drawing

draw·ing

D0383200 (drô′ĭng)n.1. The act or an instance of drawing.2. a. The art of representing objects or forms on a surface chiefly by means of lines.b. A work produced by this art.

drawing

(ˈdrɔːɪŋ) n1. (Art Terms) a picture or plan made by means of lines on a surface, esp one made with a pencil or pen without the use of colour2. a sketch, plan, or outline3. (Art Terms) the art of making drawings; draughtsmanship

draw•ing

(ˈdrɔ ɪŋ)

n. 1. the act of a person or thing that draws. 2. a graphic representation by lines, tones, or colors of an object or idea: The gallery sells drawings in pencil, pen, charcoal, pastel, and watercolor. 3. such a representation depicting form without reference to color: She does drawings, not paintings. 4. a visual presentation, as of a plan or design, through a sketch or finished rendering. 5. a graphic representation produced on a computer with specialized software. 6. the art or technique of making these. 7. something decided by drawing lots; lottery. 8. the selection, or time of selection, of the winning chance or chances sold by lottery or raffle. [1275–1325]

Drawing

See also art; engraving; writing.
anaglyptographythe technique of making drawings and etchings that appear to be carved in low relief. — anaglyptographic, adj.arcographcyclograph.chalcography1. Archaic. the art of engraving on copper plates, especially for printing.
2. the art of drawing with chalks or pastels.charcoalistan artist who specializes in charcoal drawings or sketches.chiaroscuro, chiarooscuroa technique of painting or drawing using light and shade to achieve a three-dimensional quality. — chiaroscurist, n.cyclographan instrument for drawing arcs with a flexible arc-shaped part connected at the sides to an extensible straight bar. Also called arcograph.diagrapha device used for the mechanical reproduction of plans, outlines, etc., on a scale other than that of the original.diagraphicsthe art of graphic representation or drawing. — diagraphic, diagraphical, adj.graphiologythe art or craft of writing or delineating. — graphiologist. n.ichnography1. the rendering of a horizontal section of an object in scale.
2. the rendering of a floor plan of a building in a specific scale. — ichnographic, ichnographical, adj.isometric projectionthe rendering of an object or floor plan in scale as viewed from a stated angle. Cf. orthographic projection.micrographan apparatus used for miniature writing or drawing. — micrography, n.monogram, monographyObsolete, a sketch or drawing in outline without color.orthographic projectiona rendering of an object or floor plan of a building in scale as viewed perpendicularly from above. Cf. isometric projection.pastelist, pastellistan artist who specializes in the use of pastels.perigrapha poorly executed or inaccurate delineation.planographyRare. the art of drawing maps or plans. — planographist, n. — planographic, planographical, adj.scenographythe rendering of an object on a perspective plane. — scenographer, n. — scenographic, scenographical, adj.skiagraphy1. the technique of rilling in the outline of the shadow made by an object to create a pictorial work or shadowgraph.
2. the creation of skiagrams on film with x rays. — skiagram, n. — skiagrapher, n.stereographythe art of representing the forms of solid bodies on a plane surface. — stereographer, n. — stereographic, stereographical, adj.stylographythe art of drawing, writing, or engraving with a style or similar instrument. — stylographic, stylographical, adj.xylopyrographythe art or technique of producing a picture or design on a piece of wood by burning it with a heated, pointed instrument. Also called poker painting.

Drawing

When blacksmithing, the stretching of a piece of iron to reduce its thickness.

Thesaurus

Noun	1.	drawing - an illustration that is drawn by hand and published in a book, magazine, or newspaper; "it is shown by the drawing in Fig. 7"artwork, graphics, nontextual matter, art - photographs or other visual representations in a printed publication; "the publisher was responsible for all the artwork in the book"frame - a single drawing in a comic_strip
	2.	drawing - a representation of forms or objects on a surface by means of lines; "drawings of abstract forms"; "he did complicated pen-and-ink drawings like medieval miniatures"charcoal - a drawing made with a stick of black carbon materiallimning, line drawing, delineation, depiction - a drawing of the outlines of forms or objectsdiagram - a drawing intended to explain how something works; a drawing showing the relation between the partsmechanical drawing - scale drawing of a machine or architectural plan etc,pen-and-ink - a drawing executed with pen and inkarchitectural plan, plan - scale drawing of a structure; "the plans for City Hall were on file"rendering - perspective drawing of an architect's designrepresentation - a creation that is a visual or tangible rendering of someone or somethingdoodle, scrabble, scribble - an aimless drawingsilhouette - a drawing of the outline of an object; filled in with some uniform colorsilverpoint - a drawing made on specially prepared paper with an instrument having a silver tip (15th and 16th centuries)sketch, study - preliminary drawing for later elaboration; "he made several studies before starting to paint"stick figure - drawing of a human or animal that represents the head by a circle and the rest of the body by straight linestracing, trace - a drawing created by superimposing a semitransparent sheet of paper on the original image and copying on it the lines of the original image
	3.	drawing - the creation of artistic pictures or diagrams; "he learned drawing from his father"draftsmanship, draftingartistic creation, artistic production, art - the creation of beautiful or significant things; "art does not need to be innovative to be good"; "I was never any good at art"; "he said that architecture is the art of wasting space beautifully"pyrography - the act of producing drawings on wood or leather by using heated tools or a fine flametracing - the act of drawing a plan or diagram or outline
	4.	drawing - players buy (or are given) chances and prizes are distributed by casting lotslotterytombola - a lottery in which tickets are drawn from a revolving drumgambling game, game of chance - a game that involves gamblinglucky dip - a game in which prizes (e.g., candies or coins) are concealed in a container and for a small sum a player can draw one out at randomnumbers game, numbers pool, numbers racket, numbers - an illegal daily lotteryraffle - a lottery in which the prizes are goods rather than moneysweepstakes - a lottery in which the prize consists of the money paid by the participants
	5.	drawing - act of getting or draining something such as electricity or a liquid from a source; "the drawing of water from the well"drawing offderivation - drawing off water from its main channel as for irrigationderivation - drawing of fluid or inflammation away from a diseased part of the bodydrain - a gradual depletion of energy or resources; "a drain on resources"; "a drain of young talent by emigration"
	6.	drawing - the act of moving a load by drawing or pullingdraught, draftpull, pulling - the act of pulling; applying force to move something toward or with you; "the pull up the hill had him breathing harder"; "his strenuous pulling strained his back"

drawing

noun picture, illustration, representation, cartoon, sketch, portrayal, depiction, study, outline, delineation She did a drawing of me.go back to the drawing board start (all over) again, start again from scratch, go back to square one We'll have to go back to the drawing board.

Translations

图画

draw

(droː) – past tense drew (druː) : past participle drawn – verb1. to make a picture or pictures (of), usually with a pencil, crayons etc. During his stay in hospital he drew a great deal; Shall I draw a cow?绘制2. to pull along, out or towards oneself. She drew the child towards her; He drew a gun suddenly and fired; All water had to be drawn from a well; The cart was drawn by a pony. 拖，拉，提，汲 3. to move (towards or away from someone or something). The car drew away from the kerb; Christmas is drawing closer.开走4. to play (a game) in which neither side wins. The match was drawn / We drew at 1–1.打成平局5. to obtain (money) from a fund, bank etc. to draw a pension / an allowance.领取6. to open or close (curtains). 拉开（幕），关上（幕） 7. to attract. She was trying to draw my attention to something.引起 noun1. a drawn game. The match ended in a draw.平局2. an attraction. The acrobats' act should be a real draw.吸引观众3. the selecting of winning tickets in a raffle, lottery etc. a prize draw.抽签4. an act of drawing, especially a gun. He's quick on the draw.绘画ˈdrawing noun (the art of making) a picture made with a pencil, crayon etc. the drawings of Leonardo da Vinci; I am no good at drawing.图画drawn adjective1. (of curtains) pulled together or closed. The curtains were drawn, although it was still daylight. （幕布）拉在一起的 2. (of a game etc) neither won nor lost. a drawn match.平局的3. (of a blade etc) pulled out of its sheath. a drawn sword.拔出鞘的4. (of a person) strained and tired. His face was pale and drawn.疲倦的ˈdrawback noun a disadvantage. There are several drawbacks to his plan.缺点ˈdrawbridge noun a bridge (at the entrance to a castle) which can be pulled up or let down. 吊桥ˈdrawing-pin noun (American ˈthumbtack) a pin with a broad, flat head used for fastening paper to a board etc. 图钉ˈdrawstring noun a cord threaded through the top of a bag etc for closing it. （提包的）封口绳 draw a blank to be unsuccessful in a search, inquiry etc. 抽空签，终于失败，一无所获 draw a conclusion from to come to a conclusion after thinking about (what one has learned). Don't draw any hasty conclusions from what I've said!由...得出结论draw in (of a car etc) to come to a halt at the side of the road. （汽车）靠路边停下 draw the line to fix a limit especially for what one is prepared to do. 划一界线draw/cast lots to decide who is to do etc something by drawing names out of a box etc. Five of us drew lots for the two pop-concert tickets.抽签draw off to pour out (liquid) from a large container. The barman drew off a pint of beer. 放掉（水等液体） draw on to use (money, strength, memory etc) as a source. I'll have to draw on my savings.凭借draw on1. to pull on. He drew on his gloves. 戴上，穿上 2. to come nearer. Night drew on.接近draw out1. to take (money) from a bank. I drew out $40 yesterday. （从银行）取钱 2. to make longer. We drew out the journey as much as we could but we still arrived early.拉长3. (of a car etc) to move into the middle of the road from the side. 使汽车从边上移向路中央draw up1. (of a car etc) to stop. We drew up outside their house.使汽车停住2. to arrange in an acceptable form or order. They drew up the soldiers in line; The solicitor drew up a contract for them to sign. 草拟，整队 3. to move closer. Draw up a chair!靠近4. to extend (oneself) into an upright position. He drew himself up to his full height.站立起来long drawn out going on for a long time. The meeting was long drawn out; a long-drawn-out meeting/scream.持续了很长时间

Drawing

→ 图画zhCN

Drawing

drawing,

art of the draftsman. In its broadest sense it includes every use of the delineated line and is thus basic to the arts of painting, architecture, sculpture, calligraphy, and geometry. The word drawing is commonly used to denote works in pen, pencil, crayon, chalk, charcoal, or similar media in which form rather than color is emphasized. For centuries drawings have been made either as preparatory studies (see cartooncartoon
[Ital., cartone=paper], either of two types of drawings: in the fine arts, a preliminary sketch for a more complete work; in journalism, a humorous or satirical drawing.
..... Click the link for more information. ) or as finished works of art. Preparatory drawings sometimes reveal a vigor and spontaneity lacking in the completed work. Among the many artists acclaimed for their drawings are Leonardo da Vinci, Michelangelo, Dürer, Rubens, Hogarth, Goya, Daumier, Klee, Picasso, and Matisse. Drawings are often used as illustrationsillustration,
any type of picture or decoration used in conjunction with a text to embellish its appearance or to clarify its meaning. Illustration is as old as writing, with both originating in the pictograph.
..... Click the link for more information. and are reproduced by such processes as etchingetching,
the art of engraving with acid on metal; also the print taken from the metal plate so engraved. In hard-ground etching the plate, usually of copper or zinc, is given a thin coating or ground of acid-resistant resin.
..... Click the link for more information. , engravingengraving,
in its broadest sense, the art of cutting lines in metal, wood, or other material either for decoration or for reproduction through printing. In its narrowest sense, it is an intaglio printing process in which the lines are cut in a metal plate with a graver, or burin.
..... Click the link for more information. , and lithographylithography
, type of planographic or surface printing. It is distinguished from letterpress (relief) printing and from intaglio printing (in which the design is cut or etched into the plate). Lithography is used both as an art process and as a commercial printing process.
..... Click the link for more information. .

Bibliography

See H. Hutter, Drawing: History and Technique (tr. 1968); K. T. Parker, ed., Old Master Drawings (14 vol., 1940, repr. 1970); J. Meder et al., The Mastery of Drawing (2 vol., 1978).

Drawing

A sketch, design, or other representation by lines.

Drawing

the deformation of metal by pulling rolled or pressed rods through a hole to reduce their cross section or to produce more exact dimensions and a smooth surface. Force is applied to the tapered end of the rod, which passes freely through the tool (draw plate) and is grasped by a special grip. As a result of the drawing operation, the rod acquires the shape and dimensions of the hole in the draw plate, its trans-verse dimensions decrease, and its length increases. Drawing can produce wire with a diameter of less than 0.01 mm. Grease is spread over the rod being drawn in order to minimize friction. Tubes can be drawn in three ways: without a chuck, on a short fixed chuck, or on a long moving chuck. In the first case the tube diameter is decreased, and in the second and third cases the diameter is decreased and the wall of the tube is made thinner. Drawing has received wide application in the fabrication of rod metal, wire, tubing, and other products of constant cross section and great length.

REFERENCES

Perlin, I. L. Teoriia volocheniia. Moscow, 1957.
Gromov, N. P. Teoriia obrabotki metallov davleniem. Moscow, 1967.

D. I. BRASLAVSKII

Drawing

the removal from a hide of parts not used to produce leather or fur (including hooves, horns, frontal bones, adhering flesh and fat, lips, and ears); also, the removal of dirt.

Drawing

in metalworking, an operation used in pressure shaping (for example, in forging) to reduce wall thickness and to increase the length of a billet having the shape of a sleeve, usually as a result of incomplete piercing. The billet is drawn through one or several consecutive dies by means of a punch. Drawing is usually carried out using hydraulic presses.

Drawing

a representation executed by hand using such graphic elements as outlining, shading, and filling in of solid areas; also the act of creating such a representation. Different combinations of the graphic elements are used to achieve three-dimensionality, tonal effects, and chiaroscuro. Drawings generally are monochromatic or consist of a somewhat organic blend of different colors.

Drawing has broad application, representing one of the most important and highly developed fields of representational art. In addition to its use for artistic purposes, drawing is used for scientific illustration. It is also used in applied art and in designing (drafting). Drawing is the basis of all art forms on a planar surface (painting, printing, relief). It is usually the initial stage in the execution of a painting, playing an important role in determining the outlines, form, size and spatial distribution of objects. Hence, the term “drawing” signifies the totality of linear and plastic elements that determine the structure and spatial relationship of forms in a painting.

As an independent art, drawing is the basic technique used in the graphic arts. Other forms of graphic art, such as engraving and lithography, are based on drawing. An exceptional means by which an artist grasps and studies reality, drawing—especially drawing from real objects or models—constitutes the foundation of artistic training.

There are numerous types of drawing, differing in medium, theme, genre, purpose, and technique. A drawing may be executed as an independent work of art or as a preliminary study for the execution of other works of graphic art, painting, and, less commonly, sculpture. Preliminary drawings (studies, sketches) are often of outstanding artistic merit. Architectural drawings are also of merit.

A drawing may be executed in a dry or liquid medium. Charcoal was one of the earliest used dry coloring substances. Metal points (lead or silver), which date back to classical antiquity, were popular from the 12th to 16th centuries. Black chalk and red chalk came into use during the Renaissance. Graphite was first used in the 16th century, with the modern pencil, in a wooden casing, appearing in the late 18th century. Liquid mediums, which are applied by pen (reed, quill, or metal point) or brush, include india ink, bister, sepia, and writing inks.

A variety of materials have been used as drawing surfaces. Papyrus was widely used in the ancient world. Parchment, sometimes coated with a special priming, was used during the Middle Ages. Paper, which was invented in China and known in Europe from the tenth century, became the principal material for drawings during the Renaissance. Paper is often primed and tinted in various colors. Drawings on tinted paper are executed with black chalk or charcoal; light spots are made with chalk or white paint.

The great variety of materials and methods of application contribute to the extraordinary wealth of artistic devices in drawings, ranging from hastily executed sketches to painstakingly detailed works and from precise linear pencil or pen drawings (in which elements of chiaroscuro and tone are introduced by hatching, shading, or washes) to purely tonal brush drawings that approach paintings in execution. There are polychromatic drawings, which by their very nature make it difficult to distinguish the boundary between drawing and painting. Watercolor, tempera, pastels, sauce (soft crayon), and india ink are mediums for both drawings and paintings.

Drawing is one of the oldest forms of art. Prehistoric drawing reached its fullest development in the Paleolithic. The drawings, which represented animals and hunting scenes, are inseparable from cliff and cave painting and from primitive engraving (scratchings on bone, stone, and clay). Neolithic drawings were highly stylized, with the representations often approaching ornamentation. The syncretism of primitive forms of pictorial and ornamental art was retained in the drawings of early slaveholding cultures.

At the same time, the use of drawing as the initial outline of murals and reliefs emerged in ancient Egypt and the ancient Orient. Papyrus drawing was an independent art in Egypt’s New Kingdom (16th to 11th centuries B.C.). The drawings that embellished classical Greek vases (for example, the white lecythi of the third quarter of the fifth century B.C.) were marked by a distinctive plasticity. Subtle observations of real life characterized the ink drawings on silk and paper that were produced first in China (from the fourth century B.C.) and then in Japan and other Far Eastern countries. The drawings depicted landscapes, human figures, animals, and flowers. In the Middle Ages the line drawing was used as an architectural sketch and as a model of details of architectural ornamentation. It was also used to produce the outlines in monumental mural painting. The lines were drawn in the damp plaster with a hard instrument or a brush. The drawing served as an iconographie model in the execution of intricate compositions (for example, in icon painting). As a rule, the medieval line drawing was stylized and ornamental. Drawing as a form of graphic art received fuller definition in the illustration of medieval manuscripts.

During the Renaissance the theoretical and practical bases for the subsequent development of the creative and academic methodology of European drawing were laid. The laws of perspective, chiaroscuro, and three-dimensional anatomy were studied during this period. Drawing from real objects became highly developed. A new type of “artistic” drawing appeared alongside preliminary studies, sketches, anatomical drawings, and natural-science studies. Its principal genres—historical composition, themes of everyday life, portraits, and landscapes—emerged during the Renaissance.

The drawings of such 15th-century Italian masters as Pisa-nello, A. Pollaiuolo, A. Mantegna, and V. Carpaccio are marked by precision, plastic clarity, a certain dryness, and detail. In the High Renaissance, Italian drawing attained a special richness and expressiveness. These qualities are evident in the works of Leonardo da Vinci, Raphael, Michelangelo, and A. del Sarto. In contrast to the strict linear-plastic manner of most Italian graphic artists of the Roman-Florentine circle, 16th-century Venetian artists, such as Titian, P. Veronese, and Tintoretto, were distinguished by a free, somewhat sketchlike style.

In 16th-century German drawing the linear element predominated. Other features were universal breadth, precise shading (A. Dürer), and picturesqueness (M. Grünewald). The line—terse but sometimes intensified by shading—often became calligraphic (W. Huber, A. Altdorfer, H. Baldung, U. Graf).

Pencil portraits noted for the subtle rendering of the sitter’s facial features were produced in the 15th and 16th centuries by J. van Eyck in the Netherlands, H. Holbein the Younger in Germany, and J. Clouet and F. Clouet in France. The drawings of the Italian mannerists, including Pontormo, Parmigianino, and L. Cambiaso, are distinguished by intensified expressiveness and a special brittleness.

The collecting of drawings by outstanding artists dates back to the 16th century. Drawings were collected to serve as models for aspiring artists and as works having independent aesthetic significance. One of the first collections of drawings was gathered by G. Vasari—the well-known historian and biographer of the Italian Renaissance.

In the late 16th century, Annibale Carracci developed an “academic” program for the study of drawing. This program remained part of the curriculum at art academies in many countries until the end of the 19th century. In the first stage of training, the student copied originals, that is, the drawings of acknowledged masters. The student then learned to convey three-dimensionality by drawing from plaster copies of ancient statues. Only in the third stage of training was the student permitted to draw directly from life. This method, while it inculcated firm systemic drawing skills and habits, led the artist away from a direct perception of reality.

The 17th century produced works that contrasted with the clear, precise, lifeless academic drawings. The drawings of Rembrandt are extraordinarily profound in concept and bold and free in style. In Holland faithful observations of nature were depicted by the landscapists J. van Goyen and J. van Ruisdael and by the genre artists A. van Ostade, G. Terborch, and G. Metsu. Energetic drawings were created by P. P. Rubens in Flanders. Noteworthy drawings were produced by major French graphic artists, for example, the grotesque sketches by J. Callot and the picturesque drawings—full of inner feeling—by N. Poussin and C. Lorrain.

In 17th-century Italy academic drawing was countered by the restless, dynamic drawings of such baroque masters as L. Bernini and Guercino.

A number of virtuoso masters, whose drawings are rich in subtle observations and painterly effects, came to the fore in the 18th century. They included A. Watteau, F. Boucher, G. de Saint-Aubin, H. Robert, and J. H. Fragonard in France; G. B. Tiepolo and F. Guardi in Italy; and T. Gainsborough in England. In opposition to the overrefinement of rococo drawing, French representatives of 18th-century classicism, led by J. L. David, revived a bold style of drawing, characterized by precise line and effective three-dimensionality.

In the 19th century the traditions of classicist drawing, in particular the emphasis on outlining, were further developed by J. A. D. Ingres. However, this trend quickly degenerated into cold, lifeless academicism.

The study of the drawings of the old masters enables one to analyze more precisely an artist’s style (which is better known from the master’s paintings), to discover hints of a given artist’s preliminary concept, and to follow the evolution of the artistic principles of certain movements, schools, and styles.

Beginning in the 19th century the drawings by leading graphic artists were increasingly related to the overall development of art and the spread of progressive artistic ideas. At the turn of the century the Spanish artist F. Goya dedicated his impassioned, incisively executed drawings to the themes of peasant life and the liberation struggle. The principles of free, expressive drawing, imbued with the breath of life, were affirmed by the French romantics T. Géricault and E. Delacroix and, especially, by H. Daumier—the leading French graphic artist of the 19th century. Daumier’s drawings combine grotesque images satirizing bourgeois-aristocratic reaction with powerful images of the common people. Gavarni and a number of other French draftsmen followed in the footsteps of Daumier the caricaturist.

Nineteenth-century French drawing is also represented by the subtle landscapes of C. Corot and the Barbizon school and the realistic yet greatly generalized sketches of J. F. Millet. The drawings of E. Manet and such impressionists as E. Degas and P. A. Renoir convey movement and the vital plasticity of the human body.

Other major 19th-century European graphic artists noted for their drawings include C. D. Friedrich, A. Menzel, and W. Busch of Germany; W. Turner, E. Burne-Jones, and W. Morris of Great Britain; J. Israëls and J. B. Jongkind of Holland; J. Mánes and M. Ales of Bohemia; and A. Orłowski, J. Matejko, and A. Grottger of Poland.

In the late 19th and early 20th centuries a special style of drawing developed that was intended for reproduction in books, magazines, and newspapers by new photomechanical technology. The drawings were distinguished by exceptional clarity. The masters of this type of drawing, most of whom were influenced by art nouveau, included T. T. Heine in Germany, A. Beardsley in Great Britain, and F. Rops in Belgium. A number of architects, such as P. Behrens in Germany and J. Olbrich in Austria, turned to book and magazine illustration and made an important contribution to art nouveau drawing, imparting a special “constructive” character to the art form. Drawings in the post-impressionist style were also produced during this period by E. Munch in Norway and by P. Cézanne, Toulouse-Lautrec, and the Dutch V. van Gogh in France. In both content and style, the drawings were closely related to post-impressionist paintings.

The turn of the 20th century was marked by the spread of political drawing directed against social oppression and often imbued with revolutionary spirit. Drawings of this type were produced by T. Steinlin in France; H. Zille, H. Baluschek, and K. Kollwitz in Germany; and F. Masereel in Belgium.

Since the early part of the 20th century drawing has developed under the influence of various schools and styles. In the drawings of many 20th-century artists belonging to avant-garde movements, such as expressionism, cubism, futurism, abstract art, and surrealism, the artist’s professional skill and the sharp expressiveness of form often contradict a deliberate distortion of the objective world and self-indulgent experimentation. This contradiction is evident in the drawings of E. L. Kirchner, E. Nolde, G. Grosz, and O. Dix in Germany; A. Kubin and O. Kokoschka in Austria; and H. Matisse, R. Dufy, J. Braque, J. Gris, and F. Léger in France.

In the 20th century realistic traditions continued in the drawings of A. Fougeron and B. Taslitzky in France; P. Hogarth in Great Britain; L. Mendez, J. C. Orozco, and D. A. Siqueiros in Mexico; C. Portinari in Brazil; R. Guttuso, D. Purificato, and A. Salvatore in Italy; W. Sitte and W. Klemke in the German Democratic Republic; T. Kulisiewicz in Poland; M. Ŝvabinsky in Czechoslovakia; and S. Ék in Hungary. Masters of sharply satirical drawings have included R. Minor, F. Ellis, and W. Gropper in the United States; J. Effel in France, and H. Bidstrup in Denmark.

A special place in the history of 20th-century drawing belongs to P. Picasso. Picasso’s drawings encompass a vast range of styles, from the precisely linear and consciously archaic to the lapidary. A keen sense of modeling distinguishes the drawings of such late-19th-century and 20th-century sculptors as A. Rodin and A. Maillol of France, E. Barlach and H. Kolbe of Germany, H. Moore of Great Britain, M. Marini of Italy, G. Marcks of the Federal Republic of Germany, and F. Cremer of the German Democratic Republic.

In Russia drawing from life and from models had already assumed an important place in the artistic culture by the late 18th and early 19th centuries, thanks to the efforts of the drawing instructors at the St. Petersburg Academy of Art, who included

A. P. Losenko, G. I. Ugriumov, A. I. Ivanov, and K. P. Briullov. Classical perfection of form, convincing lifelikeness, and profound study of nature characterized the drawings of O. A. Kiundprenskii, M. I. Kozlovskii, A. E. Egorov, V. K. Shebuev, F. P. Tolstoi, and Briullov. The drawings of A. A. Ivanov reflect the combination of strict academic principles with moving realism and of laconic line with the painterly use of shading.

Genre artists, satirists, and illustrators played a major role in the development of drawing in Russia during both the 18th century (I. A. Ermenev) and the 19th century (A. G. Venetsianov, P. A. Fedotov, A. A. Agin, P. M. Shmel’kov, P. P. Sokolov, the Polish artist A. Orłowski, the Ukrainian artist T. G. Shevchen-ko). The rapid development of drawing in the 19th century was to a large extent brought about by the struggle for realistic methodology in the teaching of drawing. This struggle, which aimed to bring drawing closer to real life, was carried on by Venetsianov, I. N. Kramskoi, and, above all, P. P. Chistiakov. Their pupils included I. E. Repin, V. I. Surikov, V. M. Vasnetsov, V. D. Polenov, V. A. Serov, M. A. Vrubel’, and D. N. Kardovskii.

The peredvizhniki (the “wanderers”—a progressive art movement) produced many noteworthy drawings. The drawings of K. A. Savitskii, V. E. Makovskii, and N. A. Kasatkin depicted scenes from everyday life. Kramskoi and N. A. Iaroshenko drew portraits, and A. K. Savrasov, I. I. Shishkin, and F. A. Vasil’ev produced landscapes. Keen observation and dazzling skill distinguish the drawings of Repin, the simple, virtuoso sketches of Serov, and the nature studies and illustrations of Vrubel’. Vrubel’s drawings are marked by picturesque expressiveness and unique “cubist” shading to render three-dimensionality.

The artists of the World of Art group were outstanding draftsmen. Although they worked primarily in book illustration, they also drew portraits, landscapes, and historical compositions. The World of Art draftsmen included A. N. Benois, L. S. Bakst, M. V. Dobuzhinskii, E. A. Lansere, A. P. Ostroumova-Lebedeva, K. A. Somov, I. Ia. Bilibin, A. Ia. Golovin, B. M. Kustodiev, N. K. Roerich, G. I. Narbut, and S. V. Chekhonin.

The history and life of the peoples of the USSR defined the new content of Soviet drawing. Building on realistic traditions and guided by the method of socialist realism, Soviet artists have developed unique types of drawings. Narrative drawings (often in the form of series or cycles) devoted to the themes of socialist construction, the heroic history of the Soviet people, and the people’s struggle for peace have been produced by D. A. Shmarinov, E. A. Kibrik, V. A. Serov, B. I. Prorokov, K. I. Finogenov, A. M. Laptev, P. V. Mal’kov, and N. A. Ponomarev.

Portraits of leaders and important figures of the USSR, workers, collective farmers, the intelligentsia, members of the Komsomol, and Soviet soldiers have been drawn by N. I. Al’tman, N. A. Andreev, I. I. Brodskii, G. S. Vereiskii, N. P. Ul’ianov, D. N. Kardovskii, E. A. Katsman, A. I. Laktionov, and V. A. Favorskii. Traditions of landscape drawing have been developed by V. V. Meshkov and A. A. Deineka.

Soviet draftsmen have also developed a genre of artistic-documentary drawing. Their drawings include illustrations for works of Soviet literature and other classics. Such illustration work has been done by Lansere, Kustodiev, the Kukryniksy, Shmarinov, B. A. Dekhterev, A. F. Pakhomov, V. M. Konashe-vich, D. I. Mitrokhin, P. V. Miturich, N. A. Tyrsa, E. I. Charushin, N. N. Kupreianov, S. V. Gerasimov, M. S. Rodionov, N. N. Zhukov, V. V. Lebedev, D. A. Dubinskii, O. G. Vereiskii, and V. N. Goriaev.

During the Great Patriotic War of 1941–45 a special type of “drawing of the front” was created, which patriotically recorded the heroism of the Soviet people and the tragic misfortunes they experienced.

Enjoying great popularity is the genre of the travel sketch, which depicts with documentary accuracy scenes from the everyday life of the Soviet nation and of peoples in foreign lands.

Drawing is a flourishing art form in all the republics of the USSR, as exemplified in the works of V. I. Kasiian and M. G. Deregus in the Ukraine, S. G. Romanov in Byelorussia, A. Azimzade in Azerbaijan, I. M. Toidze in Georgia, M. M. Abegian in Armenia, A. N. Volkov in Uzbekistan, and L. A. Il’ina in Kazakhstan.

Even in the first years of the Great October Socialist Revolution drawing was a means of political agitation in poster art, the art of caricature, and newspaper and magazine illustration. It played such a role in works by V. V. Mayakovsky, D. S. Moor, V. N. Deni, M. M. Cheremnykh, the Kukryniksy, B. E. Efimov, A. M. Kanevskii, and L. V. Soifertis.

REFERENCES

Sidorov, A. A. Risunok starykh russkikh masterov. Moscow-Leningrad, 1956.
Sidorov, A. A. Risunok russkikh masterov (Vtoraia polovina XIX veka). Moscow, 1960.
Solov’ev, A. M., G. B. Smirnov, and E. S. Alekseeva. Uchebnyi risunok. Moscow, 1953.
Grashchenkov, V. N. Risunok masterov ital’ianskogo Vozrozhdeniia. (Moscow, 1963.)
Vipper, B. R. Stat’i ob iskusstve. (Moscow, 1970.)
Flekel’, M. I. Velikie master a risunka. Moscow, 1974.
Meder, J. Die Handzeichnung: Ihre Technik und Entwicklung, 2nd ed. Vienna, 1923.
Grassi, L. Storia del disegno. Rome, 1947.
Boekhoff, H., and F. Winzer. Das grosse Buch der Graphik. Braunschweig, 1968.
Kenin, R. The Art of Drawing From the Dawn of History to the Era of the Impressionists. New York-London, 1974.

A. A. SIDOROV

drawing

[′drȯ·iŋ] (chemical engineering) Removing ceramic ware from a kiln after it has been fired. (graphic arts) A surface portrayal of a form or figure in line. (metallurgy) Pulling a wire or tube through a die to reduce the cross section. Forcing plastic deformation of metal in a die to form recessed parts. (textiles) A textile process in which the sliver is prepared for spinning by being held at one end while the other end is pulled to increase the length and decrease the diameter of the ropelike form.

drawing

1. a picture or plan made by means of lines on a surface, esp one made with a pencil or pen without the use of colour 2. the art of making drawings; draughtsmanship

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Synonyms for drawing

noun picture

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phrase go back to the drawing board

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Synonyms for drawing

noun an illustration that is drawn by hand and published in a book, magazine, or newspaper

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noun a representation of forms or objects on a surface by means of lines

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noun the creation of artistic pictures or diagrams

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noun players buy (or are given) chances and prizes are distributed by casting lots

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noun act of getting or draining something such as electricity or a liquid from a source

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noun the act of moving a load by drawing or pulling

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