Klimt's talent and brilliance as a draughtsman, however, was widely recognized only after Klimt's death. During his lifetime, he hardly sold a drawing nor did he exhibit them.
Though noted for his attention to the female figure, Degas executed many studies of grouped horses and jockeys from which he would use figures in later compositions. Later in his career, Degas experimented with mixing drawing media and printmaking techniques. He began the drawing in 1885 using an impression from his 1877–78 lithographs of a concert at Café des Ambassadeurs, which he extended along the bottom and right edges, and drew over in dense strokes of pastel. Degas first produced a mono-type—a unique print made from drawing in ink on a metal or glass plate—of two singers on stage, seen from behind, with a view to the audience. He then enlivened the print with richly colored pastels. In the village of Diénay near Dijon, Degas recalled scenery from the drive through the Burgundian countryside and produced about fifty mono-type landscapes. To create this drawing, he used oil paint (and apparently his fingers) to indicate a few lines of landscape on the plate and printed one or two proofs, hanging them to dry. Later, he completed the composition with a rich layer of pastel.
Giovanni Boldini enjoyed a long and successful artistic career. He was born in Ferrara, the son of a painter of religious subjects, and in 1862 went to Florence for six years to study and pursue painting. He only infrequently attended classes at the Academy of Fine Arts, but in Florence, met other realist painters known as the Macchiaioli. Their influence is seen in Boldini's landscapes which show his spontaneous response to nature, although it is for his portraits that he became best known.
Moving to London, Boldini attained success as a portraitist. He completed portraits of premier members of society including Lady Holland and the Duchess of Westminster. From 1872 he lived in Paris, where he became a friend of Edgar Degas. Boldini developed his own, distinct style, and his portraits grew in fame, helped greatly by a portrait commissioned by Giuseppe Verdi in 1886, the biggest celebrity of his day. He was nominated commissioner of the Italian section of the Paris Exposition in 1889, and received the Légion d'honneur for this appointment.
He died of pneumonia while in Paris, and is buried in his hometown of Ferrara, Italy.
There is a sense of movement in Toulouse-Lautrec’s drawings of dancers and horses. His dancers appear from a few twirls and swirls. He does not draw the dancer, but the motions. His lithographs and sketches of Loie Fuller consist of little more than abstract shapes, in which we can barely detect a head and a pair of legs. When he was commissioned to make a series of lithographs with a horse racing theme, The Jockey (1899), Toulouse-Lautrec does not start from an anatomically correct horse, but tries to capture the strength and speed of the horses in motion. By choosing this particular viewing angle he puts the viewer as it were on one of the trailing horses.
After a life of enormous productivity (more than 1,000 paintings, 5,000 drawings, and 350 prints and posters), debauchery, and alcoholism, Toulouse-Lautrec suffered a mental and physical collapse and died at the age of 37.
Largely a self-taught artist, Barry in 1763 attracted the patronage of his Irish compatriot Edmund Burke, who funded Barry’s stay in Italy from about 1766 to 1771 to study the Old Masters. Barry then returned to England and rose rapidly in his profession, becoming a member of the Royal Academy in 1773 and obtaining the commission to decorate the Royal Society rooms in 1777. The latter project occupied him until 1783. Barry was professor of painting at the Royal Academy from 1782 to 1799, but he died in poverty.
Barry was an exponent of the “grand style” of Sir Joshua Reynolds; hence, he drew the subject matter for his ambitious figurative compositions from classical antiquity and from literary works. Stylistically, however, his linearity and undulating forms brought him closer to the work of the leaders of the English Neoclassical style, the sculptor John Flaxman and the poet-painter William Blake.
Joseph Mallord William Turner was English artist, one of the greatest and most original of all landscape painters. Turner was considered a controversial figure in his day, but is now regarded as the artist who elevated landscape painting to an eminence rivaling history painting. Although renowned for his oil paintings, Turner is also one of the greatest masters of British watercolor landscape painting. In 1856 the Court of Chancery awarded all the works remaining in his possession at his death to the National Gallery - about 300 oils and 19,000 drawings and watercolors. He is commonly known as "the painter of light" and his work is regarded as a Romantic preface to Impressionism.
Paul Cézanne was the leading figure in the revolution toward abstraction in modern painting. His influence on the course of modern art, particularly on the development of cubism, is enormous and deep. In his early career, he was strongly influenced by Delacroix and Courbet. Through Pissarro, Cezanne came to know Manet and the Impressionist painters. He exhibited with the Impressionists in 1874, but eventually rejected what he considered the Impressionists' lack of structure. Cezanne sought to "recreate nature" by simplifying forms to their basic geometric equivalents, utilizing contrasts of color and considerable distortion to express the essence of landscape, still-lifes, and figural groupings. Instead of adhering to the traditional system of perspective, he portrayed objects from shifting viewpoints. Cezanne worked in oil, watercolor, and drawing media, often making several versions of his works.
This book aims to help you see the same way as Rembrandt has seen. Rembrandt's secrets are not in his words, they are in his works. Look at his paintings in details, the lines, the light, the shadows, the composition, the contrasts, the details. His paintings tell us what we cannot see but need to know and that should be enough. The goal of this book is to make the art of Rembrandt more accessible to everyone. There are so many theories about the Rembrandt's techniques but the book will show you how to get close to his art in number of ways.
Born in Gubbio, he was also called Francesco da Gubbio. His father, Flaminio Allegrini da Cantiano, was also a painter.
Francesco Allegrini studied under Giuseppe Cesari (Cavaliere D'Arpino), and later was helped by his sons in painting historical and religious paintings. A short biography is mentioned by Filippo Baldinucci.
Alberti was born in 1553 in Borgo San Sepolcro, Tuscany (from which he took his nickname of Borgheggiano), into family of artists. He was the second son of Alberto Alberti, a carver and sculptor, and his brothers Alessandro Alberti and Giovanni Alberti were artists as well.
Alberti studied in Rome under Cornelius Cort and worked as an engraver, modeling his works after the inventions of other artists. His early influences included Raphael and contemporary Mannerist art. Between 1571 and 1575 he made engravings after works of Federico and Taddeo Zuccari. Over the next ten years his engravings included works after Raphael, Michelangelo, Polidoro da Caravaggio, Andrea del Sarto, Rosso Fiorentino, Marco Pino, Pellegrino Tibaldi, and Cristofano Gherardi. He also produced works based on ancient statues.
Later in life Alberti decorated palaces and churches with paintings in fresco. His most famous work was the fresco decoration of Sala Clementina in the Vatican, which he completed with his brother Giovanni. He painted for the church of Santa Maria in Via Lata. He may have been first a pupil of Cornelis Cort, and afterwards by studying the works of Agostino Carracci and Francesco Villamena.
At his death in Rome Alberti was Director of the Academy of Saint Luke, an association of artists.
Paul Gauguin was French painter, sculptor, and print-maker. His style developed from Impressionism through a brief cloisonnist phase towards a highly personal brand of Symbolism, which sought within the tradition of Pierre Puvis de Chavannes to combine and contrast an idealized vision of primitive Polynesian culture with the sceptical pessimism of an educated European. A self-consciously outspoken personality and an aggressively asserted position as the leader of the Pont-Aven group made him a dominant figure in Parisian intellectual circles in the late 1880s. His use of non-naturalistic color and formal distortion for expressive ends was widely influential on early 20th-century avant-garde artists.
Contemporaries of Michelangelo collected his drawings during his lifetime and guarded them like precious gems. Presently, the total number of his existing drawings is around 600. However, during his more than seventy years of activity, he certainly produced much more, thus many works by the master must have been lost. It is well known that Michelangelo twice destroyed his own drawings: the first time was in 1517, the second time shortly before his death.
Drawing revealing the artist at work and allows even the modern viewer to see the artist's hand in action. One of the most notable things about Boucher's superb draughtsmanship is energetic, economical line. Grace, beauty and power combine with a striking inner force. Boucher handles details easy, he describes the essential form in just a few marks, with just enough tone used to suggest the form and the features conveyed accurately but efficiently. At the same tame in Boucher's drawing the observer will notice that the energetic mark-making describes a solidly understood form and precisely observed detail. The learner of drawing will have much to get from this book.
He was educated traditionally, took a craftsman-like advance to his work, and desired academic respect, although he was never accepted into Paris's leading school of art.
Many of his most notable sculptures were severely criticized during his lifetime. They clashed with the predominant figure sculpture tradition, in which works were decorative, formulaic, or highly thematic. Rodin's most original work departed from traditional themes of mythology and allegory, modeled the human body with realism, and celebrated individual character.
It was the freedom and creativity with which Rodin used these practices – along with his activation surfaces of sculptures through traces of his own touch and with his more open attitude toward bodily pose, sensuality, and non-realistic surface – that marked Rodin's re-making of traditional 19th century sculptural techniques into the prototype for modern sculpture.
Sketcher, painter, engraver, sculptor and collector, Auguste Rodin is recognized worldwide for the exceptional authenticity of his anatomical sculptures, but drawing was his means of discovering "truth" in life and in art: for him "good" drawing represented truth and simplicity in nature; 'bad" drawing was self-conscious, mannered in its representation, and often displayed an ignorance of nature or inexact observation with attempts to mask it with artifice.
Rodin was a prolific draughtsman, producing some 10,000 drawings.
His drawings were seldom used as studies or projects for a sculpture or monument. Although the works on paper can only be shown periodically, owing to their fragility, the role they played in Rodin’s art was by no means minor.
As the sculptor said at the end of his life:
“It’s very simple. My drawings are the key to my work.”
Furries are so much fun to draw, people have been doing so for thousands of years. By crossing animal traits with human, you can create some fantastic characters with distinct personalities.
The authors of Draw Furries bring you more of the best step-by-step lessons for creating anthropomorphic characters. You'll learn everything from furry anatomy, facial expressions and poses to costumes, coloring and settings! You'll also learn how to create characters that convey the various personalities and spirits of the animals they resemble. Draw More Furries is packed with 20 new furries, "scalies," and mythological creatures with lessons covering everything from drawing mouths and muzzles to paws, feathers and fur. The anthropomorphic creatures you can create with these easy-to-learn lessons are limitless!
But you won't just stop there. Lindsay and Jared take you to the next level by showing you how to build a scene from start to finish. From dinosaur warriors to snow leopard pirates, you'll be drawing all kinds of fun, furry friends in no time! Loaded with more than 50 step-by-step demonstrations for a variety of characters from furries to mythological creatures. Extended demonstration shows how to build a scene from initial concept drawings and character development to a final colored scene. See a variety of different styles of art from guest artists who share their processes for creating lively characters.
From comics to video games to contemporary fine art, the beautiful, wide-eyed-girl look of shoujo manga has infiltrated pop culture, and no artist's work today better exemplifies this trend than Camilla D'Errico's. In her first instructional guide, D'Errico reveals techniques for creating her emotive yet playful manga characters, with lessons on drawing basic body construction, capturing action, and creating animals, chibis, and mascots. Plus, she gives readers a behind-the-scenes look at her character design process, pointers on creating their own comics, and prompts for finishing her drawings.
Pop Manga is both a celebration of creativity and an indespensible guide that is sure to appeal to manga diehards and aspiring artists alike.
Are You Up to the Challenge?
With just watercolors, colored pencils, and white gouache, artist Mark Crilley takes you step-by-step through his process for producing stunning, hyperrealistic recreations of everyday items. Based on Crilley’s mega-popular “Realism Challenge” YouTube videos, The Realism Challenge contains thirty lessons demonstrating how to render mirror-like duplicates in the trompe l’oeil tradition of everything from shells, leaves, and candy bars to your very own still life arrangements. Each lesson builds off the previous one, as you’ll master essential artistic techniques like creating drop shadows, adding highlights, and building from light to dark. Learn the secrets of one of hyperrealism’s biggest stars. Come take . . . The Realism Challenge!
From the Trade Paperback edition.
There's so much to explore in the world of furries, from flamboyant costumes to spectacular hair styles to unforgettable expressions and poses--it's all here!
The authors of Draw Furries and Draw More Furries have taken drawing these fantastical creatures to a whole other level--covering all of the bases. Immerse yourself in multiple easy-to-draw lessons and discover different coloring techniques, learn how to create realistic fur and scales and develop the skills to go about creating your own personal fursona! The possibilities are limitless when making these amazing anthropomorphic characters, so join Lindsay and Jared as they take you to the next level of your furtastic journey! Jam-packed with 25 step-by-step demonstrations to help you create a wide array of furries, ranging from slinky scalies to a modern day sphinx Loaded with a variety of different styles and techniques from contributing artists as they take you on a journey through their artistic processes Learn how to create a furry from start to finish, delving deeper into designing a personal wardrobe, exploring the perfect background for your characters and so much more
In just 20 minutes a day for a month, you can learn to draw anything, whether from the world around you or from your own imagination. It’s time to embark on your creative journey. Pick up your pencil and begin today!