DRAWING AND

WATERCOLOUR
LE DEJUNER SUR L’HERBE

PABLO PICASSO
After Manet 1954 Pencil

EDOUARD MANET Oil on Canvas

The
Judgement
of Paris
Engraving
after
Raphael
Marcantonio
Raimondi c.
1516
 SKETCH

Vincent van Gogh (Dutch, 1853–1890) Street in Saintes-Maries, ca. July 17, 1888
Pens (including reed pen), brush, and iron gall ink over chalk on wove paper (backed
with wove paper); sheet: 9 9/16 x 12 1/2 in. (24.3 x 31.7 cm)
CONTOUR DRAWING James Thurber (American,
1894-1961), All Right, Have It
Your Way -- You Heard a Seal
Bark, c. 1937, pen and ink on
paper.

contour drawing - Drawing in

which contour lines are used to
represent subject matter. A contour
drawing has a three-dimensional
quality, indicating the thickness as
well as height and width of the
forms it describes. Making a
contour drawing with a continuous
line is a classic drawing exercise
(sometimes modified as a "blind
continuous-line contour"): with
eyes fixed on the contours of the
model or object, drawing the
contour very slowly with a steady,
continuous line, without lifting the
drawing tool or looking at the
paper. There are other variations
on this method
STUDY

Leonardo da Vinci (Italian, 1452-

1519), Study of drapery of a
woman kneeling to left, c. 1477,
silverpoint on red surface
heightened with white, 25.8 x 19.5
cm, Corsini Gallery, Rome.
 STUDY

DRAWING AS A STUDY BALCHAND FOR THE PAINTING

DEATH OF INAYAT KHAN 1618
 UNDER DRAWING

Matteo di Giovanni (Italian) 1430-1495 , detail of The Virgin with Child and Saints, in
color and in the IR reflectogram. This painting was executed for the Cathedral of
Pienza.
EYCK, Jan van The Arnolfini Portrait
1434 X-RAY Image of Hand UNDERDRAWING
 DRAWING AS
INDEPENDENT
MEDIUM

Nasreen Mohamedi, Untitled, ca. 1977. Pencil and ink on

canvas, 7 x 9 in.

Nasreen Mohamedi, Untitled, ca. 1982.
Ink on paper, 22 x 28 3/8 in.
Nasreen Mohamedi was born
in Karachi in 1937 and raised
in Bombay. After studying at
St. Martin's School of Art in
London from 1954 to 1957,
she returned to India and
joined the Bhulabhai Institute
for the Arts. Through her
mentorship with the abstract
painter V.S. Gaitonde,
Mohamedi developed her
personal sense of the sublime
in abstraction.. She was
inspired by Islamic
architecture while travelling
through the Middle East in the
mid 1960s. From 1972 to
1988, Mohamedi was
teaching at the Faculty of
Fine Arts at the M.S.
University in Baroda, India. In
1990, Mohamedi died of
Parkinson's disease in Kihim,
India.
DRAWINGS

SILVERPOINT

PENCIL
DRY

PASTELS (OIL AND DRY)

CHARCOAL

WET

PEN AND INK

INK AND BRUSH

Silverpoint predates the use of
graphite as a drawing medium and was
used by Leonardo da Vinci in his
notebooks. A silverpoint drawing can be
made with a piece of silver wire held in
a holder. The gauge of silver wire used
is somewhat determined by individual
preferences of the artists. The firm
paper or lightweight board to draw on
needs to be smooth and coated with a
thin layer of gouache, poster paint or
gesso. The slight tooth made by the
layer of paint takes a little of the silver
as you move the point over the surface
to make the drawing. The result is very
delicate. The marks need to be built up
carefully

Leonardo da Vinci
Study of Arms and Hands c. 1474
Silverpoint heightened with white on
pink prepared paper
214 x 150 mm, Windsor, Windsor Castle
. Cross-hatching is an
effective drawing technique for
silverpoint. There can be no
effective erasure since the
wire cuts into the gessoed
surface a bit when the lines
are drawn, leaving an
indentation. To start with the
drawing is silvery but over
time the silver will tarnish to a
rusty black. Tarnish to deepen
the tones can be hastened
with a dilute mixture of
delicately brushed-on egg
yolk. The yellow yolk bleaches
out in natural light within a
week while the tarnished lines
remain a deeper tone .
Using silverpoint, tonal
differences are built up
very slowly and the
resulting tonal range is
narrow--so the contrast is
low--as in this Durer
portrait.

Albrecht Durer
Silverpoint Portrait
Self-Portrait at 13
1484 Silverpoint on
paper, 275 x 196 mm
Graphische Sammlung

Albertina, Vienna
• Graphite, or the "lead pencil,"
ubiquitous today as a drawing and
writing medium, first became widely
used by draftsmen only in the
seventeenth and eighteenth
centuries. The misnomer "lead pencil"
is derived from the similarity of its line
to that of the lead stylus (see
"metalpoint") and suggests that it was
the successor of that medium. The
globules of the mineral deposited in
the paper fibers produce a shiny grey
line on the sheet. Graphite was first
discovered around 1560 in
Burrowdale (Cumberland) in
England. It was at first favored by
architectural draftsmen, but it became
widespread as a general drawing
9H 8H 7H 6H 5H 4H 3H 2H H F HB B 2B 3B 4B 5B 6B 7B 8B 9B

• HARD →
MEDIUM SOFT

Today's writing cores are a mixture of graphite and clay.

By varying the ratio of graphite to clay, pencil makers can adjust the "hardness" of
the writing core

H Stands for hardness and B stands for blackness

A pencil marked "HB" is hard and black; a pencil marked "HH" is very hard, and a
pencil marked "HHBBB" is very hard and really, really black!
PABLO PICASSO
SEATED WOMAN AND CHILD
1922 Pencil 42x30.5 cms
Private Collection
PABLO PICASSO
CHARCOAL
 Aq `1

Henri Matisse in studio using a charcoal attached to a cane to enable him to physically
distance himself from the image to judge scale
Matisse
The Chapel of the Rosary Vence, France 1947
Henri Matisse
Reclining nude 1937

Charcoal
Partially erasing charcoal
lines with the fingers during
the drawing process leaves
Ghost images recording how
The final image was made.

This process of drawing and

eliminating pares the figure
Drawing down to the bare
essential monumentalform
 Kathe Kollwitz [German
Expressionist Printmaker and
Sculptor, 1867-1945]

"Drawing is the only thing

that makes my life bearable."
Kathe Kollwitz

Kathe Kollwitz
Call of Death1934 charcoal on laid paper Private Collection
CHALK

PASTLE

OIL PASTLE

Pastel is not
colored chalk,
which is a
limestone
substance
 CONTE

Conté Crayon In 1795, Nicolas

Jacques Conté, responding to
the shortage of graphite
caused by the Napoleonic
Wars, invented the crayon that
is still known by his name. It
consisted of a combination of
powdered graphite and clay. In
addition to using less clay,
Conté's crayons could be
manufactured in controlled
grades of hardness. The sticks
sold as conté crayon today are
actually a variety of fabricated
chalk.
 The name Pastel comes
from the French word
"pastiche" because the
pure, powdered pigment
is ground into a paste,
with a small amount of
gum binder, and then
rolled into sticks.

The infinite variety of

colors in the Pastel
palette range from soft
and subtle to bold and
brilliant

Pastel is pure pigment-the same pigment used in making all fine art paints. It is the most
permanent of all media when applied to a permanent ground and properly framed. There
is no oil to cause darkening or cracking, nor other substance or medium to cause fading
or blistering. Pastels from the 16th Century exist today, as fresh and alive as the day they
were painted!
A sheet of paper must have teeth to
hold the pastel pigment
Wnen the choice of papers was limited
artists would roughen the surface
By adding marble dust or pumic
Jean –Baptiste Chardin
Self Portrait at Easel
1771 (40 Kb); Louvre

Self-Portrait with a Visor,

c. 1776
Pastel on blue laid paper
mounted on canvas
457 x 374 mm
Edgar Degas 1834-1917 The tub 1886 Pastel on card Musee D’Orsay Paris
Three Jockeys, c. 1900, pastel on tracing paper, mounted on
board, The Metropolitan Museum of Art
Oil pastel is a painting and drawing medium with
characteristics similar to pastels

Unlike "soft" or "French" pastel sticks, which are made with a

gum or methyl cellulose binder,

oil pastels consist of pigment mixed with a non-drying oil and

wax binder.

The surface of an oil pastel painting is therefore less powdery,

but more difficult to protect with a fixative
It was invented in Japan toprovide a cheap inexpensive way of
colouring for children in 1924. Oil pastels were not
manufactured in the west till the second world war These
artist quality Oil Pastels were originally developed by
Sennelier in collaboration with Pablo Picasso .
 PICASSO DETAILS OF PASTEL
OIL DRY
Iron-gall nut ink is a purple-black ink made from iron salts and
tannin from vegetable sources. It was the standard writing and
drawing ink in Europe, from about the 12th century to the 19th
century, and remained in use well into the 20th century

Indian Ink / Chinese Ink Early treatises on the arts refer to

black carbon ink that was prepared by the ancient Chinese
and Egyptians. The basis of the ink was a black carbon
pigment in an aqueous adhesive or binding medium.
Leonardo da Vinci,
"Vitruvian Man"
1492
Pen, ink,
watercolour and
metalpoint on paper,
343 x 245 mm
(Gallerie
dell'Accademia,
Venice)
Kathe KollwitzThe Mothers 1921 pen and brush
Boston Museum of Fine Arts
Kathe Kollwitz
Workers Going Home at the Lebrter Railroad Station
1897 graphite, pen and watercolour Kathe Kollwitz Museum, Koln
CHINESE INK DRAWINGS
Chinese Ink uses lamp black with glue
And some aromatic substance like camphor
or musk

The use of the ink dates back in China to the

1st Century

The lamp black is usually obtained by burning

Pine wood.

Some of the 64 ink tablets made by Chien Ku

Chai for Emperor Chai Ching (1796-1821)
Each tablet depicts a view of some part of the
imperial palaces around Peaking
Some of the 64 ink tablets made
by Chien Ku
Chai for Emperor Chai Ching
(1796-1821)
Each tablet depicts a view of
some part of the
imperial palaces around Peaking
CHINESE INK DRAWINGS

Check out Met Museum Website

http://www.metmuseum.org/TOAH/HD/clpg/hd_clpg.htm

China probably has one of the longest traditions of aesthetic mediations

on art, the techniques and history of art

There are extensive works on the biographies of artists written long

before the Italian Vasari wrote lives of the artists (Italy)

The value placed on different forms of artistic practice is not the same
as in Europe

In the hierarchy of art calligraphy and landscape painting have been

given the highest place
The order of the words Shu hua “calligraphy and painting”
used in conjunction with the arts “ we see that calligraphy has
greater privilege than painting

Sculpture and Architecture which have such an important role in

Western Art History

have never possessed the same prestige as the other two as they
are seen as being conceptually different from calligraphy and
painting
which were seen as having the same root
Also prior to the 20th century there was no term in Chinese for
“fine art in the Western sense” the term meishu appropriated from
Japanese is a recent import and is used for all kinds of objects
ceramics, textiles, metal lacquer etc work
The process of cannon formation too happened fairly early in China

Gu Kaizhi(345-406 ce) is a well known name that comes down to us from

the 4th century establishing a standard for measure

Gu also wrote extensively on technique and on theories of the image but he

is famous above all as a painter of the figure

T he subject matter in the 4th century was fairly didactic like the well known
scroll “Admonitions of the instructress to court ladies showing models of
ideal male and female behavior

But this what of painting (subject of painting was soon replaced by the how
of painting (painting as a meditative contemplative act)
 Tang dynasty, copy 6th-8th century AD

Chinese painter Gu Kaizhi used graceful line and formal figures.

Admonitions of the Instructress to the Court Ladies, painted in the 4th century,
portrays delicate figures on a silk scroll. It is in the collection of the British
Museum in London
The protagonist is the court instructress who guides the ladies of the imperial harem on
correct behaviour. In total, nine scenes were depicted on this scroll, but it is now
incomplete; the first two scenes are missing, as well as the text to the first scene.
Date: c. 344-406 Creator: Gu Kaizhi, attr. Title: Admonitions of the Instructress to
the Court Ladies. Detail: scene 7. Tang dynasty copy. Handscroll.
Material: Ink. --Color/silk. Dimensions: 25x348.5 cm.
Location: London. British Museum.OA 1903.4-8.1.
 SIX LIMBS OF CHINESE PAINTING

In the sixth century Xie He wrote the six laws of painting (six elements)
that echo the six limbs of Indian painting

Spirit Resonance which means vitality

Bone method which is a way of using the brush in which the form is
rendered without the line but has an inner structure

Correspondence to object

Suitability to type which has to do with the laying down of colour

Division and planning which means placing and arrangement or

composition and

Transmission by copying
Of these the most important is the ”Spirit Resonance” which privileges
expression rather than transcribing the visual phenomenon

In Europe the ideas of image and representation are largely dependent on

Platonian concept of edios or an unchanging ultimate reality where the
artist is a being

while much of Chinese thought privileges “becoming” ie accepting change

and flux as the natural condition of the cosmos.
(Process)

Chinese have hardly ever been religious in the sense of having a universal
god and there is very little emphasis on the myths of creation or the end of
the world

Rather in painting the relationship between the art work, the maker of the
picture and the subject of the picture is emphasized.

For much of Chinese history

Beginning about the fourth century B.C., ancient texts describe
Chinese society as divided into four classes: the scholar elite, the
landowners and farmers, the craftsmen and artisans, and the
merchants and tradesmen.

Under imperial rule, the scholar elite, whose exemplar was

Confucius, directed the moral education of the people;

the farmers produced food; the craftsmen made things that were
useful; and the merchants promoted luxury goods.

Because in theory the Confucian elite advocated simple rural

values as opposed to a taste for luxury (which they viewed as
superfluous, leading to moral degeneration),

the merchants who sold for profit, adding nothing of value to

society, ranked low on the social scale (though, in reality,
economic success had its obvious advantages).
The unique position occupied by the scholar elite in Chinese
society has led historians to view social and political change in
China in light of the evolving status of the scholar.

One theory holds that the virtues of the scholars were

appreciated only in times of cultural upheaval, when their role was
one of defending, however unsuccessfully, moral values rather
than that of performing great tasks.

Another theory, relating to art and political expression in Han-

dynasty China, offers an analysis of the tastes and habits of the
different social classes:

"the imperial bureaucracy, not the marketplace, was [the scholar's]

main avenue to success,
and he was of use to that bureaucracy only insofar as he
placed the public good above his own. …

Beginning in the late tenth century, in the early Northern

Song, the government bureaucracy was staffed entirely by
scholar-officials chosen through a civil examination system
Scholar-officials, unlike the other three social classes, did
not constitute an economic class as such,

as their only power resided in their Confucian ideals and

their moral and ethical values.

Nevertheless, the landowners, the craftsmen, and the

merchants were controlled by the state and the state was
administered by the scholar-officials,
Government administration and culture were from the outset the
two primary concerns of the scholar.

With the growth of literacy but with a fixed quota for civil
examination candidates (and therefore limited opportunities for
official employment),

scholars increasingly turned to the arts, the study of which was

considered a path to the cultivation of the moral self.
Private collections of ancient works were amassed, and
scholarship in such fields as archaeology and epigraphy
flourished.

Scholar-officials also became particularly associated with the

Four Accomplishments: painting, poetry, a chesslike game of
strategy known as weiqi (go in Japanese),

and playing the zither (qin).

In the area of paintings, scholar-artists developed and were

closely associated with a highly expressive style of painting that
utilized nonrepresentational calligraphic brushwork to create
pictures,

most typically landscapes, that revealed the inner spirit of the

painter rather than a realistic depiction of the subject.
These men asserted their identity as literati through poetry,
calligraphy, and their own form of "scholar-painting.

" Song scholar-artists worked in a

calligraphic,

monochrome style and painted old trees,

bamboo, and rocks

as emblems of their own moral rectitude and endurance

Landscape Painting in the Tenth Century
In the tenth century in China landscape painting became
an independent genre. During the chaotic Five Dynasties
period (907–960), which followed the collapse of the Tang
dynasty,

images of life in reclusion took on a new immediacy as

members of society dreamed of finding sanctuary from a
disintegrating social order.
c. 344-407 (12th-13th c. copy) Creator: Gu Kaizhi, attr.
Title: Nymph of the Luo River. Section 1. Handscroll.
Material: Ink. --Color/silk. Dimensions: Entire scroll:24x310 cm.
Location: Washington, D.C. Freer/Sackler Galleries.F1914.53
Shen Zhou. Poet on a Mountain Top, leaf from an album of landscapes,
Ming dynasty. Ink and color on paper, 1500
Gou Xi
Early Spring, done in 1072, is
considered one of the great
masterpieces of the monumental
landscape tradition. It is a rare
example of an early painting
executed by a court professional
who signed and dated his work.
 Guo Xi developed a strategy of depicting multiple perspectives called
"the angle of totality." Because a painting is not a window, there is no need to
imitate the mechanics of vision and view a scene from only one spot.
Like most Song landscapists, Guo Xi used texture strokes to build up credible,
three-dimensional forms. Strokes particular to his style include those on
"cloud- resembling" rocks, and the "devil's face texture stroke," which is
seen in the somewhat pock-marked surface of the larger rock forms
Scholar Viewing
a Waterfall
Ma Yuan
(Chinese,
active ca. 1190–1225)
Album leaf; ink and
color on silk; 9 7/8 x
10 1/4 in. (24.9 x 26 cm)
Ex coll.: C. C. Wang
Family
The Metropolitan
Museum of Art, New York
Narcissus
Zhao Mengjian (Chinese, 1199–before 1267)
Handscroll; ink on paper; 13 1/16 x 146 1/2 in. (33.2 x
372.2 cm)
Ex coll.: C. C. Wang Family
The Metropolitan Museum of Art, New York
Living Aloft: Master
Liu's Retreat, dated 1543
Wen Zhengming
(Chinese, 1470–1559)
Hanging scroll; ink and
color on paper;
37 1/2 x 18 in.
(95.2 x 45.7 cm)
The Metropolitan
Museum of Art, New York
Images of Reclusion Under the Manchu Qing Dynasty
Images of reclusion remained a potent political symbol under the
Manchu Qing dynasty (1644–1911),

as Ming loyalists envisioned China's natural landscape as both a place

of refuge and a symbol of endurance in the face of foreign occupation.

Other artists, who were less involved in the politics of dynastic change,
created landscape images based almost exclusively on the styles and
compositional types established by an orthodox canon of earlier
masters.

For this group of traditionalist artists—later known collectively as the

Orthodox School—the goal of painting was not mimesis, but the
revitalization of painting through the creative transformation of past

models .
Remote Valleys and Deep Forests (detail 1), dated 1678
Liu Yu (Chinese, act. ca. 1650–after 1711)
Handscroll; ink and color on paper; 10 5/8 x 144 1/8 in. (27 x 366 cm)
The Metropolitan Museum of Art, New York
Remote Valleys and Deep Forests (detail 2), dated 1678
Liu Yu (Chinese, act. ca. 1650–after 1711)
Handscroll; ink and color on paper; 10 5/8 x 144 1/8 in. (27 x 366 cm)
The Metropolitan Museum of Art, New York
Landscape for Zhanting, dated 1710
Wang Yuanqi (Chinese, 1642–1715)
Hanging scroll; ink and color on paper;
37 1/2 x 18 1/2 in. (95.2 x 47 cm)
The Metropolitan Museum of Art, New York
Old Trees, Level Distance (detail of left half)
Guo Xi (Chinese, ca. 1000–ca. 1090)
Handscroll; ink and color on silk; 13 3/4 x 41 1/4 in. (35.9 x 104.8 cm)
The Metropolitan Museum of Art, New York
Finches and Bamboo
Emperor Huizong (Chinese, 1082–1135, reigned 1101–25)
Handscroll; ink and color on silk; 11 x 18 in. (27.9 x 45.7 cm)
The Metropolitan Museum of Art, New York
The Simple Retreat, Yuan dynasty (1279–
1368), ca. 1370
Wang Meng (Chinese, ca. 1308–1385)
China Hanging scroll; ink and color on paper;
H. 53 1/2 in. (136 cm), W. 17 3/4 in. (45
cm)Signed: "The Yellow Crane Mountain
Woodcutter Wang Meng painted this for the
lofty scholar of the Simple Retreat"
Twelve Views of Tiger Hill, Suchou: The Enlightened Stone Retreat
Shen Zhou (Chinese, 1427 - 1509)

after 1490
Twelve Views of Tiger Hill, Suchou: The Nodding Stone Terrace, Tiger Hill, and the Thousand-Man Seat
Shen Zhou (Chinese, 1427 - 1509)
after 1490
Twelve Views of Tiger Hill, Suchou: The Sword Spring, Tiger Hill
Shen Zhou (Chinese, 1427 - 1509
WATERCOLOUR
In the 12th century the conquering Moors introduced
papermaking to Spain and the technology spread to Italy
decades later.

Some of the oldest paper manufactures include Fabriano, Italy,

opened in 1276, and Arches, France, opened in 1492.

The forerunner of watercolor painting in Europe was buon

fresco painting — wall-painting using pigments in a water
medium on wet plaster.

The earliest known use of European watercolor painting is by

Italian Renaissance painter Raffaello Santi (1483-1520), who
painted full-scale cartoons as precursors for tapestry designs.
Watercolor is a painting technique using paint made of
colorants suspended or dissolved in water. Although the
grounds used in watercolor painting vary, the most common is
paper. Others include papyrus, bark papers, plastics, leather,
fabric, wood, and canvas.
Hot Pressed: the Cold Pressed or 'Not' Rough: Is a coarse
surface is finely grained Pressed: this medium rough texture. This
and smooth. It takes rough texture is surface allows for
color smoothly and preferred by most It maximum graining of
allows for easier takes color smoothly washes and accidental
textured brush work. It is also, but the tooth highlights and texture
processed with high allows for slight
pressure as it is dried. irregularities and
graining in washes
The thickness of watercolour paper is indicated by its
weight, measured either in grams per square metre (gsm)
or pounds per ream (lb).

Deckle edge
Watermark
The broader term for water-based
painting media is watermedia.

The term watercolor most often to refers to

traditional transparent watercolor and gouache
is an opaque form of the same paint.
Watercolor paint is made of finely-ground
pigment or dye mixed with gum arabic for
body, and glycerin or honey for viscosity and to
bond the colorant to the painting surface.

Un-pigmented filler is added to gouache to

lend opacity to the paint.
Oil of clove is used to prevent mold.

Ox Gall The bile obtained from the gall bladder

of a bovine animal, usually a domesticated
cow is a semi-transparent liquid containing
sodium salts and glycocholic acids,
cholesterol, lecithin, etc. Ox-gall is used as the
expanding and binding medium for the colors
 Reeves Student Gouache Holbein Professional Gouache

Gouache is simply an opaque watercolor. Depending on the brand, gouache

can be very vibrant. This paint is a favorite among illustrators because a quality
reproduction is easily achieved. Gouache was also used for the first Disney
animations. As with transparent watercolors, student and professional brands are
available in gouache. The characteristics of the two qualities are the same as with
transparent watercolors. Gouache also has a greater staining ability than
transparent watercolors. We've provided a color comparison test between a
student and professional gouache. The results speak for themselves. Notice
increased granularity and less intense colors as well as greyed out mixed
secondaries.
Traditionally, watercolor paint is applied with brushes, but it
may be applied with other implements in experimental
approaches or mixed with other materials (usually acrylic or
collage).

The paint is thinned before application to allow for lighter areas

within the painting.

This transparency provides watercolor its characteristics of

brightness, sparkle, freshness, and clarity of color since light
has passed through the film of paint and is reflected back to
the viewer through the film.

According to a tradition, dating from at least the early 20th

century, the white of the paper is the only white used in
transparent watercolor. Opaque paint is seldom used for
whites or to overpaint
Watercolor techniques have the reputation of being quite
demanding,

although they are actually no more demanding than those used

with other media.

Maintaining a high quality of value differences and color clarity are

typically the most difficult properties to achieve and maintain.
The medium is effective for atmospheric effects landscapes and
abstraction (Kandinsky produced the first non-objective abstract
paintings in transparent watercolor around 1913).

Watercolor proponents prize it as a studio medium for its lack of

odor and ease of cleanup, and also as a plein air medium for its
portability and quick drying
B.N. Arya (b.1936)
B.N. Arya was born in the
province of Peshawar (now in
Pakistan). He studied at the
Government College of Arts &
Crafts, Lucknow, from where he
earned a Diploma in Fine Arts,
and a Post-Graduate Diploma in
Painting and Sculpture.
Bharat worshipping Rams Sandals B.N ARYA circa 1960
Wash on paper
ACADEMIC WATERCOLOURS
IN EUROPE

In Germany, Albrecht Dürer (1471-1528) painted watercolors in

the 15th century.

The first school of watercolor painting in Europe was led by

Hans Bol (1534-1593) and was much influenced by Dürer's
creations.

Other famous artists have used watercolor painting to

supplement their work with oil paint, including van Dyck (1599-
1641), Thomas Gainsborough (1727-1788), and John
Constable (1776-1837).

In 18th century Britain, Paul Sandby (1725–1809) was called

the father of British watercolor.
 this is among Albrecht Dürer's earliest
watercolours, dating either Grossweiden Mill on the
from 1489 or 1494. north bank of the River
Pegnitz, near St John's
Church. A mill wheel leans
against one of the buildings.
On the far side of the river
is the Kleinweiden Mill.
Beyond this are villages
lying on the outskirts of
Nuremberg and the
mountains. Dürer has again
lavished great care on some
of the details, such as the
distant houses. His colouring
is reminiscent of
Netherlandish
landscapes, with brown
tones
in the foreground, greens
in the middle ground
and bluish mountains
in the distance

The Wire-drawing Mill

c. 1489 Watercolour and gouache on paper,286 x 426 mm Staatliche Museen,Berlin
Raphael.
Cartoon for
The Miraculous
Draught of
Fishes. c.1513-
1514. Mixed
media on paper,
mounted on
canvas. Victoria
and Albert
Museum,
London, UK
A Young Hare, watercolor,
1502, by Albrecht Dürer.
Though significant developments in watercolors occurred in continental Europe,
it was in England, toward the end of the eighteenth century, that watercolor
became a preferred method of painters.

Previously perceived merely as colored drawings or studies for oil paintings, it

was the British school of watercolor painters who lent credibility to the notion
that watercolors produced true works of art in their own right.

Joseph M. W. Turner (1775-1851), known for his landscape paintings, was

perhaps the most influential in this movement, revolutionizing watercolor
painting by constantly experimenting with different techniques, such as creating
texture by scraping and scratching.

A greatly increased availability of paper combined with improvements in the

portability and accessibility of supplies contributed further to the popularity of

the form.
J.M.W. Turner
Beaumaris Castle, Angelsey
circa 1836, watercolor heightened with white
The Huntington Library, Art Collections, and Botanical Gardens
John Robert Cozens was perhaps the first British artist to use
watercolour consistently for its own sake as a purely
expressive medium.

He is remembered for his lyrical, evocative landscapes which

are usually inspired by actual places.
John Robert Cozens 1752-1797
View from Isola Borromea, Lago Maggiore circa 1783 Watercolour
and pencil on paper support: 264 x 383 mm on paper
Paul Sandby
Cow-Girl in the Windsor
Great Park
1765 - 1770
Pen and watercolor
11 3/4 x 9 3/8 inches (30 x
24 cm)
British Museum, London,
England
Paul Sandby The Laterna Magica
c. 1760
Watercolour and body colour over pen and ink, 37 x 53,6 cm
British Museum, London
Paul Sandby (1730-1809)
The Spread Eagle Tavern, Millbank Bodycolour
15 1/4 x 21 3/8 inches (39 x 54.6 cm) Private collection

Bodycolour: An
opaque paint.

Transparent colors
are often made
opaque by mixing
them with some
gouache or some
opaque white. Often
considered
synonymous with
gouache. Body color
has sometimes been
used in local areas
in drawings, and
sometimes as a
general medium
Thomas Girtin
Peterborough
Cathedral from the
West Front
circa 1795-96,
graphite, watercolor,
and pen and ink
William Spooner
Collection,
Courtauld Institute of

Art Gallery, London

Peter De Wint
Chichester
n.d., watercolor over graphite on rough textured wove paper
Gilbert Davis Collection, The Huntington Library, Art Collections, and

Botanical Gardens
Title: Old Mill
house
Cotman, John
Sell, 1782-
1842Date: ca.
1801
John Sell Cotman, Croyland Abbey,
1802
New Bridge,
Durham, by John
Sell Cotman (1782-
1842), ca. 1805,
graphite and
watercolor, 17 1/4
x 12 3/4.
John Sell Cotman Mount St. Michel