Drawing - Free

Drawing
For other uses, see Drawing (disambiguation).
ments makes drawing one of the most common artistic
activities.
1 Overview
Pen and wash lion by Rembrandt in the Louvre
A person drawing the Barberini Faun in Munich
Drawing is a form of visual art in which a person uses
various drawing instruments to mark paper or another
two-dimensional medium. Instruments include graphite
pencils, pen and ink, inked brushes, wax color pencils,
crayons, charcoal, chalk, pastels, various kinds of erasers,
markers, styluses, various metals (such as silverpoint),
and electronic drawing. An artist who practices or works
in technical drawing may be called a drafter, draftsman,
or draughtsman.[1]
Madame Palmyre with Her Dog, 1897. Henri de ToulouseLautrec
Drawing is one of the major forms of expression within
the visual arts. It is generally concerned with the marking of lines and areas of tone onto paper, where the accurate representation of the visual world is expressed upon a
plane surface.[3] Traditional drawings were monochrome,
or at least had little colour,[4] while modern coloredpencil drawings may approach or cross a boundary between drawing and painting. In Western terminology,
drawing is distinct from painting, even though similar
media often are employed in both tasks. Dry media, normally associated with drawing, such as chalk, may be
used in pastel paintings. Drawing may be done with a liquid medium, applied with brushes or pens. Similar sup-
A drawing instrument releases small amount of material
onto a surface, leaving a visible mark. The most common support for drawing is paper, although other materials, such as cardboard, plastic, leather, canvas, and board,
may be used. Temporary drawings may be made on a
blackboard or whiteboard or indeed almost anything. The
medium has been a popular and fundamental means of
public expression throughout human history. It is one of
the simplest and most efficient means of communicating
visual ideas.[2] The wide availability of drawing instru1
2
2
ports likewise can serve both: painting generally involves
the application of liquid paint onto prepared canvas or
panels, but sometimes an underdrawing is drawn first on
that same support.
Drawing is often exploratory, with considerable emphasis
on observation, problem-solving and composition. Drawing is also regularly used in preparation for a painting,
further obfuscating their distinction. Drawings created
for these purposes are called studies.
There are several categories of drawing, including figure
drawing, cartooning, doodling and shading. There are
also many drawing methods, such as line drawing, stippling, shading, the surrealist method of entopic graphomania (in which dots are made at the sites of impurities in
a blank sheet of paper, and lines are then made between
the dots), and tracing (drawing on a translucent paper,
such as tracing paper, around the outline of preexisting
shapes that show through the paper).
HISTORY
one of the oldest forms of human expression, with
evidence for its existence preceding that of written
communication.[5] It is believed that drawing was used as
a specialised form of communication before the invent of
the written language,[5][6] demonstrated by the production
of cave and rock paintings created by Homo sapiens sapiens around 30,000 years ago.[7] These drawings, known
as pictograms, depicted objects and abstract concepts.[8]
The sketches and paintings produced in prehistoric times
were eventually stylised and simplified, leading to the development of the written language as we know it today.
Drawing in the Arts Drawing is used to express one’s creativity, and therefore has been prominent in the world of
art. Throughout much of history, drawing was regarded
as the foundation for artistic practise.[9] Initially, artists
used and re-used wooden tablets for the production of
their drawings.[10] Following the widespread availability
of paper in the 14th century, the use drawing in the arts
increased. At this point, drawing was commonly used
A quick, unrefined drawing may be called a sketch.
as a tool for thought and investigation, acting as a study
In fields outside art, technical drawings or plans of build- medium whilst artists were preparing for their final pieces
[11][12]
In a period of artistic flourish, the Renaisings, machinery, circuitry and other things are often of work.
sance
brought
about
drawings exhibiting realistic reprecalled “drawings” even when they have been transferred
[13]
sentational
qualities,
where there was a lot of influence
to another medium by printing.
from geometry and philosophy.[14]
2
History
The invention of the first widely available form of
photography led to a shift in the use of drawing in
the arts.[15] Photography took over from drawing as
a more superior method for accurately representing
the visual world. Following the invention of photography, artists began to abandon traditional drawing
practises.[16] Modernism in the arts encouraged 'imaginative originality'[17] and artists became more abstract in
their approach to drawing.
Drawing Outside of the Arts Although the use of drawing is extensive in the arts, its practice is not confined
purely to this field. Before the widespread availability
of paper, 12th century monks in European monasteries used intricate drawings to prepare illustrated, illuminated manuscripts on vellum and parchment. Drawing
has also been used extensively in the field of science, as
a method of discovery, understanding and explanation.
In 1616, astronomer Galileo Galilei explained the changing phases of the moon through his observational telescopic drawings.[16] Additionally, in 1924, geophysicist
Alfred Wegener used illustrations to visually demonstrate
the origin of the continents.[16]
2.1 Notable draftsmen
Since the 14th century, each century has produced artists
who have created great drawings.
Galileo Galilei. Phases of the Moon. 1616.
Drawing as a Form of Communication Drawing is
• Notable draftsmen of the 14th, 15th and 16th centuries include Leonardo da Vinci, Albrecht Dürer,
Michelangelo and Raphael.
3
• Notable draftsmen of the 17th century include “toothy” paper holds the drawing material better. Thus a
Claude, Nicolas Poussin, Rembrandt, Guercino, and coarser material is useful for producing deeper contrast.
Peter Paul Rubens.
Newsprint and typing paper may be useful for practice
and rough sketches. Tracing paper is used to experiment
• Notable draftsmen of the 18th century include Jeanover a half-finished drawing, and to transfer a design from
Honoré Fragonard, Giovanni Battista Tiepolo, and
one sheet to another. Cartridge paper is the basic type
Antoine Watteau.
of drawing paper sold in pads. Bristol board and even
• Notable draftsmen of the 19th century include Paul heavier acid-free boards, frequently with smooth finishes,
Cézanne, Aubrey Beardsley, Jacques-Louis David, are used for drawing fine detail and do not distort when
Pierre-Paul Prud'hon, Edgar Degas, Théodore Géri- wet media (ink, washes) are applied. Vellum is extremely
cault, Francisco Goya, Jean Ingres, Odilon Redon, smooth and suitable for very fine detail. Coldpressed waHenri de Toulouse-Lautrec, Honoré Daumier, and tercolor paper may be favored for ink drawing due to its
texture.
Vincent van Gogh.
• Notable draftsmen of the 20th century include
Käthe Kollwitz, Max Beckmann, Jean Dubuffet,
George Grosz, Egon Schiele, Arshile Gorky, Paul
Klee, Oscar Kokoschka, Alphonse Mucha, M. C.
Escher, André Masson, Jules Pascin, and Pablo Picasso.
3
Materials
Acid-free, archival quality paper keeps its color and texture far longer than wood pulp based paper such as
newsprint, which turns yellow and become brittle much
sooner.
The basic tools are a drawing board or table, pencil sharpener and eraser, and for ink drawing, blotting paper.
Other tools used are circle compass, ruler, and set square.
Fixative is used to prevent pencil and crayon marks from
smudging. Drafting tape is used to secure paper to drawing surface, and also to mask an area to keep it free of accidental marks sprayed or spattered materials and washes.
An easel or slanted table is used to keep the drawing surface in a suitable position, which is generally more horizontal than the position used in painting.
4 Technique
Almost all draftsmen use their hands and fingers to apply the media, with the exception of some handicapped
individuals who draw with their mouth or feet.[20]
Antoine Watteau, trois crayons technique
The medium is the means by which ink, pigment or
color are delivered onto the drawing surface. Most
drawing media are either dry (e.g. graphite, charcoal,
pastels, Conté, silverpoint), or use a fluid solvent or carrier (marker, pen and ink). Watercolor pencils can be
used dry like ordinary pencils, then moistened with a wet
brush to get various painterly effects. Very rarely, artists
have drawn with (usually decoded) invisible ink. Metalpoint drawing usually employs either of two metals: silver
or lead.[18] More rarely used are gold, platinum, copper,
brass, bronze, and tinpoint.
Paper comes in a variety of different sizes and qualities,
ranging from newspaper grade up to high quality and relatively expensive paper sold as individual sheets.[19] Papers
can vary in texture, hue, acidity, and strength when wet.
Smooth paper is good for rendering fine detail, but a more
Prior to working on an image, the artist typically explores
how various media work. They may try different drawing implements on practice sheets to determine value and
texture, and how to apply the implement to produce various effects.
The artist’s choice of drawing strokes affects the appearance of the image. Pen and ink drawings often
use hatching—groups of parallel lines.[21] Cross-hatching
uses hatching in two or more different directions to create
a darker tone. Broken hatching, or lines with intermittent
breaks, form lighter tones—and controlling the density of
the breaks achieves a gradation of tone. Stippling, uses
dots to produce tone, texture or shade. Different textures
can be achieved depending on the method used to build
tone.[22]
Drawings in dry media often use similar techniques,
though pencils and drawing sticks can achieve continuous variations in tone. Typically a drawing is filled in
based on which hand the artist favors. A right-handed
artist draws from left to right to avoid smearing the image. Erasers can remove unwanted lines, lighten tones,
4
Raphael, study for what became the Alba Madonna, with other
sketches
5
TONE
Line drawing in sanguine by Leonardo da Vinci
5 Tone
Shading is the technique of varying the tonal values on the
paper to represent the shade of the material as well as the
placement of the shadows. Careful attention to reflected
light, shadows and highlights can result in a very realistic
and clean up stray marks. In a sketch or outline drawing, rendition of the image.
lines drawn often follow the contour of the subject, creating depth by looking like shadows cast from a light in Blending uses an implement to soften or spread the original drawing strokes. Blending is most easily done with
the artist’s position.
a medium that does not immediately fix itself, such as
Sometimes the artist leaves a section of the image un- graphite, chalk, or charcoal, although freshly applied ink
touched while filling in the remainder. The shape of the
can be smudged, wet or dry, for some effects. For shading
area to preserve can be painted with masking fluid or cut and blending, the artist can use a blending stump, tissue, a
out of a frisket and applied to the drawing surface, pro- kneaded eraser, a fingertip, or any combination of them.
tecting the surface from stray marks until the mask is re- A piece of chamois is useful for creating smooth textures,
moved.
and for removing material to lighten the tone. Continuous
Another method to preserve a section of the image is tone can be achieved with graphite on a smooth surface
to apply a spray-on fixative to the surface. This holds without blending, but the technique is laborious, involvloose material more firmly to the sheet and prevents it ing small circular or oval strokes with a somewhat blunt
from smearing. However the fixative spray typically uses point.
chemicals that can harm the respiratory system, so it Shading techniques that also introduce texture to the
should be employed in a well-ventilated area such as out- drawing include hatching and stippling. A number of
doors.
other methods produce texture. In addition to the choice
Another technique is subtractive drawing in which the of paper, drawing material and technique affect texture.
drawing surface is covered with graphite or charcoal and Texture can be made to appear more realistic when it is
then erased to make the image.[23]
drawn next to a contrasting texture; a coarse texture is
5
more obvious when placed next to a smoothly blended
area. A similar effect can be achieved by drawing different tones close together. A light edge next to a dark
background stands out to the eye, and almost appears to
float above the surface.
6
Form and proportion
most uncertainties about smaller details, and makes the
final image look consistent.[24]
A more refined art of figure drawing relies upon the artist
possessing a deep understanding of anatomy and the human proportions. A trained artist is familiar with the
skeleton structure, joint location, muscle placement, tendon movement, and how the different parts work together
during movement. This allows the artist to render more
natural poses that do not appear artificially stiff. The artist
is also familiar with how the proportions vary depending
on the age of the subject, particularly when drawing a
portrait.
7 Perspective
Linear perspective is a method of portraying objects on
a flat surface so that the dimensions shrink with distance.
Each set of parallel, straight edges of any object, whether
a building or a table, follows lines that eventually converge
at a vanishing point. Typically this convergence point is
somewhere along the horizon, as buildings are built level
with the flat surface. When multiple structures are aligned
with each other, such as buildings along a street, the horizontal tops and bottoms of the structures typically converge at a vanishing point.
Pencil portrait by Ingres
Measuring the dimensions of a subject while blocking in
the drawing is an important step in producing a realistic
rendition of the subject. Tools such as a compass can be
used to measure the angles of different sides. These angles can be reproduced on the drawing surface and then
rechecked to make sure they are accurate. Another form
of measurement is to compare the relative sizes of different parts of the subject with each other. A finger placed
at a point along the drawing implement can be used to
compare that dimension with other parts of the image. A
ruler can be used both as a straightedge and a device to
compute proportions.
Two-point perspective drawing
When both the fronts and sides of a building are drawn,
then the parallel lines forming a side converge at a second
point along the horizon (which may be off the drawing paper.) This is a two-point perspective.[25] Converging the
When attempting to draw a complicated shape such as a vertical lines to a third point above or below the horizon
human figure, it is helpful at first to represent the form then produces a three-point perspective.
with a set of primitive shapes. Almost any form can be Depth can also be portrayed by several techniques in adrepresented by some combination of the cube, sphere, dition to the perspective approach above. Objects of simcylinder, and cone. Once these basic shapes have been ilar size should appear ever smaller the further they are
assembled into a likeness, then the drawing can be re- from the viewer. Thus the back wheel of a cart appears
fined into a more accurate and polished form. The lines slightly smaller than the front wheel. Depth can be porof the primitive shapes are removed and replaced by the trayed through the use of texture. As the texture of an
final likeness. Drawing the underlying construction is a object gets further away it becomes more compressed and
fundamental skill for representational art, and is taught in busy, taking on an entirely different character than if it
many books and schools. Its correct application resolves was close. Depth can also be portrayed by reducing the
6
9
THE DRAWING PROCESS
contrast in more distant objects, and by making their colors less saturated. This reproduces the effect of atmospheric haze, and cause the eye to focus primarily on objects drawn in the foreground.
8
Artistry
Drawing process in the Academic Study of a Male Torso by
Jean-Auguste-Dominique Ingres (1801, National Museum, Warsaw)
A study is a draft drawing that is made in preparation for
a planned final image. Studies can be used to determine
the appearances of specific parts of the completed image,
or for experimenting with the best approach for accomplishing the end goal. However a well-crafted study can
be a piece of art in its own right, and many hours of careful work can go into completing a study.
Chiaroscuro study drawing by William-Adolphe Bouguereau
The composition of the image is an important element
in producing an interesting work of artistic merit. The 9 The Drawing Process
artist plans element placement in the art to communicate
ideas and feelings with the viewer. The composition can Individuals display differences in their ability to produce
determine the focus of the art, and result in a harmonious visually accurate drawings.[26] A visually accurate drawwhole that is aesthetically appealing and stimulating.
ing is described as being “recognized as a particular obThe illumination of the subject is also a key element in ject at a particular time and in a particular space, rendered with little addition of visual detail that can not be
creating an artistic piece, and the interplay of light and
represented or with little deletion of
shadow is a valuable method in the artist’s toolbox. The seen in the object
[27]
visual
detail”.
placement of the light sources can make a considerable
difference in the type of message that is being presented.
Multiple light sources can wash out any wrinkles in a person’s face, for instance, and give a more youthful appearance. In contrast, a single light source, such as harsh daylight, can serve to highlight any texture or interesting features.
Investigative studies have aimed to explain the reasons
why some individuals draw better than others. One
study posited four key abilities in the drawing process: perception of objects being drawn, ability to make
good representational decisions, motor skills required for
mark-making and the drawer’s own perception of their
[27]
Following this hypothesis, several studies
When drawing an object or figure, the skilled artist pays drawing.
have
sought
to conclude which of these processes are
attention to both the area within the silhouette and what
most
significant
in affecting the accuracy of drawings.
lies outside. The exterior is termed the negative space,
and can be as important in the representation as the figure. Motor Function Motor function is an important physObjects placed in the background of the figure should ap- ical component in the 'Production Phase' of the drawpear properly placed wherever they can be viewed.
ing process.[28] It has been suggested that motor function
7
plays a role in drawing ability, though its effects are not
significant.[27]
Perception It has been suggested that an individual’s ability to perceive an object they are drawing is the most important stage in the drawing process.[27] This suggestion
is supported by the discovery of a robust relationship between perception and drawing ability.[29]
This evidence acted as the basis of Betty Edwards' how-to
drawing book, Drawing on the Right Side of the Brain.[30]
Edwards aimed to teach her readers how to draw, based
on the development of the reader’s perceptual abilities.
Furthermore, the influential artist and art critic John
Ruskin emphasised the importance perception in
the drawing process in his book The Elements of
Drawing.[31] He stated that “For I am nearly convinced,
that once we see keenly enough, there is very little
difficult in drawing what we see”.
Visual memory has also been shown to influence one’s
ability to create visually accurate drawings. Short-term
memory plays an important part in drawing as one’s gaze
shifts between the object they are drawing and the drawing itself.[32]
10
See also
Main article: Outline of drawing and drawings
• Academy figure
• Architectural drawing
• Color theory
• Traditional animation
• Lettering template
11 References
[1] http://dictionary.reference.com/browse/draftsman
[2] www.sbctc.edu (adapted). “Module 6: Media for 2-D
Art” (PDF). Saylor.org. Retrieved 2 April 2012.
[3] http://www.ucl.ac.uk/medical-education/
publications/Reprints2010/
2010-PACA-ArtStudentsWhoCannotDraw.pdf
[4] See grisaille and chiaroscuro
[5] Tversky, B (2011). “Visualizing thought”. Topics in
Cognitive Science 3 (3): 499–535. doi:10.1111/j.17568765.2010.01113.x.
[6] Farthing, S (2011). “The Bigger Picture of Drawing”
(PDF).
[7] http://ttd2011.pressible.org/files/2012/05/
Thinking-through-Drawing_Practice-into-Knowledge.
pdf
[8] Robinson, A (2009). Writing and script: a very short introduction. New York: Oxford University Press.
[9] Walker, J. F; Duff, L; Davies, J (2005). “Old Manuals and
New Pencils”. Drawing- The Process. Bristol: Intellect
Books.
[10] See the discussion on erasable drawing boards and 'tafeletten' in van de Wetering, Ernst. Rembrandt: The Painter at
Work.
• Composition
[11] Burton, J. “Preface” (PDF).
• Diagram
[12] Chamberlain, R (2013). “Drawing Conclusions: An exploration of the cognitive and neuroscientific foundations
of representational drawing.”.
• Digital illustration
• Engineering drawing
• Figure drawing
• Generative art (computer-generated art)
• GPS drawing
• Graphic design
• Illustration
• Multi-Sketch
• Pen
• Sketch (drawing)
• Subtractive drawing
• Technical drawing
[13] Davis, P; Duff, L; Davies, J (2005). “Drawing a Blank”.
Drawing- The Process. Bristol: Intellect Books. pp. 15–
25.
[14] Simmons, S (2011). “Philosophical Dimension of Drawing Instruction” (PDF).
[15] Poe, E. A. (1840). The Daguerreotype. Classic Essays on
Photography. New Haven, CN: Leete’s Island Books. pp.
37–38.
[16] Kovats, T (2005). The Drawing Book. London: Black
Dog Publishing.
[17] Duff, L; Davies, J (2005). Drawing- The Process. Bristol:
Intellect Books.
[18] lara Broecke, Cennino Cennini’s Il Libro dell'Arte: a new
English Translation and Commentary with Italian Transcription, Archetype 2015
8
13
EXTERNAL LINKS
[19] Mayer, Ralph. The Artist’s Handbook of Materials and
Techniques. Viking. ISBN 0-670-83701-6.
• Frank Lohan, Pen & Ink Techniques, Contemporary
Books, 1978, ISBN 0-8092-7438-8.
[20] http://www.webdesignerdepot.com/2010/03/
the-amazing-art-of-disabled-artists/
• Holcomb, M. (2009). Pen and Parchment : Drawing
in the Middle Ages. New York: The Metropolitan
Museum of Art.
[21] This is unrelated to the hatching system in heraldry that
indicates tincture (i.e., the color of arms depicted in
monochrome.)
[22] Guptill, Arthur L. (1930). Drawing with Pen and Ink.
New York: Reinhold Publishing Corporation.
[23] South, Helen, The Everything Drawing Book, Adams Media, Avon, MA, 2004, pp. 152-3, ISBN 1593372132
[24] Hale, Robert Beverly (1964). Drawing Lessons from the
Great Masters (45th Anniversary ed.). Watson-Guptill
Publications (published 2009). ISBN 978-0-8230-14019.
[25] Watson, Ernest W. (1978). Course in Pencil Sketching:
Four Books in One. New York, NY: Van Nostrand Reinhold Company. pp. 167–175. ISBN 0-442-29229-5.
[26] Ostrofsky, J (2011). “A Multi-Stage Attention Hypothesis
of Drawing Ability” (PDF).
[27] Cohen, D. J; Bennett, S. (1997). “Why can't most people
draw what they see?". Journal of Experimental Psychology
67 (6): 609–621. doi:10.1037/0096-1523.23.3.609.
[28] van Somers, P (1989). “A system for drawing and
drawing-related neuropsychology.”. Cognitive Neuropsychology 6: 117–164. doi:10.1080/02643298908253416.
[29] Cohen, D. J.; Jones, H. E. (2008). “How shape constanct
related to drawing accuracy”. The Psychology of Aesthetics, Creativity and the Arts 2 (1): 8–19. doi:10.1037/19313896.2.1.8.
[30] Edwards, B (1989). Drawing on the Right Side of the
Brain. New York, NY: Putnam. ISBN 978-1585429202.
[31] Ruskin, John (1857). The Elements of Drawing. Mineola,
NY: Dover Publishcations Inc.
[32] McManus, I. C.; Chamberlain, R. S., Loo, P.-K., Rankin,
Q., Riley, H., & Brunswick, N. (2010). “Art students
who cannot draw: exploring the relations between drawing ability, visual memory, accuracy of copying, and
dyslexia.”. Psychology of Aesthetics, Creativity and the
Arts 4: 18–30. doi:10.1037/a0017335. Cite uses deprecated parameter |coauthors= (help)
12
Further reading
• Betty Edwards, The New Drawing on the Right Side
of the Brain, HarperCollins Publishers Ltd; 3Rev Ed
edition, 2001, ISBN 978-0-00-711645-4
• Brommer, Gerald F. Exploring Drawing. Worcester,
Massachusetts: Davis Publications. 1988.
• Bodley Gallery, New York, N.Y., Modern master
drawings, 1971, OCLC 37498294.
• J. D. Hillberry, Drawing Realistic Textures in Pencil,
North Light Books, 1999, ISBN 0-89134-868-9.
• Landa, Robin. Take a line for a walk: A Creativity
Journal. Boston: Wadsworth, 2011. ISBN 978-1111-83922-2
• Ruskin, J. (1857). The Elements of Drawing. Mineola, NY: Dover Publications Inc. ISBN 978-1453-84264-5
• Spears, Heather. The Creative Eye. London: Arcturus. 2007. ISBN 978-0-572-03315-6.
• World Book, Inc. The World Book Encyclopedia
Volume 5, 1988, ISBN 0-7166-0089-7.
• Drawing/Thinking: Confronting an Electronic Age,
edited by Marc Treib, 2008, ISBN, 0-415-77560-4.
13 External links
• Timeline of Drawing Development in Children
• On Drawing, an essay about the craft of drawing, by
artist Norman Nason. [This link is no longer active]
• Art-Drawing
• Drawing Resources
• Line and Form (1900), by Walter Crane [This link
is no longer active]
• Leonardo da Vinci: anatomical drawings from the
Royal Library, Windsor Castle, exhibition catalog
fully online as PDF from The Metropolitan Museum
of Art (a great drawing resource).
• Leonardo da Vinci, Master Draftsman, exhibition
catalog fully online as PDF from The Metropolitan
Museum of Art (a great drawing resource).
• Drawing in the Middle Ages A good summary of
how drawing was used as part of the artistic process
in the Middle Ages.
9
14
14.1
Text and image sources, contributors, and licenses
Text
• Drawing Source: https://en.wikipedia.org/wiki/Drawing?oldid=696430106 Contributors: Marj Tiefert, Vicki Rosenzweig, Bryan Derksen, Tarquin, Ap, Andre Engels, XJaM, Daniel C. Boyer, Olivier, Patrick, Michael Hardy, Paul Barlow, Shoehorn~enwiki, Jahsonic, Taras,
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14.2
Images
• File:2-punktperspektive.svg Source: https://upload.wikimedia.org/wikipedia/commons/1/18/2-punktperspektive.svg License: CC-BYSA-3.0 Contributors: No machine-readable source provided. Own work assumed (based on copyright claims). Original artist: No machinereadable author provided. Editor at Large assumed (based on copyright claims).
• File:Commons-logo.svg Source: https://upload.wikimedia.org/wikipedia/en/4/4a/Commons-logo.svg License: ? Contributors: ? Original
artist: ?
• File:Galileo_moon_phases.jpg Source: https://upload.wikimedia.org/wikipedia/commons/7/7a/Galileo_moon_phases.jpg License:
Public domain Contributors: Unknown Original artist: Galileoyh
• File:Henri_de_Toulouse-Lautrec_-_Madame_Palmyre_with_Her_Dog,_1897.jpg Source: https://upload.wikimedia.org/wikipedia/
commons/1/15/Henri_de_Toulouse-Lautrec_-_Madame_Palmyre_with_Her_Dog%2C_1897.jpg License: Public domain Contributors: ?
Original artist: ?
• File:Ingres_Academic_Study_(detail)_03.jpg Source:
https://upload.wikimedia.org/wikipedia/commons/b/b9/Ingres_Academic_
Study_%28detail%29_03.jpg License: Public domain Contributors: Own work Original artist: Jean Auguste Dominique Ingres
• File:Ingres_montagu.jpg Source: https://upload.wikimedia.org/wikipedia/commons/c/c7/Ingres_montagu.jpg License: Public domain
Contributors: http://www.artchive.com/artchive/i/ingres/ingres_montagus.jpg Original artist: scanned by Ulli Purwin
• File:Leonardo_da_Vinci_-_presumed_self-portrait_-_WGA12798.jpg
Source:
commons/3/38/Leonardo_da_Vinci_-_presumed_self-portrait_-_WGA12798.jpg License:
https://upload.wikimedia.org/wikipedia/
Public domain Contributors:
Web
10
14
TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES
Gallery of Art: <a href='http://www.wga.hu/art/l/leonardo/08heads/12selfpo.jpg' data-x-rel='nofollow'><img alt='Inkscape.svg'
src='https://upload.wikimedia.org/wikipedia/commons/thumb/6/6f/Inkscape.svg/20px-Inkscape.svg.png'
width='20'
height='20'
srcset='https://upload.wikimedia.org/wikipedia/commons/thumb/6/6f/Inkscape.svg/30px-Inkscape.svg.png
1.5x,
https://upload.
wikimedia.org/wikipedia/commons/thumb/6/6f/Inkscape.svg/40px-Inkscape.svg.png 2x' data-file-width='60' data-file-height='60' /></a>
Image <a href='http://www.wga.hu/html/l/leonardo/08heads/12selfpo.html' data-x-rel='nofollow'><img alt='Information icon.svg'
src='https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.svg/20px-Information_icon.svg.png' width='20'
height='20' srcset='https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.svg/30px-Information_icon.svg.png
1.5x, https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.svg/40px-Information_icon.svg.png 2x' data-filewidth='620' data-file-height='620' /></a> Info about artwork Original artist: Leonardo da Vinci
• File:Munich_-_Two_young_women_drawing_-_5814.jpg Source: https://upload.wikimedia.org/wikipedia/commons/5/59/Munich_
-_Two_young_women_drawing_-_5814.jpg License: CC BY-SA 3.0 Contributors: Own work Original artist: Jorge Royan
• File:Raphaël_-_Étude_Madone_d'Albe_1.jpg Source: https://upload.wikimedia.org/wikipedia/commons/4/46/Rapha%C3%ABl_-_
%C3%89tude_Madone_d%27Albe_1.jpg License: Public domain Contributors: Livre de Pierluigi De Vecchi : Raphaël, traduit de l'italien
par Odile Menegaux et Paul Alexandre, Paris : Citadelles & Mazenod, 2002, Collection Les Phares, 380 p. ISBN 2850881139 Original
artist: Raphael
• File:Rembrandt-A-Lion-Lying-Down-207063_detail.jpg
Source:
https://upload.wikimedia.org/wikipedia/commons/d/db/
Rembrandt-A-Lion-Lying-Down-207063_detail.jpg License:
Public domain Contributors:
http://consultant.ur.ru/sunstranger/
Lion,%20Rembrandt.jpg Original artist: Rembrandt Harmenszoon van Rijn
• File:Watteau_jeune_fille.jpg Source: https://upload.wikimedia.org/wikipedia/commons/9/92/Watteau_jeune_fille.jpg License: Public
domain Contributors: PD Original artist: Antoine Watteau
• File:Wikiversity-logo.svg Source: https://upload.wikimedia.org/wikipedia/commons/9/91/Wikiversity-logo.svg License: CC BY-SA 3.0
Contributors: Snorky (optimized and cleaned up by verdy_p) Original artist: Snorky (optimized and cleaned up by verdy_p)
• File:Wiktionary-logo-en.svg Source: https://upload.wikimedia.org/wikipedia/commons/f/f8/Wiktionary-logo-en.svg License: Public
domain Contributors: Vector version of Image:Wiktionary-logo-en.png. Original artist: Vectorized by Fvasconcellos (talk · contribs),
based on original logo tossed together by Brion Vibber
• File:William-Adolphe_Bouguereau_(1825-1905)_-_Study_of_a_Seated_Veiled_Female_Figure_(19th_Century).png
Source:
https://upload.wikimedia.org/wikipedia/commons/e/e6/William-Adolphe_Bouguereau_%281825-1905%29_-_Study_of_a_Seated_
Veiled_Female_Figure_%2819th_Century%29.png License: Public domain Contributors: ? Original artist: ?
14.3
Content license
• Creative Commons Attribution-Share Alike 3.0