by Kevin Freitas


If drawing’s origins can be traced back to the Italian Renaissance and the Academies - its usage primarily as a means to an end - that is, as a form of visual note taking or sketch in preparation for the final work of art, it isn’t until the 18th century that it begins to acquire a certain autonomy and appreciation. Drawing materials and the techniques used in employing them haven’t changed much over the centuries either, case in point, ink drawings or sumi-e has been around since the 10th century in Japan and even earlier in China. Today, it is still one of the many methods artists use to make their art. If there is any thanks to be given for drawings continued success and general public appeal, we should remove our porkpie hats (Llewellyn sports them) and thank such great masters as Rembrandt, Poussin, Rubens, Boucher, Fragonard, Delacroix, Cezanne, Degas, ad nauseam… Drawing has a very fine pedigree that carries a lot of art historical weight: tons and tons of it.

Renaissance artists viewed drawing as a cosa mentale, something that originated in the spirit and mind and then manifested itself through its gesture. Drawing then, was both mental and physical. It may have taken a major exhibit in 1976 organized by Bernice Rose entitled “Drawing Now” at the Museum of Modern Art in New York, to realize drawing could be something else than just lines on a piece of paper. It could also encompass such radical artists (at the time) as Land Art aficionados Robert Smithson and Michael Heizer, and still others from Dine to Agnes Martin to Stella, Twombly, and Rauschenberg. And how about now, where does drawing stand in 2009? The answer might be found in several new works by long time San Diego artist and resident Clayton Llewellyn, currently on view at Device Gallery (Barrio Logan).