Pencil Sketch Artists Biography
source(google.com.pk)Born in Milwaukee, Wisconsin in 1951 and residing there until attending college at the University of Wisconsin-Stevens Point in 1969, I spent the majority of my childhood exploring what was then rural West Allis. Armed with a net, field guides and collection containers I set out to explore and learn about nature seeking beetles, butterflies, snakes and birds. Art and science surrounded my early years as a teen I raised and rehabilitated injured wildlife in addition to working with and contributing to existing insect and mounted animal collections for my schools biology department. Mastering the art of taxidermy at an early age I spent countless hours exploring the Milwaukee Public Museum giving to me a reverence for our natural world and helped define the path of my education and ensuring my life long interest in our flora and fauna.
Attending college I focused my attention on fine arts, biology and museum methods. Working with the Natural History Museum and College of Natural Resources as a taxidermist and preparing dioramas. Following graduation and a chance meeting with the late Owen Gromme my professional endevors shifted towards wildlife art. Contributing to countless private collections throughout the United States as well as the permanent collections at the Leigh Yawkey Woodson Art Meseum, Wausau and the Miller Art Center, Sturgeon Bay. My outlook on the natural world has been built on the aesthetic qualities through my images I attempt to inspire excitement and admiration for organisms that are so often overlooked.
In my passion for realism my colored pencil drawings are created lifesize and crafted through a technique I developed. Works are created by sorting through coutless photographs, plant material and actual specimens for all measurements and color matching and most works are created with full color background and ca take from as little as one month to a year to complete. For the past number of years my vacations have been spent in the deserts of Arizona, New Mexico and Texas with breathtaking vistas and rich in species diversity. Encountering gila monsters, rattlesnakes, birds and the spectacular emergence of silk moths during the summer monsoon season I am incorporating many of these species in my newest works of art.
Commissions accepted
Excerpted and adapted by Thomas A. D. Watson from the National Cyclopedia of American Biography
Ernest William Watson, artist and author, was born in Conway, Mass., Jan 14, 1884, the son of Daniel and Lucinda (Moody) Watson, who came to this country from England. His father was a weaver. Ernest W. Watson completed his preliminary education at the Monson (Mass.) Academy, was graduated in 1906 at the Massachusetts Normal Art School (now Massachusetts College of Art), Boston, and received an art teacher education degree in 1907 at Pratt Institute, Brooklyn, New York, after a year of study there. From 1908 to 1929 he was a teacher of design, drawing, perspective and composition at Pratt, where he also supervised day and evening classes during 1919-1929. Ernest met his wife, Eva Auld Watson (1888 - 1948), when she attended one of his classes there. They were married on June 21st, 1911 in Pittsburgh Pennsylvania. They first lived in an apartment on Emerson Place in Brooklyn, later moving into one of the Pratt faculty houses at 181 Emerson Place.
In 1915 Ernest W. Watson co-founded the Berkshire Summer School of Art, Monterey, Mass., with Raymond P. Ensign. Watson continued active in the school during summers until 1927. Located at what had been a hilltop farm in Monterey, Massachusetts, the school stayed in existence until 1936.
In 1931 Watson became art editor of Scholastic Magazine, published in New York City, remaining in that capacity until 1937. Also in 1937, with Ralph Reinhold and Arthur L. Guptill, he founded Watson-Guptill Publications, Inc., New York City, of which he was vice-president until December, 1955. Watson-Guptill Publications was the first publishing firm in the United States to specialize in books that undertook to teach readers how to draw, paint, and work in sculpture and ceramics. It also published American Artist magazine, of which Watson was editor in chief until retiring as editor emeritus in 1955. During the early1960's he was a consultant on art books to the Reinhold Publishing Corp., New York City, and produced 15 books on drawing, perspective, composition and instruction, ten of them after his retirement.
Starting in 1913, the Joseph Dixon Crucible Company (now the Dixon Tionderoga Company), at the time a leading manufacturer of a popular brand of artists' pencils, commissioned Watson to execute monthly a full-page pencil drawing to advertise the merits of the company's product. In addition to the drawings, Watson was authorized to choose the subject of the drawing, and he usually wrote the brief informative texts for the advertisements, which appeared regularly in Pencil Points (later Progressive Architecture), School Arts, and other magazines. The commission, which lasted for twelve years, took him to Europe, England, Mexico, and sections of the United States and provided the opportunity for him to develop the creative pencil technique, Broadstroke, for which he became known.
By 1920, together with his first wife, Eva Auld Watson, also a gifted and accomplished artist, Ernest developed new techniques of color printmaking and organized traveling exhibitions for the display of their prints. His work was aquired by the Smithsonian Institution and the Library of Congress in Washington, D.C.. the New York Public Library, New York City, Brooklyn Museum, Baltimore Museum of Art, and the Albert H. Wiggin Print Collection of the Boston Public Library.
Watson was the author of a number of books, including three under the collective title of Course in Pencil Sketching, the first of which was Buildings and Streets (1956) and the other two were Trees and Landscapes and Boats and Harbors (1957). Other of his books were Linoleum Block Printing (1929), Pencil Drawing (1937), Color and Method in Painting (1942), Outdoor Sketching and Forty Illustrators and How They Work (1946), Twenty Painters and How They Work (1950), How to Use Creative Perspective (1955). Gallery of Pencil Techniques (1958), Composition in Landscape and Still Life (1959), Perspective for Sketchers (1964), Ernest W. Watson's Sketch Diary (1965), and The Art of Pencil Drawing (1968). He was co-author with Norman Kent of Watercolor Demonstrated (1945) and The Relief Print (1946) and with Aldren A. Watson of The Watson Drawing Book (1962). Throughout his active career he was deeply concerned with gaining greater attention for American artists, and he devoted a pioneering zeal in attaining this purpose. For his articles in American Artist, he interviewed more than 200 American artists in their homes or studios, and it was Watson's interview with Andrew Wyeth, reported in September, 1942, in Watson's feature article accompanied by reproductions of Wyeth's watercolors and sketches, that won for Wyeth one of his first national acclamations. During the winter of 1962 Watson and his second wife, Eve Brian, held scholarships to the Huntington Hartford Foundation in Rustic Canyon, Pacific Palisades, CA., where they completed work on The Watson Drawing Book. Watson was the recipient in 1959 of the Gari Melchers Gold Medal of Artists Fellowship, Inc. In May, 1965, as Art Teacher Education, Class 1907, he was honored by the Pratt Institute Alumni with an award and gold medal for distinguished service to his alma mater and to the professions of art, education, and publishing. He was a member of the National Sculpture Society, Society of Illustrators, and the Salmagundi Club of New York City. His religious affiliation was with The Riverside Church, New York City. Politically he was a Republican. He was married twice, the first time in Pittsburgh, PA, June 21, 1911, to Eva Mansfield, daughter of Cassius Auld. His first wife died in 1948. His second marriage was in NewYork City April 9, 1949, to Eve Brian, daughter of Andrew Thursten Brian. By his first marriage Ernest Watson had two sons: Lyn (Merlin) Auld Watson and Aldren Auld Watson.
Ernest W. Watson died in New Rochelle, New York, Jan. 23, 1969.
Ernest W. Watson and his wife Eva were the first of three generations of professional artists, including their son Aldren Auld Watson, and their grandchildren, Thomas A.D. Watson, Wendy Watson, and N. Cameron Watson. Please visit the links page for more information.
Plains Drawings by Howling Wolf and Zotom at the Autry National Center
Joyce M. Szabo
Imprisoned Art, Complex Patronage
2011. 224 pp., 61 color plates, 69 figures, notes, references, index, 10 x 8.5
Two small books of vivid drawings—one filled with images by the Southern Cheyenne warrior-artist Howling Wolf and the other with images by Zotom, a Kiowa man—came to the Southwest Museum of the American Indian, now part of the Autry National Center, in December 1986. The books were gifts from Leonora Curtin Paloheimo, and had been commissioned directly from the artists in 1877 by Paloheimo’s grandmother, Eva Scott Muse Fényes (1849–1930). At the time Fényes commissioned the books, Zotom and Howling Wolf were imprisoned at Fort Marion in Saint Augustine, Florida. Like some of the other Southern Plains Indian prisoners held there between mid-1875 and mid-1878, the two men created many drawings for diverse reasons. Some of the prisoners’ books of drawings, including the two that Fényes collected, were sold to people who visited the sixteenth-century Spanish fort.
After Eva Scott Fényes’s death, the books went to her daughter, Leonora Muse Curtin (1879–1972), and subsequently they were passed to Leonora Curtin Paloheimo (1903–1999). More than one hundred years after their creation, the books became part of the Southwest Museum’s collections. Unlike most of the museum’s other holdings of Native American art, these two books originated with a commission by Fényes, a young woman who continued as a patron of the arts for the remainder of her life.
The study of what has become known as Plains Indian ledger art—because the artists frequently used accountants’ ledger books as sources of paper—and of Fort Marion drawings in particular, has burgeoned in the last forty years. Joyce Szabo’s examination of the two drawing books by Zotom and Howling Wolf encompasses their origins and the issues surrounding their commission as well as what the images say about their creators and their collector. Szabo augments the complete reproduction of each page with detail photographs of the drawings.
Awards
2012 New Mexico-Arizona Book Award
Winner
2011 ForeWord Reviews Book of the Year
Winner in Social Sciences, Bronze
Contributors: Joyce M. Szabo
View the Table of Contents
Download an excerpt (PDF, 1 MB).
Read Reviews
“Plains Indian ledger art, so named because the artists used discarded ledger books for their sketches, has come into its own during the last 40 years. A gift of two ledgers to the Southwest Museum of the American Indian, now part of the Autry National Center, is the basis for this delightful book by Szabo (Univ. of New Mexico). Howling Wolf and Zotom at last receive an audience for their artistic creations during their imprisonment at Fort Mation in Saint Augustine, Florida, during the 1870s—far from their Cheyenne and Kiowa villages. These ledgers originally were commissioned by painter Eva Scott Muse Fényes, a young woman who worked tirelessly to preserve remaining vestiges of the vanishing western culture and placed great value on the renderings of these Indian prisoners. The drawings are visual narratives that tell poignant stories of a vanishing way of life. They provide insight into the lives, histories, and mind-sets of these Native peoples. The volumes do not contain a continuous story line; instead each drawing is an entity unto itself, a key to an event. Szabo brings expertise and empathy to this important volume, which is enhanced by numerous beautifully rendered color illustrations. Summing Up: Highly recommended. Lower-level undergraduates and above; general readers.”
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