi,1. 011 rhe oth er hand. a dravving can be 'iO
tin1,ht·d in it\elf that it 'iub:su111es Ll1e 11eed for furtber sta!,;e~ o(
~
~
trJll'ilúrlll.lllO 11.
l he n11.1lt1pltc1ty of uses ;111d fu11cti.011S of dra,ving- for gen-
eranng 11ev.~ 1deas .1nd ~ or copying fron1 others; for srunu latíng
the \' J~ual 1n1ag111anon or docun1encing the phenon1enal vvorld:
fo r scudy1ng precise dctail or c;;111ruring nnd sugge'lti ng 11100d a11d
en1otion; for ;.111alysing problen1s, codifyi11g 111etl1olls a11d
111apping ab~trac c concept~ - takes up aH the slack i11 dra,;vü1g's
con1plen1e11tar1ty ,virh those other 111edia. ln this se11se. whtle
pail1ring or scu lpture 111oves to\vards singularity and detcrrnina-
ti<)n as con1pletecl p1Jblic \.V<1rk, dra,-ving is pare of an embracing
plurality, ,vl1ic h coale~ce"i 111to a continuu111 of 111 ea ning and
.
prac t.1ce.
[u ge11eral, it is 11ot d.ifricult to distit1guisl1 bet,vee11 auto-
nomot1s linisl1ed dra~·ings ::u1d sketcl1es or sn1dics _for a fmisbed
,vork ill a notber rned1um. Neverch.eless. alJ these 11.1odes scill
en1brace aspects of dra,vi ng-ne~s that are of an entirely differe11t
order fion1 rhe lin ear1ties containecl vvirhin painting, princ. sculp-
turc, photograpl1, vídeo or installa tion works, ~·l1ich then1Sc:lves
can be both sketchy or finishecl. Wc rake for granted che co11-
necti011s benveen ha11d drawí11g a11d n1ultiple pru1t processes. and
bet\.veen dra,,'i11g and te.xt, by referri11g to chen1 alJ u11der the
aegis of g raphits; yet ut1doubtedly. drav,·ing, as a unique (if ubiq-
uitous) graphic .icr. is e11cirely different frorn hand\.vriting, as ·,,;;,e □
ª" ,vork~ detern1ined by printing 1') roces~es .1 nd tecl1nologies.
Sucl1 concracliction~ r>rolifcratc:, corJ1plicated by thc fact that
dravving it'>elf very oftcn 111jn1ics tl1ose vcry aspects of thc other
media fro111 '"·hich it seen1s most dtffere11t:iaced. finislied presen-
tation dra,vings, for exarnple, cai1 achieve a degree of tinality aod
rnin1ecic credibiliry as specif1c as any pai11ting. And prelí111inary
studie\ for prints often e1nploy types of cross-h~tchj11g tl1at con-
'.->Ciously or unco1v,ciot1-;]y 111i111ic the technical effccts of burin.
ctcl1mg necdle a11d rocker. \vhile fully coloured ,,vatercolours
or elaborate pastels n1aii1tain an intcrn1.ediatc status bct\veen
drawing :ind paint1ng. (Co11temporary curators often get around
these confi1<;1ons of category by usi.ng tbe tern1 'works on paper',
,1lthough h1st<>rically dra\\'Íi1btS and pTints on 1-1aper 11.ave often
bcen n1ou11ted on to canvas and/ or ti·an1ed. Tl1i'i avv:-1rdc; then1 a
111orc co111plex statu~ th.111 Lu1fran1ed Jrawings, wh.icb are cradi-
18 DRAWING AS COl\lT t-.l UUM
t1011ally kept loosely ú1,terleavcd i11 portfolio$ or motmted u.1
Solander
•
boxes in n1tu;eun1s.)
Although it n1igbt 'iee n1 very scraighrtonvard to differentiate
111onochron1e li11e fron1 colour, it ic; i111possil')le to ignore the fact
that clra,vi11gs can cl1e1melves l1e 111.ide in C()loured and pai11terly
111cdia, a11d that tl1c niaki11g of colourcd pai11tings or tl1ree-
din1c11Sio11.al objects also ÍI1volvcs and embraces drawing. There-
fore, although \,Vê"' think we know that dra,~ring is different fro111
painting or sculptnre (not to r11ention ali rhe other conten1po-
rary 111edia), ic is 11e1fecrly possible and 111eaningfLLl to t~lk about
che drawing i11 a painting or sculpture or cerai11ic decoratiou.
Very ofi:e11, refere11ci11g drawi11g in sucb conteJtts is fi.clo1td
"vitbin a qualitative or 11egative relationship, tor e:xa.inple, when
ci-1tics clai111 thac a portraic is badly dra,vn, a study figure lack:s
proportio11 or (an old-fashio11ed tern1) a sculpture i~ 0 111 of
drav\.ing. And tl1e indetern1inacy of the wl1 ole subject is further
confused b> tl1e fact that tl1e \vord drawing jc)intly designates a
1nediu111, an arcctàct and a11 activity.
Tl1e Íl11possibility of defi1ring drawi11g is so111etin1es ascribed
to moder1uty and thc collapse of clistinctio11s between meclia.
Shifts in drawi11.g u1 the ]are nineteenth century coincided wíth
the abandon111ent of ac:-iden1ic syste1ns thac 1,ad tied drawíng into
an elaborate n1ethodology aJ1cl defined it as a co111n100 buc dis-
ti11cr 1>ractice relati.11g to a typolof,,y of paÍJ1terly genres or arcl'li-
tectural and design applications. ln tlus not u11cormnou version
of rhe argw11ent, everyo11e 11scd to k:i10,v what l1and dravving ,,,as.
a11d :irtiscs, architects and designers certain ly knew hovv to do it!
But, so111ehow, its n1eaning and rechniques have beco1ne diffi1sed
over rhe last hvo l1ur1dred years or so. The falseness of tlús vie,v
ü1 bc.1th its cou.servative a11d ava11t-g,u·de aspect is thac it endorses
history while denying h.istoricity.
r 111ai11ta111 that an a,vareness of the proble1r1atical status of
dra,ving has al,vays been under cliscussion in tl1e West. Since the
fifteenth century artist'i and theoreticians (often the same people)
have strt1ggled co con1e to ter1n5 with the externai n1ateriality
of dravving as an auto11on10L1s objett clone ,vith a sin1ple tool on
a p iece of papc>r and its relat:ionslúp to tl1e i11ter11al or concep-
tual aspect of a work of design. The ltalian and French tern,s
disCJ!.llO and dessci,1 rcsp,ectivcly acknowledgc this duaJity, aJthough
there is no corresponding term i11 English.
A definition of desseín by cl1e influential French tbeoretician
Roger de l)i]es (1635-L 709) isolates just so111e of these con1ple-
111cntary and con tradictory furnctions of dravving:
The ,vord des(f!.11 as it relates to painting .is taken in threc clif-
ferent senses: First it signities the intire thought of a work,
lighted, shaded and son1etin1es even coloured; and, in this
sense, it is not c0nsidered as. one of tbe parts of painting. bt1t
on ly as the ide,1 of tl11: pict.ure wl1ich the pai11ter has in his
tboughcs. Seco11dly, it ~ignifies tbe represencation of so111e pare
 of a11 l1L111ui11 figttre, or of an ani111al, or of a piece of drapery;
all cakcn 6·0111 the life, in order to bt.: put i11to s0111e part of
a picture, a11d to sta11d for an evidence of tr1.,1th: and jt1 tlús
sense it 1s called st11.dy. Lastly. it is take11 for the bound.ary or
011tli111: of objects. for che n1easures and proportio11s of exte-
rior forn1s: and tl1en ºti!; reputed ~1u of the pares of painting
[n1y italics]. 2
Tl,eorie-s of dra,ving, whicb bave been ce11traJ to European art,
,vill very often be aired in rhis book. Ho,vever cootradictory in
their <;pecifics, they ali sl1are ~he view chac dra,ving is n1any-
stra11ded a11d co111prises at leasc so1ue of tl1e follo\.\ring elen1encs:
it is esseutiaJ to the conceiving of icleas; it itutiatcs thc ,vork of
art; it is a part of thc dcvclop111e11tal processes of m.akir1g; J11d it
is implicated in the eud prodt1ct, ,vl1atever tl1e 1nediu111. In otl1cr
\Vords, drawing is pare of a contü1uun1 of making and thi11ki11g
and of inve11tion and co111pletio11.
AJchough the 111etaphor of a rope in ,vhich 111any strand'> are
woven cogether vvould satisfactori]y 111odel cl1is notion of a linear
continuLllll. [ believe chat a spatial architecrural 111odel of 111any
interconnected passagcways provides a 11101-c poteut and suggc.:~ -
tive represcntation. 3 111 this p1ctorial metapl-1or, passageways a11d
rn1111els, light or dark, c1·an1ped or lofty, con:structed or bLTn·owed
out, are hollow vectors along ~ rhich ideas are drn11111 slowly or at
speed. 1 Whether <;erpentine or scraight, long or rruncated,
sn1ootl1- wa1Jed or interrupred by door,; and ,vinLio,v,;, all the 1>a<t-
sagc\.vays connecc, so111e intersecting ac rigl1t angles, others "pin-
ning off at a tange11t, or dra11111 í11t<, parallel patl1S - bcfure finaliy
meeting in some infinity. findi11g 011e's ,vay tb.rot1gh this spatial
con1plex:ity requires feacs of 111en1ory. but a general directionaJ
map ca11 be sLTstained by coding each corridor according to very
siin11le concepcs: rf rn111ing distinctions betvveen line and rhiar(lsc11ro
n1oclelli11g, for exan1ple, and establishing associative connections
,vith all the paths that converge a11d diverge aL either ~nd. Once
tl1e conceptual 111ap has bee11 cl1arced and 5uperin1posed 011 tlus
linear and 'lpatial rnodel, it is ngt difficult tó dra1t1 conclusions
aboLtt connections and conti11uitjes.
The structural nocion of a continuum LTnderlies th1s \v]1ole
book, and is also the glue for an archaeological excursus that
invescigates how ideas of line, as the pri111al act in arc-111aking,
are represented in or1g1nacion 111yths in Wescern art.
o
The Origin of Drawing
Draw1ng 1s 'a l1ne around a th1nk' '
·The questJ.on as to the or1g111 of the art of pa111ting i!) unccr-
tain ', declared tbe first-century AD IZ.0111;:in author Pliny tbe
Elder. The Es,yptians and Greeks 111ake d1ffere11t geograpluc
clai111,;, buc 'ali agree thac painting beg.H1 with the ()utlining oí a
n1a11\ shado,v' .... "Pliny relate" out.lii1ing to che pl.tstic .1sts and por-
traiture: ·Modellir1g porlrait,; fi·o111 clay ,,va~ first invenced b)
Butades, a potter of Sicyon 111 Cor111th. Hc did th1" owing to his
daughter, ~·ho ,,vas in leve v,ith a young n1~ a11d sbe, \vhen he
wa" going abroad, dre,\· in outline 011 tl1e ,vali rhe sl1ado,,· of
his face thro\vn by a la111p. Her tâcher pressed clay on this and
111atie a relief.'7 In spice oí ics brevity, this con111,1cr story has been
illustrated a11d co111111L'l1tt'd 011 do,vn the centuries (pa i ticutirly
in the si..xteencb to eigl1teenth ce11turics), .1nd it bas servcd as tbe
slighr a11d sbado,,_ry basis of ali s.orts of theorics about art.
l11terpreta□ons of tl1is liceraty' and artist:íc topos have had a
cons1derable theoret:ícal vogL1e u, the last fe,v years. \\'lth n1an,·
i111pt1rcant auchor, exan1ining ics hiscorical and philosophical
connection with <;ciagrapl1y (the srudy of ~hado"v,;), ~ilhouecre,,
photography, 111e111ory and even blindnesc;, altl1ough fe,v have
coucentrated on tl1c dillêrenccc; bet\veen line ar1d colottr:~ At th.e
ri5k of rc- trcadin.g a tl-1oroughJy ,vcLI- trodden passage\.,,.ay ,v1d1
the hopc of discoveru1g a con1pletcly difrere11t exit. the mcc11-
tio11 l1ere is to reclaii11 the story for line and liuearity. ins1~ting
that thc.' Plinian 111yth encap.,ulates chose very an1bivalences and
contingencies that are at tl1e C<)re of a discussion of dra,ving-as-
.
conc111uu111.
In particular, althougl1 Plii1y'5 brief tale constitutes c1 n1yth of
or.igination, it also rep.resents con1plction, sttpporting the 11otio11
of drawing as a continuum stretchcd between beginniug and
end, 011dns and te/os. Tbe father 6Jls i11. the daugl1ter·s 1nitiatory
outline ,vich clay, JUSt as an in\rentive skecch can generace a
dt·velopn1encal chain oí proces~, \\1 hich rr1ight rt'qu1re an act of
closure in a11ocl1er 111edíun1. Tl1e 111ove to'\.vardc; tbat closure
involvcs e]aborati11g the inicia] fu1c..1r skctch througl1 light a11d
shadc, suggcsted in thc n1}'tl1 b)' cl1e presente of tl1e ligl1t sourcc
- so1netunes a candlc or a la1np, occasionaJly fuli sunlight.'
Chiarosc11ro, as che shortha11d ter111 for rnodelling a represe11.tatio11
ofvolun1e chrough passages of lighr and dark, is analogous to the
n1odelling in the facher's clay re1ief, or the plastic ,1rts, the ter111
used by IJJiny in cl1e Latiu. Josi.th Wedgv,'ood re\pOntled to this
aspect of the 111yth by conunissioning thc pa.i11tiJ1g 'f/1e Cori11tliia11
,\,J,1id of circa 1782-5 fi-0111 Joseph Wrigbt oí Derb)' (1734 1797).
\\·rucl1 even includes a potcer's laJn, "''hile 111 1-rance Josepl1-
Beno1c Suvée (t74 3-1807) sec h1s 1790c; ver,;1011s of the <illbJecc
in a potter's studio. 10 The 111yth therefore link~ 1J,1int1ng. plast1c-
THE ORIGINS OF DRAWING ANO T HE PRIMACY OF I INE 19
 H} ,1ud uud111e dr.1\Yj11g. 111d 1r i, not ,11rpr1sing rhar since cl1e ellincr
t>
ficrt1rec;
b
ü1 relief. Sl1e ,,•a~ in )ove ,vith a youch and ,vl1ile
,1xtee11th ct.·11turv tht: -.t()ry lia, hl·l'l l rather pron1iscuously iden- he lay a:-.lt·ep she sketched tl1e outlint' oí l1is shado,v 011 tbe
t1fied ,, 1th the \H igi11, ()f c1f/ v1su,il .1rr. ai1d ha, bt·en the sub_jt·ct
~
v.•aU. Deligl1ted ,, ith tl1e peuicction of the likcness, her fatber.
l>l p.1111ti11g. p111n-111ak1n~ ,111d. Ol'.L,1s1011,tlly. drJ,,·1ng. For ,H:ade- ,vho v,as a potter, c-ut out the shape and filled in the outl1ne
1111c1;.ir1,. tbt· 1111port,1nce ot the story lT.15 bcen the connect1or1 with clay. t(,
,, 1th 111n11e~t'i, rht• 1n1itation of nature. but th1s ,., generated b)'
Whcn Vasari referc11ces thc subjcct as borh thcorcticia.n and artist
thl' C,lt'"-llr;) of i l)\\, Tht.' i111n11nent tlep.1rrure ()r ch e Inver cal!~ for
11 e uses a (delibcratcly?) i11accurate reading of !)Jiny by artribuc-
.111 ,l({ ( ) r Jl)l'llHll"Í.1l1,;,1nc.>n 111 o utl111ing his i111,1ge or pc>rtr,1it. sy111-
ii1g dra,ving to •c;),ges of Lydia. "vbo. on seeing his shado,v cast
boh~i11g d1t.' fundJ.nlLntall: repre-st·11lat1011.1l tr.tjectory ofWester11_
bv rhe fire ar once drev,, J11 <)utline of hin,self 011 rl1e ,val] \Vlth
Jrt. (Plato. of cottrse. l1ad ilia luiked nu111esis to the portr,1yal of
a ·piece oí cl1arcoal. For so111e ti111c after that it was thc cuscon1
rhe llCad or rhe .1bsenr.)
to dr.:i,v in outline 011]y, ,virhou r auy colouring.· 17 L1 tl1e <lecc-
J he nan,111g of rhe r1 rrras (1n,re ntor) of artlstic techniques is
1

riorated fi·csco Thc /1111c11tio11 t!{ Dra111i11J!. of r573 in the Casa Vasari,
es,enrial t<) rh; 11<1rion o f ge11ê';1logy .tnd rhe hiernrchy of h\lnlan
Florente, painted at the end of Vasari's life, a kneeling arttst is
endeav<)llr in tht' cl.1s~1c,1l -..vorltl. Nl)\Vht"rt' else in Pliny\ N,1t11t'tll
delineating bis o,.,"'TI shado,v case by a lamp on a \"-'ali. Thjs narro,,·
f fi.it,,1}', l1owe\'L'r. 1s a v.·0111,111 na111ed as beu1g the fi:,Lu1<ler of a~1 ~

,vall painting is jusc co the left of an actuaJ firep lace, c;o chat the
,trt torm. tcclllllquc or tradc. l11 cL1ssical antiquiry, tl1e Crcator is
fla111e of che 11uge lan1p depicced in the fi·esco would havc estab-
son1 etin1e~ nm1ed as thc \,·orld·s arcl11tect or sculpcor, ,vh_iJe
lisbed an interplay v.·itl1 tbe lighc of the real fire wbcn thc
de1ruurg1c po,vers are ,1sst!:,'1.1ed to the Ch,-1sr Child, ,vho 1c; rep-
cha111bcr ,vas ii1 use. Tl1e crot1cllll1g figure atten1pti.t1g to trace
re,;enred a~ 11haping b1rd\ ottr of ela)· in one of the a11ocry11hal
h is own shadow on the wail of Plato 's cave (a11 in1possible task
Gc)-..pel\. 11 111 hi~ pref.1ce to L 1ite de' 11i11 eccelc111i 11ittori sr1tlrori e
1

bv, virtue of the 1noving ar1n) is depicced as a n1usc1.11ar and

11rcltitclrori (Li1•es of tlic Ll rtists) . Giorg-io Vasari (1511-157-1-) refcrs ~

heroic figure; his absorption jn tl1e cask n1akes this an acc of

to eh.e 'Div u1e Architect' ,vl10 111odelecl 111an &on1 a lun1p of
12 narci'>sÍ<,111, in '"hich the fixing of his o,vn in1age is coeval ,1/'ith
cla,·. ln clm coorext. it 1~ S1~~n16ca11t that the Corincluan Maid,
the origin or artistic practice. Thc 111ale artist is tberefore aJ~o
,
ª"' tl1e potter·~ danghrer ca111e co be called io e.ighceench-cenh1r)' 111ve11tor or de11uurge, a cancepc in tine vvitl1 Vasarj's sixtcentb-
England, 1s a-;~ociated ,v1th rhe cTansfor111at1ve 111aterial of clay
centl1ry notions of artistic ge1111..1s and the in1porta11ce of disc,g110
rh,1t undergc)es 111,trerial ch.1nges duri11g firi11g, as ,vell a~ that
as tl1e farher of paincing, sculpture and architecture. 18 The medi-
1 nost b,,.,ic dra-..vi11g 111arerial, tl1e pri.11úLivc '>tick of chLu·coal
at111g presence of rhe daughtt'r of Butades ba<; been e1,1sed in thi,;
,;11acched fi-01u che pr1n1aJ fire. 13 Ln rhe guic;e of involL1ntar)'
fi·e.;co. There j,; 110 loss of che gendered otl1er as syn1l')o]i-;ed in
u1,·c11tor, La Di6011tade (as shc v.·:.is n.m1ed i.11 Fra11ce) is ph11sis,
the Pli11ian story: the artist is 111oved to dra,v, aJ1d to artenlpt to
or nat1.1re, to her fachers rcr/111is, arr/science. 11 {lt is nor by cha11ce
fix bis o,vn in1agc. at the 1110111ent that hc rccognises the otl1cr-
that tht' protector of 111anuf.1cturing 11otter" ii1 classical ti111es ,va,
ucss of his o,vn shado,v. a11d L111dergoe:. a primary act of cogrri-
Pron1erheu\. where~,-. Arl1ena/ Minerva vva, tl,e godde~s of art.)
tio11. li1 a sin1ilar ,vay. inve11tion ís fi.r1nly fL--ced to a patriarchal
ln thí,; opposition, 11ature is regarded as quintessencially fe111ii1i11e,
order by Vasari's conte111porary, d1e scrtlptor a□ d goldc;1nith Ben-
v. bilt! l11e i11tellcctuaJ rcaL1b are design,1ted as 111asculi11e.
venL1ro Cellini ( 1500-1571 ): 'A crue dravving is 11othing bur the
Althougl1 Plioy scts a11 act of origi.t1acion ,virhii1 the realn1 of
,hadov, of a relief. Thus reríef turns ouc ro be chc fàther of all
n1.1triarcJ1y, 1t is cla1n1ed b)· tbe pacriarchal order v,·hen her fatber
dra,ving, and thac ,vo11tlerful and beauciful rhjng tl1at ,ve call
c<>n1plete'> the ;1cc1011 of che daughter. all egor ising assu11111tions
''pa.inting" is a dra,ving coloured ,vitb tbe colours that nature
about che phallic i11con1plere11es~ of the fe1nale body and n1ale
d.isplays.' 19
do111inarion <)ver (fe111ale) 11arure. 1' juc;t ~o does paincing, thac is
colour. co111plecc the ÍJ1co111plete11ess of dra,v ing in n1oc;t inter- o o o
prctatlons aod rcprcsc11tatious of thts actiologicaJ myth.
[11 hjs v't'r~ion of tl1c Dibt1tadc Ill)'tl1, thc second-century
Athen1an auchor Athenagoras reshufAes che story in arder to
~

pri\ ilege a n1.tle 1nve11cor. buc. like Pliny, he associates the n1aiden
,1, it1vt111ri.\' ,vich tl11: n1alle,lblc 111aterial of clay:

l 1near dr,1,,·111g ,,·a, discovered by Saurias, "vho traced rbe

outline of rh1: c;h,1do,v c.ist by a horse 111 the sun, and p:ii11t-
i11g by Kraton. whc> paintcd <)11 ,1 ,vhirened tablt·t lhe ,;hado,v<;
ora 111J.n .111d .1 ,,·0111.ln. Tbe 111,uden in,·c nted the art t>f 111od-

20 DRAW1~.JG AS COl\lTl'JUUM
Th e Li ne Aro und the Shad ow : Ab sence and frota
Thus lhere 1s always a lacu11a as 1f lhe 011g1n, 1nstead oí show1ng 1tselí and express1ng
1tselí in what en1erges from the orrg1nal. were always veiled and h1dden by what ,t pro-
duces, and perhaps then destroyed or coí\SlJrned as orígin. pushed back and always
further removed and cfistant. as what ,s onginally deferred We never observe the source
nor the sprínging forth, but only what is outside the source ,
Mau,ice Blanchot ~
Wl1e11 George Ron111ey (1734-1802) drevv the Origi11 t1j- Pai11ri11g
(circa 1775-80; pl. 1), he evoked Atbenagoras's vcrsion of the 111.yth
by 111aki_i1g tl1e Corinthian Maid the acti,,c figure in tr.1cing
around the sJ1adow of l1er slecpii1g lover. L1 this auto110111ot1s
dra,vi11g - not a study for a painting - the sleeper's shadow is cast
on to a lúgb vvall by 1neans of a s111okit1g oil la111p 011 a dark
plinth in the foreground, and the lightly pen-drnwn r11aid in clas-
sical dress grasps an i11k or water pot in her left ar111, vvhile she
traces his profile sl1adov. vvit11 her right l1,1nd. The lover \Vho i-;
1
about to be absent (perhap~ goi.ng to ,var) ha:; alrcady absented
J1j111s.elf in drea:i11S. His still upturned face, ,vitl1 its classical proftle,
is al1nost tl1e t'i·ozen face of a sculpture or a corpse. This repre-
<ientation therefore direct1y links absence and loss vvith dra\\'Ír1g,
a11d, signiftcantl)', che outline is traced ~1rot1nd an incorporea l
shadow, skia, ratl-1er tl1an h.is actual phy~ical body. Absenc:e is at
cl1.e ce11cre of the 111ytl1 and can l)e iuterpreted u~ a 111etaphor
for the ]oss that in psychoan.alytical theory is ai, essential clen1ent
of cntl)' into thc syn1bolic ordcr of langt1agc and ideas for111a-
cion.:?l
The í11su bstantí:tl shadow (,vhich JJlato son1etimes difle re11ti-
ared fi-om the mirrar, sornetin1es con1n1only nan1ing boch
shado"' anel 111irror refleccion~ as 1>hanl11sn1ata) is the signific:-int
ele111e11t in tl1is iconography, as it is in 11hilosophical discus&ions
of rcpresentatio11. 22 Thc absenc body at tbe centre of tbe delin-
eated spacc co11tains tl1e possibility oi- the appcarance (paro11si.a
(ncxpoucría.)) of n1ea1ún.g that drawing ,vili conjure in.te being with
t11e in1age.
The philosoph.ical space or absence at c.he hearc of crean,·icy
i11for1ns 111ost early reo:-iissance 'ipea.tlacion about art and archítec-
ture. Leon Battista A]berti (1404-1472.) places <.lra"'·ing in a 111eta-
physical rclation to paintii1g in Book u of lus se111inal text Üll
Pai11ti11g (De Pictura; 1435): 'ln cl1e f1rst place, whe11 vve look at a
chi11g, we see it as a.n object which occt1pie-; a space. Tl1e painter
,,'ilidraw arou11d chis space, a11d he ,vil! call this process of setting
do\.vn tl1e 011tline, appropriately. circun1scríption.'::?3 AJberti con-
flates circu1nscribing a space \vith drawing ·around sh:ldows n1ade
l1y cl1e sun', quoting Quintilian as his c;ource.24 All1ertí insists t11at
circw11scriplio1í is onJy tl1e recording of OL1tlit1es; it should be
practiscd ass1duously, and should be done ,v-itb tl1e 'fi.□ est possi -
ble, ahnost iu,risible lines.'25 The noti0n of circun1scriptio11 had
preceded Alberri m 1neclieval theory. Cassiodorus, for exan1ple,
e-ven 111vented a false eryn1ology for the Laun tern1 ars, by relat-
111g 1tco the root <1r(tac, as c1re11111Scr1poon or delin1iucio11. 2<
ln one of the 111o~t poe □ c retellu16r,; of rhe l)1buc:1de story by
Rol)ert 13urton. the inYencion of painting is d1scussed ª" .1
syn1pton1 of love:
Mosc of our urts a11d 5CÍences, painti11g ::nnon~r rhe rest. "'ªs
first invented, '>aith Parricius. e., a111orc' hc11efit1<l. for 1<,ve\ \ake.
f (>r when the daughter of Dibutatles tl1e Sicyonian ,va, to takc
1eavc of her s,veethea.rt 110\1\ goii1g to \l\',11·.s, 111 des,dcrio l:ÍIIS
111i1111 tabesceret, co comlort herself ÍlJ bis absenct:. 'ihe took h1s
picture ,vith coal upon a "'vali. as the candle ga,·e the sl1.1do,,·,
vvh1ch her tàcher admiring perfected after,.,,·ards. and 1t was tbe
first picrure by reporc thac ever \Vas n1ade. 2~
The conflation of love and loss iI1 relation to l1ghc and dark, vis-
ibility a11d i11,'-isibility, is r1ot unconu11on in Greck n1ytholog:,é
.Psyche sin1ultaneously loses An,or a11d f:ills in leve \\.'1tl1 h1111 at
tl1e 111011,enc she raise!. the la111p to carch a forl"1idden sight o(
her lo, ·e r, and tl1e drop of bur11ing oil tl1at spills fi:0111 the reve-
latory 1a,np in1perils Love's body.211 Tl1e da11gerous pote11cy l)f r1'1e
gaze is identitied wicl1 consciousr1ess, ai1d ÍJJ her tirst avvareness
of the erotic, Psyche e111braces Ai11or and loses hin1. Tl1e
Corinthian Maid vvho conc;c1ously c;eeks co circun1:vent tl1e loss
of her lover by metaphoricaJJy ty1r1g lm shadow to the ,vail is
si111ilarly inspired by erora (,;exual 1<)ve as differenti.1ced fi·on1 11,._{!ilJ>e,
-.piritual love), and in an engtaving by Anne-Loui-; Girocler d.e
Roussy-Trioson (1767-182+), T/1e Origi11 qf Dr11111i11~{!, a v:inged
Cupid sjccing 011 the lap of tl1e classical lover holds a blaz1ng
torch i.n one bancl ancl guides the dra,ving ar111 of Dibt1tadc vv1th
rhe other as she inscribes d1e oucline around rhe shado\.\' ,virh
Cupid's arro,v. 2'1
Tn l{_on1 ney's dra,ving of the Origí11 q_{ Pai11ti11g, che intin1acy
of )ove is evoked by lhe sttbn1i~sive pose of the lover propped
on cuslúotlS 011 l1is rru11cated stone couch. derived fron1 a
classical relief or poss1bly an 8rotic vase painti11g. The etm·c o[
Oibutade's bod)' enfolds 11in1 ÍI1 a spatial e1nbrace. The lighr from
the lamp on the left (that 1s, the t1ntoucl1ed paper support) and
tbe inky ,;hado\v to the right of the n1aid en,,1-:ip the t\\'O figures
in a renel1rous unity: 111on1e11tarily the)' forn1 o ne body. Pl~1cing
the lover; ac the very botcon1 of tl1 e sheet. Ron1ney has acti-
vatcd the \'ast expansc of thc ,vali bcb.incl theo1 ,vitb ,vild cir-
cular brush strokes. Thc connccrion betv.-cen love, loss ai1d
depictio11 was picked t..tp in a poen1 by the w ritcr Wi1Jia1n Hayle,-
ex:tolling Ron1n ey. in wl1ich che Corinthian Maid 'doated' 011
che forn1 she was delinearing. 111 Ro111ney'c; dra,:v1ng is far n1ore
finished chen n1any of hi~ pas~ion,1te pen ,1nd bru,;h o r penei]
~ketcl1es of thc lace 1770s anu 1780~, but, lik.t 111any of the'ie
outpourings, the act <.>f dra\,V111g □ evcr fi11ds con1plction in a
•
pau1.t11ig.
THE ORIGINS OF DRAWING AND THE PRIMACY OF LINE 21
The Adumbration of Line, Shadow and Relief
b • t 1.,U1n e 1 t 1ndic.1t1or- of 2 to fore~h1dow. 3. to overshadow;
n entur; from I n adumb1-:i1e , repr esented only 111 oLrtltne, froM
1 ,a te 1:ast i ~hadow o~ from t.,r 1L1ru, ' hddowJ
ve e end deserved our bc11ef the .imorous ta1e 01 ,he Connthran ma1d, who traced
t.he 11..ide 01 he dep irt,ng ,ovc•1 by L~(' secret amp app01ls co our syn1pathy
e 1:rs of the .i1 t we e sk!anr urns. s1mple oulhnes oí sr-.:ide. S1n111ar to thosc which have
trl:'en 1ntroduced to vulgar use by the students o1nd pd1 asile• of phys,ognorny, under lhe
1Me of 1 01,ettes.
Henry Fu~eli
fhe r~1'1tion~lup of outlu1e co l1ghx is an es-~enri.tl part of r.he
JJJin1:in 111yth of rh.e ('orinduan Ma1<l 111 ai] 1ts te"<n1al and visu-a.l
n1;1111festanon, nver the centurie,. ln renai~sance tracts, cl1i11rosr11ro
,v,1, t lo'iely t1ed to opttcs ,1nd 111,1the111atit.."\. rc c<)nstiture-_ Book
1 of Alberti\ 011 P,1i11ti1({!. c111d j,; clal,oratcd .1~ one o[ the ncccs-
s.1ry part, ar dJvisions of pau1ting by G1ova.1uli l)aolo Lon1a.zzo
( 1538-r600). '' Et1cl.idian ideas are explored u1 a rougl1 dra\ving
fi·on1 the fi·.1gn1ented Codex Huyge11s (Nev: York, Pierpont
Morgn11 l ibrary·), cornposed in Milan bet,veen 1560 and 1580
under the inAuenre of IJeonardo da Vü1ri bv, Carlo Urbino. '·1
Thc ~ectic)n 011 Ll1e rules of tlis<'_~110 i11cludes a s.ketcl1 of sl1ado,v
d1'a\vi11g by caudlelighc. Sl.'c.011d dl.'111011stratio11 c?f shado11 5 This
drav-:ing dc1no11strates cl1at the rays of ligh.t eo1anati.J1g fro1n a
ca11d le cau-;e cast ,;hodo,vs to enlarge rhe further a,vay they are
fro1n che light source Tl1e head or
:i draped tigure sta nd1ng next
to che cantlle in the centre ()f this naive -;kecrh i'> rherefore 11ro-
jecced on co rhe \ide vvall of an exaggerateu pen,pectival -;pace
as ao cnorn,ously enlarged sh.1do\v. wl1ile chc reflcccion of a
dru1cing figure on the other s1de of the roon.1 is n1uch closcr in
scale to the sketcl1y tigure ,vho is thro,vi11g cl1e shado,v. Light
ray~ conne-cr ro the eyes of an artisr \Vho is outlining rhis li,·ely
,;hadc)w 011 one vv::ill o f the cl1an1ber, while 011 che other side a
s<:ared arList. aln10,t l<)'>t in a n1ess of pen .111d ink JJ1;11/i111e11ti, is
presu111J.bl 1 Lr,1cing his O\VO shado,v on to che dra,ving board on
l11s knee. IL1e rule~ of sciagra.pby are seen here as i111pbcated in
,vorkshop practice: the author of the trcatise is illustratmg the
practical aspects of rheory, not 111ythology, but its close11ess to the
iconogr.1phy <>f che n1ych of çhe Cor1nchian M,nd i~ a ren1inder
of ho\V rhe identificacion of dra,ving \Vich light and optics, and
lhe clo,cness of ics thcory ,Lnd practice, is at thc core ofWesteru
thcor1es of art.
ln s0111e varianrs of thc 1nytb ar1d its represe11tatio11, su11 and
not arciticial hght is the "ource of shadovv :ind therefore line. Ln
,1 ,vonderfully bucolic seventt'enrh-ce11tllr)' English retelling of
lhe rale. Alexander Bro,,·nt' recounts:
Qninnlian relaces fi11-tl1er. rhat che art of dra,VJng did rake
ir~ C)rig1nal fi-0111 the ~h;1d<1,v ~ ·h1ch tbe Sun did cast; and
22 DRAW 1 NG AS CONT INU UM
n1orcover he tells us, that it was inver1ted by a Shepherd,
\Vho atcending hi~ Flock in a Sun-shining Day. happened
to c.,.,t h1s Eye upon the Sl1adov, of one o( his Shee1), \\ hich
c;rnoc.l bcíc)re hin1 on a piai n Sandy Ground, and pl1ansied
to trace ,vith bis Stick 011 Lhe Sa11dy Ground rou11d about
LLpon the Edge of tl1e Shadow: and (after che Sbeep was
the first
gone) rhere re111a111ed cl1e pe1fect Out- lines of a Sheep, with
,vhich he vvas extren1elv, caken: Fro111 ,vhen the Anciencs
took the1r firsr Delinearion. )(,
Connections between line .and light and bet\,veen outüne
drawing a11d cl1iarosc11ro for111 a con,plicated n,eta-discour,;e
d1rougl1out We~tern art l1i:>tory, c ul1ni11ating in Lhe dcvelo11111e11t
of 'pl1otogenic' drawii1g. or , ,v hat WiUiaJ.n Henry Fox Talbot
(1800-1877) descr1bed as ·t11e mere action of ligh.t upo11 sensi-
tive paper.... in1pressed b,· Nature's hand'. 37 ln chartit1g che
genesis of bis invennon. Fox Talboc 11oted: 'The pict1.1re, divesced
of the 1dea~ '-vh1ch accon1pany it, and considered only in its ulti-
n1ace nature, is but a successÍl111 or variety of stronger ligl1ts
chro,vn upon one pare of the paper a11d of deeper s.h adows 011
rhe other.' The deveJop111ent of photograpl1y fi-0111 the cru11era
obscura, :u1d cl1e li11kage with sílhouetce or shado,v proftles made
vvitb líght-pTojector apparatus, has becon1e sucb a well-
escablished narra tive that there i'i no need to rehearse it here. ' 11
1• '
ln all t11e<;e versions, the hi~torical trajectory begins ,virh the
n1ych and i111age of t11e Corii1tlúan Mai<l (or Quintilian's sbeep!),
celebrati11g cl1e E.nligl1tenment tàscination with archacology
and origu1s, as wcll as 1ts expansionist projects u1 scie11ce and
cech11ology. Esrablisbing an evol11cionary an historical lineage,
Johann Joachiln Wir1ckeln1anr1 ,vrote:
The 1nost ancienc records also teach us, that tl1e c:u:liesc essays,
especially in the d.ravvu1g ot- figures, l1ave represented, noc the
manner in which a 111an appeí.lrs to us, but what he is; not a
vie~' of his body, b11r the outlí11e o_f !tis shado111 [111y italic..-;]. Fro1n
thii; si111plicity of sha1)e the artist nexc proceeded to exa.n1ine
proportio11S; this inquiry taught exactness: the exactness hereby
acquired gavc contidc11cc. a11d aften:vards success, to l1is
endeavours after gra11deur, and ac last gradually raised art
an1ong cbe Greeks to the higbest beauty. 3Q
Endeavours aftcr grandeur are rakeL1 to e}-."tren1e lit1uts in a neo-
classical drawii1g by Joseph-Benoit Suvée, 1~hl.' l11ve1uio11 o_{
Dra111i11;? (r79r; pl. 2). This chnlk drawing of spect.'lCl1lar techn.i-
cal preci~ion is l1uilr up aln1ost entirely of blocks of conality and
111c)delleLi in incense black co11tour strokes 011 brown paper \\·ith
white highligl1ts. Although there are son1e fir1r1 l)oL1ndary 1ines,
for exai11ple in tl1e l1a11ds. 111ost of tl1c outlines have been sub-
sun1ed i□ to the edgcs of abutting shapes by tl1e tot1al moduJ.a-
rions of cl1al.k ~trokes or the intensity of a.reas of grai□ y chalk.
There is no stu111ping (rt1bbi11g v.·ith a piece of leathei-, paper or
:?Joseph-13t'no1t ~u,éc:. '/71,· l1111r11tic>11 l.!I /)ra11·11i.~- t·11r,1 1791, hl:ic l .1nd \Vhlle (halk 011 bro,~11 pape,, 54(, x ,5<,111111 .
LO\ Angeles, "fbe J. 11,iul Gett) J\Auseun1, 87.(;ll. 45 r
 f111~er •.111,l 111-.tc,1d tl1e µ:r:id.1tions ot ro11é .ire L('tntrolled rhrough
prec1s1011 , f 1 11rk- n1.1k1ng. 1·h1,; triu111ph oi technical concrol
n.:l:ne, to \u\ t·r:\ <;1no<>rh p.1111ri11g of tht> ,ubjecl (Bruge-..
( ;rl>e11i11ge111u,t·un1). \\'hich \\ a,; rn1111111.,s1011cd Jnd e--:hil)itc:d iu
17<J 1. ,ilLl1ougli t he dra,v111g ,~ ª" prob.1blv 111adc la ter it1 prcpara-
uo11 t<.)1 .u1 cn1;r.1vi11g. a pract1 Cê ;1ssocia ccd \\ i th 111a11,, he;:rvil)
tini,hcd dr:1,vu1~rs. ~ Sct 1n a ,,·orksbop \'\7th a potter·s ,,·heel and
'\het,,e, l>f ct'ra1111c,. a r]a-,s1cal ~candarcl lan1p gives ()tf a \n1all
bright Aire, ,vh1t h 1s p.un,cakingly pa. ked ttp in Dil1utade\
Grt'cia11 dr.1pt·r1es .111d tht· ),'l>Uthful !t)\c:r\ hc-àven,vard~-l'~t'it ey<.:-
ball,. 1 fe gra,i)s hcr ,1rou11d Ll1L ,va1<;t. but ,, lult" l1c cJI ngs te> hcr.
~hL ,een1,; .drc.tdy accacl1ed to the coutour-as-mc1nory that shc
IS dra,v1ng '" 1tl1 a 'st)•lus ()r qu1II on the stone \vali. l "hc e1ilarged
,111d ,hado,\ y head,; of the lo\.er~ 111e1·ge bel1ind hi111· r11e 111aide11·~
,hado,\., ,, hich 1, nc)t i11 pr<)file, ,vill re111.1i11 unfixed forever. Tht.'.
lover\ t';1ger searecl posé, a, if al,out to rise. ~ht>\V'i hi111 .is a 111,111
of actio11: hi:. profi.Je shaJo,v is slightl,, ago1tis1.·d as if forctclling
bis dcacb as a -.oldier.
rhe aspeccs of pasc :ind future l1retigured u1 this Laboured
in1age evoke Jact.1ue, 1)err1da ·e; n1using,; on the rop1c. IJy ide11ti-
fying b<>th dra,ving and \\'r1nng \Vith ski,1,e,1',IJ1l,ii1, ,vl,ich he cra11~-
l.1cc, liter,1l1y a, ,h,1dov,· \Yriting, 111.· ,uggesc, ch.1c it inaui:,rur.:ites
an ,ice that is rootcd iu 111e111ory. ' Fro111 tl1e outset. pcrccptio11
bclongs to recollcction. Butadcs ,yritcs, and thus already loves 111
noscalgJa.' 11 Alrhough Suvée ·s ,•ariario11s on the then1e in tl1e
n1edj,1 of pai1Jt, engraving and chalk dra,,·ing are all enticled -1'/1e
l11/ll'11fit111 o_F Dra111i11,f.!, the airless prerisi()l1 c)f each ,vork epiton1ise~
Lhe lriu11111h of finí ... h. Suvée bec,1111e a direcLor of the Aca(ién1ie
de FrJncc in Ro111e, 110 cloubt in respon~t: Lo the acade111ic
pcrtection QÍ his tcchnicll contro1 and cl1oice of ~ubjccts. ln
the dn,,·n ,,ersion, there rs no sugo-esdo11 ,vbat~oever o±· <m
' t,
unc.lerdra,ving ar prelu1un::u-y liketcb. A1J <;uch tnarks have bt'e11
s,v.1110,ved up 111 che fi111c;l1ed in1.1ge, ,vhicl1. like a ,1,çrisadle, is lit-
erally pain [e-d in tone. The c.lo111inance of auchorial control in
tb.is ,vork aud the c-xc]usion of the transitory, thc accidcntal and
tl1e exprcssivc relate Lo ideologics of thc tin,c, for cxan1plc, Got-
thold Ephrairn Lessiug's rejection of the ugly and dcforrned, as
,vell as his notion cJ1at a 11arrative 111nst be evoked cl1rough the
u,e of the 1110-.t "igníficant 111ove111ents of bodies. 12 The dra,ving
scand-; i11 dir1::ct co11trast to ,111 exrre111ely rough sketrh of the
sul>Jt"Ct by Ja111es Ilar11 (17..j. 1- 1806), Tlie Or(~i11 o_[ f>ninliitR a11d
Otltcr S11u/ies (()xford, Ac;lruJolean Museun1). 4' ln spluttering pen
and 1nk Jines, totally Lacki11g ÍJ1 grJce or elegance, Barry has
spontaneousl)' noted down an 1dea of the Corinth1;111 Ma1d c;crad
dhng her half-rechrung lover on a (;rea~n cot1ch in an erotic
e11cou11ter. She leans back,vard 111 an 111111<.)ssible pose ,vhile
fal.Íl1g tànvards tl) dra,, h1s -;h,1do,vy outline on the wall l)ebind,
and B.irry\ pen lias dl.'pl>siLr.:d ,1 drop of ink ,o tl1at tbc pe11 or
charcoal i11 hcr han<l .1ppear~ cnor111ot1sly out of -;cale. Thc artist
ha, :ilso included a very rough la111p srand to thc left of the grottp
24 DRAWll'-!G AS CONTI~ IUUl"1
to add veracity to the concept. The paper of this small, v.11ld
s;ketch h,1\ al~o bet'n ti'ied tõr .1 colun1n of otl1er ,;ketchy objects
on the left, fi1rrher dr.1wii1gs of whicl1 .1ppt:ar on the verso of
tl1e ~l,eet.
The Precedence of Line over Colour
D1 aw lines, you11g n,an, draw hnes, whether from ,nemory or afler nature Then you will
be a good arl1st
J.-A-D. lngres
ln d1c sn111e sectio11 of the 1\'.it11n1/ Hístory. in wlricl1 he recounts
tlus 1nyth of origu1, lJlí11y ,tlso decl,:u·es:
Li11c-<lra,vÜ1l( v.·as i11vencctdl by the -Egyptian i>hilocJes or by
tl1e Corit1tluan Cleanthes. but it ,vas first practised by the
Corintluan Ar1dices ai1d the S,cyonian Teleph.111es - these ,vere
nc rhat stage not t1sing any co lour, yec alre:1dy ;idd111.g l:ines here
and t11ere to [be Ín[erior of cl,e outlines; hence it becan,e thcir
custo111 to ,vritt.: on tl1e pictures c11e 11a111e-s of the 11erson~ rep-
rese11led. Ecpl1a11tus of Corit1tl1 is said to have bec11 thc fust
to daub these dra,,'ings vvith a pig111ent 111,adc of po,vdered
earthen-,vare. ~-
Tl1c pri111ary activities of art-u1aki ng are cl1ereforc oucline
drawing or circ11111.,cripr-it>11 closclj' related to la11guage ai1,d ante-
d:1t1ng colour, which belongs- to a later evol-utionaTy se.age. Vasari,
,vho J1ad foLio,ved AI bera 's pactern in na1:ning 'the first lines
encircling an t)bject ... profiles or outlines', declared that paint-
ing vYas a 'filfu1g up [oij outfuJe'>' in colour."'1, line constitutt:s
the conceptual frar11e,,,ork, co wlucl1 colour gjves brcath, accor(i-
ing to the Vcr1ctian hu1T1aoist Lodovico Dolce. Iloger de l>iles
argucs tbe isst1e of thc preccde11ce of lu1c in order to assert his
O\VJ1 chan1pionship of tl1e i111porta11ce of coloris i11 thc' line/ colour
de-bate tl1ac rockecl che French Acadén1ie R.oyale in the 1660s:
'Tl,e objection is usual1y n1ade ... that drawíng is che basis for
colaris, thaL it !>upports it, thaL c11loris depeods 011 it. and tl1at it
does not u1 any way depend on coloris, since dra,;viJ1g can e:xist
\VÍthouc C()/oris and since foloris ca1u1ot cxist \Vitl1out dra,ving, and
co11sequencly, that dra~ring is more necessary, 1nore 11oble, a11d
111ore considerable than roloris.' And he triun1pl1antly declares that
line pre-exists colou r
onl)' 111 order to receive &0111 it perfecrio11 ,vich respect of
Painring.... l)esigi1 n1ust be learned, before every thíng, as 1t
i-; the key of the tine art,, as it gives ad111ittance to tl1e other
parts of painting. and is tlle origin of cl1e tl1ought~. tl1c- Í11stru-
111cnt of our den1011strations, .1nd tl1e light of our u11der-
sta11ding ... 1-r11ercfore,I it follovvs that ,vc ca1111ot bestovv too
mucb pains 011 111aking it solid. that 1c may be ablc ro suscai11
 a building which co11sists of so 111.1ny parts ,1s thc1t of pa.ii1t-
ing. 47
The practical aspects of dra\vit1g as a linear fr,1111c,vork, to be
eJaborated by colour, bccai11e lí11ked ,vicl1 n1oral ru1d pl1ilosopl1-
1caJ pri11ciples a.i1d evolutio11ary l1istorical naTratives 1n the eigl1-
tee11th ce11tury. Jrm11m1uel l{ant stated:
ln paintu1g, sculpture. and in ali tbe forn1aci, e arts - in archi-
1
tectt1re. and horriculture. so far as d1ey are bea11tifi.1l arts - the
deli11ec1tio11 1s the essential cl1Íng ... Tl1e co101..1rs which. light
up the c;kecch lJelong co tbe charn1; they n1a)' indeed enlive11
tl1e object for sensacio11, but they cannot 111.1ke it ,vorchy t)f
conten1plation and bcautiful.~
Thc fascination ii1 the late eightee11th ce11tur)' ,vitl1 thc li11ear
severicy of gochic ar:tists and the ltalian prí111Ítives fostercd thc
evolucio11ary ,·iew tlut arristic developn1enc beg;:111 ,virh the a1..1s-
terity of pure line, a11d that sensual painterliness represenced a
]ater 'itage of historical developn1ent.John Ruskin n·:prised t11ese
11otions a centtu-y later ,v l1en l1e proclain1ed in a lecture <)n Line
that 'Tl1e earüest art in 111ost cot111trie.:; is linear, consisting of
i11tel"\,voven, or richJy spiral and othcr\vise ínvolvcd arra11ge111e11ts
of sct1lptt1red or paínting lines ... 1t is ge11erally cl1aracteristic of
savage file, a11d of feverish e11ergy of imaginacion .'-1'1 Even in con-
ten1porar)' tin1es, and a\vay trorn such evolucionary narratives, the
precedence of líne over colour in 1"'ractice a11d rheory is olten
asserted. For e~xan1ple, the E11cyrlcip,1edia ~f1i1irld Ar/ states sín1ply:
'Drav.ring is the basi!, of eve1-y pictorial experience:
l)ifferenccs bchvccn systcnis of lii1e and colour ,,vere radically
challc11ged by Paul Cézanne (1839-1906), ,vl10 u1Stituted drawíng
r/1ro11.íf.h paint. ln the ,vell-kno,vn state1nent attributed to hi111 by
E1nile Bernard1 be supposed.ly declared: 'l)rawing and colar aren 't
distinct fro111 one anocher. Gradt1ally as one paincs, one draws;
rhe n10re harn1011ious the calor,, the 111ort' exact tl1e dra,ving
beconies.' 511 Modernist art therefore incorp()rated an e111beddcd
cl1allenge to tlus cai1onic rule of w1ear precedencc over colour,
v.·hat Fer11and Léger (1881-1955) described as breaku1g tl1e linc.
'We ba,·e freed calor and geon1etnc for111. They h.::rve conquered
the world.' 51 Tbe identification of n1ean<; cakes ijceral applicacion
111Jackso11 t>ollock\ Acuon I>a111tu1g-; of Ll1e 1940s through thc
pourii1g .1nd drippÍl1g of li<-1wd paincs 011 canva,; or papcr.
Micl1acl Fried called tllis a fiel d whcre •opt1c:1I line ... fi-ee<l at
lasr fror11 the joh of describing contours and bo1u1dii1g ~11apcs'
could ft1nction in the s:1n1e sen'iatío11al n,anner .1s colour.;2
Pollock (1912-195<i) n1ore prosaic..ill~ ackn<)\\ledged: ·ves. 1
appr<.)ach painci ng in tl1e sa111e ~ense as one .1ppro,1c he, dr.1\., 1ng:
that is, it's dircct. l do11't \\"ork from dr,1wi11~. l don't 111ake
~
skctcl1es and dravvings and color sketc l1es into a tinaJ painring:~
Altbough Wass1ly l{andins.ky ( 1866-19..i-i.). a11 admtrer oi-
Cézanne. regarded line as seco11.dary co the p1ctor1al proto-
elen1enr of che poinc, he reao;serted the oncolog1c;il narr,1tive of
line ,vhen l1e ~t.ate<.l chat line precede<; forn1: ·tl1e ,;cr,11ghc
li11e ... carries V\1 jfhi11 it ... tl1c desirc (even tbough deeply
ludden) to g1vc birtl1 to a pLu1e: to transfor111 itsclf i11to a 111orc
con1pact. more self-contajned thit1g'. 54
IJri11ciplcs of precedence ~re no lon.ger deb::ited in postn1od-
ern art, where t1ndifferentiated line and colot1r are equal con-
renders for the (rare) acts of painting on c;111,:as. sub'lun1e<l into
auchorial gesture a11d process: t>r sucl1 activicies are displaced and
crítiqued ,vichi11 conceptual prorocols. 5~ Linear i1llrastructure=,,
l1owever, are sustained as tbc ce11cral parattig111 of con1puter-
gcnerated imagcs. Lines are tl1e basic 111eans of layu1g out forais
on the screen, \vhich are chen filled in, texrured ai1d 111an1pu-
lated 111 every 111:inner conceivable ,1;richi11 the para111erers of che
software e1n1)loyed. Even ,vl1en found phocograpl1ic in1agery
fi·on, storage banks is i11corporated, it is 'cut-out· by tl1e laying
on of an oucli11e bcfore being lifted and inserted so111e,vhcre elsc.
Tl1c represe11tatio11 of deptl1 ru1d volu111e i11 tl1c Carte~ian space
of tbe con1puter follo,vs li11ear models of spatial construction.
-rhe tirst gesture of dra,,·u1g - wl1ether in paint, pencil or
ton1ato sauce - establi~hes the desire of the line for its in1itative
or abstract 1:1ote11tial, and ir -;ecs up a develop111encal dyna111ic thac
si111ultaneously cl1alle11ges and affirn1s che inde1,endence of line
and 01arl.. as well as depe11d111g upoo tl1en1 as acts of gencriltion.
I)rawirrg is rooted ,;vithin a co11ceptual and perceptua1 11c2....1s, and
as sucl, is pare of a contin11u1n tbac e111braces genesis 1 dcvelop-
111ent and con1plecion.
THE ORIG IN S OF DRAWING AND THE PRIMACY OF 1. INf 25
 111 a u1ucb-pttblished l1ou1age to Eugc11e Delacroix, \Vricten
Chapter Two 1n1111ediarely after rhe artist's deatb in August 1863. CbarJes
The Persistent Cult Bat1delarre recow1ts ià.tnot1s words of advice by l)elacro1x to an
aspira11r artist: 'lf you have 11or got the knack of n1aking a sketch
of the Sketch of a 111;111 w ho has thrown hi111self out of the ,vindovv whi1st he
is faUing fron1 tht' fourth ~tory to thc ground. you ,vill never be
abJe to go in for thc big stt1ff:·' Dclacroix, a passionate advocate
of the skccch, had Tllastercd both speedy sketc]U11g ai1.d the big
stuff bitT1self rn his ptactice. As Yvell as lightning-speed sketche-s
of tbe 1nove111ents of anin1a]'l, includi11.g dra,ving,; of rigers ti:-0111
observacion in tl1e Pari<; zoo, l1e exhibited even greatc'r rapidity
anci verve in tl1e untidy ca lligraph.ic rhyth1ns of 11is i..nspi..rational
composicional sketches.
Why does a beauuful s1<elch acco,d greater pleasure than a beautífu1 pa,nungl Because DelacroLx·s exaggcrated state111e11t is the key to a cl1apter t}1at
1t lias n1ore hfe and re-.ver fo,·ms Perhaps we find sketches so attractrve only because, examines the centralicy of sketching it1 Wescern art practice. Sup-
be,ng some.vhal ndeterm,nate they allow 11101e hberty lo our ,mag,nat,on. whích sees
r them wh iteve, ,t lrkes porced by a historical overview, ir is proposed that, conb·ary to
Denis D,derot convt:ntional histories, rhe ubiquitot1s sketch l1as nt'ver ceased
to be J.11 c:~se11tial part of art-n1,1kiDg in Western art. Although
ln urrin1shed sketches of draw,ng, I have often séen someth,ng whrch pleased me beyond
pri111arily associated ,,rit.11 ltaliau ast, 1t l1as been practised by
the best r,n,sh,ng.
Edmund Burke· northern a □ d southern. artists across the cet1turies in one ,vay or
anorh er. A.tcenci o11 has been conscantly ttu·ned to sketching by
artists and theorea cians alike, whecl1er applaud111g it~ agile, unfin-
i~hed, ~pontaneous and revelatory qu;1lities or challenging ir as a
dangerous, ~loppy and indulgent practice, t1at'ticularly hazardous
for students. Wl1ac Auctuates ,vithin tl1e erracicaUy sv.ringing his-
torical pendulu111 of ideological affir111atio11 ru1d co11denu1acio11
is 11ot a rejection of the sketch as sucl1, but a discussion of tl1e
degree to \;vhich the ideas developed jro,n rougJ1, ioitial drawings
sl1ould be re,vorked or -finished. Tl1e tension between these two
staces - t11e swifc, private. enge11deri11g first thougl1ts and the fin-
i~bed public vvorks tl1at spring Cron1 tbe111, often in another
111ediu.1n - constitutes an i111portant and persiscent diaJectic in
Wescern art practice.
Tl1.e ability of tbe rapid sket cb. to reveal the thot1ght pr0cesses
of the artist has bee11 ren1.arked upon througbout history, and
even coday skerches continue to be reg.irded as the touch~tor1e
for evaluating tl1e tale11t or 'genius' of a11 artist. Furthern1ore,
,vhatever its role in practicc, descriptions of the sketch in dif-
fe re nt periods li.ave re111ai11eâ. an1azi11gly consiste11t, with tl1e
•
curre11t a11d fa1niliar ter111S of speedy. e:xploratory, spontaneous,
abbreviaced, uo.finished, iodeternunate, fiei,', contiugent and dis-
ordered well gronnded in historica l arr disco urse.
The cogn itive significance of che act of sketcbi ng out 11ri111í
µe11sieri, f1r'it thoughts, is at tested by its appropriation fi-0111 the
visu.aJ ares into n1osc aspects of Westcrn cultural prodLtccion. 4
First-thought skeccJ1cs - and thcrc 1s an cgu.ivaJeut ter111 m all
European languages - are cha_r:acterised by n1ed.iu1n: a D1t1sical, a
3 (/;1ri1~1! !'111/t') ,\dcn1ar de ( ~hJb,111111:s, copies fron1 rhc 'P~vcho,nachta of literary, a clay or an oi! '\ketch, tl1e last 1nuch 1de11tified \Vith
l'n1dent1u,', t"1rr,1 10.zo, ( n lex Vo~s lac. <.)cc 15. folio~ 41 .1nd 42 Lcidcn, Pecer Paul Rubens (1577- 1640).~ Such n1cdiu111-specif1c ,;ketcl1es
lcu.iLn Un1\'c r, tl) L1brar~ Spccwl c: ollcl LI01b, +· 41 \-4-2, are valued not so n1ucl1 for rheir 111.atl!ri.llity as their expressive
 .

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n
e, 1dence of 111,·l'11t1on. 111-,p1rar1on .u1d i1111ovation. Leo11ardo da
\ u1c1 (145 2 1,1•;) dre\\' ittencion to che roughness of the poecic
fi~t ,kecch: 'I Poet,1 do not tíl)t1ble to trace l1t-.1ut1ful letrer, nor
- 1)llt st'Vc.'r,d li11t·, ,n as tt} 111.1kt' the111
do the,; 111111d l rl>ss111g
beLter:' Tl1~ ide.1 l,r the ,ketch h,1-; .1lso bct'n ,lppropriated for
n1.1chc111,1ti,,. pluJt}sophy ,111d sc..icnl1f-1c d1sciplines. u1clucliug
phy,1c~ .u1d biolo~"-.7 Licerar, cr1t1c1l>111 h::is rece11rly 1nvenced the
rcr111 ·rexcu.11 genenc,· ~or rhe <;tud)' of thc traces and 1nchoate
111.1rks uf pre-inventlt)n fi)uud 111 ,ketche~ ;1nd rough dr.afis K
Tht· ,1pprl1pr1.1tion of the rcrn1 sketch fio111 visuaJ art i\ J
tributl.' to the ,villcll hclJ notion tl1,1t it belongs to a prc-verbal
gcnt r1c.. S\ n1bol svstc111 that s11bsun1es other systems such as
\\'nt1ng. ln fact. cognici·ve ,;cientists go e,·en further, Vinod Goel
cL1i1111ng chac 'n1ental scate<; have certain propertie\ (tl1c)se of
being í111prec1,e. ,1111biguou,;, Au1d. anH)rphou,;, indetern1inate,
etc.) ,h.1red b1 the '-; mbol :-.y'>tl'nl of I\Kt'.rc]1i11g ... Thus tl,e
cl.1i111~ n1ad~ ,vitl1 respect to skcccl1es apply equally to thc 1111-
gwst1c forrns touod 111 poetry, song, .u1d 1uuch of evcryday dis-
course.''1 (;ocl identifies :i 1110,,e fron1 tl1e a111biguity and ser11antic
densene<;,; of the sketch to 111ort' structl1red tl1ínking; it is .1t the
,ketch srage that lateral transtc.1rn1ario11~, that is, digression~ ti·o n1
ont' ide•,, co a coniplc.'cely different idea. n1ost co1nn1011]y occu r.
· A111-b1gu1ty of tbe ~yn1bol :;ystcn1 o_f l>ketchu1g insures tl1c1c tl1e
rdere11ce :111d/ or contents of S)-111bols during tl1e early phases
of design aFe indeternÚ11ate. An1biguicy 1s i111portant becau,e 011e
doei\ not wanr ro cry'ita lli<ie idea-. too early and 6·eeze des1g11
develop111c-nc: 111 Vertical n·ansforn,ation~, \-Vl1ere one ide-a i~
pn)gres,;ivel 1 refincd and detailed, occur at che 111ore strL1ctu red
stagc of tl1c dra\-ving proccss. Cognitivc scicnti5ts havc rclated
rasks of 111c11t:il synrhesis to expcri111c11ral skctching protocols and
rhe (;eneplore (gencr,1ce and explore) n1odel of 111ental syn-
rhesi<; proposes an alcen1ating ~hift of attention berv,,een gener-
ating pre-inventive forrns a11d explo rin g rhei1- in1plicatio n~ in
pr<)ble111-s(>lving, Vt'ry close to the 11ré1crict> of sketching. Accord-
111g to Finle, Ward ,111d S111ith, \\ bo first proposed this 111odel in
r992,
l)reinvenci\'e 'itructure~ c1re cúnstru cled during an inicial ,
generatlvc phasc. a11d are interpreted duri11g a11- exploracory
ph::u;c. rhc result111g creative insigl1ts can tbco be foc11sed 011
<ipecific issucs or proble111s or expanded conceptually by
n1<h.lifying the preinventive ~trucru res and repeating the cycle.
c:on'>traincs 011 the fin al product ran be i111po-sed at Jny t1111e
dl1ring the gt•nt·rdtivc- (}r explor,1cory ph.,~e. 11
An 1111pt)1 t.111t .1spect of che ~ketch i11 any 1nediun1 is that it i)
p,1rt of a t:hai11 c>f evc1lution (<;ysce111,1tic <..)r cl,aocic) inviting
,cquential cognicivc and practical prúcedu res. l t'i essential Jspect
is 1~ suggcstJvencs,: open-e11dcd, an1b1guo u~. in1precÍ'iC, it allo\VS
tàr 1nrcrprecat1ons .u1d rewtcrprctations, and lends itself to cor-
rectic)ns. secc1nd rhoughcs. redra\YlllE,>s, re\vr1ci11gs and reordcrings.
28 DR1\Wll'IG t,5 CONTINUUM
l "he skecch ca11 be en1bedded ,vithin. a ,,,ork, so that its cenca-
tive OLLtlines are erased b) snl1sequenc 11rocedures, or it can be
disc.1rded in f.1vour of clll<>ther l1eginning ,111d anocher cl1ain of
devclopn1e11t. lt c,1 11 function .as a spur to radical cbanges of tdéas
aud pr0cetlun:s in .,nother 111ed1w11 or discipline, or it can serve
as a rehe.1rsal of the act of 111aking, so ch.,'lt the 11ecessary confi-
de11ce or uisouciance is exhibiced 111 the final v'-'ork of a trial
chain. The 1nanner 111 \Vhich roughly ~ugge<sted fc1r1ns and ideas
in tht> rough ske tcl1 or 11ri1110 pc11sie1·0 ;:ire literaJ]y lifted (by
rec-lrawing or tracíng or pricking) 011to anod1er sheet for refu1e-
n1c11t and redefLne111ent v:ill be discussed i.n chapter six, '<vhere
it is suggested thac tl1e torcible act of re1novaJ is part of the
dyna,nic of de-velop111ent chat rhe sketcb i1utiates in a chain of
dra,v,nbl"i. rn conten1poT:1ry practice, ho\vever, c0nti nge-nt devel-
Ofllllencal processe, are no longer valued . Alcl1ougl1 111ucl1
aJn11red, Lhe 1;ketcb lit:°' l)eacl1e<l and quiverii1g on ics original
support, bercft of <-lcvclopn1c11t. Tl1-c tie1úa1 of tr:insfor1natio11 or
porc11rial for gro\vth is fctishised in post111oderniry, ,,,here the
inchoate presence and auchenticicy of sketching are valued rnore
than its potencial for completion in another scate. That act of
con1pletio11 in another 111t'diu111 1s \Vhat ínAecLed conceptual
nocions o( sketchíng in earlíer centuri es. ,,vhen consecra ted values
of continge11cy and 11011 Ji11ito -.verc held ii, .1- reciprocal rel.1tio11-
ship ,vith tl1e repleuon of_/inift>.
Sketches as Underdrawings, lnventions and Rehearsals
5uch draw1ngs are 1nvaluable not only beaause they g,ve the art1st's mental 1dea 1n ali 1ts
purity. bL1t also because they pvt us 1nto h1s mood at the moment of creatJon
Johann Wolfgang von Goethe'
The hrst ma1n outhnes wrth which a sk1lful rnastec 1ndteates his thoughts contain the germ
of every ch;,ractenstic that the work wtll ulttmately possess. Raphael. Rembrandt, Pouss1n
ílung a fe-vv sw1ft lines upon the paper. nol one of wh1ch appears un1mportanl
Eugêne Delacro1x
Ad1niration of the in ct)n1plece goês back to cla-;sical antiquity,
when Pliny che Elder referred t<.1 the i111J>C',jecrac tah11/ae: ' Tt i,; ...
a vcry unusual clnd 111e111orable fact that the last ,vorks of artist~
and thei r u11ftn.ished picturcs .... are nJorc ad1nired cl1an thosc
'<vhich they finisl1ed, because in tl1e11-1 are ,;een the prelinii11:11)·
dra\.vings left visible ::ind tl1e artists · actuaJ thou~bcs: 11 Phr1y·s
conu11e11tary occur'i within the context of regret for an arci-;t',;
deach, and tht' status of in1age\ a'l n1en1ori::ds of real evt:nts or
pcople, but l1i~ concern for thc arcists' actuc1l rhougJ,cs is a11 c1111az-
i.ngly 111odcrn statc111ent. lt cstablisl1cs a very a11cieut gcncalogy
for discourscs construcced arouud the uotion of sketching, loug
before chose accon11ts of tl1e rielatio11ship of fi-ee drawing co che
culc of indi"1dt1ality that historians love to place in 1nuch later
ce11ruries, declar1ng such practices co reflect radical paradign1
slúfts.
Unril che developn1ent of 11aper in the Wesr a:- a relatively
che.tp. ubiquirou,; and lasting su11p(1rc replacing parch1nent, trial
sketches were dra\lvn ,vitl1 a stylus 011 clay sl1a.rds (in the ancienl
wotld) or on ,voodcn boards, \>Vh.icb ha<l to l)e lc1boriously
scraped do,vn for reuse. Sou1e rough fragi11ents fi:0111 1nedieval
worksbops ,;urvive in the reused fi·agn1ents packed into bii1dings,
and there are also <;on,e sketchy marginalia within ilJ-nmi□ ated
111anusc1-ipts, which are general]y parodie a11d <;ubver-.ive lin1inal
in1age•;, accing as a con1111e11cary on t11 e fini<;hed i111age,; and
text. 15 Qu_icc Licerally, thc trcedo111 or che -;kecch is cb1..· fi·ee<lo111
to play "'-'ith ai1d subvcrt the forn1alitics of fi1úsl1cd grapl1ic sty]c.
Artists' cop)rbooks on parclmier1t ,vhicl1 \,Vcrc prcparcd ::ind
preserved as ,vorkshop resources, \,Vere t1sually aurhorit:1ti,1e
and contained sin1plified outline dra,vings designed for ea~e of
copying by scudio assista11ts: they ,vere totally nnlike rhe per-
sonalised jottings in sketchbook::. thac bega11 to be cu lrivaced in
renaissancc ti111es and l1ave re111aincd a part of arciscic praceie<.:
cver ,ince. 16 Ncvertbeless, son1c n1~dieval copybooks ,vitb tri.1I
figt1res J1avc stu-vivc~ for cxan1ple, tl1e so-called 111odel books of
Adéma:r de Chnbannes (988-1034), a 1nonk from L1111oges.
ln a nuscellany dated circa co20 in Leiden U1iiversity Library,
groups of figt1res copied fron1 che Psyc/,on1achia of Prudentius are
ca<;ually dra,vn in _pen and ink on rough 1)arch111enr c;heets, indi-
cating indiíferencc to order, scale and con1posicio11. ,vhich char-
acceri~es -iketcbes of ali periodc; and stylcs (pl. 3). 17 Chabaru1es'<;
gro11ps appcar in ai1y bl:.u1k spacc 011 thc folio lcaf, and tl1c
iconographicnl narrncive enge11 dcrcd \Vith.i:n each of thc group-
u1gs bear,; no reL1tio11ship to the 11ar1-ntive synta., of ocher scat-
tered clusters of figures. This lnck of fixed orientation. in vvhich
any nurnber of conceptual field,; can exisr side by side- v-·l1icl1
could be dt:sigr1atcd fra111elés~nesi, - Í!i noc so f}lr away fron1 cl1c
rougl1 prefu111nary dra,vings of later periods. 18 For exan1plc, the
Venetiru1 01aster of the sketch, Veronese (l'aolo Caliari. 1528-
1588), also scatters gro11ps of tria.l figures on tbe page u1 a dis-
ordered ,vay tbat c;erves co obscure the formal order or
narrative/~yncacticnl log1c of rhe c;1..1bjecc 111arcer, \.\'hile suggec;c-
i11g rhe 11~,reurial of fi.1ture con1positio11.,. Nc)r is chere an ec1uív-
alence <)f nu111ber: each 011e of cl1ese co111positional groups can
be reused and rcco115tituted in future projects a11d contaii1s tht:
potencial of an infi11itc 11un1ber of appropriatio11S. 1" Obviously.
there is a n1ajor difference bct\veen the way thac Veronese's 'tn1e'
sketches generate new ideas chro1.1gh rougl1 a11d rapid dra,ving.
and cbe 111edieval arti~t who appears ~1rr1ply to be copying i n a
cur~ory 111anner appropriace to a triol ,heel.
Generally, in tl1e n1edieval .,nd late gotl1ic periotls prL'li111inary
dra\vu1gs ,vere incorporated into the fuJ1sl1ed project, as 111 book
1llun11natlon or pa11el pa.inting, wbere rough or pounced ourlines
,vere overla:id w1th firn1, clear forms.~0 111 fresco, rbe i1iitial
ourline<; , ,ould bc dra,vn in brush in sillllJ'i" (J natural red u·1)11
0
oxide pigir1c11t sus~1ended rn \,\'ater) 011 to rhe prep;iratory arrie-
cio layer of plaster <)f rhe 11re11:1red ,vall. ro be ,ub,equend)
covered u11 by rhe day\ \,\"(1rk (.giort1a111) or painting in pigi11ent~
Oll Lhe final ,vet pla-;ter layer (i11to11t1co). A detached si1101,i,1 Íc.)1
th.e DccapiuuioJJ <!f Sr Ct1Tl11·rí11c by M,1<;ou110 d,1 l)a,tic,tle (1383-
aftcr 1435) in San C le111e11te. llo111c. of rirc11 1..µ,8-30 indic.1tes
how tl1e undcrdra,,·ing in charcoal and oclrre ,,·ash q111vers ,•.ith
lively rnulc1ple concours, parcic11larly 111 tl1e kneefu1g ~aint a'.va1t-
ing her hornble 111artyrdo111.21 AJchough chis is a proco-dr~l\\7.ng
th.1t i5 intended 011ly t() 111,lp out the b.1-;1c fornt~ of the cc>n1-
p<>sitio11, it cc>nt,1ins -,on1e of Ll1e e-..:-pres-.ivt·ne'ls c,f ,1 paper \kett h.
Tbe legs of che horr1fied 011lookc,:r-; ,1re crutlely i11dicated, bur
their cxprcssious of distrcss are caughc in po,verful 011tlu1e. U11til
rccc11tly, underdrawn.1-gs \verc reve,1lcd b)· co11sc1-v:1tors usu1g t11c
rad.ically interve11cio111sc tecl1n1gue of srrnJJJ1t1to (re1110V1ng :111d
ren1ounring layers of fresco), buc ne\v technology enables d1g1tal
n1o~aic pictures to l1e assen1l->led of the layer\ of 11ninc revealed
throtLgb in fi·.ired reAectogra11 hy. 2' So \/Vt' cau nc.)\V t:'\tablisl1. for
cxan1ple, tl1at c11e underd.ra,vu1g of the p,t11el paintii1g of 77,c
Dcad C/irist S11pµorterl uy 11110 .-l IIJ?cls (aºrca r-4-70-75; London,
National (]allery) by CJIJo Cr1,·elli (circa 1430/ 35-rirca 1 +9--1-) 1s
a nest of faint tines a:nd posicioning scribbles dane vvich a fine
brush in diluce ink on che r,rep:ired po11lar board, fc.>llo,vl:'d by
shading i11 11,,rallel li i,tching, vvich the final, firn1 ourline~ redra,.vn
in a 111uch tla rker i11k. 2 ~
Tbe incorporatio11 a11d Ll1erefõre dcstructio11 or u1gestio11 o[
tbc origina.! skctcb u1to tl1c fLn,u vvork ,;vas echoed iJ1 thc pro-
duccion of carly prir1t-n1aking, where rhe outli11c on the wood
block ,v::is de-;troyed by d1e nctio11 of the cutt111g tool. lt 1s in
thí-; context rhac Cennino Cennini's -r1u' Cn!fts111a11'.t Ha11rlbac>k (li
lil>ro dell'arte) of 1437 di~tingui-;he'5 bet,veen a1l u11tlerdr,1,vi11g ,111J
an i.n1agi11ative skctch. Cenni1ti ad, i'!es artisti> that an i11iti.1l
dra,vu1g u1 chcu·co.tl or stylus :,ho uld be tàin t u1 order co be cow-
pleted in a 111orc defi1iirivc n1cd.iLtn1. Wl1e_n ')•ou feel thac Ithe
dra,vingl is about right. rake the s-Üv•er style and go over the our-
Jines and accenrs of >'Otu· dra\vu1gs, and over the don1ina11t fi)lds,
to pick then1 Ol1c·. By contrac:.t, he recon1111end:. u<;ing tbe greacer
per111,111ence (and lack of er.isure) of the quill pen a11d ink for
'd r,1,,v111g
. out o t- your O\Vll l ,ea d' .-'4
The dualit)r of thc skctch. as so111ctlúng te11tativc tl1-at pretig-
Ltres ics own destruction bu t ,vhich is 111iracttlously presen·ed
because of its potencial. is reflected do,".rn the age, u1 the u11cer-
tain and shifting 1101nenclat11re, in ,vh1ch discinctions benveen
undtrdra\>ving, notarion~l jc)tting anJ gt11eratí,·e ~ketch are
con(use<l. For exa111ple, tl1e tern1 scl1izzt1 (fro111 ,, hich 1110-,t
Et1rop~an words for ~keccb are dcrivt·tl) is generally under-..tooJ
to b~ a ro11gh u11-Lterdra,vin.g, and Lco11ardo uses it 1nrerch.uJge-
ably \.\~ith ubo:::::::::o. 25 13v the late ~Lxteench and scYenteenth
centuries. abl>::::zo (or sboz.:::a or /Jozzetto), fi-0111 vvhich the French
TrlE PERSISTENT CULT OF THE SKETC~i 29
 n,any-headed H) dra (nored for 1cs 've11ou1, fire, ferocity and ra!:Çe'
in Va~Jri\ clescr1pnon) is slighrly din1inisl1ed in tl,e final \.Vork.
de~pite tht· Auctering draperies. 27 Tlú-; probJbly has 111uch to do
,vich tlic ~olidit, of the Aat lanJscapc i11 tl1e painting ,vitb ics
-..... 111ea11der1ng river, ,vherl'.is thc ~kctch lias no horizontal cn1pbascs
to ground the figure. ln tbis respect, J)ollaJuolo's sketch invites
,. the con1111cnt that Vas,1ri n1ade 111 ,1notber context. but ,vac; to
- bec(>n,e .1 co1nn1on topos ,1bot1t ~kt>tching: 'very o~en work in
the rt)Ugh. brc)ught tt) l)irch in an instant fi·o111 che art\ in<;pired
•
".'
- Ji·enzy. can express 1ts cnaker',; coucept in just a fcv-., strokes,
,vhcreas .. . cxccss1vc diligencc aud labour ofi:e11 ren1ovc ...
1
•
\. force and understa11ding' .1~
' 1 ~
Art,~t'i and writers l1f the fifteentl1 and sixceenth centurie<; did
~..,-- '\. _, ·
., ' noc diíferenciate beC\vet.>11 conceptual ,1nd J)t'rcepcual 1ilc>c.les of
dra,ving. '" hjch ,vere c.iistin!:,11.1ished ds 11)'1 de11 geesl (fi·on1 the
~
,._;l i
,.-:'
... """' Íll1,1gi11atio11) or 11ac, ltct lcl'etl (fi·o111 tl1e litê) in the Nctherlands

•
• l <\
l
't,.$"
, by tl1e i;eventeentl1 <:e.t1tluy1, altl1ougb Leo11ardo understood tl1at
(
•
• St11dies t!l thc Chris1 Chi/d 111ir!, 11 Cat, Leonardo prod-u ced a series
• gav·c birth at tbe 11101T1ent of Cbr1st's appeara11ce uJ tbe wotld.
1 Anto1uu l'nll.nunlo H,•r,11/,•J ,111d 111, HJd,~1. rirt,1 14úer--70, pen .111d brn,vi1
111k. 2-10 X 170 nuu. Lon,dou, l'h1.: Ur1u:,h M usl.'u111. T 11.S
(:b1111clrc stc:111s. ,, a~ n1orc usuallv, associated v,ith a li~ht
'
uudcr-
pJincing. ~1
fhe funccion o( ;:i ,ketch co prefigure or rchenrsc a 111ore tin-
1-.hed ,vorl 111 a ,equ~·nte 1s e'\e111pl1tied 111 che \Vell-knov:n Her-
tttlc, ,111d 1/ic l lydrc1 dr;1v. 111g by Antoni<) di J<1copo Bl·11ci. callcd
1'0UJ1uolo (rirc,1 1-432.-98) (pi. 4). This is a gestural ura,v1ng, wherc
che 111tcrrupteJ .1nd ,\.v1rl1ng pen .Lines shovv che trace of a co11-
t1dt.'nt and e,pres~1,·e hand 111 ,rariatío~ of hght11css a11d beavi-
nl'~s of touch. 13odily act1on. con1pos1t1onal struchtre, anaton1y
.u,d \'olu111e, t'Ven perhap\ the e olour of rhe -,111all re111pera 011
pJ11l'I p 1í11tn1g i11 the UtTizi, Flore11ce, are prefigun:d in thi, c111j-
111Jtl'd prep,trJcory J1J\\ 111g. Through it, broken linc~ and stac-
c:ito rh) tb111s. thl' ,vork s~:rvt~ .i~ a conct>ptual 111ap of its futurc
dcvelop111e11r in ,111othcr 111ccbt1111. Ne, crthelcss. rhc s\virling
c;e11,;t' of velot tty ns Hercules ra1,;es h,, bun11ng corch to kill tbc
1111ag1nat1011 ,vas inflccted by natui-e: 'ltl1e artist] is someo11e who
n1akes the _f,111r,1si,1 approacb the efreccs of nature-'. He privilttged
in,·ent1on above ol1servat1on in 111<; ,vriting-.: 'Attend first in
dra\ving to gi\'i11g Lo cbc eye the i11cenrion and i1111e11zi()tH' n1ade
fin,l in your in1aginacio11.'2'' On .1 double-sided shcet of Three
of -var1atio11s 011 tJ1e chen1c oí' a cbild and a cac. wh1ch. ho,vever
suggestn1 e. are probabl)' 11ot fi-on1 observacion (pl. 5). '" The
sketches in pen and ink over 111etJlpoint IJUr'>tH! a lively sequence,
either ren1en1bered or invented, of ,l chi1d playing \,\'ith a fi·iendly
or rcluctanc fe lü1e. celebrati11g the popular tral{jtion tl1at a cac
li1 t~1e .1ct of playfi.1l jnvenciou, Leonardo t1ses a scratchy la11guage
of i11ky cuTve-s, rapid hacch1ngs a11d unselfconscious correccions.
Tn the botto111-le-ft group, ,vl1ere the Chri<;t Child or a 1u1tto
e111brace'> ,1 ~truggli11g ,1ni111al nearly its o,v11 size, the upper I>arts
of tht· dravving carclessly s111utige and obscure an earlier version.
l111prcssively, Leo,1"1rdo ackr1owledges tl1e cognitive aspect& of
sketching, ,vhe11, i11 a nu111ber of references in l1is 11ocebooks, l1e
st1ggests that con1i1sed chu1gs (cose co1!firsc) scin1t1late the nund of
the painter to ·ne,,._· discoveries'. 11 The notion of confusion is
111enci<)neu agnin in hi~ n1o~t f.1n1ous pa<;c;age:
13ecause yoLt 111u~t under,tand that if such a11 u1úmished com-
po,;ition [r<11111>ot111nc11tc1 i11r11f10] turns ont to be con~ic;tent ,vitl1
y()Ur invenrion. it ,vill c;acis-fy :ill che 111ore ,vl1e11 afcer,vards ir
is ador11ed with the perfection appropriate to all its !)ares. I
liavc secn sl1Jp<.:s u1 clouds and on f):llchy ,valls ,v hich havc
gi,,e11 risc to beat1tiful i11,·c11tío11,;_3~
The sketch i'\ the first stage i11 thc procL·dures c>f pictoriaJ devel-
op111c11L laid do\i\ ,; in AJberti's tract 011 Pt1i111i11,~. Scaged dra,vings
of drapcry, anaro111), prop0rtions. 111oven1e11t, gescure a11d facial
and bodily expre<;,;1011 (essencial for tbe n,aking of l1istor1e) are

30 DRAW r-ic AS CON TINUUM

 ccssive i11scri11uo11s. Core dcfin ici on., usu,11ly co11tai11 refcrence to
indcteruU11acy, rougl111css and spo11t..u1cit)'. '' Federtco Zuccar1>
(círca 154-0-1609) , artist, theor1st a11d first prcsit.i er1t of tht·
•• Accade11úa di Sa11 L11ca 111 llo1ne, dcclared: 'thc tirsc dr.1,vu1g •
n1ade, fi·esh fi·on1 the in1agir1atio n, 1s co11ti1sed and 111 net'd of
clarificacion'., -1
•·
•
.,,
1
Pentimenti: M od ifying th e Chaos of I nvention
• ~ You r<iu!.l be chaos, to g1ve birlh to a d.:1nc1ng star:
•
Friedr1ch Nietzsche

• lt What [lhe art1st] expresses cannot . . be the tr.inslatlon of a clearly defined thought
•
s,nce such dear lhoughts are lhose wn1ch have already been unered by OLirselves or by
others ·conceptron' cannot precede ·execut1on.' There 1s nothing but a vague rever before
, lhe act of arüstrc express1on. and only the work 1tself. 1s proof that there was some-
//1mg rather tha n norh,ng to be said,
Maunce Merleau.Poncy-

Any discL1ssio11 oi- f1rst-thougl1t sketches n1u st also <leal vvith

second th.o ughts or JJC11tÍl11e111i. These are parti cularly pron1int~11t
• in dravvu1gs n1ade in ir1k or l1Jrd-coloured cl1alks, ,vh.icl1 caru1ot
be erased eJsily. The term m tl1e llomance Janguages denves
fi-on1 repe11rance, and a1t11ougl1 it occurs in Vasari, n1ight have an
earlier usage. ~7 Tl1e Frencl1 rez1e111ír fron1 the <;a111e root l1;is l1ecn
i11 use since tl1e seve11teenth century. a11d the Gern1a11 Re11cz 1(i,t
'.) .. . can bc rranslaced lirerally as stroke of rept!ntar1ce. J~ Tllis curious
\...
... ..:,.J associatio11 of change ,,'Í.tl1 re~et (repe11ta11ce) seen1s co struc-
. _.-'
-~ ---
~
",,...,.,... .- ~ ture thc teru1 \Vithu.1 a n1orahsuc debate abo11t perfecbon a11d
/
( iruperfection. Alberti ,vas ster11 about the question of l'i11isl1.

ln carrying out our work ,ve ,vill employ the necessary

5 Lc•ona.rx,-Lo d.i Vinci. T71rc·e S111dies of rhc C/,risr Chihl 11,jf/,
metalpo1nt underdraw111g, pen and brov.'11 ink and brovro \Vll~h. 212 X 1-1-~
1un1. London, Thc British Mu!,eru11, r!l57,0J L0 . 1 r
recon1n1ended after 'preparacory studies on paper'. Drawing is
tl1eorised ~ a relacio11al chain of ideal practice, leading inevicably
fron1 the rough first ::.ketch - the inspired co111 ing inco the v.1orlc.l
or "vl1at could be called the paroHsia, outv\'ard 111anifestaciou of
the interna! idea - to tl1e fuúshed ,vork of panei pai11ting or
fresco, sculpttrre or print. St1ppleme11tary stt1d.ies alo11g the Vv·ay
<;erve to 'dress' the raw nakedness of tbe preliminary sketch w1th
the acrribures of n1in1etic represe11rac.ion. As such, rhe)' act as che
l1u111anisr alrributes of cultural ideology, and i11 this respecc func-
tiou as pare~<ça (n·opep-ya, by-works) or augn1entacions of a core
co11ccpt. Thc sketch is often namcd a co11cctto by sixtee11th-
ccntury con1111e11tators. functioning as a con- cept11al notatio11
free of the i1nperari,Tes of rn irnesis that w ill be laid down in sue-
a C111. latt> 14-~os. dihgence con1bined vYith speed. so that ted1un1 doe~ not
prevent us ti-o-pi going on ... 1 have seen son1e pa111ters a11d
sc1.-tlptors ... begin son,.e ,vork \'\'Ích greac enthusia~n1, and
then ,vhen tl1e ardour of tl1eir tl,oughts cooled. abandon ic in
a rougb and unfin.i~hc:d ~tate ... I certainly di~approve of ~11ch
pcople.
Alberti 1,~d translared Lucia.11:c; cext in favour of the diligenc work
'co111pleted in every respect' (alLhough, a111usingly, he recon1-
111end!) n1odcrate dilige11cc). Ile is firntly agauisc scco11d thoughcs
or erasures: 'It is ~afer to reo1ovc etTors ,v7.th the 1nind tht111 to
erase the1n fi:0111 0 11e-'s ,vork.'3'' Later. (;io,7al1llÍ Battlsta Arm.emuí
in De' 11eri JJl'l'Cl'tli de/la pitr111·a ( 1586) \\.'JS also ro con1e dov,n on
1>c111if11e111i. de,;ign;iting an erasure as ·an ugly and brutal th1ng· and
criticising those ,vho draw 'rr1any figurec; ali tangled cogerher'.
Ar1ne11i11i ,va11ted to be sure that pc111í111c11tí occur only .1t Jn
carly stage as pare of a dr1ve tovvards perfccribilil): ·I~epeated
sketclu11g and dra,vii1g results in thc addicio11 of n1any elcn1cnrs
in better fonn as well as tbe re111oval of man) as 1.11111ece~sarv.

TH E PE RSISTENT CULT OF THE SKE"l CH 31

 ..
--
<1 lwtw.rdo J;i Viuci. 17,c 1·,~~;,, ,1,1d CJ,ri>I C/11/d " C.ir. árc.,1 1480. pen
11 1irh
and bro\Vll 1nk oYer 1nr1~ed ,rvlt1,. 130 X 94 111111 . l l111do11. TI1e Hnri,h
Musl'WII, 1S56.0621.1v
111oreover errorc; ,ire 1nore easily C()rre(tt'd i11 drawings than
final ,vork:..'411
Lco11ardo s unash,1n1cd pe11 :'.llld ink r.etrJcÍllgs a11d correccio11s
v,:hile he soughc to ti>< fluid ídeas lecl hit11 to rurn dra,vings over
to \York ou tbe back of a piece of paper or spill out on to
,el1ue11t1,1l page,.~ 1 1n :i double-s1ded sheet 1n the l3ritish
Mt1-,cu111. 771" l 'i1:~i11 a11d Chrisr c:tuld 11 1ir/1 a C,11, lc)r ,vhi ch he
h.,J perhaps e.xi1eri111enttd ,, ith the sketches oí infant and cat
llescr1bc1.l above. Leonardo conficJcntly <;kctchcd cl1c Virgin 011
thc rccto. bc11du11; hcr hcad to observe the child ::u1d cat, ,vithin_
a rou~hl) skecched o\·a l fi-a111e. "fhe botcon1 of tl1e dra,,-ing con-
t.lins redra\Vll lt>g-; ,o ht'a\ ily scored v. ith pr111i111e11ti chac the artisc
,,,1, lorced co turn the pa_p er over and rt.'trace che figurt"I (in
re\'er'>l') to Ll 1r1fy che co111pu~ilio11 (11I. 6). Leon.trdo specifically
n::Lon1nJe.nds suLh .tn .1ct1on i11 his ,vricii1gs. and i_n tbe recoupcd
32 ORAWING AS CO"ITINUUM
• •• • • • • • t t • • , • •
•
, 'º"..t'"""' ~.-n l
~l~r....1'7>f'"Af'
• ;,j'n:,f•,of..,..., •l'J' '1.4-
7 leonJrdo da Vinci. STtrdu:s .f,r rl,c • 17~111 ,11ul C.' /11/d 11•i1!, Sr .--i1111c ,111d riu!
1t1{c111/ St j l1/111 1/,c l3.111tiJt ', úrctJ 1503, pen ,u1d bro,,·u ink. ,vith_g:rcy \Va!ih.
heightened ,vtth ,vh1te over hbr k ch:ilk, 265 X 199 111111. Lt1nd<)n,
The Unu_sh 1Vluscu111. J 1:175.0611.1 7r
in verso drawing. where the tigures face tl1e opposite way, he adds
a bro,vn \vasl1 and iuce11sific~ ccrtain lines ,vhile atten1pting to
obscure otbers. The 1i~'Ures 011 1the ,·erso are 110,v r1ght up .1gaiiist
~ ~ ~
the verticéll ot- the single pen lu1e indic~tirig an arcl1ed frame,
a11d spill out of ,ts confines at the bocron1.
ln Leonardo\ equ.1lly fa111ous 5i111dies for rl,e ·1 ·;,J1i11 a11d Child
tl'it/1 ,')/ A1111e a11d t/Je Iitfi1111 ,';t Jol,11 tlie Bt1JJIÍ$t' (pi. 7), pen and i.nk
and ,,vasb l1ave be-e11 brougb.t into play to re<.{cfine thc original
s111Ltdgcd black cbalk, ,vlúcl1 ha_s becornc entai1glcd and en-
crusted within a virtual bird's 11est of revisions. Tl1e fcbrile play
of in1agii1ation bas obscureci tl1e passage of jts o,vn ,vorkings to
&uch an excenc tl1ar Leonardo has been required to trace a te\,-
l1roken outline-~ lhrough on to the verso v\'ilh ,l stylus .igainsc
carbon. A heavi)y worked and reversed drav,•ii1g of che sa111e
subject i..., co be foLtn<l in thc Louvre. a.i1d élround both tl1esc
jun1bled skeccl1es Leonard<) ha-. added a C<.)nta1ni11g ti·an1e .1nd
pin-pr1cked c;cale for enlargemenc. 11
Tl1e illegibility of Leonardo''i studie<; for Tl,c- r7irgi11 n11d C/,ifd
,,,;,li Sr r l1111c reprt:scuts an extrenlc statc. 111 seven drawings
for a lost painti11g, S1 George Slayin,çz 1/,e Dra.~011. Leon.irdo's
Florenti11e co11te1nporary Fra Bartolo111n1eo (Baccio dclla Porta.
1472-1517) poeticises the pra erice of pc11ti111enrí. vvorking in chalks
011 papers prepared \vith earth colonrs in serial studies. Two black
chalk ura\'vingS- (Rotterdan1. MuseL1111 Boijn1ans Van Beuningen)
den1011strate hov, Fra Bartolo111111eo cl1a11ges St George's )teed
fi-0111 a lLLnging to a re,1xing positio11 and cxperinte11ti, vvith
placing the prü1cesS- in tl1e con1posirio11. ln thesc studies. tbe
111ise-e11-srene of trees, rocks, sky and buildii1gs acts as a parc(~Oll.
~ by-,vork or c;econdary srr::1cegy, -fi-anúng the co111position dic-
taced by the energies of the principal figi1re') ;u1d see1111ngly
,1dded at a !ater scage_ T l1e nu111ber of ~eparate 'lheets, perhap~,
can be attribuced to lhe exigencies of the chalk 111ediu111. Soft
cl1alk cl1at is 11ot c;harpcncd to a fine point buc applied over a
slightly abras1,·e prepared surfi1cc tc11ds to s111udge a11d darke11 tl1c
SL1pport, 111a1.ing it di.fficult to retríeve li11es tb.at havc becon,c
obscm-ed i11 a general fuzziness. Fra Bartolon11neo therefore often
applies \vhice chalk to highlighc the are;-i he is recouping fro1n
'lh~1do,vy confusion (111. 8). His use of 111aterials is painterly and
volun1etric fi·o111 its inception, a11d chir1rosc11ro is not son1etl1ing
chat has to be added !ater but a pre-cn1ptive phy~icality
embedded i.u the sketchjng process. ln this respect. although he
,vas a Flore11cine and inm1ersed in de,·elop111errt~l procedures,
:;; fr,1 IJ,1rcolomn1c•n. °'1111/11 Ji>r 'St C;e,,t:r[I' Sl,1yi11<'< 1/ie /)ra.1?1111 ·, (Í/'(11 1506-1 o.
Fra Bartolo1runeo's drawi11gs prefigure son1.e aspects of tl1e black chalk. he1ghrencd \.\irh \vhjtc on lighl ~rcy preparcd p.1pcr.
in1mediacy ofVenetia11 draughtsmen of a lacer generation. 43 333 x 2 76 111111. llocrcrdan1. M u~eu111 UolJl11.lll\ V.111 B~t11111l~rc11,
A close look at the late Ske1che~ _for 'Tl,e Cclro11a1ia11 ,~{ 1he 1'irgi,,' Prentenk.ibincc, 1 563 M X(i
by Paolo Veronese reveals that he scarts \-\'Ítl, the 111ost cur'iory
of figural groupii1g~, just in<ljcating the postures of tbe nake<l
figt1res ,vith a darti11g, broken ser of curvili11ear pe11 strokes Accaden1ia) re11ú11ds us that tl1e actual di111e11sions of a sn1all
(pL 9)_ When satisfied "''Íth the figura l relationships (a11d thc sl1eet (only 305 X 2ro 1111n in1 chis case) n1ean little to an artisr:
skeccl1es indicace that dra1natic interrelatio11ships are che in1por- when ge11erati11g ne\.,· ideas 111 haste. thc grapJ1ic space is eJastic,
tant factor, not indívidt1al poses). he appears to have repeated che vibraring vvith pote11tial, unbot1nded and infi11ice.
central g,oup of saint<; lo,ver down, this ti111e applying a ,vash Tnchoate sketche~ not only exi~t beyond the bt1und.1ril.!'i of
~o a'i to 'clothe' or give piccoria] n1e.ining and ,·o lu111e to tl1e fi·a111e .:ind scale. buc are al~o untoucl1ed bv the l1ier.1rchical logic • 4

protagonj~cs. AJthough chi-; busy shet·t of dravvings does 11ot
constltute a cOJnpositional study fo r just one painting - it appears
to relate to Veronese's altarpiece tàr tllc Ognissant:t church, as
well as a Coronnrio11 1ntended for tbe Sala del Magg1or Cons1glio
in cbe l)oge's Palace ÍJ1 Ven1ce 14 - the o;pontaneous posicioning of
figurt>s and text on che J)age in son1e vvay rehearses the circuh1r
and cencrifugal 111ove111ent of earthbou11d figures and bei11gs
fioatu1g in l1eavenly spaces. It is as if tl1e entirely conceptuaJ ~pacc
of tbe drnwing sl1eec already contai11s tl1e thougl1t-gcr111 of the
i111IDanent painting space, at rhe sarne ti111e as be111g an indeter-
mina.te aud experunencal zone. An avvareness of the huge scale
of Veronese 's painti11g of the Coro11r1tio11 qf· the T'i~{!it1 ( r586; Venice,
of a pictoriaJ space. 111 Lhi-, se11se of u1ifixed potentiaJic,, a -;ketch
approaches closely to Lo11ginu~\ uotio11 that the sublu11e is 'tbc
echo of a grcat sou!'. The La □ 11 te:xc of lo11gu1us's 011 rhc S11bh111e.
published m Ba.sle m 1554, ,vas tra1islated 111cc Ttali:in i_n Naples
in 1566. and into Fre11ch 111 1674. 15 The relevance of rl11,; te'Cc to
nori<)llS of drav\'Í11g anLi creacivity \,V,1'> noc lo~t 011 art ,vriter~. For
exa111ple. dist)rdered fantasy is. repn;:-;e11Ced in cl1e fronti~picct' co
Fr,1nciscus Jt1nius·s De pírtura 11C'll'r11111 (J638) as a cl~~ical
iigurc \Veari11g a cro\.V11 of hgL1IT's, illustrating a quocarion fi-0111
Longinus: 'conceits jarise] OLlt of a uu11tutuous dtsten1per of trOLl-
bled and turbulent phantas1e•;. 11' Longü,us's 1dea, \\'ere la ter ro
forn1 the basis o( Edn1t1nd Burke's J>l,ifost111l1ical F.11q11ir}' i11t11 the

THE PERSISTENT CULT OF TI IE SKETCl-l 33

y PJoln c:.1h,1n (li Vcronr:,c:), "kl'tâ1e~ fi•r '7711• C1,,.011,11ii,11 ,!f tire l 7~~i11 ', 151>os. pen. 111k Jnd \Va~h. 305 X .210111111. Oxford,
C.hri\l ( ' hur,h [>1cnir~ (~allery. J13~ 793r
S11bli111c a11d Bca11t[fi ,/ ( L757), a11d tb e relacionship of tbe subl11nc
to 'dark, confused. uncertain i1nages' that 'have a greater po'\ver
011 the fane,· to forn1 tl1e grander passions than thosc have \vhich
are 111ore clear and deter1ru11ate' was ro rake a -,trong l1old on
che artistic as v..rell as the literary i111agi11ation. Durke reiterate-;
Lo11ginus ,vhe11 declaring that 'Tl1e 11ú11d is hu rríed out of itsl.!lf
by a croud of great and confused Ílnages; ,vnicl1 affect becausl.!
they are crouded and coufused.'4 -
Working witbin su ch a Burkeian ideology; crowded and con-
fi.1sed sketch ed i111ages becan1 e tl1e privact obsession of George
Romn ey (1734-180.2) in T1is lacer years, very fa r tron, the brigl1t,
luniinous painted Aacceric<; of Jus pul)lic J>oru·aitu re. -Pages and
10 George Tto1nney. PrisC111 S<e111•, 1780s, graph1te, 121 X 183 111111.
Ne,v Hdven. Conn .. Yale Center for Bríti~h Art. Yale- Art G,1lh:ry Colle, uon.
Gift of Mr. and Mrs. J. Richardson 1),hvorth, B.A. 1938. B.1979.12.227
pages of sketcl1books. botl1 largc-for111at a11d s111all-scale. are
covered with repeated trial sketcl1es for iu.tense a.r1d tenebrous
works that vvould never be painted. DesC1ibed b)' one of h is
b1ographer.~, Willi.a m Hayiey, as 'depressed ,u1.d hypocl1011driachal' ,
Ron1n ey scribbled and re-scri bbled der1se \'ersions of scenes
fron1 .'vfacber/1 (The f1Vitrl1es Ca11e and the Ba11q1,1e1 Sce11e) or
returned obc;essively to tl1e subject of T-Jv11 ,arri T/isiti11g 11 Prisv11 ..4.-1
ln the fivc hundrcd dravvi11gs of this st1bjl.!ct, Ronu1ey does not
use pe11th11c11ti so much as ove rdra,ving: pcncilling in dark shad-
ows over corrections witl1 such 1ntensity that the graphite
becon,es shiny and lustrous (pi. ro). The figures of lepers or pris-
011er" in shadowy. arched sp ace1> ::ire n1arked with scorings anJ
rt>dra\.vi11gs; he _put<; in a fi·an1e, breaks ouc of the fra111e, reposi-
tions the sa111e scene again and abrain 011 successive pages. Th e
6ercc obscs)ion of tbesc scri.tl redrawi11gs bcco111es a substitute
for the blocked activit)· of pait1ting- especially for gra11d hiscory
\.vorks, ,vluch no 011e vvantcd. For Ronlllc> tt .1ppe.i.r., tl1at sccond
thoughts could be very b1rter indeed, but l1e ,,·as also. perhaps.
responding co che endorserne1u of che tnifinished c;kecch mJde
earlier in the century by Jona than Richardst)ll che Elt!er ( 1ófi7-
1745):
~rhere is often a spirit and be:1Ut)' u1 a q111ck, or perhaps an
accidencal n1anage111e11t of rhe ch::ilk, penei! or hrush 111 ,1
d ra\.ving, or painting \.Vhich it is in1pos~il1le tl) pre,erve if ic bc
inore fin is11ed; ac ]east it is grear odds hur ir will bc lo~t: 1c i,
bettcr ll1ercforc co u1c1u· the censw·e of tl1e injudicious, chan
to hazard the losu1g s11cb advant,1gcs to thc picture:''
ln focusii1g on thc in1aginative 11owcr of unfinish. the populJr
Plini.u1 a.necdotc of tl1c artist Tin1ancl1es ,vas oftcn quoccd in the
cigl1cec11th cenniry. ln ilis representario11 of lpb.ige111a, Ti111a.uthes
depicted tl1e grief on tl1e faces of a.U thc onlookers cxcepc thac
of Agan1e11111on, her f.1rher, ,.vhose face hc vciled because tbe
excess of his grief v.·as beyond portrayal.511 The i11con1plete tàce
<)f Aga111en1non therefore ackno,vledge'\ the pocency of rl1e
11ic'111c•r~ in1aginarion ro con1plete ,,vl1at rhe artisc deliberately
rcfi-ai,is fi-0111 rcprese11ti11g.
l □ argtlir1g agai11st tbe vagL1c' and ·undecer111inacc' practice of
1
sketchi11g. SiT Joshua lteyno lds (1723-1792) nevcrtl1eJess endorses
1ts spontaneity:
lc is true, skctches, or sucl1- dra\,-iugs as pau1ters generally 1r1akc
for tbeu· works, give lthisJ }1leasure of i111aginat1on to a high
degree. Fro1n a sligbr undeter111ined dra,ving, where the ideas
of che co1nposition and character are, as 1 111ay say, only ju'>t
tot1ched upon, che in1aginatio11 supplies 111ore rl1an che painter
l1in1self. probably. cou.l<l produce; and \Ve accordingly often
f1nd that the fi1lisl1cd vvork disappoi11ts the expcccation that
,va.s raised fron1 the sketch. ~1
•
Fou r Strokes of the Pen: Th e Genius o f Brev ity
Nature can afford to be prod1gal in everyth1ng. the artist must be írugal down to lhe
smallest detatl
Paul Klee5•
Thc v;ildJ1css of u11co11stra111ed seco11d tl1otigl1ts. corrected ar1d
ii1tertv.'ined ,virhin a sing le sheet or u11ravelled througl1 serial
developn1e11t. conscitutes a ditferenr 1nodel fi·o111 chat of rl1e
brief sketch. v.·here an econon1v, <>( strokes reveals ski11 .111d
'ge111.u~.'1~'·
Michelangelo Du o11arroti (1475-156+) was beJ~agucrcd b)
artist-s to ,;upply the1n vv1th sketches co copy or dcvelop 111to
paii1tings. The poet 1>1etro Arcnno, lus one-n1T1e cr1nc and
THE PERSISTENT CULT OF Tf-l[ SKETCl-1 35
dL ti 1ctt)r. bef!gl'~I tc.)r ,k\.·tch 111 J lt:ttt'r. claituiug tl-1ar ali hc
.1
\\mcecl \\,ls 'J;\\t) strokc-, of ch.u·co,tl' (d11c s~~11i d{ mrlit_l/lC) for lu.s
collecnon of clr.1,,111µs by fanll)lJ<; artists. 5·l Arn1 eni11J 11pped the
nurnber of ,troke, te> lc.,ur ,vhcn en1l...,elli-.h1ng eh,, rrope. C<)111-
111e11t1ng th.11 111il1t.1ry 1111:11 ,vc)u ld not bt' .1ble lO c<..H11111u11icatc
L'.1s1ly ,, i1 h od1crs ,vithout the .tbilit,· to drLt\-\: 'hl' ,, ho po,scsscs
th1-. LJh.·nt c.111 cx:prcss lii, ii1rcnrio11 \"l'l"\ \ Vl'li \\"ttb tour srrokes
nt .1 PL' ll •. º ltidolh, the biogr.'.lpher o f _).'.lcopo ' l'intoretto ( r518-
1594). recnL111r, ho,, the .1rri~t Ct)nfc>unded a group of Fle111ish
}Ollths proud t,f tl1t.>ir :110,,·. r.1refi1l llr,1\.\ i11g'-> l)V 111,lkin g a figure
·,, ith ., ti.·,, strokt·._· L>Í .1 brusli di1)ped iu paint. ~[\ ln Englaud,
N1Ll1nl.1\ l lilii.ird (? 1,+7 1619) \\'J~ pra.l\t.'d for '"ettmg do,vn' the
le.tturcs ot QttCL'll Eltz.1beth 1 111 •,, hitc and blacke 10 four ly11es
011Jy' -~ 1n che 11iid-eighcec11rh cencury che uifl ne11n:i.l collector
P1erre-jt:'.111 M.1riettt: decL1red that 'One single ~troke ,vith pen
or cl1.1rtoal .111,;,,•ers the u11,pole11 quc'itic)ns tb.1t everyone i'i
.1,ki11g."i. A11d i11 thl' nineteenth ccntur\ Eugene l)e]acroix \Va-s
:,till reco1111nendi11g t~>tu· n1a~c,tl strokes ,vlien co111111entí11g 011
'rl1e forinlc:,sne~s· of a tirst draft in \\'hich 'tberc 1r1a·y be only
tour lin e~ v.orth prc'H.'r\TJng'. He ,vcnt on:
1 belicve that a s1111ple d.ra,vi11g is ~ufficie11t to allo,v 011e ta
brood O\'Cr Jn 1dca. ,;o to speak. a11d ac rhc ,;a111c n111c co br1ng
1t to b,rth. W1chi11 1t~ ,;n1all co111pac;s, and \Vlth a rather
,u111111,1ry e'tecucio11. one can .1train the loftie,;t feeling a~ ,vell
as une can ,virl1 tl1e co111plex t''<t'Cutio11 of .'.I picture.,•i
Tht· ditference bet\Yeen an abbre,·iatt.>d and p.'.lred-do,vn sketch
.,~ rcd11cti,i ,1nd .111 unlidy Jnd forn1less scribble \vith a prc)lifera-
tion of 1ic111i111c111i (Lt'on.irdo ·~ ca111p'111i111c·1110 i11c11/10) rehites to tl1e
i<.Leolog1ca.l vaJue~ ascribed co drav-,ing '-'"icl1in socially co1iscituced
discourses. Although <
pc11ti111c11ti functlon as s1giufiers of gen.ius in
~ -
che ca~e of Leo11ardo, Salvator l~osa (r615-r673) and DeJacro1x,
to n,n11e jt1sr .1 fe\.\' artists ft-0111 different centuries, they are
e111l1edtlt'd in praccire and occu r v.·irhin studio dra\-Vings, serving
che artist's pri, ale <-1ue-,c. Such ,;ketcbe'.), if they ,urvive, <;<)meti n1es
,1ttai11 cult st,1Lus v,ith collectors bccausc of their rcv1:lacory
aspccts, cach corrcction suppo)edJy rcvcal.i.ng thc real tl1ougl1ts
oJ rhe artist in progressing a11 art- \vork. (lt is signifi.ca11t in tlus
reçpect thac Vasari's extensive Lifiro de' dise,Qni concained sketches
,111d ~tud10 fr·,1gn1ents a~ \vell as fin ished dravcings. 111ounred side
61 ,idt· in the el.ibo rate graphic bc)rder'.i.) The relatic)nship
bet\vct:11 br\.'Vil) aud the casu,il skill <>f ge niu~ i5 consLructed
,v1th.i11 a 111ore pLLblic rl1et<>ric, and does uot 011Jy apply to
dra,Ytng, buc .'.liso to '"·ork'i o t art 1n any 111cdiun1 tl1at aspire to
rhe cond1t1011 of dra,,,111g.
The tourtly dl)ctr111e of s11rc-::nr11rn (l ively n<>nchalance) \\':J'>
r,)r111ulc1ted in the -..ixrt·t·nth cencury 111 lcaly and clai111ed legic:i-
n1ation f10111 .111tiqu1ty. parti<.ularly Pliny\ ~tory or thc visit of
Apcllc'i to l'rotogencs. ,vlien Apclles ,vas ablc to clain1 highcr
srarus th,1n h1s labor1ous and 111et1culous rival bv knovvi ng '"'·heu
36 DR.AWING AS CONTINUl.,M
to take bis ha11d avvay· 6:0111 a p1cture'. !•11 ln Baldesare Cast1glione's
t•nfluent1al II /1/Jrn dei rortc,(!1a1u1 (r521{), the count, ,vho con1n1encs
on che fà111ot1-. v1s1 t, scare": 'c1 c;i11gle line ,vhi ch 1s not laboured.
a "i11gle l)rusl1 srroke 111ade- ,vith easc, in such a v,ay tl1.1t ir see111s
rl1at tl1c hand is con1pleting tl1e linc by icself ,vithout all)' ct1àrt,
or guidL111cc. clearly reveaJs thc cxcellcncc of the artist' .01 c: as-
ciglione's ele,,atio11 of an unatfccted no11chalai1ce thac conceals
.irtistic efro r-t '''ª'i ro be used as a model for aristt)cratic bel,av-
iou r a11d had J)olitical and sociJl i111p licati()11'i in 111uch ,-vider
spheres.1'~ lrs genei;is in art points to a parcicu]arly close iJe11ti-
fication bct\vcen the co11strt1ctio11 of ge11.ÍU!> a11d the aspirat101is
of art1sts to a socia l standii1g bc) 0nd class. Accordit1g to Fran-
7
cisco de Holand.1 ·s partly fictional 111.id-sLxceentb -cencury Dio-
lo.{t11es 111ith jJirhelallg,efo. the 111rres1ro relared the issue of concealed
c;kill t<) _1.1:-iinring ('this scienre of C)Ur~'), declaring: 'what one hac;
111ost ro ,-vork ,tnd ~truggle for ... is to do thc vvork wich a grear
.1111ount of labour and s,veat it1 such a \Vay tl1at il n1ay a.ftcr\va.rds
.ippcar. bo,-vt:ver 111ucb ir \\1ai. laboured, to havc becn clone ah11ost
quickJ1, and almost , v:ithout any labo11r, and Yef)' easily'."·\ lf
0
,1pparl"'lltl)' elíortless arr <;igiufi.es gre:itne'is, th en by as'ioc1at1on rhe
genuinely recluctive skerch is a syn1bol c)f geniuc;.
The rern1ino]ogy of arr practice used by t1rtist:s and historians
illLu11i11ates this conscruclion. Fc>r exa1nple. the seventeenth-
cc11tt1ry Italian tcrn1 for :i skctcb, 111acc/1ia (:uso tbc ,vo[d for a
~tai11 lcfi: by ltqwd or dirt ou a su1i-ace), as defined by f.ilippo
Bald111ucci in his 1/i.>cabolario, or dirtionary of arriscic tern1s, is a
rough dr;1ft n1ade 'with extraord111::iry t1rility and w1th such har-
n1c)ny and fi·e!>hnes,; chac it aln10,;c looks ;ls if it had ~1ppeared all
by itself 011 cl1e paJ..1er or the canvas'.r,~ The Ducch na111et; for
skctchcs Í.J.1 tl1e scventee11tl1 ce11tury \.Vere crabbeli1t.f1.C a11d scliets. as
du,tii1ct from teeke11i11,~e. or clra,0\--ings."5 ln tbe French traditio11. cl1c
variot1S ter111s for sketch, ,(_rribouiffa,{!e, J!r!ffi.111c111cnt and latet éhaflclie,
csq11is::e, croquis- all firn1 ly disru1guished fro1n od1er kinds of dra,v-
ing- ,vere, by the eigl1cee11ch cenn1ry. e1n bellished v. ith concepcs
1
o( 11églige11ce (very clo~e to s1irezza1un1),j,1rifiré1 \vith its i111plicatio11s
of the i;pecd of c:0111pctc11ce. e11rho11sit1s111e and lightncss, l~f1.ercté.h"
Co11.fidc11t 11011chalancc or spr:c':::-zc1111r11 is thc de.ti11ing 111ode of
tl1e con1positiorial sketches of Sir Ai1thony van Dyck (1599-
r641 ), ,,·hich are very difl-erent fron1 his chalk figure stt1dies, fine-
line landsca pe dra,ving<J and accurnte 11ortrait stt1d ies. 1•- The \vild
exploratory style oCtl1e co111positional studic:s, ,víth ,vet and dry
strc)kcs ,, nd eJaslic figural sho,·thanc.{. is ge11erally JilTerenr fi·o111
v:-in Dytk's CLLrsory aide-n1e111oircs jotted do,vn i n l1is Italian
sketchbooks of 162.2-4, althougb some 11otes e1nploy broad,
Ln1patient brush,vork. 1'" At1 early con1.posirio11al sheet, jfoses and
the Bra::c11 Ser11e11r (pl. 11 ), is or1e of seven developn1encal skecches
for che pa1nring Tire Braze11 Ser11ent (circa 1618-21; M.1dr1d,Muc;eo
Nacional de] l)rado). 111 the arch-shaped study, busy V.'Íth over-
dra\\'Íng ,ind pc11ti111c11ti, v.·har con1cs across i,; t11c enorn1ou,; con-
fidc r1cc of thc pen strokel> a11d rougl1 brusJ1 111.a.rks (scill sho\vÍI1g
 -
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11 \1r Anrhony Van l)yck. ,\toses a,uf llte Br11zc11 Scrpe111, ârc,1 1618-2.1, pen and brown 111k. ,v1th bro,~·n ,1nd grcy ~-:i~h. 153 X 2061111n. London. ('ot1r~n1ld
lt15titut.: of Art Gallcry. D.1952JlW.2365

the influe11ce of Rubens) ,vhcrcby van Dyck prefigures thc
Grand Ma □ ner ai1d .e11sto of his painting, w]iile search.ing for a
n1eaningfu1 disposition or fi.gurcs. Ora,vn ir1 reverse of tl1e fin-
1shed pa111ting, it sets ot1t to reso lve d1e dramatic intensity of
Meses· gesrure cowards the inky c;erpent ,vrapped arou11d a stan-
dard, as he s;tands in isolation on the rigl1t of the dravving. On
cl1e otl1er side of d1c upright standard is a knccling antl reluc-
ca11t fen1ale figure ,vhosc face is forcibly being hcld up to witncss
Thc courtlv' ,tnd aristocratic circles in ,, l1ich va11 D,, ck
opcrated ,vere very far fron1 d1e i,-eal1~t1c rn1p1Llscs of tl1c
Ducch n1ilieu of Ren1brandr ,-an ltij11 (1606-1669) m the n11d-
se,enteentl1 ceot1.1ry, yet llen1brandt\ seenú11gly simple, 'í\,~ifr
and '>poncaneous sketches also ,;een, te> ar1se out of a nonchalant
conceal1nent of skill."'' His pe11 and l)rc>wn ínk ,'>ketches ~{ 1111 O/d
.\l,1.11 111irl, ,1 Chi/d (circ,1 163Çr-40; pi. r2) aln1ost appear to l1appe11
in real tin1c bcfore our evcs, , ,,:ich tl1c i1úant snatch111g at rhc olti
~

che serpc11t. Tl1c i111port:u1c1.: of this group i11 tl1e fuial paiuti11g
is lost in tl1e cro,vded group of squatting a11d lying figures,
depicted ín che c.irav:ing with angu lar econon1y m Sllccessive
layers of fine and brush-broad reed pen lines. Tl1e in1patienc
cech11ique and c;111udge,; ()f ink invite tl1e ~peccator into an inci-
111ale 1)articipation in the artisc 's e,·ol u ti on ()Í pict<)ri aJ sol u t.ious.
n1ai1·s skullcap u1 the bocton, dra,ving and triu1nph.1ntl, · SLlC
ceedü1g in the top skecch. ,vith a sn1ile breaki11g our on cl1e old
111an 's face. The heav')' pen lines (probahly a reed pen) in hoth
these \eqne-11tia1 skercl1e-'> la) do,vn ,111 ab'itract fi-a111e,vc)rk t)Í re]J.-
tionship~ in the fir,;t in~cance: a rt'cta11gula1 grid of n.'1.. iprncilit",
iJl the lov,•er. 111ore grouuded v,iorl-.. ,vith its hc.>r1zo11tal bench .ind

THE PERSIS";E:N í CUl T O► THE SKETCH 37


•
• .ire skettl1t:d vvith heads ac; feacurele<;s ovoids, and arn1s and legs
•
r:! ll.ernbrandt H.1rn1ens2. \'Jl1 1-l.ijn, Ske,chcs ()/ <111 ()/d 1\lt111 11•irl1 a (,'/,i/d,
,in,1 163y -1-0. pcu ,1nJ b10,\·11 1nk. tou~hcJ 1,v1th bmv\ n v,ai;h on pa.lL' bro,v-11
\\,J\hl;'d p:1pcr. 189 X 157111111 1 ondon. The 13riti,h MlVieu111. 1910.0212.185
fl(>or, and a '>eé-'ltivving SL'l of inccrC()nnecti<>11s, cstal1üsl1iog cl1e
111ore J1vely upper Jra,Ying. ,vell ·off tl1e true'.1-Taving laid dowu
thcse i111tiatory fran,c,,·orks - pcrhaps at the 1110111ent of wit-
nes~1ng tl1Js acti,-icy - llen1brandt was fi·ee to add n1ore circun1-
'it;H1t1ül decails ac a !ater <;tage: the old boy',; trOliser<;, ,hoes
,111d stick, ,visps of hair. f:.1.ci.11 expre-;~ions, and variou<; trial
inf~1nt hcads.
1n .1 catJloguc of 1741 tl,c French drawings co1111oisseur
Pi'-'rre Jean M.1r1ctrc rctrospcctively praised tbc dra,vi11gs of
N ,colas f>oL1ssul ( r594- 1665) in conventional rhetorical cern1s:
'WiLh a sin1ple line. ,on1eti111cs ,,,,th che addition of a fe,v brush
,1r<)ke-; <1r 'w,l"lh, he ,vas ,tble to express rlearly ,vhat his in1.1gi-
11Jtio11 hJd C<)l1Cl'ived .... J le ,vai.; of the 0pinion chat any other
111ecbod n1erel} hcl<l b,H.. k hi~ gcnius and slowcd up b.i.s vvotk
... tor l'ot1<;si11 \ gen1us ,vas uJ the liigl1est degree poetical.'711
1"hi, dcscr1pt1011 doe<; 11ot eutirely cally ,V1tl1 a con.ren1porary
read111g of the coo! dra\.\'Íngs of Pouo;sin. Like other sevenceenth-
ll'ntury artists. Pt,u,~1n did not fo1lo,, rhe ,tr1ct R.,1phael-inspired
111etl10Joil>~'Y c)f llevelo1111tl·nt,1I drawing of thl· previous cencury,
38 O í{AWlt 1G AS COI Jfl!\IUUM
l)ut in5te,,d 111oved very qL1ickly íi·on1 abstr..1cted co111positionJJ
11otatio11s co cl1e fi11aJ paLntin.g. 71 Cor11paratively fmished dra,v-
ing::; were s0111etunes tollov:.1ed by sketchier version'j of the sa111e
s11bjecc, in a reversal of orthodox n1echod0Jogy, md 1nan.y dra,v-
1ngs ,vere 111ade 1nde11eud<:ntly of paintings, and v,ere not rhere-
fore prelin1i11ary -,tudies in tl1e ,;trict sen<te of tl1e v-.rords. Pc.)uc;sin's
dra,.,vi11g stylt' obviously changed over his career, but ge11erally he
dre,,· co111positio11al skctches witl1 a sort of sii11plified figural
shorthand m pen and in.k, to whicb a rapid brovvn ,vash was
added, supplying a dran1a of ligbt and sb.ade witl, very fe,v pe11-
1i,11e11ti. Within rhe con1plex disposition of the drawings, figures
are ofcen reduced to a for1uttla of four strokes. so1netitnes. but
110c alvvays, finisl1ed ,,vith abbreviated bands :md feet. Occasion-
ally, the .figures are so gcon1.ctrically sche111atised as to appear
ah11ost cuboid, 11ot ali that tàr 6·0111 che box1ike stereometric
geo1netriec; of l)on1enico G hirlandaio (1448/9-1494) or the
L1rticulatt'd square figure~ of c]1e Genoese ru·ti::.t luca Ca111bia1,o
72
(1527-1585) (5ee pl. 55). Leonardo, \vho drcvv stick .figures in
hi5 11otebooks, had encouraged the use of notational short c11ts
for sketcl1es: 'Pay attention Ito 11atural act1011SI in the streets ai1d
piaz:::c a11d fieldc;, a11d note tJ1en1 down 'ilvith a brief indication
of the fon11<;; thus for a head 111ake an O and for an arm a straight
. ~,
or a l)enc line ·.
The Sa11i11g ef 1hc T1!fa11t Pyrr/111s (cira.1 t633-4; pl. 13), in Pous-
sin's 111aturc styJe, dcpicts a story fi:0111 Plutarch showu1g the hotly
purs1.1cd protcctors of l>yrrhus, infant son of thc defeatcd k.i.ng
of Epirus, throv.·ing sto11es across a river to sun1111on belp by
boat. 71 Unusually for Po11ss.ii1's schen1atised dra\vi11gs, 111any of
the faces register violenc en1ocio11 in additío11 to their bodily ges-
tures. The dran1a of the 11arrarive is gener<1ted by tlle rusl1i11g and
collapsu1g 6gures, organised so tl1at a se11se of desperation seen1S
to rush like an an.i.111atmg ,vhjrlwintl th.rougl1 the group. lnk tines
seJdorn coincide ,,,ith a11 underdrawir1g 111 red chal.k, b11t the
chalk son1eti111es spreads and 111tensifies the rich 1nk washc'i, reg-
Í<;cering in ch.ree conalities of bro,vn. Broken but descriptive lines,
linear l1atch.ing, \Vash and ,vhite patche-; of paper left uncovered
as brilliant high]ights never collap"e i11co J pictoria1 unity, buc
u1depe11de11tly play cl,eir part u1 a l1ighly ani111ated sequeuce. Tl1is
evokes suggestions of paint, although it does noc prefigL1re tl1e
disposition of colours i11 cbe t11úsl1etl work. Pou-ssin 's main bíog-
r:rpber, his student André Félibier1, "vl1i1e stressing the correct-
ness, 1earning, rc-straint and originality of Poussin, often refers ro
his es1>1it and the 'force of l1i::. geniu~' .7; Eve11 111ore su rprisingly,
bis drawings \Vcre pr<1ised for tl1eir 'furia di di<1volo·, devilish
vcrve, by tl1c poet Giambattista Marino, tor v.·ho □1 Poussin had
n1ade a group of drawings in I>aris in rhe r62os. 7'' Marino's and
Fé)jbien's exaggerated epithets are rhetor1cal tropes, i11tended
to declare h1s genius status. and affirn, the snbli1nity of his
concepts.
 1
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~~

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•

13 Njcolas Pou~si11, Tllt' Savi11~ cf tht• l11Jâ111 Pyrrh11s, ârra 1633-4. red chalk und1.:rdra~,1ng. pen and bruv.;n 1nk and bmv.n \Vash. 206 X 345n1111.
Windsor Castle, rhe Royal Collection. IU rr909r

Metaphors of Spirit, Fire and Speed
Tlle sketching out of the narrat,ves should be rap1d, and the arrangement of the hmbs
not too defined but merely confin~ to suggest1ng the1r disposrtion. L.ater; at your le1sure
you can fin1sh them to your lrking,
Leonardo da V1nci"
Just as poems d1ctated by poet,c frenzy are lrue and excellent. and better than those
which are laboured, so lhe products of men wh0 excel 1n lhe arts or des,gn are better
when lhey are created ,nstantaneously on frenzied impulse than when they derive from
the mind's 1mag1n1ngs expressrng themselves step by step. wilh great parn and effort
G1org10 Vasan 11
The comple.," rhetoric of tht:: sketch. as evide11ced in tl1e
responses to Poussin's drav"\7lngs, grew out oi~ a continuous tradi-
tion of lmking sketching, inspiration and genit1s through the
tern1s spirit, verve, ardour, frenzy, inspiration and enthusiasn1,
enlivened ,vich 111ecaphor<; of nre, heat and speed. Altl1ough n1uch
of chis la.nguage has archaic or1gms, it still reso11ated in the eígl1-
teenth and n111eteenth cenh117es, and into modernit)· .ind beyond.
For exa111ple, Paul Klee linked che spark of fire co both che gen-
eration and percepticn of draiwing: ·A kind of fire appears, it
A.ares up. n1oves clirough the hand, flows on to a <;l1ect, and fr()nl
tlús sheet, cJosii1g the aü:cuit, it leaps ;is a spark back ro vvhcre
it started back i11to the cyc and beyond' 7'1 And 1n the 1940s thc
great l"tussian fibn-111akcr Serge Eisenstein referred to fire 1na11y
ri111é's i11 his unpublished notes 011 Walt l)isney ::u1d ,vhar he
called 'pla~n, aric' drawing, 111aking the relationship bet\veen its
'con1.i11g i11to being, revealed in a 11rocess ·. 'The att:ractivene~~
of fire lies in its i11fi1rite cl1a11geability. 111odulacio11, tra11sicivity
11
aud tl1e conrinLtous conúug llltO bei.r1g of images.' '' Even the
postn1odern v::ilorisation of tl1.e sketcl1, m an ep.1Ste111olog1cal
space that has r1d itself of notions of genJuc; and msp1rat1on,
neyertheles<; en1plo)'S che vocabulary of sr)ee-d, spontane1ty .1nd
fire.

THE PERSISTENT CULT OF THE SKETCH )Q

 ln tht' ,e,t'Jltcen th Cl' ll Cl l r\• ( ' nu11c ( 'arlo M.1l\',tl>Í,1 h,1d dt>-
,, r1becl hn,, thl" , p1rn1:d ~ nu11g 131)lt>gi1e,t' .irti,t Fli,,1bcct.1 Sir;111i
(1r,3s- 1<,r,,) , kt·tcht·d ,1 ,ubjcr t so quiclJ) ,1nd brilhc111tly d1.1r i;J1e
fi111, hed ,, itl1111 ll1l' C(lllr\t.: of ., CtHl\'l'rs,1tio11 - prt•- é111pcing l)ela-
cro1x\ falli11g-fi·c>r11-a-,vi.11do,,· !ikctch cx(ravag.u1ce tl1Jr opcucd
rh1, ch.1prcr. l\ L1l,·1si.1\ 1d1111r,1t1on of br.1Vl11·a ,, is equ,1Ued by the
Fngli,h tuto1 to 1r1,rocr,1C) Hcnr) Peac]1;1n1 (1578-?1644), ,vh()
dt·cl.1rt'd:
1 h:i,·e nt>,·er dra,, ne ,111) n1nre truly th.1n ,vheu they havt
been busit' 111 calklllg, ,1t dinner. v1e,vi11g sc)lnething <>r orht'r
. . . I h.-1,l' dr,1,v11t' lhi-, M IJl'<;l1el of"tt'll ,, ith 111y pl'n and inl--e
0 11ly upon ,1 f.tire pil'cc of papcr .u1 ,111 bourc. 111orc cruly ,n1d
hke. th.111 tli c best p1ece'\ 111 ovL.> .1bout the to,vne."1
True ol1s,.::rvauon. ir ,vould ~l'en1. requirl''- the -i,1111e velocity as
1nvcuc1on 1f 1t u, to caccl1 tlic spir1t of a st1b.1cct: acccpccd cvcn
roc6y bv rhose ,vl10 ,nake rap1d aide 111c11101res notes in skecch-
books. )uch concepts are tl1e b,1sis of the popularity of fi\'e-
n1111ure po,e~ i11 conten111or:iry life-ttr,\'-' ing cl.1,se,;.
The 111et.1ph(>r of tire - flicker111g and cha11geal)1e - and tt~
,l"!>OL L,lU(>ll ,, 1th spced and cre,,tivity has ,1 ve1) 011Lic11t geneal-
ugy.81 Tl1e 11coplato11ist J'vlarsilio F1t"ino, ,vho associated gc111us
,.,,·itb tbe hor plJJiet of Sau1r11, defu1cd four tornis oF_fitr(lr dif1111,1s.
dJvu1e ti-e11zy. Vasar1 1ncluded _{,1ror p()C'fic11s or poetic 111~piration
111 che then1anc frescoes in Lhe Cha111ber of Fan,e in the Casa
V,1,;ari in Arezzo. and praised che 'vi,,acity, boldnes, and en1otion'
of thc <lra,vi11gs of Giulio llo111a110 (Gitdiu 11ippi. ?1.,t.99-1546)
'bccau:,,c hc boldlv dashed of1º a dra'?\·in~ in an hour in tlit' heat
J ,_,
,1s tern1-; of ;1pprobac1011 in regard to r,1pidly 'lketcheJ-out
~·oncept~.
S.ilvator Ro,a, praised by ot:hcrs for his licri11css. hu11sclf v,,1rotc
to a pacro11 / collector: '1 rnust illo'-'V n1yself to be carricd av,,•ay b)'
tT,1n.,port~ of enthusias111 a11d use 111)· brushes only ,vhen I têel
ra~1t'. and ínscribed an etchi 11g. Thc Ce11i11s (~( Sah,ator Ros(I, ín
larin: 'Síncere. fi·ee. fiery r1aí11ter ... /tlespi~er of VI ealth and
deau, '. 10 l~osa's ,vild ~ketches ,1re riduled ""itl1 1,e11ti111ellti, 5pJuc-
teri.t1g ,;cribbles .u1d passiort.itl' curves, and h.l' breaks Jus lincs
freely, lifti.t1g the pe11 t1en·ously bcfore rerurning to slash the
paper ,vith fi..1riou'i a11d pass1onate o\1erdra\ving.~!! l"hc 111ael5cro111
of u11d1recced líne<; and curves ch.:ic seeks to define the posicion
of the -,]eeping prot~1go11ist i11 his last 'itu<ly for the t>tching .1nd
painting (N1:,,· York, Tht' Mecropolíran Mu,;;et1n1 of Are) of Tlic
Drc,1111 <?,{ :le11cas (circa 1663; pl. J 5) occur 011 top of black cl1alk
traces where ltosa l1as touched in a backgrou11d ,vith fleeti.ng
111arks. The :figures are just contaíned by a broken, fi-eebar1d
fr.1n11np; uprighr on the left. Thi:- drnn1acic and fervid sketch
dt~~erve,; the e111thet of st1·e1,i1<>so (noisy), a (le:-criptÍVt." phrase
coined in ,111 earlier Cé:nttu·v, l1v, Leon.irdo. lt tinds a 11ineteentl1-
ccntury equivaleut ÍJJ Euge11e DcJ.1croi.,'s skctcl1 of 1861 for
'Jàbi,t~ t111d the .1~J11,l{el (pi. 14), a ligh□1i.t1.g-tàst explos1ou of pen
strokes chac scts out to cstablish a co111pos1tional relatio1iship
I.J Et1g:ent' 1)i;-hcroix. "fbh,11.- ,11111 1/1r .·I 1((!1'1, 1862. brown inl- on p:ipt'r,
J05 X 133n1111. PJris. Prat Colltictiun

of ,vork111g·. ~~ Loniazzo i.t1 l11s ]rad ('fluttaro dclf'artc) of T584 co11-

11ected the _(,1ror of Apollo with the transcendence of iniitaced
111odt"l~. Even Ar1nenini. ,vho ;;cre,;sed che i11rellectual nsr)ects of
1dca in dra\ving, "ugge'ited that once a J)aincer lias thoughc ;ibout
,1 \Ubjecl he ,vil! ,ketch 'vari()Ll'i po'iture~ or figure~ .ind ntl1ér
subJl'Ct~ ... very quickly as they co111c to 1111nd noc fi.1Jly ordcrcd.
Th1s 1s Jcco111plishcd by 111cans of the U11pulse 01· tl1at fusc co11-
cept lfi,ror di q11C'f co11ccttol \vruch is rn1rnechately 111aterialised as
;1 rough outbne called a <.kerch or drafc l111<1cchia, srhiz.:-o o

ba:::.:-111'. si Giovanni Pit>tro 13ellc)rÍ et1borated 011 the 'gran spon -

tezz~1 t'l la (uria del pennello' (spontaneous and spir ited u:,e of
che brush) that 11ceds to bl' evokcd in the act or cop), ing ti·o111
tl1e i111•c11:::Í1)11i of otl1ers in arder to st1ggest r1c,,· ide.1s. Charles-
AJphon,;e l)u J-rec;noy reterred to · Fire ,vh1ch 1s fed by the Fuel,
i11fl:u11·d b), Mot1011, :ind brather,; strenbrth by burning'. 85 Juni11s
v.. role ,1hout tht' 'heate of our i11ve11tit)n~· .u,d the ín1portance
or ',pccd1c poucray111g' . .111d the rel.1tively u 11kt10\Vll W illi:1111
~andcr,on 111 Gr,1phicc: Thr ( /se o( 1l1c Pe11 ,111d Pcn.(i/; ,,r, T/Jc ,\,lt>st
ll.,cc(/c11r. 1 rf 1?f />c1i111ÍI~~ (Londo11, I 658) renúudcd h.is rcadcrs that
'The ( :,,111111,,1i,)11s ot thc rn111d ,ire 11ot to bc cooled by slo,v per-
forn1a11ce · '\eventet'nch-century rheorist\ con1,i,;te11cly c111ployed
the rerlll\ fr, rc::.::.a,_ti11it1,_l11n1rc. s111r11oso. thar Í'i. fier·r, or spirited. ,.,

·10 D RAWll"J G AS CO N TI N U U M
 ,
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.,

- - •

15 5.1]\ator R.osa.T71r D1n1111 u_f 111c,1f, nl'l',1 1r,63. bro\\ t l 111 k .ind ,vash ú\'l' l trJres ofblJl.'.k chalk, .2f;8 X 135111111. P.iris, Musi:c. du
l ou,Te. 1)ep;irtmenr de~ Art, graph1q11e,, !> 14 1
 1<1 Anul·-1 on1s (,irodet Jc l~oussy-Tno~on, 'I'he G/10.~1, (){ /:1•irc11/111,1 1111d Osair Glidi11,f! rhroi(f!h //1t• E1)(•11i1~1!
,1,r. drc11 1~or1-9. hro~·n ,1nd grcy ,vash. be1ghte11ed vvith ,vh1tc ~ouachc ovcr black crayon, 21-1 x 177n1m.
J\,1011ta.r~1,.
•
Mu~i':c (;i.n:H.lct, 7 1-1-i

bl'C\Vct'll tht· v<>ung Tobi.1s. \011 ofTobit, pulliug a 111e11.1cing f.1Sl1
out of the !tiver Tigris . .ind the winged a11gel ,vho is protect-
1ng ::ind gu1d1ng h1111. ln this \'Cry late ,vork. Oclacroix's pen is
calligraph1c in tts \Vrtting of C<)ncernnaed squ1ggles and z1gzags
for ,k y. land and r<)t k-, fi-an1ÍJ1g the t\vo protagoni-.ts. Tl1e evc)ca-
llon, of- the eartl1-bot1nd and floaring figure continue l1is pre-
occup,1tion \\ irh ovc)id shapcs <1nd drawing ti-0111 d1e inside out,
rather tl1en tbrough cout,11n1ng ouclincs. a n1ethodology identi-
fied w1ch h1s earliest tt1rbttlent skctcl1es.h''
Thc approbation of fire, sp1r1t a11.d ardou.r vvas cultivated
w1dcly 1n tl1e eightec11th cencury. 'Skctcbes frcque11tly have a. fi.re
that rhe fi,úshed pa:intings lack', ,,rrote üiderot, revie,vi11g a \Vork
b·r Jean-Baptiste Greuze (T725-r805): 'they're tJ1e 1110111ent of the
Jrti~c·~ zeal, hi~ pure verve ... they're the painter\ c;oul fi·eely
transrerrcd to canvas. Tl1e poet's pen, the skilled draftc;111an ·s
pe11cil see111 to frolic and an1u!,e chen1sc lves. Rapid sketches cbar-
acccrize ever)·th.i11g \vith a few strokes:•~, Such ten11s could be
used to describe a late grot1p of skecch)' otls by Jea11-Honoré

42 DRAWING AS CONT hh.JUM

Fràgon,1r<l ( 17 32-1806) kno\vn ,1<; Lhe Porrrairs de fa11ralsie dated ...
bt:twce11 1767 ai1d 1772, wl1ose sketcl1-likc tJualities constitt1te .1
senúotic of in1pt1lsive noncl1alance, \Vhcreby subject and tàcturl!
are closely ident1fied. It is u1tercsting rhat in rhis group of por-
•
traits of artiscs and \Vriters, 1nan,,- in the Louvre, ali chc artists are
enbraged in the act of drr,111ilw (nor painci11g) or hold a portfolio
of drawings, while looking abstractedly out of the fran1e in -
-·
91
search of .inspiration.
Even the great pro1noter of classical theory ,u1d fini~h. the •

antiquarian and coru1oisseur Comte de Caylus. declared in a dis-

course co the Académie l-l_oyale it1 1732: 'l belic"'e thac a sii11ple •
•

line can define passio11 ... the questio1úng eye a11d itnagination
1
1s pleased to con1plece that v-:hich is suggested by che L111finished
c;ketch :<>2 Ma ny neoch1ssical ,1rtists responded to che n1axi111 of .•
•
Johann J oachin1 Winckehnann t1,ac tbey ~hould 'Sk~tch ,vith fire
éll1d execute vvitl1 pl1leg111', 93 noti ng chat artiscic geni u~ is 'con- ~--~~
~\ . f
'
cea.lcd bencath the industry a11d the polish required in a fuiished •

pai11tii1g a11d a completed statue'.''~ Tlús spirit is present in thc

rougl1 prelinlinary dra"vings of Jacques-Louis l)avid (r748-18.,5)
and h i~ various pupils. Anne-Lou is Girodet, \Vho joit1ed David 's ''
stt1dio in 1784 and ,vas con1111issioned as a 111ature _painter by
Napoleon Bo11aparte. is k11o'vv11 for his very finished dra,,ving~. •
Yc:t tl1ey spring, like his pait1tit1gs. d.ireccly 6·0111 rougb pre111íer
pen:sées ofte11 untranlITlelied by stages of developrr1e11tal dra,vings.
Gi:rodet's ad1niratio11 of free sketches is appare11t Í11 the care with
\vhich he reproduced, as closely as possible, rbe S\.,_·ift notatiom of
the illustracio11s to Tlte Divine Co111edy by John Flaxn1an ( 1755-
1826), ,vith wl101n l1e correspo11ded. Girod.et's n1obile penri111e11ri
5ugge"t celericy of 111.1king and represent 111oven1e11t in thc
worked-up sketch of T/1e Gl,osrs n_( E11irc1/!i11a ,111d Oscar Clidi11g
thro11J1,h I /1c Efleuin,'<. 1-l ir (pl. 16). Bi;ow11 éU1d grey washcs and v.· lúte
gouache have been laid over the te11uous lines of the cl1alk under-
dravving, ""'ich firm brusl1 outlines reclainung the tigure of Oscar.
.._
\vho h:.\s a11 extra pair of chalk legs floati11g no11chal:Jntly in che
clouds before hin,. He curní. cowards rhe ghosc of Evirallin:J as if
to distract our attention fron, tbese appendage~. \-Vl1ile ~he coyly •
•
111ask~ her head fi·o111 tl1is gaze with 011e l1and, assuri11g us of the • •

prescnce of GalJjc eroticisn1 even in the pseudo- 'Celtíc' poetry •

of the so-called Ossian.

Ao e:x"tre111-ely rough sketch by Williai11 Blake (1757-t827)
fron, the san_ ,e- period acts as a 111eta-drawing in \Vlnch che artist
delves into his i1nag111atit)t1 vvithouc any of tl1e restraint,; of
l1odily proporcion or style w ith wl1ich he ,va,; so cc>ncerned in
l1is finished graphic works. l n TI,e Sll11/ E.\·p forhi_~ rlte Recesses t?(
thc Crave, thc livii1g mau 1nounts a rough to1nb into v.rlúcl1 Jus
fe111in ine sottl is c11tering belo"v (pl. 17). 95 Thc figures are n1ore
cursori ly drav.rn, with a thick carpenter·s penei] dragged crudel.y
over earlier markit1gs, than t11osc of Blake's ren1arkably unfettered
inspiracional ..,ketches, usually in fine pencil. Neverthelc.::ss, tht'
rough, vigorous first-thought sketch, \Vith its careless disregard of
17 Wiili.11n l31ake. "/71t· S(lt4/ cx11fc1ri11,\! lhe Rf'(('S~C'S [!/ tht' Gr11J't' (,kt'tch for
ltobert Ula1r's TIH.' (;r,11•1•. platc 9) 1805. gr.1ph1te. 252 X 13911u11. Londo11,
1-he Drithh Mu~l'UJn, 11174, 12 r2. 1.21
appearancc, ~uggcscs a11 e111ocional subrlety, particularly in the ap-
prehc11S1on \,·ritte11 i11to tl1e shruikit1g posturi: of the v,;on1a11 c.1r-
rying a candle, as sl1e tiptoes inco the grotto con.tai11ing a
decaying corpse. 1:3lake declared in a pubhc ..1ddress 111 1810: ·Let
a Man "' ho has n1ade a drawing go c)n & 011 & he \vill produce
a Picture c)r Pitinting, buc if l1e choose~ tt> leave it l)efort.' ht' h.i,
1
~poil'tl it, l1e \.v1U do a Betccr Thiug.'' 1,

THE PERSISTENT CUL"'" OF 1 HE SKETCH •13

 RAPPORTO OI~ N O T'TAMBULO Mu..lNêS"E
•

~
l;/.W.. t:.~
1. .,.
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.._MEtllTA LIOI''= ;

1S Cado C.irrà. Rtp,1,1 ,~( <1

\/,/,1111'.'1 \ 1i.r,111tl111/is1. 191 r.
1nl- .111tl c0ll.1ge.
374 X 2'10 lllfll ('vlil.tn.
Caln1.1n111 ( 'olle,tton

111 hi~ C1111oth e,-;,1y 011 111c)der11ity, Ch ,1rles D,1 udelaire \Vrote
.ibc,ut 'a firc, aJ1 i11toxic:ation of the pencil or chc brush, .u11ount-
1ng aln10:-.t to a fren:ty', \vhcn c;xtolling tl1c 4uick skctchcs of
c:011srantin Gt1ys (JhOJ-1892).'r Ai1d Paul Gaugui11 (1848,-1903)
inrerpreted a Syn1bolist self- portrait - ín whicl1 a ptofile li11e
<;kecrh I'> pa1nted tnto a corner of the paincing- Js the colour of
111
'voll,1 111 , A.1n1e" rh.1c a11i1n,1re lhe 'i()Ul of the artist'.' Incorpo-
r,1li11g thc 11 ocio 11 oí the he.at oí i11spiracio11. C<)lls1t111iit~ firé also
plclV'i .1 'iyr11bc>lic role in the per~1ste11l rult or supernacur~ geruu-..
lt 1s che ~lfe that consumes thc sketcb, ,vhich the carclcss gerlÍus
d1ro,,·, a\.vay after the tie~T 0101nencs of 1nsp-iratio11: Arenno 's
dc111and f<,r 'dut" '-egn1 di c:arbone· ti-0111 Mi chelangelo could bc
inrer11receJ a~ a dnubll' reterence to the n1ed1un1 of charcoal
(fi·o111 tl1t: fire), clS \Vell as beggu1g for ,l skc.:tch tl1at n1igbt
ochcr\vise be burned.\l'' lf the grcac geruusc~ of art history are
constantly destroyi11g sketches for tl1e sak.e of tl1cir reput.itions
(this was trtte of Clat1de Monct), or carelessly clea11í11g our
cooking pots \Vith the1n (as reco1.1nted in variou~ Li11es of che
Carracci. for exan1ple), then tJ1eir <;tttdencs spend ti111e di11ping
into the fire to ,;.ive ,1b;111doncd sketches. 11 ~1 This tr.1dition con-
rinl1ed over the ccnturie-;, and Willia111 Hogarth ( r697-1764)
reputclliy tried to burn a dra,ving of Johi1 Wilkcs 111ade during
Jus trial tor sedicious libeJ ín 1763, but it was Sllcltch.cd from thc
firc by Mrs Le\vis, his ,vtfe's cot1sin. '11 che absence of fuept1ces
1n n1odem life for descroying sketches, the ,vastepaper basket is
pre-;st·d into service to fill che '>ln1e 111etaphorical roli.::. Hence

44 DRAWING AS CONTll'.UUM
 rhe 111odcrn -;candal so111e yt:ars ago vvhen an ,1s-;1stant of )1av1d
f lockt11!y plu ckcd hi<: e111ployer's di-;cardc<l "ketchc<, hot .111d
stean1ing out of the bin and sold then, iJlega1Jy. 1" 1
l{.ippec.{ -fi-0111 thc traditional 111etl1odologies of dra,ving prac-
ticc, vclocicy and dy na11úsn1 beco1ue tl1e cor11erstones of 111od-
t'rníst artn1oveme11ts. 1112 Pilipp0To11·11na,so Marin etcí {1876-1944)
declared in the 1.:1a11rist l\f11n[(esro (Paris, 1909); 'We ,1ffirn1 tl1at
che ~'orld\ c;plcndour has l)ee11 enriched by a nev\ beauty: tl1e
l,eauty oí-;pced', and the 1nanifesto <)[ 191 2 proclai 111s:', vhat 1nust
be rc11dcred is tbe dyna111ic seusatio n, tl1.1t is to say, thc
particular rhythm of each obJect, its u1.clmation, its n1ovcn1cnt,
or, 111ore exac tly, 1ts . 1nter1or
. . .
torce.' lí11· Tl11c F11cur1sts, o f course,
celebrated ' che great discoveries' of science and co11un1111icat1on
technologies, but 011e of their achieven1ents vvas to iniciace a
cypogr,1phic revolttlion that celebrated tl1e ~yntactical fi-eedon1 of
cext a.lo11gside its revol u tio na ry reorderi n g, i11 the n1a1111 er Lh;1t
the skctch had traditionally ,vrougl1t ,vith 1111.age~. 1114 Tl1e s.ketch
by CarJo Carrà (t881 - t966), R epor, q( a lvlila11ese Noch1111b11!isl
(1914; pl . 18), explores ai1 updated and 1noderuised notion of
_fi1rore tl1rough the use of text. ·This kind of bubbling over
reguires a povverful e111otio11, even deliriLn11, o n the _p art of the
artist, ,vho in o rder LO render a vortex n1L1~t be a vortex of se n-
sa c.ion l1i111self.' 111~ Wo rds a11d concepts spill our of the spira l
organic;ation, creati11g a11 ide11cification betvvee n fi·ag111enrs of text
a11d u11age, vvhich appears to parallel the rccited or concrece-texc
performances of F11turis1n and l):-ida. Such peii~orn1anccs in cor-
porated and valiclated nohons associated ,vith the sketch - con-
fusion, illogicalit,·, fast pace and sponcaneity- into presencations
befort' au<-1ience\, forever challcnging the historical correlation
betwee11 puhlic are, order and fin ish .
Graphic lnconcinence
'Genius', ho\vever non chalantl y disguised or openly displayed,
ha-; tr.iditionally found spontaneou~ expressio11 in the un con-
trollable urge of an arci-;c to j<>t do,vn c;kecches 0 11 scraps of p.1per
or any convenient surface. Vasari sec che sce11e for cbis 11.otio11 of
u1spirational cxccss in various Li11cs, and n1osr subscqueJ1t hag1og-
raphers ai1d bíog1:aphers have tended to reinvigorate tl1e san1e
literar,• topos. Karel van Mander even appropriated it for hi1nself
in the third-person aucobiography tl1at appeared .is an appe11dix
to rhe second edirion of Hct Sc/Jildrr-Boeck (A111sterda111, 161 8) .
'Tl1us the spirit ... 111oved 111 our born painter, to r \\'be11 he ,vas
still ·vcry you11g, if lús facl1t.!r's n1aidserva11ts -.vbj tewashed tl1e
v.-'alls, be v,rould takc charcoal or red or ycJlo,v earth ,vbjcbcver
\vas nearer to band md draw ... o□ the walls.' 101• As an 111.dica-
ror of his genius, the Roman sculptor Giartlorenzo Bel11i11i
(1598-1680) \1/as reported ' to stroll abouc the gallery uf hi<; hou..,e
whtle excogitating hic; fir<;l ide~1s for a 11roject, tracing che111 upon
tl1e v,:all \Vlth charco.ir . 1117 A11d 111 Lhe "Pll(lf 'LiVt'.\ nf Anlifc\\
Guelph and Og of Bas;in' 11) Wil11:.1111 Beckford. tê11lo,vi11g \ f1!>.1ri ',
Life of Giotlo, ·scldon1 did rhe \Ull ">Cl l)efore !Og 1nd Gul:"lphl
had cngraven on tl1e rocks cl1e rese111blJ11cc of son1c of thc
shrubs ... or the likcness of severa! of che goats'. 1" ll
Uncontrollable sketch1ng tinds an outlet in cl1c..: pro,-erb1al
'back of .in e1Tvelope-' belo,,ed of architects. 1 hL' rern1 dertve,
fi·o1n the first rough skecch of Sir Jo,e-ph l>axton ( 1803-1865) t<)r
v\- hat ca n1c L O be kno,vn as tl1e Cry,t.il P,11.ice, l1el"i>re it '"·'"
t.lestroyed by fi.re. lJJ f.ir$T Skctclil!s _(01 rhe Cre,lf flshi/11/1tl11 R11,ld-
i11.t.? e~( 1851, thc iro11 colw1ins that ,,,cre to support UJe 111an1111oth
gla:ss structure are 1111pa□ e11tly skerched vvitl, n1uch splutter1ng of
a recalc1tranc steel 1116 on abso,-bent blott1ng papcr 111.ounted \\'lth
a telegraphic d1spatch fi-om the Manchester. Buxton, Matlock
and MidJ:-ind'i Junction Rail,vay, daced 15 Jul) 1850 (pl_ 19).
13e fore n1ovi11g into rhe co11ft(lent exploratio11 of r,vo ver:-ion_.,
of the 1011g t~1çade, Paxto11's pen has besitated. tried out a tcnc.i-
tivc elevatí on, plotted J. grou □ d plan. a11d deposited a co11scella-
cion of SJ.-10ts as it hovered o·ver chc page. Generacions o!
c;uccced1n g architects, designers and artists have co11cinued co
'>ketch on c1garette pack~, cable 11.a11ki11s and a,vk,vard scraps of
pa})er, partly to use w hatever is to hand in the urgenC)' of rre-
aLiviry or rhe 11eed to co1ru11 u1licate, bttl ,ll,;o parcly ouc of an
111ternalised and tbere tore un co11scio us iden titicacion ,vich 1nspi-
rational gen.ius and it,; signifyi11g processes. The 1111age of cl1e con-
cen1porary Cal1fornian architect Fra11k O. Gehr)' (6. 1929) is
constit11ted as 1nuch througb hi-; prolific sketches and verbal
con1111entaries on the process, as his buildings; a tiln1 of Gel1I")'
drJv\ ing is availal1le online, a11,d is regularly ~creened. As ,1 co1n-
111e11tato r has re111arked: 'Secure in the kno\\ledge th,1c anytl1in g
can bc produccd. dra,ving- sketchi ng- is ir~elf e111b0 ldened,
otfc1ing a license that gives thc..: skeccb valicücy not sin1ply as a
,ource but a~ the .final cechrucal auth ori.t;~ fhe con1}1u cer enabJes
tbe represe □ tati on a11d 1nanipu1atio □ of th.at ,,rlúch ca □11 ot
0
otherv,-i~e bt· dra,V11.' 1" Gehry ii; generall y }1hotographed in che
'
acc o f -;kecchin g, surro unded l1y cl ients or hi,; arch itecrural tea1n.
T11ese ico11ic in1ages attcst to che díaJogic i1npo1-tance of dra\viug;
for architects, dcsigllers and c11gínecr,;: dra,v111gs con tai11 i1úor-
matiou, eve11 whe11 rhcy are rough and conringenr ge11erat1,,e
sketcl1es, aud tl1ey are recognised as placcs for excbange and col-
lal1oration ~vith n1e n1bers of ~, desi!:,'11 cea111 or co111n1issioning
cli e11ts. 11('
THE PERSISTf:NT Cul.f OF THE SKETCH 45
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Mauchester, Buxton, Matlock:, and Mirllands Junctil)n Railway, 13

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TELEGRAPH ,C Ol"'PATC H
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V,/f/. /✓-~.,,r ,1 d

1!J Sir Jo~l'.ph l'a.xton, F,rsJ Skcn-f1cs chc Grear Exl1ibítit111 B11ildir1)! ef 1S51. 1850. peu a.nd mk 011 pu1k blottin~ pap~r n1ounLcd on
{111
a ~ht.>t't oi p.1pc-1 \V1th a telt'gran1 fr,rn1. 391 x 28on1n1. LL1ndon, V1ctor1.1 and Alberr Museu 111, E. 575-1985
Counter Arguments: The lmpropriety of Sketch ing
The artist must take care not to be seduced by the thousands of vague Md ill-reasoned
1deas wh1ch h1s sketches suggest to h,rn
Francesco MihZJa 1 1
The praise lavished 011 the sketches of vigoi-ot1s conception onfy sharpcn t.he throes o(
labour 1n fin1shing.
Henry Fuseh 112
Alongsjde the affirn1.ative rhetoric suppo r·ting the [reedorn of
sketcl1ing and lan1enting the difficulties of achieving che cl1ance
effects of spontaneity in 111ore self-co11scious vvork, there ha~
al\vays bce11 a 11egative discourse. Such crjtical views, wbic]1.
perceive danger i11 e}.rpressive exccss, are rr1ainly 111ethodological,
legitiinising developmental studies (especially for smdents) or
pron1oting finisb 1n the public "vork of art at the end of d1e
preparatory chain. This historically sustai11ed critique 1s not
absolutely dis1nissive of ,;ketchi11g, ac; long as it is policed and
controlled. 113
Leo11ardo. 111uch qt1oced in this cl1apter a5 tbe cha111pion of
che frec sketcl1, nevertheless vvarned agai11st cursory inventions:
Just as our Botticel1i said such study \Va~ of no u~t: because
• • ..
by n1erely tl1rovvi11g a sponge soaked in a variety of colours
at a wall there would be left or1 the wall a staitJ u1 which
could be seen a beauriful landscape . ... It is like the so1.1nd of
beUs vvhich ca11 mean ,vhatever you v,1a11t ic to. But altho11gh
these stains n1ay supply u1ventioru: they rio nor teacl, )'<lll l,011 1 to
fi11isli <IIIJ' decai/. And che painter in qu.estion n1ake'i very sorry
la ndscapes [n1y italics]. 114
A11d in countering tbe uncritical approbario11 of speed. Ar1nenini
'v\'TOte tartly: 'The knowledgeab1e and the ,vise do not inquire
wl1ether a work was n1ade yuickly or slowly, but only wbetJ1er
it is good or bad.' 115 Eve11 Bellori. in laudi11g the care of d1e
r11any preli111i11ary sttrdies of Federico Barocci (circa 1535- r6r2),
dcfends the1n against 1nock.ing artists ',vl10 scoff at these studies
and dilige11t efforts as useless and st1perfiuous', for 'those 111en
convince thernselves vainly that tbey c:.u1 forrn a co1nposjtion
with a sketch or witl1 three strokes of cl,a1k on che canvas'. He
asseres f1rn1ly that 'Tt is vvith studies like these that the g reat
n1asters proceeded ... without priding then1selves 011 a cru·ica-
curc of colour and outline.' 11 ''
The superb confidence and fi:eedon1 of lzembrandt's drawing
inspired deprecation :frorn n1a11y later critics, includ1Dg tl1e clas-
<;Ícising arrist and wricer Gér:ird de Lairesse (1640-1711), whose
widely used ma11uals 011 dra"ving and painting set out an ordered
n1echodo logy in Sllpport of 'diligence and care' as a puricanical
rt:action to the presupposed Jack of systen1 of R en1brai1dr and
117
ochcr ·realists·, ru1d bis hacred of thc cer1n tekc11ac/,rig (sketchy).
Adul.Ítting relucta11tly th,tl 'A Ma)tcr 111usc tir~t sketch \\ h.tt h ~
first tbin.ks, and ruo thro' tl1e Dcsigu as Th111gs occur to his
Tho11ght~; for Co11cept1ons never observe Order , be rLJCcted ali
clm1gs 'deforn1ed and broken ·: ·lt 1s ro be l:1n1ented, tbat l)·ro~ 111
their youchful Ardo~tr, are 1nfected \v1th th1~ Po,~on · 1' ln
sub~eq uen t cen tur1ec; Ren1bra11dr 's Jrav,,ings ,.,·ert· su hJected
to tidyi11g up and fi ui ~hing \vheu tl1ey foL111J che111-.elve, 111
public or private ownersl1íp; i11 earlicr c1n1es che fi·ce ,kctcl1e'i of
Gi1rlio l-l on1a110 ,vcre also doctorcd. ln cbe sa11H: veÍ11. tl,c evcr-
co11tradictory lleynolds \Va rncd stude11ts of capriciot1s effeccs in
relatio11 to R en1brandt, an d he railed ~gainst rhe dangers
of i111pro,·isacio 11 and e.,·f<'111ppre dr~n.ving: ·r t is undoubcedl1 a
splendid an d desirable acco1k1plish111e11c t() l)e ablc L<) design
uL~t.u1tai1eously ::u1y given subject.... but Luilu ch.il y, thc 111anner
in vvhich this dexterity is acc1wrcd, babit11atcs rhc 11u11d to be
conteJ1tcd vvith tirst thoughts \Vlthout choice or sclectio11.' 11''
Arnusingly, a group of b.is o,vn very free ink ::i:nd chalk skecchcs
in tbe British Museun, , includj11g 'fhc Arrrst'.~ 'r11rlio, 1nd1cate,;
thac R ey11olds hin1,;e] f V.'enr in for dra,vi11g à la Salv,iror R osa 111
tl1t> privacy of !1is studio. 111 '
British drawing n1anuals i11 cl1 e servict: l)t Pi cturesqLit: la11d-
scape sketchi11g, such as chose of tl1e IZeverend Willian1 c;iJpin.
d epended upon hyperbolic langt1àge abot1t inspirarion and spon-
tt!R}i}f8;' ajt&i'2J~fg91 S~\1.Cc.91~'\'c.<ê\\~\ \'{,'t;t;~ 1?F2,tl \li't:\.~';\~;4~ ~~1't:t.Ct't:~11l71
the fi·eedom of the illustrated dra'.v'i ngs rhe111selves. Even
Alexander Cozens ( 17 17- 1786) declared rhat eh~ ink bloc& and
sp1ash e<; fi·o111 \vhich landscapes co Lild be derived were onl, a
n1ea11s to an en<l. With scrupulous honesty, Coze1b ackn<)\,V)-
edged the model of Leonardo in llis iutroductio11, altl1ougl1 J1e
clau11ed tl1at his ovv11 n1etl1od was an in1prove1uent, becaLlSe blots
could be n1ade a.e v\;J I, and did 11o t have to be so1.1gbt 011 old
v.ralJs. 'The blot is not .1 dra\ving, buc an assen1bl:1ge of acciden-
cal shapes,_/i'o111 111!tic!t a dra111i11Jt ra11 be 111ade ... Nl the ~ha1.1e'i .ire
r ude and u11111 eani ng, ª"
rhe-y are torn1ed ,vith tl1e swiftest l1and'
(111y italics) . 121
111 France. Dideror \"-\ arnéd against th.e cxccssive cuJt of the
1
sketch ,vbile ac the san1e tu11e passionately adnuring free
dra,ving. Co1nte de Caylus, in spite of th e ::iffi1macive re111arks
qu oted abo·ve. conden-1ned the libcrrí11age óf ar tists ,vho preferred
sketcl1ing to painting, and he was outraged ac
the way in \vl'licl1 a number of pai11ters l1ave let thcn1se lves
be carried a,vay by the pleasure of dra\vin g ... They h;1ve
~uccun1bed ro che te1n11cation of da,;hing rheir 1deai; do,vn 0 11
paper ... Yet no 111atter ht">V. dextero usly the'>e art1st~ sketch,
cl1erc is still 110 dcnyi11g th.at thcy are iudu]ging 111 a11 artistic
licc11tiotrsncss for v,lúch th ey n1ust be censLtred. I'.!'.!
Tl1e n1ora] contagion of the dru1gerou, skctc l1 co1L\ticucc, tl1c
shado\\' side of its sublü11c qualitie5, reinforcing tl1e i:elation
behveen ÍLS unstable pote11cy ru1d geilius, and an1ong ÜJvidian
THE PERS1STENT CUL T OF ... HE- SKf1CH '17
 J \

20 After Edouar<l ivlaneL,

,
\1.iu ,111 Cr11tcl1I'.~, rH7l{, graph1re
\\ ith rec:J p.:11 bla1.. k 1nk.
J JH1

26fi X rH7 n1n1 ( )xford.

Th~• .:\shn1ol.:an Mus.:u111,
\VA 1935.131

clac;s1ciscs: 'N<.:glect of ±ull.511 ,vas ... lc11t a pathologicaJ tinge by
;i-,crib1ng 1ts prolúeratlon to a11 outbreak offolie a11glaisc.,1 23
The 111ain fora Í<)r actacking the licentiousness of the sketch
,vere teaching in,tirutic)n<;. v-:here r,1pidly executed co111positional
\tudie~ ,vere bann1:d in [1vour of che 111oral probity of correct
,u1tt higl1l) fu1i~l1cd study drá,ving,,. 12+ llevcali11g ar1d priva te
sketches \\"l're co11sidered too da11gerous to be takt'n. Íl1to the
con1pet1tlon for the Prix de llon1c. organised by the Freoch
Ac:idé1111e 1-loydle ,~, Even late in the n11d-ninetee11th cencury,
Lhe rough painred c;ketch, "~<J11i~se. oí rhe fir~t qualifying triai for
the Pri, de ll<.)nle ,va\ c,1kt:n a,vay fi·on1 ~tltdents, .ilthot1gh co111-
pircd a[ a lJter stage ,v1tl1 the fin1,;hed ,vork: chis al'\o happe11ed
witb tbe rough paper skctches produced by the contesc:u1ts i11
the final co11co11rs. 12''
ln the nineteenth cencury John Ruskin (1819-1900) tied the
<-1uestion of unfinish in to a 111orc1l discourse re]ared to hard ,vork,
straighr lines and 111easuren1enc. ln n.:-co1u111e11di.ng control of thc
pen as a drJ_\VÍng instrun1eot for studeurs, l1e vvarned th-at its
virtuc •io the po\ver of producing a petfectly delicate. equal ,u1.d
deosive üne "vitl1 great rapidit)r' was allied with che ren1pcat1on
of 'lict>ntiou-s haste, a.nd chance-s\vept. in.c;tead of <;triccly-
con1111anded, curvature'. And, he cl1undered punitively to hic;
aiidit!nce, 'ali acten1pts at iinitation of these co11fuc;ed and sug-
gcscive <;kctchcs 111ust bc absolucely dc11icd to yourselvcs 114,ile

48 DRAWlf\.G AS CONTINUUM
 1 7
s11ule,ns· (n1y italics).'For Ru\kin as \.vell as Reynold~. skelch-
ing \Vas c1 dangcrous .1nd poliuting ,1cciv1ty for the you11g and
Ulexperie11ced. because 1t \Vd!i ruJ attribute of 111ature genius. Th.i.s
1s confirmed in a □ otor1ou s staten,ent by the influeutiaJ Frcncb
the0recic1an and acadenuc1an Charles 131ai1c (1813-18152):
cherc is 11oclu11g more i11ceresting cl1an tJ1e ~ketch of a 111astcr.
1 do not speak of tl1ose trillcs Í.11 wl11ch the pe11 cil o □ly
touche<; a half perceived ir11agc. bccause the artist is only .. .
ht1m1nmg his thought. 1 speak of tl1ose abridged, rapid
drawing,. in wh1cl1 tl1e painter, not ha, i11g h ad leic;ure to be
C(>rrect, has \eized ôn ly che n,ost striking aspect of rhe obj1:cr
and lias thro\vn upo n 1..he paper a ~c11rin1en t raLher chan an
inlicacion, a11 i111pression rather tl1 an a co py. I lovv 111a11y
teatures are wa11ting or are but just indicated! llo\v rnany
decatls are omitted! Nevertheiess this conce11trated, co11densed
~kecch has said everything. 11.<i
H is st1pporr for tl1e skecch at an early stagc existcd 1n ta11den1
\Vich tbe açadc1nic behef that skctchy character1scics are not
appropriate for tl1e final work at the e11d of the developn1entaJ
chain.
Both these in1portant critics v,rere ~·ri ring a t a rin1e \Vhe11 the
free and. sketcl1y paintings of In1pressiottis111 \Vere prese11ted as
the public outco111c - not the prcparatory oil sketcl1es of ru1
earlicr generation. 111 1879 the French critic Ed111ond Duranty
\Vrote in support of ·sketches, preparatory studies a11d u11der-
paínt1n~ in \Vhich the p~nter's n1ind. his tl1e111e and drat1ght-
1na11ship are ofren expres,;ed 111ore rapidl)' and in a n,o re
concentrated forn1 than in tl,e firüshed \.:vork. so tl,ac o ne gets a
better idca of the grace and vigour or his style anel. lu~ po,ve rs
of clear and <lecisivc observa cion'. 1111 Tl1e closencss of this statc-
111c11t to Bla11c, altl1ough argued fro111 a co1nplctcly dJfrê rent
standpoin t, reveals that tl1e libcrti11a_{!c of tbe sketch , relating to
fine questions of t11ning, priv:icy ::ind decortnn, could be totally
overturned. Impressionist dehates \vere, significantly, abour che
practi ce a.nd display of paincing, not about dra\v1ngs. Tl1e ren1ark-
able lack of pl'11 li111cnti ii1 k11own l111pressio11ist preli111Íl1ary scudie~
atcests to ho\V chc artists scruggled co acbie\'e and rehearse in.stan-
taneo us effects in their paintings, even if e11cirel)- spurious. 1.,u For
exan1ple, tbe strokes of the dra\viug ,\J.a11 011 Cr11tc-f1es, nov.·
thoug bc to be after Edouard Mmet (1832-1883) appe:irs to pro-
clai111 the rapidity and spontaneity of a lightning ~ketch (111. 20).
ln fact, the dra,ving is part of a '\equence o f preparatory ~tudies
- ,1 very c;i n1ilar version i~ founJ in the MetrO_l)olican Museuu1
of ArL, New York - and thc 011t:-legged vctcr.111 appears i.n back
vie\v in th..c pa.inruig Ruc .\lus11icr Dcckcd 0111 111ir/1 Fla,t;ts (1878;
Los Angeles,J. Paul Gctty M11seun1) . Manet, or his copyist hav·e
achieved the reduction of rl1e i\ lan 011 Cr11tchrs by redrawing it
111a11y t1111es. and the broad gescures of a reed pen, which do 11or
alio,\> cietail. l1ave hel1,ed to ~tyltse the contour\ t1f lht· reducrivc
,1n<l diagra111111ac1c forn1 t<> ~cJ111ccl1ing in Lhe order e>( a graph1c
logo. Ma11ec _procl.1i.u1e<l. rad1cr grandly. ,1bout ,k<:cclii11g: 'Therç
is only 011e trut' v:ay: ro do 111 J si11glc n1otion \\"U,lt one ~ce:s.
When it is succcss.h.1I, 1t is succcssful. Whl'n 1t 1s 11ot, 011e starts
afresh. Al1 else i.s no11Sense.' 1 ~ 1
rr 1,; che ª l'J1l'nr1111c, of c;pontane1ry, I ,vould suggec;c, rhat i, of
s1gnifi cance in chi,; ,;erie-<; of ,:;kecche,;, ac; in 111a11y 1nodern1,r and
po,t111odcrnist ,vorks. not the actual p,1ce of 111.iking. 1 ~• 'Ac \,·hat
spccd does thc drawer dra,v spl·ed?' a~ks l 1él~11e CLxous in tl1c
catalogue to a Louvre exlúb1cio11 l{cpc11ti1:~. posu1g rl1e sa111c qucs-
tion that had t'11gaged Arn1e.1ru1Í fàur cenn1ries e,1rlier. i i.i An
engendering sketcl1 b:is to be acco111plished qu1ckl1· because of
the in~tability, incohere11ce and fleering qu:ility of conceprt1al
in1age-;, ,vhich l1(>ver 0 11 the edges of C<)1lscinl1)1less like pslt>
gho\tS, íloaring away if appr<>ached too dellberately. But t11e
va lorisation of velocjty is possibly of greatcr .ii11porta11ce to tht·
theoreticians at1d v,;riters abol.tt art than to practising artists.
\Vho kno\\r rhat rl1ere i-; ofteu a grea.t d1sp-ar1ty berween the acn1aJ
tu11e of 111aking and che Jpparent -;v-·iftt1ess rh:ic is read retro-
spectively into a n1ark. line or 11art of a dravvi11g. Spont,1ne1ty.
casualnes..,, ~peed anti l,1ck of finisl1 are very l1igl1ly prized in the-
t\ventieth ,u1d twe11ty-fjrst ce11turies. as a.t1alogue<; for tu11e·-based
111ovii1g ü11ages and tl1e general accelerarion of conten1pora1·) life.
as v.rcll as significrs of autl1enric response: but the;r can be coun-
terfeit sigi1s.
111 h1s lle1th radio lectu res ín 1963, che e11úne-11 t art lustorian
Edgar Wind co,nplained:
We put a prenútun on tl1e i.nchoate work of art: arrested at
its 1nception for the sake of spontJne1ty. For the arust tlus
prejudice crearec;- a debilitacing :1n11oc;-phere: it encourage<; n
~triv1ng for the i111n1ediate, a 1-,eculiar ~op hi~cry of prodtLction
by wl1ich each \V()rk. no 111atter ho\v laboured, hope-; to gi,·e
tl1e U11prcssion of bcing frcsh.ly iu1provisttd. N evcr hac, tl1c
capriccio i11 art. tl1c eftêcrivc arraugcn1e11c of strtki.11g irregu-
larities, held quite the com1nanding position ic holds today. 13~
.Forty years ]ater (give or take a fe\v decades of con!.tructivist a.11d
for111alist grid a11d gr.1.ph drav:i11gs) this is scill crue of cl1e u1ajor
production of· dra,,'lllgs, depe11ding on a SlJeedy, gesrural flour-
ish rhat invites spectacorial parti c1pation :is che n,ajor de,;HJera-
tt1111 . Althc>ugh co11ten1poraf")" dra\Vlllg'i 111 an ,1ge t)r plur.1lisn1
are ,is vari~d as the arcists ,vho produce tl1en1, in general ic i~ th.e
free "ketch 1110Je Ll1at don1in..:tte, drJ\'-Í11g product1011. valor1sed
by artists, h istorians, tl1coret1cians. curators <1.J1d a.rt .1du1inisu·ato.rs
ahke. l f ac the bcgin11i11g of che n,,enrierh cencur} 1t could be
said, parapluasu1g Walter 1>:1ter, chat a.li painting aspires ro rhe
condirion of dra\ving, at its end ir could equally l1e claini ed rhat
n1ost dra,ving a,pires to the l ondition or thL' sketch. ll~
THE PERSISTENT CULT OF THE SKETCH •19
 lf the skecch is rl1e open-e11ded \York that invites cornpletion in
Chapter· Three tl1e \pect::itor"s 1111agi11atic)11, the fi11i<;hed dra\.\ ing ar the ocl1er entl
Finished, Autonomous and of Lhe graphic concinuu111 pertai11s to closure, authorial and spec-
tatorinl co11trol. a11d fixity of forn1 ai1d n1eani11g, even dcliberatc
Presentation Drawings sen1iot1c excess. When J111i10 ;r11d 11011 .finito coexisr in a harmony
o f ainaz1ng d1,1er~ity, as 111 Michelange-lo',; 1/ i~(!itt a11d Chi/d
(pi. 21). ~uch differ1:nces c:in be fully appreciated. 2 The ligl1tly
~kercl1 ed figure of d1c Virgin, \Vith l1c:r ~ad l1ead curned a\vay
fro111 thc child, is ,1 gbost tigurc floating witl1w tl1e disrcpa.u· of
rhc papcr support. The hcavíly 111odelled it1tànt, ín its vvarn1 and
fleshy co111bi nation of black and red chalk modelling vvith \.vhite
highlights and deep outline sl,ado,vs, sucking 011t the nurn1re of
rhe .1 li11ost abf>ent 111other, is fi.1lly ,vichin tl1e world.
Wh lt you call "f'l open 1nd ;r:,gilc l1ne is 1n1portant when yoll war·t to ke'ê'p something Unlike fluiu sketches thJ.t Í/1 /1/(1/IY rl:'SJ>ect.s e5Cclpe fron, tl1e
open ~eep 1t porous, so th~t tvh~t develors c0rr,cs through and '111es ,n terms of youi-
1nten1Jon. WI ,en you use the NOrd 11n1shed· though, you rn,ght ever mean the type of cultural i1npera.tives of their tu11e through lack of for111al and
íin1si1 t.hat 1T1Jkes son1clh1ng v1dble, makes 1l alive, exc1t11 ig. ali lhe '-Nay up to the fin1sh stylistic tixity or specificity of forn1 a11d subject, finisl1ed draw-
thal ali the subsl,;nces 11 U,e un1verse hdve.
1ngs are 1ndclibly n1arked and defi11ed by rheir period, as are fin-
Joseph Beuys'
1,;hed paintings, ~culptu re anel prtnts. The ope-n-e11ded and lateral
relatio11sh1p of line and wash to paper support is 'iupplanced by
vertical strategies res11011ding to succes~íve laycrings of n1eaning,
t:.1ch stratu111 of ,vhicl1 serves to cn1bcd che finished ,vork tl'1ore
closely in tl1l~ specificity of its epocl1 a11d urtistic intentio11al.ity.
l-listor1ca.lly. su ch dra,vings operate in a public space - endorsed
or chalJenged by the controlling artist - in ,vhich social. cult11ral,
historic;:il and practical detern1inant'i are che do111inant fàctors of
co nstructi<>ns of n1e.111ing, or. 111ore precisely, are sufficiently
po,verfi.u to ovcr\vhel111 i_ndividual tàctors such as autograpllic
style and private experi1i1e11t.:'ltion, or bolei the1n in a te11se rec-
1procity. -rhis recip1·ocity 1s of particular i111portance. for exai11ple,
,vhen a finished modcl for a conm1issioned work, representing
che .;un1n1atio11 of preceding negotiations bc:tvveen artistic ar1d
con1111issioning interests, i~ presenteei to a client or patron. When
Ji-avvü1g i,; t:111ployeJ te) supply evide11ti:tl ,u1d perceptually accu-
rare i11Íorn1ation in tl1e service of science or a presun1ably dis-
interested 111arket. then .it1tographic style 1na)' be suppressed
in favour of :ipparently a11onyn1.ous works that exhibir a high
degree of clarity, authority a11d f-inish. Tl1e conditions of pro-
dLLction and recer>tion are rherefore significant deter111inanrs in
an under~tanding or finisl1ed drawings.
• HistoricaUy, thc pul)lic status of Juto110111ous aitd fi11ished
drawings is n1arked by the additio11 or chiarosc11ro rnodelling and
other heavil)' elaborated n1irnctic scratcgies or by foru1a.l clarity
and fim1ness of 011tlinc. Achieving finish gencrally rneans the
en1ployrnent of d eliberate a11d accun1ulative artistic procedure'>,
5uch ª" che re~olution o f co111positional etTeccs, the decernuna-
cion of dep ictell gestures and tàcial expressions, a11d elaborate
co11structio11al geo111etrie~ or displays o[ grapluc skill to co111-
.21 u,11i1\<,! p,,gt') Mll' ht•l.1ngclo BuonJrmtl, l "rrgi11 ,11,d Clii/d, ririll 15.25, black, pensate for tbe expressivc11ess of 1iu.e ai1d gesture tl1at directly
rcd Jnd \\ h.itl" chalk a11d pen anJ 1uk. 'i-l-1 X 396 111111. Flon:ucc, c~~J convey and evoke e1notio11 111 looser sketch es. Fi1ushed drav."'Íngs
lluouJrron, 71r: are ofi-en pa1red or part of a final defu1iti,1e sequence, as tbe artl.c;t
 •
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\
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t
rnL1\1:.'S l<) clL1'.'iurc; thcv
, cYcn occur artcr .1 ,vork in anorher
n1cd1u111 has heen con1plt'ted, for ex.1n1ple. 1, preparation fi.1r ,1
pr1nt 01 pht>t<lgr:1ph 1lr d1g1t.1I i111 ,1ge that "' ill c:--tt'nd che pttblic
liti:· oi ,, fi11i,d1t"d p,1111ting nr ,cu l1, tt1rt". fi111'1J1 ed dra,v1ngs ,tre
u,u,1lly ~1g111.:d or 111.1rk1.:d ,vich a 111011ogran1 .u1d fi·au1cd iu so111c
,, ,l\', cirher b)· .111 l':.\.."tl'J nnJ ti-;1111L' or by con1p1..>s1tio11al or colouris-
r1c de,'lce,. Atteurion to both for111al 1nd 1dea.ttona1 con1plex1ry
pi.ice<; tir11•d1ed dra,, 111t-,,-.;; in 1 sp0c1al raceg<> ry a, ,1rt-,vork, exen1-
plitied h) the cur1~)u,;lv h) br1d 1..1regory o f ,f!ris,1illc. \\'hose
volu1ne, 1ppe.1r tt> 11111111r thc 1.:ffi:cts o f ,Ltllll' o r n1etal ,culptural
n:lief.
l'in i!>hed_dr.1,vings cirhcr cxhibir -virruos1c skilL s01T1cri111es ex-
.
ce,s1,·e. rhac is dl:'111011,trablv of eco11oouc vall1e or d1e,~ , are.:> i111-
bued 'v\'Íth 111rens1fied ,;y111bo li c va] ues .1pi1ropriare for e-conon1ie~
of 1lrl·,enr.1t1011. g1Fti11g tnJ d1-.play. \ The $hghcly .1111bi\.'alent scau1s
of heavily \\ orked dra,ving-;. ,1s ct>1npare<l to finished art-work\
in o tl1er 111l'd1.i. ic; Llue to thc p.tpcr support a11d lack of con-
sp1cL1ousJy cxpe11s1ve nuterials; such t:1crors serve co eudovv cbcn1
,v1th a tran.'icende11c<1l rarher tl1an n1011etary v:uue, although they
reatiily bccon1e co11ecrors · p1ece<; 1 Furthern1ore. t11e degree of
lr.1n:-.p,1n: 11 cy••1ccu;1l ;1 1H.I ~yn1l)olic Vv'ith111 clra,ving, revealing tl,e
trace~ of proce-..\. 111ec1 n-. rhat rl1e cr.111sforn1ative a~pects of ,kill
,ire 111t>re kt'cnly appreci<1ted io ,vorks 011 papcr. Thc fact tl1,tt
such ,vorks are ge-nerally 111011ochron1e gives rhe111 poii;n:u1c..'Y a~
shado,, ,vorks. Conrain_ ing alJ aspects of co1nposi tiona l and tech-
111c:il finaliry e,cept the 1nater1al transtormat1011s and colour
en1bod1n1e 11t predica ted 111 their a11parenc C<)n111letion, they
ren1ai11 vvithin d1ê real111 ()f tht' co nceptual. ho\VC\'er virtu,.1sic:
ghost ~ubs □ [Utl'S. ro1111,lcre /1111 1101 fi/1,il.
Completing the Outline:
Chiaroscuro as a Strategy of Finito
[ln] lhe third method [oí d1 aw1ngJ wh1ch we call 'chtaroscuro· ..• so thc ligbLs can show
up. the pape•· ,s íirst llnted w1th so,-.,e colour wh1ch does not have body. Once the des,gns
are lirushed w1th ali t'"lc1 proper shado','Js, one takes a l1tlle th1n wh te lead m~ed w1th
son,e gum Ar. 1b1c .ind then us1ng a little fine brush oi m1n1ver once g1ves ltght to all
the proiect•ons Th1s techn,que , 1s 11--..ily ,ppropnate íor those who reproduce in
pa1nt1ng worl<s ,n marble or bronze from fac~des or other placcs.
• G1ov;inn1 Batlrsta Arrnen1n1
We'>tt:r11 .rrt .-.ince ren.11ssa ncc tiu1es l1as generally been obses~ed
,vith tl,e rcudering of volun1e within dra,ving tl1rough che adch-
tion of n1odelling 111 lighr and sh.1de. fh1s tu·ge to,;vards volu-
n1cn-ic finish is la1d do,vn in the de,·elop1nental procedurcs of
ped.,gog1c progr;n11n1es: the oucline or linear sketch require, to
be /i111.\/,cd i11 v,1riou-. ,v,1y'I b) tecl,niques for representing round-
lll''\'.>, '>oliJit> Jnd sp,1tial rel.1tio11-,hip,;.1, Such 'ioliJity anti plast1c-
1ty br111g J ,,·ork clo'>er to,,artb realjl:), JS tbe Casa 13uo11arroti
52 DRAWING AS CONT' í..JUUí1
dra,v111g 1llustrates so cle-arl,·. Although a.n unadorned line has
genera lly been reg:irded as an inco1nplere state. t.here have al~o
been clearl, lletined periods. as in che neoclassical and n1edieval
n~vivalisn1 ()[ the turn of ll1e ninetce11tb century, when
u11atlor11ed line dra,vi11g ,\·as adnured for its graphic sophistica-
tion, a11d understood to be heaviJy encoded ,1vitJ1 inte11tionility.
rather tl1ai1 i1níirrished.
C/iit1r(Jsc11ro 1nodelli11g in light and shade i~ either broi1ght to
co1r1pleti<.)11 by the addition of <lark <ihadov1 or, in a reverse
proce,,, l,y the atldirion of h1igl1light\ to a 111iddle ground, tl1at
is . •1 coloured -..upport. W11e11 n1odelling is carricd out in sott
dra,,rii1g n1aterials like charcoal. chalk, pastel or pencil, or in v\7ash
011 ,vhite paper, íts brí~ht si1rface represents the highest point of
light in ,l sc~1le of conal graduation fi·on, hght co dark. ln early
n1etalpoint ura\lvings 011 11repared and tinted sur-faces. n,odelling
occur, througb the application of ,vhite body colour \IVith a fine
brush, gencrally ,vl1icc leacl to inciscd stylus lines, a ccchnique
that ,vas l,1cer appropriated for pen and ink drawings on colourcd
paper in both northern .1nd southern traditions. The addition of
,vhire h1ghlights to Leonardo's fa111ot1s 111etal110Íl1t Studies qf a
T1icJ11111.11 '.s· H1111ds ( 1490: pl. 22) illustrates ho,, 'it1Ch n1odell111g cc1n
crank up even a sketchy drawing i11to the vo]u111etric ::.ugges-
tiveness of 'real' space. Fitú1:-h and u11fu:úsh exisc side by side on
cbe paper ,,rithout co11rradiction ii1 tlus co11Sun11nate drav,ru1g.
probabJy f0r t1Je portrait of Cecelia (;alJerani, Lad)' tl'ith a11
Er111ine (Cracow, Czartoryski Museu n1). lt to11o,vs Leonardo's
precerlt: 'Tht' first i11tentio11 of the 11ainter ic; to n,ake a Rat
<;t.nface display a bod)· a~ if 1nodelled and ~eparate fron, this plane,
and he vvho 111osc 'IUrp;isses otl1er<; in this skill deserves 111ost
praisc:7 Althougb thcrc is so111c rougl1 cbalk ,vork 011 d1c sl1eet.
tbc draw1ug of ai--ms ;u1d hands has been l:iid do,vn in speedy,
confident metalpoint strokes 011 the pale btúf-coloured ground,
,vhich h:ive O}.."Ídised into a brownish tonality. Then conrrolled
scroke!) of wl1ite highligl1ts have been added alongside che fine
contour 111odclling of tl1e 111et,tlpoiuc, coaxu,g the rurning plai1e.'>
.into ~olid voJumes tlu·ough et11pl1asis of hollo,vs. spaccs and pro-
jections, J1ighlights and shadov-rs. The war1n, neutral to11alities of
p:1per :i11d metalpoint lit1e are enl1anced ~,ích che uttnost Sl16-
tlety by the 'v\'hite highJjghts, so tbat the drawing achie,res an
an1.-1zing range of n1i111etic suggesr1bility ,vithi11 the narro,vesc of
t<)nal range: 111anaging even c:o ,;ugge,;t the cexcural variations of
skit1, 11ail and tàbric. Leonardo, vvbo ,vrocc at s0111c length about
light a11d .,!,ade, stressc<l thc cori-,oreality of thc opaquc body chat
cases shadows, and the inunaccriality of light. He disrii1guished
bet,veen u11ive1--snl, specific and reflected ligl1t. and light passed
through tr.,nslucent surt:1ces.!l J-Ii~ drapery scudies, ,vhe-re
C()111plex vo]u111es in the stiff folds of draper)' n1ove fi·o1n tieep
sh.idovvs to \Vhicened cdges a1.1d cri~p highlights, e}..hibit a degree
ot· skill tl1at lias been consisteL1cly adi11ired over the ce11tL1rics.
Accord1ng to Vasar1, who O'li\'ned so111e of these dra,vi11gs. vvhcn
 •

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•

22 L.:onar<lo tla Vu1c1. Studh•j t!(" 1f i11111111'.\ TJ,111rls. 1490, 111ccalpo111t ,,1th \Vh1te he1ghtc111ng 011 pale-huJT prcpareJ papcr ovt'.r
ch.1rco:u unde rdr.i-, ,ng.215 X r50 u1n1. Windsor c:astle. l he lloyal <.: ollecnon. R L 1z55X (largcr rhan .ictu,11 ç1zc:)
 l ec111 ~rJD f1rst heca111e .111 ,1pp1e11t1Ct'. ·h1.· <Jftt'll lllJ<.-h: fl~Llrt''i in
t lJ) \\ li11.h hl· covcrl'd ,, 1tl1 ,1 St)ft ,,·or11 line11 d1ppcd 1n cL1y,
1nd th1.•11 ,i..'t h1111,;elt tt) drav, tbt.>□l "·-ith greac pac1ence'. T h,.,
1
, ,, 1-; tn heco111e .1n t'St,1blished rusto111 ,, ith .1rno;;c.:; <)f ,ucct',;o:;ive
g l' lll'l ,1[1011\. 1)rapery ,tudie~. ()\tt11,il1ly 111te1tded for ,tud) .111d
1.h.·,·1.•lop111e11tal purp<)'>t, ,, t·rt· ,1te-, of deliberate virtuo~It\ i11
c/11,l/llf (/1/11 l1l{)lil'llu1g, dt ll1()l1\tr.1ring thc skiJls ar n,ascers ,llld.
.1ppn: nt1ces 111 ,1rt1,tic ,,·orkshops.
E,·en 111ore finali,ed stud1e~ \Vere undertaken by, Albrecht
1>urer ' 14-"'1-152X 1 ()ll h1, return te) Nure n1herg fT<lllJ ht\ fir,;t
cr11, t<) ve111ce Ft',, rr.1ci;>, of undt•r ,k.t'cche, ,Jrl:' lefc to disturl1
tl1t..· 11.. <>llit st,ltu, of Ult'se dra,ving-.. \\ l1ich are de libcrately
1
111te11ded to1 con.,uJtat1<)11 .u,d displa} . Tbe 11111Daculace con tour
n1odellin~ ~u1d poise ot Sr11d) (or riu l'ray111_{! L-l.1111ds q{ ,111 .."1posrlc
1 l)ürer's Christo111orpl1ic v,·orks. 13 (A false 1\D 111onogra111 ,vas. in
( 1508: pi , 3) 1s one of a group of 111ne tee11 survi,·1ng ,tud1es fàT
che rl()\ V parrly de,rroyed .1lrarpiece of the s4 JSll11 1pTÍOII <llllf C(lr()-
1/tlf/tlJI e~( riu 1·;,:~111, ,, l1ich ,,,1, C()1111nio;sioned by d1e frankfurt
111l'rl h,u1t j,ll<)l) r lellc:r in 1507 . Extant lecters indicate that every
.ispect o( chc prestlgious co1111nis-;1011 ,vas sub.1ectt·d to the gre-..1t-
esr care h·y botl1 patro11 :ind art1st, altl1ough at the end Düre r
re-1.ua111ed nnhappy v.,th the payment for his 'páinliwkmg_
drudgery' . "The br1l11,1ntly blue sheet, ,vhich oribrin:1lly ::ilso C()11 -
ca111ed che- head of che Jpo,de. has been cu t lio,vn, leaving fainc
i11dicc1UL>11s of l1i'.'l r1gl1t slioulder at botton1 ll'ft. Where Leo11ardo
o r~tJJJ 1scs 1111dLlle tones a11d light passages througl1 :111gular blocb
of lincs 1n ~·picall)' ltalian fas hion, Dürer's delic:ite and ,,;dely
,;paced brush rrac111gs. as tine as meralpoinr lines, are crisply
cu1, di11ear. The- íncen'ie azure background colour escablishes the
n,icldle Lone in che ,-.1j\t'd ,·ei11s bet\veen ,vhire Ct)lltour li1i e,; 011
the 1nner cdge ,111d d.ir'-. g rey cro,i.-h,1tcl1i11g o n the f.1r side of
tl1e bJJ1d:-,. I)ürcr had bcgun LO initiJI his dra,vings a11d add his
111onogra111 co dra,v111gs and pr111ts 111 1..j.90, after fighting pir::i.te.d
ed1cio 11, o f h1s prints in court, and although tbe monograi11 AD
1~ no lo11ger on rbj s \heec. it ren1a1n\ oue of rhe 111osc recogni,;-
.ilJ)c a11d fan1ous o f Dürer·~ l1uge gr;,ipl11c (l:'11vre. 11
l)ürcr·c; c-/1iaroso1ro dra,"·ings on intense colourcd papers creared
J vogue for ti11isl1cd dra\vÍl1gs Í11 tl1c e:irly s1xtce11tl1 cc11tt1ry as
coll ectables ter franli11g a11d dispL1y, eÀ--plorcd vvith gre.it pana_cl1e
by Hans Baldung, called (;rien (T..j.85- r545), l)ürer's n1osc 1111po1·-
12
t.1nt pupil. Hans Ho lbein the Younger (1497/8-1543) also
crt',lled a gro up oí chiart>S<11ro \vorls ,tround 15.20, including
d1,lv, ings in v\ h1< h h1ghly 111odelled and volu111 etric figures are
,cc ag:a1nst ,lrL h1tL'ctural l'le111ents deltned sche111atic.illy in w1e.
ln chc l'1\.72ressivl.' Christ 111 Resr ( 1519: pl. 24). in pen and black
1nk ,1nd grey \Vash ,v1rh ,vl11te heigh_certing on olive green pre-
pared paper, he pushes the sl1arp conrrascs of thc n1cdiu1n to 1ts
ful l dr,111,aric potent1al.. Th e draw1ng de}1icts a des11airing C hrist,
alre.1d> ,vearing the l rl)\\'11 o f t11()r11s, s1tting on the- cross, prior
t Q tbe Cruc1f1x1c)1l. Tl1e inte n'ie volun1etr ic 111 ode1liug of the
figure l\ 111.1tcl1t:d by thc 111,uu1ered i11re11sity of its distortio11s:
5•1 DRAWlf-JG .AS CO NTINUUM
tl1e enlarged l1ead "'itb open but sighdcss eyes, rest1ng on his left
ar1n, barely tits mto the shcct of paper, and tJ1e awkward draw1ng
of rhe to l<led rigl1c leg is contrac;ted '"'ith tbe powerful 111uscu-
lat11re of the bent knee on v.•hich l1e resrs his ,veighr. The fore-
shortenl:d drawing of lhe cr<)ss, \Vliich escablishe:; cl1e ground
pl.111i:. is contrasted ,vitb a roughly s111udged shado,v to tl1e left
of the figure that clai:nu tbe existence of a vertical plane: con-
t::iining space -is tberetore set up only to be denied . Th1s pronu-
nent sbado\v 111arks ,1 bo1111ding ,vali on which the l1uge \Vhite
br11-1hv,<,rk date ,;1gnals a decla111atory authorial presence. Wirh
no spectator:, or ocher participants in H<>lbein's drawíng, rhe
ra:~sio n is establishcd as a privace act pertaüung to the idcntifi-
cation of sLtl:Icring scl±· ,vith Christ, somcthing associated ,v-ith
fact. added in the lower ríght-hand con1er, cla i111ing the en,o-
rí onal inrensity <:>f rl1is drav,'ing for Dürer.) Witl,in tl1e outli11e
co11fine~ t>f the lllll'>CtLlar but a11guished body. the ,vl1ite high-
lighliug is beltl in a tensc i:son1orplus1n v.rith black 1nodellu1g
strokt.?s. Elscv.rbere, the whitc brush,,,ork escapes tbis unity to
suggcst dj111ens1ot1al hatchings ot1 tl1e grot1nded cross. and eve11
describe" a dclicate clun1p of grass. unshadowed by hu111an or
d1vine suffeTing, ,vhi ch gro,vs in the 01)e11 -;pace of tl1e drawing
u11derneath tl, e pron,int·nt i11scripcion of 1519. Tl1e date boldly
appropriates the Passion into a Ger111anic 5pace and tin1e, so that
C hr1sc exists in authorial, uot j ust bistorical túne and l1is suffcr-
ing is cotern.ú11ous Vl'ith its represe11tatio11. Tl1is relates to Dürer's
charcoa l sketch of the Henri l?f the Denrl Cltrist (r503; pl. 85), in
''-·l1ich the sultering h.ead i5 set on unfinished shoulders wl1ose
skeLrl1y scacu~ and inscriptio11'i are overridden by an enor111ously
bold cl1ar<.:<)al 111onogran1 ancJ date i11 the 1u.iLldle c)f che page.
111 the l1ands of the D .1nube 111asccr Albrecht Altdorfer (circa
1-1-80-1538) . the tcchniquc of black a11d white chinrosc11ro dTawir,g
lS adapted to rhyth1nic ünear patterru and narrative detail . Ln
Christ 011 1/ie -' li11111r c~f Olit1es (1509; pi. 1.5), on a reddi.;;h rusty
brown ground, there is no solidiry to any of rhe figures, includ-
ing the foresl1ortened a11ostles slecping i11 t11e front, one of
V1·l10111 sports a fcathered headdrcss a~ a creaturc of the forcst. A
disen1bodied Christ prays 011 a very sinall n1ouud, ,vhich fran1cs
a dran,atic torest with rocks, foliage r111d a 1-iver described
through a variety of lin ear conventio11s of straight ~u,d curling
lines. a,; stylised 3'i the 1nountain peaks ::it the back of cbe gorge.
T11e ange1 ,vho appears to Christ 1s racher a\vk,v,1rdJy 1,erched
on a decayu1g trce trunk in tbe 11,idtlle of the con1p<>sitio11 rather
tl1an floati11g above it, and tine pcrsecutors led by Judas. ,vho are
approachi11g a r11scic bridge behind ::i v.rickcr fe11ce, are alinosc
lost 111 the elaboracio11 of li11ear fio11r1shes of d1e c11rlicue trees.
The un1fying colour of the ground, wh1ch registers as strongly
a~ tl1e ~•hite and l1lack line~. achieve-, a 1T1ore a111bivalenc ~patial-
ity tl1,111 i11 c11e Holl1eii1 work. Even with<.1ut an externai fi·an1e
- "' bi ch sttch a collcctabJc Llr,1vvi11g ,vould Íl1vite - the \Vork is
23 Alhrecht l )ürer, S11,rfy _fi1r fifi' Pr,1}'11((! Ha11ds ~r (Ili .·lp1>r//1', 1501!, hru,h ,1nd !:{ít')' \VJ~h hl·1ghcened \,\'1th ,,·h1ce Oll blue
prl·parctl papcr. 290 X 197 0101. VH:nn;:i, Albt:rt1na Jl 13
24 1-lans l lolhc1n the You11gcr1 CJ1rist nt l{l·sr, r519, pen .1nd black 1nk. grey \Vash, heightcned in ,vbite
Mu~e1:11 zu Bt·rli11, f(up(t·r~ucl1k,1bu1c tt. l(dZ 1.~7J9
con1po.,eJ ~o ac; to contain its o,;vn pictorial fi·an1i11.g tl1rougl1
the vcrticality of for111.s 011 citb.c r side of tl1c con1positio11, and
tbe posít1onu1g of thl' sleeping apostles otg:inised as a shallo,\1
horizontal ·v· shape. Whereas Diirer's dra"ving focu,;es on the
en1bod1111ent of ,1 ge-;ture of piery and Holbein's :.1ngui-,hed
subJect i~ c;queezed inlo che hori2ontalicy c>f cl1e paper as if it
,,t:re a ~hadov.·ed ton1b, this landsca1>e invit1:.•s tl1e spectator\ l!ye
to engage in .i u1ucl1 treer Journey oí di\covcry.
Tl1esc three dravvinb"'· alchough chey ali c111ploy a co1111nuna1
rech111cal su·aresry, 1nl1abir ,·ery d1ffercnt sc1nantic fields. ln thc
C3'\t' of the Alrdorfer, rhe aspcct of j111i10 (for this is undoubtcdly
56 DRAWING AS COl'!Tll'JUUM
011 ohve g reen -prep:tred paper. 160 X 205 nr111. Scaacliche
a very fi1úsl1ed LirJ.vving) is t1ot acqi1 ired through represe11tatio11
oí che volt11r1etric or elaboratio11 of subject 111attcr, but tl11·ougl1
the co11sistency of tbe graphic stylisation~ and spat:iaJ animacio11.
ALI chese dra\vings are lughly self-conscious, pertahung co those
delil')erate ~tracegies by ,vhich a dra"ving i~ ,vorked up to be an
.irt-work of el1ual ~tatus ,vich painting, and possibly of greater
value than an etlitioned coloured chiaroscuro print tJ1c1t is uol
• 1-l
u111quc.
o
25 Albrcchr Altdorlcr, Chtist 011 tl,c .)11111111 1!} 0/ir•cs. 1509. pen and bl.1ck 111k. hc1ghrcned 111 \vlurc 011 ru\t br0\\'11 rr,·pared
papcr. 210 X 1571n111. Staatlichc Mthccn zu 13crliu. T<uptêr~t1chk.1bincll. [<.dZ r 11
Ch iaroscuro in the Service of
the Academy and Science
The e-;st'11L1.1l ,1,pec r-. nf 1hi11ri 1st11n) in .1c.1dc-n1ic life ,;tud1e<;, par-
uc ularly the 1)rt'~e11t.1lin11 t1111d1111ics. l)J figur 11 ,et p1ec.e,. whereby
ac,1Jen1it 1.u1~ \\ L' J L' j udged botl1 ,vitlú11 ,u1d out,ide thi:ir Íll\titu-
tions. Liepi:11dcd 0 11 pi:d.u1t1c obser, ation of che etl:êcts fro111 a
tixed light•
soLrrce. usu.1ll)· r11odellt d 111 chalk. In seventee11th-
c.:entttr) lti'\ l). , uch a11tont)1nou\ ,1t(1d1 1111ies ,,·ere valued ,111d col-
lerted, l{)r e:--J rnple, by the Flnre ntint' hi,ttH ian 13aldinucci, ,111d
tht'\', ,,·i:rt' co n~idt"red ,1, prel."i<.lll\ <:<.>llector's ite111s iu e1gbtei:11tb-
CL'tltury frJllL C 111d l,ttct. ' Tl1c lughly tini'ihed a11d dra□1aticalJy
111odcill:'d ch..1lk hgurc dra,,·111.g.; chac const1t1.1tc the apogee of
artisuc trauung in che Fre11ch Acadér11ie Royale, granting co111-
11etinve 1cct'),<. ro prt7t':-. or co1n1r11ss1on,;, ,vere norn1ally part of
.1 de, elopn1enc,11 chain of studies sen•ing ro re11ear-.e L11e fi111sh
anJ polt~h of tht.: fin.u ,,·t)rk. Tl1c Frcnch .1rtist I)ierre-I1au]
f>rud·hon (1758- 1823) continued to pToducc such finishcd fi~rt1re
5tt1die,; rhro11ghour lm profcssional career. spen:ding ali the
e\·en1ngs of the l:ist years r1f lus hle drav.'log 11,Te 111odel'i in a
,cudt·nr\ ~tudio. 11' A co111plex arr;1.11gen1e11t of highlights, dark and
11uddle t()nes i-. <;culpted out c)f fadecl blue pa11er in Prud'hon\
Srandi11,{! Fi:111,tlt: ,'\r11tlc. in long strokes that -.ee111 to caress Lhe solid
ctu,·es of rhe 111odel (pl. 26). Tl1e hcavy charcoal sl1ado,v th_at
defines her shot1lder cl1e11 111oves in broke11 ct1rvcs dov\·n tl1e
pl.111es of che tigure ·s back, butcocks and legs to c;et np a cornplex
spatial curve. This serpentine curve is e111phasised and anchore<l
b) thL· dran1aticaJly -,hado,vr.'.'d pli11th on ,vhich the n1odel Í!i
lt:aning. 17 The i11dcter11tin.atc forn1 of cJ1e plinth is <liiferentiated
from tbc tensc strokcc; t..raciog thc unduJation.s of tle~h by rough
scr1bbles of dark charcoaJ and vvh1te chalk. {>rt1d'hon was accus-
comed to l:iy our lighcer nnd darker arcas chrough stun1ping.
rubbing ch.1lk or charconl 1nco ~oft pac:<sagec; over a rot1gh pre-
lin1in,1ry drav\. ing, chcn overlaying these -~(,1111aro (~n1oky) effect:;
\Vitl1 ,vell-defincd slrokes of light and dark. The \vhite etige:- of
the rigl1c-h,111d sidc of che fi1:,-..urc are repeated ÍJ1 dt1rk a11d 111id-
tone co11cour lines so that tl1e t1.gurc vibrates against tl1e rough
back-grou □ d and achievec; a certain tàrn.1aJ liveliness. m spite of
the fix1cy of the po~ture
Altht)ugh P1-ud·l1on 's ,1r11clé111íe., ate .111 111ore or le,;s finished
s1ngle f1gures .1gaj11st .a neutral backgrou11d, outside .iny narrative
srtuabon. tl1c c;cudio props ,u1d pli11cJ1s on ,, hich 111oclcls ~it or
lea.n are often transtorn1i.:d 111to a rock or a piece of grcc11s,vard.
e,·en a ~pouting_ founcain, introducing J lai1dscapc connot::it1on
slightly ar <)dd, \\ 1th rhe acrual figu re posed 111 a studio. l!l These
'>111all 1nflecrion\ serve te) co1nplete and con texh1ali,e the ~ingle
figures Lh.i.c fill the Jlagt' a11d beco111e the fully realised topic of
thc \,·ork. 1 ' Iu the I3oscon St111uli11,11. Fc111alc 1\"11de it is not clea r
,vhether tht.: plu1cl1 1s on the sanJe phu1c as the curtain-likc bctck-
drop on th~· r1ght ot che bgure or not. r here is very little space
58 DRAWING A S CONTINU U M
for the n1odeJ ro stand Í11, so thnt she has son,ething of the
apr,earance of ~ l1igh-relief sc ulpture, even though her senc;u ou..,Jy
rendert."d Aesh is ,1J)p,1re11tly ~oft and l1er shape, proporcion'>, head
and hair~rvle are rt!dc>lent ,vitl, tl1e wu1úscakable co11ventions of
•
late cigbtcencb-centw-y body style. Thc ,~risaillc aspcct of tl1c
dra\vmg also supporrs thís contradictory reading of a fi.gure,
v.·hicl1 is l1alf re:il, h::ilf sculpture, partly a person of her tini.e a11d
parrly a generalised and classical figure. Jt both i11voke~ and chal-
le11ge~ the story t)f Pyg1r1alion, in ,vl1ich a frozen sculpture is
su111111oned to üfe b) creative desire. l Iere tl1e arrist fixes the
livino- bod\'. i11to a sen1blance of stac.uary, disallo,ving escape or
~
change \vlule e111phasising the se11Sua.l a.spects 01· tl1e body for the
delectation of ch e (n-i::ile) onlooker's gaze. The downward ga2e of
che 1nodel herself serves to entàrce the en\vropped isolatio n of
rhe fi<rure
b ' holdinvt, and inscru ccing tl1e viev,:er't. eye ro re.ld and
re-rcad thc body, ,vitl1 no Í111petus to ,N"ander a,vay fron1 its cen-
craJiry. More than a stt1dy, this is an auto110111ous work, i11viting
adn1iration for its technical skill and charged vvith a per.iod speci-
ticity that poses a challenge for cop-yists of lat.er generations.
The e111ployn1ent of exaggerated rhinrosr-111'0 to den1ónstr:-ice
Enlighte11111enc notio11s or scient.ific trutl1 finds hyperbolic fulfil-
111ent in J.in van Rien1sdyck\ i.llustrations for the great Britisl1
obscetrtcal anl-l ai1.icon1ical adases of che seco1id half of che
e1ghtecntb cent1.11-y. The Dutch-born van l~ie1usdyck. of wl1om
very lirtle is k.i10,v11 cxcepc that he was active as an anacon1ical
arcist and ge11eral book illust:rator in England betvveen 1750 and
17~4-. prepared an1azi1lgly inten~e red chalk dra,vings directly
fron1 cadavers (u1jected ,vitl1 preserving wa..x). wl1ich ,vere then
engraved or reprod.uced as n1ezzoti11ts in expe.nsive publica-
tions. 241 Van lUen1sdvck was fust employed by Willian1 J:-lunter
•
ro dra,v the stages o( his c:lissectio □ of a ,voman in the last month
of her -pregnancy (follovved up by dravvings of two subsequent
disseccions) in a ver)' protracted projecc that resulted in a
rc-110,vncd subscriprion volun1e of engravings. 21 Of che dra\.vü1gs
char van Rie111sd·yck prepared for Willia111 S111ellie's A Sert of
1111<1to111ical tables ... oJ 1/,e practice qf 111id11r[fery (Lor1do11. r754). tl1e
red ch::ilk Foet1ts i11 J)r[!/ilc contrasts the rounded volu111.es of a
well-developed foett1s nestling it1 the cut-open vvo111b Jf,'c!Ínst the
sectioned backbone c)f the mother, all rhat ren,ains after exten-
sive dissection (pl. 27). Altl1ough cl1e dídactic ain1 of rhese illus-
trations wà~ 'to .,hc,v evcry th111g tl1at 111ight co11tlu ce co thc
u11prove111ent of the yow1g practitioner', they are redole11t v.·icl1
tar1gcntiaJ readings: the over-developed infânt is 111ore like a
chubby classica l p11tro than a foet1.1,;, a11d tl1e n1aternal body is
cha racterised on ly by it.s cüs,nissal22 The dTawi□gs ~re mono-
chro111e in variacion~ of red chalk, in prt!paration for rheir rrans-
lation i11to engravings; and in .1dditio11 to -;tun1ping. van
lt!c1nsdyck \Vcts thc sangui.ne to givc i.ntc1isc arcas of darker
colour. 23 Tl1c co11cern for difierentiatcd tcJ..--turcs in the rc11der-
ing of .spine and spinal cord, subcutaneous f..1.t and n1uscle v. all, 1
26 Picrrc-J>aul PruJ'hon, Si,111di11,e Pe11111/c .,'11dr, Se1·11 Pn1111 Bt'hi11d. 1-85-()0. chJ.rcoal hLighLc11t;:u
\\lth vYh1tt: chalk 01 1 blue paper, (110 X 349 nini. Bo,ton. Must·u111 oi" Fine Arts. Bequc\t of f-or,vth
Wick~ -Thc 1-orsyth Wickes C-0Uect1011, 61.159):.

27 J.111 \.111 ll1t·1H~Jvt k. F11(/11~ 111 Pn1/ilc. ,11,-.1 175.~. n~J ~1i.11k. 5(,5 X +35 nuu.
C,l.1,~n,v, <:1.1~go,, Unl\'l~r.,ry 11hr.1ry. S.prcwl ( ollrcrion~ l)cparcn1enr,
M'I, l lu11Lc1 6.i+, 1) 1. 1.2"'
.,nd Lhc inl:111l\ ,ofl bod-y .1nd cla111p hair. conv~y~ an aln1o'lt di'l-
tu1h1n~ hypern.:,1lity. Tl11:-. coexi~t., \vith dottcJ diJgr.1111111atic
111,1rk111g~ 011 top of tl1e dra\\'Jllg tl1at L1y out tl1e co11tairu11g Ollt-
l1ne'\ oi che 111other\ absent body. especi:llly rhe i111possibly s1nalJ
b1rd1 l'Ji-,s,tgt' c)f the va~na. rhe :1pplication o( c/Jinrosc11ro n1od-
l·lli11g .,, lt'ch11it ,1I exce'>, 111 th1s virh10~0 ill u~tration also ScTVt''I
.1, ,1 n:11H11d1..•r th,1t ,1rt1-.t, h,1ve tr,1d1ti<>ll:lll)' :,tudicd ,111atf)ll1y, ,1~
p,u l t>f ,ll ,tdl·t111t t1.1i11i11g. i11 oruer to repre~en1 living bodies as
.1cr ur.1tlJ\ .,-. po,s1bh.·.
·r h1..• e111plt>vn1ent ot \'olu111crric 111odcll1ng a!) a <;trateg)' of
fi11i,b i, 11ot l111k110\v11 in 111odern1ty. lt ,va,; car1c:itured a11d
,tyli-.cd in thc 1nl'lhan1,;tir tigure~ t>f Fer11a11d Léger (1X8r-r955)
i11 thc 19.!0!>, lt>r ex 1111ple, his elal)urate ;:ind heavily ,vorked
p1..'11L"il d1 ,1,v111g ,<;f11dr .f~,, '.\f,,r/Jcr ,111</ Chifd' (1s.,2 4 : pi. .28). whert."
hl· i:111ph,l'ii';(.'\ thc f'l)(l'lltl ,ll ( ) r cl1i,1rosu1ro ll) '\Í111plif)'", ll10lllll11l.'11-
60 D l{AWlf .J G AS I ON 1ll'lUUM
t.1lis1..• a11tl gco1uccr1c1sc lorulS. Wl1ereas figural 111odellu1g and
-;pat1al constructio11 rraditio11:tll1· depend on a specific light
-;ource to adva11ce tbe real.irues of modelled bodilv, scructure,
Léger i'I fi-ee of such n1i111etic pedantry. Deep ~hado,v,; are applied
C<) the p11eun1atic lin1bs of his fi6rures 011 both sides. contril)t1r-
i11g to .111 overall picrorial liy11a111ic rarl1er than tl1e 'logical' rep-
resentario11al co11ve11tion oF .1 ti.,'{cd LigJ1c source. Léger regarded
che hu111an for111 as 011e plastic ele111e11t a1no11gst otl1ers, and the
appLcat1011 of chirrrosct11'0 n1odelling co figures, objects and con-
sa·ncric)nal details cüntributes tú the forn1al unity of a cún1plex
111ct<)rial s11ace that is part landscape, citysc.,pe and ~rill life, and
part interior. but v<)lu111t'tricalJy col1ere11t.21
A '\ecn1i11gly vcry fuiished aud severc dra\ving br Victor
Ne,vsorne (b. 1935), J)rc?filc Hl!ad (1982: p. 1i), ::ippears at fust sigbt
co be ,1 chiaro.sc11ro stt1dy as in tensely reali<;ed as tl1e PrL1d'ho11
acadé111ic di:-cus'>ed above. The he:-ivie~t of cro-;s-hatched sl1adow
n1odelling. in A'\soci;1tion """itl1 ac1-ylic white h ighligl1t!--, extencls
che :-.cal~ of c/1i<1rosr11ro into an eerie a11d aln,ost p,uodic register,
espccially around thc sigbtless sculptt1ral eycball a11d the stylised
ear. Every cord of hàir OJ' escaping curl has been modelled in
ligl1c and shadc Jnd ~erves to emphasise the 1nont1n1entality of
the fàcial distortion~ ,vith unnerving pseudo-veniciry. As pare of
,111 elab<>r,1te ,111d t1nfinished series of scudy dra,vings and p.linc-
ings concerneJ ,vith the theJ11c J\,:11dc i11 a Batli, Ne\.vson1e. a
forrnidable draugl1tSJ11.111, revisics carly rcnaissaJ1cc artist-thcorists,
cspecially .J>iero dell1 Francesca (circa 1-1-15-1-1-91.), in order co
recoL1p perspectival systen1S for tl1is very n1odernist project. By
superi111posing layer'i of orthographic projections one upon the
nexc in the n1anner of carcographic coutouring, N e\.vsún1e
,1rrivtl~ at lhe curiousJy elongated for111 of the skull aud tl1e exag-
gcratcd anglc of tl1e C1cial fratures. f-Jjs rcfusal to elim.i.i1.1te any
aspect of thc co11Sh·uctionaJ scctions 111eans tl1at the concours
becon1e n1ajor fissure lines ,._rithln the dra\.ving alohg \.vith the
enlarging grid, cont111dicting tl1e planar exagge111t1011 of che
n1odelled head. The overlaid grid p lay~ with -;uggec;rions of b~1th-
roo111 ti le,;, a co1111no11 geo111etric ele1nent in d1e ;\!,ide i11 a Bati,
series, Js ,vell as :-.ecn1111g to it11prison rhe li_feless hcad. Eolarge-
111e11t grids, as ,vill bc discussed in cl1aptcr six. ft1t1ction as fL~cd
n1on1ents in a developn1entaJ narrative, 111oving an evolvin.g
in1age- fi·orn one- stage or scale inro anocher. ln this very finished
\vork, the grid and che con~cructional marking::. (,vhich would
l,;1vc been e'<ci-;ed fron1 historical finished 111odellí, .1ccordi11g ro
rules o( pictorial Llecoru111) fl111ccio11 as pseudo s[~11s of provi-
!>ionality. Such 111arkit1f.,rs havc thereforc cntcred into a -;enuotic
realn1 JS potent, ai.1d e1:1coded sig1ufiers, .u1d d1e po,vcrful
dra\ving :ippears co subverc che very syscen1s on \V"h1ch ic is pred-
icated.
o o
 •

.1X t--en1:u1d I éger, .'>111dy jõr ',\/c)tfu'Y a11d Cl1ild ', 192.~. graphítc. 306 X 39.1 n1m. Phibdelph1a, Phil:ldelphi~ Mu~eun, of Art. A. E (;,,llatin c:0Jlect1011, 195.1-6T-(HJ
Moving towards Finality:
The Status of Modelli and Cartoons
ln LiiL' 1dc.1l 111L'thodolo~il''i t)l" Jra\,·ing tàru1ulatcJ Í.I1 lt,1ha11
11 ltet·n th-L c11tur\ Jrtl'\L'>' ,, orksl1ops J.11d lcgit11111scd 111 \VT1ttc11
tr.1ct,, prcp.1r.1tíon tor t1111,hed painongs invol\ ·ed a logical process
of pr11ui pc11sicri. con1pn,itio11,1l ,ketcht!,. detaíled figure and
d1,1p1.·r) ,tu~he~. (TO\\ 11t'd b1 111oflt'lli ,HH.1 fi11i•d1ed carto<>lls, includ-
ing Jt1xil1.11 y l,itc ,tudie,. f\.ltl1ough carlc)<>ll\ gcnerall 1 serve as
thl· 111e.111sur .1rlistic Cl>11t1·0I t1vcr .ui extendcJ and public life of
li11isht·d ,, ork(s) in .111other 111cd1un1, thc dra,,rmb~ cheniselves
n11ghr ,,·ell ba,·e ;i nothc:-r desc1nacio11 ::111d J ver·y diverse hi.story
fi·o111 tlie end prt)ducr. "' hether pa1nring. pr1nt, <;culprure or
Cl'l".tn1 1L or decor,ttive applic ,1tilltl.
c:l rrain arti..,t~ ,vcn: endo,ved by l1islo1·ical conu11e11tators \vitl1
a reputc1cio11 lar 111etho<lolog1L,ll 111a~tery ii1 thl' prc.paratior1 of
their .u·t. to 111atch cl1err perce1,·ed p:e:rnl1S ter inve11tio11. llaphacl
\anzio ( 14X3 r520) v;as (ore111ost :uuong these. bl1t altho1.1gh he
\V-1\ u ndoubtedly ,l sy,ten1at1c dr,1 ughr._n,,1r1, ~0111e co11ten1porary
hi.,tor1.111<; are· '-Ceptlc ;11 or tl1t:' al1110,t superhu111;111 clain1,; <)Í
orLlereJ dev<:lopn1cnr in hi'i cruvrc. Thç cvidcnce of the 'ILtb-
st,111ti.1l dr.1v,1ng out1,ur of the artist Fcdcrico Barocci rcally does
indicate that fus drav,'n preparat1011 for pa1ntí11gs ,vas as incrcd.-
ibl) thoro1.1gl1 as 1'3ellori l1ad recorded, tàllov-ri11g a ,vorkí11g
111erhc>dolog} e,·en 111ore rigorous rhan chat of l~a1)hael, whose
Jr.1,vi11g\ he i\ reportl!d Lt> have treasured in J stutlío volu111e in
Urbino, \vherc hc spcnt 11105t of hi\ litê a(cer aii early u11satis-
tactor)· brush \V1th J{__onJe. BJrocci's range of preparatory studies
include pen and 1nk first-thought comp0s1t1011al sketches: studies
ot- heads. liJ11bs and bodily po<;es in black and X\'rute, ar1d ~0111e-
t111H:, co lc>ured chalks, on tinted or ,vhite J)apers; occasionally
~r1s,1illc studics in te111pera on canvas; finely \vorketi buc never
fixl'J clií11rasc11ro dra"ving:, (carf()1Ui11i) and fuU-colourc<l ojJ
sketchcs (bt,:::ct11) 011 e.uivas follov.-ed by full-scale c.1rtoo1is a11d
111c>delh. He also 1nve11tcd a systcn1 of auxiliary cartoons, whereby
he rr1c<.:d fi.111-sized stt1dies of head., on to paper ar1d "''orked
che111 up i11 oils t1r coloured chalks. 2' For twenty-ftrst-cencury
la\te (ir th1~ tan be generali~ed), ali tl1esc: 1,reli111inar) ,vorks, .as
,vt'll .1~ B.trL1c..ci\ s111.ill range of pru1ts i.11ai, invcncive co111bina-
t1on of etch1ng, e11gravmg and drypoÜJL, are u1ore incense and
revelatory than che finIShed patntings, ,vhi ch exude a sweetncss
of colo ur, faci:11 feature<; and 'iU~JCCt n1atter chat was mucl1
ad111in:J 111 hi\ day. ~r, The<;e 'ier1ti111e11t.1I cl1arncteristics, vvh1ch
incorpora te 13aroccr\ autl1oríal re~pon::-e to bis clients and con1-
111is'l1ons. otcurr1:d durillg tl1e Lran~l.1tion into oil pait1t; such
atfects a11d etrects do not pern1eate tl1e forn1al fi11isl1 of the
re,tricted-paletre cartoo11s.
1 he rl1i,1r1lsc11ro dravv111g, or carto//ri11(), on oiled paper of 'J11c
rI1Ht1111/i111c111 (pl. 2.9) belonbrs ,vrthin ju~t 'illch a con1plex chain of
graph11.: devt'lo11111enl, C<)t1'i1s n11 g or th1rcy 1>te11aratc)ry "'·orks,
62 DRAWING AS CONTINUUM
1ncludíng tv.1 0 coJoured sketches in oil. Althc,ugh its 111ediun1 of
c)il p,1inc on 1,aper indicate'i chat Barocci was approacl1ing tl1e
paincerly outcotne of l1is 5erial develo11me11taJ project, t]1e pre-
don1in.1ntly n1onochro111e dra\ving co11tait1S 111a11y diftere11ces
ti-0111 thc tlJtished ::d tarpiece, cl1e E11f()111b11ie11r c?f Christ (1579-82:
cht1rch of Santa Croce, Senigallia), ás well as a full-colot1red
~ketch on ca nvns ot- che sa111e sul)_ject.2~ ln line with discussions
of l3,1rocci\ t)tber relatively fi11alised n1onocl1ro111e drawings, thi-;
elaborate dra"vit1g is generally understood to lay dovvn the ligbt
:.t11d shadc dist1ibutio11 a11d tonaliti.es of thc pa.incí11g to co111e.
Ho\\·cyer, although the spatial n1odeJling of each jndividual
figure 1s establisJ1ed through ,varm bro,vns (with white a11d grey
gouacl1e and toucl1es of pink ,vash over shade,s of brown ink
\>\'ash). the Getty dra,vi11g doe~ noc prefigure in a11y ,vay tl1e tonal
dra111a of tbe fi11al painting. e."<cept for the vv-hitcs iu tbe ~k")'
sun·ou11dii1g the backgroLtnd landscape, ,vl1ich st1ggesc the early
n1orr11ng r1siT1g of the sun. Whereas 1n rhe pai11ted altarpiece
n1a.x11nun1 illum1narion is foct1,;ed on che ah11ost naked figi1re of
C'hri<,,r carri ed \,Vithin a shroud by atce11dants and the kneeling
Mary Magdalene and accon111anying figures, in tbis dravv.ing,
li ght aJJd dark are evenly distributcd ü1 a 111ore u1uforn1 111anner.
Thc rcstrictcd ronaliries and regularised cliíarosc11ro scalc serve to
lirnit spatiality, binding volumes and objecrs to the mid-to11c
background v,itl1 líttle sense of depth. The dark b1.1ff colour of
che _paper is such a 111edian, unifying colour that even tl1e
un,vorkecJ line~ of the-Virgi11':; arn1 and cla,.,ped hands in tl1e fore-
ground do noc actract actenrion, ii1 spite of tl1eir 110n _fi11i10.
Althougl1 the dra"vii1g is ±ully rep.resenrational, it n1aintau1S d1e
spectator's awareness of tlie picture plane a11d asserts its abstract
a11d h11ear qualities, ,vl1ereas the painting suggeo;ts untra1n111elled
recession ~1 nd rich incen'Jicies of hues. ft is difficult co underscand
precisely what gain~ Bar<)cci \VOLtld n1ake ft•orn this beauciful
drawing it1 ter111s of the spatial and ligl1t orga11isation of bis own
painterly project, but it lcads to an undcrsca11ding of ,vhy, at tl1e
beginning of the twenticth ce11tury, Picasso a11d Braque were to
\Vork in black and ,vllite or sl1ades of gre·r and bro,vn grisaille
in cheir anaJytical ai1d sy11thetic Ct1bist ,vorks. Through their
subtle n1oclulatio11~. 111011<>- or duochro111e drawings suggest the
li111ited pictorial spatialities bel<.)ved of n1oderni,;n1, 111aintainit1g
v.rl1at ,vas called 'tbt integrity of the picture plane'.
Vasari had advised the use ,o f fL1U-scale cartoons in mural and
panel painti11g, and, like Armenm1, he instrt1cted Teaders 011 how
to glue sheets together for the purpose, enlargi11g the i.inages
fron1 sn1all-scale drawings tl1rough the use of a squared-up grid,
k110\v11 a~ a net or <;creen. Full-scale carcoons co uld be tran<i-
ferred to the fu1al surface tl1ro·ngh carbon copie:,, (that is, in1press-
i11g outlines tl1rougl1 a dra\ving blackc11ed 011 thc oppositc sic.-lc),
while Armeni111 advised tl1e u:se of pricking outli11es and pot1nc-
mg a bag of da,-k charcoal dust t:hrough the holes. !8 Full-size-
dra~·ings \1/ere essential, acco rdíng to Vasa.ri: 'The carcoons are
29 Fedt:rico Barocci, Tl,e E1110111b111e111, 151lo~. black cbalk and oil paint l)ll oilcd papcr. 477 x J'i<1lllt11. Lo, Angl·lt~, Thc J. Paul Gl ll)
0

Museun1. ~5.C~G.:16
JO 1 ~·nn;1rdo d.1 V1nc1, /111· 11t~Qill ,111,J (:/11/d 11•/til '\11i111 '4111w ,111d Sr11111 J,,l,11 1/1c Ht1pris1, 11n-a 119y-1500. black chalk and rouche, of \vh1te
lh.ilk 011 bru\\·111,li 1111tctl papcr 111üt111lcJ 011 ra11,a~. 1.p 5 X 10 4/'i 111 111. Lont.lon, NJlioual GJ.l.l~ry. NC:6337
 n1alie in <)reler to 'iecure thac rhe work shall be cnrried ouc
exactly and in duc tiroportio11 ... in the c,,rroons <>ne sees the
l'ITect of tl1e "'·ork as a whole. and these ca11 be adjusted and
altcred until tlie)' are rigl1t, -..vb..icb caimot be clone oo the -..vork
icsclf' 29 'Bt1t for the colours, rhe cartoo11 is the \vork itsclf'. "vrote
Arn1enirii, and certrunly such works (very fevv of \Vlúch have
survived, since chey vvere generally destro1·ed during tr::insfer)
\Vere capable of achieving as 111uch tân1e in their ci1ne as pa1nc-
i11gs, wl1e11 created by n~no"vneti artists:1" Leonardo even di<i-
played the cartoon oí the Vi1gi11 a111l Cl1ild 111itli St A1111e 1111d ,)/
Johll thc Baptist i11 hí-; privatc apartn1ents in 1500 or 1501. attract-
ing crowds of visitors. This large, supposeclly u1tluúshed cl1arco,1l
a11d chalk cattoo11 (pl. 30) has n.ever been trat1sferred by pr1ck-
ing ar tracing. Becat1se of its scale and abraded and da111aged
surG1ce. it is quite difficu]t for the spectacor to escablísh a func-
tional focal length for optin1un1 vie\ving of che "vork as a vvhole.
When the eyes have beeo focused. they graze along che con1plex
interrelat1011.ship of ,vhite l1eighte11ed relief areas of projectii1g
knees, boson1 :u1d shoulders or soft draperies that constitt1te a
dark geography of body pares, n1oulded in a sn1oky c!tiarosc11ro
agai11st tl1e it1deterrninate landsca11e background. This a.xiaJ1y
curved journey returns eacl1 tirne to the benign phy-;iognonues,
n1att1re and childish, v•:ho do nor n1eet eacl1 other's gazes. a psy-
chological i.n1pctus to seL1d the spectator·<; eyes off again 011
spatial wa11dcrings of disengagcn1ent. Thc l1and of St Anne vvith
its up-poincing fu1ger registers as a curious islai1d of en1ptiness
withii1 the soft n1odelling of the l1uge cartoon - if it is indeed a
cartoon for che pa11el paintü1g, ;:u1d not :.u1 auto1101nous dravving
in irs own right. The lo\ver hand and \Vrist of chis singlc: i-;olated
area of outline dra\ving display parallel black chalk h,1tchings that
define pla11es: such uoderdrawing presu1nably u11derlies all tl1e
oth.cr areas of black chalk tonal n1odulation. Tl1is l1ai1d, thére-
fore, literally e1nbod1es and upholds a scale of pra.,..:is or rnak:iog
fron1 outline ro three-dimeusional realisation. DirectionaUy, ir
poincs up"vards to God the demiurge, as jf signalii11g che hubris
of artistic finito.
Arcl1itectural perspectives that set t1ut che volun1etric appear-
ance of a buildi11g for a clie11t or intcrcsted pt1blic function 111ore
or less u1 the sau1e ,vay as a dra-..v11 111odello for a pai11tu1g or
sculpture: layíng down the form and structure of the finished
work as acct1rately as possible tbrough the suggestive pote11tiaJ-
ity of a graphic n1edium. Although sketcbes and 1neasured plans,
sections, elevarions ;,1nd ,vorking detail ~n,dies n1ight prefigure
tl1e i:;cages and cievelopn1enc of a tin1e-1Ja<;ed 11roject, the signifi-
ca11t aspect of a "vorked-up arcb.itectura1 perspective. or presen-
tation clra-..ving, is tl1at it co11veys a convinci11g rcpresenration of
a tbree-din1ensional building that does 11ot (yer) exisc. Or nughc
never eXJst- -;uch as che over\vhchning -,0L1dity and contradic-
tory structt1ral detaíls of the spectacular S11brcrr,111et1n ;\ ía11s0/e11111
fantasy of the 1780~ (pi. 31) by Pietro di Gottardo G<.)112aga
FINISHED, AUTONOMOUS AND PRESí:NTATION DRAWINGS
( r75 1-1 83 1). fn addition to correctly calibrared prorocol~ 0f scali.>
in rbis coloured \Vilsh dra\ving. cl1e filtering uflight fi·o111 a di\tanr
and írontJl source ,lt:ts l)llt a surrt'.11 reprc:-e11t.1til1t1al lngic fiir thL•
ü1visíble u~ers of il5 gr..u1J 1111prob.1bílitie\.
The very authoritative u.1ture of n1any presentacio11 dra\vin~s
- ,vhich although rhey are nor 111athe111aucalJy reli.ilile blue~'lnnts
for reproduction. yet proJect a str1ct ill1press1011 of accuracy and
rt1le 1n theiT execucion - is perbaps ,1 cond1t1on of the1r conrra-
dictc>ry position ber,veen c:oncepcual cencacivene"' and 111in1ecic
functionalisn1: n1,1k.ing real cl1c unreal. All or this i\ ;1pparenl in
Thomas Sandl1y's design for an uucxccutl'd project cxtending
S0111ersct Housc into a bridge ovcr thc Than1cs, l)csi~11 ./i>r ,.1
Brid,ge 011cr t!tc Ri11cr 'l'l1a111cs ,H S011,crsec J-Jo11se (cirec1 1775: pi. 31.).
The proposed bridge \vas to have :-i hall at each end ~111d ,1 vast
central space, and was o;hown ar the Royal Acade111y in 1781 in
~upport of Sandby:-; sixc11 illu~trated leccure a~ che tir,t Professor
11
L)f Arcl1itecture. Thon1a~ San1.lb) ( 1723-1798) ,vas the brothcr
o( tl1e better-knc)wn land.'\capc artist Paul, a.nd b<)th trainetl a~
111ilitaí)' and topograpl1icaJ StJrvey ,u·tists; bis l'toyaJ Acaden1y
appo1nm1enr m 1770 hclped to spark an Er1glisl1 vogue for el.16-
orate arcl1itecc1.1ral perspeccive drU'\;'\7 llJg.l. The geo11Jetric precl';ion
and clarity of tl1e unfini~ht::d \,\,'atercolour dra\vÜ1g i~ enlivenc>d
by rl1e dark sl1.1dow\ in cl1e crossing, cl1e Ct>ttered l1arrel vaulcing
and darke11e1.1 wu1do,vs. The unfinished areas of ~unlit pave111ent
and pi.lasrercd arcadc join "'rith thc bright11ess of the sky to
SL1ggest an Italiana te radia11cc ,vorcl1y of Palladio. BccJusc of the
highJy-fi11isl1ed register of the dra,víng, tl1e e1npt)' voids1 and
even the av.,k,vard perspective of the entablature on the lt>fi, take
on a certain inc>vitability. They do noc registcr as sketchy incon1-
plecion. call in g on tl1e in1agi11ation <)f d1e <;pectator cc> Cü111plete
the111, but suggest an alterna tive parallel reality capable of rever-
sais of logic.
~
Two drav-wgs by Jean-Ba.ptio;te Greuze illustra.ce thc grapb1c
stages of a 1nove ro\vard.,; finality by au artist ,vho~e dra'\\'1ngs
vvere var1ably described 1n sa]e,; cat:ilogues of h1s tin1e as pre-
cious, very fi11ished or finely renc.lered. Greuze, vvl10 never gor
over his di..,appointn1c11t at tlOt bcing acceptcd a5 a bistory
pai11ter by tl1e Frencl1 Acadé111.Íi: Roya le. exhibíte1.l skctchcs,
dra,vings a11d pastel portraits i11 tl1e bie11nial Salo11S for '-\ hich
collectors ·pai d prodigiously bigh prices' .32 The drn\,ring of d1e
Ret11rn _{ro111 rhe I li>t 1\·11rse (pi. 33) is one of variou-; flliished c:0111-
po~itional <;tud1es tora paincing no longer in exisrence, incended
as a con1panio11 piece ro 7711: De11,1r111rc· for t/1e rfi•t \'11r~c. These
paired did.iccic ,vork<; "vere llclrt ()( a projecc~<l serie'>, Ba:i!C' ti
TI1ib<t11/t; 011 Les Dc11.,· Ed11catio11s. for \\ hich (;reuze produced a
1
text. lt \Vas envis1011ed as a ro111a11 c11 tablca1t.Y, .1 novel in p1ctt1rcs.
1n tl1c n1a11ner of 1-log::irth 's pau1tíngs. illustraring moral and
d1dactic narratives. Tl1e dra~'ing illt1strare~ C~reuze's pr(1gra.111n1e:
'Tl1e young Thibault return, fro1n rhe 'v\'et nnrse \v·ith ;lll his
b..tggage; hi ... 11urse pre,ents hin, to his 111other. \Vh<) i, e,1ger l<)
65
31 Pi~•trc> ú1 C.Quardo c;onzaga. "i1d1tern111e,111 J\lt111.~<1lt•11111, Ctrt"II 17Ro-<)O. pen and hrO\Vn ink .111d bru~h anJ bl,1ck, grey ..ind coloured \.Vct~h over graph1tc,
J.JJ X -170,n,n Chicago, 1he Ait Insatutc of C hicago, Suzannc Searlc l)ixon Endo "'-·111ent. r9ll9. r90
32 Thon1a~ Sándby, Dcs(i,:11 fPr 11 /Jri,~l(é' ,>11,·r Ih~· Ri,1('1' TI1<1111c•s ,11 Scn11crs1·1 l-f1>11st·. (lfffl 1775. P'-'ll ~nd 111k .tnd \\'at,.:r~l\luur, 4<,3 X 374m111. 1 011<lo11,
lhe Victor.1,1 and Albert Museum, 1). ri'l40-r904
 A

33 Jl•,111-ll:1pt1,tl· c;reu,c, l<c11tr11 jr,•111 1/u· 1l,•t '\·11r.,c. rrrr,1 1763. bru~h drJ\, 1ng 10 grt'y ,1nd yt'llo,Y-bro,vn ,v.i~h over grnphire. -177 x 434 nnn . 1 ondnn, fhc 11r1n~h
/v\u,cun1. 18.16,0509.152
34 Jean-l5aptisce c;reu:rt', 'f11t· Fntl,cr's Curse: 'l'h<' LT11gron:fi,/ Sn11, árra r778, bru~h .tncl grey ,va~h. $ql1:tred in pencil, 502 X 6]9 mn1. Lo~ Angele~, fh e J. Paul c:e ctv
Musc:W11, 83 .GG.z31

receive hin1; then tl1e small child recoils \vith fright .into the arms
of the 111other v.·hon1 he k11ovvs, and, by that action, reproaches
his jbiologicalJ 111orher for her indifference-.'"·' The dr,ri;ving in
thê .Britisl1 Musenn1 is con1positionaHy ratl1er different fro111 a
better-kt10\Vn versío11 of Ll1e subject ín che UníLed Stau~s. !>Ct i11
a n1ore hun1ble d\velli11g \vith ,vooden bean1s:' 4 J11 the British
Museun1 versio11, a rough porter carr1cs the rcturning baby's
cradle on 1ns head. and a birdcage in lns 11and (syn1bolisu1g
return or e<;cape fi-otn captJvíty. perhaps), wh.ile a <iketchy vie\\'
through the open door c;hovvs a n1an wirh a donke-y unloading
oLher luggage in the 11ublic <;treeL. The interior s11a.cc i'í also very
publíc.
Unlike tl1e separated scqucnces of dccorous developu1.cnts
required by acaden1íc prJctÍce, n1a11y rra1istorn1atío11s have been
crowded into Greuze's noisy \VOrk, v\rl1ich lias 111etarhoricalf)
bee11 closed and reopened 111any ri111e<s. For exa11iple, the very
l)utch-lo<)kiog still-life grou1) 111 the left tê>reground,just in fi·ont
of the clog, \Vith a hugc bean poL .1.11d sticks of l1rcad 011 a bclx
pfu1tb, and an e11or111ous plotter ,víth 1uclon and frwt 011 the
.floor, sho,vc; sígi1s of n1any red.rav.:ings, e11di11g ,,·1th broad dr)r
bL1ck briisb srrokes ren1u11sce11t of oil p.1int. (Greuze e111ploycd
l~e111brandrec;que 11ni:lasco 111 h1:- early paintinb"l-) Else,vhere,
\va,hcc; of grey and .1 very 1ig11r ,var111 bro,v11 11ave been ~pi 1shcd
ovcr figures previously Jefined 111 ch.dk or graphitL·. Jlld 111 turn

FINISHED, AUTONOMOUS AND PRE5ENTATIO t\J "' f' ,,NINGS 69

thc) h.i, e t,een 'iUbJet·t to b\)l<lcr and livelier brusb rei.tJ.Scrip
tlf)ll'i 1111: sh.1do,vs 011 bare .1r111, ()f fa.llin~ 011 the ,,·omeo 's face,
'
under the1r 1nd0or he.1dge.1r h,1ve been srrengrhened to 111ake
Lh e111 111<1re a111111,nt·d. The Llr.11n.1nsing lighr. ,vhich f.1l1-. on tht'
ce11 11 .11 group. dt'r1ve, ln1111 Lhe illu11unatiou of che \\'hitc p,1pcr
1.1thcr tli.111 addl'd l1ighli~hts. 1·11is l.1tL-stage study rcvea.Js a
,,·bcl!L·,.tle de, L'lop111enc.tl process or rc1n, 1gorat1011 of tl1e 1011/
c11sc111bli . ,,·1rh rhe .1m,t\ brush and -..v;ish n1sl1ing like a wh1Tl-
,, 1nd through cl1e ,, bole co111pn,1rion.
Grcu1e\ cr1t1c,1 I po-,1t1L,11 in the gre.it ,<>eia! del)ate of the ti111e
.,l,<)Ut pucti11~ L"liildren <.)ut lo nur5e (DidL·rot. for ex.u11ple, had
co11Je111ned tl1e prJl L1ce) is u11dcri;cored by thl' chaotic co111po-
"irion. rn ,vbich the sp~ctator 1s not l1ard put co hear thc screai11s
of rhe cl11ld. rhe b;.irktn; of the dog and chc deafe11u1g no1se of
.1 dn1111 rhar a Jarger boy 1-.. n1erciles~ly beat1ng al1ove the hys-
terical Vt)ICt''- of n1other. gr.111d111orher. nur~e and other sihlings.
lc 1s t1t1t al,va\-. e.t'>v to /1(:,,r the JcLivitie-, t>f J painting or Jrav.·ing,
but u1wle the silent ~uitJr1sts and 111uteLl singers of 111a11y Icalian
.1nd Duccl1 s1xteentb- ,u1d seventeenth-ccnc11ry pa.1ntings or the
froze11 ,ou11t-llessne.i;s of che attendanr ,vith lute 111 Ingre,;\ Odal-
isq11c 11•itl1 ,':i/a,•r ( 1 ~39, d1,;cu'i,t'd be lo,-..·). Grt'llZl' po,verfully sug-
ge,r, an ,1cou,cir d1111e11-,i()ll by the l iveline,s c>f the linear
creatn1cnc e11erg1sing the cro,vLled con1pos1tions. Greuze ·s play
\\·1thu1 .i ,y11..iestl1et1c reg1stcr 1s, of course, .1n1pLficd by the cxag-
gerated gestmL'S ai1d tàc1a.l expression.s of lus st.1ged char.:icters,
for '"·l11ch he underrook 111a11y rcd chalk studies. ln tl1e t1nisl1ed
painrings :ind conrrolled ,c.;risaille drawings th.1t Greuze 1-1repared
for e11gr.1vings o[ bi'> 'vvork~. 011 d1e orher l1a11d, cactile. textura]
.111d ac:<)Ustic qualiries have been considerably ~up11res5ed \\. Ítllin 1
che ti11.ish .1ud closurl' of tbe 111edium.
ln tht.' claborate :<!risaillc dra\.vu1g of 'I'/1c Fc1c/1cr~, G'11rse: 11,e
U11,1!_tatcfi1I .So11 (pl. 34). the st.1-gu1g of the dr:.u11atic 11arrat1.ve takes
pince 111 ,1 narro,"' lacerai ~pace. Each char::iccer·c; gesh.1re,; are exag-
geraced. and che1r faci.11 expre-.s1011;ç and characcer1sat1on differ-
t:ntiaLe<l as in1provl'n1e11t'i 011 ,Ln earlier sketch versio 11 appro-
vi11gly described b)' I)1dcrot for containing ·thc barking dog, an
accessory tor '"'hich Greuzc has a special prcdilectio11'. 15 Tl1e dog
has been left out of this re"·ersed dG.lv.'ing, anel the cl1airs and
,;cool~. Calling ro the ground a~ the resulr of the v1ole11t dran1a,
are ,l'> silenc a,; the 1ni111ed gt!,ture'\ .1nd facial gri111aces of the
frozt"n ,1ctor'>. l n Greuze ·s des1re for tl,e ur111o~t dran1.aLic Lrans-
p.tre11<.·y. l1e ha, ach1evcd a pO\\·erfu I parody of hjs O\ov11 rhetoric.
1he ligl1nng LS scrongly chcatrical: altl1ot1gl1 shado,,'s 011 tl,e wall
.1nd Boor ro chc left of the narro,v ,;tage suggesc chac illun1Í.11.a-
t1011 1s con11ng fi-0111 che open door, dra111at1c gescures and faces
lrt' reve,1led a~ if hy higl1 '-porlighr~ projecte-d fro1n a prosceniun,
arch. Thi., i~ 110c "il) 1nuch .1 stilled 1no111ent in a the-atrical per-
tor111.ince as .1 lrozen cableau redolcnt with tl1e past a11d cl1e
futurt.. . ..ind m f:1ct 11il1/c,1L1,, f'Í111111ts or ,vord-lcss and actio11-less
111.i 1mcry of p1ctori.1l co111pos1tio11s ba5cd o □ the prinrs of
70 DRAW NG A5 CONTINUU1'1
Greuze 'e; pa1nt111gs ,vere otten staged duru1g rh e u1terrmssion u1
l-rench theatrcs in rhe tollo\.ving years. 11
The l.1rge (.Tetcy dra\ving, \vhich is;, ne\.·ertheless, a chird of tl1e
size of the fini,;be-d painting in rl1e Louvre ( t 777-R). \Vas pre-
p.1red tor an e11g-raver "''110. like other., wich wbon1 Greuze ,va\
jn,·ol\'ed, signed a fully 11ocarised agree111ent not to cl1ange auy
decails in lns engra,·ed v·ersion.J7 ln preparation tor a ti11al tran-
sition into a publicly distributed print, aspects of ch,1raccer,
e-\:prei;-.ion, gestllre and decails of clc>thing ,,,,ere no lo11ger
e111bedc1ed 1/Jitlií11 and it1seJJt1ral,/p _{,·()111 rl1e dra.,,ving (a'i in Tlie
Rcr11r11 _(,·<>111 rhe if1c1 N11rse), but self-conscious addjcions, coolly
and ~ysten1arically addressed Í11 respo11se to an elaboratc litcrary
and poLtical progra1nn1e.
The Hybridity of Grisaille
TJ1e cur1ous. h)·brid status of J?risaille has a long bistory, and
AJ1drea Mantegna (r4-30/3r-1506), a ne:1r-conte1nporary of
Leonardo, is rep1.1red to be one of d1e earliest ltalian urtists to
havc produced ,;uch drav.ri11gs a~ pre"encation pieces, or valuable
gifcs. One of the 111osc i111pressive of his rich and l1ighly finic;l1ed
,..,..orks, ]11rlitl1 111irlt tl1c Hcad (?}. J-Ivlefcr11es (cirra r495-r500; pl. 35),
is pajntcd in a fragile n1ixrure of pig111cnt a11d anj111al glue (dis-
temper) over .:i very fu1.c greyish ground, laid direccly on to a
very t111e line11 ,,ritho11t a thick layer of gesso, as in the usual
painrings of the day. ~rhe only colonr occurs in the ochre, apricoc
and pale lavender usc!d co i111itate che effect of veined niarble in
tl1e l1ackground. Fu1e, even, brusl1 !>trokes defi11e the volun1e of
cl1e figures u1 co11centric co11tour hatcb.ings, moving subtly
becwecn darker aud lighter shades of grey. The strokes lay our
con1plex planes, v1:hich follow che directions of drapery fo lds
\\rtth an enorn,ously precise lin earity and n1etallic crispness. Ir is
poc;sible chat Vasa ri refere; co chis speci fic Judith , 'a work in colour
rather th,111 a drawing', in his Life of Manteg11a, altl1ough tl1t>re
are si111ilar ,·ers1011S in the Moutrcal Museun1 of Fi11e Arts and
the Uffi.zi. 'll The Dubli11 ,1,;risaillc evokes a sto11e sculptural relief
i11 diflerent 1narbles, "'·hile the Montreal version of Judith 111it!t
tl,c Hcad af Hohifernes, which has shell gold applied over a pinkish
bro\.vn tonality, feigns the effect of bTonze, •hro11zi ji11ri'. ~" As Vasa ri
"''rote, 'Andrea\ ... style ic; ... llllite sharp, and sc)1netin1e~ sug-
gests stone rather t}1an living Aesh.'-1(,
Although the Dublin J11ditli 111i1/i (11c Head qf Holefer11cs sug-
gests a rcLef, it does 110c tollo\.-..' the spatial logic of its supposed
subJeCt. For example, che elaborace pennant cied to the standard
to the side of tbe serving \.von1an in fi-ont of tl1e rent is outli:ned
with pictori:11 shadl)"\V as if ir were a shallo\V undercut relief.
lyu1g on top of rl1e colourcd 111arble background, suggcsring a
vertical pla11e rathL'r than horizontal space. This vei11ed iitlay
do111i11aces tl1e pictorial space, e11folding a11d h.olding the tent
 '

. .....

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35 Andrca Ma11Lcgna, )11di1h ,,,;,/, rl1e 1-Lcad o_{ l lolq[c111cs. <irca r49~-1500, tcn1pcr.1 011 lincn. 4-S I X 367 111111. Dubliu. Tln: N,1uou.J Gallcry
of lrel.incl, 4-4.2
 l.lrapt•r1e, , l i eh 1t thL') ,1ppe-,1r tu l1c- litt'r,1lly cut ()Ut of stone
n111s,11c (J1lltro dt11(1) ,tnd ly111g t) ll tl1L <;,1n1c Lrontal plane. The
eye catcl1J11g Cl)loure<l u1Jrblc: i, in spatial co11traLl1cnon to thc
•d l)ptng g r0un<l litte rcd \,\'Íth pebbles ::u1d planes. \\'J11ch accoo1-
n1<)d,1re, rhe t\\.<> protagoni,t~. locked 1nco rl1e rerrible n1utual1ty
of tht'i1 n1urdl r<lu, 1ctiv1ry. Tht· ,1p11art'nt deprh of this \rare in
1ur11 i, ,trt·tchl'd b> rhe anglc of"Juditl1\ upraistu 'icin1itar, \vhic]1
appl.•,1rs to prl~jec t 111lo a \·ircu ,tl \pace u1 front of che picture
plant:. fh e highlightit1µ is ve,,' prec1sely dehneated to dr.unatise
tbe S\\·ord. s1de dr.1per1es and forward - thn1~t r1ght leg of Juctírh.
and to :1 lt',<;er degree.. the head of Holoferne<; and certa1n iren1'\
of clorh1ng of Lhe'" l1e11d1ng tlgt1re of the s:erving v.'01nan. Tl1ec;e
illun1inc1ted .,rea, c:1ppear t<> be che n.1tural side ligl1ting <.1f .111
actu,u sculptur.d relicf- not the ticLitious lighting incrinsic to thc
p1ctorial space. Yet. ai11,1zingly. ali thesc co11tradictory clues and
illusions (proper to rhe 1ni111etic pote11tial of colour/paint) do
noc d.estab1l1se tht: tension a11d enorn1ous conrentration of the
triJngular central grou1') arti cul.tted art)und Lhe 'lt'Vt'rêd hea<l. On
the concr.iry. chc \VOr.l tlra\V\ ,trength fi·o111 lhe Lénsion gencr-
atcd by contralÜcLions of n1cdiu 111 and catcgory: li11ear pai11t,
frozco 111ovc1UL'Ut, shaUO\\ spacious11ess, flat rcliet~ exteriorised
.
10ter11;1 1 1-b · ~I
ug rn1g.
ln rhis ,vork. Mantegna. the learned q11affr()(('11ro n1aster (an
acquaintance of ATberti and ,teeped in kno\~ledge of an tiqLte
~culprure), ha\ po~itioned l1i111\elf technically 111idway bel \Vccn
pJÍJ1ting. dr.i,-ving. cngr.ivi11g ar1d goldsoúthi11g, and by skilfuU y
rt.:pn:se11tí11g sculpture í11 paint/ dra\ving, lus ,f!risaillc ,vorks con-
sotute a syn1bol1c demal of tl1e 1rreco11cilable dífferences of the
11ar,~(!011c debate. This ver')· ín1~1ortant philosophjcal discussio n,
,,bout the rel,1rive 111erits of p,1incing anel <;culptu re. turned around
íssue~ uf tl1e volu111etric io repre<;entacion. (;.tlileo, who ca111e
do,vn t)n tl1e side of pau1tiug ir1 a late contribution to thc great
dcb.1te, dcclared: 'Tlic tDOSt artistJ.c imitation is tbat \vhich
represcnts the three-din1ension:il in ics opposice, \-,.,1, ich is the
plane-: r2. M:integna s grís,1íllcs, ~0111erin1es drawn 111 pen and ink
and highligl1t, on coloured p,1per, <)r in bru,;h i11 rwo or at the
111c,~t Lhree tone" on a fine lincn canvas. are tcchnicallv , a\veso111e.
and 111ost of l1is dra,vings are pern1l!ated \Vith th<t !>Ophi!>ticatecl
conditio11s of /l_risaillc n1.ouochro111e nlodclling.
Whether very tini'lhed 111onoc::hro1ne drav'\·ings 1uin1ic ,{!risaille,
or .~risa1lll'ª" a non-n1edium-specific cecbnique a-;pires to the
conditio11 of dra\v111g, 1t i'i clo~ely associated 'v\'Íth prese11tat1on
dra,vi11~. Just J'i dr,1\vi11g defie\ sin1ple 111ediun1istJc definirionli
(cven th.1c of ·,vorks 011 paper·), -;o grisailll' is neitbcr gcnrc, tech-
niquc nor stylc. a11d occurs in a \vl1olc range of 111cdia, includ-
i11g oil p,1u1c. bod,· colour (gouacbe), pen and ink a11d n1ctalpoint.
on 111any k111ds of support. 1t Í!> found in a ,vide variety of art
lor111'i, 111cluding 110,)k 1llu111inat1011s, c:in1eos. stained glass.
e11a111els, cera111ic-., arLhitL'CLural LleLora tive panel~. fi.1rniture inlays.
altar Llútbs .111J t.1pc'>tr1c\. lt 11.1d ,1 long Jnd broacl hi::itory in the
72 l)RAWIN G A S COl\i f tt,.I UU t·l
M illdJe Agt''í. being <;pecifically en1ployed in church decorationc;
during Lcnc becausc of ics ash-grcy coloL1r aud absencc of se11suaJ
colour, he11ce 1rs Gcr11.1a.11 a.ppeilabou of 1àt 1111.1/erc:i. 13 The French
eighteer1rh-cencury rer111 of can1ai'c11 (can1eo-like pinkish-brovvn
1r1011ochron1e) reAects tl1e pop11l.1r application of n1011otonal
design in s111all-!'.cale tlecoralive are. lrs applicatit)ll in ,lny nun1ber
of 111ateriah ar1d :;upport:, across the \,\'bole !>pectrutu of 'high·
aud ,1pphed ,t11: rcflccts its Tro111pe l'a!il capabiJities of rcpre.senting
ai1y 11u1nber of l:iard n1edia, particularly rr1ín1icking sto11e or
bronze relief sculpture.
ln a 'irunning ,,·ork of the greacesc vi rtuosity in che -Philadel-
phia ML1seu111 of Ai·t, T,J 'itl1<Jr11 Geres 1111d B11cc/11rs, T7c>1111s Tivóttld
Frec,;:c (Si11c Ccrcrr ct Libero _{ri,<.?,t:I lknus) of circa 1600-03,
Hc11drick Goltzius (1558-1617) dra,vs i11 pen a11d brovvn ink on
blue-grey prepared can,·as. addu1g \var111 highligbts to the bodies
and faces of hi,; 111annered fi gures, lit by rhe fire of the fian1ing
torch held by a \,Vinged Cu11id (pl. 36). According to Golczius\
l1iograpl1er Kan!l van M.tnc.ler. wht) 11an1ed Ll1e"e drawings J>c'11-
111errke11 (pen works), be \Vork.ed 011 prepartd canvas, 'since parch-
n1e11t, 110 1n,1tter l1ow large the piccc ... wãs too s111a11•.+-1 The
protean Goltz111s rings a nun1ber of changes ,vitlllll bis extraor-
di11ary hybrid \Vorks. ,vhich carve out a11 intermediate space
berv.,een dra,vi11g, e11graving a11d painting ,vhile evoking styli,ed
J!,pt'cts of relief. The pen works are u~L1ally inscril1ed ou paper
or parch1nent i11 pe11 a11d i11k, but s0111etii11es l1e even pai11ts
sn1oothJy on paper. 4 ) Thc then1c ofVenus, Bacchus and Ceres
1àscú1ated Goltzim over a period of cwe11ty ycars, ai1d refers to
an aphorism of tl1e Rorn::in dra111atist Terence in lús con1edy Thc
J~111111rlt of r6 r B<:, ,vhich 1nockingly stJggests thac even love
(Vt'nus) nee(is food and vvine to su,tain l1erself. ln the largt'
Pl1iladelpllia drawing <>n can,'as (and a ,vork of tl1e san1e subject
u1 pen and t\vo ~hades of brown ink on canva~ of about 1606
in the Herinicage, St Petersburg, is even bigger). cl1e ce11tral
gToup is bound into the dravving's linear su1face as if en1ergir1g
fi·on1 the e:-i rth. The intertwi11ed oval group (en1pha~ised but 11ot
broken by rhe outv.rard glance of tl1e Yvinged Cu11id) creates a
co111positional infrascruccure sl1aped }jke an egg. co1npletel1 by
tl1e corcl1 fla111e. Tl1e blue-grey grou11d of tl1e prepared canvas is
aL11ost S'v\rallovved up by the circular pe11 contour hatcbing 111
brown ink vvith loze11ge shapes activated by a central dot in tbe
'ityle of a copper engraving. ::i cech11ique that Goltzius had per-
tected in his cap::1ciC)1 of virt:iuoso 11rintn1aker. Vent1s·~ curved and
attenuaced trunk go~ f:1r beyond anaton1ical po~sibilít,·, its 111an-
ll<!rcd plasticity gro,:ving out of an e111bell islm1e11r of the figllral
exccs'ics of Micbcla11gelo and Pontor1110.
A graphic artist cager to rival AJbrcc11t l)ürcr - his C1rc11111c1-
sion engravii1g of 1594 deliberately n1imickcd Di.irer's burin srylc
a'i a spuriou'i lost \,\ror k of the great (;ern1an - Goltzius also pro-
duced coloured c/1iarosruro woodcuts. 1h T-le alloweci rechnic:11
tropc.~ to rnigrace bct,vec11 all a~pecc~ of bis graphic U:'uvre in tht.'
 ,. - J

36 H cndr1ck Coltziu~. M'itl1tJ11/ Crre., 1111// B"rd,,,j, f Í:1111, vU,ulrl Frri:ze (<;i11r Gi:rt•11· ('t Lilw111 .fr(l!rf r 1·1111.<), ,irc,1 1600-03. p.:n .1nd bro"' n 1nJ....
bn.1sh and otls on blue-grcy prep11red canvas, 1051 X Hoo 1111n. Philadclphia. Philadelphi:i Museu111 oi Art. J>urch.1Sed. lºhe Mr ,111d M r;.
Waller H. Aunenbcrg Fw1d for Major ALqui~ilion.,, Tht.> llc11r)- P Mlllheuny fund i11 Mc111ory of írai1t~·, P. Mt llhcnn} .1111.l oth.:r íu11Js.
1990-100- 1
<,,1111e ,p111t ,, ht· 1nvc11tt·d l 0111po-,ite \\'nrk,; th,1t dei~ thl: tradi-
Lional bound 1r1l',; of" 111ed1.1. Althtlll\.d, , clo'>l' to t11l' bt1rin tecb-
nique, of c11gr.1v111g. dtl' dra\, ing., c1..Jebr1tc uuiqucucss racl1cr
tlun ~e1 i.ility: th1.: cl:ib01 .1t1<)I1 :ind cxccss1,·c virh1os1C) of tccl1-
ruque .1ppcar to d1s;1ll0\v rci1r<)duction or copy. lndeed, van
M.111dl·r, ,, ho uses cbc: tern1 scldJac·111 (rare, unillllê. unprece-
dented) for c;nltzius \ pen techniqui;.', tell'> hov.l the En1t,eror
IZudt)lf 11 u11'>U<(\.."\Sli.11l) ~i1111111ont'd other ,1rtists Lo Prague to tr)'
t<> l.'.,tp (;(>ltz,u, \ ,tvle ui rc11dermg Ai1 appreciatlon of the ricb-
ness ()l llJ\'l'lltJOll and bttbr1st1c skill of thcsc ,votk.s is cheretore
c111bcdded 111 their vaJue, ai1d cbeir r,1ri~, rnade c;oltZJus·s pe11
17
reuvre the coUect:ible~ of r<Jv:i.ltv. • •
E,·er,. inl h of rhe JJhíladel11hia TT-'itl1011t Ccres anti Bacch11s,
J é•1111s l lí.111/d Frl't.:c i'> .1ctivatt'd b) line. whi,h hold, and don1i-
11Jtes the '>llrfuce. l.'Vt:'11 a~ 1t suggc~ts the l1i g:hly diffcre11tiated tex-
cun:.·s of rcachery Vv 111!-,rs. cu ris and trcsses of bair, crisp Leaves a11d
rough bark. smokc at1d crushed f.1br1c, or n1asricaliy transr11utes
hnear conto1.1r n1odcll111g 1nto go lden-yello~· h1ghlights, reAect-
1ng the ,varn1th of A,1n1e<,, Pablo JJi cac;so ( 1~81-1973) ,va~ to u~e
fin e- li11e,1r cro,s-hatching in an e<1uivalent n1anner in an oi l
paintin g. Tlic Pai111cr Sall'1 Jd()r Drcssctl as II Il11rlcq11i11 of 191.3 (Paris.
c:e11rre f>o111pidou. Muséc Narional d'Arl Modernc). Unlikc
GoJtzjus•~ work, hov,·ever. parts are lcft dclibcrately unfinishcd.
perbaps as a device to dra,,· atte11tio11 to the j11ter111ediace scar1.1s
of ícs co111posice techníques.
Presentation and Exchanged Drawings 'per amore' ◄ 9
To Gherardo Penn,, a florent1ne ge111.leman who was h1s greaL fnend, M1chelangelo gave
three sheets conta1n1ng drawir1gs of vanous heads ,n black chalk, wh1Ch were truly 1nsp1red;
after Penni's death these fell ,nto ·he hands of che most illustnous Don Fnncesco, pnnce
of Florence, ;vho treasures them as the gems they certa,nly are.
M1cl1eJangelo presented d.rav,ri.J1gs and poc111s at di.l:Iercnt per10<.is
of his lrfe to people \Vhom he adn1jred. 511 Thcre are n1any copies
of the~e ,vt' □ -docurnented presentacion dr:.1,vi11gs a □ d confücting
claí111'> n<; to vvhic h are the originais. Finish is not a nece~sary
co11d1rion t )f a prc~entatron dra\ving, anc.l Michelangelo even
111Scribcd casual 111cso;;ages on :.uch dra,vu1gs. For exan1plc, a note
on the 13ritish Mt1,cu1n vcrsion of tl1.c Fa/1 ~( Phac/011 is addresscd
to 'M esser comao [the art1st Ca,1alieri[ to v:ho1n he is scnding
rh1~ sc1220·, \Vhich 1111phes char this is an u1ilinished ,vork requir-
ing an ()p111ion íi·on, 1ts rt'c1pient to which rh e artist will re:ict,
<)r an exc.l1a11ge of 1c..lea., le:tding LO a :.yn1bolic n1ucuality of con1-
plctio11 to <.ClllCllt d rr1cnd-..h1p. ~1
A ,vcll- k.i10,v11 black cb,dk. <lra,ving by or after Miche].111gelo.
lrlcal Hcarl qf a l l ,11111111 (cirCcl 1525-8; pl. 37), <lepicts a pcrfcct
74 DRAWING AS CONTl l'-IUUí1
fe111ale proíile ,vith straighc classical nose and che shortcst of
upper lips adorned \,Vith an elabor:ite coitfurc ,vherc hair a11d
hch11et are ,,·o·vc11 i11to a coniplex virtuosic interrclatio115hip. The
chalk chiarosc11ro n1odcUing has son1etin1es erro11eously been
described as c;t1ppled. because the \jnking of the chaJk into che
p:i11er fíl1res gives chc:> appearJnce of close cl usters or dots rather
th .111 'illlO<)tl1 Lra11sicio11al p,1ssJges fro111 ligl1t to dark. The poised
sevcrity of tl1e id.cal face l5 co11trastcd witb the claborat.io11 of
ber lia.ir, as it escapes from the fro11c of a scaled l1.el111ct in con-
centr1c ripples of cucly ,vaves. Hair also spouts out of a circular
side open111g of the beli11et in shell -like concenh-ic curls re1ni-
niscenr of oysrer forn1s, before it 111etan1orphose1; into a tight
pküt. ru elal1orating tl1ese grt1tesque forn1s. Mi chelangelo seen1s
to be p1aying \,Vith tl1e 111etapl1oric associario11s of rippling l1air
Ll11d ,vacer. aud the l1eh11et. apparcntly set \vitl1 a pearJ at tbe
cropped top of the drav'.~iug, becomes the scaly head of a tishy
se:i demo11, "-h.ile b:iir, rendered as a.11 analogue of a strean1 of
Ao\ving "-'ater, 13ow<; 1.11 and out of tbe covering headgear. 52 Tl1e
placíng of rhi'i elaborately sy111bolíc hel111et on such ,1 11 i1npas-
~ive profile l1ead (evoki11g Leonardo\ 1T1etalpoint l-ft!rrd ef a
Tf f1rrior iu f>r<?_jilc of circa 1475-80 it1 tl1e British Musc:!u111) under-
lics the si1ccics n1jscegenation of livi11g creatltres a11ci. thi11gs,
"vb1cJ1 characterises thc grotesque, all tbe n1.ore so in bei11g .1.
very finished dravving that gro,vs out of a.n d challenges the
freedon1 of its sketcl1y orígrns at the botto111 of the page.
Although scholars no longer stress the connection.., between this
historically undocun1ented clra,ving <111d the J)ious Vitcoria
Colo11i1a (because Micl1eh1ngelo 's frie11dship ,vitl1 l1er ,vas late i11
tbe 1530s), the fisby and sca actributes of thc !1e.lmet see111 to be
sy111bolically coru1ected with l1er títle Marcl1esa of Pescara, a11d
its ecy111ological connection with fish. 53
Michelangelo 's gifts belong \.vichin a co111plex set of condi-
tions in v.1 hich the obligation of excl1ange, alchough tocally non-
111ercenary, is only relatively disinterested, n1akíng de111;,111ds as it
does on fi·ie11<.lsh_ip and even ho1l1osexual love, as ,veJl as tl co1n-
111u11irv, of ideas and beliefs. A series of 11arrative red cl1alk dra\V-
ings of paga11 subjects that MichelangeJo gave to To11U11aso de'
Cavalieri eveu attracted tbe Í11terest of tl1e pope. Cle1ne11t vu,
a11d Cavalieri \,Vas compelled to lend the dra,ving of Tity11s
(W'indc;or, ltoyal Library) to Càrdin;:il T1111olito for ic to be trans-
laced into crystaJ.'>4 Mi chelangelo''i private n1arks of estee111 or
leve, in othcr ,vords, were in1111ediately appropriated inco a very
pubhc context, a11d tbe 11011 _/ittiro of thc works, ,vbicb 11:i.igl1t l1ave
tor1ned a bond of mutual coniplctiou, was rt1ptured by such acts.
Tl1e con1plex relationsl1íp ber.veen Michelangelo and the poetess
Vittoria c:olonna is docun1ented in correspondence analysed by
Alexa11dc'r Nagel, \'.,!10 suggests thnt the religious dra,vings rhat
Mi chelangelo g.ifi:ed to her in a regular excbange of poe111s and
lctters, being free of the co nstraints of a co1111nissio11 ing brief.
allowed for iconograph.ical expcrin1c11tacio11 and thé inventiôu of
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37 MiLhelaugelo ilLto.uarroti, ltii:11l llt·tul o{ ,1 ívt,1111111, rirca 1525 S, black ch.1lk. 287 X 235111Jt1. Londou, The Br1ush Must·un1. 1~95,0915 +93
 1 'refc.)1111ed relig1011, i111,1gc' ~ (~olonna and the circlc in \vhich
shl· 111civcd ,,ere prcoccuptt..d ,, itl1 notions of divine g-race,
,, htLh could he 'íeen as an analot,'1.ll tor thc g1v1ng of arci'itic and
lircr.1ry g11t,.
I >ra\\tllb" givt.·11 .1~ g;1ft,_ partirip,11t· i11 .til ,1lternat1,•e econon1y.
h.1, ing littlt" t<> d<> ,v1th 111ont·t.1ry v.iluL', but 11evertl1eltss gov-
er11ed by very p,1rt1cu l tr co11diti(.>ns. (;ift exc~1nge ca.11 be '.1 u
L',~t·nti.11 relacional 111ode. J repertoirc of behav1or. .1 registc.:r \,,ith
1ts o,, 11 rules. language. et1quccrc, ai1d ge~tures' .51 Tl1e gi,'ll1g of
arti,t1c 1:;1fts. h:id been celebrated in Pliny. nccording ro ,vl10111
/.euxi, ·sl.'t ahoitt gi,ting a,,ray bis ,vorks :.1,; presents. -;aying that
it ,,'a., in1pl>\s1bJt., fc>r then, lo l1e sold ,lt .u1y prite .1dequa te to
their \.llue·." 7 The high ,alue pl.1ced on dra,vings i11 the fiftt·enth
auJ ~L'(teentl1 ccr1turie~ 1nvolvecl tl1e111 1n a co1nple.x syn'l.bolic
ecouon1y. I\IL1ntl.!gna. ,u, \Vé ~aw aboYe. produced eL1borate dra,v-
111f:,t5 for presenraoon, and an u1rtin1shed drawu1g by Sandro
Borcicelli ( r-t+s-r5ro) in the l3ric1sh Museun1, .-4 li1111da11re or
,-111t1111111. is .11,o rradirionally believecl ro have been a gift. Tl1e
tr1n,parent draperies tl1ar reveal cl1e elong,lted body be11ec1th
thl'ir Jclicate. clinging tàlds i11 tl1is beautiful dra,,·ing are depen-
dt'.nt 011 co11tra:.t1ng arcas of 11011 _fr11 ico for 111axii.1111111 effcct (pl.
38). ~i-s 1-laphael JJid Dürer tà111ousl)~ intérch.1-nged dn,vings about
r5r5, Rapbael sending a red cbalk stndy, ]11ree .\/11de J\le11
(Albert1n a), and possibly other ,,,c>rk<; in exchange for Dürer's ini-
51
tiatory gifr of .1 self-portrait, v-:h1ch has not ~urvived. ' Fron1
V.1-sari\ description of thi, \Vork as bei11g Íll gouache on f.:1bric,
il cou]d well have bec11 a ,'!risail!e dra,ving. The Raph.ael-Oürer
rcc1proc1ty is :.u1 ackno\vledgc111c11t of adnuration ai1d egual
status, and as such establishes a precedenr for artistic exchanges
do,vn the cenruries.
1n the early n.ineceenrh centUf)' s,voppii1g drav-rings between
111en1bers of the Ger111.an lukasbund (Brotherhood of St Luke)
u.1 Ro1nc ,va-; sy111bolicall) predicated on the excl,ange~ between
Rapl1ael anJ l)ürer, 011 ,vl10:.e ,vork cbey based tl1eir revivalist
ai1d rCv'erenti,11 practicc. Friedr1ch Overbeck (1789-1869) and
Franz J)fo rr ( r788-rg12). who were foren1ost in establishi11g the
Brocherhood, had cogether uncovered Raphaers drawing \Vith
Diirer\ ins;rri11tion ,vhile scude11ts in the Vie11na Kunstakade111ie
bc:t,veen 1806 and 1809. The long-l1aired NaL,.\ rene,. ª" they '<Vere
co11ten1ptuou.,]y kJ1ovv11 Í11 Italy, ricually exchan.ged self-portraits,
tisuaJlv ver)' finisl1ed and tcchnically polished. Later, the E11glisl1.
Pre-ll.apl1aelites \Vere to delight in excl1a11ging caricatures and
fen1.1le rnodels/n1L1~e,;, whiJe che n1orc prag1nacic Frencl1 In1pres-
s1onist~ -;1gn,tlled sohdarity (or hostility) by svvoppi11g actual
1node};/1111°'cre,..,e, rather 1han representation<;! Can1ille Pis~arto
( 1810-1903) 111,\de n1.1ny large ,igned presentation dra,'1ings,
pcrhap\ 111 responsc lo Lhe inceresc in France at che end <)Í tht
11111ctecntl1 century 1u fii1ishecl \vorks on paper.''0
76 DRAWII\JG AS CONTINUUf1
Linear Containment and Thematic Plenitude
[My watercolou,,] .ire lrkc some apples wh1ch wíll not npen ull thcy have been kept a
long wh1le ,n the cupb0<1rcl ... [I ] somet1mes work on 1 or 5 1n one rnorning lay thern
as1de wrien ured ... and take lhern ouL a month lf1.erwards. . buL they w11l not come
ripe Lili a grea l deal of time fir,t and las l has been spent on them.
Samuel Palmer~•
Sm11ucl P::dmer's co111plex early V1s1onary lan.dscape dra,vin.gs
wcre noc incended tàr gifts or exchange, bur tbey arose out of
hi~ particular circun1stance<; ::t'> a o;elf-scyled Ancienl, idencified
\vith a clo,;c group o( co111panjon artiscs ,vho ,vere iufluenced
by WiJlian1 Dlal,e (a1-1d tl1e Nazare11es) tluri11g tl1e period that
Pal111er lived in the v·illage of Sl1oreham in Kent. -r11r0Lcgh his
adn1irat1011 of early pri.irutiveo; from norther11 Europe, the youn_g
SanJucl 1>aJi11er (1805-r88T) produced a urtique body of very
eloborate and ti11ished monoc11ro111e sepia works 011 paper, wl1ich
<;tretc11 drawing to tl1e lü11iD of t111ish, incentionalicy a11d over-
derern1ination, reinvigorating rhe a111azing co111plexity and
cro,,vded con1positions of his archaic soutce!>."~ ln the series of
six dra,vi.11gs of t825 (Oxford, Asl1111olea11 Museum), English
landscape ta.kes on an allegorical inte11Sity vv11ile at the sa111e tin1e
producing styfuations that prefigt1re the twentieth centur')' in the
piling up of conventionalised land<;çape for111<; and graphic vari-
.1tio115 of tl1in and tl,ick outli n es, derived fi·o111 111edieval stained-
glass win<lovvs. 6·' Drawn in dark brO\\'ll ink 1111xed witb gun1 and
cbcn varnished, lines ai-e raised. on tl1e page i11 relief rarher likc
intaglio prints. and the co1nplcx in1ages are unified by tbe niiddle
tone of varnish, ,vhich co11,rerts the papcr support into a glowing,
yelJo"vy, 1vory-like texture.<> 1 Paln1-er declared: ',ve shall be severe
outlinists' (sic),65 and his fir111, abstracting linearity follo,vs rhe
recon1n1e11d.1,tion~ of hi!i 111e11itor Willia111 Blakt!:
The great and golden rt1le of art, ac; well as of life, is this: th-at
the 111ore di<;tinct, 'iharp and ,virey the bounding line, the 1nore
perfect the work of art; and the lese; keen and sl1arp, the gre-ater
is the evidence of \Veak in,itation, plagiaris111 antl bungling
. .. Wl1at is it that builds a house and planes a garden, but che
def111ite and dctermi11atc? Wl1at is ic thac discit1guisl1es honesty
fro1n knavery but the l'lard ai1d ,virey fu1e of rectitudc and
certainty in tl1e actions a11d intenrions? Leave 0L1t this line a11d
yon leave out life itself. 1'<,
Líne for Paln,er acts as cnclosure and co11tai11111ent. vvitl1 great
varieties of decoration and graphic 111vention packed ÍJ1to tl1e
cactile bound::iries of cloiso1111é-scyle landscape clivisions, marked
by crees, foliage and dark shadows. The fi11irv of the Oxford sep ia
,;erie~ of 1825 re'íicles in J unificacion of cechnic-1ue, style and
subjecc, CD\vra1)pcd alld scaJ~d by the darkening varnish."7 ln
spitc of this, tl'le dra,vings do not exclude ~pccracorial involve-
111ent. ÜL1 che contrary, ,vc are welco1ned into this drean1 ,vor:ld
 •

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38 Saudro BollllCllJ . .·lb1111da11cc in .--11111111111. t.P,!O\, black chalk. pen and iuk and ,v,i~h. ,vhitc bod) rolour on p1nk p.ipt:.r. .ll 7 X .!:i 'i 111111 .
London, 'fhe Hr1t1sh Mt1s('L1n1, 1895,09 15.447
 39 ~.,n,ucl P~ltncr. J; ll'I)' .\f()tf/11~(!. 11!25. bro\,,, 1nk and ~ep1a n11xed ,vith guni arJhic, varnis-hcd. r88 X 232 n1m. ()xtôrd.
Thc.: ,\ , h111o l1:JJl Mu~cu111, WA 19.i.1 .107
oi l,,rical lJt1dscape, often senti111ental, s0111etrn1es r:1tl1er si11ister
{each dra,,-ing <)riginally had a poecic tert trom the Bible, Virgil
or l3uny,111 in~cr1bed on che fran1e), by n1eans of path'i, gaces or
p,1tche~ of 1110011light. Every dr;1,ving containc; living preo;e11ces -
hu111,tn'i ,\Jld ,1111111al-, - in d1t: 111.inner oC ,t 111ediL•val illun1i11ated
n1Jnustr1})l 01 st,tilled- gL.tss \VÍ11c.lovv, anJ ll1cn: i~ generally a ~w1
or 1110 0n or u1ci111Jtion~ of thc w11c of clay and chc ~easons. /:;,1r!)I
,\ lnn1i11~ ( 1~..15 ; pi. 39) 1s per:haps thc most vvelco1ning of the
-.er1e,, vvirh a rabb1t 111 the foregrou11d showing the path to
the ,, 111der111g "pect,1tor, v\'ho is invired to enjoy rhe song of
Lhe b1rd, undt.:r the 0.1k un1brell.1, <)r cl1e rh:111ting'- c)r alinoc;t
ol)st urcJ fih'1.tres suuk in the deli 11exc tl) it. The original niount
ct>lltainl'd a 4uc)talio11 lron1 ,t pc.H! n1, wh1ch l1 al1ner belicved to
bc b, Cb.au cer. bt1t ,, l11 cb 1s no,, ascribed to John Lydgace, ar1d
bcgins· ·1 rosc ..1no nc and tbought I ,vouJc.l be gonc/ ln to tbe
78 DR,\Wl "-'G AS CONflNUU M
,vode, to hear tl1e bírdes sin.g;.' ln th.is 1nythologícal geography,
where ever)' aton1 is equa1 before the de.ity, people and cottages
are no 1no re in1portant than the curves o f landscape. exagger-
ated 1eaf for111ation~ and textureJ fields, rocks and fallen tree'>,
reinventiug tJ1e ricl1 atavistic p.-itterns of ancie11t landscapc.
Tl1c 111yc;ticaJ but cclebracory n1ood of Pahner's pastoral land-
scapes can be con1pared co some aspects oi Caspar David
Friedrich's la11dscapes, vvlucl1. also in,,oke the neoplatomc spírit
of AlbTecht Oürer under the rubric chat the divine is evet")T\Vhere.
Friedrich ( 1774-r 840) leaves little for the c;pectator's i111agi11ation
co C()111plete in his bro"vn wash dra,ving C1?[fi11 ()li a Gr,111<', vvitb
it~ overr s~·n1bolis111 of leafless bircl1 tree "virh cross, anchors ai1d
\vreatl1s. anel the desolate gravcyard set agai11st a cold a11d foggy
vista of beach a11d sea (pL +o). Long accusto111ed to very con-
trollcd ai1d pTedonlll1n11cly 111011ochrome dra,vings, Friedrich gave
40 C:.bpar D.ivitl Fricdrich. C(!/]i11 ,,11 a Grc11'c. cin,1 1835. brush autl bro\vn \V:ll,h ovl•r graphite. 393 X 3941ru1t. Mosco,v, Pushk111 SL.lfl.. Muscun1 of rinl· Art. 62 ..p
up \\ork1ng 111 <>1l .1fcer .i ,trc,ké' 1n 1~35. \\hen rh1, 1nour11Cu l
dr.1,v1ng ,,.t, pr1'1dttl i.:d. f-rit·drich \ (i·1t 11d ., 11d ,tpn,th: Carl C~u,t;1v
C~c1ru, 17X<J- 18t111) ,, 1·,,t1: diat the .11 ci-,c
never 1n.1dl' ~kL·tches. c.1rtOLlll,, t,r L·ol<Jur oudines of h1, p1r-
rurt·,. bl'l ,lll'L" hc cl.1ín1t·d (,u1d ,urely noc \\ ith<1ut ju-;tic.e) that
by tl1L''l' .1uxili.11 y 111c.·a11, the 1n1..1gi11,1tio11 coc)b, do,vn. ~ le did
ll<)l ">ldrt ln~ p,1incir1r; until it ,,a, viv1dl) prl'sent 111 h.i\ sOLLL
and the11 hc first 1.ipidlv dre,._ on thc nc,1tl)· stretched ca11,,ras;
"'-'1rh ch.tlk J.J1d t.,e11c11 che 'v\·holc con1poSJtton. then cle-an ly
.tnd co111pletely ,, irh reed pen ,111d China 111k, a11d proceeded
i111n1edi.1rt>ly tt) t111dt>r1-,,1i nnng. TIi~ 11iL ture<; chen:R-,re. in each
,c.t~l' 1..'f rheir en1erge11ce. looked di<;ri11ct a11d \.\'t:11 ordercd.c,i.
The en,oetonal 111ten'.\1tv, of Fr1c:dr1ch \ <.>rdcred and finished
,vork c.1nnot be denied . .in d it direcr-; ,1nd control,; thc vie,vers'
,1flective 111vol,·c.·111ent \\ ith Ct)l)',tlllllll,\Ct' authl)rity. 1~his dra,ving
Í\ -.alurarcd \A.·irh 111clancholy, suggesting tht' .1l111ost tu1beur.1ble
ce11sion of \VJ1t1ng for the ti.nal1ty of buri.J. TL1c sa11or's coffin 011
the planks abo,•e the dark sh ado,,ved gra,·e 1s tentatively ba lanced
on clods of earch ripped bare by rhe t\vo shovels, now t1id by
for re-tl',e. The rank \.Vee-ds, che only things ,1livt' in the- vvinrry
l.111d<,capt'. are- held in al)eyance. l1uc tl,e in,age suggt·~ cs cl1at che
disrurbance ín 11att1rc, v:l1ich thc: burial .necc:ssitate,, ,vill soon be
rccLu1.11cd, jusc ,J<; r.hc 1vy ()lJ rhe cc.111ctcry ,v.tll bcyoud acts as a
syn1bo l of rcsurrccrion. Thc dispass1onatc accuracy of rcndering
u1 chi<. dra~·111g, cspcci.1lly rbe -;tiff and spiky th1stlcs ,;canding as
t:111 as the coflin (based 011 ,u1 earlier serie-; of in1J11acu l::itc pencíl
"tt1die-.), reve~1ls ho\v son1ething of a di~interesced :,ciencific spirit
can l1e c:losely identified wiL11 the ro111anLic:.1"1
Loaded with Meaning
J.- A.-D. lngres's co11sun1111.1re Oriental-i-,c fànta~y ()dalísq11<' 111itli
.~lave ( 183y; pi. 41 ) is .1linc)<;t identi c.11, cxcept for cc)lour. t<) che
pai n Ling (>Í che ,;a111e title í 11 the Fogg A rt l\.tl useu 111. T-larva rd
Un..iver,ity. Can1bridgc, Ma~sacl1uselt:,. I e is .1 drav\ ing of g;rca t
techn..ical virtuosity, usí11g J variety of 111.att.:riili to establish its
detailed surface. \VJ,1icl1 is so reti11cd, airlcss and ovcr- dctern1í11ed
as co exclude tl1c spectator fi-on1 1ts pictoríaJ space. 7"
[ngres (1780- 1867) undertook rhe pa.inti11g for his old fríend
and patron Charle~ Marcotce during his period a~ din:ctor of the
Acadén11e de rr.111ce ín Rt)111e, ,,vhen studencs and st,1!f v,·ere
confi.nt:d to thc Villc1 Mediei during ,1 cholera epiden1ic. The ,!;!ri-
saillr dra,,·ing. co1upletcd l,1tcr, 1s belicvcd to bl' tl1c u1odel for
an l'11t,'Taving by llévctl. ConJincnieuc j-, tl1c subject and topíc
of rhe v;ork i11 .tll 1ts 111a111têstaaous, ,v1tb tbc OdalisqL1c, i111pr1s-
011c'J 111 '>en,ual c1111111, prcvented fron1 leaving hcr harcm by the
'>t.111tl111g 'll.1ve ,, ho guard, thl• exit door of the liled ch;1111ber,
""hílc hcr volu1ne\ .1rt· for111,1ll\, incjrtcrated ,vithin an exres'> of
80 DRAWII\IG AS CON í lNUU!'-1
dt't,1il. , 011flicting de(nraLive ~urt~1cc:~ ,111d Lechnical tinish . The
di,tributÍ<) ll of ltght~ ,111d Jarl-..cned l-,,1ckgrou11tl in che s111ooth,
'>trl)ke-le,s Jnd 1111perv1ous firiisl1 of tht: painllng 1s rather difTcr-
cnt fi·o111 thc tonal disrribution ín rl1c .l!risaillc drawii1g, ,vbcrt.!
the elaborate rc11dcr111g of thc inl::ii<l patterns ín the b:ick ,valls
of rht' haren1 cntches; our atcentíon :1ncl Aactens out tl1e -.panal
rece',sion of the oi! ver-. ion. Stun1ped chalk pac;slge.,, which
resen1ble a líthl)gra11hit. '>urf.1ce. ,1re so close ly in n;:grarecl v, irh
gt)u.ichc h igl1lights .u1d grey and bro,vn wasbcs th,tt tl1e arti-;t has
bad to scr;iLcb thc skin or tl1e c.lrawi11g to .1cccntL1atc rughlights .
~urfucc:, texture .u1d sk111 are thc predo1111nanc and erolÍc aspect5
of clus dra,ving. 'lhe patterned floor on ,,·l1ich thc Od::ilt~que and
her ,;la\'e are pl<1ced is tilted co,vardc. th~ <;pectaror to allovv
n1.1xin1un1 dí\play c.)f Aesh and fi1bríc.,,: light n1u\li11, brc)cade, silk,
feather-;, hair. en1brc)iderec.l cu-;híon<; <111d bejc,vellecl n1etalwork
are carcfitlly diffcrenciated. Sensuality is both the subjecl a11d ll1c
cffcct oC tbe dravvu1g. altbough touch and inti111atio11s of thc
sensc of -;1nel1 (\,·hac l11gre~\ concen1porar)r Ch.1rles Blanc
rcte n·ed to as ·vertígínous perfi1mes') predonlÍn.ate over sot1nd.71
Eve11 though \Ve c.in d1st1ngt11,;h ,v:iter burbling fi·on1 the foun-
t;1i11, ,1 nd the slavc i'i p rec;un1 ,1bly c;inging, t<) n1y ears d1is j-, ,1
,;ilenc:ed vvork.
Tht> 111utcd airlcssnçss of Ingres',; scc11tecl exoticis111 fu1ds .i
cJose rív.ll 11.1 •B11hy/011 J,,//h btl'II ,1 ,eoldc11 c11p' ( 1859; pi. 42) by
S1u1eon Solomon (1840- r905), a dr:1\.vu1g thnt was fi rst cxhibited
vvhc11 rhe artic;t ,vas 011ly 11ii1etee11. Accordi11g to tl1at catalogue,
thc· dra,ving relaces to Jere1T1i ::tl1's l:1n1entatio11 on che captivity of
thl' Je,vs. succu111bing co the corrupt \Von,hip of l:3aal: ' t3abylo11
l1ath bet'11 .i golde11 cup ín tl1e h.t11d or God, ,vh ich hath 111a,le
,1Jl the e.irth Jrunlen: lhe 11,1LÍt)ns 11.ive drunkt·n of ht'r wínc,
tht:retorc ali thc nationc; ate 111.ild.'72 S0!0111011 n1ight bavc
ir1tended tlus drawini as part of hi5 cooa-ibutio11 to tbc D:1.LzjeJ
brothers' Bi/1/e Callery of vvood engroving-s; he ,.vas particttlarly
intere~ced in illustracing Jevvish hiscory.
An overdr~1wíng of vvarn1 bro,vn ,;;rrokes and stíppl ing ditTer-
entiates .:111d lifi:s up the for111s of the -.wooning king with hís
harp. the c;upp(1rting figure and s]eep i11g leopard fi·o111 their
e111bcdding in thc black a11d grey tcxturcd to11alitics of tl1c n.:st
of the con,position. Fi11c pen strokes. dcscríbi11g forn1s ín closc
curved contours ::ind triple hatclung tbat is ,dways loose and
never 111echanical. focus Ol1r attention on the '>urf..1ce of the ri ch
vvork. be-guíling us inco willi11g or reluct;:int .1d111i raci o11 of it'>
technical exc<:•c;s. S<>l on1011, líke hís f)re-l~aphaelit e feílovv ,1rti~ts,
sh,1rcd ,1 (.1~cínalion 1-or c.1rly pri11t111aker'>, ,1110 thc el.ibo1·ation <)f
his technique rec.ills the crl)\NJded i11cíd1.•11ts or thc engravíng\ ,,r
Lucas van Leyclen, cvcn perhnp<; his D,111id J>/ayi11,I! b~/Õrc ,Sa11/.
.1Jthough Solomon~ king is f.1.r 111ore obviou~ly e1ic.b.11iccd by
thl' 111us1c he i~ crcat1ng cogethcr ,vith his 'savage' n1t1sc.-.1 [h1s
curíously bedecked androgynous figure gazes fiercc::ly out of thc
dr;tv:ing as he/,he pluck~ tl1c strings of the harp held in the
 ..., - -

+r Jean-Auguscc-D01run1quc I ngres, Odalísq11i' 11 1itf1 S/1111t•, 1839. grapJúrc, black ,m.J ,vliitt' cha.ll Jnd \\,bitt' gouacht' ,vith g-rcy and bro,v11 ,,.1!>h, JJ5 X 4fi2- Ullll.
New York, P1t!rpont Mtlrgan Libn1l'). Tba\\ Collecrion. EVT 07
 ,> .

42 \1111enn \olomon, 'B,1byl,111 /1,11/1 /1çc11 r1 xc1/dc11 cuµ', 1859. pen \VÍlh bbck .ind bro,vri ink. O\l.!r trac<.', of graphítc. 266 X 283 111111. B1rnunghau1. U.K.,
B1ro1u11;ha.in Muscu111 .u1d Art G.tllery. Alfrt.>d Leadbeare1 llequest rund, 1925 P4s2.
kl11g's LiJup b,ands. so that the S)711bolic intert\virung of two Althol1gJ1 an essl!nt1al aspcct of Cubisn1 \vas tl1c ,1l1~111don111cnt
bodies 1s not easy to -unscramble. L1ke SauL the sacred leopard of the logic of t11e fi-xed light soi1rce, 'A'l11cl1 l1ad !-,l'llided chree-
in the front has been stupefied by che hurning incen~e v.'ich its diL11ensionol chiarosr11ro 111odelhng for cenh1nes, Picasc;c) ,;1n1ulta-
clouds of vapour, a11d rl1e incoxicacing lig_uid that spills fron, a neouslv, evokes and contradict(i rradiri<1nal convent1on~ 111 rhe
v. ir1e jar u, a rreacly srreanl, trappi11g the drifts of fac 11lo,so1ns. ht'avy cl1arco.1l draw111g 1-Jead c1_{ ,1 \ l,u, of 1910 (pi 43 ) Tl11s 1, ,1
Sn1okc also obscuscs thc triczc of danci11g sycopl1a11cs 111 chc [)'picJ_I vvork of tl1e collaborative and cxperi111ental pL·r1od of
b.tckgrow1d. Thc elaboratt:ly decoratcd arcl-úng bo,v introduces early Cub1sm1 a11d like che oil pai11tings ,vitb ,vh1cl1 1t is l<>t>sel)
a spatial dívision i11to the horror uac11i of this bizarrc \VOrk a rival associated, strokcs, hacch1ng .1nd tcxtural cfrccts are loose and
pc111ucrck to those of Goltzius. untidy, and the finish of the ,vork resides 10 1tc; compos1t101ul
col1erence. surf.1ce business a11d intensitv, rather than the renta-
tive approach to che edges of the fran1ing sheet. Synchronically
existi11g i11 fui] face and profile, the evocation of a head thrc)ugh
Monoch ro my and Modernism : 111L1ltiple pl,1nes sculpte<l ouc or ope11-c11ded angle~ antl ~traight
The Merging of Clo su re and D isclosure and curved li11es e111braces thc duality of being both ab~tracc a11d
suggcst1ve of liguration. tied into a umfied surface of pr1sn1at:ic
The excesses of subject, ,nood and tec hnique of these nineteenth- p-arts that evoke the controlled deptl1 of sculptural relief. 1 he
cenrury Orientalisc conceics ar1d rheir stylistic revivali~111 could coexistence of contradictor)~ S)'Stem5 depends on the co llu~ion
noc have been further av.1 ay fron1 the econon1ical stripped-dov.rn of tl,e specca tor, assisred by rhe ,;patcering of c:ign1fiers that lJica~so
a1oder11isn1 <)f cbe early years of tbe tweutiech century, ,vicl1 ics
bla11ket anat11e1na of the litcrary a11d the decorativc past. Yct it
43 P,tblo Pic,1:>~<.1. Ili·atl o_{ a .\f,111, 1910. charco.J. 64-z X 486 U1111. Parh. MttSl'.L
,~·as through mo11oclrro111y that l)icasso and Gcorgcs Braque
P1cas~o. MP 643
( 1882-1963) ,vere able to dís11ms tl1e traclitio11al straitjacket of vol-
11metric n1odelling, perspectival construction and piccorial depth
in tàvoL1r of the u11ifyi11g tonalities of greys and bro,vns in. their
early Cubist experin1enrations. ln 1911 ·Kandinsky re111arked on
the ·Jogical de!>trt1ction of n1atter' i11 an arcisr co11111útted to in110-
v.1rion: 'if colour seen1S likcly to balk l1in1 in his searcl1 for a purc
artistic forn1 he tl1rows ic overboard'. 74 Albert Gleizes (188.i:-1953)
later, in 1929. referred to ·these ca11vasses in a dull n1uddy grey·,
1n wlúch ·tJie plastic qualities of tl1e fiat surface · were expressed
chrough 'cine1natic fon11 ,vhich breaks, once and for ali, the per-
spective unity of the R.enaÍ5$a11ce'. ~s Ironically, rhe close collabo-
ration benveen Picasso and Braque in for11111lating Cubi'\111
reprises tl1c 1011g, if uoco11scious h.iscory of syn1bolic excl1anges
bet\vee11 artists, as typified by Diirer and l~apl1acl and btcr brotl1-
crhoods. Thc tvvo ,vorked_ with total identification in Cadaq11és
Í11 1910 ai1d the French Pyre1u1eai1 tow11 of Céret in the su1-nmer
of r9rr. and at Brague 's suggestion rhey even ..,topped signing
their individual works. The anonyi11ity of ..~risaílle, ,-vitl1out per-
sonal inflections of colour or gestural strokes. as well .1s its non-
specificity of n1edíu111, n1ade it che ideal basis for 111utual
experin1entation and the suppression of individualism.
Braque, v.rho drev-.· ,-vitlllll paint, or allo,ved charcoaJ Ünes a11.
Ltnmedíated e:xistence on ca11vas, destroyed n1ost of his preli111i-
nary sketched notations, althoL1gh 11.e 11t1dertook a nu111ber ot·
Cubist ecchings v.•ith drypoinc in 1y11. Picas<;o worked out ideas;
in collJteral dra,vings that exist alougsidt: his early Cubi,;;t paint-
ings, collages and asse111blages, \vhich ali c111ploy si111ilar strate-
gies, rci1úorci11g tl1e 111oder1mt brcakdown of spccialiscd ge11res,
rejection
•
of 1nedja deternu11a11ts a11d codified acade1nic ,vorking
.
practlces.

FINISHED, AUTONOMOUS ANO PRESENTATIO~..J DRAWINGS 83

 . .-: n
........
·-
1 ;"

1; V, ; 1 ( 1 1111111, ( '/i111•111~ 11111/1 / 'i,1,,f, ll)h~ g , 1pl111 1· 011 ,H ryh1 ~ •n1111d 011 l'ªI'''" _l, ;(1 :< 170 111111 Nt·\·\ Ynrk. 1 he Mu \ 1·u111 of
/vl,1d1·111 A11 l l1p.11t111l'11l 111 l>1 .n \ 111g,. (,Ili oi l·.d\\ ,111111... Hn lld,1. (17~ •.!no,

111'\'L'I t,11 dl v 1·,1 hl'\v, : 111 tl1i, 1 .1,l' 1lt 1· st1gµç, l1011 oi 1a,,11 il, The Contextual Relativity of Finish
t'Vl'h,d l. l',1 1. up 1)1.• 1 l1p .111d t u, \dtt11 l· <li lnrl'hl•,1d. ,vl1il h d l' 111.111d-;
r--io ~,nglt• Nod ,., evcr ,1 lot.ilily of lhe ~o, l thr1t WaS propag,Lted IJy t1ddlliOlldl 1deah~
(Hl l tl't11v11iu o 11 o i ·1.1 l·l'll l''''· Wl· .il,o rolludt· 111 r1.'tl>g111, 111g tl1 t·
1tr lc~th1•1 ,cs !-=ver y ,1ngh:" onP 1s 1n,1dequate and unfin,shed, r1 fi-c1g1nent only of whal 1t
.1h,11 .1t lt'ti l <1tl\'t•111i1Hl\ <li hlo11.., 111 -, h,1tl111g .1dilç1111g t11 ,111µ,h:,. , oulú ur.
,1 1.11gh1 l111 t·, .111d .1rl', -;n 111.11 tl1 t· ,, lll tl' oi 1h r p,1pv1 c.111 hl·ro111t· Theodor Adorno
1·1!111·1 h1g ld iµ l1t <>1 t111tl y 111g h,tt k pl.111 L', ,vttlioul .1 toi.11 t'x p1·r1
l' tH t n f v1·rt l!),<I. 1 li t· , ltiri .1,v.1y 111>111,n1tl1n11,tl tll t\l r11I tOÍtH id1.·.,
,v11'1 ( 't1h1,111\ r h.1111·11 µ1· nl 1H1l11111, oi' 11111', h N 11 lo11gl'1 .1 '/,11 A di'içu~,io11 <>f fi11i-;h in dr,l\ving 1, <.'\'il'lltirllly ,1bout ten1poral-
1111,/1·1t·1 tl 1,1t 1111i1.1t1.•, ll1t ~ul1d 11 y .111d 11,11) oi ,to11r, //('11d e!/ 11 1t y. C<)1lll''<tu,dis,1tit>11 ;111d <lisconti11uilics. Evc11 ,vlien fi.J1isbcd
,\/,111 q,prop, 1.1t t, hl.11 k .1 11tl ,vl11tt· 1<11 .111 u11f 1,L'd l"L'f)IL'\L'JJl.1t1011 d, .1,vi11gs .ire based 011 cop1t·s or .1ppropri.1tcd fi_·o111 orhcrs, tl1ey
111 , 1t1'1111g pl.1111•, .1pp1•.11111 µ 111 11111vç .u1d 10.dl''>lt' 111 t11nl' : 1hl' ,lrl' l'tnbcddl'd 111 thl' pcriod of 111aku1g by tl1eir c.xactirtg tcch-
l'\Pl tltllll 1if pl,1, 11t·i1y thl'\Hlf!,h thl· 11 111( li \,\1 111l t'd lt)lll'lh di11tl' ll - n1qul' .1nd l·l.1l1nrarion or
\trategies of appropriati<)n. lc is as if
lil\lll. ' slc,,:vly gL·nt•ratl'd virtuo~o clr:t,ving-, ,len1:111cl such an 1nvest111ent
oi' t11111;' ,111d '"1 11 011 the pnrt <1f lheir 1n:1kcr~ th ;1t they bec:on1e
roqtl·d . 11nt only i11 their O\Vll t'pc)rh . .1~ ,1 ,u1111n,1Lio11 or p,1st
t·11dl'.1v1111r,. hui ,il,cl \Vithin ~pc:cifil' !;l'nrl'~."'H Ovi.:rly dt'lcr111ined
d1,1v\i11gs ,Ire lore\'c1 .1 ch,1l ll'ngc to L1tl'r artists. belo11ging às thcy
do to .1 t,h,1111 () 1 1nlluencc: thL'Y dety ,(c,cilc <;LraLe~ies of appro-
pr1,1L1<)11 1111c 11dçd Lo ço ll.1ps,e thc cpc)t h,11 vv1chi11 ,1 dy11an11c of

81 DHAWlt,J(, A C )l\)IINl!lJi"1
ch.1,11ge. Nevertb.eless, lnany of the drawings illustrated in tlus
chapter depend on careft1lly reconstituted appropriations fi·o111
earlier sou rces. Newson1e and Léger refer to. endorse ;1nd cri-
ti<.1ue l1istorical con,;cructio11al and chít1rosc11ro sy~te111<s; Pal111er
reçonrexcuali.,es tl1e elaborate ,yn1bolic grapl1is111~ ot Dürer a11d
tht! Gi.:rn1an pri111itives; lngres 111akes l1iinself heir to a long
history of firüsl1ed 111onochron1atic carcoons and R.apl1aele!)que
bodics. while Picasso i.n his tu1,1 sU1111J1011S up lngres tl1rot1gh
appropriating and subverting tr~ditioru of &risaiflc. In a pose-
Picasso era that adn,ire<; b.istorici:;1n only .intern1ittently, elaborate
dravvings den,and very povverful counter-criciquei, co jusnfy cheir
ex.istence; Ph otoreal isni re111au1-. one of che fe,v areas where vir-
ruosic graphic excess can bc indulged in wich i111punity. Gcner-
ally, graphic finis11 is embodi.cd in tbc complex visual capabilities
of nev.· teclmoJogies and tl1c narratlvc sequences of tim.e-based
med1a, and rc1nains outside critica1 debates about intentionaliry
a11d receptio11.
An early dra\ving by the lacvían-born Arnerícan artist Vija
Celn1ins (b. r938), Clípping 111illt Pístol (1968: pi. +4), is typical of
tl1e ex.1cci11g skill'í requircd for che reclai111j11g or found pl1oto-
graphic unagery into a 'fin.e art' context. Through hcr n1easi1red
and laboriot1s tecl1niquc, Celn,ins manages to con1111e11c on her
potent St1bject 111:itter almost by defaulc. The pl1otographs that
sbe pai11stakingJy translates into other n1edia (paint a11d print-
1naking as ,vell as drawing) are i11 theni~elveo; closcd and co111-
plete, but she u<;es subtle device, to ()pen the111 up -;lightly for
rcappropriation, sugge~ting ar1 additionaJ uarracive \VÍ.th \Vl1ich a
FIN ISHED, AUTONOMOi.JS AND PRES ENTAT IOI\. DRAWINGS
VlC"\Ver n1ight e11gagc. ln ch1s dra\ving. chc reprC:liLnted sl1ect of
paper \V1th a p1,;tol l1as been cruu1pled and stra1ghtcncd ouc
Jg,1in; in sc)111e of her 111oonscapcs sbe 111d1cate~ the n1ulciple
in1ages rhat have- been assen1blell for use 11) -.c1enrist,; or tht> le11,
tl1at 111ab111ifies part of an 1111age; or, l1y ignoríng rhc "et f'ran1e
or Gl filn1-slrip. -.he concentratt.·s 011 bc,u11dlcss sca., and -;kie,,
n1ost recentl)' focus1ng 011 a l1eavily 111agnificd spidcr's \YL'b. 13v
rcdrawu1g che cL.pping as if laid tlac 011 ., g,r0u11d (a co1n111on
strategy of Photorealism), ,;he excites t:ictile respo11.~e,;; ,,;-th a fev.·
tro111pe l'fríl shadow~ under tbe cru,;hed paper; but she contra-
dices the ~p,1cial orientati(>n of che reprodu ccion by 111odelli11g che
gt.111 ,vith ,;uch cl1ian1sc11rv intens-ity t.l1at it ,t'J)Jrate~ it~elt ri·o111 it~
ground, .111d appear,; to inhabit the v\ridcr piccorial '>pace rather
th.1n thc sJ1ect \-Vitliiu a sl1ccc. L.1 this respect. Celnru1 's ,vork reit-
cratcs thc del.iberacc spatial solecisms of Mantegua's vutuosic
irisaillc and engages in a 111odesc play \Vith rhe logics of repre-
~encation.
Finished dra\vÍng<1 inl1abit the- id_eacional end of the linear ron-
ti D uu 111. e,·en thou gh they i:xcite a e.li reçc, e111orive res_p onse co
displays of tech11ica1 prov.ress. Tl1e distanceti spectator v. ho is
debarred fi:0111 participation and co1npletir1g sucb \vorks in the
1nanner of an open-ended sketch l) co1-ripensaced ,v-ith 11arr:1trve,
aUegorical, formal and techn1cal con1plex1t,· a11d detail. The,;e
strateg1es of ove-rdete1,11inacio11 fr,1111e the drav.1ings as if chey
v..rere painti11gs in a public ~pace ora rheatrical s11ect.;1cle behin<l
a pro,reniu111 arch.
85
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in1pl o,L - u n1 ·1t er the.' I o dra m11t:-,. are u ed r
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r1111d L qtt iliitii:. uJr rJ~ 11~ rarLSfo · 111 1 n . tbt1ru
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t~ret t ~ ay fto.1 l pam11ti11 T] .. . t o· the ..__,"'"~Oll ,vl iut

t1 ·i . l tt ,- n , 1n 11 W1:r-", d · h.. eet u
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rra. eJ irh the p c , c f p'ai L ti

tioi . l otrr h· t \"- rk 1

n1""'---~· i1 li·a 11 - 11 tl1e t>llll ri lli 1 ·and _hy~ 1 r ·s1 tlll e of

cl e 1 r tl1t L v u . l ue an - ~· · ur 1i ~
Altl h , -·bnitic, of LI 'l ~-iutl: ...,r~ ite l , p · u-
111:ediun ~ _ nd th.t t) p,c_ dra'\vin a- - - d t ]Q ·e~ 1

r, 1 , ·t.:rs ,1 e · . r ectr o p -·,cti tJ1an p :in - 11 _

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dell d vi th ~ l tt v.. itl i1J 1npu tt'..r
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,·tin rvl . "l ·f 1 ~ in l .1i11t - 'lllg 1 ]LI -.~ [

1 I r 1ru . n~ L hLt k h I _ h ll ] b l . -- I lJl .t l

r ; p f I 11 . 11 ,t LU Ll ti , l
l '. lI .. l Ll l111iq l J ll]'ltk. lll
111ent'i or '-lllltdranenu'ilv con1b1nt·d 111 tht.·ir dra,v1n1,.rs. <....,on1pl1ter alitv .ind illu-;ion, inh ere11t n1oven1ent a11d in1plied n1otion and
u, 11 'l 1111 1fl r an uaJtl •ou~ n1t·11u (11 ,pc-c1,1I c!Tt~l l L.1110[1()11,

h, 1u h tr 1tcg1 ,t Rll tion he 1r1ng tt1<,rph111~. },lcndi11g.
l 11 llf It11 r1nt'). t 1111p1nu- 111d .111 crt<1111u,u,, inti pc,ss1bl}
111l11l11m1'\ 1,0tt.:nt111 oi ,hg1c 11 111, li!C ,1 nr.1ge, rctrh:-\.11, JU~t;-ipo,1
t1cu1 nd n1onrag I l\1)t r1111cr11;..i] , (1111h111.111~)n'- 111d claht1r,111011~
,ln I l'C\crsc.·d {nn, 1rdL·d <>r ,upplL·111c11ti:d .11 ,._ 111, unlike h.u1J
dr.1\\lllfl., \\ht:rc the c-11~h ()J ,h1l-;;re11t t1Hi,lt!) tnd 1uacc11.ll~ usual!)
111lts l eq11cnt1al ~Ic\cl,,pnH•nt 111d c.111), i~Jt :1 pJu,? or 11'-'''
Ju 111,111, re,pc:(;t~. tht• 1n<,, 111~ h.u1J o t dra,,•ing rcgi<ifl'rs tht·
1111)vc.:n1e111 t,f tltt.· 1l1111k1n~ C)e, thl' degrcl' of co(,rdin,ltlon bt·i11~
su,ccprii:llt• tL, 1nult1plL· t'Xlt.•111,ll .ind llllcrnal intit1L'OCL'~ .111d
dcpl.'nd111g t>ll I ht' ,kill pt•t fcL'tcd },} 1ht~ .irci,c. 1 ' ThL' ,-alut· p),11:-L"J
L'>ll th,, 'i\T:\h.!.hl
... l<)r"\.1rd li.111d~,c '-t>t)rtl111:1tit,11 in th~v. in!-. p,1r
c1t:ul.1rl" ,keel h111g:, 1, ,t, µn:.1t tl1 1t tl1c1e ,lit' all ~ore., tJf nttL'nlpt,
lt) 111t'C)ff"1,r,1h: ·rt·:'ll-tu11e' clr.1,, 111!! rntc) l."0111puccr grapl1i.:,

d1av, 1ng
Ald1ough gc.·stur.,I lt,11~ 111,I 111 irk, l.t11 \ the 1111prt11t o l the
b0d1t~ th:tt ita\'l' 111.1 tc 1he1n, ,n1d tlh:rel<.)te \'t.'Ol tC> t,.: J}llt ('II
thl' phc110111cn.1I \\'()rid. llC\"t'.rthcll!,,, h11c 11 L'lr- .,t,,rr.,cL. d1t't'C-
t1011al 1>r in11r.1c1vc .i,,1:s rrc1J cx1,1 111 tl1t· ol:> t:r\':il,Jc ,,<Hid. I 111L'
1, ,1 rc1,r{"•C11tatHJ1l.1l <'(1nvc:nt 11l11, 1f , rr1111,11'.\' e lc:-11 tL'rtt in I bl·
..
tor n111 .11~c11.1I ,.,f 111ak1nl! art
chrtiu~h th(". L.'11Tph,, 111c.•nt ,,f <l1rt•r.1 tlr.1\\ 111g r.1l)lct, 01 ,,•hite-
bo,1rds I ln.-..i.: th·vi~·1.·, ,1rc 1ntt·11tl,•d IL> ,,hvinte tl1~ spaci.J a11d
n:111p'-'T,1I di'\juncnc,n\ in C(111111utl·r-.11,ll·~l tlt.1,vi11g (c..,r>) b1:c,;,,i:c1,
l'Vc-,cr'C<.'ll ,tn<i hand \\'l1e11 a 1111n1,c 1>r kt>yh,,:ud 1, L'1u1,lc,yed,
and t1\ b<,l,ct·r rl1c ,i111pll· rt.·Jl-,,·,>rld t·<1t•.1tu1n th.u line.tr lLr.1-., 111~
1, 1 ,tr,>rd l>f 1111)\\'lllt:llt th.1t i111Jtfi1•( 1110, •111c11t, ., n:rit,1'<1t' 1t) th:11
1
n1c.1n, rh:i: l'\'C I"\' c1rJ,ving 1nv1tl', ,1 <ipcc t u,,r 1nll 111tt•rprt:tt'.r. " 111
cht· ,cn\l.' th.it a bnc 1s J t:<>nli,ut 1,f lllL',111111~ 1)T du~1115, It i111/11u·,
~

l1u,1httc!> c.11 111l1,·i:111c11t at the ,an1c ti1,1c .,, rl'l>n>d11ct11.I! thl'll 1: 1t

1, hLHh t1 a11siri, l' :tnd inti an,ir1, l'. T l1c linear path, rh.1t thl! ,pt•c:-
Moving Lines and Narratives of t:-1t1)r/111LL'1 J>rett.·1 dir~t.tly pt.·1.:civc, (IT inter, in rhe dr,1,\'ing (()0-
Making and Reading ,t,tlllC c,1~11111\'~ 1 11ppi11g_1\11tl S.tll h 1c.1tii11~ .trl' ili~cparahlc ti·on1
tht· ,Jtl(,.'(·tivi; r.:,J'(lll,t.'\ lt) the gl.',ttll .11 lr'.lLl'' ~,r chc hJnll nd rhl'
,\'Jlt ,::,wly 0\/'"1 the g1ound ou should be a!Jlc at ,w
op t r • lnt"" d1rr:t'I' on kc ,1 wt-II marmgc,d ~
c<·h11 ,,f tltl' l,11<1}, 1, \\~II .,~ tl1e t·x1,1e;.,1, 1ty of the lUJ'IC' 1,)1'

}ohn Ru
Thus the eye. like a grazing animal. feels out the terrain not only fron1 top to botlom
but also from left to nght and 1n all directions for which rt feels the need It travels the
paths .aid down fo1· it ,n the work which itself came into being chrQ1.1gh movenient and
became f0<3ted movement.
Paul Klee"
The p1ctonal work spnngs from movement, ,t Is tself fixated movement, and rt 1s grasped
1n movement.
Paul Klee•
Dra,vn line'>, by the very assoc1anon~ that link v1~1on to tl1e
object of rl1e gaze by ,1 'sight line'. encapsulate tJ,e trace of tl1e
n1oving ba11d as i11dexical signs tl1ac a_i;-c recou'icitutcd by the
111
n1oveiut:ut of the obscrvi11g eyc. 'Tl1.e line is a visible action',
wrote I-lola11d Barrhes in a discussion of Cy T¥-,on1bly: 'the line,
ho\vever supple. light, or uncertain it 1nay be, always refers to a
fc)rt:e. l <) ,l direction; ic is an c11cr,go11, a labor "vhicl1 reveals - w l1ich
111.1k.es legible - the Lrace of it~ puh,ion and its expenciit11re' . 11
Paul Vah:ry suggested: 'the shapes o ur sight reveals to us as con-
tours are produced by our co11scious11ess of the concerted 111ove-
n1enr of our eyes as they regISter precise vision. Tlus reiisleri11,{?
n1oven1enr constitutes /111e.' 1~ Tbe artist/tl1eorists K:indinsky and
Klee located their discusc;1ons about lines and shape \Vithi11 a tax-
11
ononl} of dy11a111ic .111d pas1,ive hnes. Line as a dyna111ic tin,e-
tracl. subsun1cs .1 con1plex l.1yer111g or
s1gn ificacion i11 the n1aki11g
of dia,v111g anti 1cs rcLl'ption, ,vl1ere 1l is not easy to unravel actu-
,11b11.·1 r r, 1ttt·r <ll d1t· d·:1v, 111\! <>r H, :'11),i;ttt 1.:. Tht.: d1tf1.:1cncL'
oct,VLLll tl1e5c 1·e-.u.l.u1~ L011.,t.1tute1> the ::.urplu~ o! tilt: tlrJ\\.Utg
\,VJth.in which 1nea11jng is constructed. 1''
For example, althoi1gh it is in1poss1ble to establisl1 what is
observed and \.vhat i11vented in Fra11cisco de Goya's red cl1alk
,vorking drawings for tl1e Tn11ro111nq11it1 !>eries or etchings ( r815-
16), t11ey undoubtedly encapsulate cl1e traces of .i swiftly 1noving
hand, "1S \Veil as sit11.uJtane<>usly stiggesting the action and move-
n1cnt of the subject n1attcr. Most of tl1c series celebrates the
exploits of famous bullfighters of Goya's time (T746-T828) or
earlier, and they d epend on references from pri11ts and broad-
sheets. t--i They are cons tructed out of fragn1ents of re1nen1bered
observations as well as appropriated 111aterial. yet cl,e speedy red
cl1alk and occasional red v.rash suggest a unifying n1ode of direct
observation, particularly i.J1 the a_1.1pare11tly casuaJ n1aiu1er in
,vhich activities happen withj11 the brjght, horizo11ta.l space of
the ring. 111 Tat1ro111aq11ia 1.0. 1'11e Agifi1y and A11dc1ciry o_f J11a11ito
Apii1a11i i11 the /R111g/ q1-· 1\1adrid (pl. 46), a famous bullfighter is
appare11tly 'caught' in ,,-tid-air vaulting over the buU. 18 The sketch
'iuggest~ to a conte111porary viewer the possibilit)' that Goya did
not l1ave the tin1e co get everytl1ing down c)ll paper while ,vit-
nessing thi-; eve11t, but l1e has subsequently returned to accentu-
ate aspects of the figure and bull with l1eavier strokes of over-
drawing. TJ1is appare11t indexicality is boti1 evocative of \.\'itness
and appropriate to the subject matter: apart from seen1ing to
catch a n1ornent- m - tin1e eguivaJe11.t to the aln1ost u1stanta_neoi1s
,l1utter ~peed of a camera, it also attests to the 1nhun1an light-

90 1 HE LINEAR ECONOMY

•
•
~r
-~6 Francisco de Goy,1. Ti,e l l.)/ility (//Id A111l,1tify J11<111ilo ,4J)iiia11i i11 the [Ri,~~1 C!( l\,/,n/1id, dr.l\ving for 1i111ri>11111q11io
20, rllr5- r6, red ch.1lk 183 X 277111111. l'v1.1dnd, Musco Nai;ional dcl Prado, D.-1,307
ness a11d agility of t11e l1eroic bLillfig11ter. T l1e spect-1.tors in d1.e
tiers be·yo11.d the 111ain event in tl1e ring, it1d.icated v.ri.th the
utmosc economy of graphic 1neans, suggest the 0L1c-of-focus
b1L1rring k:no,vn so vvell in modernity fi·on1 pl1otograpby and
cinematography. This apparently un1nodified depth of field is
'corrected' in the finalised pri11t tl1at followed cl1i~ drawing,
"vl1ere the spectators are given fornt and sl1elter under parasols
011 one side of the tiered seati11g, wl1ile tl1e bullfigl1cer is froze.n
in mid vault. Goya's record of 111ovemenc. action and ii1teraction
is therefore fictive ii1 all its aspects, but to the extent that the
drav.ri.ng survives as a trace of continL1ous hand moveme11ts and
inter rt1pced 1uoments, it acts as a grapb.ic analogue of tl1e top1c
or essential subject 111+1tter of the dra\ving, allo\iving for the per-
forrnative prese11ce of tl1e artist and the 'real' ai1d fictio11al spec-
tators.
The apparent ability of moving lines to 'wr:itc tin1e' it1 the
Goya drawing is no less co1npellit1-g in a computer dravving on
paper by Roman Verostko (b. r929), Lung Slian 11, 011.e of a series
that represents the end of a very long chai n of deve1op111ent of
applied 1nathen1acics (pl. 47). Vero'itko is one of tl1e better k.n<),vn
of cl1e so- called algorithni.ic artists who have developed perso11-
.ilised arc prograins that drive n1ecl1anical plotters fitted with
pens or brushes to produce images. 1n the L111~f! Slta11 series,
Verostko 's progran1- Hodos was instructed to originate seen1ingJy
'
.
rando1n scribbles, which appear to act out chaotic in1provisa-
tions. The drawings t~1erefore minnc artistic auron1.atisn1 and
gro,v epige11etically, that is, tbey appear co develop spo11taneously
in the biological manner that phe11otypes (n1acure plant<;) grovv
fron1 genotypes (DNA). 1'1 ln Verostko's L1111g Shan JI (1990) - the
d_rawing co11si'-tS of a 111irrored in1age, prest1111ably to display its
paradign1 of progra111n1ed 111n<lon1ne5s - abstract fu1ear scribbles
l1ave been created by a ba11k of dra\vi11g pens tilled with coloured
inks. Because these fu1es have becon1e so inte11sely entangled as
to create ab.nest i1npenetrable 11ests of coloured vortices, it is not
d.ifficulr ro imbue the drawi11g e1npatheticalJy \vith proJected
11otio11~ of in1patie11ce and obsession. or to have the crjtical
re~ponse that the dra\ving has lost its ..,,ay in the detail. Thi~
readi11g is 111odified by the free, broad a11d apparently gestural
black brush stroke tl1at floats 011 the top of cl1e pen lii1es to create
a frontal plane that asserts both spatiality and tin1e. (Verostko's
original use of Chinese brushes, \:Vl1ich had to be dipped u1 ink,
were replaced in r995 by self-inking Su1ni brusl1es.) The aspects
of ti111e in ~•riting and reading tl1i!) \VOrk are 111ulti-layered a11d
contradictory. fu well as re)ponding to the ,pei:d of the ce11-
tripetal scribbles and the .;;ituplc 11.istory of gestw·a.l overdra'vving
in a 'Japa11ese' manner, there is also a.11 inevitable semi-a~'areness
for the iu.tormed spectator of the Laborious calculations en1bed-
ded in the drav-'lng's abnom1ally large infrastructure - null1tied,
LINE, MARK. LINEAR CODES A N D TO U C li 91

47 R<Hll.iu Vl't-o,tku. L111111 S/1,111 [{,Jl)l)O, pen ,1n<l brll5h. plotlcJ on paper, 1&.29 X 610 lilill.
to \0111c extent, b:• its contrary aspiration. tovvards apparent
exte111porane.i tv a11d s11nplicity ((;enerally. atten1pts to unpick
d1gitaJ processes of recent con1puter arr reveal ,nore abot1r the
technical intetii1ce,; anJ n1ech:111i ca l choices th,a ri the dynan1ics
of drJ\\'tng 1Jrartice!)
It i~ ,1 co11dirion of linearity tb,1t u1tless Lu1es a11d pe111i111e11ti
ha,'c been deliberately e,·ased. dra.vvi11g asserts, or has the poten-
tial to assert. the fully exte11ded history a11d processes of its o,vn
n1aking, uub.ke the seJ±:.obscurir1g layers of· che pajnterly project.
In this sense, dra,vi11g constr ucts its 0~1 n narrative of 111aki11g, dis-
tinct but inseparable fi·o111 it, subject n1atter. In Michela11gelo \
unfini,;hed c.lr..1\ving of the T71c [-Joly Fn111i!y rvitlt rite Tt!/1111/ ,)/ ]v/111
LIi£ Baµrisf (circ,1 r530-32; pl. -1-8). ,vith its use of superin1posed
111cdia. \VC can r~ad 110,v Michehtngclo literally flcsht!s out tl1c
forn1rtl realisation of the bodies. transfor1ns che t,vo- djn1ens1onal
surface of the paper into concain:ing space and develops th e
concept and e111otional tone of the work. The artist has used four
dinerent n1edia, begi11ning ,virh a sry]u<; underdrawing cl1ac secs
up tl1e co111poc;i t1onal org;u1isacion vvichin tl1e horizontal space
20
of tl1e dra\.ving \heet. Th.is is follovved by grey-black chalk.
,,,h1cl1 describes tl1c planar and volun1etric through diagonal
haccl11ng and establishes the bodies 111 din1e11sionaJ space. lled
ch.1lk. ~angu1ne. 1s used co restate bodily anaton1y, literally flesh -
ing the bodie, through its blood colour. And pen :1nd bro,vn ink
rea111n1.1te\ ou tline,; th.it have bt."con,e obscured or s111L1dged and
rL't l.1.1111., u1otle IIL·<l plJ nes. The do, 11jn.111ce or L11e:;e lines a11 d th icl
\trokes ol oiled bl.1ck ch.ilk serves to dL~rupt che cohesion of the
underdra\Ylllg. In. pt1ces, the ,vctuess or bro,vn \.V.1sJ1 bo11ds with
rhe fi·iable red p1g1ne11t. adding another toualjcy a11d plasticity
through de~cription, of .;hado,v a.nd depth. Tl1e technical co1n-
1)lexicy of chi, dra,ving i,; unusual fc)r Michelangelo.
92 THE LINEAR ECOt-,!QMY
•
■ •
Pr1\':.lLC coUt'ction
Armenin.i describes such dravving as a combi11atio11 of m.ik:ing
and idea: 'ln this process the intellect is en.hanced and polished,
since the hand, n1i111ster of the intellect, sharpens the under-
standi ng.'~' Wl1at is S<) i111pressive in Mjchelangelo'~ dra\vi11g, in
~pite of its bad state of pre'lervation, \vhich scan1ps another,
diacbroujc Justory across the surface, is that tJ1c reclain,ing of
each area tor redravving and the overlaying of techniques have
not deadened the dra\ving br1t e11abled it to increase in mobil-
ity n11d expressiviry. 22 This is particularly so in t!1e group of cl1e
Virgin and the infa11t Christ and John the Bapti~t; Jose11h 's
expre<;sion of brooding concentration ,._,.as caught so ,vell at an
e,1rly !.tage that Michelangelo did not 11 eed to re,~1ork it. The
inter1sity of Joseph's visage, which is e111phasised by the contain-
i11g gestr1re of bis folded <1r111s a11d tense pose, .serves to stabilise
tl1c group. Although he is the most lightly ,vo1:ked figure, the
quality of tbe drawing suggests that there has beeo no loss <,.)f
interest on the part of the arri,;t.
Reading a hand draw111g tl1rougl1 the narrative of ics 1noving
lin es can be a far n1ore 111undane exercise, allo,ving chc specta-
tor to recon.struct tecl111ical passages or simply u11dcrsta11d ho,v
a dra,ving has been put together. This is so in a ,vork of ir1cred-
ible virtuosity and spark.le by the French royal portraitist Hya-
cinthe lligaud (1659-1743), Portrair t~f a .\ln11 (pl. 45). 13ecause it
is unfinished, it allovvs the vie\ver to e11ter ics co1nplexities and
u11derstand bo,v the artist l1a~ n1oved in tin1e fro111 establishing
the figure in black chalk to dressing it in dazzling ,vash ,u1d
vvhice highlights. Tb.is is ,1. spacial an<l textural Jour11ey. with light
and dark passages depci1dent on a lL"'<ed source of i.Uun1IT1atio11
sou1ewbere to tl1e left, in front of che diagonally posed subject.
The low sculptural relief of cbe head and architectural setting,
stiggested by the 1ncon1plete black cl1alk deline.,tions on the
 •
--1,ll Michelangelo Buonarrob, I71c Holy l-a111ily 11 11th the J,y;1111 :::,1 .Jc!li11 1/n Hap1isc, drr11 i 530-32. pen and bro,vn 111.k. black and red ch.ilk over srylu~ 1nliicanons.
280 x 3y411U11. Los A.ugelc~, Thl' J. Paul Gccly Muscu1u. 93.Gil.51
11uddle grot1nd of blue paper. is successive ly challenged by tl1e
fine planes of lace, satin and damask-lh1ed clt>ak. whJc l1 consti-
u1te the overblown three-dir11e11sio11a1ity of d1e frontal plane of
the dra,,:ing. Although tl1e- technical jour11ey is :iccuT11ulative-
the additit)n of washed-in <il1adovvs to repre<;e11c tlie folds of the
cloak. then the jagged strokes of white gouache to suggest silvery
satin. the crisp delicacy of lace or tl1c spark ling of button~ and
studs the sequential processes have also sculpted for11b i11to
greater a11d greater depth, lifting the figLire oi1t of its papery co11-
tinuun1 into h,·per-real pictori~l sp::ice. thro11gh c/1i11rosc11ro. What
1s also i11ceresci11g about the dra\ving is that thic; con1plicated
journey of establisl1i11g textures and defining 'ipt·ciftcities of
111ateri.1l is a rehearsal for Rigaud\, equally spectacular cecl111ical
virtuosity ii1 oil paint, enabli1lg us to appreciate th.e artist's pro-
jected pleasure in the perfor111ancc ot~skill as a seqL1e11tial bravura
exerc1se. :!.'I
Rigaud otfers us a range of teclm1cal 'Anzardry in ha11d draw-
ing, \vhicl1 ,ve can exclai111 over. sin1ilar to che reception of
special effect:- of conten1pl1rary Photorealic;t drawing~, "" here we
n1arvel at l1ovv graplute ca11 rese111l1le .i pl1otl1grapl1ic print (see
pl. 44) or i1nir.atc th.e textures of au c11graving. Suc11 n1j111ctic
values are pri,rileged u1 con1puter graphics. v.'l1ere cl1e dressing
t1p of constructed shapes or rec,·cled pboto-i1nagery \Vlth a range
of ready textt1re<; is a ~candard capability of basic sofnv,1re pro-
gran1s_::?-1 fnftnice te,tt1ral n1anipulations can be rung fi·o111 the fil-
tering of photogra11hic i111age\ in PhotoshQIJ or sit11ply flipping
and rotating i111ages to torn, textural pattern~. ':>uch texture'- scrvt:
to differentiate forms and shapes in the trc1dic.ionJ.i 11Ja11ncr of
LIN E, MARK, LINEAR CODES AND TOUCH 93
hJ11d ira,, 111g, ,vh1le .1!,o est.1l1li,h1ng c<)1npc)sitional and spatia l
d1tfercnt11t1c>n<; 1nd h1er,1r1.·h1e, (J. J. C,ib,011, ,, ho,;e srudte'> of
pcrt:t'pt1<,n h,1ve gre,ttly i11flue11ced cu1npute1 tL·chn<Jlogics. sug-
gL·sted 111 th1.· T•;,:iO~ that d1~t,111cc ,v:1.. pertei, ed by dilierentia-
l11)n, 111 'texture g1adic11ts·.~') In .1ddition to b:111k-, of all-over
cff<.•ct,. there .ire si111ulated fi1rry. hai1y, ,,·et or sparkling su1iace
cexLure) that contribute to photoreal1stic 111odes ot representa-
non. a11d 111a-11y -;oti:vv,1re des1b111 packages supply filters to o:rugge~t
rht· gr.1in of Lh.1rcoal dra\1i'111g, the v,et pao;sage~ of watercolour
or the soliJ, dr) texture,; of fi·esco. To learn ho,v to n1a11ipulate
,ul h gr.1ph1c,1l u,t·r u1ccrfuces 1s i,utially laborious, but like the
long-cern1 skills of Jra\.vu1g \Vtth pen or pe11cil, st1ch cechiliques
are rcaduy internalised .u1d 11aturaJised with repecition ~n1d -used
,v1th ~reat ,peed by practitioner~.
Serial Practices and Reductive Lines
I must say that I achieved a very rare volup luousness and elegance of line [in the pen
araw,ngs). I pour-ed my enure sens1b1lrty into them. and if 1t weren't for the sooal obhg•
a:t1on Lo provide my contemporaries w,th work! somewhat ncher ,n t erms of means. the
hurnble pen d1--aw1ng. well prepared by an analytic sl udy. would be entirely adequate to
purge me or my passionate emollons.
r he
exrensjon of open-ended hne into the continuioes of
dra,v111g as a v,: hole 111eans that each ,vork contains the possibi l-
iLy of another related drav,,ing: a ~tudy of a detail, a reworki ng
of ideas or con1positional relationsl1ips, a restaten1e11t of clie
,vl1olc, further elaborations or si111plificarions, a close copy or a
sketchy appropriatio11. Serial explorations of this sort beca111e the
obsessi,·e subject of Eclg;lr Degas (183 4-1917) in his later years,
,vhen groups of drawings of baJJet dancers, won1e11 bathing or
co111bing their hair were closely connected through tra cings,
,vhi ch could then be ,vorked up in ne\v charcoal and pastel vari-
ant~ tl1at \VOttlLl the111i-eJves be copied and exi>anded. Not only
did one dra,viiig literally gtO\V _fro111 another, being ,vorked on
111 successio11 in the st1.1dio, but this serial technique also per-
n11tted l)egas to build tip co1nplex composicions from su11ple,
repeated posec; and gestures. 27 Today, the seq11entiaJity of hand
dra\ving l1a~ been extended by the con1puter to an ahT1ost incon-
ceivable pron1i\L' of infinity and an irresistible drive covvards con-
sta1Jt change that i-; l1alted only by pri11ting a vvork, or savi11g or
delet111g sequeuces. 2H Tl1c co1J1puter therefore legici1naces and
g1,'es n1ache1naticaJ existence to tlus abstract pote11tiality of
enclle'i, and ,;ea n1le,;s ~enality, v,rhereas the promise of chai1ge is
coi led te11ranvely ,virh1n the contingency of all hand drawing,
\Vhether a 1111111n1al lliagr,1111, a c.uggesttve coloured pastel or a
l1ighly refined outline dra\ving.
94 THE LINEAR ECOl'IOMY
T,,ro consecutive 11eoclas~icaJ portrait~ by f>icas~o illustrate tl1e
serial fc_)rces of refinen1ent, sin1plifi cation. abstr,1ction, 0111i-;sion
<1 11d editorial co11trol that can shape a reductive and seduclive
li11earity, sin1ilar to thac aspired to by Matisse. While in England
for three months in T919, designing for tl1e Ballets Russe, l)ica_ss,o
dre~· Lydia Lopokova. a prinapal dancer \vho vvas later to marry
the econontist Jolin Maynard Ke)rnes. The poised and elega11c
ballerina 1s depicted seated in a curved ar111ch::iir in a very
Bloon1sl1ury interior, ,111d ,vearing a loose classical ttulic. In tbe
tl1ree-qtLJrter vie,v (pl. 49), the precise tl1ick pe11cil lines of the
co11ve11tio11alised £1ce a11d hair sigrtify the artist's close conce11-
tration on likeness - and perhaps flatte1y-wl1ile the triangular
pacterning 011 the dress is very sununar1Jy sketched in. In the
fi-ontal drawing (pl. 50), Lopokova is dra,Yn vvitb eve11 more
Auen0· and confi<.ience, and indication~ of the firepla ce and
architeclural r11oulding have been added to tl1e 1ninit11al 111ise-en-
scct1e. 29 The figure i!. fra111ed by tl1e loose patter11i11g sketched 011
to the ar1nchair ttpholstery, as if the artist had perceived the n.eed
io_r n 1norncntary pause for eye and hand in the praccised veloc-
ity of a rehearsed dra,vu1g that has just slighcly losr the intensity
of a11 earlier versio11. The envvrapped arms, very upright posture
and eyes that stare a\vay fi·on1 the observer inco space add to the
quality of ren1oce11e~~ and iconic prettinesl; of the subject. The
continuities a.nd careful break~ in the fine o utline and tbe total
lack of 111odellit1g e11courage che spectator to follow the linear
1nap a,vay from and back to the face iJ1 a continuous, if care-
fully directed circular eye mo,1 e111ent. The a111biguous white
spaces in this dra\ving, wbjch ,ve variously interpret as bod)~ fi.1r-
nitu re, interior space or paper plane, facilitate the u11encun1bered
n1obiliry of che line and encourage a grazing eye.
Picasso '5 e111ployn1e11t of this reductive outline technique i)
historicist, reviving the clear dra,ving style of J.- A.-D. Ingres,
which had been influenced by the neoclassical outlines of the
sct1lptor Jol111 Fla.xu1an. wl1ose illustratio11s after Ho111er, Aescl1y-
lt1s and Dante were wide ly disseminated as engravings in Europe
ar the turn of the nineteenth ce11t1.11)'.>1l The reft11ed sirnplicity
of Flaxn1an 's Otttli11es, derived from the study of classical vases
and l taJia 11 ·1-1ri111itives', were deployed in desigi1s \vhere 111ove-
n1ent, co111positio11, expressive gestures and 11arrative tlra1na ,vere
for111alised witlun tightly controlled systems, all tl1c more iiifor-
mative for being encoded and sunplified. Reductive outlines
becan,e a standard and authoritative style for artists 01· the period,
collapsing che difl-ere-nce~ bet\-veen drav,ring and engraving a11d
privileging clarity and finish. The calligraphic l1abit of contrast-
ing fine lines \.vitl1 -;tronger, en1phasised black lines, although crit-
icised at tl1e ti1ne a11d later as a stylistic n1annerisn1, ,vas
i111portant in suggesting the spatial Auency of low relief.11 Eve11
111,ore sin1plified c0des of diagrarrunatic outline dra\.ving beca111e
the stuff of drawing 1nanuaJs, design copybooks and school text-
books. '2 Picasso'c; quality of line therefore participates uJ a bis-
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49 Pablo Picasso. Lydia L:>pokor,a, 1919, graphite, 357 x 25!{ n1n1. Can,bndge, 50 Pablo Picasso. Portrai1 <!.f Lylfia Lvp11kC11·cr, r919, graphite. 357 x z5~ 111111
[itz\villiam Museun1. PD 6-1989 NC\\ York, The Pierpont Morgan libr,1ry.Th,n-v ColJcclion, EVT 1,3,0

torical continuun1, incorporating neoclassical resonances that go
far beyond the iiruJ1ediate issue of a portrait likeness, the chose11
subject of n1ost of his drawings at chis period. Just as the narra-
tive iniperative had been primary for Flaxman, the captt1ri11g of
likeness within reductionist paradig:ins was the aiin of both lngres
::ind Picasso. There are paradoxical aspects to the apparent sin1-
plicity of Picasso's portraits of Lopokova. The elimination of
n1odeUi11g. perspectival clues and unnece.,;sary detail contributes
to a sense of finality at tl1e san1e ti111e as tl1e expanse!, of white
paper, of ~gual weight co tl1e spacious li11e, convey a se11se of
breeziness a11d fi·csh ope1u1ess. Jt is this cot1traclictory closure i11
open-endedrtess that possibly encouraged Picasso to undertake-
m11ltiple versions of the san1e s11bject.
Flaxn1an's influence on Goya has been very well docun1ented ,
111osc fatni liarly in relation co the hooded fi·iars in che line
engraving of Tl1e Hy11ocrites 11,ir/1 Cc1inph,1s. 1ron1 D a nte\ T1tlt·r110,
Canco 23, ,vltich Goya appropriated to r use ac; a perst)n.tl
leir.111or{{ in later v-.rorks, v,;hcrc 111any 111e11acing alld hypocr1ci cal
religious figures inl1abit his passio11ately anti-clerical pru1cs.33
Flaxman's initial dra,ving in the Fitzwilliarn M usc11m 1s carried
out in a quill pen , so softened and pliable tl1at it approache~ the
Auency of a brush, over so1r1e li.g ht, roug h, 11reli111inary g raphite
1narkin~: it roughly depicts Lhe hooded and bearded hypoc rites
,vho sta11d arou11d the crucitied figure c>f Caiapha~ on Lhe
grou11d. T he con1position is changell i11 tl1c engraved version t<.1
a far n1ore pote11t o rga11isat1on ,vith tl1rce pairs of 111011ko; u1
profile, mock bumble in rl1e bencli11g of their c loaked beads .ind
,veighted robes of purush111ent, ignoring the beseech111g f.1ce or
Caiaphas looking up at then, through l1i, agony Wid1 on!) the
n1i11in1un1 of b~ckground dct~1iLo;. Fla'-111,lll C<)n1prc,se,; an entire

LINE, MARK, LINEAR CODES AND lOUCH 95

ln rar} 111rr t \ 111tl, ,1 -,111 II co111pJ-,:-;. -r he ~l't"ed ,vitl1 , vluch
f-tJncrsLO dt (,oyJ L-OpteJ Llus sheet. 111 his o,vn 111.k ,v.tsh
dr.t\\ 11Jg ol / hH•, [ 1.11r< ,if 11,it,dcd f."i,1;11rcs (r795; i'v1.tdrtd. 13tblioceca
N,1c1<n1.1l), is re11111 k.1bli:. Although (;0)':1 .tpp:1ren tl y relied on an
engr.1ved pl 1t~ a-, h1, ,ourcc. l11s tl1ick .111d r.1ch er cur, <)!)' lirush
liuc, o,c.:r tr:tl e-; llf t h.,r, u.11 UthJt'rdr.tv. ing .trt' \'t·ry clo, e co lhe
qu.1lit~ elf f-l.rxn1a11 \ original pen linL~\. Go, ,1 l1a\ reope11e<l the
ch.1111 of tlrJ\\ ing• tl t,tt l1a~ l--,L'l □ halted bv its co11,·er~1on mto
.1 prllll.
Sequential Sketches
Ir ha., been sugge,;ted that C,o·yl \ prl\7ate dr.1,,11n.g albt11ns ,vere
c;irefullv planned ,n n ron a nuo us c;equence as 1f unfo lding a
~er1es o f rel.tted 1111.1ge, a11d tben1e<,. 1 L1kevv1,,;e, the ,eL1uenc1.1l
cell'i ( )f <.lra,vr1 1111ages 111 Pica~-;o \ car11e1s ~ugge~t tl1at they could
be vie,,·ed i11 a rapid cinctnatic sequence, J\ ui a cbj]<l's llipl1ook.
S0111e tin1e~ the chJngcs vvrought i11 the repetitive seque11ccs of
liis dra\\'Ul<!S arc ~o vcrv
~ ·J slight
.... as to den1:ind the anin1ation of
page-rurni11g co urtderscand their n1yst erious potential. '~ I ~pec-
LLl:ire, v.richout evidence rn rhi!) regard, that Picasso used the activ-
it") of co11ti11u.il redrav. ing and tht' !>en1i- aucon1,1tic repetition of
in1age~ tt) cover up 3nd legirin1ise period-; <)f creative block, in
the e,pect,1ti<.lll th.it evet1tu.11ly repetitio 11 \,\'Ould lc,1J t<.) brl'ak-
through. Tlu~ t5 c1 stracct-'Y kt10,vn to most creative artists ,,.· bo
have had to deal with i1IVe11tio11 111.ertia at son1e tin1e 111 their
career.
Unrelaced sketcl1e'l and chance events co11uno11ly disi-11pt cbe
~erial i11111lications of artists' sketchbo<1ks, vvhere narratives of
dcvelop111ent unf<Jld in ,equeutial dra"ving~. Mo,t arti'>t,; casually
use -;keccl1books upside dov,n to ,nake a hc>rizont.11 sl1eet verti-
cal or vi ce vcrsa, or cl1cy ,,.,ork fron, back to front or skip pages.
not to n1cnt1011 lea,·ing a sketch.book inco111pletc. Ma11y sru.dio
resource ~ketchbooks are b0Lu1d ti·on1 loose pages. 01nd 1nost of
the f:11nou~ albu111s - for exan,_p le, th ose of l)i:irer- have been
"""en1ble<l and re~,,;~en1bled at different ti111e~. 111 Collecrcrs-, ,vho
tradirjollaJly ,;rared dra,ving~ interleaved in lc1rge albun1s, there-
fore ig11orcd the haphazard studio condition,; or
sketchbook use.
rfhe unfold111g pages of bound sketchbooks arc ideal for record-
ing artistic jour11eys, and travel sketchbooks (ki10,vn from the fif-
teenth century 111 lr::tly as racc11i11i di ui,1.ggi) 1nilue11ced the serial
developn1ent of prinr public~1tions of topographical views or
Jntiquitit•,, v,hcre- the <>b,erver could e111uh1re the journey fron1
'>ite l(l '\tte: print~ t)f R.onit' for rcligiou~ pilgrin,~ ,vere ,11,vay<;
popular. In Jrch1tcctur.tl .ind design pr.1ctice. the reciprocity
bct\vecn the t1111e- b.1Sed ,;pac1al experiences and \tagcs of build-
ing or proces,c,; of 111a11utacuirc is nlirrored deliberately it, the
,eri:11 co11ve11c1on of '\tJged dr::i,v1ng. PL1.ns, elevation.,;. proJecnons
and detaileJ \V()rki11g dr.1",·111g-, follt>\V a de\'elopn1e11c.1I ,;equence,
96 T H E LINEAR E-COJ\JO r1Y
,vhich i.f not exactly the san1e as the practical order of con-
struccio11, con.finn sy-;cemat1c ond serial connections bet\veen
part and ,vhole. N.-irratives of l,uilding use have bel'n extended
through ( ' Al> proce~ses. Conce11111orary architect,; no,v often use
an1 111ated 1,equence, of virtual n1ove111eut t11rough evolving
l1t1ildi11gs u1 lieu of old-fasl1ioned presentation drawings for their
clie11ts i11 order to reinforce tbc tii11c-based experience of arcl11-
tectt1ral spaces.
The abihry of drawi11g to nnfold in ti111e ar both n1icro and
111acro levels 111ean,; tl1at it readily serve~ tin1.e-ba<ied disciplines,
fi·o111 book illustrarion co co111ir boc1ks, gra_p hic novels or a11i-
n1atio11. Richard Serra (b. L939) , for exan1ple, ha<; 111.itie 'itory-
l1oard-likc sketches envisaging how spectators 111igbt approach
tl1e site a11d view his sculpttu·al itistaliations, 17 and i11 a srnall
sketchbook of 1969 (Cologi1e. private collection). Sign1ar i>olke
(b. L94r) created sin1ple brL1sh dra,vings of furniture that develop
~equent1ally over the -;ketchbook p:1ges like a con1ic strip. Tn a
~equence of the,;e si111ple li111;' Jra"vings in watercolour on cheap
lin ed pctper, an u11holstered cl1c1ir. wl1ic11 variously !)eco111el'- a tall
,1rn1chair or a coL1cl1. has bee11 assigy1ed cl1e significance of a
hun,an-like presence. and it freely defies gravity, space and scale
m the m,1ru1er of coniic books. It glides and hides in :i Looki11g
G1::iss roo111 where other objects 111ysteriously expand a.nd con-
tracr around ir. .Each cl1ange of ,;cale or register seeks co11cinu-
ity. ()r a111u5i11g di-,cc111rinuity, in the next i111age, vvhile the bru~h
outlines never lose tl1eir abstract and as\ertive lin earity. 18
Dra\ving, of course. for1u~ tl1e bas~ of th e protean figt1ral
transforn1atio11s of a11i n1ation. and it is not by chance that this
l1as become one of the n1ajor gro,vtb areas of design i11 tl1e ea1·ly
~venty-f1rs.t century. Computer ai1ii11atio1i respo11ds to tlie expo-
ne-nt1al increase of technological sophistication in k.ine111atics,
couplt>d ,,·ich che desire co achieve ever greater ,;in1ulacra or pho-
cograpl1ic and filn1ic reality through increased l)ixels per fi·a111e
(son1etin1es called voxels \,\'hen their spatial position h:1s been cal-
culated) a11d n1orc fluid hun1an-iuspired n1ove111cnr. ''' A1ii111ators
eve11 co11struct virtual figures by buildi11g l1un1a11-styl!.! graphic
skeletons, on ro wl1ich they anchor virn1al n1uscles and blood
vessels covered ,vith subcuca11e-ous fat and skin., a11d 1nodel fine
joint n1oven1e11cs based on the actions and faci:tl expressions of
actors or avataTs.·111 Even 1nore significa11 t than thi'> cu riou~Jy
redundant reapplication <)f traditional anato111icaJ studies is the
fact tl1at tl1ese three-di111e11sional, anin1ated figures ,ire based 0 11
linear "vire-fra111e .i.nfrastrttcturcs, whose o·iangulated geol]1t:tries
are an1p litied into infu1itely s111all subdivisions around whjch
su1faces ca n be \Vrapped: a systen1 s01necin1es referred to, con-
fusingly, as digital clay 1nodelli11g. 11 Such wire-fi·a1ne figures
have an an cient lineage in Westen1 art, a,; analytical, geo111etrical
diagra1115 \vhereby the ;irtists Lec.)nardo, Piero della Fra11cesca,
lJccello and l)iirer could dc111on'>tratc i.-;sucs of projection, pro-
portion a1Jd n1oven11.:11t.
 •

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51 ?Paolo Uccello, S111dy of ,i 111st' i11 /Jer~Jll!(ti11t', drr,1 1450- 70, pen and dark hrt)\\ 11 111k. vo x ~40111111. rlorenrl·, c;alk•n,1 degli
Utl121. Gabinecro l)isegni e Stan1pe. r758A
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( (;1!$111111 r/1)'/ /1 II IIIS,
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gr,1phite. PrivaLe
colleccion __ j_ ~

Volumetric Codes: Linear Modelling
D(irer·s Stud}' .for r/,c Prayht~ Hallas o_f an Apostle, discussed i11
chapter tl1rce, 111akes virtuosic display of curved contoL1r lines for
describit1g the ·volu1ne and surface con1plexitjes of n_ pair of
tapered an.d very gothjc hands, vvith a l1nuted exploitation of
curved linear cross-hacching in the shadow areas and tl1e fubr-ic
highlights. The open net of interconnecting lines n1odels and
encircles cl1e co11.1plex for1ns through entirely li11ear 1uea11s. [r1
the ro11r Books t> II H11111a11 Propor1io11 (1528) a11d Di.lrer's prepa.ra-
rory sketches i11 the I)resdco Sketchbook, be developed a series
of shorthand sysrems tor gridding, 111.easuring, con1paring and
articul1ting figures, both n1ale and fem:ile, old and young. These
inc lude stereon1etric figures whose body pares have been redt1ced
to si11111le block,;, so111eti111cs v,:ith truncated pyrc1n1ic.lal-shaped
bL·dd\. like the articulate<l wooden 'lay figures' or 111odels of the
bun1an figure ,vith joi11ted li1nbs Lhat artists :,till use in t]1eir
scudios to stud)· lllO\'e111ent. Sucl1. diagrairunatic figures depend
on .1 k.110,vledge of Linear perspective der1ved fron1 [.>jero della
Fr.111ce~c.1, and the complex n1athe1n1t1cs of Luca Paaoli, author
elf De diui1111 11ro1>ortion£, ( 1509), "'·ho \,·as closely associated vv'ith
Leonardo in Milan; 1)i.irer con1.posed his ow11 treatise on 111ach-
e111acics in 1525. Di.irer's book explores tl1e co11structio11 of
co111plex geo111etrical sl1apes in the n1a1111.er undertaken by Piero
m b.is owt1 Boo/.: 011 Ifie Fiue Regular Solids of ril'ca 1480. 4~ A
fa111oas drawing of this geru:e, traditionally attributed to Paolo
Uccello ( 13,97-r475), is tl1e St11dy ~( a vase in Perspedive, ,vhich
has diagran1matised aJ1 orthogonal vie,v into a linear fran1ework
of great con1plexi ty a11d elegance (pl. 5 r). 4:\ So111e of chis under-
standing of '111o<lelJing' space witl1in a fra111ework rnigl1r l1ave
i1npacted 011 Leonardo's ope11 ar111ature drawing in connection
with d1e Sforza equestrian monument, wbicl1 J1e explored
ben,vcen 1+90 and 1494. -14 An exan1ple of Du.rer's experim.enta-
tion with transparent wire-fran1.e human figures using curved
rather than angular sections is a dra,v11 sheet fi.·0111 the r)resden
Sketcl1book, Pro1Jortio11 ,c:;111dy of a Fe111alc F({?rtre i11 Profile, in \.Vhich
l1e has consL1·ucted an open li11ear fra111ework for the artluess
feo1ale body, ,vich each sectional slice representu1g ai1 eigl1th of
the total body beigl1t (pl. 52). Tliis is different 6:0.1.11 Diirer's
Ltsually flat frontal or profile measured contour dra'-'vings, because
the body is depicted spatiaUy in three-quarter view (head iu
profile) and divided by elliptical sect:io11S.

98 ThE: LINEAR ECONOMY

 •

54 B:.tccio Bandinelli. (?)TT1t: Deatli (!{ Clt'opatr..1, 1530s. red cb,tlk. -260 X 203 1n1u. London, The British Mu!icu1n. t96;i,051.2.3
 fhe box-ltk~ ,ch~ 111.1t1s.1t1on of f1gun..:s en1ploy111g q11,uh~1t111u
(squaring up) ,,as ernplo)L'd ,1, , proporno11al :..horth::111d by
L0111,1z10. ('.1111b1.1~<1 :ind Liter rtuben._, - (':in1bia,;<) regul.1rl, . , u,;ed
tl11, n1i:thnd 111 ht, cornplt·x CtllllJ1l>,ll1<>11.1I c;tudie,, for ex,11111,le.
Ill hi, prep:tr?tl)f\' ,rudy fc.>r Th,· .\ l ,1rri,l,l!t' <!( 1/ic 1·11~{!i11 (pl. 55) tor
unl~ t>f l\Vll ti·l,tt>es th,1c he pai11ted in rhe C11thcdral of S,u1
Lnn.·nLo 111 c;llll>J in the yc.:~r!> 1~67- 9. 111 tl1is s1..1uarcd-up '>hcct.
rhc .1bstr,1Ctl'd <.. ubcnd tigurcs act out lively poses 111 relation to
the c111pty arch1tcctural tr.1n1e. which C an,biaso has not stopped
to detail. Ink ,va~he., 1dd ,-olun1t' to rhe vef) tronral con1r>os1-
ciu11 by de.,1g11,1ung l1ackgrounLl ,h.1clo,\ c)r preci>e turning of
pl,111e): 111o~t <>f C,1111b1,t'il) ·~ co111po'-1tio11al studie~ involve Ul'c11er
rt'Cl-.-.ion 111 ,vh.icb the cubo1J figures tli:-.port then1s.elves.
I loga_rth attcu1pted to describe a ,v1Te anatonuca.l d1agran1 chat
;ippears 111 Plate 1 ot 1he r-lnalysis o.f Hc,1111y (1753). It is achieved
by t\v1c;Dnp; a ',v1re' around J f1gure, so tl1at 1t retains ' rhe sha11e
of rhe p.:n~t-; 1t p,1sse<. over'. He appreciated tl1ar rl1e ,,·ire was
i11tcrch,1ngt'able ,vich a line: 'it 111ay 11roperly be consi(ler'd as one
of Lhe threads (or outlines) of the ~l1ell (or t'Xternal su rf.ice) of
tl1c hllll1a11 for111: .u1d tl1e frcque11tly recL1rri.t1g to it ,vill assist
chc 11.nagi11acio11 111 its concepoons of those parts of it. ,vhose
sl1apes are 111osr rnrricately ,·ar1ed'. 11' When 0,;kar Schlenu11er
{1888-1943) constructed a tearb.ing progra.inme for tbe Bauhaus
in rhe 1910,,, ht' reinvc::nred a 111ol1ile ,,,ire-grid figL1te constru cted
of parallel elliptical ~eccit>n<; tJ1ac o,vc::d 111uch ro Dtirer and "vhich
he na111e<.I ·plaslic n1,u1'. Drawin~ of thi-; Auid, dan ci ng figur<::
serv<..:d as tcachin1.1t, diagra.i11s in rel.1tion to issLtcs of n1ovc111en.t.
< detail. ln additi.011, lie uses cross-hatch.ii1g ro indicate deep
proportion and scale. and ir ,vas realised thrce-dlJilensionally in
Schlen1n1er's theatre designs. 17 Schlcn1n1er's tra11Sparenr, n1obile
figure. ,vhich he called 1bta! Rl,yt/1111 (2) Ellipses (pl. 53), is the
clirt'Ct 11rororype of the fa111 iliar n1echani'>tic hun1anoids that Aoat.
>5 l t1ca <. an1h1'.\,o, S111rl) _ti1r ··11tc 1\lt1rr1agc •!f rite l ,,1~ei11', rirrc1 156~). pen and bro\vn ink ,vith bro,vn \,Vash over black chalk. squared in red ch:ilk for a-ansfer,
96 X 198 111111. London. The 13rici~h Muscu1n. 1946.0713.294
r-
I
(~·
I 00 THE LINEAR ECOi--lOl"'Y
,;a·etch and n1orph then,selves on our co111puter and television
c;creens in aU sorts of complicated fureshoTteninw;. as do all those
anin1ated objects conc;trllCted Oll( of ll1Lllti-polygon \\1re StTUC-
cures. An early exan1ple or this no,v-ubiquirottc; ani1nated figure
,va,; the C l1rysler Corporation ·s Cyber111a11 ,vire-frruue n1anilcin of
t985, wh.icl1 was square in section like the stcreometric figures
of C:in1biaso a11d articulated in a very sunilar manner. With the
incredibly quick advance of digital technologies, th.is figt.1re no\v
appears crude and outn1oded. but its principles have been readily
c>xpandc>d for pol)·gon rendering.
Linear 111odelling is particularly suited to l1ard n1edia sucl1 as
1netalpoi.t1L ,1t1d pen a.ud ink; Qllt conve11tional codes for indi-
CcLting vo] u1ne tl11·ougl1 line can be drawn it1 any mediu111, a11d
rhe PlorentitJe sculptor Bacc10 Ba.r1dinelli (1493-1560), also
k110\vn fur \Vild pen contour drawing, co111bines a huge range
of lin ear hatching 111odes i11 his elegant red chalk drawi11g (?)TI1c
Det11h cif Cleopatra (pl. 54). The sen1i-nude figure holds a lock of
he r l1air. or perhaps a 'it'rpent. and could date rroin the 1530s.
Co11trolled, sl1ort li11ear strokes of red chalk are e111ployetl to
dttscribe tbe planes of the breasts, right shoulder a11d upper ar111,
and the subtle forn,s of tl1e 11eck n11d uptl1rned face, wh.icl1 are
viewed 6·0111 below. Mo,, ing tl',vay fi·or11 this sensual precision,
Bandi11elli employs hatchings in a much freer wa,· in rhe left hip
of the figure: ~\Viftly and broadly i1npressi11g a sequence of
c;loping parallel stroke~ that sin1ultanet)l1~ly define the volun1e of
the figure tlu·ougl1 indicati1Jg a flacce11ed plane ai1d cai1cel out its
shadov.rs i.t1 tl1e drapery, a11d bis l1and has 111oved corifide11tly and
Svvifily around the figure, redefining CLlrves of body. drapes and
the elliptic::il dishe~ held in the figure's po,verful left l1and, so as
to reaffirn1 their abstract desig11 relarion.s1,ips and participation in
- ,
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1
56 Hen ry Moore. M{J11u·11 M i11d111g J,Vi1()/, 1949, crayon :ind ,v:ttert-olour, 348 X 6361n111. Ne,,· York, Mu~eu111 of Modern Art, (;1ft of Mr. :ind Mrs. John A Popi.' 111
honor o[ Paul J- Sachs. 244.62

three-din1ensional 111ovc111ent. The free ,vavcs of l1air st1ggest a
Venus from the sea, or a figure \\'ho l1as just blown in fi-0111 s0171e
other "'orld who.se 111ove1nent j-5 spinning to a halt.
A modet71 and expressionist ,,ers-ion of this linear code for
defining volu1ne and n1ove111ent i~ explored to excess in T,f,1<,n1c11
~l'i11dit1;Jf H{10/ (1949; pl. 56) by Henry Moore (1898-1986),
altl1ough its pote11cial n1otion has beeJ1 butted u1to n1onu111en-
tal stasis. Tbe curved lines tl1at captLtre and e111ncsb the si111pli-
fied for1ru of tl1e 11ead.less fe111ale figure~ establish a ho111ologi-
cal relationship ,,,-ich che st1bject n1atter of \\,inding. Moore. vvho
vYas much influe11ced by Georges Seurat (1859-1891) at the tin1e,
ravels his head1t'~~ \,VOl11en \,\'-ithi11 the skeins of their O~' n
\.V111ding thread, very 111uch in the ,vay that Le\vis Carroll e-nfolds
a son1nole11t knitcing ,hee_p inco tb0 skeu1 of Alice\ dreai11 nar-
rative 111 .t-1/icc thro11.~!1 rhe Lo<1ki11g-Glass (r87r ).
,, 0

LI NE , MAR K, LINEAR CODE:S AND TOUCH OI

 cc>louring-in co con1plece tl1eir 1ni111etic Stlggestibility. Gris's
dra,vj11g d.e111ands vo]un1etric co111pletion by t,l1e spectator
tl1rough a syste111 of graphic hints and 11.udges. Each curving line,
,,·mcl1 supersedes a carefulJ)' erased underdrawing, is slightly
cluckened in some area.s to suggest volun1e and shadovv, \vhile

'(!""
J- t:1c1al 11lnnes are entirely rendered through linear cor1vention~ of
blocking-in forn1s. Only in the grainy eyebrows and the sligl1tly
)
~ -
I I.. ~-' y
(
- sn1u<igy sh..idow LLlldt'r the collar does the artist depart fi-0111
~ u11ador11ed linearity by usii1g graphite as a broad tool. At no

~
po111t, ho\'.·cver, do the lines join. i11to a conti11uous contour and,
like the careful caJib,·acions of the thick and thin pe11cil lines,
I -
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/ ~
,;
eacl1 break or i11cerval seems ch::irtered v.rith av.reso,ne delibera-

~~=- r
tion. The drawing brings to 111ind a comn1ent t\1at Sarah Stein
recorded fron1 Matisse's pedagogical 111usi ng-s in hi~ drawing cl.as~,
\\'hich she helped to o rganise in 1907-8: ·One n1ust alvvays search
for tl1e desire of tl1e li11e. where it wishes to enter or where to
die a,vay: 511 Gris manipulates the desire of the line i11to a classi-
I '
cising convention that evokes both lngres's pencil drav.1ings and

I ) • cl1e forn1al composition of I>ot1ssin's Seff:Portrait (1650; Paris,

I l1ead, ,vhich is forn1ally repeated in a sn1all wc1isccoat pocket
57 JuJn c;ris, Porrra,t q[ ,\ l 1L\" Jaco/J, 1919, gr~plur.:. 365 X -.ri7 n1J11. N c,v York.
The: ~lll\C:lllll of Modern Art. ( rill or j ,llllt!S Thrall Sob,. 3020
Encoded Outlines
On a white surface, a sheet of paper, with pen and ink. you can, by creating certain con-
trasts. create volumes: by changing the quality of lhe paper you can give supple surraces,
bnghl surfaces, hard sucfaces. w1thouL howeve1, using either shading or highlights.
Henn Matisse••
A flne s1n1ple ouUtne may possess gr.-ice, a<.tion, expression, character and pt·opor lion.
George Cumberland •
Ap,1rt fro111 the con.struction of a din1e11sional grid for ~uggest-
1ng: volume. there art' ocher reductive li11e.tr syste111s that suggest
space, tm1e or aspects of e111bodu11ent in subtle ways. Lines that
knovvingly e11code volu111e and plasticity through subtle varia-
tion~ of \veight in cttr~l\'e strokec; are used by Juan Gris (1887-
1927) in h1~ ,vell-knc>,v11 l'urri11i1 <?( 1\ l,1.'( Jaco/J (1919: pl. 57). Like
the n1ech.1111stic <lutl111e~ of chose ch1ldn!i1's hooks that invite
Musee du Louvre) 1n the rectangular fi·::in,e behind Max Jacob's
detail.~' Such references are rei11forced by the solid proportio11~
of Max Jacob (as co111pared to the atte11uated and slightly dis-
en1bodied aspects of Pjcasso 's Lydia Lopokova, described with
ti11e outli11es) and the 'vvay i11 \vhicl1 tl1e figure generOLTS1)' fills
the dra\.vi11g sheet.
A similar l:)rpe of inflected Line can be arrived at b·y rocally
different n-i eans in co1nputer grapl1ics by 111eans of 'cur-out' or
'grapl1ic pen' cools wl1ereby digitised photographic i111ages are
subjected to an 'edge decectio11' filter, ,vl1icl1 erases tl1e volu-
111-et:ric body of for,ns in fi1v:our of a shadowed outline. In th.is
1nirror reversal of rbc usual dra,ving process, tl1e outline comes
at tl1e end of che process, rather than constituti11-g an initiatory
delineation. Using such tools, it is fairly straightforward to ::irrive
at a negative dra,ving chat appears to encode lovv relief. rather
in the 111a11ner of Eri c Gill's 1V11de f l/cl/11t111 Recli11i11g 011 a Leopard
Skin (1928; pJ. 58). Here, the sculptor, c11graver antl typographer
Eric Gill (1882-1940) employs a linear strategy ste111J1ung from
tl1e neoclassical calligraphic engravii1g styles discussed ab0ve. Tl1e
strictly co11trolled relief s111udges arotmd the ct1rve of bt1ttocks,
breast, shot1lder, leg and face evoke the shado,vs of low-relief or
incised carvings, che techniques 1n.osc exploited in Gil l's ceuvre.
In addjtion, in this unabashedly erotic drawir1g, the shad.ows act
a~ the vibrating interc;ections of forn1al and sexual desire. 51 Un in-
flected line dra,vi11gs tl1erefore rely 011 line as d11ctus, wluch leads
the eye along its length as n1ove111ent, and a very resn-ained use
of li11e as trait, stroke. touch or trace (Laci11 tracttts, fro1n the verb
tralrtre, to drng) only insofar as it subrracts, abscracts a11d extracts.
0

102 THf Lll'll:AR ECOl'J0t1Y

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58 Eric C}ill. Nude ir'0,11<111 Rerli11i,~(! 011 11 L.1.",>J1<1rd Skin, 3 April 192X. graphite, 181 x ,81 n11n. Lc,ndon, The: Siunucl Courtauld Tru~c. Cnurcauld fnsci.rutc ()f Art
(;aJlery. 1). 1932.SC.57

Performativity and Traces of Action mecl1arrist1c by co1runentators, calJ for very dilfercnt readings
froni that class of variable drawn lines that appear to be marked
[A bodily gesture] bears the meaning of thought as a footprint S1gn1nes the rnovement
by the hand and, 1n extension, the artist'~ body. ''' Varyu1g or
and effort of the body.
Maurice Merleau-Ponty inflected lines, which vibrate with their conditions or 111::iking.
involve l1reak~. interruptions, stresses, thickenings and regul.1r or
I want gesture - any kind or
gesture, all kinds or
ge$lure genlle or br,Jtal, 1oyous or tragic: disordered rhythms thal appear to betray the en1ot:i,re state c,f the
lhe gestures of space soaring, sinking, streamir-J, whirling. I see everything as possess-
artist a11d co11djtio11s of 111aki11g. 57 It is not difficult co ::u t ive at
ing 01 possessed by gesture.
F.la1ne de Koonlng~• such straightforward correlatio11s. but of course che supposed
passio1l of a stroke or entire drawing 1nay be enrirel> counter
feit. Within the tinear econo1ny, gestl1raJ 1nark-n1aking chcrctorc
If all li nes, including the digital, appear to 111rite time, and there- is, or e1p1,ears to be. a trace of a perfbn11ative .1ctio11 and e111l1c,d-
fore to invjtc tc111poral rendi11g,s. rhe ql1ality of the spectator's ied state, \.\ hich can be either real or sin1ul.1ted, del1bt·race or
.
respo11se is inevitably li11ked to t 1e c1ualirie:- of line employed. 55 UDCOllSCIOLIS.

The un inRected and controlled o.1tline5 of neoclassical or outline Broken pe11cil strokes th.at appear to be a direc t anaJogue o1
d ra"ving systen1s, often negatively dt",jgnated a!> re111otc. cold and an authorial state of nund activate the drawmg "J-Jc Killed l11s

LINE, MARK, LINl:AR CODF.S AND TOUCH I 03

 rained and concentrated against the edges of the paper indi car-
1ng rhe w:ills (>f the bedroon1. int<) \vl1ich rhe spec L;itc)r has bet'n
~queezed .is \.v1tness. There are three o r four ,rages of dra,vi.ng,
fro1n ligl1t tentative c;tr.i.ight l.i.t1e,; lJying out details of the 111ise-
c11.-scc11t to zigzag tonal 111arkmgs ai1d cluck, broken pc11cj\ strokes
slashed 111to t-l1c paper that struct1.1re the restraining arn1. This
appears to be a shock1ngl')· re,Telaro[)' dra,ving until con1pared
,virl1 grapl1ic represe11cations of con1p.1 rable subjects. such as
l);1,,itl Slaying Goliarh,J1.Ldith Slaying Holoferne-s and J,lel Killing
Sisera, ,vl1ich artists l1ave dealt ,vicl1 for centu ries. Dra,ving., of
]<tel killi11g the sleeping Sisera by Re1ubrandt and Guercino in
'
their d.i.frcre11c ,v"'ys J.re eqt1ally rcdole11c of a transfor1-i1,1tlon of
\ n1iJ11ed gestures into s1.1ggest1ve li11es and 111arks. ln l~en1bra11dt's
dra,ving of the subject 111 rhc Ashmolean Museu111, Oxford,
taking place on a bed, not the Aoor of a tent, legs and arn1~ svvir]
about in tr1~1l con1l1inacions of n1urderous ferocity and veraciry."i;
\ ft i~ not f;111ciful t<.> thi11k of artist~ perfc)rn1ing their dra,vings
I tl1en11,elves, 111in1ing en1orions a11d actio11s in a nlirror; they were
1

( advised to do so in tracts and 111ant1als. A group of sn1all pl1ys-

I one ~ole hand has its o,vi1 "~sible, its tacnJc, each is bound to
~ 1 ..
5\.1 \.\t,llter 'i1ckl·rr. '/Jr Killer/ his l-,11!,er i11 i1 Fi11hr'. cirr,1 1910-14, graph1tt.>.
logical binding of visit1n anti toncl1 can endorse a se11Se of pres-
Jll-1- X 283 nun. J'v\JnLhc~rer. TI1c Un1ven,it) uf M,11H:hc~ter. Wb.tt\vorrh Art
C;,1llcrv. !). 19<10. ,,,~
r:,11/,er i11 n F·i~/11' (pl. 59). b·y Walter Sickert (1860-1941) of,vhich
little ,., k110\\'n. ~ickert ,,Tas su~ecced 111 l,jc; c-in1e of being the
Can1llet1 To,vn Murderer, and 111 a recent se lf-fL111ded forensic
i11vt''>t1gation .ind highly concrover~ia l book l1y the An1erica11
tlctc:ct1ve ,,·riter Patricia Corn\.vell, ~in1ilc1r in1age<; ()r violence
,vcre adduced a, direct cYidence <)(guilt.The rai~cd ar111 o f t11c
n1t1rdcrer, ,vitl1 reiterated curves of pa.,vli.kc h.u,ds extended
above ht~ re11sely do,vn,vard-tur11ed head, wh.ilc his left ar111
iogno111ic drawi11gs ~1nd etched self-portraits by tb e young Ren1-
bra.ndr are clearly based 01J acted-01.1t expressions of tbe passions:
exaggeratedly \vide-e)·ed, ang ry, smiling o r open- 111oucl1ed in a
shout of execr:ition. ~9
T<lc?ncificarion ,vith the pac;sion or speed of a 111ark a-; an ana-
Jogical trJ.ce of artistic e111bodiule11c .is sustained ,vitl1in tl1c
dom.am th..it Merle.iu-J)onty describes as intercorporeity. 'Tb..is
tueans tl1at wl1ile cnch n1,011ocular vision, each ro11cl1ing ,vich
every ocher vision. to ever)' other touch:"11 Such a pb enon1eno-
ence or being-thcrl' that i11duces a blind11ess t<J cbe l1i:.toricity of
process and int~ntion.il codifi cation of n1eanings. N evertl1eless,
Sickert's probably unco11scious device of lea,1i11g space for a
witness 111i1/1i11 the drawing n1akes a very effective tie ,vitl1 the
spectator "-·ithou t. In ai1 older work, tl1e iror1-~il ink sketch of
The Dre(lnt ~( 1-l e11eas by SaJvator Rosa ( pl. 15). the artist conjtrres
che dran1a of the ;1weso111e a11parition of the river god of the
Til1er throt1gh tl1e c;la-;hing speed c)f the 11en, with heavy• direc-
ciooal line'i contai ning tl1e whirling contour-; a11d broken Sy-J1co-
pacion of tl1e ftrst layii1g-do,vn of tJ1e figures. There are 'iO 111::iny
pe11fit11c11ti and dark, acid-corroded scribbles i11 the figu.re of the
drcan1ing Aeneas \,\ ith its ,vild u11der- traccs of black cl1alk,
7

hold, do,\. n hi-. v1ctin1 l>n the bed, for1ns a taut con1positio11al
.1rc, ,vith the .1nguished head hanging over the edge of the bed.
The co11ce11traLio11 o( 111 0,e ,nent i, acce11tut.1ted by the reinforct:d
lu1c-; scra,, led '" 1th di!Tert.'lll inte11sities of graphite, on the att-
tacker. torso ot the n1urJered 111a11 a11d the he,lv) )hadow~ LtJJticr
rhe bedsheets, 1nchorClt \.Vitb a surpr1<;1n~ little circun1st.u1tiaJ
detail <)fa CJ\lor ()11 the bed leg. 1 he cu1ptmess o( the pJgc to
the right c>f rh1,; .1ction n11:anc; th,1r the forccfi1I lines are con-
ho,vever, that our atte11tion is tira"vn 111ore closelr to his lack of
quietude chan the river god , who is cli111bing out of the Til)er
co help l1 i111. The c<>nfusion of the- sketch i'l rectified in the n1ore
for111al, r\!vert-ed etchin g of the ~a111e ,;ul1jt·ct. \.Vl1ere d1e god. bal-
ancing on a spilli11g ,,,ater pot, gesticulates tO\.Vards the: fi..tttt.rc site
of Ron1e ir1 a Aurry of movi11g draperies a11d sea weedy hair. in
contrast co Aeneas sleeping 011 his shield. Tl1e dyna111ic connec-
tion bcnvcc11 the ctcl1ed drean1er and tl1e drearned i.s empha-

10 4 T l-IE L NEAR !:..C.01',1011Y

Sllied by the darkening of tl1e forest backgrou11d witl1 linear
strokes, so that the tvvo figures are dramatically lit by contrast -
•
recipients of the whlteness of the paper st1pport on to ,vlucb
they are printed. 'Eve1y visible is cut out in the tangible, every
-
tacti1e being in son,<.-' n1.11111er pron1ised ro visibility ... Since the -
san1c body sees and touche,;, visil)le and tangib1e belong to tl,e
~a111e ,vorld', ,vrote Mer.leau-lJonty/'1 and our co11tingent readi11g ---
•

of the pas-;ionace tactility of Rosa ·s dra,vi11g 1s exacerbated by the -

clistortir1g manner in th.at the acid ink l1as spread and opc11ed up •

Imes and corroded the paper into l1oles. lt is difficult 11.oc to con- •
flate cl1e degradation of material that has happened in real ci1ne
with the apparent ti111e encoded within che wild gestural traces.
Botl1 tl1ese tenl})Oral lspects have beco111e en11)edde(1 ,vicl1i11 tl1e
vie\.\retl dra\.ving and indeed co11'ltitute a signiricant l1istorica.l
an1pJification of its pl1eno111enological statu~. They contril)ute to
the dra,ving·s surplus ,vithi11 and arou11d ,vhicb 111.ca11i11g is
inscribed bv, the viewer.
Most, but not all of Goya's dra,vi1igs kno,V11 as ,S11c1]()S, Drea111s,
for1ned the basis of the Ca11ric/,()s suite of etching.; pllbli~hed in •

L779. S11e110 110. 5, the dra\ving for the etching entitled There fr
•
Goes (AIIJ v,1 es()), achieves intensity through qualities of line and
co111positionaJ ruea.ns ii1 a.ss()ciation \.vitl1 chance effects 11ot aU
of which ,vere incorporated i11to the fi11al in1age (pl. 60). S0111c
of the scratchy brown ink lines of the fu·sc stages of the work
~pread and beca111e ft1zzy ,1vheu tbe drawing ,vas dan1penad and
put through the press to transfer the in1tia.l design to the copper I

plate, son1etbing that Goya often did when evolving graphic I

idea!-. for prints. The artist see111s to l1ave responded to these
chance effects when adding the heavy, insistent lines and scratchy
hatchings of the landscape belovv the witcl1 a11d disciple, :u1d the
whirling scribbles of ovvls and otl1er beasties in the sky, includ-
ing a demented cat with its fur sta11ding on e11d. The contrast
between the tipper and lower registeTs of chis worked dra,vi.ng
is reinforced by the slashing lines of the fi·a1ne, ,vhich as<;ert
che elongated proportion of the in1age. Tbt: ,vitches, elevated
bet\veen earth c1nd sky, n1ock the ethereaJ perfection of the
sacred figures floating in the upper registers of religio.us paint-
ings, and tl1.e older witch's emaciated body is the very inverse
of the clothed u11worldlint>ss of saintl)' figures.
The a·ace of an action that constitutes dravving is not only
related to the hand or the traditional n1aterials and tools of
drawing. In tl1e 1950s the Situationists wa11dered arou11d Paris
111appi11g out a series of bodily encou11ters to constitute a
psycho-gcograpl1y that 111ight or nugl1t 11ot be charted in a.i1
actual grapruc n1ap. Such. practices have beco111e the repeated
orthodoxies of later conceptual and perfor111ai1ce art. Since the
late I96os artists have used their o,vn bodies to pace and describe
the boundaries and limits of a perforn,ance <;pace, charting a
-;patial and ren1poral d1agrant througn licking a line <;ucb as Vito
Acconci (b. 1940) dicl in the three-nunute fil111 called Lick (1970),
60 Francisco Goya. Thcrt It Cties (Alla 11,l cso, S11l!1ia 110. 5) preparatory
clr,1\v111g for Capncho 66, 1796-7, pen and brov,n ink, 235 X 171 1n111.
Madrid. Musco N:i,ional dcl Prado. D..µ06
•
or inv1t1ng <:)tiler~ to ~queezc i11to narro\v '>paces or pres~ up
agai.i1st tb.ii1t,rs i11 darkened roo111s a11<l so co1nplctc a 'relauoual'
,vork. 1'3 ln 1971 ilobert Morris (b. 1931) descr1.bed such 111ter-
active enviro11.111ents in !us Tate rerrospectlve as acknowledgrng
that 'rhe ,vorld begins to exist at the lin11ts of our skin and ,vl1at
goes on at that i11te1iace between the 11hy.,ic.al self a11d external
conditions doesn't lierach us likl:' the detached glance."'~ The
1950s was al~o the tin1e in France "''hen Jean Dubu.ffet (1901-
r985) clain1ed tl1at tl1e traces of l1is ,vor.k.s ,ven: 'produced by tl1e
ele111ents themselves . .inscribing tl1e1nselves directly, v\i.thout the
intervention of any other medium; that of J prin1ord1ally 111n11e-
di:1te, pure in,age, with no alteration in tra11scri})tion, no begin-
ning of incerpretatio11, in1peccably ra\\''. 1' 4 And Lhe 111uliro1><1111e1ril's
oi Yve<:. Klein ( 19.2.8-1962), 1n ,vhicl1 c;1refully c)rchestr.1ted
111odels left the crace<; of their pa.Int-covered bodies 011 paper,

LI N E, MARK, LI N EAR CO D ES AN D TOUC H I 05

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(,r Ahgh1t"ro i: Boett1, {lnrirled, T!J90, g raph 1tc and ccn1pcra 011 111ounted paper. 2700 x 3 1oo nu11. Padua, Chiara and Franct·~co Carraro c:ollection

vvere 'li.ni.ilar1y ackno,.vledged, under tl1e influe11ce of Merleau- topic of this drav.,ing. As \veil as tl1e delicate dravvn li11es describ-
Ponry, as 'the represe11tatic)n of pure phe110111e11ology ... tl1e ing t11e tautJ1ess a11d distortion of tl1e suppGrti11g lattice- work,
trace of the.: it1u11cdiate'. 1i5 tl1ere is a sL1perin1position of the .felt se11sation and sl1ape of ilie
111 a fasci11ati11g drawing, Untitled ( 1990; pl. 61), traces of body- seat 011 top of a conceptt.1al grou11d plan of the chair. In fi·o11t
v,:riong can be read m a late pencil study of a chair by Alighiero of the chair is a straigbtforvvard linear dra,~ing of a walking stick,
e, Boect1 (1940- r994), as the artist preferred to be known, in a suggesting either a11 incapacitated body or sy □1bo1ising an escape
doubled per<.ona. The cru-;h ed ~tate of the very large piece of fi·<.)111 sitting. 13oecti's drawing e1nbodies a vein of conceptual
paper ,;uggc~ts that it l1a\ been folded around the ,1rtist's body hun,our in tl1e way that the e11tire body has beer1 involved i11
v.1 hdc cxplor111g the scn,.1tio n\ of sitting, wl1ich sec111 to be tbe this perf()r111ative drawu1g project, a11d opens up questions of cl1e

I 06 THE- l lNEAR EC ON O MY
problems of deafu1g with tl1e 1utangible that many artists would
66
like co address in their drawings.
The incorporation of the body into the work in 1nodermty
exjsts side by side with so-ca11ed aL1ton1atic practices, ftrst exper-
in1ented in ,vriting forn1 by Andre Breton, v.1luch depe11d on
varying degrees of delusion with regard to the agc1Jcy or lack
of hw11.aI1 interventio11 in processes of 111aking. ln tl1e 1960s
Robert Mot11erwell (r9T5-1991) revisited su.ch St1rrealist n.o tions
when he eJ\.-periin.ented with ,vbat l1e called 'unndtdterated
antomatisn1' u1 ms
Lyric S11ite drawirigs of 1965, si1nilar to pro-
jects by Mark Tobey ( 1890-1976). Motherwell produced up co
forty drawings a session, \VOrking vVitl1 inkc; on JaJ>anese rice
paper 'witl1out a priori traditional or 111oral prejudices or a 11oste-
riori oi1es, witl1ot1t iconography, a11d above all ,vitl1out revision
or additions' .67 A ·scrapbook' drawi11g fron1 thi~ series, Untitled,
fro1n Lyric Suite (1965; pl. 6·2), evokes tl1e freedoms of Zenga
brush paintings, aJthough without the spirin1al resolution that
such Japanese works embody, in spite of their 1neditative renu11-
ciation of control. The vvetness of dropped ink that has pe11e-
62 Robert Motherwell, Untitled. frC>tn Lyric Suite. 1965. bl.tel ink on 1·it:~
paper, 229 X 279 mm. Ne~v York, Dedalus Foundanon, D65-104
•
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trated the rice paper of Motherwell's serial exercise is not far
fi·om the qu::ihcy of dry brushwork that JZ01nan Verostko \vent
co such great le11gths to simulate in L1111g ~ha11 IT. Motherwell
hin1self was adept in u1cluding apparently sponta11eous brush gt"--
cures in tl1e 11eavily n1ediated processes elf pri11t-111aki11g, en1ploy-
ing direct lift-ground ctchi11g techniques or drawing in Tusche
in.k on lithographic sto11cs to reproduce ligl1t. broken scrokes.••t<
As a11 extension of auton1atic strategies and u1u11ediated par-
ciciparion in reaJ time. the e11viron111entaJ sc11lptor Al1dy
Goldsworthy (b. 19.56) has created - or assisted at the creatio11 of
- a serie<; of entirely indexical dra,vings. In the earl1 1990s
he collected icicles and balls of snow fro111 ~pecific Scottisl,
mou11ta.in sites arid left tJ1en1 to 111elt over11igbt on sl1eets of
paper. 111 these delicate natural traces, such as G11rroch Fell
(1991; pl. 63), deposits of soot :1nd earth have been unprinted as
swirling rhyth1ns of b1ackt1ess and emphasis within the stains left
by the n1elting snovv, adding an iron.ic 11arrative of environn1en-
cal pollution by hun,an agency into an elegant drawing nor 1nade
by 11and.
63 Andy Golds,vorthy, G11rn1rh T-c/1, 1991, sno,v, earth 1ncltcJ on paper,
r500 x 1220 mm. Privace collection
•
LINE. MARK, LINEAR CODES AND TOUCH I 07
 •

<>4 Franc1,(o de ( ,oya.

77,cr'rc ' tT)' .\f11d1 Ill ff,1r111tlll)'
(1\ /r1 y anirdrs), 1K-20', bru,h
and lnd1a11 ink. ,virh scr~p1ng
.111d ,0111<' 1rong:1ll.
•
!(15 X t >i5 111111. Ne,v York,
P1c:rpoi1H lvlorg.10 Librar~,
(;1fi nl l:.ugt>ne V1cror .ind
ClJIC l Ji,1\v u1 honour o( •
\,1 r J.1nos \cholz on rht· ,
occ.1~1011 nf h1s ct!-!;htieth
~

b11 chd.1v, 1t)l>.J.. 1

It is intere~ting Le) co11111are these unauthorecl \Vorks v.·ith a
flo,ving bru~b and ,Va!>h c.lra\ving fi·on, Goya\ Black Border Al/J11111
u1idertakcn bct\veen 1815 a nd r829. 'J'l,ey 're Very !Vl11cl1 in liar,11 011 )1
(,\l11y acordcs) (pl. 6+) is the last dn:i,ving in tlu5 private album,
and rhe alread)· profoundly deaf Goya appears ro have interpreted
rbe- s1ng111g t·oup le of blinc.l beggar~ (\1\· hon1 he could not hear,
1f d1c:y \Vere, indeed. -;ec.:n) through rropes oC tactility. Sitting ~o
clc)\C together that the} tou(h. the singing \\On1an cling; t<) her
bli11d partner \,\ ho plays 111us1l tl1rough the couch of }1is feel ing
hands 011 the guu.ar string-,. I lis upturned foot, exteudcd as if to
111ark o ut their territory and ace as <1 barrier, 1s for111all)· bala11ccd
by cl1e wo111an 's hat, w l1ich clai111s her side of the lov: bench on
whicb they are seated and isolated. All this is suggested througl1
strokes of great flL1ency and varieties of ro11ch, i-anging fron1 bold
sac11rated lndi:111 ii1k brush stro kes descr-ib111g volun1c (the
dra,ving has been re,vorked after its i1ncial layi ng out) ro dry cex-
tt1re\, vvh ere cl1e brush just skin1s cbe paper vvhile differentiating
the v.·0111an's sha,vl and -;kirt or the turning plane of a stockinged
leg. Toucli is both the topic and the grap11ic n1eans of chis beau-
tiful and en1otivc dra,ving. ,,vherc tl1e faces of tl1c blind COltplc
arc described ,vitl1 a111azi11g econo111y.

I 08 THE LINEAR f:COr\JOl'-lY

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{11 J RiJn, Ti,bias He11/i11g
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T\)69.69

Discourses of Tactility and Touch Portrayal o f the sense,; vva~ 11articularly in1portanc- in the centuri e-;
pre::cedi11g Goya's dra,ving, a11d to uch ,va,; ofre11 syn1bolically rep-
Colour and hgh1. are ob1ects of sight alone . drawing ... 1s an obiect of touch as well.
resented in painting by a sculptural bust, expl ored by rhe fi nger,;
Roger de Piles"
of tl1e sighted o r tl1e bfu1d. IJc Piles tell._ tl1e story o f a bli11d
Touch is the hand-wnt1ng of the painter: the stroke of his mind. sculptor in wax \•:ho made an1azi11gly accurate portraits &olely
chroL1gh tbe sense of to Ltch: 'ni)- eyes are at 111y fin ger t1ps'.~2
Aspects of touch in the 111aking o f d ra,·•, ings, w here ringers act
Drawing 1s ••• 1.he first v1s1ble thing of the form of the thought. the changing point from
, he 1nv1s1ble po-..vers to the visible thing. It 1s not only a descnpt1on or t he thought .
as seeing and intelligent digi ts, .ire part of a reciprocity ,,._·irh che
you have also incorporated the senses the sense of balance. the sense of vision, the clJJl1c1re11r tactility in1plicatt>d i11 ge,;tu rdl lin e. n1 ,1rk ,111J , trokes. Tl1e
sense of audrt1on, the sense of touch. G er111an artist Philipp O tto Runge (1777- 18 10), fo r ex.11nplt>,
Joseph Beuys
rcn1arked iii a li.:tter about portraiture: ' I c i~ as if you had the

LIN!:, l"IARK, LINEAR CODES AND TO U C H 109

per,011 1n fr(>ll t c>t vou ,u1d telt aruu11d l1is face \-\'Ith the ch;1lk:
• ·7l
\\hert thtre ,l f \: 1.·(inC.l\ 1t1 ,·s. )0 ll <;trLJ kt: t Il l' paper n1c>re <) tren . ·
In .trt, touch 1s both rr,1n,1t1\e ,111d 111tr.111,111,·e: it is the res1>on-
Sl\l' 1Ct ( ) r n1ak111g 11) the ,l r ll \ l , ,l ', \\l'll ,ls ,111 inde:xic,11 Tl'l(lrd 01
1 repn.:,c: 11t.1t1011.1I 111,1rk th,1t sig11ifil.'s t.1 ctilc ,·.tlue,. Ma111fest
touch p.1rt11.·ip.1te, ill .111 1111pc>rt,1nt cross- over J.iscottrse equally
1c:lev.1ut to p.11 11 w1g. sculpture .ind print- u1:1kinr;.
] o ucl1 rel.1tc:s co tl1e perto rn1.1ri,•t:\ and has 111..'ver ce:ised to be
,u, 1111port,1nt 1.•len1t·nt 111 relation to tht.' en1phasi, upon e111icted
, uund, b) the pres,Url' or fin gers. fr.>r t.'X,lllll)lt', Oil a lllll!-lical
keyl10.1rd. nr th e he.i, 11,e,s or lighrnes, of elevation in da.nce. An
t'lluiv.1lt:nt t>f ll1c• inclt.· ,ic.tl r<-'l,ttionsliip of toucb a11d sound in
111ol>t ,H.:ousLic mu~ c.il u1strumeuts \vas brilli~ntly co11veyed ju
(,l)va\ .\ltt)' ,1cvrdcs, throu~b a co11grueuce of iconography (the
tl)ltchu1g col1ple) and 111ak1ng (the hghc a11d heavy touches of
ink brLtsh,,•ork on the paper). A~ l)elucroix v.rote, touch belongs
to the 'convenn<>nal l.111gu;1ge of art ... Contour and touch are
ec1uJlly .1h~e1H 111 n,1turL'· 74 The \ isu.11 sis111s of touch in dra\.ving
are coorJii1atcd \.Vilh actual Louching: ... a tlelicate stroke. for
cxa1nple, suggests distance a.i1d J heavy. emphatic gesture signi-
fies clost•J1ess co tl1e sr1cctator and/ or co1nposibollll emphasis.
1 be lack of s11ch t1cble respon~es in the act of n1akii1g s01ne-
tlu11g on a con1puter or re:.ponding to sti111uh for !lCientific
purp<)<se\, 1s reg.1rded as so significant that there are n1any research
pro_1eLts concerned ,vith si111ulated touch or 'sy1upathcti c l1aptic~·
~·
for user,; in C\VO- and thrcc-di111cnsional areas. '
I'ouch. Lncluding couc11es of l1Lm1our, donli.natcs ltc111brai1dt's
dra,\.1.ng of 'Jobias Hca/111,<,z his 1-orher's Hli11d11ess ( pl. 65). So111e
heavy lines punctuate the sk.i11nier indications of the 111ain co111-
posit1onnl group. ,;ho,ving Tobias curting out rl1e catara ct fron1
hrs bltnJ father\ eye. ,-vhile Tobit\ old ,vife Anna. in ~pectacles,
peer\ ovt·r bis ~boulder. JnJ tl1e partly whitened-out Angel
Gabriel p.1rric1p;1tcs \Vitb equally eager interest. Tl1e l1e.tviest
touche<i of brov\u ink gi,1e ernphasis to a fen1alc ~pectator at this
little drarna· the maid on th.e right, ,vbose placing m front of the
dtagonally co111p<Y,ed act1011 draws our attention to her stolid
v.,irness of this act of re'ltoration of c;ighc. (Tobit's fir<;t glance v-111
be be~to,ved 011 l1i~ c;o11.) Such graphic ernphac;es act very dit:.
ferenll)' fi·on1 tho~e touche" of colour that occur in Re111bra11dt's
pait1t1nf,rs. adcling tactile cn1phasis to textural rcnderings of shiny
,llri:ices, tor ex.a111pJe, through thick dabs of bigliligl1ts, or guiding
the ey·e through ton,11 contrasts of hue and saturation. ToL1cbes
of C<>l<>ur tr,1nscend their physical presence in the se11sarjonal
dyna1111c, tht·y bring: to a painting as a ,vho le, vvhereas gn:iph1-
cc1.l touches tlra,, ,1tlenrio11 to then1selves. R.en1brandc·, series of
dra\v1ngs Jbot1t Tobit's bh11d11ess (he vvas, in1probably, blinded by
S\vallo,v's droppings), of \.vhich tl1ere .trc also copies n1a<lc by his
,tudent<,, set ot1t scenes of this 11arraci\'e in an entirely tl1eatri cal
111a11ner. playfi.1lly 1.·oordinat111g the co1mect1on between couch
and pt>rfc>r111a11ce."'1•
I IO THE LINEAR ECONOM Y
In the n1ttki1tQ of a dra,v111g, touch resides in the very finger-
n11s - or the prec;sure of a body again<;t a \,\'al1 , or Boetti's recep-
t.ive borton1. ft is 111o~t acute ,vhen the cool, of dra,ving are
closely bonded to the hantl chat holds chcu1 JJ1d become au
intclhge11t cx.tc11siou of the digits. It is \.vhac ,vc see 111ost
poig11antly, for ex:1111ple. in cl1e very late tactiJe drawings of
Michelangelo when he \.vas beginning to lose h-is sight. In the
variou<; versio11s of Christ c111 the Cross, dated 1555-64. the n1ul-
tiple ~hort curved contour linei. thJt spin a,vay fi-0111 the outline<;
()f the figures in .a ~eries of vibrati11g repeticions are the tOLtches
of J. clr.a,ver, ,vho j~ 11ot scei,~I{ ,,vl1.at he is dra\.ving, so 01uch as
./"eeliuJ! the figuraJ volun1es gro,ving 11nder lus fmgcrs 011 the
n1atcn.1.lity of the paper."7 We can surmise tl1at the elderly
.Michelangelo, who had the shakes, ,vas clutch.ing a short piece
of black cl, alk directly in his crabbed fingers, rather than i11serted
into a l1older, so tl1at his fi11gertips could touch the paper and
guide hi:- ge~turc:~ in 111aking n1arks. ~i1 In a deeply cn1otive
version of the subject. Christ 011 tl,c Cross bet111ee11 tlte Virgin and
St ]0'111 (Wi11dsor. ltoyal Librar'f), cbc nppare11cly twisting a11d
agonised ti.gure 011 the cross, v-·h.os.e legs have been redrawn a
11t1n1ber of ti111es, 1s literally en1bedded into the shado,;o,red paper
~upport on its right side througl1 rippling wa,1es of contouraJ
chalk reperitions.7' 1 rn Christ 011 rhc Cross /JeT111ee11 rhe Tl~i,g/11 and
St Jo/111 in tl,e 13ritisl, Muse-urn (circa 1550-60; pl. 66), the corol-
lcll")' of the tactile ratber tl1ru1 ,risual renderi11g of tl1e figures h::1s
led to a broadellll1g :u1d loosening of bodily proporcio11s. Unfor-
tunately, the drawing has blurred th.rough excessive handling, and
oxitiisabon of the ,vbite body colour has aln,ost eff..1ced the
subtleties of the fi.gure of St John; but the co111positional organ-
isation o( the dra,ving is very legible. St Jolin is standing so
close to the crucified figure that his body has nt:!arly bec<>n1e
identified ,vith that of Christ, while tl1e broad, nude Virgin
couches the dead Christ do\.vn a long s,vecp of co11tour, her
head .and 11ands e111bracing his thigh. Touch tl1erefore wraps the
Crucifi.._-x:i.011 into a trimtar1an organisation, spirit and body
fra.ined by the outstretched crucified ar1ns above. These are
i11tensely inrer11alised drawings, vvhere the act of seei11g ,.vich the
hand, <;O co c;1-ie,1k, is n1ore in,portant th.111 the ,llbn1ission of the
work to another·s g.1.ze, an(l tl,ey have long, and surely rigl1tly,
bee11 u1terpreted as deeply spiritual 1ueditatio11S, possibly related
to a sculptural idea.
1~he privileging of tactility n1arks the last dra\-vings of the
elderly, entirely deaf Goya, ,vl1e11 l1e \Vas living in Bordeat1x and
his sight vvas failing. There is a testame11t to this in a descriptio11
by Antoni<) Brl1gada, \vho describes how Goya ,vorked on stone
lithograpl1y ,vith a 1nagnifyi11g glass. 811 This ,vas the 11eriod when
he \Vas pre_p aring tl1e late Bulls t?{ Bordea11x print <;eries (1824-5),
and it is possible that his powerful late drawings \Vere carried
out witl1 lithographic crayo11 becat1sc the relative stickiness a.rid
greasJ11ess of tl1e 1nediun1 enabled the 11early bhnd artist to feel
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66 M.ichelingelo BuonarortJ. G'hrHI ,,,, 1/ie Cross /w111 er11 tlir I 'ir1ti11 c1nd St J ,1/111. rir,·a 1550-60, hlack t·h,llk and ,-vh1rc lead
1

ovcrdn,ving (oxidised in places) , 410 x 278 111111. London. Tiu: T3nti~h ML1seu111, 1895.0915,510
th.! progr",s (ll the d, l\\'lt1g (.lll the p.1per ,v1d1 hi, finger~, in the
111 ~lint I de-s'-r1bed .1huvt·. The ,L·,1lc and prop()rtion~ t1f tl1e,e later
librures h,1, e ch.111ged '>i!-!,t 11fic,1utly fi.0111 othi:r pcrioLis of Goya's
•
c1•u, 1e ,, he11 he e1nployed bru~h and ink or dr) chalk. "lhe late
figure~
. .llL' l.1r"l.'r
:::,
in rclJ.tio11 to paf1er ,ize; the1r heads, h;inds and
~L'el h.1ve becon1e ex.1ggerared. ,vh.iJe the cu riou'iry ,h.apeless

bod1e, ha,·e broadened c.:on1p,1rable to the figure\ in Mi chel.u1-

gelo \ l.1te rac nle llra,,·111g-;: they are even 111nre cx11ressive or p.1in,
:,,ulTi:r1ncr
b
LH 111.1dne,s th.111 hi~ earlier figure,. Th.is is so in L1111arics
L

(L<in,.,·) 1i·o1n tliL Ilordt·,1ux AJbtun (pl. 67), where a group of tl1rec
,cur11py 111o □ ste r~ are engaged u1 s0111c cur1ous sexual antics, the
111can1ng of ,Yb.ich IS n ot clear. fhe grotesque grin11ing face of
tl1e central figure ,,·irh h,s jacket pulJed over l1is head, i'i ::u, co,11-
pt'lhng as rhe in1plied anger and disgu~t of the artist. The pyra-
n1idal co111po\in(111 i-, given extra e1nphasis b<.:cau~e there is no
drav11l or i111plied fi·a111e. Th.is drav.1 i11g C:t)uld h.ive been a JJrep-ara-
to rv '>tutly for a Jitl1ograph , and L.tl1-ography 1s a print 111edn.nn
that dii1111usl1es the significance of a fra111c. since the pulls do not
have tl1e hea,'Y 'blind' 1n1pr1ncab.on of a 1netal place, '"·hich aJ,vays
1n de11cs cl1e paper. ~I
In past centurie'I. discourse:-, of ronch , rather co11fu~ingly, ]1ave
appropriated rhe t,1ctile into a very generalised discus~iot1 of the
ditfere11ti:ited ra11ge l1f strokes for representing 11atural phe110111-
ena, as ,veil as texture ai1d planarity. Tl1e lleverend Willian1
Gilpin (1724-1804) advised cl1e devotees of the Picu1resq11e: ' lt
is enough to 111ake W1th a fe,,· fi-ee touches of the pen, here and
there. son1e of the bre~iks, and roughnesses, in w hich the rich-
11e~s of an object consist,.' He often wrote al)o ut touch : 'ffnl free
touche:. witl1 a pen, the cl1ief characteristic i.s expression: o r l11e
art of g1vir1g each object that peculiclr toucl1. ,;vl1ecbcr sn1ooth , 67 rranci.scQ C,oy:i. l.111111/ics (Loras). 1824-- 8. black chalk and crayon.
or rough, \Vlucl1 best expresses its for.111.'~2 Accord i11g to 191 x t.j..j. lllil1. London, T he Ilricish Museun1, 1980,0628.56
J)elacrOL.'C, 'When touch_is judiciously han.dled it ca11 be used to
stress tl1e differen t planes of an object 1nore <;uitably. T he pla11es
.ire brought fo r\vard ,vhen the touch i-; strongly rnarked , and vice critic o f Gilpin for ch e i111precisio n o f his graphic landscape signs,
,·ersa.' Touch. therefore. 11::1~ a sp:itial identi fi ca ti on , but, confi.1s- w hicl1 bore no rese111bla11ce to 'certain obj ects in nature·.
ingly, it i'.> .tlso related co finishi ng touches - the lively last ~trokes declared that 'every di.tTe re11t subj ect sho uld be ex.pressed by a
that vitaltse a p<linterly st1rfacc, or s.n1ootl1 it over at the L'nd of di.iferent line or touch' .85 Job11 lzusk.in's dra,v i11g manual of 1857
the process - as v,eU as i111plyir1g teJ\.'tural differentiation. supplied excren1ely detailed info rn1ation o n 110'-Y to re present
I)eJacrOL"'i' does 11-ot onJy i11fer pau1ting md sculpture, b11t, in the foliage, clun1-ps of grass a11d boughs of trees through a practised
san1e entry, v.·ri ces about to11ches in engraving that 'can render repertoire of drawing gestures, althoug h he warn<; against
the 6100111 on a young girl',; cheek, an o ld m an ·s v,.rrinkles, the m echanical co uches:
sofi:ne~s of cloth, the trans11arency of water, the d istance o f skies
' lf you want a continuot1s line, your ha11d should pass calnuy
and 1nounc.1ins'. 1'"
from one end of it to rh e other ,vithour a tremor; if yo11 ,vant
Touch becon1c:. closely identified wi th tl1e distinctive grapl1ite
a shaki11g and broke n li11e, your l1a11d should sh ake, o r break
or cl1alk strokes of ch:fFerent kinds of fo li age in late eighte.c11tl1-
o ff, as easil y a!'> a 111us.i cian \ finge r shakes o r stops o n a n ote:
and 111ne-teenth-century popular 111:111uals on landscape art, estab-
011ly re111 e111ber this ... 110 recipe ca n be given yo u for so
h~hing a direc t equivale11ce of perceived sl1ape and tactile se11sa-
111uch as cJ1e dra,ving of a cluster of g rass.' 8"
tion-; 111 repre'\e11taL1onal conventions. For example, 'the p rinciple
touch of Ll1c 0,1k' 1, forrnulated as ,111 'ell iptic asterisk' in a n1a11 ual In a lacer p ublicati on Ruskin asserts a J)a rwinian 11ote, Lhac ro ucl,
4
of 181,.' Thl· drJ'-Vu1g 111aster Willian, Mar,hall Craig, a seve re is an ec;sential aspect of lin ear fo r111 , wl1ich i~ the 'chi ef charac-

I 12 THF l l'\J ~AR ECON0 1'1Y

ter1stic of species ... and individuals of a species•.tr' He h11nsclf
observed such careful clistincttons in a wonderfully differentiated
pen and brov\ 11 ,vash sketch of foliage on Mont-Blanc, Cha111011i.'\::
1

Hill tuith Trel'S Slvpi11g 11pt/lards ft> Left (t 850; pl. 68). The leafy
bra11cl1es of eacl1 \vi11d-s,vept tree are contra1,ted with rhe linear
fronds of fern and bracken growit1g out of cl1e tl1ickly gathered
dark brow11 strokes that d efine rocks and earth. Lightness a11d
heaviness of touch set up a scale of shado"v a11d 11atural sunlight
as well as the opacity a11d translucency of natural text11res.
Against this specific, even literal association between touch ~nd
111i111esis, the inAL1e11tial I talian critic Diego Martelli, a fi·iend of
Manet, Degas and Pissarro, proposed: 'D rawing no lt)nger belongs
to Lh~ sense of sight alone but is transferred in part co tl1e o;ense
of touch and exists as tl1e grapluc and 111ath<.::111.1tical expression
of our quancitative judge111e11ts.'K8 For Charles Bla11c. toucl1. is
nnplicated in issues of scale and decon1rn: 'Tl1e firsr lavv of taste
in these 1natters js that the touch Ollght to be broad in large and
delicate in small works.'1!9 fn the 1960s l)hilip Ra,vso11, while
acknowledging scale a11d handling, ,,,as to revive, and further
confuse, discourses arc.1u11J touch: ' 111 all m·a\,vi11gs there j., a basic
n1ini1.11un1 of stroke-scale- tl1e "touch'' in fact- which tl1e eye
accept~ as tl1e irreducible unit of sense.'':1° 1-:le differentiated
'touch-scale' from atrnosplieric perspective.
Even before eigbcee11th-ce11tury atten1pts to regttlarise land-
scape marking into codified systenis to r representing le~1f and tree
sh.apes according to botai1ical typologies. con1plex ~ets of linear
sign::, for depicting foliage, sky, rocks a11d ,vater were a condition
of landscape sketcl1es fron1 underdra,-vings on boards and ,valls
to the first auto1101nous works 011 paper. A co111plicated linear
vocabulary of rou11de.d and a11gttlar squiggles and calligr.:tph.:ic
flourishes, rising and falling rhytlu111c strokes in regular or irreg- ,,,,,1,
68 John l"luskin. C/111111l•t1ix: lli/1 Trt!c Sli1pit(I! 11p111t1rd.1 t11 L:fi. 1850,
ular patterns, ordered or cl1ru1ce groupings of dots or hatchings, pen. bro~ n ink ctnd ,,va~h, couched ,v1th ,vh1te over graph1tt', 516 X 379 111111.
and so on, have served to i11dicate texture, n1ater1::il, density, depth Lon<lon.1"he Hr1n~h Musl'u1n. 1944,1014.168

,111d volume, as vvell as sigi1ifying individual .1nd n1assed natural

for111s - rocks, trees, te111pests and deluges. Generic systen1s of
111arks, to be picked a11d 111-L'{ed at will, tl1ey fu11ction as sig11ifi-
cant indicators of lustorical and geograpl1ical affiliatio11s or
schools, as well as personal style, and have al,vays bee11 11l.ll111tely
exarmned by dra\\iing collectors as the revelatory sigi1s of auto-
grapl1. Traditionally, landscape has been the genre with1n \vhich
chis graphic vocabu lary has been puc;hed to its richest n1a11ifes-
tatio11, 11ossibly because the fi·actal co111plexities of the natural
world defy representation and invite convc ntio11alised linc::u·
codes.
Vmcenc van Gogh (1853-1890) elaborated the con,rentional
linear vocabt1lary of landscape dmwing and vari::itioos of touch
with unprecedented richness in his pen a11d ink dra,vings. In Hill
1uitli tl,e Ruins of '/\1011t111ajvl/r Abbey (11L 69), undertaken vvhile
living in Arle~ in 1888, he carefLilly differentiates the ruined
111onastry fro111 cl1e huge outli11ed boulders .ind stubby gro,,vch
•
of tl1e L1ill<)ck through scale. if not variations of Louch. Thl'
distant view of tl1c flat Crau valley is also 11ot clisti11guished by
differu1g pressures of light or hea,7.ier touch to suggest aerial per-
spective. eve11 dJough the strokes din-1inish uJ
size towards che
horizon. fn ~tead, pale ,vatery st1-okes and docs ,virh a reed pen
over che ,.vhole <;urface of the dra,, ing are inter&persed ,vith
heavier l1r()\v11 strokes and son1e chalk. 1narks, a\ vvcll J'i b,u1ks of
fi11e-Ji11ed. grassy squiggles a11.d parcl1cs of para Li el contoLu· repeats,
probably made "-'1.th a 111ccaJ nib. 1~1,c dccoratlve force of tbcsc
varied strokes throughout the sl1eet therefore register, rhe
drawing as a \rertic::il co111posirio11. ,vluch both rc1J1force-; and
suppresses con\·ention:il perspective, ::ind 111aps out the surf:1ce
idolatry of 111od~rnist ;1rt. Altht)ugh tl1e pen sy111bols are a litt:r.ll
translation 6.·0111 J)ainLbrLL'ih ~trokes to so111c cxtcnt (and \Jl1
Gogh 111oved bct\vccn pai11ting aud tlr.1,ving ,,·1th a ~re.iter ges

LINE, MARK, LINEAR CODES AND TOUCH I '3

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6!) Vincent v:in (,ogh, Hill 11 itl, 1hr R11i11s oj. ,\frll//111ajo11r .·lbl11'y, drr<1 1888, pen and bro,vn ink and bl:Jck ch,ilk, 485 X 598 mn1. Amscerdan1, IZijksmuseun1,
1

R1_1skpn:ncc:nkabu1c:t. RP- T-1962-65

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70 V u1cent v:in C~ogh. />eas,11n ,,_r t/ie C11111111',(?II(' (Portrait 1?/ [J(l( /1'1/(C Escalirr). I 888, brown ink (')Vl?r grJrhite. 494 X J~O nun. ( :a111br1dgc, ,l\.1a~~--
f-l arvard Univcrsuy Art J\tlu!>et11ns. Fogg Art M u~eu111. Bt'que~t of Gn:11v1l1e L. Winthrop. l!J.J.3.,15

71 llt:111brl11<lt l {,1r11l.~11sz. V.111 llijLl. 7.-Jn B11/t11ark ,,ii/rd Bl..i111Pltt>t!ftl 011 J/1c
P.1ris, ln~urnt N~<·rl.ind.11\, Fond.irion ( :u~todta. C:ollect1011 Fnts Lugt. 5174
tural hc)rnc)logy or 111ark-111aking than practically any other artist),
their graph..ic elaboration is also clearly c1 C()t111-,e11satio11 for, or
equivalent of, colour. lr ~ as if h.e b,ts tw1ed ii1 to the ,,ibrat1011.S
of colours and translated the111 directly into rhythnuc 1narki11gs,
s1mulraneot1~ly referencing the differentiation of shape and tex-
tural detail of foliage. earcb and rocks ru1d cl1e glaring <::unlighc
and he:ic. Alterllat1vely, che con1plex syscen1s of n1arks co uld l1e-
u11der~tood as encoding chron1atic absence. Curiously, l1owever,
although the range of n1arks sigi1alc; the artist's dogged obsessio11
,v1th re11-deru1g rh} th111 and texture, they do not directly
su1nn10 □ his h.Jptic presence - perhaps because it has bee11
blotted oot by ~he i11ten.sity~ of fiJling the page in a11 act of com-
po~it1on;1I /l(>rror 11ac11i.
Van Gogh's noi s1 pen-n,arking-;,4 1 evoked rhrough hi, srren11-
ou'> laudscape ex11erie11ces, carry over into 111:1pping the ge<)gra-
phy of the face of Pati ence Esc,1lier, portrayed in Pc11sni11 of the
C,111u11~11c (1888: pl. "0).''- Accordi11g to letter,; to his brother
·rheo, van (;ogh ·s pro1ect ,,·as 'to pllilt a poor old peasant, whose
feature" bear .1 \·ery ~trong rcsen1blance co father'. and he
116 Tl-1£ Ltr-JEAR [CO t ,JOt-lY
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U. c:irly 1650s, pen and bro,vn ink ,111d bro,vn :lJJd grey brown ,,:ashes, 116 x 19l! 111IT1,
destril?ed the forn1er cowl1erd of the Camai:gue as a '111a11 ,vith
a hoc' .91 Vai1 Gogl1 had used e.laborate pen 111ar.k.u.1gs 1.11 0th.er
dra,V11 portraits, for exan1ple. the fa1nous f)orttait o_f·_foscpl, Ro11li11,
also of 1888 (J. Paul Getty Museu1n), bur his investigation of the
contours, hollo\VS and rough textures of Patience Escalier:s phys-
iogn_on1y, tbrougl1 dots, slashes and parallel groups of thick a11d
thin h.itcl1ings, n1arsl1:11led into phu1es a11d cl1anges of direction,
affirn,~ his sad a11d patient subject as a n1an of tl1e soiJ, rooted
in n1atter. Only ch.e cha11ge of scale in the fi11c pe11-111arkings of
tl1-e £'lee ditTcre11tiates the head fron1 the rl1ythn1icaUy dotted
background, ii1to \vhich it is sec as a bas-relief- or a raised area
u1 a rugged con,to11r map.
Touch, er11bedded in w1es ::ind strokes, i~ 011e of the dyna111ic
forces chat activates the paper space into li111itless or controlled
<lepth , assi~t~ it t() n1ove rc>rward ,ind back\.\'ard in l1igh or low
relief, enwrap objects or recede into vaporous indetcrn1inacy.
Touch brings en1pti11ess to life, ru1d ditTere11ti.ites spaces in the
u11drawn pa.rts of a graphic vvork. In l-ternbrar1dt's dravving 1111:
B11f111ark Calfcd Bfa11u1hoo_fd 011 the ~; (pl. 71), one of the sites th:it
be visite<l on l1is regular walks in tl1e environs of An1,;terdan1. tt
is tl1e insistent toucl1 of the ha11d u1 the upright bro,v11 ink
strokes of \Vi11cbnill, roots and chinJneys that dravvs o ur atten-
tion, by cona:ast, to the bright spread of tl1e waters of the ltiver
lj beyond and below. l-ternbra11dt drev,· the Blat1,vl1oofd fortifi-
cations a nu1nber of ci1ne~, and the l1uildings receding away 6·0111
the dra111ac1c n1il1 , and the shado,vs and \Vind-s,vept trees, are
,vedded into che dai11p and IL1n1inou~ landscape vVith drov,1ni11g
,vasl1es of brown a11d grey-brown ink. The palest of- ,vatery
strokes lay out the sandbanks in the ,vater and some aln1ost in.dis-
tingt1ishable ships, ai1d a light delicate ,vash indicates the sn1all
pe1unsula of Kale N es 011 the nortl1ern shore.
Each stroke i!\ laid dovvn with a re hearsed consideration of
spatial dy11a1ni cs and rhyth1nic variety in a 111.anner ak in to the
ca1Jigr,1pl1ic 111,1rki11gs of a Chine'>e scholar arti~t. Like then1.
Re111brandt is engaged i11 a spare dialogue l1et\veen dry and ,vec
brusl1 strokes; "vbat Chinese scholars design.,1ted 'water-brusl1',
shui-pi, and ka11-µi, 'd1y brush'. In Chinese painti11g generally,
calligraphic ink marks are allowed to breathe 111 an endlessly
deferred state of suggestibility. The imn1anen ce of such brush
strokes depends on relentless praccice and observation. and con-
'\iderarion of cl1e supren1e i111porta11 ce of the n101nenc \vl1en the
brusl1 touc]1es the paper for tbe f1Tst ti111e, lo-JJi. A,;, the Buddluc;t
painter Tao-cl1i (1642-circa r707) ~·rote, 'the single '\tro kc is the
roo t of all representation. Only when a pai11ter co111prchends the
fw1da1ne11taJ pnnciple of tl1e single stroke 111 relation to nat:1.1re,
can he develop the correct 111erhod fo1· painting all representa-
tion.'1)4 Re111bra11dt's flue11 cy in the dra"ving of che n1ill and its
furled sail, witl1 a fe,..,, accuraLe ge... ture, set.n1s to be the re,ult
of just sttcb co11te111plation a11d 111ental rel1ears.1l before d "Pl>ll-
95
taneous gesture. What is onutted u1 tliis draw1nt? is as si~nifi-
... ... J ....
cant as \\·hat is u1cluded. The iss-t1e of selection h,1s aJ,...·~1·, bee11
a p~1rt of the discot1rse of- landscape, but 1t al'io 1u1pl.ies a stJ.te of
;1 rtistic contider1ce, \-vluch COll ld aln1ost be ter1ned the "br.1vt1r,1
o f ab sence ' .<11,
Av.. Ruskin , \.vho ~ 1as anything bur a fan ol Re111l·ll,111dt,
grandly suggescs in yet auotl1er discussion of touch and dtStance.
'every touch is false ,vhich docs not suggest 111ore than 1t rcp-
rese11ts·.'>7 The en1pcy spaces of ll.en,brandt's 111elring dra~ving,
,vith its suggest1011 of a lo"'· horizo11 receding into g reat ,vater>·
inde termin acy and depth, contrasts ¥...;th the n1anner in vthich
tl1e paper support in van Gogh's gestural landscapt is pulled up
to the surface plane, like the vercic,llity of cbe blazing sky rl1:it
invade\ tht' very ~urfaces of cbe rocks and the p.irchec.l earth.
Th e psychodyna.m.ic in1plicatioos of 1110,•i.ng lines. of gcsh.1ral,
embocLied 111arks and indexical traces, ai1d those linear codes that
help to extend the spaces. 111ean1ngs and narracives of d_ra,ving,
are so en1bedded in practice as co appear i11separable fi·on1
perception and i111aginatio11. For practised arti~t<:; they becon,1e
naturalised, and function equally unconscio,1~ly ,vicl1in represen-
tational dra\\•ing or abstraction. Coded syste111s fun ction both u1
ha11L-l drawing and tec!U1o]ogical ,1pplica rio11s. even vvhen the
logic of tl1cir use has been uiirror- revcrscd or co111pletely over-
tur11ed ,,vithin chc 'absolute space of sin1ulario11' of the digital
realn1.'111 Tl1e reciprocity and intern.vining of th e linear ccononl)r
co n~t itute the ri chnes.!> of dravving as practice and discoL1rse.
LINE , MARK, LINEAR CODES AND TOUCH I 17

Chapter Five
Material Traces
A pen or eh ilk 1,1II perlo1m ,..,17 tt cannot be poss,bly done with <1 penei! [1.e. ,! brush);
and a pene I w,rh a tn,n I q111d only what cannot be done when OnP h.1s a vanet y of
coiou,·s to m.1nage, especl;illy 1n 011
Jonath;Ln R1ch wdson the Elder 1
7~ (f.in1il.! /'u~t•} lloJ olphc I31 c\J111. TI,e c,..,.,1.s.1. 18(10, pt11 and bl,tck in~ on
çre;un 1raci11g p11pcr l.11el dt1,v11 , 21 1 X 15 8111n1. ( ' h1cJgo.Tb-e Art lnsntute of
Clucago. Pruu .in<l l)ra\\'lll!4 Clu b Fund 1949 7-;
Tl1e tactilicy c)f thggin.g inco a paper support with Lhe han.1
skinny line of a I3iro pe11 111u<;t be tàu1ilíar to 111illions of peoplc.
A l3iro leavc\ a sh111y dot as a deposit ,whe11 thc h.a nd rests, as
co111pared ,víth chc glicfu1g ease of a felt-tipped pen, ,vhicl1 fücks
readily up,vards at the end of a stroke. Felt-tipped pens roller-
skate c;n1oorhly eve11 011 cheap paper ,vben nev.7; although chey
rub dully against the til1res v.1 hen che ink has run out. By con-
cra,;t, .1 n1et,1l nib diJ)ped in ink sets u11 resiscance to the softness
of lhe paper into v,·l1ich it i11cises n1arks or scratche.s li11es. ai1d,
likc a graphttc: (,,vood cncascd) penei!. it responds very \Villii1gly
to the pressL1re of the controlfu1g hand. Such cxperienccs. engcn-
dering a rec1procity bet,veen drawing instrt1n1ent and control-
ling body, ;ire very specific. The feel of a 11ev.' reed pe11 in t11e
hand ;.)~ it gravec; i~ ,voody traces into paper is very far fron, the
give or 11lian0· of a ~ofr bru!>l1 saturated witb ink or ,vatercolour,
as the l1air-. ben<l un<ler che lightest usage and swirl their 111ois-
cure ir1to the waiti11g fibres.
Chinesc pbilosophcrs invested spiricuaJ virtues in tJ1e calli-
graphic rhytlm1s of bn1sl1 ar1d rnk b)· nan11ng and describing
strokes: for exai11ple, the principies of 'ope11ing-and-closing' and
'rising-a11d-falling· of che archaising Ming and Qing dynasry
n1asters; ·he111p-fibre' or 'rain-drop' (ts,11n) ~trokes. or 'rubbed-
brush' (1s11-JH) for n1odelling rocks ,vith a slanted brusl,. 2 f n the
Wcst, tl1c c111phasis has been on the 111atcrials the111selvcs, thcir
propcrties. lústoríes and approprintc usagc, ratl1cr than poetically
nanm1g syscen1s of drav.ring scrokes. Nevertheless, the 1nanner Íl1
vvhich rhe si,nple materiais of drawing derer111jne qualities of
lines and 111arks anel che \.\'3}' in ~·hich these 1naterial para111eters
are n1odified by techniques of usage are vital factors ofWescern
practi ce. Like the otl1er as_pects of tl1e linear eco11on1y, too 1, n1ate-
ria1, 111ediu111 .111d tecl111ique are ~o closely intercoru1ected as to
be difficult to 1111scra1nbJe.
Tool, Material. Med ium and Technique
111 a perfect linguistic world, it \vould bts" very easy to ctistingnísh
bet,veen the functional. material and technical aspeccs of
dravving. A dr.:t\.\'Íng too/ or i111ple111e11f such as a pen wotLld be
clearly differentiated fron1 the 111aterials out of ,vhich the holder
and 11ib are construcred ;:ind the co111ponents of rhe ink inco
v,·hic:h it is dipped, and together they wou ld consticute the
111edi11111 of pen and i11k. 111 E11gljsh, 110\vevcr, 111edia. n1atcrjals and
cl1e tools of dra\ving are collL1sively idcntificd and vcry difficult
to prize apart. ecl1oing tl1e a1nbiguity of ali tl1e other corifusii1g
cerntinology connected with dra,vi11g. The tern1 ch:tlk, for
exan1ple, is used ratl1er indisci-Íl11ii1ately for natural, n1anufactured
and -;ynthe~ised variecies of porous drawing scicks of differenc
con~i~tencies and different phy~ical properties: and v..ve also talk
l<>t>sely about the 11,afel'ial or 111edi11111 oí chalk. When a piece oí
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e II bonac..cc u, ..11.ile 1c, 1u~crted Íllto .1 l1oldl·r or 11,1rte-cr,1y,111. tbe
t\,o, o f C'Ollf'-C. fu11 ct1011 .i~ ,1 Jra,v1ng Too!.' ( .halk c:i11 e.1sily be
uscd -., 1rl1 l)ll t ,1 h(ll der, and hkt> its clt)\t: rL'lations pastel and
cr.1y<ln , .1~ , , ell ,l'- graph itt·. charcoa.l .111d oil ,tick. it t 011,litute-, il
1110110111edit1111 111 \Vhi ch tool. 111.1ter1.1I and 111ediun1 ,1re inst'p-
:11 ,tbl) 1dent1fied. Thl' t e r111 pcncil. ,vl1ich ,ve tl!>~ociatc ,vicb
\V<H>d- enc.1,c:<l grapbite, is. in t:1ct. a dcriv;:iúou liou1 the c;crn1a11
/ 1111~e/. ll0 tl1 ~pl·ll111~"' pe11c iJ .1r1d ptnsel ,,,ere Ltr;eJ in:tercl1ange-
.1blv 111 seye11teenrh- a.nd eigbteenth-century Br1ta1n to n1ea11 a
pa1ntbrusb.
Matt>r1al~ anti n1ed1a are 1ndi\t1nbr1.1i,h,1l:ile ti·<)tll tl1t' cechniqu cs
of tht.'1r u~age, ,vhich e1thl'r c11dorse tl1e i..nbl·rent propcrties of
.111,·,
111cJiu1n or t"<tcnd. contbinc tJr st1b,·crt tl1c111. Tl1crc are verv'
tê,, dr.i\ving 111cdi,1 tl1at do 11ot blt.'nd ""ith ochers, a11d very te,v
artist~ ,vho hJve not experin1entt.'d ,vich tecl1nique, and exerc1sed
a1nazi 11!! 1:i-eedo111s 111 con1 b111ing dra,,·111g 111aceria Is 111 n ovei ,-..·avs.
"'' \, .... ,j
1f ~0111etin1e\ guarding i11,·e11tive f0111bi11ation~ or tec hnical tricks
.is rr,1de '>l'c:ret'i. Such experin1e11taLio11 is not an invencion <)f the
tlaring ,1110 'iLLbversive av,111t-gar<le of 111odernity, but a conclition
o~- t1ra,v1ng pr.act1ce ii-0111 1ts u1ccpt1011. For cxan1ple, Sandro Bot-
ticclh's ti11e .-l/11111da11cc or .•l11r1111111 dr,1wing (pl. 38) co1nbi11es ali
n1anner of 1nacerials 111 a celebra□ on of the subtle unities of pink
,Qnsaille. Black chalk oudines on a prepared p1nk paper support
,1 re dra,vn side b) -.ide \Vith bro,vn pen and ink, :ind the dilL1ted
bro,vn 111k V\ a-,h 1~ perl1aps ju:-t tinted v;itl1 tl1e 111o~t 'it1btlc' l1inc
of rhc san1t' pink pig111ent (i tsclf prob.1b]y derived fi-0111 l1c111atite),
tl1ac the artist 11as rubbe<l over tbe paper. Through cl1e use of
,vhice higlilighrs in body colour, the carefuUy ,vork.e d_ bodily
areas stai1d out of the background in bigh relief:1 The brush
<;trokes <)f 111k ,vash (used 111 the n1anner an artlst of his t1111e
,vould apply ce111pera) are ne,1rly a<; fine a\ che- pen a11d black
ch;ilk outlines that an irnace this dra,ving ,vich such delic<1cy.
ln thc si.xtec11tb ccntury Nbrecl1c L)i.irer ,vorked in 111etalpoint,
cl1arcoal a11d pen in black and bro,\·u ink or con1bi11ed vvith ui.k
and \Vatercolour ,vasl1es; brl1sl1 line heightened "virh ,vhice, con1-
b111atio11s of ,vacercolour and body colour on white and prepared
col<)ured papl'rs, oi! p~11nt 011 ,vooden board~. n1ecal engraving,
,voodcut, even a (t;>\\. erchingc; and drypo1nc. Edgar l)egas 111ixed
111edi.1 c111d '>upport'! \vich t<>t~11 fi-eedo111. \Vorking in gouache over
n1011otype or ctchi11g.i and lith<)graphs: playing ,, ith pboto-
gr..1phic plates as tbe bas1s for priut\: bcg10ni11g ,-vorks in ,vater-
colour. wl-tich ,vere conrii1ucd in gouacbe to be complcted iu
od ;1nd pen ;ind 111k: 1ncluding pastel v.·ich disccmper and oil paint
on canva,e,.' San1uel P.1l1ner. ,vho combined ,vater or bodv•
coll>Ur) or 'ic'J'IÍ<l ink with brt1111 arab ic. varnish and o-il, pen, penei!
at1tl e halk, ,cr,1p111g and 'iJ1c,11ging in his riclil) textur,11 drawing
tecl11uquc'i, also en1ploycd by S<>nte of hi'> fellov,r Anciencs,
accen1pted to pl1t Lhe s1gn1ti(.<111ce of experin1cnt,ltioo \Vith 111edia
i11to persp1.•ct1,re· · I hert· ,u·e 111.1.ny 111t.'d1u111s 111 thc 111c<111s 11011c,
O! noc a J<lt, not a -;hado,v of a JOt, in che c11d of greac art!' And,
120 TI--IE Llr JtAR ECO t--l O l"1 Y
he conti11ued: ·ooc 111osr not begin .... ,vitl1 n1cdiun1, but think
always on e'Ccess, .111d 011ly ttse n1ed iun1 to n,ake exce<;s 1nore
abund:111tlv, excessive'."
The Contingency of Materiai s
Discu~sion~ of 111aterial<; i11 dra,ving hterarure have trndicionall)·
been desigr1ated as ,ver and dry n1edia, or, in tl1e t,ventietl1
centttry. fine and brl)ad, l>ut tl1e'\e disti11ccion) Jre not l1elpful in
that rcd and black nntural cl1alks ca11 l)e used ,vet or (try. and
c11alks .:111d pe11cils are very versatile.' Thc i11terco1111ections of
n1aterials, 111cdia a11d techniqL1es are seldon1 a11:tlysed i11 the lit-
eratt1re dea:ling \v1tl1 the practical aspects of drav.ring. Apart fi-001
con1111entaries fi-0111 artists, and useful reference books, chis hllge
resource nowada)·s i.ncludes 111any ~cientific ~t1.1dies within the
broad area c>r conservacion of works of .irt on paper. 8 Tl,e-re .ire
aJ..,o .1 plethora of popular ho,v-to-dra,v 111ai1uals, 1,,vhicl1 often
naivcly suggcst, if" by dcfauJt, chat rnatcrials and tccbniqucs
belong to a11 unsl1akeablc a11d 11101101ithic systen1 totally dctachcd
ti-0111 historical pcriods a11d fashioru of usagc. Throl1gh rhe
propag.:irion of technical for111ulae th.:it are illustrated ,vith
111odels of'good practice', sucl1 drav.ring 1nanual\ in~ist th.at tl1ere
i~ a strictly right or wrong, and tl1erefore tin1eles~, vvay of using
111a teria ls_
Historic:11 writers of treatiscs ii1 the West havc been vcry spe-
cific about ,vhicl1 1Tu1tcrials shoL1ld be used for ,vhich kinds of
dravviogs, a11d acade1nies have sii1ulatl)' earmnrk:ed particular
draw1ng maceri:ils for canonical p1.trposes at cercain ti1nes, only
for the111 co be refuted a few generations later. Vasari ,vas ve-ry
prescriptive: '[n1petL1ou-;· o.;ketche~ are to be done ,vich 'pen or
otl1er dra,vi11g inscrun,enc 01· ,vitl1 charcoal'; finished dra\vi11 6rs
are oUltle 'eitbcr \,vjch red cl1alk, wliicl1 is a sto11c cou1iJ1g froJ11
the 111ow1taÍl1s of Gern,,my, soft enough to bc easily sa\vn and
rcduccd to a fine point . . . or ,vith black chalk that co111cs &0111
the hills of France' .'1 And at the e11d of thc eigbteenth ce11cury
tl1e Jleverend Gilpin 1·econ1111ended: 'in a rough 5ketch, the pen,
T think, is tl1e best instru111ent, it gives a tern1jnàtio11 to an object
at once, and n1arks it wich freedon1 :111d ,;pirit, \Vl1ich are tl1e
grand characccriscicc; or ,l sketch ·. 10 1n this reg;,u·d, the ~i111ple
111aterials of dra,ving are a11ythi11g but neutral. Tbey participate
i11 an officiaJ h.istorjcal discourse of p1.:1.ctice that is complcx,
it1consistent and cor1trat1ictory - and largely ignored by lnisscz-
_fnire artist<; ir1 che privacy of their <;rudios. An 1nsisce11ce on
learning abouc n1aterial<., proces~es and techniqlles is probably
v:hat de-111arcates an1ateur artists fi-0111 profe'>sion:.ils.
Tn addition, 111aterials :ire generally associated with the n1eans
or Jack of 111e,u1S of era.:,ure a11d correctio11, so that tl1c co111i11-
,{!e11cy of Jjne and n1ark-rr1alci11g is built into discourses of prac-
tice. alongside author:itative recipcs for use and tips on f1xi11g
u1atcrials co n1ake then1 01ore per1nai1cut. Discourses abour
erasure are ancient, associated with QuintiJia.n's tirst cc11tury AD
elaboration of rl1ecoric in chc l11sri1111io vratoria, v.·lucl1 h"1.d a
po"\verfi.11 uuluence on the shaping of Alberci's 011 Pni11ti11l!..
Q1.1intilian advised: 'erasL1re i,; quite as importa11t a fu11ccion of
the pen as actual writing', an.d his cl1ar,cer on the subject applies
as n1uch to the ocher ares as it does to \Vricing. 11 Leonarclo
adviscd artists co Lnake rapid silverpoint notation~ i11 tinced paper
sketchbooks for the very reason 'tbat y·ou cannoc 111ake cra-
sw·es ·. I'.! Armen ini maj11tained, rather glibiy, in the sixtee11tb
century thac (red or black) chal.k
is n.o t only the r11osr perfect, but also tJ,e casjcst to practice,
si11ce i.f \vhac is dra~'TI. does 11ot come out well ... it ca.11 be
erased by brushmg tl1e surface lighd·y wicl1 a soft p1ece of
bread. Then. by going over the sa1ne spot ,vith eitber p1.1nlice
or cuttle bone, one can re,vork the drawin~rs u1:.iny tin1es. 1.1
Following a ,,ery long tradition. a popt1lar drawing 1nanual, r/7,c
Arrists' 1/ádl' Alecu111 (London, 1762), instructed amaceurs tl1at
'charcoal is proper to sketch ,vith. as any c;trokes made \VÍth ir
n1ay be brushed ouc vvith a Feather if wrong'. 14 And reversi11g
this principie in favour of pt>dagogic discipline, Pailloc de
Mo11tabert \vrote i11 1829: 1111 earliér tin1<:!s. a red cl1alk called
sanguine vvas greatly used, in prefcrénce to black chalk:, bccause
it cannot be erascd aud requjres on.e to draw we.ll at che first
attempt.' 15 ~fhls made it che material for beginners, and lngres is
reported to have sa.íd that be 'was ra.ísed in red cl1alk' .16 • No
inscrun1ent is 1nore useful in drawing than a piece of 111oistened
spunge. When the sl,ade is too strong, it ca ily rubs it tiown, a11d
che paper. ,vhe11 dry, as easily adJ1iics ic again'. wroce Gilpin. ln
recent tin,es Louise Bourgeois (b. 1911) tieclared:
Razor b1::ides and erasers are indispensable ... you can rub
a11yching out. Ink is pern1anenc: actually 11ot quite, bccause Lhe
best ink of ali is rhe whjtc ink tl1at lecs you co,•er and oblit-
erate. lf l want to crase something, 1 put 011 son1e wllite. 1~he
negative js 1noré i1nportant tl1an the positive. i7
The Symb iotic Development of Writing, D rawing
and Printing Materiais
Since it'- origi11s ín the Iincs on the \/Vali ÍJ.1 the 111ytJ1ical cave to
prese11t-day word-processors, ,vhich auto1natically co11tain basic
graphic or pru11ting progra111s, dra,viug sl1ares the ma.terjals and
tools of "vriting, and they leak into one another as syn1biotic
sy1nbol syste111s. There l1ave been s1.1rprisingl)' fe,v radical inven-
tionc; in drav,ing n1aterials over the centuries that l1ave not been
in tl1e area of joint usage vvicl1 vvriting or printing. For exan1ple,
procesc;es for controll111g gra<les of l1ard11css and soft11ess in
grapllite by tl1e addition of clJy, pate11lcd by N 1c<.1l1s-Jact1ue~
Co11ci'.: in 1795, ,vhich inscigaccd tl1c \\ ide- '\cale 111.d11utJcturc uf
thc 'vvood-er1cascd 'lcadº (1.e. graphice) penc11. l1ad as radical an
cffect 011 \vriting :.is on d.raw1ng. 18 Alo1s Scnefclder\ 111vcncio o o f
1irhography in Mt1nich in r798, which enabled artists to dra,Y
directly on to stone witl1 litl1ograpl11c Tusc1,e ink and gre.1,y hch-
ographic cra·)'on, led to the production of better qu.ility \'.'ax
crayons and n1anuf.1.ct1.1red pasteis, vvhich could achievc the 5,·L1in-
u1ess a11d u1tensity of lithographic chaJk; ít ,vas an i11ve11tion rh at
i111pactcd on 11ewspapers às 111uch a~ art. 19 l>aper, \vhose pro duc-
tion a.11d affordability· aliowed for the establisl1n1e11t of dra\,·ing
as a significant art for1n in the lraLia.11 renaissance - 1t ,vas pro-
duced in Fal1riano as earl)· as 1:!76- ,vas 111anufãcn1red in suffi-
cient quancity in Europe 011tly bec~ruse of its require111ent 111
printed books. 211 A]] aspect~ of ,vorking on J)a1)er l1ave also bcen
i.n.fluenced by tl1e fow1cai11 pen wích its rcscrvoir of ink, vvhich
has lcd to 111odern variru1ts of tccl1nical/ architcccural pe11s ,v1th
a11 amazing range of po1nts, as ,vell as the ball- point pen inve11ted
in 1939 by László Jozef Biró, ::u1d its offihoots.
Over the cenn1ries, book-princing 1nethodologies have been
forced inco ali sorts of contrivances to locate dra,ving.; or dia-
gra111111atic figures ,vithin th1e text, anel d1e print 111edia of
engra,·iI1g and la.ter lithograpl1y. photogravure and sub:..equc11c
sysce111s, sucl1 as tl1e pl1.otocopier and tl,e f.1.X n1achine, have eacl1
Lnade significant gains in che easy incorporatiou of cext into
in1agery - ás v. ell as stin1ulating 0ther spi11-offi in ,·isual arts.
1
l.mage and texr are inexcricab1,, linked ,v1thin everyday usage (a
fusion rhat is no longer interrogated) as a result of digital tech-
nology and rhe spread or scanner-; and digital can1eras, and i~ is
inceresting cl,ac in the tecl1110Jogical expansion of 111obi]e tele-
pl1011es, tl1e ability to scnd visual text n1essages ,vas ir11111ecliace]y
follo\ved by tl1e developme11t of pl1otographic options to capture
.
1mages.
Co111pared to radical i11ve11tions 1n the sector of pr111c-n1aking
and in1age reprodnction, in1proven1enr.,; in drawing 111aterial<i as
sucl1 hélve been 111odest. Pastels, fabricated chalks and crayons
havc in1proved over tl1e ce111turies. bt:nc:fiting in colour range
.6-on1 the inve11tio11 of chenucal dyes ÍJJ the LJ.ll1etec11tb ce11tury;
and fi.'X.atives, which uscd to be diJ uted solut10.r1-; labor1ousl)r
sprayed tl1roi1gh a n1be or ato111iser, have deYeloped 1nto syn-
thetic res111s in easily used spr~y can~. Wbetber tbese v.11ll gener-
11
ate long- cer111 conservacion proble111s i1. not kno\\,11.
Ne,vly developed drav,ring n1aterials hybridise tradicional cech-
11iques u1 liJ1e v. ith coutc1upo:rary artistic practices. For exan1plc,
1
n1odern vvood-cncased cl1arcoaJ pcncils 11Ul11ic tl1e propertíes of
friable willo,v charcoal or tradicional b1ack chalk, but nre graded
for hardness a11d softness and have a greater tonal range .111d ~ta-
bility ,vhen fixed than trac.iic1onal v,illow kiln-dried charcc.),1!
sc:icks.:!2 There i:s 110,v .1 wi.c.le range of water11ro()f an<l ,vater-
dilure inks to adJ to tl1e traditiona l range of fndia11 and Ch1nes1.:
MAíERIAL I RACES 12. 1
 n k, 'iOlll \'v7th glo,)) or n1ct.1lhc fini,ht',, ,,·hi(h C<>n1b111t.: \Vél1
.1ncl ,lll ltke ,,a11.:1c<>luur. '• Watl'lcnlc,ur pc11cils look ,lnll p.irti.illy
.trl hke 1)rd1n<1r) roi<>tu'l:d pt·ncil,. but the colotlr spread, and
Hoat, \\ licn plc11ty ot \\".Lter 1:; applied ,,·1t11 .1 brt1sh. 1n J rather
tecble 1111it,1no11 of rr,1d1non.1I ,,·.1rercolour. aJchough \'.;eh che
advanr.,;;l' of .1 ,ubrle r.111gt.· of hue,; Modern Yellun1 ~ub~t1tuté''>
cre1te 11nper. it>us. Lextured dra'\ving ,upport-. th,11 art.· halt\vay
het,,t:e11 p,1f>t·r 111d ,ki11 .111d ( 0111l)ÍJ1L' 11.1rur,1l ftbres ,vich -;yn-
th1.:t1c sub~t.tllL e~. Oil~l!L k-.. ,, h1cl1 allO\\ .1rti,c-. to dri111• 1n oil paii1t
,, ith .1 thick tlt p<)~tt tl1.1t cJ11 be d111111ed ,111d --;pread ,v1cb t:1.1r-
penti11e or ,vbice ,p11-íc. break dt1,vn a·ad1ao11al d1sc1nct1ons
bet\veen drav,ring .1nd painci11g.
Alignt'd v;ith th1.: syn1b1ot1c and hyl1ridi~1ng ,tare of conte111-
por.1r) niaterial, :ind the huge developn1encs in hi gh-tech inks
cu1d pr111ting ~~'>ten,, i\ the l'quall) sig1lif1cant f.,ct th:it 110 tradi-
tion.11 JrJ\VÍ11g 1nater1als ]1,tvc cver bt·con1e co111pletely dcfunct,
l1ov,ever pnn1itive. This probabl)· also explains n-1:I) te:,.-tbooks of
artu;ts · 111atcr1als. for ex.11r1ple, Ralpl1 Mayer's ·1Jie .4rrist 's Ha11d-
/1c1ok ,~[ -'l,1rC'r1r1/., ,111d Tecli11iq11es (r9-4-o), c<1ntinl1;1l11· expand into
re'\·i,ed ed1t10ll'i that 1ncorporare ne,'\' n1arer1.ils buc do not jet-
ti\011 tr,1dit1011al 111fi11·111ation. 24 The hi,tory <>f n1aceria1,; j,; a
histo0• of revival'i ;:111d ct1ntinuitil's. and to "valk iJ1to ,111y art
111atcr1als sl1op toda) is to bc conrro11ted \vith a choicc of quill
feathers and recd pcns. n1etalpoints and evcn chat corrosivc
111ediu111, 1ron-ga1J ink- 111:iterials tb.it have bee11 cech1ucaJJy
supersL·ded or \Venr ot1t of f..1~hion a long tin1e ago. The reviva]
of the,;;e n1aterials 1s partly i11 d1e spi rit of deliber.1te arch,1i~i11g
(especiaJly i11 rel.nioo tú calligr,1phy). but als.() becau~e tl1e expe-
dienc~ of experin1e11ring ,vilh ve1, sü11ple dravving iinplen1ents
J<s a rcflection of cyclical culturaJ engage111ent w:ith authenticity
and rene,,·aL [here 1s prob~bly also a very dcep social or psy-
cholog1cal dyn~11n1c to cot11plen1ent dravv111g',;; pT1n1ary role of
invention by e111ploy1ng si111ple too!~: cle;:iring che pach for thac
apparently uncon1plicated synapcic link bervveen h:.ind and brain
tl1at a -;i111plc piece of cl1arcoal or graphite pro111ote~- St1ch an
urge rc.1sserts the in1portance of a ra'A' 111editu11 in opposition to
the J:rigltly deter11ún~d ru1d cooked state of 111odern technolog-
ical proces,;;es. co borro,,· a duaüty frou1 Claude Lévi-Strauss.2 ~
The Poetry of Paper
Paper that soak.s up. madly. 1n vm qu 1ntll1es, persistently. deeply, Lh,s ,s whal means more
to me than colour. whtcr 1n ariy CdSe I merely put down as ba1t. as detectors. a~ masses
lo be ungorged.
No n1atter hoi.'\' beauhful :in unused shect of papcr - a11d tl1ere
is .1 11oet1c vocabular\ 111 [asn~·rn art roncer111no paper, and to a
~ ~
122 THE LINEAR E:.CON0"1Y
Je<,ser c.'X.Cenc in che Wcst -it is u11derstood ro exisr ii1 a statc of
dcsire for thc linc, \Vl1ich will sin1ult..111eously disrupt, rr1ar and
activate its sutfacc. Artists vvho collect a11d adn1ire papet-s u11der-
stand rhis Pº"' erful and co11cradictory dyn:unic in the way chey
place the dra,ving on the sheet, the 111íse e11 11a<~e. For others, paper
is ,llways the n1ediu111 that i-; less precio us and less inhil?iting than
c.1nva:., <;t) that it can be uc;ed and abused, thrown avvay or cher-
isbed \\'ithout a s;econd thought. For these artists, paper is an
e111ptu1ess '\Vaitü1g to be filled, nota f1.brous 111arerial of rich cac-
cility, texn1re and colour. '\J\'hose deckle edge is as thrilling a.s 1ts
crm1sll1cent ,v:iterniark.27 Joan Miró (1893-1983), tor exan1ple,
v:as evoked as son1eone \Vho
delights i11 his col1ection. of rare ha11d-111ade papers, rice paper,
Japa11e,;e vellun1, deckle-edged paper, absorbent papet ,:vhich
literally dri11ks up che torn1s, pastel paper \Vhich deadens chen1,
tar 1)aper iJ1co "vhiçh cl1e line sinks, l)and-paper \1/hicl1 blunts
ic, J)a1)er$ in very bad taste witl1 beads or l1latles o( gras~ niixed
i11to chc paste. He is taciturn ,vitJ1 visitors but beco111.es loqu,1-
cious 011 cl1e subjccc of bis ·fu1e p.apcr' ta.k:ing your l1and,
n1.ak.in.g you teel ic .. .' 28
Mo«t artists probably operate a 11ú.xed cconon1y. si111ultaneously
apprcciati11g expc11sive ha11d111ade papcrs. respo11di11g to eh.e
sn1elJ, cexrnre and sound of a new skecchbook cracked open, as
welJ as nonchal:1ntly using whatever is to hand in the st:1.1 dio.
G11ercino. for exa111ple, so111eti111es used lined paper fi:0111 an
:.1 ccount-book, and al~o occ;:is:ionally discarded drafts of letters.
just ,is Michelangelo inscribed ]ittle pen sketches of 1,i., 111eat-les<;
dice 011 cut-up frag:i11c11ts of Ltsed paper. laboriously joii1ed
rogether.::!'1 T]~c ex-pense and rarity of pc:1per in ea.rlier cc11turies
were importa11t factors i11 its reuse, a11d tbe relucrance of sn1dio
artists co eh ro,v ª""'ªY eve11 scr~1p.s.
The ~tory of pa_permaki11g ha,;; a buge specialisc licerature aud
wilJ not be retold here. 311 The duration of the trade rules al1out
p;:iper, l1ovvever, is incerescing in relation to dravvi11g studies. ln
1398 paper sizes for cl1e Bolog:nese paper n1ills werc 'ita11dardised
as T111perialc, reale, 111ezza11c ar1d reç,11e. 31 Thl.' diu1e11.sions have
varied sljgl1tly ovcr the ce11turies: 11evertl1eless. standard paper
sizes have sw·vived in the classificat1011 systems of 1nuseun1
drawing c,\binetS, wbere Solander storage boxes co11tinue to be
graded accord1ng to royal, i1nperial and oversize. just as the
standard ,ve1ghts ofJ)a.per continue to be chose o( che bale, rean,
<)nd quire.
& vvell as a support 01aterial, cogether witl1 ali for111s of card-
board, pastcboards, velium and parch111ent ai1d their substitutes,
and ai1y nu111ber of co11te1r1porary n1edia, papcr :is also tl1e means
of copying, tracing and tTa11sferrin g 11nages, ru.1d is readily cuc,
torn and pasted back on to itself as collage. Oiled paper (for
rran~lucency) or lJapen, coverecl with J layer of cl1;1rcoal for trans-
ferr in g line~ were used in previous centuries, replaced by cn rl1on
paper and n1odcrn tracing paper, a cl1cap wood-chip paper thJl
easily yellows and ttu-11s l1rittlc.3.:! Ncvcrthelcss. Dcgas rcgularly
worked 011 tracing paper, a11d i11 the 1950s Joseph 13euys uscd a
,,ery thin 0111011-skin paper that ·cockled' around tl1e areas tl,at
,vere satL1rated ,vit11 furniture stain (Bcize), bloo<l or other hqu1cl
n1edi.1, tl1e crii1kling of che p.1per being an i111portant parL of
the-;e casual but inten!)e \\'Ork:.. '-l The 111avcrick ninetee11th-
ce11tury Fre11ch ,lrtist l\.odolphe Bresdin (1822- 1885) e.xecuted
n1ost of h.is CÃ'tretTl.ely elaborate pen ,u1d ink tlra'v\'Íngl> on chcap
tracing paper so tbat thcy could be trausferred to pri11t grounds
easily. 3•J A parcly unfinished drawing by Bresdin, ·11,e Crc11r1SSl'
'\ (
(T86o; pi. 72), io;; typical of his fancasy h-1ndc;capec;, 1n ,vhich extra- ~ -
ordin:iry n1ountai11 for111atio11s ~1ri'>e in sheer rock fuces likc the
111ysterious Alpi11e landscapes <)Í the Flc1nish artist Joachin1
,--
. ~
(
- ......
~~ -
l)atinir (d. 1524) - dangerous plact:s for pilgrin1agcs of tl1e sou! -
or the 0111oipotc11t pen. Where tl1e parallel strokcs of thc níb can ~
. -"" ~

1
get 110 darker, Bresdin has brushed in patches of black ink. l Je 1 ~

))
uses hardly any cross-hatching in this dra\ving, as íf the crag; can \.
'
be adequacely described only with vertical tines so thar the v::ist 1 ) •'
facets of rocks can g row under 11is hand sculpturnlly. He ch::inges /C )
I
I ' ,
rhythn1s occasio11al1y, lingering to cre:ire a fevv circle-; oí t:l<)uds
or closely drawn sp iky fir tret:s .ind elabt)rale rock Ít)rnu1tions of
'
'
1
)
.,
\vhorls and fuoty or granitic textures. 1
I
, ~ /'
I
1
The Liquid Ranges of lnl<
7J C:ucrLino ((;iova11111 Fra11l csco U.1rb1cri), ·rlw ,,111.~d t!{ tlu , J,1111111n,1t1011.
The unadorned tine qui11 11en of the Bolobrnese :,rtii.t Guercint> rucn 1<1,1(1, pt:11 .111d 1n k , .l..:l\l X 190 111111 W111d~or C.a\ilt·. íhc ftoy,11
(Giovanni Francesco Barbieri, 1591-1666) is used te> wc>nuerfu1 C~oJJr.:i.:no11, Il,L1841

linear effect in the A!lgel of the / l11111111ciatio11 (pi. 73), a <;tudy for
tl1c A1u11u1cíarion altarpiccc in thc co llegiatc church of Santa
Maria Maggiorc, Pieve di Cento, of about 1646.js 1~11c curvcd
caUigraphic scribbles around the angular clegance of the body
see1n to be the start-up gestt1res of the drawi ng, as the arrisc
111ove~ to focus 011 the cask at hand; he slips at ,;on1t: püinc when
redrawiJ1g the ,;lightly flaccid left ar111 holding the A11nu11ciation
cnor111ou'i char111; \vhat tl1e e1gl1tec11tl1-ccntury I reucl1 cow1ois-
seu r l~ -J- Mariette dcscribed as l'c~çzl,essc, ·.1 charn1 not to be íound
in che drav,:ings of otherc;'. ri I l,js charrn 1s even n,ore pro-
•
nounced in the draw111g T,11,1 ,')eatí'd ~f{n 11en l)l'}'Íll.f! tl,cir Hair i11
jr(Jllf q( a Firc (pi. 74). L3y ju:i.t running ,l fine 'v\l'l bru5J, along L11t..·

Lily, but reclai111s the confidence of Lhe Aying, ,vi11gt•d angel whcn
he introduces tl1e fir111 parallt:I ciiagonal bacclúng along tbe lefi:
hnes of the body and the proftlc hcad. T l1e sccking, rhytl1n11c,
descriptive, defining and playfi.11 lines of Gt1ercino's w1ry draw1ng
are encirely wichin che decern1-ining paradigms (>f a pen, alcho·ugh
acidic i.ron-gall ink has c;ub~equently broadened and corrc>ded the
line,; of the turned heatl. ,,, The variablc sketchine<;~ c.,f this
drawing sugge~ts chat cl1e arti<;l wa~ concentrating "º <.01nplctely
on working out tl1c dyna11Iics of tlÚ\ angclic figure that he did
not cxpe11d enerb'Y 011 the appeara11cc or thc ntarks. l~ike thc rcst
of Guercino's enormous repository of ,vorking draw111gs (,vh.ich
he was reJuctant eith er to sell or give a\vay), 1t would have func-
tioned a~ n problen1-,;olving study and !-.tudio re<;<.)urce for
n.!J)t'ilted u<,e. Nevertbeless, like everything he llro<luce<l. it ha,
thin bro\v11 i11k lines (<)1 ,tllern,itively dr.1v. ing the lines ovei a
\lig11tly <.la111ped are.1 of paper). or .iclding .1 sccond.iry hghc
bro\V11 - i.nk -.;vash, <_;uerc1uo ha5 □1eldet1 thc tine~ into lhe paper
u1 chc 1r1ost -;ubtle 111a.nner. · 1f you \Vanc your dra,v1ngs to corne
our a little 111ore -;educt1ve, put son1e little ,va~he~ on chen1 ...
with a blunt ni..inever bru\h', \uggcsted Ce1111ini 111 1437, .ind
Gucrcinc>':- hllle washes in chis v:ork. ,0111e spread fro111 lhe iuk
cleposil of l11t· quill-pcu Ülle, are iJ1fi11itt·ly seductivl' in l·llcct. IH
A, wcll as thc spatkling speed ,,-i.ch which hl:.' has brushed in
!?>hado\VS to 1ndicate rhe 111odclli11g of tl1t bociic~ and tl1e
differenbated intensifications (11° hair, one he~t<l c.l.1rker lh.111 lhe
ocher, ht: cakc, up a novel vte\,\ ,1s an .11l-c;ee1ng .1rrist behind rhe
fire. Appe.lrlllg t() dr;l\\ rr<Hll tl11s ll11J'OS'ilbll· positl<.)11 1, ,1 1,.()ll-
ll()tattonal ploy \\hereby Guerctll<> s1~111ries ll> the vie,vt·r that

MAIIRIAI íRACES 17 3
 1 _i--

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~
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-
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'
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i
1J
' '"t:.
CJ

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, .. .... __ .,

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7-1- (~uerono (Gio\=i Francc.:sc:o Barb1t:ri), 7h•o Seared It7n1nu1 Dryí11,t1 tl,e,r Hair i11 jro11/ (!{ ,1 Fire, ró30s, pen .u1d
uik. H19 x -266111J11. London. C'ourtauld Tn,L1Lute of Art Gall<:ry. D.1y52,.I~.W. 1359

75 G10\',uuu Il,1tL1Sla Tiepolo, • 1 JMil/ 11•11/, " Gare111t1y ,111d Pt1r,11 Buildi1\{! Be/rínd, drc.1 1759. pc.:n ,tnJ bro,, u ink,
170 X 2~2 111111. London, rhe l:3r1tish Mu~eurr1. 1936. 1010.17

f.
he i:. eave!ldropping 011 the intin1ace scene of tl1e two girls (or
-;an1e girl repeated). vvl10 \VOuld not l1ave let tl1eir hair down if
tbey ki1cw of l1is prescnce. J
Ln a totally different use of ink, Melchior Lorcl1's pcr1 and
black ink dravving Tt1rk Plc.1yi1~(! a Hnrp (pl. 76), ,vhicb relaces to
bis four-year scay in Turkey in the r55os, a:sserts an unco1np1:o-
mising regu larity of thick black pen line<; as if engraved into
,vood. T he north Gen11an Lorch (T52ó/7-? 1588), a peripatetic
artist, 111oving fi·o111 court to courc, produced elaborate ;:ind tex-
tured dra,vings to co1ru1ússion for ari'ltocraric 1.:lie11ts. Tlús 'J.'as
thc tin1e vvl1e11 virtuoso pen ,vorks \Vcre 111uch adnmcd in
Gcr n1any, bccause thcy could 11ot be corrected or crascd, sin1ilar
to the traditio11 of pe1H11erckc11 exe111plified i11 the Nethctlands by
Goltzit1<;_'9 Lorch's in,;istent lines closely i11utate ,voodcut tech-
niques - particul::irly in the conventions used for the clothjng of
tl1e bearded and turbaned figure: an all1un1 of prints hased on
his trave] dra\vu1gs of tl1e 1570s a11d 1580s wa~ public;hed after
his deatl1.·1n At tl1e san1e tin1e as pre-t·n1ptu1g tl1e appearauce of
au engraving, the taut formal qua.Lities of pen l1atclung n1ake tbis
vvork both decorative and powerfully abstract. 41 Tbe formal di,ri-
sions of the picture plane ::ire exu-eu1ely sin1ple, a11d tbe b.arp and
its fi·ozen n1usic, diagonal.ly activati11g a plain ,vhite area, are bold
and perhaps deliberately n1ock prin1icive.
A perfect balance of line and ,vash and pen and brush occurs
in a bro\vn in.k drawing of A T,Vn/1 tJJit/1 n G111eu,11y ,111d Fnr111 B11ild-
in...~ Behi11d by Gian1battista Tiei.)olo (1696-r770) io cbe Britisl1
Museun1 (pi. 75).-1'.! T-iepoJo e111ploys a flo'Aring quill pen to skctcb
tbe f::irm buildings \vitb fun1 bu t profou □ dly descriptive broken
lines, then applies subtle but grainy ink ,vash to set out the
shado\vs a11d texture,; of the ,valls. With a l1rusl1 puddled in
slightly dil uted i11k. he outli11es 1nidday shadows on tl1e ground
and the oucbui]ding viewed cl1rough the open gate, a11d inter- -
polates the sa1ue loaded brusb i11to tl1e still-vvet wash 011 the
\Valls for 111ore subtle trar1siciol1S of its planar wash. Th.e tonal 76 Mc.:lcltior Lnrch, T,irk Pl11yi1t,1? ,1 l l11rp, 1550~. pen an<l blacl. in.k,
.145 X r63 111111. Se Pt·tersburg, Thc ":.cate l-fcri111tagc Mnseurn ,C)R.-382,~X
gradaaons between the very dark shado,,, behind tl1e ya:rd ,va.11,
cut inco by the rough stepla.dder, tbe diago11al shadow on the
gateposts and the large horizo11tal areas of paper left con,pletely
shadovv and 11iakes it di1l1inish graduaUy.... ic 1s necessa0· co
untouched, evoke the bright n1idday sun on whirevva~l,ed walls
do this bcfore cl1e other shadows are all dr)' for Itl1enl it is
wich a skilful eco11on1y of n1ean$.
m11ch n1ore dit1icult to blend then, ... Exper1enced n,asters.
A poetic insigl1t into dra,viI1g in wasl1 is providcd by
though, can do tl1is witl1 a single brusl1, fre),11 ink and clear
Ar111eni11i's !llXtecnth-ccntt1ry recipe:
\Vater. This pa1-1er shnuld be tlúck, firn1 and vvell prin1ed. otl1-
One takes undilured ink and c]ear water, a11d with tl1ese t\VO cr,vise thc shado,vs ,vil] be absorbed and stains "'rill appea1-.~$
extre111es at least t\vo nlÍXtures are 111ade, one lighter than the
The U'>e of a reed r•en was fully discussed by Gilpin i n 180-1-
ocher. l t is the custon1 of L{.oma11 drafts111e11 to put thcse n11x-
when ir \Vas aJrt·ady an archaic too!:
tures i11to seasheUs. Then one takes two little brushes of
1niniver, fastened and fitted rogether and tighrly driven u1to a Tl1e pen l use is n1ade of a reed. vvhicl1 g.ive~ a n1uch fi·eer
SJ11all handle. With one brush one tàrms light shadows, and and easier stroke than a pen 1nade of ,1 qutll. "" hich never run~
\V t th the other, dipped i1nn1ediately chereafter into the \Vate-r Auently on papcr, but scrarches ic, a11d often ~putte-r:> che ink.
Jnd \Vith che cxcess \Vater re111<)ved. one t-asily blcnds che Thc rced pen □la) be cut to a f111e pou1t, ,vbcre a slig11t coucb

M ATERIA L TRACES 125

7- Claudt: Lorrau1, l 1('11' /r,,111 ,\Jv111e ,\Jlirio u•ilh //,e Rii•('r -ribcr. área 1640. brusb aud bro\vn ,vash, 185 X 268 1ru.11. Lo11do11. Thc 13ritish Muscu1n. Oo.7.2.12
i~ rt:!l1Uired. ,l\ ~01neci1nes in dist,1nt foliage; a11d ,vl1en it grovvs
blLu1t ,vith a little u~c. it beco111es so111etlú11g betvveen a brus}1
a11d 3- pen, and gives a bold stroke.--1-1
l-ten1brandt i~ clo!;ely 1deutified with a reed pen (as \Vas vw
Gogl, i11 the nineteenth ce11t11ry), and a wonderfi.11ly expressive
U\e of it.., hybrid properties is to be fou11d 111 a tvvo-sided drawing
by Ren1l1ra11dt\ pupil Philips l(oninck ( 1619-1688). The 1\lforki11g
~{ Cl1r1st, in ""·bicli d1 n,1nric.•u1gular but calligraphically thi1111jng
and broadenuig hnes sputtcr, coalesce. describe clongated figures.
and hav·e an ,1b~u·'lct hfe of their owo (pl. 189).
When ink 1-; enc1rel) applied ,vith a brush - and the b:irdness
<,r ,t>ftnt:~~ of the- bru,;h 1'- very c;ignificant in th1s 111ediu111 - the
var1ation~ of ~ul)cle- to11ality auron1at1cal1y c;er up a c;cale of spacial
<lnd paintcrly vJluL:s on and 'v\'Ítl11n the pa11er. A n1elting dra\ving
126 1 HE: LINE:AR ECONOMY
by Claude Lorrain (ClauLie Gellée, ?1604/5-1682), Vie111 _fro,11
Motite Mario tl'itlt tl,e Rí11er Ti/Jcr (circa 1640; pl. 77). u1 dark brown
wfü)h, assembles itself as a b.111dscape fi-0111 blobs of bro,N"n ink
made \IVith a loaded brush, ma:11y of them deposited on top of
a still-damp under-wash, witI1 "''l1ich Claude firsc laid ou t che
horizontal plane. Only in the l ines of foliage on the top left doe~
the dark bru,;h,•.-ork becon1e descripcive of the specific $h.apes of
cyprcsses and u111brella pines. There are also i11creasel) i11 111Ín1etic
sborthand ín tl1e dista11t hills, where the artist has L1sed tbinuer,
palcr a11d n1ore subtle strokes to suggest lovv fields or shadowy
Í11clines, ,vhile a few buildi11gs give a vertical en1phasis on the
n1arshy edges of the Tiber, \.\rhich spreads into a hazy mirage in
the right discai1ce. The bright 1iver closer to che speccator in che
foreground is suggesced by patches of vvhite paper, vvith a fe,v
,vace1·y reflectionc;, an(l dry scrokes indicate the confident speed
78 Alexander c:ozens, A Bfot: Landscapc CCln1pa.'1lifl11, ârrn 1770-80, bn1~h and dark grey. hro,vn and black \Vashes \Vlth slighr mice\ of graph1te on la1d _paper
pn:pareu \,Vlth a yt:llo,v ,vash, 161, X 207 111111. LonJon, Tare Gallery, Oppé Coliecuon, purchascd ,~·1th a:.s1stJt1C1.: fi-0111 rhc N.iuonal LottLl)' fund throu~b d1e
HcritJge Lotrery Fund, 1996, TOS 114

,vith \vhich this evocative dra,:ving lias bee11 111ade. lt has loog
bee11 ack.nowledged that Claude's pure w·asl1 dra,VÍI1gs (,vhicl1
occur early i11 his career, and are usually dated from rhe 1630s)
may have been influenced by Chinese bri1sh paintings; his close
fi-iend, the German artist and tl1eorist Joachim von Sandrart
( L606-1688), o,vned i;uch works, and even vvrote about C11inese
paii1tii1g.45 Claude's very free ir1k dravvings, which of course
'iuggest a perspectiva! space or window in che ,vorld tl1at is very
far ti·on1 oríe11tal brush paintii1gs, occti.r i11 ea.rly sketchbooks:
they ,vere suppl,t11ted by tigbter. n1ore complex tllL'C1.'d-111c...•<lia
drawi11gs later 111 his career.4 h
A fine original draw1ug by Ale:xander Cozeos . .11 Blor: .L.111d-
scape Co111posi1io11 (circn T770-80; pi. 78), con-esponds Wlth blot 5
1n his published book. There 1s a con111lex penei! 1nscr1ptic>n on
rl,e verso describü1g the pedagogic intenrio11', of dra\Ã, ing. F.1r
fro11l the SJ>Ontaneity <)f Claude, che intert,vining network of
black blocs 011 che surf.1ce. suggestive of trees. buil<l1ngs, v.ater
ai1d n1ountai11s, is carefull) disposed upon voluptuous L.1yers of

MATER I AL TRACES 127

 // l /7 \
1 --
1'

7') 1 lenn M,1ti,,e. l ),1/,/1.i.~ ,11,d J1<1111t:~1,111,11c,. 1947. brush a11J 111k, 76~ X 56, 1111n. Nc\\- York., -rh...: Muscuu1 of MvJcrn Art. Abby
Aldrtth lloc.k~ leller t·und, 11..1950
bro,"·11 and dark grey washes over a paper \.Vashed ,vitl1 ga1nboge
yellow, in ,vl1ich lighter pacc11es correspo11d to thl' brightness of
clouds dra,,ru out in pencil. Th_e backgrot1nd tonality is vcry
ren1in1scent of the effects of a Claude glass, a lightly convex le11s,
c1rcular or oval -in ~hape, that is sn1oked or darkened in sorne
,,,..ay. This <levice '.Vas beloved of devocees of Picturesque land-
sca11e, being beld up agaii1st a la11dscape so as to fran1e it as a
vignê!tte, allowing contrasts of ligl1t and dark Í11 tl1e observed
sce11e to be fasl1io11ably 'har111011ised' into a Ltnifying haze of sat-
t1rared tones. 47
Henri Matisse (r869-1954) aclúeved a ClaudiaJ1 balance
bet\veen the absb--act and evocative aspects of fuU-ink brushwork
in bis Dahlins nnd Po1ne.~ra1Lates (1947; pi. 79). Althot1gl1 rhere is
some over,vorki11g- for exan1ple, in the 11001egranaces on tl1e
serrated plate on the rigl1t of the table, ,.vitl1 it!i added sl1ado,v -
mosr of the dra,vu1g is alia pri11111. chat is, tl1e s,vift, broad layi ng
or1 of strokes are perforn'led specdily and spo11ta11eously \Vitl1out
u11derdrawing. Where the forn1s have been inscribcd in 011e
gesture, s-uch as the t\vo pon1egranates on the left, the 111k
puddles natl1rally, thinning a lirtle as it is absorbed i11to the paper
surfi1ce i11 a n1an11er renunisce11t of Japa11ese brusl1 n1asters.
Matisse undertook a group of such large pen ,lnt-i brusl1 dravv-
ir1gs of stil1 lifes and ii1teriors in Vence in 1947-8 01aving already
tised the cech11ique i11 ear]y Fauve dra,víi1gs ín tbe 1900s), a11tl
thc deliberately broad dra\i\'Íl1gs are rather crowded and con1po-
sitionally overloaded because of tl1e large scale of tl1e brush,,·ork.
Matisse, always a profound commentator 011 artistic practice,
noted
the special qt1ality of brush drav.1 ing, wl1ich, tho11gl1 a
restricted medium, has all the qualities of a painting or a
painted mural. lt is al,vays colour thar is p11t -into play, even
when the drawi11g co11sists of 111erely one conti11uou<; stroke.
Black brush drawings conca in, i11 -;n1all, che sa111e elen1encs a,;
coloured paintings ... tl1ac ís to say, c.-liffercntiations ú1 the
guality of the surfaces unitied by light."H>
The Joint Economy of Chalks and Pasteis
An e:>..'t raordinary dra,ving, the St Dorothy (rirra 1511-r2; pl. 80),
by the GermaI1 artist Matthias Grünewald (d. r5 .,8) emp loys
black chalk, wl1icb has been !1eigbce11ed ,vich lead ,vhite and
darkened with grey ,vash. The saiI1t is wearing a pleaced over-
dress, whicl1 ,vas a specifically Nure111berg fashion of the ti111e,
kJ1ovvn also fron1 fine vvatercolour srudies by Dürer, ,vbo lear11cd
Jus trade ú1 d1e sarne workshop. 49 Ur1J ike Dürer's decorous stL1dy
in the British Museum, Grüne\.vald has whipped the pleaced
drapery Í11to an alt11ost manic display of crushed and folded vir-
n1os1ty, creacing a loose wrapper 011t of which en,erges che
droppe<l hea<l and 111an11t·red hands c,f St Dornchv ,l~ if fi·o1n an
e111pty sl1eatb. Grüne,vald c:xploics a]] aspects of the ,·ersatility ( ) r
cl1alk: as vvcil as the crisp striped to]d,; of thc fJbric, it j.., alsc)
used for la)ring 111 hcavy arcas of to.n e 011 tbl' verticaJ pla_ne
behind che figure on_h.er sketcl1y plind1. f-ree ,;rrokes on rhe r1ghc
have aUo,ved cJ1e texcure of a \vooden board co cn1erge. Ltghr
and dark toucl1es of chalk are nsed to sketch ii1 the curiou$ pruro
bala11ciI1g on an arn1il1ary spl1erc in che opening rc> tl1e 1e--ft, alsc,
v:lúteJ1ed ii1 places.
Black cl1ulk \vas for centttril's thc con11110111:·st 1nc<liu111 for
underdrawi11gs and finisbed carcoo11s, as ,vcll as bei11g used 111
detailed stL1dies. lt does 110c "bleed· 1nuch. thar is, stam ,,~hite chalk
or liquid body ,vhite; clierefore, ic seems to i11vite the participa-
tion of ocher 111edia. Natural black chalk de-rived fi-0111 ~, car-
bonaceous <;]1ale is n,íned fi-0111 differ-ing laye r<; oí hardn e'i'l and
s111ooth11ess, and at its be'it _1.1roduce, a ~u,t.iined ,;troke th.it is rar
more cousistent than tl1e broke11, broad 111arks of friable char-
coal, which to a large excent ic l1ad supplanted by the fi_fteench
century, only to bc later replaccd ,v-itl1 the- vvood-encascd pencil.
Black chalk ca11 be sharpened to a point for fine lrnes, and ,
by repeated overdra,ving, can achieve intensiries of darknes~.
Arn1enjni advised tl1at jt ~hot11d
be neither soft nor hard, and not ac ali spo11gy .. . Lc i.s be tter
if first the o;,..--idised and ro11gh surfaces are ren1oved so that
\.vl,en it l1as been squared off and we1l cleaned one can easily
cut or sa"v it wit11<.)ut 111uch Aakiug. One chen cut'i il u1cn
littJe picces anel sl1arpens tl1e111 in such a way that they tl1en
can be put insidc a little b1·usl1 tube made tor tlús purposc.
H e pron1oted a light hand in drav.;ing becau<;e 'the J>oint easily
Aakcs a11d sl1atters', anJ blen<.ling area:-. of chalk with a 's111all
blunt brush of núniver' rarhcr than cotton vvool, a fi 11ger or
-o
a paper stun1p.:, ln the scvcntee11tl1 cc11tury Sa1uue1 van
Hoogstraten
,_ advísed arb.sts to fL'C chalk in a batb of gt,101 ar.ibi c
~
and gu111 tragacanth. 51
Leonardo v.1:1s crectited vvith being che fir~c Ita]ia_n arrisc co use
red cl1alk, 11u11i1r1 rossc1. Called s,111Jt11i11e in French. l1ccause of its
blood colour and associatio11 \i\'itl1 tl1e corporcal, it vvas to
becorne the popular 1neditu11 for figure sn1dies, a11d Michl·lai1-
gelo was regarded as its gre:itest expone11t. Black and red chalks,
v.1th or vvithot1t ,vhite chalk highhghts, were ofte □ en1plo,Ted
cogether, as i11 Michelangélo',; u11fini'1hed lrí"~(!ill 1111d Cl1ild (pl. 11).
Pontor1110 Oacopo Car11cci, 1..i.9+-1556) <;0111et1111es beg,111 .i
<lravving in one çolour cl1alk aud finished in a11otl1er. v..·orku1g
on pink prepared paper in a s111all skctchbook of 1523- +.~2 A
su11plc con1biJJation of black .u1d red ,,_,·as c111ployed in rhc rachcr
dry porcraics of Fcdcrico Zuccaro, ,,,here a fe,v red toucl1cs, torthi
di rosso, ,vere added to eyes, no~e. líps and ears in drav.ings rh.1t
,-,, ere basically consm1cted out of fine black ch.t!k 1nodelling, and
this practice ,.vas to continue for centuries, Í()r exan1ple. 1n the
MATERIAL TRACES 129
 •

lh, 1\\111111,1, (:111111\\ ,11.1 (~l.1!111, c:11!11111 N1,th111l, ,,, /),11,,tli)', ,11 11, 1s1 1 1!, hl.11l- 1.'hli\.. 1\1ch Lnu,h1.•~ ot'grl') \\,1~h. h1.·ighce11c<l
111 11 ,d "11111·, 1,H X ',f1111111 ll1·il111 , \1, uh, h, M1"1'1•11 111 llt·, li11, l,upl,·1~t1t lik.1h1nl·tt. l,dZ. l.?O_'l'i

•
l·1c11c li t•1gl11,·1·1 1tl1 c l'lll111y 1t·g.,11I lt11 W<i1k, ,111 tr11is 1r11yo11• 111
lt tly. < ,,,11l,i111·d , 11.d~ d1,1wi 11gs we11· j.!I 11t•1.1lly 11'-cd ,,,, 1 nlo1111 d
p.1pc1 "• p.11 ll< 1d,11 ly l1li 1t 1111/11 a 11rr11 01 prl pd1cd g111r 111d'>. A~
l·dtpp,, li.ddi11111, 1 wrolt• 111 1(181 , ,~ pt I l l.lH cd .1111,1 11sc.• i c ei
,1 11cl hl.11 ~ 1c,1•t l lH.. 1 c1tlic1 ,,11 11111ed p.ipen,, 111 wl1i<.;l1 <.1,1..· tiH.!>'
l11glilig,l11 w11l1 gc~i.1,; "' '"I wl1i1t· p:1pt·1.' ,l
As wcll ., , 11·11d(•111111, ~,il,dy 111flt·( lt•cl l111l l>I lin,,ul <;li<>~ t:\,
11.11111,11 l('d ( li.ili. , ('lllllp,,,1·d ,,r l1e1 11.1111,· ,111d 1 L,y, wl,i, li , ,,111t ~
i11 o1 g1c.11 1.111gc ,,í 11,1,l''>, t,111 l>c ~111111pcd, sp1<•.1d ,111d g1.1d11.1tLd:
it ligl1tc11 s wl1e11 , 1111111H d .111d d ,11 kc11s wl,,•11 l(1llc J,cd wnlt .1 w..:1
h, 1t\l1, ,111d L,111 , ,vitli 1,c1111t: e c,.1x111g, hc l,lc11d,·d w11l 1 w,1Lc1 111111
.1 v.11 t,1blc a1trl g1.1111y w,1sl 1.
1 A l.1~(;ltt,t1i1 ,g dr.,w1ng ,,1 1111
1
...
l :11~r11J111 ,11 /d:, 1~'l>tt• 1,thfl' hy Jc.11J - A111ou1l W.1ttt·.1u ( 16k4- 172.1 )
d1,pl.1), d1t· l1uµt tJ11gL ui rcd chalk (pi. 8 1). l lc cll tploy, tht!
l11H.!\l .uai lll<J,t dt l1c Jt1..· linl'S tu l.1y do\Vll the cun1positio11al
clc1ail a, wcll .J'i liuld. bn,.1d -;rrokl's thar 11II 111 the \Voode11
edgc c,I tl1e t thlt ,1nd tl11: ~hado,v, u11dcr11c.1tb tt. A lnnµ.
bro,t<l 111d clirt·c l1q11 d l111t: sitU,Jlt·'.\ tl1t· e11u:r.1vcr\ .1rn1 p.1r.dlel to
tl1l· t.1l1lt., ,1'> lic llt·1Jlls 111 dt·c.:11 <<>tlCl'l1ll,1tH>11 ()ver ht'i ,vork. ln
des1g11,ll111g ll1c• C:!\tr,JI dre\sÍ11g go,v11, ~t.111tl.1rd v.·or l c.1p and
h, 1dily fi!.,curcs <,f Ll1c t"llgt .,ver, W.1tlc.1u c111ploy, .1 v.u ia bit• l111e
tl1at 1111Jvl's bct,vi:c11 f 111c.• ,111d bolei, t(>t1gli .111d puintcd, .1nd thc
c11g1.1vc1 \ r,,ols .11 c dt.!~c11bed wuli thc.: custo1nary .1ccc:nn:d ch.1lk
sl11Jkcs. ryp11•;il nf Wanc,1u's roc<ico srylt•. ' l lns 1s ar 1t, n1c>,;t
11ATERIAL TRAC[S 131
e'i:pre,._1\t! 111 the Hu'-·nt linc- uf tht: co11per pi.ire. t'Xte-11ding ti·o111
.
che l1e.1\'\, , h.1do,, { >Í lht' lefi h,111d of d1e 111tt"ll'>t' t'll!;r,1ver
lhn,ugh l1e.1v111 e,, t<l l1g hu1 es,. \V.1ttt.·,1u, ,, ht> ,vrt>te aboul Jevot-
1ng b is 111<>r111ng, t<> 1,c11sécs ,i l,1 s,111_(f1tilh, dre\v tl1e c11g1-a,·er
(\\'h<1,c 11.i 111l' 1s 111,cr1b1:d o n the b1ck of the dr,1,v1ng by a
M. u .,r{)Tl) during a V]Slt ro E11gla11d [0\'<'ards
fi."1 rll tl." r ()\\'11CI" ;is
th e l..'nd of h1s life. 'fh t· dr.1,,·in~ •
is full of careful ob,erv(lt1011~ of
,,·orl-..,hop org.1111,.. 1c1011 , indic,1ting ho,, che fihercd light fi·o111 the
.
' l reened ,, 1ndo,,· i-, rcfiL' C!t·d 011 t<.) thc' t.1l1lt> l)\ ,l '" h1le dra,ving
~
,iil'Ll pin111.·d to the pr<>pped-up board.
N.n1.1rJI n:d chalk bas tl1e ad,·a11tage that 1t ca11 be readily
co11nterprooteLL C o uncerproo& or oft"s-ets. ,,.- here a di11,V1np; 1s
d"1n1pe11ed and rl1n through a press ~o ;i<; to leave a rever,;e-d
rt>producnon of 1t,elr 011 a copper J'tllt> t)r another piece ofda111p
p 1pt"r. l'.~11 l1l' 111ade ti·on1 111an) type~ of dra,viug 111cdia. a11d the
procc:.";~ ,,·as Cl>111111011ly en1ployed b) l [.111~ I--lolbcin rl1e Younger,
,,·ho,;e portr<11t dra,vu1gs are pru11ariJ) in coloured chalks.
Counterproof~ ,verc ,1 legiti1nate 111enns of 1naki11g copies of
dr.1,,•in~~- ,,,h1ch could be worked up in deta1l. si111ply strength-
ened ,,,1th inl-- hnes ar even left i11 their S(lft a11d rather fiizzy
cc>ndit1c)11. :i11d the> plJ) an i111pclrtant role in print-111aki11g. since
tht> ·squec:zt•· 111ade ti·o111 a coullterprt)oft'd drà~•ing ha~ the san1e
n:,·erse orientaliou .t<; tl1e plate. Counterpr<>ofs ,vere coliectec.L
scnc for approval to co111J1Ússio111ng patro11'\ and gi,·e11 as gifcs, as
tl1,1c is ,us11ended fron1 an a111aziJ1g l1eadpiece, whic h has bee11
rather crudely overdra,v11 u1 pe11 a11d i1:1k. •l'l Thc dra\\·ing has been
cut ouc fi:0111 its original support along the 11nes of the figure.
aud then pasted 011 to at1other sheet. Great atte11tion has bcen
paid to 111corpor:1ce che f1g11re ir1to its 11e,v -;ecting \V1th lighr,
9
têatherii1g cha lk stroke-; over rh e cut edges.; En1ployir1g the fi,11
range of three coloured cl1alks, Rubens uses sa nguine an<l white
chRlk tr,111::.forn1ativelv, in the service of rese111blance ::111d lun1i-
nositv of flcsh it1 the face J □.d l1and. 'A' bereas H ele11a's opulcnt
go,vn, JevvcUcry and hair are very broadly skettl1ed ~-ith quick
strokes and z.igzag l1atching of black cl1alk. Ouly in Helena·s hair
is rhe red cl1alk allo\ved a Linear expression, ble11cting crisply v-11tb
61:ick chalk to sugge<;t a bushy, blond n,ane. The n1odelling of
the fi11e nose and lips, ,vith touches of \'\lhite l1ighligl1ting, are
expressive of the ut1110::,t skill of Rubens\ dcsiring hand. ar1d the
opposition of a red/blo11d cyebrow on one sidc, ,vith a grey
eyebro,v and slight sl1adi11g 011. the other side of tl1e face, fixes
cbe sixteen-)1ear-old oval face in an idea.lised volu111etríc spnce.
JZ.ubens's dra,ving, u, ,vhich san.gujne literally colours in Aesh,
co111pares w1th a lightly coloured cl1alk drawing by Angelica
K,1uffi11a11 ( 1741-1807), in which blue, pale pink. yellow and
l)lack cl1.1lks, tending to,.vards the n1onocl1rón1e, are bro11gl1c to
lifc by flickering toucl1es of ,vl1ite. The sitter for tlus Portrait ,if
i.1 l l'.b111n11 i11 a Lncc B01111ct (pL 84) l1as 11ot been -idcnrificd. but it

,,·cll as often exch,111ged beC\veen arnsts, or ,vorked ou by other
h.1nds. lZubens, rhar inveterate corrector of other artists' dravv-
111t,~ 111 his ~tudit) collection. vvorked up a councerproof b,i'>ed on
one of Giulio l-~<)n1ano's tape~tr) de~igns. 53 CounterprooR v.rere
particularly popular an1on~t eightêcn th -cen tury French artíst'-,
and [he collêctor Ed.n1011d Je Goncourt ,vrote in l1is catalogL1e
ofWatteau 's dra,,•ü1gs in 1875, ,vhich revived interest 1n thc artist:
·c;e111úne Watteau drav,ings, nor Teworked, are so rare and hard
to fu,d today ... The true bloôn1 of the dravving is no longer
prc-~enc 111 a c;queeze. but a littlr of Ít\ ~oul. so to speak.' 5c, l1e
Goncourr c;l1ovv~ a ,vo11derft1l licerary regard for che range of
chc1lk usage by Jcc111-Ho110ré Fragon.ard:
Hi\ t'ffect~ ~ugge~t tbat hc used a chalk v,,ithout ;1 holder, that
could be one of l{auffu1:m 's very idealised self-portraits_c,o The
lighr curly traci11gs of the light .fich11 aroun.d the wo111an's sl1oltl-
ders oppear to h.ave been carried out with sharpened naturnl
black chalk. wl1erea.s thl:' thick grainy deposit of the blue, obvi-
ou~ly derived fron, a coloured pastel, is heavily overlaid over the
~
dark n1odelli11g of che l1aír and cap. The vogue for pastel
portraits in France earl.ier i11 the cenu.1111 had been sti111ulated by
tl1e i>arisian visit of the Venetian pastellist Rosalba Carriera
(1675-1757).(,1 Carriera refused to be drawn on ,,rl1etl1er bound
pign1ent or dry pa,;cels ,vere the better 111ediun1, but u11der
her inAue11ce che use of p.i~cel becan,e an e~cablisl-ted Sllbstitute
for paint. a11d was a 111ediu111 111uch used by ,vo111en arçists.
Je..111-13.1ptiste-Sirnéo11 Cbardin (1699-1799), wbo<;e Se!f-Portrait
kl 'éarí11,{? Pi11ce-11e;:: of 1771 v. ill be n1e11tio11ed in chaptcr ten (pJ.
1

he rubbecl it Aat for the 111as~es, thar he ,v:is continually

turrung it bet\veen his rhu111l1 and forehnger iu risky, but
u1sp1red, ,,,beeliJ1g a11d rv,risti11g,;; rhat l1e rolJed and contorted
1t over th,e bra11chcs of hís trccs, tl1at hc broke ir on tbe zigzags
of 615 fohagc. Every irregularity of tbe chalk's paint, ,vb.ich he
left llll'ib,1rpe11ed, wa~ pre~sed mco his service. Wh e11 1t bl-11nted.
he dre,v fu11y and l,roadly ... when 1t sharpened, he turned
to the ,ubtleties. thc tine,; and eh~ lights. 5-
1,t1beus"s tine large dra",,ng l-:lelcnc1 rt>11r111e111 (pl. 83) probably
d.1tL'' fro111 tht' 1(130,, \\ hen Rubens. in hjs fifties. 111arr1ed his
yt>u11g ,t•co11d ,vilê. She i-, dres\ed for church, \V1th her r1ght
hJn<l l1old1ng back thc: long, volu111i11ou, ovcr-garnient (/ic11ke)
194), turned to pastel as a s11bstit11te 111ediun1 late in life wl1en
his health led h.iJ.11 to shu11 oil paint.
Fabricated chalks have long been in use, because milling serves
co ren1ove i111purities fron) 11atural clay deposits. Such vvashed
ai1d grc>und pign1encs ,vould be 1nixed \,Vitl1 lighc binders such
as gu111 tragacaut1:i. roll ed int.o drawing sticks and <lried for use.
Lco11ardo refcr1·eJ to a 'c.Lry colour ing 111ethod' tl1at l1e J1ad
leaJ"ned fron1 a French artist iu the Codex Atla11tico, and he
empJoycd a golden oclue pastel in }ris portrait so:idy of lsabella
d'E~te- in the Louvre.'''.! Lon1:izzo 111entJons the pc1stcllo as eorly as
1585, 1111plying just such a rolled pig111ent dra,V1ng '\tick, and
Peu1.1s Gregorius refer, tt, fàbricated chalks iu Gern,any in 1574.

132 TH t LIN E:AR ECO NO"-iv

v.·bjle Ar111enini advises tbe use of co]oured crayo11s (pasrc/11) in
111ak.in.g coloure<êl sketches of 'n1odern n1asters' or paint sketches
on pane]s.'·' A sn1all r.111ge of colouretl chalks of great subtlecy
and beauty ,vas e111_1.1loyed by Federico Uarocci in the -;ix teenth
cencury i11 l1is 111elting coloured hea<.I scudies."4
& ,.vcll as a _fi-agile but brillia11c L11 edi uJ11 of fu1i~h, pastel has
co11tinucti to be very uscful for preparatory studics, both for por-
traics in oils a11d pastel dra,vings. As a 1naJor executa11t u1 pastel,
Maur1ce- Quencin de La Tour (1704-1788) often produced as
1nany as four or ftve studies in black and red chalk for fuu<;hcd
pastels on coloured papers, ínclud111g the to11r de _forre o f tex tural
effects. the full -ler1gtl1 pastel of l\1ad,111te' de Po1111i11do11r (J)aris.
Musée d11 Louvre). 65 Tl1ese preparatory dra,vings appear to i11ves-
tigate and practise technical problen1s, so that \vl1cn de la Tour
carne to apply l1is s111ooth gracL.tio11s of stu111pcd pastel in thc
final ,vork tbey 1naintain rbeir fresh11ess. Moner n1ade pastel
sketches of che Than1es in 1901 as exce1-cises for paintings.
Soft prepared pascels, ,vhich are at the fi1rth ec;t end o f che
painterly and transforrnacive contin11u111 of drawiu.g .-ind just onc
ste_p a'v\1 ay fron1 oil })aint, are i11finitely 111,dl cable, inviting sp re.1d-
in.g and stun1ping, as ,velJ as ür1ear treat111ent. Since, ho,vever,
tl1ey very readily separate tl1emselves fron1 tl1e support. eve11 \Vit;l1
fi..xatl\'C, special prepared s1Lpports were in 11Se in the eightee11th
century, in cludin g vcllu111. tatlcta ,u1d lincn, v-•liich ,Yould be
rougl1ened ,,1-th pl1nuce or covered ,vith a gluc and n1.1rhle-dust
t-tlling. 11<• Fixin g pasteis has ::Llv,tays bee11 a problen1 in relat1011 to
tl1e etrecc ic has Oll colou r value,;, and 111ost cr,1dit1onal p,1stel fix-
ative<; were ,ve.ik ,;olu ti<.) 11\ ,-,f 11<)11-yellc),v1ng rt'si11~ in .1!1.ohol.
Colour 111ixi ng 0 11 the surf.ice i, the 1111porcanl facltH in p<1-;tel,,
because uuhkc oiJ paint tl1ere is a 'flash' po111t (as t11ere ,tlso is
in ,vatercolo ur) ii1 ,,,luch overdra,-..·ing suddertly ktUs rnLxed
colours :n1d t11rt1<; then1 into a 111uddy grey or br()w11. Colo1.1r
m1-1rder is avoided by uo;111g the correcr o;eque11ce of one colot1r
over an()tht'r (b1ue over rt:d rather than red <)Ver blue), or keep111g
-.o·okes relativcly \:videly .-,p,1ced <.)11 tl1e ground o;<.> th:it juxta11<.>-
si tions of individual slro kcs providc <.)prical cyc 111i:xc~. Uccat1~e
pastels ca1111ot be 11úxed 011 a palette in tl1e 111,u111er of pm1t but
depe11d 0 11 alia pri111a juxtaposirious o f scrokes dirccdy on chc
pictt1re ground, chey rela.te very closely to the preoccupatro11s of
In1press1onisin and J)ost-I1npressio11isn1, and v,·ere practised by
M onet, M anet, 13oudin , M ori-;,ot, Cassatt, R enoir, Millet, Gauguin
a11d To ul<.luse-Lautrec, to nan11e Jllst a fe\v.
D cg,1<:; u~ed pastel prolifi cally and interchangeably v,itl1 oLher
111edi.1. ln the late pa~tel vl1J111a11 til J,cr Toilette (pl. 82), he en1ploys
a very "vide ra1ige of strokes a11d patter1u11g, as v,.,c U as colours
011 trac1n g paper. Wl1crc.: red dabs are added over dark bl1.1e 111
8.:! 1:-d~,,r 1)et,,"1'.
1Hi,,,cr,, crt /te,
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li3 Pt.·tta l 'Jul R.lllil·n~. IT,lc11,1 J·i111,,11n11. orc<J 1630-J2, bla<-k, rcd .u11.l ,vbitc clw.lk anc.l pen a11d ink, 550 X 6r2n1n1 . London, The San,uel Cotirtauld l ru~ t,
c:ourcauld h1,titlttc 1>f Art (1,i llery. 1). 11i7X. P(,.fq.
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84 Angeüca K..iuffinan. P11rtr,1it ~[ ,1 110111<111 111 ,1 L.na' 801111c1, n.d., coloured chnlk~. 227 x 187n1m Berhn, Sra:irhche Mllst:t'n, Kupfer,richk.1b111etr,
I3c.:rhn, KdZ 4613
lhe cur1ot1\; rr11ngul tr neg,ttI\·e ,h tpe, ttndl.'r rl1e 1.1i,L·d IL·lt arn1 •
th \\ >111,11 1, che t o l<.l llr h,1, tur11l'd n1uddy. ,1, Ít h,1, 011 the .._,
ot

lefl h:111d ,v d] llH I tloor. ()11 th1..• dt'l \irated vertical ,,·ili or screen
,
pl.inc, 1)l: ga, h,1,; tril'd t o lifi the dl'grad1.:d co lüur hv ,1n appli
cauo n o f li~ht p1 uk. ,vhich 111 n1rn h~s sunk 1nto the 11n.1<ed
-. ~s-.....!-
.., .,
~round . ln arl',1~ such ,1s the rai,;td right hand üf rl1e \Von1;1n ,
ho,,·e,·er. the p111 ~ prob.1bly reg1'itt'r'i l1ec.1u~L' l)e-g-as has ,v11>ed
,111 111 .Jrl•,1, ti-e <:- ,, ich .1 ~ lotl1 or p,tper 'ip1ll. ln t1rder Lo lightc11
.1nd texLure the 1111id\ ochrc biouse. hL· h.1, had to dig deep \\'Í th
d1L light pink. pLrh,1ps cve11 ,vetti11g it ,,·ith ,1 üttlc sal1v.1. 111 the
.1rca of tl1e toilLttt: ,;c:ind, co,-ered \'\'lth a cloth. o r table. che ls.--

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11nsvn1p,1 rheric n1ed1u1n of no,v br1 ttle anti brCl\\'ll ing a·acing •

p.1per cre,1tt'S .111 open pl.1ne 011 ,,vh1ch a ,vhole vari ety o( o;h,1r1)-
-{'~,- 1 )
c'11ed \trokes 111 cc'rulea11 ,111d chiei-. rt)lling ,vave-; of ,vhi te ,1nd ' \ l......,..-, , - (1

pale blue disport then1selve-, i11 a patter11eJ confusion that sug-

e
ge~t-; thc.: cluttt:r of tl1e bouJoir. (

The Mythic and the Modern:

Charcoal and its Ghosts
Co n1pared ,vith tl1e court ly and urban sophisticacio n of S'f llthetic
pasteis, cl1arcoal L~ a11 archatc d ra\ving 111aterial: the charred piece
of ,vood snacch ed fro n1 the prm1al tire by Apelice; \Vhen he
11eeded to 111:ike an tmpro111pcu drav.ii1g to ~ave hi~ reputacio n.
acco rding to Pliny, aga in,t che calun111ies and jealou-,y c,f his
fe Uo,v arnsts."7 lt \VJ<; narura1ly to ha11d Íl) r tl1e il1ughter o f
Butades JJ1d, u1 a versio11 of tl1e Apelles .111ecdote, Anrúbale
Carracci (1560-1609) put l1is bro ther Agostino a11d otl1ers to l
shame l,y accurately dra,,'ing the Laocoiin statuc on a "vall in
ch:ircoal v.ich che ,, 1orru; 'JJoets pai11t ,vith ,vorcls; paii1ters speak
wich works.'1'x The gTea t ~ixtee-11tl1-ccntt1 ry :1n ato 1nist Ar1dreas
Vesalius apocrypl1a1ly inst,-ucced his <;cud ents by dn,1,ving on the 85 Albrecht Di.irer, J h·,11I <!( t/,c De,11/ C:/1risc, 1503, cha.n:oaJ, 3ro X 2 21 111111.

a11ato 1ny table, anJ nu111ero u-; geniuses l1ave niade rheir first l ondon. 'fhe British Museun1. 'iL,5218.29

scribbles 011 rocks o r ro ugh \vall'> ,,·itl1 cl1is pri111 ,11 u1e<liuu1.(''1
Ceruú110 CetlillllJ reconu11cnd, 11.S use for all to rn1s 01· undcr-
dra,,~u1 g on pape r. pa11cl , can_ vas and fresco, af:ter dcvoci11g a
chapcer to 111aking 'perfcct and ,;Le11der coais tor drawirtg' 111 a
baker's oven or roastcd in an earthen,vare di<ih."'11
Alcho ugh will ovv charcoal scicks :ire 1nade 111 'lpcc1al kilns, they
can be t:.1sil y produ ccd , a11d ch,1rcc_)a] is the cl1eapt:-st and 1110/;t
ubi4ui to us of 111cdía. 1 ll i,; vcry fi·iable, and readily rubs off ics
supporc, but it Lan bc 111.idl.! per111a11e11t ,vich a fi.x.1tive ,1nd has
a surpris111 g debrree of lo ngev·1ty o nce it has bo11dcd with tl11.!
fibre'> o f rhe paper support. 13v ~7p111g off the carbo11 deposit of
an unsat1~facto ry cha rcoa l hne there 1s a vibrating g host rnark;
tl1erefi>re it alv-.ray, revc;1ls tht' history ó f its 01;,rn processes of
111ak111g. C harLoJI ter1ds to bleed tnto, and ~hghtly discolour.
orhc r 111accriJJ~ ,1pplied latt:-r btc,1use of it~ ability to '-J)linter and
scatter carbo11 part1cll·~, .1J1d its <lust 1s craditiona1l y u'ieJ as a
pounce n1ediu1u tl1rough pricked holes, or for st1apping stru1gs
fixcd oo nails as gu..idcs, plu111b Li:nes or grids, or applied to the
back of .1 dra,ving and u-1_cised on the recto ,vith a stylus as a
for1n of carbon paper transfer. Fi.)catives are believed to have bee11
in use fron1 tl1e tifteenrh centt1ry for charcoal and later cl1alk.
.u1d, :iccording to che111ical analysis, were prob<1bly n1ade fi:·c_)111
d.ilute gluc (in cluding fish glue) or egg white, and eve11 the sticky
v.1 !11te Auid fi-0111 figs.
A stick of charcoal or chalk tied to a stick, as reco11m1e11ded
by Ceno.Ílu, lias been used for centuries m beginning J<1rge- scale
works, u1cluding Matisse's decorations for the chapei ofVence,
wh1 le a ,:vell-k11own an.d tc>uching photograph oí 1950 sho,vs
hin, dravving on che walls or 1,is ap,1ro11e11t in Ni ce fi·o111 his
sickl1etl "vith a collapsible rod."'.! The Greek-born artisc Jannis

136 THE LINEAR f CO N O MY

Kounellis (b. 1936) cxplored the si,nplicity and friabilicy of char-
coal in ,tn u11ticled ínsrallation of l979 (Tate Gallery), ín ,vhich
sii11ple i11dustrial buildi11gs ,,vith chi11111ey-; were blocked in cl1ar-
coal outlines on tl1e wall and juxtaposed vvith tíers of thicl-. bl,1ck
charcoal dra,vings. Their po,vder spread beyo11d the dark fi·an1e
of the black unages like pollutu1g chiJ1mey smoke, mto wliich
light h11es ,vere scracched and exposed as m architectural -~f!.rqf:
,.;
.11 'º·Charcoal is che tool of exprec;sive and gec;tural dra,,•i11g iI1 a1J
73

periodc; of l1istory, perhaps becau5e of ice; atavisric associations, as

\Vell as l)eing tl1e easié!st tool to l1and. Dürer produced so111e oí
his most 1noving dra,vmgs ii1 tl1c n1cdiw11, such JS thc poigi1ant
Hcad oj. thc Dcad Clirist (pi. 85). Tl1c fulJ range of charco.i.l's
potentiality is explored m thc rubbcd tonalities ,vith wl1ich
l)ürer shadows cl1e ga11nt planes of the face and tl1e broad,
shadowed 11eck of che deaâ face. He uses 111a11y varieties of hne
co de)cribe the outlíne of a sl1oulder, tl1e spiky hartlnec;s of the
cro\iVll of tl1or11s and tl1e softer strokes of hair. a5 well as tf,e cris11
cl.11d beavy cu ris of chc bcard. Tliick seco!ld.-iry strokes l1ave be<.:11
added to describe the cruel shado\VS of tbc cro,v11 aJ1d tbc su[-
feriI1g 1nouth. Tl1e clarity and Jack of rubbii1g i11 this drawi1-1g
are re111arkabJe. considering the f11gjtive 11ature ot· the mediun1,
suggescing that it \\'as fixed ac a very early srage.
Cl1arcoal l1ad a considerable revi\'.11 as a 1nediun1 in ics c>,vn
right in che nineteenth ce11tury by arti<;t<; deliberately seeki11g an
'authentic' n1aterial to suggest thc \veight, tt'xture and dran1a of
everyday objects, stecpmg tl1e pt.:11cil 'in the marro,v of life', as
it was charactcriscd i11 che 1890s.7~ For Fre11cl1 rcalist artists _{t1sai11
cou ld be spread in a steady tone over the v,rhole page, erased to
create highlights or intensified by additio1ial marks and scages of
fix-ing to a grain)· c/Jinrosr11ro of edges and tonal contrast<i. Dra,v-
ings by Gustave Courbet (1819-1877) fi·on1 the late 184-os <lé!pend
on tl1e~e c;trategies, for e};:an1ple. .11 rtist at !tis Ec1sel (pl. 86). Thc
cntire surface of che creai11-coloure<l paper appears to l1ave been
darke11ed with charcoal to a middle to11e (exce.pt perhaps for t11e
cap) and thc11 highJigl1ts n1bbed a,vay as a dra,ving equivalent of
a mezzotmt rocker. Erasing l1as marked the paper in the area of 86 (~u~ta\'e Courbcc, Arti.;1 /,is Et1sd. âr<"r,I 1847-8. blJck t haJk ,v1th Lr.it:e,
<11

the face and painting ha.nd. Very dark areas have been l)trilc up
witl1 111anufaccured black cl1alk, S'O thac tl1e lighter patter11s of
eh.e gow11 can be read, and penei! i'i aJc;o employe<1 to pick up
che conti~ast'i ol~ rigid furuiturc a.i1d 11Jonu1ne11tal sittcr.
ln ordcr to bu.ild up mtensiti<.:s of black \Vhcn using charcoal,
1na11y artiscs resort to fixi11g tl1e ÍI11age at a fust scage, chen go
over tl1e slightly tack:y surface of the fi:xative \vith anothcr layer.
Paul G:iugt1i11 appears to have done thi,; with his Heads (ifTahic-
i,111 1íi1111cn (circa r89 1-3: pl. 87), as \,vell as using bru~b and water
to 'ipread the charcoa] povvder into lighc "vashc'>. Although rhis
<lra\l\·ing is designatcd in catalogues as tht· heaJs of two wo111en.
the s111aJJer second bead could be tl1<1t of a slcepjr1g infa11c, wl10
rmght have been tied to the back of the mother at some stage. 75
of charcoal and some gr:iplure, 554 x 335 n1m Can1br1dge. Mas~.. Harvard
U111vcrsity Art Mu\cunlS. Fogg Art Muscu111, Ilcquc,1 of Grcn,íllc L.
W111throp 1943 .7~7
The n1ain figure's face, teah1re, body and l1air have been over-
dravv11 n1an)' tin1es to achieve a 1nonun1ental scnlptural ,in1plic1t)·:
chis is Ji;1rticu1arly apparent in the lines of tht' nose ::ind the
pro111inent li11~ of the 'ilighLly open 1n<:>uth, "'h1ch is ,1 11roject-
Í11g shelf of sculptura] dcsíre nn ,111 <)Lhcr\vÍc;t• en1otionally unin-
f:lected dra\vi11g. J3y i11sert1ng irise~ inro the e)·c-s, ,u1J then
sl1ading then1 so that they ca11 hardly bc seeu, C~auguu1 has given
his Tahitiat1 goddess s1ghc a11d the11 bhnded her. in lus proJect ot·

MATERIAL TRACES 137

x- P1ul Gaugu1u. / Lr,1ds ,1(T.1/ii11,111 lli>111r11, f-1,>111,i/ ,1111/ Pr1)/ih l "it•u1s,
cirr,1 1891-3, charco:í.l ,elect1,·ely m1mped and \\:orked 'iVlth bru~h :1nd \\,.1te-r.
fix..:d. 41+ X 326 nun. Cluca~o. The Art lru.trlute of Chicago. (~ifr of David
'\dk·r and H,, l-r1l'ncl~ 19.5C>. t.?.l:iT
crcati11g a gr.u1d 'pru11itivc· sculprural alternatiYe to Hellen.istic
or llon1an 1deals of beat1ty. 'fbe use of \Vash in the Ao,ving hair
promote5 the n1odell1ng of the he;-id, and secondary charcoal
'-troke~ ;-ire added rk>se to tl1e neck. presun1ably over an a11pli-
cation of fixative.
Unlike thc gcntlc featl1er, wl1icb Ce1u1ini a11d othcr~ adv.iscd
for crasi ng charcoal. d1c l1ard rubbcr crascr. which 111akcs i1iroads
1nro a tield of clurcoal, layu1g barc t11c papcr, bccon1cs an equa1
inscru1nenc 111 a b::ittlc of ~1ccretion ai1d disavo,val. According co
Meder. er::ic;ers 111:tcle fron, rubber ,vere inrroduced into France
in the lcl',t qunrter o( the e1ghteenth cent1.1ry a~ an in1proven1ent
on a to1npre,sed pit'Cl' of l,n:ad or a ~ponge. Significantly, the
French tcr111 for rubb111g-out, ,1,-rc1c/1,1ee. in1plies ~natchiug or
uprooti.J1g, ai1J .1, a tor111 ot pun tlus hJppcn1> i11 Odilon Rellon 's
C,1(t11s .\l,111 of 1881. 1n ,vh1ch a severed c.;oya-csqL1e l1ead has
bee11 pl.1nred and rl)ored in :1 square flo\vcrpor rest::111bli11g a sar-
cophagu, decor,tred ,vith cl t,''ill'a l reli etc; (pi. 88). Odilon l-tedon
138 Tf-1E Lll l EAR ECOI JOMY
88 (.)çlilon ll..cdon, c:ar111s ,\1011 (JJl,111ír c;rcl$$t'), 18?11. v~rious cbarrüals ,>Jith
.SlLU11p1ng, w1ping, erasing. inci!>in~ .ind 5pongc ,vor.b., on hght brov,u v.ovc
p.1per, 490 X 3.22 1nrn. Th~· Woodner Fan1ily C1.1llecoon
(184-0-1916), kno,vu as ' tl1e master of 11oirs', de,rotcd lú11isclf
cxclu'iively to cl1arcoal in th.c 1870s, a11d tl1is SLtffering visage,
spikcd v.rith thorns, has bce11 attacked with an craser as vvell as
a spongc and a sharp knife in arder to carve Ollt irs facial planes,
,vhich regiscer as stro11gly a-; a piece of sculpture. The potted head
i'i carefully ~qu:ired co che $heet of light brown papet, ,vhicl1
escablishes .1 sn1oky 111iddle ground c;in1ilar to that usecl by
Courbel. The i;earch for 111ystery in Rcdon's tcnebrous dra,.-.1.11g
is acccntuated by tl1e sparc;e co111p<)Sition, in vvh.icl1 ilie n1oody
sk)· at tl1c back ~upp lics no clue as to the scale of this n,onstrous
bead. The co111bit1ation of applying 111d erasing i11 clus drav,1ir1g
is a popular teaching strategy u1 today'c; schools, ,vhere charcoal
is a favo·ured 111ediun1 for quick gestural t"igure or object draw-

89 l '. h,1rlc~ ')hccler, /11t1 ·r,or. H11rks c:0111/t}' /i11r11, t\;21, C onté , r.1yon, 38 , X 476 111111 , Ne,, York, Wh,tncy Mu~eun1 of An1c:ni::in Are.
33.78
ings, blurring the cli'-tinction betvveen line and tone. Charc<>.il
1s noc che 111aterial for fine decai!. and its broad n1arking and
case o( appücatio11 fit tbe pcdagogic brieí of encouraging stu-
de11ts to arrivc as painlcssly and as quickly as possiblc at attrac-
tlvc restiles; d1c 1narkmg of body and ~urfàccs aftcr a stud10
session of charco:il aerobics leaves a satisfaccory trace of artisric
endeavour!
Th e popularity of ninereenth-cenrury charcoal n1anner led co
the clevelop111e11t of Conté crayo11~. 111,1<.i e ti-0111 synthesi-,e<l cl1alk
pig1nelll'> in a nu111ber of colour., to n1atcb cl1alks (prccipitacccl
l1ematitc. iron oxide, in the case of rcd Couté), togcther <with
addicives. such as kaolin, quarcz for hardness and a Jight bindcr.
Seurat'c; 111elt1ng dr::ivvings. witl1 their ,vebs of black Ju1 es or
.rf,1111a10 pa..,sages of dark and ltght - there are no hard contour<;
ro his dra,vn forn1s - fully exploit che properties of Contt: crayon
;1nd the richt1t:\S of its black. The dra,vingh depend ()11 the pac-
terning effects or the textured Michclet J)apcr he uscd. wh1ch
affccts thc applicJt1011 of tl1c cha lk 111urc tl~111 a s111oorh laid
paper v,rithout 'tooth' (scc pl. co 4 ). Tllis trcacn1e11t is vcry· ditJer-
ent fro1n Charles ~beeler·s ::iccurate. bt1r 1r1oody Conré crayon
dra\ving /11/ l'rior, B11cks (4'01111ty Barn (pl. 89). l:3a~ed 0 11 a phc>to-
---- -
graph t~1ken i 11 1915 (Sl1eeler ,vac; ,1 profes,;ional n1useun1 J)hoto-
grapher). che dr.1v. ing approache., the p,1incerly in grad,1tio11s of
ton~, stun1ped and rubbcd into conci nuou-s pa-is.igcs fi·o111 Ligbc
to dark \Vlthin carcfu.J gco111etrics. Altbougl1 co11cerned with cbe
ruscic cexturcs of thc bar11 a11.d 1ts obsolete c:irriage, it rcsponds
to rhe l'recis1onist ad11:1iration for cr1sp ruled edges - not ot1tlines
- and a co1np lex tonal range fron1 the \.vhire of the paper to tl1e
rirhest of dark shadc>w-,, in it'> l)Ot'.'tl')' of ordered noscalgia.7h
Charco.11 exce~ i~ just the chiitg Í<>r tl1e gestural dra,ving,, <,f
111()dcrni~Jlt, cspcci.ill) as it5 ghost n1arku1g is a clear rccord of
proccss. Macis,se, ,vho so often used cl1..1rcoal. took it to a11othcr
levei u1 bis ·111e111<!$ a1Ld I i.1riatio11s dra,,.'111gs of 1941-2 aftcr beco111-
-ing a sen1i-inv.1lid. H e riroduced 111any ,,rorks 1n ,vhich rhe erased
charcoal leaves a grey and grainy deposic over che p~1per whete
n1arks have been rubbed. superin1po\ed by thL· lines of the final
aral1esquc. The h.istory of cacl1 strugglc is rn,beddcd 111 rhc paper,
but thc dr.1\v1ng u'lually .1cl1icvcs a supcrb rcsolut1011. float1ng tri-
un1phantly on top of serricd sl1ado\\·s (sce pl. 139). Tl1c cl1arcoal
d1<1,,•ings ofWillen1 de Kooni11g (1904-r997), ,,;th their s1nc::ired
and i,ee1ningly erratic ,;qu1ggle!., exploir the eftects of ghosr 111ark-
ing.-. and the i111n1e<liacy <)f charcoal. Ff~11rr' 111 ,1 l.,d1uls1c1J1<', Jll
MATE::R Al TRA.CES 139
 •

I
•
•

•)O W11len1 d<:

K\llllii11~. r~I!"'<' ;,, •
,1 l ,111d5c,1rr. orca r
1 y70- ·7). L b,trcoal. · LA... 1...-v'-'
...
1 1 /1 >. 11- llllll
•
London. Th<.. Unri~h
\,1ll\<.'lllll .'.!00.J..Ol>O 1.1 O

charcoal (pl. 90), registers the 1nov'Íng gestt1res of an irnpatient
h;111d thac h.1~ Jll\Cribed tluick n1,1rk'>, rubbed or can celled the1n
i111111t't11,1telv., rei n(o rred chen1 a11d attacke d ch en1 \.'1ic11 an erast·r.
Appe,11 ing lo li,1ve bec-n 111,1de 11011', rhis very 1110111c:nc, tl1eir
reh.'n d e\~ COIICL'111 poran e1ty u1flue nces thc expt)St'd seque11ces or
ge~tural p.1111t 111 tbe tàllov·v -up canvases, vvhich puU apart, and
thcn parr1all} n:,lS'iemble, fcn1ale subjcccs inco abstractions of
rhychn1ic co111plcx1t)·. l )e l{oon1ng uscd any n1ed1un1 to hand in
hi, co nct'ptuall) 1111 tin1-,hed dra\V111gs/pa1ntings, including pastels
and ~rt'.lS) cr,1yc)n, and oil pain t.
Oil ing th e Line
Charcoal dipt 1n L1nseed oyl • must be used qu1cl<ly and readily, and therefor-e fie for
gre;:rt things. but for sm;ill and cur1ous lh1ngs unfil and unprofitable.
Willem Goeree
An early var1anc of charcoal, ~·hich nllowed for greacer stabilit)•
and incensitv, than natural or f..-ibricnted cl1alk. was charcoal
soaked in grease. Leonardo ~u _pplied a recipe for it, but it n1ain1)
becan1e popular in che sixteenlh century and ,vas used by che

l ·10 fHE LINEAR l C O NO i"íY

Venetian Tint()retto, as ,vell a-; Guercino and other Bolognese
artists sucl1 a~ Giaco1110 Cavedone (1577~1660), the ,tuthor of a
vcry fine and dra111atic l1cad study in oi! charcoal i11 the Uffizi.
Flore11ce.78 Although very ad11csive, it lcaves a sligl1r ye!llo"visl1
grease stain on cl1e paper ai1d is r1oc as eftective as oil crayons,
"'rluch have a wa.,,ry or greasy bu1ding 01edium, a11d which
beca111e 11opular i11 the ninetee11th century, stimltlated by the use
of lithograp hic crayons for \VOrking on stone. Henri de Tc.)ulouc;e-
Laucrec (1864-1901) e111ployed sucl1 crayl')llS, possibly s,vicching
,vith ease bet\.\'ee11 paper and lithographic scone in order ro
prodL1ce lus typical frce a11d grai11y lit1e, and J.uncs E11sor (1860-
1949) con1bined ali sort!i of greasy a11d dry crayo1is 'A'Íth colourcd
pencils, ch arcoal, pai11t or whatever was to hand. Us111g greasy
crayo11 as a 'resist' or lift n1ediun1 in \1/et dra,1•,ings was a fàvourite
ploy of H enry Moore, borro,ving recl1 niqnes of print-1naking.
Tl1e unpredictable spread of oily 111aterial exerts control O\'er che
page in tl1at ir resil>tS ocl1er treacn1ents. Until recently. ,1rtist5 i11
acade11ries in the Soviet Union were taught to n1ake greasy
crayo11s fron1 materials st1cl1 as \.Va.x. sbeep tàt and coal dt1st as a
rcsist n1ediun1, 11ot chat far &0111 the use of con1.merc1al oilstick
by lUchard Serra, whid1 he heats aud reshapes 111to large br1ck
sl1apes, 'applying 1t vtith both hands in whole-body n1oven1ents,
n.1bbing it over the enti re large picture ground, covering the
su rface in broad parallel bands'_.,.,, Serra ,ipplies it to canva~. linen,
paper a.nd even ~teel ,vicl1 a roller or in co1nbiI1atio11 with cl1ar-
coal in }1is huge all-black or gestural dt11,vi11gs (see pl. 3.12). Oil-
....,/"\
(
stick is a n1ediu1n that in1pacts 011 the ~cale <)Í v.·orking. Uro,1d
and easily sprea<l, ir is ide;1J fc>r 1,assic>nate ,1nd speedy applic,1tion
on a large for111at, ,vhich does not requirc sn1.1.ll-scalc stTokes or
fine détail. Expensive as \,Vl'll as being hru1<ls-ou. 1t c)bviatcs the
needs of inter111ediary brushcs and colour 11tixing. a11d thcreforl·
particularly suits impaticnc post111odern prachces pc.)sitioned lll
the space bet"\veen drav\;ng and pail1ti.ng.
Ora,ving in oil pa111t on paper has long been in use. nor juc;t
as an eas> \vay or 111aking ,1 f1relin1i11,1ry coloured ,;ketch of .1
fi.1ture fini-;hed v\'Ork, but also c1s a rec;ilient anel po,verful 111ediun1
.ÍJ.1 ics o,vu rigl1t, ,vbere a dcgrec of SLtrfacc impasto can be butlt
up, or dry brush strokes can bc contrasted v,ntb 1nore liqtud areas
of very thin otl glaze.)in Thc gTeatcsr exponenr of thc oil skcrch,
Pecer Paul l-ll1ben.s, ""110 refe1Ted to such ,vorks as dissc,«110 col-
oriro (sic). colonred dra,,ring, n1ad.e swift sn1dies on board ín <'<.ri-
saille usLtally follo\.\·ed by a full colour oi! sketch, both ror clients
an(l a,; guide::. for hi5 ,vork5hop. 1n The Genoésc arcist Giovannj
Be11edetto Castiglione (circ<1 1609-1664), k110,v11 as Il Grechetto.
execLttcd mau)' auto11omous d.J·a,vi11gs in oil on paper, inJ:lue11ced
by lle111.bra11dc a11d 1-lubens's pupiJ Anthony van Dyck, wl10
spent n1any years in (~enoa. 82 A bro,vn oil sketch by Castiglione.
.41,ollo and ba11h~,e (1650s; pi. 91), capn1res the desper::ite ,111xiery
of cl1e central D.1pl1ne a-; her uplifced ar1n'i ar!;;' transforn1ed inco
branches, just escaping c.he predations of tht: red-cloakt:d ApoUo
vv ho has alrca(ly grasped hcr by tbc l1air. Tl1e awk,vard curves
of hcr adolcscc11t body .ire accentuatcd by thc flurtcring bluc
'
91 C,1ovan111
Benedetto
La~ngho11e, ,-lpallt1
,11,d D,1rl111e.
-. late 1650s, hro,vn
ou pa1nt, p;trtly
"oloured 111 n:J.
blu\.' 3nd grcen,
..180 X 3'<1 111111.
lo11do11, Vitton.l and
Alb" rt M ll,t·w11,
1)yre Bt'l(Ut'st 346
"1ATERIAL TRACES 1·11
y2 rhoma~Jnne-;. J<.<J,?fit)ps i11 1\<1pltõ, 17x2. 011 pa,nt on paper. 143 X 35on1n1, ()xford, A~hmolean Mu,eun1, WA1954 .8 1
strokes of her draperies. ,vliich cie her ÜJtO ,1 distanc Jc1ncbcape
of blue-green n1ou11tains, foliage and sky. The oil fron1 thesc arii-
mated ~trokes has soaked into the paper and sprea.d, accentt.1.1t-
mg the untidy v1taliry of tl1ís sce11e. The red skirc of an astonished
naiad ,vitb ,vacer pot 11:15 been applied with a dr)' brush dragged
over d1e beige paper. Castiglione reputedly inve11ted the 1110110-
type 111 the 1630s, wl1ereby a sing}e pull i:; taken fi·o111 a direct
drawing in oib or printer's ii1k ou practicaily any suriâce, wlúch
vva~ to bc.: a firvo ured 111ediun1 of Degas, and rece11cly of Tracey
E1nin.1>J The intern1ediate status of a 1non.o print, ben.veen draw-
íng. pa111ting and prínt-making. is n1ade poigi1ant by this inscan-
taneOll'i captllring of a 111on1ent in time, in \.Vhich fll1id or scicky
n1.-iterials leave ,1 unique tr~tce on paper. one tl1at cannot be
repe,1ced.
Tl1e effects of oi l paint on paper are of i.n1portai1ce i11 tl1e
land,;cape studies of the Wclsl1 artist Tl1on1-as Jo11es ( 1742- 1803)
in Walcs and ItaJy. &(!/tops 111 :\/aplcs (r782; pl. 92) is one of a
1ilnill group of srud1es 111ade trom the roof tcrrace of liis lodging
<)ppoc;ice one of the cusco,n hoLises of Naples. ln this work Jones
achit:ve, an adn1ixture of carefu l observation of crurnbling walls,
surreal skie'i c111c.l for111al con1posicional georr1etry, \vhich is extra-
ordinar1ly c.outeJ11porary in feel. The rooftops parallel the l)ase
lrne of cl1c long, horizo.ntal for1nat. whüe thc realisn1 of the wall
ce:xcures 1s enhanced by the mai1ner in ,vhicb thc c.iabs of oil
pa1nc h.1ve been :1b!>orbed i11.to the paper, a light, laid vvriting
paper. AJthough tht· uncontrolJed absorptio11 of the paint into
the paper fil,re 1, effective in relation to texu1res, it upsets the
l '1 2 1HE l N E.AR ECONOMY
tona] balance of some of Jones's other works ratl1er ad,,erseJy, so
tl1at l,ighlights 'ju111p out' too strongly against dt1lled areas of
cityscape, foJiage or sk·y. 84 OiJ paint, eveu wben dilute, demands
a solid gesso firusb on canvas to preve11t absorption, and specíaJJy
prepared papers, filled a11d textured, have long been sold for tl1is
purpo~e. Degas's vario us prelin1inary drawings of A Yo1111g Ji-¼nu111
t/Ji//, Fie/d G/,1.~ses o f r 865 are 111ade vvith wl1at looks likc
turpe11tine-tl1inned oil paint. f 11 tl1e vvonderfuJ sketch 011 faded
pi1ik paper i11 tl1e British Museu111 (pi. 94), tbe loose gestural
abstractions of che outline contrast with the subtle dtawing of
the tàce concealed behind the glasses, looking back at the
spectacor.
The urge to produce 'dra\vings in i111 ication of o il J:>ainting'
led Tl1on1a~ Gainsborough (1727- 1788) to cóncoct an elabora.te
111ethc>d for var1usru11g ,;vatercolours. 85 l n a letter of 1773 he
describes a secret n1.ethod tliat iuvolves fL'Clllg the i11itiaJ stages
of a dra,vit1g in l ndia11 ink a.i1d Bristol ,.,,hite Jead with skinm1ed
1nilk, tl1.e11 puttii1.g ii1 the colours befàre settii1g then1 ,vich a wash
of gun1 arabic; tbe final varnísh is prepared fro1n 1nastic and
Venetian tl1rpenrine. Generally, Gainsborough ,vas very inventive
,vith dra,ving 111ateriaJs, freeing up or tighter1iug llis drawing style
in associacion witl1 rich co1nbi11ations, wl1ich n1ight include ink
washes together witl1 oil and var11isl1, as well as b.lack, wl1ite aud
coloured chalks 011 butT or blue papers. Road 1hro11gh a J1Tlóod, 1/Jith
l"'(<!11res t>ll Horseback a1td r~oot (pl. 93) co11.1bi11.es \'et-y free black
and btó\VJ1 chalk and pen and ink drav.TJngs with b.lobs of white
lead higbligbting, ali mellowed and wrapped i□ a varnisb. Perhaps
\,13 Tho111as Ga.ínsbt?rough, Ro,,d 1/1rc>ug/1 r1 ~V(llld, 111ith Fig11res 011 1-lv,,eback 1111'/ Fc>(l/. ârta 1785-9, pt'n and grl!y-bro,vn 111k, whitt: ,u1u grt·y oil Jnd varn1,h ,,ver
black chalk, 221 X 305 m111. London, Courtauld Instirutc of Art (;a llery, l). r952.IlW T68T
 •

•li I·d~.11 l)l·~.1,, 1 ) ,,1111.~ 11 ;,111,u1 11•1//1 / '1,·/,/ e ;/,,s,rs. tli6:i, hr<)\\'11 oll p.1111l. hc1ghLé11t,·d ,v1ch \\'h1tt\ 1011rhl d \\'llh red
0

1 h.,lk 1•11 1.11k·d p111k p.1pcr. ~,•J x ~.! 1111111. 11111d,111. 1 hi: Urtti~h Nlll~t:lllll, 19()1-i.0210.26

tl ,,.1, 1h1, 11,t· nf ,·.11111,h 1h.11 111,p1rl'd \,1111t1t·I P.1l111t•r',; t<.-lr111al
t·,pt·111nt•11t,1l1t111, in tltl· t 'i.!o, .111d h1, d1,t.1~tt· fi.11 oil} n1t'di.1. 11"
jt,,t·ph lil'u,·, (1 1,21 1,J:-.(1) u,t•d gtl'.t,t', ntl .111d hutter. honev
L •
.111d bt•t·,,,.,, ..1, ,,1.·II .1, h.1r1.·\ hlt1ud. 111tlk .111d li1r11iturt· ,t,1i11 .111d
Hldtlll'. ,\, lll.llltlt·~t.\ll(lll\ lll h1, t)\\'11 lifc-.1\-,ll'l 11roj1.·t·t. ,111rl as
111agic:1l .111d alchen11c::il "ubst1tutes for tr<1ditio11:1l 111edi.1.ir f()r
111,111y ,1rti-;t._ at the L'nd of rhe 1,ve11cielh century under Beuys's
1nAue11cL'. tht: use of <)ilv, sul>st:inces t>r blood anel it5 substittites
.1c1~ :1s .1 sign of tht· 'abject' body. its bodily cexturt.:s a11ci body
Auídl>. l'<1rsí(il lll (1973: pl. 95) by A11seln1 l<iefer (b. 1945), fi-om
95 Ansl·ln1 K1c:fer, l>.irs{/nl Ili. 1973 oil pairtt 011 p.1 pcr lard on c1n,a~ ~upporl, J:!.J.7 x 2 11;~ 111m . Lo nuon, Tare C~allery, T o 3403
a cycle of f<,ur IJrge p;iintings o n papcr relatin g W;16111er\ opera
lo co11ren1pc>rary pol itical events, i'i ,treaked \\Íth oi l .,nd bloc)d..
A porLe11tou'> attic int erior, constructt.'d out of <)l,se-;,;ively
grai11ctl flo <>rboJ rd., a11d fc,n.:~l lc)g.,, is atlaCI-.L'd by a blc)od~ speJr
and ,1 p.i.rtly concl'a led li tany of ll c.llllt:'l íi·o111 the I>an,if<d ')aga 011
onc \ide. l3<1dcr Mt.:111hof on the ocher. WhLn thl' ln dian a,-risc
Vivan )u11c.lara111 (b. 1943) used cr1g1 nt.: o tl <>n ha.nd111,1dc popcr
111 the l<.ivl'rscnl'e re'iidcn<.:y projecl hc undcrtt)ok 1n c:lcvel,1nd,
UK, 111 r99 3, ir wa'i literall y ~aLuraced witb rhe \Va,ce of cl1e
decay111g i11du'1tr1al Subh111e of hi~ ,ubJt'Ct 111aLtcr. ln <>thcr
wc)rks, '>ucli ,ls thc Lripty,h Fri>111 tln• .rl,(!c ,!( lron of 1<J<J2,
charcoJI and c11gi11c oiJ are.: uscd <>11 p.iper as a n1ctony111 of
industrial forces, \.\ ith ,;uddcn bright area~ of dra\ving explod111g
agau1st thc dark ton;ihtil',;.
Resistance and Capitulation:
Metalpoint and Penci l
f 11 t<)lllr,t'il l<> ,ofi.. grcasy a11d '>prec1di11g 111ater1al-. r1ch in -;yn1-
bolis111, a gro L1p of h.ird, rcsi:ic.i.nt tira\,v ing 111cdia operatcs at chc
othcr end of tbe 111.1tcria.J <..:ont1nu1.1111, incJud1ng •
the ultra-
detcrnru11<;t1c n1ed.tu111 of siJv-erpomc or ve11' sba.rp ~aplute
penei!. The light s1 lvery bro\"vn tc>nality o f .111 var1et1e, of n1etal-
po1nt (fi·o111 a sharpened bron1e rod to a p1ece of \Vire 111 .1
hc>ldcr co a 111etal1,01nt ti1)ped ,vah ,;;i)ver) derive., fro111 tht" oxi-
di\alitH l of thl..' 111etal trace 1111J..,rcs~cd into .1 c.ilciu111 ground <)ll
p.1pc1 ur parLhn1cnt. 1nadc. l'c,1- exa11iplc. f'ro111 pO\\·dercd boncs
or lead \,\ b.1te 11uxcd \V1th gluc a11d l15ually ti.nted \:\lth a pign1ent
apphed in n1any layers. 8~ 1 be trace of rhis line is rhercfore the
MATERIAL TRACES l •15
rc, 1lt t 1 ht>tTII(.l re lL t on, ,111 tl Jldu>ugh le,, pointcd i11,tru-
n1cnt'- n l)c u,ed tl> grave a th1ckc1 l111l'. tlie pn.:.,sure of the
h.111d ()11 thl' Jll'itr u 111ent doe, no t in1111cd.iately rc~i~ccr as :111
1ndc-x1ca.' ~1i;n; indeed. J p .1~~10 11:ite or o,·er- bc.tV'v hand tnove-
111en L \\ otild s1n1pl)' de,o·c.,y the fi·,1!,;ile b.i,;e. f hese hn1itat1()U\ tio
not 1nh 1bit che ,, 1dt1 ran ge ()( 111,u·ks ,111d graphic exprec;s1vene,.;~
ch:1t 111 ed1(·v.1l .1nd l.1rer ,1rtist, C<)Uld ,1chieve with 111etc1lpoint,
1i·o •n tl •l' fin e ,ubtl l'ties l>f 111odt·lli11g o( J.111 v,111 Eyck (<l. 1.j..j.I)
,111t.l ll_ 1>gicr ,:111 J ci- \X'e: dl"n (J. 1.-1-6.J.) co rhc 'it"lbLr pJr.illcl h.1tch-
i11~,., t>I Lt>rl·1120 di C redi (d . r53 7) .1ud rhe flcct111g. da11cÍl1g
n1Jrk.., of 1:1bpprno L1ppi (d . 1)0-t-) w,
An 1ntnc1re n1i:calpo1nt 011 blue-gre: prep,tred p:ipe-r by Lippi\
a-;~1,;ranr lt 1ft;1t·llíno clel c;,1rbo (cir111 1--1-70-15.24) ,1chieve'> so111e-
thi11g <l i° th e n1.1stt:r\ ,p.trkle 111 a sheet ti·o111 Va~ari\ Librl, de'
Diil'l!lli (pl. 9(1) . V.1-;,1ri, ,vlH) di,;p,1ragl'd Raífacllino i11 li.is L[fê ,is
,1 _1obb111~ .u-tist prepJ.red to e.lo ai1,·th111g tor 111onev. nevertheless
ac.i<lL' d an elegant bro,,·11-,vasl1ed arclntect1.1rJI fi-an1c to tbi~
'
dra,v1ng in his collecnon. lts l,1ter d~nngmsbed collector. M;11;-
ette, .1tftxed h1i; O\\· n nan1e- 111 che decorat1ve c<1rtt>uche and added
,1 -;eco11dary blue 111ou11t, 110,v cur dovv11. The \Vreatl1ed Christ
figurt' Í<; a srudy for dei (;arl10·~ Rei11rrcc1io11 p.tnel (Gallería del-
i' AccJde1ni,1, rlorence, 8363) :ind sho\VS the i11fl.uence of antique
!)tatuar>, ,vJ1ile shar1ug 1t!) !>pace \\ ith t,vo 1arge .:ind sligl1t!)· fi:.eer
b::u1d studies. More cha □ a preparatOT)' study or a.11 exercise 111
H elle111~111, rhe centra l figure celebrates che precise touch ot· a
111etal tool that bonds n1ag1call) ,v1rh ics friable l1:ise- by not di~-
rur,ling íts chalk) intcgu111e-nt.
Mccalpoi11r on pre1-1ared pa11er or llarch11Je11t is related co scylus
dra\VJ11gs 0 11 ,voodcn boards on ,vhich -;rudents used to practise
dr.1,vu1g betore papcr was ,v1dely available. T11e board vvould
need co be ground smootb tor t1e,v usage a11d re-pr11ned ,vitl1
a bone and sali,,a 1ni.'Cture.()0 ln cbe Netherlands, e,,en as late as
the sevenceenrh century, artist<i u\ed rnjêlette11, reusable prepared
,ellu111 -..heet\ bound i11to liLtle books.'11 Stylus drawing could be
u$ed ou túp o( a cl1arcoa] unch.:rdra\vi11g, anLi arcist::, Aue11t i.11 tl1e
n1editun ~0 □1etin1e~ con1bined different kinds of 111ecalpoj1Jt in
one dr:i,~':i.ng, 1ncludu1g Botticelli in h.is illu~tratio11s to Dante\
Dii 1111c c:,,111erly of rírca 1480-95.•i:2
llaphael ach1eved tbe ,no~t fluent a.nd ~pontaneous lines in b.is
111ecalpoint stu<lie., on co lourecl papers, particula,-ly the sketches
fron1 l1i-. ~o-c.alled pink -;kecchbook used in lin e \Vith Leonardo''\
advict' to artists: 'De -;urc to take vvith you a little book ,vich
pages prepared \\·ith bo11e-n1c.!al. witb ,i silverpoint briefly note
the move111ents ai1d actions of d1e by~ta11ders a11d tl1cír group-
1ngs.'''1 A pa1r of n1etalp0Íl1t drawi11gs on grey prepared papcr by
IZ,tphae--1 fi-0111 abouc T512. related co an e11graved I 'i~~i11 and
Cltílcl, re'-\:,11 a tc)tal l.1ck nt" line:tr inhibition i11 ce11der dra\lvu1gs
c.lr ,1 111other and child . The abo;Lract curved draperies of the
n1othcr·s drc~s, picked out i11 white, create the tenor of both
dra,vings. f11c drapcry '\\Viris 1nto spcedy curve~ a~ d1t: wo111a11
1-16 THE LI NF.r\R ECO N O MY
1110,·e~ tt) cn1bracc Lhe standi11g cluld in front of l1er in th_e Ash-
111olca11 dr.1,vmg (WA1846.-202) , and the plenitude of her -full
,k.ircs e1npl1asi'\eS the solid quietude of A Seated ~llo111a11 Readi11J,
E111braci11(! a C/Jilrl ,1t her ,')ide (pi. 97) 111 the l)evonshire C0Uec-
rio11, \\'he-re the child look-; out of th e pícture at rhe <;pectator.
111 thís dr:i,ving rhere i~ .1 ric.:h variery or vcry fine sketcl1 lines
in tl1e background d.e-cails of an interior and th.ickcr, fir111cr lincs
in thc drav,ing of the u1otbcr a.nd cl-iild, ,v-ith vcry frce applica-
tion of wl1itc heightc11jng, applicd v:ith both a t~u1e and a very
broad brush.
R.en1br:u1dt, the dedicared printn1nker, ,vl10 often carried
around s1nall copper plates i n his pocket for drypoint Uust as
Deg,1::, "vasto do centur ics later). experin1e11ted vv-itb the r11ecliun1
of silverpoint. Nineteeutb-century revival, of rnetalpoint u1cluded
that spo11Sored by AJphonse Legros (1837-r911), tl1e French-bor11
pru1ttnaker, ·"vl10 v-·as thc director of rhe Slade School of Art i11
Lo11do11 bervveen 1875 and 189 3 .') 1 ln copies ft-0111 the ea.rly
n1asters such as Lorenzo ,li Credi, Legros tran~lates fifi:eentl1-
centur)' diagonal sl1ading into a :-,ober 111e-tbodology of evenly
~paced contottr li11es, "vbich capture facial plauês ,vítb great pre-
cí,;ion. A curious relationship vvith photography is set up by tlús
tech11ique, sii1ce thc 111et.1l strokes rhat requírc oxidisarion take
time to n1ature and appcar 011 the surface. and ca1111ot be read
in1111ediately. Something of rh.is relatioru;hip can be rraced jn
Legros's porcra.ir of Charles Ricketts oo a pulk ground (pl. 98),
in ,vhich each turn of plane- and s1.1btlety of contouring in the
~ensitive t:ice has been nored wích a degree of cín1ed delibera-
cion. Legros .tlso L1ses differe11t thicknesse!\ o[ Jj11e. 111ade \vi.tl1
sligbdy finer or tllicker tools just stroking tbe alkaljne prepared
su1face ,vicl1 great dclicacy.
Biro, roller-ball and nylo11 - tipped pens produce an even and
stable line in the tradition o f hard and inflexible drawing rools,
wl1icb do 11ot respo11d to variatio11s of hand pres'<ure. Most co11-
ten1porary artisrs have used tl1e111 in son1e forn1, íncluding David
Hock11ey (b. 1937) and Loui-se B,o urgeois, cl1e latcer picking up
,vl1atcver ,va.s ro hand in l1er I11st>n111ia dra"vings. Tt wa$ che
n1ediuu1, together ,vitl1 coloured pcncil and fibre-tipped pens,
that \vas conurtoJuy used by Joseph E. Yoak.Lun (1890-1972), a
se1f-ta1.1ght artist of Afr-ican American and Nati\---e Arnerican
ancestry, n1a11y of wbose ricbJy t-extured lai1dscape dra,vings ,vere
1
traced fron1 pictorial n1odel" thar he kepc in rhe studio.' s T he
ubíquity of ballpoinc pen, putting it ac cbe opposite pole trom
spcciali'ied or elite art 111aterial'-. therefore in tbues it with a cer-
tain foJksy casuaL1css, so tbJt jts usage <iignals tbc 'throvv-a\lvay'
a11d u11pretc11cious at the sa111c tin1e as it encon1passes and deter-
1n.ínes certnin qualíties of resistant fu1c.
The i11teresr in the eai·l)· engravings and woodcuts of Gern1an
and Italian 'prin1itives· rl,at ch aracterised Gern1a11 ro111a11tic artists
at che beginning of che nineteenrh century did noc 111anifest itself
in a reviva] or 111etalpoi11t, but through a dedication to the hard
 .,
.. .

f.x Colleéti <n\e. o lin1 G .Vat~ri .

nunc P. J.t-.ln.ricttc

96 ltafE1elhno dei Garbo. Su,dics /()1 a l<.esutrcr11<1r1. n.d .. ~il\'erpo1nt \VJth \Vbicc hc1ghtc11in~ on bluc- grt'V prcpartd p,1per,
378 x 255 nuu LonJon. Ur1cbb Mu~cu,11, l'p, 1 1.2
1;7 l-t.1ph.1~•l ::-..1nl10, l St·,n,·d 11 1,1111.111 /~ 1·11d11ii:, I~1u/Jraâ11.~ " Cl,i/d ,li he1 S1de, 1512. s1I Vl'rpo1nr ,v1t.h ,vb ire h c1ghrc111ng 011 g:rey prepared
p.1p~·1. llJO X LjOIIIIII {'h.11\\\'l>rth, l)c.:,011,btn;' c:ol lt'l' LÍtln. 728 (l,1rgl·r Lh,111 JllUJl \IZl')
 -
lines of tl1e n1odern wood-encased pen cil. Tl1e grey shiu e of
graplute is 11ot ali tl1at far away Ln coJour fi:0111 tl1e soft greys
of lead or silverpoint, and of course pe11cil otfcrs grcacer ease of
erasure chan any other drawi11g rnediu1n. lt1 his aucobiograpl1y.
the Dre,;den-born artisc ;:ind illustrator Adrian Lud\vig Richcer
( 1803- 1884) \Vrote: 'The penei] could noc be hard enough or
sl1arp enougl1 to drav.' t11e outline firn1ly and definitely to tl1e
very last detail .... We lost ourselves i11 every blade of grass.
every ornan1c11tal twig, and ,,,anted to let 110 part of ,,,hat
attracted us escape.''.11> Penctl elaboratio11 is appcarenc ii1 a dra,, u.1g
1 Witb tl1e n1ai11 source of graphice being i11 England (depos1ts
by Ferdinand Olivier (1785-1841) of S.t Petcr'.ç Ge1netery r1r
Snlzb11~~ (circn 1817; Dresden. l{ upferstichkabinett) 1n graphite
heightened wi.tl1 \vl1ite. Olivier, v.•ho v-·as at rhe cenn·e of ron1a11-
tic ,1rtists in Vienna, and 111aintained clo~e links \Vit]1 the
Nazarenes in J~o1ne, sketched chis ce111ete1·y duriug a pilgrm1-
agc in 18r7 witl1 bis brother, and it was probably !ater fuiished
98 Alphons.e l egro~. Porrrair
(?( CJ111r/e_.; Ri,.kerl>, 1~96, \ilve r-
poinr on 11ink prepared paper,
2 76 X .219 11u1L Ca:u1brulge.
1-itZ\\;ll,am Mi,~eun,. 2095
in bi s studio. Th e e.'<cessi.ve tie-cail of this detached and accurate
recording covers tl1e vvhole su rfacc of tb e dra\vu1g a!) ÍJJsistencly
as the teermng imagery of Di.irer's large woodcuts. Notl1111g 1s
given h1erarchical in1porrance, 11ot even factors of c1er1aJ per-
specove (tbe castle on the bili is 1nininully paler in inceus1cy).
and a ~n,all fen1ale fif,rure praying ar the church door is no rnore
in111ortant than a carved ton1b angel. Tl1is unner\'ing elfacing <Jf
authorial presence serves a religiou~ and natio11alí,;tic ideology.
well served by the un-en1otive hard pencil.
vvere k11ov1.rn in Cun1berland rn che t\velfth century a11d
Borro,vdale was n1ined fi·on1 1500). this 1s the mo-;t E11glisl1 of
111edia.Jol111 Constal)le ( 1776-1837) used gra1)h1ce 1nost o( h1s lilí:.
a~ v- ell .1s t:lialk an<l ink. •111cl it \•"ª" the 111ed1u111 o[ his ]ac,t
1
sketcb cs fi:om oacure. H e ach1eved an a111azú1g range of 111.irl-..~.
ton:tl inten.s1ties and bold11ess a11d dehcac) oJ touch u1 h1s Ull1u-
MAíERIAL I RACE:S 1·19
 !J<J John (.on~r:iblt>. TIH· 1!71i1e H,1rst' I,111 : F,zír 111
merable dra,vu1gs. many 01· theJ11 Í..11 sketcJ1books dcposired in
the V1ctor1a and Albert Muset1n1. The stubby n1arks jnbbed 111co
tbe paper in '11,e /'f·11itc Horse 11111 (18r1; pl. 99), 11ov:ever, are che
un111odulated ~cribl1les of soft, thick and unsl1arptned grapl1ite,
u~ed to ca pture ~1 n(}isy 11101ne11t in the an11ual fair at East
13ergl1oll near tl1e Con~table fan1ily 11011,e. S01ne u1údentifiecl
objects flL1tter fro □1 cl1e pole abovc the inn sigi1, and it has been
s1.1gf:!:ested chat one of chem is a pair of breeches as the prize for
J plough1ng n_ 1atch go1r1g on below. Beyond the crovvd, the Aat
v1llage gree-n is punctuJted by a stylised v,rindmill, so th_e view
ha~ all che hallmarks orheing sketched fi-0111 an upper ,vindovv
and es(11t"vvs che rl1ytlH11ic tonal variacions of light and dark
strokcs that hc achicvcs in his lcss l1urríed dravvings vvith a fu1er
po111c. '17
A thick carpen.ter's pe11cil was also tl1c prefcrred 1ncdiu1n of
rhe inveterate dra,,,er Adolph Menzel (r8r5-r905), whose lon.g
ca reer 'ipctnne~l alr\1ost che entire 11111eteenth centt1ry, and vvho
111.ade J ,uly visual record~ in the s1nall sketchbooks he always
ca.rrit:d in h1s p<)( kcts.'')! Dookcase~, <lravvers, bicyclé pedals.
b111oculars. unJ11.1dc bc<ls, dyu1g t;<>ldicr'>, 111ill vvorker~. even
oysters 011 tl1<.. duúng cabJI.! ai1d n1.1rks 011 a urinal ,~all, beco111-e
rhe subjecr of h1s d::iily ~etches. Witl1 tbc srune u1tc11sc curios-
ity that led h1111 to 111ake an mver1tory of tl1e baroque splendol1rs
150 THE LINEAR ECON01"1Y
Tia.~, Ber_q/1()//.1811. ~ore graph1te, 10~ x 18611·a11. Privatc collectio11
of Frederick the Great's stt1dy in Porsdan1 Palace for a series of
,~.rood e11gravi11.gs ain1ed at reviving che J)ürer tradition, Menzel's
dra\vín g O/d Doc11111c111s i11 a Cl1est (rirca 1880-90: pl. 1.00) cele-
brates tl1e dusty contents ora 111ouldering n1ercha11t guild cl1est
chat l1e discovered in the old to\.vn hall of tJ1e spa tov·vn of
Kissi11ge11 vvhile 011 l1oliday. With profound re'al.is111, the ageing
artist stt1n1-ps. rl.1bs and smudges his bJu11t carpenter's pencil so
that tl1e open chest re,,eals itself to our v-iew exactly as l1e
be11ds over it ,\.1th notebook in hand, inviting us to join tl1is
very physical b,raze, and alinost co srnell tl,e inky n1ustiness of its
contents. The drawing. v-1 itl, its inte11se darks a11ll grainy 111iddle
tone;:s, i11dicates the deftness ,vith wl1icl1 Me11z~l could re11der
the 01aterials of locks a11d ]unges, \.vrappi11gs and seals, as well as
differentiations of colours and to11es, vvith tl1e blunt11ess of bis
favoured pencil.
The simple e911ation between dTawing material) and the traces
chey n1ake are in 111,any respects straightforward and tran'3parent,
allowing for visual sin,ilarities cl1at appear to cross centuries, geo-
grapl1ies and cultLu-es. Nevertl,ele~s, the deter111inacive a~pects of
clravving 111atcrials and n1eclia are onJy one s1nall part of tl1c very
comp lex li11ear econo111y into vvhich so n1a11cy other factors
are vvovcn.
 ·• ...;. d : :,&P'wa
i ~.
1
~ ,
• 1
•
•

• '\,
••
• •

100 Adolph Menzcl. 0/d Doc11111L 111s í11 11 G'l,est. c,rc,1 1880-90, graphite,
1 .?.D\) X 1:18 nm,. Ucrhn,
Staalliche Mu~een zu Berlin. Kupferst1chk,1binett. SZ MenzeJ N 1278
 l.i11~. ge'llural n1ark ,111d lin ear codes; the trace~ .ind techni<.Jues
h X
or tool and 111aterials; dra,vi.t1g !>kills. per~onal cxp:i;ession and
Drawing Strategies learr1ed ~tyle; and 111.a11)', n1.aDy otber 1ãctors revolVlllg around
subJect, top1c ;ind fw1-ction forn1 a co111plcx- consteUation
ernbedded in and around dra"ving-a,;-111aking. The di,;p,1rate
C<)111pone11t<; of lhi\ pr.1ctica1 ,1nd co11ceptual 111atrix coalesce t<.>
gene-rate certain rccognisable 111.111oeuvres. lt is <lifficulr to fintl a
ter111 [Q <lescribc such practiccs, bccal1sc tl1ey are 11ot e11tirely to
do \\·itl1 111ediun1 and authorship or any of che other co11stituent
tàctors. <uthough they incorporate or problen1atise che11.1 all. 1
h ave oa111ed the111 srrate~(Zies.':!.
l)ra,ving -,crategies can e11con1pas:. a single 111anoeuvre, or a
11u111l1er of slighcly diflerent tactics, and can l1e very sin11)le or
P~per 1c. th<:' battle field bru~i'
sword and 1.Jnce, 1nk 1s helmet ,1nd arrnau1; water and
tS extren1ely con1plex.' Tl1ey lievel<.)p fr·<) n1 lear11ed situaLion'>, either
1nkstone ire mort and w,tl fhe heai. and m1nd m~ke 1re command1ng general, and sloll pcdagogically pro111oted or auto-gencrated. a.nd becon,e inter-
1s the gener.11's I eutenan1 Composmon 1, str-ategy. The flying brush determines the
outcome; G rnOV€ments c1re tne gcner-;il's con1mands. rts Lwtsts and tums the battle's
nalised tl1rottgh co11sca11t 1.1Sc, so as to sccm u11couscious or
kilhng and s.aughte.1 natural to practisu1g a.rtist.-;. Strategies are s0111etrmes deviscd as
tbc resulr of a personal struggle, ar J critical stage i11 an artist's
develop111ent. or St'en1 to be spontaneously invented, and. n1oc;c
sign ih c.111tly fo r n,y argun1e11c. rei11venced. Thac is, so111etin1es
arti~ts en1plc)y way~ of dra,ving tl1at appear s,i111ilar to tbose u-..ed
b> ochers in che re111ote past, without .1ny traceable co1111ectio11
or cognisru:ice. Sucb closc ,risUc1l rel.1cio11sb.ips de1nonstrate tJ1e
proposition rh.a t whcn 111ateria.l and co11.ceptua.l factors eo11stel-
late 111 a paTtictilar ,:vay in the hand'> of trained artists, they engen-
der cercain kinds of recognis,1ble grai1hic a.ccs chac appear co defy
the lin1ics of che period i11 ,vhich tl,ey vvere drawn. 1
The ter111s stracegy and tactics in1ply orga11i1,arion and prede-
ter1nined deploy111enc for a lo11g- or sl1orc-terru plan of proce-
durc, 11ot to 111e11tio11 ba,ttlc, whercas dra,ving 1s ofteu lud.ic and
l111planncd and dcpcnds on heuristic.s - fi.nding through doii1g -
\Vith no initial pla11 or goal ex:cept the will to dra,Y. l cbink
it is importa11t, ho,vever. to employ ter111s tl1at irnply agency,
l?eca u<;e, ho,vever si)o11taneous, dra"vi11g al,1,,1ays has a cogtiiti\'e
ele111enc - even íí che idea of the dra,ving ís only di~covered
tlirc>11gli rhe act of nJaking. Drav,ing strategies therefore can be
broadly i11terpreted to e11co111pass tl1e aleatory. u1 cl1e sense tl1ac
e,,en cl1ance effects in dra,ving co1nc about as tl1e result of
:in initiaJ co11Sideration to surrcnder control. 5 So, for exa111ple,
i11dulgi11g in 'a11co111atic' dr::i,vi11g proced11res, such as dra,ving in
the dark, \-Vlth che hand hidden t1nder a sheet or ,vjth eyes closed
(inve11tions of the early Surrealists l1ut no,v con1111011 co11te111-
porary practice~). are con'lcious decisions that fran1l' and 111ediate
tl1e co11cept of tl1e "vork. Decisions Lo leave a single, unelabo-
rated gcsture 011 a shect of paper a11d ac.id 11othü1g else, or arb1-
trary scts of rules sucl1 as undertakj11g a ncw dravving cvery
101 o;,,.,,,I! /1'1.~f) raddl'o Lurcaru. ,hl'Ct oC ~tu<l1c~ for the Bli11rl111,;,: ,_,( fll}'llhl~,
fifteen 111inutes in a series, ::tl'e clenrl)r deJíberate, no n1atter how
'111,ri/1r, ,11 L)1Sll'tl .u1J .i / f11/r r ,1111il)', d,.., , 5,8, p~·11 .\11d hn)\\ 11 111k: bnish and playfi.11 or intended to induce chance effecrs.
rc:d rh.1lk 111d hn1\\·11 \\ ,1,h, Jli6 X ..!74 n1n1. ( h1c.1go. Art 111sr1cutl' ar Clucago. Mediu111 Í'- nor the dett>r111i11ing tã.ct in this discussion: :.irtists
Gifi: oi ltobi:rt U l l.11'ht·. llJ~l:L 19r,r so111eri111es test their ttchnical or pr<)cedural -;trengtl1s by forcing
•
..

•
(
onc rned1u111 o JJllll1Jc the <;t1.1re~1es th,1r cluscer around .1nocher
~
or use .111) 111 1ter1:ils t() h:111d \Vhi le strttggltng to find :in ap11ro-
pr1atê' gn11h1c L1ngu,1gi.:: ti.ir .1 llt.'"\V C<)llcep t or C<)JlH11issíon. Linear
, 1r1tegics ,ire 111de11t·nJc11l o(. .1nd c;,u1 bt> di ~Lingui,hctl fro1n,
11111gery .111d st) le \\. 1th \\ 111\.h thl'y ,ire cru11csbcd, a.lthougb their
,1pplic.1Lion \.Jll rc,ult i11 superhc Li.l -.i11illJTltll'~ u1 the appearancc
of dr,1,vÍ11~s fi-0111 vl!ry ditlcren c starr111g pomts, as \Vill be seen.
'.:>trategic, Jo not o nl\ deter1nine tl1e phy~1cal ouccon1es of a
dra\v1ng, they also e111hracc ta(cic.;; fo r er1ge11dering visual inven-
rion, ser1,il 1ra11.,for111a1ío ns o f 1de,1:-., and unite drawings fron1
verv• d ítlerent tÍ111t·s .and ctdtures. h1 this ovcrvicvv, I \Vill 11ot
tltte111pt tr) disci ngu.ish l1etv-veen couscio u!> and le:irned strategics
and Lac1t. th,1t 1s. unconsciou~. aud seemi11pJy i1Jruitive skill-
rclaccd practtces_t,
The Marriage of the Analytical and the H euristic
We do not unde1take analyses or works because we mean Lo copy lhe1Tl 01 because
we suspect rhem We 1nvestigate lhe methods by wh,ch anorher has created h1s worl<.
1n order to se1 ourselves ,n motion. [ J One pa1i 1cular kind of analys1s ís the exam1na-
t1on of a work w1th a v1ew to the stages of rts com1ng-1nto-be1ng. Th1s k1nd I call the
ana1ys1s oí 'genes1s [.•.] But we should not forget i:hat before the íi rst Iine 1s drawn.
there fies a whole preh1story.
Paul Klee7
Tbe sketch as a means by vvrucb artists, designers and architects
invent 11e,v for,ns or discover compositional reJationships by a
process of serendipity was discussed in great detail in chapter
r"vo, as \Vas tl1e renrative underdrawing intended to be easily
etfaced, overdravvn or corrected. Ai11ong tl1ose issues uot exai11-
irred \VÍtl1in 111y historical and exan1ple-based account, ho\vever,
were tl1c corm11on strategies calied into play by artists for ge11-
eracing ne,v visual idea..s u1ithi,1 the sketch. Tlte)' are oftcn
achieved by combining analytical ideas - copies after other artists,
or diagran,s of intentión5- ,:v,th unpremeditated ideas that arise
out of playful 'icribble'i and proceed by trial and error, or alter-
nacively Ll5Ít1g playful n1echod-; to engender ídeas thac will then
ii1vitc auchoria l controL The con1bination of such oppositional
strategies can be an eficctivc dynan11c for dcvelopu1c11t and nav-
1gation. as well as graphic 1nve11tion.
The ideational a11d analytical n1odel for generati11g vvorks, as
ratified in :irt ,1caden1ie~ <)Ver the centuries, ,vas well described
in the late -;ixteenth century l1y Gil1Vanni Batti1>ta An11enini:
The proper vvay, then, is for the 11,riuter to hear or read about
the ,ubject n1atter :1nd co11s1der with all 111s intellectuaJ fac-
tQ
ulrics what ex_a(tly he vvic;he~ LO represent and w hac vvould be
the trucst, n1o~t appropriate, a11<l fittcst qu.il ity or attribute to
cxpress in accordJ11cc w1th w!iat he bas l1ear<l and read. The
154 THE LI NEAR ECONOMY
fJ ct is, however, that one stin1tdates che n1ind with variouc;
-;ketches ()11 paper ... at tin1es dra,ving son1ething oí one's
o,vn ... at other tin1es i111itati11g someo11e el.sc's works and
1naki11g tl1em onc's O\Vn in differe11c styles and ways, as well
as \Ã.'.Ítb differeut n1a teriaJs .11
i n rl1c invc11tivc pote11tial of artists to generatc
Ai·111e11i1l.Í be]iev~s
works our of tl1e1r irI1agii1ation, bL1t being very practical he also
gives tips on hovv to go abottt ít. Leonardo da Vinci is supplied
as a 111ethodological n1odel, because be first investigared 'aJJ the
appro1-11-iate and n.atllral effects of every figure and other thing
-in C<>nfor111ity with his idea· a11d tl1en supplen1ented tl1ese ideas
lJy ~t11dies rron1 life in sketchbooks.') Tl1is ideal 111etl1odology, in
\vhich invcntio11 is spurred by i11cellectttaJ ideas and verjfied ,vith
reference to 'nature' and artist1c uiodels, bcca1nc chc staple of
drawing tracts in the foJlo\viug centt1ries. The Spanish artlst an d
tl1eoretician Francisco Pacheco (1564-1644) offered su1úlar
:idvice:
1Artists] prepare tl1e1nselves ... cither by counseL froni learned
perso11s or by read:ing books, and thi1s forming their ideas, rhey
tàbricate a whoJe from parts. Tben with cbarcoal, pencil or
pe11. 011 pa11er, tl1ey dra\v tl1e first rough ide-as for the n1ove-
111ents. expressjons, and accions reguired for the Jively e.Kpres-
.:;io11 of the subject to be painted .... Fro1n tl1ree or four
studtes, ltheyj cl1oose 011c to be uscd (citber by tl1eir own
taste pr by the judgeme11t of learned rnen) a,nd thcn draw it
cleanly. 10
Ai1d a l1undred ycar~ later Sir Josl1ua L~cy11olds was offering
siI1ular advice to artists deliberating a work:
It is i11 tl1is period of bis ,vork tl1at T wou]d reco111111end to
every Artist to look over l1is porto-folio, or p0cket-book, i11
wluch he has treasured Ltp ali the happy Íl1ventions, ali the
e}..'t:raordinary and expressive attitudes tha.t l1e has n1et \vith in
the course of bis studies; not only for the sake of borrovving
froni those studies whacever may be applicable to bis own
work, but Jikewi,;e ... by bringing the ideas óf great Artists
111ore discinccly befort.' his n,ind. 11
This tin1e-h.onoured research mechodology is rather sirnilar to
that still considered relevant for conten1porary design and archi-
tecture, \.vl1ereby designers gatl1er as n1ucl1 visual and textual
ínforn1ation as possible bcfore sifting, selecting. rejectü1g and
rework.ing io rclatioi1 to thc visuaJ prc~ject or bricf in l1and. The
1nethodology is u11doubtedly related to problc1n solving, and
acknowledges tl1e u11portance of ex:e1npJars for arriving at new
solutio11s, \vh.ich makes it, ostensibly, problen1atic for contempo-
rary arts practitio11ers who place a high ·va]ue on origin.JJity. 12
Nevertheless, all tl1ose wl10 recon1mend such l)ractices of
research, both in our tii11e and bistorically, are clear tl1at the
n1eat1!'. a11d place for transforn1ing original and borrO\\'ed ideas
u1to a 11ew visuaJjty are rough sketches. The a1\vays pragmacic
Ar111enini n.otcd:
one concentrares one'~ attention 111ore whe11 drawing anew
than wl1e11 1nerely going over a sketch ... Tlus is c;o because
in correctii1g .1nd reuiaki1Jg tl1e rougl1 sketcl1es, it is tl1e l1a11d
that amends every item a11d trifie of the con1positio11 a11d real-
izes then1 more skilfully in a space of time during \vruch the
in.cellect and the judgrnent can better exec11te tbeir function. 13
Vinod Goel, in the passage partially quoted u1 chapter t\vo, states
that 'freeband sketcbes - in virtue of being syntactically and/ or
senlllntically dense and/ or ambiguous - play an imµ0rtant role in
the crentive, explorntive, open-e11ded phase cf 11roblen1 solvi11g' (n1y
italics). 14
A n1id-sixteenth-ce11cury double-sided s11eet of drawings l1y
Taddeo Zuccaro (1529-1566), once actribLLted to Michelangelo,
cxe1uplifies processes of research. appropriacion, co111pilation,
problem solving and gcneration of new idea,s. Thc sl1ect of
stl1dies for the Blínding ef Elyn1as, Sacr{ficc at Lystra, :ind a Holy
Fan1íly (círca r558; pl. 101) contains first ideas and developn1enc:1l
skerches for tl1e fresco cycle of the Life of SI Pa11! in the Frang.i-
pa11i chapel in. Sa11 Marcello al Corso ii1 Ron1e, '"'hich Taddeo
worked OLl fro111 J 558 and left unfinished àt Jus deatl1 in L566. 1;
A powerfuJ pe11 and wasl1 dra\vu1g 011 the verso, accon1panied
by smaller black chalk sketches, js understood co have derived
fro1n Michebngelo's unfinished marble Pietà in 1-lome, \vhich
inAuenced scenes 1n the Frangipa111 chapei drawn on the recto.
The large red c halk figure represents tbe enthroned procurator
Sergius Pau]us, who reacts v1ole-ntly to Paul's te111porary
blinrung of che sorcerer Ely1nas, a n10111enc çhac bri11gs about l1is
co11version to Clrristianity. Althot1gh Zuccaro l1as not quite
deternuned the position of the right arn1, Sergius's face expresses
well-managed fcar and an1azement, ar1d the po,verfuJ dra\ving of
legs and drapery den1-onstraces Zuccaro's debt to Michel:u1gelo.
Taddeo l1as apµlied wacer to spread the red chalk (he had devel-
oped a drawing technique of applying red ink \vith the point of
a brush), and rhe spreading red wash could i11dicace that h.e \vas
already chinking of the liquid 111.ediun1 of a sí1-wpia .fi-esco u11der-
dra,vii1g. Other trjaJ figures and con1positional sketches in brown
i1Jk are spread around the sheet, even overru11ning the mai11
figure, suggcsting that its use as a fully worked-out dr~wing in
tbe develop1nental process had aJready passed.
Although AJex:ander Cozens's blot n1ethod involved s011,e wild
p1ay with ink to spark otf invention'l, nevertheless he advised l1is
readers, whose powers had been 'vveakened by too much
copying', to 'possess your mii1d strongly with a subjecc' bcfore
begin □ing to create Jandscapes. Conscious ideas and stagcd devel-
opn1ent are therefore important parts of this methodology, which
also offers tactics for rransfer and developn1enc. 'For che surest
n1eans of proJucing a grcat variety <)f the sn1.1ller :.iccidenLal
shapes, tl1c l)aper on ,vl,i ch you are gc>ing to 111·1ke the blot. 111ay
6
be crun1pled up in tl1e l1and, a11d the11 strelcht·d ot1t .1gain.' 1
Crun1pled paper allows for a rando1niscd spread of delicate ii1k
marks on its rough su1facc, or blots can be craced thro11gh fi-0111
one side of the papcr to the ocher, or eve11 cranstêrred ,,,ith a
grid, so tl1at tl1e chance effects of the 1n1tiatory drawmg can be
ca1ned and approxi1nated to gr.u,der ends. This technique can- be
seen in thc gridded Blot_far 'Hn1111ibal Passing 1111· .rl/ps' (cir(l1 1776;
Londo11, V.ictoria ::H1d Albert Museu111), traced over ., black \Va'\h
sketch by Alexauder and lus son Jol111 l~obert Cozens ( 1752--
1797). i □ wllicb fine pencil outlines and even son1e linear rrecs
nave defined and ordered the random blo.ts- into-landscape of the
1.1nderdrav.'illg.
Ske-tching as a 'itrategy is cherefore not ju'>t a gue,;tion of
unthinking scril1l11lng but al,;o a see111ingly casual way <)f appro-
priaring source niaterial and restacing forn1al and co11cepcual
ideas by processes of subtlc cl1ange, whicl1 involve alinost u1vic;-
ible lasses, sbifu of e111pl1asis. econo111y or el:iboration of n1eru1S
and other evolutio11ary dynam:ics_ Thcse are assisced by changes
of n1ediun1 or tracing or squaring up for tra11Sfer, as discussed
below, not to n1ention unco11scious stylístic changes that rend.er
a repeated passage 111ore fluent, or can n1ake it ii1creasingly n1ore
,,vooden or awk-.,vard. leadii1g to rejeccion. Co111111ot1 tactics for
arriving ac a ne,v for1n (or. in the case of designers, even a ne,v
fuóction) are those of rubbing, cancelling, blurrmg or obscuring
the first schem:i, w l1-etl1er rhat is a11 original idea or copied from
a pre-existi□ g exemplar. ~uch actions are physicaJ analogues of
the conceptual processes of ca n celling the- potency of the n1odel
and loosen ing ics previOLlS idenlity in the search for original
form. Tbe rough. sponcaneous scribbles or carefully copied
exe1nplars tl1ac begin this co111.plicaced jollrney of desrruccion,
rccoverv, and transfo1,11a.tion cal! for a co111b:1tivc chain of
counter-actions, ,vhich, like dialectical propositio11S, are resol,,ed
by che ge11eration of a ne,1/ for111 tl1at holds contradictory aspects
in tension. 17
1 have used the ter111 con1bative, because the resolucion of
opposices can be a battlefield. of the 1netaphorical order ofWang
1 Isi-chih, the earJy Cl1.i11ese scbolar-paincer quoted ac the head
oi~ this chapter. Pbilip Gustor1 (1913-1980), for cxan1ple, fou11d it
necessary to engage in a desperate stn1ggle bet\veen tv,.ro kinds
of oppositional practice during the cr1cical period r968 to 1970,
when he \.Vas crying to break ::i,vay fron1 l11s Abstract Expre,;-
. . .
s1onist practice:
l did literally l1u11dreds and hundreds of dra\\ ings. 010:.tly
brush :u1d i1ik, a11d charcoal 011 paper. They \.\.' ere ali over thc
walJ and floors ... M y strongest se11satio11 at thac r1n1e \Vas a
feeling of r1eeding to start agai11 with the s1111plest n,ean\ to
clear che decks. The dr::t\vings chat didn't \.vork, and \vere
DRAWING STRATEGIES 155
 tlm \\.11 iv.. \, \\Jere Jllst l111e,;; 111 1hc· c,nt·, that \·\'Cre good thl'
\\ holc pJle \\,1, ..tCU\,ltcd. 1 rc111e1nber J,1y, llf doing tl1e 'purc'
drc1,, 111!,ts 11nr11ed1.,tel) fi.>llo,,l·d b~ d.1y, of doi11g thc othcr -
eira,, u11...">
•
of obJl'l
•
t, ... lt 11 ,1s lll'<) rq11,1lly pt 11 c,ji,l ii11p11lscs ,1t
1 1 1

loe1fi:,lll,1ds . .. ln d1e dr,1,,·u1g con1b.1t I spe.1k of ic vvas as if

.,.....
d1L' deb.in.' cooJ..: pl.1ce tH1 the lc\'t'I of dra,ving racher chan
p.11nting. nc>t <>nly bec.1u~e one ·, 1111pul,es <;t1rface n1ort· ra11id]y
111 dr,1,vi11g. but l1et".1u,t' che dr,1,vi11g ,ecnt'i l<) 'iyn1l,oli-;e the

l\\llt'. Js

Generating New ldeas through Gesture.

Materiais and Process

To sketch 1n the common w,1y. 1s to trnnsfer ideas from the m,nd to the paper . fo
blot 1s to make varied spots and shapes w11h ,nk on paper; produc1ng .,cc,dental fonns
w1U1out l1rics from wh1Ch ,deas are prosentcd to the m1nd.
Alcxander Cozens
Materially. a httle paper; a lrttJe 1nk
Phys1cally. you must •nake ,1 vo,d 111 yoursel( the autom<1tlc d, aw1ng tak1ng 1ts source 1n
lhe unconsc,ous. rnusl appea1 as an unforeseen bu-th, The first graphic apparitions on lhe
paper c.1e pure gesture, d,ythrn, 111canW11on, and "'15 a I esulL pure sa awl. That 1s lhe first
phase.
ln the second phase. the 1mage (wh,ch was lateM) reda1ms 1ts nghts
André Masson·º
Ir is very co n,111011 for a n arti~t or de~igner to n1ake so111e
f.1vot1rt'd gesrure to initiate an exploratory proce-;s, even if tl1at
gestural 111ark is quickly c:ditc!<l md tran:-.fQr111c:L1. The autograpllic
first l1md gest1.1re Í<; a type of o\,vnership J11arking t11ac simult.'l-
neously lays clai111 both to the two- djnJensionaJ surfà.ce of tbe
act1.1al p1ece of paper a11d ro 1ts conceptual space. The archirect
Erich Mt'nde1sohn ( 1887-1953), \'.1hose expressjve sketches
1ó.2 Ericb Mcndclsohu, Sr11dy _(ór 1!1.t flinstri11 1i1t1,t'r. cini1 Jl,) 17-.10, pen J.U<l
1nk, 3/l X 5.2 111111. Berhn, Staarhche 1\1\11,een 2u Berhn. K.L11.1scb1bhothek.
I luz EM 329
c11cjrcled by à rough charcoal circle, either co11fir111111g cl1e
itnportance of the concept or locating it \vith.í.t1 a cosn11c scale.
Me11del<;oh11 \vas weU aware of the signit'icance of these gener-
ative dra,vings. and ,vrote in 1917: 'The n10111enc of concepcion
ren1ai11s essentia]; it concains vvithin it all the seeds.' 21
The ele111enl') o í chance, or surprise for sti111ulating the
in1agination.. do not bave to be autogenerated. 111 fact, just ükc
Sandro J3otticelli's spo11ge stains on tl1e ,vall and AJexander
Coze11s's blot lar1dscapes, Max Ernst's _frotrap_e ai1d Jackson
Pollock 's drip techn.iques, artisrs of all centt1rjes have looked to
;1 chance indexical trace or c;uggestive proce-;s to stin1ulate the

retained their dr:1n1acic potency rhrougbout his arcl1itectural
career. even rhough hi" for111c1l vocal11tlary cl1nnged, dre,v in ink
or tl1ick. rapid strokes of coloured pe11cils, cl1arcoal, crayo11 a11d
pastel. The u1111ui;takable tauc curves a11d di..n1i11ishi11g per-;pcctives
of h15 l':.trly so-called Dy1111111ic sketches, wbicl1 restructt1re t11e
rradinonal relacioüship betv,:een tbe building and the lai1dscape,
are very often re-;rra111ed vc;-irh [he line of a fi-an1ing are, as ü. b.is
evolving buildings g;rov- Ollt of the earth'o; curve or are bounded
by a rau1bo,v reAection or it. The rising curve~ of tl1ese dravJ-
iugs d.o noc rcflect the busu1c~s of construccion as i11uch a-; the
11opett.1l, excited and gcncrativc 1nover11c11ts oí thc skeccl1i11g
band. ln :in elaborace, buc very small i11.k sketch rc1Jted co
the Einstein TO\Vt'r bet\veen 1919 a11d 1921 built to bouse Albert
Einste 1n \; a:1trn11on Iil ,11 laboratory nea r l)otsda111, the S\,Virling
curve\ (>f pO<;\ibl:, íour 'ieparate to\\·er~ are un ited bv, a wide 111d
LÜn1U11\h.i11g are (pi. 102). WliJt .1ppe,1r to be n1eta 1 skeletal con-
srruc□ on~ e111erge fro111 <. urved plü1th'> and tl1c \Vhole sketch j~
ii11Jginatjon, dis,ipate che terrors of che ralit1/a rasa of a blank
piece of paper, and lead a dra,ving into unexpected directio11s.
Witlun tl1e crucible (as Delacroi...'I'. 11a111ed it) of a11 artü,t's studio,
objccts, in1ages, books and found n1aterials that spark off ne\v
jdeas are perl1aps not so n111cl1 ch atice fu1d.ings as the uscfttl
outcon1e of pre1neditated disorder. Tb.ose pieces of paper a11d
card picked 1.1p frorn che studio A_oor where they have acquired
fooq.1rints, ri11gs of coffee and "vine <;taü1s and chance scuff n1ark-
ings are en1ployed ,1,; 'hint5 for co111positi<.>n' o;i111ilar t() used
~nvt!lopes, old. leJgers ai1d celephone b(')oks.i2 Tl1e cech1lique of
roughi11g-in a 111iddle Lone \\'Íth charco,11 or pe11cil is a 1nore
clclibcratc strategy for avoiding thc testiJ.1,g vacancy of a clcan
shect: 1t Í11vitcs the use of a11 craser in order to recover the vvhite
of the paper, as well as orher tools for intensif)•ing the darks, and
allows tl1e artist to starc workii1g i11 111edia res. Henri Michaux
( 1899- 1984) relaced the 'n1urki11g up' of paper to

156 ..-t-l E I INE:AR t"OI 1011Y

 a je 11e s,iis q11oi \vl1icl1 1 do not care LO beco111e con\ciouc; of
... Once Lhe JJoper h.as been r11urked up, 1:1ce~ en1erge fi·o111
it ,vicl1out ktlO\Ving vvbar they are doing tl1erc and ,vitl1out
my knowing cither. Tbey ha·ve expres~cd tl1e111sclve~ ,vcll in
ad,,ance of n1e ... 1~11ese are che truest faces. :!J
Elsev,1'1ere in che sa1ne texc, he refers to c;heet(, of v..-bJte paper:
'ln1n1aculate, chey ~een, foolish, hateful, pretentious to 111e, t111re-
lared to realicy·. He needs to 't111do' cbe 11a11er by ~quirting 011
randoru n1arks, or slac;hing c;urfaces 'to work JevastJtJOn upon
, 74
tl·1e111 .-
ln thc sa111c spirit of stratcgised cl1ancc, Joan Miró delib-
erately used spilled blackbe-r1')' ja111 to spa1·k off a series of
dra\vin~ in che 1930s, ._,:hen 'che slightest thing served 111e as a
jurnping-c>ff place in thi-; períod'. 25 Anto11y Gorn1ley (l1. 1950)
ditl ll1e san1e t11i11g ,vich pi111ento sauce \l}llêezed fro111 a pl,tstic
container in the 1990s (see pl. I 13). l)ra\vers using <lígital cecl1-
nology e1nploy equivalent stratcgies for sci111ulating i111~1gi11ative
processes through .1ccess111g a delibcrately dcgraded tound or
a1.1cogeueraced in1age, or sub111itting first iJ11ages on tJ1e <;creen or
digital ca1nera to quick or chancy procedures of distort1on. (Tbi-;
,,,.as one of the attraction.s of the olcl-fasluoned photocopier: the
degradacic)n of a repeacedly recopíed in1age readily sti111u laced
furthcr proce<;ses of absrraction or authorial intervencion. ~11,d
bare student botto111s hacl a field day i11 thc 198os!) Model<,; of
spontaneous growth from a fust gestt.1Te, analogou.'> to automatic
pa1nti11g, have been appropr-iated into con1puting proced1.1res. as
u1 tl1e 'epigenetic' processes of organic growth through algo-
rith111s of Ron1nn Verostko discussed in chapter four, or sii11iL1r
processes of tl1e British artist Keith Tyson (b. 1969). 2''
Wirhout resorting to cl1ance effeccs te) initiace a vvork. it is
not uncon1111011 for botl1 figurative a11cl abstract dra,vings to
develop through the dcployment of 111ca11dering lit1es th<lt 11ugbt
possibly nct a for111 or a 1neaning. Tliis stratcgy is similar to that
described by Paul KJee :is 'tiee J-i11e maki11g detours'. 27 An elab-
orate example is Fo11r L111')1ers (circa 1867-70; pi. 103) by Honoré
l)aun1ier (1808- 1R79). The curling, unravelling, swirli11g pen and
ink lin e-<; and 11e11ri111enri, racher in the 111anner of Salvat<>r Roc;a,
are re--traced again and again \Vith loose gencrous hauti gestures
L1ntil an appro1-,riate for1n e111ergcs Jio1n thc cru1.1cslru1g. A:s
Daunlicr approaches tl'lc figures tl1at hc is pulfu1g out of his
imagination ou to the pagc (ce111pered by act1te observational
skills), l1e applies a free thii1 \Vash to give a licrle solidí ty or to
indicate in1portant shadows Jnd establish co111p<)sitic)nal and psy-
chological relatio11ships. Finally, the four lawyer1i n1c1rch deter-
111inedly to courc. and Lhe ,vay cl1e quiLzicaJ skinny figurt' OJJ the
right breaks ranks to rnake a con1111ent or ~arcasric i11cerve11tion,
u1duc1ng a con1positio11 splaycd up\vards fron1 its base. reirttorces
Dau11uer's satiricaJ take o □ solidariry 1n the legal ra1i.ks. This
dra\\-7ng lias been halted at a relatively· open-e11ded c;cJgt·: ofren
in the late developn1ent of Oau111Ít'r',; dra,,vi11gs. e-;pec1.11ly 111
pre1>aring fi:>r prints ()r jc)urnal 1llt1<;tration~. ~uch v. 1ry· intt'rl.1c-
i11gs y1;ould be stabi]i-,~d by sn1oc)ther l>llthnes ,1nd partially
sn1othercd by the .1<lditio11 of '-'Vashes 111 a gloo111) .111J rt·stri ctecl
palette. ?H
·rhe netti□ g of for111 a.11d mea1uJ1p: l1:1s another applicat1on 1n
an early Conté dra,ving, Seated N11rsc Holdi11x a Chi/d, circo 1881-
.2. by Georgec; Seurat (1)1. 1o+), v, h1ch n,ighr have bet 11 l'>ased <>n
1
qbservatio11, bllt hover~ so111evvhere bec,,.,·~e11 repre-;ent.ttion and
,1bscr,1ction because ()Í che do111inance of rhe line,1r n1e:ins. The
111cai1deru1g J1ncs of Seurac's restless hand 1nesh togcther to creace
a to11al approxi111atio11 of a figt1re sc:1ced 011 ,1 park bc11cb bot111c-
i1'lg a sta11dii1g baby oo her lap. Thc cactile e1nphascs of cert.:1111
111arks, st1cl1 as cl1e thick black edge of the nurse ~s ve-11. the diag-
onal line of her fi.,11 1 ~kirt and the shado,v behind the 111deter-
n1inate lightne~'I of tl1e ch ild anl{ dress. are so directly conveyt>d
d1at they serve to l1ond artist. subjéct ,111d vie\ver into a rlose
l1aptic idc11tificatio11. Of csse11ce bt:rc is rJ1e establishing (>f rcla-
cive passages of ligl1t and dark. like a photograpb partially e111erg-
i11g fi·o1n a photose11s1tive plate. fhe 111eani11g of chis dTa,ving
anses º'°1t of 1ts phenou,enaiity, ratl1er tl1a11 the compos1no11aJ or
ide,1tionaJ invention of Daun1ier's dra,vi11g. Seurat's 111arkings- a
fore-t.1-;te- of che n1acced J11d hairy 111arks in the 1950s of Cy
Tv, on1bly (b. 1928) - serve t() ui1ite thc figure \Vitl1 the tenebrous
1
background. and to anin1:1te a si111plt: and forn1al co111posicio11
into u vibrancy of bcco111ing.
Maintaining Spontaneity: Faux Pentimenti
The tea.r cl1at rcworki11g 111ay be the dcath of the first sponta-
neou:; slretcl1 l1as ah·eady been discoc;sed Jn chapter two, and jt
seen1s to be n1ost acute in relation to redrawing. Eugêne
l)elacroix rôr111ul:1ted this fearti.11 rln1bivalence as a ,vitty paradox:
fhe 111an ,vho re-reads hjs \Vork a11d cakes up his pe11 to make
COTrecrio11S is ~u,vayc; to son1e excen r a difrerenc man fron, rhe
one ,vho ,vrote the first draft. Experie11ce ought to ceach u~
two lhinbr.-;; fir~c. thar ,ve '>hould do a great e.leal of correcring;
'\eco11cily, t 11at \Ve n1u\t not correcc roo n1uc 11.~~
l)read of losing essential vitality was expressed in the ,vr1b11gs
of Ernst J_udwig T<irchner ( 1880-1938), ,Yhose 5peed) painti11g'i
of Ilerlin ~treet life appear to bc the very apotheosü, <)f rap1d
execurion. authenticity and in1111e<liate alTc.·ctiye re~pnnse, n1atll'r'>
of u11porta11ce to 111e111bers oF rl1e Ilrücke group. l{1rch11er,
l1l,vVcver, made 111a11y prew11ÍL1ary drav.'lllt,~ for tl1e!>c .tpparently
sponta11eouc; oils, often ii1 colotued chalks; ~u1d he redre,v s1nall
noccbook skecchec; 111 larger tor1,1ar iI1 the -.n1d10 111 preparac1011
tor the grapl1.icc; and p.iincings of 1913 and 1914.. I(1rchner, \vhc,
DRAWING STRATEGIES 157
 •
. .1!f.~
-
"
' .'
"1.

,
i

•
1
•

104 c;eorges Seurat, S1•nred N11rse Hold111g Chi/d, circa r88r-:i, C:onté cr,1yon. 328 X 255 111111. Paris, Muséc du Lou vre. Dép;1rt1nent dcs 1\rts
grapht~1uc,, Rr 29302

•
'
•
7/f:❖
;·
105 Erust lud\vig l<irchner, '111•0 S1ree1t41,,lkers. I\114, p.i;,tcJs, 660 X 5~ 1 01111.
~ 1,h111011d. V.1., Virg1111,1 Mu~eu 111 of Fuu: Art~. The Lud,,-, g and 1-./..o,y
r1\cht·r Collccaon. 11 li Kirchner
vvroce about his own \vork in the third person l1nder the pseu-
do11y111 "Louis de Marsalle, <lc;:-scribed cl1is praccice in r920 as the
ron~crucrion (>Í l1ieroglypllic~. his cern1 for an in1n1ediate
Jbscrac..'tcd for11J of in1agistic writing, v.·hich \vas ,tlsó ·a Lle\V forn1
of person.tl fa11w.sy·. He vigorously dcnicd th.a t tbesc repeated
pTel11111nary ,vorks \,\·ere 'u1div1dua.l stttdies', because chc i.11te11se
n1erhod of always dr.1,,·ing ·&0111 tbe larger whole to the s1nalJer
pare' n1aintained feeling a~ \\·ell as overall vicality in each restate-
n1c11r of lhe \V()rk, ~o tl1at. e:ich tin1e, 'sen~atíons are set do,vn
unn1ediateLl'. 'º Thc l1elief of G~r111an Expres\Íonists that incense
n1:.u11te11ancc of tl1e .f<'eli11,'<. co11/('/I/ of a \Vork duri11g all ::ispccc~ of
process ,x.·ill ensure 1ts potency aJJd fre~l111css 5till do111inate~
pracc1ce 1n OllT a111e. a11d Ktrchner has beeo críticised for tbose
!ater \\ork:\ (after h1-; long penods in p~ychiat1·ic hospitals) ,vh.ere
he rechu1ned and rep.tinted old c~u,va~es m apparent den.i.11 of his
(,',1rlier po-.ition.
160 T HE LINEAR ECOl'!Of'IY
A coloured pastel dra\ving, T111t1 S1reetr11<1lkers o( 1914. is .1 very
close stutly - one of 111aay- for tbe oil Ti/lo f;f i)l11c11 011 tlie S1ree1
(191+: pl. 105). lt 1s clear \Vhen co111paring sketch a.nd paintu1g
that thc art1st bas preconceived tbe gestural quahtie-s of cl1e dry
,md loaded oil-pamc scrokes in the dra,ving v.b.i.le maintnining
rhe san1e scrongly diagonal direccionality and linearíty of 1narks
v1hen he can1e to rhe painting. As ,vell -a, the dynan1ic lines of
tl1e conlf)C)sition, wb..icl1 reside n,ainly in the diagonals of street
.u1cf hc,1dgear in tl1e upper pare of rhe d.rawing, K.irchi1er sets
d .O\,Vll the angular and attent1aced fen1ale figures vv:itl1 greater
críspness in the sketcl1 th:111 che painting, where rhe a.ngles of
botb heads h~,re al'io ch.anged, as they have becon1e eo1bedded
in oil pnint. The action of figures n1oving dovvn che ~treers in
conversation i<: che sin1ple ,ul")ject 111atter of the 'itudy and fu1al
vvork, buc ll1e effect of tl1e drav.;ing, in whjch thc pastels are
rouglily rL1bbcd 011 to the cl1eap. no\v brow1ung papcr, withot1t
a11y atte1npt to n1ix or define tl1c111 spatially, is very diflere11t .fro111
rhe viscosity of the paintcd versior1, where n1oven1ent is re-
stricred. ln the open, 1nore eÀ11a11sive drawing, all activíty
happens (.)11 the front of the picture pl.1ne. and once the colours
oí cbe figure~ have been laid <lo,vn, son1e det;,1ils of the lines of
the styliRh clorhes are 4.uickly reinscribed, bringin.g the skerch
closer to froncality a.nd spo11ca.neity.
Tl1e emotive aspects. of pe11ti1ne11ti, w1tidy o,1erdrawii1g an.d
indecisio11 ca11 be part of a deliberace and perhaps disi11gent1ous
drawir1g strategy. Such sketch tacrics the11 function a, n1etaphors
or tropes of discovel')', and cl1e exposure of the arrisc',; renl or
mock hesicancies deliberately invite spectatoria] and tl1eoretical
participation. This seen1s to bc so i.n U,,ril/ed (1990: pi. 106),
a cl1arcoal dravvi11g by t11e An1erican artíst Susan Rotl1e11berg
(b. 1945), ,:vl1ere tl1e repeated strokes a11d penti111e11ti suggcst a
norrative of pri111.Íti-vism a11d authenticity. ltotl1enberg's subject
111acter during the 1970s was tl1e horse. and tbe iriscribed and
reinscribed for1ns of thi!i 1nuch later dr::rv,~ing, with deliberace
crude and bea\.1 -ha.nded cbarco~1l <:trokes scoring out che
1
knorted, lin ear penei] underdra\ving, ~uggest an atten1pt to
reclairn tl1e i.J1tensity of a forn1er i11vó lve1nent, as \oveU as evoking
.1 ga.lloping hor-;e on a cave ,~ all dra,vn by a prin1itive l1and.
1
lzothenberg sce1ns to bc cmploying pc111i111e.111i 110c so much as
genu.ine <;ecoud thoughcs or co.rreçtion.s, but as a for111 of graphic
fa.lse rh.etoric. Her strategy can be con1pared ,~·ith two Italian
dra"vings of tbe sixteenth and seventee11th cc11turies, ,vhicb, to
111y 111ind. also deliberatel)· exploit 1Je11ti1ne11ti as en1otí,,e sig11ifiers
of ar6stic struggl e.
,C.,tudies _(tJr t!u: Figute ~( a K11eeli11g Fe111ale Sai11t (pi. 107) by the
sixtec11th-ccntury Florenti11c artist c;regorio Paga11i ( t558- 1605)
is drawn in dark brown irtk. and a catalogue entry SL1ggests, co11--
trar)' to my reading, that it is the sorc of dra\,1ii1g that 'tbe artist
bimself ,vould have preferred to destroy 1n an ::itte111pt to re1nove

, •
...,
106 ~usnn 1-tochenherg. L'//rn/erf. 1990, ch:u-co:il ()n .m irregul:ir ~heet, 151X X ~128n1n1. Ne,vYork. The l'vtuscu1n ot Modem Art,
55$.1990
evidence of the ditlicttlty experienced in ,vorking ouc hjs o\vn
cor11positior1s' .11 Pagani, i1últ1enced by Cigoli (Lodovico Cardi,
1559-1613), the leading painter and arc hitecc in Ph)rence at tl1e
ê11d of thê sixteentl1 century, participated in the Councer Rêfor-
111ation trt:'11d to,varch a certaín sort of naturalis111 and intercst i11
optics. alt11ot1gl1 no11e of chese aspects is prese11t i11 tl1is iJ1tense
sketch, whicl1. is a mass of pc11tí111e11ti stirred into an mco111pre-
hensible 11est of cmrk strokes. NevertheJess, it does not; to my
eyes, evide11ce the veraciry and a11gt:1ish of struggle, and there is
little atte1npt to shape con1posirional relation-;hips or generace
changes. lnstead, tl1e profile view of the kneeling saint \Vith her
head slightly inclined to tl1e right ai1d looking up\vards in a
yearr1i11g and aspiracional 111anner is repeaccd so 111any ti.1ncs \Vith
tl1e same bold brow11 ink strokes that it suggests. i11 co11ce111po-
rary parlance, that Pagani has 'lost tl1e ploc' and is dra\ving 'on
automatic pilot'. I>aganj's invo lven1ent with the Th)·th111 of l1is
hn.nd has turnet1 inro an ()bsessi11e exerci~e: ::111 incancatory doodle
··--
•
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racl1er than a correccion of fault)' dra,ving. He is not so 111uch
crying to find a forrnal -;olucion for this pose, sii11ply ª"
repeating it again and :igain as an iteracive flourish \Vith hi~ n1ind
e1-;e\•\'h ere.
Ic is revcali11g to Ct)1npare tl1is drawü1g v,icl1 .i. pagc of tvvo
chalk 'ltudics b)· Fra Bartolomrneó oi- St Catherinl' ef Sic11a, one
of a series of prepantory 'itudies of about r508- 10 for an altar-
piece, where St Catl1erine 1s dep1cted 111 a sen1i-k11eehng a11d
:1~pirari<)11al pose, rarber ~itml:-ir to char of thl" Pagani sketch
(pl. ro8). '~ There are far le\s JJC'11ti111r11fi here than j,; u-;ual ,vitl1
Fra Bartolo111n1eo, ,;ince this ,;ketch, on a \Vdr111 grey prepared
paper, is quite late ÍJ1 tl1c ,;eqt1e11tial chain of preparatt>ry t1r<.1\v-
ings. Tl1e largcr figure 011 thc left of the dra,\·ing. "'·ith rhc bcau-
tifttl silvcry to11es of her broad draperics, see1115 to l1avc been
extrapolaced fro1n the smaller, 1nore schen1ncic skecch on the
rigbt of the c;heet or vice versa. Fra Bartoloinineo has fully cievel-
opcd the p1asticiry c)f her figure, ,1]chough <,he flo.1t\. r,1cher Lhan
DRAWING STRATEGli:S
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107 ( ,re~orio Pa~a111. S111 ,'11".< J,r 1/1< F((!11n 1>/ ,1 K11erli1ig l--cn1t1lc S ,11111, ?159.!, pen ,1nd brown 1nk 011 butl pap~·r• .! 11 X .!2!. 11111 1. l.011do11. f'he Bnti,h Musenni.
11) 4 (1 ,071 3•..j. 3...,
 . •

108 rca Bartolomn1eo, l tt111 St11tli1•s ftlt 'St C12t/1rri11<' o_{ \lt'11,1' drc,1 15o)l. 10, blark Lhalk. hetghtened v. icb ,-vhirc:, ou l~bt grey
pn.:pared paper, 264 X 291 111111. llotterda111. Mt1\1:un1 1301_1 111.in\ V,111 íleuningc·n, l'rentenk,1b1111:l. 1 'ihl M 7()
 i1rnl1r, l1 .a., uu, l'r1 r,1, i1rt,1 lf,( 11 h,11,i•,111 1, ·1: l 11.:11 ·l i \\'Hh , I it · ~ lll,1 11 · lll hllll' :1 1 ~· 1 'i L]ll ,l L
0

d J 1
.\ 1 ( 1
, 111111 , t11k l hL· \1•t1np,'J,la ti 1\ tt 'Llll 1,1 r, . l 11rr\' < • : 1l·rli1J r111 d ir,:-: • 11•)•H , .LJ.!
1l1 /. l'
kneel'i. weightlessly on the ground. rlhe arti<;t ha~ been ín1pelled
to redra\\. lhe h,1ntl'I and uplified í,1ce and gossa1ner tlr.1peries
\vitb light ch.ilk stroke\ .1 11l11nber of cin1e-.. also u<;ing heavy
-;troke!> !t>r the c:urvec.l fro11t co11tour. activating the figure \Vith
such flicJ...cring vibrancy lhat shc ali11ost Aucters otf d1é page. By
co111parisou w 1th these second-thougl1t rev.rork:u1g~, Pagaw's
redra\\rin~ res1st con1pletion or discovery; the line~ are co1uumed
by thcir O\\'n repet1tions.
ln ,1 r;ither si111ilar f~<ihion, a Milanese 11ear-conre111porary,
G1ulio Ce,;are Procacc1ni ( 1574-1625), ha<; drav.:n, rubbed ,1nd
~corcd in heavy l,L1ck ch,1lk and charct>al around the figure of
the sitting Virgin in cl drawi11g un blue p;.1pcr, 'Pictà' (pl. 109).
T li i:, is a prcparatory drawi11g for a paintiI1g i11 Mila11, and thc
artist 111ust b.ave believcd that he i1ad achie,•cd so111e re.solutio11
in tl1e pose of the anguis.hed 111other1 because he has sguared up
the lower part or the dra\ving for transfer and reclefined the
drapery volun1es ,v1rh ,vhice highlight~. 11 The san1e srage of res-
o lution has, 11ot bt·en reached in the figure oí Chri~t and acten-
dants. cxc:ept in thc be11t lcg of the deJ)<)<ied cadaver, ,vhich cake)
0 11 an i111portanl ~y111bolic auJ con1positionaJ role in its l1igh-
hghted !.hape, squariog the orgaimat1ou of the Virgin 's body as
a po'\.verfttl spatial motif. 'fhe remainder of the Eigures cro,vding
arou11d the depos1t1on are only just skctc.b.ed in, buc \'\.Ítb fun1ly
rhyth1111c hne'i. The thick web of line~ ::ind overdra,ving aro11nd
the 'iV-.'<)O!ltng figure of rhe Virgin h:is allo\ved che artist co fix
her vvitl1in a dy11an1i st!d ~pace. 111aking rhythn1i c connections
betwcen hcr brokcn serpencine curves and chc backgrou11d.
aJn1ost as if to leg1tin1ise thc 111aJ111cred distortions of her bocWy
shape. Agam, pc11rit11l'nt1 seem to havc t.akcn on a r1tualistic rather
than an explicatory role, Íl1 this case an en1bedding functio11. By
setting up, and chen slightly shifting the squari11g grid, Proc;ic-
cini causes tl1e Virgin to be ~crunched up a.gainst che su11portive
edge of the fra111e. as if '>hrinking to the ble.1k ro111forc of Lhe
periphery, away fi·on1 che painfu l centraliry of ac:c.ion.
Technical Strategies of Order and Ruptu re:
Framing, Pouncing and Tracing
Eníram,ng not only conceals a íormer way of reveahng. bring1ng-íorth. but 1t conceals
rcve.iling 1tself.
Martin He1degge1
Penno's method Nas that he flrst set down h,s rougl'! intention with charcoal o, olat.~
stone; thPr, he delinealed 1t 'N1lh pen, bring1ng the Nhole to a betler form w1th many
stroltes. F1nally. he trac:ed ,t onto <1nother sheet • . and finisbed lhe draw,ng w1lh ... grace
G1ovann1 Bat11sta A1men1n1 1'
Arti!)L, or de-;ignt:rs usua lly acJd ;in (>utline fra111c to a c.lra,ving
<)11.ly 011cc tbey are sat1sfiecJ with a composition 01 chc realisa-
tion of ;111 idca. A fra111e 1solaces, l11erarcJ1ises J11d serves to fix a
spatial :111d con1position~1l organi,arion and theretore change~ tht·
status oí ,1 dra\ving. The scra1) of 11a11er on v-. hich an .1rri;;t ini-
tially scribl-iles id~1-,, Jlthc)ugh it has edge,. c>pt"race, c>11tsidc (\)11-
sidcrations oí scale. proportion a11d 01ientt1rion. all<)\VÍng thc
artist to turn ir upside do,,vn, :sketcl1 ovcr part-.. \vork sin1ult..u1e-
ously 011 Jarge ru1d s1nall, finished and rough elc111c11t.'I. a..s dis-
cussed in chapter t\\.·o. Tbe addjt1on of a linear border or dt:i,v11
fr::n ne isolates t11e enclosed area fi·om 1cs sketch,· , and nnresol,·ed
relarion"hip w1ch t11is 1ndetern1inace space and ,;cale, and dete1·-
n1ine<; che logic of íucL1re 11ictorial oriencac1on ~111d 1>roporrion
(that i<;, the si7e and vercicalicy or horizoncali~· of tl1e for111ac).
as wt.:11 as the spatial and co111positioua..l relatiot1sh.ips ,, 1thin the
fran1e. The sketch sheet by Taddeo Zuccaro (pJ. 101) illustratcs
the in1portant 1nomcncs ,vhc11 a ti·ame \'alorises a ,·isual idea. 111
the thrce 5Cra,vled ~cenes dealing ,víth che Bli11dí11,f! t!F Ely111as.
.'~acrificc· ,1t Lystra, and a Holy Fa111ily. rhe artist has fir,;t sketched
i11 cl1e physical ~etcing and diS})O\ed che t'igures. then ar son1e
11oint enclo'led tl1e con1positio11 ,vichin defini11g border 1ines.
c.i<ccpt fc>r tl1c botton1 lett-hand ct>rner ski:tcb. ,vherc Paul i:-
shO\VU fi:om the back w1d1 h.is right ar111 uprai~ed io the gestLtrt'
that blind,; the sorcerer El)'lllas. [t would appear that the artist 1s
so unconvmced by this arraugen1ent tl1at l1e has not e\.·eo both-
ered ro leg1t1n11se 1r by che add1rion c>f borders.
A drawn fra1ne can theretore be an 1nstru111ent of cricicahry,
in that it endorses one stage oí a drawing 11rocedure. and in1pÜe'.->
the rejection of an carlier state of 11011 _fi11iro or the litêing of a
scct1on of a dra\\'illg lllto anothc.r stage of developn1ent. The
fi·an1e thcrcfore parricipates it1 a ten1poral nexus a11d ca11 also
signal that í1nportant rite-dc-11assa<{!C of artisric practice: 111ark.ing
the passing of privace into public as an acti\'Íty in real tirne. ()nce
an ourlinc' fra1ne is in place, i t ,;ig11ifie,; a te111porary or pern1a-
nenc freezing of rl1e di,cursive. and like a pl1otograpl1ic tin1e-
fran1e 011 a ~Lrip of fiL11, ir ~olate'i a particular n10111ent.
Nevertbcless. a drav.·n outljne is e11tireJy in1plicaced in cbe con-
t111rut1es of d.iscourses of aro.sue intent1011ality, unlike a passc-
partc111r drav.r111g n1ount. vvhicl1 squeezes a dra\v~ng 1nco tinality·
líke the physical &an,e aro1u1d an easel pa1nting. Such end 1:,r:1111es
thar celebrate rhe public b:ind-o\'er of a finished \Vork are gen-
erally beyond che- artist's contro1. 36 A'i i11 Heidegger\ di'icussion
oí enii<lnúng, c1uotcd abovt:, where co11ceal1111:nt and unco11ceal-
111ent are discussed i11 rclaúon to i.ssues of techi1ology. thc fr..1mc
:is a strategy of con1plction conceals the prior revelations of the
1.1 nli"a 111 ed . ~
3
Francisco de Goya Vt'r)· n<>ticeabl> added dra\\ n 1nargini;
around reworked drawings inten<le<l íor priut, 111 All1un1 H.
l1elieved lo l.,e assen1bled by l1i111-;elf and 110,, knt)\\ nas the Black
I3l)rder Albun,. (irca 1816-20. ii; TJ1ere 1-; t)1i!y a ~inglt· fi·.1111e in
lhe tlrav-.·ii1g ,\l11y acordes. disc11-;sed 1n cha.ptcr tàur (pJ. 6-1,), but
trus drawu1g 11as clcarly bccn returned ro on a subseque11t occa-
DRAWING STRATEGIES 165

--
"
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11 0 Pietro Perugino. 811st ti{ ,1 Bf,irdt'd Af,111, â rca 1495, fi-agi11l'..l1t of a
carcoon, black ,h.1lk, pnckt'd for transter anti squarrd, aduirional papt'r added
0 11 belov.. 270 X 25on1n1. C..)x.tord. C'hn~t C hurc:h Picrurc Callery.JH~ 8
s1on. The extre111ely thick ruled fi·a1ne, v.·hich just cuts otf a
corner of lighrer-ink drapery ro the ri ght of cl1e blind 111ale
gu itar player, in1plac:lbly fixe~ thi:; act of rcap11r<)priacion as a tin1e
signarurl'. The tra111c cclebratcs chc n10111e11t of rcvi~i ting, joining
11c,v a11d old i11to a nc\cv ten1poral u11.ity, as ,vc1J JS cnacting a
gesture of enclosure a11d dcparturc.
JJr1cking and pouncin.g (spolirero), incised copies and tech1úques
of ~qu.iring and cracing, às mentioned in earlier chapters, are very
a11ci~nt cecl111it1ues, and d<) 11 ot occur only ar the end of a process
but can even be used as a transfer techniqu e in early skecch
1
sragcs. '' Gcuer,ali y, on 1y el1e 1111portant,
. reso lvcd and outhne . d
areas are pr1ckcd, ,vlulc frec. ge.~tural n1arks describing hair or
draper>· :ire lefc for rcu11provisat1011 at the neê\.---r stage. This is so,
for exa n1ple. in a pricked fragment of a full-scaJe carcoo11 by
Perugino (Pietro Vannucci, circa 1450-1523). The black chalk B11st
<if a l3earclecl \,,/1111 , \Vh ieh Í\ al'lo sg u .1red for tra nsfe-r (pl. r I o),
dcpicts Lbc grit·vii1g íace- oí Jtlse-ph <)f Arin1athea, vvh() kneel<; to
support thc t"i~n..: o f thc <lead Christ in Pe-rugino's La111e11tatio11
01,cr 1he Dcad C"/1r1st (Flore□cl.!. I>aJJzzo Pitti). J)rick n 1arks foUow
che f:1c1al fe:irures of tlus dr.1"\'\·ing, a 11d JUSt a fcw lines of the
long curly bt-.1rd ,1nd OL1tl1ne ot rhe body are also occasionally
166 THE Llt-.JEAR ECONOl•IY
~1unched ,vith holes. Tl1e remainder o~- the C'<pre,sive chalk
srrokes, in clud1ng the vvild l1air and che ii1tense, overdravvn
<:]1,1d<.)vvs to Ll1e right of cl1e lt'aning, ai1guished, bcad, are
untouchcd and tl1c emotional i11tc □ sity of thc drav.•ing is not
nea.rly u1atched in the cool outlines oí the pan1ting.
A n1odern abstract clra,ving by the Arnerican artist Edda
ltcnotú (b. 1943) can be re::id in a number of v.•ays: firstly using
s11of1,er,> as 1ts top1c, tl1nt is as 110th st1bject 111atter and technique,
coll::1psing pre-111odernist distin ctions l1etwee11 these states. ln this
puri-;c readü1g, ,',tn1tt11re Clia11.f!e <?,{ U11es l11cised b~(orc C/1c1lk -
Sou11ds Rish1g I (1978: pi. 111) subfuJ1ates tbe indexical 11arure of
ics tecb.inqt1e tl1rough the controlled laying do,vn of a nU111ber
of parallel ir1cised fu1es on wlúte paper, ,vru ch are- chen rubbed
vv1th a h1yer of red pastel to achieve a g1o,ving intensiry of the
parallel sryluc; in1pre5~ions. This forn1aliry is reinforced by the
exq uisite co ntrol of an unruly 1nediun1 and tl1e clarity and clca11-
ness of cl,e paper support witbout fu1gcrprints or traces of
1r1aki11g. Alter11,1tivcly, thc diagoual courscs of doubled lincs could
suggest a perspectiva} rca.dit1g, as if. tl1e red chaJk field is laid
do,vn or slanted 011 the containi11g sheet or references an
archaeological proto-te"-'t of incised runes.
[t cou ld be argued tl1at the re111oval of an initial skerch o r }Jart
of a -;kctcb fi-0111 tl,e original 111ass of 11e11ti111e11ti in whicl1 it is
en1beddêd. tl1ro11gh recira"ving, retraci11g, pouncing or sqttar.i.ug
up, is atJ esse11tiaJ cactic i11 grasping its 11ev-V 111eauit1gs and poten-
cial for cvolution in a devclop111ental chau1. The rela.tive viqJe11ce
of the act of tea1·ing away, or physically re.n1oving part of a ,vork,
,vith its co.i-1con1itant rejecuon of tl1e previous e1nbedding of
forrns, ft1nctions as a spur to change. Tlus used to be an in1por-
tant if perhaps unackno,vledged as11ect of arcl1itectura1 praccice,
\Vhere eacl1 laborious retracing of a vvorking drawi 11g would
signal a 11e,v stagc of design refi11en1e11t or rcth inking. 011c of
the technological issues that in1úbit tl1e ge11era.tive aspects of
con1-pt1ter-aided dra\Ã'u1g is possibly beca11se 'the tablet and stylus
wircd to the con1puter are already plugged i11to a 1necha1usn1
of easy change: the ftrst s.k etcl1 is se:111-uessly usurped into tbe
sy-;te111, even a~ it is being generated: and that radical act of
creative rupcure h.is been negated· _-1c , Ruptures of prOct!SS, of
co ur,e, cease to be <;o sig11ifLcant in a trLu1cated drawing syste111
tl1at dii-allows devclop111e11t beyo11d tl1e sponta1leous ftrst gesntre,
or celcbrates c;in,ple geornetries and observable tactics, as in the
lle11ouf dra\ving.
C1 o e
 I'

Lrr Edda 1,e.nouf, Stnut11rc C]l(lt~f?C o{ Li11es l11dst'rl &~[ore Chd/1.: So1111ds Risi11};! L. 1978. 111cised lmes. pastel. and graphice
on Arches paper ,vich fixatíve. 533 X 47om1n. Washington, l}C'.. Nation:11 Gallcry of Arr. The Oorochy and Herberr Vogel
Co1lection, c;ifc of l )orothy and Herbert Vogel. r994.r7.11
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Squar1ng the Grid, Rupturing and 111,1k1ng l,1rton11s Lo ~c:, ll', proposl'd chat a grid ,vas J good way
Easing Progression o i l·l1.•:1ri11g up :i co11fi.1 ~t•d prcli111in,1ry dr.iwi11g, or that 'profi.1.-
\1011 11f -;rrokt·:., u~u ,1lly n,ade 11nintentio11ally before a good
l\lhl•t li h.1d 1111dl·t ,11H11I 1h.1t µ11d, \Vrt'l' ll~l· ltil 111 111 0,•11)~ 1
lro11 1 dl·,1~11 1s .1r hi L'VL·d'. ' l 11..L' pri ck1ng and pouncing, chis rechnique
prl\,tll' lll pllbli,-, 'il \\ ill hl·lp tll d1, tdl· uu1 j1ll'p,11.1lory stutlil·, t\111 hl' ,1pplii.:d :1L ,111) ,l:\!};t: nf ,1 devL· lop111e11t,d proce~s, as in .1
111[1) p:11.dll·I,. ~o th,ll L'\1:1yl11i1 1µ 1,111 thl·t1 hl' t1 ,111,li.·11l·tl, ,1, it t>·pit,11 tl1avvi11g by J.1ropl) Ti11tnretlt>, <>1 his \Vork,hop, t)Í Cl,risl
\\Lrl', fi·o11 1 11ur 11r1v.tll' p,1Jll'I'\ ,IIH I put in tt ~ lt> t t'l'll 1111~11111 11 ,,,, 1/11· ( ,'niss 111 hl.1rk ch.tlk \Nith "' htll' highlights l)ll grey paper
1
i 1i lhe ,,n1 k ll11 p11hli1· ,·:-.h1b1l1011·. A1 ttt l· 11111i. 111 .1 ch.1ptl't ,Ht (pi. 11 1). 1'111t<)ll'll<> oftt:11 ~L]ll é\l'L' d up vcry rough .111d prov1sio11al

108 hJC)M'r
charccl..tl or chalk sketches for tranc;ferring directly into pa1ntings.
"virbour any of che deli11eratio11 of Flore11tine 111ethodology.•1nd
in this \,Vork the figure and grid overlay have beco111e fuse<l by
equal inrcnsities of applicatio11. Tl1c placing of tl1c horizo11rals
o\·er the crucified body of rhe C hrist figt1rc appears to folio,,._
the structu ral rules of anato1nica1 n1.easuren1.e11t, so th::it one line L
n111s through tl1e genitais, another belo,\' the la1ees. l ~hc figure
i~ placed exactly in the centre of che sheet. and thc squar111g grid
11ar.11lels the scrict'ly 90º angle of the cr<>sc; and aln10st coincide\
witl1 its edges. The fa llin g head and cros5ed legs })rolrude
paitúully írou, the geo1netry of the cro,s so tbat the in1po-;ed
squares can translate into a tnetaphor for subjectio11 and torture ..
in c1 casual readi11g. Ai1tony Gor11lley also used a11 ovérlaid pe11til
grid 1.11 his dra,vi11g Heat of 1995, one of a series of a works
made and exhibiced at Artpace San Anton10, Texas, tJ1ac ye:ir (pl.
r 13). Dra\vi11g the single st.a nding figure with a carefu l e-xtrusion
•
of Loui<::iana pi111ento :-auce o,·er an initial cl1,ince splasl1 of the
stufT (very far fi·o111 Miró's chance spillage of ja111), Gor111ley lhen
squarc:d this Íl11age and otber dra\vings of tl1e sct ~ 1th a fiee-
hand grid as a signifyi11g ele111e11t, 111oving variably in front of
a11d belú11d the figure. This addicion evidentl)~ served to 'dia-
gran1matise · the drawing as ·an event - a splash, a 1non1ent cap-
ture-d a11d focused by the fra111e', according co Gorn1ley. n
The appropriation oí che rechnical 11roce,;se:; of sgua1711g up
inco deliberate drawing strategie-; Í<; part oí n1oderniry's 1011g IO\'e
affair vvtth ovcrt and u11derlying geon1ctries, epito11lised by }Jiet
Mondrian (1872-1944):H F0Uo,vi11g thc Baul1aus practice of
,vorki.ng on grapb paper a11d the !ater infiucnce of Josef Albers
(1888-1976), M.i1u111alist artistS in the 1970~ consistently devel-
oped 1deas or n1ade precise ;:ind n1easured incervencions \V1chin 113 Antony Gor111ley, 1-lt•at, 1995, 1ot11s1ana hoc \auce 011 papl.'r. 75<í X 'i65
gridded squares, w h.ich ser\'e co inrroduce ,;criccly 111on1tored n1J11. Corrurus~1oncd br Arq,acc San Anco11io, Tcxil!i
syc;cems of rnild chance and variacion within li111ited para111etcr~.
This is so in th e forn,al late drawi11gs <)Í Eva Hes~e (1936-1y70),
in v,hicb circles, lolljpop shapes or cresses draW11 in to pale green
lined graph papcr sct up cl1a11ce patter11S tlirough tJ1.e tonal vari- ltf0tcr l"""/0111cr (1964: pl. rr5). in wl1.ich a11 ofl:.square grid in whice
atio11S of the black or brown ink, so sligl1t as ro bc ahnosc invis- ink is u11posed upon an al1nost sguare sl1eet of paper. already
ible. 1~11is factor is present in che Llntitled drawing on graph paper at,nospherícally 111arked ,:vith wash and tape. The red penei! does
of 1967, in \vhich the irregular circles ín black ink inscribed \vith \vhich Martin has 111ea,;ured and -;et ~11) che p.1ran1eterc; t1f
within each square leave en,pty gaps of white paper that the eye the central grid lie outi,ide a very ~ubcle ,:vashed-i11 fran,e c1nd
joins 1,.1p in to se111i-vi~íble u11derlyi11g pattern~ (pl. Lt4). This 111ys- create a shilted, 1u1precise square. itself enfran1e<l \v1thin the cdges
terious negative pictorialisation is ali the n1ore eflect1ve for being of tbc ~quare sbect. The poig11ancy of thts work, likc chc 1Jessc
thc result of missed geou1etric exactitudcs. H esse vvas to abandon dravv1ng, hcs in 1ts 1rted1c::1c1on upon frames and sm1.ple geo111e-
thc forn1al restrict1or1s of graph p.iper in tl1e dra,vings produced tr1es, as vvell a,; on the relaaonsh1p betv;een fi·ee and fin1te,
in 1969 in the moncl1s before her pren1acure deach. when she chance and control. For Hesse, in her very last drav.-ings, 1110,ring
experin,enced with -;trate!:,ries of fra111ing. These 111ore referential fro111 gríds back Lo \,VÍlllio,vs could perha11, 111ark the return of
gouache, watercoJour or pencil drawi11gs son1etin1es suggest tbe repres:;ed, a concepc explored i11 .111 e~say on gritls in tht'
\VÍ11dows or reAe(ting n1irror-,, or sin1pl) fi·,1n1es around notb- l.!arly 1980s by l~osalind Krauss: '13ehind every 20th Cc11cury t-,rricl
ingne~s: a J)OÍgnant reAection of l1er approac]1Íl1g death. tbere líes - like a trau 111a that 111ust be repressed a Sy111bolist
Tl1e long i11volve111.c11t v-ncJ1 laid-dov. n grids of Ag11es Martu1 \vindo\V parad111g ín che gui,;e of a creanse on optics.' Later 111
(1912-2004) is given a slightly ro111antic tinge of 111dec1s.ion i11 this essay, ,vhere Kra11ss cons1ders rhe d1tTerence of ce11rrifi1gal or

DRAV/ING STRAT EG 'E S 169

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11) Ague.\ M.irun, t V.lf('r rlou,cr, 1964-. pen a.nd v. bitc .uul rcd 1nk with grcy \,\·ash ovcr i-traphiu.·. 301 x .
:;03 111111. Wash111gLon.
. D.C .. Nanon.tl Gallcr,·
. of Art. (;ifL
ol thc Wood1v11rtl FoundJt1on, 1y76.5ó. r 1 1
116 Paul Klee. L10,1s - Bt•11111rr ,,( thn11!. 1923, 011 transtêr dra,v1ng "' ith pencil nnd w,1cercnlo1.1r 011 paper 111ou11ced on board, 305 X 4.85 111111. Dü~~cldorf.
Kunsts:11n111lung Nordrhein-Wesú.tlc::11. 11
cencripctaJ rcadi11gs (a debate of che tiinc that defies reconstitu-
tion). she proposes thar the ·grid is an introjection of thc bou11d-
ar1es of the vvork onro rhe interior of che in1age; it is a mapping
of the sp,tce 1nside the fran1e onto it-;elf'.45
ror Alighiero e Boetti, inve~cigations of g rid dra"ving in 1969
1narked a radical cl1angc o( practice. ln the spring of Lhat year,
he left behind chc lu,nber accu1nulated 111 Jus Turin studio and
·'icartcd agau1 fron1 scrarch. \Vttb <t penei! and a s11ecc of papcr. l
cook a sheet or square p:1pcr ..1nd made a picture ... 1that I ton-
~,sred of re-tracing e,tch ~quare.'1-1-ii'i expcrience offered 'cren1en-
dous '1·eedon1 ... All 111.11111er of th1ngs happened 111 those
'>C,Jllclrc\, I \Vrt)te \On1e terribh~ or beaurifi.1! rl1ings, sec ret ching,
~·luc.h \vcre then füled 1n because the onlv, rule \vas to fil1 in
\\ ichout .1.0y constraillts of tin1e or of reason.'-41 later. Boetti pro-
172 TYE LINEAR EC.ONQM'(
duced ii1k drawings derived fro111 n1achen1atical procedures on
squared paper, repetitive works of baod,vritcen or typed texts
based on svsten1s of oTder and disorder, and, afcer a fir'it vic;it to
✓
Afgl1aniscan, interpretacions of such syste111ic 1Jrogran1n1es i11
en1broiderv, 011 cloch. 4.,
Tn n1an) of his dra,v_ings. l)aul Klee (1879-1940) enfoJds a
ch.ildlike lincarity of in1ages into coloured grids of co11rrast1ng
and blending squares of colour, colotu· th.eories beu1g of tbe
greatest concern co Baul1aus tl-ieorists. 13y these 111e:ms Klee rein-
forces the sepru:-ability of line and colonr: the t\vo basic elen1enrs
can be ,;patially co111bined l)ut are not identified. Ii1 Lioris -
Bl'111arc' o_{ 1!1,e1n ! ( 1923; pl. 116), IZlce evoke. the ~quarel1 optical
. Cl)lour diagran1s of Plúlipp Otto Runge and Goethe, enlive11ed
,vith caricatura] figure!> and playü1g a11in1als. 4t-1 He en1ploys an oil
tra11sfer (n1011opri11t rech11iquc) in order ro ol1rain t he careles\
gra.fliti quality in che _w1e of tl1c overlay. thcrcby parcicipating i11
cl1e rupturous cco1101ny of tra11sfer techn iques discusscd abovc.
T l1e chi ldlik-e figt1res, interco1111ected by li11es, dísport then1selves
over the gridded and coloi1red ground, 'vvhich participares i11
another sr,aciality and alt;o e11frao1es the central actio11-; rhrougl1
che darker passages of the ~ide b<)rders. Another coloured fran1e
is addeci before T<Jec adds the i1111Jrh11at11rn o( bis sibri1acure, dace,
tide (Lo,ve11, Man beacbte Sie!) and a ruled underlj11i11g on the
n1ou11t, emphasisii1g a 1011g Ger111a11ic tradítion and a uscful strat-
egy for ord eri□g his enor111ot1s drav.>ing ccuvre. These e11dorse-
1nents act as the leg1tiniisí11g equivalent of an externai rran1e.
Strategies of Economy and Focus in C apturing
Likeness
Strategies of economy md focus ín drawing portraits go be),·011d
historical period, and even geographicaJ styles. They li11k the por-
trait drawings of Han.s Holbein the Younger ,vith th05e of
Mugl,al-period fi11e Indian bru<;l1 11ortraits, where concencration
on eyes and facial 1>rofue or di~tinctive three-quarter , ievv is
usuaUy bala11ced by a co111plementary relaxation of lu1es in so111e
areas of dress or 111isc-e11-scenc. Per1cil portraits by I11gres l1ave
close parallels with d1ose of f-lc11J·i Matisse, for cxan1ple, in the
combinanon of a precise and clea11 ot1tline, suppression of
un11ecessary decai] except in articles of dress, and spac1ou~ness of
n,eans, co111bined ,virh the don,inanc need co depicr a likenes~
as accurately and coolly as possible.
111 [ngre-;'s grapllite portrait /v[11dn111c i\ 111ric J\rlnrcollc 11éc Su::-
a1111c-Clarissc de Salvt1Ít1J!. de Boissic11 (circa 1826; pl. 1 r7), d1e sitter
vvho was sickly, is 11ot proudly standing i11 full regalia ljkc 111any
of Ingres 's socícty 111atrons, but slun,ped against cushions and
placed lo,v ,víthin the co1npos:icion of the- sheet, as if ,vejgheci
do,vn,va.rd~ l,y her Jack of buoyc111cy. Nevercheless. lngres doe~
noc Aincl1 fi·on1 ~l,apirlg l,er face as a _p erfect ov.11 ,viLh no si~1s
of tàtigue, a11d ali her features, including the hea,ry upturned eye<;
focused balefully 011 the drawer. are 111oclellcd witb d1c 111t)st
subtle rcstraii1t of stu111ped sl1ading. Apart fron1 tl1c very fàsh-
ionable dress witb its leg-of-111utton sleeves and ela.borate layered
coJlar, \Vhich Ingres l1as capcu red loosely ,vi th his custo111ary
a\vareness of line and couture, he concentrate'> all bis skil ls on
l1er elaborate curls, 011 v.rhich is perched a ricliculous c.1p, wl1ose
starched n1uslin fi·ills a11d stri11gs are c:iught with tl1e fi11est of
sharp pencil lines.
111 a co111parable c,vc11til!th-century drawing, Matisse has
redrawn the featnres of Antoinette (his favot1rite 111odel at the
ci1ne i11 Nice) in 77,c [Jft1111ed Hnt (1919; pi. 118) witb a very sharp
penc1l. He g:ives che rather stylised prettiness of the features, the
ribbon i11 l1t'r h.tt anel the elabor~ite neckline l:n1l1r<)Í dcry, prL'c1-
sion of en1phasis 111 co11tra,t \\ ith the re,t l>f htr dres~ and skinny
arnis. Tl1crc are 111.111), versions of th1s cclebratcd n1<)<lel ,,·earing
tl,e extraordinary l1at ,,'itl1 v,·lnte plt1n1es a11d black r1bbons tl1at
Macisse had confcctioned, in which hc explores <;]igl1tl) dítlcre11t
Strategies of pacter11jng a11d ert1pl1asis, us-ing pe11 and ink or fin e
penei] lines ,vich lin,ited passnges of ,h..1chng to e\'oke her 1dc'n-
ti fiable portrait head. 1'' ln rhi..; ver'>iou, AnLoinette -,e.ires <>Llt <>f
the pictt1re witl1 a ~ligl1t1,. prc)V<)cative cc1li1111c-;s, ~et..~n1i11g to size
up tl1e arci~t Jra\ving her. Tl1e dcJicately delint:ated leather fi·onds
are rcstrained by che top edge or the sl1eet, as 1Í tl1e artu;t lias
consc1ously l1alted the tendency of the dr.:i,vmg to ?;ro,,· up,vards.
Ju~t as in the Procacc1111 dra~'ing. where the figt1re of the Virg1n
gained _p--ychological re~on.1nce fi·o11l her placing on the per1ph-
ery, Maci~"e', work reveals forceful control over rhe 111<)del\
i111age i11 the "''ª) l1e constrains her ,vichin tl1e page.
i>rivilegü1g clarity, sclcctivíty a11d co111positional rc<;olt1tion ÍI1
a<;sociati<)Jl v\ritb tbe nced. for a speaking (or staring!) likcncss
fi11ds a ditfere11c strategy of elaboration 111 tvvo earl,· convc11-
honaliséd self-portra1ts, the Sc!J-[>orrrnif of 18r6 (pl. 120) by (~arJ
Philipp Fohr (1795-1818) and .,1a11 ar Nigl,t (Se!_f-PC1rrrair) of
1947-8 (pi. 1 r9) b1 Luci.111 Freud (b. 192.2). Freud, \\ho ,111~111-
doned thi-; preCÍ'it' lint'ar dra,ving style in the 1950s, t:'<perin1ent~
here v:ith dots and textura! patterns obviously JeriveJ fro1n
stipple c11gravu1gs. l lis co11trol of tl1ese textu ral aud pla11ar n1Jrks
is totally in a.ccord with the precis1011 of the outbne, whicb
renders 11ose. eye5, 111outh and hair with a cons1scenc and deco-
rative stylisacion. There 1s son1ething an1:izingly clo~e co che
11100d and <;tylisation of Freud\ dra,ving in Fohr',; Sc1f Pl1rrr11it,
"vhicl1 che you ng artist evide11tly 111ade ÍC)r his 1).1re11t~ in r816
before he left for Ttaly. He played a leading, buc vcry ,;horr-livcd
role 111Jku1g portr,tit dra""·i11gs ii1 the Gcr111a11 colony in J~o111e,
before dro,vni11g iu tl1c 'l'iber. 511 Like freuds precisio11 of sl1adi11g
dots. Fohr lias .1rt1culated rhe lu1es of hair. high collar a11d par-
allel shading oronnd eye. chin and n1outh ,vith total atrention.
Fohr\ long hJir ::inc.l old Ge1-111a11 c<ic;tun1e ste1n111ed t1·(>n1 hi-;
participatit>ll in a patriolic stuclt:11t st>CÍt'ty in Heidelbl!rg. f n both
arcists, thc coded 111arks of ~ha,c.-ling .ire abruptl), juxtapo-;ed v. ith
areas oí lu1uinos1ty - 111tLch 111orc drru11atic in rhc 1-reud drav,•u1g,
wluch cvokcs tl1e focu.~ ora bright elcctric ügbc bLtlb. Each arost
seeks to cona:ol the presentacio11 of their o,>vn in1age th.rough a
lack of spillage: the línes circt.1111scribing the hend are conhnu-
ous, vvith no l1reak:-., l1esication-; or unfi11ish thar n1ight i11vite par-
ticip.1tion fi-0111 tl1e vie,ver. A Íew curls escape c:011trc1I i11 Fohr\
1.h·awing, a11d Freud allow~ t,,\o !tr111ly deli11eated l<.)cl-.s of h.1ir to
break cl1e l1airline. The it1tens1ty ai1J self-sufficic11c:7· of cl1c gaze
111 both portraits also serve: to preclude speccatorial engagen1e □ t.
l "he si□1ilar strategies e111ployed in these dra,v1ngs fro111 d1tTerent
centuries are for1nally and psychologically ,i111ilar. t'Ven th<)ugh
Fohr ,1voids the eye/1 t)f the spect,1tor, repl.1r111g the sclr i11 the
ORAWIN G ST RATEG IES 173
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117 J.-1\.-l). l11grt"i, \/.1d,111w ,\f,ir,,• .\ f,1r,,,11t' 111'1' "i11-.i111w-(:l,1riss1• de Sc1b•,1i11g de B(liss1c11, rirr.1 1826. graphn..:. J.!I X 2 10 1n111. P.1n,, \\u,t"-t· du
louvn:. Oép,trtn1e11t d1.·~ Arl, !;(tJph1quts ltF 41393
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li\ ~lenrl \l.1t1,~t'. 771; Pfi, .. :r·,/ lí,11.191y.gr;1ph1té'. 4,1.}-..: ;~0111111.vr,i-hiu~t\lll, [).(' • .l(Ínnal l~.tllt<r. of\Jl. Ctlllt·clion 01!\ lr.Jud
:\ \~ l',1ui \ lt•U..,n. 199, -1-. ,~
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t-JOCarl Ph1bpp Fohr. Sclfp,1nra1t, 18 16, pen, brush :ind fndi:in ink. bluc.- '\\otc.-rcolour O\'t'r brr.lph1tc 011 yrllo,;vi,h p~pl'r
.2,l'i x 185 111111. I leidclbcr~. I{w·pfàlz.ischL-s Museu 111, Z.271
1111rrl1r f rc.id s c.1rl) dr t\\ 1ngs 111Jle 1t clear th .1t he had looked
Jl ,;1xtccnth 1~ ,veU ,1s c1ghrccnth-ccn ru ry (;t'r111.:in .1mst~ 'iUCh
s ( .1,par 1) 1,·id f1,edr1ch, ,vluch C{lu ld h.1ve laid tht: g ro l1nd for
the fnrt111tnu, but rc·111 1rk:ibJl, P"''i en1bL111ce \Vllh the f <)hr
dr l\Vtng Í-(lhr 111 h1, 1í111e \\,h ob-;c,,t d ,vith t ht: Dürer revival.
l ht: l 0111p.1ri,0 11 ~ o t- the~c t,v1, ' l'ts l)f dtJ\viug, are no t c1bo ut
u <1ci11g 1ntlucnct· .111d ...ourcc or o r1gu1J.I ::u.1d copv. but rathcr an
,1tlt'111pt to ~ho,, l1ov>' tl1l' .irnscs cor1cerned l1Jvc 1sol.1rcd chc
dct1,;•r111ining Jyn.11111cs of parncular holí~tic linc,1r stran:g,es to
arri ,·c ,1t con1p,1r.1ble gT:1phic ~o lun o ns.
Obsessive Strategies of Repetition
Doodl,ng é'Jn be, 1n the proper h.inds, <l,
h1gh a mode of draw1ng as ..iny. By naturc
doodllng s one of lhe genenc rnodes oí draw1n!I dnd, when el 1borated, oí pa1nt1ng 1n
general
Robert Mothe1well '
L1ke me. the I ne 1s seek,ng w1thout k.now1ng whi:lt 1t ts see~111g •. Prevent1ng ,Lself írom
·~•nv,ng 1,ne oí IJhnd 1n1reshgo1·1on.
Henn M1chaux
Conceivc1bly, dr.,11,1ng rnay be the most r•aunl,ng obsess1on the m1nd Cdn expenence
lt can happen that th,s creauve design, 1ntox1cat1ng. the ciraftsman, f~comes a violent, self-
devounng dCtlvtty, re1nforqng, precipttat1ng, ílnd aggravating rtself
Paul Valéry-
1 he representano11al in1pecus of portrairure secnlS co 111v1te
r:1t1onal graph1c \traregie~. By con trast, abstract. non-fibrurative o r
exper11nental pr1vate skctcl1es are open to irrational practice~.
fr{)ll1 che delibt'rart'I) detached 11rocesses of JL1ton1atisn1 te) reit-
cr:itive J11cl obse.,~ive n1anoeuvre'> tnr entirely filling a piect' of
pJper, or i.r1deed re.in1s and reani~ of paper in a11 i11'1làllation. Iter-
a tive ~traceg1e~ - they operate ~lS .111ti-stra.tegies ia so111e ways -
are not very efFective in ge11eratiug ne\v ideas. bccause thc
dra,V1ng activiry 1s t'ntrar1ped within rhe ge~tural restr1ctioo of
t.:<>111pulsive and re11eritive graph1c behaviour. siinilar to uncon-
sciou, doodle,; clone \,\ hi1e 011 the celephone or in a n1eecing,
\-vhen the corucious n1ind i:-. engaged el-,ewhere. ' 4 Chance effects,
\,\ l1e11 the\ occur in sucl1 l1abitual a.ctions, are the outco111~ of
miaLI u1t1ections v,7-ithin tccishiscd procedt1rcs. The con1pulsive
proces'-t"i of the half-u11 conscious drawer becon1e joi11tly the
\UbJec t, to11ic :1nd íor111 of the dra,ving, and depend on a 1nys-
teriou'l slippage or
co11trol ,:v1Lhi11 repetitious nTusings a.nd an
explor.ition <)f -;e111i-hypnotic st,ltt;",, '"hich can 111.1ke tl1e acl of
dr.1,ving rather t11ysucal - a 'ilJle 'i()l11etin1ec; convt>yed co the
viL·,ver. Scrategies ot obsess1vc reduplt cacion do not ou!) arise c>ut
of 'ltates of heightened co11Sc1ous11css 1 a~ u1 the 111tense calli-
graph1c 111app1ng, of Mich::1ux. n1ade under tbc infiucn cc of
111eo;c,1li11t·: they can ,1lst). as ""e h;1ve <;een in che cJsc of Hesse.
178 THE LINEAR ECONOMY
be 111a11itested VI ith1n the co11te.:-.."t of deliberate, o\·er-orderly,
qt1asi-geotnen·ical c;y<;te1ns-play.
()b,essive and iterat1ve practires and /J,,rror 1111(11i n1ark n1any
v.ild, 1hyth111ic ink drav, ings l)y Tl1éopl1ile Bra ( 1797-1855), a
sculptor .lnd conten1porary of Dclacroix. follovving a psychotic
epl.!>odc ÍJ.1 1826, wh.icb bc intcrpreted as a mystical a11d rcltgious
cp.iphany, Bra pourcd out thousands of sheets of drawit1gs and
"'rritinf.,rs, son1e in the spir,t of William Blake, others evoking the
fi.1rure Picasso, in ii11ages in vvhich eyes separate the111selves fi-0111
tê-n1ale head'i, or turn into devouring bird!>. ln cl,e dark brovvn
i11k dr,1\ving [ [11111c111 a11d U11il'ersc1I C,,,.!fií!uratic>11, S11blf1ne. he
111a1upulates i111ages and text as intcrcl1ai1geable 1nodalities (pl.
r.21). Cm:ular patterns of transparent spl1eres and fio,ver sh.apes
are 111mucally inscribcd witb circular strokes of thick pen a11d
ink, hke spberical c;unbu rsts or nets. over a <;ubn1erged text 111
,1-,hich JUSt occa,;ional word<; art: still legible. The c;}1apes circle
,1roL111d J central clor, as the on1phalos or navel of a dcep and
layered space. a11d. like n1a111· t\ve11tietlJ-century field con1posi-
cio11~. Lhe Aoating lor111s abut each otl1er and aJso appear to co11-
ti11ue be~1011d the restrain.i11g fi-an1e. ln an early tempera, uik. ai1d
pastel dra,,·i11g, tl1e Japanese-lborn artist Yayoi KLisan1a (b. 1929)
deploy-, a s1n1ilar 6TJ-ol1p of hea\·ily lin ed sunburst shapes over an
irtfi·astructure of calligraphi c <;quigglec;. Althot1gh very c;in1ilar to
13ra\ fi·ee,vhee1ing sh,1pes, tbe t\\'(..) sunburscs in ,vfeft'c>r Shoots
(1952: pl. 122) are is<>lated ,111d ae~tl1ecicised in chc centre of che
page. unlike t11e spilli11~ wildt1ess of Bi-a's i11k gestures. A further,
c;patial layer to l{usruna 's dra"-·ing is added by does of colour dis-
posed over cl1e surlàce. freely layu1g do,v11 an obsess1on that was
later co do1nrnate her New York 'happenings' and en,rironmen-
ral installatio11s of tl1e 1960s and her ÍI1tentio11 to ·obli terlte the
world ,vith -Polk4 Dot~·- Ku~ama'~ (1ots, stuffed fabr ic phalluses
anti T1!fi11ity i\.ets becan1e her l1alJ111ark in n1irrored i11sta!Jatio11s.
pcrfor111:111ce~ .111d artctàcrs; a.nd Polka Dots 110\V crowd l1er vast
rai1ge of co11su111er goods, advcrtised 011 her con1n1ercial websitc.
ln intervie,vs i11 the J960s l{usama staced that she had been
treated for 1nanyr )'ears i.i1 Japan for a ']1a.llucinat01')· disorder',
vvbjch she na1ned as 'obses-sionaJ neurosis·. She explained: '1 ,vork
as 111uch ac; fifty to -;ixcy 1,our'> ac a screcch. I gr.idual1y fee1 111yself
undcr che spell of the .1ccunrulatio11 and repetition in n1y "nets"
which cxpa11d bcyond 111yself ... cc>vering ... all c>f tl1e urúversc
vvhicl1 is actuallv, visible.' 55
Fissures of ope1mess bet\veen areas of it1te11se calligraplúc
scribbling, close to writing, occur in M ichaL1x's n1escaline
drawing, /1111er Bra11rhí11J!. (cirra r962-4; pi. 123). The delicately
coloured ink drawing is a little líke a doubled Rorschacl1 Test
in1age, where a 1r1irrored i11k l1lot in .1 psychological per~onaliry
te::.t di~rupts the 11egative spaces <)f tl1e paper it inhabit-s: it evokes
tb.e drug cakcr's expericnce of lcavin.g bis ovvn body or sugge~ts.
perhaps. that Micbaux ,vas 'i11 two 111i_nds;' ,vhen doi11g cl,is auto-
n1atic drawing. ln 111any of the ,vorks fi-0111 tlús series, svhcrc
12 I 1 héophtle Bra. H11111a11 a11d U11i1,ers11/ c:01ifi,r:11ra1io11, S1,/i/i111e• •1trl'r I S2ó,
irou gJ.li inJ..., 254 X 205 r111n. l)ouJ.i, 11ibliothcque 1nu11icipaJe. MS 1674- 1
Bra, 1)33
rei1etitive and ratl1er cra111ped l1a11d gestures occur \vitl1in a con-
trolled scale, there is often a se11se of a cell tissL1e or che body-
..ls-city, or eve11 a suggestion of a .tnux JJarisiru1 city plan divided
by the Seine and its bridges. Repetitive, hooked n1arks coalesce
tov.,ards, or rrail a,vay fron1, a hollow central chan11el that partly
bisects the dra,ving, the e111pty central a.xis being interpreted as
a11 'expc rience o f the void which arises tl1rc>t1gh tl1e c.lise111-
bodying effccc of thc drug'. 511 Micl1aux \vriccs about rcpetition
n1 the co1nn1issio11ed conH11entarv 011. tbcsc drav.rings, E111er-
, L
J!.cnces-res111'J!_e11ces. H e recalls how, ,vhile ,vaiti□ g passively for the
hallucinogen ro take e-ffect, objects in fi·ont of hin1 ,vould appear
to be covered ,N"ith. re11etitious n1arks, like v,•hisperin gs: ' A phe-
non1ent)n of repeti tio n - atte1Tttated, uncontrollal1le .. . A repeti-
tio11 i11 wl1ich l erroneously felt I played n.o part and ,vh ich
execLtted its da11ce for 11obod) in particular ... the se11s11tio11 v_(
prese11ce. ,s;
Sit1lilar gaps or significant lefi:-over vojds - tbe un.<raid and the
t1n,vritten - are featt1red 1n the -intense penctl dra,vings of E1n111a
Hauck (1878-1928) in the l)rinzhorn Collection in H eidell1erg. 5i;
C2l Yayo1 l{u~a111J. ,, lctcor $/,oors. 1952, te n1pera, bbck 111k and pastel
on buJr papcr 279 X 203 111111. Ne\\ York , pri, att· colle~ cion
Tl1e dra,,vn ·]etters' to l1cr l1usband by Ha11ck. who suffered fi:on1
de1ne11tia a11d died in Wjesloch asylu1n Íl1 S',Ã,'itzerland, e1nploy a
systen1 ot abstract écrit11re, so1n.evi-There bem'een ,vriting and
drawing. Tn Lerter• to H11sba11d of ,909 (pi. t2-4), n1ea11ing has
becon1e choked and suppresse<-i in i11cantatory repeticions o( the
,vords in cc)lt1111ns of di.fferent in tensjty, c reated by repeated o,·er-
,vriLing. l-fauck presun1ably produced rbese rbythnuc shafcs oí
obsessive caUigraphy duri11g h.e ighcencd or ,;uppressed states oí
consciousr1ess. bt1t hcr straccg1cs of erasurc of 111can1ng th.rough
repcution and overdrav,.ring have become a staple of 1n:n1y con-
cen1porary artists. The irerative scrate!:,TÍe-s of obsession, as ,vill be
discussed in the final ch apcer {)f this book, h::ive l)een cransfi)rn1ed
into eh.e everyday processes oí srudio dra,vi11g practice.
e e.
DRAWING STRATEGIES 179
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12.3H énr i M i\ h,1ux, /11111·r Br,111tltí111!, 1\le.,(,,/í11e Dral/lÍll,I!, ârc,1 1962.-4-. t.!4- E11111u1 Hauc.:k, Lctter t<1 T-l1i$/J,111rf, 1909. graph1le. 160 X 103 11u11.
Ch1ncse 111k. 320 X 2.39 n11n. Paris.. J\11 usée nat1onal rllArt 111odernc - 1--:leidclberg. Muscun, ~anunlung Pr1nzhorn der Psychiatri~chen
Cencn: George, Po111p1dou. AM 3..poD ÜttÍ\·cr~íüir\kli11ik flei<lclbcrg, 3621

Appropriation or Reinventio n? letu~1tic exeroise in the cas.e of conternporary ,vriters and

The intt'rco1111ected11e~s and 011en-endedness of rhe linear
~co11on1v n1ea11 that types of linl' a11d lu1ear strategies are readily
open co appropriacion. ArtisQ, h.ave been, and continue to be,
ht1nters and gacherers and plunderers anel scaven~crs. ;u1d very
!\t11;1ll scraps of half-rernen1bered or half--seen drawings easily
bi::t"on1e d1t> bas1, fi>r b<lrrov. 1ng and elaborabon, c;o111etiJnes con-
\(Í<)usly, ,on1etin1es uncon~ciouc.,\y. The task o( L1nravelling 111Au-
e11ccs has bccn 011~ of rlie 1nost 1:1~ci11,ui11g .... tasks of tradicional
art h1storical ~cholarsl1ip a11d co11no1'\-,eur~h1p. l t becon1e~ a prob-
critics vvho question outn1oded nocions of authorsllip but ac
the sa111e tin1e are relucta11t to challenge the supposed origi-
11ality of artists vvl10.se fi·agi le clain1s to iconic status depend 011
novelty and in11ovation. Without fi.-a111i.11g disc0urses of cultural
l1ege111ony, or co □ ceding t11e self'...co11têssed approprintional
strategies of co11ceptual artists within narratives of postmod-
ernisrn, tracing can,o-uAaged borro,vings can be a fi--aught busi-
ness for the ,vriters of n1onogra11hs.
Linear 'ltrategies can be acqt1ired through direcc borrov,ring,
but a trained artist doe<; noc need to 111odel an entire vocabu-

I 80 TH E LINEAR EC.O N 0"1Y

lary fi-om pri1nary sources. and ver)' seldon1 does so. At a leve1
of technica l proficiency and n1atu ri ty of practice, cercain linear
elaborations achieve a dyna111ic s)1ift, see-n1ing to acq_uire an
,1pparently auto11on1ous status wichin an arcist's o:uvre. Dra\ving
strategics appear to grov; OLLt of tl1e uses of tbe dra\ving, or tl1e
mood of the artist, or appear 'inl1ere11t' to particular □1.edia a11.d
qualities of line, in a SL1bject-06Ject relacional shift. For exa1nple,
having 11ever vvorked in br ush an.d ink, it ,vill not take a traiued
artist long co find or invent \.vays of handlisig tbe nevv med1u1n
or inve,t it wich a sec of linear elaboratio11S chac 1nay have been
d iscovered or invente-d 111ai1y tin1es before. Artists cherefore quite
oftcn appcai- to l1ave reinve11ted type-; of drawi11g frorn an earlier
age or unothcr cultural traditio11 of ,.vbich thcy are 1gno.ra11t. The
cor1cept of reii1ventio 11 is supported by tl1e evidence of drawing
collections, where there are remarkable resernblances of n1ark-
n1akit1g and líne seguences 111 unrelared dravvings that defy
logical narratives of 111ode1 and copy or scbools of inAuence.
In a penei! d rawing Girl Se11ted (1920; pi. 125) by IJercy
Wy11dl1an1 Lewis (t882-1957), the subject vvitl1 11er ban<led hair-
.
stylc and Art Deco dress anin,aces the space of the dra\vj11g \v1th
a certain assertiven.ess, gazing side\vays under her bro,,'s, with l1er
head tl1.rUst torvvard. Le\vis's practised post-Cubist la11guage has
bee11 used to ai1alyse the forros of the figure into seguences of
curves and sen,jcircles and para11e1 conrour~. The curved line'i are
bold, \\rith a n1jnin1L1111 of shading applied to tl1e tur11ed plane
·--
125 Percy Wyndh::im Le\-nS. Girl Sc>nrrd. 1910, grnphite. 3~5 X 515 111111.
Manchester, City of Mancln:stcr Art Gallcrics. llucherstonc Collccb.on.
1925.5 11
126 (11~/,r) Willen1 Con1clisz Duystcr. 171corb,1 Pl11yfr. éMly seve11t.:enrh
ccncury, red ch::i.Jk 159 x T44 mn1. V1enna, Albernna Museu111, 13074
of rhe face, 11eck and ar111 cradling the straigl1t cluírbJck. the
only recti1111ear <;}13pe in tl1e con1posir1011. There is a ren1arkable
resen1blance betwcen this dra'.ving and .1 rhythn1ic;1lly co111plex
cl1alk draV1;·ing of a 17,corbo PJ11ycr (pl. 1.26) l1v che J)utch artist
Will\'.:111 Cornelísz l)uyster (1598/9-163)). The '>tyli-;.1tiu11 uf the
J1a11ds, face a11d cheorbo relates tl1is figure to a [C~"tilatory sy~tcn1
of geometrical ares, ct1rves, planes and facets, m \Vbich Duyscer
1n11st l1a,•e bee11 trair1ed iJ1 his appr~nt1cesl1ip 1n Amsterda11L. even
cho11gh such analytical notions are not apparent 1n his pa1nt1ng;
T)uysrer en1ploys fi·eer curves than Le\vis 111 the cil)th1ng of the
seated youth, v,•hose finger, grip che c;cri11gs of the lute \V1~h '\llch
Cubist-seeming tens.io11, buc tl1e quick sl1ading chac lias scorcd
d1-rough 111any ;:ircas 1s placed, as i1J the Wyndl1an1 Lc,,·is dra\ving.
to providc a foi! for d1e planar SL1rfaccs thar cacch rhc lighc. Thc
authorial hand gestures tl1.at bave detern1Íl1ed the drav,mgs of
,c;craight and curveti, taut and relax:ed, lines are 1.111cannily -1in1ilar
in both ,vorks. as are tl1e col'lnpositional n,assings and relarion-
ship between broad aréJ'i and detai]s of dress.
f l1ave no n1ea11s of knov.,i ng \vl1echer Philip Gusco11 ever
looked at cl1e dra,vu1gs of the Dutch artisr Jacob Pynas (159213-
after 1650) or l1is ltalian conten1porar)' the Marcl1eg1an arti.st
Ferrau Fenzo11i (1562- 1645). Jt seern!i un.likel-y. P).rnas, few of
,vhose works are identified , stud1ed 1n l~on1e in rhe early years
of che sevenceé11th cencuTy, and according to Arnold 1-loubr;aken,
R.en1brandt worked in l1is studio for son1e 111onths. 59 1n tl1e pü\V-
DRAWING STRATEGIES 181
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1~7 J.1cob Sv1nou~z Py11as. nc~cc111 (riu11 rft<' Cr,,.,.~. earl) s.:vcnrec-nd1 centur~. brO\Vll pen and iuk on buff-coloured papcr. 187 X 19r llllll. Paris, lnstitut Néerlandais,
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erfuJ Desce11r _fron1 the Cross rough, jittery li11es double back on
themselves .ind broken contours, like sticchii1g, are uncon1pro-
111isingly insistent in all areas of tl1e dra\ving (pl. 127). There are
110 variations of line thick11ess 1 so tl1at tl1e dravvi11g clai11is the
wholc ~heec ,vith equal forcefulnc.ss; only changes of scale incli-
cate pictorial space, as in the figures to the righc of tl1e Cruci-
fixion or tl1e piled-~1p city on the left, ali treated vvith the s:une
i nsistent pen line. The drawing Elc111e11ts ( r975; pl. 128) by l)hiJip
Gu-;ton en1ploys eqL1ally insistent, hea\')', weaving tines, dots and
dashes of con1parable thickness and a sin1ilar boldnes~ of i,nagery
parallel "''it11 the horizontal plane of the dra\ving sheet. The dis-
tances between objects and tbeir relari,•e size are di-fficL1lt to
decern1ine, a]tho11gh the ha11d hold111g a rabler and other ci1r1ous
sha1)es assun1e a po\;verful 111011un1entality. Fenzo11i, ,vho-,e ver7
personaJ facial types are as styli5ed as the no:-e- less Cycl0Jlea11
beads t11at i1tl1abit 1nany of Guston's dra,,'l11gs and pai11tings.
dra,vs wild at1d w1tramn1elled pen and ink w1es 111 .A .Alan
1?St Joseph I Kíssini the Fnot of rhC' f/ irgi11 Lyíng 011 a B1er (pl. r.29).
He-avy pen and u1k scori11gs bind together rhe exaggerated head
of tl1e kneeling figure \vith che tenebr<)LlS outlines of the bier.
su11pl.1nting differencc-s of Aesh, 111aterials and Lexlurc:~ \\ ích sus-
tai11ed a11d passton,\te inscriptiou of line, Thec;l' d1ree l1ra\ving~

ORAWING S TRATEGIES 183

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Cro111 difre rc11t cc11turics and art15t1c cradiríons share tl1e s:n11e
intcn'iitv of af:lcct, as -v-.·ell as explor111g sin1ilar drawing strategies
of ,,,i_ld pen,vork chat doe<i not descri be objects so n1ucb as
inscribing rhen, intc) a po,verful linl:'ar unicy.
A dra,v1ng b) Stanley Spen t er ( 1891-1959), T/1e l\lo111/1 ,~(
Ja1111,1ry . •--!Jier,1111111 Ti·11 ( 192,6; pi. 13 0) an<l Tl1t' DC'J>()SÍIÍ()JI (pi. 131 )
by the florcntlllc rllalu1cr1~t artist Jacone (Jacopo tfi Giovanni di
France~co, 1495-1553) also sho,,, bizarre si11ul.u-1ties of tine a11d
dr::iwi1ig c;trateg1es that are ent1rely comcide11.taJ. "fhe dra,,r:i.11.gs
depend on a co111binacion of a concour Line U:.1cone's n1ore 1nte r-
rupred and ,vilder than Spe11cer's firn1 ourhne) con1bin ed ,virh
curved ,1nd !'ltr:1igl1t sequences of parallcl hatchings in che service
of figural distortions. The con1111j,~io 11 ed dra,ving by Spen,er (.t
vie\v of do111estic lifc fo r an Al111anac to be publi!:,]1ed by Cl1atto
ai1d \Xfii1dus) is tàr n1orc controllcd, obsessive .1nd ee:learly slower
111 the makmg rhan the mannered studio sketcb of Jus forerlu1-
ner. Spen cer\ dr.1,v1ng is a timshed \.\7ork ratber than a study, and
he ap11ear'> to have celebra.teci the shifting o rientations of che
hacclung "cque11ce5, vvhich '\On1etin1eii break LO forn, herrin g-
bone patterns. T!Jc subjeccc; <>f the t\VO drawi11brs could noc be
further apare and Jaconc.:, a pupil of Andrea tlel Sarto (\.vho,;e
dra,v1ng style was descr1bed by Vasar1 as clone.: witl1 firc, 'con
Ílerezza'. and hi-; co111posi ng of fig11res ' bízarrc and fantastical'),
thro\V'i h1s tim1re~.
b~ living and dead into amazino-
~ ~ U bodily co11tor-
1
tiún'i. ~) Ne,·t·rtl1ele,c;, the ,vay• that both artists have filled th e
page ,,rith their fif;ures a11d broken up the pictorial su.1face ,vich
hacched planes is re111arkably sin,iJar. This strategy depeuili o □ a
very elastic denial of convc-11ti(H1 al pictori al sp ace, and in both
dra\vings rhe fornl'i c1 re piled above on<:' anotl,er on a narrow
and illogical platforn1 on vvl1icb taut curves \,Vt'ave side,vays l-')Jt-
te-r11s.
-r11-e con1pariso11 of these rvvo last dra,vin.gs is a Sl1perficially
stylistic one, bt1t the s1milarities confu111, 1 beljc,,e, thc notio11 of
a str11c111ral 11exus for artistic reinveL1tion ot1t of ,,.·luch con1111011
strategies 1nev1tably arise. Dravving straregies are not as ideolog-
íca11y· roo ted as fini,;bed pai11ting styles in l1istorical tin1e. becau~e
tl1ey ~erve 111ore generaüsed purposes of 111aking and are easily
sparked by the ready coincide11ces of n1ateriaJs 1 i11te11tions, fun €-
tion and 11100d required for th_e simplc act of drawir1g. Thc
inve11tive ope11-endedi1ess of drawi11g. ai1d the importance of 1ts
placing on rhe page nnd spatial relacio11ships, as ,vell as its un-
tra1111nelled respon-se to co111positio11al and 01in1etic conventions,
n,ean s that it parti c1patec; far n1ore Auidly in an artistic econon1y
o f free exchan ge chan fini<;hed works in otl1er 111edia. Such
\.vorks, w11icl1 are li oned, shaped and locked into tl1e 6.-ames,
metal plates or blocks of stonc of tl1-eir cult11ral contcxt and
períod. are inm1oveablc. but dra,-ving strategics f:loar frcc of bis-
torical constraii1ts 111orc easily rl1a11 otl1er visual 111cdia in che
totahty of art-111aking, :.111d confirn1 the different statt1s of dra,v-
íng as the locus of inventíon and rcinve11tion .

184 THE LINEAR EC"O i IOM)

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r30 Stanley Spencer. ·n1c 1\1011rh <!l}a111111ry: .4_{ter11,,l'11 li>a. 1916, pen and rnk. 141 X -1-25 rnn1. London , privace collecaon

13 1 Jacone Uacopo d1 (;1ova1111i d1 France<:co), /711} J)ep11si1io11, fiNr h~lf of cht.> sixceenth cennu1, pen ,1nJ br0\\71 ink ovér
black chatk. 22.1, X 287111n1. Lundon. Tl1e British Must:un1. 1862,0712. 189

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 The \'lsible line~ of dra\vings, those 1naterial and bc)di ly traces
Chaptet Seven <leplt)yed upon 1)aper according to consciou!) or unC<>nsciou~
lnvisible Lines: strategies, are the 111a.nifest aspect5 of tl1c linear econon1y. Uut
every dra\v111g. like cvery V>'ork of art, design or arch1tecture.
The Affective Semiotics of depends on a fom1al 1nfi-astrL1cture of some sort, ofte11 a nu111ber
of chtTerent ::ind -interv,rove11 sy~tems. Tbese linear 1netastr1.1ctt.1res,
Design and Composition esse11tial in sh::iping, con1po"1ng and ~upporting are and design,
<1re uc;ually efface-d, conc;1.11ned or n1L1ted by tl1e finished ,vork.
Meta~cructure'i ca11 bc perspectival and proporcional sy<ste111s,
based on constructional and projcctive geo111cn)' rclated to tl1e
ratio11al dcpiction of three-di1ncnsional objeccs on a t\vo-
din1e11sional surfàce. They ca11 bc the hege111onic linear config-
tirations chat -u nderlie and define lústorical styles of art, design
Design ílS fog,c ans and ar;_ •heonsts ;is well as pa1n,ers have observed, ,s an essent1a1 and nrchjtecture. ~uch a~ the sinevvy. organic li11es of Art
coP1ponent 01 the p1cton,1I s•gn, but 1tS rnost rernark.1ble íeature 1s thal rt rema,ns 1nvis- Nouveal1 and Juger1d,;ril: <.)r rl1e slanted geornetries of Art Deco
1bk: in a pdlnting
Louis Marin or tbe ao;y111111etrical curve,; of rococo decclr,tti<)n; or tl1ey con-
~titute tl1e generic linear principles of tl1e 'Serpe11tiuc Liuc'. ~
There ts a preparatory ..vorl, thal belongs to pa1nt,r,g íully, ;ind yet precedes the act Tl11rdly. rhey con~titut:c the synta.,---c of indiv-idual works of art and
of pa,nt,rg Th,s prep«l'atorv vvork can be done tn sketches. though 1t need not be. and
dcsigi1 botl, figitracivc and abstract, org:lilised according to
1n a11y Colie ~ketches do not I eplace ,L • Th is preparatory •NOrk 1s invisible and silent.
yet extreme1y 1ntense and thi.! JCL of pa1ntiog 11.Self appears as an aflerward, an api-es- abstract relacional notions of qua11tiry, order, nu111ber and dimen-
coup ('hysteres1s') 1n relat,on lo th,s work. sions. ti111e and 111ove111ent, th_at govern tl1e rules of co111positio11,
G,lles Deleuze
n1<)St i111portantly, tl,e principle of v,1riety and 'accord', cl1ac i~.
proportio11al logic. 4 The 111a11ner i11 ¼híc.11 ~uch n1ecastruct1.1res
~upport saJienc aspects of rhc ~ubject 111atter of Jrt tl1rougl1 co111-
positioJ1al u1eans b.1s been considered significant si11ce Leon
Battista Albertí's flfst analysis of pai11ti11g, ,vhich \vas based 011
rhetorjc:iJ niodels. 5 Generally. fi:on1 tlie eighteenth century
on,-vard<,. orgatrisational principJes l1ave been paired as binary
oppositN, for exa111ple, notion,; of si111plicity and con1plexity,
clariry and ol1scurity, c;an1ene.:;s and variety, sy111111etry and asyn1-
1necry. They coexist wich elen1encs (so111eti111cs defined as
pri111ary or sccondary syste111s, or eve11 laws in the 1úneteenth
cenhu)') such as rhythi11, e11crgy, repctition, balance, proportio □,
direction and hier::irchy, co nan1e jt1st a fevv.i, Such syntactical
sysre111,;, together with the pictorial o r gr:ipbjc ~igru; that they
n1odify, ;,ire otren referred to as consticuting a gran1mar. With the
liberatio11 n·on1 tl1e figurative, v\·h ich characterise~ 111.uch early
twe11tietl1-century art. the abstract infrascrt1cture of co111position
-in all its geometric or cxprcssive variety- becou1e:. idencified
witb or u1gests the very subject 111atrer and ratio11alc of thc
vvork. 7
The inmsible structt.1ral syste111s of ch-awi11g-as-design are
essencially line;1 r, but also sp:111 colour and the atfeccive relation-
sl1ips becween line, forrn a11d colour thac are evoked chrougr1
tl1eories of correspo11de11ces or synaesthes;ia (analogiec; of tl1e
sense~). 11 By aA:-ecti,·e relatíon-ships. [ refer to those psycl10/sy1n-
132 (/,11111_e J'<{~r) l1h1hpp ( )no ltunP;c, ,\ lt1ri1111,e, 1807. pen, ~rcv an<l bl.1cl-. bolic associations ai1d e111o tional 'properties' ascribed to lincs.
ink. g1c\ ,111d bL1ck \11.ash. o vc.;1 lr,u.:c.:~ o i g1apl11te :-;3r, X 627 n1n1 Han1burg, tor111s nnd colours, for cxa1nple, 11ocions of dy11a11uc or droop-
H ,1n1hurger Kun\thallcc-, 3 11 ~ 1 i.ng li11es, ':ispiring' trinngulnr co1npositio11s, ·beroic' diagonais or
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 cnsu il 1..ur,~ , or rh • 1ssoc11uo11 of \\':11111 colour\ ,, 11h joy and
pie lll) or rhe ,1ppl1c. 1t1011 nf tl1L' qu.11Ify111g .tdjt'ctive, 'tlry' or
1
'111t·ch 1111,tic' to d1a1:,rr.lllllll ltic s~ IL'\ (lr clr,l\\ ing.' J11 chis cba11 tcr
1 ,h ili t1 ,ice .1 b11cf h1,lo1,• t>f hov, ~uch en10Livc c0rn:spo11J.cnLes
li,1vc dt·vcll>ped ovcr thc centurH.:l> 111 rel.1t1(>11 to arc,u1e S)'Sterns
or pt111cc,1ry or hu111or.tl <i),te111s; ha\'e been b:1Sed on ph)·c;1og-
!l()J111c .1nal<)g1e, 0r 111u:-.1c-.il 111c1cle,;; nr rc>dtfied ac; n:it1.1ral s1gnc;
by Hllhghcenu1enr theor1st,. <)Il i)· L<> en1t.'rge in tbe ea rly twen-
tl,:tli ct'ntury .1, the ,uppo'lt'(l!y u11ivt'r,.1l ,alue:"> oC 111oder11
.1h,cr.1tcit>n. ,, hich cc>11-.c1 tutt·lt .111 aftt.·cc1vt. sc.:111iotics of drJwing.
lnvisible and I ndivisible Lines
Beçause U1e trd1t., onc.e drawn, 1deally has no thic.kness bul 1nstead only mJJ'ks the sepa•
r;it1on belween the 1ns1de and out.s1de of a figure ('the s1ngle edge or .1 contour') 1l cannoL
stnclly spe<1k1ng rn,1n1lesl tbel(
Jacque~ De, 11da
r,Jo lines is such ex1st lines are !'Tlerely gene, cJted
fro11t1ers betw~n areas of d1f-
d$
le1ent ton il1l1es oi colour~,. A work of <11 l goei beyond 'laturalt,m lhe r1st<111t the hne
'?nters rn c:1s 1n 1r,dependent p1ctor1al elemeni..
Paul KJee 1
.
lhe kno,vledge rhat chere are no lines or oucltnes 1n nature has
Jo ng been undc::r discu<;s1on 1n r-he Wesc. ,vhere dra\v1ng is so
clo<.e]v• linked ,vich n1i1ne~is. Leon:1rdo da Vinci. who hacl
dcclared chat 'The boundarics (>f bodics are the 1east c>f all thu1gs',
oftc11 rcferrcd in hi:. notcbook:; to the- proble111atic of cdges: 'th<.:
lateral bou11dnries of ... boilic~ [co115titu te I tl1e bou11dary l.it1c of
rhe surtàce, \\rhich as a li11e is ü1divisible' . I'.! Leonardo det'ined the
sric11ce of painrin~ as po1nc, lin e and su1face, a rruth chat l(andi11-
,k) \\',1s co repr1se in his l1ook Pohtt ,11,d Li11e tn Plane ( 1926). 1'
Arco rding to l eo11ardo, 'Point i~ said ro be that v.•hich ca nnot
bc d1, ided 111to ;iny part. Li11e j.., 'iaíd lo be 111ade by 111t>ving the
point along. Therclore l.it1e ,,vi!J be divisible in its le11gtl1, but its
breadth ,vill bc COU1J)lecely ü1d.ivisibJc.' 14 Albcrti al~o begit1s 011
/>,11111i11g ,,1rh rhe geometric pomt. a sigi1 rhat '1s □ ot di,,isible
into parts'. perceivi11g line as a rovv of jou,cd dots. 'So for us a
tin e ,v1ll be a c;ign ,vhose lengrh can be divided into parts, but
1t ,, ill bc ,o ~lcnder i,1 ,, idlh rhat it cannot be ~plit.' 1:; Piero delta
f rJncc,La ad\ i-;c'> tl1e use of a single hon,e's hair to dra,v visual
r.'.lys 111 61s C<>nstructio11al d.ia.gr.1111., of perspeccive. H• The sign i fi-
c-anc 1c;s11es of 11Jdivis1bility of poinL and liJ1c, wh.ich arise out of
geon1etry, con,nrutl d1e 011tological status o( drawing i11 thc
111,1k1 ng of .1rr.
AlberLi returns Lo circu111scr1pt10 □ in Book 11: 'l beLeve one
sl1ould takl'. cL1rl'. th,1t circu111"icr1pt1on is done ,-..,th the finest p<><,-
siblc, ,d1110,t 111,·isil1lc.: lii1 e,, like th()se- chcy <;,1y rhe painter Apellec;
18 8 T H E I l l'l f AR E O I\; O 11 y
u:sed te) 1,r,1c t1se and , ie ,vith Prott)genes at dra\ving.' 17 The
JbstrJlt line. wl1icb l1as n1i11i111al n1acerial substa11ce so that it can
b.1rely be subdtvidcli .tlo11g its _,vidth, is a signilier of gcnius, ac
the core of th.e l'linian story of tbe visit of Apelles to l'roto-
gencs The con1pec1t1on betv-.~ee11 the rivol artists in ali "·ers1ons
of chie; puzzlit1g 1nyth is depel1dent on rl1e ab~ence, or ten1po-
rary invi,;il1ility, of one in arder to allt)\V for tl1e interpretaLive
,,11ace of O\'t'r<lra,ving or inscrir)tion by tl1e orl1er. ln Plii1y's caJe,
Apellc~ journt'yed to RJ1odes to call on l'rotogenes, bur ,vas cold
l)y J11 old serving \V0111an tl1at be ,vas not at ho111e. Noticing a
prepared panei on the easeJ in the st\ldio. Apelles:
... paÍJlted it1 colour acros.s tl1c pa11e1 an extre1T1ely fi11e linc;
and \vhen P1·otoge11es returncd cl1c old ,;voinan sh.owed b.i rn
,vhat had taken place. ·rhe story goes cl1at che artist1 ot1er
looking cloc;ely at the fu1ish of th1s, sa1d tl1at the new .1rrivaJ
,vas Ar1elles ... and he hin1~elf ... dre,,, a still finer linL'
exactly on the top of the first one ... and told tl1e atcendant
to sl10\\ it tó the ,·isit<lr if he returned a.nd add cl1ac th is ,vas
tl1e person he ,vas í11 searcb ot; and so it l1appened; .ter Apelles
cw1.e back, and. ashai11ed co be beacen CLlt th.e lines ,vith
aJJOther in a th1rd colour. leavi11g 110 roo1n for any further
displa1• of 1ninute \vork. Hereupon Protogenes ad1nitted he
\VJS defea ted. IH
Pbn)' compJetes rhe narrative b)' con1111e11.ting cl1.at cl1.e panel s11r-
vi,,ed for 1nm1y ye~s: '1ts vast sL1ri:'ace co11taini11g nothing else
chan the a lmost 111,-i-;il-,)e ]jne-c;'. Tl1e a111biguicy of this story has
n1eanc that it ha~ been appropriated 1nany tin1es in l,j~tory, and
inspired 111any interpretations, noc the least by Ernst Gon1brich. 19
f11 rhe prcsent concext, it is relevant that Apelles's antograpluc
skill in execution. ,vhich pr(:c]udes further refi.ne111ent (havi11.g
already challe11ged logical 11otio11~ of che indivisibility of line), is
what could be cer111ed a 'speaking' line, in chat 1t signifies a co1n-
n1unicative response or chalJenge. It privileges the □1et.1.physical
qualities of i111n1aterial/i nvi"ible line-as-di~course by alerting tl1e
rival artist to the invisible presence of A1,e-lle~ ,1n<l berc1ldi11g l1i<;
gen..Íu'i. ln thb sen<;e the- i11di,1isihfe line o[ n1asculine rivalry and
consunu11ate skill ca1mot be s.t'parated fro1u po,vér ai1d n1ean.ing:
ir supplants or underpi11s langLtagc, but is no less co111111tuúca-
• ,11
c1ve. -
Jacques Derr1da discusses the 'rhetori c of the trait' 111 his essay
1'1le1noirs e~{ thc Bli11d: 'The dra,ving of n1en ... ne"·er goes ,virhout
l-,eing arciculated ,vith articulation, ,vichouc tl1e order beiug
givcn w ith words.' l)rawi11g t herefore cannot be sep,1rat~d 'fron1
che di~cursive n1ur111t1r who!)e tre-111bling tra11sfixes it·.111 tl1e san1e
passage he notes: 'Tlus qul.!Srio11 does uot ai111 ac rescorii1g :111
author.ity of S,peech o,,er sighc, of ,vord over dra,ving, or of
legend over 111scr1ptioi1. lt is rather a n1acter of understandi11g
bo,"' this hegen1ony cottld liave i.mposed it<;elf'21 Tbe elen1encs
of dra,v111g-as-design are discur<;ive b<•ca11se invisible: the)· e:•Óst a~
cheorised ideas \Vithi ll a pedagogica1 or pl1ilos0pl1j cal li·an,e,vork,
and require ,vords for cheir telti11,(! (expo<;Ítio n) as J1<)r111.ative
sys.ce1ns. According co Dcrrida 's definition o f cextu.1 lity,
A text is only a text if at fir~t glance it hide-, fron1 the first
to con1e along, tl1e la½'S of ics con1position and tl1e rules of
its g:1111e. 111 fact a text al,vays rcn1ains i111_p erceptible. Lav.rs and
rules cannot takc refugc in the inaccessibility of a secret, tbcy
siinply 11cver give tl1en1selvcs up ... co anytl1Íl1g chac ,vc could
sttictly call perception.22
The rults of Íllvisible co111position are co111parablc structLtral
systen1s tl1at depe11d on concealment, a11d escape expositíon or
éll1alys1s at the very momen t thac they are supplanted and tra11s-
for1ned. H ubert Dan1isch situates perspective clearly in tlus realn1
of gr..1111111atical synrax:13
As a paradigm or regttlatory sttuctt.rre, perspective 1s son1e-
tunes in operation precise ly ,vhere one least e:xpeqs it, v.1here
1ts intervention is least visible. lf sucb is the c::ise it is beca use
.. . rhe goal of cosrr11:::io11c legirri11u1 . ... fprovides] painter~ vvirh
a n etwork of i11dexes chat co11stitute<; . .. rhe equiv::ilent of ::in
expressive apparacus or sentence structure. 1·1
Sucb .:1 sy11tax requires to be n1uce, just as geon1etrical or con-
ceptual dra'vving codes are 11orn1ally effi1cecl o r usu r11ed by che
fiJ1i:;hed fornl!) chat supplant thein i11 art. ln che case of arc11i-
tecture or design, ho,vever, carefi.t.lly ditTeren ciateJ syste111s of
orthograplii.c projections, a.xono111ecrics or perspecti,·es e111ployed
in dravvings thnt predicate the futt,re building or design are not
subsumed in the san1e \vay bt1t have a separate diagrammntic
e~istence ..:!" Tndeed, the n1anner 1n ,:vhich a plan generates nn
architectural solution continues to be a valued relacionship, even
,1fter a bui1di.ng lias been conscru cted.
Invisible c;yste111s con.stitute chc n1etastructtu·e of "'·hal in
Englisl1 v.1e tcr111 design, "vhich, togcthcr \vith co1npositio1J,
nestles ,vitlun drawing, ru1d dra'vving "vitbin design. A11 awareness
of rhe disti11ction betvveen descriptive 'excrinsic · outlincs a11d tl1e
ÍJ1v'isjble, or conceptual infi·asrructural lines th ,1 t constitt,te con1-
po<;ition or design is a bAsic 1)roposjtion of sixtcenth- and
~eventee11th - ce11tury ltalia11 notic)n:i o f diseg110 (,vhich en1brace~
ided) at1tf Fre11cl1 seve11teentl1-century di~tin ctions between Jc.ssí11
and desseí11. 11' Fede.rico Zuccaro is usually crcdited ,vith having
establisl1ed a separacio11 between tlle conceptual and pract1cal
aspects of drav,ring as diSC,f/,110 spcculatí110 and diseg110 /Jl'i1T1ico, but
even in the fifteenth century Alberti had distinguic;hed betv"\'een
27
circumscription and co111posicion a~ che 'r,,vo pares o f painting' .
Hi<; rules of co 111posicion owe n1u ch co Larin model-; of rhetoric,
buc a high proportion of such rhctorical ter111s are tl1cm.sclves
111etaphors dcrivcd frot11 vist1al expcricncc. 28
Discussions of thc invisiblc and i11divisible lines of dra,ving
rl1crefore construct a 111etapbor1cal space that reqnires to be filled
INVISIBLE LINES: THE AFFECTIVE SEMIOTICS OF DESIGN ANO COMPOSITION
in by d1scourse. By the 'leventeenth centu1,· Ch.1rlc-.-Alphonse
Du Fré'\noy anel l~oger de Piles could tliscr1n11natt< tirn1ly
l1et:\vee11 'cl1e tdec1 or rhc pic:ture ,vl1ich the pa1nter h.1s in tl1is
t11oug11ts ' a11 d repn:c;cn t.tllon,
. conslrucnon ai1t1 111e 1surc.~
"'
Lin es of Construct ion and Projection
Delineat1or [is] ihe mo$l necesane p~1ie of Perspectrve
Perspective, be,ng subordrnate to Geometry and as rt ·oNere thf' daughter t11e1-eof 1s a
sc,ence of v1S1ble hn€;s,
G,ovJ11n1 Paolo Lomazzo
A1berti nl.1ke-, a di'>tinction bet\.vee11 pictorial co111po~itio11, 'tht.·
procedure in painting \\ hereby the part~ are con1posed rogetl1er
iJ1 tl1e picture', and the li11es, surtàces, a11gles ru1d Í.!1tersectio11s of
(Eu clidian) geo111.ecry a11d pcrspcctive _JI This distinction will bc
adhered to here. espec1ally as the geo111etric S)TSte-111s of straight
lin es. ares and angles, or b1on1orphic form,; a11d t\visti11g and
S}1atial cur,•e<;. ,vhi ch are the visible forn1 and topic of ~o n1an·y
of the abstract art-,vorks <.)Í che early r,,ve11rieth rentury, 11,1ve, co
a large e:xtcnc, usurped traditio11al perspectiva! or geo111etrir
in frastrttctu ral syste111\ ,u1d deraci nated the111 today. ' 2
Alberti's co1nplicatcd discussion of perspcccivc occurs cven
tboL1gl1 'thit1gs ,vluch are not --visible do not co11cern the pa.inter·.
Early opricc; posit a world in ,vhi ch rhe eye 1s tied to rhe objects
it c;ees by invisibl e lin es, Leonardo n1ecaphorically propo'i111 g 1n
1-1-92 tl1,1t 'the air is ft1ll ,>f infinite line~, straight and r.idiati11g,
inter~ected and intef\voven, ,vicl1out their displacing one anoc11er;
and they represe11t fo r cvcry objcct the true for111 o f tl1eir
cattsc' . jJ ]>iero dclJa Fran cesca discusscd lines ·..,vhich ]cave the
bou11d.aries of the object and co111e to rhe cye' in his introduc-
tion to his rreari.se. and, like otl1er early theorists of perspeccr.-e,
acknowledged che "intersection · or plane on ,vhicb rhe repre-
sent:itíon ,,·ould be dra\vn ª" an in1pç)tt::1nt ele111e11r of a tive-part
'>J1atial ,nadei or optic.:'\. '~ Alberti noted rhac ·a 1110 11g tbe ancien ts
tl1cre was consi d erable dispute .is to \Vbether !v isual ] rays e1nerge
fi-01n rl,e surtàce or fron1 chc eye'. 15 T he linearity of s1ghclincs
vvas log1call)' 'e)..rplai11.ed' .ii1 Dt1 fresnoy/de .Piles, D e arte ,{!r(1p/,-
icn: ·che just n1eo.sures. propo rtlo11.S and o ntlines, supposed to be
111 ,-isible o bjects, v.·hich having no orher exi,cence rhan 111 the
extren,ities of those boclies, d o actu.illy reside in the 111ind . .
after tl1e painte r h,1, forn,ed h is figure, !tis fines arl' t?f 110 _{urrl,cr
11sc and 11111 st 110 lc1JJ/!l'I' appcar' (111y italics).·'''
The Ger1nan éll·tísc and goldsnúth We11czeJ Janu1itzcr ( 1507/8-
1585), author of a treatise 011 perspeccive, 11oted t har 1f he
included all bis constru crion hn es, h1s dra\\'1.ng- \v·ould be 111con1-
prehensible. '\l Wl,en such su~1port1ng infi·astrucn1res ,tre 11ot
effacc-d, a'i in Leonardo 'e; 5it11d)1 .fc,r r/ie Bork,grou11d t!( ''/1,e 1Jd()r,1-
189
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133 Lt:onardo J,1 Vujci. Study .ft1r tl1t' B,ll'~f.!ru1111d cl./ '77,e ,-ldt>r111it111 t!{ tht' 1\,J;~<li ', âtc'1 1481, mcralpoint rc,vorkcd ,vith pen and bro,vn ink, brush and bro,vn ,,.,:i~h.
traces of ,vh1te gonache highhghts and pinpricks 011 lighr bro,vn _prepared p.iper, 163 X 290 01111. Florence, Galleria dt:gli Uffiz:i, Gabinecto D,segni e Sta111pe, -IJ6E

tio11 <?_f the .~11~~;• (circa 1481; pl. 133), they produce a _fi·isso11 that
111ust have b~en even stro11ger for viev.-ers of orher periods, 1.1sed
as \Ve are to the cransparency of process of 1nodernisn1 - 1naking
vi-.ible rhe invisible, to paraphrase Paul Klee. ln Leonardo ·s
1nixeL1-111edia dra,vii1g, the consrructiona] lines of steps outlinc:d
111 ink. the recedi11g perspcctive of tht: paven1ent ftrst in cjsed.
d1en dra,~·11 u1 111ctalpoint, and rh.c i11dications of vertical col-
u1nns and lighc pedur1ental roof or aw1ling assert the domu1a11ce
and <>rder ôf costn1;;:io11e /e_Ritt11na, ex-posing worki11g geo1netries
chac decorun1 reqt11res to be re,;olved and excised in a fina l ,vork.
The boldly 111scribed guidelines of the Jlt1l'irne11fo n1ean that the
reariI1g l1or;es in tbe celltre and group~ of ronversing and dis-
puti11g figures are al111ost tra11sgres\ively scored tl1ro11gh by cl1e
perspectiva) grid, \vlúch has tl1ercforc svvitched fro111 its in fi·a-
str11ctural po<;it1011 co do11ú11ance. The figures and horscs a:rc
dra\-vn in fl11id and so1neh111es sprcacli11g brown pen and ink
,troke'í, repr1sing ;1 no,, -forgorcen icem of n1edieval ico11ography
of Lhe qu.trrel 1111011g rhe Mag,, representing the violent forces
of d,e ancienL \vorld befllre bt:ing ra111ed by wit11essi11g the
Christ Child. (1.telared sketches for this project indic:1te Leo-
11ardo's preocc1.1patior1 with move1nenr and bodily and fàcial
expression. 3 s) The scored-t]1rough fureground bank ar1d grass and
orher fai11t pe11 and ink figures, mcluding a <ieated ca111el near
thc first ro"v of steps and c;o1ne ghoscly figures it1 n1etalpoinc.
introduce a superi111positio11 of tin1e, as vvell as space. The co11-
trast becween the 8ickeri11g figures n1oving and 1noved (in the
sense of strt1ck by en1otio11) on the page and the geon1etricaJ
infi·ascructure is an illustration of the Ltneasy separation bet,veen
the representational aspects of a dra,ving relaced to sight, body
and sensation and tl1ose hidden infrastructt1res t11ac Leo11ardo
understO()d to be conceptual, in che 111i11d.
A 11un1ber of dravvi11gs associated ,vitl, Claude Lorrain contain
ar, overdrawn geo1netrical grid, wl1jch is usuaJJy acccpted by
scbolars as associated witl1 bis reappropriations of his o,v11 con1-
positions for hjs Libcr ueritatis (tl1e dra"vn record of bis ceuvre).
but ~·lucl1 also serves to desta.bilise the pictor iaJ resolution of t he
\vorks. ln l/ ieu, 011 a Q11ay 111it'1 F(~111·es, actrib1.1ted to C laude
(pi. J 34), the sheet l1as bee11 divided by triangular li11es, :1n

190 THE LI NE/,R ECONOMY


134- Arrr1bured ro C laude Lornun (possibly Pierre Parei), l 'i,,111 ()//
<l.ivide<l \Vith a ruJer in pen anJ brô\\11 ink over tr,tces of ré<l c:halk ou p,1pe1 Lütl Jo,, n on a page fro111 au albtlill, 1.1--i x 21+01111.
London. fhe British Museu111, 1952,01.i r..17
L1nusual substitt1te tor tl1e usua] n1ethods of ~quaring up. The
ruled lines of red cha1k overlaid with ink do not ~een1 to be
infrastructural, since che diagonal in tl1e top left-hand section of
the dra\vu1g does 11ot correspo11d to the rcceding lines of tl1e
portice and l1igl1ly lit port building drawn in perspective,
aJthough the vanishing points of both systems coincide. (Tria.11-
gular structures in representation readil)' evoke nonons of ·va11-
ishiog· perspecti, e, wh.ich in geornetríc terms is a conic
1
projection.) The up-ended dian1ond sl1ape therefore ha~ a
doubled reading as a square in perspective, suggesting a contra-
dictory spatial i11cervention withi11 a space. Claude 's pai11tings
t1sually have a literary tl1en1e fron1 classical antiquity. a11d sce11cs
of en1barkations ar ports are gener:illy paired \-VÍth landscape sub-
jects, indicating differenc times of tbe day. None of this is as yec
fLxed in this reopened drawu1g, possibly by Pierre Patel (circa
I605-1676), where even tl1e lun1inosity is an abstr:1ct e111a11ation;
tl1e unresolved geo111etry of the superii11posed tines block~ the
possibilities of future fuúty, or allows a follo\-ver to try an.d under-
stand how Claude co11Structed lus con1positio11s.
INVISIBLE LINES: THE AFF-ECTIVE SEMIOTICS OF DESIGN AND COMPOSITION
.... . . •
-
,1 Q1111y tl'irh Figures. r64os. pen and bro,,-rn mk ,V1th dark brôwn wash,
1n another 1node of inti·astrL1ctural n1arking, the pricked tr,111<;-
fer hole-,, inciçed -;ty]us line'> an<l 11un1bers in Head l?f ,1 .1[a11 (circa
1+9os; pi. 136) by L11ca Signorelli (1441 ~-1523) 1·eve.1l a·ace<; of
contour liues that suggest '-0111etlli11g of l)iero della Prance-,ca's
11ewly i11ve11tcd n1etl1od of 'tra11sfor11li11g' the hw11an head, con-
tained ín bis unpubl:ished n1anuscript 011 perspective. ,,, Although
the ,,ery simple Ji11es of this trt111caced dra\, ing of a lowered he.id,
\-vedged into a dra\ving sheet (presu1nably crop11ed ac ')(>111e
poinc), have little of Piero\ con1plicated sysce111 of suc-ce\'iJ\le
contour lines of ortl1ograpllic projectio11 bri-;tling v,•ith n1ultiple
111easuren1ents troa, a central r.idius, ncvertl1elcss tl1e\, L1a\·c hccn
carefuUy measured a.11d constrt1crcd, and probably originaced as
an operable secciou oi· a larger cartoo11. 1 hc ghostly a11d prickcd
lines of constrL1ction (beavily r~dravvn in placcs) oí1er the111selves
up for display, suggesting the eerie lack of anin1ation of a
sti tcl1ed-tc.)getl1er cailor's d u n111 iy.411 Si 111ilarly. Viccc)r Ne\v~o,11e \
series of Pro file Heads are po,verful not just for Lhe accuracy of
tbe dr:1,ving and 111odcll111g b.ts0<l dir~ctl) on P1ero\ sv~te111. bllt
bccause chey fetisl1ise thc contour Lines of orthographic proJcc
191
 c1on ,1nd qu 1r1ng; ~r1ds. .1!10,, 111g the111 to co11stin1té rhe copie
of tl ll' Jr.i,, ing I he pe11c1l and ~re1• \VJ~h J>n~filc Hc,uf (di,cussed
1n chaprer chree. 111. p. x) 1,; nor ,o 111uch ·1 head as I transparent
re11 der111 <, c1t I l·on~cruc tinn nf' he.1d- 11cs..,·. rhroug]1 111,lpfJed ~eric·\
~ ~

o( pnJJeccion-.. F,1',ci11 ,1tit>11 rt·,1des in tbt' L'X,1gger.1tio11 of it5

, 11lt1111e-,. ch,1r tt' d tl1ruugh i nt~11,i fi i.:d passage'> fi-0111 ligh t to dark.
N e,v, ou1e 's p rL·Ol lll)1J rion -''lth reveab ng tl1e l11dden consrru c-
tHl ll 11 ..,,,te1ns oC 0rtho ~?T,1pl1ic 111apping rec,1lls the .1d1nu·ac1on of
G111 0 ) e\·er111i (1SX3-19r,r,) to r su ch s1·sten1~ n1 hi'I po-;t-Futuri~t
arri~Cll pra cncl..' \\ hé'n he \\a<; l1ving 111 France. The ink dr,1,\'it1g
C ,11(it1_',!.r1t.!d P r/1/l'Cfl<l//, <
2( r/,c T-le,td (circ,.1 1920; pr1vatl.' collecti<>ll)
prepared fl1r 111\ boClk D11 c11bis11n ,111 L'l11ss1r1s111c: cs1hétiq11c d11
,11111•11s.s ~-, i/11 11i1111br( (19.., 1).\\'Wcl1 dcalt ,v1th a ·recu..rn to arder'.
does noc pr1,·ilege rl.'presenratio11 O\"t'I geon1en-y or invisible
sy,ten1~ ot cJlcular1on over visil1le prese11t.1tion. but diagra111111ar-
1c-.1lly 111ap, diachro11ic inforn1at1on inro a single coded in1::ige.
The 11un1beretl lint>\ th,1r ft·.1111é' che tra11~11are11t l1e.1d 11rojecrions.
C()lltaining and rru11cali11g the dotted lines c>f n1L·asuren1ellt, rLlll
c.1refull~ chrough the ear lol)es, skit111lll11g the back oJ- the head
a11d thl' pro_1ecting nó.-;e. ,vhile ~h.e fen1::ue hcad on ,vluch rhese
for111S are 1napped parcakes of 1na11y pa1·oe1.1lar1tres of popular
1920s graph1c scyle. fhe book ,,·as received ,v1th hostihty ,vhen
firsr publi~hed bec.n1se of irs poli'\hed ::ind 111ech.1ni,tic aestl1etic,
,vhich i111plied an e,ces,,;ive reliance on n1athen1atiC'.,, ..q An unre-
l)t'Jltanr Severini note<l in hi\ Mcn1oirs: 'The i111pressio11 of life
tl1at en1anates fi·o11J certain tôr111s i~ in fàct extraordit1a1-y vvhe11
they are co11ceived sole1y by d1e intellect, ~·hen they proceed
fron1 pure geon1etry to a11 albeir re111ote inútation of rcality. They
11)ve ríse to inten.se, vivid e111o□on.' 1 ~
'
The con,cn1ctiona l ~y.,ten1s of per5pective. paralJel aud ortho-
gon,11 projection, rores]1orte11ing. carcograpl1ic grid cc>nscrtH.:tio n
a11<l enlargtng squar<:!'i are inceuded as functio11a1 a11d tin1ed
systeu1<; that rcq11ire co be c;uperseded or expuuged because rl1e-y
belong to protocols of n1aki11g that are not free-standin.g in tl1e
rnanner of autographic sketcl1es. Thcy ~·ould appcar to bc com-
plecely tree ti:-0111 altective or syn1bolic associatio11s, but tl1ere is
a long ,1nd curious neoplatonic tradiric)n rhat establishes <;yn1-
bolic corre'ipondence\ bet-veen geo111etric for111s a11d tl1e ,;enses
Jnd e111ot1ous. For exan1p1t>, the Neth.erla11dish arti~t Paul Vrede-
111a11 de Vr1es (1567-after 1630), \,·hosc father H~u1s Qa,n) ,vas
re~poru1ble .ter in1portanc perspect1ve rn.anuals, created dra\vin.gs
in r604 in ,vh1ch d1e tive orders of arclutecture ,1re assoc1ared
'" ith the sen:-es: the Co1npos1ce arder ,,.rirh touch. the Corintl1ian
,vith la~te, tlie l)oric \\.'Íth he::iring, che lonjc \.virh the ,;ense of
s111cll. .111d thc Tu,can ,v1rh ~ighr.-'' Dra,vn in brown pen and in k
,vith ~n:} and pJ.le ü1digo ,vash, Perisl)1lc <2f II Palacc beside t/,c ~)ea,
rl,e Co111pvsirt Ordcr clt 'Io11clt (pl. T 15) ,tssociatc, a dc:corared seric:s
of arch 1teccural loggias obliq11ely ,vith the sc115c of t0Ltcl1 by
•
includ111g a rt'111,ile hgure \\. 1th a falcoo on 011c 0L1tstretched arn,.
,vhile- ;1 dog \>v·orr1t'~ the lei:,~ of :i partia.II,· dressed figt1re and a
1
'
' .
=
'~
- ""
6,:4~~~ê!&~~~·=->;::;,> ., "· ~
135 Paul Vrcden1an de Vne~. Pc:ristylr ly·" Pnl,,ce /wJídr r/u, Sea, rlie CJ0111pos11r
Ordt·r 1if w11d1. 1604, bro,-vu jnk, a.nd bro,vn a.nd u1digo Çhinesc ink ,vru-h,
-::.-::.7 X 355 111111. Part~. Beaux-Arts de l,>ari,, l'Ecole nacion,tl supérieure.
M,ls (548
fisben11a11 tickles fub in thc sca. The free, curved pen li11es of
this dr;i,vi11g are rranslared into co111plex geo111ccrícal tãntasies in
rhe rever!>e engravi11gs, ,vhere sh:irp contra~ts or light and sl1ade
add a drea111like elen1ent to extren1e elaborations of perspectival
ga111es. Tl1e dra\.v11 colw1111s are decorated \~itl1 sto11e garla11ds ii1
the upper terraces. wbilc caryatids sL1pport the woode11 seaside
pavilio11 as tactile en1bellishments.
M o vi ng Lin es an d Lines t hat Move Spectators
to Em otion
Behold the mystery of art one must limn the 1nv1s1ble by means of 1rit:elhg1ble s,gns that
provoke either syrnpathy or ant1patliy
T S. Jouffroy+'
T..,on1azzo did nc>t hesitate co nttribute es!,ential pas::.i.ons or
e111otious to tl1e 'scie11 ces· or perspcctive and sci.1graphy i.n his
tract Tl,e Ar, of Pt1í11ti,~~' Sculpt11rc: a11d 1:lrclií1ert1trc, so111et.i111cs
described as the '13ible of Ma1merism·.+5 Co111position, or ordoJl-
nance, is closely identified with 1notio11, vvh.ich m rur11 relates
to the expressive body and its e1notions. ln Book II be exa.rn-
ines 110,v 'the passions of the nund' 111ark themselves upon the
body. and are closely ried througl1 che actions of the pla11ets to
directional lines and colour~. and analogous with che four c~1rdi-
nal l1un1ours, ,vh.ich represcnt the four elcn1ents. So, for exa111plc,
the 'carthy' actio11s of tl1e 111e1ancholy body are 'slo,v. hcavy and
rescraü1ed ... ltl1ey l teud do~-1i-,vards ... ha11g, ru1d d.ecli11e'. 40 ln
this neoplaton.ic universe, the presence of rhe spi.1;tual ís per-

192 THE LI NEAR EC O ! l01'1Y

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136 Luca Signorclli. Fú·,id <'}." ,\[c111, cir.:.1 4-9os, pen aud bro,vn 111k. black ch.ilk hetp;hct"ocd \\"ttb ""·h1ce, pnckc.:d outlu1c.:~, .:!IJfJ X .145 r111n. Nl'\\ York,
·rhe Metropolit::in Mt1St;'Ul11 or Art, l{obcrt Lchrn~n \ ~(1llt'("Cl()ll, 11)75- 1 ,420
l 1 1 th1n tl1e 111.1lcr1, 1 ('on 111h·x g1.•0111etr1c Í<>r111, are ª""º-
L l lted \\ 1th the four 1.•lt: l1IC llts tlie cub..:. tur l'XJJ11ple, co111po ... eJ
ui t \\ ent) fou1 1,,,\reles tr1.111gle,. represi:nt, the ..:lcn1ent e:irth;
thl• retr,tl1t.:dron repre~1:11ts fire: t}1e octabedron air: and rhe ico<i,1 -
hedron <1f r,,·ent\ cqu1 l.1rer1l tr1a11~les constitures thê' elc.>111t.->nt o~-
,, 1ter ,11H.l rl1l"se rel,1t1.• tn tht' 111oll<)ll\ of th<.: -,cven pla11ets Conic
(li rri,111gul.1r l<.>1111 1, l 011,idL'rl·d bt\llltifi.11 1( tl1L pl)iut 1\ up,v,trtls,
e:-;prt·,,ivt· (}r lllO\t'llll' lll like J 1l.1111e: j( (.)rgJJusctl V\1tl1 che ,vic.{er
p.1rl up,,.1rd~. tt ',hoLud reseu1ble the torn1 (') L the letter s· .•- "[hc
ter111 _ri_~11r,1 sc1J>t11fl11,11,1 l>ccurs in Lon1~zzo. ha,·ing been co111ed
by M1chel1ngclo ::tccording to legend. a.nd 1s the sculprur.il h11e
rh,1r r1:,·tals a plu r.1liry of ,1c,v, hy virtue of ics f\\ isting for111 .,;;
When Willi,1111 l-log.11 th L,1n1l' to ,,·rite l1i-, <.)v.·11 n1J11ifest<). -riu·
s-Í11<1l)'sis (!( Bcar1t)' ( 17.;;3). t,,o hundrcd years !ater. h e curnt!J te.>
the'll' ,1rchaic idea\ of Lo111c1zzo. f<Jr ,,·lucl1 l1c ,\-\1.S mucl1 n1ocked
b, 111, cr1t1cs. l lo~arth ·s Cllf!r,1v111g tor rl1e fiuntispiere dep1cts
tht' s of che ~erpent111t L1nt> encapsulaced ";th10 ::t trans11arent
P> ranud 011 a ba-;e entitled Va17ety, a rebus th.1r had ~irst :.ippeared
111 rhe p:.iletre of h1s .\ef{-Pc>rrr,111 ( 1745: lo11do n. TJte Gallery) . .ind
he llt:cl.1red rh,lt thL' pvra111id .ind the Serpenci11e Líne ,vere 'rbe
tvvo u1ost expre-,-,ive fi!a,1·urcs that ... sig11i.ty not 01tly beauty a11d
gr.1ce, but the ,vhole ordcr o( /;1r11i'. 4'1 ln various pa~sagcs he
dl'velops rhe relationsl1ip of thl' plcasi11g conrrasting curvntt1re of
rh e Serpentine Lin e \\ith the cone: 'the precise serpentine line,
clr li11e <?f ,~r.1rt·, is represenred by .1 fine ,,nre, properly t\,·isred
rounJ the eleganr ..111d var1ed figure of ;l cone'. He _propose'.-> that
Jll , i~ible ol1jec~ .1re con1posed or straighr and circular 1ine,;, co11-
'>titLtLing a hierarch1ca.l and dcvelopn1cnrJ.l pr<)gréssio11 cc,,vards
the goal of var1ety. orname11cal.tty and irregttl.irity5'' Straight lines
never l1ave the beauty of the si.t1uous curve; neverthelcss, ot those
ol~Ject<. con1posed of scra.ight lines, 11 one has such variety, 'v\'Íthn1
ir~ li111icatJons, as rhe pyra111id: ·jr 1s constantly ,·arying fron1 irs
ba-,e graL'lually up\vard'> i11 every si tuation of tl1e eyes, (,vithout
giving the idea of ~:.1.J11cncss, as t11e eye 111ove~ round it) '. 51
Hogarth adlb expre,;sive valuc to pri1ual geo111etric figttre~ to
arrive at a systen1 of preferred shapes. !'>2
Tht> ova] ... on ,1ccount of its v.irieLy ,vitl1 si111plicity, i~ a,
n1ucl1 to be prefer'd Lo the c u·clc as tht! triangle to tlie ~guare,
or rhe pvranrid to thc n!be; and chis figure lesse11 'd.. at one
end, Ltke the egg. chcreby be111g 1nore varied, is sii1gled ot1t by
the :.1urhor c1f ,1U v~1rietv, to bou11d che feau1res 01· .1 beautil"ul
;
H e de,·elops ,1 rypically Lon1azz.ian equation between tine/
lll()tion/ t'l11l)tJOll:
lt ts kno,-•,n tl1at bodic:s in 111otio11 ahvavs •
describe so111e 1111c
or other 111 the atr, .is the ''-' hirling rou11d of a fire-br::111d appar-
enrly 1n,1kes ,l c1rcle, the ,vater-fàU part of a curve, rl,e arrow
and b,t!Jec. hy the: ,;\viftnes, of their n1otions, r1early a str:.1ight
194 Tt--lf l NEAR FC'ONOt1Y
liuL ; ,,·..1vu1g li11es Jrc for111ed by thc pleasing IJ10,,c111cnt of a
~h1p on tl1c ,vaves .. _. Aftcr thus having forn1'd rhe idea of ali
rr1oven1ents being as hnes. it ,vill 11ot be difficult to conceive,
thar grace iJ1 acbon depe11d$ upon che sa111e principies as have
been ~he,vn to produce ir in fc)r111~.
ín a11 asto1nshnigly prescíent pa~sage th;1t prefigures Kandinsky
and Kle-e he wrote: 'Action is a ~ort of language which perhaps
one tin1e o r orher, n1ay C()n1e co be taugl1t as a kind of
,-54
gran1111ar-ru1es.
More imprecisc: idl:as aboLtt the rclationship betvvecn lines,
tàrn1s. 111ove111e11t a11d cxpress1011 \Vl:re in.c luded 111 the fiftb
lecture by He11ry Fuseli Qoh;:inn 1-leinrícb Füssli. r741-L8.25),
·c:01nposition and Expression'. co che Royal Acaden1y in
Lo ndon: 'Variou!) are the sha1)es í11 ,vhich co111positio11 en1bocJ.-
ie,; it\ -;ubjecr ... Tbe cone or pyran1id, t11e globe, tJ1e gr~pe,
fhune and ,;trean,, t.he circle ~1nd its segu1e11ts, lénd tl1eir figure
t(> elevate, co11cen.trate, round, di.íl-use tbeIJise]ves or u11dulate iu
1ts masscs." 55 Tl1is systcn1 ,vas cluc1daced by John Flaxinan, "vl10
,vas l'rofessor of Sculptt-trc at the ltoyal Acaden1y at the c;aJ11e
tÍJ11e that Fuseli \V:is Professor of Painting. His lecture on con1-
po-;it1on, ,vhích 'in the arts of desigi1, is tl1e grouping of figures
in succes~ion or action, and in.11n1ediately follows tl1e i..i1tell1gible
i1nication of the hu,n1an figure', v.'as illustrated by line drawings,
:-.0111e <.'>f w l11ch relate to a 1lotebook in the fitzvvillian1 Museu111,
Ca111bridge, i11scribed de .\lot11 ('On Moven1e11c'), containjng
stylised drawings of bodily n1ove1nc11ts that appear to. constitute
an a.Ipbabet of s4,:ius. S(, Atcord.i11g to fla..-xn1ru1, che rules of co1n-
poc;ition relate to underlying mather11acica l figures:
The for111S are tl1e pyranud erect, inverted, or lateral, the circle
and the oval; they ma:y be rad1ated, and the vvl1ole will have
a Aa111e-)jke undulation in eA-ect, fron1 the ever-varyii1g su c-
cession of curves in the outline and action of the l1uman
figure. The parts ,vill l1e 111ore si111ple artd rectilinear in re11ose,
111ore angular in violent action. and partaking of gencle curves
w l1er1 th\.'. su bj ect is te11der ...
One simple instance only sh.all be given of oppositio11. a11d
another of har111ony, i11 Jines and quantities: two equaJ curves,
o;et ,vith either theír convex o r concave fuce to eacl1 otber,
produce opposition; but unite two curves of differenc size and
seg111ent, they w ill J)roduce that harn1oniou~ line, tern1ed
57
graceful, in tl1e hu111an figLtré.
Flax1nan'~ sober revvorking of thi~ long tradition into his ovvn
neoclassical etl1os illustrates ho,v notions of harn1ony and balance
can rcst on very co11tradictory foundations. I-Je has digested and
rationaliscd tl1c rococo changcfulncss of the Scrpentinc Liue, just
as AJcx::tt1der Cozens had clai111ed that 'tl1c gc11tly curved líncs
of bea.uty, as in rhe nose, fore head ... are the most bea1.1ti:ti..1I
whicl1 deviate least fro111 tl1e straigl1t line' _sx Flaxn1:1n h,1d
possibly been influenced by B aron d'Ha11carville'~ 'rheory o[
sig11s' , having studied che d'Ha11carville-illustrate<l volun1es of Sir
Willian1 Ha111ilta1J 's collection of Greek vases when he was pro-
ducing work for Josial1 Wedgwood. The spurious b:uon, a bríl-
liant antiqt1ary and adve11turer ,vho also catalogued Cl1arles
To,vneley's collect1on, had notions of art and langt1age ;l<; a forn1
o f enjoined hier0glyphic~ or écriture ftgurée. 5'J
Th e Eroti cs of the Serp entine Line
The Figure 1s long and divided 1nto many parts that 1l m1ght comprehend 1n one ali k1nde
of Figures. Lhe round 0r Spherick. the nghl and the hollow. for ali ligures are made oí
d1ree li nes. a o·ooked, a hollow and a sti-aight.
Helk1ah Crooke"°
According to Hogarth., the Serpentine 'line of Grace' der1Yes
fron1 the bu111an body: 'almost ali of the n1usdes, a11d boncs of
which che hun1.an fon11 is co111posed, l1ave 111ore, or less of ...
t\viscs 111 then1 ... There is sca rce a straight bone in the whole
body', buc its beauty and gr:ice are ~pecifi cally derived fron1 the
curves of the fen.1ale body as exen1plifi ed by the -:-V1edici Téi11us. 1' 1
A11 a11alysis of tl1e psycl10/physiologicaJ basis of liJJ\:' by tl1e
physician Eras111us O ar\\'l.D i.t1 the poe111 Zoo11on1ia: or, I11c .L.1111s
(!{ Orga11ic Life (1794-6) directly links 11ocions of bcaury witJ1 the
child's original associacion of pleasure , v1tb tlie r11other's breasc:
vvhicl1 tl1e in.fa11t c111braces witl1 its h.ands. presses with its lips.
and \Vatches \VÍth its eyes ... and hence at our n1aturcr years,
,vhen any object of visio11 is prese11ted to us, wliicl1 by its
,vaving or spii·al lines bears any sin1ilitude to the for111 of the
fen1ale boson,, vvhether it be found in a landscape ,vith soft
g radations of rising and descending su rface. o r in che forn,s
of s0111e anti que vases. o r in other ,vorks of the pe11cil or cl1e
cl1issel, vve feel a ge11.eral glov, of deligl1t, v,•bjcb seenlS to
mfluence all our senses.1'2
The fe111ale ge ndering of the Ser1)e11tine Line \YaS challenged by
Joharu1 Joacl1it11 Winckeln1ann, who nevcrtb elcss e11dorsed the
masculinc body of tl1e Bclvedere Torso \.Vith a sú1úlar rl1etoric: 'Tb e
arcist □lay adt1rire in the Ol1dines of this body tbe perpetua]
flo,vi11g of one form into aoothe-r, and tbe nndulnting ljnes
whicl1 rise ::111d fall like ,-vaves.' 6:i
Writi11g in his textbook of orna111e11tal de'>ign, T/,e Drn11 1i11..q
Book of tlzc Go11er11111e11r Scliool o.J· Des(gn of r842-3, intended fo r
the Englísh schools that ,vould serve a far n1ore pragn1atic indus-
trial age, Wiliia111 Dyce (1806-1864) scorned tl1e prefere11ce for
cun-ilinear forms over rectilinear. 'Notl1ing can be 1noré absurd
tha11 to refer beauty, as some theorists have tlone, to a particu-
INVISIBLE LINES: THE ArrECTIVE SEMIOTICS OF DESIGN AI\ID COl"lPOSITION
lar k111d of line ... \Ve have jusc as n1uch gr<)und for ct111clud-
ing rhar a righl angle. or ,1 straight l111t·. 1, the c.1114,e uf be.1uty.' 1.i
1-Iis cl1<u11pio11ship of the sll aigl1t linc ,voulli be p1ckcd up 1n tl1e
nexl ccntury by Piet MondriJ_J_J. Jol111 ltusk.itJ. ho,vcvt'r, \\'Íthout
perhaps a11)r o\·ert co11sciousness of ics bodtly connotaril)ll:-..
endorsed the Serpe11ti11e L1ne i11 relacion to ku1dscape: ·c,raccfi.tl
curvarure is distinguíshed fro111 ungraccfi.1l by tvvo characters: first
in it, n,oderatíon, that i,; to say. it<; close .111proach to stra1gbcne~s
in so111e part c)f its course; and seç()ndly. l1y 1rs variation, that is
to say, its never ren1ainjng l'qual in degree at c.lifTerenl 1,arc, c)f
. ,f,<;
1ts çourse. ·
Thc u11dulat:ing line fineis a su111n1auo11 in thc 'se11sualts111e
antique' of I11gres'c; Odalisque drawi11gs, ii1 prepararion for his
pai11t1ng the Grr11ulc Orlalisq11e of 1855, wh1ch Théophile C,aucier
descr1bed as 'a back in ,vhuse -;11pple flesh runs .1 dtt1ic1ou~ ser-
pcnrine line · ."<• The headles~ ~tudy fc)r La Grande Odalisq11e
(pl. t37), ~·ith tl1e 011e leg cat1gl1t u11der tl1e otl1er ai1d curving
over its calf, is a fi.guraJ en1bodin1enr of thc changcable Scrpcn-
t111e L111e, \.vnicb C\'\Ísts 111. spacc a11d re,,eals and co11ceals in !!qual
111easure_,,- The ligl1t11ess of line "vith ,vhich cl1e arm 1s traced.
and the suppressio11 of the head, serve to focu<; :i.ttention on this
central tv,i<;ting n1otif, v.·hich ic; en1ph asised by discreet shading
to forTll an al-,stract Ct)nfiguration. The elongation of the lJack, a
~tructural requiren1.ent in order to acl,ieve the Od,,lisque'<;
1nclliBuous co111bu1acion of curved a11d Jirectiooal lines. is a
re1n1.nder of an excessively □1.a1111cred black cbalk clravYing by
Poncorn10, his S111rly _f,,r a F((!lli't.' i11 1/,c Care,e,(!i Lo,'<J!i,1 (pl. 138).1,K
This nJuscu.lar mascul1nc bod't ncliieves a ficrccly exaggerated
co11trn111Josto rhrough a d1stortion and elongation of tbe back, on
to wl1ich Pontorn10, like Ingre.'>, ha) St')tne difficulry in affixing
tbc '>111all head and fi1ll l-,reasr convi11ci11gly. EYery cur,·e, inter-
ruptcd co11tou r a11d plane is stressed in an exercise in uaric1à. ,vith
cl1a11ges of direction. 111ultiple 110110,v::. a11d protul)era11ces unlike
the s1noatl1 continuicies of Ingres, or Eric Gill's erotlc drawu1g
of ,'\/udc TlilJ11n11 Reclí11i11J!. 011 ,1 Lropnrrl Skú1 (discus,;ed in cha.pter
four; pi. 58). Here the pose i-; close to tbat o f In gres's Od11/isq11e
in che 1<>,ver part of the bod,., except that Gill ha\ pulled ar,art
the s111ootl1 interlock.ing of connected curvt's into c1 spatially .111d
forn,ally interrupted set of exaggerated curves cl1;1t opetl up the
body i11 111an,· as1..1eccs, exaccrbated by the co11rradictory [\.vise of
the uppcr body a:iid hc,1d.
Matisse ach.ieves son1ething analogous 111 a charcoal drav,111g,
Rrcli11i11g ,\ '11de 1l'ith Ann behind H end (1937; pi. 139). it1 \vhich thc
111odel's right ar111 i:- hooked ar()und l1t'r unco111forl.lhly hiked-
up thjgh l-,t'fore joíning up vvitl1 r11e rnised left J1.1nd to for1n an
aln1ost co11tinuous Cra111e. Each of the curves oC this cl1arcoaJ
clra"'·i.ng has bce11 reclra\Vrl 111a11y ti.tues before their con1plex dis-
position has been decided, and they are fir111ly differe11nated,
&on1 the long, narro,,, ctrrve of the I JlSed th1gh of the r1ghc leg
to rh e ares of the lovver and ur1per ahdo111e11 and the chfferenti-
195
 •
T, 1
_ t ir 1
l' 1 11'1 • 1( s I li

( r)\l rt,l i!J frl 'il

Co t wu d l1 ,attICL oi
An (, ,Iler,
I >.1 J'>5 XX 1

•
'
r3S l'1lltton110 (l::H.:opo
( ~;Ull( l i ) . Sru,lr (1,,. ll
,,
1-'t\!llft' 11 rhc 1/w <.'.rrt:1!1/'
L!l!~it1. 1 ,~o~.
bhc.k
1: h 1lk. .l(19 X .295 llllll.
f·loreu,:c. ( :.tll..:n.1 Ji:gh •
U lri11. c-;~b1111!tto
,
1h,cgn1 l ~r.11npl",
físx-i r-,
 •

139 I-:lcnr-i Mabs~e. Rcdi11i1~~ 0.í11/e u,i,lt l'lr111 Bclti11d llcad, 1937, lh.ircoal, 380 X +83 111111. 13,ut1111ore, Md., The 13Jllin1ori.: l\lu~cu1u o( Art, Thc Cone
C'ollection t0Tn1ed by l)r. c:l.iribel Cone and Mi~s Etta (;qne of Baltin,on:, M,1rybnd, HMA 1950. 12 50

arcd a11gle5 of che breasts, 011e standing proud, che other spread
out in .1 flacte11ed ellipse. Mati.sse e111pl1asised in uoces for Jaz;:;
(1947) tl1at l1e co11structed his curves a.i·ou11d a11 Íl1visiblc
vertical:
Thc plLllllb li11e, Í11 c.1etcr1Túni11g thi: vertic.tl. foro~, ,vitl1 ics
oppositc, tl1e l1orizo11taL thc draugl1tsn1a11's poü1ts of the
con1pass ... Around this ficti,•e lir1e, the 'arabesque' develops.
I have derived constant benefic fi-0111 111y use of che plu1nb
lu1e. Tl1e vertical is i11 n1y n1i11d. lt helps 111<.> gíve 111y linec; ,1
precise direccion a11d in n1y c1uick dra,ving; 1 never indicaLe a
curve - for e.c'\:au1ple, Lhat of a brancb iI1 a 1~1L1dscape - ,vithout
a co.nsciousne~s o( 1ts rclatioL1Shjp to thc vertical. <>'l
Tl1e i111porta11ce of anchoring ctu·vcs in rclation to a~scrtívc
vertical~ underlies tbc te11sio11 of the Bitil í11 SJJacc sculptuTcs l)f
Consta11tu1 Brai1cusi (1876-1957) of the t93os. ,vbicl1 rn·isr :u1d
cu.r11 spatí:illy 1J1 a limited series of curves and straight h11es u1 .1
flan1elike 111nnner, evoki11g the 5erpentine Line.

INVISIBLE- LINE-~: THE AFFECTIVE SEMIOTICS OF DESIGN ANO COMPOSITION 197


D ''I ,/ '
• •
/. -
..•
140 Ch.irlcs Lc Drun, Sror11 a11d FFatrecl: Tit•o Hcads ín P11ll F,1ce. 011e i11 Pr<?fiic. Albun1 Charles Le Brun, 1,
foho 35r. rirr,1 169X. hl,ll k chalk and pen ,1nd ink, 19(1 x .25~ 111111. Pari), Mu~ée du Louvre, l)éparte1nent des
Ares !?raphiques, 2S29+r
The Physiognomic Basis of Expressive Lines
The ph,siognonlÍc::-. oí Cl,arles Lt.· Brun (1619-1690) play an
in1portant part in I-Jogarth's l1J1ear syste111; he understood tl1at
'che cxprcss1ons of tbe couute11a11ce' provided ·a lineal descríp-
tion of che l:.111guage "'·riccen cherein' .70 ln his f:;1111ous lectL1re
addre-;<;cd to thc French Acadé111ie Royale, Co1!fcre11ce s11r l'e;x-
pvessio11 ...izé11{>ra lc c1 11artfr11lierc of 1698. Le l3run codifted ideas fi-0111
René l)escarte•.'s Les Pt1ssio11s df l 'â111e. ,vlúch firsc appeared in
1649 and deaJt vvith che efl:êct of tl1c ·workings of the soul' upon
che huu1;111 body." 1 'Since mo:-.t o_f tbe passio1is of tl1e soul
prod-uce bodily :1ct1ons, \,Ve ought to know thc actions of tbe
boJy ,,vh1ch express the pa<:sio11,;' declared Le Brun, :ind he pro-
ceeded t<) define a range ~- of en1otÍ<)ns, dividec1 into Mix,ed aod
Sin1pll' Pas,io11<;, ,viLh drawi11g~ 0ater engravt'd in vario1.1<: edi-
tion~) o( 110,v Lhcsc e111otio11s directly affect rãcial 111uscu1ature. 72
So. for cxan1plc. Scorn (Le .\lépris) (pl. 140)
u, cxprc..,setl by the eyebrow fro\'v11i11g, vvith the inner end
<.lrJ,vu do,vn co,vJrllS the nose a11d the other very' n1uch raised,
cl1e eycs vv1Je opcn. Lhe pupils in the 11tiddle, tl1e 11ostril.s
dra,,--n up,vards, thL u1ouch sl1ut. ,vitl1 cl1c cor11ers slightly
lo,verc-d, .1nd the unLler lip thrusc out beyond che upper. 73
198 THE LlhlEAR ECO N O t1 1
'
1
---- ....-.. ·· -- . --
r
-- 't ______ _
-- . 1
1
l •
Descartes had located the ii1corporeal sou! in rhe pineal gland
in tbe cen tTe of the brain, a11d Le Br1.1n accept~ tl1.at 'tl1e gland
\,Vh ich is in rhe 1niddJe of the brain is the place \Vhere c11e sou!
reccivcs 1/,c i11111ges ~f tlir: 1>assions, o tl1e eyebrow is the part of tl1e
face where the passio11s are bcst disti11guisl1ed, altl1ough man.y
J1ave thoughr that ic ,vas tl1e eyes' (my italics). Accordii1g to his
syste1n, the 111ot1th and nose follow tl1e 'n1ovements of the
heart' .74 The sing.le pi11eal gland rherefore acts as the vartishi11g
poi11t of an ideational 111odel chac reprodu ces that of physicaJ
optics, even though Le Brt111 rejects the n()tion of tl1e eyes as
the 'v..ri11dows of Lhe soul ' (\vl1ich Leonardo l1ad el1dorsed) in
fiivour of tbe curved tines of dravvJJ eyebro,vs, nose and lips:
'Tbere are t\vo n1oven1e11ts of the eyebro,vs vvhich express a1l
d1e 1nove111ents of these passions ... chac whicb rises 1-1p co,vards
tl1e brain expresses all d1-e gentlest and mildest passions, nnd that
which slopes down to,vards tl1e heart represencs ali the wildest
::111d cruellest pas$ions.'75 ln the ordered full-face and profile
drawings through whicl1 tl1is syste111 v.ras expou11ded - Le Brun
produced lig11t diagra1111natic sketches and relati,1eJy fi11isl1ed
black cl1 alk dra,vings - eyebrows a11d lips 111ove i11depende11tly
and/ or asy111111etrica1Jy i11 relat1011 to l1orizo11tal w1es grjdded 011
a vertical axis. Facial e)."Pfessi, ity tberetore plays itself out as a
1
linear syste111 in ret1tion to a fixed proportio11al geon1etr)1, rather
like 111usical notation, and i~ a pi-i111ary ti.1nction of \Vhat Í5 per-
ceived as the essentiaU)· gra1>hir naLure of bodily narratives in
sy,;te111s of representation. 711
Le Bruu rcnders tl1e body, or at lcast tl1c L'lce, legible: it can
be read as a text. Jts system of s1gr1s paralle.ls, in Ji111.itcd for1n,
the gra1nmar of the Port-J'toyal that established /11 LJTIIJ!lle as a
system of signs based on logic. 77 AJthough Le Brun 's theories
,vere very quicl<ly discredited in France, they re<;onared for a
111uch lon ger period Íl1 relation to a 111ore abstract and affective
senúotics, developed by later studies of physiog110111y. Hogartl1
directly borro,ved chis syste1n of tàcial signs: 'So1ne features are
forn1ed so as to tn.ake this or that expression. of a passio11 1nore
or less legible; for example, the little 11àn•ow Chinese eye suits a
loving or lat1ghing expression best, as a large full eye doch those
of fierceness a11d astonish111e11t:7ii And he notes chat Le Brt1n 's
diagran,s are usefu1 beca use ·distinctly 111.arked with li nes on ly,
the shado,vs being on1itted'. Such clartcy of e11coded çXpres!'.ion
is pov.,erfully caugl1t ill a Flax111a11 lin e dra,ving in a !-1111111 sl-:erch-
boc>k (pl. 141). Prob,,bly <le11icd11g the actres\ I\1rs Silldons in the-
role of Con<;tance, fro111 Ki11g Jol,11, .,nd ~t) lisui.;alJ) relate<l
to dra,vings fro111 bjs Iton1an period, tt conveys .u1 euorn1ous
amount of eàrpressive infor111acion in a very s1nal1 co111pass, s1111ply
by rhe dov.rnturned li11e of che eyes a.nd n1outl1 . .1nd che <ltgm-
fied postt.1re as she embraces but doe<; noc look ac rhe figure
kneeling in her ar1ns.
Coded Analog ies of the Senses
We Futunst painters ma1nta1n that sounds, no,ses and smells are ,ncorporated 1n the
expressíon oí l1nes, volumes and colours JUst as hne, volumes and coiours are 1ncorpo-
rated 1n the archrtecture of a musical work . From the po1nt of v1ew of fo,m: sounds.
noíses and smells can be concave, convex, triangular elhpso1dal. oblong. con1cal. sphencal,
sp1ral etc
Cario Carrà"'

141 John Fla..x111an, Nlrs. Sidrfv11s í11 lhl' Rale v_( Co11.s11111ce i11 'Ki11J! _ft>/,11 ', fron1
Sc11e111ee11 Skctd1es c/1iqf/y ~( 1\'lrs. Sidd()us in lhe R()//'$ c!f 'ffic111in or Co11stn11re,
Corre<ipondence~ bet\.veen the differe11c arts as a11alogie,; of che
1783. pen and in.k over charcoal undcrdr.l\v1ng, 267 X 187 111111. Ne"" I lavcn, ,ense~ l1ave a long history. Acco rding to BeUori, Felleri co Barocci
Conn, Y.ile c·enter f~)r 13r1ash Art. P.1ul Mell<, n Collection, 81977.14. 1R97- 'uscd to say tbac just as tl1c 111clody of voices dclighcs che ear, so
19i3 too sight is rcfrcshed by tl1c consonancc of colors accon1pa1úcd
by cl1e l1ar111011y of tl1e lines. Tl-1erefore l1e used to cnll paintii1g
n1usic .. ,'. 80 Most famously, Nicolas Poussin discussed pictorial
111odes borrovved frorn 1nusic. in a n1ucb-c1ted letter of 1647 to
his patron and friend Paul Fréart de Chantelou. 'Tl, e ,vord Mode
111ea11s, propc!r]y, the ratio or tl1e n1easure and tl1e forn1 tl1at we
en1ploy to do anytlúng'. The n1odes of tl1e ancients ,vere co111-
posed ·"vhe11 aJJ che things tL1at pertained to the con1position
,vere put togecher in proportio11s that had the pov,:er to arouse
-
....
,
the sot1l of the speccatór to divers emo □ons'. ª1 The notio11 of
,.._ p1ctorial modes was developed by J)oussii1's 6-iend André
• Félibie11 (1619-1695) 1 the n,ost 1,1rolific wricer 011 are in ~e, ·e11-
'
.l )) ceentl1-century Fra11ce, and wa~ of ~0111e in1porcance in Du
}Í' ............ Fres11oy's De urte ,"!:raphic11, v.:hich dl'als sigi1ifica11tly with notion.s
/
I
of pictorial co111position ,vher:e the unity of chc whole, ·lc 101tt-
c1tse111ble', is n1orc i111porta11t chan the sun1 of its parts.g2 ln this
A
1
\.VOrk, vvhere it is 11ot easy to sort out D11 Fresn oy s ideas from
those of th e translators Roger de Piles and subseqt1e11tly John
I l i-·--- l)ryden, the tértn 111ode is not en,ployed. btlt co111pariso11~ are
111ade bet\.veen effects 011 the eyes, ·a!i a Consort oi Musick to
( ~~
'
}
ti e
• ~ ~ ) tl1e Ears'.
There is one thing of great conc;equence to l1e observ'd in the
Oecono111y of the whole ,vork wliich is, that ... the Picture
•
ac ú1c fu·st Glance of the Eye, 111ay rnspire us ,,·ith rhc pru1-
cipal passion of 1t ... if the subjcct wl11ch you l1ave U11dcr-
cakcn co rrcac be of joy, 'tis necessary that everych1ng ,,rh1cl1
entcrs into yot1r Picture sl1ould co11tr1bute to th:it P:ission

INVISIBLE LINES: THE AFFECTIVE SEMIOTICS OF DESIGN ANO COMPOSITIOJ\.J 199

 1 1 C' ::, in ir havt' .,
1110ur11ft1II, lr t everv. thi11ir
. con1p ire ,1 (,r(>uppe of l·1s'llrcs ... to ,1 Consort ofVoices,
\\ luch .. n1Jkc ,1 I-L1r111011y ... ' J is th e sa111e c)f F1~ri1res; if
you "º 1s,e111hle chen1 ... rh.1 t ,111 tngecher they 111ake l1ut 011e
ennre \\ holi:.8
A ,,·ell-ki10\VJ1 dt·ti nin on of p1ctor ia l 111ode<; ,·va<; ~upplit'd by the
French ,ll\l dt'n11ci.111 A n rt,111e (.'ovpel in 17..2 1: 'Each 111c n1re n1u,;c
h ,l\ t' cl tllt\de \Vh ich ch.1r.1ccc:r17e<; IL . Te . . h.1rn1onv
, \\'ill be 110\V
,h.1rp ,111d llO\\' ,,veer. n<)\\' '>,td and 11 (1\\ cl1eerful ... ln tl,i., one
CJll fo il<)\\' the c:11ch,u1t1llg lfl o f lllltsic . .. ,v·hat 111usicians cnU
111vdcs or dcss111s.'1H Tl1L rclaci onship bt>twee11 .1rt, n1t1síc. colour
.1nd e111ori on in the orgn n1satio11 of che cou1pos1bon is ruled
abo, e t'Vef)-rh1ng el:.e b,· nonon~ of ·d ec:orun,· or ap}1ropriate-
ne5..,. I n ,1 ,een II ngl) i ro111 <. pas\,tgc. f)en Í5 I) 1deroc relates C()lo u r
co e,pressinn: ·f)id you kllO\\ chat [exprt'~sion] S<)lllt'ti111c:s ...
deternú11e\ colot? Are11't so n1e hue, 1norc appropri.1te to cercam.
pto[ess1011S. to ccrtun pJsSÍ<.)J15 rhan orhe1·s? J>ale, wan c0Jorario11
15 uoc ,vcll su1ced co pocts. 01t1s1cians, scuJ-pto1-.; and p:.unters ...
These 111e n are usuilly 61liou~ ·. Exprcss1011 is the '1n1age of
feeling' and ' the }1.1111rer \vho·., not a physiognon1i,;r is a bad
. ~ )6
p.unrer . ·
Specific exan1ples of th e colouristic ,tllll n1odal qualiti es of
lincs ,,·ere ~upplied by Paillot de Mo11tabert (1771- 1849) in l1is
revival o.f tl1c doctri11e of 111odcs ín I11éorie d11 .eeste d1111s l 'c1r1 de
l.i pci11111re of J813. For exao1ple. tl1e zigzag ln1es of the Phr)'gia11
rnode are 'li11es thac are ardent. 6ery, ín1petL1ous. vehe1neut a11d
terrible' and .l'>'>OCIJted ,v1th the col(.)ur red, ,vhile rhe sinuous
and gclltle lines <>f che l ydian n1ode c:lll for light blues and airy
green'>. Scc1 le play'> a11 iinporta11t parr i11 this tl1eory: 'Ru le dic-
tatcs that it1 a 'ioleuu1 a11d sublu11e character tl1e lines 111usc be
si1nple, large, th.a t thcrc bc fc\\· co11trasts, fe\v sn1all vari.1tio11S.'!f'•
This v7eV\· reflects rhe persiste11ce of Edmu11d Burke's for111ula-
cion of che Sublin1e, ,, here 111odes of fee ling, s11ch as terror, are
explored through analogie~ of the senses. Each of Burke'c; states
or 111t>des are exan1ined .iccording co sound il\ ,velJ as sight, caste
and toucb (and i11 turn lhey t()l1'.>ticute <,l'nsibil ity an<l jl1dge 111 e11c.
,vluch 1õr111s 'faste'). Burke bac;ed his theories 011 the co111n1011-
ality of thc pass1011s: 'Lovc. gr1ef, Lear, a11ger, joy, ali thes.e passio11s
haYe in rhe,r cur11s affectcd every 1111nd; a11d they do not aflect
it in an arbirr.1 ry or casual n1a1111er, buc 11pon cercain, natuT:d a11d
u níforn, principlt'<1.'1r.
200 THE LINEAR tC..ONOf' IY
Linear Codes and U nconditional Mean ings
ln one of che crucial ,vork<: of Ger111an ro111antici~n1, Phil1J?P
Octo llunge ust's sunple outline c.lravv ing to evoke a ' rcvelation
of Lhe ab~olute · in l1is unfi11isl1ed dra\ving a11d painting cycle
Ti111es ,!f Day. Tl1e grcy pe11. ii1k a11d \\·ash dravviug A1.or,u11,t~
(1,10~1!,e11) of 1807 (oue of 111.:111y vers1011S of this \,·ork) 1s based
on che n1usicaJ / a:rclutectonic proporoo11S of t\Vo to three and
three to four, a11d syanboJjses rbe 111ystic t1nity o f the natural
\.VOrld.i;" ln che pen and ink ver-;ion i11 T-l an1bu rg (111. 132), orig-
inally encicled "1lh:gvrirnl Rc11rcsentt1tio11 ,~( Srhelli11Jt '.~ P/,iloso11!1y: .ri
F11iry P!t1y. Aurora. "vl10 is .i1~0 .1 co111posíte Venus a11d Virgin
t1gurc. floa ts abovc chc pru11al ,,·aters l1oldi11g aloft tl1e filies of
ligl1t frou1 v..·hich "vinged children spring. Below lies a 11e,vborn
inf.1.11t \vho is ltedeemer and Light of che World, ar1d in tbe Lith-
ograph of 18:>.5 based on it, he is scattered vvith flovvers l1y tl1e
fi·an,ing p11rti floaci11g on clouds. Ligl1t and dark, ') ingularity and
doubled sy111111etry. a fran1e ,vithin a fran1e: tl,is dra,ving S)' 11l-
boli-;es a ra1Jge of 111y-,tic:.1l ideas tl1.1t "''Cre taken 111ost seriously
at tl1e ti111c it1 the artist's circ le. but -vvllich are 11011ethcJess cxter-
nalised ir1 .t diagran1111aric and banal copy·book Jinearity. Barbara
Stafiord has suggesced: 'there 1s no denying that line, for Lltnner-
ous lace-e1ghteench- :111d early-nineree11rh-ce11tury tl1inkers,
becan1e the basic co111ponent ~'icl1 \vl1ich co escablish the
longeLl-for objective correia tive bet\veen .111 inner world of sen-
sibility a11d a11 ou ter world of in1perso11a] objects' .119 Runge,
i11flu.enced by Goetl1e, preparcd a text 011 colour, p1.1blished as
Colo11r-Sphere (Die r-·arbc11k11.f!e0 in 18 ro (tl1e sa1ne year as Go~the 's
1'/zeor)' (~( Co/011rs (Z11r J-,'arbe11Jehrc)) and, in rurn, R1.111ge's te..-....-r was
of great 111terest co l{]ee and Schle111111er, just as Goethe's notion
of harn1011y v;ould forn1 tl1e ba~is of good design in Gropius\
13,iu hau~.
1~uuge's linear sty)e rel,1ces co the outline engravings of Tisc b-
bci-11 a11d Flaxn1a.LJ, and a si11ular co11gruc11ce of inflL1ences also
shapes chc lifc project of thc Ducch artist David Pierre Giotti110
1-lumbert de Superville (1770-1849), \\·hose Essay 011 riu• U11co11-
ditio11al Sip,11s ín ,4rt (Essai s11r les s(CI11cs i11ro11ditio1111cls da11s l'art) of
1827 sets out to de1nonsrrate thac 'certain directional lines and
colours \vil] infallil)ly, unco.11di.tionally and for ali n1en ronvey
cert,un e111otions'.1,111 l-IL1n1berc's o rde ri.11g of pictorial sigi1~ inro a
categorical visual sen,jotic n.:~flects a late floweri.ng of the
E11lighte1unent preoccup,1tio n 'v\'ith systcnis a11d 'narnr.11 Logic'
m1d precedes tb.e general tbeory o1- 'ierniotics of Charles Sauo-
ders i:>eirce. Belo11gi.i1g briefly to the neoclassical crrcle of Joh.n
Fla.xn1an,'11 Fuseli and che engraver To1naso J>iroli Í11 Ron1e in
rhe late 1780s, close to Goethe. Hun1berc de Superville delined
his syscen1 ª°' a la nguage: 'Origi11;11ly. Painting v-1as nocl1ing l>ut
\\'ricing, novv syn1boli c, chen ideograp hic. Tn both case~. it bor-
ro,vcd irs signs fi:0111 Nature, 11ot :;i~ object5 of inútarion, but .15
figurativc and vi.síblc signs of a11 incellectual idea.... lts n1odels
and 1neans are foxm a11d colour. interpreted ii11111aterially.''1~
Hu1nbert º""ed mt1cl1 to Le Brun and to Johonn Caspar Lavater,
\vbose first c hapcer of his huge vvork on physiognon1.ics was
11ublished in Ger111any in 1775 and translated into English and
part.ially iTiustrated by Fuse]j_'n f-lun,bert confir111ed the 11hysio-
logical bcrn1t:neuti c of bis owo sysce1n by e11titli11g his lectttrc~
ar the IloyaJ lnscitute of the N etherland'I in the t820s (on ,vliicb
ltis untinishcd book was bascd) as a 'new thcory of lines in the
fine arts bascd on the human counte11a11ce'. AccordiJ,g to
Hu111berr, 'the chang-ing direction of rhe 1-ine formed by che eyes
or eyelids is tl1e one vvhich in the h1]n1a11 face contributes mosc
forcefully ... cov.,ard~ rhe outward expression oí our often 1110,;t
it1tin1ate en1otio11s'. Because this systen, is 'unconditional\ tl1al
is, 111eaningful co alJ people, at aU ti111es, chis linear ~)'sten1 ca11
be projected on to a1u1nals (for example, the lio11. vYhose o bliqt1e
eyes S")711bolise fire :uid fleetness) or find an arcbitectLu·al corre-
lati.on through a sin1ple triadie systen1 of 'nacional' physiog-
nomies. ThL1'i l1orizontal features con.'\t1cute a caln1, cla'isica l f.1ce.
wl,ich finds its equivalenct: in tbe 'orderly and durable charac-
cer' of Greek trabeate conscruccio n. deriving fi·o111 rh e 'ancienr
architeccure· of Egypt. Tl,e uptttrned eyes (and 1nouth) of thê
·cJru1cse' face f111d architectura1 cxprcssio11 in upturr1cd pagoda
roofs, a11d tl1e lugubrious dow11t1.1rned eyes of tl1e 'gotl1ic' have
equ-ivale11ts in rhe obliqt1e po-inted arches a11d vaulti11g of gorhic
architecture and its 'appearance of quiet introversion a11d n1elan -
cl1oly' .11 ~ Flaxn,an 's drawing of Queen Constance, ,vhere the
oblique· lines of the face directly ~ig11ify coded discres~. illustrates
this syi;cen1 adn1irably.
The ele111enta0· sig11s of IJun1berc's syste111 coalesce into a
sin1ple abstract portmanceat1 diagram or rebus that \.vas to be bor-
rowed by lacer artists, it1cJuding Seurat and Kandinsky. 95 This
figure consists of a verticaJ line ('1nan 1s upright and turned
toward heaven'), a horizoncaJ line (cbe horizo n 'awa kens in us
the idea of c;ere-nity a11d equi1ibriun1' and horizontality ah,<>
belongs to 'the austere oak ... vvith its horizontal boughs cl1ac
brave all tempescs ... symbolic of thc cal111 e njoyed by grcat
souls') and two ty})es of oblique line that fu1d affectivc a.ffinitics
i11 naturc and pl1ysiognonly. TJ1e oblique line tl1at grov.is lik:e the
'quick growi11g pine' indicatcs a 'desire for life' in its uplifted
branches. Oblique lí1les sloping av.ray from the central axis are
close to the pendanc boughs of tl1e fir tree. and 'in1pc)sin.g.
lt1gubrious and sole-11111 ·.
Four prin1ary sl1apes are the constituent<; <>f ali figure~. Th e
circlc is a sy1nboJ of i11íuuty that ·derives alJ íts value from itc;
intellectual concept which is entuely situated m tbe empcy space
of 1cs restriction ... the SEl.T· ic.s centre, ai1d 11.1y Tl-lOUCIITS the
rad1us' (Hu111bert's e111phas1s). The square he dec;ignates as c;ad: 'at
least the circu111<;cription of che circle could lay clai111 to being
an ideal 111odel in the revolucion oí che stars ... noc so the square
vvbich could ;i.b so]utely uoc clai111 any intcllectual existcnce prior
INVISIBLE LINFS: THE AFFEC I IVE SEMIOTICS OF DESIGN AND COMPOS I I ION
to cl1e 011e that reasor1 assig11s to it. 1ts valL1c therl'Íorc is t'Xclu-
sively 111atbematical:'11• The parellelogran1 or lthc>n1l1 'exerc1ses
express.ion according to its pos1tJon wirh r1:~pect to che l1orizon,
pat.1llel or vertical' .''7 The '>in1ple,;t of all the:- rectilinear til-,rttres.
the triar1gle, ha'i aesthecic valu e because 1cs base is par.1llel te> the
horizo n ,111d ics two equal sides constitute the tv.·o kinll,; oí
obliqLte angles of l1is systc111 a11d 'oüer us ll1e iu1agc of J c<.>ll-
vergence ot extren1c earthly poincs to,:vards a unique spot in chc
sky'. 1t 1s assoei ate d ,vitb 1novc111ent, 111stabilicy .and fugl1t, chrt1ctly
recalli11.g the p1.-operties of the up,vard-pointed cone of Lo1uazzo
and 111any other r}1eonsts.''K
The classificacory a11d red ucrive aspect" of neocla~"ical c)utline
drawing had produced a co111pnrable buL 111ore li ghtvveight
En.glish publi cation, Willia111 Robson's Gra1111111;~rapl1i,1: or, ]71c
Gra1111nnr (!{ Dra1 Fill{! (r799), v.,hich ,:vas probably t111known to
l-{1111Jbe rt de Superville. According co l<..obson, che vvho le of
drav.'1ng can be reduced to a basic gra1n111at1cal co111binatio11 of
fo1.1r li11es ai1.d chree pos:itions detern1ined by 11roportion aod
co nsrructio11al n1etl1()tiologie~. to be n1anip ulated .iccording t<)
rules of variecy, concrast, si111plicity and 11recision. The book i-;
laid o ut 'A·ith a ty11ograpl1ical clarity tl1at prefigures Bauhaus pcJ-
agogica1 publicatio11s. Thc rulcs of drawing ÍJ1 this 11,anual are
described with doggedly abstract lar1guage and illush·ated ,v1th
simple iliagran,s. In order to r11ake tl1e transposir1ons of plai1es
inberent in perspective codes more grasp::ible (in both senses
of tl1e word), Robso11 has invenred little cut-out ,vindo,v
fiaps. Held hori zontally, they constituce a windov. p~rspt>clivc:
in tl1e vertical position tl1t:!y illustrate the geon1etrical a11gles
1
neccssary for linear syste1ns of projection.' ~ lto bso11 also d efines
gco111etric toro1s in atfect-ive term.s:
The PERPENDICULAR is expressive of trutb. detcrnw,atio n.
iuflex.ibility, gravity, po,ver. It represents fin1111ess and
co111pact strengtl1. lt is depe11dent 011. Lhe Gro1.111d I>lane. nnd
receives conseque11ce fro1n it.
1:-101uzc>NTA1. is descnpcive of tranquillity, repose, expan,;ion a11d
equality. Wl1e11 no t on the Ground Plane it i~ dependent
on tl1e Perpendicular.
OBLIQUE is ligl1cer, less deter11ru1ed, le.ss depeDdent, a nd 111ore
various than the othcr t.vo; it li.as a cl1aracter o[ resistance;
11.as a fun.ited expression of actio11; and a restramed freedom
of passage.
CURVF is tbe J11ost üght, accive, pleasin.g and expressive: it has
che fui! power of de,cribir1g actic>n; rer>resenr, Aight. '\peed
and the ascension of fla111e: it is expre-;sivc l)f liberty, of
boltl.ne,;;s, and of dclicacy; iL bas the po,,vcr to glide every
whcrc, and co n1ake LuúversaJ co11ncxio11 by 1cs o,vn n1cans;
.it 1s peúcctly mdepe11dent; i, capable of descr1bu1g exquis-
1te beaut,' and proportio11, and also of exh1l11ting ever'Y
. o f d efcorn11ty.
. trM I
spec1es
201
 1 • 1 1rt t 1 .1d111g ot l lun1l-,err t,r ,t:, J. reflect1011
· t f 1 <)te 1p.1t1011-. l lf the ,1gc. thc uot1ons of a:fr~'CtlYe
hnc~ 1-; 11Jtur.1I 1•n :-, 1, hl'c,,1n1e .111 e!>tJbll',hed part of Luropean
,ire cl1l'OJ"\ 1n the J1nd-11111ctt'en1h century. ln h1s l.:ssay l>II
J>l,yt11i~110111 i l 1:-;45). che ·,, is, c.1ric,1turi,;r lit)d1.1l11he TcS11tTer
(179,;-t 4<,) e111plo), ·per111.111e11tº ,111d ·ntHt-J.1er111,111ent sig11•/.
\\ hil"h 'uepit·t .111 th c ,o ul\ l'\',llll'">Ct'll[ t)r .1ccideuc,1l e111orions aud
c111x1eLie~. bkt· l.1ughcer, r.1gc, 111clancholv. scor11, surprisc
t:tc - all ch.1t ,,·e 1ncludl' 111 tl1c g-c11er~u _1 tern1 ./.cct"tf!
· ,. 1111 H e
,uggcsts cl1.1t such line.1r sign~ can be con1b1r1ed or exrrapolaced
ri-0111 ,in1ph.· li11e1r ,V°'ten1,; hec:iu"e
rhe ~11aph1c ,,u1bols tl1ar en,1ble 011e to proJect ail the ,·ar1ed
and co111plex- expre,s1on\ of the bu1n.1.n fuce turn ot1t Jt
b0tton1 ro he very tê-,,. C onsequently. the e-xpressive pov:er of
thc,e de, ice~ ,pr111g,; nc1t only 11·0111 rhe greJt 11u111ber 011e has
co \\'llrl v,ith. l)ur fi·t)J11 rhe countle\~ easy ,vay~ by "'·hich you
JIJ'
(J.ll \º,11"\' t 1
lt'lll. -
•
A fe,,· ye.1r\Li ter T. S. Jouffr·oy ,..,rote in his \tudy of aestl1etics:
'W11en ,ve perceive certain line~ crcating the111S1:lves on a
perso11 ·~ pl1vsiog11on1y, \\'t' rec.og-:niSl' tbat tJ1e i11dividual is irri-
tated. unhappy or h,1ppy. A11d tl1ese syn1bols, these natural sigos,
are found noc onl-y 111 ht1u1an gestures ... There are e, •en trees
,,rhose for1n ind1caces ~adne"~.' 10 ' ln particular, Huo1bert 'i chcory
0
becan1e kno,vn ro ninet1.:'ench-centL1ry arrists chrough the writ-
ing.. orCl,arle, Blanc:, cr1tic a11d director of the Beaux-Arts in
Paris. ,vho claiined thac ·tbe arts of desigr1. jn tlteir hjghest
. .
d1giurv. art: not so muc: j1 ,u-rs o f1n11taoo11
º.. as o t- cxpre.ss100
. •Hl
. 4
~- .
Bla11c eve11 re\-ives tl1e old sl've11ceenth-cc11tury debate betvveen
dra,,-ing a11d colour ,vhe11 he goes so far as to assign gender to
such di\tinctive n1ode<i. ::i lig11111g sensua l colour ,vith. the fe111ale,
a11J tlra,ving. ac; incellect, ,vith .1 pan·iarchal order. ICtí Blanc under-
<:ta.nds the 'crue ,ecrec· t>f ali co1nJ.1osition as unity and equilib-
riun, (perfectly expressed in pyranudal c<,n1positions), and 1-iis
descr1pcion~ of ordering the elcme11ts of compositio11 rcfer,
lik.e HL1mbcrc's and J'a1llot de Montabert's, to a.n absrract bttt
affecnve s1gn sysre1n uJc1111ately derived fron1 humau bocliJy
experience\. 'li'•
Straighc or curved, horLZ011tal or vertical, parallel or d.ivcrgent,
all the lines haYe a secret relacion co ... sc11tin1ent. ln the spec-
t.-ic le\ of the ,vorld a,; in tl1e hun1an figure, in painti11g as ir1
arch1tecture, che ,cr,1ight lines correspond to a se11tin1enc of
austerit\· and fi.1rce. c1nd give to a con1poi.icion in ,vhich chey
are repcatc:d a grave i111pos111g. rigid aspecl.
1·he hor1zontals. \Yh1ch express. u1 nature, the caJn111ess of
che sea. rhc n1aJe,ty of tàr-of-1- l1or12011s ... ex--press analogoLtS
,e11c11nt't1t\. the ,an1e cruiracter of eternal repose, of pcace, of
du r.1tio11.
202 THE LINE.AR E"CONO MY
lf it 15 necessary to represent ::i terr1bJe idea, - for 1nstance,
tha:c of the la$t Jt1dgen1ent; if one '\\llshes to recall che 111en1ory
of a violent action, like che rape of the Sabine~ ... $UCh sub-
.
_1ecrc; den1and 11ne~ . d . 101
ve 11en1e11t. 1111pett1ous, an 111ov1ng.
The Colour of Lines
ln a pa~sage ecboed in tbe cwentieth century by Kandi11sky on
the ·esse11tia] conncction between colour and form', f-:l.w11bert de
SuperviJJe asks
Can we separace [colour~] . ca11 we decach tl1c111 ... fron1 the
surfaccs tl1ey fill, circu111Scribe él.lld preve11t &0111 blt11·ring the
onc into rl1c other? Would a rcd circlc. a blue triar1gle for 011e
singlc 1110111-ent stop being ~1 circle, a triangle, si11ce stripped of
ali lin1its, tl1e)· ofrer tis 11othing but colo11red signs of an aes-
thetic, intellectt1'11 or moral language? 1118
His a1is,ver is th::it, 'wben colours are detached from their st1bject,
rhey can be either '' a/1_~0/ute sÍJ!.ns'' or function ::is "s1111ple111e11tary
or irle11tical s1gJ1s": this is the cao;e vvhen no <>ther $ign can rival
their eloq uence a11d the colours cannot replace one anocher
inditferencly' (F-lun,bert's italics). He defines the affective a11d
syn1bolic values of colour and aligns the1n ·,vith tbe telling li11ear
sig:ns 011 cl1e hun1an làce', associating whitc with horizonta.l,
black ,v1th lugubrious oblique and red with up,vard anglcs, ai1.d
groupir1g warn1 and cold colotirs :iround chese 'pri,narcs', or
prin1ary condjtions. 10' 1 Even lines have colouristic vaJues,
althot1gh 'an a11i111ated fine is devoid of nny unco11ditional expres-
sion, but it can take any possible direction as well af. alJ
colours'. 1111 Ai1d, 1nost significant1y, Hu tnbert refers to the Ser-
pentine Lu1e (nanung it a s11ak.e): 'le.ss ,u1 ani1naJ forn1 than an
,1nii11ated Lit1<', 1itl is devoid of any unconditio1ial expressiOJJ, btit
it can take on any possible directions, as well as ali coloL1rs'. 111
The historicaily legitin1ated relationships between li11e, forn,,
colour :111d tbe ~enses rhac underpin Humberc's and Bla.11c's
theories of harmonic design were subjected to an apparent]y sci-
entific scrutiny by C11arles I-Te11ry (1859-1 926), atone ti1ne veTy
influentia1 ,vitl, Seurat, Severini and Paul Signac ( 1863-1935),
vvho illustrated Heury's tcxts. 112 Cl1~u·les I-len.ry, reputed to l1ave
explained Mallar111é's poeni,; at the blackboard by 111ea11s of eqt1a-
tjous, co11centrated after 1885 011 finding physical proofs for
H un1bert's theories of linear expression throug11 'psychophysical'
n1easure1nents. 1Ll ln syrr1pathy with otl1er positivi-;t experi-
111enters at che tin1e, Henry undertook to 1neasure vvhether
stin1uli, such as rl1ytl1111 and colour, would have a 'dy11a111ogenic'
or i1ih.ibiti11g efrect 011 thei r subjccts, and so prove '-Vhether they
v. c re aesrhcticaUy p]easing or not: 'tl1c problc111 is 110\\' to releasc
1
the unconscious 1necharusm that explains - for visual ar1d audi-
tory sensacious, and ii1 generaJ for ali sensacions - the cl1aractcr-
ist1c peculiar1t1es of each a11d tl1e net conclusion - pleastLre or
111
pain' . He iruti:illy experienced problen1S with lines, wh.ich
"vere abstractio11s (being the synthesis of two paralle1 and oppo-
site directioos), but concluded tl1at it was the dircrtion tl1at "vas
associaced \vith _pleasure or pain. 115 Directio11S fi·o111 left to right
and belo\v to above ,tre pleasi11g because the)· reA ecr 11atural
moven1ent to,vards tl1e rising sun; a circlc w:itl1 'follr tangents
parallel among che1nselves' is disagreeable. because it is not direc-
tional. Henry designed an aesthetic protractor that collated lines
and colours ('111e cnn11ot in,a<{?ine a colour 11Jilho11t diractio11'), ÍI1 \vhich
downward-moving li11es in the lower left ql1arter assoriaced ,~ritb
the cool colours violet, blue- to blue-green were inhibitory a11d
sad, whereas lines 111ovu1g up\vards to\vards tl1e right within a
red, orange and yeUow ,;pectrtu11 of ,var1n colours were posi-
tively dynamogenous. (l{andinsky borrowed chis systen1 111 Point
and Line ro J'ln11e, even replicatii1g a díagram of tl1e protractor.)
Curved lines were also dynamoger1ous ,vhen the angles were
added to a positive 11u1nber, a11d Signac prepared a nun1ber of
drawings of con1plex figures, sucr1 a~ Greek vast's, and calculated
their coefficients. Henry's work on proporcions re-confirn1ed cl1e
'agreeable11ess · of tl1e Golden Seccion. a11d )1e eve11 desígned an
instrument, no"v lost. for ar:tists to plot harmo1úous dio1ensio11aJ
rcJationsliips. 1111
Un iversal Val ues and Li near Modernism
Purely abstract entrues. ex1st1ng 1n subiection to Lhe1r 1nfluence and effect. are a sc1uare.
a c1rde. a tnangle, a rhomboid .. c1tizens of equal nghts 11, the reafm of the abstract
WasSJly Kand1nsky 1
Arl. makes us realise thal there are ílxed laws which govem and po1nt to lhe use of lhe
constn.1ctive elements of the composrt1on and of the 1nherent ínten-elationsh1ps between
them These laws may be regarded as subs1d,ary laws ro the fundamental la•N of equiv-
alence wh1ch creates dynam1c equdibnum and reveals the true content of reality
P1et Mondnan 1'8
Forms and pnmary colours have standard properties (universal properties wh1ch allow
the creat,on of a transmittable plastic language).
Ozenfant and Le Corbusier1 •
lt is against the background of Henry·'i pseuclo-scientific exper-
i111e11ts, a11d the 'objeccifying of che subjective' of cbe Sy111bo l-
ists, tbac l{andjnsky's influentiaJ books Co11cer11i11g tlzc Spiril11al iu
/ lrt (1911) ai1d L)oi11t 1u1d Li11e to Plane (1926) proclain1 tbe aes-
thctics of abstra.ctio11 and syi1thesis th.rough an analysis of rhe
formaJ aspects of drawing and colour. ln addition to quantifying
tl1e afrective relations of pictorial signs. Kandinsky relates colour,
line and forrn to 111usic and d.ance n1oven1ent as aspect,; of
synesthaesia. 1211 Angles, for exan1ple, bave a precise ey_uivale11ce of
INVISIBLE LINES: THE AFFECTIVE SEMIOT ICS OF DESIGN AND COMPOSITION
soU11d, te111perature a11d colour. \vhich K,\tllÍÍI:1.Sk) charts by ,v:1y
of Henry's colour protractor. Thus 'tl1e acuter tl1t> a11gle, the
closer ic approaches sharp war111rl1 and vice versa, rhc ,varn1ch
decreases toward the red right angle and 1nchne'i more and n1ore
co coldness'. 121 A right-a11gled square is red. a11d an acute-a11gled
triangle is ycllow. like I-lun1bert and Pe-irce, Kandin-;ky propose~
triadie raxo110111ie,; for h.is 'scieutific' a.i1alysis of the 'gra111111dr· of
art, whereby 'dead signs n1rn into living sy111bob/ bv relea~ing
che 'inner so und of the syn,bol' . 12~ For exainple. hc defu1es tbrec
varieties of straight b.11e, v-·lúch distribute theniselves arol1nd a
comn1on centre to tol"m a star, "ver,- si.111i lar to Superville's
diagra1n. The horizo11cal basic support1ng hne is ·cold' and cor-
responds to tl1e colour black; the vertical line is ,varn, becau-;e
of its po,;sibilities of 111oven1ent but correspond-; to tl1e 'prin,ary
colour' \>Vhite, aud tl1e diagonal has an cqual te11litncy tovvards
the cold and war111th of its 'inner sound' a11d can be rcd (or grey
or green). l'.!3 AlthoL1gh i11depcocle11t srraight lines ca11 be yellow
or blue. Kandinsky is ver)' defulite ch~t right angles axe cold:
::icute angles are sharp a11d l1ighly active; and obruse angles are
hel1)]es<\. vveak and passive. He analy,es types of rurved lines in
cer111s of the 'rension' or undulation of tl1eir curves: 'There i-; an
ele111ent of reckJe!>s yoLtth about t11e a.11gle, in thc! are - 1nature,
j ustly self-co11fide11t e11ergy ·, 124 and he deals witl1 tl1e stress of
thickened lines, active and passive ·thrtlSt', number and compo-
sition, linear compJexes and rhytbms . The linear ilJustrations ot~
tbis text describe con1positions d1at 'p·ulsate interna.lly' and that
hdve different sounds, \vl1ether tl1ey are fi·ee (ci1rve~ l1a\re a vvarn1
rension) o r geon1etric (cold te11si<H1).
Kandinsky therefore proposcs a <;et of afiective c0Jot1red-
related codings for rypes o( lines tl-lat be l1as an1plified ti-001 pre-
vious "vriters, but "vhich are set out as a nc,v doctrir1e with ali
the confidence of an early rnodernist. By strippu1g tbe for.n,al
aspect~ of visual design of cheir representacion:il and 111ecaphor-
ic:tl n1eanings, rhat is, forcibly s.e11arating che sen1ant1c fi·o111 tht!
iy11ta.x of visual 'language ', Kanc.linsky and his conten11)orarie<;
provide a n1oder1úst space for correspondences that previou!>ly
J1ad served .figurative ends. 'Thc 1J1ore obvious js che separatio11
.froni nature, tlie 111ore Jikely is tbe inner uieaning to be pure
and unl1ampered', according co Kandinsk:y, v.Tith fi.ill -awarene-ss of
notions of the 'liberation fiom the figurative' th::it had been pro-
claimed b)· the Russian Con))tructi,·i~cs. Alexander Rodchenko
(1891 -1956) confir111ed tl,is notion in hi<i essay 7...lte Li,,,, in 192J:
'Once artists began co Jook at tl1e proble111 of colour scparately
.from that of rcprescntation, thc signi.tica.11cc of the pictoriaJ
surface emcrgcd in all its cJarity ... Work i11 the co111pos1tion of
forn1s ar1d on tl1e1r struccural systems gradunlly brought rhe li11e
to surface as an ele111ent of consrruction.' 1:?.; The languagç of
Russian ConstrltctivíS111, ho,vever. i.; not co,npletel, forn1ali\c
anel abstract buc en1braces tratlitio11al JSi>uriatio11s rec;cructured
i..nto a r1ew political conccxt. Nikolai l'u,ú11. ror exan1ple,
203
 it ~, 1bt· 1 d l1í1¼111g 1,, \ l.1d11111rl.1tl111 (1885 1953) for the .\111,111-
/ I ·111 /l 11 / l11r,/ l111c111,111~ 1111/ (1rJ.20): 'thl'. ~p1r,1l represenrs rl1e
n10\Cl11ent ot ltberatcd hu111.u11cy'; •,, 1th 1ts base scc in the earth,
1t Hce~ frn,n thc ground 111d beco111es ,1 ')111bol l) r the ,u$peu-
s1on of .1II 1111111.11. e.11 thl, .,nd grl)Velli11g i11tt'rl'sts ·. 121' Tht· r,.-J,1-
tu111~h1p nf f.1tli11\ to\\e1 to .1 clr,1,vi11g by [ Iu111hert j.., tl1erefore
1
p.1rt1t u l.1r]~ 111ten:st1ng. ' A hLu1dred )'L'ar s (>r s<.1 ,lp,lrt uJ t1111e,
bntli t:llllteptLul Lo\VL'rs rcveJ.! tbe lincar1t) of their coustruc-
rtl>nal fi.1n1L\ ,111d l'\"\'lst 111 ,paCL' in a spir.11 n1anner thar con1b1ne,
rectw11c,1nry .111d ,p.1rt,1l curVl'<i.
Klee rt'Ver,ed l{odchenko ·~ propos1t1011 ,vben he n1ade hi~
f11nou-, ,t 1re111e11t Ar1 d<>L'S IH>l re11roduce the v1sil1le bul 111akes
,·1,1ble" 111 hi, Crc,ui,.•c (:rcdo of 19.20.
'fhe very n 1tt1re l)f g raphi( art ltLre:, u-; to abscr.1ctio11, readi]y
,1nd ,v1th rea~on. Jt givcs the '>c.:he111Jtic l~1iry-t.ile qu.ilicy oC
thc in1ag;in.1r) a11d cxpre\ses 1t ,, ith grc.tl prec:isio11. Thc purcr
L11c graphic.. ,vo rk , th,1t i-;, thc m ore en1pha,;is 1t puts on the
bas1c torn1al clc1neuts. the less ,,·elJ-'il1-Ítcd it w1II be to the
rcabst1c reprc,;cnrat1on o f \7S1ble thu1gs. Fo1,11al elen1ents of
gra11h1c Jrt ::i re: po1nts. and bne::ir, plane, :ind s11,1tial energ1e-;. 1211
Paul Klee and Holistic Gesta/t
TI1e pnrnord1.il movemcnt, the agcnt, •s J po1nt lhat sets 1tsel( ,n motJon (genes1s of form).
A line c.or11es 1nto lJC:1ng. The rnost h1ghly-charged hne 1s the mosl aulhent,c line because
1l 1s the n1ost aclive. ln ali these exan,ples the pnnetpal and active tine develops íreely, ll
goes out for .1 wrJlr~ so Lo speal• a1mlessly for the sake of the walk.
Paul Klee
Gestalt Is 1n a rnan~er of speitki11g a íorm vv1th an undercurren t o í lrv,ng luncl.Jons. A
func.uon made of íunclions, so to speak. The (unct,ons are purely sp1nlUJI. A need for
express1on 11nde1i1es !hem F.very express1on of Iunct,on must be c:ogently grounded.
Then l.here w,11 be a close bond between beg1nning, m1ddle end and there w dl be
roam 1or notmng douorful s1nce they tit so nghtly.
Paul Klee'·
for l{lee, like l~odtht!nko. hne \Vcl'i the 'prc>togene.:;is f<>rn1 ·, or
but hc developed a 111uch 1110n: ~ophi'it1c:1ted a11,1ly~is of linc.:ir
acuon:i in b1s '(:ontTibttt1ous to a Theory c>f Pictorial Forn,', thc
publicac-ion ot lectu rc 11otes ,vr1ttco durü1g bis ycars of teacl1ing
1 1
,1t the l~auhaus in Wein1ar and Dcss::iu. -'< 1>ost-academ.ic :irt
lL'J c h1ng h,1d been hberated by the a11ti - representntional scance
oí Suprt'lll,ttl)lll .incl 11011-objecti,·e nrt, so that ,vhat h::id previ-
Oll\ly bL·e11 the invi-;1bl1.' and co11c.:eptu::1l lines of cc>n1positio11
110,v bec.:anH.! roncrt:Lisl'd lllll> the very ~cutT o í c1rt-1naking, or
_f;1c111r<'. l ~1k111ra .1ccord111g tt> the R.ussi.1n Con~tructivist,; vvai.
'
'1111teri 11 consc1c)usl)' ,vorkcJ ,111d expedieutly vvork.ed', ai1d tl1e
breakdo,, 11 of p.1111t1ng 111to elen1ents of form" colour. con1posi-
20•1 T f IE LII IEAR. ECOI 101'1 r
non 111nccrials and _fakt11ra \Vas one of the significant tàccors of
art ce.1ch1ng at rhe INKhUK a11d VK11UTEMAS schools in
Ru~sia, vvhi ch had a great inAuence on lhe l3aL1haus. Johannes
111
l tce11 ( 1888- t967), ,vho ran the fir!lt ~·t1rk11rs or prelinunary design
course .it che WeiJ11.1r 13aul1aus fro111 1919 Lo 1923, .ilso 111ade 1t
clear cl1at ·tu1c [is] fi-eed of the obligation to represe11t a thing,
a11d instead itself funcuons as a th111g·. 132 Foilo\.·ving a long tra-
d.it1011, a chary enn-y of r916 s1.1pplics a list of ::iffective foru1s _ind
their relacionship to colour:
Squarc: caln1-deatl1-black-dark-rcd
friangle: se,·erity=:=life-white-bright-yello,v
. 1e: zero to 111
. fi1n1ty=co1'lstant
. - 1- ... always bl ue 1:1:1
e1rc ... Ccwn
ltcen. vvbose progranune ,vas c1iticised for being coo conccr11ed
vvith the expres~1ve, proposed:
Every po1nt, every li11e, every plane ... is a form bor11 of
n1ovcn1cnt .. , 1f 1 ,vanc to e..,perience a line, che11 1 have to
n1ove n1y l1a11d in a way correspo11ding to the line, or I musc
follov\' the hne '".:ith n1y sensc, that is to say, be n1oved spiri-
rually. Finally, if I can i111age a line n1e11tally- see it - then I
a111 n1oved 111entally. 114
Kl ee 's lin ear rheories also relate co dynan1ic n1ove111ent: 'Terres-
trial tension 011 earch i~ che !)rerequisite for 111ocion', he vvrote:
'fi-0111 Lh e t<)s1nic ~t,1nd1)oi11t. 111otio11 is che 11or111'. His valor isa-
tion of the tlynan1ic coultl bc insistent: (For111 as 1noven1enc, as
action is a good tlung ... forn1 as rcst, a!) e11d, is bad . Passive,
ftnis l1ed for1n is bad. formation is good. Form is bad; forn1 is
the end. deatl1 .... For1nation is Jife'. To illustrate tlns central
11otion of terrescrial-cosn1ic cension, he en1ploys the double
crossed rebus of Humberc. wl1ich he calls 'ideal scacie<;', concrast-
ing it to cl1e purely terrestrial statics of a r-sl1apec.l diagra111: 'ln
the static reau11, stable n1e<Uls. rigidly bound to the vertical. ln
the dynnn1ic rcaln1. stable 111eans scttlcd l1ar111011isatio11 of free
111obility.' This tigurc, ~·l1icb '"ª" al rcady in use in his earliest
classes, revolves around a point, the prin1ordial cell, in its 'cos-
111ogenetic' n1oment, ,vhich is ide11tified ,vith the colot1r grey,
since it is boch L1p and down, neitl1er hot nor cold, a11d •jc
i-; grey because it is a non-din1ensional poi11c, a poinc beniveen
che di111ensions·. ln an<)tl1er lecture, the san1e Hun1bertian rebus
represents ,l sy11tl1esis of tl1e objectivc body a11d subjective
spacc. 135 l<Jce's develop111.e11taJ progran1U1e, ,vith_ its accc>111pa11y-
ing dra,vings, explores a hugc a11d confi.1s1ng ra11ge of· abstracr
nocions: forces and lu11ics, dynan11c density, bodily and spatial
tensions. o ricrltations 111 piccorial space, active and passive ünes,
concen tric and eccentric forces, 'exoropic' and 'endotopic' inter-
penecration~ of space and botiy, per'spective, projectio11~. 1v,
While on the oné hand pro111oting the nocion of 'tighc f1r' in
hi~ theories or practice, l{Jee was also ª"''are of the dangers of

r.1-2Paul Klcc . .-l11,dysis qf Dn•crse />er1•ers1ties, 1912. Chincsc ulk .1nd ,vaccr-
colour on paper 1nou11n:d on cardboani 31o X 240 111111. Paris. M ll>(!é
National d' Art Moderne, Centre (:eorges Po111pidou. Cifr of Hei_nz.
Bcrggrucn, AM 1972-9
Sllppresc;ion of inscinct: 'l n arr the essencial is to create n1ove1nent
accord ing to rules, ro create deviations ,vh ile bearing the rule'>
i11 111iJ1d. lf you .1dl1ere too strict] y. you get into barren terri-
tory.'137 A1111/ysis o_( Di11erse Pcrversities (1922; pl. 1.4-2) plays ga1ncs
wicb I{.]ec's ow11 syste1ns of co111positional dyuan11cs, by appar-
e11tly cutting up different elements, incJucling abstract veccor
s1gt1s, n,echanical diagran15 and figw·attve elements, the11 :fixing
and 1nixing the111 inco a collaged con1position of coloured sheets
that hl1gs the fi-011tal pla11e of che Lira,ving. Colour becon ies the
eu1bed(li11g .sub~tance and tl1e Light 111ock-111echa11isric linear dia-
gran1s i11terconnect through dotted dirt:ctio11al lint:s, letters of the
alphabet, transparent a11d opaque p~ssages lik.e a11 activated toy
orchestra asseu1bled fron1 a kit of parts. Klee l1ad 11ndertaken
colour "vorkshops, \Vhere he defined "rrue and faJse' colo11r pairs
and colour-sL1ape equivale11ce~, as ,vell as the te1111-1oral ac;pects
INVISIBLE LINES: THE AFFECTIVE SEMIOTICS Of DESIGN AND COMPOSITION
of colour. 111'1 KJee's dra"vü1~, ,vorksl1op~ 111d ,vr1tingc; consutute
a Ge.sraft, a word that hc prcfern:c.1 to 17or111hhrc, or thl'ory uf
forn1, because 1t 1111phed a11 u11derlyi11~ 111obility, as ,veU a~ son1e-
thi11g that is n1ore tl1an the SLln1 of 1ts part,;.
The (l nterm itten t) D ebunking of
Affe ctive C orrespondences
Thc noao11s of l<lee and l{ar1dinsky, u11asl1ai11ec.ily concer1'll'd
,vich 'sp1rituality', beca.111e desacralised during the coursc o.f tl1e
t\vencieth cencury, and the dehberately unemouve language of
0
n1oderni~r forn1a lisn1 bec:1111e the do111jn.1nt 111ode. KJee <; torn1
of expre<;sion, w11ich was profoundly iníluenced l1y psycho-
a11alysis - 'tbe tria11gle can1e inco being wl1e11 a l)OÍnt enrered
in a relation of tcnsion with <l line and, follo,viug the conu11a11d
of its Eros. discharged tl1ís te11sion · - ca11 be co11trasted \VÍth
a dry state111e11c by lUcl1ard Serra s1xty or so years later:
'shapes cau imply "'reight, n1ass and volu1ne. A square carries
n1ore weight - gravitationally - than a recrangle: a trapezoid,
n1ore than a dian1ond. A triangle is a lighr, very quick shape.' 1v,
Serra\ sober Mi11i111ali~t language 11a'l probably been sha11ed h)
the autl1orirative statcn1e11LS of Mondri.111 and Tbeo va11 Does-
burg (1883-193r), "''ith chcir rejeccion of rl1t: Surreafut ui1co11-
scious and ~yn1b0Jist notions of synaesthesia. 'lt is ... a 1nisrake
to suppose tl1at a nonfigurative ,vork co111es out of the uncon-
scious, ,vllich is a collection of indiv1dual and prenatal 1nen10-
ries. We repent th~it it co111es fi·o111 pure intuition, v-·hich Í'l ;1t the
1Ja~i, of the ~u1)jective-objective dualic;111', Mc)ndrian had ,vritten,
a11d he called for tl1e 'destructio11 of 111elody which is the eguiv-
alent of dcstructio11 of n.1tu.ral appcarance'. a 11ccessity in thc
required suppressio11 of pictorial space. 14'' ln tl1e trrst issue of De
St[íf, ín rs,19. Mondrian. n1uch ínfluenced b), che rud-nn1e-
teenth-centur'>' writings of (;ottfi·ied Ser11per, 111 focuses the rL1les
of art around che right angle:
We find that Íl1 natu re alJ Telntio11s are dormnated b)' a su1gle
prin1ordial relation, "vliich is defi_ned by the opposition of t\VO
excren,es. Abscracc plac;cicisn, repre~ent~ thi, pri111ordial relacio11
in a precise n1anner by 111e,111s of che t,vo poc;itionc; vvhich torn1
tl1e right angle. T11is posicional rclJtion íc; the 111 os;t balanced
of ali, since it expresses i11 a perfcct har,nony the relation
bet\\'cc11 t\vo cxtrc111es. and contruJ1s ali other relatio11S. 4:l
To strengthen his case for the preference of ,rraigl1r over cur\·cd
lines, he resolves the oppo).ition iuto <111 evolutio11,1ry 11arrJtivc:
'Bcginning ,vith 11atut,tl for11is a11d e11di11g v.'ith che 111ost abstract
for1m, tl1eir expressio11 becomes 111ore profound. (;raduall,, forn1
and line gain i.n tension. For this reaso11 che ,tra1ghr hne is a
e.
stronger an d n,ore pro,oun d expres~H>n
. t 11.111 t l1e rurve. •1 .13
205
 th 11 0 111,t1.:1e g1;0111~·tr1es .1nd to11<.:eptu,1l pro-
gr,J1 11c.-. bar 1<..ter1~ed ( 011)trui:uo11L\l ,111d Sv:-tems artists
u1 the 19r, s Jnd 19-os, the curve \\'els ag,nn supprec,~ed in tãvour
ut the gr1d 1n rclltl()ll to the ps)Chl>log1cal exce~se, of Ab\t1,1cc
F.xpres,10111-.111. Ju~t 1, hard-edgcd ln1t's ,lfl' unpollutt·d l,y ges-
tt11.il exce,, e,( ,t)i"t pe11t:11 or hru\11 n1arks. ,o texl. even ,vl1e11
p.1rl t)f a ,vork. i, blL•,1L·h1:d of ,1ll .1t1<.·ct. This occurs, for exan1ple,
111 che 111,rruccions fc,r \v,dl dra,vings b, ~oi LeWitt (1938-2.007),
Lo bl.' executed bv others 1nd accon1~1anied b,· 'certificotes of
•
:iud1t·11cici ry'. For exa111ple. the u1u 11-flected pen cil th:igra111 tha t
i.tands 111 fi.>r I i :1f! f)ra111í11,l! 7\ío. 26 ( 1y69; pl 1-i3) represe11ts the
per111icted pt'r111ut,1 ti1)n, of Jirettio11al angles ,vitl1in the grid ,tnd
i, <lt''>lJ 1beJ ,1s Jollü\\,. ·A one-inch (2.5cu1) griJ coveriug a 36"
(90 tlll) squarc. W1dw.1 cacl1 oue-irl-ch (2.5clll) squarc, tbcre is a
l111e in one ()f che fou.r direcrio1is.' As i.\·ell as afi"ect. ali char1ce
effccts are supprcssed w this 'neutral ' geometrical notation: but
J 11u111111ab~t ae'lthetic governs tl1e waU dra\vings once they have
been grafted .Hl<)1ryn1ously on to large walls ,vitl1in the va]ídat-
ing Jnd ,H.:'icherici•üng ,;pace of <111 ..irt gallcry.
The pri,·ileg1ng of rectilinear geo111etry contrast,; vvith the
defc11der,; of atfect. ltten had co11fided to his diarv bis wisl1 'to
•
develop the part1c1pa11ts' ability to feel ~nd to liquefy, to soli dify
tbe feeli11gs, the-;e flanring etbereal fonns, in v1sible, percepcible
for1n-;· _,~-1 Philip R..a,\rqon en1ploy<i au even n1ore Aorid psycho-
sexual language redolent of l(enneth Clark ,,vhe11 he endor'it:S
curves, 'syn1bolic of life, ~uggesti11g the contours of fruic, flesh,
organic subscanccs \.vbich are full of sap. juice, blood, aud they
are capablc of n1ovc111e11t, in co11crast to rhe inorgariic, lífeless and
crystalli11e in1111061líty of the straight, the flat, and che egually
115
faceted' . By contrast, Rudolf Arnheii11's numerous writi11gs 011
the 11s, chology of are and rhe psychodynanlics of forn1 in the
19(ío5 a11d 1970!> are couched in a coo! and deter111inedly scien-
tific laugu,tgc. Stenmliug ulti111,ately fi·on1 tl1e theories of en1pachy
ofTheodorc L1pps (1$51-1914), ,vho, for e.xa111ple, pe.rceived lines
as e1ubodrmcncs of e11ergy, Arnncin1 111vestigatcs forn1al _p riuci-
ples such as complexity, proporti.on, .rhe d)rt1aruics of shape rn are
or verhcal and horizontal, hollow and solid, order and disorder
in archirecture: all the factors that had shaped Itten's Vorkr,rs. 11 (!
Ar11h..:i111·'i re~traint reflects the l1al1its of even rhat 1110<.t literace
of artists, Iloberc Motl1er\vell, shelteri ng w itl1in tl1e silence of
praxis: 'l t is 11ot possíble to thii1k withOLLt sy111bols', he wrote in
rhe 195oc;, 'Buc the sy1nbolic tl10L1gl1t is i:11 che work, a11d not
abc,111 ir ... 1 h:1ve never had a thought about painting wb.ile
p;11nting. bl1c only after,vard<; .... And I think tl1at most artists
tend to trust the canvas 111uch n1ore than the words about it.' 147
The l.1ttcr p.1rt of the- ~raten1ent rep1i<;es a very lo11g histori cal
discourse about painti11g as du111b pl)etry, reinvigoraced in the
C\ventietb centurv bv the foregrounding of process and n1aking.
W1th1n c;e1111otics and language-based tl1eor1es of culture, no-
tion~ oí i11/1erc11t propert1es of the foru1..1l const1h.1cnts of are \Verc
206 THE LINEc1\R. ECONOí•1Y
to be totally annihilated in the r97os by philosophers and rne-
or1sts, JUSt at che tin1e when coral abstraction achieved a peak of
pur1ry b:tsed 011 a tacit co1nprel1ensio11 of the univer<;alising
pov.-'er of for111al values and rectilinearity. Sucl1 for111al values
included notion~ of co1111ectio1ui bet\veer1 colo.ur, forn,. line and
co111position, and tl1e ability of local colour radically to alter
sl1aµe a11d relacio11ships of scale, depth ai1d so 011. This \1/as based,
in particular, on the ceachi11gs ofJosef Albers at Black Mo1.1ntain
College, North C,1roli11a, .ind later atYale U1úversity irl the r950s.
Roland Barthes first debunked a literal relationship bet\veen lan-
guagc ,u1d visual forn1 in 1978, alchougl1 later l1e partially revised
llis position: 'the structure of our hLu11an language ... is 110c valid
for tl1e \·isual arts: it is quite possiblc to deco111pose the "dis-
coL1rse '' of a p1cture into forros (line and points) bL1t these forn1s
signify notl1i11g before being asse1nbled; paiI1ting ki10,vs only one
articulation' _Ltt; Un1berto Eco also su ppó rted rhe view tbnt 'there
are no 111)'Sterious '·expressive" \!'alu es cleri\'ing sin1ply fron, the
narure oí thtt forn1s tl1en1selves', but he allowed space for a 111ore
creative co t1struction by suggesti11.g tl1at 'expressiveness aci.ses
i r1..o;;teat.l ti-0111 a dialectic betv,c.e11 significative tor1ns and codes of
interpretation'. HJ> Other influe11t1.al critics have co11tinL1ed to
1.1ndernú11e notions of art in general ru1d dra\ving in particular
as n fon11 of shared visual lai1guage i11 che sh.ift co texc-based dis-
cou rse theory. Within J relativist and anti- authori-al pl1ilosop11i-
cal s11ace. where n1ea11ing and affective or ~yn1bolic associ-ation~
are construcced in relation to a vvork but not e111bedded witlun
it, therc can be no &-x:ed propcrties of forn1 or li11e. Neverche-
less, 1111111y artists l1ave contii1ued to subscribe to Maurice
Merleau-Ponty's notions of phenome11olom·: the idea of tl1e
bod)' being an i11strumenr of con1prehe11sion ties in well ,vith
the perceived physical intentio1)alíty of drawing and accepts a
long history of bodily co111prel1ensio11. For example. his discus-
sion_s of space are particularly open-e11ded ,vhen he ,lccepcs tl1at
'there is a deccr111iui11g of up a11d down. and in general o( place,
which precedes '·pcrception" '. 150 More recQ'.ntly, ·v-isuaJ theory h.as
n1oved to the positi.011 of ·post ci-itical e11Coln1_ter' vvhich re-
engages wicl1 embodimenr and emotion through the hapcic and
tl1e perforrnacive.
Even if now extren1ely threadbare and Iost in cranslati.on,
certain vague notions about che significance of lines, forn1s and
their orga1úsatior1 ir1 desig11 ar1d con1position co11tÍl1ue to infor1n
grapl1ic practice iI1 the t,,venty-first century. Gcnera.lly, however,
st1ch f0rn1al isst1es are swan1ped either by the importa11ce of
'intuitive' a11d sp0ntaneous sketcbing, by the co-option of dra\V-
jng to comp1.1ter-jided ,;ystems with an entirely different set of
prioricies, o r by tl1e Sl1bmersion of dra,~ing into conceptual prac-
tice. With the s,vitch fi·on1 a n1odernist econoiny of process to
an econon1y o f ideas in po"tn1oder11isn1, tl1e den1ise of co,11po-
sicional theories and u11derst;}nding of linear in.fi-astructural sys-
ce111s 11~ ticpxived tl1e .1ct of drawi11g of s011Je of ics resona11ce!>.
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Mcllon Bruce Fund. Patroru;' Pcro1a11enc Fuud and Gift of Dorothy sud I Icrbcrt Vt.)gel, HJ91. 241 .57
 Part Three
Drawing as D iscipline

..

_tizc111x paxc Attr1butcd to B.u-tolomco l'as\aroru. .\.lir/1cl,11,gc/p Cil'i11g ,111

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Chapter E1ght
Drawing and Lea,·ning
01 aw,ng propt>r y taught. ,, the oe,t way of develop1ng ,mell,gence and form1ng 1udge•
rl'\ent, foi one iearns to see .ind ~ee1ng 1s knowlcdge.
Eugêne-Emmanuel Viollel•le-Duc
Upon thP. subiect or 1nvent1on we observed thírt n wc1s the tirst ln •he order of execu-
llon But n 1s not the sarne ,n the orde1 of study; for design must be leamed before
every th1ng, as ll 1s the key of the l,ne arts. as •l g1ves <1dm1ttance to t.he other parts of
pa nt1ng. and is 111e organ or Lhe thoughts, lhe 1íl!>tr1Jrncnl of our dcmonstraL1ons and lhe
l1gh1. of our understand1ng.
1,1,1 (l,1â11,1! fl•tl/1') Ft'derico Z11,-c:irn. 1l r11st [)rntl'i/{I! liy \ft1n1d(r;l11 (ro111 rh('
1l'i11.l,111 • •!i" ,1 1l,111s,·. 1590s. pen, bn.l\VII ink aud \.v:is h . JSrí X 178 111111 . Ox.frird.
A, Junu lc.u1 l'vluscurn \\ 'A 1935. 1.2~
l)rav-..-jng and learning are so closely 1de11tified as to be aln1ost
sy11011yn1ous . Thc provi~ional a11d experin,encal potencial of
dr.i,ving 1nake it the 111edíun1 and trajcct<)ry of change, a11d an
arlist'., indiv1dual devclopn1c11t is n1ost clearly pro1noted and
cl1artcd through dra,vi11g. 111 chis scnse. evcry i11vc11tiou of 11e,v
torms or 11u.:a11S of expression throagh dr.iwi11g constitt1tes an act
of self-Jearning.
Oefore the late t\ventieth century, 1earning to be an artist or
arcl, ii:ect ,l~ ,111 apprentice in .a c;cudio or attend.ing an acade111y
o r .1rc '.>Cl1ool ,vas e11tirely predicatcd on lear11ing to dra,v.
Dra,,'iug ,vas conceived of as a way of learning about past a11d
present are, about rccording cl1c everyday world and aclnevi.ng
control of processes of representation, as ,vell as perfeccing the
condu1t bet,veen hand and imagination tnrol1gh pracrice.3 His-
tt)rically, the passing on of skills by 111ature arrists ,vas under-
stol)d as a sigi1 of JJrofessio11al <;tatus, and equa11y, the renewal of
cre.itivity throughc)ut an artistic career, by co.ncü1ual lear11ing
througl1 dra,vi11g. vvas a11 ü1dicator of g;rean1ess.~ Th.is is exprcssed
in chc topos of tl1e a.rcist continuing to draw ao.d to learn even
as death approacJ1es. as told of J.-A.-D. ln.gres, Théodore
c;er1cault, Gabriel de Sainc-Aubin, Edgar Degas ::ind others, and
preserved in the photL1graph of Henri Macio;se dra\ving ,vith a
'iti ck fi·on1 his sickl)ed. The aged Macisse described t(> the poet
and critic lOLtis Aragon in 1943 110\v he was 'l&1rni11g co repre-
)Cnt a tree' (111y ita.li cs), a11Li Paul CézaJ1ne, in a letter of r906,
just beiore his dcath. v.•rote about 1naking 'slow progress' u.1 lus
'studies' . The n1attu·e Leo11 Kossoff (b. 192.6) is recorded as saying:
'E,1el")' day I a,vake witl1 the idea rhat today I must teach 111yself
to dravv.'~
The 111ythic re11resentation of the elderly 111::ile artist continu-
ing to lear11 until tl1e very end of bis life - and therefore defyi11g
death by the fi·esl1ness of l1is ge11Íus - is a conti11uatio11 of tl1e
conve11tional tales of the child gen.ius wbose p.recocious dra\ving
skills attract che attentions of a n1.1.ster teacher. This is the seminal
foundat:ion m,,th of the Florentine renaissance co1istn1cted by
Giorgio Va<iar1: Cin1abue 'd.iscovers' tl1e youtnfi11 shepberd Giotto
dra,ving sheep on the rocks ,vuth a -;lightly poinced stone, chereby
establi,;l1ing the will to dra\V as a signifier of natural geniu~."
Giotto's inl1ercnt tale11c drives hi111, but his developn1enc as a11
inventor of a 11ew style requ.ircs the 1111r/11re of a 11-iaster, whon1
hc the11 surpasscs.7 111 a siruular vein, Michela11gclo, ,vho is
pl1nished as a child for sketching on every surfàcc, corrects the
dra"vings of his master, Domenico Ghi rl:r11daio. 11 The abilit)T
of real genius co outstrip its 111entors is traditionally bala11ced b)'
a belief i11 constant renewal throt1gl1ot1t an artistic career. As
Eu~ent: Delacroix wrote in one of hi!> nun1,er<>u~ references to
tbc sul1ject in bis jour11al, citing Rubens, Michela.ngelo and
Tician, 'Not on ly did thesc grcat men create 11othing in the
propcr se11sc of thc word, which 111eai1S 111akiog so111et/1i11,~ out of
uo1hi11,t;?,, but Íl1 order to form the-ir calenc, or preve11c it from
 s cht li 1tl to u 1t..1tt.' the1r pre~lt.· ce~,or, .1nd, con.- rhrn -.hut liimself 111 h1.:; hou<;e 'either dra,ving or preparing
1
or u11'--onc;Lll u lv tu 11111t,1te then1 .1linc)st un ceasingly.·' n1aceri.1ls for the fol10,v1ng day·. ii, A11d whe11 the Elgin Marble~
1rr1ved i11 T011<l<.)11 in r808, housed in a shed at tlie back of
Glo uct.:ster I-Iot1se. Be1tj.111ú.11 Robert r.-:Jaydon ( r7R6-r 846)
rcporccd that he drew for as n1any as 'te11. fourteen a11d fifi:een
Never a Day without a Line ho11rs at a titne: staying ofte11 ri1l rn·elve at nigbc. hold111g a candle
and 111v board ín one 11llnd aa1d drawi11g v,'ith the ocher ... a11d
,_t d pa:, '-' er tOu v. 11 out a 1ne Be c?ady to put ,nto y0ur T-¾blC' book (wh1ch
y
chen often bave I gone hon1e, cold, benumbed and da1111)•. 1QThe
J'O u L lwd , ..a .ibou• yo11 wh ,bô• ,e1 'OU ud,.,e wort.h a r 1t. whcther t oc upon
r- t~.,.,h o I A or p :, the W1ter wh1lc l1e Speo~ oi Lhein 1s yet fresh 1n ,1111a7ing geon1et1·ic clarity or thec;e an,1lytical dra\vin.gs reveal,;
IIT'.a at on little of tl1is suíleri11g, for e-xa111ple Thc 1-iend <?( 1/te l lorse <?.( Selc11c,
Du Fr·esnoy
_(,·0111 t/1e Eas/ Pcdi111e1// qj· 1/,e PL1rtlie11011. ( 1809; pl.145)
Tbe 111otto 1111/la dies si11c li11ec1 ,vas conu11011Jy used in thc
1 trcn, y ,idv1,c yot.. to d1 aw every dur w1thoul fa so Lhat you w,11 be able to exp.ress
with redt , l1ty what you ha,e 1nag1ned, Let the words of Aµelles e.orne true. thdl die5 &ont:isp1ece of artistic tracts fron1 the si:s..'teenth century, as a li11e
•ior trar er r siri<:! /, , of rexr ,virhin a decorative cartouche, sometin,es accon1panied
G1ovann1 Batt1sta Armen1n1 1
by a dra,ving hand a11d a skecchbook.~11 A l1and v.rith a quill can
just as easily be in the act of dra,ving as ,vriting, and the a111bi-
v.ileut nature of rhe Yisual <le\'ice ,vas welJ suited to tl1e renais-
On J skctcb i.n tbe l3r1ruh Museun1. ·n, 0 St11dícs <?.f the l ·;~Ri11 a11d
1
sancc ide11tification of artistic profe:;sioualism .1nd status with
(,'l,1/d. 11rct1 1522 -4. Micl1cLu1gclo has written to his pupil and
.i.cadenuc lcar11u1g. Lh1cc1 e11codc~ both draw111g and ,v.riti11g,
,vorkshop ,1ssisran t Antonio Mini: · 1)i-.egnia ;:111 tonio d1segnia
so dmy practice 'keeps the hand 1n · and sharpens tl1e '1nind's
:1ncon10/ d1:-.eg;1li,1 e no[nl p!er[dt>r cer111lpo' (' l)ra\v Antonio, dravv
eye ' .-'I
Anton10, dra,v ,u1d don·t \\a,te tin1e'). 1 Tlii~ dra,ving lias l1een
?
Fro1n having been regarded as Jn esse11rial part of workshop
111terpretL'U a5 ,1 5et p1ece for che 1,tl)' .~,,rz,>11<' Mu.11 ll) cop1, su1ce,
pr.1ctice, daily dra,ving exerci:se beca111e t11e basis of profêssio11al
JlCorwng to ,.._orksl1op pracncc, Michelai1gelo ,vould l1ave been
lc;arning. Ttalian acaden1ies are inextricably identified with diseg//o.
requ1rl'd co correcr lIL'i apprent1ce 's dra,VJngs. A su1ular ex.horta-
.u1d th is affiliation is er11bodjed in che title of the fust ltalian
t10 □ \'\'JS reporredly 11.1ade b)' Jacopo Tintol'etto co his )'Oung
acadc111y, thc Accadenúa dcl Discgno (Acaden1y of Dra,ving),
pt1p1I. ()doa.rdo Fialem (r573-163~): 'dra,;v. a.nd the11 dra,v
to1111dcd in 1563 Íl1 flore11ce u11der the protectio11 of Gra.i1d
.1g,1in'. 1\ Uorh state111ents encode ::i reference to Pliny's t~1111<.>t1s
l)uke Cosin10 de· Mediei 1, and incorporating the old Co111-
dicLu111 11111111 dics s111 c li111•<1 ('not a da> \VÍrl1out a line '): ·1t v.1as a
pagnia di San Luca, the lay confi-atemity for artists. There were
rcgul.1r cu,to111 ,vith Apelles never to let a day of busi11ess to l1e
forty-eig]1t founding n1en1bers, but Giorgio Vasari \Vas probably
~o fullv occupicd chat he did not pracrise his art by dra,ving a
che 111o~t influenrial, and his friend and n1e11tor, the cleric Vin-
li11c, \Vhich lias passed fi·on1 l1u11 111to a proverb.' 11 Tl,is vvas the
cenzo Borgbin.i, was jt,\ firsc .1d11ú1liscra6ve head. ln one of l1is
n1odel of artistic pract1ce conc;tructed tron1 earhest re11.ussance
co111n1e11ts on disc,~110, Vasari c11e pedagogue notes: 'Wbcn it l1as
t1111e-;, ,Yhen Ce11n.ino C~enn111i ;:idvised students: ·l)o nor fail. ,as
derived ... aJ1 i111age of so111ething, disegno requires tJ1at tl1e l1and
you go on, to ur,1,v ,on1ething every day, for no 111atcer how lictle
be craincd throagli study and practice.' 22 And in his own L{fe he
1L is a v,•ill bt· \ve11 vvotth ,, hile, .,nd ,vill d<.) you a "vorld or
boascs abour liis yo·uthlitl a.ppLcation to drav:ir1g:
good.' 1" Thc greac Titian vva~ reported by Ludc)vico Dolcc to
dr,t\\ c,·ery d.1.y ,v1thoL1t fJil (,vb.icb 111,i.kes it ali the 111orc ,;;ur- Tl1ere ren1ained notl1ing,. notablc at that tin1e in Ro1nc, or
pr1sing th,1t 'iO fe,,· ,vorks on papcr are nov:adays attributed to afrenvards in Florcnce, or in any other place vvl1cre l stayed.
h1111). "' h11e the C:arracc1 brothers, Agostino (1557- 1602) a11d that l did not dra,v in n1y youtb; and uot pictures only, but
Annibale. and tht>ir cousin Ludo,·ico (1555-r619) are desci·ibed also sculptures and architect11ral ,vork..;, ancient and n1ode171.
111 Cario Ces,1re Malvasia 's ha!:,riogr:iphic,11 account as ;;uch inde- And be~ides che bene-fit that I gai11ed by drav-.ring tl1e vault
fat1g<1bll' dravver., t11J.t rht·y ,vould ,vork tl1rough lunch hreaks: ::ind chapei of Michelangclo, I likewise drew all the ,vorks by
· 1 he) ate ,u1d clrev, at thc ,;1 111e ti111e, bread in one l1and and R.apbael . Polidoro and Baltlassare da Siena i11 con1pa11y v.,ith
ch.1lk or ch.a.rcoal 1n thc 0Lher!· 1" SJlvator R o'ia boasted co a Fra11cesco Salvia ti. ln order tl1at e.tch of tts núgJ,t have dravv-
fi-1e-11d 111 ,1 lerccr of 1669 that 'Th1s ,vork has 11ot onJy kcpt 111e i..t1gs of everytbing, vve wottld dra,v diffcrent objects durrug
.1,,a~ fro111 che pe11 [,vT1t111gl but also fron1 eYerytlu11g else in the the da)' and then ,ve WOlJ ld copy each other's drav\1ings ac
\\º(>rld ,111d I c.111 tel1 you thar ~on1et1n1cs I even forgot to eat.' 17 night ,;o as to save ti1ne and extend our studies; n1ore ofi:en
Accordiug lo his hiographe1. Ancon Raphat•I Mengs ( r728-1779) than nor \~:e ate our 111orning 1neal ,;canding up. and ic ,vas
,vouJd bc:gu1 ,ll J a,vn .111<l ,vork u11t1l 111ght v\ith very lirtle food, little at chat.~~

212 DRAWll',C:, AS OISCIPL INE

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chalk ,v1th \vhrce hcíghrening on grcy· grccn papcr, 55+ X 7 5y lllln. Londun, The ilr1nsh Muscun1, 1881 , 0709.347
Dravving by day and night is che subject of Federico Zuccaro's
great dra,ving cycle of the life of hi:.. brotl1er Taddeo Zt1ccaro,
,vhich exists in a nun,ber of vcrsions:?4 The Accaden11a dj Sall
LLtca in Ro111e, ,vhere Zuccaro ,vas preside11t i11 tl1e years 1593-
4, vvas founded by Giro1an10 Muzíano in 1577. i11corporaring an
older guild orga11isation, and Zuccaro \\'as as mucn a cl1a111pion
of disegno as the more pragmatic Vasari in Florénce, and cl tàr
more prolinc draughtsn1an. Znccaro was a con1plex .1nd difficL1 lr
11ersonalít)' í,lnd ,i theoreticia n of so111e O})Jcíty; he had a pro-
ductive Jrtisric life outside Tta1y, having bten exiled n-0111 Ron~e
for s0111.e years aftcr a libcl suit brougl1c by the J)apacy, and visiteti
the Netherlai1ds, Spain and Engla11d. The □ arrative cycJe of
twenry-four dravvings cxalts tbe ge11ius of Taddeo, :.1.nd, by asso-
ciatio11. Federico hin1Self. Taddeo's difr1cult eatly life 1s pictured
i11 the drav\'Íngs, which illusrrace ho\\' he achieves greatness
against the greatest odds tlu-ough .persistence :n1d dedication, and
i,; finally endorsed by the Divine MichelangeJc> as a \.VOrthy sttc-
CC,';~Or. ln preparatio11 tàr this ap<)thcosis, the diligc11t Taddeo
J.ra\.vs thc Laocoo,1 sculpturaJ group at tl1e Bclvederc 111 tJ1e
Vatican and copies ru1 arclutectu.tal façade by Polidoro; he sits
cross-legged ,vithin the Loggia of the Farnesina to cop,r Raphael\
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frescoes (and l)eing hon1eless also ~let:ps there). and he stand,;
proudly, l1alancing his board on onc raised knee, to co_p)
Michel,111gelo's L1st ]11J..J?.c111c11t i11 tl1e Sisti11e CJ1apel (see pl. 205).
Taddeo therefore follows ali the pri11ciples tor learning con1bu1ed
ui. tl1e tl1eoretícal progra111111es of tl1e Flore11.ti11e a11d Ro111an
acade111ics. i11 vYbich copying fro111 ·111odern n1asters' \Vas nearly
as in1portant as S"n1dyi11g ti-om rbe antiq1.1e. and a c;o1.1rce of
rene,val and inspiracion throughout a ,vorking career. The
set1uence wa<; l)ased on Vàsari\ Lf[t, n_{Tl,rlrleo Z11rcar<l ,virh sonH::
extra 'ICenes described by Federico in hi'I cruculentl) annc.)t,\ted
copy of tbc Li11es. preserved i11 cl1e UtfLZt. 25
111 Artist Dra1/IÍ11,í!. by L 'vloo11/(gh1, chc youthfuJ ,1ppre11t1cc 1s
forced to dra,v at night after evcryone is asleep because h1s
jealous and 111ean-spiriced 111::1ster, Gio,,ann1 Piero Calabrese,
denies l1in1 access to co11y dra,vings. ~111d keep~ h1111 conscantly
at 111e11ial task,; during the day, as \\'ell .1s half-sc~1r,,i11g hin1. Tl1trt
is a particularly Jyrica] vt·rsion of thi., c.lra,ving in Lhe A'.'lhn1ule.1n
Museuu1 i11 Oxford (pl. 14-1-). in '" hjch flow111g, liquid bro,vr1
,vas.he~ suggest che uústy in1precisioll of rnoonLgl1t 011 the 1ibcr,
a11d tl1c dark shado,,·s of the roo1n ui ,,rlucb tbe dedicated
Taddeo bends over h1<; dra,,·ing. Very fine and spar<;e pen lines
DR.AWI ~.JG ANO LEARNI i'IG 213
 h I t 1t: 111 , b td ,e 111d .1 ft·\\ ob1et t, 011 tbc right bt1nk.
.1, \\til dc:tt1l, ot thc.: b y1~1i Íc1ddcu in liis pouned C',lp. incluJ-
llll lu 111111t 011 b1,; c,hort tun1c h<: 1s ,,·t.'a.rL11g th1. gJrb of an
c,1d11.: r, gold<.'11 .1gc. I he graph1c plJ) bL't\'i'<:en fi·ce pass.tges of
\\ 1~h ,1ud de,l r1pt1vc l111cs . .1nd bt•t\\'t't:'Tl sil\'i:r)· ltght ;111d dark, is
;)11 cxprt'S'il\,.: con111h:nl 1ry 011 tht' r1ch1lt'SS l)r dr,l\Vtllg as '-\tbject
;ind cup1c. Tht.· !l)llg ll.lrn>,v ti>r111.1t c,f chi~ d1.L\\ Íllg (1c i, now
hc:ht'\·t·d th,lt tht· C\'l , lC \\li' lll(l'llLÍL'd JS J. n1ur,1l schcrne for
7.urc,lrl,\ lto1n:11 housc, the t>,u,1zzt> Zucc.1ro. bcqucatl1ed to tl1e
Ac1.,tdc11u-1 d1 \.111 Luc.1) 1~ en1phas1-,t.:d b) the call proportions of
thi: ct•ntrJliscd t1pl.'n ,,·111do,..,. 0utl1ned ,vich ,1 hr111 brov,, n fi·an1e
ag.1111'it a rt'flcctt·d ,vh1re bc1rd1:r ';. 111 other render1ng'> o( Lhis
\Ct' llt' (I os ,"\ngt·h:,. J. l',1ul Gett) M u,eu111, 1nd nt>rence, Galle-
ri 1 dt·glt UJTi11). the shu tter, e> ( the ,víudO\\ arL' CO\'ercd ,vith
T.1ddt.·o \ ~kctc hl·,. ,111d hc.• b.1la11cc~ !1i:-, dra,vu1g paper on .111 ill-
~h.1ped p1ecl' o! ,vood ino,;tc,1d of a proper dra\v1ng board. The
l.1.ck oi d1st1\1cti11g d<:t.1.il 111 thc Ash111olean copy· \·crsio11 acce11-
tu.1tcs thc 111re11~c concc11cracion of the crouchi,1g figure, w hose
n1 0,·1ng h:1nd ,1g:, i1v,r tht"' drav:in g paper i-, etchc-d in n1t)c)nlight
:111d ,h.1do,,, crt'ating a t.lra,, ing wh<>~e liquid fi)r111s e,·okc che
11111,rec1:-,1011, or !,1tk of li ght. The potenry of this u1)age oC thc
'i<)ILt,1ry 11octur11,1' tlr,1\VL'r ,,.1s invok.ed in Bcllori\ L{fc e?( S({!11t1r
(:c1rh1 .\l11r,111i• .1 L1ter pr111c1paJ of tl1e J:.t.0U1an Accadcnlia di San
Lu ca. According to tlus b1ograpb·y, 11<)t a d.1y \\'e11t by 'tl1at he
did 11ot study rhe e,·er-co1r1111cndable work~ of ltaphael ... in
rhoSt' ~r:in7e, \:\ here he \\·ou ld be rhe first ro :irrive and cl1e lasr
rc) le,1 vc, n1i11ding neirher he.1r n<>r cold', and eve11 atêer he l1.1d
\Wg~ercd ho111e to TrJ<;tcverc. 'he ,vould prolong thc h()Urs ...
111 thc silcuce of thc night, pr<>ciucing the vcry beaut-iful ideas
that he drcv\' fi·on1 his 1nind ... a11J 111 lm sleep it scen1.cd to
b1111 he v\·as st1ll dra,,ri ng. \Vh1!e lús chalk holder ,vo11ld tàU fron1
h1s h,111d' .r
T\\O l)l.1ck ,111d rL'd chalk <;tudies by Zuccaro fro111 the early
r560~, o( arllst<; dr.1w1ng al"ter Michelangelo in the Med iei Chapei
(pi\ 146 .l nd 147). ,,rc 111ore natu1 ,1li~ric chan che 111a11iera dravv-
111.gs of lhe \yt11bolic Li/,· t>( ·1;11/t!!'o. 111 both dra,vi ngs, .i skecchv
~ ~ li.. ,,
buc s1gu1fic.1J1t corner figure dra,,:ing 011 h1s knec êstablis11.es a
connecting hnk benvecn tl1c pa1red V1evvs, V\·ruch tl1.erefore can
be scen .1~ co11st1tuting a yoº panoranuc spread of the two halves
nf thc Me<li c1 (: hapel \Vhen v1e\ved rogerher. 2!! The dra,ving of
the <tll,ll sitie of the t l1,1pel (pi. 1.i6) is ct,1nposed fron1 íl sligl1 tly
!o,vcr ,·te,, po1nt, .1lthough ,viLh largcr figures th.in the cn,npan-
1011 'iketch o( Lorcnzo' de' Mc.;c.lici\ (unera r-y n1onu111ent croV\rdcd
,,vich Jrnsc, dr:i,v1ng fi-01n tbc reclining :.cLt.lpturcs of D t111111 anel
l)11sk on thc <;.1rcophagt.1s belo,,· the rucl1e scuJpttirc of Lore11:::o
(p i. 1.~7). TI1i'i dr.1,, 111g 1-. fui! of h1n11oro1.1,; detail: nvo artists 011
J bt·11cl1 111 the 1nidJlc of the chapei have ju<;t con5urned a non-
sacra111cnt.1l \llac k: a c,u·,1ft of \\ Jllt' .,nd a b,,g of food ~re on cl1e
flt)Or ucxt to the111, ,1nd .t dog -;11ot1.te'i nt'arby \>,11th his eye t>11
the goo<lies. \Vhile a st.1nd111g ligurc dra,v, 011 their léft anel
214 í)RAWINC, A<;, U l 'iCIF'l 11JE-
)Outhful artists clai11ber over plinths a11d steps. Thc artists are
e1ther holding drawmg boa.reis on chcir knces or standing to
makc quick sketches 011 snia.U blocks or m sketchbooks. (Cen-
111no Ce1111ini had instructed artists how to rnake a porcfolio our
of pastc:boarcl. ,.v hich vvas also useful for carrying or supporting
dra,vingi;. whc:11 out sketcl1i11g 'i11 churcl1es and cl1a11els'. 29) The
artists wcar conrcn1porary costu111e - bírettas or brin1111ed hats,
pt1flêd k11ce-breeches and cloaks: they are altogethcr very differ-
e11t fro1n the p11tto pittore (angelic cbild J:[tist) in the ~f .1ddeo l ;ita,
altho ugh son1e are very youug - apprentices joii1ed workshops at
a very early age. The con1pan1on drawing t)f the altar v.ia11
(ril.146) ic. n1ore deliberate and grander in conception. and vvould
have been v.•orked up !ater in the studio, if ,ve acce1)t chat boch
tl1ese , iews ,vere 'taken on the spot'. \vhjch tl1.c subject seen1s
dclibcrately to promotc. Wc can construct the presencc of thc
rccording artist. tl1at is, Zuccaro lmusclf~ fron1 tl1.e foresl1ortened
architecrural details. He seems co be sittíng lo\ver rhan the group
of artísts on cl,e lc:ft. where a co L111terpart figure on a ve1-y lo\\'
bench ü, t,visting to exa n1ine a dra\ving being disct1ssed by two
arti!:>ts with great concentration. ~)
Th e artistic legitin1ation of <laily dra,viug is not 01ily a n1.atter
of keepir1g thc ba11d i11 practicc, but also a defining acti'\·1ty of
artistic Jife. As Leo11ardo's v.rritíngs had evidenced, ali care:ful
obscrvations of nan1re or the rapid nocations 'in a little
11otebook' of 'the po.,-itions and actions of 1nen in talking, quar-
relling, laughi11g and fightíng together' could be puc to appro-
priate use in art, as long as clecoru111 wa<; ob;;erved. 'Tl,e long
~·inter cve1úngs should be utiliscd by young scu<leut~ i11 study-
ing; thc chings prcpared during thc su111n1er.'·\I A portable sketcl1-
book locares the artisc ,vithín the real world and validates both
the recording of the quoridian a11d its apphcacion and aggra11-
dise111ent in grand narrative painting. ln this sense, the fo1711ula
11111/n dics sinc /inca serves to reconcile the gulf becvveen the every-
day ,vorld of artisanal experience and the i11tellectual aspirations
of the acadt n1ically trained artist.
Albrecht Dürer·s scudies of the 11atu[al world - of flowers,
insects, animais and landscapes - wcrc Lisually in colour and
h1ghly detailed, buc l1e also n1ade pen and i11 k jotti11gs of every-
day objects fo r use in prit1ts or pai11tings, inclllding dra,;viJ1.g
stands :-111d screens for accL1rate perspectiva] copyi11g. 32 Diirer,
who as a p1-int1naker vvas gi,ren the accolade of 'tl1e Apelles of
black lines' by I)e~ideriu~ Eras111us, a11d was rhetorically addres,ed
.1s the 11/ter AJJl'lles, see111_s to havc been legitin,ising his rough
studies when l1e wrote: 'An artist of understa11ding a11d e:>,,'Peri-
ence can sho\v 111orc of bis great power and art in crL1de ru1d
rustic things. and this in works of a sn1aU size, tha11 n1any another
33
111 hjs great work.' A completely unpretentious pen and iT1k
drawing, 'Ti110 .~t11dics (!{vVei_ghit1Jt Serdes (pi. 148), illustrates tbe care
vvith whic h Dürer has observed a c;et of actual ~cales fron, two
vit>,vpoincs. che right-hand dra\ving charting exactly how che
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r46 Fcdcrico Zuccaro, .4rrists Ske1t'Ílh1)! i11 1/,r /'ler,, ,",a(I isry, S1111 l-tire11::!>, 1560~. black ,tnd rcd thall., 188 X 26 5 111111.
Paris, Mltsée dn Louvre, IJepartn,cnr des Arts graphigues, 4555

147 Federico Zuccaro, 1-lrrísts l)m111i11g ,iftcr /\ l1rhcl,11~~<'iCl i11 rlie ,\,/eclic, (;l,npcl, ~t111 Lc1re11zr, 1560~. black and red
chalk, 200 X .263 nm1. Paris, Iv1usée du Louvre, Dépc1rt111cut dcs Ares graphiques, 4554

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1 ~:; .AJbrel·hc l)lircr. 7111,1 St11d1c.< •!t ll'r:(~l,i11J? S.-,iles, rircu 151+, pen an·d hro,vn
1nk. 2,os x 17, 111111. Ocrhn. Sta,1ththc Nl11,cc11 zu Bcrlu1, Kupfer~µ;ihk.lb1111.:tc,
KdL LJ70J
cross bar sLde<; Qn 1ts screv;· pivot. The en1pbases of ink shado,vs
co11ve,• the 111et:.1llic a.n d sh1ny qu:.11.ity of tms ,vorkaday buc
re,;ron<;1ve n1echan1sn1. This, prcsun1ably, \Vas t11e set of scales
intended for 111clu,;1on ª" a -;yn1bolic device tor n1easuri11g borh
,veighr and tin1e (and gen ius?) in l)ürer'~ fa111ous engraving
,\ felc11colia I ( t51-1-). aflixed to the to,ver behind the head oí tl1e
brood111g fe111ale figure togethcr ,vith hourglass and bell. Thc
con1plexiril's of cbis S)'tnbolic print. ,,vhich persorúties the 111ela11-
choly hun1our of ge111us undl'.'r the phn1ecary i11fluenc~ of Sa tur11,
accord i11 g ro the neoplato11ic \\"r1ci11gs of Marsilio Ficino, bave
bern e11tlle~,I) interprett>d.~ 1 I3ut \vhat is <;ignificant, in tl1e
conte,t ()f chi~ chapter, Í'l that rhe acts of ol1servational dra\ving
precede. stand alonhrs1Je an<l u11derrin the co111plt·x intellectual
prograu1111c o[ finished ,vork~. ln chc print, Dürer\ Mu~e of
C.;t>on1etry 15 fixed rn tlic tcnsc despair of n1clancl1oly apatl1y,
11lu,;trating the rl!lationship bct,vcen crcativ1ty and broodiI1g
inact1v1ry." T,ubens, rhe 111o~t v.rorldly of artiscs, bLtsily pursu111g
a d1plon1auc c,treer :ilongsi<.ie th:it of artist, was reported by
)a1nt11.:I van f I0og~traten t<> have said: ' I :1111 n1ost busy "vhen you
1
sei! n1e 1dle ' ' N111/,1 dies .,í11c li11ea i,; nc)t just a recipt> for n1.1í11-
ra1111ng n1echanical hand a11d cyt ski11s througl1 praccicc. but a
pi,:ota1 co11d1tiu11 of thc artisric pcrso11a.
Thc idc11tilicabon between le:irni11g. che da.ily practíce of
dra,ving :md n1oral pTobity has a 1011g history i.J1 acaden1ic
literacure. Sir Joshua J~eyi1olds wa~ echoing a line of precleces-
sors \A.'ht'n he o rdered ,;cudencs in the Second l)iscour<;e t<) the
Royal Acaden1y to 'l)l'rsevtrt" in habit~ of industry'. 'A fa ciliry of
tlrA,ving. lihe thc1t t)f playi11g upon a musical instrwnent, ca1111oc
bc acqu1red but by au intirute nLunbers of acts ... the porte-
crayon 01.1ght to bc for cver Í11 yo·u.r l1a11ds.'37 l"teynolds was
specifically reterring to figi1re dra,ving, ar1d encouragin g scudc'nts
to draw fron1 111e111ory 011 cheir 'recurn fi-0111 the Acn.den1y (v.•here
I suppo-;I! you r .1ttend.1nce to be constant)', but the hectoring
to11e of his lecrures 111L1st hJve been very galling for
sLudents. ,:-i Exhort.1tio11s to i11dustrv in sh1dents could be
;
deliberacely pLtnitive. Apprencices and pupils bad to 'labour' at
dra\,,ing beiorc bei.ng allovved the 'senst1al pleasures' of pair1t,
and sh1de11ts in :.1cade1nies over the centuries sufrêred year-. of
boredo1n and rt'strau1t con hn ed co co11ying dra,vings, ref'e rred to
by Denis l) ideroc in 17()7 ,1s th ose ',;even cruel and difficult years'
clra,ving after cl1e n1odel at tl1e acade111y. during v.;hicl1 an artisc's
style becon.lcs d.istorted and n1an11ertd. ·\" Even i11 tl1c 11úd-
wuetec11th ccnrury, Ruskin. the supposed scourgc of che acade-
11úc. v.·110 opposed the dr:1w1ng of cubes .:u1d cones a11d rhe
teaching of perspective, ,vroce austerely in ·171e Elen1e11ts qf
Dra11•i11~(:- 'the indu lge nce of l1sing the fsicl colour -;hould only be
granted as a re,vard after lthe pupil] h.1!> sl1<)Wl1 care and
progre~s.' 411 ln the c,ventieth century the great dr.-1ughtsn1a11
Matisse, i11 a ·cu lciv,1ci ng the -,oil' IL·tter of 1948 al1out tl1e in1por-
cauce of clrawi.ng. ,vrocc: 'it is 011l y after years of preparatio11 t11at
the yotu1g artist should toucl1. colour'. 4 1 And when b.e briefly ran
his ov.1 0 art classes ti·0111 L1te r907 to r9r1, he dcmanded the dis-
□ ph□ c of repett t1ve dra,ving exercises frotn the a.ri.tique, the very
thii1g tbat he h.i111self had fol1nd 'deadly' in his o,vn train.ing. 12
Henry Jvloore despaired of Leeds School of Art in 1919. where
a ny 'excicen1en t or fi·eshness' of stl1de11ts ·had been deadened a11d
killcd off by hu111drun1 copying of tl1e a11tique, just n1aki11g very
carcful stun1p-shaded dr.1wi rlgs with no understa11ding "vhatever
of- forn1' .43
Tbe 111otto 111tl/a dies sine /in ca tl1erefore enco111passes a huge
ra11ge of contradictory ideologies fi·o1J1 desi.J·e co pu11ísh111ent. The
elevation of hard work into a ruling ohsession, \Vith its conse-
quent neglect of eve1)'day 111atters. l1eca111e o ne of tl1e defining
traits of che fully Aedged ro111.1ntic artist, and in the ninetee nth
a11d t\A.'c11tietb centt1ries thc i111perative to co11ti11uo us drawing
(and painting) becan1c both o utwardly institutionalised and per-
son_aliy nah1ralised , as a v1t..1.l element of the artiscic psychc. ln
Honoré Balzac's Lc Ch~{-rl'oc1111rc i11ca111111 (183 1) , the t1ainter
Fren hofer isso fi-enetically c:1 ught in a cycle of continuous activ-
ity, of paii1tii1g, erasing a11d repainti11g, tbat 11othing legible
re1naíns on lus canva.<. except à co1úusion of 1rurks, lines ;:u1d
colot1rs. Ac che end of rhe ni11eteenrh cenrury Carn1lle Pissarro,
,vho<,<.> O\vn outpi1t c)r drawing, nun1bered well over 4,000,
adv1sed his son Lucjen to sketch so incessantly tl1at dra'vving
\Vould becou1e iJ1stinctive.+1 Engrau1cd babits of constant
dra,ving vvcre ccnn·al to the practice of tl1c busiest of bis con-
temporarics, Adolpl1 Menzel, vvhose phe11on1cnal daily output of
skecches dane with a carpenter's pencil in pockec sketchbooks
v\:as ofte11 graced b,, con1mentators v\'Íth the Apelles cag.
The belief in continua] work as a necessary condition of che
artistic psycl1e was end<)rsed by rhe Gern1an Expressío1ti'.)ts, stated
<lran1atically iu Max T>echscein 's Creatí11e Credo of 1920: 'Sick11e:;s
docs11't exist! ÜLuy \Vork ... blcssed work! ... Crayon and pen
pierce sl1arply ui.to t11e brain. th.e y stab into every corner, furi-
ously the1· pres_s into the wbiceness. Black laughs like the devi!
on paper, gri11.S in bizarre lu1es, con1forts u1 velvecy pla11es. excites
and c::iresse'>.' 1.5 Althougl1 Picasso, che n1odern Apelles, whose
daily outpourings filJed hundreds of notebooks, is n<) longer hei d
up as a n,odel to present-day students, it i,;; .111 unsl1akeable ped-
agogic rule that art, a.rcb.itecture a.11d design ~tudents should keep
notebooks and sketcl1books as a witncss to their daily acrivicics
and strivings. 4" Such books still fltlfil the centuries-old fu.11ction
of assembling a personal creative r~S(Yurce; but, i11 a post-
Ducha111pian age thac worships tl, e ready-n1ade, they cend to
co.ntain collages of photographs. rnagazine cutting~, con1puter
print-oucs, sweetie pa11ers, doodles and text ratl1er tl1an observa-
cio11al notl.'s or gc-nerative dra,vÍ11gs. More than a resource. ~uch
11otebooks de.fi11c aJ1d Jegiti1nate practice and are a sigpjficant
record 01· the sacralised activity tl1nt helps to construct tl1e for-
n1uJation of ·Artisc', even today when st1ch u1dicators of spec1al-
oes'S and otl1er11.ess are regt.tlarl)' debunked.
Pictor Doctus: The l earned Artist
Those who are 1n love Wlth practice wrthoul knowledge are hke the saJlor who gets into
... sh,p without a rudder or compass and who can neve, be certain where ,s he go,ng.
PractJce must always be founded on sound theory.
Leonardo da V,no"
Theory by herself is chained w,lh bonds, and Practice alone is blind ,n hei libe, ty.
P1etro Testa"'
A bro,vn ink ai1d wash dra"ving, "11,c A 11s <?f JJai111i11,r, n11d Sc11/p-
t11re (1573; pl. 149) by the Anrnrerp-born arcic;t Strada.nus (1523-
T605), who was cloc;ely associated ,vith Vasari\ stL1dio. lays out a
111
c;yn1bolic progran1111e for artists. Together ,vitl1 ics pe11dant
dra,vi11g, ,vhích was never engraved, it celebrates rhe aspirations
of liberal artists in con1bi11iJ1g k11ov,rledge and praccice ~'ithin an
idealised ,vorkshop spacc functioni11g as a n1etaphorical academy.
Standing at tl1e top lefr of tlns l11erarch1cal co1npos1c1on, a le.1rni:d
pa1nter in hat and long c;leeve-, (the p1ctor docr11s) coum1and, ,l
fi·e-,co of J battle-piece 'vVitli h1<; roi~ed 111ahl'it1ck, like .1 ger1er:il.''J
Tl1e central 'ipace is occupieti by a working ,cul})tor ra1111ing
a,vay at cbe arn1 of a ~quir1ting fen1ale V1ctc>ry (suggesti11g thac
Scrada11us has conccded vict<)ry to sculptLtrc 1n lht: pdra4<011c
debate), whilc a forcshortcncd íllld rathcr disordcrly r1ver god
spills ,vacer fi.-on1 1us pot over tl1e ce11tral pl111tl1, a11d l(o111l1lus
and l~ernus are suckled by a , volf, elevacing the ;1rtist1c in1por-
cance of l~o111e. Arr practice gives w~1y to pedagogical issues
fi1rther dovvn the vértical con1position v\'Íth a bespeclacled pro-
fessor of anaco111y co111pleti11g tl1e flaying or a suspL'nded l1uL
rather livcly l1u111a11 écorc/1(: (a ,caJavcr ,vhose skin ,u1d 'iUbcuta-
11eous fat l1as bee11 rcn10,,ed to ..,how tl1.e musculature). Tbe
lo\vest posi tions are taken by p1:.1pils drawi11g, one of ,,~hom is
copying eyes fro1n a nianua.l, \vhiJe others co11.centrate on an
urbane skeleton. An ope11-111ouched yo1.1th on a 'itool in the
bc)tton1 centre is perhaps '>ingin g a n1easure: d1e ~tudy of .inarn111y,
pron1inent in cl,is in1age. ,va<; con nected J)llilc>sopl1ica1ly ,v·ich
111usical proportion, the 11111síca /111111111111. 51 The objects of <;tudy -
the hl1n1an écorché, tl1c 111odcl l1orsc and thc buxon, statuetcc of
Vc11us. with one h:u1d on hcr breast u1 the p11dica position - being
dra,vn by the seated architect and bereted engraver. are ali
hand led vtith rhe ,;an1e b,·ely couch as the artists ,vho are dra\ving
chen1. There is no difference of treat:Jnent bel:\\•een 'still' and 'live'
figuracio11, becween rhe artists Jnd their repre5entatio11s. so thac
tl1e allegorical stLLdio 5erves to proliferatc tl1e Pygi11alion 111ylh.
I11 tl1is 111uch-rcproduced i11.1age, pedagogy is in che gift o[ tl1e
artic;-tic ,votksl1op, ,vluch provides a full range of hu111anist learn-
rng and skills, v.1 itb tlie yot.1ng lear1m1g by exen1plar fron1 111:iture
arcists. 5~
ln a n1uch larer i1nage syn1bolising che established ac.1de111y by
Cario Maratta (1625-1713), the ._'-;r/i,)v/ ef Design (Accade111ia dei/a
Pi1111ra) of 1682. tl1e learncd artist in acade111ic dress, \vho repre-
sc11ts tradition a11d the importaucc of prece<.ie11ce a11d cont111u-
ity. is pcrso11if1ed as a bcard cd Lconardo. 53 111 the dra,vi11g
(pl. 150), hc v.,ears tl1e :A.at acadenuc beret and ermine-trimmed
robe depicred in Vasari's \.VelJ-ki1owi1 porcrait, and is dê'111011-
-,trating rhe anaton1y of a fi.111-scale érorc/,é to students. The r1li11ch
for tbis figure l1ear1, the inscription tn11to rlie basti ('j ust ª" 111uch
as is 11eces~ary') .~4 This group jc; alu1ost obscured by the cenLral
group in chc foreground, cluscering .irou11d an easel of per:spec-
cival cliagra.111S and geometr1c figures (bearing che same n1otto)
by a cur.ly-bearded fig11re ,vear11,g classicaJ robes. A bcarded and
venerable artl')c, perhaps MicheJ.1nge lo, 1s part of th1,; group, \V1th
a georneter in the n·ont busy n1easuri11g- bur only as n1urh .is
is needed. The study of geon1etry. oritics and anat<.>111y ,l1ould bt·
undertaken i11 a n1easureLi ,vay according to the Mar.teta viev\',
but tl1e inscriptio11 above J statue of / lpolfo in tl1e background,
111ní <1bbasta11za, tells us chat the a11tique cottld 11ever be stud1ed
DRAWING AND LEARNING 2.17
 'JX3 ~ .l.l:,umc::J ~ -..,. ~I 'W 'JAUIMA1" R 1'•• M '0'A.Jilr•
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LI,') Str.1d.111u, (1.111 van de r Stract). '/71(' .·lrts o( Pai,ai11.g 1111,I Surl11tlirt', 1573. pen and light bro\Vtl iuk and brO\Vll JJ1d
hl.H k-brn\vn \Yash, heightcned \\ 1th ,,lutc; the 011thnes gone over ,vith a ~tylu~. 437 X 293 111111. London, fhe Bnash
l\1u,euu1, SI ,5214,.:!
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150 Cado Maralla., Tlu! School oj· Dcsi,[/11 (rlcei1du111a rl,•II,, l'ít111r,1) . 168.2, pen an J brown iJ1k \o\ith bro,v11 \V.~h. l1cightc.:11t•d ,vtth ,, hire boJ,
coJour over chalk and ~rylLJ'> llr1dc rdr.iwi ng, 402 X J 10 1111n C h al~\YOrth. l)t'VOt1\hire C'.ollt'ctton, 646
 ugh I hrt:t 1, 1rhaelt squ t: ( ,r,1r es fl<).lt in , 1 1. loud ,vith thc
111~<.: 11pt1< n , n , d, 11,11 11(!111 j 11ill1 e ''""" (',v1tl1out the Grac.t\ .,U
etlort 1~ 111 ,1111'). l n Jll e,1rhe1 vc r . . 1011 <)f the drJ\\ing 111 the
W.1cls\\( l th Ath t·neu 111 . l l.1rUo r(i. Ct)JlflC.:f ticuc, ,1 ~tool \,\'lth
p.1h.-ttt: ,1nd brushes (thc ortly rt·f,:rcnce t<> coloi1r) carries che
n1c,tto 'th ro ugb thc ,, ork o f ,lrt .1lo11c- co111e, rcv,:ard and
•
hono ur'. As 111 the Str.1d.1nus dr.1wing. rhere i~ 11() difTen:·nn;-i-
tll)ll of li11 e.1r trt.'.llll lt·nr i11 the pliy.,ic.11 ... r.1n1~ <)f ., tatuary and
·Jiving' p.11 ciçip,111t<, ,111d 1he theatr1Lal en1b<1di111e11t of ide,1s of
gr.1t 1.·.' The {,con hé ,vith ra1sed Jr111 (probabl)' bascd 011 tl1c
t:tJ.11ot1.., 1:ct1r /a: bro nzl' by Cigoli) i., as l1vel) as cl1e Heré11li:s i11 a
n1L·he Jnd tl,L p.1rtic1paci11g group of flc)Jt111g c;race-;. ,vbose
cloud 1.'111.111:i res, hke ,n,okL'. ti·on1 ,t l.1rgt' c.1ndlest1cJ..., syn1bo lis-
1ng tht" light of tht" 1nrellt·cc ,lllll light ,ls revelati()tl. Tin1t' and
l'I.H::t' .tn..• 11ullifieJ ,vithin the utop1J11 s11,1cc of che ;icaLle1ny.
57
\Vht·1t· ,¾rt i\ .in 1Je.1l ,111d u11iversam.u1g practicc.
Tht.• i111port.1ncc of thc study of 111.1thcn1arics. that is, gcon1c-
cry ,llld tr1gonon1ct1--y, 111 rch1r1011 to optics. perspec □ ve and pro
porr1011 I\ S) 111boused 111 n1:111y acade1ny in1age~ by 111athe111atical
d1.igr:1111. . heing n1t·as11rcd vvith a pair of dividers. typified in
lZaphat'l\ figure of Euclid in cht' 5,r/1<1<1/ ,if A,l1e11s fi·e~co i11 the
V.incan. Pli11y. d1e legici111ati11g ~ource for re11,1issa11ce thcorists.
pcr,0111fied the stuJ~ e)( n1,1cheu1atics i11 t11c figure o[ Pan1plillus,
·chc hrst p.1111tt"r l11ghly cducatcd 111 aU branchés of lear11ing;.
cspcc1aU) ar1thn1ct1c and geo111etr)', \\rirhout the aid of ,vni cb he
111a1ncained art could not attain perfect1011'. 58 P:ir1111gianino
(Girolan,o Francesco Maz70L1, 1503-1540) proctuced tv.10 very
lível, p1.·11 J11d ink ,kl'tche, t>f ideal Pl,1conic '.1cade111ies' in the
9
J 'i30~, the lt1\l dec,1dc of11i~ litê.~ Tl1e roughl, 'it)'lisc-J figures in
both thcse ,1l legoricaJ sketches are 11aked, as if waitit1g to be
clothed ,vich n1eaniniz wh.e11 tl1e artist \'-·oiild develop the111 a~
pr111cs or pa1ntings. 711c .-lrtist í11 /ris St11dio (New Yórk. Pierpo11t
Morg,111 L1brary) reprec;ents studio activicies ,vithin a long.
11.1rro,v. harrel-vaulted chan1ber. i11clud1ng a sta11ding paincer at
,ln e.1,t' I 111 tht' left Íl>reground, ,1 knt'eling figure laying out an
1.•l.1borall' pen,pecuvc 011 a h1rge-'>cale C.lnva~ \Vith 111e,1suring rule,
.1nd figures dr;:iv,:iL1g s1nalJ ~c uJptural 111odels 011 a cablc in tl,e
background. Ali the J.ccoutrc111cncs of ,t srudio are skctched in
rhe n1ost cursor)· 111an11er, yet 11otlnng of signjfi cance rclatirtg to
,cud1l, pr.ictice is left out. l 'hc seaced figure in the ccnu·c is e1tl1er
,uper\'i~111µ tbc 111ea,;uring of the horizontal constrttction
dr,l\\ ing on the I ight 0 1 repre<;ents tl1e contén1plative arcist,
,vbO\l' 111cdit,1bve sL.1sis. une.ler the sign of Mercury - th,1c ,.vhi cb
,,·a, ,o \'alucd by 1luben'\ i, a crucial Jspect of artiscic rh eroric.
1-lo,v n1uch n1arhcn1.1ticaJ i11S07lction ,vas actuaUy delivered in
rhe ac.1den1ies at d1flerenr tnnes 1s J quest1on of debate, but we
l-.110,v eh 1t ZucLaro 111 the carlv , d.avs
, of the Accadenua d1 San
LuL ,I. llo111e, ,v.1, dubiuus .1bout too n1uch rcliance <)n geon1e-
tr~. r1J1c.uhng l )ürL·r\ f< 1 r1r fJpoks 011 f /111111111 Pro1>onh,n: 'Once che
pr1uc1ple, of proport1011 h.l\L been LOJ11111itted tt) 111e111ory, the
220 DRAWING A& DI SC'lí- LINE
111111/11·111,1/i(., ,ire no lo11ge r of Jl1) co11set1uence' .u1d 'tl1e Jrt of
pai11n11-~ does not der1\'e frou1 the nlat11ematical sciences. 11or has
1t any need to resorc to chem to learn rules or n1eans for 1cs own
art, not even in order co reason abc;ti·actly about th1s art: for
p:nnttng 1s not the daughter of 111athen1atics bur of N:irure and
of l)ravving' .rd Neverrheless. artists should 'have che co11111a,s.
'-guare and judgen1ent in cl1e eye,·, sinc~ dependency on.
111echanical n1easuren1e11t would 'degrade the intellect. extinguisl1
judgen1e11t' .'' 1 Tbis 11otion l1ad originally been attributed to
Michelangelo by Vasari, ,..,ho ernployed tbe n1etaphor of the
·con1pass ii1 one's e,·es· betat1se 'the l1auds execute, but 1t 1s the
eye \\ hich Judges· .1ª Perspecti\>e n1,tnu:1ls of the tin1e thac
l)ro,noted co111plex ideac:; of opcics and 111achen1aric'l \Vere
nevertheless very praccical. l)anie] Barl1aro's Tl,e 11r,1ctice (!( Per-
s11ccri1•c (L1 prattic11 dc/1,1 pers1)ccti11a) of 1568. for exan1.ple, i11strucrs
ho,v a projection can be traccd by joining ttp tl1e l1oles i11 a
pricked dra,vii1g l1cld at tl1c appropriate angle to rays &om the
sun or a la1np.',3
A pen, ink and ,vash drawíng by the Flen:iish arcist Adan1 van
Nt>c>rt ( 1562-1641), the tirst of l~ubens'l> teachers, syn1bolises the
i 111portance of geon1etry in the 111aki11g of are, although Pedias
.4rlrr1111 J11str11c1iJ1g Pai111i1t~, 1598: (pl. 151) pre-dates tl1e founding
01· tl1c A11twerp acaden1y in L66 3. 111 trad.itio11al 111a11nerist style.
va1i N oort 's drawi.t1g 01ytl1ologises those skills rl1ax the 111asters
of studios, 1ne1nbers of tl1e G1,1ild of Se Luke, ,vould s1.1pposed l)'
h:ive pa.,sed on to cheir pupil'>. The barefooted M1,1se of Painting
1n fi·ont of her eac;el looks 11p ,vith terrible sub111j,;sion at her
tender te,icher Pall;-i~ Athen;i, \vho n1easures a figure on l1er
c.:1nva<; wilh a pair tJÍ con1pas'>es. The Muse's rhetorical l1and
gesture of poü1ti11g (111ore usually é111ploycd for religious figures)
repeats rhc tria11gular for111 of tl1.e di,·iders, and ljallas Atl1ena's
pe11nant scandard sinúlarly tor11is a triangt1l:1ted co111posicion with
the rulers and geo1netrical instrurnents l)•ing scatcered on the
Aoor, in fronc of a little collection o 'Placonic Sollds', the <;phere,
cone and cube that were unclerstood co l1e the i11fi·astruccure of
.ili forn1s. The ftrst ,;tate111e11t of Rubens's so-called Theor}' t~( tl1e
l-l11111,J11 Bod)' (Tliéorie de. la .fi.eurc /11111111i11c'), })Ublishcd post-
hun1ot1sJy. declares that 'Tl1c principie ele111ents of tJ1e hw11an
bo.d y ca11 be redL1ced to a cube, circle ~u1d triangle'."·' Thc activ-
1ty of van Noort's emblen1atic drav..·ing takes place 011t of doors.
allo\ving the heavy sh;:ido,vs to reinforce che i1nporcance of
'>hado,v projeccion~ (sciagraplhy) ,vitl1in a co 11structed archicec-
tura 1 pe r'l})ecti,,e ser al an angle to the dra,ving fi·an1e.
While as~ociatt:J witl, tl1e- Ro111e acatien1y, Zuccaro had i11sti-
tutcd ,l !)t:ries of discorsi 011 history, poecry, Ltl)'tl1ology and artis-
cic practice from invited artists and philosophers, althougb bc -w·as
ki1.o,,·o to h-ave delivered n1ost of chc talks hjniself when the
experts f:1iled to deliver. ~fhe,;e could have been the precedence
for che fai11ou~ French co1iférc11ces in which paintins,s li·o111 the
Louvre roy;:il colleccionc; ,vere analy,ed b~ 111en1bers of the
 ........
-- \
\
J,
/ co1npleted tl1.err ncadeuuc craim1ig co vis1r ai1□ quc s1tcs and co
.,,
151 Adan1 van Noorc, l't11!11J Achena lnstr11a i11,i!_ P(1i111i11g, 15~8. b lack chalk. pen
Jnd bro,vn and grey ,vasb, 2-66 X J901un1. Rottcn:L-1n1. Mus~un1
13oun1ans Van Beuningen. Prentenknbinec. M13 1767
French Acadénúe Royale de Peinture et de Sculptt1re. 1.s
The acade1ny, the subject of much tiercely argued theorerical di!\-
ct1ssion , \Vns n,arked by hon,age to Ponssin - an hono ur that
repeated tl1e 111a1111er Íl1 \Vhich Micbelangelo. in spite o f his
reluctanc~, l1ad been reg.1rde.d a.\ che ' first' acade111icia11 ü1
Florence. Tbe Frcl1 ch i11stitution was regulatcd by statute by
Louis xrv's 1ninister Jean-Baptiste Colbert in t663-4, :ll1d a
systen1 of rules instttuted tliat allowed for official concrol o f aJl
aspects of teaching and art produccion, plus a division inro chree
'estares' of éle11<'~-. c1greés and 11cadé111icie11s. Kno,vledge of geo111e-
try, n1athe111acic-; anel perspective ,vas considc:red of g reat i111po r-
tance."<> I t \Vas no coin cid.e nce chat Alberti's On P11i11rine ~·as
'
pubhslied in Paris lll 1651 Íll a translation by Dufi·csnc, a11d thc
artist ru1d n1:1the111atician Abrahar11 Bossc (1602-1676) ,vas tbc
first instruccor, subseqt1encly pt1blishing his lectures as text-
books.''" The geo111etr1c and proporcional bas1\ of bodily forn1
re111ained a very i1111iortant p3rt oí Fre111. h .1 c,1<:ien1i c 111etht1d.
\Vhacever the stri1ggles bet\vc:e-11 t11e R ubé111ste'i, \.Vith rhe1r bt."lief
in che in1porcance oí colou1, ,111d tht· .idherent, of li,11:, th c
1>oussinistcs.1'1-1 Ahuost il11n1cdi.1cely, in 1666. chc A cadé11uc
Française \Vas cstablished Íl1 !tome, tn ordcr for artists ,,-ho h.aJ
send copies of painting ::ind sculptura l ·111a'>te1,,vorks' back to
France for stud) purpo,es .
Spatial Hi erarchies in the Life Room
An acadcmy 1s a pubhc school where pa1nters go to draw or pa1nt, and sculptors to
model, after a nude man called the rnodc l
D1derot and d'AlemberL"
Wh1le lhe model was posed a protound s1lence re1gned, ,n wh1ch each person dre-N w1th
kee-i and st.urdy appl1cat1on.
l-lenr1 Testehn 'O
Acade111ic practice fi·on, ics i11cepc1011 bas been co11stiruted
.1round dra,víng fi·on1 che nude; índe~d. d,-awíng could only he
un<lerscood as J liberal art if it invol\'ed ':,tudy of tl1e body as che
repository of classic.tl and ''iCÍt!'utific' or natural i11 for111a Lion. The
Accadcniia cli San Lt1ca i11 Ro1-11e was tl1e first to obtain a papal
dispe11satio11 to e111ploy nude 111odels, in 1593, and fron.1 t655 tbc
French Acadé1nie Royale ,vas a\varded monopoly rigl1ts to pose
a niodel. 71 So str1ct vvere tbese rt1lt's tbat 130,;se ,vas expelled 111
1661 ~ or l1olding u nlicensed li tê clas,;e~ oucc;ide rhe acade111y.
Concrol of thc nude living (111ale) l1ody, as ,,·ell as concrol of
the dead body in anaton11ca.l stu<.lies, therefore conscicuted an
essencial aspcct of the mo11opolistic (royal- ar latcr state-con-
tro llcd) autl1ority of acadenues, and ,vas exerc1scd vvitlun for111.tl
.
constra1nts and starutes. -
-~
The life class i11 ics long history is an e11c1rely artificial con-
'>truct: a po,verful representac10;1 noc only of lookíng, but also of
forc~ of control . A llt)tJble facror, present as 111uch in represen-
tacion.s as observation of accual cLa.,ses 111 progress, is the aura of
absorption and conccutratiou of the dra"- ers disposel-l in a 1
Cll'cular or ~e111i-c1rcu lar organjsation around the 111odel. ofteu
drai11atic.1lly ht, vvluJe the dra\vers vvork 111 lov:er Ii.ghr. The
cea:cher/acade11úci.1n is the a11i111ntc11r of this ca refully ~taged ,;pcc-
cacle. í-l e l1a<; posed the n1ode1 o n a phnth aud frozen a liv111g
body into a sen1bla11ce of death b) n1ean:-. t)f supporring rope'>
a11d pullcys (suggcstive of torture to co11teu1porary eyes). 7 1 [-Ie
h.u; chose11 th.e plinths, drapes and accoutre1nc11ts. ti"ed the light-
inir a11d ti111cd tl1c sittin!!S. He 111oves 011 the edi:?;es of t1Jis orches-
~~ ~l ~
crated grouprog, conscai1cly re-drav.>ing the attention of che
dra\vers to rhe 11ude body a~ the .iuth<)ritanve, central. illunu-
DRAWING AN O LEA RNI NG 221
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111d 11, lt ,ll lf1111(,1
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.111d gt lll 1.dl,· ,Ili .111tl1\\1 ll.111,111 Sf',ll l 111.11 \//I/Jt/,1/1'S ., l l'I 1.1i11 lll'II
lt,tll\,1111111 oi 1111\\t'I .111d .itl,·,t 111 111dl'1 1,1 1:11 ilit.1ll' ll'.1111111~. 1111
p1 .11 u,111µ ,1111,1, .,, ,,'l·II ,1, ,1111k·111~. t\11d tl11, 1, ,1, 1111t· lll 111tHll'111
1111.· 1·1.1,,1·, .1, t1 ,1dt111111.il ,ll ,1dl't11ll''
1111· 111qH11t 111\l' 11l 111l''-l'11t 111g lhl' \l ,lgl·d ,p,·,t.u lc n(tltt· 11udt·
li11dy d111111gh 111, 11,1•d liglll111g .111d p1l\llll\lllll!,!; ,,.1, lll\(1llllltlll
,d1,1·d 111 1h1• 1 tl'lll li l\1.1dt·1111l' lt11v.tlv. ,vh1·1l' tht· 111lll•,1hd1t)
.111d 1111111H 111 d JH",1b il1t11·, lil p,1\\'L'I rl'l.1111111,; ,,t•r1· l'l'g11l.1tl·d h)
,t.1 tut 1· .111d 11111,,·11t1t11", .111d tl11 , <1>111111111·d 111 thl· A1 ,1dt·1111t• de,
llt .111, 1\11, tlt 11 ,u,, l·1·dl'd 11. " t )1 11 \ 111.ill' ,1ud\'11t, \Vl'l'l' ,dl1)\Vl·d
111 .111, 11d llil· 11.1dc111,, .111d tl1,• ,l·,1 1.il .1sp1·11~ l)l 11ud1t y ,,crl'
,1111 ti\' 1 ,11111Plh·d li, di, 11111,, 1n~ 11·111.lll' 111nd,·l~. l':-.11·p1 thl' 11t l.1
,H 1 tl d I l11tl1l·d ,,l1111,111 ,, hn,r l.11 ,. ,,.,.., u,l d 1111 111,;11 lll'IH)tl 111
·l·,p11.•,,1n11·. ' ti, tht· 1111d ,·iµl111·l'lll h 1·t·11t111v 11,,·d p1nttdlll\''
\\ l'll. 11111.d,,vd fl11 1\111111111!' Ili ,.,., 11i11r lil,· \l'\SIOII\ 1'l1l' 111.dv
111udvl (.1 1111111d1h l ,,·1\ 1,t· 1111 h1dvd I p,111 nt 1111Hl,•I,) \\l'I\' pnsl'd
J2). [ RAWi! I A ll \l 11 11 ~1
h\', 1hc 111,1,'111• 01 \l'llior .tl .tdl'111ici.1n i11 histtH·1c;"1I tablt·;lUX beh111d
1 losl·d dlH1rs, IL•,1di11µ 1)ah:rnl lt> llights t>f sarcastic prose in 1765
,tl tht· ·l.!rlt'llll it:irv' .111d ,11Liliciahty <) I thc '1)oor devil. ,vho's p.11d
l<> .tppt.·,11 u11dr1.•s, .111d lt:t h1n1self he 111,1111pul.;1ced by a profec;~or
thrt'l' 11111,•, ,1 \Vt•c.·k' ·~" ( )nrt· the pü'-t' ,va, ~t't anel lighted (pn'-l:''i
<·111dd bv 111,1i111.1111t.'d to, \o\'t.'l:ks ,ll .1 Li111t'), <;tude11l\ \Vt'rt· rhc11
,1d11111t,d 111 10 tht.· lllt.· roo111 111 :1 \Lrict hierarchy. Sono; of acat.l-
l' Jl11 c1.1 11s Wt.'l'l' ildllllllcd l1ro,t, tht:n \Vllllll'I'\ or
the grt1111/ prix lt:d
bv <:lt·l'c., 11n>1f:1!t1J, Lhl'n othL'r n1t:dJl11sts and rcg1llar studc11ts
1
.i< L ord1ng tn thc gr;tdL•, ohtaint'd during ;111nual con1pcritions. H
\cllltL' oi tl1t~Sl' L'(111,·clll1{111,; arl:' represrnted in n coloui-ed dra,ving
oi 1 / t/1' < :t,,.,., ,11 t/11 lrr1dé,11h· R1>y,1i<·, J>.1ri., ( 1746; pi. 152) by
( ;l, ,ult:s J<),1:ph N,1to1rt.· (17ocJ- 1777). "'ho dirt.'<:lc:<l thc 'Pt·bruary
( "l.1s,· oi tlil' At,1dt·1111l' ltt)y.tle fic> 111 1736 ,\11d was dircct<.>r o(
rltL' At,ldl'lllll' l i,111\,IISI.' 111 ll.0111c 110111 1751 lo 1774. -rhe h1er-
.11, l11 t,1 I p1),1l1t111i11g lll ~tudent~ ,1rou1H.l Lhe 111odcl plinch is appar
,·111. t'\'l'l1 tht>ll~h tl11, 1.fr.1,v111g i,; obvious.ly .1 sy1ubolic conscrucc
1! ,11 11il.11 lt) l hL· Sall1.• de 1)es-.111 on rhe second floor of the
1 1111vrc - ,111d 11ot .111 .1cc11r.1le repre~t.·nt.1t1<)J1 of .111 ncrnal life clnss,
:1-; ,uggl',tl'd b\' 1L, lll'll l tptiLlll .1P T h e se111 icircu lar di..spositio11 ()f
1it'rcd hcnt hc~ h.1,; hl'l'll i1llcrr11pted hy c,)11 11no11ly uscd rcprc-
\l 111.111011.il 1c>11vc11tion, lo give lhe spccLJtor d clear vie,v
thr11u~h to 1h1.· 1,vc, 111t>d1:l.., pos1u~ i11 .1 r/()11hll r1ct1dé111h• .1~ thc
,vr,·,tl1 11g I IL· rcult:, ,111d t\11t;1eus. and the h,•eline~s of the dr.1vvers
1, 11l'.1 1ly .1, r11111pl1.·x ,1s thL' ~çulprures .111d p.11nti11gs rh,1c e111bell-
1,h d1t· 100111. A rt.·d-rln.1 k1.·d N.1to1rt' (l hcre i, :ln i11scri11tio11 in
.1 \'l"r,10 11 111 Mo111pelli L·r) i" t. l>rrt·cti11g dr,1,vings 011 tht:' k.·(t, sur-
101111d1•d by t-.1g<.· 1 ) outh~. ,111d hl' i" given ,1 dd1tio11,,I pro111ine11ce
h, the g 1g,111L1t ,t.1111l' t>I l lcrr11lt's t()v\·crill~ ,1bove hi111. Tl1c t,vo
y1>11th, "1tt111g 011 thl' lo,ve,1 bl'11chcs 111 li·ont of thc thti~ ,vould
h.1vt h,1d ,111 l':X(rl'n11.·ly torc~ho1·tc ned VIC\\. of thc frozcn ,,, rcstlcrs
lro111 1h1s posit1(H1. A g<H>d v1e,v. therctore, vias .111 1.:nt1tlcn1ent of
1.111k, .111d lhe yuungc,t and lt),vcst "tudents \.Yere allo,vcd only
the ll>ld1.·-.1, d,1rk1.•,t .111d 1110-:1 ol)\tructt'd p<)<;itions i11 rel,1ti(111 to
tl1t· t 1.•1Hr.1I 111od,·I. l~y (<1nu.1,t, 1h,: sub~crib,:r~ to the infor111al
~l Nl.1rt1ll \ 1 ,111e At<1tlt.·111v in Lo11du11 - -.t:l up Lo be de1nocracic
in ,t1 uct1111.•, hut in 1.·f1t·1.t run by Willi:1111 l logarth fi·o111 1735 to
175~ too), tt1r11, 10 ·~l·t' thl' ligure. ·LJ1,ll i~ pl.tce che MJ11 or
\,V0n1.1 11 111 sut h Atu1udl': ili th1.• M1ddlc of thc lloon1, ,1s su ics
thl'11 l ·.111cy· l lt· ,vho ~,·l!> thit· FiL?;llre. chust's ,vh;lt seat he ltke<.:
-
.u1d :til 1111-· rl·,1 t,,kt· 1h1.·11 l'l.1c1.: .1cr<)rding ,l'l tht·y <it.l i1d in the
hv111 •NI I ht· ltn1.il A,·.1dt·111y. \i\ h1ch , v.11, ~O()ll to bt.· C''itablished in
1 011d11 11 .tf1l·r .l very co1nplc, ,et o i- 11cgo1i,11ion!> and r1v.1lrie,,
,,•,1~ to bl.' 1:11 111orl' ltH·111al. hiL•r,irrhic.il ,111Ll rule-b,Lscd, vvith
llL·,·11L>ld....1~ it, tlrsl pre,idL'nl .1nd theo 1i,l.
Wh,1tl'V1.·r th1.• org.1111s,1t1011 of th<.' lifc class, tl1c ideal of ali \uch
l lllllllllllhli 11.•.1rh111g i~ th.11 or
st lt'nt C<)ncentratÍ(.)11 0 11 th1.• cen tr,11
11H1d1.•I. ' 1 !ti, i~ in 1pht.·d in :1 gr()llp t)f e.irly sketches of the
( ·.,11,H l l ,ll,ldl'lllV Ili liolt)lc!,11,1 ,li tl1 e t'l1d c,r
Lhe StXtl."t'11Lh
l 1.·111111, " 1'i'h t' , h nr1 ltvt·d (',1 1r;1t çj .1cadcn1y. the ArcJd1.•n11a degli
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152 C. 'hnrlt·s Jo,eph Natorn.:, Lifi.• (;J,1ss ,11 lhe .4(,1dé1111r R,,yalc•, l'oris, 17,16, \\aten:olour .ind hl.1ck chJlk. 453 X J!J ntn1 . l,)11,lon.
Tht c:ourcaulJ ln~tllUtl' tll Art c.;.,lll'T), IJ. r952.llW.3973
lt1LJllll11111JU A .idcn1v of che Pr<>gres'i.JVC'>), \\clS tollnlted in 15X2
b, the thrce cou,111s, Ludov1co ,111d rhe brt)thers Annib.1le ,111d
Agc,st1110. 1nd .1lthough 1t, rheor1~·s .1rc 111uch con rt·,red,
111Hk1ubtedl) tigurt· dr 1,, 111g ,,.,., d1e centr,1I .1rtivi t,.i;~ l11 ,ui
.111011y111ou, red ch.1lk ,kctch .-1111.,t Dn111·111,l! (pl. l 'i3), purporc~d
to be ti-0111 the c:.,rr,1rci ~chot)L rhc concc11traLion of a dra,v1ng
studcnt h.1s br..:en c.1ughr ,vith grc.1r acuce11t•ss. as he appltes his
doublc-r..:ndt:d J>c,,.rc-,T,7)'Llll to a bulky bound ~kerchbook on h1,;
knee. ,,•hile his nlred •~nze i-. f-lxt>d on the 1nv1~ible 111odel. The
t:'l.tbor.He clt)Jk uf the ,ittr..:r 1-. rart'fllll) nott'd, ,l', 1<s h1s o ne b,,re
fi,t>t. i11dic,1ti11g th,1r h1, -.liot· ha~ been rhro,vn <)fl-111 .1 1110111c1JL
o( ,1b,t>rbcd self-f<.>rgttfuli1c,s. U11der cl1e hal. the obscr\ ing cycs
1,3 ( ·.1rr:icr1 '>lhool. rl11is1 /Jr,111'•111!. late ~rxrcenth cencury. red ch:ilk.
:•o x 1,X 111111. ~ lu111Lh. StJ.tthlhL' C,r.1phi\Lht Sillluulw1g 3096 Z
• Th e Contro l of Li ght an d Po li cing t he
•
224 DRAWING AS DIS(.'PLINE
have been p1cked our w1th sbnrp clariry in sb:irpe11ed, or perbaps
even ,verted, red cl1alk, and t11e figure reads as an -icon of
1;11ectat()rial Ct)nce11trJtion and ab~orption.
Sketches or !)tttdents drawirig eacb other in acadeuües J1ave a
long a!ld continuOllS liistory across the cc11tt1rics, a11d sucJ1 bored
.u1d ni.ischievous recoreis ofi:en contain an element of caricature,
""3bris111g the indifterent n1odel, tbe disruptive stt1dents and
che authonta:rian teacher forcibly correccing the dra\v1ngs. A
particularly live]y skeccl, of this genre is a zany caricature by Pier
Fra11ce,;co M ola ( 1612-1666), .-lrrists Dra111i11g a11d Pai111i11g i11 ,J
S//11/iv (pi. 154). 111 the elongatcd pen ,111d ir1k skctch, Mola's
dra,,1i11g artists, closely packcd i11 conccnlric circles, are behattcd
as well as conspiratorially "'"rappcd in cJoaks, drawi11g a 1nodcl
v:ho is out of ,iew, bur presu111ably 011 a dais, fro1n the up,vards
direction of the gaze of a figure in tl1e fi·ont. (The n111ny sketchy
dravvings of lite classes fi·o,n the seventeenth centlll)' revéal thar
arti5cs '>eldon1 disc.1rded sucl, intrusive l1eadgear.) On c]1e rigl1t,
the fi!:-,rure in tbe proccss of dra\Ving Ll1e emotit1g 11ude 011 co a
large ca11vas v,1itJ1 ,\ very long brush and a huge 11ose uL1der a
har is supposedly Mola. J1i111Self. SJ1adows to tbe right of tbis
brigl1t gro11p, and tbe ro,~·s of l::irge-footed drawers ou the left,
suggest rhe presence of artificiaJ ]jght, ,111d indeed drawi11gs and
caricature:; of life classe~ ofte11 cont,1in detailed dra,vings of tl1e
atelier h1111p that illun,inated tbe centra] 1nodel ,1nd e111phasised
tbe aspect of spectacle in tl1e life roon1.ll«'
'Correct D ist ance' f r o m the Mo d el
When the seventeenrh-ce-ntury English craveller and artist
Ricl1.1rd Syrnouds (1617-1660), a Royalisr exile in rca1y between
1649 and 1651, visited the Accaden1ia di San Luca in Ro111e, l1e
carcfully ~ketcl1ed a11d describeti che adjustable central oil lan1p
i11 his skctcl1book \Vith notes i 11 l1ís ídiosyi1cratic 111ixture of
English a11d ltalia11; and a red cha.lk dra\víng (Britisl1 Mt1seL1m)
attribt1ted to Giovannj Angelo Canini (circn 1617-1666), i.n v:hose
,vorkshop Syn1onds <;tudied, depicts a very siI1nlar lainp. 117 The
longevity of thig ,·ery fi.111ctional lan1p design ,vith n1ultiple \vicks
i<; attested to in an ano11yn1ou<; red-chalk eighceenth-century
dTa,ving (British Mu,;eun1), and thc dra\>ving for che ,vell-known
painting Aradc111iciiu1s ,~( rlic Royal Ac11de1ny (Quee11's Collection),
by Johan Zoffany (r733-[810), as v;cll as 111a11y othcr acadc111ic
represe11tatio11S. 8tJ ArtificiaJ light, or ,11·l1ac vvas sometimcs rcfi::rred
to as 'grazing light', ,va'> considered vital for chiarosruro 111odel-
ling. as discussell in previOllS chapters, ::ind indeed lite drawing
has tr::idjtiona]ly occurred over che centuries in se111i-darken.ed
roo111s or taken place in che evening ,vhen artificial lighc C<)uld
enhance representarion oí the volun1etric l1y causi11g every pJane
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154 Pícr francesco Müla, ,-lrtists Drau,i11t ,n1rl Pt1i11ti1~e i11 ,1 S111dio. n .<l .. peu c111J bro,v11 ink. bru~h ,111<l bro\Vll wa~h, 7 30 X 2001nrn. Nl' \.v York.1-h~· Mctrop()liwn
Mu~eum of A:rt, l:togers Pund 1965 (65. 13 1 ,6)

a11d bollo\v to be shado,.ved a11d projections highlighced, unlike
Ll1e flatte11ing effect of very liright daylight."''
Tl1e tradition goes back to tl1e earliesc proto-acade111ies, and
i~ symbolised in t\VO carly si..xteench-century e11graviugs of tl1c
so that she could ,1hr1c)st step do\.vn fi·o111 her plinth ,1nd J<Hn her
1
ad111irt:rs, one of vvho111 is lost in drea1ning adn1irarion .' J ln the
t,1/encietl1 century Oskar Sc11lt'.111111er was to advise spotlights .111d
CVt:ll 'grai11opho11e n1usic • for )jfl' clra'\ving 111 thc JllilÍll Bauhaus

Acade111y <?f- Baccio Bandinelli (153r), in which vvorkshop nctivitics
of thc sculptor Baccio Bandi11elli are depicted as tak.u1g placc by
candle and firelig11c. 90 These well-kno,vn engravings sen,e as
topei for the study of sciagraphy, itself a n1etaphor of c:011cen-
tratio11 and kno,vledge: il l11n1e dello i11teletto (the light of intel-
lecr). Tintoretto's biograpl1er Ca.r1o Ridolfi record,; how he
studied s1uall- scale plaster 111odels of M.ic]1elange]o's sculptures.
'111aki11g an inf1nite L1u1nber of dra,vings of then1 by the ligl1t of
an oil lamp, so that he could compose i11 a povverfi.11 and solidly
1nodelled n1aru1.er by 1nea11s of those strong sludows c~t by the
lamp ·.'' 1 The lighced candle or lan1p was to becon1e che e111ble111-
atic actribute of the artisc in the seventee11th-centL1ry f)utch
R epublic; togetl1er with the h<)urglass and the cro,viug cock Lhey
syn1bolise ti..111e pa!)sing, u11observed by thc possionatc gc11ius of
tl1c arcist absorbed in (lús) task. Sir Josl1t1a l~cynolds l1ad also
rcco1111ne11dcd artificial light i11 l)iscourse x1v: · By candJe-ligbt,
not 01lly objects appear n1ore beal1tiful, but fron1 their being i11
a greater breadth of ligl,t and sl1ado,,_, ... narure appears in a
hall to crcate stin1ulation and ,,aricty, 'instcad of rhc dull class-
roo111 a11 d u11varyu1g . n1onotonous li'g 11ong
. ' .•)l· Focuseú1 a11 d co11-
trascing lighti11g are therefàre constant aspeccs of thé life class,
and add to its theacricalisation and regulated voyeurisn1.
A group of gra11hic caricatures of rhe life class at thé Royal
Acadt:n1y, Lond<.)n, by Tl1 0111as Ro,vlanclson (1756 or 1757- 1827)
i.ncJude cart>fu] attention to tl1c sJ1aded but po,verful acade111y
lan1p. rei11forcing tl1e centrality of t11e fe1nale 111.odel. '>" ln tl1e
grey-wa<;l1ed pencil dra,ving ·1·/11: L[fc Class (pl. L55), ll,o wland-
son n1cludes his usual idenafiable group of goatish old acade-
micia11S co11centrating on che coy fema.le 111odel under the huge
la111p. A.J11<)t1g tht: serried rO\V~ t)f dravver'I ic; one beautiful young
111an, ..,tari11g and not <lr.1vving, a renu.nder thar. accor<ling to early
statutes of the 1~oyal Acade111y, 110 stude11t u11der tl1e age of
t\vc11ty was pcrn1jtted to dra,v the fe111aJe n1odel 'un.less hc bt> a
111an·ied n1an'. ''5 ~lhe coy 111odel is carefull)' dra,v11 in a fine Jine.
ditlere11tiated from the Royal Acaden1icia11s. v,ho are sketched 1n
n1uch rou~her and bro,1der lint:s. 13usts line che shelt- <)f rhe life
~

higher scyle.' The painti11g ,,..Jcaden1y by L,1111pl(~!tt (circo 1768; New r00111 and a rovv ()f large pla~ttr c.\<;t~ bend forvvard as if ro p,1r-

Haven , e, 1, Yale Center for British Art) by Joseph Wrighc oí
Derby c:xplicitly Jeals ,vitl1 Lh e drainatic effects of artificial light
011 statuary being drawn by a group of very youthful stude11ts;
tl1c irttense illun-u11ation fron1. a vcry sn1all academy lamp 11.cxt
to a s,vathe of drapery has the effect of an.iJnaang the sculprure
Licipatc in the cld~S, particularly an unctuous l-lerc11lcs. Tht:
i:111bracing f1:1111s ,111d C11pid sec rl1e sccuc for celt>brator1 scxu-
ab.ty (rcinforced by the prcscnce of ,,,111e glasses a11d a ca.rafe of
,vme), and chc la.rgc-11o<;ed acade1n1c1a11 dra,v111g on h1s b1ees 011
the floor bears a ,vonderful sn11rk. bccause he 1s 111 n position to

DRAW ING AN O LEARN, NG 225


.....,_
• thc acade11uc1an.s. A vcry l1u1ublc :1nd do\"\.'11cast youth, Eckers-
155 l lunn.i~ IZo\\ l.111d,011. l'lu l.1/t' (;J,1,.~ n11d-17:-io~. pe11 ,1nd grey \V:1sh
oY~'r~rJphite. 190 >< :::81111111. S,1u l\11Jnno, c·a ..
l'hc l lu11t111l!;tt111 l\r1
('qlk·rt1on~. e.;1lbcrr l)av1, ( 'nllecunn. ;-<J ,5. 10,;:-.
156 (bt/c111•J C.J1rutolh'r \Vtlhclrn ELkl't,berg. L[(L C/,gs ,11 1/ic . lratlonJ',
ui-111 1)-.0_,-ll.pen, 111!-. .111d grc>) bro\\ll \\.t,h tn·er ch,111-.., .20-1 X .26(1111111.
( 'openhJ.gt·11, '-.ta tens Mu,eunb for I-- unsr, hK~ J!.1-1
look up rhc 111odcl's legs. ln tl1is in.srance, rhe pron1-ine11L hour-
gla,s reters to th.e ci111i11g of the n1odel's pose. a-11d IZov, landson
has re1nrorced ,1 dehherately riopuli-;t v1e,v of rhe naughtiness of
dr,1,, ing fen1a1e 11~1dity.'1" ln n1ore or less che s,t111e period thr
Da11i,;h ,1rtisc C. W Ecker~berg (r783-1853) s.1tirised the '" hole
issue o[ lighting i11 his dra,,v ing L[fc Cl11ss ,H tlic . tt,ule,1111 (tircc1
1805-6; pi. 156) i11 grey-bro\.vn ,vac;h. ~tudenci; s1r 111 C\VO circu-
lar ro,vs 1n deepest shado,v Jround thc b17gJ1tly 11t 111.1.le n1odel,
\\ bo ofrers h1s fL1cc1d botto111 to the class 111 a 11arodied v<.:rsio11
of tht' Hcrculean back vie,v (or CincÍl1natus stooping to his
s,1ndal). thro,ving a -..h;1do,v ~1g.1inst the back ,creen. The \Ott rce
or Lhi5 tl1e,1trical illun1ination i~ not depicced. ,11rl1ougl1 i11dt>-
pe11tlent ~11adeli lru11p:, ,veakl} illu111ÍJ1ate cl1e drn,ving boards of
berg himself c:111 be discer11ed tluough the a.lmost 1nipenetr1ble
gloo111 be111g ba\.~vJed at l1y a be~pectacle-d and co11teo1ptuot1'i Pro-
fe~c;or Lorenczen. ,vich a huge beak of a 11C)'íe in his en]arged
l1t',l ü.1 \f7
The <1rcl1itecrure <)f tlu.· trc1<litic.111al life roo111 ,vith circu l,1r or
se1111circular rov-·~ of ben cbc~ vvithin a 'll!U,1re o r clo ngatc<l
ch;.U11ber (.L~ is sciU prcservcd in tl1e l"toyal Acade111y· of Arts ii1
London) o,-ves 111uch to the circular disposition of anaron11•

226 DRAWING AS DISCIPLINE

cheatre'i, but is far n1orc 111odest, ,v1ch onJy t,vo or three curved
tiers of ,vooden benches and board-rests, ,vhich could be Üt 1ndi-
vidu.11ly by <;haded candles, ranged around the lighted 'stage'
,vhere che n1odel ,vould be posed.'1!{ W11ereas 111edical grande-e-s
and 'people or rank' had the be~l ,·iew of lo<)king do"v11 on
public disscctio11S, scuior acade11iicia11~ l1ave tl1c advanrage of a
lcvcl eye vie,v of d1e ra.ised rn.odel.'''1 As is e,-ide11ccd in Naco1re 's
and Mola 's drawings, the youngcr st11de11ts sit on thc flooi-
looking up. Lo111:1zzo had caJculated the 'true disra11ce' for
viewir1g a figure to be a 'pr<)xi111ity of three tirnes che heighc of
tl1e posing 111ollel', and French seventeenth-century theoriscs
conLi11ued to explc>re ru1 <,ware11ess of a j11stc distance. 11 ~1 Wicl1in
through kno"vledge of cl1e re.tl. 1""' Cario ]tidolti recorded rhat
Tintc)retto ·buog son1e 111odclc; hy threads co the roof be:1111s co
,;rudy tbe appearance they ,nade \x.~he11 c;een fro1n belo\,, .1nd
to ger rhe Í<)reshorte11i11gs ()f figures 101 (eilings· but such
scrategics vvould have been use-rul only to lc;irner<:. 11ot .1crt>111-
plished hcad'> of ,,·orksl1ops." 1 [c;sucs l>f fe,)re,h<)rte111ng \>\'Cr<:
ofcco tocuscd arou11d d.tscuss1011 of de-corw11. Pouss111. for
exan1ple. dtsappro,·ed of M1chcl;u1gclo's torcshorte11cd figures a,1d
1)u Frcsnoy/ de Piles \varncd pm11ter,; to 'sho,,· no part\ \Vrucb
ai-e unpleasü1g to the sight. as [are] all Fore'>horren1ngs' in De arte
~ral'l,ira. A l1ízarre exa1nple of excessive foreshorre11ing, ,·er) po,-
sibly ·unpleasing to tl1e -.ight·. is tl1~ red chalk rl .1ftile .Y11dc ,)l't'II
1

tl1e rigiu a11d unfair 11-ierarchies of traditio11al a,cadenues, younger
sn1dents, thercfore, vvere extrea.el·y disadva11taged by being so
close to che 111odel's pocliu1n, obliging thcm to deal ,v1th the dif-
ficu1t technical matters of foresl1orteni11g ai1d develop drawin.g
srrategies to con1pensare for distorcion. Sucb iss1.1es are examined
in tl1e engraving S11r {(I 1,rariq11e rle rlesseig11er n ,,e,ie d't>etl, JJlace 59
of Abrahan1 B<)S<;e'<; Trearise <if. Prartical Ce()111e1ry, in ,vhich tl, e
d.egree of curvature al)ove eye level, ,vlúcl1 11iakes for di~to rtion,
1111
is carefully calibrated for a figure scated 011 the ground. TJ1e
rcquircd eyc positio11s for a11 accurate drawil1g are i1Jdicaccd with
dotted lines ar1d little e) e syn1bols on tl1e plate.
1
_(ro111 Belo111 of about 1660 by Canini (pi. 157). Des<.ribed in c1
recent catalogue as a 'cypicaJ fooc-soldier of cl1e llo111a11 Bar-
oq-u e', Carrini trained ín the studio of Don1eniçh1110 (1581- 1641)
a1-id is k11ov.-n 111ore for his drav.rings tha11 l11s paintings. ~fh1s exer-
c1S"e has -;triven to tnke into account the ' real' space m ,vhich the
figure is bending back,vélrds ,1 ntl looking up,vards, ~is l1e hangs
011 f<)r dear life in his precarioLls 1iosicion 011 a l1igl1 cornice. 11 q
157
-
GiovJJJni Angclo Gnini. ,4 .\1a/e L\J11dc Scc11 ./i"<1111 HeldH'. circa r66o, r:L'd
chalk. , L4- X 395 1n111. Windsor Castlc. The l~oyal Cl1llcctton. lli 01228

Learning ho\'-' to make sense of foreshorrening is probably one

of rhe 111ost con1plicated aspect,; of fig-i1re dra,ving, a11d fro111 the
earliesc tin1es scudents were advísed to ui:e a gridded per,;}1tlctíve
fran1e (a diopter. or veil) rhac corresponded to a squared-up piece
of dra,víng paper - a u1etbod knov,·n 6·0111 Dürer's f~u11ous
e11gi-avi11g- ,vlúch is a totally n1echanistic. tin1e-co1isu111Íl1g at1d
impracticaJ 1uethod. Ulti111ately, corrections require ro be built
into che act of observational drawing by rhe accurace charting
of direccional oudine~. A tin1e-hono1.1red aid for doing tl1is,
discussed below, is co 111ea~ure- tl,e- dí111inishing or forvvard-
projecting angle of linibs againsr the uprighr guide- of a pe-ncil
or brt1<,h 1,eld in tJ,e air and vie,vcd tlu·ough oue eye.
Although thc <;cveotce11ch ,111d cigl1recnth ce11tt1rics wcre thc
prime periods for paú1tii1g vast pictorial tiomcs inhabited by dra-
ma rically forcshortened figures sitcing on cl1e edges of curved
spaces (epito11med in the ceilings of Gia1nbattista Tiepolo). the
abílicy to draw pe-rc.peccivally correct ~ettings and bodily actio11
of any sort, includiug in1agi11ed actions :.uch as Aying and Aoat-
ing. "vas one of che goals of acadenuc artai111ncnt. Learning to
represe11t ftgures fi·on1 belo"v, di sofro i11 s11, e5tablishes an aspira-
tional ,,iewpoinc that 1nvolves tl1e viev.'er in a refle:x-ive strategy
of upward-stretcbing stance, crm1ed neck and thro\vn-back head.
For centur1es, in1aginaci·ve devices involved in represe11cing solid
and fi1lly rounded ideal l)odiec; chat are yet capable of i1n1Jossible
fearc; of \Veightless elevation, bring cogecher that con1bination of
thc unaginative and chc observed that is cncapsulatcd ,vith.in aca-
deuúc teacb.u1g: 1earl1.ll1g to rcprcsc11t thc ideal a11d unreal

DRAWING ANO LEARNING 227

 rh t:XC.l \.',l\l lllll\LUlar1ty .111d broad proportlO!l'i of the figure
could h )Vt bei:n t X l l. erbnred b\, tht: tc)re,hortt'llt'd \ Ít'\V.
1 ht" n1onitl,r111g l)f proportÍl)ll,tl logic .111d tl1l' e. 0111pen:..1tory -
n1echan1')111, !~11 t orrel t111~ fi.ltt'\hOrleni11~ 1n: th<lSl ,·ery pr,1cri-
c.nl t'>~t1e, 11np,t1 tl·d to ,tudenrs by Cl' .tchers c.11.rougb c.iemonstra-
uon ,lllli lOlri.•Ctll)ll, "lt)lllt'tlung that trJtÜttonall)' ,,·ould happen
011 tl1t' ,-rudent\ dr.1,v1ng. 1 his could \VL'll be the reas.on tor the
pre,ence ,,f a r.1ther -;h:1hby :111d ~loppily becapped in-,cructc.H· (he
h.t\ r»111ovl.'d h1, nurdoc.>r triclH ne h,1l. ,vhirl1 he hl)lds in his lett
h.111dl ,vho p; (orrec.·ting tl1e dra\\ ing c.)f .1 be,, iggecl student ill .
1 hc 1, r,q11t ,)1/iool ,11 ()[d 2)(111/Cr.~t·t lí1111Sc of 1779, l1y Ed,vard f
Frantt·,co Burtll:· (1760 1b..j.::-S). ln dús hghdy colouri:d .:u1d
a,vk ,vard albw11 dra,vu1µ, depictwp; tbe first l1on1e of the Lloyal l
A<.Jdt·nr~'. rbe smdent ,;1rs at 1 l11l)Veable curved board stand,
dr.1,v111g ti·o111 1 t,1st of the Dy11{(! Cl,1d111f()r. 111 the unsupervi~ed
,p.tl't' (l i~ the 111tique ... tudy l\)<)111, \\'here -;et1ior ,1nd junior "tu-
dc:nt'> ,,vere allo,ved Lo Jra'vv aL ,vill, an <.)peu \\'Íotlo\V (surpris-
ingly) br1ng:-. 111 uni111peded J.ay'Ügl1t. This 1s c111pl1asised i11 a 1
co111pJ1l1ou stuJy by Burney fion1 t11e sa111e alb11111 for cl1e paii1t-
1ng 171c .;-J.11riq11c Rt10111, i\c11• .')0111crsc1 Hnusc, in .,,,·hich one stude11t
011 rhe ri ght of rhe dra,,ing sits on a very high box. bis feet on

a11other, ro ger ..1 ,lightl) 111ori: c:quital1le eye , ie\v of the gi.,nt
e11/(· l/111
· <1 I/IS 111<l'\lt'I' cast ()11 L1ll' Ol 11er '\1{' lç 0 1e [ 11e 1'00111. 10 ~ I I
The ,;ysten1 <)( correcnon by a studio n1ascer \,·as still an
in1portant ~:1ctor 111 uiuetcend1 -cenLury France, ,vl1ere stttdents, -----
111clud111g chose enrollcd ar the Ecole des l:3eatL~-Arts ror drawir1g
1
1n,.tn1ct1on, attended cla,ses; in pr1vatc atelier" as \vell. There is
n1uch co111n1ent 111 the art lite ran,re about the dreaded ,veekly
sl-1111res de cc>1re(1in11: for ex.1111ple, Monet, Renoir. Alfi·eci Sisley
(1839-1899) and Frédéric Üazille (1841-1870) ,ili rebelled again:,t
the teachi11g n1etbods of Charles Gleyre (1806-1874). 'I ,va-;
··correcced"' by c:érôn1e, Bou!:,'1.Iereau, Joseph Blanc, Bonnat, '
Le11ep·vell, etc.'. l-feni-1 Matisse v.rrote 111our1úully i11 .r937, 'exact-
mg b~1t 1n1prec1se teacher,; nor. ,,itb the passage of tin1e, has any
o( this 111~truction con1t' back to 111e.' 111r, And Odilon R.edon . .,,-vho --
al~o v,torked i 11 che studio of Jean-léo11 Gérôn1e ( 1824-190-1-),
scorn.fuOy C<)111n1enced: 'The d<úly pr<>gran1nl\! included the co11- t,;.,.,

fi..·ct1011 of a. ~ketch vvliich the n1aster corrccted ... 111 practice

thi,; onl)· ga,·e b1rrh to a nw11ber of con1pos.icio11S in ru11e \v:ith
che 1na~cer's caste.' 11 P Tl1e practice of correcting dra,ving depends
011 ,\ (con~ensual) syste1n of absolute valL1e~ iI1 \vhich :irtistic skill
j., under">tood .1, ,0111ething that i~ acquired by repetition :u1d
f<1nuli<tri-;.1t1011 ,1nd ,ub111Í'i\ion co a ,ryli,;;tic hegen1ony or atelier
,tyle. nc)ttons no\.\ i n C(>u-;iderable c.lisrepu te.
As any n1odern srudcrir k.110\\'S (or shoultl k11o)A, !) , even
dra,v1ng on J ·donkey·, ,vberc tl1e dra,v,ng board is augled a'vvk-
,, ardly tl)\V,1rd<. the lap <1s 1c rests on the base, can cau!)e distor-
tÍ<)ll, ,c.)1nething that 13osse does not see111 to have taken into
,1ccount ín cite.• ett hing di">t u\sed above, ,,·here che dra,ving board
<.)f the ,e.1ted arcist is .1t 1 difficult ;111g)e. "~ Tl1e dislocacion
1,8 Nina H a111net. L,~· Cl,1ss 111 1he flirs1111i11ster 7ix/111ir,1/ [11,1i111cc. I',)19, pen
dnd black 111k, 292 x 165 n1n1. London. The Uritish Museun1, 1935. 02r4.~
becween the angle of the eyes in relation L<> tl1e 111odel and that
<)f the papcr OJl \.Vh ich chc i111agc Í\ bc111g dn:1\Vll 111.eans that che
botto111 paTt of the drawi 11g tends to bccon1c n1ore cran1pet1 ::u1d
reduced in scale. A clear and sin1.ple li11e dra'vving by Nina
Hanmett (r890-1956), L[fc G'lass at the llf 'est111i11s ter 'I'erh11ical l11sti-
111tc (19r9; pi. r58), where s be tal1ght tron1 1918 to 1920, depict~
a behatted ,vo1nan 'ilrttng ar che furchest edge of the donkey in

228 DRAWING AS DISCIP NE.

order co obvia te this very probJe111. Wl1en tbe ex-'iurgeon Henry
Tc)nks ( r862-1937) taught at tl1e SI.ide School of Art bet\veen
1892 and 1930. he insisted on the i111portance of 'sight-size' to
his stud~nts:
T11e di,;tance of the draug}1rsn1,111 fro111 l1is ol1ject. ~1nd che dis-
tance of l1is eye fron1 his dra,ving, cll.'tern1ine the scale 011
,vh.ich the drawing shou.ld be □1adl'. Tl1e nearer the dra\\ ing
to the eye a11d tJ1e further fron1 its objcct, tbc smaller it shou.ld
be: the farther it is fron1. tbe eye. and the nearer to its objcct.
the larger it shot.1ld be. 111
1)
Alchot.1gb To11ks, who adviscd ou the tound111g of the l:3ritisl1.
School in llon1c in 1911, was the 111ost academi c of post-
Cézanne teachers. this secn1S a curious u1vers1on of tbe usual
practices of perceptual dra,,ri11g, where rhe ;ipparent size of a
distant objecc is reAected Íll tl1e <;cale o f the drawn ol1ject rela-
tive to thc size of thc paper. This scale is tradicio11ally 111casured
by holdi11g up a brush or pe11ci] ,vith one eyê closed. a11d
'11uirking' off the relative size of far objects against jcs cfuncn-
sions. (Tbe vertical is also tl1e g uide for decertTún:i ng the ang1es
of pl"n1cs, say, of a foreshorteried arn1, vvJ1ere it can be extren1ely
difficult to deter111ine whether an angle ic; acute or obtuc;e.) The
111easuri11g brush o r penei} c;erve-s to negotiatt the ,ictual space
l,eevveen dra\ver and <:>bject o r conraining enviro1U11enc by c:-;tab-
lisl1ing a te111po rary n,iddJe distan ce, and 'letting LLP a vertical and
b.orizontaJ bou11dary rela tive co the draw1.:r's body. Willia.111 Cold-
scream (1908-1987), \VUO studied l111der Tonks at thc Sladc and
,vas one of the fou11der!l of tbe Eusto11 l~oad School in London
in 1937, \VOuld adv1se sn1dent<; thac this n1011ocular n,erhod
vvould ~ ork only if the dra,.ver's head \was to t<1lly ~till with the
1 tutic)n. Tl,e Acade111y, as tl1e enc!n1y of freedo1n ;,nd rnodernjl)'.
eyes revolvi11g. 1111
Symbolic Trajectories and the Myth of a
Unitary Academy
The fixed trajectory of st11dy, institutionalised -fi·on1 the sixtee11th
ce11tury to cl1e 11ineteer1th in European teaching studios and
acaden1ie~ alike, depend'> 011 a lengtl1y period of training fio111
Aat n1od els, that is. e11gravii1gs. drawings and anato1nical 111anua1s.
before stlLdents can graduate to tl1rec-du11e1isjonal casts (dcssi11cr
d' apres lc1 bosse), anato11lica1 écorcliés and eve11tuall)· the h un1an
body. 111 This trajectory allows kno,vledge of ideal boches to be
"º i11culcated 1nto students' n1indc; and experiences that they art!
caJ)able of auton1atically adjusting the in11)e1iêctions of the
'natural' body at che e11d of tJ1e protess. The theoretica l route of
a rneasured .1pproacl1 to tl1e livi11g body tl1rough graduatcd
drawjng exerci.ses fi11d,; a spatial equivaleut iu thc gracled syste111S
of propinquity in thc lite roon1: fro111 rhc youngest stl.1dents,
recently graduated fron1 studying plaster casts , yearning upwards
to the 111odel, to the :1cadeL1ucian ,,·ho ha, n1,1stercd kno,vledge
c>f che tiead and t'i e11arled ro dra,v ltfe fro111 th1.• optin1t1111 posi-
tion. (Ma'itt'r), as a 111ec;ipl1l>r Í<)r che ,l(Lllli ... iLion 111d internali-
sarion of skil]-,, is thc ap11ropriate tl.'r111 ui
tlti'i cc>ntt·,c. ,l'i Lhe
paradig111 evol-ved 111 rclarion to n1alc .11 tist~: tl1e probli:111~ of
\von1.en having acccss to boc{ics. anel thc l1istorv of that st.rLigglc.
is another story chat has bee11 often told in ter1linist .1rr
l1isrory.) 11 ~ ln rtJrn, thi~ pedagogical jouTne)· tov,ards the pr<)per
vie\\ of the rnu.,cuh1r, rounded and carefu lly lit body t)ll .i h1gh
podiu111 in a ritu.11 pose, in1bued ~ritl1 hi~toric,1lly ratified u1eJ11-
i11gs. is parallelcd in lhe gcograph.ical JOur11ey tov,·ard\ the ~y111-
bolic cc11trt' of cla.ss1cal ar1ciquity: lto111e, tl1e ·ct<:r11a.l' lap1tal o(
art.
"fhe pilgr1n1age to llon1e, \vhich had begu11. 1n the fifteench
century by no rthern Eu ro11ean a11d lt..'1lian art1sts .ilike, and in<iri-
tutionalised vvhen t11e Fre11cl1 ser np tl1eir acaden1)' in RonH:\
VJJ~ a 1nodel follov..-ed by 111a11y other Europear1 cou ntrie<;. Their
acade11ucs sin1ilarly ff\vardcd t\vo-yc.ir residencies to che ,,·inncr'i
of co111petitions (in France ic was tbe 111uch-coveted Prix de
l-to111e). constituti11g a grand, cc11craJising tr,tjectôr) tor acudenúc
art: a si11gle pathway 1nco a sttictly 111ale, hierarcl11cal and co1n-
petitive acade1111c orthotioX)·, ,vhich extends tl1e period of pupil-
l,1ge. testing and con trol cluring \\ hi ch yot111g artists are n<)t
per111itted co clcun1 o,vnerc;l1i11 or their o,vn calenr. 11.\ The ex(ep-
tion'I in tbis regard ,vere the Britisl1. since the bel1.ced Br1t1sl1
Schoo1 i11 llo111e, pro111otiJ1g research in art, architecture a11d
archaeology. ,v.lS not established as an outposc of rhc ltoyal
Acaden1y. The cotal.is1ng aspect of th.is pheno111e11.on readtly gives
way co notions of ::t unitary and a11-'po,verful hegen1onic insri-
As T{,,si1nir Malevich ex_pre~scd it in 1916. 'I an, fortun.tce to have
broken out of tl1at torture-cha111ber of ll1e Inquísítion ,vl1ich i~
acade1n.icism.' 1i+
Counte ring 'The Academy'
Ali of modem hfe has to be studied , , all of humanity, to whatever class 1L belongs
,n U1e home, 1n hosp Lals, 1n publtc. dane.e halls, 1n Uie theatres, 1n Lhe squarc, ,r the streets
0 1 the poor or on lhe vast boulevards.
J.-K Huysmans "~
Sc.ulptured slatues, inspwed (wh,c:h means 1,v,ngl, $tand in Lheir li acks. posed 1n move-
ment. Is Lhls not to1lure1
Sett1ng t.he soul 1n marble and the-n mock,ng lhe hv,ng.
l~cbellio11 against tl1e repres.!)ive systen1 of Tlic (unitary) Acade111y
has becon1e one of the 1nost cherisl1cd 11arrat1ves of popular art
history. a11d contribures ro che in1n1en~e .1r1d c<1nri11u111g popu-
larity of French ni11eteenth-ce11rury painting. An in111orr;1nc parl
DRAWING ANO LEARNING 229
t>l tlu, tor) 1, the est ape nf .11 tisL, ti·urn tl,L. reprl·,:-1\e contine~
o ,- che JL 1den1), pl,ilt', \\ hcre 'thc y<)ll llg h ,tVL' to torcL· tbe111-
,t:ht.·, 111t1) 1111~t111b,1to1\ u11itat1on nf cL.1ss1c.d 111odd_5', accordn1g
t11 the ,1n.h1Lect SJ11t'Elia. to tht' ti·ee{lont of nacure, loi1d~cape
1 -
JJlJ the t'\'t:ryJar hft..· nf Clbt'S. Even lllt() che [\\,'t'lltleth century.
Céz:i1111e cunc111u,.:'cl cn rt.'pt·,1t rhe le,;<,<111<, of hi" )'Outh:
l'he Luu, n.. rs chc btlok in ,vb1ch \\·e lenrn to read. We ,nust
noc. bo,vc,·cr. bc 'latistied \\ 1th 111en1or121ng rhe attractive for-
n1ula, ot our predece-;,or~. We 111t1\t h.·ave chc:' 111u~eu n1 to ~tuJy
N.1n1rt· iu all ir, beaUt). We n1ust tr) lo gr,1i,p ir:; spiri L; ,ve
111u,t ..,eek tn e,pre'is our,elve~ .1<..C<lrJiu~ to our pcrso11aJ ce111-
pc:'ra111L·11t.1
~uch 11otH)ll\ ,-vere eu I rent thr<lughc\ut Lhe 11it1etee11th cent1.1ry,
buL \\ erc nfl.l'll dt>velopeJ in re!Jtio n to vt'ry confljcc1.taJ 11otion5:
011 thc oue hand doctrinc-; of 11atural1Sn1 or réalis.1111:. a11d on the
othl'r che m1porta11cc of che gco111ctrical basis of design as a for1n
of higl1cr, l{.-111t1ar1. rruth. 1 " 1
The architecc Eugene-En1111annel Violle:-t-le-J )uc ( 181 +-1879)
propo\ed ;111 entire:-ly Jiílere-nt 111odel of l.lrawing- .l'~-Jearning in
hi\ book His1c1 r)' <!( ,1 Dn111 1er (l l istoil'c d '1111 dessi11ate111: co111111r111 011
,IJ>_J>rc11d a dessi11cr) o[ 1879, ba'.)c<l 011 Roussec1u ::u1d Sa1nte-Be1.1ve,
yct the pL'tlagogic JOllrlle)· of petit Jea11, the pupil of fVl. Mar-
Jor111, sr1U cuJnm1ated ii1 a _101.u-11e)· to Jton1c. Vi0Jler-le-l)1.1c·s
book. ,vhich beg1ns "·1th rhe geo111en·ical basis of 11atural forrris,
pro111oce-; che ct1lti,·ation of precise drawing fi-on1 11ature throngh
che- acc1u1~irio11 of pr.iccical knowledge al)ouc scructure and scien-
tif1c expluratiou: .111 Alpine tour. fur exa1nple, curns u1to a
gcology lesso11. Tl1e book ,,·a~ l1eavily influcnced by V iollet-le-
Duc 's fricnd a11d co-tcachcr Horacé Lecog de Boisba-1.tdran
(1802-1897). who publíshed his o,vn teacbing n1etl1otl i11 1848.
ba-;ed on his iru1o·vation~ at the Ecole R.oyale et Spéc1ale de
De\sin (l-11 0,vn ,l'> che Petite Ecole), which. inrer alia. involved
special field crips 111 ,vh1ch n1odels were dra,:vn in nature and
111uvcn1enc, and exerci~c~ íor devel<)ping visual 111e111ory. 120 This
coilcge, and 1ts 111auy reg1011al br.t11cl1es, ,vas Ll~dicated to p ro-
111on11g apphed .trts in thc service of 1ndustry. Thc model was
geo1nen-y, line and n1east1red dra,vi11g for practical applications,
perfected in rl,e teach111g that vvas also offered in schools. The
requirentent of a strict outline drawing ot- a vvatering c:111, wheel-
barro\-, an<l ílo\ver poL that has beclevill ed so 111any schoolchild-
rcn acros~ lhe \.vorJd i11 succceding generalioni. descends 6·on1
this at1,;tere and punishu1g reg1111c.
CoUeges for pron1onng des1gn for indusc.ry, base-d on princi-
ple-'> that ,,·ere d1rectly opposed to tbe l1igh-art valucs of acade-
111ic sy,ren1s. h.id also been estabusbed 111 Germany (Prussia and
13avc1ri<1) and ,,cre ro follo,v in l~r1tain, v-·bere the foundi11g of
tl1e c;overnn1ent Schuol of Dc..'stgn in London in 1837. ironically
houséd in ~0111er,t.t l lou ...c..', v-.1 h1ch l1ad just heen vacaceJ by the
l~oya.l Acade1ny. tollowed a Select Co1111111ttee <)Í l)arlia111ent.
Z30 DRAWING AS D SCIPL INE
Oue of tl1e reports to tl1c Sclect Co11muttee from BeI1jan11n
Jlobert H.1yt.lon, a. prime n1over 111 che debate, declared thut
acadernies give ·an :11·tificial elevacion to n1ediocrity, degenerate
.
111to .
n1anner1sn1 an d Lerter
r . , 1.,1 H d
gen1us . ~ . ay· on ,s pass1onate
. .
v1e,vs
al1out life dr,1vvi11g anel anato111y. 110,vever. were to be ignored
l)otl1 in the iiiitial ped,1gogical progra111111e a11d the clrawing
course cventually establisl11td by tl1t Scottisl1 pai11ter Williao1
Dyce tor the School of Design and its Branch. Scl1ools, estab-
h::;hed in d.üfere11t man1tfactt1ring centres in the r84os. Although
initiJlly 'drnw1ng 6·0111 tbe Life' vvas e,xcluded in tàvour of geo-
metrical dn1,ving, becouse- 'the real l11.1siness of che school ... is
t() reacl, the are of de~igning ornan1enc ... the scudy of dra,ving
111ll'lt in every instancc be cooducted witl1 refere11ce to the use
to whicl1 it is ;ippücd', cvcnt1.1ally1 by r8 4 6, it was declared that
'the accuratc dcli11cation of beautifttl n1odels of the l1u1nan for111S
1s a 111osc efficient 1nea11s of educating the hand and eye. and of
pron,oting the refinen1ent of taste' . 122 Figure drawu1g, however,
,vas prefernbly fi-0111 ca~ts a11d al,vays required to be 'directly sub-
Sçrvienr to the purposes oí <)rna111ent'. Alt:hougl, l)yce 's Dratt1i11g
Bo,lk, ,vhich conti11ued to l1e used in tbe n:'11a111ed and reconsti-
tuted Art Schools, vvas eutirely based 011 gco1netricaJ drawiJ1g. he
insistcd in thc ü1trqduction that the student (singular) must 'be
tat1ght to refer to nan1re for the ver1ticacion of every üne and
forn1 of desig11 "'lnch 1s placed before liim as an exercise i11
draw1ng'. 1"'3 Tl1is collusion bet\vee11 geo111etry and utilicarianis111
,vas 1nocked l1y Cl1arl<:.>s Dickens in Ha.rd Ti11·1es as the 011pressivc:
'rule of Facts' in school education, contained in a lecture sup-
porte<l by T hon,as Graclgri11d:
You can.not be pern1itted to paint foreign bireis and butterflies
upo11 your ci:ockery ... yo1.1 111usr not have quadrupeds repre-
senred 1.1pon vvalls. You 111ust 1.1se for a.JJ_ thec:;e purposes, co111-
binations and n1odificacions (in prin1ary colours) of n1atl1-
en1atical figures vvhich are susce11Lible of proof a11d den1on-
stration. This i:; the new discovery. This is fact. This is taste. 114
Th_rough the pris111 of geo111etry a11d the rejection of tl1e classi-
cal ideal ::u1d history painting, the h11n1an figure was n1ajncained
as ,1 n1odel for accurace representacion i11 d1e early t\ventieth
centu ry, as longas it \Va<; loosened fi·on, its literary and rl1etorical
sta tus . Tl1is n1eant tJ1at. even during t11e radical e-xperi1nentacic111s
of 111odernisn1, the life class contint1ed to be regarded as a core
activity of lear11ing. At the Bauhaus i11 1928-9, Scllle1m11er organ-
ised. classes on 'M an' (D er .Víc11sch) that included life drawing
"'.vithio the co11cext of a prograi1une of studics thnt. for all its
1nodernist language, was not so ra.dically different fron1 tbe ped-
agogical nspirations of earlier acaden1ies, although restructt1red i11
ter111s of wl1at l1e nan1ed t11e 'metaph ysical fi gu re':
lt is es<;ential for the 'ne,v life' \.Vl1ich 'ihould express itse]f as
a 1nodern fecling about tbl' world and life, that nian shouJd

l1
r
1 -
... - > <-
--
1 )
159 EL1::in Uglo,v, ~t11dy for 'N11ri<1 1
, 1999, graphite. 127 X 2,60 run1. Pnvate collcction
be understood as a cosmic being. His cond1tions of existence,
hi,; relario11sJ1jp with the natural and artificial environn1enc, his
n1echani~n1 a1'1d organisrn, his 1narerial, c;piricual and inte~lec-
tua] i111age; in short, n1an as a botlily and spiritual being is a
necessary and in1portant subject of i1L~tructio11.
The sttbject is cüv.ided. into three parts, chc for111al, the bio-
logjcal and che plúlosoph.ical pare, ,,,hich correspond to gra~-,hic
represencation, scientinc structure and the crru1scendental v.'orld
of ideas. 12~
Schlen1n1er's progra111u1e, vvl1icl1 replaced ltten's life c lJ~ses v-:ith
their emphasis ou rhythm and feefuig. was preuused 011 reject-
1ng 'the odium of acaden1.icis111'. Studet1ts sbould .ti.rst lear11 to
drav\' from 'inanin1ate 11ature a11d the li,·1ng cl1.ings ef everyday
life', althot1gh the nude represe11tc; 'che h1ghest nature, the finest
arriculation and orgnnisation, as an edifice of t1esh, 1nuscles,
bones' . 12'' [n 1915 he noted a whole series of geon1etrical rela-
cionsl1ips with body parts in his diary, beginning ,vitl1 tl1e 'c;quare
of the ribcage, tb.e circle of tl1c belly, tl1e cylindcr or thc neck',
, -"!!!l!!d :r=
-
gs
4 --
-- e • t
..
t
t
-
descr1bi11g them as 'the orn:.unent that tornis bet:\vecn tbe body
and che oucer v:orld'. 127 This syc;cen, of 'antbropocenrr1c con-
c;cructivis1n · anel the t1c;e of te-rins like orn.1n1enc place Sc hle111-
111er as the reforn1ist heir tl) tl1e tradiric)n of nineteentl1-centurv•
practical <lra\vit1g instruction.
lt is tl1rough a relaccd tern1inology, i11 which .1ccuracy of
observation is ticd to the privilcging of 1ncthod.ology and 9ttasi -
geon1etric syste1ns. that 'objective' dra\víng, as pron1oted by Sir
Williru11 Coldstrean1 and !ater Et1a.n Uglow (1932-2000), becan1e
such an i111portant doctrine and 111ethod in British art schools. 1" 8
The n1erh<)d vvas instítucio11alised by Coldstre,1111 111 tht' short-
lived Euston Road School, creaced arouuc.l a group oí .ibstracl
artists vvl1ose return Lo thc figure in the late 1930s ""'Js sec11 as
a rigorous realism, ,vhich, ironicaJly, v,:ould address the 'tende11cy
i11 rhe art schools ro conce11t:rate 0 11 the tcJch1ng of chc apphed
ares, 111dustriaJ a11d conunercial design' a~ \vell as counreracting
the c;ubjectivity of Abstracr Expressi0nisn1. 1~., Cold~trean1 's
n1echodology, perfected as a lite-long practice by Uglo\v. i, al,o
k.110,vn as the 'tlot ,1nd carry' 111etl1od of drJv.·ing. The artíst estab-
lisl1es sets of co-ordi11ates on tl1e p,ige or ca.uvas. typ1caJl), i11di-
DRAWING AND LEARNING 211
Lltca bv tel1 talL cr,1s,er,; a11d dotted h11c, , St) th,1r th é prt>pt,rtiOll'-
o t t1gurl'S .1nd ol11c\.·ts plJred bt:-t\\'ecn th e 111 c.1 11 he deter1nin ed
.1, Jll u1.ltely .1~ pl1,s1ble. Thc- t111llL·r..,L1 11di11g o i- cbc figure 1s
e11u1"1..'ly 111 tc:r111, nf gl'o1 111.·t1ic.1 I rel.1 n o11sl11p\ . c!Jrity of planes
.111J cti t·rl'Ctn css o i propornon. 'fhl· pn:do11U11..1.11tly tc-111::ilc nudcs.
\,·110 are o ti-cn t:1celc'-S, Jrc nc,·er pr1v1lcged o\·er the 1,1,~c-e11-src1u'
ot srud in par.1phern.1li.1; e, ·ery o~jcct i, rre-1red ,,rith co111parable
"nt•t1traht) · :1r1d .~ra11it,15. rhc: ,vh oll' bt'1ng 1 de.id- p.1 11 av,e111blage
of tl "\:ed pt)Í11ts 111d 1111.:.·ast1 rt'111e11t,. \on1 eti111 t·-,, ausLL'l"L' I) beautiful
in the hands of U glo,v. lll thl' ,ervice ul Jl t uracy, hc l'Ven
de, J~cd a c<,1nph:x ,1ppar,1 tus tê., r dr.t\\ u 1s tb e 111odel fron:i rv,,cJ,·e
ditlc:rt:tlt l1e1ghts to obv1 ate di stor tions. 1-'"
•
A lat~· penctl sketch b) U g!o,, ·, -~t11dy _f,1r 'N 11rra' (1999; pi. T5y),
rt'latC'\ co h1s p:11nt111g- C<) n1111i.,s1oné'd f ( )f E11n11111rers: 1\'e111 .4rt .f"n1111
Old. 2.000. at the N nti on.11 Gallery. London . Thi~ ex.l1ibition \t'l
0 11t to re-i11v1~orate tradit1onaJ acatle111ic praclicc~ of relati11g
ne\v art to lustori c.11 cxen1plars, and tbe co111n1.íssio11cd h·a11-
scriptio11s vvere. ge11erallv. JLixtapoi.ed ,v1th thc o-rigi11al pai11tiugs
111 var1o us g-allcr1cs in rhe n1useum. Rtj:raordina1il,~ Uglo,,• chose
to re1ncerpTet Monet~ Tl, e l 1;1H'r-Lily Pond, 1899 (N::i □ ona l
Gallef)', NG -1,240) , in sôn1aciç ter111~ (111d bodily geo111etrie~ in
h i'I pai nting. The 111qdel ·~ body bt'nt over a -;peci,1lly conscruc.-tetl
bench u1 the ~tudio vvas en1ployed to reconJjgure che arched
for111 of d1-e J.1pa.i1-csc bridge spa1JJJ111g Mouct's pond. lu thc
rarher abstract skeccl1-. Uglo,,· h:is chartcd tl1e angles of bod·y-
p..1.rrs underlying rhis spring1ng for111, ,vhile the acute :111gle of
the righr ::irn,. hea\'ily srressed by over-d ra,ví ng. presun1ably
relate~ to shadov\'Y patche~ in che v\1atêr-lihe-, below Mont.'t's
ornan1encal l1rid!?;e. Tbe bro,1d jbstracr geon1 etríes of thi!>
vvork111g Jiagra11J are difiercnt fi·o111 tl1e 111ultiple a11gles usually
charted 111 Uglo,~,-s figural 111aps. but none tl1c less precise and
delibera te.
The Coldstrea1n n1echod contu1ued to be taught at the Slade,
'
v,here rt>beiliou<; studencs in che 1960s u,;ed to dub che life-st1.1dio
the'deacl1-roon1'.A n1annered re111nant ofthe sy,;te111 is sâ ll being
pron1otcd .t~ a for111 of doctrinaire 11eo-acaden1icis111 in Britisl1
life cla~se!> ro clús day, (lcrying ali criricis111 of rhe narr(1w11ess of
its rnethodoJogy by employi11g a powerful justifi.cato ry language
that refers to •righruess'. ·accLtracy'. 'dispassio11ate observacjo11· ar1d
·rruth ·. With ~t1 ch at1thoric1tive clain1S. 'objective drawing' 111air1-
cai11s it,; n1y'ltique for 111any artic;ts ,1nd Jearners.
Banish ing and Restaging the Life Class
l3y che 1970s in l:3ritain, lite cl;1\ses had disappcared fro1n art
~chool'I acro,;,; rhe counrry, afrer. 1ron)· of iro111cs 1 a revicvv into
arl eduLatitHl J..110,vn a,; Tlic ,Scro11d Coldstrct1111 Report. r.-i , The
govcrnn1e11lal retor111,; th.1t folie)\,\ e-d lhese reports signalled the
::ibsorpcion ot 111dcpcndL'llt art schnob, into the ne\v r>olytechnics
23 2 D RAW IN G AS D s,1 1 l lr-JE
.111d L1te-r the u11i\·er.,1ty sector. ln praccical cern,., it 111ea11t the
,1bnliti(l11or tbc atelier :-.y-;tl"lll ant{ the erasure of tl1-e ídeulogi-
cal dtll""crc11cc~ that l1ad n 1arkcd tl,c !1istories of regio11al scl1ools.
alcl1ough thc early polytcchJ.Jjc depart111ents ,vere often ,vonder-
fully '-'·elJ equjpped in relation to up-to-date practíce. Most
in1portantly, it coppled dr:1\ving fi-01l1 its tentral róle in teachi11g
and practice, and c.lislocated the e1111,o'-vering dialectic of dise,{!1to,
th,1t vibranl con11ecti<)11/a11tago nisn1 ben,vee11 dra\ving. Ll1inking
antl loc>king. It ,vas not uncc_>n1111ou for studeut5 of thc last
decades of tl1e tv.·c11tietl1 centt.1ry to havc ~tudied tor cwelve years
or n1orc ac sucl1 i.t1.sututio11s v:ichout any dr:rwing 1nstr uctio11
,vhatsoever, furcher to a.11 initia.l F·oundation Course. Manv, weH-
cstablished older Briri<:11 artis.ts . ,,ritl1 t\VO or tl1ree degree;:s to cheir
11a111e, .,ti_l} clai111 tl1at 'they clon't know how te) dra,N·.
Mor~ rcccntly, under the den1ocratic, pluralistic but also hege-
n1011ic i111peratives or uníversitic:.. the growth of stude11t 11un1bcrs
ar1d dccrease in tcaching sca.tf, individt1al practice in art depart-
111ents has beco111e u1creas111gly ti·aginented rlu·ough 1nodnlar
te'aching and ~elf-d1rected learrung, with students looking
outvvards to the art 1narket ~,nd its otliciates. Nevertheless, chere
h:1s l1een ,1 si6i,-1ific:1nr revival of inceresc in dravving, vvhich ai-;
,vt'l1 as being ofTered as an eiective i11 Ltt1dergraduate progra111111es
or .,pccialíst dcgrees. is novv also <>ficrcd as a 111astcr's degrec in
son1-e un.ivcrsitics. Such courscs, hovvcver. are not ,vell supportcd
i11 terms of special.ist teachin.g of the histories at1d tbcories of
dr:1wi11g. Genernlly, the- fine art m1d desigi1 sector Íll Britai11
-;upport" che suppressio n of history in f:1vonr of cultural tl1eOr)r
and visua l scudie11, but the relacionship between 11ractice and
thet>r) is Lhe subject of conti11u.11 conc<.:stacion in tl1e stud ios. rn
tl1e tradicional European aca,denúes. tl1e J!ictor doc/11s was expt·ctt'd
to acquire k.t10,vledge in d1e über,11 a.rts in ordcr to 111.ake an
inforn1.cd contribution to practice, spurred by co1nnrissio11~ fi:om
reJigjo1.1.S patron.s, or ar-istocrat1c, bou.rgeois or state 1nstitutio11s
and individuals. Conten1po:rary pressures for a.rt practitioners and
teachers to acquire l1igl1er degrees including doccor::ices, in co11-
for111ity v-.1 ith the iu-;citutÍ()nal rule-; of universicies and funding
bodie,;, are 11ow;ldays directcd at the justificatic)n of i11di11id11nl
subjcccive practice, laking tl1e pL1ce of the outward-dirccted a11d
supposcdly objective rcscarc h of otl1er disciplii1cs.
Wl1-ereas over the centt1ries coJ1.Servative acadcmics and otl1er
art inscitutio11s ,vere tl1e loci of dissen t a11d subversion as vvell as
repression for are Stlldents, sucl1 accivities have now becon1e insti-
tuti<)nalised inro a for111 of C<)t1doned radicahsn, thac is rituaJly
di,;p1ayed at the yearly degre@ shows. These exhibicion~-cun1-
carecr h1unches, \vl1ich are 111ined by the Jevotees of youth
culture 1or sa leablc products. havc:- au in1pact 011 arlistic careers
tl1at eve11 surpa~ses d1-e previous syste111S of the f>rix de Ro1nc,
i>arisiai1 ~alons or Jtoya1 Academy exhibitions. U11iversity fu1e-
arts departn1ents are tl1e very ancicbesís of the craditíonal aca-
den1y, sans dra,ving a11d s1111s rules. But to the extent cbat the)'
are co11.stitt1ted around che custo111.ary ,wtago11 is1u between prac-
t1cc and thcory and the a.11161valc11t rclationship bcCvvcco tcacher
and pupils. as v,·ell as a cotlusivc invesuuc11t 1n cl1e values of d1c
art ga1ne (""'hat Pierre Bourdieu calls the il/11sio), s1dc by s1de \v1th
a profound belief in 11igher degrees and uni-ver-;1ty hierarch1es of
legitin1atio11. th ey fu nction i11 si 111i lar \,Vays. 1' 2
The deeply t'11lrenched Western belit!f chat are a11d design c;111
'only really be lear11ed· tbrot1gl1 dra\vi11g che body ha~ l~d. to a
restagu1g of the ritualised cvent of thc lifc class. eve11 though its
codes of 1neaning h.ave been fractured and there is no n1.ore th:111
a vague a,vareness of its pirtàlls and history, includii1g rhe ve1·y
,vell-theori,ed problems of gender and the sextialised gaze,
,vhich ;1re seldo111 reinvestigated. A 1najor ditTerente bel:\,veen rhe
n1oc.lern 1ife class and tl1at of previous c:énturie, i.;; tl,at. wl1ereas
l1iscorically, students were allowed acce\s to cbe livu1g body ac
the c11d of an elaborate process of 1nediated lear1ú11g, llO\,\º n1ale
and fe1nale students, ottcr1 witJ1 littlc prior training, lcan1 to draw
direccly _fro11t tbe body, ai1d ,vith no clear contcxt ioto wrucb to
apply such natnralistic or subjective results, or guidance about
the value of the knovvledge derjved fi·o1r1 such exercises. The
~1rne thing applies to tl1e renewed interest in che st1.1dy <)f
anaton1y, which is n1aiJlly actractive to students in its relario11'íhip
to spectacle a11d íssucs of cl1c abject, ru1d tl1c te'iting of perso11a]
subjectivities. Tbosc aspects of a11aton1y tl1at were understood i.11
tl1c pnst to have ,~:ide application to bodily knowledge. thãt 1s,
the conditioos of age, gender, e:-..--pressioo, sicla1es'i ru1d bealth, or
even 'the appearances \V hº1c 11 pa1n . or oeat J 11 presents •, I V\· are no
longer \.e1 y rc:ll'v,111t to tl1e C<)t1lcn1p<11.1ry pr<)jt'l t, c.,f art unle~,
restagetl 111 pL rlorn ta11cc or t1111e-baseJ practices. ChL tcaL hL·r in
a drawu1g studio, adrift &0111 gallery practice. is. tberLforc. VC.J")'
1nL1cb tbe .co11du1t of .m indtv1duah,;cd n1ecl1odology a11d per-
son:ilised concext, generally \>.'1th an en1pha~1s on the responsive.
the alfective, the sponcaneou" and thi: phe110111enoh,gic·1L .1nd
repre~sion of the })roblen1alícal ,1rea, relateti Lo tecl1111qne or the
dilutet1 re11u1ants of Dasic Desigi1111ethodolog1es.1 14 Life d.rJ,, ing
is tbereforc a hil and 111jss aJ1à.ir, a11d thl conten1pora11' lifi.- cl,1ss
i11 ai1 ir1stitnt1011 wl1en it ís rtot dran1at1ca1ly perfor111at1, e (en-
1
couraging 1nultiple n1odels co inter,1cc, n1ove to n1usic or e,·en
perfonn circus acts, con1b1nations of hand and lens-b,,~ed dra,,·-
ing, en:1ctn1ent <>f 11arracive siu,ation:-., collaborative dra,ving exer-
cises, etc.) Céll l be extren1ely dull: <)ften ,1<; rc)te, 111e.111ingle'i~ and
unproductive as anyth.ing offered b, th e drcaded acade,ny.
What inspires drawers of ali ages te> rcn1rn again Jnd aga.111 to
cl1e l:ife class, 1c ,vot1ld secm. 11.as l1ttlc to do ,v1tl1 tcach111g
111ethodologies or the releva11ce ox lack of xcleva11ce of obscrva-
tíonal dra,ving to conten1porary practice. l t is tl1e 111e~111eric dis-
cipline of looking at and dr:iw1ng the hun1an bod) th,1r ren1,1ins
so l)Owerful. just as it has ft1r centurics.
Learning to draw, ,;,,,hile 110 lo11ger a privilcge<l accivit) i11
eitber school or specialist art ceachi11g. ren1au1s an activity of
e11orn1ous i.1nportance and pore11C)' for educanon as a whole.
Lean1111g to observe. to investigate. ro an.aJyse, to co1npare, t o cri-
tique. to select, to i111:1g,ne, to play a11d co ,nvent con"titutes the
veritab1e paradign1 of fu11ctioning effectively i11 the ,vorld.
DRAWING ANO LE.A.RNING 233
 As~e111bling a bod)· fron1 a kit of parts 111ight seen1 a cbiJdish
Chapter Nine game, bL1t 1t is neverchelec;'i a tin1e-honoured 111ethod ~or dra,ving
•
Bodies 1n Pieces: che hun1a11 fi!:,1t1re, :is \Vell as the ordinary :1ctiv1ty ()f everyday
rechnology, lc is "vl1y ~,n earlier generation Mac cu111puter L1sed
Anatomical and Drawing to 1nfor1n 111c ,vheu I pres~ed thc right key that 'dra,vings are
111,1de of seleccable objects tl1at you can co111bíne to crcate a
Manuais for Artists picrure ·. 1·11e confidence of th.is sin1ple compusp~ak asscrtion
1u;ed to 1nake 111e laugb. lt ecl1oes a tradicional pre111ise that body
assen1.blage, as predicated in generacions of v.•ordless manuais
for arcist~, full of heads, arn1s and legs, hands, feet, bones and
skeletons. f1111ctio11s .is ,111 analogy of thos~ sy11tl1etic aspecrs
of dra,ving and design chat ,veave con1ple,x percepcual a11d
co11ceptual fragu1cnts into a purposcfi.11 un.ity. Studyi11g tl1e issue
C.in ,i wor ~ of .irl be rYi ide 1nst,1ntaneous y1 No, 1l 1s conrt, ucted ptece-by p1ece l1 ke a of bodily assemblage tbrougl1 copybooks of body parts, the
house p:1rndig111 for n1ore sophisticated kinds of art rr1a11uals. therefore
Paul Klee
challenges sin1plistic accounts of dr.n.ving as n scraigl1tforward
Fit you1 parts 1nto one another and bu1ld up you1 figui-e as a carpenle1 does a house. perceptt1al exerc1'ie l,a1>ed 011 re-cordi ng tl1e evide11ce of che eyes. ~
E=VPryth,ng mu~L be consLr l1Cted bu1tt up or p;1rts thal make a ..ini1 d tree hke a human Drawing n1anu;'I):-. havé' never go11e out of proc.-lu ctio11 sjnce
body. a h1J"nan l>ody like ,1 cathedral.
their fir~t en1ergence in chc sixtcenth ccr1tury and are still beit1g
Hen11 Mat1,se·
proc.lucet-l today for th.e an,ateur a.rt 01arket Í11 asto111shing
n.1.u11.bcrs. Sucl1 manuals depe11d Oll apparently tin1eless assu1t1p-
t1ons that bodies a11d la11ciscapes are subject to the rules of beauty
and that paincing or sculpti11g ideal and/ or 'nan1ral' beauty is
1hc unquestionable ta~k of the artist. The ideal of landscape
µr<>n1oted in tl1ese p<>puh1r n,anu:Jls is generally that of the
Picturesque, a very static ideal cc)111pared to rapidly cba11ging
body culture: coutem.porary copybooks project 111odern types of
t:1shio11able bodics, voluptuous or anorcxic dependcr1t on the
fashio11 of the 01on1c11t, and vcry quickly bcco1ne obsolete. l)re-
nineteenth-ce11tury manuais, pron1oting notions of classical
bea11ty and ideal propoi-tion, were :iccessed by practising artists
a<; well as a111ateL1rs. and son1e enjoyed a vc"ry long life, reprinted
and C{)n<:ulted even t\VO or three centL1ries after their origina-
tion. Anato,nical 111anuals, which have traditio11ally depe11ded 011
a feroc1ous carmibalisation of i111ages a11d collaging of old in.for-
n,ation i11 r1cw publications, have sioularly been co11sulted by
artiscs over u1any decades. even v:hen their iJ1forn1ation is out of
date. This contradictory collag1ng of nev\· and oJd is of a piece
,v1th the contradictions inherent -in con1bin ing differenc segn1encs
tl) generace whole11ess and uniry, ,1vhich is the n,ain aÍl11 of
drawing n1anua1s and copybooks. Manuals are only staging posts
in ,l jour11ey towards co111pletio11, and in this re~pcct they con-
stitL1tc a bodily alphabet for bcginners a_n d copyists that 11eeds to
be con1bined it1to a joined-up visu.al la11guagc syste111.
ln both n1odern :u1d h.istorica1 nunuals, ir11ages of tl1e bod1·
and its pares are constructed by the authors or pt1bl1shers accord-
ing to an a JJriori va1ue system that i~ generaU)' not spelled out.
1(,0 (l,1ri11g J'<{t!I') Andy \\Zirhol, ( 11trtlt·d (ro11r flt1111s uf Lyl.'s). ârca 1952, The c>n1ission of instructive text and clear o rganising i-irincip}e<;
111k and Jnilinl' dyc. lJO X +uo nun . U.1,LI. Kun~tn1usctt111 B.ist:I. Kuptêr,;(-ích- in the 111ajority of n,anua]c; therefore consticutes a significant lack.
k,1b1r1ctt. 1~9~ .6.2
lec1vit1g thc artist. pupi l or teacher to c1pply tbe-ir own 111eani11g-
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lOntexc ,l';1 'iLtppleo1L·11c to gluc the pJrts ro~ctl1cr mto coher-
e11t \\ holl'!õ 111<l usable tigures. 111 ch1s se11se, dra,ving 111;1n·uals,
,, h1ch LOt1:..t1tute caxo11l)1rut:>s ot· tiagn1enrs .u1d u1ti-astructural
genn1crr1e ...1rou11d 1 h<.)lln\v centre, prt·re11d to be outsíde rep-
~
n..•,e11t,1t1011 ,,·hile ,li the '>Jlllt' ti1ue a~piring to ti111ele<,s v.tlttc·s.
1 ht· L1r1,L,1ted .1i111 i, th H ,1<,-.e111bl)' u1u,t bL' :..ca111lc·ss: the evL' 111ust
11nc hc .1ble ll> unpick thc bits .111J. bob~ tl1at have bee11 JOÍned
toged1er 111ro .1 bodil) and stylistic o;vntl1e"i1S .1t rhe end of rl1e
L'Xtrcisc. rurthl.:'rn1orç. che ~u11ple geon1etril:1l figures of- cubes,
-..pheres. cyhndt•r-;, t)\'otd'> .111d cc)11es for1n1ng the infi-;1~truc:cure of
c:0111plex ll)r111-. 1nust ren1,1i11 l1ur1t•d ,1nd 111, i,ible.
T \)gil.li ,yste111, l>f proportio11. ,cale aod cla'ls1ficatioll'> of age,
genJer .111d Ll,1-;s ,tn: LJL1 tly rLi;,rarded as thc contcxtt1al glue for
co1ubiuiug body p,u·cs i11 Jn appropri.1tc n-1anner, as ,veli as alJ
thosc n1arters chat pertllll t<.) decort1m. S11ch l:1\,v·s are Stres-;ed u1
ever,·, 11,r,fr1·11 arci,;ric tract fron1 Albert1 a.i1d l~eo11ardo on,v:.irds,
and :1re ot1t'"n tl1e occas1011 for flight:-. of loft )' s.trcas111. As I)u
Frl'\J1oy / de {Ji]e.., declared in De arte ~v,n11,liica:
Let e,·e1; Men1ber be 111ade for 1t,; own f-le:id ... yo11 oughc
11or co ~et the HeaJ of a Y(>ung 111.111 on tr1e Body of an
Old 011c; 11or 111.ike a v. hite Har1d for J ,11·ither'd Bod.v.
, Not
co hal1it .1 l lcrculcs 111 Ta.freta; uor w1 Apollo in coursc scutt:
Q11cc11s .1.nd pcrsons of thc tirst quality, ,vl10111 you would
n1ake appe:.ir M:~esrical, are nor to be too neglige11tly
dre~s'd. or c11 dis/ia/,il/ce, no more than Old 111en .' 1
He1rri Fnseli rbundered aga.í.nst st1.1dent ig11orance, decrying
·the \Vont of criticai acquaintauce ,vith tbe principies of ancient
art v,luch can ;1s~1gn eacb trunk its head. each Hn1b irs counter-
'"
pare- J ,vont e,·en no,v 'iO frequent ... that :i M ercury, if he have
lt:fc otT hi~ caduceu~, n1a'} exchange hi\ li111b!I ,vith a Meleager
;111d be \~titb an A.t1w1ou<i.''
Many coutempora.ry do-it-,·ourc;elf prin1crs n1ade for purely
co1nmerci.u considerat1on, do not ~ppear to rcfere11ce ar1y iden-
cifiable aeschetic: systen1 whatsoever, apart fro1n che ct1rre nt co111-
n1c-rcíal graphic styles ch:it the)' nnconsciously project. They
cono.;ticute a n<)li-referenrial e11d in chen,~elves, rhe key to all
v1~L1al 1nysteriec; for ,l4.50 offered ,vithc>uc a ,vord of é:Xplana-
ciou. A.n early u1.b. an(l aniline dye drav, ing, Po11r Ro111s t!{ Eyes
(circ,1 1952; pi. 160) by Andy Warl1ol (1928-1987) .•1ppe.:1rc; to n1ock
c;uch 1nv1sible model-; of ,vholencss throuo-h ~
tra115fer-stan1pii1g
~
1de11tical unics onto che paper \vith lasl1e) and coloL1r added later,
1
'v\ hich t'voke~ ~on1eth1ng pleasurable fi·on1 a child1sb past. ' ln an.
1ro11ic ,Laten1c-nt c>F neg.1riun, W:1rhol once con1n1ented: ' l'n1 ~ti ll
obsesse-1.l \A.tith the idc>a of looking int<J the 1nirror and ~eeing no
onc, nochi11~.'., ln clus dravving the rcpcated eye is also the ' l ' that
returns our gaze, i nvolcing conscqucn l excl1a11ges: ' I .se-e t11e otl1er,
1 ~t't' hi111 <;ee111g n1c; he knows I se-e hin1.'8 Warl1ol's s1ick
con1p,1ny or t:ye~, so111t' lot)k1ng ar the spectator, otl1ers looking
10 the s1de and invinng u~ to folio,,· rheir flirtarious gaze,
230 DRAWING AS D IS C IPLlt\JE
111anages to d1slocate the t-vo-din1ensional logic of rhe conta1n-
ing pagc (i11 rhe sense tl1ar each eye i,nplies a cli.n1e11c;ional fàce),
just a:- tl1e1r represenLation dislocates the final exch.a nge of inter-
su bject ivity. tl1at is, tl1e k 11owi11g s11bject. The repeated eyes evoke
hid(len 11arr,1tives of age. race. gender aud charactcr. as vveU as
tl1e ta-xono1ny of an alphabct.') Once the shapes of the eyes l1ave
bcen learned and internalised, they ca11 be assen1bled into bodily
sencences.
Modernist Tropes of Severing and Reconstruction
. , l'ensernble, you know- heads. hands and feet everywhere - espectally íee1..
George du Maurier' 1
ln the first balf of tl1c nve11tieth cencury po\vcrfL1l forces of
iconocJasn1 a11d abstraction became tl1e contexh1alisi11g ,_ fi:a111cs
for artists to artack or 11npick bodies, t o be reasse1nbled accord-
ii1g to the aesthetic rules pertaining co schools or isn1s such as
Cul1is111 and Constn1ctivisn1, objecciv-ity and neo-realis111, a11d the
anci-aestl1eric <>f Dada. Jn place of canonic syscen1s of beaucy,
"'hich ,vere the organisiog paradign,~ of earlier assen1blages of
bod·y part~. n1odernist boclies \-Vere subjected to tl1e dissen1bli11g
strategies of iro11y a.11d subversio11, inspired by psycuo-analys1s.
bod)· policies a11d ch,u1gjng social attitudes ro gender and se:.\.'U-
ality, :15 ,veJ1 as shock value. A relacively untyp>ical pen and ink
dr:'.l,11ri11g by A11dré Ma<;so11 ( 1896-1987), Kitcl,en Rtbellio11 (L1
Rct110/re d,111s la cuisine) (1940; pi. 161) ~erves as a 111id-cencury
exa_111ple. Redo]ent vvith poLltica] as \Vell as ,urreal readii1gs,
Masson'~ dra,vú1g plays cruel a11d ,,vitty gai11es with notions of
scveri11g and reconstruction. lt \Vas <.irawn afte.r Masso11 and his
tàt1iily l1ad fl.ed fron1 tl1e Gcrn1an ii1vasion of Paris, and ,verc
waiting in the south of ]:;rance to e1nbark for the United Staces,
c:learly a tin1e of great uncert:.ii.nty, anxiety and anger. The speed
v,'ith which the n1echanised table Iegs/arn1s are cutting up tht!
b<.)dy parts that are vvl1izzing between the knives is exac:erbated
by tl1e crazy a11gle~ of the tab-le and che chairs: che ,vobbly body
politic is dcvouring itself. Objects a1J(l bodies are intercl1a11ge-
able, and distinction.s bct,vccn thc a1u.n1ate and u1a1li1nate have
been confused, since cl1e chair, \vhich l1ouses a severed head on
1ts lap, aJ.so e.x:cends an ar1u, and the cable icself is an active site
of torture. The indications ot' texture in che ,vood grain of the
table and the rus]1 ,eating s.upply a têrocious veracity to the
kitcl1en, vvhicl1 is chop_1.1ing tlf) che CO<)k: a bizarre inver,;ion of
tl1e natural order.
ln a 111ore benign play with disparate body parts, Salvador Dali
(1904-1989) sii11ultaJ1eously n1ocks ,:111d e11dorses acadenúc prac-
c:ice in St11dies 0;,f a N11dc (1935; pJ. 162) on a yelJowi11g sheet of
p:tper v'-ritb sé'rrated edges torn fro1n a pad. 11 Often reprodt1ced
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1(11 André Ma~son. Kirrhcn R.cbcllil•n, 1y40, pe-n :ind 1nk. 480 X 630 n,m. P;1 r1s, C..on11té- Andrt' Ma~\011
il1 the catalogues of tl1e Museu1n of Modero Art, Ne"v York, tl1is
dra,ving appears at fi.rst sight to be an e_x:arnple of the n1ost ubiq-
wtous type ef drawing fou11d ii1 acadenues a11d art c;chools,
,,,hich only s0111eti1nes re:1cJ1 n1useun1S; that is, duJJ, rote c;n1d1ec;
of body pares and parcial bodies c;guirrelled avvay b)' arri:-.cs :ind
ceachers for fi.1ture use. Many c;uch drav-ring; arê' anony111ouc; and
111ost, perhaps naively. are a-;sun1ed to be 'fron1 tbe life', eve11
,vhen thcy have been copied .fi:0 □1 rnodel books or dcrived fro111
n1c111ory, son1etl1ing ditricult to dctern1i11 c. An elcgant si.'Ctee11th.-
ce11tury cxample of the ge11rc is LJ011tormo \ red chalk St11dy o_f
úgs for St Alfichael (circa 1518; pl. 163) for an altarpiece. 12 ln rhe
painting, the youthful St Mi chael rests his raisecl leather-
stockinged right leg 011 an lu1con1plaining [Jltflo, \vl10 in the
5tudy is sup}1la11tt!d by a sketchy spheri<.:al for111. Tl1e leg; fill the
lefc-ha11d side o[ the ~bcct, a.t1d clothi11g ti1cked in to rcveal tbc
legs is JUSt briefly indicatcd. Thc difficulties in portraying tl1e
foresl1ortcned foot and 1ts anklc banes see111 to have vvorricd
l)ontorn10, \vho tried out the foor e]<;e,,vhere on the page, includ-
ing a ve11· s1nal1 , skecch version in ink, acting ª"
a ~uJ11n1ary of
gesture<; and po<;sibly added 111ucl1 later tl1an the u1ain \t1.1dy.
BODIES IN PIECES: ANATOMICAL AND DRAWll' IG MAl'JUALS f-OR ARTISTS
)
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Whcreas t>o11tor1110 \ fine dra\ving is a pl.tct· for proble1n-
solvii1g and fo r io~cribing a ccrtain 111annercd style (apdrt fron1
Nli chclangelesqLte aspects, thc elongated legs reflect the elegance
of Botticelli or Leonardo), [)ali J1as appropriated habitual prac-
rice~ of redr;i,v111g :.i body pare tor n1ore 'iurreal :ind pl:.iyfi.11 pur-
poc;e,; in his light, 11recise and slightly teathery penei] drav.·ing. ín
the !)ali page, the lcft foot o f the 111odel ~eated 011 a ~too! is dis-
torted, one pinched toe raised J\vk,vardly above tl1e others, pre-
sumably fro111 tl1e v.·caring ot· tight sl1oes or a11 111c1pie11t bt1nion.
Perha.ps it is JJalí's fascii1ation \VÍth this indi,-idual. unbeaucifi:il
and ideologically naked foot that causes hin1 to JU\.'tapo,;e it ,vith
a scatrer of cla~sically ideal feet with lengthy second lot·s: dre,;..,ed
in ideaJjcy, c;o to c;peak. 1 ' Each fi>ot in the dra\-ving is e111phJ'lÍ,l.:'<l
by careful1 1 n1odelled horiztJntal ~haclo",:. "º a~ to place it firn ily
ii1 relarion to thc grou11d. ,vl1ereas tl1<: ~l1Jdo,ved ha11d hold111g
a handkercb.ief l1a11g111g fi-0111 tl1e top ot the page see111s hke a
heavenly i11trus1on fi-01n a11otl1er real1n. 1 'f he foot, J cradicion:.il
unic of 1ne,1sure111ent, ic; a]<;o che instrun1c11t of the ciny ,valk1ng
figure 011 the di:1gr:1111n1at1c paven1enr in ,l -;n1all ,ketch <Hl the
righc, 111easuring out ic,; ~hado,v. and vve ca11 a,~u111e rh.1t J)alí
237
 dr,,,, n fr-0111 rhe original in llon1e. thc Be/11edere Ti.1rs<1 (circ~1 16or-
2.: A11tvv1crp, R.ubl'n:•d1ui-.). revca[., ir, gualíty of lt)o111i11g i111111a-
11t·ncc: .\ figure chat \vould n1ovc if only it l1ad legs.
Ge11erally in Mjchelangelo'~ dra,vi11gs, the privileging of
c1:rlain ct:-pects of tbe bc)dy, tôr exa111ple, the elaborate torso of
thL· 111ai11 ligure 111 thc rcd chalk S11ul1cs _{<1r thc Libyau ,S)'bil (1508-
L!: pi. 164) j., so incense, detailed and techn.icaliy brilliai1t that

thc 011,ission of rl1e lo,ver lin1bs is not at all disconúortiog. What

tc>cuses ,1ltcntion 011 the lush n1odelli11g of thc central 111ocif in
thi, fanH)U\ sec c>f studies t()f the Si-.c1nc Chapei (recto a11d verso)
is the delicacy ,vi.th ,~hich outline sigriifiers of fen1ale l1ead a11d
'iOft bc11y have bee11 graftcd on to rhe exaggeraccd n1aJe n1t1scu-
l.1turc. Cc1111pared to tht'i ,1ct of 'tran'ige11deri11g', thc cha11ges of

1<13 Ponct1rn1t1 (Jat·opu C.1.ruct1). 81111/y e>{ ugs for Sr ,\Jic/111cl, ârccr 1518-19.
rt'd t h,1lk rind pt·n :lnd inl-, :lV3 x 260 111111. Flore11ce, c;allt:ria dcgli UHizi.
( ;,1b1nt'ttn 1 )1~i:gi11 ,.: ~t.1n1pt', 650(>1•

... J

1 1• ~.,h.,dor 1>.111 \tu.111•, ,!f ,, \11,I,,, ,,,3,, gr1ph1tl', 175 >' 110111111 N~·,v
\11\.: . 1 hl' Í\hhll1111 u i ~\0J1.:111 A1L,,l.u11l'\ 1 lu.tll Sob\ Ul'yUt''<l. lJOS ••J J<J

\Vt, ,1\\,ln: ()( lhl' pl.t\' nr IIIL',lllill~', 111 lh1.· Jll\.l,tpc>SlllC)II l)f lhl'~l'
lr.1g1t11.·1Jl'i 011 th"· p.tp;L'. F.1ch of d1l' hc>d\ p.trr., 111 th1, cou1p1la-
lHHl <)I lr,1µ111l'IJ(l'd l'L'.ilttll'\ prqjccrs :1 d1tlcrcnt '>p.1t1.il :i11d pro \
rurt1011.1I rn ntl'Xt. Vl'r\ pc>-.,1bly 1) tlí returncd to th,s studenc
,t,1d) ,h1.·1.·r ,111d s,1\\ 1r, ,urr1.·al poc1.·nu:il \\ hcn hc :idded rhe htrlc
dr.1,, 111g 011 rhl' 1 ighr.
rhl' hndy l.ick, ,l l (Hllplll1.·d right ll'µ. t:1cl' ,1nJ 'i<:C of
lll()lk·l\
lo,, L'I .11 1n,, ,111d thl' d1-.to1 LeLl l<>ol ,., ob, t(>u~lv g-r.lfi.l'd lH1 l.1tl'r
l<) hcr ll·lt IL·~. 1 hi, ,1.IL'Lll\l' 111Ltn11pll'llo11 1t-..eli 1s p.ut of a \l'r>
llHlg .1c.1dL'lllÍr tr,tLl1tio11. <..OllIIL 111ing thc dccplv r<->ll'>l.' l'V.ltl\t
ll'ChlllljllL'' .111d \'.dt11.•, l)f 1>.ilt\ pt ,1<.ttcc. l'hl· lllLOtllplL'tL' cru1dt~IJ1Ít'.
111 \\ l11ch thl' ,11 u,c lt)l"tts1.·d <Hl p.1rtiL ul.1r b<)d) p.1rr, .1nd lefr other
p.11 e, un,, 01 kl·tl. ,,,,.., ,t,1t1d.11d lc,tli.111 ,ttu.lin .111d ,l< ,1dt'111i c pr,1r-

llL L' lto111 th1.• ltlt1.•1.•11lh <1.·111111,·.

•
l3t• hi11d thl· l.1cu11.lt' 111 \lH.h dt,l'v\-
111~s .11.l' th1.• hl.•,11.IIL·,, ••1111ilL·,, .111d l1.·t9ll''i'i ,e ulpturt·, .111d rt·lit·f.- o(
. p.11ll<t1l.11l\. ll1<..· l1,1tllltl'd th1.·,t ,111d hrokt'11 lt>,vl't le~
.u1tlLjlltl\, ~

oi" th,: lic,1dlc,~ LJt'/,'t dt•rc ·1~1r~11, .1 ,tt .111dL·d. ,tr,11111ng l lcrL ulL'.tll
1
l ,r,l> 111uch ,1d11111t•d b) Nlich1:l.111gl:'lo.. ,rr<.>rding t<> nun1l'r<)t1,
,1,11.·1.·111h-tt·n1u1) ,,n11lt·-..A p1t>ci,e hl.1rk <h.1lk topv by l{.ubL·n,

238 DRAW 11 A D SC.11 I INE-

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1<>-1 MíchL'l,111gt.>lo I3uo11,11rocí, "i111rlíl'~ /i,r 1/,r L.i/,y,111 <;ii,yl l~<>li- 12, ll'J t·h.dl.". 28•1 X .111 111111. Nl\V Yoli,. 'J hL' ML'tll>polH.111 r-. tu,t•u111
of Arr. J o\eph 1'11htzc r l(L't]UL',l, 192 1 (24. 197.2r)

•
' ation tron1 .1cadernicisn1
• as5e111bled into ne,v co n.figuratioo.s; a11(.t bis ,;ctdpturcs are noto-
165 1'-lllhl·l.111gelo Bu\1r1,urot1. ·l <.111d}1 •!Í ,1 <;,•att·d 1\/111/i• ,\ h111 _{t1r ''f11c 8,tlfll•
11( c:,1.,011,1·• 1504-5. pc•n. brush, ,varn1 g-rcy Jnd bro"'' n wash. hcightcned ,,•1tb
"h1tc (p.irtly d1,colourcd) (lVer lt;,1d po1nt JnJ ,t, lu,. 419 X 286 nlJn. Londun.
1·1ie Brirl'h ,\l\u<,c1 11n, 1XR7, 0,02.1 16r
scale benveen che t\vo torso dra,vir1gs and the triai sketchcs of
1.irge feet. toes and a head in cbe recco drav:1ng appear unprob-
len1.1ric. e~peciall) ,ince the ca,;ua.l placing of differenr--;-ized body
part~ fills up the entire ,heer. ln ,on1e cases. ho,vever, it see111s
tl1at orl1cr arrists or latcr collectors have nt)t been able te> toler-
a.te- the i.J1con1plcte11cs~ of Mícl1claugelo 's body studies anel havc
grafted on a L1nb to supplant a delibcratc lack. Thís coLtld be so
111 ,1 ~tudy ()f a bathing figure fi·orn the destroyed cartoon tàr the
proJeltt'd fi·e<;co of the B,1tr/e e>{ (.'asci11,1. 1' The he1ghtened pen
.111J 111k dr~l\,,:ing (in bro\vn .1nd warn1-grey ink) of r i Sr11dy o_( a
:5cc1ted .\T11dc 1\/,111 Jvr 1Ji,, 'B111tlc t){ Cc1stina'. (cirrt1 1504-5; pi. ró5)
rcvc.als J concentra.tion 011 the rvvi-;trd Jnd t''<tre111ely elongared
torso. n1odellcd v.·itl1 close pen c;trokc~ .u1d ,vhite h1:ighte11i11g
210 DR/IWINC,, AC, OISClf-'LlhlE::
and grcv \\ ast1. By contra.<;t, the bather's left leg ís particu larly
pu11v bclo\v tl1e knce, drawn lll a te11tat1ve style and dínrin1sb-
ing to a small fàot that 1s out of proportion wirh tht> rest of the
b<)dy. and sL1ggesrs co 111y eye;;; tl,at chere ha~ beer1 a11 incervcn-
tion hv another b:111ci to finish an unsatisfactorily 011en- ended
'
dr,J\V1ng. 1,; This interpretation see1ll'> aJI ll1e 111ore probablc \vl1e11
co111pari11g it \Virh lhe stylisrically· siuiilar Srudy q1· a 1\,fc1/e ,\'11dc
(Flt)rence, C.1sa Buor1arrot1), a fine cross~l1acched runnu1g back
vic\v of an inco111plete figure uussing its left arrn and leg. 17 The
11eed to co111plece M1chela11gelo 's u1úiui-;hed bacher - aLI the
more ·oi1t of joinc' becau,;e Í<;<.)lated on an en1pty <iht::ct of paper
- relaces t<) J co111ple:--- '>ign S)''\ten1 of part ;H1d \Vhole: tl1c knee
i'i a sign t)f ü11kagt· bet\veen body parts and of 111etaphoricaJ -;ig-
11ificél.11t.:e v, íthi11 a body script tl1at, like all languagc, fL1nccions
as a ·don,ain of articttlations'. iii
Dalí's te111ale fi.gnre (of another arder of qualíty fron1 these
great dra,v1ngs) sin1ilarly goes :.l\\' t)· on proportion, a~ if the
a,vk"vard fooc ha, only been joi11ed up later. Wíthin an ideal or
naturoli:-.tic concext, bodies as rhe sites of compilation of differ-
c·nc frag-111e11ts reveal their -;ou rce<; precisely througl1 tiisj u nctions
of _prc>portio11: the Surrcalist intcrest in cuttü1g ai1d pastiog ,vas
cxciced by just such sub,·crSI\'e possibiliries of 111.ismatchi.11.g a.i1d
mis-n1atn1g.
'
fl1e ~cnlptor At1guste R.odi11 (1840-1917) clai111ed after h is
Vlsic co ltaly i.11 1N75 te) sn1dy rhe Mediei ton,bs char 'rny liber-
'"'ª~ 111
via Mi chelangelo'. Rodin '~ studio
,vas littered \vith body pdrt:, and pla-.ter fi·agn,ent~, ,vllicb he
rioL1sly fraccured. as are son1c of l1is beheaded and disn1cn1bercd
erotic dravviugs. 2" A cnrtoon by Sen1 of 1913 of tl1e aged l~odin
depicts l1it11 as an old goat "vith hoofs, literally pulJing ofT rh e
legs, arn1s and heads of a fen1ale torso that he is e,nbracjng in a
dance. 21 ln his later years, .R.odin beca111e enai11oured ,vith
déro11pa,~e in hi!> drawings, .1n111utating dravv11 lü11b-; l1ere and there
or cutting c)ut sc:ction~ of dra,vÍ11gs and. reassen1bl1ng tl1en1 011
11cw shcets ,vithouc retêrencc to sculpcu ral gravity so that figures
coul.d be en.gaged in 11e\\1 con1positionaJ activities, includi11g
sexual acts (as d1scussed in chapter tàurteen). A very early
:u1ato1111cal study by 1-l.odin indicates ::u1 investigation of the cech-
n..ic:il dra,ving scracegy of che 'exl)loded' view, a a:aditio11aJ device
for re-conforn1ing or <;un1n1:1rising the whole for purposes of
explicatit)11. Skeleron <if (I Dog (pi. ró6), beJje,·ed to be fi·on1 L11e
early 1860s v\'hen Rodi11 was studying with tl1e an.ín1al sculpror
A11toi11e-Louis Baryc ( 1796-1875) at rhc Jardi11 des Plantes i11
Paris, prese11ts the ribcagc and upper parts of a can..i.ne body and
appears to be copied fron1 ::in :111atonuca.l 111anua.l. The lower
extren11ties of the fronc legs fade i □ to invisibility and the trun-
cated back legs are barely s11ado,ved on che page, a trope of
synecdoche ali the 111t)re obví(1us becau'se of the acco111plished
c/ii(lnisc11rc> n1odelli11g in pencil iu che focu~ed parts of che
 by [tosso Fiorenrino (1494-1540) ;:ind Per1110 dei \ 1.,ga (1500/01-
15-4-7).2·1 Tl1c appropriatcd i1nage:-, \vh.ich ar~ rt:dra,, 11, r1:-
c11graved and pcrhaps cvc11 CL1t up fron, or1g.i.na.l pri11ts l-,) v,1rit>us
iJJustrators, jncludc borrowe-d 11cads cut througb to sl10,, section~
of brains. rudi1nent:1ry bod,ly organs in.scrtetl u1to litrle cupboarti

'\ -1/{fí.~ ope111ngs. sJ...in rolled back liike paper c;croll,. :1nd thoraxcs 1nd
,1bdo111ens cut a,v;iy to reve,11 glin1p,es of tl1e i1111ér n,y.,terie-; of
tl1e body. The pose-; of tbe figures ha,·e been '>t1111111.1tily tc)n1 <)Ul
~- . . ~:ytJ' oi- C<)11text: tôr exa111ple, a ,,·ootlcut o( the Fc111'tlt: l<.epr<>d11cti11,·
Systl'llt ii1 l3ook m (pl. 167) is take11 fron1 a pru1r l,) 1ierino dt•I
Vaga, of Doris a11d .\'ept1111c. Ncptuue, the lover, has bcen sun1
n1aril) dispacched. and Doris's ar111s ::u1d legs, preVJousl,· e11gagcd
1

in a111tl/1r, have been sntched on agatn fi-on1 so111c orher source

c;o th.,c she <:an exhil1it her c>pened abdon1en ro be<;t adv:incage.~'
The ~exual gaze l1as there::fore n<>t l1e-en se11arated frc,n1 d1e 'c;c1-
..
167 Anon., l-c111r1/c l~l11n1d11c111·,· .Sysrc111, r540s. \voodcut, 279 X 178111111
(fro111 B<1ok Ili of Ch,1rlt'~ .E.\til'.tlllt'. D,· di.-.s,·aíi111t 11,111111111 CL>IJ11111s /11111111111.
1()6 Aug-ustl'. RolUn, Sk<"ll'/011 <!f" D~. ea.rly 1860~. graphite on 1,and-
Paris: \in1on de C:ohne~, 15..i.5). ( '.:unbndge. ('.;1mbridge U111ver\ÍC)' L1br:1.11-:
coloured p:iper, 240 X 310 nun. ParlS, Musóe Rodin, L). 245
CUL K.7.28

dra"ving. Supposedly Íl)vented by Leo11ardo. such c;caudard C O R P . H \' t.1 A N I L ! B. 1 1 1.

exploded vie,vs for e11giucering. ceclmical c.>r scientific illustra-
tion promote tl1e destrt1ction of natt1raJ or tnechanical order, in '
that parts can be recontigt1red diagrarmnatically side by side or
pul]ed out of sequence into a Jarger scale or en1phasised 111 a Noltm cx,pimts nu
trurm roe loú, ("umJ,·
hierarchy.The u<;e of dotted or interrupted lines and even bracket tMIII faruare,f,d4/11u••
sig11s as graphic codes to connote 'etc.' and to <:ave the labour . ~ -11 !Ml.,n m /ar,u <0nutr•
(a" f•if!c, od1•Jfar11m
of dra"ving everything out in full relates chese diagranu11acic @ ;., ~Ull'c.1 lpfa,n pctW/'61
t,rt mndw1im aplua~
lu1ear co11ve11tio11s to la11guage and its syntactical logic of ,,_...,......
connectedness. -
, u~,t· ' ...
ncmna.

Processes of déco11pa,~e and colla~e iI1 art and literature, ,,,luch

became sta11dard aspects of n1odernist prnctice m tl1e early days {~
l _,.,J i -
of Cubis111, are 1nost closely li11ked ,vith Slrrrealisn1 's flirtacion
\.Vith psycho.u1<llysis and ;lnaton1y. T_autréan,onr's 'chance n1eeting 1
oí an un1breTJa and a ~e,ving n1achine 011 a disseccing table-' pre-
sumably inspired cbe e11gagen1ent ofMax Er11st ( 1891-1976) \vith
ar1aton1ical n1anuals for his collages of the 1930s. Anaton1y dares
to violate the physicaJ and relig1ous sanctity of tl1c body, to pare
it do,"v'n and cut it ii1to pieces for purposes of analysis and then
to reassen1ble it into ne"v unities through dTa,ving. Early prii,ted
anato111ical n1an11als the111selves \Vere asse111bled fi·on1 exio;ting
in1ages our of rl1e print pul,Iishe-r's draweri-., in just che 111anner
that Max Er11st \1/0uld incorporate fi·agn1e11ts tro111 ai1aco111.ic,1l
n,anuals into Jus collage novels \Vlth rheir pt1n11i11g citle!:>. 22 ln
particular, the pre-Vesalia11 Frencl1 anaton1y of Cl:1arles Est1e11ne,
Dissectio11 oj' J)arts o_f tlie H11111a11 Body (De disscctio//c parri11111 cor-
11oris l111111a11i; Paris, r545). incorporares adopted si..~teenth-cenn1ry Ou

woodcurs h'.0111 the print c;erie-; of the L111es of 1l1e Cods engr:.1ved
l)y Gio, anni Jacopo Caraglio (firca 1505-1565) after drav.r111gs

BODl~S IN PIECES: ANATOl"IICAL ANO DRAWING MANUALS FOR ARTISTS 2•11

168 '),11\,,tdor l);1h, .\l,u l l i•sr;;
/·,ia ,,,/11r/i /\ f,1)1 b1• l '.,c.l as ,1
S11ru·«1/1st • lp,111111t"11I.
,1r.-,, l()J-l,-5. !:(C>tr.ache \V1 t h

gr,tp!iil~ on conunl·rt 1.1lly

pr111ted n1:1g.171nt' p,1ge.
z83 x 17X 111111. Ch11:.1go.
The -\rt I n,t1tt1te oi l~l11l,li40,
( ;11c oi M r~. (._' h.1rle, U.
c;tHH.hpel·J. ,949., 17

enritic' ga7e, and rhe body no,v exhib1cs 1ts prev1ously guarded
St'l ret, of che bedchan1ber, vvh ere they , were custo111arilv , ciis-
pL1ved foi priv,1te titill , rion. in the g,1rde11.
The ,1:-~oci,1tion of dt.>.ith :111d sexu,ility vl.'ith ;111,1ton1ical
n1auual~ \\,1s p.irt of Li1e1r fa~c.:1nation lt)r che Surrealiscs, but a
cruder ,vin.k-,\'ink erot1ci!>n1 ,tl~o pervc1.cles 111a11y nincte-cnrh- aod
early ~V1..'nt1eth-cent1.1rv photograpbic n1a11uals ostensibl)' asseu1-
bled for the ·.1rti~tic· n1Jrkec. c:on1pos1te plates of bead~ ~u1d body
parts (111in1icki11g the repet1 t1ve printed 1-1lates <)f e ng raved
drav,,iI1g r11 anuals), reclining fen1ale nudes dis1)layi11g their sexual
<)rg-an~ anel c,-strung n1ales in poses of froze11 buc Libid.u1 ous exer-
tion had a great inAue11ce 011 photograpbers including Man l<..ay
(18yo-T976) and Georges Huguet (1906-1974). Dali's own
photographic c ut- and- paste .isse111blage of parts. 1'/ie J:>ficno111e11on
qf Hcsrasy (r933; Paris. Man o ukiai1 C0Jlect1on), conta1ns phoco-
graphic detail~ of ears of cnminals culied fron1 Bertillo n'~ Sy11-

242 DRAWl!I.G AS DISCIPLINE"


1 •
1 fragmentation rn the paranoid-schizoid 111a11ner of a Klc1111J11
{ /2;
f /
\ bodie'i, \\1tl1 severed globular breasts lying on a \Vooden ~tage
'
~\
1 I
1
I breast, good or (presumahly in this case, from thc violcncc
\ enacted agau1St it) bad, ca11 co111e aV\'U)', 1ncact, fron1 a fen1ale body
~ 1 ~ 1
1\ li -
~
1()9 Gcorg Uaselitz. C'111il/cd, 1965. ink pen .1nd \V,1~h. Ó'iO X ,oo nun. Ben1.
Jol¼innes G:.tchn:.tng Est:ire Cnllect:J.on
optic 'Jnblcs interposed ,vith fe11,ale faces represe11ting expressio11S
of orgasmic ecstasy. 25 Ta.,-xono111ies of evtl are tberefore inter-
spersed ,vith ero tica in l )ali's typically surreal j-t.1}.1:apos.itio11, and
che l1ypnotic aeschecic of reJleticive body pares is severed fron1 ics
ti.111ctional ba~e co beco1ne forever -;crange to co11te1nporary eyes.
Tbe disjunctive device of pulling apare lips, noses a11d other
fcatures, wl-1ich is central to draw-ing - aud ariatonlical - ma11uals.
has many applications in Dali's ceu vrc. One of his early realisa-
t1011s of Gala's líps as a sofa is in a coloured chalk and got.1ache
realis;ition of a buge roo111 in ,vhich a fireplace nose. replete v..>ith
crowning clock, is placed nl,ove the sofc1.-lips i11 Birt/, qf Pnranoiat
F11rnislii11g (circa 1937; 11rivace colle-ctio11). 2f, ln a n1ore fan1iliar
gouacl1e ver-,ion, Nlae TtJ~sts Fc1ce T1T'hir/, ,\Jay Bc [Tscd as ,, S11rrc-
,1Iisr Aparl 111e111 ( 1934; pi. 168), t\vo sy11u11etrical fran1.et1 pictLLres
on a red \.\1all represe11t Mae's eycs 011 eitber side of the paired
flues of a nose fueplace. The transparent face itself 15 a fi:amed
1mage w1trun another fra1ned p1cture. l )alí's cool assu1npbon c>f
BODIES IN PIECES: ANATOMICAL A.ND DRAWING MAl'-JUALS FOR ARTISTS
paranoia as an ;1rrist1c str,itegy .1ll0\\'S l1ii11 to pull the body to
f)Íeces and l<) re.1sse111ble ir so th.1t it both inhal1it, .ind 111,1kes use
<?f it, ov.. 11 frag111c11taLion: experienciug L!::tgressive sens.1til)ll'- nr
disintegratio11 a11d introject1ng lph jill1tas1t.·~ of tht: 111oth1:r·s bolhly
irúant in che f1rst 1uonths of lite.2.,
J
A very Vlolent ink dra,v1ng by Georg 13a.selicz (b. 193~). LT11-
111/ed ( 1965; pl. 169). aprlear'i to stage .1 n,ass::icre <)Í sofc f"eluale
like huge eyebaJJs against Lhe agita ceei triartgular linc-; of a , er-
tical backdrop or curtai1J. Tl1c abject fa11tasy Ll1at tl1c I<le11uau
is very disturbing. Breasc-. that can be gouged out of bodies. like
eyes out of their sockets, so char l,y analogy they becon1e no11-
sceing. blin<led breasts. 111ake tl11s i111age uncon1tortal1le anel
111e111orable. At a11 oppo~ice extre111e. the co1111ection l1et\veen
splitti11g .u1<l fcsti-.hísatío11 hac; becn treatcd vcry cooll, and ele-
ga11tly by cl1e SV\·i_ss art1st Markus Il.actz (b. 1941) in b.is tbree-
part drav..1ng oi· l1air, S11 1irli11.~ (1973; Lo11don. Tate (}allery). in
,vh1ch ha1r fills three scrip frarnes 1u success1ve stages of decora-
tive rh)·thn1s, b-an~fom1i11g into \Vaves. Thi~ clrawing ,va,; pro-
duced in a pe1iod when l~a et7 \\'a~ preparing hi, o,vn ,;et of
dra,,·i11g 111;:u1ual~. in \,Vhicl, linear profiles a11d body 11arts con-
'ititute a so111atic ].111guagc. 21-1
As a sixtecntb-ce11tury paradign, of tbe reco11sticution of fi-.1g-
n1enl,, a dra,,-ing probabl)· by· Giuseppe Arcin1boldo (1526-
1593), 11,e 1-c,nalc Cook (pi. 170), co1tlounds a dualist1c senuoric
of part and ,vhole. T l1e dra\vi11g is an allegorical asse1nblage thar
is sin1L1ltaneously a bust and a collecrion of kiccl1e11 pocs and pan'>
a11d a :.ey_Ltence of si111ple geon1etric .,ha11es or JJlato11ic Solids. It
is J coinposite vvbole. to ,vl1ich thl.' p,1rts are not subservient but
retai.11 tl1eir separate ide11t1ties, n1arryÍI1g abstract structure a11d
1111n1esis. The figure is carefi.1lly draW11 in brov.n 1nk on top of
a chalk underdra,ving, a.nd some of tl1e obJects u1aintau1 the
tranc;parency of this se1ni-d1agra111111:1cic 111ethod of dra,v1ng. for
e'<an1ple, rhe bo,, 1 over the bucket 011 the cook',; head. The don1-
inatio11 of geon1etrica1 ,;}1ape,;;. sucl1 a,; cl,e cyhnder that conc;ti-
tutes the cook's articulated 11<..:ck, adds J spurious air of
11lodernity to this dra\ving. Arcu11boldo 's con1positl.' portraits of
assc111blJges of fruit, tlovvers, tish, ani1naJs or books depend both
011 prin1a1:' resen1blan.ce. sucl1 as chat bet\veen. a phallic squa~h
and a no~e, anel on tl,e Jack of resen,blance that 1s cranscended
by che con1b1ning of unlikely ol1ject5, so that tl1e i111.1gt' '!tt'sifates
betv,•een coding and decc)ding·. Wriring about Arci111boldo.
ll.oland Barthes point:-. out: 'cverytl1i11g i-; elaborJtcd ,,·1thit1 che
fi.eld oC con1 n1onplacc 111eton)·111ies·. 2•·
Similar scrateg1es of part1al rcasscn1blage, \,·hich l)alí nan,ed
·organ1sed delir1un1' , pervade ,vc)rk thar reli e,; 011 a c;p1r1t of
staged inco11gru1ty. such as a pe11cil 'itudy by G1orgio de Chn-i<:<)
2·l3
 -..; ..
, •

' ...e 1
,. . •

lº
.) {,
-
1 1

170 Ar\ 1111ht1ldo. lhl' /·1•111,,lc c:11<1/, (P,~111,• ,, 111i-,,11 ,,~ 1;11111éc
( ~Hl'l'Pl'I.' 17 1 (;u1rg10 de Cl11r11:o, T1tt· ., t,11l1t'111c1ri,i1111s. 1917, !,'T.tphitt·, 31 1 x 119 nun.
rl'11,111,1r/,-' d, 1111.,i11r), ~,xtl·l'nrh fl'n tu ry. çh,1lk. pen ,111d ~l· p1.1 111k, Ne,, York. f he Mu~t:11n1 o i· Mod<:'rn Art. (;j(i nf f'vlrs . <;1,111ley B, IZe~or.
IIJ•) X 1.1/1111111. J>.11 1s, l3l..lll '\ .uc-. dt.• P.111s. l'Ecol,: 11,1 uo11,1k· ~upént:un:. Ma~. .14. 11)35
l l')T

( 1~!\h- 1<,J7l-i). 11u· A/11rhe111c111(i1111~ ( 1917; pi. 171). in ,vhich tv.ro thi\ n:~pect is very traditic>naJ , if chal lcnging, a11d illustrates how
t 01npo,1tl' ltgurl·, Lonfi·o nt h oth,.:r ,ll ro,s a t.1bl1: in a t ypi-
L',lt structu ral syste111, Í<.Jr reC<.)11'\tituting bodic~ fi·o111 l1istorical
l'all) dL· ( :liiriccl de,L·rtcd lO'vVll pia.::::: a. Thc n1athc111:1tical i11strLL- drJ,ving 1n.111u:1l-; as:..en1bled accordii1~ to notions of ideal
111e11t, that trJd1t1011alJ, sig11ifv LhL' study <.lf gc'ü tnetry. proporli<)n beaury or 111oderared by the l1icrarchical j111port:1nce of genres
.1nd per,pL'Cttvc· in ,1c..1Je1111c r ro'ipl'ctu, i n1ages are asscn1blL·d i 11 J.nd notion.s of dtcoru111 - '-'•'ere co ncextu::ilised and endor.,ed by
,r
,, v1,u,1I rrnpL' e nit:tonyn iy. cn,1bl1n g spect.1 cori. -.1 n1u !ta ncousl y their in clusion into the nnn·ative c:011,·enrions of history 1>aint-
to rL·ad tl1L· cn111po,11e t1gur1c·, ;:ind rhe1r constitue-nt parts. rhe 1ng. Where tr:i~n1ents are fittt•d 1nto an <)Sten-,ibly r~ali"t or nat-
'l',11niL·~, 11, ~L·11io11 of thc~e 1111prob.1hle prL''>L'l1Cl'S into tht· pl'r- ur;ili~ti c co111e,t. di ey ha\'l" to be ,1ctjusrl'd co appear '.ts ir·
'l'l'Lll\ 11 h1g1l or
tlll' h,di,111,Ht.• \llll,ll"l' l111td \Vllh 'ihL1ttl'rt'd l)llild- C<.)11'\l llllting a p<..·rcepl ll,11 Vt.:rity.
111gs 1, a re111u1dL1 th.1t iL i.., thL Ll>llll'.\l th ,1t ht•lps lo crt:alt.' thl'
pict<)ll,d vcracity ( ) r ,l \Vl)l k. tl1t· 'l' 11i..·r t o( thl' rt.•.il' Ili rl'pt"l''iL: tl-
t.1tion ,vherl' bnth thc ro1111ot,1t1on .111d dl'noc.1tio11 of 'rl',tlicy·
111vadt: thl' e111 11·t ,..-,n,111til rl'.tl n1. 1" l )e t :h1r1co\ 111echodoloh'Y 111

2·!•1 Df{AWING, A<; DISC..IPL 11'-JE

Alphabets of Body Parts and Cults of Dismemberment
The great work of the pa1nter 1s Lhe 'h1sto11a·: p<1rts of the 'h1stoha· 11-e Lhe bod1es, part
of i:he body ís the member and part of the member is the surface.
leon Batt1sta Alberti1
Ln his influential n1an.uàl Armenini advises:
Those who wish to l,,egi n to dra,v ... n1u<;t l1ave son1e
cxan1plcs dra,vn by an cxperie.11ced ba11d with chin and easy
strokcs. Tl1cse cx:implcs shoLtld be parts of the hun1an hody.
sucJ1 as eyes, 111outh, ears, nose hcad, hnnds, :unis and the
like ... cl1ey should begi11 very lightl,, to forn1 all the pro-
files and contours ... in the san1e size as the origi11als. 32
After ]ear1ung fi:0111 111ai1uals a11d copying fro111 e11gravi11gs,
artists ·1nust proceed to the study of anatomy becaose wichout a
knowledge of this science one ca11 in1itate but poorly chose \\'ell
ronned nudes'. Arn1enir'li's reference pre-dares tl1e little bo()k of
' A li 1/te JJarts ,11,d .\fe111bers a{
etchin~. T!te True ,\,[ethod cif Drr1111i11~
//, e H1,11nc111 B<íd)' ( 1608), by Odoarc_{o Fialctti, ,vliich is ge11erall y
considered to be the first pubJished body-part Lna11ual, suggcst-
ing that v>'orkshop traioing Í()f youug apprentices. disc11ssed u1
the previous chapcer, ,vo1.tld have originally depe11ded on hand-
dra,vn exernp lars:' 3 Fialetti 's t111y book of thirty-tv.'O ecchi11gs
begins ,1vith two pages of eyes, followed by ears, nose and l ips
and profiJes, fore~hortened vievvs of head,, you ng aud vc:nerable
111ale tàciaJ tyJ.1es, a fe,v classical fi gures a11d youtl1s in concc111-
pora.ry clotl1es. plates of individual limbs aud, sigr1ifica11tly, t\.vo
placcs of che Bclvcderc Torso. Tl1ese copy plates reprcsent a ,rariety
of vievvs a11d foresl1ortenings, and i11 their casual style and unfit-
ness as exemplars are abo1.1t as puzzling as Andy Warhol's J:;-o,1r
Rc1111s o_{ Eyes. Ne,·ertheless, their alphabets of body parts are
intended to be learned, like ele111e11tary w riting. by l,lboriotL'>ly
co11yi11g rows of figures until th e dra,ver's ha11d l1as l1e-co111e
fami]iariscd \.Vith thei.r shapes ai1d co11Strt1ttio11al prit1ciples ..\-l A
rougb ettlúng of a.11 arcist's workshop, ustiall1· bouod as tl1e last
plate iI1 Fialetti 's so-called L11;(!c Book o_f Dra11 1i11i, depjccs very
youchful students sitting on low boxes, ,vi.th n1athematicàl instru-
1nents and inkpots, l1.rav\ring a buge array of plascer body pares,
,vitl1in che cuc;co111ary \Vorkshop ,virh all its activities, including
the in evitabl e scene of pigr11ent g r-inders and a pictor dort11s figure
at che easel:'5
The produccion of early drawing 111ar1uals is directly co11-
nccted ,vitl1 thc risc of a11ato11úcl1 atlases, bur it represents the
modest end of a publica:tion n1nrket beset ,vitb textual plagia-
rism, -u nauthorised reprod11 ctio11s and dov,nright piracy. Histor-
icaily. artists ,vere linked to tb e 1nedical professio n by a sl1ared
gu1ld pacron, St Luke. and ,vt'll-kno"vvn artists. as ,vell as j obbing
engravers, \.Vere e111ployed as illu,;rrators for anaton1icaJ cexts by
publishers. Anato111ica1 treatises, especially ii1 tl1e1r luxurioL1s atlas
BODIES IN PIFCES: ANATOMI( AL AND DRAWING MANUALS FOR ARTl5T5
edítions. are then1selves e-labor.ice ,\·r1t1ngs of tl1t. bod~·. gor~ed
texts, rich i n ,,;suai illustrations and co11111lex s, rnbolisn, th.it dt•f)·
the roce-learni11g tactics of d ra,vi ng 111a11u ,J.,. 111 the c~1se of the
g reat rt'for111i11g a11aton1ist Andreas Vesalius. rhe 111e111orahle
i111ages of l1i!i grountl-breaki11g- work. De l1111111111i C<llJ'tJris j;i/,rir,1
(1543), at1d ít-; sl1orte11ed ver~ion. thc E1iito111e, publishcd 111 the
san1e year, were crcated by the little-ki10,v11 artist Jan ~leph.111
van Calcar, possibly associated ,,titl1 T1ci2n's su1d10, wbo set tl1e
scene for anatonucaJ ill11stration for a ve,y long t1n1e. -,t, f~1bricc1
follo,vs an 111structional and p1ctorial path,vay fi-on1 the skeletal
infi-a~trt1cture. through 1nuscular, va-;cular and 11ervous syste111s, to
ii1ternal organ~ and finally rbe brain, witl1 111,111y pages of elab-
orate woodcuts. i11cludi11g co111pos1te placcs of orga11S a11d pnrts
laid out i11 patterns and colt1n111s. 37 By contrast, thc acadc,nic
model of figure dra,víng. in ,vhicl1 Íl1struccio11 111anuals are i1npb
cated, ge11eral1y begi11s ,v--itl1 the p:ti't and proceeds to the
1
~vhole. s Calcar\ array of n1ourning and grave-digging -;kelero,v,
,lnd 111t1scle figures in a state or Aesl1ly ,1nd n1u~cular u11drt'<;-;, ge'>-
. Licu.lating in front of la11dscapes. consoliJate the )y111bolic })iCLo-
rial tradicion in which FiaJetti's ~ophisticated a11,1ton1Íc,tl in,ages
are impLcaccd, ior exa1nple, h:ts celebratcd and 111ucl1-pirated
image of che l)eral l le1111s. E11graved wich great clarity by Fran-
cisco Valesio ( 1560-?1648) for Spigehus's cexrbook De _fon11aro
Joerr, (Ve11ice, 1616), Venu~. t1 1- racher Eve, is a ~t:-inding class:ical
figure, one l)ent 1eg rt''iti11g on a broken cree ,vl1ile her abdon1e11
ope11s up like a petalled flower to di<s11lay a11 infa11t. ~till attached
to the placenta. Hair AyiJ1g, and ,vith one rl1etorically gesturíng
arni, Fialecti's ,{!n1vida boJds th e apple of hei- do,vnt:1U in her lett
l1and ,vlule a brancl1 of lcaves l1ides her 111011s ,,c11c·1'ÍS fro111 vie",,_.,,,
[n tb e lo,,v-J,,ing la11dscape at the b.:ise of the i111age, a boat is
about to en1ba rk for tl1e n1ountai11s beyond the lake: it repre-
sents all aspeccs of a garden of fertilíty. tl1e aspirational habitat of
Eve/Venus as .111 horu,s a11,1ta111ic11s, anato111ical gardt·n. Fialetci's
~
iliLL'\tration. in a spacjous and sin1plificd Ca lcar 111ode. si111ult.1ne-
ously cotLrt~ 111odesty ai1d display, rel1gion ai1d ar1t1quity, disclo-
sure and concealn1ent, a11d above ali rhe tr111n1phaJ hveliness of
t:be anatoniised subJects of ne,v kno,vledge, ,vho are anytlúng
but dead and abJect. 111
The Beluedere 1brso, \\1l1ich appe..1rs in ~equences of rhree in
Fialetti\ copybook, i~ also pt()J11U1e11t i11 VesaJiu5's [iabric11, \vherc
it is appropriated to illustrate the 111ale abdon1en a11d ,iscera, a!>
, vcll as tl1e fi~n1ale uroge11ital syste111s. whilc re-tairui1g the appear-
ance of !>t011e. The substitution of a broken 6·agiue11t of ant.19-
uicy for the ar1nless, beadJess and legless tn1nk of a 111utilated
cadaver s1gnifies the i1nportance of the antique .1s ,1 111ould 111to
,vhich 'the real' can be pollred and rec<.)nftgured ,1, ,i n1et,1phor-
ical a~ vvell as an anaton1ically deco111po~e<.l bouy. 4 The f.1<. L thaL
it can also be appropriatt:d. tõr fen1ale bodies wd1cates the
generic jr11porr:u1ce of the 1rua-1e body as thc Ul11t.:u-y. s1g1utic:int
exen1plar: gencr:illy, female bod1es are reprc-,cnted only a,; .{!/'t11 11-
245
d,ll d1 p l\ 1 6 h1:1r J 1 l er 11\.t' fro n1 d11• 111.ile 11nr•11 i11 chén ,pe-
c11h~c.:d r ·produ n,c 01g,,nc;. 111 ti l!s ligur..-. thl' b1..1d, w~n11:n1
bl'.r,·d h, d1ssec u on ui...1 the h e ro 1c °'l ulptur.il relic J1shgun:d by
age :111J t1L'~lecc h,1\·e bet.o n1e co11ft.1t._.d 111 1 , 1~u.il sign rhar
reqw re~ rhe- kll l)\\ ledgt' o t che , it:,,er ro con1pll·te che ~, n1bc)ltc
~l 1tu~ of ltS ti·,1gn1e 11t.ltll)t1 : the \ "t'f) ( Ob,'llitive lllt)del Oll \Vluch
çnp) boo k, dl·pl·nd
rhe gro,vd1 t)f 1h1~ , ore l)f 1111.1gt:1 )' 111 the si'(.tCL'nth Cl'lltury
rl'prt·~t·11r, ,1 clo,e buc 111) -..ter1ous L 01111ccti<111 benv1:en the n.:p-
rL''-L'llt.1tio11.1l libcrties t.1ke11 \Yith tbe hun,an body by artlsts sucl1
:i, J\,1Jcht·t111gt•lo. Po 11cor1110. Jtosso f-iore11t1no .1nd Fenzo11i,
-
t\vi,t111g hn1b~ 1nrn astoni,l1111g defo1111.1c1ons .1nd lH~\V CC)llll1()Si-
rion.1l rel,ltin11 sh1p<; ..1nd tht' llt'\-\ SC<>plt n:gi111e ()r ,117,ICólllY,
,,·l1erc.- 1he e1e fi.>l lo\'-~ thc' ,1..dlpc.-l, pcnetr,\ti.ng ".ecrl'ts t>Í the body
i11 ,1 jou1 ney of di~tovcry, con1parcd ,1t tbe U111c ,v1Lb g<:ograpb.-
1c,ll <:,plo1 ano 11, (l1enc<: the ust: ot the tcr111 atlas tor cxpensivc
;1.natonuca.J voltU11c~). W1tb so 111uch of rl1c hun1a11 body still
unch.1rtcd, boch visuJ.! rt>p;i111cs h:1ve little do \VÍth reality, :111d
111uch te> do w1th f:intasy .1nd style. or 111n11irra. This is so111ethi11g
under-.tood by rhe per-;p1caci<1us Vasar1: 'tht' .lrLÍst .1ch ievc-, chc·
h1g;liesL perfection or scyle b) ... con1binit1g tl1e 111o~t perfect
111c111bct"'>. hands, head, corso.•1nd lcgi,, to pro<l.uce th...: fi11e~ t po:,-
,ible tigure .... tlus is ho,,· l1e acJucvcs vv1l1at ""e kno'vv as 61Je
s.tyle'. 41 T l1e excesses of .i.11ntonuc:tl style reach an apotheosis 111
the dr.1v,ings of l'1ecro da Cortona (Pietro Berretnni. 159ó-T6ú9),
pre,ervtd in a volu111t <)f c11r11 1()18 (U11iver<;ity of C la<;gow
libr,1ry). having been in the coll ection ()f tl1e :inat<)111isc and con-
nois~eur Willia111 Tlulltc:r. Believed to l1ave bec11 e11graved by
Lucd CiJ111bcrLu10, thcy v,rere publisl1cd posthun1ou~ly in 1741 :is
a ~cc of platcs ,,·ith n1ini111aJ cxplanatory 11otes ..i.1 111 adclitio11 to
an t":xtcss o+- n1irrors. fran,es and piccori:il devices indicating the
display aspect~ of tbese con1posite plates, n1any a1so contain a
trunca1ed Be/1 1edetl' Ti>rso fi)r di~playing the inner o rgans.
T!te E.,·rcl/1·111 and l\i<lhlc ,-'1 11 <~{ De/ine11tio11 of 1611 b) Pal111a il
Gjov.u1e Qacopo Pal111a, 1s++-r62~) is a.i11011g the earliest printed
dra'vv1ng n1anuals \\·bcre body .tlpl1abets are accou1pan.ied by
a11tique ~culpturcs. reheis .md can1eos, so JS to for111 a co111pletc
dra,ving n1ethod. 11 Ago'>tino C1rracci also prepared drawings of
111odel body p,1rts for ~tudents ar the Bologna acade1ny :u.1 cl1c
1580~. One or the~e pen and ink shcets (Windsor, R.oyal Library)
depict) Gvc ro,vs of fecc draw11 ag,1in and again to explore fore-
shortcn.i.J1g, as wcll as the types of con1pre~'iion laid upc),11 feet ª"
body "iltpport<i W1th each rept't.ition (a nd son1e of the feel are
carefi.1I11, cross-l1atched for additio11al solidity) tl1e dra,:ving
beco111es s1n1pler, and tbe outline more precise. The fcet have
been h.1~rily overlaid by orher ~ketches, but the organ.isational
l<1yout '>ervt'" a~ a n1c><.lcl for a b<)ok of forty-eight plates engraved
b·y Lt1c.1 Ci.1111berla110. published poschun1ou~ly and reprinted i.n
111an)' undaced edit1or1s. ' l'laLe one of the ,')ruo/a fJe~jc•lta ü, ,111
1
undaced cd1tion 1n the ltoval Acade111y Library, l()ndon, depicts
246 DRAWING AS DIS C IP LI N E
a curitlllS vcrt1c,1 I .1J·ra11ge111c11t o( line drJ\ving~ o( eye, ear, nose
,u1<l rnoutb .1ssc111blcd in .1 colt1111n, side by ,ide with .1 tt)nally
111odelied vers1011 or chc sa111c g-roup1ng. 13y thr unexpccted order
of tlus pl.1ce111ent, the 111ea11ing of t:1n1.tl1ar p::irts has beco111c
dc:'stabil i"ed, ,111d .1s li 11e,1 r ,;1 gns t hey , 1re d isl uc,1ted fi·on1 t hei r
expected rel.lt1011~hip,. The rein,criJ)tion of the pai t~ of the f:1ce
sug;gcsts J. close co L111ccti<)1J ,vith the vert ic,1 1 for111at of pri1nc<l
l>l,1so11s a11,1to111iq11cs in praisL' o[ pares of the ten1aJe bod.y ce](:-
l)rated in 111any European couotrics. Frcnch antho logics or thcse
courtly poe111s, in ,vh.i çh <;\\'ains sigh over the pe1tectio11 of the
eyebrO\VS, foreheads. lhighs. ceeth, knet"i and feet <Jf the bel<>\'ed
()bject, 'vVere pul1lii;hed in the 1nid-si,teenth cen1ury, and clt>sely
connec Lc:'d ,vith Lhe cou rL culture or Franr.:ois 1. 4" The collaging
or di~11a1-.tce parts i11to nc,v lluid u11ities, vvlu ch occurs in tl1t:
poct1c blaso11s n11artJ111iq11cs, pa.rallels thc florid revclacio11s of
,u1aton1.ical n1aouals, and to ~1 lcsscr cxtcnr d ravvi11g 111an ua.l~.
lt \Vas thc scie11tific k.i10,vlcdge of bodtly systenJ.S a11d invcs-
tig:itive anato1ny that 'vVêre of in tense intere<;t to Leon:irdo da
Vin<.'i, who -;pent the la'\t three year'i of hi~ life ai. r<)yal painter
to françi)i~ 1, organisi ng hi:; })rojectecJ lrealises, thl' l~ílini di 11i1111r,1
,111J tl1e 111a11y, shects Ítllt·d v. ith tcxt and diagra111s th.11 consti-
tutc his ,111ato111ic,d corpu, (111ostly i11 tl,e 1ioy.1J Library, Wind-
sor). Leouardo had pursuc<..-1 anatonii.caJ studies dur111g threc
periods of his life, undertaki11g n1ore cl1a11 tllirty dissection~. and,
i11 hts noc-es to hii11sel( stressed the in1porta11ce of dra,ving for
recording inforn1ation in an exegenc:1 1 n1,111t1er. 17
Leonarck)'<; exploratory. ,cienti li c a11d inventive i111·e re~t 111
all aS})ects of anato111y (l1c ge11erated 111,1ny graphir c~>nvention~
for repn.:senti11 g Lhe cc)11fusion of tl1t: anat<)11 1ised body ,vitl1
111aJci111u111 clariry) is of a dit}crcnr ordcr fi·o111 thc lin1ited i11tcr-
est in n1usculature and superficial anaton1y dce11tcd suit.iblc to
require111e1.1t by 111ost other :irtists: the ta111a rhe b11sti of MarattJ ·~
acaden,ic progran1111e dese1·ibed in the previous cl1apter. Whereas
Leonardo ,vas inceresced in dissecting boc.lily organ<; .1nd lrying
to untlersta nd bodily sysle111c; Lhrough engi 11eeri 11g analogit·s, ft)r
lllOSl artisls, a11.aton1 ica l k11ovvledge ,v.1s i1nport,111t on ly in re l.1-
tio11 to tl1e co nvinciug reprcse11t::it1011 of 111ovc111cnt, c~pressi<)ll,
ger1der a11.d age. N evertl,eless, tbere ,vas a perfect passion tor
anaro111y a111011g sixtecnth-century ltaJi:111 .1rt1sts, follo,111i11g rhe
pubhcacion of J~'c1hricn and other pioneer111g ad::ises, ~nd under che
inAuence of Michelangelo, "vhose excellence 111 diS((!JJO ,vas
believed to sren1 fro111 h is k11c..1wlcedge c)f anatt)n1y. 4~ M ichelan-
gelo, ,111l1c) had fa.t11ously t111dertaken di:."ecrions in Flon:nce a<s
early as 1494 \VÍLh the a11atc)1nist l~ealcJo Colo1nbo, i-. purported
to have pla11ned a book on nnaton1y, and a body of :1rtist l'llthu-
siasts wl10 tollo,vcd his lead i.t1 attendin.g dissectio11s also con1
p1led drawings for publication, although n1ost of che \\'Oltlcl- be
rracts on anaton1y or d,st.,_{!IIO were never published. ~<J 'The huge
resources of a11,1ton1ica l drawing~ in Europenn n1useun1 :1nd
ac:iden1y collectio11~ art" gtnerally cop1es ratl1er tban record'i or
1-::Attr1buted co Bartoln1nco P.1~~1rott1. ,\/,.-h,·l,111,l!c/<1 <,i1•111.~ ,111
Départcml'Ot Je, A1t, gr:ipl11qu._•~. 847~
acru,11 div,ection. ,111d they coexi~l ,vith biz<1rre 1111<1gc.·, surh ,,.,
the erched fa11La'\y c)f spiralli11g ribc,1g1;.•s. clu~tt'rs of 'iku lls ,111d
thickets of ll·g boncs by Battisc.1 rranco (11 Scn1olc1, fi1ei1 151 o
·1
1561).~'
A brovvn 111k J11d \Vash dra\vi11g, .\ lirl1l'lc111_(!CI() Ci,•iii.l! ,111
.rl11arn111 y Lcsso11, Jttr1buted ro l~artolc)111eo P.1ss.1rott1 ( 15 .19-1592.)
depicts 111a11y fan1ous artist, ii1cludin g Vas.1ri, ·r1t1a11 , Giulio
Rc)111,1110. Peri110 dei Vaga ,111d Pri111,1riccio clu~tered ,1rou11d ,111
écorc/,é, ics skinned 1:1ce r..ti'ic(l to\vards Lhe hL\1ve11s, ,vii.o recline,;
centre scage 0 11 a spt:cia l plinth (p i. t72).· 1 The sett111~ ,1ppl\trs LO
be a church (\.\ hcre indccd anato nues of tl1c pcriod ,vert: c.irried
out) and s0111 e figures are repeaced t,\;ce. 1 hc learut•d .irtisrs ,1rl'
1de11t1ti,1ble by the1r likenesses - Pass,1r0Lti "' as k11t)\\'t1 for the
accuracy c)f h1s po rtTatts - and M1chel.1 ngt•lt) ,,·t-.1r'i ,111 t·,1r,1
BODIES IN PIC!Cl:S: ANA lOMICAI ANI) DRAWING l'IANUAI S I OR A ltl IS I S
.'l 11,1r.1111y /,1·., ,011, ~1,ll·l·111li , r111111 \, f'l'll .111d 1111.. , .ili, X ~ 10 111111. P,ir1s, l'vl11,el' d11 1 1111\T<',
t)rd111,t r) tt,l111dt>1- likc l'.lp O ll h1s VL'IH.'1.1hlt· li t'.ld ,111d dt'litilll'I)
liold~ ;1 st1 1p o( llc'ih 111 n1IL' lia11d .111 d ,1 d1-,st'l ung k111ft· 111 thl·
othcr. rrhe \V,lV hc ~ICS ck)'it' l() tl1t: C;llkl\'l'l, lll'i leg\ Ulldl'rlll',llh
lt'i p.1rtcd li111bs, rcpr1'ics thc cod(·d po'iC'i c.)t ,cxu.11 111tertc.1ur,l'
thar .1pp1..-.1r. t<)r c.•x,1111ple. 111 (;1uho 1~0 111,1110\ c.:ro11c dr,1\v111g~ tor
1 111od,.~~ l'hl' llllll'ill,tl reç hn1ng pos tlll"l' or
th1-; c;1d.1ve1 St'J'Vl'\ {()
tc..'111ini., e ,1nd ,c,u,1hsl' 1t, n1 11 1.irkt·d Cllntrnst t<l 1he gc,t 1( u l.1 ti11g
H.,yL·d hodic1- .1, sig11iftl'rs 1ll 111,1sc ulinity th ;tl 111.t rl h Lhr11u~li IIH)st
,lll,l(o111it.1l 111,lllU,ds {_)r d 1L' J)CI it)d. Jt,1ph,1l'I hold, Olll' nr thl
corpst'·s l1111p h .1nd, 111 hi, O\\ 11. dLt\vinµ; ,llte11ticH1 l~l 1( \Vllh ,1
sl1 li'icd gesturl', ,, 1,ilc 1'.1ssnrotti h1111'icll dra\vs tlll ,1 bo,1rd.
l3,111d1nelli w 1lh hi<; ch;11 11 oi hnn<lllr ,111d h1,; •Ja!:C)\VII sleL'\'<.'' ttl·d
hc h1nd h1s h.1ck s1 111ult.tllt'<lUsl y ,l<'t, .is !t•rt111 .111d d1s,t'< l<lt (sl'p,1-
r,1tt' ro lt.·, 111 pre-Vt's,1li,u1 pul)lít .111.110111 1t·~) ••111d \l't'111s l<l ht·
247
 1 1 1 1 1r 1 111 l >Lh1 r ,li t r\lS d1 ,1\V <11 di,pulc.·. in 11<)rtl11.:r11 Eurt>pl' w;1, Al1r~1ha111 Bloe111aerc\ 1 111 o_(✓ lpc/11.'s, pt1b-
l111 1 t 1 , hn , lptc,r 111<,d I drrl Ili} 11(1111 ll1t· c.1d,1vt•r. h1ohcd fi·t)111 16)0 in c;1x part'> w1th 120 e11gravcd platc<;, \.VhicJ1
J\1111, 1 l li 1111 l !11 111d J)l(llllülll "' ti Jlll,1gt.: Slll''i\t.:'i thl' ClHtti11ued to bc rcproduc<.:d 1nto thc ninctccntb cc11tury.:. lt l1as
11111011111 , 11 1111 111 lc.1111111~ 110111 tln.: .1u1 ni111111, H.1yt'd 110 tcxt, cxccpc for a fi-011t1spiece 111scription ad,·ising stt1dious
1 l.,v,·I UI l 1 1 111v11lc, 'I( d 111d ,kl'lt• t,tl ,1ud11..·, \Vt.:l"L' 1nu,clv youth:-. to le:irn ·cne ,1ppro11riace rudin1t·11ts of the art of Apelles's
1 11 d lto111 1111,/11 111nd11, w.,x
P,11 Í'i t ', t"i ltn~~ oi
or 1)!.1.;tc1 oi by ~tt1dying the V\ h(>le figL1re 'piece by piécé·. The drawing~ in
hod p111. 1111 ul1 1td 'i~tcl1;t1i11, ,111d t·11gr.1\ed pl.Hl's. difTert.'11t 111edi,1. 1ncluding red chalk, heavy stipp le eílecls a11J
A1111, 111111 il 11 • 11 1 t''i t ,pe( 1ili) 1<11 ,1 111\ ls' ll\t' ,1ppt·.11 l'd ,1, l' 11l y gn.:'y w.t~ l1 <>ver bl.1Lk chalk.•ire in an albu1n i11 che firzwilliarn
1 il11 t,;l,l 11[1' 11t h lt'lil1 11 y. J,,, 1111 V.Ili dl'I c:1:1<-lll\ 1 111 ,t/()/IIÍt' of Mll\Clllll, C,1111bridge: lil-.e thc pi.ates of thc engravcd echrions,
I
,,, 11 [H 1111• 111 11.: 111 111, l',1 rl1t·st li t·1 11plt,~l'd .,d 1pt.1(1t> 11, ui su111t.: oi thl' d.r,1,vin~ are cla.borately 111odellc:d: others are outJine

( d( 11 'I dl11 11111 011, llll V1 ,.tl1u~. ,IS d1d l~11gt'I dt• Pu1..•,\ . lbrC\!I! dra\.vu1gs ,v1tb a littll' shnding. Tl1c dr:i\vt.ng for eh.e fi·o11t:tsp1ecc
i/ 1,,1111/1•1111,. 1 d ,r,,,H, 1,11 tl1l' 11,t• o i ,1 ud e11ts 111 rhl' l~rl'ncb 111 pen and bro,vn ,vash .1 11L-I highlights inutates the cffccts of a
A, .1d,·111t, llt•\ ti,, l'~t.,hl, ~l,111~ tlll• t 11ll,tge .11HI p11.1rtt,rl 1nude chi,1rost11r() \ovoodcut plate. Foll<.)wing the ,landard 1conography, a
111 li •.•, 11tlil d111111111ft• 111.111 ) ltiltll'(' 1111hl11-. 1111111,. fiVL'II ht·l()l"l' thc:,l' y<> uth 'iitting on :.1 very lovv- backcd stool. bis i11kpt1t and ink case
<,p1•( 1,tl 'd1111111,, tl1t 1, •.J,.111 .111,1 t1,1111st.J.1llll)() 131..'l"L"lll,).,lll(l da c:.11p1 al h1s liÍdl', l(>nks up lo lhe frag111e11ted r ivl'r god he is drawing.
11 ,d ,, .• 1JI IIIJll 'tll h ·d 111~ l l'XI ~ oi I lll· 1s.1.u, lt>l 1111,1 ll ll \t', ,l \ li,HI rrhl' .lrray of pl.,~tcr fi·agn1ents ]1ung 011 tht: ,vali~ iiicluding JL1
V1 tl111 •, 1 ,1u •1 if11 .dly ,,· 1lli 1t'g.111I ln '11, 11111,llt· f1gt1Jl''I, .111cl h1s ,111i11 1,1 ] sl-.ull .1.nd ::1 1nodcl of ál1 écorcl,é lcg, n1akc tl1e by 110,v
l,ill11,,1·1 tl1d, 11p,1,1, t l1t• Sp.1111.,1d J11.111 V;li verdc di.: l l.1111u~1..l>, i11 -;cantL1rd conneccion bcc,vee.n a11:ito111.Íetl :;111d d.ra,vn body parts
111 .1 11.111111,y 111 15,,,." M .111 y .1111,1, ,1nd ,111.1rc1 1111,t, h.lVl.' 11ot1..•d ,v1lh f-r,lgn1enced ;1nciqu1cy.;;11 The other plates depict eyes, 110,;es
ri,, 1ln,1 l111 k, l11•I\Vl'1'11 d1.l\v111 1,1, \\1tl 1 ., , 1111p lt• lool 1nd .111d profile~ nnd so on; l)ody pnrts are i11terc;1:1ersed v.;ith n1odel
11111111111, 11,F, \\ 111, ,, ~1. dp1 ·I ISntli .111· 1i111l·- h,1,\"'d ,lt t1v1l1t',, i11 l1t',1d~. ligures in everyday clrec;s, <;Ílling anel <;tonding vagab()ndc;.
,, 1111 11 11111 ,1vl· 1111g ll11n11gli 111t11 11g ,11111 l"l'IIH>v,tl ,., .111 .111.1 logue '\t>ld1cr,. n1<>11ks, <;ainro; and l1er111ics, 1n11ri anel a11egorical figurc5
1 ti tl11• p 1, 111•,;,1•s 111 1·11111111.,11 011 111 lí11t· 11 t 1.111,, 1 rplHlll , holh .11 l'i\L' 111 t l.1,i-i r,d dr<.:ss. An arl1~t·s copy V\'Ould pr<.)bably havc bccn
11 1t' l' 1l',1' 1J1 .1111111 11111111 µ, 11 h.d11..d 1110111l.' 111,. 1•11111111, \\.llhin .1 C<>n bound tt>gccl1er \.Vitb a fi~"" pagcs of a11aton1y JJ1d a coolpilal1ou
11111111 )' 111 1l1l' .111,d ytH,il g.11.l liotl1 p1,1ttÍCL''i 111,111, c se r1,d .111d oi e11gr,1v1ngs of classical statuary, Sltch as François PcrTicr's Sl'.{!·
1111 11•1111·111 .il 11.111.111v1·, ui d1·1111111H>'lll1011 ,11 1d rt'lllll'gr.111011, ,111,dy 111c11T11 pare of the 111tuti- disc1plin1.ry rcsource out of vvhich
1, 1111I • y111l1t••,r, , ,,., 1111· ". ripei, 111 , tl111111 gh t1-.~t1L'1- to L''\pt>~L' p.1r- .1rri-;cs .111 d ~tt1de-nts ,,·ould assen1 ble new rc:iliti es. ~.,,
111 111 li l1e ,drl) ') ,lc1 11~ .111d d,,1111vu1,lt '1kl'lll'~' .111d d1'li.·re11ce. 11y rhe eighreenth century dra"ving 111,111ual,, e~peci,1 lly those
111, •t .ll 111111, ,111• Vt'J v I l11,1 tn tlte l't' tl , ,vltit· li dt·plov, .1 1,111ge dirl'rted ,t t an1ateur artists '.'>uc], a!) '"I'l,e ,,..Jr1ist.~' L,íulc ,'vl,•1"11111 ( 1762.)
11/ I\IH'S oi l11H p.1111•111 .111d llld1·, lll drllt'll.'1111.lll' pl.1 11L'i-., sur -
0
, ,vou ld L<)111pri::-.1: 111.1ny p.1 rl'l: 'Face. I 1t•a<l_-,, I land~. Feet, Acade111y.
l,111 •, ,11,d lt"'i tlllt'S Antique~ ,111d Groupe!> oí Figure:,, Deasts. l3ird:,,, l nsects, Flo,vcr~.
111 1111• ,1•,(· 11ti 1 11tl1 1 t·1111 11y. li1lluv\ 111µ tl,c ID11µ tl:1111 ll·g,1t >' of f I uit, Shl'll5, Orn.a.i11enL'i, J3uildings. La11d-,cape, etc. etc. etc. tol-
1111 · < 1111111 il 111 l rt 111, dt•1 n , 11111 hct ,lllll' .1 111,qor l,lt t1u lt)r visual Jt.:ctcd lrc)111 the Works of the C~re.atest Mastcrs'. ''º Fron1 tbe 18-ios •
1t'l'll'\l' lll.1t 11111 111d I Ili 11l1111c•d V. 1!11 ,l lt' ll1'\-\t' d llHt'rt.''it lll t l.i~,1 - 11rofc~sic>n:Jl .1rtists could v1sit thc l'r1nr and l)ra\vings ltoon1
11\111 tl11, 1,11111d 1·:-.. p1t·,,11J1 1 Ili Llit· 1dt·1 11d1 t.ll lOII .1ru,1it or cil' thL· 13ric1sh Muo;eun, to C<)nSL1 lt 'Autho17tiec; íor Artists',
1111111111\ \\ 1111 t l,1,,H d , t 1111.11 \'.~" 111 llit· 1111pn11.1111 111.11111:11, Í<lf porrfc.)'1<) con1pilatio11~ <)Í diverse princed resourre 111ateri,1I that
11,1 111 .11 .11!1 111 11·, ( ,1 1.11d A11d1.111, lttlok 1111 thl· prnpnrlltlllS 1if rt·111,1incd popul.1r until rhe early c,ventieth century." 1
1 l.1,~11 ,t i , 1.1111.11 \ 111d l.11,1111 ( ;t 11g.1 ,111d l .lllll\t\, l1111111111i,1 /11'/" /1,\() 1 he d.111gcrs t>C a 'pick a 11d 111ix' aestheLic did n<>t escape crit-
,·1 i,11, //11 111 1 ,, de •/ rli, ci:1111 oi 1(1tJI, llil' L11 11tt·'\I \\,1, 110,v thJt ol tl1e íc,11 LOnl!ncnt.r' 2 Ft)r cxan1plc, Gérard dt: L.1ir<.:'iSC relcrrcd to Lhe
,., 111111 11111!\ .111tl 1111· 11,1·1 \\lll 1111111K 1111port,1111 l' oi 111e.1~urc111l'nt 'great Abuse' of art1sts ,vht:11 co111posit1g '.111 History, E111blc111 or
11,d p1111111111tt11 , '/\t 111 ~ 111d lt·µ, li ,l\'l' hl•t·11 (11hli>tl, ) r(.·,ro1\.· d ro rablc, chcy brin.g ic togeth.er Pícce- n,eol. and by Scraps; and
tlu· ' 11111,1 11 ll'h1,111·d .11111q111· ,t.ttlll'' 111 lt11111l· ·. ,o rh.11 (;c11g.1\ se.1rcl1111g their v\.'hole Store of Prints, l)ra,vinb>s :ind Acade111y-
\\!ill'III 111 l111111•,, ,ll l~•ll l('llll'd li\ l1·11d1111, .111d lllll\l ll''I, l,\ll t'\t'll- íigt1ré:-,; cake a11 Arn, <)Ul <>Í one, a I eg out of another; hert! a
1\J ili, l11· l1utl1 111111,11ilp11111·, \1111,rdt·rcd .111.1ttHlllt,dl> •. 1 hi:-- titlt' 1
r,tCl'. thl•n.• .1 l)r,11)rry, ,111d out oí .111other ,1 Bc>dy'. •' Tl1e irony
1111111111 1~ ,lll llll 1!',lllll'd hy 1111111h1 ll'd ,I IHI ll'tll'n..·d 11.1111 111µ, ur t1f Lhi~ warning is that dt· Lairesst: l1in,~elí borr<)Wed \Videly ft>r
h111H·, .11111 11111,t li', .11nl l ,pl.111,11illt1, oi 11111:-.tlt• ')'lt.'n1s in l,1t111 hi, V,ll iouc; entcrprises. ·1'/1(.• l lrt <?( Pai11ti11.~ is dividcd intt) a
/\ ,, .111,~111 1111li1111\ l11•t .11111 1Ll11111ltl.'d ,, 11h 1dt·a l ,culptures 11uJ11ber oí 'lessons' ,uJd is oot a dra\ving 111.i.nual 111 the u'>uaJ
<.

1111111 .111tlq1111,, dt .l\\ 11,g 111.11111,rl,, g 10,v111g 111 , 17t'. 111torpor,1tcd '>l.'n-,e. bur an nrct~ac cract ,:v1tl1 illustrations. Ll e interpoL1tes .1
111,111• .11111 1111111· 111.11!'11.il 111111 1111·11 , 11II ,vonlll·,, 10111p1l.111un, of pL1cc of teec \\'Ítb chc c.1ption: ·1 sl1alJ toucb on Heads. H.1nds.
1111.ih1•~ l 1111• 111 tltt· 111t1,1 pllp11l.11 ,1·,c11t,·1·11tl1 - tt·1llu1 v 111,11111.ils .111d rct·t bcc.1u,;e I have tolu1d, both here :ind in ocher P.1rts.

[) I \l\llfl< \ IJ 111 INI

Painter,; as v.rell as Statuar1es are very i111perfecr 111 tbc111, as tf of
less Co11sideration rhan Boclies.'r' 4 Before l1e lo~t his sigl1t and
turned to ,vriLing, che versatile l)utcb artist had produced 106
dravvi11gs ovcr .1 ~ix-ycar })eriL)<l for Govaerd 13idloo'c; rl11att1111ia
l,11111t111i corporis (1685) . dra\vi11g directly on BidJoo's dissectio11s.''"
Son1e of de Lairesse's illL1stratior1s foUovv retrospcctive Vesalia11
tropes of Ll,7ing-dead skeletons lean1ng on spades and posir1g pen-
sively an1ong funereal n1oni1111ents, ,,;rhile 111 others be pioneered
in1ages or excraordinary realis111, v,rith dissecced l)ocly pares c;pread
C)Ut ,vith pin!) 011 blocks, and tl1e occasionrll inclll<iion of a Ay ro
signal tJ,e corruption of the body. One of the ink anel vvash
di-a,vii1gs ,vhi.ch followed powc rful preparatory cJ,alk studies. Dis-
sectio11 oJ a ]=t.Jrc11r1'11 a11d Back o_f Ha11d (pi. L77), dcp1cts tl1.c dorsal
tcndons and tl1c extensor n1usclcs of thc digits raised up b,·
n1etallic supports to allow clarity of vievving. The concenrr:a1t1on
011 the paraphernalia of di<;section signifies 111 it1creasü1gl)· sci-
e11cific approach to portrnying che <)bjectified body and tl1t:!
exploratory processes of dissl!ct:io n. Allho1.1gh these dra\vings
\Vere engravcd ,u1d ii1corporated u1Lo :111 anaco1ntcal Lextbook ,o
inAuenrial that thc E11gLlsli .tnaton1ist Willian1 Covvper plagia-
rised botb Bidloo 's text a11d de Lairessc's illustr;;itioru in 1698. 1'"
tlus form of realism did not have a direct unpacr on dra\,ring
111anuals for art1sts tn1cil che nineteenth centl.1 ry. Hovvever. de
Laire<;se's use of the erotic potencial of che ft111ctio11JI clothc; ,vith
wl,ich anato111ical specin1ens are covered in tl1e disseçtíng roo111
poc;sibly ínAue nced van Rien1sdyck's üJuc;trations for f-Iu11cer and
S111cllie, discussed in chaptcr three (pi. .27). ln de I.airesse's l1a11ds,
sucl1 veilu1g clochs hide d1e rupu1res beevvec11 body pares and thc
placcs where linibs have been severed fr:0111 a torso. -;ealing thenJ
1nto discrete and ide11tifiable parts.r. 7
Proportion and the Measurability of Par ts
Thcre ts a great dlfference between the mtnd and the body, 1nasmuch as the body 1s by
1ts very nature <llways d1vis1ble, 'Nhrle the m1nd 1s utterly 1ndiv1sible
B.ené Descartes.i
ln surg1cal anatomy. knowledg.e of the part is the only th1ng whteh matters . But 1n
Rome, Lhe parls are of no account except 1n so far as they contr ,bule to a shape whtch
1s neble and beautiíul.
Johanr Wolfgang Goethe''
Gérard Audran (1640-1703) used a sy<;ten1 of beads, parts and
111.inutes for n1easurit1g classical scan1es in the n1anual Les JJro-
d11 l"01'ps !1L1111ai11e, reissued in 111any European edition,.
11orfic111s
711
The standard English edition o( L718 JJresencs uptlateJ engrav-
ings wid1 a tríangulatcd levei for 111easuring the Fru:nesc Herc11/es
(7 l1ead~ . 3 parts and 7 111in11tes). the slendcrer proportions of
,1pollo JJythias a11d thc bare bottom of the Callip)~ir111 l-1?1111s or
BODIES IN PIECES: ANATOM ICAL AND DRAWING MAl'JUALS FOR AR-,-ISTS
·Grec1an Sbepherdess'. who l1olds up her <.ir1pcr} to <:ho\\' otf
her buttocks \vlule <;he oscen~ibly dncs herc;elf atrer a bJrh (7
heads, 3 parrs anel 6 n1111uces). plac,ng her ín .1 Hercule.111 le.1gue.
Tl1e difficulty of 111easur1ng statue-; in <.0111plicated c<11Hl't1J1po:;ro {>1
stooping postures ha~ lt.:d to diagrai1111iatic r<.•dra,vin& of ,ti ,1ight-
ened n1c111bers on chc san1e pagc. -, Within thc phant,1,r11,t~<1rí.1
of brutlmg nlllnbers th,1t have 'pLLZzled 111anku1d \\ith a hea.p of
mi11ute unnecessary d1,•1sions·. accord111g to Hogartb.-2 thc 1uea-
sure1nent, are c;o ubiqu1tous t}1at eve11 che exact d1sta11ce ht:'t\,·een
che ni11ples of the Mediei I tn11., Í\ con1pured at 3 pare~ h n1111uce:-,
an<l tl1at l)et\\~een nipples a11d nave] ac; -1- parts 6 1n1nutt·~.The
lirtle-ki1ow11 :Engli.-,b portraiti'\t Gilcs 1--fu,;,sey (1710-r7X8), \\ ho
had studied in rhc I3ologi1a acadcn1y 111 I731-2. spcnc 111osc of
his life obsess1vcly trying to pc1fecc a better system of 'trigouo-
metr1cal' measure, althougb scill elaborating fi:acnonal relatton-
ships betwee11 •nipples, bubbys and ,vasres' in h,s proporrtonal
figure\ in an albu1r1 (l3riti<;h Mu\eu111).71 l3e:1uty for n1a1l) gen-
eracion-, of artiscs re~ided in rhe spacíng of che ,\ll'diri I i·,111s\
brt:!ast5. the le11gth of her )eco11d toe a11d cl1e distance bet\\een
her nosc and ber uppcr hp.
Leouardo. following Vitruvius. had d1v1ded .1 body· wto a
cano1úcal syste1n of proportions.
Fron1 tbe roots of th_e hair to the botto111 of thc chin is the
tenth part of a man 's l1e1gl1t; ... fiom tl1e 11.ippJcs to the cro,,,1
of the head 1s a fourth pare of tl1e n1an ... The co111plete hand
1s che cench pare, The penic; being at rhe centre of the 111an.~~
ln such sysccms of bodily nJcasuren1c11c, d,c head is syn1bolical1y
both thc seat of intellect as ,vell as the prin1a11· n1easure1nc11t for
bodil)· proporcions, but r1,e pedes, foot, tl1at \,·as used in classical
and 111edieval ti111e,; as a unit of measure111e-nt i~ not easilv•
explaínt•d or ficted into a neat sys11holic syscen1. Virn1,·ius l1ad
111acle a co111plicaced atte111pt to relate rhe fooc lo the 11Lu11b~r
six a~ a sí,xch part of n1an's hcight. a systcn1 aJso usec.1 by AJbcrci.
,,rich tl1e foot divided by ten 1111ccolac (inches) and equjv.tlent
1ni1111tae (nunutes). Ver')' curiously; the hand l1J.s been excluded
fi·on, c;ystems of hun,an bod)' n1easurement, although the roy;:il
thun1b Í'I the standard of the in ch, and hands are used for 111ea-
c;uring liorses: and tl1is i11 spite of che face Lhac che finger, of t\VC)
band,; add up co cbe P)rd1agorean 'perfect1on' of che nun1bcr ter1
and are the basis of tl1e modern LLniversal standard of dt:c1111ali-
satton. 75 Ilatios of hcad5 divided 1nto total body lcngtl1 bcc.1111c
the tradicional systen1s of deterrnining che ideal proporttons of
antiquicy: variabl-y cen, nine. e1ght and -;even he.itis ar <.hfl~rent
periods of lriscory. Even at rhe Bauhaus in thl'.' 192.os. Osk1r
Schlen1n1er affir111ed an ideal l1odil)' pro11orLio11 or ·7½ hcad,',
wliich sce111s dose to tl1e n1easurcn1e11cs o( Audran. 7"
Albrecl1t 1)ürer, v.110 was uuusual in ,vorku1g on a ,·ar1.1ble
sysccn1 of proportton rather chai1 cstabhsh1n{~ an ideal cauou,
pubhshed five different cypc:- of inale and fcn1.1le figures,
249
 arn1.lt'ss and anato111ically ,tylise<l figures isolated against diago-
uall) harcheJ backgt'ounds a.:nd eru11eshed ,vitbin d1eir measur-
ing restraints. "fl1e applic:.it1o n of gr1dded ,quares brings these
t1g,1rec; clo~e to stereon1etr1cal figi1re dra,.ving, particularly th<)se
- of Rubens. wl11ch ,vere con1},iled into drawing n1anuals by other
l t-111
11anus.
Sy-;ce111~ of sm1plc geon1ctrical sl1apes underlying the body (for
exan1plc, a square \\rith circles tàr cl1eeks for the head of a putro
l
., -- 1 a11d :i syrnn1etrica!Jy divided ovoid schen1a for a classic:tl l1ead)
haYe a very long history, sremming !Jack to the n1odel-book
!>heets of the thirceench-century artist/craft,;111an Villard de
l-l011nec(>urt. where curl y gothic profile face, are inscribed on a
tria11gul.1r infi·astructure.~ 1 Gérar<l de Laircsse's influenciai f701111-

--
fA
i
do1io11 t?( Dra111i11Jz ( Gro11dl~!!,~il1,(!e rc:r Tr:ekc11ko11s1) of L701 for youth-
fi.tl lc.irncrs begiJ1s v,;1rl1 li11cs, thcn si111ple gco111etr1cal for1us that
progress1, ·ely becon1e the basís of evcry day objeccs. st1ch as cea
cups ~tnd ,.,:1ne glasses, and eventuaUy l1,11nan bodies and faces.
Sysren1, of 'b1ocking· in figures according to articulated 11lanar
,, rect,111gles o r cyli11ders. or e111ployi11g cones , sp11eres and ovoids
f .F ' a$ th e 'fundainentar for111s of c.lra\v111g, ar~ ª" persistent in
dra,ving trianuais todày as tl1ey \IVcrc six ce11turies ago.
J>roportjon has a d11al (and uotil tbe ninetecn ch century, a
complen1entary and 1nterdependent) aspect ii1 tl1e pra.erice of
drawing, w 1tb one n1ode l1avin g its roots in a naturalist, or ratber
perceptualist, paradigt11, the ocher ba-;ed on rhe n1ache111aci cal
sy,;te111s or head-to-l1t>dy r,1 tio~ anel idea l pro11ortion11. ln rl1e
1
forn1er n1 olle, tht:: relationsbjp of part~ needs co be checked visu-
ally aga i11sc an acn1al body ,.v here the rclacive proportion of the
parts to cacl1 othcr i.s idiosy11cratic. Opposed to this is the con-
ceptual par:idign1 of ,vbat that figure sho1tld or could look like:
the subjunctivc condition of the ideal. for centurics, dra,ving has
-. •
been co11cerned "vith -;upe,-i111posing the two syscems: what
173 Enc,1 '>.1l111cgg1J, LJ.Utd ll TJlpino, Pn•pt>1tic111 St11dirs: 771'<> .\,J,1/r .l\'t1dt', i11 c;oethe (alrhough he does not reveal the exacc n1ethodology)
rr;<J/c111 -'1"ii>II 11•i1/, Tru11n111•d .':lri11.1, 1607. p,·n an<l bro~vn 111k. 248 X 167 111111. d.e fin es as kn owing '110\V far the hu111an figure can be studied
()~tord. C.hnst ( hurch l'icrurr Gallery.JU~ 1.:?.09 accort-ling LO fixed ca11011s <)f proporcion and how 111uch accouut
s/1011/cl l>e take11 o[ deviatio11s caused b) iI1dividuaJ cl1aractcristics'
(my italics).tl2 A series of dravvings b:y lngres (discussed belov;•,
sa·ercht'd or contracted, n1easuring seven, e1gbt, 11u1e and te11 p.p. 252- 3) el11cidates son1.etlrii1g of this con1plex procedure,
heads re<;pectively ,vith 111ea~ure1nent<; expressed in aliquot fi-ac- ,v h.ereby obse.rvation.s .fi:om ii11perfect reality son1.eho,v coalesce
t1on, of Lhe ,vhole length.7- Nicholac; Hiiliard, an1 ongsr ochers, ,v-itJ1 a lea rned systen1 exa·apolated fro1n notions of che n1edian,
cornpl,iined about rh1, s;y'-tcn1. 'becau-;e he describeth and ,vichouc the diA-e ren ce<; be t,veen che evvo sysce111,; seen1ing
div1dcth tht.< proportions of parr~ of n1t·u . ]ikc as of pillars or ~ucl1 i rrecQ 11 çilab l t·.
orher things ... \vh icb 111c,t~urcs serve not ... becau~e painti11g
perspect1ve md toreshorterting ... ,vork<.:tl1 bv' falsehood to
~

expre<,~ tTt1th · _;~ A toLio,ver and copyist of Dürer, the sixtecntb-

centur) T3erg,nne-;que art1~r l1 l .1lp1no (Euea !:>aln1eggia. ?1565-
1626), uscd a du.11 ,y~tt'111 <)f heads (1es1C') and f.1ces (.fàrrie) in h1s
Libro dei/e pro1 1or::it111i (1607).~' ln the dr,1v.·111g /Jroporrio11 Stttdies:
Ii110 ,\J,tlc ,\J11dcs 11•irh l11111(a ted .41111$ i11 r "h,/c11f rlrtion (pi. 173),
falpi110 .1.ppl.ics l1is cur1ous systt'tn of c.lu,11 111easuri11g block-; t<) ~

250 DRAWING AS OISCIPl INF

Symmetry, the Ideal and the M edian

Nature is lhe speoes, lhe n)odcl 1s only an ,nd,v1du,1I of the spccles. Obv1ou~ly, Llits sludy
c.:annot bc coníincd lo <1 &lnglc ,nd1vidu,1I. aL ledsl lnsol..i, as U11s 11 1d1v1dual 1s 11ot gr,1nted
eve1 y beaulY «111d every perl eclton
Qu.1tn.'1llere de Qu,ncv"

1n gencrJl, ideal proport1or1.tl systeu1s are based 011 sy11lllletry, Lbe

(
hl
rel:1cionsh1p of cven and unevcn 11un1bcr systcn1s ai1ll the n1od-
erating concept of che n1ed1an. 'l he tàcc that ::ictual body parts
are e1ther single <)r 111 poirs (ftlr cx~1111pl0, che ,;1ngle no,;e ,v1th •

twl) nosrrils, lvvo brt>a~c.., <)ll eithe:·r siclc of a line ru11111ng rhrol1gh

the 11avel .111d ge11it.1ls. lvvo leg~ and t,vo ,1rn1s) invite~ 11un1eri-
t'
cal play with tl1c vaJue of tlu·el' u1 a corporeal 111athcn1atics that
serves to i111posc a logic on l11-e irrationJl geography of the body.
Even the 01udclle of tbe internai organs can be ordcred if they
are underscood to be di~posed in relation to the ct'ntral axis of
the ~pine. although tripartite syn1111etry can be conjun:~d only 1n
~c·ction. Trip:lrtite ~yc;te111,; ;1n: tradition,11ly u~ed i11 dra\ving traces
a11d anato111ical illustraLit>n,;. i11 <)rder lo ~upply .i cc)111prehen,;ive
viev. of fi·o11c, b.ick .u1d side , .u1tl typical c.:on1pc1rative Cigllrcs .ire
1

in n1ulciples of three, inlticati11g a front.il a11d prc>tilc 111a11. ,vou1an

and cb.ild forc\'Cr luikcd ,vitl1 the abstract dottcd lu1es of cor-
relative measure1nent. -rJ,e tl1coris1ng of tbe three- parc sy,;te111 1s
"1., , r
ofl:en a<; 1nuddled as FuseJi's notions on thc ~ubject, in a leccurc ,
to the Royal Acade111y:
174 1 ll'nry Fu,',l' li, Tltc. lr/1.\f º ''(1'11411:l111t•d l1y t/1( c;11111.lcr,r 11{ lht• 111tiq11c.
o

The body ... consists of chrec 111ain parts. ,vhich co1Te- 177>!.-1;. bro\ \" n \Vash over re<l ch.1Jk . .J zo x J;i.:! m111 7 ünr h, L.ünch
spond WJth e::ich other m the san1e proporoon as the p:trts l{u nsth.iu~. Graplllichc S,1u111i.lun~. Att-Juisicio u 1y40
of rhe subordinare n1en1l1ers a1non.g rhen1selves: the 11e.1d
and body are i11 the sa111e ltnison of n1easure ,vith the thigh-s
and legs, as tJJe tl1ig]1.S \VÍth the leb"i and feet or thé upper
\Vitb their urm1atchcd eycs, 11ostrils. brcasts and lu1ilis Tl1e ide-
part of rl1e arn1 to che elbovv and che l1and. Tl,us che face
alising aspect of proportion therefore reql1ire,; tl1at the in1pertêct
1~ di,·ided into tl1ree parts. or thrce tu11es thc le11gth of thc
relarionships of part ro part, and pJrt ro ,vhc)le, and the Jack of
nose: nt:\·er u1to fot1r, as s0111e have in1:igined.'8•1 ~

1,y111n1etrical dü,position ,1boL1t horizontal ,u1d verti cal .ixc~ are

Fuseli described his dr.l\o\'ing of Tfu, Artis1 011en1 1/te/,ncd IJ)' tlil'
Grc111de11.r (!_{ t/ie .-411tiq11e (1778-9; pi. 174). in ,vb.1cl1 a pu11y artist
is d,varfed by a gigai1tic antique foot a11d heroic l1and, as 'an 1de::1
of geruus borrov\·ed by mediocrity ... it is the C)·clops' rh u1nb
by vvhích the pig111y measures his ovv11 littleness'. 85 Fi1seli's arti-;c
is n1ourni11g che pass.ing of tl1e classical world in che way that
Vesalit1s's skeleton" n1ourned their own passi11g - ..ind. p()ssil)ly,
despaírc; at l1is inability t<.) reconscitute rhe whole fro111 sL1ch irrec-
oncilable parts.
Tl1é uotiou of tl1c 1uedia11 is usu.1lly understood as the bcsc
proportions of thrce or five exe111plars, as in tJ1e Plinian n1yth of
ZctLus :md the daugl1ters of Croton.Ht, When. tl1is ge11eralised
ideal i.s rein1posed 11pon the observed body, in tl1e act of dravving
an c1cadé111ie fi·o,n a n1odel. for exa111ple, ic de111a11ds an J)sertion
of syn1111e-try: che very rhing chat is furthesc fron1 'real" bodies,
deliberatl'ly i111pru\'cd u11011.
Such ideal syn1111etries ,vere even proJected 011 to cadavers in
tl1e great c1gl1tceuth-ccntury rnyologi cal .ind osteological atla~cs
belo,, ed of .rrtists, such as rl1at of Cl1eselden rn E11gJi\b ai1d
c;a1nelin's and Salvage·,; ,vorks in French.lli ln the prefàce to
Bernhard Siegfried Albinu-;'s Tnhlr.c of
~ . riu' ,"ikcle1011 1111d i1111scle o{.
rl1e Ht/11tt111 B,idy (1747). lhe Dutcb a11at<>1ni~t rc\'eal\ h<.)\.V h1:
acl1uired lhe 'perfect skeleton' and c.1refull)' super, i,;eti che a1 ti~t.
Jai1 Wai1dclaar (1690-1759). to produce accur.ite drJvvit11a,~
by using a grid. ar diopter. to n.1tural sca_lc fi-0111 a carefi.1lly
calcuJated dista.nce so rhat there ,,.7ouJd be no dic;tort:ion of
th~ prepared skeh:ton. ht>ld li pright ,vith pullevs. These accurate
dra,vings ,vere chen sl1uared anel redra\vn t>n ,1 ~n1,1ller scale fc1r
rl1e plate'>, the paper even be1ng folded 111 thl..' 1niddle tt>I 11erfect
sy11u11etl)',ilx Thi-; fa111ou-; ,1tl,l'-, \vtlh its 1111,1gi11,1livé b.icJ...gr<.>t111ds

BO D IES IN PIECES: A N ATO MI C.A,L ANO DRAWI N G MAl\iUALS FOR ART ISl S 2S 1

. ing c.iiftercnt no!ieS \.Vitb cyes and n1outh_s.
• parallel lines, a tin1e- honoured 111etl1odology thac is helpfi.11 in
1 ,IL.'Ol lottl)ul
We>lf t &"4111
175 :\nnc• Lou,, <.;uodet-Tnoson, ~hllec from rhc •Albun1 de príncipe~ de
Jc,s111·, 11.d.. ri;:d ..:hall . .J.5~ X 290111111. Mont,1rgi,. Mu~t:e (~irodt't, l). 77-1
of large--.cale foli:1ge. sto11e 111ont1n1encs, rhinoceros-1nhab1ted
forc\l'>. drapery and JJ11tti, \va, engraved in n1any diflerent edi-
t1011'i.
Thc llltercha.nge.ibility of facia l pares that can bé reac;.,en1bled
in order to express botl1 bcaLJty and ch,1racter Í!> the subject of
Alcxauder Cozens's l'rh1ciplcs o/ Hea11ty Relalí11e to tl,e Hu111a11
f-/c11d ( 1778), dr:twn i.n outline ·10 such a 111anner as to approach
to ,0111ethillg like 111athen1aticaJ pr'ecision'. By superin1posing dif-
ferenr part, ouro the ba,1c profile heads printed on transpare11t
page'>. ust'r'> of ll1L 111.u1u.1l are L·n 1blecl ro explore 'de110111inat1ons
252 DRAWING AS D.SCIPLl',,E
of hu111an <.:h,11·acter', such .as 'The Maje-.tic, The Tender, Tbe
T.angui<l. or Delicatc, Tl1e Artful' and so on. sin1ply by con1bin-
Stud1es of facial expressions are exp lo1·ed in the copy aJbums
of Annc-Lollis Girodet-Trioson, v,:h1ch con tain the chalk draw-
1ngs and penei] notes be prep::ared fo r studencs . The 111ain n1essage
of this neoclassic;il ro11r de force is tl1e i111portai1cé of syn1111etry:
eyes are never represented sj11gly, but alvvays in pairs, witl1 irised
eyes juxtaposed vvich blind classical ~tatuary (as in pi. 175) and
pairs of ears fixed to l1eads of sculpted l1air. 11<.1 Differentiated facial
teatures are uiscribed upon a tripartite grid of sbghtly bowed
t111der~tru1díng the cu rvature of the face in three-c1uarter vie,v
and guides placen1enc or feacures when drawing faces loc.)k ing
u_µward-; or dowT1wards, but nevertbel~s i1npo~e~ rigid S)'1111r1e-
cry 011 te-atures. Girodet's outline dravvi11gs of heads art: based 011
a perfectly oval t:1ce vvith tb.ree cqual di\.·isions, pertai1úng to his
o,vn versio11 of a sulky :u1d se2.<.1illy ii1determinate classicism. T he
111edian line runs through rh e cen n:e of the eyes. bélow the nose
::ind cbin, ::ind the distance be-t\vee11 the n ose and 111outh is based
on a three-part divi~io n of the face.
ldealising Strategies of Assemblage
A n1an has no more right to dislocate an arm and call ,t the grand style than he has to
put ,n si><: toes and call 1l Nature .. We have no bus,ness to make Nature as she neve,
was.
Ben1amfn Haydon
ln the human body. wh1ch fS perfecUy symrnetncal, lhe syrnmetry 1s apparent only when
rt is 11g1d and mot,onless. As soon as the human figure moves. the syrn,netry 1s broken by
l.he movement., whal was a coldly ngid regularily 1s replaced by another kind of sym-
metry. wh1ch 1s equifrbnum.
Charles Blanc9
Tl1e n,anner in vvhich Ingres, once a fell()W pupil \;vilh Giro det
in J acquec;-Louis David's atelier in Pa1:is, coalesces observacional
drawing \\'itb idealising c;tracegíes, and asse111bles unrelatcd body
parts i11to a seamlcss collage, ca11 be stt1d.icd through the ser-ies
0f dravvings associated with both the seated and stan.d ing por-
traits of M111e Moitessier on which he ,vorked for n1any years.
We ca11 follo'-v the progressive thickerung of h er bodfl y propor-
tio11s a.-, she is n1anipulated coward°' tl1e an1plitude and repose of
the final painted portraits. and tl1e successive stylisatio11 and syn1-
111etricisatio11 of her fàce as ic is coaxed towards a broad l-lapl1ae-
lesque ideal. B etweeo a rough, early penciJ sn.1dy for l\1ada11ie
Jvf_o/tessier Standiny,, as a slun - armed figure, and a lacer squ.1red- up
\.Vorking drawi ng, the bodily próportio n_s have changed radi ca Uy;
her ar1nc; broadened and sh o rte ned , tinger'i tapered, shouJders
~n, oothed inco perfect cu r-ve,s, a11d rhe neck o n which the per-
fectly syLru11ctrical k'lCC is disposcd, th..ickc11ct{. as in th e final
painting of 1851 (Washington. DC, Nacional (~illery)."2
1·1,e fa111ot1s right ha□d of l\ f ada111c 1\,loitcssi.cr Seatcd rests
again-;c the ,;jde of her head \vith u11possibly fle-,cible and tapered
fingers 1n the po-;e of che goddess of Areadia in a Jto1nan fi·esco
fi 0111 Herc ulaneu111 , HerC1iles Fi11di11g liis SC111 1i•le11!111s, \vhich
0
lt1gre~ knew fi-0111 engravings a11d copiet,.'i3 The ,'>1Hdy_{t1r 'J\1ada11u·
1
J\loitcssicr Se11ted of circa 18+6-8 (pl. r76) dcpicts a f.tirly devel-
oped versio11 of tl1e sitter's l1and l1eld against the syn1n1ct1·ic.1l
ovoid face, wlúch is dra\vn 111ore precist!ly tl1a11 tl1e frecly scrib-
bled dress and upholstered arn1cbair. The discinctive hand. v.rith
irs bizarre boneless fingers was described by Théophile c;autier
as 'A hand of superhun1an beauty [,1/hich] 11resses againsc the
te111ple and baches a violenlly disjoinced_ finger in ll1e ,vaves of
bair \vith the frigl,tening antl sin1plt' audacicy of a ge11ius for
whon1 ü0thii1g i11 11ature is alar11u11g.'9-1 l)istortion was not a
problem for l11gres, tbe f,~eat stylist, v\~J, ose figures .ire ncver
anatomically correct: Íl1 fuct. l1c repudiated ai1acon1y .1nd to111-
pla1ned rl1at the ·111odel rarely give<; yo11 che re<;1dc you \vant'.'15
Men are aílo\-ved a greater degree of real11;111 in Ingre<;\ pc)rcraics
than wo111en. whose face-; c1re based 011 tapc:red ovals with \vide-
-;pread a11d ofte11 protuberant eyes and very :-.l1ort upper lips .111d
di111inutive 111ouths; sketcl1es son1etin1es e111ploy a cc11tral li11c for
obtaining syrru11ctry. Thc ideaJised typc of bcauty ch;111ged over
lngres's career, and the smooth necks. in1possibly narro,v sloping
176 J.-A.-1). lngrt!~, S111dy for '-' !11d11111e 1\,f<1ilt'ssie1 S1•,11ed'. ârc<1 184(1-R.
graphire, 300 X J 15 t11111. Monrauban. Musé-e Ingrcs. 867.318
, D 1,1
• l
•
1 •
~~
~
-
~ ...
i ~
. . ·*"
shc.>ulders a11 J tiny feet of h1'i ea1 ly dra\vil1gs. v. hicli repn:sent thc
proporcional clistortio11s of tàsl1io11 pl,1tcs. cl1angc to th1.: a111pli-
1
fied l~aphaelesq ue stvlisc1.t1011.'> of lii-, later ,vork. 1, fhc niiracu-
lous skill of l ngres 1s tlut a fuc1aJ likeness, or ratl,cr tbe
ditTerenriated features of an 111d1viduarcd tàce. can coex1st \,•irh
an enorn1ous degree of t~1c1al .1nd l1odil~ St)'h\allon "' 1thout ,111y
senc;e or dislocation .1nd in cc)11gruence. Wl1:1t i~ 111c)rt:', 'ieparan:·
bodily &agn1ents l1ave been recon'>tituled ÍllC<) ,1 '-Yll1!11L'tr1cal and
i<.-lt:Jliscd wbole to ge11crate :111 a111azjugly convincu1g ·etlL'ct of
thc real', assisted by the sparkli ng rcalis111 of thc fàs11ionablc
ir1teriors 1n wllich thc fil!l1res are seaced or i.ta11ding. l'hrough ,1
~J ~ ~
sean1less joining of fi-:1gn1e11t-.. che perceptu,1lisr parndign1 coex-
i.,ts 1n toc,11 harn,onv, \\;th che ideal.
Privileging the Hand
[Gocl] .. a1med [man) with two wondrous weapons. wh1ch He hath den1ed lo all othe1
living cr'eatures. ,~ n and rhe hand H1s reasor is lhe storehouse of <111 arts and
sc1ences ... The hand 1s àn 111st1'\.lrnent . . en1ptoyer -of all other ,nstr 11nents
Andreas I aurent1us
lt is not by cha11ce tl1at Mada111c Moitess1er's ~ocial status is
asserted throt1gh a distinctive hand gesture, v.~}1accver its co111pli-
cated genes1s. 111 :i. syscen1 of signs t}1at we have ali but torgot-
cén, the parts of a body (1ncluding, of coL1rse. po,;rure a11d
costu111e) are suitable vel1icle~ for n.:!vealing inforn1ation .1bc,ut
gender, age, ,;tatus. race and state of 111ind (passions), individual] 1
1
an<l in cou1binat.ion.' ~ l-land po\itions are signifiers of a huge
- •
1
range of i11for111ation to i11torn·1ed vjcv.·ers. J--:lovvcver with their
s>·mbolic coru1ection \•:ith the 111,11111al aspects of dra,,v1ng. as
opposed to tb e intellectual a..~pects of dise,R110. hands do not gen-
er:i.lly lead che ~equenaal order of body parts i n dra\ving 1nanu:1l<;.
·Nevenhele~c;, c;ince h~1nds are nocoriou-;]y hard to dra,v, 111anuals
usually contajn 1nany n1ore plates dedicated tt) their po-;1uon~.
actions and 'natural' or rhi:torical gc~turc<; than a11y ochcr body
part. Tl1e ordcr of i111ages u1 drawjng 111ant1aJs tcnds to begin
\Vith the cye and ali d1e tl1ings percaining to tl1e l1ead. 1111.pl)'ing
a privjleging of sight and inteilect. but this 1s by no n1e111s a rule.
ln so1ne additions ofVesalius's /~n!,rica the ti-ontispiece is a \]ightl)
•
naive, but iconic \VO<.)dcut 1,ortrait of Andreas Vesa]ius holding
the tlis~ecced l1an<l of ,1 standi11g ca<l.1ver. This in1age den1011o;lratt's
the religiQu~ aud philosopbical instru111c11t.tlity of the hand ÍI1
- anato111y a.,; pruuary i11strtu11e11t, pri111,1ri11111 i11srr11111c11111111: for are.
the hand is, of coursc, aJso rhe 1netonyu1 for tbc 11Jd1v1dual.ity, or
~
\i aurograpl1. of the artlst. 1n 111yolog,cal dravvings there 1s a co □-
vention of appending hand~ rhar have been anaton1i~ed do,,,1 to
the te11d<.)J1S, ,vl1ereas arn1,; are not st1l1Jt'Ctc(i to thl.' sJnte depth
•
•
of disseccion. indicati11g tl1e d t:ep incerest in undcrsranding cheir
BODIES IN PIECl:'>: ANATOMICAL AND DRAWING MANUALS FOR ARTISTS 253
 •

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1;-; G.'.:rard d1.: L.urcs,c. Dissi',-rir.l11 o( ,1 B11ât (!( 1111,u/ (dra,v1ng [or platc 70 of GoYaerd Bidloo's _411,1101111,1 /r11111a11i c1lr-
f ort'cll/11 ,1111/
f><111~l. ,in,, 1<,110. pt·n .lnd C'h1nl''-t' 111k w,hh, 5\JO x 490 m111 P:1n~ li1bl1otequ<-' interuniversita1rc de 111c'.·Jt'ci111.: el d'odo1Hologu:,
\1) 2(1
 -

•
l

.,

"-T>__ ... ~~ l
-~ -

r78 Petcr Paul Itubcns, .<l11,11,1111ict1/ Srudit·s: ,,l Lt.:{I F,1rcc1r111 111 'Ji11" f)<JsÍlio11s ,111d a l~i(!/11 r1,rc,1nn, o'rra 1600-0,. pen Jnd d,1rk
brown 111k. 27X X 1X6111111. Ne\\ Y(1rk, Thc- J\;\ct1·opoliL,1n Mu~c-run oi Art. R.ogcr, Fu11d. 1976 (199(1.7'i)
 1;y _I -L -A.-1. Gér1r:iult. Grnan,l1's Ll?/i
l:?5 X .:i9, 111111. Paris, [\\u\ét' Ju LoU\l<.:.
conipli.:x scructure, 111ultipJc boni.:s a11d con1plicaced nervcs and
blood vcsscls. 11,uids art: disbnctly gcndered in n1any dra\ving
111a11uals: for exan1ple, in tl1e Carracc1/Cian1berlano 111.11111als. i11
\vhic h plnrnp fe111a le hands vvith tapered fingers play the harp-
'>ichord or a-;S1.1n1e gestures distingt11shed fi-0111 111ale hands. An
excraurdinary '>erie!> of anaton1i::.ed body parto;. i~ assoríaced ~ ith
thc ~tudio o( l~ul1e11s. Íllcluding che so-,alled Rul1t'ns Cll11t<><>r, ,1
stu<li<) cache of cl1alk copy dra\vings by a for111er stude11t, Wille111
1
Panneels. d.tting fi-0111 benveen l630 and 16-1-S.')' lo Ilubens's pen
and 1nk ,-i11ar-0111ic11! S111dies: .4 Le/t l :Orcan11 i11 'Ji.110 J>o.sitio1ts a11d a
R1,~l11 [~ Jrcar,11 (orca 1600-05; pl. 178). che fantasticalJy swollen
appe.1r.111ce of tl1e,;e progressively ccorc!téd ar111c; and hand, as fi-<)Til
,l livt' bod y l1uilder. are so l1iz,1rrely ex,1ggerated and knobbly that
tht') Jre rl·n1ini\cent of rhe k110/le11siil of Goltzius·s grotesque
u1a1111erist c11gra,·íug-. of 1\,Jercury and l lcro,Ies in tl1e 159os. 11k 1 Tht:
<;evered arn,-. a11d hands are placed on the page in a curiottsly
;1ggre,s1ve org.mis,1aon ai1d chere are oo flaps of skin to 111a rk
tht> ~n1ooch pa<;-;ages fi·on1 ,vhole arn1s to anato11úsed digits.
A dr:l\-\'tng p.nn~cak.1ngl)' 111nde by Théodore Géricat1lt duru1g
lii, ÍJt.d illuc...s in I R23 sign.,1~ a -;y111bolic relinquisl1rn ent of hi<;
activir, :i., an artist. Ir ,~ ba\ed 0 11 ,1 pt'11cil rracing of hic; o,vn
left l1and. ,vorkcd up v. 1th rt'd, yell o,v and bJack cl,alk (pi. 179),
ar1d che pr1111inve 'itr,1tcgy n1ust h.ivc bcen necessal") because of
256 DRAWING AS DISClPl INE
H1111d, 1823. bl.1ck. rcd and ycUo~v chalk :ind \\'~ren.·olour,
01:part111t:Jlt Jes Arts ~raphiL]Ut:~. n. r 1397r
Géricault's \veakncss and incapacit),. 1n1 Tl1e spread-out fingers
a11d cxaggerated vcins on a l1orizontal pla11e ,vich l1ea,ry sl1adovvs
Jchieve a deathJy state of repose a11d atypi.caJ degree of r1ni'>h for
an artist tàr v.;ho1n dra,ving v,as a ,najor acti.vi.ty, a11d vvhose lively
,;kecches \•\'ere about speed and inspiration. Tl,i~ dra,,ving i.s a
ntver~e of Géricault's strategy in preparation for bis 111ajor opus,
thc Ra_(t <!f 1l1e /1,Jed11sn, where, in atldition to studics &0111 cadaver
parts, he pai11ted directly fro1n live 1.uodels posed as tbc d.ead Íl1
tbc fu1aJ dcvc lop111enr.,_) stages. As is \vell kno\vn, Gér1cault's keen
intcrest in at1ato111y, ,vlucb. initially depe11ded on carefuJ copies
of 1T111sculatt1re fro1n Mo1mec~ and Ga111clin's atlases, vvas trans-
ferred to studies ti·o111 dying pacients and cadavers at the Hôpital
BeaL~jon. Paris, a,; \Vell as dra,ving ;ind painting severed l1eads and
body parts that he reputedly kept in his scudio i11 a scate of
adv:111ced deco111position. These grisly re111ains, \vhich reprise
tales of gbastly chi11gs i11 artists' studios sÍI1ce che tii11e of
Leon.ardo, tu~ 11::ive contríbt1ted to a reading of Géricault as fixated
~
011 .iinages of diS1nembern1ent, sy11.1bol.ic of the fragu1entatioo of
1nodernity. Sucb interpretacion.s ignore the- longevity of eh.is
tr:-idi ti o n. 1111
The dying Géricau lt had laicl do,vn l1is arn1, if I n1ay l1e
allo'vved ,;o ur1<;eé111ly a pun, and Lhere i~ al<;o son,echiug valedic-
tory in tbt: very late dra,,vings oí hands dane by van Gogl1 in
 •\.oi!~~~~---~
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180 Vinccnr \'an (~ogh. S/..:(!td1,•.s 111it/1 I I,11,ds ,1111/ Ji,•1• S,111•,·rs. S.1int- l~~111v. 1890, ~r;1phite ,111d çh:1rcoJ.I, .1+0 X 320 111111 Arn,tc rJ.1111, \ :111 (;ogh Mu~ ...·tnn r-ound,1tio11,
do1 '!7 \' ' 1962

tl1e asylu111 i11 Sai11t-lié111y in March and Apr1l 1890. rcusu1g fro111 thL· litc. The dra,v1n~ h.1ve been liter.11Jv , estcJ ,,·1tl1
sketches fro111 lus Nuenen period, ,vh1ch he had c;o pa111st.1kingly auchentic1~· through styli-;t1c reappropr1at1on, and rhe fi1111c ,·01cL'
cop1ed fro111 drawing n1a11ualc;; bet~·een 1883 and 1~85. ln their ofVas,1r1 correlc1t111g body pares ,v1th ,tyle or 111,111ierc1 reverbt.>r-
original conte,t, these hand stud ie<;, 1)art of .1 s1.1'itained '>er1e-; <)Í ,ltt''> rl1rough the I3r.1b.1nt111e llll'>t ,1nd n1ud Van G<)gh l'ikt'd lê>r

l1a11d. . and heado.; to ,vllicl1 he c.>ften referre<.} in bi-, leccer:-. (l)eing tht''-C c'.trl) Nuenen t"{)l)) d1 ,l\\, illb"' tn bc..• <.ent {>11 l<) hi111 in thc..•
'111()te or ]e<;-; addictt·d te)· tl1e 111anual!'> c)f C'l1arle" Barg1.11::), ,vere ,1'>ylu111 i11 Saí11t-R~1ll) in 1890, ,111d i11 the rc,1ppn>pri ,1ted \.\'nrks
appropriated i11to his o,vn o:u\re througl1 redra,vinbtS ,,·ith heavy such as Sk('/cltcs 11•icl1 ll1111d:.- <111</ Ti1 {> S011•t1J ( 1~90 : pi. 1So) . -;111.111
1

black chalk. outlines, so as to look 'as 1f' the) ,vere clJ"a,vn fror11 stt1d1es of so,vers ren1i11iscenc of hi, e.1rLt:r copies aftt>r M1llet ,tre
observation. ln ,·a.r1ot1s st1..1d1es of a.rn1s anel ha11ds 111 h1s Nuenen dra,vn OYt:r a11d bet\,·een the earlier hand <.lra,,·ing,;, bt1t never ~

sketchbook of around 1885, he h.as glued borro\ved h:.1nds tro111 rot.ill) ob,cure them: rhey ,,,e-re intended :1, \()l1venir, c)f the
1
dra,v1ng n1.1nu.tl<; 1nto the rough sleeves of h1-, potatt1 eaters and Nc)rth. 1 The rerr<.>'\peccive nature of lht'> proJe<. t. i11 vvhi ch thl-
\Ve.1vcrc;, and they have ach1 eved ali the rou~h verJc1ty t1f stutii~:-. disturbcd van Gogh ,,.,s perhap, ,l,'c..·~111g "l'L li rity by rc..·vi,iting

BOD IES IN Pl l: CES: A N A TOM ICAL ANO D l~AWING MANUALS FOR ARTISTS 2J7
 181 F..:rn,u1d Lé-gt:r. 7/110 f-Ia11d>, 1933. pen .inJ ink. :,77 X 297111111. B:1~cl. I( w 1~t111w.e.un1. l{upf.êr:nic.hkabii1ctl, Karl Augu~t Ourckh.u-dt-
Koerhhn-rond~, 1971.3
l11s beginn ings. l1econ1ec; J pali111pse.,t of copie~ of old iJeas o n
top of even older c<>pie~ /i·o111 n1;u1 uals. Van Gogh, after aU, l1ad
JU~t seven.:d a part of b1s ow11 body. Tl1e clench ed hands cl1at hc
obscss1vcl> dri.:v, over a11d ovcr again give nothjng avvay but l1old
on to rbe past.
Van Gogh·~ e)i,-plicitly vvorkcrs' l1a11ds l1ave a corresponc'lence
111 "rhc life of fraginenc\' of Fernand Léger. His sin1plified ~n1d
boldJy <>lltl111ed hand~ \Vith rheir pneu111atic Mi chelin M an digits
.tre .1ttacheJ to builJing vvorker!i. acrobat-,, n1usicians and cytli~ts.
or severcd anJ \Vove11 1nto abstrac.:t co111positíonc; i11 the 'ne,v
reaJ1s1n · of the industrial obJect, in \vhich severcd hands .ire really
no 111ore u11port.1nc ·u, pu rcl> plastic ternlS chan a tree. a plant,
111
.1 bit of rotk or .1 rope· . - ln h.is late 1ablt•,111-poc111c Les 1\1oi11s,
Ht1111111,i_l!, ,, \[11it1kol'sk1 (1y51), Leger incer\perse-d hands \V1th the
rexr:
258 DRAWING :...5 DISCIPLINE
Tl1ey are not like che
patron's hands or the
blcssing l1:u1ds of tbc curate
Tbey rese1nble tl1eir toeis, 111ountains, tree cn111ks
the tin1e is approaching ,vhen machines v.rill
,vork P(>R rHEM
111
the-11 he ,vill have hand~ l ike his boss ... "
The dra\.VÍllg 7711(> l f a1u1s ( 19 33: pi. r8 1) tmploys Légl!r's hairy
pen and i.nk style. witb its 111ultiple cross-l1atclliugs crcating an
exaggerated planar r/1iarosc11ro errlbrced by heavy contours. Tl1e
stylised l1auds bcre are noc atoched to arms, and appear to be
crossed bebind cl1e back of a ,vhite-coated fjgure as if carry-ing
011 a cc>111plex sen1aphored comn1unic::ition of their O\.Vn.
Rounded a11d slightly puffy, they \ec111 to have been i11flared,
unlike the curiously lin11) and disaffected hand\ like ,_]oughe<:1-
oíf gJoves, wl1icb he also orten drev\. Léger\ for111ulacio11 of tl1e
i111porta11ce of the pdrc .in tuotler11icy ,v,t'i relaced to an apprcci-
ation of the róle of the close-up i11 cinerua:
Cinen1a gives 'the frag111enc· J)ersonality; it sics in a fra111e.
and thcreby creates a 'ne\V realis111' vvhose nnplicatic)ns u1ay
be i11calcuJablc:. 10~
The hand ic; :in object v\'lth 111ttltiple, cl1angeable 111ea11i11gs.
Before T sa,v it in the ci11e111a. r did not k110,v wh.it a l1and
,vas!111~
As has bee11 i11dicated in tbis l1road survey, tl1e border between
wordless copybooks. a11atonúcaJ nta11ual1, and wricte11 tracts 011
art is per1neable. Copybooks ,vere not only conccrned \.\·itl1
bodily parts a11d copies of 'fl1111ous n1odern_ rnasters' bt1t could
also be e11tirely original co1T1positional e}.~111plars, such as
Fla.Tillan's u1odel books, including the 1/ind, tbe Odyssey and the
Di11i11e Co11tedy with thei r brief acco1npanying legends, or
Turner's Liber St11diorr1111, 1812 with original landsca_pt:'c;. l{.ecent
BODIES IN PIECES: ANATOMICAL AND DRAWING MANUALS FOR ARTISTS
schoL1rly re)t'~1rch suggests chat bistoric.1lly n1a11u1I ... \\"ere u,ed by
profe),sional a1·tists as \\.ell as .11n,1reurs, ;1nd it seern, ll)gic,11 t<)
.L'i~u111e th,1t c:opyboob vvert' depeuJt:"nt on ,vr1ltt.'n 111,111u,1ls fi_1r
their theoreticaJ context. and ,vcre useLl 1ott.'rc:l1angcabl) v\ ith
these sources. This IS uot so today. ,vl1cn popular 111anLtals tor
ainatew·s are generally at odds with art scbools u1 u1u,•cr'.)1t1cs.
which que-;tion the efficocy of copying fron, exen1plarc; bec.iuse
they consolid~te hegen io ni c rnotionc; c)f culture and ,ire <.'<)ll11ter-
productive to individuc1l1ry, per~<)n:11 itlennr~ ,1nd re._e,irch. Never-
chelesc;, book-. pro1uoting dra\Vtng 1neL110Jc; or visual cxc1npl..1r,
co11tinuc to bc rcgt.1larly con111uss1oncd fi·ou1 pract1si11g ..irtists a11d
tcachcrs, although their audic11-ces, aÍJ1u. ::111d 111cthodolog1c!) .1re
. ble. 111•1·
very varia
The syncretic pracrice of dra\ving bookc; has becon1e che
n1odel tõr n1any as_pects of conten1porary litê. Asse111blage of dif-
ferent 11:-lrt~ i~ che stuff of co1r11,uters ,vith their infi11ite res<)Url.es
o[ i111ages and texts. part or ,vhoJe, and the prc>111ise of i1n111e<li-
ate and pled5urable plc1y i11 co11Jb111ii1g found a11d 111c1dc fragn1c11t~
seantlessly j11_co a 11cw euse111ble and tirr1e fra1ne.
259
 I),1rk stor1n c!{)Uds race rhrough cl1e air carrying a gesticulatÍl1g
Chapter Ten v\'itch on ber dragt)n-c11twi11ed broo111stick, iu a fine seve11-
tr..:en rh- centut)· dra," ing i11 the Britisl1 Museu,11 (pL 182). She
The Comp lex Contradictions conjures malevole11t spcllc; fro1u the book held 111 the creature's
n1outh. and sl1e and her steed do11ooate the landscape belo,v,
of Copying w here figures rt1sh to,vards ~, burning ,vind1nill, the evil con<;e-
qttence of her 111cantation~. The dran1aric scene is drawn in a
\pecial bro\.\'11 ink that d,1rkens al1no'it to black i.n heavily over-
]aid patche'i. st1ch as the u11dcr'iidc of the speeding clouds; ir1
other carcfully delincatcd areas rhc ,vasl1 opcns into a benign ru1d
p,1lc diJutcd co1our. establisluug a ricl1 tonal range over the whole
drav11ing. 1 The patches of wh.ite paper left as highlights Ílnpart a
sp:irkle to this intense work. dacing fi·on1 the 1650s or 1660s,
which ,v,t~ once in che great dravving collection of the portraitist
Sir Peter lely (1618-1680). A work c,f 1noven1e11c and fantasy. it
is a drav\·it1g 11)'1 de11 geesf, out of the u11agu1ation.~ ít evokes a
drea1n of v\'Ítcbcraft ,vicl1 .ali the intensiry a.i1d circun1stantial
detail of the drean1er. And yet it is another drea1ner's drea1n. The
or1g1nal in1age, no,v cl1ougl1c to be by the relan,,ely unknown
Ducch art1st Frans Cr.ibbe van Esplegl1e1n (circ:.i r+80-1553), has
been revvorked by J::in de Bisschop, 'ivl10 probably be-lieved it co
l)e l1y Luca:; van Leyden , because he sig11ed his copy wít]1 cl1e
letter L, a:. !1e did otl1er va11 Leyden copies." This \.vork belongs
to tl1at genre, 111osr dcspised in rh.e twentieth ce11tury. of a copy
dra,ving or í111itatio. Ar 111any ren1oves from its suppositio11al
ii1ventor. it is also um1ústakeably scamped ,vith the autograph
band of de Bisschop.
Jan de Bii;schop ( r628-1677), grandly known as Episcopius,
and a Sllccessful and well-connected advocace practi-;i11g in The
Hague. devoted n)ost of his life as an an1ateur artisc co C<)pyit1g
other people \ art-works, .1lt11ough he aJso produced original
lru1dscapc drawi11gs. 4 ln bis bro\.v11 ,vasb inutatioru of paintings,
,-,..J,ich do 11or eve11 atteuipt to reproduce cl1e particu.larity of
copied bn1sh 1narks, t11e hues ar1d colollr valucs o}· paú1t are
rra11slated into a scale of ton:il equivale11ts. r:ither lik:e tl1at of
aquatint used to reprodt1ce ink-,vash dra,vings in prints. wl1ich
in turn ir1fluenced sepia photography in later ce11turies.
J11 de Bisschop 's wash drawing Seated N11de ,!ftcr Mirl1ela11gelo
(pl. t 84), the subcleties of Micl1elan.gelo's cl1alk scipple-like cech-
nique u1 the 111ucl1-copíed drawing The Drea111 q( Ht1111a11 Life o(
circn 1533 have bee11 h·anscribed into de Bisscbop's custon1a1-y
fluid modeUing. 17,e Drca111 (li Sog110) bas a con1plicated h1Sto1-y.
with n1any insciruti{.)nS clain1ing to own tbe original and rnany
copie~ in exi'itence, inc]uding a painted transcription. An elabo-
race, l1ighly finished black chalk version of Micbelangelo's The
Drea111 of TI111JJa11 Lffe is in eh.e Collrtauld I n~titute of Art Gallery.
London (pi. r83). 5 l)c Bisschop's copy is probably alter anotl1er
182 u;,ú,111 flrll t 1 _l.111 tli: Bi~\l hnp. --1 ll'ir,/, Ridílll! 1hro1~c:l1 tÍtl' .-lir 011 ,1 Dragou, cop>r drawing, and hc has isolated t11e figure fi·oni its contcxt,
1<,50\ - 16(,0~. p l n. bro,vn 1nk .111d \Vash. 163 x I t~ UlJlL L o 1ttlu 11, Tbt· U1iti~h reproducing on.ly tl1e central n1otif of chc n1uscular yot1th cl::isp-
Mu~l'Ulll . 181)).0915 11~:! (l,1rgt'r thJn ,tl lt1 ,1l , 11e) ing a terrestrial globe on a draped ope11 box, '"·hicl1 contai11S gri-
 ...
' .

•
-

• '
. ~- ~
,J, ,, .. '
: ~-l
,A;.l._:?

-- . ..
- ,. ;t •
1Xl i•v!Jchcl.111gl'lo
•
l3uo nJrroti•
I /11 !Jr(', 1111 <!( l-/11111,111 L!/1'. , 1ri11 r 533,
bl,1r k lh.tLk. _196 X !..7\J nun. Loudon.
Th t• \.1n1t1tl ( OUfl,Hlld rru,t.
l .1,urt:iuld In, tJt-ucc ()! Are c;,tllt·ry,
ll. 19;~ p(;.4_4

111acing n1ask'> ª" S)'n1bols of deceit. He 0111irs the lightl}' drawn
\L1rround111g figure'>. so111etin1ei. designated Vices and Virtues.
t·ng,1gt:·d in violent action::. that are perhaps conjured by cl1e
drt·:1n1er - Ll.1l·rc.:by enllrely l l1a11gi11g ll1e 111cani11g of the work ,JS
1
,vell a-; 1t~ co111posit1on. ' Tl1c.: v.·111ged figure, possibly Fa111e,
blo,,,ng a cru 111pcc 11c,1r h1s hea.d h.L~ also bcen excised. The iso-
l.1ced achlenc figure v-ith 1cs uphfccd gaze, ,vhosc inuscularity 1s
enhanced by tl1e t{>nal contrasrs of the ,va~h, cl1erefore suggescs
i111111i11c11c actinn rathc.:1 than Lhe pa,;sivity of a drean1e-r. l)t' Biss-
(hop\ copy. J dra\vi11g tê1r ,111 etching, i~ JU~t one of n1any rep-
fl''>1.'ntac1011, clu~teri11g around a 1H1tion of alttograph ic originality
assoc1aced \.v1tl1 rhe n.1n1e of Michelangclo.7 Thc drca111 of thc
tltll 1, perh,1ps that vaporous phJJ1tasn1 that l1overs aruu11d the
uncert,1111 not1on nf nn111et1c representac1on. or copy of an oríg-
in,1I. The i111.1ge•.tccord111g to Pl,1to, i1, itself 1t three ren1oves fi·om
che trud1.~
llen1b1 ,tndl v.111 Itun, til 131,;<;t h<>p \ <ilightl) oider c<)nten1p<,-
rJ.ry and h,1ted profi_,,,1onal 11, .11. 1:- 1 byword for <Jriginali t)', yet
niany of his dra\vings, once J'•erceived as un-;h:ikeable den1011-
strations of his i11d_ividL1al ge11 ius. are tl1en1~elve~ now l1elieved to
be copies. N ot copies after Re111brandt, to be su re, bl1t Ren1-
brandtt:sc1ue 'origu1als' by otbcr hands, niostl)· pupils careftilly
traii1ed by Rc111brandt to be as close to his own autograph as
possib1e.1bc problcinatic i111portar1ce of authenticity and ::iuthor-
sh1p ro co11teu1porary connoisseurship (,vhich led co the setting
up of the Ren1brandt }>roject in 1968) 111eans that tl1ese ,vorks,
,vhere po~sible, have hee11 reassig11ed to specific na111es, rather
tl1an tl1e generic attriblttion 'v:orksl1op of R enibrand_t' .9
Two dr,l•vvi11gs of s]ceping figures closely connected ,vith
]~en1br,lndt raise all sorts of proble111s, not only about autJ1or-
ship and orig-inahty, bl1t also abol1t the very status of dra,vn
i111ages and their reccption . _4 Yo11ni Mt111 i11 a J-I~~h-Cro11i11erl Hat,
Aslec'p (rirca 1650-55; pi. 185) \Vas long thougbt to be of Re111-
bra11dt's '\On by the n1a~cer hi111self and ,va,; known as Ti111s Slee1,-
i11g. l1ut it i~ n0\1/ believed tô be by his pupil Will en1 Drost
(d. after 1680). 111 The diagonal co111positio11 of a n1ale figure ,vith

262 DRAWll'JC. A~ íJISC IPL IN E


TX I Jan de B,~,chop, Se,1/ed N11de <!fr<'r lv!id1t>/a11gl'lo, 1ó6os, black chalk.
brO\Vll ink \Vash, .!31 X 211n1n1.AmsLcrdat11. l~ijks1uuscuu1, l~P-T-1989-1r..2
its sleeping but behatted l1ead supported 011 a cu:-l1io11 i~
ren1iniscent of Ren1brandt's 11105t 111el11Auot1s and p~rfect of
n1id-ce11tu1y dra,vi11gs, \,Vlúch also appears to be 11ae1 hei lcvcn.
from the life. Tl1e beautifi.tl drawing of A You11.r? T1Vo111i111 Sleepi1~f!
(circa r654; pl. 186) is believed to be an observationa.l skctcb of
Hendrickje Stoffels, Rembrandt'<; hot1sekeeper and comn1on-law
wife, in bru~b and wash. Not onJy is the introverted c<>mJJact-
r1ess of her sleepi11g l,ody described \,Vith a n1ini111u111 of brush
strokes (tl1ere are only about forty n1ajor ~trokes), but the 111arks
of cbe brush also co11stituce a ra11ge of an1azing subtlety. A ver-
itable l1aik11, an abbreviated poe1u1 is created fi:om tl1c tliick sat-
urated str.okcs of the bolster and hair, an.d cl1e patch of shadovv
as H endrickje 's left arm tucks 1n to the pillo,v. H er clocbing, arn1s
and tl,e ct1rve of a bare Ieg are sketched in vvitl, a careless dis-
order of dry bru,;h <;trokes, ,vhich barely c;ki111 the resiscant paJ)er.
Li gl1t spread ing srrokes, delinearing her supporcing r igl,c arn1 and
tht! curve of her buctocks, serve to grou11d tbe figure 011 its yield-
ing basl.!. JS if tl1e artist ,va~ emulati11g tl1e bulk and gravit;· of
tbe curled-up sleeper in the lingering gestures of his dra,v'lllg
hand. The area of v,·ash belund tbe bead in tl1e top lefc of the
dra,ving indicates tl1e shado"vs of ,;lee1> with utn,o~t econon1y.
hinting at the sltnnberous <larknes~ of a shuctered roon1. The
placing of the diago11al con1positio11 towards the botcon1 end (>f
tl1e sheel ~erves to e1nph.1sJ1;e the \Ve1!:{l1t111ess of tht: sle1:ping
figure, env\·rapped 111 dre~u11,; and obhviou, of the , iev.·er. Extr.1-
ordü1arily, tlus dra,ving, ,vhicl1 is a su11m1ation of lten1bra11dt's
11onchalant slcill. po,vers of abbreviared e\'ocation ,1nd poetics ot
line, still 'poses considerable problen1s ,vith. regard to . . rhe
:.1uthentication of ics actribt1tio11', according- to tht· l3r1mh Mu~-
11 '
eun1 catalogue enrry o( 1992.
Tl,e forn,er Ti1113 ,c:;/eeJ>ÍIJ.'.!, i11 .pen rather chan 11rt1sh. lias l)ct·n
deti11itively de111ote<l fron1 the Re111l1ra11dt cano11, 1ts llt'v\ citle
reAecting chc ano11y11úty of tl1e subjcct and thê les')er stattl\ of
the al1thor. Drost's drawu1g poses var1ous conundnu11S: 1s rhc
drawer observing the dreamer '\Vith bis º"vn eyes or is he copying
a dra,ving by f{.en1brandt, or perbaps err1ulaung lt.e,nbr.indt's
ob~ervation" of drea111ers in general? lt 1s certainly not of tht.:
Orlier o( tlie life stUltie:- produced in Re111l1randc's studio by sttt-
dent'\, ü1 particular the group of six ~tu<lent dra"'·ing~ of I Jen-
drickje seated 011 a draped cl1air. 11 Th e sléepi11g youtl1, dated to
abouc the sa111e peiiod. but lacking rl1e breatl1taku1g resolut1on
and fluidity of the sleeping Heudrickje. is drawn Vl'lth a spread-
iug reed pen \A'Ím a fibrous su1-fuce, ,vhicb is close to ,! h:ird,
stum11y bruc;h. The 'iU111111arily de,;criptive lines are a11gul,1r a11d
broken, ,;on1e dry ,1nd so,ne dept111iting pools of inl<. at rhe end
of a scroke; like tl,e rougl, diago11al l1acclm1g u1dicati11g shaJo,v,
tl1ese are Rcn1b1"an.dt's often-e111ployed strategies. 1' Drost even
abrades thc deposit of ink ín thc scratchy strokcs to tl1e rigbr of
the fuce. son1eth:i11g 11ot unknown to lus master. 1 1 A slopp)' pale
ink infilJ of tJ1e cushio11 t1nder the sleeper·s head, :.:is ,vell as per-
verse cl1air-leg e'ctensions of ,vhar would l1ave l1een a bed-head,
appear to l1ave bee11 added !ater, perl1ap~ by a11other hand . These
careless ad.ditions (thc chair legs re11der thc recli11i11g posturc a
logical i111possibility) n1igl1t 110.ve contributed to tl1e reartribution
o[ A Yo111;{! A-1e111 i11 a H~f?,li-Cto1/111cd Hat, 2L~leep.
If tllis ungraceful drav.,jng is by l)rosc (and drawu1g reattribu-
t1ons are notably insecure, no matter l10-w· disting1.11shed the
scholars involvec.i), then it l)re~uppo~es a pupil 111arvellou!>ly
versed in tl,e pl1e110111en<)logical ~trategie~ o(Ren,bran<lt\ J1rac-
cice - a pupil who ide11ti.fies \,Vith the vericable lifi:ing a11d fall1ng
rhytru11s of che n1astcr's drawi11g b.ai1d; ,vim the bre.iclis bct\.vcen
n1ove111e11ts a11d th.c arrcsbi 111. t bl' lines; \Vlth occasional concen-
trauons on accuracy and the corifidcnt Aicks of correcri,re
pe11ti111c11ti tl1at constitute Ren1brru1dt\ c.ireless co111111and, or
s;;re::zt1t11rl1. 15 Drol\t seerns t<) have intt'rn:ilised tl,e vt'ry speed of
n1aking and to have ;1cquired tl1e \elec:tivity o( Re111bra11dt \ gaze
and the i.nexplicablL' relations.lúp becween ha11d .u1d eye. I Ii::.
dra~'J1 gcsttu·es, lik.c tl1osc of Ren1brandt, see111 to rel1carse Lhe
very actions a.nd physicaJ properaes of the tigures w1der scruuny.
altbough the lines appcar choppicr. more 1nterrupted and less
Auid tl1.an Ren1brandt's rapiJ sn-okec:. Thc dr:iv•,ing 1s a perfect
e'Ca111ple of \Vhar v.·ould have l1een ter1nt·d en1t1lat1011 by rena1,-
sance l1terary ,;cholars, part of n perceived triadie relationship
bctwecn t1n11slatto, i1111t,lfio .111d ac11111li1tio. 1"
THE COMPLEX COl'ITRADICTIONS OF COPYING 263
 1

• •

- •

•
•
\ ' \

•
...

. ,

, r
•
. ...r

rx, W1lle111 l)ro,r iu ,, llü1/,-<: n1u1111•d Hfll, 1s/{'t'fl, nrt,1 r<J5<>-55, pen and hrown ink couehed ~virh bro\Vll ,vash and \V1th l,1t<::r red-bro\vn wash,
--1 )í,1111.~ ;\f.111
161 X 17\) 111111. Londün, 1he Bno.\h Mu,1;u1t1, 1900, 0411.4 (Lrrgcr Lhan accual ~ize)
 •

186 R.e111bra11dt Har1ne11s2 van l~ijn, .,-J Yo,111,t! f l/i111 1<111 Sl'-'<'Pll1..</ (H111drirkjt> St1'.ffi>ls). ârca 1<í5 4• hrush ,tnd brov;n \V,l\h • .2.1r1 X 203 111111. l.ondon,'Tht·
llr1osh M useuru, 1895, 0915.1279
Emulation and lmitat1on.
The Master and the Model
,ori WCl people d1,t ngu1sh ,r,1t.it1on 1rom emuli!t,on lm1tat1on ,ums at s,rn1tar,ty
IT"'U. 1 ,on t ,11ctory Thu, f ~u W:e .:ti of Cictro ,nd h,m ;ilonr- ior your model you
,r, uld .,o, on reprodu.:e hin, bu1 .ilso deíe.il h1n1
Des1denus Erasn,us'
Wh.1• doe; thc> pup1I look •or in I hc n1aster? l tell you The rnaster draws from h1s m1nd
íln n 1ãge w'h,ch h1s hands trace on paper and ,t carnes the Hnprint oí h1s ,dea. 1 he pupi1
,tud1es thu d1 ,1w1m;, 1nd tnes to 1rn1tat.e 1t L,ule by l,Ltle, ,n th1s way. he appropnates lhe
~tyle oí h, rnasle1 Th.1t .s ho'.\ ui ndtural th1ngs, and ali ci-eatures, have denved from Lhe
dN,ne inlel ecL
S.ivonarola'
The currcnc c;rv11c Dictio11,iri1 C!_(,lrt defini.!~ the copy as a
11011-fi·audtdent n1,H1lt,1] repetirion Qf another \V()rk of arl. The
c(,ntc111po1.1ry notion (>f autl1e11tic1ly has tt!ncled to ol,scurc
lhe tàt t tl1at the exercise of copyi11g has bccn a centra] featurc
of art prac1:1ce s111ce ;u1t1q u1ty. Unlik.c cbc forger. tl1c copyist
producc, a \vork that. wl1ile takmg ai1oth.er ,:vork as it.-; poinc
of departure. 1s not mte11ded to dece1ve the spectator. l'I
rlo\vever. the practicc .111d rect!ptio11 of copies i11 thc sc\re11-
teenrh centl1ry, both those re1ati11g to worksl1op practice and
those concemed '-"-icb reprodttctlon for collectio11 pt1rposes (a11d
cherefore ulri111ately relevanc to arcistic rraining, inside or outside
the \o\'()rk\11op). are anything but c1ear- cut about 'tleception'. 2"
The crucial n1atter of ti11a11ce 111eant that Ile111brandt's stu-
dcnts (.1n<l 111ore than filty o[ tl1c1u ca111c ao.d went dur111g tl1e
coursc of Jus carcer) were sct to stt1dyii1g L~ernbrai1dt's style of
dra"''1ng and p::nntiog u1 order co produce s1na.U co11-u11ercia1
portraits or lro11irs and dra\:vn reduccions as a11 es~ent1al part of
~cudio earning-;. 1 Such exploit::icion ,va<; a ~tandard parr of the
nortl1ern \Vorkshop tr.iditio11. For t>xan1ple. AJbrecht Altdorfcr
a11d chc Ger111a11 landscape artist Wolf 1-Iubcr (d. 1553), who had
both built up successfiil n1arket5 tor tl1eir coloured-ground land-
,;cape dra,V11Jgs, en1ployed student-apprenáces to produce 1noho-
granm1ed copies for sale.~ ln addition, Rembrandt appears to
have '\e-t hi~ clra,ving; of bíblica! narratives as copy exercise<; for
his students, and chese are the very ,vorks ,vhere it is especially
ditliculL to separatc the n1aster's ha11d fro111 the copyist. All bis
~tudcn~, not JUSt l)rost. wcre ver~cd in Re1nbra □ d.t's frec
and passionate gestt1res; cveu tl,c particularitics of relacionsl1ip
betv;een tl11ck curs1ve lines chat act as gestural cartoucl1es a.nd
rough ,;kinny line<; for lcss 11n11orcant cletails snch as hands or the
111ise-c>11-src~11e; or rhe co11,idertd n1anner c)f facial expressic)ns,
vvhecher finely ura,,, 11 or abbrevi,,tl.'d ,vitl1 confidenc hroad
~rrokes. ~tutlents probably le,1r11cd frQ111 Rcn1bra11dt's interven-
tions on the1r dr.l\\1mgs hc boldly rctouchcd 11,ts'i,tges or rcdre,v
co11tours \v1th a thtck brush {)r pen c;troke and thcy ,,·crc a1so
encouraged to e111ulate h1s personal strareg1cs of compositio11: tl1e
266 DRAWING AS DISC1PLINE
\Vay chat he placcd 111otifs on tl1c paper, or tl1e 11111ru1cr Íl1 \vlúcb
thc backgrou11d, activatcd by a slight ,vash, entolds .1 figure i11
shado,v in ao interior space or is rr.insr11uted into nn open sky
l1y the deft place1nenL (>Í a watery horizon line.2.' Ren1brandc's
stude11t., ado11ted his -;ubjecc 111acter and l1is 111a1111e::r <)Í co111pos-
i11g: followed his daily ,valk.s anu dre\.v the sarne subjects:24 \0111e-
lin1cs tbey cvcn assun1cd h.is face it1 tl1c n1irros in tJ1c1r self-
portraits.2" Thc one arca, it seems, fi:om \vl11cl1 Llembrandt
excludcd the111 ,vas that of etch.iJ1g, \vhich l,c kept as his per-
so11al don1ain; Jotting drypoint notes on little pocket coprier
plate~, i11 the way n1ost .1rtists use a sketchpad.
Ren1brandt had an1asseJ a k1111s1kao1111er of pri.nts and works of
art. \vhich l1c sold to cover l1is debcs ÍJ1 1656, Jltl1ough it is
bt>lieved tbat J1c tlíd oot e11cot1rage his studcnts to copy ,vorks
in thc collect1011.:Y, Uolíke the methodology he inculcaced into
his students. l-le1n bra.ndt's ovv11 copies are generally act'i of appro-
priation, 1ncended to lift certain ço111positional groupings or rela-
tionships of fig1.1rec; for uo;age in hL'i <>,vn work. 27 ln the red chalk
skctch aft:er Leonardo\ Las/ S1111per (British Mu-;eun1), for
exan1ple, based 011 an engraving, \vhicl1 itself owes vcry· little to
Leonard.o beyonl{ the ftgnral groupíngs, l-lc1nbra11dt sets out to
n1ake a tàirly close copy, the'11 see1ns qL1ickly co inove to his own
concerns, ,,·hjting ouc the central figures and sketching others in
thick, geshiral scríbbles. 28 The engraver's interpretation of the
deteriorated fresco in Santa Ma1-ia delle Grazie, Milan. ,vas l)ased
on .i tlrav-,ing by Rubens anel later roused 111uch controvcrsy
an1011gst artistic acade11iics.; pcrl1aps lle1nbraudt, ,vl10 11ever
,'isited lcaly, also distrusted its e1nbellisl1cd style.2-"l
l:Z.embrandt's pen, uik and wa.sh copies of a group of Mugb_al
1niuiatures that he ov.rned, and \N"hich so111ehow !ater found cheir
,vay into tl1e recoco 111ural decorations of a ch:Hnber in the
Schonnbrun Palace ncar V1e11na, indic;1tt! a nu111ber of differe11t
n1otivations and strategics at play. Th e act of drawing the~e work~
has allo\.\1ed che artist to fa111-iliarise l1in1Self witl1 Mughal. 5tylistic
conventio11~ (so111e of thc dra,vings, at leasc, are co11te1npora11c-
ous seventeenth-century lndia.i1 productions), but by employing
free pen, ink and wa.<;h be has re1noved then1 from their deco-
racive, and 11011-spatial, en1L,eddi11g in Aat .areas of paint so tl1at
t l,ey ex1st. .1.11 a ~vi
vvestern1sed space v-11t . 11111
. t he ' COllY' s11eets. ' 0
Excised fron1 culcural contcxt, and frecd fi·on1 specificity of style
a11d tech11ical 111cans. Rcn,brandt concentratcs on the undoubted
rca1isn1 of Mughal facia l portraiturc and drt:ss, whilt.: ex::icerbat-
ing íi1dividual difierences and a1ún1ati11g faces ,vith lively exprcs-
sio11s, and often a sly h.u1no11r. An act of colonisation - open ing
Llp or tupturing a sealed cultural productian by dravting as
appropriatio11 - has le::d to his hun1orous transcription of Fcn,r
Orie11tc1ls ,)e11ted 111/(ler n Trfl' (circa 1656-61: pl. 187) 011 Japant>::-e
papcr. Rcinbrandt re111ains truc t<> tht: activities anel i11teraction
of cbe four sages whon, hc has copicd - their r1aines were iden-
tificd on the original mi.mature, dating fron1 r627--8 - but rhcy
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187 Re111brandr I l:1nucu.~z van lliJn. I'o11r Oric111,1/s Sc,uctl 1111</rr " Tree, cir«1 165<;--61, pt•u and bro,vn in.k \\1th
bro,vn anel gn~y ,va~h. toutht'd v,1th vvhice and \Vllh ~orne ~cr,1p111g-out. 011 oriental p;ipcr prep,1reJ ,,1th p,tk•
bro,vn v.·ash. 194 X 124 nun. London, Thc British Cvlu~cum. rR95, 0t;15.1275 (largcr th;u1 ,1ctua.l s121..)

1r<:: se 1tt d 011 che s.une levei. ,,·hert';ls the r1gl1t-h:u1d figure 1n
tbe o r1g1n,1I ,~ slt!thrly ra1st·d l<)r hietarçhical e1npha~1s l~e111-
br,1 11dt e 111ph.1,1,t'<; th eir e xp1t•,~1on,;. p.1rticularly the fierct' brood-
1ng Sufi ,agt' 1_.1 11 d ,c: r1ght . ,, ho,L' .1n11, 1re ,vr:1.pped in his l()ng
derv1,h slee\ e,. ,, il ,vid1dr,1v.·111g lru111 tbe tca-tir1nking COll-
\'J\'l.!lllv (>t Jus cun1pa11ions. Hc b.1S 111od1f1ed the group by
rcnn),·ing tl1e p,1ttl.'rncd c:irper. excepr tor a brief quotat1011 011
rh l.' lett ..1nd adding in .1 eenrr.1] tree \\'1th h,ten111g birds. The
tr;111sc r1pt1on t n1ph.1s1st·, tht' vari,1rions of rhe background land-
,cape (H,elC inílut·nted b) We~tern rnodel'i) l1y ,1 tontrasl o( lo,v
ttlí.l 111gb hill-,. v1lJ,1ge a11d caslle. as is ofte11 found in Christi,u1
rcltg1uu, pauiting Oll e1tbcr side of a J '11;Q111 a11d C/,ild i11 1\1,~icsty,
OI ,1 1 irQi11 ,lltd (,1,i/d 11111/, Do11ors. l-l av111g ·s,u1ct1tied' his group
by rhis tmportJnr ce11tr.1I a.,1, .1nd iconography, and also hun1an-
J1,ed 1t hy c:n1pl1.1,1s111g psychologic;11 interactÍ<)ns. Re1n brande ha<i
en1po\,ered hin1~t"lf to cran'lpt1~t.' Lhe g;1rnered in1age into his reli-
giou,. bur hu111orot1~ ecching of rll!ralta111 ,111rl 1/,e A11,~els of 1656. 3 1
[11 ,1111assing lu'> eclectic collectio11. ltcn1bra11dc prob,abl)· en1u-
L.1ted llL1be1is, \\ hosc lcgendary colJection of a11tiquicies,
pamtmgs, co111s and gen1..c; playcd an 1n1portant part in the con-
~truct1l)n of 111:; ~ocial and intellettual ~tatus. The collecc.ion was
-.old ro rhe Duke of13uckingha1n in 1626 for~, h:111dso111 e profic.
Rubens·s K1111stk11111111er, as grand as any ari~tocr,itic collcctio11, ,,vas
nonl'thclcs~ an art1~r\ rcsource like its ltalian predecC'-SOrs, and
contJ1ncd pr1nts and con1111issioncd copy dra,vings fron1 orhcr
artists. '1 1t ,tlso co111prisl!d 111s ea.rly copies a11d stud1es fi_·o111 the
antique n1ade in lcaly. to ,vhicl1 he referred rhro11ghout his
\\ orking lite. 1ncludtng the Rubens (nncoor (bureau collection). ,.,
The el;1bor,1re intervention~ and correccio11s that Rubens 111ade
to dra,vi ng-; anti prints i n bis colleccion, Jisplayed ~ide by side
\\ ith J1.1s own \vorkshop pro<.{uctioos, partly eflàcc the autograph
of cl1e original arti~t and tl1crefore lay cla.irn to tl1c vvork. This ,.i
str.1teg)" of escablish111g ownership by auc0graphic appropnatton
enfàrces Rube11s's .1dhere11ce to a Linear Vasarian notion of are,
in ,, hirh each ~ucceeding generatio11 unproves on the past. lt
legitin1,1te'> Ruben~ ,\~ the triur1111hant northern -.uccessor of tl1e
grand Ica.liall 111.1sters. a Jitlerenc position fro11 1 Re111brandt's
can:...·r as .10 111110\ative a.nd idjosyncratic genius. \vho neverthe-
lesc; ,vas reqmred to n.1n ai1 econonucilly viable \VOrksl1op.
Copying for Poste r ity
1)e l3is\chop. ,vho, a, a gentlc1nan a111.1teu r, did nor run an
.rrtistic \\·orkshop and trai11 apprc11tice ~1rtists. nevertbe1e'ls dcdi-
cared h1s copv books to fun1rc studc11ts a11d practising artists.
The) ,vere pra1sed b,· h1s conten111oraries for thcir 'acc1.1racv' and
' t' '
cl<)'it'llec;s to tl1e orig1n,1ls, bLtc ro conten1porary eyes they dítfer
'"' idely !"nJ111 the11 1nodel, The co111pi lat1t)ns of h1s ctchi11gs, SiR-
11or11111 11eter11111 in111cs ( 16()X-9) ,,nd P<1rr11l(l!111,1t,1 ,(!rt11J/1ices 11arion11n
268 DRAWING AS DI SC IPL NE
35
(lr1{fic11111 ( 167 r) were generally issued cogerher after his de-ach.
The Ico11es Í'i ., C<)ll eccion of <;cul_ptL1ral figures fro111 antiqu1ty (and
after Micl1elangelo). and che Paradig111aln are descril1ed as 'graphic
exe111plars · fi-0111 painting ., nd dra\vi11g. Tl1ey "vere 111ajor plan_ks
of de Bisscl1op's grand cl:issicising project of providing the 'best'
111odels for en1uL1tio11, inspired by the vah.1es of che 11ew French
Ac;-idén1ie Royale and posSlbly follo~ing the historical prece-
dence <)f Alberti, ,1vho h,1d declared: 'take as your n1odel a
111ediocre -;culpture racher than an excellent paincing'. ~, The
double project, be.1vily indebted to thc ScJ!111c111 .., 11obili11111 s[çz11c>-
ru111 e s1a111an1111, a volwne of etchi11gs alter a.i1tiquities by che
trench artist François J)errier (circa 1594-1649), was partly
des1gi1ed to counteract che 11an1ralistic tendencies of Re111brandt
and hi, foUo\vers i11 the Necherlandc;. 17 R.en1brandt had been
~cornfull y, if anonymously, invoked by de Bisscl1op in his decli-
cation to tl1t! P11rc1dig111ate1 (Exe111plars) as the arti-;t ~·ho pai11cs the
'dregs of hun1a11ity': ·11e \vl10 ... portrayed a \VOu1at1 ,vith a
swolleD bell)·, pendulous breasts, legs disfigured by ga.rters and
o ther th.i.ogs of this sort ', a descripti.011 that ..,,as picked up by
o cher detractors and revived i11 la:ter ce11n1ries. 38 De Bisschop's
opposinon to this crass reali<;n1 lay in the ideal bodies of classical
antit1u1ty, which inhabit a signifying SJ-.1ace bet\veen ~1 living body
a11d sculpturc - in drawíngs and etchings, at least. He follows
Ruben~ ,vho supposedly stre~sed the i111portance of re11derii1g
n1a.rblc to look likc Acsh a11d blood in a bricf theory of inúta-
tio11 of about 1608, published by Roger de Piles as De iiuitatioJJe
srat11an1111 and probably \vritten by hin, rather than l~1.1be1,s. 3')
ln hi!- dedication to the f.Jaradig111ala, de Bisschop 1nakes a
proud clai111: 'Everyth.ing is taken ti:-0111 drawings, 11otl1ing fi·o111
engravin g;, and a-; faitl1fully as possible, neitl1er c1dding nor
rc111oving a11ytb.iJ1g, so that the ge11ius of each nught re1nain.'
T111plicit in thj s statcn1en.t is de I3isscl1op's aware11ess rhat 111ecbru1-
ical printing cccl1IUques, interposcd between a11 i1na.ge aud ics
copy, niilitace aga.inst accuracy, and the belief chat l1and dra,ving
son1eho,..., captures tl1e 'ge11ius· or aura of the or1gina l in1.age.
Since he v.ras unable to :1cce'is 1nany of che exemplars in cl1e
Outch Republic, de Bi-;schop redre,v rra11scripts 111ade by Jacques
de Gheyn 1n o( the Enrl of Arundel's collectio11 of n,arbles (n1ost
of "\vhich l1ad previou!>ly belo11ged co Rube11s) or 'borrowed'
fi·om the Dutcl1 artists Willem Dot1dijns. Adriaan Backer, Cor-
nehs van Poelenbt1rch and others, "vbo J1ad 111a.de th.e pjlgrin1-
age to l~otne. lt is believ©d that de Bisschôp hirn.self never v1sited
ftaly. although this i-:: diffict1lt to believe fro111 hi~ clear, precise
and lun1inouc; ltalian;1tc landscaJ)es, vvhich -,een1 cl1arged ,vith the
light of che CarnpagJ1a aud. Lhe caln1 e11joy1ne11t of .111 eye\,Vit-
ness. l le drcw i.n iu.k a11d wash, -;orn.eti111es s111all-sca.le dra,vings,
as ,ve CJ.n sce Íl1 a11 ,ubLm1 of copy dra,vings Í11 th,e Victoria a11d
Albert Museun1, London. Thc)· closcly follo,v J>crricr, ,vhose
etchings had de111ounted tl1e sculptura..l figures of tl1e grea.t
J~on,an collection~ of the LL1dovisi, Borghe~e and Farnese fro111
 their plintl1s, so that thcy appearcd to iuhabit parkland a11d ruin<i
·as if' alive."111 Perrier's plates are virt11al collages of antique sculp-
rures1 wrested fron, their co11text, scaled-up and dov:n, resited
.1nd re-versed ,virh careless ab::111do11. 13odies are blitl1ely changed
fron1 being .in relief to figure:, in the round, gene.ler-; :ire S\vitched,
backgrounds are added or erased, co111positional l1ierarchies are
rc!)tructured. Pollo\>vi11g th.is model, pai11tings a11d drawing5 are
metaphor1cally disr11embered and fi.gures Jjftcd out of contcxc
.in the [)arad4e1nata. T11e birsute cbaraccer of cl1e etcl1ed fu1e,
chaJJenging ::iurhorship and ownerslúp, 1narks out a strategy of
free appropriacion for che arcisrs who wo11Jd con,;ulc che books.
Tt would appear tl1.1t for seventeenth- century arcic;rs, rcldically
concerned ,vith the representation of 111oven 1c11t aud en1ocíon ín
art, there \,Vas an unconscious desire rhar the princecl copyl.,uok
iniagc ,vould allo"v ease of e11try ii1to tl1e chaii1 of copying by
íts o,vr1 open-ended reappropriations. A1thot1gb Jater p1.1blica-
tio11s, especi:illy r1eocJassical copybooks, were to e1nploy tàr 1nore
distanced cechnigues of reproduction, de Bic;~chop\ vol11n1es
contitlued to have a followíng in the eigl1teenth and ni11eteentl1
ce11turie~. 'Every artist\ sl1elf sbould support and protect cl,is
volume of dra,vi.ngs as 31) .i11estin1able treasurc', ,vrote Denjanún
West on a pasted 110te in the Victoria ai1d Albert aJbun1, ad-
dressed to its owner, Sir Joshua R ey11olds, and dated Nove111ber
r789. 111 tbe nineteencb-century Géricault \,Vas still t1sii1.g the
Paradig111ntn to i-nake a copy of a Raphael dra"ving. ·11 To con-
ten1porary eye$ condirioned by sophisticaced cecl,niques of
photography and digital reproduccion, cl1ese alburn~ pose n1(>re
c._iuestions than ru1swt:rs about their va.lue as copy n1odels.
Translation: Echo and Narcissus
lí you catch lhe mean1ng of your author. and g1ve it freely, 1n lhe 1diom or lhe language
11,to wh1ch you translate, your translat,on may have bolh lhe spmr., and Lhe 1tJú1 of the
original Trans/ate norure 1n Lhe sarne way.
lm1tat1on is Cnt1c1srn.
William BlaketJ
A~ an t1nshakeable cornersto11e of tl1e vigila11cly retrospective
11acure of traditio11al stttdy. copying en1braces an enor111ous rauge
of pl1ilosophical a11d sen1a11cic co11stellations arou11d iinit::ition
and e111ulation, mll1ucry and n1j111esís; rcpi-oduction and repre-
sencatio11; si.tnilariry, sirr1ulatio11, simulacrun1 and councerfeit;
cranscripcio11, rransforn,ation, translation; auchenticity, attribt1tion,
ac;sin1ílation and dissin1tilatio11; 1>rototype, p.1rapl1r.1se, J'>asticl1e and
par<>dy.+i All sl1ades of intcrn1ediace staces blur che dialectical
spacc bet\vee11 original and copy, aud mttddy tl1c distance
between Echo seei11g Narct'l'>tts see111g Jus bl·loveJ .,eu:.iu1Jgc u1
thc dra,vi11g 1\Jarciss11s ,it tlu• J>ool (pi. 1 b~) by L>ietro Testa. This is
11ot a copy dra,vmg, but 1t addresses issue-. of niin1jc11· and aHu
sio11 tl1at are central ro debates abollt copying :ind u111tanon.
Echo, at the 111011,ent of transtôrn1atio11 into ri rock, 1-. a blur of
repecjcious pe11/il11e1tti on rhe right or the dra\ving. in contrast t<>
the fi.x1t, o f Narcisi.us's 'lad pose anc.l gaze ,1-. he sits 011 the bank,
ju~t about to be transfixe<l by a very Lli11unuti,·e Cupid's arro,, .
Tbis is thc a.JTO\>V that w1ll cause 61111 to t:ill i.o love "''ith h.i.s
own reflect1011, which has not yet appeared u1 th.e pool at b1,
feet. Testa 's i1nage, tl1erefore, happens at a n101nent of ehange, and
i~ pregnant with che pote11tial of desrrucnve ,·an1cy· Narcl',SU<i ic,
not yec ga7ing deep into hi,; o,vn eye<- in rht' exces:..e-s of egotisn1,
and h.e re111aíns unawarc of Echo's disappear.ince. Echc.)\ fàding
voice is partly signallcd by thc upliftcd 111u2-zlc of tl1c hunting
dog in thc forcground, co1111ected diagr,11]]111.atically by a tài11t,
dry co11sh-uctío11al an·ov,; sigi.1 to tl1e disintegratíng Echo. •An
orig-jnal 1s the echo of the voice of nat11re. a copy is the echo
of that echo', wroce Jonathan l~ichardso n che Elder: 'in copying
we are conftned; consec1qently a co_py r.uH1ot l,ave che f1·et'd<)111,
a11d spirit of an original'. Ne,,ertheless, 11revious to thi,; conc]u-
sion, Richardson had declared: 'if a picture, or dra,ving be cop1ed
and cl1e 111rumcr of l1ai1dlir1g be u111tated tho11gh witl1 son1.c
überty so as not to foUow every stroke ... lirJ is rruly a tra11sla -
• , 15
t1011 .
lnve<;cigating tra11<;latio11 in i923, Walter Benjan1i11 aptly '-Ug-
gested that
Unlike a ,vork of literature. tra11sl:1tio11 does not fi11d itsclf in
the center of the language forest but on cl1e outside f.1cing the
,vooden ridge; it cal}, into it "vichout entering, ain1i11g at chat
singlc spot \\l1ere tl1e ccho is able to gi\'e, i11 its o,,·n l.1nguage,
tbc reverbcration o.f che ,vork i.o the alien 011e. 4c,
Tl1e~e late literary n1ecaphon, refiect rbc scene ofTl.:'sta's ,vood-
land dr,l\\ ing, whcre there is a faiJ1t b)ack chalk underdrawing
1ndicati11g th.at bc l1as not inm1ecliately clain1ed the paper ,vith
bis pe11, bL1t sraged lús entry inco ics fright-fi.11 vacancy. Once chcrc,
the pen and u,k broadens and ch1cke11s, s1nudges, erases, and finds
and redefines írself in a lin ear n1anner unique to Te'ita. Bodil)'
forn1s are curiously en1,1ciatecl and t.1 pered, and anxiou, 111ove-
llle11cs per111eate the cxpressive bodie, and tâces cro\vding í11to
bis etched ru.1d dra,vn co111positio11s. Wc k11ow tl1at Il.e111bra.ndc
acq1ri.red copies of Testa\ ctch.ing5, and 111 so111e ways ~festa's
sin1u lt::ineously free a11d heavily autographed var1:mts of 111k line
are eh.e cra □1ped, angular con1ple1nents ot· Ren1brandt"s n1ore
generous cl1t·ves ,111d right anglec;, ,vhile Tt',ta supplies che co111-
plicaced ,;yn1bolisn1 and per-,or1ifirat1ou<; tl1ar art: 11,i.,.,ing íi·on1
Re111brandt's 1nore pragn1atic intcrpretation-; of b1blical stortcs.
lloth arcists \Vorked cqually casily ,vithu1 draw111g, pa1nr1ng and
etcmng. ,1ltl1011gl1 Testa 's ,vas :l trLlllCatec{ career. '7
TH F COMPLEX CON íRADICTIONS OF COPYING 269
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1Sl-i J>1,•1ro l,•~1.1, \i,1111""' 111 t/11• 11,1,1/, 1tr1,1 11, ~1-7, p,·11 .11111 hrov,n 111k .111d ,v.1,h 'Atth 1:111n trace\ or bL1ck ch.1Jk. 11lo X 2~-1 nun. Ed111burgh, ThL• Nattonal Gallcrv
oi ',, nd.111d, 1 ) 4')9 1

íhc lc,lrlll'U ,111J 111l'l,111cJ10I, ' ft·st.1 1111ght "'ell havt: b!.!l.!l1 aware
\)1 Albl'l"ll 's ,l;'ISOClJtlOll or ll11111l'\Ü, \.Vtth NarCl'\S U'i: '1 ll'il'd to lt:11
111,· tr1e11d\ d1,1ç thl' invr.:ntor oi pa1nu11g. acc<)rd1ng to the poccs.
,v.1, N.1rt j.,,11-. ... Wh.,r Í\ p,1111L1ng buc thc ;1cc of l'111bracing, by
111l·,111, of 11t, thL· ,urlàcL· of d1t: p<>ol?' 1)( Tc~ta re-,vorked rhc Echo
,1nd N.tll l'i\tl1' thl'llll' a llllJllber or lll1ll''>, inc ludin g ,l ver-.ion thal
J'> clo~1.. 111 1nc>od .1ncl con1pn, 1tton to Nicnla-; P<>tt'l'> ln\ pa111ting
or tl1c \lll~1..·c.;t or 1()2.8 111 Lh~: Lt>UVrl' (,vhicil ,va~ copil'tl, in lurn.
h) l'1t,l\~<> 111 192.2.) 1·• 'f1::-.ta .111J l'ou~'illl \Vcrc both cn1ployed 111
1l <>111 t' i 11 tht· t r12 0, b, th e collector a 11 d polyn1:1th Cass1an o d.11
1'0110 lo produrt· {()l)Ít'S ()1 h1-; co lll'(.(l()ll ()r n11tit1uit1cs,
Íllll' Jldt·d l'i>r .t l'.1p1.'i Vlll\t'lllll (Mt1sl'O c:.1rt,1Cl'O) or thL' ,1 11tlljlll'
,1nJ natural worlu. ' 11 rÍl'Sta a lso drev.· tl1c autiqLti.ties
the col- i11
lect1011 of V1ncé11Zo (~1ust111.iani alongside François Perrier and
ochcr,, publishcd 1n l~o,ne u1 f\VO volu111es as che Calleri,1 Ci11s-
ti11io11i, in 1631 and 1640.
TI 1e clo~e phy'\ical, t<:111 poral, intellectual and arti<.tic links
a111cn1g tl,i.., intcrnational group of scventee11th-century ,1rci-.;ts
have hel.'11 delibcr.1te ly ,trc-;sed in this account because rhey illu-
n1i11;ite chc intcrconnective aspects of copy-as-afr1liatio11.'i 1
c:opying at L11is ti111e v.·as o•o t 01tly abo11t Jcar11it1g to reproduce
forn,s ;111d styles, but also abo11t L1ndersta11ding theories :-n1d
pa~,;ing on ide,1<;: propingu1ty of the concepn1al a~ ,vell a~ the
phys1 cal. The fac:t that c:opyt ng fron1 ,l re~rricted range of n1odel\

270 DRAWll'-IG AS D SCtPLIN f

'>Vould bcco111e t"ixed into a deade11i11g 111~d1odl>logy wilhill aca<l-
l.'1nie~ .u1d atclit.:r:. in thl' follo,ving cenlur1cs ha\ obsc nred the
C1ct ll1at it could also l)c a dyna111íc sourcc c>f ctiltur,11 diffusil)ll
ai1d a sti111ulus t·or intl'llectual and artistic cha11gc.
The o ri es o f C o pyi ng: C lumsy and Cogent
Perhaps nothing that 1s done 1s properly and stnctly 1nvenl1on bU1 clenvcd fi·om some
th1ng ,1lready 5een, though somet1mes compounded nnd 1urnbl~d ,nto íorms wh,ch nJturc
never pnodvced. th.ese images la,d up 1n our 1111nds dl"e lhe pdllerns by wh1ch we work
when we do whal IS sa1d lo be donc by 1nvenlion.
)on..ilhdn RKh..wd~n lhe Eldei
lnvenuon 1s one of the great mar ks of gen1us: but 1f we c.onsull expcr1enc:e, we shall fínd
lhal 11 1s by bc1ng c.onve,·sant w1th lhe 111vent1ons oí olhers, lha\ we lc,1m lo 1nven1
511 )oshua Reynolds'
Son1e of rhe proble1natics of copyi ng descr1bed above are :;pe-
cific to the seve11teenrh centltr)~ but n,any belong to a n1uch
\.vider deb,\te, wl1ich 1<; -;til! relev;1nt today. A C(>py can functt<>n
as c1 coo! of analysis in abstraccing e:.senrial aspecr-.; oí f<.>r111 .111d
subject. rt can be thc dispJay n1ediun1 of an arll~t's or dL·~•gncr\
wit and lcar1ur1g through quotatíon or gan1cs of thc111c and v.1ri-
at1011s. and it ca□ also be thc 'dun1b' 1ucd1u111 that canccls n1ca11-
ings and denies che expre,;sivity of the sourcc matenal. lt 1s
believed by n1a11y to enh:1nce processes of lear11111g. ;111d by son1c
to be a vehicle of invention b)' cra11sfor111ing appropri:1.Led n1Jtt'-
rí,u iJ1co a nev: synthesis. Copying as rei.1roduction is part or a11
econon1ic i111peracive, but when dra,ving copies dra\ving, it can
also be a lyi11g, cl1ealing, di:;honi:st n1ediu111, serviug Lhe fi·.,u<lu-
lent e11ds of plagiaris111. cottnrerfeit and {orgc.:ry.
Copy dravvjn.g, as '>veU as being a sta ndard aspect of arttsoc
and design practice until n1odernicy, has been a core the111e of
,vriter,; on art, usually theori~ed within .1 liternry context. The
rhetorical noti<.)n::, <)r Bartol0111eo Ric:ci in Dl' i111it11riti11c ( 154 1),
,vhich ec;tablished a sequence of .~eq11i, i111it11ri c1nd ,n•11111/ari (ro llov\,
i111itate a.11d e111ulate), beca □1e the 111ode.l for the visual arts, with
Vi11ccnzo l)anti pursui.ng tbc djstinction bct,:veen i111irare (1nuta
tion) and retírarre (copyu1g) in his rfrentisc 011 1'cifccr J>roportio11 of
1567. He argued tl1at rl,c appropr1ate copying niode depends 011
a value judgen1ent abouc the tllL::llity oi the 111odel: 'Lhost rworks
of artl ,vhich have both perll:!ction or art and n1,1ller 111ust be
copíed: and tl1ose wl1ich are tleíicient i11 :;on,e wJy n1u~t be i111i-
CJted, gi,·ing thcn1 ali the perfeclion th.1t they rcl1uire' _..,~ Thc
vc11 practice of thcoretical \Vriting on art itself. fi·<)111 thc
fiftee □ th century to tbc <;eventcenrh, rehearsed the rhetor1cal
,trateg,es of i111i1oriv, ae11111/ntio and 1rn11s/111io, \Vith aL1tbc)rs resr:it-
ing :ind re-arguíng rhe theorie<, of the1r predecec;s;or,; acc()rdi11g
te> the rule-; of rhetoric_:;~ ln chís accun1ulalivc, progre<;,1ve ,1111.l
a11alog1c.1l ,y<;te111, the d,111ge1s .111d pi11:1II, o( copy111g \v-:r1.• \Vt'II
prohle111.1t1,ctl .111J rcliear~t'd .l\ a philn-;t>phic.tl ,111d l'Vl'll ,nur ti
anti '>pi11tual lli'icour<;e. Wli.it dttferl·J ti·ont ,tgl' tn .1gc 111d .1utlH)I
Lo author ,:va, th1. role, or. 111urc prcci,ely. thc undl'1 st.1ndi11i4. uf
the concept of 'n,tture' 111 thL' tri.tdic construcr linl-...111~ 111c)d1:I 111d
C<)py. :-111d rhe shift111µ, ,tatus of orig111;1J "tr1.1ths' 1 eon.1rdo h.1d
'>V.irned Lh:it. sinc1.• thc 111.1~t1.·r, of 'well-con1posed "'ork,:· v.·1.·rt'
1,1rc, it ,vas '-;afi:r t<) gn to lht" c>bJt'' t-, in 11.11u1\· tl1,1n l<> tho~e
i1niL,1ted ... l le ,-vlio c,llt gc, ln Lhe f<>lt11LJ111 d<>t''> not g,, ll> tliL·
vc.:,sel.'.,11 Eve11 lhe cl.1-.s1t1,111 g de 13,~,l hop Íl'lt t'11.· lll't·d lo pul
h11, d1~cuss1011 of Lhe 'anllLJUL' 111onu111e11ts, sculpturl''>, statues .111d
m.irble t:ibltt<; ... of the h1ghc'>t ,1rr1suc pc1icct1on' 111t<> thl'
contcxt of n.1t11re. des1)1te h1s horror <>f thl· ne,v bourg1.•01<;
r1:,1li'illl c,í h1-. ronte111p<>r,1r1e<;: ·1 do not c<>11de11111 rh<>'-C ¼'ht>
lOntend that nalurc her,elf i~ Lhe be'it ex,1111ple ... 111.1,1nuch a,
all the pl'rteclio11 of the Ok1 Master, takc'> it, orígin frc, rn her'' 7
N.1lurc/realiry is the origi11ating 111odel fi·o111 which springs ,1
chain of copie.:,;. W111ckel111a1111 "vas l<.) extenJ rt'lateu notions in
1763, when 111cluding tbc authcnticirv ot the ong1nal in his
notion o( beauty :ind truth: ·,11~tn1ccio11 fro111 pl,1tt:s 1n bl)<>k.., 1nd
prints is likt.> la11d-,u 1·vey i11g on p,,pt·r: Lhe ,111,1ll-,t,1le topy 1,
onl} thl' sh,tdo,v not the trlllh ... Lht· ltll l' ,111d rull kll<)\Vlt•dge
of be,1uty in .,rr can bL' achieveJ i11 no othl·r \V,lY but by lOll-
te111pl,1tio11 or the or1g1naJ 1,aintings'.'11
l)lag1.1r1sn1 was .1n 1ssuc 111 n1ost d1scu~sio11s <)f cupy1ng, usu<1Jly
loc~1ced withn1 ;:i debate about the n11po,,ib1liry oi tot;:il nruta
t1011,''1 Qu111tiha11, professor oi 1 .1t1n rhet<>r1c under thc E1nperor
Ve,pas1a11 in the firsl century AI>, h.1d 'it't the ,ct·ne f<.Jr thi,
di~cu-;sion:
there is noLhing h::1rder than to produce a11 exact likenes,;. 1nd
naturc her~clí h:11, '><> fJr f:1iled i11 1111, e11dc:1vour ... v.h.itever
i~ likt· ,411<>t her <lbject, 1i1ust nelt'S'i,1ríly hi: i11ie1ior l<l ll1e
<)bjcct c,r ics inu\,1tio11 . ju'>t as thl· sh.1dc)\V i, infcr1<)1 lt> tlie
sub~L.i11ce .... all inutauo11 J5 arti íi c1.1l and nJ<.>ulJl'd to J
. . 1.t, 1
purpose w 111c11 \vas not tJ1at o i ehe or1g1n:1
A~ a11 Jntidote, he advisL·d the keeping or ·.1 t1L11nber of d11Te1-
ent cxcl' llencies before our cyc'>', che very cl.ti,n of de IJ1sschop.
,vho boJslc.:d Lh.it h1s cxa1nple~ ,vere noc -,1111ply thc works of a
singlc artist, 'likc Paln1a, F1aJctti, !libera, Bloen1acrt a11d nth1.·n.',
buc 'the ex:nnpk•1, or ... n1.111y. in ()rder te) 111.1k1. .1II the qualitll'S
111::inift.::.t'. 1•1 This 111akes refl:!rt'nce to tht' story of 7.ettXI\ 111d Lhe
daugliter~ c>Í Crotc>n, (>Í p.1rlicul,tr i111port,111c1.· t<> hu1n,11ii,l .,, hnl-
at-i bclieving th,1t ,lrt (OLtld l1c t.1ught l>t1lv thrl>ttgh pr1.·tept. 1l is
oftcn cíte<l ª" the thcon:tital .1ustifit.1t1011 of the cclet.t1c prac-
tices of the ('arr:1cc1 and the1r ,1c:idcn1y. \Vho, it \V,t~ cl.1in1ed.
refom1l'd p:ii11t1ng by co111b1111ng the 'bl'~t· ;1,;ptcll\ <>f ll 1ph,1cl.
T1ria11 ;ind c·orrc:gg10. rhrl)u gh d11s t<)}1t)S. ~LIC.:tt'S~IVt' gt:nt.·r.ltl<)llS
could 111od1fy thl'ir 111odt'rn noti<>ll'> <>r hl'auLy \Vithoul lo\i11g
l<>uch "'1th the past: cualc.:'>cing d1ffe1e11Ct'~ iuto .1 ne¼' unity.
THF C01'1PLEX COI JTRADIC I IOt J'", Of- COPYING 211
 I' t') 111 lcls reht'. r~ed thc,1: ,HgL1111ent., 111 tlll' Third D1,cour,e
,r.. ht:n hl' c 1,t11ned c.nc:go11,.illy rh,1t ·pe1i~ct bl'JULY u1 any spec1cs
111u~t con1b111c .tll tl1e ch.1r,1cLers ,,·h1ch Jt"l bc.1ur1fi.tl Íl1 clut
,pcc11..••;'. but then got•, 011 to ide11tii)· th 1t bt.'.lll~ ,virh a nat1.1ral
or1g111: 'the 111odern Arci-,r, hetorc hc can see rhe truth of rhings,
1, ohligcd ro ré.'rnl>Vt' ,, ,·etl. ,v1rh ,,•htch thl· f1~hit)l1 of tht' ti111e,
li,1, d1nught propc1 to tl)\t'r her'."2 Thc: n<,ti<.>tl rh.1t conteni-
porary t,l'>Lt: tiht·r, ,1nd obscures tl1e etc:rnal verit1es o( thc clJ$-
s1cal ,,·or!J i, <)Ilt' o[ tbose pious trucl1s tb,1t 111<1sks thc n1orc
subtil dl,<.our,e of copving 1\ cran,;cr1pt1on and appropr1at1on.
Jonath.111 lli c h;ird,011 chc Elder recaUs Quu1til1a11 1n his st:1ce-
n1t'nt: · ln copy1 11g. rhough ne 'er "º ,er, ilely. there \,\·ili be -;ucl1
.1 111ixLure of rhe cn11pier a-. to 111ake ,vh,it i:-. do11.c a diffcrcnt
.,,.1
111,\llllt'r
The licer,ll)' hi'itorian (;. W t>ign1an. reguJarly cited ui discus-
\tOll\ ot che rl1etorictl constrt1ct of copym~, .u1alysed tbrce
n1od1.:.•s of ren.ussance textual 11111[acio11 as the transforn1acive, d1s-
s1111ulat1\·e .1nd eri~nc." 1 The-,e mode-:.. overlap con.siderably, but
the forn1ul.1tio11 is a u"eful ta'\0110111ir cool for n wider di~Cl1~-
\J011 of COJ') i11g. ,vhich ha~ relevance l)eyond n1i111etic paradign1~
a11d ti.fi:ecnch- ,u1tl ~1xtee11th-cc11cury culture."5 The tn111.,Jon11111Ít1c
n1odc pcrl.1Íns to bccs, honcy a11d digestive 111ctapl1ors. Wl1e11
Scncca ralks about 'thc bec that cransfor1ns nectars of the severaJ
n1ost beautíful Aov,ers ínto honey'. the o·ope of eclectic tr:1ns-
fur111:ition beco111eo:: a n1etaphor of i11ge,;tio11, ,, hi ch •vvas allic>d to
n1c)ra1 di,cour'ie. Pecrarch ,;i111ilarlv, advi'>cd: 'Take care that whar
you h,1ve g,1theretl doe\ not long re1nai11 in its original for111
u1i;1Lh: of you: tbl' becs ,._,ould not be glorious if the) did noL
coo,·e11: ,vhat they found into Sl1111i:t!1tn,~ cl[ffere,,r a!ld s01uerhi11.~
betrcr' (n1y 1cal1cs). 1"' Thc transforn1am·e ,1.ct is tl1at ,vhicb jl1stifi.es
the copy Ln n1odern1ry. Tb.1s is \Vbat \Valter Benjanún named as
tran.,,Jarion:
no translat1on vvould bc possible if in its ulrimatc cssencc ir
~trove for likeness to rhe original. For in its afterlifc - wh1cl1
cou ltl not be call~d thar if it \Vere nor a transforn1ation and a
rene,val of S()t11ething living- rl,c or(~i11<1/ 1111de~QOl'S c1 c/1angc. lt
Í\ translat1011 ,vhich caLches fire on tl1e eternal life of rhe vvork
ln1y 1taL.csl.6 ~
That retro ... pect1,·e change of <;tatue; of tl1e original i,; very app.1r-
ent in thc vvorl-.. and reputations of Joseph Beuy~, Eva T-fes~e a11d
i>bilip C,l1sco11, ,vhosc Jra,vings l1ave becon1e sucl1 unporrant
exe111plars for co11cen1por,1ry pract1tioners ,1nd stude11ts. Thc1r
cn1bedding 1s so total, parricularly the drawu1gs of Beuys, chat
s.1rurat1on ,vithin cheir dra~·ing styles, ,vh.ich goes ,vay beyond
111ílt1l'nct.>, 1s no longer even ackno,vledged, or pcrhaps eve11
rccognt,ed. by .1rtiscs .nH.I critic-..""
·111e di.-.ç111111/11til'c 111o<le. \\hich depend<. on disguising the rela-
bon berv.·1..e11 copy .1nd n1odc:I, leaJ., l<) e1Tact.>1ne11t of re-;en1-
blance. l~etcrcnce, to vcxt.•d que!>tiOr1s of t' ou11terfeili ng are ver,'
272 DRANING AS DISCIPI INE
carefully fi1dgcd u1 :11:t historical litcraturc. Vasari tclls us tl1at
M1chclangelo~<; copies of dra,vir1gs, carcftilly blackcned to look
old so chat 'they could not be told apart fro111 rhe ori 6ri.11als', were
do11e ·so that he col1ld cxchange h1s cop1e::. for the original~,
\Vl1ich he adn1ired for cl1eir excellence' _r.l) And Malv;.1sia narraces
.1 sii11ilar tale t)f Agostin<) Carracci. who delil)erately tãked an
agcJ dra\ving by P.1rnligia11ino, \.vhicb its ovv'ner wro11gl)' ide11-
tified as the original, refusing to believe Agosciuo unnl the latcer
ser Ollt
to erase bis (lrawii1g co1npletely by rubbing it ,vitl1 so111e soft
crw11bs of bread. This settled tl1c matter and 1nade the gen-
tlen1an adnut not 011ly th.ac ít ís extre111ely easy to get takeo
in by drav-.,i11gs tl1at are supposed to be originais. but that
Agostino') pen ,vas as eleg:111t and as as<;ured and indc-ed even
sur11assed th,1c of such a gTacefi.tl n1aster as Parinigianino. 70
John Constable 's 1rees a,,d Deer a_fi-er Claude Lorrai11 ( 1825; Ne,"·
Have11, C"I, Yale Center for British Art) is a reprodL1ction of a
dra\ving chat ac che tin1e ,vas in chc> collection of the artist Sir
Thon1a,; l.1vvre11ce in T-lan1pstcad, a11d aspires to beiug an exact
copy. Co11'1table noc only actcn1pts to rcprodt1ce Claudc's pe11
,vork as closely as possible. but also uses a si111ilar type of bro,vn
ink on antique p~per, suggesting that bis ai111 ,vas i11deed to
creace a facsimile for a collector - perhaps even a forgery. His
expertise \vas well known, and it is recorded that he was caJled
upc>n in 1835 te) give expert evide-nce on a disputed ,vork by
CL.iude.' 1 The f::1ki11g of dra,:vings is a very real issue for dr,l'vV-
ings coll<tctors, and because of tl1e relative ease of inutation of
style and ctcquisition of oJd paper (arti$ts notoriously leave en1pty
pages in sketcl1books) it is 011e of tl1e major haz:ards of collect-
ing dr:iwings. Certain modern arcists, Alberto Giaco111etti (1901-
1966) and Amedeo Modiglia11i (188 +-1920), for exa111ple, have
bee11 11articularly subject to counte1iêiting, perhaps beca use cheir
quirks of personal sry1e are so insistent and easy to copy, a11d the
co111Íl1g to ligl1t of a group of previously u11ki10,v11 stuc.lio
skeccl1es by• Fra11cis Dacon ( 1909-1992), v-.•ho ,:vas believed to
l1ave sl1ppressed st1ch worku1g scraps. raised a storn1 of contro-
versy about authenticity after bis death.
Tl1e crislic (Greek eriz<'i11. to v.1·angle OT dispute) n1ode of
co11yi11g, vvhich ca n involve l1ighly cont:radictory and controver-
sial juxt,1positions, infers a s.truggle for pre-e111inence betvveen
c:opier ,111cl copie<l. Ruben.~. ,ve11c 111:tny stages fiircher cl1an
retouchiug dra,vii1gs, w l1e11 he used the physical support of
a11othcr artist's ,vork to e.xp:111d into .1 biggcr co111.position ÍJ1
A ltliJ/11a11 111ith ]í1 10 Chifdre11 i11 l -lro11t C?.f rl,e r=ire, Acco111µ1111icd by
a i ,Vo111a11 Carrying a Baskcr (IJaris, Musée du Louvre). The basis
of this work 1s a red chJlk genre scudy by Annibale Ca rracci
of a -ieared vvon1JJ1 holding :i child vie,ved fi·on, behind. ""l1ich
lia~ bet'n pa:.Led into a bigger sheet. ln orclc:r to unify Lhe
expanLic>d drawing, Rubens !1as worked over the \vl101e surtãce
in a ligl1ter chalk and added touches of cream body colour.72
The genre character of the dra'\v1ng has been exaggerated by che
additio11 of the details of the sJoughed-off cJogs of the seated
v-·0111an. Ironically, the agg1·essive acr of t;1king po'>scssion of thjs
dravving, through redrawii1g a11d tra11~for111ing ic, is not a11 tl1at
fàr fro111 Agostino 1s eras-ure of his fake Paruligianii10, referred to
above.
Carracci-inspired narratives of effaceme11t reach thcir apogee
in that ultimate symbolic act of den:ia.l and approprjation
whereby llobert Rauschenberg ( 1925-2008) erased a dravving by
WtJlen, de Kooning (hin1,;elf the 111aster ot- rubbing out and
overdravving) and exhil)ited it as his 0\\' 11 ,vork, cl1c1lle11ging the
conunodification and aec;theticisatio11 of tl1e art object, anJ cl1al-
lengmg its t1niqueness. l~aLtSc11enberg's accion cocks a s11ook at
cl1e vie,v of art history as a sequence of st1ccess1om aud appro-
pr1ations, and, of course, the exhíb1tion of an e1npty piece of
paper that sho,vs litrle else rhan its 1nock-fi-audule11r signan.1re
can be interpreted as challengi11g authorial origi11atio11 a11d ow11-
ership in every respect. Tts deliberate act of erasure hac; historical
cou11terparts of cl1ance destruction i11 earlier l1iscory, for exan1ple,
v.·hen Michela11gelo's pap~r 1nodello for tbe Battle qf Casci11,1 v\1as
destroyed by eager copyists.--' Apocr)rphal or not, tbe M,ichelan-
gelo story illustrates an Oediµal rrope of destructio11 of cl1e orig-
inator of rhe sign_if1cant image. becai,se, actording to both
Armenini and Baldi11ucci, Michelangelo clai n1ed that no one
could 111::itch up to hi,; ovvn standards: 'Oh, ho,v n1a11y n1en this
v-.•ork of n1ine ,vishes to destroy.' 74 The eristic nlode, \Vith iLs
Oedipal overtones, is probably che 111ost co11U11,on torn1 of appro-
priacion it1 111odernis111. l c is d1e conrext of Picasso's dehberately
parat-foxical ren1ai:k to André Malraux: 'The painter takcs vvhat-
ever it 1s and destroys it. At the sa111e time, he gives it another
life.'75 Ar1d it ,vas the don1inating n1ode of de Kooning's ,vork
of tl1e 1930s, u11der tl1e influence of J)icasso. ·w11atever an artist'-;
per-;onal feeljngs art.', as soon a<; an artist fill<i a cert;1in area 011
che ca11vas or circu111scribe~ it, J1e becon1es l1istorical. He acts
fro1u or upon ocher artists', he saíd iri a lccture in 1949. 11• The
decades of the 1940s and '50s, in particttla.r, êan be read as a 11ar-
rative of an OedipaJ struggle, v,here the obsessive processes of
erasure, fragmentation and overdr.1wing in de I<ooning's An1eri-
ca11 dra,ving$ and paintings sce111 fron1 a passionate desire co eli111-
inace che hauntings of Picasso tl1e fatl1er.
o
Praising the Parent, Devouring the Father
J;e 1s a poor discJple who does r\ot excel h1s masler
Loond1 do dd V1nc1
SLudy rialu e attenl,vely, but always w1lh those masters ,n your company: cons,der thc:n1
dS models wh,ch you are lo imrtaie, and at the sarne lime <lS nvals N11.h whom you arc
to cot,Lend.
S,r Joshu., Reynolds
Jn Septen,ber and Occober t93 ", ,vhe11 i>icasso ,vas 52, hc
n1ade chirtcen dra,vn Yariatio11s after tbe Cr11cifi:x--io11 panel fi.·0111
NIJtthiJs Griine,vald's lsenhei111 Alt.1rp1ece (circfl r5r2-r6; Co l111ar,
Musée d·Unterlinde-11). The focui; of each variarion shifts in con1-
positio11 and li11ear qualitit's, although the ,vhc)le ,;eries is dra\\ 11
i11 Indian ink ,vith á splultcring nib. AFtcr an initial dra,vi11g, in
,,,Juch the crucified Clu·ist resen1bJe~ a huge bird. ,,·irh rus head
tàlien to che side a11d che 1noutl1 open in a shriek of pain. IJ1casso
n1ake:. an excursus into bon e shapes, fir,;t silhou etted agairut a
dark backgrouutl rben reconi;titured aronnd the cros~. TJ1e
passage of icleas fron1 the putrefaction c)f Grünev.·aJd',; body of
C l1ric;c to rhe a11acon1ical and the ~keletal boJy is uot difficult co
toUow, a11tl possibly chis series of variations conscellated arou11d
Gri111cv.rald suo-gesced
::, the111sclves to Picasso bccause ac thc ti111c
he was .tlready exploririg skcLctal forros in thc stud10, ~·hich had
pron1pced reflectious 011 n1ort:.ilicy.-'1 ]>icasso l'lad started to dra,v
sin1plified bone shapes in 1928 developed fron1 absrract figt1re<;
on the l1each, ,vhicl1 ,vere ;1s<:en1l)led into drawn ~culpture, and
che series of dra,-ving, entitled ,'"111 1"11111/011,y was 111nde in early
L9 33 _1«, Picasso\ bold and see111i11gly car~less 111odernist variacious
or crar1scriptions of Grii11t·,vaJcl 111ade at his 11e,,· stt1dio i11 tl1e
Ch5tea11 de Boisgeloup, are not all that f.tr 6:0111 de B1sscl1op 's
senous copybook erch1r1gs in tbeir rusreg:u·d for the ·sanctity·' of
the origi11al and incorporation of two- and tl1ree-di111en~1onal
t)bjects. He does noc atre111pt any s1)alial variation'i or
bis own,
but 111,1 nipulace,; increasingly ,lb'ltracced objeccs 011 d1e 11arrov,.·
platform stage prescribed by G1ÜJ1c,vald, ,vl1cre d1cy act out a
spectacle for thc v1e,ver :i.s if- bebmd tl1c foorlighrs_ S111dy _(or clic
Cn,c[fixion q{tcr Grii11cu 1ald, No. 8 of + October 1931 (pl. 190) is
dra,vn with a reed pen or perhaps a brosh hand le dipped in ink,
n1arked onro rhe p~ige with "on1e resistance: con1111e11tator~ have
suggesceu that tl1e dark ~plutcer-; n1in11c the blc>od fi-o,n C'hrist \
wou11ds.x1 The range or
111..irk~ O\ves 111ucl1 co Reu1br,u1dt, fro111
w11ou1 Picasso copied, or. 111orc accurarely. 111,:1de trai1<;crjpuons
of. in pr111ts a11d dra,vmgs at d1tlêrcnt tin,es 1n his lúe. ln
p:1rticnlar, the ,;preadi11g, blotting pe11 c;trokec; ev•oke Ph1lips
Kon111ck, \l\1ho e111p loyed po,verful. th1ckening anbr1.1l:1r hnec;
conrrasted with finer <:trokes 111 .1 pair of Jraw111g~ ()11 both ,ide,
of tl1e sht:et , T/,c A-focki11{! of
.~
Cl1ri.,1 (pl. rR9), v.1hich ,,va, previ-
ously ,1scribed to Re111bra11dt.s.1 These clrJ,,-itl1',TS. ,, hich rake
THE COMPI.EX CONTRAD ICTIONS OF COPYlf,JG 273
 •

• •

1N9 Plulips Kon,ntl.... Thr Ah1(ki11g t>( Chrtst, àftcr 1650. rccd pen, brov.·11 1uk .u1<l \V.tsb, 175 X ~25 n:u11. P<U'.IS, Ltistirur NécrL1nda1s, Fondatton Custodia. Frits lugc
C<lill!ctíu11. 1<)70-T .~4f
 •

•. •. '
•
•

•
• •
•
•
•
•-

-
)

190 Pablo Picasso, S1111/y for 1/te Crudfixiti11 afier G11°i11c1,11,,/tl, :vu. 8. 4 Ocrobcr 1932. f11d 1a11 i11k. 340 X 510111111. Pad~. Mul\éc Pira~so. MP 1078
 •

1--
..

/ /

\J

I /
(

.-J'~ ,1 1'
/
I J1' 1
1....... JlC e
( ;~v
•
'1 L~, L-t, (._,
,

~.....,
' =-
'v

• •

1y1 P.1blo Pit ,l'.>!>u. ::i111tly .fõ, th( Cn11/Ji.,h,H ,1(tc1 Cn'i11l'11•,,ltl, /\7<>. 11, 7 Ü<.tobcr 193:1, ll1d1J11 ink 011 papc.r, 3+5 X 505 n1111. Paris, Muséc Picasso, MP ro8:!

l~ c111bra.11dt'~ 'a\-vk\-\ard n1,1nner' to exlren1es, albeit vcry differ-
e11t u1 ter111s of co111pos_irion and sc.uc of rigures, co11cai11 jt1sr c}u1c
so11pço11 of 1na11J1cris111 ai1d exaggera ciou thac fiavours 11lill1y copy
drav,111gs. ln rurn. Picasso takes Kor1inck to excess in tbe eightJ1
Gri'lnevl.1ld variat1011. allo\.ving a recalcitrant n1b dipped i11 ink to
,;hed -;plodge-. ,1nd puddles of ink in pl,1ces, and thicken e]c;e-
,vl1ere 111 rc'.>11011se to an angry pres~ure. Tn a vari,lt1<)ll dra\vll
three davc; l.itcr. on 7 October 1932, S111dy Jõr rhe C111c{fi..x-io11 t!fter
Grii11e11•,1/d, :,:cl. 11 (pi. 191), \Yherc bone sl1apes arLcl frag111ents havc
becn reas~en1blcd to suggec;t chc crucified Christ, tbe solidity o_f
che body ha, begun to be reasserted it1 less fre11etic pen strokes.
P1t a-;so ,,.1, often ,1ccu,;ed of be111g a pns1iclie11r b)· l1is con-
ten1po1,1r1e'> in tht· earl) 1>art of hi-. career: tndeed. l~o berc l)elau-
na) (188j- 194r) retí:rrl'd brurally to hi, 'con ti nuity in píllage ·.H3
Tht· cr1bc1s □1s 111,1i1111 d,1te li·o111 the pcr1od in che 192,os \Vhen
Picasso 's rt>vi,·aJ of 1nttre,t Í11 lngres a11d ucoclassical li11e \Vas
:it1terpreted as a betrayaJ of tbe 111odernist project. H is dipping
into cbe past, ,vhicl1 ha.d markcd his practice fi:on1 its inception,
110w seer11cd to open ltp n dangerous debate about style, reveal-
ing th::it Cubisin ,vas not always rígorous, nor ,vas it encirely a
:,ober :n1d intellectual breaktl1rough of n1odern isn1.1-1 4 Such puri-
tani c:..ll notions even pern,eate conten1porary art history, as ,-v hen
Rosalind l(rauss e111ploy!> strong languagc to conde111n Picasso's
,vork beC\veen r9r6 and 1924 as pa5tic he or 'aesth.etit break-
dov,n ': ·fatuous ,vork - arcb, decorative. en1pty - that seems
unseconcilable V\'Íth tl1e forn1al rjgor of cubism• .11!'> Krauss's seuse
of per~o11al betrayal (or re-enactn1ent of the OedipaJ n1on1ent)
repeats the ideological conde11u1ation of copying- except as a
n1ode of self-consciou;; cran-;cription or parc)dy - th~c stems fron1
111oder11ity's critiqt1e of the grand narr.1tives of Jn accun1ulative
and progressive history, and doctrinaíre clau11s of aucogcnes1s.
('Ali arcists bear the i111princ of thcir tin1c, but thc great artists

276 DRA V'/lf\JG AS DISCI PLINE-


192 Arslule Gorky. 1\ l((!l1tt1111c, E11ig111a and Nosta/~111, nrc,1 1931
5otl1 A.nnivt' r~ary Gift oC Mr. and Mr,;. Ed\v1n A. Bergn1an, ~0.54
are tb.ose in whon1 this is n1ost protoitndly 1nJrked·, M.itisse had
cacegoricalJy declared in 1908, while defending 11:imself against
aspects of Cubisn1. 8(1) Picasso's poc;t-Cubi~t b<)rro,vi11gs, ho,vever,
are tl1en1<;elves ~l,aped by c;uch t11odernisc t1otions i.n à1e IlléU1ner
Íl1 \-Vhich cbey are dependen.c on carefi.11 srracegies of fi-anung. For
exan1plc, hc stages dcübcratc changcs of dra,ving stylc ,,11tl1i11 l1i$
ca1'1iei series in order to signify quotation, or pulls apart thc
forn1al and 11arrative aspects of an original into a deliberately
parodie or aggressive forn1at, as in the Gri.ine\vald variations des-
cribed above.
Borro\.\ring~ fro111 Pic.:15s0, d1e n1ost inAue11ti,-ll artÍ'>t of the
111id-twer1tieth ce11cury, \vere global, parallelíi1g on a hugely
magrufi.cd scale the seve11tcenth-century European copy trajec-
tory of i.tifluence a11d direct appropriatio11 oi1tlined in tb.e first
part of th1s chapter. J>icasso tne cop,'ist ,vas tbe fulcri1111 of
countle,;s appropriations, man)' of then1 reopening che hiscorica l
......
.l, pen ,u1d 111k, 610X787111111. Ne\vYork. Wh1111cr Mu~eun1 of An1.er1can Art.
•
sources of his person-a.l ec1ect1cism. Arshile Gorky ( 1904-1948)
produced n,any close graphic re,,vorkíngs after Pi cas~o in the
early 1930<:, ba~ed o n reprod uctionc; in tht.! 1929 iss ue of Ca/1h rs 1
d'ar1, \.vl1ic11 iu cluded Picasso's scudie~ of é(()rchés, bo11e shé1pes and
abstract forms 011 tbe beacJ1. Gorky's ser1es enticled O~jccts 111i1!,
Ecorché and 1\/(e/,tti111c1 E11iR111a and Nos ta{eín (more than fifty 1L1k
var1ations of tl1e san1e ticle v,:ere do11e betv,ee11 1932 :111d 1948)
were related to a rnural sche1t1e for the Publi c Works of Art
Projecc tl1at ,va'> never realü,ed. The érorclié dra,ving-.. ,vere bast'd
on the pocenr \t:ve11tee11th-century anaton,i c,ll 11l,1tc~ of Ain1é
Dourdo11 ,vith their cu ri ow, Rap~ or lifccd fle'>h t'.xposíng th1;•
:.kclctal i11frastructurt!. which ha<l also bccn reproduced i11 thar
irres1stible copyist resourcc of the era, the Surrealrst bible C,1hier.s
ri' art. 87 Gorky'i,, mk dra\\-'lngs rheretore 11ot on.lr o,,,,,e 111t1c h to
pulled-apart .1n::1to111ical dr:1,,1 ing~, buc .1lso, by rt'consotut1ng the
di,incegrared body, co1nplece the project char J>1casso had begun.
THE COMPLEX CONTRADIC110NS OF COPYtNG 277
 ~olicit a dra,ving fron1 a f:1.r11ous fibrure to con1plete. usuaJly in
another 1nediun1. Sofonisba Anguis,;ola (circa 1532-1625) fan1ously
, reque,te d a sket<.:11 fron1 Mic!1elangelo to \\.'ork up u1to a paint-
~ ing, and various Michela11gelo dra,vings \t\·trc used by Sebastiano
}' ~- ~~ ·1y
"""'
dcl [>ion1bo (1-485- 1547) as a basis for con11nissions.~ ln an 1ronic
_t:_1 reworku1g of tlus practice, t.he ~urreal.ist game of Consequences,
E:-.::q11isire Cc>rpses, ha,; taken th1e notio11 of u11planned sequential-
icy to it'i (il)logical conclusions. Following the rule tl1at each pre-
vious invention on the paper is obscured frc)1n Lhe follov.-er

(! ~ /
t'xcept fc)r a fe,v rudin1enta1y clues, every co11nective i111age co11-
~\
~ r tains its O\v11 disassociation from irs source of origi11ation. JJaper
is cl1.t: u~uaJ n1ediur11 for B~q11isite C'orpses, becausé ic ca11 be
folded to lude earher contributions, but tl1.t' brothers Dinos

, (b. 1962) and Jake (b. 1966) Chapn1an h;1ve associated the rech-
nique ,vith printing piares a~ a c;c,-acegy of collaboration in a suite
of r,vency black and v.-hite etchings enticled E.'<:quisitc Corpsc
j (2000), whic.h co11tau1S quotatio11s as \vcll as connective pas-
sages.i;9 Latcr, us.iug appropriacion as a delibera.te act of ico11.o-
cl.1stic pu11ishn1ent or 11egatio11 (follo,ving Duchan1p's classic

\ gcsture of adding a mo11stac]1e to the ,\,lo11a Lisa), they jointly

dre,v over a rather poor-qt1ality 1937 edition of Goya's Disasters
\ cJj T1'<1r in self-consciously eristic 111ode. Entitled l11s11lt to I1~j1try:
·rhe ,if,1rriage c?f· Renso11 a11d Sq1111'or (2003), carefi.tlly paü1ted l,eads
o[ clc)\,vns, co111ic-strip characters.. a1umals ancl composite
l•.•' lsh ecr••· 1 P\H ÇV' 1 rl,1.,1/,,, / /4 /.i, ,~ ,_-,,,, .. , rl,r,•lt•• Fr(J J11 r1ir ,,,,- ,_::,,/,i/,iri,, 11 •
•'l::trure 1v1 urlt' l T,H1e r v. 'll''-' . YorK U) l\4-. gr.1pn1 .: .u1u ,v,1tcrco1our. •

356 X 1.79 nun '°'-Jt?, v Yo rk . f'h t> J\l\u~eu,n o f M odern Arr, Gift o f (' on,t:1nce
IJ Cart,vnirht. ltogt'f S. and Urook Dt:rlind. Marshill S. C ogan Jnd purcha:;c.
J')7 Jl)IJJ..Jll
ln his co111plex relatiunship \vith Pica'i'><.> ,ts both 111e11tor and
rival, Gorky hc1s gone 111uch further than e111ulation and cntered
in a cotnpctitive and cristic 111odc. Typical of tl1e inhjbitions of
\Vhar cot1 ld be gen eralised as ·copy 111anner ·, bis pen and ink
cro-.;s-hatchings are fur less v.ild the11 tl1ose of Pícasso's bone and
hather dra\vings, and dec;cribe che volun1es ancl textures of
,tbstract and rere rentinl forn1 with care, or ratl1er careful casual-
ueq~. The v.1riation~ .u,d ,tudies c:ulnlin,1ted i11 thc large pen a11d
i.nk .\ '(4.:'11 Ti,uc, IJ111,{!111a a11d I\Jc1stt1lgi,t (circa 1931-2; pl. 192) dividt:d
b)· rhrl.'c drJwn paneis, a. perspecc1vaJ de\·ice chat also o,vcs 111uch
ro dç C lúrico. and 1rnparts a:i11biguitic'l of p1ctorial dcpth co tl1e
,·ery nnished dra,ving. This device allows Gorky to insert tl1e
aclu,1! book , o urce or the anaton1ical figures in large ~cale and
play V.'ith the pragn1ati c~ of '>p,1ce ~,nd perspective. The cu rved
bone ,hape~ \v1th hole\ i11 the111 al\O re111ind U'l to \vhat excenc
tbe absb·act sculpture\ of I Icnry Moore and Barbar,1 Hepworth
( 1903 1975) <;ten, tro L11 rhc co111J11unal cbarnel house of f>icJsso 's
st1rreal drean,,.
c;ork.") \ con1plet1()n o r ta11ling of l'icac;so c.111 be read i.n rela-
Lio11 to a very long e,;cahli,ht'd c11<;ton1 \\ bereby artlsts would
p,tper. Tl1e ov·erd.rav.,ing mocks the victi111s and perpetrators of
crin1es indiscrin1111.ately: 'how ±ar do the co1nn1issioners of avanc-
garde iconoclasn1 ,,rish rheir clovv·ns to go?' asks Jake Chap,nan
in a prt'face to tht' (re)published sec - but they do not s11cceed
in defacing or distracting actention fi-0111 Goya's pri11cs.911
Artists have al,vays cann il1aliscd th eir own production as a
fcrtile forn1 of ge11crating 11ew works: doubling the self as orig-
inator a11d. copyist. lndced, this is the principal reaso11 for keepi11g
old dra,,rings as a studío resource. Picasso, rather coyly a11d
11ntn1rhfi.1Ily, re111arked to Christian Zervos: 'We rnust pick our
,,,hat is good for us ,vhere we éan find it - except fi-on1 our O\vn
,vc)rks. 1 have a horror of copying 111yself. Buc \Vhen l an1 sho,vn
,\ portfolio o( olJ drawings, for i11stance, I have nó qual111s Jbouc
taking anythi11g l wa11t fi·<>l11 the111.''>1
Th.e act of appropriation, ingestíoo and u1ternalisatio11 of artis-
tic i1rfluences (thc transforrnative 111ode) takes on a particularly
poig11ant psychoanaJycical aspect in copies of self-porrraits.
Sherrie Levi11e 's tracing of Schielt''s litl1ograpl1ic Seff-portrait 1\J11dC'
li ( 19 12) in a penei! dra,ving, l f11titlcd (a_fter Ego11 .Scl1iele), of 1984,
i~ t)ne of ,l series thar subvert.'i the very guescion of identifica-
tion (pi. 193). Here, J v.•on1ru1 a.rti~t traces n self-porrrait of a n1an
6.-0111 a series dcaling with n1asturbario11. Tl1c expressiouistically
emaciated Schtele lithograph, which itself n1akcs refere11ce, con-
sc1ousl)' or unconsciously, to Dürer's 'e{f-portrair i11 the N11de (circn
1503; pi. 247), appears to have an amputated right leg (it ends

278 DRAW!t--lG AS D SC,PLINE


19-1- Jcau-.13aptiscc Siinéon Char<l.in, Sc[{-portr,lit r11cari11J! P111cl!-tu·z, 1771. pastel
on blue-gn:'} paper, 4()0 X 3Son1n1. Mu~éc du Louvre, l)épanen,enr des Arrs
grapbiqucs, Pari~. 25206
above the knee, ,vhereas Diirer's dra\ving is cut below che kneec;)
and tl1e genitals are l1eavily s111udged, while 111outh and eyes are
ope11 \\ ide.'12 Tbe 1nutilation of the leg- it is 111ore tl1a11 incon1-
plecion - can be read as a metaphor of self-punisluJ1ent, a1Jd
Schiele wraps his o,vn anns around his torso in a frightened and
archetypally 'fen1mine' p rotective gesture that simult.ineously
frees the display of the genital are;.t.'> 3 1t has to be assumed chat
Levine (b. 1947). who lias 111ade a relentless lífe- long con1111ic-
111ent to facsimile copiec; as c;in,ulacra, dclil1erately appro11riated
drawings of 111en into a new contex.c i11 ordcr to challenge tl1e
denigratory historical view of wo111c11 as less original thcn n1cn:
111cre copyists of n1ale n1odels. 111 a scen1ingly 1nore strajghtfor-
ward ho111age, Alberto Giacometti has combined a nun1ber of
copied porcra-ic heads in a sketchy sheet, Co11ies ~f Heads ef
Ch11rdi11, 11,fc1da111e Cl,,1rdi11 a,ul Jacq11es-Lo11is Dr111irl (1939; pl. t95).
A st'.lf-repre!>entation \-Vithin which the 111irroring of the artis-
tic gazl' a11d its do ubled represencation of st:lf and self-as-artist
lt
'\
195 Alberto Gi.acon1ctci, Copies <)( ! leads '!f Ch,1rJi11, ,\1<1da111c Cli11rdi11 11nd
J,1rq11es-L.11,is Da,,,d, \939, graphrte ,.vich to\lches (>f ~cn,npíng,
270 X 109r1uu. Chicago, Tl1c- ruc lnstitute of Chi~,,go. Gift of Louis
Goldenberg \\ ich balance fron1 n1e1nber, of rhe Con1n11rtee .ind :-.taff in
honour of Mrs. Joseph l~egeascein. 1967-40
con1e together as a single encity (ai- Cv\O eyes bec<)n1e 'the chan-
nels of 011e 1.olt: Cyclopean vision') i~ about seeing [rt)n1 ,vithi11.
Maurice McrJeau-Ponty's 11otion of the 'incerrn•i11i11g' of scl.!Í11g
and being seen, 'he who sees caru1ot possess the ,·isible u1tless he
is possessed by it', co11ld be understood as che phtlosophical
u11derpinning of self-portr::iiture: 'the deh1scence of the seeing
into d1e vi-;ible and of che v,sible inro chc• seeing' .9 ~ The boc.111-
ical cerni dehic;cence, refen··i ng to a fi-uit bur<;ting open t<> releasc
spore-s or seeds, -;cresses tl1at 111carw1g is disseu1inated bctv.,rce11
passive a11d .ictivc acts. A copicd auto-portrait 1s a 11arcissistic
doubling, combining 1dentilication w1th transfor111atio11 ::u1d frus-
tration: the cOp)'ÍSt, 11nable to refasl1ion the orher's gaze from c-I1e
interior, can only capture the externai for111. The largesc head in
Giacon1etti's sheet is based on one of Cl1arclin's lace pastel self-
portraiL) of the 1770s, ,')e!f-11ortrai1 i fi·<1ri1t~ Pince-11ez ( 1771 ; pi. 194).
and thc coloured c;rrokes l1ave beco tra.nslatcd into an abstractcd
li11car equivalent that concentrates on Chardin's spcctaclcs as thc
THE COMPLEX CONTRADIC I IONS Or COPYING 279
 •

f
'

•
e11gine of c;eeing, c;o that the lenses are chickened and doubled Transcription, Facsimile and Appropriation
chrough heavy overdra\ving. f n chie; aspect, cbe Giacometti
The pictures • make are really ghosts o; ghosts, ihe1r relat1onsh1p to the ong1n<1I ~ ter
arav. ing has a relat1011shi11 v.. ith Degas'c; beautiful oi] skerch .1
uary.
):ou11.f! Wo111n11 tllitl, Fie/d Classes of 1865 in tbe British Museu 11 1
15
(pl. 93).' Borh Cbardin's spectacles and Lyda's field glasses have.
beco1ne the iconic signitiers of Merleau- l'onry's ·chickness of the
look', wluch is mterposed be~vee11 inner and outer seerng. Gia-
Acro-,c; the ce11tt1rie:., f:1csin1ile copy1ng \V.-1.s rl1e financ1JI bt'droL k
con1etci. 110'-";ever, has noc neglected Chardu1's r1ght eye,' \vh1ch
of 111a11y artistic practiccs, -..vitlJ artists nJaiing re11Lhtion, l)f their
is loc>king (at hi111selt) in the 111irror of our reciproc::icing gaze.
o~n or ot11ers' \vorks, produci.t1g dra,\·i11gs to bc 111a(ic 111to cop\
Giacon1ecri, who hac; interpo~ed him...elf between Chardin ·s
pr1ncs or earning fron1 the procccds of cngrJvcd. vcrs1oru; of
dra\\\·ing and Cl1ardiJ1's gaze, l1as decon1posed that scaged act of
cheir produccions. Thomas G1rtÍJ1 (1775-1802), J .M. W. Tur11 er
lo?kin~ while deliberately engaging tl1e su1gle. Cyclop~an eye
(1775-1851 ), John Sell Cotn1an (1782-1842) and orl1er yonng
w1th h1s/our ov.'11. ln a second skctch Iower down on th.e page.
artiscs all n,ade copies for rhe ,vatercolour collection of 1);.
Chardin 's or Quentin de la Tour's eyes gaze a\''ªY fro1n us \vhile
Thon1as Monro's acacie111y i11 Loudoll Íll eh~ 1790~.'- Frc'tH.:h
t1Je glasses have almost disappeared. Compared ro his treatmeni:
v,:iru1ers of the Pri.x de l~ome, ,1s n1ent1oned in ch,1pL<.'r eight,
of the Chardin portrait, Giacometti's re,vorkings of_ the slight .
were reqmred to 111ake copies or ltalian 111aster painnngs and
-
skecch of the youthful Davicl'r.; self-portrait is noc ,·ery potenl,
sculpn1res, ,vb1ch "'rere origiJ1ally sent back to Louis :,...rv's royal
nor is bis feeble copy afcer Chardi11·s aged vvife ,vitl1 her cap and
palaces, and lacer hotrsêd 111 provmc1al museun15 and schools of
bo,v. Togcther, the portraits corutruct a ficcional arri~tic Jineagc
fine arr ro serve as anistie model,;.''x
for the copyist.
Phocograpl1y. \Vl1jch cook over che 1ne-chanical a-,pe-cts of
Thc pastel and charcoal drav..,ing Degas of 1980 (pl. 196) by
copyi11g-as-replica, becai11e tl1e coucested site of very coutr,tdic-
R. B. Kitaj (1932-2007) is based on a11 anonyn1ous lost, bur
tory beliets about appropriation. On tl1e one l1and, it 9u1ckl)
íconic photograph of Degas on his sickbed: he died in i917.
usurped the function of reproductive prints i11 rhe nineceenth
l)egas'c; influence was of the greatest significance co Kitaj, e'>pe-
ce11tury a11d beca111e a11 easíly accessibJe resource for those artists
cially \Virl1 regard to dra,ving in pastels in che 1970s anel ·sos. so
v\·ho v\·ere p:issíonat~ copyists, i11cluding Degas, Cézanne Jnd Yan
rhis work \vas clearly an act of l1omage to the artisric fatl1er,
Gogl1. Rusk.--in, v\'hO hirnsclf had Jearned drav·ving through
perhaps 011e of the reaso11s tl1at it remained i □ rhe artist's co1-
copy-ing, fi:eely advis<:!d srude11c:. to copy vvorks Jí·on, pl1ot<.)graplls,
1ection. Kicaj captures rhe ra.vaged face and gaping n1oucb vticb
\\-icl1out disti.nguishing pbotogrc1phy fi-0111 other for111\ of reprt)-
amazing accuracy in just a few outlines and a lirtle light colour, 11
duction. a11.d Degas oftc11 ,vorked fi.-0111 liis O\vn p11otographs.' '
although the look of surprise (anguish?) of the pbotographjc
Tl1e spread of photograph1c reproductio11s of art-\,vorks encour-
origi11al has been played down. as have che c;taring eye-; and che
aged a divers1ty of models a,vay ti-on1 cbe glutii101.1s a11d n:~1et1-
tension of tl1e figure. ln a<ldi tíon, Degas j.-, depicted as n1ore
c1ve acadenl.Íc canon encapsulaced in acadenues .1nd ,nodel books
relaxed into his cushions in I{icaj's re11derii1g, settled slightl)'
1ike those of Perrier and de Di~scl1op, \vhich depended on etch-
lo\vcr down in the vertical fonnac of che sheec. The deepening
ings or e11gravings. Cézanne\ incere:-,t in El Greco. for ex.1n1ple,
of che shadow on d1e dark green wall on the left creates an
reflecred sttcl, a rcvisio11ist vie,,· of art histor)' Í11Spired b) ,1cces-
angular ,;pace to contain the sketchy focus of head and the t1nfi11-
sible rcprodttctions. By &eeiJ1g drawing fiun, its utilitarian role,
ished lines of pilio"vs, pyjan1as and sheets. \vhich expose che
che ca1nera as the ultin1ate mi1netic 111achii1e ("-~J,ose veríry is. of
crea111y qualíty of rhe paper ,vitl, a fe\v dabs of pastel, unlike rhe
course, radicaJl)' challenged today) provided the opportunity tôr
chiaroscHro concrac;tc; of the original. T)egas is closer to che viewer
a re-e\·aluation of the tn.Ílnecic funccion of dra\.\'Íng. A~ argued
cl1a11 i,1 thc photographic representacion. as if Kitaj bad literally
by Charles Blanc, t\\71Ce dirt:'ctor of rhe Fcole de-, ílt'JU'<'-Arts
moved to chc bedside of his mentor.
a11d the instigacor of tl1e l'vlusé-e Lles Ct)pie~:
Copymg from photographs IS a parcicularly complex activity,
espec1ally to the degree t.hat the arci,;t 'sees through · the su-rface What ic; dra\ving? rs 1t a pt1re i111it.1cion of for111? If ,o, the
of the representatíonal forn1at to the stibJect as ,( it \Vere real 111osc faithfi1l of all drawings shou]d bt: the l"'e-;t: then nt> c..:opy
(thereby negating, or destroying ic) or accepcs che -represe11rarion \vould be prefer,,ble to the ii11age (i-xecl upon d1e daguerreo-
as the exernplar to be copied, accurately or not. Tl1e discrepan- type place. or traced 111ecl1anically ... 13ut 11eitl1er of tlJe:.c
c1e'- bctween K.icaj's photographic 1nodcl a11d copy sec1u to be instrw11e11ts gives us a dra,ving con,parable to rl1.1c \,\ l11cl1
tcrnpercd by thc psychological necd to dravv closer to h.is puta- Leonardo da Vinci or Mich.ael Angelo ,vo11ld l1a,·e n1ade. ·1 he
tive progenitor - hin1self a copyist - and Jessen the glaSS)' stare of 1nosr exacr inutation, tben, after ali, is not the 111c>st faithful •
his last angujsh. a11d che 1n.1chine in sei7ing the real does not al,\,l\''- , l,ltlh the

THE COMPLEX CONTRADICTIONS OF COPYING 281

 tnll'\Vh,; Btt..1L1,e d1,1,,1ng 1, nnt :1 ~i111ple in1it:1tÍl)ll, ;1 cnp)
or1e,pond1ng 1n.1the111,11ic 1lly t<l rhe original, a11 ,1rc repro-
duct1on. ,l ple,111.1\111. l)r,1\\'tng 1~ .1 ,,.<ltl\.1. ot- l I1l' 111111t
. l 11111
ln thc: t,,t·nt1eth ce11n1rv. . the s,u11e a,':l11t-garde that d1scred1tcd
~
the c1)11ten1pln·.1r) di,;cour:-.e of thl copy theretore :1lso dependcd
on 1t, rl·prc,,1011 . 1)r,1,ving\ relt':l'it' tr()Tn n11111enc fi1ncnons pro-
lll<>tc, eh.ir in, ol,·e111ent ,, id1 prl>Ct'ises uf tli-,cover) racher Lhan
t•nd product th.11 i, such .1 1101ice.1bll' J'>Pl'lt of 111odernity. 1" 1 Tl1e
di,cuvt:r\', oí other11e~, in tl1e ,elf. i111plic1t ín lli111b,11.1c{'s crucial
sraten1e11r 'Ji.: t:'>t un autrc ·. is rcflectcd in the valorising of self-
rl.'velanon. sun1J11cd up t~v l-lenri MichalIX 111 1959: ·1 painr ju-;c
.1s 1 ,v17ce. Ji.1 clisú,1 c1. ro red1srol'c1 111ys<'{I; 1v fi11d 111',ar is lr11/y n1i11c.
1
1har 1l'hirl1, 1111bcl.?11d11111 11> ttl(', has ,1/11 ny) helt111,1Ied t11 11,e. To experi-
1 ropy i,; us11,llly c.1ua11tifieJ i11 rhe accon1pa11ying rexts and deter-
ence .1r Ollll' d1t· ,urpri-;e of it ,1nd thc ple,1surt' oí recognising
it' (111y ir d1c<;). 1"' Thi, ,c..1cen1c11l of '-t:lf-discoverv chroL1gh other-
ing. "that ,,·luch. uubekoo,v11 to 111e. has aJv,:ays bclongcd to n1e•,
lcacls co J randonus:it1ou of copymg. ,vhat cotdd be rcrn1cd
;ippropr1anon- b)' des1re, superseding the 111ore contentious his-
ror1c;.1] tr;idit1<)11 of learning through established n1odels. Ir ha~
had 3 profound ef1t>ct on co11ren1pora ry petlagogy. Pare of a f.1r
111ore clen1ocratic. ,1nd pupil-centred n1oclel. ic reverses tra<litional
pattero-. nf lear1llilg. A -.tudet1t is 110\V required, so111eho\v. to havc
pr1or o,,·11erslup of a certain style. autograpl1 a.nd set of topia;
before be1n.g allocated m11lt1ple exe1nplars by n1tors. Ai1d pre-
ructably tbose exen1plars l1elong to the blaze of che present
n,omenc or tht> shado,.v of a fad1ng scar juc;r passed over the
horizc>n. With the 11asc fc)rever excluded. conte1111)oraneity
beco1ne, a self-perpctuating sy~teu1.
Such pedagogic practicc~ are nevcrthelcss srill ten1pcred i11
so111e are sc hools by a contrr1uation of the class pr,1ctice of
n1aking 'transcripcions' fi·o111 reproductio11~ or original ,vorks of
are. Whert'a!'. in rhe post-,,v ar dec:ides of the cwentieth century·
tl,is \lva~ .1 ,tandard :ictivicy of British art schoo ls. ba,ed on prac-
tices pc,pularist'd b1 Johanne, ltten, it is 110,v inc,-easingly a
cechiuque encour,ige<l 111 the n1u'leun1 and gallery -;ector for
11
schoolch.ildrc11. '' Ueb.i.t1d the persisLe11L but u11thcoriscd practite
of transcr1prio11s lS cl1e uii'iJ1akcable bc Iicf cl1a t sigmficant
historical ,vorks can best be undcrscood by a11alys1ng cheir for1na.l
'>tn1cn1re and thac an ine\'itable paTt of the process of assin1ila-
tion i, for the original to be con1plecely cl1anged at che end of
the proce!>~. e\'en era,ed. (l3y son1e unexplained la,v, school tran-
i;cript10n'> are 111o)tl1 dra,vn ,, itl1 charcoal, \vhich does nor
re.<;pond ,,ell to erasurL'l) Tl1e artist tllO'iL cited in Britain for this
pract1ce is r:rank Auerbach (b. r93 r), \vho J1as n1ade dra\l\'Íl1gs
'after che M::tsters' in the Natio11al Gallery in Lo11don througb-
our h1, l1fe. e I Atterbach cl.11111s the dra\VÍ11g-; as provisjonal
sketl he, tàr ,olv111g p11>blen1s in che studio and 11ot ends 111
then1,eh.-cs. but ,on1t: of the dra\v111gs are \'ery potent. U<;íng
cl1arcoal 01 bL1ck ti:lt pen over colc)urt·d cr,1yo11s or pencil. he
282 DRAW l'JG AS D•SCIPL IN I:
stir'i hi~ copy i111ages inLo fi·ag111e11teJ c.lrawing~ of such ncrvous
conti11ge11cy ,1nd incon1plt:tion th.it their orig11J'\ are lc>st .u1d
Lhe ir 1nca11u1gs per111anently slufted. A survey of these autograph
draw111gs (so111e .1re on sen11-pe1711anent display in corr1dors in
tbe Naoonal c;aUcry) reveal.:; "º líctle about the sul~jec:t, con1po-
s1rion ;ind scyle ot- che \vorks of ocherc; as co suggest th:ic pitting
h1111~elf ~1ga111st the 111asters í11 order ll> erase tl1en1 i~ a rituali-.ed
act llf :,<:lf-rene,v,1l-through-co111petitio11 for Aut:rbach.
As a11 extension of a puhlic cndorse111e11c of tl1e niethodolo-
gjes of tra11scriptio11 a11d/ or copying, the subjcct is from tÍ111e to
t1111e pro1noted in exhibitio11s, wbich tend to follo\.v a standard
105
installation of juxtapo.s ing che copy wirh the or1gu1al. 1n such
disptl).'S, the eagerly soughc-out d1/ference bet\:veen original and
111inedly pron1oted as being in ,;01ne way revelatory. The popular
111edia are percnnially fasci11ated \Vith cxact copies, or fakcs, au
111tcrt:st at variancc: ,v1th thc sophisticatcd dcvelopn1cnc of
rcprodl1ctive teclmologics wl1ere issues of origu1al and copy are
increas1ngly difficult to detern1ine. Presu1nably this is c.he reaso11
,vhy l3rjtish television progr~1111n1e~ 011 art have been pre!iented
l)y celebraced forgers or 11opular illustracor~. ,v110 can cl1eerfully
de11101u,tratt· how it i~ donc ,.vichouL botheru1g about the whys
or ,vbcrefores.
l11 the 1980s. \Vhen Sl1err1e Levu1e bega □ maki□ g facsu1úles
of ready- 111.ades, as ghoscs of ghosts, bcgiruung with copies fron,
book reproducno11s of the photographs of Edvvard Wescon
( 1886--1958) and Wnlker Evans ( 1903-1975), a nL1111ber of decer-
111inedly 11oc;t111odern arciscs. and writers '"'t're dealing ,vith
qucstions of authc11ticicy a11d appropriation. 10" Wl1en culrural
appro.priations, sucl1 as thosc of aboriginal 111otifs and tecl1111ques
by thc Australian artist ln1ar1cs Tillcrs (b. 1950), looked danger-
ousl·r like cultural in1perialisn1, recourse \vas 1nade co updating
the norions of Walter Benjan1in. Accordíng to TiUers: 'tbe thjng
guoted, '·appropriated" or ren1a(ie nleai1s uotbing other than
\Vhat ic originally n1ea11L if it ca1111ot ac tl1e san1e tin1e be caused
1117
to corrode or displace its historical ;,1nd cultural sc>urces'.
Lévine's project, which cxtt.:nds fi·o111 drav,·ing d rawings to pbo-
tograpJ:ring photographs, expa11ds cbc logical cl1ain of dt.:rivatives
of ÜL1champ's ready-n1ades: it1 fact, recently she recast Ducl1a.111p's
urinaJ in sh1ny bronze. Levi11e object,; co the incerpretation of
l1er copy -.;vork as 'erasure', preferr111g the metaphor of ';i scree11
111en1ory - a 111en1ory rhat blocks a 111ore pri111al n1e111ory ·, yet
~he i nsists thc:1 t 'there i, no su eh thi ng ª" an ahistorical actJvi ty'.
ln TI1c 1917 E,'<l,ibilio11 in NewYork i11 1984 shejuxtaposed traced
c.ira\vings of reproductions of Lhe .1bstract dra,vings after I(as11nir
Malevich with ftgural d.ravvi11gs after Egon Schicle and others of
the SJJ11e per1od (pl. 193). Levine's processes of cop)~ dra,ving,
,vhich slightly exacerbated tl1e degradat1on of tbe unage tncurred
through serial reproduct1ve c1perations, conferred on these early
copy drav\.'ings che ~tatu-; c>r vernacular en1broiderie<;, where the
 fur1J1S and meani□ gs of long-losr orig111al~ nave bee11 decon1-
posed cbrough repetition, bke a g.1111e of Clunese \\'h1sper-;. The
'du111bing' of tl1e copied l1ne through unskilful rraci11g retained
certain n1ini111a] qua1irie,, of r]1e origina] .1utogr.1pl1. and co11-
ferred a certain piqua11cy. especially l1er cl1arcoal .111L1 coloured
drav,·ings ·after' de Kooning a11d Scl1iele. Thc reverse procedure
occured in her l1ard. 111ecl1a1ust1c ,vatercolours afrer Joan Mirá
i11 1985. wl1icl1. dehberatel)· or involunrar:ily did 110c capn1re rhe
joyful ease of M_iró ·s c~1sual brush,vork.
When Levine copie-, vvorks hon1ologously, she consriously
})articipaces u1 a llistorical chain or- in,ages. Like Duchan,p ·s
appropriation of ready-n1ade~ into the space of tine art. he-r
works depe11d ou a process of i11te1TI1ptio11 and c;e12urc ,vitb.in a
contint1111n, halting and redefunng a represenracion 1n a u1on1e11-
cary freeze-stop. analogous to rbe p1111cn1111 of the indexical pbo-
tograph. 1118 A sii11jlar halting of tü11e occurs 111 ali those eguaUy
dead-pan Pl1otoreaEst dra\vÍng, v.'l1ere arcists reclain1 cl1e phoco-
graphic Íl11agt' tlirough 111aking ic over entirc:ly ii1 pe11cil or cl1,tlk
and \,Vhere a radical cl1ange of scale or exces~i,1e repericion of
111arks serves to guestion che n1eani11g of the in,age at the very
n1omenc it is apparendy be111g rea:fiirn1ed. This 1s tl1e srraceg,· of
Vija CeLnins, discussed .in chapter three. Celn1i n.s 's recovery of
photograpliic i.mages never achíeves the ironic status of che
appropriations of Roy Lichtenstein. altho11gh like hin1 (and, in cl
different \vay. the Gern1an artist Sigir1ar Polkt') -,he has .11Jo\ved
tl1e primary function of l1er fou11d in1ages to beco111e tl1e object
of a secondat,· function: d1at is, they con11ote /i()1u a tl1i11g is seen
lll che 01edia as n1uch as the 111ea11ing of tbe iniage itself. Tlns
funct1on of the readv-n1ade
I \\'as defined bv, Umberto Eco: 'a
selected objecr of use 1s n1ade an object of conten1plation and
then ironically connotes irs former use'. 11''1 Cel111ins put-; 1111ages
back into the 'real \vorld' by the real tii11e of her laboriou~ 11a11d
drav-'u1g. where pe11cil scrok~s a1·e builr up on acrylic grounds
rather tl1ai1 paper. givi11g tl1e n1arks greater pern1a11e11ce. 1'º
The Libidinous Heuristics of Copying
Exai11Ílúng the teclll1Ícal polish of Celn1ins ·s dra\Vlngs, a.11
observer could surrnise tl1a-c- che artisc has c..'lk.en pleasure in her
skill: :111 importa11c, if perhaps easily overlooked aspect of copyi11g
and probably forgery. There are exhilarating n10111e11ts \\·l1e11
arcists actively enjoy discoverii1g, or atten1pting to d i~cover,
Jspects of anocher\ practice. celebrating rhe 111an11er in vvbich a
cop1 becon1es an intiI11ate dialogue ,vitl1 anotl1er artisc. Art. after
aU. has ~vays been regarded as a serious business: and tl1e nsual
n1oralistic fables of creative bfe ass111ne thn.t ali drav..mgs except
caricatures or doodles are rooted ,virh1n a fi.1nctional and pro-
ducave, e·ven discipEnary paradign1. With111 copying, ho\vcver,
the- terror of autl1oria1 intentionaliry can be put 011 hold.
E111ueshed \Vlthin a11other'<; product:101i, as in tb1..• par1..•11tal boso111.
there l<i secur1ry to test sk.i.U, to learn. change and d1gress, and to
explore dt:'sire thro11gh the n1ed1:ir1on <.)f S()t11eoni: el,e's de~ire -
or <lrean1s - rlie 111etaphor 'L'n111lo1 ed 1n tl11, ch.11,rer. ·rhrl)t1gh
eff.1ce111c11t and tra11,_forn1.nio11. the .1pprl)pri.1tion <>f rhe other\
v- orl-.. can be cxrrcn1el) liber,1ring. 111 Lt can al,o ,crvt.· the 1n.1cho
.ispect of co111petition, as 111 thc tales of ri, alry of fVlicl1elangelo
a11d Agostino Carracci, producí11g copies in arder to sho\v off
che1r sl.aJ.l. And it is also po<;sibly re,,·ord111g .1cc<1rd111g co l~ey·
nold-;'<; honey l'->ee/dung-beetle trope of transforn1ation: a sk1lful
painter ·,víll pick UJ' ti·on1 Junghill, vvh,1t by ,1 111ce çhy111isrr1.
p.1ssi11g through hís O\.\ n nmind. shall be converted intl> pure
gold'. 11 ~
Tl1e plcasurc of thc exercise of skill could b.1\'l' been one of
chc 01otivauo1is belu11d lngres'._ large .;u1d virruos1c bla.ck chalk
drav\·ing · La Bel/e r'erro111ere' after Leo11ardo (cirti1 1802-6; ~1I. 197)
The large dr,1v.ring \Va~ originally in che collecticH1 of Jacc1ues-
Louis I)avid. in \Vhc)-,e atelier Ingre,; trained in P.trÍ'-. [ r is a 1011r
de .f,1r,-c of 111i111etic copying th,1t con, erts p.1interly ~fi111111to into
chc:: 111o~t ~ubtle tra11sitio11s of black chalk n1odeUing tl1rough
sttunpit1g ai1d tonal v.ir1atio1i. Thh act of □-anspos1tion. co1nn1ou
to ili reprod11ctio1Js of art-,, orks u1 print n1ed.ta. \,·hen colour is
1
absrracted into black and ,vlnite, 1s a foren1nner of che sn1ooth
ron,11 tran<;icions of phot0graphy. What Tngres lear11e<l fi-on, this
C()f)Y or UI Bel/e Fern,11icrc. ap,lrt fto111 the 110~<:ibilitit'\ ()Í n,akíng
black cl,alk ·seen1' like paint, i~ difficu lt to u11Jerst,111d, altl1ough
l1e n1ade e\ nun1bcr o_f largc-scale l1eaci-and-shoulder dra"vmgs at
rhis an1e. There are sigrufica.nt do11bts tbat che painung, tl1ougl1c,
111 lngres's tu11e, to represe11t the tniscres;s of Fr.mço1s 1. is alco-
gecher by Leonardo, alrhougl1 rhis ,vas presu111a1)1y not .1 shadow
to ha,,e ruffied lngres when l1e copied the paii1ti11g 1n tl1e Louvre
or \-\'Orked fron1 ,111 engraved reproduction. 111 Tngres's enjoynicnt
o( bravura tecbniqi1e i11 rl1is loving gris,1illc facsi111íle i!> s<.> palpa-
bll'. d1ac it Í..tJvites artless ad111rrarion fi:0111 rhe , ie'v\·cr. Tlu!, slo,vlv•
cooked dra-n-riug. an equivalent of Celin1ns's appareutly 11runedi-
ated Photorealtsn1 or KitoJ's persOtlal appropriation of a cl1er-
1shed unage. Jlresupposes an investn1e-11r of tini e thar has protound
re-vvard'i for tl,e copyí'it.
THE COMPLEX CONTRADICTIONS OF COPYING 283
 •

1117 J -A. -1 ). 1ngres, '/ ,11 lil'llc Fn 1011it\rl'', , irr,1 1802-6, bb r k chalk . scun1p and \\ ,1s h , , 25 X -11 8 111111. 131r11ung:ha111 U. K.. Univl'rsirv of
B1r1111ngl1a1n. BJrbcr l11sutut1: uf f-inr.: ArL~. 37.3
Copying and the New Media
Altl1ough tl1e practice of copying has ofte11 i11volved a confusion
of tl1e boundaries benveen {1riginal a11d replica as indicated in
tl1c:> exan1ples cited above, or itself becon1c a criticai too! of fine
questions of e111rilation and dissin1ulation, it has beet1 predicatcd
on clear disti11ctions of tbe belated11ess of che copy a11d assn1np-
tio11S of the worth and pre-ex:istence of the protocy1:,1e ::u1d the
value of an act of appropriation. The industrial processes of n1ass-
production, pl1otography and -;opl1isticaced print reprodt1ction
have long challenged Albrecht Diirer's unsl1.tkeable sixteenth-
cenrury conviction rl1at
there'<; never been an artisc "vho has been cert,1i11 tl1:ir he could
n1ake t\VO things th.at are c;o sunilar cl1at they cannot be dis-
tinguishcd. For i11 ali of our work notlúng is quite and alto-
gethcr like a11ytl1it1g elsc . . . For \VC sec tl1at \Vhc11 ,ve takc
tvvo Í111pressio11S fi-0111 an en.graved copperplate, or cast tvvo
images in one 1nould 1 one in1n1ediately finds differences
"vhereby they ::ire distit1f:,tt1ished fron1 011e ;111other. 11 •1
Within the tcchnologically ge11erared art. artefacts a11d multipJes
of posttnodernity, the coilapse of differeoce betweeo 'original'
,u1d cop') l1as lcd to a profounc.l u11tlcr11tining of the n1er1t, lll
or1g111ality. 111 the 1970s Jean Baudrillard J1st111guishcd bet\,·L1.·11
c11rce orders of simulacr.1, dcturu1g a passage of vJ.lue svste111s
fi·o1n productlon to reproduct1011 to su11ulation and hYJ1er-reality.
C itin.g Andy Warhol, he suggested that art Jnd 1ndustry had
exchanged their signs: ·art ca11 becon1e o reproducnve n1ach1ne
.. ,víthout ceasing to be art, since che n1acl1ine is 110,, nolhing
but c1 ,ign .... Tl1c coei u11ivcrse ()Í digicaJity ab~orb\ tl1e uui-
verse of 111etapl1or a11d n1etony111y. 11~
ln a ctigical age. the ncv. ly gcneraccd image l1a& 110 n1orc status
tl1an any otber image rn a cl1.ait1 of si1nulcra; ali are equ:tlly sus-
ceptible to deco111posicio11, u1ultipücation and deh..istorici!;ation .
The dialectical tension l1er,.veen invencion (111s:c11i11111, i111 1c111io) a11d
iniiracion (in1itarit1, af11111la1i<1) ha, been nullified, or n1ust be
undcrstood to be in a <;Cate o f· crisis. In the conAation of publ1c
and pri,·atc, ,vhicb thc high-tcch 111cdia of n1ass con1n1L111icacion
l1avc spa,vned, auchorshtp ís 01tly a flash. Against tl1csc cb.anging
círct1mscances, tl1e uniq11e ha11d dra\ving on paper rer11ains redo-
le11t "\Vith meaning a11d pro111ise a~ "vell a'i bisrory; illu1ninating
che value of con1p1ex n1eca-excha11ges l1etween author. n1aker
.,nd vie,ver, the pasc and che prc<;ent.
THE- COMPLEX CON ... RADICTIONS OF COPYING 285
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Part Four
Drawing the Self
 l)ra,,víng') of artists dra,ving are ,o ubiquitou\ as to conscicute the
Chapter Eleven
ur ~ul1jecc n1atter of drav:ing. Sucl1 drawings are cl1e iconic cou11-
Drawing the Drawer: or
tcrpci.rt the auto111atic cloodJc, trippu1.g absent-nundcdly 011 to
tl1c paper 1n v,·hatever dra\ving n1atertaJ is to ha.nd. Furthermorc,
The Natural isation of Practice "·he11 artists represeot then1.Selves drawi11g rhrouRI, the n1edtum
of dra,vi11g, chac 1s, e11acting a homology of n1e:u1s beC\veen
subject :-ind making, .1 further levei of unconscious or conscious
signification con1es i11to play. And play is ofcen tl1e c)peracive
c.ly11a111jc in such reprec;entation~. ,vhjch appcar so easy, 11aturaJ
a11d spo11caneous, b11t can be conscructions of arti.fice. Con-
sciousl)' or u11consciousJ-y, recording oneself or 1nod1er artist ac
,vork co11scit1.1tes a significant st::1ten1ent abone the status of
dra\.V1ng and th e e1nbodied gnze.
As soori as I see, t is nec,,ss 1ry thd1 v1s1on (as 1s so well rnd1c,ltf>d by lhe double mean1ng Portraits of oneself or ocher arti,;cs in tl1e ::ice of drawíng reveal
ol the word) be doubied w1th a complement<1ry v1s1on rnyself seen lrom w1thout such a lin1iced iconography of posrures, wbich are .unazii1gJy consis-
as 3nother w011ld see ne, lnstalled 1n the rn,dst of 1.he v1sible, occup1ed 1n cons1denng 1t
from d ce0 t,11n spci:. te11t \-Vitl1in an obvious p1LLrality of style, over a vast period of
Maunce Merleau-Ponty time. Drav-'ers squac on thc ground or sic on a low stool or
bench, be11du1g over a portfolio or srrtill sketchbook on che lap
Je ésr un ollfre
or raised knee; occasionally. they stan.cl to dr,r,v. St.1ch in1ages,
Arthur R1mbaud
ba~ed on observation of natural actions. oevertl1eless conscit1.1te a
copo~ differentiated br tl1e 111odesry of the posture, the intensity
of the up,vard gaze .ind the absorpcion of the dra\ver. Tl1e aspect
of 111odesty 111aiúfcsts itself i11 the lack of accessories: a board,
dra.\.VÍ11g paper, a dra,,,ing in1plen1eut and perhaps an ink or ,vater
holder are all thac is needed co sig11ify or undertake an acc of
dra,ving. GeneralJy, the drawirllg arcist is sn,al l in scale, represenced
co one <;ide of, or ahno~t lost in, the 111ain subject of the ,vork,
,~·hich doubles as the subject rthat the repre'iented dra\ver is pur-
porceL11y con1n1itting to paper: a voyeur ,vitl1in the ficcive \vorld
of bis or l1er Ovv11 gaze. Tlús placen1e11t in a large la11dscape or
cityscape. where the s111all fig11re of tbe a.rtist is over,vheln1.ed by
the vastness of 11ature. built environ1nenc or cuJtural artefacts,
serves as a syn1bolic íncorporation of the observing presence and
a naturalisation of \"'lsion through dra,vi11g.
Witl1in the ,vide field of perceptual art, tl1e easiei;t and 1n().SC
convenient way for artists to exercise their skill or do war111-up
exerci.ses is by dt-awing thcnlSclves i11 che 111irror; but tlus self-
reflexive acc is rr1ore chan a sia1ple 111.atter of convenicnce or 11ar-
cissis111.3 Wl1ether che artist jusc draws his or her face, or
undercake, a parrial or full-lengtb view in a 01irror, indicates or
suppresses the reversed dra,iving hand and che n1arerials of
dra\-ving, the excha11ge ot- gazes between artist and observi11g self
~erves co shape such drawings i11to co1111nencaries or n1editations
011 visior1. as v-.rell as construccio11s of i<lentity.+Wben arciscs dra,v
otl,ers dra\.ving, tbe reAexive doubling ir1l1crc11t i11 tl1e projecc
can be a loose1ii11g or reinforcemenc of such investigatior1s - a
displacen1enr of self·. or deferral of action that tnakes tbe subjecc
198 ({.1a 111; J'<~l(•') Adolph vun M l'lll\; 1. B,,}' l)n111'il(~ ,11 " T.,bll'. 1i-37, gr,1ph1te a ,vork of recolJection. 5
1n ,kt·tchbo<1k, 1(1 11 x 103 n1111 (c:1ch lohnJ Uedin. Sta,u.l1chc Musccn zu
llcrful, Kupí..:r~t11;hk;,1b1ncll. 5 kb 5. S. s 0
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The View from the Drawing Board
pt o t pi I e ;bove a I the o L:-ic1 ~"'nses. 1s more delighted
G1ovanr1 Paolo Loma:r,o
111 ,1 lilleL'llth-ci.:11tury pen ,1nd i11k dra\\'ing possibly fro111 thc
\\\) 1 kshop o( ;...1.,,0 F1nigttcrra. ,..1 'ú1i11/i Dra1t'll{I! (pi. r99). a stud10
:1pprc11oce or 1!<1r.:(111e ,vearing J cap s1ts ,virh lt"gs ak1111bo on a
pl.1nk or 'don kcy·. re,ring .1 "''ooden block on one knee. Lteeply
l'ttgni";ed in dr1,v1ng. 7 There :ire v.1rinu, versio ns o f thi, drawing.
,, hicli ll\Vt'" ,0111eching tt> the 5,1Ji11c11io. che I--Iell1..·ni~lic bronze of
,1 hny e,u·.1L1111g ,1 thor11 fi·o111 hi'i left fo ot. a11d possibly has
~ín11l,tr n1ildlv er<)llL 11nphcat1011s.1- ·r he ..,v1dcly pLtced legs of the
dr.1,,i.:r ~l'J'Vt' ro npen up che lo,ver part of the con1positio11 it1to
.1 bn>,1d rt'ctangle, penerrated v7\U,tlly by the d1agt)nal plank. The
npt'n-ei1ded ,1rrange111e11 t ;1çr,; a~ a foil co che t'nclosed i11te-r-
rL·l.1no11,h1p o t· head. ha11d, and tablet. Thc short fi·i11ge of l1ajr
d1.1l fL•alhl'r'- Jround 1he rap of thl' cc>nccntrating boy l1as l1ce11
obscr, cd \\ 1tl1 br1\k ero110111\', . a11d tltl' fooc of thc raiseLl right
leg b.1s carelcssly slipped out of 1ts light clog. brii1gi111; to n1i11d
the l.1ter rt.> d chalk bv rhe Carracr1 school .-!rtist Drt111 1ír~f! (pi. 153),
,, here th t' drawer ,1lso ha~ hi s legi, ~pread and hos loc;c- one shoe
111 ,111 .1bsent-1111nde-d tir of ro11ce11n·at1011. The claricv , of the
outli11t' <:t>lll<Jur nr tl1e l3ritis11 Mt1<,eu111 dr,1,,ving i~ ren1ark.1bly
a~~urcll. ,111d the delic,1te ,vash that defi.11i.:s tbe 111odelliug of
thc body does uot di!>tract u1 a.i1y ,~ay fi:-0111 tl1e e111blcn1atic
qt1.tl1ty of chi~ .1bsorbed figure, phced dt1go11alJy on rl1e dra,ving
,hl'l't.
1-h1" dr.1\\.Jng belongs to a set, attribured :it different tin1es
to rh1..· Flort·11ti11e \Vorkshop.; ()f Masaccio ( 1401-? 142~), tht::
Poll.1iuoli brother~ or M.a110 Finiguerra ( 1426-1 -1-64), or to tl,e
Fcrrare:.c ,trti\l Ercolc tle' R oberti (d. 1496), of young appren-
tiCt''i. \Vearing tighcs and tu.11ics, cJo~~ ,111d littll' it1door caps or
turbans. eugaged i.tJ Yar1ous ,vorkshop activiaes, drawmg, sculpt-
1ng, bu~y ,, 1th carpentry, brrinding p1gr11e11ts or posing for others
ro dra\v. l)ra,vers -;1r or squat with tablets on their knees; c;o111e-
t11n1:, the pt),ing fib)'ure, .ire nucle or lightly draped or have fullen
aslel':p. and. occa!-,iu11ally they have l1een tran!.forn1ed into girl'\.
S0111e ot thef-.c ,;tndic~ - e,( wluch there is a considL'rable group
111 tht' Utlizi, 111cludi11g cluplicate vcrsions - are p.rickcd for tra□s­
tê r: the1 are ,tock figures to be appropriatcd for f1nisl1ed works,
,uch ,l) 11ir/l() 111etal de-signs or painrings. lt is the association with
th1 ... t'ngr,1v111g tel·hniqut' that accouncs for the cri<.pness and
rl.1r1t\ or the pe11 oulli 11 e,. Retot,ri1i,,1bly, ~on1e of thec;e figures
\VCre at!Jl)tcd to ~Lllt d1t' con1pl1c,1ted figural ,11legorie\ dr.1,,vn 011
p:1rch111e11t tn the a1ag111ticl'nt .ind co111plex niid-fifteenth-
CL'ntury C'hro11ic/c ~/ thc 11 lir/d (Ur1t1sh Museu111), a co111pilation
o( \Yonderful líne dr..1,,·in~ atcributed to the circlc of Maso
~
1
P1111guerr,1.' 1 ' ht' dra\v111g, ot (!ar.::0111 Jt ,vork were used for
290 DRAWING Tl-'1E SELF
\vorkshop practice and ,votald cbt?retore also be cop1ed and
redra\\711 b,· the appre11tices the111Selves, ,vhich accouncs for che
111t1 ltiple versions of these rl)te o:;tudiec;, 'A'h ich hnve n<) back-
gr()unds or settings but re-veal a o:;in1ple interest in reprec;enting
che \l\.'Orksl1op and ils trade.
Pcdcr1co Zuccaro 's L{fe ,?}-Ti1ddco Z11ccaro has alrcady bee11 cfu-
cusscd ar so1nc length u1 prcvtous chapters. ln 'làddeo Coµyinx
~r
R11µ/z11c/'s 1:res.coes Ili thc Loj!J?.ia Vi/la Farncsina, 1590s, a tughc
c;cene. he sits 011 l1is knapsack \Vearing che san,e short cunic and
c~1p J-, Pollaiu<)lo'c; or FinigJ.1erra's apprentices of an earlier age,
dra\.vi11g 011 a boarcl bal.1nred on one knce. 10 The co111plicacion~
of drawing fron1 a lo\.v vicwpoinc, di sc>clc> in s11, l1avc bcen
.1naly:;cd in relatiou to cl1e n1echariics of representatio11, but ,,·licu
such a pose becon1es the s11~ject 111t1tter of a ,vork, it attracts atcen-
tiou beca.use it has uot been totally acculturaced. A cencrally
pl:1ced v1e,ver \\Tlth eye-; on the levei of che vanish111g point ic;
the presupposicion for 111 osc rena1ssance and later ;Jrt, .11Lhough
reguiring 111uch n1anoet1vring to get everytl1ing to line up.
Nevcrrhcle-;s, in tl1e West we accept it as tl1e 'natural' viewing
~
posicion and seldon1 questior1 its el:iborate logistics in pictorial
c011struction. On the other ha11d, tl1e upward, aspiratio11al gaze
of a low-sitting scudent, ,,,ho bas to tilt che bead backv. ::i.rd, 1
renders hirn / ber a 11eophyte; it beco111es the pose associated ,vith
tl1e e111blen1atic frontí~pieces of dra,.vii1g n1anual~, such as B1oe-
tnaert's Art ~{ A11ellcs 111,111ual })reviously tliscusscd.
Ln ,t dra,vii1g, et'cl1ing a11d f,li11tiug by tbe prolific eigl1teenth-
Cl'11tury frt.>ncb illustrator Gabriel de Sai11t-Aubi11, a bewigged
artisc, sictin.g on tb.e floor vvith bis legs straight in front of hin1
,v1tb a piece of paper on a huge board. rather chet"kily aspires
to carnal kno,vledge of the fen1ale body. ln rhe wntercolour
drav,-i11g of T!,e Prít'(lfc .ricade111y ( I 776; pl. 200), an 01-1ulent reclin-
ing r11odel ii1 a sexy pose 011 ::i couch i~ the sul~ect of rhe artist's
gaze. while l1e draws her with a11 extravaga11tly large pl1allic pen
fi.-0111 a corner of the fi·an1e. There is no chapero11e prese11t at
this co1ifi:011tation, as is LlSLiaily depicted in versio11s of the artist
and n1odel at tbis period. On the rontra ry, a l)eeping Ton1 tries
to peer i11 tl1rough tbe curtained vvindo\v on tbe left. 11 The
cloches stre,vn on the chair and tbe do111ec;cicity of the interior
with its rococo fireplace and n,irror (and the palecte :ind l1rt1sl1e)
jauncily balanced at one e11d of the 1nantelpiece likc a top-hat-
,,s-visiting-card plus a canvas at a rakish anglc), signify tl1at this
is .1 very differcnt sp.icc from che official Frc11ch academy, vvhcrc
01uy inale studencs a11d 111ale n1odels ,vere pernutted. Tl1e extrav-
ag:1ntly abandoned pose of Saint-A1.1bin's rnodel is close to a <;ati-
rical dra\ving of the lré1111s <?.( i\tl({!11ot sculpture ar the Salon of r757
- Saint-Aubin was fan1ou!> for docu1nenting rhe!>e eve11ts, Ji, well
as illustraling Salon !,a]es catalogue~ - so ic aJso n1ocking]y al ludes
to cl1e unabashed sensuc1licy of public -;culpture of che rin,e. 12
Ai1 u1cercsting doubJj11g of subject ant{ object is ,1ddresseti in
a red cbalk dra,vi11g by Hubert ltobert (1733-1808), a co11ten1-
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199 Workshop of l\lLi~o Fuügu..: rra, ,--l )í'lr,//1 l)r<111r111,~. circt1 1450-7,. pt·n .111d bro\\11 111k \\'1th \va,h. 190 X 111

111111. London, Thc Dr1t1sh Museu1n, 1X9~.091, ..1--4or (large1 rl1nn .1ctu.1I ~•ze)
 200 (;;ibncl de 'i.11nt-Auh1n. 77,e Pnr•,1te .'1cc1d1·111r, 1776. "v,1tercolo11r over ch.ilk. <lin1en~1ons L1nkno,v11 Priv.ice collec□ ()n
porary of Sai11t-Aubiu and tbt• n1ost fan1ous Frencb land:.capist
of thc cighrecnch ccncur),: ln Dra1t.4?,hts111a11 Copyi11,e Don1c11ichi11o's
. St r i 11drc11 i11 Sa11 Crcf!orio
'l~'la_í!l'll,1tio11 of ai Cclio, Ro111e (r76 3;
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pi. 201 ). the up,vard v1e,v of che figure and church in a hoi-i-
7ontal for1nat analogically repeats rhe u11,vard g,1ze of the
dr,,,, ing '>ubj~'ct, sitting 011 a chair l1alanced bet\veen t\,\ lo""
l1enche~ or plinths. l~t)berl. che authorial arti'it dra,vi ng the
drav,rcr. appears tl> be situatc(.l son1ewhcrc bchi11d h1n1 in tl1e
chL1rcb; bis v1e,vpoi.t1t 1s so lo"'' .15 to suigc~t thar J1e uiigb.t be
~quatcing 011 a bcncJ1. J h.i~ low var1tage-po111t leads to rhc cL1t-
orT ,T1e\v of the painting being cop1cd, high on thc ,valJ .1bove
rhe repre-,ented art1st, ,, hich giVt''- us ~0111e indication of rhe vast-
11,~'ls of tl1e neglL·cted church. The ca">ual disarray of an ea<;e]
h:Jning ,1gain'il a bapti.,111al fonl, and che p()Se c)C the artist, wl10
ha!; tl1rO\Vll off lu., tricorn~ hac and props hi, dra\ving board 011
che back of a cl1a1r, has J si111ilar in.souciai1ce to that of ZL1cca.ro 's
.1rtists 111 the ~ed1ci Chapei, ar1<l there is evcn an cagcr dog, ,vho
poke, h1, nose <>Llt or the doar into rhe sunsl-úr1e. The casua l
1111phc1tt<)11 of ,111 .trll'-l sne;lking a v1e,v of a11ocher dra,ver is
-
1,1tht·r unlikc Rol1crt\ usually ,;er-piece dravvings. or the bro,vn
111k a11tl \YJ.Sh 1r(h1lcctur.tl tànca,1c, 111 Lhe ,;cyle •
of Ptrane'>i to be
fi>und in '>Olllt' of lus 11u111erous '>kl·tchbook-;. 1' Robert bccan1e
292 DRAWlt\JG fHI: SFLF
acquai11ted ,vitl1 Jean-Honoré Fragonard duríng l1is ci111e in
lZ0111e fi·o111 1754 to 1765. ,vl1en he was loosely associated v'rith
the French acaden1y, and he travelled ,vich Fragouard and his
patron. the Abbé de Saint-Non, co Naple~; i11deed, it is son1e-
tin1es difficult co tel1 their n1ore conventional red or black chalk
1
() landscapes and architectural studíes apart.
)ü1111g TT'<1111a11 Orn111i11g (circa 1776; pl. 202) by Fragonard is a
very lyrical Jnd lw11i11ous brt1sl1 and wasl1 drawing execLtted ,.vith
spccd·y bravura, dcsigi1ed to accompany a pe11dant drawing of a
yot1ng ,voman readi11g. These pai.red drawii1gs, both icons of
absorption, foUo"v on thnt specific e.,._-ploration of rhe tl1en1e of
r:ipt actention that Michael Fried located Íl1 France exactly in
the n1id-175os to fix tJ1e 'supren1e ficLion of cbe be11older's
11011exi\tt:11ce'. J-r A ,vhite-go,-v11ed you11g ,vo111a11, perl1aps P.rag-
onard's artist sister-jn-la,v Margucritc Gérard., sits gracefu.lly ou
a lo"'· stool. dr.l.wing 011 a very large portfolio resting 011 l1er
lap. 15 Aba.11do11ed c..-lravvu,gs and a discarded antique bast at the
lov\rer r1ghc hand of the dra,,ring actesr to the professional aspeccs
of her practice, a11d disringuish her IÍ·on1 other an,ateur ,vo111en
,lrtists. Fragonard'~ ~erious arti<;t lo<>ks Ll})\vards to a group of
figure'> behind ;1 lo,.,• plinth 011 che righr of cht: dra\\'Íng, wbich
pron10Les a cercain .tnibiguicy: tl1c figures could \-vell reprt;scnt
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~0 1 Hubert ltobert, Dri111gl11s11"111 C"p)'i11g D0111c11ic/1i11o's 'Flagc/111/1"11 of S11i111 .411dre11•' i11 .'),111 (;rcgorio ai Cclio, Ro111t•, 1763. red chalk, J2!J X 44S 111111 . Ncvv York,
Thc Pil'rponl Morgan Llbra.ry. Gift or Mr. Jnu Mr~. Eugcne V. Thàw. 198 1.74

the H oly Fan1ily. ratl1er than n,odels posing as the T-Toly Fanlily. in dark br<)\Vn shad(>\V vvith quick, bro.1d s,v._1tht!s of d,1rk i11k .
This is particularly truc of the bearded patriarchal figure, st.i ring This is brush dra\ving ar ics t11ost n,ellifluous. lt investigaces tht'
i11to spacc vvith a fixed gaze, \Vho is poscd in thc stylc of Bar- fcn1ale gaze 10 si11iilar tcr 1u'i to that of th c 111.alc artist, conrrary
tolomeo Schcdo11.e's Ho/)1 l~à11iily, 'v'.:hicb Frago11ard had copied to Gabriel de ~aint-Aubm's '171c l'rii•ntc rlcndc111y. \vhich 1dcua-
Íl1 Naples in 176r . 1<• The plinth entorces a partia) spatial separa- fi es the artiscic gaze \\;th a J11ale erotlcs enge11dered by a nude
tion from the arci-;c drawing on the ground to the left, creacing and passive fen1alc'. And its ide:ilisation is ratht'r rare in Frago-
the balancing ba~e of a triangular con1position. She is h11n1ble nard's ovv11 Cl"uvre, if co111.p ared, for c.>xan1ple, \A.'JLb his 11,1ughcy
before divitúty but do111j11aces cl1e dra\A. ing by l1er scale. rl1e brc>,vn ink .1nd vvash dra,vi11g Ll Bâl. iUustrati11g ;,1 tàble or
u.1censity of ber gaze .111d tl1e ALte11cy of l1er brush representd- La Fontaine (PJris, Mu~ée du Pct1t Palais), in vvluch tl1c artist in
tíon, in co11.trast ,vit11 the r11ore ll1detcrn-úuate sketchiness of thc his srudio is direcrly dra,vi11:g 011 tlie belly of cl1e co1nplia11t
1-loly Fa11uly. They are u1
full ligbt, the san1e brigJ1.tness of n1.odel ~ta11dj11g betore h1n1.
17

untou ch ed areas ot- paper. ,vluch -;pills on to the dra,,;ng board T,1/o hundred years lacer, Pablo l'icac;<,o recurned to the cin1e-
::tnd the arti'it's body, whüe the resc of the studi o space is \Vashed ]e<;~ then,e of rhe fe111ale body a,; ,;exual spectacle and the ,lrtl~t

DRAWING THE DRAW ER: T HE NATU RAL ISATIO N O F PRACTICE 293

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.?O.! 1~·.111 l f,,no,~· I rag,,n.anl, )\11111~ íl í,,11,111 /)1,11/li1~if. ,;,,., 1776. bro\, n ,v.1\h l)V..-r chal\... unJ1:1Jr,l\v1ng, +51 X 33$ 1uui. Vil•1111a. AJb1:ru11.1,
127JI
as voycur. 1na sl1ort series of l;itc skctchbook drawings ofjanuary Bending the Knee before the Numinous Subject
r97r on coloured paper, thc art1st L<; dep1cted dra,vmg the n1odcl
If a o;eated p<)'iiti<.)Jl is con1plic1c with a-;p1ring Ct) kn<>,vledge (are
while seated very close to her on the floor, 111 pos1rions compa-
l11stor1ca], \l">II1tual or carnc1l). tl1e posturl.' of standi11g ar1d
rable to Saint-Aubin's. ,~ Each of Pica-;~o \ speedy in1pro,,isations
bendii1g a ki1ee is iniplicated in a dift-erc11t bodil, rhetoric. Thi,
u-;e, a differenl technique and f,et ()Í figurative conventio n-;,
is a pose capntrcd by Zuccaro in ·1:1d1lco ;,, t/1<: S1srt11i' Clz11pcl
~11cludi11g Tl,e Artist t11td l1is l'vfodcl uf 25 January 1971 (pl. 203)
Copyin(! 1\.tlichelan~elo's 'Last Judg,e111c11t' (pi. 105), 111 \\·h1ch the
ll1 ,va~h .u1d colou red chalk. The .1rtisl's cnorn1ous hcad (,til the
arcisc rests h1s board 011 one ra1sed leg. precariou~ly b,1la11cing J1is
betcer to look witb) h.as a dual aspect; a n1odelled clialk profue
inkpot on the top of cl1e dr.:i\ving \vith his left h,1nd, \Vl1ile he
conccntratcs 011 lus hand drawing 011 to a block or board, wl1ilc
dravv~ v.tith his righc, looking up at tbe i111111e11!,it)· of che fi·esço. 1''
a bn1sh outline profile w,tb n1oustache h.as an eye for the n1odel
Although a light falli11g on Lhe ~keccl1y L1sf _/1lllf!e111e11t illunw1ate,
with her vacant gaze st;1ring into ~pace. Th ic; ~ct c>f drawinr, and
1t~ grandeur, a11d Taddeo J1as til'd lus c.Joak arouod bit11 m a bib-
looking c;o 1nti111ately conneccs n1odel and artisc chat tl1e dr:\ving
lical 'í\Vathc, the huddJc of clra,V1ng equ1p1l1ent on tJ1e scep char
bu:1rd rests agaill<;t l1er bent leít leg, while 'lhe nonchalandy l1old-.
he has colomsed c;erves to lessen rhe a\ve of the greac chapei
iL witl1 hcr left hand. Thc consistent proportions of the cornered
111 the V::icican. The pose has a very specific assoc1acion , ..·irh
111.odel she is crushed againsc tl-1e fra111c - and thc unity of hcr
Micl1elangelo hin1self, a'> Arn1enini relaces ho\v. ,..,1,en reqLH:''>ted
fc::itures contrast "vich the broocling bodily clislocation of tl1e
for a ,;ketch, '[Michela11gelo] put l1i'> rigl1c foot ou tl1e l'•>t:11ch. lus
lo11g-haired artist.
L"lbov." on hi" raised knee. and his hand against bis face. and
ren1ained a,vh1Je in thought. Then be bega11 to dra,v the 6gt1re
ai1d fi111sl1ed 1c in a sl1ort ti1ne.' 2"

203 Pablo Picas~cJ. ·n,t· A 1·1is1 c1111I /,is J\1orll!I. 25 january 1971 , chalk ,1nd v.-ash 011 coloured paper. 512 x t'ísoullJl. Pn,·acc col-
lcclion

- n

DRAWING THE DRAWER: THE r.JATURAL1SATION OF PRACTICE 295

 Thi~ po~t' 1s 11ot \ L'l) f1r íi·on1 thc tradi Lion,11 iconop;rapl1v of
SL Lukc beío1c tbt· \ 1 u·~in. in "vh1ch tbe E,·a11gelist 1s so111e□ n1es
dcp1cted gt'nut1e(t111g bcfore her spirirual ,1utbori~T wh1le
dr.1,, ing bt'r, r<1ther eh 1n ,itting 111 sc.1te before ,111 eastl. Th1'> is
,t) 111 J{.o~t'r va11 der \X.e)den\ 11,1i11ting ()Í <;r L11ke P11i11tit(i! rl,e

f "i1:,~111 o( rin·,1 1-1-35 (l3<lSt<>n. N\,1-;,., Mu'it'lllll of f-ine Arts). 0 11e

(1( d11:.· 1110,t 1:1111<.>ll'- n:11Jtr111gs of thc \UbJect. St Lukc is clcacly
drc1\\'ll1g ,,·icli a srylu, or n1etalpo1nt and 11ot p.uuting (co11trary
to che cidc ot che ,vork). a11d he 1s represe11ted 111 the s.1111c pose ,
¼
in reverse JJ1 1 rare fificenth-centt1ry srippled bn1sh ~111d ink
1 •

dr,1,vi11g L>,·er r11ec~1lpoint, Sr L11ke /Jn11Fi11.~ tht' T'i1gi11 attributed to

the -;chocll oC f)1erit I3our, (11rú1 1.,1.15-1475; pl. 2.04). Se Luke
r •

,veJr, .1 littll:.' car) likc: ,1 111011k. bt1t che Virgi.t, i~ absc11t- Jlcº(.
the dra\\,lll!; could be a frag111ent of a larger \Vork - altl1ougl1
we 1111agu1at1,·el,, co111plete tl1e subject ,vith reference ro th e
direct1011 of ~t Luke'~ gaze and the 111etal11omt drav,·1ng on che
t;ibleç, ,\'h1ch i'i âlted to,vards u, to ~how the outbne drawing

20,i (/,,•/,,,,.) '-,chool of Dil'rit 13uuL~. s, L11ke Dr.111·il~e 1!1t· 1·71:~i11. 1111d-tiftce11th
Cl'nrttl). bru•d1. bro"vn inl,. o\·l'r n1etalpoD1t underdr.nving. 156 X r12 1mn.
P.ins. 13eatL'\-,trt, de Pari~, lºEcole 11,1tion,tk· supênt:ur<.:. Ma~ +-1-9

\
'

,
l

, 1
1
!

205 (l'i;!lrt) Fc<lertcn LucLa10, 7,uldco lll 1/,,· S1st111t· (:/u1pel rppyl11g ,\:tidlt'l,111,<:clil~,
'L1s1 J111(,;:c111r111'. drc,1 1595 bl.tck J.Ud rcJ chalk. ptn .1ud b-rQ\\ n 1nk "ith
bru,vu ,-,.,sh ..p9 X 17711 1111. r 1,s Angl·le,, The J Paul (;t't ry Mu~eun,.
99.C,Ar, 111 •

296 DRAWlf\JG T~lE SELF

 /

•
•
•

~06 Dosso lJossi (Giovann1 Luteri), Sr Lukl' Dra,1111('< rlic I Í~l!ill anff Cl,ild 11•i1l, Sts Josepl, ,111d ."111111!,
â,r.1 l:\30, pt:n and bni\vn mk. brown \Vash and White he1ghten1ng over trace~ of black Lhall on be1ge
'-Vashed paper, 190 X ~54 n1m. P:ins, Musée- du Lou\',e, J)éprrcen1ent de~ Arts graph1que~, 376S.131~

of Motl1er and Child. Tl,e poincillisc tecl1nique, where dots of
br<,,vn ink coalesce co forn1 a hea,ry shado,:v 011 che left-hand
side of the figure, serves to conce11trate the eye on the dravving
hands, while the rest of the drawing is rendcrcd simply in out-
lincs. 1~1,e ecclesiastical stool nex"t to thc vcry ht1111an Eva11gelist,
which could double as a sttidio donkey. remai1is unoccupied
excepr for a pillow, while St Luke be11ds a k11ee before the di\'Íne
prese11ce.
ln a dra111atic early sixteenth-cencury· drawing nov.· attributed
to cJ1c Bolognese artist Dosso Dossi (Giovanni Luteri, circa 1489-
1541/2), St Lnkc Pc1i11ti1t,1,! rhe f7i1gi11 a11d Cliild ,,,;,1, Sts Joseph c111d
An11e (pl. 206). the title of the drav."Íl1g is again mco1Tect s1nce
the Ev:mgelist is clearly clra",mg on a piece of paper 011 a board.
With 1narvellousl)' upswepc hair and c;wirling drapery, he is half-
seated on an elaborate stool and partially k11eeli11g before the
Virgin and Child, ,vho are raised above hin, on a carpeted c;tudio
plinth. There is a quality ol insubstantia1icy about the dra,vü1g
duc to tl1e speedy qualitíes of tl1c brown \vasb a11d fi·ee, painterly
strokes of sil"·e,, whirc that con.trast v,ith tl1e curvilinear pen
tines, v.-hích bave been reinforced ro co11vey ai1 accented coun-
terpoint. T he composition 1s equally u11easy in ics contradictory
play \Vith re1Jresentation and subJeCt macter. introducing a nun1-
ber of an,biguous fictive levels. The Virgin .1nd Child are posed
in fronc of a curved board v.1ith a clorl1 draped over ir, a~ ií che-.e
,vere studj9 props, while a figtu·e peeri11g fro1r1 behi11d could
cqually be St Aru1c or an attendru1t. Leanj11g on another plu1th
to che lefc and ,vatching the acc-ion is a bearded Joscpl1, -V.'1th an
impressionist landscape and crees bathed in moonhght ope1m1g
behii1d hü11. Everything is unfixed in th1s curious drav.11ng:
11either scudio models nor holy presence~. day or night. indoer-,
or outcloors. Dos\i appears to be que:..tioniJ1g all che notions that
are built ÍJ1co a representatjon of the acr of repre-;encatio11. The
unea.-;iness of cbe subject macter is emphasised by the diagonais
of the ftgt1raJ shapes: both tbe male figures lean t0\',7.lfds the
Virgin in the right-hand part of che co1npo~1aon, v:,hile sbe
appear~ co shr1nk away from the111, although her gaze is d1recred
to\vards the arrist. The drawing boar<l is fi'Ced bet"vee11 the t,vo
co11Aicting gazes, rilted t<)Ward" us in the en1pty 111iddle stage. so
tl1ac we ca11 sce clearly ho"v the Virgin':c. t".tce is beiJ1g fLxed by
the drawing l1and on the sl1eet of paper.
St Luke, as the patro11 saint of arasnc g11ilch a11d acaden1ies. is
an 1111porta11t figure in 1n:lrrying popular representat1011s of .1rtistc:
\V1th a reJigious context: his figure ,1dds d1gnity and 111ysucal
<;tatus to the practice <>Í .irt, ra1"ing it ;1bov~ 1ts tr.1de ,tatus.'' The

DRAWING THE DRAWER: THE i.,JATURALISATION OF PRACTICE 297

Au 1rt1,L Jo,t: pli ~llll1.' l ( 1~ x1 1~(1(1) \,1, \llll' oi th l' I li 11-:1
I TI 11 lt1 1h11, 1 llll ll lllll.111\111 1~ t·q11 .dl y p11')l'lll Ili ,1 ' l Xl1•1•11d1 l 11lltll Y
1111 ,1x Íc)ttn,it 1~ 0I th1.• L ukJshu11ll .,t tl11. \ 1t1111.1 Ak.1d1.•u111. l lt' t dt ,l\\l llg, 111 1.. .1, \ ,Ili l t\ 1.lt•11 \ l li .ill-. l t' pt t',l' lll.lllllll ,11
0
111 ( J/tl ,,,,,,
l,11..-lenden K unsr1.' t u 1t-,( 1ll. \\hl., 1n,,, L·d ltl l t111lll' .illH l!,!; ,, nh Lht / )1,111 1111.~ (pi. 207), \ \ 1111li 1, 't(llllt'llllll'\ IL'f1•1 l l'd (l i ,1', ,1 ,.,11
otb~r ~ .1z1rc nc~ .1nd li,1c·d f<,1 .1 nnll' 111 rhL· 'l'll11- d ,·sl't t t•d jH llll ,111 . LJ, 111~ ,1 d111k lll l'I t· 11f lil.11 k t li .til ' \, Ili 1 ('yd i:11 '' ·" 11111
111on.15tl: t\ ,,1 S.111r· l,1dur(>. 1'c,1r, l.1tL·1. 1111 '1J A p 1il 18 1/\, ht 1.c11t1·.1tL·d (111 il1t· 1t i·111, 111 , l1 1tl1111 H 111 111 1• LH•,11(•11.11 l1•d d1 .1,v1•1
hc lped ,e, 1 (lll.1bo1.1tt· u11 .1 1 l' leh1.1t ,,1y lc,n ,.1 1 i11 th,· V 1l11 lli l· 11.11 lt11c d I lu.1k 111d d,, 1111d( 1•.!1111 111d 1111111 111 d ,, 1!11 ,1 li11,v
( lit1lth1: 1,, 1n h1111 <,11r of ( ' n,,,·11 l1 r 111,e I ud \\ Íg
•
uf li.1,.1111 . ,, h,, .11 H I tli t .1111.1z 111g 1 .1 11 ,, 1!11 1t , t,1tll.1p~ 111'lt d 0
Ih, ,t .11 1· l.1i.l d,,,v11
\\ , I', 1 g 11:,ll ,uppl )l' ll'l ( ) r Lhc Gcr 111.111 ,1 1t l\l•: 1..11h111\ Lll ltn llll' , v 1d1 h,ild t 111,, h.1t1·l1111 !-\ .1111. I l1 c1 11Vt 1,ill , l1.1d11,..,,, ,, ltt 1t•.t ~ tl1t
:S ut tl' r\ prc p.u .1c,,r)' ,tud, l~--ir h1, p.11 t tlf t hl.! dct11 r.1t1 \L' ,, b l·Utt d11,, 11 ,, 11d r1111 1t•d 1.11 ,. 111d 11ht 11.111d, .11 1• d, p11 ll'd ,, 1111 l11•l11 ly
t·,·o k1.·, ,111 1r, h til" l 11u1pos1t11l11al ,1rr.111~t·1 11 t' tH 111 .111 .11, h,•d lllll lt' lt'l1ll l ll l\ , h,Hlt' I , 1111l.1·\ 1, 1l1l' ,llll'il 11 11111•1111 ,11 1• ,111 !111•
t{lr111,1t 111 ,t n pi< .1lly u 111d11rned 1)t1tl1111.· st) le ~ '11 1 u kt' 1, J',llnt- ,h 11t' !1 1~ l111gv 1, g l,l p1ll f.!, .1 l1 \ll f.!, , 1~111 ~•. 111d dll lun·
c 111 .11 \
i11g ,, ith I ltrtl1.· p.ilettt" held 111 h 1, lelt h .111 d. \\ h1l 1.· 1hc \ , 11 r 111 , h 1111 t·11111g nt" 1lit· l.t1l.', ,,l1t·1t' !11 1· 111 1~1• 111,1111 1... 11\ 1' 1 1l1t• l,1~t'd
,, ho A11;1t, ,1bo,·t• h1111 111 ,111 indl·t1.·1111111.1 u: 1l1.111d n rl.1- •d1.1p,·1l lq,,. 11 ~ lith , k1·t( li cd llf.!,III L''> u11 d11 · , l11 t l l,1 l1111d d1,• d1 ,1,-.: 111 ~
ni111bu,. t, ~urru u nded b\ pt,l) utg .1ngl'I, . T ltl' , lightl, lt.,phac .11 u, t d1, llut d c 11 .1r 1 11(1111 tl1 L' t· 11!-\1u,..,e,I 1 1111 t 1 11· 111 d l1y tl1 t•
lc\LJlll c lo.1kt•d ti~lu·l' uf St Luke 1, in ,1 r.1tl 1L r .1111b1 µ;t1 llt1, p o'>1..'. l11\\l'1t'd l.ttl' c111d il1c 1111 lo,l•tl d1 \ p11~it11111 ui l1.111d;, 1 \\ lth li , 111111
p .1rn.1II\ se:.1ced. p,1rn.1II, k nl't' h n~ bl•fn rt· ,1 b l'll L" h l'.1,1..•l ',u rct 1 l OL!,t lhl 'I 111 \l· tl lh l· h lldil \ t11111pn, 1111111 l l1l' .1111-.1 1n1ild \ \e li l a
fo ll0\\, tl1t" rr:1d1c11H1 1)( ,ep 1r.1 t1ng tht· , p1 r1 tu.1 I .111d 111.1tl· 11 ti \\t·.1111 1~ n11rd1llll , l111h 1·\, .111«1 ht· 1c·,1, h1, 11'11 .ti 111 1111 .111 1111111
plane,. a lrhoug;h rhe tr.1d 1n o11.1I , 11 1d 1t) .1,, 1, 1.1111, 1·11µ. 1µt· d tll h .1µ, ,-. 11 lit' li.itl 111 , 1 11 11111· 111d1H11 , ', N (•v1· 1tli.· I,·,,, H11 , ,., .111
g11nd1 u g p1i;n1e11r, 0 1 lt'.\rn in g ho\\ l< l d1 ,1,, .11\· d t'l)l <ll·d ,1'> r 11t11vi\ 1111111, 1, 1111\ 1' 11H11p11'11ll1111 .111d , 11hj1'1 I, 11111 11 ,, 111111 ti,, ·
.111gt·lic ,, 11t~l·d Jllllti. , p ,, 1.itt11 1:,,, 111 ,n11tl' '>l ll\1·, c , tlud1•d , .iltlt11111•li 111 1• l. 1111il1.11
,uh1l1 I 111.111,·1 o i d1,1,, 111 1•, .dl11,,, t111 .111 ,· 111p.1tl1 1·1H 1d1 1111111 ,1111111
,,11h .1 d1 .1, \111g , t \' lt-· th.1c ,nig ht ,1th L· 1,, 1, 1• lt·l•I v, 1, .111 l1,11 t 111d
\ t. r\ rt'llH>lt'. ('li1• , 111.dl11t.·,, oi ,li .1,, 111g p ,1pe 1 h1111 !-!,"I 111 1!11 '"l't t t
lmages of Absorption, lntroversion and l nspiracion 11( ,l.il e , .111 1111pu1 l 1111 clt 1111·11! 11( 1111-; 11 (1111 •~ 1.1pl1), ,, li11 11 j11•, rl
l l t·i 111 ,111 ( IIJI 1 .!t Jfli)), il1t· l\1111 , li Pol1, li htH 11 .1111, 1 .1d,lt('~" •d !\(l
By d,stan1..i ng ,Lself fron1 .ili poss1llil1t1es o i scnsu.1l111 u1ci tlic phys,ci.lllty oi soli<l n111t,•1
[drawing] comes closest lo the ..ictUJI work,ng of tlie 1n1nJ p1 ,l l l ll\ tl 1 •:

Jt> , •Í I lt•r n1.i11

1 l.:111,, , l1 n 111 c'\J) t'l lt' lh ,. l li.li d 1 , 11 1111111 l11·d 11\'('I .1 ~111 .tl l
p .1g v 1, 11 thc t.1hl,·. 1 \\ dl 111.1k, .1 d1tl1•11'11t L1 111 I ,11 .!1 .1,, i11µ,
tli ,111 ,, li1•11 1 , 1.111d 111 l1t1111 nl tlt1 l.11 g t· , 111· 1·1 111 1.1111 ,d,\,.
Wharevt·r rhe J r.t\\ 111g p l l'> IClOll, th t• <;UbJ t'l' t l ) r th t· g,l i'c', Ili tllt'
1l11 111 1· l',1, v l l lu 111 l11·d (1\ l' t tl1t· ,,11.dl p .1µ,-. 111\ d1 .,,, 1111-1, 1,
11egot1ac1 on ch ,l l IS t.1king pi.ice' 011 l ht· :-. ht' l'l l ) r p.tpt·r. ,vh.,t l h .1r-
l1kt' I\ tn h1.· 111till1.ll1 ', rt·lle , 11\'t' .111d 1111 •11/1•1 1111 111 ,t ~11 ,tt, 1
.1c u.:ri,;e, 1110'\l 1111,lgt', or drJ \Vt' r, 1, thl'ir .1b,tlrpti()ll 111 tlll' ,lt'll\ -
11111 '.t/'d ((11/ct'l//1, lfÍPII ltll\ 11.1ill1 ,1 \r.111d111 µ, lll 1111111 ,11 ., l,11 g 1·
1ty o f dr.1,, ÍJ1g o t lo ok111 g. 1n e nnct·ntr..it111g 1>11 !111, .1, pt·t t. tl1e 1
1
, he01, 1 .1111 lik1•I, 111 g 1, t· lllll\\.1rd 1hi11g, p 11111 li\', '
,1urhor1al .1rci, r could be , ,1id to bl' c .1v csLltopp111g llll .1 p11v.11e
.1c riY1t:, o r deliberarç-l\· a p osrro ph1\ Ín~ thc .1ctt, 1ry oi dr.1\, 111g. d ,tud1v, b) Adull'h t',, l1•11 ('I <11 1111)' / >1,111 /11.~ ,H ,1
l11 1,v1, p t' IIL 1

-rhe dra,,·ing ,lrtl , t h eCOlllt'I\ ,lll 1111age- nr intrO,'t' IS\011. \\'tlh dtl· •1:1/i/,·, 111 ., , kt·lc hhu1..1k (pL 11JX), rlt L' 1111n1\t l tl'd L1111111ll, 1111111 ui
1111pli catio n rhnt rhe 111·11., i., o f dr;1\v111 ~ 1, (Oe,t1.· 11,1,·t· ,, 1th d 1,1\\ 1ng .it .1 t.1hlt> ,, .111 t'11t1 1 ,tvd 111 h,11 li , 11•,,, li, 11lt I lu, 1· 11L'\!I
ch oughr <)r 1dea. t.> 11 1b LH.ly 111g. rlic- i1H e llt·t tu.1l .1~p1r,1t1011, n( th t·o- ui rh1· l\\L) lt.111.I, 1111 1h1,• d1.1,, 111g -.hct't , .111111111' 1d 11·d h11.I, 111d
A l,ltl' t,,·t·11 r1e d1-rt'tllu1 v vt·r,i o 11 ui tl11, p t·1,1,tt· 111
r1e~ o f d istJ!ll\l. ln,, e rt•d h1.· 1d t· 111ph.11.i,t'd h, th1• l.1lli1t)!. 11111g t· ,11 h ,111 1 h1,
cop os o f d r..i,ving .1-; -;c:11".-Jb~o rpll<) ll i, f( 1t.1_1 \ ,111.dl c lt ,trl o.d ,\/..•,·11/1 dtiuhl,d .111 11!' tc11,,· 1 n11l 1.·1111 ,1111111 1~ vt·1, I'' 1, .111· 111 h11tl1 , 111d1t·,:
l)f 1lo, k11t·)' Skctclt11~1! o( 198.2 .~~ 1 loL kn t·\ 1-; \ l\\tc d nn .1 hl,, ,tnnl 1ht· \ ll'\\t' I g.1111, tlit 11\lllll' \\lllll 1li ,11 lht· h11\ 1, , lt\ 1, l 11111 l' il111 ~
and dr.1,v1ng 111 rhc tr,1d1uo 11al p osturl..'. lu., to11 c1..·ntr,1tHl ll ,u1d h1~ d1 ,l\\111 ~ fi11111 f\ l l' ILt t·I', 1u1ltl,·,, ~.1.t·. Í\\t·11 t· l .htt•11l111t,·, 1111•
1nre n , i t\ a re ,u111111 e d up 111 rhe 111trovcrt1: d c urVL'" of the pose ,li.id11,,, u 11dt-•1 tltt' h .111d, .111d u11d1•1 tlit I' ljh' I 111 1111 l.11µ,•1
and tht' , ligh tl\ t t1r11e d h e.1d lo c1k1n g do,, n ,1t th e skt•1chht>.1rd. d1.1\\l11g, \\111,· lt 11111, .11111,, llit· h111d111~ 11 1 l11 c ,k, 11 lili1111k (111111
We do not ,c1.• ,, h a t l lo, J..nev i, d1-;1\\ ing • .tnd 1ndet·d ht• 1, nur d1e lt•lt h .111d ,h1•t·1 .111d \\ h1t' h h.,, bt•1•t1 111.11 k,·d 111 1111•, ti·d
loo l..111~ up,, ,1rds lH <>ll t\\ ,1rd,. ht: i, 1hin\...111~ 1 d1.1,v1ll g, or 11111,ing \\'llh ,1 l l'<)\\

0 11 p ,tpér \Vith ,1 , u 1~l1..· , u 1.. k o i 1.. h ,1rco.1I. .,nd 1h1..· 111.11111t· 1 111 li, 1 D1111 .,,r •. 1 Y1'1\ h 1· h111 lt.1ph.1L·I ,,1·11111 g .11111q11t· .1111111111
,vhic h che ch1ck rha.1\·0.11 11111.!s 1.) t' th t• , kl·tch (ili up tht· 101 tll .,11d ., l h1,1k l1\ L'I li,, \1·µ, . ,., . . ,li 111, .. 1,.,d11,, \ d1 1\\. 111 µ 1,11,I,· Ili ,1
\ \'l(h d.1rk . CTlllllb lin g ..1t.1dO\\·s ,1id-. tl1 t· l ll ( Ul.1r l.' ll<; k,~lll"l' t)r !ht· llhllllL' lll llf )lllt' ll\l' lllll<l>iJ1L'l ll\lll tlll ll ,lll\ li\ t/11/1 11 /'t'I /fll/1)
dr.1,, 111g .111d , ul:il'rt 111.1ttL·r. ,vliilt· ltt· dtl'.1111, lll' 1111· ttlllL ,·p1 til 1111· \ 1.11 1, 111 l1t•,1111•, ,11 .1 ( 11 11

298 D RAWIN G THE SI L>-

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207 Luc.:is ,,.1n Lcyden . .1111 U/d .\Ja11 D1,111 1i11.~. 1Írü1 151.:1.. bLu:k t:halk., :!.7l X ::.1.~ 111111 . Lundon. ·r1ie íl11t1,h \l11,l't1111, 1H•J.:,11li1J 1 11 ,

vt.·ntio11Jlised i11k ,vash drawing by H e11ry Fu,eli l1·on1 his
ll<> 111<111 period. i Tn R,111ft11el l)l's~~tti11..~ the T111ir,,11 Frcscofs (17'"'8;
7
pi 20k), Lhe 111acuvity oí intcnsc co ncc ntrauon is c,p,esscd by
rhe hcad on-hand posture, .u1d the art~t's exprcss1on 1s thc,1tr.1-
c:11Jy exaltcd.2x llaph.ael'c; srudo,vy reflecaon 1s ciught 111 tl1c
1111rror fro111 wh1ch he turn, a\,vay. ,vh1ch carries rhc in~cription
file 1-/ic h s1 (1,e is her<;), and thc figural planes are sin1p'1fied 1nco
hard, gco111etr1cal ~hape, Witb the di~carded sht'ets of f..1 ilt·d
i11,piraLio11 on the A<>Or arnund hi111 , anel tl1e posture c>Í tlic
up,v,1rd lifted 1:'lcc, thc prepostcrous hcroics oC the inspired
th1nk~r is slightly co11lÍc to co11ten1porary cyc~. S1g111Jicancly.
l ,1 F<"H'llt11111.1, R ,1pl1.1t·l\ 1111,tn,,,., ,1nd 11111,t•, ,it'l'P' d111111 t,.t 1111,
11H)t)1ilit 11101t1t.· 11t (,1 su ,1\ ht',lll\ ltgllls 1111 l1c1 (H l') . ,~ 11 11,111111·,
,l'i'i<.)ci,1tt.'d ,~•1th f~•111111111i1v, 11cl'd" to ht· i11 ,\hl ,·,11 1t t' dut 111g llit•
111:-.p1rauo11.1l cllld sp11 llll,U llllllllt'III'- p, llll IP thl 1111 clll'l tll ,d ,ll l
.
of dr.1,v1 ng, di'sc111111rc
.,
A hc:id n:sting 011 ,111 1r111 1, ,1J,;p lhe p11,t111c 1 , ( l 1, p,11 1>,1 v11l
rr1edr1t h \ pen .111 d 111 k ,-;( !I J)1,1(1t1it ,,,,,f, '"lf/!Jhl/ Ili~~ 41111 (, ,.,, .,
1Ro.2; pi. 2.09), bttt hcrc tht gt·st t11t• 1-. 11111 ui' 1''1:,il1 ed 111s p11 ,1111,11,
bu t p.1infi.d ,t·lt lo1 l llt 111 .111d ,.,d l <lt1tt•11111l.1li1>11, 1111, 1,; 1
1110.111t·11t oJ 111,1ctiv11,. ,v1lh thc h,1Ht·d pt·n htld 111 tl1l' ,1111sl's ~11p
port1ng r1ght h.111d, po111l111g t11 tht· h1.:t k,,11111g 11111 ~1d t· ,,, n ltl

f)RAWING TI-IE DRAWER: 11 IE NATLJR.AI l~Al 1011 r lf l'RAl I lt t '-' 1

zo:-; ~ le11rv l·u,t·h. R,111'1,wl [)1•.11~11111.1! riu• 1i11ir1111 1:rt's,oes, 1778. ínk and ,v:u,h, Jl)I) X 158 n11 11. Wt·in1.1r, Kl,1\~ik Srith1ng,
( ;r,1ph1sch,· ~.uuntluni;. K.K 1386
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1-09 Caspar l)avíd Frtedrich, Sc[f:11,irtr.iir u1itli S11p11orling • 1n11. drc,1 1802 , graplutt:. pl'n and
bro,vn 1nk. 267 X 1.15 mn1. l-l,11nburg, H,1rnburger Kun~tlialk·. 1932/ 153

tlrrough the open windo,v, whiJe J1is lefr hru1d blocks the sheets
of drawing paper on rhe table, held in :1beyance and perhaps
incapable of con1pletion. Block coL1 ld be the operanve ,vord
here, ,vith the arrisc suffering che excruciati11g 111eL1ncho]y of
arristic dysfu11ction, that n1on1encary or cxrended periotl when
crcacivity ceases, a11d self-discipline fails. Tlus is a very pla11ar
dra,ving, i11 ,vhich tl1e high jacket colJnrs and cravat are broken
1nco 01.:1.n)' cutting and nervously convoluced edges, but tbe
co11tour shading consiscs of srraight t)r curved hnes, noc cross-
hatching. By contrast ,vith the vertical blocks of li11es defini11g
the <;l,ado\ved vvall, light squiggles beyo11d the wi11dov, ft·a111e
<;ta11d in for tl1e <é:beerful curlicues of 11ature tl1at both cal1 to a11d
frustrace the artist as he seeks for s0111e intern..11 111.sp1raciou: h e
is defirtiteJy aligned ,vith traditionaJ notions of rhe n1ela:ncholi c
211
creative disposicion a~sociated v,1ich tl1e -;1g11 of Mercury.
A1though entitled a ~elf-portrait, t11is dra,ving h,1s htcle to do
wit11 the gaze u1 the n1irr()r, u11likt: tl1t: fa111ou~ black chall thrt'l'-
quarter vie,v ,',cff:Porrrait of 1810 (Berlü1. Kupfer:.t1cJ1k.161nctt). in
,vruch Fricdrich 's vcry pro11unent eyes placcd cxactly i11 che
centre of the page appear to fo!Jo,.., the ,pecrator. ,v ho concen-
trates in h1rn 011 the delicate ~tippling of hair and ,vhisker~.
which 111akes thn, dr.,,,
ing 111en1 o r.1hle. ' 11 Uy r onrrast. rhe
1
T-l,1111burg drJ\\ ing a1,pears ro be a n1 ed1tatit111 011 dr,1,~•i11g .1nd
creativit), rathcr tl1.111 a portrait oí 'i clr.

DRAWI N G T H E D RAWER: T HE NATURA i ISATION OF PRAC~ICE 301

 •
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•
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H.ot·l.1nc ~.1,·L·r~ (fr1r111t•rl} .irrnbured to P1eter Brucgel che Eklt:r). Lt111dsn1pe ruit/1 1111 ,·lrtist Skercl1it1,!I. cirr,1 1Si.!-3, pt°n and i11!- a11d black cl1alk. 277 x ~96 m1n.
.! 10
London, fh1.: S,1 r11ucl (.'ourt,1uld Trusl, (:otirtauld l115titucc of Art Callery. ü.1978.PG.y
Drawing in Nature
lt drea1n111g and u1sp1ranoo or 1ts cec;sation are intern,llised activ-
1t1t·s focused 011 i"sues of 1dentiry, tht' s-u bJect of an artist dTa\ving
111 L111d,(.1pe 111volve~ .1 very different set of i1nper;:1cives. These
1eL1Le pai li(ular1: t(> ,cale and to select1v ity, -;ince the s1nallest
,ketchbook h .1~ ,n111el10\'-' to acco111u1odatt: nocacions fron1 c;ou1e
vn,l l.111d\capc. ,vhich. evêt t in thê n1ost abbreviated a11d
abstrL1cted forn,. Vl'ill ,;ug-gest tht! co111plex specificities of nature.
L,1 nd,cape .,~ l "LlhJect of i1ainang u1 tl1e West has generally
dt:pêndt'd <)11 efface111ent of lhe .,uthorial artist, presupposíng a
di,t:inted v1e,v e111.111.1t1ng'- fro111 Olttside tlie fi-an1e, or \Vint{ow
011 to the ,vorld. Th1..• prt''>L'tlce <>Í lhe artisc 1n ,1 dr,t\ving tl1ere-
lore rc,1tl-1i-n1s thl co11,u-1.-1ctcd 11.1cure of landscapc .111d addrcsses
i.,suc, oi .11citicc, as \i\'cll as tra11,;forr11.1uo11s of scalc.
302 IJRAWING THE <;ELF
...
•
, ,t .,,•
•
Suth a s111all dra,ving a.rtist can j-t1st be detected Íl1 tl'le Lalld-
scape 1.11itlt a11 Artíst Skctchint (pl. 210) attributed co ltoelandc
Savery (c576-1639), ,vmcb was for n1any years beJieved to be by
Pieter BruegeJ the Elder (n'rca 1524-1'3er1569). 11 A vast Alpine
landscape i'> piled up aln1ost to che top of che fi-an1e t)f cl1e
drav..ring \-Vith the sl1arp face~ of greac bouldcrs boldly shaded
with parallel pen strokes a11d a s111all lake cupped in the valley.
Tl-1ere is aln1ost no cross-hatchin.g in the drawing, buc wjth che
111ost subtle codi11g of stippled dots. straight a11d curly concour
tnarks a11d variations of li11e thickness, rhe a1-tist has coojured a
landscape so111e\vhere between fantàsy :'lnd experiential reality.
There are perhaps sc>me birds in the s,,,irling sky. buc no hun1ans
or ,,rild a11in1als are to be seen. The ,vl1olc 111.~escic lanJscape is
laid out before thc eyes oí a ver)' sn1a1l skecching artisc ac the
botto111 of che fran1c, \vhile a con1pan1on looks over b.is shoul-
der. Alrhougl1 Druegel's autl1orship is no,v dispuced. tl1is work i~
very close to a series of elaborate dra,11/ings tl1at l1e 111ade fol-
lowing his journeys to and &0111 Italy bet\.veeo 1551 a11d 1554.
v;~hicl1 ,vere collecced, e11graved and 111ucl1 copied. Bruegel's
brrd's-eye vie"v l1as been described as Olyrnpian, but in this work
the sketching arcist (whether the ah:er ego of Bruegel, Savery or
Anon) is not a godlike figt1re, but racher a 111odesr observer with
his back turned to the spectator.32 He Í$ at one ,vith natllre, but
by beit1g its interpreter is a!s0 its Other. The insertio11 of llis
nliniscule prese11cc infor111s us tl1at tl1e la11d~cape is 11ot reality,
but a n1ediated zone between a world map and an observed
topography: a synthesjs bet\veen tbe n·1odes of art prodL1ction of
the time, thac is, si1nultaneo·usly -&0111 life. naer het le1Je11, and li)''
de11 gheest, fi·on1 the spirit, or i111agination. I<.are-1 van M:111der in
his Lii•es conu11e11ted or1 che quantity of sketche!:> Bruegel 1nade
011 chese journeys: '\Ã,•hen he '"'ªs i11 the Alps he s,vallowed all
cl1ose 1nou11t.ru11s and rocks. w l1ich, upon rett1r11i11g l10111t\ 11.e spat
ottt agau1 on to canvases and panels.'33
Br11egel's grand and detailed drawing combines so meth.i.ng of
rhe 111agic of early northern la11dscapes, with their mythical rock
formations, tenuous bridges across cl1asn1.;;, castles and ,vind111g
paths for n1ysterious pilgrin1agtt~ or the -,oul, ,vith a real physi-
cal geography. Bruegel, che traveller, also u1gested cbe style of rbe
new Italian school of landscape durn1g his a.rtistic pilgrit11age to
Rome, and learned fron1 prints of thc Giorgionesqt1e Jandscapes
of the Venetiai1 Titian and of G1ulio Can1pagi1ola (circa 1-1,82-
1
after 1515) and his adopted son Dome1uco (1500-1564). 3' The
111 Sebald Beham, u111ds,11pe uiirh II ríl/11,{!C ,1111<)/Lg Tn:es. a11d ,1 Dra11{/Ílts1111111 Se11rcd i11 tlu· Fart;tt1v1111d, circ.1
parches of oiodised body colonr, 94 x 195 nm1. London, fbe H11nsh Museun,. '> I ,5218. 16-1
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DRAWING THE DRAWER: THE NATURALISAllON OF PRAC ílC~
ft)r111atio11 of l~1ndscape a, an independent ,;;ubjecr. g1v111g Íl .1
poetic status greacer cha11 its íc.,r111er iucide11tal role .1-. JJlll'l'(\!'111 or
·by-~1ork1 111 a lústory pa111ting, is vei, 111uch .1 s1-.:tet·nth-century
pl1enomenon 111 botb northcrn and southcr11 l:.u rope. a~~ociatcd
with che artistas traveU~r.·\'i lt is closel,·, 1dl'ntified \vich tht: ,1rt1s-
cic pjJgrin1age to Ilon1e.
As well as cros'iing tht' Alps ro Ron1e. th1s \11/,l'i rhe pcr,od
,vhen arti~ts ,vere \ellt 011 journe),~ t>f disc<1VL'r),, even beyonJ
Europe, to 'tale views' for p ..1tro11s <>r. n1c>rl' Ct)111111only. for print
publishers. 36 l~oelandt Savery (,vho wa,; born ~l'Vl'l1 years aftcr
the dcatb of Bruegel) spcnt ycars w i>rague dra,vu1g v1e,vs ot
the city and its e11virons, and "va_~ sent 61· E111.peror ll.11dolpb 11
to the TyroJ to study 'cbe rare \Ã,ronders' of nature Ln the early
1600s; l1e larer ca rried our sin1ilar ct1n1111i<,sion<; for the Vienne-;e
court. f11 a col()ured chalk dir<J.,11/Íng that bears ver) little rt·la-
tionsh ip to Bruegeles4e pen anti í 11 k dr,1'vvi ngs, rf{Hl'~/i.1//s 011 11
1\,101111t11i115írfl' (V1c1111a. Natio11albibliothck). Sa,·er1 Íl1corporatc~
two very small figures below a l1uge ,vaterthll: a cloakcd artJ.st
working i.n a sketchbook accon1-panied by his gujd.e.-'~ Fol.lo,v-
ing rhe usual conventions, th e art1st 1s on the rnargins, not che
hun1an ,;ubject of the dra,ving, but an observer t![ L,nd,c;1pe i11
]and<;cape. Although the ,n1all ~c.1le or surh dr.1~ i11g figure<; 1
relaces to other cypjcal -;taílàge ftgures in la11d'icape dra,vi11gs, ,uch
as tbe travellcr with a stick, the sl1epherd, tbe co11te1nplarivc fish-
er1uai1 and the l1er1mt. cven the 'J1ttlc u1a11 doi..ng his business'
'
(particularly co be seen on the edge of 1rúJ1tary SLtbJects 111 si.x-
ceenth- and sevenreench-cenrury prinrs, observ111g the siege or
15-20, pen anti bro,vn in k. ,~11h
•
.
~
.,
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303
 •
212 Albrccht l)urer. 1Ífltcr111i/l i11 rhc \l<>1111rai11s 11,irh /Jra111iug .4rrísr. drn1 1495. v.11cercolour :ind body <·nlotir,
13-1- x 16() 11un. Bcrlin, Sta,ttlithe MLL~ecn zu Berliu, I{upfcrstichknbinctt. T<dZ JJ69
battlc ti·on1 a safe and producr.ive cor11er), thc dra\ving artist is
nor quice so incid~ncal as the 111ore do111csticated 11ihab1tants of
land,;cape; he or she Íc; an observer fro111 a disca11t place and a
18
dit1erent space. Tht' s1n:ill arcist ftgure turned towards the vie\v,
presenting ,1 b.1ck vie,v to rhe spectator. the Riirkc1Jig11r, has been
<l1.:sc11becl b) Jo<;eph l(oerner .1~ 'a kinJ or
trope for origi11~, c.les-
1g11Jti11g che origii1al act of gazing by tbt artist-vvanderer in
11ature.' "> Tl1e dra,v1ug ,trtJSt ~tands (or ratJ1cr sirs) betvvee11 the
"cene and rhe real. in,71S1hle dr.1,ver. dot1bhug ru1d detlecting the
authorial gaze .1nd bri11g111g rhe \7cv\' closer to the ;1rr11chajr trav-
el1er .ir ht11111::.
An unpr<.~tentiou, l)ut ,lightly pu72Ji11g pen and 1nk dra'vving
by thc.:! c;i.:rn1;111 arust <;ebald 13eh.1111 ( 1 ~00-1550). L11ulscapc tl'itl,
30<1 [ RA W 11 1G I H E: SE L F
a Í 'illagc a11/0IIJ! "Jrces (pi.
dcpicts :l sn1all ha11uet witb church
211),
spire on rhe orher side of a river. J)ra,;vn in a rather dislocated
style of curved pen strokes th:at evokes Albrecl1t Dürer (or Wolf
H uber), the horizo11tal for111Jt of che dravving i~ so narrow chat
ir cut-; acros:-. the central cree and its \.vavside
, cross or Bildstiicke.
Such crosse!I are typical or dra,vings of tl-:ie tin1e, as \.vell as lacer
GerL11a11 landscapes vvl1cre che thcu1e of a spiritt1al jour11ey 1s
e1nbcddcd within the very r1ature of landscape. Tl1e central oak
is more -funlly delineated tba:n tbe schematic church, ro,ver,
tãrniliouse :and orcl1ards of the n1iddle dist.1nce, and tbe elabo-
Tation,; <>f its concot1red bole are ,vorchy of the sy111bolic signifi-
cance of :111 oakrree, an i111portant icon of Gern1a11 nacion-
alis111. 411 T11e drawing arList, ,vith hi!i back to us, is so syn1bioti-
caliy ehded ~rith the landscape l1e is dr:1.vvmg tha:t it is qutce
difficult co spot hi111. When he is noticed, ir see111s curious that
che s111all sen,i-nude figure (a little like a Zuccaresque .l!arz:one)
is situated right in the centre t)f the drawing rega rded by a curi-
ously sheeplike dog (or doglikc sbeep). f-l e see111s to be survey-
ii.1g the pastoral scene i11 boLh se11Ses of the n1eaning. in cludín g
the cartograpmc - this \Vas a period of n1appi11g regio11s and dis-
tricts - under tbe protection of the ,vayside crucifix. The seating
of a dra,ving artist under a large cree, often a '-pread1ng oak:, i~
so111ething th ac unices in1ages of artiscs dravving in landscape
across tin1e and geograpl1y. B ehan1\ con1po~iti<)11 , as a pro lific
print111aker kno,vn as one of tbe Gernian Liccle Mascer<; associ-
aced with thc product1ou of s1n.ill albu111 engravings, is perl1aps
a reflectio11 of l1is associatio11 ,vith n1ulci-block V.'Oodcut projccts
in long frieze compositions, whcre there is no single viev\rpoi11c,
buc a s1.1ccession of crovvded inciden.ts.~ 1 This narrow i111age. par-
aliei ,vith a river. suggests an endless 'field' co111position. ,vhere
n1ultiple ÍJ1cide11ts COLtld occur a]ong its length. :is in an e>-tencied
travei narrative.
fu1 cqually chilcllike figure is seatccl 011 a11 abru1dor1ed n,ill-
stone, in a water- and body-colo1.rr c-lra\vin~ with vvhite high-
lights by Dürer, ivnter111ill in tl,c J\IL01111ta i11s 111it/, Dra11 1i11j! .-1.rtist
(pl. 2r2). 12 T he youchfulness of the drawer i11 boch thec;e \vTorks
st1ggests thac the fi·eshness of artistic vision in rl1is new ge nre i<;
c;yn1bol ically represented by a p111To 11ittore. Dürer's litcl e arti~c ic;
placed to the -;ide or che overshoc vertical water wheel and 111ill
housc, ,vl1ich he is recording in a m1all skeccl1book, ,vitl1 ü1tcusc
co11.ccntration. Altliougb tl1c application of some arcas of pa:int
to this very precisely organised ,vork is incomplere, for exan1ple,
i11 the tree to the right under "vhich the artisc sits, the observa-
tion of the rnachínery, screa111, rocks and plants ic; ren1arkably fin -
isl1ed, and obc;erved with a racher 'scie11cific' and dispa\sionate
eye. J)ürer often Ierc watercolours anel ,vorke<l <irawings i11 con1-
plcte in tl1is ab1·upt 111an11er, and he aJso ,vo rked ir1itiaJly in solid.
structural areas, such as tree-trunks and bran cl1es, Jeavi11g the
n1ore delicate leaves and finer greenery to be added later, in a
logical order of development. ~3 He typtcally worked dire-ctly
\.vith a brush without a prior sketch or under-drawin g, a c;kíll
highly regarded by his conce111poraries. Alchough unfi11ished in
pares, aJ] che structural 'bones' or irúi·astructurc of this la11c.lscape
are i11 placc, includir1g thc vvater wbcel, thc stones and roof of
che 11úll srructL1rc n11d the rocks of rhe nullstrea111: but the
nunner iu ,vlrich cl1c finished clcme11ts connect v.-.ith the ,v-ider
landscape (for example, how the water channels run dovvn fron1
the hill) rémains unresolved - perhaps because the reiative scale
of the elen1ents has beco111e disproporcioi1ate. The artist, 110,.vever.
is integral to cl1i~ first finished constrLLctio11a] scage and by no
1nca1u; a casual addicíon: tl1e figure is '-'VOV~Jl into tl1c primary
subject niatter of tl1e exploration of detailed nature u11dcr close
obscrvation.
D RAWIN G THE DRAWER: T I---IE NATURA LI SATIO N O F PRACT IC E
Witness to the Past and Wanderers in the Present
One oí those rough skctches, takcn 1n the fíelds that breatl es ,v1tlI the hv1ng fres.hness
of open a,r and sunsh1ne. where lhe harmony of ear Lh. a11 and sky iorm such a happy
1.1n1on or greens and greys Lhat a íl.it b,t of scenery on a few ,nches of pupe1· appears
so 'llany males.
John Clare 1-1
N.iture ••. at cer la1n limes, p1~ents ext.raord,nêiiy bul trans,ent beaul,es . lhe pa1nter
be1ng provaded w1th a qu1re of papei and ~ biar~ lead pen 11, et h1rn qu,ckly. l.lul shghtly
design whal he sees [as] extraord1nary; arid Lo remernbe•- lhe ro!o11r, let h,m mrtr'I< the
pnno pal parts -,.,,th characters, which he may expla1n at thf' bottom of ,he paper.
Roger de Piles ~
For 11o rtl1crn artists, vvho had u11dertakcn a11 ;,i.rduous pilgrin1agc
to l,ton1e via chc l'lbinc and thc h..1zardo1.1S Alpme passes. or
through Fra11ce a11d by boat, the urge to register a \V1tness to
their achieven1 ent w::is scrong. Sketchbook drawínsr<; fro1n their
culnrral cravels \Vould stand artÍ\tS in stead for the resc of tl1eir
working carecrs. buc tbe act of being Lhere. ,.1ctually dravving 011
site, could ruost easi]y be tur11ed into a 111cn1oxialising record b)
clrav:iJ1g anocher Jrtist dra,vi11g - a graph.ic cquivalcnt of tbe
moder11 tourist photograph. E,·en ltaliau artists v:ere keen ro
document tbeir pilgri:in:igec.. A SL'>{teenrh-century fl ic11 1 qf' Rc1111e
11 1/rl, a11 Ariísr Dra111i11g (Louvre) by Gio,,an Batcista Naldini (citca
1537-1591), for exarnple, depicts an arcisc vvith a lictle 'Phrygian'
c.:ap, uravving 0 n his la11 011 a portfolio wicb his lcft hand (e\'e ll
tl1e ties of cl1c portfo]io are indjcated) 011 a g rassy knoll ,,i th tl1c
custon1ary deud trce. Thc figure 1s drav\·n v\'ith a much heav1cr
stroke i11 brov,n i11k rha11 rl1e- t1ne-bned Iton1an ruins tôrn1iI1g
a panoran,a in rhe background, and was probably added !ater, as
n1t1ch co establish a fi·o11 tal plane as to appropri:ite the landscape
ror the Jrtíst.~h Dedica ti on co drawing .1ncic.1uíties (,1 11d recording
otl1er artists drawíng then1) cou]d also be l1azardous: ,·a11 Mander,
for cxamplc. reports l1ovv, \,\ hen I-le11drick Goltzius v isited l~on1e
uJ 1590"7)1, ·the ,vretched people ,,,ere ly1ng aboLLt and dy:u1g..
.. that ,vas true of rhe places ,vbere (~oltziL1s was mala.ng Jus
dra,ving fi:01n antiq-u e 'ict1lpn1 re. This COLtld not deter h1n1 frorn
working, norwith st,inding rhe r.tenc h chat Vv.lS inrenc;e, anel he ,vas
,enc;itive to s111ell: r' The Jure ofR0111e vvas "º
struug cl1ac, as sug-
gested by lticharc.l Wrigley, its very iiiflucnce, like ics bac.1 .1ir (11,in
caitiva), was infectious tôr artists.--1 8
ln che sixteenrh and sevcnteenth centuries tl1l" conrrasc
betwee11 the re1nai11s of antique llo111e and the bu11c- up areac; of
the city and it" churche'\ \VJS not great; even v,Then ne,v r>alact's
v\Tere built an1011g the ruins and 011 cl1e site, of .111c.,e11t baths,
these were i11cort1orated into gardens and víney·arus .•111d the
a11t1c.1ue sculptures anJ relicfs collccted by rich secular p.1trons
a11d prelates werc d.L~played in., courcyards and g:irc{ens. lt1ght up
uuttl che cigl1tcenth ceutury che llo1nan roru1n ,,·Js st1U p;razed
by catcl e. Sketching fron1 the :u1t1qu e ,vas thcrefore p.1rt of .1
305
.2J .l Cl.1udt.: Lorr,1111, TT1t G1,>rl<1 pf ,'\',·11t11111· 111
L111d~cape experie11ce, and co n1ove ti·o1n drav.ing a11tiqt1ities co
-;tudie, ()f the sur r<.>undin g plains. hi11s and lakes o r rhe ga rden~
ofTivoli ~·as only a 111atter of degree. T11e great lal1<.iscape arcisr
Claudt> Lorrain every nov.· a11d tl1e11 u1corporated s111ill drav:u1g
figures i11co lris landscape dra,vings and etch.i11gs of rhe ltoman
Can1p~gna or beauty spocs :u-01-1nd Ro111e. A s111all. drawing figure
eirher in prt)filt' or \\'Íth h1c; bac-k to rhe S})ectacor is found in a
nu1nber <)Í ,vorks or the lace 1ó.20~ to 1640s; in one particular
dr,l\.Ving. the recording Jrtist i'I percl1ed on a decaying cree-trllnk,
,vhilc a hunter looks over h1~ ~bouluer. Tl11s sniall drawing figure
rcuunds us that thc vvork ts noc cnnrely jro111 nacurc: but abo111
11ature. ~uch nacure 1s assoc1Jted ,v1th culrurc botb direccly a11d
obliquei,·, ;ind the .1rr1st. Clat1de'c; Doppc{qa11ier, is thc culn1ral
n1ediator of ra,v nan1re. One of tl1e n1ost sedu ctive of chese
306 DRAW NG TI IE SELF
Tii1vli, riit,1 1()+O, pen dt1J bro\vn ,v,1~hc~. t 70 X 237111u1. 1J:1.u-lélll. Thi.: N ctherl.1 nds, Tcylcr~ N1 usount. L 022
dr~r,vings is the Grotfo c~f Nc11r1111e in Tiuoli (pi. 213), 011ce part of
the c;o- callecl Tivo1i Dook datii1g fi·o1u arouud the I ó4os. ~\I Claude
uscd a vvide r:.u1ge of lutl'Ü110L1s bro,vn ink "vasl1es t<> depict thc
co11trast~ of ligl1t ::u1d sl1ade, rock and water. and h.is range of
broad a11d 11arrow brush strokes aod free ctirves h.:ls alJ the
bravura of Chinese calligraphy. The fi11e pen tines d-:ince across
the areac; of bróvvn ink as a linear cc)unterpoint co tl1e liql1id
vvashes, picking out a contour here, a shado,,ry rhythn1 there, or
(ietail~ of tl1e sn1a1l c;ketching, ~traight-backed artisc o;ho"vn fi-0111
behind scated on a rock bv• tl1c \Vater. Tl1e dashes of the brl.15h
tl1at ouclinc and tcx tt.u·e the rocks ai1d stream. or stiggest broad
foliage, have little to do v.rith natural sca.le, so that although tl1e
fig.ire ,v1th its back to us is cotally at one ,virh the la11dscape,
this is a landscape clai111ed foir art.
 r..;'1
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2 L.j. L.1n1berc l)oorner, fhr FcH1t1c<1i11 ar (Jcves ,,,ith 1111 .--lrr,, r Skc,r/1111,{!, rirr,1 1663, pen .111d bro,;vn 111k \v 1rh grt·y and brown \\'ash
ovcr üghc jndH.:ations in grapbice, .!45 x 3608 1un1. Londun. Thc Ilritbh M u ~cu111. 1886, 1 0 12. 539r

13y tl1e late seventce11tl1 century land-;cape was cstablisbed a<;
one of the genres of art, :111d, accordir1g to de Piles, belo11ged
either to a pastoral or rural style, in which nature 'sl1ows itself
sin1ply, plainly, and vV1thot1t ~rtifice'. or to a heroic n1ode: 'the
con1position of objects which in their type draw fi·o111 art and
fi·o1n nature all th,1t one or the other h;.is to offer ,vhich is gre:ir
0 .
and extraordinary'.' ln tl1e 'Golden Age', tl1e recording <lf the
reclain1ed Dutc:h landscape was a constant preôcCupatioJ1 of
artistS eSt<tblishing their oe\v wealth and bourgeois ide11tity,
buc tbe desire to represe11t nature pl<1inly and withouc artífice
dept:!nded on a great deal of concealed artífice. This is _so, for
exan1ple, i □ IZembrandt's Vi(,'1,1 1 l!f. Dien1e11 udth a Dra11J:;hts1na11 (circa
1648-50; The Hague, priva te colleccion). ' 1 Alt11ough, 1ike a11
Re111brandt's L111d~cape dra\ving;, there is a total eco11on1y of
111eans a11d apparent sponca11eity, ,vhat is left our ;., even n1ore
sigr1ífica11t than \vhat is ÍJ1cluded. Tl1e scated. bel1attecl artist 011
a s111all knoll 11ear a brokeo plank bridge is dravvn in a very thick
a11d spreading lu1e thac d-ifferentiates hin1 from tl1e thinner strokes
thac econon1icaily represent the village of l)ien1en with farn1
buildings on one si<.ie of the pedestri.tn 11ath ,111d the rl1urch on
the <,)tl1er. The treeless space betwee11 figure and village (includ-
Aat and s11in1111erii1g niiddle pl,111e: ir is ouly en1pty paper, fi·ce
of brusl1 strokes, but l1olcb foregrou11d and 11uddle distancc in
a paJpir,1ti11g en1brace. Slight area_s of wash in thc dark arcas of
che village on the left, and another distant groupi11g on the
horizon, supply son1e signifying clues of distance: for the rest the
tension bet\veen vie,v and vie½fl'r i'> e11tirely suggestt'd l1y 01rlis-
Sl0l1S.
ln a very uiffere11t ,vay. tbe topograpluca] arti.st L;uubert
Doonicr (16:?.4-1700), ,vho po.ssibly stttdied ,vitl1 1le111brai1dt, sct
ouc co record l1is craveis do"""n the ltbiJ1e frotn Ger111.an1· ro
France ar1d S"''itzerland ,,rith a certa111 dogged pedescr1an1s111,
e1tlivened by occas1onal poetry. 1)00111er was accon1p:inied by che
An1scerdan1 painter Willen1 Scl1e]li11ks (1623-1678) ,vhen he tra\·-
elled along the Loire i11 16-1,6, ,111d Schellinks Ct)ttld theretore l1c1vr.:
fu11ctio11ed a,; Doo1ner's alter ego and be tl1e source of cl1e
dra\ving artist -.vl10 is includctl Íl1 111ost of thesc v1cwi.. Wl1e11
l)oon1er \Vcnt do\,·n the lZbine it1 r663, he ,7.Sited d1e ne\vly
co11structed "Tiergarten · ac C leves. ,v1th ics arc:ides ,1nd ,-..·:irer-
\YOrks. A bus1ly sketching figure in cloak and hat .1pj,ear<; 111 thc'
~,7,e Fv11111t1111 ,11 Cle,,es 111ir/J ,111 .·• liflsl .<;ke1tl111te (pi. 1, 14), ~irring 011
.1 long. ~unny fi·ontal bench ol1ts1de " dark. '\tony grt>tto. \.Vhich

ing another traveller on tbe road) collapses real disc,1nce into a '\crvc... pbysically to fra1nc rhe vie\V of the seventeenth- ccntury

DRAWIN G TH E DRAWE R: THE NA I URAL ISATIOt-.J O F PRACrJCE 307

 unph1the.1t1 r he ,11 t1st \ l un,u1 11pti<.>11 of thi!. vie,v ~er,c~
1111.:t,1phL'11c.til, to n: lrJ111c: 1t Jo r the extt:rnal ~pecwcor. 1 hc
111,11111<:'r 111 \\ htLh tht.· CUl'\'C(l uifrastructure ot the arcaded bu1ld
111~! gr<) \\'S <)llt or the con,·ex g r,l, ~) l)ank 1,;; carefully recorded.
.111d 1cs d1,c.u1cL· Crnn1 rhe ce11 tr.1 l pt.•d1111e11red 11avilto n. che scarue
of \11111 /'1 d 111d tht' \\,lter to u 11L11 11 j.., caught 111 ,~ ,1r111 l)f()\,\ 11 a11d
1 forn1ul.1tion, in 11en and l1Iack i11k over graphite. relates the
grc-) ,,.,1-.bc, t>\'e1 pl.'1 1 ,111d 1nk "tro ke\ , celebr;it111g the dappled
lig;hl and thc bn..'cZÍlll'\:>
- or the day.
,
l)oun1cr\ popuI1st ,111d topograplncal style co11trasts ,vitb the
,evt."rlt\ of ,1 purely linear 11eoclas51cal e,Tocacio n b )T the (; ern1a.11
artist Joh.1nn Chr1~ri.1n l-<.. e1nh,1rt ( 176r - 1847) . wbo settle(l in
Tlo1111.: in 1789. fi)r111ing .1 i'irst ,,·ave o f th~ in111orcant Ge r111;:in
,1rt1<,t<t. rolony .1ll)llg \VÍ th A,n1u, J akob C .:i r\ ten~ ( 1754- 1798) and
J oseph A11ton I{oc h (1768-183 9). ln . irtist Skctclii11J! f1l'11ear/1
:iprct.1di11,I/. Ti'Ces (circc1 1800: pi. 215), cl1e litllc sketcbing artist witl1
b1~ b,1ck co LlS 1s dvvarfcd by the n1agnificence of d1c sprcading
chestnuts and oaktrces undcr wlnch he sits. These are oorthern
trce~. observed perhap,s during Rei11l1art's ~ll1111de~j11hre i11 Sa._'{ony
and Bohen11a, and it ha" been suggested that their purel) lin ear
dra,ving to a possible print.~·' ln s_pite of the enor111ous care vvitl1
v,·hicl1 the rree-trunks and cheir rclative positio11s havc bec11
articulated. tl1e linear conventions tbat distinguish. the leaf shapes
are appropriated str::right out of a Jandscape dra,ving manual.
What at f1rc;t appears to be a very closely obsen•ed vie\v, in tl1e
parti cular shape of the greac cree and the fine graphiLe lines indi-
cating che di\ta11c landscape chat thc arci~t is drav:ing fi·on1 hi s
l1igl1 positio11. is also a very r11e<liated construction.

i 15 Jo h.11111 (. hn,nan lleiilh~rr. -1 ,,,,,Skcrc/11111! Iir11rt11h 'iprc,1d111g f rrf', , riru, rlloo. gr.1phite and black ink. -197 x 665 n1n1. C' ambridgc. Mas\.,
l l.ir,·,1rJ Uu1,·er,1t) ,\ rt 1'1uscu111s, Fogg t\rt tv1useu1n. Thc: "vlc:lv111 R . Sc.1do11 fund, Lou1se llaskcll Dalv fund ;and l'aul J. Sachs 1\/1e1norial FunJ.
ll)i'I~ 74

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308 ORAWII JG THE SEL r-

Wandering in Company: Natu re as Feast

We are ternfied in the face of lhe qu,et eamestness of nature and her silence, when-
ever we encounter ,t concentraled 1nto a sohtary rockface or 1n the desoliition of the
ancient h1lls.
J.W. Goeth~

L:indscape 1s of ltttle value, but as tt hints at or expresses the haunts and do1ngs of man.
S;imuel Palmer

At1. artist of the ro111.u1tic generation, Julius Veit l lans Scht1orr

voa Carolsfeld (r794-.1872), acco111pa1ued lus frie11d Fricdricb_
'
Oliv.ier (179r-J_&59) 011 a j0Íl1t sketching trip to the Konigssce
Lake near Berchtesgaden ir1 Bavar1a, before their pilgrirnage ro
Italy. Lud\.vig Tieck's novel 77,c f'f1a11deri11gs cif Franz Sternbnld
(1798), describi11g tl1e journey of a sixteenth-cenh1ry arti~t fron1
Nure111berg through cl1e Netherla11ds and S,,·iczerla11d to Italy,
l1ad a profou11li in.flue11ce 011 Ger111a11 arcistc;, .and the ,valking
and sketchu1g tOL1rs of ba11ds of fr-ie11ds v,,ere ar1 esse11tial part of
artistic deveJopn1e11t. Schnorr vo11 Ca:rolsfeld's dra,vir1g 1-'riedrich
Olir 1ier Dra111i11,1! (l8T7; pl. :116), 111ade on tbis trip. is 11ot onJy a ,, $ ,,
fi11el,~ modulated pencil dra,vir1g of his con1panio11, but an acr
of deliberate doubling: the drawer drav,ri11g the dra,ver. E,·ery
aspect of 0 1ivier'<; atúre has been c,1refully noted and crisply laid
Jo,v11, cvcn hjs boots, c;lic trouser-botto1ns aod high l1at. Tbe .:? 16 Juliu\ Vcit 1-{ans Sclu1orr von CarQhld<l, Frit•(lrid1 O/i11it·1 Dr,111•í1i:',l-
grassy bank on " 'hich l1e sits, presunubl,· under a tree, is the tra- 14 Augnst, 1817. graphire on brO\VT1i<,h paper, .:?61 x 192 01111 Vienna.
Albcrn11a, .z 5311
d1nonal thro11e for drav.1ing in nan.u·e, ex:ploited by n1any, includ-
ü,g Gainsborough. Fra11z Kafka ,,_,rote in his diary afcer seeing ic:
'Julius Schnorr v. C - dra-vving by Friedrich Oüvier. he is sketcb- had ever penecrated. Whilst Og "vas delivering hi111self up to
ing on a slope, 110\\' pretty and earnest l1e is . .. But no. that is his genit1s in t11ese \vildernesses, Andre\.v. ,vhose in1agin::ition
Friedrich Olivier, draw11 by Scl111orr: 16 Tl1e rl1etorical co1úusion ,vas lese; fervid. co11te11ted l1ú11self ,vitl1 rhe l1u111bler 11rospects
does not on ly follo'-v fron1 the si1nilarities of the two artists' o[ the valleys.
precise drawin.g styles at that ti111e. but also asserts the reflexi,·-
The ro111;.111cic Og {,vho stro11g.ly resen, hles the artic;t 5a1vat<1r
icy and self-identif1cation inl1ere11t in any draw11 ,~iew of- a
Rosa) co111n1it~ ~uicide by thro,ving hi111~elf ioto Mounc Etna,
drawing artist.
and is concr~stetl vvith tbe con1placent and pedestrian Sucre-
In his Bio.ernpliical !vfen1oirs qf E:,:traotdi11nr)' Pai11te-rs (1780) the
,vasser of Vienna, ,,vl1ose a-ip to Verucc is ,vithout drru11a. ' I lis
nineteen-year-old Willian, Beckford, the eccentr ic English 1nil-
route lay rhrough son1e very i:01na11t1c cou11try, ,vhich he 11ever
lionaire traveller and connoisseur, l1ad spoofed the conventionaJ
deigned to regard, 111odescly coajecruriJ1g be was 110c yer \\.'Orchy
tales of artists' Lirl/!S, and i11 the lo11g cale of' Andrew Guelph and
to copy nature; so withouc str:aying either to che righc or to the
Og of Basan' lie leads us chrough a pilgrin1age from the North
left, he arrived ,1t Venice in perfecc bealth.' There l1e undercool
to 1~0111.e - bu t v..;th none of thc exalted seriousucss of Tieck.
\Vorks wl1ose 'ct1louri11g v,ra-; gay and te11der, and tl1e dra,vi11g
Andrew and Og, borl1 follo,vers of the rnyrhical (and vaguely
corrcct. The faces ,vcrc pretty uniforn, and had all the 111ost
1nedieval) Flenúsl1 n1aster AJdrovandus Magnus, travei to Italy
deligl1tful s11úrk i111agu1able.'57
across che Alps in con1pany. alchough only Og is 1noved by the
A duo of ladies. prettily in1bt1ed \.vith Sucre,vasser's ·cender and
sublin1icy of the land<scape:
g.J)' colow-ing', sit dra\i\ri11g in the n10,;t piccure\que of rumbled
The rude scene1y of tl1ese 111ountains suited the n1elancholy Ron1an ruins wjthout ,111y apparent ~ense or trJn'igression. in a
of Og'.; i111agination, which de1ighted in solitude and gloon,. \.Vatercolour by T-J ul)ert J~obert, Tr1 10 ) í,1111_(! f,f,'t1111et1 Dra111i11.I! 11111ids1
He sequestered hi111self fro111 hic; co111.pa11ion, hid hin1self in Cft1sSÍf1i/ R11i11s (178ó;pl. 217).Tl1c" you11ger ofche l\V(>, 111 \·\'hite
the forest of pi11es. and descende<l into caverns where □ o 011e 111usbn ,vith a tcatber in her l1at, s1cs ,VJtb a por1t<)uo on her

ORAWING THE DRAWER: THE NATURALISATION OF PRACTICE 309

217 Hubert lloberc, Tu•,, liHIIII! J 1,>111c11 Dr,11u111,<! ,11111rls1 C/,1ss1a1/ R11i11s, 1786, ,Yatcrcolour. 700 X 980 111m. Pans. Mu~ée du Louvre. 1)épar rn1e nt des Arts g raph1 ques,
R.r 31f1\)5
knees very close to a cla.,sicaJ reüef, , vith apparently no tear df
chill s ar o~· d1 rty1 ng her li ght dress. Her r.:on,panion re-;ts l1er
porrfc,lio 011 the pl inth of ;, ruined te111ple, \Vith a di scarded
para-.ol to one ~,de. T he .i\ l i11en a <;t,1ruc 011 che rigbt and a g roup
1 tu ries."11 Artist,; o ften accompailied grand travellers o n these pil-
of fiu-urcs 011 thc Lt:mple evoke another age , <; if fiITTlres
~ ~
1
b Oll l of
.1nt1quity h.1ve JOit1ed thc skccchcrs 0 11 thc ser o f tlus thL'.atrc of
spcct:icle.1 he :1ppropriation of a carcJcss, scatcd drawing pose by
,,·on1en ~kerchers wa,; not u11co11uno11 at this ti111c. v, ·h en ,vo111en
Jrtí,t:. often porrr,1yed tht"n1selves as dessi11n1riccs, bt1t t11úike pro-
lt:ssi(111.il 111.ile ,1rti,t'> thcre is no dis,irra} of casu;\.) clothi 11g or
s11t·cta l garl1 tt) n1eec rhe C<)nditions of duc;ty sites. Thes,e ,vc,111en
Jrc prett1ly Jrrangecl. as ii l<lllt)\Ving th e d içcatc~ of 111anu als fo r
amatcur len1alc arnsrs: ·Make a11 easy. graccfu.l positi on vvhilc
engaged ín ,cudy ... n1auy havc neglected th1s, to the inJLU-Y of
the1r health as ,,·ell as che n,1rur:.tl beaucy of cheir perso11s: 58
The Grand Tour ,, 1rl1 \vhich I3eckford I'> so 1de nt1ficd for-
n1a] i,ed che ht·nt'fici,1) ;ind tran~rorn1.1nve efft"cts of vvitn essing
31 O DRAW l'JG I HE SELF
great art a.r1d antiqui ty fo r police -;ociety under carefi.11 supervi-
-;ion: ~(J it repe;i ted to sô 1ne extent th e itin eraries cl1ar artists had
been undercaking since the 1ace fifceenth and 1;ixtee11ch cen-
grin1agcs in arder to record tbc passagc: Fragouard, as already
m entioocd, accoo1pa1ued rhc Abbé de Saint- No11, an e11graver
and collector, 011 l11S si.~-1no11th tOLtr of n1ajor lralian cities in
r76 1; and Alexander C ozens first experimented ,vith his blot
111ethod of produ cin g landscap e~ ,vhile touring Ttaly with the
antiquarian and collccror Ricl1ard Payne Knigl1t. Just as artists of
pa~t cencuries h.ad to undergo th e l1a2ardous crossing o f che AJps
o r Lcdious sea j o urn eys bcfore arriving ac the Eternal Cit)', so ali
travellers of tl1is 11ew cultural tour1s111 110\V had to traverse actt1al
and symbolic bo u11d:1ries.
Th e traveller crosses no t only the g reat natural barrier
of the Alps but ;i)so, fo r ex.:11n11le, the boundary repre!-te-nted by
 cl1e R.on1an Can1pagna. "vhich ~upplies a space of anricipation
111 \.vhich to await tbe 1110111cntous cncountcr with the Etcr11al
City itsclf, and the bound.1.ty of thc t>o11t111e Marsl1es, which
separaces l~on1e fron1 Naples and the ,var1n South.b 1
Alongside the real. pl1ys1cal journey was an in1aginative topog-
raphy, rraversal of ,vhich could cntail transgression and destabil-
isation for wealthy visitorc; &0111 a1J Europe, aud so111et:i111es ,vild
h.un1our or ridicule for artists. Tl1e srylcs of painti ng ,1nd char-
acter1st1cs of che colorues of tàreign artists establisbcd in [~0111e
in the early nineteenth ce11tury ,vere caricatured in a series of
,vatercolourc; of 1828-30 (Stockholn1, Nationaln1useun1) by tbe
S,-vedish artist Carl Johan lindstrom ( 1800-circa 1841). The
French paincer, in search uf dran1a, paints in a thu11derstor1n
J
e
...
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.,
•
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lasbcd t<> a tree, v. ith L11e l.'r,111111t.:ntary ·n faut 1:~in:. la nature c11
ravage'; tht.· Italian is painci11g a citysc.apc in a t:.trriagc hL'111~
drivc11 at grcat spccd, ·r>iu presto dj u1c, noo fi1r.1. 11c-.su110' ('uo
011c is faster than 1ne'). whtle che Engl1sh art1st gocs for the
ge1lcral effect, and 1s rather keen 011 dra,v111g a1d,;, such as the
Claude glass and ca111era ob<;cura.''~ The fore1g11 arti"c colonies
laid clain1 to differenc land'>cape silcs fi1r pa111nng or (Ír;1,\'i11g in
nature: tl1e f-re11ch prcfcrring Subiaco, tl1e (;e1111ans p.iinting
1
n1ainly in Olcva.no, others con1n1itted to Tivoli."
l11gres, ,vho spént 1na11y years in Ilon1c a~1er baving ,von thc
coveted IJrix de lton1e 111 1801, was forccd co ltve fi·om n1ak1ng
l1read-and-burter pencil portrait dra"ving, of tore1g11 vtsirors, lJJr-
tictrlarly the Engli<;h con1111un1iry, during the Napoleonic .1nd
post-NJ})Oleonic periods. Th ec;e tend to be elegantly for111ul,llc.
•
219 M.1r1e-Gabr1l'Ue Capcc, Sef{-Jl!lrrr,1it, eira, 1795, black and red ch:tlk
hcighlcncd ,v1rh ,vhilc t.halk. 011 w11 laid p,1per, _140 x 294 U1J11. C,1n16ndgt:..
M,1~\., Harvard Un1versity Art /v1u$c:un1~. Fogg Art M11~e11111, The Horvit7
C0Jlcct1ou, 13o$cóu. 1. 1996.~)
gr~ph1te, 195 X 122 111111. ltotterd:un Museu111 Boi1n1:tns V:in Bc.:unin~~-n.
Prcnu:nk.Jb1nl't, F.ll .t)S
• •
DRAWING THE DRAWER: THE NATURALISATION OF PRACTICI: 311
J•1d ,, herher sttnng ar ,t 111d111g. ,111~ll· or in Í:\111il) gro ups. tl1e
port111t ,ubJt'rt 1s relentle,,ly full- f:1l·t· <H' pn,t·d in .1 thrce-quarter
\Jt'\\ for CC\lll'e lltr.1t1c111 0 11 likcncs,. Tngrl''\\ \fl!t•. l l,1r11cy Dri111·i11.'<
( 1xo2.; pi. 2 1s) 1, thcrt·lo re r,1d1L'r unusuJI. 1-le dep1cts her J:i:c.1m
b(: hi nd. profc\sÍon:tlly enscouccd 011 J told1ng stool \V1th a tlúck
bou11d skerchbook (or _1ournal?) on ber knl.'e. ~he we:irs :1 ~n1ock
O\'t •r :in under~.1rn1e11t - 1ng re\ h.1s concentrated ou tl1e 11er1lun1-
likt' .,,, 1rl of it, Grecian pie 1c, - .111d ,1 -,houllle1 ,carf .1nd J 1ittle
l".lp. !tigres ""·'" fi ienc.ll\ ,vith l1<>th J-Jcnrietc.1 I Iarvc) and ber
h,1lf-,i,ter, EILzabeth No1 to11, i11 Ro111c. ,llld 1t 15 11ot kno"vn ,,\'ith
tertJlllt\ \"1,Jncl1 ol thc s1stcr~ ,., represented 11cre. (Tl1e) \Verc
both art1sts . •lnd l le11r1ctta exh1b1ced ac tht' L>.1ris ~.1lon bctween
r802 and IH 12.) The drav,ing ha<; been cropped on one <:ide, but
rhe plaetng of thl.' figurt: ,vell ro the left of tl1e con11)osition
.illo\,., .1 vie\\ over her ,houlder of l1er h and poi,ed ovcr the
pag1:'. a11d a ,kt'.tc li) vil'\\ of rhe loggia and garden cl1at i!> also
tbe subject or her dr,1,, u1g. We are Íl1Yited to ~1zc \Vitl1 the artist.
.:u, "''ell as ad1111re ber, ar1d lngres is clearly taken "vvitb her co11-
cencrat1on a11d .1bsorpt1011, JUSt as Anro1iio Canova (1757- t822)
,vas a fe\\' years larer 111 h1s lt fe-~cale 111arl11e sr ulpn1re of che
f)ri11tess l.Á'1l_Juildi11,1 Esrer/1,1 z y-LieclHc'//Sfei11 Skerc/,i11.~ ( 1808- 18;
Fi~enst.ldt, Schloss E~terhazy) , in ,vl1icl1 che f)rince,,; wear'i cla~-
sical drcss dnd dr,I\\'!- a la11dscape 0 11 ,1 1narblc dra,ving board
rcsnng on hcr knce.
A few years earlier rhe French arrist Marie-Gabrielle Capet
(176 1-,~T8) rep resented herself draw ing 011 her knees on a very
large porrfolio in n coloured .'5c!f:Porrrnit in rev<)lutionary 111ocle
(pl. 2 19). C,1pet. ,1 n1iniJtur1~t and 11orcraic painLer. scudicc.l ,.,.·ith
the acadenúcia11 Adél.ú'de labi1le-Guiard (17,+9-t 803) , ,vho ex-
ccpcio11ally ,va~ gr~tnted acade niic status in the Fre11cl1 Académie
ltoyale, together ,vjtb Elisabeth V1géc-Lcbruu. 1n 1783."4 Capet
appea rs iu Lab1lle-GL1iard 's vveU- kuo"vn aud propagandist Sc[f-
J>ortrair 111irlt ·11110 /J11pils (1785; N evv York, Metropolitan Museun,
of Art), stantling l')ehind Adélai'de \vho is sun1ptuou sly drec;~ed
\virh lace· alld ribbo ns and a grand fearhered hat, ,;itt111 g confi-
ucncially .1t l1er casei \vith palette an_d 111ahlstick on hcr satin lap
as a latter-day representativé of th e 'clea n' 11,étier of paÍl1tit1g. 05
Self-portraiture ,va~ a f.,vo urire subject of the nov.- al111ost for-
gorten Cape-t, bur 1n chis three-cha.lk "vork fi:om the early co
1111d-179os she reprt'se nts berselfas a very n1odestly dressed post-
re\ olution.1ry cit())'C'l'111(' i11 a sin1ple black dress, sitting on the
plaincst of cbair, wi thin a cocally e111J)ty studio, her JJarr/.'-cri11,(111
grippcd b, une of t,vo racher undersi1cd l1a11d~. Social and ~exual
policies hnvl:' sl1apcd thc rclarivc austericy of this represet1tatio11,
and Mar1e- C;:ibrieile dclibcratcly dcpicts l1crsclf JS sin1ple and
di-;ingenuou,.
" enga,-red ~,
' ~ in an acóvirv of dra\vi11g ... as ' natural' as ber
undre.,sed h,1ir..1nd entrusting her 111odc~c fe n1111ine gaze to the
111irror ()r ()lll 1p1n·ol)at1011
Dr1t1~l, ,vatcrrolot11 arlt~t'i ,vho C<)uld 11ot ~et to ch e Conti-
~
nenr dur111g tbL· Napolcl>t11t Wars v. e11t in SL'a rch of Lhe Pie-
312 DRAWIN G TH E- SE LF
curesque and 5ubli111c in the Lake l)istri ct or Wales, or rcinvtnted
c11e R o111a11 Ca1npag11.1 i.n L11e ~tudio. The topographical artist
Paul Sa11dby (1730-1809) , for cxan1plc, rhc only ,vatcrcolourist
co bc a foundi11g 111c111ber of the l~oyal Acaden1y, accompanicd
Sir Watk1n Wílli:1111s- Wynn an.d four oth.er 'gentlen,en arcists' and
~, huge entourage during cheir sketching tour of northern Wa]es
111 1771. and publishe-d thrt'e vc)lt1111es <.)f ro111antic rocks, cascades
J 111.l n10 tddering Welsl1 rui_ns, a~ well as indu<;trial subjects u1
aquatiut betvveeu 1775 and 1777. A rather watery green colôttrcd
dra"ving, Tl1e lra11 l·a1:ee itt Bt1n11011r/, (British Museuu1), for
exai11ple, depiccs Sir W. W.- W. sea ted on the grou11d sketclung
che vvater-\vbeel po,vered forge, \vb:ile a co111pan1011 shades hin1
t)h
v.·ith a giganric )'ello,v u111brella. A tiny drc1~·it1g (Windsor,
T~oyal Library) focuses direcrly on Sir W W-W. (accordit1g to
Sandby's inscription) sketchii1g unc.-ler a tree. acco111panied by a
bored dog, wl10 is st.1-ri11g ac rhc vie,v ,vlulc Sir Watkin co11-
ce11trates 011 tl1e board on l1is knee, on which hc dra,vs with a
very large pen. There 1s the fai11test -ind:ication of a landscape
beyond, b-u t Sandby's scrutiny is on tbe J1at, cue of hair, ki1ee-
breeche~ and overcoor described 111 decisive l-,rush,vork, and tl1e
11ecessary gra'i~ verge <)n ,11·hich che an1ateur arti'it sits in che
sl1ade t-i·o111 tl1e tree. Althougl1 l3ritish landscape skctchers
iucvitably ftnd such arborcal Tcfuges fi-0111 thc st111. tl1ey are well
protected agait1~t raÍ11 a11d chills.
Wales, like Yorkslure. was also the hunting ground of Nor"vich
School artist John Sell Corn1an, vvl10 was prevented fi·o1n visit-
ing the Contine11t by the Napoleo11ic Wars, but aclept in finding
.16.indon ed ruins, broken bridges and rustic \Vater \V11eels. An
extrao rdi11ari1y fi·et: pencil an d grey \Vash landsca11e dra,ving of
t804, illustrating the Milto11 quotation 'To,vered cities please us
the11· (pl. 220), Teprese11ts an evocatio11 of lta1y from the safety
of a ~kerching Society draw--i11g roo1n. lt was dra,v11 i11 response
co a quotation sec b)' a u,ember of the Sketching Society, prob-
ably J. S. Hayvvard , for the v\,eekly 'historica l landscape' project.
Eve11 though this is an i111agi11ary, uco11ian land~cape, the broth-
erliness of che Skctching Society finds expressio11 in t,vo 111inute
but a1ún1ated artists skctchu1g 011 large boards belo\v a set of
giga11tic u111brella pi11es. Tl1c vie,v rcprcse11ts a11 eclectic collage
of a pyran1iclal ruiu interrupting an aqued1.1ct (a favourite subjecc
of Coanan), the don1e of St Peter's across the Ca1npagna ar1d
even ;i distant seascape. Cot111an, like his concen1porari e-s, ofcen
consti·ucted landscape..; ba~ed o n published trave] prints. so che
ràre in clusion of dra,ving .irricr;ts in one of l,is "vorks sign ifies the
tieliberately ficcive aspccc of chi<; "vork. Tl1e trtu1cared prospecc
of the la11dscapc fineis eguivalcncc in tbe httge scale of tbe wild
brLlSh sqt1igglcs chac a.nil11ate the rough penei! rhyth.1m of forc-
ground foliage.
The British vogue for sketching in con1pany h:id atcracted the
c;1ricatur;1] ,vit ofWillian1 Hog:.i rth and his friend~ in an alburn
of dra\.vings. The Fi11e l)ays Peregri11,1ri,>11 ( 1732; British Museun1).
 I'
'
j;..
•
220 John_Sell Cotnl<Ul, 'Torr 1ered cirii•s µle,ise tts rln•,1 '. 1804. peucil and gn.:y ...vash. J66 x 4R.1 nJn1. Lo11do11, Vit:toria autl Albert Mu$etun, E.154-1939
\.vhich follovvs r11e ridiculous and ruefu] adventu res of five 011 a
sketching tour, witl1 ai1 alphabetical key supplying the t1ecessary
infor1nation for eacb scene.i,7 ln a typical !>Cene, 'Breakfast ar
Stoke', Hogarth himself sits dra,,.,-•ing on a ct1air in a rootn in cl1e
Nag's Head tavern, while t\1/0 artists are shaving (or being
shaved), another is breakfa,;tin.g in l1is nightcap and another con1-
pletes a dra,ving begun in the open air. These burlcsque ~cenes
v:e re probably the inspiracion for Thomas I~o,vland~ou's satiri-
cal Tour ef Dr Sy11tt1x i11 Searc/1 of thc Píct11resq11c of 1810. ln Dr
Sy11ta.t Skcichi1te thc Lakc (Ncv.: Have11, Conn., Yale Ce11ter for
British Art), the doctor, \vho l1as set o ut 011 a cultural tottr, is so
entranced by t'he vie,v of a lake that he sketches it ecstaticaU)'
DRAWIN G TH E DRAWJ::R : T H E N ATU RALI SATIO N OF PRACT ICE
,. t
"' ,
•
'
.1111
fi·o111 tl1e back of his agecl l1or1>e Grizzle - at serious risk of
fu1ding l1u-1iself u1 thc wct, ,vhile sl1e bcnds do"' 11 to drink. Hc
is ,vatclied by a clumsy yokel and dog, ,vhile the tourists on the
lake huddJe together miserably 1.1nder parasols. Sketching tours
in the Lake l)1strict ,:,,,,ere so fashionable th.it the)· e,·en becan1e
rhe c;ubjecc of a co111ic oper:.1 by cl1e Reverend j ,1111es Plnn1ptree,
Tl,c Lnkers ( 1798), and dravvi11g 1nanuali- ,1bouncled: 'The rage tor
1naking tot1rs ... has beco111e the prcvadu1g tastc t>f rhe bigher
funulics to e.'<plorc thc country in scarch of the p1cturcsgue.
Nu111crous portfolios are filled cvery sunu11er ,vich tt)pograpb_i
cal studies made by an1ateurs. as ,vell as artists d11ring rhcse
. , /,li
excurs1ons.
3 13
.!.! \ l l.111t,· l: 1h11, 1 l~n,,,·lt1, l<,h~,•11, ",,r1111..: r,• \ T1,< \1d.l,,I, 1~,.1. p,·11 .111d 111k. ,li.1,k·d \\ 11h t111f!;,·r, ,111 \\1·11111~ p.1p,·1. l .:!lJ X 1~'i 111111. H1nn1ngh 1111. B1r11nngha111
l'v\11,,·11111 .111d 1\11 <:.111,·1,, 1•,011'1sc

Wlll·ll1l'I ,1g11.llling lli<.· ~uhli11H', p11111111g dn,, 11 th1: P1l t11r11 <)( thl' 11i11t'(l't' llth Ct'tltury. tht> Engli-;h Prt'- R.1ph ..1elite
llltl·,quc n 1 l\,lllll!!, 1 dl.·lihcr,lll.' ( 011rr.1sl \Vllh co11,<.·11tin11.II
l l3r(1d1l'rhot)d <)ftt•11 111t'l 10 tlt"<l\.\' 0111.· .111other. A particular),
1 \l',(l\ ,1.111.tp.c li~tll<.'\. tlll' llh ht,l\'11 or
.1 ,kl' ll lti11 µ li ~l lll.' lll .l l1 .1u~ht p1.· 11 ., nd i11k dr,1,vi11g by l).1nll' G.1bril'I rtt.)Sl)L'tti (18.2~-
l.111d,,.1p<.' dr.1,,i111.t 1<.·.111 11111, 1'11: trctt1,·I.' llll'\<.'lll'l' ,,1
dll' .1rn-;1 188.!). l~t1ssct(1 ,<..;itti11,1! /e> i\/i.(~ ,'iiclcl,il ( 18-iJ; pi. 2.,1), dcpicts I~os-
.111d .111, .,, .1 1nl·t.1 11.111.1t1vt· .1boul thl' p1.1tl1<:l' t>I d1.1,,·111g: 'l'lll, '" 1th 111" rcl..'t llp {)11 a l·h.11r. SÍLlulg 1or Eliz.1beth S1dd.d
,t·riol1,, ptilllt" 1\1 r1dH ulou, 01 .dl thrl'l' ,1t tHlll'. ( 18.20 1862.). 'Lizrt11.·· vva~ l-l<.)~~ctt1's ~ickly n1odel .1nd 1111~tress
dur111g 1h1.· t H50-, :111d, l<)r ., l)ril•r pl·r1od b1.·t<.)rt' her de:-ith li-0111
.111 ()\1.·rd<>'-l' oi" l.nid.11111111 , l11s u11h.111py \.\'Íft· "'> 13uc ~he .11~0
1)1..'t.11111.• ;111 ,1rt1st ,1nd ,,•.1,; .1d1111rcd ,l'\ '\Uch by Jt)hn l~u~kin . Tht'
Drawing the Self Drawing the Gendered Other
irr1t.1hl1.-. ,çr,1trh111g prn 11111.·, ,1nd quitk ,,·.1shc, or tl11~ dr,1vvi11g
1,, o u1 n,t1, i111,\g<.·, o i ,l·ll tl'll,•,1v1tv th 11 t·;-..pl1t 1dy dl'.tl \\ 1!11
l. ,1.·l·111 l<> 111dic,1c1..· 1nor1.· p.1~s1011 th.111 thc ,ubj1.·ct ,vou ld h.1ve c;illrd
i,,11v, tll µl·11dl't ,, dl .,, l ,l'i .1 l od.1 t,, tl11, d1,cu,,1n11 nf dnuhl1n~ ti..11, unl1.•~,; r1..) l1..• n:v1:rs.1I ,v.1'i so vcrr p.1inful Lo llossetti. fhc style
111ht'l'l'11t 111 d1 ,1,v111~ dit· d1.1\Vt'1. 1 1kl· Lhl·, 11n11s111µ l!.u11 hocc 1a1111 o( dr.1,\ 111µ. p.1rti cuL1rlv I izzit''s t:-.cc pl'ering 1ntl..'ntly over rhe
111 ,t·,·c111,·,·11t li Cl'tllllt\'• ll u111t· .111d dit· ,obl'1 N.11,1rl·n1.·, 1t thl· dr.,,, 1nµ. b(1:1rd. 1, \'t'ry c ltlSt' to rhl.'. cra1np1.·d tri.,n~ul:ir ti~ures of

i 11 [) R,\ W t l , 1 11í ,E f
her O\\ n ,vork, \Ollteti111cs tt·clillic,1lly inepl but J.lso ,;1r11plified, t.1k111g up .1 pcr,istc11t .111d privale lilt• w11hi11 dll' t ln-.cd .111d r<>111-
stark a11cl occasio11ally po"verfuJ and O\,vcJ ntttc.h lcl tlic doll1i ple111e11t.iry world nC 111t1111ale ,ketchhc)ok,. ,.vl1l'rt: l11t•y ,11<..· c)fie11
11Jtio11 of l1cr 111e-11tor. Georgiana l3nrne-Jones recordeei that c,1ricatural llr ~pecdy 111d ,1111t1sl·d priv.tte e 0111111e1Jl.11 ic~. A
'Gabriel l"vasj aJ,vays look-.int; over her shoulder ,1nd so111etin1t.•s \VJ.tcry ink skctc:h h) ()sk.1r Se hlcll1111cr. /)ro111l'r I (11J40; Stuttg,1rt.
caking penc1I nnd 61-ush fron, her h.1nd to con1plete the ll,ing Staat,;galerit', (_)sk,1r ",chlt111111c1 Archiv), 011e oi n1.111y such
she had begun:70 Elizabetl1 usu,illy drew 111 eras:ible pen ei!, and 1,ludil''I ( ) r ,rt1de11(<, ,ll W(Hk, S\1111\ ttp íhl· spt·citic, or
lhl' \llllJt'C(
her J>en and i11k dravvings ~ht>W n1uth scr.itc:hing out ..1-; 111 thi~ i11 ,l ll'\V qt11ck \ll'Okt·, ,111d p111.tdll·~ or \ io ll'I \V;1,h . A \l',llcd fig-urt'
head. Tl1e dr,,wing is Jaced i11 l~ossctti'c; ba11J, ,111d ha-. nt·vcr bet.' 11 ht·t1t nver a d1.l\.Vlllg bo,1rd. h<>llt h ,11l(f\ (.'llµrt)SSt'd 111 tlit· ,1( l 1,r
cüsputcd: but does it show ltos~ctti in11w_ti11g L17zic's di-,1wing dra,v111g 011 .1 bo.,rd, -..vitli 1lt·1 do"" 11tu11)ed ,111d 1,1pt hl•,1d l <H11-
style wh1lc dra,v1ng hcr drn,ving hi111 o r L'l it by Eliz,1bcd1 pq,1U<)11.1Uy L<>n1plcu11g tlie L11<.lo,urt· of tht: pc>st, ,lic \t..lV1.'> .1s
Sidd_al? llossc tt1',; co11trol of the 1111age of Ehzabeth ~1ddal, as h.i,; a vcry ,i111p lt.· 1cc.)11 c>f ro11t:t·11tr,1tio11 ,u1d intr(>vcr,1c>11. thc c:.1$u.d
n1odel a11d the-n the curiously passive in1ages of hcr at the casei .1nd '11:1tur.il' dra,v111g of dra,v111 g.
or reclining or sleeping as a11 i11valid, appears to li:ivc J)rcn1a-
turely necrotised her by the vcry act oi dr.1wing. Thc clr,1willg
~l-1nlvy 'ijll"lllc 1, c:,1111il1• /)1,111·í1(11 / ,11/1 ( )l/11°1 \1,111 ,1111/ ,\ l,IIJ'•
..!..!~
Rosscttí Sítti11_r.1 to 1V[iss Siclda/ C<~ntrast~ \.V ith another \v<,rk by
nira l<JJ<J tJ . gT.1ph 11l·, ,!Olt ~ •:'-.o 111111. Loud,111 ( ,olk·,·t11111 of
l't.ossctti ~t1titJec{ ;lrlist s S111dío, in ,vh.ich Lhe no Jes~ '>l'r,ttLh~ .111d M1 anJ Mrs "I ho1n.1~ ( :1Li,011
impatient pen lir1es indi.cate a relax:ct.i Ltossetti w1th pipc u1
n1outh and h_is feet up on the shelf of the e.ise l, p.1lettc ilba 11 -
doned on the floor. 71 Ehzabeth (or ont.• <>f her suc:cessor~) i,
leaning ove-r l~ossetti's b.1~ket chair, ,,vhile ,l Ct)1 11 p,1111011 111,,kt's
111usic. Tl1e artisL ac the easel cucs ., very differc11t figure 111 rhi'i
~ketch, whe11 he is not the dircct objecr oi ano1hcr\ gazl' bt1l
tbc subject o[ his own narcissisn1.
A ccntury Inter, St:anJcy Spencer also produccd doublccl in1.1ges
of n1t1tual dra,ving scssions, including a penei! drawing fro111 tJ1c
~o-called l)c1wcnt Scrapbooks of 1939-43, C..'01111/c J)r,111'Íl1j.! b,1cl,
Other, Sta11 and J\,fary (pi. 222). ln Spe11cer\ dclibcrarely inf:Jn-
tilisc-d style. it shO\V'i a couple dra,ving e.:1c h other, al tli ough the
Mary of the in~cription has not heen idenliftcd. The c(>uple \tancl
very closc te..) eacb other, rivetcd by a 111utual gaze. bc \<VÍLh a
~01.11J skctcl1book helcl l1igh, she vvith a drawiJ1g b<.)ard :t1Jd papcr
balanced 1gainst h.er th.igh. Spencer and his nr~c ,vift• Hilda
Carline had drawn each other in :J wonderful 'let of n1un1nl nudc
pencil portrait studies in 1931 ,72 and the i111plic,1tio11 tli ,1t
Spencer's ,vo111en are 111irrors <>f his ()\,Vil 'le'<t1;11l) consutuced
~c-lf-i111agt.• add'I anothL·r din1e11~ic)11 co lhe 111c)rt.· cqt1itablc reflt:x-
ivicy notcd in cl1c dot1bl1J1g <>Í the Schnc)rr von C:ar<>lsfcld
drawi11g Frícdrich Oli1,ier Drau 1it~(! cüscu:;scd a.bovc. lt is not
ins.igr1iticant that these draw1ngs, a cc11tury apart, locate the
rivalry bet\veen espou<:ed artists ,vich.in thc enclosed ,;pnce o(
st:udio or dr:.1wing roo1n ,1s a n1etapl1or of their interrelation\hip.
Although drnwings al1ouc drawing cea~ed Lo be a 11011td.1r
l<>pos 111 lhe Lwenliech ct:11tttry i11 tern1~ of cxbibitcd wo1 k~ 011
paper. sketcl1cs o( tl1c ,ubjctt l1ave never rc.tlly Ji)appcan:<l,

í)l~A1Nlf\JG THI DRAWl:-R: IHI IJAflJRALISAIIOI\I 01 l 1 l{ACI IC" I 315

 l)ra,-v ings of drawt!rs about tov1:11 or recording landscape are
Chapter Twelve
oftt'l1 ~y111boli cally y<.>uthful. <lra\viJ1g being Jn initiacory act asso-
Draw ing the Studio: ciated \vith invcntion, study ar1d docuu1entation. Drav.rings of tl1c
arti,;t at the casei in tlic studio. ho,vever. are ackuovvledgen1ents
Power and Legitimation of th c academjc, pubLc and worldly achieve1nents of pamti11g
and are p;e11 crally depictions of executive power and ceJebrations
of prof~sional status. Sl1ch representations. ,vb:ich consteUate
.1round tl1e hist<.>rical topos of chc:: Studio uf Apelles, celebrate
the pote11cy aud povver of tl1e artist acl-1ieve<l tl1rougl1 cot1trol
ovcr rt:prcsentation ,111d the body of the 111odel. lc is 11ot sur-
pri5ing, theretore. tbat " 'here:is representati011s of artists dra,vmg
are dra,vings in tl1eii· own right. drawings of the :irtist at the easel
in thl" studio are usua lly preparatory sturues for pajntings or
pTints, becau~e the celebraric)n of the 111é1ier of painting i-. 111ost
efTecLively reali:-ed i11 p;:ii11t, as in weU- known \>Vorks on che
liubject by Diego Velázquez, Jan Ver111eer and GLtstave Courbet. 1

The Visit of Alexander to Apelles:

lmages of Artistic Power
The story of Alexander and Ape1les ic; elaborared by P1iny the
Elder:

The charn1 of IApelles'l n1arlller had won him che regard of

Al exander the c-;-reat, vvho ,.v.1~ a frcquent visitor to the 'ltudio.
for ... he had i~sued an edicr forbidding any one else to paint
l1is portr.iit. But wl1e11 tl11t king l1appe11ed to discourse at
le11gth in Lhe studio upon things he k11ew 11othii1g about,
Apellcs would pleasantly ad-vise hi111 to be sile11t, lúnting that
the assistai1ts who ground che colours ,vcre laughing at hi111;
~uch povver did bis perso11ality give hin1 over a ki11g h.abitu-
ally so pas-'5ion::ite. Yet Alex:ander gave hir11 a signaJ 111ark of hjs
regard: he C<>n1111i-;sioned Apelles to paint a nude figt1re of his
f:.1vc>rice inistresc; 11 ankaspe-. so 111uch did he a_dn1ire her ,von-
drous fur111, bt1t percciving chac Apcllc:; l1ad falle11 in love v,;ith
hcr, witl1 grcat n1agnanin-rity a11d stiU greater sclf-co11troJ, bc
g:ivc hcr to 111111 as a preseut, vvinnii1g by tl1c action as great
J glc.)ry ,\5 by ~u1y of l1is victories. He conq uered hin1self and

srrcrificed to rhe artist not only his 111-i<.tress but his love, and
,va~ not even restrai11ed l1v consideracion for the won,an he
;

lc)ved. ,,vho once .1 king'~ 111istress v.•a:-, no,v a painter's. 2

ln tlii:-, tran~lat1on, the be::i,utiful nústress is spelr Pa1Jkaspe, but her

nan1e ~1nder\vent .111 "ores of çhange.s ove-r che cencuries during
it~ ,1ppropriatic>11 inl<> art and literature in 111any European lan-
guage~, the co111111011e~L vt:rsion being Ca111paspe.' The stOr) of
.!.! l {fc /dl~~ , ,, ,~,.) Pll1hp ( ;11\lO II, l 11111/nl l\)( l t) l h ,111·0,11 1)11 p.1rl·r. her g1fl Lo .1rt ii; pr:ececled in ]>]iny by aJ1ochcr rale i11 che Apclles
1,7 X i~ 1 11 1111 Nl \\ 'rork, priv.nc u 1lk r 111111 C)"Cle:
/

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•

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1
 IApcllc.-,1 u"ed to pl,1ce t1111shed ,,<1rk\ i11 .1 \ hop in vie\\ or
pac.sers b), 1111.I, h1d1ng be lund ,1 p.incl hi111-,elf. ht" \VOlild li'itt·n
1ttl'nt1\,el) t,> the C1ult., \Vh1ch thL·y noLÍl:t'U. l1l>ld1ng d1J_t lhe
publiL \\ti\ J_ 111t>re ,l'> llllt' judge Ll1au l11111self. Thcy say chac l1e
,va" Ll"ltlLl,ed bv ,1 ~hl)t:n1akcr bccause l1e had n1ade coo few
'
IJL l' hule~ i11 thl· 5a nd:i Is ..1nd rha t on thL follo,.ving day. the
-.;i111e 111 ,111, prc>ud rh;ir :i Cl)rreccion had bet'n n1:1de on the basi-.
of h,, prevtou" criticisn1. 111,1dt' ti.111 of the leg. ,vhereupon the
,1rri,t peerl'd t>U l ,1nd de11ou11ced hi111, \,1yi11g a \l1oe-n1aker
,hnuld nt>l 1>resunll' to JLl<lge ,111yll1u1g hJgher th.1n a sai1dal;
,111d th1" ... ba, co n1c c0 bc a provcrb.-1
'l'hc l 'i(if L~/ A!t·.\·,1111/cr [(1 riu· ,'-;111dio C!r ,411cllcs. i11 whicl1 vario11s
p.1rr, of che Plin1a11 ,cory :1re cn111bined and conílated. functions
a\ a par,1hlt: o( tht' po\ver of vi~ual art. Even th<)ugh nov:adays
it h.1, bt'1.'J1 f<Jrgollt'll l,y Jll buL art lustorian~. it forn1s rl1e 111ean-
111gful. bisrorical core or n1oderu Wcstt'rll ~clf-rcprcscutatious of
rhe .u-ttst 111 the ~tudio, burjed Ln the spo11gy b11t resilien.t 'n1eta-
conc;cio1.1sncss· of artists. o ut ot \\·bich rt'S011ai1t imat>0 ·erv' u; resur-
rected or rc1nvented v.·hen n eeded . 5 ln che fifteenth and
, 1xcee11th ccntu r1e,; che ,ubJect operated ,li; :l glorification or
p.1uni11g. ,ince Jt\ iconographical refere11ces coul<l be appropri-
.1ted to rhe p11rL11!011e deb.1te about the rclativc n1erits of painting
1
and scu lpture. ln t.he sevcntecnth and cighteenth cc11turics,
' .1nalogy betvvce11 the paí11ter's tools a11d ar111oury is deliberately
,vhen rbe ac:1den1ic st:Jtt1s of artists 11ecdcd reinforcen1cnt,
.iflc.'\:,111dcr C'l'di,~í!, C.,'a111pa..;pc lo .411elles becan1e a stan.dard subj ect
of dra\, 1ng co1npet1tions. beginning v.rith the CcJncorso Cle111e11ti110
1
set 11y the Accade n1ia di San Lura i11 R<)111e in 1673 and con-
tinuing in tl1c ,u111u.tl co11111etilio11s sel by the Acadé111ie !{oyale
•111d. sub,equently the Ecolc dcs Deaux-Arts i11 P.u·is. The rhc.tor-
1cal md syi11b0Jic aspccts of thc sL1bjcct gave \;\/3)' to sceues fi·o 1n
the L"·es of hi stor1cal {111alc) art:J.sts and se □ tin1e ncal po1·trayals of
~.!.J P:iul Céza.1111c, Thc Pt1i,11e,, cirül 1867-72. gr:iplút<.:'. pt:11 and iuk.
10.~ x 170 111111. 13.1,L·I. Kunstrnu~curn, Kuptersttchk:ibinerr, 1934.158r
318 DRAWING TI-H S!:: L~
che childhood of fa111ous artiscs, of deachbed ~cenec;, for exaniple,
·Leonardo da Vinci dying in tl1e roya] ar111s of Françoi~ 1 of
France, a11d tbe ]ove of Rapl1acl and the For11arina in thc 11ine-
tce11th ce11tUJ)'. 7 Excursio11S ir1to thc allegorícaJ an.d pictorial
aspects of thc stud10 have never ceased to have resona11ce for
artists in che cwent1eth and l:\ve1Ttv-first cen turíes.
'
ln cratlitional drav.,jngs, prints and pai11cii1gs of Alexander's visit
tt) the st1.1dio of Apelll:'s (inc1L1di11g che early íi·esco cyclei; in both
Vasari's hoL1ses in Florence and Arezzo), the artist sits or sta11ds
before au eascl and canvas, hoJding palcttc a11d brushcs and 111ah1-
stick, somet:11nes ,ve:1ri11g the disti.i1ccive beret; very often, stt1dio
objects. such as p1:tster casts, lay-t1gures, modeJ's plinths, n1.irrors,
111usical ir1strun1ents a11d a draped curt:1i11, are included.8 Leo-
nardo had \vritten in one of l1is p11rago11e state111ents co111paring
painting unfavourably \Vitl1 ~cu lpture. the dirty, labouring trade
tl1at requirec.1 physical exertio11: 'the paínter sits before bis wc)rk
at thc grçatcst of e.ase, vvell drcssed a11d aRplying delicate co1ours
,vith lns light brush, and l1e n1ay dress lún1self u1 whatever
clotl1es !1e pleases' .9 A 1ruJ.hJ:stick with its cushioned end allovvs
an ;:ircist to supporc the painting ar111 wichout dam~g1ng a \Vet
<;urface and is therefore a syir1bol of a 'clea11 ' 111étier, as \Vell a,;;
<lenocing status and con1111a11d: Apelles oftcn bran<lishes palette
and n1ahlstick beforc Alcxancler like a ~vvord a11d shield. The
exploited Í11 the title page to Sai1111el "'ªn Hoogsrrate11's l11leyd-
i111<, tot de hootzt' schoolc der Schilrlerkonst (1678), in wh.icb rhe artist
hero in arn10L1r is Jjterally being girded by the Muses vvith dif-
ferent sy111bolic aspects of hi~ art. 111
Tl1e co1 11111.an<ling po\.ver of che artist wieldi11g his palette .
brusl1es and n1ahb,tick as ran1pa11t weaponry is caugl1c brilJia11tly
by Paul Céza1111e in a rough thun1b-11.úl sketch in pencil in a,0
carly sketchbook of 1867-72 (pl. 224), m whicb a bereted artist
in a flow1r1g cloak points co tl1e in1age on rus easel ,vith a dra-
111:itic Aourish, ,vhile the partl')' dr~ped model is vvimess to ber
transforn1ed in1age. 11 The ~ketch is so incidental chat it is par-
tiall) scribbled over in pen \vitl1 trial c;encences fo r a letter, and
yet it contain.s a1J tl1e 11ecessary é1J1d fan1iliar iconographical ele-
111e11ts tl1at sign.ify tJ1e po\verfL1l artist at \vork before the easel -
not Jeast tl1e sl1ieldlíke paletcc hcld i11 tl1e left l1and. The
Da;i.1nuer-style quick curved li11es in1part a huge vitalíty to tlus
little drawing.
ln historie.ti work.s, \.vhetber sitring or standing, Apelles the
archetypal painter i~ ~it1.1Jted in a connnanding position in front
ofl1i~ ea~el, a figure cc..1ual t(), or or greater po,ver than, l1is visitor,
thc heroic genera l, Alcxander tl1e Great. Ale.x.a11der~~ <;tatus, ct1n1-
bining poJitical a11d nulitary poyver, is usually signified by ar111ouT
:ind he1mct, .1nd he is acco11Jpai1icd by a rcti11uc of coui-ticrs a r
sold1ers. Tl1e grande11r of his cortege con.tra.sts v.Jith tlie g1ggling
srudio apprentices grinding pigi11ents, wl10 111ock hin1 for his
1gnorant pronounce111ents 011 art. Piginent grinder,; are either
 -

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1\ ! J
1

-
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• •

.......
... 22 5 Pa.nnig ia.ni110
- •
1
{(;1rol:in10 fr:,n çe~co
M.in a l\.1Jzzoh).
.,:1 P,1111/cr'., .ls$ist,1111
C ri11di11t P,g1111:,11s,
- 1 •
1 lf(,1 , s30~, reJ t hall.

11)9 x 155 1nn1

London. Vic.:torw and
Albert Mu~euni.
.tw.h . Da.ltou l31!qué~t.
l).9t-J9 -1yoo

depicted as yoi1ths, classicaJ p11ttí or rough labourers (or even con1-
111edia def!'arte figures in the case of Giandomenico Tiepolo), bt1t
a very beaL1tif1.1I red cha]k dra\.v1ng by Parn1igianino, A Pait1te1<(
Assisra11t Cri11ding Pig1ne11ts apportions grear digniry to cl1e young
n1an (pl. 2.25). Wearing a loose be ltecl tllnic over hi~ cloches (a
slic pair of breec11es can bc scen), hc conccntrates con1plctcly
on bis menial task, and in spite of his muscular arms it is not
difficult to asstnne chat he 1s a11 apprennce arcisr \Vho \Vtll go on
to ocher ku1ds of praccice once he ha-; learnt'd the ba~c casks of
his trade. The hor12oncal shading of che,t and bac..kgr<)llnd p1ck"
llp on the back\,vard and foí\varc.l 111ove111ents of h1" ha nd \Vith
tl1e pestle, and cc)ntrast'i wich tl1e c..ros,;-hatclung ,111d diago nal
sbachng u1 othcr parts of tlus ratl1cr rubbed. but very be.1utiful
drav\' Íng.

DRAW, N G THE STUDIO: POWER .A.ND LEGI r MP.. I ION 3 <J

 f li \tud10 lf Apt.·lll•,; t·x.,l t,; 1ht.· pntt.'11 ( \ oi ., ri tl1 r<) Ltg h 1:lt.-
v 111 11 thc <'L1,1l '>l,llll, <)t th t· ,1rt1s1. ,111d ApL'lh:s tl 1l' gre,11 .11 t1, 1
'
do111111 1tr.:, l11t L,>11 lr(11111111 ,11 \\ 111! lii, pt>\\L' Iltil 1111li1,11 y p.i trn 11
1n 111.111\ \t.: l'IIU11,;. l li l' ... uhjt:t l de.d, ,, itl1 h.1,1t qu1.·,tio11, tll' 111 i111
1.•,;1.., .111d 1csth1: 11c,;, , lc,11 I) L'qu .1t111g bl'.1uty \Y1th t'Xt"h:.111gc ,alu e.
th.1t 1, • sv111hL,li C ,,1 lt1L'. r,1rl1 t.·1 d1.111 111t.)lll't.1rv• \\<>rth . li .il\o ufler,
up th c t111 11:le,, st11r\ nf thl' ti..·111.de 111udcl .is 11111,L, .111d d L·::i ls ,vi1 h
t'I Oll t t, 11 1 ,111d t ulttn .il ,111d ~t.·:--u,,I º'' llt.' t :-.liíp. PoLH 1>,ll 1k.1, pt.·/
t ·.1n1p.1, pl' tlie r ( h.111g 111s 11.lllll' 1"11rlht. l dl'j)l l\l'\ ll l' I () r L'lltitlt-
0
llll'lll!) is ~1\'l'll li(\ <hutt.t.' i11 lht.· di~po,1 t1t> ll of hL' I bL',tutiful
hoJ,. \\ hit. li .1ru~1, 1.·~ \ LI <. li de,;1 11.' 111 Ap1.·llc, • .111 .1, pt.·t t th,1t '"·'' l(>
Jo 11111111l' 1u,1 11~ , tr,,on-. of tht.· ,ubJt.'t l l{ut pt.· rh ,1p-; Lh l' 111,1111
.1trr.1t. t1011 o( thL· topos is Lh,1c ic ~l,1rilie, rhe Jll'<lt' ltn· c>f p,11nt111 g,
111d s;upplil', ,111 l'llj(l),lhlt: opportu11ity fc)r .,rri,t:-. (() pl l"t ll rt' th<:
~tl1d1t, .1, .1 pcrfiir111.1t1vl\ puhht. ,1 11d 111,1gil ,11 sp.1cl' t,,, ( re,1t11 1~
,ll l\ or ll ,111,fi,1111,111011 ,lllll l'Xl" ILÍ,i11g .l \\ Ílll l'\\l'd l"llll' a~ gl'niu,.
AIL''\,llH il'r·-, ,i np,hn~ nut o i /\pc lll', ,1, -..oll' po rtr.tillsl hnd,
rh1.•tor1L,l i 1c,011.1ttct· in otht'J reprL':,,t.•1 1t.1t10 11s of royal 1:,vo ur
t()V.'Jl'li~ 1rnst,. C'h,1rlc::-. , . thl' l lol) 1{011 1,1 11 En1pe ro r, ,1\v:t rdt·d
1h1.: ,,1 1111.: hn 11ou r tn ·r,ri .111 111 1'iJJ. t.h.· rl.11 in g Lh .1l. 1,kl· h1-; pri.'-
dt'ct:,..,o,. ht· ,,·0 L1ld be po rtr,,yt'd 0 11l y hy thl' g rt'.1te,t l1vi11g
p,1111cc1 d11hhed ·t11t.· \ t'l0 11d Ap1.· ll1.·,·, ,111d, i11 .1 po pul.,r 11,1rr.111 vt.·
h<: evt.·11 , tnop, to p1r k up riu,111 \ p.1i11chru, h. l) L·siLk:ri11 ~
Cr.1~n1 u,. 111 ,l l.lllll>ll\ e 11ro111iu111 DI l 52'i ll> Pirck hciint· r, ,vr<)tl.':
•Afcx.u1dcr tht.. c: re.it ,v<)uld o nly ,111<>,v hi111st.·lt Lt) bl' p.1111red by
Apc lle~• h.,nd. Vo u h::ive f,1 u11d your Apelles 111 Albrccht 1) (irer.' 11
A ,vt'll- kno \Vll pri 11t by 1-1111-; 11u rgk111J1er (1173 - 153 1), "111c
'5'
r:11111crc1r .\ f ,1.YÍtll Íl11111 ;,, li />11it1/cr '.~ .~111tlio c)r cirl'I/ H hy lhe :1uthnr
o ( the n.,rra tivt.· v,oodc ut 7'/1c 'Ji i 1111111!, <!( ,\ lr1.\'i111ilia11, fi.1ll o vvs .1
1
,·cry ,in1il.1r ito11 ogr,1phy ln Lhe Ap1.·IIL"s ~t(>ry. ,v1Lh :.1 11 ab~<> rbeu
,1 rr1">t '\l',l ted a t h1, easel turning his b.ic k to the visit1n~ E1npc ro r
M ,1xund1an 111 a hugl' c io.d,. bt: 111~ , 11itlt·d b) a suspiclo u, dog,
,vhile .111 ;1~sist,1 nt hrnnd,; co lo urs on the o ch er . , ,de of· che e,1,;el.
'
ln rec.1 lli11g tli e Alex,1 ndt>r legend in 11o rth t.· rn g,.1i-,e, the 1)utc h
th e<>rt.·t1(.'1,111~ K.1 rl· I va n M.111<le1-, S.1111L1e l \';til H <>Ob"itr:it e n .111d
Philip, Angel .ill rel.1tt..· ch e ll.'gend o i" ho'v\ lh e E1npe ro1 M .1xi1n-
ilian o rdered ,1 cou1 tier to ll't l)Lirc r !>t,111d <J11 h,., b.,1 r k 111 ord l'r
to re::ich a , ·et"y L1rgc dr,1w 111~ ( J ll the ,;v.111. Whcn thc 11oblen1an
·co urn:ouc;ly re 111nn~tr.1 ted \vith rh e Enipc ror tl1at to be !>tc:pped
upo n thu s b\ 3 p,lÍllLl'r , vould n1e:in hu111il i,1t1011 ::i nd contc111pt
Í<l1 lhe 11 o b1l ít) •. Lhe 1,;·1npe ro r re plit:d th,lt 1)dre r ,vas ·111ore rhnn
,1 nohle111,111 by v11 lut' or h1-. o ut')t111di11 g ,lrL. ;111d th ,1t he could
lllJ k t.' .l 11oble 111.111 O lll () r ,l pi! \\,llll OI ,111 ()rd111ar> pc r\()11 huc
11or such ,111 ,l I List ti·o111 ,1 11t>hlt·n1 ,111 •. 1 Tlic..· legL'11 d Í!> l h 1.•. 1e l<H'l'
1
of utn1osl 1111po rt.1nce 111 pro1110 Li11 ~ aru, L1ç st,Llll\, p,1rt1cu larly 111
th,lst' Ct.'nturie" \,\'hc n .1rt1!\ts ,v1..·re t.·stabli,h111g th t.• 1r soc1,J lt:g1ti -
111<1t v Lhrough Lh e fó1111at1o n of .1c,1de 1111es .111d r<)V,tl •
ch;_1rcer,;. 1 hc
a-.,n<..taLion nf :1 11 .1 rt isl °" ith an 1111por1.111t fi gure fi·on1 nntiquity
idc..•n t1Ji1..·s tl11..· pr.1tt1uoner w ith hu111Jnist ll',1rni11g :ind pnrt 1cip.1 -
t1 0 11 in tlll' , l.1\~ic.1! c pi,tL'l1 H., ,1'> ,vl·l l a, a1i,t0Lr,1L y hy ;1s1.;o, 1.1-
320 D RAW f-.J Til :iELF
lit)ll . 'l'h t.· llt ,dt· ,ll'tJ'il ili fr()ll(or ,111 l',ISl'I ill ,l , t11di() hl'l()1l1l'\ 1
dot1hly lc> rle ltil fi l,!:urc \V lit.•11 thl' L'lllpt..·101 is p, c~L' lll. t o111111.111d
ing eXll'r11.d ,c>t 11' , t.tlllS hy .11lili.1t10 11 • .1, ,ve ll .1.., i11ler11.il p<>Wl'J
ovl'1 lhe 11n.1gt·ry to bt.· dl'vl· lopl'd 0 11 the ç,111vas .111d ov<.·1 thL·
b<>dy o t thc n1odl·l. ,vh<>sl' v.1lul' ,~ l'ntirely con,tru ctl'd thrc,ugh
the .tru stic .tr l Above nll, Apc.:lk•<; cl.1i111', i11tl'lk·ct11;1l ;111d t 11ltural
""< t'11<l.111 cy c>Vl:.'I' Lhl' 1.·n1pl'n)t hy pl1blil ly rebulling hi111 .
·1 ht t:r<>t1 c, o( p<>\\.L' I ,lrt' 111.1dl' 1.· xp lic il i11 the 111,11111er Lh,ll
Apc lles ,111d Alt."-c.111 tll'1 p,11 tit. ip,ll1.' 111 ,1 11111tual ~t.' Xl1,1hty by lliL'i 1
or (
!'lt.'11 .tl ()\V ll C.: l'\ hlp :.,111p,l\ j)l'. Shc IS in lll) w.1y Lht..· lll'llli ,d1scd
bod y o i ., cc, n,e111111µ- ft.•111,il l· 111odl'l acc()111panied by ., e h,1pL' 1
<lll l' i11 ,1 \V<)rk~ho p/,;tud1t) -,11u.1tin11 , h11t rht.• l111111t:d1.1tt..'d .111d
11< >11 ( 011se11t1ng fc>cu, t)I 111;1lc d t, irt'. v, ho can be tradt:d ,t\ ,1 gifi. .
7 111,• ( t l!H )!\ d1 t rt.·lt>rl' 'il"l"Vt.'S Ili \l':\ll,tl!Sl' lhe v.:idc..-1 l\'illl"\ or .,
IL· 111.dl' 111odl'I, 11.,J..e d .,nd subjug.1led befi.Jrl' tlil' 111.1h: g,1zt.· 111 ,1
, tudio. <:.,111p.1,p1..• 1. 0111d be s.1id te) -;v111ht,lise Lhe prol:111e bc,dy,
,vhi t h i-, bo th 1r1u,;1.• ,111d st·xunl lovt.\ crota, 111 cont, asl to 1h1.•
VLrµ; i11 in the St Luk1.· 1co n1.lgr,1phy. ,vho, equoll y the subj1.·ct oi
:1 rllst1 c .1ppro pri,1t1 n 11 , rl'J)rt•~1..· 11l<; , pir11u:tl lovr. ll,(!11/lr'. A11d it i, i11
thi., rt.·SpL·rt thal th t.' V1rg111 ts ._,>11tl'LÍ1111.·-, p,111111.·d 111 ., 11i111hus 0 1
,1 1.k·l,bc, .ne l; dilTt·rL'llll,lll'd , p ,\t (.' li·()III ~l I ukt.· c:,t111p.1~pl'
her,t.•lr i, .il~o uli e,1 rcp rl'\l' lltl'd l)ll ,1 lhl'() lll', ,IS ,r ll \Vl'l'l' Íllll'I
l h.111g L '.1bll' ,vith tht.· -;cudio d.11:-..
A lcx.1ndl'r's .111d A p<..· llcs ·~ ~cx u.1l1cy d <>es not pr1vilcge Lhe
1,pcc,.d nature of .111 .1 rc1sc'<; gaze, but est,1bL., he<; ir .1s be 111g ot thc
s:in1c o rcle r .,s th,1t <lf tl1e ~);1tro11. ,,nd, h), c xtcnsi<>ll , rht· 111.ile
,peclato1. 'J hi .. ,., ve ry lllULh lt) lhe !ore 111 reprc~l'lll.ll1011~ th.,t
l.ikt· pla ce ,v1tlií11 ot'l1t·r sp.1( l''I tl 1,111 t h.1t or l'ht.· :-.ludin. o ltt'll ~pt·
cirit ., li> hl'd1"<>0111s. 111 Ll, l. 'v\(>111.k·rfi.dly el1.·g,111L pink ()V,11 d1.1\>\ in~
by Pran C:t''> l O Pri111.1ticc:io (1\ 04- 1,;70), . l/c.\",11ufl'r ,1111/ c:,,1111>,1s11t
i11 1(1<' ,'-;111dio o/ . lpel/rs (cin,1 1 'i41 4; pi. 2.2(1). C .unp,1,pe rL',po 11ds
vvith dí-,tn.:'iS to hcr f.,t~· .11id ,1 1111de, hel111t:t1.·d .111d l' l"l' <.:lill
Al e,,,ndt·r rusht'!'- ro supp<>rr hl'r .1~ ~ht.' L1111ts. ln ,1 rL"vcr,;,11 oi thl·
t1 st1 ,1I 111tt·rpret.1tit>11 01· th,s tl)pl>~. Alex,111dcr i-; 11ot tht· ()J1i<)t)ke1
o( a subl1111.1tt."d .11 risLit art hv thl' ,11c1~t. buL ,111 t•rntic p.1rt1 r 1pa111
i11 .1 st:'\ll ,1' du e l. Thr c lotlil·d ,1rti~t . ,viH) h.1, n<>L y1.· t 111,1dt a deli
1111e 111:irk 011 thc .1!111osl c;111pty t".111v.1,;, .n1d h.1, th1: ret°clrl' 1101 l.nd
cl.11111 to Ll1 1: i111:1gc <Jt' ( '..1111p:1spc. 1s Lhe st,,rtlL'd l'<')'t'11r.1 'lil' ,1ss1,
t.1nts ,trc nude p11tti. :ind onl' ll'.111s over a .1-11· as it ~p1ll!> it,
contcnt~ o( ~r:1pcs or coins inrn ,1 p<lnl: the brí111n 1111~ Jllr is .1
COllll110ll erot1c re lcrt'nt. rh c canopy OVt.'f the C(.)llCh l)ll te)\\ h1rh
( '.11np,1,pe ts ,1b<)111 t<l l:1111L evokl', Al~x.111tlt:r\ 111ilitary Lt·11t ,1,
,vt.·11 ,I'> ,t bl'd . 1-hl' ro,L" - ,v,1-;h1..•d dr.l'v\ ing i, 111,111tr•1r1 111 ~l) l~:: ,vlt1t<.'
hê1g htl' 11i11g help:,, lo 111odc l tltf (,1r111s. hui thl· ,Lrt·11gtl1l·11<.·d
, u r\' iIi IIL'.11 pen co 1ll ou r-, ,111 d t<>llVú Iu tt:d dra pL', 11.''i rC,l!>:-.<.·r1 til<.
~r;1phi( . ·1·1it• d1,1,:-.111g t°c)r ,1 \V(HJ.. 111 thc ht·drh,1111her tlf M111t.·
d ' l::. tan1pe~ ;,t l·<) llt~u,1t·bleau. de<.or,1ted by the L3o l<)~nl'.,t: bo i 11
;1rt1:-.l bt.'L\o\1l'Cl1 15.11 .111d 15.1~. 1-; 111tt·11c ion.illy L'rnt1ç; 1t Slll"\ IVt''
111 .1 111l·d.1lho11 ,1ht>V<..' ,l ti<)t>r 011 thl· c;1.;1 ,v.111 ot rhe l~,c.d1cr du
lloi .
.:?.:!6 Francesco Pri111ancc10•• llcx,111dcr ,lll(f (;,11111Jr1.<p1' 111 rh,• ,'i111d1t1 t>(, l1i1•/lc~. 1~..j 1 1, )'l"II .111J i11k. \11th ro,l. ,v.l\lu:~ .111d ,., h 11 \.'
hcJgh1cn111g, J.i.9 x 246111111. C:ha1,1vorth. llev,11hh11c• ( 'ollcruon, 18t1
 •

• lr - •'f" •
• .,<f .. " ••

.l~.., Jod\Jl u~ ,-an \1C1i11~ll', .-llcA,111dcr ,111,/ c:,,111r1i1spe uz 1/11• .\111di11 nl .411cll,·s. <trr.1 1600, bru,h .1nd brov,n 111k, grcy ,va~h ,,viu1 \.vhin: h1g hhg hls 011
bro,v111sh p,,pl·r, .l<•O x 211c, n1n1. P;1n~, ln~nrut NéerlJJ1d,us, FonJ,1t1on (.' usrod1a, c:ollectton Fnt, Lngc, 10;2!',
 The popt1larity of setti11g this $Ubjecc for acade1nic dravving
con1petitions probably explai1.1s why chere are n1any highly fin-
ished dra,vn vcrsious by □linor artists in i11stitutiona1 arclúves.
Lot1is (Ludovico) Dorigny (1654-1742), for example, '-VOt1 the
fourth prize at the Llonie acaden1y 1n 1673. and represe11ts Cat-n-
paspe in a voluptuous posn1re on a couch like Circe, in an extra-
ordinarily theatrical and exotic <;etting, cee1ning ,vith baroque
ele1nenc~, clouds of s111oke fi·on, a bra7ier, :111gels a11d e111blems.
(Dorig11y later becai11e a court painter in Vero11a.) The ocher ver-
sions from this compctition sho,v tht; rneeting of nrilita.ry 111ight
ai1d cultural povver withi11 a st11dio or hall; I)origny's sctting
achieves the lt1xurious sensuality of a grand bordel/o. i+ l11 a pen
and brush dra,ving by the little-known artist François Boitard
(tirca l670-r715), Apefles and Ca111pas11t (Paris, Mnsée du Louvre).
Can1paspe, whose upper torso is draped bnc rhe botton, h~1lf
nude, exhibits herself to th_e seatcd .1rtist and 111ilicary g_;itro11 as
she sits 011 tl1e edge of a bed literally top-1,eavy witl1 cupids
tmder a ctrrtained cupola. Boita1:d's scxually explicit dravviug is
presun1ably not a study for a pubüc painting, but an erotic
grapl1ic 1mage that could be prjvacely circulated.
Ln Alexnnder a11d Ca111paspe in tl,e Sr11dio ,?f AJu?lles (pl. .1.27), a
~tudy for one of two paintings by l1in1 in tl1e I{unstl1istorisches
MtlS<:t1n1, Vieru1a. the Flen1ish arcist Jodocus van Wingbe (1544-
1603) depiccs 110w Apellcs's love for Can1paspe (in spice of the
plaited tea cosy sl1e ,vears on l1er head) is so po\verful that he
positively swoo11s in front of l1is easel, wl1ile a very piggy p11tto
pierces hitn u1 the heart ,vith an arro\v. Ci1pid is the central
figure in this bro,,vn ink and grey-,vasbed cro,vded co1nposition,
with a ben.ign and ratbe-r oriental .AJc'xander caking second place
in cJ1e background as he observes Apelles's ernotion. Tl1e paint-
i11g on tl1e easel (and tl1e bristling n1ahlstick and brushcs assun,e
the figl1ting efficacy of Cupid's arrows in this coutext) repre::.encs
Ca111paspe fror11 thc side, llll11t1s l1er tea coS)~ as a sea-goddess. in
assoc1at1on ,vith a dolphin. T l1e represented 'Canvas 15 not a mirror
on to 11ature, but a site of 11egotiatio11 a.nd imp1·ovement upon
realiry, v:.11ch reference co the ideal. Tbe p-aii1ced unage in repre-
sentacions of thi-; topos is often different fi·on1 tl1e po~ing 111odel,
givi.J1g vist1al forn1 to ideas about the transforn1atioos that l1appc11
betv.·een model an(i n1i1nesis iu the acc of paincing. This is bor11
out in a n1ore elaborate traiislation of the bare-bones Plinian
story quoted above, ,vhere AJexander is described as
great i11 spirit and eve11 greater in his power over hit11Self; l1e
111.ade this iut0 a vic.tory 110 less great tl1a11 his otl1er victories,
becanse l1e conquered hin1seJf a11d gave to the artist not only
his bed bt1t also his affect.ion: nor was be even n1oved by con-
sideratiou of [the reelingsl of his fuvorite, ,vho had once
belonged to a king, but now bclonged co a painter. ,:;
Emocion and concit1ence were the aspects of chis story stressed
by the Necherlandisl1 theorists.
Gia1nbattisra Tit!J)Olo pairicecl the subject in 1725-6. and bis
so11 Gian(.lo111enico Tiepolo ( 1727-1804) ,1p11rc>priated_ the 1egend
for bis saLirical Punchinello gra~1hic ,eries. 11' Tn P1111cl1i11cllo <1s ,1
Portrait-Pai11ter (pl. 228), tl1e 11011cl1ala11t fi_gure gesturi11g to\, ard-.
J. vcry worldly, clothed and behatted Carnpaspe ,-vith accon1pa-
nying poocb is clearly a dressed-down version of rhe great
AJexan<ler, wearing -a btrd mask but not a fool'~ cap hke ali che
other participancs in rhi~ cro\vded 'itudio. The 111asked artist'~ ~ur-
p1·i-,e at Alexander·-, con1n1en ts is expre'ised in his bo<lily gec;,cure<;
as 11c pauses ,,v orkiug in front of an oval canvas ou tbe ea,el. Twt1
very ,tged a11d l1uuchbacked buffoons (t11ilike tl1c ttsual youthli.tl
and cl1erubic assista11ts) 1ook up fro111 their pigi11cnt grinding ar
rhe right edge of the drawing. Like a1I Tiepolo's drawi_ngs in tlús
series E11tertni11r11ent _for Childre11 (DítJe1'rin1e1110 per lí regazzí), the
view is presented as n stàge, and ínJeed all che eighttenth-
century accounts of this topos are l1igl1ly cheacrical, stressing tl1e
pe1for1uative aspeccs of the artist e11acting the rc)le of geniu~
bcfore a legitin1ating audiencc, w11ose rcvvard is tbe scopic gift
of Ca1upaspe's uudity. The subject is also a v.rondcrful vebicle for
e2--1Jloring tl1e n1111uti:1e of e1nociona.l excha11ges, which ca11 be
expressed in gesture, composition and tàc1al expression. 17
ln ,1 very l1ighly finic,hed c11alk. wash and hig11light<:!d dra,ving
by Jérôn1e-Martin Langlois ( 1779-1838), A le:-..;1111der Cerli,,g Ca111-
11aspc to A11clles (pl. 229), thc ho111ocrotic exchangc betwcen
Apclles a11d Alexa11der serves as che topic of the ,vork, whilc the
n1odest Can1paspé: droops ou 11.er exotic throne. Langlois was a
pupil of Jacques-Lot1is David. ,vl10 also painted t11e su bject.
although La11glois dramatises a difrêrent psychological n10111ent
for thic; beavily \Vorked versíon, ,vhich relates to his pain~ing dis-
played witl1 great acclai111 at the Sa)o11 of 1819. 1it (There \\'as a
.218 Gi.tntlon1cn1co Ticpolo. P1111cf1i11cllt1 ,is Pi>ttruit-paiuter, circa 1797-r800,
t1
pe11 nnd bro,vn \Vàsh over blark çhnlk, 335 x 470 111111. Private collecnon
•
Á
\ •
1
'
•
.r -
- .. .
DRAWING Tl;E STUDIO: POWER ANO LEGITIMATION 323
 ..129 Jf-rôn1t.>-l\ldrtin l,111gloh. l/,•s<111tlrr (~.:dit1,fl. Ct111111,1,Jll' 1,1 1lµel/e.;. 1819, biai;!.,. ,111<,l \,vbjn: cba.11, grl'Y \Vo!~hc~ hci!!,htcncd \>:ith ,vhitc g,ou<1chc.
391 x 51-1111111. Lo~ Ani;cles. Thc J. Paul C,ccty Muscun,. 86.<.;c,.-175
11oticeJble proliCerat1011 of p;:iintinbr<; of artists in thcir stttdio~ i11
rhc opc11 Salons during the rcvolutio11ary pcriod i11 Francc.) t<J
-rhi,; virtuoso draw1ng, probabl)· prcpared ter a11 e11gr:1vii1g, rep-
resents a concentratio11 of f.1-br1cs and texrures: Can1paspe's soft
\\·hite tle,;h contrascs ,virh che black shiny hardnôs of her <ipllli1x
throne; the tiger ~ki11 ,\t her feet vies t<.)r attencion vtith the
youthf'ul Alex,1nder\ litcle silk fi·ock or Apelle<;\ cri~}'\ \'Írile turl~
Jnd hi, v1ctor\, g.u·land. 1-Ier ~oft, boneless arn1. so \veakly n1odest
cl1.1t jt b.as to bc c;upportcd by Alexandcr, co11tra~ts \\'Íth his o,vn
'n-1a11l)·' hand gc~tllrc. L.u1glo1s's naively Literal interpretatio11 is so
concern1:1d \\'Íth .1 pree1se 111on1ent 1n tbeatrical ci111e cl1ar tbe
tlr1v\'ing on rhe eL1\el ,hov.·, C 1111paspe v.·ith an :)rn1 tip in an
e.trl ier po,;e, \\ hile Apt'lle,\ ge\t1.1re 'Wht), 111e?' 1s fro1en ns if in
J t11{1/,:,111 t'll'clllt. Thi, ten1poral 111t)111ent breache,; t11e :,patia] and
con1pos1t1onal -,epJr,llÍon bet,vee11 Lh e aclive paintt:r ,111d the
donor anJ u1acave n1odel. v.·1tb Alex.,u1der•~ l1a11d and Apelles's
324 DR~Wll•I(. THf 5ELF
arn1. aud brush penctrating i11to t!1c co111positio11al void bchveen
thcn1. defi11ed b)' the an1azii1gly kitsch draped palette sta11d.
The 111uch 111.ore soplústicated and hn111orous Honoré Dan-
111ier sends up th.e pt.1tatíve equalíty of the gift in a caricatt1re
lithograph that appcated in Le C/1nril'a1·i in 1842 in the serie~
l'Histoire a11cien11e.211 He turns Apelles into a skinny and bespec-
tacled ~ycopl1anc. sitting htu11bly 011 tbe ground ui fro11t of an
ob11oxious Alexa11der. whosc J1cad ,v:ith buge nose a11d fca.thercd
hcln1t:t is tl1ro~'l.1 back in pridc \,Vhilc a plun1p ar1d not vcry
youthlul Ca.1npaspe looks in disgust at the unctuous littlc squ1rt
to whon1 she hdS bce1} ceded. A1thot1gh still holding his palecte
and n,ah lstick, T).:iu1111er's detbroned painter asst1111e~ tl1e hunible
position of tl1e dessi11ate111:
Henri Mati...se is ofl:e11 the vi-;itor t<) his own srudio in thc
sense of including his reflection in th.e clrawn n1irror of thc cxot-
ically fur11isl1ed \vorkl)pacc. For cxa111ple. u1 the fl.o,vu1g pen and
ink dra",wg Arti,st and J\rlodel R~f1l'cted i11 a Mirror (1937; pl. 230),
the ti·an,e of the reftectin g 111irror is only cursorily included on
the right or cl1e dra,ving, above the upraise<l elbow or the hctlf-
reclining nude n1odel. Tbe doubling of the pr()fi]e outlinc of the
111odel does 11ot itnn1ediately read as a reflection v.1 hen first
v1e,ving this very ftill dravving, espec1ally sit1ce it cont:ri11s an
upngbt nipple missn1g fi-om her r1ghc breast. This visual confu-
sion is aided by the co11sistency of the overall pactem of pen
lines, "vhich do not st1ggest any nua11ces of ditferencc between
figt1rcs a11d tl1eir reflections. 011ce we l1avc assin1ilated the inclu-
sio n of Matisse him.self. the rubber pla11t a11cl studio walJ wicb
pi1111ed-up dra"vi11gs. as tl1e 'facts' of núrror reflectio11, we can
unpick the meanings of tl1e drawing :u1d establish the relative
disposic1011s of the evenly lit figures and objects i11 space, ratio-
11alising the s1nall scale of Mat1sse in relation to che do111i11anr
din1ensions of the 111odel. The 111irror rhcretàre acts a~ a device
to dest.ibilise reality, l)ut, 1nore in111ortantly. t.:lai111, the recording
artist in tl1e stutüo and tJ1e 111ode], the ~ubjL·ct of hi5 gaze. as part
of the sa1ne tiction. Matisse clain1cd that bis 111odcls ,~•erc
never just 'extras' in an interior. They are tl1e princ,pa1 che111e
of n1y work .. . Tl1e e111otional Íl1terest tbey u1sp1re in 1ue i~
11ot part1cularly appareut in tl1e represe11tatio11 of their bocues,
but often rather b)' the lines or the spccial , ralucs d1stribt1red
over the w hole canvas or paper a11d \vh_ich for1n its orches-
tratio11, its architecture ... It is perh,1ps sublim.ated volup-
tt1ous11ess.11

2.30 Hl'.nri Marissc, Areis/ <11td J1odel R~/lccred iu <1 1\,Jírror, 1937. pen and ink,
ór2 X 407 n1n1. l:3riltin1ore, Md .. 'The 13altin1ore Mu~eu,n of Are, Thc- Cone
Collcction (Dr. Chribcl Cone aud Miss Etta Cone of Baltin1orc. Maryhind). The Symbolic and the Worldly Studio
BMA 1950.12.515
Syn1bolic a11d eu1blemaci.c represcucatio1is of paincit1g, ,1vbere a
t
~'l- I º 71 ~L?I/V/7 ~~
<) -
"1
t 9 \ -
---~~~Zf
''\J+(✓---"
fe:n1ale muse is represcnced ,vitbin an ideal artisc's stud10, are
extren.1ely com111on i11 eh.e sixteentl1 and seventeenth centur1es,
often the en_graved fro11cispieces of Artísrs' Li11es or theorecical
tracts. 21 What ap1,1ears to be a light-hearted and n1ocking
\~. )

'\
;/ . exa1nple of sucl, an allegory is the T,·i111111Jh u_( Pai111ing 011er Death,

-=r:::=;
::::t:::=-,'r-r ( ( \' (1660; _pl. 2.31), tl1e coloured tirle page of a Fanrily Scrapbook or
J_J J ·1- -
1
( Kousiboek (art albun1) co111piled by tl1e 5e11ú-an1ateur Dutcl1 arti5t
Gesina ter Borc}1 (1631-1690). Tbe fe1nale per5onit1catio11 of
(. paintin.g, ,vith her n1ot1th bound to represent dt1nm poetry, pai11ts
a To",,er of Bal1el, ,vl1ile a phoe11ix nests on the easel; and, in~ok-
)) )
i.ng tl1e longevity of ast, cro,vrled and v,~inged Ti111e lies ac her
fe-er ,vl1ile skeleral Deatl1 aims his broken arrovv at l,er 11alette.
Hcr oval ~elf-porcraic as tl1e fe1na1e ApeDes is heltl aloft UJ rhe
\ air by w1ngcd p1tlli, while a 11akcd p11rtv grmds paincs anel sJie is
\'
assisted in tl1e l1t1gc sttidio by winged Muses.~ 1 Mucl1 of this
symb olism (for example, the hourglass, in rhis case broken. and
\ the bot1nd n1ouch) is derived fron1 Ccsnre R.ipa1s Tco11ologia, but
I (~esin a is also responding to the Dutch passion at the ti111e for
1/,
en1blen1 book~. 14 Gesi11a. t11e daughter of the artist Gerhard tt!r
Dorcl1, ,vho also taught hcr brotbers to be artist'>, t:!xplainetl the
referé11ces of l1er excessjvely con1plcx allegory in c1 con1111entary.
She ~'as co1np lirnenred .ts a fen1ale Apelles by ::111 ad111Írer 111 her
albur11, einploying the eco11011iittn1 Cedat _--:!pellrs. ' Let Apelles
cede bis fan1e to such and sucl1 ::in artic;r' was the c;ta11dard rhetor-
ical forn1 and eve11 appeared <.)n won1en artists' epita11hs over the
centuries, inclL1d1ng tl1at of the ftalian art1~t E}i<;,1bettt1 Sirani
(1638-1665).
Thc themc of the disi-olt1tc artist 111 a garrct Stttdio is thc
~

reverse i111age of the Apcllcs and Ale:>..inder sto11·: 111 tl1e disor
--- - ganised studio. rhe artist is visi ced by ,vant and dearb rather chan
fame and n,ajesty. Unable to con1111;111d price5 for hi~ "vork. the

DRAWll'JG THE STUOIO: POWER ANO LEGITIMATION 325

 \

.!J I (,,/,,,1'1') c:L•,111:1 te r llorch. /'Ili' li'i11111p/1 t!/ l',111u11 1~ <11'1'I L>c,11/r, 1(,(10. --------~-------;-,-
\\ .tll'll·oluu 1 ,utd hod, r11l1,u1 lil'lghtl'lll'd \\ l\li ~uld, J 1~ >< 31,2111111 .

1\111,tt·rd.1111 l{1jk,11H",·u111 l{1.Jk,p1,·n11,•nk,1h111t·1. Bl - 1XXX-11,<13-2 '

~.l.? (rr.l!lrr) J\ndri~·, 130111 . ·111c /J1111<·s~1•d / 1,11111cr. b<:lúl'l' 1rqr,. hl.1e k ch ,1lk 011
vt:llun1., 175 X 1,3 n111 1 l 011do11.'l'hl· linu,h l'v\u,t•~11n. 1:-.36,0X 11 75

cón1n1erc1.il ly cus e 11 tr,u1 e hio;l'd arti st doe~ nnt evcn l''(l' rt co n trol I
o ,·er h1~ pracrtce or h1s 1111:ige-;. 1)ra,vings ()f ,1 co ntra~un~ pair of '
ernble111,1tic 1111,1gt", o( d11s gc·nre .tre '/1,c ,r.;11cr1·,·.~/iil f )11f11rer ,111d
·r,,c Oi.,trcsscd [),ti/lfl'I, by 1hc l)ulch p.1111ler .111d l'tc he1 pl'..lS.llll or T

~ubjl'cts And1 ie~ 130th (circt1 1609- rirca 1640). i11te11d.e d for en~r:1v- •1
1ng,.'"·rh c Di:ilrcsJcd / >ai11tcr (pi. 231.). vv lii ch has bl'cn h o1ckcd 1nto
l ruugh téu-,1dl:'d tê)rn1at, 1s drl\.Yn in a r:ich er distinctive hacch- J
1ng o( stra1g ht and di,,gonal strok1.''i of black c h.1lk on vellu111, :i
' . '
1.<)n1l,1111ti<l11 th.tc ,1 llt)\Vs th1: hl',tvy ,trnkt''i rei11ft>rci11g tht• ;1 og1d.1r
'ih,ipe, nf die ,k1 1111y .11 t1,t to bt• p.1rtícuh1rly 111te t1\l'. lt , ço nlr.i-;t
\\ Hh 7'/1( 'i11tct·ssf1 ,/ J>,11/1/t'I (,i ls<l I o ndon. l~r iti'ih Mu~t'un1) i'i ev1.·11 '
.idd re-,sed 111 thc dr.1,v1n~ trc.1t111e11t. The go<,d order <>( Ll1e làt.
bchJtted .111d pluu11.•d rich ,1rt1sl ,,·ith \Vl: ll -co n1bed hJ1r ..111J
bcard. a carpl'n rl'r's bt·lt lull ot cool, t1 cd around hi, r1ch .iacke[,
.1n d ri hbon-, 111 h j-, k nt·e- breeches, i, reflecred 111 che C;l rl'fu 1,

r.1rher prec1,;e rechnique, ,vhl·reas the n1i-,erably th1n p:1inter,

to<>thle,'I. unk1.·1npt. ,vith lht· ,ki1111it·,1 <lf col k fealht'r-; 111 h1,

326 ORAWING fl-lE SELF


• }
2.33 Johan Tob1a~ Sergcl, Scr,l!,el ['isÍli11g Elias J\l11rt111 111
Natio11aln1u~et1n1 (>25/ 1875
beret, and sh.íverin.g at lus easel in pyjanias and slippers, is n1ucb
n1ore roughly drawn. He sits on an llptur11ed basket. wh1Je the
r1ch artisc hac; a C11shioned stool; his discar(led wine Aa'ik is en1pty,
,vl1ereas che succes~fi.11 artic;c's i,; full and uprighc; and in r>lace of
the C\vo plun1p aLcendants of l1is succec;sfu l rival, one grindi11g
pigincn cs and the other learn.ing dravving, the d.ísi.olutc felJo\v
employs his l1aggard and cooclucss wife tô do the gr1ncfu1g v..l:úle
C\vo fi:cezii1g infuncs look on. The drawing concams a very
rubbed inscr1pt1on 1n Dutch, wh1ch tran,;laces rougl:tly as 'chere
are n1ore hke this'. Significantly, rhe successfül arrist'c; n1ahl~rick
is uprigl1t and i11 use, wherea<; the dissolute artic;t lean., on hi-,
downrurned stick as a crutch.
The d1ssolutc arb.sl wa1) a favourite subJect of later caricatur-
ists, givi11g Tho111as llowla11dson the opportl1111ty to list all thc
...,~,..,...~·
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Lo11do11, 1779. pl'u a.nd bro\\ll 1.ul... bro,Yu .111J gtl')' ,va\b., .!OI x .:!50 uu11 Stoc:kholn1.
parapher11alia of painterly po-..ver in a parod) of reversa} i.t1 h.ís
many illustra□ ons of rhe subJect. It 1s tht! rueful subJecc of rhe
Swedish sculptor Johan Tobias Sergel (1740-1h14-) n1 rhe dra\.v111~
of .'ie,;gel T'isiti11.r!. Elias 1'1c1rtin i11 L,.,1ulo// (1779: pi. 233). in \\'h1cl1
Sergel de1)icts hin1self ,v1Lh 11ro111inent belly and pon1pt)LJ', profile
as he entL'r'i the poor ~tud10 a.11tf J>r111t ~11op run b) h.i'i 11111)0\·-
crished fr1c11d. th<: e111ac1aced ,111d \viglcss Elias M,1rrin (1--;-39-
1818), ~-ho 15 conventionally designaced by pa.Jecre and brusl1es.
although held in a default, ups1de-do,v11 po,;inon lt1 the 111essy
1nter1or, \.\ l1ere a discardecl 111eal share~ rhe table top ,,·1th p.1int-
ing equ1p111c:nt and a child. crawls on the A<>nr. t\1:irtin\ e111.1c1-
ated \vífe in a frilly cap c1.ppear'.-> rather like a gaunc Minerv.t ,1,
)he w.s.plavs Martin\ prü1ts to d1<: visicor on a specia.l liispl.1,
5ta11d. Caricact1re , vas a sociaJ amusen1ent of ~ergel's circle 111
0
DRAWING THE: STUDIO: ?OWER ANO LEGIT11"1AT ON 327
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23+ H.h:hard c:o,\v.iy. .",(1(-11,,rtr,,it ,,.ir/1 B11sts t>( i\ fii/1el.i11,f!clo 1111d R11/i1•11s. ârc11 1789, pen ,u1J bro"vn 111k

n n p,1per l.11J 011 c:.1rd. 242 x 13H 111111. Lod1. Fond,1z1onc Mana C,o~way. l 1
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'•, t-.OS\V~\ ,, ,,,ar11t. c(I . 178 9. pen anu bro,~ 11 111k 0 n original
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'o ~.' of
. r,('c)t/'1f(h1, ITIOllllf
)-t n11n. Lodí.•'Fonda , .1 11 ·,1y
ZIOlll' M aria rÍrr(I
2 37 X os""ªY· Is.z
 cc>urcil'r at1d vtrtuoso. Cosvvay ,vas a fàvouritc of the J)rince of
Walcs during thc 1780s and 1790s, a11d as Survc1 or of the prin ce's
1

collcct1011, l1e played J conc;id.crable role in for111ulati11g the royal

......
7
( C<)sway·., beautiful eycs (picked out \,Vith bluc i11 a bro'<vll it1k
l cira,vi11g on crca111y paper) contrast witl1 thc dcad cyes of both
• conrributes to thís projec:tion of the arcisc as accornplished con-
• .
.
--
1
/
z30 An~ehc,1 l{,1utli11a11. Sc!f:p,>llr,111 ,11 r/11 1-:,ucl, 17,;7. grapb1tc 1N1cl1 black
.111d red 1'>7,h, 187 X l:!6 nm1. Hcrhn. ~ca.itliche n1usccn Zll 13crhn,
1.:.upícr,t1chkabinclt. KJZ ~-19:\
Ro111e. ,vhere he ren1a1ned uncil ret11rning to Swede11 in r779
1
v1,1 Paris ,1nd L<.)ndcH1.' ' Sergel. ho,vever. exercises son1e tact i11
~
pcnnin~ h1~ o,vn portl), figure vc-ry fir1nl). ,vith a tnu ch prac-
t1scd graphic ,v1t, ,vhcre,ls chc 1rc)11ic treal111e11t <)( tl1e other
fihrurc, and tl1c 1111sc-c11-scc11c .tre sltghcl y n1ore i;ketchy. Jnd lighter
in touch.
11eyond the speciftc po,,;cr policies of tb.c l 'isit ~f-A lc:ra11dcr to
tht' ,S1111lic1 c!f .--1pcllcs. representat1011S of the st1.1d-io tu art:ist's self-
p<lrtr.1it'i Cunc tion J'> '>1!:,'11tfiers o( rhe socia l c;catus and creative or
producrive ,clf-i111Jge tl1Jl ,lrll'>LS ,vi\h ro project. For exarnplc:,
ÍJ1 ,111 elaborJte )t.'t o( l(c:gt·nc) doubh: pclrtr.iir-; of hin1self anel
b1.., Jrn~c \\ 1tc. M,1r1a. the 11ii111atu1 l\l ,u1d portrait paíutcr Ri ch.1rJ
C~os,,·ay ( 174-.:! 182. r) Llepicts hunsell a~ a scventel'nth-century
ta,;te for llubens nnd French a11d l)utch ~\rt. 2, ln ,C::,elj-porrrair 11Ji1!t
811sts g· i\ficlielc111,~ef() c111d R11hens (rirrn 1789; pl. 234). hc is not in
•
a ,v<)rk,1day ~tudio. but standing 0 11 the steps o( an altar dt.'di-
c,.lted to art, ,vitb onc band on ai1 open book of dra,vings below
tl1c busts oC Micbela11gclb alD<l l'l.ubt.:11s. An elabora.te colt11nn
i11dicatcs that thts is a ten1ple of tl1e acsthecic, cluttered w·itb
anrique busts a11d books (o ne 111arked as 1\!at11rn), while a curly-
ha1red p11tro dra,vs a Serpenti11e 'line of beaury' on a palettr:. The
beaury of tl1e youthful cc)u rti er dres'ied in seventeenth-ct:nL1.1ry
<iplendour tells u<; st)lllcthing about Cos\vay\ perso11al va11ity:
although l1e is bendi11g a krtcc. hc is certainly 11ot genuilecting
bcfore tl1e busts of l1is great predecessors, whose h eads are on.ly
sl1ghtly higher tl1an h1s o,vú (Cosway was of sl1ort statt1re). 1:-:le
looks out of tl1e picture at u-; ,v1th a con1placent but üvely gaze,
,vh ich beliés the left h~1nd on ,vhich his head is ,;uppo,;edly
resting in <1 co11ten1placivt> po~ture of thoughcful ins11iration .
busts. ,vhich. witl1out pupils. cannot n1cet any gaze but are lost
i11 tl1e oblivio n of nemesis. Thc clrawi11g is donc vvith tl1e 1nea-
... sured .li11ear strokes nnd stip11hng of Cosway's 1nit1iacure tecl1-
nigue, and che evocation of rich f.1l1rics in tl1e costun1e
nc)isi;eur. <.lan dy and pro ud courtier. Th e co111panj o11 piece to tl1i~
• <l.ra\vi11g. l\.,l11ria Cas111uy 1,t•it/1 11 811st o_{ Leo11<1rdo, dcpicts his \Vifc,
Lhe artist M aria J-Iad1ie1d CoS\°"'ªY (1759-1838), also in ela.borate
hístorica.l cost1101e with a l1uge floral headpiece with variotts
symbols of the cultivaced lifu (pi. 235). A portacive organ dra,vs
atte nci o n ro ber 1nusical c;kills; she indicatec; an open book and
a palette and brushes rest-; C.H l a table. Shc fu ces ouc,vard<;, unlike
the n1o re dran1atic: position of Cos,vay, w110 turns to fa ce the
vie,ver, and her eyes are sii1illarly blue. Tl1e couple ,vith.ii1 this
111odish, but unhappy n1arriagc are portrayed as i11exrricably
li11ked Gust as a fe111a1e caryatid. ,vhose body partly obscures a
shíeld ,vitb tl1e l1ead of Medusa, supports an archii:ecturaJ e11cab-
lacure) and are physically aln1osc idencical. witJ1 a.li the scylish
111a11neri-;n1s of Co~wa)1 's virt uoso graphic technique.
Th ese 111<>narchi cal and l,i~tor1ci-;ing portraits C<luld not l1e
111 ore dilfcrcnl fi·on1 a late, sket,hy selí-portrait by Ange]ica
I<.aut1i11an. Th is ratl1er 111odcr11 looking c;kcccl1. Se(f-por1r11i1 ai tltc
13c1scl (pl. 236), ,vas se11t as a gift to a .frieod tio111 llon1e. and \Vas
111::irked at tbc back, 'Souve111r of Mada.nJ.e Angehka I<..auffu1an
15 May 17<,;7'. In rough penei) and red and black \.Vas11, a very
ski1111y K3uffi11an, ,vear111g a fashionable high-,vaisted striped
dr~c;c;, ,vith her hair ca!;uall y pinnecl up, concentrates closely on
l1er painLing, her riit1L ar111 restin~ on her 111::ihlstick ,111d hcr
palettc.: as big a:, a le,l- t.iblc.:. The casual reali!,tTI a.nd ii1cc11:.c cou-

330 DRAW JJ, JG TH E SE F

 1

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-- 237 R.e1nbrandt , o1.n
. •. • 111 •.Jr1,:çr i11 his
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pt'n and brown ink.
205 X 170 l lllll .
• •
, ;: Lo~ Angeles. The J. Paul
--- l,Ctt}' t\.\u ~CLltTI ,

·- 8<,.(;A.675

centracio11 of th is lictlc dra"vin g is of a very cliHe rent order fro1n
her allegoric::t..l self:-portraits, especially sin ce th e en or n1ous palette
bristling v.rith brushes is n1u ch 1no re ,vorkaday than the sym-
bolically sn1all oval paletce o f herself as n1use of art. The sparse
türniture o f the 111ise-e11-sce11c - th e large box ft)r holding p riJ1t'>
or dra\ving.; on her right; th e tiny decaiIs of a Aa!-.k on a call piece
o f furniture a11d th.e ,vash sh adows - roots the artist i11 the func-
cion.:u appurtena11ces of a studio but does not disrract fro1n th e
ii11age of acute conce11tratio o
o <> .J
Reverie, M emory and the Passion of the Gaze
Do you know what a painter's stud10 1s.
Bourgeo1 s readers1
1L IS a whele world:
A un1verse apart wrlh nolhing lo recdll lhe world we live 1n
Théoph1le Gaut.,er'"
Absorptio11 :u1d introspection are e111bedded in c-he topos of
draw1ng artists, bnc 1_1nage~ of the e11gro~sed arnst 1n the .;;tudio
appear co be co11cen1t'd ,.vith che inventive a:--pect of p.1i11ting or
<.:xplore is'\ut:s of 111er11ory. Tl,e~e intro\'erted Ílnages are ver) f:-1r
fro111 the p11blic a.spects of nú1nesi~ ii1volvi11g sitter or 111odel. a11d

D RAWI N G TH E STUDIO POWER A N D LEGI ... IMATIO N 331

 l

1
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,(j·~·
'1
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t

.!JS ri ,111~01, Douc.:hêr.

rlrr,~, 111 l11s S111d10,
nr.. 1 1 ~33, red ch.1lk,
J(>l X J(16 llllll.
1o~ Ang~·k·s, Lo, Angele:.
(~utwty Mu\t:Wn of Art.
u,
1 Angcl\.'\ C ounty
1 unJ. 59.37 1

:i.re concerned with t1111e 111 a vcry di 8-êrent ,vay from the Sr11diu
,~(,--lpelfes rhen1i.:!, v\·hich depe11ds on a halted narrative ora fi·ozen.
if tr,111,ient psyc hological 111on1ent. The d11rc11ín11 of reverie is a
cruL1,1l if i11d1.·tL·r1111nate .1,pect c)f tht> subjecc. an<l closely relJted
Ll> IH>tion~ of 1111.iividu,1] crt>a tivity and \tudio pr,11.:tice for111ulated
as ~.,rly 1, thc llltecnth (en tury.~' A v. 1t11e<,:, <)Í Leonardo at work
ou the L1s1 \11J>J>cr çL11111cd that br ,vould \1\'0rk 'fron1 da,vn co
du~k. forgett111g to cac and druik. pru11tmg ili cbe tune. fhen, for
two, three, or four d::iys ... he ,voi1 ld <;tay there ... ,vrapped in
conte·111plation, considering, exan,i-ning. and jL1dging hi~ o,vn
figurec;.' \O And Vasa ri clain1ed chac Leonard<'i had told Lud<.1vic()
Sforza, Duke oí Milan, tl1at 'n1en of gcniuc; !I0 □ 1eci111es acco111-
plish 111o~t when they work che lcast', as R..ubens would do latcr.°' 1
111 Llen1bra1idc:-; early paintiug 1'lic Artisl i11 /,is Sttrdio (1629;
Bostou, Museum of Ftne Arts), the chstance of the arcist fi·o111
t11e easel in the very bare and poor c;t11dio is so111etin1es inter-

332 DRAWING Tl--1E SELF-

prcte<l as th.c 1110111ent \vhen the arti::,t i!I e11genderin.g cl1e idea
of che painting, 'n1aking the pait1ting in lus 111ú1d beforc puttíng
brusl1 to paint' in tbe words of Sau1uel van 1-loogstraten, 1tcm-
bra11dc's p11pil. 32 ln a dravv111g of a sii1).ilar subject, A,, Artisf i11 his
Studio (pl. 237), the artisc ha:s 111o·ved mucb closer co tl1e mpod
easel, lear1ing over a chair ,vith his bn1shes and n1ahlstick all awry,
gazing intently at che arcl1-sl1aped painting. Even vv1thin the
freedon1 of this scratchy line tlrawing. tl1e staring eyes of tl1c
artist are proulinent enougb to catcl1 our attcntío11. f-Je is co11-
te111plating lus ,vork ,vith that passion of looking tl1at ali artists
experience before a fi11ished or unfmished art-,vork: a n1es-
111erisjng seance of _f1udi11g allied v.rith eith.er an i11tense f()rn1al
critique - or a self-congratulatory gloat. R.e111brJndt's dra,,-..i ng
reaffirn1s that ~uch con1n1011 experie11 ces of generacive and cric-
icaJ practice, do not belo11g onJy to a tnodern subject.ivíty.
Possibly it could even be argued that tl1is drawing ceJcbrat~s
Retnbrandt's contr1butio11 to the construction of Dutch bour-
geois idenrity. The pait1ting, fixed to tbe tallest position 011 the
easel, 1s at a height for vie,ving from afar; ,r \vould have co be
111uch lower for a seated artisc (if one c~n, excract such mundane
conclusions fro111 a ~ketc11y and probably sy111bolic representa-
tion). Tl1is gíves a hierarcl1ica1 sig11ificanct: to the pai11tu1g, \Vhose
iinage v-.re are 11ot ,1llowed to see, ;111d tl1e arcl1ed for111at of tl1e
c::u1vas st1ggests a □.urror into wJuch tbe artist is gazing at his
o,vn self-ú11age. The recediJ1g a11gle of the 1uirror/ pai11ting (and
perspectiva.! lines 011 the dra,ving sho,v ho,v Ren1br.indt has
quickly established a vanishing poínt 011 one side of tbe dra,ving
edge) catLSes it to appear withdra\v11 fro111 the eager encroacl1 -
~39 1J.u1tc c;abrjcl l~os~e.tt1, Eli::,d,cth Siddal Sc,11cd at ,111 Ec1scl, P,11111i11,I!,
n1ent of tl1e arcisc, \Vl10 is consn·ained by chc e111pty chair, ,vllicb 1H54-5, graphicc, 176 X 17(111u11. London. ('ourcauld lnsticurc nf Art Gallery.
is tbe vacated site of n1aking and aesthetic conu11and. This l).195.~.n,W.3065
cirawing and painti.i1g by Rembrandt .are just t\vo out of a '1,·]~ole
series of works - dravvings, pa:intings cand etclm1.gs - dealing \,Vith
sn1dio w-e, dra,ving fi·on1 che n1odel, drawing artiscs and porcr;Úcs the req1.1isite transf0Tn1ation to che elevaced realrns of pastoral or
of hin1self i11 a ,vho1e r.1r1ge of gu-ises, which togetl1er an1ount l1istorical landscape painting through i111agiL1ation and skill. The-
to a profound reflection on artistic invt>11tion. neglectful uncidines!> or the cro\.vded garret srudi(,) is ~hadow<:.'d
ln che red cl1alk r1rris1 in liis Studio (pl. 238) by Fra11çois ,vitJ1 quick diago11al chalk l1at,cl1ii1g, recalli11g Dutcl1 5eventee11tl1-
Boucher (1703-1770), ,ve see botl1 the image on the case] centt11y cn1ble111Jtic prints.
(a landscape squ iggle) and the reverie of tl1e seated artist. i11ter- An al111ost identicnl cont1gurac1on to l~en1brandr's ,-1 11 ~➔ rtist i11
rupting tlie activ-ity of painting for s001e 11101nents of intense che Sr11dio was ernployed in Dance Gabriel Rossetti 's lost pencil
co11ten1plarion. 111 this drawing, the indoer cap. dishevelled stock- dr;1\.,ri11g of Elízabetl, .Síddal ar tl,c Ease/ of the 1850s. She lea ns
ings and sli11pers of the young artist concribute co bis in-;pira- on the back of a chair th,1t she J)ulls to,,vards her in front oC the
tional absorption.' 1 ln the painting in che Louvre, for 'vVhicl1 this invi~ible ,vork 011 a tripod easel, oblivit)LJS to ll1c vie"" ofl31~tr k-
i.~ tJ,e prepar.1tory study, the ca11vas on the easel of a Neapolit.:111 fria.rs Bridge across Lhe Tl1ao1es and smoking chin111eyc; chrougJ,
sbephcrd is a 111oody and roo1antic landscapc with a pi.cturcsque the Frencl, \,VU1do,,'s of ltossctri's house. 15 Thc cxpn!ss1011 on hcr
r11in ac 011.e s1de. The artist's abstracted ar1d m,vard gaze js uot fuce is tl1ac of introverted contetnplation, totally d1fler~11t fi·orn
projected unsce1ngly into space as in the dr.1.,ving, but fixecI on the en1ac1ated lassitt1de in llo,;secti 's n1a11y drav.'Íngs of her rest1ng
a book of sketches supporced below che easel. 11The fore-ground in a chair, or tl1e s111all groul1 <)f dravvings depicting her p,1int-
box, bottle and pigi11ent tan1bour in the dra,ving represent the ing ,lt an ea~el, where i.he U'>ttally rests her ar111 011 a 111ah]\Lick.
tr,1ppü1gs of this outdoor activiry, wl1ich, like the skecches col- L11 a ~n1all pe11cil drawing. Eliz,il,cth Sidtlt1l Seatcd ,11 1111 l;,1sel,
lected on the spot, havt: to be brought back Ló tbê stuclio for [)ai11lÍ1(~ (185 4--5: pi. "'39), previously attriburcd to Valcntinc

DRAWING T HE- STUDIO: POWER ANO LEGITll'lATI ON 33~


l vv1ndow Ice<; in light, illun1i11r1ti11g tht: ti·ont:-il planes of rhe con-
1 .1n<l Ltark <1re stre-,~c<.l in tl1is carefiil drav.'i11g. :-.uggestü1g the
1-10 l lonon: l )iu1uicr. '/71,· rlrtis1 i11 !,is S111t1,,,. 111id- r8(1os, pt•n, broV.'ll i.nk
.1nd \ Vash. ~bo X .!<JO 111111. Pnv,1u: l'Oll<:,llon
Ca1111..ron Prinsep (1838- 1904), her tàcc cxpres-;es angelic cal1n
ar1d ::ibsorpáo11 .l'> she \Vl)rks 011 a vcry ~111all can,·as, ha11d rt'sting
011 the di.1go11al 111ah.l~t1ck, and ,vear111g \\ hat appcars to bc a
prott'ctive ,ç<1rf or long 1-1h11t over hér lefr ~hc>ulder. R.ossetti haí.
de1)1tted lhe l1ne'> of her v,ai-;c in her long b()UÍ<.:e .1nu the Fui!
gad1t·r, o ( l1er ~J..irts ,, i1h the .i,sur,111ce of Li111<:· gr.inted b) ~uch
.1 st.1uc 1110LlLl, ,, htl possibly ~u,penJt'd her ,1cc of paintiug ü1
arder tt) .1110,v tht· '[.1.kin •g · of l1er hkcncss. 'º
1n .111 only slighrly later 1nk ,1nd \YlSh drav,·1ng by Honoré
1).1u111ier. 7'/,c .-irrist i11 hís \'/11d10 (1111d- t86os; pi. 2-1-0), whic h is
bc:lie\'t'd to l1e :, preparator1 srudy for a vanished painting, the
Ct>1llt'111plative .trti,l ,vith hi, hnkeJ hand, ,1round 0 11 e r.1ised
k11eé " se.itt'J 011 ,1 tha1r ~.izin~ .1t .1 s111all painting 011 a trip<.)d
easeJ. \\' 1th h1, bat k to ,1 hugc canvas 011 d sludio e.1.'leJ. The
st\·li,;ac1on of thc dra\,·ing ot tl1e ftgure. eradical.Íl1g .ili Llt'tctili of
concen1por,1~· dres, 1nro .1 \u11p le pl.111.1r evocat:1011 o[ the body.
be,to\\S .111 aln1ost ~culptural 111011u111c11tal1t,· on the 1nn11ob1.bsed
artist .1, chinke1.' The \vork h.1s l"t't'n inrerprered :,~ :, syn1boüc
334 DRAW lf\J G THE <.iE LF
debate ,1bo11t cl1e rL·lative 111er:its of conte111porary gen re and clas-
s1cal hi~tl)ry painring, and certninly tht' artist i.s c,1ught betvvec'll
tv\O fc.>rn1s ()Í repre-,entanon, a:. ,;y111b<.)li:.eL1 l1y the C<.)lltrasting
e,tst'l'l a11d scale of \vork~. ,x 1( chis interpreraLion is tbe case,
hti,vever. v. e are noc allo,-ved to see thc ~n,aller. prcsLu11ably realist
pcli11cu1g a[ v. h,cb tl1e artist is staring ~o 1ntently ,:vh1le be
e:-.-plores rhoughrs and ü11ages 1n che "n11nd's eye'. A high scudio
ten1plat1ve .ut1st, .1s ,vell as the large p.1i11ring 011 the ,tudjo easel.
,v-itl1 f.1inr indications of a triangular figur,tl con,position. Ligl1t
obfusc.1tj<)11 a11d eulighte1u11e11t of a subject that ren1ains 111yste-
r1ously uncxplained.
AJrhough he l'i pà1nti.11g :u1d r1 ot inactive, the dark. i11tense
black chalk anel charcoal dr;:,v,ing by Gust,1ve Cou rbec (1819-
1X77), .r{rrist ar his E,1scf (circn 1847-~; pi. Só), reL1ces t() che then,e
of co11Le111plative e11gage1nenc. The dr.1,ving of t11e very taJI ai1d
,1ctenuated arcist at \vork weari.ng a n1gl1tcap a11d possibly .1 sleep-
ii1g suit ,1nd gown suggests thac he l1as stu111bled to tl1e eascl in
1
tl1e m1ddlt: of cl1c nighr or is in a parri.11 drean1 state. 3' A study
in chi11rosc11rcJ and gra-iny cl1alk. ir dóes not allov.~ us to ~ee ,vhat
ii; on the t:,1sel. vvhich is tt1rned towards rhe paintt.'r on his
upright ch.1ir. Jn,;tead. the la111p or candle light. which is evoked
l,) the raking light, pick.s out t11l' rlige~ of the c,u1vas a11d the
tlll11 planes of thc eJscl aud tl1c sidé of the chair. Thcse en1pl1ases
co11st1tute a geometric fi-an1e for tl1e play of light on the cap.
the planes of cbe face, cl1e left hand l10Jdu1g the paintbrt1sh. tbe
~lopii1g tlngh and diagonal and cu rv i11g pas~ages of rbe go,•:n.
,vhich ser,:e to de1nater1alise che volun1e of the figure into the
gloon1. ff.•1~ ha~ bee-n suggested. this is ,l self-portrait. fi·on1 an
artist vvho continua1ly dnt,v or p.iinte-d hin1self into Jus o,vn
reprcsc11tatjo11s. tl1e11 it is 111ysteriou:.ly far fro1 11 tl1c solidity or
thl' rc~t of Courbet's projcct of e111bodi111ent. a11d the bright
boasctul g]JJ1ces of bjs ocher selt~portr:úts. ~11 fl1e dt1sl.-y dema-
teriaJ1sation o ~- the cenebrous dra,\·ing suggests au allegorical
,;tjtu~. ,vhi ch bring,; to n1ind hi~ 1110<,t n1y<;teri0u s and contested
p,1inti11g. Lhe Pai11rcr'.~ 5;111di<l: .-1 Real .--lffegt1rJ 1855; Paris. Mu~ée
1
(
c.l'Orsay). ,vhicl1 i,; nút u11rel,1ted to the Ale,antler and Ca1111?aspe
can<>n, in ,vl1icb C~oLu·bet co111l)i11es realistic stra regics wirh al1e-
goricaJ b.i~to11 · pa.i11tu1g convcntio ns. lnstead of pcrtornúng
bcfore A.lcxander a.n d lus gcne1-a.ls in this pa1ntii1g, cbe ::u:tist plays
to an nsscr11bly of prolet;,1riat ,1nd bohen1ian poets and critics
011 onc s1de and the trivial 'people \Vho live fi:0111 death ·
(Collrbet'~ \V<>rds) 011 the orher ~ide: rhey :ire like rhe silenr par-
t1ç1p.111t,; 111 a dr~n1, and incidental te) Courbet's !lt:'lf-absorptio11
aL Lhe e.1~<.:I.
Mirroring the Studio and the Van ishing Arti st
Thc praginatic co1isideratio11s of 11iI1eteenth-ceutury doctrines o[
realisn, deu1anded the erasure of rhe sy111bolic Riicke1tfig11r fi:0111
la11dscapes, and the heavy syinbolism of chc St11dio ~f Apclles ,vas
snpplm1ted by apparently naturalistlc or artless v1e,vs of artists at
work in the studio. ln tl1e twe11tieth cen tury, ,vhen tl1e vie,ver's
g,ize was understood to b e of equal v:.tlue to rl1at of the n1aker,
the very studío itsclf bccan1e tl1e ~ubj ect of tl1e work as J vi,;unl
111etonyi11 for tl1e artist. I11deed, tl1e spatial reconfigurations of
Cubis1n are to a large e2-1:ent based 011 the Studio and its stiU-
life props as self-referential subject 111atter. even cl1ough tl1e gtt.itar,
che vioün, the cable rop, rhe boccle, the palette. the bowl O'f fruit,
not to n1enti<)t1 the n1odel. are S<)111etin1e'> c0111pletely fr:ig111e11tt'd
as i111ages or reconfigured intu ne,v fc)rt11,tl unitit", The llC\\'>{),1-
per. thc hal ,111d u111brella and thc absinthc gl.1s-, ah,l1 rcferl•Jllc.;:
tl1e café a11d tl1c ciry, br1ngiL1g the1n tnto a paralltl <.1rbir ,, ith
the studio as the toei of accs of tra11Sforn1anou.
Thc :i.rtisnc fàscinat1on v\'1th self and 11,éricr n1eans c-1,ac ev'en
111ovcn1cnts such as l~ussian Construccivisn1 \vere not 1n1pe1·vi-
ous to r11e self-refere11tial po,ver of srudit1 in1agery. The dt's1b111er
.ind arti!\t Varvara Stepanova ( l 894-1958). for exan1ple, produced
severa! vcrsion~ of artists in chc studic). f 11 Lhe livclv• anel decor.1-
tive F(1!11re at tl1e Elisel: 171c Pt1i111er {t920; pl. 241), i11 te111pcra 011
paper, cl1e constn1crio11al fra111evvork is r ulcd 011 tbe papcr \,ich
pe11cil, aod tl1e p;1ccl1e, of coloured infill tbat co11trast v.i_rh cl1e
241 Varvara
St..:p,!IIU\',I, F(fllllt ili
rht f:,i-cl: '/Ji, l'c1i11tn,
1 y::i.o. lc111pt'rJ
on p;ipcr,
+oo X 350 llllll.
Mos1.'0\\. Alt•k,,111dr
L J',Tí:Oril',• •111d tht•
• • R..odrhl'11k.o r-~11111~
DRAWING THE STUDIO: POWER ANO I.EG I TIMATION 335

- l:ird's echuo11 o( Balzac•s Le Ch(!/. d'n 1111re inco111111 in 1931, and
1.µ Pablo l'1 cas,o. ~lltdy _for ·t:,LScl ,111d Ra.f?s'. 19 November 1954. No. u1 ,
pt·n .111d Chi11c,L ink . .2~0 x .2.20 111111. PJri~. Mu,l!c PiLas~o. MP 18~3: folio 9r
e111ph.1<;i'ied <)udine~ and Aoar 111u<;ically on the paper grot1nd are
produced ,vith a <;llray 111echanisn1. Stt:p,111ova believed that the
ol1.l-fasl1io11ed procl'SSl'" of arc-111aking (F11kt11ri1) sl1ould l-,e super-
se<led by 1nechanic.tl tool) in favour of '11011-objectivc creativity',
and rl1t !>Ígn,; of 111oder11iry are tl1e deplO)' J11enr of spray tubc or
roller as ·111echanized facturc'. 11 ln spice of the abstractii1g geo-
111eci-1es, essennal in pt1rging :irt of ·aesthecics. pbilosophical and
relig1ou,; t''\Cre,;cence~ · in favour of ·1ntellectual production'. 42 it
Í'- not difTic:.ult to u11~cra111ble the icon{)graphy of tlie dr.iwing.
A vcry vigorou~ artisl rest·inblillg an .1 rti culated lél) figure con-
strucced out ot curves, blocks .u1d lillcs brandi~hes a recta11gt1lar
p.1letre wich thc right ,1rn1 \Yliile stabbmg Lhe paiJ1ti11g 011 tbe
ea\el \.\'lth thc lefr. Thc (_011<.tructiv-ist parnt111g on thc cascJ as
\.\t'II ,1., a darker ,vork on che 'itud10 \.Vali reter to the ,;oon-to-
bc-l,ani,h1:d l1ourgco,~ e1sel painciug,just as che \,Vork 1t~elf con-
slruLts lhe no11-obJt:LLivc ,votld of 11e,v art for a ne,v society.
M.111y co111111t:nt.1tor, h,lve 11ott:d that Pi cas\O h1111,l.!lf did not
hab1u1Jlly use the trJ.<l1tion.1I ,rudjo app urtcn.1nce!>. ,, hic:.h .,p_p ear
336 DRAW IN G THF SEL f
'i() rilu.di'itically i11 h1~ i1111u111<.:ral,le variations 011 artists at v:ork
in che studio G·o111 h is Cubist pcriods 011 ,vJrds. rJ L, his spíral-
bow1d skctchbook. Ct1r11c1 5r of 15 Novc111ber to 5 Dccen1ber
1954, a heavy studio casei and a 111ounted vvarri or in ar111our
v\'ith a lance, dr,lt;'v'Tl with 11en ar1d ink. are 1niraculou~ly con1-
bined in four pages. In thê dra,ving ,<;t11dy fi>r 'Ea1el <111d R(lgs', of
19 Nove111ber l95+• No. 111 (pi. 242). tvbich is the result of tlús
,;urrcal vist1,1I and verbal 111iscege11ation. tht ,.varrior knight. r/1ev.1-
lier. of thc previous dra,ving has totally transmogrified Í11to an
eascJ, cÍle11,ilct:1--1 Picasso undertook illustrat1ons for Ainbroise Vol-
1
c;pent fiv-c: n1onth<; in r957 paiinring variacions 011 Velázquez'<; Las
1\ l e11i11i1s. and ii1 bundred-; of dra\vi11g; about n1odel and studio,
l1e conAates i111,1ge~ inspired by l)egas's brotl1el (l1e owned elcven.
of J)egas's 111011oc-ype~ of _liflcs) \Vitl1 variatio11S on Ren1brandt's
dra,,~ii1gs. 45 'EveTy pai11ter c~es liitnself for llen1bral1dc', Picasso
is reputed to have said . .111d 1n his reÍJ1car11ation as a l-te1nbrandt
figure in feathers or in llen1br;:indt'<; beret, he leg1ti1nates Jus ovvn
arcic;ric ance,;try i11 a novel reworking of the Alexander and Apellec;
copo-s. l n cl'1e obses-;ive l,1ce car11c 1 dra\vings, whicl1 ring endlec;s
1
variaóon~ on tl1e ~tudio the111e, tl1e artist is usuaJly de11icted at
Jn cascl ,vhile a nudc..' mode] lic~ un a couch bcfore hin1. oftcn
cnticing Apcllcs/ I'icasso to e11joi11 in a car11al as vvell as graphic
unity. ln ;iddition. Picasso n1rnishes th.e artisr's studio v,-ith casts
of classical busts or anaco1rticai parts, n1usical insrru ,nents. heln1ets
and shields, skylights and currains and paletce stand5 - ali rhe tra-
ditionnl paraplier11alia of the sexually charged ~t1.1c:.üo of Apelles.
Signifiers of the painter'!) 111étiet are deploye<i e111blc111::1Lically
ii1 a late seriês of eigl1t colourcd penei] dra,vings dated 18 May
1963 in a c11r11c1 ,vhere l>icasso focuses just on the lo,1/t:r part of
a headless seated body with crossed Jegs and l1ands holding
bn1shes and paletre. He explores :.111 sorts of variacions on tl,e
palette and brushes, unril in che l.ist \.vorked dravving of rhe series,
'18 l\!lay 1963', No. v111 (pi. 2.43). tl1e 11alette l1ac; unclergt)lle a
rra nsÍt>r111ation into a tricorne l1at, ,vit11 the projecti11g finger líke
a cork ,u1d tl1e scvlised , brusl1es like a cockade of feathers. Thc
,vaistcoat, crousers and shoes \t\itl1 spats ]1ave been cqually tor-
1nalised and decorated. Thesé dra,vings could not be firrther a,vay
fro1n l)icasso 's Cubist works, and yet rhc concentracio11 on the
synecdt)c lríc aspect of the palett:e!chnpen11, substit11ting for the
111issing head of tl1e artist, 111,1kt"i an ironic link wich hi~ earlier.
ab~tract 11r(.)ject. as ,vell as refere11cing Courbc-t's substitutio11 c>f
pipc for scLf-in1agc ui che 1860s, c;igned 'Courbct, sar1,;; idéal et
•• ,-$ú
sans re 1g1011 .
]
Tbc artist fig.ire J1as bccr1 replaced by J hooded head in dra,v-
inbrs of tbc st:1.1d10 by l>bilip Custou, lil ,vhicb synecdoche is a
visual trope i11 lí11e \.,rith rhe extre111e reductíonísn1 of his late
arcistic projecc. A c rude, delil1erately inept charco.11 lin e, \Vhich
roughens up the n1achine aspect of l:t_oberc Crun1b's Za11 co111il
caricatures fi-0111 ,vhich these figures are p.irtially c1erive<l. ii1flcct!)

0 . I
-
243 Pablo Picasso,
"fht> P,1i,uc1. 18 May 1963,
No. vm, bloe pencil,
230 X l 10 111111. P<1ri~.
pr1vare co!Jecnon
-·
tl1e dra\ving Untitled (1969; pl. 223). A l1ootied l{u Klux l<lan
figure. toru1g Guston's custon1ary cigar, stands before the eascl.
pau.Jting his J1ooded gai1gster sitter, w l10 has ;:i revolver 111 eacb
hand, presutnab]y as tokeru of his lawlessness a11d in order to
keep the artist in line. The ~inister but ridiculo·us h.ooded in1ages
refer back to Guston's dra,ving$ of the 1930s. in particular cb e
srudies for che lost paincing of Co11spirat(1rs oC I<lao<;n1 en prepar-
ing tõr a lynching; such figures n1arked his retur11 to in1agery
after years of SL1btle and hes1ta11tly tactile abstraction. Concealcd
behind their masks, these modero eql.úvalents of Giandomeruco
Tiepolo's cruel jesters act out seenúngl>· innocent activities in a
reduccive world of crude objects and deh·icus, and Gu,;con reveals
his o,vn anger or fi·usrration by drawing ,vith 111eans as crude
a11d brutal as che l1oods in his drawings. The fact thJL the artist
is hooded like lús evil sitter in1plies tl1at he ü, equally an enen1y
,vith.in society. Emble1natic references to tl1e studio - the higJ1
borizon of an enor1nous s-pace, the stool \,Vitl1 its pots of paint
- provide an abbreviaced and co111ed.ic context, b1.1t the guns are
:1 re-minder of Ku 1{1ux Klan brutaliry, a condicio11 that Guston
l1as subverte-d through ridicule.
Matisse'<; iconic paiJ1cing T/1c Rcd ~'>1udio ( I!JI r ; Nevv Yo rk,
Muscum of Motiern Art), vvith its catalogue of bis works around
- -
1t
'
'
•
"'il1/,'
'
1 \
•
:!44 T~oy L1cbtc11stc1.o , S111d)' _(vr f'()r/rt1i1, 1978. graphice llld colourcd pcnc1l.
140 x 192 n1111. Prív,1te collect,on
its walls, was tl1e source of inspiration tor R <.)y Li chtenstein
(r923-1997) ÍJ1 lus series of tive .J-lrtist's St11dio paiJ1.tings of r973
a11d r974, for ,vhicb tl1erc are a largc 11Lu11bcr of prelin1i11a.r>'
dratvings, ti"o111 sketches to fi.llly ,vorked sn1dies_-1~ The bland
studios fun ctio n as an art h.ival s_pace ror reproducrions of L1cbt-
ensçein \ work appropriated fi·on, other arti:;t,;: 111etonyn1s ror tl1e
abse11c presencc.> of tl1e signacory arti~c. H e had also untierraken
a 111unber of dra\vings of walJ and hai1d nurror,; in the r96os.
do11e not so n1uch for their rcAcctivc potencial. bL1t, in cyp1cally
pr:agn1atic fash.io11. to establish an eq111valcnt for thc sii11ple
grapluc co11,,entio11s for represe11ting shi11y surfaces used 111
popular adverti sing, \\ hi ch Lic hte n-;cei n íncorpor,l ted inco 111ore
co111plex in,ages. Tl1ese graphi~111s are l)rought inco play in ,St11dy
_(t1r Portntit ( 197~ : pi. 244), iJ1 ~·luch a frag111e11t of a refl.t·ctit1g
01irror j~ ~ubstituted 1Õr tbe (?self-)portrait hea.d.-1" Tl1.c occluJed
inirror, stylised in che n1a.1u1er of J techuical dra\l.~u.1g. reflect.s
notlu11g and therefore nullifi es boch the externai v1e\ver and the
artist/subj ect. Tl1is era~11re 1s consistenc ~•irh Lichtenc;tein \ pro-
n1ocion of hic:: 0\\'11 'faceles,;ne,;,' chrou gh borrl1,v111g-. of <1rher\
,vc)rks and style\, including tho~e ofJuan Grís. ,vho roll,lged frag-
111ents of an actual nlirror into his vvorks at tl1e turn of the t\\'l'll -
tictl1 century.~9 Tl1c i11clus1011 of a 111.Írror i11to a ~culptural ,,··ork
DRAWING I HE STUDIO: POWER AND LEGITIMAl ION 337
 .
.,, y
1

"i ·,flJ

. '•
.,.
t~:.
•
•
··;.·~
. ,..
~iii;' ..
~~.at,

.::45 Kirl1L Kolh, irz. Srl(-p11rtr11i1 111 Pn~/i/c. 1933. charcoal 011 bro,v11 papcr. +77 X 635 n1nL Wa.~hington D.C., Nario11:tl Ga.li<.'.ry of Art, R..o~cn\\'Rld Collcction,
1943.3.521-

or asseu1blaµe. \Vhich br1n~ the vievver's reflection dü·ectly i.nto
the p1ece. has beco1ne ::i standard conten1porary strategy. Licht-
enc;ce111 \ del1bcrare refi1sa.l to deal v,:ith the retlt;>cting sudàce of
che re})rc~enccd niirror in rhe dra\ving coJ1.stitu tes an 1ronic
de111al, \)rlit>d by the chec-rful banaliry of h1s co lo ured penei!
line,
The spectator repl;ice-; and thcn 1)bscure-s the 1nirror ... The
SJH:!ct:itor\ pc-rforn1,1nce. a~ i L i, t'S'it'ntiall y prescribed by the
Vv'ork. consi~t, in ,tr1ki11g the sig11atory blind, and tliu~ in
goug1ng <>ut - 11r rht s,1111< strtlk<· - tl1e eyes of Lhe 111odel. o r
eJ~e u1 n1aku1g IUJ11 . tl1l ~11/~jccr (.1t once 111otlcl, si~J1atory a11d
object o( tJ1.e vvock) gouge out his O'\VO eyes in ordcr both to
se-e a11d to represent bin1self ac vvot:k
virote Jacqués Derridn, in llli lo11g 111editation on self-por-
traicurc, built around an exhibition of dravvings in thc Louvre 111
1991. ,<• The st1bstitution of chc spectator for thc authorial body.
the bw1dü1g, operates vvithin tJ1.e urniced scale of choices in self-
portrait dravvings, all of ,vhicb involve an inevitable ch;inge ot-
scale, a!) ,vell as rigl1t to left reversa] ~1nd 111a11y other derio;ion~
,1bour inclusic>n anel t'xclusion. f t is in this sense cl1at artisc,' 'l-tli:.
p<)rtraits are alway~ ~i111ultà11eou::.ly 111et.apl1oríc. perfor111ative auJ
av<>llt drav, ü1g as ,vcll as lo,o king. Tl1e abst:nt 111irror rc111aim

338 DRAW INC TI-J[ SELí-

inscr1bed witllin tl1e iu1àgc, and the page itself functions ,\.,; the
n1irror, reflecti1ig back an exact in1age or offcriug a phantas1nal
rework111g or distortio11. To cxclude tl1c dra\ving hand fro111 tbe
reprec;encation is to expel che pra.Yis of dra,Vlllg fi·otn che ::irtist's
O\.vn 1111::ige and tberefore to ensconce- the pucacively dispassio11-
.1te gaze of a surrog::ice Other who is fiee to 111ake any readi11gs
tl1ey like of the figure portrayed.
Kathe KoU\vitz (1867-1945) co111bi11es tl1e strictest strategies
of on1ission i.t1 her late strippcd-down ch.arcoal dra\.ving Sc!f._
Parfrait in Pro.file (T933; pl. 245), tl1e basis of a very well-k.t10\v11
lithograph. ln rhis broodi11g dràv,ring, cl1e entire studio has been
redttced to a single diagonal line, ,vhicb 'it1ggests a board 011 atl
ea'iel, fixed at the sa111e height a~ tl1e conce-nrrating he-ad. H~r
hand. \Vith its ~tick or charcoal poised ,te a dista11ce fro111 the
body Jn<l about to n1ake a n1ark, privileg~s tlie dyn.11ni~n1 of the
practice of dra,ving, especially in cl1c n1anoer thac tbc arn1 has
bccn overdra\VI1 wirli a forceful zígzag scribblc of heavy char-
coal. This overd.ra"\ving suggests a coiJ or spring that connects che
centres of 1n::ik1ng (the hand) with seeing and think1ng (the head
"\Vith its features in a fierce ~rate of concentration) in an elastic
interdependence. Furthern1ore, che tt!-.e or profile also acts a~ a
dista11ci11g device as it signifies the Otl,er ralher then the 'T' oí
a frontal vie\;v, vvb.e re secs of eves
, can n,eet in the 11úrrored
excl1a11ge fi.xed 011 che paper. 51 l{oll"\vitz's te11se protile conce11-
iconic artist, 11ot us, and forbids the subscicurion or blinding. Her
strengch of 11urpose is so in te11se tl1at she has praccically <itnpped
herc;elf bare.
The Artist Stripped Bare
The Setr... is the greatest and most obscure secrel in the world.
Max Beckman.
ln J503 Albrecl1t Dürer drew .111 eÀ·traordit1ary N11tle Se!f-porfrait
in pen and brush or1 dark gree11 paper. its brood111g and resigned
outward gaze making melancholy concact with the artist's in1age
in tl1e absent n1irror (pJ. 247). Tllis ,,,as tbe year thar Dürer recov-
ered fron1 a serious illness, perhaps che plagtte thar ½'as S\\·eep-
ing Nure11Jberg ac cbe ciu1e, and \vhich he also n1e1uorialiscd i11
the po\.verfuJ charcoal skecches of Ilead q{ 1/,e Dead Cliris1 (1503;
pl. 85) and ics comparuon piecc Head t.?f a S1!ffi:ri11J! J\lt111 (British
Museum), both \vith pupil-less eycs that do 11or n1ect che spec-
tator's gaze. Dürer's Christon1orphi~n1, or bodtly ide11tification
\Vith the sutfering of Christ, occurs in a nun1ber of other dra\\'-
ing.;, including tl1e lead-point ,Sef(-portr,lit <IS 1\ Ja11 <2( Sorro111s ( 1522:
for111erly Bre11Je11. I{u11sthalle)~ in \vhich Chri!)t\ upper body i~
naked and he hoJd., a ~courgl:' .ind pinlers a'i ,;vn1l)tlls llf the
Passion. Joseph I<oerner, ,vho credics Dürcr ,, ith d1t• ti,\( ,eJf:..
portraits of tbc Gcrn1ai1 re11aissai1ce, ofter-; a co111plex re.1d111g of
the l\J11dc Sc[{-portrait, suggest111g that tl1e an11s ::ippea1" as ú bou11d
behind rl-1e figure, ' 3 but ac a pragi11at1c levei, the undra,,11 ar111S
relate to che perenni::il proble,n of 1111,-ror reversai. Ar rhe rin1e
of Dürer's self-portraits, 11iirrors ,vere ..,tiJJ n1ade of blo,vn gla,,.
and ,vere convex and vei-y sn1.all. crea ting n1ore di~torte<l refll'c-
tio11.S tha11 flat 11úrrors. ">.J Tl1e curvatltre of tl1c reflecting .-.urt:1cc
could account for Dürer·s ct1riot1s po~e v.-ith shottldL•rs throv,,n
fo1v\1ard and tl1e knees app~aring to be on che s::un e fro11tal pl.,ne.
gj,ring a S\.Ving co rhe en1caciated body <;O rhat the ge11itals h.1ng
free of che body. The en1phasised (or, rather. natural) ~cale of che
genít.1ls certainly doe::. not partake of che tr,1diti()t1,1l 'clec<.)ru111 ·
of representation. Tbis is a suffering, noL a triun1pha11L l>ody, held
ir1 111ou1e11tary stilLJess, but i_t is aJ~o a gende.re<l body, ,vhich
bears lictle relat1011ship co fraccured antique scatua.ry \Vtth 1cs sup-
presscd sca le of gerutalia and 1deahsed u1usculacure. The abrupr
cessation of the ar111s adds a sense of 1JJ1J1Úl1ence to l)ürer's
bodily JJresence, ª" -jf it is ju,;r abour to rear itself a,vay tron1 irs
paper supporr. The tonvcu·d 1n()Ve1ne11t, ,vitb its contradictory
i111plicacions of checked Aig111t, i~ e1npl1asiscd in the ""ª) that
C\•·ei:y plane and curve of 111tLSculature l1.1ve becn craced and con-
toured "vith featl1ery ligl1t a11d dark pe11 a11d brush sh·okes i11 a
lights on the oue side of the body and face, with rhe light sonrce
of lan1p or candle set a liccle furcher back so çhat it éllso picks
up the back edges of the -;l,oulders a11d to1<so, serves to give .1 n
ethereal glov.' or ,1ur.1 to the body. wl1ich is sin1ulta11eously 111atter
at1d spir1t.
A not w1related ambiguity is to be seen in t>oncorn1o·s nearly
nude St11dy <?,( a _\la11 Sta11di11,'? in Pro_file (pi. 1.+6), v.·lúch Janet
Cox-R.ear1ck has suggested could be a self-porrrait dra,,,n i11 rhe
111irror, although operating 011 a very differe11t regi,ter. ' 5 Again
the tigure has head and thighs rhrust forward as if to fit its c-1011-
gated fi·an1e into cl1e curved surface or a sn1all 111irror - or Lhe
píece of paper tl1at js tbc nlirror·!> sin1ulacru111. The contradic-
tory sig,útiers of tl1e direction of the gaze, with cbe eycs looking
into che mirrar on one axis and che amazing foresl1ortening of
tl1e po1-nt1ng b::u1d on another, establish an t111easy dic;sonance. ~<,
The an1bivalenr open-endedness or this drav.1 ing is noc in its l:-ick
of con1pletion but in cl1e gestural ~\veep of the arnl'>. \vhich
invites a broad spectacorial \'Íe,v at the san1c cu1-1e as tbc .1d111on-
ishing or poi.tJting finger halts us u1 our tracks. Tl1e violcncc
of tlm gcsture is u11precede11ted for a self-portrait. lt is quite
urtlike the rl1etorical auchorial gestnre of a turned lefi: hand ~rith
the index finger and thn111b excencled \vh1le otl1er lingers ::ire
cttrled. ~7 Although Pontorn10 LL'>uaíl 1 add-. C<)nvention,111) s111,11l
genit.1h, to his tigure dra\,vi11g~ in thci, a111a2ing range t>f
concorted po'>LLtres, l1e Í'i notably not ent:irdv 11ude l11111sL'lf 111
DRAWING THE S I UDIO: POVVER AND LEGl flMAT ION 339
 •
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1-iu l.it opo dJ Po11corn10. Stu,I)' t?( ,1 \ Ca,1 St,1111/111.~ 111 Pr(!/ih·, , ire,, 1525. rcd t:h.tlk. .281 x 19501111 London, Thc Bricish
Mlht'lllll, 1113(1, 1010, l()r
2.47 A lbrecht 1)iirer. ,\'1uh· Sc[f~portn1i1, n'ra, 1503. pl'n ~nd brt1,h, he1ghcened \V1 eh \\ h1ce 011
grccn grounJed p,lpcr. 291 X 153 nun. Wei1nar, Kla.~~ik Stiftwig. Grüncli11g Ct1lle(tio11, f{J, IO<i
 conu1us•-ioned lithogrnphic Sc[{-[>C1rfr11it of 1912. ,,·ith its very
,,,
si1nilar pose and borh ar111s incon1plere i11 the c;a111e n1a1111er.
Certainl), T)ürer\ e1naci,1ted bod) accord. vvith Schiele's ow11
project of dra,ving bjn,sclf 11udc bcfure the niirror frou1 as early
.1<; 1909, 1n a narc1ssistic and se>,,.c1,tl Ílnpulse chac is very fur fron1

his predecessor's. 'Everyrhing is living dead' vvas one of Schiele's

111exphcable dran1.1cic aphorisn1s, 11º ,1nd his expressionist obsession
,vith tll11ess .111d death, whether genuine or asst1n1ed, also rt.•flects
a certain religic.>u-i a,-.·arc-11ess, suggesri ng tl1at he was not averse
to 11icturi11g l1in1self. as l)i.irer had done, as a (:lu·isc surrogate
exhibiting the ,,,o unds of ltis e111aciated body. ln a cypicaJ (a11d
1
11011-111asturbatin~) Se[f-portrait (1911: pi. 2+8), Sclúele s dra·v,nng

2-1,9 G,v\!11 John, Sr/f:p,1rtnlil ..\ 'ak,•d , Sitri11,1t 011 a B11d, â1n1 1909, graph1ce and
gouac he, 2. ~+ X 162 111n1. Pnvate collection

2 4 ~ Egon Schu:le. 'irl/-11,irrr,111, l <J 11 , \VJter~ olour, gou,ll: hc .111<l gr.tphitc,

511 x J 19111111 Nt'" Yorl-.., 7 he l\!\ern1p<)hrnn Musi:u1n of Art, Beq11C'St of
s~oticld Tb.ayer, 1982 (1>8+ 4 31.2989)

thb dra,ving, Jlld rhe 111irror-reve,--;cd hand, ,vhii.:h is presu 111,,l1ly

111 thc act of dra,ving, 1s al1,o i11co111plete. Even the use of thc
pJper 1s contradictory ,v1thm this f.1sci11at1ng ,vork: l)ont0r111o's
head ,;virh 1r~ lirrle be;.1rd is ~lightly lo\,vcred to bc included ,vithia
the 11 1c>ce of paper. ;.1nd rhe san1e sheet becon1e~ an exclusiona11 1
li-,1111t· <.)11 the let1: ,, hcre the dr;.1,ving hancl ha~ bee11 cut oíl-.
Nude dr:1,v11 \elf-portr,1il~ ,ln..' relaLively uncon1111011. and if
rhe1r re.1ppe 1ra11c.e 111 tht.. t\\entieth century i~ ~1g11a1led b) lhe
nude seU-porcrail'i or Egon Schiele (1890- 191R), then it ha:.
crad1nonally been ~uggestt.'d tl1ac rh1s e,;rabJj-;hed a direct link
b.,ck to l)úrer\ '\'11dr ,'-;cff:11or1r1111 u, Wemiar. 5" Accord1ng to this
theory. ~ch1cle ,,ould h.1vt• seen l)urer's draWlng (of ,:vhich a
phott)gr<1pli ,,.,, publishL·d 111 1912.) before he undertook the

J ll DRAWING 1HE SELF

hond i~ -.uppressed -;o that no action of rhe intervening self can
tlistract us ti·o111 looking at che artist-as-()ther.h 1 The ,,atercol<)ur
,,aslies on tracing paper assu111e the colours or corrupting flesh.
and che peuis u1 this dra,vi11g is suggestecJ by a splas]1 of re<l so
as to conjure up tl1ougl1ts of castration; tlie n1outl1, perhaps v.,icl1
tongt1e protruding, :u1d red O"L1tlu1ed st::iring eyes suggest sulTer-
1ng ar madness. L1ke rhe Di.irer drawu1g, tl1ere are 110 sn1ooth
passages, bur open lines and patche<; of colour tl1ac invite visual
penetratic>n ,vicl1 a sort of 111asochistic exce~s. Sc:hiele, curit)usly.
ha<; 111oved to deny chi~ opcn-nes!- to t)llr gazt' by oucliníng tlie
"'·bole figure ,,·itl1 a tluck brusl1 strokcs of ,vrúte gouache,
lca,·i11g tl1e only opeu areas as thc unfiníshcd hand a11d onc side
of tl1e e..~a:en1ely e111aciated torso. si11lilar to tl1e side tl1at Dürer
poincs to, as 1f to a stign1ata, i11 che Sclj~portrnil C?f the Sick D11rr,•. 1'2
rn contrast co Schiele\ c;ho,vmansh1p and ÍJl\ritac:ion co
voyel11-isn1, tl1e sn1a]l <;eric.::s of nude ~elf-portraits. by Gwen Jol111
(1876-1939), including t]1c' drawing Se{f-1iortrait, -:'\rttkcd, ,5ittill~I! 011
,1 Bl·d (cit'Cil 1909; pi. 249), show a nJodesty ty_1.iical ortbc artist'-;
recessive an.d ccntativc 'Japa11csc' scyle. ln clm u1ti111ace dra\ving
rn one of John's c;uccessiou of garret ::ipartments in l'ar1s, she is
sitci11g on the bed \Vith her body in profile \Yith l1er face turned
tt) look down ar her ha11ds, their act of dra,ving l1idden l)e11ind
cl1e ti-ont board of t11e bed. The long thii1 body is contaÍ11ed
v.·itl1i11 ah11ost u11brokt'n profile lu1es, ,vich the crossed Íet>t con-
cributi11g to a11 iniage of closurc a11d restrai11t. The legs are
untoucl1cd by tbe thick gouacl1e witl1 v:J1icb she has just dabbcd
her upper torso and breasts and the back of tbe bed. Tl1e face
is the n1osc beavil)r worked part of the dro,,·ing ,vich son1e cor-
recrion!i in ,vhite, as if tbe fact of re111en1beri11g "''hat c;he looked
like was 111ore ~trec;sfül cl1an the att of looking in the 111irror. ln
a relaced penei] drawi11g oi che san,e subject, agau, the bt>dy has
l1eeo evacuated of ali 111êa1iing J11d affect exccpt for tl1c breasts
(the head rn d1is version is blank), but Jolw has cxpa11ded detail
on che bedclothcs and 11ev.·el-poscs aud backboards."-' Probably
tb,e coloured drawing is a traci11g fron1 this earlier study (she reg-
ularly used tracings in her practice), bt1t it is inreresting that her
body has no 111aterial presence, texture or \\'eight in either
drav.•ing.
A largc nudc self-portrait dra\vil1g by Fra11cesco Clc111entt.'
(b. 19)2), \Vl10 l1as often dra\vn or pai.nted hi111Self 11aked, Se{f-
portr11it tl'itli Blnck ChH1es (1996; pi. 1.50), is dra~,1 on a ho1izo11-
tal piece of paper so that C len1ente's body resoluteJy forn1s the
-,
--
.....
2,50 Franccsco C le1ne11Lc, Sc/f:portn1il 11·itl, Black ClcJl'<'S. 1996. pa.\tcl 011 p.1pcr.
1067 x L,IY9 111111 Pnv,1tt· colli:tt1011
central axis of the drav.11ng. He fills the stre.cch of p:iper ,v1th h1s
out~tretched arn1s, black-gloved hand" poinring rheatrically at l11s
l1ead \Vith its perfectly sy11n11etrical st,1ring eye,, ,15 i f co shoot
hin1self. The 1)ortr.1ít ends jusr belo,v the gen ital-,, ,1nd the rop
part of' the boliy a11d hc,1d lean closer to their cxpressionless ,elf:.
reflectio11, trapped ,vitl1in tl1e co1i.tines of rhe sheet of paper and
guillotined by 1t.
The c;tripped self-portrait ::icts as the sJ1adow in,age of ....J.11elfes
/11 1!1e S111dio, rejeccing the en1l1len1atic signi ht'r~ of ch t> ~olial
11,érier of paintíng in fa,·our of an insistence on ll1e prin1acy t)f
the bod) an<l individual subjcctivity. Such drawtogs flv in the
face of contc1uporary theories of rel.1tional aesthe□ cs Jlld c;l1.1rcd
aL1tl1orsl1ip, \Yherc the authorial sclf is leti: 011Jy d1e tisk of con-
stiturir1g tl1e conditions of produccio11 of the ,,·ork. The)' also
cha11enge those ti111e-based acts of self-absorbed 1)erfor1T1ativ1ty.
tl1e subject of so 1r1any conten1porary perforn1ance or in,talla-
rion \VOrks, in \\ l1icl1 the artist·s body u~urp~ tl1e 111irrt)r .1s a
fl!tisl1isecl sub::.ticuce for spectatoriaJ co11sun1ption. Dra,, in~, ,vith
its long en1bedcLng i11 lustorical pracrice, co11ti11ually ch,ulenges
and subverts assun1ptions abouc couten1.porary art. b11t ,e '>ee1ns
that 1ts fascínatíon ,,,icb its o,,,, 1conography and trad1tions i~ as
strong
'
ª" ever.
DRAWING THE. STUDIO: POWE:R ANO LEGITIMATION 343
•
 Part Five
Drawing the Other

_[llCll(f! pn,ge ('hnstofter Wilhelrn E,ker,ht"rg, Rf'ditlll(S: ·'J11d1' (det.111 oi ri. .2X7,
IJrgcr than actu.t! size)
 /\ 11d ,, hc n , h l , ,111\l' n f \\ l',11 itll''' 111 li1 l' l.ll t· 1111111. th ~y ti11,1'lv
l
lcll 1lll ,,0 11.. 111µ 111d IP 1>k .1 , 1ro ll 1111 0 11 ~ 11 tl1l l i1y 111 \<\'l'lll

Charged Lines and 11t tt ,1d l' tl H 111 ~ t-!,,111· 1111 ,0 111t lrl·,11 ,111 . th l' II l.1 vn1 ll l' .111d 11 uit
1111 p .1~1111 H· ' ' ·" 111 l 1kl· 111ll l nl l",l'l'( 1 tll y u1111, 11.tl \ llt',, 01
Ve ,-na euIa ,- Bo d ie s d1·lig ll t f11l l.111d,1.1p1·,. 0 1 c ll.111 rl· 1't11111111i l'l 'i , vitl, p1·1,pl1-,
111 d, 111g 1.11 n .11u r1·, 111 111 1.· 1k•ft•r t'i tl1 t·v nb,crv1·d 111 dH·111.

· 1111-. d l''( J l)ll lllll , fi·u111 ( ' c)ltJll c:.1,lo ( :('\,lll' M .d v,1'ii,1\ /.i/r o/ 1/,1·
( .',11 111◄ 11 ( 1<17S), ,,·1~ 1'11· , e 1·111· f1 l l I d1 io.1 11s~ t<>ll oi lll l' ll·l:1t1u11, l11p
n l 1 .1111 .11111l· 111 .111 ,111d l v1·1y d .1y ltl l'. 11, pl.1y fl tl11 t·\, .111d r 11g.1g1.·
11 1c111 ,v 1tl1 p .11 o d v. v 11l µ. 11 it y .111d lit l' g ro t1·,quc. ,111d tl11·
t 11 1do11 b tl·d I l l tl·ll, o i u, 11d1 t ul v ( :,11 ic.1111rt· 1· , 1st, ,, 11l1111 1li 1.·
11.•,tl111 ~ n l ,tltt· r ti ') •. 111d (1 11 th 1· 111.1rµ 111, 11 1 li1µ h .111 h o th ,1\ , 11hjt'Cl
111,1 tt 1.· 1 .111d p1 .1t 11 1.1·. lt lil11,., tlir h o u11d.1111.·, ht·1,vt·t·11 p11bl1 t .111d
p 1,, ,l ll', ,t· t 11H1, ,111d t 0 111 n. 11 1.·,1, 1-; 111 tli t· 1111 1·1·,111·1.·, h r l"' 1.·1·11
~k d l ,11 Hi < h .11 1( ,. t' ll t·t t,, rt·,1·11 1hl.1111 t· .111d ~\' 111hl.11111·, pr,H lll'l' ,tlld
1d L·.1; 11 u11d t· r11 1111t·-. h1 t· 1.11 1 hil''- (li ~c111 t· 111d s,1y, ), tl1 bou -.ur k~
.
10 gc 11111,
'l ' ltl'l l' ,... p1 n b ,1hly lllll .lDI ,li [1\ l I li .1111,l ll'lll Ili tlll· \V l11>ll' or
W1·"tL·111 .111 ,~ 11(1 li.1~ 1Hll pl.1yl'd .1ro1111d \V lllt phv, 10µ 11< , 1111 l
l l'\l 111hl.1111 L'"· 111' tltl' ~u ggL"'-tl\. l' p n lt'llli.tl l> f l111 t·. ,111d , 1111u l 1h1.·
p n pul.111 ,,111 0 11 o i ph o 1ng 1.1phv. 1110~1 ,l< ll <l ll '> 111 t'VL' ryd.,y lit ~· ,vt· r1·
p o iL'lll 1.1I , ub1 l'rl, 111 t.1p t11rt· ,v11h .1 ,,111, 111 1.111,;1i1 p L·11 , 110 1..l'
llll ., ',( 1,1 11 1,t p .1pt·1 ( '.11 tt,lllll'L'\ .ll l' pt 1111,11 dy dt ,1\<\ li ,111d llllll'l'd
, .i111 1n t h t· t t11 H1..· 1, L'd ll l iHtt, llh· l111r.11 p,11 .1d1 g 111 ,.
1 hl' IL' t 11 1 t,111, .1lu1 t· d t·11,·1·, f1c1111 tli l lt.111 .111 1,111, ,111•. 1111·.111 i11 ~
' 1<1 l11.1tl ' nr 'rh .,rgt•' (111 l 11.· 11Lh ,h,11.1.!1·1) •.111d n 1s tl\ll,111) u ~1.:d 111

11•1.HHlll tn .1 l1k1.·11 L',~ 1h.1t 1:- l 11.,rgt·d , v11h l''\,l!,!,!1,L' r,1tl'd liu111ot11
n 1 ,au n.'.' l'h t CL'r1n 'L h.,rgvd pt,rtr.nt~· (ritr<1flt i't1tlc',lft , 11t1Hrt111i
t'11ri,-/11) ,v.1, fi rst tt ~l'd , v ,1 h .1ppro b .,t1011 h) the ,cvc nll't' llth
lt: 11t11rv .1rt thl'o11sr, ( ;1tl\ ,111 11i l't t'lrn lte llnri. ( :.1110 ( ' l•, ,1r1•
N\.tl \,l\ l,1 .,11d 1:ilippn lttldi1n1c t·i .1, ., rt'vl'i.llH)II nr dt .1\\ 111 µ ~!...il i
.111d \\' 11 , .,s,o( i:tl t·d \<\ 11h lh l· CJllH 1.. , kt' ll ll l'\ ()r /\11111h.tlt· ( ·.11 l.ll ( j
1
.111d th L· ,l ulptnr (;1,11tlorr11 1 0 l~r 111i11i . ( :,1ri t·.1111rc '' •"' , upp1>,
t'dlv 111111,du l1.·d to l ·1.111 LL' by l3t· 111 i111 . ,vht·11 111.1k1ng .1 h11,t ti l
1 <1u1s x1 v 111 1<i(15 • •111d , ,-.1, .1pprnp11.1tl'd 11110 .1t.1tk•1111 ç l1tt·1.11urc
111 Andn:• l·(· lih1 1.• 11 \ d1,cu ,;\1t1 11 oi lht' /'''lll'rtil r/1 cll'.',!l' 111 h1, l 111111111cs
oi 1n7<1 l ~y thl· 1.·11d 1,r th t· l' 1g l1tet·111h l'l'lltury th t· tt·1111, t.111
t-.11un: 01 /lc111r,1it ,) ,/1t11;i.:c t t,uld .ds<l li.1,·t· 11 t·g.11 iv1.· r o11 1H)t,1\1n11-;,
'\lt ggl''illll !,); ,l dl \ l ()I tl()II (li 1:1t dt· 1111,.1pp ropr1.1ltlHl or 11\0 l'l'
t· lev.1t e d 11Hld1.·, ot .1rl pt.1l·t1 t t'. \<\' litt h ts til1t·11 ho,v ÍL 1,; ll \ t·d
Lo d .1y. 111 d11.· 17()()', l >t·111s L)1dc: r<>i. lc>1 t''\,llltpll', p101. l.11n1L·d th.,l
thl' ' d l'l1n1111tit·" ,,·011..L·d hy tu1111pu11 ~ 11.1lt11c ' tnuld n11ly l<lo
•
L',1, 1ly '• de~< c nd l<l prodt1t t ' . . . c:1ril'.1t111·l•~. 111 0 11SIL'l',, g rntl',qtH·s·. 1
·1 he posiuve .1-;p c·c t nf e ;1ric a1t1l'l' is r 1f11: ll p :11.1d11,i c.1I. 111 th .ll
., , u tct•~,litl d1 .1\-\1tl~ 1, ~ l.1in11.·d t o hl' '111<11c· ld-..L•' .111 111d1, 11.lu,1I
th.111 ~lrhl·1 :-.1,1 t, 0 1· likt'lll's~. 01 L'\'l'll ' 111tlrl' lrut· 1t., l1lc.• th ,111 11.·.tlit y
.!'li (f,1,il~i: /11l\!t') 1'1~di.:011l' c;1,l'Zli, c,,1111111/rf' ,,, ,1 , ,.,,, ,,, <1"/ir/t/,· / )r,lll'lll,I! itst·lf' .' ( )1 . •1-. t· ,pt\' \'>t'd i11 ;1 ç l,1.,~1 t l', ~.1,. b) 1 1 n,l ( ;n111b1 tl h ,111d
(,\/, ( .lr11,.,rc111). 17, li,,111 .111 .1lbu111, pt·11 ,111d 111k .100 >< .:oo 1111 11 1~111\ t l, r1 ~ t>I lh l' tlJ •lO'-, ' /\ r.111t .1lurl' 111.1\ bt· 111urt· 11!...L· thl'
1011do11, I he Bnn,h 1\lu t'lllll, 1s~9. nSc,r, ..:<t~
 •

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1::::: ---- -- - - -- .> -
- 1

..=:---
-

,'
undcrhc, " ,vc,nJerlu~ dr.1,v111~ by the llo1na11 pru1rrnaker.
painccr Jud dr.1ughtsn1:111 l'1erh.'<'>Tle c;hez21 (1674-r755) , C:ari-
c,11111t• 11{ ,1 , /,111 1t i1 1,1/,li· I >r,111•i11,-.: (J\ lt111Sil'11r Clé11s,ca11), cl,1ted
IÚ Augll\t 175.:? trlHll .1 tlr,1,,i11g ,tlbu111 by c;ht'i'71 in the Uritisb
Mu,L'Ulll (pi. 25 1). Tht.: .1rchitec.:tural ll1pt)grapl1cr or 11cd11císra.
c:h,ule,-l lJUis (' 11'.·ri,,eau ( 172 1 - 18.20). ,,·as cl1Ln at che Acadérruc
dl' f-rant.L 111 lton1e. JnLl tbc cager v:igol1r of h.is lank"y body
h:,1ning over a dra,vu1g sheec ,v1th iltl enor1nou'\ 1>orte~crayo11 in
hi, rigbt h:1nd 1,; ,1,; 1ntense ,111d ,vell nho;erved a, the exaggerated
prolile. ,vith a ht1gl:' nose a11d rubber h1Js, 1:ither upened -vvi tl1
thc- effort or C<)111p<>s1cio11 or e11gagi11g in a11 altercarion ,vith
,<)ll1C<>11c uut of tr.1111c. l-Ie \Vl:ars .1 pigcai1 a11d tricarne hat,
,vh<.)SC sh.ipc 1s ,v1ttil> repcated 111 rt1e three-cornered pedescaJ
t:iblc ac ""11ich he s1ts" l"he 'charge' of the exaggerated lips trans-
tor1ns tht' anciqt1:ir1an (~lér1sseau inro a witry icc>n of grnph1c
11
obse<;SH>11: 11l<)n:.' Clérisse:in rhan any \)ffici.11 poi-trait.
Gr,1phic l,\r1c.1ture as an enor1nuusly ricl1 sea111 in Wcstern
c:llltun..•. ,ti:u111ung fron1 che vibr.u1t 111edieval traditions of
popuJ,u· broaJ:;l1eeL~. as -vvell as thc rL1de sketches on thc 1r1argi ns
or 11lunu11ated n1anuscr1pts.'1 Tl1c prevalence of social con11nen-
t.1ry· u, broads11eers a11d pohocal pr1nror; in the eighteentl1 ce11t11ry
1s surpassed only by che proliferation of journal~ in the nine-
tee11tl1 century pul1lishing satirical caricatures and na rr:itive
·cartoon· sequence\. 111 l n the tvventieth and t,venry-first ce11rurics.
are usually sopl1isticated. often coloured - alchough al\vays line-
based - and rhey reAect the fashionable graphic scyles of Lheir
era, since they are general]y prepared for pri11t production or
111ass circulation in ncwspapers aud _jouri1als, sttch as thosc pro-
duced by James Gillray (1756-L8r5) a11d Honoré Dau11rier.
Econo mical Gestures and
the Elaboration of Fantasy
Boch tlra,ving 111odcs are represe11ted u1 the a.·uvre of Pierleone
Ghezzi. ]>aintcr to tbe Apostolic Cl1an1ber in lto111e, but also
k110,,"'11 as the 'Cavalier of Caricature'. ln his little sketch, Cari-
cature ~f Cardi11nl ,-4 /ba11i (pi. :!52), (;hezzi conveys 1nuch about the
speeding cardinal 111 a fe,v swirling lines and lighc ,vash. Albani
is rusl,ing 011 so111e err:1nd. perhaps r.o ,neet an in1porca11t cleri c.
sincc- his har1ds are tl1rusr ()Ut before hín1, in preparatíon for a
~52 Pier Léone Ghezzi. Caricc1t11re ,!f c:,1rdi11al A lb,u1i. 1 Ld.. pen. browu ink
nnd ,v:ish, 244 x 191 n1n1. llornc, lsnruto Naz1onalc per la C:ratica, 6530
•

,vhen politicaJ caricatures are an estab1isl1ed part of daily ncws-

•
papers ~u1d journals ar1d the clcctro11ic n1edi:a, anin1ation has
•
extended rhe caricatural tradjrion even further, although its
~
-;acir,cal edge has becon1e increasingJy repressed in favou r of •
violent or infantili~ed then1e~ 111 n1any instances. Since, however,
le~s lC"Xl acron1panies conre111porary poJicical c:iricacure<; cl1an, for •
'
exan1plc, thcir eightee11th-cencur) couoterpart..,, the narrative • •

::ispects of dra,ving styll: ai,d con1positio11 rcquirc to be incrcas-

ingl)' tl"Jnsparent ,u1d co11u11unicacive, not to n1cntion chargcd"
Caricature in all its aspects, as che alternative to high cult11re
or as ephen1eral sat1rical cornr11encary. or as an expression of the •
grotesque and the carnivalec;que, has been very ,vell addre<;sed in
•
art histor1cal ütcr;iture .1nd exh ibitions. Histories of caricature. in
111any to1ues, \vere written in tbe nineteenth centLu·y, and 111.1jor
figures to .tddress rhe subject l1avc bcen C l1arles Baudelaire and
Erno;r Go111br1cl1. 11 Car1catl1re is a co111plex a11d 111uch tl1eorised •
•

field, and ,t., non1enclatt1re, se111iot1cs and caxonorrries have been

passionately contested.
WiLl1in th1:- 111inefield, it seen1s u-:eful tu distinguish bet\-veen
t\,o n1ajor kind5 of caricature: sketchc~ of ._ingle figures or sin1ple
s1tuat1ons ruade b, artists a!> a relaxatio11 frt>n1 their 111ajor activ- •
1t1es. ai1d the n1orc con1pl~x ai1d publir n.1rratives tl1at parody
social or poJincal sitt1ations and pcr'lonaht1c:.. Dra\ving!> of tl1e
firsc cacegory are uc;u,1lly very econo11ucal and speedily produced.
a11d oftc11 111.1<le telhng by rhe tlt.·ltberate adopcion of strategies
•
of de'lk1l1ing; anLl 111fa11Lili,111. Public .1nd professional caricatures •

348 DRA'NING THE 01 HE=R

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253 P1erleone G hezzi. Polri11el/(J K.c,ps Scha,,/ i11 a Hc1r11. 1720. pen anJ brown 111k on tTt'.1111 paper. 268 x 34~111111. c: hat~\Yorth. l)evonsh1re c:ollecnon. 639

potential e111brace. Tl1e card tnal 1s 11ose, 111oustache ai1d la11k hair details. 1- Son1e of Ghezzi 's detailed caricatures ,v~re llL'\'er
are the only dow11turned lines iu a coü1position of bouncing, eno-,.,r,1vcd
~
JJ.1d rc111ain aucono111ous dra,".ings.
""'
eveo thou~h~· b..is
upturned calligraphic curves. This economic style of drav:ing, strict hne- v,ork seen1S to .i1111ta.te. or pre-enact. the etfects of
n1i1ch sought after by the recip1ents of G hezzi's Wlt in l-lo1ne at a burin. ln_ J>olc-i11ello KeCJJS School i11 n Bnr11 (entirled l'l<1TCl 's
rhe time, en1ploys synecdochal means: it conveys a deal of Portico in the princed version), d1e carefull)' conrrolled parallel
n,eanin.g by the n1osc abbrevi::iced and analog1cal line,;, leaving hacching-; and lin ear elabora tron-; of technique exrend into the
the spectacor to co111plete ic~ half-hinced allusio ns or ,vitty sub- n1ad prolif~racio11 of circur n~tant..ial decail 111 chc 1111s(·-c11-sf c\ 11c
stitLLtions. Relaced to the brief sketcl1es of Berníru, tlus J1urnor- (pl. 253). All chc obJects Íl1 tl1e \Yoven ,vatde barn, including the
ous scribblc is very differe11t 6·on1 Gl1ezz.i>s extre111cly con1plex prmiitive bed trussed bet\.veen poles, che d.onke) ,1nd the b,1rrcl
prcsentation drawings it1tendcd for prints. st1ch as the two on whicl1 the hatcl1et- nosed Punchinello )Íts co nitor h1s pup,15.
/Jofci11ello drawings (r720; Chats\vorth. Devo11shire Collection) have been drav.•n ,v1th the greacesr attention · rhere are even nvo
chat en,broider meanings wi th many 111ecaphors a11d con1pelhng quill pens on rl1e ben ch t,ll")le, 011 ,,_ h1ch the u~ly children have

C HARGED LI NES Aí..JO VERN1\CULAR BODIES 349

 bec.:n \\ir1t1ng c>n lon~ scrolh,, ,vh1L·h they .ire 110,v ~ho,ving co aU
.111d ,un<lt, for co1n1ne:ndlt1()ll. The b1)',()ll1)' 1n.11d ,,·ho '" ho ldi_ng
<)llt h,:r 1111lk Jllg te, l>llc of eh,: ,hc),·e l-c.1pped urc hin'> tn drink
1ic1111 1, 11ot t.1r1L,1tured, ,vlien:-.1, the '>t'.ltL'd fe1111le l'u nl hinella.
lr.1111i11g the d 1,1\\ illg u11 tht lctt \Vith hcr d1s1,1t1· a11d thrcad in
hugc li.1!ld,, beL1r, .u1 l.'.Xce,si\·cly IJrgc. if bclllh11-1 t:1cc. hke t>ut-
ctnt•Uo 's l~,v11. Shc blitl1ely 1µ-nore~ J preoccupied im:111t ,eated at
hcr ,ide ,vho ,,·;irche, h1s cur,·e of piss ,virh t:1scinario11. l , he
,vití)' or ridict1l<>U\ .1,pt'l cs of this <ir,t\".'lng h.1ve been deliber-
.1tely di..,pl.1c~·d fi·o 111 expre,..,íve line i11to ,:l.1b(> r.ite con1110:iilion,1l
-,c,-.11t·gies, thc -.c.111d,1rd 1nethodnlogy of pu blii: c.1ricacurc o r
'L•n1bl(.·111' priJJts ot' carlier and bater ~c nturics.
\uLb str.1tc:gies r~ca.11 tbe cnor111ot1s co111ple'\'lt)' and detail of
che dr:n\'tn)...rs
'
of l'1etcr Brt1egel the Elder a11d h1s fo llo,ver<;. "'·here
~
e,·en t a11rasy creature, are concei,red vvith matter-of-fact pen
strokes and hatch111g. and e-ver) obJerr in che surreal ensemble
i<; renderecl '" ith graphic preci<;ion. l11 Desidia (Slotli) (1557:
pl. J54), tl,e ink tlra\-ving fi·on, tl1e ~erie'I TI1e Se11e11 Deadly Si11s;
or. '17,c [ 'ices of 15'i6- 8 (e11graved in reverse by l'ieter van der
1lcydcn), Brucgcl adopts Hicrony111us Bosch's in1agistic graphic
language for dealing ,vitb o ,vorld of sir1 a11d folly. ~fl1e dra\ving
Í<, packed with circumstantial details, so ch:.rt each hybrid crea-
ture, 111elded out of hu111;u1, anin1al. insect and objects of every-
cla) u!>e, is c.lescribed ,vich lhe san1e objective piccoriaJ reality a!>
t1Je natural eJcn1ent~ of ldnd, ,vater. sky and buildii1gs anti
111acliiucs. Tbe 111atter-of-fact prcse11tation of drean1 in1agery a11d
the rotally irraciona l cl1a11gcs of scale a11d gentis add to the
en1onve pocenc1r of the grotesque and scatological invencions and

Pictcr Brucgcl lhL Eklcr. Dt·lirli,, (Sfc,1/,), 155~, p ..:11 ,1ntl grcv-bro\vn ink. +X
21 .296 111111. Vicnna, Albertina.. .,871,

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350 D l·,AWING ft-lf. OT•lER

e11couragc tl1e eye to ,vander .1nd participate in thc drawi11g ,vit11
,voode:r and r:ecognition. The urine bottle attached co the ,vater
wheel, for exau1ple, at the 'iide of the mil] ,vhere a gigaotic defe-
cating borcon, i'i beíng prodded l)y beharted figl1res 011 an ori-
ental bo,1c, or the hun1an-ar111ed clock on tl1e s1de of an
explocling fui-11ace, eo.gage che spectator in a grÍJ)ping identifi-
cation witl1 illogic, fi:0111 \vl1icl1 ic is di.fr1culc to en1erge. Tl1e
fecund dctails cntrap and subjugatc tbc cyc, proving tl1e
potcncy of the cruel a11d tl1e bizarre for thc visual unagj11ation.
The relationship between Ghezzi'<s ;111d Bruegel's drawi11gs of
c.lífferent periods, preparl!d for very differenr audie11ces, is. I
believe. not coincident;:il. Tl1e root'i of caricat1tral sacire are
locaced in t11e grotesque, the en1blé111acic anc.l rough genre ~cenes
oC everyday life.
Uneasy H istori ography
Cancature 1s a double th1ng; it 1s both drawtng and iclea - the draw1ng v1olent. the 1dea
caustlc and ve,led.
ChJrles Baudelaire'
~11fcl,-ffôâts "ji) 'be~~;eêh-i1~âjo1:-géi11:Js~ôrn,·r AprÔlÍtíé'ti~tí.· 1~i;' óeê11
the 111arginalisarion of the artists for ,vl1on1 caricature or drav:-
iugs of everyday life bave been a significai1t part of t11eir prac-
t1cc. Very fe,v have bec.n i11Scribcd in the canonJC tables of tl1c
'Great' Qr included in tl1e grand narra.tives of art history. Pier
Leone Gl1ezzi, Anton Maria Zanetti (1680-1767), Gabriel de
Sa1nt-Aubin, Thomas L{.owla11dson, Ja1Ttes Cillr.,1y, Jacql1es C:illoc
(1592-1635), Constantin Gllys, Raoul Dufy ( 1877-1953) and
Alfred l{ubin (1877-1959). to give a têw ra11don1 exa111plcs, arc:-
ad111ired by specialists but not considereJ artist~ of lhe 'fir,;t
rank'. 14 They have at tin1es becn dis111issed .1s '111cre' caricaturists
or illuscrators. This estu1-u1tion accords v-·ith tl1e prir11arily grapl1ic
bias of tl1eir practice, reinforci11g the con11ection betwee11 satire
:u1d lit1earity that is the theme of tl1is chapter.
Over the ce11tt1r1es, n1any ~erious arti~ts l1ave u11der,vricten
their study and practice by earni11g n10ney by dra,ving popular
'types · or 'trades' for prii1ced broadsl1eets, or as jobl-,ing cartoon-
ists or illustrators for the popular press or publishers. Eve11 tl1e
arch-serious Jacques-Louis David indulged in some heavily
scatological political cartoons in the service of the French Jtev-
olucion during the 1790s. 15 ln che nineteench century, ,vhen the
practice of earning n1oney thro11gh illustracion for popular 111ag-
azine'í and newspapers wa~ very co111n1on. Jean-Lotús Forain
(1852-193r). Can1ille Pissarro and Henri de Toulou.se-laucrec. to
11an1e jusc a fc\í\', ali u11dertook sucl1 con1n1issio11!) for 111oncy.
Clat1dc Monct (18-1-0-1926) earned his kecp as a caricaturisc ii1
Le 1 lavre beforc studying i11 ])aris ,v1th Euge11e l3oudin ( 182.--1-
1898); Paul Gaugui11 ,vorkcd tàr t\\'O yea1 s a, J journalt\t in T:1l1it1
bec-,,veen l 889 and 1901; JJalil Sig11ac. \Vith bi~ ,1uarcl1ist co11,·ic-
tions. conrributed dra\,-i.ngs to Les 'Jc111ps 11t11111ca11.Y. ln tl1L' t'arJy
n.vencietl1 l..'enttlf)' Lyo11el Fe1111nger (187r-l956).Jua11 Cri,;, Kt>e'i
,·a n Dongen (1877-1968), K,1rhe Koll,vitz and c;eorge Gro,z 111
,vorked in this ,vay in EurOJ)1:: latt'r StuJrt ]),1vi-.. (18y..,-19(i4).
Ad Re111h.1rdt (1913-1967) anti Andy Warhol produrt:d illu~Lra-
tions aul{ cartoons 111 A111er1ca. Cr1tics a11d lustori..u1~ h,1ve tound
tl1ese .1obb111g aspccts of arostic careers quite problcn1at1c, and ic
i~ verv, u11corm11011 for artiscs to be vahdated for rheir c~mcac
ural or l1t1n1orou<; dra~ing sk1lls.
ln adn1irting jt1~t a few privileged artist, ,vho have indulged
in caricature into the grand canon. tvventieth-ct>ntury .art hi\tory
l1as follo,vt'd Bat1<lelaire's high evaJuation of fr.n1cisco Goya and
Honoré Daunúer. wJ1ile Géricault and Tot1louse-Lautrec have
also escaped opprobriu1n, in spite of then popular affili:i.nons.
Willia,n Hogarth, of course, h-as ge11eraUy been considered a
n1ajor art1~t, but h1s ceuvre has been don1inated b) literary ,c.hol-
ar-;hip and 11arr,1tive~ of -;ocial hi\ror) ratl1er chan a,~essn1enc of
bis visual cot1tributions. 11' Iu bis (>,v11 tÍJ11e, ho,vever. 1Iogarll1 the
s,1cirist \vas '111ucl1 pJagucd' by bcjng tl1c subjcct of caricature.
criticised, for exan1ple, by tl1e Itevcrcnd Willi;:1111 Gilpin for beiug
1 1 1
i1e~;cr·-'soared ··á~ô~e - cô ii°l11Ít.J// fife· _, ,. Báú.deLrirêl. :prôposed - cl1ã~
Goya·s ,,·orkc; ren1ained 'firn1 and indornitable even in tho'íe fi1gí-
tive works ... ,vhicl1 art' c:illed caric11111rc·. l-,ecau'-é 'tl1e line of
sulL1re, the poinc of junctio11 becvvc.>en tl1e real a11d tl1e fantastic,
is impo$sible to grasp'. 111 TJ'lis fmd,; ai, ccho in most later
tOr111ahst readtngs of (;0)'~1., a11d tbe aln1ost uru,-ersal oeed of
11011-Sp:tnish co1T1n1entators to do,vngrade the caric;it1u·al aspeccs
of l1i~ ceu\-<re, even chough he inscr1bed the tern1,; 111áscnr<1s and
11
c<1rirat11rns on ,1 11un1ber of drawings. ' Wl1en Goya\ forn1;1l
control i~ not t\voked in tl1e l1uge licerature. thcre j., a c:011'ieu-
sual. il~ subterraneart 11otio11 tl1Jt Jus satiric dra\\1 ing~ a11d prints.
inspircd by social a11d political uljustices. are a product of exco-
riating (and rherefore) 'pure' or purify-i11g angcr, presupposing J
,·ery long-1ived :issn111ption of a l11erarchy of en1ot1ons. ii1 ,vh1rh
anger ren1ains 'sublin1e'. ,vhereas laughtc:r .ind t11e :irt-\\·ork it
e11ge11ders are ora lower order. It is po~sible th.tt thi,; hier,1rchy
exte11ds l1ack to che ,yscet11atic. defuútions of Lhe pas~io11s by
Cb,u·les Lc Bru1L Altl1ough le Brw1 tbd not estabhs11 an evalu-
a.tive taxo11an1y of e111.otions, sign1f.icancly A11ger (Lit Colcre) 1s rhe
111ost often reproduced of h1s express1ve heads, ,,·1ch 1ts 'red and
errfla111ed eyes ... the eyebro,vs no,v lt1,vercd, 110\V rai,ed, .1nd
co11cracced nga1n'it eacl1 otber .. thc n<)~trtl, .. opt·n anti e11-
larged, the li}1, ... slighlly opt:n to tàr111 a t ruel ,1nd di'>tl..tinful
grü1' (pl. 255). '" fn other -.equentes Lh,1t to<l1tv thL p,1s-;1011S,
in clL1di11g CalJot's pr111t serie!) 'f1H: Sc1•,11 C,1pi11,I ,\111s.Anger (lr,1)
1s pt.>rso1ufied as a inale a.r1noured \\arnor accomparued b)' .1
CHARGE.D LINES ANO VERNACULAR BODIES 351
 ' of co n1p.1ring tl1e ·geuius· üa11rnier ,vith cJ1c n1ere cartoo11ist
I {,:
•
I nious Sainr-At1bii1, a den1zen of salon a11d boulevard, djed eatly
<
• 111acic conver,;ion fi-0111 hi~ forn1er life<;tyle. He refuses to take on
155 Charles lc Urun, .-l11gcr (L.1 ('p/~re), late r66os, black ch.ilk, 23.i. x r8 1
Ul11L PJ.ri~. Mu~él! du Lou\ rc, Oép.truncul de~ Aru. ~raplúquc<,, 28328r
((;~l\6501)
coce111i c lion syn1bolising strength n11d v:1lour, a sy111bolic endor-
\e111ent of tl1e ·111aje~ric' qualicie:1 oí ,1nger co111parc:d to otl1er
t'111ocions. ' 1
I3<tudclaire elcvated Daun1ier in l1is f.1111ous e~,;.ty 'S0111e Frencl1
Car1catur1sts': 'Look du·ough bis \votks, and you \.vilJ sec parad-
1ng betore your eyes all rhac a great aty co11tains of li,i.t1g n1011-
scros111es. 111 ali rbeir fantastic a□ d thrilling' . There can be
re.1Jirv.
ncl icen1 of rhe tearful, che grotesque, the siniscer or tl1e farcical
in its trea,;urv,•
but l)au111ier kno\v~ it: F{e ,vent on: ·what dis-
t111gui:,he!> Dau111ier i-. hi" sure,1ess of toucl1. 1-le dra,vs as the
greac 111asrers dra,v.' 22 Walter 1Jenjan1i11 couf1r111ed Eduard Fuch 's
valor1satio11 of D.iunúer i11 sí1nilar L111guage, i11 an C'.Ssay 011 tl1e
C:er1nan h1stonan's preoccupation with caricature. but he
llt">cr1bed rhe draw1ngs <)f co11cen1porary lite .1s travesties of the
ideal: · í1);1u1111erJ cranc;lJtt>d the pubh c a11d priva te litê of the
Parisi.u1-s 111to the language or the c~{!illl, using ordinary figures in
a ·con,·ulscd lr.ivesty of the Oly111pic'.,, The ll()tlOn rhat carica-
ture is the Íl1verst of the 1dc.1J bas a very h)ng hi..,tory. Ernc;t
Gombricl1. \o"vho subscribed co it. apolog1seu (or the 'blaspben1y'
352 DRAWI N G THE OíHE-R
ltodolpbe fopffer. 1·1 ln an e.rrly essay; '1~he Grotesque Headc;',
(;onJbr1ch categorically denied that Leonardo ever 'practisec.i the
gan1e of n1ock-discortion ,ve call "caricat11ri11g." •l:.
Th e above quotations suggest tl1at there h,1s becn a con11non
strategy of deui,il \.Vith rcgard to n1ajor artists. by clevating the
very qualitics tl1at their caricatures cl1alle11ge and s11bvert. This
can .1lso be interprete-d as a disavo,",al of the co11tradictory Oth-
erness of the grotesqoe. It re-enact~ tJ1e ironic doubling wbereby
che conuc artist transcende; dua lis111 for the benc-fit <)f tl1e ,1udi-
ence and is sin1ulc111eot1sly <;e]f and other..u'
Unea<;e ,1b()L1t the prac:tice <)Í caricature is reflected in arcistic
bi0gr,1phies. SucJ1 figures are tradirio11ally cor1structed as bol1c-
111ia11s or vagabo11ds or ro111antic n1clancholjcs, rcflecting the lo,v-
life subJccts of t1"1e1r caricatures and cheir unabashed relationship
\.vith the grotesgue, the scatological or the abject. Earlier ,vriters,
for exn111ple, ~tressed the gypsy life of t11e \vell-born Callot, v,:]10
ran away fi-on1 hon1e but later l)ecan1e a court arcist in Italy.
Storit!!) of che alternacive lifestyle of Rowla11dso11, tl1e 011 e-ciI11e
:;tudenc at tl1e Royal Acadc111y, stress ho\V be later scratched a
li,·ing a,; an iinpcc1uúous h~1ck; a11d the ro1nantic and io1pecu-
from CL)nsun1ption. Even c;oya's life story is coUusive 1n this
regard. ,vhen che ageing creator of che Black P11incings, pathol-
ogised as a suffering recluse 111arked by deafi1ess, en1bodies a dra-
any 111ore courtly co1ru11Í5sions and fan1o usly declare::; to tl1e llcal
Acade111ia t1e Bellas Artes de San Fer11ando it1 Madrid 011 14
Octobcr 1792 chat therc are '110 rules in painting'. J:-le becon1es
tl1e ro111a11tic subject of an artist accjng out the corrosive sufter-
i11gs of bis subject n1atter - even though 111oder11 critics argue
about his ideological beliefs, as well as his iJJness. Alfi·ed l{ubin
undergoes a very 111odern epiphany in a variety thearre, "vhere
l1e is 'literall y ravished by a clark po,-ver cl1at conjured up before
111y 111ind strange creatur<::s. houses, landscapes, grotesques and
frightfuJ sitt1acio1is'. 27 Baudelaire thrills to Guy's prodigality in
drawing, u11de rtaken witb 'a fue, an i11tox1cation of the penei! or
rhe brt1sJ1, an1ou11ting alrnost to a &enzy' .~s Nevertheless, for
r11any strait-laced writers OT rival artists, such bohenuan excess
\.vas not adrnired. The gra1-,hic profligacy of Saint-Aubi11. the
eighteenth- ce11rury fli111e11r knov,.rn ns ' Monsieur Croquetel', ,vho
producecl n1ore tha11 5,000 drawi11gs, \Vas n1en1o rialised by Jea11-
I3aptiste G reuze's dis11ussive co11une11t that he suffered fro111 a
'priapisn,c de dessi11' .2'' ln a letter to a frie11d i11 1913, Fci11inger,
a closc fr iend of I<.ubitl, con1plaii1ed: 'jAs a ca,-icaturist] I \.Vas
invarié!bly berated and tl1reatened ,,,ith loss ~f positio11 for tbe , •ery•
. V1.' 1.
tra1t,; 1JC
b m~u<e
.L
n1e an arnsr•
of or1g1n:1
.. 1 po,ver.1' "' 0
Rachei- than conscructing a revisionist history, the significant
issue i11 thi~ ove r,·iew i.:; chat tl1e 111,ijor aspect of practice of al1
tl1ese artists is dra\.ving, a reversai of the sta11c.lard 11\o<lel (,vbose
Iong shado,v persists toc:l.ày) ,vbereby drawing is s.n1ct1oned only
as a study cowards another n1ediun1. Caricature, l suggest, is not
01:ily about represcntation of the Othcr a\ subject, buc about the
11ery (1//,erinJ! <?f dra.,,,,i,1,~ as sig11[fican1 practice.
Vernacular Bod ies and Everyday Life
Whal we need is the particular note or the modern 1nd1v1dual, 1n h1s doth1ng. 1n the m1dst
of h1s social habtts, at home or 1n the street , Th-e pencil will be steeped 1n the marrow
of life.
Edmond Duranty'
ln Baudelaire's 'The Painter of Mode171 Life', ,vl,ich clai1n~ car-
icatt1re for n1odernity, Conscantin Guys, the u1111,1111ed Monsieur
G of the essay. is cited as the perfec.:tflJ1tc•11r, tl1e 'passio11,1ce sp~c-
tator' for ,vho1n
ir is an in1n1ense joy to set up house in the hec1rt of tl,e n1ul-
titLtde. anud the ebb and flovv of moven1e11t. in che 111.Ídsc of
the fugitivc and the iofinite ... l-le is look.ü1g for that quality
,vhich you 1nL1St allov.' n1e to call ·11'1 odernity': tor I k110\V of
no better word to express the idea ... By 'n1odernity' l n1ea11
the ephemeral, che f1,1gitive, the contingenr, rhe half of art
\-Vhose ocher half is the eter11al and che i1r1111ucal1le. 32
Baudelaire's valorisation of these aspects of trrban con1111entary
(Guys worked for the daily press) was to have the widesc i111plí-
cations for art practice. Nevertheless, he had reas~erted son1ething
that had existed in an underground 111a11ner for n1any centuries:
the co11nectio11 bet\vee11 quick cél.ricatural sketclung and every-
day life, e □1bracü1g tl1e subversive aspects of 'lo,v' subjccts
regarded as inco1npatible with classicaJ ideais and academic asp1-
rations. Caricattire cart also constirute tl1e shadovv side of reali<,111,
what Mikhail Bakbtin in hls classic work on l~abelais refers to
as 'grotesque realism •. ' 3 In defining the grocesgue. Bakhtin dr;p,vs
a distinction between the 111edieval world, where narural pl1e-
non1e11a are fitted inco con1pJex directional. l1ierarchical a11d a11a-
logical n1odels, and tl1e early 111oder1rist world of horizontal Jincs.
'the 111ove1nent for,N"ard in real space and in J1istoric tu11e'. J., Tl1e
carnivalesque represe11ts the dying part of the old \VOrld, as the
L1pside down and the inside 01,1t, or th.e 'other face' of the ne,v
world/body. 'Eati11g, dri11kü1g, defecatior, and other eli1nination
(s,veating, blowing of the nose, ~neezing) as ,vell as copulation.
pregr1ai1cy, disn1en1ber111ent, swallowing up by anotl1er body - .,JJ
tl1ese acts are performed 011 tl1e confines of thc body and Lhe
35
outer \~.rorlcL or on the confmes of the old a1'td new body.' L
have e:..-Cended Bakhtu1's concept of carni,,aJesque ::tlterity to
mclude the othering of drawings of everyday life that forn1 the
basis of caricature, and tl1at extends beyond the- n1edieval
The representa.t1on of qt1ot1d1an ,ub;ect'- 1s ll'-llall)· tie,ignatrd
\V1th rhe French tern1 ,(!c11re, ;111d 1t ,vas 111 Fr.tnce chat the \Vord
'>eJ)ar.ited icself frc>n1 the hier:1rcl1y l>f ge11r~ pr,1ctised l1y p.1i11rers.
as defined fi.)r the Fre11ch Acadén,ie Rl)y.1le b) AnJrt• Félihien.
Tl1e peak of tl1is l1ierarch)' \'.'as /e lia11t .~rilc. the grand \tyle of
hiscory paintin~. ,vh.icl, e111braced figt1rative id~ahsation and dt,1lt
with relig1ou.s ar lustor1cal 11arracive, tollo\ved b) the lt'sse.- genre-s
of landscape painnng :111d portr.11ture. By the eigbceenth ceott1ry
J>C'til ,~c111·e Jefined the art of everyday -,ubjecr n1arrer gclverned
by all n1anner of di\tinctio11:<. betv\·een .1,;e11r,• l,()111:~eo1s. sct)11es dan1es-
tiq11es and so on, in line ,vi11,h che l1ierarcl1ical l,l,úll()n1ics of .trt
production co11crolled by tl1c acade111y. Eveutu,tlly, chc ge11cr1c
tcrn, ,<1.e11re stood lll for all thcsc subc:Lvisions, and [)idcrot
addrcssed the subject 111any tin1es. tyi11g thc tern1 111 rhe Salo11s
of 1769 to depiction of 'a lov:cr forn1 of 11ature ,vith pastoraJ.
bourgeois and do111ec;tic -;cenes'. ,r
Drawing-, of cloched figures. t'ngaged in e, eí) d:1) ,1ctivitie-,.
have fortued a cc.)u11ter}1oint co idealising nud.e 'itUtlie~ since
re11aÍ$sa11ce ti111es. 17 lJ11likc studtes of t1gL11·es tor hisíoritL. ,,,hicl1
require thc correct bodtly proportions aiid 1ueast1red reL1t1onship
of parts even_ under their generalised draperies, ge11re figures
depe11d 011 a differe11t 111ix of nacuralJ<;n1 .111d exaggeratton
beyond che diccaces of decorun1. Cl<)the<; :ire not che adorn111ent
of heroic nudity l1ut ide11tifiable ,vith the very phe110111enolog-
ical status of the subjcct~ chc111se lves. sig11.11ling difTcrencc~ of
class, age, gcndcr, occupatio11 or trade Jnd soc1a] status. 3ll Tlus is
very evide11t i11 a dra,ving by lJarnúgianino, O/d f1Vó1nan 1t1ilh .1
Distrif[; Sta11dit1P, lu:fàrc a f'ireplare (p i. 256). Tl1e heavy, barefooced
peasa11t won1an, palp-ably concentrating on her c;pinning, is dra,vn
with the fine pen and ink cross-hjtching of JJar111igianino\
re]ated genre stu<lies. Tt conrrasts "vith che Auid \Vashes or n1elti11g
rcc.l cl1alk passages of his other figLtre dra,vings a11d b,1s nonc of
th.cir n1aunerist frecdon1 v.tith boc:Lily proportion. Th1s 1s a
drawing based on close ob~ervatio11, in \-Vruch dctails of dress
have bee11 carefi.1Jly noted 1n rhe foldc; :.ind n1oven1ents of the
head c;c.1rf,_/ich1,, volun1u1ou<, blouse .ind apron over 111ult1ple pet-
tic<.)ats, \vhile lhe reü1scriprion of tl1e f.1ce \Vitl1 second.11")' ot1r-
line-. -,ervc'i to exaggerate d1e nose, protrudu1g ]o\ver lip and
l1cavy clu 11. The arti,;t has bee □ as fascinatcd \\'lth thc 5tructure
of ber woode11 distat:r as v.'ith her profile: both of tl1en1 bclong
to the ,,er11a,c11lar ,,·orld of che Orher i11 ,-..rruch people L1bour or
engage in coarse amusen1ents and the1r bodies are 111arked by
1
their trades and p<)verty. '' A dra,ving <>f chi-. ,ort ~erve, nl<1ny
u~es, t1<)t lea:r;t of these being .111 exerc.:i'ic in clo'<c look111g Jnd .1
<;tuclio n.;s<)urce for appropriation into 111ore ·e]evatec.r \\'Ork,.
Notes abour colou.rs and decails of itc11L'i of cJotbmg ,vcrc
added to a set of about cighty drawmgs of pcasanrs a11d be~gars,
clearly n1.arked 11ncr /Jet ler>(III (fi-0111 tbe hte). \vh1ch \\ere once
nrn·ibuted to Pieter ~3ruegel rht.' Elder l)ut haYe no,\ been
ª"signed co R<)t'landt Savt'r1. Druegel \\a" knc)\Vll ,1'> b<lt'l'fll
CHARGED LIN[S AND VER.NACULAR 80D ES 353
 •

'

.:,<, l'.111111~1J1l111<1 (t,1rnli11t11 l 1111,c,,11 l\l,111,1l.1), ()/d l li•11,,111 11°11/1 ,, 1>/,1,t{f, Sr,1111/,111! l•<'/1•11 ,t I n,pl,111, """ t'il:i 10, )'l'II .11ul
ht11\\ll 1111.. \\llh 1n.l,1111·d ,,111l111t·, ,-; .. x 11p11111 l'h11,\\1lllh, 1)1,,.111, hlll' l 11111•1111111, i,1/\ ( l11i.:1•1 1'1111 .11111,1 I si:r~·)
 11ruegt•I (l'ea,.int Uruegel), and his follo,vers 111cludi11g the S:iYt:ry
l1rochers. \Vere 1.•qually intert"sted 111 recc)rd111g peas,1nt life 1s \\'ell
a, thc tattert>d bcgg,1r, ,vhon1 l~oelandc Cl1Lountt.'rcd during hi,
tr.1vels 111 l3ohc.:1111a aftcr 1603. Thcsc ·type,;' rcL1tc to tl1t· p<)pul.1r
prilltl'd series of tr,1dc.:speople. 11ulit.1ry rai1ks. bcgg.u·c; ,111d J,varfs
• (1;(1/ibi') tl1at ,,vei-c 1111porca11t clcn1ents of gcnrl' protiuctiou fro □1

' the Middle Ages, for exan1!Plc, rhc.· const:1ntly re1ssued r;rÍt's of
Paris. l-lon1e and London. etc. 11 ' (;iovanni Paolo Lon1azzo
• •
dest ril,ed ho\v churli<ih pc,1sant figure, prc)n1oted 'jc)y and L1ugh-
ce 1' in l,j., cl"1apter 011 co111posi11g ,ilh;i?rc::zc:. 01 cheerfttl subjcc:t-...
aud the relatio11shíp bet\veen class, th:forn1ity ,tnd r1diLulc ,v,1s
tirn1Jy rootcd ill stLbseque11l art ,vritings."11 ln tbc pen Jnd ulk
dra,vrng "lil'o l'cast111t_.; Sta11di11~ (circa 1605-10; pi. 257) by ~a\·c10·.
che face Jnd detalls of rhe rvvo 'itocky figures are c;c1111-grotesque,
half-wa1 between caref1.1l observ..1t1on a11d car1c.1ture. Co;1cs, boocs
,.,, ,111d hunting l"ag are cart:fully 11oted do,,·n, \·,vb1le tht' l1at low
... •
«:.- down t)ll tl1e dc1zy fJce of rhe be.irded figure re<,tÍng <>ll l1i,
•
~
walki11g :-.tick ~uggests a Joke ,1l1out l1is ,lotl1fuh1css con1pared
.... -o wich chc n1orc "víde-avvnkc posture of hi~ co111panion i11 a tur
...
hac a11d 011e hand in a pocket, drawn 1n a slightly hgbcer 111k
I
• line. 1~ 1 o,v-life n:..1rt1ralis1n in lace s1xteentl1- :n1d :..l·,·enteenth-
1
• century ltaly and tbe Low Countr1ec;, partially rc,oted in the
,• grotes\.1ue, seen1s to have been redee111ed by iL:-. as~ociation \\ ith
the co ,nic. cspec1ally if situalion'i ,vc.!re shaped a.., n1oral allegorie.,
or 1J111hlc11111tc1.~ 1
• ln 13olog11a d urü1g tl1e late r580s or 1590s, Aon:ibale Carracc1
produced a series of dra,vi11gs of rrades11Jen thar became tl1.e bas1s
o f the e1gh ty J)i11crse _/1,{!11re or -, rades t!{ I30!0~11rr (.'-1 rti de 130/01!1111),

257 (ab,n•r) 1-lot'.l.indr

'.:)avcrv, 'lil'o .',1a11diniz
f>('lls,1111,. rirr,1 1605-10.
ren and bro\, n ,nl
• o, l"I" bl.icJ... Lhalk,
• 1-(1 X 12\) 111111.
ltoct1.:rda111.
' M11,et1n1 Ho13111a11s
Vau 13cu 1UJ1gc 11,
Prc11tc11kabu1t·t.
'vi H 19;~ 1 r 27

• 258 (ft·ti) Annibak·

c:.1rr.1,•c·1, 'li1•1J ,'i/11//('•
.\l,1St•IIS ,11 11 ,irk. ? 1580,.
bl.it k l b.~lk ht·1ghlt'.llt'd
•
\'>llh "'·h1tl' on
~rcv-hlul· papcr,
•
) 19(t X .!'ijllllll,
W111cl\or t:tstlc, thc
R.o,·.d <. olle<.;11011,
'
Jt.L. 1tio,

...
' Giovanni ALlnasío M osini, 111 rhe preface to an edítion of Anni-
1 a fe,v long 11airs sprouting fi·orn chin and upper liJ): he bears a
\ resen1l1lance to Michelangelo, wl10 ,vas 11otorious]y broken-
•
\
:1,9 Ann1bale C,1rr,1cc1 . . -1 /J11rt(1 /)r{ccori11~ ,,11 1111 .-1/tar 1111d a (.'aric(lt11rc of a
.... • <
,\J,111 111 Profilc. .irc11 1-19-4. pe11 j11J bru~vn ink, J 76 x 165 1un1. Londo11, Tli\.'
Bria,h M11,et11n, Pp, 3.12
publi..,hed in ditferent engr;1vcd ed itions in 16~.6 after his d.eath.
Thc<;e fig,.1rc<; ,erved cl<; a resou rCL' Í<) i" 'all ui1 11111si and chose who
1
aspire lo che profession or painting and of design'. accordi11g co
tbL· fi:ontispiecc. 4•1 AJtl1ough 111osc of these drav;i11gs have bcen
1ost. a relaccd <;tudy; ·111 0 Sronc-~\111s011s ,1t 11 ork (p1. 258) 011 grey-
1 Annil)alc; but perhaps che uneasy actributions of t11ese n1argii1al
blue paper, ha-. a sirnple unprcte11tious quility, lackíng the bravura
,trokes of· n1any of Annibale ·s great chalk studies adrnired b)' col-
lecror,. Whether dra¼ ti fro,n n1o<lel-; in the studio or fron1 actual
o;to11e111.1~011s at ,,·ork, Annibale ha, conce11tr,1ced on rhe con1pli-
catl'd act1011s of tbt• bcnt1ing largcr figure 0 11 the right and che
deta-ils of the rough c!otlm1g. e~peciaJly tl1e stiff leather jcrkin,
rough hac and leggi11gs, of the seated figure 011 c11e left ,vi tJ1 bis
n1allet 111 his righc hand. Tbe figu res are san1rated with a ccrtain
authenticit),, all the niore so l1ecause che ca refully dTa\vn stone-
111.1~011 overlap~ thc· skett hier fLgure. ~uggec;ting .1 vvorkir1g stndio
\heet. The !>lippagt' ber,veen drawing~ t>f l'Veryday life and ca ri-
cature Í!) u11derbntd by th.e speecl witl1 ,vhicb Annibale's A rti
\\·ere appropr1ated tor later publicarion by the caricaturist
(;1u,;eppe Maria M1telh (? r<,34-1718), ,-vith exaggeration_s of faces
and po~cure~ ,1 nd the 1dditio11 of sardo11ic verses. 15
Ahhough A11nib,de\ biogr.1pher BeUori denigrated natura)jsn,
- "Tho,e ,,·110 glof) in the n,unc of Naturalists, have no ideü
,vhatever u1 tht:1r 1n111ds. lhey cop> the defccts of bodies and
356 DRAWING THE OTHER
sati~fy tl1e111~elve, v;itb ugliness and erro rs' - he ,vrote ,vith
approb,1 tion of An11ibaJe's ,vitty vcnttu-es inco caricature.
He \\·a~ adept at expres<;ing 'vVitticis111 and jests noL only 111
wc)rcls. but ,1lso in hun1orou~ tlrawings, of "vvhich he n iade
111,111y ,-vith liis pen. This vvas tl1c origi11 of cl1osc an1usi11g bur-
lesque portraits, or rather caricatures, for so thcy called certain
faces and figt1res that vvere altered in drawi11g accordi11g co rhe
11atural defects of each pcrso11, with a ridiculous like11ess, so
r1at
l t1ey } .111sp1re . 1aug1ter
1 .J(,
bale Carracci's Dí11erse _figure, aL~o r1aruralises the 'gan1e' of cari -
cature: 'Nacure her~elf ... by 111aking a }1uge nose o r a large
n1outl1 or a hun cl1ed back or deforn1ing any featt1re in son,e
other "vvay. dra,vs .lttention to her o,vn way of playu1g games.' 4~
A lc,ú of sketcl1cs by Ai111ibale, .--1 l'1tt10 D~(ecati11/z. on a11 Altar a11d
11 C(1rícat111·e qf a !i1a11 in Pr0file, forn1erly attributed to Annibale 's
brothcr Agosci110 (pi. 259), exhibits just such a burlesgued n1ale
profile with broken nose, s11nken eyes 11nder beetling brows, and
no,;ed, as well as to Miche-1angelo's Fiead ef a Satyr (Mu!)ée du
Louvre, J)aris), supposedly draw11 over a pupil's study. 4i1 Carracci's
•
gcsticulati.ng figure corifi.-onts a bearded n1a11 juxtaposed with a
ran1's head (his doubled Otber). wlule a defeeating putto above
uses a -;cu lptured altar for unsociaJ purposes and a11other naked
infant , lides iJ1 an in1Jlossible position do\Vn one side o f the lava-
corial plinth. 4'J The interrupced 'ltrokes of cl1e caricatt1ral figure
are tbe charged lines of a1n1usen1e11t, subversio11 and sacire. Tlie
fi·cc.1ue11t occ:1u·rence of tlus J1ead it1 othcr sketchcs fi:01n the Car-
racci h.as s11ggcsted to so111e scholars that thc author is probabl)'
~'orks points to t11e fact that they could have been thrown off
by che w hole Carracci clan. Malvasia had stressed:
And of all those reJatives, fr1e11ds, and others who went to the
scudio .. . there was no one ,vho escaped being imn1edia tely
1J1ade the object of the closest observation, for che Carracci,
witho ur lettin g on, \-Vo uld alway~ find son1 e notable feature to
111ake use of in a paint.ing or son,e defect to put to con1ic
use.·
~,,
A Gro1111 o_{ Sl1e1il1erds a11d Ot/,er S111dias assigned to Agosti no Car-
racci (pl. 260) incorporates the ~an1e satyric head as o nc: o f a
uu111ber of 111arginal additions ro a sn1dy for a loc;t Adoratioll qf
thc Slicp/1crds painring possíbly by An11ibaJe. What is interestu1g
about tl1is very large shcet is that variot1s drawings have clain1ed
its space at differe11t ti111es. The co111positio11al group of sl1ep-
herds vvas probably dravvn first. and thei.r peasanr status is rein-
forced by tl1e acco111panying children, 011e ca rrying a bird, with
an infunt siblin g on her back, a very re~ponsíve dog, a sun11nar-
 •
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260 AgosLi 110 Carracti. / 1 Cro11p ,1( Sltcp/11:rds, 1111d Otltt•r S111die;. ârr,, 1~98 1600. pen ;u1d bro,vn ink. -1-05 x 308 nu11. Los Angl'll's.
lhe J. Paul c:etcy Ml1seu111, 8<> C'rA:p.6
1, \K • f l k t ,u1<l ,1..,,orccd a111111.1l'-. l)r-1111.1 a11d inte11
1t a1 111 dd li 111 tl11-. Aueutl) ch-:1,vn ~r<-1up, .v, ont' ,ht.'pht'rd
11 J1 1r • the 1nnunc1.1t1<H1 to d1t' orhers ,., ith ,1 \\ ide- flung
C'illll\:. rhe ,,, ll/Ílll(/1{1 111 tht' h,111d o( th1: Jroncal :.ht·pherd,
hold,nh .. .1 kniíe .111d .,hout t<> eat, 111dicate the spec.•d 1nd prJ.c-
t 1secl e 11ele-,s11L'~, \\Jth ,, h1ch the group re.i.l1scd. A very
\\'.b
qt11ek ,111d :--c1,uchy curved fu1e sl'e111s co have c.mcelled o uc the
lc 1\Vt'l p.1rt oi tht· C<ln1pt1sitic>n before rl1e s.1n1 e or anocher n1ore
l.1bl)rll>t1, h,u1d drc·,v 1n .1 1r1.1d of prnfile and bearded head-. 111
.1 r<>lllldel .ti .1 111uch l.1rgt•r sralt.> .1bo\·e. Tbe.,e head\ .ire e1ther
•
..
1\nnib.dL·. t\h(),t1110 ,, ith thc11 t:OU'> Lll Lodo, ico, or eh,L' Michel-
,111gclo, Tit1.111 .111d ('orre~µ1<1: rill' projectetl likL"nl'ss bet\,·een
tbc,L' l~1111ou~ tri.1<-ls ,,ould hJVt' l1een a po int of a111used pride.
\X.'h.1t 1, , ·erv cli:ar. ho,veYer, 1s ch~1c the uppermost head "\\"ith
h1~h ch1.•ekbone,;, -.lop111g t')"l''· n1<-)t1scac he and be.1rd. large ear'i
,111d 1111pt·1·(ert prc,tilt> 1-; che b,1s1s for th e l<)aded ca ricacure 011
d1t- 11 ghl o( tbe -,l1eet, ,vuh ics .,kiinpy rJ,in l1air'\ an.cl e11or111ou-;
AJ.1111\ .1pplt:. A~ in the I3rni,h Mu,éu111 ~ketch, the hcad is ucar
j_ r,u11 (hen: pJ.rc of thc or1g111a.l con1posit1ou), aJthougl1 tl1c cy•es
, lope tbl}cren tly. 51 Such racial .1nd character hon1olog1es bct,vee11
.111u11.1l, a11d pL'ople belong to a strong tradition stretching back
ro tht· cl:iv,ic,1I ,vorld. or rhe popul:,r book on the S1.1l1jecc by
G1c)\,11l111 n,1tt1st.1 d1.· ll.1 Porta. di,cus:-.ed belo,v. We can trace,
th1;•rf l{1re. ho,,. Lhrough '> Lr,1tegiçc; of ct1nce1Jatio11 .111d s1lifts or
l0 1. us. L11t· ,crious 111te11cio11s of the .u-cist at tbc bcgi11n.i11g of tbe
\rudy h,1, e su<ldenl\ tur11eJ lutl1c. Possibly the sheet has been
t.1k.c11 <.>Yl'r as J d1alogic exchange of graphic \VlttlcISms b~t,ve0n
tht· ,vhc)lc Carracci confratt·rn1ty, \1/lth no re,;pecc ter the author-
,h11' or O\v11eriil111') of the origina l srudy.
Thc Getty dra\ving e,e111plirit''\ d1e ,:v,1y 111 \vhich arti'lts' car-
icature~ can represenr a núni~cLilc 'lhift of tbcus fro111 cnd-
d1rl'ctcd projects tO\vard~ exaggçratio11 or rclaxarion: thc
co1111n!!- 111to- beii1g of a 111011,enc of co111ic indcter1ni11acv ar1d
"' 1,.1 ~
e,change - OT con1pe11sat1011 tor che scrious den1a11ds of co111-
.
111i,,1ons or dt•corun, by ,1 ~111all, subversi\·e !!esture: a reaffirn1a-
'.
ti()ll of ~e!r through a joke or attack on tbe po1npous Other.
ln che l.1te ,i"tee11th ce11tury che art t11 eorist Greg<)n<.) Co111-
rn.11111u atlJurt.·d thc.· pa111t<.'r of 'prt)Lc111e i111agery · to a-;su111e ,1
procc.1J1 ~11sc: co bc ·un altro protc(>'."2 This concepr of the::
rh.u1gl•,1bilicy and l:lu1dity of car1catural dra,v:i11g is close to
L3akhtin ·s nonon of the grorcsque body as 'a bod-y irl thc act o f
bcconung. lt i\ nev·er fini,hed, ne,,er con,pleted; it is continua.Uy
bu,lt. created, .anti l)uild, and cre.1te::~ another body. Moreover, tbe
bod) ,,,,1110,v, thc \V<>rlJ antl i, itself sw:illc),ved by tl1e world.' 5·1
Tl11.• ter111 groccsquc. ua<litic>n,tlly .1p11lied to tl1e for111 of p,1interly
and architcctur.u dccorat,on \\here plant. anin1al and hun1a11
ti.)1711-; gro,, ,ean,lessl) out oi oue anochcr, is also <1pplicable co
thc rhin1.1er1c creatures of 1-licronyrnus Uoscb (d. 1516), I>ieter
IJruegt'I rhe Elder .tnd ( ;iu<ieppe Arci111boldo, -in -.,,,·hid1 the
bou11darie~ ber,,cen <;pecie, .1nd rhe living and u1anu11ote are
358 DRAWING Tl-iE OT~ [R
crossed in n1onsrrous or ,\itty 111iscegenacic.l11. lt c.)ccun, t.'l}Ltally
111 tt'Xl. tor e,,11nple. in rhe bizarre l1terary vvritill!-,l'S of l_o111c1z2,.>
in hi~ Ri111e ,1 ,_l!ro11 e51 /ii (R/,)'Jllt's or Grot1•s1J11ts) of , 587 .ind /~<1/iisc/,
of 1:;89, a ,,eird docun1l'nt of tl1e Acc::iJenua dc1 Facch1ni dL'll.1
Val eh Drcg110 (BlenJo) e1-11.ploying obscure dialect. 'fhc .10!;-.c of
this grJphrc con11ecn,·1ty betv.'ecn dra,ving an<-t ,:vrJcing 1s pt1n-
ningly exprcsscd b)' Arc1111boldo in his f>apcr Scf{-Portrc1i1 (1587;
Genc>a, GHbinerro l)i~egni e Stan1pe di Palazzo Ros-.,o). 51 J-Iert',
rhe 1ong, d_i~ringui'>hed a11d l1eardt'd f:1ct' of Arci111boldo (very
clo~e tt) .1 1-oclí-porcraic dra,vin.g in Prague) is rcndt·red in brown
pen a11d ink and brov.'ll .111<,.I grcv ,v.1shes. J!> if n1ade entirely out
of sl1aped .u1d rolled pieces of paper. 1 his blurriug of c,1tegor1e:.,
parcicularly betwee11 tbe ht1111an and animal. a1iimate anel in,1111-
111::ite, 1s a long-estabJi~hed cond1tion of ca ricature, and the slip-
page bet\veen genre. rhe grotesque and cruel \Vit ic; pare of rhe
~an,e an1biguous dyna111ic.
Tl1e protean Auid.ity with ,vhich clo<;c attcnticH1 Lo rcsl.'111-
blaucc shps aln1ost in1percc.:pt1bly into c.xaggcracion 1s c.1pturcd
in a Guercir10 dra,ving Caricat11rc t)('li, ,o l\1c11 Sccn i11 J>r(!/ill' (circa
1655; pi. ...,6T). rr'he dr::l\ving is in Guercino's flowi11g style, ,vitl1
che add-ition of the palest ,va-,h es t() thin pen line:-.. He cc)njure~
up cht' ridiculou:-.11es:-. of conrra<;c by according a hJ!í sn1ilc to l11t·
face ,vitl1 rhe upturned 11<):-.,e nnd ,111 e.xpreci:.Í<)l1 of hautcur l<> the
d0\\111turne::J Ron1.u1-nosecl Cello,v. The C<-)ntrJst is a lypica l ca r-
_icatur,tl strategy, and tl1e artist b_.1i. strcsscd differencc<; by noting
the aggressivc luitless chin of tbe h:itless patrioan, v-·luc11 con
tr.ists \V1th the sknnp>~ beard and Aoppy l1at of tbe 1nerch::int
figure, \vho also '"'ea rs a ru-ff or fn11cy collar, and n1any ~wathes
of cl<-)ak. Yer if ,ve con111are chis easily Ao,ving calligraphic
dr;iwing ,vich a group of Guen.:ino's 111ore obvious caricatures,
for ex.1111ple, A Crorlld ef Pcnst111ls i11 Rc1 0/1 (pl. 2.6.2), where 11c
1
en1ploys a dcliberately 'cl1ildlikc' dra,,ving stylc, partictilarly in chc
face of the sk.u111y irtfat1t looking over the shoulder c>f its tJ.tter-
demalio11 parent, it is clear rhat thcre is a sliding scale of etfects
within Guercino's caricatural ~uvre. ln d1e Windsor dra,ving. the
miserable vagranc. ,vhose shaggy bc."ard is heaviJy n,arked. i-;
t) utside tl1e clc)sed group c)f den1011scrating peas.1nts ,virh their
ltplifced fitrn1 instru111e11t":i, sickles and chopper~ alL,1ched ll) hc:lts
.111d c1 variety of ~l1apeless l1e::cldgear. !3y contrast, lhe: beggar
carriec; 11od1ing bLtt tbe fruit of h_is loin'I. This ª"vk\vard but
n,oving drawing, ,vjcl, its rough, brokcn pen lu1cs, as poor and
brutal as its subject 111atter, □1akes onc reflect on the syn1pathJe-;
chat led tlJe biogt11pl1er Malvasia to call Cuercino an ·a111atore
dei Poveri' . .1 fi·iend of rhc poor. It n1ight also be C()ncludcd that
tl1e con1111on a,;sociation of poverty ,vith buffoonery h.is led the
noc unsyn1pJthecic Guercino to t'xplore a rype of crude linc that
seen1s appropriate to che raggédy peas:1nt u1)risi11g. but \Vc_)tild
havc becn i11áppropriate for rích 111ercha11ts vvho could afford
or den1and - flo,vi11g st:ylcs of rcprc:,,c11tatio11 as v.1cll a., rich
clorhes, tl1ereby exercisir1g ::i forn1 of Li11ear policies.
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lo~ Angclc:s, Thc: J P111I Gl·try l\1u,l'u 111 94.(~A 7s
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U.c11,1/c, 11.d . pen ,111d 111k, ----
315 x 13+111111 Wind,or
(~a~tk·. che RovaJ
( .ollc:cnon, 1~ 1 1X33

A wCJnderfu l skecch of a group of transvestites 1:n1d vagabonds,
hy Salvall>r R.o,a, ,;ugge-;cs d1e t,1\"vdry fint'ry of cross-dres,;ing sin1-
ply by lhe ,, ild. unravt.•lling line~ oí pen ,u1d ink. In 1:::;11e Fíg11res
i11 r,111111stic Ct1str1111cs tl'ith Ti1•t> On,~s (pl. 263), the corrosive iron-
ga ll 1nk J1a~ causL·d so111e of thc pen <;trokes a11d scribblcs to
sprcad, add 111g a ,cconda.ry b1te to cht: acidulou.s satire. To tJ1e
right of th e draw1ng. a n1uffied tal! tigure ,vicl1 a hugc fi.1r har
,;trun, alc1ng ,viLl1 his 11t)'>l' i11 the .1ir, r.tther ,;u11ilar to Guercin o 's
n1 ercl1a11t. Oeh1nd hin, i, .1 b11,1er group of fignre'i. 1nclud1ng :i
sii11ilar o ri ental-loôk:i ng fi g ure, accon1panied by a 111a11 dressed in
íen1aJe fi_nery and v.rearing a feathered l1at v.rith a raised aru1 in
the n1ost ca n1p of gescures. The figure'<; 111asc uline o rigi ns are
reveaJcd in bis beefy arn1 a11d tl1c line of his neck and l1cad, as
he attract:; the u11wru1tcd atte11tions of a couplc of dogs. This
□1Jlik.ely couple is v.,atched ,,rith an1use111ent by a barcfoot 111an,
grabbi11g his l~u·ge hat, his 1nasct1Üne c hest half exposed by tac-
tered d.rapery. A seated beggar \,VJtches this bizarre procession,
adding yet another witness to thc ,;peccacle oí the gaze.

360 DRAWING THE OTHE-R

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263 Salv:uor Rosa. Fi,,t P(~11res i11 Ft111tc1.Stic CtJst11111ts u•it/1 Trvi, DoJ!S- 11.d., bl.ick. 111k on clLrk taJt pap..:r, 241 x 3.46111111. Nc\.\· Yo1k, Th.: Mctropolit.1n MuseuJn nf
Are, BelJU~\c of Walre r C. Baker, 1971 (1971.118.16)
Charged Lines
111d t n u~t rr, he \Vhole im.:1g1nary st.J ucture
iJ.V,,
Alíred Kul.11n
,e uf tLter t to hew L,e nLenlion oí .111 c1tt1tude
W ll1a111 l-log,1rlh
I' 1 b,eak up 1he ou11,ne, there ,s no lo~.. or ela, 1tv. for Lhe essent1JI sh,:1pes are relained
and noreove1 1 JU<l 1n•errupt ~ s1rnple I ne ,ind thei-efore d,:,n'l compllcale the 1rnage.
The least pract1ced eye c;in 111 1n lhe ;l-lPS 1n contour.
Rodolphe Tcipffer
When (~UL'rcino 's suave. confident and curved lu1es grve ,vay to
deltberatelv, rouµ;h.' broken 111arks. hc, li ke th.e Cirracci, is L1SÍ11g
the ;1ffecú,·e po,,·er of cl cl1c1~f!ed hne, n1ade pocent by its very
a,, k,,·ardness Ch,1rged lines a11pe;1r in 111a11y rough pen ;.ind ink
c.1ric;1turc1l \ketc.he<:. b') Lec)nardo da Vinci. i11cluding che very
cur;l)ry .Srribbled 1l f11ds in the Codcx Trivt1lziai10 of 1489 ai1d
otncr grotcsquc hcads in thc A111bros1a11a 1n Milan a11d the Royal
Collcction. Windsor ,vh1ch Leonardo refcrred to as ·,,is1 n1ostru-
osj' (111011.StTous tàces). 58 fhc'ic are p~irt of a group of n1ore than
a hundred caricatun:d heads, often in pairs, probabl)· n1arg111al
:-kerc hes in leon,1rdo\ notel1ook\. They Vv'ere cut out as \111all
indepl'ndent ,;heet:. anti ,vere copied by t)tl1er hands. or fi11ished
by Leonardo':, pupil Francesco Melzi (14~3- r570), JJ.lLl often
e11graved 111 series of popular prints. rl.!issued uotil the 1lll1eteenth
ce11tury. s•i ln Leonardo's very eco11011ric little sk.etcl1 -''1.ale Hcarl
in JJr~file tron1 the Code,'{ Atl< u1t1co (Milan, Biblioteca A1nbro-
-,iana). the exaggeraced profile appears to have been c1ra,vn ,vitb
1<q c;1.u1lorenzo lier111111, P,,rirait r1 tl,c ( ,'11pr,1i11 q( tltl' Pap,1/ (;1111rrl (!( Pop<·
Lrrb1111 r 71/. before r644, pen anJ i1tk. t88 x 256 111.111. Ronu:, l~tituto
N:1211>11,d e per la Grafil"a, Fondo (~or,1111 117_:121 (579)
(),,,. q,.,J;"- tm'UIJ
r2~1IL ?_i! UlúC.,. ,
1
A pl. 264) 111ocks che j<runty stup idity of this 111ilitary j:ickass by
----
\ ,vitl, jui.t t,vo dashes of the pen to indicate tbe close-set eyes.
362 DRAWING T rlE OTH ER
Lhrec assurcd gcsturtts: t~1c knobbly forehead that becoL11es the
li.i1.e of the slopn1g brov,•s; tben thc hooked nose a11d the analo-
gol1s curve of the grotesque Lrpper hp, causing a blob of ink that
n1L1st have given hin1 pat1~e; Finally, the rounded chin e<;calares
intt> a <;econd ;inçl third fold."º This co11vinci11g profile caJligra-
pl1y (ai1d Leonardo ,vas to codify cleven kinds of noses in a ]j11ear
profde sequc11cc in tl1e Codcx UrbiI1as) co11trasts witl1 thc
hastier, scratchy and cL1rsory pen. n1arks with v.'lucl1 be ir1dicates
hair and the shape of the liead, the large ear, cL1rves of neck or
cloth1ng and variot1s shadovvy pla11es on the side of the face. The
little dravving illustrates the consiclerable distinction beC\vee11
011en-ended generative sketches. ,:vhich invite spectatorial fini5h
because tl1ey are pregnant \'Vith future possibiliúes, and a reduc-
tive caricature, vvh.ich l1as bcen so accurately loaded d1at ic l1as
'1uc ics n1ark'.
Li1. a (u· more coJnplex and finished Leo11ardo dra,ving, ~4
Gro11p c?f f-'ive Grotcsq11c Hcads (rirra r494; pl. 265), they have been
arranged in a circ11lar con1position and quite heavily modelled
and ()verdrawn, one 111ocki11gly adorned \.Vith a wreath. Vasari
had r~·ferrc.d to Leonar<lo's 11leasure with ·certa111 bizarre heads.
cither v.'ith bearcls or the growc.11 of 11ai r of ,vild 1J1en' /,1 but
therc is no psychoJogical or iconographic;l] connect1on bet·vvccn
the n1embers of tl1e groui"l ,vhose eyes dó not meet. They con-
sti tu te a puzzhng aggregate 0f exaggeratéd caricau1res, and onJy
tl1e <;h<.1uting head, ,vith a rnoutl1 so wide ope11 rl1ac -vve ca11 see
the r<)<.) f of his n1outh, appears to be a study of expression. The
111usc ularure and -iaggj11g Aesh of tl1ese grocesques reveal che pre-
occupatio11s of the anato1111st \VÍth ageing and it-; associatio11. vvitl1
buffoonery, a tcr1n that scl1olars hate to li.i1k to da Vinci. Histo-
rians l1ave pt1zzled over these heads for a long tin1e. and Ernst
Go111brich, v-'ho discusses then1 in relatío11 to Leonardo's har-
11essing of the 'doodle' or 'se1ni-automatic penplay·, proposes th.a t
they are n1arked \:vith Leonardo's ov,n physiognon1y and per-
sonal psycl1ology. representi11g cl1e dark side of his 11atl1re, as we!J
as h.is 'scie11tific· pursuits.1i2 Although io tbis essay Go111brich has
move.d son1ewl1at 6-0111 his earliest writí11gs 011 che subject. vvhere
he saw the grotesque heads as the dialectical inverse of ideal
renaissa11.ce portraiture, proposin.g tl1at 'the car1caturist seeks for
the perfect defornuty'. he scill sees then1 as the 'núrro r image' or
inverse of be-,1uty. even if that is the norma tive face of Leonardo
hi n1se I f. <>3
Bernini vvas 78 when l1i'\ little gro up of linear caricatures of
popes a11d prelate~ was circulated in Ron1e. Althougl1 they are
very skilful and econonuc. in the co11tradictory 111a11ner of car-
icature, they si111ulta11eOL1sly i11voke the inept and spontaneous
drawings of childre11 or popu lar wnll graffiti.'' 4 Bcrniní's JJortrait
<!f rl,e C11pr(li11 ,y· the Papal G11ard oj- Pape Urba,, l 'lfl (before r 64-4;
extending hi') tl1ick neck and reducing l1is n1ouch to a huge grin,
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;i.(,6 1)0111,·111,o /.,nnpil'.'n (calk·d 1 )0111t'n1chino), C.',11in1111n· <Jf 1/11• -l[!Ji,- 2.ll7 1lt•n dr 1c k (~ol121u~, , f,111 1111/T1 ,, fl<Jl,llc• ,'\'1•.,r. 11.d., pc.:n ,1nd hro,vn 111k.
bn111d1111 l'ltú,ltN!sl/1, ll'llh li Í't'l/1,,lc D11·,11f l loldi11~ lil'r rc•/ D,:~, C/ffrl IÓJ.j., pt:n 23S x 163 n1m. llottc.:rd;1111. Mu~..:un1 Uoijn1;in, V,111 llellrungen, Prenre11-
o111cl hro\VII 111k on ,Tt',1111 p,1per, 2(>.4 x 191 111111 C'li.1t~,-\orth, l)l'\'01hh1rt· k,ll>111eL, Ml3 1743
( ~ nll..:c t1011. 512

Add che dra,v,tr1ngs of an untidy u11dcr-shirt, and ,,·e kno,,· th::n
he i,; a carous111~ te llo,v. ,vho do~s not vtash his hair. A very
,11111l.1r ,,r.1rchy cl1ildl1ke line i, ,1sc;un1ed by l)on1en1co 7..Jn1pieri,
l,tllt·d l)o1ne11i chi110, ,1 pupil o( the C,1rr,1cci, ,vho ,,·;1s (.1111ous
fc)r hi, gr.1ph1c JOKC\, ,l\ ,vcll ,l'i bt:111g Cl'lebrclted for his ,1bility
to cxprcss c111otion,; (<!/lé:111) clcarly in hi'> p.11nring;. l le cn1ploys
J dcl1bcrJtcl 1 1ncpt ch;irgcd linc u1 thc figurcs of thc Caricature
tl( r/rc ~fc/tlhr1111di111 ' fhce1/ol!it111 11•irh u l ·c111alc Du•,irl l-Joldi11,I.! hcr J>ct
1)1~1! (,irrc1 1634: pi. 2.ú6). a11d applies the s:i111e ,vild ::ind f:iux-
naive dr.1,"ing ,tyle to lhe pl.111t lt(e out~1de the open \\'indo,,·,
,111J d,e dt•t,111'.> oi thl· 111isc-111-.,ct\lll'. [11 additio11 te) the hu~e
e lo,v111'ih fl'Cl, pro111111c11t l->t li, .111d h,tu > prt>Ítlt' oí the d1cc>lt>-
g.1.u1, l)on1c111ch1nu pl.1ys ,,·1th the c1T1c.itur1st\ reli<111cc on
prot1lc v1c,vs bv n1:iku1g cbe sn1all. unttdy fcn1.1le figure ,111d tl1c
puppy f.1ce rhe ,.1111e ,,ay .,~ chc l3iblt·-coting cler1c: theu IJck of
co1111nu11ic.1t1011 :idd, p1qu.111cy ro d1e <;cene c.;1<>v:inn1 Batt1sra
Pn:;o;eri, 111 his account of tbe lite of J)on1enichino, nC>tes bis
an1uc;en1ent ,,TÍch his o,vn ri1rc1tti caricnti:
Wb.en tl1c ,vork ,vas ovcr ... Do111c1uco ... ,,,onld retire to
dn.1,v ... ::u1d somet1111es, ro c11joy huTtself. he ,vould do
charged portrairs of .1ll of u~. Jnd of tho,t:: vvho were at rhat
1110111ent :lt th~ vill:1. And wht'n he ,voul(l be done, he ,vould
bur,t into l.1ughter ... A11d ht· ,votild ~110\,V hin1st'lf in ridicu-
lou:- 1n,11111er, so th,1t \\\.' ,.voulcl not be annoyed by l1ís dra\,V-
. '15
111gs. ·
~
l)o1nenich inc)'s line is pt·r(oratt'd, ~cra tchy a11d fu ll of n1ock h.cs-
ita11cie::.. Thi,; lack. t>f ~111ooth11e'.>s and Auency evokes Bakhti.n's
theory that 'thc ..trtistic logic <)Í tl1e grotec;que u11age ig11ores the
clo~e~ sn1ooth, a.nd itnpc11etrable SLtrt:.icc of d1e body ar1d retains
onJy its cxcrescenccs (sprouts, buds) a11d oritices. 011111 chat wluch
le.1dc; beyond the body's lin11ted <;pace or 1nto the body's

36•1 DRAWII JG TI-IE OTl ➔ ER

depths'."(, T l1c rough11ess of ll1is body (v-rhich Bakhtit1 Ct)ntrasts
\,vith the · e11tirely fi1rished. coo1pleted, strictly lir11ited body'
,vhere ':tll oriúces of rhe body are closed') 1s exe1npliíied Íl1 Heu-
drick G<)ltzius's caricature .,\Jfa11 11 itl, (1 JJ01ato Nosc (pi. 267).(''
1
Evéry surface of this gibbous profile sprouts knobs, excresccnce~
or wild 'itrands o( hai r, en1phasiseti by Goltziu-;'c; deliberatel,·
Ltncouth pen work. Golczius has no nec<l to distort bodily pro-
porrio11s as in Dome11-1clllllo's caricature, bec,luse the phalJic
cxaggeratton of tbe carbu11cled nose already calibrates sucl1
con11c disproportion and contra<;ts ,-vith the foolishly benign
expression of the 111an who bears tl1e proboscis. Tl1e co11rot1ri11g
of this a111azing l1ead v-1 ith its 1ni-ising ceech and i.tr;1ggly l1eard J<..
contextualised l?y the roug]1 horizontal :incl vertical cross-
haccl1ú1g of a high anti 11arro"v interior space, a sort of prison
for this physiogno11úc fi·eak, scrawlcd at the botton1 with a
co1n1nent by Goltz1us.1'll Tl1e paradígi11atic rough:i1ess (a corre-
spondence between outline/profile and s1.1bject nutter) acts ::is a
per111eable boundary that invites tbe penetration of the
011Jooker·" vvic: che active counter charge i11 chis battle of loaded
.
111ea1unbrs.
Lines of Regression
Tl1e assu111ption of a cl1ilcllike 111oc_le of dra,ving iJ1 ller11ini's and
D ou1e1úcllll1o's caricatures is related to tbe seYc11tecntJ1-century
view of thc ·childisl1J1ess' of ge11re subjects. ChiJdi45h11ess a11d
'coarseness' are interchangeable negative qualities that disting1.11sh
lo,v-life representation~ &0111 l1igb art. ln 1681 B:ildinucci
de~cribed a con,position by the ge11re painte-r Michelangelo
CerL1uozzi ( 1602-1óóo) a~ hc1vi11g cbe freshness of a bt1111hocci,ua
(childish or ~illy action)."'1A pen and ,-vash drawing by the Dutch
artt!>t Píeter van Lacr (circa L593-16+2), kno,vn as TI Ba111boccio,
of an _1-l rtists' 'l à11e1'11 ;,, l{o111c (circa 1630; 13crlin. f{upferstichkabi-
nett), shows a figure scribblii1g graflití a11d caricatures 011 the
tavern \,vali, behi11d the djsorderly and rioto11s group of north-
ern artists who were n icknn1ned Ba111boccia11ti after cl1eir leader.
Tl1e co11 nection l1etvvee11 cheir drunken t'}(Ce~!:-eJ> and t11e \,vi]d
grafftti is 111ade explicit in chis drawing, eve11 tl1ougl1 the artist
dra,vi11g thc ~tagcl.ikc scc11e l1as bccn sober cnough to depjct the
behatted ,nerrymakers with ratl1er carefi.1.I bro,,rn ,vasl,. 70 111 the
e1ghteenth century the French al~o e1nployed the tern1 ba1,11boc/1e
for grapl1ic ch:ildishness associnced w1th 'coarse' genre -;ubjeccs,
and although subver~io11 is relative, and che objeccs of sntire or
deri'lion have changed radjcally over the ccnturics, it is clear rhat
artists liave continuously laid chli111 to a11 uncensored a11d n1ar-
ginn l space by dcliberatc.ly subvertit1g dravving ski lls. Conten1po-
rary grailiti artists or 'taggers' use sin,ilar stratcgies ro celcbrate
their l:ick of artistic or ofricial status through en1ploying a hybr1d
(grotesque) visual languagt' bet\veen script and figur~tion ,111d
operating i11 thc li111i11a] pub!i( sp.1ce, ,1sst>Ll,tted \\ id1 Ll1L' tlcet-
i11g anc.i the tra11sítory. .tlo11g r:tll\"-'ªY line-., public tr,ilcts t>r r<>,td
underpasses.- 1
ln his c1assic study, Er11st Kr1s built upo11 S1g1nund freud's
11otion thàt hun1ot11· oriE:,lÍnates in the pre-co11:-c1ous. ;1nd c,1tht.'cts
regre-;sion into the servíce of the ego· 'the LOtnic in its tenden-
tiou~ fornis. hel11s i11 obtaining 111,l'>tl'ry <)ver ,ttfects. over ]ibid1-
11al and aggressive teude11cie; v-rarded ofl· by the supercgt)'. W1t
re,ríves n1odei; of express)on fi:0111 infant dcvelop111ent _1ust .L~ ·car-
icature returns to typical elen1e11cs in cbe grap111c forn1i;
of expression (dn1,-vings) of the clrild'.72 ln tl1e chaprer in the
book ,vritcen jointly \,1/1tl1 Go111bricl1. the then1e of controlled
regress ion in c,1ricature j.., a_niplitied: 'Just a, [the artist'sl
scribblii1g style ... evokes c l1ildbood pleasures. so thc use of
111agic beliefi1 in tht: pote11cy of hjs transfc)r111aLio11 consLitute~ a
regressio11 fi-0111 ratíonality.' 73
Easy assumpt1on,; of 'chilclish11ess' aTc as proble111atic and 1·ela-
ti-ve as cultut,11ly deter11nned notions of st1bversion. 'Cb_ildlike
percepciveness' \,Vé\S the quality that B.iudelaire perce1ved in
GL1ys'~ \,Vorking n1echod, ascribing ·a per~epciveness acuce a11d
n1agica l by reason of i ts in11oce11ce' to dra,vu1g; ch.1t 110\J\<aday,
look rcmarkably stale and clichéd ..,~ And u111occ11t cliilchs.11 play
\V.15 lo11g c]ain1ed to be the province of Sir Edward l3ur11e-Jo11es
(-r833-1 ~y8), whose deliber:i tely scratchy pen style is nor un like
that en1}1lo, ed by ocher est:ibli:.hed Victorian artist,; in Britain in
1
their uno-fficial n10111ents, for exf!n1ple, in hi!i series of sketches
of a f.1t arc-obse\sed IJJy \>vhc) appear~ in :>poot; about Willia111
Morris anel the Lo11don art scene. 75 Dut Dur11e-Jo11e:-, abo uses
forms of apparently innoccnt graplric play to explore chc obscs-
sive liurits of rus relatíonslups ,vith children in lus illustrated
Letters to K,1tie. s1.1gge~ting that tbe 'chiJd' can also be invoked in
che <;ervice of very co1nplex ~uppressed desire<i.
The e111i11ent artisl, n1ari-ied witl1 hi,; O\Vl1 young chilclren,
began his corresponde11ce with KJtheriuc Le,vis, tbe c_iaugl1ter
of bis solicitor frieud George Le,vis, i11 188.2, ,vhcn she ,va~ onJy
four. 71' The illustrated letters and envelopes are signcd 'Mr Bcak',
and thc ob,riot1s pl1nJlic co11nection betv·veen beaks at1d 11oses. so
often eÀrploite-d in the subversive ,,,orld of caricature, does not
need e1nphasisi11g. Tl1e postage 'ita111p c)n ~<.)111e c)f the envelopes
serves ,is the iconic i,ign for a picture 011 an easel: so111etin1es ir
i~ being painted by ~111 atblecic ..u1d v.'lld-l1a1red .1rtist (Uu111e-
Jo11es hin1Scli) (pl . .26H) or co11te111plated by tl1e touslc-11::urcd
11rurian1re l{atic. ln other pe11 and 1nk caricature~ 1nserted 1n the
actual le~ters, th.e artisr s_its in despair before his f)a1no11gs or
destroys tbe c::invas on rbe easel by jun1ping rhrough ir 111 anger.
A group of lerter'- dt:Yoted to Katie \ d.oi!. hovvt.·ver, is ratl1er 111ore
si nister. 1) ra,-vn ii1 pencil r.1t]1er than pt!n, tht.' plu 111 p and Airta-
ti ous child/adult doll flirts ,vitb a fan. or ,ve~1rs a bali go,v11
described by uaughty Mr Beak as 'lo,\, in the neck', a11d there
is a ,vr1tten dtscussion abouc dre<;si11g d1e dali \vho '1,n ·t ,va., 111
CHARGED llt-.JES AND VERNACULAR BODIES 365
 ovcr, like real girls·. The gen tly ~111udged penei! 111arks en1bract.>
... thcse rounded doll for1ns \VÍtl1 a voluptttous rottch. Lctter XXl
(pi. 269) shows che dolJ bou11d like a 111tu11111y \",,'Íth lengrhs of
tape, alcl1ot1gh her sl1otuders are left bare: '1 cannoc dress that doll
- 1 don 't kno,,, ,vhac to p1.1t on it, or vvhat to put unde.i· it',
Burne-Jones wroce, and t-vice in chis brief letrer the syllable
'dr<lv\' · as in ·dra,verc; · (knicker~) is partly inscribed and chen
era-;ed. Fron1 hcr bound \"v'T.Jppings, the inunobilised dolly scares
straight at thc spcctator vvith ,vide-cycd anxiety and loosencd
hair. L1 the context of thcse Lolita fantasies, the fa t lady of the
a J1t &1 0(:1-1:Cir<L-· g-ro\v11-up are world seen1S co play an important symboljc role
in L3ur11e-Jones's psyche, and the fi·o11t of the envelope - as
/JJcdÍéri (7k 1~~ 011posed to the s:1nccioned back <>f the envelo11e norn1ally used
for sk.etcl1e!) - i~ the cha rged public sice for in scribirlg hi5

A encot1ed sexual p/1a.ncasies.

Li ne and Text: C ome dy and the Abje ct

Draw1ng 1s lne natura I language of Phys1ognomy. 11:s first and surest express1on: rt 1s a
powerful ass,stant to the unagínat,on, and the only medium oí fix1ng w1th certainty. of
portraying, of r-endenng sensible an 1nfin1te numb.er of signs. of expreSSI.Ons, of shades,
which 1L is 1mpossible lo descnbe 1n word, or in any other way except by draw,ng.
1~ 1t1o1!# ~ ~ ) , /' Johann Caspar Lavater
'
"' '1
:livl . •\ •
.. ~- ~- •

- .. ~
';:._C'J'~
Tl1e praccice of illustrating 1etters \vich dra\vings, \vl1ere the pen
n1oves ~o readlly between text and illusrration. is a cru cial con-
~---~- ~
11ecrio11 ü1 the verbal ai1d visual pLu1s of carica ture loca ced \.Yitl1i11
tbe incermediate and hybrid zone of grapliism. Just as AJbrecht
l)i.ire r could iJ1ustrace a letter to Willibald Pirckhein1er ,vith
- doodles closely :integrared ii1to the script, and M.ichelangelo Jay
ont his veget:1ria11 diet on. tl1e 111argin of a poe1n, so Victor
Hugo ·e; n1anuscripts and letiters ,i re nearly as ful l of drawings as
his skecch book!>. 711 Topffer, the author of an ü1.Auencia] 111id-
11ir1etee11th-century book on carí catL1re. whic}1 set~ up and
......
. k11ocks dov.·11 a sig11 systen.1 based 011 physiog110111y, 111ade bis wic-
c7i
• tiest contributions i11 illustrated narrative.s of· the ·comic-strip'
•
variecy. He noted: 'The opportu1iity line drawi11g offers to 01nic

268 (t{>p) Ed"vard Ournc.:-jtHH.:~. 1."11vc.:lope ad<l11.-ssed to l\lli~s l{atharí11c l~icj

~ Le\v1s, 1883 fi-on1 the albu1n 'Letrers to Ka~1e, 101 Con11c l)rav.·1ngs and
'. V l
9 t 1 >e.-;" - ~
lllu~rratcd .Lcrrero ,virh Envelope) e.cc·, 1880~. pc11 and inl, 392 X 289mn1.
London, The 13nrish Museun1, 1960, TO I.J ..2. 1-10 1(-1-)

269 (f~/i) EJ,v.ird Bur11e-Jones Letter xx I íro111 cbe albun, 'Le.rters co Kaáe,
101 Con11c l) rawings ond lllustratcd Letters v.'lth Envelopes etc', r88os, pen,
ink. ,utd penei!. 392 x .2-89 n111L London, The Brici,h Mu!ieu1n,
1960. 10 1~.2.1-101 (32)

366 DRAWING T I IE O rHER.

 The t)·pes of furioi1s 'itrokes that l-lugo 111.1kt', n·ith a reed pe11
are tho~e ch,1rged li11es rhat in another context could be ·very
hu111orou~. The sketch doe~ lll>t lc><;e a11> of ir, poignancy l1)' chc:-
atlditio11 of bro¼·n ink \Va~hes, and tht>" ~tre11gthe11i11g of thl'
con tour of thc face by c1 tl11ck brush lí11e. The fearfuL ,houcing
f:1-ce (the Sarregousets \.vcre sorcerers), is given adtieti po1g11ancy
by rhe projectio11 of che shado,ved nosc, s1111tlar in for111 to tl1e
gap1ug hole of tl1e n1outJ1 and rhe entirel)' round cyes 'J"his
violent dra\,ving (\.vl1ich ,;ce111s fro111 a long rrad1tion of expres-
':ti, e phy~iog11t)111ie-.. lea<ling back to Te Brun) ca11 be ton1part'd
\Vitb the free an<l Pª""Í<)llêlte lines of Kul1i11 \ Tln Drc1rt~l11s111a11
fron1 bis Dauce o_( Deatll c;er1es pub]i._hed in 13erluJ iu 1918 (pl.
271).~' 1 The bocclc o±· dr.1.,.,1.1.1g mk of thc JObb.111g üraughts111an.
'A1 ho is literaJly bcu1g sn1othered to ex□ ncno11 by Death m fronc

of h1s easel, spiUs uncontrollably on c.he floor as a n1ecaphor tor

hi~ life blood.
Kt1bin wao; corn l1etween his narrative i11111ul~e~ in dr.1,,·1ng and
in ,vritin.g. l-lis visual U"u\.·re was al 111osc enrircl y gr.1ph ic - indeed,

1.71 Allred Kub1n, f71f /)ra11.i;lus111,111. Pl;:ici:: ro fi-o1n f:i11 h1rf11r,111: (Berlin:
Bruno Cassucr. J\,118), photon1cchJtuc.:JJ reltcf proccss, 348 X ~7, llllll.
San Fran,1~,o, r111e Art, l\l11~eun1s of S.111 FTI1nc1,co, Arhennach l-ound,1non
for Graphlc Art~, 1963.30.39059.10

\ •
I
•

270 Victor Hugo. 17,e Fart·.- tlu· Pt•c1sa111s i\fakc IT11c,1 Thcy Si:c 1/,r Sarr({!tltL~crs /
ârro 1864-6, bn1sh , 61:0,vu ink and , vash . 277 x 195m111. Pans, 131bhotheque 11
nationale d1.: FrancL:. N.,1.f.2474-5 fol. 59v . 11i 11 : ili ' t . - . : ,

1 !1 :, 1 11

non-essencial details so that it may c;cress the ú11i1ortant ones,

-.../ '1
/~ i/1:l ,'t:
relate, ir to ,v1itten or spoken languagt".'~9 Verbal play easily ,/ 1
• ri
excendc; icself inco visual puns and graphic exaggeration \.Vbcn •

cl1e pe11 is loaded ,vith ,vir, satire or angcr. I n thc case of faux-
11aivc dra,ving, tl1e roughi1css signals a pre-literate conri11uun1, a
n1eta-state i11 v,h.ich text is not discinguishable fro1T1 other tôrn1s
of S'fn1bolic conunnnication. l11vencion is the privileged scace in
rl1is rea1n1, and has been corn fro111 the usual hierarchical and
~nfra111i11g syscen1s of in1age-n1aki11g by cl1e saciric or ca u:.tic
iI11pulses, thereby cballe11ging their very validity.
Tlus scate of aifective otl1erii1g, in -.vhich -.vriting ai1d drawi.ng
are briciged, ca.t1 also be angry and corros1vc, as in the passion-
ately scratcl1ed dra,ving of a horrified sbouting head b>· Victor
Hugo (1802-1H85), ~n,e races rhe J>et1sa11rs ,\lake J,flf1e11 Thcy Scc
T!,e S,1rre,~a11sers (pl. 270), ilustra.ring his 111anuscr1pt of Toilcrs l!(
1!1e Sea, 1864-6, undercaken ,vhile in exile in the Cl1a11nel l•;lands.

CHARGED LINES ANO VERNACULAR BODIES 367

 :.7 ' \Ili.d 1,11h111 . l·ntilit)' ri u .111,11 1), "'"' flnll •. pen ,111d h111, l1 111 l11d1.11 1 1nk , ,v,t1,Trol11111, ~p1:1yt·d • .!t111 x
l•1 , 111111 \ 1,·1111.1. l , 11p11hl l\•\\1,,·11111 , •J '?

IH.' ll,lllll',1111, dt ,1\\.lll~", / 1, )'1//c \(!l1l/'/11J...• - .111d lht') ,ll"L' 11fiL'll ,ILI (> Ili ri/ir)' (111,11 11)01 - .2; pi. 272.). thc 111o n~tro usly -,,vollt;11 pregnanc
p.1 111,•d hy p , ·11, ilk·d lllll·,.'I l1t•1,· 1, ,1 glill bt l\\'l't'l l 1l1c ,vild d1 1~, hnd v ,li tht· h o l!Olll or J \\T,ILl'ry ~ra\'t' rl'~L'tllblc~ tbe pul,;atit1g

111µ, .111d 11h11L li111,ht·d g1.1plt1 t ,,01k,, ,, lu th .11t· 1H)l ,-.111t.11 11rt•, .1hdt)l ll<..' ll ( ) r ,1 l t·r1111l t' tjll l'L' ll. uul uf ,vhich , l <;trl'Lll11 of bubblc~
in thc oh\'H1u, 'L'11,,· hut t' \l\l 1, l llt' ,h ,1dt>\V ,1d,· ltl dtt' ttlll ll t 1 tH1l,1i11 111g l oct.LI n1.1tt·11.1 l 11~c to Ll1 l' suri:tC'e. 'l' his is J cleepl>
~1 .1ph1c t1 ,1<liti,H1. l hc,, ho 11 tlll .111d v1,1011,11 \ ,uh_11·c1-.. -;Í rvd h) lrnubli ng 1111:i~c oi' 'prl'µn.1111 de.uh' o r 'the bodi ly g r,1ve' thar
( )dtlt111 1,,·dnn .111d 1\\ 1, l,h11g,•1 nul n l (,0,,1 .. 11L· h,1',ed 1111 tiet· lt1kht i11 undcr.;r.1nd, .,s .1 cr1ndi ti o11 ()f the grntt·,q ue - ()r v\·h.it
1
prl.'1111111111) , tudi ,·, ,111d , kt t, h,·, .111d l"n111pc11,,1 1,· f111 l11,t 1111111,· 111 lt>nt t·n1pcH.1ry p,1rl.111c<..' \Vt.' 1n1ght e.Ili rht· ;1l1jt"rt. MJ11li,1 l{r1,-
di,h) hv .111,•111H111 1, , , 111l:H,· ,111d lt•11vh111u, .111111,~p li c11,, . l11 / ·e·,- t,·v.1 lk·l111t·d ,1 l1Jt't l1on : ·1•,~e1Hi,11l y dilYe1\'llt li·t>nt ''uncan11111es~".

368 DRAW t'-1 TI 1 f l lí ,

more v1ole11t, coo. abjcctiou is ~L.iborc1tl'd through a làilun:· to
recognize its l-ui; uothing is faimliar. uot eYe11 cl1c :,hado\\ o( a
me1nory.'1<2
The fu1isbed 11arore of f{ubin 's dra\ving of ,1 111011~trou~ preg-
11ancy, \vith its ~ickly colouring, c,111 be JUXtapl>~etl \Vith tht'
elaborate and dark pen and ink patcerning c)f Thon1a~ Rl>\V-
la.11dson's large dravving TI,e DissecrÍ<>11 (rirr11 1775-80: pl. 2.73),
\vhicl1 also contains tr.1nsgressivc in1,1gcs of penetrating Lhe
bodily grave. ln this carly dra\ving. thl' elaborate peu- pattcrr1ed
backgroonds suggest a vegetal proJiferntion, ,vith obscs1;i,·e
rhythn1s of repeated shorc strokes evoking J ~h~1dc)\VY hedp;e,
\vl1ich enclose~. even e11traps, che doctors engaged in their nef::ir-
ious exan1i11atio11s. The pen tcxtures deriv~ trcHn the el.1l1or.1te
l1atchings of John Han1ilton Morti111er ( 1740-1779), JU,l 011L· <)(
the nru1y stylcs that l"tov.·landson incorpor,1ted i11to hts worl J!:>
a professionàl carican1rist, and the dra,"\-111g 1ncorpor.1tc~ a dtrcct
quotation frorn 1\l\ort1n1er's Doctors Dissecri11,1J., 111 "·h1ch n1ice fecd
8 ,1nd pt>ering 111 obsrl'nt' (1~c111,1c1011 1s 'iprouttng- h.ur Jnd t"...:crl'~-
on a rotnng cadaver. ' The obsessive \Vork1ngs of che pattt<rncd
.;273 Tho1na, R.o,vlandson. ' /11e /)1~$t'Cf1011. c,rc,1
Collt'<.."tlons. 682
lfJíí''<,'·
l~~
.
b,tLk?,ruund ccnlLr.1,t \V1th lhe L111fi111shL•d f)l'IIL"il llt1tli111.• nt' th<.:
prcg11.i.11t tcn1,1h:.• ,.1LlJ,cr oll thl· lcll. I,vc) llll'dic.,I tiµu1c-, ,li\'
r,11s1ng her lcg 111 ,111 ,utc111pt to pt'cr inlc) hL·r 011ticl'-.· ,1 truly
tra11,grcss1\'l' ,1ght, ,vhich nlight .1rrou11t ti.,r thl· lat t lh.11 thl·
dr.l\.\lllg \V,\, IH?\'lºl {()lllplt'tl'tl. l'rcg11.11ll dt•,1th ,111d th{· l'rtl(IC, l ) r
tht· 111orLu;1r> 'it't'll1 Lll l)<..' th<.: ,ul~l•çt L>f this dr.1,, 111g, 11.•111tortcd
by rhl' vvo111bl1ke b,1skct l)'lll c.>f \\ hirh .111 ob\ tously rott111g
cad,tvcr 1,; sp1Uing. 1ts currupL111g lll'sh 111d1l 1tLd bv ~t1 ~1pl l' 111.1rk-
111gs. [ hc gazes of thc c,1rtc,1turcd tigttre~ 011 thc 1 ighL .trl' rnn-
centrJted 011 rhe opl'll bL·II: nf the 111 ;1]e c:1d,1\·c·r. <)llt ot' ,vh1ch
organ~ are abouc t<> bt· liltL'd. lhL· k11iVl'\ 111 thL· h.1nd, of t,vo of
'
thc.• figure\ -..uggt.·,t ., gr1,;l> 111c.·:1I. IndL·t·d. tht· vcry l.1t fig11rl' \\'ht)
turn-; frot11 1,,., ,lC:t c.)r \l'\'L'I ing ,l lt·g Íll)lll ,1 hody is l'ltlll I l1oldi11~
hi~ IH)Sl' c..>1 liLki11g h1-; tin~L·r, ~vitl, l,is 11L•<;h1 l1p..,! l'ht· hlads 01·
tbe grorc~LJUL' docl(>rs ,lrl' ali ,·l'r) l.,rgL' c.>o tl1L 1r bod11..·" (,, ht r l'<l'l 1
thc cadavcr lt)ll~,vs nor111.il l1odily prt>pt>ruon,;) ,111d the t h111 of
che gro,;s L:1r~c-.1a,vcd figur<..' hold111 g h1, pehblt• thick p111rL' nc1
177-i-XO pt'n ovt·r i;r,1ph1tt', .\S, X .J ,.'i 111111. ~.111 ,\,1.1n110. ( .1 .• 1 hl· l l1111tioµLo 11 '\rt
CHARGfD LINES AN[) VERt-.JACULAR BODff,; "i69
 7
•
•
.:7~ ího111~\ n. n,vhnd,nn. '/111 <-'1•11111lÍ5sC11r~. d,r,, 1790, pen, 1nk ;1 11d \Vash ov~·r ~r.1ph1tt', z3R x 318 n1nJ Ne,v l-l.1ve n, ('onn.,
Y.1k C LlllLI ftn B11l1sh t\rt, P,1111 l'vlellun C:olk:ctiun, U 197 ,. _~. 10/'i
cences in l3;1khtinêsque fàs hion. l "he el;iboration o f tex:ture and
dt'c.1il t \ rt·l.1ted Lo che ltnt'ar co111plt'x1Lies of- c;he27i·~ />(l/ci11cll<1
dr,1,vi11g discu,;'led ,1bove.
l l1e l,1.,cin.1lio11 oi thL· gutLed t,1d.tver (or perhap'> tht vcrb,11
jt·~t,; oJ the pres1d.i.ng <loctors, "vh1ch ,~e c,111 u nl y 1111ag i11c frc>n1
tJc1al expre,;s1ons) SCL'll1~ to be rcg1stc rcd by thc sta nding figure
:1t top r1ght ,1q1u ~ting ht~ gl.1sses. \vho reprcsents thc hyptrbolic
g.ize .,t 1t, 1110,t lud1crous. Although l{.o,vl:111clso11 had 1nve11rec-l
,111 LlltÍrt V<>c.1hul.1ry <>f cnn11c lYIJl''> .1nd ~i tu;1t1on~. he 111ig ht hnve
hL·e11 fa111il1a1 \\Jth Franrt, (~r(11-l'\ Rufes _fi11· Dr11111i11,s,: C11rir11111ras.
\\ hiLL cout.1111\ thc l11L)Ck.ui~ ad1t1c)r1Íliun: 'LL·t cv<.:r) perc;on and
thing rLprt•-;ented be en1ployed in tbJ[ otlicc o r busines,, for
\\ h1rh h) 1ge, ,1ze, proles..,1011-;. constru ct1011 o r son1e otl1er occi-
dt'nl, tht·v, .ire rot 111,·' unlit.' (;rose al~o :1d,•1ses the delibera te uc;e
of .111,1chrtlllt'i111. of 111.1ppr<1pr1 ltt· cl<)th111g. ot ludicrou-; jltxtap0-
,ic1011, ( ) r pct)ple .111d tlhj~'l.t',, .111d 'injudl Cl()ll\ rerre<;elltJtion~ l)f
~li 61 llllC l. •1'14
c1r 'il'l IOl\S ,u )_IL'((\.
370 DRAWING T t l E OTf IFR
--
·rhe doubled iro11y of the satirisc vvho i-; l<.)oking Jt 1<.)oking
is a "ubJect ch,1t Rc>,vl,111do;<)ll cc>ntinued to explore through<..)ut
his long career, fi·o111 hi~ spoof.i o( Dr SynLax drawiug Piccuresc1ue
l,1ndsc,1pcs, to nrtists c.lrnwing u1 thei r studios - ,vhcre de::itb ofi:e11
lurk-; to tl1c lccrin g nH:111bcrs <.)f the acade1ny life c!Jss, to
cli ents Jooki.J1~ at prmts or v1sicing arrists' studios. He drew a
nu111ber of version, of Co1111oisse11rs i11 tire S111dio (a c;ubject nlsu
addrrssed by Piete r 13ruegel rhe Elder, an1ongst other<:), but tl1e
coloured pen dra,ving "f/u · Co1111oissc111's (pl. 274) i\ the n1ost fin-
j,_hed, V\'ith large figure-; in the ft)refrt)llt t)Í the dr.i\1\ ing :1nd .1
1ni11in1u111 of bal·kgr<.)Ulld d~tail. The arlist - a gor111Jess sou) - has
been pushcd to the 111argi11 or chc group. I--le is drawn ,vich less
(•111phasi~ thn.n tJ1e v.re1ghty paa·o11s or co nnoisseurs i.n their
outdoor clothes and tricarne hats, vvho h.rve rt•pl::iced tht' creator
in ti·ont of hic; crt-;ition. The se..1red patron "' ith ,;c,ck in hand
scre,v-; up h1s beaky nc)Se beràre the dr-an1a1ic painting on the
t'a\e l, ,vhile the 11t<1ndi11g co1111ois'ieur qu j7,re~ che central nude
 -

2.75 l lo11oré D~uruit,:r, 771t' ,111111/c111s (1 Ú//t'flf~ d1111s /',1tclit'1 c/'1111 ,irtist<). atta rRIS5- R. black \.rayon. \\,ttc.:r-
colo 1rr ,1110 ~ou,1che heightenl·d ,v1rh ,vhite. J2-t X 30~ n11n. Halci1n0n', Tht' W,tlttrs Art Mu~eun1. 37. 122:l

fi.gure through ,1 g]a<;s; the tl11rd, <;t,1ndi11g, figttre al'.c) l1ears ,l clc)se
relalionship to a bird of prey. The connoi<;seurs are .,l,own rro111
behin<l: a telli11g vit:v.'po1nt, which 'vVa!> a favo ur1te of sixteenth-
:1.t1d seventee11th -centw·y artisc-caric:.1curiscs. Thi,; ü11plied vie\v-
point allo\vs Itowlandson slyJy to take up tbe pos1rion of thc
unobse rved co 111111entator, or even another conno1c;seur, on
vvht1111 the protagoni~ts hav1.' turned the1r back'-.JllSt as they have
on th e hatles,; and hapless artisl, ~porting his palecce and brushes
for identifi cation . That the 'iubjccl or the pc1inting on the ea'lcl
appcJrs to bc S11sa111111 and thc J]/rh:rs, itc;c lf a topos of voycuris111,
adds fu rtl1cr c111pl1as1<; to 1tov.,Jaadson 's ki1ov,ing co111111cntary 011
che g:ize.
The c;a n1e scopic jokes are t'xplored in l)a un,ier\ 77,e .411111-
tc11rs ( 1ºísirc11r.( da11s l'atc·ficr d ',111 artisrc) (pi. 275). ,ivhere the ,1rti-..c\
s:irdonic ga7t' il1t1111inace, a con1pos1r10 11 fi-0111 the fronr of rhe
group. T--J cre, tl)O, the ar1ist's place ,lt th e e.isel ha\ been u~urped
by che pro:>pcccive clie11t1> or connoisseurs. a ~y111bol ic n:dispoo;i-
cion, ,vl1cre buyii1g po,ver displacc~ crcauvity. The g..ize of rhe
fellov\- lcaning O"\'ét the back of ..i chair is extraordj11:rrdy ,,·ell
observed in its vjbratii1g intensiry: he is almost salJ-\'ating, i111pl}-
ing that che hidde-11 i111age <>n the east'I 1-, lubr1c1ouc; ln th1,;
group ing, ir is che call ,1rtic;r ,vho 1s treated n1ore -;;1tir1cally cl1.1n
thc re<;t of thc group. f lts prc,ud ,1nd ~old1erly be.1ring is revealcd
by chc play of l1gbt, and lus bcrct :1ln1osL .1s5u111es the Jook of a
n1ilirary cap. JUSt as bis l1tlf?;C 111al1lstick becon1es a flour-ishcd
vveapon lt 1~ e11tirely diffe1n.'llt ti·o111 che ,valking ~cick hc:.•ld
bet\.veen tht' leg-. of the seated bo11rx('ois. ,vho chort!t.·, ar the sn1:ill
fi·an1ed 11ictl1re 011 che e,t\el. \vhích \\.e' are noL .11!0,vt'<l to st·t\

Cl-lARGE D LI N ES Al'l D VLRNACULA R BODIES 37

I hc p 1ckc tht' stud10 \V:lll ,1nd rhe rO'.\' of çhai~
,.1n\ .1se, 011
,U!,!:~C~t .111 1teher di::\ ored ro ,clltng rJtht·r rh,1n tht" pri, :ltt' ;1ct
o i 1111k111g. :it,d lhe ,, holc t(Hltplt>x l r,1)-()11 111d ,,.itt'rrolour
l)ICture rei11íi11~es tl11, Cllt'<H111ter ,1s a l0111n1crt1al .1nd t1till.1ting,
1.1d1t·r th,111 .111 .1c,thl'lll, exr11a11~e. ~
Expression and Beastly Equivalences
Evcry spec1E" of 1mmo~1t t "·ers, erervates cll1d cregrades [the bodyJ lhe 11Tegu-
rty ~raduall 1ncre,1ses. onc produce-; i::,1~1ca1uras. v.1ned according to the nature of the
p, euorri,nant ,cc
Johann CdSpar Lavaterl"'
AI' Arl rc.c, mu~t be wcll acqua,nled. . w 1th the nature of rnan . rt sufficeth thJt he
doe but ledrne by a daily observaiJon ~of. how severall pass1ons and affecttons of the
rr·11nde doe ,11• e, the countenance of man.
F1 dnCISCUS Jun1us..
llorh llov.·h111dso11 ai1d l )aun11c r ,vcre skilled ii1 depictin~ au
eoorn1 o us range of f1c ia1 ex11re-;~io11s, ca11tu1·ing the appropriate
bodily po,;1ure t<.) e'.pre-;s an e111<.) t10n :.111d re,·eal char;tcter. class,
agt> ,,nd <,t,ltll'\. ,111d calil)r.tLing the J egrec.? to ,vhich each figure
,;hou]d be t!JL' recipienc or cc1ricatural ri<licule, a11ger or n1.ali ce.
r or both artists, the tinished dra,,·ing (eLthcr i11 its o,,,n r1ght or
as prcpararton tor a print) is thc public ,vork, preceded by roL1gh
,kerches and stud1cs, and the 1nscr1ptio11 of facial e:xprcss1on is
th e fin;i 1 ,1cc of conu11u11ication. Posture is ,vl1ar is deter111ined
in l)aun1ier\ ,vii) first -1keccl1es, w here ht' nets n1eaning in n
proliferat iu11 of lll'r,·ou~. n1oving line'>. ren1i11i~cenr or Bernini's
, ibraong cl1aJk ideas for ~cuJpcure. Wbe11 D,1untier ,vorks up
dra,,wgs, he rr1scribes .1nd re111Scribes expressive facial fcatlues
on top of layers of gou,1che in tluckening strokes of ch_e pen.
Ro,vland,;on i~ equally con-rerned ,y1cJ1 n1ovement in his note-
l1ook '\kecches, ,1 nd like\Vi'ie redra,V'i facial feati1res as graphic
signs \vhen ol)'>Cured by overpainting. His dra,ving; becon1e pro-
grcssi,•el} 111ore 'itatic and 1norc dccailed, a'i rhey n1ove t<.)\V;,1rds
611.ish 111 che final pubbc prü1t.~7
Alchough caricature is prin1arily a ver11acuJar 111cdiun1, artists
engaged 111 rhe field requue physiognoni.ic and e'.\."-pressive skiJls
t,i the ,;,1111e order .1, those required for hjscory pain6ng. ~rhe
ability to rcprt·~t·nt rhe 'arti\'1t1es of the ~ou l". in the Socrartc
tern1, 01 thc ·pa'\~Íons or
the 1ninc.r . in l-eonardo's pl1ra~e,
L111braccs botb phy\1ogno1uy ,1nd geslurl.'. regulated l1y ~lrict
codes.)<~ Wbcn.- car1cart1r1SL'i p ,1rt fi·o111 otbcr artists in tJ,c use of
th ese ,kilb 1s o,·er the 1ssue of dccorun1: the history pai.ntcr
i~ re'ítr.11nl'd by prorocol and co11str.uned "' tthin che ideal ; tJ1e
raric.1ru1ist is ,-rec to be rude. n1ocking or cruel ,vithi11 a realist
pai .1dig,n :1nd it-, grolt'.'il}lle extens1ons in the upsidc-do,"'·n
,vorld <)f c.11icJtllral e:--..1ggt1,1tion. A n<)te tn hi111.,elf by l)ega,;
37? DRAWII\JG TH 01 1IEP
in<lic.-ates ho1,v 1ssues of expression ,vere still a preoccu11acion of
111netet>11th-ce11tury 1r1odt>rnity:
Do expressjve heads (.1caden1ic style) a study of n1odern feel-
1ng ... lt is La,,ater, bt1t a 111ore relativiscic Lavater. so to -,peak,
vvith syn1bols of coclay rarher than the past ... Make portraits
of people ii1 fa11iiliar and typic.11 positio11-., above all, give tl1cir
tàcl'~ the san1e cl1oice of exprcssion oue gives tl1e-ir bodies.
Tbus. if laugl1ter 1s typical of a person, n1ake hi.iJ1 laugh - there
are naturally feelinWi chat one can11oc render ... il9
Tl1l' represe.11tation of A.eeting c1notion.c; has been a perpetual
preoccupacio11. of ;11-usts. even ,vhe11 che pa.ssions of tl1.e mind
ha,·e been related to th e bun1ours OT con1plex syn,bolic syste1ns
in rhe Lon1azzo and dell., Porca 111odel. A very actractive dr.1vving
l1y rl1e Cren1t111ese artist Sofonisba Angttissola, A~dr11bale Beill..l!
Bi1tc11 l,y a Cral, (pl. 276). displays <1 naturalistic rec.ord of e1110-
tio11" as tl1e sn1all cl1ild ,-..-hos<! fLnger Í5 bei11g pincl1ed by tl,e
crab scre,-vs Llp his face in. pain, ,vhile an older sistcr inoves to
con1fort hin1 with a con1pli.cated e'.\."-pression of tender sympathy
11úngled ,vith an1use1nent. The subtlety of expression in tbis
f.11nous dra,ving- of ,vhich there are t\;vo vers1011s and a descrip-
tio11 l1y Vasa ri - ~l1ines eh rough its very degraded condicion. Ie l1ai-
the fi·ésl1ness of observatio11 pre<;cnt in other <l.rav,,ings of her
fa.r1uly 111e111bers by Anguii)sola. even though ir poss1bly relates to
the story of the boy aud the scorpion in Acsop's 1::aúles.91.' Sl1e
dcp1cts details of clotbing very carefully withouc such slo,~v
dra,,ring detracting fi·o1n tl1e sense of a sponraneous, albeit care-
fully con1po<;ed. psychologic:.11 1noment in tin1e.', 1
Aesop's Fal,/es, cranslaced fi-on, che Greek to the .Latin to tl1e
lcalian vernacular. was co11cer11ed with the correspondence.s
bt'.t\1/een hu111ans a11d aLii111als, pro111oting the rélationsbip
betweeu hun1an character and anin1aJ resemblance. 92 First pub-
Jisbcd i11 Laá.n ir1 1586, Giovanni Battista della Porra's La _fi_siqno-
111ia deli '/11.101110 ( 011 P/1)'sit>,í!.Jio111y), with i ts rather crude woodcut
illustrations. \.Vas bascd 011 sin1ilar Ariscocelian nocions.'13 ·1t illus-
trated how rhe legible body or facial signs or <;trength, cender-
ness or stupidity, for exan1ple. co rresponded to anin1al prototypes,
albeit diflereut in 111e11 and wo111e11. Aquiline features ,,vere tl1e
signs of 11obility relatcd to thc eaglc, v:lúle a leo1m1e face
(dcrived ti·on1 a s9t1are forehead.) dcclared a person to have the
courage of a lion; a higl1 rou11ded forehead recalled the obsti-
nacy of the donkey. ,vhi]e sharp teeth revealed the sharklike
characteristics Qf tl1e predatory sn1i ler. Although such theorie:-.,
,vhich ha<l a rich n1,1ceriaJ life in tl1e anin1aJ n1a,ks and co'>tun1e-s
or Carnival ,u1d printed broadsheets, were debu11ked by
Leonardo, a111011g,;t othcrs, t11c potc11cy of thcse cquivalences
,vcrc conscandy repeated u.1. differe11t studies over the ce11turies
a11d in diftereoc countr1es. Cl1.arles Le 13run de,'oted a whole
albun1 (Louvre) to the analogie-s betv,1een anin1aJs and hu111ans,
including birds. w1ld anel don1estic anin1als. His diagran1n1::icic

276 5ofc111isb,1 Ang11i:..sol.1. Asdn1balt' Bci,1J Bitt1·11 li)' ,1 Crc1l1, bt:iort· 1559, bLtck th,ilk 011 bro,vni,h papt:r..~Z.? X 37~ 111111 N.iplt:~. Mu,t:o N,1zinu,llt: <li Capc1J.1-
n1ontt:, Gab1netto de-1 1)isegn.i, ro39
cl1artit1g of the slope of che eyes and eyebr<.)\V<,, the angle <.)Í the
nose in rel:i.tion to that of tl1e head, rhe oblique or acute line
a11d width of the forchead ,va., an UJ)dati11g and ratio11alisatio11
of n1otifs fi·onl della Porta, prcscnt in his in1.1ges of the cruel
WoJt:.Man, brutal 13oar-Man a11d ii1telligent Horsc- Ma11, and so
on. Subseqt1ent generatio11s 1night have rejected Le Brun 's precise
systen1acisacion, which served to reduc~ emotions to linear car-
•
1catures, as 111 his dr.1v.·1ng of ,Scor11 ,11,tl H111rt'd (1)1. 140), l"lt1t h1c;
facial ,cereotype-; su..,tain tl1en1-;eJve.., - including the ,hottting
head of Victor ~{ugo d1,;cttssed ,lbove, ,vhicli h1.:'.trs .1 ~trong
rese111bl:u1ce to Lt.: 13run 's coJed <lepicnon anu dcscription of
'Terror'.
Joha1111 Caspar Lavater 1ncluded an11nal re,;e111bl tnce, in his
self-procln1111ed ·scientifir · sy'\ten1 c>f phy<;1og1101111c<; Lavacer
CHARGED LINES AND VERNACULAR BODIE5 373
 fOr a11 extraordinarv, character; but we doubt that st1ch a perfect
' like11css \v-ill e-ver be found.'''' Nevertheless, his vie>\· of pathog-
nomics vvas power:fully deter1ninist1c, identi:fying beallty v,'ith
goodness and ugline,s \Yith evil: 'The fàce's beauty and uglines<;
1 ~ l1ave a crue and e,.icc relatlonsl1ip to the beauty arid uglit1ess of
----.... a person 's n1oral condition ', a11d he co111plaii1ed: ·evt:rywherc I
., 1neet persons of the v-ilest appcarance, botl1 i11 the highest and
1
•
~
,'1,-r~
., I
•
lovvcst ra11ks of file . .. carirat11ras of every sort'. His influence on
'
'
. c;oya vvas co11siderable; the artist explored bestial likenesses in a
'
systen,atic sheet of carefully dr::i,VJ1 sketches afte.r Lavacer, done
while ,vorking on the C111>rirhos, and the drav.'111gs for the c;eries
co ntaiJ1 n1any direc L substitutioos of ai1Íl11als for people, not least
i11 llis red chal k dsav,·ing )1,11 r,Vill .'\JQ/ Dic oJ Hu11ger of 1797- 8,
"vluch sl10"11vs a rn,011key pa.iuting a do1i.key (ass) --vearing a judge's
"vig. 95 Goya moved ea~iJy bet\veen observaáoru of people in the
cit)' (prosti t1.1tes, punters, fe111ale pin1ps, robbers and reforn1-ers)
and rhe upside-do,v11 ,vorld of Carnival, in ,vl1ich the Church
• i-; ten111orarily di~en1powered, people and anin1als are i11cer-
cl1angeable, a11d absurdíty reig11!>.
ln a series of rather u11typie::al scraccJ1y and blotclied pen a11-d
---
•
ink sketcl1-es dated 1797-9, Goya's s1.1bject is the confro11tati,oo

-- "vith the bestial self, as various social stereotypes -vievv refl.ections

- 111irror. i,1, In one drawing, a fop contorted by fasl1ionable clothes
e
::!.77 f-ranc:Í\C:O (;oy.1. Scrpnll f Vi11111111, ci1ra 1797"-"IJ, pen and bn)\Vn ink OVl'I"
redd1sh-p1nk ,\·ashcd shec-c, 2 1o X 1-47 1ru11. M.1dri.d, Musco Naç1on:i1 dei
Pr.ido. D 04 169
belic\'ed i11 .1 ·n:itural u111on' betvveen physic::d and 1noral excel-
lenct.\ 111 that 'virtue beautifies, and vice renderc; a n1an uglr'. and
l1e applicd a 111odified version of rhi-; syste111 of external, or
'natural', signs to an1n1al&. so rl1ac cl1eir 'degree or rca-.on, or
~ ~
u,.,tinct' conJd be Judged fron1 cl1e bony stn1cture of thc head:
che les'> their rese111bla11ce to 1nan, the ·,vea_ker the class' of sucl1
lo,~ brutes. The 111ajesty or che lion ,vas, accord111gly, read tron1
hi., prufile and the Cl>nto ur of hi'i forel1ead, and tbe l1orse vvas
of their perso11al vices within the distorting or revelatory
co11A·onts an ::ipe in a sin1ilar p<)sture, and a gesticulating stude11t
is niirrored by a huge fi·og. Tn Ser11e11t Tflàt11,111 (pl. 277), a scraw11y
wo1ru1.11, l1olding ]1ersclf 111 aJ1 upright pose with l1er feet turned
out, is surpriscd by tbc reflected image of a serpent coilcd around
a scytl1e fettered to tl1-e ground alo11g with a white dove. (111 a
related chalk preparatory sketch, a less obviously caricat1.1red
vvo111a11 confionts the serilent coiled around a crutch.) The
scythe Í5 the sy1nbol of tin1e and death. and Lavater l1ad a]so
cl1aracterised tl1e serpent as represenri11g 111alice and cw111Íl1g:
'Serpents have a very s111al1, but rnost ex:pressive face, stan1ped
,vith ,ili the traits of n1alice and i1npost1.1re. Theír ,vilcs are
beyond conception, norvvitl1standing their e·vident "vant of
judgement, refleccion , and rnemory.'CJ 7 Goya's serpent-lad·y is
bedecked with frills and furbelows, her garn1ents i:tnitati11g the
serpe11t's deceitful spots and ics le,.v d e111brace of the scyche. The
sharp and di~orderly pen vvork of tl,is sn1all group of awkward
drc1,vings, witl1 broke11 co11tours, hastily corisidered cornpositio11s
and rouglily hatcl1ed patcl1es of blotchy sl1adovv, are very close
to the 'cha.rged' a11d 111Ía11tilised lu1es of earlier centuries.
ln 1806 the anatotnist Charles BelJ ana.lysed che voluntary and
involuntaty expréssions of hun1ans in TI-te A11a1on1J r111d Phifoso-
1

·n1ost en1i11e11tly di,Li11guisht·d tor his beautiful figt1re, courage,
scrcngth. docilít) and use t(1 rnartkinll: hc t111ite~ wicl1 a regular
,;hape both elegJ11ce and JUSt proportion ·. buc Lavater ,vas careful
to n1.1ke a seen1111gly r.itioualist discla1n1er on bestial ILke11css: 'A
111.111 ,vht) resen1bled thls anin,al in thc face ,,,ould certainly pass
J'J,J' ef E:x1,rt'ssio11 as Co11nected 111itl, the Fine Ar1s. 111odify1ng n1any
ideas fi·o111 Lavater and ridic'l.1ling tl1e notions of della Porta: 'Tl1e
co111pariso11 vvhicb ''-'e have 111ade of cl1e hLu11an for111 and fea-
tures ,vicl1 tl10,;e of certaii1 classes of a11ÍJ11a1s. is verv, different
fro1.n tliose speculations w hich ,vouJd lead us to conden1-n a 111an

37,1 DRAWltJG TI-IE OTf-iER

because of son1e resen1blance ill face to a brute.''1X Cl1arles
Dan,in based much of his lengthy sn1dy T/1c Exprc~-;sio11 (?( thc
En1otio11s i11 ~\ilan a11d A11i111als (1872) on che myologicaJ observa-
__ /
tions of Bell , buc believed thar Bel! had noc been sufficientl)· <,c1-
entif1c: 'He does 110c try co ex1-,J~11n w hy differenc 111uscles are \
brougl1t into action Ltnder differenc e111otion,;; why, for i.nstance.
the inner ends of the eyebrows are raised anel the corners of the
111o uth depressed, by a person suffering fron1 grief or a11x:iety.''1Y
ln establishing his owi1 rules of tàcial and bodily cxpression,
Dan,;n looked to c.ransnational similarities ('ali the races of
mankind') and con1parison \.\1tb the insane. ,vith differe11t age
groups as vvell as ,vith ai1i111al species that share tãctal n1uscula-
ture. to establ i~l, generic bodily ,;ig11'> of e111ocion, for exa111ple,
oblique cyebrows a11d furrow!> u1 the forel1e,1<l in respect of grief,
or reddening of the ski11 vvitl1 angcr sl1arcd by 111011keys, attribut-
ing the sn11ilnriti.es to inheritance as ,~relJ as h.abin1atio1J: 'The
stt1dy of the cheory of expression co1ÚLnns to a certain liniitcd
extent the conclus-ion that ma11 is deriveq .fro1n son1e lower
anin1al tàr111 ... but ... such co11firn1atio11 \Va<; J1ardly needed.' 100 •
.•
ín s1)ite o ( Darwin1s111, the long tra(lition of bestial eguivaJeuces
. . .. ..,..• •
still do111i1.1ates tl1e field of ani111ated cartoo11s and con1ic str ips, •
i.ncluding the good-bumoured Mickey ,vl10 evokes 111iddle
Arn.e rica fiu1ulv, life in bis n1ousel1ood. l1is nussus a11d sub111.is-
sion to powerfu.l pohtical forces. 11' 1 278 R.onald Scarle, To1,/()11se-Ld11trec and Fríc11d, 1CJ7H, pen, ,vash .u1d ,vacer-
colour. 4'.!.o X 312 n1n1. l3nscl, Kartkaturcn & Cartoon Mu,eun,
Anin1.tl correspondences are given fle,;l1y inca.rn,1cion ill a
sparkling watercolour b1r George Grosz, Circe (1927; pl. 279).
Grosz often explored the subject of tl1e encha11tress ,vho CL1rnt>d
U1ysses's cre\v intó swi11e, appropri ating her to the 'encbanted liíesryle ~u1d art1sc1c licence. Tl1e j oincd-up spla!>hes that outline
gardcns of thc streets', as 11e de$cribed tl1e corruptio11s of city tl1e prostituce's boots are further elaborated vv1th scroll decora-
life. 11 •2 lt is diff1cult to read, h.o,vever, ,vl1.o is corrupting whom t:ioru, .rcc;illü1g the linear play of e.arly dravvings by Wa.rbol.
in th.is caricatural drawing, since tl1e protrudu1g co11gue of the Seai·le ·s ironic references to art aud look.u1g, sign:tlled b)· homoJo-
cigar-s1noking pig punter touches that of the cloche-hatted nude gies between sty1e and subject nlatter, ::is ,vell as his obsession
prostitute, weari11g no thing but a s111all fur stole and a garter, \Vith recognisablé' autogra.ph. is very typica.1 of prnfe,sional cari-
l1avi11g thrown off l1er fur coat. T l1e sl1ape <)f her face. so clev- caturi1-ts ,vho 111ove l1etwee n con1n1issioned con1111entarie~ and
erly underlined with a spreading red line, perl1ap~ dravvn with self-generated subjects. And. of course. Toulouse-Lautrec hii11sc] f
the back of a brush 011 wet paper, reflects lús píggy proportious l1ad fl.itted ben.,·ee11 illustration i11 popular jour11aJs. drav,•ingf> of
i.n a carefully observed reciprocity, typical of Ger111a.r1 Expres- J>arisim street 'types·, gallery paintings, advertis111g posters, and "º
sionist equivocarion abo.u t sinners :md tbe purveyors of si11. The ou.
technical ,,i,·tuosity of tb e dra,vi.ng add., seduction rather than So111ething sin11lar happen s in the very forn1al dra,,ings of
1noral opprobriun1 to the scene, with delicate lines and brush- Saul Sceinberg ( 19 14-1999), who rrained as an architecr and
vvork in the cloches and objeccs on rhe café cable anel broad. ,vhose con1111entaries on Atnerican life and co11sun1er culcure.
spreading wet rl1yth111s suggesting a carnivalesqLLe background. l nJ 111any publjshed i11 the Nc11 1 )'árkcr, ar<.: locatc<l in an <:volv111g
Thc conce1nporary cartooni-;t Ro11ald Scarlc (b. 1920) rcveals graphic chroniclc of ciry life. li1 ·r1,c i\Jost (1967; locaoon
lus background i.t1 a fu1e art traditio11 and his debt to co11ren1- L1ruu10\vn) , l1e follows che tradition:il trope of pok1ng fun :it
poraf)' graplucs ÍJ1 the se:x.,, prostitute in lús dra,ving To11/v11se- physiognon1y, pathognon1ics and pl1renology ()11 ,vhich 'iO n1t1 ch
111
Últlfrec a11d Friend (1978; pi. 278). •1 The 111inian1re, beetle-like of caricature 1s bast>d. The v,:ork i, in a direct line lh.1t ,te111~
Toulouse-Lautrec. ,vl10 dra,vs very clo\e to the 1nodel, i:- .1 care- back to Leor1:irdo'~ li11ear sequence o( eleven kind~ o( lll>se~, \l'lll
full y caricatt1red portrait likeness. Both nest 011 a cloud of fancy up by l'.todolphe Toppfer's r1J.iculous graph1c o;equcncc <.>f 110,c~
a<; i11 ocher dravvings i n the series, littered vvitb spattcrin~ of iuk and cb.ins in bis Essay t>11 PJ1ysi<~{!110111y of 1845.1·11erc are also re1
ai1d u11tidy was.l1es in a fo nd ackno,vledge1J1e11t of bohen1ian erences to thc Ducch anaco1nisr Can1per's e,1olunonary ~sre111 ot

CHARGED LINES AND VERNACULAR BODlf:S 375

 •

::-.;9 {~corgl· <~11hZ, ('inc•, IIJ:?7, 1,'T;1ph1tl', pt'n. 111k ,111cl ,vatt.>n.:olour, 657 X .186111111. Nev>' Yqrl:;.1 hl' M u~eu111 of Mo~h:rn Art, G1ít
ot \lr. a11d Mr\ \1/.1lrcr B,1Tl'1s, .111,t .111 .mony,nou\ donor (by cxchangl'), 73 19!! l a
con1paracive anacon1y 'fi·o111 cl1e 111onkey co Apollo· and it~ spoof
version by the Frencb nint!ttenth-ct!ntury illu-;crator J. J.
Gr.u1dville (1803- 1847), '1\1a11 De_çce11dí11.<? tou,ards 1f1e Bi'ure' of
18-1-3, \vluch bcgjr1s \\·ith a classical Greck profilc a.i1d ends ,,·itl1
a 6:og. 1115 Steinberg uses hor11ologol1s n1eans, so that the facial
pro-file. vvhich is the ostensible topic of the drawing, 1s rcflected
111 che clear ·1lrofile' ]ines of che drawing: crisp and sin111lified
\\,ith a 111ini111un1 of ~hading. The n1ajor hiatu'i ,vichin che
drawing, caused by the reinovai of the nose fron1 che l1ead, i~
reiterated in other un.finished 111otili. i11cludiug a bottle wicl1out
a base. che n1issing cdge to tl1c tablc. wl1ich has onl)' hvo c;up-
ports, and tl1c con1pJctc disappearance of the f1gurc's own le6,s,
1·he drawi11g fi.111ctions as a , 1isual S)7lecdoche, suppl-ying jllst
enough of d1e vis1.1aJ and representatio1i clues for the spectator
co co1nplete the work and join in the hu111orous enterprise.
- thc n,argins, tl1e artist/cartoonist is i1u11licatcd 111 a C<>11tit1uous
Caricature and Po stmodernity
The close speccacorial i11v0lve1ne11:t i:i1 charged dramngs 1s one
of the reasons vvl1y many co1runentators in recent years have <;een
tJJe protean Auidiry of caricature, as ,vell as its tran<;forn1ations
of conten1porary life. as a 111odel for 111odern art in ge11era1. 111fi
I11 tl1e catalogt1e to the 1991 exl1ibitio n A,/orler11 A ri a11d Pop11/11r
C11lt11rc, Adan1 Gopnik suggesced: 'Just as it becon1es in1possible.
afcer the \VOrk of 1908-10, tc.1 di,;ringiiish in l'icas,o's o,;.. 11 --.,ork
1
becv.;een "caricature" and high dr,lv-.'ing, it ,;0011 ht·can1t' irnpc),-
sible to disti11guish n1odern art that self-con,cic>usly dre,, 011 tl1e
caricacure tradition a11d n1oder11 art d1aL JU.st lookt:d like ochcr
n1oderu art.' 107 Thts tru nc ate d statcn1ent 1s itscl f ,l c,1ricatural
sketch - but aJso has son1e va:lidit)·. Verbal/,,1sual cJ.r1cature, as the
optin1u111 rross-over genre, l1a'i al,\r:,ys occup1ed .1 speGt1I ,;pace
along'iide 'high' arr ,virh which it i~ ennvined a-; popu lar con1-
n1entary and criLi<.1ue. ít ha, ~L1bverted and challe11ged cl.1<;c;1cal
tradirions and privileged the ten1porary. the 11011-hierarch1c,1I and
rhc cx:pcr1n1c11tal, as a sort of a11archic pre-vis1on of 111odcr1uty,
u1Sertcd dai1gcrously ÍI1to rhc sn1ooth 11arrat1ves of art lústory.
Aris:i11g Ollt of an a1nbiguol1s invol,re111ent v.7th everydav .life, ini-
tially peasanr genre, it has becon1e tht.> pol1tical a11d populist coo!
of city life and 111odern individuaJisn,. Wl1ile pricking the cara-
11ace of 11()\ver in c;ítuationc; of aJI kind.s fro111 110th the centre and
sh..ift as cool author and ruefuJ subjcct.
ln n1any ,vays, car1catuTc is thc ulc:unate posrn1odcrn 111edium,
a11d popluar ani111auo11 :u1d com1c sujps are no,v central to co11-
cen1porary drawing practice. One aspect, ho,vever, 1nust ren1ain
problen1atic for the cnn1111e-ntator,; on postn1odernisn1 \vitl1 their
total rejection of 111ediu111 -;pecificity. Caricature \Vas a nd, is a
cornplctcly graphic expression: it is cn1bedded witl1in tl1c e11dless
cápabilities - a11d ,,el)' occasional lin1iratio11s - of line.
CHARGED LINLºS AND VERNACUI AR B0D11.:S 37/
 l .1,11i, t'illl 1'i 11 01 ,111 .1111 0 111.1t it •give11· i11 rl.'l,1n<Hl to lhl· n:r.: t:ption
Ch p et Fou t teen ,,r 11 11.1gc'> oi 11.1 l-.. L·d1t l·,, ()1 \l'',; ll,d <:llg,1g t·tnL'Jll, but COllStlllltC\ ,Ul

D ,-a w i ng D e at h a 11 d D e si r e L"\< L'''• th.n is, .111 .1dd 1tH >11,d ,tlTc..:rttvl· , h:ir!4l' co11~tru t ll'd by d1l'
" l t'\\,l' l I li ,11 tllig l11 lH llllg ht nol bc p.u l o( lht· 111tenLÍt)n of" tht·
0 11µi 11.1dng .1rt1'it . l·or thc..: ;1rttst·, dcaling \Vith desirc c-nn bccon1c
ll1ç l':\ tr.1 , u hj l'ct 111,1ltL'r 0 1 'iurplus t o pi c of n dr,1wi11g, ,tl though
i1 t".lll ,ll'>n bt• ,111 111flfc u o 11, pe rn11.'.,lt111g th L· d1-.1\v ing in -;0111c
pnlt' lll \V,17 '-11 ,1\ (() i11vit t· 1~·r1lg11it1() ll fi·()ll1 (<'L"rl.1i11) ~p e<..l.ltnrs.
A, d1í.' 'iL·l l- c c111\c i,,u, 111 :u 1111uL1t 111 <>f CXLL''i~ or th l.' u11\v 1tli11g
co 11du1t o i ,dli.·t t , th l' dt ,1\ \ 111g ,trlt'il 1-. nt:vt:r o nl y ,1 V(>ycur but
.tl -.o ,111 .1c t1vc .1~t 11L. l1nd111 g thc 111c,111~ o C 1n.1k1ng vis1bll' thc
i11v1sihdi t, o i d L~~ltL'. ~ 111 ll11 s 'it'nsc, .1 c;cxu.tl c h,1rgL' i~ ,, <.: 011d1
111>11 oi ,1rtist1 ( 111 tl· 11tio 11i1l ity, .1ltho ug h it fu11 c t1<>ns vt:1-y ditlL"r-
li\/ 1111 ,11111 (•/ ' , ti ' ,1I' 1 1 1 (')tJI d ,11j l'11 tly fi·u111 thl' ,,tt11 tt, d , c1u e l <>t g ro te,quc ,1, p et t, or· cnric::iturc
JI 11 1 lt1ud r1II trd l",,1111111 t· d i11 tht· l,1 .,1 e h.ipt t· r, .111d j., lt·,s dl'pc11dL·111 on '> tric ll y
l t l ll'.lf' 'ill .tl l'g1v,, 1_•111plc1yi11g ,1 w ide, ,111d lt'\ ', '> lru cturt·d r.111g~ or
l (Ollllj!.1.lphll,d 111l',11 )\ .111d IIIV lllllg h ro,IUL'I ,tr,l tl'glL'!-i ( ) r 111.1k1llg.

l ~t·t ,t ll \l'. lt>t 111,111v ,u usts, .1tlc 111pt~ tn c:1plt11 t• th t: dcsir.1hlc <.> h.i cct,
0 1 Lo c,hi t·ctify d c,1r 111g, 1s \J ( pi-o lo und 1111porl,111cc fi.>r ,1II 'iOrts
o i pc1Sl\11,11 .111d h1 ogra ph 1cal rt>,1,0 11 ,, th l· u111111c 11ti o 11,1l sp1 llngc
111 t'\\ L''iS (0 1 deh1,c L' l1Ll' t q l)o rrow .1 h1 o log1r :1 l 111t•t,1phor) ~c1.•111s
l<J dt 111.111d p,yt hl >,111.tly11 t .ti rt:,1d111gs. Scxu.d1ty h:l'i hct:c)1111: cl11.•
~ll ll' q 11.1 11< )11 or IJIO~t CO llll' lllpt1 r,1ry c ul tural produc t1 0 11 - 'i(.)

l lo'iL· ly 1dl' 1111fit·d 1h.1t tlll' pli,tllí( ~y111bnl 1,.,,

b1:e n c.1rc lcs-.ly
t >llStl'd by th,.: ph,dlu ~ 111 re presc11L1L10 11 ! but thl'. urge t<) addrt:ss
11 pL'r:-,<>ll.d ly 1hrough d1.1vv1ng 1nv irc~ .1 n1orc l<.1cuscd rcsponsc
tli.111 gt· ne r1 c 11.1rr;i l i Vl 'S o i C(>111111u11 ,1l c o 11'itru c ti<)11'i <)f 111 e ;111i11g .
A1 tlh· o ppo, il l' po lt~ 11, thl'se l.'Xt h ,111gcs n r nr)ll c xch~111ges is
.111 o lht·1 k111d nr ob:.c r\illg ,111d l"L'l ()rd111 g
\,'( ))'L' lll' l\111 : th.11 () r

d(.',tth . Altl1t>ug h , ur li t é\ 1)1di11g... h.1v1..· ,1l'A-.1y~ hl,t'II .1 Vl'r y i111pc>r-

t.111t p.11t o ( pl' fl'L'plu.11 d 1.iw 1ng. th1s ,\Cl h ,1,; b t:1-·11 111,1rl-..l.'d by pr<>-
S<r1pt1011s ,111t'I taboos 111 dir1.·ct rl'"P<)ll~e lo the l~.1r or t.h:<.:<>ru11 1
til .li ~11r h v iL·,v111g t>Cr,t'i tü 11 'i. ·1 hc gaze th,1t t.:,ll l llúl bc rcturncJ
1s 1101 0 11lv tht' 111osr p.1111l u l .1c t o f loo l-..111g. but 111 111:iny ,vayc;
thl' 111 0\l d11ri <llll lc) rc ndl' r a~ ,lll ;1 lfcct1vl' e xch.111!,1.e. •
lts lllt'lll()
r1,d1s111 g Cun c t1<l11 'it'l'lll~ pr<)ll t' to , hppa~e. pcrh;1ps becausc th e
i111111l'11,el y dil1t< ult ,H l of portr~1yi11 p; .ibscn r l' whilc confronll'd
,v llh ltli.'lessnL'<;~ 1,; 10<) ,il1,clrhin g t i l allo,v :111 a11to111,1til" e:-..pn: ~-
<;1011 oi l ' llH) I io n .

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1111. .111d ltph1 ,, " li l l J ><. 1,< 1111111 11,,,1,111 , l'vl11,t•11111 nJ l 111t \ , h l ·r.111 1 "
ll 11 ili ll 1 ) ,11 11111111 , ,1 11) 1.l 111<1 l'l < lll J~• 11111d, l1)11 1 , .,,, .) (l.ll i!;l' I tl1.111 ,ll lll.11
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Drawing Desire with se:s:: uality, hyg1ene, contag1on and bourgeo1s 01orahty 1,; built
on rhe traditic)11;:tl Ca111paspe topos of the 111ute- and con1pliant
u n I d .~ 11en dr. w 1rorr the n1age 111pnnterl on thr.1r bra1ns and not fe111ale n,odel as 111i-;tress and 111u~e of tbe pocenc inale artisc. The
r happ n trJ' men ~ucn a:; D,1u1-nier and Mons,eur- G[uys] f,nd
1t , pt ~'"' nce ó t11c 1nodc and l!. rnuh: pl1c,1. of dew1ls d1c;concrn;s and as 'bohe111ianisn1' of l111press.io11ist a11d Post-l111pressio11ist artists
t"' re p 1,11r,e L1 , nc1p I fa<:u ty inhabitu1g the scxually cl1atged '"'orld of tl1e dc111í-111011de. or
Ch.irles Baudelà1rc
seeki11g tl1eir 111odels wíthi11 brotl1els, serves to tôcus the late
ron1antic construction of u1ale Jrtistic genitlS arou11d eroti.cis1n
TI e 1,n I a1 c:.,í crot,_t!i!T' ,~ fL.,,o 1 JI ba1T1ers go,,e buL rts first st1r1 ngs are cha1ac-
ten~ed b~ tre prcse11te of o1 des11 ..1ole obJect • n,e ob1ect of dcs1re ,s differenl fi·om .1nd l)odily don,ination, es11eciaUy rhe bodies of worki11g-class
e,011 1sm ~t l rt 1s not erot1C1 Ili in 1ls con1pleteness, but erot,osrn worklng lhrough 1L \.\'On1en. Tl1e fe111ale nude don1inates rhe Salon exhil1itions in
Georges Bata,lle'
P.1ris afcer 1860, ai; wel] as becot11ing a ~ubjcct addressed by
vvon1cn artists. 011 tl1e otl1er hai1d. as indicated in a vvatercolour
by Jean-Louis Fo1-a111 (1852-1931), Pai11rer 1n1d .\Iodei (circa 19,,3;
·rradit1onaUy. erocic dr,T\V111gs are tl1e 'pr1\·ate' atelier counterparts pl. 2.81), the relanonship bet\veer1 artist and 1r1odcl 1s noc an
ro rhe convenrionalised pt1blic .zcadé111ic, beyond the co11straint<; e11tirely ~traightfor.vard dy11::ir11ic of sexual do1ninacio11 and
of pttl)lic dt'coru,n. as iri Gab,-iel de S,1111t-Aubin's uncha1)eroned expl<)itacion, of the awakeni1,g of desiré and deferral of its enjoy-
pair in Tl1e [>rit 1llfe --l. cadc111)' l1i'ic. us::.ed in chapter eleve1·1 (pi. 200). n1ent. A prolific ne\vspaper illLtstrator and devotee of Manet and
Such n:pn::-t.'n tatio11s are J respon:.l' to the conditions of acce:,s Degas, Forain \Vas .t tcrveut co111111entalor on Parisia11 bohe111ian
co naked tê111ale!>, or rhc proscriptions around the erotic1sn1 of life in thc 1880s, and thc artist ar1d 111odel i11 the stt1dio wa!> 011c
youthful n1ale bod1es. Tbe n1id-n1neteeuth-century obsession of- h.is fi:rvourite subjects, as \,Vere _filles Í11 brothels or back-stage

.281 jt:.111-I ou 1, ForJ111, P111111,•r t111d .\loclcl. drc,1 1923, gr.1phite, \vacerLolour and bodycolciur. 'iS!í x 4-05 111111. London,
1he ~~n1ue l Courtauld ·1ru~t. Conrtanld I 11~t1tute of Art C.t'llcry, l ).1948 .SC. 124

180 DRAWING THE OfHER

víe\V<;. ln rhi,; dra,v1ng, ho,vever languoro-us and inV1ting her pose
as ~he exposes her<;e]f C)n ::i draped couch vvith her hcad aln1ost
invisible, the n1odel is nevcrtheless discanced f"i-on1 the ,vorking
artist a11d his i11te11se, lo,,tering g.1ze by l1er elevatiC)ll onco che
plinth, ,vhat acadenucia11S uscd to call thc n1odel's Lhrone. 5 Tlús
plinth, even in a private atelier, sy1nboliscs the clislodging of rhc
erotic as the prírnaJ dy11a11uc by the literal elevatíon of thc acs-
rl,etic diinension, as \.\ ell as spa □ all y den1arcaci11g an aura of con-
1
centration that 111oy or 111;:iy no t be breached in ti111 e." Tl1e
cen1poraüty asso<.:iated \vicl1 the deterred charge of sexuaJi ty is
differeut 6·on1 tl1e u11111ediacy or inte11tion Jnd responsc oí co111ic
or grotesque dravvu1gs.
Thc u11derscancling of tl1e Oth_er bod,, througJ, direct dra'A1 i11g
- hov:ever clifferently conscituted by ditferent artists at vanóus
periods of art - is inevitably concerned at ~on1e stage oi- the
process ,vith che for111al aspects of represencation, either through
affir111ation or denial. Sucl, 111atters o f depict1un relate to h<)\,v
tl1e body occupies space in ti111e; !10,v its volu111es are construcced
tbrougl1 light and shade or contained or not vvithir1 tl1e li11ear
edge: how its ourn:ard 111orpl1ology is sl1aped by ics .1nato111y a11d
the mechanics of n1ove111ent; 110,v its facial expression and
pó'ltt1re indi cace or deny its psycho logical en1otions and bodily
se11sations, and choíces of which lin ea r 111eans best c-onvev, the
pa1·tí cularicy of subject. Tl1is involve111enL ,vi tl1 the probl en,atic:;
of repre'.l>enca.tio n-as- praccice i1> C()Uclilioned, of course, by issues
of s1.--ill and íne_ptitude: tbcse are of particular relcva.nce iu di~-
cussing contcn1porary dra\vings, \\·hich depend hcavi]y on cx-
pressive m1d spor1ta11equs mark-1n.'lki11g.
This div1Sion 1s apparent 111 tbe 1na11ner in '-''lnch Forain rep-
resents both the figure of desire and the- negacion or po~sible
incorporation of th.at desire onto tl1e canvas by che working
artist. Ir is too sin1p]istic to assun1e tl1at a drawii1g of a body llÍ'i-
playit1g ics sexuality, usually by a fra11k exposure of its gcu italia,
involves tf1c spcctator. rnalc or fcn1al e, in a balan.ccd reciprocity
of projectio11 and iso111orphic (re)co11struction o f desrre. The
abstracting processes of dra,v·i11g-as-representacion - tbe very
choices of gualities of Ür1e and cotnpo~itio n as bearers of c;igni-
fic,1tion, the things that are left in as ,vell .ts tl1e thin~ tl1at ,1re
left C)llt - n1ilitate against the easy proj ectio11 of <;exuality. ,vl1ich
<u1 i11dexical photograpl1 111ight trans111it lcss pro ble111atica!Jy.
W11en Pablo Picasso draws a si11glc fe1nale figt.1re open1ng 11er
vagu1a ,vithouc even the exchange of gazes with the (niale) spec-
tator cl1at tradition.illy invites con1plicitous respo11se, he e111ploys
a variety of strategies to 'excite' the ,·iewer, vvitl1 111ore or le!i~
success. For exan1ple, in a penei! dravving, 1"'11de, signed ;:ind d.1ced
22 At1brt1<;t 197 1, he e111ploys curly lines fc.)r rhe n,asturbating
hands, genitais and pubic haír \Vl1ich are r.he focu~ of acce11tion,
'v\ l1ile tl1e re~t of the figure is dra,vn m a co11crasted ra11ge of
angular outlines and scl1en1atised body parts. 7 The ,von1an's face
is ,;qua'ihed u1to the top :fran,e of tl1e sketch-pad sheet o n 1t-;
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181 Pablo l1 1c,bso, ,\l<.111 ,11111 f l{11n,111. 196"'. pa~tcl. ,oloure<l pcn,il and \\,l~b
on paper, ,:;56 X 75! n1n1. Ed1nburg:h, Tht· Scorn~h N:1t1on.1l C,,1llery of
Modern Ar,. (;MA 3892.
side. so that eyes, nose and 1nourh. which nor111all y :ictracr the
eye by tl1eir conccntration , are dis11laced ti·o,11 che central acc-es-;.
Tl1e uncon1f(>rt.:1bly sicuated 1)1.:ad suggests COL'rci<>n perha_ps, but
d<)l''i uot distract fr<)111 til<.:' ,.agina pla.ct:'d cx.1ctly on the central
acccss of tl1e paper, as if spli cting boch the body and tl1e shcet
on "'·lncb it 1s dra,vn. This dra,,·ing is dircct and fron_tal u1 c,~er,~
se11se of the te:r111, b11t ics eroric charge is nor assured for aU audi-
ences, any n1ore than the sinul.1r direct gen ica) display in Augi.1ste-
R odin\ and Egt111 Scl11ele\ dr;1wings d iscussed l)elow.
Gcnerally. tl1e ,.,·ily Picasso, so ofte11 refe-rred to in tlu~ book
i11 relation to his artist-and.-111odcl obsession, c111ploys elaborare
strategies to play ,vith eroticis111, for cxan1ple. by insert1ng a
seco11d clothed or so111eti.1nes 11ude figure into che 6-:1n1e, to
,vitness d1e enchtJsiastic vnrieti ei; of genital display being enacted
for the arti'-t; or l1e conso·ucts el,1borate orientalising decor ro
sign if; a l1rotl1el anLI ditTcrentiates type, oi' lin e t<) /t)cus our
attcntion <)11 tbe re]eva11l body part or acciviry. Occa.,ionally. he
gives up tbe atteo1pt a11d addrcsscs tl1c impotcnce of lus o ld age.
for cxan1plc, 111 thc coloured pencil ai1d ,vash dra\V111g. J\ la11 1111d
l l'ci111n11 (1967; pi. 282), undertake-11 ,vl1e11 he vYas 86 year, old.
"fl1e display 11ude here 1s supposédly J;icqueline l:tocque, ,vhon1
he 111arri ed in 1961, but che arti,t. llre\~cd in che lud1cr<>ll5 rt'lll-
n.1nts or bis Re111bra11dt cc)~tun1e. i~ sitring 011 .1 <lt'cur.1ted ~
cl1a111ber poc, capable <)nly of poit1tu1g lus phall1L p1pc it1 ht'r
direction.
DRAWll'JG DEATH AND DESIRE 381
Return,ng the Gaze
Ac or 1111g to 1 1011g e~r.1bli,hcd cl1s( uur-.c b) 11i11t'tee11th- .ind
t,ve11ued1 cc.·ntur) ,, 1ner . it i, the hb1(li11()ll'- exchan~e o( g.izc'i
hel\\t.'t'll lht• 111odt·l c111d thl' (111,dc.•) 1.>1ilo1)b:1.•1 th.1t ~iguais d1c
1111 ,der llll) .111d 11.1kcd11l'"" 1,1 Ma11cc\ CJ/y111JJi11. ;1111.1 d1tlcre11t1:1.tl:''>
la.:r lrt•lll tb1..• 111odc,t) ,n1d Jec0run1 of the trad1nonnl nudt'. lt
1, such .1 1:ll11il1.11 ,1rgun1cnr th.;.1t there see111~ no need co repr1~e
•
n hl'rl', cxlepr tn ,trl•,;~ char rt ,,.1, l )lyn1p1.1 ·s part1c.:ul.1rity ,1, indi-
, 1du.d .111d pro,ticuce (,n111eth111g pickc:d up 1n1111cdi.1tclv by the
l <lllll'lllpPr,1ry I ritit·, oi tl1e ·,L 111dalou,: ,York \\ hen it ,vas Jis-
pl.1rt·d ,ll tlll ~.tlon or IS<,,) th,tt :tppc,1rcd ~ó ~hocking 111 tl11s
ll'\\'Orki11g ()/ ·r1t1a11 's Cl'Oll(. but 1dc.wscd. J TIi/iS ()f l 'rbi,10.i;
()l,111p1a\ gaze 1s prcscnr 111 rhe etchi11gs .111d ., ,,·atercolour ch,1t
rvtant·c p1\,dt1ced ,1trt'r che p:1111rrng ,vas con1plt'ted, l-iut t,vo pre-
lr111111.1r) rt·d ch.rlk dr.1,v11 stuJrt·,, pre~u111e-d to !)e c)r thl' 111odel
V1tt<)ri11t· Mt·urt·11d, pre~t·111 Ol,111pic1 in .1 very diflt>rcnt ,vay. ín
,, h,11 1, dl·,t r1bt·d ,1, Lht: t:'.llÜt'r .')t11tly ji1r 'Oly11111i,1' (l'ar1s, l3ib-
lrt)tb~tlllL' N.1uo11.1lc). \'Xlucb is squ.in.:d up tor tr.u1sfcr, tàint bLtt
syn1111ctr1c.1I lc,1tun:s .lrL' .,kerchcd on to tl1e 111odel\ f:1cc look1ng
out of the dr.1,, 111g. l11 rhc ~uppo.,edly !ater .~r11d)' _for '()/y111pi11'
(pi. 2~6). ,virh bro1d redr.1,, ing <)f the left hand. the enlarged
he.1d 1, tot.1llv bl.1111-. The d,tference~ betv;een rht"it' dr:1,ving,, .1nd ~
thl' p;1111ung .ire not 0111) to do ,,, ith ch<111ge,; of d1e ,u1gle t>f thc
bod,· .utd thl' crt1t'i,tl po!)it10Lu11g t)t" d1t' l1ai1d, and l1c.id. but also
r,1thc:r ,, 1th th.,r b.1rr1cr rhJt ~tllo,v,; lt)r ,,·11at 1 ,vould cill tl1e
'g;-izt· nt prJCOLc..'·. ,vh1ch I', lcft out of 1no~t art historical accou11ts
of dra,v1ng lro1n ltlc. 1·1,1, 1ncen<;e gaze, d,rectly a,;sociaced ,,·irh
111,1ki11.~ ,1nd thL' 1i111t of 111.1k1ng, leJVt'' little <;pace tc)r .1nyth111g
l·l,c ,ll cert.1i11 .1r11te 111011,ents of drav,1 i11g;. Thus, M.1nec·~ pr.1g-
111al1c co11cc11trJ.lion 011 accur.1cc1y reflecti11g rhe po~c: ,1nd pro-
porcion'> of tlie 111odel's hod_y, .u,d tl1e placing of her left J.rn1 011
her r.1iscd rio-hr::, "' J:; ,vell .:i, cL1r1tv of ourlinc and the f~vv cast
lt:'g, ;
,hado,,·,;, ,vh1ch nt· rhc• f1gi.1re to cu"llúons a:nd bcd, all serve to
'
re11der thi, 1111.1ge afrectle,,. The e111pry, enlarged t:1ce - not,1bly
lnok111g dn,, 11 'il) ,1, to l)b'irure the neck th,1t ,v:1-; t :1ter, fJn\ou,ly.
t<> rtce1,·l' tlll' bl.ick rrbboll oí Oly111pia\ coc..1uetr) - i11dic,1te-;
thJt thl' l'l'Olll l\lll t)r tht· li11,1l ,,·ork re,ide, in the JJdlllfl'f'I)' é',Cl'\',,
·rhat I\ [O ~ª)· 011ly \Yhen che fc.:.iturcs or thc tàcc. Ll1(' pert pO~t'
llf thc hc.1d. the ,1II 1111nu1-r.111t
r d1rect1on of tl1e 1~azc ,tnd che
~
111ten,11Íc;itinn t1I tlll' roundncs, ot thc breast,;. rogether ,v1tl1 tl1e
otht·r re,·t·ahn~ de1;11\, or rhe 111isc-c11-sc(~11c. have been painted
dc>l''> tht· ,t",ll ti t:h,1rgl' cn111e intci being. l11deed. the Lo11vre
tl1.1,, 111g lll',ltl\ l'l'\'c.;,d, the t1.1dit1<)1l.1l. Tit1ane,que i11renric)l1S or
Nl.llll'C .lt cht: begi1111111g t>I the \\ ork. cllltl ,ugge'>l'i nothing c)r
thc croci, ch.1rge th.1c. evc.:n tro1n J d1,t.1uçç c>f llt',trl,, 1,0 .. ,,ve.,r'>
~
,,·e c.111 l' 1,dy rc 1d 111 rhc tini•il1ed p,twWJ~. ln p.iruculnr. thl' l..1çk
of ~h.1d111µ on che p.1111tcd b()dy lc)111pared to tbc hca,,..,, ,hi.1do,,·~
c)r tht· dr.l\\ ing <;t'T\l'\ tu ll"\'l',11 thc 1111.>dt·l's llJ.kl'dne~s 111 che tin-
i-..hed ,, cll k. \\ 111!1.• tlll h11cs nf bell, 1nd l1rea._t, .1ct .is rhe gr.1pruc
,i}!.nrlil'r, oi Li1ill.1Lit)tl.
•
382 DRAWING fHE O Hll
~rhe in1111ode~t braze nnd -;exy pose of a naked body are not
ne,\ ,vithin the privace and i11ti111ate s11ace ofdrav,.,ing,and artü,ts
,int.e e,1rl) reuaissa11ce tin1c:-. have allo,ved the111Selves surprising
ti:t.'eth)111s ili dra,ving bodics not subject to the rules of decorum
of !Jn1shed n'orks for public d1splay. lo this sen.se draw.ing co1-
1L'Ctor5, \Vlrh d1e1r se-:-.._..1al tr<.)ph1es e11folded i11to portfohos for
pr1\"ate sho,,·1ng or policed access to cert:nn prints or dra,vings
111 1111bl1c collect1ons, have ser,•ed to reinforce the collusive sep-
aration l1er,-.·ee11 public 'decency' ;ind privatc indulgence. vvl1icl1
h.1~ been \O derided ,•.-itl1in postn1oder1út), but ,vl1ich for cen-
ruríes ,,·a-; .i very unport.u1c dyna111ic i11 the dra,vings market.
An exb·aordi11arily n1odern-looking dra,vi1.g onJy rece11d1·
,1ttnbi1ccd to the floreL1CÍ11e arn~r Andrea Comn1odi ( t560-1638),
'\'11dc l l 'tn11t111 ,'ltretc/,ed 1>11 ,1 Bed, Looki11g C.j, (pi. 2~3), appears to
n,e ro l1e a d ra,ving of :i 111.111. With ,1 (1ariry of hard and in"i~-
tent t)t1tli11e<; re111iniscent ()f chc bold dra\Yu1g of Suzan ne Valadon
(1865-1938). three ce11turícs i11 the future, aud Alice Neel's
cgL1,1lly ,1\"-'k\,vard tira,ving Kcnncth Doolittfc, discttssed belov-.·.
c:011u11odi dra\vs the bo11y body ,vith an,azing naruralis111. He
n1ight have based hís early dra",ing sryle on M1chekn1gelo. but
che re:1l1sric honesty of Co111n1odi's insistenc gaze. a11d his
eitche,, ing of linear elegance for l1t)1d, uninflected contours and
,1 f.1~ri11ation vvich e,pre:.:.i<)ll, vvere ,1ln1o~t unprecedenred in [taly
1
.1 c thi., tin1e.' Candleüght is u1wcated i n tl1is intima te dra,, ing i11
tht• shaclo\\'!) of the arn1pits a11d upper body and tl1e hea,·ily
scored areas of darkness. ,vhich ne che bod,· •
into tbe ,·olunu-
uous bedclothe<;, co11trasted ,,ich d1e higlilight5 of :irms, elbo,,•,
butrocks and rhigh. Ir 1c: not entirely Fanciti1I to read the pose of
the t1}1111ted Jr1n \V1th irs r.1rher a,vk,vardl,· dra,vn 11and a~ pro-
cecting tbe 1nan's eyes ti·o111 .111 intrusive gle,1111 <)f a lan1p or
ca11dle, ª" rhe arti"t/obser, ei- ,1pp r<1Jches cl1e bed ,vich a raised
ligl1t. The cxprcs~ion of tl1c you11g n1a11's tàce, ,vllich bears just
.1 hint of 111ocking in,·it.1tion in d1e up ru rncd cyes .1nd rhe curve
of the n1outh. seen1s both to invite a11t.1 repel rhe intruder. T he
butrocks are bared. bttt che outstrecched leg a11d its long line of
sht'l'ts confirn, ch.it the co,·er ha, ju~r been pullt'd asi<le. This
see1111;. to be ,111 eroric encouncer bet\veen n1e11, ,, hich ,ve are
~t•ld() l11 invired to ,vitne,;s ~o clearly, and tbi, rt',tding i-, reinforce<l
by <.:t)111p,1rison ,,·itli a very -.i111ilJr Jra,ving. ,ll~o b)' Con1111odi,
J~cc11111/1c11t .\Jt1dt' 11 i>111,111 (pl. 28-1-) . ili ,,·hich a ,vomJo lies 011 ber
s1de exposing her bucrocks, l uxurioL1sly bw·ro,,·111g i.nco c11sb1ons,
bolsters and soft bedd111g in J n1anncr thac ,vas ro becomc a stan-
~
dard erotic pose of Fr.1nc;o1s Bouchcr and Antoine \X/aneau. 1"
U11likt> the pro.1cn,·e post> of rhe 111.1le nt1de, the for111al organ-
i,,1cio11 of ',()fl c.:urve-; in C't)111111t)di's recl ining ,,·0111Jn inYites tl1e
vit'\\'l'r te) rakt' (h is) }1l.1cc l)ll tht• ope11 -;heets to her lt•ft in a
horizo11t;:il forn,at. or ~ugge:,t, that che 1,icle or rhe l1ed l1as bet'n
recentl 1 vac.ited. lea\'111~ che partner 111 ,1 st.ice of s.i_tr,1ced slLullber.
Courn1odi's ,,·0111an 1s Curcher li·on1 the ,•it·,ver rh.u1 che c;iut
(~ub1st curv1;;'s of d1e n1odel 111 llon Kttaj's con1par.1ble ch::ircoal
,lnd p;1~rel dr;i,,·111g r,1cher CO) 1~ entitled l~llc11 :~ B,1ck (pi. 2.$5) .
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283 Andrea Con,ruocL. _\;11de í T:<1111,111 Stfl'/(111:cl 011 a &d, L,oku~ L11, Cll'úJ 1/Joo-11, bl1ck i.:li,1lk ,111J ,vlucc: lughlig:hcs un blul' p.1pc:r. :!.27 x l'J:!.1ru11 .

Flon:nct:. (;aUer1a degh Utfizí, Gabinl'rto 1)l\egn1 e Sc.1mpe, 1X539F (:1e tua! ~ile}
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.21t1 Andrca (' 011unod1. l-l.tx11111bc111 .\·111ll' li -;,,11a11. rirca r6oo- 11. black chalk, 1{7 x .111 111111 . Flore nce. c:.1llena dcgli Uffizi. Gab1nerto l)i<\egni e ')ra,npc. 1í!635 F
(al tu.11 ,11~·)
 • •

z85 ll. ll. J{itaj, E/1,:11 s Back, 198-1-, p,1st,:I and c-hon.:o.tl on popl.'.r, 7S I X 5<i8 nun. Ncv. Yurk. ~ 'hitncv 1\ lu~eu111 ,1f An1cnc-.111 ,\rt,
G1ít of Ed,v,1rd 1-. G.1rdner 111 honour of Flor,l l31tldlc .1nd tht· (>oth A11n1vt·r:..1r\ of tltc Wh1t11ev M11st·11111 oi 1\111eric,111 An
 /
2li<l Ed0uard Maner. S111dr _((lr '()/y111p111 ', r,rr,1 1863 . rcd ch~ lk, :Ll-5 x 157 111111 . Pari~, Mu~ée
1)1'.:p,u lllll'llt de~ Aru. ~,raphiqucs. Rf 24335r
Ellen\ one eye peeks out of her bush of dork ha11·, and rhe close-
ness of her exagger:1red buttock~. propped 011 cushion<;, to the
edge and fi-ontal pt1ne of tbe dra\ving escabli she, her relation-
-,1,ip '" ith the <lesiring artist: in fact. ht> could bc: drawing
bt:t\\ cen hcr lcgs. The closen0ss to the fibrure is also apparent í11
rl1e \'ertlcality of tl1e organisation, and the pilin.g up of sl1adowy
green. blue ::i.nd bro\\'n shapes.
ln .111 rhree of the,;e dravvin~, che artist;;. divided by centurie~,
have <1ctivel, taken control of the observed budie~ by the firn, -
ne~s o( cheir chalk/ch.1rroal ourli11c's. Tl1ere núgl1c h ave been
'i01ne hcsiratto11s - perl1aps n1ock he$ita11cies in tbe case of Kitaj
- bur the vigorous redrawÍ11g of curves and rubbi11g of fu1ear
,rrokes 1nto softer, flesl1y sl1ado\vs act as tropes of se11sual pos-
\CC\s1on. Whereas rhe s('?_11s of desire-as-excess in painting, as sug-
gested above, are aJditional e111bellishn1ents or 11arcrga, in dra,v'Ír1g
the 111c1rks of de-,ire are en1bedded in thi: touch and l1andling
of ~in1plc 111aterial-; .is a phe110111enok)gical cond ition of cheir
n1akmg.
An a111a2.mg pen and v-:ash dr,I\\'Íng, /{er/i11in;1; 1'\111rle (circa 1807-
10; pi. 287). by che l)an1sh art1st C. W. l:.ck:ersberg depicts vol11p-
tuou, de\ire on tbe f::ice of the fen·1ale 111odel in a 111:mner far
111orc' in[en:e.e than ever dre-,1n1ed of by M,111et - if ch;ic was indeed
l1is iilteu Lion. Ecker.,berg's turu-of-tl1e-cen ru ry ·O 1y11111ia · is
depicced ui a po:.c very clo~e to Manet's t\\'O carly red_ cl1alk
,tud1es for 61:; rechning 11udc. but \,·hcreas Manct presents .1 fLxed
eye vie,v, on a levei "-'1tb the n1.odcl. Eckersberg's vie\vpoint is
telltngly 111 cons1srenr. Mo~c of rhe foreshorter1111g ... ind1c.1tes a lo\v
g.1ze. in line ,virh the lefc rhigh of che ~cra1ght supporting leg,
"v1Lh ir:. !>l1g;htly out,vard-turning knee ,111d foot, \vhereas the
detail of tl1c shaded ·111ound nfVenu,;' i111pliec; ,1 graz1ng g.12e and
386 DRAWING 11-l E O I Hl:-R
dL1 Louvre,
a n 1oving hand , which has l1ra,vn in the in1porcanc slit of the
labi.1 fi·on1 above, ,vhicl1 \Vould otherv:ise be i.nvisible fron1 lo\ver
do,v11. (Thi!:> 'grazing' gaze is son1ethii1g tbat is ust1ally associated
with Degas's pascels aud dra\vings of bathing wo111e11, drawn from
a nUJJ1ber of ditfere11t positions, sitti11g or st.1nding, dose or
fLuther away. 11) Ecker;berg:'5 <;]ightly stocky and vvell-rounded
nude bas son1ething of che bodily foro, thar Tngres ,vould use
for his highl)· fini~hed Odnli.s(111e 111ir/1 5,!1111e of 1839 (discussed on
p. 80, pl. -1-1 ). For all her eroric languor, ho,,vever, Ingre:,;'s higbJy
co n,,entionalisêd 11ude is very far fi-0111 the naturalistic portrayal
in this dra,ving of the sligl1tly enlarged head ,vith its parted lips
and the dcsi_ring gaze in the v.ride-spaced eyes. The Copenhagen
dravvii1g also plays ,virh tbe erotic chiarosc11ro of candlehght,
which rakes che top surfaces of the- rounded bodily forn1s sup-
ported c,o luxuriou!>ly against cushions. and cai1ses cast shado\vs.
except on the <>pen and \velco111ing Adt surfdce of tl1e n1actress.
Thc iteracióü oi' the shape of tJ1e bent right leg in its 'ihado,.v
011 the \vaU givcs e111pl1asis to tl1e opening of the chigb and \vbat
it does or does not reveal; her right band is placed ready fo r
Sl.tch an actíon., and the rughcdress lias been pl.tlled upvvard~ and
cru1npled aga111st her ne-ck a11d chJ11 to reveaJ breast and belly to
the approacl1.ing viewer. Her drooping, bl.1t open and rherefore
,vt:lcon1ing lt:ft hand, ,,v hich ca~ts a deep ~l1adovv agnínst l1er
Aesl1y ~ide, is relaxed but could te11se duru1g tl1e sexual act. The
gaze of Eckersbcrg's 111odcl, probably dravv11 before l,js Parisian
studies i11 tl1c studio of Jacques-Louis David bctween 1810 ar1d
r8r6, tn\'ltes the inale gaze and promises sexual surrender 1â.r
111ore open.ly than the problen1.acic facial expression of Manet's
pa111ced figure. Eckersberg clid chi1, drawing ac a ciJ11e when he
,va'> recording very reali~tic and privare genre scenes and land-
287 (~hristoffer Wilhel111 Erkersberg. Redi11111g ,\;11de.orcfl 1807-10, bi-own pen and \'lash. 140 X 2 r-11n 1n. C.,openh:igen, \r-:i~ens Mu~eun1s for Kun sc, KK~ 19~'1-461
scapes in a series of briUiantly clear linea r dra\.vings \\:id1 light
washes. 12
Many art historians have located che birth of 'n1 oderni cy' in
tb e 1860s, che epoch of Ma11et's D{je1111er s11r l'l,erlu: and Oly11111ia.
This well-rel1earsed argun1ent is constructet,i as a dran1atic
ruptw·e in. paint treat111ent and subjcct 111artcr conditioned b·y tl1e
new bot1rgeois subjectivicy and co11ditio11S of art production and
e11gage111.e11t \vitl1 everyday life and issues of class. gender and
seXt1ality. M anet's recording of bourgeois life and the celebration
of the working c-ity in ai! ics !'!Ocial, environ111ental and sexual
con,plexity sig11als cl1is change, as does his rejection of syn1bo] ic
111ea.iungs i..n figural co111posir-ion: tl1e nucle wo1ua.i1 in D~je1111er
s11r l'herbe (1863) is shock.ingly pi cnjcki11g vvitb ,1 real n1an clothed
in contemporary drcss. cven thougl1 their telative poses are bor-
rowed :fi:on1 J prmt after l~apbael. ln :ili these \Vell-rehearsed h1S-
tor1es, tbe en1boldened gaze of Manet's fe-111ale subJeCts is the
fi..1lcru111, r11e in1palpable key, on \\·hich theories have been built
and contested. ln tlus con text. the explicitJy erotic gaze of Eck-
ersberg's 1nodel of 1807-ro, Jooking out of the ti-a1ne into the
eyes of the 111ale vie\11,,e r withouc coynes,; or en1ba rra<;sn1e11t,
<;erves co cl1ro,v ~on1e of tl1e popular n~1 rrative~ and chronolobries
·1 1· e.. l i
o f soc1a art 11story 111to co11111s1011. ·
Enc o ded Sexuali ty an d Fetis h Objects
TI1e folded drapery oí the cbe1111se u1 Ecler~berg\ proto-
Oly111pia dra\\'111g is a lor1g-estabhshed s1gn o[ erotic1sn1, alrho11gh
he pushes it a stage further tO\VJrds rhe revelatory 111 rh1s skecch
chan conve11tion \Vould l1ave allowed in a fin11,h ed pau,ang 1·1
M anet·s l)lyn1pi:1 , of cottrse. ,vc,lr" nothing hut her ribb<)n antl
her !>lippers, l)ut l1er l1and , partia11) Lt>vering c111d at the s,1111e tin1l'
calli11g attt:11tion to her pubic area as in Titi.111 \ Tê·1111s (!/ l 'rl,i11c1,
acts ouc thc sa1ne trope of part1al revelation . Wisps ot drapcT"i
DRAWING DEATH AND DESIRE 387
th 1t ll'Vl il 11 1orl th.111 l l1C) l11cl,· h ec.111H." thl' 11or111 111 tht 'it'LOlld
h.111 ol thc ,1xtL't'11th < t'11t111 \• , 1~,l11),vi 11g du ct u,·c, t)f thl' Cou11t ti
•
1
CJI frt·n t 1bo11 1 llll tle,1l111 g tltc 11111111hlc •a part" <1flhL' bod). ' )UL h
d , 1pl' t JL'~. , , hh h e ltnµ, 111) \ll't ll>usly to gc111t.1li.1, .1, thcy do, for
L :-,;,111 1ple, 111 tl1c dr:i,, 111gs o ( llubc n, ,111J Lhe gr,111d h1~tt>ry p.unc
111 g, ui 1) ,1\ 1d ..11 \.' ,1 !tule likc tr111sp.1re11 c skin and crc.1tl' :i co111
pltt:.lrt'd L' llltl t"'i()r Cll\'l'l'Illg ,111d l'Xjll),;ure. ~íg11 ihc,111tly. such
d1,1pc ry ,.., ,1l,v.1y,; .iddcd l.1,t in ,1 p.11nti11 g. ,,,
' l'hc .1rou,.1I L-.nt-.L·d hv p.11t t·:-- p<>:-Llrt.· 'iL't111:- lt> bt· .1 Íl:-<1:•d ,1nJ
011gn111g l'o11dit1t>11 1>fWl',IL'l'll reprc\L lll,1tio11 , but lht're .i n: n1.111y
o tht·1 ,;ign, ot" \ L'X t1 ,tl 1t~ th 1t ,rl'L 110L rcet)Vcr.1blc, and ,v hosc
1 h,1rg1.• I\ d1flicu lt ro tt'l'1>nst1 tulc. P.1rt it ul ar body p;'lr t~ . or
l l'ti -;h1sl 'd 1tl't1t, nt ,1pp.1rcl. r.111 bt· "º per,cH1,t l or ~o peri od- and
c 11hu1\' -,;pL·cili c rh.1l lliL't r ernti c , ign1 tic.1t1t>11 Í'i n<> lnn gcr .1ppar-
l' IH .1,, tt,r t·x,1111p lr . i11 .1 colc1 ured I hc1lk d ra, v in g by Federico
7 ll l l .110, 1) ú 1111111 [' 11tri11,{! tl/1 11<'1 .i;;rocki,~~s ( 1 ;;7os; l(a 11s ,1,; Cil y,
Nl'l... n11 -Atk111 , Mu~c 11111 or Art). IL i~ d itlicult l<.)r co11 ten1p<.>ra ry
v1t·,,t r ~ 10 l'l''ipond to thc t•r0Lic 1sn1 o f th1~ rcprescnt;;itio n, evcn
thc,ugh th c v1t·,v oi' the fi~ure lr{)ll1 idightly be hind n1ight be
rt•,1d .1s -;uµ~l'<;t111g a bt·d roo1n 111t1 n1.1cy. ~rhL· sexu :t l ~l f,'11 S <)f this
dr,1"v1ng rt·s1di.' 111 lhl· 110,,·-l~)rgortL"n f.-1 ~:-0 11 t )f 1111çc)vered legs
.111d dl1 t 1t ,i~ns or 111u1n,1t }• hut hl'l ;'lll ~L' rh e e<>lo un.'d ehalk cre,1l-
111L'11 t 1, ,n 111.1u1c· r of l~1ct, it ,tdds lt1Li<: to the dr,1,:ving\ n:ccp-
t10 11. 1 ( ) thc r codcd ~,gns o f 'i1xtcc11th-cL'lltury graph1c scxu:i ljt),,
.
~uch .1s the in tert,vu1cl{ lcgs of ci1c L<>l'cs v( - tl1c C tJds, are n1uch
c.1~1c1 to reconsrru ct. l ' he 111ild c harge thar thc eldcrly M anet
.1pp,1rentl) rect'1ved ti't) lll ,vn111e11 ·~ , hoes, :-.tockings and exposed
leg-, is only ,·c ry .,Jightl r ap11are11t .i11 hi~ vig11 et1 e "kt'tc hes of
ti.·111.1lt· ll'g'> ut1d l·r c,tle L.1bll·s dr.1w11 in lett ers sent to a fi·iend
J u1 in •g liis l.1'il r1111t i11inu t-, ill11 L·ss. Thc b1ush sketchc., f '11dcr Ih<'
._'-;/.:,rts. Lcllcr to 1\liul,,1111e C 11illc111c1 ( 1~80; Lo uv re, n1 1 1. 186) . fbr
1.·x.1111ple. are 111o rc 'ch.i rn11ng' than e ro t1c lo a b,1sty co1Jte n1po-
rary g.11e.
The code~ o( ~exu.ili ty, eo;p <:<~1.tlly tr;111,grcss1ve 9exu;1ltty. require
to bc lca111ed befr>rc they r,u1 be read into ,111 1n1.1ge. This i-; , o
in ,1 ph,•tltor,1 nf- cur iou, draw ing., l)y H e nry Fuseli . wl10 indulges
l11., l~·ushi,;tic i111pu l~l.'~ i11 \\.'r y ~pcciaJ \\'ays by i11vcnLi11g .1n1azi11g
h a 1rs t ) les ,111d C<)stu111c, anti ty-ing thcn1 i11to narrativc reprcsen-
t 1t1 o n~ 1-u se lt .il~o dra, v,; 111ore straightJo r,v ard group scx sccncs,
le<;bi.111 ,1ct, .1nd o rten r ruclty or bc>ndnge subj ects, in cluding
,cL'lll'~ of co urtc..,,111, 'it'\ u.1lly 111t1 t1 l.1 cing youn g boys or capt1\·e
pr1so 11cr.... A, G<:rt Schdl". tht' Flt'IL'lí t.>xp e rt, h.1~ pnintt'd () Ut, the
ha11 , tyll', Jn: 1111pl1ca tcd \\ ith111 acts t,r l ru elt y. T l1 t' 11· elabor;ile
(() t1tc:c t1011 ~ 1nvolve l'XCl' \\ IVL' , h,1v111g or th c hc.1d le-,1ving ju'il a
l l'\\ tuli:s o f rightl v pullcd ~n .111d, ui hJ11 autl cri111pt d r urls, or
long t1ght pl,11 t'i p:irced to rt>,·eal rhe sc,111--1. o r cL1boraLc in1 .1g1-
11a1) l \1Íllt>ur, ptl'rled by ph.1ll1 L" ,lrro,vs o r to rturou,; con1bs,
'i11tl1 l't1111 t'' l'Vc 11 l'ndi11 µ 111 hnr11 ,h,,pt'~ . ''< Sc hiff dircctlv rcl.1tes
•
tht:'il' p t.Ll ll(L\, ,, h1l h ,u t'Xc ited f u..,l·lt, to his unconscious
hJtred of ,,·0111e11 1hro ugh thc ,trc> ng t· tnph.:tsL·~ of his chalk,
388 D RAW IN G JII E O IH ER
pe nci l or pe n a11d i11k depi<.: ting thest' .tcts of pull ing, parting,
rl'builc.l ing and ge11cra lly engaging a.n<l sub<luu1g huruan J1air,
fu seli inlroduces a bizarrc rl1t'toric of ~ubl.1111atcd touch, ,vbich
1s abscnt fi"o1n tl1e 111any 1:1ghcccnrh-ccntury popular caricarures
that spoo f tl1e ro,vering elaboratíon of fashion::tble wigs. l\l The
ohsessively dra,v n haírstyles are usually interpreted as being \VOrn
l1y C<)urte'ia ns in Fuseli\ 111a1iy drawings on this che111e (chere are
,1lso print~ and pai11ci11g:. o í tl1e sa111e 5ubjcc~) an<l associated with
b,1re, high l1re.1~Ls, and often 0,1.innere c.l dress and cxaggeraled pos-
Lure~ . Thc expressio ns o n the faces of these í111agined v-'0111en ,
i11cludi11.g portrait dra\vu1gs of· fuse]j 's ,vifc SopJ11J 1-lawljns,
\Vho 1n he n1arried wben l1e w as n carJy fifty. are o-fl:en crt.1el,
angry, ste rn o r haughty. rel::ited to Fuselí's sext.1.:tl f::intasies .ibout
p1Lnishn1e11t. ~0 His erotic obs;ession" 111íght also be associated with
the e nor111nus 11rotruding eyeballs of n1a11y o( r1ü, drawn head'>,
includin g ~0111e of his O\Vl1 self- portraits, tl1at relate to tl1e fearfu]
gaze o f chc Medusa. wl1ich t L1rns 111e n to stone, u11.less
approachcd obliqucly through a rnirrored reflection..
ln tl1e i11k a11d grey "vac;h dra~ri11~ J\,1,'s J-,1rsefi Searerf i11 Fro11t
t"!/. tl,c f'irc, 8e/1i11rf /ter a Reli~[ J\ fed,,l/ion 11,it!, her Portrait as ri,e
,\lfetf11s(1 ( 1799; pl. 2H8) tl1 e .1rcist's ,vife 'ipOrts a relatively uncon1-
plic.1ced l1air-,ryle <>f curl-1, rolls and loops a11d looks our of the
fi·an1e dircrtJy aL us with her b.ead on 011e side. 011e gloved J1and
pluck.c; sl1arply at hcr drcss, crcatÍ.!Jg sl1adows tbat dra,v our atten-
ti on to this gcsturc. On thc back of the drawing Fuseli ]1as
\vr1tten, n1yster1ously. 'Mrs Puscli Scated Making a Gesture of
Silence ·, ;ind on the fi·an1e of the large 111edallion to l1er right,
\vhí ch is p ê'rhaps a sculptured portrait of herself as the Medusa ,
i~ a Ltuotatio n fron1 Pindar. The l1air of the carefi.tlly w ashed-in
sc ulpteJ relie f does ll()t re.~en1blt.: sna.kes, as in thc n1yth. but i~
ve ry si111ilar to Mrs Pusel i's hu111a11 hair; the Medusa aJso \vcars
the high colJsi r of a fn.shio11a ble dress of the period. Tl1e Medusa's
pupil-lcss bli11d sct.1lpted eyes rebt.1ff the ·vie\ver, t.1nlike the clacl.:
•~eeing' eyes of Mr-; Fu-seli that engage, so da □ gerou<;ly, ,vitb the
vi ew er '.; ga2e. The Medus;:i is associaced wich casn·acion fantasies,
and Freud drn,vs ,1 direct rcl,1tionshi1) l)ctween l1er petrifying
gaze ..1nd lhe 111 alc child·s perception of his 111o th er as 111utilatcc.l,
,vhi<.:h lcads to ncurot-ic rcplacen1e11t oí tl1e nússit1g penjs
tlirot1gh fetish substitutes. 111 th.is vcry forn1al drawu1g. M.rs Fuseli
and tl1e petrifyi ng Jnd petrified Medusa are interchangeable ele-
1nents, fra111ed by the archícectu ral ele~rance of an in.terior space
- whi ch í.s part drawing roo1n , p;"11-t ton1b. part torture c ha111ber. 21
A l,1ter dr,l\·\·ing, Fe111a /(' Cr11f'lty, ( 182.2; pl . 289), ,vhich is even
n1ore c.irerull y and Ct>ldly d rawn. has beet1 in terpreted l,y S<.:hiff
.is .1 (asc inacion wilh b<>ndage. The hand in tJ1e wel l is a drov\·11-
i.ng 111ai1, Lo vvb on1 lhe courtc5an 111ockj11gly bo lds ber long plail,
altl1 ot.1gh she does not intc11d to save hu11. 'Thc ,vell ca11 also be
identiticd ª" thc v..·0111b, the- plaic as the scvered w11bilical corei;
thc d r.1v..·i11g then ~yn1b0Li ses the unconscious desire to reum1 to
the \,Von1b.' 12 T l1e entirely grocesque coiffure 011 che girl's head
 ...... /

~88 Ht'nrv fui,1.'li. .\ln r-11st·l1 S11111i·d iu l;1t,111 tJ{ 1/u: i'in, Be/11111/ J,u a Rclitf ,\ /c,/,1//1v11 111itlt !1t•r i',,,r,.111 ,1, !111
,\lt•dt1st1. 1799. 1nk .tnd grey wash and \\'";ltt:n:olour over grnplnr~•. 3Jô x 19tJ 111111 NL1n·n1hl·rg, (;t•n11.1111,( hL·,
Nation.1lu1u,t:uu1, J-lz 3399a Ka-P,IiJ6
 '

.!1'11} l lclll} 111\L'h, / ,111,1/, ( llliÍI)', 1S> v1.1ph 1l t ,ltH I lll t l,1, \\l ili li l111 .1 111 1 h1 P \\II \ l ,l\ h , l.! 1 J\)11' 11 11

l>n•~d,11, \1111l1lh1.· l<1111\t\1111 111l11 11~l'1l, K.upl, 1~111 li l{.1h111c11, t' 11,1 1 ), '
1,c>lates the fi-ont c1.1 rls ti·o111 the back creat1on b} a parch of
•
b,1ldne'i", and a};o cocally s.hade-. her eye<;, chereby oh~CT1ring her • •
exprcssion. The upside-dov.•n figure, sketched in grc1phice ac rht'
o
top of the drav\'Íng act a.'i a sort of co111111encary on thi" ()b,e,-
e
sive]y dctailed sce11e. As ,vir11 so 1na11y of f-Ltseli's hero1c Michel-
a11geles9L1e nudes, which appear throughour hi'> verv prolitic
grapbic <ru\·re, che headless 111ale figure is sittu1g 111 a d1splay
position, rc::vealing h1~ genical'i as ,vell ac; exaggerated t·rorrl1é-1ike
1nusçulaturt: 111oultletl into a hard in'iecc-hke carapace, ,vhile ;1
fen1ale vic:ti111 expires at hi'i ,ide. Fu!)t')i\ Sv.•i.,s fJther \V:.l~ an
entomolog1st, and u1any o( tl1e arcisc·s exaggcrated hJir anti drc,:-.
stylcs appear to UJÚtate the shapes of insects, ,vicl1 hard ,v111g
cases ,tnd exposed thora_'<, a11d equ1pped v.·1tb stings or barbs for
1nA1ccing pa111.
Fuseli\ carefi.1lly drawn feti'ih objects are ent1rely ditle-renc
fi-0111 tl1e very free pen and ,v.1sh sketches ,,ith \,·hich he -..vorked
out his n1,1jor pai11Ling,; or ilJustration co1111nission-;. fn a ,vhole
series of drawings devotcd to Ro111eo c111d ]11/ic1 l1e u~cs , ery frec,
strean1ing pcnciJ Lu1es a11d pc11lin1c11ri to ü1vcstig.1te their crocic
coup.lings relative to tl1e balcony· and ladder. Thcse dra\l\'ll1gs are
not unrelated co chose of the scuJptor Augusr llocbn.. v-~ho. líke
M;:inet, i>icasso and Fuseli, concentrated on erocic dra,},·1ngs n,ore ~

111 ol<l ,tge, as i1111)otency ruled. ln1ages of wún1e11. unable to

escape fron, 111ale des.iring thr<)ugh cheír lack of legs, ,vere
llodj11\ potent stock in trade, ,1nd in his later ycJrs l1e ofccn
drew partia], ht:adJess fen1alc figures \7\ ith just c11ougl1 bodily
presé11ce on the paper tó contain their breascs a11d t:raii nas, or
doubled fen1ale figt1res engaged in 111utuaJ sexuality. 1 hese
'Sapphic' couples appear to be dr::nvn fi·oo1 posú1g 111odels, and
11..odin cuc out pale-\vac;hed s1ngle 6gures and co11aged rhe111 1nto :!()0 Att~U,tL llodu1. c11,,id 1, ·,11i:,,1th:r
r11/.:111i: , i;,,,,)!1,1plu1e .ind \\,ll\°l\'1111111,
a tactile relationsl1ip, as a ~et of paper-thin pu1)11etc; ol1eying hic; Ji5 x .249 111111. P.,n,. Mn~l'l llod111, l l.31)70
co111111anclc;. Thc hcadlcss state of 111a11y of che display nudc<; in
Iloctin ·~ dra\vings. as in his ~culpturcs. dcnics thcn1 tl1cir per)on-
alicy as individuaJs aud re11dcrs tl1e1n up \l\'Ítl1ot1t rcsístancc to 111bô 1s ar1 arcl1et)·paJ ()r1c11tJli'\t ,eduL t1 l'S, l(<1d ,11 h.,, 11,t•d .1
thc pe11ctracion of his gaze. He also occasionally drew n,ale 11udcs fu1 ger or 'itun1p (.1 cechnique hl' USL'd ,litLr 11100) tll '\J1ll ,1d tlll' 1

in this 1nan11er, for exa111ple, tl1e red and brov."n ,vash dravvíng graph1te Oll Lhe cre.1111) pnper to 111d1c;1te thl' ,h,1dn\\ urnk•r ll1l'
over graph1te, C11pid Taki11g r-r 'i11g (pi. 290). ,vhich concentrates arched b()d) a11d thl' opt·n pl1dc11d.1 f'ht·,v ,11111d~1:·, l l 1 1, 111 1..·
on Lhe genitalia ora rather flec;hy 111odel \.\ ith one leg rai\ed i11 vibr,1Li11g inlerserli<)tl'- 01· ft.) 1111,1 1 .111d ,l·,11.il dl''lll"l. • A, l ll ,11 l"VÍ
~

che air. and tl1e tt>p of thc bo<ly guillorined by the e11d <)r Lhe
p,tper. Onc or t:\vo layers of superi111poscd grainy 'v\'asl1 b,ive
dried over the body, in1p~rting a hint of a bloody carcass (cxoc-
erbated b)r the brown dried- blood colot1r of the top half of che
body), ar1d che artic;t has ourlrned tl1e concours of rhe tibl"llre \\ 1th
1n1pat1enc red brush tines 111 a later gesture', as if to open up the
\V<>unds (of lc>uking) ,1gain.
dcnce ofhu111,111 lourh, tl1t..') 1n,11 k ,, l,1) 11114 <)11 111 lr,111d,, 111 li 11111
ing of ae .h. l\!\.on: (l) llllllOlllv. llnd111 .1dd, p,dl' ll)IOllll d \\ ,11;l1
co the pe11cil dra\v11 t1gun.";, oi lt'n ,11 .1 l.nt·1 d,,ll'. li, .1 ll'\\' e d thl"
erotic ~c111,1lt• tigtlt"C'i d1"1pl.1),ng the1r ~C'X, thi, lll l",lll'i 1lt.11 lil 11(
u.1lly 'drt)\V11•: the ,v<11111:11 in ,1 ,v,,~h t1I v\',1tl' r' tfll'' tl,cy '1,l\l"
•1
<;erved 1he1r \·uyt·11r1,lll ptt1 pn,l' lll1d111 dtl'\\ \t'I v qtlll 11)
fi·l)lll 111odel), llll)Ving frt·t'I) ,lh<1lll thl· ,111di11 (n t l li~ 1g1..•d 111 11t!Jl'I

ln Sal,1111111bô, rVoJ11c111 L)1i11,g 011 lu•, Back, Stretrhi11g Hcrsc[( (pl.
295), the v,:0111a11 \ head l1as 11ot actualiy becn excised. but rhe
moving arn1s raised in ecstasy or to screen tbi? f..-ice serve to
reinove the e111barrass111ent of the u1odel\ gaze. 1 he t1tle refe(s
to (~ustave Flauberc's epony111ous novel of 1862. ,, here Sal:1111-
.icl'i inspirl'd b, Lheir n.1k.t·ll111.,,) .n,d d1d nut ll) t,,kl· 111\ l')l"'
1
a,vay fro111 the I nodel b) look1ug ,li t hL p,1pt·1 ,, 111l e ~kl·trl 1111~.'
l--le cla.u11cd reve.tlin~ly th.1t tl11~ 1i11n1 <li i11,t.111t.111ccn1s d1 ,I\\ 111g
in the 18901. ,vas 111,·t·ntt·d ln clh, 1,1ll 1h1n11•ht~ .1h11111 1e1 l1111r.il
prt>ble111s that 1111ght ,11 rl·,t the 11(1\\ lJf Ili) l1..l•lt11g, .. l11l111 Ili)'

DRAW 1 f,JG [)EA111 ANU D[ IRí 91


291 Egon ~t h1ele, l)1ra111111.'s (";ir/, 19 r 1 • \\'ate rcolotu· and pt·ncil,
-179 x 321 1nm. N e\\· York., "fhe Mctropolitan Mu,cta1i of Arr, 13e-qucst of
Stol1t.JJ 1·11ayl.'1. 198.! (1984.433.31)
cye to 111y hai1d ... Occasionally I gct cffects that are guite inter-
esbng, pos1cions that are sugge~tive and sti n1uJatiog, but that is
by thc \,Vay. My obJCct is to test to \,vhac extcnt n1y ha11ds already
feel \,Vhat n1y eyes see.' 25 R.apid strokes of cl1oppy penei! mam
or fluid contoUr\ were thereforc the n,eans for capturing and
pÍl1nu1g do,vn thc n1otion'i of fleeci11g erocicisn1, while wash
aJJc.>v.·ed hin1 cu reaccivatc! the desire that is unan1bibru()usly
niscribed v.·ithin thesc drawings at a second scage. ln tbe two
dra,vmg; on one shl·ct, I-la11d 011 Ce11itals (Mu~éc R.odin, o. 6178
and D. 6179), the left dra,v1ng tocuses on thc lowcr torso, band'>
and opened legs dra\vn \.\7th S\.v rft, a11d slack coocours; above to
tl1e right 1~ J n1uch 111ore c.1 refully ob:-erved drawmg e1nploying
a n1ore delil1e1~1te technigu<: ª" ltoJin concentrates atte11aon on
392 DRAWING fi-lE OTHER
the exacr po,;1t1oning of the 111a-;turbaci11g fingers. He has
stun1ped the penei! to darken anel 111ark tl1e pubic area and b11r-
tocks, then covered the e11sen1b]e with a pi1ik wasl1.
Egon Sclucle, 111a1ufestl,· i11fiucnced by 1-lodio, did not fa.il to
neglect any aspect of voyetJriscic arousaJ in che tircless lirany of
his séXl1nl draW1ngs d1tring bis ,,ery brief career: children cxpo,;-
ing tbe1111Jelves; children posing as dolls; nude cl1ildre11 a11d their
naked 111otl1ers; fe1nale display nudes in every for111 of 11akedness
or sen1i-dre'>sed <;tate; lesbia11 cottples and l1eterosex ual copula-
tio11s, i11cluding st1pposed 11u11s and carclinals: masturbating ai1.d
detecati11g subjccts, including man)·, rnany ,vorks of Schiele
himself (so111etin1.cs dr:.1vv11 as a11 androgyne) 111asturbating i11 front
of a mirror; ,vhoJe and n1ucilated figures, allovnng for total co11-
cencratioo o n the genitalica. The project, all1cit tn111caced, \-Vas
nothing if not thorough! A~ a result of l1is use of child n1odels,
Schicle \-V;1s i1npr1so11ed for two n1ontl1S i11 J912 ou cl1argcs of
public in1111orality witb regard to nunors: earlier charges of kid-
11apping and rape ,vere noc provcd 1 and the judge ritually burned
1
one of his drawings during che proceedings. '' Obsessed ,-vith
looking at proh1bited subjects, be ofte11 n1adc reference to sight-
lessness in his drawings and paíntings, portraying l)lind 111others
or reprt'se,,ting hís painfully c:111aciaced, 111asturl)ating seli- as blind.
His rl1ild and infàntile n1odels are son1eti111es reprcse11ted as
stari11g dolls \Vitl1 button eycs or apparently sigl1tless: they ca11r1ot
see the artist who is n1arupulating their irnages for other pur-
poscs. ln the \v.ttercolour Drea111in,~ Girl (r9rr; pi. 29r), drawn m
tbe sarne ycar as the nucle ·elj:Porrrait discussed i11 chapter twelve,
the very b11xo1n fen1ale has cl1e facile contours and colou1-i11g of
Caro1 Ran1a'<; dra\vings, discussed be]ow, and l1er dt)IJ-like eyes
and 01outh are closecl. Floppiug backwards like a huge inflatcd
doll ,vith her nipples pointing skywards like l1oc-,vater bottlcs,
sl1e displays her vagina \VÍth botl1 l1ands, a.nd Scbiele l1as caken
some care in representing the various textures of pubic hair a11d
inverted labia. The fi.tll fio11tality of this work - in the obviot1s-
ness of technique as well as composition - does 11ot involve even
che most n1i11in1aJ graphic strategjes, and is therefore risible ro
so n1e spectacors.
The ro]J call of 111ale artists wl10 were i11flucnced by Rod.in's
erotic dr,twi ngs is very Jo11g. For examplc, sinlilar truncacing
dcvices are used by Fra.ncesco CJe1T:i.ente in a black pastel
drawii1g of 1989 fi:01n his Besrinri11111 suite (pl. 292), yvhere che
n1odel 's f..,ce j_~ ct1t off by tl,e fi·arne of che dra"ring except for
her lips, and ::irrns and legs are ~in1ilarly chop11ed off. Breasts and
ope11 lcgs, as tl1e privileged Z<)lleS, are attacked by b1rds and
beasts, ,vhich nestlc ,vithin the negative spaces for111ed by tl1is
crucifor111 l1ody. Tl1eir predatory beaks and □1ouchs approacl1 tl1e
body to devour it, and they are give11 tJie attribt1tes of sight
througb reflecting ctyes, \Vbich have been derued their victi1n of
this dream of ,nultiple rape. S111udgü1g and overdra,ving of the
body reinforce its volt1n1es and dra,v attention to its conditi()n
 292 Fra nccsco Clemente. 1 l111irlcd (1\111. 6)
an1 Ma111, 1'v\useu111 für Modcrne Kuni.,
of lubricioL1s readiness. By contrast, in a dra,ving of the sa111c
year, Cv11f11sed Re,ollecfi()tl (Lo11don, Tate). a 01ale figure \vich fore-
shortcned bead appears co be in a pose of disempovver1ne11c, buc
the barbered wire of lus e11trapn1e11t e ncirclcs a very large ercc-
tion. The barbed ,vire strand~ end 111 balis of ,vire either block-
ing the n1ouths of a ro,v of female figures at the base of the
dra\ving or, nlcer11ativel)', te) be ínterpreced a~ barlied cexr~ that
are being c:!t11ittec.l fro111 their 111outl1s anel enfolding aud encrap-
ping thc:! pe11is. One fe111ale figLtn: interrupcs chis cltorus to st1ck
thc brcast of another. Tbe exact meani11g of tlus e111blc1nacic, a.111.i
rather humorous, dra,ving is not dlff:1cult co 111terpret.
fi-0111 He.H1an11n S11/1<. 1989, black pa~tcl, 762 x 669 nin\. Frank.fitrt
Disen1pc)\ver111ent is also one or the '>exuali:-ed the111es of t he
ftalian arti,t Olga Carol Ran1a (b. 1918). Tler youthful \Vater-
colot1rs conca.111 fi-agn1cntcd fetish obJccts st1ch as "hocs. tra1is-
parc11t body pa.rts as contal11ers, broon1s. fi.1rs and faJsc tecth, as
,vell as gro11ps of figures or ,von1e11 adorned b) buncl1es of 111ul-
tiple penises or inserting snakes ínto their antlSt''>. Her subject-;,
very often vv ith JH"Otrutling to1igues, face ,quarely out or thc:-
dra,vii1g to engage the eyes oi the spec.tatt1r. re111J]e figures an:
ofte1J discu1po,vcred within ,vhcLlcha1rs, or in hosp1t.1J be<ls.
rnaking some connection ,,1ith Frida lZalilo 's 1n_Jurcd self-
portréllts, but aJ.so º"ve n1uch to l::gon ~chiel1:. ln thc dra,-ving
DRAW. ~-I G DEATH AND DE SIRE 393

2.93 C.1rol RJnu. f lpµ11ssit111,11a, 194-1. \VJterc:olour, 320 x 2.301111.n. Tu.rin,
privace colle,·11()n
l-lpp11ssio11,1/<1 (r94-1; pl. 293), a fe111ale figure, ,,i;rith a typícaU,, pro-
trud1ng phalhc to11gue. lies :1rn1less and legless on a tr:1nspare11t
111etal bed. ,v1th ., p.iir of un,vcJrable red shoes displayed belo,v.
Likt: Rodin ',; powerle,;s fen1ales. she invite"S and cannot ~scape
ch e pc11etrat1on o f che 111ale gaze, but she recain'i l1er ]1 ead and
heT 1dc11city and l1er potency. ltan1a lia-; said often 'I paint to
heal nlysel f' . but also clain1s that 'For me croticís1n is thc rcjcc-
tion of all prudery ·. ~7 The projecting phallic tonguc bccon1es thc
en1po\vering connection v:ith the viewer : eithcr reJecti11g tl1e
011lo<lker ,v1th a rlHle g-e,;ture or engaged with th e O ther in
,pcccl1 , but .il,o dis11l,1yi11g her o,vn se,ualicy as a vveapon. As a
ducct cot1nlcrt1.ii-t to rhe younger Cle111ente. Ran,a also cele-
brates fen1ale po\\'Cr, in ,1 ,v,1cerco lour o( 1980, (T11e Fe111nle
B1ttclic1 (La ,\Jaccllcna); Pr1vatc Collecuo □). i11 ,vhicb c1 potc11l
rouged ,von1an. "v1rh the usual protruding tonQUe
... t,
like the l:lindu
1.
39-1 DRAWING THE 0Tt➔ ER
goddess !{ali. brandishes a knife above severed heads and car-
casses. l~a111a is engaged in the self-reflexivity of a very cou-
te11111orary projecc in v.•bich she is both artist a11d subject o f l1er
work. aJipropriating l1er o,,r11 in1age into the reaJ111s of i(leutity
a11(l íe111a]e sexu.11 politics. 111 Lb ese graphica lly uaive ,vorks sbe
invites thc spcctacor to ad111iJ·e l1erself as a unique, sclf-rcvelatory
fe111a.le figtirc ('Look at 1ne, 111e, 111e'), whereas Picasso·s and
Clen1ente 's projects, for exa1nple, i11vite an audience co share th.e
eroricisn1 of a 111-ore ge11era lised and satt1racing n1ale gaze.
Exorcism, Com pensation and C astrat ion Fear s
The An1erican artist Alice Neel (1900-1984) reported when slie
vvas 83 years old:
You know \vha t happe11s to 111c ofte11, after son1eonc poses for
me for a couple of l10L1rs-? Whc11 they leave, if l 'n1 in the apart-
men t alone, I just feel a,vful bec,n.1se [ have reaUy b een livín,g
ín then-i. 1 teel hke an nnte11anted apart111e11c. 1 feel fi·igl1tful,
because l l1ave exercised such e111patl1y, tbat in a way, I leave
-,R
111yself and fec:1 as chough T have no self.-
Neel, ,,-ho painted her~elf naked as ,1n old wonun ~1nd portrayed
Andy Warhol paJ·tly nndressed displaying 11is scar<; and pendulous
brea,cs in a painting ín the W11itney Museu111 of An1erican Art,
New York, undertook a nu1nber of drawings and paintiI1gs of
ti-ieuds displa)riug tl1eir 11t1dity with an unprccede11ted fra11k11ess
ai1d vvit. ln Ke1111cth Doolirtle (I932; pl. _.:i.94), her partner Doo-
little (,-vl10 ,vou ld la ter destrO)' n1any of her paintin.gs) lies splayed
out on the bed, ali parts of his bony· body drooping with sleep.
The crucifix above- l1is head is carefully cloth ed , l1ut cl1e spr ings
of tl1e 111attress are exposed, setting up an opposition l1etween
clotlling and nakedness. Although. other aspects of tl1e bedding
i11 tllis vvjde-angled vie,v are drawn with a tnore teutati\'e pe11ciL
Ke1111eth.'s sl1adii1g is en1pl1asised ai1d tl1e bodily edges reinforced
w ith a fir111 011tline tl1at separates him fron1 the sL1rrounding
whiteness of the bed/page. The isolatiop of the body displaying
its 11akedness m atches th e c losed eyes and unconscious poscure:
the n1odel cut o ff fi-0 111 che gaze by sleep ren1oves hin1,;elf fi·on1
the srripping gaze of che fe111ale artist. This dra,ving is not u11re-
lated to Neel'1, notoriouc; painti11g _Jve Co1dd (1933: private col-
lcctio11, on loan to Tate, Lo11dou), more linc drawing thai1
painting, whcrc the Bcat vvriter sprotrts a pletl1ora of penises
fi-0111 his lo,ver body. confi·onting the viewer with a 1nildly
den1011ic s111ile of possession. Jl1e 's thírd set of pendulous geni-
tals i~ fra111ed ,vithin the horizontais of the chair. 0 11 ,:vhich \1e
sits wích his legs ,vide apare, in the traditionaJ pose of a disph1y
nude. This inlage, so aJien to the proud singularity of phaJlic
syn1bols sucb as classicaJ I-Icr111s, see111s to bc a SL1bstitt1tiou for
tl1-c multi-breasted iinagcs of fen1ale nature, a su bject often inves-
 •

.......,

1,94 Ali1-1: Nt·c:I. K,·1111ctli

l )0,,/111/e. 1() ~ 2. gr.tph1rt'.

- -
,,....,...__
28 r x 254 nw1. Tobu1
Found,irion ('ollechon

tigated by Louise Bou rgeois. N eel's an1u~ed fe111ale gaze has nt)t
reduced either Joe <)r l{enneth to 'n1ere' sexuality but lias gen-
erously enha11ced their potency. She sai d in an ínterv1e,v tl1ac sl1.e
ga,•e Joc all che penises to compcnsate for an absc11t sex life,
a commentary rather close to one made by Bourgcois vvhen
phocograpl1ed by Robert Mapplerhorpe in a hair coat ,vith her
l1uge pen is -.culpLLlre Fifctfl ( 1968) tu cked u1H.ter her .1r111; ,he ex-
plai11cd d1.1t ~l1e ,v-as 'taki11g cJre 01· che photogr.1pher. I'J
Nccl's figurat1vc cxprcssion1sn1 ,vas co-optcd by a group ot
,vome11 artlSts vvor.kii1g in Br1ta1n 111 the 1970<. J11d 8os ~ ho
deliberatcly e11francb1sed dra. . ving .1, a chea11. rec1dtly acc:essible
and uninflected medi1.1n1. noL vJlori<;ed l)y rhe n1.1ltc'-don1in:ited

DRAWll'JG DEATH ANO DESIRE 39S

 ,

\ \ --l......._1
f /

\ J

\ \)<_1;.~~-~
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-
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i'vlu~bc: l~odin, D 601.2

396 Jac911el.ine ívlorre;i.u, I::'rrs 1. 1984. charcoal. 510 :X 765Jn111. LoJ1don. pnvate collection
 -
' e ª" ...., '

•
•

.
•

297 Ludovico Carracc1,

Srttdy qi ,1 Nt11/r Ht>y.
1111d- 15Ros. red c.halk
.
""r~~~~~~-
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•
t""
237 X 233 mn1 .
• ltlt, lf
Oxford. Thc A~hmolt:.Ul
•
/'v1u,eu111. \VAJ 853 1.2.2

art establislu11e11t. Wíthin this reclain1ed field, v.'01nen experi-
1nented vvitb returning the gaze (includ.in g the monocular gaze
of the ca1nera) L1pon d1e n1ale body. parcicularly n,ale gen1talia,
\Vhich had 11reviously been offitially sanctioned only v\·ithin the
life studio, altl1ougl1 they obviously had a )jvely !)hadow exi~tence
in u11ages of gay crocicis111. ;r, Parl of tl1is enterprise ,va<; to reassert
the cff1cacy o[ th.e fcn1inine gaze. especiaJJy v..·ith regard to thc
Other body, and chaJJengmg 11otio11S of n1aJc powcr and n1aste11
by clainung female co-o\,vnersl1.ip of erotics ~n,i sex1.1ality. Eros 1
(1984; r,l. .296) by Jacquehne Morreau. (b. 1929) is one such in1age,
\Vhere rhe fi·ee running li11e and the pron1inent era~ure 111ark, of
the cl1arcoal surface con..;titute d1e 111nrks of u11al1a-,hed engage-
111ent: the artist reclain1ing the ,;ite of the 111ale nude as both a
'proper· a11d an 'in1proper' study.·' 1 Morreau and Nee1 deliber-
ately chailenge thc fea.r of castration to vvhich 111ascLili.n.itv is
potentially at risk wben vvornen t_1Surp O\v'11ershi-p of the gaze.
To cüsplay the penis or its surrogates is a11 act of defiancc: to
supplant it or double it is a,1 act of te111ale c111po,vern1ent.
Morreau borro,v, 111an1 of the s1g11s of eroticis111 fron1 cradirional
n1ale dra\vings: the uprai~ed vest or i;,ve;:it~hirt th:it allo\vs che
lovver part of the bot1) t<> be exp(>se<l and enrrap~ the 111odel\
arn1~: tl1é open eye<. look..ing out,v,1rds and the half-p.1rced lips
l-lcir1scriptions of outli11c, cUlJ.I era!>ure 111,1rks belp to tha.rt a
fil')tory of tbe artist\ gaze as it l1as n1ovcd up, dO\Yn a11d around
the <;pread-out body. 1t is 1nterest1ng to compare rh.is !~te t\ven
tieth-cennir) dra,VIng, part of a ,eries of painting\ ;ind "itud1e,
concerned v.•ith che then11.· of Psyche ,111 d Ero,. v-. ich ,1 red chalk
Stlld)' o..r a l\'utfe Boy (pl. 197). ,vhere Ludovi<..o Carratci ha,
cl1osen n Vt!f')' si111ilar positio11 fc)r bis ,lecpu1g slt1d10 a,;~1~tant.
depictcd lio111 thc fronl in a11 apparently stoLd aad .itfectless
dra\,ring. 1~he posicion of thc legs ,111d the forcshorre111ng ot thc
prone body act as signitiers for .1 reconstri,ction 1.>f rhe po,1t1011

DRAWING DEATl, ANO DESIRE 397

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dnt·, tltt· h 11t1 n 111, 1q1 ,\l1111d11 ( 11J1JH: pi IJ1J), t ht·y ,1n
, p 1·1 t.11 111 , 1, 1

p.11t1ri p ,11111 g 111 .i hili, 11 11 H1, ,t 11!1 11p '1111, ,,1111t1 \ 11 1g g1H1d
1111111 <>111 d 1•ld 11·1.1t t·lv l>l'j.!,\ .1, 111.111y q11t·, t11111, •"' il .lll'I\Vt' I' ,1 h o 111
l't· 111,il t· ,v, plt llt ,111 0 11 1 )u111,1 ,\ 1t:1 li1111p11 o i d 1,1w1 11g i11 to vt:1y
\.Vt' I \,\, l'> li d1 ,1\.V lllg,. ~l l !1 1. 11 tl1 t· 11111· 111.1\ 111 it i.ill y lil t•t d \ ll llC> tlt L·
\.\,l'h h.1, lo h( ll'l l.11111 l'd hy ll d1 ,1\V 1t1µ, 111l\: 11 \\ 1tl1 1h t· h,1rd l'IHI
0

111 tl1 t h.1111 llt· PI tlt t· ln ll ~I, r,1i11 t· 1 111.111 tl1 1• liru, lt p1J1 11 t, s11ppli L·s
.111 t'll<ll lllll ll '- fli11d11 y :1, wt·II ,1, lt111111111~1ly 1n l1c 1 p.1pc 1 ,vo rk,
•1 ltt· tl'dr .1w 111 1'. ui ll1l' t'Yl', li 111 , h1·t \vt•1· 11 tl1 r h !-'" .1 11d d tt• l11 1t• 111'
tlit• hi l,1\ l Jt',1d ,1\ Sl'( 111111.11 ) I li \( 11pt1C)I) ~ t1p1111 tl H· l lt.1111t· l'IÍ t'( t,
c,r til\ 111111.tl l1t · t lln\,V i11g d1. 1\.\' i11g 'l'licy , ll t' ,1 di1 e1 1 1 l.1 i111 in g o t
\t x11 .tl ' IJ.\lls tl1t <>11 g h li111·.111l y: ,1 ,1,11 o( gcstu r.il hody \Cr1pl t h.11
pl.11 l'' t l1t• ,1111 ... 1 lil' rs1·lf 111lc> Lli t· 1111.11!,l' 111 ,111 ,H L oi id 1.·11t dic,1
ti, ,11. Mo, tl v. 11<>\.\'V\.t 1, .111d ,vltl1 trc 111 1·11dn 11, f'.H·ili ty, 1 )u1 n.1,
.dlo w.~ t la· l 11",I \.V:1~li d1 .1 w i11g 11 , 11l ',1t t· tt s o\.v11 r d~t· .1, it d 1I L'li
1)11 tlH p ,IJ H'I, ri lit• l l'I h111qlf t' tlt t' l'(' f()l'l' ( 1.11111\ tll t' Íll l.1)4\' ,1\ ,1
, t,ll l'lll t' ltl <>í l'.11 t ~t1 t•11g tl1t· 11t·d h y it s Í4,o l.1t 11111 11 11 i11d ivid11.il
p i,•c l''- o i' p ,1pl' I. lt 1~ 111t t' tl'St 111g to , 0 111p.11 t 1>11111.1,\ p t',lt llt t
\,\ itl1 lt11d111 \ l.1t t· 1111dt dt ,1\A, lflg, \-V ll t ll \\,,l\ lt \Vil\ .1d1k d l,ll l l ((1

tl1 ( p t'll t ti d1 ,I\.V lttg,

J<>'il'pli ISt 11 ys's t .11 ly dr:1v-. 111µ'1 ll\V1 ,1 llll l.!il dt ht l o ltnd 111 i11
tt•c l1111qu t .111d -.1tl ~jt·c l 1n.11t 1. t t·, p l't 1,dl y .1pp.1rt· 111 \'-' li t·n l~l' ll Y'>
ll 'it '~ i11h. w.1, li w.1tt·n. <110111 ,. l>l o od <>1 br o\.V ll 11 tl p .1 1111 i11 l r t>, ll

i11 g llu 1dl y dt ,IVv J) s111g lt· /1g 11J'l'S (li) 111r11 :111d 1 ,1',ll,d piert·~ nr
p ,q1t·1. 1 lt , ,~t I<111.•, of \.Vt 1111 t-11 d11 ri 11 K tl1 c l.1tl' 11;,10, .1 11d IIJ )O\
\A.t' l'l' 1.·111 itll'd ~li 1111.111-wn111,111 ~c ,ltl.'n ·s~, ',ttr, .111d ll'Ltll lil' ll V..,\
~l•ll:.111 01 l.11111l d ' 111 y.,l ic ,d ' jll l oc e t 1p,1t11n1<, lei lhl c1>J1\ l'lll1 0 11a l
1,tJIJ \11,1,lcnl J )11111,1~. ,\ /,111rf)', 19<)8, 1111,; ,HH.J ,l(í} ltl ()rl papér, 1250 X 700
p.1111,11 t l1 ,tl d1 1 hrito 111y l1t lwt·1.·11 fi: 111:1 11: 11.tturt· .111tl 111.1 lt· 1.· td tu r1.·.
111111 IJ1 1v.111· <ollc111011
lit 11 y, 1.v ;1, i11il11 ç 111 l'd ,11 th 1· 11111 1· h y l, 11do lí' '>t1.· 111 t·1\ th t·ori t·~
111 tl11.•()',(1pliy, ,1 11d ht· 111.td t• ( ()1111(.'( IH>II', ht I Wl'l' II 111111\l·I( ,111cl lt i'i
ll:111.tl c· .11,d ,111 i111.d ~11h1 1.•< t,, d, ,I\VÍ11g 111 l1 ,11't•\ hl 1111d 0 1 s11h
,titutt•1;: 'tl n l1,11 e as ,1 ., ,g 11 oí .d<l1t·111i r.d t1 ,111'1 lt11111,1t1c, 11 .111d psyc. l 1c1l1>g1<. .ti e risi'i. ·11ie fi:111,1li: figure, as ht:,\:l''i a rl.' ge11craU)'
e IH 1111t·,il e li.111gl·: tlt t· 11JC1lnl1t y o i l,l ood . th t· 1't· l.11 1<lJ1 ~l11p bl'LWl'l' l1 n1u ul.1tcd. that i'>, hc.1dll'ss o ,- n 1i~si n g rhcir lo\.Vt'r lcgs or ar n1s:
tl11.. l1.1r1• ,111d d1 t· 111 t t1 \ t111.d hloo d , hutli .111d 111 c·,1r11,1ti c,11 : the ,01nc l111 1c<; <>nl y thc vagin ,1 is; left ;ifier l'\'crything eh,1.' hJ~ been
11ppt•t lt.tlt Ít ll 1hc· .,1 11d , .111d tltt l1>wt·1 11)1 lei t i!Jty. . " I ,1111 d1 t• t'Xl 1,t·d. 1 h c,1· ,vork,. cu rHlt1,;ly. ht1vt: 111}l b...-e11 st1l,jecl1.·d to ,1 \US-

lt,1n·" ', 11 1 lH w 1n11<·11 .u c· oflt• n ,,11'gJ1a lll ,11111 , 0111t·l1111t•, g ivi 11g t.1 i11ed (cJ11i11 i,t rri tÍtJlle, perh q,, ht.'l'..illst.· 1he 'A·eb ()Í lint'\ 0 1
bi, 11,, p11,,ilil y tt•l,111 ·d 111 l{l'11 y,\ 111y ll1 ic ,ti 1e h i1th fio111 \.V,11 ,111d , prc,1d <Jf h ,11 l'\ h lood 0 1 bluod-lil:t ,va,h .111d dl't'l' p rive s111all
11cs, c, f. ,r.,1l' rt:Sl\ l l. 1C)Stlrl' o i lllll"rprct.ll •1<)11 .
314
111, .,111•111111 ~ ,1l 1l'gt·t11·1,1IH11l d111 i11g tl11 , jll'I Í11cl o /' \\ lthcl t,1\V,1 1 .111d

l)RA'NING DE-A1 H At-10 DESlRE: '399

 •

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300 Jo~eph B... uys. 1-rcck/cd f-t<1irs, 1v58, double drav.,ng, ,,~1tercolour (Be1ze) :ind pencil o n t,vo ~heecs of cransp:irent paper. each 34-8 X 146 111111. N e,, Ynrk ,
Solo1non 1~. Gui:t_11;~•nhti111 Mu~eu111, \)1.3\)Jt>
 I \
'
..
:<'f-
.,,
--~
~
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-
301 Jacques de (;heyn 11. S11uiu.>s '!f -ltrrib11res a11d c:rr11r11rt'.( o_( 1l'i1rhr11!/1, P<'n .1nd bro\\'11
Paris, l11stinu Néed.tndai~, Fondatioo C ustodia. Collc:ction Fríb Lu~l. 6861-
111 additio11 to ,vasb drawi11gs. l3eu)·s produced 1n.1ny linear
sketches in pe11cil, wh.icl1, with their delicate or scratchy lines
a11d peflrirnenti, are i1nbued vvith the gescures of speed a11d hesi-
tancy in searching and fi11ding. ln tbe series -17,e Secrl!t Block _fêJr
a Secret Perso11 in lreland (a colJection of earUer draVi'ings chat were
asse111bled and named in r977) , the fe111ale figure is son1etin1es
tra1isparenc, witb ai1aro11licaJ ind.ications of a cluld ,vithin the
,vomb; drawn in hare's b]ood, or its subscicutcs, and !lhe is son1c-
tin1es 111enstruati11g. H er brcasts are usually pointed and proJcct
on either s1de of an elongated body, not contained \v1thln the
fen1ale co11tour, and this figure easily tra11stor1ns ir1to a 111utilated
and headless frog-v,10111a11 \witl1 pendanc and pointed labia:
Beuy-;'s dra\ving; are ofcen about stares c)f rransforn,ation. This ii.
~o in the cwo dra,vings of Freckled Frogs (1958; pi. 300). w liich
evoke tl1e frog dra,vi11gs ofJacqt1es de Cl1ey11 11 ( 1565-1629) a11d
exist in some 111ysterious gtotesque a11d cross-over wodd
ben;veen humans ar1d animaJs. ln de Gl1eyn's pen aod ink ,-itrrib-
11tes t111d Crent11res of vllitchcrqJi (circc1 1610; pi. 30 ,), the &osr-s are
1no11strous half-bun1an creatures, ,vith hu111an hand<;, buttocks
and long dugs ,vith elongated ni1,ples. ''1 ln Beuys'.c; paired
clrawing, as in 111any ocl1er of h.is sketches. the v,0111en ·~ labia are
projeccive and sharp. The lcft-baud drawú1g of tbe set cstablishes
a reversible i111age, ,vhere rhe headless top of che forn1 \\.'ith irs
ourward-poincing dr1.1gs repeats the shape of tl1e opened legs and
pro11unent labia: this woman is nothi11g rnore than 11er 111enac-
r
-
'
•
•
•
111k. black ch.1lk 011 butf p.1per, 94 x 353 111111.
.
ing ~exual orga11~. Tl1e wash. applied ovcr son1e sort of rcsist (or
just rejected by cbc tracit1g paper), bas dricd in a sc.ibrous a11d
reptilian 111a1111er. ln the righc-hand dra,,·ing, the face of tl1e
arl,lliess figure ha,; a st1rprised expression. \.\ hile the frog-like 1
thighs - rhe edible pares - have been pri,ed ,lpart to rese1nble .ln
open pair of castrating i;hears. ,1bout tn -;nap t<>gerher 111 an att.ick
L)ll 111.ile ph,1llocentriciry. I 11 an [Ti11itlet/ dr.i,ving <>f 1957 (pl. 30.2).
three head.lcss reclining fe □1alc fi_gures are dra,vn u1 blood (and
bro112c paint) and e~..1dc fluid fro1n their projccting lab1a, tl1eir
headless torsos n1arked by vv1despread dugs, th.is tlme pointui.g
up,vards like l1orns. The pudd ling of the- 111e-nstrual blood acts as
:1 sign of wound or abjection, exacerl,ated l)y rhe Jack of head,
arn,~ and feet.
AutOll) Gor111ley. \·\ hose su\tatned a11d C<)hcrt'11t ôgurc1tívc
sculptural practice is a ,·er1~ long way ú·on1 Bcuys\ n1ulti-l~cetcd
practice, l1us yet dra,vn for 111<-1J1y years wirlrn1 a set of paradtgrn,s
of scratcl1y lu1ear figural dra,,1 1ngs and st11ning proce'>ses u~1ng
blood and ,;en1e11 or other .1genrs co replicare bod1ly fluidc;, \Vh1ch
not on ly owe 111uch te> 13euys, but al~o J1111ear ro l1ave been gen-
uinely incernalised as personal style. Gorn1ll'y\ {a,t111gs of hi,
u,vn body. ,,vl1ich constituu: the 111ajor part o( his piacricc. are
theorised by lii111 as ,vallc.:d coutaincrs ot cn1ptu1l'\!-> and space.
yet in lig11id 1ned1u111 dr:1,v-ings be srain~ the prc-,encL of a ,1ngle
body ()11to a page usi11g oi!, fàt or even p1rnc-nto saurc- from a
plastic bottle, i1sed a'i ·an t:jacul.ttory 1111ple111e:·11t, y{>ll (OLtld ,h,lke
DRAWING DEATH .t\l'-10 DE.SIJ,[ '101
n u1d 1t ,v<>uld ,purt .1nd 1n.1ke .1 trajectory througb the ,iir
bt>íorc ll bec.tn1e p,llnt'.41 111 Co11iepr (2001:pl. 303). ht' dra\vs a
liLJt1id ft:111,1lL· figure 111 an1l111l' ~lye, \\ hich cvoke\ the pu<ldling
uf pign1c11teJ ltquid use<l by 13euy-, (out o.f 1~odin) llld even
t.'\Toke, Heu) s\; C)l~1cail y proJect111g fe1ualt> lab1a bervvee11 the
,pre-ad leg, \Vh,ltever the tor,nal connect1on,s betv;een these
t,,·o .1rt1c,t~. c;orniley\ Jra,vings an: a rc<;1)(1n<:e to very dirfere11r
,tgend.1,. Tht: 1ivel, fi!:,ruri: f~1lling l1at k,v.1rds in spacial di<;array is
sp,1ttere<l JS i( ,v1th u1c 111ark:- of sound: thc 110Ície and dust of
f:1lhng ... ar pcrl1ap~ she i~ bcu1g attackcd by cU1 cristic S\l\farn1
of bees!

302 (rt,'(111) Joseph Bt•uys.. l'11titlt•rl, 1y57 fi:om T/11.: Serrei Blv1k Ji1r
Se(re1 ,1

Per~,,,, i11 lri·l,u,d. chinJ1t"d blood. Goldbronze auJ ~aph1tt', 298 x i. ro 111111.
Berhn. St,atlichc M1.1see.11 zu Berlin. Kupfer~richkab1nen:. Smmilung M,trx,
178

303 (bc/011 1) Autony Gor111ley, Co11ccp1. 2001, water-d1spcrsc:J aJliline Jyt:.

21\0 x 31\'o 111111. Pr1vate collect'lon

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Phallic Breasts, Disgust ing Hags and hybrid form reir1forces the ·u1111att1ral' couphng of tbe v,·icch \\. 1th
Monstro us Sex a younger 1nan_ Other \ viccl1es engage in their u11bol)· actt\'1tJ.es,
0

111◄'1 ki n g potious and partlcJpatlng 111 a Black ~1ass \\'Íthin tl1e

ln secret nave you klssed rr,y putrid buttock.
Chdr!es Baudelaire'
Toe hon·or we feel at lhe thoughl of a corpse ,s akln to the feeling we have al human
exa-eta. What makes th,s assoc1atton more compelhng ,s our s,m,lar d1sgust al aspects of
sensualrty we call obscene. The sexual channels are also the body's sewers: we th,nk of
them as shameful and connect the anal onfic"E! wrth them.
Georges Bata11le'1
The assoc1atLon of envy (inl'idia) ""icl1 tl1i11-dugged old age is
traceable back to earl,r renaissance in1ages; it appears e111ble1nat-
ically in Cesare l~pêl 's Ico11ologia and is given 1nernorable forn1
colonnaded bi1illiíng on cbe left An e,til \\ ind ,;een1, to actiV'Jte
cl1e pen a11d ink l1nes 1ndicat111g cl<.>Ud'\ and land-;capc that r,H:e
across the thin grcy \Vashes of rhis very pict()rial dra,ving
Witcl1es are associ.1ted ,vith ,vinds (lraditionall; chcy can r.1ise J
scor1n) and also \,-.ith ve11on1ol.1s exhalatio11.S a11d toul e11iiss1011s,
wl1ich are pictured as clouds of foi1l air or pestilences on1itred
from the evil pocions ín cauldrons over tires tti v?hich pares of
l1un1a11 bodies can often be detected: cl1ey al,o relate co rhc•
fearfi1l aspeccs o( bodil')' fluid~. The~e atcributes of Jefile111ent
have bee11 icô11Ícally exploi-eli by Hans Daldu11g Grien in 111,111)
prmcs, especially the well-known chiarosc11ro \Voodcut J ,,·;,cl,cs 1

in Jacques de Gheyn rr's dravvingjea/011sy fron1 a set of eighr alle-
gor1caJ figures or l 'icissit11des (pl. 304). Thi'I elaborate pen and
brown i11k and grey was}1 draw1ng for a princ, of a n1ad and
n1onscrous creature wi th pl1a1lic c.1ugs, very close to a M edu-;a,
vvith l1e r c;taring eye<; and l1ead v.rrea tbed ii1 tv\·isting <;erpents, is
dcpicted digging l1er teeth into a hun1an l1eart. 1-Ier 111uscular
arms and curiously exaggerated torso 1nusculan1re relate her sex-
Sab/J{lt/1 of 15ro.-1ú
Otto l)ix ( r89 r-l969) ,;vas scrongl)' inf3uenced by Gr1en and
early Ger1nan tradiuons of the grotesque, but there is so1ne
a111bivalence ín l1is 111etal1-1oi11t dra,ving Old J,J'b1na11 (,';eated 1\·1ufe)
304 Jac9ues de Ghev11 11. l111•idia. 1597-8, pen. brov,•n ink and grey \\-ash.
112 x 162 nu1L J-Lunburg. Ha1uburger Kunscb,ille. 51329

uall)- ainorpl1ous body to a fe111in.ised écorché: tl1is indeterminacy

mocks and threatens n1ale potency. Tn the backgronnd breast-
;.111d cone-shaped kih1s en.1it fearn1l Aan1es .:n1d s111oke. •
The e111ptied- ouc breascs and \Vrinkled, scra\vn1 hídeousness
of fen1inine old age are co11u11on n1ea11s of represe11ti11g a feinaJe
beyond fertility: the despised state of tbe evil old cro11e. co11-
ceived of as dcstructively en,rious of· the fecLmdity at1d sexuality
that are now denied her. ~3 As a v.·icch she is associated w-itl1
souri11g the n,ilk of lactating mothers and de,,ouring in fants, pic-
tt1red graph ically by Goya in the brush ,:1nd vVash drav\'-ing B,1d
f,ltb111a11 (circa 18 t5; Louvi-e) , in vvl1icl1 tl1e 111onscrous joy<; of can-
nibalism are apparenc 011 the vvícches' face, ac; c;J1e lievours the
naked iufant Í11 her ar111S. Witclies attract disgust in a patriarchal
valuc syste111 ,vhere yo uth, beauty ai1d fecundity are linked as )
the valorising attributes of desírable fe111aleness. Tl1e negative l
aspeccs of cronehood 111eans that she is easily appropriated as a
representation of wickedness :111d evil, whereas aged 1nen play
the n1ore benign role of butfoons in caricature or signify
wisdon1. 44 The repudic1ccd wisdo1n of the old crone as phallic
Lnother renders l1er ai, a ttgure of fear: she is a sexually abl1or-
rent sorceress \vh0 pays younger n1e11 for sexual fuvours or
engages in orgies o.f anal sex \,rith the Devil. ~5
ln A í1Vitc/tes' Sabb{lth (pl. 305), De Gheyn draws a hideous
crone engaging in a cranc;gressive dallian ce with a young n1ale
ftgure, ,vhíle both are ,;eated on a 111onstrous dinosa ur-type
dragon. The 111onster \vith its long phallic head and 11cck repcars
the elongated forn1S of tl1e naked figures ,vith cheir legs
,_,,, e,..,,.. rr.
ent\vincd 111 the traditio11al pose of se)s.t.lal encounter, a11d its -

DR,\WING DEATt-1 ANO DES RE 403

 ..• I ..; ,.
•

....) 1

305 (t1ll<ll'(') J.,cqll<-'S de c;hcyn 11,

! 1 r l'it,Ílt'.1' S,,b/1,Hlt • .1ficr J600,
•
pen .1nd brown ink a11d grcy
\\a\h \vttb ~0111l bodvcolout ou
butT p,1prr. 377 x 'i+t 111111
()xl,>rd, (~brt~t C..' hurch Pieturc
C,,11Jc11, JttS 1J60

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~

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3(,6 ( )!lo l)i,. <Jld ff,í,111,111
i = Íif,
(',1·,11,·d \ud,•1, 1')]1 , 1nct.1lpo111r t~-)'
011 prt•µarcd p.1pt·1 ' •
~fi
.;,,76 x ~r,:,, 111111 '1.11 l·r.,nr1,,o, • t; '•
'~ r-lj
i~
í-ine ArL\ /1.lu,..:utn\ of S.111 J!i -- ... 1

Fr.lllc 1~co, Bequt',! t 1t ll 11th H.1:1' ~ •

4. m,, 1t;;
L1licnth.1l. 1975 . .!. .!
of 1932 (pl. 306). 47 Di.x causes bis 111odel to lean for,vard so tl1at
thc pcndulosity of the phallic dugs beco1nes fi.tlly apparenc. Tbe '
looseness of her h:111ging ski11 around neck, belly a.nd thighs 1s
contrasted with cl1e plu111p drapery on the bed on vvhich she
sits, ,vhich n1ocks the n1odel's rhrone on ,vhich a beautiful
youthful fen1ale \<\'Ould be po,,;ed. H er scanr hair. infi;"1111ed eye-;,
bo11y neck a11d ,·isiblc brea~t cage i11dicáte cl1e return of l1er bocly .....
to a coudicio11 of sexual indcter111inacy a11d decay. Nevcrthelcss,
~..
ic is difri_culc to know v-d1etl1er Dix is S'/111patl1etic or hostile to
bis subject, dra,vn v.11tl1 st1cb fine prec1sion. ln a passionare \\/'ater-
colou r 0/d ftf 'o111n11 (1923: Sn1ttgarc, l{un-;tmuseun1), his disgust
for his subjecr is paran1ou11t. and her fàce has transn1<>gr1fied into
a 111ad anel grinning deach <;kull, c1l111ost hairlt.',s, \vl1ile cl1e l1eavily
en1phasised old dugs poiut dov.•11 to tbe edge of tl1e page in a
reverse curve; hcr body bears a gree11 wash of corruption ...11! The -
avcrsio11 of thc n1ale gaze fro111 co11fi--ontations of fe111ale old age
recalls the power of the h-ideous Medusa to blind tl1e un\vary.
Justas 1nen ca11 be rendered sigh tless by t11e Medusa, so the sight
of a \VOrn-out body beyond fecundity or eroricis111 i:-. danger<.)LIS
('u11sigbcly'), all the 111ore so a::. it approaches death ,111t.l dissolu-
•
t1011.

The conncction betwee11 repulsivc boclies a11d un11atural cou-

pling is explored m a ttansgress1ve twentietl1-ceunu-y dra,ving by
Hans Beil11ier. U11titled (Pha/111s Cir0 (1964: pi. 307). ln li11e with
Belh11er's f:wtasies of girls gaz1ng ar rl1e prohibited 51ght of cheir
<),vn internai organs, including foen1ses a1111arent within tr:ins-
pare11t wo111bs, or copulaci11g \Vitl, skeletal priests, i~ che recur-
ring obsessiofl with constructing a 1naJe/ fen1aJe creature tl1at
rape') itself. 'A 111ir1gHng of tl1c n1aJc ai1d fc111alc, tbe Me a11d tl1e
You. sodomising thc Me in tbe You:·19 The abject in1agery of tl11s
j
drawing 1s enl1a11ced by tl1e precisio11 of the pencil that deljn-
eates veins, loose or gorged flesh, nipples. l1airincss, texture and
n,odelling i.n light and shade with fanatical skill: fixi11g the eye
on phy~ical Lextt1res whose exaccítudc is caboo, requiring a 111ore
occluded gaze. The obscen.ity of Uel11ner's dra"vings resides i11
their technical e-x.cess. By co1nparisoJ1,,a drav-ring of a vcry sunilar
subject by the conte1npora1y Amer1can artist Paul McCarthy
(b. 1945), 323-85i-0915 (2000; pi. 308), related to his 11tllacable
'B]ockhead' (Pinoccbio) sculpturec;, is amusi.ng and scacological
in the n1anner of a child's dra,,v ing because of che cartoon-like
languagc and roughne,;s of 111eans.

307 (alior•e) Hans Bclln1er, U11/ith·d (Pliallns (;ir/), 196-1-. graphire.

220 x 170 n11n. 13erl1n, '-.caacl1chc M u,ccn zu Bcrlin. Kupfersc11:hkab1ucrt.
\oftung S:11n111lu11g D1eccr )cbarf zur Erinnerung an l )cto (;er,tenbcrg, ,.
S-G43

308 (rü1ht) Paul McCarthy. 323-852-0915 ('lllockhl'a<l ]Jra\.\·Ín!f, no. z). zooo.
graph1te 011 transparenl:l~ed paper, 610 X ..J-79 111111 Ne\~ York. The Musl'ut11
1
of MoJcrn Art. Gift oi N1nah and Mic hael Lynne. Lj.6.2003 .2 •

DRAWII\IG DEATH AND DESIRE •105

,, Ili 111, lfl llt11 1 1l fJ

1 lt 11 li 1 11 •I

1 1 d 1,, 1li
lf 1 1li ' f 1 1 'il f I li (1 1f

11 111 1'· l'I il 1

1 lf 1 1 11
1 1l I• 1!111 111 '

li '
ftt li 1!11 f11I Ili 11 1 l11tift1I
1 1 1 1 1 1 1 1 1 1 1, 1 t, 11 I r 1• 111 11 1111 Ih,
I 1

l111t1l111 1

\\;, li !11 11111 1 111 ' I' 1 h li l Ili tl1, 11, 11, !11 d111 IJl}l 11 11 tl 11 <, I
\\, ,ili \ 11 111,I 111 ( 111•\\t tf1tl 11,)1111 11. 1,I l /11 ll ,11 (11,, / 11,11)
,,,, , ,1 IIJ 111111 1•1 t tl 111l, 111d,11l , 1 ,,1 11 1, 1111 111 1111 1t1 11111
111 l 11 Ili, 11111 11111 1, ti 1, , 111 1 111, 1 1 11 ' Il i '), r 1 111.1111 1 1 111 11111 \
,,d, il 1il111tl 111 \1t1lt lll l 11111111,1 1' 111 l,1 1,,1 11!11r l 11 11 11 ( 1\ li
11111 l" l li, 11111 , ,1 \\ 111, 1 I• 1, 11 11 1 111 I[ tl ll ,, 11111 ti, 1 ,.iL ~ L\11 111' 1),
t11d 111 !111 \\ 11, 11 , 1li,111 \/111,/11 t 111 ', t lllllj; l il , 1 1111~11 111 1~1· 1111 1,
11 "1 1 11 111 1 ili , d '' 1111 t\•lf• . 1 , , , .1 1 11111, 1 11 111 1.l,· 1,· d
11111il 11
I"" 11111 1t ,, 1!11 111 1 11111 , 11 , 11 1 1, 111 1, "" ti ,, rl ,1111 ,, 11' 1 111, 111 11 1
,,.,, 11il 1111 1111111 "' 11 11 r1 1111 1 11 1, , , 11h 111 ,111, ti 1d l •, 1111«11
\ 111 1 1, ,ltqd1, 11, 111,l 1 ,, ,! , 1111 , ,,ti, 11,, ,,/ 1111 , tl, 1111 , ,~ l ll l n d
1. \ ' li 1 " l li 11 111[I 1 1 " 1l ti 1 1 1ti •• li t 11 1 11li I oi. li • d\ 11 1111 " ' 11 1. ,1 g, 111
1111, 11111 d, ,l1111d1o1 I"'' 1l,,1 tln 11 11 °,1 111, 1•111,, d 1,1 111 · 1• 11
1•11J 1,.111 1, 1 11 11 ,\11 • /',"""~• 1•1 1u., li.11Lt 1,1l 1111 µ 1rv p,1 pcr. <i 15 X \7'i 111111 .
1111d1 1 1111 IHil 111 1 , 1111, ,,p11 1 llllllll L III •d g,•1111 1,.1, 111, 11 11·
Ili 11 111 ,t 1,1111, li, 1\11..,,·, 11 111 ll,·11111, 1... 11p11•1~t11 hk.1b111rr1. ~/ ~7
, 11il l\ 1,,,d ,111 d1q111 1 1, 11111, 1 11 1 11 , 11\, h l11111 l ~11111 1 d
1,,, 1, 11 1 11!1 Ili ,, 111, 11 111, 1• 11,.t lllll1 lt\ '! 111111 1 1111•ltt 1q 1, l1 k,· 1
lil, 1,1d11 ,1 ,, 111,lt1111 , 1,, l t 11111 tl11 11111,11 11, il Ili ti ,, 11 li '-1~11111 11d ,
1!1, 11, '" l1i t 1•1,,ti , 11111 d 1111 . 1, ,11 ,, ,,,, 11111111 11, d ,11 1d 11 11 11,!'d,
11 , 11 1 1111• d, 1,, 11 1g l, c, , v ,t hin .1nd the dra\\ i11g
Ít\ co n1pn\ 1t 10 11
., r l.11 1·, .111d li,111d~. 111 ihv 1111 ,il IH·n\, 11 lo ned li thogr n ph . Lhe 11ú:- i-
1111 \11\t Ili I Il i ,,1 tl11 , 11 , 111 Ili 1l1 1l lt , \\ 1111 li 111 111111 11 111 111 ,1 1111 11 n l t h 1• 111 111h1 r \ li .111d h .1, b l·,·11 .11lt· r1.·d lo g r1p lhi: cltild\
111111,I 11I 111 111111 1 , ,, 111 , ,,111tl 11,,1 1,, 111 11111, ·"'" 11 ,,11 1 l,.1 11 11· 111·1 1 , 111d l i\\ 1 111.11 1-',l'd dç.1d 1l1Jld \ l.l<l' 1, pte~~t'd d o\111 Jnd
l ,,li\\ li 1 1 ,,,111, ,,1,~, 11111 "111, 111 , 111,,, 1 t ,, 1 ,1, ,1t l1, \\ 11 11 11, ;I \ il11 1,1,1 11'1,1 u1 1, tli 1: 11111th1.· 1\ h1 , 11í'1 Hl l,II v 1,;,1!-'.t'. T lit· 111o lh ~ r·:,
'
\\1 li 1 111111 j' I' li 1 .,1 1 ,,,11111< ,11 li'• 111Lt tl 1t1III 11111 li 1\ 11 1µ 1111\1' 1 I\ l 1111 h li,,., h 1·1 11111 l' 1'1 1. J.'. 1,I\ \.' nl th l' 1. ltild, .111d th l'11 111 ll lllh,; ,u1d
'
11111 11111 l lll j 11111, 1 1111 111 \ 1111 !111 11,t~~lltll,1'1 111 li \ lj\1!1' " 111 11111 11 l.11 1,tl l1·,1t111 1•, ,11 1. lu ~1.•d 111t1.> ,1 ll\' lll{.!1 d L•,1d dnu bk· po rLra.ÍL
1111 ••I tl11 l•t 11 1\ 1 ,1 111 Ili ,,11 \ ~11111 ti h \\111 l 1111 , II Í 11 11• tl11•11 11', 11 11, ,111 1•1 11\ e •d 111l lr,1 111 1l1l' d 1.•,1d ,uh1crt
. t u t h l' C<lnj o 111t· d
-
\li tlh ''" ,,l 1•11111 , ,,, 1111 1 ! 11111 ,,,,ri ' 111111 1 llll 1 1 111111 !1,•1 1 11111:~ 111111111 h 1 (,) 1.·, ,,1.·11 1.·11 1 111 g th 1.· p .1111 1.1t .111 n l11 t' r ',; de,1th - 111:1kt>s
1,1 1 ,h ,,1 'l1d,I t •I 111.tl. 1 d, 11 1 ~t'II 111 111<•11 ,\ 111 l11d11 il1 j\\ l,1111,, 11,, , ,1111.. ,·,•1\' prnhl l· 111.1\ i,·.11 l{lr 111.111y Vl t'\Vt'TS , ,vhn .ire
1111' 11111 1•11111 \ 1 ,1, 1,I • l1tlil 1 1111,15 I• 1 ,\ 111,,1111 1 \\ 1111111 ,1\ 1, 1.tl 1 11il '.111.1,,1·d h, h t·1 l'\ 1 ,.,, 111 t· 11111tH111 , •.iltlH1u ~ h thl' ) 111 igl11 have
.1, 1111 ,, 111111 Ili\\ \1 •,I li\ l \ l l,1 111\ ' ,, 1hlt,h, , 1 '1\11,d "11 '"' 11, 11 111 1 1,·,1· 11 l 1 , tlh1111 tlH· 't1 t' l1 1111t ' qu.tl1t v ofSt h1cl l' ·~ pnt 11og raphi c
11, ,il 11h Ili 1 ,, 1 \11111\ 1,,,111\ 11 ' , ,111 \\ I\ kd l, ,1 ,li ,h, l t ll ll l 11 1 d t ,I\\ 1111~~. (111 ,·,,1111111 1·, 111 l'vl.,,,,111 \ 1H Pt t,1,~11\ n: prl'sl't1t.1lio11,; o f
, ,, , 1 111tl ,li, l t'\11111111 ,1 IP .11 d \\ 1111 1h,· 111, 1 1111 • ,,1 1 ,h \1 1111111 ).!, 1 li'•' l, 11lh, tt, \ ,c •,c1•rit>11 {)r dc,llh h.1~ COll
1111111.•, 1 111 1~1nh111g tlt t'
1111 Ili li, 1 ,1, \\\ "'•' 11111 I" 1111, tl11,,1tll,l1,111 1 1111 111, 111 tl11 1 lt.11 l1111l1 1·d I p .1r11111l.11I, lh' t v,1, i, t· t,, 1..• ut, ltr,;t c1..· ntu1, t,1boo: lll>l
,,,ti l\11 ~ \ ll• 1,t11J)1111 1, 1, pi ,, .. ,,,, s111,I\ 1,,1 11"• 111111,1~1.q ,li 11~.1 .
, 111 , 1 1111.1~1•, 111 , 1n l1·1 1t 1..11..· 1l h . ,, h1{ h .1rl' d1 s~t•111111,1tt· d t.:'\'l' r\ -
I '. 1I,111 1 11 "., 1 '"'" l ""'"" t ,, lllt li, 1 11, 1,I 11 1111711 11\ ti h• d ,1, 111 tll c 111,·,, ,111d , ,n 1, 1 lr , 1, 11,11 .111d 1lte \V, H·ld 'J.' 1de \Vt'h, hut
ti,, 1""'1.1. 1 , 1•1, ,,, , 1111 ,1, "', hil,1 \ li, .,.11,, 11,, 111n11,,h,·d 1.11, ·'t'··"1 1~1 ,11 k '""' l1•d ~1.·1t1 l'III 11 1 11 11• p 1.•r , 1111 ,1I 1.•11rn u11t t~1 ,, 1th di:.llh
1111, 'l\ 1 111' "1 li, 1 li d, 1\\ li ,,, '1 1111•tl11 1 1111 'I'' 111.11 11 ,, li, 1 ll ,1 1111 ' "' 1·111 ,, 11 ,, , h ,1.•1, 11111 11 111 ,H t ,; <l i 111,111111111 •g d1.1t ,lrl' not
\ •
1
1\ ,1 ••lll 1,, ' 1111, 1 lt 11111 111, lllllt\11 ",1111,· ,,, tl11• d.11 k
11 d1 ,· 11111 , I, 1lll1\1 1ll111 11,il 11111.tl, 0 1 t1.·l1.•, 1, t1.1l "Pt'l t .11 J,,, 111.1111pul.11l·d
h 111,I Ili 1,I, I' ,,,, 1 ' '" l htd, 1, 111 ,1 1li1111,111~. 11111 1111• ,·, 1•11 ,, ,, 11, 1\1 1 d 1.11111 , •• 111 111, 1 l.l \ 'ol \ , 111d, L '/ /11111/lll' dr1•,11J1 l,1 111(111. l>rul

\ \
1ppe Aries characrerist~s .1 ..erie, l)f Cl)illJ1lc'\. h1~to11c.1I .,rticude,
to death. 11oti11g rhat the 11it1l'tecnth-cl' ntur, t'b~1.•, ... 1011 ,, ith chc
'
uglu1ess
,. of disease 1s follo,ved b, thc n,odcrn ·l'' J1. u .1cion • t)f
death. as ,1 result of ics 11_1eclicalisar1on and cJ1c ,ll)di c:1t1o ll t)f c t1u1-
1nu111ty in,·olven1ent. ~-' The ,1ngu 1,hed n 1t11e,ses c)t- n1ourn1n~ ui
Kt')ll,vicz\ gr:1ph1c, are.> Sl) di-;rurbin~ t<) -;0111c- ,oph1,c1t ,ll1.'d ,li r
con u111er'i tl1at thev , ,1re r1:adil,, cnnde11111ed rhrt)lll!h' tht' n:b,1r-
bari\'t.' conct:J1t of kit,;ch. it~elf ,l con1plc, and nu,v u11r:1 ... h1t>n.1blt·
aestbct1c c;:itegory that appe,1r~ to lt:g1,l.1ce 011 nou1.>n, c)l ,1pprt)
L"i li,· lt'lt'll'11l'(.' lll ,.111 l\l111d,•1\ p,,p1d11 \11111111,· ,,1 l'll!'II\ 1711
( ;,,fdi li l l,111• (/)r• ( :11/,/, 1, / l,111i1: 1,1J1J) l{c.·fl'l I lll:' [11 lh,· , d111 111
11.•,t .1Ctl·r I lifl'\ ti,1,.111, d,· l ~li,·, 11 1,·p11',l'11t, ,1nl, dtt· l11· 1d ""
eh,· p1ll0,, 111d ,111111 d,·1.111, ,1t tl 1c.· 111gl11,h11 t, ili,· t•111 h 1.11< d h,,,h
undl'l chl' hl'd1.h,1l1l',, .1, 1, ,·11,1,,111.11\ 111 .111,11, l1 ,11•, ,111111, ,,a11d1l''
1)\c'I rh c ll'l\111111•,, dt,,1J'l 1l'l1, 1111111 , 11·,, .,, ·1111,1glttl, • ,111d 1l1<
hl'd1 ltHh l·, h l'l illllt' tl ll l' ll \ \ 1 1p('11lh ,111,,1111 1111· 1, 1 111 lt,1111.1~\l'
111 1i,i11~ .1 ltl,l'llt'\,I. 1, ,,, 11111 1 , ,1 l.1111 111,11 ,1, ( ,Ih·\ li 11,1, 111t1\1'd
1i·1ll\l .1 11,,111.d 11,1,1 tt1lll . ,,111,·li .1ll11\\, tl 1111 ,1 dt111• q11.1111•t \I<'\\

pr1ate or 1nappropr1ate rcspon-;c. pt)lll',lll til 1Hl l' dt.t\\ 111r, {11 ,111oll11·1 pu,1111,11 h,·,1d1• d11· b111 Ili
ln addicion to these ht·~1vtly syn,bolic spcct.1clcs ot dcach .1 nd o rdt· r tn ,H ln c,·c .1 11 .h 11 11 .111· -,,'1'11 1HI 111,1!tl1• .ts ,, 11•, ,,1d !111 11,\\
n1ot1rning, Kollv:itz u11dertook n1ore trad1r1011al rcçord, o( de ,11 h: tl·r1rv 111 sp11 1.• lll ir:- t,11 tllil 11•.tl1,111, tll'\l I d 1l'll·ss ,, 1!11 1t,~ , 11\
~he "'"ª~ J doccor'<: \\'ife .lnd lived rhrougl1 t\vo \Yorld ,,.,,r._, ror co111.11) l'\"l'' ln1 tlt c g1,11t·1.q 11,· dl ( ;[it'\ 11 , .1 1,· l1dl , dt'J'I• 1, il t,·
e:x,1111ple. rhere are c;ix c.leachhed srudie:-. or tht: cc.lt11111u111,;t le 1dt"1 c1111nu,·h 11u1111cd leti 1·.11 111 lintlt , 11'\\, \\ l11t li 1,·1111,11, 1•, 1111·
Karl Liebknecl1t. ,vho ,, ,1s n1urdered ,ll(,ng ,, icl, lll):.,1 l 11'\.l'111- u11iqttl' t11•1,~ 1, I , ·.111 l\1 .11ul c 1\ 111dl\ 1d11 il1,111 -\ 111111d 111 1111,, 1
borg in 19 r9; dra,vin~ rl1at engagl' direcd, ,, 1tl1 portr..11ture and bt)d\ lthlkl·d 111 ,ll'.lcll \\llltld 111d11 .111· li11\\ l i !l ,11 111 \\ll lil,I li,·
perceprual issues. far fron, K()U,,itz 's 111orc obviou~!, CL)l11-trul·tcd )Ltdg1·d . ,ll llll1li11~ 1,1 h1 l1l·l, 111 l111· 111111·.'
Expressio11ist g-raphJc ,,•orks.~ 4 Schiele, coo. \\,l'i 1.·n~._1gec.l ,, 1th 1)l· t:ht'\ 11 \ d1.1,, 11 1g 1 111 hc 1 ,,111 1.1,t1·d ,, itl1 ,111 .tl111<1•.1 11111
death 1n the )rear 1918. He 111.1de chree dra,v1t1!-,'l'!i 111 U1L' n1orµ ll l' ll'lllj'()(',llll'l)\I\ ,tud, lll ,\ d, 111 v ,11h111 I 111 111 1 .111,11111•1 '11 l11111,
of his n1entor Gust;:rv Kli1nt ( 1861- 191 ~). ,, h t') die d o( p11 e111110- \\ h1t h t•, l11h1t, .111 l'q11.dl, 11111·11, tlll•d t1\il1s111 11 11· 11111\ lllf
nia follo,ving J o;croke on 6 Febru ., r y 1918, ,,tth h1~ 1:11.c· ,ho111 l\lug h .d h111,h d1 .l\\11tg /))'lll,\! l 11,1i-.i1 t..../1,111 ( 1r11x 1,,) , Jl l l'\11111,1\
or its characceri,tic bc,1r<.{. Schiele .tl~o 1.lre,\ h1:-. ,vifc.· Editl1 tHl .11111hult·d t1i l\ 1,h 11d .1,. n11t· ui l' 111pl·1,1 1 ,l,tl1,11 1t• 11 \ 11111,1 1hl1•
27 October 19 18, hours bcforc hcr dcath, dy111g li11111;t•lt l1.)u1 d.ry-; ('Ollí.llLISI',, ,~ 1111\\ h1•lt1'\'l'd {\I lil' li, l i.ti, h .11 1d {1111\'l 11/1,/ 1(11111
later on 31 October. 55 40), 1 1k1.• o tlit•r d1.·.1chhL·d ,111d1t·, h, ,l,· l ,IH'\ 11 11 ,, 1, h1 ll,,,,,·d
Thc pru11ary sources and n.rythical origins of dra,,·1ng, .1s d1s 1
b)' .1 llll1U,1t111t· p.1111t111g (1)1 ~-~o) ~ l '11 1·111.11 1.1111111 111 1111, , ln\l'
ct1ssed m chapre1· one, are const1ruced .1round the re l.11inn~h1p ,trtcnd,1111 ()f !11t· Mll gl1.il t·111pt·tllt l,il1.111 u. 11, .1dd1t t t·d 111 1111111111
berv;een n1it11esis. loss .111d death. ln rhc ,, 1..;l1fully po1gna11t 1101 111d \\ 111L'. \\1,1, ll111lll1l'111 Cd llll h, rl1t· l'111lll'IIII 11111 1,1·11 Ili 111, l i\\ li
cr-aits of d~d subjects, \\ ht're likent',s c.·c.111r.1i11!. thl· ~t.'L·d, nr i1~ , hnH111 lt' ,,1 111 , 11•1~11
•
' l lc ,,,1, .;k 111 d1.1,, 11 1,v,·1 1111111 •
ov-111 dissolurion .•1nd the ,·ery in1agl· i~ .111 .1cten1pt to dt'I\ lc,~.., 1 h,,ugh p ,111111·1, ll ,I\'!.' ,111,c11 111111 '1 i11 d,.,,, 111g ,111 c• 111.11 1,11 1•d
through inútacio11 (according to We,tt'r11 t)lll<)ll>~il'.il 1het>ri1.·s), Lltl'. 1 h,l\'t' lll'\t' I \l't'II .111,cl1111g ltk,· t111 ~, llc ► t 1 \1'11 ,lj'J'lll,tl l1111g
thc artist confro11ts a doublc in,'l:.'t-sio n of the nt·gative 'illDJL'Ct. 1l. .• As 1t ,,.1, .1 \l' I\ t , 11.1111d111.11v 1 1,t 1 11111•1 ll'd p,1 11111'1 s
leon.a rdo sat by the deatl1bed of a dt~ruficJ old ce ntt'nnr1.111 til ro r.1kt· h1, p11rtt.1i1 . Nt·\t d ,1\' lt1· 11 .1\·, ll,d tli t' tl •,1111 11 11 1111
the hospital of Santa Maria. Nuov•o in Flore11ct' 111 ordrr rcJ trv c ,1s l l' IHt'.,., Altl11H1gh 1ltc11 ",li,~111 111111111 111 1111-; , 11 ,1\, 1111-', tl1t·
and ca.tch thc:! n,oment of h1s pa,;~111g. (' I 111.1de .111 ,111,1tn111y <'f t)\'c'I\\ ltt:l111í11 µ, t:ll1·r1 j, 111 111 1· 111 , 11111, 111 tl1 1· 1i11 1• ,1 11,I 1111( k
hin, in order ro see tht' c.1u~e of S<) ~,~t't.'l ., dt',lth'. hc• ,, r<)lt' 111 hl.tt k 1111 1·1., dt .1\\ li \VII li .111 1111' p1 t•1 l ',ltl ll ql .1 11111,lt tlt.11 l\•\11 !' !1 d
his 11ocebooks). 5'' For artisc~, rhl' cxa·aordi11.1ril y tl'sting 111.ittc.•1 <)( 1111111.Hlll l~t, 111u ld lllll'lll'l , 1h1· l.11 k ui ~p11•.1d 111 \ Ih 11 1111.·, I< 11111 I'
co11u11c111orati11g the 'ab,cncc oC prest.•11.t:c ·, vvhether uuderstood tht'lll ,IS d1\IIIH' I ,111d l1.1g dt .t'i li,11\I 111·111 d li11 ,·, l lt1• 1'\l 11•11J1 d1 .
as a sp1r1tual 111atter or 11ot, coex.ists ,v1th thv pr.1gn1ati c, record 111Lt·g1,1t1tHI oi cht· ,.a l.1,·c.·111L1, hnd v (lt1,; h11·.1\t l11111t .1~ ,,,·li ,1, 111,,
i11g aspcccs of v\'1rncssing dearh. l)catl1bed portr.1it., - ,vh 1rh r1h, ;trt.• v 1~1hlc 1h1ot1l-\h tlic ,l1·,H, .11 c d , k111 ) 1, , 111111.1,11•.! ,, 1111
arnsts have been u11dertaki11g for Ct'11turÍL''- - .1 re usu.111) d:1t,·d , li1c pl11111p 1111 \lt'' 111 1h1 d,•,1ll1l1t d , 111 lltts , .1,1• ,1 , 1.Jh•, 111111 ,d
and this act of rin1ed .1nd recorded \\ in1ess i-. l)Í the gre:itt'~t 1 t1'iht1Hl1. .111d hol,c,·1, .111d l~d111t, 1, 1 , 11111•11 111 1· p.111 1 n f rl tt• 11•1 l111
sigi,ificance. perhaps ;1lso bec.:.1ust' of the Ít',lr <.)( 11111111nt·nt 111g lig url', ,, 1111,1.· lct•f .itc. ,, 1 q1p1•d 11p 111 ltt\ /1111,~/11 ,I', 11 111 .1
<l i~i11 cegracion. ,hroud 111.1\ .tf l{li.111\ l')'l'' ,l ll' , 1tll llj'l' ll 111 111, l1.igr,11 .I ,111d
The absenct· oí the ror1n,tl ,lt.C<)ulrl'111c11ts ç,I Je,1Lh, fi.>r l1t•.1vil1 bt.11dt·d f 1c1·. h111 Llll· •l l'1 11111g ly• d1s11,1~s1111 111 1• 1t•11d1•1111~
cxai11plc. weepu1g 111ourt1ers and rel1gious sy111bols. n:ndcrs con 11, rt d<)lt•11r \\ 11 h
1
l n111p.1,,11111 ,t 11d l1•1•l 111g.
temporary portrayals very difficuJt. lly concrast. J.1c9ues dt.' 1r 1s tllL' '> 111hol11 ptl·,1• 111 ( 11! l ,111dlt·., 111d 1 111, tl 1x d 1,1 1 .1dd ,
Gheyn n·s double de;"tthbed porrr.,lt or che poet ,1nd ,11-t thl'o- p .1dH1, to (,l'lll!'t'' 'il·u1.11\ ,1' 1) .1h•a1,tt 11•il d1.1\\'IIJ1J, 111,11 l •,//111,
renc1an K.1rel v,111 Mander or Sepre111ber 160(1 (Fr,111kfi1rt. //,111111011(1' fie, /)r,11 /1/i,t! ( pi , 111) Ili ,1 )-!,lt'Vl'ih •11'1111t ,lllc111 cd
tl/1

St:idelscl,es Kunscin~cicut. Nr 800) ,v,1-; ti·ec to t·111ploy lhe S)'lll ( ' 01111'.· t1.1y1111, ,,1111 ~01111· lil.l\\ hl.11k ,111•.rs. 1 la• 111g.1111~.1111111 ,ti
bolis111 of a carc·fullv dravvn h,1rp la1d o,·c1 rhe bed1.loú1t·s . .i ,;pe Vt' llll,lls ,111d hllt l'./llllt.tl s 1, ,1, 111t·,1, 111t·d ,1<; 111, 11111.1111 tl11· 1,td,1,1 11

l)RAWIN C, :J I AT 11 Af ll, l li li t '111/

 110 ( ;l:'<'ll!;l'\ <;l'lll,ll. 1/ltl/~ /•:1Íl 1lc' / /,/1111/1'11((' , 111 /,n r>c•,1//,/1r,/. t)il,~. l.llllls' 11,l)'\lll , 1. ;o X ~ 10
n1111 l'.111', l\\u,~·l' dl1 1 t>ll\ rt\ l)cp,11tnll'l1l til·, Art, µr,1 ph1 <111l''· 1'2.!51

,, 1th 1t, l~, l(k·d hL111d,. ,, ith111 ,\ ,Lrtl·L ~r1d. <.' l)t11po~1t1on,1 lly, th1s l ' hts 1:- \"l'rv d1tlerent li·o1 11 d1l' 111 ,1111 H.' t 111 , \'ltlt 11 f\ l.1g1~1 l l.1 111
,1dd, 111 ll1 l' ,11111b1c ~1,tr·ir,1s <.11 th1.• ,i1nplt' hor1zo11t,ll dr.1,v1ng. ,1nd bltn~ (b. 1l)4 ~) dtl'\V l l 1;'l1l l l'tt,1 rvl lll,ll'\, tl1 l' ,1, , .tlh·d tilll'l'II ,11
11111\111, 1.'\l'll 1111111.· p.1thc1, than llon l<1l,1_1 's p.,~tcl of l )t·gas tln ~ohl, ,111d 111t11h:l tl> Fr.11ll l~ ltll'llll, n ,·c·1 ,1 p c1 l1HI Ili ~t ,c11 111u11t li ,
h1, ,11 khl·d (pi. d1~cu,'il'd on l'agc 21' 1. 1 he di-,pl.1y .1spect
1t)ll). 1i·()ll1 1991{ l'ht• ~roup nr sk.t·lt hh1)\ll-. dt .1 \\ l i)~)< ,\l l l 1•1 111 1·lt.1\
111 "ll'lll 11 \ d1.1,, 111g, l10,v1.·\'1.:1 111ut1.·d, rl'l.1c1.•s t<) th1..· llll)ltr11111g 'ilt kbcd 111 Lltt· ('ht'l'L'a .1l1d Wr~L111 111,1t•1 l lt)~l'tl.il, 1 1111111111. 1•11.l,
11111 d, oi 11111l·1ct•1Jlh-cl'tll llrv Fr,111ci:, ,1> d1flt·rcnl li·o111 thc Cl lJ tlie ,11ie111t)C\J1 oC hei tl c,1th . hul l l.1111hl111 1.: .tl,,1 11't 111d1·d 111·1
•
,1h,1·1H 1. oi .dl ,, 111l>l1l-; 111 (),1v1d l l<H. knl·y\ vcry po1g11.111L cr,1yo11 in her c1)tlin, ' I)rcssl'd tn k1 ll. \\ 1t li p1,111, ,11 H.I l1)nl 111g l1111,111, ••
,1 ud1l', oi 11 ,, uld lt 1t·11d l ll'lll y l ;l'Jdz,1hl1.•1 dur1ng hi:. L1~t illncss .u1d ,l!,!;,1i11 trc)lll n1c111nr\' ,1 lle1 Lhe lt1t1\.'t,1l.'' 1 (,1\ 111 i-;- dt,I\\ t1 l lr11
111 1\uµ11 , 1 1,J1J 1, ,, hl'r1.• Ll1crc t, uoth1ng oth cr th;_i 11 thc dying r1ctt,1 111 lilt· , v1th ht·:i, ,·. s111udµ-v l 1t,1r<n.d (tl1 c 111l'd111 111 ,\1,11 1111
111,111 1111.. hl.11..k .111d hluc cra\'on dra\vings in I Lockncy~ Ll,11.í! thl' , · ibr.111r 1:itcr ~1-etchl''i 1i·o111 11 ll.'111n1 \) ll H· .,,, ,kl·t, l!h1 11 1l--
/.,/,111d >;J..•crc /,(1,,,,J..· ,lrt· e1t her l ()l1t,1inl'd <)11 ()llt' p,1ge of tht' note dr;1v.•1ng., or (> J.1nu.1rv 11)1)() t\11 tlil' ,1 1Í t'I IJ \)(l l l 111 h ,•1 de.li li ,llt'
1
h,1111-. 111 o,c·1 h<Hh p.1ge,. 111 ,1 :,1n1pli:. u11,1dornt·d li11e:.1 rity.'~
,p1 11 dt) ll l' \\ ith ,1 l11111p \l( ~r,1pl11ll'. rt•1 tll d111 ~ l l l· 111 ll'lt.1 \ lH·,1d li,1111
T ltt' l1IIH l, ili lhL· ~1.1i11r l l,l\011 011 thl.' p,lf)l'I is li~l1tly l.lrl ilt>, ,ll'i , .1rH>ll~ v ,1..·\\'JH,i111~. ,, ,111 n11t' V il'"' 11r .1 11 .,1111 , k·111 1t l,t1 "' dl•.,111.
11 tht· l1.1~il1l\ 11( thL· d, 111 !-!, 111.11 1''i hL,d) prO'ill 1hl·, .1 111orl' ,d1i 1- With v,1ry1ng d<:grl'l'~ ()r tlitl kll l'\\ ,111d I ll1 t'lh.''i\ Ili / 1e111,,,i, 1 (('I.
111.1L1\\' linl'. 111d l lo Ll-.111.') _1u,1 111dic,1tc, tl11.· 111oust,1chc .111d bl.'.,1 rJ 3 12). l. lcllllbl1ng th c l,l(l' \\ ,t lt ,1 k11o ltl·d ,111d \\ .111dc 1111r
L'Xp l l)rl.'\

linc 111 ,v hi ch lighl \l r1bblc\ .111d 'gcngr,1pl11 t".il 111,11 kl·1 ~ oi pl ,111c
1
011 th l· ln11 µ. 1111"10,, l.ut· (pi. 1 11). (;1..•ldz.1 hlcr had be1..·n vcry
1'11111111d111111g h1, llli:. ,o th1..• COllCl.l'il \Vll h h1s c111.1c1at1011 tron, <.1r ~url:-icc ,ire ,;ct dov;n l1r:,.t to 'Icei (11 11· thl' ,· 011tn111, n l I hl' f.111'

. dr,l\vtn''·
\11,, 1, t'\l11•1 11t· 111 th1, tL·,t.1111c11ta ry ::-, where H1H.·kne\· )
.111d d1..·r,11ls nrh .1ir, thl'll li , lll l'l linc, C1Vl'1 l.1td 1111 t 111· p111!tl1·.
·'l'l't' 11, t, 1 h1· \flllng .li lhe end ( ) r the bed, the --heets ,ll't' llOI pin11111 g 11 do,, 11 1 uthl l'~~I\' 111 11, 11 11.11. lr,1~1 ll· 111\1111,· 11 1, nl l'S1 .tp

p111l1.·d 1111 111 d1..·11) 1111.· ,, .1,tçd hnd), ,vl11ch 1,; ,1< k110,vledg1.·d by
,1 ,111 ,plL' ~l.1111\ 1·1111111111 dt·,, 11p1Ít)II or
tlS p.ttht:lll n.1ccidi1y. T h 1.•
1111111.,1111,d li111~ <'I thr tup ,,1· th1..• hcd pro, ,de~ .1 v1.•ry .u1,tcr1..·
11.11111· l\11 d1c d1 .1µn11 .il bc,dv. 1'.,r ln1111 thc c ushi<lllS .111d shccts of
1 1 th1·1 rcp1c,l'IH ,lllt)ll,. 1 ht'\l' q1111.·t .1111.I tt·11r.1tiv1c• l111e,;, -;ubJCC't ll1
tl1l' µ11• 1tt·,t ~, 1>111>111, 1)1· 111L·,111, .111d l'-..:clu'-HH1.uy cho1<:c~. h,1vc
thc cllc, 1 nl c,p1•lh11g tl1t· .Ü~fl't l li-nni tlll' rc1)rt.''il'lll.ll 1n11.' 1
í11g líke11es:-. l "li1 0 11 gh the v 1t.di1 y ,ll ld ,\1111<1,l 11.1 11~µ1r,~1,,• 1,1, til
ity of her n1t'.111,. 1i.1111bl111 ~ h.1, .1pp1·0,\L hl'd d1-.11h .111d thl· l,\b1111~
,l\~l)CÍ.1Led \oV1Lh 1Ls rcpre:-l..'11t.1lHHI "' 1tl1 l1 t· 1 1 11'>lil t11,11 \. 111111111g l1t
111dcpc11dcnc<:.
M;111y .1rti,ts. L'llg,1~1..·d ,til tl1 1.•i1 l,,.l..., 111 11011 11•p1c•,1•11t.1(11H1 ,il 1H
11un gr.1p h11'.' prnrlllt"i, re p,)1l thl' urµl· l<l h n 11\Hl1 tl1v p,l'i,111,~ 11!
'i(lll lt'<)lll' l lo~t· l c) 1111.'1II tl11 n uµ h d1 ,1, , 111g, ,11gµ1·,11t1f~ 111.1 1 tln•

1O8 l) P,.I\ W tr•I (., 1H l ) 1H R

 111 l >l\hl ll11,J..11 c,,
111'111)' ! ...1,1 ,/,/..,, IIJIJ I•
t l ',11 ,111 , l''\1 lll lll l
,J..,·r, l1l,111>J.. d11t1hl1• p.1g,·,
llíl ,•0111 111
l 'i11l1•, t11•11 oi 1h1· ,1111\I

n:l.1t1P111,h1p hl'l \ \l'l'II 1H11Hç-;1-.: .1111I 1tll·1 111111,dis.11i,, 11 1, ,v1\ 1ll·1· pl, 1 )1.1\, lllf' 111 d 1·,11h .111d ,t·\1111 th c 111t·, .11t· h!1tl1, p .11 1do,1l,tll y.
1·111h1·dd1·d l )1,1,, 111µ \\ 1th ,l ,1111pll· 111,11 ll11\l'lll 1111 ., , 111.11\ l'l l'l l' 11111111•1 11·d ,, 11h 1,~ 11c, 11! 11·1111H11.tl1 1v 1111·, 111\o lv1· 1tlc 111pl i. 10
1,r p.1pc1, th.1t l lll)\( 111odv1-( .111d ti,,, ll'l't ui p 1.11111· v,, ll' I ILllll\ d1 1· pi11 illl\\11 Ili 'lllll,111' ,1 dt ,I\V l llf, "' ,111 ( (l l lllllll l lll 1bll' .tfl i.·1·1 Ili

11111st ,· lli1.1 1 i,,u:- .111d 1•,p 11•~._,,1· pt.tllll l' f,, 1 n ·, lll1li11g d1•, 11 li 111 l',11·~, 111 tlt1• l,1 11·1 p1.1g111 .1l1< 111,1111 v nl l. 1y111g dn, v1 1 tl11· li11L·,.
111.111v ,, .,, , 11 " .1l,11 tl11• 11H1,t ·'1'1"'11" 1.111· 111 t l1.1t tl1c d1111.111d, \\ 11111 .il, ,1 .1ll1· 111p11111~ lll l1)1' 1l1• (ite' 1111p.1lp.1hl1,', {)I [1• 111,1 1111 Ll11,•
1,1 p1\·s1·11,·1• .111d \\ 11 111•~, (1'\'\'11 11 ,11 1111g.11l') ,11 1· l 111lll.111· d \\ llh 1111,1·1·.d,11 l lic11· .111· 1111 11·., I 111ndl• I~ 1111 d1 ,I\\ 111 g~ oi tltc dy111g.
tht· i11hudt r~·~p,111,,· ,,t tl11• ll ,111d, 1111likc 1h 1· 1'\1' h1·l1111d th1· .1, tlH·1r 1111g l11 lt,1,1 b1·1· 11 11, 1 11111 11,1 1 1l1.,1tl 1h1•d p.11t1(1·d pnttL111 ,·
111.1,k111g l1·11, ui" ,t.1t11 n, 11111\ 111g l'h111111 ~1.1ph, . ,, 1111 li lt ,, 111 111, tr ,d . 1·,11 h d,.1,, 111~••• hv \ 111111· ,,1·11 , 1111111rd1.11 \ .111d 1,1, 1r.11,1111 ).
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•
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lt'qllill'ii 1h1• j' l l'\l' l ll l' 1\ [ (llht·J \\ 1( 111•,~1·:,. Ili l 111\fllll' 11•.d l,
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1

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IIJIJI/ , g1.1ph111, 11,1111 ,1

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ll~AWll'J1, [JI Alll ANll li! 11{1 '109

Part Six
Drawing the

\So .!<)O 111111, lrc,111 'lt 1 0111.l hl \111, hll ' , ( t1c,, ·, 11 1 l ,,li, l u111 1 111

th~· .Hll\L

Chapter Fifteen
Drawing Now
1 despau- oi pure draw1ng
1 mean lh,n there 1s in my dnw,ngs a sort of moral
Mus1c that I llave made by hv1ng my strokes, not w,~h lhe hJnd
of lhe! b: e.ith of my Trachea t1nd the teeth of my maSiication
3 tJ (/,fft/1(! JIII(!,') l{o\l'111J11L· I rorke-1, l i111itlcd /,\ lr,ut'r), 19\)5. :1lab,1~tc-r pl.1stcr
hl'JJ. 170 nllll .ual :-l lh.U1.oal dr,l\ving,, l'.lth ~!O >< 297 n1n1. Cologne,
,11lll'l t1011 of 1)r 1\1,l h,1l·l .1nd 1>r Elconorc- \roHcl
only but wrth the rasping
Anton,n Ai-taud
ln ::in age <)f pluralisn1, with so n,any strands of ::irasric endea,'-
our ~ttpported by a huge variety or institutions, structures a11d
djscou rse~. it is extren1t'ly difficu]t to isolate tl1ose aspects tl1at
constitutt: tl1c sig11ificancc of tl1e novv or ii1dicatc the sl1ape of
chc fL1ture. ln the ficld of <.irawing, hovvever, thcre seem to 111e
to be tvvo issues 111 the ear.ly twe11ty-first-ce11tury tl1at a.re par-
ticularly significa11t. One has co do v\'Íth che impact on drav\.'Íng
of digital technology and ti111e-based praccices, which has
resulted in tl1e burgeoning of ~~nin1ation ,1nd n1any new sources,
resources an<l niarkcts for popular forn1.s of conu11~rcial graphic
in1agery ,u1d its iJ-1corporation i_nco clravv'ing a11d paincu1g. 2 The
seco11d is concerned \.vitl1. a major shift in the relanonslup of
dra\v111g to otl1er aspects of artistic endeavour, which have
expanded to becon1e \vhat I call n1ultipractice, as artic;cs tackle
any nu,nl)er of differenc n1edia and \vays of working wirh far
n1t)re freedon1 chan in earlier decatles. In 111a11y ways Lhese n.vo
issue:-.. wbicl1 vvill have a radical u11pact on the future of dravving
aod its study, are liuked.
111 this book, ,vlúcl1 is very 1nuch a histo1y of practice ,vritten
6-orn the po1nt of vie,v of an artist, 1 have concentrated on those
aspects of drav\'ing thar in varying degrees of cransfom1ncion have
persi~ted over the cenrurie,; 1n Western-do111inated arti5tic cul-
ture. These incl ude practices of copying. life-dravving, sketcbir1g,
caricaturu1g and .,eu:.portrayal; resistant topoi tl1at have bee11 reg-
uJarly rcaddresscd by diffcrent ge11erations, or tcchnigues and
stratcgics that are i11her1tcd. readapted and even apparencly reu1-
venced over time. Tbese n1odaliries of continL1ity, recovery and
'reinve11tio11 · have been ilJustrated by, a11d contrasted \Vith, par-
ticular authored drawings specific to tin1e, pJate and hege,nonic
cultural forces. Whac I bave avoided throughouc the cext are
references to narratives of rupture, whicl1 d.0111.inate and indeed
shape conte111porary a1·t history and theories of visual culture. \
ln tl1is fu1al cl1apter, ho\vever, [ sha.11 exanur1e 111ajor paradigi11
shifi:s in dra\vi11g practtce arrd try to an,tlyse hov-v tbey have been
shaped i11 recent history.
Just as gener::il theorie<; of postn1oden1is1n ,vere predicced
and pre-e11acced 1nany tin1es i11 tl1e t\ventieth century before
beco111ing cl1e do111inant 111odc, ~o dra\ving practice h as long
bl.'en rLtffied a11d re-routed by tl1e ideologically ai1d historically
deter11úried ruptures of avant-garde 111odernisn1. repcaced ac
crucial 1non1e11ts 1n the tvventieth ce11tury. Most significantly,
these cb::inges have signalted the rejection of systen1atic. coher-
enr a11d djfferenciaced sk:ill-bac;ed systems of dra\ving for gener-
ating and developing art-works, and the breakdown of tradicional
hieràrchies of practice. l n tl1eir 1,1lace, 1ooser, hybrid and 1>erson-
alised ,vayc; of drawings havc becon1e the norn1, nssoci.u:ed ,vith
a suspicion of skill and tcclmica1 co11sidcracions and a fear of lic-
eraJis111, and an avoicbncc of dravvit1g as a study or i11terrogative
practice ratl1er tban an cxpress1vc n1ediun1. 1 havc 111adc mauy
references to sl1ch 111atters in che coursc of this book, but until
 '✓-"'--1 ' -,-r

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1
no,, 1 I.J\\: 11ot 1111k. d chen1 togethl·r into ~
.1 , .._ 11:1.rrarive-,
un1A·i11g
•ilrh0ugh rins t'- .1 ,, ell -the1)r1<.cd p1)\i tio11 .
The Regressive Alliance and its Long History
o, ie t n 1 1 f ,d I tic. p 1, ong1ns of .1rl 1T10,l e,1s11y 111 cthnog1 aph1c
tio 1 n t e ry Don t 1augh re.Jde1 . The more helpless [ children) am, the more
I ~f Pri11tíci11c ['co11les (1912), E11ul Nolde noted: 'Our age ha~ seen
1 t1 1 1rv , ex.:rnple:.. The Jrl NO ks of p~ychollcs .tre par:állel phenomena, and
on q '"' tly n 1the1 chilülike I eh<1v1ou1 no, c.1 az1ness 1s ,1 derogatory 'N01"tl, uut 1ather
1 p1 1 {]('Scrtr lion of whal 1s rnean• Ali of U1al lias lo be Wke1 ve, y seriously. more
c11ou<.,,, tha1 ,1 thf' arl n1l.tseur-rr.;, 1[ we W,·1 11 to ,erorrn <1r t tod,11,
1h" 11nag•' " •s .,mplic 1y. h;is no need of scholarsh1p. IL ,s the properly of a na,ve con-
sc1ousnes 111 lts express,on, ,t is youthful language
Gaston Bilchelard
l) r,1,v111g roday has bccll rJdic.illy shapcd by what could bc
tcr111cd thc 'rcgress1vc alli:111ce' , by \vhich l 111ean those sedtic-
rrvL borro\vings co11stellated around notions of autbencicit}' and
prin11t1,·i,1n that vnlt)r1se the innocence, spontaneity and irra-
tion;i lity tlf .1 tree pract1re L1ntra111111elled by rule~ and 111arked by
.1 1 hetoric,11 ,lecL1r,1tit)ll of new ness and/or return to 1)ri111al
, ,1 lt1e'>. <;u1.h ,1t,1v i~tic 11arrativcs <>f -;elf-expres~io11 thi-ougl1 redis-
co,·Lr1es óf 1111:1nt1le, popular a11d folk. 'psych.otic·, 'Outsider· a11d
etlinograpluc 111odcls have becn juxtaposed and co1nb1ned 1n dif-
terent n1ot1aliues of per1pher<1l ocl1er11css sio.ce the1r adoption
rnto n1odern1,t rheory and pracnce at çhe beginniJ1g or- tl1e rvven-
t1eth century. ln lJaul Klee's 1Xuvre, for exan1})Je. ::111 i11tere~t in
the ,1rt of cl1ildre11 .1nd the folk art of Norch Afi·ica joined witl1
lhe ludir. perforll1ative a.nd subversive strategies of the Dadaists
cll1L1 thc Surrealist-insp1rcd involve111c11t with psychoa11aJysis (via
both ~jS'Tl1u11d rreud an.d Carl Jw1g) . as well as tl1e Russia.n-
111,p1red n1ystical identiftcation of geon1etry a.i1d music. ln KJee's
ped,1gogic;tl \Yrinngs .iil these ecJectic inA.ue11ce~ \i\ ere codif1ed 1
1nco J 111ethodo lú1:,') or n1oden1ist art, ,u1d bis in11L1n1erable draw-
i11b"' bec,1 111e Ll1e plact· \-Vhere a huge r.1nge of strategie<: were co-
optcd as rc,,olution,1ry practicl'.
~ucl1 prJcttccc; are undcr~cood to be the dynanuc <;igus of
rene\val .1nd re.1uve11a.tion, and havc bcen of prin1ary importance
to che n1odernisr avant-garde: they are still very alive today ü1
llt'\\ C<)nfi>1 111anons, ho\vever disrant &001 the long sl1adow of
l{lee. Tht' co lJisi(>ll - and [ an1 aLivi~cdly using a Surrealist tern1
f<>r th1~ JUXt.tp<)siLion - between t,,v<> or n1ore dis1)::irare pri111i-
t1visn1), c;on1etÍ1ne, e111bcdded "'itl1in ,\ thircl fteld or discourse,
secms to be a cond1t1ou of this ',vill' Lo atavis111, or whac Ernst
C~on1br1ch. in h.is pe11ulti111ate and posth.un,ously published book,
enti tled 'the prefen:nce for the pr1n11t1.ve ·.7 1 believe this
prefere11ce run, very deep and one of its effects in the early
tvvcnt 1 -fir~t cenrury ha\ bl.'en to en<ihr111e l{.ohocop rath er than
·114 DRAWING THE FL,TURE
]Zen1brandt as a g raphic 111odel for young artists, and to replace
Michel.1ngelo \,\ ith Mickey Mou-;e .
At the turn of the t\Ventieth century, au1011g 111a11y other
EL1ropeai1 111oven1en ts of re!>ista11ce, tbe Gern1.a11 Expression.iscs
111ou11ted their attack on ,vbac Franz Marc of Der Blaue l~eicer
group referred to in [91-1- as 'rhe tyra.nny of conventioo', a trope
th:it ha,; 11ever lost its magic.k fn his tracr Tlic Arrisric Expression
çollect,ons or at
to ic th.ac a design 011 paper h<1s to precede evéry clay por. or11a-
111ent, useful objecc, or pi~ce of cloth.ing. The products of prin1-
icivc peoples are created ,vitb actual 111aterial in tl1eir l1a:nds.
Paul Klee bet\veen their tingers.''' The privileging of pTocess over design
"vas a leitinotif of t\.ventieth-cen.t1.1ry praccice, and it is significant
thar Nolde sought to leg1ti111ise ir through cl1e autl1encicicy of
borro"ving,; fi·c)n1 'SoL1tl1-Sea · culcures, as a corollary co Picasso's
b<.)rro\ving of the forn1al inventions of African 'prinúcives'. wluch
111arkcd his earl.iest Cl1bist experi111cnts clustered arou11d the
De,noiselles d'Av~~non (r907; Nevv York, Musetun of Modero Art).
Nolde SOLtgbt 'gt1idance fiam vigorous pri11útíves' 1 extolling
Tl1e elen1ent.1l feeli11g. tbc sheer e1ijoy1nent of colour, the
or11a1nentation and carving wJ,ich 'savages' give to the
desigus of tl1eir ,veapons and cercn1.onial and utilitarian
objects a:re as a rule more beautiful than the n1awk.ish a11d
precious objects wl1ich we liave in the glass cases of our
.
d ra\v1ng roo111~ an d ou1· n1useun1s o f decoranve
. arts. 1' 1
ln c;imil::i.rly eclectic vein, the manifesto of Rl1ssian Neo-
pri1njcivis1n of 1913 proclai111ed a nevv identity for ;n:t in a fusion
of R1.1~sian folk art a11d orie11talisn1. 'Pri111jtives, icons, lul>ki
[popular printsl,trays, signboards. fabrics of the Orient ... these
are tl1e 111ode1s of real valu e and of pictorial beauty.' 11 Adnúra-
tio11 of tl1e u11differe11tiated prin1itive Orher den1anded rejectio11
of acade1Tiic 111ecl1odologies of drawu1gs. Max Pect1scein of Die
8rücke den1ar1ded sarcasticaliy í.n a pamphlet ToA/1 Artists (1919):
'ln acaden,jes, cleverly co111posed e.'<ercises in patience, so-called
studies, Aow o n in ~1 never-ending strean1. Studies for vvhat? An,d
to what end? That's ,,vhat T \-Vanc to know!" 2 Under such co n-
ten1ptuous attacks, the reducti,,e n1etl1odo1ob'Y of rehearsing a
"vo rk in another 111ediu111 i11 order co acl1ieve an u1te11siry of rep-
rescr1tational 'truth' (as excn1plified in che serial dra\-vings of
Matisse, who continucd to use sucl1 outmoded stratcgies for very
r11odernist ends) ,vould becon1e increasingly rare.
Surrealisn1 - itself a celebration of politically despairing but
infantilising Dada - was constrl1cced arou11d th e notion of collage
a11d cléroupage, cl1e cucting a11d rejoining of fou11d i_n1agery, wl, ich
would ftnd a post1nodern reinvention in the ,vork of Sig:n1ar
Polke and oc11ers. Surrealist 6:eedo111s allowed c1'1e exploration of
coUabo_rative dra\-vi11gs tl1at cl1alle11ged 11arratives of autograph
anel ownersh.ip, and th.e processes of 'pure psyc.h;ic auton1atisn1',
wh-ich A11dré .Breton defined as the 111eans 'by ,vhich 011e intends
 to express verbally. in "''riting or by orher n1cchod. Lhe real Cu lll -
tion1ng of the mi11d. Dictacion by thoughr, in tl1e absencc of ;,1ny
control exercised b)' reason, and beyond any aeschecic or n1or:il
preoccupation.' 1' Tn the 111id-t\ventieth century 'authe11cic' expe-
riences ,vould be induced by ~11.,1n1a11istic tra11ces or drug tak1ng,
JS in the 111escali11e drawi11gs of Henri Micl,aux (pl. 123). or
eÃ'l)Iessed through the use of 11atw·al or poor 111aterials or body
fluids, employed by Jean Dubuffet ::u1d subseque11tly 111e111bers of
14
COBilA. Tbe j:>ot1ring and chro\vii1g of liquid substances of
J.:ackson Pollock in perforn1ative acts in \j\ hich the entire body
,votild be in1plí cated. but 111anual Cl)ntrols side-stepped or dis-
placed, i~ a11 extension of this rraairion. Such experi111ents even
afiected tlte grapluc experi111ents of thc arch-111odernist ~culpt()r
D av1d Sm.itl1 (1906-1965), intcrcstcd in Senufo Afrjc.111 scuJpcure
a11d the are of tbe Virg111 lslands, vvl1.en. rn the 1950s be stoppcd
representmg lus Surrealistic sculprural objects in ,varcrcolour ;u1d
oil p,lint st11díes and started exper11nencing ,v1th process-led
drawings, i.11spired by Pollock a11d Picas,;o. Sn1írh developed a
speedy calligrapl1y ste1)1n1ing fi·o111 Japanese Zc11gc1 (Zen bn.r.sb
pa.u1tü1gs), in1portant also to his co11te111porarie~ Robert Moth-
erwell and M.t.rk Tobey, co11trasted ,vith ,vork~ vvhere hc spray-
painted n1echarucally around te111pJates to for111 negative shapes.
These process-led paper works do uot direccly r.efer to sculpu1res
so 1nucb as j11vestigate parallel concept11al ma tters, serci ng t he
cone for a ne,v role for dr:1v.1ing as a sup1,orti\'e J)raccíce a111ong
.
pract1ces.
Although the constellation of ideas that pron1i<;cuously a~so-
ciacc thc ai11orphous, L111differentiate(l ·prir11icive · a11d archaic "vith
the revolL1tionary' practices of thc 11evv ís profounclly ide11ttlied
with early twe11tieth-century n1oderniry and ics successive histo-
ries, it has been part of a Et1ropea11 artistic heritage 5Ínce Johann
Gottfi-ied Herder celebrated che bireli nf Germaníc poetry in the
prín1ordia] reahn, at che san1e ti111e as hi~ friend Goeclie issued
a n1a1ufesto of prin1itivi~111 in rel,ttion to Gc:rn1an arcbitecture. 1~
I l erder discovered the origi11s of poecic truth, in ':..avagc rcvcl-
ries, a v,rild dance, a rude n1usic and in tbe unpolished lang,.1age
of the age, a rL1de kind of song' . 111 The powerful British equ-1v-
alent of this tneclievaJ revival.:is1n c;ent 13lake, Flaxmar1, l'aln1er
and succeeding ge11erarions in search of English 'Goch1ck' anel
Gern,an and It:1lian prin1icives. ln 1755 Johann Joachi111 Winckel-
n1ann had ciet-l chese chreads into ao evolucionary theory that
,vould be taken up by 111any: 'Thc fine arts, no less rha11 l1t1111a11
beings, have their youth,just as hun1ans have, and the beginni11g
of these arts sccn1s to l1avc been like tbe early ,vorks of artlst'\,
where only the in1pressive and rhe nstoundi11g pleac;es .... 111 ali
hun1an actions rhe impetuous and sketchy con1es fir-;t.' 1~ Go1n-
brich has poi11ted out chac cl1e generalisation or 1,rinlÍtivisn1 or
tl1e chíldlike as a vibrant stage of developn1et1t .issociatcd with
rejuve11atio11 i.s relaced i11 111any \vays to tbe latcr bíological 'la,\
of recapitulation ', ai.1 a11ti-Darw1.nJan tl1eory propounded by tbe
1U11etee11th-century Gcr11,J.11 l 0111p,1rati\'e .1ll,ttllllltsl l~rll!>l
l laeckeJ. \\ hich proposed tl1at 1ndi\ 1dual en1brYnntl: dcvt·lop-
111ent nurrors cl1e de,Tclopn1c11L (>t spec1es. 1, L\'olut1011ary cl1L'(>-
nes of are history ,,,ere <.;t1U ,·ery pote11t 111 thc c:irl) ~,,entiL·tb
century, a11d bel1ef,; rhat the po,vt•r of the .1rch.11r in 1rs gu1,e of
youthfi11 pl)tency ,111d ex1.,eri111entat1on ""ª~ ll1l1re ,1g11ificant .111d
'autl1cnt1c' tha11 rl1e degeneracy t1f la ter. t.·ffett: ,tyll, \VL fr' ,1ill
being pro111ulgatet.i in post-war art a11d i11 1960, art h1story
'We 111ust bccon1e ch1ldrc11 if ,vc want co achieve our bt.:\t',
1
wrote Ph1lipp Octo ll11nge, 1' a11d 111 add1r1on ro the associat1on
of chilcilike truths v-..·ich caricature. skecched our in chapter chrr-
let'n, a<lrn iration Í<)r chíl<..lren's a1·t v;r,\\ valc)nsed in che lan:r 11i11e-
teenll1 century by tl1e prc)liftc lcali,111 art ht~tori,111 .111d
arcl1aeologisc C:orrallo 1~ icei ín T/1c _,.I rt <!f Childrc11 ( 1887) anJ
Cou11t Leo Tolstoy·-; TV/iar is 1lrt? ( 1896). 111 1toger íry exl1ibircd
children 's dra,v1ng"i :it rhc 0111ega Workshops 1n 1917, ,u1d ,-va!i a
constant ,;upporter of the schoolteacher Mar1on ltich.ardson 's
vvork vv1th ch1ldre11's art.- 1 Rola11d Penrose fan1ou~ly quon:d
Pablo lJicasso saying te) Herbert Read ,vhen they n1et .ir .111 exhi-
bition of chíldren •~ drawi11g~: ·Ac their ,lge 1 coulcl dr a\\ like
ltaphael. but I l1ave spe11t all cl1c),c.: years lcarning t<> dr.i,v hke
the1n:.1 2 ln ,JD u1tervievv. M,,tisse reflii1ii<;ced bo\l\ Toulouse-
Lautrec one day :inno1-111ced: 'At lac;t J don'r kno\"\' bo,v to dra"v.'
Co11:1rnented Matisse: '()ne 111ust know ho\1\7 to 111a1nt::nn chdd-
hood'~ fi·ec;hness upon cn11cact \Vlth objectc;. ro preserve it~
naivery·. anJjust before hi'i Lleath in 1953 he ,vrote .1 11 e<;~ay e11ti-
cled 'Looking al Lifc \Vilh tl1e Eyes of a Child'. 2 ' ln close tdl·t1-
ctfication wtth this topos. although also a dccl.1ration or J
psychoa11alyt1.cal pos1tion, Lou1sc Bourgco1s has co111.me11tcd: 'All
111y work in the p.1-st fifty ·years, ali 111-y subjects have fou11d their
inspiration in 1ny childhood. My ch ildhooci has never loi;t it~
111agic, it has nevc:r l<.)<;t its n1yscery. ,111<..I it h.1, never !()1>t
íc1, dr<1n1,1.':> 1
The psycl1L1trist Fra112 Pri11z.born \ ,1d11u.ratio11 for tl1e art of
the 1J1sa11t\ brietly rne11cio11ed o □ page 17<). was dircctl)· uifluenceJ
by Cc~are Lo111broso1s Art (~/ tlzc !vlad (L't1rtc nl'i pa:::;::;1) or 1880.
Lon1broso, rhe no,v discred1ced crin11nolog1sc and psych1arr1sc
who c<>rrelated 111adness wíth degeneracy as ,vell ,1s genrt1s, based
hi~ 1dea-i on Lavater·s theories of Ll1e C(>rre-.po11dence bet\vcen 1
111,111 's s<.>ul and bc>d.y. i; l lis a11alysis of for111al cl1araCtl'rÍ\tics 111
thc art of tl1e Íl1s.u1c includes 111inutc11css of dctail. rhc usc of
sy111boli'in1 and 'ar,1bes9ues · (11011-fih'l-1rat1ve dêcorat1on). eroac
i111agery, l,arror 11,1c11í a11d \vl1at he rete rred to 1s ':.tta\~isn1 · c)r rever-
s1on to primitivisn1. A \.·ery s1111il::1r t,r,onon1y V.'ílS t'\tahltshed b)
Fran7 Prinzhorn in his book 1-Jrliscry 1f 1/ie 1, fe1111ill) Ili ( [li/d11crc·1
der Gcís1eskra11ke11, 1923) tt> catcg<.>r1se the .itt-,,t>rk'l or palie11t~
26
i11 ill<;ane asylLrn1s, "' ho v.·ere often u1sr1tutio1Llli,cd for lífi:.
Prinzl1orn's book \Vas read by J{Jct' and 13reton, .u1d they .tl,u
cnthui.1ast1cally rcspouded to the ,vork ot rhe t1nrrained S,,·1ss
arnst Adolf Woltlii (1864-1930), v- h1ch e,d,1hired ,1 11 tht• 'ten-
DRAWlf\JG NOW "115
d tll 1
l(l\l:r1c'i ,v., ho,,11 1lon1-,rs1ck· Ll>lltl.'111p1>t-.11) .111 .11 /J,t,111111'11/,1 5
1t I{ 1<;sr.:I 111 l'J 2.. 1 hL' IJ1111zli<)111 C'i1llt>1 t1n11 ,, 1dLllL'd ll1 l' p 1r.1-
1111:IL"t'i l)I trl e 011,1dt·1,1lil}, 11>1 ex 1111pk-. thn111gh ,·.ilui11g Sl'\\11
ind 11hr 1c ptl'( L'' 111 ,de h, ,,11111l'll, ,, l1H li ,vt·rt· 'llhJL't ll'd to thc
\ lllll P') t li1,lngi1,; ti ,111d lc11111,tl ,111.1ly,1\ .,, utht 1 ,,·01I-., 111 d1L' col
lc, 11011, ,111d <>pl'IIL'd tlll' ,v.1y ln1 IL·1 11111r,;1 .1rt1-.t1c llll>Vl' tlll'tll, lo
1t·cl.11111 .111d l,•gn11111,t• "uc h p1 ,1tl 1Lcs 111 th c 1970., .111d 1980,, as
,,t•!l .1, tu t h,dlc.: 11 gc ,ti\ h ,111 l'X,1C"L'th,1tcd , lL'\V oi ,vofltl'll 1, lhl'
,1r11sti1 l )1he1.
' J'hc .1uxt,1pn,1111111 o( ,IV,llll-g.11dt·, [ XJll'l"'i\it> lll'tl <)r 'llll ll',1li,;t
,,01k ,, 1th ph11t11~1 1ph.., 11r t•t l11111µ1,1pl1h tH h ,lk tlhJtl t, 0 1
d 1,1,, 111g, h) LhildrL'l1 hcc.1111l· .1 , t.111d.11d pk,v 111 L'. ltl)
l\\t"11l1L·t li t 1..• 11tu1y 111,111ill''ltO,. l·,liihi ti1111 t ,tt,ill>guc~ ,111d 1ou1
11.11,. ·~ l1 <11lÍl ill y. tl11 N,1t1u11.d \ol 1.il1~1, \.\'l'rl' lo d1scrcd1t thl·
,vork, nl ( :l•r111.1n f!,prl·,,i1)1ll\l .1rt1 , 1~ hy 1hL· Vl' r) ,.1111l' _1uxt:i-
p11,il1<111 \\'llh \\l)l'k\ (li lhl' Íll'-,l ll l' Ili lll l' /)1:í!l '/l('ftl(t' J,,
( l "11t11t'/(' (C
/,,111.,1) L'Xhihi1io11 oi l(J,! ~ 111 MullÍ l h, rcpri1H111g J spcec 1, c)r
l ltll cr dc11otllll 111µ lil l' pl>l"ll ,1y.tl (Ir 'dl·lorlllL'd l l tppll'\ .111d
L l'l't111,. \\'01111.·11 \\' Ir o 111,p1rl' 11t>1l1111g but d1,~u~L . hu111,111 hl'111~
,vhn Jrl' llH>I\' ,1111111,11 th.111 ht1111.111·. "' \1111il.1r .1u,t.1pos1ll(lt1\ t)f
oh,1.·,siv1..• ,111d p,vL hcHl l art ,vitli lolk ,1rt1.:f.1 rt, 111 ,111y n1.11illL'r o(
l<H111d 11\,ll L'tt. d, produt t·d b) ',nC1.tll y 111;1 rµi 11 ,tl1sl'd 11011-
prolt·~,1011 ti II ti,t.,, 111t lud111 g ,,.il i g r,111iu , l h.1r.1ctL'l t\l'd llll' c:n111-
1
/>11(!1//( ' de I ' 111 />1111 '>l'I up hy Jl',111 l)uhulli:l 111 11).18. " Wii lllli
,v.,., 0 11L· oi thl' l1rq ,11u,1~ 111 J)u bulh: t\ toll L'l.'lH>ll, ,vliicl1 led in
d~1t· cour,l' lo thl' l'Sl 1blt-;li111i:11t oi thl' ( )ut'>ldl'r Art ,1rch1vi: i11
11
1 n11don, 110,, 111 thL· 11 ish Must.·u111 oi l'v1t>Lk·rn Art, 1 )ubl111.
',upportcr" oi 111.1rg111.1li,L·d ( )ut,1dl' t Art h,1vc ,vnrr1ed :1hout ics
llilL'gr:dllH1 llllO ,1 gl'lll'l.tlt . . t·d .ll'l v,:orld: 1).1vid M.1cl,1g.111, lc)r
l'\:,1111pk ço111pl.1111t·d rh .1t 'l\llodl'1111,111 l1 il'd l11 ,vrL'llt h <Jlll~tdt·t
1
• 19..ios u11de1 liit· i11ílue11<."e o( l)ul1uffe t, and visited Nort11 Africa
.1r1 l<H>\L' fn,111 ,111) t\l11lt·:-.l t u l1u1,1l, ,oc1,1l, 01 p,~< holug1t.1l i11
tt: 1111, nl '" h1t h tl 1111gh1 h.1v1.• hl l·11 po,s1hll· t1, silu.itt· it. .111d
0
dl'cl.lrl'd H ··rrl'L' .. 'º lh,tl ll l'()tild hl· ll'il'd, ltkt· "pt inllllVl' ,11t",
tor 1t, o,vn cu, ren Ly.'" 'l'hc t'll'ito 11 l,H·y 111cl,111,í!t' o i p~yc hot1c, f<)Ik,
1'1 i11u11,·l· a11d <)t1t\tdL·1 ,t rL ,v.1~ l'\'l'll cv lehrati:d in Lhe n1t1 ch
LtHllc,tcd J)1i111it11•i.,111 c,l1ih1l10 11 ,ll thl' ML'll'<lp(ll 11.111 Mu,;t•u111 o(
A1 l 111 Nt'\\. Yo1k 111 19l-t1. ,.v hith ju,1.1post·d ' tribal ' .1rtl'Cllt'i ,v1Lh
tht· ,t.111dard 1.1t1p;l' nl u111u111ri:d ,1rt, llll ll li to thc I otlll'111pt ní
po,t -cnln1111d thl ()1'1,1,. 1 i'hL· .,nthropo logi,L J.\llll''\ ( ' li tl(Jrd, lc>t
1
l'\:,1111plt.·. l"<l11tlt·11111L·d llll' 'd1~tJUlt'll11g qu,1l 11v <li 1111)dcr11is1n: its
1.1,11..· l°or ,1ppropr1,1t111g tH rt·dt:l'llllll ~ <)thcr11t·..,,, for (011\(Íluting
11()11 w l''>Ll'l 11 ,ll l\ Ili lt\ ()\', 11 i111,1gt'. for d1 ... t't)Vl'r1nµ; lllll\'l'í'lill.
1
.d11~tori l,il ' hu111.111'' t,tp,h tllt·,· . q
116 DRAWll'-JG IIIE UTURE
Tropes of Dysgraphia
íhe f_ 1t l 1hal his 'grélph,~,n~· h1s compo51hons, are 'gauche' refers [Twombly] to tl'le c1rde
1.)1 lhe cxc liided, lhe m 1rg1n.1I whe, e he finds hin,self, of course, wrth the ch1ldren, the
d1s. 1IJll.'.d. lhe ·g,u.1tl1c· (or lhe 'lefty') Is .1 lo11d of bhnd 111..in.
Roland Bar Lhes'~
' rhl' purp<)se or n1y potcetl hi,tory h:-ts been t<.) conLextualise
11rl''it'llt-d.1v '>tr.1t<'git>\ of de~killing chat .ire n<.1,v consitle red a
1101111,11 p,1rt <>f" dra,ving J)l"JLltc.e. ,11H..I indeed an ac;pirational goal
i11 lc.1<." hing 11t'>ltlut1ons. f-<>r ex.1111plc, 'lcft-h.111<lcd' and 'blind
dra"vi11g', tbi: ío r111l'r invc.)lv1ng skctch ing '.ivi.tl1 an 1.111accuston1cd
h:inJ. rhe L1lter covcr1ng a dr.1,,v ing ,v1rh cloth or paper so th.at
thc pr<.)grc,;s <)f the actu.d work -in rhe- n1ak1ng cannot be seen
.1nd ,1cl as an inhibit111g t:1ctor, are technique~ religiousl y explored
i11 .1rt ,cli oc>ls .111d (.",lr.1-11111r,1 I ,1rl cla,o;cs fc)r tlan1pening any ten-
d~llL\' t<.)V. ,trds rt"prt·se11tatio11.t! literalne~., or se1t: .consci<.)us11css
.,J..Jl l. 7 hl' A1ner1c.111 l't1vi ro un1e11ta l sculploL llobert Morris, for
l'x,1111plt'. bcgi111 n -;i:rie<; of dra,vu1gs entitled Bli11d ·1·i111c i11 1973,
dr,1,vi11g 011 papcr ,vith h1s hngcrs ,vitl1out Jookm.g. ln a !ater
,er1e\ bl· e,per111tl't1tl'd ,v1th a ,vo111an a-;sista.nt ,vbo had been
hlind fi-<)111 b1rrh. bur co n1J) l~1i11ccl 1llogically chat 'she had no idea
or illu~io111,ti c dr,1,o\·111 g'. l le w1ll1drew ;,ili the fifty-r,v<.1 works of
Rli11d '/ i111r n fi·o111 circuL1tion, cc)111plaüJing that hcr \.vorks ,verc
',p,lrl't ,11H.I le~s contr<.ll lt.:d rh.in !bis l)\.Vll blind d,-.1,vingsl. thcy
.ire 111orl' ..tho ul licr i111prcssion.,; anti Íl'clin~s•. altl1ougb hc
rc~u111ed rhc ,l'rtcs in t11c t9Hos.·1º
c·y l\vc1ir1bly. an ;1rt1<;l ,;vho i, even 111orc sincerel y adn,ired
Loda) ch:in he \>\1:1.S in rhe 1970:,, 17 ,va, dravvn to wh::tt he
descrihetl ,1\ lhe 'pr1111itive. rhe ritual :ind feLi:-h ele,nent~' in the
i11 thl' IIJ'iOs \.V1lh l~austhc-11hl'rg. ~~ At th1s b111e hi: undcrtook
l'Xl' rc1~cs Lo su ppress virtuosity in ordcr Lo ru·rt\'C at \,v hat l1e
ca llcd 'pr11nord i.1I í"rcsbnc5s' by dra,vi11~ 1u the d.1rk, or vvith bis
lefl: h.1nd, .1lthough natur.1lly ri~ht handcd. 3' 1 A trio o( dra,,v1ngs
by T\vo 111hl y oí 1981 (,\/ike, .111<l t,,vo dra,v111,gs enrided Sy/11al') are
i11 tl1e çol l1:ct1011 o( lht> NJtiona l (;allery ot" Art. W::1shi11gton, D< ",
.111d l',tl lt C()l ll.li tl\ ;1 Cl)ll(l'l1tr.1t ed :lrt·a or
,vildly gescurn.1 n1arks
111 ini xl'd 1J1cdia, ,u1111ountl'd by lcft- handl'd texl .in<l a date a!,
fr.1111i11~ devires. c:01111nc11t,1riL'' 011 T,,·on1b ly usu,1lly rt.:fer to his
,vork~ .1~ dealinp, 'vVilh then1es dl'rived 6·0111 a v,'Íde k110V\>·Jedge
oi' cl.1ss1cal hter:tturl' and pc>ecry, alLhough in fuct these are just
lht· ,lighti:,t <)( lt'\.tl1al allu~ions ,1nd h111ts. The varied coloured
cr,ty<)ll li11t'i\ th,1c crc;1te lhe n1ai11 :1rc,1 o( .1ctivity in the dr..ivring
L'11Litled \!ike ,irt· ()Vt'rl.1id in an i11te1l',ifi c.1tion or
c;cribbling,
\\'ltit h 111 lurn 1s ç,111 rcllL·d b) 1111p,l'lt~J patrhe"' ()Í wlt1te ,1çrylir.
111 ,vl11t h T,vo111bly ha:-. pad<llcd hi~ b1 u~h iu s,virls or ,;liort.
fur11.)L1\ b1u~h :-.lr(>kcs, ~OlllC ~pn.:.11..I bcyond thl' nlàlll arc.1 or
,1 ttc11nt>1L ,--;y/1•,11· (pi. J 1..i). ,vh1ch SL'ts fof\\'Jrd J vcry dLtfcri:nt 111.:''>C.
of gestur.il sp1r:1l \Cribbhng. '-Ullkcn to thi: botto111 of the shect,
 -

..

JJ.I c·y ·r,von,bly, Sy/1•11c. 1981, paint,;titk, ,1,rvl11. ,·r.1yon ,1nd ~r:iphll't-, 998 x 705 111111. W.1~ln11gron, IH, N.1t1on.1I t:.,llery ot
Art, (;ift of Lila At.lu.:~011 Wa.ll.J.c.:l', 19S6.1z ..2
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315 Je,1n- M1chel HJsqu1,1r, / 11ritlrrl. 1!))!2, arrylic, 01I pa1ntst1ck, spray p.11nt and co lo u r photocopy paper Qll canva~. 1525 X 1830111111. Z urich. 1)arQ~ C:ollcction

allov,, the thickene<l '>troJ..es of lipstick-red oilstick to suggest ,t
lert1le area ouc or-vvh_ith leaf sl1apes sproul. Two111bly's pract1ce,
\\'here dra,vrng and pa111n11g u1edia ,trc co11.1.bi11ed. is a perfor-
111:irive d::ince ,1rou11d assertion, revelation a11<.i concealn1ent: he
equ~1lly ren,;h e, rhe acnons of lay1ng do,vn. cancelli11g out and
er.1sure .111cl hint~ of 1dea,; te) 1rr1ve ac apparen tl y no nchal:int 111>11-
hrc1t•111,1 ~t.1tcn1ento; d1 a l ain1 ;1c ,1 pne nc'i of ~ubject1vicy.
jl'an- J\111chcl UJ~quial (1960-1988) sho,v~ tl1e inA ue nce ofboch
And, Warho l .111d e:, T,v<.1n1bly i11 a pr;1<.t1cc thJ.t 111akes no d is-
linctio n betwee11 pain cing auJ dra\i\ri.ng, lovv and higli art.
skiJ1 o r gaucl1e11.e.ss. Ln a co111posite work , Untitled (1982; pi. 315),
l3asquiat has incorporated photocopied sheets of a dra\.vn1g of a
graffiti- üke square stick fi gure brandisrun g bo,v and 1rro,vs.
reclaun ed ,,.rith red o ilstick {to indicate that they are redski11s)
anel ,vith addicional crO\.\' ll' ::rnd p enises. Bas(}tlÍJt'c; ,-vell-docu-
n1 enterl beginning.:; as a st reet- vvise graffiti arti$t and hi-, deatl1
fro n1 drugs ar th c age o f t,venty- ~evcn inte1ject thc worlc.l of vio-
lence and dcspair allicd ,vicl1 politicnl protest into a practice tl1at

-!-18 DRAW ING THf: FUfuRI::

continues to have a very stro11g hold 011 youl'\g artists and the
public unagiuc1tio11. ·n.,(_r dra,ving. cfy.~~/'(lf)/,íci, in Lhis C(H1texL
beco.n1cs a frruning se11uotic of authc11ticity tl1at readily signals
urban protest or general disaffection, and .·dso Jcts ~1s the
(m)formal e11vclope that acconnnodates the 1nult:1ple material
borro,vings, n1al-juxtapositions and insercions tllat deliberately
flout rules of craditional piccorial organisation. The;;;e scraceg1es
are scill very i1nportant and have been adopced ,v1th n1uch
success by l)in os (b. 1962) and Jake (11. 1966) Ch,1p111an i11 their
drawit1gs a11d pru1ts. Thc Disasters qf ívãr etchi11g suite, for
exa111ple, relyi11g on tbe precedencc of I)ix, Goya aud Callot.
evokes the sufferi11gs of war ata ren10,·e thro1.1gh rhe p11erile and
scacologic:il, vvith ridiculous OT painfnl vísual analogies of
defecacing hotto111s, penise~. hy11odern1ic needlc!) a.nd svvear
,vords rat11er tl1an llirect in1ages t)f vvar, .is e111plc>yed in their
1nore literaJ 11Út1iaturised stulptural installat1011s. This is a reslless
for1uat th.at dernands a constant projection or authentic or inau-
chentic cn1orions - ,vbether anger, despair, qutragc. cy1uc1s111 or
che Chapn1ru15' cradeniark of verbal n1ock deprecat1on.
H ybrid and contradictory factor<; n1ark cbe work of Ray111ond
Pettibon (b. 1957), vvhose dra\vings nor only i11corpor,1te an e11or-
Certa ntly, although 1t is 1111possible to get a tix on I'ettihn11 ·,
autborial stance ,111d crearivit), h1, delibt'rJtely grung) produc-
tion i, a5 fàr J.\Vay rrc.)111 cricique clS ht' (l1()l)L'1Lt lly) i, fro111
endorse111t'Jlt of thi~ 13abel of vÍ'itlal aJ1d \erbal allt1)l(Hl~.
ln the thtck book of drawlllgs and v,·ritings r<1)'/lhllld pctt1b<HI
11/ors laid 1/1irk of 200.2, 1nost of the dra,vings - 1nrcr,pcr::.cd ,vi.til
,vritings - are co11ta1ned '.Vlth1n ri1led or free-h,1nd fi.,n1es. 1~
Son1e of chese li·an1e~ c;et up 1 narr:itive seriec; like ,l A1p bo<lk
for a fevv pages, only to l-)e inrerrupted by ;i cha11ge of sryle
or subjccl. Tl1e fra111e e11clo~es but alst1 -.ug6re'>t\ narralivc
co11onuitics, as 111 rhc ink dravvu1g L'11ti1/cd. 1:c/1111/c • l1111to111)1 -
l<.chnbif11,1tio11 1\Jot Rehabí{iratio11! (198,: pl. 316), ,1:herc d1e lcft
hand of the po\ver-sav.· 1nnniac and rhe head of h15 victin, ha,·e
n1oved beyond tJ,e ruled border, inviting che gaze and i111at-,:rina-
tio11 to follo,v then1 intc> th~ next fi:a111e. Rel,ahlf11111i1111 r,,:01 Rch11-
bifi1r1tio11! run~ vvitl1 ink gore. ,,·ith c1 k11ifc lying 011 thé.'. floor 11e,t
to tbe outstretcl1cd ha11d ,111d scvered arn1 o( cl1e fê111alc victin1.
316 ltayn1ond Pe-rt1bon, 1 11,1irlrd, f-r11111/i r l11,11,n11i1 - l?..l'h,1b1r11,1111,n .\,,r
R.e/111/1i/it11tit111/, 1985. pen .1nJ 1nk. 359 x 267 nun. Barcc.:loua. MAl.13}\

111ous range of drawii1g techniques, both crude and sopl1istiLated.

bt1t ,vho also deals witl1 iJnages r.ingíng fro111 cl1e u11utterably •
FEMALE A.NATOM'f llA5N'T CHANGEP MVCH IN fHE 10 YEAtS I'VE ~EEN A'v-A _
b:111al or brutal to tl1e pote11t and occasio11ally powerful. Tl1<.: rela-
tionsl1ip of tbe-se deter111inedly hand- n1ade i111ages to the slick ~~/29~ 'fvqt)'f.h ..
graphics of co1nic strips and anin1atio11 (tõr exa111ple, 13ac1naJ1) is
deliberately indeter1ninate and challenges the technologjcal , 1 ,,. 1
hegen1or1y of slick princed irr1ages. Whereas the C()llaged fi·ag-
111ents of BasL1uiat's evocations of street life coexist on the page-
in the traditional 111anner of t\~o-di1J1cusio11al wall graffiti - tbat i .. /
,, ffí(,) ' j } '
1s, side by sidc or overlapping but ncver orgallised spatially - J>et-
tibon plays ,vitl1 serial j11xtapositio11S 111 the n1anner of 1novii1g
picuires, story-boards or alll!11aced ftlm sequences. ln 1989 he
q,- l
111.ade ~t series of filn1'i about the West Coasr a11ti-,var .1nd Punk
111oven-1e11t, .111d his practice is spec1fical1y relared to text: he h::is - \
,'
,.
• •

t' I
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vvritcen poe111<;, plays, fi1111 !>Cripts and vvhat be te ruis •ficrions ·. rn
additio11 tL1 visual pu1is. jokes, poruography, racist a11d se2\.-ual
abuse and 'the deranged utterances of tl1e ideologies of the polit-
~f\\/~ 1rff
ical and religious rigl1t'. as Benja111i11 Buchlol1 has ,vritten, there
are n1on1encs of sardo,uc hu1nour or mild pun.s, punctuated by
fOWOO,P~•
qt1otations fron1 vario-us hterary sources. 4 ,, 13uchlob notes:
Ii
/
1
... each cextuaJ citncion .u1d each figurative presentation , 1

.f,
1
contains; at Jeast an u1dex or an icon chac con'i1der'I deprav-
ity as a shared, if not as the lasr, condition of resistance. And
1 •
,
,vhile that arnbiva lence does not nec:es'íarily originate in a
po'iicive illentification vvitl1 ... the behaviottr depicted, it
certain]y generaLe'i insight into cl1e degrce to which 111ass
culturc holds all other forn,s of transcendental desire, ali lib-
eratory n1ctaphysics a11d e.111anc1pn.tory practices of thought,
. . 1
111 utter conren1pt m e1e present.
·11

DRAWINC., 1'~0\f-/ 41 °

J J"" 1d,1 Appk·broog. ·t111 11,,1 )',>11r sc>11 ', • lo 2, 1977, J pancls, ut.k and R hoplex on vellt1111. t·,1ch p,u1cl 305 X 254 u1.n1. Ne,v York.
ldJ Ar,plL·broog \cud10
The bri·1nning 111.ile J...iller 1, also in tl1e nude - l·asu~1lly holding
hcr ocher ,;evered ar111 like a busii1es\-like arcl1irect ,vith a r-
,quan:. Tht· d1,1,vi11g!'-, ,vhicl1 cxist in a spJce of political anarchy
and authorial ,vichdra,val. ,1re c;o dctcrniincdly i11detcrn1it1ate. so
illiterate vec, cannv.
' unskilled and skilfitllv , deskilled. as co rein-
Y1gorace e,·cry debate about authorship and postn1oden1isn1.
Ne,·ertheless. they have ~ound cheir way into n1useu111 exhibi-
tion, and rollt>crion..,_ Pettibo11 \ re-n.1turaJi.,a rion t)f l1and drawing
fn.,111 thl..' ,vorld of technol<)g} - 111aking one che careless equiv-
,1lc11 t o( the (>tber and tran..,]aúng. if not editing ,vbat Jca11 Bau-
drdlard cha racteriscs as chc obsce111ry of concint1ous co111111u-
111cation - chaJlengcs as n1any 13audrillardian assun1ptions as it
appears ro confirrn. Although apparently sunplist:Ic it1 tcchnique
,1nd suhJcCt. his i111age~ culled ti-0111 a serial narrarive certainly do
not confor111 co Baudrillard\ analysis of the binary construction
o( ,l tligical ,vorld of regulaced oppo!>itions, \Vhere referendu111
h.t\ ovcrtaken refere11tia.l, and in ,., bicb 'Evcry sigi1. cvery n1essage
(ob_1ects of"fu11ct1orul'' use as welJ as any ite111 of fasbio1l or tcle-
vised ne,vc;, poU or elcccoral ccnsultat1on) is presented to us as
qL1e,non/ ;in~\ver ... a biuary sign sy~te1n of question/ansvver- of
perpelu.11 te,;t'. 1' Pettibon 111ighr have broken do\Vn dra,vingc;
into si111ple ele111e11ts, but tl1ey <;erve co interrogace eacl1 ocher
r;ither chan ca11ccl oul 111eaning.
Alrbou~b sl1c h.t~ i11creasingly n1ovc.:d into pretlonúnatcly
n1011ochro1nc c,u1vases i11 large-sc~le installations. the An1crica11
art1:.t Jda Applebroog (b. 19:!IJ) bases ber practice on sin1pljf1ed
li11e.1r dr,1,v111brs that evoke the na.rrat1ve fra1nes of cm11ic strips.
<;he 'lets <>Ul l<> rt'.1~se1nblt' the ,cra111bled relacion:c-hips of n1is-
1u.1ttbcd itc1n~ of Jc"-'>l'l}lle11ced narracive., inro new 111eanings.
'Wben you rcad J 11arrat1,·1.\ ,ou usually reac.1 íro111 leít to righr;
there's a begu1n1ng. a n11ddle. c111d an c11d. Mine 01tlv, have
111iddle~: you \\r:ilk into rhe 1111ddlc of s01ncd1111g. ,vr1tes Apple-
420 DRAWING THE. FUTURE
.....
broog.-1 1 'Think of it as ftlrnic seque11ces, ,vl1ere thcy're l)ehii1d
011e a11otlicr, next co one ,1 nother, hjdi11g other tl1i11gs. You b_ave
co physically walk througb, tl1e pieces to figure out whac tl1e
story is or isn't. lt's al,vays yotir stóry: it's 11ever my story, it's
never so111eone else's story.'Tran1ed a~ a graph.ic artist,Applebroog
published a n1-11nbe-r of sn1all boo.kc; i11 the late 1970s and '8os,
,,vhicl, \Vere posted out to unwary recipiencs, forging an alter-
nc1cive career in a totally differe11t 111an11er fro111 the usual gallery
trajectory. Serial d1·a,-vú1gs i11 ink and l~hopJex on yel1o"vy vel-
lun1, plast.ic fiJn, or a heavy Japai1ese papcr. ja111pi, are \Vall.-
rnounted, _so that shadows fron1 the cut-out images enliven the ~
deliberately 'dL11nb' line of che repeated diagran1:,; ru1d invoke the
shado,vy den1aterialisation of early t-un1 or Middle and Far
Ea.,teru ~hadow puppecs. The action cakes 11lnce on a scage ,,ricl1
loo1)ed-bnck curtains. reducing voyeuris111 to a con1fortingly
chj]dlike l1abituatio11 to the silenc 111ove111c11c or stasis of fra111es-
per-n1i11uce, as in the shorc sequence of tbree pai1els '1'111 11ot yo11r
s011 ', .,1ct 2 (pl. 317). 'Deprived of a nan·ative conte11t v.rlrich migl1t
clarif)' and st1bstantiate their 111eaning, tbe viev.·er, like the players
the111selves, is set adrift in tbis autistic and amnesiac space of
111eaning'<; absence', wrote- John Cussans, <,un1n1on<,ing the <;tan-
dard ele11H:ncs <>f associacive regressio11.~ 5 Figures in these little
dra111as are often headlcss, a11d thcrefore expressionle'>s and word-
lcss: and ,,;J1ac serves to ovcrco111c thc spcctator's rcluctance to
beco111e co111plicit ir1 cl1eir cutencss is tl1c fact that thc ce:xt is
on ly appcnded to an occasional scene within one or tvvo of the
repeaced seq11ences. The silence of n1ost of cl1e fraines therefore
beco111es 1nore n1arked in relacion to the scripted scenes, so that
che spect:ator interrogates che text as closely as cl1e hroad in1agery.
eitl,er incerpolatii1g 1neani11gs <.1r quest:ioning the see1ning obvi-
ous11e<;s oí verbal an.d visual clues. Tl1e c.lislocation betwcen
siLnplc ÚJ1agery and concealed intú11ations of buDJrir1g. cbild
abu'ie or cruelty to ani111als gives a11 edge to ,vork that exploits
blandne~s as a cover for 'io1netl1ing n1ore sinister.
C()11Jic-strip i111agêry an<l i t!i relationship t<> abjection in the
n1auipttlation of body parts n1ark the painti11.g5 ::tnd prinLc; of
C lúcago- bon1 SL1e Wjllian1s (b. 1954), jLLSt one of 111a ny artists
world,vide vvho use con1mercial u11~ery as a sta.rtii1g po111c.
Williains draws in painr, her 111onochron1e supports acáng like
rhe ),pace of paper in conrai1ú11g a variety of bodily fragi11 ents,
accencuated by the stracegy of occasional er~1su res or scrubl1i11g
out of figures, which leaves a 1-,,i]e gl1ost 0 11 tl1e ~lippery su11port
wicl1out any o,1erpair1ti11g. as i11 Cli,1rtre11se 111ít/1 SJJO/s ( 1996;
private colleccion). The fragmented, ovcrtly sexu.aJ u11ages of
gloved -fingers penetrating vagin~. 1011g breascs or spurtmg
penises, occasion-ally join together in extraordinary linear misce-
genations of figures and obj écts, recalJing the con1 posite- lin ear
life of n1ar1neri-;c grotesques. ínscril-,ed on a charrreu-;e ground,
bru<;h- dra\.vn figu res e~tablish a hybrid genre bct,veen painting
ai1d drawing, printcd conuc strips and d<.1odles, infa11tiliscd and
sophisticated i111agery, but n1ostly cclcbratc Eluency. ~fhc intcr-
rt1pted narrativities of 'strip-fraiT1e' co1uic strips (alsc.1 prese11t, for
encirely different technica l reasons, in the jerk)· action of an i-
n1ation) have !1ere been -:111ootl1ed out into a forrn of ,;uggestive
wall1.,aper or fi eld paintin g.
As gesturaL 'authentic' 111ark- n1.aking tl1at escapes the re~tri c-
tio11s of self-conscious critique, 'regrcssive· drawing is the c!itab-
lished and universal aspect of a postmodern grapl1ic vocabulary.
And, in an age tl1at no lo11ger ackr1ov.1ledges hierarclúes or dis-
cr1niinates between high and lo\'V, fine art or 1,1- opular in1agery, it
has prepared the ground for reintegrating rh e con1 111etcial i111ages
of con1i c scrips. ani111ation c111d con1puter gan1es as icons oí
graphic practice, even tl1oug11 tl1ei1· c;lick 1necha11i'ltic scyles of
outlir1e drawing are stylistically a11d idcologically .it the oppositc
polc of thc gcstural and aL1tographic. Thc elasticity of 111y his-
torical n1odel of t11e drawn1g co11ti11uu111 has been seriously chal-
lenged.
Hybridity and the Animated Present
Art. 1n fact, can be noth1ng but violence, c11..1etty, and injustice.
F1hppo Mannett1"'
Con1ic strip,;. anin1ation and con1111ercia1 linear u1Jagery .1rl:' not
just tl1e 111odels for f1rst ,1tte111pts at acquiring g r.1p l1ic flue11cy,
but are also the crucial area of i11tersection ber.vee11 the sratic
pnge and the n1oving imngery of co11temporary life. ln a fu11úc,
tele·vísual a11d digital ,vorld. M.i ckey Mo1.1se ha~ entirely ilisplaced
che 8<'/1,edere 7J.1 rso as sign1ficnn c exetnplar- anel has cl,e :idvan-
tage of his append.1ges being <;crcwed into plare or bring lelt off
v. ithout m1mediately refere11ci11g the destructton or restirrecrion
of .a clas~ical p:1st! The V1oleã1ce of dis111e111l1t>rn1ent 1n :t11in1:1non
is subsun1ed inro die apJlarently reden1pt1ve na cure of ti111e-l1.1~1;•d
seriality. a lost li111l), 01 eye, or a ,plactered figi.1rL t 111 n.·,un1e ic,
bodily ,vho leness in tl1c lll'Xt protca11 Lransfor111ario11. lt Í'> i..t1 th1s
se1ise tl1at .1nllllat1011 co1istr1.1cts ,\11 ov~r-reacbing conunuu111 in
v-·lu ch obsccrnty, viole11ce or por11ograpby are subsun,ed inco a
n1ore-or-less benigi1 curen ess tbat serve" co blanket chc n.1ll
in1plicarion-; of its s11bvers1ve. l1rt1tal or n1an1pulauve <;t1l:Jt'Ct-
n1atter . . . althougl1 not a]\,·ctys. The eC<'lnon1ic in1port.1nce of this
excren1e]y powerfi.il and fàst-grov,·ing ge11re \vir h a gk1b.1l audi-
ence. predo111i.11antly, but not only youthful. 111ea11s tl1at tê'A l1a,e
critica1Jy addressed issucs co do ,vicl1 grapluc stvlc, subjecc
matter, cultural significance or the 1narketmg p loys of thi,; Yer)·
irnportant cross-over ge11re tl1at de1"e11d" on the con1n1ere1al1sa-
tio11 <>f in1agei; of violence.~.,
Jap.1nc-;e artist Takasl,i Morakan1i (b. 1962.) operares v. icl1U1 rhe
space o.f non-ironical appropriacio11 of cultura] kirsc!, tl1at JeíT
Kooos cxplorcd in Am.er1ca in a prcvious dccade. and l1e has thc
saine preoccupation w1th lugh ti11isb a11d shi11y 111aterials, w l1ich
resist empathetic involve-1nent on the part of che specracor. 4'
Muraka111i's besr-k110W11 anel tn1ly obscene vvork, Hira111J11 ( 1996).
a fibreglas-; and sy11tl1etic rcsin cl1ild doll squeezii1g 111ilk fi·on1 a
pair of g ig,111tic breasts, 'A'a~ paired in 1997 ,,vith ·tvly I...,011est>11Ll'
Ct1111/J()y. ,vhcre a boy cbild ejacul.1 tes a frozcn ,vavc of spern1
fron1 a buve t>
m.asturbatory pe111s, ensurin()' b
Murakai11Ís high '"
standmg as postn1odern muse in eh.e i11ternational 1T1t1seun1 ar1d
exh1bicion ~ector. Mnrri.ka1ni's paint111gs, '\<..7.llprure, fll.111., video,
dra\vin~ and 1nulriple~ and recently aniinatio n:-. are creaced in
the conce-xt of ot,il-111 (young pec>ple ob-,e,;sed ,vich con1ic books
or 111,11~g11 and a11iu1ated ftlms or 1111i111c") and cc11tcrcd around
notions of ·cucc11ess' or ka11'c1ii. 401 Muraka1ui, ,vl10 calls lu.s 'Arork
poku (pop + orak11), has traden1arked a 1nonkey Mr DC)B, scL'n1-
111ing fron1 a t,vo-din,ensionaJ anin1atio11 character. This is pro-
duced in the Hiro pon factor)', inspired by Warhol's Facr,,ry and
reflect'> a Warhol-inspired notinn of populisn1, supporcec1 by
aggres::.ive internet n1arketing. Thi<; seria1 ,t11propr1atio11 i-; typical
of tl1e flow :u1d co1istant rccycling of in1a.~e5 w Japan, '" berc
conuc-strip figure.., are mcorporaced 1nco <1t1i111é filn1s. 1111Dledi-
arely released as ,,ideo game~, tb.en as toy's, or incorporated 1nto
ocher popular televi~ion progran11nc<; hetore be1ng re,;raged :is
nvo-ditnl'nsional dra,.,;ngs o r prinr~. 5" Murakan11 ha-. inve,tig.tted
chi,; sea111lcss context of art ,111d popular t'ntl.'rta in111enc in a n1an-
ifeo;ro. 51 Likc ocl1er con1111e11tators on t111i111é. he tr.1ce.,, 1Ls roou,
back to tl1e 11kíyo-e popular \·voodcut artiscs of the Edo per1od
(1-Iokusai evidentl·y in,·e11ced the tem1 111a11ta i11 relation to lus
ov.,n popular pracrice) J.11d the a111biguiC) of notlc>n, of art i11
Japan. ,vhere the nat1ve tern1 of ~l!.tU111::11 COLXtsrs 'A ith the
i111pc>rted ter111 b[111ts11. \.\'h1cl1 i~ clo~t>ly :i""'ºL 1,lled ,v1rh e-11tL'r-
tai11111e11t.'"'·' Murak.a11ú\ cute a11d 1111111.icul.ire Stlrtl).fó1 '\1\J!' Ka2'
DP,AWlf.JG NOW '121
 Willi.!ln Kcntrtdgc. dr.1\v111g fi,r ,'\lt•1111111r111, 1v90 ( 1<Hn111. v1Jc<) u·,111~1"·1. 3 nÜHulc~ 11 \<.:vu11d,, <l,.n~ 111g. phutugr.1phy .111<l d.1rcltio11 \X/illt;i1n 1'.cntnd~t·.
_l i )$
c-d111ng Angll' \.~ib,on. ,ound < ilthcn ne Meyhurgh. n111s.1c t.d\v;1rd Jordan, prodtH't•d by I ht• Frt·~· l-il111111;iker, (.~11-opt•r,1t1vr. Juh.11111t·,b11rg;). charro,11 0 11 p,1pt·1
J'nV,llC LUlit'l'tlllll
J 19 Paul Noblc. Nobso11 Ce11cr,1/. 1998-9. ~raph1tc, 3000 X -1-007 nun_ London. Maurecn Palcy (;allery
( (f)<J<J, ( ollec non of 1he Artt,t) re,·e.tl, .1 ,,orld of ,1do1t:.,c.ent "'h<1t you kno,v. St> <lra,vi ng is a testiJ-1g of icleas; a sJovv-
t1t1II 1r(_1 r, íuit is, dc..,ig11t·tl !<J1 ,111 ,11l- n1.1le-L'\'1.:r-ad0Jesce11t n1otio11 version of thought.... Tl1e u11certai11 and Íl11prc-
111 ,irket, 111 ,, htLh tht: \\'idl'-1)pe11 L'ye, o( .1 licdr g1rl crearurc cise ,va\', of construct1n.g
- a dra,ving is s0111et1111.es a model
• • •58
,, Hh her h.11 l' brcast-.. p.1rc 111.sL'ct, p,1rt cyborg. Jook up coyl) tron1 ot ho"· to co11strucc n1ean1ng.
,1 tlll)de'itl\ Jo,, nturned l1ead.' 1 1h1s drav.'1ng l '! on~ of J se1,es
The narrations that arisc out of thcsc dra\vÜ1gs reJate to thc
oi ~rud1e, tc>r thc rhree-dn11L'n,H)n,1I tigure. S \JJ)1 l,t12 Scú11uf
syi11.bol-lade11 triptychs of Max Beckn1aru1 (1884- 1950) or G?Yª 's
J/,ss1t111 /1rojcrt J,v1 .\l<;~,1-,\li.,· (H11111a11 73'pl') (11J99) irl arrylic.
Black Pai11ti11gs. and they c.1re on.ified by a coherent express1on-
fibregl.l,s .111d 1r<H1. 54 'fhe .1tc1ch111cnt <)f \\ ing, to thi gh., and
íst dra,,,1ng s~le, even ,,·hen siinple sill1ouettes. The relarionshiJ)
,, ,1i,t 1, pre,un1.1bly .1 u,eh.11 ,v,1v of Jc,lvi11g d1e up~er torso fre_e
of huge per'>pectiv:u cityscape\, v-·ide- angled lan<lscape vistas and
tor ~r.1,pi ng. .11 thou~h l ht· i111111;1c.7.uate ,.va::,l1e~ ~ f colour dety~
generalised crowd <;Cenec; to tir1uly dra,, n close-ups follo\o\.,S the
t.lLtiltC'\' 111 Lhe ~ame \\'J.V as does the oil tinish ot the scuJpttu·al
,;tructure of filt11 n1ontage, and even vvhe11 l(e11tridge occasion-
fihri.t res.
L • all,v liltroduces fou nd i111agcry, or deliberatcly opens up spaces
fhe ph.110,opht"r H1rok1 Azu111a, 111 a co n1n1enc:1ry <)n
aiid co11tradictions 111 thc evolving 1-iarratives, the)' are 1ncor-
Mu1ak,1n11. notes th <ir the ·orna111e11c<1cio11' of eye<; rhat i, .1d111ired
porated into a st),]iscic and sparial 11nity rhar is close to rhar of
in ,uch ,1f41k11 .1rusr, ,,• 1nl)<>li,e~ the dysfunction of the gaze in
black-and-,vhice docu111entary filn1 or the n1011ochron1e con-
the pll\Ul\Oder11 \:\'O rll1. ',:', lndeed. til<.: cycs in ·n,(' Lo1LCSO~IIC
venril)llS of European 111odernist prott'st arr. 5' 1 Tl1is is so in the
Cl111•boy .111d Jliropou J~gures describcd above .1re decorated w1th
cbarcoal dra,ving for ,, ro111 1111r11I ( 1990; pi. 3 L8). Keucridge's
sn·ltsed rL'd bands and reAections tl1at do nor n1irror cl1e
sec:o11d ani111ated fili11 about che greedy cn treprenenr Sobe
si-~ectator. but refer to anorher and -in1penetrable v- orld ~f
Eckstein, v.rl1~rc d1ere is a fihTiic contrast bet\ovecn the h11ge,
\éll:..generating reflc-ctil1ns. Azl1111,1 interpret~ Mur,1k,1n11 s
clinlin.i shed cro,,~d of onlookers and the 01onumental scatue
n1.1nife-.co declaration nf'ílatness· ..-1 Theary <!( S111,cr flilt J1111a1t('.I'('
of a labourer, ,vho has just been 1111veiled, and vvill soon ,v:::mder
; [11. literall\ .is che ab . .ence of per-,pt.:ctival volu111e; 111ore impor-
off \;,,;1th his burden.
t,uitly. 1t i-;. tbe ga111e sp;ice tbat is free of value Judgc111ents ,u1d
An ee,;e and di~ll)Cated narrativity n1arks the pe11cil drawings
c,,rical discoursc - J.L1d a.li the rnore disturb1ng for that reasou.
of the I3ritisl1 arrist Paul Nob]c (b. 1963), dcpicti11.g and cvolv-
J::.no1711ous eycs are also to be toL1nd in the -;kecchy drawin~ of
ino- Nobson Nc,vtowo in l1uge cL·avvings ,u,d co111plctc galJcry
another Jaranese arri.,r,Yoshin1oco Nara (b. r959). His collections º . . c.o The
i.nscillatio11S: this is a predon1111antly grap hi e practJcc.
of rough sketches reAect chat in1porcant ;.i,pect of 1111111~(!11 that is
underplayed but 11everd1eless persiste11t substratun1 of cutcness
'open to incii\'iduals to participate 011 an an1ateur levei. A11yo11e
con1b.i ned ,,,ith uncanninôs is created by rhe delíberacel,- unin-
ran produce ,1 co111ic book, and litcralJy chousand-; e.lo. J,/ànga
Aected quahty of the ruled penei! outlines and shading, the
n1oreover is not ai111ed solely at you11g people. Alo11g \oVitl1 tl1e
absence of figures and the 011111ipresent use of axono111etr ics.
subgeores for bo)'S and girls. thcre 1s also adttlt 11ui1z~a - violent.
Axono111etric projectio11s generated fi·on1 ground plans usu;illy
erobc and ,ex:uaU-) graphic.''1' A11i111é cartoons are also associated
e111ploy +5º ,u1gles (a11d theTefore are ai.s e kno\oVLl as plan oblique);
,virh hard-core pornography (hentai a11i111f').
Lines rernain paraileJ and do 11ot taper to,vai:ds a varrishm.g pomt
At the opposice pole fl·o1n th e 111as<;-prc)1.luced artefàcts of tl1is
as in perspectival dra,v111g. By inverting this procedt1re so tl1at
111ultipraccice are the 1')retlon1inantly n1011c)chron1e <lra,vings of
tbe vvalls are a.e 90º. the ground auton1atically appears to be cilted;
rhc South Afi·1ca11 artist Willian1 Ke11tridge (b. 1955). ,vhich <leal
so thac ,vhen Noble cotnbines this foro, v-rirhin huge panoramtc
,vith thc cruelty ai1d polit1cal horrors of prc- aiJd post-apard1cid
settings (wbicl1 in1ply per<;i)ectival a11d fore~hortening 1ugic), the
Souch Afri ca, ,111d are either a11i111aced into short filn1s or mcor-
~patial dislocatio11 of co11AictiJ1g sysce1ns set~ up a sublin1ina1 state
porated into 111ulri-n1edia produ ct1ons v,ith puppecs a11d li,,e
7 of unease. Noble exploits tl1ese i11l1ere11t 611t co11flictual n1etl1od-
a1.cor~. ; 1 did dcl\o\·11 in t:,l'T,1111y charcoal and pastel ,vith occasior1al
ologics in Nobso11 Cc111ral ( r998-9; pl. 319). where he alc;o e111ploys
gou.ichc c>n tl1ick papcr, lhe sn1all transforn1ationc;, era<;ures or
a cut-back ,..-jev., that coolly n11d u11e111otively suggescs war,
add1t1ono; ot 1n1c1gistlc 111arl--.\ \V1thin rhe acr or drawing the111-
~

destruct1011 aod aba.r1do1m1.ent.'' 1 By \•VithJ1oldit1g figures - ,vhat

-;elvc,; becon1e pare óf thl· lillid 11arr,1rive of tbc lo,v-tecl1 filn1s,
mech~1úsric little people v.,01.1ld li, e ir1 Nobson? - Noble creates
1

i11stead of thl' trad1tionaJ one cel (onc celluloid shect) = one

in,age eq uatio11 of pre-con1pucer1sed conu11crcial anin1ation.
T(e-nrridge- ha, said:
--
'l)r:1,,,111g for n1e i, .1bout fluid1ty. Thcrc 111,ay bc a vague
\ense of \\'hat ) ou 're going to dr,1,,· bur rhu1gs occur during
rhe proce-;, th,1c 111ay n1od1f), rono;olid:icc or shed doubts on
a sini!.ter virtual world conc;tTucted ouc of penci1 concro l and
play-station fantasy. vvhich fetishises the iterative.
Th e South Afric,111-born British .1rtic;t Ansel J(rut (b. 1959)
cn1pJoy'l sacirc, scatologica l l1umour and occasio11alJy a □ gcr in b.is
s1n.tlJ dra\ovings n1ade ~vicl1 brusb aud ink oo prepared papcr thac
derjve fron1 ch.ildren's dra,vings ai1d co111ic srrips. The hybrid

~24 DRAWII\IG 1 Ht FU l URF

 - _j _ _ _ _ _ _ _ 1
1
·- - - - -
320 Anscl Krut. 111scallario11 vie,v of 1t c:<.111/d l1t' Suicide .... 200+, iuk. anJ ,,~1tcrcolour on prepan:d papcr, d.in1cn~iun~ var1able. cach d1~nvu1g 380 x ::l)o 11u11.
Londo11, Do111nb.1,1l Gallery
figures, part ]1un1an, part anin1al and part object, perfi>rn1 crut:L
ridiculous a11d crazy :_u1tics ,vitlún cl1e 'stage' of tl1e prepared area
of each sl1eet, sometiines overrunning tl1en1 anti setting t1p a dia-
logt.1e with che adjacent sheet ,vhen the dra,1-"ings are pínned on
gallery walls in closely hung sequences (pi. 320). These ju'.'..'tapo-
sic:ions are never fixed, <iO that the inceraccions are ca11able of 111fi-
nice changes, unlike the narrative order of con1ic 'itrips or che
usual static tequiren1ents c.-,f exJ1ibition disp!Jy. In spite o~· their
grotesquc flue11cy, in a Goya-esque space bL"twee11 absurdity anu
111oral con1n1encary, each dra,ving is the subject of tl1.e closest
criticai atccntion a11d processes of edibng.
lt ,vo11ld appear that the clúldlike in aJJ its con1plic:1ted reap-
propriario11s, rep:ick~ging and reversa]:,, re111ains a very po,verful
force coday. perhap~ becau<;e post-colo11ial critique has prob-
le111atised the labelling. in1itario11 or l'asy appropriation of olhcr
crru1scultura.l 111odeJs. ln line witl1 tl1e times. ho,vcvct-. tbc child-
like has bcco1ne idcntified \'\i_th violer1ce in a gror-esque 111at1ng
of dcatb, destruction and dravving. Baudrillard l1as "-vaxed pac;-
1
c;1onate about the virai contanunat1on of things by 1111:iges, ''.! bt1r
1t could also l1e argued that the viral contan1i11arion of art by
co111111ercial1sed violence chreaten::. to deco111posc che valtie of
dravvi.t1g ac; cricical. cboughcful and genuinely subvers1ve pracr1cc.
Multipractice and the Ghost of Duchamp
lf tl1c aífective explor.1tion of 111arerials .ind processes bclonging
to tl1e 'regressivc alliance' has radically n1arkcd a huge trancl1e of
dra,, ing practice in the twentieth cencury. due reverence 111usc
1
be a\varded co the lo11g-ce1111 effeccs of Marcel l)ucha111p.
Although the urinai ~igned R. Mucc ,vas never act1.1all) exl1il1-
ited in Ne~ Yorl in 1\; 17, nor does the 'original' chosen re:1dy-
n1ade urittal exist (thcreby appropriatcly having a life 011ly as c1
n1yth. a ficnon, a sin1ulacr1.1111 of sin1ulacra and a conccpt), 1ts
povver, that L'i, 1ts piss-po,ver, rcally blev.· dra,vmg ouc of the
p1cture. c.:i Jf a 111ass-prod-uced ,vork or a11 o~iet tra111 1é could be
na111ed as are sin1ply by irs p]acen1ent in a particular context, then
tht: tl1ing thJt distinguishts dra,ving- its. llllÍllll<.'llt"S\ <ind <)rigi-
nality ai. a co111111unicative set of sig11s, 111ark, ,111d line" on paper.
which 11right or 11ugl1t 11ot 11.:ad to a \vork in anothc:1 n1ed1un1
or discipline - is severel,· underrruned. (.){ course. dra\, 111g d1d
evef)Tthing e,~cept disappear in the nvent1eth ce11tl1í). 13uc
k... Mutt\ porcelarn presence redllCe'I it 111 t/1ct1ry t<) 1 p.1llid
adjuncr co the- cc>ncrere 're.1bc, · of 111a,;s-1,roducLio11 and nl<)der-
nity. 1t do,vngrade, d1-a,ving co ,111 old-fashioncd rt·lic fron1 th<:
past, a11 apologetic activity. unsure of it~ leg1t1111Jc), lhe SClOHLi-
DRAW IN G N O W 425
h 111d r I t1011 t if pliotl1g1 1pliy ,11nl digni,.1ti1n1 ,1nti all thc tl'ch-
11nloga ai pro( i:ssi:-. 1-;,, pl.1y111g \\ 1tl1 1111a~cs o( the world, 111 tl1e
\\11rld. And hc '"I! 111 1l1t 11°,11/,I ,, ve1 ). 111uch J part of rhe Jrt of
t11d l\. l ln\\ ( ,·t·1 011g111 il t he1r conceptual basis au<l tl1e1r rein-
s~11pt11111~. tl1t• l OJJ<;tÍllll'lll Ítll,lt,.;l·, 1)r Vldt'() .,nd fil111ic ,equell<."l.''i.
ut h11t lily pt·rtortll,lllt t: .11,d Jll,lll'l"l, il 111,t,1IL1Li<)ll'i l)c lt) d.l), arl' .,li
IHl) ro\\l'd lr<Hll II Llll'I r.tl n.:.1liti1:,. l)r.1\\ i11g, ()ll lhl' l)ther h.i11d. IS
,ubvt·rsl\'1.' 11( 11.·.1111,, 1.•\'1.'11 ,vlii:n rt u,t:s th1.· l.111 11
t-, ua,gt:s
• of veris1111il-
1t11dc, hc1.:,1u,I.' ,1 l111t rs ,111 .1b-..trJ1.ttun. ,1 cu11nin~ '- llggestibiltcy or
.1 hold hndrly Lr,tt e.
A, \\'Cll .1, thl'tl i11H t1i:nc1.· 011 thl' ,t.ttu , () r dra,ving. l)uchan1p\
n1.111y .1rr1v1tic, L',t.1hl1,hcd the 111ode l nC cn1lt1:111pc>r.1ry arrisric
111 ullq11,1t li tl! a linnst .1 lL'lltllr\' ,1~0.Jo!>l' ph 13L·uy-. rt:affir1n1:d this
v,n it·tv v\ it h Ili, vi trrrl L'S of uhjell~. n1..,t.dl.1t1ons, pr<>duction of
ll llll ltpll's. pcdor111,111ce, ('. lklr(l/lC'II') :111d ped.1gogic and polit1caJ
( ,',·si11111/..•1111st11 1'1'/..!. 1 lo,, l'Vl' r, .1llhou~h 13euys J'i sha111..111. and den1-
1 her descripO()n of illness, ,,rhile her auton,atic dra,vings turn i11to
,1~n!!;t11.· 111si,r1.·d th.n 't•v1.•rvo11e 1s ,111 arti st' . he n~ver subtnitted to
• •
ht•111g t.1kt·11 <lVl' t ,1s ,111 ,1r11-,t1c rc.1dy-111;1dl' h} orher<;, as 1)urh.ln1p
li.id \\ r\'I) .1ll0,vl.'d .1' 1 Wl 11.' rL•,1s l)u(. h.11np '<; o,vn dra,vlll!:,t<\, when
11nt p,t·t1d o-di.1gr.1111s, ,1n: tr.1d iciu11:1l ~tud1e~ for lrying c>ut 1dcas
111 ,111 111t1.· rdepe11dc1tt rel.tt1011~h1p \.VÍth ,vork in other 111edia,
13l'u,·,\ dr,1\\ tn~, con-.t1tute a ,eparate but equ,11 practice :.1111011.gs t
.d l t l lL' divl'r!'.e .1spt•cts oi hi\ scl l involved ,1 nd sha1na11ist1 c proJeCt.
1
131.'ll) ,\ 1ic.1tL·111e11r 't.·vt•11 ,,v ht·n 1 ,vr1te 111y n:1n1e I an, dravving' '~
d1rt·1.tl) link, his dr,1,v111g-; "'1th rhe .1utographic self. and
L''\ l1t·111cl y 111lL'1tsl' pt•ri<ld, <>Í dra"''Ítl~ during hi.., lift· resultcd in
d1e ·hl\)t i...s· o( d1 ;1,, i11g. ,1 co nccpl th.tl \\,<IS p.1rti,dly relalcd Lo
,e1 i.il 111u~1l ,111d 11otruns or pcrfc.>r111.1ncc. Ucuys also drcw anel
,,·rote puhltcly 011 bl.ickboard'I dur111g his pcrlor111.ance 1cctures,
.111d tht'\C h,1\'t' been rnously prc'lcrvcd as terish1sed relics.
1 !te r<J7º" ,vcrl' ,1 dccadc ,vhcn 111any Jrtic;t<; ,vere re-
t'Valu,1t i11g the11 dr.1,\ i11g,. often go111g so f.1r ~ls to ren,11ne thcrn
111 tl1,· hopL''- or 111vc11ting a JJ L'v\' graphic role : C.1rl André called
h1, drJvving, 'poc111-.', l),u1 fl.1vi 11 'di,1gr.1111•;'; Gordon Mattn Clark
r1.·fi.:rrcd to 'propos1lions'. 11" lt "''Ji, .,l~o lhe period ,vben Lo.uise
llnu rgcors. untler tht· 111tlui:ncc or EVJ Ilesse. lc111inis111 :'.c111d new
111.1tl' 1 i.11~ surh .1, l.1tc,, t0ok to the screet ,ve..iring a sott latex
,r1d ptur.d co,n11lll', 1.•rupti11~ ,vith brcJ,t'i. 1.7 !-ler early graphic
\\'\)I !... 111 f r,lll(t' Oll'llrrt·d .1g, 1111 st tht· barkgr()llllcl <>f fà~c:111ation
"' 1th d1l' .11 ti\tl(. ,111d philo,ophir,1 1 1ncercst in psychc)IQgy.
·,1ut l ll' lllll ll), .111d hl·1ghtl'lll'd st,lLl'<; ()r bl'tllg 1.•xplorc.:d by
M1 ch.1t1"\, Artaud ,111d 1)ubulfl't. These 111Aue11cc:;s are perhaps
ch.111111.•ll ld 111to the cur1ou~ly per~on,11 a11d a,vkvvJrd 111:1.ru,er of
hl'r dr,1,, 111!--,"í. ,,,rh thL· pl'n \l'clrt'd 1nto thc paper 111 short bur~ts
tlf hrnkt'll scrokt·, \O that lint>, ,1re lll'Vt>r Hu id but ft1l l of starts
,111d ,tnp, l ll·r hr u,11 dr .1\\ 111g, repeat tht:-. qualit) of interr1.1pted
,111d g,1\tl ht· l111l'\, Tli1.· 1.'JI ly I•) 10 \ dt,l\\ i11g-,, p,1111ti11g~ ,llld pri11ti-
.1~,<,cr.n1.•d ,vah thl'nlt'\ ol th1.· f ;c111111c /\ f,1i.,c111, o r pr1.·g11ant and
ru1111i11g fi.•n1.1IL· bodit•,. h,1Vt.: l11t 1ppl'J1 ,1111.l' <)( <lr.1\.vi11gs of .1rtl'-
126 DHAWING 1t IF- ru TURI
t:1cts, a11d l1avc bt.:en reusod and re.i11cerpreted plasricalJy as soft
sculptural objects. stufled and sewn, si..'Cty years later u1 her 1011g
career. 13ut 111ost of Bourgeois' dravvi11gs in the 1950s and fol-
lowing decades ec;cl1evv the de,;cription or single objects and
in~tead fill the ~pace <>f the page .is field dra\.vings, exploring co11-
rou r~ a11d b<)di ly l.wdscapes witlUJ.1 tbe co11tii1uous su1face of t.hc
p.,per supJ>ort, co111parable to tl1c co1nplicatcd surfaces of her
111Lut1ple breastcd scu.lptu.res. Ai1 l'11ti1/cd drawii1g of r950 (pi. 321)
cvokes plaits a11d tvvists of l1air in its typical incense and broken
srrokes, ~een1ing co bc' directl)' concérned with tactility and
1>l1st'<;<;Íve iterations, Lhe doodled sl1a_pes abo uc to u11ravel or coil
tl1en1~e.lves under the ha11d. Tbey evoke the obsessive if spikier
pen and ink 'e111broideries' of Unica Zürn (1916-1970). tbe trou-
blecl .i.nd suicidai co11Jpai1ion of B elli11er and M1cbaux. Zürn's
SL1rrealist- insprre1.1 anagra1n poern., beco1ne poig11anc narratives in
hallucin:-itory and obsec;sive ink dood]es in illucstrations to her
book ~f/1c Ho11se 0· Tilnesses. ,, poetic diary of l1er exreriences. In
the Portroif cif a ff1rispcrc·d ,\ fcssa.~e of 9 May r958 ii1cluded i.11 tlus
publishcd accou11t, the figure of Dr Mortin1cr, Zürn's psycl1ia-
tríst, has bee11 elaboratcd Í!11ro a Spiky aod twi.sted am.alga1n of
sharp t'ingernajls and calons, eyes a11.d buttons, al chough the clatis-
trophobic horror fl,1n,i of this grapl1ic account contai11c; nothing
of cl1e d1see-cli111ensional pla-.ticicy that 1narks the inventiveness
of Uourge()is' dra\vi111:,rs.
Ol)scssive strategie~ and tl1e tradc1nark iuterrupted w1es are
loosc11cJ buL still preseut in Dourgcois' l11s011111i11 Drau,i11gs of thc
1990s, son1e o[ th.en1 witb scraps of text,jotced 011 sl1eers of exer-
cise or n1l1s1c 111anuscripc paper during v,,.ak:efu1 hours.<is Still
related to processes of knitting, sticching and en1broidery, the
drawings ;rre tieti in with unconscÍl)LlS n1e1nories and psycl1ic
'itnte'\ and reiterate rhythnis related to water or pla11c grovvth and
fteld p,1tter11s, fti lús fc.)revvord to on exhibition oí Bourgeois'
dravvings in 1995, the S,vil>s curator Josef J:--Ielle11stein noted:
· ....1lthough the111acic recurrer1ce supplies a c:;trong innt'r
ct)J1 t1':'clion l1etween tl1e tvvo 111ec.li u 111s, dra\vi ngs tl1at are
obvi<)usly preparatory to tl1e scuJptures are Jargcly absent.
Tli.is vtould suggest tl1at J3ourgeois's dravvi.11gs petfor1n a
function related 11ot to her art but to the art1st bersclf and
hcr pt1rely privace cinotions. ln rh'is sense, her drawings are
a11tonon1ous and form a discrete b<)dy of work that exists
independently of her <;ct1lpture'. 119
l)rav,ring is one of a 11u111ber of egually in1porca11t n1odcs of pro-
duction to che conten1porary mn ltipraccitioners, British nrtist
-rr:ice} En1in and the c;ern1an artisc l~osen1arie Trockel (b. 1952)
in their inexorable trajectories of self-exploracion. I3oth have
,vorke<l in tin1e-based a!l d objecL-based 111e<lia. as v.•ell as per-
Í()r111.1tivc evenLs, prQducing fr.ln,, video, i 1~t.úlatio11. still photo-
gr.iphy. dra,víng, p,\i11t111g .ind .1~'il'111hl,1g1.·, n( ft)U11d oh.11.•1.t-, 111d
i111,1ges or ,1II kinds. l3c>lh h,1v1.: ,d'io ,1pprl)p1i,111.•d dl.'111.1r( ,1t1.•d ,1rt•,1,
ot practicc, for cxan1plc, letu1n1sr ,l\S()Cl,\Led p1.1ct1c1.·, <>I k111Lt111g,
cn1broidery .1nd stirching u1lo thci1 lc~~ ,pcc1fu:.1llv n1ed1.1tt.:d
cet1vres, and they explore coll:1bor.1t1vc tcchni c.d 1111.',llls, lor
ex,1111ple, En1i11',; partici}1al()ry projecl\ ,,vorkiug \Vtth school
chíldren. or neon slog.H1 píeces 111nnu[1cturcd lo order.
The in-,crtÍ()l1\ or indexícal Ll".l(l'S of lli1.• 11i.1u:r1,d ,e lf 111(<1 a
diveri.e practice 11/10111 selC 111 cl1t.> c,1,1.· or E1ni11 .ire 1hrough h1.·1
dra,ving::. or 1ua5tw:baLi11g n1011opri11t, .1, u1u1.l1 ,,.., thl' ,1.1i11l'd
under,vear, coudon1s and bed- li111.·11 o( thc notoríous in-;1alL1t1t)ll
piece J\/y Herl (1998; Lc)ndon, ('h,1rle,; S,1;1tchi C<>llcrlic111). ln 1h1,
s1.•nse her p;1per 1r1c>11opri11tc;, slltth dra,vi11b>"S, skecclit>, or ,v,1l1.'r
colours pinned co thL· \Vall in .1 hctcrc>gl'l1t'L)tts 111-.r,dl,1li<111 ,1ll>11g
,vith other 111l.'111c)rabilia ~ig11 i(y ,\llLOgr:iph :t'> ,111 :1utltc·ntít tr.1t1.·
of -,clf i11 a trad1tional n1a11ner, anti ~ta11d 111 fc.>r h t'r <)\VII , i1,.,l'11l
prcscnct.:. -n Thc delibcr:.itt.:ly cL1suaJ J1spl,1y ,,va~ popul.1riscd b)
E11ún in hcr e.1r1iest cxh1b1tions, vvhich cvokcd lhe 1111xLurL uf
:ldolescent :l\VK\vardness, check and prov11ao11altty that per111e.1t1.·..,
nrt school d.e gree show-. nnd conslítutcd a psycho ,p:1ti.1I l·i·:11111.·
for her 011goi11g cc>nÍt'!iS1011al 'bad-girl' praceie.e.
ln the case or Trockl'L h1.•r dr,1v,í11~s cxpl<,re ., \\ idl.' 1.111gc
oí Jeliberately .t\,Vk"vard, l'xpre-s~ive .111d expL' I i111e11t.d g-raphic
111eans in \,,ash or oiJ on pape-r, o, 111a11ipul,1Led í111 ,11;l'ry sue i, ,1,
ndchtions to phococop1ed ii11agcs ot other arti'it\' ,vork~ .1 nd
double portrí\ics of !'.uperin1posed photogr.1ph1c 1111:lgc<:. 1 l11 .,
con1po~ire \Vork, J-.'r1111il)1 J>orrroiis: 1:,uher, ,\J,,,her, ,')',•!/, )(1111{~1 r .<.;ist,·1
.. . ' ' '

and O/der 5,ist<'r ( 1995; Cologoe), Trockcl h,1<; pr<)dured ruu1;h ly 3i 1 1 1>111,~ 110111~<01' 1l111,rlnl, I•),<•, ink, 17, ;:,: J.7•J111111. Nv\V Y111k 1111v.1I<'
n1odellcd heads a~ v.re ll .1s c.lr,1wing~, in ~()111l' c1f ,vhich th1.· í." 1.il < t >llc L llllll

features are con1plctely cU:1ced. '' Eight ch,1rco,d dr:1,v111g,; d1,H

accornpany thc plastcr hc.,c.1 U11titled (ll1(1//,cr/1\liat('r) ( 199, ; pi.
313) translate thc co1ls oí claylikc pla~ter into a 111011kcy crcature
that takc~ on a spccdy and evoluciona ry presçncç 111 thl' dr:1,, í11g
series - :ilbeit a reverse evolution b.1ck to th1.• pri111;1ce. 71 1)e~pitt·
a total absence of tonality, the c:lra,villbt,,; ,1t h1cvc 111u c:li ~rc,,ll'r
pla-;Lirity th ..1u Lhe rough pl<1:-ter 111odcl, a11d thl.' pill'd- up ph.1ll1c
noses (sceJ1 in a co1nposile profilt: ,1nd b1rd-;-eyc \, ic\,\' 111 <)Ili.'
shcet) graduaUy takc over thc hcad, ,uppress111g thL· rev\>I, 111g
cyes :md reduc1ng tl1e barely ex-isLing n1odelled 111<)uth lo ,111 ,111al
rict11s that is closing in on its~lf. 'f'he,;c po\,verful gr:iphic v,1r1;1-
tion,; are very difl"e rent li-0111 rhe uo;llal dist.111ced po-;1uo11 o(
Trockel fron1 her photogr;1phic 111~Lallation~, includi11g ht·r app.11-
ent ;1lienation fron1 hcr cool ph(>lc)graph-. oC t<,pulaung Louplc,
of 1988, or the rericencc of her kniltcd obJect, or 11e,1t cli..,pl.1y!'.
\vitlú11 vitrines. ln this respcct Tr<)cke ls varie d drJ\V i ng :-.lylL''
supply the :1ffective din1cnsion chac has been ~Ltp}ires-;l•d 111 oth1.·r
\,Vl)Ik'i. \1g11ific,111tly. 111 hotli ,111 i~ls, lhl· ft i, 110 li 11.·1,11chy oi \.tl11t·
Ili n:L,uon lO .111y .t,pl'( l'i l ) r tlH.'ll 111ulupt,lllH e, .111d dt.l\\ 111g i,
111,t onc· 111eans <>I 1. '\pr1.•s,H>11 .1111<111gst odit·rs. ,1ltlio1ud1 1t·,ol11tl·ly
.1utoµ1.1ph rt. Mult1p1,Hlirl' tltl'rl'l<>re ,11l11t·,·e, ., d1·1111111.1< > <>f
l'11tl<.•;1\our ,ilthc,ugh tlil· dv gr1·1.· ot" -.kil l .111d 111v1·11\H111 t'Xt 11 i'il'd
i11 111.,k i11µ diftert I li (l,11 IS or lht· <lpt'II l' lldt·d pn>Jl.'( 1, V,11 it''i
g lL'.llly
The Demise of System
IJJ 111u,t h1stn 11c,1 l 111odcl\ ,>r' .1111,tll p1.H llc e. tl1c '>kt•tt·li ,ll tlil.'
heg11111111g oi .1 li111.·.11 dt velop1111:11t 11.1, .1 sy,tt•1111< t llllllt< tH>II
\.Vilh th1. hn.rl wo, k. l1<>\.Vt'Vt'1 ,1lll'llU,llt'd .111d t tll1V<1h11t·d. 111 tl1l
~l.'11\l' th.n ,I li d\'Vl•lnp111c111 ,111d lllllt.:111111•-; .ire .,ncctc.::d hy Jl 111

as-pects of her 111ulcipractice. The dra\-v1n~ of .\/11/fcr rL·vt':1 I ,1 vt·1 y r;1d11.:1I \,\',t\',. 1 111 pi 1< llt l' t1Hl.1y, d1,1\\'111g h,1s ,1 d1ílt•1cnl
cic:grt!e of for1n:1l invention ;1\ \,\1ell a~ projccting ;1 sl1ghtly di,- ir ,till ()l'(.,\\1()11,illy t ()Jllp\ 11 \,ll<>lY 1cl.11i1lll'iliip lll 111ull1pl1..• t·11d
turbing vul 11t.'rability, the c..1u,1liLy that 111Ít>1111~ r~111i11\ g1,1p l1ic p 11,dut t,, ,vh1t li .1rt· 1hL111,el,e, ~t· r1t·1ally npc11 t•11dt·d. 111 diis

IJRAWlt,Jr, N<lW '1.11

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ll' l.1111,1 1 d1 .n, 111g 1, lt·,, .111d 11·,, ll'•l'd (Í.ll p roble111- ,u lv111~ ,vi th i11 1 lc: i11,;i-;r~ that he 111..·ver n1ake). <lrawi11g~ 'to tie picl, iliustrJ tc, o r
lhe 11.1_11 ·1 1 ◄ 11\ 111 .1 1111ilil·d .111d u111l.11\ p rc1Jl'l'l, ,1l thn t1 )1:h il , i~ 11.d , diagr;:1111 t:xit-li ng "'orks' o r ,ts ~tudies .for sculpu1 n:: ··1· he sha pco;
!11\ 111.11 k , ,11 p1,11 l''' ,111d ,\\ tlil· rc-,ull o i th.11 u ·u 11c,11cd ,1ou r ncy. in pape r d ravvings o rigit1~1tc in a gli111p:-.c o f ,1 volllrrle. a det,111,
N111 ht•1 11,~ J' li\ 111 \J l IIIVL'\ltµ,1 11 ,·l· l h .1 111. dr,I\Vll l!; ru11ct1011s 111orc .111d edge a ,-vei?:ht. l)ravvin g u1 that ,;en,;e an1oun c:; to an index
,h .1 ,11.1p, h111 ,1µ11 d l111µ ,111 111dl·,11 .d n 10111c11l th ,1t is ottt.•11 Lri - of ,;tructu re<; 1 have bu dt ..," T he prosçr ipti o n ,1ga tn'l r dra,, ing- fo r
11 111p l1i1 l1,1 , ,11111 ,, 111111 11111 1111ll'\ t11l' 1 n t1 t.t·ptu,tl i111d t h e .1 u t h nr- J pu r p<)'iL' j,; ,1 ln1 <>'ir ,1/; o;; rro ng ,,.. , chc: li tera l d r,1,,v i n g 11.f· .1 :.ubject,

1 d ,, uh .1 tl,11111~ 11, 111 .d11•1 n.i1 1,çl, l,111 ht> dl·li ht· 1,1 1c lv n 1t1dt•,;t and tht· p r,1ctice o i- .1 uco 11 0 1110LJ" a11d au lographic dr.t,, iug-. 1s p.1r-
'
.111d tl1111,, .,,,.,, ' ,1ll eled .11nong po'it-Mi11in1.1list sc ul ptor-;/objccl 111akcrs by the
"11111c 111 tl11, 1, p1t·,1·1H i11 tlil' l1uµ1· 111t.·d1tat1,·t.· bl.1ck ,v.tl l ~upprcso;ion of the ir 111 o re t1tJ..litaria11 111c:asuretl dr.1"' ings or 11otçs
d1.I\, 111µ, 111 g1·,1u1 ,dl, 11·tined p.1111t-.111. k dr,1,v111g'i oi l\1l h .1rd con1111u1 11catcd to t:1bricators. 77 Serra·., l1uge pain tstic k dra"'·1ng
\1•1 1 1 ,, lill li 11•1111111·111 111il\ 1,111t!,1·11ti,1lly llll 111~ Slt il pturt.·~. '( )11t·n. f •'01:(!cd l<1>1111ds 1 ( L993 : pl. 322) relatc'i to rh c sculpture '/il'ci J~c11;l!ccl
11 )1111 ,,,1111 111 111hil·1, t.111d "H11c1lii11!,!,, you h,1\l' l' 1lhl' 1 to t.1ke 11 l?.01111ds _J,1r B11stcr /(e111011 (1991). but. as Yve-Al::i in l3o i1; b.1s ~Ltg-
.1p.111 111 !11 tppl, 111111111·1 k111d oi' l.111)!,ll,tµ,1· to it', \t.· rr.1 h.1~ -;;iid. 75 gl'~tt·d, tht.· d r.1\\1 n gs hnve .111 'echo ic' f1111ct1 nn, in c•vc)k in g .1bs~ nl

1 18 ()ltAvVlt Jc. 111 1 J I LlF

 ·s
\\·orks. · A, .1 gesturl· rh.1r ,11'p1.-.1r-. lL) h.t\'t' hl'l'll prL1d11ct·J 111 lHlt' ln111,!iq, til , h llh 1• ,111d ,, ,11•111 dt.•l1b1·1.11,•t, ,·,1,1 ,1111,i.lc , 1111
grand n1c1ve111t·nt. ,vith .1 ltttll' ,, c1ghc ,1ddl·d cu llllt' ,1dt· 111d ll) ll'.11 111 dt'\ l'h't'llll'lll.d lll'\llS li\ 1)11, li.1111p1.111 11111,11•. t.11 l'\ 1111111,..
reinfc:)rct· it~ L),\sc. thi~ dr,1,, i11g h.1s .1 tt 1u111ph.1}1-;t qu.dH, ,1,,t·rt '/ /1, \, ,.,.,, l l ,•1.,11 ,, 1•(11,,• 11111/d (l\11r 1> (pi ; , i) 1111· ,,. 1111h ,, 11•11
ing tllL' prcsl'llCl' of thl' .1utht)r1.1l i.elf. Nt.·\ t·rtl1t.·ll',,. tltt.· ,111ud~t·, lll'l llllll\ h1•(\\l'l'II ('11111111µ .111d ll\l't,11 I\\ 1111 .lll' I' Ili 111 1 11•11
aod 11ntur.1l 111;1rk111~t-: eh.ir h,l\'l' ,pre.1d lront tht.· µrt·.1,, p.1i11t,lll k t11nn11n t11.,1 dul·, 11,,t •~.1111 11n1, 1, 11,1111 , 1,11 i1 u11,l ,.111il•l111r ,11
g1ve the d.r,1,,·111g rhe 'ipre.1ding qual1t1t'S oi .1 111t111op1111t .111d. likt· thl'llll'tll·.il l 'l'p.1·,1, \\ l1.1t1'\l'l ilt,· ,,,ph1,t11 .1111111 111 11, llll' l i } \ " '
Sen~\ bl.1ck rnller dr;1,, tllb"-· t.•,plon:' thl· trt''' t,,·t.·r ,,t.,1hl hc !J,l'llt'l.ltl\11\
•
tltl'\l' dl,I\\ 11tg,.
•
ltk,· 11111,l' ,1 11,1111:
•
1111111 1 l1hl1'111,ll \
t,,ee11 1111n1edi.1ry .111d 111a11ut:1t. curt'. l\\t.'1\lll'lh l l'llllll\ ,11,lll'!~II'" ,,, ,/)',~111/ 1/11,,. ,l,·p1•111I 1111 ~,1,11,•11,i.• 11
0

C()llteinpnrary dr,,,.,, i1t~!> ()ft1..·11 h.1,·t• tlll' .1ppt.'.ll,l lll' t• 111 h.1, i11~• ,,, l\l,111 ,l g\'l 1.11 ,,·li l lll t'l )1lf ltlllll .li !111· ,.11111' 11111<' ,1, 1lt1'\ ',·lt•

been ,, rt?'ited ti·t.1n1 "kl'tlhhl)nk.~ ,, h.1 tc,·t.•1 tht·11 , t..llt·. ,1 11 .1,pt•t t
'iUK_gesteJ by rl1t' del1ber.1te l-.1,u.dJH.''-'- oi rl1t·11 111,r.ill.111tHl. ,ut h
.1s E111111 's. l\,•\.:11:lenc J)uu1Js·~. rrockcl'~ .1n d K1 ur·s p11111t·d d1,1,l.1v,.
,111d rhe huge \\·,111 of 1n1,1gl's oi' t,l·1ch ty~o11 ·._ 2.002. rurt1l'r Pr1,l'
exl1ibit1011 .1tl"'.1tt' l-3rit,un. ~'' 1 he ,;e1111t)l1c, ot· puhhl d1,pl." rhere-
fort' colludt' \\ ilh rh1:se 1101 ic>Tl, l)( dic "Pllllt.lllt'll\, h, b11d1t \ 1nd
t a~ualness of dra,ving. contt'l'Hl'd \\ irh p11, .lt l', p1<,, 1,1n11,d t11
h1,1ll' tlit· \ it.1l1t\ lll lll1lt111111111, l'1,1d11111,111 ,
l11 ,ti l (ht.· ,,,llt1,1\l' p1111l1l'\ 1l11t l\ll 111\\,1111, ,1111,t1l11t111r,
.1111,u,· .;u11l''' lll 11•~111111.1,, 111 t,1.t,,, \ .11t ,,,,, ld tl11•11• ,1ii1•1•,11,
ll) bt· ,1 ,h.111.·d 1,l l11.•I 111 tl11· (\\l'l11\ 111,1 l 1'111 11 1\ tlt.il tl1,• ,111.il l
l'~c li ,111d ge,111n· ,·.111 ht• ln.11h d ,, Hl1 p111l,11111d ,,i,;.111111 ,111,,• .11,d
l u1 ro11 1.1111 11Hd1q,lc 111,-.1111 111~'· li,,,,l'\l't ti 11111 ,lll'd 11, 1,11111 1 lu,
lH 1·,11hlc,,, ll'\\ 1, 1n1t 11l1t•11 , li.tll,•111• ,·,I. l\1·1 1 111 tlH·, 1,1• 11I , ,·l
1

t)l1~essit>n,1l prt)ce-ssl's. ,ll tht· ,;,1111t.· 1111\t' .1, l t)ll,1p,1nµ pu hl ll .111d t'ht.lll'd ,1 1ll~l\ .1 ,111~111 . d t,l\\ li t;1•,1111,·, .111 li, \\ 1\111'h l11.1d1•d \\ 1111
pri\'att' in .1ccord,H1ct' ,,':ith p<1stn11..>der111,r thccll, .111d p1.1t lttt.' lllll'l l'll'lt·d llll',111111}.;' ,111d \ .d11,·, !11.11 .111 \\,\\ 1,, \1•tlll 1t , ,·,p1,·~
·rhe suppre~sed h1storv o(., 111ore r1,.•~ul,1r1sed l1\ s\ sl1..·11nt. rt•l.1
t1011sh1p 1s not entire ly forp;c)ttt·n. ht1,vt•ver, ,111d .1p.1 1r lrl,lll tlH'
art1St'> ,,·ho p11r,;11e t')'Pc'" t)f hi~hl, 111vt•11t1,t· rl'prt·,t·11t.1tHllt 11
dr.1,v111~1S .111d rrad1ut111.1l u,.1gt\ .1n1nng thl'111 l11t' \Yn11dc>t t'i 1l1, l t11t.· • \,•,• ll'ltlh,•1 •01111, 1111,,•,l 111,·,lt 1 "" \\ 11,•1, ,, 111111 p.q1,•1, 1\ ll 1 1 lu111H11

.111d ron1plrx pt·11 ,111d ink. dr.,,vi11~, ,)11 Nt•p.,lt•,t· p,11't'1 til 1ht·
l't 1\ .lll' 1,1lJ.•1 l 11111

A111eritJt1 s,idptt.>r ,111ti prinL111,u...er l,ik.i S1111th (b ll)'í 1) (pi J' 1).
thcrc ,u·e tl1osc v,<)rks tb.1t depend u11 .1 Cl)tllplL''..!l\' oi' Ll)11fu,11H1
\VhL're evcry .1ccion is fct1sh1scd Jnd norh111g 1, eh111111.\lc~I.
Th.i, 1s evidcnccd 1n rhc l)\Crdr.1,, 11 ,'lH1tputc1 p11nttn11, ui·
Kt'ith Pfso11 (b. 1969). 111 the s.1111c tr;1d111nn .,~ tlit• p,c•udn di,1-
gr,1n1s c>f Fr<111ci, ]>ir.1hi,1 ( 1~79-19'\J) .111d M.trc l'I l)u l l1.1111p\
n1ock 111.1thc·111,1tic~ of de-.irc. \\hir h. 1rcHllt,1ll,. n:t1>111-t11utvd tl1t·
cn1pirical b.1:,ís .111tl fi.111ctin11,ili,111 t1f lr;1d 1dtl!1:1l ,tud1c~ .111d t'l)t\
11
CC}1lual 1l<)t.1tit)t1:-. s "fht:y ti)llov, th1.• Sl'l'111111µl, r.111do111 t l)ll.1g
mg oi lJlJtt'r1al o( Sig-111.Lr l'olk.e\ C\)lltpo,1tt· \\llrk, •.1lthl,u~I,
c;te1T1111111~ fron1 a d1ftere11r b,1,e, ~111ct· Pnlke ph\'stl .ill) 1 l, ll.1~r,
and l'd1ts h1s ~c>urcc 111,1rcri,1I. ln iy-,n11\ l,l..t'. rht· di.1g1.1111, 111d
1111,tgt><i are generaced r.111dc) t11ly .1, ILL'r.11i1H1,. li.illo,, t11g .1 'il'I til
in,trucuon~ li..'d int<., !11~ lr1111,l( /1Í111·. ,, h1 ch hl· ,11b,t.·qut·11d)
choo<ies eithl·r to construct, dJ.1gr.un 111,111~1.·. o,•t·rd1.1,\' 01 p.11111
Th1s ,1ppcars to 61.· ,Ili .1d.1pt.11 it)ll or ,1 rraditJl)!l;t] .ilealOl°llº ,,t 1.1t -
cgy rathcr d1Jn a clesirc to subvert lech11nlo~v. ~oi\ ing tht· l',1,
te11t1al problen1 of cr<:',1nviry. ,vh1ch ' lv,n n dc-h11v, ,, 1, 1, .,~ l11t·
issue of'kno,,.ring ,vhat to do t1c''(t' . An t·,1rlv 1~ropo,,.d ~t·11t·1.1lt·d
b) lhe con1pult'r, . l11,(!r/111,il-:c·r. o;uggl·•,11:d 111 111,t.ill.1111)11 1,1 ·,111
incr1C,\lt' suppurl ,truc:ttll'l'. ltou~ill~ t'\"l'lll, ~t·t {() l''l't lltt' l11t·111 -
Sl!lve, al rcguttr i11tcrval, t'.lt h d,1y ... b.1st·d llll d1~,1,tl•r, '" li ll li
1.111~t'
~
fro111 sit1L•ll·
~
f1t.1Llue~ chr<.1u t"'
••h te) b 1blit:1l stvlt· c.u.1cl\·,111~·.
}
Yec, as 1yso11 ackno,, led~cs. ' 1 ht·rt· 1~ no ,~1ch th111g .1, ptlll'
rl1anct'. no purc randc>1111sat1t)ll 111 tht• pht.•11tHlll' llnlog 1c.d ,,1u ld
- chere 1s ;1lv\;l)''- 0 11 ly unpred1ct.1biln y ,v1rl1111 g1vv11 ,v,tt·111,.'~ 1
.....fl ...........

Tv,on
•
\ ltt'1-.1til)llS, d1ere lc)l'l' - ,vh,llt'Vl'I thl'll prnbh·nt.11 it .1 1 1t.•l.1
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•
•

32.-1!{1k1 'inutli. Ph-1,1. 1999. utk .ind ~r.iphiu: on Nt'palt'~t' papcr. 1448 x 78.., n1n1. N..:,v York,
\VhHllt'} M11,,..11111 nf A1nenlan An purch:ised ,v1rh tund~ trnn1 che l)ra,v1ng ( ·0111111, rtt:-e
~001 . 151
~1\'e possibilities. Jn n1any instances. the currenr posrm.odern si t-
uacion is a reversa] of early n1odernisrn in that th e '\.vill to fon11 ·
has been replaced by an J.ssertive 'will to n1eaning'. v. l1ich is
e."<trinsic to the \VOrk. Such n1eanings are supplied in relentless
catalogue cexts or contextualisu1g panels, \\' hicb often shO\.V up
the paucity of \Vork rhat cannot bear such co111plex (or tenuotts)
racionalisations.
Even within c.hose 1nore craditional artists' monopracrices rhat
co11ti11ue to have a single output such as painting or sculpture,
drawi11g novvadays l1a-; les<i and less of an investigative, fu11cciunal
and 'studious' role. Altl1ough th.is is ofte11 vat111ted by contcn1-
porary critics as a sig11 of its i111portance as an .1uto no111otts pra.c-
oce, it also serves to reduce the range a11d possibilities of dra\vu1g
and linut its con1plex historical fun ction as a criticai and q·ues-
tionii1g, as \.Vell as a recording, discipline. T11c- labou r of trial,
stt1dy and experin1entation or pictorial presentation, rhrough
\vhicb ideas and procedures are worked o ut a11d prest:nted, has
been rejccted i11 favour of the in1111ediatc grapllic gcstw·e tl1at
'works', o r v,:hich is designated 'rigl1t' or 'v.rro ng' at so111e 1n1111e-
diace, dran1atic and myscical mon1en.t. (Artists generally employ
a cryptically linúted critica] language in response to those tacit
aspects of dra,ving, ,vl1icl1 I 11:ive referred to before, ,vhereby
dra\.\'u1g has become 11aturalised as instinccual.) ln thi\ respect
ir is interesting to guote a troubled re111ark by Gerharcl 1-lichter
(b. 1932), wl10 \Vrote to hii11.SeJf i11 a ·private journ.i.l' 011 12
february 1990:
Accept rhat I ca n pla11 notl1ing.
Any conside ration that l make about che 'co11structio11· of
a picture is false and if tl1e exect1tio11 is successfu1 then jt
is ooly because l partiall)· destroy it or becau<;e 1t works
a11ywa)~ because it is not djscu1·bing and looks as chough ir
jc; not planned.
Accepting thís is often into1erable and also i11111o<;sil)le,
because as a tlunking, pla..t1J1ing hu111an being it hun1iliates
111e to ftnd that 1 a111 pov.rerless to t11at exteut, 111,1ki11g n1e
doubt 1ny compecence a11d any constrttctive abiliry. 112
W11ere the inte11sive labour of prelimiuary skeccl1e~, existi11g
witl1ir1 a l1uge range of dra,vi11g cypc~. fu11ctions and teclmiques,
previously pre-existed the 'finished' work or se.t of ,vorks in
other media , as 1 have ill-u'itrated often 111 this book. ,ve 110,v
have a re,rersal of the tradicional order. lu this rel::ition, hand
drawing becon1es che i111portant c;ignifier of rhe aucograpl1ic
-;elf in concrast co th e frag111entacio n of the rest of an artist's
practice, and assun1es a sy111bolic sÍl.1gulaTity u.1 relation to tl1c
heterogeneity of artistic output. Suei, outputs. ,vhic.h 111ight
e11con1pass filrn. photography, computer processes or 1n.an1pula-
tion of ready- mades and i11stallatío11. are noc 11ece~sarily strongly
marked \.vith rhe perso11ality of the artist bec;:it1se of tht> natu re
of the cechnological 111ean~ or found 111aterial , ,tlth o ugh the
su~ject n1atter 111ight be stro11gl)· identifi;ible. \Vh.1r re!Jtcs one
;ispect of prnctice co ,111oth~r is therefore nor so n1uch a cc.1nri-
11uity <)Í autograj..1l1íc style (strecched tcl it,; li111it~ in entirc·ly dit:.
fere11t 111edia) buc the brand-na111i11g ()f tbe .1rtist or tht: artist\
autograpb.ic i.ig11aturc iu ,ketches.K\ This is parucul.1rly so in thl'
case of l)anJJcn l-l1rst (b. 1965), "vbc,, like Koon'>. J\1ur.tkan1i .111d
Yayoi l(us:1J11a, ali 1ntluenccd by Andy Warhol. u111tes rhe dis-
parate produccionc; of his stt1d10 by 1n;:irkeri.ng h1n1\elt as a brand.
and recencly ha<; been recon'lt1·t1cting rhi!1 br:.inded 1111.ige in rel.1-
ª"
tio11 to dra,\ing revelator,· pracnce. An e~,;ay in r·nl/11 rllL' Cradlc
to thc Crave: Selectcd Dra111í11,(IS: L)11111ic11 I lirs/ (.2004) 111ove, tl1e
e111phasis J\,Vcl)' &0111 Hirst's 'itatus as a l.1tter-d.1y Ducl1a111pian
111a1úpul:itor of th.e rl·.1dy-n1ade by describi11g tl1e dra"vings a,
'the secret to his ,vork; the)' de1narcace his purpose·. The article
co ntinues in tradiciona l ApelJe<i n1ode: 'Hirst draws ali the cin1e.
ic's J vv~1y of keeping the flo\\ o( 1111agi11;1cic>11 in Aux . . 1t su-;-
tains hi.:; visic)ll ª"' ic traveis íron1 sheet to -;het>t, notebook. co
notebook. graph p.1per to beer n1at., scr.1p oí paper to recetpt,
envelope, 11otcl scacioncry, and ne,vspaper.'x 1
l'ostmodeTn artisnc pracrice relates to ,1 rlnzou1or1,,hic co1úig-
uration - whac, famol1~lv, •
C~illec; l)eleuze and Féh.x Guatt.1r1
defined ns a principie of n1ultiplicity, son1erl1ing W1 th n1any
lJrJnches, roots a11d ·opposed segn1entc;'. 'Unl ike the arbore.11
spreacl fi.-0111 a singular sten1 of a tree and Ít\ roots. the rl1izon1e
co1111!.!cts a11y poi11t to a11y other point, a11d its traits are not nec-
essaril)' li11ked to traits of tbe sarne 11ah1re: ir brings ii1to play
very ditTerent regin1es of signs, ar1d é\.'en 11oosigi1 states.' 'Tbe
rh120111e opeTates by vari acion, expansions, conque~t, caprure, off-
'lhoot::..'s' Within this rhizo111íc 111odel, ,._ hi ch involves ex1)er1-
n1entation ,vith n1any different 111cdia, ., reises' pracciccs are no
longer detined by co11t111uíties oí idea or consisteucy of for 111al
expJo.racion, but 111arkcd by fluidity a11d thc valoriscd dynru1úc
of coutinual chru1ge as a scqu cnce of brc:iks and n1prures:
'lZl1izo111e tin es oscillate betwee11 trce lines cbac seg111ent a11d
~
even ~trat1fy chen1 , and lines of Aight o r n1ph1re th~,c c:1rry chen1
awa)·.'*' l)ra\ving. as th.e unquescioned vehi cle of .1utc)gr,lph.
thercfore becon1e::, a for111 of authentic )Ubstituce for the artistic
persona a11d. J.S such. u1 spítc of its forn1al i 11co11sistcncíes and
expcri111encatio11, functio11s as the recogim.ible a.11d stable aspecc
of co1nplex n1ultipractice.
DRAWING I\JOW 431
 Lec's Draw a Precty P1cture l11t: rL'.1dy-111,1de. ln a se:1 of tired, second-hand ~, nd endles~ly
rl'ryt lt·d 1111.1ge,, thc indige\tiblt> dr()S'i chat h.,., p;1<;sed 1n,1ny t1n1e'i
1' through Lhe body politic c>nly co rcsurf.1ce aga111 Jnd af,r.lin in
1 1 1

1 ,,,.._" bl d , ,u•',, 0u1 l v(' , bu1 lJl' clrawn ou1 the \l'\\l'rs of cybcrspacc, tli1: dra,vu i111agc that spri11gs direcdy
) 1l J , J ti •r l f lWlí t 1 1 11 l I trl 1. ut:,, of purpose Lcl s nol dr. ,w .1 fron1 thc ,ri~u.tl Í111aginntio11 of cl1e í11dí,ridual 1s ÍIÚulÍtely 111orc
l 11 ' 1 ,w I )' fl( 1
potent ,1 nd subvcrsivc. l)r::i,ving is capable of dcvelopn1ent. being
N.1r cy !:>pero
,lt tht' bt'ginn1ng .1nd nor at rhe e-nd ot- a chaí11. [t is origii1al
i11ste,1dor 1tt'r;1ted, rre,;h in\tead of clicht:d. unfixed and <:>lastic
li d1 1\\ 111g. ,1\ 1 h,l\c ~111-(gl·,tl'd, h.1, 111Hll·t~<Hll' 1ls h1 g~t'\l l h.111gl' 1,1tht·1 th ,1 11 over-delern1i11ed: il Cl>nt<1 i11s ll,e gern, o( its oppo-
ln 1 1 t•1111 111 l''· l111, 1, ,1 t h ,111gL' 1cl.1 1t d lo 1111il.:i11,~. lllll to t 011\l'\t, -;1Lt.': 11 qut:'itio11\ .111d unc;ctlles rc.ility: it is the dy1tclL1JÍC !)Jgn of
l· 11d pn1d111 t .111d 1\'l L'1'll011 . 1 hl· ,.1lt1l' put tlll d1,1,, 111 ~ ,1s rc\'L' n1t.>Vt'111ent .1nd e.. h,1nge. lt beJong-. lO a politics of cl1ange a11d
l.1ltll\ pl.llllll' I\ kl'l'lll'I ,111d llllll"L' llll l' ll \l' th.111 ll C\'l'I" \\',IS, l'hl' rl'TJC\v.d ,L'i ,vell as .1 poctic_" of practice.
,1 11g11l,1111, ,111d 1111t11l·d1,1l) ot' thl' 1.0ll l1.' nlpLlí,ll)' 'ikl'rch. ,vl11t:h Wh.1t 1s n1ore. dra,v111g (bod1 as act ;:u1d artefact) does not
11.1 , 111 do so 1111ny tl1111gs \Vitl1 ,ti littlL·, reprt·,enl lhe ,;h,1red ,;olely rt•late te) the art world, but belongs equally te) engineer-
p,, l liH ,111d et 01 1011111 ,·.1llll'' in, t'~tl'd b) .1r11,t. cun111 1c·rl 1,1! art 11Jg. ,1rchitt>ctu re .,nd de~ibrn, tt> .;cience, to philosophy, to litt>ra-
\\nild .111d l 11llu1.il 111,tÍllllÍ<Hl\ in ,ll',I\\ 111g ,\', ,111 i11d1..'\ .1uL110- nr tlll't'. to n1usic, to L'Vt'ry pos~ible area c)f cre:i tive and con1-
I I ti gv111l1,· (.1 1hl' t)rl·l1l tll, ,u,;pl't l t L·1 111 nt>\\ ,1tl.1v,. hut ,till 111u11ir,1rive t'ndeJvour LhJt involves 111.1ki11g ,111d thinking, and to
p11p11l,11 \\ 1tl1 tl tl' d,1il, Jll l'\\), evcrv pt·rson ,vho picks up .1 penei) (or i11deed a c0111puter
1111, L' 11tl1u,1.1,l1t. t.· 11dorsL'lll L' lll. ho,,evt·r, 1s .d,o .1 rcd11 r civ1..• 111oust•) tt> sketch out a11 1dca. lt 1s ,l u1úvcrsally ubiquito11s mea□s
t111L' 1 ht l1l'\'l' th,1t 111111~ t.il thl' 11c h port.•11n.1lt11cs oi dr.1,,·111g, for gc11erat1ng and cnt1qLu11g 1deas ,111d forms and for investigat-
'
c1.11 l'd 111 dl11\t11t1tlll'- 111 th1, bonk. h,t\'l' hl'l' ll rl'pr1.•s-;ed 111 our i11g tht' "''orld. lt 1s t·11urely de111ocratic: be.l ongtng to e,--eryone,
llllll" .111d lll'L'd tP hL· rcdl \l'll\'t'rl' d .111d rl•v,duL'tl. 111 p.1r11cul.1r. blurr1ng di,t111ctH1nc; between .i re .1nd eve1yday u~age. bçt,:veen
d, ,,,, 111~1 lll'l'd, 10 bt· 1\•,dlir111L'd .,, 111tl·ll1gt·111 pr.it tice. \vh1rh 1s .1rt lc)r111s, bl't\.Vel'tl C() ll CL'J)CUa l Jt1d perce1">tual. bri11gi11g high art
.1, 111L1t li .1hout tl1i11k111µ, 'L'L'Í11g ,111d 1nlt·1 rog.11111g ,1, i11Vl.'tlli11g • ,1J1d popu lar in1agcry 111to 11e,,v con_junction~ .1nd bridging art
.111d ,, l11Lh tn11111111 111t.llt·, ,1, 111tt•11sL·i\ ,v11h olhers .1s it reJi.:r~ lt) ,111d ,;c1e11ce. And, in addition. clrawing as continuut11 l1Js a l1uge
tl1l' ,11lt•tt1,·t.· ,cH. h1nterL1nd ccnrur11:s ,111d ccntt1rics of thoughtfuJ and in_ve11tive
111 p .11 ut ul.11, 1 bl'llt'Vl' th.1t Ollt' c1I rhe purpnsc,; llf dr:1,vin~ pract1ce ch.1t infor111 ::tnd errricl1 .tll tàr111s of visual culture today.
,hould ht.· 10 t h.1llr11gl' thl' phtln,c1phic,tl ;u1d :1r1Í\lÍc rediun1 o i- ;111d ,v1ll lead ,vho knc}\\' S vvhere tc)n1orro,v.

'1 ~ l~RAWIN<.., T11 F Tl!R

 111 1 1 t1 11 , di:r \ ll'L lu 1n.•J b1.1\ duou~b .111 l'.Xtt.:11dcJ (.111J
Ili)\\ d.lll'd) lé\1C\\ of tlil h1,1ory llr dr.1,v111g,
l'11rl \l;il, 1), ' I >1g1cs\11111, 111 / '''\''"· ,\ /,111,1, ,\/,,r,- .1nd W111, ln,v A1n.:, rcv1~1·d M edcr's r:1xonn-
t• I 1 >.1 \ 1.I l 1,1ul, lo11.lc>11 11,t,o, ll· 57.
11 111 n11l', 111 h1, •fi t:l'' Lran~t10011 'J !1L .\last,,ry vf 1
1

l, 11,•1 111 '11\ 1•,ll1u11 ~ dh.111 1 11.1\'ll'\, !I ( ), 1 JJ1,n11i11.!f, ..! vo ls, Nc\,\ Yíirk. 1978. ln chi, still
oh 1 ,xo 1 ( //11 / ,•111•11 ,,J I l '1//i,1111 Hl,1t·1 , ('d Lht· l11I rt·lt•rcnrt' book, dr.1,v1nbrs lrún1 ,H·ro,~
< ,1111111!) J<, , ,,~, 11111do11 , 11,,n, p 11i.). Ntll< l hl ht,ton, .11 ,pc!t tn1n1 of Wesrcrn .1rt, dctiucd
tl1.11'p,•11111' Ili dll
ui 111<' llllll' ll' ll·1, IC!
11\,lj..\<' 111 ti.:1111, 11( ., t1,1diL1011al Lypolo!!:)' llf dctaill'd
1 p,11111111 '"'"• 11111 \Vll <>d (' l i( .,,l·d g1,1pl1111·. , 111d11·,. v. ork111g dra,v1 nb"'• l:1 ndsc.1pc ,1n.d fi~-
l :-.(, ll 1{1.111 ,~, ·:,,, 11l1l111n 111 1hl' l·x1l,111<k·d llrl· .1r.1di:1111t·~ ••1r<' u,<~d .,~ 1lh1~cr:irio11s of thc
l II ld' e J,r,,/111, X ( it1;•1) 1<p11111l'J 111 l 1thl/11,1d , dctc1111111111µ .1spct 1, of 111.1ter1al anJ tech-
(ti/ t 11/11111·, ,.,, 11 d f 11'111, 1 011d,111, PJX'i, pp. 11,qul·~ ,0111pll'lllc'11 tcd hy 111lorin.1t1l)rl nn :lrr-
li 1\llt 11.11111111-1 ,111d collcc:ung. ;111d ,1rt1s~• b10-
( li, 1111· JII 1g 111.1t1c l,·\c·I oi tlt<· ,11 , li 11·tilll~\ o i g1.1p hi c,. ' fht.: C.:llllllllCJILariL·~ 011 ll1lliviuu.tl
11111,, lcdi••, M't· 1\111< l1rl 111111 111h 11,·ld ,li( h,c,· ,\nrk, ,1nd ,tvk·, 1rl.' ronted 111 Jn :iu~tere ,tnd
11ll,~1~1~ d11 11111 li11111 rhe111~,h,·, 10 l'x,11111n 1ng tor111.1list ,tl·,tlii:til:, \\ h1ch .1bhors over-f1111sh.
illtl.h ,,, 1'111 ,1h, 1 ,1 11,1h 1, '"d ~.1111pl,·,, ll'gl'l,1 VII 1111,,11 y ,u1d ~l\ lts11c: c.xc.:es~. AnH.:s n.:licJ
111111 e 11111 ilc' \ 1111il.11ly rli,· .11, l1,·nlog 1,1s 111 h,•,I\ dy 1111 d1t· Lcc.:h111r:1I cxpl'11 111cn1;1tio11s .1nd
1lln\l li•dgt· , 1111h Ili,• 11011 d1 ~, 111~1v,· l n11d1 n·,<·,11rhc, 1111n dr,1\v1ng 111;1tcr1.1 I, by J,11ncs
11,111 , \ 1111111111, 1111). 1h, l'llll llf.\ lhl ,,f 1 ,li,1111 W.11n1us 111 '/'/11 C 1,1fi of Old-JltJstn l)r,111•it~I/S
,l\'C '"' 11 1.1111111' 11111111 1 )1.110,•u,
(ll l Jlo\~l'I l11 1<J~7, "' l11l h pbL es l lt·,1r. tl·,hn1cal lnfor-
1\\1111,·I 1111 11 .111h 111tl ., C ,1n11p o i \111.lcur,·, n1 111,a,on .1bout 1nol, .1nd proccs,('s 1nco J lightly
( .111" l ·, 1111 ,11tl1 , 1 d ~1111e111 W.id, , 1 u, A11ge h.:, ,k.L l l IH:d l'Olllt.:Xl ~lr l1Jstor1l,il l!Xl!lllpl,1rs. anti
( 111 1h111ll lt)' (1 , JII' 1- 1 ' ) ",11ll .1 u~1·ful rcsour,,. ln tl1 c ,111,lll cac.1log1.1l' •
1 li, "• ,11 , •1111\<'. 1111p11,,1bl. h111 ln·,·, ,kl'LL h y tn, .111 1111pnrt.1111 cxh 1b1t1011 11 thc! V1crori,1 .uld
li11, .1111\ ''l'i" '"' ' 111 1111,· 1 tl1< < h,111<, oi ,ulh ,1 Alb,·11 l'vlu,,·11111 ,1nd t lu.' \t1b~c9ucnt booi...
ll't ,111-11 Ili lllJtl .1ll.l 11l1·11lil1t 1111111 I )1,111111111: '/, '(/,11111111· ,1111/ l'11ry>,•s1· (l .011don. 19k4),
W11lt111 \l'IJ IIII IIL , •.1 , 11d, 1~ 1 \t'l oi I ll1lV1'1l ",11,n,1 L.1111ht•1, revt,L'd this negler ted rech111-
11,111, tl1.1I l,•g1, l 1tl'\ ,J).'llill l 1111 L Jt 111111 ~ 1.1pl11 , c.d 111.,trix ,1, ,111 1llu111J11,1u11g ,v,1y oí slll)\Ving
'it•,1 1· 11, 111, ,,d.. .l 111 1111111,1111111 111d d,·1ndtd 1 \\· ldt r.111g,· or li1,t1)rtlJl 111d ('\J1llen1por:1 ry
111 111111 p1 c 1.1111111 .111d 111< ~•.1p hl·t,\t'l'll 1h,·~1· dr.1\\·111g,;, 111 cn ntra,r to rhe str1cdy rhrono-
,1"'1 111 \111~ l'IIILl'\\t'\ ,, ,, litl l \J\ ll,11 111.llllJ,II log1t.u bi.1s oi 1110,1 1J1u~cu11J tlr,1\vu1gs cxhib1-
,, 11(11 li li! 111111 J\Jt'l,111\l 111d ,111.1ly11, .d .1pp1t1 t11Hls 1 111y,l' II I rt'atcd ,1 lo(~'t' typ\.)logy fi,r
(11 11111111 c.•x,1 1n1111n~ Jr,1\\·111l,~ bas<•d lHl tht• derern11111ng
1 ( t10\,11111l 11,111111 1 c11ll,1/Jt1, /r,11/,1/11 c/1//',111t ,/i//,1 1,l't'l l\ n l d1,l\vi11µ 11 1,11cri;11' ~nJ tcch11íquc.... as
, ,111111,1, ,11,//111,1 nl ,11,./1111 /r,/1<1. Mtl.i11. 1, }( 1 A11 V\t·ll as typt"I of lint', 111 ,ny exh1b111on .111d <,JC-
t' 11h 11.111 l 1111111 111 111 l•11u,li,h hv ll1th.1rd l l.1y 1logu<' of 1991, 'J'hl' P1·1111,rr1• 1~/ /)rar,•hr)!: .·111
d,,, k,·. 1 //,1t11 ( ,1111,1/11111~ t/11 1//('< I'/ ( .'tttl(i/H l11i~1'.s l °it•11 1•
/ ,1111111(1!1 e .,, 1·111x1 ,1111/ H11,/,/111i:c, ",1\ p11hlhlt,•d 1.! 1111 /,i-l<T)' I!/ l)r,111 111/,1!, rr.111,. A1ncs.
1
f'v1<'dl'1, 1 ,

111 ( \,lt11, I 111 1,;c1k 1111, ,11,1 1,11< 11.111,l.11 i,111 Vo 1. 1• p. I• l

( lo11 , 111111, 11J 71,) \\ 111 h<· \1'1·d 111 th,· l•llok 11 l 'lult I' ll..:t\vso11, /)1'tl1l'Íll)!, LonJ011 ,1ud N<:,"'
~-.(' l)lll/jl<11p111 , .. l.11,·, t,1 l',II IIL 1 ,lll l' lllf'l\ ,li Yo1 k, 1<Jl>•J . pp. v1 ,111d 1•

d, llllll lf' tiH ,11111\ 111 d1.11A Ili!-!,, lnt e,.1111pk, 1·1 1h1d .. pp. 17 .1nd !il>.
\X/dl1.1111 ll.11J..,1111\ t ,1,11111111.~1,111/i/11, 111, '/ lw < :1,1111 15 IIH<I , p. 90. _li.1lu1 L~ u,lu11 rl!f<:rs to th i, l.l\\

111,1,d/ / >1,111•11,i: l 111 1d1111, 171)1/ 111 \ /r>clt 111 J>,1111/l'l'S and 1111 1 S/,111c•s 1)/ 1i•11ire
1 111 (.1111,\ 1,·dr:, lla 1,1, 1. 111 p1, 1 ,,11)11 111 11,,, ( 1851 3), .is \\·1!11 .1, / /,r Elt•111r111s ,>/ Dr,111 1il~f!
IL'l 111 li111 ,11 11·,l\t li t1ll\ 1.11,·, LI,,. 1111pli1 ll lOl l ,11 '-ll'L' tli c d1,cuss1011 uf thc ScrpcnLÍ11c Li11c i11
1 t1x, d !,\t.111d 11.1111111,• ui I h1t't.lllll) ,11 v1i:a1 l h.1plL'f Sl'\'t'll.

1í1,d1 .111 1,h d1tl1•1l llll,l[L'd 11,1111 11·1\\l l p1.1111 1(, A1111 B<·r111111gh.1111 , / ,1•,1111111.~ t,1 /)r,111•: St,ulies i11
11,,1111\ tllr ( ,11/r11r,d / li.,111ry <!{ ,1 />,i/i11 ,111d Lfs1:{,1/ , 1ri.
""l 111\ 1 1, lf'll'l N 1il111g tlil· l 1111111.d : 1 h l· Nr\1 11.1,·t'n , e 1••1nd I ondo11, iooo.'rhe book
J l1tl1111h11' nl I h ·l1111111~ 1 )1,l\\'lll!/ Ili l l ,i/111~ are 111Jk1ng ovcr a long
c.·x.11111nt·, ,1n1ac,·111
111/ /)1,1/PII/~ / •,(11)',\ ti// /)/,/IJI//(~ / 11,11//ct' t1111/ pl'lll,d, ,1nd t h.1ns h(1,v ~ptt i lit noiio11s oi
u,,,1,,,.,,, .. .i \11 ,1 (
,.11111·, 11, 1\1111 •t111x, 1111 ~lt.1\VIII I;( h,1,,· 11ll<·r~t'c it•d ,, 11h ,nr1a l pr.1r 11res
'7 11 ,IIHI ,11bJí.'Ç(l\'llll'\.
11 j11"'1'li r-.1,•d v1. d111·, 1t11 ,,1 llil Alh.·11111.1 .!1,1\v 17 "i1•~ h 1111po1 c.1111 lt'X[\ llllh1dc. for t·x,unple,
111r, 11>111·1111'11 Ili \ ll'llll.1, t 1r,1 puhli,ht'd h,~ l,ol.11111 B.11 d1<·,\ shorr l·,~.l)'' tll rhe HJ70~ l11l
, I."'" 11·,1 / >11 / l ,111,I ,·11/1111111~ Jh1, · /,'·, lt11il.• 1111./ J\11.,~~• u> .111d ( ' ) l ,vo1nbly 1n /'/,,• llt $pOtHiliíl- 0

I 111" 11,l.·/11111! 111 l•Jlt/ ( h.1dL·, 1k· lbl11.1) \ Jli~tc•1y 1/)' 1>/ / ·111111~ C..'1i1fr,1/ l;,\Sl1)1S ti// ,\ /11.1ic, .Ili ,,,,d
,111,/ ln /11111111r , 1/ < 1/,/ , /,1,111 / >1,111 11111;, 1 f l,1111/ J-<111rc·,, ll/t1fr1111, tt\ llh, 1-1,it h ,1rd I lll\\':1rd, ( )'l:to1d,
/ 1, 1c•I.· 11I li/ 11 .1111 11q111·d Ili , 1111q,l1·111, lll Mt: 11J8). Yv<· AJ.1111 Uni\\ thaptl'r 'Mnt1~~c ,111d

1 1•
 "Arche-dr::r,v1ng'' •• 1n J>ai11111,g a.~ ,\Jodl'I, ( nn1-
bru.lgl'. /\1.J\,and London. t993; Mic1u:I Lc1r 1s\
t's"1y •André l\1aS)OII: l\1,1~s,1c.1·e, el ,lllll"é\
des,111 of 1971. tr.inslatcd 111 ,4 ,1rl1i- \ /asir11:
Li11c L'11/c,t<hc,I. r l Rcirospcctivc Bxhib,11011 q{
Drc111411.es ,11 th1· J-J,1r11 •ard C,1llcrl', u1r1t/()11, Lon-
don, 1987: and c;iiles 1)elt'uze on thc ~-bagr,1n1
in d,c: chapccr 'Tbc Eyl' and cht• l íand'. 111
Pr,111ris B,1r1111 TI1t Ú.('<,fr r•f St'11srifi,,11. tr,u,,. l)Jn-
1el W. ">1nirh, London and Nev: York. 2003
Ih ()rher Pall1 Pris Louvre catalogues, publishcd
b} R.C:u111on de~ ivlu~t>c, Naaonaux. 111cluc.le
1-rinçúi~e V,aere cr a i., R,•pe11flr.< ( r9y 1). \,,rh
ÍJ1 teresa11~ t:.-,say~ b) Hu bcrt Dmii,ch ,u,d
J-f~lênt'. Ci.xous: Pt'.ter Crccna\, ay. ú: l3r11it d,·s
1111a11es ( 1992); Hubert l)a1n1~rh. lrai111 t/11 t,;111:
Trau1111s tr11cr11s (1995); and Juha Kn~tcva,
r'i$it111.c capita/1:..1 ( t998).
1y 1-or exan,ple, '/ 11r Stn,ce e)( l)r/111•11/,c: <;es111re
a11d .-lei. published in a~\OC1abon \,,cb T,1tc
Lonc.lon, 2001.
20 llavid R o,:ind. TI11· ,\,fc<111111s t!f the ,\ 1,irk:
Lcc>1111rd,1 t111d 1iti,111, La\-\Tencc, K.\, 1988.
21 David R o\a11J., Drc111'ii{11, Ju.1: S111di1·s i11 Cr,1pliic
HXJ1rt•ssio11 <111rf R<'}1rt~~n11,1tii111, C,nnbndge.
2002. p. 3-
., Ibid .. p. 23.
Authorsh1p and Conno,sseurship
1 Jonc1th.in R ichard.-;un the Elder. 'E,~J} 011
thc \\ hole Art of c:r1c1a.,m as 1r relaces to
P.:illlung'. Lll TI1c fl 'tirks o.f./011111/i,111 R1c/111rdso11,
1 o r1don, 1792, p. 200. 'A 1nan rnay be ;1 very
good pa1ntcr, and noc J good ro111101sseur
. . . T<,> kno-.,. a11d disti.nguê.h ha11ds. ,u1d to be
ablc to n1akc: a good picrurc are \'~·ry differ-
enc quahtications. and requ ire a verr d1 ffercnt
rurn of thoughc' ('Of Origin.us and Coptl's',
111 ·n,e vlí•rkJ. . , p. 163). EI$""' hen:, he u~c,
rhe tern, tht• ·scudy o f conno1s.111re'.
2 Ar1scotle. Po/ilics. trans. 11. R<1ckhan1. Lol.'b
C~l.1s\1cal Líbr.try, Cíln1bridge, J\11\: H,1rvard
Un1vers1ty Press, 1967. p. 133.8.a-b.
3 According to Filippo .Baluu1ucc1\ sou. Cardi-
nal Leopoldo de' Mediei tc~ced h1~ tãtht>r\
skills in atrrib1.1tion agalnst two hundred dra,v-
in~ 'of unqut:stiont·d .iuthorship'. Scc Ed\vard
L. Go!Jbc:rg, A(ter ( iisari Hísrory, .-f n ,111d
Pfltr(l11age ;,, L-11e i\1ediri l-'h1re11ce, J.>nncecon, l'í.J,
1988. pp. 59 and 105-6. Baldwucrt. not m
,lrtis L. reje1: Led rlaí111, that ht' wa\ a r/1/t1r,1111t.
po1nang out rhe rigorou~ d1sc1pline requ1red
for coru101sseurship.
4 R.ogc:r dt Pile~ dcals "ith 1:onno1s'$Cur,h1µ 1u
r,111r,er~,111011s .(1/Y l,1 (()l//l(lÍ.IS,11/{I de /,1 f/L'ÍIIIIIY<'
. . , Pari,, 1677. Scc the chapter 'The l~ano
n.1h,at1on of Con1101s~eur~hip', 111 Carül
( ~1bso11- Wood, J,111(1!'11111 l?..1c/1,1rd,,,11: -f rr n,eorisl
~I tln él\i!ltslt L '11/1;(!/11c,1111t•111, N e\v l laven, CT.
and London, 1000. pp. r- y- ~oR Earl.il.!l rc,1.,
in,Judl.' Abrah.1111 no~sc. 'ir11ti111n1., JIII /,1 d1,-
rinr1i,,11 .it's e/,,,, r,rs ,11,111frn•.< t, J't'111111rc, dt, ,111 , ;..
gr,11•t·11re, l;, dcs 1•rf{!i11i.111x rf',11•cc lrHr., n1pic,. l':1r1s,
16+9
, ln lu, c~~.1,• 011 'Thc' \c1en(t.· of .1 ( \1111101,-
~eur'. for exan1plc Jl1chardso11 ,u\\.1y, takc,
l,,
wrc to ~P-ccit) 'p1Lturc:, dlJ\\ iu~· \\tLh grcJ\
prer1s1011 .•111d CIJ di-an~ttll,h bt·t\\'een pa1nt111~,..,
nnd prinr; ,ind the h1tt1re t l SL'S nf dr.1,v111gs·
'pnuts cannoL be ,o gooJ .1~ Jr.1\, 111g,' ( 171<
1l{irks 1)(.J,,,1,11/11111 Rid111nl$,,11. p 1r,7J ,
6 l )a\,d Ro~and (l)r,u1,111g -lrrs. pp. 1-:!) under-
~tJ.nds dra\Vliljp, in t.lm n:labon 1n Lh1.: po1.:·u~
ope111ng st.1tt·1nent of h1, hook: 'I)r,nv1nµ 1,
rhe h111da1nental p1rtonal .ict lo m:ikc ,1 111,1rk
õr tracl.' a \l.nglc lint.: upon a su.rt,lcl.' llllllléill
,1h:ly tratt\fl1r111' thilt ,urC1ce. ent'rgize~ 1t, ncu-
rr:iliry. .. . 1)1,~d111g rhc sp,1,e of rrs t1eld ..1 ltnc
rclc:a)l'~ th1.: alJus1ve or gcnt.'ranvt.· charge of thc
SllrlilÇC • . . . Our or il11s p1ctor1Jl pb\'SlC~ IS
horn rhe fi1II r.inge of -p.unnng\ pn\,1b1hne,.'
~ JonJthan ltichJrd,011, 'A n,~c-ours1.: 011 d,~·
D1gruLV. Ct:rtainLy. Plc.burt.: J.UU AJ, J.ntagt· or
th<' '::,ç1e-nre of :1 ( .onno1~se11r·. 111 1711' 1ti•rkJ •!f
J,111,rrh,111 l{1charrfs1,11. p. :! 17.
li J.uHc, n,a111 Sha,\, for ex.1111plc 111 lu, i1Hro-
duct1on co Dra11·i,1,i!t /iy ( >/d ,\ l,J.~/cr.~ ,11 ( '/inst
Cl111rc/, CJ.>:f1•rd, 1 vol~. ( lxiord, 19~6. vnl 1.
p. 10. expl,un!> that \\ 1tbout a 'gl'lllltl.le· l>lgt1,1-
rure. ,1 f-ir111 ,1ttr1huno11 ·cn .1 par ncubr 111,hlt'r
depend, tor lt~ vahd11:y (11) on 1t~ rcla□ onsh1p
to J.11 1.'St,1bh,bed \\ork (u,u.i.Uy ,1 p,üuti.ng) oi
tht· .1rt1q conrernc:d, (/1) 011 tbc ,tyk·. ,1nd (r)
on chc qnalin· of rhe dra,,,ng·. · rhu~ in rhe
final .1~~e~st11l't1t. ali 111J~ dl·pcnd on thc qu,1ht\
- che ~c:-11,i:- Llf forn, 1he htê 111 che ltne: anJ
ch.1c, ala,. ,~ ofcen :i 111atter of op1n1on \0111e
lcar111.:J ,Lrl-h1,to11ans ha\e bettcr l.'\"l~ thJ.11
other,.'
!) Ale-x::inder Perrig's controver~1:iJ book 011 attri-
buaon é; J LJSC: 111 po111c. Sec ,\/irlu·l,u{l!•·l!1 's
T)r,111•111gs ·rt,c: Scrt•11«· t!l l11rih1111,•11. 1ra11,.
Micha('I Joyce, NI.'\\. 11:iven, e T, and l ondon,
1991. The ,onuoisseur .utd dra\\'Íll!:,'l> collL·ctor
G1ov,n1111 \torc•lh 'h an Ler1nnhelT. 1X16-r 81)1)
,vas rhc pn111c 1ntlucnre on rhe .1rt h1,ron;1n
Beruard l3ercn.son.
1o c;1r Jo,huJ Reynold\, D1sf1.!11r.,c., ,,11 . 1rr, cd.
1~1,herr ll \.V,1rk. Nc,, H:i\'e-n, r. t, ,1nd l 011-
don. 198ll. p. 99 (l)iscour,I.' , 1. 10 ()1."cct11bl'r
177+).
11 J11, r ,uch a dr.l\vrng by Par1111g1anino ,~ d1\-
cussed 111 ch.1ptcr th1rteen. p. 353.
12 The e111t•q;il1K volumes of tht lll'\\ Ulf121
r,italoguc c,f lt,tl1 ,111 dr.1,v,ngs (rcpl.1r111g
, olun1t'\ of 188 1 1911) are follo\,,ng th1,
excrc1uclv .1,\ k\\"Jrd tcH 1nulJ.
13 ':>l.'e ,'\,l.1rk ;'-vh· l)on.dd. ·1 /,e Pr1111 r:oll1Ytit1n •!I
l-crdi11,1111I c;,,t,u,i/111~, 1-1,~8-1539 -1 l{c11,11.~s,111l'c
C,1/lrc111r i11 Sn•11/1•. Loudon. l3ricish Mu,cu111
Prt·,,. .100,.
- N1rtl1t, .
.111d ~'('111k1 J.r(' 1hc 111.11n1
J.i.lTc·1 t'1tt1,1ti,,o, 111 dit· C. \,l11n1bu, 111, <.'111<11,.
and 111.1lt· li~ur1.:•, , \J\U,1ll) 11.1111t·d .1, , 11111, r.1kL•
pi:t.'tl.'dt·ncc (1\('r tc111.1les \\ hc:11 dlt' 1111111ht·r, ,11·
figure, in , l co111pti-it1(111 ,lrt• 1t·, ,iri.icd
14 l .1111 111dehred t,, 1'1t·rn> lh,urd1,·11\ llPt11,11
of rht• r,,n~t·rr.1ao11 111 ') 111h,,ht ,.1lut· upo11
objet t, 1,f t ulture 1111 ou~h 11.11 th.1p:i111111 111,
and lt·1.r1t1rn.1tion h\. tht pl.1,·t·,, in tht• ,,1<.rtd
~1111c of tht• 1//11_q,1_ \ct 1'1erR' liour<l1c11, '/ 71,·
-R11/c.- o( . l,1 : Gnu·.,,~ ,111,/ .'Ít1111t111, 1•/ t/11 Lit, r•
,1ry Firld rran~ \u~.11 r 111111111•1 l .1111bndg1.:•.
HJ96 Hourd1eu nort·, ho" tht· JUn,hr:il ITon-
tH.:r-.. 1n LI1l' Jrt1su1.. til·ld .1r1.. Gr k·,, defini..·d
rh.111 111 11n1,·l·r,11a·,. t~,r ex.1111pk·. 111,1k111g thl'
srrugglc tàr the 'n101H1poh· 0t dt>f1111nnn · L'Vl'll
1uore .1,ute ·c;1ve11 t11.11 thi:. \\l)d. ui .11 r dol·,
IHll t·x 1,t .IS ,1 sy111bnlil nb..11..·c1 1.·11do\\1.:'d \\ nh
, tlllt..' unle,, it ,, kn<,\\"11 anti rl'l 0!-,'1117t'd
tbe ~c1ence of \Vork, t,lkl·, .1, ob1e1.. •
1 1101
oulv thc n1.He11.u produt non of thl· \\'0 1I,,, hut
1!--0 thc proc.1111..11011 nt rhe v1lue oi tht· ,,·nrk
or. \\ h,1c .1111ol.1n1, to thc ,ante thing. oi
•
ilit· bt·lit·f in Ült' ,.1lue t1f tht· \\01k· (ib1d..
p. Z~•.>I
15 M,cht·I Fo11C'.1ult. '\Vh.1t 1s Jn Author?" l 19(H>I.
in . lt'sthcrus..\[t'thl'd 111d E1nstn11<1f,,!,!y I'ssc111i,1I
11 ,1,k.~ •!f l ·,•111·,111/1 10,-1- 11)8-1. rr Hh Jn~llt' V
H.ir.1r1, t'd. Jrunes F,1uh1<l11, ,-C)) n, ltlltdo11,
.:?000, pp. .?O'\ z.::.
1() 16,d .• p. 2 li).
17 l'hc l'n11cs and I )ra\,1111~ l1c.-parm1t·nr ot'
Lhl· 1311ti,h 1\ 1u,ctuu 1s .1lino,t lltlll!llL .1111u11g
dr,l\\•tng c,1h1ncr, 111 111.lJ<1r 111tt·n1.1t1(111,1l 11111,-
eu111s 1n i~ llpen -door pnlicy, :ind unttl rec-
cnth. 111 putung out us hold111~s 111 lüunn)c!_
l'xlub1nn1h Th1~ ,1d1111rJbly dt·n1orr,1ri<· polir)
pc-r,1s~ u1 th,; tacr <'t con,1dt•r,1bk· hn,ln<,.11
rt·~tr.unl'S. Gt•11crally. BrttJin h,1, ., µooJ ll'ro1d
in thí, ri:,pt·rr. ,vh,:n,\1, 111,t1111t1n11' 111 111,111,
othl·r Furopc•,1n ,01111t1,t'' rt>stn<'t ;11·l't•s, tn
·spl·t·1aJ1sts', cve11 \\hc:n such colle,nt111, \\,·1l'
01,g1n 1lh ,1,,en1bleJ .1, r1.:•,ou rce, fr1r an1,t,.
'
1.s Thc? box,·s, 11.1111ed .lfrl'r th1.:• n~tur;il h1'c,1n.111
<;,1.:1l.u1<lcr, ,trl' .1 JL'n1.111c.lc1 tb,1t n1u,L·1,log,.l JI
pn.)Lt·Jurt·, <'f y.1x1>1H>lll\ ,tnd t l.1,,iltl.lUtnl
:ipph ,1, clo,eh LO .1rf\,·nrk, 111 1nll\t'llnt, .,,
tbey do ro gt'olog1c,il or h1olop;1c;1l spl.'L 1111e11,.
19 Tlu, 11ono11 1, bl.uaull\' (i.ll u1ul.ueti 111 llob,oH,
l;r,1111111\l!r,1p/11,1 p. '.l 'I )r.,~, 111g tu111n11111tl,lll''
an 11111\'t•r,.11 ai.:qu.1111ranrt· ,,.- ,rh l'Vl'ry v1, rhll'
obJl'Lt, 1nJ ~Jvt.·s 1 Ll'ft,Ün de!-!rt•1.: 0 1· p,1,,e,
,1011: ti1r h) th1- 111t·,111' Jn .1ppe.11,1nt e 1,111 bc
rt.~t.11nl d .111d .1s pcrtl.'rrl~ .1, thl' rl'Hl·t-11011 r>I
an ubJt:ll 1, pro.!~en.teJ 011 ,1 11ur111r: ll h.1, 111uch
IH\lTl' ,,o,ver H 1,111 1.: h.u~H t<.'rl/e 1dl.' 1,, '" hit h
nnth1ng ebt· cnuld t·xpl.un: ,111d th1,, 111 a l.111-
!!u,1g,: ,b gt:nc1.tl Js tht· po\\ t:r oi 1111ght.'
20 1\ l.1 rt111 l lt·1dl.'~~e1. 11 h,rt /, ( .',11/1 d l11111l·111~'.
tr.111,. J. (;lenn (~rJ~ .u,d I· ~'1eck, Nl'\\ Yc,,-k·
l Lupcr & l~n,,. 19Sr1, p. 1r,
N()TES ..O l'AGrS 8 1 l. 1 5
 •r '"tlt 1- 11 • e i fJ n, 111./e, 11,111, Andre
'-lchc\\Lf .u1cl 1 1 h 1r~1 J{q1(e\v11.,2, Blon111111g-
to11 ]"-1 l 11d11111 U11t\CI ,,t, l're,,, HJSJ, r- 1'.i 1,
or1111 Broudt. ln11 ,,.,., •111,111 • -l l ·1111111151 /,(,1 1,/-
111~. 1]1( (,111 /iltl(!,: I'/ 1 f 'I / 'tlt1' ,11/,/ j\'tl/1/Yl Ili
1/11 ,\;1111/ttn//, (;<1111111• l I J1J I Nc,, York. 1997,
p. l'S
2l BuL1rcl1e11, 111' /{11/t-r ,•/ lrl, p. 1lso.
11.11d KI, ,,,, .\ I,,1/u ti Ir 1. tr.u1'. Paul f-111Jlav. , ll.ttkh.m1, C.1n1bndµc. 2111\, 198y, vol. rx. p. 171
111un. f l, 1bcrt l{t.',1d l n11dll11, 11)41-., p. 17.
\X..iltl'í Bc11J,lllllll, ·1:du 111! l·u,h~. ( :ollectnr
.111d ] Ii,tUfhlll., 111 ()11c-l r:1)' Sllt'('/ ,111d Orl,rr
11 ·111111'(J, tr.11h. Ed11n111d Jl•phc,itl .111d K111gsley
\h(irtlT, 1 ondon , 19~s. p. J<11,
Thcsc JJ'l" 11ut. ui cou1 ,e. 11~~únct~. but prac-
11, e~ rt·l1g1,ntsl) t'lll I iurJµ;l·d 1u ,1n ,111.l de~ig11
,chool,. tollo,~,ng ,t \'t'i-) long tr.1ch11011
'X11th l'l'f.\,Ud tu ch1: 1n1b1nous .1ge11d:i 1 ;J.Jll
\ kt·tc:lung· out, 1 L,11111\ll 1cqht 111Jk1n~ ,lll 110111t
bov\ to 1n) grear , 1,.-tt'l'nth cer1tury ,-t.111d-by.
<..:1org10 \Jsa 11. "' ho cLun1cd rhetonc.111) 1n
tlu: ltr,t l'lhuon of thl' L11•es <•( llit' ,1l1 ri.,cs 11 i,O)
th,H li..: \'1- .r s k-:t,·1 11g bt•h1nd ,1 '11ot,1, n1en1on.1
o boZZJ • (,L lllllt'. 111c1111,r,111dur11 ()t ,kt rch) to
hc cxp,111dt·J b, otltt•r~. (~ iorgio V.1,arí, u 1•i1r
dt' /1i11 < "il'lniri ri/11111 .(11rlt,1rí 1' ,1T1'111L·1111n 11('/11•
r1·d,1:::í,,11i dei 1550 e 156.'I. cd. ltosa11n.1 Bcttarin1
a11d Paol.1 TI<1r- occl11, (1 vob 1n 9, í-lurentl'.
19(,(,-X7 vnl. VI. pp. -l l Cr l 1.
Chdpte,· One
The Ong1ns of D1·avV1ng ;:ind the Pnmacy of une
Tht' 411\lt 1uo11 1,( \' 111ce1110 f)antt fro111 Scritti
d',rrte dei (,111q11rct'11/i1, ed P,10)3 tlarncchi, J
vnl~. Mil.in. 1971 -7. vol. L. p. 236, i, translarcd
rr1 ltnhcn Willranl\ ...;,1, ·11,c,iry, 111Hi ( 11/r11re 111
'iix1ce111/,-a•11111f)' /111/}•· f,rr111 l l·r/1111• ,,, ,\ lctcrte-
1 h11r. C:.u11br1Jgc: C,1n161idgt U1uvcrsit\ Prt:!>.,,
1997. p. ,1J ,111d n. (19.
Prn1n U.. oge-r de Pik·,, fJrion1•/r.; ,1/ f>ai11ri1(1! . .
'fr,111.,hucd Íl//(l Lt(~li~h 1i,, ,1 l',1111/1:r. London.
17~ l, p. 78. Tlus 1, ,1 tr,111\l:.1 11011 of (;()Ili'~ de
Jll'ill/!IYI' 1i11r / 11'1/l(IJJC, , , r.1111110.1Í' par ., / ri, l'i/cs.
!lar1,. 1"'OX. ,111d aho cot1t.tu1, <lc Pile,\ B,,l,111u:.
.1 t.1hlc lh.11 r,nc, tlH· rcl,1L1\'l' nu:11 L<- of ,1rci,r~.
i rtir :111 inr!.'n.·,nng d1sç11sMon of the relanon-
\h1p of l111l' lo Jrch1tt:llllrc and ,tructurcd
d, ui k.inµ 1n Ot·~c1rtl'\ \ Tltt /)isnt1/l'~c 1•11
,\ ll'lil,>tl, St'l' ( l.1ud1.1 Brod,ky L tcour , Li11cs '!}
'/1,,,11J,ltt, l)urh,1n1. '-1< ,u1d Lu11Jon: l)ukc
U11i,c1,1t) l'rc,s. 19(1(1
( )ne nf th~ f ft'llCh rcrn1, tor hnc. tr11it, :il~o
u,cd 111 L::n~land ui the \LXLcc11th JllU ,cvcn-
'
ll'Cllill (Cllllli 1c,. \lClll\ Íl'!llll thl 1 ,11111 rr11Í1t'YC.
to di-;ig •
or dr.,,,
5 1hc,t· \\Lli'd~ ire JtLr1buted to a thild in tl1t·
L l.1,~ll lCXl liy tht· P') e holog1,c M.u 1011 Blac -
kt·tt :-V1ll11l'I , ( )11
l.ondon , l<);iO
6 1·1ic llon1;111 ,1ucl1t11 l'hny chc Eldcr (Gaius
l'hn1us ',ccundus. AD 2.3- 79) mnke, variou, re t-
crt•nce, cu ori~ir1, 111 rhc sc,tio11 of lu, :\·11111rr1I
Hr.w11rr (/-/1,rori,1 11,1111ra/1.,) dl.'.,i!ing v,ich thl
h1,rorv ot :1rt (Books xxx111. XXXI\ and xxxv).
ThL l.irsL ltali,u1 translanon of Phny's ;\,111,r,1/
//1,r,,,y \\a, puhh,h~·d 1u Vl'111t·c in 1476. Scc
l'h n) 1hc l· ld1.·r, \11111r<1/ H1st,1ry, t11ln, H
(Ouok XXX\•: s) Parallel Latin and Engli.\h
tt'\t~ ,lrt" co bc tound 111 '/'/11' f:'/der Pll11,•'.~ (.h,1p-
1crs 011 rl1t• Histc•I]' e){ , 111 11:iy<1I. rrans. I{. Jex
J3],1J...1.. l llll'O. e. Scller,. Chtl.lgo. 1968.
"' lbid. vol. Ili, p. 373 (l:Jo()k XXX\'; 43) The
1d,:nücal ~to1y i, told by Athena~oras 111 Book
xxx\ 11 of tht' Prrsbc,a: 'Tht' n1,1idc11 in\'cntcd
rhe ,1rr <lf n1odell1ng tigures 111 rclicf <;hc ,vas
111 love ,v,th a youth and ,vh.tle he 1ay ask·ep
she skcü.:hcd tUl' putlinl' o( hi~ ,l1,1Jo,v <>n thl.'.
\v;ill. l)elíghced \\ ith the pcrfit(tion of tht'
hkencs~. her tàthc:r, \\'ho ,va, a poctcr. c ur our
thc ~tiJpc Jnd fillcd i11 thc oudiuc v1ith cl.1y.'
l> llohert llos(•nhl111n, · J'hc C)i-1g1n of P;,1nt111g:
A Proble111 111 thl' 1ÇOUO!,>raphy or l-l.on1ant1('
CL1,~1Lb111·, .·Ili 81dlcti11, XX'<I>- (Dc.c1.:n1be1
1957), pp. 279-<)0; F-,rn,t Go111hrich. 77,c H1·r-
Ílt1g< <if ,"lpcllcs: .'-:rtrdics i11 rhc l:lrt <?,( rhc l?.e11111.,-
st111cc. Lon<lon, 1976; Ann ill'rnungha.111. 'Thc
C)rig111 oi Pa1nt111g ,lnd the hnd, of Art
\Vr1ght oi l)erby's c..·,lri11/l11a11 ,\Ja,d' . 10 P,1i111-
í11g tt11d thc Politics (,f' C11/t11r,~ cd. John B,trrelL
Clx.f<.)rd .111d Ne,v York. 199.:1, pp. 135-64;
Jacques 1)erríd.1, ,\ lt:iurires d '11,,,·,1,c:li·: l '1111ropor-
tr<1i1 ri <111t1es nri111~1 l ts,90] ,e, J1t·1noirs «!( tltt·
H/111//: 77,r Srlf:P11rrrai1 t111d ()1/11'r R11i1u, tran~.
Pa~cale-Anne Brnult and Michael N:iai,.
Chu.:,tgu and Lot1do11. 1993: M1ch.1el Ba.,xaJ1-
t'h1JI. Slt,11!t,11 1s and E11lii,:l11en111c11t, Ncv,, Ha,·cn,
CT, and London, 1995. Victor Síoich.1ta. A
S/11>rt 11/.,t()I')' o,( riu· Sltadtiu,, tran!>. Aune-Maríc
C;t,bheen, London, 19,J7. ,1nd Mithat'l N(;',~'-
111a11, 'Thr 1v1arks, rra.ce~ and c;csrures of
T)ra\.ving', j t1 T11c Stllf!C o.f Dn111 1i11;r Gcsturc t111d
Ao, l'd. ('.cuhennc de Zegher. London, .:!.003.
pp. 93-108.
9 Ln a dra\\ing iu thl' Albert.ina iuVjetu1a by the
(;crnun arrist. cheon~t and rcacht'r Joach1111
von S:111dr,1rt (T6o6-T688), Í<>r an engrav1ng 111
hi, trn<:t Tt:111sdtl' .1lk,11/c1111c der ccllc11 81111-. Bilcl-
1111d .\loltlcrey-K1111sre, '.l vol\, Nure,nberg. 1675,
thc back ,1e"' of rhe Inver ns a cravell.er '°"1rh
hjs \Lill" i~ dcpicted irl [ronr of a.n arçhcd
doon\':lY, rendy to dcpart. A lanrern on a h1gh
plincb c.1st, lighí un ont· s1dc, :ind on che othcr
s1dc Dibut..u.lc trai;t·, tbc lovcr\ proftll' 011 lhe
,vall. The engrc1v 1ng of th1~ 1l1 11str;1c1t)n li·on,
l3ook 11, part 1. 1~ p:.iired \\'1 th that of a shep-
herd trac111g bis ci,vn shaclo,v in the saud \VÍth
a ,ttrk, an1rcd a~ a b1blical fíl,,rure. fhe coe'\i~-
tençl of nrg:ht .111d dav. and of tndoor; and
c_iutdoor..,. Lakt•~ lOg1til;a11i;e t,f tl,c 111ale and
ren1ale cl,11n1s to Lhe niyth, as \\éll :is oppos1-
tion~ c,f n,1t.1re and cu lrure
10 Jo,eph Wríghr of Dcrbv. 7711· C1iri111hi1111 .,Jaid
(tirça 17$2-\: W,1:.hingtou, vc.. National G,1llcr,
ot Art. Paul Mellon ( 'ollect1011). Wcdgwood
took a great 1ntcrcst 111 rhc 1conography of th1s
,vork. l lts correspondenLI.'. ,vuh Wright ~ur-
nves. and h.is been n,uch con1111enced upon.
St.>c Jud) l::.~erton, ll 'r,:eltr ~f Derhy, Londo11,
1990.
1T Sce Ernq Kr1~ and ()tto Kur7. LrJlt'lld, 1\.ly1/,
r111cl Jl,~e1r 111 1l1c /11111gc <!I 1/Je, lrtist: 1 His1ori-
c.1I E,µ1.:ri111t•1lf, Nc\v l lJvcn, CT, a.nJ Lond.on,
1979. pp. s!rf,o.
1.2 C:iorgio Vasari, Lt· ,.;,e de' p111 carlt 111i pi1t11ri
1
sculrori e arcltitcttori 11t:1/(' rc·daziorti dei 1550 e
1568. ed. lto\a1111.1 Bett.1nn1 ;ind Paola .Baroc-
ch1. ó vols 111 9. Rorence, HJ66-H7, vol. 1, p. 4.
Gcncrally I v, ili cite Vas;trí in (.ra.n.slation,
parcicul,1rly che Pcng;uin edition, Li11rs •!F the
...Jrtists, tr:tns (1eorge Bu ll, :z vols, London
and Nc"v York, 1987. and I ásari 011 Tccl111iq11c
l 19071, erans. Louí~a 'i Macleho~e. ccL G
Bald,,,n 1-3,u,vn, Nc,v York, T960. For a
dctailcd <.1i~cu.s~1011 o[ tranblation.s li·om Va&ui.,
~cc Patric1:1 Lcc llubin. Gicl~(!i<> 11Isari: flrt ,111d
History. Nev, Haven. (7. and London. 1y95, 1:>p.
➔ •4- 1 5.
r3 ' fhe charcoal rt·têrence 1s fi-0111 Pliny, 111 h1\
tclhng of the cale of Apellcs and Ptolcn,y
(Book xxxv. R7-yo). Thl' rclJ.tton~híp bet\vccn
linl·. firc and clav• ,va\ onc of íhc reasons tõr
rhe popular1tr of the copos ,n the 1770s 111
carly 1n<lu~triaJ 'England.
14 Site 1s so 11an1ed in seventcenth-rentury arl
theory, and lhe n1yi-h ,vas publishcd in 1)cnis
Dideror's B11rylopédie; 011, Diction11airc rai-<01111.é
dcs scit·11ceô, des c111s t'/ dcs 111cl1l!rs (35 vols, 17~1 -
76) t1nder thl' cntry 'D1butadt"s·.
L5 For a tborou.gh invcsrigauon o[ the rel,tcion-
shi p betv,1e1:n ,vc)nian ,1rtisrs ,tnd rht' 111yrh
of l),butade 1n eighteenrh-ccnturv France, see
M,,ry Shcriff', Thc Exc.:pri1111al 11'<1111a11: Elisr1bet /1
l 11.~h•-u/in111 ,111d 1/1e C11l111ral Pt>litir.( ef Arr,
(;h1cngo and London. 1996, pp. 232-4.
16 Athenagor.,is, JJrcsbeit1, Book .l:(.XX\111.
17 VJsan n1akc\ the referencc to (~ygc~. \\'ho
brought the ,1rt of dr:1wing fi·o1T1 1::.gypt. 111
d1c incroduction (proc111i11) (Va~i, Lc viu·, cd.
Bettarin1 .,nd ílarocchi. vol. 11, pp. (1-7).
18 The reversai of ge11der in the retell1ng. of rhis
1nyth is 1101 iu1usL1aL Thc ai-chitecr ,1nd p.1111tcr
Karl Friedrích Sch1nkel (178 1- 18-1-1) dcp1cts a
n1an dra,ving rhe ,von1an\ shado,~• 111 h1s pa111-
t1ug of T11c Ori(!i11 (!{ Pai11ti11g ( 1830), wh.ich is
ser nut of dooP,, ,vich shndo\vs cast by the sun.
19 Fro111 Benveauto C~ellini's l ren1isc 011 Jlrt of
1568 111 Roberl Gol<l\,·,Ltcr and Nl.irco T~vc:~.
Ar11s1s ou Arr: Fro111 1!1t· '<li. 1<1 riu> X'\ Ce11111ry
11945 I, 3rd cditt'1n, Nev, York, 1972. p. lil!.
20 Mauricc Bl,u1chol. 'Tht· .Oirth of Art', i11
 rn,•11dship IT!)71 1- m:ins. Elizabeth R.ortenbcrg,
Stanford, e.A, r997. p. 10.
11 Th1s crur1.1J aspecr of 1nd1v1dual develop111ent
1s comJnon to, 1f differentlv, theori,cd, bv . díf
fcn.:nt psychoanalytical schools. FrcuJ\ 11t1tiou
of the Oedipal ,cage ,1nd l'v\el.1n1e Kle111 's
concepr of the depressi\·e ph-ase, when chc
iniant \phcs' fi-0111 th.: 111ochcr's brcasr. are noc
u11rel.1red to Lacan •, notion of the ·n11rrnr
phmse'. \'Yhen che ch1ld becomes nv.·are char
che mod1er's body is ·othér' co ttl. O\\ll, aiid by
idcno(y1ng the reflccrion of 1cs nvvn í1ni1ge
consn,1cts :i narciss1snc ego 1de:il.
~
1.! s~•e thc discu~ion of Placo s cave iu Stoichít.t.
A Sf11irt Histvry ~( lhe Slt,uf<>LI', ch,1pter 1. For
Pl:ito, in Book x of the R11111/1lir, the nu111enc
in1agc \vas 'three reinoves frou1 Naturc'.
23 Leon Barr,isra Alberu, 011 P.1iHri11g. rr:in,. Ceei!
C~rayson, London. 1991. p. 64.
24 'Quintilia.n beliL'Vt'd trut t.he carlil'$t p,linters
useJ to dra,v around shado\vs I uadt.' b, tht.' ,un ·
(1b1d., p. 6). ln fact. he n1ade rh1~ ~taten1enr
in rclauon to a critique of ii1ut:itton anti
the \'alori~ation or invenllon, \V1thouc \vhit'h
'the arr of pa1nt111g \\·ould be restTicred to
tracing a linc arolu1d a shado\v chro\\11 in chi.:
•·
sunlight'. l'v1arc:u~ Fabiu~ Quinrilian. De i11.<t11,1-
t1onr oratorial'. x.11.7 ("n,e ln~ciruao orarona <!f
Q11i,irili,111, B,,t,ks x-.,JJ J r922], rra.ns. II . .E.
Dutlt.'r. C.unbri<lgc. /\IA, anJ Lo 11Jon. L\)9h,
p. 79).
25 Alb<:Tti. 0 11 P.1i11ti11~, trans. Grayson, pp. 64 5.
.26 Utnberto Eco, .-lrt 111111 [j1w11/)' 111 1!11· 1\lidrf/1·
,-lg~s. erans. H,tgh Bred111. New H:iYen, CT. and
London, 1986, p. 92..
27 Fro1n th<! Third Part1tion of Robert l3urron ·s
'f1ze Analo1ny ,~( ,\,[ela11chrl)' l 1.621 I, 3 vols.
London, 1932, vol. 111: J. p. rllr.
28 St:e Er1c.: b Newuann. ,; 111,11 1111d Psyd1e: 17rf
Psycl1ír l)cpe/(lp111ent of t/11• Fcn1i11i111?. 4 ( ;n111-
/ft('11h1ry an thc Tale by Ap11/ci11s (.Bollin~cn
Series 1.1v), cran~. Ralph Manhei111. Princeton.
NJ: Pnnceron Uni vers1ry Press, 1956.
29 Thà Orú,!111 t.?f Dra1/li11g ( 1810), engr.ivcd by
Loui!.-Pierre H cnxiquel-Dupont \V.C. p.rL•p.,ircd
a~ .1.11 illu~rracion for his didactíc poe111 Lr
Pci11trc. For a discussion of 'Neocl.1ss1c Erooc'.
scc Jtobcrt Roscnblu1u\ scnllllal essay Tr,111s-
_fi•n111111<111, 111 Ltirr E1_~J11ce111/i (;,,,111 ,r)' -l rr.
Princeton. NJ. 1974.
30 Ob! lovc. it ,va~ lhy glo1·y to i.n1p.irt
1r~ 1nfanr be1ng co thb 1nag1c art!
lnsp1r'd by chce-, thc soíl: Connth1 un 111.ud
Tler grac~·{w lovcr\ slccpín~ foru1 porrray'd.
Her boJing heart ht~ near dep.1rrure kne\\,
Yer Jong'd co keep his i111age in hcr v1ev,:
Plea:,ed ~he beht·ld the ~teady shadov, fall.
By the rlear la111p upon rhe e\'en vvall·
The hne ~he rr:ic'd \Vlth fo11d prec1s1011 truc,
AnJ. d.ra\\ ing, doatcd ou tbc for 111 ,hc drc,v.
(W1lha 111 Hayle). Episrlr~ /() R111111,r1 J 177X].
in Havlcy, -n,r L/fc 11/ Ceor.l!'' Ro11111cy, Es,, ..
Lo11do11, 1809, p. 1+<>).
31 (,.1/1111, f:11,(!/1,l, D1r11011110•, 4th rn7~(;'d ed1no11
((;hsgo"·· 1994).
~1 I lenry fusc-h. uc111r1·, 1111 P,1/111/1~1! Dclit11·rtd ,11
thc Rt•)•,rl .-lr.idc111y . , ri l\'r11• édhi,111, 1 ondon.
1830. pp. 8-9 JF1rst Lccrurc on lu1c.1eut Art:J.
J.1 G10\ ,ui1ti P_.iolo Lo111..tzzo\ TI ,11,11,1 dell'arrc
dcn1 pirt11r,1, <odlllr,1 ed ,1rr/1ifrtt11r,1. J\,\il.111. 158.1.
1,; p:irrly précised in tbe ldL'a dei 1,·111p1t• dc/1,1
11i 1/11r,1. \\ h1ch \V,l ~ puolished 111 l 'i90. [t \ \ J\
translaced 1nro Engh~h b) R.ichard H:1ydocke
1n 1598 .ts -1 1h1rtc Co11t<1i11i11g tl1t . lrrrs c)I
C111i,111s P,li111i11gr C,1t'r'111.)!C a11d B11//d,11ge. The
l h;1pter 'Oi" Lighr' 1\ ihe fitth bcink.
J+ ~ce ~- J'vlar1n~lli. 'Thc A1.1tl1or ot thc c:odl'x
11.uvge ns•. _f<>1,r11c1/ ti{ riu íl ár/J11l,'I! ,111d Ct111rc,nild
l11s1i1lll/1s. XI IV (1981). pp 2 14-2.(J.
35 'Per I' 0111bra ~econdo d11110,tratione' (Nc\\J
York, P1crpout ~lorgau Libra.ry. Codc:x
H i1yge11:;. Code..-.. t\t.A. 1139, foi 9or). Sec-
Ern·1n P,1not~ky, fl,c Code., l-l111-gn1., ,111d Lc,1-
1111rdo d,1 I 'iu, i '.- . .Jrt Tin·,,ry: 771( f>1t:rpo1,r .\ I,ni,111
Librat)' c,,de\ .\,/ 1. I /J9 11 9-1-0], We,tp<>rt, ( 1:
( ~reen,vood Pre~s. 19-r. fhe dra\VJng 1, nO\Y
attríbulcd to Girola1uo FigitU.
3<1 Alex.1nder 13ro\vne..,;,., r,a,,ri,1; {11• •-ln .-Jc.ide111y
'frr,rri,~ ·!f /)ra11•11(f!., f-'a1111111f!., L11111ii1(f!., l:rrhing
.... London, 1675, p. 33.
J" \X/ill1an1 l--lt•11ry fox Talbot. Tf,,, Pentd ,if ,,:,11-
111.-. l ondo1r Longman. Hro,vi, c;reen & l ong-
111.111~. 1ll4+. p. 2.
3~ Sec- U,1x,u1d.1U, Sh1.I/ÍtJ11•s ,1111/ L11l(l/l11,·11111e111.
and Stn1ch1t.1. -1 .'1/r,1r1 Hi,1t111• '!f riu• Sl111íl.111•.
I:.Yen t.he (),\_ji1rd c:0111p<111in11 /cl rhc Pln•tt>gr,1p/1,
Ül\ford. Ox.lord Un.ivcr~ity Prc5~, 2005. relate~
the 1nvenn0n of phot<>gr:iph} to ~1lho11erte~ 111
the context of thc Connth1an Ma1d.
39 JohJ1111 Joa1.hiin ~ ' ü11.kl·luiaLU1. e.xrtact fro111
77,r fli,f(''1' t!/. 111ne111 -ln [ 17(>.1]. erans. C~.
Henry Loclge. in f f 'i11cke/111c11111: li 'ri1i11.,s 1>11 11rr
ed. D.i.vid mvin. LllJJdon: Phaidon. 1972, p.
107
40 The pr1nt l)ib11r,1d1·s traçant /11 si/11,,11errr dr
f>t•h·,11,111 b) Suvét: \\as l'ngrávcJ b1 P. D
Vl.11nynr k ,1110 dedica teci 10 1 eopold I of
Belgiun1.
+1 Jac4ucs Derrtda. ,\,fe,11oirs <>f til(" Blind: TI,.- Sclf
Ponrt1i1 t111d ()1/icr Ruins, p. 51
.µ Ll·,,1ng arguc:d tor th1~ u1 h1s 111ttuenrtal reX1
L,1ok,1ii11, pubill!ht•d in 1766.
+J Ja111c:\ Barry. 1~111' Or{eit1 •!f lJ11inti11.1t 111 1d 01/,cr
Srudics. recto. pen and bro,vn ínk o,·er pc:nC1l.
36 X 227 111111. .o'\nnotatcd (in the hand oi
Fr,111c1s l)ouce) ·t:;kctch by !'vir 13arrv of the
">icyo111.in m:11d &e.' (CJxtord. A~h111olean
Mu~etuu. Doucc Bt·quc,r. 183+r).
+4 Ingre,. t.JUO~t.'d 111 J)í,ll'il'$ or Oani~l l lalt:\ y.
22 Janu:iry 1591, in l )cga, /,y /-/1111s1·lj: J)r1111•1ng.-.
Pri11t, , Pa1111ir(~S. 11 nt111gs, cd. ll1rh.1rd Kl.'ndaJl.
Lo1ulon. 19s7. p. 216.
45 Plin, eh( E1<lcr. .\ ,11ur,1/ r lr.cr,,,y, tr.u.,~. llJ~ k-
ha111 pp. 171-3.
it, \fasnri I í1~11r1 ,,11 'Ii-r/rniq11,·. rnn,. 1\-l~clc-h,ht'. ed.
Bald" 111 Br<1\\ n. pp. 206 .utd .!Oli (\'J,,1r1. L
,·frc. cd. Dc:H.1rt111 .111d B.1ro1lhi , \oi. 1. pp. 112
and 113)
+7 I,uger de l'tlcs. c·c•ttr., 1/t' pt'l/111111' µ,1r [lTIIU ip,·s.
Pari,. 1708. r 250: (jllOtl'd 111 J.1c4uc:l111•· l 1cht-
ensrein. T!,r l:lrq11,•11,-c t'.( (:,,lrr R l,c1<•11r ,11111
f}ai,11i11.~ i11 1!,c F1e11ch Clttuicc1/ -~~,. tran,. E111.il)
M~ V.1J1,b. Berkeley. < , , and 0'-11.ird. 1993 .
P· •5<1
lnlli1,111ucl Kant. 'Critique of rhc Ac~thcticaJ
4-l:i
Jutlgcu1t•1u ·. IJl 1711 CritÍ,fllt' ,1(_!11~1!111n11. LTa.Jl\,
J. H. Bernard. Ne\\ York. 2000, p. 75.
+9 John ltusktn. Lccnircs <111 ,-lrr: .f,,/111 l{usk111
[1870 1. Nc,v York. 1996, p. 137
:50 Th1~ t'> 1n,ludcd 111 thc \,i111·1'11trs 111° En11le
Bernard, pubüshed 1n r,yo p;i_rts ÍJ1 thc , ll'l'Ctlrc
,h ír,111(«: (Ottobcr 1907). trau~. Julie La\,
l't.'llcc C:ochran. Bi::rkcle,., e.A. .inJ Lond<)n
200T. 111 (.11111 •c1:,c1t1,111., 11·11!, (.'c<rl/1111'. ed. l)ornn.
p. 63.
Ft!rn.u1d I éger. 'Th,· Ne,~ Re:ilt~n1 Coe~ ()11 •
[T!J37], 111 F111111i1111,; <!f /J,ll11rinl. rrans Alexandra
Audcr,on, ed. Ed\,·ard F. FI"), Laud~ln, 1973.
p. 115. ln the fir~t p,ll'l orth1s ,tatel1H'lll. Léger
declares:· 1r \C\'J~ che I tnpress1on1,cs \\'ho ''brokt·
thc hnt." Cézanne J.n particular.'
Mie hael Fric.:d 'J,tl k,ou Pnllütl.. irr/i.1111111.
IV ' 1 (Septen1ber 196_:i). pp. l4- 17
53 J,1ckson Pollock. 1nrcrv1c\\ ,..,-ich W1IJ1a111
Wn~ht 11y,o]. 111 F.V ()'C.01111or. .Ja,k..itl11 P()l-
lock. Ne,v Y1)r~: Museu111 of Jvlodem Art. r967,
p. ~o.
5+ Wa,silv K,111di11~ky. Pc>i111 ,111d Li11,· 1,1 Plc111t
l192<1I. erans. Ho...,ard l)ear<,tYne and Htlla
ll.ebay, Nt'\,. York. 1979. p, 82.. K.1nd1nsk\ \
JnaJvsL~ l5 not f.1r frorn lcu11.1rdo ·s st,Hl'lllL'rH
1n rhe Codex Vrb111,1, L,1t1nu~ r 270. t(1l. 2r·
'The pnnc1ple of eh<: sc1cncc of painang 1, the
point, ~econd i~ rht: l1uc: thirJ i~ lhl· surtàt:t.':
fourth 1, rhe body \\'hi,h L, Cl1l lo~ed 1)\ rhese
surtaccs· ( l.co11,1rd11 ,111 /J,1111r11~~, ed. ~larnn
Ke111p. tr.1ns. Kl'.lllj) aJJtl Margarc:t \'< alker. Nc:\\
1
1-lJven. e 1, and London. 1y1>9 p. r5)
55 'lnt' l\merícan ( 'oncepcu~I .1rn-rr r)ougl.1~
I -Iul·bler ( 1924-L9y"'), for exrunplc. publ.tshcd .1
,.:nt:~ oF tv.entv-five 'Dr ,1,.,,111~· 111 the \tf(l.\··
bo,1/.: ( 196>-) \vhich ex1,c .1, ccxr,. 1)r,1\v1ng no.
J i,,, •A.11 8 / /' and 11' X0rox t>,tpLT'. no. 2 '1\
Poi11c lllLJ.tl'U io th~· Exatt C~l'lttcr o( .111 S 1/ / '
,1nd 11' Xerox Paper'. t·rc
ChapterTwo
The Pers1stent Cult of the Sketch
l >t:111, 1)1derot, T)ult r,•t ,,,, .drr. 1r.11b. Joh11
(~oodn1.1n, 1 vnls. Ne" Havc:n, Cl, ,1nd I on
do11. 199,;. vol. n. pp. 212-13.
NOTE:S TO PAGES 21 26 437
 • [ dnnui.i Burk" , 1 / 1/,1/, 1J'ln 1/ l 111Jlf1T) ir11,1 1/1<•
.._,,1, ,, , ,.,,d H, ,1 ir, ,,1 ,,, d r >rl1t r l'ri -!~, t•,1/11-
t1011 r) 11 r 1 1 !: cd I l.n 1d \\ 0111c:rl,~. 1 on-
Jon, l<JIJ • p. 11 8 Book 11. St•.:t1u11 x1) .
B 1ud l 111 L 111ll<>\\l'd th,· .1b1>\"L' .llléCdt>tl' til
' lhe [1fc nd W,,1k ot f:ug~·11t· J}el1,ro1x'
(fir.t pubh5ht·d \Lrt.111> 1n IXfl3 ) "1rh thL·
re1n.irk: ·1 pi:rLCl\'t Ili th,ll ,olov,.u hypcrbulc,
rh • 1 <'ntril rt'- 01c11p;1t11H1 ot 111, \\hule lifi:.
\\ l11ch, ~' " \\ l'll l..:non n . ,,,1s ro L'Xe1·1ue :i
dr.11,"1g ,, 11.h énLHJ~h ,p1.:i:J . .. tll l.:t 110 p.1r-
t11 l1· t·\.ll'lll,HC ot' thl' ,\Ll l llll\ 111tt11,1ty ,ir or
th, 1dv:1' (<J1,11/1·, H,111dt"l,1irt· -;,,/t'rrrd I f rii,11_(!~ 1111
.rlit 111d Litt r,1/1111·, LT1l!lS. r~ E C.Jurvct. L1indon.
1•1•J'.!, p. l~J). f)cl.1L1oíx. hi111,t·lf. \\,1~ n:pc.1Un~
., top11, :im·1butcd t1) ( :nv.1. d1;ir q11 1ckn""'s ro
,,b,l'r1 e: Jnd rL lL11t1vl'ncss o t ,,,1011 \\·cre th,·
t·,,1·1111J.1 q11.ü1ut-, of dt .1ughts1Ht'11 ... rix1ng .. ,in
rhl·ir 1nen1or). rht li\'t'- rard1n.1l po1 nt~ or .1
tiCT;llre [j[ltng fron1 tb~ roof to tbe •grqund,
•
h.1, 111}.! 110 1no1t [llllL' tu 111JkL· the ub,er, 1tion
•
rh.111 rbe ,l11ri1no11 of tht' f11l' rro1n Aun:hano
dc IJt'ructe V l\,1on:c. ( ;,,,,,,, P,111111 ,/, R1•11c110_, 1
J ,til\. Madiid. 13L.1.,,. 191(1-18 (vol. 3. G,,,,.,
( ;,,,batf,,r), 1111nted 111 l ci111~, H~rl'I\, c;cl)'cl
L111!rar•111~, ,111d L1th,~l!rt1p/1s, 2 ,·0h. Oxíl1rd:
Uruno (:.1,~ÍJ·er, l'JIÍ4 (1ntrouuct1un)
Althollgh Vasan rete-r._ to fir~ t ~kert ht'~. sc/11-z ::1,
thc ter111 11r1tll<' p1 11s1(•rc> 1~ bcbcvt'd co hnvc
1
bc:cn lirst U!>t:d b} fihppo llal.Jinut"L'i 111 l:üs
1Í•úil•,1/,1r,11 1,,,,c,11111 dc•ll',rrtc dr( d1.11:f!11<1. Flon:nct',
l (1 S 1.
5 ThcrL is .t sub,w1úal lileraturc ou ltubL•ns ·s
nd ~kect he~. 1nl"ludi11g: Juhth !:>. Held. 7711' ()if
\k1•r.-l,1·., c'./ PrlN J>,111/ R11bn,s:. 1 c:r111r,1/ Ca111-
lc•f!11,·. 2 YOb. Prin..:t:l()ll, NJ. 1980. j t),111tl,J
Wood.1II ec ,ti.. /1ctC't' P1111/ R.t1/,n1J: ,-l Ti•11rl, 1>(
Hrillillll(C. ( )ri Sk, uhcs a111/ Relarcd r I nrks jr,1111
1/it' .S1a1r 1lcr,1111,(t:< .\l11Jc11111 a11d 1/,c Co11rt111dd
Ífl ~/IIJI/(" c;a/1, /")' M11111cb .111d N e \V York. 2003.
\ec: .1l~o e; B.111er, 'Am~t~· Jny1,;•ntone,; Jnd che
LJ.111;uagi: (1f thc: Oil Sk1,;•tcb •. B11rlil!).!L,111 Jl,t1?-
,1.:i11t'. c.;..u (1999). pp. ,20-30.
ó L1·on.1rdo d:t V1nc1. lrr,rr,se ,111 /l,,i111ir((!, ed. and
tr.tn\ A. t> ~lcM.1ho11, 2 vols, Pru1ceton., NJ, vol.
11 (C-od1:x Urba1,1s Ltt11111~, íol 62r). l)L1ri11g thi:
1 <>ursc: of rhi, hook 1 ,;hall be quot1ng from :i
11L1111ber of ditll·rcnt ... d1t1ous of LeonJrdoºs
,,·riuni,..">. Alchough 111~ ~o-talk·d tr,1ct ,v.1s 11ot
puhh,hL·d ;h a d1~rrc'tl' rexL unnl rhc nuddle of
cbe <;ev1,;-nccc11th rentury, 1t c.:1rculaced w 111a.t1-
uscnpl Lop.ic, li'L)l11 tlte ,L\'teench
7 Th~ philo~upher f rtt'dncb 'lcbk'gt:l lon1p:1red
thl rou~h dr.,ti:s ot ph1lo~opby to dr.n,vin~
.u.1<.I proposi:d t<l ',kctt li plu lo~ophical \VOrlds
\Vllit .1 prt'<"C: nf ch.1lk, or l'h.1ract<.>r11e thc
phy,106'Tlon1) 01 J rhough t ,v1d1 ,1 (e,, stro.k.c~
ot" thc pen' (quoLcJ in h,, R1:11h lcLlWI!, of
1,)r,3 by Edgar W111J •• trt 111d --l11,1rc/1r. 1 ondon:
1)111 k,...-nrth, 1!.185, p. 39).
!:>CL' thc cditor's pn:filll' to Bo1111d,1rrr.~: 11 n1111x
438 NOTES TO PAC.E.S 26 30
,1111/ Dr,111•Í/t~. ed. /l.11rnnc lle1d, Nc\Y l-l.1x:en.
e 1, t vv+ [,pcci.il j:,~ue of i í1h l•r1:11c/1 St1tdirs •
111). 841
V111od (.;oel. Sl.:rrcl,es ,~{ '111011,(!!11. Can1bndge.
,1_\, J .11J Loudon, 1995. pp. H}3 .1nd 218. Goel
p,,y, 1nt1l h ,lltt·1111<111 to n:lauvc ,ynr:IL·nc Jlld
~cn1:111rir den~1nt'<i of 'ikccching 111d draft1ng
\) ,L,'111.'> ii1 eh.is u.upvrtJ.lll tt:xt. \\ luch cxtcnc.k·d
tht· ccrnl\ ol LOg-níove -,cien,c into rhe ~)pcn-
e-nded do1n;i1n~ of arr :ind de~1gn. A very u,eful
ovcr,,i:,v of tht• tielJ oi cxperunencs 111 cog-
UÍU\'L p,ychology rt!k'v,111.t co Jra\v111g 1s to bt•
f0und 111 A. T. Pttrcell and J. S. (;ero, ' f)ra,v-
inf.~ a.nd thc 1Jes1gn l'rOLt·s~•- Des(ii11 Srttdie-'
(~pc..:iJI ,~~tH!). x1x/+ (Octobcr 1y98), pp. +00-
02.
10 l,ocl. Ske1c/1t's o.f T1101t.()ht, p. .::11' :::,ee also cht•
disru,s1on in t'lwptt:r si,, p. 15 i,
11 R. A. f-1111-..e. T. 1-3, W.1rd .1111.I <i. 1\1 )tnirh, Cri -
,11i1·r Cilgni1h1n: Thc,111', Rcsr,rrch ,111rl .4pplicatit>11s,
CJ.111bridge, •
i\tA. and Loudou, 1992. Sec: also
Ward. \1111th ,,nd F1nke, '( ·r..-,irive ( .ogninon ·,
Ul Hit11dho,,/...•(~r (~rrt1tit 111y, cd, lt(')berr J. Stern-
bcrg. CJ.111bri<lgi:. 1999, pp. t8y-J.12.
12 (;oerh~·. k·rrer C() Ecl-..t'rn1ann. s July 1827;
quored in C,,,.tfu• ,111 .4rl. ,·d. and trans. John
Ga.gc. Lon<lon. t 980. P- 74.
l,l 'Noce~ for a l)icuonary of the Fiue Art';' (25
Ja.rn.1:iry 1857). 111 '/'/,e Jo11nral 1if E:.t(gt•11c Drlc1-
, rv1.,· [1951[, cd. l-lubert Wt:lli11gL011. u·Jn.s. Luc}
Norron ..l1\1 ed1tion. London. 1()95, p. 367.
1.j. Pliny the- Eldcr. ,-...:n111ral J-/rs1or11, tr:u1s. H. l-lack-
h:1111_ Can1bridge, MA. 1999, vol. IX, p. 367.
1)• Set' the di~lUs~ion of 111Jrgin,1 li:-1 in Michael
(,.1m1lle. ftn,t),/e 1>11 t!te Edgc: 7711• .\ fa(~i,1s ,1.f
.\lc,lir11c1/ rl rt. London, 199.!, pp. r r-55.
16 Thi~ 111for111.1non i~ cle.irly la1d out 111 Fraoci~
Amcs-Le\v1s, 0 1í1r1'111.~ 111 E,1r/i 1 N.n1c1issa11a• ltn!y,
Ncv\' 1-lavcn, c 1. anel .L0udou. 198 r.
17 See Tt(Jbt.::rt W. Scheller, ,\ l11del- Botiks: l),-,11,,i11J/S
,uni 1/1<• JJ1-.1rt1rc qf' -lnistfr 'Jh111s111issi(l11 i11 1/1e
.\/iddlc .4gcs. ca. ()Ol>-((1. t.f5ó, trJn5. Michael
Hoyk·. An1\terda1n, 1995, pp. I0!)-17. Medjeval
:irt tern11nolqgy is ve1y 1n1prccL~é', bur the th1r-
tceuth-cc11Lury thi:ologian J:tobert Gross1.:tcstc
Jefine<l [c1n1r11 .is nio<lt'I or e,e111pl,1r. 'Fontt b
rhus rhc 11an1c given to the pnttern from
'" hich thl' Jrti~c ,vorks, 111 ordcr. bv• inl.Ítation,
to ~hape lu~ ,vork 111 ic~ likenc,~• (quote<l i11
1b1d., p. 13).
18 Th.:se ,1ctivíties bcar J rl'lationslúp to "' hat
t.,Ognitive psyçhologi~ts r.111 de1:0111po~ilion,
,,·hereby intor111;ition needs to b~· broken
<lo\vU and storc<l 111 \vorki11g· 111e1norv bi:forc
< •
problcn1~ (an bt' solved scquenri.,lly. Sce A.
Ne,.vell :ind H . A. Sin1on, H111111111 Pr(l/,/e11r ·,,/.
l'Íll,í/, Englc\\ood o.úis. NJ. Prcnucc-Hill. 11;172-.
19 When Salv.!tl1I 1,o,a \V,h a,kc:d for the
preparator') srud1es ot h1s B,111le Piece ot t 65 2
(Paris. Nlu,l•e du Lou, rc). he rctuscd, 'cla11n-
1ng he nught ncc:d tht· skct,hes ,lt .1 l1tcr bn11:'
(letcer quotcd tn Michael Mahoney, º[ Jrl' f)r1111 1
-
r11.11s o( Sa/J1<1tor Ros11 . .:? vols, Nc\v York and
London, 1977). ln tht' cv,entieth céntllry J&pcr
Johns de~cnbed ho,v he 11sed dr:t\\1ng to
ca111ub,tl.isc earlicr pai11c1ngs tor ne,v projcctS.
Sc:t N,111 RO\l'nth,il Jnd Ruth E. F1ni:, ]"hc
Dr,1111111,i:., "./ jnspC'r Joh11:-, Wa~h1ngron, nc. 1990,
p. 78.
20 A th,1prt·r deali11g "' irh larcr usage ís in
C,irrncn (' Ban1bach. l)r11111i11g ,11,d Pc11111í11,I{ í11
1hc ltali,111 Re11aiss,111rt• ~Vc,rkshop: T!teory 1111d
Pr,.1c1ict·, r,a,>-16()1>. C.1n1bridgi: and Nc\\; York,
1999. See al~o !)aviei 130111ford, ed., .rlr1 itt rhe
-' l11ki11g: U11rlerd1·a1t'i11,l{s i11 Re11<1iss1111ct' Pr1i111111gs,
Loudon. :?002, pp. 61-73.
21 For 1nforn1ar1on 011 M,1\ohno's clccai:hcd si1111-
pi11 tor thc Detapir,11io11 '!l St c:atlu•rinl' Ili the
chapei of St Catlicri.nc JJ1d St Ambrosc i.n Sau
c·1cn1enre 111 Rorne. oí ârc.1 14.21'-30, see Paul
Joaon1des. .\l<1s,1cdo a11d .\lc1solin,1: ,4 c:11111plere
Ca1c1l.11?11r. Lo□ don: Phaidon. 1993, pp. 399-
41 J.
12 A nun16er of·unhn1shed' panei paincings from
L'Jtlier cc11turi~ supply cluc~ tô hov,, artisls
proceeck·d fro111 unJerdr,l\\ing-s, such ,1s Pcrino
dei Vaga·~ H,1/)1 Fr11111ly 1l'itl1 St Joh11 thc Bnp1is1
in che Courtauld lnstitutc of Axt Callcry, Lon-
<lon. An extren1c:ly c.:on1plex silvt'rpoi11t on
pn11el by Jan van Eyck, h1s n1agniticenr Sr
Bc1rbar,1 of 1437 (Ant\,·crp. Kt111inkljjk MuscllJll
voor Schone Kunste11), i~ no longer rcga.rJed
as an underdnn-v1ng, but understood to be an
aurono111ous ,vork. cveu a pen dr.1vving it1 thc
n1a1111er or Goltz,u~ a1 111111 /11 le11re.
23 See Bomtord, ed., .-l rt í11 lhe ,\,f11ki11g, pp. 94-
101. R..e.,carche~ b7 consi:rvàtor~ j11clic-ate that
rena1ssancc paincing:, are l'tJLtaUy based on very
tin1shed n1odels 1 traced or pounced fi·on1
papcr cartoons. or 6:cc sketchy u11Jer<lo,vU1gs
111 variúus 1nedia, including inri~ed line~, pos-
~íbly related co prior p:;tper ~kerches.
Cennino d'Audrca Ccn11ini. The Crc1{ts111a11'.ç
f J,111d/i11ok: ·n,c lrali,111 'li Libro dc/1'.-l rre' [1437],
rrnns. l)an1el V. fhon1pson,Jr, New Haven, CT,
1933: cl.'pr.i.r.1ced 1.960, pp. 17 aud 8.
25 [n the ~eve11ceenth centL1ry 13.il<linuc(i defined
a sd,í:::::o 111 his l -í>cr1/1(1/r1rin /(lsr,1110 dt'II 'r1rre dei
discg11L1 (Florcncc. 168 t; fàcsiLnilc. 1975) ru,
betng 'thc lightc~r coucl1cs of pen or cha.lk
v"1th ,vh1ch pai.nter, alli1<;1vcly ,;ketch the1r
conccpt~ ,vithout finishing eh<.' pa.rts ·.
.26 AccorJ in~ lO Rich.ird Syn1011cls\ disc u,~ions
,,'lth the Ical1:.u1 art.Jst Can1n1. See the d1sser-
tat1011 by l\,1ary Bc.11. S111dy ,,f R1c/111rd Sy,11v11ds:
ffis J1a/i1111 N,11t•b1>L>kJ 1111d 1J11,ir Relr111111a• to
.)('l'e11tre11t!, Cen111ry l'ninril~í/ lecl111iq11es. Nt'\V
York: (;.u-la.nd, 198.J., p. 25z.
27 Giorgio Vas.iri. 'l1lê of Antonio and Piem
~
Pollaiuolo'. 111 Li,,es qf 1hr .--lrrisrs, trans. (;eorge
Buli. 2 ,·ob. Londo11 J.nd Nc\v York. 1987. vol.
li. p. 76.
2l! lb1<l., vol. 11, p. 25 ('L1fc or Luca deJl.1 l~ob-
bLl').
.l~ Quotc<l in Robcrl Z\vijnc11bcrg. T/Ji• 1Vritill,i?s
,1111( [)r,1u,j11gs (!{ L,:1111,,rd,, Da l //11cí: Ord,•r a11d
Ch,1t>s 111 Early Afodcr11 Tl1t111gl11. trans. Carohne
A. van Eck, C.unbridge, 1999, p. 71.
30 Patnc1a Rubin relaLe~ the dra\víng to 3 cyp1-
call)"' Verrocchio subJcct 111atter 111 l~ub1n :ind
Alison Wr1gh.t. Re11c1íss<111ce Flore11c1:: T/11.> ,tlrt t1(
thc 1470s. LonJon, 1999. p. 210. The reera .1nd
verso sheer~ (London, Br1ush Museum 1857,
01 10.1), \.vhich are rr.:lated to TI,c T'i(ç:i11 i111d
C/,ri..~, C/Jild 111itl, ,1 Cat, re('to i\lld verso 111 Lhe
Briti~h Museuu1 (r 856,0621. 1), \ho,v idc:is al~o
explored 111 a sht>ct of St11dies .for //,e 1\1.t1do1111.i
~{ tire Car (Bayonne, Muséc 13onuat, 15.2), a~
well as a sheer 111 a pnvate c0Uectio11 1n New
YC)rk. For thc dcvelopn1enta1 narrau.ve. SCl'
Cdrtllen e. Ba111b,1ch. ed.. L1•011,1r.f,, d11 1 ·i,,,-i,
:\·l<1srrr l)r(!ftS11//1n, New York, .2003. pp. 29Q-96,
5i5-~.
31 Lco11a.rdo da Viuc1. Trt'il!L~r ci11 P11i111i11J, ed.
McMahon, vol. r. p. 50 (Codex Urbina~ 1 :tri-
nus, lo!. 35v).
32, lbid,, vol. t, pp. 108-y (Codex Urbinas latínus.
fuis 61v-62r). The ~ense oi" ch1s passage 1s rad-
1ca1ly .1lrcred 111 the cranslanon by M arhn
I(c11ip an<l M.i.q,,,arct Walker (L1•c111c,rd11 0 11. P11il11-
i11g. (•d. J(en1p, New Haven, c-r, nnd London,
1989, p. 2.22): ·Tbesé ~r..uns. vvh.ile \Vnolly in
d1c□1Sclves <lcprivcd of pcrl"cction in any parr,
did noc lack perfecoo11 111 regarei co rhe1r
1novcmencs or othcr action.s'.
33 I)ra,ving had a tlifrerenr dcvclop1uent uJ
norchern co11ntrie~ in che fificenth and ~íx-
recnch centur1es, :il,gncd \VJth thc pcrs1sce-ncc
of guilch aud thc srructure of ,trti..sc.ic work-
~hop~ ond train111g 111 Gerinany and the
Nctherla11ds. Nevcrtheless, a quick pen ~ketch
.
bv Albn:-cht Dürer. Pnrtr<1/t o{ . //,e ,-ireis/$ ITºi{t
. âsc11s )1111iitl, <11111 11011' b)I hi111 IJ,~ielís/,etl, 11'it/1 st1111t'
( 1494:Vienn.1. Albertina. 3063). done jthr after
hi, marr1agc :1nd before hJS firsr tr1p to ltaly,
1nclü:ates ~pccJy hJtthings, brokl'n ouclincs Jnd
a carele,5 confidence ot- pbc111g c:in rhe p.-iper.
34 Federico Zuccaro, qL1oced 111 J)a,-;d Sum111crs,
TI111Jr1t(1:c111c11t o{ Sensc: Rt1111iss<111rc Nat11rali.H11
,111d thc Risc ,y· 4es1/te1ics, Cainbridge and Nev.r
York, 19ll7, p. 300. Zuccaro's tern1 tor 1tmgi-
nJ.úo11 is (ti11(1J,Ítl.
35 Prl)iogl!e tCl Nietz~che'~ Ais,, sprath Z,ir,1th11str,1
(1883-5). Section 5: 'lch sage eucb: rnan n111ss
noch Chaos in s1ch haben, wn eincn ta.nzen-
den Stern gebiiren zu kõnnen ·.
36 Maur1ce Merleau-l'onty. •céz;1nne's l)oubt'.
i11 S1.'115e ,111d No11-Se11su [1948], trans. 11 ubcrl
Drevfi.1~ and P.itncia Allen J)revfu5. Evan~ro11.
• •
li. 1964, p. 19.
37 Pe11itr111ía 1s pcrso111ficd .is .i gloo111y and cn1a-
c1,ll1:d te111alc figure by Andrca Mantcgoa i 11 ,1
nun1ber of dn,,..,ngs, 111cl-1.1rl1ng a very 111oving
pen ,u1d \.',;ash dra,v11ig on bro\vllj~h prcpared
paper of a ~eated /Je11ilt·11rír1 (afrer J\,1,1nrl•gna,
circt1 1490-1506) 1n d1e Louvre, Parl!> (n..2267<,).
38 011 Lhe lilitory an<l u~.tg~• ~,r tlu: tt'rn1. ,ee
Yiatte et 11., 'Ti-.,t'r une corde de sable'. 111 the
caralogtit· I<.91c,11írs, pp. 27-46
19 Leon 13attisca Albcrti. 011 P,1111ri11,I!, trJ11~. Cectl
Gray~on, Lon<lon. 191.)1. pp. 94-5.
._io Gio\·aLu1i .Battista Annc.nm1, ()11 rhr 7ruc PrL'-
ccpts l,( tht· .i-frr q( P.1i11th1,1: [ 1586]. tran5. Ed ..vard
J. (.)lsze,vsk1. New York, 11)77, pp. 142-4.
Anncnini's a·L'.1nse- wns 1nrended :is ;i correc-
civc to thc e.xt.csscs oi si.xrecnth-t cnrury 111,111-
ner1s111.
41 A ~en1111al invesrig:1tion of Leonardo 's skerch-
ing 1s by E. f I. Go1nbr1ch. 'Lcon,1rdo \ Mcthod
for Work111g Our C:0111po~iuo11s·. 111 .,on11
,111d /-Ql'1n : St11dies 111 rhc ,-ln ,!} rhe l<1•1111i,Ha11rc.
London. 1971. pp. 58-63.
-1-2 ~keu:h for the r 'ir..1fi11 ,111d Cllild 1/lir/1 St .,-11111,,,
black rhalk re\vork~l-l \,\1th pen Jnd bro\v11
111k, 1oo X r :io111n1 (Paris, M uséc du louvrc.
Rr 460). Sce rhl' cartoon 111 thc N.it1011al
GaUery. London (pi 30)
._i3 1-ht.-sc lx·Jong co th.t· collection of 111ore than
,l cholband <lr.ivv1ngs thal fra 13artolo1111neo
be-queached ro rhe ti-1ary o( San M,1rco 111
Florencc, 1nost of ,vhich \Vcre collccrcd by
NLcoló G,1bt1r11 in t729 111 c,vo voltu11cs. llll\V
111 rhe ML1seu111 Tiot)nians V,tn Be-uningen,
l-lotterda111. S.ee Chris Fischer, 1=r11 .Bc1ri,,/c1111-
111ev: J 1,LSrcr Dn111Rl11s111u11 vf rhc Flil!I, Rc1111is-
s1111re, Rorrerdan1. 1990. pp. 170-85.
-14 Scc Richard (-:ocke, 1Í'rtJ11csc s Dr.i11,i11,l?s: . 1
C11t,1lo.t?ue R<1iso1111é. Loudou. t984. pp. 274-7.
45 Noth1ng ,~ kno,v11 of Longi11u\ apan from thís
texr: he could have bvcd in rhe first or chc
third cenrury AD.
4ó Franciscus jlllllll~. 771(' Pai111i11g 'ir 1/1(' A11c/(•11H
i11 tl11·1•r bonkc., ... 111rirrr11 _firsr i11 Lt.1ri11c by J-r1111-
,-ldditio11s aud Altt•r111i!l11s, London, 1ó38.
47 Burke, ~1 J)ftilosop/iicol [11q11íry, ed. Won,erlsey,
p. 106 (Do()k u. Secuou iv).
48 Ro111ney beranll' a pa<.s1011ac~· ,\dherent or the
prison refonner John HO\v:trd, autbor oi ·11,c
State t![ tl,e Priso11s ( 1777) JJ1J tln .·lcc()rtll/ t!l tl1t·
Pr111dp11l Úlzarl'llos 111 f111rc1pt ( r789).
49 Jonathnn ll1ch:irdson rhe Eldcr, ' f/, e I l'iirks ~t
}t>//tllhal'l Rid1t1rds1i11, London. 179~. pp. 70- 71.
R.. ichardson repeaced ,l ~11111l.1r ,e-nt1111l'nt n1any
rin1es in his v.,1rí11gs. ()n p. 21 of che srune
cdi □ on hc declared_ ·And tl1us too 1t 1s scen
rhat J.r,nving~ (gcncrally ~pcak.111g) are prcfcr-
able to paint111gs, as h:iving tho,<ê qual1nes
v.·hich are 111ost exccllenl in a bighcr degrcc
than Painti 11g•.•• There i~ a grace. ,l dcl1lC,lcy,
n sp1r1r 111 dr,1,, 1r1gs v,·hich wben che rna~cer
arrcn1pts to givc in colours .1s co1nn1only
1nuch dinu111~hed, both ,b bc1ng a sort of
copying fi-0111 tho~e ~11,t tht.)ughts and bei.:ause
the narure of rh111g .1cln11ts of no betcer.' And.
· T here- 1, c)fren .1 ,pirit .1nd ht Jllf) 111 ,1 qu1< 1-..,
or perlups an ,u:..:1dental n-w□.l~C.:llt~Jl\ or thl
l"h alk. pcnl il or bru,h in a drav.. u1u. or p.1i11t-
ing. \.Yh1ch 1t 1s i111po,sihle to pre\Cl'Yt' 1f ir
bl' n1orl f1111shed.' Jonath.111 RJçh,1rd,ou thc
EIJc1 aud Junatlw1 R1, hartl~o11 dH· ','oungcr.
.411 •lcr,1111,r 1)( .'i(lt/lt 1)( 1h1· '-it,1r11e.s, H,1.1-rclitj,,
[)rr111 1i,1(;-< 1111d Pirtrtrcs í11 /1,rly, LouJ1,n, 17.!2..
Ínt. ludes .1 list of arti~ts \\ ho:.c: dr J\\' til!-,"> •
urc
h~·rrcr rhJ.n the1r pa1nnngs.
50 Phny the Elder. \aritr,,/ / /,,t,,,y. tr,111s. H..;tc.k-
b,tru. p. 315.
')ir Jo,hu,1 R.t'ynolJ,, {)/,r,111rst's ,,,,. Art, c:d.
l~obcrt 1~. \X/ark. Ncv. l lJvcn, e r, a.nd Lon
don, 1988, pp. 163-4 (D1si.:our~c VIII, 10 T)cc-
e111ber 1778). A, to1n1ne-11raHlr\ h~· tlll'lltlons
('1cero. C~u111nh,m and Valenu~ M.1x1111us. ,Is
,,·cll .J!-, Plin,.
7hr Di,,,-11·s ,!( P1111/ 'f.:lc1•, 1~<;,'i-1g11,·. ed. Felix
Klee, Berkeley. Ct\, and I ondon. 1964, p. 857.
53 Pt·11d111t'IIII \\'etc so adnurcd Ul thc ~CVl'JllCt'nth
(c11.tur~ th,,c t'Vt'll pr111t~. Slttll a~ cho,e o( the
1nelanchC'tly P11.~rro rc~ca (1(111-1(150), ,,·ere
c111:-,rravc.:tl (tõr c.x,uuple. b) thc Frcuch pub-
lisher Fra1u;o1, Cothgnon) U) 1ncludi: corr~·c-
no11s ::ind errors.
54 Lctter of .2 January l5JX. c1ccd 1n Julius S.
HclJ, 'Tht• Ea.rl} Appré<.la[l()ll orIJra,v111g,,', lll
S1t1rfies i11 1l,1'srer11 Ar1: .-lrtJ <!{ th,• /11 1n11ie1/, l11ter-
11111ín11,1/ Co1~1,?rt>ss ç( //,e 1--Jistorr ,if ."ln, vol. 111,
Pr111çeto11. NI. rv()3, pp. 72.-95 (p. X4). M,1h·a-
s1a also cl:11n1t·d rh,H An111balc ('arracei could
do n1ort' ·111 a tew hne~· th.rn ocher arti~c,; did
in u1a11y (.\.lall'<JSÍtt 's L!JÍ' t?f t/11 Carr,,rú: Ct1111-
111e11r,1r)' 011d ·tra11s/11t1c111, rr,111s. Anne Sun1n1er-
scalc. Un1\·crsny Park. PA. 2000. p. .µ9). Bcllon
pr:use<l Giovanni l,uúranco for bis 'poch.i
\tgn1 d1 carbonc' (fe\V ,rrókc, o( rh:1r(l)aJ).
c;io,•1111111 Piecro Bellor1, Lt• l'ile dr' pirtorí, sc11l-
tt1n 1'/ ,ird1i1r11i 11Lod<'n11 [ 1672], ed. [\\.'Wla
Borca, incro. (.;iovan111 Prev1t,11i. Turin. 1976. p.
3S1 (' Life ot G1ovJn11i Lanfranco').
s'i Arrucn.i111, 011 thc Tr11c Prct"cJ>B o_{ 1hr _-lrt o{
P<11nti11,i:, rr.111~. (11~7L".VAh.l, p. ro4-.
(. '.;irlo lt1dolti, T711! L,_ff t!f / 111/cir('/11', trans. ;111d
cd. Catherine Enggas~ a11d l~obt:rl E11~g-,1ss,
Ph.lladelphia and London. 19lL1-, p. 72.
57 Sir John H ,1nngron in «ln<>SI<>~~ ()d:indo F11n-
o:;o í11 [11~(!/isl, llcnnral ltrsc (1591), pp. 2~~ h:
quotcd in Nit bola~ f-1 ilh,1rd, 1 Tr,·11t1st c,,11-
r1·n1111g //,1• .-!ttt' 1){ li11111il~1t. t•d I\ K K... 1hnrn-
ton and T. e:. ~- c:.un, Ash111~011 and Man-
rhe~ter. 11)92, p. 112. n. 4"•
P1crre-Je.1n l\.1:ir1erte. J{1:Jl1rxio11s s11r /,, 111,1111i'·n·
,lc dessi11tr .lcs pri11r,p,111x pc111trc· (17 p ), quored
111 Hcrib<:n 1 lucter, Dr,111·ir(!/.· ll1s1<1q• ,111rl 1i:<li-
11iq11t. rr;111,. 1). J ~- 1 ht>1ll"'ll, 1 ondon. 19t>1',
p 19 1n chi~ çorntnt·nc. dm,\,ng h t•lev:1red
over colour.
7111• J,111r11,il ,!i l:11,i:1'nc I>r/,11rt11.,, ed. \V~ ll1n1,>1on,
P 397.
f-JOTES TO PAGES 10 '3c, 439
 111 1 1 /Ir 1p11 111d Ili \11d1nJI\ l lh1111, //,,• / )J,/11'111,1/> •!/ IThb1 <:<n ( 1r111J-1695) çn11~1·1r11tt·s the e1ghtb
1 1 1111,d111 /'•ti• Ili, Nt\\/ 11 IV\' 11 1 1 ,111d l 1111d1111, 1117~. pJ 1l lll h" E111n·1h·11s s11r lcs 1111.1s ,., s11r ll·s
1 1 11 1 I , 11,, r 11 J• li, 1 , P,, ,to I' /\1 1 ,11dJ11g 111 l11ln1, 1h ld I la· E,11h 1•111•Y,(l!I',, dr.1 11/11., 1',\:(1'//1'11.~ /ll'i111rt·s ,1111it11s 1°1 111,•d-
1 I' 1
li 1 1 Ili 1, ,,, 1 \pp, 11 11111111 ,,1 ll1,1\v 111 •,', l\ll.11,lll1 .1 1,n 11,1·d 1·111t•.1, r, vol, 111 1 . l':tri~. 1725. Set· rélth1en , f 'l'ii-
, ltl, •ti I 111 111, //, 11.i,/ •/ 1/, ( •111 si 11 /tn 111 , l.,1 11111 to l\ll tt lil•l,111g( lo u1d
1l , 1" /,it•11 's I ilc of Pn11s~111.
1 11 111 1, ,, , llull 1 "li 1 ,11 J1Jr1 1 1•1 ,is,d A1111il1.rll' < ,11 1.11,1 " ' 1111 dr, pli" 7/J "fhe pot'l (;1a1nb,1Lllsl..1 Manthl ( 1<;69- J Ó2'i)
11 1 t 111 t li 111 li 111 ,11111 d ,,, ,1/fj/ 1 111•1 dt ~, 111,11 ~1 ,1 ,' l\hu111 l\"\.'t' IIIV \·t.1r1 dt l'r I\Tnte 111 111~ 1),rrric .1acr1·. V1rcn7,1, 1618: "fhe
•
'" 1 li 1d11111,,,, ltilli 1tl11LI 11111111 1 111,I i\l ,1 1 11·lll' \ l<>ll lht~ ll'ifll'-l'l'l ltll' ·"'l°'-\lllt' lll () 1 p1.1«:nci: nl dcs1gi1. ,vhose fi1nc11on is to pur
"'' 1,, 1•11 1, ,1, 1 ,, l 11111 111 /\11t1 Ih 1111111 • l'fllJS\1 11\ 1(1 11111\ lil' di:, l.111 d 111 ., I('\ I\'\\ 11( 11tto ,·tfc.:rl thL co11cc-pls or
lhe i1n,1ginatio11, or
1, 1111 / '111111' ,., / ''•"' 111,/1 Ili ti,, 1 ,,/111,,,1 tli, l 1t·111 li '\,
ul.·111, ·, , ,h1h1 1111~ "i,iln11 nl
•
11l~1t·, ts 1h,1r ,ire ,een. orcl 111aril> nperates .•. 111
1 /1,,) •/ , /',,/11, 111,I 1 /11I 111 N,,, 1 l n, 11 , •r111 1lt.11 l11, lu1, p,111 11111µ \\,1, 1101 ,1u,1 1 111K's thr..:,· d1flt.· 1"1.'nt \V:JV~. Tli.• one 1s ro 1n:1ke th1ngs
. .
1 1 Ili 1 1 1111111,11 'I(/ l'I' 1 ' 111111 ,,, !'111111' ltt!ll1<'' '1111 ,k·p,·1Hl1·d 1ll l '111, 0,·11- l1p Olll or UllL 's U\Vll bnun . , . or fro111 C.1nl.1~y.
,' 1 1 11, 1 li ,1 11,,I ''"' 1 1,,,1, ..11, 11•1//i \/1,lt 1
/ l lqll, 1.1s11 ,p,1 ll g, 11111, 111d 1 111h,1, 1.1s1H \\ lu r h Anodt<:'r 1~ u,he ~'1.11ded precisl'ly by che rllle~
111 1,I, 11111 1 littl• 11.,1(,,,tl, 11111 1, 1111111 1 11111111 1111 l'llllll l .111d 1h1· l'lll l. 111 perspl.' CCl\'l', 1hc th1rd 1s to dra,v on natnre
11 , 111 ,.JI l 1111,l,111 ,., ,,, 1' 1 1 111 '11111 , 11 1111, fl1111,,111 1\,1\ 11111\'l'IIII Oll ,ill) Thl· tir,t .. . b..:111g Lhe n1o~t r,1pal.' íor
11 1 l lii,l11>1 1 11 .. 1,,11,11" 'l'I'"' 111 d Sllll l )'11111 1 d 1·,, 11b,·d 1, 1111 li..tj'h,111 oi tl11· 1ev,·11tl·1·nlh 1'011~~111 's I rtí~1ic rC$pOn~e to hi~ friend. ,virh
qu, l\11111!1"tl 1\ 11 11111,11111\ tl111 1,.1 , , 11l111 }' 1,, 1" ' 111111 111,1111 h1nµ1 ,1 ph1·1, •.111 nl "vhon, hl· lod"7t:d u1 P.1ris, se-e Elt.:abeth
•11\CI l \11.,,, 1 11 q 1l11111I iht llllH•ll~ lt'IJII \\ la,111 J..111·,, li1111 fH 1,1111.ill, . \,111d1.11 l, P.1~,,·11, Crop p,·r ,1 11J C harles l)c11 1p1l'y, ,'\.in,las Po11ssi11:
,,111·1 •111• " ' l1p1• 1 l111 1 l1tl l •,li l, 1, li. jll l lh·ll111 1 .11111 l·,·lrhtt 11 (\1·,· A11d1 1· 1, hhu.'1t, / ·,·/1- J-,1 i1 111l,h111 ,111CI r/11· L111 1r ,!( Pc1/11/111,f!, Prtncecon.
1

111111l1h 1111ph 1111 1•, l ,1 1 1 li tl111 \ 11 14 1 lij ltl /i1111 ', 1 111 111 111111\~111, l 0 11do11, l\)!-i 1. pp. 11 "IJ, 199(1
1 li 111,,11111 .. 11,I 111 1 l,11,1 111 11,1.,!•11 1c,) Ih ll,111 , 1111111,·d 1li.11 11011,.1111 ,v1111ld 11 1.1J..,· 77 L•t111<1rd11 1•11 /~1i11/il(I/ • ..:d. T<.e1np. p. .!.'.!,5 (Cod<.'.x
,,,,i; ljli"II ,1 Ili N,, 1,,.1, l1111 11 1, / 1·,/n 111• , ' 11111i-.li ,k,•1, i, ' lnllo,v, d h, ,111.,ll \\ '" 11111,k· ls. U rh111~~ foi 34r)
1 ;JtllJll~.

/ f,111•o11 1'111 '""'' I' 1\1\ 111, ' 1111111111.11111 tl 1,·11 111'-'1'1 , 1111111·.I 11111.l,,I, •.111d d1,1,,·111p., tro111 7S V.1~.1r1. L11•rs ,1/ rlH ,-lrtisfs, tr.ins, Buli. vol. 11,
11 1, 1, lltl tl 11 I• 111 111 111 11111 1•, Ili l '.11111 11 l1h 111,• .11,111 llH~, t h ,ll IH· 111,1dt oi tl11•st' p. 1., (' L1ti..· uf Luc.1 tl.ell llobb1.1').
l l.11111 11 \1 1 "' 1111 • 11, i'-111111 l li1 1 ,.,, ,,1 111, , 11t11111\ 111 111, \ \'t' ll 11111 1,nil,1•d 1111l IHt'- 7t1 l'.111 1 1<11·~. f/1,· <:1(•,11it•1• c:rr•dt, l 19201: repr111ted
H, 11•lt I l 11 Ili Ili \ J f,11,/ 11/r/ /111111;1, \ li 1 , ,~1·h \\ lll1 111,11 11111(1111 1, h111 1,1tlt~· r ln1111~·d 111 / h1• f1,í11ki11g 1.ye: '11w 1\.'orr/100/.ts q( P1111I K/ce
t l1111 111, :\1111 1, 1,,,,.) 1'1' 11 ,~ 111, I l\l.111111 \\ 1th ,1 111ph lh)l'\ ,111d \1111pk \ h1,IIO\l'\llll i11 l 1<Jj6I, cd. Jürg Spilll·r. tr.111\. rt.1lpli M,u1hcÍtll.,
1 1 11111 l 1,1111 :\ 11111, ,1, Ili 1 1111.11.1 11,,· \\ 111·1, 11111111 , \\ 1111 lt . li11\\\'l'l'l. l'º'"'"l·d .111 lhl' l 011dn11 ,111d Nc-,v York. 1<)6 1. p, 7S.
, 111 ,11111,1111t, \11, ,l, ul ,,, ,,1 1 1, ,111<111, 1t1, 1•11.1 ,·ll l', li\ ( li(' \\ ,,1 d,,. 11111\L' Hll'III\ .111d L''-1' ' ''\SIIHt' :-lo \crgt: I; 1s1·11~re 1n. 'N nres on 1)1s1111y fro111 the
111111 111,I 1, 11111 111 lln \ 11q1 d \1 I',, f 1,11,,1, , (l :111\ 111111 1111·1 11, B,·1101 1. 'L1k· 111' N1,11l,1, C,•11L1JI ~l.lll' i\.rt:hi\'l' or
Litl.'GllUSt' .ind Art
1IIJ l l'I' 11 IIÍ'I 1',111\\III' Ili /1,, / ;,,,·, ,,, ,,,, \J,,,1,.,,, P,11111,·1.,, 1\111)~ço\\· (4 .x1.194 1) .111d (,2.7 ..xi1.19,i1). fro11 1
,' ..,li 1111.t ,' lli t l 11h \p1•1 111 1111H1 .. 111, ,,, ',,11l1 1p,, ,,,,d 111/1111 { /1, l i lll S, Al11 l ~,·di,;1111· k
1 l :isc•,1.çr,•111 ,111 J)1~~11ey, ed Jny 1 ed.1, ( ~alc11rta:
,11!'' 1,1, '" 1 ,1,, , Ili, , 111 ,,111 1111r, l1 \\11lt l ( .11111111tlg-e. .:oo,. p 1.: 1). S1·,1~ull, 1,186. pp. +5 ,,nJ +7•
111111, 1 ti 1'11ll, ll ltll 1111\1,·,11 , l ,·1t l11,, " '" 7' \11 • 11111111•111,., (,h11 l 111d.1lll, '-111,ly f,111/,(' 1 iq- XI il 1r h,1rd ( ' Jrhne. Dr,1111'T/11·y J.111,t: ,-1 l li.~tory <!I
,, 1,l1l 1I, \, \\ 1111 11 111 11.1111," k·1,1/1li/d111 ,, ,111111 / /1',111> li/ 1/,1• '/1ll//1l/il(1l/ll ( ,'/,,//1,/ Ili '11111/,1 tltc [i·ar/111(1! ,111d Ji.,·,1111i11i11,e 1~/ •Ir,, 1 ondon.
'>11 ili, .11 .. ,1,,,,.,, 1,1 1 1., li1t,,11h, ,11111, 111 \/,111,1 ,p1•1H,1, j', 11 1111 \l\' 1111 (I J1•p,t1 1•J l' 11f'l'I 1\)611, p. ..:!..7, Pc.1Lll.Ut1\ -rlti· .-Ir/ t)( Dr,111•ilig 11•/1{1
1, 111 111111l11p, 111 :\ 1li\ 11 Slt, 1111 , 1111 ,,, ., ,111,I 11 ,H,·, nl 11<111111,d, lt ,11 c n.1 I •1,n X ,I\)' 111111 ,, /Jt'11 nf 160(1. ,vhi~h ,v.,,
exp.:111ded ,nro
illl Ih\ ,ti 1111 ,11 11 lt', 111 1 ,,11;,111,0,I 111 ,,,,, / (1 '"" I H\', ( :,111.-, l,l 1k·gl1 LIJli,,. 111\' ' t)l 1'). rhc p11hlicatt<lt1 '/ '/11 (;1•111/<'111<111 :~ .ks:ftrísc, 1s
/ 1 ,,,,1 ,,,, \ 1111 11•,1 11111 1 ,,11111111, 11)')11 l'I' 1 1 ' t .1111h11'11\ ,11.I\Alfl!,:' l.111 h\' \\ 'I IJ j)t'll ,kt'L, ltL'' .,,,.l'll JJI.U}'St'U u1 O..:r111111~l1an1. Le,11·11i11,I! to
1 1 11.I 1.. t 11\1 ,1 lhL 1, •1111 ',,,1,,,,11,,,1,11, (,11 ' I'" li ,,1 1,, 1111.11 1 ,1111pn\1111111, oi .111 1, 11l.1t,• d g,·,,- /)1,,,1-, r h,1p1er 2.
, ,, 11i.1111 1111,11 ,, 1111111• 111 tlt,· , 1111, '1, h, 11 1111 l 11, 1t1•,1111", , i'i.? "t'l' trn,r f<rt~ :ind C)tto l<nr7. u :gc11d, ,\ f)•tlt
11 1111' Ili Ili, / li J'/,,/ 11 i/11, ,111, / l1,l1,111tr,111, 1 1/,1 \,,1"1,,,,,ks ,,J /."111 ,11 ,/11 d,1 1"i1111 1111,.!J. ,·d ,111d .\ /,1.~ii i11 1/,r I,11,1,111· t!( 1l1<'. lr1is1: • l Hí.1rc>11-
l,lt •'11111 ,/1 1 t, l/1, '• 1/1 1 ,111\ 1 1 ,/,, 1111'/h I•, 1, \ \,1,, 11111,1 •\ l l.. 11 ht.·1. ~), 1nrd .1l1d Nt:\\ York. 1,J1J1. t'rr/ l :.\'/Wri111e'11/, N.:v. rl.1ven. C'I • .ind London.
" ,,,1 ' 11 1• • ' 1 111 Ili l 'PI 11 ,. ,,.1111( I' 171, l~ !1d,·, /\tL111111·u,, 1111 11)')v) 11n11,,111 11J~9, pp. 86- 7.
lllf, il11 '""' 11111 h, f(
,, , I' 11111•• ,.,,,hh lll \\ ,1, 1\1. li ,1\1,11, oi l L'<li1,11.t,1·, d111v111gs, h ,1\ing V.1~.11· 1,L11•t·s 11{ tfli • lrri,ts, rr;in$. Oull, vol. 11.
•
111,1,111, 1 fll\['1 111 '. 'lii•l11lh \\ til llltfl , 1111 li 1•,t \\Il i k, d \l ll ,1 p11lj'\l\1·d j'\1l1li,.1t1011 111' t ' h ,1111- p. 2 1i (' I 1(t' o( G1ulio P,tlln,u,o'). As l.ire :t~
1 111 IJ' • 1,l lH ,I\ \ 11 ,111,l.11H111 111 '//11· / r(',11i,1 ,,,, fl,11111111.i:. ( )11 rh1..• t·1ghret'nd1 ccnturv. Jon:ichan lllchardso11
111 1 I\I 11111 111, ,11111 1]1 t,
\ 1,111 1 111!11,1!11~•1 ,1I tlll II l.1111,11,li1p li,·1,,1•\ 11 li~11n·, 111 /71r ,\11°11111 thi: Eldcr repratcd V.1s.1ri's \.\'ords dclíberatt'!\
11111 1'1,1l11 , .11111 , 1,1, ,111,11 . 1/,, /11 111, 1111,111/t) , ,,J 1/11 /11(,1111 l'p1/11,~ ,111.I l 1'll1l,lld11. ~\'L' l\ll.111111 or u 11co11sc1011~lv ,vhcn he p1ncl:1i111ed: 'There
1,11 \\ "" h lt, Ili 1d1 I'"' 11 111 ,11 ,1\\ lilf!', \\ l\ ( l.1\ 11111 , / 1,,11,,,11 11 ,11/..•, ,,,, /\111r1 . l louqn11, l'll., l~ ,1 ~pint, and h rc ... 111 tht· drav,'lngs or
, 11 1 11 L,1 111 1 11 h• II\, ,111 11111\ d111111 µ 111,• 1r, I•1, 111d 1 .. 11d,,11. 111,i, . pp. s,1 111 (; iul.10 llonuuo. Pulyut:111:. Pi.U n1Jg1,1110 [~icj.
1•N ..,, 1 tl1l ,lt • 11,111111 111 1 l11 l\l••l'lh 1 111,,11 li, ''" ( )11 tlll ' '' '"' 111 1111, d,111hll'-\ltlt•d ,h,·,·1 ,, dlt' B,11t1,1,1 l· r,111, ,, et, ,~ h1\ h ,ire n<,t to be ,ee11
1,, 11,1,1~1 ,,, 11111 11r1' 1,,,,,.,,,1,
,1,1~ . 11,,11. N,·" \ t I \ h11t·I ,· 11 lt,·1 111 1,· ,~,·11 IJ ,1I d1t· \l ht'111,1 111 their p,ttnn11g-,.' 1-le con1111ut:d: 'a pen or
l'I' 11 l "" d 111gul,11 tig111,·~ 1h.1t 11111,t!llllt· Lht· 1.. h,1lk " Lll p1·rfi.i1 n 1 \\'h,1t t .11u1ot bc possibly
tn, 111 1 11.f,111111 11,11"1 11,,, .. , 1h11 11..i:111h1.111dt, , ,•1111,1 1 r1011p nl il1t' 11111,ht•d (n111po,1t1011 ~1,,111• ,v11h .1 pen,tl [ 1.c , .i hr11'h 1, .111d .1 pt•ncil
l 111,l' '1'' d,\\\ lllf\ li l\l 1111d1111µ ,,, "" \\ 1il1 1111 d1.I\\ 1111, 11.1, 1plf ,•1 1,·d til l~1>ill1' h\' ,, 1th .1 1.h1n hqu1d on lv ,vh:tt ca1111Qt be donc
Ih\ 1111,llllll 111,I 111\111,11111 IOlllll j'I 111 < 11d111 ,t l 1111111', 1\1.1,,11111 , l1,,11~,1n\ 111tl\L ,1 ht·n 1111c h,1, ,1 vai ,ety o( ,'tJlour~ to 111;111:ig..:.
'I'" 1/111,I ,., ,1.
II0111ol ,11q1 1 ll.,l.~t'I ti llllJ'llll 11H Jl,1111111 Ili 111, 1111'1 , ,11,•1•1. 1 iil• j1,1Íf1l- ('~r1•t 1.1llv 111 11il' ( 1111' 11 é1rk., ti(Jv11,11/1,111 Rirh,trd-
1 111.J, 1,, ·/ h', 111l•,,111 Ir I t, I ,r·,,,,,,1, 11 ,1/k,, 11lr l111 \\ h11 h tht, ,, 1111: ,tnd, 1, 111 1h,· '1'1l. PP· <13 ,J)
1111 11111 \111 l i 1111111 1111I 11 11 IS, l•)•/li, 11p l 1 l 11111·11• A1111cniu1, <)11 1/n 11·11c /ln-ctpts ,,( rhc .~I 11 ,,{ < '

11 l li ,1 .., ,, 1f til\ l '1 I 1l 1 )11 ,, , 1,llt-1 111•11 , 1111· l,•11gtl1\ 'l 1lt' 111 1
l 11u,,111' hv /\11dr~· f>,11111111,1/, 1r.lll~ <)l,,c"' ~i..1. p. 1 1~ . 1 h.1 Vt'

1 111 ' 1 1 l 1 1., l i

 n:versed tl1e order of scntcnc~·• 111 thh quoc,1-
non and 1nd1c1ce the lcal1an us.1ge
85 Ch:1rles-Alpho11~c l)u Fresnoy, D, ,1r1t· í!r,1plii,·<1
l 16(>1\]. u,ut,. John l)ryden a, 771(' 4rr 1'.f P.1i11r-
111;1, London, 1(>95, p. 130.
!16 See thc d1,c:us~1on tu L,ndsa, Sc.1incon .111d
Chri~tophcr w·hiu:. Dr,111•i,~t! i11 E11.í!l,11ul _{r,1111
1-lillit,rd 111 Hc~í!,lllh, l ondon. T9li", p. 1- ee
al,o Franciscu\ Junllb. 77,r Lircrat11rc e>/ C..l,is-
sir,,1 .~ri: FrG11ui,n1:, J1111i11:,. cd. Kcith AJdrich.
Philipp Fehl and [Z.11na fehl. .! vols. Berkeley,
r.A, and <.},.-ford, r99r
S7 L(.:tter fro1n Sah·acor Ro\a to I)on A11tot110
lluff<) nf Mc-~s111:i, 1(1(16, quoted 111 fVllchal'l
KJ~on et ai.. Sc1h•,1ror /{os,1. Lo11do~ 1973,
p. 14. Thc Lau11 111scrípt1t1n rca~h: 111,!/<'IIIIUs,
l.ibrr, Puto, S11tre11.<o,; e/ _,..fcq1111, Sprl'Cc•r <)J>llll/,
,\1ortrsqzt<': i!Ír 111e11s est C1·11ii15. ~ee l:tlch.1rd \V.
Wallirl', The Euhi,\',fS 1!r Su/,,.i,(>r R,,,.i. Pri n..:1.-
t()ll, NJ: Princeton Univcrsicy Prt·~,. 1979. A
préparacory 1nk sketch for 17,r Gn1111s li[ ,',,1/-
t'<1tor Ri1s,1 cu.hJn!; •
1s 111 thi: Louvrt•. and " fi11-
1,hed dra,v1ng 1s 111 R.. on1e, (~.1b1nerro N,1110-
11.ale dclle St.m1pe.
88 Sl,1nc clra\\·1ng 1111plcn11:nL, (such a, .1 tlC\·V
qudl or reed) re1Jtnre con~tanc dipping 111 1111--
bccause thcv do nor have any• reservo1r ro
hol<l the ink nc.ir to thc dr.1\\ u1g or \\ n11ng
t1p. (~1111,cÍ<)ll\ly or uncon\c1uu~ly. th1~ l"tlll-
scant 1nterrupt1on can becon,e p;;rrt ol tht·
rhycbnüc 111ove111cnti. of dra'A ing or sct up J
t11nc fra 1ne for surh gestun:~.
R9 l)el.1croL','s hnal 11Jne-sse~ \.\·ere n1.1rkcd bv :i
hugc produc.uon of dra\.v1ngi,, ,vhc11 ile <l.H.l
nt)t h,1,·c the ~crength co p.-1.i11c. 1-he p,1innng
Ti>/11,1s <111rl riu· ,-l.n,í!el of 1863. ,,·hiçh he referred
to tn altno~l the la,l entrv i11 hTh jottrn,LI as .1
•~kecch', is in chc (),kar Re1nhan Collection.
W1ntcrthur. S\.\·iczerl.1nd. Sel' Arle-tte Sén1ll.1z
ct al., Dcl,1cn1ix: 77a· L.,rc íJ l.,1k. Ph1ladc.:lph1.1:
Philadelphi.J Mll\t'll 111 or Art, and Pari~:
l:téu1uon dcs n1usées n:.H1onJux. 1998.
90 Ocnis DideroL. Dulcroi 011 • lrt, erans. Johu
Good111a11. 2 vol~. Nl'\\ I-Iavi.:11, e r, ,1nd Lün-
don, 1995, vol. r. p. 10-1 (S::uon o~ 1765).
91 Sct: Shcr:iff.. 1::rug<>11t1rd: ,lrt ,111d Er<>ticis111. [11 h.is
l.1tcr Salon~. D1derot ,vas extre111elv cnucal of
Fra_gont1rd's 'v,,ieak dra"1ng'
92 'Thé Discoursc of tbe Co111tt.' de C.iylu~ ro
the Acade111}, Junc 7, 17,12·. My n.u1sl.uio11 i,
fron, a ,ic.,cinn in ( ,eorgt' P Mr:'I~, 'Liter:iry
0
Sourcc~ of Dela..:rOL'i. > Co11c:epcion o( the
Skl'tl h and t.bc I111,1g1ndtHH1', ~ ri B11llrri11,
x1 rv 1 2 ()une 19t,2).p. 105.
93 li 'i11ckcl111,11111. l,-l'ri'ti11,es ,,11 1l rl, ed. David lnvu1.
Ln11don. 1972. 1\ou: 31. p. -1,S.
9-! Joh.11111 Joach1m W1nckelin:'lnn. /1,c H1.~t1>r)' <?,(
,,.111cic11t . lrt 1176-i,J. trJns. G. l 1cnry Lodge. +
vol,, 13o~ton, MA, ,u1d Ne" York. 1872. vnl. 1.
p. 14 1
95 Skecch for Plati: y of Robert Blair\ J'/it Gr,11 t'
( 1:;oli; 2nd l·d1non. R.udolph i\ckL·nu.11H1.
18 r 3). H!Jke h.1ll t·-.pel·ted Hl cngr,1,·e d1h
\Vürk htn1,\.•1r hut cht pubh\ht•d etlhing \\,t,
by L111gi '-lrl11~vont'tt1 p-6:i 1li10). 11 (1
9<1 11 "il/i,1111 Bl,1kr · (~,,111111,·tt' 11 ·,, '"~!!•'· \.•d. ( ,eotlrL'\
Kcvnes. rl·v1sed cdiuon. London :ind Nç\\
York. 19<1/í. p. 1,03.
9- ('h·1rlt•~ H,1t1dL•la1n:, 'J\.1111:'ll<llllt\ \rr' n 111,.
Jo11.1th.111 "-1.!}llt: 111 n,t• ,,,,,,Hc'I •!I \J,,c/1111 u,;. lll
a11d ()tlll·r Es~cl)'~. t•d, Nl.1, lll.'. 1 11111.lon. 11,r,,l.
p. 17 13;u1delaire\ rl.'lt'rL·nct•s ro (,11,s .ire
tli,ru~\ed fi.u·ther u1 ch.iptl'r tlurteen. ~'- 3'i~
98 I)c,1.r1ptJl)ll ()r 1b1. \l·lf-ptntr.11t ln '1,,,·1,1blt's
(1X~8) 111 a letrt•r ti-nn, (;.1ugu111 r1, \'1nçenc \ 111
(;og_h (ír:1.11ç<>Í'l' l :i1.h111. ·t,auµu1n l'o rtr.1\'ed 11..:
h\ 1l1J11,elf .111d (.)ther,'. 111 ({.1ch n<l 11,ettell
and < hn\tophL·r I l11vd. / 711 -lrt ,,J /~111/
G,11(\!IIUI, \X'a,b1n~otnn. ol., 1yís8, p. x.-xd).
()') Va."'ll'I lll l1i, ·L11ê l\c J\.l11btl.1ngl'll\' ([ 11~·., L>/ 111
1/Jr -:lrri.-rs. ri~u,,. Hull . vnl 1, p I HI) \\ rnt,·· ·1
kno,v for .1 (1ct thJt ,htlrth bt·lore ht· d1ed ht·
bu1 ncd a l.1.rgl.' 1n1111lxr of 111, n\\'11 d.1.1\\ n1g, .
,kl'tl'ht·,.•tnd ( .1rr\lnn~ ~<' rh.1r 11(' t)nt ~hnuld
,l'l' tht· Libours he l'ndurt•d ,u1d chr ,v.1,·, he
tc,tcd hi, ge111u,. ,tnd lc,L hc ,houltl .tppt•,u- ll·,,
tb.111 pt•rfe(t.'
roo l lc11> .1rc .11,o pronc ro hu,11111.µ; ~krcrhc,. stll h
as S.1n1uel J>.il111er·s , oungcr •
son, A.! J P.1ltne1.
\vho burnt·d ali but t\Vtl oi h1~ l;1rl1lT\ í\\l'llt\'.
,kcrchhonk, in HJlO
101 Th1\ ~lor) rt'1.l'l\ed \\·1Jl· Ili.'\\~ l·ovt·r.1~c 111 tl1l 11--1
l \)()OS.
10:: ( ·uti1sn1. ()rph,~11,, ( · 011~rn1t n\'1~rn :ind .1II rh<' 11,
otlll'I 1:J..clv ah,u.i<.t lllU\"e111e11L, u1.uk ., <.:(1111
1111uncnl ro <lv11.1n11,n1. ,thhollgh 1hr I un11 l\h 11<)
0hJt'Cted to rhe st.inc t,pt'<"t'> úf the1r \\Ork~.
Un1bt·rto llu<.:.1..1on1 rt·fi:11l·d tt1 \h.n.111111.
,e11~a11011 • in thc 7i·c/1111u1/ .\ l,1111[t·sr<1 ,1{ 1:,11111 i;t 117
r,,i11ri11.1: 111 1910.
103 Sl'e Pot1ru, J lulte11, 1;11t111i.,111,1 .111.I f'1111111~111i,
M1lan. 1986, pp. 470 .111d 'il-1
104 ' \Vord~-1n-trt·t·do111' Js tvl.1rt11l 1C1 n.11ned 1ht·111
0
11 S
111 che f'1111iris1 .\ l,111ifcst,, l'I 11 1\ l.1,· T<J r J.
105 í-ro111 r,1111ri~, ,\/,111!/i-,tti. \lil.u1, 11 Au~u,t 191 ~ 11<) n.v,n,1ld,. /)1,1<,lllil'S •'li 111 t•d \\.11L, p ..!I.!
{111 1 lulrcn. l--11111ris111,, ,111d l·ut1iris1111, p 111) ,
106 Karel \'Jll \\an<ler. fhr Lit'I!.< ,,r riu lllt1>1/ll>11, 1~0
.\·~·therl,111di.1h ,111{/ (;t'1111c111 l'.111110.,, .:d. I Ic:,,t·I
M1cde111a, tran,. 1>t·rrv, (. onk-ltad1nor,·. o \·ui,.
l)oomspl.Jk, 1994 9, Yul 1, loL 11::,\
IOi The ron1n1t•nt ,v.1, rcpurtl'd dL11111!-( L11t· \ 1,11
11f ( ;,,111lnn:-1110 lh:.- r111111 rc1 I--r.1 1H·t" (1' Pre.11 r d, 121
(.'hantclou._Jc111r11,1/ "" c:,11•,,lin H,·r11111 , li Fr,tllft•.
eJ. L_ L.ll.11111c. J>;1n~. 1Sli:;. p. l•J).
10~ \)( ilhan1 Uerkrord. H1".11!r<1p/11,,1I \/, •111t 111, •!I
lixrrai•rdith11 y l',11111rrs: .1 ,\', 11• L1/ir1t111, 1 onJon,
181-4. p. ::, 7.
101) '-lt·c cht' liltn <;;J.:1'1th1•.1 cy F1,111/.: (;rhr) h, '>v,h1t·}
Pl1llack. 200<1. ,, ht:rl' t~t·hr, t:ilk, ,ihout thc
'tc11t,Hl\'CJ1ess. tht· 111ess111e,\· oi skt·tt hi11g. Th,·
,·0111111l'ílt b\ 1\ \u.:h.1cl '->t1rk1t1 1' 1n lrc/111n Ili><'
1 + Prci.c..t, (";rlt11· J,,lks, cd. \.lildred rr1l·d111.111.
l\it'\\ \ 't>1 k ll1z1,,h. ")'"' 11 11 , ,.-, ,1 t ,1111)
[) '11''. l'd l\l.111.. ll.lJ'f'l>h l 1111b i.lg, 1 \1 \ \Ili
J>tl'"• ~001--
..,~\ 1ht· lllll'rt·,1111g ,,111,1111~11.11 \(\hl\ h,
1'._1 chr\'11 f h.·n1k·1 ,, ,11. ( >11 I 111 ,111,/ 1 ,,, l' IJ't,
1 , l,z/f~t'/ 1/t H'll/11fli 1tH, 1 1,11,1/ 1 '11/11111 111),/ l 11111
J'lllc'I l ;1,1p/111< Ili / ), ,11_111 / 11\!lllll'llll(:, l ,1111
hnd,.:<, \1\ .111.I 1 c1111h,11 111•i11
1'1:.1.11,i:,Ln 1\l1hi 1.1. /)i~r.•11,111,1 .!ti!, l•cll, ,11t1 .l,I
,l,>t(!III'. B,1ll>t'll,l, J)i.!"'. ,11I li, I' 411', q1111t, d
111 le.111 l l.111d1• 1 L'hl'II' 11:111. ' 111 Hl.tt k ,111d
\\ l11t~ ·• tr.111,. l 111111th\ l\l 1tlt,·\1, lll ( ·,cll1i:1,1,11
l ,,.1r, 111 \ , 11 l11 //1,11>1) /r,,,11 / 1,11111. 1 ti
Nl,r111111 Ili, "'11. l .1111\,nd},;•'. 1<1xs . I' 1 1•
/ 711 Li/, ,111,I 11 , 11111..:., 11/ / li 111 l' 1u,1 li / .(11 ,/
i>J _J,,/1,1 r,.,,,,,,,,,, '·
l 111I,. llllfl\ 11.1, ,.1 11 \\t Ili
!,!;l.1,,, i\.\1ll1\,hhl N\, 111'i .!, \t\( lll J' lll\
IArll\.ll 1,111 r , .. ,
F, l 11 1 >i:l.ll 1<11\ , li h.1, h,·t'II ,11f,!gl·,11•d, 111111111
hu 11,t·lt b,·h\'t·i.·11 111111.1111h 1',, 1''' .111.I 11ll1,1d
t•r•·d 101111111 ·J11, 11111,1dc1,·d po,1111,11. p,11,,·d
0
hl' l\\t·~·11 thc ,IH 1.11,·, t\l 1,•.1,n11 111d 111111
rt•,t,nn~. r1'111.,11h l ,u1,ht1• 111 \\ 11lt 1th .1l,t111\ ,.,
1.\17"\ rhe 1,1111.111t11 f'1",1l11li11ç, 111 ,k1•i. h hl-1•
1·111hh llllh 111 1 1 l•ll.1111 p111111 111 t1111,hr.I I' 11111
1111-"' Ih•· 1'111111 11 ltcn· tlt, 11111c ,11,t1'1'·'11111, 111
tht· 11irt·ll~·ct h1·i,:.111 1,, ,>p,·1,11c' (e h·ut~, 1'
lVh.1,. 'Llll'l,ll\ \tl\ltlt·, t.ll l>L'l.lll•II\', ( llll
''-l'IH>tl 111 1111· ',krt,h ,111d thi.· l111.1g111,,111111
11,, H11/!.-1111, \ 11\ ' (h111<· llJ(I ,, 1'· 111
I.n,11d1.I,, 1>11 fl.11111111g. l'd l,1•1np. 1'1'· .!•li ::
tl l•tlt, L rh111.1, l.1111111, tol, l'1 11,)
l\r111t•nuu. ( )11 rli, /1111· /'1 '11'(1/, ,,, 1/,c 111 ,,(
l',,i11/111i,:, 11,llh l )l,.1c'\I ,l-.1, 1'1'· 1 1~ 1
l~t•ll111 1 7 '" / 11•1., ••/ 1/11 .l/c•cfHII /',1111111,, ,.,,,,,.
1,11, ,111d 11,ltrt;'d•, t·d \\\ihl .111d l\\11111111111,
1'· 172
' lhe 1t·l.1111111~h1p h1·1\11·t11 <:,•1,11tl ,1..· 1 1111·,"·
111d ll1•111b1.111dt t\ ,·,.llllllltºd lll 1 \ l kl,· d,·
Vr 1c,, ( ,, 1,11,/ ,/, l ,111.-1,,. 111 . 1111,1 /11'111~·, 11 Sl,11!•
,111rl ''"""'· Alll\ll'hl.1111, ,,,,,s, l'I' l..!IJ ! 1
(,L·r.1nl dl' 1 111t·,,1•. Ih,· lrt ,,f l',111111,1,f.!. 11111,
John l·rt·dcr11 k l ·111,l h. 11111do11. 171s. I' , l
(f)1,1Plll\t· ,11. lll l>1·1t·111hll 17S1 ).
\1r lo,hi11 ll~·\ 110!.I,. 1,11.,1, S,11./111 11•/1/1 ,,
l',1i111n('I </1;111clt111! lw/1111d ,, l ',1111/11/f.! ,1/ ,1 11 ,1111,111
l,11tcr \1r ( :odhl'\ 1'.11cll1·1 I ('<'li 11i.l b11•\\ 11
1nk 1.11 X 1,1 111111 (1 ,uhl,111 Uru1,h l\111"'11111,
l l)..!0 111(,, \O)
A\l \.1111!.·1 { 1•/t'lh, 1 '\1111' ,\/1•1/1,,,/ 1'/ 1 ,111/11.~
//11• /11t'1ll/1llll Ili / )1,/ll'/II,\ 1 >,(l!IIJ,,/ ( \•/11/lclJl/lrll/>
,,J J,1111/,,,111,. l 1111,h,11, 17l'h, l,1,~1111111-. 11177, I'
( 01t•11, a•h 1, tu hil i,, oi !11t• l 11th•,
Urb1111, L 1111111, quutl·d 1h,1,1· \\ h,·11 li,
,q,p1:11d, \l·l\ llgltt,·1•11tl1 ,L' llllll \ Ll.1h,,11111111\
111 1t•111111dn ' li \11\1 loo).; 11p1111 .111 t1l1l \\,cll
,n,1rtd \\llh ,1111, 111 1111 1h ld 1p11t,11111<t· nt
\lllJll· ,trt.',,kl·d ,tnlll'~, }"li 111.1\ ,lt" '"' 1,
,t·v1•r.1l th111g, lik1· l.111d" ,q11·,. h.1nlc,. ,10111,,
11111·tllll11lllll .lltlllHk•,, 1111111,,r, ,11, l.ll 1•,, cl1 1
NOTIS I(> fA [ 1e '1
 1 J1 tr H,rt ~111 1d 11,li 111 nrtll 1 111 l\<1HI th l· ,'\I ,.,,,·~ oi l11t1.1h,111 ,1f .! 1·111· d1,l\\111g 1, 1n1·111ioD.:d ag,un 111 Lhaplcr
1ud ) u l,11nl,d111,,, j'h11l<1!,1I .,ph, l1v1·. p 1.1.9
, p 1 1 , , 1< , 1 t, oi 11lou1, 11 1 ''t l .d1111111d 1>u1.111t}, L.. , \i>111•1"/11 f>ci11lr11t'. ,·d. l'h.: tcrn1 pn:~1.:111auon dr;l\\'Íngi, ,\,ts tlf,t usl.'d
1\ li li, 1 ,ui l , lt , 11 1h, ,, 111 1 11111 i'v\,11,, I l ,lll'l 111, 11.111,. 1() 'º qun1,·d 111 no11111·. 1.,, Joh,111nt'~ Wddt:, ,vho,i: Dr1tish Mll~çt1111
Ili \\Ili, h l\Hild 1 ~ li 1 l
1111111111111d,<~I'' 1711 11 ,1,/1 Ili)' ,,,d /1,·11, I, l'.11111111,1/ in 1/,1· N111,· r,u,1 log11e, ,\ l1rl1tl,111gclo ,111d /11s .'11111/r,1, ,v.1~ puh-
11, "1~ 11111,,,1 11 h1 cli ,1 111 11~1i I q 1111 1,·1111// ( .'1111111 )', p 'lo lr~hcd Ili 1953. r hL' us.~gc ol g1rnng ~rcn1s fron1
\ lllt)ll Ili\ 11111 1 111 111 iil ll li I SIY llt.11 1 1!ti i\1t•IH'l I\ \lt]'lHIII, \'\('\'li.Ili) Ili 111,
iltt' l d1l! \l.!111111,11 ,111dy b, M ,u·r1.:I M,1u,~. [.;ss11i s11r

111111 111 t\ , , k 011! 111 Ih h , ,t 1111 ht· ,d~ nf ~k,·1, hh,1<,k,, \\ h1t h ,._. 111II nl 1111•,11H!,•r111~
•
/e d1111 oi 111.1.5 (~t·t..· l\l.\11~,. 11w C:!fi: l •<1r111~ ,1111/
111111. ,.111<111, 1111111 il . lntlil, 111lk,. ~t·.1,, l111c,. 11,·1·1,l.,n, 1111,:~ ,111J d1,t 11\t n.:s, 1111~11 111 ,,·1111rri,,11, ,,r [·:'xc/1,111.\!I i11 ;lrd,11ir 'i,1âcflcs, rr.1n,.
, ln11,b \\ond, 111d oda 1 \11111!.11 tl1111µ;s lt 1, hl11111 p1·11, 1!. ""'' ( hr1,111pla·1 l lo, d ,111d l,111 ( ' un1u~on. N.:v,rYork. 1967).
•
lik~ lhl ~,11111.l nrl>ell ,,111,lt' Ili IIH Ili ,,h.ll lla h,11.t I h,1111,ttll, l111rr,·"·11•111~, /)1,111 11/lj/~ /10111 An t•.,:1111p1L· nf l·:1rly .1d1111r,1no11 oi dr.1\v1ng
l'\CI \tlll \\ llll li ltt 11111 1hl11111~h 111.-,, ,t lllh H1111 ,/, /'11/,/1, ,111d /'111 ·,1/1' ( ·,,//l'a1,111,. t )xtord, 111 C;1•1n1:111y 1~ quotcd 1n Jo~erh Koerner.
111.1\ ,1tppl) 111,,·1111,>11, tl1t\ do 11111 l1.1<h \OII 1118(1, p. 11 l111p1L'\\l\\lll\l\, Ili \lli1111Hlll \\ 1th •Alb1 .:c.:ht [)ü1·cr · A Si ,teent.l 1-Lt'11tun. J11fl11- .
h.,,, 111 11111,h ,lll) dc1.11l ·\nd th, p11111,1 111 t·,11 h1·1 .1r11't,. 1111111,I 1h.1l 11 \\ 1!\ 111 ,lr:1,, 111~" 111-,1', 111 .l/hrn/11 /){ir,·, 1111d J,j, /..({!!lf}'.' n,r
q11r,1H111 111.1kt, \t'I) "111v l.111,l".1p1·s.' 1h.11 thl H 1111t1.1I n·,pnn,l·, (.<n1.,,11i,111.,) 1,, .1 ( ;r,111!ti1 11 ;1,ks o(,, l{,•1111ís,,111c.·. lrt1s1, ed (~1ulí:1
1) , 1 lll p,,,.,g,· 'h \t't'lll\ 1,1 llll' tlt.11 ,
l ,11HIIIUL'\ 11111ul \\','ll' hc,1 1-.·,11nll'.l flil' Lr,1d1t1011Jl u,L 13.nti u111. london. .!OO.!, p. , 1. ' IDi.irer'sl wJn-
\\ h1·11 1 111('11 P<'lh 11 h11, li) h111,h ,11111.:,· l ,111 11[ d1 ,l\\ 111µ .1, ,1 pn·p.11 .1to1 v l'lllt l''-"'~ rL·111a111t·d us, np1, .111d oLher pl.unlv dl.'~tisneJ Jra\,·ings
hc 1111d, '" 1 ,111\1'\ .111 , 111,1111111 IIH· ,111 ,·1 1 til'( l'S\,H\ l l1l' Lll t11rl oi ,111 l111ptl',\ln111,1 1111 p,tpcr ,111d p.1rc h1ncnc ar.: regardcd by
li\ .,h,,·,,,., \\ 1th I hvt·h 1111,1!,!lll,1111111 J!l.l\ ,,.,1111111~ ,l1111ild thl'IL l111<' 111 l'L d1tv hc.: 111orc 0
,1 11h1s ,111d nther ,1Llu1u:.:r, .l!> hui) thit1i.,"' (M.tt-
.11,1\• ,,1, 1,111e· .111d ,cll ,·,l,·1 111 l1u111 h, 111~ ,1l>ll' p111p1·rh dt·,, 11h1·d ,1, 1 ,11111 il,lll'd ~pnn1.111l·Hy.' thi.~, \·1111 l{inl kt·lh.H h. 1<101)).
to 111111p" ll 111,•111,tlh \\ h.11 h." ,til 11111 utt,·11 1 ir 'li 11\ .1 q11'u111· clH"l' v1,111· l•,1irL· du prc1111L'l , ( :10\ .111111 B,1,t1~t.1 Annt:111111. <)11 thr rr11e flr<!-
h1·,11 l,ll 111111111,lt,d' llu, 11.111,l.1111111 111 1,•.111 t1111p lL' qu11'011 \'Oll tJ11.111d ,..1 y L'\l, ~.1 , L'Sl. rt'Jlf, t>( t/11. lrl ,,r P,1i111i11,I/ 1r586I, trans. Ed\vard
\t,1n1h111,k1, /'/1, /111·<11/11111 ,,f I d•nl)', 1·,>n-1•8,) l•t ,p 1.111d ~-1 11\ l"\l p.1, tlll ll'ltllllllll'llll' l11111 J. ( )ls11'\l',ki, Ne-,, Yürk, 1<)77, pp. t.!,-(,.
l1•Jl'II 11111, lh111.11d (' S\\111 (;1111'\,l .111d lt· rl·,11· ,•,1 d, l.1 hl.1µut • (,1u1Hl'd 111 A111nn111 (1 f"<'\IL·nt n l.11cc:1ro 111 bis tn;,1h~e / 'rrir11 ri<'
Nl\\ Y111k, 111s p 1.:11 1 ► 1011,1. / ·,/1111,11.I ,1,111('(, ,\(l/11'1'/IÍr.l, Çtl 1\ J'il/(11i, .s111/l11ri t'd ,1rd1it1•11i (Tur i11. 1607) prc1
tl1 h.11,I \1.., 1~ll·,. Ih!' e lt1~111, ,,f /·1n11h lit lt111h1•l,·111\, 1'1t 1,. 11 1 .1111,·11,. 11113 p. 10) For ,~,,~,·, tl1.ll d11,1r('.l<11111 'dre,,e\, orna1ue11t~ and
( 1//lffl//l (/ti/li tltt 11/tll /1 f~,'~/1111 /1 1 tf1t f~1•1/111,I 11110111 1.111P11 tHI 1hc dr.1\\'l lll-,"-, \\'1' N 1, hol.1, pt'rh.'t ts', l ),l\;d "iun11ners. ·, '/1( J111{f!c111c111 ,~J
11111J ( )xl111d, 1')111, p .::1<1 \X .1dk \. /1111111 ,,11•111,i/ ,111,I />,,.,, /111prc'"ll'll1St Sn1sr: l~t•11,11s,,111tL '\',1rr1r,1li,111 .i11d thc Rist '!Í
1111111, ' 11 .. 1.t 111 111, 111111 h I tt1·d "''·I)• ' 1 h1• 1 >r,111·111.i: 1 ,,11do11, 11,,,1 , pp ,,o- !) I l,·,th,tlf,. c-.1111bndgc ,1nd Nc,v Yurk, 1987,
1 111\ \ppn•, t,111PII ,11 1 )r.1\\ Ili~\· 111,lllll,lllll'd IJ.1. lt 1, llllt'H'M lll~ 1h,1t 111 thL' (\\'l'11lll'lh \'Ç11lllf} p. JOO.
(p. 1) ' 1 hl· 111,1,111.111, nl ,11 l 111 thl Nen, l.1,,1, d1L' 110111111 oi 'i 0 11111v111);.;° ~ptllll.111t'lt\ coulJ 7 Lc,,11,1n/,, ,111 r,1111/tllt?, cd. !'vLtrlHl l(i:1np. U';IJ)~.

pc1111d 111111llh11 ,·d , tllh l' l'I' tn1 ,, l11, h ,1 1'1'l1'- ,11II .1111.ll l l\ 11',lll'l' ll.111ll'll Nt·\\ 111.111 \\,I~ l'\ 1- Kl'111p .111d M;irg:1rct W.1lkcr. Nl'\V Tl.1\'l'll, l T,

1·1,1111111 ,11 "1 tr.11.nl1· .11 1d h1ghh pl"l'\llll,d .1 dL·111h 1111111,,: l )t• t,no11111g 111 ,111 111tt'r\'IC\\ of .1nd l ondon, 191{9, p. 1<• l<'odex Urb111:1s L,H
tl1111g •" .1 d1.1\\ 111g \\ .1, ui 111111111 1111p111 t,1111.: · tc)(ll\\hL·11 hL ,11111pl.11111·d .1boul \1111trÍ\'l'd 1nu,, f\1I. 13Jr). Clse,vhcre ut tl1l! codcx (1b1d.,
<,1111dt-1 ,11pp11,1·,II\ ,11111~gkd pn li111111.1r, ~1'1111l,1 11L'll)- • (qu,11,·d 111 l~ I( h,11d 'ihilr, ' I )\' 1'1)1. ,or). I L't111.irdo st..Llé~. 'Thcrt• ,1 r1t t,,n pnn-
,k1 t, h,·, 111 ,t holl11\\ , ,111t' ,111d ,,.,, ,.,, l11d,·d l\n<Hn11g •
l ,,111rolli11 •g l >,·
l<oo111t1g',
•
111 11','//('111 cip,1 1 pares 111to ,vhich p:1innng i~ d1v1dl·d:
ti,,111 thl· 11>11,11111-' lu1 tl1l l 111, dv llo111l' 111 d, lx.o,111i11,i:: /l·,1,i1{i: 1/11· / ·1.1/IIH', Pr1111·l·t1H1, N.f .•,nd li r~tlv LllL' uutl1111·s "Ji.i.:h surround til.: shapcs
17X 'll'l' 1,11,do1,:u,· 1•1111, 111 ll.111, L1dJ l .1111p l ),tonl. •no.\, 1'· 1,,,) or ~ol1d hnd1e~ - .111d tht',e outlilll'S Ll'ljllll't'
h,•11 l'I .ti. 111i,,111 ,,, 11111,1111/) \,•,,,l,1"'"'' IJJ 'A 1111L·II,· \'llL',,t· d,·,,111t·r l.1 \ 11~·~~l·' lou~ dr,1ught~n,an~h1p; .1nd ~L'condly 1vh;1t i~ c:illed
1-,x111, /)1,111 •11,~•. 1 (1, \11µ;, k·,., ,. 1,11)J. ,,. .: 1 1. nou, ,1v1111~ , ru: ,111,'1c•! '1 l'111,1,111t. Nt1L1, t1u1 s h.1tl ill •~:
1 ',, 'il'l l'l111tppi· c:11111, h11 '"' e,,,,11.t 1111, de' ,p111111,·, k·, dt..'llll',\lll''· l'-11 IHl(íl' k·11L1·11r p,1,\(· X 1hid .. pp. 8S-1 1~
N.,1111, 1\1111/111~, /f,•111 tlt, f ·11•/, dt', Hr,111.\ • lrh. l.1 r.1 p1d1tl·. 1'·11 nu11l· \'ll'l)lll' t,'h: p.1~,c Li 9 ( ;1oq;11J V.1~;1n, l.i1•, s •!Í thc ."1r11s1s. rr.in~. (;eorge
0

,~o- /S(lj, w.l\l1111g1,111 ll( 1111{ , . ,111d J\lbt·11 11111,lrt d'u 111,,• p1•11~1·,•·. \\ 11\tl I IL'lt•11t' ( · 1x11t1, 111 l3ull. 1. , ·ois, Lun<lon J.nJ Nc,v Yurk. 1987, vol.
1!011111·, //,, l«1d,111J '"" J 11'111/1 l',1111/1/1i: Ili lht' ,, 1,ll ll' t'l .d. Rtp, 11111 '· p <, ~ 11. p.1.,;<1 ('L1lc ofl l'l1n.1rd0 J.1V1nt1'): G1org10
1\1111'/1'111/!1 ( 1'11/111)' 1 u11d1111, l•/"'I , p. S1 .111d 1'1'· 131 l·.dµ,11 \V111.t. l11 ,1111/ l11,1rrfiy, 1 n11dp11: 1)1111.. V.1s.1n, / ., 1•i11• dt·' pi11 t'freh·111í J'irr,,,i sniltc1r, ,.
11n l.! l11 il1l' 111111·11·,•111h 1lllllll'\ 1h, p1l lllll \\<)tlh, 19l•h. PI'· 4 1 .! ,1rc /111rt1,1ri 11dh· rrd,1:::i<1111 dr/ 155/1 r 156S, ed.
Ili.li} ,t.l~l' Ili ,1 \\t1lk \Vt'!t' 1h, j1lllltl ,i.1,,11i,. 11, ' li/ 1111 u•11,11111tl)' ,1,11i11') 1t111•,11d., r/11 1011.J11i,111 ll.n,,11111:1. B~·tt.1nn1 .u1d P.10IJ l3,1rorch1. (J vol~
1h,·11 th,· p.111111·.I ,k,·11 h tb,111,/11 Ili ,1/ 11111111 • (l',tr<' t \ 1t.1hr,), 111 \X/,1hl'r l'.1Ll'r, //1,· 111 11, 1 lorencc, 19<1<1 87. vo l v1, p. 18.
John ll11,k111, l.,·,1111,·, ,,,, 111 /,•/111 /~11 ,t:i11 !<1•11,11,,,1111,• St11dir, 111 111 ,111d /l,1,•/1)' l1S7_1I, 10 1 h~·rl' ,Ire.: 111,1ll\ JC:COUl!b l)rthb 1..0U.1borauo11.
l 11>7ú l N1·\\ )01k, l•l•Jll, l'I' 11'1> 1< 1. ·1 hl· ( ),ltnd ,111d Nt'\\ 'i n1k: (),-t,ud U111v1•J',1I, i:;~'l' thê \ l.1s, i.- \\'tirk h) Fnv111 J>;11101;ky, ·r1w
p,,,\.11,(t , ,111111111t·, '\'(, h,•111·v1·1 vou 1.11',· ,1 lll'II Prt·,,. 11)Xr1 p Nc, I 1/, ,111d lrr rf ·1/hr<'rht J)11rl'r l 10-1JI, l'n 11ccton.
111 \11t1r h.111d 11 \'11t1 , .1111101 11n1111 t\tl'\' l111t· NJ, 1971, pp. 11..! ,.
\\Ili 11,• \\'llh li, 111d \,1\ \\ 11' \llll 111,1kt 11 'º 11 1t ,ee111s, li-0111 ,1 ropy ,1f d1t· .ipo\rh:'s hL•,1d
ln11~ 111d 11<1 1011µ<'1. 1nd ,, 11\ ,·011 dn·\\ 11 111 1n.1de b, l l.111~ 1 l~)tlin.u1 (circ,1 1530-r59 1/1.).
Ch,1pt t:'I l h1 ('('
1h.1t dir,·1111111 .11ul 1111 11tl1,·1, y11111 \\Otk 1, h.11.I ' l31 iu~h f\1u'-L'lllll, 00,9 1. 1hJ1 thl' "hol.: JrJ\V-
f 1111shcd. Autonon,ous .ind P1 e<;ent,1t1on D1aw111gs
< h.11 k·, Bl.111 <. //11· <,1,111111i.1r ,1/ /~111 /111i: ,111,I 111g 1)r1g-111.1111 d1,pl.1y<·d lhl' l)ilrt·r llll)11ogra111
J 11111111•111~ 11•,il1 l '''1/"'·'' (1/11,1,,111,111,, 11,111\ K,Hl' t \111,,·r,,1111,11 b,·t\\t't'll Josl·ph lk·uy,, l l1·111l·r und<·r 1ht· date 1,oX ~<'<' G1ulL1 B.1rtr11111, ed •
N,·\\1ll lh•~gc11 l1s~1I, {'h1,.1~n. 1s711. B.1~t1.111 .11111 Jt.1111101 ~1111111t·11. l)ü,,,·ldor( X l /111(, /11 /)ruo ,1111I /11s Lc11,1q•: 11n· Cr<lpl,ir 11 lnk
PI' ')') 100. BI llh 110 doul>t 11\\l'\ ,u111cll1111g •\u1.t11,1 ll/'/<l, 111 lo,,·ph llt•11v,. 111•1111,,•r l l.l\ll,111 •!f ,, /{n1,11~s,11111• l11i.,1. l ondot1 • .!OO.?. pp. 1ó<r
tn l l1pp11htc 1.111H [ IS •s 1h111). "hn h.111 ,111d Jl',11111111 \11111\ll'II /,•~e,,/, Bn1)1.,: /1'11/1111111 - .1nci 2'7.!.
,1n·,,,·d d1l' 1111pon.11111 ,11 ,1111\lll ,,·k·t11\1l\ \!1'11 l1/.:1'11i11.~ /)1,u1•111.~,, l'vlu11l1 h. 11J79, p. ,;1. 1; l )f I li11l't 13.1ld1111g\ 11\.111,· l o lnurt·d dr.1,, Ílll.!'.
• •

htOIFS rCJ P,\ l 4

 ou..: of thc fiucsr I!- Dca//1 ,u1d 1/,t· .\ l,1id1·11 of
151, (8erhn, l<upfi: r~L1, hk,1b1nctt. Kcll 15"'8)
on an 1nrensL· bro,vn grou11d 1 btilly cngros~cd
in cxplori11g ht·r O\\ n rL·flct·tion i.n a çirculu-
uurror. chc 111,11den. a ~tuJv• 111 P,11111as. does 1101
even nohce rh;1t skelct:il 1)e.1ch has her 111 h1s
embr.icc.
13 ) ee Jo~cph Kocrncr. J71, ,\ lo11 w11r ,1f .\1•[1:
Pnrrrc1i111ri' in c;ert111111 f-<c·1111is.w111re .4rl. <. ' hic,1~0
•
.1-nd London, 1993, for J Jíscu1,1,jou of Chr1~-
ton1orph1s1n .
1-or coloured and â1inrosn,ro pr111r~. ,vh1ch de•,-
elopcJ J.t Lhe sdl11c nruc ,1s thcsc w1u1uc Jr.1\\ -
i.ngs on p.ipcr. sei: D,1v1d L,uuJ.1u ,u1c.l Pt'tt'r
ParshnlJ. ·111c R('l1,1is.-1111cr Pr1111, 147,1-15511, N e,,
Havcn. e,. ,1nd Londun. 1994. pp. r79 202.
ln relarion LO Fr.1nt.:t\ sCL' thc q11ot1.'d entr)
fron1 the T-:t1C)t/11pérl1e 111rt/, odiq11t· o( 1"'1'\r"YO 111
jJJucs f l cnI) Rubin ct ai.. F.~1?/,tcc11tlt-r,·11111ry
F1u,rl, L!fi• Dra111in(!: Sclcait111s fro111 ri,<' C,1/h·c-
11,111 of .\.l,1t1/11as {\1/ak,1111s. P1,nceron. NJ. 1977.
P· 31 •
16 See Jo hn Ekh:rticld ,1nd R.obcrt Gordon, 7 71t·
l.,111g111t~I' <'!f riu• Bt1dy: l)r,1111i11g.- by P11'rr<'-Pt111l
P111d''1011. Nc\v York. 1996, .u1J Eliz~bclh E
GulTe,. D,11111111,í! 1111 EhL~IVt L1111•: Tlit· lrt t'!f
Ph•rre-P,utl Pnul'hrn, Ne,v,1rk. nF, and London,
2001. p. 1:!O.
17 For .i W5l us,ion of tJ,e S1.:.rpcnlinc Liuc. ~ec
ch.ipter seven, pp. r95-'7.
As in L,1 Source. a black .i_nd ,vhue ch:i.U..
Jra,v1ng ou blue p.iper 111 the Stcding anJ
Fra11r111t' ( ' lark Are lnsnt11rt', \Vill1an1\ro,,·n.
MA.
130th Prud'hon anJ J .-A.-1). Lngrc.:~ .ire t,·eJ-
ir.ed "v1rh be1ng che inventor~ of rhe n1odern
fe1n..Je nudc-a..~-subJCCt 1n JTt: histor1cal hrer.i•
turc.
20 )ee K. A. Roherrs and J.l).W. Ton1 hnso11,
T'l,r Fc1brir oJ lhe Body: E11ropr,111 Ti·"diri,,11.1 11f
,·l11t1l1Jtllic,1I fllust11llio11. Oxtord. 1992. pp. +4"'-
7 3. As ,vell as anaronncal 11Jlhtranons. chc· prn-
fess1onal ülustrator v,111 H..1en1~dyck (also
spc.llec.1 R. y1nsdyck_) produccd i111<1gc~ Cor /Jri-
1<11111ir11111, bci11g c111 l'xl11l111ir11, r!f' a ~rt,,11 i,,trii·ly <!(
a111iq11i1ies a11d 11att1r,il 01r1,1silie.s, bt•lo11J!.i11g ro ..
11,t Briris/1 .\l11se11111. Loudon. 1778. 1fi.: co1n-
pl.1 1ned 1n the 1nrmdncaon rh,tr he , va~ nor
sufficiently recogniscd as Jn arcisr.
2J \Villiru11 r lunter. The .•J11,11t,111i1 o{ thL lÍ/1111,111
(;raf'id l //t'nts, B1r1ninghJ111: John B,1~kerV1lle.
r774
Thc. quownon ts fron1 Lhe cd1uon of 175 4.
,vhich \Vtnt into 1n,111y reprincs. Fnr ..1 (ullcr
iruerprecaaon of these 1n1ages, st>c I udn11lh J
JorJanova. Se.\11t1/ 1'ühn1.,: /11t,11!c~ ,1{ Ç111dl'r
111 Sdc11n a11d .\ lc1/1011c /,c111 1fc11 tlu E(izlttec11th
n11d l11 1e1111crli Cc11111n1·s, Hc•1nel He111p~read:
f L1.rvc.\t/Wl1c.at.sl1c.af, JJ1d Ma.d1son, ,vr: U a1-
ver~1t) l)f W1,l·ons1n Pr\:~\, 1989
23 Van llic,111sdyçk\ red chalk rcch111que proved
ver\ l·oudu..l\'e to tr,111,l.u1011 111t0 lllCLJL'Ulll;
, 1dl:' h1~ ~Up<'rb i.l111,mn,>1h ti.,r e h 11 l,·,
N1cholas Jcncy, ' f'flt dn11,111~n.111c111s ,,r d /'lt't:lhU/í
11/011~ ,,f ,1 11•,1111,111 ,11 I,,, Ji1/I 1n111 ••• JJ, 1111· /i,,,11
• •
rht• ,,;, /11rcs p,11111<'d ,1{i,., d1.,sl'lf1c111.< '')' .\ /1 l ,111
R..1,·111,.Jy,k. London. 1-57.
Lé!!t:r proposcd u l · c:onct:111p-,r.tr, 1\ ~lul'\'c-
111c11 t, 111 l'.11nt1ng'. l•Jl-t: 'li p1,l,11t.d t':-.prl's-
~1011 h:i, changed, 1\ 1, bt>t".lll~~· n1od<·n1 litl' h.1,
~
nece•\\1t,1tcd 1t . . Th1.: y1~v1, th101.1gli •
d1t· tlout
of rhe rJJlro ..,d rar nr rhe ,llllon1nh1lt• \\ 1nd-
~b1eld, i.n con1b111,1t1011 \\'ltli th, sp.:cd. h.1,
aht•r1.:d t.b_.,. h.1bitu.1I look o i- 111114-,'\.' ·ucf.,rl'
[111odt>r11itvl .1 dr,!\\ ing h.tJ 1111,· 'Pl'<'l,tl , .,llll
,111d J p.11nt1nt,r h.1J :innthcr rru111 11\l\\ 011.
l'YCf\'Lh111~ 1, hroughr lO!?,<.'Ull'r' ( rl'l'l l,llld
1egcr. J-1111,1i,111:, ,,r P,1111/111.~ 119<,,J. {J',11}~
Alt",.1ndr.1 Andt'n;on. t'd. f· d\\,1rd 1-: ri,. • 197fi, PI' 1/S
Loudon. 1973. pp. u .Uld 15)
ro, ;) '>i.1111111,ll'\ o i- B,lrl)t:ll\ 111,·th,,,h dlld
rhc rrcst'rv:inon nf h" cir.1,, 111~"· ,,.,. N1chol.1,
T11r11cr. r:tdt•t1r.1 B,11,,.,,. P.1n,. .:iooo. pp. 1ço- 'i,
Ül'llot I l Llllllt'd th H .tfrl•r , 0111pos1nt1n.1I J1.1\.v-
1116"' ,vere ç()ntplt•tcd, Baro.-r1 111,tdl· l·l.,v ,ir
,v.1x n10Jt•h 101 trvtng • •
tllll cl,)thl·s ,111d
dr.1pt'r\
P.1111r~·rly pJ,s.1g,•,. hn, Vl'\'t'r. tor ex,11npk· 111
the 1 ·u,1,111u11 w !:,,1111,1 J\11.u 1.1 111 V.11l1rl'l1J (thl
(~lut•S,1 Nt1,1va) 111 H,l)llll, ,11t l '<ll,lonliu.1111)
bl·1uciR1I
Thc cl1111rosn11·,, 1, \'Cí\ cluse to .111 oull1nl· pl·n
11u1dcl/,, in .1 pt 1\ .HL' [ngh,h cülll·c llllll. ,, lut h
I\ 'ctll,tred 111 red L h,1lk ,~1th .1dd1t111n.1 I gl·o-
n11~rncil sh.tp,~s O\'lTiaytng rhc l·o111pn"t1011
Scl· E<ln1u11d P l'ilhburv ,nlll 1 <Hll~l· !-,
l{_1çh,1rd~. 7 71c C:111p/11, .--1 rf ,,( /·,•,/, nn• li11t.•111 ·
~<'il'al'rÍ [)rn11•111gi ,111,/ /Jn11ls. Nl·,,· 1 L1,·en. e 1.
1y7$. T hc. (0k,ureJ oiJ l11l 1.-,111, .1, ~kctl lt. tl'-
produce·d 111 rurnl·r. /-rdt'rir,i B,11,11, ,. p. i-q, ,, ,h
fr1rn1erly in .1 pri,·are çollertu,11 n1 lh·ll'{llllll
Sit<' Cçllllin,1 J' A11drcJ c :c11111111. rl1t (.'r11fi;;-
l/lt11/ '.- H1111dbm•k: 1'/11 lr,,!i,111 'li T.,lnt1 ,h•/1' l ir<'
11.~371. rran,. 1)an1el \ . 1 hnn1p,nn. Jr, Nl'\\
I IJven, ( 1, 1933. flpuutcJ 19(,0. l hL'sl' ll•i:h
11 lt ]lll:, ,ltl' d1srth~l.'d \\ 1th l'xtr,101d111,1ry I ho1 -
nuQhne,s b, C:,1n11t>n ( '. Han1h.ll·h ,n 1)r,11Pi11e
e •
u11cl 1iai111i11.e i1, thc /111/,a,1 U..c11,11Js,111u· 11 Í•rks!t,11•
·n1n>ry ,111d l 11t1tllft', 1 /cll~Jót1,1, ( '.1111hndl/:l' aud
N e,Y Yo·rk. 1999 1:3an1b.1ch d.ttes tht· e.1rht•s1
sp1,1t,rr<, JrJ\,i11g~ to rht 14 So, .,nd \Jo,, ,u1d
,h~Ot tare., tran,f~·r lc~·ln1ique, ,, 1th lh <' d1:,el-
npn1cnt ot tht· lu11,hi:d rarlllílll 0r ,11,1,/c/111.
l:1or~10 Va5.1r1. 1,1s,1r, ,,11 [1.,.J111i,111r l 19071, u-,111s.
1 l)UI\.I s. l\lL1,·leho,e. ed. ( ;_ B.1lthv111 nn.i\•\ ll.
N e,v York, 1()(lô, p. , 1, ('v,1~.1n. /.(' r·i1,,. i:d
l:3 cuarinj J.Jtd ílJrllLlh l, vol. t. p. 121)
JO Ar111cu1111 lo,, r/11 Th1r />11'(('/lf)' ,,r 1'1, 1 rf ,,r
l'.1i111i11~. p. 171) c,1lled tarronn, nJn~t "vnrthv
of l'~tl'cn.1, foi 111 chl'1n onL' ,,'l'S t•xprcs~cd .111
th1n1,'l- v,1btt:lt t11t.1il l',trc1Ul Ji.Jl1rulncs'.
31 lt h.1d I pü\vL·rti1l 1111p<1(' 1 on \1r J<1h11 \0,1111·.
l.kqgllt'I ut"th<• lt111k til 111gl.111d. \\!111 l t'l 1!11,I
'tltt 1111prt',1.H\II tht· ,1gl11 ,,t 111.11
('<'\\'t•1í11l
bl,llillliil ,,ork pn,d11,çd 1,11111\,,·lt 111d 111 11,
oi tlll \\111111.! \1 thl~ nl tlt<l\l d ,r~· (1111 ll K
11()\\ 1,·dµ,·d lJIIC1lt hl l, I\ 1 \1.11,tp 111 1 ,lt,U
11u ,,1,•a11·111,. l ,H1d,,11, l')li ) 1 h · ,. 1, .1 hr.111!1
tu! \\,tl<H<lh\lll 1<·11dc·11t1!,! ,,1 tl1L' ,.1111L h111ld
'
ín~ h, 1ho111,1, \.111db) 11\ 1h,• lt,1),1' 1 1br.1r\,
\,\ 1111h(,r, ,1nd r..·1 ,rc·d dr,1,, 111~ 111 ti,,. \1r J,,hn
~0.111,· J\lu~L'lllll. 1 011du11
3 IhL· r,'Ll'ptt,Ht 1\t dr.1\1111~, h, l:1<111,· 1,
<',pl1,1c·d t,, l d~.11 w1u11h.11l 111 < ,1111 : , 1111
J),,1/r.,111,111. NL'\\ Y,\\ k • ..!uo2. p. 2,,0.
J.l (J11<1lt'd 111 r\llll.1 l\1<1,,ku,·1, < :,n1., /11r Ni;,
,111rl l·,11/ •:I 111 /·11!/11, c111!t-1t1111111• /'/,1,11•111, 11,111,
Lundl,11, h)7.!, 1'· IC>.!. :S.,•L• ,1h,1 Ed~.11 :\h11tl1.1ll.
.J,·,10-H,/('ll•/1 ( ;l(l/~i', ,~.1,·- 1,..:,i), l l.11tl,11<I, , 1,
10 1
..l4 J'li1, d1.1\\ 111~. ,et 111 .\ b.1111~1·,,i, ,·,t,1bli,li 111c1q
"llh lircpl,11 l' .111d ,1,,·1111,11111,· 1111111,1. \\ 1,
111t lnd,·d 111 l\l11nl1.1II', l'.1rli,T ( ;,,.11,,· 1.11,11111,;111
•
(/1,II/ 11,1{'//\lt ( ,/ tll,1 ,~.:, 1.-:,,,) ,1, b,·111M Ili
rht· N,,, 11111 ,11111>11 l 1H1111l.1111,11. 1 "' '\ 11g1 h·,.
,111d thl· ,,1111~ tlr 1,v111~ ,ll'f'l'.11, 111 .l\.1 1111h.ill
( 7,, 11:1• 1/1r / )1,1/1.1111,111 11. 11g. ,,,1 p11, ,li< l ,,lk·,
llllai . 1 h<· B1 ,ri,lt J\ l11,,·u111 d1.I\\ 111~•., L'lll1IIL·d
•
/<111111/) ( :r,111r .tppL'.ll'- (1) hl· \\ lt,11 l\111nlt.tll
l'L'll.'l"íl'd ll> 111 197(1 ,li. ,1 ll),I 1,•,11 !-. ..11111 \\ htclt
h" , l.11,•.l 11n,1 17,q.
3, l )t·111, l)1d rrn1. · 1 ht· \,iln11 ,,1 1..,.,,,·. 111 / )1,/,,,,,1
t111 l11. 11.111,. Jnh11 (:011d111111 ' ,,11,. Nt·\\
l l.t\l'II, 1 1. ,111d L,111do11, "'''' ,,11 L PI' 1nr,
~ ,c.)tl1,·1 ,·,·rs11111~ ot Ih,· d1.1\\ 111!,' .11t 111 th,·
Alhl·r1111,1 111 \/11·1111.1, .111.t rll\·n· 1, 1 \'1-r\ lt11 h
•
(ll'\t'l1.td) \Kt'h lt 111 ih<· r--111,i:1· ,k·, "l',lll\ 1\11,
111 1 1lll·
3r, l\11Lhacl I r 1l'd ( 11,,,.,,,,,1,111 ,111,/ /1111lf1111di1i•·
l 1,1Í111111~ 1111./ /k/111/,/<'1 i11 riu· • l i,!<' ,,, { )1./r1t1r
l 11fSU[ t h1r,1!_,(11 ,111.I 11111d1111. 1,1~);, PI' 77 S)
tllll'lt', Jt·.111 B,1p11,t 1 )11 1111, ,,11 lhl· ~l'l',llt'I
l·tnoll\'I.' p,1\\tl 111 tht.llll" '•\ ll,lg<•1.h ,t111t,1111,
nn 111fi111tL· 1n1111h,·1 111° 1.1bll.111, 1hL p.11111,·1
, vh o 111.1kt·, .1 p.11111111µ, oi 1h,• ,.tl l 11 1,t 1,I lpl11
gl'l11.1 l<'Pl<'\l'lltS l<ll l1\ Lili Ll tt' l lll\,1, 11111\ U ill'
1111H11r111 o1 1ht· ,1r 11 011' B\ , 111Hr,1'1, l l1dt·n,l\
l\\<l <' ulv lrl',lt l\<'' 1111 1l1l' 1ht·.1tr,· (17,7 .111d
17,;N) , ,ill,·d tur dr 1111.111,i- tn , r,·,H<' t.,hl.·,1u\
111,p,r<'d h, t·xi:1npl.11, p,11111111g, 1,1tlH•1 tl1.111
,,J.1bor,ttl' ph ih ,111d ,IL nnn
.,7 Th<· 1'1 l.<l\t· 111,1,,1 ~ lll th11. 11,111,,1, 111111 IS (tl
li,· lill11ld 111 l\,lunh.,11. /1•,111- /i,11111.,11 :,r11z,, 1
(
17~5 h'\05
31-í 'I h,l\'L' 111 lll\' h,n,k lt;tlt ., tnh11 ,hc,·t \\llh
.1 d1.I\\ 111~ bv 1\11d1,•.1 l1111sht•d 111 , ln.11,11.111ro
.111d ,how1nu; Juduh p1111111~ th,· l11.-,1d Clt
l lohit,•111,·, 111111 .1 h.1g ht·ld t,, 1,11,· u i h,·1
J\ 1n1111,h ,I.I\ ,·,. !'ln• t lt1.1hh< llln 1, d,111,· 111 .1
,t) lt ,viu, lt 1, 111> ln11g,·1 11,\·d. h1r \11.!1<•,1 1,·tt
lht· p:ip,·1 \\ h1ct• 10 ,r, v,· 1111 dH• hghh 111 pl.11 t•
ui' ,, l11tl' k·.1d, .111d h,· L'X<'t lltt•d tlH• ,l'p.11 llt'
h.111, .111d 11th<'1 dt·1.11I, ,o ,k·hl,llt·lv tlt.11 tln \
NOTrs TO PAGl S 54 70 1'1:'i
 r
r111gltt hJ, e btl 11 1rct.1lh 1111red 111 J hru,11.
( l11c LOdl,1 ,1), 1•1 t lll. th,H 1r i; ,1 wn rk 111
'-"lo11r ~11lt,·r th 111 ,1 .11-:i,, 1n~·. V.,,..n L •1 <'.i 11/
'
th, -l11rH.,. tr:111- liu ll. \'nl. 1, l' 24 1> (\ h .i rl , Li
,.,,, cd. Bl' ft.1n111 and B.1rOl<'h1. ,oi 111 p . 554).
T hc _{11d1t/1 11HI f fi, /,,fn nls drJ VI ini,: 111 thc Uffiz1
"º 11-J I\ d llt·d 1~\)O.
JY 1\ ndrca M 1ntL't->n.1. )11,/11/1 11•,th 1/11· H,·,id <!f
[ Ji,t.11<1111 ,, ,,,,., 1500--0,. u1~tc111pcr ,111d gold
<H1 1,111\,1\, ri ) J X J14 uu11 (Montr;:.1] 1 \ tlu,t'Ut11
or l-1nc A,rts ( "oll.:l·non , purch.1st' John W
r~•n1pc~r 13.:qul',t !)20. 103). S-.:t J,int Mart1nt'au
l'l ,1 l.. l-<l~. 1,1,/1,·,1 \ l,111nx 1i.1 Lo11Jo11 JnJ Nc\v
York, 19,J .:!, e.ir. 1111, 13.l, p. ~ 11
V.1,.1.n, L11 ·cs ,,f tftt' lni,t~. rr;111~. U1ill, vol. 1,
p. 24--; , 1a~.1ri. L: l'IIL c<l. l3cn.u·i.tu Ju<l I3arl>l
c hi. ,·nl. Ili. p 54,,) . v.,~ an had \1 ntlc.:11 tcth111-
c;1Jh, :i.bout ·1nonochron1c~· .1, 'a k111d ()f
p1, turl' tlt.it lias J clo,cr n.:lauou Lo dr,1,vi n~
than ro ,vork 111 coluur bt·c,1use II ha~ bee11
lienved tro111 cop~1 np; n1arok· ~t:ttllt"< :ind
figurL'' Jn bi·ou.ze .u1<l \M1uu~ ~ort,, uf ~toni:'
( i;,~,rrt ,,,, 1,·d1111<J11t'. tn111, M~cleho~e. t'<l.
H.1ld,v1n l:lro\'\11. p. 240)
Tht sp.in.tl ,111J Slulprural J1~posinons oi
Mantc!;n,1\ 11,e uí .l!rís,ullc are vt:r} d1llêr.:nt
fi-on1 norrhcrn n1onochro1nc p;iintint:,>$ of
the 1--1,90~. For t·xarnplc, Hieronyn1w, l3o~cl1~,
1uo110L hron1e _q,i.,<1//1(' on the re,·er'>e o( St Jl1/t11
011 í'an110, (nrra r f'}o-<J5; Herltn, Sraatlichc
Mu~ccn. Gea1:i.ldc~e-r11.:) pl.1v, ,VJtb st:1nd.ud
plane~ of pirtori,11 Jepth.
.J.2 l hê' paritl!""'' ,1rgt1n1t:nrs ,vert' çonducred
rhrough a \tncrly rhetohcal device of pr1ising
L)lle for111 at the expen~'t' uf ano1her. Galileo.
ior e'<arnple. ,vrocc 111 .1 lerrer to the arnst
( 1golt: 'che t:1rther ren1ove,-d rhe rueans by
\\hiLh onc 1111itau:~ ,ttc frt\111 thc Lhing ro be
11111t,1ted. rhe r11ore v.•orchy of w,,nder the 11111-
racion "''ili be.. . , ~cu lptors ahvays copy and
rhe pa.inrer\ do noL. Tht: foru1t:r 11111tate thint-,rs
.tJ, thcy are. rhe Lurc.:r a, rht'1 .1ppc:1r· (Er,v1n
PanoRky, (Ja/i/rr ns 11 Critic •!f 1/111 .t1rts, Tbe
H..l{:,"llc. 195--1,. p. 36).
+3 Tlu~ 1s 1101 JU~l .~ n1~·Jieval <)r sixreenth-
ct·11ri1ry as~qria□ on. A very d.rainatic La111c11ra-
1io11 .l!ris,11/h: dr,1\VJng by Anton R.1phael ML'ngs
111 thL' Mu,eun1 oi Fine Ares. l3o~c,,n, MA, ~1~0
kno,vn :is '/ '/,e L:11tt1111b11w11t. 177'-) (22. 77) ,vluch
counnan<lcd ,t hugL pricc in 17~0. exploi~
JrJ111auc ronu·,hl> in tht· St'rv1ce of ,111 even111ia:
'
buri,tl lt ,11,o ,·ont.11ns a Latin 1nscript1011:
"\Vhdc for eh,~ p1cturc hc ,,·a~ dra\\Íng thc la~t
,troki:, ,vllh thc pen. u11happy Meng<;, ,1l,1~!
\\ül'' l'enshcd.' \ee ·r hl1n1.h 1),1Co~i:a K:iuf-
111,11111 e;, llfrlÍ C11r,1pr,111 Dr.1111i1w.s. 16lir>-
1Sc)V, Pru1ceto11, r,. J, llJ<)O, pp. 9.l-3.
.J.-1 1he qucH,n1on 1, fron1 l.a\vrencc W N1chols,
··1 hl' '"Pen \Vorks'' ot I Lendn(k Gultzn1~·.
/>l11lt1dclp/11,1 .\J11sn1111 ,,( "lrt B11llrti11 1xxxv111/
373-4 ( 11J92), p. + )ee al\o Walter\. ML•lion.
1 1·1
1 1
N OT ES TO PAG ES 70 76
·1 ovt ,111d Artb:in~h1p 111 Hendrick Goltz1u~•~
"vcnt1s. Bact hus Jnd · <:eres" ot 1606 ·. ."1 rr
Ilis1,,rr. xv1/ 1 (MJrcb 11)93) , pp. 60-y+. Thc
Gc1111an teru1 ror ,uch virtuoso pen wurki;
\"\,1, J--edrrku11~1,111 ··k1·
+5 11 i1/,l111r c.:ercs a11d /3aal,us, l{>1111s 11 ii11/d Prcc;::e.
1~99. brush anti oíl~ uver black chalk on papt'r,
! li x 32 1 111111 (Londo11, Unt1sh Mu~eu111.
ltl()t,Ot!TO. 1..j.) .
Set.· .i. di,LUS~ion oi thi, n1atLc1., inLluJcd 111
, ,1n 1\tl.111dt'r\ 'Lilt> oC ~oltziu~·. ill che Sdtilrlct-
Bl1cck 1a Melion, ·Love ,1nd A.-c1sanship'. Thí:;
pnnt 11\ias oni.: of six cngrav111~ of the L[fc
t!f tlu· 1·;,g111, t>acli of \vh1ch uniracc~ d1e style
ot a 11,a~tcr: chey \VCre n:'ln1ed 1nrcscetst11kjrs,
111a.sterpll:.tl:!i.
.j 7 c:oJlet"tc)r~ c>fh1~ \vork 1ncluded E111peror l,u-
d0lf ll, ( :ardinal Mazarin, Pierre ( 'roz:ir, rhe
f.'lbulouslv \vea!th} F.rcnch dnt\Vlllf!,15 collcctor.
(~acher111e the Gre:u of Ru~si.i and sub~c-
qnt<ntly Qneen C: hn~cina of Swcden.
48 Michl'langl'lo h.inu.clf :;aíd that certJ.Ín J.ra\\ -
i.t1g~ ,,, •erL· carncu out for lov-.: ral.l 1er than uucy.
'per :in1ore e non per obngo·. guoced (p. 107)
in Michael I Tirst. 'The M,1king of Prcsents'. in
i\li,hr/<111,~ulo a11rl /11s Dr,111,/t\i(S, '-IL•,v l Lave□. Ll.
Jnd London. r9XX, pp. 105- 1X.
V:isa:ri Lil'cs t){ tltc . Jrlisls, trans. Bull, vol. 1.
p. 4~5 ('Life of Michel.ia~l'k> 13uonarroti'):
Va~Jn, Lr 11irr, cd. l:3ettarrni and l:t 1rocch1, vol.
vi. p. 113. V.1sa.r1 de\'otc>d tlns pJss.1ge to
Mit:hl"langelo's gifcs oi "orl..s, i.11rlL1di11i,: drav.·-
i11gs and l"ô1rcoon~ lefr co Antonio Mi111 .
50 This dis1aterested .ict, vl'h icb could ar1se
0 111} frurn tbe ~up rc111l' ~cl~confidcncr or an
,1ckno,vledged _gen1us. ,v.is tocally rever~ed b}
Piçasso, \Vho ,vould occas.ionally sign fnends'
()r 1uppli1..,111t~' dr.iwings in orde1 for Lht:111
to profic fi-om th<.' 111011ecary v:1IL1t· of h1s
SJgnature.
Titc Fv/1 t.!.f Ph,ic/011, bl.1<..--k ch.i.lk 011 grcy p.1pcr.
312. x 2 15 n1n1 (London, Ur1 □ ~h Mu~eu 1n.
1895,0915.517). M1chela11gelo presencçd other
dt..l\VL11gs co Tonu11a.~o de' c:.1valicri 111 che
1530:.,
Crotcsqut: f:c)n1is 111sp1red by rhe caves (tJrottc)
th.11 carne to light <luriug late fiftcc1Jlli-
ccnci1ry eXt"!\V-.ttÍ<)n~ 111 R on1e rn~prred ,1 par-
ocular r,u1gc of architeccL1r:il orna 1ncntat1on
s111uuc.lllcously playflu, fanta~tic JJ1d ~üJlster.
The term grotesque ,vas supposcdJy first used
by Cardinal Jhccolo1t11111 111 1.502 in relanon to
t.hc coili11g of tlic librarv of S11:•n,1 c~1tl1edral
Se~· WoltgJng Kay~er. Tlu· Crotesq,u· i11 .r1rr ,111d
Litrrnl11re, trans. U lrich Weisscein, New York,
Jl.)81. p. 20.
53 The ver~o of th1~ dr,l\v1ng concains n:d chalk
~cribble~ bv, ot11er hands, but also 1acludcs a
Lllfiwcu1e by Mi1.hcl..111gclo. J~ \.\·cll ~ .1 dcfi:-
,,,ring hoy. 1-lugo c:h,1p1nan (A1irlwh11 1gt/c,
Drrll1 1i11,es. Clos!'r to tbt· 1\111s/í!r, Londo11, ::1005,
p. 205) n:u1ark~ Ul.tL if M.ichelaugclo guve a,vay
th1s dr.i\.vrng, 'chen 1t n1ust have been returned
to the fanuly's coUeccion ac so,nc latcr po1nc
sUJcC 1t \vas onc of the v. orks ... acquircd
frorn the c:asa Uuo11arroti·. For ;1 di~c11ss1011 ní
attnbut1011 ~e<.> P:111! Joannides. ,\1írl1e/,111gc/,, t1//d
I-lís J11fi11c11ce: D,n11•iuxs .fro,11 11,11tds1.1r Ci1s1/e,
Washington IJ(; and London. 1996, p. 40.
54 This 1nforrn:1no11 1s cont.1Jned 10 a letcer co
Michelru1gclo ,vrittcn by C.ivalreri ou Nc,v
Ye;1r\ J)ay 1533. Thc correspon<.le11ce rs
included 111 li nrrtegg,i11 tli ,\,firhelange/(), ed
P. 13arocchi anel R. Ríscor1, various cditioJ1s.
Florc11ce, 1965~83, and i~ díscussed in liirst.
Al1rl,r/a11gelo 1111d his Drau 11ngs, pp. 105-1 ~-
55 Al:c..xandcr Nagcl, Aiicl1th11tJ1Ch1 <111d thc l{if.1n11
ojlln. Ca111bridgt:- Jn<.l Ne"\ York, :2.000, p. 186.
)• (Í) Nac:ilíe Zernon 1)avis, 77H: (J!fi i11 Sixtt't't1flt-
rcnt11.ry Fra11ce. Madison., wi. and London:
Un1ver~uy uf Wisconi,in Pres~. 2000, _p. 9.
57 Pliny the Elder. '\'a111n1/ H1story. trans. 1-1.
R.ackh.1111, C,1n1bridge, MA, 1999, vol. r:x,
p. 309.
The dra"\\'ing ís discussed in chapter tive,
p. 120.
Va~ari in h1, 'Life ofRapl1at:l ofUrbino' (Li11es
,'.f tltr rlr,ists. tr~n~. Buli, vol. 1. p. 306) rccon:ls
ho\V Raphacl 'uJflllL'nced the vYOrk of
Albrec.ht Dürcr thé m,tr\'clou~ Gcr111ai1
parnrer and n1a~ter of fine C"()pper engravrngs.
,vho scut his O\Vn selt-portra1r. Th1s \V:15 a
h,ead executed 111 gouc1chc 011 t.rai1,parcnt
cambnc, ~o thar che design appenred the s,nne
on both sides; bc uscd ,vater-colours for the
g-round aotl colours tutd che \vhit-.: of the c1oth
'
to p1-oVJde che hghrs. R~phael cons1dered
tl11S a ,vonde1ful \Vork. and in rcturn he sent
sevcr,11 of bis o,v11 dra\vings ,vhicb l)ürL'r J...c.pt
and trcasured' (Vasari, Le 1•ife, ed. Bettarini and
Barocchi. vol. rv. pp. 189-90). Ln tfus passáge,
Vasari rccords hov11, ou lus o,vn visit to C1ulio
R.ün-1;1110 111 Ma11ru:1. he sa,v the selt:.portrair
of 1-taphael thac was scnt co l)ürer. Scc :ilso A.
Nc~~elrarh, '1{.aphacl's (;ift ro Di.ircr', .\,laster
Dr11tuit1,(?S, XXXI (v-·incer IIJIJJ). pp. 37<r-89 and
Lisa. l.:'011, Rap/1acl, D11rcr 1111,I 1\iarca11/011io l{ai-
1n,,11di: Cvpyi11)1 ,111d rhc l1111/a11 R1waiss1111cc Pri111,
New H~ven, c·1 . ..ind London. 2004. pp. 146-
5 1.
60 Tlti5 coiocidcd ,vith the nse t)r spec:iali~t
dra,ving exhib1tions :ind publicarions. See
ll1chard Bn.:rtell a.nd (:hr1sropher Lloyd, C111-
11/o.l/Ht' l!( 0 1,1111111,',!s by C,1111ille f'i.ss,11 r(I i11 1/,e Ash-
111olea11 i\ l11se11111, ().efi,rd, (.),rtord, 11J80, p. 39.
Also ·r. Fa\VCCtt and e. Phillpot, ecb, ?iu: Art
Pre.ss: Tivo Cet1t11rics <)[ ,·lrr ,\f«.l!•IZi11rs, London.
Art Book c:o., 1976
61 Lcttcr to John LinnclJ. 185,i.; quotcJ in
Elizabeth E . .13arl--er, 'Sk..:tchcs <11Hl ldylli'. iu
,<:;r111111t'i P11/111i·1, /(~05-18l~t · Visio11 ,1111/ .L111dsr,1p1,
Loudon: fhe 8r1tish J\t1useu111, 2005, p. 192.
 Pai n1cr ,va~ 111tluenced pa.rricularly b) the
paintt:r-eug.rav.:r~ Luc.i~ vau L..:yd..:11 (cirer1
14t;9-1533), Martln Schongauer (ârr,1 1450-
r.j.91 ) and Albrccht l)i.irer.
ÚJ C/oisc,11111: cna1ucls are bow1ucJ by very th.ick
outline,, l:on1parable with rhe leaJ.i ng of
~ca1ned-gl:is,; \l.'indo,;vs. techniques popular
,,i th arti~ts sucb a~ Gauguu1 Jnd George~
llot1tLlc. Pahncr'.~ 1nflucncc is apparent 111 cl1e
,vork of (;r:iha111 ~ucherland, John l'iper
md PauJ N,L'ill. nol to m.:nuon g;encrat:1011, or
,voodblock bool- 1llusrrators. Sec C•)lit1 Har-
rison, 'The Arasric K:.edi~covery of '-ia111L11:•I
Paln1c.r', in W1Uian1 Vaughan l't al., S111u11cl f>11/-
111cr, 18,1~-1881 · i í"sio11 a11d L111dsc,11w. T_onúon.
2005. pp. 55-(11.
Thc us~ of var11~h 011 p,1pcr ,-vas nota.o 1oven -
tion of P,1l111l'r: v. hcthcr k.nowu Lo birn o r not,
(;aínsborough had varnished dnl\Vlngs 111 the
1770s •in .itnicat1011 of oil pa.rnLmg·. (pl. 93) Scc
J. H aye,, -n,c ú.·1ter., l!( Thc>111,1s G1111.,bt1rci11gh.
N e,v H aven, c-·1, 2001, pp. 110- 11 . W1ll1,1m
Blakc ,1J~o ~trcngthcncd hi> ,vatcrcoJour with
thc addition of gu111 arab1c.
A. H. Pahner. The Li}<' and Lerters <?f .'-..a11111cl
Pa/11,er, P.111Jtt•r 1111d Etd1c1, London, 1892.
66 Sir Gcoffi·cy Ke} nes, c<l .. Tl1t! Cc1111ple1e rr·n1-
in.~s e~{ 11 'i/li<11n BlakC', Oxford: C),iord Uni-ver-
s1ty Press. 1966, p. 26.
ó7 Pahnt:r u~cd a tinte::<l Cl,11 1d1;: glass, v.·h ich hc
~
refer~ to 111 che only e~-i:ant Sketr/1-bot1k, of
t 824 (Lo ndon, Bnosh Mw.cu.tn, ry6..j., T104.
1. 1-78), .ls '1uy ~pcc. glass'. ,vhicb t:otLld bavc
sugge~ced rhe value of a brcr,vnish tonality. See
Sa1111u•I Pal111cr's Skctch-bvok, 1S2-1. cd. M artin
Butlu1. 1 vol,. Clair\'.tux. 1961.
68 The com111ent~ by c;art (~ust:-1v c~,1ru~ (rhe
1n.1.in thcorisl of Gcr111an ron1:incicisn1) .:ire
u1 his Priedrirl, der u 111dsd1,1_.fts111alcr. Drc~dcn.
1 R~ I, p. 18; quoted u1 Mo~he Bara~ch. '/7,cortes
f!fArt, 2: l·ro111 U 'i11ckc/111a1111 to Ha11dc/11irc, N l',v
Yo rl anJ Loudon: Routledgc, 2ooó, p. 260.
-rhere is ,1 ve::n,ion of rhi~ dr:1,víng in l "he
1-laiuburg Kunsrhalle (l nv.•p 11y) that lacks thc
tree ,vith 1ts ancho r and cro~s, and has a
horned o,vl s1rnng on rhc coffin. ('arus
hi1n~clt was vcry paraal to p:u11angs of grave-
ya.rJs. A ,Vàtcrcolour in Lhe Mu!leutu der
b1ldenden l(ün~-t{' in Leipzig, A-/i1,ll1/(~Ílf ,11,c·r
lhe R11i11s t!/. 1.:/dcno ( 1840), rec:.i.Us che rnoody
~ubjet:t n1attcr of drJ,vingi <lcscribcd b} Char-
lotte Bront~\ epony111ou~ hero1nt' j,111c liyre.
70 A replica ,,'U~pa1nted by lng res 's ,1ss1~tJnt P,1ul
Flandrii1 íu 1842 (tbc Od,1/isq11c r1tith S/01•1·
ín che Walter~ Art Museun1. Baltín1ore. MD)
in a ver,;1011 111 ,vluch chc clau~trophob1c back-
ground ba~ bccn optncd up Lllto a ga.rdcn
vista. l n 1858 Ingre~. ~}r h1~ ,vork.~hop. 111.ide
a rarhcr brO\'\TI,h copy of rhe dra:,ving for
Enulc Galichon 1n ch1.1 san1c uii'Ccd tc<:hniquc,
un.tin1\ hcd a11J no,v 111urh n:storcd (Pan s,
Muiée d11 Louvre. 111\. no. 4622r).
71 1n 1 ,vondcrfi1lly lush pn~s:ige Ch,1rles ill.u1i.:
( /11)/rc.1: sei l'Ú ct it:S 0111 1r,((!I!,, P,1us. Ji1l~ Ren-
ouard. 11'70, pp. 10(>-7) dt:l lanns: 'li c~r 1111po,-
sible de rmeux pe111dr<.' le 1nystt'rc, lc- s1lcncc
Cl l'C:touflen1c11l du s~r:.ul; p.i, Ull r,lVOll Ul'
solei!, ra~ un coin de ciel bleu. p,1~ un ~oufRt·
d';ü r cbus cctte charnbcr ou:itét: capiconn<'.·c,
1rnprêg:ue:. des parfu1115 vcrtigi.i1eux du toul-
back, de:: l°J111bre t't du benJotn.'
Srephen Wildn1an et :1I., 1 'i.~u,11.s ,1 Lll'r ,111d
L[/t: l're-R<1JJIUl!·litc • 1ri _{1·0111 8ir111i11,itht1111
,\.-/11sc•u111s ,111d -lrt c;,,lll'r)', Alexandria, VA, 1y95,
pp. r~5-7. A version of chis dra,ving cbced
1860 is Ín tbl' l luntington librar\ Are
Collect1on, S.111 Marino. C:t\. Ste.- tht· exl11b1no11
catalogue by Cohn l.nu~e et ;1.I., Lo,w l{l'l'l'llil'd·
Sh11c(111 S11/011u111 ,111d thc Prc•R.1pliacliti:.s, Lon-
<lnn: MerreU. 200,• .
73 For a long cin1e chis ,vas beheYed to be chc
subjl'L, of Solo111on 's drav.ing. ln IJter yc.ir~.
Jfr.:r ,1 col1n <.,1,i: Jnu ~e'\u,11 scand.LI had
n11ned h1~ c:ireer, SolCln1on d1,;tribured hi-.
Jr,l\vi.ngs ,vidcl) throu~l1 thl· phocographii:
tcchnique of platinol)'flt:S (a process ínvi:nt1::d
in 1873), ,vh1ch en1phas1~cd the1r tt'xturcs nnd
çouJJ be sold u1 portfolio l'Wtio11\ in licu of
priucs. Scc Fioaa Moorhead, ·svtou1üu iu thc
Fr.in1e: l'he Arrisr ;1nd Victonan Phocogr:iphy'.
ín 1~rc1111 Pr()di,Ry to Outúlsf: Si1111:011 So/11111011 .
Pre-R<1phacli1c• ,,.Jr1is1. Lo11do11. Je\v1-.h Must"u111,
100 1. pp. 30-31 b.
W;:c.sily K.:t11chnsk y, (.'<111ctr11i11J tlll Spir1111,1/ i11
.--lrl I J(JJ J 1. Lrill~. M.-r.11. SJdll'r. Nc,v York,
1977. p. 18.
75 Albert C~lc1zes, L'L;popt'e l 19::!9 I; erans. as 171('
Epic I'rv111 /111111,,/,ilt• F,,,,,is 1,1 .\Jo/,i/r í-01111. Pari,:
A-.~ociarion de~ An11s d"Albert (,leize,. 1995,
pp. [T. r 8 and 21.
76 'Uuril 00\v. thc thrcc Ji1nc11sÍQ11S of EurliJ's
geon1etTy \\'ere suffirient to th~ restive-ness tele
by great arnsts yearrung tàr rhc int111 1ce ...•
Thc paintcrs b,ivc becn lt:J ... co prcocrup}
thernsclvcs ,vich che nc\\· posslbilítics of ~paaal
111easure1nenc .. the fourrh d1J11cnsion' (Gu1l-
l,1un1t.: Apollin,1in.:. Thc C11bis1 P<1i1uc,s: 1Jrsthc1ir
,\Jedila11011s 11 913 ]. Ne\\ York, 194-h p. 1..1).
Theúdor Adorno, Àr.(t/u:tic '/ 111',;ll')' l 19721. tr:ins.
77
C. Lcnh,trdt. LonJon and NC\\' York: ltoul-
ledge & Keg-,111 Pau l, 11)84, p. .2-99.
TrJd1t1011al dr:i\\;ng sy~ten1s and h1erarch ieh
of ~cru-cs dcpcndcd on ass un1puons of cont1-
nu1t}: 011cc the) had been challengcd in thc
early C'\venriech Ct'ntuí)· and ro llap~ed. they
had only ,1 fictivc ~urvjval iu c..xh1b1úo11 dis
pl.1v~ and ,vrirten t~'.l\.1:S.
Chapte1· Four
L1ne. Mark, L1nec1r Codes and Touch
A M. ll..ntkhcnko. "f'/1t• f.illl' 1192.11, fro111
•·1 he lnkhllk A.rch1ve,' 111 Sl'l11n ( >. Kh.111-
M.1go1nl'dov. 1i("hhu1kt•. TI,c c:,,111ph·1t
ed. V1er1 (~uilic1, London. 19X'1, pp.
(p. 293).
.l •. . al1..hou.gh thL·rc bl' so1nct111u.:s 111 l111c,ill
p1(..ture, .. ,1 d<:"t:eit(ull síniilitLIUC of 11tc .,nd
Moaon . rnloured p1crure" .. rav1~h our
s1ght' (Fra.i1c1scus Junius, 11n ?,1i11ti1,x ,1( tfil'
r l11<1e11ts 111 tln<'c /i,,1,k,·s ... lo11Jt1n. 1638);
rr::inc1~{'Lls Junn1,. '/7,c L11rr,1111r(' o_( C~'lt1,s11,1/ -lrt:
Fr,111ciscris Ji111111i, L'J. Kcu.b Aldric.:h. PhiE 11p
Fehl anJ R,1111.i Fehl . .:! voh. Derkt.:11:,. '-"· anu
()xfr,rd, 1991, vol 1, p. 152..
3 /\ ccord1ng ro R.ol.tnd Darthe-~. 111 thc csSJ)'
·T[1e !)l'.norcd !111.1ge': 'Thc lOdl'J nature of
che d1-;i'>v111g ç.111 ht: st•en ar thn.:t' ll·vcl, l-11-..dy,
to reproduct' a.o obJ<'tt or a ~cl'n.: 111 J dra,v1.n.g
n:qu1re5 a sct of ruil·-govcrnl'd tra11spu~111uns
.. and che codt'~ ot rranspoqnon :ire h1~tor-
1c,d. . Seeo11dly, chc oper.ition of thc dr,lw-
Íll~ (tlic cotling) 1nu11cd1.tL<.:ly neetss1L,lll'\ a
cerc,1in diV1~1on b.:t,vt·e11 che \Íb,rn1fic:111t :1nd
rh~ 1ns1gn1.hcant.... F111.tll), bk.- a.li codt-i.. rht
Jr,1\.\ ing dc111Jnds a11 app rcnuc..eship' (fro111
'R.hecor1( of rhe ln1:1ge' l 19(1 ~I. ín l11u:i._1.!t ,\/11.,1(
fi?xt l 1~77], u·ans. Srcpben Hcach, LonJon,
1984, p. 43).
.j Although J.ir qut's 1)t>rnda conrcxtuJh,t'~ his
conunencs 011 1111r ~,·e1ng, 111 h1s ess:iv 'Men101rs
'
tlf the llhuJ'. ,vitu thc gcnetJ.1.JSJ_tlOJ1 .. ldt:ill,
cid(>s, irfr,1: thl· \\ hok· hi~tor), chi: '" hDli: ,e111Jn-
rir<; nf th<: European ide,,, 111 its c;reck geneal-
o~.
' . .is \\ <. k.110,v - ,1~ ,~·e ~ec - rcJJtt·s ~l•c1no
k11cl\v111g·. he got:, 011 cu J1~angui~h bct\vi:en
:-,
to
dr:i,,·111g :n1d p:nnrrng. rhe 111:irk .111t.l the dab
of ,olour: 'thc tr,1i1 1~ nul s1.1ns1blc. as J p.itch
of c<1l0r ,-,ouhl bc. Nt'1thcr i11tt•ll1g1blc nor
sen'lible. We ilri,' ,pt·aking here of. . dr.i'>ving
and nor patnnng· (Jacqut·s Derr1d.1. .\lc111oír, o.J
tlw Bli11d: 11,c Sr{J:r..,r1r,111 ,11,d Ot/11, R11i11s,
rrans. 1-''.l~çal<c>-Annl' Braulr 1nd M1ch.1el N.,a~.
c;1uc.1go and London, 19!>3, pp. 1.2 ,tnd 55).
,; ·111 LOi llpULCf ja.rgtill. 'filcc1 lll~' Jcpcnd, Oll J
,·oc,1hularv der1ved fi-0111 ,ignnl ptvce,,ing, th:n
is, dc,1hng \\'t[h clcctric:i.l or ~ound \v:ive~.
~
l111a~cs ..ire .111aly,cJ in Lrrnts of frcqucn<..ll'\. so
'h),v-pJss t1lrcr~ · 111:tke 111 1111:1ge look blun·ed
6 Ali thcsc 1.nvt'flted tt·r111s, produtt, ot ·neolog
orrheJ'. thl' o,·c1,, hcltuiu~ ne.:d Ll> Lrcau: 11c,,
tern,~ 111 tt'chnol'.ulturr. are U~L·J n\c)rc
or less consistt.'ntly 111 sofi \Vare progr,1111, .1nd
lllJIILL.tls.
- .Júhn lt usk111, 'f71t• [;/111111us •?/ Dr,111111(~ 11857 J,
Nt>,, York. 1971. p. 32.
S L1.t"tllfc.., MonUJ), 27 rcbruar) 1c,)12, ID Tlll
TI, 111/.!111.i: h')'r. Th1 \"<1trb,,,,/.:s t•f P,11,J Klet
11951'11, L'd.Jurg \p1ller, n·.1ns. lt,1lph Nlanht 1111.
Ll1ndon ,111J Nt\\ York.. 1961. p. 35\J,
NOl ES ro PAGES 76 90 ·145
 9 1',1ul 1-..lcc 111 ( r ,1/Jr ( ·1r,/, [ 19i >J, repn11rcd
111 •b1tl, p 7X
11 Tl1<." 11,c oi 1•1dcx,c-.1l 1, dl'rl\·t>d Íl\llll <..:. S.
Pt 1n , _. \ tnp 1rhr<· c-l.,,~it1c a1nn nJ s11,.ri1s. A,
Jl', n1u,t b.t~Jc. JII 1,1•11 ~1~1uflc, throu~h ll!>
e •
n:,c111hl.111lC tu 1he ,1~111fil,Ht'. ,111 111,l.·x h,1, ;i
l-.1u,al rcl.1nn111h1p rn rht• s11,.'Tlit11.1tc, bc1ns
.u1 1111pr11u 01 tr.111sri.-1 uf tbl' rt.:al: Jlld J S)'111b,,l
,1~111!1 ·, tl1rough arüH1.11 y rui~, ur tnnvc11-
t1nn, 'it>t l'e1nt:. 'I ng1t ~, 'it·1111nnc: Thc
ThL·or\ t1t· Signs· u1 1'/11l<1s,1p/iin1/ l l 'riti11~~ <1/
/lura. vd. J11,tu, Buchlcr 1\,e\\ York. 19-;o.
11 1-lnl.ind B.1rd1es. t \ T\vo1nbh: Work~ 011
P.1pcr' 1 l\J7!)j; n:pnnn:d 111 Tln l~L-'f'ª'lsilll/11)' ,~l
1:,,1111.~: C11111,1/ E.,S,l)'.' ,,, ,'1/11~i,. 111 ,111d Rt'/•IC-
H'// (lltra11. n·:i11s. l-l1 ·hard HoV11,1rd, ( ):d"tlrd,
19h5. p. t-o.
12 P:iul Vale rv. 'Sceu1~ a.nd Copy1n~·. lll D1:tt,11,
\ /,111,·1 .\f<,n«•t. tr,1ns. 1).1v1d l'::tul. London.
19r,o
13 St:l db1.u~1011 111 1.:b,1ptcr scVl'll, pp . .203 - 5.
11 J1)hll TLhali:11.l-.(l, .1 rc,t·.trcht•1 .l~\L)C ÍJlc.:J \ViLh
the Unn·ersií) of the Arr-, Lúnd()11, has d1g1-
t,üh tt,I< h..ed the 111ovct11cnts of tbe hu111,1n
t:)-l.' \vh1k· Cll!{aged 111 dr.1\\ ing ur p,Linnng as
p.1rt of .1 research _proJeC-t conct:"rned \V1th
hand -cy1. cooniu.1J.t1on.
1:; So-lJlk·d bdpri1. 111t1.>rf~1ct'~ u1,Judc <lirt'c l
dr;i\v1ng r.,hlet, ,111d ~0fr p:id,. \\ h1ch can be-
1nanipularcd v,1th speci.1J srylust'S. 1nt lud1ng
cnrdlc,, pucb; ahcruatJYl'l). h.u1t! scr1bblcs
Ji-0111 a palin orb>:ini~er c-;111 be fed on to
che co111putcr ,crcen as an overlay. Tbe devcl-
op111cnt or su1.h ~y~tCJJb L'() tt.ld be Lrd.(l'd
tbrough -.1c,c,RAl'H conterenre'J. exhib1tions and
pu bhcanons.
16 Thc sp,u:c of iliJicn.:nCl' betwecn the thing. its
rt'pre~cncarinn .1nd the trair i~ a lso thc '111ghc of
che aby,,;' .1rcord1ng to l)err1d:t, J,Jet11t>ír; o(
~ . thr
Bliud, p. -+5.
17 Thc: c.1rl.Jt'r pn11b ( 1-14) illustrare ,l l11~cory of
bulltighnng. 1nclt1d1ng- 1r; le-ge-ndary Moonsh
ong1ns. Sl·c José J\ll.1nucl Matill.1 ,lnd josé
Miguel ,\tlcJrJno, E/ lihri, di' ln T.111n1111aq11it1,
Fr.111.-1.i,11 dt< C;t,) 1,1, M.1elr1d: M usr·o Nacional de
Pr,1do. lOOL
1S An ,t\\Ot1,ucd dra\v111g , of ,1 11101ne11t of activ-
1(; l~ rhc tr.tf,'1-CO!lll C ,l.,/1,n111w <~tf' l<.r111c111bl'r
\ó11r • lJl' froin chc so--raJJcd Bl,1ck 13Qrdcr
Albuu1 (L) 7 o[ ,irr,, 1815-20 (Ut:rlin. l{upte r-
\tl~ hk,1h111é1t), wh1ch dcp1cr, an anguishcd
nld têllo,v l~illínµ Jo\vn thc sL,ur~. 111..: albums
\\crc spht up afrer Goy,1 's dcath. ;.i]chough
rc:ron,t1ti.1rt·d by scholar~ 11Ho tdt>nnfiable
groupul!:,N;
1\) Vt.:r0~tko. \\ho h.t~ \VOrkt·d 111 th1~ nl'h.l for
1111>rc th,111 frirty ve:ir,, hr;t 11,cd rhe cerni ep1-
genenc 111 .1 confcTCIH.:c pJpe-r prcscntc:d ui
Utrcchc 111 19SS c11t1dc:d 'Eptg-enccir i'ainnng:
~ofr\v,1rc .1, C':e-1101; pe (~t'e ,v\V\V,Vt'ro,cko.
, 0111). 1-l 1~ ,vork 1s tn Lhe [)1gll.,Ll Art Jvlu~eu □1.
- frJ.llcc~co
-146 NOfES TO PAGES 90 96
2c-- \C\ J 1s 111:irks c.1n 111d1c:ite rh.1r a ,;vork has been
.,
trJ._,t•J fi-0111 another dravv ing. but rhev ,vere . Cozc11s in Prí11âplt!s ~l He,111/y l<.<'lotii•c {o '/71t'
.u,o ll)CJ fr,r tht.: l1gl1t prel1111111,1ry ~k~·tch ora
,vçirk :l\ adv1sí;'d bv• Arn1cnin1. ~ec G-1ovann 1
ilattl!>l.t Arn1cn1n.1, ()11 tl1l' Tr,w J>n•cepts (!/
riu· .--111 <!.f P,1i11lit1{! [ 1~86j. Lr,111~. -Cd,va.iLl J.
<)]~zev.·~k1. Ne\, York, 1977. p. 1.~4.
.:1 lb1d. p. 1++
,, A.i 111euiw (ibLJ.) aho ,u.lv1~es .1 ,e1 ial proccss
nf skc>tch111g: 'it 1~ ,vel l rn dr,1\.\ 111.iny 8kercht•~-
e 1ch d1fl:crcnc tr(Ull d1e ti.rs-c ... tor 011e con-
lt:llrratCJ> oue\ JLtçnUon n1orc v, bet1 dra.v. íng
.1ne,v tl1an \\, hen 111erclv going O\ c:r a ,ketch.
. . ll t>pc.1rcd skerch111g :ind draV\111g results in
the JJd1LJou of turu11 clc1111:11ts 111 becu:r Í<:)nn
.1, "'·ell as tht' ren1<>\-,1I of 111any J$ u1u1t·ce~sary.'
(r. i +--1-)
.!J Copy d.ra\Vl.ll{;S .a.fi:er ll.igaud by lhe Ger111an
engraver Johann Georg WiHe ( 1 7 15-18◊8)
1nd1cace ho\v exactly h1s re-chrnquc-~ \VCre
u1vc.~ti!-,ratcd. for cxarnple. S111dy ,>J l-lt111ds 1!}tl!1
/~1l,111d. ,vh1te ,,ind hlack rh,tlk on blue/grey
r~per. 332 x 517 n11n (Par1'i. ( :ollection of che
Pctir PJ.la1&, o. Dur. 1096).
24 Spcc1alisl graphit: pro~,1.nu; cnable user, Lo
make rhe1r 0,.\ 11 textura! mutations.
25 .),unes J. (;ibson, -n,c: I'crceµtitJ11 q/ tht• JTis1111/
!-t'órld. B osLon, MA: l loughtl.ln MifRin, J!,16(\.
PP 78-80.
26 Hand\.vruten conunenl<trv, 111 an albun1 of
phorograph\ puc LOgt'ther by Jus 111oc.lel and
a~s1stant 111 che c930~ (Lyd1a l)elcctonkay;i,
guoted 111 Yvc-AJain B0is. 'Mati~sc àl1d
·' Arcllc-dra,ving'" '. iu P11i11ril\t! ,1.; ;\1ode/,
Can1bridgt>. /\1A, and London. 1993, p. 50).
27 l)iscusscd 111 g-reat de-rail 111 ll..ichard Kc11dall,
'Drav,ru1g.Tracíng .1.1.1<.l the Scqucuct•·.ío Dt;{!tts.
8ryo11d l111pres$i1>11ís111. London, 199ri, pp. 186- 8.
28 The speed and Au1dity of change in co111puter
dra\ving 111can tha1 :.0111e c1rÚ!>ts u:,e special
progran,s for recording rhe·ir processe;, since- 1L
bccomes 1111poss1ble to prinr our connnually.
aJ1d success1vc ~uges \-Vould othcrwisc totally
dr\appear \V1thin sequenaal proce$~es.
29 -rbcrc is also a penei! dra,\ing 10 the Lady
I{cynes collection. Fi..de. Ea~t Sussex. Lycton
~rrachey described Lopokova as ·canary
brained' (see Judith Mack.reU, Bfvo111sb11ry B11/-
/c_rína. Lo11Jon: Weidcnfi.:l<l ,u1J Ntcolson.
2008).
30 rhe~e illu~cracioas were cornnussioned bv
•
Thon1~ rlope in J'<.on1c in tl1c early 1790s.
Jnd fir~1 ed1rio11s of rhe lfiad q( /-/i1111rr. T7ic
Otl)'ss-ty i.!.I Ho111e-r, ·1 '/,e Thlittdies t)f .4.esch)'l11s
and Co111pv~í1io11s /;<1111 tht' llrll. PH(qatory ,111d
Parnrlist· <!{ T),1111c •.tJ ligliitri ,ve-re engraved by
rh.on,a~ Piroli, :ilth ough subsequcntly repub-
lishcd 1n olher vcrs1011s. Co1111>os111oris ,f,•tJ1r1 tlu•
í vh1k~, /),1ys 11111/ 77,ec\(/_011)' (!( Hl'Itt>d (rX17) \Vt·re
c•ngravcJ hy W1llian1 Blakc.
JI
13artoluz;zi ( 1727- 1815). ,vho
engraved the facial profi le~ or Alexa_nder
Il111ri,111 J--lec1d. 1778. uscd chi!; caJl igraphic rech-
inque 111 an exaggerared 111an11er, ;1s d1d rhe
Gcnnan artisc joha:nn Hei □r1ch Wilhclm
Ti!-chbcin (1751-18.1{>), fi:ie)ld of]oha1111 Wolf-
g.:ing Goethe .utd direccor of rhe Neap,>ht.111
Accadcrnia di Bclle Art1, ,vha engraved places
of Srr William I-Ja1niltorr's vases. Tbc ·d.,ngcr-
ou~· .1nd 'unn1Jthen1aocal' Tischbe1n, an<l the
practlt'e of caJligrnphic line. \>..rere- conde111-ned
round.ly by George Cu111.bcrland {Tft1H'}!hts 011
011tli11c Sc11/_pr11r1•. London: W. Wilson, 1796, pp.
17-18): ·by gn'ing ... symn1etry of fenrure in
n.:gularly 1rrügular ourlines ... [Tischbeinj has
d<1sht·d hopt·s that preciou~ n1011un1t'nts ,vould
:it length re::ich us llncúncan11nared and pun-
. .. Such liccncc n1ust not bc co11cedcd to
che ~tudent". John Rusklu ('f/,e Ele111e111J ,if
/ )ra11 1i1,g, p. 32) ,vrote in 1857: · lt does not in
eh.e Jeast 1uattcr ,vhethcr your pen oucline be
ch1n or ch1ck; buc it 111,tttcr~ greatly thal il
~ho1.1ld be equnl, not heavier 111 onc place th.in
in mothct' 111 the Appcndix, ·Trungs to bt
Srudied·, Ruskin pointed to Fla.x111an caui,ti-
cally a~ a tin1shed example of 'bad dra\v111g
\\'tth a ~teady haJ1d' (ibid_. p. 225).
32 llàrbard ~caffi)rd (B,1rf)' Crítiâs,11: l11111~i11g the
l 711see11 i11 b'11fig/1ten111r111 rl rt a11d ,\,/fdicine, Cnn1-
brídge. !\.IA, and London. t993, p. 148) n1akcs
1n\pired connccrion~ bet\vcen 'Lhe nt>vv lcxic,ll
~y~te111~ for che 1dealized re-duction of con1plex
111for=rio11 aud the den1olirion of ,he body
by the ab~rrat.t <liagra.111'. Tberc il, ,L 'fundJ-
mentaJ link bet\\'Céll geomerry and pedagogy.
and thc exaggcrared 1ntellectualisarion of
in1ages as rà rified schen1aca·.
33 )ee S:1rah Syn,mons, •·rhemes a11d Variacions',
in j1Jht1 F/11x11w11 R. I. ed. David Bit1d□1,1J1.
Lo11don. i979. pp. t52-7. Goya al50 ,1ppropri-
:1ced Flax1nnn :s neoclass1cal scvle of \Vash dr:n~·-
•
1ngs 1nco rhe delica re grcy wash dra,\,ngs ,.,,eh
,1 uw1in1uin of sh,1dows a.nd u1odelling in
lus so-called SanlÍltar Albu 111 of 1796. Ph1lip
G u~ton's tv,,eotieth-ce□ cury appropri:ition of
siJ11ster hooded Ku I{Jux IGan figures inco his
,vork possibly follo\ved th,s precedenc
34 -r l1.1, ,vas (controvcnnaJly) suggesred by Pie1Te
Gas~icr, che sc.bl1lar ,vhq ,vorkcd 011 Gçlva ·)
•
cacalog-ue rai\onné in che 1976s; tht ~kecc:h-
boob do not :ihvays ap pear to coincide ,\'.ith
the- princ scqucnces. See Pierre Gas.,1er. Fra11-
risc<> G11y,1 l)rn111111gs: 7/,e c;o111ple1,, All111111s, Ne\v
York and W:ishington, DC, 1973. p. JJ , and
Elcanor A. S,1yre. ' lnlroducúon co Lhe Print:..
,1nd l)rn\\1llgl> ~er1es', 111 Alfonso E. Pérez
S,íncha a.nd Eleanor A. Sayrc, G,,)'c1 1111d tl,c
Spirit t!( E11/igh1er1111e111, 13oscoa, r.1.A: Museu111 o[
Fine Arts, 19Xy, p. xcv. <..111 Goy:i\ dra\ving, 1n
gc11ernl, sce Juliet Wílson-Bareat1, Gt?)'•'· Dr,1u 1-
it~{!S Jn,111 !,is Prilkllt' A /b,1111-;, London, 200 1.
 See d1Scus~1on of tbc Picasso skcrcbbook~ 1n
ch;iptcr tv,clvc, p. 336.
Thi~ is ~o of 1)i1n:r\ l)rcsdt'n Skerchbook
(1 ) rcsdcn, S:ichsjschc Landcsbibliothck. r.1s R-
147 fDrcsdncr Skizzcubuchl).
37 These castrnl sketches 011 5cn1p~ of paper
include ::,,1t,1ry B ,1c111Í jí1r Stee'111ill-St,1h/r11rrk of
1977. pcncd on papcr. thrce ~hccts, cacl1
127 X 96 n1111 (C;ollcc.:tion of thc Arri,t).
Polke has co11tinued to be f:isc1nated wich
coruic.: strips and J111111ation, for cxa111ple thc
acryhc on paper drnv.ing Spidcr1111111 (1971 -4) ,
,vhich \\'ltS sho,,- n 1n 11-is re-rrospecrive :.lt the
Muscu111 of Modcrn Art in N..:,v Yod. in 1999.
39 Con111uters ,-vork on Moore'~ r a,v - .ipphed ro
the exponc-ntu1I 1ncrease 111 the dens1ry of
trans1stors 011 an 1ntcgrated circuit - but also
in tl'rpn:ted by tl<..'Vocces co pr<>Vl' chat evc1!
proble,n of repre;;e11c.1bo11 c.jn be 1JJ1pr0Yed
te_n times cverv five years.
See Alvy R.a) Snuth. 'D igical Hun1ans Wait
111 rhe W1ngs' . S(le11r/fic A111enc,111 (November
2000), pp. 55-60.
Nqc LO be t;Onfi1~t:d \Vi eh n1ore trJ<litional ani-
111atio n practices in v\·hich chree-di111cn'>ion:d
Plast1c1ne fi~ues are mJJl.Ípulaced and filt11ed
frat11t• bv fra111e.
•
42 Albretht l)Urer, Undtru•eys1111i der ,\Jess1111g
Íl11srr11ctiol1 lll Mc11s11re11t('I/( u,it/, Cv111pt1ss 11/1(/
Rult•r 111 L111t'S, P/1111es c1111/ S11/id /3<,die.~l, Nu ren,-
berg. r525. For an account of P1ero della
Francesca's 111;irhen1ancal :in<l per~pecrivc
studies, an<l Dürer's rélatio11.~bip to P.tciol t
and I eonardo, see rhapcen, 1 ;1nd 2 of M:1rt111
Kemp. Thc Scii:1ut· oJ .,J.rr: Oprical T/1c111es in
1~cstcr11 Jlrt {ro111 Bn1ncllcsd1i 111 Sr11rc11. N e"'
Haven, CT. and London, 1990. e~pecially pp.
27-64. Piero's 111anuscnpt De prospcctii1c1 pi11-
,1/e11di (dra1 1482), fol10"\.in1;t bis earlicr lracc on
mathe,nancs, can b.: consulted in a 111oder11
edition. bascd on tl1e cr1t1cal ed.inoo of G. N.
Fa.sola f19-42], Rorencc. 1984.
43 ~ee the discu~~1on by M~rnn Ken1p of rh1s
,vork ,111d che perspectiYe draw111g of J 11u1.:::-
ZQâti t), .uso in rhl' Uftizi, in rhe c,ttaloguc of
the N acional Gnlle1!· of Art. Washin gton. D<·:
G'irca 1-192: Art 111 rln· ilie oJ Expl()ra1io11, cd. Jay
A. Levensou, Londou, W:ishinJc;ton. DC, an<l ~
N e,v York. 1991.
44 For the opcn-fr,1111e ~culpturaJ arn1acurc for
Lhe. fi{i>rz,1 El<1rse dra,vn b} Leonardo in thc
c:odex Madrid li. tõJ. 157r. ~ee Carn1en e.
Hainbach , ed .. Leo11,1rdo da 1/ínri, Alastcr Drn_fts-
111,JII, Nc\\ Yor!-., 2003 . pp. +Jo-35.
GHl"d 11111 P;1olo 1 0111a210 \ Srhe,1111/ir P(~11re -
St11d1 (Jj. Pr11phrt fi1r rhe !f1t1/r •!f S,111 1\ /11rn1, ,, 1ilc111
( L,70) is in thc U11.ivcrs1ty Art Muséun1, Prin-
cccon, NJ. íbere .in: \lud1.:s b) Rubt:ns of rhe
Farne~e Hertules on :i doubled-$ided ~heet 111
thc Court.aultl Institure of ArL Gillcry (St11dh•s
C?,{ tlze P.1r11esi I f/'rcttl!'s, D. 11)7~.l'f,.427), \hov,-
ing :i blockhke ht',Hl on tbc recto and du-
gr,1111111Jtic 1uuscllWure urga111~cJ ,l1.:l·urdJn~
co d1n:cnonal ,1xe~ on the Vl'l'\o A boxltke or
stereoiuerric styJe for reprl'Senb.ng figures ,vas
u~ed over the ccntur1c~ 111 dra,vu1~ tnanuals,
exccnding up ro che popular Cc111r., 1fr dess111 by
Charl~ Hargue and Jcan-Léon Gérô111e (1
vol~. Paris. t868-70).
46 Willi,1111 Hogarth , '{111· rl111rlysls <!,{ Be,1111)•, cd.
R on.1.ld Pauh on. Ne,v H,1vcn, CT. aJJcl London,
1997, p. 56.
47 Sce Se hlen1n1er's notes fr1r rhe -;cage e h1,ses of
192~ a11d r929 in 1\1,111: 'Jenr/zi11~ '\!ntcs ji'(1111 rhe
Selign1,1n. Londt)ll, 1971.
.
BaHl1a11s. ..:d. I l c1nio l(ui:Wing, t.ran.,. -Janet
48 Henn Mattsse 1n an 1nter\7e,v v-ith c;eorges
Ch,trboJ1ntcr 1n 1y51 (Jf<'IIIS!ic PII .ln, cd. j,H:k
D. Flar11. Oxford. l\)"J, p. I.J 1).
49 c:corgc c.:u 111bcrl:i11d. !1101(í[h1s ,,,, <J11 1/i11e
Sculpll11<'. London, 1796. p. 33. Cwnberla11d
inrro<luced this tcxt as 'a fe,v thou~ht~ •
on thar
be-.t ruduTI.enc of art, rhe 1111?st1111able l'nl11c 0).
d 1,1stt· ,>11tli111!'.
jO A'l,aíssr "" ,-ln, eJ. fl a111. p. 43. R.ol.1J1<l B,1rtht:~
often rc-fcrs to che de!iirc ot thc hne.
iu parnauL1r, Gri$ 's clra,v111~ 15 very clo~e to
thi: t-1.trirv• oi outlmcs .u1d co11vcut1oualiscd
l~arures 111 lngre~'s squared-up S111d)• Jc1r 'L11igt
Che111bi11i' o( ârc,1 1~40-41 (M ontauban ,
Musfe [ng-re~) for che painli11~ Cherr1bi111 ,11uJ
lin !\ /11sc lif Lyric JJ<1erry ( 1842; l'arís. Mu~ée du
Louvre). Ma.x J.icob's sn1bby hands also cvoke
lagrc:~·s ,~•ell-kno\, n oil pottr,1ic of Lll11.~-
Fr,111çois Rerti11 (Lotrvre), ,víth tt\ pr<lnlinenr
h:.111Js.
The dra,viug conrains thc i11sc:r1puo11 'Or
,vou ld you prefer . . on so1ne ocher li.ir?' 1t 1s
:tl.so <ltScussed u1 chapter sL·ven, p. r95.
53 M.1uricc Merh:au-Pont), ·fnd.ire<..t Langu.1ge
anel the Voice~ of Silenre'. 111 Si,t?IIS, cr.ins.
ll.ichard C. M cCl.:arv, 8vanstoo. IL. r96.~.
'
p. 4-+·
Ela111~· de Koon111g, Staten1e11c: /1 Is laucun111
1959). u1 de l(ooning, 171e ,<,pfr11 o} A(1strc111
E.xpressiotti.<111. Srh·itcd ll'ri1it1~s, Nc\\ York:
George 13ranllcr. 1994, pp. 175-6.
55 Thís is a rru1s111. bur rbe po111r I a111 111ak1ng
is that thc lin_ka~c or infl!llaâ1~~ bct\vcc11 a linc
and 1c, reading (the chread of hghc th.u L.1can
invcstibr:ited briefly in an cssay abouc rhc gaze,
i:iáng Mcrlcau- Pouty) Ü, cluser ru;tn che con-
c:epcuaJ gap bet,vt'en thc ~pectan,t's 1:taze and
:i p:1111ang or 111ore frn1shed ,vork of are. See
Jacqul:S lacau., ·Thc linc and Lighr', 111 T11c
Ftll~r r:,,11di1111('//tt1l Co11rcpts o.1· r syt/11J- ,'"1111liy..,i~
[ l!Y'3 ], ed. Jacque~-Alain Miller, rr;111s. Alàn
Sher1dJo, London, 19\)4.
Many C\vent1erh-ce11tur) ,vriccr~ on .irt con-
de1nned even, u11111tlecrrd hncs :,~ cold :111d
rcpellc11t. just as cr1ocs from thl' previou~
cc11LUI') bJd gc11cr,Llly d~tnis~cJ the ·111ech,1-
11c;t1c'. St,n1dh.tl. ui rcvic\V111~ d1l' Salon oi
•
1H.2.j.. \\,t- ,·c-1-y ~arca,tll dhout rbt.· dr.-1\,i111-,rs
0f 1),i,id and hh scho,)I: ·.1ccur.1re. ,r11d1ed
dr;i\\ 1ng. i1n1rated ú:u111 d1L· ant1lJUe. a, lJa\id's
school unJt.: r,tand, 1t, is ,111 cx.1, t sl 1c11c~·.
of che san1e n.1n11-e :1.s ,1r1rh111t•nc, geo111crí),
Lr1gonu111etr\ ... 1)unng thl' ch,rt) ycar, th,1t
D.1v1d\ l} r,tnni~aJ rulc l,1'lcd, l11t.· pubhc \VJS
111,tde tú bt•heve Ihat ha ..ing the par1en, t'
needed to acqu1rc thc exarr scicn.-c ot dr:"ving
unplii:J hav.1ug ~enius· (quore<l in ArlctLL
Sérl1ll.1z, (,{,r,ird. c,,rt>drt, c;,,os: D,11•/ l's ,<,t1lff1,>
M.il.111: .5 Conunents, and Par1s: Mu~ée çlu
Lou,re. .!005. p. 6). Ro,alind KrJU.\:. (7711
Pfr,túll l1<1p1'/>, (,an1bn dgc, M.A .1nd londo11.
1998, p. r41) locatcd the ·111:1tr1x ot lP1c:1~~0•~1
pra.erice ol pasnchc' in ' Lhe ~tccly grapllitL
pt'11<:il, of the neoL l,1ss1c,il dr.tfr\111.111 ·
She deplored 'che roboar characcer of a
mark 111aLh: iu tbe c0ur~c ot· tracing' md
d,cni;:d the '1nl'( h,1111cal producnon nf the
coi itour, 111 the tom1 of rrac1ng, ,1s J k1nd of
cfuea.5e' (ibi<l., pp. 1..µ anJ 151).
57 Wilhelr11 Worring~•r in h1\ 'E.xpn.:,~1011Í\t'
aesrherics in rhe carly t\\'Cl1tlt;ch cenrury. for
c:xilllnple. disti.ngull>hed beh\'een tht' suppos-
e<l] y l10,v111g w1c~ ,u1<l Lhe 'orgauicallv tern-
pered rurves' of cbss1c1sn1 :ind rhe express1v1t)
of gothtc, sceing a dircct corrclat1on bcnvcc11
Jngt·r, 'thc 111~>St po,vcrful vcJ1en1ei1cc of e.i.-
press1on'. nnd the ·hard. angular. cea~elessly
Wt<!rrupted. Jtgged lme· (Worr1ngcr. .1bs1rar·
1it>11 t111d E111p,al1)': A Ct>lltrib111u>11 r11 1/n Psy-
d1olt1,'()' 1)( Srylt· l1901'- 11J, rran~. Mllh,1el Bul-
lock. l o11do11, 1953. p. 4-3). (;ille, l)cleuze
(Fra11(ÍS B,1co11: T/,c LJxit ,,( St•11s,1tio11 l t9S 11 .
tr.1n~. 1)an1el W. Sr111th, London and Ncv,· York.
2003, p. 105) borr<>,vs fron1 Worn11gL'r 'l\·hen
he discusscs chc.: po,\'cr o[ thc gothic fu1c, 'tl1L
n,()rthem sr:1111', 111 rebt1tl11 ro Fra11,1, B.iron:
'the linc doe, nor go fron1 one poínr to
another. but pai,~e~ bet\veen po111ts, coutJnu-
ally cbang1ng d1recáou·.
c;uerc1110, _/11,•I Killin,g Sr.~e,,, (Mahon l'ollec-
Lion, 011 loan to the Ash1nolean M uscu111,
()xford). R.e111br,u1dc dealc v. ith thc subJcct
quirc cxtcnsively. v.·irh a dr:.tv.111g -in tht' Ash-
111olean 1\llu~cu111, ..J,u•I ,111d Siscr,1. to,,'tlrds the
end of the 1<i40~. and J,1c/ l(il/i11í[ S1st•rt1 (A111~-
1erda111, R1.1ks111u~t•u1n). frc)t11 the 1650\, as v;ell
.is copie., aftcr anothl'r Jo~t lllJ\Vlllg oi tl1L
~LlbJect. Relatcd ura\vi111,'l- of tht· Bcht·,11fi11,1! ,,(
a ,\Je111 of drr11 ró40 .1re 111 the Hnt1~h Museum.
Lo11don, and chc Nlctrnpolic.111 Musl'llnl ot
Art. Ne\~ York. R.ubt·ns\ bro\v11 ink ,va\h
drJ.,v1ng ot J11dr1/1 A:i/1111.r,: /-Tc1h!/1'Tlll'i (or.., 1r,oc;-
10; Frank.fure ,1m l\.1nin, ,;;wdelsçhcn Kun,bn
~titut) b l1f ,irnil.ir v1olc11cL.
ThL 111!,. 111,l npnon 011 '>1t kert \ dr.1,vin~
inludes the rumr W 1-L 1):i,·1c, •.1 "vnrcr h·1e11d
o( tJ,c Jrt1st suni]arl) <..llUCCrllcd \\'lLh 'lo\\ litc'.
i-.JOTtS TO PAGf:S 96 1O•! "1'17
 rI u , t th t h<-= lr n, 11 g 1., 11 rllq,tr,1
lo 111 11, 1 c.:11t \\ 11ttcn l > !).i,1e~. <;c1:
\\ ·11 1, l:111 )li ',11/..1·11 1'11111111~, 111 I l )r.1111111!>,
N.-" 11.iv n r. .111d l oudon 20, ,r,, p. 40s.
llod1 ~.11111,cl \Ali l lv,,l!~t1-atcll .,uJ L.ér.1rJ
-
de l 11,•,,,: Jlh l\t d d 11, pr 1, u, e 111 1lle11
sL'\clla'cnth cntun rrean,c,. 1 11n::s~e·~ .1dv1cc
1, .1, f.1lll"''· 'No,, Lt•11~1dcr chc l\lot1011, .111d
l'a.,,ron,, \\'h1, h cc, rc.:prl·s,·11t 11.11u1.1II,. l shall
ht rc ~ht'\\ J propcr J\ lt-rhod; ,c.111d1n!! bt'fi)rc
i.l Loul111f! ~l.i-,. 111.1kt: \vllh ,ou1 o,vn Bodv.
suth ,\, tt,,11, and J\hH1111h ,1, yot1r f,i~'llrl·,
n:qu1rL'' (C;c'rard de 1 :ilrL's,;<.·, '/7,, rlll <!/ />,,i,11-
1111! 111 .,II 1L5 br,u1,/,cs . . tran~. Joltn Frl·dcnck
f-1tt~<.h. l 011dou. 17~.., p. ,(1).
r,o J\1.,unct· J\1t·rlc.>:in-Poncv, •'fht' lntern, 1n111g-
l h,· <.:h1.1,111·. m 11,, r i.-,/,h ,111,I 1h,· 1,,,.,,.,,,1,.
[1•J64]. t·d. C Ltutlt· Lcíi.irt. tJ.Hb. 1\lplio11M1
1ing;1,, F.v~11,n111, 11. 196~. ,~. 142 .
lb1d .. p. IJ..J.
Th,: 1 r,:1H h pi II lo,opht'r auJ ,Lrt \\TÍtl 1
N1cholas 13ournaud 111vc1u,•d tbt~ rt>rn1 'rt>l.1-
□011,11 JC\thL'ttl·\· 111 r<)9R ~ce .13ourr1aud, /{d,1-
1i.111,1/ ·11 ~thl'fic.s. u ,111,. 51 t uon PI e;c.a.ut.e .1 nd
Fronta \X/nnd,. 1>1Jo11: Lc\ Pn:,\C\ dtt re<.·I.
2002 ~Cl' 1ho M1chel dt.· Certt::n1. /711 /Jr11n1rc
t•/" F:l't'f)'d.t)' Li/t.·. tr.111~. Stc,·en R.enJ.Lll. Ucrke-
lt.'), L(I\ Angc.>lt·,. L,,1u.lo11. Unl\'l'l"\ll) of ( .ih-
lorn.L1 Prl·,,. l!)X4.
LtLtcr fro 1n Rob1:rt L\,lorns to Nhch.11.:l
c.~o,nplon. IV JanuJr} 1971: ,,uoteJ n1 J<ltl
l11rd. 'r'vlt11d111g the 1-lod) '. in U.1·11 1r11i11.~ ( .'n11-
1,·p11111/ lrt. ed. Micha,:I Nt:\\ 111,111 and D1rd.
Lo11Jo11, 1999. p. 91,.
Jt>,111 l)11bull'°t, 'Empre111te~·. Lt·s I ,·tires 11fl11-
1•fl/cs. no. 41, (Aprtl 1957): til }1c,111 D11b11fli·1:
Tin1·,1rd~ ,111 • :lltc111tllir•I' Rt•c1lit1 1• Nc,, York. Pace
Publ1c.rrion,, Abbev1lle 1-'res~. l\)87
·,'vly 1nodLls bcca1ne hv1ng brusbts' ,vrote
Klein ,~ho rdi:rreJ to h1\ ,111thropl)llll.'LrÍt
p.unnng~ a~ ·.1 pht:-nomenology \V1rhnuc 1dea,.
o r rathcr ,,-ithot1t an) of the sy,te111~ of offi-
C!,il ,Qll\'t'lllio1h'. 111,111 ,1rt1Llc ' Lc vra1 dt·v1c11t
rt'.r hré .' M.1rch 1960 repnnrcd In ZJ-R(J J.
C. J1nbndg;e, :V1ass: vil f 11re,~. 197 3. He .t!so
allo\\'CU rl.U11e, to burn tht· ,u1facc oí h1~
p.i1nt1n1-,..., .1~ 'thl· ,po11rant'Ot1\ trace, oí tht' fire ·
:ind co11ten1pbred cre,ang body 11npr1nts 111
blnod. ScL ) '11i:s F-.7ci11, 19iS-196i: S1•h·ctcd l l'rit-
1111[:;. cr.111,. Barbara Wnghc. I ondon: 1,He
•
(~Jllery. 1974, .,nd :::i1dr:i '-iach, Y1•1•s /\.11•111. u~t
rildcr 11 CJ.Utz Verl.1g, 19\.l..J.. pp. 171-l)J .
/1ú Thl B1 tl1Sh ,tulptor Ali,nn Wild111g (b. 1948).
for cx.1111pll·, n1:i(it' J nun1ber nt dra-v1ngs in
thc l9•JO~ cntidcd ~Jcp/ic1111 tha1 Jcal ,vith the
subJect oi" ,01ner.h1ng hl',IV) .1nd 11nn1~1veablt>
'bt>1ng 111 rhe \\',1y· (pl·r~on:il <.on11n111UL.1□011).
11u <.:t.>Ilcac-d li í·i11111!-' t)f T{obtfl \l,,1li.-n1 11·1/, cd.
Stepha.llÍl' Tl·rc11zio, N1:\\ York ,111d ( )x!Í)rd.
11)1)2. pp. 170-73
61i J hcre arc YarÍOll~ \,,1v, ru rcprudul e sponca-
448 NOfES TO PAGES 10•1 116
llt'Olh hn1~h,vork 111 ctch1ng, e-ichc-r rhrot1g-h
li.ti: ~rounc.h that r1:s1\t .1rqu,1t111c or dra\\ ing
d1rccrlv 1111 .1 pl.tll:: ,,ith acid-r.:,t\tant \top-
pin~-our' v,1rn1sh
llOgt;r Ul J>ilc-,;. c.,~,11,1., d1· fll'i111rtr1 11,1r I'' i11rip1•s.
·,,1111•11s1 1•,ir \ r. ,lt Pile~. Parll>. 170X. p. z6_1;
lJUOrL·d 111 j,1ClJt11:-hne l tl·hcen\tt'in. 7711' Flfl-
1/ll{'I/Cc <?f C,1/11r: IV1cli11ir c111d flai11ti11Jl i11 1/11·
Frnuh Cl,rssit,,! •1í!t r19S9l. trJll!,. Euúly
r-,,1,V~nsh. Berkeley. c.A. Jnd ()xlord. 199J.
p. 15~.
Charlc~ l31J11C. Tl,c c,,1111111,,r v( P11i11till.f! 1111d
l 1(1fr,111it1J/ 11 111(1 ( )ri,(!111,1' /1l11srrnrí1111.1. 1r.1ns. l{ace
Ne\veU l)oggert 11873 j. Chic:igo. 1ll79,
p. 170.
71 Jn,cph Bt·uy~. 1nr1:rv!l'\\' \Vl eh 13t"-rn1çe R. ose.
rx jLme J!J~-l- L>LtS\t>ldorf (tron~cnpr 111 rhc
,,n,hivcs of thc Stud> Centér íur Dra,v111~.
M11st:Lllll nr Modt:nl Art. Nc,, York).
1>e Piles. ( .'n11r.- df {'<'Íllllll'I' pc1r 1•ri11riJl('S,
p. :!60. For tbc 1.fiscL1ss1011 of linc ,111d touch.
,ee l 1Lh[t>JU-Ce1n. 77,e Ili<1q11c11rc (;o/or, (~r
pp. r5X-(iS.
-,
/ .1 Philipp Ou.o lluugl'. lL·ltcr to bb int>thcr.
1 1 Augu~t 1799 (H111trrlc1~.,·e11t S<ln!frrt1: P/11hJ'JJ
Üf/11 R1111gr, 1S40-1ô41. fi1cs1n1 1k'. -1 vols. (;õc-
nngeu: Vanderhoeck &. Rupn.:chr, 1965. vol. u
118.p ,. p. .!.!).
Entry, 13 J:mi1;1ry r!!5~. 1n /'/11' J11ur1l,1l qJ l=1,g1•n1•
Deiacr11i., 1IIJ:; 1] • ccl J Iubc rt Wl II i11 gto n, trJns_
Lucy Norto11. Jrd editit)n. Lt>ndo11, 191;,.
p. 357-
7i ~<.lé. for cx.uuplc, tht· v.1r1ous hJpt1c sunularion
proJt·cts n( eh<:' V1rLtr,1I Re,1líty L,tbor.1tory ~>(
rht· Unh·er,;1cy ar Bur'E1lo. NY (,V\v,,·.vrl:ib.
büt:Tolo.edu/). ~urh as fingertip CÜ~Lh)Cr~ for
•Applying Hapt1cs and Ilio1nt·chan1cs to
L1crile Input Technology· and <levices such a~
chc Nlodelglovc and I l.ipslick. Sc1eutiíic ,1ppli-
c.itin11, u1,lude ,t celth,rptit.: i.11rer[arc for cap-
n1ring hu111a11 pulse·, tor 1ncd1cal d1;1gnostics.
Sce versiocts of the ,,111,~el /11 ·1;1/,it 's Jiousc and
riu: Dc11,11•((,rf <1{ Tob111s ,111d r/11, A 11.11t·I tu thc.:
l~1Jksnn1<;eun1, A1nsrerd:im. Re111brandr had a
~trong u1tç.rc,t 111 tbc cht•;tcrc.
77 fhL' late c:r11,f(i.,it111 Jra,,vin611; i111:ludc t\.VO in
rhe Brin~h Museun1. l'\vo in Windsor (RI
12775 ,1nd 12761). onc in thl' Lt>uvrc (C'ruci-
/ix,011 11111/i 1i11,, i\fv111·11t•rs) .u1d a , l1ghdy s1nallcr
.. ht·ct 111 rhe A)h111olc.>a11 Mu..-eu111. ( )xtord
( c.:r11â/7.\ i,111 11•i1/1 Tr1 10 J lo11r11crs). Therc •~ .tlso ,1
t:op1 in tl11: Uffiz.1, Flt>r1::ncc, by Giul io C)l)vio.
1ili~ is not tà11c1ful. 1 h~ve observed a very
cldcrly and ncarly blu1d Jrtist ,,·orking Íl1 tlus
lllJJl!ICí.
71.J ívlichelangelo, (;/11is1 (Ili 1/1(' c:rc,ss lwt1J11'<'11 rhc
1'irf!Í/1 c111d St _lu/111, bl.u:k chalk. -1-04 X 218 1111n
(Wi11c.bor. R.u),tl Library, 12.761).
80 'People 1111ghc Llugh 1f 1 sa rd ch.H (;oya's lich-
ogr.1ph~ \.Vere ;ili cxccurcd "'·1th a 111.1g-rufyi11g
~I.,,,. Thl..' [1ct is 1.h,1t ll "J.S not 111 orcler to <lo
d~tailed \,·nrk. but hecau~~ h1~ cye,ighc ,vas
tà.iling'. Tcstin1ony of Antonio Urugada m
L.1urent Mach1:.ro11. Gvy,1, BonJCJLt.X. t8:i7• 1 <1111
grateful to H e len I uckecr fcir thi, rt>rerenrt>.
S12c :tlso Juhcr Wilson 13arcau .1nd Manuela B.
tv1i:ua Marquês. G()yt1. ·rruth 1111d I'-,1111t1,)'· T/11·
';111111/ P,1111/i11.(/s, Lonclon. 1\.>94, pp. 332-3.
81 ilhnd pr1n □ ng i~ che cechnical tcr111 used for
i11Wglio or rc'verse princing \\hcn.: tbc pl..ttl! Í\
1n1pre~s1:d nn to rhe wer paper wnhout, or in
adcbaon to, ink-pnnced lincs and nnagc17.
82 WLllia.111 Gilpin, Tlirec Lss11ys: 011 Pict111·esq11c
Bt·,1111)1 ••. , 3rd ediri1)n. London, 1sox, p. 72.
8.1 E1Jrry on ]ii11d1, 'Plan for ,1 Uictton::ir) of 1he
Fiol' Arts'. Parh, L3 J,u1u,1.11 1857. Jounu1l ~r
/ ~11gh111 f )t'larro,x. ecL Wellington, pp. 356-8.
84 Ed,Yard Kennion, ,-ln E::ssar ,111 'Jrees 111 Ln11d-
s1:.1pc, London. 1815. S..:.c also Jô!ihua Br)ant.
Pr1t~rrssil'I' l..:i:ssa11s 111 L,111dirt1pl', Londt>n:
Ackern1ann. 1807. For nn inreresring discus-
s1011 on rouch. see Ann Ilerrn.i.11gha.111. Lt:arni1(f!
10 Dra111: S1udícs 111 11,c C11lt111·al Hist11ry of c1
P<>lirl' ,111d Ll.ç~fi,/ A rt , Nev,· H.1ve11, c-1. and
London, .'.?ooo, pp. 111 -~o.
85 WLlliJ.111 M,1r,hall Cra.ig. , l II bs,;t1y t>11 1/te S111d)I
q( Natrire i11 Dra11·i1ig, London, 1793; quored
111 A11n .13cn IUJ1ghilnl. ·systt~1n. Order and
Ab~tralrion: The Polit1cs of L.indsc.ipe Dra",_
1ng .1round 1795', 1n La11d.,cnpt' t1111/ Pol!'l'r, ed.
W J. T. Mncl1cU, Chic,-igo, 1994, pp. 88-93.
8(, ll.uskin. 1'lu· Elf'1)1e11t.; o[ Drm11i11.~. p. 97
(~ketch1ng ti-0111 Nah1re).
87 Jolu1 rtuskin. Jl<1dcr11 Pni111ars. vol 1/v, Orp111~-
to11. I<ent. 1888. pp. 67-<,J. R..u:.kin Jeclart•d
Ja111e~ 1)uffield Harchng a~ •afrer Turner,
unt1L1e~aonabl} eh<.> greatcst 111aster o.f foliagc
111 Europl··.
8X l)1ego Martelh, '(,li 1mpression1sa' 11879-80],
unptrbJishcd pa111ph.let trans. by the .1uthor
111 Nor111.i Uroude. T1nprtssia11fa111 . •-1 í-e111i11i~1
R.~·,rditt~• 77,e c;e,1d'eri11..~ ó)·Arr, Srie11a· n11d N,1111r/'
i11 1/,c Ni11l'tcc11th Cc•11t11ry f l991 j. Nt"1,v York.
1 \.197. pp. J .l0-31.
8() 1:3 lanc, 1''1e Gr,1111111<1r c!f l'ai111i1,g 1111d E11gr<111111,~.
p. 17 1.
90 llhiljp R.,1,,\on, Dr,111,i11.~. Lo11do11 .111d Nt',v
York. 1969, pp. J1er-13.
91 EJnploying thc tcrn1 ·uoisy· 1s not arbitrary:
v.111 Gogh ,vas ob~e1>-sl.'d \Vlrh thl.! ~onorit)·
o i colottr, <:'ven t1lung piano le<1~on~ 'to le:irn
.,bout d1t· nu,ince~ of colou r-rones'. Set' John
(;ap_e, C11h1Hr ,,11d Cult11rc:: Pr111ticc c111d ,\lco11i1(~
_[ro,n A1111q11il)' 10 Absrrnaion, London, 1993,
p. 236.
92 Thi: llrà,v1ng ui tlu: (~rt·nvilll' L. Winchrop
rc)llecnon relate~ ro rhe 011 p,unt1ng 111 rhe
Nt>rton Si1non Mu~cum. Pa~aden,1, O\.
IJ.l Si:e the t'lllry 111 tbe exh1blúo11 c.italogue
by !-icephan Wolohoj1:u, and Anna Jàh1nc1,
,4 J>ri11,1ll P11.ssio11: 1,;1h-Ct!11t11ry JJai111111,(!s u11d
DrtlltlÍl(I/., (r<llll 1/11: c;,e,11·íll1' L . J,Vi11li1rc1p Cnllt't-
 11011, Il,uv,ir,/ T ·,iirrrs1I)•, Nc\\' York, 2003. pp.
1-1,5-7.
94 Tao-clu, :ilso knO\'-'ll a~ $h1h-t'ao or l)aoji,
'Tht.' Ünt.'-Strokc Me-Lho<l'. (i-on1 Rr111c11ks v11
P(IÍll/111,I[, 1730. There ,Ire n1any. diA:ering tran~-
la □ ons of chts f:1111ous passage, ch1s Otll' sten1-
1ni.11g tro111 K. To111ita and lúirning Chtu, 'Au
Albun1 ~,fTwelvt: LeavL·~ by Tat1-ch1'. 1'3111/eii,1
!!( r/1r .\,Jus/.'11111 ef Fi11c _,{ri$, B,,sto11. XIVlT (19-1,9).
pp. 49-58. S1.'c :il~o Fra.uçoi~ Cbeng. E111µti1 t111d
Fui/: 77,e ú111g1111.1fc> <!( C/1111esc P11111ci11.~. Bo,ron.
1\11\: Sh~1nbala. 1994, pp. L23-5. 1 Jtn indebced
to j;1c -Csterhuiz.:11 (o.r thcsc rctêrcuccs.
95 Such ..1. reatling, \vltiçh 111,ikes ,vide culcurc1l
;tn:t.logics. is not .1 faJsc projeccion intó che
past. if onc accept.s thc 'E-legclian' ,·ie,v. as put
for,vard by Svcdaua AJpcrs, that che l)ucch
replaced an 1nteresc 1n symbohc subJect n1atter
,vith a fasciuaLion ,... itl1 the 1ncai1.S of reprc-
st:ntation ,1\ :)n <:"ntl in icself. See Sv<:"tl.,na
Alpers. 77,e .'-lrt (ij l)es<rib111g: l)utrh .4r, i11 the
S1•pc111ce111/, Cc11t11ry. london, r983; rcpri11ted
1989, p. 249. !e is bclievcd th.1r, 111 addrnon to
Mughal n1iniaturcs, R.en1brandt owned ~0111e
Chinc~e brush pJ.inting,.
96 'A L,1ndsca_pc-Painter ... \\'hen lle lno,v~ h L~
~ubJeCt ... will kno,-v not onJy \Vhat to
dcscribc, but ,vh.it to onut' (De Piles, Pri11t1-
plrs 11 f>11i111ir1g .•. Th1nsl,1ted i11I(> E11glish /Jy ,,
Paintl"r. London. 1743).
97 R.uskiu, :'vlodcr11 Paintcrs. vol. 1/v. p. 190.
98 Jean Baudrillard, The EcsltJS)' t!f Co1111111111ifc11ÍIJ11.
erans. l3ernard Schutze and c~rolme ~chut7e.
Nc,v York. q.).88, p. 16.
Chapter Five
Matenal Traces
r Jonath.J11 l-licha.rds.on chc Elder, 77u· 1l'otks ,!f
J1i11c1tlt,111 Richc1rd~o11, London. 1792. pp. 63-4.
2 floderick Whirfield and Weng Fong, !11 P11rs11/1
,~{ / l1lliquiry: Chi11ese f>,1111tí11gs t?f the 1\ li11g aud
C/, 'in)! D)'//llSties Jr(llll t/u• Cdlil'JÍllll Q( Jlr ,111d
J\1r., Earf 1\ lt1rse, Princemn. NJ. 1969, pp. 24
a.nd 18.
3 A chalk holdcr 11> son1c.ti111es caUed a 11•cca/<1pis
i11 lcah,111 (lazHs, ch.1lk or stone) anel v.·as n,uncd
11,atit,1101 bv• 8ald1nucc1 and others in thc late
~C\'Cnlccnlh cculury (111q1i111, c.hJ.!k). Iu Gcrmau
ir 1~ called S1[fthr1ft1•r, an1ong~r nther tern1s.
4 Thl: old-fusb1011cd tcrn1 bodv• colour 1s still
uscd by <lra'"vu1~ scholars. [t 1uLplics a base,
usually v. h1te lead, that 1~ 1111xed \\·irh " fixa-
cive a~ \\'l'll as a p1gt11cnr so a~ not ro be a~
rra11span:nr as \VJtcrcolour••ütl1ougb 11ot cx-
,1ctlv the equivnlent of n1odern-d.1y gouarhe.
5 \ec l-l.1ch:ird Kcntb!I. D,:rzns: Bcy(l11n /1111ircssio11-
i~111, London. 1996, pp. ~7-87. KcncL-tll ren1a.rh
c>n ·the ,nove fi·o111 ti.:t hn 1cal proflig,\cy to a
k1nd or pen1te11t lace 3U~terity'. p. 58.
6 A. 11. Palincr, Tht• Lifi.· 11111/ Lr11cr; t1f S,1111111'/
Pnl111l'r, 1'0111ttr nnd l::rrher, 1 ondon. t ~92, p. 16.
7 The fine and broad distu1LtJ011 Ls m.tdc. b)
Jd.1110> WaLrou~. Thc Crr!(t o{ Old-,\taste1 Dr,111'-
ings l 1957), Madi\on, \VI, and 1 ondon. 1967 . .is
vvcll as Joseph Mcdcr. Tl,r .\ l,1su'r)• <?f Drt1u-i11g,
tra.ns. JJ.1d revisc.:d Wi.nslow t\.ntes. 2 vols, Nc,v
York, ry7R.
I'{ A.!1 exrre111ely usefi.11 s.hort gu1de is fJJul
Goldrnan. Ú>aki11:,: ar Pri11ts, Dra111i11.~s ,1111( ir;11,·r-
ülle111rs. · "' c;,,;dr /O Ti·rl,11iral l i'IIIIS. r on,1011 ,111d
Malibu, CA. 1988. ~ee also ·A l)rl,vtng (;lo~~
s.u·y ', by E<l\và!d S,1y,vcll, Lyu11 St1àtl\ an<l
Philip A Str,1u~. l\n (he Fogg An Muscun1
\Vebs1tc (\v'\V\V,art1111.1~e11n1s. hnrvard.edu/togg/
dnl\vingg)o~~ary.htn1]). Thl\ also conlarns a
good re.1cting h~r.
9 G1org10 Vasari. Las11n 011 ·1cr/111iquc l 19071, traíl'..
Loui5a S. Maclcho,i.:, é(.I. e;. Ua.ld"' in llro,vu,
Nit,v York, 1960, p. z 12.
10 Will1:11n GiJpin, 711•1• l::ssa)'s: 011r ,111 thc .-i111/,nr's
111<1dc (!( cxcn11i1~1/ r,111~/1 $kctd,cs; tlic t11hcr 011 rhc
pr111llplc, 1111 11•/iid1 r/1cy ttre ro,11p<>.1c,/. london.
1804. p. [.'.!.
11 1111:. ln~tituüu 0ratoria d( QHi111ilit111, 130,iks X-
Xll 19~2}. tra1h. H. E. Butler, Ca,nbridgt'. MA.
anel London, HJ98, p. 109 (8ook x: 1v). Qu111-
tilia11 conrinucs fron1 th1~ rc111;irk ,vith .unJz-
ingly contL'lltpor,tr)"-sounJ.ing .1dvrcl!. J~ u,eful
for art1~ts ,1~ ,vrircr,: 'There can bt" no dollhr
that rhe be5t n1ethod of corre1:;cio11 15 to put
asidc ,vh,u \\"l.' havt· \vritcen for a rerta 111 t1111e.
~o rhar \;vhen ,ve return to 1r 1frer ;111 111rerv:il
it \Vtll hllvc thc air of novelt)· ,u1d ()t bL·rng
a11uther's bJ11di,vorl' (llool ~.1v ..2., p. 1 li).
12 Leon:.irdo d:i Vinci, 'li·eoti.,e ,,,, Paitrt111g. ed ;.111d
trans. A. P. 1'v1cMahon. Princeton. NJ, 1956.
p. 107.
13 G1ov,11111i Barti,t;1 Arn1en1n1, 011 1/,p '1111c Pre-
rtpts <!f thc , 1ri ,?( Pc1i11rí11g [ 1586J, tr.1.1i,. Ed,va.rd
J. Ohz.c,...·~k.t. Ne\o\ York, 1977, p. L26.
14 '111c •..Jrrisrs' 1adl' .\Jrc11111 8l'i11g 1/,e l·i 71t•h .1rt <)(
Dr,n11i11,(!, London, 1762. p. 3.
1, Jac4ucs-Nicol.1s l\lilJot de Mo1ltJbcrt. 7i,,ité
Ctllll[lfete ,1,, /,1 Jlf'Íll/1/f(', !) vol,, Parb: J.-F. í)ellon.
!8.?.9-51, V()l. lX, p. 618.
16 Jul~ Mo1m11éja, 11~,trel. Pari~. 190~. p. 19.
r7 G1lp111, ·n,,v Hssays. p. 13. The I ouise Bourgco1s
quor:ition 1~ fi-0111 .111 1ntcrv1e,v \vrrh Manc-
Laun:. BcrnJWl ior chi.: dra\\ ll1b>'S cxh.ib1cio11
L(>llist> 8,>1t1;i!!'c>is· J1t't1sé1•s-p/11n111$ ,lt Centre
C:eorgcs Pon1pidou. J\l\u~ée N.1tional d'Arr
Modernc. Paris. 1995: repnntcd in Lordse B011r-
./lc'()is: l)rsir11oio11 1)( 1!1<' Fculil'r: Ret"o11s1n1r1ia11 ()(
tlH' Father. l-i'riti11,es a11d f11rcn•1n1 1s, 192J-t9()i. e-d.
MJric-LJUl"é l3i.:rnadc1.c: .u1J Ham-Ulrich üb-
n~t, c:a1nbrídge. t\lA, ,111J London. p. 301.
18 c.:oncé ·s 1nvent1on can1e abouc becat1~e
graplucc ,va~ 111 5ho1~t supplv i11 FT.111c:c dllnng
d1e N:ipolco111r Wars. Tht: terlu1ique ,va~
devcloped 111 the graph 1t~·-rroduL,ng arca~ of
(: u1nbcrl.111d. \\idt tbl' l~1ull1tis \Vood-t:11t.1sl'd
1)enve-nt penei Is heing n1.1nut:1l°htred rn Cl'll-
crt·, $L1Ch JS Kcs\\·ick ItoJ., of 11.1cural µrJ.plntl'
h,1J hee11 !!lui.:d 111to (,,111,n.:) \\ ood 1.'1h ;1s111~s
in Ur1t.lin :ind {,ern1,1ny i11 thc n11d-,l'\"t'11-
tl'ench tl'Utur). ~i.:l' l ll'nrv 1'1:trosk1, 11t, f>r1111/
. 1 lli.,t,>ry t!} Dt•s,.1[11 111d C11·,11111,t,J1111' l 1t.>~YI ,
1 nndon .1 nd B,1,rlln \1.\ 1•J<JO, pp. 6o-ú6
r9 ">l.'c Aloi, Scncf't:lder, 7711' /111 ·r11l1t>11 <1( Lit/10-
~rt1phy. traus. J. W MuJler. Ne,\ York and
l ondon: 1-uçh~ & 1 ;ing, 1911
:!O Parer ,v.1s 1ntroduccd u1ro SpJ1n fi-0111 chc
M..ihgrcb .ind MiJLUc C,t~l C/Tt'II 1150. 5t•~
l)avid l .tndáu .•1nd i>eter P.1r<,h,1ll. "flu R1•n,1is-
s,111rc l'ri111, 1-170-15511, NC\v 1-favcn. IT. :1J1d
Loudo11. 1994. pp. 15 11.
.!. I The ,lL 1d1ry of 1nk 10 tel t-llj'pt'd 111arker,.
,vh 1ch led tô the prc111::iture de,cruction af
111J.Jl} ,li.:tchbooks anJ 11oti.:bool,..~ 111 thc
lt)<;O, ,1nd 1960;, h,1, <htcn,ibl} hccn adJrc,,t·d
h) ,on1e 111.anufacturer&
.:!2 These ,tn.· 1n,u1ul;iccuri.:d 111.111tlv undi.:r rhc.:
C'.once hranJ n.une. Jlrhough these a11d
'
n1odem l ' ontê cr.iyon~ bear l1rde rel.iuonsh1p
to Ll1c 1UJll'tt'eui,b-Leütury proJuc.:c:..
23 C'hine,e 111k, (\,hí,h c,u1 be thuu\eJ \\.Íth
,vater 1nto snbtle ,vashes) arl' n1ad.e ti-on1 p1nl'
soot ;:u1d glul'. n1ixl'd 1nto :1 pJstc and Jr1ed.
lndian 111k. \\hiclt h.1s a rt.-..;i11ou, ,heen. 1\
,vaterproof. l:lí<,tre (~vond ,()or rnk ,vrth the
cars excraclcd) \o\'llS 1 popular 1nk 111 tht.
seve11tec11th and e1ghtce11th ci.:11 tunc,.
24 The An1encan pubhcanon by llalph M:iyer of
r940, w l:11cl1. dcal, .irros, the bo,trd ui recLpes
and tcrl11uqt1t.:, l>f p,1i11u11g ,L, ,vcll as dra,vin~.
ha~ gone 111r0 lour cd1rt()ll~ and e1ghc repnnh.
1hs d1crionary of art cernis a.nd tech111ques 1s
no,, .e.sucJ .l!> Lhe Ct>l/ius Duli,1u11ri• v(ilTI Ti•ri11s
111111 ·a•du1iq11es (1993) '-111111l,1rly, Max l)oer11er,
'J'/1c 1\ f,11eri,1/., t~/ rhc . lrrür. hr~c publbhcd 111
l?,n~Li~h in 1934. \Vc11t i11tu 111.1.nv 1.·diuo111,.
25 St.>e Cl.1ude Lt:, i-StrJU'-l>. 77,c Rau• ,111d 1/1<'
(.'i1(1kt>d: /111r<1tl11r11n11 (11 a S,1i·11a1 (~/ .\ 1rr'1tll,(ey.
Londou: Pc.ngu111, 19(16.
26 rn>Jn 1-lenn Mil hátl\. 'En pcn~:int au ph.:nu-
111C'lle de.- l.1 pt'inn1re' [ r946], trans. M1eh:1el
Fiuebcrg (f:i:Qu1 f>,iss,(1/L'S. Pan~: GaU1111,u·d, 1963)
in H1•11ri 1\ fic/1,1ux , 189g-198,1, London, 1999.
27 Warem1arks, ,v1th thl· logo of rhc n1a11ufi1c-
turcr. Jrc n.1J<lc uf \\'Ire, anJ \VO\ t.U or ,1.:\\ 11
111to thc fint 111e~h tlf p,1p.:r-111ak111g 111oulds.
Such n1oulds .1re lo,,ered 1111n trough, of rrt·-
pari.:d \\·ater) puJps n1.1dt' out of ro!ted cellu-
lnsr.: (,,·hcthc1 nii;-;. t olton ltnter~ ur n.1nir.i.l
hh1·t...., ot other ~orts). tht'n hfred f)Ut,... hile che
,vatcr Jr.uns ;t,vav (cou(.hcd). t11rned out on to
raL.l,.s .111J tl1~ ,bl'l'b J.Jt: Ju1.:d. Tht Jecklc
t'dge. or ragwdy rl1111111ng t'd!tt> oi ., p1t>çe 01·
111ould n1.adL· pJpcr. Ji~t1111:,11.nshes it tmn1 thL'
cut cdgc, ti( 111:1Lhi11c-111adc papcrs, but c.111 be
11niralt:d.
NOTES TO PAGES 116 122 449
 P1trrc (, ( r cl. 'l h l)r \Vlltt:, "r M110'. u 111s
B111,~ra I ho,np~on .,nd Andre,, IJt rnp,t·\ 111
Dr .1 111~ bt \ /,.-, /1 "" 1!11 1r11sr s '-111d1 ,, ,111,/ rh,
J, ,11 \J,, 1 f-,,1111,/.111 ,11 B,,r.-1•!,111<1. Lundon, l<J7•).
11np;t!'.?,111., 1ed
N1 hnl.i ll1111< r :ind l irol l'lazz<1tt.1 , /)1,111·111~.-
/11 { ;11crL111,, /i,,,11 Bririilt (,\1/lt ti,,11.,. Loudou.
I•)•) 1. p (t} f hc: J\l!L ht'l.111gc:l11 1 nl111.1r\ h,t 1,
111 1hL· l as., Hunnarrou. 1 lnrenre.
10 ()11 p.1pcr 1J1.i.k1ug. ,c:c: l lunccr l).ird. /',1p,1•
Ili i/.:,11~· 11,, /-/1,1,,,r .11,d 1,~-/1111,,11!' ,!{ ,111 11u1L'III
(:r,1/1, Ne,, '{<>l'k .111d I ond,111, l•J-17, n..'p1111tcd
1•)7--1, JolllJ lv.tll , l :l(i!li.,J, lr/1.,1, ' l',,p,·r Rn1.i1s-
•1llllt r,,
Rt'.1!<//<), LL>Jldon. fn.:ro1I. li)~"'. \l
\\all.1çh cc ,11 <>11 l'ap, r 1/Ir H1 c/,>ry •~f ,111 -l rt,
NL•\~ Yurk. NL ~, York l'ubhc L1br.1rv. T!.)91:
•
Pc:tL'T D<'\' .:1, Tr1111rr 's {~11111,: 1 <itudy <!/ rli,
- 111 1, ,\t'/r /i,111 1111,I l -.-t n( /11, f)ra1/'ÍIII!.
.\ /,11111/,1,
/>,11•1 rs. , ;$7-1.'iZcl. Londnn: Tare c;,tllery í'J\)O.
.11 ,\l·lnr<.l111g Lo ,l1w:.. es quot.:tl Íll Mcd.cr, T/1,
\ /,1.H1 )' •~J l)r,11,•111g. tr1n, A111e~ (vül. 1. pp. 140
.u1d 150), 1111p1•r,,1/c n1cJst1rcd 7+0 X 500 111111 ,
rc,di (ru\..U) Úl.'i x 44,'i an, 111t'::.:::,i111· 510 X 345
1n1n .1111.I r1\11tt 4 ,o X 3 15 111111. A 111;1rble pl.tqut·
111 rhe V1a Art .1sc 111 Uologna g,1ve the st.u1-
tL.n.l IUed!>urc~ of Cbl lour ill'.t'S. A~ i~ \Vell
k110,v11. che 111,tin \ide of ,1 dr,1v\o 111 g ~het'I i~
retl'rrcd to .1, rhe rcccn, ~nd che under\1dc
(H~t·U oit.:u U\l!d) as thl vet~o.
'\rntl.'.111111 (í)11 tlr<• Tr-111· Pil'c'Cpts ,>( 1/11: lrr ◄ !f
l',1i111i11,f?. p. 148) dcscribc, ho,, c;H1l1<1
I,ou1a110 ,111,J Pohd.oro uscd cb:ircoalc:d papcr
to tr.u1,ti.:r dr,l'A i11~. (T, ,Jn\pan:nc p,1pcr for
copy1ng ,v.1s kn<1,vn as r.rrr,1 /11rid,1.)
.i3 Cockling 15 Lhe tech1u..:.1I t('Illl for tht· cr111-
IJ.u1g or pap~·r fro111 hu1n1d1ty. l.llliCd by Üll'
d1fft'rcnr r.1re of ,:1C11r;ni1)11 ,1nd dry1ng of t'ibres
th.n pull J¼,t;.1U1St c.1ch ocher.
Sce tê.1olu0Le 5. eulr,· 011 llodolpht 13rcswn iu
'vL1r!,r.irer Morgan ( ,ra~~elh, ed.. ·1ht' 7i,11c/, i!_/
tire. lr11;1 \l,1s1t•r Dr,1111111(!, fro111 rhe I H1t11/11tr (.\,/.
' .
lt'dit111. Waslung;to11. L>L. 1995, p. 374. llre~ilin
r;1ught .111d 111flucnc-ed rht' better-kno,vn Sy1n-
bol1,c l)d1h.)11 Redon.
3S Thu. 1s J. reL1t1vl'lv lJtl' ,vork. aud. uuu~ualls.
1he fhl.1t1ng auge! be,1r11ig fto,ve1-., 111 che upper
rci,ri\tl'r ,1nd n1rn111g co,vards God the Fathcr
1s llr Jlli>rL do1ni11,111L thau Ult' pJJc Úf>'l.trc of
tht: Virg111 bl·k1\\, .1b\orbeJ 111 ht'r hook.
3Ó <.,ut·rcino alsn ,omcnn1cs used :i lighter b1~rre
111k u1 h~ln ,vashcs. Thc co1rosivc c.:ffi:cts or
1ron-g;:.11l 111k att"t'h:r;ltt' ov.:r d1e yt":lrs. St'e
H 1n, \\1n der \X/111dr. ed . /n111-Q<1// lnk c;,,rro-
,;,,,,. Prt•a•cd111,1f) •!f rl1t E11 ropt'r111 1,1ín kshvp 011
lro,1-i:,11/ /11k C:11rn1sio,, • .f1111e 16 and 1~. 1997.
Rotct·rJ:un M11,e111n Ho1J1nan~ , an Ueu111n
gen, ,1nd Anl!icerJJJn: Ncchctlanc..ls ln\l:ltute for
Culn1ral ITerilJg;t. 199'7.
37 ·.. . 1111e 1;,g/1e,.11· llll '011 nt trouye d.1n\ ll'\
l)e,~c111s d'Juc.:un .1urr.: fv1.rutre'. ljllütt.d 111
Turn<.:r and PIJ12ott.i. l)1,111•t11ft/S / )' (;11,•rrin,,
fn,111 Hr11islr ( ,ullc,·rit111s, p. 1.1 ,
150 NOTES TO PAGES 12'.! 131
l't; 11111111) J' Anw·w C Cllilllll, Tlit· C'r.1ftsr1t,i11 '.(
l /,111.lb,>,,k. 171, fr,1/i,111 •Tf Lil,r1> de/l'.11/t · 1 t.J.37 l-
rr,111s. 1>:u11el V.1 hon1pso11,Jr Ne\\ Hoven. < 1.
1933: rcpr.1ntcd 1960. p. 8.
T ht (,er111;u 1 co111 101s~etir Ph d1p l -J,unhufi:1
JS\t'rtcd rh:n v1rrno,o pen dr:1\?\1n!:,rs, /·1•d-
rrk11111st1ickL', ,v..-rt p,u·ticubrl) Yalued I n 1 lcttcr
oi" lí> 1o. yuotl·d 111 Willi.1Jn W. 1,obil1$oll a.u<l
M 1rrh:1 Wolr. ··rht· Funrti<,n Qf l)r:l\Vlllb,", in
thc Nt·therLmds 1n thc \1xtee11th ( enrt1r\''. , 111
Juhn l1li\'cr l l.111cl ~·t ai., TI1r .--lgc o{ Bl'l'<'.~t•l:
,1\i1 rltc-il1111d,slt l)r,111•11~~' 111 1/11 \1x1,·1111/, Ce1H11ry.
\Vash1ngton, lJC-, ,md C:unbndge, L91"16, p. 36.
-1-0 Mclcllior Lon. h rcputclUy wctl in Copc11-
h ,igt'n ,1frer yt',tr, t1f tr,1\·elli11g 111 Europc·
and the tvliddle East H,s :.1Jhun1 L)r.s 11 r/c-
bcr11/1111r,•11 K1111s1('rcichc11 u11d lfi,lnfi1/1n1c11 licrr11
,\ fel. f1i11t L,>n.-1,s F"Jc11b.-11~..rt·11s1s íl 'i{~crissc11t1 1111d
c;1•sc/111irtc1u' l--1.~11ro1 .. \vas published n1
1JJ.u1bur~ i11 1626.
41 ln th,· nineteenrh century Gorttrit'd Se111per
( 1803-r 879) :irsrt1ed in S1ylc ir, rhc ·1cc/1n1r,1/ and
1l·c1tn1ic ,•lrts; <•1, P1·,1c11ttil _lt'sthctics (1 1860 63 J.
tran~. 1--1,u ry Franc.:1~ M,11lg1,1ve and Nuch,1t'I
IZ<ihtn~on. Lo~ Angeles, 2004,) char geon1err1c
p.ittcrr1 O\v~J it~ g,en.:si, J1Jd pu,vcr to the
in,i~tcnr verttc.i.l .ind hortzonta1 ,v,,rp Jnd v. eft
of ,vovcn text:J le,.
.µ A sl.Jghtly diJierent v1e,, of thc sJntc sct o(
bl1Lld111~ is t<\ be fê.,und i11 lhe Fog__g Museurn
of Art, H.irYard Unive-r,1cy, (~3111bndge, .VIA.
=d jc lS sugg.:sted tha.t they ,vere both
~ketclu.:d iu ~p,1i11.
A dr.iv. 111g of che ~;une g:irc\vay (v1ev:ed
fi-0111 chc other sidc) i\ ii1 th.: Fitz,villi,u11
Museu 111, Carubridgl' (PIJ 127-1961). lc is pro-
bahly rrlnted ro orher n 1ral land~cape~ and
btulchttgs donc in late 1759: see George Knox.
[ ]11 Q1111d,·n1,1 ,li l'edurc l110,v dispersedl dí
C;1,1111h,11ttsta e /),1111r11ir11 7 1i:p,>/e1, Venice: Elecca.
1973, p. TO.
-1-3 Arn1.:nini. 011 1/,c Ji-r,e Pn•et·pr~ <!{ ti,(' .4rt e){
P11i11ri1ig, r- r 25.
-1-4 c:1lp1n, 71,," Ess,iys, p. 12.
45 This nuúon wa~ fir~c ~uggc,ted by thc 111Jjor
(:ldlttk· ~rhobr Marcel ltocthl i~bcrger in
C!r111d,· Lórn1í11: 11ie Dr,1111i1~f!S. 2 voh,. Bcrkelc,.
<:.A. 1968. vul. 1, p. 169. a11d li,b bc.:Jl pur~ul'd
by l)an1~h schol.1r c;ust:iv I orenzen. Joachim
\'On ~andrart ,;,.•rote :1bout or-icntal .1rt 111
,,,011 der dii11cs,·1 .,1;,1,f,·n•11 (cli,1pttr xv1), in
h1, li1111sd1<' rlkurfe111ü• der edlcn 81111-. Bíld- 1111rl
,\.1c1/,/ercy-Kii11scc, 2 vob, Nurcmb~·rg, 1675 (vol.
1. .xvi. pp. 100-03). and pu~sibl~ l1e and Claude
111t·c rhe (Terman Jest11t K1rcher, ,l c: hinese
schol.lr, 111 l~o,ne in JflJj. Tbe i11.fh.1.e11cc .u.
p.u-ricul,u·ly ~trong u1 Cl,11.1d.:'s t!r,1,v111g Pork
J 'ie11
1
1n thl' A~h1nolt'an Museurn. ()xford
(\.fllll 3 'i7)- Scc I 1. l)une n.. ussell. Claude Lor-
r,1111. 16110-168~. Waslungtou, uc. 1982, p. :!21
c;1,1ude, srud10 \kecchbonk~' o r alb11111s. ,,rhicl,
bad long hecn pullcµ .,p,trt. ,verc.- roncepcuru.l~
reasse111bled by R..octhlisbergcr ;iccordíng to
p,1p.:r ,ize, .i.11d ,ubjccl 1l.Llttcr. rIe 1.LU11cd
then, rhe l.;arly Skerrl,bvClk, c:,u,1J><~l?llt1 ,1nd the
'J 'it•<>li book (nat11n: stud1cs), etc.
Gilp111. ,vho ttscd such tonalitic~ in hu. U\Vll
c1ght vol11111cs of che lbur 11 ilw Lllkc.,· (177.1).
,vhere n1,u1y of rhe dravv1ngs are ov.il 111 ~hapc.
.1uvi,cd J.!l ovi;rall \VJ.l>h u[ gau1bog(.• and
brO\\T1 tor rough ,kc:tche~. V. hich •give,
barn,ony r<) che v. hole .1nd rakcs off tht·
Lawnc:.s of ,vhJtc papcr' (7/l•o Essays. pp. 13-
1-1-). Thc dev1cc of chc Claude glJs~ ,, assoc1-
ared onJr by naine, btit ,v:is not en,ployed by
the arri~t.
Fro1n rhe c,1tJ.logt1t· l-le11.ri ,\ l,tliss,·: <V111·n•
rérc111cs, 19,17-8. Pari~: M nsée NaC1onal r.i' Arr
ModtTnc, 194y, p. 21; quotcd 1n Eng-lish in
.John Eklerficld and Mag-d.1len,1 Dabro\vski,
'f71c l)rn11 1i1,gs <?( l-lc11ry 1\/nrissl', London, 198.f.
p. 128 .
M,icthia~ Grünc,vald a11d 11iir<::r \tuc.Jied ,, ith
Michael \Volge111ut. a pioneer of the print
u1dustry. Dürer's draw1ng of rhc Lc1dy o{
/\:r1rt>11tl1rt,I/ Dre.;sed j.>1 Cl11t1rh ( 1,00) u1 t11c
l:Jriri,h l'vlnseun1 en1ploys :r bnght. ac1d-yellov,
,va.tcrcok1ur, aud thcre is ah.o a ve1:s.ion in chc
AJbertina. Vienn.1. The Virgin Mary in Grüne-
,va ld'~ 1ln111111c111ri1111 1n rhe Berlin Kupfer-
sáchkabinett, Kdz 12040 also v\'ears rhis
p leatcu drl'\~.
50 Arrnenini. ()11 1/11: 'Jhw Prerept$ 1(/ 1/te .-lrt (!(
Pai11lí11g, pp. 126 and 127. For ~arlicr usagc.
see- Clain:: van C lea,·t·, 'Tr,1d1tion i11 the Earlv
1--hsrory of l31at:k c:halk l)rnv.,ng'. 1n F/ore11-
ri11e Drau1i11.rt ,11 1/1e Ti111c ".f Lorc:11..::::,1 1/,e 1\,J,1,~11i-
_/ict111, ~d. Elizabcth Croppcr. Uolog;na: Nuova
Alfa 6diror1ale. 19\.14, pp. 231-43.
51 Van Hoo~tr,1tcn. cited i n Mcder. 771e .\.Jas,crir
of Dn111•i11g. rrans. Anies, \'ol. 1. p. 1,: 'If you fe.1r
that your dra,~'Íng; made w1th black and wh1re
or other coloured chalks ~vill ~mudgc a\V,I),
Ll ll'.ll rui a ~quarc tub \.VÍth \V,ll<.! 1', Jdtl equ,LI
parts of g1.1111 arab,c and gun1 rrag:icanth until
otly spots appcar on rhc 'A'atcr. You pass your
Jra\ving~ through thi~ to prcvcnt the c;rayon
fro1n ,Ya~hing oft:'
Skctchcs fi-0111 this notcbook are in Florenc:e,
Gallcrta dl'gli Uffizi, Gab111euo Di~c.g1u e
~tan1pe.
53 Filippo .13alchnucc i. 1i>cc1bolr1rio t.>sr,1110 de/1 '.irrc
dei di.,~t-g11<>. Flon:Hce, 1()8 1,The g.:~~u hi;: refer,
to i, eirher pb~ter of P:1ri~ (calcined b'Yr~u111)
or ca.lcn11n carbonate, boch of \\ hích \verc
Lon1111011ly uscd a~ \Vh1te piginent. J\ vvcll a~
~vh1te china cl:iy.
5-1- Ln lZ.1ph:iel'~ S1,ulic.s .f~r II l/j,~~;,, a11rl C!,i/d 1rit/1
Sr ]1>/111 in tlu: A\h 1nolean Mu~cun1, l1xlê.1r<l
(P.11.518) a pale bro,vn i11k ,\P.Jsh has pickt'd
up on thc retl u ndcrdrJ\\'l ll~. nnd red cha.lk
has .1.1'0 becn .1pplic<l into the v.•er ink. Br1gln
red san1:,11J1nt> ,v:1sh wa~ al~,1 ~on1rt1n1es u~ed by
c.;oya..
 St't: Jererny Wood, R11bc11s: Dr,111'il(I/ 011 fraly.
Ed1nburgh. 2002. p. (12. Tht: entry states:
·rerouched by an Arnsr 111 J-tubens·s Work-
sllop'.
Edn1011d de Goncourt, C(1talo,11.11e raiso11111~ de
/'1t'11flre d'/l11toi11e fl 'i11tern1, .l'ar1s. 1875. p. J.J.6;
quoted in Mcdcr, T/1c i\lastery q{ Dr.111•i11,11..
rnns. A111es, vol. 1, p. -100. He continues: •Let
us re111ember rhat 111 the e1ghteentb cenrury
NlaricttC paiu 300 ... or 720 /i!'r/!S Cor COl.Ll1-
Lcrproolii fr(H11 aoucha1·don ..
57 .Edmond de (;oncourt and Jule~ de (~oncourt.
L'arr d11 dix-/111iric111c siédc tra11sL1tcd as Pre11d1
5ig/itce111h-fe111ury Pl1í111ers j 194.8J , tr,111s. anel ..:d.
Robi11 lrons1de, repnnced London , r995, pp.
301-2.
1~ ubens \Va~ particular!} intere,ted i11 clothcs.
as ,vc kno,v from his Cosr11111e Book 111 che
Briash Museuu1, \vb.ich t11nge$ fi-0111 four-
ccench-ccntury 13urg1.1ndi,:u1 courc fasluon, to
11.ir~-ish, Persian and Ar;ibic- dre~s. Hélene or
H,..!lcna Fourrnent lived fro111 1614 to 1673.
The ver) Lecl1tuque ti 1at is still e111ployt>d
111 c-on1purer m.1111pulattons \Vhen cut-out
ice1n.s. parcicul,Lrly phocogc:iphic-bJscJ one~,
are 'pa.<,ced' in to rte\v ~ituacion,, and 'feachen:d'
through serraced edges ro disguisc chc- joíncs.
60 For exan1plc, the oil Sc.Jf:Portrair of rirc.1 1770-
7,s u1 the Nacional Portrait Gallery, London,
,vhere sh(• hold~ a portfolio of dr.nvings ;ind
a porle-crt1yo11 in her rigbJ ha.i1d, ,vb.ile indicat-
in~ her body ,vith the lefr. Rauffinan ·~ racher
long nose ,vas lan1pooned by Nachan1al J )ance
(173.5- 18r r) u, his wickcd littlc drJ,>.ring ofher
~houting inco Jo~hu.i ReynoJa~·~ deaf lefi. t·ar
as he l.c:111~ cov.,ards her (rira, 1766; Eíirl of
Hare,vood collect:ion, Yorkshire).
61 She ,vrocc a diary abouc tlus significanc ~c.ay,
,vh1ch wa~ pubhshed ,eve-ml decades !ater. ;ind
promoced thc nJedium in a laccr succcssful
trip to Vicnna (l~o~albJ Carrier;i. Diari<l dt:~li
<111111 1720 < 1721 scrir/(1 di provria 111ani i11 Par(f?I,
Vcn1cc: I} e. VianclJi. 1793). ArtL~ts' 111anu.ils of
the e1ghceentb ccntLLry that provi de rcc ipc!> for
~tudi0-m,ide pastel~ ,ugge~t di fferenc b1 nding
mt!dia for \,u:ious pigmenrs, u1cluding rnilk.
fig ju.ice. n1iJk, beer, oat111c.11. \t;1rch and plaster
of Paris.
62 Leonardo da Vinci, Codcx Adnnncus. M1l:in,
1)1bliotcca Au1bro~i,u1a. lol. 247. Scc Gencvievc
N\011 n1er, P,1sre/s jf()l11 tire Sixt/'1?11//, 1,1 1/w
li1>t'llliet'1 Ce11/1"°)'• Geneva, 1984, p. r3.
Arn1.c11i111, Oil t/,r Tn1c Prcrcpts (lf the Art <!{
f>(IÍl/llllg. p. 120.
~t•e Cha.rles Den1psey. ·1-edcnco B:irocc, ,1nd
the Disr.;over) of Pa.,Lcl'. in Cc1Lt,, ,111d Tt!dr11Í,flll'
i11 l{1•t1,1is~1111re JJ111111i11.~: lt,ilJ• <111d rhr ,\.'orrli. ed.
l\tlarc1a H. HalJ. Locust V.11Jcy, N,: J.J. Al1g1.1srin.
1987.
úS I)e la Tour. ,\ J,1tln1111 tlc JJ0111pado1tr, 1748-55,
pa,cel on grcy-bluc paper ,virh go,,ache h1gb-
li~h~. the C1ce ..:uc oul a.nu 111ountcd on thc
p.1per. 177 X 130 111111 (Pari,. Must'.·l. du Louvn:,
27614)
66 Sce 'Jrr11té dei la pei11c11rc ,111 pasrcl. Paris, 1788,
pp. 330 U-. Act:otdiug lo Jane McAu~l.u1d. ,\
toren1osc Bnti,h paper ronscn.icor, pastel\ ,an
bc cicher &i.;Jbk-. pO\\'UCf\ or loosc. Vellu111 v,a~
a Í.tvoured \t1pporc of 1bc greac S,v15s pai,tel-
li\c Je;in-Eriennt' L1ocard ( 1702-178~).
1'he Ca/1111111y i!f Apcllcs: ·on Apelles appe,1ring
at a bai1qucc. tó \,\ hích hi, rival bad 111a.lj-
ciousl; induced rhe k1ng\ tool to invite h1n1,
Ptolemy flcv. 1nt(> ,l p:1ss1on Jnd po1nnng to
lus chan1btrlai11, bade hin1 ~ny fron1 ,,vhicli of
the111 he had rece1ved che 1nvicatton, ,vhere-
upon the p:uncer. sn,,cching up a charred stick
lc,1rl1ó11e e.\ti11ctcJl fro111 the h1:1arçh lrat:c<l on
the ,vali a bk.enei,s. in ,vhose tirsr stroke~
chc kíog ac once rt'cogn:iscd rhe f:icc of che
fooJ' (TI1,c E/iler filin)''s Clt,1pter.s v11 tltt llistvr)'
,2{:1r1 f189()l, trans. K.Jex-Rl,ilçe, t:cl. E. Seller~
Jnd H. L. Urhchs, reprinted c:hicago, 1968,
p. 127).
6K Giovauni Pit:cro Bt·llor1. "f'hc L111es ,!{ -l1111rlit1/c
,111d rl,(IO.irr11/l Carrarn, trans. C.~atht'nne Enggass,
Univcrsíty llarl,.. PA. and lo11don, t968. p. 16.
Vesahu\\ h,1bir \¼l'i notcd in 1:s-10: . '\vith 11,anv
1lluscrar1on:'i he sho,·ved us che torn1s and shape
of Lhe n1usclcs, skctch111g: with .1 bit of ch.tr-
•
co.il on che .1n,1con1y t;1bh:' (R. Eriks~on. e<l.
,1nd trans., Andrf'as J.'eI11li11, • Pir.;1 />11hlir ,-ln111,1n1y
i11 B<,li1,Rt1t1, 154a: .-i11 Eyc'tl'il11ess Rtparr l>y B{l/-
d,1sar 7-Tesl'lcr, Upp:;ala: Ahnqvist anel Wikselb.
195y)
Certn 1111, TJ,c Cra{rs11i.111 's / lt111dbo,1k. pp. 17. L\),
4 3 anJ 75.
71 1 he díarist Ceorgian.1 McCr.:ie ( 180 1-1 ~90)
dc.-.cr1bed ho\v her drav,ing rnaster.John Varlev
sho\vcd l1t: r h,>\~' to cure her O\Vll charcoal
sncks. (Hugh McCrae, ed., c;r11~1!ic111t1(~ Jo11n1nl,
Pyn1bl<:, Au'ltralia: Anj.,ri.1s & Robe1-tson, 199.z.
p. xix).
•('harconl v,ants to be tied to a little cnne or
st1ck, so thac 1t con1cs son1e discancc ti-0111 chc
fi~urc; for it 1s a grcat help tú you in L 0111-
po~ing· (C ennin1, Tl,e Crq(ts111a11 '.~ l-/,111tlbc>1•k.
p. 75). Thc photograpb of MatL'>.'ie dra,ving on
tbe ,vali, i íotel L..: Régina. Nici.:, i~ t.1.iL..:d 15
Apr1l 1950.
73 Ja1111is KoLI11ellis. t ·11r11/rd, 1979. charco:tl. paper.
arrov.·, ,1nd sLulTcd bu:d~. 3600 X 5000 1nm
(1.<)n<lon, T~te. 103796). Th1, \o\'ork ha.~ to be
rcdr,,,.,..n cac-b time it 1~ in.stalled.
74 Durautv oll thc wsk of u1odern d.rJ.\víng ili L,1
No11vl'llr Pc•111r111·(•, Paris, 187(>: 'The penei! v.·ill
bc sret'ped 111 rhe 111arrow of líle. We ,,,11
no lonl(c.r•
sce 111cre ouLW1cs rnca~ur..:d v.·ith a
con11x1~,, buc an1111,1tcd expre<;~1ve fi>rin,, )()gi-
ca lly deduced fron, one anothcr · (qu,,red
u1 Linda No,hlin. /1111'rcss1c1r1ís111 a11d P,1st-
lt111>rcs.1io11is111, 1874-1904: Sources ,111,/ Dnn1111t•1115.
Engle,vood ("lilfs, NJ. 196ó) .
75 This tl.ra\\i.ng b ob\'iou~ly rclaccd to thL·
sh~lnh
. fi·ee1 eh,trL·oal d1 .1\vi11i,: 11> the Mccro-
~
pohr:in Mu~cun1 ot An, N,·\V York (1991,.41 s),
1l1l1it1,111 f-aa·, (T n•11r,1l T'ic11· ,1111/ Prrfdcs,. \vluch
I', !;IVCll tlJt: lal<:r dJtC oí t Írtcl 1 /'Í\)\). r1i~ lu\\'L'I'
profile Vlt:\\ (lf che frontal. ni:1sk-likt· t~1rL· 1s
,;Jightl) S1nallcr, b11t is cli.:.1rly chc sa111L· fate.
76 Prcl ÍslOlll~ill v1-as .lll AnlCTICJl1 IIIOVCJ!ll'lll of
the 1920,. ( harlcs J)en1uch (1,;1<3-193_;) .1nd
Gec>rg1a o·Kectfc (r887 1986). J~ \\'cll ,1s
<;hcelcr, cxhibitcd in group ~ho'v\'), Jppl\i.ng
1netículo1.1~ rechn1,1ues to 1ndu~rnal suhJeçts.
77 Willc111 (:ocrcc. ,'-111 111rrod11crr<111 1,1 1/rc C,,·11cr.1/
.tl ri <!f Dr.111,i11g ... Tr11/y Tr,11,s/<1tcd í11t,> E11~lís/1
by _J L., 1 ondon: tor l.J...oh. Pr1ckt·, 1674. p. 21.
78 [urner a11d l'lazzoct.1. /_)r,11l'i11.i:s b)' C11erri11,1
Jro111 Briti~I, Collcaí,111;, pp..l6-R. Thl: Lconar<lo
rec1pe is quoted in Jan1es \Vacrou,, Thc r.ra(r
•?f (J/rl-.\111,n•r Dra11 1i11gs 11957j, Mad1son, \VI.
.i.nu LouuoJ1, 1967, p. 11X. The 1ucLÜu111
r.eg,;11111:'d popul.1nty 111 Lhl." scvenccenth
Ct'11 rury in rhe Netberlands, ,vith R.ubens, van
1)7ck anu JorcLens.
79 C'lu·1snan Schnl'e~ass. 'll1rhard Serra: A
1.3al:i11i:1ng Act'. 111 Pan1el:i Lee ec al., 'lJr,111•11~~
is .111,1//,tr Kitul t!f L111x11,(!!t'': Re<r111 .l111rrfr,111
. Dr.1111i1\(?S .fr,n11 " .\'111• ) i11k Pril',tte Cc1//1,a11111.
Carnbridgc, IIIA, 1997, p. 173
80 1-te111brandt apphed blJck oi] pa111t on top
of rt:d chalk re,vorking., (\f a cut-up pt'11 ;JllU
1nk ,ketch 111 :i L-omplex 1111 xed-n1ed1:i
dra..,,ving, chc L1111i·11/alit111 r1/ t/1c F<lr>f 11{ thc
Cr,~-•s of drc,1 t634-5 111 the Brili~h tvtu,eun,,
London, 00.9. ro3. l lus \,·ork '\\"JS fi1llo\\'ed by
J ntuch. clcarer oil skcrcb u1 rhe ~J.lional
Gal lery, London.
81 Joann:i Wood:111, ' l)rav.·ing in C<1lour', 111
WoodaJl C[ al .. Pctc1 Paul R11/ir11s: 4 J,,,lf/, ,,r
Bril/i,111tt'. Oi/ Skc1d1cs a11d .Rclatrd l l f>rks Ji,1111
t/,c <icarc Hfriniragc Jl11se11111 1111d t/,r (.011ru11tfd
l11stit11te G,iller}'· Mun1c;h and Ne,v York. 2003,
pp. 9-21.
81 Thc gr:1ph1c<1lly prolifi, c:astigliont''s t.1,te
for dran,atu: chiart1sc11T11 ,vas based 011 the prinrs
of Rcn1br-Jndc..11.:cordü1g to h1s b1ographen,
R.af.1t>Uo ~opran1 ,111d C.1rlo G1u~1:ppl' IZarc1.
See Carn1cn e.:. U:unbacb and Nadine \ll.
On:11~teiu, Gt'11,1,1: Dr,111•i11gs tJttcl Pri11ts, 151<>-
1Soo. Nc,v Yor~. 199(!. p. ,13
!>3 Thcrc 1s a sn1::ill nu1nbcr of kno,vn rnonorype~
by Bcnedctto CJ.sughone. u1clud111g rhc
,rude 1nLl ,pontaneous 811.11 f!( ,111 Oric1110/ ;,,
firr/1/c 1n the "ltacens f\.1u~eurn f{)r Kun,r.
Copc11hagc11, Thc :irci~t li..is t ovcred :1 platc
,vith pr111u11~ ink ,111d th\.'n ,crat(ht·d through
\,\'lC 11 ,1 \Vonden 1nsrru111ent. perhaps ~1111ply th e
bac.k oi J br ush. \,·ith ,oml' \v1p111g ,v1th J
t·loth. then 111.1de .t ,inglc squcezt· frun1 a prc~,
011 rn d:unp p.1pt·r. <;11d rn,T1111.~ ,-li/,1111, 1(qo-
+~- 111 tht• Art l11sr1rute of C'h1c1gc, (1985.1113),
1s c.:un~idcn.:J to bt: lu, ~arhcst nH,nOt\ pc.
'\;(),//, 1111d tl1c :111i111,1/; /·111rrr11i: riu .'lr.l•, 1(1,0-
55, 1, 111 che Urui,h \,tu~cllDl, London. and .1
NOTES TO Pt...GES 132 42 151
 pt nd f ui , 1 1 tht
li 1 t Art 1\Jt\\ 'iork
lhc~c ,,,,nd,rt11I ltuk \\ork~ lnók rn11ch
h 1pp1t1 111 tt:prodLILUor tha11 thc ~hglttl) <li\
turt<·cl ,.i]ul', of 1hr ,,n \lllJI,. ~e{· the t.1t.1-
logu, nl //i11111.1, / ,,,, {l -4~i.~1>J)· lu lrrisr
Rrdr~,1 t rt1I. C"d. 1\1111 Sullllll'.l' .1nJ Un:1'- 51111th.
Nl'\\ l l 1\'cll, < t , .111d 1 01ld1>11, 1.001
S5 r h1, \\';h rhe <ll'\l!,!111tin11 for ,1 group Of l.1nd-
,, :ipc, exh 1b1tcd ;11 the lloval A, .1dc•111y 1n
, .,~ _ '-L!L' jo11.1th,111 r~í)ero,,. '(,.1111,borough ·,
~ '
\.1rn1shL·d \V.lH'l'L"lllor lcçhn,lfllt'
0
• \ l,Hrn
D, 111'11I'<!. XX\1/J (L')X:-.), pp. 1:i9 71. 1 ;1111
ullk·ht,·J t,1 11ugh íl,·l,cy Íi>1 tlli, r~ f,·rt:111:c.
An att:t,k b,·
lió . P:1l111l'r \\Titten (nn,el'llí!Vc'IV
on p.i~e~ )f~ ;111d S3 of h1\ 1S.24 Sk,·tc hbook
1Lo11Jo11, Ur1C1,h i\.\11,eu111) 111.1kt:s a lOlllll'l-
ll"ll bet\\l't'll 011\' •
111,·d1;1 .1nd vul~lnt\" • •
\., :1d-
dling .1.lJcnn.u1 thr1r !adie~. ,rr.iddling1
)l.'.l ,,fu ltlll'- .1n<l 01I) . "'' uJ111Ü11~ ü1 gn.:.15y
gr.111dt'ur hk.e ,<ip, 111 dnpp111g ,,·or,hip the
unrnortal llubens' '::it·e tht· tac~1n11lc cd1t1on,
.'),111111t•I f>,i/111,·1: 771(' Skctrlih,,ok o( 182-1. ed.
l\\.1r1111 Budin. 11indon, JOO'i, rP- 10 4-j, ,111J
'L:001111...-nr.in nn thc 'ike-tchhook Pagt><i· b)
Butlu1. 1biJ.. p. 21
!i7 Je:r111H1t )1111111t·11 lÍ\Lt·tl Beuv,') 111.11t·ri,il, u1
·~hado,Ys of 1-teality'. 111 Joseph Heuy,. Herner
B.i-UJJl a.nJ Jc.1Ju10L S1n1n1cn. _ft,slp!, !3euys:
?:1·1rl1111111,1/('tl-Ti·kc111111;nr1111 11tl,l!.I, 1\11 l i 11 l( h. 1979,
p. 86, lhl·y 111,lu,k·d: 'pt·nrrl .n,d pa1nc. n1bbíc\
blood .tnd pLcci:s ur· lish, pbo~p-horus .1nd irou
L-hlon<ll'. nulk anti fur111ture ,t.1in. •gold.
e11.1111el, silver le.11 and li-u1c': and hc drc,v on
·cnvclop<:~. book l(lvers, pagc~ frou1 ne\\·sp,t-
p<'r~ or 11otchoo1<, 01 lcdgers. \\ ali pc1per. i.;or-
rug;itt:ll ,·.irdh0arJ. ,1 h0 cr foi!. ,v,1x-paper'.
lí!i Sec Cennini. }7u· C..'r<1tis1111111'.( lf,111d/i,,,~k. tõr
rcc1pc~ 011 prepann~ ,u,d rintin~ p,Lpl'r~ lê,r
111ec,1lpn1nt (rh~prcrs v-xu, xv111-xx11).
ls9 ~ec rhe ver y co111prehe11s1vc cxhib1t1on c.1.t::i
logu, b) Gc.:orgc R. GoJJ.nL"r .1.nJ C,1n11<:n
B,nuharh ·11,,, l)r11J1'ÍII_I!-' ,1f Filtpp1111> Lt)'pi 11nrl
hiJ ('irri,. N.i,..., York. 1997. For the flortraft
~{ a }i,11111! 110111<111 ur lirta 1-1,15--10 ([011don,
l3nnsh Mu~l·un1) atrr1butcd to ltog1er van der
Weyden, .1nd J.111 v;in Eycl\ l 11lr1r.111 ,~( ,111
l'11k1w1l'11 ,\1,111 u( drü1 1435-+0 (Drt:sc.lc.:n. Kup-
fer~t11 hk.1bi11e1t). si:t> Fnt7 Koreny l.!'t ,11 • f:,1r/}1
\!e thcrl,111di;lt /)r,n1•i11,i?s /n111r _/1111 l'd/1 Eyck to
ll,cn111)'/IHI., Bi>Jth. A11t\vcrp. 2002. PP- JJ-5,
7~ l¾1
!)O C. .L'nni111, / 1w ( :n!ft 111,111 '., l-l1111db1•,•k. cb~1ptl'1,
V VIL
91 s~•·· Ern,t ,.111 de: We1t·r1ng. Rr111/tr,111dl fJ,r
/>c1i111n ,11 ll t1rk. t\n1,tlrd.1m, 1v9~. chaptcr J.
1J;:. Tiu: Uort1Li:ll1 dJ.1\\ Íng\ ,urn1111\,10nc.:J bv
Lnrl.'1tzn dt Pilrfr.11H l',ro de' Med1c1 are llü\\
rn thl· Kupter,t1rhk 1b111rct Bt·rlnt . rh, [),1111,·
cyLlc, \\i.:re ~pln bt.:t\\t'c11 thc E.1~l .u1d Wt·~t
,c<tnr, of tltt· Llt)' 111 191,. arHI tia: t xlub1non
-1s2 r JOTES ·o PAGES 1 12 1ss
S,111d111 D,1t1irl'lli: T71t Dr,ir11111_(!-' _for D,111/l'~ Dii•111c
( ,»1w,t,,, w,pl.iy,·J ili LonJon, Ucrhn ,lllU
l~o,nt' rn :!OOQ. celt'hrated che rt'un1tirat1011
of tht 81.'rltn i;ollccao11.\. ·recJ1111cal a,pects are
de~lt \\ ith Ul tht· final t h,1pter or thl:! C.tta.logut'..
1-'1lipp1110 1 1pp1 .1lso con1b1ncd d1ffercnr van-
t·lie, ot n1er.1lpo111r 111 h1s dn\\111!-,'S,
•).1Lt•()IJ,Udo JJ VilllÍ. Th·t1/i,H t>rl rc1i11IÍl(I!· eJ..
1\111 M,1hon p. ro5.
94 'it'L 1 i111othy Wilcox, .-!Jp/1(111.í(' U.f!YílS, ,s_r;-
IQI 1. l)i.1011. l l)l!li.
C)j \et· l ),·1-rel l:i 1)ep,,~St', 7r,1J1e//111,(! 1/1c Roi11bor,1:
/ /,, L1/c ,111(/ .-lrt q/ _foseph f:. ) oak11111, Ne\v
York: Mu~l'Ulll of Au1crjl.'.,lll Pulk Art, ,111d
J.1ck,on, M~: Un1vt>rs1ty Pre~~ of M1ssis\1pp1,
:?.OOT.
9ú Adi·1c111 lud,v1g ltichtl'r, ú •bt•11..,t•ri1111cn111_(!t'II
1·1111·, du11srlir11 1\/,ilcrs. f-r,111kfurt. 1885, p. 1,9:
quott'd .111d translated 111 Mrder, 771r ,\/,1s1rry
v( Dr,111 1111.1!, LrJ ns. A 111c~, vol. 1. p. 1 17.
97 Co11~cJblt' ust'd fix;1u,·l' in ,ts,1)c1.1cion \\'ith
h1s sofr gra ph1te dnl\Vin~. and is recorded :l\
ha\ in,r~ 'sl'f drJ\vrn°s t"t' ~vith is.in°las~.
t-, a ..good-
qu.ilit:Y gh1t' rnadc fro111 fi~h bl.1dders, v,htrh
doe~ 11or darken 111uch \\'lth time Sce j,u1e
MlALtJaud. ·s01nc of lhe Papers .ind Drà\\ i11g
Materii.11, l\vailablc ro Arci,l\ in rhe L;ltt'
E1ghteenth
•
and l:.:1rl\'• Ninert't'llth ('encnnes·.
lll l,111 rlc111.i11g- Willi.1111s CC ai., Cv11st11hlr: .-1
., fa.(U'r Dt,ll('<ltti111c111, London, 1994. p. 17.
9~ 'Ice Marre U rsuL1 1-liema □n-Reyher, 'The
Draughts111,1n - a.nd M,li,tcr of thl' Gl,incl'', in
'
Cl,n1de Ket~ch anJ M,,ne Ursul.1 R ie111a1ui-
lteyhcr, /-ldol}'h ,\ /e11zci, 1815-191'5: 8P1111cer1
Ro11111111iâs111 c1i11J J111prcssio11is111, rr,LDS. M.ichnc.l
(:unningha.in et ,ti.. Ne,v l lavcn. c1, .i11d
London. 19c;>ó, p11. 125-35.
Chapter S,x
Drawing St1·ategies
An cs~1y nttr1buted to Wang Hsi-chih (An
307 365), con1p.tring a calhgraphic con1.posi-
rio11 to a bani e pi.ui (quore<l in R.o<lerit k
Wh1tfield and Wcn Fong. /11 J>11rs1111 t!/
_,J,11i,111it y: Chi11ts,· Pt1i11ti1~s ,,( 1/,t· },Ji".'! 011d
C/J 'il{I! Dy11,1~rit·s /rc>/11 tlll' Co/lcai(lll •!f 1\'l r <111cl
,\,/,-s r:arl .\fr>rse. Pn11cc't011. NJ. 1v69. p. 185).
, •S1r11tcg11: r. d,c art or scicncc of che plaiunng
.1n<l co11dut:t u( J \V~r. ge11eral,l1.1p. 2.. a p,11t1c-
ul.1r long-terrn pbn for <;urce,s, e,p. 111 bus1-
11e~, or po]jtics (fro □J Greek .<lr,,tvl!i4, ft111ction
of ,1 g~ncral)'. C,,//111.~ J::11.~lis/1 Dictio1111ry. 3rJ
edn1on, updared. 19!}4- St'c the definitions of
srratl'g" and taclir bv, Michel de Ccrtcau i11
' I
Titt· Pr11rtir1• <!f /;1,rryd,1y L[fi·. tr,111\. Stevi:11
Rc:nd 1ll, Berkeley, 1 ,,, Angeles, Lond<>n, Uni-
vcrs1ty of Ca.lifurn.i:i J>re~s. 1984. p. xi., and h1~
cr1uq11e of foulault Jnd 1Jourd1eu\ 11ndl'r-
,tand111g of srrategies .1nJ racnr,/procedun:s,
pp. 45-60. According to C't.:rtc::iu. Bourdicu
proposcd tl1,H ·strategics do 1101 'applv' prin-
ciplt"I or n.tle,; tl1e} cho<),e an1t)ng thcn1 to
111,1k,· up th,· rcpertOJ') ol thl.!ir oper:itrons'
(p. 'i.j.).
3 ''/àctics: 1. ,\1filitt1r)'. rht· art anel sçicncc.: of thc
det,11led direct1011 and conrrol of 1110vl'n1ent
or 1uanO\'Uvrc óf forcc.:s lil b.illlc to athicvc .1.11
.1 1111 o r l,l,k. ."!, th,· 1n.u1oruvres used nr pbn~
follo,\·cd to ,1chit·ve a p::irril·ulrr short-cerm
.tlrn (fi·o111 G1~d ti1k1ikos. c.onccrrung ai:r.tn~c- '
~
n1t:11r or order)'. 1bid.
My use of ·graph1c- acrs' in rel.1 non to the
pr.1t:úc1.: o[ dra.\l\ uig is bascd ou David ltos-
,l nc.l\ Jl-"SÍgn,1tic)'ll i II Dra11·i11~(! .;-Jos: St11dit•., /11
Craphir EXJJl'l'Ssio11 1111d ~e11resc•111n1H1t1, (~a111-
bricurc. 1001.
'
5 ·,~/1•,11ory: dt'pL·ndcnt on chanLe, cspeL1aUy of
a n1us1c;:il con1posinon, 1nvolving ele1nents
chosL'n at ra11dó1u by t.hL' perforrncr (ii-0111
I .1t111 ,ilea. ,1 ga111e n( t hance)'. Cc>/h11s E11.f!/ísl,
Dfr1io1111111, 1994, p. 36.
6 71,c tertn tac1t \\'as devcl0ped by che scicntist
.1nd soc1ologisc Michael Polany1 ~o expl.1in
tht expenennal, unrheon~ed and unverbahsed
kno,vlcdge of crafrspcuplc. bur 1t plays a \·ery
i11 tport...u1t role Í..ll .1rr prat:cice. ~ec Michael
l-'o1.invt. , ·111,· '/i1rir J)111w11sio11. London: l~out-
ledgc & KegJ.11 P.1ul, 1967.
7 Paul Klee, 'Tl1l' Conccpl of A11,1lysis-. 111 T/,c•
Tl,i11 J.:i1t~ Eyt: '/1,e "-111trbollf,:.< e!)· P<111/ K/rr
! r956I, ed.Jürg Spillcr, erans. Ralph Manhein1,
Lo11Jo11 aud Ne\v York. 1961. pp. 9()-100
(lcccure, 14 Nnvemht'r 1921).
8 G1ova11n1 8JtUSt:J Arn1cnllll, 011 1/,c Tf11t Prc-
C('JIIJ (){ ,,,,. ,1rt 1:f P11i11li1t.l!. r 15~<>1. trans. Ed,varJ
J. ()lsze,v,;ki. Ne,v v,,rk, 1977, pp. 143-5.
9 [bid_, p, l 46. Afi.cr describing Leonardo·s
tt'c;hn1que or ,uppleniencing 1dca.,, by study,
Arn1eni111 rcn1:1rks: 'Th1s is n·uly :in excellenr
proccdure tor doing onc's \voili, but it is uô
1ongcr usc:d i11 QU r time~.'
10 Pranc1scô Pacheco, E/ ar11· dr la pi11111ra l1649J,
cd. B. Basigoda I J...J ugas. Madrid. 1990. p. 434:
1n A 111~~1s' 1i·d111i,111cs 111 Golden .-1.(/t' Sp11i11: Six
-, .,1',IIÍSCS i11 "/ra11slt11to11, cd. Z;1h 1ra Veh2, c:an1-
bridgc, 1986, p. 304.
11 i;,ir Jo~hua fZ.t'} nold,, Di.ffvflrsr~ ,111 .rlrt, t.'d.
Roberr 1-Z. Wark. Ne,v Haven, í'T, a.nd Lc>n-
don. 1y88. pp. .?14--15 (Discoursc xu, 1784).
12 Nlodernity'~ pnvih:•ging of ortg 1n,1ücy has
been underin111ed by the sh1fcs of postn1odcr11
practicc.:. but, as "·ili be d.tsc.:u~s,·d in chaptcrs
[l'll and tourtl't'll, tltl' llltpor1,111t role of
.1rt1snc exe1npl.1 rs 1s often ~uppressed by both
Jrtists .1.nd COllll11cntatorS.
13 Ari11c11i11i, 011 1/n• Tn1c PrPa•11t.1 q( //,e A,t 1!(
l )111111t11g.
' ' p. 1.j ,4.
14 Vjnou (;o\·J. Skcrrhcs t!f 77,vu.~lrt. Catnbridgc.
'\111. and Londo11, IIJY:I, p. 21lL Hc ro11t111uc,:
· rh,~ role 1ncl11des fac1h caang larcral rransfor-
 111aciou a.nd prcvc1ning earl} fix.it1ü11 or cry~-
ralli7;1tion vi:i .1 dcn~e ordering of ~yncactic
and ~cn1a11tJc clen1ents and :1111b1g111ry of con
ccnts ,u1d/or rcfcrcntl..'
15 1 he Lifê <!l St JJaul 1~ ba~ed on Acts 13 · 8-11.
For further infor111atiot1 on rhis ,vork and
ics prclirnin.U) ,Ludie~. '>t!C Suz,11111e Pl>lcJ,
Mc(:ullagh and Laura M . c:ile,. Jtnlian /)ra11•-
i11gs /1~(ore 1600 i11 lhe .4 rr h1stir11111 ~l ChicuJ!<'.
Clucago. lL. 1997. pp. 268-70.
IÓ Alex,tnder Co7en~. '-1 'Je11 1 , \ le1/1od <!/ rl ss1stí11g
tltt• l111 1c111io11 i11 Dm111i11g Or(ei11,1/ C.:0111positio11s
(1(L1111dsa1p('. London. J785. pp. 3. 23. 25.Wh1le
teach,ng at Eron, Cozens also enco11r,1ged h1~
pupils ro blor blobs of ,\>ash onro v.·cc paper
fro1u éar1.hcu pL1tcs. A n::di~co,·ercd Ess<1y 1,,
Fc1rilil/lt1' the /111 1e11tí11.11 (!( Lc111d.ikíp;, ínreurferl .fi1r
St11dc111ts iu 1'11• Arr dates -fron1 ·1759. Scc K.in1
Sloan . •;.Jlexa11der a111/ Jo/111 Robert Co:::r11s: 11n·
P<>ctry ef La11rlsr/l/Je. Nev. Have-n, <" I, anel
London, 1986, p. +o,
l7 Therc is a hugc ln.erJture 011 thc 1100011
'
oí the 1nodificat1011 of tbe .1rtí:,tic s,hen1a.
denved ti-0111 E. H. Gon1bnch 's cssay on rhe
&ubjcc1. 111 1iledi1auons 011 ,i I Iobl1y I l<>rsl' ,111d
(Jtltcr f-:ss11y.1 011 tltr TI11•11ry 1!._{•..Jrr, London, 1963.
rll Plul1p c;uston, COT11J11entary ón rhe n1ant1-
script of Dorc Ashto11's 1:nunogt.1.ph. les, But
... r i Criticai St11d)' <!f Pi,í/ip C11J1011 (197(1):
quoted 111 Magdalen:i l)abrovvski, 1711' Dra1u-
i11,(!s t!f P/1ilip G11sto11, Nc,v Yorl.... 19~8, p. 29.
19 (.~ozen~, ri Nl'rt' ,\1/ptfiad <!f rlssísti11g 1/11• h111e11-
rio11 i11 1)r/lt11i11g ()rigi1111/ Co111positíons ()_{
L1111dsrapc. p. 8.
l.O Andn~ Ma\~011, 'PrQpo~ sur le Surréah~n,'. 111
Hrrits, ed. Fr:111~·01se Will-Lcv,uliant, Pan~:
Savoir, J 976: lluotctl aad erans. b,· Dav. 11 Ade~
in ,•l11dré i\!oss,111: Li11~· U11/e<1shed. ,.\ Retrr~11er1h•e
E~llibition o_( D,u,víngs at 1h1 l-l/l)'ll'ard c;,11/rr-,,,
L111do1J, LonJon, 1987. p. 3+
21 R.en,arks quoced 111 Bruno Zcvi, Erírli ,\.,Jn11h·l-
s(l/111: 'T11t• (:()tnplett· Works, cran,. Lucinda Byatt.
Bast:l, i999. p. x.uv.
22 The tern1 is fi·on1 Coze-ns. A l\1e111 .~ lcrhod (!f
-lssíst111g tl,c b,,,entir:•11 111 Dra11•1ng Origí1Jnl Co111-
p1lsif1011s vf L11ulsct111e, p. 5.
23 1Je11ri Mic:ha.u.x, E1111'f!<t!IICl'S-1ts111;~l·11t'es j L972],
trans. l~icnard Sicburrh. Nc\.Y York. 2000,
P. J-·
'"'
2.j. Tbc second quotation of the sa 111e cext. E111er-
genres-rcs11rg1•11res, is rransl,,ced by M1ch:1el r1ne-
bcrg Í11 Rc11ri ,\Jic/1a11x, 1899-1984. London,
1999,
Joan Mtró. 1nrerviev. ,vith George l)llthuit
1 111rrusion of cither 11c1ghboring cil~ects' 0<'tter
(r936); quoted 111 Jrunes Johnson Sv.ceney,)0<111
,\,/irtÍ. Ncv. York: Museu111 of Modern Art,
1941
T)·son LS di~cus,scd 111 ch,tpter ~itteen. Sec alsc)
A1111e Morg.u1 Spaltcr. Thc• Ct>111p11tcr i11 tl1r
1'is11,i/ ."'lrrs. l,cading, MA ••111d Harlo,v: Addi-
\011 We~ey Longinan. 1999, p. 178.
27 Klce. TT,e 'TT1h1k1t~I/ R)'1, p. 105.
:18 Baudelaire reg,1rdcd 1)au1n1cr :l~ .111 exct>p-
nunal artlst '111 th ,tt his dra,v111g 1s natur.tllv
colouríul. ... 11 i~ penei] contain~ 111orc Lh,, 11
Jll~l .1 bl:tck mce ~u1t1hle tor delineanng con-
cour~. 1-Ic eYokc~ colour. as h~· doe~ thought
anti Lh,1t i~ the sign o f a higher arl' ('Sonie
rrench ( .ancacunsts'. in l'harlt's l:3J.ude"1:nrt',
77u· l'c1i11ter (!f 1\ lodcn, L!f<• 1111,/ Ot/1cr G.~nys.
tran~. ,inc.l ed. Jon,nh,lll Mayn<.:. Lo11tl~J11. 1y6-l,.
p. 180).
29 Enrry, 8 March 1860, Thc Jo1tr11<1/ o;· l::.11xr11e
Di.:farro,x rl9il 1. etl. ~lubert Well1n~'tOll. tr.111~.
1.ucy Norton, 3rd ed1aon. 1 ondon. 1995,
pp. 430-3 1 .
3ó Quot.1ti01la~ from l<ircluu~r's \\'fÍttngs til 'E, L.
Kirchner\ l)ra,ving\' b) 'Loui~ de Marsalk•',
Gc,1111s, n (19.20). pp. .2 16-3-l,; reprinted 1n Ernst
L11d11 1(~ "f-.:ír, /11u·r: T111· D rl'sdc11 ,111d Bcrlí11 \·i•tJrs,
ec!. Jill Loyd and M~gdalen.1 M. Moeller,
London. 2003 Sce J.l~o J1JI Loyd. C1·r111,111
E., pre.;., Í<lll i.1111: Pri 111 iI í1 •i.si11 ,111d .\ l1•dc111iI y. N c,..,
H,1ve11, c·1. and I ondo11. 1991.
31 Nichol.is Turner. Flarc111inc /Jr,111•í11gs çf r/,r. Six-
tei:111/J c:1•11111ry, London. 1986, p. 255.
32 Thc drawin~ 1s fron, vol. "176 of the t\VO
vokunC\ assen1bled by Nicolo (;;ihburn UI
1729 (l'luut:rd.:i1n. Must:u111 Bojju1ai1:, V,tu
Beun1ngc·11). lt 1~ one ot ::t serie~ of prepara-
cory srud1es tor rhe alorp1ccc of Cc1d rhe
Ft1tltt•1, St JI<1r)1 ,1 ftt{ld,tlt•11c ,111cl SI Ca//1('/'Íllt' (?(
Sie11<1. co111111hsioncu for rht: ron\'Cnr oí "ian
Pietro ívlartirc 011 Mur,mo.
33 Pict,1, 1604 1n SJ.nta Maria prcssu San Celso,
M ilan. Vrorarcuu ,~ verv• conct'rned v.·1rh the
syn1bolic rel:inon~hip of tigure~: for exan1ple,
111 Tlr1: .A11111111tiatio11 pill.l1ti11g <York City Art:
Galler}, uJ<) the ~eparat1011 bctwcc11 tht: J11.i-
n1aced angel and the 111rroverted 3nd obhviou,
Virgin JS reinforced bv a ~,v1nging arca of
v1braling ,16,1.ract pa1nt ~trokt's
34 Martin Heidegger. J7,c QucHi"11 ( :1111cer11i11.~
Tt·d111oh1ey 111/lf Otlu:r Í=:S5rl}'S, tr.Uh. Willian1
Lov1tc, Ne\.\. York: Harpcr Torchbook,~. 1977,
p. 27.
35 Arn1cuiru, 011 1hr. Tr11e Prtt'lpts <?f lhe .-lrt t~(
Pai111it(f!, p. 148.
36 Pou~s111 \1.'TO~e to h1~ pacron l:l1ar~·lou \Vhen
~ending hü11 a fu1isht>d paintmg: ' I u11plore
vou
, t.o .(t11,1is/, 1t \Vith a hctlc cornice becau:,e
11 needs 1t st) thJ.r, ,vhen look111g lt 1c fmn1 .lll
aogles rhe eyc 1~ hi.?ld b:y what 1~ dep1cred, not
w,tr.1t:ted. i~ glaJlCC 111uddleJ b) thl'. pcll-1ncll
of 28 April r639. quoccd 111 Louis Mann. 'The
Fraiuc of f{.cprcscntario11 a11d S01nc oC 1t.,
Figur(":, 111 T/te U. lll't<lflf <?l r/w Fra11u•: l:ss,11 1s
1111 //t(' Bn1111d,trí('., •~1 tht• .·lrttl'<>rl.!. ed. Paul l)uro,
C.u11brid~c. 1996. p. 82).
37 Thcre is a very 111Lere~nng liter,1ture <>11 Lhe
subjcct ol' &an1cs, nnderstood both .i~ phyiili:al
bou 11d.1rit·, a11d ti .1111cs or· relerenc t: \c•e
J.1çq11e, l )ernd.1', di,rus~1011 of chc p,1ss,-p,1rt,>111
aud thL p,rrc1(!t111 m '17,e 7ha/, i11 flc1i111i11g j197xj,
tr.111, C,t:01T Ut:1111111gcon ~nJ l.111 f'v1L I t·oJ,
( h1c:t!:,ro. li. and l.ondon, 191,7 1nd chc t><;,,1y,
•
in -I'IIL' Rl1ch>rú ,1/ thi I'1,1111t·. eu. l)uro.
38 Si:c luli~·t Wil~ou-8,1re.1u. <,,>ya: Dr1111•i11,izs ji, 1111
l11s JJnl'atl' , l/h11111s I ondon, 2oor.
39 Pouncwg .u1d tracLJ1g GuisheJ p.1111n11s"
,;111 be vl."ry h,11,1rdnus. Bello11 re~ordt:d 1.hat
liarocc1 \ prnnnng nf tht• h111t1111/1111i1u 111 \r111-
gallia, ,vtucb \v.1, t 011.st.1.ntl) copicd. ·v.·;1,
ne..irl} lu~t through thc tcincrity uf 011e \\ ho
n1 rrac,ng ,r p1erc1:•d rhe pn111L and the outl1ne~
and co1nplen:ly nuned 1r'. le.1, ing B.itllCCI ui
rcpa1r and rcpa1111. iL ovcr eh~· vear, (G10,.u111i
Pictro 11<:.'l lori. 'lhe T.i11cs <~( 1'11 1\ /,1d1·r11 /~111110._.,
Sc11l7'lt1r,· .i11d .-lrd1itccls. _,j .\·cu• 1,.11ul.it1<111 ,111d
Criticai Ed11i,1r1, traJ1,. Alice Scd~\\tl b. Wohl, ed.
Helln1ur Wohl ;1nd 10111.i~o Monriu1,1n, ('an1-
bridge. 2005, p. 164).
40 Dc,1.nua PcchcrbriJ~c. ·subvcrwig th.c Sílil 011.
A c~nc1que o( l)ra,v1ng 111 rh~· <. 01nruter Age·.
l 1111::.. no. 14 (2002). pp. J. 5.
41 Lcon Batti,1..1 Albl'rll. 011 P11ir11111g, trans. C:t:c1l
Gray,<>11, London. 1991, p. 94 ('p.1rallel,· con-
fonn ro the Laan tern1 used for 'SlJlL.1.rU1g up
grids).
.~J. Arn1en1ni. ()11 t/11.' T,11t· Prrr<pl.1 <!f tlit' "1rr 11/'
/J/1111//11,I!, p. 172
-l-3 Se<.: Anna M.o~Lyu~kJ, A11toll)' c:;0,111/cy D1,u11-
lltl/• L~,ndon, 2002. u11pJg1nared UnacJ...no\.\ 1-
edged 91,ote opp. rl 162.
++ Mondrian's rcbtion~hip to Gotr&icd Sen1per.
frorn v,,1ho111 hc appropnarcd rhe nele CÍ( s1/jl,
and chc undl'rlr1ng geo1n<.'try of thc ,-vnvcn
1rritl. is si•nrificant.
~ t'I 5ec Gottfritid Sempcr, St)•k
i11 tf1t· 11•1 /,11in,I ,111d 1i·(t1111h ri TI$; c•I, Pr,1t ílfdf ,•lt·.s-
1/,cric.i l186o-(13j, crJns. H.1rry Francis M.111-
grave and Michael llob,11,011, Los An~cle~.
200+.
45 1,o..a lind E K ra11~~. c;nds: l-,1r111,1t 1111/ lt11ct~I'
i11 2v1/1 Ce11t11ry 1111, Ne,, York, 1980, unpagi
nated. for ,t <li'>cu\:,~011 of tbc ~1id a., •fi1c1u11l
d1sp 1:iy'. or ,vh.u Elde1tield r.111« che \1.11nula-
uve gr1d', ~ee also John Eldcrticld. ·t,uilds',
l11/Õr11111. 10 (May 1972). pp. ,~-<J-
~6 ()h1.,1 '\ch ille linn1ro. 'Alighi.:ro Boctti", 111
Dialq~hi ,i't1rtist11: 111Cc>111ri .-.,11 1'arte .-011tc•111pn-
nn1e.z, 1970-1<}8-f. MilJn: E)<:tlá. 191'+: 9uotcJ
.111d rr.111, 111 ,,.Jl,g/11cra t Hclf(/1, ed. Anurea
'farc;r:i, 1 ondon, 1999, p. t .!.
+7 ExJ111plc~ o[ c111br01dLFed tcxt, are .1ldd1~1011<
( 11))'{~; Flort·nl'e. C olleruo11 l~ohert C;i,.11Hon-
n) :ind the (·fe{lnl on crean1 l'1nhro1de1·l·d h:Jng•
1ng L'11lben1 dei/e ore (11,c I Ícl/11' 1h·c) vf 1979.
4/i Uy conrr,1q, tbl· lOlour 1heon~t, Micl1el-
l::.up;cne Chl'\T~·ul and Hern1;1nn von l leln1-
holLZ organi~cd colour ~rad.iuo1is Ü1t~l CJJcuhr
or ~phe, ll a] dí,1grc11u,.
49 For l'X~n,ple. d1e full-length v1e\\ nr
,l-.1teJ
NOTES TO PAGfS 155 173 '153
 !\., 1 • 1 t l I P/,11 li f l l 1 111111. pt·n, 1I OJI
f I
I' plr N ,, '\ork t'vl11\l.'111n 01 :-...10Jl'l'll ,\rl,
(,1t1 11t rhc L lll,1,;;I rnun.J.111011, llll.) an,I /71,·
J'/111111 d J/,11. (,/11I lt)l'J. J!Clllll 011 r,1pc;r (B.1 111-
lllOI' ~lu,c11111 oi A1t. 1hc• t nnl' l 'oll,•l!Hlll
IH~l\ li)'º 11.,;;SI).
1 ohr 111,1Jc 1 nu111he1 01- ,k,•1ll1,•, i11 pr<'p.11,1-
11,,n ín1 .111 t'ILJ:.,'T,IV4'd group 1,nni.111 ,,( 1lit"
(,,·1111,111 ,iru,t, 111 d11.' l ',1k C ;r,•t:o, l{,,111e,
v. hí ... h \\,1, 11cv,·1 co1nplc1t'd (í=1.111kft1rt. SL.i-
dt'lsl h,·s K1111'ti11,nn1r)
'Í 1 ' lnt<'t,·1c,, \\llh U1v.111 l{0herrson' (ro65l. 111
1711 C,1/lt-,1,·i/ fTíi1111.~-' ,>f R,,birt .\lt1tf11nt•t·ll. eu.
'>rt·ph.1111e Tert·11z10, Nt•,., Yurk .111d ( )x!on.1,
l l)IJZ. p. 1 1.1 .
\ l1~ h.1u x. E1111'11t111<t:;-1cs111_1?r11, rs, u-.tns. <;11.bu rth.
p l<JI.
P.tul Valér). 1)1•i:,1s, \ l<111c1, .\ /,,ri<or, rr.1ns. 1);l\·id
1',11J. Lo11Jt111. 1<J(10. pp. r,6 7.
S 1 "e,· l )ca1111,t P~·lhc·rbndgt'. · 1n Touc h t nd ()ut
ot M111J: 1 hc P,y,hnch 11;11111c~ of ( >h,l's,1vt'
f) ra,,·u1!,(. 1□ C..rc<1I ,,.;(). .\ J,1,l,1rs., ,111d Cil ·i/1-~,1•
11,111, cd. llllh,1n.l P111e. C',11nbr1d~c. ~oo;.
PP· zo5-~~
55 Arocle u1 Gci1111,11 Sl/1111/,,1, 110. ti (M~'Y H)fll):
quoc,•d 111 );1y,11 K11s11111o1: l!arl)' [)r,111'i1~~s _(r,,111
riu ( .'r1//,•,11,111 ,,f f?i,!1,1rrl <:,1s1l'll,1111·. thrn1111g-
h.1111. AI. Birrningh,1111 Mu~eun1 Qf A, t, 2000,
'
p. 7. Foi Jll llltl'ít'~[lllg dis~u,~1011 or Ku~a1n.1\
.1rtetacrs ,1s 'p.trt-obJerr,. St'e M1gnon N1.,n11,
l ,1111,1s11c Rc,1/ity. L.111is<' B,1111:flr.,is ,1111I ,1 S1rq1
,t( \.fc,c/1•111 ,111, ('.ul1bnügc. 1\ tA, a.ud L<111tk111.
.2005. rr . .:z , 5-1 x
C Jroltn~ l)ou~las. '1--lcnn M1ch,1ux: l'he
'
01,wnc Intcr1or·. 111 /Jn1rí ,\J11/zar1.\, 1S9ir-19,B4.
unp.1g111.itt·d
57 1\111ch,1ux. f.:111t1:(!u1rrs- ,·rs11".1!n/Ct'S. rr.u1s. Sieburth,
p 64.
E1111n.1 l--1,Htck ,~ l'l:'terre;-cJ to a~ 'r;i~e no. 30~·
tn chc cat.1logue of the Pnnzhorn c:nlleccion.
~
Thi, ~V,!!; put to~cchcr bv thc ps) clú;1tJ ist l Lu1s
l'nn1hnrn ( 1xsri--1933 ). \,·hose ,ollertion of
5.000 r;11ut11'll:,'li, dra,v,ngs .'lnd obJC(ts fro111
p~yrlu,ttril ho~µ1t,w. in Europe bcr,vcen I S•JO
Jlld I l.)20 \Va~ puhhshc:d til .rJ IIÍS/1)' ~r tltc ,\ fr11-
1<1llr Ili: ...1 (:01urrb11tl{>I/ Ili lftt' 11s)•(ho!t11!)' <111/1
l',)'ti1t•11a1!111h~~)1 •!f Ct111fil.'111u1i,,,11 l 192.21, lra.11,.
E11t von ílrorkdorlT, incro. Ja111e~ r Fo},
Ne,v York· ~pringe-r, 1972. 1.,,•c discu~s1on 111
chaptcr fifrcc.n
A, nc)ld 1-l ou brakl'n. /)/' :,:rnou· ,rlto11/t111xlt rler
•\cdcr/1111tscf11 k,111Itschi/d,•rs t11 çr/iilderfSSl'II, J vol~
j 171S 21 J. , Gravt•n.h,1gc, 1753, 1~ tltc: pn111:ip.t.l
,ourct· llH inlon11atH111 about Sl'Vt'lltt"enth-
century 1>ittrh p:unccrs. "ee- 1-lendnk J. l lorn.
'/711' G,,/dr11 . l.l.'l a.ct•,sitcd: • lr,111/d l l,111b1t1kl'lt '.,
G,..,,,'Thc,111,· •!/ .\ 1°1/wrl,1111/ish P,1il11cr, ,1111/ P<1111-
111•J,1•,. l )nornspiJk. 2000
<,o J.1colll \ sorJ.1J Llc,tyl1.: \\ ,\\ ªfl()Stropluscd by
V,l\,trl 111 tltt• ., il'i: of n ,l\ll,11111 c.1lk:d Arht0~ilc:
d.1 '> 111~.1llo' (<.:1org10 V.1s:1r1 Le 1·111 rh·' p111 r,TI'
45'1 r IOTES 1O PAGES 73- 88
/.·u11 p111t>11 .,n,/1,u1 ,. ,,r,/iit<'Il1•11 11t'llc rnl,t~i,1111 dei
1,,<'l r' 1,C•li, t·d llns,11111.1 B<'ttar1111 .tnd P.1oh
13.1n,cçh1, 6 ,·ob 1n 9. 1 loren,c. 19(1(1-87. vt,l.
\' 1'11· .j.C,J 405 6) Tht LOlltOrUl)llS
J11J or
J,tcnnt'\ li~'11re-.. ç,111 ht· ,t'L'II 111 .1 group of
drJ,\'111~ .1ttr1butl.'d ro h1n1 111 C'hrí~c ('hurch,
():vord, 1nclud1ng a l rri,:111 ,1111/ C/rilcl Ll'itli St
l11t11 (OOX(J). ,vhen: rhe 11c,1tc·r Ll'C h111q11l' Í\
Ll1\~1'r ro '>pl'ncer\ dt·liherate hne~
Chapter Sevcn
lnv1sible Lines: The AffectNe Sem1ot1cs oi
Design ancJ Cornpos1llon
Lou1, Mar111, ·To\\',1-rds a ~rhL·Ot)' 11f Jl.cading
111 Lhe \ 11~u.i.l Arts: Pou~\in \ T711' -1 rc11cíi,111 Shq)-
!tcrcls'. 111 (;a//(i:r,11n t:,,,1ys in N1•111 .--lrr 1--lisr,,ry
fro,11 I :,arirc, cd. No nn.111 Bryson. (~.:11nbr1dge.
19XS, p. 70.
1 (:1lll·~ 1)elen7t'. r:1<111(i., Ht1((11/' 7711• 1..,,.1.11( '!f S1·11-
.,,11i,111 [1981). r111n,. l),u11cl \V Sn1ith. london
.u1d Ne\\ York, 1003. p. 'J9- 'Tht! dtJ~r,1111 is
... rht' oper.invc: ~cr of ::,s1gnity,ng ;ind non-
r<'prcsent..1t1ve ltnes and zoncs, ltne scrokcs .111d
col1,r-p.1t1 h~·~· (ibtd.. p. 101).
J Tht' l111t·ar 1nlr.i~rrt1cn1rt· nf tht· Pil·r11rt'~qttt\
\\ hich .1rt,c~ fmn1 ., privilcging ot ro11gbt1e\$
<1nd fi·,1gi11e11cauo11. dcpcnd~ on var1.ibh: ju:--1..1-
posinon, of rurved, J,tgged and broken lin~•,
.111d dra111,1t1c ch,111ge~ of scaJe 111 1ts landscape,
c..11-.,,., 11 .ind ~\1111ttd ,..tr 1.1ntl>. An Nou\·c.1u llr
Jt1gt·11lbt1I 11rchh:ecru re ,111d de,1gi1 .111d the
Syn1bolist :irt of thc per1od derive fi-<1111 t,lllt
curvilinl'JJ' unes thJt rclttt· LO cxrendcd O\'Jls,
og1:l"~ ~nd horse~hoe for1ns, son1eci111es rulled
111to parcitl dis-;yn1n1ctry; rhe do1111n.111c curvi-
linear sv~1cn1 •
i~ often ornan1entcJ \,, ith ,1
~l·cond:iry hni:,ir inrert,\l'tning. \vh1ch 1s hghter
.1nd 1110n: delicate 111 scale. Cub1sn1 .1nd
Con\Lru1:uvis111 depcnd 011 Cr.ig1nenccd sn·;ught
lrnc:~•.tngle-., d1;1gon,1ls. c1n;le, :ind d1,;1s~oc1:1ced
,1rc~, oftcn In arb1cr,1ry align1nents.
+ Albert.ii, not.ion of 'accord' i~ 111 rcl.1úor1 to
bodil) prl1porrio11,; p1ctori.1l vanetv (L,1t111
!'c1ncr.1) is clisringwshcd h-0111 <'()11i,1 (copiou<;
nt:ss). to giv\.' ju~L cinc l'X;.unph:. lL \\:IS ngor-
ou~ly debatcd 111 rhe c,111(t:rt'l1n.>.< or d isl us,ion,
nf p.trticul.lr p:1i11tings that ,vere so í111porr::int
to the nc,vlr lor111ed FrL'lll h Acadt:1111c lloyale
dt' Pe1nture t't dt' ~culpture. F-or ri gent:ral d,~-
russion on rl1n1po~1t1011:1I rulcs 111 ltil ly .1nd
Pr.111c..:. \Cl' Thon1.1~ Puttf.1rkc11. TI1t· Di,c,,,,cry
•~f Pin,1ri,1I c:n111p,1siri,111: "17,nnit•; •!!' l 'i.-11,1/ ()ri/e•,
111 P,1i11/r11,11, 1-1nc>- 1$,1,,, Nc,v l---l.1ve11, ,T, ,111d
Lu11<lo11, .2000.
s Por the rt'lauonsh1p bc:nv,·en Alhern ,111d
rht•tori c. ~cc Michael Baxand:ill, L'i11/1t1 ,111,I
1/1r Or.rt1H's. l //1111111,isr OT,$tn•n, ,,( P,1i111i11.11 i11
lr,ily ,111d 1/t,• f)isn1t'<''1 ~( Pio1111,1/ <:n,1111osi1it111 ,
1350-1.,5,1 1r971 I, l)xford. 198ú. pp. 136~9.
6 .John Ilu~k.tn li~L~ thc /,111·~ of pr11a;1p,tlity,
n:pt·uno11. co11t1 11uic,, co11tr,ht, 1ntc1change,
ro11s1~tency 111d ~0 on, 111 hi~ di~cuss1011 ot
l'Ot1l pll~itio11 iu I111· liif111c11ts <)/ Dr,11/lit~I! 11S,71.
Nt''" York. 1')7 1. pp. 164-2 11.
7 P1t't Ml)t1dn:in \ sy~tcn1 of •fi-xc•d l~w~', for
cxan1plt:. ,v.1~ la1d out ui bis P/,1-qic, lrt ,111d P11rc
J>/ttsric -111, 1917, aud ()t/11·1 CsJ,l)'S, 19.p--u)4~,
Nt,.., York. 1945.
X l)csi~.,, systc111s are hl\toricilly ,1$()anted \V l th
d1 ,1\\ 111g, ,1lth(lL1gh thc 111nctecnd1-ccntury
f..1sç1n:itt0n ,virh col011r ~vsre111, , 1nvnlvcd
the dcvclopn1cnt of sets of 'uar111011ic· rult:s
for colou1. For cx.uuple. Nlichcl-Eugcnc
( 'hevretli'~ 11,r P, i11riplcs <?/ H,1n11clll)' ,111d Ct111-
1r,1st i1( C,,/1111rs ot' 1S2X (initi,Llly dchvercd ,1s
lc,turcs i11 thL· Gobelins 111a11utãctorv in
'
Prance) t·nds ,vich a d1\cu,~io11 of hasic
'principies co11u11011 to d1Hcrenc ;ires'. v;h1ch
111cluJe St.1bü1rv. V.1r1ery, Sy1 1u11ctrv, llcpetiuon
.111d (~on,ra,c (o( ditTerence :,nd .1r1t:igor1Lsn1).
1-le ,1\sl1 1naké\ a dist1nct100 bct\veen the con-
Jitio11 {)Í ohJl'Ct., in rt'pcht.' aad i11 tnoLion,
and 111.1kc~ sy11ae5the~1c connect1011s ber\\·een
colot,r and souud, c:iste md s111cll.
9 KcuncLh Clark. (Tltc ,' \'11th·: ,-.J S/111/J' i11 Ith'III
F,1r111. 4 11.· ., fclf<111 Ll'f/llr<'~ i11 1/,1• Fine -lrrs
l 1956J, Princet<>D. "'fJ: Priuceto11 Univt'r-Íly
Prcs~. 19<)0, pp. L87-8). fur exa111ple. u~cs Lhe
ter111 'hero1c d1.1go11,tl' to Jetine Lhe con1po,,-
uo11:1I Ji11e ot encrgy in rcl.ici.011 ~o I lellcn1~uc
anJ !ater ,u'l.
10 rh1s tr:111,l.1.ion of thí~ p.:1ssagc· in ,\ fl'11111ircs
d'o11•1•111Ji<:: /'autnpt1r1rait rr c111/rcs nti11cs (1990)
.1ppears u1 1\11ch,1cl frictl, · Bct\,·ecn Realtsnts:
f-ro11 1 l)err1da 10 Manet', c:ririr,d l:311q111ry, 21
(,1uru11u1 1994). p. 1. Gcnerally. 1 baYe been fol-
h.>\\ ii.tg rhc tr.u 1sl.1Ljo11 of P.1~ca.lc- Au11e l3r.tult
.1nd Nlich.1el N;1as 111 rhl· Uni,·ersity of
C.:hirago ecLnon of ,\Jc11101r.< '!f thc 8 /1111I: '/ hc
Sclf f>.,ar,ltr 111111 0 1ltt·1 Ri1111s ( 1993).
1, 77,c f)i11t·1es <!f P,111I Klec, 189tl-191,-?, ed. Feltx
Klee, Berk,,]ey, CJ\. and London, H)Ó.j.. pp.
.!Jl 2.
1.2 71rc l.ileral')' lrl1'rk.1 '!} Lec111,1rd,) d,1 r i11ri, ed. J . P.
lt 1chrer. to111n1enr:irv• C'arlo l't:drern. ()xford,
HJ77, p. +9· This i~ a t:h.•.trer rr.:1usL1LiLH1 Lb,111
thJt of M.1rt111 Ke,np .,nd t\i\,trgaret w.,lker l ll
U'(111,irdo 1>11 Pai11tir~~. ed. l(c1n_p. Ne,v H:iven,
e T. and Londun. 1989. p. 1s.
13 'fhe geon1crr1e po1nt is an invi~1ble rh1ng.
Thercfore, 1t n11,1st bc defi11cd as ,111 incorpo-
re.d thÍ II\!. ClllbídcreJ lll lC l llb
•
or ~ubslJ11CI..',
1t rqunb zero' (Wa~silv K~111tl111sky, P,1í111 <lllrl
l..i11r 10 P/1111t' j 19261. tr,111,. l-lo,Y,1rd l)earstyne
and l lilla Jt.cb.tv. Nc"' York, 1979, p. -15) The
po1nt " as$Ot1ateJ \V1Lh sound .111d space, .1nd
1s 'thL' inner111o~t conc1se fotn1 •, ,vbich •is th\.'
prot0-clc111c11L or p.1int íng ,111d cspeci,Llly oí
thc "gr:.lplnc"' (1b1d .. p. 3~).
14 Lrc11111rclo 1111 l'.1i11li1~f!. cd. Kc111p, p. ,5.
1, Leon B.1tllí.t,1 Albcrn, 011 P11i11lt1(g. tr.1ns. Cc, 11
Gray\011, London, 1991, p. 37. 1lc d,en d1~-
c.,us~t·~ outlinc. ~urfa;;c~ md pcriphery, \vhich
bet:0111.e .1pparent ouly through lighc.
16 fbc 111:inu\cnpt ot /)r 11rospcaii•,1 pi11i(·1111í (ârr,1
L,1-81. Par111a, Biblioteca P:1l.1un:1, MS Parn1.
1576) I\ believed lo bt· 111 Piero\ hand. ;1nd
then: 1q :ilso a L.icin tr:inscnpr 111 rhe Ll1bliocec:i
Ambro,i,111:i. MilarL Lt \V.l~ not printcd unlil
1899. Scc Piero dclla Francesca, l)c pr<1sprai11,1
p111.izr11d1. ed. (;. N. 1-:i~oLi I r942]; nores by E.
13.ittistl, biWiograpby l>y R Giuo11c .111d R. Pac-
l iani, í lnrence. 1984. See ,11,n M;1rtin l(e1np.
·111c Scit•11r,· •!f !l r1: ( )ptíc,1/ ·171c11//'s i11 1i1>s1cr11 .-1 rt
jro111 Brr111clfosc/11 to Srura1. Ncw I lavcn, <. r. and
London, 1990. pp. 27-35.
17 Albert!, 011 JJ11i11ti11g, trólns. (;r;iy,on, p. 65.
1!i Pliny che Eltlcr, .'\'a111r11/ I Jij/ory. trans. J l.
R,,ckh.1111, Ca111bridgc..'. 1-tA, 19Xv, vol. IV, pp.
J::! 1-3 (Book xxxv: N1-2).
19 Lrnsr Go111brich (77,e llcri1t1,1,!C (!f .ilpcllcs:
St11d1t•., i11 thc• ,-:1,r t!( rlte Rc>t1t.Jil'S1111ct. Lo11do11.
1976, p. 15) otfered a rh1rry-fir~t t e,ld1ng tol-
Jo\,ving 11. vau J<.' Wail''& count or thirl)
dilferent 111t1:·rprccat1011:1. An 1:•.x,u11ple of a
h1sronc.1I van:int th:1c 1111sses chc po1nr 1s l<arel
vau Mautler's •Lifc o( Aettgcn of Lc1dcn·, 11J
T7u Li11v~ t!{ lhe l/1115/rh>tts Nctltt1'1111d1.,J, ,111d
c;rr1111111 l'oi111ers, ed. H es~el Miede111a, c1-nn,
Dcrry Cook-l~ad1uon.•. 6 voh, Doêrn,piJk.
1994-<J. Fran~ Flori~ <lrt.'\V ,111 ox hcad wirh Lhe
face ot St Lll ke \\'lth ch:ircoal on Aertgen \
,v:µI, ,vh1c..h ,vas 11u111cdi.1tcl, recog111~cd a~ l1i,
autograph (fo.l. 237r).
10 \Vilhan1 13lake rebted \,Vhat he called rhe
'bound.tng outiu1c' to Protogcnc_\ aud Apcilcs
in bis A Dts(ri111il'I' C,1111lo,~11l' (!r Pia11res ( 1i;o9):
'Prorogene, and Aprlles kne,v e11ch orher b~
Ll1is Jjnc. flatàel and Michelangclo and Albl·rt
l)ürer are kno,vu by tl1i~ and thi~ alone.'
.21 1)errida, 1\1e11101rs <.?,/ the Bli11d, p. 5('>
,' J.1cque) l)érnda, 'L.i l'h:irru:ic1c de Pla.ton'. 111
Li Dissé111i1111/io11, Paris, 1972. p. 71; quole<l in
Victor leron1111 Stoich 1c.1 .1nd Ann~ Maria
Codcrch, Gay,,- 111(' L1sf C11r11í1•,1/, trans. A11ne
Marie Gl.i~lteen, Lo11don. 1999, p. 1~9.
13 Wruer~ on perspecnve have van()usly 1nte-r-
pretcd perspecttvc ;i~ syn,bobc torn1, .is .1
u1ct,1pborilal 01 rhetor,c,u sy~ccn1, a poctics,
and \O on. See ElvVin Panofaky. Pt•rsp1Yti11e eis
S}'111bolic I ;,ir111. tran~. Christopher S. Wood.
Ne" York. 1991. S,unucl Y. Eugerton, Jr. Tiu·
Rl'/l(liSStlllfl' R1·disro1 1t'')' ~r l.i11r11r /Ji•r.~pl'l'IÍl'C,
Ne" York, r975: J,1111c~ Elku,~. T1n· PC1rlics l!f
J)i:r.1pt•,liPe, lthaca, NY. and London, 1994:
Hannccke (;rootenboer. 'f'/1t Rhctoric ()f Prr-
spea111t': l?.t'alis111 a11d Jl/usio111sr11 111 Sc1·c11re1·11th-
Still-LífL' P,11111i1~i:. ('lucago ,u1d
C,•111111y D111c/1
l ondon: The UntVl'í\1lv• of Chica~o • Pn!\~,
1005.
14 l lubt'rt l).unL,cb. 7711.' Orf,1/111 vf Pfrsp,·r/Íl't.
tr:lll\, John (;1)ôd111,1n, (:an1hndge, \.IA, .,nd
London, 1995. p. ::!.5
2 ). Orthographic projct.t1011~. ~~1ch a., pl.u1'. \l'l'-
t1011s ,tnd elevat1ons. repr~ent the proJecnon
of an obJccc on ro a t\Vo~duneus101ul plant.
al a 90º aL1g:lc: a.\onontctnl ur 'plan obliqLle.:'
prOJt'Ct rhre('-di ll1l'll\1011,II fnr111, lronl a pl.111
;1t .111 angle ot .J 5°.
26 Scc Ervvin P.1110Gk,. Jd,•11: :'.I c:011npt ill ,1rr
·n11'ory, erans. Joseph J ~ Peake, (.ol11n1b1,1. s<
1908.
Pctl.eri.co ZuCL.tro, L'tdt't1 dL'' piltpri, sn~lt1,n ,•d
rir, /ii11•11i dr/ n11•,1/i1•r Ffd,•1·fr,1 7.t1rc,1r,1, Ti.1n11,
1607. ·c:1rcu111scription i~ the proce~s of d<.'hn
c.::1d11g thc cxtl:rnal ouclinc~ 011 th<: p,Únt111g'
(Alberu. ()11 P,11.11111,g. rr.ins. C:r.iy~on, p. 65).
P1ero della rr.,ncesc.i d1H,•rent1.1ted three
pnnc1p.ll par~ of p,11nting. rlist)!llll (profilc, ,111d
t.011\our~ th,u l.'nclo,e 11b_1c( ts), 111e.1,uren1t'nt
(rrntiles and contours put proportionally
111 rheir propcr placl',) anJ colouring, "' hilh
include~ hght\ and d;1rk\ (l3~xa11d;1ll, c;i<11111 ,111//
1/w C)r,11nrs, p. 14 1).
28 Baxand,dl, Gi<1rt1> ,111d thc 01,1111rs. p. 17.
29 ·n,,• .•111 Cl{ Pt1i111i11.~ '')' e;, ri. D11 Ír/'.'1/())1
rra11slrlll'd by ;\ ir I >rydr11. 4/,o ,1 short ,1rc1>11111 c!f
tht• 111vs1 1'1111111:111 p,1111tC'rs .•• b)' Rid1t1rd G111/1a111
U.1quir«·. Lo11don l lcnry I.intol. 1750, pp. 191)-
~. (;h;1rle~-Alpho11~e l)u Fre'>no1 's L:irin poern
Dt' c1r1e ,l!.r,1pliica ,vas translatcd into French ,t~
L'.rlr1 de pcí11ti11·c tlc C. A. D11fn·s11oy . 1r,1c/11i1
c11 Jr"11c111s, ,tl'C'f des r<'111nrq11es 11cre,sarh·s ..• par
R,,~t•r tlc Piles, P,u-i'I, 1668.John l)ry<len in turn
Lra 11~h1Ll'<l d11~ ,v<,rk a!> De ,/ri<' .rerc1p/1ier1: 7'ht· A rt
t'./" P11i111i11g by (.'. A 1)11 Fres11t1y, London. 1695,
\vruch u1cludcd tl1<.' origir1,tl pocni 1n Latln as
,vell a~ transbted tc:xt. Tht'Tl' ,vere 111,111y laLer
cdirion'í of dl· Pilt~/ l)tr Frcsno). 1nclud1ng onc
a.nnotatl·d b) Sir Josbua lll'y-nold~. Sel'
Tho1uas Pullfi1rke11. Titt· Drs«H1t''1' ,,( Pift111 i,1/
(,'a111p11.1iti/111, pp. 261-7.
30 Gio,·ann1 Paolo l.0111.izzo, ,'1 7'r,1nc C.011raí11111g
th,· • lrtt'.'i ,,rC11111>11s Pt1i1tli11.J!.( Ct1rl'Íll,l/t' tl/1,r/
H11i/di11_e1', cran\. ít1chard H,iydockt'. Oxfilrd,
r598; fucsin1i]e, Fa.rnborough, r970, p. 11\8
(Book v: Ptrspcc:tivc).
31 Alberti. 011 Pc1111l111g, rran~. C:r,1yson. p. 71
(Book u).
J.:!. JJ111es Elli.J1s (7711· Paetics ef Pcr.1pec111,t, p. 257)
,ugge,ts that 'p1cture\ can be ,1/,(111/ geor11t'try
and even i11 geon,erry .,s tht>y v.·ere onc-c
osccnsib1y 111 pcrspci:t.Jve'.
31 Lel)n:irdo quotcd 111 1)aVld lto'i.lnd, /7n•
.\ll'111111~i: <!}. riu· \l,irk· Le111u1rd11 ,111(/ l /1/,111,
La,vre11ec, K..".. 1988, p. 3~.
3,,1- JJ1erQ ·~ list o( nece,s,1ry cundilions· · f1rs1 l)
s1ght, that 1s to ,ay rhc- eye; ~econd 1s rhe ton11
or rhc th1ng scen; th1rd IS rhc lll.St'J.l1Cl' from
th<.' eye LO tht· th111g ,ecn: fi,urth :irt· thc l111L''
,,·h,ch lcave th<-' hountlan<.'s of' rhe objec1,
a.11d (Onll' co UtL' eyc; lifL11 is thc intc;r~t:ct1<)a,
\Vh1~:h •c\111e, hcl"\veen rhe eye .1nd tlll· th111g
,,..cJl, Jnd on \vhich i1 1, 111tcndl·J to rcLord
lhe <>l!Jt'lt' (K.,n1p. Ih, Su1·11" (,( .·1rt, p. 27).
Albrerhr l )1irer nor,•rl. 111 rht· ~ir~r p~gl"- oi
A<ld.MS \2:?\) 111 thc 13ntL~h L1br.u·v: , . r ht lirsl
is lhe l')~. ch,1t ~Cl',/ Nl'Xt is the 1h111g tl1Jt "
seen ' 1 h1nl 1s rh,· ,p.1ct· hec,vt•t·n th,•111 /
Fourth cvcrything ~ ,ct.n by ,1:rJ1glu hnc~.
,vh1çh ,1n: d1c shonc~t ltncs fifih i~ tl,c.: p.1rb
ot rhc ch1ng,- rhar ~re set:11
•
AIbero, ( )11 />,1111ti11_~. tr.111,, C,rav~on. p.40.
ChJ.rlL~-Alpht)ll~C <lu rrl'\110),. Dr ,11/C 1/lclpltiuI
11 668). tr.ul',. 1)r1 dcn l\ "/'/u 1r1 ,y· P,1i,11i11g.
PP· 19fr7.
17 Wcntz<:I J.11111111.icr, Pcrsp,•ai1•,1l c,,rpor11111 rt;l/lll"r-
111111 . , . (Nurt·111berg. 15<i8); quored 111 Flk1n~.
11,c f>11f/ic.~ <?/ Pi•rspl'tíll'C.
lcl,11,1tii111 1!{ 1lti ,\ lt1,t/i. pt:11 anti. bn," u iuk ti,·cr
l~ad po1nt trac1ng. 2/l ( X 213 111111 (Pari~.
Mnsée dlt Louvre. nr 1978) ..1nd Sru,hes .fi,r t/1<
• lrlt1r,11io11 ,~r t/11· ,\),~1/1 (rt:<.-tO anJ verso). pen
and hn)\\11 1nk ovcr ,c1 1u,, 179 X 2.r,3 111111
(Paris, Ecole Nnnnn.1I Superieure de\ Bt-.1u,-
Arts. -1-24). Sct' Fra11CÍ.\ A111cs-Lt',\is, Dr,111•i11)! i11
F:arly Rn1111.1sa11tr Ttaly. Ne,v Haven, ( t. ,ind
1.ondon, 198 1. pp. 162-7, 1nd n1any refcrences
UI C.1rn.1c1l e. n.uub.l(h, cd., L:,111ardo ,1,, f 'i11c1,
,\./,1,t1•1 f)rt!{ls,111111., Nc\, York, 2001 There is ,1
large licer,1n1rc:: ao;sori.ited "irh 1he ~e.,-1e~ of
dr,1v,ins,s for d1e .1,/t,1i11it111 t>f tln .,f,{l!i,
JC) Foi rhi~ n·.1<l111~. ,ee (',1r1ne11 13,unhach C.1p-
pc-l, 'On Ln tl'~fa J'rr>J1t>1·11111111l1111·11tr' de.t!r,ufatL"
Luca Signori:lli. Lct>IlJrdo anti P1cro della
Fra11cc\ca \ /)e pros/l!'(//1•,1 J1i1~~e11di'. in Fh,rc-111i11t·
f)rarl'i11gs (1{ tlw 111111' ,:r Í.(lf('l/.::,1 tlt!' ,, l,,g11ijut'1tt:
f>t1pcrs {ro,,, ,, C:oll<iq11i111u hcld ,11 tlic r 'i//,,
Spcl111a11, Ph1rc11tc, ll)L)~. cd. Cliz,1bcth Croppt-r,
Uo!ogn.1. r~')4, pp. 17-4,.
.f.O L'o~s.1hl,, 1t ,va, thi~ \Vl'U-kno\vn dra,Aing '
thac
in!>p ire<l th!! ~y1ru1 LclT11..il polvchn.>n1e head~
and fllll-rigurc sculprur,·~ ,1nd dra\Vlllgi, ,1d-
orned with suntlar c1can,x-like 1narla11gs, b,
Lhe Dr1L1,h ;11·ri,1 John 0JvÜ:s in lhe t 980s.
41 G1110 Sever1n1, l)u nt/11.~1111' 1111 c/,1,sitls111t': 1•s1h{i-
1íq11c d11 rt•111pas c1 r/11 11,1111hrl'. Paris:J. Po,·olozk,.
1911.
Klce addrL"'~ed th1s problen1,1L1r i11 'Tht:
l'rt:"h1story of the V1s1ble' ('/ 71C '/11i11k11((! hyc
·nll N,Hcl111t>kl t!f P.11tl Klrl' I L956]. l'U. Jü.rg
Spillc.:'r, Lr-.111,. R.alph Manhe1111. I 011do11 and
Nc"· York, 1961, pp. 6LJ- 70): 'Algenra1r gt·o-
111ctrtca.l and 1nccharuc.1I probll'u1, .1rt.' \tt.:p\ in
our educatton tovvard~ riu: c.:,,cnu.11, to\\·ard,
the runcnona.l as oppost.'d to the 1111pre,s1011,1I.
We lt.'.l!'n cu ~cc whac flo,v, bçnc.1th. \\t' lc,1r11
lhe prch,~tor, of tht· vi,ibk· W'-' ll·,1r11 1u J1~
deep aud to lay bart·. [o c,pl.1111. U> anal) se.
We learn to look do,,1.·11 on tonn.1l1~111 and to
avoí d 1ak111g o\'cr rin1\hl'd prouu( L., ••• All L11 i,
,~ ti11t', hut tt ha~ lt\ hn1it\ i11tu1non rcn1.1111,
mdc,pt·n,,1hlc.'
NOl r.S IO PAGE.S 188 192 455
 1, rh \ r ll\11 1, h I eh dlfterc IH h1llll rhl·
li 11.l l tllllll 011 r ....!- 01 111, I..11, ,,, ,, ,~11111cr·
/ , 1111 /,,~~, •/'li}' 1/ 1 ,111'' \u, r,111, 11.111,. fc11-
111 ll·1 f t.111 1111 .1. l 'ri llt.er, 111. :>.J. i'ri 11 el"t, ,., Un1-
\ c l \1r, l'1cs,. l•J'))·
"C\\:!Jlll ,t11d1cJ \\ 1th ;i prul~s,or o( u1.1tl1-
c111 llll s .111d 111et ( h.1rlcs l lt·nr\ \VhP ron-
duLtcd rc,c 1r li 1r thL• SorbonnL•\ ilhvs10-
• ~
l,1g1,,1l 1 .1h(lr:ll,H\ ,11 \l'f\,,ll11111s: '! hopcJ to
hínd tht· 111.1trcr ofl111c, L11l11r u1d light •
t,, 'LI-
, nn fie 111, 1:,r.1(,h,hl'd har11111111c rel,1t1onsh1p, ·
(p. J.! ;).
13 l-0111 oi tl1e dr.1,, 111g, bv l'iul \lrcdt·111,111 de
~
Vnt', ,trl 111 rhc l·colt l'\i~nnn.ill S11pL'nc11re
Jcs U.:.1u..,~A1t,, i>.1r1,. Thi.:\ ,, L Jc' L'Ugra,·cd in
• •
rc·ve,,c 111d p11bh,hl·d .1s tht. Lr., 111,1 1,111.!/t dr
/',11 hi1r<111n -\n1,tl'rd.11n· ·ht.>7 _l,111 J.111,snn.
, c,20- ~x ,U1J .1, L' Jr,/111ca111< riJ111t'l1,1111 l,1 10,L,111(,
.f,,11,111,·1 1,,111i1111 , ,,,,i,uh111q11c pt11 I lc11r1 Fhn1-
,l111.,, An1,tl•ni.11n. J<131( ~ee .11,o J Vredcn1;111 dt'
Vr11.:,, 11n.,11c1111·1· 11 604), Lr;u1s \ouley Apple-
bJun 1, iuun. Aduli K. Pl,1l 1e:k, Nl'\\ York,
l(;/1 l'i
11 T ~- ,llluffrll\. <.t>11r, rl '11c·~thr11q11c 11 8631, 111
U.ub,tr,t M.1r1.1 St.1ffi.Jrd. S)'111bol ,111d .\lytli:
H11111hcr1 tlt' \11pc1ril/, ~ J-,·,uy ,,,1 lh,,1/uu· Sign,
111 111. l'r1nbt1r}. "IJ. L979- p. 25X
Lonuno. ·l Tr,ldt. U'Jll.l.. 1 LiyJolkt' (p. J7J- ·or
\l'Í11gr.1ph1~··) He \\ rote· \çíogr;iphie Í\ ,l prin-
sip.111 ,c11:11ce. and thc ~ccond p,1rr of Pcr,pec-
LÍlll , conq<lenng LhL ,Lllt: s:u11L n:.isous of thc
•
,hJddo,1.:, oi bodtt-s, ,,hiLh l)eh11e,1t1011 lll
dr,1\\ ing doth. hy hnL'' ~eene on h1gh, belo,,.
ur levei. po11Jeri11µ tllci.r c.1~c\, principlt',.
l'k·n)t'1H,. d1ltêrencL·~. k1ndc,. p,trtc\. anJ cs,en-
nal pa\~1011,.'
lb1d.. p. 12 (IJook 11. lhJptcr v).
lhid .. p. 17 I L1111,1zzo ,v~, 11 1flL1t•nc1,tl 1n 13ntain.
.111d 111, thl'OrtL'\ \Vl'Tl' 1ncorporatl·d ,vord for
\Vord. for t'X,11t1ple. inro Alcxandlr Bru,vnc..
Ir.- f>i11,,ri11: ,11.. ·1n ,rl"1d1•111y Ti·r,11i11.~ o_{ D1r1111111.I!,
/J,11111i11.í!- l.111111i11,í!, l-:1rh11~i,: .. [ 16<19[, .:!nd
cdioon. London. 167, (p. 30): 'Nu,v tbcrc 1\
no f-onn ,o fit Lo c~prl.'\~ d11, Moli1,11, ,L~ 1h,1t
nl tht• l l1n1t• nf l-1re. ,vh1c-h ,1rcordi11g to
Anscotl..-. ,u1d thl· olht·r Philosopbcrs i, a11
Ck·tncnt nui-1 JL.ll\'l' or ali ocl1\·r~. beL,1u,c chc
Forn1c or cl1t' l·b 111e thl:'rl'Ot 1, ITIO~t .1pr tor
\.lot1011, lor H h,uh .1 ('011u, or Sharp J>oull
\\ hcrt'-\\ ith Íl 'lt'1111.;Lh t,) dl\ idl' rht' Air.'
'-iee thc d"t·11ss1011 nf thl, 111 Fí\v111 l':inoKky.
1ht· Neopl.11nn1, /\1oven1L·n1 ;111J M1c helan-
gclo . 111 S111d1c.1 111 ln111,1/oí!)': ET1111111111.111c T!te111e.1
111 1/u• -l rr ,,f thl' l~u,,l/.,.,,111a•. Nc,1· York, 1939.
Ht· rali, 1r :1 • revnlv111g for111 •. Ale\s,111dro Allori
( 1,35 l 607) li.1d .il,o Je,Llt \\ 1th the: rc.lJtivl'
,111.1h11t·, t1f ,tr.111,:ht .1nd ht·11t hnt>, in h" Ri:1t,1/t•
d1 I d1s1:~11, 1 nt 15(,5
W1lha111 l ln~.1rd1. lht· . 111,dy.liS ,1( Dnllll)', eJ.
llo 11.1ld Paul,nn, Nt'\\ l l.1,·,·11,, 1 and I ondo11.
19cJ- 1hL·n: ,v.1, 0111) nne: L•d111on. 1lllgJrth
456 NOfES ro PAGE=S 192. 195
ad1n1r- thJt h,, ,llfl'nt1on \,\as drJ\Vl1 lo
Lc,111.tzzo b~ h1s fr1end 1)r Kennedy and ,vr1tes
Li1l' 11.llllL .1~ L.uuoz:zo. ~ce al.so Fré-déric Ogéc.
· rht: I·k·,h of Tht·tiry TI1e [ rouc, of I Io-
g;1rth \ I 111l·s·, 111 /711' ()thrr Hciflartft : .--lcstlH·tirs
oi' Di[fi·rt·11rc, eJ. Uc•ru,Ldcttc Forc and Angcl..t
R.o,cntl1J 1. Pri11Lct1,n. 'JJ: Princetou U 11ivcr-
s1 ty l'r~·s~. 200 r. pp. 62-75.
Tlc;nald l'Jul~on (J lt1}!artl,: 1l is L[(!!, .•ln 1111d
T1111c's • .? , o i,. NL'\\ I la\'en, < 1. anJ Lon,lon.
1971, p. 1.11) J1()Jnts our rh,1r th,~ po~1t1on
Í.\ tbt· ohversc of t.hc Shaii:e~burion v1t·,v of
Uu1íi1rinllv in Varie1v c.xpres,e<l by lh.e Scot-
tJsh ph1losopher rranc1~ Hutcheson 111 lr1q11iry
tc111r,•r11i1~f! Bc,1111y, (),-der. l l ,1rn1ony .u1d D cs(i!"
(2nd L'll1lion. Lond\111: J. DJrby. 1726).
Hog:trth, 7711· ,-l11,1/ys1J ,~{ H1>1111/)'. ed Paubc)n,
p. 30 (l' h:ipccr rY: 'l)f Si.111pbcit). or l)e.oncn-
11c,~·). Thc pyra1111J h,tJ btc'en u~ed a~ the
prnnt' 1nodel for opncs l<>r centu r,c~, for
cx.1n1ple 1s d1scu~scd 1n Book I of Alberci, Ü/1
/>(li111i11g,
(~2r.,rd de 1 ,lll't:~\ t' (TI,e AI'/ ~r
P,1i111i11.~
rrans. Jnhn rredcrick Pricsch, 1ondon. 173!!.
p. 57 1) ~i1nilarlv dcfincs lhe u1ea11.ing of s.hapc5
111 h1s chJpcer nn 'Sull Litl'': '13y the equda1-
cral fn,1 ngle \Ve '-1b,'11ify the fu.111 ,tnd 1->urpose
o f JII holv and i11nL,ce11t l1lc ... The Sqt.k1re
in1plie\ l \ 111,1,1nry anti 1111 n1ove,1blencs~.
beca11se ho,,-ever rurned. 1t 11\\:tys ~he,v, four
Liues anJ JS n1an, Auglc~.'
53 Thc tr,1d1t1ún of r,dar,ng figure dr,1,,•ing Lo
bas1c geo111err1c ~bape,, \Vhtch developed 111
1uctlic•v,tl ti111c~. i~ Ji~c usscd in ch,1ptt'r 1lÍnt',
p. 250.
54 •!l &,a11ty, ed.
1--l oga rth, l he l -l1111lys1.1 Paulson,
p. 1O.j. (Chapccr XV 11: ·or Action').
55 1...l.•r111r/>s 1111 P,1i111i11,_{! Oe/11,1•rrrl ,11 r/11: Rc ►y,1/
."-lr,1dc111y hy l /1•1111' 1:11s1·li, 1 ondon, 1830, pp. 47
anel 6J.
Flaxn1J11 ~ketchbook. ,\.Jo1io11 and Eq11ilibri111·11 t!{
rhi• J-1111111111 Hod)', (1)J32- 4; C.\ 1n1bridge. l-1cz-
,vi.U1an1 Mu~cun1 83217). The rclJtion~hi p oi
chts skt·1chhook co I Iu 111bt•rr de ')uperv1Jlc's
sy~ten1 of uncondirion:i l ,ign~ a\va 1t, fi.1rthcr
rcsean.h.
<,7.Joli11 Pl.1xrna11. u rr111rcs 011 Sc11/pt11rt:'. Lnndon.
1Xx9, rP• 151- 3.
5~ Alcx.;.u1dcr Cote11\, flr111âplcs c1( B,:,1111y Rel,11i,,1:
to thr / l11n1c111 Hi111d, ll)ndon. 1778. p. 5. Co111-
p:ire chi, st:1te111ent to l~u~kin '~ norions of
bc,1utift1 I curve~ ti uorcJ bclo,v:
59 SL'c 'The B.1ro11 d'I-l.111carv11lc: An Advcnturer
nnd Art Hí~cor1.1n 111 E1ghceenth-tent1.1ry
Eur~)pc ·. ui f rJ11c:1~ 11 .i\l-cll . P11st ,111d Presi:111 i11
,--111 ,1111/ Ti1,~/(" s,,ft·clc•d fi.,.<,1)1S. Nt:\\ l-l.1vcn. ( 1,
:ind London. 1987. r here 1s a gro,ving lt rer:i-
turt· 011 d' l l.u1carvillc because of his JS,ocia-
llün ,v,rh Sir W11l1,1111 1-1,un il u>n and Lhc l)b-
Jert-; th1c ,vould lornl rhe h,\M~ of rhe Bn h~h
Mu~eu 1u.
(íó 1-1 t>lk í.ih C roúl-e ..\ lirr,lct1s1111~{!r,1pltic1: A Dc,rrip-
ti,111 ,~(tl,c 13,>d)' C!f \ta// [1615); ,1uoced 1n Karh-
er111c H..o,vc. 'God's llandy 'vVorkc: l)iv-ine
Cornphc1ty J1H.l thc Anatouu.st\ Touch ·, 1n 77n
/3ody 111 J.Jnrt.~: /·11n111sirs o_{ (_'mporeality i11 l-:t1rl)'
1Vlt1ílcr11 E11r,,pc, cd. l)avid l-Iilln1a11 and Carl~
M,llZio. Ne\\ York ,u1cl Lou<lou. 1997, p. 190.
(í 1 See IJ:itil~on 's incrodiictÍQn to Hogarth, 771<'
, l1111!) Sis o_( Bea111y, p. X.'í.X.IV. Hogarth staccs that
1
~ht' férnale body 'surpa.~~cs in beauty rhat of
a n,an' ((: hapter 1x: '()f. C on1posit1011 ,v,th
rhc \V.1ving- linc'). CurJ()usly, Edn.1und Burke
rcJCC~ l log;artb ',; ~uppo~cu :idnúraLion for
·illll!lllanty' ,Yhen he up hold~ thc principie' of
'C.,radual Vanatlon · as a fi111Ct1on of the
bt:.tutiful f~o1al1.:. bu<lv in . 1 Pl,i1oso11l11r<1l
J~11q111ry iut,, r/tc• S11hli,11t' a11rl Bc <111tif11/ a11d 01lit•1
1
/Jre-H.e1 1,,/11tio1111r}' ll'ríri1(í!S, cd l)1vtd Won1-
erhc;, Londnu. 1998, pp. r46-<;.
l::.rasn1us l)aru,in, Zoa110111i,1: or. Tltc Ulll'S q(
O tQal/1( Li/e. ~ vol,;, London, t794-6, PP· 145-
ú. Eras111u~ Dar,v111 ( 17 J 1- 1801.), grandfather
of Ch.1rlcs J).ir,vin, pracri,;ed ,1s a phy~ic1a11 111
Lichtield and v\1lS :i n1.cn1ber of tbe l:J in11i11g.-
l12un Lunar Soc1ctv, •
v. hich 1vas foutidcd in
1760 ~nd devoted to sc,encifíc .111d philo\oph-
1ral spec-ulanon. Me111bers included Matt he~.v
lloulto11, Jos.i.a.h Wcdg,vootl l~Lhard Lovcll
E<lg_e:worth, j ,\J l1t'~ Watt and l,1cer Jo,eph
fJ rie~rley. ( )f the huge literature on ETa~n,us
I)Jrwu1 (Yl·ho "'-roce his co111111c11carics 1n
,·t>r\e), see ltoy Porccr. Fies/, i11 1(11, .tJ.~c t!{
R.('aso11, Londnn: Allen L1ne, 1003.
63 JohJ.Jlll Joachim Winckt•I111.1nn. 1Vi11c/.ic/111,11111.
r1·r,1i11.fls 111J A rt, ed. D,1vid Ir\vin, London.
T972, p, T37.
64- Willi.1111 Dycc, ' lncroducnon to Sccuon 11:
Frechand l)es1gn ·• 111 T/1c Dra11,i11g Boo/.: <~{ thc
( ;o,,cr,11111·111 Srl1oc1l <!( I >es(f.!11 [ 1R..j.2-3J, l ondon ,
1853.
John lZuskin, 17H' Elc111e111s ef Or<1111i1tfl I1857J.
N e,v York, 1971. p. 178. ln ,\,Jodrn1 Pai111ers. vol
1v. ch,1ptcr 17, he c1nploy\ ~l1ghtly JiJTcn::nt
1vord1ng: 'Gr.icefi.11 curvature is distin~lli\hed
fi-0111 nngr:iceful by , .. ics 1n oder3t1on ~nd
sccondly. b)· 1ts VJnation. Thus a is a bad cur\·c
bL·c,1usc 1t 1s par t of a circle, ,uid 1~ thereforc
111onotonous throughout; but /1 ís a good
curve bccauSl' it continually ch.1ngcs ics di rl'c-
lHln ,1~ ,e procetds.'
66 The rern1 ·sensu:ih~me anaque · , ,"as used by
l)a, id d'A ngcrs i11 discussi.ug Canova (quotcd
in Carol ( )ck1n.111, Rt'traritt)! tlti' S/'r11e111i11l' Li,u►,
N e,v Haven. rT, ;ind London, ry95, p. 53).
Thl·oplúlc Gauticr. Les Bec111x-Ar1s c.•11 E11r,11>L',
1cre séne. Pàn.s: M1ch,1cl Levy Freres, 185.:i,
vol. 11. p. 157: quoted 111 Ockn1an, /{crrari,t~ tf1e
Scr11n11i11t• Lint•, p. 1.
Th,~ dn1,,1ng i:ould bc a copy of ;l rl·hirl'd
drn,,.,,ng 111 th(' I ouvre (Rr 1451.r) " ' h1ch con-
Lains tv.·o ~tudic~ in thc sm1c mount.
6~ Thc studics 1.l.1cing G·o111 chc r53os for the
11ov,-dc\LroycJ oil n11 pl.1,lcr dcco1 ..1tínn of chc
loggi.1 of the V1lla Mech c1 at ('art'gb'l ju~t
north of ílorcncc (,,·hcre Cos11110 de' Mediei
suppo~cdl1 h1.•ld h1~ 'PJaton1c ac,1Jen1y ') ,u·t'
ve1, close ro Michel,1ngelo\ ti111~hed presen-
tatioo dra\V111gs _ío che cype of smooth 1nod-
clli11g of e~aggeratcd 111L1\cularure. A rclau:d
.:ind vcry det;1 ded back v1e~ 111 .1 co1npo~ite
shecr 111 the Ufriz1 (6583r:) Jppear,; to be dr,1,~1 0
frotu an aged 111ali: 1nodcl. flor Poncorn 10·~
dra\,'lllgi, sl:'e Janet C:ox-lZcarick, / 11e /)rau•-
Í//j?S CJj. P,111te1n11e1, 2, Yols. Ca111brid).{<:', VlA, 1964,
.1nd Sah·atore S. Ni~ro. 1.·d •. 1'011to1111n: Dr,uvii(~S.
Ne,v York. 1991.
69 'Mr curves .1re not M.1d· (note~ for Jr1::::
[.1.94-7j. iu ,\ft1lissf 1111 .1lr/. etl J..1çk D. fl.1111 ,
()x:ford. 1973, p. 112; ,ee al<;o 'Sarah Srein\
Notes of 1908'. pp. 43-5).
70 l logarth, Thc .11111/ysis t)( Bcr1u1y. cd. P.1ttlson. p.
9(;,
71 (:onfêrences \Vere orgaru~cd by the ac.1den1y
U\1/ll 1667 Oll\Varili. Sl'c JcnL1Ílcr M o11t.1gu.
Th1 1 Expr,•5s1011 1if thc P11ssii111.s: Thr ()r(~i11 a11d
l,!fi11e11r1· <!t' C/u1rlcs /e Brr111'.~ t'ontcrcnce sur
l'cxprcssion géu.'.:ralc c.:L part1culicn.•, Nl',V
Haven, e r. ,1nd London, 199.1.
72 ln .1dditio11 to d:i.1graiun1,1tic di:..1,v111gs depen-
deut on fixiug Lhe angl~ of facial littes c>f
expre~sion, 1 e Brun al~n produced 1nort' n:-,d-
1,ttc chalk dra\\.'111g'i of express1ve heads that
v..crc c11grav1.:d by Au<lrun. Tbc di-a,vings .ire
111 albLllll\ in the Lou\ re.
13 Montagu. '/7,r Hxprrss1011 CJ_[ t/,c JJa.t~io11s, p. 133.
74 1b1d.. p. 128.
7, lb1d.
76 Jacqucl:ine Lichten~te1n (7/,c Elt>q_11e11.-r CJ_/
C1,/or. Rllctorú: r111d Pt1i//ti11t i11 thl' Frl.'11d1 Cl,I.\•
sic,zl Agf 11989]. tran~. E111ily McVan~h. lierke-
lcy. rA, and ()xford. r993, p. 151) suggests rh:1t
'cxprcss1011 u1u.~t bc lcft to di·a,vu1g, sintc tt
.1Jnne, t.hrough it~ l',1pac1L'> for inv1t11tioJ1. ís
able co providt> a pl.1~t1c represenr11t1on of nar-
•
•
ratJ\ e ~talClllCUts .
77 5ee 'Thc Gran1 111.1r or Porr-Roy,11', in Julia
l<r1scc,·a, l.1111g1111}!/': 71,1• t l11k110111n, rrans. Anne
M. Mcnkc, Nc\Y York: C0Jw1tb1.1 Univl'rstty
Prl~~- 1y/19, ,111.d Norn1an 13ryson, l lí,rc/ a11d
l,n<1JC'' Fre11c/1 l'r1í11tí1t..l! <!f Ih<' ,-l11rie11 l{{{!i11 1c,
Ca,nbridgc, 1981.
78 1-Jogarth. 77,r A11,1/y,is ,if Be,lltt)'· eJ. Paukon.
p. 97. ·1 he-~e 1deas wcre l.ícer caricatured by
rranc1s G rusL· 111 h1s R11/es JÕ1 Dr,111111(1! C11ric111-
11n1$, u•Í//, ,111 Ess,1i1 !li/ C11111ir Pr1h11i1t~ l 1778].
2nd edinon. 1 ondon. 1796 See ch.ipter rhir-
cccn. p. J70.
79 Cario Carr:'l. L11 r111111ra di•i ,11,,11i, r11111or, 1' 01!.,ri,
M1lan, 11 Augi1,c 1913.1·1,,, dolun1e11t got"i ro
grcat leng;ths co list ,vhat is reJC'Ctt!'d. includ-
111~ 't.he Jyu.u1uc .irabc,quc'. 'thc cl.1sh of ali
chc .1r11te anglt's, wluch \\'C have aln:ady called
thc anglcs or \\'ilJ' and 'Ohltquc liuc~ ,, hiLb
fall on che nb\erver lik~· ,o 1na11v• bolt- fi"lJITl
the hluc'. Sec Poncus 1-lulcen. F11111ris111,, ,111d
f11111ris1r1i. J\.llilan. 1986. pp. 443 -1-·
llo GiuvJnni Pictro DcUori. T'/1r L11'1·s t!( thr
., ftidcr11 Pnillt<T•, ,\r11/ptcir.í ,111(( Arc/,irtrts· -1 \cu•
Th111sl,1/io11 1111d Criflral E,Ji1h111, traill.. Al.icc
Scdgvv11. k Woh 1. ed. rlell1nut Wohl ., 11d
fo111nso Monranan, (~an1bndge. 2005, pp. 171-
2. fhe p:iS~:.ige co11t:111ucs: '.1ud 011cc ,, hcn
Duke Guid0b,1ldo .i~ked hun \Vh..H he ,va~
doing, ht ,111~\vered, "[ ;un tuning th1s ml1sic".
poinung to thl.' picture UHtt be ,vas p.11nti.n~·-
81 Pou~si11. lencr to P,1ul Fréart de Chantelou, J4
Nove111bcr 1()47, ,vh1ch revealed rhe 111Huence
of Gi.o~e'tlo Za.rlu1o's lsti1111i,111i /,,,r1111!111</n
(Vcn1cc. 1589); quou.:d u1 Ai1Lhony Illuot.
1\'1!'0/11.1 P1111ssi11. 2 vol\ 1 0ndon :ind Ne,-v York:
Pha1do11. 1967. pp. 367-70.
André FéJibicn. c:011Rrl'll(l'$ de /',l(11(fÍ'11111
Ro)',1/e di' Pe111ttll't' ri de Sndp11,re, P:lrt~, 16n9.
Sec Puttfarkcn, 7'/11• DisniFrry •~f Pict,,r111l c:,,,11-
/!11.<i1it111, pp. 263-77.
('harlc-,,-Alphon~e du Fre~11QV. De 1111<' graphira
11(168 J, rr.in~. John 1)1·)'dc11 as 77,c. ~rr o_f' l'.ii11r-
111,11, Loudou. 169s. p. 11.i.
Q uorcd 1n Thon1a, P11rr1:1rkl'n, R<~l/1'1 ,/,, Pi/1 15'
'Jhc,1ry ,1/ ,-:lr1, Ne\\ H.:i,·cn. CT n.ncl London,
J 985, p. 30.
f )cni~ r)1derot. 'Whar C\'ervo11e kno¼ 1> :ibouc
1
l:.''Xprcss1on. nncl son1crh111g everyone docsn'r
kno~, ·. iu ·NQtL~ 011 J>ainriug:Appl'nd.ix. Lo dic
<;.1ln11 of 1765', i11 l)idcr,,t 1l/1 Ar/, tr.111,. John
c;oodm.111. :? voJs. Ne,, Ha\·en, CT, and
Loudo11. L995. ,·oJ. r, pp. 2. 18 :111d 2 1o.
se, Jac.:que,-Nic.:olas P.11llor de Mo11t.1berc. T/11\,11,·
r/11 ){C.ffl' d,111I l'art de /11 1wi11t11re, P:ir1s, 1X13.
Book +· Sce StJtlord, S)'//lbt>f ,111tl .\lyth, PP· 45
8,
'67 Burke•.-1 /J/11/oscipl,iral l:11q11,ry 11110 rhc S11b/1111e
,111d Bcattt[fi,I, cd. Won1crlst)~ p. 73.
Rt-< Therc are variou, d1·a,\ 11 vcrs101t, oi- J fl>,:1!<'11 by
l~unge, :ind 1c .1lso t>,,n, 111 l."ll!:,'Tavcd .111d hth-
o~rapJúc forn,,lr; tbc 1.1nti111shecl painrcd
v1.·r~íon. ;\fc,,:(!r/7 (Ha111burg Kuu~thalle). vvas
cur up after l-lungc ·~ carly dcath ' I hc ,ent's
sv111boliscs
'
thc sca\iln~ of chc .vcar and thc
ecc1na! C) de oi- ge111:s.i~ anJ dcLay. JusL ,,, li11L·a1
f0rn1 1~ part of a con1plex ,e-1 of enc-oded
n1ean1ngs. Ituu~c also bclii:Ycd. tollo,vmg
JJcob Doch111c. that colo urs had sp1:c1J1 ntvs-
ncal ~Í!-,'llíficance: hlue 1s th.: colo11r o( God
~
chc: Fathcr. red d1e Son . .111d yi:liO\\' che Holy
Spirit.
89 Staffi)rcl, SJ111,/1()/ ,1111/ ,\ fyth. p 52 '>cc ,uso
Barbara Mana Stit1ord. /icldy (;ritirisn1: /11/ll(!Íl{f!
1/11· U11sec11 i11 II11/(~/1re11111c111 ~ln ,11,d .\ lcd1011i'.
c:.1111bndgc. M>\, anJ LonJon. 1993
yo Thi, and 111 chr tollo\VJng quocanons are takcn
&uni ~hi: Ln111sljtio11 bv, .la.1..ob HQ1ll'll. i:d .. .\IL,-
cf/1,1111·,1: l /11111/wrr dt· S1111uv11/,•. Le-iden. 1997, pp.
.2.7 J:'.~. T\\l'lll\-0111.. of thl' lolio~ of dtl' E,S,1)'
,111 rhc 1 '11n1111/1111111,1/ ,\1{!11.1 111 11rt .1rl." 111 thc
lloval I ibr.1ry. 111 l hl• l-l:1~111..•, .111d rhere
~
.ltt tort\-thr.:i: 111.111u,c11pb w thl' l.i:1Jc11
Pre11Le11k.1h111et h \\as \\rÍ~t1..'II in fr1..•11<·h. ,v1th
l)ntch Ccnn.1n lrali.111, L;11in .1nd (;r.·ck
Í1Jtcrc,uatcd 1..on11ncnt.1ry: 11 fir,t .1pp~ar1..d iu
1827 (Lc1den pubhshcrs (.. e:. Van de-r HoeJ..}
1nd ,vas puhl1~hed 111 pnrt~ unnl 1839. ,drhough
ncvi:r eo1 nplcted A l.tuucr.:d lJi:sinulL cilit1011
oí 11~.1111 .,111 Ir, .1(~11(•, Ílll'(llltillitll/1111, d,111., [' 111
v.::i,-: i~sllcd in 199X, hy the Fo1111dnnnn c:us10-
dta 111 Par1~ and Levdr.:n U n1vt:ri\t\'
91 A large group of Jr.1,vu1g,; b') l lu111bc1 e u1 che
Accaden11a, Ven1ce. shov. clo~t• ,11111lannc, ro
chc l~o111.1n dra" lllf,r:- of fl.1x111,w.
This ,1ppi:ar~ LO b<: ,llJ equi,a.lenl or Gia 1llb,1t.-
tisrn V1co'i; clain1~ rh,1r ali l,1nb'1.1a1:,11.· l!Js 1ts h~s1s
111 grstur.11
._ sions
~· ~ or h.1c:ronh :--.- ' nh.1cs.
r ,vb1ch havl'
.1 '11Jtural' rel.1t1011~h1p 10 idc,1s.
93 rhe t1r~t seç or l'l1)'$Ít\'sllC)/l/i;c/11' l·r,1,111111'11(1• hy
Johann <..:.isp.:ir L.1varcr (174-r-1801) \YJ~ puh-
fu]1cd in Gern1,U1y in t 77-,. an<l an cxpandcd
l-re11ch vers1on pubh,bed 111 fhe- Ha1:,'1.1e
bct'\vce11 1781 and 17~6. íhc l:.nglt~h rr.1nda
uon by rIcni-v
. . I IullLcr \V,15 takcu fr0n1 Lhe
Frc-nç h Ycrsion, .111d ~upcrVJ~ed b} Lav:irer\
trnsted tr1e11d Henry Fu,eh. ,, ho :iLsn prepared
Jra,v111g:, for t.l1c cngr,1vi1i~.
94 Kand1nsky\ con1p,1n~on of goch1r .1nd
t: l:unc~e do\vi1tt1r11cd and uptumed curve,,
,vb.ich clc:arJ} úcrivc fron1 I Iu111bcrt, ..tre
rela.ced to ,1 tliscu\~it111 or che devclop111e11t of
rhe 'po1nt' 111 /',li111 ,111d Li11,• u, J>/a11c. rrans.
T)car~tvnc and lleb.1v, pp. 40-4 T.
(1 •
~) Thc ,1g11 appl'ill'~ 111 tondcn,ed lorrn lll .,
f.1n1011s leITer fron1 ~eurar to M:iur1ce
Be,iubour~ of 2S Augusc I H90 in ,vh1ch hc
oudh1ed Jus plulo\opby of h.1r111011,. See
IVhchael 1-. Z1111m<'rn1an. Sc11r111 r111d thc .-lrr
T/,c()r)' t!/ 111s "fi111r, Ant~\·crp. 1y9i.
\)Ó 1\ fis.n •/1,, 111•.i. cd. Boi lcn. p. .20.
07 lhid .. p. 21.
98 lbrd
99 W illid 111 Robso11. Cr,1111111(f!1i1ph i,1: vt. 77,c
(Jra11111111r '!/ Dr,111•111.~ .... 1 oncion. r~99, p. r4v.
100 lb1d., pp. 125-6.
l OI llouolphc Topfic1.. lliSll)1 ,111 Pl,y,111,1111,1111y
[ 1X45]: reprinred 111 F:.ntcr: 1111 c;,1,111r<. R11d,,/phr
'f'ii1!Lli·r '., /:;.,s11y ,,,, J>hy,i1~11<1111y ,111d lht· '/r,I(' S1t>l')1
e?( .\f,,11.<Ícur Cr{putc. u.11-c,,. and ed. E. W1esc.
11ncoln. Nt. 196,, p. 17
10.:! lb1d.• p. 12.
10') T. s. JollffiO), e,,,,,, d ,l(:st/11lticjttl'. P.1n~. 18(13.
1
l)a\ 1d ~llttt.>1· ,vho taugbt 1i:~thl·l1t, ,lt tht·
Ecolc de, Be-:inx-Art~ ti-0111 18(,5 ro I S70,
also ascribcd colou, tu liu~ ,111J rt·l.1tcd tlll'ltl
to u1u~H .il noc-e, Vt"rll(.11 h tht• 'liuc of no-
btln:y': h11n.2011c:il 1, rht· 'linc 01 ,·.1,t opt•n
,p.u:c,•
Charlc, 8la111. Cr,1111111,iirc· dr, 111Ts d11 d,~sit1
'º"'
NOTES TO PAGE5 95 202 457
 1/1••1,r ,,,,~ [li 111111r1 • l'at IS 11'(17:
111 t 1• l 1t,on 1 r1k 11 tron1 BLi1tc /711
(, ,11 , , r / /'111111,,, 111 I J 1111ra•·11111, t1.111~. K Hc'
I\Jc\\cll 1>o •~clt ( htt t ,,,, 18 '), p. ll5
1e l ,s111 e~ le <, xc rn.t,t 11h11 ,k l'.u't: l.1
1 '
tnuleur e11 t'<C 1~ st",c rcn1111111· 111 th,, r,;-g:ird.
Sll' 1 ll htc11,tc111. 17,, /.l, 1q11r11,r tY c~·oft•I. LrJllS.
,\ih \.1rtsh. , h;iptc1 1,.
106 · 1n rhc h111n 111 bnd). ,, h1ch i- perice ri) ,v111-
tlll'tl lt.11. ÜK' ,y111111ctrv i, tpp.,sc11t only \\ hc•n
tl 1, ng1d .111d 111ouo11h:s~. A, ,0011 ,h thc
hu1n.111 ti~nre 1nnves. tht' ,, 111111etrv is brokt·n
•
b,' the 1110,•c111enr. Jnd in thc tore<horrerlln~ . pocs, 111:ik1ng .1 co1Tel.1tion bet'\~•cen st:1b1licy.
c,r pcr,p,·, (l\'C lt C\tJpe, !li)tlt't. Thc figure,
ho\'\ ,·v(•r, doe, n,,r (n-;i.' th ,~ 1n111t•try \\·h,1t \v,1,
a Loldl) ri~11i n:f-'l.1l.u-1l") h rcpl.tced bv another
k1nJ o( ,yn1111t'try. \\ hi.:h i, ..:~1u1lrbr.1uu1. Thc
,.1111,· phcn11111e111,11 111an1fest, 1rsclt 111 ,1n. A,
,1)on a., tt h.1, .1rc,1111cd n1atuncv, tc..:ls 1helf bold
,111u ,t1u11g, it ,1bllidons sv111111\!trit..1-l C.:lHnpo,1-
11 n11, .11111 ,uh,11n1t1.., lilr tht·n1 ,1qu il1br1111n'
(Ul,1nr, 'f7u• <7r11111 111,11 ,:f f),1i11ri111! o111d Cll\!f,1l'i11,I!,
u:an~ l)o!!geu. p. ,s).
io~I lbtd pp 1n- 1,
108 \/gt('/1.1111'<1 , i:d. Boltcn, pp. 8-<). l<Jnd1nsky's
\'l'L''>iun \\ a.,: ·eolour t.:.tllUOt ,t.w.d alou..:: 1l
1.111111>t d1,pc11,e ,,·1th b,11111,lané, or ,0111e
kind'; ·,, he11 rcd 1, pre,c-ntcd 111 ;1 n1,1ccri.1I
ti.ir111 (a, 111 pa1ntu1g) 1t n1ust posses~ ( 1) $01nc
Jet11ucc ,hadc 1>t' thc 111,111v ,hade~ of red
rh.11 L'"<l~t 1nd (:?) .1 l11111red ,~1rt.1ce. d1V1ded otf
fro1n tl1L od1cr colour!>, ,vlüch .u·c undoub1
cdl) Lh t'TI;. 'íht.: firM nr thesc co11dit1on~ (the
,ubJecnvc) •~ Jlt<:rtt·d b, the \econd (the
obJCCtl\'C) for the 11c1ghboun11g colou rs Jticcr
the ~1i.1t1c or red' (\VJsstl~ Kandiu~ky. Ct>ll(Cf/1·
111.1! IÍli' 'l)'tri1111il 111 --lrt lr911]. q~ns. M.·r.1.; ,
S.1dler, !'-e\"\ York. t 977. p. 28),
10<) ,1li$tcll,111c,1• ..:d. Lk,ltt'l1. p. 78.
11O 1b1d. íhi, \\ .1, taken up oga111 h1 Ka11d111sk.-y. 111
thc \-;1lues hc .1ss1rrncd t, ro 21ez.1i::-
.._, .. hnc~.
lll lb1d. p. 1R.
11 ~ l.,el' Z1111111enn.1n, Scrtror 1111d rlw ,-Ir, 'f11i'()r)' t//
l1is l 111/C', .1nd h1~ d1scll\SH)L1 of Seurat\ lcttt' r to
13c.1ubourg nf t 890, ..:ited 111 note 96. Thc
inll11t·nce c111 (;1110 ~evcri 111 n::~u lted 1n h1s
hnok / )11 ( "'11/,,-11,c 1111 dt1ss1as111c: t'.,1/iet1q11c dtt
n11111J1b l'I tlu 11,,,11/,re of 1921 Fur Sc.urat ·~ S/,t·t'I
,,( St11,/i1•., uf I tiX7 têlr P11r,11ic ,, hích l'xplored
Hl1n1hern.1n nntH>ns, \l'l' R.. clbert L. Herbert.
Sn1r,11 Drt111·111)!.i ,111<1 Pc1iu1i,1ts, Nc,, l l.1,·c.:11. e 1.
and I t111don .!Oor, ch.1pter 8.
1lJ \ec Jo~e Argtielle,. C.'/r,1rles Ht>nr)• t111tl r/1t /·rr-
11111111111 <!Í ,, /ls)'thoph1•s1c,d ,-1t•sr/,,•ric, Ch1tago,
l\)7t
1 1.j ( 'h~rle\ Henry. k,IJ'/'('flt'11r cs(hrriq11t': 11rtia· sllr
iCJ upp/i,.11i,,11s •• . ti l'é111dL· f/ ,, /,, rca,fir,1111111
csrhé11q11t d, r.•11rt·I.JÍ1r111cs. Par,,:(; \é!.,ru111, 188X.
quored 111 L.1n1m<.'rn1.1n. <,c11r111 ,1111/ r/11· !tt
'f/u·,1r} 11/ 111, /'i111t Sc.:l .1Jso Wilh,1111 lnnc~
l To111t·1 . ',111r,1/ <111111/,, .;;.,e,111· ,,( Pc1í111111~1 l'.1n1-
•158 1-JOTES TO PAGES 202 206
bndp;c. l\1A: l\llf Prt·ss. 1\)6+. pp. ~o+-1+. These
btz.11-re e"<peri 1ncnt~ ring a bell in rcl.uion ro
rhe n1ndern pos1nv1st 111\'l'sngaoons of'neuro-
.i.csthetu:~ · propounded b) tigures such a.s
Sl'.rlllr Zel-.i ,lud V S. R.,1111JlhauwJ1L
( '.harll>s Hl'lll). ·1nrrodllcrion à une e\thétiLJtte
sc11;ntiti<.1ue'. La Rc1·11c r,1111c111por.ii11c (August
1~8,). p. 7.
111 the 1930, thc n1,1thé'1n.1t1cia11 George J).
Uirk.holf (. ·lcsrht'rir 1\1c•11s11n'. C.1n1br1dge, MA:
11 arvard Univer.,it") Pre~s. 1933) also a.ueu1ptc:d
.in ,1esrhctic 1ne,1,u re· 111 relation to Greek
'baudlc;1bihc1 ' anJ acsd1l'tic,.
117 W:1~\1ly Kilnthn~l~, P1>i111 1111d Li11t' t<> Plt1H1'
[ 19::?.6J; lTI /(antli1L~ky: c:0111pll't(' f flr1t111gs 011 Art,
ed. Kenneth C. Li11d!>.1) .ind Pen:r Vergo, .! vols.
Lnndon. 11)8.!. v,11. 11, p. 538. Thh i~ a niorl'
pocnc cr.1n~lat1on of che p,1ssage 111 Kanelin-
~k.v, L'/,er rÍ<1s GcL'1(1!c i11 dt'r f.:1111s1 of 1912 ch.111
thc cyt11,Jh:11t Íl1und 111 'iadler•~ trJn~lan1111 i11
the l)11ve r cchcion ot Ca'(l/lfc'l'IIÍI\(! //,(! Spfrit111il ÍII
.--Ir/ of 1977. othcr.\Íst: citl'd in tb.is_ boQk.
118 Pic.:t Nlondrian, "Pla~nc Arl and Pure Plasnc
Art' l 193nl: 111 J. 1 . M..Ui111, Ben N1chol~on and
NaLUU Gabo, Cirrh·: [111er11a/ti)11<1/ S111vcy ~r c.,11-
-~,rr1ttlJ11' ,-!rr f 19371, Lnndnn, 1971, pp. ,1.1-,6.
11() Amédée ()zent;'lnr :ind Lc (:orbusier. 'E~thé-
nquc t:t Pun.:1n1L', 111 L'Es,,ril 1111111•c.111: Rc1 •11t·
i11ter11,11i,11111/ d'csrhétiquc ( 19.20), IH). J
l .:?O ·~ynesth~1a, .111 1ntt:rn1od,1l qu:ilicy. i~ genernlly
dclincd .1s rc.sp(111ding Lo a ~tunulus fi'Om onc
~,·n~l' n1od.1liry \.\'Íth ,e11~atio11s ,vhich bclúng
to another ~ense 111odaht:y' (H .ins Kreitler and
SbL1b1n.it.h lvc1rlcr, J)S)'Cht1/0)!)' <'.{ tf,c .tl, IS, Dur-
h,1r11, N<: Duke V111ver~ity Pre~s. 197.2. p. 70).
1.:? 1 l{and1n\ky, J>/li111 11111! L111e ro Pfanr, rrans.
Dcarstyne and ltcb.1y. p. 7 3.
Peirce 's cr1<iclic signs, icon. 1ndex anel syn1hol
1nvolvt' rht> ,nterpretant. ,vhereas Ferd1n:1nd de
Snu.ssure concc1vcd of s1gns as dy,1dic enli.ties
- tht -;igni.lier ..tntl cl1l' ,1g111fied, tht s1gJ1-
veh1ck· anel 1cs tncaning.
IZJ L{andsink) c:uT1ed o □ :111 mtcnse correspon-
dcnce \VÍlh Schocn berg (\vho abo paintcd).
.1lrhough l<andtn~ky s:1,v clo~er p:rrallel~ \Vith
Schocnberg's 111u1>1cal thcor1c.:s of harmony.
Scc jl'lcn l Jahl-Koch, etl.. ,,.Jr,10/d Srh1ic11be~11.
1Vi1~silr K,111di11sk1•: Ll'trrrs, Pirt11res t111d l)cit11-
11un1s. tran~. John C. Cra\vfoi:d, London:
Faber ,111d Faber, 1984, Clo,e corrcspon<lences
bet\vcen ~ound and col0ur \vere al~o workcd
out ,11 rhc co1npo,icions anel ·colour orga.n' of
Alcxa11tll'r Scri,1bin, to ,vho1n K.indin\ky
111:ide reference dllnng the 1930s. Set> John
Gagc. Colour ,11111 (,11/t11re: Pr11rricc ,111d .\ lca11ia~
(r,1111. l 11ri,1111t ►' 1,1 . l/i~rr,1ah,11. London, 1993. pp.
2 13-5.
lZ.j lZandtnsk). Poi111 ,111d Line ra Pl,111!', erans.
Di:ar,tyne and 1'~1:•hav, p. 597.
::ielin1 () I<: han-Mago,ne-do\·, R11drhr11ko: '/'fie
Con1plc1t· M-í1rks, ed. V1en Quilicí, Lo11don.
19/{(i, p. 243.
116 Nikol.11 Ptnnn, 'The /\tlonun1ent to rhe Th,rd
ln.ter1ubona l'; quoted 111 L. Sh:tdova, ?ar/i11 .
London: Th,unc~ anti I luc.lso11, t9K8.
127 'Shect 1lluscraring folio 63 of the unpuhlished
part of the manu~cr1pt 111 tbe Kon1nklijkc
Bibhotheek. Tl1c Tlague.
128 ll<lee, '('reanve Credo', '/11t· ·n1111k11t~ Eyr. p. 7ó.
r29 Il b,d., pp. ro5 and 17.
l_lO [{.k:c t.1u~bt at th..: Sta~c Uauh,1.us in We1n1ar
'
bt't\Veen 1921 and 1()26. the11 at ~he J)e,~au
ll:3Juh:.ius, 1926-31, and bcer ar the l)ii~seldorf
AkntlcnlÍe.
13 1 A le\.J nder R.o<lchenko .1ndV.1rvara Scepanova,
·Progra1111ne of rhc hr,;c Working Gro1.1p of
Cou~tructivists'. in Cha.rle~ 1 ljrr~on and Paul
Wood. a4rt i11 ·n,ct>ry, J()Ot>-JQ()O: An A11tho/().~•
".{ CJ111nt1ng ldeas. ()xford, 1992. p . 309.
Joh.111111.:S ltten. diary encry (tãll 1914), in
l\.ainer K. Wick anü Gabric.:lc L)1ana Gra\ve,
1t•ar/1i11.'i!. 111 thC' Ba11ftnus, rr:ins. Stephen Mason
and Si111011 Lcbe, Ostúldcrn-1:tuit. 2000. p. 104.
Johanne~ ltten, <liar} entry (4 October/
November 19 16). 111 ib1d., p. r12.
134 Joha1u1es íttcn, 'Analyscn .i.ltcr Me1srer' 119.21 j:
i.t1 ibid., p. y6.
135 l<Jee. '/'fie ·111i11k-i11g Eye. pp. 17S, t<i(J. 180, 38
.1nd -1,.4.
The iuAue11cc oí these ped,1gog1c theor1e~
is still to bc v-Titcen. Thc An1eríc:1n ara'it
T ho,n!l~ r l art J3c.ntotl (1899,-1975), for ex-
;1111pll', pubhsh!!d dja!:{ra 1J1~ of tht· ·n1ech:u1jc~
oí fonn organ1sanon in pai11t1ng' in the 1920s.
1 37 l{lcc, 77,r 1'/1í11ki11,'iJ. Eyc, p. 15~.
138 ln a \\'Orkshop ofTue~day. .!8 Noven1ber 192z
he fonrrnl ised sers of rel.,tion~hips· ·grccn-
Qra.ngc is supratriant,.'lUJr: violct-orange is àlso
~uprltriangul.ir. bitnangula.r or recl:tngular:
gree-n- v1olet is suprarriangnbr , b1tT1m1gul.1r or
rcc.tangular' (ibid., pp. 466-84).
139 R.1chard '>erra. · Nott"l 011 Dra\\ 1ng·, in
f{id1,1rd Serra: l)r11111i11gs, 1965r199n I 1/.eirhn,,,1ge11,
1965r 1990: Catr1/og11c Rais11111ul. cd. Han~ J.1nssen.
Bcrn. 1990, µ. 8.
P1er Mondrian, 'Pl:ist1c Arr and Pure Pb~nc
Art' 119371; in MJrtill, Nicbolsou and Gabo.
Circl,. p. 55.
14 1 See (~or~fi-ied Semper, Style i11 1hr Téd111ical 1111d
Tt·alltiic Arrs: or. Praaícal ."1 cstl1c/Ícs 1 , 860-631,
ttrans. Hlrrv• Francis Mallgravc and M1( hael
•
l~obinson. Los Angeles. 2004.
Piet Moudrian., 'Natural Jl...:altty and Abstr;:icr
R.cality' ('De 111euwe bcclding 111 de M.:htlder-
kunst' in [ )e .S1ijl,Amsterda111, 191\)); 111 ivlichel
Scupbor. Pict )._\..10111/ri,111: Lifc ,111d 11;uk, London:
Th.in1c$ ~nd 1-lud\Oll [?19,71, pp. 142-4.
lb1d, Pie, \ 11,11r!ri11r1, p. J51í
144 Johaw1es ltten, diary LlO. 7 (15 Fcbruilí) l9HJ):
quoted in W1rk a.nd Gra,ve, ·n•ar'1i11.I! ,11 thr
Ha11/i1111,, p. TT2
1.15 Philip Ra,v~on, l)r.111•ir\~. l ondon: l)xtord
Univers1ty Prc~s. 1969. pp. 90-9 1. Kcnncth
Ctu:k rcfi.:rrcd to rhc s,ving of lhe hip 10
Gr<:'i!k .-lp/11,1d,rc figures as be1ng ·a n1nt1vc of
peculiar 1111porr.1ncc to rhe hunun nund, fo r
bv a suigle linc. ÍJl ,10 iusl,lnt of pcrccplton ll
lUllte, and reveal\ che C\VO ~ource, of onr
understanding. 1t ts "Jlino~t a gcon1c tr1c curve:
a11d yet ... Ll ts ,1 v1v1d S} wbol of dcsire'.
1:3ott1celli\ l/4•1111s •1~ like sorne hieroglyµh1 c of
~ensuou~ dehghr' (Ken11eth Clai:k. 11,c .\'11dc:
.,J Srndi• i11 ld<•,,I I'-or111 (The A. W. Mellon Lcc-
curcs 111 thc Fine Ares 1953), Pnnreton, NJ:
Pnnccron Un1vcrsiry i'rc~s, Hollingen l:d1t1on.
L984. pp. 81 and 103).
146 See RudC'\lf Ar11hei111. rir/ ;111d 1·;s11al Prrre111ic111
( 1964). 'fb11 1<1rds ti J)syrhnl()KJ' <!l À rt ( 1966).
l"is11al Thiukin.~ (1969). I11c D>•11,u11ics o{. lrd1i-
tet111ral F,1r111 (1977) ,111d orher~. Th~o<lor Ltpps
torrnuL1ced rhe nocion of e,npathy. h'nyii/,/i11g.
in R ,111111,1cst/Letí/.! 1111d .l!('v111ctrisrh-optisd1c Tii11-
~, l1tn(ite11 (1897). Johatlnt:~ frtcn•~ pru1c.:1ple~ ,ire
d1scussed in /Jcsi)!n 1111d PClr111 : lhe Bas1c c;o,rnsc
,11 tl1c B,111ho11s, Londou. 197:i- Aftcr lcavmg lhe
Tiauhau<1 hL· ~el up lu~ o,vn school 111 13crlnl.
la(er n10Y111g co Kretêld and chen to Zur1ch
co escape National Soc..ialisui.
147 Tlobert M other\\cll. 'Syn1b()lis111' í2-1- Febru,1ry
1954J; 111 '/ 1ie C'nllected I l"rít11tf?S <1 Rohrrn
1\lorhcn,,t'll, cd. Stepharue Tercuzio. Ne\v York
c1r1d Oxiord, 1992. p. yli.
14-8 RoJand Barches. 'A rcin1boldo, or Ma1-,ric1an
and Rh61(Jriquc14r', trans. R1cb.1rd Floward 1n
lloland 13,irrhc~, 1 7 11' Respvnsibility çf Fonns:
Critital F.sJf.1)1S 011 .'vfusic, ,·lrt nild Repré;1'1111111011.
erans. lliL hard 1-lO\vard. ()xtàrd, 1985, p. LJ+•
1-1-9 Un1berto El·O. 'Fu11t:tio11 aud Sign: Tht
Sen1iocics of Arçh1tecrure'. 1n Sig11s, S)'11,hols
c111d Archrtccn,re, cd. C:cotTrcy 13ro,1dbent,
Ric:h,1rd 13unc and Charlc~ Jcnc..ks, C:lucht:scer
and Ne\,v York: Wiley, 19~0. p. 27.
150 Maurice Mcrli:au-JJoncy, l'l1l'110111e11t•l,>g)' qf
Perc.epiiC1n l 1v62.l, tran~. Colu1 Snúth. London.
r999. p. 2.H.5.
Chapter Eight
Draw1ng and Learning
' Le dessin ense1gné co1nme 11 devraic l'êrre ec
... esr le 111e1Ueur 1noyen de développer 1'111-
telli~cu.c e ec ue forn1cr le juge1ue11t. ur oll
,1pprend :iín~i J voir, ec V\ltr c'e\l ,av1)ir'
(Bugene-E111111:inuel V10\let-Je-Duc. Histoirc
d'1111 de.ss111t1/i·ur: co111-111e111 011 .i.prc11J à dess111vr
lH'i79I, P:lrt\, l ~XJ. p. 305).
l'rinriples uf Pc1i11t11~~ . . il'riltCII ,1r~l!IILl,lfy Ili
I'rc11rli by J!c111s. D11 Piles ... .i11d 11011' jirst
lr,111.,l11terl 1111,, H11glith l,y ,1 P11i11t!'r, London:
J. ()sborn. 174-3, p. 79.
3 Giorg10 Va~n. hov,cvcr. hJd conceded th.u it
,vas poss1bh: to be n ~kille<l 111a\ter :ind yet lack
:1b1hty 111 dra\,·1nii;: co be au ·uomo scnza
dt~l'guo ·. 1h; 1nadc the co1111J1c11r in rcL1uon
to sculptór~ ,vhC\ dr:nv <lirectly 111 rhcir -.vork
not 011 papcr, ín chc •LiJ:e of thc St,WptOI
Andrca da Fiesole' (Giorgio Va~an. ú 11ift• dl''
pi11 rr,-i-lc11t1 pi,,<1ri srr,/1()11 c ,11rl1i1rt1<1ri 11cllc
rrda::::1t111i rlcl 1550 e 1568, ed . llos:11111.1 Bcccann1
,111d Paola BarocLlÜ. 6 voh i.11 9, florcu<.:1:.
19()(1-87. vol. rv, p. 255).
4 Tht• stacu~ of :irt1sc1 teaçher is given addition11
po1g11ancy 111 thc ,, eU-kuo,vn p.111llcJ por-
trJ1ts b}' e1ghccenrh-rcnrt1ry rre11 r h ,vornen
,1rttst~ \v1th the1r pupds. such ,l\ Adél.11dc
L.1bilJc-GujJru (174y-t803), St'.{f P1•1tr,1i1 11•it/1
"/í,•c, Pupili ( 178:;: Ne~ Yt1rk, Merropolit:111
Mi1scun1 of Art) and Mar1r V1ccoin: Len101nt
( 17~4-1 820). Sc/f-Pon,ail 11•i1/1 Elisc1b1·1h 17(1{f.t'-
L1'/Jr1111, ,111 1111ag111ar)' \.vork. eulog1S111g Vig<'.·<:-
Leunu1 (Ne,v York. Metropo!Jran Mu~cum o i
Art). Thc prt·~cncc of thcir fc111~Llc pup1I~
holding dr.i,víng portfólio, serve~ ro legici111J<,e
che profcssion:il con1pcrcnce of thesc ,von1cn
m rcl,1tton co d1c 1uJsl ultnc sparc o( acatlenuc
111structton. !:>ee r haptl'I' eleven. p. 31.2.
5 ('C'on,·ers:inons \Vlrh Ar::tgon. 1943', in ,\f,111.ss,·
(Ili -Ir!. cd. Jack 1). Fla-111. O:,dord, 1973. p. y4)
Maris.\t' d.1d 111H ,nean c..lra\\ 1ng. tir copying a
trce t:i1thf1.1lly. bnr ti11d1ng an aftêc:nve sign for
thc lrcc. P.tuJ Céz.lllilC, lcttcr co Emill·
Ber11,1rd, Aix (1 1 Seple111ber 1906). in C<1t11•1•r-
s,11io11s 111irh C1·::a111u', ed fv\1rh.1e;-I l)oran, cr.in$
Julie L.1,vrence Cocbran. Berkeley, a, and
London, 2001, p. 4y. l(ossoü quo tcd in lvrh-
ard l(end:111. TJra11~1 tv P11/111il1,g: L/'1>11 K,1ss<!J]:
Dr,n1•ir1gs ,111ii Pri111s •!frf.'r Nín1lüs Pv11ssi11, Lo11-
<lon: Merrell. 2000.
6 Va,,tn's 'Lift" of G1otto' continue\ che tale of
ho,~· G1otto ,va~ latcr 1nv1red to lton1e on rhc
)ll"l.'11gtl1 of a pcrtêt Lly dra,v11 Llrclc ,.vith :i
b1·u~h d1pped 111 red on ,1 r1ect' of paper. Ju~c
:is che 1n[tnt l~bnst 1s so1neomcs represented
,h ..-1 pucr ,e11c.x (child/mcit:at), rltetorir,tl rcp-
re\entnaons of the ,1rt1st a~ youthful . sage
'
en1ploy the crope oi rcgcncr.1rion rhrough
dra,vu1g (Giorg10 VJ!;;lri, L11•~·s •!f 1/tr .·lr11sts.
erans. C~eorgi.' 13ull, 2 vol,. Londt)ll Jnd Ne,v
York, r987, ,,ot. 1. pp. 57-H1) l)11 che prohter-
acion oflegcnd~ of cad, gçniub. scc Ernst Kri~
and l1tto Kur,. r..,'.Rl'lld, Alyr/1 ,r11d 1\ l,~t,[ir 111 riu
l11111gc t?f rhe •..J rrisr · _4 Historical b.x:pl'r1111cnt, Nt·\\
J-J J\"CJJ . CT, a.ud London., 1979.
7 The evolut1011 fru111 rork to pap(!r. 111irron11g
the developn1enr trom prnniave shrpherd to
grcat arcisc, signífics rbe evolut1011:iry clam1.,
a11d Florcnnnc 11auonaltsn1 oCVa,.1ri'~ lustor1-
c::tl proJecc. ln the ,evenreench century rh1,
bta!> \\.l!, chaJ1cn"cd ,:, .
bv, b1og,raphers anJ
hi,tori,u1~ ,vith affili,1ti(111~ to 0Ll1c_r Julian
reg,ons.
8 Sce Vasari's 'Lifc of M1chclangclo 13uonarron':
·1t •~ 111arYe1lou~ IO sec . . rhc \trpl'11or ,k1ll
and 1uJp:L1ncnl of .1 youn~ 1nJn so \p111tcJ .1nd
tu11fidl't1l th,1l hl· h.1J thl' couta~\.' tu ltJííl"l l
,vhal h1, re.,cher ha,I do1H.' (V1s.1n. l.i1'1'• •!f 1(11·
_-lrlisrs. lrJJt~. Buli, vnl. 1, p. 3.11\).
9 Eutr,. Pai h, 1 Nlan:h 18j9. i11 r111 ),•11111,1/ <?{
b11QJ11r I )l'lt1rro1x [ r9, 1 j. l·d. Huberr Welling:ton
rrans. LLIC}' Nurron, 3rd ctlicio11, l.;inJon
Ph.ttdon, 191)5, p. +13 . ln tltl' \,llllt.' erHr}
1)cb1Tnlx t;1Jk, ahout che 'danng ,, h1rh rhi.>
greatesr u1.1Stcrs disphved co,,·an:l, thç cnd o(
their l.1ret~. To bc bold "'hcn on~· ha, J n:p-
uraaon ro lose is che ,urL""'t s11:,rn o i strenbrth:
10 Chark:~-Alphonsc l)u I rc,noy. l)c ,Jrfr .11n11•hfr,1
Í 1(16S I. tr,llli. Joh11 l)rydcJI a., TI,, !11 1;( P,11111-
"~!1, Lnndon, rfiy~. p 107.
I1 G1uva.i1111 B,1tusta Anni.:llln1. 011 1/11 '/i11c· l'rc-
fl'/ lfS o( d11· ,·Ir/ of P,1í111111.1: ! 15Rrt!. tr.111~. [d,v.1rd
J. ()l!>7t.>vv~k1, N c\\' York, 1977, p. 11~
1~ M1chelangclo l3uonarron. 7i1•11 .',1111hl's 1!/ rh1·
1'i(1,!i11 ,11,d Chi/d. rccto, ,ir!',, 1511 4. pc11 JJ1J
yello\\·1sh-bn:>,, n ink. red chalk ,1nd ,quar1ng-
up in lllack chalk. 3~9 X 268 111111 (l.011don.
13riush Muscu1n, 18.sy,0514.818). Thc Vl'rso of
th..: dr;l\ving LS t·ov..:red ,v1th ~,ribbk', 111 black
:u~d red ch::tlk ,tnd a record ot daily v,orkshop
c.xpen~c!> in iuk tu Mit:helil.IlgL•hi\ h.tud Thl'
rc1'1tionsh1p of thc V1rg111 •~ Jrnt, to lhe chílJ\
leg suggests :tTI extrnordinnr1ly l-'reud1,111 sec-
011dJry rcadi.ng JS a scxu.il cncounccr.
13 C,1rlo f {jJl)(fi, Th~ L[Ji· ,1(Títtr()t(·/1<1. u;in,. anJ
cd. ( '.;1thcrine Engg;i~, .1nd R.oh..:rt Fng_,~s'\,
Philadelplua and London. t984. p. 72 .
14 PTIJ1y lhe Elder. N11rur,1/ 1--fúrory. lr,111\. 11. P,.1c..k-
h,1111. ('an1br1dge, v1 \ , 1yR9, vol. 1x. p. 323
lllook xxxv: ~41•
L, Ce1111ÍU0 d" At1dsca Ccnni.ni, Tl,r Ci.1fr.,111r111 ~
H,1111/'1,1t>/.;: 771e /111/i,111 'li /rf,n1 drl/'"1rrr' ! 1437 j,
rrans. J)anicl VThon1psC\n,Jr. Nev. Havcn. rr.
193,1 ; repnnteu 1960. p. 1,.
J(i C~arlo c·L~a,-e fvl.1 lva~i.1. l·els11111 p,rrrirr. l'itc
d,·' 1•i11t11·1 l1t•h\l,!11t's1 d!'/ C,1111,· c:,,d,, <-:1•-<arc
1\l,il11.1sia l 1678I. cd, Ci.u11pÍL'lrO Znnotú. 2 vob.
Holugn,1. 1841. vol. li, p. 187
r7 Lerrer to (;1ova11n1 Batttsta lt1cc1.1rd1, 11
OccobcJ 1669. in Ru<loJf"Wirrku,\L'J .tnd J\1ar·
gC'\t Wntko,ver, 11,r,r 11111/.-1 S,1111r11. Tire C~li,11,ir-
ter ,111d ( 't111d11cr •~f "i rrists. -l I>rn1111t11ft·d Hi5rori
.fro111 . l11trq11i1y co 1/11: 1~r1·11cl1 Re1•1•/111io11 !19631-
Nc,v York .ind LonJun, 196<J. p. ~8. A l 011-
re1nporary of I eonardo hacl con11nentl·d 011
s11n1IJS torgedWlll'SS \VhiJe illl.' .lf[!Jil \\/JS
,vorking 011 the L,.-1 ',11p111•r.
1/l Jo,cph N1rhnl.1s l)'Al.1n. /7,t' ll í1rk, 1!/.1111/1(111
R,111h,1,·I ,\ fc11x.1 [London. 179/í) p. 23. 1n 1b1d ..
p. -;1-:.
19 (~uorcd 111 ·17,., A111,,btt!t:r,1phy ,11111 .\J,·1110,r,; <~/
/J1u;,1111i11 l~oh,·r1 l-l,1yd,111 (17,o?ó- 1S,1t•): Ed11cd
(rt•111 l11s Jv11r11.ils b)' '/~•111 T.tyl.11. 1 vol~. Lo11Jo11:
l)a,il',, l<J.26. vnl 1. p. /lo. ')ee .,lso f)n1d
Hl,1vncy Hro,, n, ltobt·rl Woof .111d ';tcphen
NOTES TO PAGES 206 212 459
 l-1 l'-r 11 &1111 11 H,,/ 1 li 1) f, 1, 1~,(, 1816·
1'11111 1 ,f li TI ,. l r1 ud ,,, 1r ,,,,(,11,,,,t/1 .111d
1'.t t IC,r1,111c:r· \\' 1,l\\\u11h f1ust. 11_1,Jfi.
'º 1 h~ lt h 111 cr ,dn 1111 or u,11 g cht' n1nno ,1\ ,1
tro11t1,p1cLC LlJlltllluc:J 111 Uh.' Jr.1,\ 111~ 111.111ual~
111 <11h~1 l·, u11t 1c,. r,11 ,:-.;,1111pl1-. r;1,,·, l1~, d,1
l1/.:u1 1·1• -,J1 1d,•1k111,1 (IIIJJ), ,ho\\, P.ill.h
Arhc:u.1 ,urn,u r ticd hv 1)ut, h p.111Hcrs, hold
111g .111 11pL'll hL)ok \\ itl1 thc: \,oah 'Nu!I., dic~
,, llt' l11K·, •
21 1 ht· bonk 1nd thL· pt'll Jppcar 111 111any t'd1-
tlt>ll" ,,fC..'c:,.111.: R1~.1s Tt1111,•l.•1;111 (1'itJ 1) .t, 1ni11t
.1ITT1hure, ui d,._. '\n1d} ql 1he .A.rt,'.
12 1111, rr~n,l.1t1L111 <.Jlll>ted 111 K,1rcn-L·d1s B.1r7-
11un. 'l'c:rtc:p11011. ]{1111\\ lc:d~c JJld Lh<.' Th..:or)-
111" l)1,e!!110 111 ::,1xtL·c:1nh-c,·11cur} flon:ncc', 111
L.irrv J. Fe1nber!!, 1 n1111 ~r11d111 r,, 'i111tl10/11· l-lo-
rc111111, Dr,!ÍIS/l/utl5ill}' 1111d, IÍlt rtrsl .\lt',lic,
(;r,111d D111.!r,, C)hc·rlin. 011, 19v1. p. 40. ínr a
USL'hii d1"CU,\101l oi v1~;in ·, l"Ol lCl'pr of thc
1111porl.u1LC nf .Í1St;(!ll•1 J, Jt rcl.tlc~ to the prrn
t iple, of chc c1LaJe111~, \t.'l.' P,1tnL1,1 Rub1n.
r;11,rf!1,, l ;,s11r1: lrr <11JlÍ H1Hory e,,. Haven. 1·1,
•tnLI London. 19y5, pp. 1<)0-2.30.
2.3 \T;t\,lTi, L.• ,,,,... c•u. ílettari111 a11J D,irott.Ul. v11J.
\ l, pp. 371-2. 1h1~ p.is,,1ge ,, tnllo\vcd h) a
para~r.1ph about V.1,,u·i\ LLtcr , i,it to R.L)1nc in
f,bruJ1 \ 1 >lX \Vtth hi, .11,u:::,1111 tu 'drJ.\V c·ver.-
thing: thJt hJd ren1.11ned 6-0111 the prt:'\,,ou~
,,s1t<., 1.'>pl'CIJII) ru1n~. Not ,1 p1ece ot
,t.ulptur1c ur Jitbitci.:tw·t rl'111ai.ncJ ULllli,I\\ n
or unn1e.1,ured . 111 1n0rt' rhan 300 dr.1,V1111:-,~.
troni ,vhich I dcr1vcd plc.,~urc .1 nd ust·d for
111,u1y ,c.u-s' (ibid .. p. _,77).
2.1 '--,e-e Juh,111 Brnok, t't ,1I. 1:,t1,h·1> 1111d l·r1·dt•flro
L11rnir,,; .--l rt1s1-Br1Hhn, 111 J{L•,1,iiss_,111r,· Ro111r, Los
An~clc~: J. l'JuJ Gcuy MLl!,CLllll, .2007.
25 Wilh,1111 Hlake·, \v1ldly ;111111H,1ted copy of
Reynolds's l)isco11rses 011 • lr1 thcrcfon: h.1, Jn
cx,ltt h.1Stor1c~ preCL'UL'IH 1ll nv.tlrou!> dis-
ag rccn, cn t.
.ló ('.n~nna Aç1d1n1 Lnl·h111,1t ~11ggcsred a con1po-
\lt1onJl .i.rr,u.1g\!lllt'll[ or c.ight fltl)llj:>S of pani:ls
111 hcr book r.1dd, ,, t FC'dcrini 1/.11cc,rri: Jr.11elli
p11111ri dr( (~111q111·n·1110. 1 vols, M1t1n, 1998-9.
Whcn tl!L \t'rlL') or Jr.l\\ i11g~ \VJ\ ,lUl.ÚOlll'U
111 thL· 1980~ IC \V,1, ,uggc~ccJ th,1r lhey \\icre
lê.ir Zt1rc1m\ p,1/,1-:::,1 111 1-lon,c r.1ther rhan hts
rlorentu,L' ,cuc.lio. (ThL· cxttaordmary Casa
Zut"t,tro 111 Via (~rcgo1 1,111:1, l-ln111,:, pr..:,cncly
undergo111g n:~roration. hou\es the 81blloteca
HL•rtz1,1n.1) '--,cc Pctcr M. Lu.keh.11 t, 'Dcli11c,u-
1ug tht· Gt:tH>c,t '-;(uJ111· Ci,11~1111 ,1c·r,1r1111i or
,n11t1 1•.idn·' 111 1111' 4rliil'.1 1l'ét1/.:,ltc>J), ed Lukc-
h,1rt, Wa,h1ngto11. D<., r993 pp. ~, 57.
2.7 Gil)\;.i111u P1clro Bcllor1. Tltc L111t•s ,y th/'
\J,,dn11 í',111111•i, \111l1,,,,r, 1111r/ -lrr/1/tccrs 1 \cu•
lr,1n ,f,1t1t>11 ,111.! C111,,,,1 Ed1tit111. tr.u.1,. AliLl!
Sedi-."'1d \Vohl. L'd. l lell11n11 Wtihl an,J
T11111.1,o \ln11t:in lrt , c·.,111bn<lgl'. 1005, p. 39i-..
2.S lhl· J\I ·d1<"1 lunerJn· t·h.1pel 111 13ruucllcsLln's
·160 NOTES ro PAGE-5 212 717
l h11n h oi ~.,n l ort"nzo in Florence. bu1lr b}
!\-11rhebngelo 111 thc y~"lf~ r5~0-.2.j and ;ig;un
\\ur.b.cJ 011 bct\VL'cn 1530 JJld 1533. ,~as J.c J-
11 ateei 10 1 ort"nz0. l)ukL' 0 1· Urbi111,, Jnd Giu-
lia.110, l)uke of Nen1our~. ln d,e chapcl-Yie,v
Jra\\illl~. ,1 Ílgurc
\ ,. .. in thc door\-vay.
1s ~t.111d111g
tin rl1l 11µht. l<:a<li11g tt) .1 tha111her. r1nph,1~i,ed
b} rcd rhalk h;itch1ng. \Vhere ch:1Tco:il •,;vali
,kL"lclil·s, ('Os~1bl} by Michc!J.n.gdo. ,verc di~-
t overê'd 111 tht: 19,o~. The ~Jllll.' figure ,1r1peJr~
on the lett ot the alt,1r-Yie\V dr.1\\·ing.
.29 Cc:nuítu. fl1( Cr,1fis111,111 •~ l l,111dhovk, p. r6.
10 There b J red .111d b!J1·k t h.1Ik <lravving b, a
puptl ot Fcdcnc-o /..n,caro 111 the Lihrcn,\
AnilirogiJ.110, Milan, tl1Jt sllü\\'S .1 group of
b..:hJttt"d arti,t'i 1.lusll:ring .1row1d ,111 antíyul.'
tor~o. Ir, nng1na.l •
o,vnt"r. c:.,rdinal Resta,
cl:11n1cd thJr thc sl1ghdy 1soL1ted ttgnrc dra.v.•-
1ng un thc: rigln 111 protil.: \V,1~ Zul c,tro in thc
Acc:1cien11,1 di \,1n Lu1.-;1
31 l-"-·1111,1rd,, n11 J>,1i11tit{f!, ed, Martü1 K=1-p, tran!>.
f{eu1p and M.1rr,c.i.rtl W.1lkl·r. Ne\,\ l-lave11. (; 1.
and I ondon. 19i-:9. p. 199 ((~odex Urbinas
L1nnus, to6 51lv-59r) .
33 Se\.' 1hc l\Vt> \tud1t'\ Kd~ 14701 JJtd KdL 1173
111 rht' l{11rfcrscichkabinerr. 13erlin. Therc' ,ire
siJverpou1t sketchL'S of e,·eryday object5 11,ade
during •
f)ürc-r·s traveb 111 chc Nerh1.·rla11ds in
1520: fig-uni ;1nd other srud1e~ tõr h1s book 011
proporhon~ ;ire 111 thc Dresdcn !::ik:ctchbook
(Drc:.den. Sãchsischc Luldc.sbibliothck. 111s R-
147 ll )rt'sd11er <,kiz1enbllchl), and sketches in
fi.>111· volun1cs 111 rhc Bnt1sh L1brary (collccted
by S11 I lan.\ Sloa11e. fi.?u11dcr of thc British
M ll\l'U111).
3-3 Thcrc :i.re 1n.:u1y versi1.1ns of th1s <rtateni-ent
wrjUL'll 111 L,1ti11 u1 152.8. S<.!t: Er-,viu P:111ofi,ly.
TI,< L[fi• a11d ·1rr (!.( ..Jlbr<'cht Dt'ire,· l 1943 ],
Pnncccon, NJ, 1971. p. 275. l)ürer "'·as rubhcly
at.k.t10,\ ledgcd a~ i\pcllcs b) Conr,1,d Cclti, in
.1n cpigran1 of 1500. and Era~n1us\ ,tarl.'ntcn r,
an .:xpn.'\\IOn of gratitude for J)ürer's
e~raved portrd.it of liuu.~..:lf ,vas publishcd iu
1528. ln ro111n1~nt111g 011 tl1t· st.1ten1ent hy
Er:1~111us 111 l)e reo,1 L11ri11i Crarriq11e sen111111is
/1ft>f/fllllit1lit>IIC. P,111ofsl-. y quotcs: 'ApcUe, \VJ\
a,,l\tcd hy colour ... hut \,Vh,H doe, [l)lirer)
not t'11.-pres, i.11 n1onocbromes. thar 1s. ín black
line~?' (ibi<l., p. 44).
34 Fnr J class,c 1nrerpretanon, 1b1d., pp. 156-71.
35 A si rnilarly co111plicated sys-re111 of hun, ours,
cei11pcra1uc11rs ,u1~I g<)US go,·er11111g tbc 1-n:,túvc
per~on,1liry Í\ ,1llegorisl'.'d in Lon1azzo \ t:labo-
r,1tc dr:1,v1n~ Att .•lfadc111y ( 1565-70; V1cnna.
AlbcrLiua). ,.vhit"h \.Vlb probably u1teudcd as
rhe ÍrQnti~pii:ce for hi, '/hr11111v. ·rhe duuble
b:1rrel-v,1t1lted sp,1ce~ :tre ,1pproached via a set
u[ h.igh ~tc p~ .u1d t>pcn ~c.11ull~:.~l) into a LÍ ly.
111,1ki11g 1he .11.:adc111\' part of rhe l·onnnuous
f.1bnc of urb:111 htc.
36 SJ111ucl v,111 l luo~Lrall'll, l11lcydi11,I! i,11 de ho,i,l!t
s,h,1,,lt• dl'I' 'id1ildt·r/.:011,1. l~ntterdan1. 1678, p.
19-1 See p 4761110
37 Sir Jóshu,1 Reynolds, Disco11rscs on A11, cd. Rob-
t'fl I{.. Wark. Ne\\l H,1ven, e 1, a11ll Lo11Jon,
19ll8, p. 33 (l)1~couNe 11, l)ecen,bcr 1...,r,9).
A sct of ~rr1ct rules for stud..:nts at thL· lloval
Ac.1dcn11 \\ .u; rudificd in t 768-9. Sc:c Sidncy
(:. H r1tchJ1;on, ·111f Hís1C1ry t?( thc R11y11/ ,4rarl1•111y,
1768-1968 l 19681. London, 1986.
39 J).:11.Ís IJidcn>t. D irfrrc>t ,111 .;lrt. cr.111~. •John
c;ood111an . .:i. vols. Ne\\ Have-n. c- 1, and Lon-
don. 199.5. \'OI. t, p. 193 (Notes on P.úntmg) .
+o John Rusl-..111, Thc Elc111c11ts o( Dra,11Íl(lf 118,71,
Ne,v Y(>rk, 1971. p. 1o.
+T Lccter to l lcnry Clilford. r-1, February 194-S, in
/'. [//IÍ,,Sl t>II Arl. cd. Flc1111,, p. 121.
42 c~arl (~old\Ct'lll. 'fi:arT1i11,lf .-lrr· •...Jre1dt·111irs a11d
Sc/100/s .fi-0111 f !1s<1rt' rv ,-1./brrs. (:::unbndgc, 1996.
pp. 73-4,
43 Henry ,\/,111re 1>11 .'io1/p111re: 4 C11/lrot,,11 <?( thr
St1t!pt,1r~· 1Vri1i,1gs ,111rf Sp<1ke11 fT,1rd;. cd. Plu.bp
Jan1c:s, Lo □ Jon: Ma..:do□ JJd. 1966. p. 3-2.
+4 ( :1111111/c Pis,arrc•: Lrl1ers 10 his So11 L11nt'II LI y43J.
ed. John lle\vald, eram. Lionel Abel, New York
aud Lu111.lo11: RouclcJ.gc: JllLl l{cg,u1 1'.iul.1980,
p. 32 <;e-e :il,o R.1c·h,1rd I-3rt:trell :i nd Chn~t<>-
pher LJoyd. Ca1,1h\1!'4c <1_} Dra111i11,~.~ by c:a111ilh·
Pissarro i11 //1( .r!sh1110/cc111 .'\l11seu,11, Ox.fvrd. ()x-
ford. 19Xo, pp. 40-5!!.
+5 Max Pcchste1n. ·c~re:icivt- Creado' l 19201, 111
1/41/rc., t!Í C,·11111111 Expn•ssit111is111 !19701, cd.
Victor H. M1esel, Londop, :ioo3, p. 181.
46 ln son1c Br1ash undcrgradua.te arr pro-
gra1t11ncs the prc.'>cntat1on of noceboob fur
exa111inaaon ,1nd degrec p1.1rposes is ,till
obugatory.
47 'fh1· Lifrrary f] úrks a( Lc:011,1nla da T 'i11d, cd. J. P.
l~1chter. co111111entary Cario Pedrertl, ()xford.
1977. p. 18.
..j.8 Th1,; is a tranbaüon of thc i.uscriptiou l)ll the
~croll to the left of Pien-o TestJ \ el,1bor,1te
etching, li l..icc,1 r/d/11 lJi1t1{rn ( ]7,,· Lyre1-1111 c)l
P11i111i1(i). 1638.
citúl
+Y Strada11u, Oan v.111 <ler St1'3et) \\/Orkt:cl ,vi[h
V;isar1 on the decoranon of rhe Palazzo
Vl'lt:h10 in rlorcnt.:.c and p1·oducc<l ,1 nu111bcr
o( el<1boratt' allt•goriçaJ ,hcecs abour che:,- ,1rr,
anel trades. as prü1tn1.1.ker and designer of
l,1pestric_.,, Flc: ,vo1ild have bccn aw:.trt' of thc
deb,1te~ surrounding the fonnarion t)f the Flo-
rentine Acc:-tden1Í.J dei JJ1.seguo 111 r5ô3. 1 ·he
Driti.'>h Mu ... cu111 dra\ving is tl, ... originá! íor a
,vell-kno\\ n e11graving in reverse by ('ornelis
c:ort (1533-1578) dated 1578, ;111d 1S set 111
lton1..:. The pend:int dra,v1ng, sl10\,\mg a bricf
\·1ew or Florcncc, 1\ 111 rhe Kurpf.ilz,~chc~
M .LL~eun1. Heidclberg.
50 A bcJrdl.'d ftgtH·e drt.:.'>.'>l'U al.J110.sl id..:11t.ii.:.111 1 to
Stradan11s's pa1ntt"r, \\1th o tnll-cn)\Vlled c,1p
a.nd co,upuca.ccd robe ,v1th a tnr coUar .u1d
ricd-baLI-.. slccvcs. ,1ppears iJ1 Pictro Fra11ccsco
 Albern ·~ ecching of the .rlradn11}' t!f f>11i111, rs 0
(tire,, 1600), LUstructtng L\VO vouth!t froru a
Jra,ving•
1na11ual.
5r See Prances A. Yates. 'fhr Frc11c/1 Arc1dr111ies ,,f
lhe SL-.::cec111/, Cc11111ry, LonJun: Warburg
JihtJ(UCC. 1947 p. l\6.
j:? ln re!J ticn ro early acade1n1cs and proto-
acidcnúcs. sec thc c~~.,y~ in Ltrry J. Fcii1bL'rg,
Fro111 Sti1ditl to S111diolo: Flotc11tine Dr.!fis111,111s/11p
111,der riu• rirçi 1\ lcrlici c;rn,u/ l)ttkrs. (Jberhn,
ou, 1991, .md in 77,,. Arti:;t's fTi>rksh1lp. c!d.
LukcharL: ,1lso K,tn.:n-1.'.dis llar2-111an. T/11: Pf<1-
rt•11ri11e Aradrtn}' ,1111/ 1/11! l'i11rly 1\1,>rlrru Stnre: TI"'
Disâpfi111· 11( Di!iegno. Ca1ubr1dgc. 2000.
53 The dra\v111g ,v,ts ctchcd iu rever~c by Nicola,
l)ongny 1n 172t{.
54 Thc a1...1dcn1ic har 1s chc forc:runucr of che
fa.iuou~ ,uti~r's bcrct ,,orn )yu1bol11.:all} by
R.e111brandt ín h1~ ~elf-portra1ts. honounng
Tittan. Tbe assocíation of th1s soft berct ,Nith
geruus is cstabli\hcd in ,1 princ of 1648 b)
(;1ov:inn1 Ben,..detto C~asnglione (knov,'11 a\ li
GrccheLtO) e11t1tJcd TI1r Cc11i11s, in v. hich a
:.e111i-recli11ing cen1ral figun: ,port~ .in arthtic
berer V.'lth a huge plurne. very ~1n1ilar ro
llen1brandt's.
,5 Thb i11lornutio11 i~ rccordcd i n Dcllon 's
'Lit~ or
<.:.irl l\1,Jratn', de~cnhíng the ong111:1I
dra,viug 01:idc tor the Marquis dcl C::irpio, cnc
Spanish Jn1bassador in Ro111c:. The dra,\'1ng
and pr1nr are p:1 ired \vith ·r1ie fr111111pli qf
Í,1?11or,111ce (Bcllon. TJ,c Li1 rs <!( 1/,c .\ lrJrler11
1 frJ11.,idcrel' d1111s srs pri11ciprs ... lrt1d111t
Pt1i111t·1-s, Sot/1,wrs ,1111/ ,-J,d1itc,:t,, ed. Wohl anel
Montanan. p. 4.22A). A rcl.iced dra,ving b)
Ciro f-crri {r63+-1689). !11e J)rn111i1{f! Sc/10,1/ of
11rca 16<15 75 (non:ucc, Gallcrin dcgli Uíli,d).
wh1ch l1a~ a ,vínged Mercllry tib'l.1re .tt an ea~t'I
in rhe ce11tre, reveres to che 1ntor111ed ~cud10
oiodcl of S.trada.nus. vvith one group of .irtii.t:.
clr;nvíng around J \Cll lpcure. anochcr group
draw111g a $Tand1ng 1·;,~111 n11d (;/11/rl, v,1 hile :i
pullv holding J.tt J1ourglass. lioats above tl1c
liVt:ly harçiqut' group 111 .-1 l las~i{ ,il loggi,1.
5li The er~sure of diHerence between lw1ng
figure& and sculptures ind.ícatcs that che Py~-
ntalion n1ych 1s an es~ent1al conscrucc 1vitl11n
nun1et1c art: ali figural reprcst·ntaaon 1s a cel-
cbra.tion of bringing árt to lifc.
57 Paul l)ur<> (T/r1 cl.r11de111y 1111d tftt· Li111irs i?f
Pai11ri11g i11 ,',i'11c11tc•e1'11h-ce11111r}1 Fr1111ce. ('nn1-
br1dgc, 19y7. pp. +8 and {9-5.+) ~uggcsts that
tbe French ficcionalised che cheorctic.tl pro-
.4rtisr 111 lús S111dio (Ne\, York. P1erpoot
Morgan Libr;1ry) au.d Llrti~I.• 111 ,1 St11dh•
(13e,anç-on, Musl'.·e des Be.n1x-Arrs).
60 Scri11i rl'arlt• di J.'crfcnro Zurcaro, cd 1)L'rlet
Tlc1ka.1np, í-lorcncc. 1961, pp. .250- 51.
<>t Ibtd., pp. .25(')-51. The literal 11n.1ge ot" I >i,egn()
,v1th a pair of cornpa~scs proJecring fron1 hcr
cycs ,~ as uoL unco1nn1on 1n la ter centurie~. ror
t·x.1111pl-e, in the e1ghceenth-century t'ngraving
by 1~ Hodarr for rhe fro11nsp1ece of ll. M.
Pa.r1scc's NtHll't'<111 /11 •rt· des 1ir111t·1µc., ,h· dcsst·111
... , Paris: c·hez L. ')urugue. 110 dart:.
62 ·t 1te of Michel;'Jngelo IJ11ona1Toti', in V.1,an,
Lil'C~ <){ rhe Llrrists. traru.. Buli. vol. 1. p. +19. A
rather nd1t ulou, pl.ue 1n ()do.1rdo F1aletll \
~o--calJed L,11~P H,,ok ,y f)rr'11~,i11g ot 1601 dep1cr~
.t group of pau1tcr'-. anJ dra,,·cr-, 1nc.1sun11g
vt·ry livcly looling ~culpturc,; Ll1l' f't-111.ile
figure ha~ one end of a p:nr of po111tei- fixed
u1 ltt·r bclly buuou.
63 Thc ~an1c 5y,rcn1 ,l~)peared 111 n1ai1v general .1rr
111,tnuals. for cxa1nplc, rhc .-lrrr p,><'lír,1, f d,r
1,i1u11r<1 <' sy111ciri,1 ..• by Felipe Nunc:, of L615,
fir,L publbhed 1n Lê.b011 ,víth i1Üol'u1at1on l)Ul
of' Alhrechr 1)iirer :1nd l),1111ele l:3arb~ro. 1he
d1agrnn1n1Jric u~e of brokcn lincs in thc
eu~r,1,TJ plall'S uf persptt:t1vc 111anu.t.ls for
,t·tt111g up .1n:tn1orphir proJe,aon-; or t<>re-
shortened VlCV.'S could be a grapJuc couven-
tion that ste111s froni chi~ pracut i:.
64 c:h.1rle~-l\nro1nc Jo111hert. r1,,i,1r/i de la fiJtll'<'
/11111111Í11l\
t/11 l,ui11 de JJiR1rt•-J1<11il R11/,u1s, L1aril., 177 3.
There J\ a ~kerchy dr:1\ving belic\'ed to he ,11ter
Pouss111, .111 .-lrrrsr'.f S111d1n (~t Pccersburg.
1Tcnn1l'agc), ,vnh a librun: u,111g ui, 1dcr-. to
dr.1½' lr<Hn .t pyr,1nnd. ,t cubt· and ,l \-phen:. dit·
so-called Phtomc Sohtl~. Thc cnmpo~ít:1011
includ...., ~L.'.lnJing l,1n1p, ,iud an cl.1boracc
dev1ce for dr;1\\ ing pnlJCt t1011s of cbc geo-
mecnc obJcccs
65 Scc Al.,in M0rot. eJ., U·s Co11{/Jn:nces di!
1'.rlcc1dt1111ie ,,11,,r/r de Peí11t1tl'<' r1 de Sotlpt11r1 ,111
.\ 1'/11 slrrfc. Pnri\, 1996
66 For thc pcrspcctive debate:,, SlC e. c;oldsccin.
'The Plato111c l3cginnings of chc At:adcniy of
Pa1nnng and ';culpcure 1n J.l.11,\·, 1n Acndt'lnre_,
t!{ •.Jrl. cd. Auton W. A. BoschJ90, \-Gravl'n-
hJgl'. 1y89. pp. 18(1-202. and l)uro, T/H
Acc1dc1ny 1111d lhe Li111irs ~( P.úNri11g. Set· abo
M.1rtin Ren1p. Tl,e Sdc11cc <!f. lrt . Optical 17it1i,i·s
i11 11 Í.'.1!t'TII ,,[,i _{r11111 Bri111c'll('S(i11 t1> Sc11r,11, Nt:w
Uc:ckclL1 , t \, <111d Oxfi,rd, IIJlJJ.A t:tblL' k11ov.11
a~ Úll' B.rl,11u ,vluLh \\,1:, U\cd íilr L<>t11p;1n11g
:111cl gr;uhng arnsrs 111 rl·nns nf n1/orr,·, d,·,,111,
t:on1po,1t1on .1nd cxpn.:ss1011 \Vas publi,hcd b)
dL l 11lt.', 111 h1, C,,11n d, p1·111111r, /!•li pn11t111c,,
Pari,. 1.,os
69 l)enís l)1dt."rot (\, 1th jL·;'Jn J'Alcn1b..:rt), T:111)'-
lopcd,e: 11, 1. l)i11i1•1111t1CJ'C r,1Í)1>1111é dl's .,íÍIJ.!! ,·s. de~
ctrrs r1 des 111,·11er., (J, ,·ol,. 1751-7<1), under
'Ac:idcm1c de J>ci.nnin.•'
70 l lc111·i Tc,tcli11. J /1l111t•1rcs. vol. J. p. .j.9; llLH>teJ
111 l)trrú, -/ 7rr At,1eln11 )' ,111d 1/11 / i11r,1s ,,f JJ,11111-
111,R, ·rcst,,:hn "'·a~ th1. t1r,t ~<..'Crc!t.iry of thc
Ac:adé11ue Tlov.1lc.
71 &-e Tho111.1, [. ( ro,\'. />,11111, ,._.. ,111d l'11hlh L1/i 11
h(1:J1tec111/,-c'c11111f}' f>11r1s, Ne\Y l-1,tven, c··r. and
Lo11don. 1985. p . .27.
7.2 ín l3c·l~iun, 1he Ant\Vt·rp,c f<l)l1Jl1klukt' ;\ c·ad-
enne voor \chone K1..1n~rc11 ~';'IS establ1,hed by
dL'Cn."C o[ Pluhp 1v of ~patn 111 166~. 10 Spaiu.
,1lthc.1ugh there 1v..:1"\: attL'niµt, to fou11d al ,id-
c1n1e, 011 che Icnl1Jn 111odel a\ earl) ih rhe
,i.xrccntb ccucurv, •
Ll1c,c \vcrc nor foriu:ili~cd
until rhc 11ud-c1ghtcc11th. •
Thtc> [3~•rliner
l(1111,t.1k:1dcn11e ,,,,1, founcled 111 1(>96. \\ h1lc
c,·..:n Augsbllrg h.id à lmLOr) of llhCl'Ut:0011,
bas.cd on thc ·T.:ut,t:hcn Ac.lctl'llUt·· l>f 16~_1.
t-scnblt\ht'd hy Joachn11 von Sandr.1rr. ,vho h,1d
spenr I11uch ru11e m Ic::ily.
73 In hb Jltack uu tbe ht<: roon1 in bi, 11U1çh-
revi~ed N~av. •
·Fr111n C~ubhnl ;ind Fun1ri,n1 ro
~uprcn1.,0~1n. -rhe Ne,v Tlcah.'iln 111 P.1111t1ng
1l 915 l. l'v1alt:\ it:h n.:li:ri cd LO 'thl· ,cntcncc• or
de.:rrh 10 :1 fig\1re conden1ned b) thc ;irt1,t 10
an ercrnal pose' (K li. \Jafl'l'ich: hss,1vs <'li -ln.
1!}15-19:i J, rr.1.11s. X. Cao,vaciu-l'ru~ and A.
Mciv1ill,tn. eJ. T. AnJcr-.011. 1 voh. Cnpen-
hagen. 1961'-78, vol. 1, p. .!X).
7-+ A rcgulJJ'. inuication uf 111odcrnity iu rcvolt
aga111~t rctrogre~,ivc ac.1<lt."n11, •}~lL111\ hJ,
been .111 1n,1stence on the syn1bohc freedo111
o[ a 1nov111g 111odcl. Th1, ,v;1~ pr,1cnscd 111 rhL
ill'IV;\tc.' ,cudro, of Kitlht1c:r .u1tl li1, frtl'nd~ tn
thc Unicke t·ircle-. for \.'x,n11ple. ;tnd l,1rer 111
l i.1uh::1u, i-1,tsse~.
75 A relauon n1vc~t1gatL'd c11dle~sh hy Prca,so. ln
chtS respect sec chaprt."1" r\.,·elvc ·1nd 1<111rtecn
7r, ~ec thc dhcuss1011 abouc 1n.tle ,n1dent~ pO'ilng
J, u1odch ,v1tl1111 thc ho1110,ot1al ,uuccurc of
1).rvid\ ,tt1d1n 111 Abig:111 Solom1111-C~odl.',lt1.
J' l,1/i• n1,,11blr: .-1 Lr,.~is i11 Rcpre.,c•11l,1ti,111, 1ondon,
19y7. PP· , o--, .1.

grnn1mc of rhe lt:il ian acade111ie~, and th,1t H:tven. r r, and Lnndon. 1990. 77 1-'01· tbl" n1le of the arn,r\ 1nodcl 111 Urrrl',h
M.;trJ l ta md the l.ton1an áC,lUL'.lllY or hts da) 67 See Sheil.1 McTighc. · Ahraha.n1 .13ossc and che ac,1de1111es. 'iC'C u.,na
L31b'11.lll1ltll ,rnd J\ l.1rnn

,verc 'not co11cerned to reconcilc theorv• and LJ 11guagc o[ Artis.ius: (;..:ncc and Pcr,pçcuvc Postlc. ·n1l' .·1rtist~, ,,1vtl1 /: /t, R,,/c 111 l3rr11.,J,. lr1
pracace ... but to bnng ro chc fore rhe the- 1n thL' Acadén1ie Roy:tll' de Pe1nrure t't de _fr<'llt f.., I)' r,, f:rly. Nott111gh,1111 .in,1 l ,111do11.
orcrical work rhar " ~as 1nhcrcnt 111 the are of ~culprure, 164-8-1670'. ().,fi,rd An Jo11r11al, t!)')l ••1nd r\1arrin Po\rlc .111d W1lh ,111 \ 1;111ghan,
.
p,lllllll1g.
' x.x1 / 1 (1998), pp. 1-1.ó. ·n11 lrrisr > .\J,,dcl .(,<>Ili E11r /1> \pttl(C 1. Londun.

5X Phny. Nat11rc1/ His1,1ry. vol. 1x, p. 31- (Book 68 See J,1cquehne 11chtenstl'11t, 'f/H Elc,q11111re 1\)1)\).

x.xxv: 75-7). 1)/ c;,,/c1r: Rhcr,>rir ,111d f>11i11IÍI\~ i11 1/11• l-'rcnr/1 7'ii A ,all p<1pt1l:ir h1~r,iry ot a.-:1dcn11c 1k·velop-
S!J The l\l\o d.ra\vin~ b) P.in11ig1an1110 ,trc TI1c Cl<Li,if,tl ,d,(!c l 1989 J. U'Jll~. Euül: J\lL V.utih, 111t.'nts Ul r1,w..:~· .J~ ,\lbcrt Bolllll'. 'llrr J,- 1dc111)'

NOTl=S TO P.A.GE..S 217 2l2 461

 li ,,,,,,11/ir 111 I' li·~· l 11111i11 J >td,,t, 188<).
1,111•11111 /lill Ili/ ,·/11'1', c111 1tl1·d ·11.,\ ot p;l 111u, rt.•llt·cting on dtl' trt1l'
1 1 1li 1 iIl 11 < o1111,111111 Aug, 111 ( .1111111 /l1111il, / )1,111 111~ /rc•111 1 l11li.' ní ht·.n11y ,ll Ll1\.' L1tê Acach.·111). \0111l'rst·l

1 li 1 1 1 li 1 11 l • ,, /,11,·r/111l: ,\11,/1 :\/11d, 1, 11.d 1t·J tlt.tll.:, Jol-. X l lllt1'>l'·.

111 J 11 11111 1 111 1il J I oi 1 ,., 111111 (1 '1111 11► li H, 111,h M11\t·t1111, IIJ,J(1, 9'i Tl oy:i_l Acadl.'n1y Minutes íor 17 March 1769.
1 1 1li 1 li li I \ /tlH) ç,l'l' \ ( l lutch1~on, · fh e lloval Actdl 1nv 0

'I 1 "1 1 I' 1 li 11 il 11 111 1, l li li 11 \, l 1\111) li, ,d \1111/J ,,, !<1,/1,ird S)'lllll////1: \e hnol~. 176>-. 1830', 11;1/p11/1• S1111r1y. XXXVI II .
,d1 1 11111 t 1 1 •) q l 11 111 111111111 / /11 /111/,,111 ri...,,11•/Jn,1/-•1 11,,d 1/w11 /~,·/, 11,llltl (11 f l)6o-f1.2.PP· 11..3-.291.
1 1 li 1 1 1 all ,1,, 1 ,111111 L ,t 1 1•11 1 1 'i, 1•1111,·1·1111, 11111111 )' Nev,,
/lt11111111i: l i't /111111111•.1 1-le goe~ t'\ eu rurther 111 che waccrcolour in
h Ili 4111 1 1111111, ( 1//1/'• IIII ,,, f, 1 I ,,,,, ,,,, 1 \'ud ,11 ,d 1, 111du11 <, 11 l,111d JCJ~ ~. p. 1.':..7· ' J he .1 pi 1v,1tc col lcction of l i l)11rd, 4c,1de111y

I /, 1 / t1 1111 11 111111 I J 11 ,I, I, 111,I ti, r, 11 l.u11p \\1 !1 11111i..:, 111 1h,· 1111.Id l,• 11,1, 1~ l1µli1~ (,irr,1 1791). ,.vhc1\· .1 nu111be1 oi obl·~c a11d
I I /' ,,, 11 ('111 1 li I Ili I/) 1) tlllll 111 \ IIIJlllL' 111d ,,ylt ul11l.' h hu111t .11 ll, ( onl, beh.1ttl·d bu, ~h1:rs J1.l\\ ,1 1nodcl ut 1n1n11:nsc
Ili 111111 ,, 11, (tld\ '" 1 1 1011 \\ lt, li \\11111, li 111 l.1\tL'111d ,11.111 111 tltL· 1111,t t o 11,111g 1t ,111 d proport1011,.
111111 .i I•) 11•1 ,, <;1lh111 1'11 ,, 11lt 111\ 111111,vc 11 '"'••tt r .d'"•'V' ,,
i,111 1 .ll ho11111111 1n 'J7 T I, e bt·,pet L.t t ll'd 111.irunt'.l as e1, 1Jt:1Hly 11ul
\VI, li Ili li 1 1111' 1 l'f ,, 11111 1 111, I"' Ili)',,, l,1·1H 1t 1ne1I, /\ l1111p liglil ,~ ht~l lh•1. ll h,1,t·d nn I·t k1.:r~bl·r~\•
1nl'11tor, N1cola1 Abr,1-

11! 11111,I, 1 1111 Ili' ti ""l~ 11l1 'j \·t 11<1\\ p11111d 111al.1\ 1111· ,li 1d111v 1111P,111 11' h .1111 Abddg,1.,rd ( 174 .l 1801,1), .vhu r:111 thl' li re
"' ,, 1 1\ '"" li Ili 1, l 11 .. 1 Ili /\ li1111d11 ti HH i\111 it1 111 l1 ,1d, 111)1 l.1/, .( /,,", p1oh.1hh I rtll11, roon1 uf tht· í{oya l l),11ll~h A r;1dc111y of Fine
11111 1 ,1 lt , 11 1 11q•11 d r,, 1\ '" >111111r 111 n•IH,'111d1 1 t~11u 11 y, itd , l1.1lk, .J.7H X 7+-l 11111 1 Art~, C.h:irlortcnborg Palacc, Copcnhagcn, ac
d,,11 1 11h1111,11111tl 1111 111111 \\1) '" 1111 (1, 111,11111 1\1111,I, M11,t l1111, 11J1)n,o~-.!x .,o) _I{>~ thh cinte: 1c h,tcl bct'n tounded b) ffi)-al Lha rte-r

11111\ ,, \\ 1111 1111 l i jl••I 11, ,t, .. tlllol 1 11,~11 li Ili~ 11.111 11 1,111h1/1111,1 11~, / 1/1 ( :lr1H ,ti ,/11 l<.cl)'tl/ 111 17'i f l .1 ker~ber~ l.11cr bec:1111t· ,1 tt.•,1c hcr 111
1\1 1, ,, 1111 li1,p til Ili 1111111, d
1' ,,, 1111 l,,1tl1·111i• \\,t1l 1111ln111 11\l1 ,,, 1pl111t·. 1l'h x .!711 thl· ,ll,llk·111y, ,11 1d 111 1X-41 IH.' prodt1t"l'd ,,
111 (/ 11,/, ,,,, ,,,, 11 1 ,,,1 1 l'I' 11 Jl 'INttl( "" 111111 (l 1111.11111 li, 11,~1, /1.\11,tlllll, l'J.!l u7r+. H>) . dr,1,v111g n1.1nual oi construct1onal per~pectivc
I' 111111111' \pi•• 111lii. 111 d,~ \ ilu11 111 1 11~1} ·\ ,,.,", t•~.1111pll·, d lu!\11.ir1• il1l' l1111g1·\ IC\ ol d 11s .111d \c1agrapby for srudent'l. See K. Monrad.
11, '"' ll1d1111 , , ai / 111/J1,·,,,,t, ''"""l' /11' ( .1,1/i,1111111•~
1
1,1,1 11,llii lllllJ Ili I J 17 ( l 11111111 ( / 'Ab1ldga.1rd anel thl' Copcn hagt•n Are Acade-
/ 1, 11, /1 11/, / 1,,11111111 '., /11111 111 /1,1111 1/11 1 ,,//,, / {o111ill11111/.•, I' ,) ,H IVhld: ',111,111gt' (1) h,1\l' 1lt l' 111y .,t tl1l.' f·nd o i lhe 1Xth Cc11tur} •• 111 . lr11d-
'"''' ,,, 1/,111/,1,1 / 1,,/,1/•,,111 ,., 11111 11111 ~li "' lii..:111 d11111,td "111·11 )llll IIL' d1. tW lt1!-,:: ,111d li,l\'l' t•111ics ar
lrt, l'd. 13o~c hloo, PP· 54\J ,;8.
l'I' 'I 11,d tl1t ,1111 Lili CIIJ VOIII ll·h ,1dl··. Í'l.llll l\lll\Jllll lll S PurpO\l'-bu1h ,,nd te111porary wooden a11a-
11,, ,, 1 1 ,, 1 hltl 111 d11· 11111 ,11 1\\ "'F Ili q11,H,, 1111111 rl1l ltlrl1 , 11111n1l'111.1ry 011 A1 l\lo- ron1y rhe.1rrcs wcre ,upposcdly con\ITUcted in
l\l,,111 111 111 11 11 , 1,,, hl 1 , 1,111, 111p111,11, 111• 11\ )uh 111111·, ( :i.1111111.1ill li~ ,vlil'll di,t tl\\1 11 ~ 11,dy 111 dtl' ~1xU.'l'11lh tl·nn1ry, buc thl' d1.·tp
dtl\\ll • • "1111111 1 ,11,1d11 1,,111111 ll\ (,11111, I 1 l 1l 1/11,11,111111,, 1,tl t1 l''> n l 1 'i.; 1,11 111!!, l1gli1 ' 111 ' / '/11' tlie.1trt·, "1th wh 1ch \\'l' art· 1norc fa ,nll int
d, \ 11111 \1!11111 11 / 1 1 ~(1), / /11 1 /li/,,, ( /11/\ /',11111111~ , 1/ 1/1, l11t1/·11t, (t<,Hi), /\1 tl1 l' 1.t.oll· des Wt' rt' l1r,t hu ill 111 the sevcnLeenth-ct>ntury
,,,,., 1 li , ' 1/, 1 •,ri 11,1,/, '") (\ ''I" 11111 ., li , llt.111 /\r 1, 11 1'111 blh1n 11, íllllrnl\ 111 Ncthl·r\ Hllh.
\1 11\ 11 1\ lu 1 11111 hu 1 1111 1 111 1h1 , 1 d111il,I[ 1 s,,, 1111• ~llllllllt ' I \l'llll,(l l l111· \l"~"º"' \\l'll' IJ() A eh 1lk dr,,\ 111g of .i l,!/1·-dr1111 1111~ <~'l11,., hy
I''' 1 1 ai Ili' J•I 111 Ili 1111 ljll li l•hllll \\ !Ih Ili 11.11111 1I h1•li1 . 111,I tl1l' \\'lllll'I .,,,,,,,111 1111111 <.~11t l1111, JH1\\ lu,t, ollt' ot .i 11u111ht·r of dr,1\,\-
•
11 Ili\\ 11111111!111111.111 11111l·11l111t, I\J'ILil l >, t11l1l'J 111 Ap1il h, l.1111pligl11 i1tg, ol ll1l l I t:Ul h ,1L.ith:1uv. ~hu\\'\ a full cir-
•
h ,,h ,1 1111111 111,I 111d1, 1.!11 ,1 ' 1111II,,; 1!11 l li 11 111 l \ >I tl11• l\\ú 1•11111\ 11•11ll·d 11, li 111.l111t·ll1. Ll1c l 1il,11 ,1 1r,111gl' lll l'tll oí lll'rt·d \L' tt, .11ou111I tht:
d11\\11 11111111 11 11,111s, ll•\d \1\11,, 1, .,.t,·11')' ,,1 /1,11 "'' /1,111d1111 ·/11 ,, ,1, l'll~r.1v1·d hv , .... ,.,. h1p;h
. t"cntr.1l n1odcl. '-lt'l' ltul:-i1n l't .1I.,
11111111,, 1 " ' 111hl, Ili llh llj-\llll \ 1111 ,, Ili llt,· d, 1 1 lll 1 \ 1, ti ~ 11,, Jt/11'i11,11, d /J,1111,/1, ~l' Jll.:1.d l'd, f:1.l//,frn11/,-I( 111111 )' f"rr11, /, I.1/i Dr,111•i11,11. p. :. i.
111111, 111.!11\\ "'''""' 1111 1,1111,lh 111 ~p,11l' \\ tl11·11 s,1,111',, Nt·,, )111k Ali.111~ IS11ok,. ( )rlit·r H·adt·u1y dr,111 Hlh" b, C nch1n ,v1..•rt·
1 1111,t, d Ili li 11 ll 11, •1111111111 /\11 111,11111111111\ I•/ s ,,1I X\ ICh 11,) 1h,· ,11h1·1. 11,11.1II) l'IIII
1 t·11gr.1vt·d h) J11k·, dl· <.,011tourr. <..oth111, ''-'t·
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Ili li 1•111111111 ,1 Ili 1 111 ( ,11ld,1L Ili 1 1 11,,/ / ,/d 111111111 1\111\I' 111ll,,1111\l 111d IS11l o•;11.1 du1111g H111/di1!~1. rr.111, ll1t h,1rd I IJYdotkl', l)xto1d.
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I 1/ Ili ,, 1 ' 111 , , 11 1d1111) 'il 1"" l. li ,d tl11 l lll ,,,, /1.111/1,1111, ('d l ll lllhl K11, hllll~, li 111' ),llll'l l'l''l'l'lll\'t hlt\\l'1.·11 1r.1, .,nd 16<1- ~1'l' · 1 hl'
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l l ,'i • (ltt'\ nolJs, / )i~11•11r.(1's ,111
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0

R idnlh. 1111 l.{{t· l'/ J'1111,,r11r.1. I' 1- \\\ll\ll'U ,t.lrtl·d .1g1t.1llllf\ 1,,1 ,li, l''' ll' 1h1• 111.11d 1111111 \,•li,~ li 1111 lfJ', 1 t111.l,111, 11)11 11
lucv \\lb1t;)kcr .1nd tv\.nun <'l.1, 1011. /hr l rl B,· ,ux \ , r, (111 ,1 ~pt•1 1.d , 1.1,,) .111d 1·h!,!.1h1h1, \1 ,.._ l\'1''111 d lll 1 1 llh l Ili 1•11 l \\ 1111 1 pll l.11 t
,1( Trai) i11 thr R,,y,1/ (~tlll1·<tí,111 R.t'11,ú.,s,111tc ,111.t 1111 1ht· 1', ,, , 1,· l-l,,1111t 111 ,~si,, 1h1·, \\'t•1, 11u1 h, \1a:11,1,• ll.,.J111, \\ lt,, ,11i,h,•d ,,1 1111 I', lllt
H,ir1•q111', 1 nndnn .!OO • l'P 3~!-_1 lil11,,1•d ~, ,,.,, ln ,1 Hl' 11111,k·d .nt t•dui..111,,11 l I nlt .1, ,l"l \11•111111"' 1, r 11is 111.I iidl', l I d1111
lhe paired dr.l\\'lllft' bv Ld,,.1rd r•J,llll'l'\(11 u1111l 11Jno. '-.,1·1 l.1111.11 l ..11 h. Sia,·1s ,111/1,• /!111,/1: 1..! 1 lJ1111ll',l 111 lJ11,·111 111 11,•ll, /11, \,/,,,,,/, ,1/ I l111~11,
13nrncv .m.: 111 .111 ,tlbunt in tht• ltúv.11 AL,ldl'lll\ l l ,,111111 ', 1111,1/1 ( ,11/1111,• lll / ,111 \1111 lt'• 111/i 11111.l,111, 111<11, I' \ . \\h11l11,lh 1111, t• •1t 1pli
11br.tr~. l'v1.ut} or litL''l' 1ild J' l,1,tc1 l,,,t,. ~01nt· "111111) /~11" Nt'" 1 l.1v,·11 1 1 111d 1 ,111d1111, 1 11t:d ,t,11 \ \\ 1tl1 -.1111,· 1 1li Ili \ ,1111pl1 111,1111 \
of ,,·h11.:h had con1c lro111 rht.• S 1 M.ll un \ 1,lllt' l•J•J 1. pp. ·1, 1(1.1..11,1, l',1111,11 t :.,d\' I h,· l·q1 ,li 111111,li ,lll 1·1ha..1111>ll ll1,h11,I ( ,111111\,
1\

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tü thi~ dJ\ ••1 ~igi1 ,1f tht· 1111por1.1nt·l· 111· co11- Nud,· 111 1 .111· N111,·1e1·111h I l'11t111, l 1.111< ,.•, 111 I ,11111111111..: 1•f 111, 1 ,111d,,11 , 1110~ \,·,· < .,,, ,111111~
ci11u1rv .1nd trach no11 \\'1rh111 .1r,1den11t· 111~r1tu 1111 H,,.ir 111,,(~' i1 1,,, 1111111,111 1 ,,,111 ,111d , ,,,,,1 t '11/1111,, 111 /11,r,11111i 1,1, 111 1 111,,111111 t •11,/,,,1. 1 d
0011~. Tht• n..0,.11 '\L ltk•nty .l~lJLl ll\;J dll· l.l~l e'11/t111r ,i11i1' 1//1 Rr11,11,.,,1111,, ,•d 1,.1d1lt·t II o\dl, 1 11 1111 J\1il,11\ 111,I l11li11 1111,ld , /\ld11,li111,
11f l hrokc:n COJ'Y 0 1· ( :111r11111t1/1/\ hlluµhr h, 1ht· .111, I lv1111 11 1'0111(1111, ( .1111)111dg1· 11)1)J l'P I l 1 l.lllh, 'lll'l 1

l'vlarqucss oi Sht·lburnl' 111 1772. '>l..'i.' 11.111l 1\ 1' \lll11l!,: j.!.111\ < i>llld 111111 111 1•1,11111• ,li dlt' (Jllllll'\ h,,111 1li,· ~,·h, 1 ( 1111111111111, 111d 111•1\I
1 1.i~l,;.cU .u1d N1Lhol.1~ Pi.·1111,. 'fttstc ,111d tlit 1 rol, lt1,, .dt· t:1 .1t11111 d, 1)1·"111 111 l'.11" 1111 1 tllli ll,•p,111 "' 11,, l 111111(" Ili 1111 S1 h1111I
'11111q11e. 11,c f 1111• i1/ (.'/11s_q,-,1/ S, 11/1111111· 1,1,,>- ( 1 ·11C► 1Soe,). .111d d11 ,11b,cqut·111 1 , ,1h•, ,,1 li l,•,1g11, 1s I", Ili Ih 11. ',, '11.!11/1 ,1/ /,,\/~li l'P
/1}1111. Ne\\ H.1ven. ,t, .111d l <,ndo11. 1<1X1 , 1'1'· N.1111111,111 ,lt·, \11\ 1)r, ,11.1111,. \l'I 111' .1< , ,,,, 11 •.111d 1s,
r~.! .l - l 1.1111 l "l'l' LJl11\ h l 1•h1·11. ( )/l1,·d / )('\/,~// Ili 1/11 \V11111111 11, 1t', //11• / >r,111•1,11; /1,,p/..• "' 1/t, ! ,111 •
106 l-l i.' ll 11 M.ui,,c ' I }i\,,lgJlÍ(ll1\. 1,v.1 J. ili \ l,111\\1 l,1;1 ,1/ l ·11l1.~l,1,-11111<"1II 11,,• l /1~1,11 )' ,1/ 1/11 /~1•)•,1/ <1111111111 s,/111,1/ ,1/ /l,-,1.:11 j1St • l i, ln11dn11 ,
111 4 rr, ed. rl.in1, pp. 77 I tn / )1,111•111~ ,',, /11,,,/ 11 / \111,. 1 n, 1\ 11gt•l1·,. , \ Ph t
107 André Mcllcno. ()dil,111 Rr,/{111. 111·111111•, ilr.,.;111,1 .!00.j 1·111 ,1111.llt'lll 11'.1111111!,: 11f \\'<llllt ll Ili 1.! 1 l ' li.11 li.' 1)1, k,·11, l /,11./ , ,,,,. ,. 1s, 1 (1 l1.1plt'I li
11·11r. P;1ns.
.l!r,11·c111. IIJ.:!~. p. 17 1. qnot,·d A11gh, ~.1,,111 1 ,111111r1,•,. 'l'<' i\n 11 llt•1111111gh.1111 ' l·.i. l 1,·1,11, 1 llll \ ')
1n N ichol.1s \Xt,1dlt•y. l111p1, •<~1v11i,1 ,111,I />,,~,. / .1'1111111(~ 1,, J >11111• · ,\111d1,· Ili 1/1,· ( 11/1111,1/ l //,/1 11) '>1l 1k·11111111, ,\/1111 ,·d 1,,11 ltl111g 'ic1• 11\,1
l11111r,·Jsi1111i.1/ l),,11,,/1{~. Lo11do11. 1,.1,,1 p. 1i). ti/,/11,,l,11 """ ( '1,•fttl 111. Nl•\\ 1 l,l\'l' ll. t 1, ,111d li•h.t lllll'\ 1111•11, / lt 111/11 .t11,I / •1•1111 , ,,, /1,1111
108 l )t•g.1s \\'rtHC in ,l lt:ttt"r or 18 l )t·rt'lllbl·I 1X9, 11l11do11, inon. 111d l,1111 ', Jn.111 · 1 \1 1/1l1 11·1' ( \•Ili•(' ,11 1/,,· /l,11,/1,111 ,, 1 tll\dtlil, 11) '

ro 1-lrnn I erolle: 'Ir 1s 111 v.nn th.11 1 rl'pt·at to ]/1!11111/I l111.,1., ,1111/ / )/,111'111<,! \ f,1 ç/n.1. ltlt 1 C' lt 11111·1 1, \Xt11 k .111d < :.1h11, 11• 1 >i 1111 < ,1 '"' ,
111y,;clf cvcrv 111or11111~. . th.it t\lll 111ust d 1.1\\ 18,,,,, 1 1111dlli1, 'Ollll l,•,1d11111; ,11 r!i, IJ,111/1o111 11.111, '.-.1, p l1< 11 /\l.1"111
fro111 thi: bi.1tton1 up\\,1rd~. bi.·p;111 \\ 1th Lht· lt't'I, 11 l Alll l thl· .11'11ftthlll ,,t 1h1 l lt'lll il \, .,d, lllt.' .111.I \11111•11 1 t· I,, , ( ,,111ld1 Ili l,1111 '""'· ,,
rh,1t the forn1 •~ t:1r bettl·r dr,1,\·n llf'\.\,lrds thl·ll 11..11,.ilt· 111 1 /•) l ,ttidt'III' \\'1'11 1·hg1bl, f\11 1 / 1
Jov, 11\v,u·<b. l'vlcch.tnli.Jlly 1 h1:~i11 ,, ith lht.· th1 11 11:\ dt ll..,1111t· 1111h d 1111 .,dv ••l'"l1·1,·d l.!7 ll,1.I. 1111· .,,, ( ,11

h1·.1d' (/)rt:,is br l /1111si•/J: f)r1111·i11\1.1, /11111ts, /),,;,,, .11 t ltl' 11,oll· ,li.·, lll·.1u, /\1h 111 l\11l 1111 , 1 'li li ,, 1111,·n·,1111~ il1.1t 1111· N111,v1, 11 '>11111111 t1I
'"J?,r, 11 ·r11it1,l!s, i.'1.l. ltich.1rd K~·11<l.1ll, l 1111,hln, \V11l1.1111 l l,1µ,11tl1 h.1<1 ht·,·11 \ 1nl,•111h "l'P"'t'd A 11 .111d d1,· 11111111·1 ( .1111h<'1ll,·l l \, lu1<,I 111 •\11
l<)8'"', p. .!47). tll (iit• l\\l ll' 11I l'l lll'' Ili ti11: l llll'l).:t'lll plp\'.1(1 lll>\\ jllll 111 1111 ll111\1'I\II\ ,., tl11 1\11, 1 llll
109 L, 11dc1 N\01 r i~. t•J .. l lnl1J li•11k., ,111d 1/tr ' 1,/ ,,( 'i<llll'I\ 111 /,11,. 't't· 1111-1, ,uth ,v,1t·111s ·" ,111111111 d,111, \\111' 11• 11h1tt ll\l dll\\tllg 111hd ""
l'11rt f)r,111 111(1(. N(1nv1, h, 1,,H,. p. J~. l'r<..·~11111 11,H 1111 ,lllll ll'l'll'SSl\'l' ,11·, ,11 I,, 1g.1111 11111·1 1111d, 1g11il11.1l1 111<1 1•11, 1
.tblv. the Tonks rulc rl'ti:rs to th<..· othe1 d1:le1 114 l{.1,111111 1\tl.111·, h h / -n,,11 <:11/•1.1111 ,111,/ /•1111111,111 0 1 "111,111 d, 1,1r,·s 111 d1.1\\ 111g
111111.1111 o( S<.. ,lll' in
dr,1\\ 111g, the sitt' n l tl1t•
.1 111 ,t..,11pn·111,r11,,11· 1111· ,\1'11 ' l~r,rhi111 111 /\11111111~ • 1 'º ' l )ii1 .., t1v1• /\h,11.11111111' \\'," 1h1 111\1 111 1 1111111
•
111.1rk r~·L111,·e- te, thl' di n lt'l1\IOl\s oi I ht· shl·t·t J\rl 1h1(1\\ 11)1(>, t i l " ' \l,1l1•1·i, /1 : ,111 111, '"•'l'' ,•,h1hn11111 ,11 /\11'11111111, 1n HJ11 1111 1>1111111
110 'l'olJstrcJ.111 tlt·11u,n,t1,itt•J l to ,tudent ""i.1111" t·d \1tdl'l'\1111. vul 1, I' 111 '>t·,· .1(,,, l'.1111 l\.11'11\\, 1111 h11 l,d ll..11d11g,, M11~11d1,111 \ 1, 1,11 l'.1,111111,
C.irl(;'J jthe tr.1d11ion,d 111t•th1,d tlf hold 111g dK· l \•,11 .111d 1 11,1du11g oi 1ft1 A1.1d1·11111 ·, 111
•
111 11111 ( l,111d1• l(.11~(1'1\ l 1 1,11lt11i. 1ht l.111·d 11I 1
pt·nc-11 .1c a r n1 \ il'llgth .n righr .1nµ lt·, tn tht· .,,,,/ 1/1, l,,1rlt1t1)' Ili ,,,, \111, /t'{ 1,r/1 ( '(111111 )', 1•d \\ 11111•11 ,t.11r11t1·111 nf 1117 111.11 l ltt• ~1 1111111
línt· oi' ~1ght ,111d ,1gh1111g .1cross 11 ,, nh u11e ll.1 1 H·l ( .11dos11 1)t·11i- .11ul ( oli11 1,.,dd, 1\,\.111 "•'' l,,1,h ,Ih 1 , ill 1111 oh1e1 li\ li} 11\11
e\i<... Thc .\rLi,t \ hl•,1d 11111st 11ot lllllVl'. b11t 111,
•
l ltl''l l'f • .!OOll, f'P· 1, l ' . \\ h, lt11l·, I I,> 1'1,· "11111•1 11,1 do11 1111.1111111 111
l."Yt' n, ~y f\'\'Oh I." • ( :old,rrl·,1111 \\,1, .1hk· 10 ll'i J111 1, J,,1iJ J l11~\lll,IIIS, (/ 111'1<'' ,, 11/1/t/t't1•ç rir/ /,. IIIPdl 111 l'\J' ll'\\111111,111 1I 111! lt1011 l /1, / .1111o111
prndut·<.. ,1 rc,11 proJl'i.:tlOl1, frt•c fro1u thl..' .1111n11 / /11)'~111,/11.<, l'.ll'IS (; ( 'ru,, 11) •li, j1 1 1 1 f<,•.td ,',,/1,,1>/, PI' t IS 111.I 'J.11)
,lh e~ 111 ,·rc1 l1: l11,1t t,111 hc i..1u~l..'d b\ tlll' p h l· 11<1 l\ l.tl1.·,ll h. /'1,1111 e.'11/,1,111 ,111d /11111111,111 1,, "111 11, IJII S1•1· r-.1 1111 11 ( :11Jd111g. ' I 11,111 lJ~ltt\\ \ N11dl•,', Ili
non1e1u,n kno,v11 .I\ ",1ze co11,L,lnl·v· • (flrutl' 111,111,111 111 f... '-: \/,1/c, •11 /i 1·d A11d1r~1111 ,111 1 / 'u.r11 1Jl//1111•. 1 ,,11d,111 \Vl1111 h,11'1 l /\11 ( ;.,li, l)',
l.1u~htot1, 7711 f:'11,11111 /~11111/ S1 /11111/ 1 ,',/11,/1• 111 11 7 A111,H110 \.111r'l lt.1 \/1111if,•,11• l 11i11 1, 111 l 111111 IIJ)ÍlJ ,, ph1llPg1.1ph "' lh.J,1\\ ,11 \\t1d \\ 1111
Ol•icdil'f Pc1i11ti11.!l, Aldl'r,h ot, 111~<,. p. 147). i.-111 ,1111/ riu l1tl11tn11111 ,1J .,,1111 '/·/1,1 1\111.111 tlu, ,1pp 11.1111, 111.1~,-~ 11 111111 l,k~· .111 111,11111111 111
11 1 >\ lht•rr Bn1n1l' 1\ 111\lstt·nt u1 '/'/11 l111d1'1111' ,111d N1111\V l·d11111111· ( ,.1hra•lt /\,l.1111111.1. 1,1111> p . ,11 1<1111111 1111 1,,,!11 .1111\I 111.J 11111.J,·l) /\ J'I 1/1'
l ·ru1d, l',11111i11.~ ;,, ri,, {\ri11c1cr11/lt ( ,1·11111q th.11 8() \\ 11111111~• ,ui 1•-1111t111g, 1\11,/,, /1 ◄•111 /11'1/r•,1 /~11/11/,11
study111~ cngr.1vt•d 1110,/1'./rs i/1 dc~.1111 cH ru1 rl'd 11~ 11.1111 ( ·~·z,Hlllt' lt tll l 111 1:111ilt· ll1·111,11d, A1x. 1 Ílltr,1/ / 1(hl/1<1/II /tt'l/1 ,,,, I )'I (111(1 1, l lll\11;,tty
onl) 111 (1nvat<..' .itclit 1,, 111d t1,rn,1I ;11t ,, hool~ ll)ll) Ili ( :,1111'1·t•1lli,,,,, 11•11/, ( '1 11111/(, ,·d l l111 Ili , oi 1 1,11p,111l /\11 l '1 illl'1t1c,11,), 111.1d, ,v11li 1h1
.uHI s1,1rc st hool ,, sll' ll l\, hui 11,,1 ,11 tlH· l·.rol<.. p. 1~ 1pp.11.1111\, dl\1<lc, llll \IL'\\j>111111s \,1tl1 l11u1
dt·, U1:Jt1x Ar ts i11 thl· 1ii11t·tce11tli tl'llllll) l li) ( ·1i.1,11plll (li V o,1k·, 1 IL•1tr)' 1 l11,,u11) p11blt,lt1·d i«ut.il ,11111\\ ht ,ul1•1I l1111•, IL·il l,li11I 1111 tl1
11.2 ln 1--- ran,l' the ~epar.Hi. .1nd 1111dt·1 li111tli.·d h1, ,,1h11111· lli l',,.1v,. / , Hn1/11111, 111 Ji','i7, ti l 111\,I\

ri [ 1 f A< 1'
 11 o \\J \l.ick l'ruie,,o, .111d
1 r 1 1 01 th A1L, e 11111111' hJJ 111111v )l.'1r,,
unJt rto0k tlH t ,o rcp11rr, 111 rhc yc 1r, 14.1<,~-
' ,, Ili ~,r 10h11 ':,u111n1cr,oll {L.1Ll.'r thl Su111
1 1cr.011 ( on11111ttc.· h>J the N 1rion:tl Ad-
v1,ol) ( ounc1l 011 Art Lducanon S.:e Bn1rl."
L 1u1,;ht\lll li 11/1.1111 C"ld 11 , ·,1111, f'<l'\\ 1 l.1,·l'll , <T,
11d 1 011dP11, 2.004. T hc n11t1,h lft-,chool
cxprtnl'nc.c \\ 111, h h.1, 111ti11 c11c,·d A11,rr.1h.1, h 1,
ho.:cll Vl f) d11l.:rl llt ln >l1 1 1 ltrurl•,111 111.l An1.:r-
l{ ui H 1dc11ll<.: h1,tPr10.:,.
112. l'1crrc Bourd11:u. 11,c Nult, ci/ rlrt ( ,e llt',,1; ,11111
\7111t1111t tl/ tl1t• LJ1cr,tr)' l-ct'ld. trJ11, \u,.111
1111.11111el, l .1111bndgc. 11J<)C1, J'I'· 2~7-~o. Ucn11-
d11.:11 011 p 230 ,ugg•·,ts ih.ir unnl the- 1111ddll"
nJ thc 11111.:t..-cnth ll.'11tllr} tbl.' .1c.:idt.•1ny hcld
lhc ro k• o[ \1.'11trJl b.111k' in lcq:;iu111aüng 0 1
'c.,n1,t·1 r.1l111g' art A1 n,1, ,ll'l' no\\ doo1ned ' to
111 l'llcllt:,~ ,rruggll' fr,r .1 po,~·er of cou,t·cra-
11, 111 \\ 1111:h LJll nu h 1ngt·r bc ,1.·4u1tl·d ,1nJ
lon,c,:r.,rcd t'\<t'pt in ,1nd 1hrn11g-h thl' ,tru~-
~lt· 11 ,,II '. Althoug-h hc dt'M:ribcs the vt·ry
• u1npll.'x rcl.1uonship~ .il ,vork ,v1lhin tl11.'
'coll,·1 11,·l· 11hour' oi' con,l.'t 1.1uo11 hc Le11d, to
d1,1111~, thl roll ot .irt pedagoi,:.,y
1JJ Thl" 11:1111 1\ lro111 5u (;!1J.tlc, ili.'], Tltc
A ,1,1t,1111y ,111d f'/11/,,1,111/,y ,,( r.·.,1•rc·.»11111 ,,~ r:1111-
111·(tt•tl 11•i1/1 tlic F1111· .4,r, 11so<ij, London, 1877.
l lt~ , tJte111c11t (lll p. 24 contu1uc~: •13, a11ato111y
111 11\ r..-1.liion 10 thc are, o( ch:~1gn. 1 undt·r-
,1.111d not n it•reh• cht· ,cud\• of the 1nd1v1du.11
and J1,,l'1 tt·d u1ust lc~ of ú1c 1;1c.:e. or boJ~. 0 1
h111h,. - hut thc· nb,l.'rv,1t1011 o[ ali d1t· ch,ir.ir-
ll.'n,nt , 1r1ct1t·, ,,h1çh llhti11gu1~h the fi·,1111e,
ur Ll1L bod, or COUlltl.:llJlll'l'. A k110\\ lcdgc of
tht· pl't ul1.1nnc, o i 111J:1nt }, yciurh. oi- age: oí
,a knl·,, <>r n1ek· h,·.ilçh; tir of rhe conrrast,
hi:1,,·ct•11 111,111I) .u1J 111L1~cLihr sUL'ugrh and
l~:111i11111t· ~k· l1t,ll,, OI nr
lht· dppc.irance~ \Vhtt h
p.un nr dearh pres('nr,;, bclon~ ro 1cs prov111cL"
.1~ 11111ch ,l\ rhl ,cud> or
thc 111ustll.'s of thl'
t:1LI.' ,,heu .1iTt·ttL'J 111 1.: 111otio11.'
1J I B ,1\ 11 1)t'.\lb"ll, tht lt'rlll lc1r a genernhst'd pn:-
1 our..1.: oi fr1ru:1.1I cr,11ning r..-h:v.1nt to ~tudcnt5
,ll rciss thc .1rt .1nd dt·s1~11 ~pcLtrun1 (~'1".iphtl'
dl',lt,_'ll, ,11rh1tccturl, f11rn1t11re :ind 1nd11stn.1I
dt·\Ji;n ,1, ,vcll JS ,1n), stt.:1115 lr0tn tl1c ·b,istt •
ll.111h,1us 1;,,k11r~ W,1Jt~•r Grop1u, su111111,1ri,1.;d
'<llllt' oi' 11, pn1111pll.', 111 chl' N~.1~ 'Arr Ed11-
' .1no11 ,111.I \ti1tt '. hstin~ tr,11ning 111 ·~pa6.il
pcll t:pllOJI. po\vt·, ní p1t·~l.'llt..clt1u11. k11uv,lcdgt.
nl n1.1tc11,il~ .111d ,111 11ndrr,1.111d111g nl bus111css
.111.i 111du,rrv, .1nd thc prt1p1:r h.1ndhn~ oi
111.1ti:11.1I, 111J urcl111Jry llldth111<.'s · 'Thl· 1110,1
l"\\l'lll1,1I I.KJnr 111 ,11 11,tit t•th1t:1t1on i, cht' 111111)'
,,J 11, , 111,,., sr111c/11ri• i11 11/l sl,{(lt 's ,,f df1•d,111111r11t •
( J. 1 M 11 t111 . Lk:11 Nit hol,011 alld NJu111
<,.1bo. < :,,.,1,;
J,ir<'11111111111,1/ S1111 1r)' e!/ ( ,n1.11r11,-11r•c
lr1 [ 1<JJ71, 1 ondon. 1~71. pp. 2.~o .111tl 2.~.!).
fo,t'l .111d A11111 Alhc:r, 1111portcd Uauh,,u,
lc.11 h111g ')'t,•111' 11110 dtt· U~A ,lt Bla1..k Mou11-
16 1 1J0f[5 TO PAGES 232 L40
t,1i11 ("ollt·ii;c. .ind 1n Brit..1111 thc .1rch1.ccct a.ud
.irt,~l Virrur 1>,1'111orL' ( 1\)OX- 191;X) i, cn:ditt·d
\Vtth dc,·t·lnp111g .,n 1nrlut'nn:1I Ha~1c l )t"iLb'll
cour,c ,H I<iug.'.'.. l.'ollcgl, Un1ver-:ity oJ
Ourh,1111, lrou1 1IJ:í..!, ,111J al Lcc~b CollL·~t· 01·
Art togerher ,,;t11 H;lrf) l ht1hron (1915-
198,;J. H...1ch.1rd 1-lanulton (b. 11)22) ind othcrs.
\vlu<.h bet,1111l thc n1ud..-l íor 13r1ush art anti
dt·~1gi1 çnllc!:,>e~ Juring th,• next t\-VO <lt•c;1dt•s.
Chaprer Nine
Bod1es in Piec:es: Anatom,cal and D1·aw1ng
Manuais fo A1 llsts
1 J>..1~d Klet'. '( reat1\"e ( ' rcdo· 119.20]: 111 '/'hc
T'lti11ki1Jt!, E)'<' Tire Nore/tc111ks 11{ J>,ui/ K/tc
l l1J:í6I. cd. Ji.irg Spilll:'r. rr.1ns. RJlph M,111he1111,
Londc,n .1nd Ne\\ York. r9ór. p. -;-8.
.:: S.tra h Sn.: 111 's N <,e.:~ j 1\)081. 111 .\ J,u1ssl' 1111 ... 1rt,
t.'d. J.1rk IJ Fl.1111. <.)xf<)rd. 1973. pp .µ-3.
3 \1/ílh.1111 (;1Jpm, for cx.1mplc, rlearl) ,,1,v thL'
(OllllCt Lion bct\Vt'l.'11 dcL,lili or 11.-ltlll'I.' :111d
bodv parts .1~ an ,1ct of thcoreti<-·al explorat1011
whrn ht• enco11ragcd chc rcadcN of Rn11111·ks
cl/1 I'-111,•,1 Sa.·11t-ry (R<'l,11it1r Ch1~/1y ltl f>1ct111rS,[llc!
Be,1111i•) ú( 1790 rq ·ro11,1dl't dtt' ~prJ) a$ ,1 I...J1a.l
of sylv:in annro111y·. J'h.1, ,~ nor Jl1 u11con1n1ún
111ct,1pbor in arcí.sc~' trac t~.
4 l 'hatll's-Alphon,e l )u Fre,nuy. De ,u li .~r,1pllia1
lróól'>j , tr1n\. Jôhn l)rvdcn ns 11w 4rt o_{ /'a111/•
h\l!, LunJ.011, 1695, pp. 141 2.
5 Hcnr} Fu,l'li, l..err11r1·., r111 P,1i111111~ D1•/ii•n·,·d ,11
tlu· l<.oy,1/ .--lc11d,•,n11 ri .l\,c11• [;di11,111. l.on<lon.
1830. pp. 8- y j~cvcnth Lccturc 011 l )ei.1g11j.
ú Thtrl' ,1n: ,1 11u1nber o[ prinrs stc111nlin~ fron1
th1~ dr:1v-:ing.
7 And} W.irhol, [1/1ih•~c,phy t!(.'111dy 11 ;ir!,,,/: Fra111
.1 111 B ,111</ 13,u/..: .--l,1!11111, Nc\.\ Yorb.. and Lundo11,
1!>75 •
8 tiolmd 13.trlhcs ,vrott' th1s ~i1nplc glo,~ on
L.ican \ r:11nous ~enünar on thc g,\Zl' i11 111,
e~s;iy ·t~ight 111 the Eyes·. 1n 7'/,c R1'l J11H1.~i/1ilit)'
tif J711r111.,; Criti,11/ Ess(lys 011 ,\!11sir, Art ,111d
Rcpn s1·11t,llic111 f198..!j. rran,. ~U-:harcl Ho,v,u·d,
1
():,.iord. 1985. p. 2.10. 5cc al,o Jacques 1 ;1can,
·1 hc ~plil bctv,i:eu Lhe Eyc J.Ud Lhe GJ.Zc'. iu
T/,c Pr111r ru,11l,1111c.'11l,tl Cv11ccprs •!( P.1) rh,•- 1
A1111/ysis [1973], ed Jacque,- Al.1111 Mtlle1·, rr.:in,.
AL111 Shcrídan. London, 199-+• pp. 67 -90.
{J Thc 11111ccccnth-ccntury fn.:nc,h poliec111J11
Alton,e Hertillon, ,vho p1011eered finger-
pnnung at the J.1rétêcturc de 1~0Üce. P:ins,
dt.•vclop..-d l.1XtlllllllllÇ sy,-.te111~ or · , , i111i1t;1J'
t:icial fc irurc,. 1-lt' believe-cl thar tht' 1ris the or
eyc vvas .u1 itnporrant 1,1gnificr of ch:i ractcr.
10 Úl'orgc Ju M,1ur1cr. Trilby, Loudun: O,good,
Mr llv:'line ,1nd c.:o.. 1X95. p. 17. l)Lt Nlauncr
( 1 8 J-1- 189()) v\"JS au ,1rtll,t a., \\ ·ell a, a \Vr i tc1,
,111d tlu~ 1.'WllOll or
thc 1)(1Vt'I COlllaÍll~ lint·
illustrat1011,. 1n Lhe quored pa,saie, 1nlhy
l) 'l-1:rrall. t'Yt.: nt11.1lh to bt· 111,1111pu b icei by th1;
\l lli\Cl'l Sve11g:1h, 1ntrodt1Ll'S he,~l.'lr .1, .1 l\lütk·l
'
111 'rhe alto!,);t·tht•r· ,,11b '1he h.111d~o111L·,c 1001
'
lll J.li Pan,' Lo th1: thrl.'L l3n11sh .1rt1,h nl tbe1t
l ,Lt111 Qu.1rttT ,ruuit1.
11 J)a]í .1rt1111r~·d hi, ,IL 1dcn11t tt'Lh1tí,1uc in th<.>
acadcn1v u1 M.1dnd ,tnd producl.'d .1 ~criL'\
o( ~nht·r Illf{l'l'Stllll.' d, ,l\\'ll~s 101 l11s hr,t
011c-n1,1n sho~, ,ll tht· ( :.1lt·r1t·, 1),1li11,1u 111
U.1Tcelo11.1 111 Nnventbi:r 11)2 'i,
1.:: ' [l1c .ilt..c11 ptctc Jt·p1l L111g Sr .foh11 1/tt E1•t111.i:rlist
t111d ."it \[ic//,11'1 h) P<1nt,ori11ti ,v.1~ tk·signl.'d li,r
chc chapei of chc V1r~n 111 \.111 tv\1rht·le .1t
Po111oru1c. l11~ hon1c tO\l\' JJ, bt·t\1-l'CII 15 1X .111d
1~19. li \.\.,1, 111oved ro di t· Mu~t·o dcll.1 ( 'ol-
le~1.1t,1 111 ncarby E111puli 111 195 5
t' Gcori,1,I.'\ 13d L.tillc ,vrotl.' .111 iufluc uu..,1 c~:,av
J -
ab()llt 1..ht· h1g tnl.' ro\Hcd 'in tht· dirr' 111 ' I t'
gros orteil'. 111 l)o111111r111,. no, Cl, 19~9. 11111~•
lratcd \\ ith pho1ogr,1phs h) J,1cqucs-Ai1d.i·~
Bc, 11T.1 rd.
1-1 Ph1lip (;usron últcn 11~r~ D h.111cl n~ (;od
LOlllÍllJ! do,,·n ti-0111 thc uppcr 111a.rg1n:,,
n1en1nrablv dr.1,v111g on a t.1blt•t o( :,tone 111 ,111
L •11111/cd dr.1v,1ng or 19~5 (A rtl~t·~ hsr.1rc) ~l'('
MJgd.1li:11J 1).1bro,v~k,. ·nrc Dr,1111111.11~ t!{ rhili1•
Cri1.,1c111. Nt'\\ Y,1rJ..., 19811. p. 111.
15 V:1~ar1 cb1111t·d rh3t the Miche-l.111g,·ln c1rtoon
\VJ.\ toru to pic-:c~ bv t·,1g<::r cr,Úl~111l.'11 ••tfi:cr
111,111) ,1rt1~t~ ha<l studied .111d cop1cd it
(G1orgio Va~.1n, Lil'cs (!( 1/11• lrll.~t~. Lran,.
(."°;cor!,(c I3u11. .:: vol,, Londo11 .1od Nc\.\' Yi>rJ...,
'
19X7. vnl. 1, p. 3,12; \ 111,J ri. u l'ilr' ,h · 11hi 1·tct'-
ln11i p1//11ri sndton r arr/11tt·tr,1 ri 11r//1• rcda.::11111i de•/
15.50 e 1561:i. cd. lt.o~.uwa .Octcan.11.Í .1nd Paola
13arocçh1, () vo l~ in <). Florcn<.:c. 19(1<r~7. voL
\.1, p. 25). According co Ut•nve11t1to ( cllin1
(T/tt' ,4.t11,1lih\~1c1r11tr t)( Bc111•c11111t1 (,'1•/lini. tr.ut,.
c;~·orgc Buli. London. 19,<1. p. 31). 'M1t'hcl.111 -
gelo dt1p1ctcd a nu111ber of 111t~111try111e11 ,vho
bc-:.iusc of Lhe su111Jní.'r ]11:,u h,1d gonc do" 11
'
Lo b.tthe i11 rhe nver Ari10: ht: r,1ugh L 111 his
dra\\·1ng thl' 111on1e11t , vht'n tl11.' nL1n11 is
'
~0Lu1d,:d a.u<l tbt• nakcd ,old1ers ru,h fi.)r thcir
arnts'. (F)alí produced 111 tlsll Jtion, lc.11 an
ed1non ot rh1s 111 19-16)
16 The Lllf.ttor or lt.u.1an dr.l\\'lll!-,>'S ,ll tb.c ilritc..h
'
M11~t'lllll. 1-lugo <.-:h.11,111.111. lir111l> rerlllt'\ thi~
ínrerpret.tdon. alth\lll!th 1t h,1~ bt't:ll s1 1ggl.'$tl.'d
by previous co1111nl'1ttator~. 1l is ~unu11ar.il)
refcrre<l ro h) Joh,uu1cs Wildt· 111 \li, lit'l,111,~1•/,,
1111rl !ti.~ St11dill 11953[. Lo11dl'>n. 1975, pp. 15-
16.
17 S1111()' <!/ /\l,ilr• N111ft. hl.1tl- ,h.1IJ... ,111d pen .111d
,1
i11k. ,[09 X .::K5 111111 (l-lorc11rl', <. ·.1~a B11on:1r
rori). Thc p,1pt·r ~upport l<>r Ll11~ dn1,v111g ,vas
lilldi:d ,111d ll'it'd fiir ,1 sl1opp1111:t ltst.
•~ \c:e M.11Jor1e c;,,rber. '(.)ut oi Joi11t'. 111 1111
lJ(•áy i11 11,trfa: / ~1111c1sies 1!( C11111c11t•,1/iry i11 II,11/y
/1 (()d, 111 TJ11rc1p,·. cd. l)av1d Hil1111,111 ,l11(1 C'arl,1
Mazz10, N~·v1 York .1nd L ondon. 11197. pp. :!3-
 ,1. é~pél 1,11lv lht• rt·lct<'lli.:t·, tl> :--.:n1~~u1,•\ h11-
gi11,n< illl'Ont•, oi :irtu:ul.1t1on~. p..l7
ll) llt1di11. ll·ttl:1 lll A11lt•111t· 13oLn,lclle. , it1:d by
l.l h.lbt·th (. h.1,c c;c1',hLil1lt·1 lll /{(ld111, l.11/rf
/ )1c11fl11t\!I, Bn, ron ~,A: Ht·.,ron l'n.-,~. t<J(IJ. p.
.l 1.
.?O rht· .11 l t r1111 .ind \V I lll'I Ed 111011d dl' ( ,(111
tll\lrt v1~1tt·d ltod1n 111 1Xll<1 .111d l(11111tl 111,
, tudn1 on th1. BouJt•vard \ 1.1ul-\11 ,ird '.1 htt..:1 o f
h ,111d,, .11111,, lt·g•,' (P,(1,!<, /1,1111 1/11· ( ,,>11H>t1rr Jt111r-
11,,! t·d an<l tran~ ll11hc rr l\,lld1cl-., l 0 11tkH1·
roliu "it>l lt'ty. \ '):,;o. p. .lJ7) St•t• .i.li.u \ h::-.. Pott,.
' l )t1l b .11 1d rlt in~~: •
T ht· llt•i li(,llll'II 111d J >i,111-
t,·gr.1tio11 or rh,· ~l"lllp n1r<' o i H.odin nnd
lt 1lkt·', 111 S(-.:lu ,11ul l,1.11:~l,t· Ls.1,1ys 111 / lt•110111 ,>/
l . 11. <,,,,11/in, /1, l'd John C)ni.1r1!-, l 0 11do11 :
l'h.11dt111, 11)94
.! l ~étll, / )a11ri11t1. 1/,1 1:111.f!<', 1v1J, \voud .;1tgra111 1ir.
ré pHlthi<<'U .1nd d1,c;u~,1.·d 111 An11l: M. Wa~11l'1.
' P,od1n\ lll'pt1t.1t1011'. 111 lcro/1ns111 ,111,/ rlrt• H,,d)'
/J11/i1ir, c:d. ly1111 l lun t, UJlt111H>r1.·. J\tf>, .111d
1111tdo11· John l lopl.. 111~ U111\'L'f\1ty l'n·,,. l•J91,
rr 11; 1-ú.
' ' For t·:-...11n rk·. /,., F r111111t' 1/lcl lt1/ /\I' n 1r•1· i/'11111'
11r1111· /i//r ,111i ,,,,u/111 niln ,111 1,1111u{ l'ar 1,. 1,, 10:
l 111• .i1·11111111e de' /1<!11/r, P.1ri,. 1934 A very lht'h1 l
rt·fi.:rt·nrL' r1.•~1111rlL lor h1~to11i:.d .111,1 Lu111iL 11
111,11111.11, •~ K. B H.ohL·1 ts .111d J. T). W To111-
lin,011, '/ 711· J·,,hri, ,!{ rltt· Hc>,I)': /:11n11w,111 l r,11fi-
11v11s 11/. l111l/1>111i11.1/ /l/11.,/1,11ii,11. l)xíi."lrJ. 199.!.
•
.? 1 A sc r tt•s o( fi.1gn1c11t, o( cro1 l1 l'llg1.11 111~ b1
M.1n:.111li)n1n l,.11n1011d1 11r IH, rirrlc ,1ltt1
.
d1,l\\'Íll!-,>s oi li ll' L111•1•., 11/ . //rr ( ;,,ds. I 1111>di. 1510
.?a, by ( :iulio 1~0 111,111\> ,1r.; 111 tht· Br1tl\h
fvlu,1·11111, 1 n ndon ( r1J"T.:!,ll 110<,-131.1), .,s Wt'll
.1s ~OIHl' rOp) dr,11v1n6'S, 1nd 1hcrc: 1, .1 ~l't oi
1-vo11d,11ts tio111 tht.: 1,10, 111 ., p, 1v.111· ,·olk·r
nnn 111 (;l'llt'I 1. C, ru \1(1\ tlr.1\\ 111w,. dll1,1 1-.1t111g
L'ml11 pn,·1ns by J>1c11·n ArL· tu1n, th.: S,111,·111
lt1lS111 1,1.-,, l\l'n.: LL"llSlllt·J b\ l'opc (:lc.:111cn t
VII lhl' pr111t~ .1nd d r,1\-VIIJ~,,; IVl'rl' dL·,troy<·d
111d ArL·t111ei ~.1, rt·1np1)r.1 11ly l'xdc:d 1-ron r
l,0111L'. Th1, (ttL' to1H1.l\t, 111Lli Jacopo C,1r.1
~tio\ cngr:ivings ,lltl'r [J.;rino dt·I V.1g:i .,nd
lto,\Cl f 'inrcnrino. V\ hll h \Vl'rc dt·t· inl·d ac
cep t.1blL· bel".lu~c oi tbc1r ,1ssoc111no11 11·11h
histlH), p.1111n11g .11 1d , l.1,,1r: il s<nirtl'\.
.? 1 l'r111r, frn111 rhl' dr.1\,v1n1,."' n( v:i rHlll ~ vcrs1nn~
ot t hc /.(ll't'~ e•/ '"" c:.,r1~ 11 11Jl·rt.i.kc11 b,, lto,so
11on.:11r11H> a 11 d f><.-r111 0 d1·I V,ig,1 IV<'rl' .1,,11l.1blc.:
111 1r.1nc1· ,tt 1h l· nn11 oi rhl· l t.1 h .u1.1tl' ~, hool
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•·1 hl· V1:1n1,· 111 t:i•rard Audr,111·, L:s J>r11/1«1rr1,,1L<
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.111d prPJt'l ung tht·n, 111ro ,ihJt'Cts .ire . . 1)f
v1t,1l 1n1pnrr:1nrc lnr norn1.1I dt:'vclopn1t>nt as
11cll ~ for ab11onnJ.l ubJl'll fl latio11,· (J\,1l'lan1t
l,Jcu1, ,\ptr.~ ,,11 ,'><11111· Srh1-:,1id \ lrr/1e111i~11b
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1 1 1
1<J-1C• 11)61, í11L 10. 11.111 11.1 ~L"g.1I. LonJon. 1988.
pp 1-:?. J). fh<. dnve to 111tegrat1on oi:-cur~ .,t
rh~ ~t:ig;l' oi \y111bnl tor111;1t1011, thc l'']Lllvalent
111 KJc.1111,111 thcory or
Lll,iil\ 'nurro1 pb.1!.e'.
1vh1l 1, ,i111il.11ly c,111 gci1t·1.1tc thl· thrc,11c11111g
111d .1ggn.>,\1Vt' f;111t,1,1c\ of a d1,1nlt'graled hody.
1)ah \v,1, 111tlut·nt"1.'d bv J,1cc1uc~ L,l1.,u1, 1vbt>
11 rote .,bouc p.u.11101:1 lt)r d1c ~urrL,rll\t 1nur11.1I
,\ /1111>/1/llrt .
.::x Nl.11kL1~ ll.1.;t1 Vie Uiúlll·1, 10 vol,, 1975 Ci: ,c:c
,\ f,11k11, R,1ct~. V;1lc:1111,1: l\'t\M c.;~•11tn: Julu,
C:11111.H,·1. ;ind London: St•rpt·nnnt· (~~llcry,
1993. p. 49.
.::9 ltol.111J B,1rLhe\, 'Arc1u1boldo, t>t ivl.1gic1,1u
111d R.hf1,,,i,1111•11, ·• i11 7711• u....1,,,,,,.,iliil,1)• <!f
l ,,r,11.,, pp. 1.l7 ,111d 13.2.
·''O \t'L' llolauJ B,11d1c~. 'Th.: EffLcl l1Í tht· llt·,11',
111 111c l<11stll' c>l / ..,nt.1!11111!1' l 1\Jl\4 I, lrans. R.IL hard
H o'-v.1rd. C. )xlor<I. HJ~(,
J 1 1 C\)11 l3Jttl\l.t 1\lbc1Li. ()11 r,1111/Íl(I/, tr,111,. ( ,i:cU
e;, 1y,o,1, 11,1111<111, 11J91. pp. 1,r-x.
_l.! ( :iovíl11ni H.1ttu,n1 Annt•11ii11, ( )11 rhr 'fhll f>rc·-
u t•L> o{ 1!t1·. l rr ,,r f>,tÍIIII/(~ l 1,;/\(l 1- tr,u1,. CJ,vard
J. ( )l,zc\v,l..1, Ne\1·York, l'.)77, pp. 11..i. 1.!4, l .?11.
H t· .1dv1~<'d tba1 ahcr ~n1dé•11rs h:id n1.1dt> 111:iny
rop1c, ·u1111I tbe p.,pcr JS iull' u). 1.::4) tl1ty
,ho11ld proti:t·tl to dr,1\V1ng li-0111 t·11g1av111gs
·rhL'II r ro,t.·ed tn thc• in11t:i(1on nf grL·al r:1 1n1-
111g,· (p. 1.2...,) ;1nd l.1tc1 'prorccd to rht: \tuJy of
Lhe n uJc\ 11nonl4"r rltl fír,l oi ,vluLb ,1n:
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by c.;10\'.111111 l 111g-1 V,lr~"''º (15X3;-,rJ33), 1pr1111i
cll'11w111/ ,fr/ ,/i.,(~1/c), al,o d,ttl'S tn11n bct'\\'et·n
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h1•,H I, .,nJ h,1nd, b\ tht' ~,v1,, (lc:n n,111 .1rt1,t
1>.1111el L1ndun.1yl't ( 155.2- rrrr, r 1606) 1~ 111 the
[<.ok· N.1t10r 1.d Supt't tl'lll'L de, Uc.1ux-Art,.
P .1r1, (1 1i \ 'vi h.1 11cl-,ir;1\v11 p,1ge, 111
•81}, ,lllll
h,111,b .111d lt~ td\ lrt1n1 thl.' ,vork,hor of \ta,o
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1,•1< 11,,. rr.111,. and ed ( 'atht'rine Eni,,,-g.1~, 111d
llobt:rt Lng_~Js\, l'h1!.1delplu.1 .111d Lo11dt111,
1984. p. ~(,) Pialc:tt1\ 111.1,Lér, l 111Lo1 ~·tto •
1dv1,ed thar dra\\ 1ng 11·0111 11,·e 11odt'l, \\ ~'
onh for rhosc 1vho ,,·erl· cxpcrt s1ncc ,,..., chc
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~oncl t<.•rn 1'
35 Tl1i, L1rgl' vcrs1nn 1~ k.110\Yll ,1s 'li111,• lt• t•.trti d,·/
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trr'C,l 1601\. f hl' 11n,1gc uf ., ,c.1rcd IL!(Llíl'
Jra,v111g \o\",l' p1r.1teJ. or rt'1vo1k1.•tl. in 111<111)
h\er .1rt1~n.' 111.111u 11,. 1nl lud111g Blol'lll,tt•rr\ 1 lT1
•?f 4JWlll'S ( 1fl50) dJ~Cll ~~t.'d hl·k,\V.
J6 [tcfcrl'tlct.•~ to Cal1..11 t11.LUI 111 thret: pl.tce, U1
V;hari\ l.11•,•.,, and he 1, .11,o refc,rent ed bv
Lon1a210 1n rhe lr,u1,uo (151' 1) i\,Joh.1nn 1·011
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ht' 1, includeu 111 tht:. Th1n.l Bo<>J... of.Jo.1,hi 1u
von ~.1ndrarr's 'f1•1trs(/r1 rlk'1dc111h dt't rdlr11 Ha11,
13ifd- 1111d ,\/altfcrc)'•Kii11,lr (:! vol~. Nurcn1bcrt',
167,, p. .?+1), ,vhcn: hc 1s rl'l'orJed ,Ls hav111g
~n1d1t•d 1v1rh 1,nan. rhcrc ,~ .111 t·ngrav<·d por-
trJ.1r hc:ad. Altho,,gh tl1e Vcsal.tJ.11 u11.1gl's, lovcJ
UILI reproJuct:<l ii>r (Cll(UI ll'\, C....U llé to éJ'ltO-
nu~e b:1rogue tr:1d111nn~ of 111111,n Led cad.iver~,
rlll') Stt'111 tro11J lllllCh ea.d1er 1ll1hrr..ition, ;ind
folk tr.1di11011s. spl!t:.1Jic.1ll1 1hc 111l'u1cval D,1//cT
1?( I )('111/, ~equen, e,.
37 ()n thc rclat10L1sh1p of chr ordcr of :in.,cnnu-
t.il ll'X~ to eh.; ldÃUDOllllC print ipll'~ or G.t!cn
(,1nd R.. obert Hunon \ -111,1t11111y (lf ,\ Jcl,11ult,1/y).
~ce eh<' chapcer ''.'>.1cn:d An,1ro111y and rhe
OrJt:r or Jtcpn.!~t.'ltl..Ltion • Ili Jonatlutn S,11<;:dJ),
77,c l~1•dy l ·'111/1/,1::,,,H·d· l)ísq•,11,,11 111d tfir J-1111111111
Rc1dy i11 l{c•11,11ss1111c1• ( , 11/11,re. Loncion and Nt'\\
York.. 19\JS, pp. ~, 1+o.
31> Alchoul!h I h.ivc trtl."d to t t111,trut e \Olltc
mt'::rn1nf,rh1I rheorics abo1rt the ordt'r of
draw111g n1.1_11uals. in làc:t the, .trL cxrrrn1.;Jy
v,u ied ~nd rt:~1,c tJ}iorto111}.
39 (;1,11'id,1 i, tht· n1t:dical tern, íc1r a 1~re!-,'11Jl1t
Íl'n1ale. Thc use ot cl1t' tcr111 111c>11s 1~·11,-ris
(Vcnus lll(l1111l) for tl1(;' CXtL·rnal J\fll'Ct or lhe
'pndend.1' tro111 tht· l..1nn f'lldl'rt (ro bc
,1\hJn1.:J) •~ part o f a long and coy t:rad1t1011
<lf u,1111111g fi.:111d.lé bod) p,trh 111ét.iphor11:.1llv.
A 1n11,rul.1r Ad,1111 holdin~ ,1 ,kull 1n ltt:u tlf
-
~n Jpplc .111d .1 n1odesr Vrnu,IEYl' appe.1r ia
tht fro11Lbpitrc: of Vt·,,ilius \ lif'lll'lllt. 8.1scl:
Jnh,1nne-. ()p1)rtt1U\, 154 l•
.jO h.i.lcttr <:ni;r:1,~ed :in,1To1n1c 11 illLi-tr.Jnnn~ nt
Jispl.iy li~urc, ag.un.,c l.u1d,c,1pc ha1:l,~rou11d~
for th.: ,lllJton11,1 t,iulto ( ·.1,,c:ri11, \\ hi(h \\'t'rC
n:u ... ed 111 J ser11:, o( J.11cr p11hhcat1011~ hy
Sp1gt•!iu~ rAJrLw1 vau Jcn Sptt·ghel) 1nd
c:nptt>d b, 111,111\ lll hc:r,.
.1 1 1 hi:- dült'rt'!ll't' 111 th1, Vt·~11,n oi ,1nt111u1ty
NOTE.S TO PAGES 140 2·15 •165
 li IJI 1 1 1 J 1 'i''' 1 1, \\'1111 ~t 111111111 Ili e IÍll11II (1/1.,, 11~ 1 l •,,1) .111d f.1111p11 l 111111111111, 1,,11-1 1 l'.llh, 1H,,. ( h.11h·, l·11.11d, lll l ll,ll'di 1111 0

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li, r, 111, 1uill 1~ 1hlt dt ,li, ,nd 11111 l1)!11t,1 t.11 Ih, 110 1 •111111 Ili 1/ 11/lll \ jl 11,K 11 111d 1'111111 ,li•/,, 1r11111 11,11/1'111111 ,li l 'i·,11111u !''""''', .,01/111,,1
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17 \1111 \\ 1111 '·'> 1h.1t li I\ 111 ll l' I lp l,1111 li ,Ili \ 1 11, \' /Ili 111•, /,-1 11,111 , 11111 \' 11 { ',1!,111,·t 1//1111' l<,,111,11 ,trl/1111 , \ ·, 1,111/, llon l<' .11 1d l'.111,,
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l,, 11li, " \\lllll, I 11·11.I, 1 Ili) klltl\\ 1.. .1,,1· nl 0
11111 1\ 1/111111 ~11·111 11111 All,111)111\ 111 tl11 11,11 111 d i'.11 1, 11,hPlt 111µ,·tl1t· 1, 11 111,I 111• 1, l'vl.,~fl' I l hl' l',1 r t\
,11111pk 1, l h,, ,1pp,.11, ,111 d1.I\\IIIJ.!, ltJU 7C l\ \11 1 111 1111 1111111 111 ll<td\' \ 1"•111 1 1111 11.11 1111'1,, (I' 1) lt ,11,., "" ' 'l'\ l t'.Hk•r; (I' llll /\ll l t
llJIH )(}' 17) ( l \hiltd ti, 1,11111, 111 1) 1,,·111 111 \, 1ilp1,11, 1 11111•1, ,1\ 11 1 li ,1\ ~1111•11111\I, l'ltt ,I li 111d1·p1·11d1 Ili \ lllll lll 11d11111, lll' lll\l' !IÍ
( c1111,11c/11 c/,1 l 111 , . 111,t/1•1111 ,1/ l >1,111 1i11i,:, /t,'111 tl,1 1 11)\111 11111 ,111.111111 1\
/~ ,1)'11/ ( ',,1/1,11,•11, 1 1111.11,11 ll11y. il \, .11h 111) 1il )11,1p1• B1 11 llf.:,lll1' d .1 l 11 Ili (rll1,/ 1 j/111 I \ ltl) () 1 l 'ht 1111t1,h l\ l 11,t•11111 ( ,·11t1,1 l J\ 1çh1Vl'' ( l'.q 1,·r,
J\11\, 1,1 ', p. 1 ",e, .il,11 k,1111t·1li 1 > Kt l'l, • ( 11/lllllt'll/11111/ "'/'t 1 ,111,11111111,1 \ /1111,/1111 1,11 VI 1111 ( AJ l/1 1, 1111. 'l í l) 111111.1111, ,1 h:t ll'I
111d ( .11111 l'tdn 111 , 1 ',111111, ,,J 1/i,• l 11,11,111111,1/ .111d ,11 111111pl.1111t 1111111 lh•11_1 ,1111111 l tnhl'I I 11.11 d,,11,
'i111,/11 • Ili 1/11 ( ,1//rr11,•11 t•{ / fl'I \ /,111 ,1 )' 1/11 1,r1x••I''" /t11 •1·,, 1111 l11t;11.1, , , •, v.,h, 1, l,· dt• ,l1·111,11Hli11g 11111 11l·d1.111· ,h11·,s to thl' 1111tll'1,1I
IJ1wc li ri/ 1r 111,/,,,, ( ',1 ,1/1 ' l \'( .i,, Nt'\\ \\li" ' 11 111111\111, //i.1/1111,/ ,/1 /ri 11lill/1ihi1l1 1II ,/1•/ 1111//ltl {'Mlllll' .111 1111• qJ d11•,,') Il i ,11.11•1 l \l µl'I b.11k
lt•l1tl\llll ll l'J1 11111 ( Ili p, 1t/7li; M ,111i11 ( l 1y 11111 /111111r111,, ll111111· 1,,1,, 1111li pl,11,·, l1v N1, ,11" (,1 111, '1',11111111!,1. 1(011111 ,l\ , 11111 kl:,, ·" ('11\\lhk·
.111d ll l'lu ln 1.,·,111,11.l,1 ri,, 1 i11ri / li, l11,11,•111r l lr .111 111·1 (,11111·1· 1, '" '11), 11 ,1, 11.111Sl.111·d 111111 l ' hl' lnld1·1, ,11 1· 1111 11111!-\1·1 , 1111,1d1t·d li) .u l 1,1,,
,1/ \/, 111, 11111"11111 , 1, 1111 i'v\11" 11111 ,,1 1·1111• 11,111 \11 ,l/l,//1•1111,1 d,·/ .. ,,,,.) l111111,111,1 ( 1,N1J) lt .1\ 111µ 111,11111\ ,11, l\11.11 l l'l1•1·.111,t
,, ,
1\ / .,

l\i-1\ lln,1,1 11 \1 , , 1111,11110 111d l u111h111 lhd '>1 l lvl <tllHpl, 1,,,1 Ili 11, ' 1111 ..,,11, I, 111 1111· V,1,.111 Ili 111, ' I Ili' ,,1 l l.11ll\l. l \ ·1.lllll>·, lt ,1d ., l,11
1U IL li 1'11•,,, 11/') ', 1 111111,111 l'vl .1111111,• 1111,1k, 111 \ 11.111u111 h11 \\,11 111'" ·1h,1,1· 111 111 h lhl•\'l' tl 1,11 .11 1 ,, 1111111,h:d
1 h1• 111,1pp1n1,: 1,I tli 1•hn,h li 1111\ IH 111,d A111,l\ Ili M 11111 l ,1/<111. l\,l 11111q111 1,,11 li\ lf 11111111 tl11 ,1h d 11, 111 11•11d1·1 11t·II ,1 1,1r,11, 111 ,11111,
11 11 h11it-d lln 11111k d11111• li, l .1ll,,p111, ( l,·111,tl1 ,111.I 1, li ll11l,111,, //11 /11,1;n111111, 1 /,1, /,;11, ,1/ .111d 1 !.·µ 111 11llH·1 111c111lt1·1 \\ 11h \\ t·l l
111 1 r.,d111 ll\1 \ ,11111) 1 11, 1,1111111~ (d11 ,. 11 ) 1111d 1\,11111, l •r 1111 C',11/////rl 1•/ 111 ,111cl 111,11,>11t) r, ll'\l'.111 IH•d 111\1\\ lt•, , , ,lll' 111 1,1.,k,·11. h1•1J\l~t·
{ 1,l11n,l,11, tlln 1t·111111 , ,y,1,·1J1 ) 1 ll' ilt·t l<'d 111 ( )tt ,111 ,1 N,1111111 d l :, tll,•1 \ dl l ' .111.1d 1. 1 l)l)(t, l' I' 11111 ' p.11 1 1, 11111 111 \l i lhl' \\tl l k. (\ ':1~.111, / (' ,,,1,·.
li llj11ll l 1111 ti 111,11 1t1·d p11I ,111 ,111• li"· 11 '" ,·d l h·lt,ll 1111 ,IIHI 1\,11 11,, 111. 1·111 \ I' J() 1).
\11t t1 11111 ['t,ll.111111111 111.I l 111,1 ',1~JH11,·lli '\1111,11 g 11\111\ , 111.t11, ,,1 tlr,· \llh11.·,1. \ l i ' l ;,•1.11 d ,h• 1 ,1i1c,,l, 7'/tr l 11 rt/ l',1i11ttll{! 111 ,1// 1/,
1111d,111,11k di"< {l hlll Ili .Ili ,.111 1,•1 11111111\ , 11o1u H•l.1 :-, 1 h1111·, / , de Ir', r• /1,•11111//1·1• ,111,/ 1/11 • t 1,11i- Jo h 11 l 1,·d1•111 k l 111\, h.
1, 1111, .111i-1, ,, h11 111.111\- d11\1111.,:, tini 1 1h l11un 1111/i,1 1\1,/1/1/ 111 / 1,1111•11,1,11 ,111,I l~r/,•1111 Ili 1 0 111 l1111, 1
'
;l-1, l'I' 11, - ( 111111k 11 )
.,11.11111111 ~1 ,1,,1111\11, 111, lud,· l 111111,11 11111, lt,,"11 .,(1·,111,,111li ,c111,11r 11,/,,11. 1· 1111h11d~, : t '.1111 l h11!. 1' 1,.1 (Ut111k ,\ .
l 1111c11111111, 11,opn :l.111, lu (111111 1\ 10 t,•ll•), h, 1dr1 t 1,111•, 1,,1, 1•11·,,, 111,, 1 l ;,)\ .1 11·lhl 11,dt.,,, ( 1t1 Ili 1 , 1 1).
li 1t1"1,1 l 1,llll li, (l h t '" ll.111.11111 Ih H..tll111•h· l ;, 1 11,I -'\11d1 111 1 r1 /11,1111•111<1111 ,/11 111111, /111111,1111 /111111,1111 , ,,, , ,,,,,, , 11 1d1-11 1 ,1
d, \lt111l1h1111, ( 1,0 1 1,1111 1 ). 1 >.11111 111111 l \1, 11/c'\//lr •'I lf/l /1 \ f'/11, / 11•1/1'1 (11/1111',I 1/1 /'111l(lr///1/1 ,1 ,ti ., ,e,:-, l hit-lt

4uí ll A 1
 publi~hcd in An1sccrJ.u11 (1690) ,Uld Utrl'cllt
(172.X auJ 173-1-) . .111J in E1t~lish {16vH).
See P.1u ll' J)~11nairre. L,1 (:11r11•11.1t' /)1•s111111c dt'.'
pla11c/1cs 1llH1to1111q11cs de ( :crc1rcl de L11r1.·ss1· .
A11t~tl'n1'1111: R.odopi, 19~2.
An engraved and tlr.1ped ~tud10 111anik1n
appcar$ 1n various books, includu1g L11111 t·11
pict11T,1t' ct dcli111!dtio11i., 1L~1t'1t ,ir 1/,c :Í/'li t!(
L)rau•i11f! a11d Pai,1111il?J, A1nscerdan1, 1700, ,,ich
engrav1ngs by Fredertck de Wir (16-1-8- 171 2),
v:iu de P.assl', Goltzius autl Ül' Lairessi.:, b,l\l'<l
011 í,1111 '/ /(er der 'fl·ke11 e11 Srltildi>rkr11s1. 16.13, b)
CríspiJ11 v::in de P:i~~e (rirca 1565-1637). Boch
co1np1lat:1ons cont:11u fr~n1encs fro111 an.1tu111-
iral 1nanu,1I~. ropy figure~ and ch.1prer~ on
proporaon and per,;pcctive. 1 1:in~ l3elln1e-r
( 1902- 1975) ,vas to LISL' thl' Lrúpt: or ili Jpt:1')
~o àbjecc <:11d~ in hb art1çul,1tcd doll$ and
dra\\'Íni;s of n1onstrous p,1rtly .1natom1~ed
fcmalc figures. Scc dra\.vings fron1 tbc L1ce
1950~ and 19óo~ in l-ft111s Bc//11,rr, ed. M ich,1el
~e n1tf and Antho ny Spirn. Mun1ch. l ondnn
and Ostfudcrn, ~006. PP- .!08- l4.
68 l{.eni! l )t·scarte~. 'Sixth Mcd1catío11 ·, 111 J lt·di1,1-
tio11s [ r6+ r ]: 111 'f1u· f>/1ilosophical I Vririt1}~S c>j'
Dcsc111/L'S. cd. J. Cotciugh,uu. 1t. Scoothorr JJld
O. Murdnl.'h, vol. x1. Ca111bridge. C,1111hridge
Universicy Press. 19S5, p. 59.
.Cntry 1.0 Q.mua.ry 1787) ()Jl stuú ying ,UlJlOl ll)
in Joh.11111 Wolfgang Goethe, f/11/,1111 J1•11n11·)1,
1786-1788, rr;,ins. W. 1-1. Auden :ind Eh1::iberl1
Maye1, Tlarn1oni.bwúrth. 1970, p. 163.
70 Thc popular E11glbh e diuon ,va~ 7 711• />1,1p,•r-
ti<'ns o.r ,he H11rna11 Body· ., fcasurerl .fro111 thc .\ lrsl
Bca1n/fi1/ , l 111iquc Statues b)' A1. • l11dn111. trans.
CJrr111gton BO\.Vlc~. Lundon. 1718.
71 A ~ím1br syscem i~ e111ployed by (.harle,-
Anto inc Jon1bcrc in .\fétht>dt p11ur ,1111111·111Jr,· i<'
dcssi11. 1755.
W1ll1a111 Hogard,, /'hc ..J11alysis •)f Bea,11y,
L o11do11, 1753: fàcSlll1ilc. 1974. p. 76. l Iog11rth
,v,1s rcfcrring to 'A lb e,rc Durer ,uH.l L,11110220·
(s/1') in chapcer ri, '()f Proport1011 ·• alchough
Lo1nazzo hmTuclf h.ad crilicbcd l)ürcr.
73 Acrord111g to his hiogr:ipht:r. Gilc.s 1Iusst·y
'd1scovcrr.:d n1any gross e rrors 1n rhose
fru11ous .. . ~tatue~ - by ,vhich Incans hc d.t$-
covcrcd thc <L11cic11L Grl'cian sculpLors h,1d 110
Rufe or certa1n regnlar proporri ons for
hun1.1nc !,.Catt1cs'. 1-lt· thercforc dcvclopcd 'a
Lruc -,chec1n, 111ct hod rule or 111JSrcrv .••
wherehy he ro1.ild dcn1onstrate. tcach ,1nd also
Íu'-truct others co knovv and perfo rn1 111 dchn-
l'.Jtiou, dra,\.ving~ ... to a cc rtaii1t > J.J1d uu 11osc
intàlhble correccinn ' ((,eorge Vertuc, 1\/,11c-
'1ooks. vol. u1 l l1k1/polr St,âcty, ,·oi. xxnl,
Oxford. 183..J.). The albu 111 of ISi pat,tc~ md
350 dr.,~·ing,; (( ra<: hcrodt> (;,g,3-371 ), covcr-
iog most of bis ,vorkin~ lit~. 1~ d:iced 1725-~8
See a.ho Shctla o·coancll. An [xplJJl,lUOll l)f
Hog,1rrh \ "Analy-,1s of Be.,ncy'' •, B11rli1~f!/1111
,\la::,IJ!Ílle, C,'CXVI u~nu:iry 19lt1). PP· J3-1
74 Thl· .1rtist \ Cours1.· l\r "itudy..UUllll. 1tcd drJ\\
in~ u1 tht: A,·c,1dt'11lla. Vt·n1c1., 228 ('/111 1\,11r-
l•<1t1ks ,!f l .c,11111rrlP ti,, 1 11111 l 195:ij, cd. lrrn.1 •\
lt!thtcr. l)xiorJ and Nc\\ Yln·k. l\)•JI, pp. 1.r:-
9). ln ,l rt•l.1u:d p.1,,,,µ;l' 011 .1 ,hct·t 111 thl H.uyal
l ibr:iry, r con:irdo ,k1.•tchc~ 1 foot .1b,1Vt· .1
h1.·.1d, v. ith thL nott·: '1 ht 1;,,o~ fronl "' liLrc it
i~ ,lttacbc:xl t<.) thc h:g to thc up l>lc thl' grt.ll
toe, 1, :l'. long ílS rhc sp,lCt' bc•[\\'CL'll thl' uppcr
part of thl' chu1 .111d thi.· r1.>t1t, of thc h.11r ..
a11J cqual to íi,·1.·-sixd1, of thl' l~1l't' (L1.·l111.11,l,1,
' '\n:icnn, ir:il 111~.A·. 111 ltJ000- 17, W1111hor
[~Qy., I Librar,. l)ra,,,ng 11;131,·).
75 Arnl\ ,lrl' used .,s 111or,· co1111110 11 u 111t~ of 1111.· 1-
s11rc1nenc: tht· l'llbH ,, a\ h.1,,·cl nn da· cli,1.1ncc
IÍ01n th1.• clbo,v tn thl' cnd of tht: nlldtll<'
fingcr: .u1 1.•ll 0 1· /,r,1n1<1 1s b.1\cd (111 tht• ti., rcjnll
'fhc} ,vt're, :ippnipri.11,:l), unit~ of '1111111111g'
lllC:ISllJ'C for cloth or ropc. \\'h1ch rou ld 10~1
lllly bt JUL'.l,ur<.'d .l!-('J.JJJ,t 1hc [n1<.',1n11. Thc
l:1thon1 rc'prL·,c11t, thL' ~p.111 nl t111t~lr<.tl hL·J
,1r111~ . .ulli outsrrt•crhed h:i,><; ,111d ;in 11, n~l.itt' thl'
hu1n,111 bod} tL, the J1vi1tL' ,i 1Llc c111d ~qu,,rt·
111 V1truvia11 111.111. An e111blc1n,1t1t dr 1,v1ng
fron, thc v,orksht)p nr rrans 1-lons ( 1, 19/ 10-
1570) in tltl' Erolc NJt1011alc Supér11.•urL' Llc,
Ucaux-A rts, Pan,. /.,·, :\ lt'~llrL's. ,v111h<1h,t·~ ,ill
'
rype~ ot ,veights lnd n1('a~t1r,·~.
76 Oskar Se hl ... n1111<:r••\ 1<111: Ti:,1d1i11,11 1\/or,•, (r,,111 t/1c
H1111h,111;, t·d. l le11110 Kuchhng, 11 ,111'. J.111L't
!:>ch~n1;1n, 1 ondon, 1971, p. 9X.
Albrecht Di.iL<.'l'. r Íl'I l3ilthcr l'Lill 1/ll'IIS//,/itl,l•r
0
77
Pr,,11,1r1h,11, , 0111plL'l t' d h~ 1-;2_1 hut publi~hL·d
posthu1nnu,ly 111 15.:?8. l)iirc r 111H111.•11ct•d a
,vholc stnng of (:crinan /(1111,1/11,rl,/,:111 hy rhc
art 1s1s T lan~ ')L•bald l3Lh,un, ri11,1rJ '-rhü11,Joq
A1111111:111 .1nd l-t rinr1ch L.1ure11\ack
Nichol.ts H.illi:ird, .,1 l h·111i~,· ( .'t111trr11i,1)! 1/11: , lrt,
,1( L111111i,1,e. ~d. R.K.R. Tlio1111011 .111d T.(~.S-
(\1111. Ash1ngro11 ílnd l'v1:1ncht•qcr. 1992. p. 51.
79 T.tlptno's u/Jr,, tlclh• propt1 r::io11i "' .lS \\Tlltl'll lll
1(,07, ,1111.l dl' I I\L'~ fro111 l 1:u11J1do and proh.1-
hly 1)üre1· ,11 1 on1,tl'111·~ l r,111111,1 dc/1,1 p1tl11r11 qf
1584 ·5. 1·1,c Cndcx Huygc11, ,1J..o t>111ploy-s .1
~V\Lt·n1
, of doublt: n1ea,ul'L'llll'llt~
l•or exa1npl..·, l.tuhcn~. /Jt·rr11s /',111/11~ N.11/,/w11.,
js1fl 1leli11c,11'ÍI, cd. l'aulus l'onnu~. Ant\.\\'rp: A.
Vue_t, nu <late Fllr LIIL' L1.>tnpl1L~1tcd hi~101 ~ uf
H.. ubt·n~ ediLinn~ h) Jo111hcn .11 1d Ponuu,. ~ce
thc valu:iblc rcsourcc b) Ja:ip Boltc•n, ,\ fr1/,C1d
1111d Pr.uticc: Duu/1 ,111tl f'lr1111sh Dr,111 1i11.~ Ho,1k~.
1(,oa-175() l 19791, Landau: P!:1lt. ttJH ~. pp. 103-
1h, 191. 2.37 59.
81 Sec Atul l3ttn1ú11~h.un, L·,11 /1ÍI(~ 11, Dr,111·
S111d1t·s i~, thc <;,t1111r,1/ f /1.11,,ry 1)( 11 (',,lirt ,111,J
lJsc/11/ .1ln, N c,, Havcn . <"t. and I ondon. :iooo
pp. ls-9, for .i dcsc n~,uon oi Vill.1rd dl'
1 lonnL't ourt\ C()11~rr11ai1>11s (1 ,,,." 123 ~. Pari\,
B1bhorh~q11t' N.1no11.,IL·) 1nd J u~, lul dl'cu,-
sion ur 1\1odLl bnük~ A hlL\IIHilc, 111 ,\ llt \\
r riural cdiLilln bv (~,1rl F 8,1r11l'~. ,,.1s pub-
hsh t·d by A,hgall' (A ldcr-hot) 111 2007.
( ;lll'lht· i11 ,h\1. ll\\l\lll \\'lllt 1h1.• ( ;l l lll,111 ,, 11lp
tnr l rippcl, A11~'.ll,l 1~1-7. 111 lr11/1o111 /ti11r111 )",
tr.111,,.. Audcn 1nd 1\l.1)1.'r, p . JI-.!
IAntotnl l 111 v"1,tt>111,·] (~u.1t1t•111.'.-rt' d,·
tiu11u \ C:,,1111d,:1,1111111, ,111 1,, ,111, dt, /1·,, 111 e11
F1111111 ,..,01, p X-i , 1111, tr,111,l.111,,n h, l\h1g.11I
~c,lnn11111 (;,,dt .n1 111 \J,1/1 lr,,,d,/1 1 ( '11.,1, 111
J-l,1 11c-<'lll<1/1r111, l 011dn11. l•JI) ,. p IS(,. ...,
/..,·a11rt•, ,,11 J>,ú,11111,~. p. (1:-i • l hl· 111,·1h11d, nl
lix 111g .1 ,t.111J.1rd .111J dt·ti11111µ thl· p1,1p,>1111111,
ní illl' li11111111 li lllll .Ht' l llhl·J ,111,dyti, or 1y11•
1/1,·1i1 trnn1 thL' ,, hnll· 1n 1ht· p.111,. 01 frn111 i li.·
p.irt-. to tht: ,vholc· (1h1d.. p. <17) 1 h, 1.·11do1\L'
llll'Tlt til" tht· ,.,1. rcd ,.1lt1L', nl p1opo1t1,1n.1I
Jllt'.Jl;ltrt'lllt'llt ort ur, 1n rhl· \,·, l ntl1 1,., tllll
0 11 1)es1gn: 'Ll'l thl· t\\ t·lld1 p.1rt ,,!' .111 111< li ht
.1dded t,1. tll 1.11...1.·11 li 0111, tl1t· ,,,.1, l' hl'C\\t't' lt 111,
uppt·r lip o i thl· l\pollo. ,1111i tlll· ( ;od 1, lo,l
{1b1d .. p. 1!-:).
111, Li/i· ,1111/ l l ',ir111,-.:.• ,1/ I !t111 )' / 11,,•i,
0
h'da, d
/,J J i•/111 "'"1,,./r, l 1'101-;ol, l ,-,,1,, l\1 ldl,,,,od ,
N,, H)8>,vnl 111 p ..,9 (.1ph<H1,111 ,o)
86 \JÇlhc.;11 Lt'llXI\ ,.,,,is ~0111~ tt> pro,l1Jtt' .1p11 1111t•
or íl-1 ,·k·n. 'h,· h,·ld 111 lll>J'l'l llttll nl thc
111,lldL·n~ nr· d1t· pl.it t' p.1 r.111l·d 11,lkl·d , 1nd rho,t·
li\'l', 101 tht· pl11 pt1,l' of rLptudut 111g 111 tl1L
1•irtun· tht· 111<1\l .1d11111.1hlt• pt11111, 111 1h1· 101111
o f' t·:1rh' (1'1111) 1h1· i,;'Jder, \0111111I //i,11,,,, 1r,11h,
11 llal'kh,1111 , ('..u11br1Jgl'. \L\. 19/,cJ, ,oi 1,. p.
.109 jBook :-->.X\: (12 ,1). St·t· ;1 1,o ('11t·ro, / ),
///l'fll/hl/11' 1. 1.
'w 1U1,1111 <. 'l1L''L'ldt·n 's ()s11·,1~rr111!ti,1, ,,,. 1 !11,1111111)'
,,r tht' H,111r.1 (l"'lJ), "ah 1111,· ""'" ing, h)
(~t•r;lrd ,·.111 dt•r t:urht (1(11)/1 17..,(1); 1\1,1111•1·1111
l'l'1111·1/ ,/'11.~11\1/,,git· t'/ d1• 11q•11/o~il' ( 1771)) h)
.) 1rq11t'\ (; 1111l'hn (t ... ~~ 11,0;), tlr.1\Vll b,
h1111,t•lf· ,1nd tht· llorgb,.-~v e ,/111/1,1/,11 111 1hv
. l 11iuo111Í( ,/11 .~/,1d1r1/n,r t,1111/t111r.111/ ( 181 .?) b\ .fl',111
no,q. b,1'L'd on dtt' dt.l\Vlllt-" 11r Jr.111-( ,.1lbt·11
:-..1lv;1gt· c:.111lL'ht1'~ dT.l\\111µ,. dont \\hl'll ,1
pn1tc~~or .ll tl1c ALc.tdcn11,1 d1 ~.111 1 lll',I 111
llo111t, .lrl 111 1,v\1 \t'tl10 1h. \\ itli tl1 1. l1r,1 hL•111~
•
,lllllll,llld (,ld,l\'t'f\, ,111 d tht• ,t•1·1111d, 111 ll,I\Oll
•
111.111111.·1, dcvnt1.·d to 111u,rle\
l31.·rn.1rJ \tl·~ti IL'J i\lb11J11~. li,/111/,11· ~11•/rti 1·1 11111,-
1111<1r11111 ro11111n., /11 1111,1111, 1 11~d11111 ll.11.1v11r11111,
17-17, \\ 11h dr,1,A 1111-,rs hv J.111 Wan<ll'l.1111 \1/:111d~
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111 lhl· Uni, 1.:r,i1, L1b1ar,, LL·idt·11.
•
Annl'- 1 o u1, ( ;1rndt·r- l no,01 1, 1 llh11111 ,1, 111i1111/I<'•
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1 hl·n. 1, ,1 L 1111, oi thl\ 1.ir1· pllbli, ,111,111 111 lh\·
B1hli11tht·t1l1~ N.1uo11.1k·, 1',111,. Sct• J,1t <1ut•hnt·
lhiutcl- 1 ov ·1, ( ;,,,,i/11: ,hJ.•/11., ,l11 \/,1 n•, \,1n11
t 1rgt\: M11,1\• { :1r11dc·t, tr)S2
NOTlS I O PAGES 2'19 2!>2 4(17
 1 ,/ 1 ., ( ,, ,,,,, / /11 ' 111 l I l i ' ',1, 111 l ll11d1111 \111 (1 J11h 1,1X7, 1, 11'11 "l• x 1/2 (\\ll1t,·1 11)2(1) pp. 7- X, h,· hsts· 'A
{ 1 1 11 / 1/11/ //1 ,,,,, ' '1 ( 1~ f, 1 1•n1111 ti,, N,•\\d1••111 ~11il1111,r11'(p1111lr.1,1d 111p, .1 lh,111 ,1 h.111J a li l'Vc t)pcv,rttl't
a

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11 11111, 11 ( 11111111 /1 ,f /\1111/1111 1 ' ( ,,, 111111 Ili 111, ~'\,li\ lí'll'l lll) \11 t\111h.11·l l,1fl1', p,111, 11l 111,: h11111.111 hody 111 11rder 1() l'tt1ph,
1 ,,, ,,, 1 1//11 /1, / 1)/ 11 li ,r. / 11//1, 11 l11111,•111J' /1,,,,k < >ld M 1 11•1 1 >1 "' 1111-(~, ,1it ili,· l.1t1 tlt,11 111 th,· J\l\\ 1c,1li,111 li,,,
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11 1 " 111111 W, li111 ... , 1 111 111 tl11•,1 111.11 ..1111,,tl l1F1111,,.111d tlu Wtllt,11111· ,l1111rld 11111 h, , 011,ak•rc:d oi· 311} 1nore 1111por

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,d 1q, 111, Ili •l 11111, N, ' 1111111.. 11 1',/1'1 1'1111/ U11/,1·111: l/1, l>r,111111,1, , N,11 Y111 I 111,I / ,1/111 )< 111·.,, 1 0 11dn11: Wh ilt'1 h,1pl'l '\1 l G,dlcrv,
'
1 1 (11111 1 Ili Ili 1 I Ili 1 y,11111 /\Ih,, 1\11 N1·,\ ll.11, ·11, 1, '""I, 111' ,,x 11111 11,S7
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•
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1/,, 1/1111·1 li,~,, 1/f \ /, 1111111//,,11, 111111 11111 1 \ f ,l'li111ttll li 1 11,11111,·d h, •\t\ \, IHll1 1 111 11\• 1 d1,• 1,1 ll'l'l1 .,11d 11',h ht·~ hl\\ ,11d ;1 rt>volvcr 1,

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111, ' 111, '"' 1s,11111d, 111
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,, l1111 111~ 1, "·' \till 1 1•111 1il 111 1 1.,, 1d / 1,0111,111 \\ .1,111111 111111, Ili l11i1 •111111n11,tl 1 ,l11h111u11, 1t11J li..L'LL'lll llnll\lt by ,1rri,l\ .111d
p11hlt1..illl)fh
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11•1' , ), 11111, li 111111111,· 111·1 ll 1 ' 11111 liiPIIJ',ll l'"~"·,.,.•.1111 ,111 lll!l' lt'sl Ili thc Nl" Yn1k· l )1,d111g l,111d1.•r,ll·y. 200 1; ~ar.ih
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1, 11111111 /111111,1111 ,.,,,,,,111 ( l 11111 l1111 1111 /\ l 1111 1 11,1( 111 .11 1,·p1t~\ll,I / li 1 '" th'I h.1p, h) 11H' ll ,li Yn1k. l)111 li11µ K111dcr~ll'}, .l()(.l,'i: books ur
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1 1,,,,,,,,, 1 ,,11,l,01 lfll \ 'i, 1 \\, 11111111 'i, h1111 l1,11 li 111 d11·,t ,,11p,1·, q111111·11·d .111.I ll11rd, 111tl / >11111•111~ /1,i,,J.:: 1 .\11n•1·i• fl/ 1>r,111'i11f!: / /11· Pn111111 l'
11,, ,.,,.,,/,,, ,,, u,,,,,1,,,,,,,1,'< · 11111/,1111,• ,,, />1 '111111li l1· 111 h, lt, ,ld ' \\'1111, 1 l'l111.11.lu ,111 .111 \/,.,ui- ,1/ b.\/l/t',ltc•11, Lú11du11. l.31.11.I.. l )1>"g• .:!OO'i.
/1tl11' 11111,11•11 \'\,,·li, 111111 111•1111111 h11 Ili• ,111.111111 11, .ti , 11.1111111-• Ili 1111 lt1,,.i1 1 1h1 .11 >· 1\ 11,t·tcd puhltt,IIH>ll" l).1v1t..', .,nd 1 1.•<) l)ull,
1 li 1111 \ , ,t t\l, d11 111,, 111 H • 1p1 11 111'1 11 \,\ 111d,111 (u 1 1•111· 111 1,•1,11) ()11111,·d h, 1,,cl, ,·,1,, / >1,11l'il(I! ·1 /11 / 11,1r1'.ü, B 11,tnl l11tL·lk·rr• .:!005.
,,s 11111•11111111 q111 llnll~ .,j 1•ll\ 1, d ,1111li11>f•11h•~:v lll / 1'1•/1,11,/,, ,f,t I lllol 111,111•1111,.r/ / )11111'1111/,I /111111
111.I tl1,t11lo, "' l oltl 111111111111111 1,,,, , h1v1 ''" 1:,,r,11 1 'pi/,•, ,"'"• l' , ,
11111 !1<111 d 1• d1 """ li ,li Ili 1111°, 111,11•111, 1 111,l.1 N11, 111111 l'\'t'll 1111d,· , .. ,.,.,,.,,,,. 11, tht•
eli,1pl e1 1Pn
1hl111111•l1 il11\ 11, ,111111111,il,11 11•,11 111111111 Ili ~•.1t1llu1111,• Ili tl11 N1·111,t1h /Vh'lll\\11,d l 1111111'
1li,• C.01 nple x C.ontl ,1JKt1ons oí Copying
111111111 lllfi li 111111\ 111 lll>lllh li 11 '\ I\ l ·,11 111 111,11 • 1 ln,, ,11 11 h,1lt•111·,, .1 ,h,111,•1111~• ,11
, ",111ph 1 1 111 ,1, ,1, "11 Ir ·111, 11 "' , lt1 1, 1,lt11r 11'11111111,,11 ,1 1ft', lllh (ltlll 111 ,ii,111t,•g1,1\1ll ll 111 _l.111 d1· l li,srh1ip 1, h,·lc1·1\·d lfl h:iv,· tt1Yl'l1 1L'd
\llhlh\ 111 l,fll PI lilill' Ili /'/,1'11 /oi/ //rr I'' 1111,llll ltl ,.,h11· lh.11 1, "' 11111\11,.,lly 1\ lt li) 1h,., ,pl'< 1.1 1 rt·dd1,h b111\\ n ink. "ha:h h.h 1b1.·
l11,111•111i ,,1 1/1, 1 , , ,,,,,I 1,,,11, , ,,f \l,111 1,,, !11, il1t• 111111•11·1 111h 11•1111111 ,.. IP lie olll 11 1tl1·111 1 ,1dd111011 111 ,·opp1·1 lt' t''IL'lld 1h to11,1l r.111i;t·
1 li ,,, 11/1\/ I ',11111, 1 111,I ,,,,,1,,1,,, . '')' I 1,,,1111 / 11.-d 1\ 1tl1 11111d1·11111\ l i\< 11 (1111.l.1 N11( hl111 lt \v.1, l-..111),~ 11 ,1' 1\1,,t boi' 1111-.. lron1 1hl' e1gh
1 Ili I d I' ,,1,, 11 l,11,1,, l 1111ih•11, Ili " //11 /11•,/)' ÍII / 1111 I'• / Ji,, / 1,lt'/111'11/ ri\ oi \ {j /,1( 1/11'1 11·,·111h l'l'lllll l \ .
ljl) \ "'""I "' 1 llf'II'', il111 ll1il\l '"' ,111 11\11111, ti ,,J \ /, 1,/1•11til)', 1 l '"' lf 111, 1 h,111 ... , ,111d 11 11d,1111, \11·1l.111.1 A lp,·1, ('/7,r ·l1/ 1l/ /)1•(1ti/111111 /)1111/r ·111
,111,1!1' Ili 1111 ll11I,, li'(\ ,11111 11,1' (111, ,111111 ,1 ,,, 11/IJI 1•11 'i 1, ,\, ,<,) 111 1/1t' \r,•n1tn·11//1 ( 1•11111q. l L~ndon. 1983:
1,, , , 111 .... r ,1, ,,,111t• ,11.,.t,· 1,, 1t11111 , ... 11111 , "" 11111.. \,., ,111 l111111 ., l,111r 111t·11,, 1,p.11 111,1 ·1 1ep111Hcd 11JX1J 1'· .~o) 1, ver\ 111,1, 11·11t that 11)'1
~. IH '" l11 \11111, ·11• '"""' 1 \1 1, 1,,1, li " ' li,, ,1111 11°,11~111~ ,u1ht111111\ ,111 1it'.1d, 111d ,.,11u11, ,/, 11 f!1·,·~1 '11·h·r~ lt> 1111,1g1.·~ (11 t ht· \V1H ld ,is rht'Y
111d,111 \\111 Ili 111111111 I 1h dl,,1 1/1111,,d 111,·1 11,11111\ li "1h,· \\ltl) \\,l\ 1 l-..11111,' h, \11,111 .11,· ,tnrl·d 11111r111111111,llh 111 th1• n1 111d', rnht·r
,e, 1 'I "11111 li~ l, 11 1111 1 11111 •11t 111 11, 1,1 1 l1t·1 Ili I k 11, 1 1,, 11 11 l i \ ,Ili ( ,11~,11 (1111, 1•, l, '1 111.111 1 d1,ti111111>ll hct\\11·11 li.H 111, li-out tln:
l111, hltll Ili 1111 H,11111 l1!11111 1111 np,11 1,11111.11\ 11\S,) :,HI' 1.,111 hrl,l-..1•1, /11( ,,.,,, ( ,1111 1111.1~i11.1t11H1 ,1nd ti,llll lill, 11,tt·r /1r1 lf'1•r11.
1111.• li Ili l ''" ,, ,,·11111111li '1 111111 \ ~. \ l Ili / 1/1 Ir 1,Ili ( ,.1~/1 ( 1,1/Uflll~•. / >11111'111,i:s, ,'i~·rl, ilr., l ,l.111 d,· l li,sl hop \\,l~ .1 ,t11d1·111 111 l 1·1dL•11.
1 'li li 111.J 1 \ 1 ,11 l I l 10 111, 1'1 d, "L 11, /{11/•111 , \111,1, 11 11111 l\ll·11I, 11h11II, 1,,,,1, (, ,11.iluµ111 "hL'IL' hL c ,11111 1,, l..11<1\\ 1h, \\·ort... 11( 1 til .1~
( /1111 1,11 //11 / 11111111,1, ,1/ 111/1, /11 /\11111,, /, • 1 ,,1,, 1.11,,11111< l ,.111 l ,·\'dl'1t \\ h11 ,ilq, 111lh11·nlt·d Pr,11i..
\ 111•,·11h1 ( li lt,1, 11 t\l1t\l lllll 111 l 1111 ' ' "· 1 •·t 11 "11,•,11,·.I 1111, ,11111111 I li •H \llllll'lh111µ ( 1,il ,h1· 1,111 l·,1,ll·i,:;h1111 tllll' 111 th1· t1r~t
1, 1SN '11111111 PII 111,111\' 1•11.,,1,111, l11 lt1, .111 1111 /\ N1·d1,·1l.111d1,h ,li ll\l, ltl l'I\ fl ,111 \.'llj>J'L' I ~r,;l'
1, 1111 1l,,,111 111111111hil ,111d1,"1i11,,·d ,, 1 N1 1\ H.i•, ,1 1,111 1'111· l lli111 1 1 ,1 />, 111, l~t'l'lll H.,·11,~L' 1 . J,·ll,·111.1 11 1d l\-'1ch1,·I Plo,np• .J,111 dr

1t t tJ 1 1 \ 1\,
 BL-sd11>f' Ep1.;c,111i11s ( 16.!<'I-1671 ): 1d1•11<r1,11 u1
Ti•ke111111r. A111, terdi1n. M11st'un1 H et R.e111-
brandth u1s, and Z" ·ollcr: Wa,1ndt•rs U11:!!cvers.
'
1992. p.38.
4 T he ant~t, he ..:opte<l tnclude Ann1hal('
Carrncc1. Ludovu.:o C1goli. D on1en1ch1110.
Mit.bclaugdo, Giuli11 R0 n1ru10. Da.nick· J,1
Voltt'rr.i anJ R.aph,tel, .J\ "'ell :1\ Holl:iein.
l{.u bens. Van l)yck and van Lcvden
, Thc ori•~i.nal
~
dra,yinix
'
is belic, ed Lo h.tvl been
pre-.ented to To1111n,1~0 ue· (:avahcn. l "hcre 1,
a copy h, '-leba.snJno dei P1L11nbo 111 ( 'har--
,vortb i111d J vcrsion í11 thc Pierpont Morg,1u
Library, Nc,, York. l'.itnted ver, 1on\ 111clude
thJr 1n chc Nac1on:1J Galler,·, , London. and
thcre 1s an t·o~ravcd vers1011 b) lle.1tr12ec. a111..l
by M1cht'le Greco (li Lurchc,t•)
' I he ( 'hacsvl'orth dra,vi11g, ,vh1ch ,v.1~ ,till in
a D utch coUectiou at tl1c beginn1n<> ' :,
of the
cig litee11 th centurv, ccn 1ld ,vell have heen che
~ourcc of de H1~~chop\ 1ncer111ed1a0 dr.1",ng.
rnl' ctching of \vhicl1 1, nurkcd ·scb. l )el
Piotnbo d '. lc 1, nol kiH)\\>11 ,vbech~·r rhe
ínscnpno n on the ver;o of thc dr;nv,ng. '7
May 1667' is by de 13issc.hop hin1self or
anocher hand. St'e J .111 de B1~~chop._/,111 dl' Bi.<s-
rh,,p ,111d /,is lcones ,1111I P.1r:id1grnara: C'l,1,s11 ,,/
l i 11liq11i1i1•s a1ul ltali,111 Drc111,i1{f!S _(or • Jrrisli,
T11str1 1c1i<111 i11 S1v1·111t•e11 //, C1>11/11ry Hc>ll,111d. text
by Jnn e;. Van Gelder .1nd lngr1d Jost. cd.
Ke1th Andrc,vs, Doom,p1Jk. 1985. p.:!36
6 AL·çordi.ng to a clJ~qL C<lnm1c11rary b)
Panot1ky (St11dic.- i11 Jro1111/c,gy: H11111,1111srir
Tlu:11,cs í11 Ih<" .•l n ~( tht! RL·11c1issr111cr. Ne" York.
1939. p . .!24 Jnd 11. 178). H íero11y111ous Te11u~
1nrerprercd rhe dra,v111g 111 16.µ a~ 'rhe hu111.1n
M1nd callcd back to Virtuc &0111 tht· Vicl.'~,
a, tl1<>l1gb it vvere rcpatriatcJ aftc1 ,l k111~
J.OU n le}'.
' <"d. J~ne Tun1t'r. \'oi. VII, 1ondo,r i\ l.1,711111.111
7 Dt B1sschup's reverse c tch111g, Sratcd 1\J11rlc
\ ín11/i ,1(tl'r J lid1clat~l!ch1, 1.l.? X 1~6 111111 (lon-
don , Bn ri~ h M u~eun1. 39 Cl. 1), i~ 111cluded 111
his pu bhc.icion P,1nu/i,R111,1t,1 ,erc1p/1ia•s 1•,1rion1111
arrifin1111, The I Taguc. 1671. T ht.' 1-fagut: e<littou
was follo\\·cd by Arn~terdnrn (Nicolai v,~~cher)
8 ln parnculnr, scc tbe cliscu ~s100 rn Book x ot
Pl.1.l~>\ Rt•pubhr.
9 ')ee ,1 h r 1er d1sc u~s1011 of t ht- R.e,nhrandr
proJCCt by Pctcr Schatborn in 1-lo ln, Bcvcrs,
Petcr Schatborn and Oarbc1r.1 Welzc::l. R.,.·1r1-
br,111rit: J'/i c A/,1,rcr a11d his 11{1rksh1>p. Dr,111°111.l!f
1111d l;1r/1111j!,. Ne,v Havén. CT , J.nd Londor'I.
1!)9L
10 W11len1 l)rth t \Vih a pl1p1 I of R.en1bra11dr 111
and .1-ro l1 nd 1650. an d \VJS J drJughts1nan and
etl h er .1, w~-11 as .1 p,1111tcr. The .1tu1butioJ1 tu
I)ro\r of .rl ~í11111g ,\ ldll i11 ,1 l-l(l!h-cro111~1ed H,11,
.-lslt'Cfl " -;iç fi rst 1nadc b) WeTnt'r ~ un 1ú\v~k1
in 1y80. accordmg to thc hrcratun: l'\'\lé\\
in MJrcin l~o)allon-K1 \< h, O rd11•111.I!, /1)'
l{cnrbr,111ri1 1111d his (;irrir ín rhc Bri,ísh !\ l 11s1•11111,
L oHdon, 1992, pp . .:?.oy 10
11 lb11l. p. 13-1 1'111, e,hih1n1111 .1nd l,ttalnµ:ui:
111.1rkt·d R.e-111hr:tndt Yc.1r. ,vh1L·h frt1,vn,·d rhL·
0
'Jtc111hr.1ndt Pro1e<.t • 1nl·r R., 111b1.111d1 pupil, d1d th(' ~.1111, 1h111~. 111
11. lbtrl. pp. 1.14-1il.
13 ">lll h 11111.:, .trc rre,l'llt, li1r l''\.1111pk-. 111 H.1.•111 -
br.mdt'~ 11.14,'lllhccr1t l' 1rl1L'r dr 1\\ 111µ: of l l ,•111 ..,1
11 1irli ,1 (:111/cl Dfsl'c11d111g ,1 S1,111 1,1,11. i1 1 l11t' l'1t·r-
po11t 1\1nrg.u1 1 rbrary. Ne\\ Yurl... dating trl1111
the 1111d- r630s.
14 for ex,u11ple, 1u thL link• Skl 11 /, ,)( ,1 Jt1/tb1
l-l,1[/~ U'll,{!fh. ·1in111 d 1,1 1/,c l ·f1 .rr111 1/1 '1'-l)
(J ondon, Bnti,h l\ tu,l'Urn. l)o.9.•),).
15 \ '(/hen JQhll Ru,kul ( nn
Eli·111c11r~ ,,r Dt,Hl'il(i:
l 1'-\,-J, Ne\\' York, 11i~1. p. 7:-;) .1,h·1,cd st11dc111,
to copy ·sketL·h\' · lll'n1br.1ndh. l'llhcr tn)1l1
llLlu.ug, lll ~1hotL1~1.1ph,, hL llhll llLL1.•d Lhe111
to nonre th.tt 1."1·en tlll' '111,o~t r.1p1d hnt''
h3VL' sre~d, purp0,,· ....1nd lít' l.11d ,,, 1th
.tl1no,1 1ncouc1.·1, .1bk· pi 1.·c1~1t111 ,1 ht·n tht.
o l"~e,t bc:co111t'' .H .ili 1ntere,nnµ: l lu,
1n,1ghr 1s ali d, ... nH>n.· 111terc,u11µ: 111 thc: hµ;ht
of ltu~li.u\ gl'n~ 1Jl dí.J.i.ke 1.>f Rt·111br,u1dL St·L·
rh,1ptt·r l\\'t~ ti1r I dl~\ ll\\1\111 11r ,,,,c::::,11,ir,1.
p;1rncul.1rlv nnu.' (19 (B011de"·~111 l t1kkt-r\
di,cuss1011 oi rl 1t· 1en11 111 n:lat1011 Lo Re111
hr.111dt).
16 1)elini:,d 1n Barroln1ncn lt1cç1. / ),• 11111r.11r,,111·
libr, ll'd Í 1:i~ 1 ]. VCilll'C .i\ldi, 1 ,~:;
17 rr:i~n1l1, fron1 'f/11· C'irn·,1111,11111s. quot~·d 111
e;_ \Y,/. P1gn1.111 Il i. \ l'r,ion, oi l 1111t.1t1011 111 thc:
0
l~l'll.Ü~,.u1cc'. Rf11,11.,s,111u· Q11,11tolr. )l...\'\1 11 1
p. 1.-1
( 1t)t-10),
1s St·rn,011 by (~irol.11110 <;,1vo11.1rt1l:t 11<>.l: quott•d
i11 Fra11c1s A111cs• Lt·\v1,, Dr,1tt·i11g 111 b,rrl)
Rn1,11ss,111a litrl)•. Ne,, l l.1Yc11, l 1 •.111d 1 011do11.
1981,p. Jú .
0
1!) Thc cntry 011 'Thl' C Op) 1, bv Lhe bJ~tl)rt;lll
Paul J)uro. St'tc n1t' e;,. ,.,, /)1(/lll/lrlr)' 11{ lrr.
1996. F'· 8_10.
1.0 f or co111pan,t111 of ll.. t1nh1~1ndL\ w.1,, 111!-,.~
\\'lth ht, puprl~. St'l' jt'íOt'll c: ilt.11j, /)11 tck('llii1-
.~,·11 """ R,·111b1,r,1d1 t 11 ::!111 ,;, /111,,f 111 irri ,l f11,n1111
B,>y111r1ns-1 •,111 Bc1111i11:,:r11. 1~ llltt·rd.1111 • !'viu ,t·u 111
Boy111-u1,-v.111 Bel1 11111gt•n J P,11!1 (;el l) Tr tt\l,
19X8: Pt·rcr <.;ch.1rbnr11, f )r,111•i111!,; hr Rn11lir,111,/1
1111d /,is . l111111i•111c111s P1111i/s ,111,/ l •,1/l,111•rr~. fht
H,1hrue. l•JS,; ,111d Bevt·~. s;t lt.1t1'11r11 .11,d
\Vcl:rel, R1•111h1,111d1
2., Pl·tt:r Sch Jtbor11. · l\c1nbrandt· f-ro111 1) 1:1\\ in!!~
to l)nnr~ a11d P.11nung-;',."11•0l/11. 11- (tl)X3).pp.
-t :,.:!-ÚO.
2..2 ln .1 1.uer 1..l'lllt1r\ Joh11 cll l'ut111an t,lU!-,:ht h1\
pup1h to d1.i,v b) ropy rn~ h1 ~ d1,1v.1111,.rs. (ht'
produced 111or\· rh;111 '.ooo fii r t h h purpo,L').
evcn LO tl1e extent oC l'ncoura!c; lll!! UH: 111cch
.1111cal crac1ug 11( pru·ke.1 dr,t\\ 111!-,">.
2.3 \ cc. tor ,·x.1n1plt·. ltL•n1brandt~ t·orrlc □ 1,ns fl)
Tln • L11111111 i,111,111 dra,, 111g (l}crhn. h.upti.•r-
~til hk,1hi11etcl b) hh pup1l ( ,H1,t.111t 1.111 ,-.111
H.L'lll.'~~c. :ind School o( H.t•111hr:indt -! Lt/;
~111.J)' ,,f a .\J,111 \/,111di11~ (d1.,1 t(q<1: 1 ondon
Hriti,h \lt1,,·11111,l ),,.,),•11}, I\IHLh ,1111\\, p1rll
l lll,H·h bn11.1l 111tl'l\('l1t1nn, 111 n·c,I p,11 1,,r
Lllrll. to tht·11 111p1l,' d1l\1111g,
lh1u,ll'\\ 1.111 ll.1kk,·1 ,•1 ri , l...rr11f,,,11~ 1 ,,( /-!tr11
/or,111d1 Ili, /,1,,11ri11 11;1//,:,, lh1,,u1u . \111,t l'T
d.1111 ,111d 1'111,, 1<)</S.
\\ dlt•n1 1)1n,1 l'll'h,·,1 111111,t'II 111 1 , l,"t , ,,p,
oi I llL 111h1.111dL .1t1t,, por 11,111 ui \, // /'c,111111 11
1/a• . ll.'1 ,,f tv (1 1,,2.). \\ l11k· 1, 1,h11.111d 11,,I\
d1.1,, 11 ,t"II pntlr,111 ,,t 1Hc,I lí•,J 111 tlll' 11111\ 1ç
be.11·, .1 ,·L·r, ,tr.111c,
'
ll,11\
1,·,, 111hl.11i., ti•
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'l'upil, 111' ltL•111b1.111dt 111 1h,· 1•:·dubllt.~n , .11.1
l,,~lll R ·111li1,r,1,II t,r / (1111.,rlt. c·,I. l 'h11,t,1pla·1
\V h11e .111d (~lll 11llll Bt1\ ,•11\1 1,1nd,,11 .111.I Ih,·
( J.1µ:111.'. l<)()I), pp. 2.11 ,jl\ ( )11 til\' 1,~tH 1ll
1ie111h1.111,lt', 111,,1h,·111L'llt "1li1 tl1L t,,,d il,.
~,·"• 1).1,·1d lt,1,.1n,l. / )1,111 1111_<' 1,r, ,,, dr1 ,· ,,,
l ;,,,,,hri 1 \/'ll'~•hl/1 .,11,/ /{f/'Yc'\I 111,1111•11. ~ llll
b11d_~l', .!00.:!., pp. .!.! 1 'I 1.
,"IL'L' \\,•tl.111.1 ·'\ lper,, l{n11b1,11r./1, I lllt1J'r1<," /711
,\r11rf111 ,r11r/ //11 \ /,11l.·11. 1 n11d1111: 1 h.1111L'' .111d
l ludso11. 11,~s. pp c111 'l>
l'ht• ,•,1't'['LJ(lll t,> 1111, 1, 111, rnp, 111,·1 \l.111
[t'gt1,l', ( ',1/rt/l/1/)' 1)/ 1,,,,11/'.( Ili 11/1,I 1/l'i' J 1'1'11
.111J hro,, 11 i11J... . .!(•.1 J 1.! 111111 ti ,111d,111.
Unthh l'vlt"1't1 111 1~hn,oriH,.l'ill) H,, 111h1.111dt \
r1111~h ,·..:r,1011 c.111 bt· ,t11<lrt·d ,alL· [,, ,1d1· \\ 1th
1hc t>1 l!,:111,tl 111 t ht• 1111111, ,111d 1)r.1\\ 111g, 'i1111h
R.1111111 ThL• .IHt'l ll)'I til 111l10\\ thL' ltllt' dL 1.111,
111 l\ l,111n·ip1.1',, nrig,11,1I. 111( l11d111µ: il1L' 111'(111'
t11,11~ .111d \ht· d1.1g,,11,1 l h.1<·J...~n11111d h,11, lunµ.
p rcq 1111,1hlv ,1ltl'st, 1,1 tl1,· dl·µ rL'l' 1,1· , ,·11t·1,1111111
1h 1t llt·111br,111d1 lt•h tnr tlu, 11111q1tL' dr.1,, 11111
\\'hH. h hL· !111!-,\ht h,1\'lº 11\Vlll',I
•
R. t'111h1 ,111,lt. Skrt, J, .1/111 /., ,,,,,,,,f, •\ '/ ,1,1
S111•11n' ,irur lí>l), r1.·d 1h,1ll.. hr1i-:hl1·11L'.i 111th
,vl11tt' 0 11 p.1pc1 ,,,,,h p.tl1 grt·\ br11,\11,
l.!'i X ..!IO 111111 (] n11d1111, B, 111,h i\ l 11,t·11 111.
l<Joo.01, 11 ~,. Ir ,v.1, d1,I\\ 11 111<'1 Llll \'ll~l.l\'Ulg
l\l tht S1.\ 1,,,,.,1/,·, bv P1\'tt·1 e l.1t·,, \,111l111,111
(,1ri,r 1,xo 1<1, ) 1\ 1ltt1r~ <'1>111pl1·t1 11.•d 1lt.1lk
dr 1,v111g
•
h.ht'd 1111 thh •~ 111 Nt·\\ )1111.., ,1111I
thcr~ " ., ,·t·rs1n11 111 Bçd111 \l!,·11,·,t h 11 l .1nd
-t-1,). IB1.•11L'sth t .1L.1lo!:!,11t• 1tt1111bcr~ .1 11.• dt·111ed
(nin i tht 111(1t.1l t.1t.1ll>g11t· J,, e ltl<> l lt· 11l''Lh,
l'fn f )r,111•r,1_1!' e'./ /~nr1/1rc111./1, 1, \nl, (l•)'i 1 7).
..!11d cdn11111 ,·d E,.1 llt:nt·'th, l 1111d1111. "'7ll,
~l'l' ll'l \'111\ 'vVood, /{11bo1~ / >,,,,,
·111i: ,1,1 lt,rl)'.
l d111hurµh 'OC' pp tt '.1b1111t rl11· 1r111t.il
,01r~spo11dt•ntL' be L\\\'t'll J\,l,111L'ltt Lhl' l "ll1111c•
1k C .1\ 111, 111tl l 1.111t~·,,11 '\1 111.1 N1,c,1lil
c;,1h111ri 1111 til\· 1,,11c, 111\·1,h,·d ,,uh 1111,
\.'111.!;1'.I\ 111!.!,
• •
lO IL ,~ lllll'lt',tlll~to , u111p.1!\' tl1t'\l' d, J\\ 111g,
\\'Jth r11p11·, lll l\\11~h.1l .1111 1 l't·r,1.111 1111 1111111n·,
111,td-L· h}' l11g1,·, .111d ll..11ht 11\ \e,• e:c,,rg<',
0
Vtgllt'. 1>r,.1111, ,/'ltil!n·,. ,,,1,r/,:~11, r,111orr1.1 ,J.,,
d!'SSÍ/1.1 ./11 1/rtt.'I I ele• ,\ /, 1111,111/1,111, I' li,~. ll)•)).
l'I'· 71{c, •J t 111~1 t'' \\ .1, t.t l..l'll "1111 1111• 1•x, t·,,
f'-101 ES TO PAG S 2t0 266 4u9
 , 1 1 111 \\I I 1
1 l(.,111h1 11d1 \~ 1111 y .11 1 0111l1111rd 111 d11· 1<171 1•d1111111 pub 11,hctl bv An10111t• L.,in:r. in l-t o,nt· ht·t\vl·cn
1 JI 1 1 111( lil 1 111111 111 111,lll lll l li-h1,I 111 1\111,11·,d.1111 h) Nllnl.,v, v1,\\h1·1, 1,, 1 .111d 1,77, ,-..h1(h lt1n1:1u1~ R.01n.u1 ,tr, hi-
11 1 h \ li lrt th li 11,111 • 1\ lu,t lt1 11 nh .1 tro,111 1n1•1 t· h\ ( :1•1.11d ,11· 1 11n·,,,. H·r111rt· ,h Wl·ll a, \lt1lpn1re. (;l(>\.111111 13,1tt1st~
1l1 •!'!' , 1, 1it !~ui>, 1 1\li111 11 .111 ,, 1 11, 1 1d1t1011s 11111 1ll11\li,1t1·d 111111 111<'710!1111 til· ( .1v.d1cr1 published .'l 11ri,111,1c qa11111t· 11r/11.1

I' , 111 , "1111111 1 11 , 1n11 h dr \h 1, / 11111 l.'lll(Ll\1 11~~ 1'~ \ll/111,•r,1111 V,1111,1111 (111..!1 1(177), ,1 /{11111,u· 111 thrcc volu1uc, beL1vct·11 1501 ,111d
1 , ,,, ,,, , lr, ,,, 1/ / 111 111d / ,,., / ri:111,•1 111 e ,,, 1 n·11t h h11111 ,1111\l li, in g 111 A111,tt·rd.1111 hM> 1)'>·1 (.111 t·11l.1r~t•d td1t1011). \~•1• al,o J e;, v,tn
'111,1/ 1J I Ili Jl11 ( ( ! '"'" /jp,,l•. 11, 'li 1~ 11 ll,Hld \\llh 111, d,11lopt1K'lll 111 llll/l11ti111. \1·1• (,l·lck 1, 'J.111 de ili~~rl1np\ l >r:i,v111gs :ifrer
li ,111tl.. 11 ll1l11'1I /\111 tll lll 1>l 1 1 'li·" 1 !'1) d, lll\s1 h,111. (,111 ,/1 /1t, ~rl1t111 i1,11/ /ris 11 nnr, a11,/ Anlt1JllL" ~l ttlplurc', Ili Strrdh-;, Ili fl c.1/11111'111, Ili
._,, • '" 1 11\ lk111, 111, e ,11111111,• 11,,,,~. l 1111111, 11.111dti:111.1t.t ( :1,,"1«1/ l11lh//ll//l'\ ,1111I lt,1/1,111 (,•lrls u/ /Ire /11 ,,·,,ricth /11/1'r1111tio11<1/ (,'01(1Jrc,s 1!( th<'
lt.11hc1111111111 XXII, l 1111d,111 111d l'l11l.11 klp l111 , / lt,111'1/'.~ f,>t \/111(11 /r1 1/111,t/i11/ ill ,'it'l't'll/1't'l1//, J /1~1<>1)' 11( lrr), l'nnceron. '<J: l'nnccron Un ,
1111 1 ~ i\lrll, 1 l l1v1l1 11, 111 X 1'11 11,, o <'1111111 )' I /111/,111,I, , •18~ v,· r,ity Jln:ss. 19<iJ. pp. 51 8.
l lh1 111l1111~ 1 11 11111.1111,d 1,11 I' 11 111 11, l 1·011 ll.1111s1.1 Alh1·r11 e'" /',11111111.f!, ll,111, t t•,11 +1 < ·oprt·s nf h1~ hooks 'v1·ert' º"
nctl b~ IZon1111.:y.
lt.1•\,1l1,,r1 K1st h, / 11,111•11111, l•J I<, 11il,,,,11,/r 11111I /111 c:1,1,~l)ll l qnd1111. 1,1 1)1, p. 1/' (llo,,I.. Ili ,8). ,111d l~lVllold, rct<.-rrcd to t hc l'11r,1d(1!111<1111 in
1 rr, lt ,,, 1/1, 11,11 ~, 1 .il," th,•
/11111,/1 \ t,,., 17 1 1,111\111\ 1'1°1 11( 1 ....1'1/1111'11/,1 //(1/11/111111 \1~11,1111111 I' h,, hn,11 l)1~cnurse XY ,b 'Bhl1op's Anc1c1H
111111 ~ ,,11 ,.1111)11, /\l11rliil 1111 111 11111 t·, 111 t111· ,1,1111,1111111 \\ 1, 1•11h l1\lil d 0
111 11111 ,·nh1111c, 111 \t,1t11e,' . •1 hnok 1vl11c h ,, in t'vc1y young
,nll~1!1t•II 1l11d,1 1 1• Ili~• l h1•11 1\,11-',l<'\\ltlg lt.111111• 111 11,ix .111d 1<,1,. \\1th 11<\ll'' hv lh·ll,1n, .1r11,t\ h.111dq'. ,ilrhnugh he que~rioncd de
lill 1 ,11111 ,Jl1 tl1,·,1 \l11i-:li d ·1,,111,, 11p111111,' .111d p11hli,htd 111 I' 11 1\, 11...,, IIL 111.l fht· 11.igllt' U1,,;l ht1p \ .1tt11but1011., Qoshua_ H.cvuolJ,,
1• 1\11111d111• 111 111ll<111 ',IJ'III h,1111 1111· l,11g1• 111 11qs l1 11.1, k11n\\ 11 111 111gl.111d .1, 'St.1!11L'\ 1)iq,J,t/,t \ 11/I .-1,1, l'Li. rtnbc1 l R Wark, Nt·\V
1111111IH·1 111 ,,, llil PI 1 \l'I \ l..111d lil' ,0111•1 '""· 111d llL·l111,· .111d 11H lt1,k•d 111th Audn111\ l 1,c1 1l.iv1·n, r7 ••111J I ondon, 1988. p, 17.f)
)1t• 111,11111 illll ,1 \l'\l'J il \tllllll-: IIH li Ili lt.111111•, 111•111,111., ,,( t/11· / /111111111 /!,,,/)' lll ,li) 11·.1tl1·1111t +.! W1 ll1.1111 c;i1p1n, 'Trí'o Essays. Londo11. 1804. p.
\1111,, .11 1.I I ,1111h.11,I\ ,,1 111 li tlt,·, ,1111l.t d1,111 , .. 1111>11.11 11111 (1 Pt1d1111 < .111·111gto11 l1!11vlL·,. !n (l·,,ay n).
\\ li 11, \\ 1 Jl11·1 f,11 1111I ,,1 1·,1, 11111, 1 •• 1p111tl'd 111 1~18) 1,1h11 11,1\11 d,·,l11,·d 1h11 'Pc111,·1~ 13 \V1llt.1111 Hbk<. \ 'A1111ot.1t1'111s to H.t'ynolds'
l,·1li,·1 rvl l\hd l,·1, l\11/•u1, I /11 11/111 ,1, ( ,,//,•, ,1 lllll'\ .111d 1tl1t•h ,li< 1111·k•1,1hll· Ili ,Il i~ th.11 ,llC l )1,,L1ur,c~: (\'ltUJtc11LJ1Y on l)iscourse 1'
/111, l 111n11·11,11 Nf, 1<1S,1 l'I' '1 • ll<·llnri', v,·1 ,., 1 1111 · 111 ,<.,111/f'l/11,1. ,,, rlt,· l /1,1r•1 )' ,111d • l, 1 ( ll..t·y11old,. /)i.,c11/t1$C~ ,111 ,.1,1. i:d. W1rk, App,•n-
d,·"' '1""111 nl lt11h, 11,'s 11111, 11111 "11 11111 1 ,,f <;/,,r/11:1!1,11•/rr
l 1111d1111 , tf1/1' A, l.111· '" tl11· d1 x 1. p 2111).
'1t11111d l\llllll \\ 1111 1 ,111gl, <h't1l11, , 111111.11 18 •o, 1 l.1,111.111 \V,1' .11h·1,111g lus ~tt1dt·11t, to •l•I I hr 1t·1111 'v1gil,11nly rclrospcrt1vc' 1s th.,c of
1,, llll• l!..111111111.1 ,,1 ll.111111 • ,, 111 /'/1,· / 11 1r, •'/ ll' I L'I IP l'l·111,·1 1·1)1 th1 11•l.1111111,l11(' oi 1',•n 11·1 ~ N!l1111,111 Brvsou (-,h,t111i,111 ,n,r/ J)r.<in· tr,1111
//11 l/,1d1111 / 1,1111111', ',,11/111,11., ,111t/ l1d1i/,,1, \\1111.. 1\\ d11• l· 1111t·,1·. l\-11·d1r1, B,nghL'\L .111d /),11•1,I 1,, f)i•l,1,r,11.,, ( '.n111bndg,:, 1yi-:.1. p. ll-i).
1 \n1 /1,tr/ /,111,111 ,111,/ ( '1111.. 1/ / •,/111,111 li 111' 1 11d,11·1,1 , .,lk·, 111,11,. \L'l (•1,111L ,, 11.1,kl'll .111d 111 th1.• 1h.1p1e1 • L1Jdit1011 and 11, l)1sco11lc11L.~•.
Ah, l S1 dr,vu k \\11hl "" l ll·ll 111111 \V11hl .,11.I N11 h, ,I." l 1,•11111, /,r,r, ,111,/ r!t,• 11111,1111" '/ lt, l.11,,· B1 vo11 dl\t u~s1•, ho,, (opy1n~ t\ Jll ,1c1 of cnr-
1111111"1 l'vlt1u1111,111 < 11ul,11d1:l', '''º'· p 'ºI ,,1 < '/,1,,1, 1/ \,11/ttfltn, 1ç,1<> 11)1111, Ne11· 1 L1ve11, rl'ct1011 or 1·vrn cr;insgress1011 nt an e.~,ri,er
ll \ '11 lt11b,·11,. ,,.,. l\11ill, 1 /~11/,, 111 //1, l11i,1 ,1, 1 1.•111d 1 1111tl1111, 11/S 1. 111'· ..l l \(1 \'vOI k.
1 ,,//,,1,,,, 111.I /11!...1 Z.,1,·1111>.1 l·1lip, ,1k, /'1,1111 iN I ltl' l ,1111111, 111.11, 1, 111 1111· 1k·d1,,111011 10 111~ ,! 'I 11w TI hrk, 1•( f,111,11/1,111 /{ir/1,111/,,,11. 1 011do11.
111.~ 11/ 111 lt11tl'1 lf', I~~. ► 1•,111 111 til\ ,·11111 '-if' 1 ,, ,·ll,· 111 \ J(1h.111 :-.,,. 1·, 111.1gi,lr.11,· oi th,·, ily 171)', PP· l i') ,111d 158,
11111 11 l 11111 LJ ,111, í'11\ l'H'\\, 1111-i ( )l tli,· l.11,~,· (li t\111,1,·1d.1111' / 1,11,1111,r,:111,1(,1. 1'17 1. 111 1t1l'11 4(, W.,ltl'r 131•1~1,1111111, 'The ·rc1sk of lhe Trc111slator'
l11c1.11111,· ,111 , 1h111,·1, nl , 111111s1111·, .111.I A11d1 rt'\ l'1•l~. 111 h" pnc111 un d 1t' 11,,. ,111<1 l 1•J..l11, 111 l l ,,/1,·, /Jn,;,1,11111: fl/11111h111111111s, l'1l.
~.,,,,,,~·.111111,..,,, \l'I ( \ lt l111p, 0
\ 111d A (; 1111,11"' 11! p1, 111rc,, dt•\111hl'd lte111l11·.1111l1 .1s l l,11111.1h Arrndt. Nc,v York, 19õ8, p. 77.
l\1,l, 1,go1, ,·d,, / '/,1 (>11i:111, ,r/ ,111,1°11111, 1111 ' !11\l b,·1, 111 Ili th<· A1t oi l1,11 11t111g' 1v1tl 1 47 11.·,t.1 \IHl\\ 11~•d l111n~cJr i11 d1c T1bcr ,ll .tboul
/ /,1 1
( ,1/ 1111 / ,1/ ( '1111,111 /1! '\ Ili ',/,, ,,.,.,,,11 ,111,I 111~ '\,:1,IH 1\,,1111 111 111!\lk·I \\ i11l ,.,µging hr1·.1~1.
0
tli1• ,tgl' of _18 . .ih hough dLITcrt·nc vcr~it11~ are
..,.,,,111.. ,,,1,
<1111111 1• , '"''/'' · t '\'•""' 1 ,,1,11d 11 H'111·lt1 d h,111d, . 111, 1111rk, 111 ,1.11 011 1111· told b) hi, th rel' ,eventce11th-,enn1r1' hiogra-
ll111\,·l\1tY l 11,·,,, l1JS, .111.I 111l111 1:,1~11,•1 ,111d ,1,1111,11 1, ,111d lhl' g.1111·1 1111 th,· le~• . ~l't' plil'r~. Jo.1chin1 von ~.111dr;irt. G1uv;1nn1 B.1tti~t.1
ltlh~I I l 11.1111,il, ,·d,, l/1, l 11/1111,·, ,,, ( \1/l,·,1111.~. \,•, 11111111 \l1\1' , H1111/tr,1111/1 ,111,I /11, < :,11,, ,, 1<1,,.- 1'.1~~,·n .111d I tl1ppo U,1ld111ucc1. ~l'l' Ttudolf
( '1111h11du, i\l\ l l.111 .11.I ll1111(1,11, 1'1 ,•,,. 1 ~ i(' 11 ,,,.1 I, N,·\1 Ynd,. 11JN1' pp 'H1 11, .111d W1ttko1v1·1 .111d M.1rgot \V11tko1vcr, H,,,,,1 ,r11rlt'1
'
111111, J1111.11li,111 llr,11111 1'111.~• ,111,/ < ',11111,,,,,c111, , 1\ '11•!..,· li.ai, l~r,1,/111..: 'lt1•111h1,111d t •. /ky,111.f ,/,, <,,,111111 7711 (;J1.,1,11rc1 ,111,/ Co11tl11rr li/ .11tis1s• • 1
( •,,/111 /1/1~ Ili \11 '/1/r'I 11/// e, /1/111 )' / 0l/ltl/11 , f 11 llh l 11 ,11,/ /111,r.~,· e>1111,,.,,11,111, 1 h, N1111h111p r, ,.- /)1><11111n11ed I li~t,,ry ji,1111 l111ic111ity r,, rir~ Prt111/r
lnll , :-SI 11111111·11111 l 1111111,111 111,·,,. 1•111, 1111 l 1·, u11,·, Ili I lll'l,11\ l hl'lll\, { .1111h11dgl' .111d /{, 1•,1 /11/i1111 l 1v(,3 l, Nl'\\ York and l ondon.
th~ ,dh µ11 111 il 111.I IIH 111111 .tl ,1g111l11 ,1111, n l Nl'\\/ \,111.. 11/()1, 111'· 1 11 '11 19111J: ,ind Eltz.,bl'th c.·roppcr. J>11·,r,1 'Jr,cu, 161~
1 ,,11,·, 11,111,. \<'l' .11',, \li"'' l,•1 ,1111111 'iltlll 1111.1, 1l/ lt.1d>t11,, 1ltv111l'l11,1 I l1,114111llll /)( 111111,11i,111r 10511: 1'11111., ,111.I /)1,111·/11,1!.~- Phil.1dclph1a. 1988.
/111 .'i, ,, 111 •,11, /111,1~, 111 /l//1• 1 ,11I)' '""li'" q,1111,ll'lt/H " k11111111 111 11~ lr11111 11, IIH h1 , 1n11 111 •18 Ali,,·, 11. <)11 /',,;,11,,,.~. tr.111~ c;,.iv~on. 11• r11
\l, 1,lt111 \!·,., /',111tr11,..:. 11,111, \1111, 1\\.,11<· c:1.1 ll..0µ11 til· l'1k·,\ ( :,1111., tl1 /1<'11111111' ,,,,, Jllill,Í/1/'~. 111 '>l'l' dl\t l1,,íon oi tl11, in c.~ropp1..1, Pit•rr11 'li•,1,1.
,h,•111, ~ 1111h11d~tl ,,,., • l'I' 1111 11. 1'11 "· 170:-., .111d 1h 1 11i.:l"h
•
l1ran,l.nin11, 11111doo . i'I' 1ti· ·.11. l'.1hlo P1r.1~~0. 1·111111/11• ,111 /ionl ,h la
1 1 1\ \11II, ,. /,11111111 1\ l1L h 11·1 J,illc, 'lt11h,·11, ·" .1 1 ' l l I IH 1,· 0
h,I\ h1'l'll dt·h.11, .1hn111 11, .1111 hl' l1 111.-1. 11) '2. nd 1ll1 ,vnod. 17(1 X .20.! 111111 (P:ins,
l ,,Ili·, (Ili ,11 111 ,11\ 111g,', 11.11 l 1 111 ,\ /,1,11·1 '>t.111• 11,111 .1, ,1 .l,>111111t•111 1', ll11ht·11x 1.11ht•1 1h.1n .1 M Ll\l'C l'tl\ lS~,,)
,,,~,. li ( ,,,,, 1) I' 111 ' Ili \ /,11/11 / 11,111•,11..:1, Ili h µ11 1111.11111~ 111v,·111ll111 oi d, 1',ll·, h1111,1· ll ~l<' ,o \t·1• 1h,· 111.111v voh 1111t· , of '/7,c l'a11('r ,, !11 .~e,1111
( 1,,1,,), l11h1" 'i I l, 1, 1, /~11/1, ,,~ "ir/, ,1r.l I h,111·111,:.1 ll 111,·1 rv1 1\1111 11·1, ' lt11h1•11,' 1 h1·11ry ,111d 111.1, c1/ ( •a~,i,111r1 d,rl /111--,, (1 011don, r91J.1-~007), a
11 11,•JI, '11,1 ,·1'1111111, l )-.;h11,I l'I' l l <) ll ,,,Kt, lll1' nt' tl11 h111t,t11011 111' A 1t' Ili /l111/e1i11, pr11Jc<.'l ,po11~on:J hy rhc 1~o),1l L1b1.tr). W111-
1, lllll.'11,1111!,t
•
111 1h1, 11Hlll\.l th .11 \1h111 1 ,11 • (111111• 1<JX.') 1111 •." 10 d,n1, 1ht· llr111~1r M11,~·u111 .111d ()hvt·tll. c·.1\-
~11.11111,k, " " 111.,k111g l11, 11111,11 il li 111,, 1 ,p 111 'i,•I\ 111 p1111ts 111 ,H> llljlllll,'' h.1d h,·1·11 111 c1r- ~1anL) \\ rolt' 111 .1 lt· n,·r oi 1<15.~: •1 h.1ve no1
h, 1pp 11,·11tl\ .11,I th 11 11,
111111, 111 l 1,•r~11 l1·q, 111l.1111111 \lllll lhl 1,.10,. thl.' 111•,t ~llt)\\ li l•l'III!,\ ~p.11 l'd t•,p1.•11,t 111 l 11llt•1 u ng togcthcr C\ 1d1."IIL,
\\lllk1·d 1111 lht' 1\ Ili ,111111111\l l 1p1 1, 11 h,· ,,,1, l h1 "i/>rdt/11111 l<!,1111,u1,1, 11111\!lll/lu'llfl<lt, \\ 1th h,11 Ili~ <,lll\t'd \(lllllj;!; llll'll \Vl'II llll,1lifil'd Ili
'tt111,·11111..: 1 \\1111. 111 1,,.. <I\\ 11' pl.111·, 11111h11lt•,I 111 Ni.11l.1, l h·,11n1l'l p11b dr.1"111)! to copy nver ., pt·nod oi ,n~n) ,e:ir.

) N )1 ) IA 8 )
 ... all rhar i, gooJ . . .1bout thc Annquc·
(1b1d., ~er1es "· pare 1, p. 27).
51 On Jus ti .1vcb to Fr.tncc Ca\~iano d.ti Poz20
1111:t thc anúquari,1n Nicolas-<. ' l,1t1de Fabri de
Pe1resc ( 1580-1637). ,vbo V.'-lS a closc tr1end
and torrcspoudcnr of Rubens. RubLns. ,vhosc
collect,on ,vas 1nsp1rcd b) llon1an rollec non,
or anb.qu1cie,. sold h1~ sculpn1re collecnon ro
thc Earl of Arl1ildcl. l)c 13is~thop, \\'ho bad a
clo~e frícndship \Vilh thc 1-luvgt'ns tàrnily v-.·ich
rhe1r Brinsh c;onncct,ons, rclied on JJcques <ll'
Ghc,n w 's copie~ of Lhe Aru11dcJ collcc□on
Accord111g to 1-foubrakcn. R e111braud1
atq111red re~ca etchinf,"l 1n the 1650<:.. ·rhe- ,1,-nsr
and ,,-ricer Joach1 1n von Sandn1rl. who haJ
scudicd ,v1th P1t.:trlJ ela Corton,1. \\ a~ dt'\'Oted
to ltubens. He- ,va<:. ,1 c naç o i lte,nhrandr's
11.1tur:ili~n1. but a close ti·iend of T~·,ta and
~upcrviscJ the drawin~ for thl· G11/leri,1 Gi11s-
1111ic111/. Hi~ o,vn book on \çulprure. /)1• sc11lj1-
111r,1c 1•r1rris 11d111rr,111da, Nuren1bcrg. 1680. ,va,
ofrcn bound togerher \VHh h1, influenri,il
·n•utsr/11· --ln1de111ir, wh,,h '"ª~ decorared ~,·1th
n:1duccd vcrsrons of u1.1;1gcs frt1n1 thc G11/leti11.
,2 T'ltr 11 órks q.fj1111t1th,111 Rid1i11d.-011, p. 157.
53 R.evnolds. l)iscoursrs 011 .rir,, ed. Wark. p. 9l:l
(L)ll>course v1, 10 Dccc111ber 1774).
54 See Panla U.aroccln, td., Tru11<1ti d'11r11· de'l
c:i11q11erer1/1) Jra 1n,1111eris11111 I' /'1lllff1ll!'/111111n,3 vnls.
Bari: G. Latc r~,. 1960-62. vol. 1. pp. .!64-7.
'Thc tliHi:rcnce ... bet\vcc11 intitauon and
topying is rhar thc brr,:r rnak,:~ perfecc rhings
JS ;is me) are scen. and thc fonner n,akc,
thi.:m pcr:féct :t~ thcy ~h,o ulJ bc si:c11:
55 For exan1ple. G iovanni Fk1tri~t.1 Arn1en1ni \ 011
1hr Tr11c J)rea'j)t5 ,~r the ÂTI qf Pc11111int l 1586!.
tran~. Ed\,·ard J. Olszc\vski, Ne,v York, 1977.
conforn1~ ro prec1~e rhetor1caJ form in 1ts
\tructural o rgnnisation of 1-ntroducuon
(cxor(li,1111). ~tatcment (11,11r,1/i<1). ad,ai1,.;c11Jcnt of
proofs through exan1plt'~ (n11!/ir111a1i,,). statt'-
menr and rcfur:iaon ot oppos1uonal v1e,v~
(rcprdu:11.ih•). ,111d ~u 111111,Lr) .111J cxhortatton Jt
lhe end (.li/>n>rntio). For a discus~1011 oC d1e rclJ-
rionship bet\vceu rhc·tori c :md Jrt tre::ttises, see:-
Michal:'l 13axaudall Giotto 1u1d tht' Or,1te1rs:
Hu111n111s1 ()/i_q,rvcrs e!( P,1i111i11.i: i11 l r11/y ,111d 1/,c
l)isrnr'('I')' C?f J>irronal Co111pnsi//011, 135~1-150
I 197 11. Oxford, 1986.
56 Lt.•1111,1rd,1 1111 Pt1i11t111.'<, cd. l'vtart111 Kcn1p. cran~.
Kemp and M:trg:iret WaJker. Ne" Haven, ,T.
:111d London. 1989. p. 19:S (Cudex Atlancicu~.
199v.1/ 534v).
57 Jin de B1sschop, 'J)ed1cat1on ro His Wor~h1p
Co11stanty11 r I uygcn~ LorJ t1f Zcclhe.111·.
prcface to chc Jro11t•s, An1~tcrdc11n, 1671.
5x Johann Joach1n1 Wu1ckeln1ann. ' 1:.ssay o n the
Bcautiful ili Are' l1763 j: Lrans. 111 11 i11ckc/111,111n:
11 ·r1111~11~ 011 , IH, cJ. T)av1d lr.v1n. London.
1y7.2. r-95.
59 Ar1nt.:nin1 dc~cribc<l copymg in à1c ,ervice of
le.1rn1n!a(: 'thc: l-.;,ence of 1n11t.1no11 ron,1~r, nt
~
copyi11g so c:xaccly tl1.1t ir "' ou!J be i1npllss1
blc to disc;cr11 ,, 11 ich uf t\Vó llra,vit4,:s 1s thc
1nuration'. ln au t:,trlit:r pa~~age. hn" e,·er. he
dccnes the Jack ot respcrc tor or1g,n.tl "·orks.
ll'lllLising thbsc ·,\ ho ba\'e coptL'' 111.1dc h,
1111~k1lled appre11t1re,' l\rn1tn1111. ()11 rlrt' Tt111
Pn•rcp1.~ <~t r/11 rlri ,:r /Jai1IIÍltl!- tran,. ()l!>ZL'\\ slá.
pp. 11-4 and !Lt,.
<ío Qu1nrihan, ·n,c I nslltuno 01',l[Oíl,l p( Qu11111/-
hl/l, H,,ok.; .Y-Xll l 19.2JI. rrans. 11. 1:-. H11tlc-1,
C.1u1br1d~e. '\.tA, autl Lont.!011. 1991', pp. 7,J-li 1
(Uook x.11. 10-1.2)
61 lhid .. p. 89 (8oqk " 11.26) J.111 de A1~~chop.
'Oedicat1011 to l li~ ExLclh:ncc loh.111 S11' L'X-
111,Jgisuace of chi.: ( icy of An1!>ferdan1 ·. P<1r,1tlr~-
,,,,11,1 graplua·.~ 1·,1n,>rr1111 ,,rtfin1111, An1s,crd;nn.
167 1..
(12 R t·vnold,. l)i~(<l111sr., ,111 rlr1. L'd \V;irk. p. ,17
(1)ísco11rse n1. -+ 1)CCl'flther 1~70).
63 Thr íf[,rks •!/ j,,uarh,111 /~1r/1,1rdso11. p. 150.
l i.t, G. \"-. Pign1.111 u1. 'Vc:rs101ls uf ln11raun11 111 thL·
l~e11.n~~.1ncc·, l~1·11ai~s,111rt• (211,1r11·rl)'. '0CX1Tl 1
65
(,;príng 1980). pp. 1 3::.
A relatcd triadi, .inalysJ~ of ,lllt;)gon1~n1. tr,111~-
gre5s1on and eff.'lcen1ent ,, as en1ployed b)
NorrUJn Brv,on 111 <ll•al111g- ,\ Hh rhc \VCÍ!,:ht
oi tr,1<l1 Lion 111 111t1L'tcentli-cc11turv Fr.lllt e 1u
1r,u/1tft,11 ,11ul l)c,irl'
66 Scncca and Petn1rc:h [Fan1.1.8.13 ]; quorcd in
P1g,na11, 'Vl' l'\1011S or 11111[,ltion in rlic l~cn,Lis-
sance •, p. 7.
r,., Sct' ·The1àsk of thcTrJnsl.ttor·.lil lí.1/1,·, Bc11-
j,1111i11. ed. ArcnJt. pp. i3 anJ 74.
<íli See n·ference, 111 ochcr t l,;1pter- to thl' 1ncor-
poracio n of Bcuyss graph1ç stylc.•is 1nht"n-
w.ncc r:tther cha.11 inu1aoou. lor cx.11uplc, 1n cite
dra" 111g~ of A11tl1ny (;or111lt-y.
69 (;inrgio V:t'\Jn, l ír•es •!t tire. 1rtr.,ts. trans C,corg1.•
BuJI, J vob, Llludou a.nJ N~·" York. 19X7. Vlll
t. p. 329 (VJ,ar1. L..,· f'ilt' dl'' 11il1 ,-.n·h·111i {1it11 1ri
sr11/111rr e r1rr/11tc1rorr 1u·l/1 rcda::111111 tfc/ 155,1 ,·
1568. cd. Rosanu.1 llctt,1r11n .111d l).10].1 B,,rol
chi. (> vol~ 111 9, f-lo rent"e, 19<1(1-X7. vol \ 1.
I'· 8).
70 i\ laf,.,1; i,1s L{li.• e>( tlrr C,1rtt1cd. C1>111 111,•111<11J' t111d
'Jh111.,l1111011. tran\. Annt· Sun11ncr~Lale. Un1ver-
s1ry Park. PA, 2000, pp. 21io-~ 1
71 G. n..cynolds. T/1e L11c·r P,1111t111,11s ,11uf D,,1111111\!.'
<!F_f,1/,11 C,111s1c1/1lr, ~ vol,, Nl'\\ J-í,1vcu, 1• 1 • .111d
l ondon, 198 1. vol. 1. p. 35.
72 llubcn~. ,\Jcrc cll't1( dr11s r11/,111r$ t'I 11/lt' St'fl'<l/llt·.
rcJ chalk. -2:\'í X ll)'i 111111 (P.1r1\, Mu~c:c du
Lou,"'Tt', .20205r). ·r1i1~ unequivocal interprer.1-
Lion o.f ,he or1gu1s of thc Jr:I\V111g 1s by Wood.
R11/1nis. Dr,1111i1~11 ,111 lt,1/}'. pp. 13-1\) .ind 85. Thl·
(~.1rracci qu:ihne, nf Ll11s fi),>ilrt' :ire rept:,1tl'd 111
llube11s's ,,~cll kno,vn dra,v1ng .4 J>c11s11111 (J,r/,
Cl111r11i11~ B11t1er, cirta 1618-..!o, bl.1ck and rcJ
e h,llk. 335 X 257 111111 (l)evo11,h1re ('.0l1t·c.:tto11.
ChJmvorth).
73 ln ,lll t·4u1v:1l,·nt 1rr1dt•111, t·,·dl'ílt1) tl.trP( l. l's
L.11/tlllll1111n11 altarp1~·t t ,,1 1, 79 'i~ 111 thc
tht11Lh 0C'\,111t,1 (. ·,u,t' 111 \~111g.1lh.1 ,,.1, Jhthl,t
dc~rroved h) cltt· 1111 ru,l\'t pr 1, 11, t' nf hur
111.Shtng the ,urÍ:tL t' ltl! t op,·111g purpu,l.',.
7.1 A.r1nc1w11 (()11 t/1< Ti11, P,r,11•1.1. p. 11!\) cl.11111'
rh.1t 1\ llrhel.111gt•lo ,.11d tl11, ,, h1lt• \\ .1H·h111g
<ºP> 1,c, ;ir \\'nrk in tht: \1\t111c ( h:1pl·l. J'hc
,cUnt. ~tor\ .1ppcu, 111 U,1ld111u,ci\ 1,,i,,/,,,/,111,1
111sr,111,,. rlor('ll( l'. 1n:-1, p. l'Í•J
75 t\nt.lrii- M.1lr.1ux, /11«ti.ú' '.- \ l,1>/.:, n.111, hull
Cu11.. l1.troauJ .111d J,lt qut''i (;Ult h.u 11.1ud. Nl'\\
York 1-lnlt. llt·111,1n & \1/in~tnn J•J71. I' 1 y.,
7(1 A p:iper dt'll\l'fl'd 1111 1~ rl•br11.1r, 11).1!):
quuted i11 Tho111.1, B. 1 le~,. f 1·11/1111 1/t· f.-.p,,11111,:.
l ondtl11: \rr, ( <lllllL ti oi" <,rr.ll Hnt.1111 •.111d
Ne,, York· 1\1u~t'U111 oi 1\ lod,'Tn Art, l>JC>l'i,
p. 15.
77 l eon.1rdo d.i Vinr1 ( ' odt'X l·ll,tt·1 ,·nl 111, 1111
(l(lr (1 ondnn. V1crnn.1 ,111d A. lber1 \lu,eu111).
~(.'l' L:,111,,rd,, 011 l'.11111111\!. ~·d Keu1p. p 1,J-
7:,i llcyHold,. Di.<1t111r.i<'' ,111 111. t·d. \"-.111. p 11;
(l)1o;l0L1r,c· \ 1. 10 1)L't:l·n1h~·r 1-74).
79 .
.l~u1 T 1uu;ucl,' i~)llo\\·cd .1 ,111u l:11 tr,11c, lOI'\
\\ hc.·n hl-' 11u:orpor.1teJ ,1 co,, ,kull 11110 lu,
Ci.·11,1dax11, /.,,11/11·1111n 1·111,Jl'i,1/1,11 sçulpnirt· nt"
19:-:2. '.,ec f)cann.1 i>l'therbndgt·. 'Ju,1 .1 Nonnal
An.ut:b1.,t? lnlt'rvtl.'\\ \\ lth Je,111 T1 11~u1:h ·. Ir/
,\ /i111t/1/y (Nn,·L·ntht'r 198 •). no. <11
ilo P1t-a~so dt•a1t ,v,rh b.1d1cr, 011 1he ,t.:.1,1dc bctn!-!
•
tr.1nsti1rn1cd i1110 hone .111d ,t11lpt11r.1I ~11.1pt·,
111 h 1~ \k,:rchb0nk"' No~ 'J I and IJ'i ( 1•J.!~) .111d
No. 9<1 ( 192/;) \e~· Wcrnl·r ",pie,, / ~1/,/.1 1'1 ,,.,~,1
,111 t/1i J>.11f1 r,, S.i1/p1111<' 1·1,t 11.ui, ,111d /)111c1rcl
Skculrb,,,,ks cif IQ.t,~. rr,111,. J \).. ( ,.1b11t·I.
Mun1ch .1nd Nc\\ York: Pn:,ccl, IIJIJ'i
8L Su:..1.11 (~r.1cc c;J.b'i~t. J11c,1ss,1 '., 1;111,11h111j tJ11 tltt
.\ t,r.,11•rs : (~,ll!fl'i'lll,11h111., Jl'Ílh t/1( f'11s1. N é\\ 'i'urk.
l 996, p 79
S.! Sec d.1t.: 1uentit1u uf du, J1,.1\\ i11~ Lll Lh,1ptcr
fi,c. p. J.:!(>. 1 hc· 111flut.>llt'l' of H.. t·111h1.111d1 1'
d1sclls,L"d, 111t,·r ali,,. lll lsador,1 llo\c-dt· \ 1t:10
;111d J.111u: Cohen. [;r,lrt•,l ,111 1/ic .\/r/Ut'f)' 7711
Prt·.,E'l/(t 1?{ R,•11,IH,11lflt i11 tire P,•1111.1 ,)/ e ~,>)'11
,11lfl f>ir,1,,,1. Bl:an< l1n1 . 1ht· N~•rht•rl.1ndv , +1,
f>u blislun~. a11d A111,terd,1L11' Thc H.L111b1.1ndt
l-l oL1,e ,._lu~cu111. 2000.
SJ QL1ored 111 1'1c·rr, 1),11,, P11·,1~'1{): { ij,· ,111d 411,
LonJun: 1 h.1.n1e, ;'lnd I Jud,011, 1993.
S4 C~crt.1in ,vo1 k, 1JI (~1 111> Sl'Vt'r1111. Jlht 111 1.1k.e
ont· rx.1111ple pl,I) \\ 1th l uh1,111 .1, ,1 1~,luon-
able ,tylt ,, 1rho11t rt~our rht• ·,c1c11titiç'
t l,1in1s fc.1r Cub1sn1 ha,·c .thv.1v~ bt·c11 ,·c1 .\
,vc1ght) i'vlo,t lê'< cnd), ueurnlogl\1 ",..-11111
Zt•k.1 h:i, çl.,1n1cd 1 \ le111011~1r,1hk rl l,,nonshtp
h~t\\'cc11 Lhe: C~1Jl>ht brt',1k.í11~ up t>f lllllh Jnd
111·,, d1,ro\'L'l'lt', 111 11c11rnlou11 •
.11 ti111t t1(111.
85 !::>cc l{o,.1linJ l l(r,1u\,, / /,, 1',,.,s,,, /~1/ 11'~
C.1111bnd~\.'..\1 , •.,nd L t111Llo11. 1,,1,11. p. 108 ~t·t
;tl,o ()rr,,/tn, 37 (,u111nk r 1<1S<,). "h1t h l'o1111111,
0
Krall,,\ ·l )ngi11.1hry .1~ l~t'J1l't1t1on· lntn1du,-
NOT [ºS 1O PAGt:S 270 276 471
 ti lll I.Pr 111d otl11.·r .1111ck·, f10111 thl"
1•
( C'llt _ Arl ... VIll flOSllllll ül 19~, l h.11n:d hv
h., u ~ \ 1ult1pk·, v. Hl 1out 01 1g1u 1b Thl·
( hlll 111,~ to An H1,1or) oftht '( ,,py"·.
f'i(í \/ r,s, 011 lrr.cd l,1<k l>.Fl 1111 ()xtord, 19~3,
p ;,, (No te< l>Í J 1'.iullt r, 1rJOi'>) .
s- e ,1/11, n d 1rr 110 1 ( l•J l~ . Sc:e :\ 1.ttthc,,
'>pcnd,, cr ,11.. lri/11ft <"""-')' ,111rl 1h1° ( ;.-11rs1., <!f
ll•s1r.1,11,,11 Du111•11~~-' /n111, tlu Ea,ly l•litls. Nl·,v
'rork. 191) 1. l' ,1 ln thc U'>A dunng thc C~n:,tt
l )cprc\~1011, 1hl· ,bnrt ived but cxc111pl.i11·
1 rn:.·nch Art'. 111 [Jr,111111~(!: \ /asl!'r, ,111d .\ ll·rl1,1rl~,
Puhhc 'X'ork, ,,f ,\n Pn11cct. sct up t111d1..•r
R.1H1,t·,·t•lt\ Nc,, I >t.1I. c1nployeJ 111orc than
3.500 ,1rtt,h rn ,ynrk on pL1bl1c proJt·crs dunng
193,-4.
s~ l)li1er cx.1111plc, 111t ludc a pJ111t111g by \llar-
guc·nrv (~ér.1rd, / lt, Fir.,r Src11 110,,· 111 d1e
Fog~ An ~ 1u:.l'un1. 1 l;irYa.rd Uruverut)-~ Ca1n-
bndl!l' M.\ , ba,cd on a dr,1,,·111g
• • bv hcr
brorher-1n-l.l\v Jnd teachcr I lonorl' 1-'rago- ~
1w.rd. '.::>él Luntt l \l,. illia1ns. 'l)ra,,'lng~ for
( ollaborJULlll. 111 'walt.:1 Strau,s ,111d Tr..tt i1.:
1-'l'lker. ed,. l)rt11t'ÍII~., l)r._fr11rd. Nev. Ynrl,. · '\ht1ri~
Uo,,k,. 1987, pp. 2s 1-4
!i9 Thl' ti1,l pnnl of thli sc t. IÜ1 c.XJn1ple. n:pro-
ducc·, fen1c•I\ (1n1nu, 1llu~tr.irio11 or
Wonder-
land Alie,: \\'t~h her elong:rred neck. and the ~-
Chap1lla.Jb i11c.ludc .i hom~c to Pit.assu
(' Pit ;1s~n norn,1 ") 111 n phltt> el,1bor;1tt'd ,virh ,1
rhyzomtc pl.int tornl rhc- pr1nrs ~how ck·ar
éVtdénte oi iour divi,1on5. or COJlSl'ClllJVC
re\pOn,e\. , .:ith the la~t pL1cc: oi d1e ,t·rie~
0 Thendore 1-lc•ff bcgan to c,1t.1!ogue l)egas\
dep1ct1ng .1n 1nfa11r hom fron1 :i hJlf:.tilJed
bod,. Jropp1ug i11to thc prin1al ,v.1tcr~.
110 _l,1ke (~h.1p111J11 and 1)ino~ < h.1pn1a11. ll1s11/t
I<' lry11ry. (;õtt,n~en: ste1dlMACK, 1.003, un-
pa~11uted.
9 1 T)orl' A,hcn11. cd.. /1ic,1.,_,c1 ,111 -l rt. -1 Se/rr1io11 <!(
1·11'1t'f , Ne,v York. r972. p. 5r.
9.:: St'c. J d1~(1.1ssio11 of th1.:s1.: dra,"' in~5" 1n chapter
c,velve. pp. 34.!-l.
<JJ '-icl" rhc: d1scu,s1011 of 1n:1srnrb:irion 111 A1c~~.-.n-
dr3 c·o1111n1. L.iz,,11 ~chich·'s Pórlr,111~ f 1974],
Derkck-y, <.A. ,u1<l Lontlo11. 1990, pp. <,o-63.
lJ~ l\ 1au n tc Me rh:au- l'onry, / hc r 'isi/1/e ,11/d tht
l11l'isi/,/, J 19(14 l. cd. CL1ude Lctort. erans. AJ-
ph111ho L1ng1,, Evan~ton. lt. 1968. pp. 1.14, 1:\.l
Jllll 1 ~5
95 ~t't' (,n,eld:i i'uUoLk, 'Thc c;,12e .111d thc Look:
IX10111cu \Vlth Ui110Ltrl,tr, - A Quc,t1011 oíD1í-
ft:-rcnct''. 1n / )1,e1lt11,I! 1//Ífll I )C't:11.1: Rr11rr~c•111r1tions
•!f 11 í111u·11 ,111d rht· 11,,fitic., ,,f l 'r,1011. cd. ltl.chord
Kcnll.ill and Polluck. Lo11Jo11, 1992. pp. 10(1-
10.
<J(1 All Lev111e quor;1nons ar..: takên fro111 Jc,u1nl·
1
S1cg1:l. 'Aittr Sh1:1ric l cv111L.' .rlrr~ .\/1{1!11z i111•
• ,1 11d 5i1no11 Lêbc. O~tfilderr1-l{u1c. zooo, p. <)6).
(~ur11111cr 19X'i), pp 1 11 Jnd 11 .1
IJ7 ()rh,'T tnpyi,rs for l)r [ hoo1:is Mo11ro ( 1759
1~JJ) inclu<lcJ John l11111cll ( 17z9-179(1). Cor-
nehus V,1rlc) (1781-11i73). Wilh;1111 V.1rlev
(17X5-1s5,,) and l'eter de W1nt (17M-1 18~9).
472 NOTt:S .. O P.à.GES 277 l83
!Jli '-il'c Paul l)uro, Tht' 1'1.-,11/('11/}' ,111d 1hr /J1111t;
,,f l1.ii111111.c i11 Sc1·r111cc111h-cc111ury rra11n·. ( ·an,
bridge, 1997; Albert ilollllt'. 1711 . lüulc111r t11ul
Frl'1/,/I P,11111111,I! i11 r/11 '\i11rt1·c111h Cc11111ry, Lou-
don. Ph.11don. 1971; lt1chard !->h1ff. ··rhe ()ng-
in.u,, th.c luutation. tht: Cop\· .111<.I thc Sp<ln-
tJlleous Cl,tssit ·Theor) ,111d P;1111t1ng in Ni11c-
teenth-cenn1rv France ·. \ ;1/r h'rt'11ch S111dic•s. no.
rio (1984). pp. z7 s-1-: luch.i.rd Tho111son, ·Thc
Crt·at1vt· Cop) 111 Lact· Ni11C'tel'11Lh-cencur}
R,1pl,11c/ t<1 l?..t'd1111. ed. Dia.na DecWolT, Londo n,
1992.
99 ltusk1n, f1,c F.le111e111., ef l)rmri11g. p. 59.
1oo C.' h.1rles Blanc, 1hc Crt1111111c1r a_f Poi11ri11g a111/
E1~gra11i11,I! r,•itlt 0 1(gin,1/ Tllustr(1tt,>11.,. tr.lilS. K.1tc
Ne,vell T)oggert [ 1H73J, C:J11cago. 11-179, p. 98
l 11 :1 Llrer pa,;;;agc ;1bout lancbcape ,md [lho-
tograph). DL1nc abo .:xprl'~t'i. a vie\, ,tbouc
rhe L1ck of ·:iur;i' 111 11hocography: 'the pmof
th,n ta1rh fulness of 1111tt:irion does not a.Iene
\utftcc i\, th..u if thc Ü.J.Struruent of tl1c pho-
rographer coukl se17e l'nlor~ .,, ir doe~ f<ir111s,
,e \vç,uld give us ;i ccrtJ.111 v1e\v of a cerc,1111
lOUntry. but it ,vould not produce a ,vork of
arr' (íb1d., p. ..! J X)
1or Sce the d1scus"1011 111 l-losal111d E. Krlluss. 7111·
Or((!i1111/iry o( 1/u: : li·t1ut -.~ardl' <1111/ ,1flu:r ;\Iode111ist
,vfyl/is. r:,1n1bridge, MA, ,1lld London, 19li7,
p. 168. Ir 1s intere,cing that. tê1r exan1ple,
it w.is only in Lhe 1y60~ chàc Dcg.is scholar
copy dra\v1ng.;.
tó z Frou1 Alt1111e11ts ~( 1'isit111. l"toruc: R.01nc- Nc,v
Yórk Foundation. 1959; yuoted in Vera l)ick-
n1Jn. ' Henri M1chaux.: The LanguJge of
J3c1ng·. in Ilc11ri .\Jiclu1ux, 1S9rr-1964, Lon<lon,
1999, u11pag1 naLe<l. RQland Barthes adJre~~ed
thc rel11r1011,h1p bet\Yeen photography ~nd
dr;i\\ing in thc l<.!1e1oric o( 1/te l11WRt' ( L<J6+).
,vhl·n d1\'tÍn1,,ru1sh1ng. bernecn che coded
drav,ing :i.nd rhe phoro1:-,rraph as a 'mNs,1ge
,v1thout code •. 'thc dcnt1tauo11 of drav;ing
i~ less pure the11 pbotngrJph.ic de11orati(111,
tor rl1l·re is never ., dra,ving \1\1thout srylc'
(Barchcs. 1711: l<e)7,011sibility <?_( l·on11s: Crirical
F.,s11y$ 1111 ,\ (11.-ic, Art ;111d l{epresr11rat1011 J 19821,
erans. ll1chJrd Ho,vard, ()xtord, 19~5, p. J~).
LOJ fttcn '~ 1de-1-, sccn11ncd frotn his rcacbcr Jt tl1l·
~luttg'Jrc Ac.:adcn1y. Adolf I li.ilzel, \vho pr~>-
111.oced che ;in:ily;is of old n,a~ter~ 'to givl"
studcntt. 1n~1ghts 1nto Ll11.: constructions :i.nd
l.iw~ on -.vh1ch older work, of .ire v-·ere h,1>ed'
(H.,nner K. W1ck and (~,1br1ele t)iana Grawe.
1.i:ad1i11J! t1/ t/,c Ba11/1a11s, tra.11,. Stcphcn Mason
1t t~ st1ll a regi1l.1r pi!rt of te:ith1ng ar rht· Ne\\'
York Stud10 School and JS uscd In oucrcach
,cbools progra1n111c\ or 1n-gta.ller, <.la~~c~ 1n
111u,cu1n~ nnd g.11Jcne~ chroughout the \\'Orld.
10+ Sce c:olin Wiggins. 11r,111k .'111crhc1d1 i111J rhc·
f\lali<>ll(J{ c;11l/('r)': f,,l !J1kin.í! t!/Ín rlt1· .\ l,1strr~.
London: National (,allery Pt1blicat1ôn,, 19<)5
105 .Exhib1t:1ons .1bour copv1ug ,1nd transcripcion~
1nc lL1de P,i;1 11ui Prese111: Co11tc 111por,1ry ,-lrtists
0
Dr!l11'i11g jrl'tn rfu, 1\1!1Sl/'r~. London, Sn11th Bank
Centre (Ha)-wnrd G1!1ery). r978; C,11Jif•r, rrél'r
d,· Ti~rl1t'r à Picassti: 300 •t?.1111re, i11s11irées p,11· les
1n,1ítrcs dt1 L,,,11,re, Paris, Musée du Louvre,
1993: E11C<>11111cr: 1\Jc1I' . ~ri .Ji·,l/11 Oh/, Naaon.'.1.1
Gallery. l.ondon, 2000. Thc Artbc 1ll Rc!ii-
dencc progra1111nc ,1t the Naooiial G:iller) \Y.IS
ong111.-tl.ly \er up co encourage :irtísts ro u~e
Lhe colh.'cti<Jn. for CXJ.tnple. thc tt.:l>idcncy of
Ken Kiff (1935-.2001). con1nu~n1or.ited 111 the
pubbc:ition by Norbert Lynton, I(en Kiff ar rhc
,\ í 11h•11af Caller),. London: N ational Gallcrv
Pl1blic.rt1011~. 199-1-.
106 See Br11111 Walh~. ed., i lrt ,!ft<'r ,\Ic>1ll'n1is111:
R ethi11ki11,e l<eprl'SL'ltt,111011. N c,v York .u1d
Boston: Ne,v Museun, of Conten1porary Art
and D. lt. C..~od1ne, 1984.
107 ' Man1n1on or Millcn,ual Edcnt. intcrv1c,,..
,vich 1111,HHS Tilh:r~ by Paul Fo~~ in J,11,111t~
1'illers: 1Viirks, 19i8-19l/8 (Au~tralinn Bicente-
11ary cx.hibitto11 catalogue). London: lnscicutc
of Conte111por.iry Arts. 1988.
108 lloland 13-orrhes'~ nonon of the phorographic
p1111c111111 is in many ,vays the cqtu,•;ilcul of
Mc:rleau-Pc>nry\ p1111ct11r11 Ctl<'c'lt.1 of lookJng.
109 fhe nnrion chat 'The prirnary Funccio11
bcco111cs the object of a secondary funcbon'
t~ defined by U111bcrco Eco ('Funcoon and
Sigir Thl• Scn11ot1r~ of Arch1cectnre·, 1n :,igns.
Sy111/1al <111d r lrr./1 iti:ct11rc, cd. Geoili:l') Droad-
bent. l~ichard Ount and Charle~ Jencks.
Ch1chesrer: Wiley, 1980, _pp. 2 1-44 IP• 281): ·111
tbc coursc of hisrory, borh pnn1:iry .ind scc-
c>ndary íuucnon~ 11llghc be found undcrgo111g
lossc~. recovenes and sub,nrubons of v:1r1oi14\
kinds. Thesc loS!.1.:s. rccovcric.s, J.Ud ~ub.stitu-
tions are con1n1011 to the life of forn1~ in
general, and consrin1ce rhc- nonn 111 the cotme
of thc reading of ,vork.s of .irt pro per'.
11Q See Ja111c~ Lin{,l'\\'Ood, .ind Stu.irc Morgan, 1,;,1
(;cl111i11,: 111,rks, 196.1-96, London, 1996. A very
similar stratcgy ,,vas use<l ui che 1970s b> the
Au~tr1an art:J~t Altrc-d 1-lofk unst (b. 19.µ) ,uid
continues ro be a popular n1eans w1rh Photo-
rcali~t <lr.l\vcr., ,til over che ,vorld.
111 $uch a notion vv.l~ an,1then1a (o 1noder11i,1n.
See R.oger BenJatnin, 'l-tecover1ng Authors:
thc- Modc.:rn Copy, Copy Exhibitrons ru1d
MaLis~c•, .4rr Hisrory. x11/.! Qunc t<JR9). p. 177:
'che negonon of :in original ... ~~1gge~r~ an
inv--idi\)US surrendcr of sclf to thc donunancc
of another pcr~onaliry ·.
112 R..eynolds. / )iscn1lrscs 011 .'111, ed. Wark. p. 107
(Discoursc v1. 10 D ccc1nber 1774).
113 Ther~· 1~ a ~,nallt'r squ,1rcd-ur vt·r~1011 111 Lhl·
Musée Ingre~ in M()ntauban, w h1ch ,1;11s
cngravcd by Lc Pcvrc. Tbc painung /1<1rt1,1ir oj
 ª" lr11k/lllU'I/ ( (í,11,011 (Lc1 Belh f'crrc>11ierl'), ârc,1
149<>---95 (ParL,, MLL,ée du Lou, n:, 7"'8). ha~
long been a~soc1ated with Leonardo, biir the
degrec of h.1s 111,olvcn'lent ,~·as d1spured ar
v:ir1ou, Li1ne~ in 1.hc L\\"ç11ocrh i.:cnrury. as ,vell
as the 1dentiry o( rhe ~1trer and the date of tht>
\York. Trachrionally assoc1ated ,,,th che ~up-
po~ed ,v1[e of an iro11n1onger. ll1isrres~ of Fran-
çois I of France. she 1s no,\' rnore con11non lv,
1dcnti.ticd as Lucrez,a c:r1vell1, nusn·ess oi Lu-
Jo, ico Sforza, anJ dated to Lco11arJo\ fusc
Milanese penod, earher 1b,111 lhe I ot1\rre d,1te
mpplícd .1bove. Thc ,vording; 'La Bele Fer-
oruen:' (sic) is .ili.o insa·ibed on the backg-.-otu1J
nf da Vi11r1 ·~ L1//y 111it/1 n11 l:.rnlin,· in ('racow
(Naoonnl MuseU111, CZJrtory-.;la CoUecoon).
1 t-1- Dün.:r. 4uotcd and cranslarcJ by Jost·ph Lco
Koerner in •Albrecht l)ürer: A Sixceenth-
cenrury T11fh11·11::,1', in .4/bn·c/11 D1in·r a,1d /11~~
Lc.~ac)': T/1c Crap/11r TT,,,·k ,,{ a Rr:11t11ss,111cc. 1, rist,
ed. C.iuh;i Ban:rum, London. 2002. p. 23.
TTj Je:in .Uaud1,JJard, Syni/10/rr Ex;/uu~~c ,111d D/'nt!t.
trans. lain Hanúlcon Gratll. Lo11dou, 1993.
pp. 75-6.
Chapter Eleven
Draw,ng the Drawe, :
The Naturalisation of Pradice
1 Maunce ivlerleau-Po11ry, 'The lntert\.-1n111g-
Thc Cb.iJSJll', 111 171t I 'isi/J/u ,1111/ t!tc l111 1isible
[ 1964). cd. Cl,tudc lefnrt. trau,. Alphon,o
Lingis. Evan~ron, 11. 1968, p. 13-1-.
' 'For T is anorher' \Yrocc lUn1baud 1n a letrer
ro h ,s fncnd the p<ler P.1ul l)c1ncny frorn
c-harlcville on 15 Mav• 1871; 'I \\l tne,s tht'
nn.folding of n1r thóught; I \\"atch ir, 1 listcn
to ic.' For a discu~~ion of thi~ síguificanLst.1Le-
n1enc. ti-0111 one of h1~ e1vo 'v1s1onary' leccer~.
scc . lrt/11rr l~i11,lw11d: C,,1/roed Poe,11s, erans. and
cu. Marw1 SorrcU. Oxford: Oxford U1ti,-cr\lty
Pre,~. 2001. pp. X\"'l-X'\-1i.
3 Fantin-l atour i, reported to have said of
huuscU: ·J--Jc 1s a n1odel \\ ho i~ a1,vay~ rcady.
\\ ho otTers a li rhe advanr.1ges. he 1s puncc1.1al.
co-operanvc and one kno,...,-s hirn beforé'
bcgin11ing LO pJ.int.' Thc scatc111c11r ,v.:is in-
cluded 111 the cat,llogue of the posth1111H>u,
retrospect1Ye of hi~ \VOrk in 1906 at the Ecolc
de~ Beau.x-Arc, in Paris. quotcd in l-lc11ri
l-t111l111-L.1u111r, 1<'(36-190-1, North:in1pcon, i\lA:
S1n1th (:ollegc Muscun1 of Are, 19(>6.
-1- Thcorj1,c~ 1n thc late L\\'l'ncicth ccnrur) v.cn.
p,1rticularl) ob~e~sed \\itb ~t·lf-un.1ge a11ll se11:.
reflex1v1cy tollow1ng Foucaulc',, probk·n1aris.1-
non of thc ·rcprcscntaaon that olfcrs itsclf a~
,pect1clc' 111 b1~ tl.t~Sl<- stud} ()f Veláz4ncz ~ Las
\ lc11111c1s 111 ú.·-' \ l/lt.< ri lt·., rh,>s(·s Clf 1966. o;;ee
Mllht.J FoucJult. TI1,: Ordrr l1f TI1i11ei: , 1,,
. '
or
-Jrc/1,1t\llc~1!)' r/1(• Httl/lcl// S, ir11ccs. Lon~lon,
1970. pp. 3-16.
5 On chc rcn1pc.~raltt) 111.hcrcnt u1 dcfi:rn:d
,a:uon, ~l.'t.' J. Lapl.111che and J -n. Poncah", T/r1•
l~111gr1n.~c 1~f P.1rclt,>-A11alysis 11973 J. London,
1981:i, pp. 111 14.
6 G1ovann1 Paolo Lo111;i270, ·1 ·n·,uti· Ct1t1tc1i11111,l!
r/1e 'lru·, ,y (;11rir•115 P.1í11t111g<" (',1rr•t1t(!e a11d
B11íld111xc. tr:tll\. l~ich:ird 1-laydoç\...c, Oxtord,
1 ,98; fac..:~inul<.'. Farnborou~h. 1970 p. 23.
7 Wooden t,1blets \,·ere u,nally box,vood and
prepart•d ,,·1rh a th.in layer of ~round boue that
coulJ bc ~crapcd do,vn.
'{ r here 1s ,1 very rubbed ,·ersíon 111 rhe Utliz1,
Florence (12.01 recto), traditionalh attribun.-d
Lo M,1~acc10 (i t "' <LS ~o nallll."t.i bv Và~.u I i 11
h,s collecaon). The 8r1nsh Mu,eun1 drn,, ing
1s no,v regardcd ,1\ \Vorks_hop o f Maso
Finig-ucrra. but, líl-,l' the Uffizi J.r.1,, iug, v. .1\
not included in the c:italngi1t· r'.usonné of
F1ruguerra's dra\\,ngi;, Loreuza l\'lc-lh, .\las11
9
Fi11,:'<11n-r,1. í tl1st:1!_11i, florcncc: i:v1111t. 1955.
M.~s<1 Fin1guerr.1·~ C/in1111d,• 1)/ riu• 1lit>r/d (,11,o
kno,,· as rhe l·/c1r.-i1tr11f Pirr11rr C;/,n111fr/r1 1s ont:
of thc ~rcat u1iL10\\n u·casurc~ of the Prjut.,
,n1d 1)r,1,vu1g, 1)eparanenr of che Drit1sh
Musc11n1. now .1m·1bured to C1n.·le- of M,1~0
F1111gue1Ta, 1470- ·75 (1889,0,;17.1 ·9). Fini-
guerr.1 ,vas descrihcd 111 hts r1111t: "~ ,1 /lhlt',lrc>
d, di.,(f!IIC'. ::ice- Lncy Wlur:iker, ·rvta~o F1n1-
~uecra. .13accio B.t.!du:n a11d 1.hc 1·1orc11/ine
J.1ict1-1r1 Clirt11urlc'. 111 Flt1rc11ti11t' /)r,111111gs tll //1t
'J 1111c t){ L11rc11::,> riu? :\ tng11//ifr11t: /~1pcrs fro111 ,1
Cv!l,,q11111111 l Ii:ld ,ir tltc 1·;11,1 5iprl111t111, rlorc11.:.- 1
1992. t'tl. Elizabeth l'roppt:1 . .13ologna, 1994, pp.
1~1-96
ro Scc the vcrs1on 1n lhe J. P.1ul Gcrtv Muscu111.
Los A11gt•k-.;, t)().l,·\.6, 13.
11 VoyeuN o( 11ud1ry, peenng thmugh windo,v,,
are a n:current tb.crnc i11 Wcsteru prinrs a11d
dra,~·ing~. ft>r cx,u11pk·. i11 l)ürcr\ Fcn,alt- B,1t/i-
l11111sc dnnv111g Jnd prn1ls
l,l (.;abriel de S.11nr-Aub1n. Lc, ' I í·1111.<' de .\l(c11c1r
1111 S,1/011 dl' 1757 (Paris. pri\átc ..:olll'l.Ü011). A
lo~r dr.1,v1ng n( S:11nr-A l1 b1n, purporredl} or
hii1helf ,1t work (Pt1r1111Í/ d'. l1~e11s1i11 de S,1it11-
.111br11 p,11 /,11-111,~1111•. pn:,iou~h in thc Gon-
cnurt bmrher, collccnon). depich h1111 •nrrin!t
n1ode~dy on J ch:ur ,-vuh :1 portloho on h1s
k.11ec~. 111casuri11g thc 1uodcl \Vllh au upr1~ht
11111'/t'-tftTJ'OII ,1nd the 111,,TíprH>rl ·un tre~ JOh
garçon •. 1-or 111t-onnarion 011 rbc- \':lrious ,·L·r-
~ío.n~ of Tlic Prir ,ac . lcr.1dc111y, ~cc Colu1 D.
Batk·v, cr ai.. G,1/in,·l de Sa1111-'-111b111, 1714- 1760,
Nev, York and P.1ri~. ;.\007, pp. 258-63. ~ee also
Vittor Carbon, Ellcn d'OenLli Jnd R.ichJJ·d S.
F11:ld. Pri11t, ,11rd Drc111•11t_~., /1y ("';a/1nel dt• Sc1i111-
.--l11/li11, 112'1-tJS<'. Middle-ro,vn, n and Balri-
111orc. :\1D. 1975.
13 More tb.111 fil"Ly .1lhLuns \VCrl. h,ccJ 111 Robl.'rt',
e,t.1te •mie 111 1809. \t'e H1rbert R.nl;,t-rt'~
R,1111<111 )i.:c1rltb1i,1k of 1760 ÍJJ rhc P1crpon1
Nlorg.111 LihrJI'V, Nt:\\ York. avJ1l.1ble in a f.ic-
'
,i1nilt' t'cl1t1on· ( ·~r1 l >ufuur 1)cn1son. ed ..
1{,,/,, ri 111 l{,,111, •, 1 R,,,11.111 Sk, r, 1,/,,,,,J.: b) l J,1bcr1
l{o/•1 l'l. Nl·,, York: P1l·rpn111 ['...lnr~1n 1 1br.1r,,
;.ioor, p. l>. \t•e ~l,n Jean de ( :iyt·ux, f/11/1,•rr
R,1/irrt. Lt: \.lu~éc dt ValenLc, -7.lJOO.
1-1 ~et l\1n h.1el Frtl.·d. rlb.,,,,.,,,;,,,,
,1111/ '/11t·,11ri, ,1lt1)''
(>.ú11n1t~ ,urd Hf/,,,/der i11 riu: -1~1• t!/ I )1dcr,1r
!19~01, ChiL~O anJ London. 1981\, p. 108. l ll'
cl.11111, !ater: 'Allhough n i~ nacur.11 rn ,1:e in
Fragon;ird ,1 l.1re llnroco n1a,tt·r . ht· .1ctu-
..ill\.. cun1bu1l's l~o.:ocu n1ot1.f~ JnJ attltuucs
\Vllil ,1 pcULb,ttJI lur iutcn,cly .1b,01 ptl\"l:
rheme~ 111d etfecc, nlten involv,ng rc, L'rlt' or
c,·c11 outn~ht dre.1111i11g· 1b1d., p. 1,S).
15 For ,L d1sc us.,ion of thc st1ppo~t'd ,t:xu.11 i-cla-
non~h,p bc•rv.·et'll Fr,1gonard .111d M.1rguer1n.'
c;érard (17tí1 1~3,). \l't: Marr 1). ~hL'rlfl. f-rr1-
.l/(>l/,l rd: Ir/ .i11d E1111ití~111. Chit.igo ,1ud Lon-
don. 1990
ró Th,~ 1s s1ig__~ested by Pierre l'losenberg 111 the
cxhib1uon c.1wloL.'Ut.' ..
. I'r.l'>t111,11d, Ncv, York.
Metropoltt.u1 Mu~ellm of Art. 191-i7. pp. ~2.1-
5
17 St:e Fr,{l!•'llt1rd i:t lt c/c.t~i11 {rc111(t1is ,111 .\"í 111c
sit·clt. dt111., /e., n1/h·o1011s d11 f>i-r11 J',1/i1il. PJJ1~:
P.1n s-f\ 1u~e('<;, Tt)\)2. pp. 215.! J.
18 Sec Chrisri.111 Zcrvo~. A1b/,1 /1,casst,, P,1ri,, 1y31
78, ,()1. xxx111: CT11l'rt' des 1971-72. 11<),. J 1 ,1nd
32.
J.l) Tht:n: 15 .1 Vtll'~iotl or Lhis d.r,1v.·iug Íll tht: Ufri.Li
( li O.!-+ 1·).
20 (,1ov:111n1 Barn~ra Arn1e111n1, 011 1/,c fn,r /lt<'-
ccpts tJ{ riu .:lrr L?f Pc11111i11J! [ 158tíJ, tra.11.,. Ed,\J.rd
J. ( )IS2L'\\',li. N t'\V York. 11)"7. pp. 11(~7 Sce
n(,() tbe con1er st;111d1ng figu!'e in rhe t\YO
\'IC\1\S of Zucc,iro\ lnL(/5 [)r.iu•,1111 aftcr
.\li, ln·la11.l!,cft1 i11 r!te .'lt'd10 Cht1J'cl 111 chr Lúuvrc.
P,1ns, d1,cus~ed ,n çh.1pter e1ght. p. 2 1 1-
11 (;1011,rio V,lsan bcgan .i fresco o( '-t Lul.:e fJai11r-
i11.l/ fht ' ·11_',/III i 11 w~· LltJpcl oi-San Luça iu 5Jl1-
rissltna Annun21.1rJ. rlorence. tirú1 1,<\7-'":"J: 1c
,va, co111plctt'd bv Alcss.u1dro Allon.
2.7. Joseph Sutccr. St L11kt P,li11111ix rh,· r í1_i:111, 1818.
61.ick rh:tlk. 36_, x 1,0 111111 (L1n:r, <.)bl·ro~rer-
n·1ch1~che~ Land<·~n1u~cu1n. Ha 438)
23 Jo~cr l Iern1an. l?.,'/lt:ttic111.- ,111 Dr,lll'Íl(l/- cxh. c;u.,
London Art, Councrl. t!)85. unpagtnatt'd.
2--1- lt. B. Kica_i, Skt'lfh 1:/ rl,1rk111'}' .\kt'tr/1111.~. r9lí~,
Lh.1rçt1al un paper 11;7 x 146 1ru11 (l·xhib1tl'd at
JVl.11lhorough í'i11e Art. London. Noyt'1nber-
J>ect'n1ber 1985), /v\Jrco L 1,~111gsrnne "-it,y. J rd
cd.n1on. London 11bJ1don Prc~~. 19•J9. car. no.
36,.
Th1~ dr.l\ving by l uc: 1, ,·an l eydl'n 1s cx-
trcrucl) ü<lSt: co111pns1t1on.ill) to A1u11b:ili:
( .1r 1~1<."t' l\ Pt1rlr,11t ,,( .Lt11li>l'lu> (',1rd1, Ct1lltd i/
( '(~cili, rcd ch.tlk, 21 o x 16) 111111 {Stock h1,l111,
Nat101uhnuscu111, tJ9-I / 18(13), ,, htt·h sho,, s .1
111ous1,1ched anti hl'.1rdcd Ci~oh
• ,,t·:ir1n~
•
.1 h.1t
\v1rh rhc: eartl.1p, hli:<·d ..1nd p1nct·-nez lo"
do,vn nn hi~ nnsc 111 ,1 protik· vic,, dr.1,Y111g
011 .111 angl~·d bo.1rJ. I Ic ,ih at .1 L,1bll·. \\ 11h .1
hrdt: d1,h 1n h1, lcli h.1nd.
NOTES TO PAGES 285 198 473
_( lt ri 1 n R.tf t 11, 11 ,,,, L)r,11i•11111, unp,1g1n,1te-d
fhl ncllpl 110111c li.>IH.t:j'l oi" /i1r,1r 11,>rtilll5
1 r , ~ 1ro11 [V\Jrs1lio f 1c111t,, \li ho tk ti111.'d
lour 1,1rin~ ot 1n~p1r lllt)ll or /111<,r /11·111,1,.
_l-i All.<1111111~ !<) lu l•111gr.1phl'r ll.tlJJ11ucc1. tl1l'
pt ,10-lln1nJ1t11, SJhato1 ll11,.1 1,·pr1111,111dt·d
Jll 1111pJtH:1JC rh\,f(l.1Tl p.Hron ,, ho \\'Ollld ll(lf
g1 1111 l11n1 llllll lll lh1uk Jho11t ,1 co1n1111\
,1011t:d \\'urk. ,111111 111.;,: th.u ,uhtt'l L 111.1!1<.:1 \\,1\
,1 111atrrr ot· 1rt1,t11.· 1n\p11 .1no11.1 h1ç 1nr1d,•1n 1~
oltt'll lllCJllln111.:<l Ili tl11.' rto,.1 htl'rJtun:.
:.?•J St·c ll11d,11f·,;,11ukowr.:1 ,1nd 1\ll.1rgtH Wiuko,~·..-1.
H,•n1 ri11./n .~,1tllr11 /111• e'f,.1n1a,, ,111.I c:, 111d1,c1 ,~{
• l11J_(/S, .1 J),,r,11,hl/lcd J /i,111rr .fn1 111 -l1111q11i1i• /tl
riu P1u1tl1 /:?.t'f'1 /r11;,,,, 119<,J 1. Nc,v York <111d
1 <'11do11. 1•Jh<). pp 9/\- 107.
30 I ln: .'i1•{/•l',,111,1i1 1 1üo, blaLk ch.tlk. 210 x 182
11u11 (Ut·rlin. Kupli:r,t1thk.1b111ctl. !i>L 1), \VJLh
1r, 'den10111t eve\' •
h,1\ hCt'll Ji:,(ribed bv•
JosL rh Koi:rnt·r J~ chc ,·..-ntablL t"<1rican1n: or
llo111.u1ut ,i:lf11oud (ln,i:ph Lco T{ocn 1cr,
<:11,p,,r /),11111/ T nul,11/1 <1111/ !Ili' .\uh11·0 1>/ l.,111d-
0
s«11w, London. l!.)90. pp. <,~--6)
31 Ap,Ltt liu111 ,Lnribuuon, to Rol'L111dl anti J.11.ob
S,1\·~·r,• (ti11(f J ,65- 1603), 111a11\ nf th,; '\lpi11i:
land~capc~ of P1eter 13ruc~I the Elder have
110\\ bcr.:11 n:.c.,1s'11ctl LO thc 'Master of tl1c
l\101111r:1111 L,111J~l.1pc, · ll1l1udíng rhe .'11111111111111
l.1111dsr.r11(' 11•11/i ,l !<11•1•r. f 1/1,i~cs ,11,d c:,is(/(' (Nl'\Y
• •
clo,c Lo 1he Courl<111ld \vork. ror tht'~t' re,enl
re:irtn but1011~. \t'e rhe exh1b1non r .1t.1loh'1.1c
l'iuu Bnn-xrl tliL E/der: Dri1111i11}!s ,111d P, i111s. cd.
N,ttlint: M l)rc11,tci11, Nc\\' York. Nc,v l l.iv..-11.
< 1. 1nd I ondon, JOO I , pp. 2<in-7<i. ('J'he o ld
,trtr1but1011s to Brucgcl ,vi:rc ~llll rt·co~uzi:d Ui
John Ol1vc1 liand ..-t ai.. Tlir A11r t![ Br11cgfl:
,"-,c1/,,·rl,111d1sli J)ra11111i.J!S i11 1/1c S1xrce11rh (.'1•11111ry,
Wa~IJJngton. o,. aud Cambriuge, 1986.) C.)11_
thc: eha11~u,g \/Jl'\\~ OJI ílrut:gel\ l.111d:,cape
dr,l\Vtng,.. \Ct' Konrad ()berhubc:r, 'Br11t>gel\
Early L.1nuscapi: l)rJ\1\/111~., .\l ll<ll'I D1t1tl'ill,f!S .
110. 19 (1981 l. pp. 146-56, and I l atJ\ M1clkc.
P,,,rt•r Hn,cxrl J)ie Ze1rl1111111gr11. lurnhour:
Urcpo1s. 19~()
3.2 1·hL tt:1 u1 O lvn1pt,1n \\a\ u~ed by Waltl!r S.
c;,b~o11111 Alirrr>t~(lhl' h11rfh· l71,·llorld L,111d-
_,rap1• 111 S1xU·n1/h -cc1111,r)• Fll'l11is/r Jl,1111ti11,J!,
Pn11ccto11. NJ. HJXy
.13 K.1rel v.111 M,111der, ·11,e /.,11•es e)( flt1• Tl/11.ç/ri1111v
i\'1•1f1nl,111i/1çl, 1111d Gi-r111,111 P,1i,11ers, cJ. r J..:sscl
M1tdt:1ua. tr,u,~. l)crrv Copk-RJJ1norc:, 6 voh,
•
l)non1,p1Jb.. 199 ~-"9. vol 1. p. 1,;o. l ' he- Fle1111sh
,tr11,r Jo.1lh1n1 Paten1lelr wa, 5a1d by Vltn
M.111c.ltr 10 h.ivc UIJ\\'11 fron1 p1t'LC\ or rotk~
111 thc ,cud10, .111d thc rcl,1hon~h1p het,v,•en h1~
runous n1nl1nra1n fi1n11Jt101h ,vith ,uch ,111-tll
nul'.roc ,1\nlic ~pct l~ of n,11 tirt t:stabUshc:s ,1
111111) \\ Hh th,• 111,1rrol o,1111L \Vorldsc,1pe~.
3t Horh \\'cre engr:ivc:r, 1 nd ( ~,ul10 111:id..- 111any
. -
174 NOTFS TO PAGE.S 298 306
.l:i ( hrl~cophl·r Wood (. l/brl'i'/11 . l /1d11!11·r ,111ti rl,c
( )1 \~Í/1; t'( L111d.,u11•1, Londun. 1993, p. <, 1)
\uggcst, 1h.1t the llL"vcl1.1p11tt1ll <'i' L111dsL 1pc
li-on1 'h, \\'ork 1s v1.1 111.!T!{lll,il dr1V11ngs: "l hl·
111.1rg111s ,11c.: chc lorus 0 1· 1hc \,·ork's o,vn inter
11,i) tllllllllL'lli..lí) 011 tht• LO IH11tHlll OÍ pit'tlll'l'-
lllilk1ng, arul 1)ll the 1denC1t) ,111d i:h,1r.11 rt'r oi'
tht' .1rtt,t h1111s..-li , 111 thl.'SL' pe11un1hral sp,H e~
thc.: ,u t1,1 kaYc, Je1rtll ,1gn,, s1g11, thJL pl.unlv
confe~s the 111:1tcn.il1ty o i rht· pH:rure .1nd
u11n1:i,k ~n1 ti.:nons oi ,1 11011 ex1srcnr f;1br1
L,tlOr Ol ,1 lr,111,p.Hl'lll pu lUfL pliuc.'
3(1 Fnr C°'\~n1plc-. Mcll hi111 1 orch 1novl·d b1:·1-.,·\.'L'll
rht• on(:')o L1f I dbeck. A11gsburg, NurL'n1hr.:rg,
Ant,vt·rp, V<.:uicc. Ro111L·. rlorcuce. 13olo~na.
Vicnna, l-la1nburg .111d ('.opr.:11hngL·n, .1nd ven -
rured ,lS t;Jr .1, (.'c,n~tanonople. ,Nhere l11en·r
Cocck \',til Ac1st ( 1,o~-1,50) Jlso ,,,·orkcJ.
A Lt'11tury l,ner.All.1rr va11 Evl'rd111g1.•11 ( 1(121-
1675) ~rl'C1.tl i~l•d 111 Sc·:1ndin,1v1an Vli:''\,\'S
37 RoclJndt S<t\'(.'r\', r I Ílll'lj,11/s <li/ (/ ,\ t.,11,1111111s11l1'.
bl,1ck, rt·d .1nd bl11e1,h-1,,rr1:'cn lli.,lk, .1nd hl.lck
ch.1lk ,vnh blt1c ,v.ish, ô22 X .115 111 111 (Vil'nn,1.
N,1úunalbibliüLl10k, Alias ,,u1 dei l l .:111, x , VI,
fiil. 1.1).
38 Karcl van M~nder 111 h1~ ' 1 itc
<li Jo.1cl111n
P,1tJ 111cr. p,1111u;r of l )1nJ11c· 111cludc~ lhe
1-..·111.1rk. ·1-lc h.:id 1hc t.u~ro111 orpa111nng .1 liule
111:111 do1ng h1~ b11~111e,~ in :i ll h1~ l.111d~r:1pe.
So111t·ti111tJ~ you h,,d to ,e,J rch for 1hi, little
~hnrer .' ( / he l.11•c•s t>/ 1/11· l/111s11•io11s .\,•rhcr-
l,111tlt,1/1 ,111d (~i:(1111111 [>,111111•1-Y., cd. J\t\1cdcn1,1, vol.
1, t~ll. 2 1!)r).
39 Jo,1:•ph I eo Koerner. c:a>f''" I )a,,id F1i1"d1ir/, ,1111/
rl,c Sttbjccf 1•/ L1,11/s1t1f1<'. L()ndon. 1990.
µp. 1(12-<>. l{oerr 1l'r tr.llT~ 1he sourt.c oi" R1i,k-
cr,ftJ!llfl'II back ro Leon B.1rnçc:1 Albern ~ 1nsrr11c-
t1on to arti~t~ to ~tJ.lI tht:11 pu.:tusc.s wíLl1 figure~
that dr,I"' th1.• '>p1.·tl.itor·~ ,Hll' ll l llH I lO thc ,1ctio11
of the Vl·nrk He n0tes: 'ln the "vie\i\·-p.11nt1ng"
or 1·ed111,1. J Lurncd /igur1.· could c~t:iblish eh<.:
•
v1'ra's ,c.1le, t·nh:111c111g !l, 1Honu111r.:111,1l1t) :ind
1n:1rk1ng ofF rhc ,vhole p1cron.1I tield :i, sn1 ne-
thing '\vorth ,ecing". lu llllt: popul.1r va.n,1111.
rhl· Riickf11/i~11r i~ ,111 ,1rllst ,vho ,ib ,lt the
111arg111 of tbe scene. skerchíng rhc landsc:ipc
wc ~cc.' Koerncr (ib1d .. p. 2 18) di~cr1n1111,1ccs
be1\v0cn ·autlllhLl101H)l1~•. lh.H 1,, i11d!gc11011~,
~,.1tf.1gc: rig,.11'l.-.; and the ,v,1o(k·rcr ~111,·t• rht•y
articulate 'anti d1c:tíc,u ordt:r, of r.:'--pt:1·i..-11c..-'.
Hc ~upports hi\ argu111c11t hy quoll.ng frn111
r.W.J. Schelling. / 1/11/osoz,l,y <!t' ."1rr ( 1802): ' 1h c
pe()ple 111 ,1 land,capc c1cher bt· portray<.:d
111mc
,,s u1J1g;c11ou~, .1, ,iutt>t hth tlltou,. n1 thcy 111u,l
ht· pilrcr:iyed :is ~rranger~ nr \V:indt·rt·r~ ri:t·og-
niz:1ble Js such bv tl1Li I gr.:llc(al J.i~p(l~ition.
.1ppt·.ir.1nct:. UI t'\'t'l1 clothing, JII or ,vhll 1, IS
.1hcn 1n rcl.111onsh1p to rht• l.111d~c:ipe 1t,t•Ir.
40 S<.:c !::.1111011 Sch,1111:i, Li1111hr111w 1111d .\ /1•,111•r1•,
N l'\V Yúrk. ")~5-
41 \t•h;1ld Bvha111\ \\''1oth uh 111,lud, 1 11 n1111ph.1 I
t:11Lr,111,·t· orF111pl'TOI ('h,1rk·, V (' 1111· ,\ /1/rr,11y
{)i_,,,lar, /(1 /11/1(' / ~_lfl) .111d h1, llHlf· blot i...
VI nt.>dcut /·011111ai11 11( 'tn111h. l le .11,o pn)dttt:t•d
dL•ec.11-;ir1vL' \Vood,·uc, tha L rou ld bl 1nst;1lll·d :ls
111u1.tl,. ScL l),1v1d L.111d,11 1 ,111tl 1\·tL'I Par,h.111,
'/711' T{c1111i5s1111n· flr/111, 14711- 1,5(), Nl'\'' l l.tY<'11,
c·1.,1nd l 011tlo11. 199.1,pp 23 1 7
4.2 Although tlte ,1urih11uo11 lo 1)iin:r •~ uor 111
11ut·,uo11, thi: figuri: 1, r.lthL"r p1ohl..-111o1t11 lo
111) l.'Vt:S,
4J Thí~ 1, ~u. for l;X.1111plc, 111 tht· Lrunks o f l'lllt:
crct·, 111 r>iire, \ ver} 1:1111o t1 ~ L,1111/1t11pr 11•i1/1 ,,
f lrr1,//,111</ />r1l/ oi 1 1•)(1 i11 11,,. Hriri,h Mt1\l'll111
(M .'i2 1~. 167). St:e ;ibo tltc Ji~Lll~sinn of tbr.:
,\11d1• St·lf />(11/11111 of 1Ín,1 l~O.l 111 Wt·1111.1r i11 Lhl'
fbllo,v1ng rh.1prcr, p 339.
4--1 1·busc 11111.'\ \Ver-:. \l'llt to tht: l.111d~~.1pt: .11 u,L
P1•1c:r dl· W1111 (178 1- 1!\4<J) by thr.: N1llll11g-
h~111shire J1()t'l John ( l.1rc in n k·ltl'r of IX.29,
rt·quc,tiug ,t skl'tth lo h.111~ 111 111~ lolt.1~e:
·,vh,ll 1 1nt•,111 1s n11L' nf I ho~e scr.1p, wh 1r h you
t,011,1dt· r 11oth1ng .11\t-r h,1v1 11~ 11,L·d tl1l'111 &
thaL lyc litll'l'l tlg ,lboul ytiur ,tud\', !<.ir 11othi11t!,
-.,·ould ,1ppc,1r Ml ,.1lu,1hlt· 10 111r' Cl'i,notby
Hnl\v11ln,v.J11f111 (:t11rl' 01,d fJir11rrC'.~•11u r. .111d.,11111c.
()xlonl: C)xltirJ U111,cr~il) Prcss. 19S_;. p. 100).
,1 .'1 llogt:r de l'1lt·,. f>r11u1111t1~ P/ />,11111111.~ . . . 11•1111n1
1>t(~i11,1llr i11 l ·r,·11d1 /,y \ /,.i,,,. I J,, /li/1', ,111d 111>111
. ' .
17.13. 11p. 1,0-,1 (~t·ltion n 11 ' l ,111Jsl,,1p') Note
rh;1t rh,• rr:111sl.1tnr rt·tt•rs ln ·,1 bl.1(·k k·.1d
Pl'l1CII'.
4(1 Tl,llll~ta N.ild1111, f ÍI(' rir l<c1111,·, 111 1/'I 1111 /ll'IM'II·
,1.1/C' ,1s.1i.1 ,f,,ssi11,11H, pt·11 .111J hn1\., 11 111k (P,1ri~.
Louvrt·, 1103.2). A kev l~l thi: lctli:rt·d ru111, •~
111slriht·d .11 tlie ho110111 oi· tlil· dril\\'1 111.r 'A
1110111 p.d,1t111<1/B \'(\]1,t•o/( ~l' l l l'7n1110 •• l'tl'
l'h.L. JJ,l\o\ ing \Y,I\ (l,11'1 or ,1 J'Llllli1lio 0 1· J1,l\\'-
111gi; bl·l(1ngí111; t11 F1hppc1 Baldi11u1:r1, ,vho
lahclk·d Íl by f"ina11: thl· prt'St'nt ;111rib111H)n 10
N.ild1n1. .1 pup1l of J.1copo J>o11to1 n 10. ,,·.1s
IIOll'd ()li the \ CíS(I or
tl1 t· dt.l'\,\ 111µ; h} A, E.
Poph.,n,. N i1ld1ni \\'t'nr l.n l~on1 t' 111 :,;tplt•1n
bt"r 1560, ,-vrth 1111 rodt IL.Lio,1s fro111 V,l\,1ri .•1nd
lll ildt' ,1 lllfl11bt::1 or ~J...<.:11. lihook \{lldírs oi
l'lo1n:u1 ~llrtllllir1cs. Ht· \\ orkcd as Va,.1n 's
,1s~1sc:11u 011 the dL"cor,1 llons oi' eh e P.,Li,:zn
VL'tlhto 111 l·lure111 e. ,lllll '\,\,1\ ,l fuu11Jl'I
111l·111hçr (.)( riu• Arr~d L·1n1,1 dt•I 1)1~t•g11p.
47 l{.1rr.:I \ ,ll l M.111dc1, ·Tht· Lik· rir I l t:ll l i, 11,
(,nltzi11\'. 111 ·11,c /.1111•.1 1'( 1/111 ll/11.,1, i,,11s ,\t'tlrl'r-
/1111disl, ,111d <:c,-111,,,, fl.11J1tfr.,. l'd. M 1l'de1n.1,
Vt)I. 1. p. J90 (foL .!8Jr).
,,ti Jt.1r h.1rd W1 11;lcy, ' lnf~·l (1ou, r11rh11,1,1~11,~.
lnflut·nct·, ('n11t,1g1<)11 ,111d tht· l·>.pL'ílL'tll't' t)I
n. onic·, i11 ln111.111,,r1s: 'li.i,,d, P/r,1.<11r1 ,111.I /111t(I!
i11,Jf1111' c:1'1>i:n1p/,),, 1(i11a-181P, t·d . t'lilot· ( 'h.1rd
.111d I lrll'II 1 ;tn~don. Nt'\\ 1 l,1Vt'11, <· 1. .111d
1 nndon, 1996, pp. 7~ 11().
49 1 h1: '<l-t,ilk·d ' l 1voli I lool.... 1011µ \llllV \lrlll...t·n
 up but 11 .isuJ.ll) rcc.011:,trurtcJ b1 M,11 Cl'I
l~nethli,bcrgcr, ,v1Lh ht,ri1011r,1l , hcet, n 1l',1-
sur1ng 2 10- 2:!0 X 300-3r5 n1111, con1J11k·d ap
proxiu1atcly ~l'venry ill'J\\·in!-,'li ,vith the arti\1 ·s
111L1nogr.u11 011 tht· Vl.' r~t, 111 n:d.1 ho,e 111 the
Icylcrs Mu,eun, ,1rl' excephonall~ lrc,h.
,o l)e Pile~. />ri 11, i1•lr~ ,,( />11i11ri,~Q, pp. 1,+ 7- ,o.
:il ')cl' 13oud~·" ajn [3.ikkt'r i:t .11., l...1111tlsc,1/lt-' cy·
l<e111/ir,111dt: His 1----.11,,111rir1· J I alks. Bu~sun1,
A1nsterJ.u.11 anJ PJr1\, 1998. pp. 12X .u1d 2. H-1.
l ~ht" dra\\ in~ .1rt1st .tl,o llc.curs 111 ,111 t'tth111g
Vr,111ghtJll/tl/l b,•sidl' ,/ c:1•tfcl(/I' oi ri,..,, 1645, 130
X 2.07 111111 (Parb. ro11d.Jtio11 Cu~todJ,l, rritz
Lu~ C:ollt·cc1on. 2.045).
52. 1 here 1s a 111orc: tin1shed ver-1011 oi thts
dra,,'lng u1 thl· Gc111c.t·ntc.111uscu 111, Ck·,·cs.
Thc dr.1,v1n-g-, .in· docL11n..:11r.l·d i11 \X/olf..1.;Jll~
Schulz. L1111berr /)11/l111c·r· .ú'i1111l,cl,t' 1/.cíd1111111~111.
U..:rli11 and Nt•xv York: Walter de c:ru\tcr. 1y74.
Jnd Wc:.•rnl'r Su1110\~•ski, Dn1111i11.~, v_{ 1/11 Rc111-
br,1111/i r/11>11/, vOI. 11. Ne-,-. York: Aban,, H)79 -
53 Se.e cacalo1;u~· co111111cnwry 111 T ho111,1~
[).1Có~ta l<aulin,11111 , C('1/lr,,I E11r,11w,111 Dr,11l'i1t,{!S,
t(ili1>-1,</,1(). Pr1nceton, NJ. 1990, pp. J70-~ 1.
5-+ Lcctcr by (~ol'd1c co .). D. l·alk. 14 June 1809;
111 C,>(•t/11 c>11 lu, t'd. a11d lr,1n~. John G;1gc.
l ondon. r 980, p. 73.
55 Lctt.:r ro l-la.L1.L1ah PaLncr. 11 !v1,1.y 1856; i11 'f/,i•
L tlll'r:; ,,f S,111111l'i raillh'f. eJ. 1-l,l}'lll\')IJ J L1~tt'r.
2 vols, C.)xford, 1974.
56 "l1u• Di,1rics v_f l 'r,111::: K,!fk,,, 191,1-1_1. ed. M:i..x
BrCld. tr.u1~. J. Krc:sh. lo1u.lon: Sc1.ker ,111J
W.1rburg, 194X, p. 31 (7 Novt'n1ber 1910):
quored Lll Kc1th Andre\VS, ·n11 Na:::,irC/1/lS .--l
Brc,rhcd1ood o_f Gcn11,111 Pai11trrs 111 Ro11n·.
<.)xfr1rJ. 19(,.J . p 111,
57 Willi.Ul) Uecklord, B11J:,tr<1p/11,11/ ., l flli<>Ír5 <)/
E.\/r,10rdi11,lf}' J>.1i11t, •r> [ 1780[. Ítllro. Pbilip \Xfa rJ.
Ne,v York. 1977, pp. J2 anel 91!-9.
~8 Charles 1-larrcr\ . l 11 /111ror/11nio11 10 Pcrspcr/11'1',
Dr,111•i1\l! ,111cl P,li11ri1{1!, i11 ,1 sl'1il~i (){ pfr,1si11,I! ,111d
{,1111i/i,11 d1,1fc\l!III'~ ..• c.1n:fi1/ly ,u/11pt1'd _ti1r th1·
1'11stntct1t111 o{fr111,1l1!.( 1111d .;rtirl'd ,•q11,1llr rc, 1/Jr sh11-
pliâl)' iJ{ yt1111/, <111d lt> 111(·111<1I 111t11111ity. LoJ1Jún:
Black, P,1rry and ( o.. 181 ~- conc,11ns an
cngraVJng of p,1p1ls dr:1,v1ng :ind p.iinnng ,virh
this ,1tl11Ltinit1011.
59 W1ll1an1 lli!cktt,rd\ Account o( thc (; r.111u
lour' in the book Dre111r1s, l-l (1ki11g /11,•11.~/1ts 1111d
l11âduus. wluch c.h.:,1lt \\ ith his tour Ul tbc
1770s. \\las pubh~hed 111 1783 huc ,uppre,scd by
h1~ l:'111111\. 1t ,vas rt·1ssucd as the tirst ,•oln1ne
•
or /1,1/)', ll'II" Skrrd,es qf s,,,1111 11/l!Í J>orlll,t!tll, .'.!.
vob. 1834.
(lo rhe tern1 c;ra.nd lo11r \\1IS fir,;-t U~l'd 111 L.is~i.'l \
fhc Crt111d 1t111r t>{ Fr.111a· ,11111 Tl,c c;,n, v{ /111/y
(1ú70).
61 ('hlot· ( 'h,lrd. Plt'IISllrt' ,11u/ c;,,,11 11 1/ 1/t1• c;,1111,I
1:111r: ·1,,111,•/ 1Vriri,~11 ,1111/ l11111f!i11,1111•t· Ct'<'J;r,1plty,
16t>c>-1S10. J\la11cltc~tcr, 1999, p. 17.
62 'ion1e oi th e series JTI.' reproduced 111 tht:'
exluhilinn l:tta.lo1;ul· /11 ri,, l~f!/,r ,,{ /1,1/r· c·,,,.11
,111d harly ()pl'11- -!1r /J,1111r111}!, ed. JJh1hp <. '.ont~-
bcc. S,,rah Fauncc: and Jcrl'111y Str1ck. Ne,\
li,1,·cn. < r, Jnd Lllndl>n. 199<1. So111i:tlung
~11ndar happen\ 111 .1 lira,v1ng h) Jóh,1n11
Martin vou ltoh~le11 ( 1~~jl 1.~68), l)r,1111111.i:
.1,ti.,,~ Ili RiJl/lt' or 11> 18 (Sch\\1.'1111\.t.rl, c:oll<.:'(.'-
tlOll (;eorg ~ch.ifr·r. 22291\), 111 -.vh,ch 1hc
.1rttsts 111 ,-.1r1ous aH"i:ctcd poscures have bei:11
1dtll·d as J J .1Li1c1 l'.,ll icaturJI JIÍ.i:rthou~ht 111
'
bru~h und 111\.. to ,1 very e 1n:fi.1l pe11l·il dr.t\\'tng
rh:\l inchcace, Santo Stc.:f;ino H.. otondo in
couutr), fiel..h. Sir John Evrrcu M1U.1b (1}.zl)-
1896) Jl~o filled J ,kecl hbook ,,·1cl1 c.,nLllllre,
of the dtthçulni:s o( Lu1d~c::ipe- pn1no11i; 111
in,:; lc1111.;nt 1vl'athc:r Jurjug a ~kctch1ng uip Lo
'>cotl,11nl 0 1· ân,1 18;;3. Henri M.,ti~,i: h11111úr-
ousl) ,kercht·d h11nsl.'ll p:1.1nr1ng 111 1\,\oroc<.·o.
111 ., vcry yu1ck pen J.nJ 111k evncauon oi' 111s
pnrtly figure 011 .1 l<lld1ng ,tOlll obs~•rveJ
cln~cly by .1 veilcd ~1gu re ,v1th C'\\'O pron11n,'nr
t•v.:~ ,1bovc hei burklt,1, 111 ju\t 011..: o[ thc ~Lx ly
,kctche~ li·o111 Mat1s,c\ t1ips lll M1,rocco 111
r•112-13. See Jack ('o\Yarr, 'M.u1~sc's Moroccan
Sketchbook.s .u1J DrJ\\ u1gs'. 111 Jlt11ú·st 111
<
,\ /c1n>,r1J 7711 P,11111111.1!-' ,111d D,,111•11(1!-', 11)1.1-1913,
W.1,h111grú11, IH 111d I ondon, 1990. pp nJ-
IJ<J
<'.1 )Jrab F,tuncc. 'H.. 011 1t: and Jt\ Environ~:
1'.1111ters, I rav,c'!lers. ;111d Sites', 111 /11 1/,c L1gl,1 ,1·
/r,1/)', pp. .j.<) 7~.
(14 ~Cl' Mar) n. ShentT. 77,c Exupth>11,1I rr:)111,111.
,~r
r--:lis,1/1ct/1 1 '(~h·-L..t'brttll 1111d tltl' (:ultur,,l />,,ltti.-s
.-'lrt, ('bicago and Lnndon. r996 (ch.1ptcr J fo r
,1 wscussion o[ tlu, n10111eurous cvt·nt; l bJptcr
(> fi.ir ;i d1~c1hs1011 oi l..ib1lie-C;u1,1rd's .\1•[{--Por-
tr,11/ 1111/, /11 11> P1111il,, sho,vi, .1r thc 5,1k1n nf
17:-I~. pµ. .205-<1).
(l,; For J J1sct1~~Íúl1 ()r lhe topos or \V()lllt'll
dra,v111g, scc \hc:lk,, M. l.1cnnl'tl. 'A MlhC oí
An in thc Hu11t111gto11 CollcLnon ·. 111 Brir1sl,
"
-'"1,r, 1741>-18211: / ;$Stl)'S i11 l lt•11vr <!( /{,,/11•,1
R. 11 :1rk, ed. {;uilbnd 'S11thl·rLu1d, \.111 /\1.1n110.
<..A, 1992., pp. ,- So. Sc:c .ibo LiJJ1J. dt· Giro
l,11111 ('hcney. Aht L1 C'rat!,! F,1xon and Kathleen
Luc:cy 1iu~,o. Sc[(-/ 1ortri11rs li)' ~I 01111·11 /~1i11ters.
Aldershot aüd Urooklic:IJ. \ T. A~hg,1tL . .'.!.OOO.
ú6 l\1ul Sandhy, fite' / r,111 F,•t,l!f ,ti íl111111(>1/l/1, \\:,1ter-
colot1r over penc1I. 203 X 298 111111 (1 ondon.
Uriu~h Mu,;,;u1n. 1904,0~ 19.21) A ,nort' pro-
fit 1c1lt ,-vatcrcolour b, Sandbv. Rt1s/i11 c:,1,1/c.
\ •/1d/<1rlú,111 oi' tin11 1780 111 rhe- Yale C enrer for
Unmh Art. Ne,v l lavcn. CT (0197~ .4.1:S..,7).
dL'plCL~ a group ur L1d1c·, dtJ\,\ i11g thc.: c.i,tlc
11e.1r ~ bridge; the ~t:111di11g ,vo111,1n is lU,i ng ,1
portablc ean1..:ra obscura 011 J lo\\ ~tand.
ú7 W1lLJn1 l log-,1 rth, . ➔ 11 ,1d1H1111 1!f 11 /111/ .<l't'111 i/
1 dra,\'lllL"I for t hl· 1.. ,r llll!T t,\ n \,\'Ofks. T hc
111(111 J{c111,1rk11blt' 111 1/1<• /·iJ,c /),1ys l'cr({!ri,11111,111
ti/ //,e J·11•1· J·,1/h111•111}/ /l,•r.,,,,,,, 1·i.:: .~ h•ss1t•1irs
Til/h,lil. Stt'fl, Til),i:,111/,, 771,1111/11// ,1111/ r,.,r,c;t.
Hi:111111 rl/1 S(l/111d,1)' ,\ /,/}' .t· l7J.Z ,111cl /i11í.,lti•d ,111
//it 11,r ,,J ri,, ,,1111,· bnu11d 111.11nl\l npt.
1111111/h,
Bnnsh Musc:11111, 1 <111don ll1-i,i7.0320 1)
1)r.1,,·ings 111 d1L" v,1h11nl· .uc b\ thc v:111uu,
111c111ht'r, t>f tlll !-,: IOllp••111d lt 1\,1, p11bl1slicd
111 1,...:-!1 a, ·Hog.1rth's lo11r' ln t..,Xz I ho111,1,
•
llt1,vl.1nd,on nwdc dra\\ 111g-, of / ,r•c L),1)','
Prrt',!1i1J,Ur1111 . .11'0 in d1i: ílnti~h J\1u,cun1
(1944, lO I I 167.1- 10).
úl'! W. l-1 . Pvnt:, l:ri/111~1!." t1/ /~11Jlrt I-(i:11n _fnr 1/11•
C111 /ir/11.1/1111< ·111 •!f J.•1111d.~1 "pr. 1s 1:\. íro 11usp1t·t:t'
qt1ntl·d 111 J\ll1ch.1cl ( '1.trkt'. '/711• 'J,·1111•111{t:
f>rt>.spcrr. ~ S,,cit1/ f lisr,ir)' •~/ f·,1,i!_l1sh li :11,·r(,1/t,111,.
Loudo11. TIJS 1, p. ;1 r .
r,9 Notono11,I,. l{.o~,ettt ope11ed rhe gr,1,·t· til
Ll1z;,bcth Elc.tnor S1dd.1l 111 l)LLclber tl'i<1tJ ro
n.:lr1cv~ t..hc poc:t..ry 111a.11u~L 11pt Ú.lJt hc h.1d
bt1r1t·J \\llh hL"t ':it:t' Vírgi111,1 ',u1Ct'L~. Rt>.((1•rr,\
/>orrr,Jirs ,~/ /:;/, ::u/11 ri, S,dr/,1/. <. )xfórd .ind Aldt'r-
shot. l l,111c.. '!.l~/l: JJJ1 M ..u·\h. [li::.il1l'tl1 Sirld,1/,
1,-l2y-1S(u, ':ihl'fliclJ: l-tu,li11 G,tlk·rv. IIJ':/1,
J.111 M.1r,h :ind P1111t>la C;crr1,h Nunn. 11r, -
}(J.111h11rlit1 1lí.i111r11. lr/isl~. M,,nLhl'~tt•r; Cllv An
GJllcrit·,. 1997.
70 Qunted 111 Andrca H.. osc. flrr-lt1pl11rclirc JJ,Jr-
1r.11r.,, Yco\ 1L Son1cr,ct: Oxfortl lllnstrJtL'U
Prcs'\. 198 1. p. X<J
71 H.. ep1-,id11ced 111 1 R,>s.w•r1, ( ,1b111e1: ,,t Pnrtfi,J,,,
,,f !)r.11,•ii~l!S br D,11/f( G,,hrh·l l<.,>S!'t't/1' 1lttln r/cl
1111p11h/is/,cd . . t·d. Willi.1111 E. Frcdt•111,111.
\troud: l:111 Hodgk111\, 1991, 11lu,tr 1no11 (Jl
Sce .1bo W1lha111 E. frcdc111,1n. ·The Grl',n
Pn.•-n ..., J1 hac.l itc P.1pcr (-h.l~t'.'. Í.J l JJ,11/1/tcd
'Ji·xrs: Sr11dh·s 111 /lr1 1-R,111/t,1r/iti511r /11 H,111,1111 e>(
l l 'illii1111 !.:.. Pred, 111,111, ed. D.1v1d LathJrn,
Toronto Jnd London: U11 1vcr,1rv oi" T<,ronto
Pn:s~ . .2003.
·ce Al1son ·1 hon,.1, et ai., / hl' .-!rt <!/ Hild,1
C,11 li111: ,\ /r_, Sr,111lt }' S111·11,cr. L1nt:0!11,l11rc
(:ounry c·ounc1I: U\hl'.'r c;.1Jlt'n .•1nd I ondo11·
Lund l lun1phr1t·~. 1999. ·rhl' m·o nude por-
trai l studJI.'~ ,vcre sho,\'U togclhcr •
m d1c
tounng exh1b1tion T111· \!11k,·d P,,111r111. S.eL'
/\li.\ rei 11 H,1n1111cr. f'/11 1\:,1ked P,1rtr,11t, 19/lt>-
.:!J,,7. EJinbur~h: N ,LtiouJI G,iller1c, or ~cot-
lanJ. 1007.
Chapter l welve
Draw1ng the Stud10: Powe1 and I egrt1mat1on
t 1)1ego Velazyuez. L,) ,\ /11,i11,~ 1ó'i6: i\lJJr1<l.
J\lusen Nac1011.1l dei Pr.1do); J,111 Vcr11 1et'r 11,,·
-!11 ,,f f>cti111111'< (1666 ~; V1cnna, Kun,rh1i.-
t11ri.,llil·, \1u,..:u1n): Gu,1.avt: Coul'hcL, Tl,c
/>r1i11/,rs S111tlit>:, R,,,i '"1//1:l!llf)' (1S,.1-,. P111~.
i\1\11,él' d'( )r,a) ). 1 hcre .1rt' no pr1:par:irory
'
111e:in1ng,. of tlll''l' .1ll1•~orrl'' of thc .1rr1,r ,li
\,·o rk .lrl.' ,o horly contesrt>d 1s ro ,uggl',t rhar
th~ ,ub1..:.:l
•
1s l'lthcr oi an ll\'cn\hcLnu1!-: • llllll-
plt"'Xlt) or l Vl·rr pn1hk·111,llit' kcy l(l pn1lin111d
NOTES TO PAGES 307 316 175
 u 1 ,111t 111 lll re11nsc11tH1u11 111d d1t nlil'II Llljt>\'\ tl1, h ( 11111)',llllllH Ili 111 11111,1\ Ili P·"I"'· <11.111d11111<·111111 .1l\11 p.11 111r,I 111, ,11h1r1 l

111L ·11110111lll~ ,,1 1hc: ir11,r 1he 11 1111p.111y nl iln .111tl101, 111 v. 111u11, l11H 11 1 1/ IJl
1 /,/, / 1/,11)' { ,,,1,,1,·1·1 ( 111 \\111k' ( /., ,111,11,/11 ,,,, J\1111ft11~. ,·, I 1\\.111111 l\l' ll'll. '-it·, i\ C,,-.tl1, l >,•111111/111 '/'i,·11,,/,1. /'/11 / 11111,/11111'1/,,
- 1'1111~ tllt I hlt1 1/,
r/11 Ji,)I ''J ,J 111 ! 11),,c,j, l!,Jth 1, J ·x l ll.1kL·, li Ili ~. K1·111p .111.I M.11~.11,I W.111-l' I , Nt·\\ / >1·,111 1111.i:• pn Li,,. _l.11111·, l ly.11 11 '-oli.t\\, 1 1111d,111
( l 1l go. 11)111-i, p ,_, (Bo1 1k '\XXV. 80 ~l'i) l l.1v111, 1 r 11nl 1 111111\111 , 11,H<J, p. J') I< ·,11l,·x H1111,li fv\ 11~,·11111, 1,,111, (\\ ln 1, tl1l d 11 \\ 111g
1 111, 1~ 1111irt pot..l1< tr 1n,I 1t1011 1h 111 l.11 t·1 lJrl11 11.1, 1 1111111, lol, .!OI .! 111) \\ 1\ 111cl 1, .11\·d ,1, l i\ IIIF Ili i h,· /\1111 M 1,.1 111 Ili
\t·1,11J11s. ,ulh .is th~ LoLb l l. issll 11 I_ 1b1.11, HJ \.11111 1L·I ,.111 l l1H•l-"-l1,1!1•!1, 11 , /11/rp/111(! lt•I ,/1 ( n ll1·1111111, lf"II\) 111d ( ,, .1h .111d ,111d ( li Il i !-\1

tíllhl 1111111 h, 11 ll 1, kh.1111 /11,,111, ,1i1t1t1/, d,•1 \,/11/.l,·,k,111,r (l111111tl11,11,,11 ,,, r/11
1 l, 1111, / lo111n111 ,, , ,, ,,11/,1, \ /111/('/ / )/,lf/ , 11,111

ln h 1 ,~ll111 ~ 111 th<:> ,cor~. JJ l'nll1t1 ( / /1,• l,/r•,1/lr'I',/ \, /!11,1/ 11/ J~U/J(lll.1/), ll1Hll'l'd.1111 t11r X /'vi 11.111. 11/1)(1
411 ,,( <,1« , 1.1,1,~ 11 ,111d I >,,.11
/lc ::-,,,111111 '.-,~•l· ( \·I('\(\' B111,.11 1 1111/111· ,1111/ //111 /,111 1111· l11 1111 1111 p.11 111 111~. h) ,, l lllll\' /\1.11 1111 1 111glq1,,
1111111,. l'nglt,,nod { litl,. :si1, l •)I", p 1/,,) ,111,/ f l '1Í /1111/ ,1/ s;,1111111 / 1',111 / Í1l1!t! , ll1111'11 1 ( 'li H .lftll l ,1 ( :1111 111•,1/1 ,/' l/1'\1111,/11·. 11!111, 1, Il i tl 1l M11,é<'
rr.111,I ire, da· 'p.1\\101111,·' k 111i-; .is hc111g 'nl .111 ,1nd 1 011.1111) 111•1,, pp. ''h 111 \,lti/rl 111 l l1111 h d1·, 1\11µ1 1, 1111,. 111111111 1,1 (11 1!1 11, 1)

11.1" iblL· llJ t t1rL'

0
11,,-.111, ,1 , h1t ld . ,11 1hL·1,· 1, .1pu1111111µ1111111l'< 11) '-11•1 ili, dh, 11~,101 1 .11,111 11 11111s11111 t1t111, ,,1

J l ht• 11.1111c:, 1111:.nl~ d1,101 tc:d. 1nt·suu1.1hh llllll \V llh ,h1lld .111 d p.1lllll l, Ili "/11/,/,1 V.111 l lll' 1111111' ,11 ,n 11 1d tl n 1111,t's p111cl11tl1\1· ,11td
llll'.111, ,1ll•g1ltl·d l-l11<1~,11.1tl'l1 .tl,o 1,·l.11('' p ,11 11ll'I\ 11, ,.1,l111g tn pt 1v.1 1, ,11nlin ,1\ ,1 'jl,ll l 1111 l ll ,Hl\l\' 1,·11,·.11, ,1\
.\', Jll/,1 1,/11,1 11,11id,1111 ('~l H>t·111 .1k1.·r , t1Lk CP rh, i.\'<'l lll'\ rl1rv 11"" rt\('. 1,1 1111111,11\ 1,1111.., 111 11pp11,,·d til ilH p11hli1 ,p,11 ,. Ili 111, ,·,l111>11 111µ,
your l.1,1' J 101\l ,u ld1t1 ,, ,.q,1,1111, ,111d µ, 1ll'1 ,1 I, (11 '1•J), '-i. d ,111 du11 11i• 1'11- ,111,11 111 11:i:i1111• .1 1111 11.L'\11111
1 .1111 11ot IL"IL·1 1111g tu J11n~\ tl1t·or1 oi 1h, l 111- 111d ,01111111s111~ , , v1 11I.. , ~ ,111,1111v1tv lih, 1h,11 11,111.1 1y 1'L'110d 111 l 1,11111 11\ ll11 h ,1 1d \V 11glr,,
leco,·L u11t11rht·1ou, but ,uggt·,nng thl' 111ore 111 ,1 µ-L'llL'r,tl 111cl,·1 111M li" 11<1111,, (p. ' 10), ·1/11 e l/ 1_~111~ ,i/ / ,, 111 li Irt < '11/rr 1,111 /1r1,11 1//r
p1,tg111,1Ut ,111LI no1111.. u ,,e,,· th.n .11ti,1s ,Jltl''' Jihil1p~ A111-1L l,, Ili lt1 , lll'.ll1'( l.,1/ r/1•1 ,, l,i/,I, I 111,t,·11 Ut '(!l/111 ,,1 1/11 ,~,•.1(111,11/,,11, ( ),illld 1011 ,1 ,
,11dd~ntl> po1~·1H 1111,1gt·, 1,r 1111111111.111011 ti,1111 fs.,111,1 .., 1(,j 1 ( Ul11.· , l11 l ),1\.[(11, l•)IHJ ) .d\() 11P 1 ' 11 1,
eh,• r,·k•v,1111 s1111 rcc:, ,11 n1e111or) , 1pn• \\ ht'l1 ,h·p1<·1, ,11,1111,1 .1, ,lllllld \\1tli 11,ill1·1 h11 1~l1< , l 111111111· 1 > 1111 1111·1 , J/, •,,111,/r1 e ,·i/111,(! C ,t111/>ll1/''
thl'\ .tl'L' lll'l'<lt:li .111.I 111.d1l,1i, 1.., ,t, \\<·li ,,., li, l11IL"I 111< 1 hnd\ r,, 1/IC'//r, 11prnil tH1d 11 1 l1 il'II\' l,,•111J.\1l .111d
/1 1 hl' rl"l,1tHH1,hq, of 1ht· l\pe ll <.:, 111d Alt x.111de1 .1111111111 J\11111 M .1111 l t·t 1H \ / ,1 / 11/1111111 ,/,111, /,1 /1\'//I
\to11· to rhl• /htl,\'çClllc d<: b ,1u·, 1' dt,, u,,cd te ir 11 :-.c·L• 1 .l\\'l'l'IH e' t 111\NlllH, / 11111/ ( .', 1111111': / /11• 11111, l'.1 11, 1,,N~. 11 11 1
<.:x.111tpk, 111 // C<>tll'(!l1111,1 lll 1,~8 ~L't' IJ.1ldc,.IJ LJ,1,r/ "ikrr,/t/,,1,1/.:,, N L'\\ Yurk, 11;xX. pp l l 1 1 ' 1 I ILllll M.tll\\l , 'N111,, 11l ,1 11 11111,•1 , 111 hl\
(. ,1,;ttglion<.:, Tltl' Jl(>11/.t ,1/ r/11 (,1111111.-r, u ,111,. A1L1lld111~ 1t1 /\d11,•11 ( ' li .1 pp111, ('//,, / )r,111•/11t!• 1) 1 I\VIIII' l 1•J ;•11. Ili ,, /,111,ú' tl/1 Ili ,·d 1.11 k 1),
( ;t·nrg,· 1311 li, 1 ondon, ICJ67 111'· 1nci ,li 1d I O.!, ,1/ / 11/llf ( ) 11/1111' f ( 1l/,,/1l(!lf1 /~ 111 <r1l1/111 ' \ (1\, 111111 l 1,1111d , 1•)71 1' 1_111
[,,ri) i1Jh,u1 n:tt·n:ttci..:, to thc l\p,•JJL,, 1nvc h, Lond1111 , 111 7J} \Pll ll <n1 11 111L·111.1u11, h,l\'L" --
J ' 1 ,·d, 11, \1 /1 1, ',1 1\1 1, 111111, 11,11 Ili .l,·1, 1, 1111µ
(\vh1ch Jb,o OL,llr in ( ' tlt'l<l) .i re 111,tdt· 111 r, l.1tL· d 1111, .111d .111 11 ( ,1111pJ11y 111f!. .!1.1\, 111g l ,t l li'l1•1111,1,11 1.il l l'h1 d1n·,1 111 h , 1,d111g1kt
11c:tr.1rçh , Albt'rn, l t·tin.1rdo, V,1,,111, 1 ).1t1 fl 1no .111 .IIIISl p .11111111µ ,l l Ili ,•.1,c•I (llJ\ 1 l ~!l) lll ,,t,lllll l1 u( tl1t• \ ,d.1 1k 1 1 lt,l'f.(ll\l li! tl 1.- l'.tl,11111

.inJ IJol..:é, to h,t Jllst I lcv. FrL 11liok•1 111 11 1111111.: 11, 11.111.i. \ / t < 'ltt·/ /11, L1111 (11P1\ l l 1J.l 1llt ln, l Ih 111 1,111.1) 111
fvl.1J11r ,HIJ,Ls vvho 111dul~t·d 111 ,L11 h ,uhJC:t h d '11 111 •11· 111, ,1111111 ( '/ /11 1 11/.:11, 111•11 ,\ /,11/1'1 Jiin,·) ll11111t· A 11 11111• 11,11,il d,•111,11,111 1, ln1 111d 1n !1 11•
1111 l11de ln~re·, ,1nd l )t•l.1,-rntx Al1ho11gh 1.:0. hr,1,1 1111~ l.·11,·1 1,1 P 111 kh, 111a I oi 1 1 1\ l.11, lt p.1Ílll ll lf! 1/1,·.~••I)' ,1/ / )1,111 1111~ Ili d11· l\1111~,·1· til'\
Je.11hbcd, an: prc:,lo111111a1Il, sLc11e, ui .1r11,1s' 1"i.!'i .1bput .1 11 t·x1 h,111µ1· ui purl1.11h 11 ,111,l.it<·d lh·11 1, /\ 11,. ll..11IH' II. 1,, ll' I l l11H h \ lll llltlll
11\'c~ ar~ Jl,o L<lllllllllll (sc: L f1 .111t!' I Ll\ktll, 111 j. 1111 12 ,111.\,l , 1•1 ,1,11111, 11/ U,11,u,l,1111, l ,111d!111, flll i ,11\ l,111 d1· 1 .ll ll"\\l (1í1' 1 1 710) , \1111 111
1 hi.> l)Jd Ma,r..:r, 111 N111c1ct·1nh-,e11t11rv ll)'i '. PP ,,,, 111, (lll'" Ili l11h11 l'Ppt· t li ,· b luu l .111 1~1 111d tltL'lltl'lll l Ili ( ,1·r,1 r, I d,·
írc nch l'.u111111,:', Ili (J11,111trl1• xxxn./ 11 19 7 1, l lt·1111,·~,} 1/11 1 1'1>1/1,lit 111 l/i 1 N1·11,1i1.1,11111· l 1111 1 .1 11 ,·,~1· A I l.1,,11 .1llv 1l1 .1 p ,·d 11 111.tl,· 11,·1,,111111

p~i. ,;,-~ô) For c~.1111plL', l l,·11 1Í r.t11llll·L,1t,HII .1( ►11 Pl 1,11d111 1 111d N,•\v Y,11k BP ll1 11µl.' 1 11i/,; , ,I IH•II .11.111, 1111 111•1 k 11,•1·,, \ 1 l11lc .1 111,1k
( 1llJ(l-11)04) dL'.tlt \\ 11 h th,· 1nt1.-llecru.1 1 ,ind \1·c ,d,n I· 11, in P.1nol~k,. 1 1.1,11n11, ,uid d1c q,p , ,•1lf 111· " l,·.I l11\v,11d, 111111,1111,11 11110 th,·
~ncul d, n,11111cs oi .1rt1~t1c lifi.• 111 d1L dt·\lrnvc: d \/1\11,1! An,· /,1111·,1,1/ ,,J tlll' l l ,,i/1111,\! ,1111/ e.',1111 111y,11°1 I( '~ 111 d l 1 "l'l I ', l ll j1111µ h ,' l ht· 1\ 1 l l\[,
•
illegor} ui 'f/tt· Tt1,1,r 1 / ft1111,1.~, 1,1 Ji111/J, fÍli f111if1/ Í/l\lllll/1•,, X),,X I I (IIJ/JIJ), pp, .?UU .?7 l\ 1ip11·11111 ~· .111d N \ 11n·1, 1\ \,•, ll't /\11 1\1!1·µ11 1\.
"h1, h tht'TL ,trt 111,111y dr:1\\ 111 g,, .111d l· 11g~11t· 13 l<.1n· l v,111 l'v\ ,111.!1·1 f /11 · J.11,.., ,1( r/11 ///111/111 1t1, 111 1>1,J\1 1111', h, J .111 dt· 1 11n·,,,.·. S11111\1/111 \Il i
M.1nL I prod11c,•d l"\,·o p ,1111tlng, 1btllH Ih,· hl<· \,•1/,n/,1111/i,I, ,111, / ( ,, ·1111,111 gtÍtl/1'1\ ('d l h·,\\ 1 ( 11JSt1. pp 'Il i 1
of VcláLt lu c.1: Nlil·,lt·n1,1, 11,111, 1 >t·11, ( \,ok l l.1d111111,·, r,, 111,. l 111 1111 ,111 11 .llhlll ,111 ( 1<'\111,1 1,·1 B 111< li , \1·1·
Thc the111c 1Jf A p,·lle, ,il,o <1ppt•,11 e d 111 t hl' l )0011 1, p qk : 1 ).1v.u ,,. l<JIJ,f 1J, \o i 1, p. IJl (lol i\li,011 1\ 1, N,· tl ''l'lll'l ll lt' / l/,111'111(!\ (111111 1/11 li 1
\rt1d1olo ot l--r.1nc,·,1·0 1 1n che P ,tl.1110 Vt•t t h10, 2.0X\). /1,>11 /, S111,/111 / ,1,11, (l 11,1h •µ11, u i 1h,· 1 )u11 h
l lortn,e. p.1111tc: d by Popp1 (í1J 1Jl't•,lu tv1111.11 1 11 l t.rp111d111 ld 111 li11d, ·1111,, ,1/ 111· /lr111 1,.-i1 ,llll l l l,·1111,li 1 ) 1 i\\ Il i~\' Ili th t· ll1 ik, 1•1,•111,·11h;
d1111 t 'i,i 1-1,;v~) h,t\\ ee n is"º ,111d ,,-3 /~1•11,11,1,11111' ,111,/ 1~1•111,111/1/t.\l/l, 1·d /\ 111t111 \V /\ 1\1111,·1, ll11 k ,11111,,·1 1111, 1\1 11,tr1d,1 111) • \t1I,, \
Apt·llt•~ 1s rht' rt·ntral llgurc: o i 1h,· lrt'~ru d<.:t U1"' h loo, \ ( :1avc.:11h.1µ,· ,1111, t<JXIJ, I' t,1, l 111 l, 1 1\( 11h .1µ,· \1.1 ll \l illj.!,'\( l l f. Jl )l-i~
1HJ.L1011. 11\J lougc:1 1u l'.\ISlt:tl\.t. 1>t tltL' l.1~~dc lllic1íll\,1t1011 011 l )01 lt,flY, \\'t• ( ;lll l)' lll J\r\. 11l i 11 1 ln t ,1,1 d h 1,t1.11t·d ,· .1 1111111 111 l \•,.11, l?.1p.1\
,ir' l{ubt·n,, h1111,t· 111 AnC\\t-rp, 111l·li11l111g ,1nd fJ. 111ln fvl 111 111, / ,1111, / ),11 1.~11)' 11,, 1 1· I' 1111 /11•1111/,1~•1,1 d1,• ,1111tl.11 d \llll l < l l,11111.. h1 1
llcx,111de, 1hc <,r, ,11 1 t.1/i/111<!
0
,1 1/11111r/1 ,b,1/1 .11 1d /ll//1111 1/11/,11,11(1 /J,l//11'11' ri 111,111,1,V, 1011,1 l'vll l\\'l ' 'l\'t'llll'tll l h 1111111,, 11(1\h, \\ 1, l'llbl ,~lt, d 111
C,1/1111111)' ,,( • lpt'II, s. TI1c1c 1, .1 Jr.1,v111~ 11i cll ( .1,11. IVt:l\ 1110, ,llh l \'t11 1,1 l\'l.11,1lin 'OI>! , 1~ 111111· Ili 11,111, ,lllll l i 111,l.11,·d l llltl 1 >111, Jt Il i
d1L l.ttlL:1 111 th · ( :0111 t 111ld l11,u111te oi 1, JJ l'i1ll1u, ·1111 l 11,1/(,1,T11,p lfl\ l 1' 1 t
Art c.;~IIL'I'), 1 011do11 (n 1()7S, 111.5,iJ ltub,·11, 1r1 ( o11111b.n11,1,1 l'1c· p n lo. llr\,111,/, 1 ,11,d C ,11111 •,l\/•1· / 1,,• / )1,/11'."'"· "' ( 111111,1•.,,(11/. /',1111111 \\,1,
rl't t.'l\'t•J .1 copy o( r:1 ,lllLl\l u, jun1u,\ {)e 111 1111 s1111Ji,, ,,, ie..tl,·, 1 ,, ,,. t1tl 011 , ,111, .1,, \'l lf,1,1\1".I Ili IC\l' I\\ h\ 1' 11•1, 1 S, 111·111 k, ,111.I
pirflll\l ,, •r,·111111 til lÚJ7, Ili "h1<·h 1h1• \[O) lt'~ ,Ili' 'iJD X 10 111111 (l\ \pJ1l11\il /Vlii \1"1111 1 ut l 111,• p11 111, \\\' l l' 11111.I,• Ili l I lllll 11, 1111,·,· , ,1111•1
11·rold d1rl'cil\ tron1 rl1t• ,1111hor l\rr, ( ·ollL, 111111, /\d.1l.11111 V111 1111111< l!t•,1111•,1), <'l lf-!,1 .l\l'I\ l lH' tl' ,, ,1 li 11 1,·.I 11-llllllll~ t,, 1111·
•
9 Leo11.1nh, ,011t111u1·,. 'I Ih 1l',1d~11,L' 1, lk 111 1 1, p11l0 pu, po11,·,\I~ IL pr,·,,·111, 111 111,l li .1, .11 11,1 I h,· 1\1111\h 1\ \ 11,,11111 , li ,11111µ 111 l hl'
,111d adoi 11c:d 1v1tl1 dL'li1,;hilul p1 <t11r1·,, .111d h1· Ap1·l l,·, 111d Ili, ,\1 1, < ,·1 il1 .1 t :u,11d1 1, < 11 11 pn111 p ,1 1111L 1 ,111,1·11111• 111 hh g.11 r,· t ' 1s

476 NOTES TO PAGf.5 316 326

 dcscr1bed by Ern~c Gon1br1ch ,~·as for a lon~
rune aunb\tted to P1eter de Uloot. Anclne5
130th, son of .1 painccr Jnd brother of anothl'r.
,va~ in Jca.ly fron, 1636 UL1LiJ hi~ J~·atb, anJ
associaced ,vith Pietcr v.in Laer and rhe Ban1-
bucc1a11t1. See Eddy de Jongh and Gcr LuiJtcn.
J1/11ror ~r E1·cryd,1y Lfji:: Cn1rt Pri111s 111 tllt'
Ne1hrrln11ds, 155,r-1 70<>, rr.1n~. M ic-hael 1--loyk·.
Ghent: R.1Jks.n1u~eum Aniscerdrun/Snoeck-
lJucaju & Zoon. 191)7, pp. 47-51.
2<, Eha5 Marnn scud1cd 1n Pans 11ndl'r Cl.n1de-
Joseph Vcrnec, then bec,1111e onc of rhc fir;r
AssoL-iare R.oyal Acatlcn.liLi.111> in 1770. I ll:
l.1ter ren1rn<:d to s~veden, ,vhcrc he bé('arne a
111en1ber of rhe Scockhoh.11 Acade111y An oil
pa1nci11g by hin1 of chc Ca:sr Roo,11 c11 1/1l' RoJ1<il
Acade111J' of' 1770 1s tn che Narionaln1u5ea111.
Srockholn,. For son1c infor111at1011 on Sergel's
dra.,vings, ~ec Joli1111 Tolú,is Sl'(~Cl, 1740-1814.
CopenJ1age11: Thorvald,en, M Lt.~eu111. 1976.
27 For 1nforn1arion on the double portnnt:S of
Maria and Richan.1 Cos\•\·ay. scc Stcphcn
Lloyd, 'Ra.hard Co~\.\<ly. 1M: The Ara~t .1s
Colleccor. Conno1sseur and Virruo~o·, ·lpo//i,.
cxxx1n/352 Uunc 1991 ), pp. 398-405. Fro111
1785 COS\Va) \.\'a\ enritled. by appoint111t•nt ro
chc Pnnce of Wa les, to s1gn h1~ portra1t
dra.,ving Pri111,1rius pitrv,· Sere11i.ui111i ii'r1//i,1t Pri11-
cipiJ. Sl;'e- the exhibition catalogue b} Stl;'phen
Lloyd, K..oy Porter and Aileen IZibeiro, Richard
a11d .viária Cosr1•ay: Rcgc,,c)' ,.l,cis1s <>{ Tasic úJld
Fasft1,J11, Ed1 nburgh, 1995.
2X Théophile Gnutier, r831, quott<d 111 M1ch;it•l
Pcppiatt a.nú Alice Bcllony-Rt•\vald, l111a,11J1111•
s
tio11 Cli<1111llfr: A rrisrs 1111d tJieir S111dh1s, Lon<lon:
(;ordon Fraser, 1983 , p. 57.
29 Such u1a.ttcrs ,verc con.standv addrcssed bv are
hi\COrtath ui the fi~t half or chl' n.venricth
cencury. Sec, inter 11/i,1, the discu~sion o( ·c·re-
ativc ldlenc:,s' in Jl.u.dolf Wittkov;er and
Margol Wittkovver, Bvr11 1111di·r Sat11r11: T11c>
(~haracrer and Cond11cr <2f A rr,scs . ...-1 l)(lc,1111e1111'd
l-lis1ory _(ro111 .1111i111ity 10 1/ie Frc11rh Rcvo/r11io11
í 1963l, Ne\vYork an<l Londou. 19()1>, pp. 5Y-
(>(> Paul Kn~reller (Re,"1iss1111ce 'J71e111gl1t 1111d t/11•
A ris: Collt'rtrd Essays 119651, Princecon., 1'.f'
Princcton Uruversity Prcs~. 19yo. pp. ~47-58)
exam111ed the develop1nenr of rhe cerni ·cre-
Jtivtty' :ind located its presenr usagc in thc
cigluecnLh .:c11rury.
30 Marteo Bandello, quotcd 111 W1trko,ver and
Wittko,ver, B,,r11 1111der Sat11rn, p. 60.
31 Giorg10 V:u.ari. L,vcs 11_{ thc, lJ·rist.s, traus. George
Bull, 2 vols, London and Ne\v York, 1987, vol.
1. p. 263 (Vasari, Le Pire de' pirl em!lc1111 11iffari
~,11/tori t' ,1rc/1itetrt1ri 111'/lc rcdt1.::ío11i dtl 1550 e
1568, t·d. lto,anna BeLtan n1 ,1nd Paola Baroc-
ch1. 6 vols 111 9, Florence. 1966-87. vol. 1v,
p. 26).
32 Santuel van Ho0h-.-;rr.1te11 dea!r "vith ,1 compe-
tlt1on bccween two .1rhscs, supposedl) :1roi1nd
16~0. wh1th \hO\\ed up tbe1r <l11fcrt•nt
working n1echodolog1e, in tl,l. l11/rod11rtic•11 u,
rltr r ld1·1111a·d Sei,,,,,/ o{ P11i111i111! (l11h')'di11,1!) \li
1678. This 1~ discussctl 1n Ern~t ,1u1 de Welcr-
1ng, U.c111hra11d1: ·11,e /Jai111cr ar r Viirk, A111srerda111.
1997 Van de Wccering suggc5r~ rhar thc .irru;r
rcprL·~cuecd 111 "f/11· .llrtisl i11 hi, St1uli11 1, Ren1-
hr,1ndt'~ colleagllt' J,111 1 1evcns. E,,rher ~cholars
hav.: ,ug!--,.-ested (}crrit l)ou, and in tbe cata-
logue to tht: t:xhibition R1•111bra11d1 b)' flú11sel{.
the entry for rhe \.Vork sectle~ for .R embrandt
h.tniself (Cl11·1,tophcr White ;ind Qucntin
Bu vclol, e<ls. Re,11/11,1111/1 /1i1 llí111.~e!f. Lpu<lon
and 1-he H:i.gue, 11)99, pp. 120-21)
JJ Boucber, likc tht..' royal pavttcr Carl,.. Vanloo
(1705-1765), produccd 111a11} drJ\-VÍll!c,~ and
p,unt1ngs of .1rnscs ;n ,vork, 1ncludíng chc-rn-
bic cl.ulcl art:Jsts (tu11/1 11111,>rc), snch as rhe \ t11111.~
Suilptc•r i11 /11.s Sti1di1>, 1761, blad --hill . .268 x
32n n1n1 (Ne,v York. h·i(k e· ollc,rion.
66.3.98). ,vluch 1s full of srudio par::iphernalw.
Jr,1\.\'lllgli an<l boJy parrs.
34 'f/11 L111d.1rap,' P11i111er, cngrJved by Jean l)aullé
afrcr Boucher 1n r758. For .1 dist1.1ss1on of the
p,111u111g, ~ce th.: cntr) b) Al.tsi..1ir LJjng in
Fr1111(<>u B011clirr, l';o_J-17711. Nc\.V York· l-vh:tro-
poln:an Mu~eun1 of Art, 1986, pp. l..{_9-51; see
:ibo ~t.'111' LJ.lllg. Thc D1<1111ili~s ,!/ I'r1111çois
B<>11d1t1. Ne,v York and l .ondon· Sc;1la. :?ôo3
35 1-teproduced :ind br1efly d1~cussed in Virg1n1a
Surcces. RosscJ1i'.~ Partr,11ts t!f Eli:::abl'tl1 Sidd,il.
Oxford .1nd Al<lcrshoc, 11.tnr,, 1991, pp. 32-3.
36 A very fi-ee sep1:1 1nk nnd bn,,h version of
l:ili:::,1bcth Sidd,,I Sc11u•d ,lf ,111 l;11scl ha5 r~c.:ently
bt:en n1adc publit by Lo\\·t:11 Libson. London,
and ,v1ll bc 1nch1dcd 111 (' hri~topher N~·\vall's
n:v1scd edit1011 of rhe llosscttl catalogue rai-
,
~onne.
J7 lt ,li\<> evokes 1).1un11er', dr:rv.,ng C),rvt /{ead-
i11g. cirúr 1865-70. 111 the M;;-cropoht,lll Musctm1
or A rL Nc·\\ York. ,vhere tl1c bch,1ttcd armt
do7cs on J. bench in a ,vooded landscape ti1II
t)f dJppled hghr.
38 lG..11,b llcrding. ·n.1un1tcr 1.ritil.}uc de'> rcnlps
n1odén1es: recht:rches sur 1'1-fistoire Ancienne·,
G«1::ctrc dc.s H1·,111x-.--lrts. v1/rr3 Uanu:rry 1989).
pp. 29-44.
39 The ,vork \VJ.s c~ncaturt'd hr Q11illenho1s :u,
'M. Courbet enrhun1é' 111 L'il/11srrc1tio11 (2 1 July
1855) \Vith a hugcly ex;1ggcraccd 111ghtcap,
hl'avy heard an<l an enorn\ôllS p.irnrbru,h.
Sct· Stepbru, Wolohoji;i11 and Annn T.,hinci, /1
Pri1·c11c Pt1ss·1()11: 191h-Ct'ltfllf)' P,ll11Li11gs t111d
Dra111i11gs ;;11111 J/1r Gre1111il/1 L. 11,]111hro11 c:,,lll'l -
tion H<1r1•ard l '11i1·mity. Ne,v Yo1·k, 2003. p. 64.
-1-0 M ~ u1tcrprl'tatiot1 is \'l'I')' ruuch aL vanancc
,vid, Lhar of i\li-.h.Jel Fricd iu C1•11rf•cl ', Re,,lis111
(C: h1cago and London.1990), v.~ho. cunousl),
relace~ dus pose (and the stnpcJ garn1cnc;) 10
Lhe appe.trJncc of a top-hJtct:<l Courbcr 1n rhe
lost drawing Brassrri,· 1111/T,•r n1 rirra 11' pl,
\\ ht·r,_. .1 grc1t1p t11· tigl,rt', ,11 ,li J ,· 111'.· t 1blt·.
41 1 hc t<.'nn \\';1, LISl'd by \rt p,1no,,:1 111 :i !t·ncr
invcsli!t,1ti11!; thc h1stor) 11f f:tcturc, M11~1.u\\,
:!2 J~nuary JIJ.!.2. reprnduced 1n 1\lcx.111tlt·r
La1.:rcnhí.'\', r f1r11,1,.., ,\tt']'1111<>l't1: , 1 (,'011;rr11ctn 11s1
L{/1.. LouJou: Tb:irnes ,inJ r1ud,on, 1988. pp.
17r-.-7 \t•e aho tht· 111,111, rcft-rc11i.:t<~ e,, J:1kr111a
1n C'hri\t1n;1 Ll>Jder R11.1·si,111 (;r,11't1ut111·1s111,
Nc"v I lavcn. 1;1. dnd london. l•JS.1. Th~· tubc
l11t'ChJllÍ~lll ror blO\\ i11g p.11 111 ,pray \\3S lt1t."r-
c1fully ~nper,eded by a ,pr.1y gun or rnn1-
prcsscd ;ur c;tui,c(.r.
4:i StcpJn0\,1. ·A Gcncral Thl'ur ~- of Co11,Lrlll-
rr\·Í\i1l0, lccn1n.' 1r INKh\11, 22 l)c•rc"111ber
1921. 111 L1vrent1cv. 1,rn·,11,1 S1cp,nH11·11. pp. 173
5.
,13 P1c.1s~o Jrev. h1\ O\Vll (T()\\'dt·d ~tud10, and
bousc, al1110,r ,Ili olten .,, i1111g-1n,tr) ,tutlin
spJ.Cl'\. -rhcrtc i,. for cx,11l1pll.'. d Vl'l y 1.rudl'
pt'nc1l .,nd ch.1rcoal dra,v1nl! of thl' ,tud10 1n
rue La Boc-t1<.', ot Junc 1920. rad1l'r s1n11lJr tu
Matisse·, red stu<lio (J\11' 918), JoJ 111any bru~h
and 1nl-. \ll''\VS lll. L;1 ( ·alifurn ,,.,.. ( '..11111l'S, 111 .1
,ke-cchhook ot 1955 1n che Mu,ée Ptl·,sso,
P,1ris.
+~ Sce Ur,gHtt' 1 éal, (.',ir111·t.s: n1111h1ii11t drs drssi11~
,\ /11sé1• /Jia,sso, :?. vols, JYans: lléu111011 dí.',
Musi'.-t.:s Nat1onJ1.LX. 1996. ,·oi. u,
-1-5 Thc eclhíng;; l),:l!ttS i11 1h1° Br,>i/11•/ \\'tre do11t
ín March 1971 ln an tntt'f\'te,v ben,0 1:'tn
I3rassa'i and Picasso ui r9-1. Ura.5s.11 ~bcnved
Pica,~o J nc,v rranslat1on of lu, book (~0111•cr-
_c<1/Í()//$ a,•rr P1rt1$~t1, pro1npt111g P1t':1~so ro ,kecch
,1 Ví.'Nion of R.c111br.:indr .mtl h1, 1nodL·I ou thc
fl) leaf 'Havc you t:Vt.:J nou(l.'d - "'hcn .... vcr
,omeone p:11nts I he arti,t ;ind h,s 111odel he
aln lOSt ,1hvays pl,tct·~ thí.'1n n1ucb too e lo~í.'
tog-.:thcr. ln rca11r,, therl' I\ .:th\ a\.~ cons1dcr.1blL
d 1~t~11 ct' bct\vee11 then,. :-.o, !'li put l~t'm-
brandr on the k·ft h.tnd pagl! .u1d rbc rnndcl
011 thc right. That ,vil! giv,_. 111orc air. llll>tc
,p.tce' ('The Ma,cer at 90', 111 -1 Piut'i•l .-111/li,i/-
'tl/l'" l)t1[l/llll'lltS, c:rl/1[/Illl, cd.
N.u111111SCl'll(l'S.
Martlyn McCully, London: Thc Art\ Couuc1l
or C,reat Bnt.1i11, Th,llllt'\ .11,d l l11d,1)11. 1y1'1, p
.:!73)
-1-6 Tbn ,,~ rcputcdl, Courbct's rc~p(>llsc lo a
ft'tJlll.'~l for ,l ,i:11:.portrJtt li·o111 ,l gn>up or
(:er1nan arn~rs 111 chc 1~<1os. 1 he 111ridcnr
i.... rcport<.:<l u1 Julcs-Franço1\ f1.:li)I'. l lus,011
(-:h.11npflct11). S11111•1·111rs ct 111>111,111., d,· J1'111H·.1.,t'.
P.1r1,;· .E 1)e-nru, 1X7.:!. 1nd d1,rll\'-Cd in n,n~t nf
thc Co11rbct htcr,nurt·.
.J"7 See Bcrnit.e l~ O~L. Thi: Dr,11,•i•~~s ,,r
Rtl)' Licl11-
1•11s1,•111. Ne,v York 1<Jll,, pp. 37-40 .111d 10.2-,.
-1-~ Sec IJ1.111c W.1ldn1.1rt. l{oy Ut!11r11stci11; l<r:fll'r-
fic>t1.1 R,JJ.•~-~,, M.il.,u n . . l w. ll)tJ<), p. l)h.
.~1) '')url.i. t:, l',111 bt.> rt.>crt',Ht>d tnd vc,t11n1t·, rt~111-
terprctcd in ,l r1ctUR'. hut ,v hat ,, onl· to do
\\'1tli ,1 1n1rro1 \Vho,L ,urGttt: 1~ ah,,,1v, ch.ing-
tng and \\ h1t h should rt'flt•ct t'\'t'll Lhe ,pt·l ca-
NOTES TO PAGES 330 137 •177
 tor Tl•lJC l~ 1 od1111g cht> 111 d11 but ,ttlk ou
1 r~JI pn,e Uuan l;ri- 1911 lJ\l\>tcd 111
1) UllL'I l lcnr\ l\..1hn,,·, iler, (11,111 ( :ris. //is l.Jfc
,111,I ll,11k, 11111, l)ougl.1, c·oopc1. Loudl>H:
l 111111 l lu1nphn,·,. 1•>1-, J1l' 1'7-S).
!Jcquc\ 1>crnd1, .\J,·111,,11., ,,, J/,,.. Hl111d: l ht• Sc!t-
/1,,,rr,111 ,111d ( )11,cr N11111;. 11.111, PJ,L.t.h:-Auuc
Bra1ilr t'lcl 1\ hch.1t·I N,1.1,, ( ill,J!,tO 111d l on-
•
don, IC><J3, p. r,2.
51 fui rcl"i: 1CIILt• tt> 111orL' philo,oplucJ.! uucr-
prcr,,tl(lll\ n! prot1k· ~1.lf-p11nra1t~ \l'I.' V11.t,ir
lcn1n11n ">co11.h1r.1 .--l \/,orr Hssf()r)' (lj r/11·
S/r,1c/,111. tratb. A11th.:-l\l.u-1c (~1.l',ht·l'U, Louduu.,
l<J1>- p. 11 .1nJ n 41 011 p• .:\4'i .ind V1clor
1 \to1rh1t.1. cr~n\. Anne M~r1c· C,la~hcen. lhe
~,•[f l11°,11·c J,11,i~c .·ln ln.,(itl11 i11tc1 I.i,111)' .\l,idcrn
,\Ir1,,-f~11,11i11.~. c·.11nh11J.g1.. 1997 pp. 19K-116.
t ·0111pl1.·x ,1Tr.1n gt>n1enr; or· n11rn>rs ,irt' 111-
volvcJ i11 .:apturing a pmhlc ,clf pl1rrrait.
.
~L1x 13eL ku1,1n. 'On u1, PJ.1nti11!!'. lL·cture oC
'
11J ."l1'; tr,111sl.1red hv, P. \. l-.dl.1 111 .\/11., Ht•rk111111111·
lhe 'li11•1i•d1j, London: \:Vhttechapcl Are Cal
h.-rv Art\ CounLil ofGrcat ll1i t.uJl. l\)~1 , p. 11 .
53 ">ee Jn~t'ph I c·o Koerner, ·17ic \ /111111111 t!( Srlf:
J>-irtr,11r11re 111 Ccr,11,111 f~u1,Hss,111(c .-l r1, Chic.,go ~
.1ud London. IIJ<J1. 1Te ren1ark5 on ~111ul.u-ities
ro ,1 ,varercolc1ur drJ\v1ng by l)iirer of (~/irrst
<lf //,t• C",1/1111111 Ot (lf[tl 1 ,os_.
Thc tin-.1.111alg,1111 proct.:s\ of lining 11urnJrs,
\\ h1Lh ,votild alln,v fi,r !.1rger, fi,ll rt'flt'ct1 ng
surf.1ces, \VJs deYeloped onl) bter 1n the six-
tt:cnrb ccntury. Scc JuaunJ. Woods-Mar~dc11.
l~r11,11sst11111• '\1•/j:JJ1>1trdll1tl"I': 771, l 'isllnl Cvus1rHr-
t1n11 ~/ ld1•11flty ,1111/ rl,e Srrí11I ::.r,1n1s c?f rhr -~ rrist,
Ne\~ I I.ivL'll, e 1. ,1nd Londou, 1998, p. 31. D,·
r111r .xrc1p/sic,1, tran,l.ited b~ Dryden as 111~ ,. :1,-,
•:f P11i11ri11s, l1i1 C. -4 d11 J~rc.-11oy. London, r695,
ro11t:.1111s sontL u1Lcrc~ru1g ru1111nano11~ on
1111rror,. ' \ c·onvex M1rrL>r altt.'r, the obJecr~
,vh1ch ;1re 111 rh-c n1iddle, s() that 1c ~ee111~ to
11ta.kc thcn1 come out tn.>111 Lb t: Supt.:rficic.-,.
1-hc Paiutt:r ntU\t do 111 che san1e 111.innt>r 111
n::~pect of the l.1ghcs ,1nd shado,vs ot h1s
Figures, to !...,-1ve thl'1n 111ort l'lchevo .ll.ld 111orc
- '
Stre11gL11 • (p. 167). 1711, 1~ cnutra~tt•d ,VLth: 'Thc
P.nnrer n,u~r havt' 1 pn nc1p:il lte$pect co rhe
Massc,, and to rht EOcct of chi! \vholc
togL·thcr. The Looku1g-(~lass di~tance~ rhc
( )bJel t~. Anel h) conseq1 ,ence give~ us oncly
to ~ec: rhe 1\t1Jsscs. lll ~rrucJ1 alJ thc litllc p.arrs
are l 011 l'-iundcd (pp. 177-8).
Pn11ton110 \\:h cc.1n,1der.1hly 111H11enced by
lJi.1rer A rcd chalk Jra\>\'Íng 011 ptnk papcr,
S111dJ' ,y· ,1 Bn1<IÍ111/ F~!!Lllt f-loldi1\I/ ,1 \l11cld 111
( )111' f-l,111d (UIT121, 653r,1), for ex1n1ple, ciev(.'1-
ops thc d.r.t,v1ng fron1 a ,.:t oi gcon1<.:tric.tl
~hapc, it1 th<.: llL,Ulllt'T ~,r
Dure, St'l" j,ll1t'l
( ox-l,e,1r1Lk, 7711 / >,,,,11111_1?~ •~/ /'c>111,,n11,,, 2 ,·ois,
C· 1n1bridge. \1A, 19fq.
Tllli ru\crt:pancy JS llOt 011ly P~\lholog1c,1I.
Qunuih.111. in h1, ,1dv1re on de,orou~ ge~u1re~
•178 NOTES TO PAGES 318 348
for or,1~ory, 111~1sti. thJl . thc cye~ ~houlJ JJ,,,•Jy,,
bt> tl1rncJ i11 rh<.: ,.1111e d1n.:coo11 ,l\ thl· gc"~ture.
·cxçtpt ,vhen ,vc are ctlled upon to co11den111
OJ .:01tccdc s0111cth111g or to cxprc~s Jbhor-
n.~u,·e· (7711· lnsncutto or,1tona l![ (2ui11ri/11111,
B,,,1/.:s \-\li l1922I, c:r;1n\. 1-1. 1-. Bucler. l.an1-
bnJgc, M.\. anti London. 1yy8, pp. 281 3 1vol.
1v J). Th1~ bc( a1 ne J. co111111\>II 111,ln.a:cion i 11 are
treanses.
57 Tlus LS rlic gcscurt of a scH:.portr:ur hy A11ton-
lt.1ph,1el Me11g-s of 1774- in tht Ufr1:1.1. ,u1d \Va~
tore,;,h 1do,ved 111 a ,1X"tt>enrh-cencury P,>rtr,111 '!}.
.\ lid1i.:lt111.l.!e/.1 of ârcc1 1535 by J.1cop1110 dcl
Conte 111 the l'vlc•tropolit..uJ Mu~l:'11111 <}r Art.
Ne,, York. ln a van;1nr of chi, gescure. the
1rt1sr ,01nctin1cs pomrs co Jus o,vu ,vork 011
tlic ea~t'l, ,I\ 111 J St'lr-porln1it dr,1,v111g by l">ier
1eone C,hen1 of firr,l 1700.
Pica=>SO, AnseLn J{citt·r and Lucicn Freud. for
cx,1111plc. h,JVL' dra,vn or paÜJtL·d ll1L;n1s~lve~
n11de-. S1nce \vr1t1ng th1~ eli::ipce-r, .in exhrhinon.
"f/11• N,iktd f>ortrllit, h:i, rrnvellcd ro variou~
\enue~ in 131 iw.u1, intluiling t.bt: Scoccish
N.1tion,1I Portr,1it <.;aller). Ed111burgh, .1nd
Con1pto11Verney, War\.vicksb.tre. ,\·here 1t orig-
inared. See Martin J-l,1111 ,ner, T11t t,,Takt1/ P,,1-
1raú, 1901.rzoo7. tdinburgh: Nanonal C~allcrics
of !}cotland, .2007.
59 1 leinriLll Srhv.,1rz, 'Scb.it·le, Dün~1 .utd tht
Mirror'. l'l ri Qu,ir1t·rly. JO ( 1967). pp. 210-33.
.)ch,v:11:z includes a phorop;raph of r915
~ho½-utg Schil'lc in fi·ont of dtc vcry largc
11111-ror 111 his ~,L1lho.
60 Quoted rn Jane K.J.lhr, .êg,111 Schícle: 11Te G'e1111-
/lit'lc' f,l,,1rks. \.Vith ,lJl .:r.say by Wolfg,11,g G.
Fhcher, Ne,v York, 1998. p. 92. K,,Ihr, an
o b,1011s ad1n1rer, adn11ts chat Schiele's ,el~:.
porrr,úts 'cvokc .i tanr.alizing conlhina.cion of
~1ncenty and .1flectn no11. (p. f>X).
61 For rhi:' supprcssion of lhe ha:nd, and oche1-
infor:111aLion rcleva11~ to Lhe ~cl[-porlrahs. see
Ak.·s~andra c:0,11 in1. E.l/011 Sd1icle '.1 P.orcn1i1.~
l 1974-I, Berkeley, CA. and London, 1990, pp. 80-
62
112.
Si:ff Pc111,n11 (!( //i(' Sirk Dürer ((ircn 15 1.:\- 13 ;
Bremen, Klln~chaLic) ,vas evidenrly 1nade ui
01der to de-st.ribc bis ~yn1pton1~ to a doctor.
but tl1e dr,nv1ng ha~ ('hri~ro111orph1c irnph-
cations. ~ee l{oerner; Tlll' .\ Í<>111e11t t'} Se!/:
Porlr,iir11n: /11 Ct!r111a11 l{i:11.,1issa11re ,-1rt, p. 177.
63 Tht• earlier pen~il clr.i,, i11g ,vn~ e,hibited in
Ne\V York in 198 r ar l)avis & Langd:i le 1n
assotiation \.Vith A11thony J 'Olfay: prcsent
o,vni:rsh~~ unknnv.·n ((;111,,11 j l>h11, 1.'17()---1939:
/)r,11, ir1g5 artd ll f11i'rcol<1rs, 14 Apr1l-9 Mar 19X1).
0
A nutnbcr of rel,1LcJ dra,vi.J}Wi c1.re iu chc
N,1rional Mu~eu111 or Wale"1. C:JrdiH~ See
{:ccily Langd:ilc. (J11•r11 Joh11: M1irh a Ca1t1/og11.-
R,1tso1111é ~r the Pi1i111ii~{!$ tllld t1 S<•l1·aiv11 <){ 1/11:
Drn11'111gs, N ew 1-1 Jv~·n, e , •.,nd London. ryX7
Chapter Thirteen
Charged unes and Vernacular Bod1es
I Count Cario cc~ar1: M,Jva~ia. i'vfall'asia '.s Li/e ,,r
1/1,· Carracd. Ct>111111e111c1ry ,111d
"lh,111slati()f1, tr,u1s.
A1111e Sun1111ersc:ilc, Universttv Park. PA, 2000,
-
pp. 120-.11.
2 Sct Denis MJho11, Sr11dies i11 Sl'ice111i> , !rt ,111d
'/711°0') 1 l1947 1- \Vestport, CT: c;rcenwood Press.
1971. pp. 260-62 (Appcndi..x t).
3 Fllippo Baldü1ucci (The L!J;• ,,[ Ber111n1, trnns.
Catherine Engga\<l, U111ver~1cy Park, PA, and
London, 1966. p. r-1-0) r-cla:tcd 13erni.ni's 'bold-
t1t:~\ nf toucb · Lo lib c,tríc.ilurc~ ·or cxagger-
at.ed ~ketches, vv-irti ly n1alic1ou~ dt-forinanon~
of peoplc 's appcarancc, ,vhich do not destroy
tbc1r rese1nbla11ce or cLgnity, tl1ough oftcn d1cv
,Vt're grcat prtnCt'~ who enjoycd the joke v-rich
hi111 '. Giovanni Battista Passer1 ,tlso di5cussed
caricature iu his 'Life of Do1nenic:hi110' i11 Títc
de p1rrori, 5t11/1ori l'f <1rr/11te11í r/Je a11110 la11<lf/lto i11
Ro111<1, 111ort1 dai 16.p /i110 11/ 1673, R o1nc, 1772.
-1- Dcni~ Dideról, Didcrc>t 011 .dtt, tr..u1s. Jol111
Goodn,:111. 2 voh. Ne,v H,1Yen, e r, ,111d Ll)n-
don, 1995, vol. 11, pp. 12-13 (Salo11 of r767).
5 J. Ge1pel, Thc C,J1 t()t111: ri S/Jort Híslory t/{
Cr,1phic (;(>1111!d)' ,111d Sarire, Tro\vbridge :ind
Londoa: ÜaV1d and Charles, r972, p. 56.
6 Ernsr l{J-.is and E. l l. Gou1brich, 'The Princi-
plcs of Caricature·, in Kri~, P.;)1cl1t>1111alyrir
E:q,l1Jmrit111s i11 .1rt, N e,v York. 1952: reprinred
1964. pp. 189-203 (bascd 011 o1 paper of 1937,
read at rhe Warbnrg lnstitutc, London). T li i~
paradó:X- ha~ been the ba~i~ of Susan Brennan ·~
Cúlllputation~tl theory of caricaturl!.. \.vhicb b:il~
led to an expenn1e-ntal con1.puter dr;nv-ing
progran, cnt1tlcd chc ('11rrc,1111re Ce11crcuor, uscd
üi p~ychoh.>gy of pcrcepcio11 cxpl'ri n1cnts. Sec
C~illian R.hodc~. S11pt'']_J,1rtrt1i1s: c:arica11,re ,111d
J{en~~11irh111, Hove. Sussex.: Psychology Pre~~.
1996.
7 Tht' Ghezz1 Alht1111 , 168~1755, 404 X 261
n1n1. contau1s 79 leavcs and 212 nun1bcred
dr,t¼ ing~ (l31'itish Museu 111, 185y,0806.91). Thc
lralian 1nscriptio 11 heknv i~ in black ink, unlike
the- clrav.7.ng,,. For a cfucussion of Ghezzi and
thc historical context in ,vlúch hc ,.vas
\vork111g, ~ee Êch.vard J. () lszl'\\'Sk1, 'lºhe Ne,v
World of P1er Leone Gl1cZZJ', ."Ir, j,11rr1111/ l'"1 he
lssue <!_( C,11ica111n:. eJ. Jud.ich Wech~lcr]. xt tn/-1-
(,vinr~·r 1983) , pp. 325-3<>.
8 Charles-Louis Clénsseau. , vho stud1cd v;ich
thl' grcatcst of d1c llo1na 11 ved1uis1i. Giovan1u
P.l~)lo P,1nn i111 ( 1691-1765), "v.1~ al\O ,1 clo~e
lrieod of P1mne~1. sharing the san1.e Jameru~t
púliLic,d beli<!&. r-lL· "'ª~ tliro\vn out of thc
Ai:ndé1n1!.' dt' Franct' 111 R .0111e in 1752. He
\V:t, close to 13ncish Jrch1tectl1ral vtsrcor~ co
It:tl y, au<l ai:tcd o~ d.tawing tutor ~o Robert
Ad.1111 in Florence. alrhough h~ ,v,t~ r:irhl•r
sb.abbily trented b) the Ad,un brotbcrs, who
 were n1uch 1nfh1cnced by h1s ~cyle of ,1ra-
besque arch1tecruml dccor;itton. Most of
hb skctchbo0ks are i.u thl" l Icr1111t,agc Mu-
st·un,, Se Perer;burg.
9 See thc cl.1ss1c ,·olun1e by M.ichael C.1n1ilJe,
1111<1,~1: 011 rl,c E1(11c: T/11, ,\ !.11xi11s <!( ,'vlcd11:11al rlrt.
London. 1992.
10 Bet\vee.i1 1870 and 1900, r39 JOL11·na 1~ ~pecial-
1~i11g in cancacurc ,ven: publi~bctl in P.1ri~.
11 See Ch:unpfleury. /-l1sroir1· gé111·rt1fl' de /,1 <11rica-
111rr, 6 vols, Pans, 1S65-8!l. and Tho111as Wr1ght,
s4 I listury v_{ C,1rir:11111n· und Croresq11t' i11 Liter11-
t111i• 11111/ -!11. London. 11!65; reprn1ced Neiv
York, r96l'l. Edwrd Ft1chs ,vrore a number o í
studt.cs 011 the subjt.'Ct i.11 tbc emy yca.i·s oC che
t\venneth century. Walter l3enJ,1niin. Rudolph
W1ttkO'v\'CT, r.f\,\'111 Panotsky 111d Irving L:tvtn
h:.1vc a.bu dcalt with chc subjcct in tlassic essays.
!\ conrrover~ial e;,.h1b1tio11. H(-.1/1 aod Llf11•
J lt1,h·n1 ."! rt ,111d Pap11/r1r c:11lt11re, \vaç held ,lt the
tvluscum of Modern Art in 1991 (Ki_i:k Varne-
doc and Ada111 C~opnik. eds, J-fis!h ,11,d Liu,.
,\,llldct11 A rr o111d Populnr (;11/t11rl'. Nevv York:
M.useun, oC Modcrn Art. 1990).
12 ·rhc vvcll-conne-tted C,irdinal Alb,1ní \VU~ .ln
art patron and collector (W111ckehnann c:ita-
logucd htS Jntiquicics) and hc co1nn115s1oned
th<: Vi lia Albant, Ro111e. Poli111t//i1 Kcepi SdtCJPI
111 11 Bnrn ,vas engrovcd in reverse by rilippo
Vasconi, mJ therc 1s a print in thc llritiili
tv1useu1n that 111cludcs the- .idditional eh:rnenl
of a cht!d on the bed. vo1111ting. Jts con1pan-
ion piecc át Chats,vorçh, Polci11c/lt, u,irl, tlic
G11111, ,va~ etc.hed 111 reVt.\r~c b) Arcl111r Pond
rira, 1740.
13 ·On tbe Es~cnce ot- Laughter and. in General.
ou thc Coinic 111 che Plascic Arts'. in Charles
13audeh11re. ·r11e P,1i,11er <!{ \ /,1der11 L!fi• 1111d
Othcr Lss,tys, traru.. and ed. Jonath.111 M,;,1ynl.',
LonJon. 1964, p. 151.
Kub1n 1s h1ghly regarded a~ ,10 arti,r ín
Gern1any. \vhere therc is a L1rge l.tter.1rure, but
hc is considcrab]y undervnJueJ 111 ocher
cou ncries be<:~n1~e of the !,'TOtt'\que11e~, o( h1~
1111.:tgery. T-taoul Dufy is nor considc1·ed a ca.r-
1,aturi~t. but bi~ predonli.11;,u1tl} ~rapllic ,tylc
.1nd 1l lu,;trarive and con1111erc1al ea~e oí
dra,ving have relcgaced hin1 ro a place 1n
rrl'11cb h1storiograpby co111p.1rJblc to 1h.1c of
';a1nt-Aubin and Con\t~n1111 Guys.
15 Sec the decidcdly u11hu111orous :issessn,enc or
David by Albert Boiu1e in che ~say 'Jacque5-
Lou1s l)av1d: ~carological Discourse 111 rlll'
French H..l'volunon and che Are of Car11:arnre',
in rhc 1.acaloguc J:rc11c!, Caric,1t11/'t' ,1111' the
1--r, nc/1 R11•,1/111i,,,,, 178(r17t)9. Los Angeles.
Univcrarv o( Calitorn.ia. Wight .a. rr c;:1Uery
a11d Grun\vald C:t:ntcr for thc Graphll Ar~.
1y88, p. 68.
16 5L'e Mark Hallect. 111c Spertndt• •!l l)ij{tre11n•:
Cr.1phic S,uir( 111 thc i l.t?t. '-!f- Il,ix,1rtl,. Ne,v
H:iven, < r. and London, 1999 For ~ n:v1-ion
1st Vll'\v, sce Dern.1dcttL' fort ,tud Angt:IJ
H.o~t:nthal. cJ\, -r,,c ()1/11·r I-lt1',!,11tl1.
. -lt'st/,cti(s ,,(
. /11·il!f!hl <?f E1,l~[!ht111111,·111 Nt'\V H.l\t'll, e 1.
/)ij}ên·11rc', Pru1t-t'tOn. NJ. ,nd ()xtord· Pr1nce-
ton U1uvcrsity Press, 2001 .
17 Set' ·l11,·cdv1c., 11( l l'il/ia111 f lrJ.l!rlYl/1 11 1rit1.e11 b)'
/11111.,c!f • 111i1/J csst1y, ,111 his /{li> 1111d .t:1•11111-; ,11ul rri1-
itis111.1 011 /1is u,orks . [ 1833]. Lcudon. 1970,
p. 74. P,1u.l S,u1Jb} s C111i.-r1t11n•~ 011 f 1i,l!,trf/, ,vere
even pr1nted in a collecror's e-d1no11.
18 UaudcL-ure, 'Son1e Forei1:-,rn Car1c.1rur,sts'. 111
T/,e Pt.1ii11er ci( \ [ptÍer,1 Lffe. t!d. Maync. pp. l<.) 1
,1nd 193.
19 .\ lascc1r,1s irnpl) carnival 01Jsqucradc~.
20 Jc1uiifi:r i\iluuta~u. ] 7,c Ex,,re.1s1011 l!( thc P,1s-
_-;i1nis: Thc ()n.~i11 arnl l1if/11<·11a· <!( (;{111rlrs lc·
/Jn111 '.< Contcrence ~ur J" C'.Xpress1011 gênér.tlc l't
parni:;ulicrc, Nc.:,v I Tavcn, CT, .1.nJ LouJun.
11)94, p. 138.
21 Le Brun c1ted 'the ;1nc1eot philosophers' ln
dl\·iilinp. Jtfccb 1nto thc Sünplc .1nd the ML'\.l'd
Pa~s1on,, Anger, Fe:tr and l)esp,11r be-long1ng to
d,c lattcr gtoup (1b1d., pp. 126-7). l:d1nund
Durkc (_ l l 1/1ilc1.~opl11cal E11q11íry i111v 1!11.' S11bli111c
,1111/ H!'rlllff{,1/ ,111,/ 01/,t'r Prt'-R1'1'11/11ticlllclry fl"rit-
i11Js. ed. l)avid Won1erlscy. London, r99i!, p.
86) dcscribed che pass1011~ th,1t bt:long to ~elf-
pre-~ervaaon. which '1urn 111osdy 0J1 p.1111 and
d,,nger' ~~ he1ng ·che most po\verfi.11 of :tll the-
p~ions·, u1o!>t a~sociacc.:<l \\'ith rhL Subli111c.
22 B,1udel.1ire. '501111.' Fureig:n CancatUrt\t~-. in
'J'/n• />(li11rcr cif ,\)(ldern Lijc, ed. M.1yne, pp. 177
;1.nd 179.
23 WaJcer Bc-11janun. '1:duJrd FL11.h,. Colle1.to1
.1nd Hist0ri~11 . in ()11e-l Vi1y S1rre1 ,1nd ( )//1t'r
l l 'riti11_e.,, □-:u.1\. Edn1und Jcphcott and Kingsley
Shurtc.:r. London. 1978. pp. 181-2. Fuch~ ,vrote
n1any book~ on 1..ir1c.1n1re, 1ncl11J111g \.V01ne-n
10 <:.uicature 111 1906, and addrcs5cd thc
llllp<lrWJ\l l~\UC J,111t:11 ÍII de,
of I ac~IIJ in
K,1rika111r: ci11 Hritrag :11r K11frt1(~1.<, /1irhtl' ,1nd
Karík,1111r der c11ropilí.srhn1 ~,,/kcr. 1\}21.
24 E. 1 L Guwbr1ch, 'Tht.: Exper1111e11t uf CarL(a-
ture ·. Lll ,tr1 ,1111/ /l/11.11,,,, .4 \11td)' in r/ic J\y-
c/111/1\1[)' IJ.l J>irr,1ri11/ U.cprrsr11t.rric111, Lóndon .1nd
Ne,v York. 1960, p. 355.
25 E. H. C:on1bnch. "The Grocesque l-le,ids·
[ 195 2J. 111 f/ir Herita_,;r,e <1/ 411cllrs: S111dif.< u, 1/11•
.rlrt o( 1/ic Rc11,dssi111Ce. Lontlon. 1976, p. 59.
;?(, )ee M 11:hcle 1--lannoosh. 8.111drl,11rc ,111d Canc11-
111re: Fr(l/rl rfle c,,111ir /l' ,111 .-l,-r '!( .\fpd,,r11il)',
Univer~ity P.u·k. p \. L9()2. P· 5. c:t'oítiey c;a.1c
HarphJ111 (()11 1/11: Crc1ti-~q11c: Strat,:111es 1?{ c:,>11-
rr,rdrrritln i11 .-1 r1 a11d Lircrru11re. Pnnceron. "<J.
198"2. p. 17~): nores '1n rhe case of botb
lllClaphur ,111d the grOlt.."<\l]_Ul'., tl1c l<.>l'lll it\c.:lr
re~1~cs th<=" 1nr,·rprct.1ac·,11 rhat 1t nece\Slt,ttc,
We reniam a\>1.';ll'e of chc rcf~rcnn:il absnrd1tv•
uC thl" nic:tapbor dc~pitt: our Jtle1np~ to tran-
~rend 1c, and che d1scord of t'lt:n1t·11C, 1n tht'
grotcsque lorn1 ren1.iins d1scord.1nr.
r,,r ~ rt•v1,1orust rt\1d1ng of l'(llll:lrltlClSl'd \7~'\\''i
of Goya, ,cc Ja111, A. To111l111\l111. C1•}'<1 i11 r/11•
111d I ondon. 199 1 ')he rl'producc\ (;oya·~
.1ddrcss ro tl11: lto,·al Acadt:111v• uf S.lll f-cr-
nando. pp. 1111-4 ·Jlfi't'd 1'.11li11 \ ]11((>/n,,l!,.,)'hy
cran~. 1)cnver 1 1ndley, Ne\\ York· ( ,alerll' \e
.Ctu.:n11e a11u Cruv. u Publi,hcrs. 196ti. ~ xxiu
llin1itcd 1.d1rio11] ·rht: ,1Ul ob1o~rJphy ,-va,
\\T1tten to .1ccon1panv the second echtion of
h1s novel D1t' ,111dcr1 .)clf,• (T/11 Otlur \1dt'),
Munith: G. Mülil'r. 190\) A ,l1lll·1.,t1011 of
n1e1T101r, 111d dra,,,ngs. -l11~ 111ri111·111 l..t·lw11. \\':1S
publi,hcd 111 l\lunit:h. Ulr1i.:h IZ1"n1cr~,·h1111Jr.
L974. Then: n, J U~l.'ful b1hlioi,\r,1phy 111 Pl11Uip
H. IZhe111, 1111· l 'cr/J,1/ ,111,/ l 'isu,1/ .-Ir, ,~/ -1[/'red
K11fu11, lli\'C'r!ilUt', <!\: Anadi1l' l'rcss. 1988
O,llJdcla1rt:, Tht· P,ti11/,:r L!{ \J,1,h•r11 L!fi, c<l.
M,iynt:. r. r7.
c.;reuze's con1111ent i~ cu.ed in .1ll thc litt:rarure.
and ,vaJ. Jlll'tllionc.:d 111 Lhe 1,011u11t:nta1tt:s alter
bis deach. <:;ee Ellt11 d'Oenlh, 'Gabnel de
'>n1nr-Aub1n and h1s r1111e', in d'()ench :ind
luchard ~- Ficld. l1ri111, d11d Dr,1u•i11_1:., by Gaú,h1
r/1• 'lc1í11t-;{11hi11, 172-1-17,<?,1, M1ddleto'v\'l1, 1 t, Jlld
B,1h:in1ort:, 1',11). 1975, p. 8
JO 1-ettl'r to Alfi·ed VJ111.e Churchill of 13 Ma.rch
1913; in Ernst Schcyer. Ly,,111'/ fri,1111.~n. C,1rr-
rot11re 11111/ P,1111nJy. 1>ecro1r, vn: Warne ')cate
Univer'>1Ly Press. 1904. p. 133.
Ed111onJ l)ur:intv\ essav 'la Nouvel1e Pe111-
·'' l
n1re' [ 18761, 111 ('harles ~. Moffet er ai.. 11w
i\',·11• P,11111i11g: l111pressii1111s111, 187-1 11'l86, C,cncva.
R. Uurtun. Jntl Sc-a.ttle. \VA: U1li\l'r,1ty of
W.1~h1ngton Pn.'Ss. 1986. pp. 43-5
32 Brtudel.úrc. '171e Pai11rer <?f .\lader11 L!/Í.', t:d.
Mavn.e. pp. 9. 11 and I J.
33 l:3.1khn11 niake, ., d1,a ncnon bec\.\'l't'll rhe
L,ugbtl'T of the Cóni1t grotesq11e ôt the M1ddle
Ages (a;, cxt.'u1pliltcd iii R.1bcL1is) Jnd lhc 't.<lld"
,atirc .111d individu:1]1<;111 of 1he lto1n.111cic
grote,que. Sce thl.' introdurnon to Nltkh:iil
IJJkhti11. Ra/Jclt1is a11d his 11 ilr/c/, tr:ins. J lí:lcnc
lswolsky. C ;1n1hndgt', l\1A, :ind [ ondon. 196-;.
1b,d., p. 403.
Ibid, p. 317.
Sl.'l" 8Jrl) Wind, C, 11rr 111 rltc .·1.1.'< o( rht'
H111oq111•· A Rt's,111rc1 c;11idc. Nev.- York Jnd
London. 1y91, pp. xv-xv1.
37 Thi, nccüs co bt c1npha,1~ed bec.tLb<.: tif thl·
rec:1.1rrent cl,11111\ of che 110velt) ut n.1rur.1Ji,n1
1n che runerecuth centun,. fur cxan1ple,
Edu1ond Dt1nu1tv ·, 771,: .,:<'11' l~/1111111,1?,. t itcd
~1bove. The tir.;t h.1 lt" of t he c1unt,1tio11 011 p. 528
follo\vl'd tro111 thc st.1cen1ent 'F:ire\\·c.:11 to thc
hu□ 1an bodv u·eatcd hkr.: J VJSl ,, llh ;i dc.:co-
rattv.:. \\\'1ng1ng t ur,e' ,111d ,;or1t111ue<l 'By
n1t:.1U\ tof .1 b.,r\.., '''t' "-':lllt a ren1peran1l'nt .111
~e. ;1 ~oc:i,tl .:ondtrit)Ll to b,• reve;1]cd: thruu~h
.1 pa1r üf h.,nd~ ,vc ,hould be .1ble to cxprt·~,
J 1n.1gi~cr.1re or a cradt><;111~11.'
t>-IOTES TO PAGE=S 348-353 479
 '-1.l K111ts C 1trJ ( / ~,~1/1(t1 /11ds;1111,11/, • l htrd
/vtu1111.11t ot lud !ITK11t, ,,r [ 1,tc, Nl,. t 1 'ln
•
p.u11t1n •, ,, ulpturc, 1nJ 111 dl tl1t.: 101111.1L1\l'
,ut~ 1h~ dt·lsnt•111c,n b tht· <'"t:1111.11 tl1111g'
tlt11111n1 11cl K.111t. //, ( rrrrqttt' •!I /11,ll!t1ll'llf.
Ir 11~ J l l. Ht·1 llltcl, NL'\\ '{01k . .:000, p. 75).
l lc desc.rthc, tul,,111 nr dr,1pl'l) nr cnn,unc.·111
IJ•,11, •s;,r) .is '< 111 I, ç\tc111,11 co111plc111,·nt,.
1hc qu.1h1, 01·t1u, tl1.1\\ 111i;, 11.1dH1,111,1lh g,1,·i:11
10 l'.1r1111g1n11111n, rt·l.trcs 1n 1 \J,111 /-J,,/,lu(I! 1111
,t l'rtl!lldll/ H11d1, ctr,,I l'iJO 10, pt·11 111~! hfl)\\"ll
111k, 104 X ..:t.. 1w1 (Llln,lon. Bnu,h J\lu,1;wu.
11),S,07.! ~.r,1 '>1, ( ,1r111cn t: li,1111b,1, h c.·t ,1I..
(' ,,,.,.l!I!"' ,11,.1 l',111111,:1,111111,,. \l,1s1( lh,nir:l11,111111
,,( rlit l~t11,11.,s,111,c. Lu11J,111: 13riii,li Jvlus~u111
Pie.•,,. .!Ouo. l'I'- 1;,;.!-,. A. E l'oph.1111 h.1d d1tl1-
' ult') 111 d.ic111g 1'.1rn11~1.111111,1\ gcnn· , lr·1\\ 1116"'
,\, l,1tt· ,l\ 1S<)l) d1c.· 1·1l'111.h ,Jrt01\lllM rt.,rüilh
p111dt11. l·d ,lll 1llu,t1 tlt·d ,t'rlt'\ ,ir [ ;.•s 1>'Jlc'~ d,·
l'.u1~ ,vuh tl'\t, h,. l-:1111lt· LoL1. <.;uv. dL· ,\ L1u•
p.1u,,Jnt .1nJ Alphon_,L l ).iuuct.
e; l~ r 011 1121ü. "Ti,111,11,, ,lrll',,rri d,·/1,1 p11r11,,1,
.,.-11(1111,1 c"d ,1r,J11r,•rr11,,1.. • \ltl,111, 1511 1 t.1cqn1-
il,·. zoo<,. vul 11, l'I' ..:2. 1 4 .
ror .1 J1,1. t1s,11111 \.l r tht: l'l',lllltbutll.111 oi" tllt'\t"
dr.1\\ 1111:,..,. ,1:l" f\;.1d1nt· v1. t )rc11,1c1n 1.·d . J>1rrt'r
H111e1Zl'I tlit' Lldn L)r,111 ·111gs ,111tl Jl1111ts, Nl'\V
1Í IV<.'.11. l 1.•111d L,,11d1111 . ..:001. PP· !S+· 8.
111 riu~ l n11tt':...r, ir 1, ,1gn1flt ,,nt rhilt J.1t'1Jt11.'~
c.:allot\ 11111st pt>pulc1r r,111gl' uf pn11t<i (sold in
111.111\ 1.·d1uo11s) ,vcn.' llll' l\Vt'II L}'-fl\'l' 1111st-rJbll.'
1. rt'arure<, o t /711· Hi:~i,:,,rs (l..r, \ /i11d1t,1111s) ~t'nt"I,
publ"heJ 1n N-1nL, '"" ' r6:!2 J J\•\u,ctl c:mto11;1Je d'Arct.', .1nJ Müan: Sk1r,1,
Sl'l' "ilu:1L1 J\h T1ghi.:.
•
' Pl'rfi:, l n ... 1~1n111tv.
kk·,1I B é,Ull\ nr \Vt1rl:
.111d thc.· /111c\l!l/11llfc'
I'hc- Ilc,·l:.'ption of l\n111bal l' Carra..-..-1\ 1r/1 dr
[3,,/,,~11,1 111 1646'. ()x(i,,d . 1, 1 /,111111,1/. '< Vl/ 1
( 1t)9_~). p. 7<,. ln ch1\ 1rnrle Ml right' tt•I.He~
thl' ,n1dy ,11 genro ,uhJel'ts ro rhc rhc-llnc~ of
U1tl\ ,WlU Il,ll ll~l.1 A~Ul'l Ili .
•
A11 cntlrt· >l'l ,,r c.:ntst'l'P'-' Man.1 l\llltclh ·~
t·11gr.1v1111-" ot . lrt1 di H,,ft~~11,1. Hibo, 1, 111 rht'
U11u~h l'vtu,t u111 .
e;_ P llellor1. l úi.- o( '\111ub,1k· c :.1 rr.1tc1', in
'f71r l.1n, e!/ //,r 1\ ft•drr11 /),1i111t•r,, ')rttl]'f(>rs 1111d
1l r,/1,r1as 1 '\t'II' 'Jrr111,l,uii111 ,1111/ Crir11,1/ li,lili,111.
lr.111\. r\lttt "l·dg\\ Ili-. \X.,,hl. cd. l lell11111t Wohl
•
,111d lo111.1sn M\>nc.111,1r1. ( .:1111hndgc. 2005. p.
,,-. ln cht· ong-uul lt.iliJn 81.llon Lbt'~ Lh1.• l1.·n11
'r1tr,1u1 burlc.• ,tlu. ,iyc.•r0 t;~rH,1i1' (Bt·llon. /.e
1•111· lt · f'ltl,>n (i'rtir111i rt ,1rrh i tt'rfl 111odrr11i, cd
E, :il.u1,1 Bnn.•.1. rurin. 1976. p. 75).
47 Tltc pr,,Clt't, bJ~t'd 011 chc tht·orll'' or
(~111\.1nn1 B.1tt1\t.1 Agucch1's 'fi-,111,11<1 d, J'Íll11r.1.
\\,1' .liso rcprouuct•d 111 Mah--,biJ\ L~t, ,,f Ih<'
c.:.111.1,u '-.ct A11111b,-Ul' c.,rf,1LCÍ, /., ,/Ili
,/r H,,/0~11,1 /1 111111/,,d, < ,1rr,1.-c1, t'd . Ak·,~.1ndro
M,1r.1bntt1n1. lt 01111.· 1<1-9 For rh..: co1nplJL,1tt·d
~tlll) nr ;\ \11,1111. lvt.i,,.1111 Jlld Agurt lu, \t.'t'
Jvh. 1 l!,{ht.> Pt.>rl~·rt 1)L lon111ry, lde.il Hc.111cy ,111d
rhe /111,1rt111.r11t o i Wnrk'.
480 l'.OíE:S TO PAC,fS 353 3o5
'it•t· Lh e dr.1\v111g .111d t1i111111t11t.1rv, L,1(, 110. '\.1,
úl 1).1111t·lc Benati l't ;il., / J1c 1)r,111•1111!s (!t -ln11i-
/,,1/t• c:,,n,l(tl. WJshu1~tt)ll, 1)(.. 2000. PP· 2,;8 '9.
1\ h1 hc.·l.,ngL·lo '.- ·,-,,,.. dt· s,11 yr<', dt· 11n•/il (P.,n~.
l\ lu,t;e du l OIIVíl', <1S.~ rcrtu) 1s dr:iv1,n 1n pen
,111d 111k ll\'C I au .l'.UIH.:J reJ malk scud}.
c;.,1I l·l·l~l'llh.111111 ('Pr,ltlitl' Ili the C,lrtJl'll
A, ;td1:n1y' 111 /1,r ~ rrist :, r 1()r/,:J/tc>/1, ,·d 1-'CCl'l'
j\ 1 1 ukchJ1·r. wa~hinA"ton. l)('. l99J. p. (13) h,1!>
~u~gL'\lt•d tl1aL d11, Jt.>,1."LT,111011 oi thc .1lt.1r 01·
,11111qu1rv 1~ 111 ,uppnrt 01 rhc-1r progrannne ot
rt•lur111.
,\/,t/1•,1.,it1'., L/ft' ,,f rl1t' (.".1rr<1ui. u,111~. "ii1111111cr-
~1..de, p. 12 1 .
Tl1c d1r0c-ntn1 of cyc~ 1~ 1111porc.111t in ..:~cab-
hsh111i-: phy~1t1g110111il ,u1d ch.u.1!: tt.'r rl',e1u-
hl.111ct·, to .111111;.d,. ,1, disc u~,ed 111 c-h;1prcr
\C\'t.: 11 . PP· L\)8 2.0 1.
e. r ·n111<1Jlllll. TI fixittt• 1, ,9 11- Lited ilt U.i.rry
\V1nd. C,rrrn 111 //1( '-1.l!r e'.{ //1r Ht1r,1q11i·. Nt'\\
Yo rk .111d London. 1yyr. p. x1x. :::,e<: also Ann,1
fc.•rr.1r1-Br.1,·0. li l :(!!lllt' t!l'i C,1111,111i111 rt•11ri11 dc/111
pi/1111<1 di j i,11· '5,10, R..onu:·: Hul1on1 , 1!)75•
53 Bakht111, /~,,lit'/,ris ,111d /,fa íl i11/d. tr.1ns lswobky.
p. 3 t 8
5 1 1-or .1rch1rt·cn1r:il f:íOte~que~. Arc1111holdo\
e, >1lfll'Ct1011 \\'lth Lorn,1zzo .1nd a dtsc-us.sion ot
thl· !Jtll'T·~ ,, 1 iting.. JnJ cht Md,11\csc tr,1l h -
no1h nf grote~quer1l', tnl lud1ng Leo11,1rdn.
'il'l' dic- l'Xh1h1tio11 c-:ir,1logue ' R.abi.,r/1. li ,,un1t/c.ffa
11C'/l ', 1rrc dei Ci11,111ctr11to: L' . .lrc,11lc111ia dcllc1 r Zi/ d,
Hlt-11ii>, L,,11rc1<.z-1> ,. /'1111tl111'1 1tc \ ltl,111c$t', Lugano:
19yil. Iu J sl'll:poru.i.1t b} Lll ll.L.IUO iu thl'
1'111,1r(lfl'Ca d1 8rt·ra. Mil,111 ( t 12), che arti'lt
dcp1ct~ h1n1sclf :l \ tbe abbot of thc Val d1
lJlenill ' Acadcu1y·.
--1 //r1•d J....11/,111 '., ·l111ob1tt~r,1pii)'. rr;ins. Lindley.
p. \'XI.
Willi.u n I Jog-.u th, 7711• A1111lrsü ,,( &,u11y, et.l.
ll únJld Patils1.>n. Ne\v l-l;1vcn. e 1. and London.
199-. p. TO:! (chaprer XVl: '()t· Attitude').
57 ]lt,dolphl'. Topllc1, Ess,1y tlll PhysiO)l/10111}'
[ 1~4~ [: 111 F111c1 : T1rt' Co111íl'.,, rran~ . .u1d ed, E.
\V1t.>sc, L1ncoln , Nr, 1965 , p. 7.
Leo11,11cl(I <'" P,1i11li1(e. ttd. MJrrin I<.c111p, trans.
l{en1p and J\tlargarl't W.ilker. Nev. Havcn. e 1.
,1nd 1 nndon. 1989, p. 147 ((,odex Urbinas
Lit111u~, foi. 190v) .
59 Approx11n.~tel> t,venty-~1x of rhe dr,1\.v1ng~
fru 111 rht· ll..oyaJ Colll'Ctton 111 England ,vcrc
..-td1l'd by Wenze-1 l Ioll.1r in 164 5. Othcr ,clcc-
non, \\'t'rt.: engravc-J by Jacobo S.indrarr a,
r iTn,rc _hg11r11c 111c>11s1r1111.1ac 111 H..ao~bon 111 1654-,
.111d b} th..: Corntc de C.1ylus a~ l{cc11t•il d, reslcs
d,· r11r,1c1én· , 1 d1• ,-/1,11_11,·s ,lt·ssi111~rs 11,,r [..R()11,ird de
1·1T1â. P.1ris: (~hcz J. M,1r1ctte. r730. Thc Mila11
d1a,v111gs \\·erc cngr,l\·cd by Cario Git15l'pt-re
c;erh Ili Nlil.1n lll 17X4-.
()0 ':Ice '\U!,.'1.1\to Mar1non1 ,1nd Lu1~.l (~oghao
Arauo. Lt·v1111rd<• t1//', l111br,1si,111,1: (I ,,,rli« <11/1111-
/1(11: 1 ,Ji.,(f1111 di L•r>ll,ll'd<• t' de //t1 Sllu t'1Jrd11,I.
M1ln.n: Elt>cra. 1c;X2. p. 103.
61 (;iorgio Va.\,ltl, Le 1•ite clt' ' pi,) t·crclc11t1 pitrori
si11/rori e ,11rltitctr(lri ,1clle Tt'd,,~111111 dt'I 155t1 t
1568. e-d lZosanna B..--rcan n1 and l'aola Baroc-
i.:h1, 6 vols 111 9, Florente, 1966 87, vol. v1.
p. 14).
6 .! c;on1hnch , ''l'he c;rorcsqt1e Ht>nd~'. p. 65.
(ÍJ E. 1-1. Go111bnch and E. !<:ris, C<11in1/11rc, 1-lar-
ntond~\\Ot th. 1940. The co11uno11 topo~ that
::irnsr~ dr,nv tl1t.'lr own feJtures 111 cheir por-
tr:l.lts of others ha~ b..:cn c-arricd ,·ery tàr m
this to1111neilld-'Y·
l ' hcre " an ex~·cllcnt di~cu,,ion thi\ 111 or
lr,·ing Lavin 's ofi:en citcd css.1y on Bcrn tn1 's
carü.:acurcs. rcpri11ted J5 'T Tigh and Lo,v Ileforc
thl..'1r T11ne-: Be-rn1111 anel the Arr 01· "iocial
S.:irirc·• 111 / /('?li ,11111 Ú.lL/'. ed. \'an1edoe :md
Guptlil. pp. 18-, 1. LJ.viu l'ndorse, thc usual
orrhodoxy chat to Bern1n1 •caric;1n1re \va, ';in
equal .1nd opposite re-accion · ro rhc c-lcvanon
oí (l;1sqc;1.) ideais of h1s ri111e.
G1ovan111 B,1tri,t.1 P:l~scri, 'Ltfe of I)o111e11-
ic l1u1<1 ', u1 Dc//1! ,·ire dL' pillon, snil1t1rí eJ
11rclriti:11i: clr,• ,111110 li11•or,l/{l 111 Ro111,,, 11111r/r dai
1641_ti11,111/ 1(173. Ron1e, 1772 (tran~lat1on cour-
cesy oí G1uhann Ma.-..:1111. (;e-tcy R.c~earch Insti-
cute, 2001).
66 Uakht1n, /{11/1r/,1is 1111d Jus IVorltl, trans. ls'v\-· olsky.
p. 318 .
GoJr;,i_ius\ dr,1vv1ng LS close tu a ,vcll-k.iio\\·n
'
ecch1ng o( ,1 H, 1,1d (!( a \ !1111 111 /-',1111I1>rl C,1p by
Jusepe de l~ibera (Lo Spagnoletto. 1591-165~),
1. 16 X 139 llllll, ,il~v kt10\,VU d~ 77n· Ltry/t'
Crotcsq111• H11<ul, in ,vh1Lh thc: rool\ cap repeat~
the pballi!: projecoon of no$e and mouth. Hls
u1onstrou& goicrc belo,v eh<.: chiu con1pl<.:tcs an
1n1age whcre head and gen1ra l\ have becon1e
incerchangcable - ,, co111111on ~trac..:gy of laccr
torn,~ or politiLaJ ca.rica1urc. See Al!onso E.
Pércz Sanchez and Nicola Sp1no~a. j11s1·1•< de
l~1bcra, 1591- 1652, N e,v York: Mctropoliran
Mu~cu111 o[ Art, 1992. pµ. 181- 4.
· ... lhJeb t:en n()j~ entle \V1 lt 'Ne-1 , veertn/gh}
hebc vooren (?I vcrgceten', ,vhtch o·anslates
roughly JS ·r h,1vc :1 nosc, .ll> is \\ ell l...no,vn.
and 1r c-an 't be ignore-d.'
1-ihppo Ualdmucci. Notizu• ,h' prql~•ssorr dei
tli.s,,g11ti d<1 Ci1111,/111c i11 q11,1, Florcnl:t:, 17.2.8: L!t-
~11111le. 1974, pp. 81 -2.
70 Sce Giuliano Bdg:intl, Ludov1c::i Trezzani ;111d
Laura Liureati. Thc Ba11woai1111ti: Tire P11i111ers o(
Er•er}'day 1-i/i• ;,, Scve111ee111h c;c11111ry R(1111r.
trans R.. oben E:nch \X.foi(. llon1e, 1983.
7 1 lt L\ .i.q~uc<l rhat org,uJJsed L-1ggt>rs \\'órk bard
to pcrfet: e rhcír .1u1ographic ~fylc: in thc CS).l}
ou ·c;raftit1' ln 1-/ij!/, ,111d Ln~ 1• ed. Var11edo1: and
Gopuik.
72 l{r ís. Psyr/1()<111,1/ytir t:.,plr>rario1H 111 11,r, pp. 17h
:ind 1R3. J l ~1plançhc ,u,d J -U. Ponta.lts ("nu
.Li11t1w,111 1>/ P~yd10-.'1n,1lysis [ 1973]. Lo11du11.
 1988. pp. 62-5) suppl) a dl'liuitio11 of c,1thcx.1s
J~ 'che fiice thnr :i C\C'rt.1u1 .1111ounc of· psychic,11
eaergy is aet:ichcd to 3.11 idea or to ;1 group of
1deas. to a part of tbc body. to an objcct. etc'.
Freud ne\'er suppl1cd a ngorou, theort'tJcal
dehntoon, and 1t 1s genC"raJly u~cd ,n a
111ctaphoric,tl 111a1lJ1cr.
73 Kri~ and c;on1b1ic.:h. 'The Pru1c1 pl<!, of Cari-
cature . p. 202.
74 .13audclaire, Tln• f>,litllcr t!{ 1, l üât'Y/1 Ufc. cd.
Maync, p. 12.
"5 See the A ll1u111 t!f Ct1rtct1r11rrs l>y Rossrlrí ,111d
B11r11t•:/ullCS (11drl1 S0/111' ulliJII.) 11/ü;II)' ,ir íí'il/iu111
,\fi>rrís. ârc,1 1865-80, Lo11don. Brici~h Museu,n
76 See the :ilbun, asse111bled in thc l:3rinsh
Mu~cuu1 (1960.101.,1.. .:ii-.101) o[ 100 1tcn1S b)
Sir Ed,vard Burne-Jon~. Ll!11er, h> J,11/ie, 1111
a1111ir dr11111i11gs ,111d il/11srn11,•d lettrrs 11 111/1 e111'ch•pes
etc ,1ddressed 10 J •llss Kn1/rnri11c lsic l L1'1t·is. Tlu~
w,1s publishetl as a facs1n1 1le: Li.'lrt'rs "' Ka/1(1.
li 'itli a11 l111rorl11a,,ry J'.ore by li : (;ra/111111 l{ob1•r1-
sou. Lo11dou: Mar 1nilla11. 19~5.
77 Ess11y ,111 Phy~icig110111y Ors(l/11('1/ 10 Prc>/111>/t' flw
K11<111 1/edge onrl L<>t'<' ,if ,, lnnki11d /,y J"l111 (~,1spar
L.11,,11er . .. Tr1111slared Jro111 1hc Frc11rh I>)' l-Jc11ry
f-/11111cr DD, J vol~. H oxton , London, 1792.
vol. 1, p. 122.
78 Lcttcr to WiJJjbJ.ld P1rck1lc.1n1cr. 1506: Nut1:r11-
berg. Stádtbibliothcl, Pirckh. 394. 7. For Vic-
tor Hugo, see Solei/ d'cnrre: 111a1111srr11s er dcssi11_ç
de llirror 1-lt!~º· Pa.cis: _p/J.ris Musécs nud :U1blio-
Lheque N aliouale, 19~5. For otber frc 11ch cx-
::in,ples, see Sc111pe11irs ri<' 1•ny1!._(!l!S.' ,111tttí!,Yi1pltes er
dessi11s _(rançais d11 XlXi sil\ch·, Paris: R éun1011
des Musée~ Natio11,1ux, 1992.
79 1"õptfer, F-ss,T)' ,111 Pliysi«tq1111111y. 111 E11ter: '] 1n·
c ,,,nícs, p. 9,
Ro Sce Jca.t1-0ertra11<l Darrcr. 'ViLtor Hugo 's
lncere,t 111 the Grore\qne in h1~ Poerry anel
Drav:ings'. 111 Frc11c/1 1\ 'i11c1t'l'llfh-re1/f11') 1 J:>,1i11ti11g
,111.J Utrr,111tr1 1çonl"t:rencc pJper,7, cd. UlriLh
F111ke, M.1nchestt:r: Manchester U111vers1ty
Prcss. r972, pp. 2-58-79. J{ub1n '.~ 0 ,111ft' <!f Dc,11/i
,va~ fu~r pubfubc<l by .Br u110 Cas~irer (Berli11,
1918). ' rho111a~ R..0~11:indson had abo follo,vcd
the exa.mple of Hans l--lolbcu1 111 produc111g
Thc E,~~lis/1 D.i11cc <!f Dé11rh in nl15. ,,vitl1
~1111 l.1r srenes of ,1rtists ~rr11ck do,vn ,1t rhe1r
c.1scls.
81 •... gr<>te~qtte u11agcry Cólll,(tLIClS \Vhat \\C
nnght caJI a double hod}. ln 1he endless cha111
of bodtly life 1t tet3.Uls chc parr 111 \Yhich one
linJs joins Lll1.: olher, in ,vh1c b rhr Ji.fi.• of u11t
búdy 1s born fron1 che dt:ad1 of the prered-
1ng, older one' (13:i.khtin. Rahtlais 1111d hii f·f't-tr/d,
trans. r~v.ulsk.,. p. 318).
82 Julia Kr1\tev,1. J>,1111t·1:- qf Horn1r: A11 f.:.~s,1y ""
-Jl1i1•r111,11 [19No j. minç. Lcon ~. R..oud1e1. N e\v
York., 1982. p. 5.
XJ Tht· infiucncc~ 011 IZo,, l,tnd~on 's scylc(s) r,111ge
fron, C:au1sborough :ind f-ragonard to Fuseh,
fl1 x111,1t1 and R.0111ncy: inc.lt.:t·d ltc t'Vt·n pub-
hshed l~1•11'l,111dso11 '.~ l111/ta1íot1ç 1!)· .\ J,,rf1•r11 l)n111•-
111_1çs 111 1788 to cclcbrace lns o,\·n eclccucis111.
Thc pen a11d 111k dra,v111g b), !vlorcnnl'J.
/),irr111., /)1ssi·cti11g, tro,n tht' 1770s t'\ rn the Fry
C:ollcL tHln, Y::ile l\1cdíca.1 L1brarv. Nt:,, l laYl'll,
e 1. Not 0111} 1n1ct', bur o.bo cats .ind J0f>" are
atrracred to rh1s decay1ng cadaver, and vuln1res
pcrch 011 rhc hcads of thc doccors. Therc 1s J
prün of rb1~ 111uch-ctip1cd ,vork.
R4 Ft1nc1~ A. (;ro~c. R11/rs .1;,, Dr,111'11,g c:t1ríc,1111r,1s.
ll'itli ,111 Ess,,y ,,,, c.:,1J11ic f>o,11/111}! 11 778 j. 211d
c-ditiou. London: l Ioopcr aud Wig,.Lcac{. 1796,
pp. 21-JJ.
S5 Johann (:aspar La\~1rer. ·fragn1cnr S1xrcenth ·•
in Ess,1y ,,,, P/1y~Ít\l/""'")'· vol. 1. pp. 1-41 aru.l 1.µ.
X() Fr.1nc1scus J11111us. 171<· Poi11/it~I/ <!f 1/1e ,-l11ric111s.
London. 1638.
8~ Con1pared \\'tth. féir C'(Jlllple, a ,vondcrlul
serie, of •groo•n~ 1nd c:irn,1•re~ e, recordetl J~
bg-hcenrng hr~r 1111prc~'i1ons 111 a ski.1rclibook Ln
thc 11 untiugtou Lihraiy in Sau lv1aru10, (:.ili-
forni.1
88 Socrates uscd the for,ner Yar1::int of che cenn
durin~ a v1sit to Lhe pJ111tcr Parrh:1s1us as
de~rnbed b, Xenophon 111 rhe .\./c11roraln/r<1;
quored 111 Monr.tgu, '/ 1,t l::.\prr ssiv11 oj rhc Pns-
1
s1L>11s. p. 1.
81J Edgar l)c:ga\. \ '"1rb11,,k e 11 ( 1861): Pari~. Biblio-
cheque Nationale, ( arnet 327 d ré~.. 2 1);
quo tcJ 111 Lind.1 Nochhn. ú1111rcssh11us111 ,11111
/>11.11- / 111fnt1.<si1•11 is 111, 187-1- 1Q<l./: SPt 11·a·~ ,11,d D(>t'I ,.
111e11r.,, E11gle\Ynod <. '.l,ffi;, NJ. 19(,6, p. 62.
90 S1!fi•11i$/w , l11x11isso/11 r /e ,11r s(lrelle. Cre1nona:
Lt:unardo Artl'. 1994, Va)ar1 d1:..cu~~c:~ Angui,-
sola and her ~1,rer,, ali devntee, of dra,ving.
111 che 'L1fc: of Bc-ncvcnuco c;artl:ilo Jnd c;rro-
- '-)7
L11110 JJ. Carpi aud c,chcr Lo111b.u:d Arri~L,·.
in l.t 1•irt'. t·d Bett.1ri111 ;111d B.,ro,l h1, vol v.
PP· 427-rl).
yI What IJa kht1n refc:rred to .is thc: chronotopt
(~pace/n1ne) 111 lu~ e~say, 011 '1711· /)í,1/vgi.-
l11 11~{!111atit111 l198 r J. tran~ L,trvl l:n1erson :ind
M.u:hael l lolqu1i.t, Au~tin. rx. Uw,\·n1t) of
Texa5 Pres\, .zoo6.
9~ l::arh· edit1ons 1llu~trated \.\rith ,voodrurs ,vere
protlu.:ctl 111 Vcron,t u1 1479 a.nd Vcr11cc 111
1599.
93 (~iov,1.I1111 Harosta Jcll~ Porta, L1 Ji.~"1110111i11 dr/-
/'/,11(1111<1, d a•lcs1.:. 6 vol~. Ve1utc. 165.:i. Thc
ltab.an ve1"l1or1 uf the origin.11 L,1tin tcxr in +
books , v.1s ~irst publi~hed 111 Naples. 1591' ,,-,th
a11 culnrged l.'d1tion 111 Naples 1610 La.ter l'tU.-
t:1011~ 111cludc ,upplc.:111cntar} ccxts 011 phy,10~-
11on11ç~.
ln hcr vcty u~cf"ul book. ,--1 /-/ 11111,111 C'11111rdy·
[>l,) si,~iz110111i ,u,d Ccir1c.1CHrt! 111 tt)lh Ci>11rllr)'
1 b,10/.:s ,,( Gu.1~1/• Gr,is::, 1.:d. Pt·t1.:r '\íi,bL·t ( .u11-
J>orrs. 1ondon. 1982. Judith Werh,ler d1scrin1-
ín.1tcs bcl:\-vcen phy~1ognon11cs antl pnrhog-
uonut,. ·c.1111...1lllll Jra\v, 011 a.11J J1.:vel0p, J
l:\Yofnld u,1d1t1011· th,11 1>f phv,u,~1u1111r~. thc
1.- la-,,1liL 1tit1n of peoplt· 111 • h.1r:H tL"r tvpc-,
according to ourn--;ird bud1ly "g-11s, ,uch ,1\ ,h~
sh.1pt. ui Lhe Lve,. lt)rchc;iJ. tllllt1d1 .u1d ~o 011:
.111J th,1t u( p.1thu~1101t11l ,. tht" tlttt·rprt•talll\11
oC changing en1ono1v; h} t'.,L1,1l or bod1h
cxprcs~1011 · (p. 15). f lo\\ t·vcr. tlu:. l,t:'l.onoutit
di,l ulCUl'll pro\,·~ to bL· r,1the1 pt'nne.1hlt· a11d
le,~ ck·.lr-c11 e 111 rhe \\'ork of I l Brun ,, , rhtc
\Vrltill!-,"S of Li, ,Jtt:r .111d lus tollo\\ 1.SS, LJ\ .1te1,
W tht· f,()urlh fr.1gi11<:lll ()r h1s HsS,l)' (Ili Pli)IS-
Ít(l/lltl/11}', 3 v<,I,, rran,. Hi.1nry Hunrer, 179.:i.
,,·rote: · Phy~io1-,rt10111\ . • i~ thc 1ntcrpn.•tacion
of Lhe hu1nan po,, er,. ur the ,r1t:nl'l' ,vh1t h
expbrn ~ rhc ,1µ;11s ot rht• f:1l'ulnt"S. 1'Jchogno111y
is thc 111tt•rpn.•tanon ol tht: p.:1,\1011~ or thc
,1..ic11.;c dtat trc.1ts o( the s1~1s of t111. p,l\~iou,.
·rh e 011l' ro11,idcr, tht' eh 1T,tftt'r \\ hen 111 ,1
state of resr; rbc orl11.1r c.xa.n1ines 1r ,vhc11 111
.1cno11· (voL 1, p. .1_1).
!J-1 Qtiotauon, r;1ken fi-on1 rhe 1.·cnnposttc rcxt.
L,11 \1/tr'.~ Lt1,,k11~11-C/ 1.<.ç; ,,r );s~,11•s ,111 rl1t· J ,1<',' <!/
.·11111/1,11,:1/ .',:,11111,·. /rt!/11 J l,111 10 Pl,1111s. LonJon.
11!00, 1'1'· 1fi7 11nl 177. otht·r qpotatton, .1rt·
taken fi-t1111 tht: Henrv Huntcr rr.1nsL1n1111 of
Es~·,,y v11 PI, )'-HL(C:"º'" y.
9-; Sl'e 1llu~tr,ni,,11~ ,111J d1~ru,s1on 111 Jo,1..· Lope2-
1-te:·. G1•y,1'., l '.:ipnçho~: Hcn111y. f<<'11~,,11 ,1111/
C,11iru111n [ 1953). 2 vob, WcMporc. < 1. 1970.
pp. 66-72.
96 f-o r .1 d1sc11'>~1on of rhh ~er1e, of dra,vin!:,"1,
kn0\\'11 JOU1Li1 as The J 1,1)1h .\ /irr"r anJ besti..tl
phy~n1gnon1Íc\. ,t'e Vit..tQr lt·ru1111n Sto1cl11c..1
:ind Anna Mana ( ·out·1-ch, c;oy,1. 111v l..i1st ( ·,,,.
11ív,1/, tr,llli. Anue l\1:irie Glasheen. l ondon,
.t 9 1)9, PP· 60-71.
L111 1,11cr~ Lo!li.:111.1/-(;/,iss. p. ryo
98 Sir (~harle~ Bcll. / 1,e 11101011,y ,11ul f>/11/psv1•l1)'
t!F Expressi<>II <1.1 Cv1111t•tied ,r•it/1 lhe Fi11<" .1 rt.<
11 806] 5ch ed1t1011. 1 ondon. 1~6). p. 1-4-4.
99 (:harlc~ l):1=·111, 7'l1e' F:xprl'.S.Shltl (!_{ tl,r b'111c>t1t>11.-
i11 .t/1111 ,111d .J11i111,,ls j.18711, Nc\.\ York. 19-;5.
p. 3.
100 lb1d .. p 3<,5.
101 S..:e De,tn1u Pc tl1crbrid~.:. '()u MoJl:b md
Mi1.-kt'j Mou,e·. fi11e111arh111,1/ J,111r11,1[ ,1( Ir/ ,111d
J)csi~11 Ed11r,1111>11, 'í-Xf\/2 (2005), pp. 115-3 1.
101 Fro111 a le ttc r to Otto SLlunalhaust'n of JO
j lllll' 1917: quott·tl 111 f-rank Wh11fiird anti
C:h n,topht'r ( l.1rk. /'/,e Hcdi11 «!I <;1''1~1/1' <,n1s-
Dr,111•i11.~s, 1f ;,,.,rr,1h111rs .,,,,/ f 'ri11ts, 1912- 193,1,
Nc\\l fl,1vc11. c1. ,uu.l Lot1dü11. 1997, p. 174.
IOJ Í )ríl\\'lng- of l ·,1\( h111g {( ,lílll\•JI) .1ppeJr til hi,
carh· skccchbook o i r9 r1, .111d l'ctcr N,~bt·t
,ug:gesc_, that C,rosz\ t,lrJt'acur,il l\ pcs .1r1. bJ,L'<l
011 the 111d1v1du.il, ob,t'rvt·d 111 the ,trccr .1nd
capturecl i11 h1s ~kctchhook~ 'il't "fh,· ',kt'tâ1-
bndge /\-IA. 1<1<JJ. p. •1.
104 fh e dra,v111g-; \\-CrC' puhlt,h,·d .1~ /{n11.d.l '\farlr.·
Tl11Jt11/l,{~C ,l 'fi111/c111.,1•-L111t1t't. P.irh: Ld1t1011
E111p1c:i11c~-. 19<•9. ,111d hL· n:1ur11ed lo tltt>
NOTES TO PAGES 365 375 181
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11
111 j ' ll l,I llll ll ,1 111 ,Jt IIJl ,1 111 Ili 11111111111111~ k11c,·- liJµh ,t11Lkll1g,• .111d loúk~ do,vn ,Jl hi.:r
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1
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1\in11, nr ob~cc11l'
0

li Ili li Ili 11d ,,, 11111 ' 11111 1 11111111, 111l11 11 ,1 111 1 , ,1 l ,11111,111 u,tl N1,vY111 I,, lt/1}1/, pp. tHí 1í> A 111nn1--,'lil tlil' 111.111), 111.iny l on1111c11t~ on 1h1,;
11 \ ,,,ti 1•1K 11 t, lj t, I,," 111 1 ,, ll l' lll'd 111 li 111>111 11<·1. "'' 11! 1,,1tl'. " l t\l.111,, l'cru1ol.1. '13ct,1·L·t·u C1od1u1g

li 11111, d,1111 lllhL l,11\\1111 \1,11,11 Ili ,, ' 11111111 •111 g 11I d, ,,,.,~ 111 g 1111 li li11tlt1ll1\ ll"l ,11Jd N 11d11\ '. 111 / 1,1g111n11~ f,,,
,1 I /rsr,11 y 11/ 1/11

11 11 ,1, 111 11111 1111 111 111 111 1, 1 ,,1 1ti, 1 1 !1 11 , ,t.111,I 11d 11111,/1•11111 , 1111 l'\1 1•11 1, is 1111I 11,11.,d, 1111 / / 11111,111 /l1 >dy. L·1l. t\~11 hi•I rt•hL•r, 1,.1111011,1
1'111 1 1 Ili 1' I' Ili "I ' 1 I•\ l 11 11111 1 li I Ili PI 11,, Ili ,, 1111111 11" 11,li ,, 1h1 /l11//1 1/ll'IIII\ ""~ N 1dd.1u .,11d N.1d1,1 -l-,,,.
11 ,111~. H,l)I-\CJ Fnl'J-
•
11 111 11 .. 1 1 11,q,h ti ,, 1,11111 ,1 , l '"I'"' 111 11 111' 11 .111I I l \111111111 ' ( 11111111 1h1 \ \Ili( h' Ili 11 1,111 , N('\\' Yo1k /ollL' Book,, 1981), pp . .2-3<>-
!111 l.. 11!\) 111,I 1liH.Jt11r 111\I tl11itl \ ti., / 11,1 )'' 111 //11111 11 11/ / 111•111 /',1111•/1/ )'. N1 ,v Yo1~. (I ~.

11 ,,11111 h 1,111 , , 1 ,111, d, 11 1 1,, ,., 1, 1, ,1 , , , 111111 l'I' 1 I~ \' 17 rlt,· 11111111 11( \\\lllll'll puL1111g Oll Lhcu· \lOt.k
1 ili 11111 d.11 111 ,li, li j I li 1 111 'q,111 li 1111• 1\ llt, 11 1d1111111d l 1111 Ili(\ 111'1 ,l l\1 "''°'d l,11\v I l1•g.1, 1111-,..... u,11 tllv ,111111~ 1111 thl' s1dc oi .111 1111111.1Jc:
1111 ,11"11 1h, 11111 h ,1 '111 "' d rJI p'1111111 li" ,1 1 ',11 \ "'!' \"1['\\ 1""1'1 \\ l11h tl1 ]\\ 1111; Ili 111, h(·d. \\ ,1, \Tl'Y roru l.1r in \L'\'L'l1tl'L't1th Cl'llhlr}
d1 l11111 , 1111111,l,111l,1,111 ~11,,111, lt,111111 1 ,, 1\ / ,1 ·\,1111, //, /'1·11111111' 111 1k ·r, 11111 l lc1a;,1, 1)ulLh .11 l .,nd c:tr,htL'Clllh ce nturv l'QCO<.O
1/,, ' ,1{1 ,,, 1 ,, ,11/1 11 Ili 11111,J \\ ,Ih 1 111 1 11111 1,,.,,,, ir li ,,1 111111 ,1 ,1., lf111 1,t, 1'1111v, lik1 d,'" d!.l\\'lllµ~ 111d p,11 1lll llgl,,
111,I 1 , ,111h111 11111 11 1111) 1 1•1,1td1 \\111, lt \\1111ld ,,,,, 11111\'l 111il 1•,1111t1 ,1 lll ~l'l' ( ;l'rl !'>(httl. ·1-u~çl,, l 11,üer ,1lld the
t 11111, l\111 I, 1111, l /1 , / 111111,1 ,'/ \/,r./,111 l 1/1 11111 1•,1 li 11111 111p, µ,, 111, li)' Ili d111111, d1t ,,11111 IVlt·(hl~,1·. Ili r /r1111• r:11s,h, ,~4 1 18.!5, lt\Ul~.
111,/ 1)1/1,1 I ,11 11111 111d ,,1 !111111'1111 f,11 1 11111 11i I l 111,ilh ,111, 1\ ,t l1g111, 01 .111 ~.11.1h l\v11l11g, 1n11d1111, 1•)7~. PI' l 'i- lt) , A ht•,1d
l\\1111i 11111, l, 111 11,111 I' ,r, 11111111 h11111 l \ l l V \'11'1\ l'l'lll1 \lt11· llHtid \Vllh t\VO horn ,h.1rc:~ l~ i11 thl" Ash111,)le.111
1, '"I' 111111111 l11111111 /1, ,,1/1 111.I 1,,111,,1/111 lhl I l,1111111~ 1•, l1 ' 1111 il, ,11 1111 \,\11l1 hl lh l\,\tl\t: LI 111, ( )x_lun.l
1IH\ 1 li Ili f\l li\ 11i1,,.,.,,1 t j, li \ .. d 1,n,, ,, d 111 1111,·d (N111t·lH11•I.. , ,,. ,s• N >- J. ll) \rt' 1)1.111.1 )),111,tld , /·,1//,111•, 11, 1){ T,1,/,ii111: c;,.,,,/11(
,, dl, 1 1,,., 1, 1,, 1111i ,1 "11, 1 r 111 , '" "· , ,. 1'11" lllhl111tl11 q111 • N 1111111,!11•, 1111111 1·- d ,\,1111n /rr1111 th, ( ;,•1•(1!""' f>, ri1•d. 1 011do11: Nattn-
111N1 PI' 1 t' 11 I•' . •)l. 1p111(1 d Ili l 11111., N11111 1111. /111111,·,11 1,111 11,11 li.1u1 i11u
•
Cxli ib1L1011s / Bnti.\h Mu~cuu1.200.;: .
\li•• 11 ll.i1111, \/t/ f/) 11 /,/, 1/111 / j/, / h,1111/11 1 11111 ,,,, ,, / 1, 1 ,1 /111111, 1,r,1111,111, ,s ( l1)11 ( ,\,,1111,·, •,, ' f'ht:1 ,1n· 1101 ,111 ,vo111t·n; ,1 LllL' dr,\\vtn~ íor
11 //, 1/11/,1111/ 1 ,llltilj l \111 •li IIIIJ'llltl , N\ ,1111/ / l,1,r111111111 , l •.11 rl1 \\lllhl I lith NI, 111<1<1 'l,•1 l·11,('1i·~ ill11,tr,1l1nns to rhc J\',lw/1111,J!1'11/icr/, 1llu,.
11111'" ,d•,11 1~1111.11.I 1,, tHI 111 '.-i11~11, ,111,I N1111 ',11-'11' 111, 1l!t1(1, Jll t lll ('li)' ol Auck.L1nd l\rt (:.uk·r,.
li 1, Il i 11•111 l 111 Ili[ tlt, 1, 1l1, .11111 11"" 111 1,1li 1 , •• , 1.,. \ li 1111'111f!, ',11 ,1111 11·, ,,( lt1•p 1,·,l Ili l Nl'\\ / l',tl.111d, ,ho11·, 'ii(l/,lti1•tl f,,.;,/1111,\/ 1/11'
lt ili \\ 1111 1
111, I 11 l111t l lt Ir, , ti ll d Ili 111 1111 [11111 , 111 / l,,i/1111; 1 •1//1 / )1l1,1, Ut/'11'11'11111/1,1/11 11/ 1)1,1~tlll, 1\:l',lílllg ,Ili t'l.1bor~tc rl,11(L•d h.iir.;t> lt·
11l111 11 1111 1 Ili 1111 1~1 /111111~ :\11,/, (,ífnl j,i,1, 111111101 ,,,,,1 1/1, l 1,,f11r,, ,1/ 1 1,11•11. l'd 1~11 lt.11d 1111 li h), 1,.., ,111d 111pl...11ot,.
\, 1 l11 111111, , 11 1 "'' 1 " 1 dll 11I l 111,I 1,, 11.l,,II 111,I ( 11 l\\'l, l I l 1,1lh11 " · 1 1111d1111, 11111.1., .J. 1 1 111 .1 ,11111 111,11 \ 111 1 n·ud", tht't1r11·, n!' tht: l,ts-
lh1l1,,l11I '" ' I 111111\ 111,, 1hl1 1 111,h l,11, 1·~'' Ol 11.1111111 ( 0111pll'\. ,111d tr~ l,lll'~(1J"Y .,s .l rr1111:1I
1'1 1
l1d111 , 11111 , 1111111u 1,111 , 11 1,, \.,li 1111 1111 1' ' 11/, 1111 1, , ) 11111, li, d ,li 111 1, 1g 1'.11111!,,.~ plt,1111.1'}, ,t,· 1 t .tpl.1111 lt~· .111J J
U. l>o11t.d1,,
h 1,ii11 "I !111 ,li 11\ illf 1 \1 1 \ ,1!11, 11 Ili 11,1111 I 11, lt, u \ /,li,/ l/ 1/1/)'ll1\' /t, //,111•, /ti ,/ /l,,1 11"1 1111 l ,llt',!11,1\!< ,,J /l,yrh,1-,'"111,,/y,11, l 11>7.l J, 1 on-
11,, 1 1•111111d.l , , " 11 l I li 1 • l\ 111 ~1• 11111 1111 d1111, 1<)11~. rP ,e, (,n , l-1e11d\ lhl'01) oi c:l\lr,1
1l1 1111111 ,,,,. /\1 1 /,1 /'1 1 ,1 11 ,,,1 i ',11, l,111111, I'''' 1,1 1 1,h,11• ll'l\1111\,1 lt1 1\l'llll
'
11011, 1li <\Hll ~L·. li.,, bcL'll , llll( h co1Jlc~tcJ.
\ti\ \Ili \\ Ili 11 ,h1\\1111• '"''"''' !111 ,11,I 111 l11, lih, l,H , ,pl·, ,,\Ih 111tlut1 li.•1111111,1 p,vr hu,111.1lv,1,; 11cv-
1 11 111 \lt , llltl , 1, 1 11111 11111 l\\1 llllr dl , r 111111 \ ' ' 111111, . Ili 11t, Ili~ \\ 1\1, d1 \\\ 111g d,•11111111g 1·11lt,·k•,,, ti \l'rvcs .1, ,1 p.11 llt ul.n Jy ,1ppropn,1t,•
1111111111111111 1 1tl1 ;\\ 111 I l 1 )11 / 11 Ih llhl 1 llt, 11.11 l, \ h 1\ 11\ 111, 1\\11 d.111gh1< l'i Ili 1, ,1 h,1\1, li11 111tt'111n• l,lltt>11, ot fu,clt ,111d 1111t
111 11~111 11•11lt11• I• 1111 111,• 1 1111111111 l 1 I J 111.11•11 111 1/11 11 111 ' \/1/,/1,• ( t/1\ •: ( ,1p,•11 111,1 h, S,11111
1'111 ,,1 11 1111 \ 11,11 1 ,11,I 1111, ,1 íli\111('11 h 11•1 11 , \t 111' 11 \ l11 ,111111 1111 l,1111,1, r 1•)<1) \rç ', \, l1111 l·t1't'l1 1 11c1t1·r ,1nd d,c vlL·d11~.1', pp.

11 1 '
 1,-1!{ :-.ce al~o tht' e~~.1y 'A. (',1pnvc bv Wc:1 -
nc:r l loúna1111 ui thc: ,.1111<.· t.:awloh'lll'.
Set· thl' rcntil J lld ,, ,\r<.'r(olour dr1\Vllll:,"-
\ 'érrid< (Mn~ée R od1n, n. 6.206) and 1'.11cc•li11i
1fii,111111 ,,,;11, ~prc•<11I U'l!S J;,1111 Bchi,11/ (fvlus<'.·c
Rodí11. IJ. 61ll4). lJodi rhe,t· \\'(1rk~ ,lt't' repro-
duced I n Anne- Nl.1r1e Bo nne t, •Il\(!HS/1' l{11dí11 ·
Grt11ic Dr,111•in,l!.1, londu11: ·rh.unc, ,u1J 1 Iu,l.~011.
1995. pla1e~ 70 .1nd 7 1
The con1plcre tCJ\'t ot th1s observilrion by
CléniL'nt Jan111. in 'Lcs l)css1ns Jc llo<l.u1". Lt·s
t,
\,{aftrt'~ ,1111.~tes ( C)rtoh,·r 1903). " t.:itçd in
~ li the htcr.,ture 011 R ochn \ drn\\111f.,'ll.
Quott.•J in Albert 1:.1,cu and J. I<.irk T Varni.:
doe. "f/,c Drau,i11,i:_1 11( R11d111. London, 1972.. p.
l!5 1n sp1re of Rod111 's cla1n1 to hJvc 1nvented
dr,\\v111g a JJ toving 11101.k:1. ~L1cb d.tSscs ,,·crc
rcgiilarl y pra1.u~ed b> I-Jor,11.c Lc:(oq de l3t11,-
baudrnn .i.c the Pt>tttt• bcole \Vhcrt· llod1n ,vas
,1 scudL·nt. See cb,1plcr eigh[, p. 2 .1 0.
J.() Au accounr of 1bi, period, Jurin ~ "'hil h
'-;ch1cle pmduced a d1.1r), 1s 111 Jane Kali ir, / ~~1111
S1 /,irlt·: nu· Ct1111plt!1t· 1Viirks, \VI t.h .Ul l.'~\Jy h)
W~iltg;tng G. Fischl:'r, Ne,v York. 199/l. pp. 117-
47. K11lhr notes ,,.,.itb g reat confid cnce: " I he
dclccc.tnon of uudcr.1i;c ~0.x obJCCts ,v.:u, an
e,L,1bh\hcd tr,1JjL1on ,vho~c Au,tn.111 ,11.lhi:r-
e nts 1ncludetl th t· pocr Pecer Alrcnberg. h1~
lric11d Adolf Loos, and p o~5ibl) cven thc
art1sc·~ n,vn fathcr ... Schil:'le d.1d 1101 ",or-
rupr" ch1ldren tvho ,vcre nor :ilre:idy cor-
rupred !siri ... but hc had .t provoca□,c
Í.1$Cinacion for ú,o~t· ,vho b.1d paS\t'd into thl'
se>.ual nethenvorld of mid-:idnlc'sCt>nce· (íb1d ..
PP· 12.8-9).
Sl'C C'r1,ti11.1 Mundi(t, L'd.. Cc1n>/,1111,1. f\,111.111,
q)!)!l, p. 15, and (~uido ( ' L1rto, 'C'..trol lt:una:
Artist, 11ot L1crson.1g1:', 111 Car,,/ R,1111a, cd.
Giudo C u n o ,1nd Gíorgio Verzorti, Mil u1.
2004. p. 37.
lnterv1c\V with Ahcc Nccl, Lvs , l,!~clcs l lcr,1/d
.E.Y<111tilfl'f (S April 1983). quotetl iu Jud~ 1 {.
c~on,~rh:in Van Wagr1er, l.tllt'S •!f l '/si,111: Or1111 1-
(IIJ!S li)' Ct11t/t'11tp11r<1ry f1 ÍJ111t•11. Nc,..,. York:
1lud~on I íills. rc;89. p. 105.
Alice Neel intef\"lC\\" '"'irh ('.indv Nen1ser in
4rt liilk· G\>111•,·rsatit•11s 11111!, J:í/icc1t 11 111111·11
~111ist1, NC\\ York.: lcon Edirions. 1995, pp.
104-,;; l ou,~e Ho urgl:'()i~: /)es1n1f lÍt>l1 t?( 1/,<'
l-atl,cr: Rcc,111stnlftio11 o( . //,e f'c1th rr: l l '1íti11es
. a11d
l11t1'11'Í(•111s, 19.1;- 1997. i:d. M.1ric-LaL1rc llcrna-
dac 111J H.1n~-Ulr1rh (lhn,c. C:.unbndgc. J\IA,
.1nd London. 1998, p 200.
30 -rbc A,ncric.ui dtci\L Th1.Jutas E,1k.ins ( 1~+4
1916). ,, ho ,,va\ a sn,dcnr 111 c;érôn1e\ arl.'ht·r
111 1',1ns bL·r,vecn 186(1 and I X(H), '.\Tote honll'
.1fter ,c.:e11tg the Expos1uon U1iiversclle o( 1S67:
'She [., n,iked \.V()n1.111I •~ tht· tllO\l beattt1fi1I
rhtng th('Tl' 1\ .. C'(C'Cpt a n~ ked 1n;1n bur 1
ne,<:r y1.:t S,I\V a ,tud\' of one exl11biti:d' (qu ott:d
111 Bcatr1re Fa1"\vl·ll ••~ l1111rt ,1111I 1l1r 1\11d1: ~
"i1111l1 1 i11 lc,111,111r11p!,y ÍII tl1t Sru•111/ C111pirt: 'Jl. \\
YórJ... ,Jnd 1 011do11: G,trland. 19X t. l'- 52.).
_,, 1 A Bnttsh ( :01 111cil tonnng exh1b1t1011 ot 198 ~-
/'lre f'1i1pn· 8111dy: Co11tc111p,,rt1ry l'(1111r,11it•L Pc1utt-
i11.t~ _(,·,111, B1it,1í11, , ura1ed b) Norbert I y11to11,
born1\\·ed 1t, t1tlc fi-0111 Alexander Pope's
fissay, ,111 1\/,111: •-rhe 11 ropcr '5rut.ly út Mankind
•~ Nlan' The fiflcen arl1~~ 111 chi: exlub1t1011
,, ere all 1nen. J,ll q11el1ne 'vlorre.111 v,;i, the co-
curaror of a qgn1fic311c and H rhe t1n1e co11-
trovcrs1al l.OL1Jltcr-l.'xh1biLiou l,Lun(ht.:d ,ll d1c
l11~t1Lt1re (1( c~n11te1 11por.tr\ Arr~ ín London in
11JNO cncidcd I Vrin,rn1· l,11,t_í!t'S •?f ;\11•11. ~ee
1fí,1111:11 s bt1,(1?t.:S o{ \ lr11. c:d~ Sarah Kcnt .111d
J.1cquc-linc j\ lorre,1u, London: W nrer; 1nd
lleaders. 11Ji;5,
Quot;:d 111 thl• articll 'ThL I;c111alc \Tic\\ úf
Eroti,a' /\'t·11 1 )iirk (111.1g.11.i11e) I •• Februnry
11)74!, ín L1111ü,· H,111~11c11ís: l)eslr11aíc•11 11/ the
l ·all,cr: Rcet>11struaio11 o( riu· F,1/hl'r, p. 1o 1 •
J3 Fro111 (:hr1~t1,111L' ML·Ver- 7 bo~~- L!111is1· B,111r-
.~i'1>is· !J,•,ig11i11g liy Fr1·1• r-·c111. Lur1 ch· An1111.1n,
19<:J:!, 1b1J.• p. 2.!J.
34 As .i double ir<1ny. thest' 1.'.0lll t'rtual p.1p.er-
collage cycle~ \Vere 111~p1red bv n rebuttal of che
tl.'Xtual 1n Antorun Art::iud1 ~pLro's n1tl!ic ,u1d
111ti-ltL'l"ó, ,-.:ho h,id Jet:l,1red 'All Wrinng is
P1gshu· . See He11J.1n11n 1-1. 1). Buchloh. ''ipero's
('lthl.·r 1~r.tditio11s'. in M. t~.1thcriHc de Zcghcr.
/11.,id<' tht' l i1i/J/,•: .111 Elliptical Th1vrrse ,1{ 201!,
C,1•11n,ry1 Art /11, ,~( c111tl _{,1>111 tht' l·C111i11111e, ( \un-
bndgc. \1.1.. anJ London, 1996, pp. 239---1-5
35 l(,tty K1111t· ,111d l-'lcl,11nt.' Po,nc1. Leú11 Gol11/,
,11ul Nctl/C)' Spl'rtl: 11 i,r 1111d ,\ lt·111ory. c~:.unbridge.
MJ\: Li,c \ 1 1su,1l Are~ Centcr. J\IIT. t995. p. 34.
Ancon Corb1_ju and Ma.deut· Du1u.1s. S1np-
p11~~11'ii, Arn~cerd~111 . ">nrhnng Acruele Ku11~r-
tlocu1nc11ta □ 11, 2000.
37 Q11,llcd ,,·iLbout tiLJtiou tu No1 n1JJ1 1~o~e11-
chal. ·A Noce on Jç,seph Heuys , 1n 71w S1'1Trt
Hlock _{tlr a Sccrcr 11rrso11 i11 lrcla11tl, London:
R.. oyal Acadc1ny oi Arts, 1999, p. ro .
rhis aspeçt 1s glnsscd ovcr by A1111e Ten1k.t11.
the 111osc s11,.•n1fic:inr .1nd 111tonned conu11en-
tator 011 Bc.uys's Jra,vi11gs.
Jf) ·rhere are rnany dra,.,.1ng~ of li:ot,."- by de
(;heyn 11, s01ne rc-nlrsnc stud1cs dr:nvn :ilter
, i,·b.t·ct1on. J..\ F,,11r S111dfr,5 ,l{" / r~!_?. m pen .:1n<l
wart"rrolour. 111 the R1Jksprt111é'11kab111t•t. A111s-
terd1111 (A.•1036). :ind so111e deahng ,v1th chi·n1
,lS creature~ of \VLtc:hcratt. as 111 the dr.t,ving •
iu
thc fnt, Lugc c.-:olk·ction. lnstJCUl N0erl,u11.Lu~.
•
P:1n~. 68<í3. ~t'.'t' ( laud1a ~,van, .rlrr, '\drncr ,111d
11 'it,hu,!ti i11 /;c1rly .\.J,1d,-r11 J lo/J,,11d: }arques de
(;!,<'y11 1/, 15ô,-tó,t9. Cai11hridg~ .u1d Nc,,
York· ( :n11hndgt' Univer;1ry Pre-is. 2005, 111<.I
rhc: cxh1b1t1on catJloguc. Jacq11cs de (;ftc1111 11 ·
D11111'Í1((!S. f{oucrd.1111: tvl u~cu 111 13oi_11nan~-,·an
l3ellníngen, 19:<ü.
QuorcJ 1n -\nn:1 Mo\Z) 11,k.1. 1 l 11t/lll)' C";,,rndcy:
/) 1(111°í11.I/, Luudo11 .?-OO~. l.Jl. nu~. 161.-fJ.
Th.:,c lit11:~ \\'t•ri: t!Llvti:d iu the lro11u~pll'tC to
..J.l
tht· (,,1lh111Jni ed1t1011 of l.rs /•/, 111 r d1, 11u1/
( 11>Hl{), "'·1rh an 1nrrod11cno11 bv r héoph1le
Gauucr .uid illusu-.lrions b~· 1\u~usti: ltoJ111.
_µ B,1catlk:. r:,vti~u,, p. ci7•
13 Ja,qut·s l .1,an ('What h .1 1'1crt1rt'', 111 '/111· F,1111
1-·1111d,1111r1tf<tl C,lll(t'J'IS ,,r l',)'dlCl-. lrr,i/r,i., l 11>7~ 1.
c<l. Jac~1ue~-Ala111 J'vl11lt·1. tran~. t\l,111 \hl• :d<111,
1 ondon. IIJ<}-~. p. 1 1r,) relate, i111·1d1,1 11> •td,·r,
.ui<l tbl· breJst: ·Tht• 1110,t C)(t:111pl.in 111\ 1d1.1,
ll\r u, an 1ly,t,. 1, Ull' llU<. 1 ~,unJ long ,tgo
111 Augtl'>t'ine, in \o\ hirh ht· ,l1n1s up 111, ennrl'
f.1te n.inlch~ thac of thc litdc child ,eein~
'
h.1s brod1cr ,lt hi~ 111ochcr\ brcasc. look1ng
.1c hun ,1111c1re n111~111,111, ,v,rh .1 bttrt·r lo()k.
,\'hich ,een1s to tear b1n1 co pt.:(cs ,111J h.1~
011 hi.tu,clf thc dTcc I o i- .1 ptH,011'. The
ren,rncd (de,trucuvc, gazl· nf en,1 theretore
en1pt1es our the nurrunng bre.1~t th,u cJuse~
suc11 pJ11 1.
Unusuall\, rhc An1enran perti1n11anLt ,1rt1St
l'at..J Mr( 'arthy i'r.1, i.'Xplored chc: tnnsgre,,tvc
role uf phocographiug tl1c a.bjel.t uudit\ llf lu:.
,1g111g hod, in typ1c,1I (fen1ale) \C'.\\l;tl pli-c, 111
h1s ,en cs of ti ficen d,gical pruns. l'rrrr 1'!111/
Skir, S11111pll'. ii:1r Park,·u (no. 73. 2005). Scl' lisJ
Plu.üps. Dan C,u11eru11 l't al. /111ul JJ, (~,trtltJ'.
L>scfilden· HatJe C.:inrz, 2000, .,ncl P,111/
J lcC~arr/r)' ,1/ Tàtr .\lodt-r11, Londun: T,ttc. 1003
45 l~odi.t1 dtp1ctl'd úu, 111 a <lr,L\\ u1~ oi" 1$8.L
",<11a11 ,tud lt1.1 ll'ors/Jrppt'rs. 1~83, pen ,tnd 111k.
pcnc1I ,vhite gouachc on ruled p,1ptr. 14<, X
178 11uu (p1l\',lll' l·ollel.Üo11). lt L\ instnbL·<l. 1
,\ ft111 ,-J111i Rclfltt'11st1•i11. 1hi, \\·ork ,, po~s1hl) .111
illusn-ation tor Baudelaire •~ L,-s f-ft,11rs dr 111,rl.
.ind R.odin n:pe,1ted d1e c:0111pos1cio11 111 18/-i7
'l. Sce ( :,nherine L,1111pcrr cr ai.. R,1di11. l 011-
don , .!006, p. 2 c9 (c:it. no. jX).
Thut· are difl~rcnt c..olourcd. vcr-.1on~ of thi,
tàn1ous \VOl>dcur: th:tt ín d1c Br1r1sh l\1u~eun1
is prcdorn1nanrly redd1sh-bro\YTI. ln rhe ,ky ,1
nudc "'·1tch rides b.ick\\JR-b. on a goat.
'
,arry111g ,l ,auldron til J dc;idl) ponon on a
pitchfork.
+7 Ev('-n thc titlc is ,igrutit.:.1J1t: 'Okl \Von1a11 • b
plai.::ed fi.rst. folio" i:d bv ·seated Nude-' in
parenrhes1s. ,1pparenrlv qL1est1on1n~ Lhe pmpo-
~icion that thesc l ,vo s1.1tc, can be .tl.tgnl'd.
Scc th, discu\~1011 c..if Lhe 1,~uc: c..l( u.u111ng •
dr.t'.,,nb" 111 rhe Prok·gon1e11.1, p. 10 1 ht·
drax\;ng rel.Jtc, to lhe p.llJllJ.llg ( )/d l l 11111,111
Sc,1tt'd. 19_10, nuxeJ rncili,1 011 ,,ood pJnc;:I,
<;oo X 600 111111 (pnvatt' C( illet non).
O tto 1)1,c, C.)/d 11'0111,111, 192.3, \V'.ltcr,·olour. k•:1d
v, l1iu.' .uiJ pcuc..il. ú4-o X 440 1111a ("itutq~art,
K1111srn1u,t·t1111. D1" Beque,1. 1<,-<>())
From BeU1nl.'r°s /1!'1111• ,111.111,111h d,· J'i11a1111r rc 111
physiql41. oi/, L',11111t,11111c ,h /'1111,11!t, P.111~. Lc
Terr.un V;ti','111:, 19,~. p. 37; quoted 111 1/1111s
llt'lh11ct, t'd. M1ch:iel ... l'l111r ,1nd Anthonv \pira,
l\.1un1ch. LL111Jo11 .u1d l),tli!Ji:u1. ::oor, p. 14-~.
NOTES O PAGES 3º 1 405 ·183
 ~ct . 1 e \11t I vlor J f 111., H, 1!1111, 111, l11,11,,111)'
,>/ A, \ 1, I}, l 1111bnd~c \t:\ · ~111 Prcss. 2 000.
~e 7\1 ,urlLt! B]J11, lu'>c, l /11 'l'''ª •f L1111,1111,,, u,111~.
A1111 \111oc..k, l 111c.ol11. NI, ,111d 1 1,ndon· Un1-
\t'r\lt\ ( >f l\lcb1.1,J...1 Prt,,, 1982, p. 1~4.
'i I Julia Kn,tcva. /',,11 1, ,~ e>( H,111 ,>1 11 l.:~s,:} 1111
Chapter Flfteen
H1;1•rr11111 1l<J/\ol , rr.111s I con \ . R Jt1d1t'7, l\le,,
Draw1ng Now
)'t•rk. l'J•~~. p. +·
,2 rhr .1 111b1i."11ou,, , h.1ng111g aud crlll I pre\s
rc,pon,c co the , 'f') pul,hc gnt',,ng o f the
p.1rl'nt, ti( tltc abducu:d .:h1ld l\,1..idch.:ine
J\\c(·.111n 111 .20<>'"' 1, 1nd1,·.1ri,e ,1f tlus tllh:a~,
recl'phon. A usetul ,oc1al h1,ton 1s /)1•111/, 111
r·11~/,111d·,1l11 Jllusrrotcd llisr,,,y. ed. Perer C:.Jupp
~nd <. 'l,ire (;1tu 11~~. .. I\\J11LIH:~ter. fvl,tnlhe~H.!r
Unt\'t'r,1[)' Pr~s, 1•JY<J
53 l'bilippc Ar1e~ ·1 h1 H1•11r •~f ,111r D r ,1r/1, tr:u1s.
l ILlen Wc.1,t·-r. Nc\\ York. 1981.
54 H111tf •?I f...,1rf Lif/,kncrhr 11,-?"'1- 1tJ1QJ 011 his
Dc,nhbt·d. 1919, bL1ck chJ.!k. 31(, x -1-00 111111
Çl3t:rli11, Kl1pter~lllhkJbi11c~L l VII .17-2 fKoll-
\\'1[7 ~/ J~I). Then:.- ,~ ,liso ,1 rnore ~y111büh\
1nem0n.il print dcdic::J.ced to L1ebknerhc.
,; l{allír. E.!!<>11 Sd,ich•. p. 239. Tbe \\hl'reabours of
rhe hlark lr,1yon d ra,,·1ng of l.::dirh '-;d1irlc on
licr Dl'atlilu·d are unk.nO\\'TI.
56 Lo.:011.Lrdo. W1ulh.01. Roy.il Librarv. R1.190 27v
(Kennech 11. Keelc·, ' Leonardo Ja Vinci. th('
An,1ton1i\t', 10 Ln1 11<ird1• d,1 1'i11.-i rl11,1tc1111ir,1/
Dr,1u·i1\{!J (,·,)111 tfu l<oy,1/ Ci,IIC'aio11. Lo11d011:
l{oval Acadenl) of i-\rcs. 1977, p. 18).
5"' 1-or .1 d1~cu~~1on of de::ithbcd portrairs, scc
Dc<1tli. P.1ssi<111 ,111tl Politits. 11111 Dyck ~ P,)fll<lll ~r
1 í•1u·1iç1 <;,anll'J' ,111cl Gc,)~t:!•' DL~hy. Lo11do11:
l)ul,v10:h l'1crure Gallery. 1995.
.58 ThL pai11.ted nuniature 1s 111 thc BodleiJn
L1bran•, c,xii.,rd.
'\9 I/1.;;11k-1:Jah,111gin, vol. li, p. 13; q11oted 111 Stu.irt
Cary Welt.:b, l11di,111 Dr,111 1i11xs <11ul P,1i11/c{/
Skrt,hr.,. 161h lftr,111.J!lt tQtft Cf11/111ies. Ne\>\ York:
As1a Socll'() /John Wt'atherhill. 1y761 p. 47.
lío l'ht's<.' pnvatc sketcl1buok dra\VJngs werc•
cxb1b1te<l ,1l LhL Royal At.:adc111y. London, i11
1995. St:e U1r1ch I uckhardr and PJ11l Meha,
D,11·id J-l,1rk11c')': .1 Dr,11/'ÍII,~ Rctrtispcrlil'e,
London. L<)IJ5,
<,1 1-or \()l1Jt' 1nteresring and protound reflect1011s
on rh1s reprcscnc1nou1l 1111perus, 5ec Etisabcth
Bronfcn, 011cr /ier Dcad B()dy: D1·111/,, Pc111i111/l-
1/)' ,111d the .rl1•s1fw1ir. M.111cht>scer. 1992, pp. 39-
55 (~ d1scu,,1on of Ferdin,,nd Hocller\ dra,v-
i11 gi, o[ lús dy11~ paru1er V.1h:nt1ne God~-
1)arel. l•)l,t-1915) and pp. 313-19 Tbe 1111perus
to 'punty' the in1agc ot death rebtL'S LO
BJtJilk·\ mvest1g,1Uo11 1.1f thc nau~ca or rcpug;-
nallt.:t' tll\!)ln·d b) dt'co1npo~1t1on, wh1ch 1~
.tppe~,ed b) rhe clcansc.>d ,keJeron. or '\.\ hiten-
iug boncs· (13.i-taillc. En1 ris11r. pp. ,6-7).
fi.2 .\ /,(1!_1!/ H11d Hc nrit'r/11; Dr,111 11ug; 11/ H1•11rirrr11
,\l,1r,1c, by .\lc,gg, //,11u/ 1/i1~~- l'reface by John
Uergl'.r. Lundon: BJ00111\bt11 y. .2001 (unpagi-
484 NOfES TO f'AGES •106 ·1 15
n:ired) Han1bh11.g has ,1l,o dra\.Vn .1nd p:iinted
portr,uti, uf th, .t~cd con1cclian Ma.'X Wall and
. . tuher.
ht'r dv1ng
Antontn Arcaud, 'Ml's dessms ne sonc pas de
de~s1ns . .' (P..odez. Apn l 1\)46); quored 111
• J111011i11 ln,111d; f I hrks 011 l>c1pt·1. cd. Margit
Ro,vell. Nc,v Yo1k. 1996. p. ()1.
2 1he in~luen('e of dn1\.\-ing technology 011
.1rchLtecture and desig:n 1s al5o an e--.'tren1ely
1111port,tnt is~ue, but w1fortunatl'ly uot ouc
rh:ir I havt chc spact· cu addre~8 here.
3 l hope th:1r I have :uso a,·01ded rhe de·adly ,111,
,o casug-..ited by l31.!nj.u11iJJ Bucbloli in J 1n.e111-
orablt' es~ay (' Figi.1rcs of Authonty. C:iphers of
llcg rcss1on '. Ortolil!r, no. r6. spring r981 , pp.
_,9-68}, uf projcctlllg iUJppropr1atc ,1gendas or
,\·ishfulne~~ ínto che p,ist, or ·ihe 1deahsation
of the r~1ntcr's crJfc. rhc hypostnçi'I of a past
culturc that serves .1~ a fiLtitious reálm of J.L1c-
ce~sful ~olucions and .1chieven1ents that have
beco1ne tu1att:una ble 1n che p1·esent'.
4 For ~ource\ sec P1•i,11iri1,f.1111 ,11Ld Tt1Je11ricth-
(Clllllf")' .-lrt : .--1 D1>i11111t·111,1ry f-fisrory, ed. Jack
Flnn1 :lnd M1riau1 l)eutch, Berkelé'), e.A, :md
London. 2003.
'Í -r1ie Diaries <'.f Paul Klce, 189,t;-1918. ed. Felix
Klec. Herkeley, r.A, and London , 1964-, p. 276.
() Ga.,;ton Bac:hL'lard, Poe/i(S t!f Sp<Jcc 11958], era~.
tvlaria Jola~. Bo~to11. 1'1A: Beacon Ptuss. 1()69. p.
xv.
7 E. El. GonJbrtch, 1·1,t' fJrfjercru:c .f~,r thc Pri111i•
ri11e: Epis(,des í,1 lhe Hi.,tory 1!( 1Vi•ster11 Ti.1s1e 1.111d
:'lrf, 1 ondon, .1002. Prances S. C'onnelly (771e
Slee11 ~r l?.t!<ISO// . Pri111ifiPi.s111 i11 .~!()i/r_frt E11rope<111
.11'1 011d ,-J cslheltfs, 1725-1907. Un1verr;ir) Park.
PA, 1()99, p. J5) described th1s cond1ti.on as '::in
urge to\v.;ird dclibecatc rcgrc~s1011 cou1.b111cd
,vith ,-111 t'vc11 1nore con1pellin.g de~ire íor
•
re-Juvenat10n •
8 ·wc surrcndered loviugly to evcf) k.ind of art
rhat :irises out of 1cself ... that ran djspense
\.\1Jth rhe crucch of h-1bit . ,ve opposed
""h.ole ccncurics ,v1th a "No!'": c.itcu in ibjd.,
p. 225.
9 l:.n1iJ Nolde.Jahrt der Kâ111nfe, 1902- 1-1-. vol n t2f
Das ci}!e11e L.cb,•11, 4 vob. llcrlin, 1934, pp. 176-
8,: cra11~. ,1s 'Ycan; of Struggle · 111 to ices 1if
(;e,1111111 h.x·prrssio11i~111 l 19701, cd. V1cror H .
MicscL Lontlon, ~003. p. 35. Noldc's lall!r trou-
bletl rtlatiollship \.vich Nation,11 Social i \111
cannor be left out of cons1dcrat1011 of thi.~
pos1uon.
10 Fro111 Noltle \ J,,/1n· di'r Kà111Rfê, ib1d .. p. 35.
11 Alcxancier \hevchenko. ·Neo-Pn1111tiv1,111'
II\JIJI: rcprincc<.l 111 Ch,1.rles flar.rison .tnd Paul
Wood, rlrl i11 ·nw()ry, 1900-1990: ,•111 /~lllhri<\i!Y
<'.f (;/111ngi11g fdeils, l)xford. 1992, p. 106. Lu/1/.:i
(stn~la.r /11/,ok) :ire tolk pri.nts.
12 1'v1ax Pt:cru.tc111, 'Whal We Want·. in Tõict·s <'[
c;en11n11 Exprrss101Hs1n, ed. M1c~el, p. 171L Sl·e
,1lso Joseph Mashck. ' ll in:\. Art: "Pnm11:1vc"
AuchenticLty a11d G<!rn1au E!,:prcssionis111·. Ri:s.
.1 (:1urun1n 1982). _r)p. 93- 11 7.
13 André Breron, 'First Surre:ilist Man.itesro'
l 19241; ÍJJ J,Jc111/festoes f!( Surrcc1hs111. erans.
R1cb,trd Seaver ~nd H elen R Lane, Ann
Arbor. l\H: Un1vers1ty of Mich1g;i11 Pre~~. 1972 .
A defi11iLio11 of auro1n.1tic ,vricing in th.e Dic-
rh11u1ry ,!f Philo!icl/1hy r111d P~y,holt,gy, ed. J,11nes
M. 8aJd,v1n, 1901. scaces: 'A penei] pkiccd in
rbc hands of thc auro111,Ltist \.\·ill beg1□ to
wrire .:ipparcntly of 1t~ o,vn ac(ord ... the
\-\7;ting proceed~ the more ~11ccessf1.1lly thc
1uorc tbt> subje.t:L i~ distractcd G:0111 t.hc action.1
14 The CoJIRA group cooi.. i ts 11a111c íro111 Copcn-
hagen, Brusscls and Amsrerdan1, v,here most
of thc .irnsts hved, including l{a.rl Appcl. Picn-c
Alechin~k>. A~ger Jorn and Carl-Ht>1111i11g
Pedersen, ofren ,vorking collaboraavely on
spont,111eou!>, u11cutorcd ,u1d anti-clitist gc~tura.l
\\Ork~.
r5 (~octhc, '()f (;cr111an Architecn1re' l1771 J. See
N1cholas Pevs-11er, 'GoeLl1c ,1nd Arclutecrurc' in
S111(iirs 111 ,-1 rJ, ·l rd1irect11r,· t111d De.~1'g11, 2 vol~.
London: ll1:nnes and Hud~on, 1969, vol. 1
IÓ Johann Gotcfi·ied l ]erdcr, Frag111c11ts r1767]; in
Gon1brich. T/11· JJrefcre11ce for 1/u• Pri111it11,e, p. 70.
See nlso l~a1ah f3erhn, 1/ico 1111d 1-lerrler: 'lil'<>
S111tlii:s Í/1 1/,,., 1-listt>r)' •!f ldl•as. London: Hogarth
Pre:-.\, 1976.
17 Passage fron1 Jo hann Jo:.ich1n1 W inckclmann's
.ti 111if..·<· 1111d D,·11tsche l\.'Tassik: S111dic11 zur Bild<!11-
rl1!11 K1111sl f171<n(~hts (>n th<' {1111111/11)11 1U- Greek
1/.'nrks in /Jni11ri11g a11d ,'>cnlpt11rc]. 1755; in Gon1-
brich, 17,e Prq(cre11cc _for tlie J>ri11iitil'c, p. 62.
18 Gon1br-ich, The Pr({{en•11cf .for ri,(' Pri111itil'e, pp.
199-2.00. 1::. H . Haeckel's version of Lan1arck's
theo ry rhac onrogeny (hisrory or rhc cn1bryo)
i~ ,u, abbre\'i,1ted rec:apitularion of phylogeny
(the hisco rr or q1ce) ,,13s repud1atcd at the
buginning of thc t\,·encieth cenrury, but taken
up by Nazt propagandist~ under che rubric
'pohncs is apphe-d b1ology·. A ele-ar d1scuss1on
of La111.aro:ki.111 Lheories is 111 Stephen J. Gould.
0111<\l!i'll)' ,111d P/1yl,,ge11y, London: Bell,,.nap
Prcss, 1977. See also Sue Malvern, ' llecapping
on l:t.ecap1tulatio11 or rlo,v To Pr1111icivisc the
Child'. Tlurd 1/!x,. no. 27 (~u111111er 1994).
PP· 21-30.
19 Philipp Otto ll.unge. lli11terlr1ss,~1t' Scltri~c11,
H ,unburg, 1840. vol. 1, p. -: 4uoted ill Wt>rner
H ofinann, 'Thc Art of Unlcn.rní n g', cr;111s.
C h rista Knust 011d Jonath,111 Finebcrg 111 Ois-
n11•rri11,1! C/,i/11 ti rt: Esjrl)'-' ,111 Childha,1tl, J>ril11i-
ti1•is111 a11d i\ l L1dcr11is111. cd. Finebcrg, Pr1n-ceton,
NJ, 1998, p. 3.
20 C'orrado Ricc1. L'aru dei ba,11bi11i 11887 1. Turin:
 rôgola, 1977: Lco Tol~coy, í11111t i.~ .-lrt? 11896 J,
trans. Ayhner M,1ude, LonJon: 13rorherhuod,
11198 ')ee vanou~ cssay~ 1n WiJhelin Viola,
C/zi/d llrt, Bicklcy. UK: Uruver~uy of Londo11
P re5s. 1942.
11 Scc .-I r/ ,'vinde ,\ ],ld1·n1: J~rgrr 1-ry's fl isio11 •!/.-lrt,
cd. Christopher Grcen, lon<lon: McrrcU 1-lol-
bertoo, 1999, pp. 14r9. and !Vlar1011 El.une
R ichardson . ....i,1 ,11ul r/11· (:Ili/d, London: Un1-
vcrsicy of London Press, r948.
22 R ola11<l Pcnrosc, 'T hc Draw1ug.. of Pica.s~o', 111
Picas.fo~ J>ir!lsScls: A11 l-.xhibi1it111 j,·,,,11 tlzc ,\ /11s1;,.
Pimsso, Paris, cd. T1111orhy lliltoo et aL,
London, 198 1. p. 90.
23 íntervíev., \Vlth Verdct l10521 anel 'Look1ng :1t
L1fc \Vlth the Eycs of a Child' r1953 j; in
-;.Jatisst· v11 .rlrt, e<l. J,1ck D. Plan1, Ox.forJ. 1973,
pp. 145. 148-y.
24- ÚlLtise B<111~eois: Alb,"11 l 1994]. 111 f...t111ise 130111'-
.
{!cois: Destrrtctio11 e>( . l/11• Fall1cr: Rcco11stn,ctio11 o( ,
thr J-'ather. r Vriri,~~s ,111,d J11tr11 1ie11•s, i,123-1997.
cd. M:ine-Laurc Bernadac and I l.111s- Ulr1ch
Obrbt, C.unbr1dgc, MA. atll1 London. 1998,
p. 277.
25 ln his earlier bpok L'1101110 di _(!c11io l1864, T/11·
1\Já11 t!{ G<'l1Íu$], Ccsare Lo1nbroso reacbed Lhe
conclusion that gen1us ,vis ,1 tor1T1 of '1nor:1l
•
l tlS::\lllt)' •
26 For chc specific use of t11ese cerJtl5. see j()h11
M. M,1çGregor. 77,e Oiscot1l'r)' ,if lhe rlrt 1!{ 1/u:
/11sa11L'. Pnnceton. NJ, 1989, pp. 93- 10.1, ,1nd
rÍ.Ul), Priuzborn .• Jrris1q, q( thc ,\lc11tally Ili:. J
C,111trih11tit>n 10 1/,r fJsyr/1(>/ct'o!)' c111d Ps)'c/111pdtlH1l-
'!x'Y ef C1>1!f1.f!t1Tdtío11 [ 1922], erans. Enc von
Broc k.doríf. iuu-o. Jru:nes L. Foy. Nc\\ York.
1972.
27 ~ee Walter Morgenthaler :ind Elka .':>poerr1,
Af.11/11ess ,111d 1'1rt: 17,l' Liji: ,1111/ rVorks q_( Adt>f(
rV,~[f/i, L1ncoln, Nt.. and London: U111versil) nf
N ebraska Press. 1y92.
2.8 ln Ru~bia in 1913 Larionov ex.hib1ted children's
draw111gs side by s1de ,vnh R.us~ian futur1~t
,vork, for exan1plc. The 301.1r11a.l (;al,il·r.< d'art
rcgul.1.rly lIL'.lUc su eh j u.'Cta posicions.
29 Quoted fi-0111 the Munich t:xJübition of 1937
in Rose-(:arol Washton Long, ·~çhohr~hip:
Pa.st Prcsent and Furu rc T)i rections'. 1n
'
Stephanic Ilan-on cr ai., Ger111a11 Expr<'s.sio11is1
l'ri11ts 1111d IJn111,iN,'~s: J7,e Rnbert Gcire R.[/klnd
Ci:11tc1.f11r Crn11c111 Exprc.liii111is1 Studies, :? vols.
Los Angeles and Mu nich, 1~89. vol. J. p. 187.
30 Margit llo\vell (,-111111,tin rl rta11d, p. 14,) claín1s
th:ir l)ubutfet ·\vas can.:ful ro chsnnguish
bct\vee11 Artaud\ clr,t\\illb,ts .wd tbo~c of tlu:
tlrn 1cally u1sane', ,;;et' ,1lso Lunt·nne Pe1ry, rlrr
bnu D11/11!ffi.·1 r111d t/11: Or(~i11s ~{ (Jutsidcr Art.
tra ns. Ja1nes Frank, Paris: Flatnn1ar1ou. aud
l ondon: T han1e~ and H udson. 2000
JT Thc tcrm 1s that of Dubuffer. \vhose coUcc-
Ui,Jll of <1rt bntt in Llu~annc bcgan \\ ith dra.v-
i ng-, of patients fi-0111 psych1arrir hosp1tah. Se(;
cUSO Rog{'r C,1rJ1ual, ()11/sid,•1 AII. Lot1Jo11
SLud10 Viq:i. 197i. Fnr 1nfi)r111ario11 011 tht.·
Mnsgrnve K1nley Collecnon of ()utsLder Art,
11\tt.lA. Dubhn. and a ]i5t of l'Xhib1non.'I a11d
pubhcauons, &et' che chronolo~ 011 Lhe' 1.\ll'
\vebs1re: \.\">:VW. lJtc'.org. uk:/ bntru11/ exh1bi aon~/
outsiJcrarl/1.hro11ology.htn1. Sl'.L' J.ho Aarou
~hl'.on. 'The J)hcnvery of Graffiti', Ar1 j,,11r11,1/,
no. 36 {ann1n1n 1976). pp. r<r-12.
32 David Maclagan. 'Outsidcrs of fnsidcrs?'. in
1711 ,\ Jyt/J i!( P1b1111i111s111: f>1•r.,eei11vr, 1111 .·!rt. ed
~u~:tn H1ller, l ondon and Ncw York, 19\JI,
p. ,+6.
J3 SL'e Will1.u11 1-<.ubin, cJ .. 'Pri111ítii•i,111 • 111 201!,
c:c11l11ry ,--lrt: . ~ilÍI)' ~l 1/,r 7rilial (/1/d chr .\,/ode111.
2 vols. N e\,. York. 1984.
J4 JJ1uc, ClitTord. 'f-Ti,Lory o( the Tnbal ,u1J thl·
Modern·, / -lr/ 111 , !1111•rir,1 (April 1985). pp. 164-
77. Set' also c:JitTord, Thc Prt>dica111rt1f of
C11 lllirt·. 111,uIt ietI, .a•11 cury titlt110,{!r.1ph)1, Lilt'rll111rc
11111/ .rlrr, C.unhndge. 111A. :ind I ondon. 19llX,
particubrly 'l-lisror1cs of rbe Tribal and chc
Modcrn·. pp. 18y-21..i. aud thc 111fiuence of
M,111ss ,111d 8,1ra1lle. 'On Echnographic St1r-
re:wsn1 ', pp. r17-5 1.
3, Roland Barthl·5. 'C} T\von1bly: Works 011
l'Jper', in TI1r Rc.,po11.(ibilily ~{ f.t1n11s : C,'r11ir,il
Ess,iys 011 ,\ lusic, A ri and J~eprc.~C'111<1rio11 lJ982. 1,
U'aos. l~ich,irJ I lo\va.rd. Oxford, 1985, p. 1(l3.
36 Ethvard F. Fr} ct ai.. Rc>hrrt \ le1rrís: [,ffc,rks t~(
rhc J::(i:l1ties, C'h1c.1go: Museun1 of Contempo-
r,tr} Art . .i.ud Nev:port Bcach, CA: Nc\vport
Harbo r Art Mu~eu111. 1986, p. 34.
37 ~ee rhe p:iean to T\vo1:nbly by S1n1on Sch(lllla
in tht' cxl:úbiuou catalogue Cy 1i1•0111bly: f'ijiy
}rars of H Í>rks ,1 11 I'.1prr. t>d. Julie S) lve~ter,
London and Nev.· York: Are l)ac:i . .2003.
38 QLiotcd in T{irk VarL11:doc. Cy Trc•o111bly: .-'I Rct-
,.,.,,J>f'(/11'1'. Ncv., YorJ.... 1994. p. 1+·
39 See llobert P1ncus- Witren. '( ·y l\vo111bly',
,-lr1(t1r11111. XJt/8 (April 1974) .
40 13,;;1~1,unin l -l. 11. Buchloh, 'R.1v111011d Pctnbon:
lleturn H1 111sorder and F1i..,'l1rnnon ·. (Jctobrr.
'
9.:?. (spríng 2000), p. 39.
-1-1 lbiú .. p. 49.
42 Published in 13ar,elonn in ;h~oci:1non ,v1th an
cxh1b1t1on of chat nan1c. --ioo.2.
43 Jean Bau<lrillarJ, 'The Tarcilc and chc Digital'.
in 'The Order of S1mul:1çro ·• 111 'ly111b1,/ir
Exc/1<111,(!l' a11d Dcatl,. trans. la111 Han11lton
Grant, Lo11Jo11. 1993. pp. 61-70.
44 (~uoted 111 td,1 .-lpplt'/1roog: Art• 't,111 Blcedi11<! )it1?.
cd. B0nJan11n L1gnel, Ne\v York, .2002, p. 280.
45 Joh11 Cuss..U1s. 'A I lalf-f-orgottcn Mc111ory of
Everyda> rrau rn.1' 111 1b1d., p. 73
.i.6 Filippo Mannctt1 ct al.. J.11tttrisr 1\ll,111ijc,h>,
Pan5. 1.0 February 1909. Poirll 9 of Lhe Puund
ing Man,fe~to ,cates: 'We \VIII glor1fy \Var- chc
\Vorld'~ onJy hygicne - 1111 licnr1s111 pntnons1n
thc de,tructivc gc~Lurc of in:cJom-br:ingcrs,
heaucifi1I 1dcJs ,vorlh dy111g for, ,1nJ contl'IHpr
lor "'·ou1a.u· fPnnru, 1-Iultcn, r·,11,11ii111,1 ,111rl
J-'11r,1ris111i M1lan , 1c1Xr1, pp. 514-111).
~ec 1)c.111a Pt•rl1crbr1<.l!a!:C,
'
·c)n thl• Mo\·111g Lllll'
and lht: f-utuJe 'iub1u11.:ti\·e nf Dr.1\\'l
.
ng 111 a
Po~r-l)uch.11np1.1n Age·. f:11111rr<, xxx,, 10
(l)ei:cn1ber :!007). pp. r 1y1 1200 l~pca;tl 1,,ul',
·r,11111,·., tl(. lrt'. cd. Julil'L 'Stcyn)
ln 111, 111uch delon,tru,çed t'\s:tv '\\anr-';anle
.....
;1nd Knsch ·, />t1rt1s1111 Rc1•1n, ( 193!)). Clr.:n1cnt
Grl·cnbcrg rcmru·kcJ 111 a 1uc111or.1ble para-
gr;1ph: 'Kit,,h 1, 1nech,1111l .1l 111d opt'r,ltC'> by
forn11.1l,r;. K1t~ch rrerend, co dt•n1,111d
no1 h1 n~ of i~ ..:u~tl>mcr~ exccpt 1hetr 111oue\
- not even the1r c11nl·' St'e ( ,rl.'cnberg •
. .--lrt ,111d
C11/111rc: (,'ri1ic,,/ 1-:.'ss,iys. Hnston, ,\A.'\: lie,1L·o11
Prrss. l \)6 1.
A glns~.1r1 nf ~uch ter11h 1, ,1ppe11ded Ll) thl'
exh1b1t1on C'3t,1logut> ,\fy Rr,1!1t)•: c:,,11í('ltlJlt'l'rlr)'
A,·t ,111rl tlu: C11/r111i: 1l/ Jap,11tc'se !11i111,11io11, Nc:\v
York.. Des 1V1oine~ Art Center/tc 1. ~001.
\0t: Nichohs Bon1oft~ ·sex .1nd C onsun1er1sn1:
The Japmcsc St,Hc oí tbl Arrs •. 111 (,'011.<11111i11R
Bc>dil!s. ç,..\ ,1111I Cl1111r111pl1rt1q• .f,111,J11t·~1· , 1rt. cd.
Fran I loyd. london, 200:?, pp. fJ')-1os.
51 Takashi Mur.-ilc1m1, ·A Thcory of Sup,:r Flat
JJp8lll'SC Art', 111 SII/Jl'I Fiar. Tokro, .1000.
'lt ~een1\ 1nean1ngless tor tht' St'.tn:h Íl)r rhe
,elf known as "art" to de\-clop 111 a counrry
l.h.at doe~ not pos~es~ thc tõuud,1Lion for
.. ,,rt" •. T.1kashi \\ ntl'' ín ·A I h~·nrv of C:,upl·r
r L1t Japanese Are'
'Thc.:rt is a s1rong connccnon bct\~·ecn tl1e
i11là11t1r1zat1on !siri <)f post-\\'ar çuln,re 111
J.ip:111 ... :is a resl1lt of rhe psychologic.:al ~enst'
of UL><ipaír ... lt1llo,ving the ÇOUJ1tr\··~ dt:1c.it 111
the Second World \Var' (Yuko Ha.,ega\va 111
'1 he PI.ice ot Marg1111l Po81rion:ilnv· Lcgac1es
or Japanc~c ana-Modl'Ill.lt) ·. Ul C,11u11111Í11j!
Bodies. p. 1.28)
54 rhe dra\v1ng S111d)' ji,r ''i\11'"-Cl.!' IS rerrodll(l'd
jn Laur.a I Ioprnias1, I)ra111i11,1? \:011•: LfR/11 Pr,1p,1-
sit11>11s. Ncw York. l'vlu~cun1 of Modcrn A, r..
2002, p. 1.1 1- 1he ~culpture \Va~ exh161Ced .ir
the Carnegie MttM.'t1n1 of Art u1 r,cr-burgh in
1.00.!.
55 H irok1 An1n1a ·~uper Flat Spt'l'lll.ttion · 1n
Murakan.u , <;°11/'cr 1:1,1t, p. 149
,6 Jt:tT íl c1111ng, 'M) Rc,1lit,. }'lllll" Realitr'. 111 .\Jr
/(r,1/11)', p. Jú. ~ct' .1!,o rhe exh1h1no11 r.1t.1lo-
gue ),1.1hi111,1t<> Nt1rc1-Hfr,,.,/11 \11.1t1t,,. (J1•n thc
R,1111/Jp11•, t>d. Doris l<i} stuf .111u D.-111h.ut
Sch\\·erit, ()~cfi!Jen: 1-larjl' C;int7. zoo4.
5- \uch as the theatr1ca1 piect" ( ·1,11 ,111d '/Ju· "/hui,
C,11111111.<.SI<'"· C1rc, 19y7. ~CL lhl· extract froin
Kl·ll tntlgt' ~ w11t111g on tht\ p1ccc 1n 1).in
(~an1t.'ron l't ai, r f 'i//1,1111 f...r11trrc(1.!I', 1ondon .
1999, pp. IJ.2 -V,
,~ lnterv1e\\ \\ 1th C~arolyn ('hri,tn,-ll.1ka1g1t v
H) 1b1d., p. 8
59 for cx.unplt. thl. ·,vorker' uaJiuon oi 1) 1v1d
Bon1berg ,111d Josef I llru1.111. ur thL IJ.rgc l li ir-
NOTES TO PAGE.S 11 S •12•1 •185
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11 11 1' 1 1I ti 1 li/ / 1 ,,11,11,/,, ,/,, 1 1/111 1 11 1 } lllll 1 1li.( 1 11,,11{11111 " li H, 111 P/IJ(l
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'11 • 1
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li
' 1 , 11 111 11 11 ui 111111 111 "" "I' 1 1\1,111,•1 111 •1 111111• 111, 1111tlr1 1,,.. 1\1, ,1 dt,I\\ lll f-\\1 pli1,111g1.1ph, ,111d 111111111 ithJt'I , .. 111

11 1 1 li I ooil il, ,1 ,, , I" 1 1,,, 11111, l 111 .. 111,1 , 1 iol111111 ,1 1 it," 1 ti' 1111111 ,, ll I''" f1 .1 111,·d "·q111·11l1, l l1r y111111µ 11 1·111 lt 1111,1

11 11 11,i, ,11 11 d,, "'I ,11 1 lt111, , 1h11 l" 1 "" 11,11111 I'",, '" tl11 1 !d1 1h1t11111 1\l,1111 \1, h 1• .tl,11 d1,pl.,v, d1.11v111µ,. 1n h111,;1·
1 '1 ' li d,' 'li• / ,•Ili 1 /1, 011/~j ,1/ 1 ,1 1 1 Ili<'~ ",, ,, 11 • t 111,11 111 .ll,l\\'1111'' Ili 111\1 ill.111011, 111gtd11·1
1, 1 111 1, 111' 111 111 ' 11,111' ,111111 1 l1111d1111 111, ,.1, 11111! lltl 1\'lllf! 11h11·1 t,, lll'tlll \l/lh, t'lt,
1, 1 .,,,,,1, 1111 d, 1,1,, 11 "I'' 11 , ili ,,1 1 ft l lfl " ' 'li , 11 l\\Jllf-1 Ili 1111 l >,1111, 1 1111 1~1,·111 11~ li,•11 11, d1" 1111 .1,111, d d1 1\\ 111g,,
( 1 1111 1 1, / /,,11, / ,, 1,, l' i/ /•1 1, 11,i/ /11111,/1 1 ,,ll,,lu111 /1111,h l,1 l,,,11 1111! 111,111,I 111 ,1 11111 , ,, ~r., 1, 111·, 111d "' 1g1,1111, 1111 1 /li' llri//,•
1tJ 1 111111 111 \ li 1"•11111!111 / 1,1 /11,1• 1 1\\11 111111111, 1 1 / 1•1// 1 fl,1{11\1(\11\ //11 fll 11//1/1/1! S1111•111 d /J,111 hJ Ir,, /1111 /11'1,11,, / /1•1/1 ( rh, (; , l'l.'ll
l 11 1 ti\ t I li ,1 11 li 1 111 1li 111 \ 1 111 jl II' 11 1,,,,,,,,,,11 1, t 1,, fl.l.1 111 1 .11111 1111 u.11L11 11111 11, 1 )
1, 111 111111'" Ili Ili 111 1 ,1, 1 /' /1\1 ., 11/ 11,,, 1 11 j Ih 111 111 ' J j li I lf, / 1li 11 11 '1 li li 1 81 lJ11111,•d 1u l,.111· i'u,h, l 1,i111 tht A1un.11,h1111•·.

"' 1,11 "' ,,, 1 1 1 1111111 111 / 11 ., ,, 1 ,,, f 1,1/ ( llj l 11111 1 1111111 ,, Ili~ 1 li\ li Ili I lt 11111, 1 111,l , ..,, 1 Ili "-1'1/!1 /) 1 l'II, 111111lu11 1>t lf1t1.1 l<JIJI) Lllll',1!,!.
1111 lt 1 ,1 , 1 1,f,11111!11 li li I I• Ili 111 • Ili 1 lt ll,•11• 1, 111, / ,1111" /1,111111,,,/ 11,,111•1111• ,111,/ 111 IH d \1, 1h11 I /, ,11/ Ir• { /111trl · I )r,111°111_~.1 lii•
11,11111,1111,I 11111111 ,,, li, ,,1 ,,,,1,, 11/.,11,111,111, 11111• 1 1,, 1,I 111111 11,r l, I(, 1, 1'ntl1 '/r-,•11, N1 ,, Ye11 k· l h,·.1 \V1·,t11·1,·h 111d
111,1111 /\l1,l11 l t,1111) l,11 .. 11 11111 li•\\ 1,I 1,11 1 111111 1 11, \,1 fl.111" 11111 111,I 11111111 11lt11 f tl1.111 \)C.,1>\lll"I, '<Ili~
/1•/111 •1•111/ /l,111/ 1/ / 1/11/,11/i/ ( l/1 1 I l f11 1 1lll '\,, l,11, 1111111 1 ,li\ 111 l d1t,111111 li, 1I, 111 t ,,·1li,11·d N,,/11,·1, 11111d1u1 l .111· l, ilk·1 \', 1111i1,
11111 \ 1• 111111 111.I \li, li 1\ Ili, 11111 lilh 1 1 11[ 111.I 1111,1 .. 11 M \ ll1dt111, li 111, ' ' 11 1•1, I' 'i PP 1' 1 1
1 , !1,,11 1 1111 li,, , , 111111 d 111.I 1•1 111 111 ' 1
111 ll11 11,111.11 1'1 1111111 li 1111 '1111 \'11111. 1111· 1, g, 11d,11 \ p1,1,11,, oi \,il v,1d11 1 1 ),d1 ,11111

1 1 li 'f' 1 rl11 d, 11111 ''"" 11 1 ,t,. 1111 li 111 11,, 111111, l 111111 111, 1111,·d ,111\\1111 'I 111,Htl l'i. 1\\11 \\ 1111, "'· .1\ ,1 ~ili, ,1 hl,111k l'llt l' 11f
1,1il,I \ ,11, 11 li li Ili t '" 1'11 Ili• 1 11111 il11 111 111 1 111111 iJ,11 1 ,1 1 1 , l1il,I 11111 I\\ • 111\ 1'·•1'11 \\ 1111 1 •l~tl 11111,• \\Plt ld b,· µl\cll to
, 111111,111 1111.l,11•1 til 1111111 fo. 1111111 1 1 S11 \o 1, 11 1\ 111 11 11111111 1 1tth, 1 lllllj' Ili 111111111111 Ili ,1111111111 ' ''"' 1,1 I'''""" l' ,1 ptt'I I' 111 \\tHk 101
1 jl 1 11111 1 lit Ili 1111 t lJII 1111• 111111 o1I 111,,11 , 111 d, ,t.tl 1llh1•d d1t· \\ h11 l1• llllllun oi tltL'
li li l1tit ,1 1 li i) 1 l 11, 1 \ 11111 11, "" Mllll'I 11111 111,,·, I lt, 1,I 111 ,1111,1', lllil'L'I q1l11, \lgll,11111\ Ili ili, l\\'l lltll'lh

r' ' 11111,li Ili 11 1 1 / /1, I, 11 1 ,1/ 1 ,111111111111, H•1•11 l 111, I, 1 111d '\11111\ ,1\ ,,, l11tl 11 111 Ili 1 ,l11'11t1p11 ll llllll\, l l1 1th,111111, IIIIL'llll\111 ,11 11thL'1
jl 11 l "I Ili Ili li ,li, • ,111111111111111111 ,,, 1111 lf'• ,t tl11 ~ l1111d 1 '•1•11 111, \, ,li, 11 Ili \ .. 1111 Ili Ili 11,11111•, (' ll ..,,. \1 11.1\\ ') illlll lh)lll"d 111 thl·
1111111 "" l ,1111111 1 h,,111, 1111ltl, , ,ti l l )1 J 1 , 11111 111,11111t•1 1 ),,.il<'r, .ind 11111\1'1111 1\ IIL'VL'rthl'
1111111 oi I' , 1, 1•11 1 1,, 1r d I•, 1 l 111, I "' 1111, 111,il 1 li I li"\\ li Ili \ I• 1111.1 Ili 1')11\ .,, tl11 l "'"" ' 1,,, dt ,,, 11d tlll d1, \'L'IIIIIIIL' ,1µ11. 11111 ,· llt .llltt)-

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1111111 1•111111, 1 lllllj 111,I, 111111 , 1 111, l ili,\ ,1,, l 1 ft, 111111d, \ " ' 1\ Ili 11111•1111 1111 ,,,111 Ili '\1111sltl-.,1 i.;1, 1111, '( )11 \V1,h111µ , l l1111~i11g ,111d
11111 l,1,, ,1 ,,,,,,,111, 1lh 111,I 1 '""' ,,. 1il" 1 " 111111,1 d1I\\II 1111111 1111 t\lllll''•· 111 1ft, 1,,k111v PI) 11., p,·1 l >.11111,11 11 11,1\ 1)1,\\\ 1111.,,·. Ili
11,11 .1, ,ti, 1111 ,, ,1 lllt d11 11 h //1•//111111~ ,oi li)/{ 1, 111 1111 / '111111 1/11 1 1,11//1 ftl //,1' ( •lrll'I' \,·/1•1 fl',/ / )1,111 '11\~-•:
11 1 l 111 1 ,1, 1 ,d, ,1 1111111, IJ,q. "' i111 ~ l,1 1,1111 \ ili, 1
>1 li• 11, 1\111111111 1111 111111 I 1 11['' llli,1) 1,t'II / >,11111111 l /u ,1 1 111tdl111 t , 1t,•11,1 lí1 t11\li t '111111
11!1 1111•1 l,1 111111111111' 11 1 l !iliil'II 11111111 •,,,,, llllt 1, il,11111,l 111 l/1, 1 , 1//1111 /·11,•/1111 />,, 1 d,~"" 1 1111,1 1111 IL,l\lflgll' Llli!l111 I, l111, Olllf'lll
1111,,I I\. 1\\1111 li \\illi11111 11111,1, 1 ll,11,,/ ,,,,,1,11) '1111.t 1 ,11111111 , 11,,,1111·.I llltll, I\ \ll 1 11 111, \li\ li 111111p.11111·, .111d ,t·II 1'111111\lll'"
/ 111 /1,11111 1 / , 11,111,1111 1l,111 11,,11 1 !i I li, \ 1, 1111 111t1i1111 11,,1.I 1111 ,~11111111,,t•\ /'/1)' 1,1/,1111,1 1111111111,
1111111,I •I 11111 111111 11111 1 1111 \11 I ',, ltl~II lllf\ du 1 11111 h11,h ( ,,11,~ 1h•ll'll/L' 11111 1-rli, ( ,u.,tt 111, 1 r1,,,11.1,111,I
li 1 \ Ili 1, 1 11! 111111111•• l l1, 1, ltol 11 111111, .. ,, 1,, I' 111 1111 111, ''" Ili li•,, , 1 I' it11 · "'" dl 1 10111 "'V / 1/,111,1111 1 .,,,11,1/,1111 ,,,,., \,/11 .,,,/,11111,1 1 1,)1'01,
'" 1 "'" 1111, 1 1111, 1111111• '" 1 1, 1-I, 1111.I, ,, ' 1111 11111'11 ,,, tl11· 1'1,111111•,l,1 l 111 11•1111111, 1\ ,, li Ili\ 1111,111 i\ l.l\~1 1111111 l 11111 1,111, ltJl,N , I' ;li
lo11 ,, ,,, ,1l1j,tl 1111! 11111111 1111, ,, l111, ,litl'I q11111, d Ili ili, 11111 \\llltl Ili l '.1111111 l 11 lb1d , 1 " ' ' '
1

lltlll I'"""' 1 111,I 11111, li• ll il li ',111111111 1 ,,,1,1·,1,,1 ,, 111,1//111 /,111,/ ,,, ',1111•11,1~1' N1·11 li/ N.111,, 'I'' 1<1 111.1,11111--', .1 1'1,·11, 1111111r,·, ,,r,
, 111 1i 1, 11111111, ,,t 111 11111 1 . 111, h11li111• 1,,,.,,.,,1, / 1,,111•111,:• 1,,,,,1 ,1 ;\111 \,•,~· /'111•,,r, 1 ', ,/ ' 1li 1\\ 111r 1\ \.1111l,·,1p ln, _lud, k
1\1(11,1~·. Ili
''"''" 111I \, \\ ,lt, 1 l lo11111 l 111 1111.I, 11111 /1•111,111 1 11111111,h•1 ,\1\, lljoJ 1' l \1111•\\ lt,111 \ ,111 \\ ·•F,lll'I , / 111,·., ,,1 1 ,~,,,,, 1)1,111
\11111,, 'i, 111, 11 \/,111 / / 1,1,/11111111 U1 t,I) 111,11/ /,' 11 /1,11 f '1 11,I / 11,111111~••, 1111111 11)1)1 1 7., t, /11111111•, li ''li/• l•1 t \ 111, 11111,11,11 )' l l ,11111•11, Nt•" Y,11 k: l lud
0

ti 1,11' hJl 1/ 1'111 1 1 1, 111111 \ 11•11, 111111 llll'll t,I,), ' 1 ,1111/,111111 /.',111,11/1/1, ,,1 11111, "'" 1 11 ll, l '1 , ...,, 1i)N1J, 11 1 l 1
n li li\ 1p1111,, I Ili li, 1111, L ll11 1 lo1 • 1•11 li, Ili\ 1111 .. •11 111 Ili l•JIJ,1 I' 1'
111,I Ih, 1 Ili 111l ii 1\1j111 Ili \1,11 1, 111~111
, ,1 1111, ,, 11o11 " ' ' " ' "I H,1,h11,I
111d 11, 11111, ll" , 1/111,/..111,:" l ,•1111 11, I '""' , , 11111,I, lt,. , 111 1,111 d 1111, 111, 1\111, d 11·, li111
Ili ,/ ,,,,,.,, /1,11) N,\\ \1lll 11111 l111tol1111 , ti d1 '" 111~, 1111 " 1111,,1111 ,
111111 l'I' 1 ,11,I 1o1 li \1,• \l .111 1 11.,1, 11,"11pll1•11, "11111,1111111, 111,I

11 1
Core Bibliography Srec1Jlisr c1tation~ lisred \\7th full b1bliographic.1l der.ui, 111 th~
rh;ipter notes .ire not inc lt1lit'(i heré.

Ad,:~. l),1,, 11, /)r1d,1 ,111d ,'l'1t1r1',1lis111 R.,,,..,.,11•1·d. l úthlo11· >\rc, (:011nc1l ,it"
(;rcat l3rit;iin, 1978
- - , .-l11dré ,\/ass,111, London: Acadc111v Edition-., 199-1
Adlcr. KJthleen ..111d Man:i.1 Pou1to11. 1:d,. T111 fl,1dr I111,{\!<'d 17 t l l11111i111
/·,,,,,, ,11ul l 'isu,d (,'11/r,111• si11a· lhe l<c11,11.i~t111c1'. (~:u,tbridgc:
-
(.~a111bri<lgl'
' .
Un1veT,1c, Pn.·~,. 19\JJ
Alhert1. leon B,1cti,t,1. 011 P11i,11i11~. trJJl'>. CL'ltl (~1ay,u11. Lo11do11: PL·11-
guu1, r991
Alb1nus, l3ernhard S1e!,.rfi-1ed, Tnh11/11r .,cclt'lt <'t 11111sntf1,u1111 .-,11p,,n~ /,r,11i.111i,
Lu~duni 13,1t,1, oru1n. J. & f-L Verbl'el-... 1'"'47
Alpers, Svetlana, 'J'/1(' ,-lrt ,?f Dl!scri/1i11,f?: lJ11rcli lrr i11 1/11 ,\,•1·c111cc111/i
C:c11/11ry, l 011do11: John Murr;.iy, 1983: repr111ted Lo11do1r Pcnguin,
1989
- - . l{e111/ir,111rl1 '., E11rcrprtst•. f/u• St11rl1e1 ,111d th<' ,\ l.irkcr, London: T h;llTit',
.1nd 1-1 ud~on, 19~8

A111c, Lc,v1s. rrJl1C15, Drar1•il{e ÍII E,,,1}' R~·,1c1isi41//(t' 11111}'. Nc,, llJYt'.11. ( I.
and London: Yale Univer~1ry ljre~s. 1981
- - , T/,c Dr,!frs,111111 Rapb,1t'l. Nc-v. r]avcn. ,;r. and L~)ndon: Y.iJt U11i-
vcrs1ty Press, 1986
- - , ,1nd A11 k:1 Bednarck, l)rro111111 111 /{r11,1iss,111rr \ 'arr,lfil'c -l , t: l',1prrs
D1•li1•1 •red c1r 1/ic ; l11n11,il C111!f;•rc11a <!f 1/,c ,·L,.1,>, i,uiv11 1>( : llf Tli.,1,,,í,111s.
L1111rfo11, Apríl 1991, London: 131rkbeck c:allcge. 1992
- - , .1 nd Paul Joa nn ide~. eds, R1•c1rti,,11~ 10 r/11 \ /,1src1 . .\ lirlil'l,11~eclo '.ç fi[li·rr
C)II ! lr/ ú/td ; ],rL,ts Ili //t(' ,)Í;l. i Cl'lllli Cr·11/11ri•, Alucr~hot. l l.u1t,, ..wd

Bur11ngton. \ 1: Ashgare. 2003

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A poll 1nairc:-, Gt11 llau me. ·111c c:11bisr f>r1i11tt>1~, · A csr/1e11r .\ ledi111t11111s [ 19131-
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Applcbroog, Ida. }da i l pplebro<~(!. An1 )í111 Hlecdi11.<! )er?. ed. 1Jen_1::tn1111
l 1gnt:l. intra. Fr:incine Prost', Ne,v York: ivlai-,on lled . .200:.
~

Argüclles, José, C/iarlc~ flL'llf}' ,11nl //,(' r:11r111t1ti1>11 <!( ,1 P~y(//1>11'1ysir,,I 1lcs-
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Ari e:-.. Phil ippl'. "17H H tll/1 e){ () Il i' f), ·at/1' rn111,. Hi:h;n We.1vc:-r, Ne,, York·
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Arcc1ud, A .. 1J11rv11i11 ..-!rta11d: l l ;,,ks 011 l'c1pc1, ed. M argi r llo,vell, Nt•,v
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r 'ir11•s. NL''' York. V1ki11i.t. •
1972
Audran. c:ér;1rcl. 1-t•s Pr,1p,1rri,111s d11 rc>r11s /111111,1111: 111t·.,11r,11'.• ,11, !t•~ 11/11, bt'llr.,
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John Sturt, 1718
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ThL' f-r1 rk ColleLttOn, ,111d P,1r1,: So1110g} Art Publi,hLrs i\1u'it'L du
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CORE BIBLIOGRAPH'r 487

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~""fl'. London : British M ust'un1 Pre~~. JOOO Ul·1 klo1d, \X/ilh.1111. Jfi11,1! 1i1p/11r,il ., /n1111111 ,!f / •,r1.r111r/111,11)' l',1i111,·r, 11 71-iu l,
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/11 1'frr<nia11 I .Pnd,,11, Aldcr,hot, 1---!nnr~: Ashg:ne, 2000 ,lll!..l Snn~. 1 X...,-

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,1 .1-lrri.,1, l ondo11: Br1ti~h Mu,cu111 Presl>, 100:?
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U,11tsLh. Ad.H11 von, Tl,c /ll11 s1n11t•d fi,111s,/,, l'<.I. W.1ltt'r I t;;Lr,ILhs, Nl'\\ 1111rn. (;10\,1 11111 P 1l'V1 L1l1 . l\ 111 11: (: l·111,111d1 . 11) 7(1
York Abari, Book\, t1J7~ - . f'/i, J i1•1•s e>/ r/11 /\ /,1,/1·111 / 1,ii111,•,~, S,11/111,11, ,111,I l 1,/,i/t't'(í 1 \1·11
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•
U1tt\L'l'\ll\ \lrt·,,. 'OO'i

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321 Ph~Jto: Ei.:va lnk,·ri
lin,1gc \'.,, Tl1t' Hndgc1n,111 Are L1brJry. L1n1duu. 119
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l"hc 'San1uel Courtauld Trusc. Courtauld Í115titute of Art
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111.1k,• tlw11 m, 11 ,.·,1111.11 muwnon, .
:!.5, J.1111•·, J. <:,h,011, ·17,.. /'n,1p111•11 ,,1 1/11· 1"i,11,r/
11r,r/d, B1"hlll, \H: 1 lnughtun J\111Hi11, l<JM,,
1'1'· 7S-'i11,
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pl11lloi-:11ph, p111 to~,·d1n h} h1, moJ,·1 ,111d
.1,,i-t.111t 111 tlw PJ.,o, ([ ytl1,1 1>dn cur,k.1~.1.
ljU<Hl'<I 111 Yv•• - l.1111 ll111,. 'M,111"l' ,1nd
.. rih,·-.lr.11\111 • ' 111 f'.1111111~1! ,,., ,\1,,.1, /,
C.1111hmli-:•:. ,1 ,. J11.I l.11n.l11n. 19'H, p, ,o),
::., 1)1,ui-.....·d 111 gri:.11 .1<-1.111 111 R1d1Jnl Kl'n1L1l1.
·1 >r ,1\\ Ili):. 1l ,IUII i-: . md tlll 'it't!lll.'lll l'., Ili f )(i:,,,:
flt·)•1•11d l1111•1r.;,11,,111111, l ondnn. '')'>'•· l'P· Pi<.-, ,
!li Th<· 'r•·td .111d tl111thr. ot' < h.111~- 111 , ompm,·r
d1.m 111µ 111c111 th.rr ,01111· ,lrtl\c, 11w ,p,•1·i.1I
pn,g1.1111, lor r,·,urding rhl·1r pmn:,w,. ,1111t· it
h,·n1111,·, 1111po"1hk til prnn nm u1111111u.illy.
. 1ml ''" .-·,,1\l' "l,1i--:c, ,,oult.i mhcrw,w 1111.1l!y
il1,.1ppl',II \\ 11h111 \l'ljl11.IIU.1I J'ffi<'l'' '-''·
~•J Th, r,· i, ,il,o ,l p,•m il .lr.1wmg 111 thl· 1 .1,k
Kt"\ nc ,olk, 11,111, hrl,•. E.hl s;;u 'l"\ . 1~ 111m
\1r.1 hn dt•,u1h,·d Lopul..mJ .,, \ ;111.1ry
hr.1111.-,r (,t"l' J11di1h 14<'krdl. BJ,, '"''""''' H,1/-
lt-ri11,1, l.011tlo11: Wridrnfdd Jnd Nu oi 011.
200li).
JO ~1hc·w dl11,r1 .nu Ili\ \\<'li.' .-om1111"m1wd hy
lhn111.1, 11,,p, 111 lloru,· 111 dw ,-.1rh 179m,
J11J lirn ,·diunm 111 rir,· /11,1,/ •?f Ht•111r1. /11t
Odt<.11'J' ,f l l, 11110 17r<' Tr,1cnl1r., ,,t . lr.d11•l11.
.md <:, 11111 1, 1,1111•11~ fr,,m 1/11· Jldl. Jlrrrs:Jti1r, .t111/
g,,,,.,,_.,. ,,r r),Jlllc ... 11,i:l11u1 \\l'f\.' Cllb'l'.l\Cd b,·
Thnm.1, l'trnh, lthouµh ,ub,n1ucml) n:puh-
h,lwd in 01h,·r \ l'Olon,. c,,.,,,,,,;i1i,•11. fn•m 1/1,·
11:11ks. J>.tJ'.<11111/ '/11,·,,:, 111)' 1f llrn,,J (1 17) \\cr,·
cngr.1, ,·d h~ \Y.'1lli.11n Bl.tkc.
l"n• ·r n:d t ht· 11L 1Jl pr1111l , , ,1 r\lc .111 1, r
<:111\.'rl! 11. / 1rn1,11 1/, • l llt ,mr; H. t! ,,,,. I 171
Jlr, 111,111 1 /, ,ui. , ..., u i:d tln 1 1ll1._;rJ phtl tu.h
ru4uc 111 .111 c ., • •t·rrtl·d m.111nr:r ,h d 1d 1ht•
C ·rm.in J rt1,t J oh 11111 1k111n d 1 \\"úhd ru
1Nhhcm ( 17, r Pi.Z.•J), lm:11J rJI J11lu1111 \\1,lt -
g.111g t:,>r lhl ,111d ,h11·c 1,11 oi 1he N,•,1pol11.111
,\l c.1cll'1111.1 d1 lkll e 1\111. \\ li11 t·11~1 ,1\'l•d pi tt,·,
oi ::-.11 \Vdh.1111 l l.1111!11,111\ 1,1w, . 'Tlw 'il,111g\'1 -
11u-' .md ' 11mn.Hlir111.111r .,I ' l 1\1 hlwu1 , .111d th,·
pr.1nÍcl.' of ,,1l11gr,1plm l111L\ \\1'f,' n111Jl'11mcd
rou11dlr by Ct·orgl' <.11111ht·rl.111d ("l/1,11(~/11, ,,,,
(/mime . ··11/prun-, 111111!011: \\~\\ 11,011. 17()(>, rr-
1,- 1 ) ºhv )-:1\ 111g ... , ,yi11111CU)' or 1ê:1t11rl' Ili
r,•1-,•ulJrly irn•1-,•ul.1r 1111!1111,-.. ., 1T M : hhc111I lu,
,l.1'hl'J hop'-"" th.11 ('íl'l h!lh lllt)llllllll'llh wnul 1
.it 1, llf.'11, tl'.lt b lh 1111< ü111,;,n11n;1tnl .mJ pm'-·
\uch hccllü' 1111r-1 111>1 lw l<lllt·,•<ll'll e,,
tl1<' ,tuJ<'11t·. Juh11 llu,l.111 ('l li, · l:l,·1111m, ,y
/)r,iw111.11. p. J2) \\llllo.: u1 1;,;,7; ' Ir d,,._., 111H 111
dll. h:J,t m.mcr \\ ltuhl r y1111r pl'll 1111d111 .... bc
1h111 or rlu,·k: but lt 111.tttcr, µrc-:1tly th.11 1t
,hould bl.' 1:qu.11. 1101 lll',l\'ICr 111 mie.: pl.it:c tlun
'itudti:,I'. (l u,km pu111tc1I tu n.1xm.111 l',lll\11-
lJII J< .1 tini~h,·J ....-..1111plt· uf 'b.1,I dr.1,1. mi;
1\·1rh J ,ti:.1d~ h.md' (1b1J., 1'· !1,S) .
l~ U.1rhJr,1 \wttnrd (H.1 ,lr ( 111i11,,u /111,(éll.S: /Ili'
f m-r, 11 111 l .11/il!ltt, 11111,·111 Ir/ ,111,/ .\ /rr/11111<', C.1111-
hnd~,·. ,1,\, .md L1111don. t<JIJI. p. 1 1~) nuk.·,
111,p1rt'd t:Olllll'L l11111, ho.:1,1,·t'll ·tJ,,, nn, k,, •.
il
w,c.:rm for tlw 1dl·.1h1L•d 1L·dunm11 ofçompln;
1nformarin11 ,md d1L' 1lt-1111,l11u111 of tht.· h1•d)
by dw Jb,tr.1.:1 ,l1,1gr.1111', lh,·n.· 1, .1 •fu11JJ-
11wnr.1I hnk b<'l\\'l',·11 ~,-,,111,·tr) .111,I pi:d.1!!º!--'Y,
Jntl th<' <.·:-..,gg,·r.n,·d 1111dl1."l'ru.1lr,.1ci1111 of
1111.1~'-"' .1., r.111fic,l , hl·111J1;i'.
J.l \t'l' 'i.1r,1h \,mrnrn1', • 1 h,·rm·, .md \'anJnon,'.
111 J,1/111 F/,1.,111,111 /{, I, nl 1>.1, ,d fhn,l111Jn,
Londtin. 11p9. pp 1, ;: .,, (;tl),1 ,11'0 Jppmpr1-
.1ted FJ.1x111.111 \ 11•·11d.1,,1, .1I ,1ylt· oi ,, .1,h dr.1w-
ln!,:' into tlw dd11 ,1t1· i-:r,·, 1, ,l\l I dr.1,, 111!{'> w11h
.1 min1111um ot ,h.1dnw, .md m11dcll111~ 111
hi, ,(1--,'Jlbl \Julú,·.ir Alhum nf 11 96. Philip
(,mcon \ t\\ 1:11t1t"tl1 "l t'llllll') ·•PJ ropr1.1riu11 of
,ini"i:r hm1tlL·J Ku Klux Kl.m lit,..'llfl.', mto hl'
\\ork pm,1bh fo!l,l\\cd tlu, pr,·Lcll..·m..
1~ Thi, WJ (.:om111\·cr,1Jl1)) ,U!!!,!t',tl'1I hy 1-'inr~"
( ,,1"i.:r. thl' ,d1nl.1r \\ 1111 "orkt·d or1 Coy,1-_
l'JtJlo!!UC rJ1,01mi: 111 tlw IIJ70,; thc ,kctd1-
book.-. do nol Jh\,1), ,IJll'l',1r 10 l,m1nde "11h
IIK· pnnt ~equl'llll''· SL'<' Pil·rn· GJ,,ll'r, l ·rr111-
d.,"' C.,•J',l /Jr,111·11(1!>· / ln C:,,,111'/t•rt .11/,mm. Nc\\
York JnJ W.l\h111~rto11, Ili". l•jj'J. p. l_l, Jnd
[lc.mor A \ JH1''l111m,hKt11111 CCl Lhe Pnnt
llld Dra,1 Hl!-," \l.'lll.' •. in Alfomo E. l'i·rez
~Jnt hez anJ Lll'.111or A. S.1yr'-· ( "'} .i .i,r,/ 1/rc•
.,,,,,,, tJ_( D1lii:J,1,11111,111, U,1,1,111. ,u: Muwum of
rint' rt,, l'J~l), r-
Xl\ Un C1w1\ drJWinh'\ lll
):l'llCral. \Cl' J11l11;1 W1ht>11-B.m,.ni. c;,,y<1: Drull'·
i11.r:,· jiw11 li,, /11mllt l//•11111.,. Lomlon. 2001.
3
, ,< - ,h\, 11--1,111 ur th, P1, ,l\>I:) ,kl t, hlinok,
, h.1ptt·r rn, h.:. p i :1,
JI• T111, a, \,, ,,1 11,n, r, 1>rt"\dt·n ',kt·t, hbook
(1 >n·,,kn• .., 1, ti,1-..h, 1 111.lc,b,hhothrk. w, 1r
q - 1l>n~lm r '\k1uu1ht1, h 11
_r; Thc,t· tJ'll ,1 ,l..ct, lw, 011 ,,r.,p, ui p.1pa
ui< lu,h· ..,,..,) B.•,11 f /,·, ,1,·dm11/-.,r,1/,/11v~• o(
19--. J't'fü 11
nu pJpt·r. 1hr,·t ,hcr1.>, c.1d1
ollnnon ui Lh,· ,-\ru,t).
1;:; ,. ')" 111111 f (
.I~ Polkl' h.1, lOllllllll<'d 10 b<' í,"cm.11cJ \\ 11h
umuc ,trll" Jllll Jllllll.lUon. tnr c-.;.1111pl..- tlw
.icryh, on l'Jf'l'f Jr3\\lllj: 'rr.fm111111 (l<J,1-4).
"luch \\.l• ~hm\11 m 111, rctro,pc,un- .,t th.:
i\lu,,·11111 11t MoJ,·rn ,\n 111 ~<º\\ Ynrk 111 l'J•JIJ.
J<J C<>IIIJ'Lltt·~ \\'mi. 011 ,\ !1,or,·\ l..1\\ - ,1pplit·J to
thc r~p• 111t·nt1,d IIIUl'J,,• m 1hc d,·1htry oi
rr.1m1,tor, cm ,m 1m,·gr.11cú nn: llll - but .il,o
imerprr1l'd b~ d,•, <>h.·c, w prow tl1Jt ,·,·.:')
probl<'lll ,,f rl'pr,·,,·111.111011 c.111 h,• 1111pro\'l:d
tl'll tillll"- l'\'Cf') ti\ C },_..U,
-1· '>cc o\h: R., \ · 1. ' I )it!Ju.l l lum.m, \l.~i,
111 rhc \\'111~" ,. , r/1, -1111, r,,.111 (Non-mh,·r
;?OO•J • l'P· 5'\ -,,l,
~ J :--l0t m bc coniu,c-d \\ 11h more 11.i.hrio11JI ~lll-
m.nnun prac nu.·, 111 \\ h1ch chn:l'-d1111c11,mnal
1'1.Nt, me íi~urc, Jrt· 111.1111pubtcd .11111 tilmcd
trame b~ h .1111c.
~.! :\lbrcdu 1)iil\.·r. 1·,1,lo-wq.11111.~ ,lo ,\lrs_<Wtl!
[I,wnuww 111 .\ fo:zs11rt1111 ,,r 1111/1 e ·, ·p ;.-. ,ru,f
Ruia Ili /.JTlc'S, l'l.1111'! aud s,,/ul R,.,J,. ·1 '\iur<."nl·
bt·r~. 15.!5. fur .111 ,1,,nunr 01· Piem ddl.1
Fr.lllú..,, .1\ mathc111J11,·.1I :mJ prr,pccm't'
,1uJi1•!>. .md 1>un·r·~ rdJm111,h1p 10 i'Jt:ioh
md 1 ~.,n... r,I, ,. ,,·e d1.1p11:r. i .in,I :. oi ,\ !Jmn
lscmp. '/111 ,,,nhc' ,!f. ltr: Ur11..,I n,r111t', Ili
11 últ'lt/ ,1,1 _,,.,,,, lir1111d/,.,./11 I,' \ 'llr,11, N1·\\
1-la,·cn. < 1 ••111d London. 1~•J1 ·,p, 11lly PI'
.! 1--<q. Picru\ 111.1m1.... ripe /),• /''•'fJ'11rm1 r111-
.~rnd1 (111.-a 1 1s2), 10l1m, 111~ 111, e.1rh1·r trJ,t 011
m.1ch,·111.1111,, ,·.m Lw u111,Liltcd 111 J modt'rn
rd1uon. b;i,l.'J on th,• rnm·.1I cdinon oi G. '
r.i-0l.1 l ••n.!I. f-lurcnC'<.', 1,,,4.
~.1 '>1:t' tht• .t,~u1"1nn by i'vbmn 1'1111p oi chi,
,,orl-. . md dw pcr,p,·,nw Jr,m 111!! ot' .1 11111.:-
.:,~·/11, .rl,o III eh,· Utli11. 111 dw ,·.11.1!.l~"I.IC of
tht' ,.,t11•11JI (;111..-r} ,,,t' .-\rr. \'lh,l1111gtnn. nc
1_·;,.., q,p .1 ,, 111 tire- A.e, ,:( E,p/,,r,111,,,1. ed. Ja,
A Lc:H·fNln. London. \\',1,h111g11111. IH. md
Ncw Yorl,,. 1•1•11.
4-l- For th,· "l'<'n-lTJm1• ,,ulpnrr.il .i111umrc for
thl.' Sf,,r. ,, l f,,rs,• Jr.1w11 hy Lt·orunfo m thc:
Codl·\ fvlJJnd u. foi. 15;r. ,cr ( .1r111cn ( ..
lhmbJd1. t·d .. L,.-.,,,,m/,, d,, 1·;1111, \l,1,1a Dra/i5•
111,11,. Nc,, Yorl.:. 1003. pp. -l-.lO-JS,
-15 L1onn111 l'.10!0 lom.1110·, ~d1r111,111, f-'i<;!IIT•"-
'i111d)' 1{ Pr1•J'lic1.J;,, 11,.: 1:111/t ,,f ~,111 .\/,mo, .\li/,111
(1570) 1, m tl1l' Unin-Nt\ Art Mu,1.·um. l'nn-
ü'ton, :-..,1. Thcr1· .1rc ,111<.11,"' bv Rubt'n, of tl1c
F.lrne,c: /-{..,, 11ft, 011 J doublcJ-qdc:J \hcet m
rllt' C m111.1uld lmntut,· of Are (;,1lkr~ ( 'i111dit'>
1:f 11,c f,m10, H,·rmll'~. 11 , 9 -s.i•r...p".'). <how-
111
rng ., hlockhkc h1.'.1d u11 tlw rr<tn .md d,.,.
gr.1111111,,111.· mu,n1l.1cur1· "ít•1111,•·J .. 1
• ~ C""' " ,ht.,\ít Ul,f:
i., J1r,·, t1011JI a~, 1111 tlt,· \"•·r,,, • 1 ,..
"' "~" 'O\111'.t" Uf
~tcr,·01111.'tn.- ,f\-lc• h,r ll'.rl'IN.·nri,i,, 1,
, " 1i:11r.-, \\ ~,
u,ril "' t'r the i:n1turir, Ili dr.,,, mi,; nw1u.1I,.
<.'\ t,•ndmg up to tlw populJr C:,,1115 ;/r ,lr.,_,111 hv
e·h.1rk·, !lJrgu..- in.t J1.·J11-l.n111 C~ri,1111.· (~
mi, l'.1ri,. 1 ~,,s-,o).
{f, \'<. 1111.1111 HogJnh, / 1,, ,,111,,/y.,i, ,, fkulll)', 1.·J
Runald P.1ul~o11, Nl'I\ 1IJwn, 1 1, ,utd Londuu,
1')1)7. p. ,6.
r \cl· \d1knuner, nutl.°' for 1hc ,1ag<.' dJ,..-.. oi
191~ 111d l<)?\I 111 .1/,111. "/i.i.h111g .\'Mi'S /;,,,,, 1hr
H,m/1m1.1, rd. H l."Ulln I\.Lllhl111~. 1r.111,. J.m1·t
'>clt~m.111, London. l•J?r
-l-' Hc:1111 :V\Ja,-c 111 lll tr1tt'n·11•\\ wuh {,n>rg,-.
ChJrbonmer 111 19~1 (.\/,11fo1"' 1111 l11, ,-J 1.l(L
D. fl.1111, Oxford. t•r.1. p. q1). . lll'1111I,
4'J Ccorg,· C11111lwrl.111d. n,m,glw ,•11 e>111l111t•
.\r11/p1111e, l unJon. r~,J<,. p. J.1. Cuml'l'rl.111.l
1mroJuccJ thi, tc:\I .1, ·.1 lc."\\' thought, un thJt
be\t rndum·nt of ..1r1. eh..- i11r,11111,,/>I,- 111/11e ,j
c/1<1,(t 11111//11,•·.
50 ,\l.llli.•«' ,111 -ln, cJ, rt.1111. p. 4.1. R,,IJ11d fünhõ
olim rcti:I'\ ll' thc J1·,1ri: of dl<.' luw.
51 ln plrucuhr. C.m\ drJ\\rng 1, 1cr, d1"l." t,,
thc dJrity of ,1utl111n .111d ,011w11un11ah1,·.I
foau1rc- 111 lngn,..,\ "IUJrt•d-up \111.!1 .,,,, 'l 11w1
C/1,111/,,111' of cir,.i 1N~o-~1 \l,,ntJ11hJ11,
\1uw,· lngn"1 lor thr p.unnni; Cl,m,/,1111 1111,f
1l1r ,\/11.it' t1( L)'TI< P.~·1r1• (rS.µ, P,111\, i\lmé.· Ju
LouHc). Ma." J.1rnh\ ,tuhb) h.md, .1l,11 ,•\'11k1·
ln~,\ wdl-1-.mmn 01I p,1rtm1 .,f J,.,,111-
r,,111f1•i., Ba/111 H OU\'n'), ,,uh 11, pronnncnt
h,1111k
51 Thl.' Jra,,ing ,1>11t,11m 1hc llfürll'tlon 'Ur
woulJ \"IIU rrdl·r llll \01111' ,uhrr lur; Jt 1
li,<, dt\l'll\st.J U1 chlrtl'f ,e,rn. 1'· 1•1~.
53 M.mrl\'1.' Mrrle.m-l'omy. 'ln,l11t·,1 1Jll1-,'UJgc
Jnd 1hr Voia·s nf '>11,·nn-'. 111 ·''-~"-'· rr.111\
RJCh.,rd C .\1,C :leu~. E\.uMon, 11, 11)114,
I' H ·
El.uni: de.' Koonmi,: S1.1rcmt·11t /1 /, l.m11111111
llJS9l, 111 dl' Koomng, 17,,· -'!'"" ,,f 1/,_,,r.i,r
l.:.\"J'ff•.<111111.<III. ,<.;.l.-.tr./ H'ntll(~•- Nt·\\ Yn1k:
George HrJZJlll'r. •w~. PP· li$ f,
Tim ·,\ a rruBm. but thc pomt 1 ,1111 nuJ(lng
55
1s th.ll thc bnka~t• 11r 111rrr/i1&11\~ brí\\rCII J lin,·
aml 111 rcad111~ (tht· thr,:JJ ufhf:ht dut L:i..rn
im<"'>ll~lted bril.'I{\' m ~n l"'-Y)' ~L,out ih<' l;Jll",
c1cm~ 'Merll'JU-1'1;11~·) a d,,~r ,h~'.1 th< con-
ccptu.11 i-tªP bt:t\\'t'<'JI th,· ~pt'íf,JIOI' '71" ,nil
,t parnnni or more ti1mhcd work u~ .1rt '11•,•
Jacqu,·, Laon. 'l hc I me: anti 1,gh1 • 111 /11<
J~•11r l-1111,l,tt11m1JI <:,111•t1•u ''.Í /',}\/ti,-A,ia/)'SII
{197.11, t·J. Jm.1uc,-Al.1111 ;\l1ll1·r, mm. Al,11
Shcml.rn, Lomlnn. 19tJ.f,
56 M.m, 1wcutil'th-<'c11t11ry wrnrr\ ,m ari i1111•
Ji:rn;1cd r\'cn. unmflc,t<'d lm,'5 ª' colJ Jnd
repdlcm, Ju,1 J• cri t t< ' trum ihc rm·rom
_.,•m·r ilh JNnM1:d thc 'm,·c h.,.
ccntul') 11.1d ,.. · .
nMi, •. \trn,lh.ll, 111 ll"\1C'\\1111:t ih,, ,llun 1)1
I\! 1' \\";!\ 'l'I') '-lrr.nnc JhtlU1 du- du\, mi.-,
nf ll.w1J and lm 11<hool ac,uuir, Mu,Lc-d
.tmq11g. 111uutri.l 1mm 1hc- .a1111111k', " l>.m,f,
"hnol ll1Hk1~und, li, 1\ <'Ili cu, 1 •nt.11{\',
nl rhe ,.1111r 1u111n- .n arnhmMrl, J.'l'ólllttt},
t11go11,,mn1, . l>u111ig IM thm, )l'.tn tlu1
I )J\'hl°\ f\r.IIIIU...il ruk- 1.nird. tlir rublu "'"
nud~ 111 hdrrw tlur h.i\ 11:r, thc- p..llK'll ~
11<'<',k,I ln A, ,1m1c 1hr r.1,~r NINh't oí dri\\'lfl•I
1111rli-~ll lm írtg ~min' (qururd 111 l\tkttr
' · · ._, !11, t--=,r;:r,1, «.,.tr,\lrt, C,,. /).u..J Smlt.'
M1 • S <'01m11rnt\, .and 11.am MU\h dn
1•111\'ti', :0<1), p. r,) U,o\.1l111d 1-:mm ( 11,,
l~,,l!JU l'.lpm, C.:rml,rnlr,'t', MA, and l.011,lon,
194,11, p 141) lon1rd thr 'nutm. oí ll'K.i•w\J
rrJ<llCC \IÍ J\.l\tl(ht' Ili 'últ' "Cd\ 1-:ur.l111r
o( 11C'Ml.mte.tl d1,1fht1un'
1hr
Site drrt.,ml 'il1c- nohe1111 rhua,tl"I ut 1
nurl nudr III tltt' ,ount' ol t1.i1 ma' 1111d
dcmrd 1hr "m('l'lu111tJI 1,n.,du.t11111 ot tl1r
t11111our. 111 1hr fonn nl t,~nnft. 11i a l111d n!
,liw.,1.-' (1h11I,. rP• 1•: 111,d 1ci)
,7 \\'1lhel111 \Vt.1m111,'\"r m bl\ 'I K111nu1111n1'
.rl'\1hr110 111 1hr rarl, IWt'lltltth ,m11111. li,,
C'\alllrk. dntuiprhhrd hcmec:n 1hr IUl!flil\
cJh tln\11111: lmc, ~nd 1hr 'ul};llll,JII) 1r111
f'C'n·d 11Jf\'t'S' ot cLliti'UIII and thr n1irnm li\
l•I b'Vlh1r, 1er111g , dit«t cor~uun l1ttw«11
an1-,'l'r, '1hc mo\! power1ul ,rn,
lllfllú 01 n
('fL'\\1011°, ~nJ lhl' 'rurtl ;1111g1dn. rc-N'lnJ\
1111r1111ptr<I. J~'C'\I h11r' (\\\1rrt11~~,. Ab•tról<•
111•11 mui I mp,sthy t1 C.,1t1rihitl(lt1 1,1 rhr I\ J
th.>l<'KY ,f \rylr 1111()$ li I trJO\ MI lud 11111
lu.l;, llm,1011, l'Ji], p H) 1 ,Jk- l>dm1c-
( / 1,111m /IJtl.'11 /1,t / ,~1( ,,f Sn11,ll1"11 l 111~11
11.1111, ,1 >~nrc-1 \\' ~11111h, l tlllffiltl aml NI'\\ Yorl.
lOOJ. p. 105) bmn--"" 1mm \\'11n1~t "hw
hc dm'\1\,n 1hr rowr1 oi thc 1toch1o ltllt", 'tm-
m>rthm1 ~,,in', 111 rruuon w ha111n luwn
'thc lm,· doa 11(11 p, tn,111 onr ~llm 111
anothn, hut fY''lh l!C.'t\\Tnl lffllnl• c11111u1t1
:ilh du11h'll'l-t durmon'
jN (;;1l"t~IIIO. (.itl ,-,n11w .'\UrrJ (l'\hhnn ( olki
11,111, ,111 l1U11 M 1hr AJunok.111 Mui('\1111,
t ls101dl ltn11bra11J1 drih \\11h thc "ll>Jnl
qu11r l'~lcmrn-1}, "1th a dm\lnf; ltl d1r fuh
n1olca11 \lu\Cllm, J.trl lffld ~~. w,unh 1hr
cn,1 nl 1hr 11qV\, ind /,ir/ ~1U11,s '' tt;t (Am•
tt'nl.un. IR!Jk,mmruml, hont 1hr 1f1\01, •• wdl
in roi~ altrr auothn luu dr~\'\1U~ üf cht,
1
iulun:• Rrl.Jic-J drll\\lllp of 1hr U,/
a.\ 1.111 "' ;,,ri1 ,640 .ire Ili 1hr llnuJ1 Mu1t11111
t,,11don. :ulll 1hr ,\1rmwohtrn Mu\l'\1111 nl
Art, Nm Yml.. Rubni,\ lm'"n ti:l \\'111
,,f
Jray,111~ J11d1tl1 1,;illmt llcL"'{r,,-,n (,m, 1, ...JII
io: 1r.inlí1111 ~m Mam, Si.adtb.lrrn t.111uu11
)111111) 11 of ~11111!.tr \lnlrncl'
Tiw rnk ui,cupt1nt1 m1 \11 tt-n\ du...,11ig
rnludo 1hr n.1rnc- W li l).n1n. ;a \\l un flimd
oí til<' amu ,umlirl} ,oi)( CfllC'd Mth "'" lifc-
44
NOTES TO PAUS 'H,

1 lm ,u~<·,1\ 1h.1t tlw ,li,1\\1ni:: 1, .111 1llustr.1
11011 lnr .111 11111,km ,, 11lll'll lw 1).1nc, ',n
\\\·11,h IS.m111 • •,uf.:, 11. 1\0111111.-:, 11, ,I 1>, "''\·
:-!,·" l l.1,·t·11. e , •.md 111n.l1111• .:mo<,. p. 1t1_,
,,1 llnth ',.111111<"1 ,.111 1li111~,1r.1tl'll .mil Ci'·1.11,I
.!,· 1 llfl"'". .1,h ,,cd tl11, pr.1< ti«· lll 1ht·ir
sc,·c11tcc11th-{t'lllllí\ 1n•,m,e,. Lur,·"l•\ ~dvt«·
1, •" ti,llow,: "Nu,, n1m1.!n dw .\11>111111, .111d
1',1"1om, ,,h1.-l1 m r,·pn·,t•1H 11.m11.1lly. 1 ,l1.11!
hac ,h<''' ., l'ropa .\k1ht1d; ,c.1ml111g lxfon·
~ 1ooku ,, gb", 111.1h \\ nh \lllll ' " ' 11 Bod).
,m h :\, 111111, .111d 1\1011rn1, .1, ~• 1111 í-1gm,·,
ll'')Utr,·· 1( ,, r.1rd .!,· 1 11n·,w 1/11· 1 lr1 1•/ HIÍ11/•
111~ 111 .,// 11; /11,111d11-i • • 1r.1m. J11l111 h ,·de11, k
l 111" h, 1rn1drn1, 1- -~\ I' y,).
t,o \1.,lllll'<' l\,kil,·.rn l'omy, ·Thc l111,·11,~1r11111,:
1h, Chu,111', 111 11,, 1·, ,,/,li• ,111./ 1/11 hwml,/,
j HJ1•1I, ,·,!. ( l.md,· 1 di.m. tr.111, •\lph111""
l 1111,:1,, l :\'.111\íllll, l i . (IJ(11\, 1'· q.?.
'" 1h1.t. r- •li•
h:! 1 h,• Frcn1 h ph1lo,ophn .md .111 ,, ntcr
'-" hui.,, B1111rr1:md 1mt·111,·d d1e 1<·r111 'rd.1
11n11.1l .1,·,il1c11< ,' 111 11J11N '>,·e llo11n 1.1ml. Rrf,,.
11,•11 i/ l,<1/,.·11c.-, 1rJ11'. ',11mm l'lc.1,111l'c .ind
l ronn \\0(1,k 1)1_jn11 1<·, l'n,-.·, du rcd,
:!O• .' ',e,· .11,n M1chd .!,· ( nt<·,111. lllf Jlr<1,1J11
,,J I '"')'.!,,)' J.1/1. 1r.1m. !-11,·wn Ru1d.1l1. llcrk,·
ln; f.,,_ ·\n~vln. 1011d1111: Lmn·r,1r, oi ( .1h
lor111.1 l'rt"'-'• 111s4.
11_1 1 ,·m·r fr11111 llohn1 Morm to M1d1.1,·I
( 11111pmn. 1•1 (.11111.1n· 1')71; ljlllltnl III Jm1
0
llu.!, '\hml11w d,, llod\' 111 R.m·r,tr1(~ C,•11• , I' 35-.
í1/•1t1,1/ .·lrt, n l /\\1< h.1<·1 Nt \\nu11 .111d Uml, 0
1. omlon. 11;•1•1. I' 1J(1.
tq J,•.111 1>ulmll~·t. ' í:mprl'llltl"'i, /.,,·, /,,·rrrcr 11,•11•
no. 1s (.\pnl ,,,, . m J,·,111 l>11b1!/f•·1.
/,,w,11d, ,Ili 1/trm,lffl'< /fr,,/r1r, N,·\\ York: 11,ll l'
1'11hh1.mo11 \hhrnllt l'r,·"· 1,,s-
1,, ',\ h rm,,ld, hn .1111< h, ing hru,lll'; \\l'llll'
0
l\.lt-111 who n·Ít·1 rt·d to lm ,1111hmponwm,·
p.111111111-,..,, ·" ',1 phcnc1111<·11olo!!> \\ 1il10m i,k",
,,r r id1n "11h,,m .111~ of tlu ,y,1,·111\ of nlti-
c1.1l um,<:1111..11,'. 111 .111 .irudc ' I <· ,·r.11 d<:,·1.-111
1.'.·.1ht~.' .\l.11.!1 111C10. n·prnH<·d 111 / / R.( > 3,
<.J111h1 1dgc-. ,\.l.1": t--.11 1 f'r<..,~. 11r I l lc .1l"'
Jl!o\\nl tbm,..., to hum 1hc ,urt.1,, ,li hi-
p.t1rHlllf.." ·" 'tlw ,p,mL.111t·o11, 1r.1n·, oi rhl" f1rr'
.,mi nmtr111pl.1tnl lt<",1t111~ bod\ 1111pr111t, Jll
hlo,i-1 \n· \ ·,., 1'I, 111 1,> .~ h/11.! ..,.,,. 1,·d li Ili·
11ti:J lr.111• B.irh.irJ \\ ri~hc, l 1111.lon: Tat<'
C:.,lkn 1,r 1, .111d ',1.lr.1 \11, li, \ ,.,, l.:/011, 0,1-
tildnn ( .JII(/ VnlJ~. 11JlJ1, l'P· r,1-,,1.
e,,, 1 h, Bnu,h 'í(ulprm AIMm \\..1IJ111~ (b. 19.1\).
ti,r t'XJmplt·, 111.1dc .1 1111111hrr oi JrJ\\ 111!,!.' 111
tlw l<J•Ju, ,·1111tll'll f./,p/r,1111 ch,ll dl·.il \\1th tia·
,ubJ<'< e oi ~1•111vd1111,• lll'.1\·} mJ 1n1111owJblr
'hl"III~ 111 dw \\ ··~. (r•·r-«111.11 l lllllllllllllC:mon\
li- 1711 <.",1//n1n/ l l '111111i:.< ,1/ R,,f,, TI ,\J,,1/1rn1·.-/I, ,·il
',11·ph.1111,· ' fcrt·111io, N,·,, York .rnd l htm.!
1•i•1. PP 170-73.
,,, f'hnt· Jr,· ,.umu, w,1y, m r<1,rodtll<' ,pont,t•
•148 NOTES TO PAU:S 101 116
lll"llU\ htu,11\lork III l't.11111~. t·itht•r tlm•ugh
htt !-:f'l\tllld, rh.11 n:,N .1újllJllnt 1,r dr.m 111g
dm:~th· 1111 ,1 r!Jt<' \\ uh J,,.l-rôl\(.11\t ·,inr-
,~11 m,h.
f'III~- , HH O
'"> R11~<'r ,k l'il,·,. e:,,,,,.,
,f,, pn11111,, 1•,11 l'"""J'N,
, ,,,,,,. ,,. I'•" ,\/ ,/e• /'i/,-,, l'.trh. 1 -o,.
p. .:r,_1 •
<JUllt<"<i 111 _l.1ú111d111t· 1i.'htt·11,1l·m. "/111· r,,..
,1,,, 111, ,j <.:,,for. Rllfl,,r,, ,111.I J1,11111111_.: 111 1/,e
J-,md, C'/,1,.,11-.il , 11!, ! 1•1S9!. tr.111, F1111ly
\h \'Jmh. lkrh·k~:. r ,. JrJ l ht,,rd. t•N 1,
f l'9
70 ('h,1rk, l!IJIH, ·nll' c;,,1111111,11 •!I H11111111c ,111,/
l:11~1,w11~i: 11'1/l1 º'!!!."'·'' Jllw1r,111<•11•. trJm. Kit<'
Nn,cll lloKl!l'tt 11s73], Cllll·ag,,. ,,;,,.
1'· ,-.,.
71 lm,rh lku~,. Ílltt:tVll'\\ \\lth lkr111rc R.(ht:,
p, Juno: 1,,1q, Du,,ddurl rr.1mcnpr 111 eh.
•ird11\'~ oi th, SmJ\' l ·ema for 1)raWlllf!'.
Mth<'lllll o( l\foJcrn Art, '\Jc\\ Yurl-) .
7.:. lk P1k·,. ( :,,111; ,/1• /'1'/llfllll ,,,11 J'TÍlld/11'>,
p. .z<,o. F,,, th,· ,h,,u"wn of hnc .111.i 1,1ud1,
,t·<· L1,htl 1Mem. Dw E/,,q,11111, ,f c,,i.,,.
pp. 15S..../1~
7.1 l'luhpp Ot1,1 R.un~•·· km..•r m 111, n,01h,•r,
1~ At1t-''lhl 1-•JtJ \H1111,·,/,1.,.,, 11, \. /11111.-11 /J/id11•1'
CJtr,, R,1111!• 1,~.,,1-,t-11, tJi:,11111k, .:. vol~. (,(1t
tinj!en: \ JnJ,·rhoe,k & Ruprcdtt, l•Jf•5. n1I 11
11:-.p}. p. .:..l)
74 l.mr.. 13..J.11111.iry 11'5- 1t1 nlf},•11111,J/ ,,f E"gtr1r
/)rl,111,11., 1J•J'ÍI 1, i:d
1-!ulxn Wcllm1,,-t,in. tran,.
1 un· Norton. .ird l'lhtmn Lomlun, t<J'J5,
\,•,·, for rxJmpk·. rlw ,·.1rtom h.1prae ~imulJCion
pmJ<'tt, oi thl' V1rru.tl lte.1tity L.1bor.1tory nf
rh< UmwNry .u Uulfaln. :,;\ (www.nL1b.
hurr.110.edu 1. ,uch .1, 11ngl'rrip dii;mwr- for
'Applvin~ 1bpnc, ,md l:li,,m<·clunic, to
l.1< uk Input k<"hnology' ..mJ dl', K<"" ,ud1 ,i ,
rhc \loJdµlmi: Jnd I bp,ri<:k. ',.i,·naric Jpph-
unum mduJ,· J rdeh.1pnc uacrl,Ke for t~tp•
turmg h1111u11 pul,c, for 111cJ1cJI Jt.11,."llC"tl•'·
\, < ,·a,mu, nt tht 111.1/d ;,, ·r;,/,r,:, H,,,,,.,, jJtd
thc D,p,111,m .,; 1;,r,;.u ,111,I 1hr l11.1;d lll the
lt1,1k,11111wu111. Anmerd,1111. Rcmbr;lttdr !lJd .,
,rrong 11m:rn1 111 1h~.- thotrt:
7i lh, lace C'r11, 1/L\'lclll JrJ\\ tnt-" 1111. ludc: 1wn 111
thi: Bnmh \lu\t'ltlll, two 111 \l/md,or {NI
1.l"75 .md l~"'(ír). 0t11: inche lull\n: (Cnw•
/L°l:h''' 1nt/1 'fov .\/,,11rno,) .md J ,lightl\' ,m.alkr
,hcct 111 thc A,hmuk-.111 \-1u,l"um, Oxtord
(<.111c(/J.\'lllll 1111/, lil\t .\/ir1m1m).1 lwrt'. 1~ Jl,o J
u1py m tlw Ulhzi. Flurt•nn·. by (,1ulm Clovio.
lln, 1, 1101 fanl:iful. 1 lu,c ob,L·rveJ a '-Cr\
ddnly .md 111."Jrly bhnJ am,1 working in chi,
111.111ncr.
/1.lt, hcl.1n!(dll C/m;r ,,,, 1/w C,,,s; brrifft:'11 1/ic
1 1~~111 J11./ \1 J,,/111 hl.td, çftalk .p4 X 21 '> 111111
(W111dS<11, Royal L1br,1rv, 12761 ).
so •f>.-nplc 1111.:ht l.1ugh 1f 1 ,.11d clm <;nv:i·, hth-
<~r.1rh, \\CíC Jll C\CCUll'd \\ nh :1 lllJ.!-."llif,,111~
i-:1.1',. TJw 1:,, t i, th.1t it wa, nm 111 urJ~r t<~ ,I;,
d,·r.nl,·.I \\,,rk. hut hL'< ,111\t' h1, nc,1~h1 \\J\
1.uli11~·. krn111011, oi' ,\rn,,1110 Bru~.1d.1 111
L,1ur<·nt \ l.1th,·ro11, <,, i•'· lli'irdc.111:-.:, 1~~i- 1 .1111
~r.11d11I to Hcll'll I uck,·u IÍ•r tlns rdi.·r,·nn·.
:-.v,· .,1,,, J11hr1 \\'1ho11-ll.1r,·.111 ,11,d M.11111,•l.1 li.
,\\cn.1 i\1.11qu.'.·,. e;())',1, '/i,11!, ,111./ l·,w1.1q, 'llw
Sm,11/ H1111l111~,. 11Jnd1111. l<J\>,t. l'P· JJ.!-:;
s, 111111d r• 1111111!! i, th,, 11.'l h111,.1l tcnn uwd tnr
im.1~h11 ,ir tl'\t'f,c pr i111i11~ \\ hl.'11.' thr pl.ttL 1,
1111prt'"l'd ,111 to dh." \\<'t pap,·r ,, ithout, or iu
1dd1ttlll to. 11k-prn1t<..,1 l1t1c, .111J 1m.1gcrv
:s~ \)(. 1ll1.1111 <;itpm, ·17,,,.,, l:;,;,1p 011 Pia11rr.iq111•
H,.111I)' ;nl L ,h11on. Londo11. 11<oli. p. -!.
0
:,_1 l:.:ntry w1 ·1,m,h. 'l'lm for J 1>1,·uonary nf th<:
lmc Art,', i'Jrt,. 11 J.111u,1ry 1,\57.Jt111m,1/ ,f
L-11i:m1· I )d,1, ,,,,.,·, t·d. \Xldltn~tton. pp. 35(1-X,
~4 EJ\\Jtd K,·11111011, 111 Ls. J)' ,,,, 'lit•,·; iu L111J-
.-c,1p,·. lon,l,111, 1\J\ \e..- :u,o Jo,huJ Bry.1nc•
l'n\~f<'o.,w, l..1·,w11s 111 L111rf_,,.,,,,.,, Lnndon.
Ack.,·r111,11111 1so- tor .m 111t,·r,..,rmg JN·u,-
,u,11 ,,11 1oud1. ,ec Ann Bern11111,:h.1m. l..r.w11i11i:
t, Dr.111• .,111dirs in r/rr C11/111r,1I HiS1<•r1• ,1/ ,1
P.1/it<" ,,,,./ l ·,.-Ji1/ 11rt. Nt•,, 1-IJ,·,n. 1:1, ,md
Lomlon. !OnO rr- 11 1 .lo
'5 \\·1lhJm ,\ 1.ir.lull ( r.ll~• .-111 l '·'•') ,,11 1/11 \111,lr
,,( \ ,uurr i11 Dr,,wmi:, Lnndnn. 1793; qumrd
111 A1111 lkrmm!!lum. ''.:)v,tcm. Ordcr Jnd
'\h,tr.1.-t1011: Tht· l'oltril, -.>i' Land,<"aJX· 1)r,1w-
111i; amund 179_:(, Ili L111d.-..11•1 ,md l'tmn, cd.
\V J. T. M11d1eU, ( 'htt:J~o. 1994. pp. 8~-<JJ
Ru,km. 'l1,c l :lmt,111.< <'/ l>r,111·111c. p. 97
~kt·cdu11~ from l'-..1turl").
John Ru,l..111, ,\J,,dm, />,111u1n. ,·oi 1/\, Orpm~-
ron, Kcnt, 1li~l\, pp. 11--9. R.mkm dcd.1rcd
JJm,:, 1>uthdd 11.mimg J, •Jftcr Turner.
unquc,tton.tbly tlw gr<·,nc,c 111.1\t,·r of toh.1gc
111 Emol'<:'
Diq?o \1.mdli. 'Ch 1111pn..,,1mmu· 11S79~:!0J,
unpublt,hl'd p:m1phl~•r rran,. b~ the auchor
111 Nur111.1 Brm1Jl·, /1npress11,11im1: A h-1111111S1
R.r,1,l111g. /111 Cm.!1rin.~ ,?( -lrt, ,'\firn,t· .z11d \ ,11111<'
111 1/,r '\111, ln'fll/1 Cm111r1 ( 1991 J, Nc\\ York.
11)1)-. PP· l,1CrJI.
UI.me.:. / 1,c Cr.i111111,1r ,!( H1111ti11,1; ,111d l:11,er,11•111.e.
p. ,-,
90 Pluhp RJ\\ -.cm, D1,111·11i1;, LonJon and l\:c,\
YmJ... 1t)f19. pp. z10 IJ .
•JI Emplo\'111µ eh..- cam ·noi\y' ,, 1101 arbttrJrv;
,·.m Go~h wa., oh,<·,,rd ,, 1th the ,onortty
of colour. c,rn c,,kinµ piano fl',,ons 'tll le,irn
,1bout tl1l· nuarKl'\ of colot1r- mne~·. Sce Joh n
(,a~. ( ,,,,,,,,. ,md ( ;11/1,m·: l'r,ll/111' ,111J \/r.iuwc
f1w11 .-!1111.11111)' ,,, rll•.•tr.zni,,11. London. 1993,
p. 1_!1'1.
Thc dr.mi11g 111 thl• Grenvtlk L. Winthrop
collcluon rt'.bc~" to the mi p.unang m thc
Norton ,,mon i\-111,t·um. PJ,adcnJ, eA
~re rhr ,·nrry 111 rl1c exh1bmon c.11.1loi.>t1c
bv ~ceph.111 \l(.'oloho_11an ,llld Anna f.1h111ci.
1 Pm,11, P.wr.111 Ntl1-Crn111r,· P.1i11ti1(~S ""J
/)r,111•11ii:• fn,111 ilw e ;,owrlh L I l 'i111hmp (;,,1/rr•
 11<•11. //,1rn11d 1 11ii-rr,I/J". 'lc·1v York . .!OOJ. pp.
14, 7.
')4 T.w eh1. .d,o kmm 11 .1, \hih t'.10 m IhoJt,
• J hc· l )m·-~trokc· ,\ lc·rlmJ lrnm /fr111,1rb ,111
J\11111í11.i:. 1-.N. l her<' ,lfl' m.111~; ditlênng tr.1m-
l.1t1u11, 01· rh1, f11111,u, PJ".lg<-'. thl\ 01w ,tl'l11-
nung tr<•lll " · T,m11L1 .mJ K.11m111~ l'h1u. 'An
Album t1ÍTwd\c· Le.1n.•, hv ·1.10-d11'. H11//t'l111
•!Í 1/ic .\/11><·11111 ,)/ /·1111 ,!,r.,. H,,,1,,11. ,1v11 (194-y),
pp. 19-,s Sl.'l.' .11,o Fr.1nvm (. hc:ng, L:1111,1i• ,111,I
l-111/. n,, Lll[l/11•(\!1' ,f C:J,i11r.<1' P.11111i11i:, Boston.
\L\ \h.11nh.1l.1. 1\)1)4, pp. l .l.J-'i. 1 ,mi 111d,•btctl
li> JJL btt"rhlllll'll 11.)r dll'W rdercnn:,.
lJ:iSuch ,1 re~Jmg. \\ hid1 111.tke, w1Jc culniral
.111.1log1,·,. 1, nor .1 1:11,c proJeL llllll mto thc
p.ht, 1f nnc .11:l·,·pt, the ' Hcgd1.rn' \·1,·11. J'i plll
fornard by 'wedanJ Alpl.'r~. th,1t thc l>utch
replac:ed Jn mtt'rt·,r 111 ,ymbulic ,ubJect 111.mcr
li 1th J fa,, lll,ltl011 \\ 1th tht· llll'Jlb 11r r,·prc-
~t·11t.1tio11 J, ,111 cnd lll mdr See SwU,111J
Alp,•r,, 771l' .--1 ri <f 0rnn/1111g: D111(/1 .,Jrt m tlt,·
Sn•rllll'f/11/, Crlllltr)'. Lundon. 1yX3: rL·pnntcd
1yX9, p. :!.j.\). lt 1, bchcn:J d1Jl, in ,1dd1t11m m
Mup;hal nuniarurc\, R..-mbrJndr 011 ncd ,lime
( ·1i111c,c bru,h p,umm~.
96 'A Lmd,cJpc-Pa111tcr ... 11 hcn lw k111J~" lm
,ubJt'Lt ... \\JIJ kno\\' t1ot onl) 1d1Jc w
c.k,cnbc, buc what to omir' (De Pile\, Prilm-
Jllc.s ,_,( H11111ini? •• ·i;,111_,/,ucd im,, E,i~lis/r /,y ,,
Hiimn. 1 ondon. 1743).
97 Ru,km . .'1,1da11 />.1h11c·r.,,. l'OI. 1/v. p. 190.
9>i _kan Baudnllanl. 7711 Ecs1,1.,y 11( Ctm111111111t,11i,111.
tran,. Bernard Schurzt' J.nd (\1ml111,· '>chut7c.
Ncw York. 1988. p. 16.
Chapter Five
Material T,·aces
1 Jonathan R 1d1ard,cm rhc Eldcr. fl,c 11 Ílrk.< 4
Jo11L11lta11 R1â1,mlsll11, London. 1792. pp. 6J-4
2 R.odcnck Wlmhdd .rnd Wcng Fong. ln Pim111t
,,( illll</lllly: Clrillt'SC Paí111í11x, ,f tlic .\/111g ,mel
C/1 'i,1.i: Dy11,,rnn /iw11 1f11• C.,l/ecr1<ll1 t){ ,\Ir m1d
,\/r;: E<1rl \fors,. Princ~t011. NJ. 1969. pp. 24
and 28
3 A ch.1lk holder is somt't1111c, callcd J roff,1/apis
m lr.1l1J11 (/,1p,.i, chalk or ,rom·) and wa, 11.11rn:d
111c1111,11,,, by lhldinucci .intl orhcr, 111 rhc l,tt.:
sewnrct·nth centur) (111,w1,1,d1~lk). ln Ccrnun
11 1s c.1llcd St,fil,altrr. .1111on~r mhrr tt>nm.
4 TI1c olt.1-ú,h;oned rc:rm body colour 1, ,nll
med hy drawmg ,chol.m. lc 11nplws .1 ba,e,
u,u.111), ,, lmc lrad, rhat ,, nuxcd w1ch ,1 tixa-
nw ,t\ wcll a, .1 p1i;mem ~o a, not LO be ª'
tramp,1r.:11L ,1\ w.ir.:rcukJur. .1lthough not cx-
.1ctly thc c9u1valcnt of mod,·rn-dav gouadu:.
5 ScL' R1ehard K.:nd,111. D,:'<•'-': &y,md /111pr,·;,hm-
is111, Lnndon. 199<>, pp. _,7-X7 Kentlall rt·111.1rb
on 'thc mm·c from rcchn1CJI pmAi~J<, m •1
kmd of penirenr latl' ,1usrcmy', p. 58.
r, A H P.1l11tt'r, '/111• l.1/,· ,111.t 1,.-,,..,, ,,J \rmud
llt/mn. l'.11111rr ,111,f /;t, /rn, l ,111Jon. "'I~. I' rr,
l lw l11w .111,l h10.1d d1,t1111111111 1, 111.1d,· b,
J.11111·, W.ttro11,. l 11,. ( :..111 ,>( ( J/,1. \ l,Nn / >t,l11'•
Ili\!., 1l 1J,7j. M.1d1,011. \11, .111d 11111,hm 1,,1,7, ,i..
,,,li J,Jowph J\kda. '/l" \/.,,,,1r ,•/ /)1,m111,,
1r.111,..rnd 1t·v1,e.l \\ 111,l011 \1fü•,, ~ "''''· ,,,11
YnrJ... r,,.,,~.
S An t-~xtn~1nd, u,t'fl1l ,hort guid,: ,, P.uil
Cold111.111. L,,,1k11ic ,H / 111111,, 1>r.11;·,11.~, .,111,I II :11n-
«1/,wr.<.. 1 ( ;,,,,11' "' /n l111i«1/ lt'1111, l <111d1111 ,111.t
M.1lahu. <.\. 111Sll. \e, .,l,o 'I\ 1>1.11, 1111-: Cio,.
b, hh1Jr,i '-,av,,ell, 1\'1111 ',1r.;11, 111,I
,,11"\ ••
J>htl1p '\. Srr,111,. 011 1h,· l ,i!!i.t l\ll 1\111,rnm
wdhm: (1111 w.,1rt111u,t·11111,.h,111 .1rd.nl11 togg/
dr.,,\ 1n~~ltw,.u1 hm1l}. 1h1, .1l,o , 0111.11m ;i
goud rt"JJmg h\t
'J c;,org1u V.h,lrt. 1;,5,/rl (li/ lrd1111,,,w j 1<,o;I, 11,lll\,
1o ul\,I S M.1dchmt. ni (, ll.11.h\ m 111111\11,
Nl'\I York. 1,,r.o. I'· .! 1.!
10 W1lh.1111 t,1lr111. /r"• fü.«rp. Om ,•11 1hr . 1111/i.,1'.,
111.,cl,- ,!{ ,·1m11111,~ r.11!~/, .,hu/Jn: 1/1, ,,1/r,, ,,,, r/11
J>r111apl,•., ,,,, wl,i.11 tlrf)' ,,,, 111111/Wt'd, 1 ,mdn11,
1804. P· I.!
11 n11• lm1111111n or.,1<111,1 Qm111ih,111, H,1,,/.;,, X-
1>/
XII l<J.!.!j. 1r.m,. 1J L ll11tlvr. C .1111hridi-:ç. ,1.,,
JnJ 1 011do11. l•)•JS, p. IO<J (BnnJ.. \ I\'), (.J11111-
ah.H1 connnu,·, frm11 tlm ri. 111.1rk 1\ uh .,111.11-
mgl) ,·0111t·mpor.1ry ,oundmi; .1d1"1rc, ·" uwtul
for ,11mt, .1, I\ rat1·r, 'l hnv <'..111 lw 11n dn11h1
rh,u dw lw,1 1111:tl10J of <urrt, uo11 1, 111 r111
J,tdl' ,, h,H ,n• h.tl'L' ,,·rmt·n lor .1 n:n.1111 1111tl",
'lt d1.11 "h,•11 '"' rvrurn 10 11 ..1t1cr .111 11111•n,1l
ll li 111 h.11e tlll' .ur ..r 11c>1d1y .111,l oi h,·111~
Jnothn\ la.111d1\1·01k' (l111uk \ , I\ . .!, (' ttc).
1z l.c.11t.ml11 J.1 Vinn, ffr,111,1· ,,,, l\w,1111.1/, vil. .111d
tr;111, A I' M, M Jhnn. J>ram,·1<111 , ~,. l<Jçl>,
1'· 107.
(;mv.111111 Bmi,1.1 Armc111111, 1 h1 1/11 'fo,,. /111·•
13
l<Jlh 11/ 1'11 lrt ti{ l',11111/1\~ j 151H1j, tr~ll\ l;.l\l.lld
J. Ol,1<•1nk1 Nt'\I York, 19·•-. p. 1.!11 ,
1.1 '/7n Am,,.,· 1:,d, \/1.14111 U.·111g 1/,, IJ'/11,/...,J,1 '!/
Dr,1wi11g. LnoJun. 17t1 .!. p !.
J.KljLIC\••Nirol.1, P.ullot de ."1,mtJb,·ri, /wr,t
15
0>111pit'1,· ,1, /,1 /'<"llllllr<', lJ vol,, l'Jrn:J.-1: 1>dlnu,
1l\:?9" 51, 1-.,l. 1\, )'. l1IS.
16 .J11ll'\ MmnlllC:J,1, /11.~r..;. Jl.1m, hJOl. V 1•1
1 Ili
17 (iilpin, 'fi111 l:S,,,IJ'f. p. 13. 1lu- l um,,· ll11t1rj,!<'• 1'
qum,1uon 1, from .111 un,·n·1l'I\ 1111h M.111c-
Liuri: Bcrn,1JJ,· 1,,r thl· dr.l\\lllh" l"xhat,1111111
1.,,111 ,.
H,•rir~.-,,is: l'rn"'o•r/11111<".1 .11 C:,·1111,·
t,cMg,•, l'ompidnu. M11,i-c NJ111111.1l ,l'Art
1\JoJ,·rnc, J>.m,, 1,,.,5: rl"pri111,·<l 111 /;1111,,• fJ.1111•
1 , , , [' '</n4/1Í(III ,,1· 1/w {~rthn • /{1111 111/r!IW,1 11 í'/
-~" 1. J(. • hhrt'\ oi ,,11t('.1 ~•ri\), 1h,·11 lltrtd 0111 ,,htlr 1hr
rlff r-:11/rcr. 11'11111tl.'' ,111,l /11rrw1r11'i, NJ.1-1,N·. l'd
Man,•-L.111r,· lkrnJJ.o mJ I l.1m-Ul11, h I lh•
mt. ( ..unlmd"t·. \\:\, ,1ml I uml1111, )' 'º'
Cont,·, 11111:ntmn \,1111<' Jhour hn 1111c
!{r.tphuc WJ\ 111 ,hmt ,upJ'lr Ili Ft.llh l' d111111~
tht" N.1pokoni, \!:'ai">. l h,· i,·,
h111,1m· \\ .11
dcvdop,·d tn thl" gr,wh11,·-p(\1,lm111" .m·.i, ,,t
l •11111hrtl~11d, \\Uh llu- ÍJmom \\nod <"llO\l'\i
1km.-111 pt11,1I, ltrmi; 111.21111tu1111t'd 111 " "
11.-, ,1i. h ~, 1-:r,\\h k ll,,.h of 11atur.il h1:arl11tr
11.1.J hem gl11C'll lllh• ("111;11r) \n'lud rn,.a,ulj;\
111 11111.,111 ~mi t •t'IIIIJII}' 111 d," mui \t'\Tll
r,·c-mh ,'\'111111, \tr llrnl\ l',m,111, '111t f't,lfd
, 1 /fo,,,,)' "' /.>.1(c11 ,tnd Ctrmm l;tt~T l111Svl,
11111.J,,11 .01.! ll,111u11, '"• IY,)O, PI' <IO- ()t,
1•1 ~rr Al111, ~c11r1d,k11 l11r /111'1'11r/,m r•f l.11/1,>•
~r.1rl11', IIJII\. 1 w lullr1, N,'\\ Ytirl :Utd
l ,,11,l,,11: l 11, h, ,, l .mi;. 1u11
~o PJprr \lõl\ 111111,du<r,t 11110 !.(~Ili hum thr
~IJh1:1,•h .,111I ,\1,,1.11.- l..tu m,,,
rrso :-.tr
1>J11tl l .111J.111, .,n,I l 1r1.-r 1'~1Jh.tll. 17,r R.rrnm
MIi(( /\1111, lf7•' H_l41, /1,;('Y, 1ta, li, 1 t, Jllll
l .-11.t,111, t•l'J ◄ l'I'- 1~ ,11
11 1 hl' Ju.t11~ 11t 1111. m trh IIJIJ!t',I 1111,Lm,
\lluch k,l 111 1ht• (ltl'11tJture ,l,"'1ffü"t1011 oi
111,1111 ,J..rh hhMb 111,I 11,,1d11,ol., 111 thr
IIJ\O- ,m.J 1«,<,c,., hA, ,1,1rm1hl) lie, 11 ad,!in-ril
hy ,,,nw 111.11111h111111·1,
1h, .r ,1rr mJ11111 J, rm,-..1 11u111l) u11d,•1 thc
( 11111,· h1Jnd 11.11m-, ~hhoyi;lt thMC' ,llld
mu,l,•111 Cuutf , 1.,p,11, bnr (111k rda11mnh1p
1<1 1h,· 11111,·1,·,·11tli ,tr111111) prud111 r.
l ' 11111\'iC' 1111., (\\ 111, h \JII hr 1h11111nl \\1lh
11.11,;r 111111 ,11h1(.., 112,111"') an· 1111Jr 1ru111 pmc
,out ,uni ~l11<', 1111w,I 1111,1 , J!,IÚ<' .. mi d1u-d
l11.l1m 111k, ,, l11d1 h.1, u trmtt•m d1rr11, 1\
\\.111'1 pru, ,1 l11,1rr (\\rn11I ""'' 1111. "1th th,
w, r_,ct 1<1,·dj \\JI ;1 J'-•1111111 1111 Ili dtl'
~n, 11trr111h a11,l 1·1rl11rc111h , rn1111 in
'f hi: .r\111,·1 i.,111 rnhhc.ithlll li) ll~lph M.n'l't •IÍ
l'J40, ,dm h dt"Jl, an,,,, rllt" 1-..md rn n•1 ljlt"\
Jll,t 1,•, h111,1t1f\ 111 l'Jlllllll•t J\ ,,~11 ª' 1!1~\\IIIP
liJ• i;,111r 111111 111111 r,ltuun, ,md 1'11tht n )'111111
111~ dt< 111>11,11\· nl ali rrnm ,l!ld ll"\'hu111<1C1- n
llCI\\ 11111e,l ª' thl' c:Cl/1111 /)u11,1fl,trr "'1l11 '"""
m11l '/h/urn11111 (1•nl) Smularl~. M1\ l>t1t111r1,
'/1,t \1,11,·11,,/i .,, 1/,r A,11,1, hn1 11uldnhc,I 111
J 11gh,h 111 1y1~. \\'\'Ili 1111<1 11urr, t'dn111m
<,,·r ( IJU,k I é,·t \tr,nt)\, /1,r lt,u, ot111l rl,r
e~,.,frJ /11t11\o/11rth•11 1,, .t S.1111,t 11( \ly1l1."'1,a,
111mlo11 l'<'ll~um, 1Q(,f•
1,,1111 1k1111 M1d1JUX, ., 11 Jl(ll\,1111 au rhtrui
111i•11t' d<" IJ 1-c111111rr" l r11-1t•l, rr.ui, M1.lud
l 111cll<'1~ (ii11111 /tm,r~.l',111, l,.ill11nanl, t\11•tl
/li,,,, \l,d1.t11~. ,t,N 10~ IAtl/llllfl 1'111\1
w~11.-r111Jrh, "nli 1hr l11tt1• ,,r IIK' nunttl••
1111n, ..m· 11rn,le ,,1 1111c, .111.I \\ll\'fll ur ,.-1,n
Ulltl rhr 1111r 111rJ1 11f )lJJII r nul111i; mouM,
~u, Ir 1110111,h AI\" l•""·rrd 1111,1 lmttpt• '" r1r
• rtl w;itrl') pulr" m,,ti 0111 oi r11urd trDn
11 1
\o,c (\1 hrthn ,~lt', • oll!III lnn~n nr ,uruul
,,~icr ,Ir .,un JW~I (u>tu hc-.JJ 111mnl ,au1 1111 111
IJ< ~, an,I eh,• J1t"t"t• Jrt' dtwd I hC" du llr
1'1.lh'C• <IJ' I J ~ ) 1)111111111~ rdf:t" 111 1 r1ur ,,f
1111111 ld•muk 1'3 l"·i. ,hum1-,•u1J11"\ u f1, nu 1hr
('\li r.J~,., nl IIW lt111c- 11u1lc r11ll"n hut 'ili hr'