Bargue, charles. aprende a dibujar

Bases para un dibujante. Sencillo, didáctico, útil.

1. Charles
_ Bargue

| wilh the collaboration of
| Jean-Léon

| Gérôme

DRAWING
COURSE

Gerald M. Ackerman ACR EG

3. ©

>

12

ES

CONTENTS

Preface and Acknowledgements

Introduction
The ito ofthe Dring Course, 10; Publ Contre ove Testing
oupil Proposes a Solution, p. 13; The Organization of the
Draning Coca, 18

PART I: DRAWING AFTER CASTS
{MODELES D'APRÈS LA BOSSE)

tan 8 kl Mane: ing ha Paso Ma 0 Cop

Sato br Capi de wnt p.24: Vales = Me à Bs

Plates, p.98

PART II: COPYING MASTER DRAWINGS
(MODELES D'APRÈS LES MAÍTRES)

Introduction, p. 128; Realsm, Idealism, and Acedemic Drawing p. 129
Pracical Matters. 191 On Choosing a Master Drawing to Cop Ihe
Benefits of Copying, p. 131; Getting Down to Copying, p. 132: A Note
‘Abo Day Hine en fis ona par ot on
Plates, p. 168

PART Ill: PREPARATION FOR NG Aa
(EXERCICES AU FUSAIN POUR
A LÉTUDE DE LACADÉMIE Arn NATURE)
Introduction, p. Ancient Sculpture as the Mou of Tue
Beauty, The fhevalenoe of Male N Models p 181; Pal Wades:
Some Notes on Ban

Copying Ihe Drawings, p. 183: Se, pi;
A Repertoire of Traditional Poses, p. 185; Woes onthe Mats, 24

4. $

31

S

31

>

318

326

328

CHARLES BARGUE, THE ARTIST

Introduction, p. 252: Bagues Est Ca 2; From Craftsman to
= Ealy Developmen 256; argue and Coupi & Cie
p. 263; The Onnwing Course, p. 264; Bangue's
cre Dare the 1870: y P as: A Possible Voyage to the Near East:
The anand
e, 9,278

His M Comeslicnal Exe
a ti Sp 274; Monge Sons
are Some Albanians 9.275; Bag’ Fal Fe Year, 187883 p 276
o Chess Games, p.277; Bague’s Death p

$F

A Preliminary Catalogue of Bargu

's Paintings
Drawings by Bargue Reproduced in This Study
Appendix 1: The Goupil Brachu

On Models for Drawing Classes
Appendix 2: The Sight-Size Technique
t à A nd Teacher Deis the

use ize Technique,

Ing Sight-Size to Copy the Bargue Plates, p. 318; How QU

Technique? ste; Necessary Condon for Ss En Pra
Excursus: Shadow Boxes, p. 370; Drawing. alter

Craving 7.320; ‘aaa her a Cat Suis phare Dee

Drawing after Fla es lts p. 32, Pres and Cons

Eoncimie the Sight Soe ie À Dialogue p. 3

Appendix 3: A 1926 Article on Bargue's Drawings fin facsimile}

Glossary of Technical Terms
Nal

tes
Photographic crédits

5. PREFACE AND ACKNOWLEDGMENTS

imine ane

youn oie ad as repli the Bay ene
Orig Course,

By al accounts à Ihn
Sun, aed ia a ai agi and
sae, a Clee les pest

po
was in the Nan An Lian Vcc and Aber Mu, sce evenings lagon the plus oe Onin Cane th
Lorton, pone bath Mk Wales he I and amente oro tae tat one the it paie cer es. Te
schol
this bock So, Dan, h boa Cracks, Hupe yo fine it
10m 4 TT fend à ai 5

ansias and enemplany mods hat any pure

‘ae animate roa ofthe tox

‘athe plates ev hee.

sand ny
fing, Nanethele, [corned io dz in sty cise in

Alter Doriel their neben in
“Come
A de,
fr dy gate À
placa” M the ch ose tis server
mos 4 »
\, gent a it 36 the Firence Ace
th my phar line dhe bit gave see cade mates
du i working
a “pepe em ened th ft a o Xe ad asad By y led ats nko das
instore insert had ith to unkum. tum ected my woe Chad We, San ie
Exhdytcy eat my ad, Monet uihime ciidend Samen Gol, Hair Gres, ano cil oral
Loved ve od pedal ae ang me RER Sal ang les aid for vom pare ane

pe of pense in raion ad

ard sis as well a my micros Te ah,

wo this bock,

6. en Kevin Gorges dscns about whit ore lead fiom

E Movtodh in the

in Paris and by Ee Zafan snd OeCoutey
Led

the uerhing reisce for using vera techniques: ram the

(he hante Cu At Museum ore Te Land sa

Hoe oa pa fl od “ya Sh”

ea soning aise et
be hen t ly Lis, ho any ro ich cti a
po

Tees, al
ese y o a go Bo à coreo, wi

Sead aay sopor
son and ec che book. The ai
tnt wo do Cot ea à Rw ee

ms of
Tey ape Moss ood Kécoradon 1 ge

ans wad yen teaming ard intelligence, who real

ofthe Caving Cone fame o come a one by

ery paragraph the book. He contibuted mb pasas.

aif a the Bo
ae onl poser ps la. pining ly
ons wi y The sta che

and heed 10 corset my various actes fe the plates, We

Los Anges Clos, se espera ep probe

tb bock, We ten agen but, needles to sa ur fendi
assured ac.

Merdanan a 0 pei the rames oer hari
(sun, cut, ed clics oho in ane way or sect

small number Sw hos, Kevin Coegs, Peer Bouge, Ton
Koch, and Wes Chritersen-rcul the manteca in is

Loser my ana gate ow chen anne.
San min in rad a tel isos has

Perle tage and itt ik Many er da a wa Bel Ti at ie Dana O

arts, cago Se the emi Cuve publihed ar to give i dar Mod led, ane y Sep

totheir son,

them af

tual. ta Monin nd Madre Aveda oy rae ie
sas ao ald by des oaks, ard ora say tat

pany Role rra ca example dé Resins, asl mas al er al a os een of he

‘secre! In he Scion of Ws Wook on Dowty Coane: haved al thane toy
Banga’ deaths
and forward to one ly Mukdeime Beaufort and Jure Schub book

7. INTRODUCTION

THE History OF THE DRAWING COURSE

he Banga Cite Des Cn ur de reproduce or nieta
‘a famous and God ips ofthe te ripe cur Dive vo thee
pts, i conv 197 loose Hi plas of rocio dias ater cass,
ss einge and male er ranged a semen progres degree

= be de Gaerne

am reste fans, When the Dein Course vos published in the Ano 1860, it il

Nhl rot
‘net yet been replaced dy serein,
2 the
y ge pi an. whieh
oh loving pole, colton, and °
god
camps 10 cop” hay an oc

Thanıypaut, every attempt has been made to explin ninetererh.contuny daw Ihey ard
practice,

à rater

x
Ha Ling Course à

Are Lan:

eden. to

Ang painting has been inched cs wel.

8. As Devan [Dis

it, v N
mare in is men bate
ature,
sf es, thats, é
Tho Reals did noe
goalie th recorded, ut
A th realite is ah
at feast three desd,
vn,
, «y formed and
ous u: spay A
ina, This

and peto, ono the 1890: “expreso” meant the emo e monroe byte

eran”

e plc at the Barcelona.

Academic de

de ‘Whereas the ext
‘empha

a poo dc, pal ps

sp]

9. eres

Farther
elect the ec sre and uty of th mod Stes in caving eines ae ara

ar. Thane the ais’ Intention.

Dr coat à 1009 academic dei td a in ie inch crtiny—shoul be

Careful

ais. Tae academic Wagon exalts the hr bed

Public Controversy Over Teaching Materials

in 1065 by
const

ha ther hod been given poor mods.

so 190$, dictar cé
+ disctafacico:

tte On scan,

res pr

wo copied enggaräng and lithographs of a fake ye, of inramect d'air,

reformed o
' 1060,

he into che peck a

hen op

lin
‘we hope. to a completo toneganisation <€ the Lachine u drawing, À rem 2
Suse as thin Hat
Asa ater ths Tante ce at end up under the ese
sve a nun uf ese u roman cers a ee ta Mas and eh

and power nice forms depa. with
E re but an distant en
de

dhenimant ey any the

10. o thes, o Minigre de

Goupil Proposes a Solution

el cop the brochure pompauch scher Ue RorgueCérómo Drawing

he ka more nd pattern bes wey pass in nic [by comico,
spy app lo ie eee a oy mone the mt part We
Ste AL Gta ud, cu

peu mer

SEE Du an oir oo ‘hcl a

“nr Coe arp, i ira € Meccicir Gistme, Mere a
‘inane mate ve tbs her

I de cori and excess el eso made un ‘rere mode u the

the

ocean wish tobe arts

(carne, Berar oma ul 1902-1871 a pid Hu ou; 1

qe sat Tir, Neocasical sty

pl I
seal works ete teaching of base craig sil

The hat is complex

ofthe bd.

12. and arges, making i) Jl Is czar epi

Dr à
cart ling ne 4 presen o od igre

res e Homer shies by Jalen fig. ard tas cre by
mer a orc ak ren are en

a $ “Te ec

sie a
pe beatae apr lo Rasgos ros cn the scalars quais,

Enea tins ot

13. The Organization
of the Drawing Course

soon pan: bese meee seo nth a deny

udkets à Sting ad

in the sea of

pare
Bram raf raue" fe aggre TH scat

‘ heal ane

Erupes sang de Ka Y No as Co
Davis rá cor prépre à seh
N este EL. k

a and oho

ne

16

14. Gale Reyer Man: Meanie) (ea pe A

ut a mentir ul Cri
rece becouse oler cl ft
np

port Chak Ennis,

15. PART I: DRAWING AFTER CASTS
(MODELES D’APRES LA BOSSE)

INTRODUCTION

They

end Amen art ahr,

tended
fig cob

fhe proper sect um amarg the fetus ar acidos 0 natur Ai hs lng

gr whe dp 0 Bt ra
dro Gea mula, a

almeet unceyarous wi good tse,
presentation of natural fee in

fs oF cides ined
In practico, vi
ining the pai od whe.
tur; ho column wih Use Saas, capital sult and le; and the obo,
tn fer) in de eines a ‘i D te md do ein ak
I denen ame non of os ten

‘or

ie Pr
isc ail ee is Gis os me rae en
Greek ats fo, hard, ad, res tno an aie una am inte
‘hi ail lui o the hurmory othe lat hei.

u l

Ben sa the works

he gros (Mp, Pl
ds of Herakei

This choian of one period as represente uf aient ar notes the ene
svete, and lenghy solic ein e Greek eel Roman cle, igh ex
a f mental ad sir

17. For cent P mue," and dried

ie "te gard
land of the major maders of the Rellan High Renaissance) wes thcoght of as the meda for

Afr

me Tr. The uote

Meis pest oe aa ed rique Ines ented Aches Avi the
sd he by de

master er

he pita pi h
ate placed in a specie modern cette, à Gey yor, Tus, pie tei rensen dhe wo

‘of the meres, habits, and practices of Cazicsm.

192%, it ws
Pad rated. By the 19505 een che once ic rate e qi ie redes had

mated"
Lo martin calce sandals

de
ame al The authors
dal to ch i : twins
à sep revaledige of the

18. id century od
appel the

tyolurecl

ye lati

ae ay ef a

pue
de ral ot Mere

seen

ee raya

4
rial se. Vd
vd

19. Practical Matters: Using the Plates as Models to Copy

The Schemata or Plans

fear schema. The ch aly to the KA, 5 a guide on
un ess
ic onfguraton around which woul be .
Araning oe, fr ample rigs

fon doing ete ex

tom
rimas cle af seks amd cre We Are I nme tere, ets Nop
11342-1923, 500 “Tho rang Cours” ihn of the Base biography in tho present za,

plate,

The comping
lac pad

cé coco.

N che ni Heres te are

piste
ER Ira sae Te qemu Ur Fur, nn

ther Borge schemata are der in purpose, skilfully ogni, und is
each er arg paris

Spa e Bang doin une ph afp og muse may ut
mative proces.

Sart wäh de fist dawing, work yr wary throug the west in sequence, or skip ahead

legs, for instance, À
1.30.

heed it
ampliado,

20. Materials

The Sthogaphs were mado after charcas drin and were ended to be napi i
chara.

the repris,

ne ltemember that perd ster fer Ven 10 am Oye ae
predcing sick shiny surtaces—and a good, Isa eraser ¿Pen NO aes be tas

‘steal for oval lighter shadows and rei Fighter halhones,

gps Lt pito ha bom mag on os ts Te gd pl ee
thee
<p es > .
Drawing Terms

far an argh Fo
trata Sob ens vl ‘outer sae ofan objed.

chrened in mune,

Borgo est damings or of any ether objec.

nd nenne
ah yar oe Som aco pi à epee ee

d 00 ther paper. Ths pater

tice spend a
ous of rusia. Howe, you shuld ren your eye to eximate these distances without
PS

21. Suggestions for Copying the Plates

pe de mere
for these four points cn the pape When fined! by oantour lines, they wail form an regar

undkrsanding al ding el complex ree
Kr

plo,

tre mouth Thi
abe asthe drang progress

the ig
10 pl L 43 our near the haine enerhangg the projection af she nose, The line drawn
lo ls Luce by

juste:

and cverec them. Break curved Ines into à series oF 200 ce mare staig es, Foe example,
in plate 1, i i yet lin

Orr io sa res Oceny gy Cone ra ae wd read of a res

22. Homes a Break
cit is hart know when to stop,
Tor example,
the sound ene.

A pto, 32 Dante 0 re
tremens par.
cat,
ste.

To repeat, is rd general

strat lines and ares br attempting any model.

Values and Modeling

placa pry oblea
ad balai chan a whe one.

mite, ke .
Area.

im pad for ae sturnpieg festompen), wg 5 and hatching aoe,

7

pherk bic

23. ‘wing

inde gfe and er Gate sad

pol eh he De in pr ies
3 alla cra dia, Tab is es a

d sling. Mereover, haching a fron dí
laser of rebond Irene in empectos,

Procedure for Modeling

Sep 2 the sin ai
vo lime de hae ‘sth the unge. de. gestand shaders: A Lin event it rele to

mtb made ka Cnce ade Su uo heen of shal vt

italy marear ig

penn 2 sec bo fg, A

= cA tocewal rather than abaner foem.

ate.
canina Na
irren

Ive aeorage shadows

24. St 3: Aer the derbe, the bal ended into the

3 Pie, 56 IMaln I nwa de con)

io the light, as wel os te delicate trormitioes thin the igh el, Hew, too, the haltones and

rar he

ra y
Notice Ue values of the haltones from are to ares along the main sha. Where Ue
Dep

ne jr

ye.
Sep 4: ln general,

suture,

a minor: Locke, pile desen, or eve sckenays. Each so comple will make you acre
ef be rent passe to wurk on.

Finishing the Drawing

Ack ioe

teen à

Remerrbe that Ihe as

demic ants af te rirsteereh century when you are leaming to

hives ropes brid

27. El
E

28. E _
GF &> >

Sb

4

= S e

=

A

NA
Z

À

Y

29. Plato,

47. Planche 2

48. Pre 24

53. Pte 129

54. Plate 130.

56. ON

59. ES

60. Bande. 35

62. CAEN

64. |

I

Plircho 40

66. Ah a |

72. er
PHOCIO N

Mor

74. ne 7 / ho Pipa Tig

87. z

95. Pha ths

Basile

Patel, 7

Fee Le

98. Hei.

Piste, 10

Hate, 12

99. Plate 13

Mate 1,14

He 75,

E] Mise 16.

102. Phte 14

103. a

105. Plate I 24

111. Hie 31

114. Fla Ih 35

115. Fla th ds

118. Pte nt

Fla 12

Fle 1,43

Pate, 28

120. hte 1,5

Fe 2

160

125. 2 Melon

Y (aol

ae |
litio Plate II, 62

Fate 1,63

hae 6

127. Hive WF

128. NOTES ON THE PLATES

. Plate I, 1. Mi 564), Trumpet.
par tlre FES dela tr i eel ne

aus fe nthe grand fresco The L

ving, Thee
gun be the bes modeéfar This dir à
11504.
Se fl page Irae and e
secompanied bv technkal notes Plate II, 2. Hippolyte Flandrin (1809-1864), Study of a Woman.
quarter page Hustrations, unk

Rent

iterpresäon" of 3

1841 arte luc

Dempiere.* See ako place! 15 ard, 25.

Plate landrin, italian Shepherd, study.
‘Pare lien {ted del) Wherenboute unknown

Plate Il, 4. Jean-Léon Géróme (1824-1904), Head of a Fellah, three-
juarter view.
fête de fellah, vue de trois quarts.) Private collection
So the coommeresto pate, 14,

rea del Sarto (1486-1530), Head of a Child.
fae den y Louvre Museum, Paris

intel in Park in 1528, The poing is

Plate Il, 6, Agnolo Gaddi (1345-1390), Poppalt of a Man.
Portrait donne) British Museum, Lon
The de Nes cred to

11938), ati utice retained to this day

7. Léon Bonnat (1833-1922), Young Roman, study.
Ge! Romain [tête d'étude). Bonnal Museum, Bayonne

ond Palatine on several ocuziore, À pert painter noted fo the Alusiniae quilées of his
reals

Museu in Bayonne.

phares

1 tha oli he foe.

body actue

129. een

130. Plate Il, 8. Hans Holbein the Younger (1497-1543), Gentleman from the Court
of Henry Vill.
(Gentilbomme de la cour de Henri Vill.) Collection of Her Majesty the Queen,
Royal Library, Windsor Castle
ate Han the ong es ben uba, bs was ie y i ahs, os Haber
hewentinioneen,

abi

Plate Il, 9. Hans Holbein the Younger, Sir Nicholas Carew:
is Öffentlich Basel

Mate 10, Hans Holbein the Younger, The Daughter of Jacques Meyer.
il 1525. Olfentli

Kupferstichkabinett

Saatiche Kuretsommungen, Darle.

2,

than ciber att ir ssabrbety,

Veh gad hs lah dj pala cl din By en dre Wy o one De
Tags es

batho

E

Plate IL, zp FILE (1483-1520), Kneeli ing han
gure agenouillée,) Pinacoteca ana, Vatican City

iste Hares aan aan Cy

Plate Il, 12. no Lippi (1457-1504), Portrait.
Portrait a Lippe, Uliza Gallery, Horence
This sa ta is, a dein after à End work, in this ca a a peat
¡rod a agro la vol dct), nm cher rares bat Fandi Wiens Bona es
pise, 7
api, : wo, The e y

shadowed under of aelescenee,
Plate 11, 13. Charles Gleyre (1508-1874), Omphale, study.
(Omphale [tête d’ötude]) Whereabouts unknown

{eye as ne ol ses ec Th à sy om ae fe iting Hc Fo
Willen

131. 0 The frontal lifting
ambiguces,

as the mech

Plate Il, 14. Jean-Léon Géróme (1824-1904), Head of a Fellah, profile.
(Tête de fellah, vue de profil.) Private collection

Crème uses ue, tie

tothe prend, hey
Amen a yuan ls head in plate 1, 36.

te Il, 15, Hippo tc Fann, Study of a Woman.
te dee ihe here if

dling the esas ne in 184 er the de de ays sca a
mens to pts 2 ane

tihng ne eng
and her

n € i 3) the

11s,
uns,
Plate I, 16. Raphael, Seff-Porerai
Poca de Raphael) Ufizi Galley, Florence
Plate Il, 17. Jean-Jacques Henner (1829-1905), Laughing Boy, study.
ite iw {tele dede) Wheresbouts unknown 5 5 7 Sud
ners
soul cp ere
i hatching,
ard veling inhi ily i 1. The sk waschosen
paro.
Pate 1, 18. Paul Dubois (1829-1905), Roman Woman.
maine.) Whereabouts unknown
jure. Heras

deibe préle, Dub bars

132. Plate Il, 19. Hans Holbein the Younger, Sir Charles Elliot.
{Le chevalier Charles Eliot) Collection of Her Majesty the Queen, Royal Library,
indsor

Plate Il, 20. Hans Holbein the Younger, Gentleman from the Court of Henry Vil.
(Gentilhomme de la cour de Henri VIII) Collection of Her Majesty the Queen,
Royal Library, Windsor Castle

Plate I, 21. Michelangelo, Study of a Man.
(Etude d'homme.) Sistine Chapel, Vatican City

This bance “interprete” i i k
isaksan etre,

Plate Il, 22. Auguste Toulmouch |, Young Y Ki
{Jeune femme embrassant son enfant.) Whereabouts unknown

Her Child.

Teulmassche 201
this por was lo

The Mein & ftomal. Beth inter igus ace seen in poll. Taulmvxihe es slo has i
pepe

Plate Il, 23. Adolphe-Willi 1905), A Roman Woman, study.
(Tête ine [6

Bouguereau was almost an exact contemporary of Gérdme. Along with Ernest Meiserier (1BI5-1091),

cur Gus. He

i and une are tall Tires
ccontsin the exo, nero, mouth, and ear

Plate Il, 24, Archer from Aegina.
itaire Éginète.) Staatliche Anti d Glyptothek, Munich

770-18

Je thigh, pf the night foe, and pate he hem ofthe ss: so as pe, al
Plate Il, 25. Hippolyte Flandrin, Study of a Woman.
(Etude de femme.) Whereahouts unknown

This à yet €. ie e
“comments to plates, 2 and 2, 15

133. Thi dawg shor.
until pa]
soluptuces, is sab D ih ite

file imesor medir, Dark accents are po

wachen pico of che d

pee ral

Plate Il, 26. Hans Holbein the Younger, Citizen of Basel.
(Wourgeoise de Bale.) Öffentliche Kunstsammlung Basel, Kupferstichkabinett

paie 2 = Mah) Holbein the Younger, Anna Grisacria.
ia ICresacrel.} Collection of Her Majesty the Queen, Royal Library,
meso Cae

Plate Il, 26. Hans Holbein the Younger, John Poines.
John Fines. Collection of Her Majesty the Queen, Royal Library, Windsor
stle

Plate 1, 29. Hans Holbein the Younger, Thomas, cont of Surrey.

Royal Library,
Windsor Caste di di
het cra Mente as Here Had of Sete
Plate Il, 30. Hans Holbein the Younger, Anne 86
ine Boleyn.) Collection of Her Majesty the Ge, Royal Library,

Castle

Plate I, 31. Andrea del Sarto (1486-1530), Self-Portrait

This an “rterpeceation,”

Palco in Fcewnce.

Ane skektal sockets, Compare thiswith plate I, 12.
Plate Il, 32. Raphael, Dante.
(Portrait du Dante) Stance di Ratfaell, Vatican City
Tr s Segara

134. Plate Il, 33. Jean-Auguste- Poni Ingres (1780-1867), A Lictor.
dicteur) Ingres Museum, Mont

m The cal shetch as

Inthe Cabrel of Salt Lae, Aut.

Plate Il, 34. Jules Lefebvre (1856-1912), Head of a Child.
(Téte d'enfant.) Whereabouts un

keichudy essen

as an example ol “upped modeling.” Tae hulficecs are produced beth by stumping and nac, Tek

pl 35. Émile
rate de jeune file ta

(1826-1890), Head of a Young Hallan Git
>) Whereabouts ur

wn
apps Eo wand

non th u md rang ec ck
pes 133 ar 40, ih ‘he mr &
teste,
balcon
ie 11, 36. Charles Gleyre, Head of a Young Italian Gid.

rate de jeune fille italienne.) Whereabouts unknown

‘right hae bon anima ay Cong fc he Craig Cie
Plate Il, 37. Adolphe Will A Pitt ty pair life.
iPiferaro. i ).) Whereab ki

Me

135. 38. Hans Holbein the Younger, Portrait of Sir John Gods:
roa de Sir John Godsalve.} Collection of Her Majesty the cee
Royal Library, Windsor Castle
On Hin, see the coment o le, This ple ru a face bat ater amet: teren"
és ini work

li,

12 ad I, 31.

Melanin cer min ee

e | Bie the vee Sao of Rotterdam.
trast) Louvre Museum, Paris

The oil so
Minh

Plate Il, 40, Archer 1a, Wearing a
Copado Éginête, anse Staatliche Nlkenanınlungen und Glyptothek,

i le, 24) New are pane
the helmet arc is cres, the had, ben forearms, Che en the skit the loser part he Felt le at,

Gand warnen

Plate Il, 41 lo, Man Pulling a Ro
(Homme au ue Chapel Vatican City

bets
Plate I, 42. Michelangelo, Eve,
(bye) Sistine Chapel, Vatican City

This ges pel betoen 1508 amd 1512,

Plate Il, 43. Raphael, Woman Carrying Vases.
Femme portant des vases) Sistine apar ati

0 1534 and 1542,

in 1514-12.

Plate 44 Raphael, Ihe Violinist
tte joueur de violon Seiara Collection, Rome

ds

136. ines > (1206-1085,
Teva
Plate An oy ane Holbein the Younger, Portrait of Brooke.
(Porta de Brooke.) Collection of Her Majesty the Queen, Royal Library,
Wine
mat pal ke, io tan «Clan.

Brae 1 46. Hans Holbein the Younger, fora ofa
y E a Royal Library,

Windsor Castle

Pate I, 47. Hans Holbein the our À are ot ini Hie

, Royal Library,
Windsor Cas ns

ny El. Her ames map un the drawing.
Plate I, 48. Hans Holbein the Younger, Portrait of William, marquess of
Northai
{Portal Le Wi arquess de Northampton.) Collection of Her Majesty the
Queen, Royal le Windsor Castle
Testers wlan Mar Br marques of Norhamptn.
Pate 49. Jules Breton (1627-1905) The Servant.
(La servante.) Whereabouts unknown
Ths ke a lacio of a dawing fer nature” A contemporary uf Génie, Mere Anis de Cnam
a2 ï
Plate Il, 50, Jear rome, The Dog of Alcibiades.
Ute chien Alco) Ba Baron i arta Mika Gay. France

bode chee Asie.”

Piate Il, 51. Michelangelo, Man Sitting on a Sack.
(homme au sac) Sistine Chapel, Vatican City

be pans, whith ges the body a sere ul goce and menant.
ll, 52, Thomas Couture (1815-1879), (bs of a Young Boy.
Portal din jeune garçon.) Whereabouts unl
ure had a disingicbed coros, abc seed lage crisis (orn the Frere gerne

i iris ty,

137. les arerter manner of drawing the ha compare A 10 the handing of hale by Der
5 1.361. Cs

Sepang tom ts sides
Plate 11, 53. Jules Lefebvre, Head of a Woman.
ste de femme, Whereabouts unknown
On Leb, see comments o ile I 34.
Plate N, 54. Timoléon Lobrichon (1831-1914), Study of a Baby.
(Ftude d'enfant) Whereabouts unknow

A od ly Géré
sd chikhen in modems.

own athe sd.
in ples I, 19 end, 60.

Mate 1,55. Hans Holbein the Younger, Pra of Poy
Portrait de N. Poyntz) Collection of Her Majesty the Queen, Royal Library,
Windsor Castle

pte à insu nes he

Plate Il, 56. Hans Holbein the Younger, Portrait it of Lady won
Portrait de lady Hanegham.) Collection of Her Majesty the Queen,
Royal Library, Windsor Castle

Plate I, 57. Hans Holbein the Younger, ss fort of the Wife of Jacques Meyer.

Kopferstehkabinett

Plate I, 58. Hans Holbein the Younger, Portrait of a Young Man.
{Portrait d'un jeune homme.) Whereabouts unknown
65

‘a. U2 may be an car chaning by ho younger Hallein.

Plate I, 59. Hans Holbein the Younger, Portrait of Lor

eae de lord Vaux. Collection of Her Majesty the ‘Queen, Royal Library,
vin

The ster 6 Thomas. Ihe secur Lord Vite

138. 78

te CO. Hans Holl the Young Thomas, Count of Suey.
Bern a Thom:
Royal Library, Windsor Castle

ne is ea ere a Hay Heard, cad of Suey

assure 10 promet, Y

round the ee
Plate 1, 61. Philippe Parrot (1831-1894), Bather, study of a young girl.
Bagreuse. [etude de jeune Ale] Whereabouts Seen mee

Another interest
oucesin mythological guise

a pining, New art fongoten, Paros specs in partes and ebegzet

Plate 1, 62. Hans Holbein the Younger, Portrait of a Man.
(Portrait d'homme.) Whereabout

in Wiis, Corman The
anabuenn a Holbein the Younger net rain

3, Hans Holbein the Younger, Clinton.

uns Collection ater ‘Majesty the Queen, Royal Library,
= ui

I of Clinton,
count rd ugar athe gllcioe

Plate, 64. Hans Holbein the Younger, Porat Of à Lady.
(Portrait de femme.) Whereabouts unkne

Plate Il, 65. Hans Holbein the oun ey of a Man.
ollection Royal Library,
Windsor Castle

Plate 1,66, Hans Holbein the Younger, Lach of the Court of Henry IV.
feori MV) Öffentlich Ba
Kupferstichkabinett

Plate Il, 67. Hans Holbein the Younger, Portrait of a Man.
(Porta d'homme) Ölieniche Kunsısammlung Bas, ptr hkabinet

da in the

ed lits
pint from fe

139. CE
Hirstiobst be eu ge
pe

ne

prestar

140. PART Ill: PREPARATION FOR

DRAWING ACADEMIES

(EXERCICES AU FUSAIN POUR PREPARER A
L'ÉTUDE DE L'ACADÉMIE D'APRÈS NATURE)

INTRODUCTION | A dress oo ri ‘am

141. Ancient Sculpture as the eee! of True Beauty:
The Prevalence of Male Mod
Ti src nn o mal ais uo moses al n di nd
tradtion behind
Tag ors vas bon ono et ak of
independent sed dire sheep sekocs ef tage a in ancien and rt une:

en

Phikısapher Plco (4277-127 Y
Ih censun AD,

en
tranches of Neuplatonisn that have infuerced Western thought dawn through modern
ties. Ray ogy. fe

Planets are intermedianes betweon a higher, spinal, eabey are our world

sible, mater
realm of the tush, of
[7

study inaction, eval, revelation, and restraint of the serves (denial of the flesh. At the

ofthe cosmos.

Pro it a
lower marl word es the er mations i ages, gor pe, eng ged

aes piled ‘our ability to understand the true, absohıte, and vee
pes ce ruta, spicy, honor, obedience, justice, the Good, beauty, and so

sone,
in our mings. Odd as à despite thi

See a irs all yh ese lf

o ae insight

>the mind hur ranechelessdifficuk 10 access"

path opened by pl der
so the path away ftom sereany oe erotic entanglements. Giving in to the seres all

“Placa love“) WAhout emburrasemert, th belief "vn ating in lso could lado
1 Renaissance.”

142. Neoplatonst

we avin it tens David aes pon

y Sena toni informed the thought of Job
Inch eines (17 eo and à prall te on
ancient ar. While studyieg Greek sung, be docile thn the beay of Uh

perfect bodies of their models, Une Greek men of nues these men were
people, Te ides tat

ol the Drawn Course.

ad ideal form. Fram the Renaissance on, most atists—docie, chaste,

for a female figure à

head,
its tarea

pod represented à step toward the ideal, ard hence toward moral
though.

male nde bos depicted, coal rad presented in sn idealized marae, beso of direct
tro lan Ronee between 1875 and Hal of corsa inspected and approved
Desi se, many approved prints and photos of rates could not be dispiyerl
in shop. iodo hie Ta bolo were emprnered 10 ac those sho mide a
eee,
fied, with rounded, ÿ > +.
nike to arce
the lower emotions. In

thinner, ang was thought

143. Practical Matters: Copying the Drawings

ce meurt as
gates Ie mod Ina oe These exercivesthe careful, ex
ing after a modelar 0 was

preparation for de

ake at how, y

Pates”,
These académies aro romadable inventions of Bargue. You will come to y

E

Te clawing nthe pa re man. pue tine dang about shang or
Bschpound; there sre ony pane inter ination of anatomical estes Een if y

thereby making sure you sp Bargue's procedural method

oa figure and teach you a procedure for diag fom a model. The in in the

Tab

tons character, pese,

musewature,
articulated.
As this is preparatory practice for drawi

el i This wl

“This is best done

append
pe pines the comments on the individual plates

that is, traits ce
ight lines. Pp

144. Dee owe dem retain hei ration in che fined ang here they ae

ot the fs: step. A

i 4, of
course, it L you would

the model sewed ia à hand mirror i abways helpéal

Remember, a inaccuracies

npr a the
rend oi bak yeu an wedi in cha yo ti the beak o
4 photocopy sho that has à good laser printer and haw ig pus wish to copy

a smal
sou sad work ia

scale, exe
pen
Some Notes on Bargue's Style

si

anatomical areas (calves, knees, clavas, biceps, hards, and feet) he usually uses sts
Ain i 7

the

simple,

eswuous ond etegare Ene, sgh curved, taking in several dol, The sirluasty of Unse
. e ath

uns inthe other passages,
The angles,

danna! tie, and ques
takes: i

features
planes and
aut tah een suhoatinates and subas the

ns estres.

145. pal Une pit of te neck,
Bagues ation of nor anatomy salmos cala, panic In de legs

3 19 ea
in plate In, 32

Other are cun in a more ercnamiral, “eff the cuff" manner. For example

A Repertoire of Traditional Poses

poses, which mi Pp

Shetorcal poses: plates, 10
Meg ar: pls Wy 28 and 20 cc plate 29 fr mening e
be hola sation vesell plte I, 37 (arayer plate I, 3% igre plate

on ae Seg,
Pl I, 24. pobre Hand's Young Man Seed an a Rack sty
ue Home na sr an ro, Sede Pe I Is sh: Mere
12% plate a

Capitoline Museurn in Rome.
| 12 (David plate I,
beplrendl plate Il, 36 (Adam led fom Pace; pe 42 ce
11, 44 (Abel dead, the dsl Chest, or

0 fa bat

166. Plate 23

172. Hate 29

176. ae 1 1

178. Fite 35.

180. Hare m3

184. Poe ar

185. Pell 42

195. Ho M5

196. Fier

Pate, 60

197. NOTES ON THE PLATES

I The French tales
cod vanited re
Inventory

Plate Ill, 1. Young man, leaning on his right elbow.
Gene Bormes Scouse sur le bras do)

Museum. In he tent
an Sigh eet ote le
1

240

and up the Bock aïe neck
The sa ppal, te pone fra flog poste

Plat I, 2. Young boy, standing ile leaning on a box.
¡eun garçon, debout accoudé à un mur

‘aint construcion 4
type bey Neo he Ir Ie sand an alte verte

Fl 3 Banane ron aba ie vaa
(Homme debout, marchant, de

he hay and the
harás cee mare detail; the pose, wth Rs many Sowrsheetenings is move sophisti, I

ick, nerlapping Ines, Th N
Aarening be nem. À Ihe
Ri Sit Theshodews
h ir the hat be
i

the left toe. Wh

the pase setts
lan as.

Pate 1, 4. Standing young man, leaning on a box, font view
debout de face, App Sr un mus)
er pi

the hong ne

too a the stands eg.

198. Plate I ha leani while holding up
left arm, front view.
h de face, levant Je b
gauche.
The model ‘ y se ‘
ons 7
f te b

Pate MI, 6, Standing young man, leaning on a pale, lel eg set back,

side view.

Ueune homme debout de côté, appuyé sur un bâton, jambe gauche
arrière.)

hi

rires.
The labre can an om tho pn hee othe lc seo Ur heh
Plate I, 7. Standi i in his
left hand.
L'un bâton de l i

fui)

hea is fi fee
Plate Ill, 8. Standing young man, right hand on his head, rear view.
deune homme debout de dos, main droite sur la tete.)

i 1 on

he ea es,

pren ght lines so des areal sxe,
Plate I, 9. Standing young hoy holding a pole, head turned toward
the pole. o

‘ a kin)

The ory areas of pronouinardfowsherening an in the bags andl feet. The pe forms a safe

your apo.

199. Pie N, 10. Standing man holding out his right hand, rear view.
debout de dos tendant la main droite.) |

Rall

un ren the ek le sd ne ise right re
Plate Ill, 11. Seated man, rear view.
(Homme assis de dos.)

Ar a popular studio pere, ths a more sebanced, Welke tud: The online & accurate,

Poe As line o he battock anal the bulges abet.

Plate Il, 12. Standing young man, right hand on left shoulder.
Y E -

denn.

‘sometimes refe o asthe eve ur pay he

Plate II, 13. Stan ing boy holding a pole, legs crossed.
(jeune garçon tenantun biton, jambes coles)

Plate 1) 14. Standing young man turing his back, hands crossed
{Jeune garcon debout tournant le dos, mains croisées dans le dos)
is could ted from behind, the ang
od

tre cpu, en

dé the neck ta the incr it ale,

200. Plate Ill, 15. i i inst il ing
le.
ii homme debout adossé à un mur tenant un bâton.)

ns "eh

inns The pnb Ine in ham eps te heads hei ton
Plate Il, 16. Seated man, leaning on a wall.
(Homme assis, accoudé sur un mur)

s, tenant

Ta

ee rn ego hele as you av,

Plate I 19, Sanding young man leaning ona ple
dune homme debour appaye sur

secre by Barge wth crei Inc
Plate Ill, 19. Standing young man, frontal view, with hand on chin.

his could be either a pens or pagllic pose. ls he ding up his opponent or simply
as arica finger, the es he indicted. The

Dorner ef the face tote Inner aie ofthe mois bt fk.

201. Plate I, 20. Standing young boy leaning on a stand, left leg crossed
behind the ight Leg. me ae

febout accoudé à un mur, jambe gauche croisée
ere la droite) a

the arms, ha shoulders, legs, and à dec The
i the

segs. Gelb

pte IN, 21. Seated young man, three-quarter view, hair somewhat

is, trois quarts, che longs.)
150 forth roars hater
Mate 22. Man in profil, lenin o the ight
(Homme de profil, penchant à droite.)
This ies pose N
ms i spaces acta, The
hen yee a be pied
A xpi N
managpable zes.

ate ahd 23. Standing man, right hand on a stand,
ve debout, main dite posée sur un mur)

in ee ai

‘You need oriol here as wei asa plumb line.

Pate M, 24. Man geated upon the ground, his head on his knees.
(Homme assis sur le solté su es geno.)

1835,

202. hard de Ley
ee ni Sr

Plate Ill, 25. Standing man, seen from behind.
(Homme debout de dos.)

La: Wiss ca ber mel oad he

‘eal interests ofthe cack Realist,

Plate Il, 26, Standing young man, holding a pol in his left hand while
looking at it.

t, tenant un bi
regardant.)

up toward the poe y

en
Plate I, 27. Standing man, in profile, holding out his open left hand.

pos The head is
hand—hekl ik
trouble sand app
sh ke body which i h
en this pos
Plate lll, 28. seated on a box, his right ti
head.
der is sur une caisse, main droit fa tête.

f a Tie moat

fern pisas tel aora The Revers ere an eal por ofthe Nest
comps is

203. Use horizontal reference lines se needed,
Plate I,
Jeune

9. Young man in profile holding a ball.
omme de profil ten as ine balle}
The fuze holla bull, pring the biceps of he

Denia 10 support the wei; the

“The cet. buy aed thigh are decribed by a singe curved ine
Plate 11

1, 3 view, holding a pa
both (is his pe leg ¢ crossed over “the right. .
toi dlon à dí pied
gauche co devant le pied it)
Ibis drag cba i gave and
maerert Comp h 5

Plate Il, 31. Seated man in profil, his hands crossed on his left knee,
go

The h

The

of the legs anal amos by precindy placing Une high and lo pats vé thie curvos, all he slo

{singe sem indicador any to pide you
Plate I, 3
dure Somme: dbo Bas ara nee sur ted

chest, left hand on his
in droite sur he fa tête.)

Plate I, 33. Standing man, right hand on
head.

inthe eth drawings.

fight leg meto ° o

204. Plate Il 34, Standing young man, turning his head to the ef, right

ene homme debout, courant fa tte vers la ‘gauche, main droite
>)

a leybie mood, da Ja simple

Plate Il, 35. Half prone man, holding himself up on his hands.

a diferert manner

Rome.
co vous,
ftir th
ARA hand. yt
sin be ct ange te comment loe 34
Pate I, 36. Standing man in profil, hiding his face in
achant le
The pere fr Adam beng bis Roe va teed pose, with woche
sas i is ection Bu hols the

is hands.
ins)

miss quis:
«consider ban gates can vummunicate meurirg and em.

Plate I, 37. Stinding man, left hand on his chest, right hand

la poitrine, main droite en arrière.)

“Te mun seks anal, ok

À, akhough rhetorkal, iis fll ol

Tee a commnicaive.

gu Ali, 38. An archer.
lomme tirant à l'arc.)

205. Plate Ill, 39. Seated man, hiding his face in his hands.
(Homme assis, se cachant le visage dans les mains}

Th

in the conte

Plate Ill, 40. Standing man, right hand on his chin, left hand behind
his back,

mentor,

estu of the hand to the chin hus triana symbol perse

a AHhough the E
pe ip, kgs, and bead th à che th
pentane ey oc 1 The Men ee

Pate ta. ¿unes young man, left hand resting on a stand, right
hand ak

mur, main droite
sur les ram

nolatiaes have beer tamed into cues.

Plate ill, 42. Standing young man, hands crossed over his waist,
{Jeune homme debout, mains croisées sur le vente.)

a

Bapús The cesaingis a good example of anctomicalantcuatno, particular inthe le acer
the knoes and cales.

Plate $3. Man leaning against a stan, face ited up,

Tis a very sy cil cio ‘ci a ee gration. Te les are ston, the Ging id
J
Fate pole See hed

of is owe tearing ight hand,

206. Plate ill, 44. Supine young man.
Jeune homme allongé}

This à à poco often
be dd Abel al

the thi

Hae Is. Standing, ran Bl Pande eld bis head oki.
(Homme debout, mains derriére la tête, visage en haut

dy. voy gh avec

a, fune bn cd ah be mec wer han In right acc ram he a, ei i

Plate 1 46. Man pulling on a rope.
(Homme tirant wu à]

gata ou

the ose,
They erect sed congo thet lens muse Soar od er ld and ara
eg in exter

Plate I, 47. Standing man, arms spread out.
Homme debout, bras écartés
A rye sap ren, Ts is a very

without a fer,

ou see indeatins of the steam, she knees, and the ankles. Bargue dees not want yee 1
the

Mate I, 48. standing Young man, three-quarter rear view, crossed
Jeune homme debout, trois quarts de dos, bras croisés}

207. APPENDIX 2: The Sight-Size Technique

An Experienced Artist and Teacher
Defines the Sight-Size Technique

othe case of a ler exchange about the dao

Using Sight-Size to Copy the Bargue Plates

The une of sine technique is recomendada shoe
parts of te coarse Its busicaly 2 method of deans in which

the

Ni lier for pus,

"The mehr mel of mearutment wae 4

2 dolore cone products an
ani ef the asst inthe same sin in whic i

is pemennd
ah che mod

ie

ere being sie ee ane ore be

ne apres
Fer began ‘te siglos tecmigue are so.
alone. that ic

mn it is easily adap ing
dau y

from ca, ss, coring alg an ding ét
neral wo be prose preparation forthe fist vant!

Soursalf Tao technique san eullen tool bose
stabi à sum vantago pole, an cie
nt con, envie scene nd tuer Theres
fla fargo lat ite
“tados kok at

How Old is the Technique?

debate amongtlveprasticeessabcet have
[Pet er ir nt

Ge RS = ns Fale an content
‘ako

the mt niche Resin dues and pas ed
th ies bao ede. Ar mas pros
nm ry depot, Aug
there ea a's Gar el may de

ane mar

Ana tin where the od

de peice
cc copy urea ds 2% hor preci.
he examination of many etchings uns wre sr

Te nfl schen is med in the righ way. Alo
all, te cielos meted e var ta ly sente
Sewely amd improve thie eye und. a Ue
‘advance, thar premio elle

ss, In
Fes ng sh een win
th craig oda in gs

208. Necessary Conditions for Sight-Size Practice

fos, te det den and Be paper upon wich e cies senc à
Ake p

dans takes to comple which may be sever weeks. The ight pen the ES

direction li os,
Tis means thu the space 1 mom must malna he se

(oct. The à pantedat
o a er und up sige each

209. Wear

<a sect yout
ken and your jur
pine aca ter de sie: wa LOUE al a
ste sya mse cs
1 hc by your messed ms

Excursus: Shadow Boxes

Drawing After a Cast: Positioning the Drawing

Is beer
ac ard cod loch ee ate
‘on & st proper next tothe shodorw bea, the dosing poros.

ar stat The pacernent fhe paper athe patie aig
83. Seuil be i
dot mod Ben ik
ac cast Dan two cabo paper that dere the
he of the

roc

lice fg. 44 The bos, of cours, ess on a el stand ar able

29
taut string,

sou are looking a e certe of te obje. Line the bow th

peak of the bead oF the model and aver the ding paper

hs on the cast, Somo users preso a dio gray teed

feeward and make ph ane avo ras ill ce.

a ego ites a pot yoo

mreasuternen, ju yur eyes.
Sa

‘examples of various sways to manage rs. walbck gxnard checkthemceks by held gap the sing
"rouge the drwing process Sig changes in the pedtionof each of the marks, top and bottom.
di

hang a plumb

arche nthe mike

as the plumb Ine denia! reference line) around sich your

Step: Draw a plumb line ia vertical reference line forn the

in the shocks Dax.
I dawg fom 2 cag, that, making a ee tonic

hes you re
ring of the pub ne age o check the wid

Whe

ine sg, fling, e center

210. cial pains on the ext be rd ad ry pig

plumb Ine in

Sec caen ic men edo bs the line fren

ha Spee min

za

211. wing After a Cast:
Wiig “Apparent Distances

Belore bey

al consi avn, sa be canule ect

rol essarcnent and study al the way araund-befoe
teas ono da of he om a pot ln Seba yur
d wt

concave ar crenex, cm the cnet athe moda, (2 om yout
fi

filing in Ure cuves, puis lines in forthe muje sacó; then

fxr postion
sure tat you ae ol aa y compar

til ee that the corto morder ajuste

Important prt Ut wil bp dee he Stra Stat

Jus a bi, you will hove diff fing the features into the

eg who
fir
à mark an be pl e à
y Denen te o Enge of year extended Pando
Drawing, fet a hee
Plates

Spa. Step Sonar amd mark iia, Step hard de

da nn om hi
ms he bo dau

Vide this way around the figure un you have the shape
ma ty dau when jou are aan Bey de al
tre da

I mesure and nn the das ith
Se ine Vo co mao ins tough de pub he fr te
rl the an features. Adi enctber

ake a presi ed Le i sels
“uk areas ee pressing es is
miem ot
etc ner bate

et ape much of the dt aa technique as posable o.
decai,

Pe th ps and he ing ape dde by ie oo
Aizming board, an u Preah on a wc sal.
Locura good um te on te ig, NO dan Ue à pce

ur eye done, Since thew $ à lo of stepping Ich to mesure

top cer arte ocre Tran then 10 Une ding St

nd at al tenes the pen or charccal the plumb lire, sed ie

eraser o that yu can swach insuumenss wkhose I
cra.
Be sure to mai these fist connect Ines stright. The

these
¡seves can be suche out ate, The gester re ante of the
ane, ero si lees comite Ip potro wäl

the juncture cé the pla pops. Using the foot postions

vil grt you wel to jul mossos fom à disance wih
ee memoire dan, sepping kmund o record
them, and sieaping Bock to antec ther. Ty to do as much af

to come
our work ae posalie in this manner. At mos py tale
‘Gane up wil be necessary, but dans step bc 10 ju ox

He pan comes unes o seh: one sa

ne er on itis aro ke
eye a you we beso
ead etait aoe

322

Sido oa ube acetal iia
shadow mass in a Back mi

212. Pros and Cons Concerning the Sight-Size Technique:
A Dialogue

chramic poses for mece than few minutes, may delay leaming the elements tht gt
7 . ‘ 4

Tight source, an unckmered ard neural backgourd, and à model
However

eng ce Amirishing deso images

213. 34

Peter Benge, the fine dein resi technique othe

An upg eet as not ease, he ple:
is
eo nen.
Two,
‘subject than the bottom, ”

role setting, bus i's paca for linkcape painting jot Inne La in pr

a ie i ee oy open, th
“hae

"Then |enatinue:
“Sips sgt fr teng oben and pro. Lab mended la wading

214. hem Some express, i
* on woe as

id
il, E you

‘want to bo an exacting con, Sao shows yu the may
her a with fi
the schol
ef the Bench academy, quit and
mods, + ha a day
and from u .

pe i aed

bahia er prt
Jam AP as eek ara ern lo ltd my pad
maid i ht act in fen berg aga sou I

ttoenston nota tes The pay nl se be dhe ssl

In doing
th i lle, The wick wil be to

in the Pande the inexperenced”