Sketch Book for the Artist

GODS

AND

MONSTERS

Marks of Influence

MYRIAD CHAINS RUN THROUGH ART HISTORY, marking the a wave to join Achilles' chase of Hector, to Picasso's

influence of one artist upon another. This continuity enriches similarly tight, noisy seascape on p.30. Violent white

the making of art and our heritage. Francisco de Goya was a marks symbolizing Achilles' rage resonate with the energy

master of borrowing, quoting great paintings and popular of Twombly's script on p.220. Opposite below, a Shoshone

culture to add cunning twists to his satires. In this ass, below, seeking guidance and power meditates at the sacred site of

we see the international icon of stupidity. Opposite, Paul a petroglyph. Visions experienced in front of the drawing

Thomas's studies of Picasso and Twombly can be traced sometimes instruct the making of a new one. This act defines

directly. Compare his dark, rushing, barren land rising like the vision and continues the line of spirit guides.

FRANCISCO DE GOYA

Spanish court painter printmaker and draftsman,

whose impassioned work begins with light tapestry

cartoons, portraits, and church murals. Goya later

recorded the horrors of Napoleonic occupation,

and exposed the superstitions, vanity, and follies of

court through copious graphic works including his

best-known prints, Los Caprichos. Near the end of

his life he made his "Black Paintings" on the walls

of his home. They depict as if by lamplight the

devil and witches, hags, deranged masses, his lover

a dog, Saturn devouring his son, and men clubbing

each other to death.

Aquatint Goya has drawn a learned man as an ass, reading

from a book of asses. The title "And So Was His Grandfather"

adds that should we not already know, such asinine behavior

can be hereditary. The well-dressed mule is cumbersome,

crammed tightly at his desk. He would be graceless if he

stood. Other drawn versions of this image are more savage

and frightening. In this softer aquatint he poses for his portrait

Textured background The aquatint process has been used

to great effect in making a gritty toned background. The high,

plain wall suggests a blinkered view of nothing. Pictorially, it

allows the mule to stand forward. Many students leave white

backgrounds in their work, which can swamp the subject

Here, Goya's plainly textured gray background simply

pushes back the space behind the illuminated subject.

Tambien ay Mascaras de Borricos

1799

81 / 2 x 6 in (218 x 154 mm)

FRANCISCO DE GOYA