7.6: Master Works from Art History
- Page ID
- 341466
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)Historical examples abound where artists masterfully employed texture to bring their drawings to life. Albrecht Dürer, a German Renaissance artist, demonstrated exceptional skill in using fine lines to create detailed textures that give a sense of realism to his works, such as in his "Rhinoceros" (1515). The meticulous rendering of the animal's skin texture in this drawing exemplifies visual texture, inviting viewers to imagine the tactile sensation of touching the rough hide.
"The Rhinoceros" by Albrecht Durer is in the public domain.
Leonardo da Vinci, another Renaissance master, utilized subtle gradations of light and shadow to achieve a remarkable sense of texture in his studies of drapery and human anatomy. His drawings, such as the anatomical studies (1505), showcase how shading and line work can suggest the weight and texture of the fabric or the softness of flesh, thus enhancing the three-dimensional illusion.
"Anatomical Studies" by Leonardo da Vinci is in the public domain.
In essence, texture in drawing—whether tactile or visual—bridges the artists’ intent and the viewer's perception, enriching the viewers’ experience by adding depth, interest, and a sense of realism or expressiveness to the artwork. Artists can use skilled manipulation of drawing materials and techniques to evoke tactile sensations and contribute to their visual and emotional impact.
"Drapery Study for a Seated Figure" by Leonardo da Vinci is in the public domain.
Throughout history, artists have had a dynamic interplay between the texture of their drawing media and the surface quality. By exploiting the characteristics of their materials and surfaces, artists can create a wide array of visual and tactile effects. This combination can lead to surprising and expressive results, expanding the creative potential of drawings. For instance, the renowned Renaissance artist Leonardo da Vinci masterfully utilized the texture of paper and the subtlety of light and shadow to render the delicate sfumato effects seen in his studies for paintings, such as the drapery studies for the Virgin of the Rocks. On the other hand, Edgar Degas experimented with pastels on textured paper, combining the medium’s inherent softness with the tooth of the paper to capture the fleeting impressions of light and movement characteristic of his ballet scenes.
These artists prove that playing with textures is a crucial aspect of drawing. It's not solely about what you draw but how you use the materials and surfaces to add another layer of significance and emotion to your artwork. Texture is a fundamental element of drawing that artists use to amplify depth, interest, and emotion in their work. By meticulously selecting the right materials and surfaces, artists can explore a wide range of effects and invite viewers to see and virtually touch the textures in their art. Understanding and experimenting with texture is absolutely necessary for any artist striving to enhance their creative expression.