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Drawing Distinctions: The Varieties of Graphic Expression
 
 
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Drawing Distinctions: The Varieties of Graphic Expression [Hardcover]

Patrick Maynard (Author)
3.5 out of 5 stars  See all reviews (2 customer reviews)

Price: $59.95 & this item ships for FREE with Super Saver Shipping. Details
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Book Description

November 2005
"If our procedure is to work steadily in the direction of drawing as fine art, rather than (as we so often find) beginning from examples of such art, where shall we begin? One attractive possibility is to begin at the beginning—not the beginning in prehistory, which is already wonderful art, but with our personal beginnings as children. From there it will be the ambitious project of this book to investigate ‘the course of drawing,’ from the first marks children make to the greatest graphic arts of different cultures."—from the Introduction

Patrick Maynard surveys the rich and varied practices of drawing, from the earliest markings on cave walls to the complex technical schematics that make the modern world possible, from cartoons and the first efforts of preschoolers to the works of skilled draftspeople and the greatest artists, East and West.

Despite, or perhaps because of, its ubiquity, drawing as such has provoked remarkably little philosophical reflection. Nonphilosophical writing on the topic tends to be divided between specialties such as art history and mechanics. In this engagingly written and well-illustrated book, Maynard reveals the interconnections and developments that unite this fundamental, autonomous, human activity in all its diversity. Informed by close discussion of work in art history, art criticism, cognitive and developmental psychology, and aesthetics, Drawing Distinctions presents a theoretically sophisticated yet approachable argument that will improve comprehension and appreciation of drawing in its many forms, uses, and meanings.



Editorial Reviews

From the Inside Flap

"Drawing Distinctions is written in uncommonly forthright, elegant, and generous prose. By describing in some detail the techniques of drawing, understanding each enough to develop a repertoire of theoretical concepts and distinctions, Patrick Maynard treats the important topic of pictures in a fresh way and makes a useful contribution to the philosophical literature."—Dominic McIver Lopes, Distinguished University Scholar and Professor of Philosophy at the University of British Columbia

About the Author

Patrick Maynard is Professor of Philosophy at the University of Western Ontario. He is the author of The Engine of Visualization: Thinking through Photography, also from Cornell.

Product Details

  • Hardcover: 266 pages
  • Publisher: Cornell University Press (November 2005)
  • Language: English
  • ISBN-10: 0801443245
  • ISBN-13: 978-0801443244
  • Product Dimensions: 10.3 x 7.2 x 1 inches
  • Shipping Weight: 1.8 pounds (View shipping rates and policies)
  • Average Customer Review: 3.5 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Best Sellers Rank: #9,356,861 in Books (See Top 100 in Books)

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Average Customer Review
3.5 out of 5 stars (2 customer reviews)
 
 
 
 
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0 of 1 people found the following review helpful:
5.0 out of 5 stars Excerpts from five published sources, including four reviews, April 30, 2010
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"An...essential reference...the volume's sweep is extraordinary. ... As the author surveys the rich and varied practices we can characterize as drawing, he moves easily from the earliest markings on cave walls and the complex technical schematics that make the modern world possible to cartoons, the first efforts of preschoolers, and to the works of skilled draftspeople and great artists." -Amy Ione, Diatrope Institute

"Maynard's book is brilliant.... Maynard loves his subject and studies it with a rare and welcome patience. He practices something Wittgenstein all too often merely preached: he teaches us differences. There have been many fine books on the theory of the visual arts, but until now, in my opinion, there were only two indispensable ones: Gombrich's Art and Illusion and Wollheim's Painting as an Art. Now, in my opinion, there are three."-David Hills, Philosophy, Stanford University

"Having earlier written a subtle study of photography... a vigorous defense of the purpose and use of drawing in human cultures.... This is the best account I have ever read of Gombrich's complex Art and Illusion. This is a marvelous resource about the nature of drawing to have and refer to." -Svetlana Alpers, Art History, UC-Berkeley

"Remarkable book of great breadth and refined argument...should be part of the `tool-kit' of any art historian or philosopher of art; it should also be obligatory reading for anyone in an art school teaching drawing." -Michael Podro, Art History, University of Essex

"superb book" -Whitney Davis, Art History, UC-Berkeley
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3 of 9 people found the following review helpful:
2.0 out of 5 stars Way too complicated, October 30, 2008
As an artist I do have an unflagging interest in drawing, since I consider it to be the basis of all visual arts. I bought this book sight-unseen because of Amazon's promotion -- it turned out to be my mistake. The book is extremely technical, verging on the mathematical, and considers the artistic aspects of drawing merely as an adjunct. I may be useful for others, but for me it is not.
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Inside This Book (learn more)
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First Sentence:
This is a book of what might be called "philosophical criticism of drawing." Read the first page
Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
depictive perception, depictive drawing, depictive effects, modern design drawing, decorative depiction, depicted things, pictorial perception, constructional drawing, effective depiction, patrick maynard, environmental vision, occluding contours, depicted features, depiction works, picture primitives, convincing depiction, projective systems, imagining seeing, environmental perception, implied pattern, drawing systems, marked surface, drawn marks, linear perspective, drawing surface
Key Phrases - Capitalized Phrases (CAPs): (learn more)
Chauvet Cave, Same Mill Principle, Incompatibility Principle, Jean Clottes, The Metropolitan Museum of Art, Share Principle, British Museum, Zou Fulei, Breath of Spring, Gulf Principle, Nelson Goodman, Brook Taylor, Effects Principle, Far Eastern, Saul Steinberg, Art Institute of Chicago, John Willats, Michael Baxandall, Michael Podro, Salt Lake City, The Art of Earliest Times, University of Utah Press, Collection Centre Canadien, Dave Blazek, End Chamber
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