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Carlos Alonso. De qué me río. Lápiz sobre Papel 76x 56 cm

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tintas

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Minero y Hombre rico.  litografía (en este caso habría que imitar la técnica litográfica)
https://collections.lacma.org/node/580931

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Study for the Exposition Universelle / Palais de L'Optique Poster, Georges Paul Leroux ^ Minneapolis Institute of Art

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By the time the Exposition Universelle of 1900 opened, the French public had become accustomed to the new inventions pervading and changing their lives. Rather than educating people about the benefits of technology as the 1889 Exposition had done, the 1900 fair used innovation to create a land of fantasy.

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https://www.museoreinasofia.es/publicaciones/miriam-cahn

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Dibujo para la película Johannesburgo, la segunda ciudad más grande después de Paris (Soho con cigarro)  1989,  Carbonilla sobre papel.  100 x 130 cm. 

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Evelin Gerber 2018

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2018

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Working with Ixtle
Fernando Castro Pacheco (
Mexico, 1946  lithograph (En este caso habría que imitar con dibujo la tecnica) https://collections.lacma.org/node/580931

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Edmund Kalb

Selbstportrait

20 x 16 cm. (7.9 x 6.3 in.)

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Edmund Kalb Selbstportrait 20 x 16 cm. (7.9 x 6.3 in.) close Artist: Title: Medium: charcoal Size: 20 x 16 cm. (7.9 x 6.3 in.) Sale: * Estimate: * Price: * * Subscribe now to view details for this work, and gain access to over 10 million auction results.

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https://www.artsy.net/artwork/theodore-roszak-daybreak

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Evelin Gerber 2018

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látex balnco, acrílico negro y lápiz graso.

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Käthe Kollwitz “At the doctor”, 1908

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Sergio Sanz

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Emmanuel Lafont

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William Kentridge_ Artwork Survey_ 1980s _ Art21

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William Kentridge_ Artwork Survey_ 1980s _ Art21

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William Kentridge_ Artwork Survey_ 1980s _ Art21

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grafito trama y difuminado, diluído con trementina o alcohol

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Teresa Dias Coelho

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grafito trama

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Javier Aquilué

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van gogh

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Libro Dibujo Argentino Contemporáneo

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Title: Bird Variation II
Medium: Three colour lithograph

William Kentridge

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Fernanda Piamonti @ Centro Cultural Borges

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Agenda de diversidad cultural orientada a las artes

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ernesto deira

Sin título 1962, tinta s-papel-29,5x42cm

https://www.galeriajacquesmartinez.com/storage/images/1151.jpg

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Ernesto Deira Sin título 1962, tinta s-papel-29,5x42cm

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https://elhurgador.blogspot.com/2012/05/sophie-guerrive-ilustracion.html

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Goya. “El sueño de la razón”. Dibujo preparatorio a pluma para los Caprichos h.1797

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Goya. “El sueño de la razón”. Dibujo preparatorio a pluma para los Caprichos h.1797

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Title: Bird Variation III  Medium: Three colour lithographWilliam Kentridge

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Title: Bird Variation III  Medium: Three colour lithographWilliam Kentridge

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La obra de Munch El padre en oración abre una ventana sobre el mundo privado del artista. La xilografía, realizada en 1902, retrata al padre del artista en oración, tal como Munch lo sorprendió al regresar a casa después de una penosa discusión que tuvo lugar entre ellos. Conservado celosamente hasta la muerte de su padre, el precioso folio muestra un rostro menos angustioso del pintor noruego, que junto con Ensor y van Gogh abrió el camino a los ambientes tenebrosos e introspectivos del expresionismo. A partir de 1894 el artista se dedica a los grabados con creciente interés por las potencialidades expresivas que le ofrecían las varias técnicas: punta seca, agua fuerte, agua tinta, técnicas mixtas litografía y xilografía.

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La obra de Munch El padre en oración abre una ventana sobre el mundo privado del artista. La xilografía, realizada en 1902, retrata al padre del artista en oración, tal como Munch lo sorprendió al regresar a casa después de una penosa discusión que tuvo lugar entre ellos.

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Introduction | Propaganda | War Art Scheme | The Anzac Book | Will Dyson | Dyson's Australia at war | Women artists | Broken bodies

Will Dyson's Australia at war: Drawings at the front

'He was emphatically lost, lost like a child, and evoking some of the pity that goes to a child, he looked so very young ...'
(Will Dyson, from the notes on Dead beat, the tunnel, Hill 60)

Will Dyson was the first Australian official war artist to visit the front during the Great War. Attached to the Australian Imperial Force, he travelled to France in December 1916 and remained there until May 1917, making records of the Australian involvement in the war. Dyson experienced the battles at close quarters; he was wounded twice. During his time at Ypres and on the Somme, he produced a large number of pencil, charcoal and watercolour sketches. A selection of these drawings, each with a commentary by the artist, was later published in Australia at war: Drawings at the front (1918).

Dyson preferred to describe the day-to-day life of ordinary Australian soldiers. Many of his drawings focus on the troops' physical and psychological devastation by attention to pose and gesture, like the drooping head, slumped shoulders and fallen body in Dead beat, the tunnel, Hill 60. His aim was not to record heroic acts, but rather the miserable physical and psychological conditions of the Western Front campaigns. By all accounts the winter of 1916-17 was the harshest in the region for decades.

The paintings, drawings and prints in Artists of the Great War provide an introduction to the achievement of Dyson's war art. His rapid, fluent line skilfully captures the soldiers' dreadful circumstances and the loneliness and fatigue of life on the front line.

Will Dyson Dead beat, the tunnel, Hill 60 1917, Australian War Memorial, Canberra

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Introduction | Propaganda | War Art Scheme | The Anzac Book | Will Dyson | Dyson's Australia at war | Women artists | Broken bodies 'He was emphatically lost, lost like a child, and evoking some of the pity that goes to a child, he looked so very young ...'

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Dumas Marlene | United Europe (2005) | MutualArt

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View United Europe (2005) By Marlene Dumas; Digital print in colours on sturdy wove paper; 37 x 28 cm; Signed; Edition. Access more artwork lots and estimated & realized auction prices on MutualArt.

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Nuria Riaza

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Goldini, Esbozo 1 por el Asesino Serial de Buenos Aires, 2006, El Comienzo, del Libro de Artista, Ilustración, Arte Contemporáneo Latinoamericano, Arte Argentino Contemporáneo. Argentina. Expresionismo.

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Esbozo 1 por el Asesino Serial de Buenos Aires, 2006, El Comienzo, del Libro de Artista, Ilustración, Arte Contemporáneo Latinoamericano, Arte Argentino Contemporáneo. Argentina. Expresionismo.

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The 1st Australian Tunnelling Company was tasked with protecting the mighty Hill 60 explosive mine from the hundreds of German tunnellers who dug furiously trying to find it. For seven months prior to the mine's detonation, the Australians lived and worked in silence, amidst cramped tunnel systems, countermining and undermining German saps.

The circumstances were bearable to what they would be in the line, but fatigue even here, to the unlucky forced to spend a night in the bad spots of the tunnels, is a circumstance the aching misery of which cannot be judged by any standard with which our average civilian is conversant.

Will Dyson, 1917

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Home comforts in the tunnels, Hill 60 - Will Dyson - Google Arts & Culture

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The 1st Australian Tunnelling Company was tasked with protecting the mighty Hill 60 explosive mine from the hundreds of German tunnellers who dug furiously trying to find it. For seven months prior to the mine's detonation, the Australians lived and worked in silence, amidst cramped tunnel systems, countermining and undermining German saps.

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http://www.boladenieve.org.ar/sites/default/files/01RCanas.jpg

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estudiante 2018

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Alberto Breccia                                                                                                                                                                                                              

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Alberto Breccia                                                                                                                                                                                                              

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https://www.cultura.gob.ar/breccia-decidio-romper-con-todo-lo-que-parecia-correcto-para-la-historieta_7572/

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Jorge Astrada 2018

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Lunar Burgos 2018

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https://www.zonanegativa.com/mort-cinder/

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tinta

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https://elpais.com/diario/2005/07/01/cultura/1120168801_850215.html

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tinta

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https://brainstomping.com/2019/04/11/new-york-the-big-city-la-vida-en-la-gran-ciudad-segun-will-eisner/

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https://ilustracion.fadu.uba.ar/2016/06/01/rocambole-arte-diseno-y-contracultura/

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tinta y café

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Paula Sanz Caballero

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https://www.stephenongpin.com/object/820531/18203/adolph-menzel-breslau-1815-berlin-1905

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This drawing is a study for a man seated at a pew in the centre of Menzel's gouache of A Sermon in the Parish Church of Innsbruck (Kanzelpredigt in der Pfarrkirche zu Innsbruck) of 1881, today in a private collection and on loan to the Germanisches Nationalmuseum in Nuremberg. The artist spent the summer of 1881 on a tour to Frankfurt, Baden-Baden, Fribourg im Breisgau, Switzerland, the southern Tyrol and various cities in Northern Italy, returning to Berlin via Innsbruck and Munich. In Innsbruck, Menzel visited the then parish church (now the Cathedral) of St. Jakob, the setting for the small gouache painted later that year. Built in the first quarter of the 18th century, the Catholic church of St. Jakob is regarded as one of the most significant late Baroque buildings in the Tyrol. The fresco paintings and stucco decoration of the interior were the work of the brothers Cosmas Damian Asam and Egid Quirin Asam, while the magnificent pulpit seen in Menzel's gouache was the work of the Tyrolean sculptor Nikolaus Moll, and was completed in 1725.

Menzel had a longstanding interest in Baroque buildings and their interiors - a development of his earlier studies of the interiors of 18th century Prussian palaces and buildings from the time of Frederick the Great - and produced drawings and gouaches of churches throughout his career. As Marie Ursula Riemann-Reyher has noted in her description of the gouache: 'With a few exceptions...Menzel's church interiors are peopled by congregations and vergers, and appear as places of urban communication. From the hand of the priest in the pulpit, raised in blessing, the eye moves downwards to where the congregation is only partly paying attention as a server moves the purse and bell in front of them on the end of a long pole...In the gigantic area of the parish church...only the two pillars and a small part of the wall between is visible. The pillars, which are depicted much larger than their actual size, alone create the impression of a colossal church of resplendent colour.'

As one modern scholar has noted, 'a sketch [Menzel] considered failed could be unceremoniously crossed out. Very often he only crossed out the face of the figure. One can speculate about the reasons for this. The most straightforward one would be that Menzel was dissatisfied with his attempt at capturing a facial expression. But it is also conceivable that he was only really interested in the gesture, the movement of the body, or the drape and hang of a piece of clothing - that the head was incidental to the motif.'

Other preparatory figure studies by Menzel for the Sermon in the Parish Church of Innsbruckare in the Kupfertichkabinett in Berlin, the Hamburger Kunsthalle in Hamburg, and elsewhere.

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Adolph MENZEL (Breslau 1815 - Berlin 1905)-N/A

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This drawing is a study for a man seated at a pew in the centre of Menzel's gouache of A Sermon in the Parish Church of Innsbruck (Kanzelpredigt in der Pfarrkirche zu Innsbruck) of 1881, today in a private collection and on loan to the Germanisches Nationalmuseum in Nuremberg.

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Manuel Coll