Drawing is fundamental to all other art. It is how artists structure, plan and negotiate space. Drawings can be studies for later paintings or sculptures as well as being an art form on their own. Think of it as the foundation to your artistic house. If the foundation is weak, the house will collapse. As John Singer Sargent said, “You can’t do sketches enough. Sketch everything and keep your curiosity fresh.”
Prehistoric artists used natural materials to create pigments they could draw with, such as red ochre and black charcoal. Ochre is a natural earth pigment that comes in a variety of colors from red to yellow and sometimes even purple depending on the amount of iron oxide, hematite, or other pigments mixed in with it. Black charcoal is made by burning tree branches (imagine the last time you had a campfire); the charred bits of wood that are leftover can be used as charcoal. Prehistoric artists would apply the pigments with their fingers, sticks, blown through a hollow piece of bone, or by applying the pigment directly to the walls of caves.
Drawing predates language, and these cave paintings were likely a way for prehistoric people to communicate things like which animals were available for hunting in the area.
These drawings on the walls of Chauvet Cave in southern France date from around 32,000-30,000 B.C.E.
This aboriginal artwork from Australia maybe even older, dating back to around 40,000 BCE.
Paper and the pulp-making process is said to have developed in China in the 2nd century A.D. Before that, the Chinese produced ink drawings and paintings on silk. The process of making paper spread from China, through the Middle East, and into Europe by the 13th century. Some of the most beautiful examples of drawing during this time can be found in the practice of calligraphy, which is a type of artful writing done with a brush or pen.
European Monasteries from the 7th to 15th centuries produced beautiful, hand illustrated manuscripts filled with calligraphy on vellum or parchment made from animal hides. One of the oldest examples of the illuminated manuscript is the Codex Vaticanus, which has been dated to the 4th century.
I know, you’re probably thinking, “this is colored with paint—how is that a drawing?” and you’re right. Back then, drawings were really not considered anything worth keeping. Drawings were preparatory studies and practice for beginning artists so they could eventually paint with accuracy. The illuminated manuscripts are the closest we get to drawing since the prehistoric artists, until the early Renaissance.
Page from a 15th century illuminated manuscript depicting Saint Michael battling a demon.
In order to keep the lettering and images consistent in these manuscripts, model books were made. These books contained examples or prototypes of what certain images, like the crucifixion, or the martyrdom of Saint George, should look like. Students would copy from the book to learn the style of that particular Atelier, or studio where the books were produced. Each Atelier had their own particular style. After copying all the drawings in the book, they would then be able to produce that style over and over again for the Atelier.
In about the 13th century, papermaking techniques arrived in Europe. Making paper was easier and less time consuming than stretching, cleaning, and drying animal hides for vellum and artists began using paper more and more frequently. Even still, drawings weren’t considered fine art. Due to the lack of reverence paid them as well as poor conservation, not many drawings still exist from this time period.
Hans Memling, Portrait of a Man with a Falcon, c. 1447, silverpoint
Here is a classic example of drawing being used as study for other works; Albrecht Durer has made separate small preparatory sketches on one sheet of paper. They are not intended to make one finished and coherent drawing. Rather, they are studies that share a single piece of paper.
Albrecht Durer is well known for his drawings, etchings and watercolor paintings from the late 15th century. Here are two of his self-portraits: one at age 13, the next at age 51.
Albrecht Durer, Study Sheet with self-portrait, hand, and cushions, 1493, pen and ink on paper
Albrecht Durer, Self-Portrait at 13, 1484, pencil on paper
In the Renaissance (ca. 1330 – 1550 CE), drawing became much more popular than in previous centuries and was considered the foundation for any work in the arts. Before students could learn to paint, sculpt, or build, they first had to learn to draw accurately. During this time period, artists began to draw from the live nude figure for the first time and because of this, figures in drawings and paintings developed greater realism.
Leonardo da Vinci, The Virgin and Child with Saint Anne and Saint John the Baptist, c. 1499, charcoal and chalk on paper
Leonardo da Vinci, Study of Horses, c. 1490 metalpoint on paper
Michelangelo, Studies for the Libyan Sibyl, chalk on paper
Drawings weren’t done exclusively on paper; mural artists would draw their composition onto plaster first before painting it. Making multiple studies helped the artist work out any trouble areas before drawing it at a massive scale (if you can’t draw it small, you won’t be able to draw it big either).
Some artists would draw out their composition on a large piece of sturdy paper (like lightweight cardboard) and poke small holes along all their lines. Then they would hold it up to the wall and strike it with a bag full of charcoal, so when the paper was removed, they would have a perfect outline of their drawing on the wall. This is called a cartoon.
Fifteenth-century Flemish artists preferred the precision of metalpoint on white paper. This technique is done by preparing a sheet of paper with a primer or gesso then drawing with a piece of metal (usually silver, though copper and gold are also used) instead of graphite.
Jan van Eyck, Portrait of an Unknown Man, c. 1435-40, silverpoint on prepared paper
Rogier van der Weyden, Portrait of a Woman, silverpoint on paper with cream colored ground
Chalk was seldom used by Flemish artists, but Hendrick Goltzius was adept at using various drawing mediums to suit his vision.