Word: draftsman
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...this exhibition is to see why Charles Baudelaire, reviewing the Paris Salon of 1845, placed Daumier, as a draftsman, in the company of Ingres and Delacroix. He was, of course, different from both. Unlike Ingres, Daumier wasn't interested in ideal form or perfect "Greek" contour, even though classical prototypes inform his work -- how far, one can easily judge from his scenes of refugees straggling across an open landscape, which bear a distinct relation to the friezes on Trajan's Column, known to him from engravings. He loved to guy the sacred Antique, but it was the kind of satire...
...time Wright was 19 he was in Chicago working for Louis Sullivan, the most important American architect of the time. Hired as an $8-a-week draftsman, Wright asked for a 125% raise within a few months and quit when he was refused. Sullivan quickly capitulated and was soon paying him $60 a week, a preposterous sum for the time. All his life, no matter how much he made (and borrowed: friends and patrons lent him thousands of dollars at a whack), Wright felt poor, thanks to an unhesitatingly indulged taste for swank -- chamois underwear, high-performance sports cars, whatever...
...drawings as in his final paintings. He drew on Ingres paper with Conte crayon, a waxy black stick that, stroked over the rough surface, produced a slightly blurred line and deep granular tones -- the equivalent of his intricately speckled surfaces in painting. And he was a great draftsman -- one of the greatest since the Renaissance, worthy, at the top of his form, of being compared to Rembrandt or Goya...
...born between the towns of Mariquita and Honda Tolima. My father was a painter and a draftsman, and my mother was a housewife. We were three brothers and three sisters. When I was 15, I started working as a clerk in a drugstore in Cali. By the time I was 20, I was the manager, and at 25, 10 years after entering the business, I quit in order to start my own drugstore...
...part, these limits were due to the poverty of Ryder's training as a draftsman of the human figure. Ryder could make dramatic, even magical conjunctions of shape. His color, judging from what is left of it, was rich. But he drew feebly. New York in the early 1870s could not give an art student much more than a remote echo of beaux arts disciplines in that department. The convention is to treat this as Ryder's good luck: it enabled his native, visionary qualities to prosper, unsullied by academic convention...