Question 1: Gombrich describes the two experiences “recall” and “recognition”. Discuss both in the context of your drawing practice (for example when looking into the fridge, out of the window or on a glass) and your personal art reception. What is the relationship between the two and how do they inform each other?
Question 2: “To see at all, we must isolate and select” (p.15) How does this “process of approximation” come into play when we take agency over our own visual expression? What does this say about subjectivity and objectivity in the medium drawing.
Question 3: Consider Robert Weaver’s drawing on top of the page. (info below) Where do you see aspects of Gombrich´s writing reflected in this work?
ca. 800 to1000 words
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This drawing is part of the Robert Weaver Collection at the Modern Graphic History Library,
Department of Special Collections, Washington University Libraries.
The collection was donated to University Archives by Robert Weaver’s daughter Antonia Weaver Pelaez and by his brothers Daniel Weaver and Fritz Weaver in 2004 and 2007. Unfortunately, at this point, I am unable to give you detailed information on title and date of this work. I am waiting to hear back from the Modern Graphic History Library and will inform you as soon as I can.
This is an excerpt of the entry on Robert Weaver on the Modern Graphic History Library website:
(Links to an external site.)
Beginning in the 1950s, Robert Weaver epitomized a socially engaged approach to commercial illustration, drawing the human drama from the immediacy of life. By integrating formal and conceptual currents from fine art practices, he altered the practice’s methodologies thus dramatically expanding its possibilities.
Weaver was born in 1924, in Pittsburgh, Pennsylvania. He studied at the Carnegie Institute, the Art Student’s League in New York, and the Accademia delle Belle Arti in Venice. He began his career in New York in 1952 and over the next three decades, his work appeared in Esquire, Fortune, Life, Look, Playboy, Seventeen, Sports Illustrated, and TV Guide, among many other publications. Weaver’s emphasis on expressionistic, bravura paint-handling wed with unstable narrative content moved the goals of illustration away from depicting an expected point of heightened drama, “to violate the sense of natural relationships,” as he put it. His was an art that flaunted subjectivity, a “visual journalism” truer to life than the compositional niceties and slick brushwork of the generation preceding.
With his bold line always dominant, and a focus on the lively urban landscape, Weaver left the process visible, reflecting his commitment to manifesting on the page the changing cultural climate. He stressed the importance of drawing life, from life, guided by a precisely rendered political conscience and incorporating collage elements that literally brought the physical world into his charged psychological space. Crucially, by fragmenting the image area he introduced multiple viewpoints and jagged sequential narrative into a traditionally fixed point of view, representing a cerebral approach to an illustration world in flux.
In addition to his magazine work, Weaver illustrated numerous books and record industry advertising campaigns. He was the recipient of numerous awards from The Society of Illustrators, which elected him into their Hall of Fame in 1985, and the Art Director’s Clubs of New York and Philadelphia. His work was the subject of the posthumous retrospective, “Seeing is Not Believing: The Art of Robert Weaver” at the Norman Rockwell Museum in 1997.
Weaver was a visiting faculty member at Syracuse University and taught at the School of Visual Arts in New York for more than thirty years, co-creating their Illustration as Visual Essay program. His teaching legacy was such that a 1997 issue of Drawing SVA was devoted to his memory, giving his former students the opportunity to reflect on his profound influence as an educator.
“Pioneers: Robert Weaver.” Communication Arts, May/June (2000): 106–9.
Reed, Walt. “Robert Weaver.” In The Illustrator in America, 1860-2000, 363. New York: The Society of Illustrators, 2001.
work method and work effort, problem solving, formal quality 10
concentration and reflection, curiosity and depth of research 10
understanding, consideration and application of class content 10
risk and failure, daring and boldness10
strengths of results10
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