The Drawing Project – Drawing Biennial
Drawing Biennial 2017 2 March – 26 April 2017
Exhibition & online auction of over 200 unique works on paper
Drawing Biennial 2017 offers insights into how artists contend with a world in rapid and disorienting flux. A snapshot of contemporary drawing practices, the exhibition includes more than 200 new and recent works on paper by leading international artists.
All the drawings are on A4 supports, with each piece given equal prominence in the exhibition.

Ed Atkins. Untitled, Acrylic on Paper
Marcus Cope. Building Blocks, Watercolour on paper
Chantal Joffre. Patti Smith, Watercolour on paper
Dryde Goodwin. Studies of M, Watercolour and gouache on paper


Richard Grayson. Possessions_Inc., Crayon on paper
Ruby Onyinyechi Amanze a moving sky (ada in peace) Graphite, ink, fluorescent acrylic, photo transfer on paper







Courtauld Galleries, Reading Drawings

Inscriptions on drawings reveal essential information about their authorship, dating, subject matter, purpose and history. In Reading Drawings, a selection of works from The Courtauld Gallery’s own collection demonstrates the varying reasons both artists and collectors wrote on drawings, ranging from straightforward signatures to lengthy captions, invented languages and marks of ownership.
Drawings by masters such as Canaletto, Signac, Rubens and others, attest that throughout the ages and regardless of school or nation, artists have felt compelled to write on their drawings. Such inscriptions may be notes to themselves or to others, records of date and time, or unrelated musings scrawled on the first available sheet of paper.
Later owners were similarly unreserved about marking up the drawings in their possession, writing either their own names or the names of the artists to whom they attributed their works. Collectors with more substantial numbers of drawings frequently stamped their sheets with a collector’s mark as well, displaying their ownership for all to see.
The works on view encompass the sixteenth through twentieth centuries, and several have never before been exhibited. They embody an intriguing variety of annotations, and demonstrate how every inscription enriches our knowledge of each work, shedding light on its execution, purpose and ownership.

Peter Paul Rubens (1577-1640),Study of the Farnese Hercules (verso), pen and ink on paper, 19.6 cm x 15.3 cm, © The Samuel Courtauld Trust, The Courtauld Gallery, London
Giovanni Angelo Montorsoli (ca. 1506 – 1563),
‘Studies of antique sculptures’
Giovanni Antonio Canaletto, Piazza di San Giacomo di Rialto, 1760-69, The Samuel Courtauld Trust, The Courtauld Gallery, London


James Ward (1769-1859
View of Cader Idris, Wales, 1802 or 1807


An intriguing insight to the thoughts of artists and owners of these ancient works. The drawings themselves are exquisite and drawn long before the advent of graphite and standard pencils. Silverpoint, charcoal and pen (quill). The observational skills of the artist capture people and scenes in frozen moments for us to wonder at!