Get The Lead Out: Drawings and Sketches From The Masterworks Collection.

'Get the Lead Out' is the catchy title of the Masterworks Museum's current exhibition in the Rick Faries Gallery.

As such, it suggests a number of possible concepts – unleaded gas; get the lead out of your pants, feet, etc.

As the title of a drawing exhibition, the obvious focus is on the use of lead pencils as drawing instruments.

Still, it comes across as a command, so maybe there is something in the title suggesting we get the lead out, that is, get over to Masterworks to see this show. That is really a pretty good idea.

The so-called lead pencil is the most used drawing instrument in the artist's tool kit.

However, for most of its history, lead has not been the actual material in the pencil core, although conceivably, it may have been so at one time.

Centuries ago, graphite replaced lead and most pencils are of this kind today. Other drawing materials in common usage are: charcoal, crayon, coloured pencil, ink and felt pen.

Another not so common drawing material is silver. It is, however, particularly refined and delicate.

Because most of the works in this exhibition are small, the first impression is one of spareness, meaning the exhibit consists of comparatively few works.

That is the genius of the show however, for if I include the several sketchbooks exhibited in cabinets in the middle of the room, the total count is actually on the large side, although I am unable to give you the total number.

Throughout much of the history of western art, drawings were used, primarily, for working out artistic problems, mostly in sketch books.

In recent centuries, however, artists have also applied their drawing skills to making more finished drawings.

Most of the drawings in this particular exhibition are the preliminary, sketch type. There are, however, a few drawings, that are more finished and exhibition ready.

Drawing is the most personal, intimate artistic skill and, like handwriting, it reveals something of the the artist's identity at a most profound level.

As with handwriting, drawing, although learned, frequently reveals, quite unconsciously, something of the artist's personality.

We have all received in the mail letters that we immediately recognise as coming from people we know, even without having seen their names. This is also the case with drawing.

There is something that identifies it as being from a particular hand. This is especially the case with those more spontaneous drawings in sketchbooks.

Because they are intended to be the artist's private scribbles, they often display a freedom and energy, not to mention the artist's idiosyncratic markings.

More finished drawings are less likely to show such identifying marks, as they are more deliberate and consciously created.

Donald Kirkpatrick's 'Bermuda Cottage' in pencil and crayon is a particularly engaging piece in that it seems to bridge the two approaches to drawing – the sketch with the more finished type.

This is because he was so accomplished in his control of line. Even when creating a finished work, he could still maintain the freshness of a sketch

Kirkpatrick is represented in this show with a depiction of a Bermuda cottage in crayon and pencil. It was made in 1930.

Donald Kirkpatrick, although American born, was, for many years a Bermuda resident and one of the early members of the Bermuda Art Association. He earned his living as an architect.

Georgia O'Keefe's 1934 'Banyon Tree' in graphite is also one of the more finished drawings. In this instance, unlike the vigorously drawn cottage and garden by Kirkpatrick, hers is focused on the tree's trunk and is more smoothly rendered.

At the time of her visit, she was here to rest and convalesce from a breakdown of some kind, nevertheless, she did keep artistically active, but restricted her art making to drawing.

Of the sketchbook drawings in the show, Reynolds Beal's 1940 sketches are especially notable. His 15 studies are quick, energetic depictions of varying Bermuda scenes, but one especially caught my attention; the sketch of St. George's.

This seems to a study for a painting in the David White Collection, presently on exhibit at the Bermuda National Gallery.

The most recently executed work in the show is Daniel Dempster's 2002 pencil portrait of Masterworks Museum director, Tom Butterfield. Although not a preliminary study, the drawing is freely rendered, giving it a sketch-like quality.

The oldest works in the show are a series drawn by a naval lieutenant, who, it seems, is unnamed.

These drawings consist of six small Bermuda landscapes in graphite. These drawings are more tightly, carefully drawn in a miniature technique, befitting their miniscule size.

Next to the naval lieutenant's art, is Stanley Woodbury's 'St. George's Gate'.

This rather small pencil drawing, is also carefully executed, although it appears to be a sketchbook study.

In contrast, next is George Ault's almost abstract, very linear sketch entitled simply 'Bermuda'.

It was made in 1922. It is probably my favourite work in the entire exhibition. It is, as are nearly all the exhibits, landscape inspired.

Further along the wall are seven charcoal drawings of Bermuda shells by Henry Moore, the internationally famous, 20th century English sculptor.

Henry Moore lived a long and productive life and these drawings were made shortly before his death in 1986. They are in his characteristically biomorphic, abstract style.

Henry Webster Rice, an American artist who lived from 1853 to 1934, is represented by 12 sketches. Most are in pencil, a few in watercolour.

Most of the artists in this show vacationed in Bermuda and while here they were inspired to create. Their work can be appropriately labelled holiday art.

There are, however three Bermudians in the exhibit. Besides Dan Dempster, the other two are Bessie Gray and Harley Trott.

The drawings by Bessie Gray and Harley Trott can be found in the cabinets in the middle of the gallery. Note Harley Trott's careful pencil drawing of a hand.

Also in the cabinets are drawings by Henry W. Rice, Frank Allison and Isabel McLaughlin.

Although Bermudian, Harley Trott spent most of his career in England. He is not well known here in his homeland, although the son of Harley Trott, Sr., founder of the Princess Hotel.

This is a fascinating exhibition and one I recommend. It continues through April 24.