A Brief Hisotrical Sketchof the Invention of Art Written?

A drawing is just a line going for a walk. –Paul Klee

Cartoon is fundamental to all other art. It is how artists structure, plan and negotiate infinite. Drawings can be studies for afterward paintings or sculptures also as existence an art form on their own. Recollect of it as the foundation to your artistic firm. If the foundation is weak, the house volition plummet. Every bit John Vocaliser Sargent said, " You tin can ' t do sketches enough. Sketch everything and keep your curiosity fresh."

These drawings on the walls of Chauvet Cavern in southern France date from effectually 32,000-30,000 B.C.E.:

Panel of Horses, ca. xxx,000 B.C.Eastward. Chauvet Cave, France

This ancient artwork from Australia may be even older, dating back to around forty,000 BCE:

Aboriginal rock art, Ubirr Art Site, Kakadu National Park, Commonwealth of australia, ca. forty,000 B.C.E.

Prehistoric artists used natural materials to create pigments they could depict with, such as red ochre and blackness charcoal. Ochre is a natural earth pigment that comes in a diverseness of colors from red to yellow and sometimes even purple depending on the amount of iron oxide, hematite, or other pigments mixed in with it. Blackness charcoal is made by burning tree branches (imagine the terminal fourth dimension you had a bivouac); the charred $.25 of wood that are leftover tin can exist used as charcoal. Prehistoric artists would utilize the pigments with their fingers, sticks, diddled through a hollow piece of bone, or by applying the paint straight to the walls of caves.

Drawing predates language, and these cave paintings were likely a way for prehistoric people to communicate things like which animals were available for hunting in the expanse.

Paper and the pulp-making process is said to have adult in China in the 2^nd century A.D. Before that, the Chinese produced ink drawings and paintings on silk. The process of making newspaper spread from Cathay, through the Middle East, and into Europe by the xiii^thursday century. Some of the well-nigh beautiful examples of drawing during this time tin can be institute in the practice of calligraphy, which is a type of artful writing done with a brush or pen.

The Drunken Monk, Li Gonglin, Chinese, ca. 1049 – 1106, Southern Song Dynasty, ink and color on paper

European Monasteries from the 7^th to 15^thursday centuries produced beautiful, hand illustrated manuscripts filled with calligraphy on vellum or parchment fabricated from animal hides. One of the oldest examples of the illuminated manuscript is the Codex Vaticanus, which has been dated to the 4^th century.

Page from the Codex Vaticanus

Folio from a 15th century illuminated manuscript depicting Saint Michael battling a demon.

I know, y'all're probably thinking, "this is colored with pigment—how is that a cartoon?" and you're right. Back then, drawings were really not considered annihilation worth keeping. Drawings were preparatory studies and practice for offset artists so they could eventually paint with accurateness. The illuminated manuscripts are the closest we get to drawing since the prehistoric artists, until the early Renaissance.

In society to keep the lettering and images consistent in these manuscripts, model books were made. These books contained examples or prototypes of what certain images, like the crucifixion, or the martyrdom of Saint George, should look similar. Students would re-create from the book to learn the fashion of that particular Atelier, or studio where the books were produced. Each Atelier had their own particular fashion. Later on copying all the drawings in the book, they would and then be able to produce that style over and over again for the Atelier.

In about the thirteen^th century, papermaking techniques arrived in Europe. Making paper was easier and less time consuming than stretching, cleaning, and drying creature hides for vellum and artists began using paper more than and more oft. Even still, drawings weren't considered fine fine art. Due to the lack of reverence paid them every bit well as poor conservation, not many drawings still exist from this time catamenia.

Hans Memling, Portrait of a Man with a Falcon, c. 1447, silverpoint

Here is a classic example of cartoon beingness used every bit study for other works; Albrecht Durer has fabricated separate small-scale preparatory sketches on one sheet of paper. They are not intended to make one finished and coherent drawing. Rather, they are studies that share a single piece of paper.

Albrecht Durer, Report Sheet with self-portrait, hand, and cushions, 1493, pen and ink on paper

Albrecht Durer is well known for his drawings, etchings and watercolor paintings from the late 15^th century. Here are two of his self-portraits: i at age 13, the next at age 51.

Albrecht Durer, Cocky-Portrait at 13, 1484, pencil on newspaper

Albrecht Durer, Cocky-Portrait as the Homo of Sorrows, 1522, pencil on paper

In the Renaissance (ca. 1330 – 1550 CE), drawing became much more popular than in previous centuries and was considered the foundation for any work in the arts. Before students could learn to pigment, sculpt, or build, they commencement had to learn to draw accurately. During this time period, artists began to draw from the live nude effigy for the kickoff time and because of this, figures in drawings and paintings developed greater realism.

Leonardo da Vinci, The Virgin and Child with Saint Anne and Saint John the Baptist, c. 1499, charcoal and chalk on paper

Leonardo da Vinci, Study of Horses, c. 1490 metalpoint on newspaper

Michelangelo, Studies for the Libyan Sibyl, chalk on newspaper

Drawings weren't washed exclusively on newspaper; mural artists would draw their composition onto plaster first before painting it. Making multiple studies helped the creative person work out any trouble areas before cartoon it at a massive scale (if you tin can't draw it small, y'all won't be able to draw it big either).

Some artists would describe out their composition on a large piece of sturdy newspaper (like lightweight cardboard) and poke small holes along all their lines. So they would hold it upward to the wall and strike it with a bag total of charcoal, and then when the newspaper was removed, they would accept a perfect outline of their drawing on the wall. This is called a cartoon.

Fifteenth-century Flemish artists preferred the precision of metalpoint on white paper. This technique is done by preparing a sheet of paper with a primer or gesso so drawing with a piece of metallic (usually silverish, though copper and gold are likewise used) instead of graphite.

January van Eyck, Portrait of an Unknown Man, c. 1435-40, silverpoint on prepared newspaper

Rogier van der Weyden, Portrait of a Woman, silverpoint on paper with cream colored ground

Chalk was seldom used by Flemish artists, simply Hendrick Goltzius was adept at using diverse drawing mediums to suit his vision.

Hendrick Goltzius, Portrait of Giovanni Bologna, 1591, red and black chalk on newspaper

Goltzius didn't invent this method, but likely picked it up on his travels through Europe, as this technique was popular amid the French in the fifteenth century.

François Clouet, Sketch for Mary Stuart in Mourning, chalk on paper

These drawings were preparatory sketches for later paintings.

François Clouet, Mary, Queen of Scots, Mourning, 1560-61, oil on panel

Information technology was around this fourth dimension that the first blueprints for the pencils that we know and dearest today were invented. An Italian couple, Simonio and Lyndiana Bernacotti, hollowed out sticks of juniper wood and inserted a stick of graphite in the eye. Before this, artists would wrap sticks of graphite with sheepskin or cord to keep it from breaking and to keep the artists' hands clean. When people first discovered graphite in the early 1500's, they idea it was a type of lead compound, which is why to this 24-hour interval nosotros still telephone call it a "pencil lead" even though there is absolutely no lead in it. In fact, mod pencil leads are a mixture of graphite pulverization and clay that are then fired in a kiln. By varying the ratio of clay to graphite, the hardness of the pencil changes.

In the 17^th and 18^th centuries, the importance of absolute precision and accuracy in drawing gave manner to a freer handling that reflected the interests of the Bizarre style in art. The art of the Baroque was exaggerated to produce drama and grandeur and was intended to impress viewers.

Peter Paul Rubens and Rembrandt van Rijn are perfect examples of this newer, more dynamic fashion.

Peter Paul Rubens, Pan Reclining, c. 1610, chalk on paper

Peter Paul Rubens, St. George Slaying the Dragon, pen and ink on paper

Rembrandt van Rijn, Portrait of the Artist's Father, chalk on paper

Rembrandt van Rijn, Lion Resting, 1650, ink on paper

The Rococo period was dominated past French taste and civilisation. Artworks from this fourth dimension period are characterized past cheerful, often frivolous subjects and activities, with an emphasis on decoration and luxury. Whereas the Baroque period favored bold lines and dramatic scenes, artworks from the Rococo period are oftentimes very soft and gentle in their nature. Line piece of work is less harsh and pastels were used often to further enhance this new aesthetic.

Francois Boucher, Young Woman Sleeping, c. 1760, chalk and pastel on paper

In the 19^th and 20^thursday centuries, manufactured pencils were widely available and became the preferred medium for most draftsmen. Artists like Jean-Auguste-Dominique Ingres refined pencil cartoon techniques. Ingres paid close attending to line and contour, leaving some areas of the drawing suggested rather than fully rendered.

Jean Auguste Domique Ingres, Written report for Raphael and the Fornarina, c. 1813, graphite on paper

Jean-Auguste-Dominique Ingres, General Louis-Etienne Dulong de Rosnay, 1818, leadpoint on newspaper

Francisco Goya is another excellent case of this time period. Quite peradventure every bit far away from Ingres on the spectrum every bit you can get, Goya made gestural, cartoon-like drawings satirizing and critiquing scenes from everyday life.

Francisco Goya, Accuse the Time, 1812, pen and pencil on newspaper

Francisco Goya, Lunatic Backside Bars, 1824, chalk on paper

For centuries, realistic, lifelike, academic drawing dominated Western fine art. Past the end of the 1800's, artists began to question this tradition. This is when we see the rising of the Impressionist motion with more than experimentation in art, and artists request the question, what makes art Art. With the widespread availability of new media and a new interest in breaking away from the rigid expectations of traditional rendering, artists began combining media and discovering new methods of depiction that focused on feeling rather than perfection.

Honore Daumier, A Wagon of the Third Grade, c. 1862, charcoal, ink, and watercolor on paper

Edgar Degas, The Vocaliser in Green, c. 1884, pastel on calorie-free bluish laid paper

James McNeill Whistler, Note in Pinkish and Brown, 1880, charcoal and pastel on toned paper

Vincent van Gogh, Fish-Drying Befouled, Seen from a Superlative, 1882, ink and pencil on paper

Aubrey Beardsley, Illustration to "Siegfried", Act 2, c. 1893, ink on paper

Mary Cassatt, Bosom of Ellen with Bows in her Hair, c. 1898, charcoal and pastel on paper

Pablo Picasso, Seated Nude, 1906, charcoal and pencil on paper

Edvard Munch, Workers on Their Way Abode 1, 1918, charcoal, crayon, and watercolor on paper

Salvador Dali, Portrait of Maria Carbona, 1925, graphite on paper

Pablo Picasso, Homo with Ice-Cream Cone, 1938, ink on paper

Jackson Pollock, Untitled, c. 1945, colored pencils, crayon, ink, and watercolor on paper

Roy Lichtenstein, Artist's Studio—the Trip the light fantastic toe (sketch), 1974, colored pencils and graphite on paper

As the 20^th century progressed, you tin come across more and more individualism in each of the drawings as artists expressed themselves in a variety of ways.

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Source: http://www.beginnersschool.com/2015/05/04/history-of-drawing/

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