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). of light and warmth and life. And that it should appear in which artists represented the thus, it should be set in surroundings of drapery or female body. He thought other The artist also experimented with other contrasting surfaces.’ artists over-idealized their models capturing light as well as shadow, and detached them from the reality through the use of chalk and Walter Richard Sickert of their surroundings. He advocated charcoal on grey paper seen within for “truthful” images that showed this same piece. the model in their modern, everyday environment, including unfattering or revealing poses. The Little Bed, one Questions for the students: of Sickert’s earliest drawings of the Who is the artist? female nude from 1902, demonstrates Compared to the Bertoia drawing, this new approach. Walter Richard Sicket (1860-1942) what do you notice is different about was part of the Camden Town Group the way the fgures displayed are Sickert also taught that artists should of artists, who sought to show the ‘posing’? Are they more natural- draw quickly, to prevent over-laboured reality of urban living in London looking in Sickerts’ studies? What images, and that you should always just before World War I. Since his makes you think so? draw your model exactly to scale. death, his work has been known to Finally, he believed you should never greatly infuence British art in the Do you think that art can be signifcant rub out “mistakes”. This approach is 20th century. A multi-linguist, and in the study of other subjects? How evident in the drawing Practice, where well-known during his lifetime as a can observing Sickerts’ work teach us the position of the legs has been famous fgure in London, Sickert also about the history of the time period in overdrawn without prior correction. practiced as a writer and teacher. which the works were made? Sickert’s artwork suggests an Why do you think we study nude expressive approach to capturing fgures? What skills/techniques do we the human fgure, with some areas gain from drawing them? seeming studied, calculated and devised through careful observation. Meanwhile, other areas of the same Marie Seated on a Bed c.1911-1912 Charcoal and white chalk heightening on grey paper Practice 380 × 282 mm c.1909 University of Reading Art Collection Pencil and chalk UAC/10536 379 × 284 mm University of Reading Art Collection UAC/10538 ‘“Anything!” This is the subject They are best known for their realist Gallery Activity matter of modern art. There is paintings of scenes of city life as well the quarry, inexhaustible for ever, as landscape subjects. Learning Objective: To gain a greater understanding of how Sickert’s style from which the draughtsmen and differed from the techniques of the ‘Old Masters’. painters of the future will draw Key words: the endless line of masterpieces Activity: still to come.’ Expressive — feelings, moods and/or ideas that are immediately conveyed (1) Ask one of your classmates to pose similarly to how the fgures are portrayed Walter Richard Sickert by works of art by the ‘Old Masters’ (forced, model-esque poses, men were portrayed quite strongly, and powerful, while women genrally appeared vulnerable and delicate) Motif — reoccurring fragment, theme or pattern that appears in works of art (2) Consider how Sickert would have drawn them — more expressive lines, and a focus on human curves (sitting and turned to face the artist, laying down with Nude - a naked human fgure as the their back turned to the artist…) subject of a painting, sculpture, or photograph (3) Use your pencil and charcoal to capture your classmate in the style of Sickert

Triptych — a set of three (artwork, pieces of writing, music etc.) meant to be shown/appreciated together

Impressionism – a movement in The Little Bed painting originating in France in 1902 the 1860s, based on the practice Pencil and chalk of painting out of doors in which 238 × 315 mm artists looked capture the momentary University of Reading Art Collection and transient effects by working UAC/10520 quickly and using rapid and broken Classroom Activity brushstrokes. The Camden Town Group Learning Objective: Developing an understanding of how to capture a range of Post Impresionism - the work or tone, with greater consideration for light. Consider making a triptych exploring A society of English Post-Impressionist style of a varied group of late 19th- this, through the use of chalk and charcoal. artists active between 1911–1913. century and early 20th-century artists They gathered frequently at Sickert’s including Van Gogh, Gauguin, and Useful links for teachers: studio in the Camden Town area of Cézanne. They reacted against the London, hence their name. naturalism of the Impressionists Sickert writing on “The Study of Drawing” (Tate) to explore colour, line, and form, https://www.tate.org.uk/art/research-publications/camden-town-group/ They only hosted three exhibitions and the emotional response of the walter-richard-sickert-the-study-of-drawing-r1104303 during their active period, but the artist, a concern which led to the artwork displayed had great infuence development of Expressionism. Sickert writing on “The Naked and the Nude” (Tate) in British art history. https://www.tate.org.uk/art/research-publications/camden-town-group/ walter-richard-sickert-the-naked-and-the-nude-r1104293 Spencer Frederick Gore What is the artwork? Questions for the students: 1878-1914 These two pastel drawings depict How can we tell that these drawings ‘Frank Rutter, critic and friend to Gore recalled Gore’s dancers in motion. These are studies are quick studies? And what do you experience at the ballet ‘’Never shall I forget going for other paintings and are not think Gore is trying to focus on in with him to Covent Garden when he saw the Russian supposed to be completed work, these works? Ballet for the frst time. At the fall of the curtain he rather they are a closer look at the turned to me, his eyes shining with moisture, and motion of the dances; they capture How do you think Gore represents the whispered ‘I’ve often dreamt of such things – but I the often transient poses of the motion of the dancers? Discuss the fgures on the stage. techniques he uses to achieve this. never thought I should see them!’’’ This would have meant that Gore had What about Gore’s use of colour? to capture the dancers in constant Does it depict the lighting of the stage motion, meaning he would have and if so how? been working quickly, trying to give Who is the artist? an impression of their movements rather than a perfectly accurate Spencer Frederick Gore (1878–1914) observation. was an English painter of landscapes, music hall scenes and interiors. A Artists at this time wanted to paint close friend of Walter Sickert, he their subject in situ, working in front was the frst president and founding of the people they were trying to member of the Camden Town draw or paint. This meant that they Group and was infuenced by Post- had far less time to create an image Impressionism. as the subject would be constantly moving; they instead created an Gore studied painting at The Slade ‘impression’ of what they were School of Fine Art in London and it observing. was during his time in London that he painted some of his famous dancer scenes. Gore was fascinated in particular by the ballet and many of his Techniques used: paintings focus on this theme. Gore’s Gore uses hatching and cross-hatching art career was cut short by his death in these pastel drawings, mainly in the from pneumonia at the age of 35. background, but also in the fgures. Try to look closely at the drawings and see where you can notice this. Top: Ballet at the Alhambra; (verso) Bottom: Dancing Figures: (verso) Dancing Figures Landscape in Black and Yellow Pastel Pastel 223 × 278 mm 206 × 279 mm University of Reading Art Collection University of Reading Art Collection UAC/10566 UAC/10547 ‘’He took incessant risks, but he Key words: Gallery Activity had social and artistic tact to a rare degree’’ Camden Town Group — A society Learning objective: To gain a greater understanding of how to capture motion of English Post-Impressionist artists through drawing using pencil and/or pastel Walter Richard Sickert, active between 1911–1913. They discussing Gore gathered frequently at the studio (1) Choose a subject from your group to focus on. Try to draw this person in of painter Walter Sickert in the motion, as they move round the gallery…maybe ask them to move in a particular Camden Town area of London, way for you…or ask them to hold a pose for a couple of minutes (if you fnd this hence their name. easier)

Impressionism – a movement in (2) Try to make quick marks on the paper to give an impression of what you are painting originating in France in seeing. Do not focus on the details as you will not have time! the 1860s, based on the practice of painting outdoors in which artists (3) Set three different timers for three different drawings: two minutes, fve looked to capture momentary and minutes and then a ten-minute sketch. Use pencil and/or coloured pastel. transient effects by working quickly and using rapid, broken brushstrokes.

Post-Impressionism — an art movement that developed in the 1890s. It is characterised by a Classroom Activity subjective approach to painting, as artists opted to evoke emotion rather Learning objective: To create a more detailed study, based on your gallery than realism in their work. Post- sketches and the work of Gore using pencil and pastel. Impressionists’ work sought to evoke emotion through vivid, sometimes Now use your studies from the gallery to create a more detailed composition. unnatural colour and expressive line. Use pencil and coloured pastel to achieve this.

Useful links for teachers: Transient – Lasting for only a short time. Take a look at the fnished paintings of Gore’s dancers and try to incorporate his style in your work. General Bio (Tate) https://www.tate.org.uk/art/research-publications/camden-town-group/ Think about your composition and include a background, either from the gallery spencer-gore-r1105355 or make something up. Maybe your fgure could be on a stage, in a show, as we see in Gore’s work. Gore at the Alhambra (Tate) https://www.tate.org.uk/art/research-publications/camden-town-group/ spencer-gore-inez-and-taki-r1139016

Performance and popular fction (Tate) https://www.tate.org.uk/art/research-publications/camden-town-group/ performance-and-popular-fction-r1105710 Extension Tasks for KS4/KS5

Based on Jacopo Zanguidi/Bertoia’s work Based on Walter Richard Sickert’s work

The work of mannerist artists is defned by fgures with exaggerated features, Consider how Sickert chose to depict the fgures captured in his work. How are often arranged in twisted poses that deliberately go beyond forms found in they posing? Does this seem natural or forced? Refect on why you think so. nature. However, artists had to know how to draw naturalistically before they could start to manipulate reality. Like all Renaissance artists, therefore, Bertoia Continue developing your understanding of life drawing in the style of Sickert, regularly practiced drawing from life. paying close attention to your attempts at capturing light. Challenge yourself by using tinted paper also, so that your work with chalk becomes more precise. Research the work of Jacopo Zanguidi (better known as Bertoia) and the Consider where the source of light is emanating from, and how this can be Renaissance. Consider using easily available materials such as pencil, ink, pen, captured in your observational drawings. Be mindful of showcasing a tonal chalk-red/brown/white, tinted paper and explore the possibilities of mark- range within your outcomes. making that are unique to yourself and compare it to Bertoia. Experiment with drawing from life versus a photograph, and refect on how your What are the similarities and differences? outcomes differ.

Create a visual diary of your thinking and drawing processes, documenting your attempts and explorations with drawings or photographs. Consider the relationship between you, the artist, and the model/object and how this is Based on Spencer Gore’s work refected throughout your study. Take a more detailed look Gore’s work featuring ballerinas. Notice how these are Jacopo Zanguidi (Bertoia) studies, rather than completed works and consider how Gore is trying to create Three Studies of Heads an impression of the dancers, their poses and movements. Pen and brown ink, 96 x 129 mm (3.8 x 5.1 inch); laid down onto an 18th- or 19th-century collector’s Working in your sketchbook, explore the techniques used by Gore in his mount with framing lines in black in drawings and compare Gore’s drawings and paintings of the ballet to Degas’ and orange and pink wash ballerinas. Try to keep to the ideas of Post-Impressionism.

Create your own observational sketches. Use different types of media in your work such as pastels, pencil, chalk, to create an impression of your subject. Challenge yourself with timed exercises, for example, a two-minute sketch, followed by a fve and then ten-minute drawing. Consider how this changes your work. Try to include motion and movement in your own work and refect on how you have achieved this. The work, up-close

Jacopo Zanguidi, called Bertoia (1544-1573/1574)

Sheet of Studies with Seated Male Nude and Two Arms; (verso) An Ox, Seated Couple, Three Standing Male Nudes and an Anatomized Arm

Ink and chalk on blue paper 350 × 271 mm University of Reading Art Collection UAC/10545 The work, up-close

Jacopo Zanguidi, called Bertoia (1544-1573/1574)

Sheet of Studies with Seated Male Nude and Two Arms; (verso) An Ox, Seated Couple, Three Standing Male Nudes and an Anatomized Arm

Ink and chalk on blue paper 350 × 271 mm University of Reading Art Collection UAC/10545 The work, up-close

Walter Richard Sickert (1860-1942)

The Little Bed 1902 Pencil and chalk 238 × 315 mm University of Reading Art Collection UAC/10520 The work, up-close

Walter Richard Sickert (1860-1942)

Walter Richard Sickert (1860-1942) Practice c.1909 Pencil and chalk 379 × 284 mm University of Reading Art Collection UAC/10538 The work, up-close

Walter Richard Sickert (1860-1942)

Marie Seated on a Bed c.1911-1912 Charcoal and white chalk heightening on grey paper 380 × 282 mm University of Reading Art Collection UAC/10536 The work, up-close

Spencer Frederick Gore (1878-1914)

Ballet at the Alhambra; (verso) Dancing Figures Pastel 223 × 278 mm University of Reading Art Collection UAC/10566 The work, up-close

Spencer Frederick Gore (1878-1914)

Dancing Figures: (verso) Landscape in Black and Yellow Pastel 206 × 279 mm University of Reading Art Collection UAC/10547