Editing Silverpoint (section)

== Revival ==
[[File:Artist's Wife, Edith Holman Hunt.jpg|thumb|''Artist's Wife, Edith Holman Hunt'' by [[William Holman Hunt]], a founding member of the Pre-Raphaelite Brotherhood. [[Birmingham Museum of Art]].]]
Joseph Meder,{{sfn|Meder|1909}} [[Alphonse Legros]], the [[Pre-Raphaelites]] and [[Joseph Stella]] helped revitalize the technique. Art historian Meder created interest in the traditional technique in Austria and Germany, while artist and teacher Legros did likewise in England. In the early 20th century, Stella was one of the few American artists working in this method on the East Coast of the United States. Stella explored the technique on zinc white gouache prepared grounds, often with crayon and other media. Stella's silverpoint oeuvre includes the 1921 portrait of [[Marcel Duchamp]] (MoMA, Katherine S. Dreier Bequest).{{sfn|Haskell|1994}} On the West Coast [[Xavier Martínez]], the Mexican-American artist who had studied in Paris at the [[École nationale supérieure des Beaux-Arts]] in the late 1890s during the resurgence of interest in silverpoint, taught this technique at the [[California College of the Arts]] from 1909 to the late 1930s.<ref name="edwards">{{cite book|last1=Edwards|first1=Robert W.| title=Jennie V. Cannon: The Untold History of the Carmel and Berkeley Art Colonies, Vol. 1|date=2012|publisher=East Bay Heritage Project| location=Oakland, Calif.| isbn=978-1-4675-4567-9|pages=298, 493–499, pl.14a}} An online facsimile of the entire text of Vol. 1 is posted on the Traditional Fine Arts Organization website ({{cite web |url=http://www.tfaoi.com/aa/10aa/10aa557.htm |title=Jennie V. Cannon: The Untold History of the Carmel and Berkeley Art Colonies, vol. One, East Bay Heritage Project, Oakland, 2012; by Robert W. Edwards |accessdate=2016-06-07 |url-status=dead |archiveurl=https://web.archive.org/web/20160429115613/http://www.tfaoi.com/aa/10aa/10aa557.htm |archivedate=2016-04-29 }}).</ref>  The last known exhibition of Martinez's silverpoints was in 1921 at the Print Room of San Francisco where critics praised his "unusual" and "strongly futuristic" action figures on an unconventional dark mottled ground as "archaic in execution&nbsp;... terse, alert&nbsp;... with a bit too much flesh."<ref>San Francisco Chronicle, 13 February 1921, p. 8–S.</ref><ref>Berkeley Daily Gazette, 19 February 1921, p. 5.</ref><ref>The Oakland Tribune: 20 February 1921, p. W–5; 27 February 1921, p. S–7.</ref>

An exhibit,  "The Fine Line: Drawing with Silver in America" was curated for the [[Norton Museum of Art]], in 1985 by [[Bruce Weber (photographer)|Bruce Weber]].<ref name="weber" /> In 2015, the [[National Gallery of Art]] and the [[British Museum]] exhibited "Drawing in Silver and Gold: Leonardo to Jasper Johns".<ref>Sell, S. and Chapman, H. Drawing in Silver and Gold: Leonardo to Jasper Johns. Princeton University Press, Princeton New Jersey. 2015.</ref>