When Looking Became Making
How an exhibition turned viewing into participation through the simple act of picking up a pencil
Three drawings made by visitors to the Learning to Draw exhibition's sketching table
Editor’s Note
Michelle Ross is a senior staff assistant in the Department of Drawings at the Getty Museum.
Body Content
Every Monday morning for three months I walked into the Department of Drawings office to find stacks and stacks of drawings waiting for me.
This was proof that over the weekend, the sketching table in Gallery W106 had been alive with activity, the quiet rasp of pencils scraping paper filling the space.
At the Getty Museum’s exhibition Learning to Draw, on view from October 21, 2025, to January 25, 2026, visitors had the opportunity to become creators, not just spectators. The exhibition examined how artists in Europe studied and practiced drawing from 1550 to 1850. In alignment with this premise, the exhibition featured a table complete with sketching materials, including colored pencils, a sculptural model (a reproduction of Juggling Man by Adriaen de Vries), and examples of drawing studies. Visitors of all ages could sit down and try their hand at representing an object or scene while surrounded by works of artists who had done the same centuries earlier. Over 30,000 pieces of paper were used throughout the duration of the show to create drawings that ranged from direct responses to the exhibition to original, fully imagined scenes.
The Learning to Draw exhibition entrance at the Getty Museum
The sketching table in Learning to Draw
Visitors’ drawings displayed on a gallery wall
After finishing their drawing, visitors could take it home or display it in front of the gallery, contributing to an ever-changing mini-exhibition in the process. The following morning, the results left there were collected and brought to my desk. Sifting through them and taking time with each one felt important, and figuring out what to do with them felt even more so. I scanned each one to create a digital archive, ensuring all were saved and remembered.
A selection of visitors’ drawings
More visitor drawings
Through handling the drawings, I began to see recurring themes and ideas. Some sketches were quick and gestural, while others were detailed studies that focused on technique and form. Many visitors copied the examples on display and treated the exercise as a life drawing class, like how the artists in the exhibition would have practiced. Others took a more humorous approach, depicting the sculptural model holding slices of pizza, portraying favorite superheroes, or illustrating personal milestones such as birthdays and engagements. Some works were a collaboration of multiple hands, perhaps between two friends or a parent and child. As I enthusiastically reviewed these works, I imagined each person leaning over the paper, taking turns with the colored pencils, and discussing their sketches.
Visitors’ creations ranged from detailed studies to humorous sketches.
Some sketches showed off the creator's interpretation of specific body parts.
What I appreciated most in this process was the wide range of drawings produced. The talent, vulnerability, and creativity of the authors constantly surprised me. The works were not only reflections of the artists but also of the world around them. This was not just an exercise in drawing but a personal lesson in appreciation. I was moved by how willing visitors were to try their hand at drawing, no matter their skill level. This experience emphasized the value of practice as a fundamental part of learning.
Visitors from around the world and of all ages contributed sketches.
As one artist wrote on their drawing, “It’s not about being good, it’s about allowing yourself to dream and have fun.”
