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Resources for Teachers Resources for Teachers Rubens to Sickert: The Study of Drawing This resource pack was made as part of a collaboration between the between the University Museums and Special Collections Services and the University of Reading’s Post-Graduate Certifcate of Education students in Art & Design. Design Giovanna Correa Theme Diana Lyall Abi Peach-Toon With special thanks to: Rhea Douglas Melanie Jay Naomi Lebens June 2020 The ‘Old Masters’ The work of mannerist artists is It shows the range of drawing practice Jacopo Zanguidi, Bertoia defned by fgures with exaggerated of artists like Bertoia, and the different features, often arranged in twisted effects achieved with different media 1544-1573 poses that deliberately go beyond (compare the fuidity and precision of “What spirit is so empty and blind, that it cannot forms found in nature. However, his pen and ink studies with the subtler artists had to know how to draw handling and more realistic effects of recognize the fact that the foot is more noble than the naturalistically before they could the chalk to convey volume and the shoe, and skin more beautiful than the garment with start to manipulate reality. Like all play of light and shadow). which it is clothed?” Renaissance artists, Bertoia regularly practiced drawing from life. The composition was built in Michelangelo successive stages, sometimes by Bertoia was further infuenced by turning the sheet and working on Roman Classicism, particularly both sides of the paper. Bertoia Raphael. His studies included a variety worked both from life (arm studies/ of material. These included: red and ox) and from sources (the seated Who is the artist? white chalk, brown ink and techniques lovers’ motifs on the verso (back) of called cross hatching to add depth to the sheet is copied from an etching by The artist Jacopo Zanguidi, better his studies. Parmigianino. known as Bertoia (1544-1573), created art in the Renaissance period The twisted fgure on the recto (front) (1300-1600). Bertoia was a talented of the sheet in pen and ink shows and fuent draughtsman, who was What is the artwork? the exaggerated forms common to infuenced by some of the most mannerism (going beyond life). It famous artists of the age like Raphael This drawing is a working sheet (a kind bears a resemblance to the twisted (1483-1520) and Parmigianino (1503- of brainstorm) that brings together male fgure in a ceiling painting in 1540). His style was so similar to several different mediums and motifs, the Palazzo del Giardino in Parma, Parmigianino’s that people still often from fgure studies, to anatomy (note where Bertoia worked alongside confuse their drawings. Both artists the skeleton arm – learning how the the artist Girolamo Mirola (d.1570). are representative of a distinctive human body was constructed was key Michelangelo could have been movement called mannerism. to artist’s practice), to animals. a source of inspiration for the pose - try comparing this fgure to Michelangelo’s Libyan Sibyl in the celebrated Sistine Chapel Ceiling. Useful links for teachers: Sheet of Studies with Seated Male Nude and Two Heilbrunn Timeline of Art History (Metropolitan Museum of Art) https://www. Arms; (verso) An Ox, Seated Couple, Three Standing metmuseum.org/toah/ Male Nudes and an Anatomized Arm How to Draw Like a Renaissance Master (National Portrait Gallery) https://www. Ink and chalk on blue paper npg.org.uk/whatson/encounter/explore/how-to/) 350 × 271 mm University of Reading Art Collection Renaissance Drawings: Materials and Functions (Metropolitan Museum of Art) UAC/10545 https://www.metmuseum.org/toah/hd/drwg/hd_drwg.htm Drawing in the Renaissance Renaissance artists often brought Questions for the students together working from life and working The word Renaissance means “rebirth”. from quotation (or copying) as part of The masters ‘staged’ their models. The term is used by historians to their practice. Copying did not have Can you pose in a suitable way that describe scholars and artists of the the same negative connotations as refects the drawing in front of you? Is ffteenth and sixteenth centuries now – you learnt by copying masters’ it comfortable? What do you think the who claimed that they were heirs work and quoting it could be a form pose is meant to refect? of the classical world. They placed of honouring them and showing off. renewed value on human knowledge In particular, artists looked to emulate Now pose again but refect a modern and experience and used ancient classical motifs from antique sculpture. day gesture. Suggestions might Greek and Roman literature and art include head in hands, protests, as a model. Europe experienced a As well as working practice, drawings clapping, isolation. rediscovery of Maths, Philosophy, increasingly became priZed by Astronomy, Science, Literature, and collectors as an insight into the mind of If you were to draw this, what elements the Arts. the artist. would be important if you were making a response to Bertoia (see Drawing took on renewed importance the caption for Bertoia’s work on the in the Renaissance as it was seen to previous page for ideas)? be the foundation of all good design (disegno), which underpinned high How do we learn from the ‘Old art. The majority of all drawings Masters’ and their techniques? Are executed during this time were they relevant in your work today? If working drawings - that is preparatory so, how? If not, how? Why were these sketches for paintings, sculptures, and studies important? decorative art forms. Think about the activities on the next Materials ranged from metalpoint (a page. Why are you being asked to do stylus made from soft metal that left them? What skills will you be learning a visible mark on paper; silverpoint by looking at Bertoia’s work? was the most popular, but leadpoint, goldpoint and copperpoint were also used) to chalk (popular due to its smudging and blending qualities which enabled the artist to create a “Do not fail, as you go on, to draw wide range of tonal variation) to pen and ink (made using quill or reed something everyday, for no matter pens, and gallnut ink or bistre from how little it is, it will be well worth wood soot, often combined with while, and it will do you a world of wash and highlighting: a brush was good.” sometimes used instead of, or in combination with, a pen). Cennino Cennini, Book of the Artist, c.1400 Key words: Key words: Gallery Activity Anatomy — The study of human Disegno - the Italian word for fne art Learning objective: To gain a greater understanding of observational drawings anatomy, for artists, can be as simple drawing. Its meaning extends beyond from still life, whilst experimenting with ‘Old Masters’’ techniques and materials. In and straightforward as learning about the literal idea of draftsmanship to the museum you will observe your hand (or if it is easier, draw your friend’s hand). proportions and working from life, or encompass the intellectual ‘design’ as involved and complex as mastering component of the visual arts. (1) Begin by drawing a circle (or a rectangle if more advanced)- this will form the an understanding of the skeletal, palm of the hand. muscular, and surface structure of the Verso - a term used to refer to the human body. back of a double-sided sheet or (2) Draw the fngers. For each fnger, draw a pair of straight lines, allowing the drawing. lines to converge slightly at the tip. Note that the fngers are of different lengths- Cross-hatching — an extension of the thumb and little fngers being the shortest. Enclose each fnger using a hatching, which uses fne parallel Recto - a term used to refer to the curved line. lines drawn closely together to create front of a double-sided sheet or the illusion of shade or texture in a drawing (3) Draw a curved line between each fnger, crossing over into the palm. Extend drawing. Cross-hatching is the drawing the line between the thumb and frst fngers to outline the curved shape of the of two layers of hatching at right- Motif — is a recurring fragment, thumb. Add some cross-hatching to add tonal value. (see examples of cross- angles to create a mesh-like patten. theme or pattern that appears in a hatching below). work of art. Draughstman — a person who makes detailed technical plans or drawings. Toned paper — paper having a slight tint, in distinction from paper which is Elements of art — These are colour, quite white. form, line, shape, space, texture, and value. The ten common principles of art are balance, emphasis, harmony, movement, pattern, proportion, repetition, rhythm, unity, and variety. Mannerism - a style of 16th-century Classroom Activity Italian art characterized by distortions in scale and perspective and the use Learning objective: To further your study in the classroom. Think about the of bright, often lurid colours. Renaissance. What does working/school life look like today? Renaissance - a term used to describe Look for three objects that refect this in our time. Using tonal paper (tinted), the revival of European art and Using red and white chalk or ink and chalk- observe the objects. literature under the infuence of classical models in the 14th-16th ‘Where the spirit does not work Think about what elements are important to refect Bertoia’s style and message. centuries. with the hand, there is no art.’ What are you trying to achieve in this study? When fnished, refect as a class on what has worked in your piece. How can you improve on your study? Remember, Leonardo da Vinci the ‘Old Masters’ took years to perfect their skills. Drawing from life requires practice- a lot! Walter Richard Sickert What is the artwork? piece can be interpreted as still ‘in 1860-1942 development’, only just addressed and The nude was one of Sickert’s most captured vaguely as seen within Marie ‘Perhaps the chief source of pleasure in the aspect of important and infuential subjects, Seated on a Bed (completed in 1911- a nude is that it is in the nature of a gleam – a gleam and he sought to re-invent the way 1912).
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