Drawing is the trustworthiness of the art.

Drawing is the reliable form of art. There is no chance of being tricked. Christina Pettersson uses graphite to express ideas of death, restoration, and eternity with honesty, accuracy, and creative skill. From an opposing Artemis or a restored Desdemona to a bleeding chasing ground or a Double Self Portrait filled with fear and various results, we chose for you images that speak to women who face intersection and need to make a decision. Their physically depicted athletic bodies are clothed in a character and sensual aura that Ms. Pettersson masterfully creates by manipulating light and shadow. Her strong women, goddesses or human, have an adversarial association with creatures and are flexible even in death.
The black and white drawings by Christina Pettersson depict a world where mystery still holds. Where the old divine beings and goddesses are alive and stable, without shading she draws living, instinctive pieces that attract people, call to them, influence them to perceive the world as it is and not as it should be. Her creative energy runs profound and can't be denied or opposed as it calls the watcher to dream with her.
Christina Pettersson's drawings and their inspiration from the Renaissance
Renaissance implies the European literature and art that was influenced by the classical models between the 14th and 16th century. The drawings by Christina are largely inspired by renaissance as observed in the presentation of the same. The images are displayed in a frame called "The Sentinel," and the pictures gaze at the audience, penetratingly, on three dividers in a little exhibition in the Art and Culture Center of the artist (Pettersson, 1995). There is just a single image for every divider since more would mess the greatness of the vast scale graphite works.
The drawings are inspired by the triumphalist and western Europe-focused picture of the Renaissance as the great walk of advancement and development. A sharp break with medieval esteems and establishments, another consciousness of the individual, a stirred enthusiasm for the material world and nature, as well as the recuperation of the social legacy of old Greece and Rome, which were once comprehended to be the significant accomplishments of the Renaissance (Ames-Lewis, 2015). Today, every element of the recipe is under doubt if not through and through disavowed. The term Renaissance remains a broadly perceived name for the multifaceted period between the prime of medieval universalism, as typified in the drawings and clearing changes of the seventeenth century.
The artist, Christina Pettersson looked to ponder Florida's "charming riddle," composing that since the first Spanish Conquistadors arrived on the shores of the contemporary state of Florida, dreams of what could exist had driven the present district's appeal (Pettersson, 1995). Up to the present time, Florida is acquiring pictures and stories from whichever culture and history that appears to be engaging. On similar grounds, Christina's drawings also contained pictures from different cultures and historical backgrounds which appeared to be engaging (Ames-Lewis, 2015).
The idea of "Florida" pictures that Pettersson draws is an inspiration for pictures of Edenic magnificence, and not the parade of sun-heated strip shopping centres hindered by the periodic beachside heaven. A single lady populates each of her scenes, and in two of them, she is nude, secured just by the intermittent band or knickknack around the neck (on the off chance that one can call a dead chicken a decoration). In one, she's holding a bow and pointing it at the audience while the others appear to be pointing past the audience. There is no indication of Man in Pettersson's illustrations. However, creatures are all over, blasting out of trees and shakes and truly emerging out of each fissure (these are numerous works, and the more she takes a gander at them, the more audiences can see). In one of the drawings, the lady is leaning back on a bearskin floor covering, looking each piece like a model from a bare Renaissance painting, for example, those finished by Renoir, Delacroix or Vecchio.
From the obvious inspiration that the artist gets from the renaissance, it is hard to believe that she is not in dialogue with her past. Observably, there is a huge dialogue between modernity and history, the fantastical and classical, the worldly and the otherworldly which form the inspiration for the drawings she does (Thurber, 1996). Pettersson's work is also inspired by Persephone, who was a Greek goddess that ruled over the underworld. Guests stroll through a way of "ocean growth," flanked on either side by solidified shells, toward a monster screen demonstrating a video of a lady strolling a comparable way, to the strains of an unpleasant folksong. The experience resembles entering a three-dimensional adaptation of Pettersson's visual artistry, transporting us through a commonplace gateway into a new land (Pettersson, 2003).
A large portion of Christina's drawings is revived from the best dramatic stories all through history, brought forth by undying affection. They are the primal flames that fuel her desire to be alive on the planet. The images were initially in large territories of discharge space, however, of late the foundation has been assuming a bigger part (Pettersson, 2003). Renaissance truly signifies "gone up in smoke." The artist cherishes the strange Pagan scenes, as well, particularly Giorgione's Sleeping Venus, which demonstrates a lady that is mysteriously leaning back on streaming texture in the sentimental outside. Observably, she has the feeling of a realm on the precarious edge of crumble from its particular wantonness (Thurber, 1996). The old world is subsiding, and the leaning back lady is both a defender and destroyer at the same time. She needs to reestablish that epic and fanciful measurement, a feeling of wonderment and veneration for the world (Waagen, 2016).
The inspiration of the drawings from renaissance is not only a boost for the artist in providing beautiful drawings but also a form of connection between the old days and the modern times. She uses stories from the past to come up with the drawings that are relevant in the modern days. As such, her art does not only suit a particular target group but cuts across both gender and the different age groups in the society (Elizabeth Layton, 1994). People who are interested in historical concepts such as those of Rome can also derive good information from the details offered in the pictures. It can be concluded that the renaissance provided the basis for which majority of the drawings and captions for the drawings by Christina were done.
Christina Pettersson's drawings, sexual desires and predatory state
Through her drawings, Christina Petersson tends to explore decay, memorialization, and restoration in extensive scale graphite illustrations that reference great writing from the English Canon. Her sexual scenes, populated by a repeating female figure encompassed by creatures, uncover the ferocity of the experience of a world in decay. As a student of history and arts, Christina was nourished on religious works of art, on Greek and Roman folklore, perpetual dynamic, sexual portrayals of bodies under a peaceful sky. The drawings imply that to her, sex and viciousness is the bread and margarine of history painting. It's nothing unexpected because people long to know story sources. Despite the fact that she is not clutched in her Catholic childhood, she discovered that the symbolism is captivating. The drawings indicate how she can't resist the urge to think and draw in original terms as portrayed by the nude images.
Most of the human images presented by Christina in her drawings are naked. Small garments or rather the hand is used to cover the private parts of the body. Additionally, the posture that she assumes in the drawings is sentimentally or sexually attractive. As such, she appears to be attracting the opposite gender hence indicating her sexual desires and predatory intent. For instance, there is a drawing of a nude lady on a horse. The both of them are in a rough sea. The fact that the lady is on a horse in water is enough implication that she is predatory in the state. It is because it shows that she is willing to go an extra mile so that she can obtain what she intends to get. She is neither scared by the waves in the sea nor the cold brought by the winds. Similarly, staying nude is an implication of sexual needs as she largely intends to instil the sexual arousal in the minds of the opposite sex. As such, she can easily lure the opposite gender into intimate relationships thus confirming her predatory state through the drawings. Again, from her scaling, she holds that she intends to make the readers feel that they can step into drawings and be a replacement of the images (Pettersson, 2003). The intention is not only to display her art but to get into the minds of the audience through the artwork. Through the move, she manages to convince her audience that her artwork is the best. Ability to convince people to love something is an implication of the predatory state since not everybody is capable of the same.
Conclusion
Chistina Pettersson achieves a tremendous amount of details in her graphite and drawings. Her work is considered exemplary as it portrays natural images of people and animals as inspired by the renaissance. The figures that she idealises in work indicate her sexual desires, as well as predatory state, particularly through the fact that most of the personal pictures are nude ladies, assume suggestive postures to attract the opposite gender. The artist has achieved her intended purpose of bridging the gap between the present and the old days through the inspiration of renaissance, which is a clear concept in the drawings. Appreciatively, the combination of sexual desires, predatory state and renaissance is not an easy task in art. as such, the artist deserves credit for attempting to achieve her intended purpose of passing the historical message to the audience through drawings using the three concepts.











References
Ames-Lewis, F. (2015). The Antonio II BadileAlbum of Drawings: The Origins of Collecting Drawings in Early Modern Northern Italy. Evelyn Karet. Farnham: Ashgate Publishing Limited, 2014. xxi + 336 pp. $129.95. Renaissance Quarterly, 68(2), 643-644. http://dx.doi.org/10.1086/682457
Elizabeth Layton. (1994). Drawings. Literature And Medicine, 13(1), 47-59. http://dx.doi.org/10.1353/lm.2011.0151
Pettersson, C. (1995). Livet i retur. Stockholm: Bröstcancerföreningarnas riksorganisation (BRO).
Pettersson, C. (2003). Sex månader efteråt. Stockholm: Statens institutionsstyr. (SiS).
Thurber, J. (1996). Writings and drawings. New York, N.Y.: Literary Classics of the United States.
Waagen, G. (2016). Treasures of art in great britain. [Place of publication not identified]: Cambridge Univ Press.

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