31:
150:
185:, in the early 1500s, and its increasing availability to artists in a pure, soft (and erasable) form hastened silverpoint's eclipse. Artists sought more gestural qualities, for which graphite, red and black chalk were better suited. Ink and wash drawings are also prevalent in the period. In addition, these other drawing techniques required less effort and were more forgiving than silver, which resists erasure and leaves a fainter line. Furthermore, the preparation of silverpoint supports, usually with hide glue with finely ground bone ash, was labor-intensive. Modern practitioners use
225:
332:
216:, turned to graphite, which gradually improved in quality and availability throughout Europe since the 17th century. Silverpoint was for practical purposes rendered obsolete by the 18th century. There has however been a contemporary art revival among European and American artists and academies because the medium imposes considerable discipline in draughtsmanship since drawings cannot be erased or altered.
1124:
158:
323:
In the Middle Ages, metalpoint was used directly on parchment for the underdrawing of illuminated manuscripts or model books. On uncoated parchment (and paper), silverpoint is particularly light in value. However, since the 14th century, silverpoint was used more successfully on prepared supports. A
319:
The initial marks of silverpoint appear grey as other metalpoints, but silverpoint lines, when exposed to air, tarnish to a warm brown tone. The oxidation becomes perceptible over a period of several months. The speed of oxidation varies according to the level of pollution in the air. Historically,
117:
era, silverpoint emerged as a fine line drawing technique. Not blunting as easily as lead or tin, and rendering precise detail, silverpoint was especially favored in
Florentine and Flemish workshops. Silverpoint drawings of this era include model books and preparatory sheets for paintings. Artists
255:
helped revitalize the technique. Art historian Meder created interest in the traditional technique in
Austria and Germany, while artist and teacher Legros did likewise in England. In the early 20th century, Stella was one of the few American artists working in this method on the East Coast of the
272:
from 1909 to the late 1930s. The last known exhibition of
Martinez's silverpoints was in 1921 at the Print Room of San Francisco where critics praised his "unusual" and "strongly futuristic" action figures on an unconventional dark mottled ground as "archaic in execution ... terse,
390:
used silver with platinum, gold, copper and brasspoint on commercially prepared video media paper. Contemporary artists continue to push the boundaries of this ancient drawing technique. Contemporary
American silverpoint artist
357:
Old Master silverpoints are typically intimate in scale, recalling the technique's roots in manuscript illumination. However, modern artists have also utilized this fine line technique for works on an increasingly large scale.
212:, the best-known being the portrait of his wife Saskia, 1633. Botanical artists and architects continued to use metalpoint because of its exact lines. However, artists who continued this tradition of fine line drawing, such as
381:
from 1911 to 1917, popularized his "techniques" in
California art schools with his published instructions on the easy fabrication of various types of metal points that would react with inexpensive coated paper. In his
84:
were used for writing on soft surfaces (wax or bark), ruling and underdrawing on parchment, and drawing on prepared paper and panel supports. For drawing purposes, the essential metals used were
256:
United States. Stella explored the technique on zinc white gouache prepared grounds, often with crayon and other media. Stella's silverpoint oeuvre includes the 1921 portrait of
926:
Reiche, Ina; Radtke, Martin; Berger, Achim (2004). "Spatially resolved sychroton-induced X-ray fluorescence analyses of metal point drawings and their mysterious inscription".
342:
Silverpoint has encompassed a wide range of styles from Dürer's curvilinear precision to
Rembrandt's gestural sketches. Silverpoint has also proven adaptable to modern styles.
839:
887:
Reiche, Ina; Radtke, Martin; Berger, Achim (2006). "Spatially resolved synchrotron radiation induced X-ray fluorescence analyses of rare
Rembrandt silverpoint drawings".
265:
1108:
403:
has combined smoke and fire in silver and copperpoints in the 1980s and currently creates drawings and paintings using numerous metals as well as acrylic paint.
324:
traditional ground may be prepared with a rabbit skin glue solution pigmented with bone ash, chalk and/or lead white. Contemporary grounds include acrylic gesso,
630:"Jennie V. Cannon: The Untold History of the Carmel and Berkeley Art Colonies, vol. One, East Bay Heritage Project, Oakland, 2012; by Robert W. Edwards"
328:
and commercially prepared claycoat papers. The slight tooth of the ground preparation takes a little of the silver as it is drawn across the surface.
208:
maintained the silverpoint tradition into the 17th century, as it declined in other parts of Europe. Rembrandt made several silverpoints on prepared
837:
Duval, Alain; Guicharnaud, H; Dran, Jean-Claude (November 2004). "Particle induced X-ray emission: a valuable tool for the analysis of metalpoint".
430:
interfaces with computer-based imagery. She draws with a silver stylus over inkjet prints that have been coated with a translucent prepared ground.
304:, which is inserted into a wooden rod. Another design is a silver-tipped metal stylus with points on both ends. An example of this type is shown in
165:
As noted by
Francis Ames-Lewis, drawing styles changed at the end of the 16th century, resulting in a decline for metalpoint. The discovery of
30:
1076:
1051:
748:
620:
518:
717:
Sell, S. and
Chapman, H. Drawing in Silver and Gold: Leonardo to Jasper Johns. Princeton University Press, Princeton New Jersey. 2015.
197:
tempera or marble dust as a ground. Natural chalks and charcoal have the advantage of producing immediate results on uncoated papers.
138:
provides a window on the practice of silver and leadpoint drawing, as well as preparing metalpoint grounds, in the late 14th century.
975:
827:
702:
149:
546:
354:(Fairweather Hardin Gallery) is an innovative combination of silverpoint, goldpoint and watercolor on casein-coated parchment.
1151:
1128:
269:
102:
80:. Silverpoint is one of several types of metalpoint used by scribes, craftsmen and artists since ancient times. Metalpoint
967:
213:
766:
100:'s father was one such craftsman who later taught his young son to draw in metalpoint, to such good effect that his 1484
1025:
370:
1986.8) which is 38 in × 91 in (97 cm × 231 cm), one of the largest modern silverpoints.
1146:
629:
378:
313:
411:, watercolour, Plike paper, silk fabric and silk threads. Experimental metalpoint techniques including goldpoint on
928:
688:
281:
320:
silverpoint styli ranged widely in composition from pure silver to heavily alloyed with copper (over 20% weight).
367:
236:
38:
627:
An online facsimile of the entire text of Vol. 1 is posted on the
Traditional Fine Arts Organization website (
285:
1043:
Cennino Cennini's Il Libro dell'Arte: a new English Translation and Commentary with Italian Transcription
819:
374:
305:
224:
937:
898:
506:
277:
139:
331:
316:). For a contemporary stylus, jeweler's wire may be inserted into a pin vise or mechanical pencil.
232:
914:
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in the late 1890s during the resurgence of interest in silverpoint, taught this technique at the
261:
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56:) is a traditional drawing technique and tool first used by medieval scribes on manuscripts.
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Silverpoint was also used in conjunction with other metal points by 20th-century artists.
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Jennie V. Cannon: The Untold History of the Carmel and Berkeley Art Colonies, Vol. 1
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347:
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119:
73:
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A traditional silverpoint stylus is made with a small fine rod of silver, such as
92:
and silver. The softness of these metals made them effective drawing instruments.
41:, 1516. Silverpoint, red chalk, and traces of black pencil on white-coated paper,
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1087:
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An exhibit, "The Fine Line: Drawing with Silver in America" was curated for the
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combines touches of colour with monochromatic drawings, employing such media as
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The Luster of Silver: Contemporary Metalpoint Drawings – Exhibition catalogue
1089:
The Luster of Silver: Contemporary Metalpoint Drawings – Exhibition catalogue
1010:. Scripps College, Claremont, California: Ruth Chandler Williams Art Gallery.
615:. Oakland, Calif.: East Bay Heritage Project. pp. 298, 493–499, pl.14a.
96:
also used metalpoint drawings to prepare their detailed, meticulous designs.
205:
93:
1007:
The Luminous Line: Contemporary Drawings in Metalpoint – essay for brochure
994:"Metalpoint Drawing: the History and Care of a Forgotten Art – Final paper"
633:
1123:
1017:
Reinventing Silverpoint: An Ancient Technique for the 21st Century – essay
157:
17:
346:'s late 19th Century silverpoint portraits are essentially tonal, as are
166:
673:
The Oakland Tribune: 20 February 1921, p. W–5; 27 February 1921, p. S–7.
767:"Mesmerizing cosmic artworks honor history's unsung female astronomers"
325:
182:
178:
127:
209:
81:
65:
694:
The Fine Line. Drawing with Silver in America – Exhibition catalogue
486:
484:
292:
exhibited "Drawing in Silver and Gold: Leonardo to Jasper Johns".
223:
69:
29:
570:
568:
186:
85:
774:
697:. West Palm Beach, Florida: Norton Gallery and School of Art.
264:, the Mexican-American artist who had studied in Paris at the
89:
743:. Worcester, Mass.: Davis Publications Inc. pp. 62–63.
1019:. Brooklyn, New York: Kentler International Drawing Space.
146:
describes the silverpoint technique of Leonardo da Vinci.
395:
combines graphite and binder on acrylic hemispheres with
880:
Das Buchleim von Silbersteft: Ein Trachtatlein fur Moler
260:(MoMA, Katherine S. Dreier Bequest). On the West Coast
235:, a founding member of the Pre-Raphaelite Brotherhood.
840:
Nuclear Instruments and Methods in Physics Research B
447:
445:
443:
547:"Portrait of Saskia as a Bride – Inv.-No.: KdZ 1152"
490:
350:'s mid-20th-century abstract compositions. Gerard's
1064:
Silver Linings: Introduction to Silverpoint Drawing
741:
Pedro de Lemos, Lasting Impressions: Works on Paper
726:
655:San Francisco Chronicle, 13 February 1921, p. 8–S.
574:
68:rod or wire across a surface, often prepared with
664:Berkeley Daily Gazette, 19 February 1921, p. 5.
513:. London: Cassell Illustrated. pp. 22–25.
1109:Evansville Museum of Arts, History and Science
364:The Great Autobiographical Silverpoint Drawing
470:The Craftsman's Handbook (Il Libro Dell'arte)
8:
335:A 1789 portrait of Mozart in silverpoint by
64:A silverpoint drawing is made by dragging a
1069:CreateSpace Independent Publishing Platform
273:alert ... with a bit too much flesh."
533:
473:. Translated by Thompson, Daniel Varney.
266:École nationale supérieure des Beaux-Arts
683:
681:
679:
330:
156:
148:
598:
451:
439:
386:, 1968 (The Art Institute of Chicago),
1101:Streetman, John; O'Hern, John (2009).
798:. New York, New York. Routledge, 2019.
501:
499:
27:Traditional drawing technique and tool
765:Strickland, Ashley (20 August 2019).
586:
399:, video projection and fiber optics.
7:
1015:Mathews-Berenson, Margaret (2009).
1004:Mathews-Berenson, Margaret (2010).
106:is still considered a masterpiece.
1061:Getsinger-Nichols, Banjie (2012).
1046:. London: Archetype Publications.
1026:"SILVERPOINT: Old Medium, New art"
1024:Camhy, Sherry (July–August 2007).
815:Drawing in Early Renaissance Italy
796:Silverpoint and Metalpoint Drawing
491:Duval, Guicharnaud & Dran 2004
118:who worked in silverpoint include
25:
794:Schwalb, Susan and Tom Mazzullo.
384:The Last of the Old Woodstock Inn
1122:
1086:Koons-McCullough, Holly (2006).
963:The craft of Old Master drawings
727:Reiche, Radtke & Berger 2004
575:Reiche, Radtke & Berger 2006
229:Artist's Wife, Edith Holman Hunt
35:Portrait Study of Dorothea Meyer
992:Antoine, Beth (November 2007).
882:. Vienna: Gerlach and Wielding.
419:by Susan Dorothea White, as in
868:Whitney Museum of American Art
270:California College of the Arts
103:Self-Portrait at the Age of 13
1:
1040:(2015). Broecke, Lara (ed.).
968:University of Wisconsin Press
551:www.artsandculture.google.com
214:Jean-Auguste-Dominique Ingres
812:Ames-Lewis, Francis (2000).
310:St. Luke Drawing the Virgin,
739:Edwards, Robert W. (2015).
611:Edwards, Robert W. (2012).
379:San Francisco Art Institute
1173:
929:Spectrochimica Acta Part B
853:10.1016/j.nimb.2004.02.020
415:paper are demonstrated in
314:Boston Museum of Fine Arts
950:10.1016/j.sab.2004.07.023
911:10.1007/s00339-006-3505-4
860:Haskell, Barbara (1994).
388:Ivan Le Lorraine Albright
161:Modern silverpoint stylus
52:(one of several types of
368:Art Institute of Chicago
237:Birmingham Museum of Art
39:Hans Holbein the Younger
1107:. Evansville, Indiana:
286:National Gallery of Art
878:Meder, Joseph (1909).
377:, the Director of the
339:
240:
162:
154:
46:
1152:Visual arts materials
1094:Telfair Museum of Art
1092:. Savannah, Georgia:
872:Harry N. Abrams, Inc.
820:Yale University Press
507:White, Susan Dorothea
375:Pedro Joseph de Lemos
334:
306:Rogier van der Weyden
227:
160:
152:
126:, Albrecht Dürer and
33:
1131:at Wikimedia Commons
1129:Silverpoint drawings
1030:Fine Art Connoisseur
936:(10–11): 1657–1662.
344:Thomas Wilmer Dewing
278:Norton Museum of Art
140:Susan Dorothea White
942:2004AcSpe..59.1657R
903:2006ApPhA..83..169R
233:William Holman Hunt
1147:Writing implements
511:Draw Like da Vinci
475:Dover Publications
428:Elizabeth Whiteley
417:Draw Like da Vinci
340:
241:
193:-based grounds or
163:
155:
144:Draw Like da Vinci
136:Il Libro dell'Arte
47:
1127:Media related to
1078:978-1-4680-4167-5
1053:978-1-909492-28-8
890:Applied Physics A
870:, distributed by
750:978-1-61528-405-4
622:978-1-4675-4567-9
520:978-1-84403-444-4
202:Hendrick Goltzius
124:Leonardo da Vinci
43:Kunstmuseum Basel
16:(Redirected from
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636:on 29 April 2016
632:. Archived from
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296:Characteristics
284:. In 2015, the
262:Xavier Martínez
249:Pre-Raphaelites
245:Alphonse Legros
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189:, pre-prepared
153:Medieval stylus
132:Cennino Cennini
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689:Weber, Bruce
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638:. Retrieved
634:the original
612:
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599:Haskell 1994
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555:. Retrieved
550:
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452:Watrous 1957
421:
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409:Prismacolour
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348:Paula Gerard
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302:jewelry wire
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169:deposits at
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120:Jan van Eyck
109:In the late
108:
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48:
34:
966:. Madison:
771:www.cnn.com
393:Carol Prusa
337:Doris Stock
282:Bruce Weber
115:Renaissance
50:Silverpoint
1141:Categories
587:Meder 1909
434:References
397:metal leaf
360:John Wilde
175:Borrowdale
171:Seathwaite
94:Goldsmiths
54:metalpoint
18:Metalpoint
780:23 August
557:23 August
206:Rembrandt
960:(1957).
919:98189343
691:(1985).
553:. Berlin
509:(2006).
467:(1933).
288:and the
167:graphite
142:'s book
1157:Drawing
938:Bibcode
899:Bibcode
806:Sources
326:gouache
220:Revival
191:acrylic
183:England
179:Cumbria
128:Raphael
113:/early
60:History
1075:
1050:
974:
917:
826:
747:
701:
640:7 June
619:
517:
424:(2005)
352:Vortex
247:, the
210:vellum
111:Gothic
74:ground
66:silver
997:(PDF)
915:S2CID
82:styli
70:gesso
37:, by
1073:ISBN
1048:ISBN
972:ISBN
824:ISBN
782:2021
745:ISBN
699:ISBN
642:2016
617:ISBN
559:2021
515:ISBN
251:and
204:and
187:zinc
86:lead
946:doi
907:doi
849:doi
845:226
775:CNN
362:'s
308:'s
231:by
173:in
134:'s
90:tin
76:of
72:or
1143::
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1067:.
1028:.
970:.
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932:.
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818:.
773:.
769:.
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498:^
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426:.
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