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"I, Pencil" is written in the first person from the point of view of a pencil. The pencil details the complexity of its own creation, listing its components (cedar, lacquer, graphite, ferrule, factice, pumice, wax, glue) and the numerous people involved, down to the sweeper in the factory and the lighthouse keeper guiding the shipment into port.
Henry Joseph Darger Jr. (/ ˈ d ɑːr ɡ ər / DAR-ghər; April 12, 1892 – April 13, 1973) was an American writer, novelist and artist who worked as a hospital custodian in Chicago, Illinois. [1]
A sketch (ultimately from Greek σχέδιος – schedios, "done extempore" [1] [2] [3]) is a rapidly executed freehand drawing that is not usually intended as a finished work. [4] A sketch may serve a number of purposes: it might record something that the artist sees, it might record or develop an idea for later use or it might be used as a ...
John Ruskin (8 February 1819 – 20 January 1900) was an English polymath – a writer, lecturer, art historian, art critic, draughtsman and philanthropist of the Victorian era. He wrote on subjects as varied as art, architecture, political economy, education, museology, geology, botany, ornithology, literature, history, and myth.
Pencil drawings were not known before the 17th century, [1] with the modern concept of pencil drawings taking shape in the 18th and 19th centuries. [1] Pencil drawings succeeded the older metalpoint drawing stylus, which used metal instead of graphite. [1] Modern artists continue to use the graphite pencil for artworks and sketches. [1]
Edward Lear (12 May 1812 [1] [2] – 29 January 1888) was an English artist, illustrator, musician, author and poet, who is known mostly for his literary nonsense in poetry and prose and especially his limericks, a form he popularised.
Vale near Matlock. Alexander Cozens (1717–1786) was a British landscape painter in watercolours, born in Russia, in Saint Petersburg.He taught drawing and wrote treatises on the subject, evolving a method in which imaginative drawings of landscapes could be worked up from abstract blots on paper.
The drawing is related to the painting W37 : The Raising of the Cross: 1628-1629: Black chalk, heightened with white, framing lines in pencil and with the pen and brown ink: 19.3 x 14.8 cm: Museum Boijmans Van Beuningen, Rotterdam: The drawing is related to the painting W106 : Two Sitting Figures: c. 1628-1629: Black chalk: 19.3 x 14.8 cm