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The author offers insights on the art exhibition "Place, Space and Who," which she worked on during her residency at Turner Contemporary art gallery in Margate, England in 2019. Topics discussed include the way she acknowledged African American women and the migrant communities of Margate in her drawings, her personal perspectives on migration which influenced her artworks, and the impact of the coronavirus disease 2019 (COVID-19) pandemic on minority ethnic groups in Great Britain.

Henrietta Rose-Innes's novel Nineveh (2011) catalogs the activities of a humane pest expert as she discovers, on an estate under construction outside Cape Town, how human and insect actors undermine the spatial expectations of post-apartheid South Africa. Rose-Innes advances a vision of interspecies connection by recasting controversial themes drawn from South Africa's history to address ecological concerns. Rose-Innes transforms South African literature's "vermin" imaginary to collapse figurative boundaries among humans and nonhumans, and repurposes the fraught concept of "relocation" to spotlight creaturely entanglements in the post-apartheid city. These gestures of reclamation produce a representational tension, reframing immediate political matters to focus on more durable ecological concerns. Yet Nineveh further tilts these discourses into an "ethics of transience" attentive to ecological scale but still cognizant of historical and ongoing injustices. The novel thus undertakes an "ecological relocation," understood along the lines of the essay's three movements as figurative interchange, spatial transit, and perceptual rescaling. [ABSTRACT FROM AUTHOR]

The article focuses on the sketch made by artist Robert Blake. Topics discussed include the sketches made by Robert, the likeliness of his drawings and sketches to that of his brother poet William Blake, the themes, representation and characteristics of his sketches, and the exhibition of the sketches and drawings.

This report outlines the cognitive accomplishments of young children involved in graphic dialogue with adults. A token of collaborative drawing is examined exhibiting the degree to which adult informed tutoring enabled children in their drawing development, enhanced their motivation and ability in narration and resulted in drawings meaningful to them. The case studies examined are the result of a three-year research project conducted by undergraduate students of Athens University Department of Early Childhood Education under the supervision of the author of this article. This game-like pedagogical strategy is inspired by L. Vygotsky's educational philosophy and based on B. & M. Wilson's model of adult-child graphic dialogue. It is understood as a method of instructing drawing enabling children to pass from that which they can achieve alone to that which they can accomplish with adult assistance. This educational approach answers to a call for a more socially accountable art education addressing the child's need to deal with issues he encounters in his everyday life and as such is open to adult and cultural interference. A similar educational approach intends to challenge the long-standing, non-interventionist art educational theory also known as 'child art' and its contention that a prerequisite for a creative individual is expression free from social and adult influence. [ABSTRACT FROM AUTHOR]

This paper is focused on a variety of works, made by Jean-Baptiste Debret in Rio de Janeiro in the 1820s, which describe slave life. It is argued that Debret committed himself imaginatively to responding to Brazilian slavery with an honesty of vision and a precision of form that allowed him to produce an artistic commentary on slave trauma unique in its emotional depth and formal range. As the work focussed upon Brazilian slavery, and until recently was almost completely buried in inaccessible archives, it has not been given the attention within studies of slavery, diaspora and Romanticism which it demands and merits, [ABSTRACT FROM AUTHOR]

The author offers a critical analysis of the artistic medium of drawing, focusing on the use of lines in pen and ink works by 17th century Bolognese artist Guercino. Topics include art theory regarding drawing through the perspectives of critics such as Roland Barthes and David Rosand, Guercino's depiction of the Biblical figures Elizabeth and Mary in study sketches, and consideration of style and the aesthetics of undulating "wet" lines.

Legacy in Heritage Museum Petrovac na Mlavi consists of illustrations by Božidar Boža Veselinović (1921 - 1999), done for the magazine the "Politikin Zabavnik" in the period from 1973 to 1979. Illustrations were done in ink drawing technique on illustration board applied to a mount board. According to their themes, Legacy illustrations are divided into two cycles: Battles and Military Conquests and National Costumes through Centuries. Illustrations are examples of prolific work of Boža Veselinović, the "Politikin Zabavnik" illustrator and one of the most outstanding comic-book illustrators of the second half of the th 20 century. On one hand, the following is expressed through morphological analysis: plastic and iconographic layer of illustrations/drawings; artistic interpretation of themes and motifs of the content of illustrations and drawing characteristics of artist's authentic signature style; problem treatment of newspapers illustration as a drawing in original form and a reproduction in printed medium, with a reference to the relation of basic illustration elements -- text and picture. On the other hand, a definition of illustration as potentially distinct category of applied art, emphasising common characteristics and differences of comic-book and illustration, two related, mutually complementing, verbal and visual mediums of popular culture, is explored. [ABSTRACT FROM AUTHOR]

The article discusses the drawing "A Sacrifice to Jupiter" by the French Baroque artist Bon Boullogne and owned by the Metropolitan Museum of Art in New York City, with particular focus given to the drawing's style and provenance. The question of whether the drawing should be attributed to Bon Boullogne or to his father Louis Boullogne is examined, and the author's assertion that it was executed by the son due to its similarity to a verified drawing titled "Medea and Her Sons" is commented on. A brief overview of Bon Boullogne's career is also presented.

The article explores the relationship between architectural drawing and body. It emphasizes that drawing conveys an external reality of knowledge and desire as these bodily engagements are the literal and figural subject of drawing. It stresses that drawing serves as an act of the architect to affect others that corresponds to the difference between touching the body and grasping it. It asserts that the act of producing a drawing in architectural sense is also a contemplation of the limitations of the body.

The article examines secondary preservice teachers' favorite past reading experiences and considers their reflections regarding the implications of those experiences to improve reading instruction. The research techniques used include comparison analysis of the responses from the preservice teachers to survey questions, using quotes and drawings from the teachers to illustrate categories and themes, and reviewing several reading strategies to promote content area achievement. Sample questions used in the study are given. It was found that the preservice teachers wished for school reading texts that was relevant.

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Pontormo's portrait of Alessandro de’ Medici ( c. 1534–35), showing the duke drawing a portrait of his beloved, cleverly engages with the history and fictive nature of art-making. Pliny's tale about the invention of drawing forms one resonance, Castiglione's praise of the noble art of drawing another, the theorization of disegno by Vasari and others yet a third. Poetic conventions about the picturing of the beloved inform the image of a ruler who is presented as a courtly lover, adept observer, discerning patron, Medicean loyalist, and cultivated prince. Layers of presence and absence, naturalism and idealism are at work in the image, which addresses the perspicacity of sight and the poetics of its very making. The duke adopts a mythic persona but so too does the painter endow his craft with a distinguished pedigree, ranging from Pliny, Petrarch and poets like Lorenzo de’ Medici to the era's notions of perceptual psychology, amorous imprinting and the conceptual basis of disegno. [ABSTRACT FROM AUTHOR]

The article analyzes the concept of the drawing "Zucca," by Giovanni Guerra and Anton Francesco Doni in Europe. Sonia Maffei associated Anton Francesco Doni's "Pitture," in 1564 to a number of drawings with allegorical personifications in the carnet De Rothschild by Giovanni Guerra. At first glimpse, one would associate Guerra's drawings to "Iconologia," due to the preparatory drawings for the woodcuts of the first illustrated edition of the personification handbook. Maffei put a number of Guerra's drawings in relation with "Pitture" and pointed out that some drawings had a connection with few passages of the "Zucca."

This study explored whether child molesters can be differentiated from rapists in their self-figure drawings. To achieve this aim, the Machover Draw-A-Person test (Machover, 1949) was used. A sample of 41 male adult perpetrators of sexual assault, 19 rapists and 22 child molesters (all incarcerated in jail) participated in the study. Participants were given paper and pencil and were asked to draw themselves. Results indicated that self-figure drawings of rapists had more indicators of a violent aggressive behavior trait than drawings of child molesters, whereas exaggeration and emphasis of penis were more obvious in the self-figure drawings of child molesters. However, indicators of anxiety were not found to significantly differ between the groups. [ABSTRACT FROM AUTHOR]

The margins of a Georgian manuscript (approx. 1160) contain illustrations of supernatural beings. This kind of drawings is not commonly found in Georgian theological manuscripts. The atypical pictures in this dogmatic-ascetic work correspond to fairy-tale figures. An examination of the Georgian sources shows that although Christian Orthodox belief played a significant role in Georgian folk tradition, it did not influence all genres of folklore and some forms of fairy tales contain no Christian messages at all. [ABSTRACT FROM AUTHOR]

This article presents information on a leaf of pencil sketches by artist and poet William Blake titled "A Pastoral Figure and Other Sketches." The recto drawings, to which the verso sketches are related, are dominated by a young male seated under a tree. Several of the previously unpublished verso sketches continue themes and types known from the recto. All the verso drawings were probably executed at about the same time as the recto images. Motifs evocative of the lyric/pastoral on the one hand, and the bardic/epic on the other, are the most significant images on both recto and verso.

Two experiments were conducted to examine the effects of participants' free-hand drawings on recognition accuracy and confidence for targets presented in a standard recognition paradigm and a lineup identification task. For both experiments, drawing a target influenced recognition accuracy and the confidence–accuracy correlation. In Experiment 1, the confidence–accuracy correlation was higher for participants completing a drawing than controls. Experiment 2 examined the drawings in relation to participants' decision to choose from the lineups. Once choosing was statistically controlled, the confidence–accuracy correlation for drawers was not higher than controls. These results suggest that the drawing influences the confidence–accuracy correlation by decreasing the likelighood of erroneously rejecting a target-present lineup. Copyright © 2002 John Wiley & Sons, Ltd. [ABSTRACT FROM AUTHOR]

The article describes the subject, textual source and iconography of the series of Saint Mamas drawing created by Jean Cousin the Elder. Saint Mamas tapestries that were woven for the Langres cathedral is said to be among the most admired works of Cousin. His Saint Mamas series include "Amya Petitioning Faustus for the Custody of Saint Mamas" and "Saint Mamas Saved from Drowning." The Metropolitan Museum of Art in New York City acquired one of such drawings, which is said to depict all the hallmarks of Cousin's style. The author claims that the series exemplify Cousin's elegant style.

Early research on working mothers suggested that girls took on more housework when their mothers were employed outside the home. This chapter takes an updated look at this issue by asking whether daughters take on more housework when their mothers report stressful occupational conditions and by making within-family comparisons of sons' versus daughters' involvement in housework. [ABSTRACT FROM AUTHOR]

This paper presents findings from a longitudinal, participant-observation study of one boy's spontaneous drawings from pre-adolescence to adolescence. Themes related to adolescent developmental psychology emerge in the drawings. Feeling, humor, divergent thinking, and love of incongruity characterize the drawings and indicate artistic behavior. Drawing from memory and borrowing image, style, or technique were distinguished from drawing from pictures and replication. The former strategies provide technique, yet permit free ideation which the latter restricts. While artistic behavior in drawing may include borrowing, it also involves idiosyncratic expression, imagination, restructuring, and metaphorical thinking. [ABSTRACT FROM AUTHOR]

The article examines the history of a sixteenth-century black chalk drawing of a young man by Michelangelo Buonarroti at the Art Museum of Princeton University in New Jersey. There are assumptions that the drawing is the work of his pupil but thorough examination show that it is the product of his own artistry. It is something he show to his pupils when he feels impatient with their accomplishments prompting him to show them his own efforts and invention.

The article discusses the history of the artistic works and illustrations by Pierre Bonnard. He was highly acknowledged for his magical tricks and being a seasoned illustrator. It is explained that the collaboration of the effort of Bonnard and Efstratios Eleftheriades (Tériade) in creating a compilation of their drawings is due to their relationship dated back during their work as art critic for the newspaper "L'Intransigeant." It is also stated that Bonnard informed Tériade that he was painting landscape scenes and that he found the contact with nature beneficial to his mental and physical being. They then started planning to create a book that will contain their art works and their implication. His works include "Parisian View through a Window," and "Woman on the Beach."

The authors discuss their research concerning the drawing process of children. They believe that earlier influential theories on the process and nature of drawing, such as those put forth by Dale Harris and Rudolf Arnheim, are inaccurate and misdirect theorizing about the actual drawing process. In their investigation, they began with the assumption that a drawing of an object is not a representation, but a sign. They investigated the manner in which the drawings of young people are influenced by outside sources and sought to learn how images are developed, modified and adopted. They believe that the child learns to draw by noting initially that other people make drawings and conclude that without models to follow there would be little or no visual sign making by children.

The article focuses on a study of the cognitive and perceptual factors in the use of transparencies in drawings of children. It informs that the children of the study were asked to draw a human figure with a type of clothing on. Several deductions are recorded from the test including the fact that the children who drew transparencies scored higher in the IQ test than those who did not. It was found that the transparency shows the difficulty of synthesizing the parts of a figure as a whole. It also comments on the inept attribution of the transparency to lack of planning.

The article analyzes the pen drawing of a crucified monk that appears in two manuscripts in the 15th century. The drawing which is comprised of a crucified monk that is blindfolded, bitten by a snake and attacked by two figures wielding a bow, arrow and a scourge appears in the MS 49 of the Wellcome Institute for the History of Medicine in London and MS 1404 of the Biblioteca Casanatense in Rome. The identical image becomes significant after the ideas expressed in the picture and surrounding texts are determined and retraced. The images in both manuscripts are bilingual miscellanies of unknown date and provenance which are composed of theological didactic and moralizing texts and colored pen drawings.

The article presents a pictorial vocabulary of foreign coasts by Utrecht painter Adam Willarts and his sons. The pictorial vocabulary is consists of a repertory of motifs that were derived from the studies conducted by artist Roelandt Saverij in Bohemia and the Alps. Such motifs include Hungarian soldiers, Bohemian peasants and landscape themes. It can be noted that the pictorial vocabulary conveys engages the viewer in imaginary reconstructions aided by the realistic style of the drawings. According to the author, the original drawings of Willarts uses the drawings of Saverij and goldsmith Paul Van Vianen.

The article discusses on the provisional sets of takes and speculations on the impulses, pictorial and constructed imagery, and ethics of John Andrews' drawings. The pen and ink drawings of Andrews are types, prophetic similitudes for an installation for an exhibition at the Meridian Gallery in Melbourne, Australia. Details on the pen and ink drawing is discussed as well as the drawings are presented.

This paper distinguishes between the type of drawing useful for making pictures and the type of drawing useful for designing. It describes a generative method for the sequential construction of complex images from simple geometric forms. These images are subsequently transformed into representations of some meaningful artefact with further enhancement of their visual complexity. This procedure has been found useful in the teaching of the art of design, and the author argues that its usefulness could be extended to composition even in technological subjects. [ABSTRACT FROM AUTHOR]

The article presents an appeal for outline drawing for little children. To draw starting with a line then with colors of different light and shade are some of the children's exercises in school. Drawing is a form of abstract. A child cannot yet distinguish between visual and tactual perception, so letting them learn about the shapes of things and not about its appearance is suggested. Teacher may help a pupil with his conception on things and stimulate the development of his conventions. The reason why the primitive folk and children use outline is discussed. The children's reason in preferring outline as their medium are their inability to cope with the third dimension art, it forms a more define statement, and the economical and direct mode it presents.