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Pencil Sketch Drawing Gallery Biography

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Vincent van Gogh drew thousands of images to better his skills and to fulfill leisure time. He completed over 1,000 drawings, which are known of, from 1877 to 1890. Van Gogh saw drawing as a necessary task to build a foundation as an artist and to study form and movement. However, as he describes, in many of his letters, he also used drawing as an outlet for his depression. The following except about Van Gogh’s drawing comes from a letter Vincent wrote in 1880, at the age of 27, to his brother Theo.

“Well, and yet it was in these depths of misery that I felt my energy revive and I said to myself, I shall get over it somehow, I shall set to work again with my pencil, which I had cast aside in my deep dejection, and I shall draw again, and from that moment I have had the feeling that everything has changed for me, and now I am in my stride and my pencil has become slightly more willing and seems to be getting more so by the day. My over-long and over-intense misery had discouraged me so much that I was unable to do anything.”

Although Van Gogh is mainly recognized for his vibrant use of color, his drawings are exceptional because his representation of figures, light and landscape can be appreciated in their own right without the color to distract the eye.

Van Gogh’s drawings were mainly done in pencil, black chalk, red chalk, blue chalk, reed pen and charcoal, although he often mixed mediums when drawing. The following are some examples:
Pencil and transparent water color – Young Man With a Pipe
Pencil, pen, brush, sepia, washed – Bent Figure of a Woman
Black and white chalks, blue pastel, reed pen and ink - Cottages With a Woman Working in the Foreground

Van Gogh drew on a variety of paper types these included Ingres paper, laid paper, wove paper as some of the more commons types. Although drawing was less expensive than painting, Van Gogh used any material he had available. For example, his drawing Peasant Woman, Half-Figure was drawn on an envelope.

Van Gogh was happy when he was drawing, but he doubted his abilities. In the same letter to Theo from 1880 Van Gogh writes,

“I cannot tell you how happy I am that I have taken up drawing again. I had been thinking about it for a long time, but always considered it impossible and beyond my abilities.”

Although his paintings are much more popular than his drawings, Van Gogh is considered a master draftsman as well (see biography). Even after Van Gogh began painting, he continued to draw often doing studies of paintings before and after he completed the canvas. Through drawing he could capture light and images more quickly than painting. He would also sketch out his vision for a painting as practice before beginning the painting. In order to show his paintings to others, mainly to his brother Theo, Van Gogh drew several paintings after they were completed so that they were more portable and could be mailed. The following is a study of his most famous painting Starry Night.
The New York State Museum administers an outstanding collection of the works of Edward Lamson Henry (1841-1919), one of the country's most popular and prolific genre artists at the end of the nineteenth century. His meticulously crafted paintings of domestic life appealed to an audience nostalgic for idyllic images of a vanishing America, an America unsullied by rampant technology and the effects of a devastating Civil War. The Henry collection at the New York State Museum contains a significant group of Civil War images sketched on-site from "nature."

As a youthful artist, Henry experienced the Civil War in the autumn of 1864 when he served briefly as a captain's clerk aboard a Union Quartermaster's supply transport on the James River in Virginia. In a series of penciled "War Sketches" and pastel crayon studies he documented behind-the-lines scenes of a Federal occupation force during the siege of Petersburg. His images of the confiscated, fortified plantation houses of "Westover" and "Berkeley" combine with studies of the sprawling Union supply depot at City Point to chronicle a non-combat side of soldiering important to a fuller understanding of events of the period.

In a posthumous "Memorial Sketch" published by the New York State Museum in 1945, Henry's adoring wife Frances admitted that after a potentially dangerous encounter with a combative guard while sketching on shore, Henry discreetly "made his drawings on deck afterwards and at a safe distance." This distanced viewpoint, however, does not fail to complement the work of other Civil War "Special Artists" like the Waud brothers and Vizetelly, or photographers like Gardner, Brady, and O'Sullivan. In addition, Henry's details of soldiers, horses, wagons, and accoutrements are often sprightly and appealing.

Henry's reasons for rendering war service are as yet speculative. A turn-of-the-century biography states that he "desired to see the pictorial side of the Civil War, and in 1864 obtained a nominal place as a Captain's clerk on a transport, with full liberty to sketch." Frances Henry's contention that at "the breaking out of the War of the Rebellion Mr. Henry was very anxious to go but was too young to enlist" seems naive since he was twenty-three years old by the time "there was a position found for him as captain's clerk". He was, however, a young artist quartered in the Tenth Street Studio Building in New York City at a time when the city witnessed not only the infamous draft riots of 1863 but also the gala sendoff parade for the 20th Infantry United States Colored Troops in the spring of 1864. (In 1869 Henry was commissioned to paint the scene by the Union League Club of New York). In the spring of 1864 the city also was caught up in the fervor surrounding the famous "Metropolitan Fair" Army Relief Bazaar held to raise money for the U. S. Sanitary Commission. In this milieu, perhaps Henry, who had been born in Charleston, SC, and still had family connections in the South, felt compelled to "show his colors." Perhaps he toyed with the idea of becoming a "Special Artist."

No record of enlistment for E. L. Henry has yet surfaced. It is probable that he served, as other artists did, in civilian garb. Had he been in uniform when accosted by that shore guard - had he looked more like a soldier and less like a civilian spy, perhaps - Henry might have felt less compelled to remain "at a safe distance" from potential injury. That his biography refers to his clerk's position as "nominal" is further implication that he possibly was not a uniformed enlistee.

Henry's "War Sketches" and pastel crayon studies document details of site deployment and features which post-Civil War decades erased or obscured. For example, two tiny pencil sketches document river views of "Fort Powhatan" and "Camp Wilson's Landing" (Fort Pocahontas), which provide rare if not unique surviving visual documentation, albeit "at a safe distance," of positions manned by African American troops. The locations are now archeological sites.

Bibliographical note: Elizabeth McCausland's The Life and Work of Edward Lamson Henry N. A., 1841-1919. (Albany: The University of the State of New York, 1945. NYS Museum Bulletin No. 339) remains the primary reference and catalogue raisonne for this artist. It includes "A Memorial Sketch: E. L. Henry, N. A., His Life and His Work" by Frances L. Henry, his wife of forty-four years. Kaycee Benton Parra contributed additional insight into the artist's life in her text for the exhibition catalogue The Works of E. L. The Henry: Recollections of a Time Gone By (Shreveport, LA: The R. W. Norton Art Gallery, 1987). Henry apparently contributed biographical information on himself for the 1894 edition of The National Cyclopedia of American Biography (New York: J. T. White Company). See also: William A. Frassanito, Grant and Lee, the Virginia Campaigns, 1864-1865 (NY: Charles Scribner's Sons, 1983); Harold Holzer and Mark E. Neely, Jr., Mine Eyes Have Seen the Glory: The Civil War in Art (NY: Orion Books, 1993); and Allen Johnson, ed., Dictionary of American Biography (NY: Charles Scribner's Sons, 1928-1937).
Thanks to the generous help of our contributing artists we have been able to present this gallery highlighting the collective works from several of the world's leading automotive illustrators, automotive artists and technical illustrators. Their iconic cutaway renderings, drawings, pencil sketches, realist paintings and airbrush art focuses on notable sports cars, race cars and all types of machinery.
These legendary artists are part of an elite group that were led by pioneers such as James A. Allington, Serge Bellu, Bruno Betti, Jean Jacques Francois, Shin Yoshikawa, Herbert Schlenzig, Theo Page, and others. Throughout my 30+ years in the automotive field I have had the distinct pleasure of working with, and getting to know these talented individuals. I hope you enjoy their work.

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