Lendy and I have been trading drawing images lately. She sent me these by Ginny Grayson. Lendy and I often share artworks with each other, some of them end up in V. Notes. We’ve been sharing drawings especially because we both love them so much, and they are underrepresented in galleries and museums. People often want to learn drawing so they can move on to other mediums, like painting. But why? How can an entire medium of loveliness be seen as being inferior to another, viewed as a stepping stone, when clearly they are beautiful and conceptually rich on their own.
Perhaps it is the money. Drawings on paper need to be framed and protected, and often the frame ends up costing more than the artwork itself. Paper and graphite earns 1/10th of what paint and canvas earn (I am making this number up but I am publishing this on the Internet so it must be true), and work on paper doesn’t last 300 years like some paintings do, leaving drawings unprofitable for investors and unaffordable for both the artist and the gallery. What a pity.
And yet drawings are wonderful to make, and lovely to look at. So much is learned and experienced through drawing. I have deep reverence for the sound of charcoal on paper in an otherwise quiet room. The soft brush of charcoal on paper is the sound of focus and curiosity. The process of drawing is the process of seeing, and that is not unlike the experience of falling in love.
On the artist’s website, Ginny Grayson says “(…) my preference has always been for the works that look more like a smudge / pile of dust, then the form slowly becomes recognisable. It is the process of working with the medium, mistakes and what evolves that I find most rewarding.”
of a dull grayish-green or blue color. covered with a powdery bloom like that on grapes. Origin The glaucous effect can be achieved by putting a lighter semi-opaque glaze over a darker color. Zinc or lead white mixed with glazing medium can be effective. The effect is intensified if the darker layers are transparent pigments.
Welcome another selection of faves from our January 30SAL Creative Challenge. Day 5 and 6 the challenges were Venus de Milo, and Coptic. Day 5: Venus de Milo This challenge was to finish the Venus de Milo. This was a fun one, and seemed to favor collage and digital work. Here are a few that …
A search for indigo dye brought me a glimpse of these stunning treasures. While indigo is common as a clothing dye and (often now synthetic) indigo is worn all around the world as a near religious love of blue jeans, these Buddhist works on indigo-dyed paper are anything but common. In the 11th century, many …
Paul Cezanne ranks as one of the most celebrated artists of the 19th century, and is known as the father of modern art. Cezanne’s revolutionary and masterful work inspired, and continues to inspire, generations of artists. Cezanne painted from intense observation, but it seems he was seeing differently than the other painters at the time, …
Ginny Grayson’s drawings
Lendy and I have been trading drawing images lately. She sent me these by Ginny Grayson. Lendy and I often share artworks with each other, some of them end up in V. Notes. We’ve been sharing drawings especially because we both love them so much, and they are underrepresented in galleries and museums. People often want to learn drawing so they can move on to other mediums, like painting. But why? How can an entire medium of loveliness be seen as being inferior to another, viewed as a stepping stone, when clearly they are beautiful and conceptually rich on their own.
Perhaps it is the money. Drawings on paper need to be framed and protected, and often the frame ends up costing more than the artwork itself. Paper and graphite earns 1/10th of what paint and canvas earn (I am making this number up but I am publishing this on the Internet so it must be true), and work on paper doesn’t last 300 years like some paintings do, leaving drawings unprofitable for investors and unaffordable for both the artist and the gallery. What a pity.
And yet drawings are wonderful to make, and lovely to look at. So much is learned and experienced through drawing. I have deep reverence for the sound of charcoal on paper in an otherwise quiet room. The soft brush of charcoal on paper is the sound of focus and curiosity. The process of drawing is the process of seeing, and that is not unlike the experience of falling in love.
On the artist’s website, Ginny Grayson says “(…) my preference has always been for the works that look more like a smudge / pile of dust, then the form slowly becomes recognisable. It is the process of working with the medium, mistakes and what evolves that I find most rewarding.”
See more on her website.
There’s a Tuesday evening drawing class starting October 8th. Who’s tempted? Click here to learn more.
Related Posts
Glaucous
of a dull grayish-green or blue color. covered with a powdery bloom like that on grapes. Origin The glaucous effect can be achieved by putting a lighter semi-opaque glaze over a darker color. Zinc or lead white mixed with glazing medium can be effective. The effect is intensified if the darker layers are transparent pigments.
#30SAL faves: Venus & Coptic
Welcome another selection of faves from our January 30SAL Creative Challenge. Day 5 and 6 the challenges were Venus de Milo, and Coptic. Day 5: Venus de Milo This challenge was to finish the Venus de Milo. This was a fun one, and seemed to favor collage and digital work. Here are a few that …
Silver, Gold on Indigo Paper
A search for indigo dye brought me a glimpse of these stunning treasures. While indigo is common as a clothing dye and (often now synthetic) indigo is worn all around the world as a near religious love of blue jeans, these Buddhist works on indigo-dyed paper are anything but common. In the 11th century, many …
What was Cezanne doing that was so revolutionary?
Paul Cezanne ranks as one of the most celebrated artists of the 19th century, and is known as the father of modern art. Cezanne’s revolutionary and masterful work inspired, and continues to inspire, generations of artists. Cezanne painted from intense observation, but it seems he was seeing differently than the other painters at the time, …