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Peeks and Piques!
By
RAYMOND J. STEINER PAINTER
ANTHONY BENEDETTO, (aka Tony Bennett, singer) passed along a little book
on drawing to Everett Raymond Kinstler who then, in turn, sent it along
to me. The book, The Undressed Art: Why We Draw by
Peter Steinhart (Alfred A. Knopf, New York 2004), enjoyed by both Benedetto
and Kinstler — and now, by me — might also afford you the
same amount of enjoyment that it did us. New books that come across my
desk are ordinarily listed with brief comment in our “New Art Book”
Column, but this one warrants some special notice — if only for
the delightful sidelights with which he enlightens us along the way toward
what is, after all, a well-covered subject to most artists. And precisely
for these sidelights, the book should also engage artists of all stripes — as well as the simply interested layperson who picks up
our publication for whatever reason prompts them to do so. In his note
to me when he sent the book, Kinstler (who, if anyone, knows the art and joys of drawing) noted that Benedetto (or,
if you will, Bennett) was “ecstatic” with the book. That Kinstler
passed it along to me for my reaction, ought to let you know how he
felt about it. Author Peter
Steinhart, a naturalist and writer, comes at an overview of drawing in
perhaps the most legitimate manner, namely as that of an amateur —
but, an “amateur” in the best (and original) sense of that
word. Already trained to scrutinize in his role as a close and precise
observer of nature, his interest and immersion in the disciplined world
of eye-hand coordination — i.e. draftsmanship — is less of
a leap than a very small hop into what is at bottom a closely allied occupation
— albeit for different motives. That he comes to what he calls “the
undressed art” as a matter of love (thus, as an amateur) and not
as a necessity of his profession, makes — at least for this reader
— all the difference in the world for it allows for an un-pressured,
unrehearsed, and ego-less exploration into what for many artists serves
as the very foundation of their art careers. Steinhart’s subtitle,
“Why We Draw”, then, opens up a very wide gamut of observations
since, not specifically related to the business of art-making (or of science),
allows for him to explore a good deal of what makes us — and the
act of drawing — a peculiarly “human” activity. When
we couple his approach with his long history and facility with that other
distinctly human activity — namely writing (Steinhart, past editor
and columnist of Audubon,
is the author of four books and numerous essays that have appeared in
such publications as the New York Times,
Harper’s, Mother Jones and Sierra) — we are
gifted with a very special book. Steinhart’s insights into not only
the act and art of drawing, but also into that of the practitioner (both
professional and “Sunday-afternoon artist”) — as well
as the often “invisible” life model who silently poses in
front of a sketch class — are humanely revealing, startlingly observant,
and astutely noted — as, perhaps, only the cool, vigilant, objective
eye of the scientist-cum-humanist/writer can muster. This is a book that
anyone can truly enjoy. My thanks to both Benedetto and Kinstler for bringing
it to my attention. |