Word: draftsman
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Dates: during 1980-1989
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...instrument of this colossal output was drawing. Giulio was incontestably a great draftsman. Drawing was as natural to him as speech; Raphael, in fact, took him on as a studio assistant when Giulio was not much more than ten. The grace, the spontaneity of his pen line -- rushing over the paper as though impelled by the lightest inflection of thought, quick but always controlled, strengthened by brown washes that confirm its structure -- does not always translate to the paintings and frescoes, where it seems heavier and overdetermined. But with Giulio, design and invention were inseparable, and their combination is worn...
...paragon, Palladio. From these he learned the conventions of drawing to a fixed scale, combining them with a fluent pen- and-wash technique to give a truthful, not just impressionistic, account of the future building. One sees his formidable skill as both a technical and a pictorial draftsman growing right through the show. "Altro diletto che Imparar non trouo," he scribbled in his notebook in Rome in 1614: "I find no other pleasure than learning." That pleasure stayed with him throughout his life and is almost palpable in the drawings he left behind...
Warhol began and ended as a commercial illustrator; what lies between is the interesting stuff. He was an adroit draftsman but not a distinguished one. He soon overcame the influences of his early advertising days (Jean Cocteau and Ben Shahn), but the drawing is never more than efficient. Partly for this reason his freehand "studies" of soup cans or dollar bills never acquire the pressure of the silk-screened ones, but it is hard to see how they could: those coarsely nuanced rows of ready-mades, in taking Duchamp a small step further, remain the most eloquent comments...
...exhibit presents a retrospective of Testa's works, showing his progression from a talented young draftsman to a gradually dissatisfied older artist who reflected the turmoil of his life in his later works. Mythology, classicism and Christian mythology are the dominant themes of the pieces on display, and the museum has arranged the exhibit chronologically. During his 37 years, Testa was continually plagued by his own unwillingness to produce popular, commerically successful works. Testa relied on the commissions and support of those who chanced across his artistic endeavors and happened to be of like mind. As a result, he spent...
...least the stage props of Deep Authenticity are less wearisomely apparent in this show than they used to be. The sound of breaking plates is distant, like the hunter's horn in Giselle: though Julian Schnabel, on the evidence of a work like Mimi, 1986, is as wretched a draftsman as ever, at least he spares us more of those ugly crusts of pottery, paint and stickum...