brush drawing

      in the visual arts, technique in which a brush, usually round and pointed (in contrast to the flat and even-edged ones used for oil painting), is used to make drawings in ink or watercolour, although some artists (e.g., Degas (Degas, Edgar)) have used oil paint heavily diluted with turpentine. The brushes are made of Siberian mink (known as sables) and of squirrel (known as camel's hair). In the past, ermine hair was also used.

      Stone Age artists used brushes of feathers, bristles, or leaves to mark out the general shape of their paintings. At sites such as Altamira in northern Spain, images clearly executed with a brush have been preserved. In classical antiquity, the brush was considered an appropriate tool for drawing. The ancient Greek painters Protogenes and Apelles were said to have had a contest to determine who could draw the steadiest line with a brush. Brush drawing was also used in the Middle Ages, both for drawing figures in illuminated manuscripts and for sketching the areas to be painted for fresco and panel paintings. Brush drawing since the Renaissance, as in works by Tintoretto, Rembrandt (Rembrandt van Rijn), Goya (Goya, Francisco de), and Eugène Delacroix (Delacroix, Eugène), has tended to be loose and sketchlike in effect. There are, however, many examples of a tighter and more meticulous use of brush-drawn lines, such as the famous drawing by Albrecht Dürer (Dürer, Albrecht), Praying Hands (1508). Brush drawing has been used by many 20th-century artists, notably Picasso (Picasso, Pablo), Henri Matisse (Matisse, Henri), and Max Beckmann (Beckmann, Max).

      Probably the highest consistent level of brush drawing was achieved by the Chinese, Koreans, and Japanese. In China the technique dates from at least the 3rd century BC. In East Asia, a very fine brush, mounted on a bamboo handle, was used with ink made of boiled pine soot or with watercolours. A brush is also used for fine calligraphy in East Asian cultures.

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