PROVO — Psychological insights and contemplative introspections often come out in Burton Silverman's work — though those things are not necessarily the painter's goal.

The New Yorker and illustrator has been capturing the expressions of the human face for more than 40 years.

The Brigham Young University Museum of Art will showcase 33 of his drawings in the Horne Study Gallery on the museum's lower level during regular museum hours.

Some were drawn prior to creating a painting or portrait, he said. Silverman often draws his subjects before painting them as a matter of economy. Drawing a subject allows him to study various poses before selecting the one to paint.

Some drawings, however, are almost finished pieces.

He sees the exhibition as important for instruction for art students. The theme of the exhibition is to illustrate how Silverman captures human expression, said museum spokesman Chris Wilson.

His subjects range from people on the street to important political figures. He was commissioned to draw two illustrations of former President Ronald Reagan for Time magazine covers and one of former Secretary of State Henry Kissinger. The Kissinger artwork was run inside after editors changed their minds about the cover, he said.

In addition, his work has appeared on the covers of Psychology Today, National Geographic, Newsweek and New York Magazine. His illustrations have also been used in brochures to promote funding for several causes, including the New York Metropolitan Opera.

In 1957 Silverman and an artist friend traveled to the South to record the Montgomery, Ala., bus boy protest.

"It was self-commissioned," he said.

But the 90 drawings that came from it became a significant contribution in illustrating discrimination against the blacks. Some drawings were sold to private collectors. The Delaware Art Museum purchased most of them as part of its permanent collection. Other Silverman paintings are in two dozen public collections including the Brooklyn Museum of Art, the Philadelphia Museum of Art, the Smithsonian American Art Museum, the Columbus Museum and the National Portrait Gallery.

Drawings, as opposed to photographs, "are not hastily concocted," he said.

Another series of drawings he did for Sports Illustrated in the early 1960s focused on skiing.

"I don't ski," he said, "but I learned a lot about skiing."

Often the magnificence of a piece has to do with scale.

"Size is important. Some things work better bigger and some things work better smaller."