The prayers were long, thin strips of paper or canvas, newsprint, photographs, or tinsel, embellished with drawings, paint, cut‑outs, dried roses, gold leaf, buttons, beads. Some were abstract; some had words; others had musical notations written on them. One prayer was made from a piece of old, paint‑splattered blue jeans, with a peace symbol and love beads.
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Drawings as a picture making, story telling, dream machine. Drawings that dance, stretch, yearn, arch, and glide across the page. The pleasures of looking emerge here not from what is observed but from how it is rendered; not the image but the artifice.
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For a twentieth-century audience brought up on abstraction, INGRES’s greatness, his fascination, lies in the abstract qualities of his line, its restless, obsessive movement across the page. Ingres’ line has power, grace, life; it’s brilliant, dramatic, neurotic, even perverse. He told his students, “Drawing is everything; it is all of Art.”
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