Mead Art Museum Interterm Course: Drawing Methods of Ernest Haskell

Instructor: Katrina E. Greene

January 19, 2011

10:00 a.m. - 12:00 p.m. and 1:00 - 3:00 p.m.

Course Description: read the course description as advertised for Interterm

Katrina E. Greene: learn more about the instructor

Object Checklist: view information about objects discussed in both class sessions

Handouts and Additional Information: download handouts from the workshop

Suggested Reading and Online Resources: view a selection of references for more information on workshop topics

 

Course Description

An upcoming exhibition at the Mead Art Museum, How He Was to His Talents: The Work of Ernest Haskell (March 24, 2011-August 7, 2011) will introduce audiences to a dedicated student of art and avid experimenter with artists’ materials. This workshop will focus on two specialized drawing techniques represented in the Mead’s collection of Haskell’s works: metalpoint and graphite wash. Exhibition curator Katrina Greene will present Haskell’s “silverpoint sketchbook kit” and a selection of drawings and prints from the museum’s holdings. Greene will demonstrate how to prepare paper for metalpoint drawing and make sketches using a metal stylus. Inspired by three rare graphite wash drawings in the collection, participants will learn how to combine graphite and solvents to achieve rich, “painted” compositions. Greene will invite all participants to try Haskell’s methods to gain firsthand knowledge of his singular versatility.

 

Katrina E. Greene

Katrina E. Greene became an Andrew W. Mellon Post-Baccalaureate Curatorial Fellow at the Mead Art Museum in 2009 after working as a curatorial research assistant at the Walters Art Museum. She received a B.A. in Art History from Smith College in 2008 after studying painting at the Maryland Institute College of Art and classical drawing at the Barnstone Studios. She is also a graduate of the Summer Institute in Art Museum Studies at Smith College. Her research interests focus on nineteenth-century European and American works on paper, with an emphasis on the technical history of art materials and techniques. Her long-term research project she will complete at the Mead, How He Was to His Talents: The Work of Ernest Haskell, will be the focus of an exhibition in March 2011 and will be accompanied by an illustrated catalogue.

 

Object Checklist

 

SESSION ONE : SILVERPOINT

Ercole Cartotto
American, born in Italy (1889-1946)
Robert Frost (1874-1963), 1938
silverpoint on off-white prepared board
Sheet: 19 3/4 x 15 3/8 in  (50.1 x 39 cm)
Commissioned by the College
AC POR.1938.7

Ercole Cartotto
American, born in Italy (1889-1946)
Howard Percival Gallinger, Class of 1893, n.r.
silverpoint on off-white prepared board
Sheet: 20 9/16 x 16 in (52.2 x 40.6 cm)
Commissioned by the College
AC POR.1938.8

Ernest Haskell
American (1876-1925)
Silverpoint Sketchbook with Stylus, ca. 1900 -1910
sketchbook with blue cloth-covered cardboard covers, black leather spine and corners with gold trim, black cloth strap and black leather stylus sleeve
sketchbook is incomplete, with eight pages remaining; thirteen pages with drawings
Techniques: silverpoint, graphite and ink
Overall: 4 x14 in (10.2 x 35.6 cm)
Gift of Josephine Haskell Aldridge in memory of Richard Aldridge (Class of 1952)
AC 1996.472.a,b


SESSION TWO : GRAPHITE WASH

Albion Harris Bicknell
American (1837-1915)
Sunlit Landscape, ca. 1880
monotype on off-white wove paper
Sheet: 12 x 19 1/4 in (30.5 x 48.9 cm); Plate: 10 x 17 1/8 in (25.4 x 43.5 cm)
Purchase with William K. Allison (Class of 1920) Memorial Fund
AC 1991.41

Childe Hassam
American (1859-1935)
The Broad Curtain, 1918
lithotint on off-white wove paper; first state
Sheet: 11 1/2 17 15/16 in (29.2 x 45.6 cm); Stone: 10 7/8 x 14 3/4 in (27.6 x 37.5 cm)
Gift of Dr. C. J. Robertson
AC 1950.197

Ernest Haskell
American (1876-1925)
Portrait of a man, ca. 1897-1898
graphite and (Winsor & Newton) liquid graphite medium on heavy off-white wove paper laid down on board cut to sheet
Sheet: 5 3/4 x 2 5/8 in (14.6 x 6.7cm)
Gift of Josephine Haskell Aldridge in memory of Richard Aldridge (Class of 1952)
AC 1996.176

Ernest Haskell
American (1876-1925)
Woman with white bow, ca. 1897-1898
graphite and (Winsor & Newton) liquid graphite medium on heavy off-white wove paper
Sheet: 6 3/8 x 5 1/16 in(16.2 x 12.9 cm)
Gift of Josephine Haskell Aldridge in memory of Richard Aldridge (Class of 1952)
AC 1996.177

Ernest Haskell
American (1876-1925)
Lady in black, ca. 1897-1898
graphite and (Winsor & Newton) liquid graphite medium on heavy off-white wove paper mounted on gray wove paper
Mount: 6 13/16 x 5 9/16 in (17.3 x 14.1cm); Sheet: 5 5/8 x 4 3/4 in (14.3 x 12.1cm)
Gift of Josephine Haskell Aldridge in memory of Richard Aldridge (Class of 1952)
AC 1996.178

Ernest Haskell
American (1876-1925)
Eagle Rock, ca. 1919-1920
mezzotint on off-white wove paper
Sheet: 5 7/8 x 7 11/16 in (14.9 x 19.5 cm); Plate: 3 7/8 x 4 15/16 in (9.8 x 12.5 cm)
Gift of Josephine Haskell Aldridge in memory of Richard Aldridge (Class of 1952)
AC 1996.195

Ernest Haskell
American (1876-1925)
Old Pier, Chelsea, n.d.
lithograph on thin off-white wove paper mounted on off-white wove paper
Mount: 12 7/8 x 17 1/8 in (32.7 x 43.5 cm); Sheet: 9 7/8 x 14 1/2 in (25.1 x 36.8 cm)
Image: 7 1/16 x 10 7/16 in (17.9 x 26.5cm)
Gift of Josephine Haskell Aldridge in memory of Richard Aldridge (Class of 1952)
AC 1996.231

Frank Short
British (1857-1945)
Moonrise, Ramsgate, 1904
mezzotint on chine collé
Sheet: 13 1/2 x 18 9/16 in (34.3 x 47.5 cm); Plate: 10 1/16 x 12 15/16 in (25.6 x 32.9 cm)
Image: 8 15/16 x 11 15/16 in (22.7 x 30.3 cm)
Gift of Edward C. Crossett (Class of 1905)
AC 1951.1988

James Abbott McNeill Whistler
American (1834-1903)
The Giudecca; Note in Flesh Colour, 1879-1880
pastel on gray wove paper
Sheet: 6 1/4 x 10 in (15.9 x 25.4 cm); Frame: 16 1/2 x 20 1/8 x 1 3/4 in (41.9 x 51.1 x 4.4 cm)
Gift of George D. Pratt (Class of 1893)
AC P.1933.14

Théophile Alexandre Steinlen
Swiss (1859-1923)
La Loge, 1894
monotype (black ink on copper) on off-white wove paper
Sheet: 19 1/2 x 13 7/8 in (49.5 x 35.2 cm); Plate: 11 3/4 x 11 5/8 in (29.8 x 29.5 cm)
Gift of Edward C. Crossett
AC 1951.2023

Handouts AND ADDITIONAL INFORMATION

SESSION ONE: Silverpoint




SESSION TWO: Graphite Wash



suggested READING AND ONLINE RESOURCES

 

SILVERPOINT

GENERAL BACKGROUND

Hamerton, Philip Gilbert. “The Silver-Point.” In The Graphic Arts: A Treatise on the Varieties of Drawing, Painting, and Engraving, in Comparison with Each Other and with Nature, 124-131. Boston: Little, Brown and Company, 1902.

Landau, David and Peter Parshall. The Renaissance Print: 1470-1550. New Haven and London: Yale University
Press, 1994. pp. 179-202.

Weber, Bruce. The Fine Line: Drawing with Silver in America. West Palm Beach, Fla.: Norton Gallery & School of Art, 1985.  


NINTEENTH-CENTURY MATERIALS

Windsor & Newton Ltd. “Winsor & Newton Trade Catalogue,” 1896, pp. 51, 61.
http://viewer.zmags.com/showmag.php?mid=wtftwt&preview=1&_x=1#/page0/.

Weber, Bruce. The Fine Line: Drawing with Silver in America. West Palm Beach, Fla.: Norton Gallery & School of Art, 1985.  


CONTEMPORARY MATERIALS

“GOLDEN Responds to Artists' Requests by Launching Silverpoint / Drawing Ground,” n.d.
http://www.goldenpaints.com/company/news/2009/SilverpointDGlaunch.php.

“Silverpoint / Drawing Ground,” n.d. http://www.goldenpaints.com/technicaldata/silverpoint.php.



LIQUID GRAPHITE AND GRAPHITE WASH

NINETEENTH-CENTURY WINSOR & NEWTON MEDIUM

Windsor & Newton Ltd. Winsor & Newton Trade Catalogue, 1896, p. 36.
http://viewer.zmags.com/showmag.php?mid=wtftwt&preview=1&_x=1#/page0/.  


CONTEMPORARY MATERIALS AND TECHNIQUES

Fine, Ruth E. “Making Marks.” In The Drawings of Jasper Johns, 46-67. Washington: National Gallery of Art, 1990.

“Matisse Derivan - Derivan Liquid Pencil,” n.d. http://www.matisse.com.au/pages/LiquidPencil.html.

Pascale, Mark. “Conditional States.” In Jasper Johns: Gray, 115-116. 1st ed. Chicago: Art Institute of Chicago,
2007.  

Schmid, Richard. “Demonstration Eight: Charcoal Drawing on Paper” In Richard Schmid Paints the Figure:
Advanced Techniques in Oil
. New York: Watson-Guptill Publications, 1973.  


LITHOTINTS

Adams, Clinton, ed. “The Case of the Absent Printer: Childe Hassam's Lithographs.” In Second Impressions: Modern
Prints & Printmakers Reconsidered
, 49-57. 1st ed. Albuquerque: University of New Mexico Press, 1996.  


MONOTYPES

Ayres, Julia. Monotype: Mediums and Methods for Painterly Printmaking. New York: Watson-Guptill Publications,
1991.

Moser, Joann. Singular Impressions: The Monotype in America. Washington, D.C: Published for the National Museum of American Art by Smithsonian Institution Press, 1997.  

Wisneski, Kurt. Monotype/Monoprint: History and Techniques. Ithaca, NY: Bullbrier Press, 1995.


MEZZOTINTS

Wax, Carol. The Mezzotint: History and Technique. New York: H.N. Abrams, 1990.

Weitenkampf, Frank. “The Field of Art: Mezzotinting for the Painter.” Scribner's Monthly Illustrated Magazine,
November 1914.