Leonardo

Pencil Drawing Step by Step by Arthur L. Guptill; Drawing with Pen and Ink by Arther L.
Guptill; An Approach to Figure Painting for the Beginner by Howard K. Forsberg
Review by: Joan Altabe
Leonardo, Vol. 14, No. 4 (Autumn, 1981), pp. 342-343
Published by: The MIT Press
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342 Books
always teem like fish-tanks' (p. 113). Luckily, Lassaigne's text is Eight Artists; The Elusive Image. Exh. cat. Walker Art Center,
brief. Minneapolis, MN, U.S.A., 1979. 64 pp., illus. Paper, $2.25.
Text and photographs are supplemented by a detailed Reviewed by R. S. Biran*
bibliography, lists of illustrations and of institutions that own
Vieira's paintings and an extensive chronology. In the Foreword to the catalog, Mildred S. Friedman states that
art historians refer to the kinds of works shown as 'post-modern'
and that C. Jencks in his book The Language of Post-Modern
Joseph Beuys. Caroline Tisdall. Exh. Cat. S. R. Guggenheim
Fund. New York, 1979. 288 pp., illus. Paper, $16.50. Reviewed Sculpture, 3rd Ed. (New York: Rizzoli, 1980) says 'Post-
Modernism' is 'evasive, fashionable, and worst of all, negative'.
by Dorothy Grotz* Does this apply to the works in this exhibition?
Several Walker Art Center staff members contributed essays
This catalog accompanies the first comprehensive exhibition of
on the exhibited paintings, sculptures, still photographs, cinema
the work of Beuys (Fed. Rep. Ger.) in the U.S.A. There is a
films and video tapes. Martin Friedman discusses the work of
carefully worded Preface by Thomas M. Messer, in which he Peter Campus; Marie Cieri writes about James Byrne; Melinda
acknowledges the controversial character of Beuys' work, Ward about James Benning; and Lisa Lyons about Elyn
because viewers might be shocked by the materials used (fat, felt,
Zimmerman, Jud Nelson, and Sylvia Plimack Mangold. In
household utensils, assorted iron plates, batteries and many
addition, two other critics provided essays. Nancy Rosen
other articles of this kind). The artist himself, even his spoken
analyzes the work of Richard Haas and Christopher Knight
words, are part of the repertory of his 'materials'. Responsive discusses the work of Michael C. McMillen. There are also Notes
viewers 'may derive rewards that are predicated upon Beuys'
own idealistic, Schillerian faith in the ameliorative, restorative by Mildred S. Friedman, and Introduction by Lisa Lyons, an
exhibition checklist, biographies and bibliographies.
and healing powers of a broadened art range and a correspond-
According to Lyons, the consistent theme of the artists is
ingly invigorated art form'. 'illusionism', for example, Campus shows some disembodied
This exhibition was supported by grants from The National
heads magnified as in a dream; the fleeting images of figures and
Endowment for the Arts of the U.S.A. and the Government of
the Fed. Rep. of Germany. The text of the catalog was written by landscapes in Byrne's video installations are totally mystifying
and ambiguous; Benning's cinema films 'dislocate reality';
Tisdall in collaboration with Beuys. McMillen's 'Hall of Doors Episode' are 'metaphysical stage sets
There are recurring themes or 'stations' that appear in this of the unconscious'; Nelson's white styrofoam mouse traps 'give
exhibition-bathtubs, lockers, skeletons, metal constructions, the shock of the familiar';Mangold's painting 'is an art of trompe
boxes, chairs, drawers, deer and swans. It is Beuys' contention
that if freedom occurs in the creative process, art takes shape e'sprit-fooling the mind' and Zimmerman's work 'involves
illusionistic effects that confound the viewer's senses'. Ward, in
through creative thought in general, flowing into the public and her essay, state that 'Often it is those characteristicsof television
socio-political life of the time. avoided by broadcasters as technically or thematically undesir-
His text for 'Rubberized Box', Station 8, reads: 'The outward able that provide the framework of his [Benning's] video
appearance of every object I make is the equivalent of some presentations'. These comments seem to me to justify Jencks'
aspect of inner life. This box came out of my period of crisis in view of 'Post-Modernism'.
Diisseldorf-Heerdt and expresses my inner condition. My
feelings then had this special kind of darkness-almost black,
like the mixture of rubber and tar. It is certainly an equivalent of Pencil Drawing Step by Step. Arthur L. Guptill. Rev. Ed. 147 pp.,
the pathological state mentioned before and expresses the need illus Paper, ?6.70. Drawing with Pen and Ink. Arther L. Guptill.
to create a space in the mind from which all disturbances were Rev. Ed. 159 pp., illus. Paper, ?6.70. An Approach to Figure
removed: an empty insulated space.'
The background material that Tisdall supplies may be Painting for the Beginner. Howard K. Forsberg. 143 pp., illus.
?13.45. Van Nostrand Reinhold, Wokingham, England, 1979.
interesting for interpreting Beuys' work. Born in Cleves in Reviewed by Joan Altabe**
northern Germany (a Catholic and Celtic region), he was an only
child, the son of a storekeeper who sold fodder. As a German Because the expert drawings are such excellent teaching tools and
combat pilot in World War II he crashed in a snowstorm in the the accompanying directions so descriptive, I hesitate to say that
Crimea and was unconscious until rescued by Tartars, who I found the first book too wordy. Some may even like it for that
enwrapped him in felt and fat. This saved his life. After release because the word-density translates into Guptill's caring effort to
from imprisonment in the War, he studied sculpture at the share knowledge. Addressing no less than 52 separate aspects of
Diisseldorf Kunstakademie, where he later taught monumental
pencil drawing, this is surely a definitive reference book for
sculpture. He was dismissed in 1972 because he refused to abide serious students.
by rules for student admission. In revolt against the burgherclass Guptill's instruction plates in the second book on pen and ink
of his country, he was active for short periods in several political
drawing are detailed and clear enough to make the text nearly
groups. In 1974 he organized the Free International University at unnecessary; this is especially true for the chapters on Outline,
Diisseldorf. Tone Building, Value Study, and Light and Shade. But, although
Tisdall wisely takes Beuys as he is-a reformist, a poet, the text provides valuable supplementary information, even a
sometimes a clown, a controversial Chaplinesque figure able to
attract attention and to shock. The catalog with detailed beginner may find parts of it pedantic, for example, 'Keep the
comments by Beuys is at times so obtuse that I wished for better fingers far enough from the pen point to prevent them from being
daubed with ink'. As for the selection of illustrations, I question
editing. the inclusion of a one and one half page picture by Francis
As an artist, Beuys must be viewed as an 'environmental Marshall with obvious brush work in a chapter that elaborates
performer', who makes demands on himself by merging visual on pen points, especially in the light of the book's title. Further,
artworks with physical performance. He displays something of
the spirit of Savonarola; for example, he states: 'The human although there are wonderful exercise plates signed by Guptill,
there are none of his own signed drawings (while those by Henry
condition is Auschwitz... in the delegation of responsibility to Pitz comprise nearly one-fifth of the signed reproductions). More
groups of specialists and the silence of intellectuals and artists. I than 40% of the 'teaching' pages deal with architectural
found myself in permanent struggle with this condition and its
roots. I find for instance that we are now experiencing Auschwitz drawing-an overemphasis of only one aspect of pen and ink
in its contemporary character.... Ability and creativityare burnt drawing, in my opinion.
Students and teachers alike will appreciate that the illustrative
out: a form of spiritual execution, the creation of a climate of
fear perhaps even more dangerous because it is so refined.' I plates face the explanatory text in spacious double-page spreads
in Forsberg's book. This simplicity of format is visually inviting
might share some of his views without responding in any way to
the art that he presents for I find it difficult to accept the 'total art
concept'.
*107 South Broadway, Nyack, NY 10960, U.S.A.
*7 St. Lukes Place, New York, NY 10014, U.S.A. **421 West Olive St., Long Beach, NY 11561, U.S.A.

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 Books 343
and meets the author's aim to keep his instructions as well illustrated step-by-step instructional text on multi-colored
'uncomplicated as possible'. Combining concision with clarity, printing and on effects produced by manipulation of variables
each chapter covers a different aspect of figure painting, such as wood, carving, pigment and printing method. New
including color, composition, depiction of motion and figure techniques employed by six contemporary Japanese artists are
painting techniques. Because learning is sequential, I wonder then described.
about placing a rudimentary lesson on Gesture on page 53 The mixed-media techniques are of both Occidental and
behind more advanced instruction, such as that on foreshorten- Oriental derivation: blocks indented with blunted and pointed
ing. His own words reinforce this: 'At the outset of any drawing, I nails to achieve sensitive gradation of tone; traditional woodcuts
like to establish the movement in the entire figure... [with] with subsequent steps by silkscreen and even by an electronic
simple gesture sketches. But page 53 is not the 'outset'. Also, scanning machine; employment of multiple miniblocks instead
while the 15 plates of frontal anatomy leave no aspect of the of one board; use of etching, lithography, offset-printing and
female form unexplored, merely two plates of males are included, even photo-engraving as stages of multi-media prints. This is a
and they are limited to rear views! But these points do not affect 'how-to' book that will inspire many printmakers into further
my view that this book is excellently written, illustrated and development of techniques. The appendices include interesting
designed. data on making Japanese paper, incorporating illustrations of
each step and recipes for sizing the Japanese way. There is also an
illustrated Glossary of special tools.
An Introduction to Japanese Prints. Joe Earle, Pitman Books,
London, 1980. 46 pp., illus. ?2.95. The History of Japanese
Printing and Book Illustration. David Chibbett. 264 pp., illus. Papermaking.Jules Heller. Pitman, London, 1978. 216 pp., illus.
$50.00; and Evolving Techniques in Japanese Woodblock Prints. ?15.00. Reviewed by George A. Agoston*
Gaston Petit and Amadio Arboleda. 175 pp., illus. $18.50.
Kodansha Int., New York, 1977. Reviewed by Sean O'Driscoll* The author, in his attractively produced and well-illustrated
book, tells how various kinds of paper are made commercially
It may be surprising to learn that, although printing is almost (by hand and by machine) and individually by artists. His scope
certainly a Chinese invention, the earliest surviving examples of is broad with many references to papermaking in the past and
printed text that were not made with movable type are on with a number of interesting digressions to the making of exotic
Japanese Buddhist charms dating from 764 A.D. Movable type products such as tapa and amatl.
printing was invented in China between 960 and 1279 A.D. The standard way for making handmade paper involves the
utilizing bronze ceramic type; it did not reach Japan until the end use of a beater (a machine that converts cotton and linen fabrics
of the 16th century. The early printed works, until about 1598, and waste paper to paper pulp), a mold and deckle (a type of
were of Buddhist origin; the Japanese printing industry was frame and screen on which a sheet of paper is formed by dipping
dominated by this religious sect. into a vat containing a water suspension of pulp) and a press used
In the next century, about 1680, there was a new surge of to expel water from the sheets. Beaters are expensive, but
publishing activity in secular illustrated fiction that led to the homemade ones can be improvised. But beginners may well
appearance of independent printed designs, what is now in consider the simple way of using a kitchen food blender as a
English called Japanese Prints. These three related books are beater and a bookbinder's press (or an old clothes wringer).
complementary and cover the whole gamut from the earliest Instructions are given for making the mold and deckle and a
times until the 1970s. Each of the books is very well presented, watermark.
with appropriate illustrations in full color, by authorities in their Interesting accounts are given of commercial handmade paper
respective fields. production. A chapter is devoted to the various kinds of paper
Earle in the first book provides an expert summarization that used in art, and recipes are given for making some of them.
covers printing in Japan, technique and the background and Particularly worthy of note are the possibilities for innovation,
development of the Ukiyoe style. The term Ukiyoe means to the such as in making multicolored paper, paper casts and reliefs,
Japanese 'pictures of the floating world', a designation applied to translucent papers and papers from weeds. A chapter deals with
pictorial art with connotations of rapidly changing fads and defects in paper and how they may be avoided in fabrication. A
fashions, optimism and a general lack of thought for the morrow: large section is devoted to examples of works of over 50 artists to
Hishikawa Moronubu was the first artist to adopt this floating illustrate the variety obtained with handmade paper and pulp.
world style in book illustration. I commend the author on his The author, an artist and teacher, discusses teaching paper-
judicious selection of the 36 color illustrations, which includes an making to children and to art students. In the last chapter he
example of the Shunga(erotica), which many museums neglected sketches the history of papermaking and presents a chrono-
in the 19th century. The Introduction includes a concise logical table reaching back to 3000 BC. The book ends with a
bibliography of books essential to students and teachers. conversion chart from the English to the metric system, a
Japanese book illustration attracted Occidental interest only glossary, a list of suppliers (U.S.A.) of equipment and materials,
in recent years when it was realized that most Japanese artists an impressive bibliography and an index.
made book illustrations or had their works posthumously
illustrated. Chibbett's book is an important pioneering effort as
the subject of the history of Japanese printing has not previously The Woodturner'sBible. Percy W. Blandford. Tab Books, Blue
been so extensively treated except in Japanese. The first section is Ridge Summit, PA, U.S.A., 1979. 448 pp., illus. $12.25.
devoted to printing, drawing largely from Japanese language Reviewed by Mike Nevelson**
sources. The second section gives a history of book illustration
and an overall survey of the various schools of art and of their Any book called a 'Bible' ought to appeal especially to religious
influence on the styles of book illustration. He introduces over fundamentalists. The wonder is that there should be continuing
700 printed books and their illustrators. Japanese language interest in the old craft of shaping wood blocks in a spinning
characters are included for both authors and titles. In addition to lathe with a hand-held sharp-edged tool and that manufacturers
the general index, a detailed bibliography and glossary of continue to produce wood lathes. How can this technique survive
the competition in advanced technology societies of new ways of
Japanese terms are included in the Appendix. The text is further
enhanced by 70 black-and-white and 32 color illustrations from making shapes by cutting wood precisely with laser beams?
the archives of the British Museum, most published for the first The answer must be that woodturning gives pleasure to quite a
time. This book will, I am sure, remain the standard reference few people. A shape emerges quickly like a vase on a potter's
work on the subject for many years. wheel. Children's spinning toys are an introduction to the
The third book covers various techniques of recent years that fascination of spinning motion. As a piece of wood turns rapidly
in a lathe, the hum of the machine and the sweet smell of flying
developed from classical Japanese woodblock printing. It is a

*Irish International Arts Center, Castle Matrix, Rathkeale, *4 Rue Rambuteau, 75003 Paris, France.
County Limerick, Ireland. **P.O. Box 8952, New Fairfield, CT 06810, U.S.A.

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