THE SKETCHBOOKS OF WILLIAM SMITH: day 3

During World War II and in the years that followed, William A. Smith traveled throughout the Far East.  Everywhere he went, he took his sketchbook.

The result was an extraordinary collection of insightful drawings from China, Japan, Burma and other countries.  Here is a small sampling:





 

Smith sketched local clothing and rituals, making a careful record of the features that interested him:




Smith made several drawings of this puppeteer.  Smith was so intrigued by the puppets that he brought a set back to the U.S.  According to tradition, the puppeteer must place hoods over their heads at night to keep the puppets from seeing. 






Smith's sketchbooks, overflowing with drawings such as these, contain a marvelous record of his Asian travels.

Popular posts from this blog

THE SKETCHBOOKS OF ALBERT DORNE

Image
Albert Dorne was one of the most remarkable characters in the history of illustration.  The upcoming book,   Albert Dorne, Master Illustrator  (out in November from the fine folks at Auad Publishing) describes how Dorne used his drawing ability to climb from the depths of poverty and illness to international renown as an artist, business leader, educator and philanthropist. Detail   From the introduction to the new book:      Starting with nothing but a talent for drawing, Dorne became (in the words of advertising titan Fairfax Cone) “the highest paid, most successful commercial artist of his time.”   From that position,   he used his drawing skills as a platform for building a multinational corporation that trained tens of thousands of students around the world in the creative fields of art, writing and photography.   Now a wealthy man, he went on to use drawing to help the disabled, became nationally respected for his charitable work and was appointed by the President of the United S
Read more

GEORGE BRIDGMAN'S ART CLASS

Image
These are original student drawings from the 1911 class of the famous art teacher, George Bridgman. Bridgman, constantly inebriated and chewing on a large black cigar, would rail at his students about the importance of mastering anatomy: "Don't think color's going to do you any good. Or lovely compositions. You can't paint a house until it's built." His students adored him and vied for his approval. Some of the students in this class would grow up to be stars, such as Norman Rockwell , Mclelland Barclay or E.F. Ward . But in 1911 they were still ambitious teenagers dreaming of the future and striving to develop the kind of academic drawing skill that many illustrators today consider irrelevant. The crowded classroom was warmed by the stench of tobacco, charcoal, perspiration and turpentine. Many of the models were girls who had come to the city to work in department stores during a peak holiday season and were laid off after the holidays.  Desperate for money
Read more

FIRST CONTACT

Image
. Every once in a while we do a post on science fiction stories here. For me the genre is just endlessly interesting thanks to remarkable storytellers who break new ground with each advancement in technology, biology, evolutionary psychology, etc. If you add into the mix recent discoveries of planets potentially capable of harboring life in other solar systems, suddenly novels of "first contact" have intriguing new playgrounds. A recent novel I haven't been able to stop thinking about is Blindsight by Peter Watts . It in part explores the questions: If an extrasolar intelligence arrived, would it even be possible for us to parse a completely alien psychology? And how would we react if it seemed to refuse contact or took no notice of our attempts to do so? We have a poor track record in dealing with things we don't understand and that frighten us, and Blindsight is a frightening novel. It has a kind of Richard Dawkins fueled bleakness that makes the story compelli
Read more