I used to think drawing was something I had to learn so that I could to get to painting. Lately I’ve grown to enjoy drawing for its own expressive abilities. Drawing is a spontaneous and immediate art. It is a direct record of the movement of the artist’s hand, a record of movement in time. Drawing can be quick, agile, and impulsive, but as a drawing progresses, the marks accumulate into something less movable.
Sketched quickly on subways and other New York spaces, these drawings by Gregory Muenzen have in them a quality I often see in blind contour line drawings, in which the hand is encouraged to follow a line made by the eye as it moves across the detailed crevices of a subject, and the artist is “blind” by not looking at their paper while the pencil is in motion. I often find these drawings have in them a special infusion of interest. Placement and proportion is secondary to curiosity. The pencil records the intimate act of looking.
Take a class with SAL – anywhere! In 1998, a referendum to legalize abortion failed in Portugal. In direct response, Portuguese artist Paula Rego painted the Abortion series, 10 pastel …
Carlos San Millan is one of my favorite painters. The glow and the chorus of sounds he can pull from a relaxed and informal series of brush strokes is breathtaking. …
If you’ve taken a drawing class, you might have learned to draw with 1 point, 2 point, and 3 point linear perspective. With this perspective method, objects that are farther …
In art, to transcribe is to copy or record information in a different form than the original. To transcribe a painting or drawing is not to copy the artwork exactly, …
Gregory Muenzen
I used to think drawing was something I had to learn so that I could to get to painting. Lately I’ve grown to enjoy drawing for its own expressive abilities. Drawing is a spontaneous and immediate art. It is a direct record of the movement of the artist’s hand, a record of movement in time. Drawing can be quick, agile, and impulsive, but as a drawing progresses, the marks accumulate into something less movable.
Sketched quickly on subways and other New York spaces, these drawings by Gregory Muenzen have in them a quality I often see in blind contour line drawings, in which the hand is encouraged to follow a line made by the eye as it moves across the detailed crevices of a subject, and the artist is “blind” by not looking at their paper while the pencil is in motion. I often find these drawings have in them a special infusion of interest. Placement and proportion is secondary to curiosity. The pencil records the intimate act of looking.
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