Andrew Lambirth

Lines of beauty | 2 April 2011

So far, 2011 has been a good year for drawing. The great Pre-Raphaelite drawings show at Birmingham is still fresh in my mind as I write this review of a superb Watteau exhibition at the Royal Academy (supported by Region Holdings) and a select survey of Victorian drawings and watercolours at the Courtauld. Watercolours are often described as a form of drawing, though they are in fact made with paint. So they occupy a hybrid category, allowing rather too great a laxity of definition, as can be seen in the Tate’s current watercolour compendium. But there is no uncertainty about the Academy’s show: this is all drawings, and of a very high quality indeed.

issue 02 April 2011

So far, 2011 has been a good year for drawing. The great Pre-Raphaelite drawings show at Birmingham is still fresh in my mind as I write this review of a superb Watteau exhibition at the Royal Academy (supported by Region Holdings) and a select survey of Victorian drawings and watercolours at the Courtauld. Watercolours are often described as a form of drawing, though they are in fact made with paint. So they occupy a hybrid category, allowing rather too great a laxity of definition, as can be seen in the Tate’s current watercolour compendium. But there is no uncertainty about the Academy’s show: this is all drawings, and of a very high quality indeed.

So far, 2011 has been a good year for drawing. The great Pre-Raphaelite drawings show at Birmingham is still fresh in my mind as I write this review of a superb Watteau exhibition at the Royal Academy (supported by Region Holdings) and a select survey of Victorian drawings and watercolours at the Courtauld.

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