{"id":136568,"date":"2019-05-22T13:02:46","date_gmt":"2019-05-22T17:02:46","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=136568"},"modified":"2019-05-22T13:55:57","modified_gmt":"2019-05-22T17:55:57","slug":"the-art-of-doodling","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2019\/05\/22\/the-art-of-doodling\/","title":{"rendered":"The Art of Doodling"},"content":{"rendered":"

\u201cEveryone is a collector in one way or another,\u201d the English-teacher-turned-art-dealer David Schulson would tell his children. \u201cEveryone has the impulse to collect.\u201d What Schulson didn\u2019t say is that the impulse to collect often contains within it another: the drive to keep, to hoard, to hold on. Schulson spent his weekends trolling New York\u2019s flea markets for oddities, searching for the stories behind strange objects, and though he often sold what he found, he couldn\u2019t bring himself to part with some of his most treasured discoveries. Over the course of his career, he amassed arguably the most impressive private collection of drawings, scribbles, and autographs in the world. The book <\/em>Scrawl: An A to Z of Famous Doodles<\/a>\u00a0showcases this trove of miscellany for the first time. A selection from Schulson\u2019s collection\u2014including Queen Victoria\u2019s donkey doodles, Stephen King\u2019s spookily jubilant stick figure, and an erotic painting by Tennessee Williams\u2014appears below.<\/em><\/p>\n

 <\/p>\n

Tennessee Williams<\/strong><\/p>\n

\"\"<\/a>

Courtesy of Schulson Autographs.<\/p><\/div>\n

 <\/p>\n

Tennessee Williams, one of the twentieth century\u2019s most important American playwrights, also painted with oils and pastels. On the back of an eight-by-ten-inch black-and-white photograph, he painted two male figures with thick brushstrokes. Near his initials, he writes, \u201cFrankenste[in] Monster,\u201d and between the two figures, framed in orange, he titles the drawing World of Morrissey<\/em>. This is likely a reference to the director Paul Morrissey\u2019s 1973 horror film\u00a0Flesh for Frankenstein<\/em>, also known as\u00a0Andy Warhol\u2019s Frankenstein<\/em>. The figure labeled \u201cJoe D.\u201d must therefore be Joe Dallesandro, who played a starring role in the film. Williams\u2019s paintings tended to express his homosexuality, which was largely absent from his plays. <\/p>\n

 <\/p>\n

Queen Victoria<\/strong><\/p>\n

\"\"<\/a>

Courtesy of Schulson Autographs.<\/p><\/div>\n

 <\/p>\n

Before she became Queen of the United Kingdom of Great Britain and Ireland and Empress of India, Alexandrina Victoria was a royal princess affectionately called \u201cDrina.\u201d Her mother, who raised her following the death of her father in 1820, believed in the importance of outdoor activities, and that included riding; Victoria not only enjoyed riding horses, but also donkeys.<\/p>\n

The cursive handwriting on these pencil sketches suggests she drew them when she was a young adolescent in the early 1830s. She captions the first image, \u201cMama in her Phaeton,\u201d which is a horse-drawn open carriage. The drawing below the phaeton appears to depict a girl sitting in a seat on a donkey, perhaps a memory from when she was a child\u2014it remains unclear whether this could be a very early self-portrait.<\/p>\n

Victoria\u2019s interest in art grew and she eventually became an accomplished watercolorist. This pencil artwork offers a fascinating glimpse into the childhood of one of the world\u2019s most powerful women.<\/p>\n

 <\/p>\n

John le Carr\u00e9<\/strong><\/p>\n

\"\"<\/a>

Courtesy of Schulson Autographs.<\/p><\/div>\n

 <\/p>\n

This humorous self-portrait from May 1996 depicts John le Carr\u00e9 struggling to \u201cfinish an EARTH SHAKING<\/small> novel.\u201d With fountain pen in hand and sitting over a jumble of pages, he clearly looks distraught, but this belies the fact that his spy novel, The Tailor <\/em>of Panama<\/em>, was about to be released. The image was rendered with blue ink, and perhaps wash, on eight-and-a-quarter-by-eleven-inch white card stock.<\/p>\n

 <\/p>\n

Jean Cocteau<\/strong><\/p>\n

\"\"<\/a>

Courtesy of Schulson Autographs.<\/p><\/div>\n

 <\/p>\n

This fanciful ink-and-crayon drawing depicts Count Orgel, the protagonist of the controversial 1924 novel by Cocteau\u2019s friend Raymond Radiguet, Le bal du Comte d\u2019Orgel<\/em>. Radiguet died a year before its release at the age of twenty. In 1953, the date Cocteau writes twice on this piece, his suite of eponymously titled etchings was published by \u00c9ditions du Rocher, Monaco; this drawing resembles the etching titled, \u201cLe Comte d\u2019Orgel XII,\u201d and likely depicts both the count and the young man (facing forward) at the center of an adulterous relationship involving the count\u2019s wife.<\/p>\n

 <\/p>\n

\"\"<\/a>

Courtesy of Schulson Autographs.<\/p><\/div>\n

 <\/p>\n

\u201cI am in Paris without being there,\u201d Cocteau writes, after a car accident while driving between Avallon and the capital forced him to reschedule a planned lunch date. \u201cThat\u2019s why I can\u2019t meet.\u201d He illustrates his anguish after what happened, and sets a new date before drawing a little star and signing his name.<\/p>\n

 <\/p>\n

Stephen King<\/strong><\/p>\n

\"\"<\/a>

Courtesy of Schulson Autographs.<\/p><\/div>\n

 <\/p>\n

This pen-and-ink sketch seems at first to have been drawn by a child, but in the lower corner, Stephen King signs his name in expressive cursive. Its content, meanwhile, is clearly more sophisticated than meets the eye: the bed\u2019s headboard, which is styled as a headstone, sports the abbreviation for \u201cRest in peace,\u201d with the R<\/em> written backward. The E<\/em> in \u201cME\u201d is also backward, as are the C<\/em>, N<\/em>, and L<\/em>s in \u201cROCK N ROLL.\u201d Is there a hidden message here, or could this sketch have something to do with King\u2019s 1979 novel The Long Walk<\/em>, first published under the pseudonym Richard Bachman? In this dystopian story about teenage boys going on a forced walk until only one is left standing, one of the boys starts threatening the others, telling them he will dance on their graves. Perhaps King is echoing that threat above his signature.<\/p>\n

 <\/p>\n

Roland Topor<\/strong><\/p>\n

\"\"<\/a>

Courtesy of Schulson Autographs.<\/p><\/div>\n

 <\/p>\n

Roland Topor was best known for combining humor with the grotesque, often using the human body as a subject, either whole or in parts, as seen here. This pen-and-ink signed sketch was once glued to a board, and visible residue shows along the edges. Although the paper is not in great condition, there is something bizarrely enticing about this field of heads, whose hair is being braided for an unknown reason.<\/p>\n

 <\/p>\n

Excerpted from <\/em>Scrawl<\/a>, by Todd Strauss-Schulson, Caren Strauss-Schulson, and Claudia Strauss-Schulson. Published by Rizzoli Books. All images courtesy of Schulson Autographs.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

To doodle is human, as these drawings from Stephen King, Queen Victoria, and more prove.<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2384],"tags":[],"class_list":["post-136568","post","type-post","status-publish","format-standard","hentry","category-look"],"acf":[],"yoast_head":"\nThe Art of Doodling by The Paris Review<\/title>\n<meta name=\"description\" content=\"To doodle is human, as these drawings from Stephen King, Queen Victoria, and more prove.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2019\/05\/22\/the-art-of-doodling\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" 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