Holbein: Drawing, Painting, Materials & Techniques

The Holbein at the Tudor Court Exhibition at the King's Gallery closes today. I'd spent forever making up my mind about when to go - but not booking - and then realising I need to get a move on. Which is how come I saw it yesterday. You can see some of my pics from it on my Facebook Page

To be absolutely honest, I enjoyed the "Holbein in England" exhibition at Tate Britain in 2007 much more and it remains a vivid memory for me. (see Holbein in England - and at Tate Britain). Mainly because it which contained more portraits by Holebin including my favourite Holbein portrait "A lady with a Squirrel' plus Holbein's portrait of Erasmus

The Kings Gallery exhibition had three parts about artworks by Hans Holbein the Younger (1497-1543)

• mainly paintings from other artists of the same era
• drawings by Holbein and miniature portraits by Holbein
• large paintings and some large portraits and more drawings by Holbein + four miniatures by Holbein

One of the most interesting part of the exhibition came after the exit. A small exhibition in one room at the top of the stairs contained information about Holbein's art materials and the techniques he used for his portrait drawings and also his miniatures.

Holbein: Materials and Techniques

A view of part of "Holbein: Materials and Techniques"

I promptly took photos of all of it and have uploaded them all to an album on Facebook on my Facebook Page called Holbein: Materials and Techniques - so 

• if you missed it or you enjoy finding out about the materials used by artists in the past, you can have a peek and see for yourself.
• I've also added comments about specific materials and techniques where I knew something which wasn't included in the exhibition.

There are also more resources about Holbein on the Royal Collection website - listed below

• Holbein's Portrait Drawings - about how Holbein created his drawings
• Holbein in the Royal Collection
• images of the Holbeing drawings and paintings in the Royal Collection

What I find interesting is that Holbein was a royal artist - he was appointed the King's Painter in 1536.  To all intents and purposes his stay in England related to his contacts within the Royal Family and the Tudor Court. 

I've not yet found an explanation for why so many of the better known paintings by Holbein are NOT in the Royal Collection. For example, 

• the 'cartoon' drawing of King Henry VIII by Hans Holbein the Younger is in the National Portrait Gallery. This was made in preparation for the very large painting which used to hang in Whitehall Palace - but was destroyed in the fire in1698.
• The Ambassadors - which is a very large, important and unique painting - is in the National Gallery.

The other interesting fact about Holbein is just how many portraits there are by artists "after Holbein". He was a much copied artist. There again he is regarded as one of the most important portrait artists ever!

If you look at the collection of Holbein portraits and drawings in the National Portrait Gallery, you'll find that most are "after Holbein"

Golden Oldie #4: Van Gogh and Drawing - art media and techniques

Two posts this time - about Vincent Van Gogh and his drawing materials and techniques.  

Tree with Ivy in the Garden of the Asylum
Vincent van Gogh (1853 - 1890),
Saint-Rémy-de-Provence, May-June 1889
pencil, reed pen and brush and ink, on paper, 61.8 cm x 47.1 cm
Credits: Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation)

Golden Oldie #4: Van Gogh and Drawing - art media and techniques

The two posts are from 2007 and 2021. I've updated both where it was needed.

Van Gogh: Drawing media and techniques (2nd February 2007)

This has been one of my most popular posts - on a perennial basis - since I started this blog.

This post focuses on Van Gogh's drawing materials (pencil, pen and ink, prints, brush and colour) and how they influenced his techniques and style.

I've also 

• resized the images
• removed dead links
• included UPDATES about research about the media he used

More about Van Gogh and his drawings and drawing techniques (28th September 2021)

This provides a summary of the information about Van Gogh's drawing materials and techniques that was mainly published AFTER my blog post from 2007.

It's not comprehensive but provides a good overview of what's been added to resources in recent years - and that includes some of the Wikipedia information!

I've also only had to update two links (both incidentally to the same website - the Foundation Vincent Van Gogh Arles) - which indicates this is perennially sound information!

Diebenkorn's "Notes to myself on beginning a painting"

The year 2022 marks the 100th anniversary of the birth of Richard Diebenkorn (1922–1993).

Diebenkorn was a distinguished American painter, draftsman, and printmaker

Still from the video Richard Diebenkorn on Beginning a Painting

"Notes to myself on beginning a painting" by Richard Diebenkorn

Richard Diebenkorn was an introspective man who remained skeptical of his success as an artist throughout his life. Over the years he spent countless hours sitting in a favorite chair in his studio, contemplating and looking. Perhaps it was there that he wrote thoughts that came to mind on nearby pieces of paper, some torn from other uses. The Diebenkorn Foundation

These notes were found on paper in his studio after his death.They're listed BELOW.
You can also see a digitised version of the handwritten notes in the link above.

1. Attempt what is not certain. Certainty may or may not come later. It may then be a valuable delusion.
2. The pretty, initial position which falls short of completeness is not to be valued – except as a stimulus for further moves.
3. DO search.
4. Use and respond to the initial fresh qualities but consider them absolutely expendable.
5. Don’t “discover” a subject – of any kind.
6. Somehow don’t be bored but if you must, use it in action. Use its destructive potential.
7. Mistakes can’t be erased but they move you from your present position.
8. Keep thinking about Pollyanna.
9. Tolerate chaos.
10. Be careful only in a perverse way.

I first came across them on the RA website in relation to their exhibition of his work in 2015.

They're not the conventional dictums which appear again and again in many instruction books about painting. Some are impenetrable to people who are not Americans or not of a certain age

For example "Keep thinking about Pollyanna" only becomes clear when you understand that Pollyanna is a character in a 1913 novel by Eleanor H. Porter AND that she is an orphan with an unjustifiably optimistic attitude.

To me they're indicative of the characteristics of right brain thinking and an aversion to the factual, structured, linear, systematic approach associated with left brain thinking.

In fact they're the complete antithesis of "step by step" instruction. It's about an attitude of mind which seeks to be open to possibilities rather than learning systems for creating a painting.

This is a video of Diebenkorn speaking about beginning a painting.

Michael Skalka knows about art materials!

I first "met" (as in online) Michael Skalka many years ago when I was looking into the lightfastness of art materials. At the time, Michael was 

• Chairman of the D01.57, Artists' Paints and Related Materials subcommittee of the American Society of Testing and Materials (ASTM) - which he still chairs.
• Conservation Administrator at the National Gallery of Art in Washington (for over 37 years) - where he managed the daily operations of the Conservation Division. He retired recently.

We started to correspond about lightfastness and have continued off and on over the years. 

Since he retired he's started a retirement project and is posting about fine art materials on his new website/blog Syntax of Color. This site provides a HUGE amount of expert and reliable information about fine art materials and their constituents (past and present) - which is very accessible.  I did a massive online colour project back in 2008 and learned an enormous amount about colour and pigment/materials performance (and have continued to remain interested in the topic ever since) - but Michael continues to publish consistent good quality information on a regular basis which I've not come across before which is both very interesting and informative. Plus he writes well!

I highly recommend Syntax of Color to all those interested in using colour in their art and looking to develop their knowledge of the fine art materials they use.

FIND OUT more about what it covers below - it also covers a number of related fine art materials for painters.

What does Syntax of Colour cover?

The Syntax of Color website provides the following - with examples:

• Various posts about PIGMENTS and different colours - including ones from the past  e.g.
• Through Thick or Thin? - a commentary on the thickness and viscosity of paint in tubes
• Permanent Green Light - how it came about and how to make it
• Henry Levison: A Debt of Gratitude - a history of permanent pigments
• HISTORICAL Artist Materials e.g. 
• Frankly My Dear, I Don’t Give a Lake! - about the origins and traditions of lake pigments and paints
• CHEMICALS used in Art  e.g.
• The Unvarnished Truth - a commentary on the use of old and contemporary varnishes for paint

While not having done a survey, I would safely say that no conservator would advocate the use of epoxy resin as a surface coating for a work of fine art.

• COLOR MEASUREMENT  e.g.
• The Color of Everything - about the contribution of the brewing industry to the measurement of colour.
• informative posts about HEALTH and SAFETY e.g.

How to paint the Mona Lisa - a Channel 4 documentary

This is an alert to say you can see my old friend Adebanji Alade tonight on Channel 4 documentary called "How to Paint the Mona Lisa" 

• on the More4 Channel 
• at 9pm 
• today (Wednesday 29th September, 2021) 

Adebanji Alade is the Vice President of the Royal Institute of Oil Painters (ROI) and has made a name for himself beyond art gallery exhibitions and with a wider community of television viewers in recent years through his many appearances in art related events on television - notably on the BBC.

This time he's the main man in a Channel 4 documentary about painting the Mona Lisa.  

Artist Adebanji Alade unlocks the secrets of the world's most iconic painting while making a replica using traditional methods. What will the experts think of the finished piece?

You can see him getting excited about it on his Facebook Page

Here's a 40 second preview - and it looks fascinating as he finds out about all the materials and techniques used by Leonardo da Vinci - and has a go at painting the famous painting himself.

Should be good - I'll be watching.

Below you can see another video - done for the ROI - of a his studio tour

More about Van Gogh and his drawings and drawing techniques

One of my most popular posts - on a perennial basis - since I started this blog is one about Van Gogh: Drawing media and techniques which was published in February 2007 as part of one of my very first learning projects recorded on this blog.

This 'resources for artists' post summarises:

• what the 2007 post covers
• new information about Van Gogh's drawings, swing materials and drawing techniques made available since 2007

"Garden with Flowers" (August 1888, Arles) by Vincent Van Gogh

Reed-pen and ink, Height: 61 cm (24 in); Width: 49 cm (19.2 in)

Van Gogh: Drawing media and techniques  (2007)

In summary this post focuses on 

• Van Gogh's drawing materials (pencil, pen and ink, prints, brush and colour) and 
• how they influenced his techniques and style.

New Information about Van Gogh and drawing

What follows was mainly published AFTER my blog post from 2007. It's not comprehensive but provides a good overview of what's been added to resources in recent years - and that includes some of the Wikipedia information!

Cafe Terrace at Night (Sept 1888, Arles) by Vincent Van Gogh

chalk, reed pen, India ink and graphite on laid paper

Dallas Museum of Art, The Wendy and Emery Reves Collection

This post lists links to more information about Van Gogh and the way he drew

• Vincent van Gogh (1853–1890): The Drawings | Metropolitan Museum of Art - which held the iconic exhibition of his drawings just before I wrote my first blog post (see Vincent van Gogh: The Drawings. Exhibition catalogue. New York: Metropolitan Museum of Art, 2005. See on MetPublications)
• Catalog of all Van Gogh's work - which includes his drawings | Van Gogh Gallery - except to my mind this is incomplete with respect to the drawings (if you search by media) - or the descriptive identifiers are incomplete
• List of Drawings by Vincent Van Gogh | Wikipedia - ordered by year and then by catalogue number.     
• Drawings by Vincent Van Gogh | Wikipedia - with sub-sections related to the location of 
• where drawings were created
• which museum they are in now
• Portrait drawings by Vincent van Gogh‎ | Wikipedia
• Missing Van Gogh Artwork | Van Gogh Galleries - which includes numerous drawings and images taken when they were still in circulation
• Van Gogh Drawings in Arles | Foundation Vincent Van Gogh Arles

For the first three years of his career, he worked mainly as a draughtsman. A good command of drawing was traditionally considered to be an essential basis for painting, and Van Gogh cherished that principle. As a result, he became an excellent draughtsman long before his paintings started to show real promise. Van Gogh Drawings in Arles | Foundation Vincent Van Gogh Arles

This is a video of Van Gogh sketches - Vincent van Gogh: A collection of 1185 sketches (HD)

About Karin Jurick (d. 2021)

I'm so very, very sad to be writing this.

I woke up this morning thinking about death (my father died 23 years ago today).... and then the first post I read on Facebook this morning was by James Hollingworth telling me that Karin Jurick passed away recently - much too soon at the age of 59. 

 

Karin Jurick on Daily Paintworks

 

[UPDATE} This tweet came later

Friends and family regret to announce the death of
Karin Jurick. 02/09/1961 - 06/16/2021 pic.twitter.com/oZIjbaGqVl

— Karin J (@KarinJurick) June 25, 2021

This was James's heartfelt announcement on Facebook.

In the early 2000's my wife Karen and I were just beginning our art careers auctioning our paintings on eBay. Part of that experience was searching eBay for other artists. It was a productive exercise that turned us on to a wealth of new talent. One day I came across the painting below and asked (practically begged) Karen to split the cost of it if we were to have the winning bid. We won the auction and when we contacted the artist discovered she lived just across town. She said she was a huge fan of our work and would love to deliver the painting herself. A week or so later Karin Jurick showed up at our door and twenty years later was still one of our closest and dearest friends. Tragically, a few days ago she suddenly passed away.

Karin was a remarkable woman to say the least. She was tough but had a huge heart. She was funny, smart witty and a true genius at painting. Karin was a virtuoso with a paint brush. Karen and I would watch her paint on occasion and we would just sit there with our mouths open in awe. Karin was also one of Karen's most trusted advisors. If Karen had a question, about practically anything, Karin would always give her her honest opinion on that subject. Karin had a way of cutting through the BS, so you knew when she spoke it was the laser focused truth.

Karen and I shared numerous shows with her and took quite a few trips to the beach with her and Brett her partner of thirty years. Karen and I would frequently meet on their side of town for lunch at their (and our) favorite Mexican restaurant. I can't tell you how much I looked forward to those visits, or describe the size of the hole her passing has left in my heart. I love you Karin. James Hollingsworth

Karin has been one of the constants in my blogging life for very many years. 

We corresponded on a number of occasions. Often with me telling her she'd won yet another award in The Making A Mark Awards!

Click the pic to see it BIGGER
and read my nomination properly
- in which I try to explain what made Karin special for me

I treasured notes like this one - which I received after telling her she'd won yet again in the Person Category! She was a very kind person and always so very appreciative of those who supported her as I did - so very many times over the years.

What follows is a resume of Karin's life online - lest we forget all those wonderful paintings. Interspersed by videos of her paintings and a podcast in which you can hear her voice....

About Karin Jurick

This is Karin talking about her life and how she became a painter - followed by a summary of different aspects of her artistic life.

Review: Nature - Big Painting Challenge 2018

This post is about the Second Episode of the Big Painting Challenge 2018 which focused on:

• Nature - painting dogs and trees
• Alternative ways of handling paint

The group and tutors ready for The Big Painting Challenge Episode 2

It follows on from my earlier posts:

• Review: Still Life - Big Painting Challenge 2018 - which highlighted the contestants and the scope of the challenge in the context of car crash set-ups and an enormous complex interior - which was not a still life!
• The Big Painting Challenge (2018) - The Issues which highlighted my niggles about this BBC programme

This episode is available to watch on BBC iPlayer for the next 27 days.

Nine painters continue in the artistic bootcamp, which this week sees themworking with their professional mentors, Diana Ali and Pascal Anson, to conquer paint-handling techniques to depict nature in all its glory.  BBC website

Continuing issues for me

Before I start I want to thank all those who took the trouble to comment on the blog posts and also on my Facebook Page where I post my blog posts once finished.  It's always really good to see if my comments resonate with others and also to get your own perspectives on how things are going - which might be summed up as Sky Arts 1 BBC 0.

Episode 2: Coherent or discontinuity

I'm having major problems with the format for the individual episodes. Last week we had two awful abortions masquerading as still life set-ups and went from those via two fast (but useful) exercises to a vast interior which was in some way supposed to be 'a big still life'.

Absolutely no teaching of perspective in the content of the programme - and then somebody gets sent home for not grasping that her perspective changes when her eyeline changes.

This week we have:

• the reverse of still life - the two teams each had a dog to paint, neither of which was still for very long
• exercises about how to use tools other than brushes to handle paint and make different sorts of marks
• a discussion by Fraser Scarfe (who has morphed into a replacement of Lachlan Goudie) 
• a big challenge about painting lots of trees - and leaves - and how best to represent these through the handling of paint

Teaching: Imperative vs. interrogative

I've still got my hackles raised over Diana's teaching style and tried this week to try and find the reason why.

I concluded that she instructs in a very imperative way - essentially "don't do that, do this" a.k.a. "my way is best". Plus she's just plain RUDE and says some completely outrageous things - a bit like a "shock jock"! (This coming from somebody who is renowned for being somewhat direct!)

It's not very energising - I'd absolutely hate to be in her group - in fact I'd walk and/or insist on being in the other one.

Diana's group gets its dressing down about the dog pics

It was interesting how Ray was swopped to Pascal this week after the the "don't use watercolour, use acrylic' imperative last week.

By way of contrast Pascal's instruction is much more carefully scripted and articulated - plus he asks questions "May I show you?"  I'm very definitely warming to him in this series.

Again, Daphne who everybody seems to think is an ogre - and who I think is just a plain-speaking who makes intelligent comments - is very interesting in the way she asks members of the group questions as she goes round the group.

At some point they will realise that she's actually asking them whether they have considered an aspect that might be worthy of consideration. There's an awful lot that both participants and the audience can learn from the questions she asks. She's very perceptive and perspicacious ie. almost always spot on!

I do think those who "parrot" comments about "her unfortunate manner" might want to bear in mind that their experience to date of painting tutors might be limited to those who say nice things to them all the time because they'd like them to keep paying fees for tuition!

Give me Daphne's feedback any time if you want to make some serious improvement as an amateur artist!

I liked Fraser Scarfe who stepped in for an absent Lachlan (of whom there was no mention). He also provided some sound assessment and judgement and was a nice foil for Daphne. (PS Do take a look at his website - he's got some paintings of trees featured!) His book is called How to Paint Atmospheric Landscapes in Acrylics - I've not seen it or read it - but it looks like the sort of book Ray might find very useful! :)

The First Challenge - doggies!

Ostensibly the next step up from painting something very still is painting something that moves.

Rembrandt - a case study in light and dark

Google Art and Culture is currently displaying a very interesting case study in the portrayal of light and dark in a painting by Rembrandt.

A Case Study of Light and Dark is a slideshow which highlights - in detail and close up - how Rembrandt conveys both light and dark

• in different places within a portrait 
• relative to the light source and 
• relative to the form and local colour of the subject.

Do take a look - I know some with find it VERY educational. For others it's an excellent refresher of what we already know but maybe sometimes forget!

The painting is a Bust of an old man with turban (1627 - 1628) by Rembrandt Harmenszoon van Rijn from The Kremer Collection

______________________________________________________

PS You may have noticed I'm posting shorter posts borrowing from other sites. That's because it's Christmas and I have other "things to do"! :)  Future posts will be similar and/or will display paintings of the season or Christmas.

Van Gogh: Drawing media and techniques

Old vineyard with peasant woman,1890

Vincent van Gogh(1853-1890)
Brush in oil and watercolour, pencil on laid paper, 44 x 54 cm
Van Gogh Museum, Amsterdam

This post focuses on Van Gogh's drawing materials and how they influenced his style.

Here are some of the things I've learned about Van Gogh's approach to drawing.

Drawing Media:

• Pencil: He employed pencil for preliminary drawings and then combined it with ink. He often worked with a carpenter's pencil. He liked to press hard and often worked on wet paper.
• Pen and ink: Van Gogh had a remarkable gift for pen drawing and graphic technique.
• Most of Van Gogh's pen and ink and brush drawings (such as the one above) are executed first in pencil first. He then inks/bruhes over the pencil marks once he is happy with them.
• some of his pen and ink drawings are drawn without any preliminary use of pencil
• During his visit to Arles in 1888, Van Gogh discovered the reed pen (made from local hollow-barreled grass, sharpened with a penknife). It changed his drawing style. He created some extraordinary drawings of the Provençal landscape, including a series of drawings of and from Montmajour (east of Arles) , in reed pen and aniline ink on laid paper. The ink has now faded to a dull brown.
• The Van Gogh Museum is conducting research into pigments and drawing inks in use in the period 1888-1890 and comparing this to the inks Van Gogh used [UPDATE: See the Research Results REVIGO: Paintings - which also comments on inks] 
• Prints: He studied prints from periodicals and wanted to make graphic art which would be affordable to the lower classes.
• Print materials: He experimented with using a lithographic crayon - drawing over pencil and then removing it to get lighter effects. He sometimes also used printing ink in his drawings.
• Use of brush and colour: At Saint-Rémy and Auvers-sur-Oise, he experimented with rhythm and colour - often exploring further the impact of the use of complementary colours such as in the orange and blue used in the above drawing. For colour he used gouache, thinned oils and coloured inks (some of which have now turned brown) with a brush. [UPDATE: See Unravel Van Gogh App - which presents information about media used in paintings]

Trees with ivy in the asylum garden, 1889
Vincent van Gogh (1853-1890) Saint-Rémy-de-Provence, May-June 1889
pencil, reed pen and brush and ink, on paper, 61.8 cm x 47.1 cm
Credits: Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation)

Drawing Techniques

When he died, one commentator remarked that

"It may be certain that in the future the artist who died young will receive attention primarily for his drawings."

What seems to surprise people looking at the drawings is to find that the sort of marks he used in his paintings were first developed in his drawings. Van Gogh's drawings - particularly in the later years - will be immediately recognised to be by Van Gogh by anybody familiar with his paintings. All that is missing is the impasto finish, the saturated colour and optical mixing. Which is quite a lot, which in turn says something about the strength and style of the marks he made. 

However, once one understands that Van Gogh thought that drawing was the root of everything and that it was necessary to master drawing before proceeding to paint and colour, then it makes sense of how a style could become so well developed initially through drawing alone.

Van Gogh's earlier interest in Japanese prints may have sparked an interest in calligraphy. It's certainly the case that when a brush is used in his drawings he seems to use it a very sinuous and calligraphic way. Marks are independent and rarely blended. The pointillism used by some of the Impressionists also seems to have influenced him.

As well as making drawings in advance of paintings, Van Gogh also used to make drawn copies of paintings he was particularly pleased with or for his brother or when he was seeking comments from others. The drawing of the tree, in the asylum of the garden of the asylum at St Remy, is one example of this practice. His drawings are frequently not mere copies but rather seek to continue to explore the subject and the scope for mark-making.

His use of pen and ink demonstrates very good motor control of both his hands and his chosen drawing instrument. I'm not bad at drawing myself, but having drawn using my reed pen during the course of this project I have to say I am now even more impressed with his pen and ink drawings. His control of line direction and weight and ability to leave the ink untouched by a stray finger leaves me in awe! (And you now know why you haven't seen my efforts!).

The notion of Van Gogh as a man who studies, plans and works with control as well as energy is maybe not one that fits neatly with some of the more popular myths. All I can say is that actually trying to use a medium in the same sort of way tells me far more about an artist than anything else. 

Eric Gelber commented extremely eloquently on Van Gogh's mark-making in his article commenting on the drawings exhibition in 2005. Here's what he had to say.

There is a reason why Picasso’s praise of Van Gogh was never qualified. Van Gogh’s uncanny graphic intensity was not simply the by-product of mental disease, expression run rampant. Van Gogh teaches us that a drawn line is not just a drawn line. He instilled his line with veracity and an energy that continues to elude classification. His graphic resources, stippling, cross hatching, a barrage of multi-directional slashes and whorls, were always contained in smartly delineated compositions, and Van Gogh also chose startlingly original subject matter, a lone pair of shoes, a dramatically sloping hole in the ground. His ability to frame wild expanses of plant life allowed him to avoid the pitfalls of horror vacui, present in so much outsider art.............By carefully modulating the direction, shape and size of a limited vocabulary of hand drawn marks, Van Gogh convincingly evoked a variety of textures and forms and vistas. He was masterful at playing dot and circular form off of line or slash and his nuanced and commanding outlines of forms are products of a finely tuned imagination. His outlines are vibrant summaries of forms that are thoroughly convincing and hold our attention without resorting to self conscious distortions. (Eric Gelber)

NOTES:
For further information: If you can't get hold of a copy of Sjraar Van Heugten's book "Van Gogh - The Master Draughtsman" published by Thames and Hudson, then try reviewing the many reviews of the Drawings exhibition held at the Metropolitan Museum of Art in New York and the Van Gogh Museum in Amsterdam. The MMA also has a very useful essay on his drawings.

ERIC GELBER is Associate Editor at artcritical.com. An artist as well as a critic, he has also written for Sculpture, Artnet and the New York Sun.

My Van Gogh Project Links:

• Introduction to the Van Gogh Project
• The economic impact of Van Gogh's Drawings
• Van Gogh: More About Drawing
• Van Gogh: Drawing Landscapes
• After Van Gogh: Drawing the Languedoc Landscape
• Van Gogh, colour and a colour study
• The Van Gogh Project: The artists' contributions
• The Van Gogh Project: The artists' contributions #2

Other Links:

• artcritical.com - Eric Gelber on Vincent Van Gogh: The Drawings
• ves, Colta, and Susan Alyson Stein. "Vincent van Gogh (1853–1890): The Drawings". In Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–.The Metropolitan Museum of Art: Vincent Van Gogh (1853-1890): The Drawings (October 2005)