20:
139:
174:, 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
214:
321:
205:, 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.
1113:
147:
312:
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
308:
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,
106:
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
244:
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
261:
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,
379:
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
346:
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.
201:, 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
370:
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
73:
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
245:
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
915:
Reiche, Ina; Radtke, Martin; Berger, Achim (2004). "Spatially resolved sychroton-induced X-ray fluorescence analyses of metal point drawings and their mysterious inscription".
331:
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.
828:
876:
Reiche, Ina; Radtke, Martin; Berger, Achim (2006). "Spatially resolved synchrotron radiation induced X-ray fluorescence analyses of rare
Rembrandt silverpoint drawings".
254:
1097:
392:
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.
313:
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,
619:"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"
317:
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.
197:
maintained the silverpoint tradition into the 17th century, as it declined in other parts of Europe. Rembrandt made several silverpoints on prepared
826:
Duval, Alain; Guicharnaud, H; Dran, Jean-Claude (November 2004). "Particle induced X-ray emission: a valuable tool for the analysis of metalpoint".
419:
interfaces with computer-based imagery. She draws with a silver stylus over inkjet prints that have been coated with a translucent prepared ground.
293:, 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
154:
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
19:
1065:
1040:
737:
609:
507:
706:
Sell, S. and
Chapman, H. Drawing in Silver and Gold: Leonardo to Jasper Johns. Princeton University Press, Princeton New Jersey. 2015.
186:
tempera or marble dust as a ground. Natural chalks and charcoal have the advantage of producing immediate results on uncoated papers.
127:
provides a window on the practice of silver and leadpoint drawing, as well as preparing metalpoint grounds, in the late 14th century.
964:
816:
691:
138:
535:
343:(Fairweather Hardin Gallery) is an innovative combination of silverpoint, goldpoint and watercolor on casein-coated parchment.
1140:
1117:
258:
91:
69:. Silverpoint is one of several types of metalpoint used by scribes, craftsmen and artists since ancient times. Metalpoint
956:
202:
755:
89:'s father was one such craftsman who later taught his young son to draw in metalpoint, to such good effect that his 1484
1014:
359:
1986.8) which is 38 in × 91 in (97 cm × 231 cm), one of the largest modern silverpoints.
1135:
618:
367:
302:
400:, watercolour, Plike paper, silk fabric and silk threads. Experimental metalpoint techniques including goldpoint on
917:
677:
270:
309:
silverpoint styli ranged widely in composition from pure silver to heavily alloyed with copper (over 20% weight).
356:
225:
27:
616:
An online facsimile of the entire text of Vol. 1 is posted on the
Traditional Fine Arts Organization website (
274:
1032:
Cennino Cennini's Il Libro dell'Arte: a new English Translation and Commentary with Italian Transcription
808:
363:
294:
213:
926:
887:
495:
266:
128:
320:
305:). For a contemporary stylus, jeweler's wire may be inserted into a pin vise or mechanical pencil.
221:
903:
463:
416:
257:
in the late 1890s during the resurgence of interest in silverpoint, taught this technique at the
250:
1061:
1036:
960:
878:
812:
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687:
605:
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409:
190:
112:
86:
31:
45:) 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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602:
Jennie V. Cannon: The Untold History of the Carmel and Berkeley Art Colonies, Vol. 1
860:
336:
290:
108:
62:
289:
A traditional silverpoint stylus is made with a small fine rod of silver, such as
81:
and silver. The softness of these metals made them effective drawing instruments.
30:, 1516. Silverpoint, red chalk, and traces of black pencil on white-coated paper,
1091:
1076:
1051:
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994:
950:
850:
802:
681:
457:
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An exhibit, "The Fine Line: Drawing with Silver in America" was curated for the
1057:
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combines touches of colour with monochromatic drawings, employing such media as
381:
103:
841:
938:
899:
385:
348:
325:
163:
99:
1093:
The Luster of Silver: Contemporary Metalpoint Drawings – Exhibition catalogue
1078:
The Luster of Silver: Contemporary Metalpoint Drawings – Exhibition catalogue
999:. Scripps College, Claremont, California: Ruth Chandler Williams Art Gallery.
604:. Oakland, Calif.: East Bay Heritage Project. pp. 298, 493–499, pl.14a.
85:
also used metalpoint drawings to prepare their detailed, meticulous designs.
194:
82:
996:
The Luminous Line: Contemporary Drawings in Metalpoint – essay for brochure
983:"Metalpoint Drawing: the History and Care of a Forgotten Art – Final paper"
622:
1112:
1006:
Reinventing Silverpoint: An Ancient Technique for the 21st Century – essay
146:
335:'s late 19th Century silverpoint portraits are essentially tonal, as are
155:
662:
The Oakland Tribune: 20 February 1921, p. W–5; 27 February 1921, p. S–7.
756:"Mesmerizing cosmic artworks honor history's unsung female astronomers"
314:
171:
167:
116:
198:
70:
54:
683:
The Fine Line. Drawing with Silver in America – Exhibition catalogue
475:
473:
281:
exhibited "Drawing in Silver and Gold: Leonardo to Jasper Johns".
212:
58:
18:
559:
557:
175:
74:
763:
686:. West Palm Beach, Florida: Norton Gallery and School of Art.
253:, the Mexican-American artist who had studied in Paris at the
78:
732:. Worcester, Mass.: Davis Publications Inc. pp. 62–63.
1008:. Brooklyn, New York: Kentler International Drawing Space.
135:
describes the silverpoint technique of Leonardo da Vinci.
384:
combines graphite and binder on acrylic hemispheres with
869:
Das Buchleim von Silbersteft: Ein Trachtatlein fur Moler
249:(MoMA, Katherine S. Dreier Bequest). On the West Coast
224:, a founding member of the Pre-Raphaelite Brotherhood.
829:
Nuclear Instruments and Methods in Physics Research B
436:
434:
432:
536:"Portrait of Saskia as a Bride – Inv.-No.: KdZ 1152"
479:
339:'s mid-20th-century abstract compositions. Gerard's
1053:
Silver Linings: Introduction to Silverpoint Drawing
730:
Pedro de Lemos, Lasting Impressions: Works on Paper
715:
644:San Francisco Chronicle, 13 February 1921, p. 8–S.
563:
57:rod or wire across a surface, often prepared with
653:Berkeley Daily Gazette, 19 February 1921, p. 5.
502:. London: Cassell Illustrated. pp. 22–25.
1098:Evansville Museum of Arts, History and Science
353:The Great Autobiographical Silverpoint Drawing
459:The Craftsman's Handbook (Il Libro Dell'arte)
8:
324:A 1789 portrait of Mozart in silverpoint by
53:A silverpoint drawing is made by dragging a
1058:CreateSpace Independent Publishing Platform
262:alert ... with a bit too much flesh."
522:
462:. Translated by Thompson, Daniel Varney.
255:École nationale supérieure des Beaux-Arts
672:
670:
668:
319:
145:
137:
587:
440:
428:
375:, 1968 (The Art Institute of Chicago),
1090:Streetman, John; O'Hern, John (2009).
787:. New York, New York. Routledge, 2019.
490:
488:
16:Traditional drawing technique and tool
754:Strickland, Ashley (20 August 2019).
575:
388:, video projection and fiber optics.
7:
1004:Mathews-Berenson, Margaret (2009).
993:Mathews-Berenson, Margaret (2010).
95:is still considered a masterpiece.
1050:Getsinger-Nichols, Banjie (2012).
1035:. London: Archetype Publications.
1015:"SILVERPOINT: Old Medium, New art"
1013:Camhy, Sherry (July–August 2007).
804:Drawing in Early Renaissance Italy
785:Silverpoint and Metalpoint Drawing
480:Duval, Guicharnaud & Dran 2004
107:who worked in silverpoint include
14:
783:Schwalb, Susan and Tom Mazzullo.
373:The Last of the Old Woodstock Inn
1111:
1075:Koons-McCullough, Holly (2006).
952:The craft of Old Master drawings
716:Reiche, Radtke & Berger 2004
564:Reiche, Radtke & Berger 2006
218:Artist's Wife, Edith Holman Hunt
24:Portrait Study of Dorothea Meyer
981:Antoine, Beth (November 2007).
871:. Vienna: Gerlach and Wielding.
408:by Susan Dorothea White, as in
857:Whitney Museum of American Art
259:California College of the Arts
92:Self-Portrait at the Age of 13
1:
1029:(2015). Broecke, Lara (ed.).
957:University of Wisconsin Press
540:www.artsandculture.google.com
203:Jean-Auguste-Dominique Ingres
801:Ames-Lewis, Francis (2000).
299:St. Luke Drawing the Virgin,
728:Edwards, Robert W. (2015).
600:Edwards, Robert W. (2012).
368:San Francisco Art Institute
1164:
918:Spectrochimica Acta Part B
842:10.1016/j.nimb.2004.02.020
404:paper are demonstrated in
303:Boston Museum of Fine Arts
939:10.1016/j.sab.2004.07.023
900:10.1007/s00339-006-3505-4
849:Haskell, Barbara (1994).
377:Ivan Le Lorraine Albright
150:Modern silverpoint stylus
41:(one of several types of
357:Art Institute of Chicago
226:Birmingham Museum of Art
28:Hans Holbein the Younger
1096:. Evansville, Indiana:
275:National Gallery of Art
867:Meder, Joseph (1909).
366:, the Director of the
328:
229:
151:
143:
35:
1141:Visual arts materials
1083:Telfair Museum of Art
1081:. Savannah, Georgia:
861:Harry N. Abrams, Inc.
809:Yale University Press
496:White, Susan Dorothea
364:Pedro Joseph de Lemos
323:
295:Rogier van der Weyden
216:
149:
141:
115:, Albrecht Dürer and
22:
1120:at Wikimedia Commons
1118:Silverpoint drawings
1019:Fine Art Connoisseur
925:(10–11): 1657–1662.
333:Thomas Wilmer Dewing
267:Norton Museum of Art
129:Susan Dorothea White
931:2004AcSpe..59.1657R
892:2006ApPhA..83..169R
222:William Holman Hunt
1136:Writing implements
500:Draw Like da Vinci
464:Dover Publications
417:Elizabeth Whiteley
406:Draw Like da Vinci
329:
230:
182:-based grounds or
152:
144:
133:Draw Like da Vinci
125:Il Libro dell'Arte
36:
1116:Media related to
1067:978-1-4680-4167-5
1042:978-1-909492-28-8
879:Applied Physics A
859:, distributed by
739:978-1-61528-405-4
611:978-1-4675-4567-9
509:978-1-84403-444-4
191:Hendrick Goltzius
113:Leonardo da Vinci
32:Kunstmuseum Basel
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625:on 29 April 2016
621:. Archived from
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402:silicon carbide
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285:Characteristics
273:. In 2015, the
251:Xavier Martínez
238:Pre-Raphaelites
234:Alphonse Legros
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178:, pre-prepared
142:Medieval stylus
121:Cennino Cennini
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767:. Retrieved
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682:
678:Weber, Bruce
658:
649:
640:
627:. Retrieved
623:the original
601:
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588:Haskell 1994
583:
571:
544:. Retrieved
539:
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518:
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458:
448:
441:Watrous 1957
410:
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398:Prismacolour
372:
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352:
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337:Paula Gerard
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291:jewelry wire
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158:deposits at
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109:Jan van Eyck
98:In the late
97:
90:
52:
42:
38:
37:
23:
955:. Madison:
760:www.cnn.com
382:Carol Prusa
326:Doris Stock
271:Bruce Weber
104:Renaissance
39:Silverpoint
1130:Categories
576:Meder 1909
423:References
386:metal leaf
349:John Wilde
164:Borrowdale
160:Seathwaite
83:Goldsmiths
43:metalpoint
769:23 August
546:23 August
195:Rembrandt
949:(1957).
908:98189343
680:(1985).
542:. Berlin
498:(2006).
456:(1933).
277:and the
156:graphite
131:'s book
1146:Drawing
927:Bibcode
888:Bibcode
795:Sources
315:gouache
209:Revival
180:acrylic
172:England
168:Cumbria
117:Raphael
102:/early
49:History
1064:
1039:
963:
906:
815:
736:
690:
629:7 June
608:
506:
413:(2005)
341:Vortex
236:, the
199:vellum
100:Gothic
63:ground
55:silver
986:(PDF)
904:S2CID
71:styli
59:gesso
26:, by
1062:ISBN
1037:ISBN
961:ISBN
813:ISBN
771:2021
734:ISBN
688:ISBN
631:2016
606:ISBN
548:2021
504:ISBN
240:and
193:and
176:zinc
75:lead
935:doi
896:doi
838:doi
834:226
764:CNN
351:'s
297:'s
220:by
162:in
123:'s
79:tin
65:of
61:or
1132::
1060:.
1056:.
1017:.
959:.
933:.
923:59
921:.
902:.
894:.
884:83
882:.
832:.
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807:.
762:.
758:.
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487:^
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170:,
166:,
119:.
111:,
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1100:.
1085:.
1070:.
1045:.
1021:.
988:.
969:.
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