Tankard
C. Prosdocimi (Italian)
Date:
1879
Medium:
Pen and ink
Dimensions:
sheet: 11 1/4 x 8 1/2 in. (28.6 x 21.6 cm)
Classification:
Drawings
Saturday, January 31, 2015
Friday, January 30, 2015
Thursday, January 29, 2015
Fortunino Matania
Capture of the Sugar Factory
Canadian soldiers take cover behind a boiler as
they storm the German stronghold at the sugar factory at Courcelette on
15 September 1916. Notice the close-quarters fighting, including the use
of rifles, bayonets, and hand grenades.
The Capture of the Sugar Refinery at Courcelette by the Canadians on September 15, 1916
Painted by Fortunino MataniaBeaverbrook Collection of War Art MCG 19870268-001
Wednesday, January 28, 2015
Tuesday, January 27, 2015
GARRET'S DRAWING
I went to Garret's Glen yesterday to do some sketching . I found this rare
"Mcfann's Fairy " willing to pose for me.
click on pics for sharper image
Monday, January 26, 2015
Sunday, January 25, 2015
Willem van de Velde the Elder
Dutch, about 1650 - 1655
Pen and brown ink and blue-gray wash over leadpoint with stylus underdrawing
8 1/4 x 12 3/4 in.
In this harbor scene, small craft loaded with barrels of supplies hover
around a large vessel as men lift various goods on board. Using ropes,
four men try to prepare a load to be taken onto the ship. Three men in
broad-brimmed hats stand supervising on the left, while other sailors
await the goods or attend to other vessels.
Using brown ink, Willem van de Velde the Elder outlined the boats and gave definition to ropes and shipping tackle. In contrast, he used a blue-gray wash to give volume and depth, using only a few simple strokes to suggest the folds of the sails. Building up the human figures by blending wash and ink, he made quick, sure lines that evoke each gesture and costume without many specific details. As the official artist for the Dutch fleet for many years, van de Velde often recorded such scenes of the bustling activity of marine life. Someone extensively incised the drawing for transfer, even down to the fine details, but no related copy is known today.
Using brown ink, Willem van de Velde the Elder outlined the boats and gave definition to ropes and shipping tackle. In contrast, he used a blue-gray wash to give volume and depth, using only a few simple strokes to suggest the folds of the sails. Building up the human figures by blending wash and ink, he made quick, sure lines that evoke each gesture and costume without many specific details. As the official artist for the Dutch fleet for many years, van de Velde often recorded such scenes of the bustling activity of marine life. Someone extensively incised the drawing for transfer, even down to the fine details, but no related copy is known today.
Friday, January 23, 2015
JOHN HASSALL
Thursday, January 22, 2015
Wednesday, January 21, 2015
Nicolas Bernard Lépicié
Two Nude Male Figures
Nicolas Bernard Lépicié
(French, Paris 1735–1784 Paris)
Date:
18th century
Medium:
Charcoal, stumped, black chalk, heightened with white, on gray-green paper.
Dimensions:
13 1/4 x 20 in. (33.6 x 50.8 cm)
Tuesday, January 20, 2015
Peter Paul Rubens
In a technique known by the French term écorché, three
figures appear as if without skin. Drawn in luminous light brown ink,
the principal figure demonstrates the muscular structure of the back,
buttocks, and legs. Fascinated with the structure of the human body,
Peter Paul Rubens then drew two subsidiary views of the same powerful
form and a detail of the left arm from a different angle.
Rubens produced this drawing sometime during an eight-year stay in Italy, and it shows the strong influence of the new approaches he learned there. The skillfully drawn forms show his complex grasp of the human body in three dimensions. The main figure's truncated right arm suggests the artist's study of broken antique statues, while the surging, heroically proportioned forms and the extensive hatching of the musculature display his familiarity with Michelangelo's drawings. Scholars believe that Rubens produced this anatomical drawing in preparation for an instructional book on human anatomy, which he never published. After the artist's death, a printer published an engraving of this drawing in the mid-1600s.
For more Rubens from this blog go here
Rubens produced this drawing sometime during an eight-year stay in Italy, and it shows the strong influence of the new approaches he learned there. The skillfully drawn forms show his complex grasp of the human body in three dimensions. The main figure's truncated right arm suggests the artist's study of broken antique statues, while the surging, heroically proportioned forms and the extensive hatching of the musculature display his familiarity with Michelangelo's drawings. Scholars believe that Rubens produced this anatomical drawing in preparation for an instructional book on human anatomy, which he never published. After the artist's death, a printer published an engraving of this drawing in the mid-1600s.
For more Rubens from this blog go here
Monday, January 19, 2015
Tom Lovell
Tom Lovell (5 February 1909 – 29 June 1997) was an American illustrator and painter. He was a prolific creator of pulp fiction magazine covers and illustrations, and of visual art of the American West. He produced illustrations for National Geographic
magazine, and many others, and painted many historical Western subjects
such as interactions between Indians and white settlers and traders.[ He was inducted into the Society of Illustrators Hall of Fame in 1974.
From Wikipedia, the free encyclopedia
Sunday, January 18, 2015
GORDON GRANT
A page from Byrnes’ Complete Guide To Cartooning
Saturday, January 17, 2015
Friday, January 16, 2015
Thursday, January 15, 2015
Wednesday, January 14, 2015
Anton Mauve
Fishing Boats on the Beach in Winter
Anton Mauve
(Dutch, Zaandam 1838–1888 Arnhem)
Date:
mid to late 19th century
Medium:
black chalk, watercolor, some white bodycolor. Framing line in black chalk.
Dimensions:
12-13/16 x 16-1/16 in. (32.5 x 40.8
