Silverpoint
Silverpoint (one of several types of metalpoint) is a traditional drawing technique first used by medieval scribes on manuscripts.
Contents
Description
A silverpoint drawing is made by dragging a silver rod or wire across a surface, often prepared with gesso or primer.
Silverpoint is one of several types of metalpoint used by scribes, craftsmen and artists since ancient times.
Metalpoint styli were used for writing on soft surfaces (wax or bark), ruling and underdrawing on parchment, and drawing on prepared paper and panel supports.
For drawing purposes, the essential metals used were lead, tin, and silver.
The softness of these metals made them effective drawing instruments. (Watrous, 1957) Goldsmiths also used metalpoint drawings to prepare their detailed, meticulous designs.
Albrecht Dürer's father was one such craftsman who later taught his young son to draw in metalpoint, to such good effect that his 1484 self-portrait at age 13 is still considered a masterpiece.
Late Gothic, early Renaissance
In the late Gothic/early Renaissance era, silverpoint emerged as a fine line drawing technique. Not blunting as easily as lead or tin, and rendering precise detail, silverpoint was especially favored in Florentine and Flemish workshops. Silverpoint drawings of this era include model books and preparatory sheets for paintings.
Artists
Artists who worked in silverpoint include Jan van Eyck, Leonardo da Vinci, Albrecht Dürer and Raphael. Cennino Cennini's "Il Libro dell'Arte" provides a window on the practice of silver and leadpoint drawing, as well as preparing metalpoint grounds, in the late 14th century (Thompson, 1933; Duval, et al., 2004).
Susan Dorothea White's recent book Draw Like Da Vinci (2006) describes the silverpoint technique of Leonardo da Vinci.
Decline of metalpoint
As noted by Francis Ames-Lewis, drawing styles changed at the end of the 16th century, resulting in a decline for metalpoint.
The discovery of graphite deposits at Seathwaite in Borrowdale, Cumbria, England, in the early 1500s and its increasing availability to artists in a pure, soft (and erasable) form hastened silverpoint's eclipse.
Artists sought more gestural qualities, for which graphite, red and black chalk were better suited.
Ink and wash drawings are also prevalent in the period.
In addition, these other drawing techniques required less effort and were more forgiving than silver, which resists erasure and leaves a fainter line.
Furthermore, the preparation of silverpoint supports, usually with hide glue with finely ground bone ash, was labor-intensive. Modern practitioners use zinc, titanium white tempera or marble dust as a ground. Natural chalks and charcoal have the advantage of producing immediate results on uncoated papers (Ames-Lewis, 2000).
Late traditions
Dutch artists Hendrik Goltzius and Rembrandt van Rijn maintained the silverpoint tradition into the 17th century, as it declined in other parts of Europe.
Rembrandt made several silverpoints on prepared vellum, the best-known being the portrait of his wife Saskia, 1633 (KdZ1152, Berlin).
However, artists who continued the tradition of fine line drawing, such as J. A. D. Ingres, turned to graphite, which gradually improved in quality and availability throughout Europe since the 17th century.
Obsolescence
Silverpoint was for practical purposes rendered obsolete by the 18th century (Reiche, 2005).
There has however been a contemporary art revival among European artists and academies because the medium imposes considerable discipline in draughtsmanship since drawings cannot be erased or altered.
See also
External links
- Silverpoint @ Wikipedia
