On Drawing

This weekend, I finished four books I have been simultaneously reading - or looking in, as is the case with some of them; three of them are about drawing, one has very little text at all, just a preface, not even written by the artist. At first, I thought I might do one post for all of them, but now it seems that it would be unfair to them all, as they are each very good and recommendable.

I´ll start with one by Andrew Marr, the British political journalist. I had no idea that he is also a very good draughtsman, who knows a thing or two about art. Turns out, he has also written a book on the subject, "A Short Book About Drawing". I was curious and got it, and was not disappointed. I am not the kind of bibliophile who gets excited about what a book looks like or anything; I have favoured cheap paperbacks before I easily transitioned into the world of e-books, but with this one, I have to mention that it is a very pretty book to look at. Also, it doesn´t smell or give off cough-inducing fumes, something I am always wary of with books containing many pictures.

The chapters have headlines like "Drawing and happiness", "The eyes - drawing and movement", "The heart - what is drawing about?", and it is very enjoying to read his thoughts on why he (and others) draws, and the role of drawing in education, culture, and art. He isn´t just sitting in his room with this either, being a journalist he goes visiting drawing teachers and talks to artists like David Hockney, who
"goes as far as to say that the age of photography is now coming to and end, that its shallowness is boring us.
He may be ahead of the mass, but it´s certainly true that there is something about the physicality and simplicity of drawing that makes it undefeatable. With strips of charcoal or pens, basic tools in our hands, it has barely moved forward. An iPad app which I use all the time, Brushes, is not essentially different. It is faster, brighter, more flexible, but in the end it is a stylus and a surface, and the drawing is just drawing. Personal, direct, drawing has not "advanced". It stands outside glib ideas of progress."
Andrew Marr: Central Park, New York.
Marr uses only his own drawings to illustrate the book, both because - he says in the preface - they are cheap, and because he thinks that while he doesn´t regard any of them as real works of art, he thinks that most of them will encourage people to try for themselves. And they do. I like Marr´s drawings a lot. Most of all I like that he seems comfortable to go at it with all kinds of tools, from pencil to paint, and - and this is not something I have seen much of until now - the iPad, with which he produces both some flat and some startlingly vibrant drawings.

But do modern artists even draw today? Many art schools don´t teach drawing at all, Marr says.
"Conceptual art is needed in a book on drawing because the status of drawing fell so far after Duchamp´s rewriting of what the word "art" means. Like the aftermath of any explosion, the debris is scattered and awkwardly shaped. Some great traditional artists hang on to their status, like well-decorated rooms exposed to the outside world when half the house has been blown away. Far from the commercial centres of the art world, many thousands of traditional painters and draughtsmen quietly keep going, as if nothing has happened, rather like the late Romans carrying on with their quietly satisfying provincial lives - planting vines, mending tracks - even after Attila´s hordes had sacked the Forum." 
Andrew Marr: Hay-on-Wye. 
And what about using mechanical tools? While reading, I think of two Swedish artists (very successful) I have seen working by tracing a photograph from an overhead projector onto a large piece of paper. Isn´t that cheating? No, says Marr:
"Artists have used mechanical tools and aides of all kinds. They have used light-boxes and lenses of all sorts, squared lattices, spray-guns, and, yes, computers. Artists have also always copied. [...] ...aids are neither here nor there. Nor is the quotation and reworking of somebody else´s picture.
The only question is aliveness. A lame, mechanical copy of another work is a lame, dead thing. Most of us, even, subconsciously, can tell. The drawing must say something about the drawer as well as the thing drawn."
Marr may humbly say that his drawings aren´t art, but some of them reveal quite a bit about him, particularly a night-time drawing on the iPad where you can see his lonely reflection in a New York hotel room. Does it possess aliveness? I would say so. (If you want to see it, you must buy the book, so there!)

This is, without a doubt, one of those books that you can have on your shelf and take down every year, read a chapter or two, or let yourself be drawn in and re-read the whole thing. Or just look at the drawings, be impressed and inspired. I would recommend it for anyone who draws or would like to draw, or even anyone who is the least interested in art and personal expression. Marr has the attitude of the very accomplished amateur. You will understand more after having read him.

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