Monday, 13 June 2011

Section 8: The Figure

I've been looking forward to this section. The figure is especially challenging I think. As Ian Simpson says, we are all of us so adept at and used to reading the figure, that even someone who can't draw can still tell if the proportions are off in some way.

It is clear from teh two drawings by Goya and Epstein that they have different objectives with their drawings.





Goya's portrait of Wellington is a careful study of the likeness, whereas Epstein's is a quick impression of shadow and light. I wouldn't necessarily be able to pinpoint them as painter and sculptor from these drawings. I think both kinds of drawings can be relevant for both art forms.

Michelangelo was clearly driven not only to draw accurately but to understand the structure of the human form.
I think it is very important to have a good understanding of anatomy to be able to draw the body well. It's important to draw not just what you see but what's important, which means emphasising the gesture and tension in the body, and for that it really helps to understand the underlying muscles and bones.
Michelangelo had even more reason to understand it well, in that he constructed scenes from imagination and wouldn't always be able to find models that could hold the poses for him.

Matisse is after something different.


His drawings are airy and delicate with as few lines as possible. It is almost as if he is trying to capture the memory of the pose, the very first impression left on the eye. He is not interested in accuracy.

No comments:

Post a Comment