Charles bargue :: Drawing Course
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About This Presentation
Charles Bargue Drawing Course. This book is a complete reprint of the fabled but rare Drawing course (Cours de dessin) of Charles Bargue and Jean-Léon Gérôme, published in Paris en the 1860s and 1870s. For moste of the next half-century, this set of nearly 200 masterful lithographs was copied by ...
Slide Content
Charles
Bargue
with the collaboration of
Jean-Léon
Géróme
DRAWING
COURSE
Gerald M. Ackerman ACRE
Bargue
with the collaboration of
Jean-Léon
Géróme
DRAWING
COURSE
Gerald M. Ackerman ACRE
128
180
CONTENTS
Preface and Acknowledgements
Introduction
“The History of the Driving Course p.104 Public Gontrowersy over Teaching
Materials, y. 12: Gaupil Proposes a Solution, p 13; The Organization of the
Drawing Course, p. 16
PART |: DRAWING AFTER CASTS
(MODÈLES D'APRÈS LA BOSSE)
Introduction, p. 18: Practical Matters: Using the Plate as Models to Copy.
1) 22: The Schemata ar Plans, 22; Materials, p. 23: Drawing Terms qu 2
Suggestions for Copying the Plates. p. 24; Values and Modeling p. 25:
Procedure for Modeling, p. 20; Finishing the Drawing p 27; Niles on Ih:
Plates, ar
PART Il: COPYING MASTER DRAWINGS
(MODELES D'APRÈS LES MAITRES)
Introduction, p, 128; Realism, Hs, and Academic Drawing, 139;
Practical Matters, 141, On Choosing a Master Drawing to Copy. The
Benefits of Copying y, 111: Getting Down lo Copying. #32: A Node
About the Drawing by Hans Malkein the Younger, y 344: Notes n tie
Plates, p16
PART Ill: PREPARATION FOR DRAWING ACADEMIES
(EXERCICES AU FUSAIN POUR PREPARER
À L'ÉTUDE DE L'ACADÉMIE D'APRÈS NATURE)
Introduction, pido: Ancient Sculpture as tho Model ob True
Beauty: The Prevalence of Male: Models, y. 111; Practical Matters
Copying the Drawings p. tn; Some Notes on Iargues Style p 14
A Repertoire ol Traditional Pons, ju 145: Notes un the ales,
180
CONTENTS
Preface and Acknowledgements
Introduction
“The History of the Driving Course p.104 Public Gontrowersy over Teaching
Materials, y. 12: Gaupil Proposes a Solution, p 13; The Organization of the
Drawing Course, p. 16
PART |: DRAWING AFTER CASTS
(MODÈLES D'APRÈS LA BOSSE)
Introduction, p. 18: Practical Matters: Using the Plate as Models to Copy.
1) 22: The Schemata ar Plans, 22; Materials, p. 23: Drawing Terms qu 2
Suggestions for Copying the Plates. p. 24; Values and Modeling p. 25:
Procedure for Modeling, p. 20; Finishing the Drawing p 27; Niles on Ih:
Plates, ar
PART Il: COPYING MASTER DRAWINGS
(MODELES D'APRÈS LES MAITRES)
Introduction, p, 128; Realism, Hs, and Academic Drawing, 139;
Practical Matters, 141, On Choosing a Master Drawing to Copy. The
Benefits of Copying y, 111: Getting Down lo Copying. #32: A Node
About the Drawing by Hans Malkein the Younger, y 344: Notes n tie
Plates, p16
PART Ill: PREPARATION FOR DRAWING ACADEMIES
(EXERCICES AU FUSAIN POUR PREPARER
À L'ÉTUDE DE L'ACADÉMIE D'APRÈS NATURE)
Introduction, pido: Ancient Sculpture as tho Model ob True
Beauty: The Prevalence of Male: Models, y. 111; Practical Matters
Copying the Drawings p. tn; Some Notes on Iargues Style p 14
A Repertoire ol Traditional Pons, ju 145: Notes un the ales,
252
282
312
316
318
326
328
330
336
CHARLES BARGUE, THE ARTIST
1874, 1.372 pias nod 274; The Arise
‚and His Model ol 1878, yu 374; NU naque Scenes, yo 27%; A Bask hago
and Some Albsaridas, y, 275) Banques Final Five Yours, 1878-83, p 276:
Fa Chess Games p 777: Bague Dow p- 260
A Preliminary Catalogue of Bargue's Paintings
Drawings by Bargue Reproduced in This Study
Appendix 1: The Goupil Brochure: On Modlels for Drawing Classes
Appendix 2; The Sight-Size Technique
An Experience Antist and Teacher Deines the Shui Ty
LEE Sn Core es eran a]
Teclinique?, y. 338; Necessary Conditions tor Ses Practice, p. La
Excursis: Shaslow Bones, p 120, Drawing after à Cast: Positioning
Growing p 10: Dim fe, Cast Mein Are Diane
y Mz: Drawing aller Flat Model ange Mavs, p 122; Pos and Cons
Conceming the SightsSize Technique: A Dialogue, pr 421
Appendix 3: À 1926 Article on Bargue's Drawings (in facsimile)
Glossary of Technical Terms
Notes
Photographic credits
282
312
316
318
326
328
330
336
CHARLES BARGUE, THE ARTIST
1874, 1.372 pias nod 274; The Arise
‚and His Model ol 1878, yu 374; NU naque Scenes, yo 27%; A Bask hago
and Some Albsaridas, y, 275) Banques Final Five Yours, 1878-83, p 276:
Fa Chess Games p 777: Bague Dow p- 260
A Preliminary Catalogue of Bargue's Paintings
Drawings by Bargue Reproduced in This Study
Appendix 1: The Goupil Brochure: On Modlels for Drawing Classes
Appendix 2; The Sight-Size Technique
An Experience Antist and Teacher Deines the Shui Ty
LEE Sn Core es eran a]
Teclinique?, y. 338; Necessary Conditions tor Ses Practice, p. La
Excursis: Shaslow Bones, p 120, Drawing after à Cast: Positioning
Growing p 10: Dim fe, Cast Mein Are Diane
y Mz: Drawing aller Flat Model ange Mavs, p 122; Pos and Cons
Conceming the SightsSize Technique: A Dialogue, pr 421
Appendix 3: À 1926 Article on Bargue's Drawings (in facsimile)
Glossary of Technical Terms
Notes
Photographic credits
PREFACE AND ACKNOWLEDGMENTS
he niga, cleat, and tor ls the bock.
Foon the begins of our frais tiny
you be Whar about republic Kanga Cate
Drang Cine, Tr ul compe st rene a the ne
sen the Natal A rang Vera and Alert Museum,
London Every bah Mark Wey the Lu und ame
bas Hors, nl Dani sep phvererghed ne
le the Di Course, and pri fn seis were
Sonn rein ara el ha att mat 1
(Dare dicas in done new eon: the course had a
test, and abu win ethers hal these were beau
dear and exemplary model that any gate:
ait pe ra want cr an at har ea a
ra a and + hurd Wma my ring explanation
of the planes and ei
‘Aer Dil and Choros Cook ta pene thee ate Im
Pre, Dre seo mas me airing che “Come
1 Fever ana such I mar ste arf mabe an art na.
ou bt am Inch you bo han ane Lean he yu rc
‘he commentary hr the plas” My Fest semester at the eh
wann 1983, Ril at was give plat ie, and,
à Ga of ot sack ben, and os shan the lr
the sis technique, as soon conta by a nck.
‘abs pad th pleno oe al chia th it
ol spare aed kam he font th Dani an
¡Qt mb Inne inde Bunt me were as
2 "propecia Hath 1 he emo he kr ar hd
ad o previous ining wr compar, Jud line nes.
Eh oy oc y ve am 2 wth no cred
2 eng me an puted me along o the next sep
‘a pe of penal ir Y had never experien amd,
dos, od ese pace in my ri tr was a
ces wih a ee ee sur, are he oa Pe me wäh
a daten u Div Graves for senal
pra rein the ment importar berg that he as
cha tom the mea entry 2 an he
te shape any «ful cw to place my sed The moment
dence and Grimm avrg the suns were cuy Ng,
ya acc à ern at sion and sca À as
saxty hg ist ty heme aris scr, th, ad
a Fekowing mp lion period, Daniel arnt Chace pere
cera ever ging one the plc e Drawing nme ih
ms nad patatas on ono of est peral computer The
ces ook than cate undo ihe cometas
thi ook. So, Dan, here rar ck Che, | eg ru 2
veda, too, You may bath few! cu rc your on
word vou the multitud revisor of the text bar ls
hei sar an yu aching abt He bc the ais
‘that ante vedo hd.
The wri eval bons cay under way ever my
iveco ur do Fev ad em es he by
mi, Nonetheless, minus dan me comes 0
Aho chk where Haut inthe Unie Sus a abs hee
ment indem wäh weer og of pds ats m
Ls Ages, who ph accepted m aaa sing o
‘ear one above the working Pat My rate hee do
gts flr Frame and ay Deena: whe sian seed
the sts fer thse y meting.
In 1996 | went (ck o Florence ad o ve yews header
1 pe a wer or sping semester al the Porn Academy. |
sow several extrema on grt arme mund
Dial a student, drawing sachen in the ma ad
king fom cass or gg Ba kang nthe ren.
A he cache sed Dy ary Spel art bo ad
in Ran creed my werk Cake Whe, Mauna Hye
Sin Dd, Kevin Conger, Argo Rare: Sans, Arda
‘Seth, among chen ol when wert pt, a’ ty
inte arc abies. ay well un my sat. The de
rad dre sometimes even the vor weh 0 these chen
ame worked hei way in this bo. bern shart
he niga, cleat, and tor ls the bock.
Foon the begins of our frais tiny
you be Whar about republic Kanga Cate
Drang Cine, Tr ul compe st rene a the ne
sen the Natal A rang Vera and Alert Museum,
London Every bah Mark Wey the Lu und ame
bas Hors, nl Dani sep phvererghed ne
le the Di Course, and pri fn seis were
Sonn rein ara el ha att mat 1
(Dare dicas in done new eon: the course had a
test, and abu win ethers hal these were beau
dear and exemplary model that any gate:
ait pe ra want cr an at har ea a
ra a and + hurd Wma my ring explanation
of the planes and ei
‘Aer Dil and Choros Cook ta pene thee ate Im
Pre, Dre seo mas me airing che “Come
1 Fever ana such I mar ste arf mabe an art na.
ou bt am Inch you bo han ane Lean he yu rc
‘he commentary hr the plas” My Fest semester at the eh
wann 1983, Ril at was give plat ie, and,
à Ga of ot sack ben, and os shan the lr
the sis technique, as soon conta by a nck.
‘abs pad th pleno oe al chia th it
ol spare aed kam he font th Dani an
¡Qt mb Inne inde Bunt me were as
2 "propecia Hath 1 he emo he kr ar hd
ad o previous ining wr compar, Jud line nes.
Eh oy oc y ve am 2 wth no cred
2 eng me an puted me along o the next sep
‘a pe of penal ir Y had never experien amd,
dos, od ese pace in my ri tr was a
ces wih a ee ee sur, are he oa Pe me wäh
a daten u Div Graves for senal
pra rein the ment importar berg that he as
cha tom the mea entry 2 an he
te shape any «ful cw to place my sed The moment
dence and Grimm avrg the suns were cuy Ng,
ya acc à ern at sion and sca À as
saxty hg ist ty heme aris scr, th, ad
a Fekowing mp lion period, Daniel arnt Chace pere
cera ever ging one the plc e Drawing nme ih
ms nad patatas on ono of est peral computer The
ces ook than cate undo ihe cometas
thi ook. So, Dan, here rar ck Che, | eg ru 2
veda, too, You may bath few! cu rc your on
word vou the multitud revisor of the text bar ls
hei sar an yu aching abt He bc the ais
‘that ante vedo hd.
The wri eval bons cay under way ever my
iveco ur do Fev ad em es he by
mi, Nonetheless, minus dan me comes 0
Aho chk where Haut inthe Unie Sus a abs hee
ment indem wäh weer og of pds ats m
Ls Ages, who ph accepted m aaa sing o
‘ear one above the working Pat My rate hee do
gts flr Frame and ay Deena: whe sian seed
the sts fer thse y meting.
In 1996 | went (ck o Florence ad o ve yews header
1 pe a wer or sping semester al the Porn Academy. |
sow several extrema on grt arme mund
Dial a student, drawing sachen in the ma ad
king fom cass or gg Ba kang nthe ren.
A he cache sed Dy ary Spel art bo ad
in Ran creed my werk Cake Whe, Mauna Hye
Sin Dd, Kevin Conger, Argo Rare: Sans, Arda
‘Seth, among chen ol when wert pt, a’ ty
inte arc abies. ay well un my sat. The de
rad dre sometimes even the vor weh 0 these chen
ame worked hei way in this bo. bern shart
fom kevin Cong decisions de hit ome Kuri fmt
copying matey chains from Chutes Weed entiqu aba
the umshing scr Sor using certain ihn fr the
porcina ná of Simon Dols au Maureen
Hye abo the ns of slr and ti thi
Aeron my det compare, cil accent mus
toe gen o dy La, so aba hs Para by on à
pr
These de, comme, and sogas wer al gerente
cd seed by eto ge the Wala cono) cd vo ad
hd ee sl Ey y ana, Gray Path a
a À you bm and econ, bo reply gave up
nen. € os vall ao me wo St beside me and ce
Ary ¡uta the book. He cone whole page
tn maca toc as wel casing stato for Ihe
append; ht conanty checked or queste my vocablo
106 nd 1 ence my various rut be Ih pts. We
‘wore very nly, ara he he an ed wt al ots
the back Wo lion sy It eco a rubio
fom waived tt.
‘Muy ar ung ey tench wre rss he rei
rk number on Sa, eve Gong, Pes Boum, Tom
Anectuel and Wes Centemen tea dhe mur in ite
peral age al en) eigen ram. Many der
a ea to sos e rng Course pain a o ge
to ther sunt, Have escoge ms rung the yrs ae
them all My er in Minato spa Annee Hew
an fer Bouin area me dong he org
ad
1 as ales sides by y aca: culls, desley and
salir: Ay ceca Farc Ud cnc al run I
fal dal The ent mode example of how at sur
veo loe 5 exer in e sec oF o fan um
Banga’ cha: Gomera ges importan wen ice
sr ocre tor by Mesa el Ja Schuh
{m Pibe by Er Zalra and Deny E Mc in the
Unie Sao. Cini ch Win ci detecte work io
‘the hey of the Cina Art Mun for me, ho London and
New Vo stats ct aut bones Chess and Soy
‘were jener with their tne ad als resp in tig
‘eformation and stations foe the tex. The admiral
el sl of the Goupl Museum in Bordkaun—n price
kine Lafont-Couaurer and Pherne-in Renit—were ul eel
mpertanos in tomos of dur physical produc of the bank
They pet atracar and irdomtion 1 requested at à
past at rel arcano ce tb phengeaphing he pls
of the Deaning Cours rm the too complete ses cae by
te museum Soto Autor und her sll a the Blu
sstonale in Paris found photiazaphe of kot paintings by
Bag in bu: ation with the Hire The sas the
Muntiggon Library in San Maing and the Getty Resor Corte
im Lim Anges, Cablomia, were especialy hel: in pari,
1 at to thank Linda Zechler at the fin ighuton ae Mark
Merdecn at ws second. Te the countess other fearon,
megan, cuco, and codecs Who ie ay OF exter
added. to the arm, richness, are accuracy ofthis box
Here my thinks and sata for your cheerful sonic.
Cats al muscu in England and thw United States have
done vafane werk hr me The sal dl thee Dabs Museum
IX A —asociane dreier Michael Fahlund, curar Sophie
br asian eurer Reger Diederen, and curatol ee
cascara Frank Verposrten has prone unilagang ate
and ac both 25 cof und ice (Gerd Lat but pot
feast, Monsieur and Muda Ahmed RL y publabers. have
Shen me the wonder support and leeway ha | haw eme
For wen yea. is Mansour Rad al aed nevi as
|W andthe cale 6 Hayy's iain ths elem of te
Pang Course. Ale al thanks to my part, Leonard Semon,
he ls pence cage the wnt and production of wither
Nek
copying matey chains from Chutes Weed entiqu aba
the umshing scr Sor using certain ihn fr the
porcina ná of Simon Dols au Maureen
Hye abo the ns of slr and ti thi
Aeron my det compare, cil accent mus
toe gen o dy La, so aba hs Para by on à
pr
These de, comme, and sogas wer al gerente
cd seed by eto ge the Wala cono) cd vo ad
hd ee sl Ey y ana, Gray Path a
a À you bm and econ, bo reply gave up
nen. € os vall ao me wo St beside me and ce
Ary ¡uta the book. He cone whole page
tn maca toc as wel casing stato for Ihe
append; ht conanty checked or queste my vocablo
106 nd 1 ence my various rut be Ih pts. We
‘wore very nly, ara he he an ed wt al ots
the back Wo lion sy It eco a rubio
fom waived tt.
‘Muy ar ung ey tench wre rss he rei
rk number on Sa, eve Gong, Pes Boum, Tom
Anectuel and Wes Centemen tea dhe mur in ite
peral age al en) eigen ram. Many der
a ea to sos e rng Course pain a o ge
to ther sunt, Have escoge ms rung the yrs ae
them all My er in Minato spa Annee Hew
an fer Bouin area me dong he org
ad
1 as ales sides by y aca: culls, desley and
salir: Ay ceca Farc Ud cnc al run I
fal dal The ent mode example of how at sur
veo loe 5 exer in e sec oF o fan um
Banga’ cha: Gomera ges importan wen ice
sr ocre tor by Mesa el Ja Schuh
{m Pibe by Er Zalra and Deny E Mc in the
Unie Sao. Cini ch Win ci detecte work io
‘the hey of the Cina Art Mun for me, ho London and
New Vo stats ct aut bones Chess and Soy
‘were jener with their tne ad als resp in tig
‘eformation and stations foe the tex. The admiral
el sl of the Goupl Museum in Bordkaun—n price
kine Lafont-Couaurer and Pherne-in Renit—were ul eel
mpertanos in tomos of dur physical produc of the bank
They pet atracar and irdomtion 1 requested at à
past at rel arcano ce tb phengeaphing he pls
of the Deaning Cours rm the too complete ses cae by
te museum Soto Autor und her sll a the Blu
sstonale in Paris found photiazaphe of kot paintings by
Bag in bu: ation with the Hire The sas the
Muntiggon Library in San Maing and the Getty Resor Corte
im Lim Anges, Cablomia, were especialy hel: in pari,
1 at to thank Linda Zechler at the fin ighuton ae Mark
Merdecn at ws second. Te the countess other fearon,
megan, cuco, and codecs Who ie ay OF exter
added. to the arm, richness, are accuracy ofthis box
Here my thinks and sata for your cheerful sonic.
Cats al muscu in England and thw United States have
done vafane werk hr me The sal dl thee Dabs Museum
IX A —asociane dreier Michael Fahlund, curar Sophie
br asian eurer Reger Diederen, and curatol ee
cascara Frank Verposrten has prone unilagang ate
and ac both 25 cof und ice (Gerd Lat but pot
feast, Monsieur and Muda Ahmed RL y publabers. have
Shen me the wonder support and leeway ha | haw eme
For wen yea. is Mansour Rad al aed nevi as
|W andthe cale 6 Hayy's iain ths elem of te
Pang Course. Ale al thanks to my part, Leonard Semon,
he ls pence cage the wnt and production of wither
Nek
INTRODUCTION
i
THe History OF THE DRAWING COURSE
the pas rei Course Co he ese. reek here ergy
a ewan ond Ged publican of the Le nc cy. sde ii
ts, & contains 197 real hope phan of prie ong ste cas,
iter drawers a male mod, all arrange a a some progres legos
04 dd The curse wos desires to prepare egin at nes ging Des plas o
in rom nt, thal fra jes, bach natal and mama, the: veal word. Lik the
‘uric of teniente Ecole des Boss Vs in Mari, where ah huso, as
ip a the sue wing and ese, choc 1 rend rate in ue lic
reali. hs When the Drawing Cou was pula do a ON win al
pera auch tat of une ws the pec a of heat al ha be rent
Important suerte the arts was Ue human ach; The apes ofthe subject ped Pad.
en yes been replace by set preto.
‘Despite ing bol rare and scan ty the Ranger Deg Cours 0 Ihe
rod gr documents ofthe Lt gu Banni of io paré sn wentem at wich
Ai place inthe lite rencor conta The present compo new eb wl seve: Wirt
remtemporary sus in ge dane Lo present an imparta int centiy eurent
1 Han, and eye oral at hing pubic, colton. and amateurs.
The ples inthe Drawn Course are mix, whch in Esp wud be rad as pd
amp lo Grp,” Me coun ills the sabia ou in ninetenth-certury ar schon
y om wa the coping of paste eats, proceeding mer dais ar rating th
made mae mds académies. Since ths pare vr of acts ts ar fi ante im
fhe coca cl the te; the platos wr tan with Instructions, Robin onthe expe of
ccortemporey teaches al practioner of mic aro dale, the reset tinny have
Bat Pr thee pls ight tough in ls and sey elisha cer troy
imac, every aber has bre made expli etc cercar droning Dy an)
act.
The present bo aba iros the lao of Chars Bargas (1820427-1883) à logar
are per haran non cyto a mal group of connie, keto. ad a suert An
stem has oe mae Wo cee a Me of legend o wr a ES api Ba gui be sara
Aeon ecke, HS painted ss ral, ara oy about Hy es at va O
mine, by ha Pas ben cae, mos which aci pent ein. His aang Co b
{ara nya han Stay and scattered un ig he and ea the aber. Ar
ocre se ofthe Drang Counc: the National At Libary. Victor and Abert Nau,
Auman fo 1991 nn farther complete ets ere rade public rd u o eli re
Mans Col Beda. The pes repro in these wen see in nan
Lo mate the irn) to Binge mane complet, an dada an arret fig al ha
cn pings fas cen che a wei
‘The Fine tw sets Un: Drag Core wer ine do u inthe French choc ud
ho. commercial und dat at nc I a bach In or 1 prod ach
1 commerce ra ind ha ould compre onthe nm mare, eses oan
(en vl bent from boo the gg principe o nah o (Fin in ls apne
i
THe History OF THE DRAWING COURSE
the pas rei Course Co he ese. reek here ergy
a ewan ond Ged publican of the Le nc cy. sde ii
ts, & contains 197 real hope phan of prie ong ste cas,
iter drawers a male mod, all arrange a a some progres legos
04 dd The curse wos desires to prepare egin at nes ging Des plas o
in rom nt, thal fra jes, bach natal and mama, the: veal word. Lik the
‘uric of teniente Ecole des Boss Vs in Mari, where ah huso, as
ip a the sue wing and ese, choc 1 rend rate in ue lic
reali. hs When the Drawing Cou was pula do a ON win al
pera auch tat of une ws the pec a of heat al ha be rent
Important suerte the arts was Ue human ach; The apes ofthe subject ped Pad.
en yes been replace by set preto.
‘Despite ing bol rare and scan ty the Ranger Deg Cours 0 Ihe
rod gr documents ofthe Lt gu Banni of io paré sn wentem at wich
Ai place inthe lite rencor conta The present compo new eb wl seve: Wirt
remtemporary sus in ge dane Lo present an imparta int centiy eurent
1 Han, and eye oral at hing pubic, colton. and amateurs.
The ples inthe Drawn Course are mix, whch in Esp wud be rad as pd
amp lo Grp,” Me coun ills the sabia ou in ninetenth-certury ar schon
y om wa the coping of paste eats, proceeding mer dais ar rating th
made mae mds académies. Since ths pare vr of acts ts ar fi ante im
fhe coca cl the te; the platos wr tan with Instructions, Robin onthe expe of
ccortemporey teaches al practioner of mic aro dale, the reset tinny have
Bat Pr thee pls ight tough in ls and sey elisha cer troy
imac, every aber has bre made expli etc cercar droning Dy an)
act.
The present bo aba iros the lao of Chars Bargas (1820427-1883) à logar
are per haran non cyto a mal group of connie, keto. ad a suert An
stem has oe mae Wo cee a Me of legend o wr a ES api Ba gui be sara
Aeon ecke, HS painted ss ral, ara oy about Hy es at va O
mine, by ha Pas ben cae, mos which aci pent ein. His aang Co b
{ara nya han Stay and scattered un ig he and ea the aber. Ar
ocre se ofthe Drang Counc: the National At Libary. Victor and Abert Nau,
Auman fo 1991 nn farther complete ets ere rade public rd u o eli re
Mans Col Beda. The pes repro in these wen see in nan
Lo mate the irn) to Binge mane complet, an dada an arret fig al ha
cn pings fas cen che a wei
‘The Fine tw sets Un: Drag Core wer ine do u inthe French choc ud
ho. commercial und dat at nc I a bach In or 1 prod ach
1 commerce ra ind ha ould compre onthe nm mare, eses oan
(en vl bent from boo the gg principe o nah o (Fin in ls apne
I We bte sad by Gangs & Ch o ari the course Ont Mase ir Deng Den
‘meri ese appre or on E aration he to. Good tae ed ard
mi win hed on chanical form, which was defined by dhe rare ty of antique sity,
The combinacion of good tte and the ch rie rede in br he reer
rare i mot per: muaa mem dem lo mor special as a ae
ee.
The thin sn on drawing ater I mes. by contas. ws mt o in at armes,
Crewingatier Dro rre cel es even proble in Eupen al American schoch
of des, ut à in chee of commercial or applied ans, and was ny skeen and ety
secado the cuca; ws try ci Ihe atc eae ht Commercial tn
hu at be encoun to devel aspirations or peterson beyond Un pct aii!
The aca ofthe thd part ane exemple of how the Neva cf he par remera
erry amy as evr y the ew itis the Rel menemere. The Rests 6 nen
onsale tt gun: penal seven dy ones--une ober and rere. Bong
arsenal i the male ruche, hand osea olaa eri and en note
The sr sch wel frat leat cy deca nie seve ge pig va
ation in England a wel as France, thal pc were sshd y Canal Cae amd
hou occ tl the secan of the fer in 1911. The hop wen ese se
8 by Le some es at ab Fe Sew uvam nis ur se, uy eared and
ung on the su walla exams of nieteer our aid
The thing dal academic practicos alos e out beten ad 1950, ph
amb cube toi iras aay mind. The deci was comment ith
ah in emma rom an object imitan of nur toa bete reaction o dhe wor,
vento the bat ques 0 an sc This wa me ren m ar evo Since ey
Aides dei À 2 mors e iman of ran had doc ser una
and practice ie the LO “pro mand ue mein ve mie mel by he
este para or hg ph) mat he ern ae an, 0 in tray ll
join
The De Coane mans hi he ke generations of radical rare representan
an were Laut o copy av ane. Sa insti ts trains bce the Marie
ai War and Work Wr wind tha this book eps Ite under he ining ae u,
ir ie bets. is el So amp, ha Vin a Cah worked independent
(ig the couse mane than anc. ars at Pis copied Bague ples at the Bares
Aca Mary warning by tts ha een hat be ann ny 1
lot be copies ae he mode in re ara rm Dring Cou,
Tedy rene art sh ne leerse wh leaching deeming ale ser costs an ral
fat of aang, hs to dns: and the modem Me cas ter sty rom the ara Mo
‘an. Whee the car tiring emp acaracy sly, and Fi, medio esata
pass ture ard acres, which aden mots in none gasa al
forms avy need al one pose ce many hour, even weeks: meek idan pres
ey han Benicar mary an De kn por
‘meri ese appre or on E aration he to. Good tae ed ard
mi win hed on chanical form, which was defined by dhe rare ty of antique sity,
The combinacion of good tte and the ch rie rede in br he reer
rare i mot per: muaa mem dem lo mor special as a ae
ee.
The thin sn on drawing ater I mes. by contas. ws mt o in at armes,
Crewingatier Dro rre cel es even proble in Eupen al American schoch
of des, ut à in chee of commercial or applied ans, and was ny skeen and ety
secado the cuca; ws try ci Ihe atc eae ht Commercial tn
hu at be encoun to devel aspirations or peterson beyond Un pct aii!
The aca ofthe thd part ane exemple of how the Neva cf he par remera
erry amy as evr y the ew itis the Rel menemere. The Rests 6 nen
onsale tt gun: penal seven dy ones--une ober and rere. Bong
arsenal i the male ruche, hand osea olaa eri and en note
The sr sch wel frat leat cy deca nie seve ge pig va
ation in England a wel as France, thal pc were sshd y Canal Cae amd
hou occ tl the secan of the fer in 1911. The hop wen ese se
8 by Le some es at ab Fe Sew uvam nis ur se, uy eared and
ung on the su walla exams of nieteer our aid
The thing dal academic practicos alos e out beten ad 1950, ph
amb cube toi iras aay mind. The deci was comment ith
ah in emma rom an object imitan of nur toa bete reaction o dhe wor,
vento the bat ques 0 an sc This wa me ren m ar evo Since ey
Aides dei À 2 mors e iman of ran had doc ser una
and practice ie the LO “pro mand ue mein ve mie mel by he
este para or hg ph) mat he ern ae an, 0 in tray ll
join
The De Coane mans hi he ke generations of radical rare representan
an were Laut o copy av ane. Sa insti ts trains bce the Marie
ai War and Work Wr wind tha this book eps Ite under he ining ae u,
ir ie bets. is el So amp, ha Vin a Cah worked independent
(ig the couse mane than anc. ars at Pis copied Bague ples at the Bares
Aca Mary warning by tts ha een hat be ann ny 1
lot be copies ae he mode in re ara rm Dring Cou,
Tedy rene art sh ne leerse wh leaching deeming ale ser costs an ral
fat of aang, hs to dns: and the modem Me cas ter sty rom the ara Mo
‘an. Whee the car tiring emp acaracy sly, and Fi, medio esata
pass ture ard acres, which aden mots in none gasa al
forms avy need al one pose ce many hour, even weeks: meek idan pres
ey han Benicar mary an De kn por
w
‘Many rn ts nes and practsaners tai high Ge a och ict ge
esp, Further: de mern testing Of atom, curry Meder dain cats
eh the emp src and uty ofthe medal Sauder in Gain claves a led
20 dea pm sections f bbs an a accept mul les ax acer win
“exacting or easing them. A present resi sew als o aver iat. nek ok
0 The only erin the ar inion
By cortas a pend academic drawing today as he ive cert — be
une and na, cod Wh om uy and dev sexs detal ar
cai pair deseo pin bu sh tain rs ac ah rd ner
thers. ation, academic sy ur ada to mua cc: ery (die m
‘ender ws nd exces personal espresson 0 murmersmsinnkra. To Rata fay y vd
and pained wth espe without dément ur a san ai pions a put he
‘te he nie Mal eas he ama ech:
Public Controversy Over Teaching Materials
The cath othe Bars Crée Desing Cours was an oficia contener bou ht
10 toch deawing French stacks les an had. A Per elo 14 sor mea
IM 1865 by th Cetra Union of Applied ts inion centrale des eus apple cae
mach comserration. Eg hol awings and cpu by sens a a depues
14299 public ati mucha been paz on do; dicas dl cris wer une in
Aeon the exhibits as very pou in quality Since cu ding education in the ist ech
hernie a choc cet ari cd upg alter pees a, the mal un a vas
hat y hua ge pour meda.
Ah eibar awards ceremony the sculptor Eure Gus (1123-1905, best
the ne es Bess, votalo cotos sehen: “the mui rent a is
as, On the account we are act by nes e models tt sor cae un tn
eve o pce bere the eyes ul begin in our sordo amies ri of a erg,
sertests ta have enger empranings and ahogado 0 a be fe, of mie dan,
‘of she eds amounts o the cou of te List he ruin: makes Be
development 04 vos, imp, Thee: fandamenta Jarl inertes it bo rima
toren”
met Casa (1831-1890 an ar it: whe bai a epee of a à 1069,
deve fur ino the probe ina series 0 aries published intr Combai, Abang
th, on, essen ugs ad datación wth the works on dép he sea Sher
Masten iin mo tt
po qa id fom e ere ii os:
teal as hea do e it the to ihe ey
ec añor the lamen etc that offered us-under tba potent ad
eine à run «lover Wat mero. ol eweythg thal Back a white
other end cren lit, cube. and poner schon fm ‘wth
tn eo pon, ot cet of ay lt Flings af art bt abs st Gc
ps "mis my ha othe um o ca de
eure eu Th La mode at te mit op ang ae
ali prono te ation of tre exhibition
‘Many rn ts nes and practsaners tai high Ge a och ict ge
esp, Further: de mern testing Of atom, curry Meder dain cats
eh the emp src and uty ofthe medal Sauder in Gain claves a led
20 dea pm sections f bbs an a accept mul les ax acer win
“exacting or easing them. A present resi sew als o aver iat. nek ok
0 The only erin the ar inion
By cortas a pend academic drawing today as he ive cert — be
une and na, cod Wh om uy and dev sexs detal ar
cai pair deseo pin bu sh tain rs ac ah rd ner
thers. ation, academic sy ur ada to mua cc: ery (die m
‘ender ws nd exces personal espresson 0 murmersmsinnkra. To Rata fay y vd
and pained wth espe without dément ur a san ai pions a put he
‘te he nie Mal eas he ama ech:
Public Controversy Over Teaching Materials
The cath othe Bars Crée Desing Cours was an oficia contener bou ht
10 toch deawing French stacks les an had. A Per elo 14 sor mea
IM 1865 by th Cetra Union of Applied ts inion centrale des eus apple cae
mach comserration. Eg hol awings and cpu by sens a a depues
14299 public ati mucha been paz on do; dicas dl cris wer une in
Aeon the exhibits as very pou in quality Since cu ding education in the ist ech
hernie a choc cet ari cd upg alter pees a, the mal un a vas
hat y hua ge pour meda.
Ah eibar awards ceremony the sculptor Eure Gus (1123-1905, best
the ne es Bess, votalo cotos sehen: “the mui rent a is
as, On the account we are act by nes e models tt sor cae un tn
eve o pce bere the eyes ul begin in our sordo amies ri of a erg,
sertests ta have enger empranings and ahogado 0 a be fe, of mie dan,
‘of she eds amounts o the cou of te List he ruin: makes Be
development 04 vos, imp, Thee: fandamenta Jarl inertes it bo rima
toren”
met Casa (1831-1890 an ar it: whe bai a epee of a à 1069,
deve fur ino the probe ina series 0 aries published intr Combai, Abang
th, on, essen ugs ad datación wth the works on dép he sea Sher
Masten iin mo tt
po qa id fom e ere ii os:
teal as hea do e it the to ihe ey
ec añor the lamen etc that offered us-under tba potent ad
eine à run «lover Wat mero. ol eweythg thal Back a white
other end cren lit, cube. and poner schon fm ‘wth
tn eo pon, ot cet of ay lt Flings af art bt abs st Gc
ps "mis my ha othe um o ca de
eure eu Th La mode at te mit op ang ae
ali prono te ation of tre exhibition
A af al action tthe corp Ge, Chesnais ah other ts Ars ch
ducati Publique karme a omens o review avaible meade
Goupil Proposes a Solution
he demand os Leer modes present an portant the ping hé 0 Gongs
dG cal pe gc. 1868 pulida handsome cepa: Escuelas
da On Mock for Drain es de es. With De ch to Lomo of an ci
jpwenwners prodamaliey the Emos pompoxnly acherthed the Ringa-Cavine De
‘Brae sich win ay i pri mu: tan Ra the plates ng te reset:
All he bon nals ad pattern ck were passed it review 1 a comen
{oe this purwech; Vas thane models or Due mont part. wur:
e doc Ihe requis sueh a high degree of enttengurnry concu lu at
{nek dw th a mr pia mon it as ina a pra shone
Oo hos ben rund 1 some distinc arts
Fra Chars Bore ih hamacas el Mens Gérime, Member
‘he [amit er ot cag oft esta fr dang he r=
In the dice am wewstinn of thew models no comme were td tthe
frets” oe tothe ple thet eco will doubs distr fale vention
Aer wil vertan tepals Une aho thank of drawing as an arar study, à
(ow stl an, e ese to och endete Ht Uber arora, o Lie
‘Me sera wich to be rt ©
“hw air Conse was su unique see wen: many he on tae rake. Al 186,
Aor example, Bem Rosin Julen (02-187 o pdb namen, I edge
{or us pb chook Fan, tt it prendre the fi ag vale I
Bank Gere ee by ing with dea the ace and proceeding A vay 1d an
qe ati The platen are arc, in, Schal lo, yt they mt hve he he
oy mac ars bh Chess andthe eter hid ce a ose the besa
Ale pim star” In her bot finement right ane mudo om enya
tial de ce the each basic rang
recaiga esa, precy à Dra fig ), weak be ewig toa bos sten.
ar tes stort vow tthe igh would oot be very dl. The: chin ofthe pur
ten te foreland pie sue, with ma eme clins. The hr rungen.
ar yn ty pov Further the desea ers tc could ny be chen
‘wh jens of practi, The frontal, edhe hing aus the cry of the Neda sn
un eller mo nat of rabos iré o cal ome esc by ner.
wh A ep 0 arm. Haga, a the other hand, fr es on how o manages
th ment fo cé he has and cpu a method th ma ong modal rms aser o
re by aura complicated curiinonr cuco ito stright hws ad ans
Nahe lke pte (hg 2) pt ea of Uae Roman empres Furia ar à cn lar
toes by aga, at viso rom anther ange slate | 43, The kan ing een he hack
‘be ha, The lack ua comple onan co lo to ers in placement of tho to
ducati Publique karme a omens o review avaible meade
Goupil Proposes a Solution
he demand os Leer modes present an portant the ping hé 0 Gongs
dG cal pe gc. 1868 pulida handsome cepa: Escuelas
da On Mock for Drain es de es. With De ch to Lomo of an ci
jpwenwners prodamaliey the Emos pompoxnly acherthed the Ringa-Cavine De
‘Brae sich win ay i pri mu: tan Ra the plates ng te reset:
All he bon nals ad pattern ck were passed it review 1 a comen
{oe this purwech; Vas thane models or Due mont part. wur:
e doc Ihe requis sueh a high degree of enttengurnry concu lu at
{nek dw th a mr pia mon it as ina a pra shone
Oo hos ben rund 1 some distinc arts
Fra Chars Bore ih hamacas el Mens Gérime, Member
‘he [amit er ot cag oft esta fr dang he r=
In the dice am wewstinn of thew models no comme were td tthe
frets” oe tothe ple thet eco will doubs distr fale vention
Aer wil vertan tepals Une aho thank of drawing as an arar study, à
(ow stl an, e ese to och endete Ht Uber arora, o Lie
‘Me sera wich to be rt ©
“hw air Conse was su unique see wen: many he on tae rake. Al 186,
Aor example, Bem Rosin Julen (02-187 o pdb namen, I edge
{or us pb chook Fan, tt it prendre the fi ag vale I
Bank Gere ee by ing with dea the ace and proceeding A vay 1d an
qe ati The platen are arc, in, Schal lo, yt they mt hve he he
oy mac ars bh Chess andthe eter hid ce a ose the besa
Ale pim star” In her bot finement right ane mudo om enya
tial de ce the each basic rang
recaiga esa, precy à Dra fig ), weak be ewig toa bos sten.
ar tes stort vow tthe igh would oot be very dl. The: chin ofthe pur
ten te foreland pie sue, with ma eme clins. The hr rungen.
ar yn ty pov Further the desea ers tc could ny be chen
‘wh jens of practi, The frontal, edhe hing aus the cry of the Neda sn
un eller mo nat of rabos iré o cal ome esc by ner.
wh A ep 0 arm. Haga, a the other hand, fr es on how o manages
th ment fo cé he has and cpu a method th ma ong modal rms aser o
re by aura complicated curiinonr cuco ito stright hws ad ans
Nahe lke pte (hg 2) pt ea of Uae Roman empres Furia ar à cn lar
toes by aga, at viso rom anther ange slate | 43, The kan ing een he hack
‘be ha, The lack ua comple onan co lo to ers in placement of tho to
festes argue pis the entire cast fi as a simple out of point nes,
ed angles, making i something mesurable Juñen has drawn the proie of
the nove wäh a sig ine, and the hr has been reduced 10 the demarcation
of simple shod, with just afew Eine. Bague profs rom dire focused
‘overhead ing, ging a sense of presence to the figure and revealing the
site's age. Juris penchant for real Biting underpays the structure and
‘hate 0 his mods.
A ect compari ofthe Homer amère) by Jen ig. 3) and the one by
Bague fg. 4) mene leary roscas the deren approaches ofthe two courses
Inboth the deawing s exce, tight and accurate. Howener, the proldration of
arching in ben's example corses the relainstips ofthe Various volumes of
the ace. argue works toral; logia progressing oe ight to dark The resul
isa greater ange of value fom black to whe, posing mare cams, uni and
volume. salmos a if Julien were emphasing the decorate aspects ofthe
antique burt as opposed to Bars tres on the culpa quals.
mz
BR Me fa. tne) aga
Aa 280m ESAT
ed angles, making i something mesurable Juñen has drawn the proie of
the nove wäh a sig ine, and the hr has been reduced 10 the demarcation
of simple shod, with just afew Eine. Bague profs rom dire focused
‘overhead ing, ging a sense of presence to the figure and revealing the
site's age. Juris penchant for real Biting underpays the structure and
‘hate 0 his mods.
A ect compari ofthe Homer amère) by Jen ig. 3) and the one by
Bague fg. 4) mene leary roscas the deren approaches ofthe two courses
Inboth the deawing s exce, tight and accurate. Howener, the proldration of
arching in ben's example corses the relainstips ofthe Various volumes of
the ace. argue works toral; logia progressing oe ight to dark The resul
isa greater ange of value fom black to whe, posing mare cams, uni and
volume. salmos a if Julien were emphasing the decorate aspects ofthe
antique burt as opposed to Bars tres on the culpa quals.
mz
BR Me fa. tne) aga
Aa 280m ESAT
The Organization
of the Drawing Course
ln the Coup catalogo of 1868 the Dean
amour us Muck and Sobre AS
fee the Teaching of the ats of De
Appivaton lo Indy Wakes of canes sica
peas Pemegoment des ts de dessin peu So
plan à Fier. The es pur was nach in
rit the second par, Mei ater Masters 0 A Poids
d Al Schr (Woche près o es de toes kes
pong e de tates hs dees was in progress
The fst par, Modeh afer Casts (Mees Supe la
fens conse ol seventy putes and was dered
sin sea sic and system progre coup
Ath the paper of ging the sun the app o
den a compte acer tng.” The publahers were
prod that “hardy bad dhe ist ples he lit prt
the! course been fried when the ay of Par ordered
2 special pring kr the ab, and in England
the anne was logo by the raros (chem
iron super hy the South Keningen
Nazeven (now the Victoria and Ae Musei) In
mani ists the Burgoe-Césie come must hine
soplo the Jun une
The brochure ont the seso
has fo the
second pur: “These models we ternal Yo cc
in the sea of the stuck à foi and te fe the:
Beat through ring eon wich creator la
pure and noble y
anses of nature” tex: apena 1). 8 woud be
completed in 1870 a. set of sty hoya by Bangi
ater revenu old and modern masters
swells with healthy and vigorous
The tied pon, China Execs Ppt kr
Erepes Dining the Ne Aca Rade (er a in
DAS LÁNTIQUE pour pire duch de cai capes ru
Aire ma Cord sy ps ad was compte ln 1673 À
-- PR est msn the brodure of 1868, and wen
2 vas push. à Rad any Ranas name im the
16
of the Drawing Course
ln the Coup catalogo of 1868 the Dean
amour us Muck and Sobre AS
fee the Teaching of the ats of De
Appivaton lo Indy Wakes of canes sica
peas Pemegoment des ts de dessin peu So
plan à Fier. The es pur was nach in
rit the second par, Mei ater Masters 0 A Poids
d Al Schr (Woche près o es de toes kes
pong e de tates hs dees was in progress
The fst par, Modeh afer Casts (Mees Supe la
fens conse ol seventy putes and was dered
sin sea sic and system progre coup
Ath the paper of ging the sun the app o
den a compte acer tng.” The publahers were
prod that “hardy bad dhe ist ples he lit prt
the! course been fried when the ay of Par ordered
2 special pring kr the ab, and in England
the anne was logo by the raros (chem
iron super hy the South Keningen
Nazeven (now the Victoria and Ae Musei) In
mani ists the Burgoe-Césie come must hine
soplo the Jun une
The brochure ont the seso
has fo the
second pur: “These models we ternal Yo cc
in the sea of the stuck à foi and te fe the:
Beat through ring eon wich creator la
pure and noble y
anses of nature” tex: apena 1). 8 woud be
completed in 1870 a. set of sty hoya by Bangi
ater revenu old and modern masters
swells with healthy and vigorous
The tied pon, China Execs Ppt kr
Erepes Dining the Ne Aca Rade (er a in
DAS LÁNTIQUE pour pire duch de cai capes ru
Aire ma Cord sy ps ad was compte ln 1673 À
-- PR est msn the brodure of 1868, and wen
2 vas push. à Rad any Ranas name im the
16
PART I: DRAWING AFTER CASTS
(MODELES D’APRES LA BOSSE)
INTRODUCTION
"m
ent sti, Meek ale Cnt Mad uf ve teaches the su
Por to sistema daw ae cast by lei coco of ps Sepi
¡ass of bath pal an rompe ale are Soman ces Mit of e cat
re ater Lamas anche sup, ut à ew ao ber ch far e They
rose a con hat way copla, at as in pa the ce os mo Eur
nd American aft chook,
‘There an several charts o Lng Css drawing mee: The ¿srl ut
sete stay of sind vw cs fam; and nce they are uy white cr ad in à
Ag ce, they proc an vn enfin te val of it ard sac thei sas,
More, te opinion has on pes tht copying farcie al deso ol
taste. One othe major gas of thi rue was Ua oach such dat a e ara gt
the proper section from amg the fes sre scxints of are. Arty us log
‘nll the repation tor having ea he el ran fr deve the lorca
of ial pls and bods. The nu chica le was lor many cert
en vom with god tado; aru ga was the pin u yf ato, the
ups 0 you forms ln thet st and mont esk mann, Ait
Fans où ciento” the style recogiendo, dined by can oem loli
pe sempicaton of supe andthe rhythmic order of forme
In rare, he chs sy sent the ny each han prt fa whe
Eta te paria agg, unset he, The Gre temple che, ko exam reser
ute compose in ch he prs ae deu epic ad erate: poner
thw staba; the columns with thee abacus: capa, sat aed Lae lice
Exch pa à dependa inthe ects of Rs Jupe and the proc of 6 fin, yet
cea ment fil a ces par ef a amonieu whale-thit ta ter Mey
fev a cda sat tar part the facade, Parle, aura, Cary form. e
independence and eerdependence of the pars, these 1325 make even hagas OÙ
‘Greek ste fot, a hard, hse a es moon rai, ur lye in ch.
wie sl audio tothe mn ofthe os whe.
rd cry dt cts and tran ha tn rt ideal period ck at du
a pint of cent und named the cla porio (450-400 BACK Ese so, De wees
ofthe sats Myre, Pils Moyo a Ue ma paie ofthe diy ¡Apo cd
Athens, Zend of Hera, Traits arf Pathan er kn On rom dscns 4
Berry sources and copies, Mere. the few kre cop the panne are parity
lease. Ths chic of one period as represente cl ance an pines Us energetic
ere, and lenghy sofa esolavon of Grek and Roman salta, whch exprese
riens of metal and pal sus over 4 arica > en ur à Donnan vum,
(MODELES D’APRES LA BOSSE)
INTRODUCTION
"m
ent sti, Meek ale Cnt Mad uf ve teaches the su
Por to sistema daw ae cast by lei coco of ps Sepi
¡ass of bath pal an rompe ale are Soman ces Mit of e cat
re ater Lamas anche sup, ut à ew ao ber ch far e They
rose a con hat way copla, at as in pa the ce os mo Eur
nd American aft chook,
‘There an several charts o Lng Css drawing mee: The ¿srl ut
sete stay of sind vw cs fam; and nce they are uy white cr ad in à
Ag ce, they proc an vn enfin te val of it ard sac thei sas,
More, te opinion has on pes tht copying farcie al deso ol
taste. One othe major gas of thi rue was Ua oach such dat a e ara gt
the proper section from amg the fes sre scxints of are. Arty us log
‘nll the repation tor having ea he el ran fr deve the lorca
of ial pls and bods. The nu chica le was lor many cert
en vom with god tado; aru ga was the pin u yf ato, the
ups 0 you forms ln thet st and mont esk mann, Ait
Fans où ciento” the style recogiendo, dined by can oem loli
pe sempicaton of supe andthe rhythmic order of forme
In rare, he chs sy sent the ny each han prt fa whe
Eta te paria agg, unset he, The Gre temple che, ko exam reser
ute compose in ch he prs ae deu epic ad erate: poner
thw staba; the columns with thee abacus: capa, sat aed Lae lice
Exch pa à dependa inthe ects of Rs Jupe and the proc of 6 fin, yet
cea ment fil a ces par ef a amonieu whale-thit ta ter Mey
fev a cda sat tar part the facade, Parle, aura, Cary form. e
independence and eerdependence of the pars, these 1325 make even hagas OÙ
‘Greek ste fot, a hard, hse a es moon rai, ur lye in ch.
wie sl audio tothe mn ofthe os whe.
rd cry dt cts and tran ha tn rt ideal period ck at du
a pint of cent und named the cla porio (450-400 BACK Ese so, De wees
ofthe sats Myre, Pils Moyo a Ue ma paie ofthe diy ¡Apo cd
Athens, Zend of Hera, Traits arf Pathan er kn On rom dscns 4
Berry sources and copies, Mere. the few kre cop the panne are parity
lease. Ths chic of one period as represente cl ance an pines Us energetic
ere, and lenghy sofa esolavon of Grek and Roman salta, whch exprese
riens of metal and pal sus over 4 arica > en ur à Donnan vum,
rar high quale while continuing to us the has ty nth was og nd ea
of dite cern pue, sch as rg lay pana ch 1 ale ?
un vente crs nord he protón 1 preclosecal Salar an “prime and deci
le ports prouaion as “vader.” Legare gi, ted thet the cal pie
land of the major masters of the Raion Hh Renan, was thought of asthe rn Sw
prestan at. this lacie aed an hr sed techn un was chakra
lot Roast movement the dina century, ler 1854 à nev pen stun
omg up inthe peines Rene rece gas the pact of craw fer cat became
They bee the al comer practico in ancient sl presos thet rom sing
tures accurate For example, the young Aria ute Tr Eakins (184-1006) want
der in Ginter’ atelier a te {cole des Herr Paris dang te: 100, The alors
the ro fe and then air cans, heat every three ves. Arey o so American
Reals a gen, Eakins sad home dung e weeks dot to drawing ater a"
Tan fre pans. one by Joam-Augue-Dumique Ingres cote Aches Recening the
‚lasse of Agamsowon (es Arba d'Agences fig. 6 and Une ether by Doe
American mies Then Art, dent of Esko enti Ie henge Noone La
ruse ke mic es mars elapse i, 7 rh senate tho en ene the
ANoox aim a the ar of te ile cru ane the Academe Rosa the weed hal
Nhe cern Beh one a row nm fsb its mode inthe Abt with
red features in sored banal sudo pres Ingres se ut à mp set of clica types
the youll Apron hero Alle the younger Marcas Parodias the sender, Mercurial
es and the Herculean Aa. Al ro adaptations of sal statuary in Rome ce Naples anal
‘cl represent ne ofthe gs u mun thes com ly Ure mec buen, ery
‘ews the mii ground an the sk playing inte en.
The penes ined y Anz ae bass on commen Sud panes. Use uc mcf
somewhat pies y to riche pera sch, ica zed Los, are Ihe necting
ad special ats (such asthe surburn pue, Wheres np ines genera! ht
‘wit just enough shadow model his gues, Arutz emo the snl igh none, with
reins sro shades, which, however, do 00 oe he oras Nantes, Dh Sc o
dasa taxon ofa ze of fates une by Wise rythm placement and miermen es
the picture pine. Ingress characters en tho eos el 0 mob Arshad’ pas
sre placed in a specie mod conta, à lacio vr Thu dpto te cece te tr
lining ane singly rated. ders that Academic Realty rete, be Laer mars
he ores, habt, and practices of cin.
The tne of cass inthe eg of ring gray mind unt, Ly the 1920, 2 wan
hy practiced, By the 1950) even the once art practice of dang aer Ine end ad
hocome mere a érochand event, wehout recon or ice, and certainty thou system or
method.” The result was deine the quay of abet prin even by ats who wares
Jo min acid standard.
rat strict e para cas collection in the caches aoe at sic
which fat been ambev such ent al u for une a ven: wor sl, er a,
Mesh ke a lang in conic, subject to sert parks and ruin.
‘ie the harry of Due hang, Dv Bargas Céstes Drain Coume con be seen a an
serra bal cretemporary Reken withthe practices of cbc Kaien, The authors
Intended to teach a med of desing ho human fire rom rune sth ge ae: went
thee stickers à price based on call section, spain, and à knows ofthe
ie the omar igure. Tee Eh ws dy Inform we wn nr ie
of dite cern pue, sch as rg lay pana ch 1 ale ?
un vente crs nord he protón 1 preclosecal Salar an “prime and deci
le ports prouaion as “vader.” Legare gi, ted thet the cal pie
land of the major masters of the Raion Hh Renan, was thought of asthe rn Sw
prestan at. this lacie aed an hr sed techn un was chakra
lot Roast movement the dina century, ler 1854 à nev pen stun
omg up inthe peines Rene rece gas the pact of craw fer cat became
They bee the al comer practico in ancient sl presos thet rom sing
tures accurate For example, the young Aria ute Tr Eakins (184-1006) want
der in Ginter’ atelier a te {cole des Herr Paris dang te: 100, The alors
the ro fe and then air cans, heat every three ves. Arey o so American
Reals a gen, Eakins sad home dung e weeks dot to drawing ater a"
Tan fre pans. one by Joam-Augue-Dumique Ingres cote Aches Recening the
‚lasse of Agamsowon (es Arba d'Agences fig. 6 and Une ether by Doe
American mies Then Art, dent of Esko enti Ie henge Noone La
ruse ke mic es mars elapse i, 7 rh senate tho en ene the
ANoox aim a the ar of te ile cru ane the Academe Rosa the weed hal
Nhe cern Beh one a row nm fsb its mode inthe Abt with
red features in sored banal sudo pres Ingres se ut à mp set of clica types
the youll Apron hero Alle the younger Marcas Parodias the sender, Mercurial
es and the Herculean Aa. Al ro adaptations of sal statuary in Rome ce Naples anal
‘cl represent ne ofthe gs u mun thes com ly Ure mec buen, ery
‘ews the mii ground an the sk playing inte en.
The penes ined y Anz ae bass on commen Sud panes. Use uc mcf
somewhat pies y to riche pera sch, ica zed Los, are Ihe necting
ad special ats (such asthe surburn pue, Wheres np ines genera! ht
‘wit just enough shadow model his gues, Arutz emo the snl igh none, with
reins sro shades, which, however, do 00 oe he oras Nantes, Dh Sc o
dasa taxon ofa ze of fates une by Wise rythm placement and miermen es
the picture pine. Ingress characters en tho eos el 0 mob Arshad’ pas
sre placed in a specie mod conta, à lacio vr Thu dpto te cece te tr
lining ane singly rated. ders that Academic Realty rete, be Laer mars
he ores, habt, and practices of cin.
The tne of cass inthe eg of ring gray mind unt, Ly the 1920, 2 wan
hy practiced, By the 1950) even the once art practice of dang aer Ine end ad
hocome mere a érochand event, wehout recon or ice, and certainty thou system or
method.” The result was deine the quay of abet prin even by ats who wares
Jo min acid standard.
rat strict e para cas collection in the caches aoe at sic
which fat been ambev such ent al u for une a ven: wor sl, er a,
Mesh ke a lang in conic, subject to sert parks and ruin.
‘ie the harry of Due hang, Dv Bargas Céstes Drain Coume con be seen a an
serra bal cretemporary Reken withthe practices of cbc Kaien, The authors
Intended to teach a med of desing ho human fire rom rune sth ge ae: went
thee stickers à price based on call section, spain, and à knows ofthe
ie the omar igure. Tee Eh ws dy Inform we wn nr ie
Practical Matters: Using the Plates as Models to Copy
The Schemata or Plans
Mat the pales in pat the apa Di Cour rin imag a
finshed win of à as sch a fear chem. To buns, uly te bf ph
Pen cathy Semi the rca corm mie et rai ad he cat nent en sign
the seal depición of the cos. The whem sages elie cA efor hen and sree
a poeme confgazation, around which it woul br ey to omanar the cota of ces own
‘dwn ee, fr example, the bande daran amd and thc the Lot m plate (The
dagas ehemsches should not be cape exactly but shoul be uned as des on bow to begin
a craving. Further, the coune presents only general rules on proceda there seems 0
be no owe unir formu. Homers you mkt dewey a working procera v you nn
‘wah reses to examples pride by Whe couse, A the um of pt 1, when op the as
High ine plus without a model schemata, yu will hive th rey on de expone pared
‘can deawing the exter examples.
The ciu ange alter cand were pry done by several —eyen mama fon
¿Cesiones cin of der and rs, Ve Arc the name of fist one, Lecter de Nu
1842-1915; seo “The Drang Cane” section ofthe Bary bare ithe presea uch
rd we can sky verte he name of nee, Spy Fanci (1609 16: ee comment o
‘le L 7, Hape erp hie dawns on sone for printing as Mean. The namen
“thera eb the Se pen the aa of aren roy in ese, one sepa
a conti; e sere fe tn aster that Burge drew the cer or the dre a he ope
‘the fnähed model on stone; they represent ther unifying method of pue L Here, there are à
few ptes wher the schemata ane lee claw kr ia plate I, 42 204 schema Wt
a «pel raking meti. The eyes in pe L 1, for wince. ane nek expan ed an
rc pint where the plumb Sine and the hort ons uch eher he pupas
‘he iver cramer the ey; sad the creasing pont seee have been tren a ardor.
m wirt, the yther Raga shremata are her in popa, ily inge, are ed ot
Gars ehren umge porn
Thin chapser escu and deines some tem sha wil be nd in dci a sem
moon for png the model drawings Ther are, of crue, ether ewthors, und if you are
copar the Bang’ dawns under super, Ube tés or dain mar may SUR
leal pre.
Sart with the ft dana woke yu way O he rl que, e ship aba
[uch busen on your nen Al tho permision u your inna. You wil ly to
that each advan of pat nds wa clegg, hd fi down: the seston ont
Leg lor imaare, mh with the ly muele drawing the Lg Acha Dying Sve
plate ie
as con come to apprit the sil hat prod plas, as wl asthe enr
rien, Even you do nok understand what you ae copying. conti o Work wih ua:
Sometimes yo wil ort kro erat wh re shadow deso ntl yo han Comet
rere By grainy argo aire. yu wil rae yur cn por of obrero and
sinphicaion.
The Schemata or Plans
Mat the pales in pat the apa Di Cour rin imag a
finshed win of à as sch a fear chem. To buns, uly te bf ph
Pen cathy Semi the rca corm mie et rai ad he cat nent en sign
the seal depición of the cos. The whem sages elie cA efor hen and sree
a poeme confgazation, around which it woul br ey to omanar the cota of ces own
‘dwn ee, fr example, the bande daran amd and thc the Lot m plate (The
dagas ehemsches should not be cape exactly but shoul be uned as des on bow to begin
a craving. Further, the coune presents only general rules on proceda there seems 0
be no owe unir formu. Homers you mkt dewey a working procera v you nn
‘wah reses to examples pride by Whe couse, A the um of pt 1, when op the as
High ine plus without a model schemata, yu will hive th rey on de expone pared
‘can deawing the exter examples.
The ciu ange alter cand were pry done by several —eyen mama fon
¿Cesiones cin of der and rs, Ve Arc the name of fist one, Lecter de Nu
1842-1915; seo “The Drang Cane” section ofthe Bary bare ithe presea uch
rd we can sky verte he name of nee, Spy Fanci (1609 16: ee comment o
‘le L 7, Hape erp hie dawns on sone for printing as Mean. The namen
“thera eb the Se pen the aa of aren roy in ese, one sepa
a conti; e sere fe tn aster that Burge drew the cer or the dre a he ope
‘the fnähed model on stone; they represent ther unifying method of pue L Here, there are à
few ptes wher the schemata ane lee claw kr ia plate I, 42 204 schema Wt
a «pel raking meti. The eyes in pe L 1, for wince. ane nek expan ed an
rc pint where the plumb Sine and the hort ons uch eher he pupas
‘he iver cramer the ey; sad the creasing pont seee have been tren a ardor.
m wirt, the yther Raga shremata are her in popa, ily inge, are ed ot
Gars ehren umge porn
Thin chapser escu and deines some tem sha wil be nd in dci a sem
moon for png the model drawings Ther are, of crue, ether ewthors, und if you are
copar the Bang’ dawns under super, Ube tés or dain mar may SUR
leal pre.
Sart with the ft dana woke yu way O he rl que, e ship aba
[uch busen on your nen Al tho permision u your inna. You wil ly to
that each advan of pat nds wa clegg, hd fi down: the seston ont
Leg lor imaare, mh with the ly muele drawing the Lg Acha Dying Sve
plate ie
as con come to apprit the sil hat prod plas, as wl asthe enr
rien, Even you do nok understand what you ae copying. conti o Work wih ua:
Sometimes yo wil ort kro erat wh re shadow deso ntl yo han Comet
rere By grainy argo aire. yu wil rae yur cn por of obrero and
sinphicaion.
Materials
The Inh mero mude fer charcoal drang and were vendas! o be cit in
duen Mas seal vu Ik meus à you have adoqusto comenare of he yecbnique. Use
rar lr ve sa co, ane serve char pena for fishing Whe bind ed
‘a hem mbes their bres cel la erase, Only charcoal cam equal he mar oft backs in
the (grusel vine char eases wy However, yas and nck us ener
‘wheat nario the ne of charcoal presets 10 many cis ta schw by youn
you ae bene oh pou prefer peri, you aha Have a scan of wel-sharpenedd
pede vou B2 remember that pencils eter tan HB ar ead u who
producing ck, ey atlas a gicd,kneadible expr Neil cance achieve the sare
deity dat asin te pls Ary ster produce iii locos th por wil re
da mática of lane feck of carbon that wi repost ser thor rés your dese, Ste
intra or ove ier shadows ar ey her hanes.
‘Some of the mere detalla pies nerd 10 be eng before you ca copy them. Use
ed culos bs pines ts have them maggie two oF me mes, The orga pale sae
A capes (24X18 inchen, thes presen sr, you miga ex be abeto 200 m pr
ua 06 o Bre dts, peca # you are working in char Regis the drag,
trast val, yo revel hace, wei paper witha aga toa and a tac that can
luke mh pre Sete chic of your an sappy dey e artis yous ro Inici
A li rain and Keep you from Gein the dawn accurate and ty
Drawing Terms
A pate et or rk when dimension on a drawing savane Ai as generated
by cab à pit (dot Lct pvc prisa at sae, To nes that nen a
Er an ag. arts, Ses, and anges const base element for conti e or
ehe se wn rat, vas tr supe of an ce.
all, dang te act of hang cal els rom nature and recording thes 0
paper while presen their elation As you study he eit pie, kes, nd ande
my in nature, sk yon: one print Higher raw tae he ce sore Few longer
Ce shorts than anther? is one ange more or ls acute or sine than acuer Ag thee
patin and nating such companions il enable you tn andy art rec the shu ihr
rg cat deans of anyother obje.
(One ofthe gpa of the cour lo Ich ou to tina distance, angles, and relics
wth your eve, Same stent a a pene a king ree, ata pee of rng, or à pam
foe'—held with outset ual locked ars and one eye chmenkin rier 10 mone accutaely
mess the dances beeen ceri points ce thr made) am rn fr papa, This preci
request you always ak atthe drawing cb am ly the Same many peri
(bce appel 2, Soo tas ake ur a mer oF an are wih a nach. may sve
hours of fraccion. Here, you should tan your eye 0 estimo thee distan out
rene fo tad
The Inh mero mude fer charcoal drang and were vendas! o be cit in
duen Mas seal vu Ik meus à you have adoqusto comenare of he yecbnique. Use
rar lr ve sa co, ane serve char pena for fishing Whe bind ed
‘a hem mbes their bres cel la erase, Only charcoal cam equal he mar oft backs in
the (grusel vine char eases wy However, yas and nck us ener
‘wheat nario the ne of charcoal presets 10 many cis ta schw by youn
you ae bene oh pou prefer peri, you aha Have a scan of wel-sharpenedd
pede vou B2 remember that pencils eter tan HB ar ead u who
producing ck, ey atlas a gicd,kneadible expr Neil cance achieve the sare
deity dat asin te pls Ary ster produce iii locos th por wil re
da mática of lane feck of carbon that wi repost ser thor rés your dese, Ste
intra or ove ier shadows ar ey her hanes.
‘Some of the mere detalla pies nerd 10 be eng before you ca copy them. Use
ed culos bs pines ts have them maggie two oF me mes, The orga pale sae
A capes (24X18 inchen, thes presen sr, you miga ex be abeto 200 m pr
ua 06 o Bre dts, peca # you are working in char Regis the drag,
trast val, yo revel hace, wei paper witha aga toa and a tac that can
luke mh pre Sete chic of your an sappy dey e artis yous ro Inici
A li rain and Keep you from Gein the dawn accurate and ty
Drawing Terms
A pate et or rk when dimension on a drawing savane Ai as generated
by cab à pit (dot Lct pvc prisa at sae, To nes that nen a
Er an ag. arts, Ses, and anges const base element for conti e or
ehe se wn rat, vas tr supe of an ce.
all, dang te act of hang cal els rom nature and recording thes 0
paper while presen their elation As you study he eit pie, kes, nd ande
my in nature, sk yon: one print Higher raw tae he ce sore Few longer
Ce shorts than anther? is one ange more or ls acute or sine than acuer Ag thee
patin and nating such companions il enable you tn andy art rec the shu ihr
rg cat deans of anyother obje.
(One ofthe gpa of the cour lo Ich ou to tina distance, angles, and relics
wth your eve, Same stent a a pene a king ree, ata pee of rng, or à pam
foe'—held with outset ual locked ars and one eye chmenkin rier 10 mone accutaely
mess the dances beeen ceri points ce thr made) am rn fr papa, This preci
request you always ak atthe drawing cb am ly the Same many peri
(bce appel 2, Soo tas ake ur a mer oF an are wih a nach. may sve
hours of fraccion. Here, you should tan your eye 0 estimo thee distan out
rene fo tad
‘Suggestions for Copying the Plates
Stop 1} Make jour can th are sa 5 the pe you an o, Thin wi actin eet
pars with the mck Then Ben wach dain ty locating he te pes rte nt
(he it pit te wes ne a tt hw et ande ige. Complex penes wäh extended
arm feet, and ja may ire another dol ve wo lo euere. Male apron mars
(or thew four pores on Ou pape When jes by érmour nes they wl form an ear
mata shape hat comas the ho dpe of tho cas nd fs tho exer reporto Yo
‘wil develop a me concise cantor tho uba within hs retang y messing maire ange
point on he canton the bj and ping them on the awn. ung your etary à
nade.
Sp 2 Asan urganzaional ook daw a vera dere fine here ferret. plomo
lone sang dc wher te em might be ambien cn the paper by ether copying tho one
Poe Se scher ve nam the Fs poi he cant. This ne nck ony sos ho he ph
1 the as rele tothe non point bue ako reves how nse pars lor (eres ins the
asie rete o och other Since many oF your ial calc ios wil be prom, tbe plus
line Becomes an inaluable empiric device. Adina vertical reference Ines can nn hw
Aedontanding and drawing compler amis.
Sep 3° Ses hich nero pits he lard creme um the pie rl rar Yer a yon
lc, For army. un lie 43 ous) Sou the plumb line intersex th op 0 0
het and creases thea the et tron’ din the op ofthe eye I her pases che by e Kt
‘noel re touches the Wit u of the och, bat ss the Button 04 Or cas. m
{he Be one conclu thi the inward comer cd the et eye ees ety othe et ca of
the mouth. Tis the pe of creation about nal been cat one Sea cn
(rake a the dais progres.
Sap 4: Aas italian the verticals. examine the hair For example high core
pie L 43 oca near the Futé averting the projection of de note. The ie dain
og acres the brow indican thal the width beeen che plumb ie and the ea the
ts much eater than dhe dance fe the ae no lo the che ofthe it bs. uk by
ha the sans ftom the real phn ine ber pois oF ares om the cons are do
the cast; then mark the pain in your drawing. When you ae drawing an even pire arnt
‘ve looking the fear ls on your eng pn, co nk enn out Pa up o
it he eyes ala a al the ba ay cen as in ori le.
“Sp 5, Your drawing should remy rest plc pots na ap lating the hehe and
if the oo an inter features. Ohne the anges th ou be formed tho As
‘were conce; then jin them with refer to the: Barge ha, Sc: jonciunes the
rts lg and heil fer lines Sm ight niet espe ange, u ther pa the
‘elaine dere of chor anges: angles appa to waite er ae. dy he finns mex
An core ther. Break cun ânes inka 2 eric ol pu OF mee sg Bin, For seme.
We 43 to A Be srl: he upper ght Eno; bs save tag ls he
vip ofthe wae The Morgue ples or many eagle of haw m treat a complex
nr ra Am Card al carved nes ane ue sof un an
Stop 1} Make jour can th are sa 5 the pe you an o, Thin wi actin eet
pars with the mck Then Ben wach dain ty locating he te pes rte nt
(he it pit te wes ne a tt hw et ande ige. Complex penes wäh extended
arm feet, and ja may ire another dol ve wo lo euere. Male apron mars
(or thew four pores on Ou pape When jes by érmour nes they wl form an ear
mata shape hat comas the ho dpe of tho cas nd fs tho exer reporto Yo
‘wil develop a me concise cantor tho uba within hs retang y messing maire ange
point on he canton the bj and ping them on the awn. ung your etary à
nade.
Sp 2 Asan urganzaional ook daw a vera dere fine here ferret. plomo
lone sang dc wher te em might be ambien cn the paper by ether copying tho one
Poe Se scher ve nam the Fs poi he cant. This ne nck ony sos ho he ph
1 the as rele tothe non point bue ako reves how nse pars lor (eres ins the
asie rete o och other Since many oF your ial calc ios wil be prom, tbe plus
line Becomes an inaluable empiric device. Adina vertical reference Ines can nn hw
Aedontanding and drawing compler amis.
Sep 3° Ses hich nero pits he lard creme um the pie rl rar Yer a yon
lc, For army. un lie 43 ous) Sou the plumb line intersex th op 0 0
het and creases thea the et tron’ din the op ofthe eye I her pases che by e Kt
‘noel re touches the Wit u of the och, bat ss the Button 04 Or cas. m
{he Be one conclu thi the inward comer cd the et eye ees ety othe et ca of
the mouth. Tis the pe of creation about nal been cat one Sea cn
(rake a the dais progres.
Sap 4: Aas italian the verticals. examine the hair For example high core
pie L 43 oca near the Futé averting the projection of de note. The ie dain
og acres the brow indican thal the width beeen che plumb ie and the ea the
ts much eater than dhe dance fe the ae no lo the che ofthe it bs. uk by
ha the sans ftom the real phn ine ber pois oF ares om the cons are do
the cast; then mark the pain in your drawing. When you ae drawing an even pire arnt
‘ve looking the fear ls on your eng pn, co nk enn out Pa up o
it he eyes ala a al the ba ay cen as in ori le.
“Sp 5, Your drawing should remy rest plc pots na ap lating the hehe and
if the oo an inter features. Ohne the anges th ou be formed tho As
‘were conce; then jin them with refer to the: Barge ha, Sc: jonciunes the
rts lg and heil fer lines Sm ight niet espe ange, u ther pa the
‘elaine dere of chor anges: angles appa to waite er ae. dy he finns mex
An core ther. Break cun ânes inka 2 eric ol pu OF mee sg Bin, For seme.
We 43 to A Be srl: he upper ght Eno; bs save tag ls he
vip ofthe wae The Morgue ples or many eagle of haw m treat a complex
nr ra Am Card al carved nes ane ue sof un an
Hose rent of curves ce be hat srl He that oo a the ape. Breaking up
u ito sah lines enables you I ascii he eat noción point ac amp of Une
‘une. When you dea curves und, dey tid bez as: Marne when nin at
cd re hen to tp
mg arlene diras cin be Psa the out cdr au de the cir
ad via ih propos. For example, the entatic um te it oof the co nd th
pol te neck are inca in e oli on te L 3, Llao rks are made or soma.
nr oro the wa. The raha wil ary hon ore st lane Lo yp untar
as or gain anny bets ral emi ies pues wl ep lary your hiking.
Sp The nest te in chai he bounces of te han, Ak thin point your copy shoul
og rate de othe probe schema era the pate as three Sep second one,
In pie 1,8 (Dares (Crd, the staan tie shocks and gu india wit a ewe. Fr
tbe mat ft, ro bu br: ration of tho ho comple meandering ro the
as or make op, Squire athe: model wil help decos his icing ire
Line fit are stork fur it wil consola the rk mussen So wil ooking a A ma Back
ser Di rot oie the lon sents denies alts hm he French ce
ete
Yo repeat, begin wach eat tain by cenit the ret ampear yds ara portal
anges ith the sof a plumb ine or ste ether Yoo). Du ru ang and cur
ara thee veh a ses of ragt no Concentrate on the Linge ers wie ignoring wall
ame Coral examine and comet he outing article the next et mone comples pris,
anf nex ara anges co emp any modi,
Values and Modeling
tea cy and pac e er vale noes relative Kir ctas cé an are
pen ge er artes sone or vada, am abo be used describe the atra
grass of an jet tenn ce imaged as being without shuck or ele on @ sate,
This even value 6 sometimes called the focal valve of the abject, Foe example, à yay elijes hart
dake kcal value than a white One;
In roam, ales nasal the grommet of an ect in retin o a yh sen For inane,
euh se ofa rate wil have à erent valo beca: each fus adler spatial riens (0
the fide sours à divert amount ol recente ight ar the Viewer unique perpecino,
Sieh he vhs wil be abel by the he of it tig rect ihe, crs an
bythe strength ofthat ur orge or. These ins al presen it pren
(crie it
denis the mr cs reo valu can cher à al mode The ave
due hchriques lar making: stumping feu, eng Haine, and haching ace),
Serpa le rubbing hang mu nthe pipes, Lau withthe pied end of à
per ty ale en asc, cade a Sup ome. De La caries ar precisión 1)
‘sump peerable othe Greeti. Stompine procs à. monte eet,
u ito sah lines enables you I ascii he eat noción point ac amp of Une
‘une. When you dea curves und, dey tid bez as: Marne when nin at
cd re hen to tp
mg arlene diras cin be Psa the out cdr au de the cir
ad via ih propos. For example, the entatic um te it oof the co nd th
pol te neck are inca in e oli on te L 3, Llao rks are made or soma.
nr oro the wa. The raha wil ary hon ore st lane Lo yp untar
as or gain anny bets ral emi ies pues wl ep lary your hiking.
Sp The nest te in chai he bounces of te han, Ak thin point your copy shoul
og rate de othe probe schema era the pate as three Sep second one,
In pie 1,8 (Dares (Crd, the staan tie shocks and gu india wit a ewe. Fr
tbe mat ft, ro bu br: ration of tho ho comple meandering ro the
as or make op, Squire athe: model wil help decos his icing ire
Line fit are stork fur it wil consola the rk mussen So wil ooking a A ma Back
ser Di rot oie the lon sents denies alts hm he French ce
ete
Yo repeat, begin wach eat tain by cenit the ret ampear yds ara portal
anges ith the sof a plumb ine or ste ether Yoo). Du ru ang and cur
ara thee veh a ses of ragt no Concentrate on the Linge ers wie ignoring wall
ame Coral examine and comet he outing article the next et mone comples pris,
anf nex ara anges co emp any modi,
Values and Modeling
tea cy and pac e er vale noes relative Kir ctas cé an are
pen ge er artes sone or vada, am abo be used describe the atra
grass of an jet tenn ce imaged as being without shuck or ele on @ sate,
This even value 6 sometimes called the focal valve of the abject, Foe example, à yay elijes hart
dake kcal value than a white One;
In roam, ales nasal the grommet of an ect in retin o a yh sen For inane,
euh se ofa rate wil have à erent valo beca: each fus adler spatial riens (0
the fide sours à divert amount ol recente ight ar the Viewer unique perpecino,
Sieh he vhs wil be abel by the he of it tig rect ihe, crs an
bythe strength ofthat ur orge or. These ins al presen it pren
(crie it
denis the mr cs reo valu can cher à al mode The ave
due hchriques lar making: stumping feu, eng Haine, and haching ace),
Serpa le rubbing hang mu nthe pipes, Lau withthe pied end of à
per ty ale en asc, cade a Sup ome. De La caries ar precisión 1)
‘sump peerable othe Greeti. Stompine procs à. monte eet,
ie second Enrique, vin, ces the ehawing of Gant Snes with the per or chase
{Wp ley ce tho papers ain. This cheque ators dhe alu ln a sery sdk ra Pent
IM app mich I terlucent ves oF gares, Mong used it nad da xe
I the gt ar wee the curvature yal.
‘Hoiching the ti atten, à the big cf rk ved by yma hin ale ies:
Men these Koes em each näher at anges. © is taint Cachi, Tis fe senta a
gan tes iq: Sarre puss who war lhe efits in a ang u be the product lp
Tine favor hatching emer stumping Hatching can regen Bv modeling achica by sume
tnd vg, Morons, Pachi id ra tion when earn guy and hulp to age th
sico kashorening when dann tanmesely ln pp,
Procedure for Modeling
Sep |The sare rework Inem the goer ta the species I weeding m wel
to ha dag Kee with the an, rk, era shadow; EW i evenly wt een o
the finshed drawing, You muy schema the boxes in your ang but veer th th
Age à shucks sen abrupt han as hein eh shadow and Uva le
IMs be mue co, Om ade. shacks eth Ruin sua rebel.
In made the shadows, Bargas downplayed nike Mai. which in nati woul Naa
Vir shades 14 ar actual wie plat cast. The snp achat wen eu y ain Uy
air a carl diet ige ane by placing ibe cast a stack bos, a head ug m,
lined with Back popes ce cath which ciminbes reset Eg be aay ar eso ena
cunts: Sad Bones” apre 2; sr abo ig. $4.)
‘Stunts record the cs of Buh ond give the der of a shape tung in spn. A Kad
lt snes ith a ay sed apt ei erp form and ass o at
slut nt sharp age but lares ie it moves may fm te bent cating À peral
fit such as ut educ cuide sa xan on a cod would vk Jedi
us. Clica te emphases cnt of hm ener Shy it fs à a, Raga
Anel a o reve eather than cnc ne om
Sep 2 Ate drawing the Mao, any the value ofthe hue and pace the in he
hosing, (A hai any ara of value between ft and dan, white and lr The
sre cel several haltones, of worsted value, in à drawing) ln tho ely sages of tho ne
the feat droning are spate o the sues: one for the such, ameter Kt he hie
ma, andthe wile the pap hr the ght. Both te mai halo ans are the stk are
“ay it. However the transi rom de fans the by ave require ar, Nu
‘atthe hones appear qui net the gs rele isa a Sb O e
values Y 109, her 9 the leo Be apr an 1 ars mar une pen
“hecoal can make the ones on a white cas ae around values 5 and, The era uc
around 4, which le dark than the ville ofthe hatos
{Wp ley ce tho papers ain. This cheque ators dhe alu ln a sery sdk ra Pent
IM app mich I terlucent ves oF gares, Mong used it nad da xe
I the gt ar wee the curvature yal.
‘Hoiching the ti atten, à the big cf rk ved by yma hin ale ies:
Men these Koes em each näher at anges. © is taint Cachi, Tis fe senta a
gan tes iq: Sarre puss who war lhe efits in a ang u be the product lp
Tine favor hatching emer stumping Hatching can regen Bv modeling achica by sume
tnd vg, Morons, Pachi id ra tion when earn guy and hulp to age th
sico kashorening when dann tanmesely ln pp,
Procedure for Modeling
Sep |The sare rework Inem the goer ta the species I weeding m wel
to ha dag Kee with the an, rk, era shadow; EW i evenly wt een o
the finshed drawing, You muy schema the boxes in your ang but veer th th
Age à shucks sen abrupt han as hein eh shadow and Uva le
IMs be mue co, Om ade. shacks eth Ruin sua rebel.
In made the shadows, Bargas downplayed nike Mai. which in nati woul Naa
Vir shades 14 ar actual wie plat cast. The snp achat wen eu y ain Uy
air a carl diet ige ane by placing ibe cast a stack bos, a head ug m,
lined with Back popes ce cath which ciminbes reset Eg be aay ar eso ena
cunts: Sad Bones” apre 2; sr abo ig. $4.)
‘Stunts record the cs of Buh ond give the der of a shape tung in spn. A Kad
lt snes ith a ay sed apt ei erp form and ass o at
slut nt sharp age but lares ie it moves may fm te bent cating À peral
fit such as ut educ cuide sa xan on a cod would vk Jedi
us. Clica te emphases cnt of hm ener Shy it fs à a, Raga
Anel a o reve eather than cnc ne om
Sep 2 Ate drawing the Mao, any the value ofthe hue and pace the in he
hosing, (A hai any ara of value between ft and dan, white and lr The
sre cel several haltones, of worsted value, in à drawing) ln tho ely sages of tho ne
the feat droning are spate o the sues: one for the such, ameter Kt he hie
ma, andthe wile the pap hr the ght. Both te mai halo ans are the stk are
“ay it. However the transi rom de fans the by ave require ar, Nu
‘atthe hones appear qui net the gs rele isa a Sb O e
values Y 109, her 9 the leo Be apr an 1 ars mar une pen
“hecoal can make the ones on a white cas ae around values 5 and, The era uc
around 4, which le dark than the ville ofthe hatos
ep & Afr the rt, apr dco fas sen ile, re Haan ore edd into nr
oe sel riet Iwan the Ie am Th cat be eb cist moi
Uy drowning every vla Pa (Mas Tas tick st! (Foe rom, we Go
art each ig ein abs an e Subo ithe aires and rot lines
ce the he, as we 2 the hate rar within the ige i. Mere, too, the Pates aul
(per lum dencre comple fee, as longe rer if the scapula and are pes
ae the sum. Poy ater ta the gy of ins and das presen inthe fina
«asian, Each lue res a the cer voles yt ch lac win the Yo ot.
Ne the vas of the halons from area to are akong the main shadow Where the
¡uta uf frm même aca eme ae few flores: a genie cane produces mane, Despite
he rape wae esti tae racing of he tora, Bang prescrit à Simple van
rd ori with a coking profes 0 a. Such cond isa haar ef he lees
we
“Sep nome. de cou progres, the fh drnsings gran more complex and
‘retain pas that my asp posse to copy, expe low wes to work an te plates
‘ihe beak cates than fom enlagements Rech a complicated are by amazing sonal
anime. For samp, ve the mutuos cats of a Roman nablewoman ito rouge
Jet Ample! menes e shapes Sie a the vbs fat trations and to nerage the
‘asta cera rss. Cat ish view by ooking at ba your awn a the ck
2 mir: bods, ape down, e even sdewoy, Each sep completed wil make you avant
the oe paseo werk on.
Finishing the Drawing
Fi requires ire and patie. Mena. as u ad becca ania cf aw mach yr
Fan learned by bong careful and act. your pue and enthusiasm wal increase Ask for
icon rem ope ns Study your dating à excel ut you nam 0 we ard
Comet ya ero our, You rd año aba racing of your dean and hen Ant m toy
the le Arye hat wer og, especialy you are working akan. lest äh jaune,
A ga be ppt at any me, a og as ten an en
Reruember du the acer as of the nindverch astur ster soa am: faring un
mus in this coe thought that finish dence profesor. that à vical! an orde
mad and represas the complete development of the art's es. Yas unearmmon Im
an att to yor mats oF even pose to compete awn, Accept he act ha ela dain,
sls Sesa lo and pan o uno u much mo nod ous dhs ce ver mont
he a pate fh
oe sel riet Iwan the Ie am Th cat be eb cist moi
Uy drowning every vla Pa (Mas Tas tick st! (Foe rom, we Go
art each ig ein abs an e Subo ithe aires and rot lines
ce the he, as we 2 the hate rar within the ige i. Mere, too, the Pates aul
(per lum dencre comple fee, as longe rer if the scapula and are pes
ae the sum. Poy ater ta the gy of ins and das presen inthe fina
«asian, Each lue res a the cer voles yt ch lac win the Yo ot.
Ne the vas of the halons from area to are akong the main shadow Where the
¡uta uf frm même aca eme ae few flores: a genie cane produces mane, Despite
he rape wae esti tae racing of he tora, Bang prescrit à Simple van
rd ori with a coking profes 0 a. Such cond isa haar ef he lees
we
“Sep nome. de cou progres, the fh drnsings gran more complex and
‘retain pas that my asp posse to copy, expe low wes to work an te plates
‘ihe beak cates than fom enlagements Rech a complicated are by amazing sonal
anime. For samp, ve the mutuos cats of a Roman nablewoman ito rouge
Jet Ample! menes e shapes Sie a the vbs fat trations and to nerage the
‘asta cera rss. Cat ish view by ooking at ba your awn a the ck
2 mir: bods, ape down, e even sdewoy, Each sep completed wil make you avant
the oe paseo werk on.
Finishing the Drawing
Fi requires ire and patie. Mena. as u ad becca ania cf aw mach yr
Fan learned by bong careful and act. your pue and enthusiasm wal increase Ask for
icon rem ope ns Study your dating à excel ut you nam 0 we ard
Comet ya ero our, You rd año aba racing of your dean and hen Ant m toy
the le Arye hat wer og, especialy you are working akan. lest äh jaune,
A ga be ppt at any me, a og as ten an en
Reruember du the acer as of the nindverch astur ster soa am: faring un
mus in this coe thought that finish dence profesor. that à vical! an orde
mad and represas the complete development of the art's es. Yas unearmmon Im
an att to yor mats oF even pose to compete awn, Accept he act ha ela dain,
sls Sesa lo and pan o uno u much mo nod ous dhs ce ver mont
he a pate fh
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Pie, 6
Pte I, 8
Plate tL 10
Pâte 1 13
Een
Pte 1,15
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135
Een
Pte 1,15
ES) Pte 16
135
Penna
i
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Pise 1,22
Plate, 24
Fan 1,23
45
Pise 1,22
Plate, 24
Fan 1,23
45
Piste 1 17
146
146
Pine 1,25
Piste, 28
Piste, 28
Pate 1, 31
Pise 1,33
Pte, 34
Plone 1,35
Pite 1, 36
Pte, 34
Plone 1,35
Pite 1, 36
PE Pen. 37
Pie, 38
A |
Ple 1 40
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Pie, 38
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Ple 1 40
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Plate, 41
i
Pie 1, 42
Pise 1,43
Pate 1 44
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Pise 1,43
Pate 1 44
PEE ES
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7007
EE Pen. 61
194
Pate 1, 62
Pate, 63
Pte 1,64
194
Pate 1, 62
Pate, 63
Pte 1,64
Paren, 65
NOTES ON THE PLATES
a the abras
par lero mu al am
recommended or copy, Tho
erh fb the bes ree Sor
adore are prod
E drain ao oe
rompas try technical es
Tor others are reprend
qu page Bao
Plate Il, 1. Michelangelo (1475-1564), Angel Blowing a Trumpet.
(Ange sonnant de la trompette.) Sistine Chapel, Vatican City
Ts dang fan “eterno a Leon Fain the ar Te Lt pret
11536-1542) in the Stine Chapel in the Vatican,
late II, 2. Hippolyte Flandrin (1809-1864), Study of a Woman.
tude de Whereabouts unknown
and, sucker o Ingres, was mot lamas fo is duros chaches-and poles Ths
19. preparatory drawing forthe dort done in HAT kar te ac co Lye a hs as im
Damper” Sew abo pes I, Hand 25,
Plate Il, 3. Hippolyte Flandrin, Italian Shepherd, study.
(Pitre italien Rete dtu Whereabouts unknown
Plate Il, 4. Jean-Léon Géróme (1824-1904), Head of a Fellah, three
uarter view.
fête de fellah, vue de trois quarts.) Private collection
‘Sethe cree pie, IA
Plate Il, 5. Andrea del Sarto (1486-1530), Head of a Child.
(Téte d'enfant.) Louvre Museum, Pans
is ina ag lo à gare nthe ping Cata, paired Piven AS, Th pening à
rin the range Manes in Parts Soy Ab comments pH, 31
Plate Il, 6. Agnolo Gaddi (1345-1396), Portrait of a Man.
Portrait d'homme.) British Museum, London
‘The chang he the atributon to Agra» Gadi msc um she ver. Wn std
Mco by Suan Duval Postion! (INN nd o Dies keen by Bernd Ben
(191, an sty retained thes aj
Plate 1, 7. Léon Bonnat (1833-1922), Young Roman, study.
(leune Romain [tête d’étude}.) Bonnal Museum, Bayonne
Soret wis a od end a Caves ard cermpunid hin on ec Ira Ls
ant etn on sal occasions. A grat ann ro the Mec tis 14 hs
lan, Horm osas afro ce mae raw: cen de rol dear
Bao in année
‘Vigan com dute bah the hai, sheng bh apr jute ara general
planes. Thre roureless of the globe of the eye à describa! by rare vorsarucon ol ts cts
puts ay we as ry the pong of a few accent that follow the fee. The subie ach of
EAA CA co tanos ay tete Anotados of are Lacan Qro ataca iar ent tee Oe
ah a
a the abras
par lero mu al am
recommended or copy, Tho
erh fb the bes ree Sor
adore are prod
E drain ao oe
rompas try technical es
Tor others are reprend
qu page Bao
Plate Il, 1. Michelangelo (1475-1564), Angel Blowing a Trumpet.
(Ange sonnant de la trompette.) Sistine Chapel, Vatican City
Ts dang fan “eterno a Leon Fain the ar Te Lt pret
11536-1542) in the Stine Chapel in the Vatican,
late II, 2. Hippolyte Flandrin (1809-1864), Study of a Woman.
tude de Whereabouts unknown
and, sucker o Ingres, was mot lamas fo is duros chaches-and poles Ths
19. preparatory drawing forthe dort done in HAT kar te ac co Lye a hs as im
Damper” Sew abo pes I, Hand 25,
Plate Il, 3. Hippolyte Flandrin, Italian Shepherd, study.
(Pitre italien Rete dtu Whereabouts unknown
Plate Il, 4. Jean-Léon Géróme (1824-1904), Head of a Fellah, three
uarter view.
fête de fellah, vue de trois quarts.) Private collection
‘Sethe cree pie, IA
Plate Il, 5. Andrea del Sarto (1486-1530), Head of a Child.
(Téte d'enfant.) Louvre Museum, Pans
is ina ag lo à gare nthe ping Cata, paired Piven AS, Th pening à
rin the range Manes in Parts Soy Ab comments pH, 31
Plate Il, 6. Agnolo Gaddi (1345-1396), Portrait of a Man.
Portrait d'homme.) British Museum, London
‘The chang he the atributon to Agra» Gadi msc um she ver. Wn std
Mco by Suan Duval Postion! (INN nd o Dies keen by Bernd Ben
(191, an sty retained thes aj
Plate 1, 7. Léon Bonnat (1833-1922), Young Roman, study.
(leune Romain [tête d’étude}.) Bonnal Museum, Bayonne
Soret wis a od end a Caves ard cermpunid hin on ec Ira Ls
ant etn on sal occasions. A grat ann ro the Mec tis 14 hs
lan, Horm osas afro ce mae raw: cen de rol dear
Bao in année
‘Vigan com dute bah the hai, sheng bh apr jute ara general
planes. Thre roureless of the globe of the eye à describa! by rare vorsarucon ol ts cts
puts ay we as ry the pong of a few accent that follow the fee. The subie ach of
EAA CA co tanos ay tete Anotados of are Lacan Qro ataca iar ent tee Oe
ah a
Coso pie 110
Pate 8, Hans Hülbein the Younger (497-1543), Gentleman fom the Court
‘of Henry Vil.
(Gentilhomme de la cour de Henri Vill.) Collection of Her Majesty the Queen,
Royal Library, Windsor Castle
Hare Helin the Younger a mim Aush, here I staat iy Wh Ge, Ha lin se
rau nt atin Prag ad Basel, Aer ave ay al Pr, ew o Linde
se aie cr pe o ey IN Ho she ral pte ry mens Use me nar
Sd coho syle, a davis an the mon egy nab pvt
Plate ll, 9. Hans Holbein the Younger, Sir Nicholas Carew.
(Sir Nicolas Carew) Offentliche Kunstsammlung Basel, Kupferstichkabinelt
SS Sch us an ste, square in change 4 the abs 4 my Vt
Plate 1. 10, Hans Holbein the Younger, The Daughter of Jacques Meyer.
(La ie de Jacques Meyer) 1525. Öffentliche Kunstsammlung Basel,
Kupierstichkabinett
Ti mr Ara Myr in. preparo, Seng lr à putas I the Gomer Alle humane
Satie Kumrumlungen, Dre.
4 you Joao the pts y Pad Du a, 10 aa Alpe: Wem am ial
as wih Lo re ay cate ach lente fone mn mit
Ihn vas wit. Yet bth Os aut Bouse Fane caret the cestos ace wh gu! MT
[Pepe ers anote: e Kredi, tho Ds, the cheer the owe he Snes ef Ba hock
the mans wound the mund, and de probe cf he chi. Such wach avi, y suban Do
neue oe Gac bmp resin ofthe loe; ds lo a anatomy tea foe jaar. Th A al
a ln Ligier ae arte In vo Capo hn rang wi: pcg Dee
hang, shew i Bank ae del ek pia à am chou RL
Plate II, 11. Raphael (1483-1520), Kneeling Woman.
(figure de femme agenouilléc.) Pinacoteca Vaticana, Vatican City
‘Ta ag al a ei Ropa peng The Bento ile bene 15
in be Rosca Vesna, Nathan Ca
Plate I, 12, Filippino Lippi (1457-1504), Portrait.
(Portrait de Filippino Lippi.) Ufizzi Gallery, Florence
in à on “otero” that à cing ar Sabe wir. in Bis cas a epa Fe
aa a agent vf mal euren. Frescos epa e Esad Pardi. Mangas Brasa sec
fine.) ha ted Js dl ung. he a art rs à Sama gerät mode y es cd
lap, nat tem yen demic ci. Tola cnt gh o evel the
ch rune 14h arts» ped lp. Th ert o ama roel ig ehh o
bo cs taking ¿don and se cel ud po, Sify aa yal re re
rend rey el aera
Plate Il, 13. Charles (1808-1874), Omphale, study.
(Omphale
san,
te d’élude]J) Whereabouts unknown
oe wan caw of Crime wochen Thi a ly "fon rt” he the pra Hav I Fat
1 Cha rede as pues np mo ln e Make Carta ds opio, Ure im
Yagi thks the ang os cono by Clr ps e the La Cra a rms ha D
Ben) gar Ds alo Wl a Yale Nt”
‘of Henry Vil.
(Gentilhomme de la cour de Henri Vill.) Collection of Her Majesty the Queen,
Royal Library, Windsor Castle
Hare Helin the Younger a mim Aush, here I staat iy Wh Ge, Ha lin se
rau nt atin Prag ad Basel, Aer ave ay al Pr, ew o Linde
se aie cr pe o ey IN Ho she ral pte ry mens Use me nar
Sd coho syle, a davis an the mon egy nab pvt
Plate ll, 9. Hans Holbein the Younger, Sir Nicholas Carew.
(Sir Nicolas Carew) Offentliche Kunstsammlung Basel, Kupferstichkabinelt
SS Sch us an ste, square in change 4 the abs 4 my Vt
Plate 1. 10, Hans Holbein the Younger, The Daughter of Jacques Meyer.
(La ie de Jacques Meyer) 1525. Öffentliche Kunstsammlung Basel,
Kupierstichkabinett
Ti mr Ara Myr in. preparo, Seng lr à putas I the Gomer Alle humane
Satie Kumrumlungen, Dre.
4 you Joao the pts y Pad Du a, 10 aa Alpe: Wem am ial
as wih Lo re ay cate ach lente fone mn mit
Ihn vas wit. Yet bth Os aut Bouse Fane caret the cestos ace wh gu! MT
[Pepe ers anote: e Kredi, tho Ds, the cheer the owe he Snes ef Ba hock
the mans wound the mund, and de probe cf he chi. Such wach avi, y suban Do
neue oe Gac bmp resin ofthe loe; ds lo a anatomy tea foe jaar. Th A al
a ln Ligier ae arte In vo Capo hn rang wi: pcg Dee
hang, shew i Bank ae del ek pia à am chou RL
Plate II, 11. Raphael (1483-1520), Kneeling Woman.
(figure de femme agenouilléc.) Pinacoteca Vaticana, Vatican City
‘Ta ag al a ei Ropa peng The Bento ile bene 15
in be Rosca Vesna, Nathan Ca
Plate I, 12, Filippino Lippi (1457-1504), Portrait.
(Portrait de Filippino Lippi.) Ufizzi Gallery, Florence
in à on “otero” that à cing ar Sabe wir. in Bis cas a epa Fe
aa a agent vf mal euren. Frescos epa e Esad Pardi. Mangas Brasa sec
fine.) ha ted Js dl ung. he a art rs à Sama gerät mode y es cd
lap, nat tem yen demic ci. Tola cnt gh o evel the
ch rune 14h arts» ped lp. Th ert o ama roel ig ehh o
bo cs taking ¿don and se cel ud po, Sify aa yal re re
rend rey el aera
Plate Il, 13. Charles (1808-1874), Omphale, study.
(Omphale
san,
te d’élude]J) Whereabouts unknown
oe wan caw of Crime wochen Thi a ly "fon rt” he the pra Hav I Fat
1 Cha rede as pues np mo ln e Make Carta ds opio, Ure im
Yagi thks the ang os cono by Clr ps e the La Cra a rms ha D
Ben) gar Ds alo Wl a Yale Nt”
¡eq nur ofthe Crock porras Sl ried by is ering hom ie. The ital lp
(hates u he ark into de sf, emphdaing hs aan. The expression ende yx aba
ie making which ran Orales ees a hr tal
Plate I}, 14. Jean-Léon Géróme (1824-1904), Head of a Fellah, profile.
(Téte de fellab, vue de profil) Private collection pro
Ah an En pt, Ica made derange a in ip ag th Win of
185-57: he young ran as pbb een Cie ak an In por
Grime ws à des at scary nes ur mies om the a fe mis bn, he
Dang he hg in ach ok bat a ey gens anime wa ny ead
We prone at Ws aay, ad Coane a handing th had wth Cros
Mo à ur ge sain pate, 36
e 11, 15. Hi Flandrin, Study of a Woman.
tude de nme a side
Ts be progra drawing or the cations haw in 1841 lo Use dhe Lupe hi cats In
Damper: seal copete o ps M2 and. 25,
Fd iss ese due mu proue modding lor the contar, an fe proc retry ty
Cyr be pate 11, These am a cha Sas ba her soni ase wth on fut him,
the et 8 Ma fing, Like Ganar, Far De csi e apor hr ou wera
10 ut o cs, net imitan 4 Cor. an pa end Ihe pan the va and er
se Cope te ka pr dean th he a ge a Roman erp pie, he
pc ey by Rai lcd par (pts 11 and, 3) he mongol et
ed otha he caning a era mg e nt wih er and pl
Plate Il, 16. Raphael, Self-Portrait.
(Portrait de Raphael.) Uffizi Gallery, Florence
‘Thin aig a “eet” fe a cay pit by Raga ln thes Un
Plate II, 17. Jean-Jacques Henner (1829-1905), Laughing Boy, study,
(le Rieur ffs a :1) Whereabouts unknown ni
emm wi am or nudos pair a devela rare. Fein Pas 6 on Ih Mn
sta jean ques Herr.
Su aime ha are int rai Lec eri placard sap espese
gas bow hat e. Neath shuwing rc emotions precario students un the Écu des Besar ta
M Pe o cor ia ar Hiner combis al tee methods 1d surg rum, hatching
a vaga ths hath hei Suet fram above: the hair brownies the dhirinar heat. The view wis cho
1 cd meer 1 he gan and 0 up the expres um the by ae Th hr xtra ye lt
Ina mh wes are mg ee im mat: The pat Els los Mas ro ech that oo te nth
palm
Plate 11, 18, Paul Dubois (1829-1905), Roman Woman.
(Femme romaine.) Whereabouts unknown
D wi an ent eto when work wan ear by Frenne tren cute. He as
su Fok es Bes Far whee een silos wer ao can wel
iy beach ping us medal in pro, Du emp the aba and foal quilts de
fin at than the ny dh ster He wnes ae deserted Palas cone weh eh
{chins arrests nau. Moh cer ng ech an aces
(hates u he ark into de sf, emphdaing hs aan. The expression ende yx aba
ie making which ran Orales ees a hr tal
Plate I}, 14. Jean-Léon Géróme (1824-1904), Head of a Fellah, profile.
(Téte de fellab, vue de profil) Private collection pro
Ah an En pt, Ica made derange a in ip ag th Win of
185-57: he young ran as pbb een Cie ak an In por
Grime ws à des at scary nes ur mies om the a fe mis bn, he
Dang he hg in ach ok bat a ey gens anime wa ny ead
We prone at Ws aay, ad Coane a handing th had wth Cros
Mo à ur ge sain pate, 36
e 11, 15. Hi Flandrin, Study of a Woman.
tude de nme a side
Ts be progra drawing or the cations haw in 1841 lo Use dhe Lupe hi cats In
Damper: seal copete o ps M2 and. 25,
Fd iss ese due mu proue modding lor the contar, an fe proc retry ty
Cyr be pate 11, These am a cha Sas ba her soni ase wth on fut him,
the et 8 Ma fing, Like Ganar, Far De csi e apor hr ou wera
10 ut o cs, net imitan 4 Cor. an pa end Ihe pan the va and er
se Cope te ka pr dean th he a ge a Roman erp pie, he
pc ey by Rai lcd par (pts 11 and, 3) he mongol et
ed otha he caning a era mg e nt wih er and pl
Plate Il, 16. Raphael, Self-Portrait.
(Portrait de Raphael.) Uffizi Gallery, Florence
‘Thin aig a “eet” fe a cay pit by Raga ln thes Un
Plate II, 17. Jean-Jacques Henner (1829-1905), Laughing Boy, study,
(le Rieur ffs a :1) Whereabouts unknown ni
emm wi am or nudos pair a devela rare. Fein Pas 6 on Ih Mn
sta jean ques Herr.
Su aime ha are int rai Lec eri placard sap espese
gas bow hat e. Neath shuwing rc emotions precario students un the Écu des Besar ta
M Pe o cor ia ar Hiner combis al tee methods 1d surg rum, hatching
a vaga ths hath hei Suet fram above: the hair brownies the dhirinar heat. The view wis cho
1 cd meer 1 he gan and 0 up the expres um the by ae Th hr xtra ye lt
Ina mh wes are mg ee im mat: The pat Els los Mas ro ech that oo te nth
palm
Plate 11, 18, Paul Dubois (1829-1905), Roman Woman.
(Femme romaine.) Whereabouts unknown
D wi an ent eto when work wan ear by Frenne tren cute. He as
su Fok es Bes Far whee een silos wer ao can wel
iy beach ping us medal in pro, Du emp the aba and foal quilts de
fin at than the ny dh ster He wnes ae deserted Palas cone weh eh
{chins arrests nau. Moh cer ng ech an aces
|
mh nen of Bis dai, eu vi superset ru Ye ar ik ma
‘Aci Don encres every chang m van I Sasi lag url ann a vo
Plate II, 19. Hans Holbein the Younger, Sir Charles Elliot.
Lg hi Elliot.) Collection of Her Majesty the Queen, Royal Library,
indsor Castle
Plate Il, 20. Hans Holbein the Younger, Gentleman from the Court of Henry Vil.
{Gentilhomme de la cour de Henri Vill.) Collection of Her Majesty the
Royal Library, Windsor Castle
te Il, 21. Michelangelo, Study of a Man.
(Gude homme) sine Chapel, aan City
Ti acabes trait a gare inthe La rent rs 156 1942 nd Sone hu
1 aan fie.
Plate I, 22. Auguste Toulmouche (1829-1890), Young Woman Kissing Her Child.
Jeune femme embrassant son enfant.) Whereabouts unknown
it ten, douche was a sade rd Che, Meant Coi a lang ia ar io Ca pat
‘of aang pros the mater née whe pued gem roms m apa Foren ann
‘sche Comme gene seme, pring milde clas Woman and he che, This ja Wat alo
¡nes a los ing rad The Mora) Rs e her mare, was sho a he Sak IT.
he ii fontal Hoth mhk rey ave wem in pode. moche vu ssh foo
ent 1 cee rnin tac moss an wein uam.
Plate Il, 23. Adolphe-William Rouguerest (1825-1905), Roman Wer study.
{Tête de femme romaine [étude] ts unknown
Bue wan alread an Exact Loma of Cini, Abang wih Line Mota (10131091
they were thes most mous present of French Academic Rade 4 Is nd Tui the hh
core
Bug une ou sch es seme née metas ar ds has tr Dre Hr
pol brew ft in parce cr he har an guaro rates Innern Ds ah br I
carta e eye, ren, may, and eur.
Plate 11, 24, Archer from Aegina.
(Sagittaire Éginéte.) Staatliche Antikensammlungen und Glyptothek, Munich
Th 5 a are 1480 B.C) from the cast pediment of the Doc remple of Aphia on the sind of Ace The
tens ed ca den im a eras. in he a inch coma theta gen of ths porn em
ved ur pret Dan occ sc Ber Tete (1770-18 Tue aan In ren à
Cree ah e ron as ha eck, ft sae ewe o MA oe
A apt dh a an re the boo a ah ea ae BD
Plate ll, 25. tone Dan Study of a Woman.
tude de femme.) ts unknown
This jet anther dang or ocación ho cuts of dc e Layne De
cover tes 2 and N
mh nen of Bis dai, eu vi superset ru Ye ar ik ma
‘Aci Don encres every chang m van I Sasi lag url ann a vo
Plate II, 19. Hans Holbein the Younger, Sir Charles Elliot.
Lg hi Elliot.) Collection of Her Majesty the Queen, Royal Library,
indsor Castle
Plate Il, 20. Hans Holbein the Younger, Gentleman from the Court of Henry Vil.
{Gentilhomme de la cour de Henri Vill.) Collection of Her Majesty the
Royal Library, Windsor Castle
te Il, 21. Michelangelo, Study of a Man.
(Gude homme) sine Chapel, aan City
Ti acabes trait a gare inthe La rent rs 156 1942 nd Sone hu
1 aan fie.
Plate I, 22. Auguste Toulmouche (1829-1890), Young Woman Kissing Her Child.
Jeune femme embrassant son enfant.) Whereabouts unknown
it ten, douche was a sade rd Che, Meant Coi a lang ia ar io Ca pat
‘of aang pros the mater née whe pued gem roms m apa Foren ann
‘sche Comme gene seme, pring milde clas Woman and he che, This ja Wat alo
¡nes a los ing rad The Mora) Rs e her mare, was sho a he Sak IT.
he ii fontal Hoth mhk rey ave wem in pode. moche vu ssh foo
ent 1 cee rnin tac moss an wein uam.
Plate Il, 23. Adolphe-William Rouguerest (1825-1905), Roman Wer study.
{Tête de femme romaine [étude] ts unknown
Bue wan alread an Exact Loma of Cini, Abang wih Line Mota (10131091
they were thes most mous present of French Academic Rade 4 Is nd Tui the hh
core
Bug une ou sch es seme née metas ar ds has tr Dre Hr
pol brew ft in parce cr he har an guaro rates Innern Ds ah br I
carta e eye, ren, may, and eur.
Plate 11, 24, Archer from Aegina.
(Sagittaire Éginéte.) Staatliche Antikensammlungen und Glyptothek, Munich
Th 5 a are 1480 B.C) from the cast pediment of the Doc remple of Aphia on the sind of Ace The
tens ed ca den im a eras. in he a inch coma theta gen of ths porn em
ved ur pret Dan occ sc Ber Tete (1770-18 Tue aan In ren à
Cree ah e ron as ha eck, ft sae ewe o MA oe
A apt dh a an re the boo a ah ea ae BD
Plate ll, 25. tone Dan Study of a Woman.
tude de femme.) ts unknown
This jet anther dang or ocación ho cuts of dc e Layne De
cover tes 2 and N
shiner stom à worn ining ber Hue ater a hh. The vst remar loc the commen,
An sect the ket core ofthe Fg Eon sag the hacer 4 te igre al and
en, Ihe caine tian by she poser. Morea e em, cab yay’ A
abs wheres volume As with Oe er ra tudes prepared i the Dane nations eve sony
[ak near model, Dark accent e prin andy in the ea ofthe face, Wit a ie pra the
sare ln aie to see se aw fes mu rut, how ande anteater te pre
a achive his comas ofthe ial ard which apes te epee cows to touch as the ars
expres and which abuses o sopas Ths Simply 4 Un denon eo Farah sy
rasant yes abl ins aer cu Ue ck are real tom e aah, and a mit
ans sd be rs Th fing ilar athe owing lv cat the Ache nos a dl
Plate Il, 26. Hans Holbein the Younger, Citizen of Basel.
‘(Bourgeoise de Bile.) Olfentliche Kunstsammlung Basel, Kupferstichkabinett
Plate 1, 27. Hans Holbein the Younger, Anna Grisacria,
‘Anna Grisacria |Cresacre],) Collection of Her Majesty the Queen, Royal Library,
Windsor Castle
Plate 1), 28, Hans Holbein the Younger, John Poines.
ohn Foines.) Collection of Her Majesty Ihe Queen, Royal Library, Windsor
Plate Il, 29. Hans Holbein the Younger, Thomas, Count of Surrey.
sith eae de Surrey.) Collection of Her Majesty the Queen, Royal Library,
le
The ser non dentadas heey loud, carl od Sure
Plate I, 30. Hans Holbein the Younger, Anne Boleyn.
(Anne Boleyn.) Collection of Her Majesty Ihe Queen, Rayal Library, Windsor
Plate I, 31, Andrea del Sarto (1486-1530), Self-Portrait.
{Portrait d'Andrea de! Sarto.) Whereabouts unknown
This era" drains Mer Find pair, Cary, Na Ai Calor ler
Andres del Sano vos cn of dh gest mr of Ue Hae Renee, who mui uk are in Ihe PM
Palas in Pene
Añada aa ae tie than ll eye al Flan Hn amos a herr ti he
Hack, uti the ay by sam of surping, Nhe eyes are carece by halos hit o hy o
the seta soc. Cormpure (hi wäh pute, 12
Plate I, 32, Raphael, Dante,
(Portrait du Dante.) Stanze di Raffaello, Vatican City
Th a haying ate the Big of Dame she co ma acne in Dv: Sana de Sega
[ASIA the Vaca Raphael desee hi res liom ky, aden potas of Dane
An sect the ket core ofthe Fg Eon sag the hacer 4 te igre al and
en, Ihe caine tian by she poser. Morea e em, cab yay’ A
abs wheres volume As with Oe er ra tudes prepared i the Dane nations eve sony
[ak near model, Dark accent e prin andy in the ea ofthe face, Wit a ie pra the
sare ln aie to see se aw fes mu rut, how ande anteater te pre
a achive his comas ofthe ial ard which apes te epee cows to touch as the ars
expres and which abuses o sopas Ths Simply 4 Un denon eo Farah sy
rasant yes abl ins aer cu Ue ck are real tom e aah, and a mit
ans sd be rs Th fing ilar athe owing lv cat the Ache nos a dl
Plate Il, 26. Hans Holbein the Younger, Citizen of Basel.
‘(Bourgeoise de Bile.) Olfentliche Kunstsammlung Basel, Kupferstichkabinett
Plate 1, 27. Hans Holbein the Younger, Anna Grisacria,
‘Anna Grisacria |Cresacre],) Collection of Her Majesty the Queen, Royal Library,
Windsor Castle
Plate 1), 28, Hans Holbein the Younger, John Poines.
ohn Foines.) Collection of Her Majesty Ihe Queen, Royal Library, Windsor
Plate Il, 29. Hans Holbein the Younger, Thomas, Count of Surrey.
sith eae de Surrey.) Collection of Her Majesty the Queen, Royal Library,
le
The ser non dentadas heey loud, carl od Sure
Plate I, 30. Hans Holbein the Younger, Anne Boleyn.
(Anne Boleyn.) Collection of Her Majesty Ihe Queen, Rayal Library, Windsor
Plate I, 31, Andrea del Sarto (1486-1530), Self-Portrait.
{Portrait d'Andrea de! Sarto.) Whereabouts unknown
This era" drains Mer Find pair, Cary, Na Ai Calor ler
Andres del Sano vos cn of dh gest mr of Ue Hae Renee, who mui uk are in Ihe PM
Palas in Pene
Añada aa ae tie than ll eye al Flan Hn amos a herr ti he
Hack, uti the ay by sam of surping, Nhe eyes are carece by halos hit o hy o
the seta soc. Cormpure (hi wäh pute, 12
Plate I, 32, Raphael, Dante,
(Portrait du Dante.) Stanze di Raffaello, Vatican City
Th a haying ate the Big of Dame she co ma acne in Dv: Sana de Sega
[ASIA the Vaca Raphael desee hi res liom ky, aden potas of Dane
Plate 11, 33. Jean-Auguste-Dominique Ingres (1780-1867), A Lictor.
(Ucteut) Ingres Museum, Montauban
This an interpretation” aera tam lich in te ges Meum Mone OF AA oe
a éd kun servidos Te Mordor Sat Spa de Mare de muy rm CAA
inthe Sin Lazar Ai
Plate I, 34. Jules Lefebvre (1836-1912), Head of a Child.
(Téte d'enfant.) Whereabouts unknown
{ete was a scr acer pa ams his des, amd à lors actor a tae Acadie
{ular in Pans, Along rece many ocio, how, au it comio ha han emir
(day ag several hin works ae ih aired ana repro.
Th prepay drawing for Win ping Chere Maher of de Cases Comi, mine ds Care,
hos presentation unin. Tht iva meter sal a Eminem, sen m ben wel
2 an example cl ppd redil” The hile as beth by stumping ae ich. hick ed
‘tha lets rm enous, whic re dies on e shaded def the rod. Thy neck oder at ds
the dado ardent 1 the chin. The mantel muscle sement hy dese under Se
in 60 tache ot eck nthe Eh Puch Aa ap
Plate 1, 35. Emile Ley (1826-1890), Head of a Young tala Gi.
(Tete de jeune fille italienne.) Whereabouts unknown
ne 1 ws a tent of rang Pc (1795-18659 and Alsace [ene Abel Far 1TH?
18811. Winner a à a de Rome in Ray ping in 1853, he Nba Long cr a. ny and ee pais
See dest he an gv ites obese Alu conter 0 Clans an Bae Ne see
recomendo of Noochusichen and anit he ae riera ts 1 Sander.
copy thes une rod e unge ce chalk might be Plt le aga re awl pls oy
las À 33 ad I, 40 The dev othe har pcia fie ui mua Mae nh
Sis ray the barge. ip ae sted ba il pair Al lt Wa pl
arly arian, ones eta the er reeling. with aah, md kn, wed bd
Plate I, 36. Charles Gleyre, Head of a Young Italian Girl.
(Téte de jeune fille italienne.) Whereabouts unknown
(in Gyre, see comments a ph 13. Wim Human is lente the subes as thera study torr
tr the liga ithe painting La Chenu 04 1872, ky the Kammern Basel ngs that the demi
rg ne Den orense by Goal lr the Drag Count”
‘User snare di. Th a aber mal ae ru sew complica! by du nero
Le neo the ch, Avan vertical uti der: op and hr pes te srl
ha prirent a fly ae a a Ya hr Lao, Not A Une es Pt da rn he
ey of hunde the cortar che ec and ace Te ty lr ad > marta be
the ar sre pr val po I we, The ark ala ie ue a ees an ve a.
under ls nd che esla Ihe ar were ak they won haw ath howe
Plate tl, 37. Adolphe-William Bouguereau, A Pifferaro. Study painted from life.
(Pifferaro. (Etude peinte d'après naturel.) Whereabouts rid el
A plan wa à ma playing ar Shepherd, cape with us opi or alu he
dec kr ob and tuo in Ihe cour dance memes bici “Peor mp ana the
ras ne nen ny ie shee fe fon ucts orn ax rec La pue.
(Ucteut) Ingres Museum, Montauban
This an interpretation” aera tam lich in te ges Meum Mone OF AA oe
a éd kun servidos Te Mordor Sat Spa de Mare de muy rm CAA
inthe Sin Lazar Ai
Plate I, 34. Jules Lefebvre (1836-1912), Head of a Child.
(Téte d'enfant.) Whereabouts unknown
{ete was a scr acer pa ams his des, amd à lors actor a tae Acadie
{ular in Pans, Along rece many ocio, how, au it comio ha han emir
(day ag several hin works ae ih aired ana repro.
Th prepay drawing for Win ping Chere Maher of de Cases Comi, mine ds Care,
hos presentation unin. Tht iva meter sal a Eminem, sen m ben wel
2 an example cl ppd redil” The hile as beth by stumping ae ich. hick ed
‘tha lets rm enous, whic re dies on e shaded def the rod. Thy neck oder at ds
the dado ardent 1 the chin. The mantel muscle sement hy dese under Se
in 60 tache ot eck nthe Eh Puch Aa ap
Plate 1, 35. Emile Ley (1826-1890), Head of a Young tala Gi.
(Tete de jeune fille italienne.) Whereabouts unknown
ne 1 ws a tent of rang Pc (1795-18659 and Alsace [ene Abel Far 1TH?
18811. Winner a à a de Rome in Ray ping in 1853, he Nba Long cr a. ny and ee pais
See dest he an gv ites obese Alu conter 0 Clans an Bae Ne see
recomendo of Noochusichen and anit he ae riera ts 1 Sander.
copy thes une rod e unge ce chalk might be Plt le aga re awl pls oy
las À 33 ad I, 40 The dev othe har pcia fie ui mua Mae nh
Sis ray the barge. ip ae sted ba il pair Al lt Wa pl
arly arian, ones eta the er reeling. with aah, md kn, wed bd
Plate I, 36. Charles Gleyre, Head of a Young Italian Girl.
(Téte de jeune fille italienne.) Whereabouts unknown
(in Gyre, see comments a ph 13. Wim Human is lente the subes as thera study torr
tr the liga ithe painting La Chenu 04 1872, ky the Kammern Basel ngs that the demi
rg ne Den orense by Goal lr the Drag Count”
‘User snare di. Th a aber mal ae ru sew complica! by du nero
Le neo the ch, Avan vertical uti der: op and hr pes te srl
ha prirent a fly ae a a Ya hr Lao, Not A Une es Pt da rn he
ey of hunde the cortar che ec and ace Te ty lr ad > marta be
the ar sre pr val po I we, The ark ala ie ue a ees an ve a.
under ls nd che esla Ihe ar were ak they won haw ath howe
Plate tl, 37. Adolphe-William Bouguereau, A Pifferaro. Study painted from life.
(Pifferaro. (Etude peinte d'après naturel.) Whereabouts rid el
A plan wa à ma playing ar Shepherd, cape with us opi or alu he
dec kr ob and tuo in Ihe cour dance memes bici “Peor mp ana the
ras ne nen ny ie shee fe fon ucts orn ax rec La pue.
Plate I}, 38. Hans Holbein the Younger, Portrait of Sir John Godsalve,
(Portrait de Sir John Godsalve.) Collection of Her Majesty the Queen,
Royal Library, Windsor Castle
(On ben the mn oe hs ie A cs Ba aci “eo”
Pereda
aus ane pen; the es har both ups al re fae The ape of ve Grates ler few
1 (m ab pr pr 1 od 1) os et 4 ily esl fad sang walt A
ur th anne enti Mot Js na eng by I pm Paris emp Ey
He bes chang.
late I, 39. Hans Holbein the Younger, Erasmus of Rotterdam .
1c) Louvre Museum, Paris
Th br jay ined “reper” | iwi poe rt human sehr The cl an
sa he Linn Mara in Pa
Plate Il, ina Carod from cruel Seabee À
Citar Eines Iche A encarntungen und Ghptothek,
AN AS OA
mp Ue rag Fee a archer try he west peximene ul e Doric templo of Apia on he land of
Ar Thal was storing ms an athe eth Li sae the tangy pet to lan toe
recive) ay restore Herce archer from dhe oer 0 the pears He plate il 241, New a parte
te berm ar sc, he sad, eat ss, the nen fhe sit the ee at e Lg and te
are pue ol the ich ad Fe, nme raion ane reis in the Grn, hough they were eve
im stu boca ofthe een enor the ok aed nw marble, Themen addons were nm! in
the ot making te reins purty ano ba kung a ge notar century ray in cla maine
Grek ice
Plate ll, 41. Mich is
(Homme au chapeletd Sistine ine Chapel vatican City
‘The van arce figure trom Michetangely’s Law laden free an the Satine Chapel in the Vatican, putin
retraits
le tL, 42. Michelangelo, Eve.
Eve.) Sistine Chapel, Vatican City
Tw pad etc 1508 ane 1512
Plate Il, 43. Raphael, Woman Carrying Vases.
¡Femme portant des vases.) Sistine Chapel, Vatican City
Thi avg ate are pc Func Fir: Rar cea Ba spn
wis
Plate 11, 44. Raphael, The Violinist.
te joueur de violon.) Sciarra Collection, Rome
‘Nev served Schale del Pomo (145-1547), 4 es much min os Rahul the cote
wu A ert Mar in ne wry TAO, Crime pain cogi pta he pp the pairing or
(Portrait de Sir John Godsalve.) Collection of Her Majesty the Queen,
Royal Library, Windsor Castle
(On ben the mn oe hs ie A cs Ba aci “eo”
Pereda
aus ane pen; the es har both ups al re fae The ape of ve Grates ler few
1 (m ab pr pr 1 od 1) os et 4 ily esl fad sang walt A
ur th anne enti Mot Js na eng by I pm Paris emp Ey
He bes chang.
late I, 39. Hans Holbein the Younger, Erasmus of Rotterdam .
1c) Louvre Museum, Paris
Th br jay ined “reper” | iwi poe rt human sehr The cl an
sa he Linn Mara in Pa
Plate Il, ina Carod from cruel Seabee À
Citar Eines Iche A encarntungen und Ghptothek,
AN AS OA
mp Ue rag Fee a archer try he west peximene ul e Doric templo of Apia on he land of
Ar Thal was storing ms an athe eth Li sae the tangy pet to lan toe
recive) ay restore Herce archer from dhe oer 0 the pears He plate il 241, New a parte
te berm ar sc, he sad, eat ss, the nen fhe sit the ee at e Lg and te
are pue ol the ich ad Fe, nme raion ane reis in the Grn, hough they were eve
im stu boca ofthe een enor the ok aed nw marble, Themen addons were nm! in
the ot making te reins purty ano ba kung a ge notar century ray in cla maine
Grek ice
Plate ll, 41. Mich is
(Homme au chapeletd Sistine ine Chapel vatican City
‘The van arce figure trom Michetangely’s Law laden free an the Satine Chapel in the Vatican, putin
retraits
le tL, 42. Michelangelo, Eve.
Eve.) Sistine Chapel, Vatican City
Tw pad etc 1508 ane 1512
Plate Il, 43. Raphael, Woman Carrying Vases.
¡Femme portant des vases.) Sistine Chapel, Vatican City
Thi avg ate are pc Func Fir: Rar cea Ba spn
wis
Plate 11, 44. Raphael, The Violinist.
te joueur de violon.) Sciarra Collection, Rome
‘Nev served Schale del Pomo (145-1547), 4 es much min os Rahul the cote
wu A ert Mar in ne wry TAO, Crime pain cogi pta he pp the pairing or
veais he eck forthe api Me any gene Inchon." wo nt
I Cras) Mn Wt al pret by th Bouguereau und Ear Eronantal Amir Dina {1604 I)
Ag men he Seira collect wahl in TE), The Wel 0D Cea Be
Plate I}, 45. Hans Holbein the Younger, Portrait of Brooke.
(Portrait de Brooke.) Collection of Her Majesty the Queen, Royal Library,
Windsor Castle
he ser Gang Brooke, nth baron Cam
Plate ll, 46, Hans Holbein the Younger, Portrait of a Lady.
(Portrait de femme.) Collection of Her Majesty the eee, Royal Library,
Windsor Castle
Plate Il, 47, Hans Holbein the Younger, Portrait of Lady Elliot.
(Portrait de lady Elliot.) Collection at Her Majesty the Queen, Royal Library,
Windsor Castle
The Sipe Manet, Lacy Ele. Her une maple en the drawing:
Pat 48, Hans Holbein the Younger, Porat of William, marques of
(Portrait Ge Willen, marquess de Northampton.) Collection of Her Majesty te
Queen, Royal Library, Windsor Castle vate
The ris Walon Par ist mues id Noruego.
Plate Il, 49. Jules Breton (1827-1905), The Servant.
(La servante.) Whereabouts unknown,
Thin à acido ol sig aller ale.” A cota any cd Cannes Porno Wnts she Cana
(1824-1896) ana Bower, Beef is à famous and proc pier of pu wire
Plate 11, 50, Jean-Léon Gérôme, The Dog of Alcibiades,
(Le chien d'Alcibiade.) Baron Martin Museum, Gray, France
AA study painted om tree Ak bin the 1861 patina Ak ns Pn
bie ce Aga =
Plate Il, 51. Michelangelo, Man Sitting on a Sack,
Whomme au sac.) Sistine Chapel, Vatican City
This dain ar a Su ina oo (1501) on tho cla othe Sts Chap the Vatu Me
sum inthe rls ee cave, and te copy eure M men The cb han
and am a aga! Gre Michael alas: heee, comes Hoa in he hm pn
he par wtih pues ih body a ere ac an me
Plate 11, 52, Thomas Couture (1815-1879), Portrait of a Young Boy.
{Portrait d'un jeune garçon.) Whereabouts unknown
Satis. Bann cave, dos Lo ceci hy for pd
“remained unéeisbed became dd | Keir. Knona prirmari dor fis largo hrs
sd no om. ÓN ie oda Sunes amos or Jr Ps NO
i, Fas Mane HZ. VA, am Ak Hu 11028 IN, and N de Cosa
I Cras) Mn Wt al pret by th Bouguereau und Ear Eronantal Amir Dina {1604 I)
Ag men he Seira collect wahl in TE), The Wel 0D Cea Be
Plate I}, 45. Hans Holbein the Younger, Portrait of Brooke.
(Portrait de Brooke.) Collection of Her Majesty the Queen, Royal Library,
Windsor Castle
he ser Gang Brooke, nth baron Cam
Plate ll, 46, Hans Holbein the Younger, Portrait of a Lady.
(Portrait de femme.) Collection of Her Majesty the eee, Royal Library,
Windsor Castle
Plate Il, 47, Hans Holbein the Younger, Portrait of Lady Elliot.
(Portrait de lady Elliot.) Collection at Her Majesty the Queen, Royal Library,
Windsor Castle
The Sipe Manet, Lacy Ele. Her une maple en the drawing:
Pat 48, Hans Holbein the Younger, Porat of William, marques of
(Portrait Ge Willen, marquess de Northampton.) Collection of Her Majesty te
Queen, Royal Library, Windsor Castle vate
The ris Walon Par ist mues id Noruego.
Plate Il, 49. Jules Breton (1827-1905), The Servant.
(La servante.) Whereabouts unknown,
Thin à acido ol sig aller ale.” A cota any cd Cannes Porno Wnts she Cana
(1824-1896) ana Bower, Beef is à famous and proc pier of pu wire
Plate 11, 50, Jean-Léon Gérôme, The Dog of Alcibiades,
(Le chien d'Alcibiade.) Baron Martin Museum, Gray, France
AA study painted om tree Ak bin the 1861 patina Ak ns Pn
bie ce Aga =
Plate Il, 51. Michelangelo, Man Sitting on a Sack,
Whomme au sac.) Sistine Chapel, Vatican City
This dain ar a Su ina oo (1501) on tho cla othe Sts Chap the Vatu Me
sum inthe rls ee cave, and te copy eure M men The cb han
and am a aga! Gre Michael alas: heee, comes Hoa in he hm pn
he par wtih pues ih body a ere ac an me
Plate 11, 52, Thomas Couture (1815-1879), Portrait of a Young Boy.
{Portrait d'un jeune garçon.) Whereabouts unknown
Satis. Bann cave, dos Lo ceci hy for pd
“remained unéeisbed became dd | Keir. Knona prirmari dor fis largo hrs
sd no om. ÓN ie oda Sunes amos or Jr Ps NO
i, Fas Mane HZ. VA, am Ak Hu 11028 IN, and N de Cosa
Cuando des amet manner of drawing He hoi compare ti the hundir of he by Henney
pla 0 17 ad oy Clyne pla Ne U Coutaw ies lang sores ofthe arr! for he pera cit of
sh yom ad perez vigo indicate the op are wer hanes ofthe hc. Fran D à
[Eder elena ol ve core er inte sight tong fo he depre ven re na bono
Si ed ener and in he ada) ling I ki ce. Th rule none us à par ua
porte bom aes,
Plate 1, 53, Jules Lefebvre, Head of a Woman.
diète de femme.) Whereabouts unknown
On sete, se comments lo pate 1 34
ate ll, 54. Timoléon Lobrichon (1831-1914), Study of a Baby.
(tude d'enfant.) Whereabouts unknown
ihn vas a ter o ranges Pina te 1850 he wos anal wih Né Gars à
areal punteos ended y Gé e compares gee Sos sn apa Lar he pies meth
Patek ve wig
I yon restar he cute ving ales, ae ay ar he
sere Ba kn dad een te ch ar hm. No ln the ha tates om re
ndo hal Tina ds are na en Whe Sr, The chip mela Eth
po hand Mu
Fe tans rte) Curie Tier Ares he en, Royal ib
rat de N. Poyntz.) Collection jesty the Queen, Royal Library,
Windsor Castle y EA
The ane iS Nk oa Te ples ecb than cd pe Pes Kl
Plate 1, 56. Hans Holbein the Younger, Portrait of
[Portrait de lady Hanegham.) Collection of Her Majesty the Queen,
Royal Library, Windsor Castle a
Plate Il, 57. Hans Holbein the Younger, Portrait of the Wife of Jacques Meyer.
(Portrait de la femme de Jacques Maver) Öffentliche Kunstsammlung, Bae
Kupierstichkabinett
Daria Karem And fund sch Meyer he yor te tere dn tie y Hts
and es Nase a th ssl demo. Tha rn sec set nd as 1525-26.
Plate I, 58, Hans Holbein the Younger, Portrait of a Young Man.
(Portrait d'un jeune homme.) Whereabouts unknown
pt. ding vey one out of ote Bros her Mary iin the Eb ca. bs
da 1528) 1 may he nary aig the young oben
Plate 11, 59. Hans Holbein the Younger, Portrait of Lord Vaux.
(Portrait de lord Vaux.) Collection of Her Majesty the Queen, Royal Library,
Windsor Castle
These is canas, the second Len Vino
pla 0 17 ad oy Clyne pla Ne U Coutaw ies lang sores ofthe arr! for he pera cit of
sh yom ad perez vigo indicate the op are wer hanes ofthe hc. Fran D à
[Eder elena ol ve core er inte sight tong fo he depre ven re na bono
Si ed ener and in he ada) ling I ki ce. Th rule none us à par ua
porte bom aes,
Plate 1, 53, Jules Lefebvre, Head of a Woman.
diète de femme.) Whereabouts unknown
On sete, se comments lo pate 1 34
ate ll, 54. Timoléon Lobrichon (1831-1914), Study of a Baby.
(tude d'enfant.) Whereabouts unknown
ihn vas a ter o ranges Pina te 1850 he wos anal wih Né Gars à
areal punteos ended y Gé e compares gee Sos sn apa Lar he pies meth
Patek ve wig
I yon restar he cute ving ales, ae ay ar he
sere Ba kn dad een te ch ar hm. No ln the ha tates om re
ndo hal Tina ds are na en Whe Sr, The chip mela Eth
po hand Mu
Fe tans rte) Curie Tier Ares he en, Royal ib
rat de N. Poyntz.) Collection jesty the Queen, Royal Library,
Windsor Castle y EA
The ane iS Nk oa Te ples ecb than cd pe Pes Kl
Plate 1, 56. Hans Holbein the Younger, Portrait of
[Portrait de lady Hanegham.) Collection of Her Majesty the Queen,
Royal Library, Windsor Castle a
Plate Il, 57. Hans Holbein the Younger, Portrait of the Wife of Jacques Meyer.
(Portrait de la femme de Jacques Maver) Öffentliche Kunstsammlung, Bae
Kupierstichkabinett
Daria Karem And fund sch Meyer he yor te tere dn tie y Hts
and es Nase a th ssl demo. Tha rn sec set nd as 1525-26.
Plate I, 58, Hans Holbein the Younger, Portrait of a Young Man.
(Portrait d'un jeune homme.) Whereabouts unknown
pt. ding vey one out of ote Bros her Mary iin the Eb ca. bs
da 1528) 1 may he nary aig the young oben
Plate 11, 59. Hans Holbein the Younger, Portrait of Lord Vaux.
(Portrait de lord Vaux.) Collection of Her Majesty the Queen, Royal Library,
Windsor Castle
These is canas, the second Len Vino
Plate Il, 60. Hans Holbein the Younger, Thomas, Count of Surrey.
(Portrait de Thomas, comte de Surrey.) Collection of Her Majesty the Queen,
Royal Library, Windsor Castle
Th er ew ere as Henry’ Pewee of Ste
Ms rai ecos Var wäh thelr rc ole the as, a de wer vd
(ct mean, The al ei i rr wh i fh lay a nos
Sb ca fs el the fees sae ry pe a ee ha ik
dio qe
Plate I}, 61, Philippe Parrot (1831-1894), Bather, study of a young girl.
(Balgneuse. [Etude de jeune fille)) Whereabouts unknown
‚Acer “testo 0 a tin Noma Nort, Pi paces ea gp
pu ges pee
Plate I}, 62. Hans Holbein the Younger, Portrait of a Man.
(Portrait d'homme.) Whereabouts unknown
‘Wore Wär ths ding was in the ern of the (kd cd Wal, Yi Gey The
15 Hein the Waar no cei.
Plate Il, 63. Hans Holbein the Younger, Clinton.
Clinton.) Collection of Her Majesty the Queen, Royal Library,
Windsor Castle ‘ yd Pe
The tt Ear, ith of Cir, Ag the dann oats at Wir Cats by Con
Jana rl any cage ho ecto
Plate Il, 64. Hans Holbein the Younger, Portrait of a Lady.
(Portrait de femme.) Whereabouts unknown
poet N, ee Hans Hobe he Vou +, bn Man. Si
trait d'homme.) Collection ler Majesty Queen, ibrary,
Windsor Castle y cee
Plate I, 66. Hans Holbein the Younger, Lady of the Court of Henry IV,
(Dame de la cour de Henri IV) Offentliche Kunstsammlung Basel,
Kupferstichkabinett
The er Lady Card. ape rin a metal kaw by Holen.
Plate 11, 67. Hans Holbein the Younger, Portrait of a Man.
(Portrait d'homme.) Öffentliche Kunstsammlung Basel, Kupferstichkabinett
This à Aint (1516) for ome of the wo paling on pine of hob Mega ad Ps fe, Ah in Bie
Auretirunesuns Hel ire nomenon to pat, 57 ls a creed eet manner Hollen has ven eu
tere no One Stars of the Each as the Sight sag the shin ana Mayer rose and is chin —
heat detracting rom the spiky othe pasion. The abies my ou. M Qe wanda ty
pt tom We. nthe as party anti be fig 241 Maen used moi and res ct.
(Portrait de Thomas, comte de Surrey.) Collection of Her Majesty the Queen,
Royal Library, Windsor Castle
Th er ew ere as Henry’ Pewee of Ste
Ms rai ecos Var wäh thelr rc ole the as, a de wer vd
(ct mean, The al ei i rr wh i fh lay a nos
Sb ca fs el the fees sae ry pe a ee ha ik
dio qe
Plate I}, 61, Philippe Parrot (1831-1894), Bather, study of a young girl.
(Balgneuse. [Etude de jeune fille)) Whereabouts unknown
‚Acer “testo 0 a tin Noma Nort, Pi paces ea gp
pu ges pee
Plate I}, 62. Hans Holbein the Younger, Portrait of a Man.
(Portrait d'homme.) Whereabouts unknown
‘Wore Wär ths ding was in the ern of the (kd cd Wal, Yi Gey The
15 Hein the Waar no cei.
Plate Il, 63. Hans Holbein the Younger, Clinton.
Clinton.) Collection of Her Majesty the Queen, Royal Library,
Windsor Castle ‘ yd Pe
The tt Ear, ith of Cir, Ag the dann oats at Wir Cats by Con
Jana rl any cage ho ecto
Plate Il, 64. Hans Holbein the Younger, Portrait of a Lady.
(Portrait de femme.) Whereabouts unknown
poet N, ee Hans Hobe he Vou +, bn Man. Si
trait d'homme.) Collection ler Majesty Queen, ibrary,
Windsor Castle y cee
Plate I, 66. Hans Holbein the Younger, Lady of the Court of Henry IV,
(Dame de la cour de Henri IV) Offentliche Kunstsammlung Basel,
Kupferstichkabinett
The er Lady Card. ape rin a metal kaw by Holen.
Plate 11, 67. Hans Holbein the Younger, Portrait of a Man.
(Portrait d'homme.) Öffentliche Kunstsammlung Basel, Kupferstichkabinett
This à Aint (1516) for ome of the wo paling on pine of hob Mega ad Ps fe, Ah in Bie
Auretirunesuns Hel ire nomenon to pat, 57 ls a creed eet manner Hollen has ven eu
tere no One Stars of the Each as the Sight sag the shin ana Mayer rose and is chin —
heat detracting rom the spiky othe pasion. The abies my ou. M Qe wanda ty
pt tom We. nthe as party anti be fig 241 Maen used moi and res ct.
Fe
Ham Hotei the Youre
Perea cla Mas aks
Meyer Prat dame
Jacob Myer 1516.
‘Sheep and ed ct
en pipet
91m
10547510)
Ob
Kamen El,
psc.
Ham Hotei the Youre
Perea cla Mas aks
Meyer Prat dame
Jacob Myer 1516.
‘Sheep and ed ct
en pipet
91m
10547510)
Ob
Kamen El,
psc.
PART Ill: PREPARATION FOR
DRAWING ACADEMIES
(EXERCICES AU FUSAIN POUR PREPARER A
L'ÉTUDE DE LACADEMIE D'APRÈS NATURE)
INTRODUCTION
ry
pal rico! uso am se ar og à
track in à pene conser noble and ls High feed 6
1 mao nudes were place in such norte at academe hat he mst
became senos es mon repre produ
Female medie were rot veal lang ca 3 ninecont century academic
tl seme after the make ithe uta” Stents wen enpectd Lo Kam how lo
‘how the female mude Um say an che ss ola, such at he meal in ra
rad sed par rg Deng Cone. tha wa te ven atthe ee es eso
Thu, Due lem aca in an Me for the thd pat the vt reste us he
tem the on away a al ol mae nuke
Tre mass the re ale by an ner he mos impera! par of the ai
epee, ee was nike lorrain te percent patch autant hu males
‘neve the mos important members of sci, ar al partial pupenes, they sere als the
mo important character in the oil and bal subis academy kits wer
Sram 0 paint. expt the fact that history pings had gray pe at or
ater the mal ofthe Cen —and tht hid always bar eater 1 se à painting a
tate female han ca mud malen uch ofthe mal nude persed ral ate he
nineteenth century, During the twentieth century the practice changes; no make aro the
Favored modes in art schon ar drawing groups
The ress of the mineteereh-cenmury practice ran be seen in the works of Cati, lo
te tote in his homeson cd Vesa cher were re versely a alin any oF the drawing,
anal painting courses Crime took. When he: let Vesoul ard went mn Pars in 1139. Pe
‘cul in the ates cl Dedaroche and Cepo: nly the tater Lewin o ave used dele
model, but Grin‘ time with Gare wi a mere See months: Although his male nudes
were, (tom the start 0 his car, both accurate and Warned, is easy 1 oe from his ey
ainéimgs that he had learned the fer form By stung Creek statuary; his nude women
are geometrically detec, with taut skin aver tounded forms. and with particularly fim,
hhemnipherica reas. Not uns reality Lae in his Io prob influenced by the going
seventy of the stands af Realhet=-al Göndre produce female nucles that yom to Le
rase, paid scaly (ro dr soc
DRAWING ACADEMIES
(EXERCICES AU FUSAIN POUR PREPARER A
L'ÉTUDE DE LACADEMIE D'APRÈS NATURE)
INTRODUCTION
ry
pal rico! uso am se ar og à
track in à pene conser noble and ls High feed 6
1 mao nudes were place in such norte at academe hat he mst
became senos es mon repre produ
Female medie were rot veal lang ca 3 ninecont century academic
tl seme after the make ithe uta” Stents wen enpectd Lo Kam how lo
‘how the female mude Um say an che ss ola, such at he meal in ra
rad sed par rg Deng Cone. tha wa te ven atthe ee es eso
Thu, Due lem aca in an Me for the thd pat the vt reste us he
tem the on away a al ol mae nuke
Tre mass the re ale by an ner he mos impera! par of the ai
epee, ee was nike lorrain te percent patch autant hu males
‘neve the mos important members of sci, ar al partial pupenes, they sere als the
mo important character in the oil and bal subis academy kits wer
Sram 0 paint. expt the fact that history pings had gray pe at or
ater the mal ofthe Cen —and tht hid always bar eater 1 se à painting a
tate female han ca mud malen uch ofthe mal nude persed ral ate he
nineteenth century, During the twentieth century the practice changes; no make aro the
Favored modes in art schon ar drawing groups
The ress of the mineteereh-cenmury practice ran be seen in the works of Cati, lo
te tote in his homeson cd Vesa cher were re versely a alin any oF the drawing,
anal painting courses Crime took. When he: let Vesoul ard went mn Pars in 1139. Pe
‘cul in the ates cl Dedaroche and Cepo: nly the tater Lewin o ave used dele
model, but Grin‘ time with Gare wi a mere See months: Although his male nudes
were, (tom the start 0 his car, both accurate and Warned, is easy 1 oe from his ey
ainéimgs that he had learned the fer form By stung Creek statuary; his nude women
are geometrically detec, with taut skin aver tounded forms. and with particularly fim,
hhemnipherica reas. Not uns reality Lae in his Io prob influenced by the going
seventy of the stands af Realhet=-al Göndre produce female nucles that yom to Le
rase, paid scaly (ro dr soc
Ancient Sculpture as the Model of True Beauty:
The Prevalence of Male Models
‘he nineseenth-ceniury preference for male nudes as studio model had an old ani
centre philosophical ration behind A. The preference, nurtured and develogcd over
2 Jong perce, way based on some treats ol Neoplaiontm: The term «anes a series 04
independent and diferent phiosptical shuts of though in ancient am recent timos
1 sets oF sets of wich were imately Bud un Ihe alae e ancient Eve:
plvkoopher Palo (4272-47 EC). Neoplitanism flour in varias num, in ur
even century AD, whom it was suppressed frst by the Chistes and then te Muslim
an, alanagh many Neoplatonic ideas had lay been asimismo by Chiat theology
‘he terest the humans the fifteenth century in ancient texts und philosophes bed 10
teva of Neoplatonicthooght in several fm such as mps, and then,
tranche of Mooglatonin that have influenced Wester hi thing modern
tunes, Popular astrology lor mance, 5 organize acxuning to a Neoplatoic system: the
planet ate intermedias between a higher, pial, realty and wor wor
The hoi boy Plato that an independent intl wary eats above and outside: rar
semi, teil work thw bass all sches ml Neca. Tis Higher seal te
robe of he th, of values and princes that are the basis of cur intellectual and mora
lie The parse ot philosophy was the attainment of knowledge ofthese principe through
study, Instruction rita, revelation, and restait of the senses ideal of te flesh. At tho
iment elevated level à could result in a union of the inclu soul with the highest sphenw
ef the cos
‘Homan stammen of krone als hes tras principes wat read by the Lom
emits ih were rence! bythe idrating say experience ol the ates world,
as Christians saw ita sruggke bole the pi ane he flesh, The sensory experience of this
lower, materia! world evukes the lower emotions —lint. anger, stuttony, pride, envy greed,
shah—abich can Omurne our energies, weaken cur judgment, and obscure the dico ul
the her principles, which area utile by God for ou adorei ou me,
‘thus delaying or destroying cur ably to undentund the true, absolute, and nmutable
principe» vs tra, suc a ple, honor, ebenen, justice, the Coca, beauty, and so fo,
Fo Jue an entered and tee lite, ope fad o roo ones sel from the donativo the
rm, We can lo the pronto unambiguous purty the concepts the higher tud
In our minds. Odd uw it may scom. despite the arsenal argument, arti paicular hu
depiction of the muche human body—was sn as an id in Ihr pur 0 nah.
I Pis dialogue Peris dhe love: for a beaut youth a dexribod as an aid 10
comprende higher principes ofthe mind. Eon how kes ewe bythe youth's
Pc any, lot sl provides am agi io the nature of tre Beauty. a is
that could lead tothe Anos 4 ther cate truths or principles plamed ty tho cate
19 the mind bot metele iil 10 acces.
ls important to sinew thatthe path opemod y physical beauty so true brume a
ado the palh away fom seur or entic entanglements. Ging in ts the senses nu
(no only deta the relationship of lovers tua would further entame them in tho material
work! and cure their understanding of higher principles. (Mene the popular expresos
“tone love") When embarrassment, this bb that falling in Love could lead’ to
soil entame revive by several ooplaton of fe Maan Renaissance
am
The Prevalence of Male Models
‘he nineseenth-ceniury preference for male nudes as studio model had an old ani
centre philosophical ration behind A. The preference, nurtured and develogcd over
2 Jong perce, way based on some treats ol Neoplaiontm: The term «anes a series 04
independent and diferent phiosptical shuts of though in ancient am recent timos
1 sets oF sets of wich were imately Bud un Ihe alae e ancient Eve:
plvkoopher Palo (4272-47 EC). Neoplitanism flour in varias num, in ur
even century AD, whom it was suppressed frst by the Chistes and then te Muslim
an, alanagh many Neoplatonic ideas had lay been asimismo by Chiat theology
‘he terest the humans the fifteenth century in ancient texts und philosophes bed 10
teva of Neoplatonicthooght in several fm such as mps, and then,
tranche of Mooglatonin that have influenced Wester hi thing modern
tunes, Popular astrology lor mance, 5 organize acxuning to a Neoplatoic system: the
planet ate intermedias between a higher, pial, realty and wor wor
The hoi boy Plato that an independent intl wary eats above and outside: rar
semi, teil work thw bass all sches ml Neca. Tis Higher seal te
robe of he th, of values and princes that are the basis of cur intellectual and mora
lie The parse ot philosophy was the attainment of knowledge ofthese principe through
study, Instruction rita, revelation, and restait of the senses ideal of te flesh. At tho
iment elevated level à could result in a union of the inclu soul with the highest sphenw
ef the cos
‘Homan stammen of krone als hes tras principes wat read by the Lom
emits ih were rence! bythe idrating say experience ol the ates world,
as Christians saw ita sruggke bole the pi ane he flesh, The sensory experience of this
lower, materia! world evukes the lower emotions —lint. anger, stuttony, pride, envy greed,
shah—abich can Omurne our energies, weaken cur judgment, and obscure the dico ul
the her principles, which area utile by God for ou adorei ou me,
‘thus delaying or destroying cur ably to undentund the true, absolute, and nmutable
principe» vs tra, suc a ple, honor, ebenen, justice, the Coca, beauty, and so fo,
Fo Jue an entered and tee lite, ope fad o roo ones sel from the donativo the
rm, We can lo the pronto unambiguous purty the concepts the higher tud
In our minds. Odd uw it may scom. despite the arsenal argument, arti paicular hu
depiction of the muche human body—was sn as an id in Ihr pur 0 nah.
I Pis dialogue Peris dhe love: for a beaut youth a dexribod as an aid 10
comprende higher principes ofthe mind. Eon how kes ewe bythe youth's
Pc any, lot sl provides am agi io the nature of tre Beauty. a is
that could lead tothe Anos 4 ther cate truths or principles plamed ty tho cate
19 the mind bot metele iil 10 acces.
ls important to sinew thatthe path opemod y physical beauty so true brume a
ado the palh away fom seur or entic entanglements. Ging in ts the senses nu
(no only deta the relationship of lovers tua would further entame them in tho material
work! and cure their understanding of higher principles. (Mene the popular expresos
“tone love") When embarrassment, this bb that falling in Love could lead’ to
soil entame revive by several ooplaton of fe Maan Renaissance
am
“The Keule mule body, speci às exemple inthe sculpture arity: hm a
radin Ic buy. Thés pagan awociation ul var and beauty can be serein muy
ancient seiphues as well asthe works of the ardent Christian and fervent Nour,
"Michelangelo, as his famous statu of David and his pootry.
nthe eighteenth century Renaissance Neoplatonesn informes the thought of Jofre
foxkhim Winckelmann (1717-1768), the founder uf archoology ane a pro wer or
ocn art. While staying, Greek sculpture, be: decided that the hey of Me Core
epic 08 male bodies was lue not o ideation by Creek: tuts but rather 10 the
pero bae u their mode, the Co, men of antiquity. Marennes, these mo ee
rue beautiful than mem men because they were simply better people, The is Hat
the contemplation of natural male but) open! the door ol be nature Ps po ae
steal ist f natu in the minc-—ane tht this could ea eer higher bush remain
par ito the sect hal he ninchrwmih century Thun. through several manitas
the influence of Puso may be seen art benesth he chi use 04 malo mod) in tar
Ecole des BeaurAnt unt Lite in the nineteenth century, which efectes m he thd par
‘of the Drawing Coa."
‘The anıent sat of female nudes llei presented women in am away heal
‚and idea form. From the Renaissance on, most artsts— doce, chaste, mid, oF anyone
ancient statuary as models fom which to learn ha to pose females and how wo dep their
Janatomy. In a pinch when dealing wih a cul pore, artists often ned a mile md —
preferably ie plump--t0 pose fora female figure In ain I substi à kam
hed, they mca ew boy adjustments to feminie their drawing, such a adding bts
tico As As the female nade began o predominate in Wester at ts “rare
Pesca” and purity were praise the smplcañon of natural m through prose. ch
2 hemiphercal bres, represented a sep toward the Woh, and hence tonand mer
though
[Nemetheless, the counterangument-—thit viewing an image ofa mudo turn putt make
viewer in moval peri of experiencing an roti reaction or of harborng impuro rene
an important and persistent postion. Thus, i was angued for centuries Ihat both female and
male nude bodes, depicted, should be presented ia an idealized manner, bereit of ect
‘roc simula. In France between 1875 and 1881 fl cemor impectel and approved
prints and photographs of nudes before they cook be pus on public pay sal hu
Despite ths. review: many approved prints and photos of nudes could rue be diye
In shop winds. After TAIT the polis were ermpenvered te arrest there who mado an
offensive pubic display ula nude in a shop window, on a magazine or a book coses Wl
(om, the dedemse would usually argue that the nude, no matter how sv depicted,
as punted, wth wounded, grometrical unnatural forms "#5 a sculpturo"—and that Un
opción was aired al the higher comciounness and conurqueriy was unlikely mare:
the lower emotion. The defense often won. In TEAM Lnwyer defended mude on th cow
of the magazine te Courter français by pointing out that nes ponia were vibe wd that
“the mama bust with Ks imaginary relay and street boars race oral
see nothing more hero than an adas pare bodys nes powerful an cha...
ven o, students were thought 10 bone in some practical sense rum this phil
preference for make nues. Human anatomy was believe eases to asp by obseruimg the
Ame, angular bodies ul males than the full, rounder fines of females. es ou
‘ser Yo maintain cin among the usa euch much malo in most acer
and at schol unt very kate n the nineteenth century—when the nude model mas male,
Further the teachers and admnistratorstviught that they were protect the mah
radin Ic buy. Thés pagan awociation ul var and beauty can be serein muy
ancient seiphues as well asthe works of the ardent Christian and fervent Nour,
"Michelangelo, as his famous statu of David and his pootry.
nthe eighteenth century Renaissance Neoplatonesn informes the thought of Jofre
foxkhim Winckelmann (1717-1768), the founder uf archoology ane a pro wer or
ocn art. While staying, Greek sculpture, be: decided that the hey of Me Core
epic 08 male bodies was lue not o ideation by Creek: tuts but rather 10 the
pero bae u their mode, the Co, men of antiquity. Marennes, these mo ee
rue beautiful than mem men because they were simply better people, The is Hat
the contemplation of natural male but) open! the door ol be nature Ps po ae
steal ist f natu in the minc-—ane tht this could ea eer higher bush remain
par ito the sect hal he ninchrwmih century Thun. through several manitas
the influence of Puso may be seen art benesth he chi use 04 malo mod) in tar
Ecole des BeaurAnt unt Lite in the nineteenth century, which efectes m he thd par
‘of the Drawing Coa."
‘The anıent sat of female nudes llei presented women in am away heal
‚and idea form. From the Renaissance on, most artsts— doce, chaste, mid, oF anyone
ancient statuary as models fom which to learn ha to pose females and how wo dep their
Janatomy. In a pinch when dealing wih a cul pore, artists often ned a mile md —
preferably ie plump--t0 pose fora female figure In ain I substi à kam
hed, they mca ew boy adjustments to feminie their drawing, such a adding bts
tico As As the female nade began o predominate in Wester at ts “rare
Pesca” and purity were praise the smplcañon of natural m through prose. ch
2 hemiphercal bres, represented a sep toward the Woh, and hence tonand mer
though
[Nemetheless, the counterangument-—thit viewing an image ofa mudo turn putt make
viewer in moval peri of experiencing an roti reaction or of harborng impuro rene
an important and persistent postion. Thus, i was angued for centuries Ihat both female and
male nude bodes, depicted, should be presented ia an idealized manner, bereit of ect
‘roc simula. In France between 1875 and 1881 fl cemor impectel and approved
prints and photographs of nudes before they cook be pus on public pay sal hu
Despite ths. review: many approved prints and photos of nudes could rue be diye
In shop winds. After TAIT the polis were ermpenvered te arrest there who mado an
offensive pubic display ula nude in a shop window, on a magazine or a book coses Wl
(om, the dedemse would usually argue that the nude, no matter how sv depicted,
as punted, wth wounded, grometrical unnatural forms "#5 a sculpturo"—and that Un
opción was aired al the higher comciounness and conurqueriy was unlikely mare:
the lower emotion. The defense often won. In TEAM Lnwyer defended mude on th cow
of the magazine te Courter français by pointing out that nes ponia were vibe wd that
“the mama bust with Ks imaginary relay and street boars race oral
see nothing more hero than an adas pare bodys nes powerful an cha...
ven o, students were thought 10 bone in some practical sense rum this phil
preference for make nues. Human anatomy was believe eases to asp by obseruimg the
Ame, angular bodies ul males than the full, rounder fines of females. es ou
‘ser Yo maintain cin among the usa euch much malo in most acer
and at schol unt very kate n the nineteenth century—when the nude model mas male,
Further the teachers and admnistratorstviught that they were protect the mah
{he ud by shielding them irom the power of the Ion. sensual emotions that weil he
ron! br the depto a nude woman, especially one who was considered “availabe”
‘he pegada ami being that any woman who td herve for money was 04 doubt
ie. Even aber the inten of female model Into the dawg ce the mit
lute nineerenth every, the general publi. arts and students often regarded and treat
female models 29 o beter than prenttates
Practical Matters: Copying the Drawings
As the tie ofthis sein indicate, these drawings of posed nude males an meant an
preparation for drawing after ft models in à studio. These exescises— the care, val
Copying of pood drawings ter a medel—are meant la be euere in Charen. as wun
le practice when drawing alter à model pod in Use studio. À and caine in char
shou tat af ka fifteen arf mot Jong. Your copy shocid be developed a Inch
acer the stein the fit par se te section ented Suds For Copy the
Poe
These scales sur remarkable inventions oF Bango You will come te appreciate
‘them mare and more as yous work with them: your adrian wil ter when you start
drawing rom Ino model, Even $0, tbe procedure ham schema to aline to shadows
nt Bora Invention 1 was sLnd practice in at schools and tale ln the inercia
sm
The drawing im this pat aro almost pure eine drawings, wahout shading 04
tuckgrund; there are any sparse intemal indications of anatomical features, Even yu
car Kay adhanced and sure ul your, you should star ou withthe simpler, early ples,
thereby making wire you gras Bars procedural medad.
“The fing tw pes the course were designed to make you see the essential elemerm
14 à Figure ar teach yeas à préxedure for drawing from a model. The drawings in the
thet par res scan and unity as oppose 10 seeing boy ports separately, The Lis
Haces character, pose, and propernion-—are mane import an surface detail. qui
‘perusal fhe pgs the thir part icones jus ben enteral imation Barge pty
‘nth the rain Gory te left blank. and hare and er ane fen incite by chema
fines. Furthermore, the completes of the outine of the body are ten reduced strain
Tis xtc pints, nthe fit schemata fr the east drawings in the fin par. Despite
‘the fact that here sete incr macular the figures ane bath Spe and scada
arica,
As his à prrquasog practic lor dean a mudo fe fie, I Best to ema
vaca condi of dear or a muele adi. alle ang in his art the
rode! à amsumed to be on a pation at less 40 centimeters 16 inches] in height. This wal
pul he eyes 49 tote model about level with an arts standing at he sun deal ight
for porrature—and vil sul in Une artist Joking up at sanding do) This best don
to king wh the argue cache and your drawing paper side by se u on a wal on
rai Int angst easel. (Students working loca intructas should int carly row
open 2. Knowledge of sighcsize practices will hl students better understand many
the suggestions in the comments on the indnidual plates
AU mes the straight los with which Borges captured the shape: of certain parts 14
Arch may sem ie eri, tit ts or Features recta à peramal styles 0
practice these straight ines retools thal indicate the pas ul Ihe planes on the suce
ron! br the depto a nude woman, especially one who was considered “availabe”
‘he pegada ami being that any woman who td herve for money was 04 doubt
ie. Even aber the inten of female model Into the dawg ce the mit
lute nineerenth every, the general publi. arts and students often regarded and treat
female models 29 o beter than prenttates
Practical Matters: Copying the Drawings
As the tie ofthis sein indicate, these drawings of posed nude males an meant an
preparation for drawing after ft models in à studio. These exescises— the care, val
Copying of pood drawings ter a medel—are meant la be euere in Charen. as wun
le practice when drawing alter à model pod in Use studio. À and caine in char
shou tat af ka fifteen arf mot Jong. Your copy shocid be developed a Inch
acer the stein the fit par se te section ented Suds For Copy the
Poe
These scales sur remarkable inventions oF Bango You will come te appreciate
‘them mare and more as yous work with them: your adrian wil ter when you start
drawing rom Ino model, Even $0, tbe procedure ham schema to aline to shadows
nt Bora Invention 1 was sLnd practice in at schools and tale ln the inercia
sm
The drawing im this pat aro almost pure eine drawings, wahout shading 04
tuckgrund; there are any sparse intemal indications of anatomical features, Even yu
car Kay adhanced and sure ul your, you should star ou withthe simpler, early ples,
thereby making wire you gras Bars procedural medad.
“The fing tw pes the course were designed to make you see the essential elemerm
14 à Figure ar teach yeas à préxedure for drawing from a model. The drawings in the
thet par res scan and unity as oppose 10 seeing boy ports separately, The Lis
Haces character, pose, and propernion-—are mane import an surface detail. qui
‘perusal fhe pgs the thir part icones jus ben enteral imation Barge pty
‘nth the rain Gory te left blank. and hare and er ane fen incite by chema
fines. Furthermore, the completes of the outine of the body are ten reduced strain
Tis xtc pints, nthe fit schemata fr the east drawings in the fin par. Despite
‘the fact that here sete incr macular the figures ane bath Spe and scada
arica,
As his à prrquasog practic lor dean a mudo fe fie, I Best to ema
vaca condi of dear or a muele adi. alle ang in his art the
rode! à amsumed to be on a pation at less 40 centimeters 16 inches] in height. This wal
pul he eyes 49 tote model about level with an arts standing at he sun deal ight
for porrature—and vil sul in Une artist Joking up at sanding do) This best don
to king wh the argue cache and your drawing paper side by se u on a wal on
rai Int angst easel. (Students working loca intructas should int carly row
open 2. Knowledge of sighcsize practices will hl students better understand many
the suggestions in the comments on the indnidual plates
AU mes the straight los with which Borges captured the shape: of certain parts 14
Arch may sem ie eri, tit ts or Features recta à peramal styles 0
practice these straight ines retools thal indicate the pas ul Ihe planes on the suce
‘of he bad. which ae demarcated by the protruding anstomical fests urn the shin
The rat nes do not rain their abstraction in he fine drawing, wee they ae
All rounded out 10 achieve à natural appearance The heart Most
‘oh connected cuties —is jut the fist sep. And i yox have worked through Anm he
‘plates in part. you know how o proceed once you have ou Ur ga ln part nly
‘he as few drawings aro finshed: no shadow Fine has been weve and iy in nu
cure, no haltones have been recorded. you were working rom a live model, ye wen
bbe expected ta finish the procedure, to produce a final drawing wth most of the uste
mcdeled. Banpur teaches you to rec draw Une structure before you star adding to
hing touches, as wel as how to determine the corre proportions ofthe outst shape of
the subject others the interior featur will ot fin comet You may Continue making
vr checking your esmas fy stepping lick and measuring them at a stamos eventual
‘yu will make the measurements without atv Cheching your sawing by compel it with
he model viewed ina hand mir is ahy helpful
Wil the Barve drawing and your deawing sd by ide, you wil ar 10 Swe error
Remember, these drawings were to be used as model for pining, any inacrataciey
‘ould be compounded once you tie ein the inteios, Such strictness nocesar bh
lo teach you haw 10 see and transcribe a human being form correctly ard 10 punge your
‘nn practice ul any manner or imprcchenes Ut you may have aire acne
Thee Drawing Course was published on ful folio sheet, bout Hour men as are the
reproductions inthis book I you are werking in charcoal. you twa take the book to
a photocopy shop that has a oo) ner printer and have the drawing, you sh to cop
‘enlarged in color fo or thre ies I wal be easier 20 see and under langue fe
decisions in a ärger dancing; many deta wok be italy pub 10 copy in a eal
cal, especially in charcoal, you wih to copy direc from Ihe book, you shook work in
penal.
Some Notes on Bargue's Style
Harpe use ol sig lines seer ina rather than progama, In soma: complex
‘anatomical areas (cales, knees. otto, Bigas hare, and feet} e away u sagt
Nines 2 a deliberate simplification. Whenever there à Lot of information 1 barrie. he
¡Aline af his forms generally tend toward sra fines. st as often he une a long, simple.
seesuous and elegant Une, aligtly cured, taking In several dots. The vi of tee
ages mois rm as he were performing lor sin comparo lo tho ah ho
As in the Aer pages,
Te ams, bra coman and conver that change contours of the igure Amperuepliy
an all based on intemal anatomical featur: swing u muscle: altchmeni 14 Verio
ti bones; emerging surface bones; Redd muscle ve fat: Emphasizing Ih prumdirarun 1
internal anatonscal features punctuates the out, caries the inner structure au gt
{nes o the contours it takes a good knowlege of anatomy 10 see amd aniculae these
states.
argus aration of the agur ines more than the SimpAficai 04 phares and
lines. Each of his Res has a singalar dy that subordinates and sulmumen the
(det. ter, unites then: cach lement supports the overal eect ofthe pose aml the
sta te gora
The rat nes do not rain their abstraction in he fine drawing, wee they ae
All rounded out 10 achieve à natural appearance The heart Most
‘oh connected cuties —is jut the fist sep. And i yox have worked through Anm he
‘plates in part. you know how o proceed once you have ou Ur ga ln part nly
‘he as few drawings aro finshed: no shadow Fine has been weve and iy in nu
cure, no haltones have been recorded. you were working rom a live model, ye wen
bbe expected ta finish the procedure, to produce a final drawing wth most of the uste
mcdeled. Banpur teaches you to rec draw Une structure before you star adding to
hing touches, as wel as how to determine the corre proportions ofthe outst shape of
the subject others the interior featur will ot fin comet You may Continue making
vr checking your esmas fy stepping lick and measuring them at a stamos eventual
‘yu will make the measurements without atv Cheching your sawing by compel it with
he model viewed ina hand mir is ahy helpful
Wil the Barve drawing and your deawing sd by ide, you wil ar 10 Swe error
Remember, these drawings were to be used as model for pining, any inacrataciey
‘ould be compounded once you tie ein the inteios, Such strictness nocesar bh
lo teach you haw 10 see and transcribe a human being form correctly ard 10 punge your
‘nn practice ul any manner or imprcchenes Ut you may have aire acne
Thee Drawing Course was published on ful folio sheet, bout Hour men as are the
reproductions inthis book I you are werking in charcoal. you twa take the book to
a photocopy shop that has a oo) ner printer and have the drawing, you sh to cop
‘enlarged in color fo or thre ies I wal be easier 20 see and under langue fe
decisions in a ärger dancing; many deta wok be italy pub 10 copy in a eal
cal, especially in charcoal, you wih to copy direc from Ihe book, you shook work in
penal.
Some Notes on Bargue's Style
Harpe use ol sig lines seer ina rather than progama, In soma: complex
‘anatomical areas (cales, knees. otto, Bigas hare, and feet} e away u sagt
Nines 2 a deliberate simplification. Whenever there à Lot of information 1 barrie. he
¡Aline af his forms generally tend toward sra fines. st as often he une a long, simple.
seesuous and elegant Une, aligtly cured, taking In several dots. The vi of tee
ages mois rm as he were performing lor sin comparo lo tho ah ho
As in the Aer pages,
Te ams, bra coman and conver that change contours of the igure Amperuepliy
an all based on intemal anatomical featur: swing u muscle: altchmeni 14 Verio
ti bones; emerging surface bones; Redd muscle ve fat: Emphasizing Ih prumdirarun 1
internal anatonscal features punctuates the out, caries the inner structure au gt
{nes o the contours it takes a good knowlege of anatomy 10 see amd aniculae these
states.
argus aration of the agur ines more than the SimpAficai 04 phares and
lines. Each of his Res has a singalar dy that subordinates and sulmumen the
(det. ter, unites then: cach lement supports the overal eect ofthe pose aml the
sta te gora
hangar wnes overlapping fines to emphasize the stricture of the bed las plan, 38)
Those les asst in the foreshorening since they indicate 4 one form or muscle à in front
of arcther Bau i particulary we versed inthe rn of joints and Ove knee: he
cala diese the patel the prazuberances of the condyks of the fila and tibia, and
the connect tendons forthe ling kg rules that anchor themselves around Ihe knee
Sa, Bargas olen records accenec rms caused by fol in the flesh or pts He he
‘an, ai, ral the pk ofthe neck
argus indication of meron anatomy is almost calyrephic.griculary in the Legs.
These actions are drawn with 6 bit of io. Some contours are quite refined, wth Bargue
recording a the expected changes lo cunature ew the logs m plates 1, 19 and 37)
Other a drawn à more exonemical, “of the uf” manner. For ame, in plate U, 13
argue aueh days the cater contour ofthe lf ey wäh a singe coping ave that
‘terre ony y tne brah the Avez An plat I, the aor sie o her bg à à
rue curve,
A Repertoire of Traditional Poses
Inthe many studies in part ii Gäröme and Barzun have included a repertowe of trado
poses some of which might occasionally Have been uselul 10 history ar narrativo painter:
“They wer certain uneol to students tthe Lec des Beau Ars in Paris many ol whom
‚trade és compute for the Prix de Rome, A list of the roongpizable poses lullunys,
‘iniwical pones: plates, 10 an 37.
Alegoncal gure: plats I, 26 and 40 melancholy: plate, 24 gif moran the
‘ould be holding an en or a tion vessel) plato I. 37 4prayer: Paes 39 rel plate
11,37 easton,
ét figures’ ple I, 1 (Dai wi si plat I, 5 am archer: plate, La
man tugging poe Ml, 45 atrio
aroun figures: plte I. 24, Mippchte Mardrins Young Man Seated on a Rack stud
run Home ru asch sur un roches, figure d'étude: plate th, 3), ater Michelangelo's
Dig Slave (Esclavo mourant) ig. 13): late I, 35, the Dying Gadd (Cakes moran al the
pri Museum in Rome.
‘Bical figures: plate I, 12 David; plate I 15 (Saint fbn the Apt ur a sem
plate HL 18 Ga puni, plato 36 Alam eqs from Paradis): pla, 42 ¡Ter
‘Hera plate I, (Abel de, Hr a Chr, ora mary
Teatral rumen jose’ late M, 17 Vicari à Br net plte I 50 1 bat;
Those les asst in the foreshorening since they indicate 4 one form or muscle à in front
of arcther Bau i particulary we versed inthe rn of joints and Ove knee: he
cala diese the patel the prazuberances of the condyks of the fila and tibia, and
the connect tendons forthe ling kg rules that anchor themselves around Ihe knee
Sa, Bargas olen records accenec rms caused by fol in the flesh or pts He he
‘an, ai, ral the pk ofthe neck
argus indication of meron anatomy is almost calyrephic.griculary in the Legs.
These actions are drawn with 6 bit of io. Some contours are quite refined, wth Bargue
recording a the expected changes lo cunature ew the logs m plates 1, 19 and 37)
Other a drawn à more exonemical, “of the uf” manner. For ame, in plate U, 13
argue aueh days the cater contour ofthe lf ey wäh a singe coping ave that
‘terre ony y tne brah the Avez An plat I, the aor sie o her bg à à
rue curve,
A Repertoire of Traditional Poses
Inthe many studies in part ii Gäröme and Barzun have included a repertowe of trado
poses some of which might occasionally Have been uselul 10 history ar narrativo painter:
“They wer certain uneol to students tthe Lec des Beau Ars in Paris many ol whom
‚trade és compute for the Prix de Rome, A list of the roongpizable poses lullunys,
‘iniwical pones: plates, 10 an 37.
Alegoncal gure: plats I, 26 and 40 melancholy: plate, 24 gif moran the
‘ould be holding an en or a tion vessel) plato I. 37 4prayer: Paes 39 rel plate
11,37 easton,
ét figures’ ple I, 1 (Dai wi si plat I, 5 am archer: plate, La
man tugging poe Ml, 45 atrio
aroun figures: plte I. 24, Mippchte Mardrins Young Man Seated on a Rack stud
run Home ru asch sur un roches, figure d'étude: plate th, 3), ater Michelangelo's
Dig Slave (Esclavo mourant) ig. 13): late I, 35, the Dying Gadd (Cakes moran al the
pri Museum in Rome.
‘Bical figures: plate I, 12 David; plate I 15 (Saint fbn the Apt ur a sem
plate HL 18 Ga puni, plato 36 Alam eqs from Paradis): pla, 42 ¡Ter
‘Hera plate I, (Abel de, Hr a Chr, ora mary
Teatral rumen jose’ late M, 17 Vicari à Br net plte I 50 1 bat;
Pte
Pate 1,35
NOTES ON THE PLATES
Inc The Fremd tle
est ane arado ar
Vs modera ee
ener of Ile Coral
Manet. in Phe te Ha
ud “map” refer o Ho ed
cant rg o
mab
Plate tl, 1. Young man, leaning on his ri gu elbow.
Geune homme, accoudé sur le bras
in oia hen duke arica an ima abr
aire of sesgo res ar anges: the emp us porque. Kanga: vrs yeu a bee the
fpr th a les fon her. su Path te ei o ar
0 ch ebay tir: em a Up rs Le Dc,
this pon cri pen ra een pora.
Plate 1, 2. Young boy, standing while leaning on a box.
Jeune garçon, debout accoude à un mur)
This ia funerary cr muni po. The weight na between th cer a i,
Pay atention to the very aio constuction lines that travel bern the Pu al A
upper boxy: Note: the ie the sand In an aboli vertical
Plate Il, 3. Standing man, walking, rear view.
{Homme debout, marchant, de
Ts having ofa ter mm ope than the pra tthe ars th Pa, ns
Anders are mane eta: the pene, sth is many bombea. à mit pst ln
plas the ca cu nto ch inane eo shape a mudo, Thee onenlapginge an on
Df the techniques Etapas taiches The outer nds ofthe scapula are clar ón a fe, whe
2 inne mit incase ace the LA. The bene ofthe os shy trough Ow kn The
wer par 1 the abe af denon wilh av qui crap ie Tis à pe olin, >
4 the Ett wen cor the fon, feng the foe. At for a edo Le
ou cat» oe hadnt ac Ehe cb; as im mo 0 the cnt rai prt Pe aha
fine shouldbe dawn es and he te sha fila in wth a ever ioe: he ans muy be
shied rest, However. honk anne recado nen ul the ue drawings of pt saga
plant From er tp of hs wur, toe the re tothe Bt oe. Ven ane
nature as à sad teat be to make ya danken prin un he faz
Up Atv docs ru mule much direc hen you an wring on a dag uu nh
sti kr th: hab bag ne With a rect posan othe et mach o mua
om Urs rd and woul bayo bet sa ac. Ti ol the Lady spay and wine
the re sel in. A à comen, soc nenn po Ls nthe lor we hi he
oda an une.
Plate Ill, 4. Standing man, leaning on a box, front view.
E atta Sn Eo
Thin spe pose, wih the ema on the cee: hu only mav ant of bveshtereg,
‘er an en ra tion of ania m as upper Tady art ans An penn an =
the erh the mec ft hand wth he wi. I some ai yo can go youre Oy
the ances aoe et spaces outside Ue figure, ben bn and re bad the scale
eg aces, À pea pnd A eu au es he eh sd 0 o rts yd We a
tr te tare,
Inc The Fremd tle
est ane arado ar
Vs modera ee
ener of Ile Coral
Manet. in Phe te Ha
ud “map” refer o Ho ed
cant rg o
mab
Plate tl, 1. Young man, leaning on his ri gu elbow.
Geune homme, accoudé sur le bras
in oia hen duke arica an ima abr
aire of sesgo res ar anges: the emp us porque. Kanga: vrs yeu a bee the
fpr th a les fon her. su Path te ei o ar
0 ch ebay tir: em a Up rs Le Dc,
this pon cri pen ra een pora.
Plate 1, 2. Young boy, standing while leaning on a box.
Jeune garçon, debout accoude à un mur)
This ia funerary cr muni po. The weight na between th cer a i,
Pay atention to the very aio constuction lines that travel bern the Pu al A
upper boxy: Note: the ie the sand In an aboli vertical
Plate Il, 3. Standing man, walking, rear view.
{Homme debout, marchant, de
Ts having ofa ter mm ope than the pra tthe ars th Pa, ns
Anders are mane eta: the pene, sth is many bombea. à mit pst ln
plas the ca cu nto ch inane eo shape a mudo, Thee onenlapginge an on
Df the techniques Etapas taiches The outer nds ofthe scapula are clar ón a fe, whe
2 inne mit incase ace the LA. The bene ofthe os shy trough Ow kn The
wer par 1 the abe af denon wilh av qui crap ie Tis à pe olin, >
4 the Ett wen cor the fon, feng the foe. At for a edo Le
ou cat» oe hadnt ac Ehe cb; as im mo 0 the cnt rai prt Pe aha
fine shouldbe dawn es and he te sha fila in wth a ever ioe: he ans muy be
shied rest, However. honk anne recado nen ul the ue drawings of pt saga
plant From er tp of hs wur, toe the re tothe Bt oe. Ven ane
nature as à sad teat be to make ya danken prin un he faz
Up Atv docs ru mule much direc hen you an wring on a dag uu nh
sti kr th: hab bag ne With a rect posan othe et mach o mua
om Urs rd and woul bayo bet sa ac. Ti ol the Lady spay and wine
the re sel in. A à comen, soc nenn po Ls nthe lor we hi he
oda an une.
Plate Ill, 4. Standing man, leaning on a box, front view.
E atta Sn Eo
Thin spe pose, wih the ema on the cee: hu only mav ant of bveshtereg,
‘er an en ra tion of ania m as upper Tady art ans An penn an =
the erh the mec ft hand wth he wi. I some ai yo can go youre Oy
the ances aoe et spaces outside Ue figure, ben bn and re bad the scale
eg aces, À pea pnd A eu au es he eh sd 0 o rts yd We a
tr te tare,
Plat 5. Sanding young man leaning on a box wile holding up his
left arm, front view.
en homme deb, de ce, apuy sur un mur, kan I bras
i
Te mene in the caning as Gr Inking an ho opa ane ey the
Tira ara Row ofc bo poy are he ON ton a ei
fea wats any Mn mL ors ery acres fete Lg er
Feehan ae the cage al al th ip An scr mea En hcg eed
{iain wi ely omg bn ppt lb ppt ah: aer comal ue
(he bo ag ehe mee hs ppc be
Place 1 6. Standing young man, leaning on a pol, left leg set back,
eae Ponte doit dich appuyé sur un bâton, jambe gauche
en artère.)
Im pere poe with à pe ser ferment ne by ec
Palm Dee Tee De naa and tet peta Song Be bh nd Salles
The put re can ra from he it ett he hack Se he ha
Plate tll, 7. Standing young man holding a pole behind himself in his.
leit hand.
homme debout tenant un bâton de la main gauche derrière
ih
‘The pag ma could be pg won eh, hee wah hi kit hand, Core
Im ety he race i the arm and leg, The plum ke runs men Use pt of hs hat
og e ri fox,
Pate Il, 8. Standing young man, right hand on his head, rear view.
Goan home Bebb de os Pala de sar ewe)
The args of arm ane es are sen ic spore a en ana: Te ain it
Ian bt eng eqn slaty We Te ane pa ae
Ha crcl since they edite th the og re nc chen, On the mo Ii Bg es
precede oes i describe intemal reta
pus. Standing young boy holding a pole, head tumed toward
eune garçon debout tenant un bâton, tête tournée vers le bâton.)
Greshortening are inthe k and exe The pole fons a sa
boy's rh conte hich you can use o check your menurernent and
left arm, front view.
en homme deb, de ce, apuy sur un mur, kan I bras
i
Te mene in the caning as Gr Inking an ho opa ane ey the
Tira ara Row ofc bo poy are he ON ton a ei
fea wats any Mn mL ors ery acres fete Lg er
Feehan ae the cage al al th ip An scr mea En hcg eed
{iain wi ely omg bn ppt lb ppt ah: aer comal ue
(he bo ag ehe mee hs ppc be
Place 1 6. Standing young man, leaning on a pol, left leg set back,
eae Ponte doit dich appuyé sur un bâton, jambe gauche
en artère.)
Im pere poe with à pe ser ferment ne by ec
Palm Dee Tee De naa and tet peta Song Be bh nd Salles
The put re can ra from he it ett he hack Se he ha
Plate tll, 7. Standing young man holding a pole behind himself in his.
leit hand.
homme debout tenant un bâton de la main gauche derrière
ih
‘The pag ma could be pg won eh, hee wah hi kit hand, Core
Im ety he race i the arm and leg, The plum ke runs men Use pt of hs hat
og e ri fox,
Pate Il, 8. Standing young man, right hand on his head, rear view.
Goan home Bebb de os Pala de sar ewe)
The args of arm ane es are sen ic spore a en ana: Te ain it
Ian bt eng eqn slaty We Te ane pa ae
Ha crcl since they edite th the og re nc chen, On the mo Ii Bg es
precede oes i describe intemal reta
pus. Standing young boy holding a pole, head tumed toward
eune garçon debout tenant un bâton, tête tournée vers le bâton.)
Greshortening are inthe k and exe The pole fons a sa
boy's rh conte hich you can use o check your menurernent and
ur
Plate Ill, 10. Standing man holding out his right hand, rear view.
(Homme debout de dos tendant la main droite.)
‘This cout be the dane of an rar ag pin (wth fn fused url mt
be a mp fg raring the ctrl event ofa ty panting Thé Ler the pe le
sessile m sever puts cd the oti. ur ne vend wl drs The pb hi cont
un mn the pak of the had Yo tie gh ami.
Plate 1, 11, Seated man, rear view.
(Homme assis de dos.)
Aer pop Sa poso te a me aol, Ml sty Tho cain aoe,
especia along the kt che ofthe back. url tho up pa ol he Leg Lt fees seme the
sable ofthe fa an ser he era ture Tr weht He bed emptied
iy he ht he bano al the bay es aba 4
Plate Ill, 12. Standing young man, right hand on left shoulder.
Ueune hamme debout, main gauche sur épaule droite.)
Ti com te bal Di ws mg me pt sy i gh
Aur nei he fe pa Kr te pf ne pad Fe rs pa a oo
down You may reed vertical reference ines to os you in hing os marron ia 4 te
landing pene the bead 6 cas pastioncdl over the nerd bag os sien e a oh eg
à maûmes relerted to asthe free or play log
Plate Ill, 13, Standing young boy holding a pole, legs crossed.
Hors Bet low: gs AS
‘The vil hand nd de feet are denn With great claro and empha. Watch the pepe
«ithe Sab ested am. The plo each he ec ae amis an exa eer
ta om whic npc Ts ler theses ut a ea iy pda ye
ihe anat tg sug he ay er te sappy he po
Plate Il, 14. Standi man turning his back, hands crossed
behind him. ee =
Ueune garçon debout taurnant le dos, mains croisées dans le das.)
The cou a à pce in ram Lid: the rar eine ses the mesa othe
rg bc: There are rn anol nata on te ac; ds scape, rl ro
‘ir res bg such as ter of the freir The plas hno runs hu the Ko
of the neck lo the inner nyt ane,
Plate Ill, 10. Standing man holding out his right hand, rear view.
(Homme debout de dos tendant la main droite.)
‘This cout be the dane of an rar ag pin (wth fn fused url mt
be a mp fg raring the ctrl event ofa ty panting Thé Ler the pe le
sessile m sever puts cd the oti. ur ne vend wl drs The pb hi cont
un mn the pak of the had Yo tie gh ami.
Plate 1, 11, Seated man, rear view.
(Homme assis de dos.)
Aer pop Sa poso te a me aol, Ml sty Tho cain aoe,
especia along the kt che ofthe back. url tho up pa ol he Leg Lt fees seme the
sable ofthe fa an ser he era ture Tr weht He bed emptied
iy he ht he bano al the bay es aba 4
Plate Ill, 12. Standing young man, right hand on left shoulder.
Ueune hamme debout, main gauche sur épaule droite.)
Ti com te bal Di ws mg me pt sy i gh
Aur nei he fe pa Kr te pf ne pad Fe rs pa a oo
down You may reed vertical reference ines to os you in hing os marron ia 4 te
landing pene the bead 6 cas pastioncdl over the nerd bag os sien e a oh eg
à maûmes relerted to asthe free or play log
Plate Ill, 13, Standing young boy holding a pole, legs crossed.
Hors Bet low: gs AS
‘The vil hand nd de feet are denn With great claro and empha. Watch the pepe
«ithe Sab ested am. The plo each he ec ae amis an exa eer
ta om whic npc Ts ler theses ut a ea iy pda ye
ihe anat tg sug he ay er te sappy he po
Plate Il, 14. Standi man turning his back, hands crossed
behind him. ee =
Ueune garçon debout taurnant le dos, mains croisées dans le das.)
The cou a à pce in ram Lid: the rar eine ses the mesa othe
rg bc: There are rn anol nata on te ac; ds scape, rl ro
‘ir res bg such as ter of the freir The plas hno runs hu the Ko
of the neck lo the inner nyt ane,
Plate I, 15, Standing older man leaning against a stand while holding
a pole.
homme debout adossé à un mur tenant un bâton.)
The saga pp à sal or a ares choy print merde aa a
you wal nc tanga Row the msg y dto in the Stance. Cn Ir a Tait fire ha
organic the anges of the manta ower chest and I: Thi cement tes any lo the
rob Ent in port Marco there are many une Yes 0 I haber pa
de. plumb re run fom o pk of the fd be
Plate IH, 16, Seated man, leaning on a wall.
(Homme assis, accoudé sur un mur)
Three fs rg fines thin perl pron. The seat purge ran hay Ich age à
A ha tthe body recedes the foco Bick. the hip feral. Sly the pion he
hc and go tsa. There ane many ype Lean in foso in the dawn: one
one en er bc mur De ones adh a
nde; und he o aur recs ack, Hosting he up am as wei as thes form.
Fa 17, Seated young boy, holding an object in font oí him in his
Ueune garçon assis, tenant un objet devant lui dans ses mains.)
This a my pre ey wen ig xia tcp. A Arms tb
arene eg, owen, ag Ve ttn Ge iy ares hen ey
an candy pen are moy be ali ibn ay ens work un o cm ri,
‘Rotate thee rg ey the ht you chan,
Plate Ill, 18. Standing young man leaning on a pole,
Une homme debs apne sur un Baton)
Thich depen pine. The your ran rw so ra a of he other noch He
dogs ar boty ar on. Py ation tothe atic due vars al Ana, abel are
cd y Bar wh clap Ines
Plate 1, 19. Standing young man, frontal view; with hand on chin.
Ueune homme debout de face, main sur le menton.)
Tha ould ho ether à pense or oie. he ing up he opponent ve simply
tur though the mode ha acc Fer, the Yes are summandy indicated. Ts
Jada tent a dows nt hrs the shat Rr ofeach ann in orbe
‘Sindy the mors that ara males or lora! alu, Uy they sobe the burdas nd
‘rs ade a fore as we aso cee Bey cB eno, The pm ws rine nt ryt
mer 4 he face ta the Ine ake the aes on,
a pole.
homme debout adossé à un mur tenant un bâton.)
The saga pp à sal or a ares choy print merde aa a
you wal nc tanga Row the msg y dto in the Stance. Cn Ir a Tait fire ha
organic the anges of the manta ower chest and I: Thi cement tes any lo the
rob Ent in port Marco there are many une Yes 0 I haber pa
de. plumb re run fom o pk of the fd be
Plate IH, 16, Seated man, leaning on a wall.
(Homme assis, accoudé sur un mur)
Three fs rg fines thin perl pron. The seat purge ran hay Ich age à
A ha tthe body recedes the foco Bick. the hip feral. Sly the pion he
hc and go tsa. There ane many ype Lean in foso in the dawn: one
one en er bc mur De ones adh a
nde; und he o aur recs ack, Hosting he up am as wei as thes form.
Fa 17, Seated young boy, holding an object in font oí him in his
Ueune garçon assis, tenant un objet devant lui dans ses mains.)
This a my pre ey wen ig xia tcp. A Arms tb
arene eg, owen, ag Ve ttn Ge iy ares hen ey
an candy pen are moy be ali ibn ay ens work un o cm ri,
‘Rotate thee rg ey the ht you chan,
Plate Ill, 18. Standing young man leaning on a pole,
Une homme debs apne sur un Baton)
Thich depen pine. The your ran rw so ra a of he other noch He
dogs ar boty ar on. Py ation tothe atic due vars al Ana, abel are
cd y Bar wh clap Ines
Plate 1, 19. Standing young man, frontal view; with hand on chin.
Ueune homme debout de face, main sur le menton.)
Tha ould ho ether à pense or oie. he ing up he opponent ve simply
tur though the mode ha acc Fer, the Yes are summandy indicated. Ts
Jada tent a dows nt hrs the shat Rr ofeach ann in orbe
‘Sindy the mors that ara males or lora! alu, Uy they sobe the burdas nd
‘rs ade a fore as we aso cee Bey cB eno, The pm ws rine nt ryt
mer 4 he face ta the Ine ake the aes on,
Plate tit, 20. Standis 14 leaning on a stand, left leg crossed
EE, nnd sj gto
e
derrière la droite.)
e AAA
¡pose à sophisticated: tho parts of tho hc, are arranged in interesting paLipontirs, Ne e
Sry pen pb lola etica
Pape a teal appar E
A ea GT
Plate I 21. Seated young man; three-quarter ew hale somewhat
long,
Ueune homme assis, trois quarts, cheveux mi-langs.)
The han the ios ssh ri, hf the and eo by at I
types ies th bth arr nthe ence of Be pri em
The pha in rar a ea ace he ake ee ET pin mem t
(distance line the bor to the left 100, ar so forth. ta addition to à plumi fine, extra horinontal
wien: esl perpen va the plus ne! would Pp to orgie he ras rh
rang the tot box uhr übe Ec rt rag he ve ar bo
Plate Ml, 22. Man it I right.
ci de potty pects tacked oe
Thea pone wah soe ace oe mente indice Is à wun let espe
2 the kr ofthe o aa utd Wo tambe gpl spay ray lo
esc between the Ket and right ide of the contour à subtle urel sting: ral dealin
{i conta may detox? hom a ns the Rn: Week ns Le Da.
trem and rete Ihe vary of Bee contour, Nr deus on one ae wil te pie
sh eng on Becher: Ai, warn wel places era wi dp de pa
Manageable wes.
Mate ill, 23. Standing man, right hand on a stand.
{Homme debout, main droite posée sur un mur.)
ni hir: ome te Pt ch tha Pp expo. The ft an yn
lic supp and the bey peutrudes lord orth bing race ad moni fm
You need ananas bere wel sa pam ine
Plate I, 23. Man seated upon the ground, his head on his knees.
(Homme assis sur le sol, téte sur les genoux.)
Tp smc ati Pl ua miau at pu cl 10146
In app ani lg Na Ay Sein y ro, rv agnor rai wt
EE, nnd sj gto
e
derrière la droite.)
e AAA
¡pose à sophisticated: tho parts of tho hc, are arranged in interesting paLipontirs, Ne e
Sry pen pb lola etica
Pape a teal appar E
A ea GT
Plate I 21. Seated young man; three-quarter ew hale somewhat
long,
Ueune homme assis, trois quarts, cheveux mi-langs.)
The han the ios ssh ri, hf the and eo by at I
types ies th bth arr nthe ence of Be pri em
The pha in rar a ea ace he ake ee ET pin mem t
(distance line the bor to the left 100, ar so forth. ta addition to à plumi fine, extra horinontal
wien: esl perpen va the plus ne! would Pp to orgie he ras rh
rang the tot box uhr übe Ec rt rag he ve ar bo
Plate Ml, 22. Man it I right.
ci de potty pects tacked oe
Thea pone wah soe ace oe mente indice Is à wun let espe
2 the kr ofthe o aa utd Wo tambe gpl spay ray lo
esc between the Ket and right ide of the contour à subtle urel sting: ral dealin
{i conta may detox? hom a ns the Rn: Week ns Le Da.
trem and rete Ihe vary of Bee contour, Nr deus on one ae wil te pie
sh eng on Becher: Ai, warn wel places era wi dp de pa
Manageable wes.
Mate ill, 23. Standing man, right hand on a stand.
{Homme debout, main droite posée sur un mur.)
ni hir: ome te Pt ch tha Pp expo. The ft an yn
lic supp and the bey peutrudes lord orth bing race ad moni fm
You need ananas bere wel sa pam ine
Plate I, 23. Man seated upon the ground, his head on his knees.
(Homme assis sur le sol, téte sur les genoux.)
Tp smc ati Pl ua miau at pu cl 10146
In app ani lg Na Ay Sein y ro, rv agnor rai wt
oo a e Fray the Layee Mireia ai, The aes grates ms ares ra
arm a hara the vera on irked te nev andthe och het. Wa nen ort
sas wel pa e o oganize yar Wo
Plate ll, 25, Standing man, seen from behind.
(Homme debout de dos.)
Alk yw caba dieu be ithe csi muro bones much, und
Aa. a ky de, ad ne res ar fal any Hen Fae Sol lv ¡dai
The wei acierto tht te hip ua the ri oe on, Te
Iowa cig fon cobre, making e fica copy. Wid ine o moi he ae 04
Ihe ct ina animal Hang sai to uructuro and ed of body woh a ined
a se natation ge Thin ig u rad ene he ne od ond
trois interns he Aca Blt
Plate 26, Standing young man, holding a pole in his left hand while
ing at it.
(jeune garçon debout, tenant un bâton de sa main gauche et le
regardant.)
isa welpen. The tus uber Ah oy owes
a tod the pe ni ef far Là en ai Bars nt ur ia: ie
fh wg o e igi Lg, arm hs Ag ck A m ihe rl fp UN
¡ERES Op a Sry ne gr wich amd aaa
Plate I, 27. Standing man, in pe. holding out his open left hand.
(Homme debout de profil la main gauche ouverte.)
Th side noone | ee The feud
stu mon nd ci Thad ae cs amo hr nl
Bl prie ut a rel woh Gee hal o italie to Fave e Barge
ube, Ts Fr appar Pan o ack a pene spo by ay connection
As bawdy wich iv makes Mio 0 lng, Such an ee as pps urna
ron the po The conical nde sto con a ve hich all major es ae be
Plate I, 28. Young man seated on a bo, his ight hand supporting his
ee ptr ate grin caisse, main droite soutenant la tête.)
anal à cheek essing om the hand of a ete Sg represas adore, The ret
fim amples ae Düne’ 1514 engraving Mean and Rodin 1329 satis Me Thine
(de eva Meancholy e ue of the nadas four bars (temperament determi
Puma osent sel perorutt. the heures wen af ao u cd Ih Nerd
Ala ver aay Uy an emba. at scr, yams adoro The ermphais
a
arm a hara the vera on irked te nev andthe och het. Wa nen ort
sas wel pa e o oganize yar Wo
Plate ll, 25, Standing man, seen from behind.
(Homme debout de dos.)
Alk yw caba dieu be ithe csi muro bones much, und
Aa. a ky de, ad ne res ar fal any Hen Fae Sol lv ¡dai
The wei acierto tht te hip ua the ri oe on, Te
Iowa cig fon cobre, making e fica copy. Wid ine o moi he ae 04
Ihe ct ina animal Hang sai to uructuro and ed of body woh a ined
a se natation ge Thin ig u rad ene he ne od ond
trois interns he Aca Blt
Plate 26, Standing young man, holding a pole in his left hand while
ing at it.
(jeune garçon debout, tenant un bâton de sa main gauche et le
regardant.)
isa welpen. The tus uber Ah oy owes
a tod the pe ni ef far Là en ai Bars nt ur ia: ie
fh wg o e igi Lg, arm hs Ag ck A m ihe rl fp UN
¡ERES Op a Sry ne gr wich amd aaa
Plate I, 27. Standing man, in pe. holding out his open left hand.
(Homme debout de profil la main gauche ouverte.)
Th side noone | ee The feud
stu mon nd ci Thad ae cs amo hr nl
Bl prie ut a rel woh Gee hal o italie to Fave e Barge
ube, Ts Fr appar Pan o ack a pene spo by ay connection
As bawdy wich iv makes Mio 0 lng, Such an ee as pps urna
ron the po The conical nde sto con a ve hich all major es ae be
Plate I, 28. Young man seated on a bo, his ight hand supporting his
ee ptr ate grin caisse, main droite soutenant la tête.)
anal à cheek essing om the hand of a ete Sg represas adore, The ret
fim amples ae Düne’ 1514 engraving Mean and Rodin 1329 satis Me Thine
(de eva Meancholy e ue of the nadas four bars (temperament determi
Puma osent sel perorutt. the heures wen af ao u cd Ih Nerd
Ala ver aay Uy an emba. at scr, yams adoro The ermphais
a
sugar tic us ao ech and cape, Fan comic hres o vse
ac, fh here alors 0 ma patie. The hard sane ha is
ue mportan ar o dr A ah te future arm ard rel hd up HP
Use horgoreal more les a noc.
Plate lll, 29. Young man in profile holding a ball,
{jeune homme de prof tenant une balled
‘The fige Hs bal, punting the biceps uf hear no 10 map he Wea: Mo
rsa ns an the ie Sek the hc hear the locked kee Th La po lo Lar
net boring the woght ee and ened The rin tone fom sc o oh som
Trecet, by, and haf ane desc Iya ng cues we
Plate Ii, 30. Standing man in three-quarter view, holding a pole with
both hands, his left leg crossed over the right.
(lame debout de UBS quar tenant un toa à du malos; pied
auche croisé devant le pied droit.)
This daw f 3 matt man wäh Laity wed develope arity mp pr wk
menemere. Compro fn wth ther meh, uch as ps 3, and te bas seta
ier feo te pong men. The ight Sock sms o be an uno hou
Plate Il, 31. Seated man in profile, his hands crossed on his left knee.
(Homme assis en profil, les mains croisées sur genou gauche.)
Th an cent came a we pme fe with con inca ¿ion
Merino Sapos ae Dour sel ther Ru The emos lo e au dean Me
sme rsd ine ae le Nu pay an de de min
{the kp ara am by proce ping de Pad hei aren the mie
pl dr biota Coven ok cul a ure over toe
(ade the ial obtener 0 ae You
Plate Ill, 32. Standir man, right arm resting on his head.
re rant DEL am rate
Wher copying ths model remember tthe nds ane on diet panes!
Plate 1,33. Standing man, righthand on his chest et hand on his
(Homme debout, main droite sur le poitrine, main gauche sur la tête.)
The more ities the pane Michel Dying Se dtc mount he Lct
‘Meas I Pins im Aa, 10 and shown compe in ig, 13) The view a higher than
ithe other mins Notas how the les scady the br, fhe wen Sanding um at in
Bere 1 mita the hate U meds muy Ugo the dain: hs ka
cher ad wes rice han 0 04 ya Ia chy o wn rc oe
0 ex nen
ac, fh here alors 0 ma patie. The hard sane ha is
ue mportan ar o dr A ah te future arm ard rel hd up HP
Use horgoreal more les a noc.
Plate lll, 29. Young man in profile holding a ball,
{jeune homme de prof tenant une balled
‘The fige Hs bal, punting the biceps uf hear no 10 map he Wea: Mo
rsa ns an the ie Sek the hc hear the locked kee Th La po lo Lar
net boring the woght ee and ened The rin tone fom sc o oh som
Trecet, by, and haf ane desc Iya ng cues we
Plate Ii, 30. Standing man in three-quarter view, holding a pole with
both hands, his left leg crossed over the right.
(lame debout de UBS quar tenant un toa à du malos; pied
auche croisé devant le pied droit.)
This daw f 3 matt man wäh Laity wed develope arity mp pr wk
menemere. Compro fn wth ther meh, uch as ps 3, and te bas seta
ier feo te pong men. The ight Sock sms o be an uno hou
Plate Il, 31. Seated man in profile, his hands crossed on his left knee.
(Homme assis en profil, les mains croisées sur genou gauche.)
Th an cent came a we pme fe with con inca ¿ion
Merino Sapos ae Dour sel ther Ru The emos lo e au dean Me
sme rsd ine ae le Nu pay an de de min
{the kp ara am by proce ping de Pad hei aren the mie
pl dr biota Coven ok cul a ure over toe
(ade the ial obtener 0 ae You
Plate Ill, 32. Standir man, right arm resting on his head.
re rant DEL am rate
Wher copying ths model remember tthe nds ane on diet panes!
Plate 1,33. Standing man, righthand on his chest et hand on his
(Homme debout, main droite sur le poitrine, main gauche sur la tête.)
The more ities the pane Michel Dying Se dtc mount he Lct
‘Meas I Pins im Aa, 10 and shown compe in ig, 13) The view a higher than
ithe other mins Notas how the les scady the br, fhe wen Sanding um at in
Bere 1 mita the hate U meds muy Ugo the dain: hs ka
cher ad wes rice han 0 04 ya Ia chy o wn rc oe
0 ex nen
Plate I}, 34, Standing young man, turning his head to the left, right
hand extended.
{ene homme debout,tournant a tte vers la gauche, main drote
hse ery tg thawing combines the subo and gan the eo pene wich an
‘ec, Aves, are rue viewed Fait ar nep several qualities oF aye
ag combing interesting pene, 3 Abk mew Sev non ar simple Bre.
Plate Il, 35. Half prone man, holding himself up on his hands.
(Homme presque allongé se Soutenant de ses bras.)
The pose oc that of o focas Dig and ki. VA BIC im the Capone Msc
in Rare Each arm bar wie in deca mare. Te Kesar kg rus bcp
(wach ga, he ifort ad era à very se Th ty ws pray
In mern within à rage msn be, with pra ne ech Sale al
and hand y la muse uch mein shapes vin yet fas ns were ae
coin the cas dai nce commen I pe, D,
Plate IN, 36. Standing man in profile, hiding his face in his hands.
(Homme debout de profi, se tachan le visage dans les mains)
The pose ar dam ng expel hom Pac; 2 esol pure, with coi
euro Hu be use or apo in desa oF pel. Thomason ts sei Bangs hd te?
Stet eve pannes of arenga por. Lau o detras thar A culo
‘lier fon ows cn corner aed emo
Plate Ill, 37. Standing man, left hand on his chest, right hand
extended.
(Homme debout, main gauche sur la poitrine, main droite en arrière.)
Tw ru i ori, locking Lg as 2 mig soon and pean lis and on Ne
‘het rate is sree. Note the pace of the wert arm ara the carey posed
Gres Th Js so and, aug retical, fll era, The a thal por
dal des ce mean ao tard ies god et ca hase sinha canoa
wäh fash expresion by rethinking and expovencang the eatin, reat in à gee thit 1
nel end averia
Plate Ill, 38. An archer.
(Homme tirant à l'arc.)
Thann mad ur ae aa nd the mud ron Hage ho body
ape ms and upper Dar pu the ows lu
hand extended.
{ene homme debout,tournant a tte vers la gauche, main drote
hse ery tg thawing combines the subo and gan the eo pene wich an
‘ec, Aves, are rue viewed Fait ar nep several qualities oF aye
ag combing interesting pene, 3 Abk mew Sev non ar simple Bre.
Plate Il, 35. Half prone man, holding himself up on his hands.
(Homme presque allongé se Soutenant de ses bras.)
The pose oc that of o focas Dig and ki. VA BIC im the Capone Msc
in Rare Each arm bar wie in deca mare. Te Kesar kg rus bcp
(wach ga, he ifort ad era à very se Th ty ws pray
In mern within à rage msn be, with pra ne ech Sale al
and hand y la muse uch mein shapes vin yet fas ns were ae
coin the cas dai nce commen I pe, D,
Plate IN, 36. Standing man in profile, hiding his face in his hands.
(Homme debout de profi, se tachan le visage dans les mains)
The pose ar dam ng expel hom Pac; 2 esol pure, with coi
euro Hu be use or apo in desa oF pel. Thomason ts sei Bangs hd te?
Stet eve pannes of arenga por. Lau o detras thar A culo
‘lier fon ows cn corner aed emo
Plate Ill, 37. Standing man, left hand on his chest, right hand
extended.
(Homme debout, main gauche sur la poitrine, main droite en arrière.)
Tw ru i ori, locking Lg as 2 mig soon and pean lis and on Ne
‘het rate is sree. Note the pace of the wert arm ara the carey posed
Gres Th Js so and, aug retical, fll era, The a thal por
dal des ce mean ao tard ies god et ca hase sinha canoa
wäh fash expresion by rethinking and expovencang the eatin, reat in à gee thit 1
nel end averia
Plate Ill, 38. An archer.
(Homme tirant à l'arc.)
Thann mad ur ae aa nd the mud ron Hage ho body
ape ms and upper Dar pu the ows lu
Plate IM, 39. Seated man, hiding his face in his hands.
(Homme assis, se cachant le visage dans les mains.)
‘The stat mind eco aw in fan a pris, ing hai arg
Wh cach postion pressing pe: probe. The pose A conysion. portae esi desde
erat thin Wither. e corea Ya ser he neo 0 bg a wen that he
repli spaces re ther deserve: quay. Al pay tenio o te Breas ad osea
In eramos
Plate I 40. Standing man, right hand on his chin, left hand behind
is back.
{Homme debout, main dite sur e menton, main gauche dans le
J
Sa ai the stare 1 Whe Hane o hr chin In tinny sync por
empire pitt inch eae the arm ac be ther nba
In son Al Na o o, bo wa a ae
‘The pot tone ers sa slo o op. ke, and Pad. cam pou ar ck the
pond ur sm ama, gk et as Oe poset yo The Part
Ihe Ans ae we conceal he pain 4 weight sos Ip
Plate Ill, 41. Standi left hand resting on a stand, right
Pia 11 a, Standing yourg many 8 right
eune homme debout, main gauche posée sur un mur, main droite
sur les reins.)
à an asset pone. The young boy tar alps the ben, wth one hurd ing £
een te weight he hand wee be nd ue he arcing le, an eure ie
tab hil resorts the lod: Tre creat hi ri ic eros a
depa ae the qc us it the comment of the bach A on lian Im woud ru
na the cert of hs bey Im the pt hs neck the hs ack Note hw many acht
(at have been amd int cues
Plate Ill, 42. Standing young man, hands crossed aver his waist.
Jeune homme debout, mains croisées sur le ventre.)
Mere is another boe prison hs ns wt his ms for. his could aba be Chest tr
¡presented o the pöpnulsce inthe afin Leas Fawn iconoxgaptn vr beso apse I Jol the
Ir. The deta gio espe lave tie. pay o mal
the knees and
Plate I, 43. Man leaning against a stand, face lifted uj
(Homme appuyé le long d'un mur, visage vers le haut
‘Thee bb a very relined pone seen from a lew prnsition. The legs am strong. the fango hoch,
pont anc spaces ond re ae gro ut 0 eration a here ace et
ee o an. Sete the pc la gt deg Pad
(Homme assis, se cachant le visage dans les mains.)
‘The stat mind eco aw in fan a pris, ing hai arg
Wh cach postion pressing pe: probe. The pose A conysion. portae esi desde
erat thin Wither. e corea Ya ser he neo 0 bg a wen that he
repli spaces re ther deserve: quay. Al pay tenio o te Breas ad osea
In eramos
Plate I 40. Standing man, right hand on his chin, left hand behind
is back.
{Homme debout, main dite sur e menton, main gauche dans le
J
Sa ai the stare 1 Whe Hane o hr chin In tinny sync por
empire pitt inch eae the arm ac be ther nba
In son Al Na o o, bo wa a ae
‘The pot tone ers sa slo o op. ke, and Pad. cam pou ar ck the
pond ur sm ama, gk et as Oe poset yo The Part
Ihe Ans ae we conceal he pain 4 weight sos Ip
Plate Ill, 41. Standi left hand resting on a stand, right
Pia 11 a, Standing yourg many 8 right
eune homme debout, main gauche posée sur un mur, main droite
sur les reins.)
à an asset pone. The young boy tar alps the ben, wth one hurd ing £
een te weight he hand wee be nd ue he arcing le, an eure ie
tab hil resorts the lod: Tre creat hi ri ic eros a
depa ae the qc us it the comment of the bach A on lian Im woud ru
na the cert of hs bey Im the pt hs neck the hs ack Note hw many acht
(at have been amd int cues
Plate Ill, 42. Standing young man, hands crossed aver his waist.
Jeune homme debout, mains croisées sur le ventre.)
Mere is another boe prison hs ns wt his ms for. his could aba be Chest tr
¡presented o the pöpnulsce inthe afin Leas Fawn iconoxgaptn vr beso apse I Jol the
Ir. The deta gio espe lave tie. pay o mal
the knees and
Plate I, 43. Man leaning against a stand, face lifted uj
(Homme appuyé le long d'un mur, visage vers le haut
‘Thee bb a very relined pone seen from a lew prnsition. The legs am strong. the fango hoch,
pont anc spaces ond re ae gro ut 0 eration a here ace et
ee o an. Sete the pc la gt deg Pad
Plate Ill, 44. Supine young man.
deune homme allongé}
3 wane wong man with tonalite ea um is whee boy Kl os oa
ned hu dsl Cv the dood Abel and ari muy. Ut vertical eme Us da
th bay no manage portion: for esop, ron te ends ck he ingle ar ug
stew the thas. Cor eating par eh boy I he her
Plate Ill, 45. Standing man, his hands behind his head, looking up.
(Homme debout, mains derrière la tête, visage en haut.)
Tha» ender din la rán sehen The eae crit dy de asa
he tester of the head, Muscular mythe pay ron the body Mery Ihe imac
As en less Fhe anor uch a andr pr 0 ch On bd asa cons
Ae mem te Laila doe nthe arms The ee Serine he rel are, ha
ff are ruc dk han he ge A ar Mu Ehe br, be
me.
Plate Ml, 46. Man on a rope.
(Homme thant une corde)
This danny eps a monas à ater snail heal for he body pulg on a wpe. The
soared 6 bh ya ok ac. Te pale nbd au Be ee
Bote 6 cores an rf the cal Ml. The taping Ue sc it the
Hon pri es. aw an ari, y on o Ds eco that ae worry
They contact sel charg Ihr fa rick a dite ar us cont dd komm ar
Jonge in einen
Plate I, 47. Standing man, arms spread out.
(Homme debout, bras écartés.)
This pene conde present sins or orient: Th a a very heeled easy ever
wea te. Notice the pag scouts ac ag og ta ig tt
‘abst sawing nds Hs name prices an area pn ane a
you sex mulas of the steam, the Armen, are Ihe ans. Barge cs mod want ya
get athe ews ae He fas cough the meer cl Far n he ts Note to
¡stand the raft form and ol the e upper am. Academe nts PCC cert
nasil a ue hari ram he ig Ro help de mocks mai sh pue.
Plate Ill, 48, Standing young man, three-quarter rear view, crossed
rune homme debou, trols quarts de dos, bras croisés.)
TWinshawingstunvya Ian per meh Ihe ng mn free, fad tr
nos srt Jene manco. rom pane tw Kcal At am ck ea ae
“en anno Kuren av Gr cs an a ren exam
deune homme allongé}
3 wane wong man with tonalite ea um is whee boy Kl os oa
ned hu dsl Cv the dood Abel and ari muy. Ut vertical eme Us da
th bay no manage portion: for esop, ron te ends ck he ingle ar ug
stew the thas. Cor eating par eh boy I he her
Plate Ill, 45. Standing man, his hands behind his head, looking up.
(Homme debout, mains derrière la tête, visage en haut.)
Tha» ender din la rán sehen The eae crit dy de asa
he tester of the head, Muscular mythe pay ron the body Mery Ihe imac
As en less Fhe anor uch a andr pr 0 ch On bd asa cons
Ae mem te Laila doe nthe arms The ee Serine he rel are, ha
ff are ruc dk han he ge A ar Mu Ehe br, be
me.
Plate Ml, 46. Man on a rope.
(Homme thant une corde)
This danny eps a monas à ater snail heal for he body pulg on a wpe. The
soared 6 bh ya ok ac. Te pale nbd au Be ee
Bote 6 cores an rf the cal Ml. The taping Ue sc it the
Hon pri es. aw an ari, y on o Ds eco that ae worry
They contact sel charg Ihr fa rick a dite ar us cont dd komm ar
Jonge in einen
Plate I, 47. Standing man, arms spread out.
(Homme debout, bras écartés.)
This pene conde present sins or orient: Th a a very heeled easy ever
wea te. Notice the pag scouts ac ag og ta ig tt
‘abst sawing nds Hs name prices an area pn ane a
you sex mulas of the steam, the Armen, are Ihe ans. Barge cs mod want ya
get athe ews ae He fas cough the meer cl Far n he ts Note to
¡stand the raft form and ol the e upper am. Academe nts PCC cert
nasil a ue hari ram he ig Ro help de mocks mai sh pue.
Plate Ill, 48, Standing young man, three-quarter rear view, crossed
rune homme debou, trols quarts de dos, bras croisés.)
TWinshawingstunvya Ian per meh Ihe ng mn free, fad tr
nos srt Jene manco. rom pane tw Kcal At am ck ea ae
“en anno Kuren av Gr cs an a ren exam
APPENDIX 2: The Sight-Size Technique
An Experienced Artist and Teacher
Defines the Sight-Size Technique
In the acuso ca beter enchamge about te Pf
anchrique. Heer Bag who has been chi the pra
th hes sucker in his Minneapclés Menus, aber or yr,
ert me this ew explanation of the tocbnque
Tho sadist methid of manurvenrat war m
comes mirad of working fr teh sente and
good artiste pre tothe twentieth erty,
flare wor it rt due in mast at eon
‘Settings, The wrm “Michie” refer lo makina n
Ad terete yur ino si
det nak AL alle ar
m
Using Sight-Size to Copy the Bargue Plates
Tre né cf sein iia’ roman in ve
as tm. tly resto of hang WNIT
the Image produced fy the se mare or puper an the
“ure cher ch be. ee are seve bra
1 the trigo when ic dolore erueche peda an
a transcription 0 the sea in he same sen bh
I» perconid, Ths pers continuous compra ofthe damn
Ah ie model. Once students Juno become profit the ue
iit sie, they can sy com own Werk The
14 Ihe fo technique aho increases a sucess lo.
sti aa the apparen mens of the es
and wanser them come o paper. Thi ira on ems
init & #5 the pee of practicing Saf Bah
all bring bet cote corset and being able in nme.
runter ge beging aser condone.
Fat testers the hrs OÙ sio: chris re
pro hat ecommerce hee, expel fr students wor
shave, Ala inion for ami er rats tut fom
Amena object, cy apse tee cop
of rios Using saber Woche woul sande the
apro to al three sk presented in the ore. working
rie Ct. copying dni and daring cken) and in
peral wad be a pre prepara Ki hen ont a
Breede te tech
How Old is the Technique?
Ver e de ato porn ac o
Voq ard ab who pra So tree ne
engel o me an ring Eng fash who we
‘he eth, much the Rena dey al popes exter
Yet oy es ck Here, Aba musho do race
In wem be ite neetrerah-cereury event cu
there are many insances when’ one uneclcomccany ins 4
18 26 à mad na m à trl apa pr
Ae opti pes à ii it a a ae eK
The examen of many ichrgs can pings an
¡sogas eh ately in vee sor m bch th
Remaaeepc mone a prt wane rary o os
rae sis Is many ter eye slo rey
m onarc ees yp licks te ane und wi
he cag Ind I e p=
An Experienced Artist and Teacher
Defines the Sight-Size Technique
In the acuso ca beter enchamge about te Pf
anchrique. Heer Bag who has been chi the pra
th hes sucker in his Minneapclés Menus, aber or yr,
ert me this ew explanation of the tocbnque
Tho sadist methid of manurvenrat war m
comes mirad of working fr teh sente and
good artiste pre tothe twentieth erty,
flare wor it rt due in mast at eon
‘Settings, The wrm “Michie” refer lo makina n
Ad terete yur ino si
det nak AL alle ar
m
Using Sight-Size to Copy the Bargue Plates
Tre né cf sein iia’ roman in ve
as tm. tly resto of hang WNIT
the Image produced fy the se mare or puper an the
“ure cher ch be. ee are seve bra
1 the trigo when ic dolore erueche peda an
a transcription 0 the sea in he same sen bh
I» perconid, Ths pers continuous compra ofthe damn
Ah ie model. Once students Juno become profit the ue
iit sie, they can sy com own Werk The
14 Ihe fo technique aho increases a sucess lo.
sti aa the apparen mens of the es
and wanser them come o paper. Thi ira on ems
init & #5 the pee of practicing Saf Bah
all bring bet cote corset and being able in nme.
runter ge beging aser condone.
Fat testers the hrs OÙ sio: chris re
pro hat ecommerce hee, expel fr students wor
shave, Ala inion for ami er rats tut fom
Amena object, cy apse tee cop
of rios Using saber Woche woul sande the
apro to al three sk presented in the ore. working
rie Ct. copying dni and daring cken) and in
peral wad be a pre prepara Ki hen ont a
Breede te tech
How Old is the Technique?
Ver e de ato porn ac o
Voq ard ab who pra So tree ne
engel o me an ring Eng fash who we
‘he eth, much the Rena dey al popes exter
Yet oy es ck Here, Aba musho do race
In wem be ite neetrerah-cereury event cu
there are many insances when’ one uneclcomccany ins 4
18 26 à mad na m à trl apa pr
Ae opti pes à ii it a a ae eK
The examen of many ichrgs can pings an
¡sogas eh ately in vee sor m bch th
Remaaeepc mone a prt wane rary o os
rae sis Is many ter eye slo rey
m onarc ees yp licks te ane und wi
he cag Ind I e p=
Necessary Conditions for Sight-Size Practice
min and ae me upon wich he objets appar be
stable. Ab, the dawn Iasi um the el runt be pet
upright are Uno «ed tbe the same pen un the Bice fe the nin ee Ue
lee hes to comple: whic muy be several weeks. The ight apie the ect
strut aways ne a tae linet. aft ce craig en, aby he
arme plan poire, This mar thatthe spot 0% FO nis mai ln sa
avr ea (oma
setup u Ih lowing Grin
Sec, the obre potion of Ihe Jest a be ah dus the object rut the
thawing meat abays ho the me. The observing, position is usualy ut à vote
pe tu and the eae sy, threw mes the Lars mort of the
ce the angle of lorca ad at a spot where the lag paper et
ah she by sik
A the posto oF your Sout on ie cor with tape, Inca pasito wach
ch, he het ar has band a ser dance rc each othe: this dro
dance Gen
drag
Ka pa he, and sarl ug sag wach
Wha Naw
min and ae me upon wich he objets appar be
stable. Ab, the dawn Iasi um the el runt be pet
upright are Uno «ed tbe the same pen un the Bice fe the nin ee Ue
lee hes to comple: whic muy be several weeks. The ight apie the ect
strut aways ne a tae linet. aft ce craig en, aby he
arme plan poire, This mar thatthe spot 0% FO nis mai ln sa
avr ea (oma
setup u Ih lowing Grin
Sec, the obre potion of Ihe Jest a be ah dus the object rut the
thawing meat abays ho the me. The observing, position is usualy ut à vote
pe tu and the eae sy, threw mes the Lars mort of the
ce the angle of lorca ad at a spot where the lag paper et
ah she by sik
A the posto oF your Sout on ie cor with tape, Inca pasito wach
ch, he het ar has band a ser dance rc each othe: this dro
dance Gen
drag
Ka pa he, and sarl ug sag wach
Wha Naw
tine you step back o lso the abject the dg. Ws
the sre e eva rng gon: Even the ek
“change of ica as hg or lee onde abet your
and your parres
‘Nt: Newer cono the bert ie fling lt a
o sty m he same place and sance, and ew om
memory, added by your ment marks.
Excursus: Shadow Boxes
A do bi lly rd fo cant an Mas wil I
cop ra drang ah mode for a as, Even,
poo ma so how these ca canins went much Sve is
‘wal hep you when ya stc (om the Borge cast din to
al nt.
The an he use forthe cat up sam reich
bon with Eso bt ro op, ana apc vocal ss
can be ult om erator cert fur a wood ox
(ie fg Ad, The bon, of cour, rests on a wel are or table
that es eae eight wa that when you ar in pos
you ae locking a derer 0 he cet. Line the bos weh
ck paper or oth abs ight an ory sen recto
gados on the cat. (Same uses prefer a mekllgay toed
Paper or th Lean e dea of te shadows) em a
dm wind or a mp shod wre the est eet So the
heaters duty of fe cade, and à some 0 tas an in
escape ai While bg or e pls in par bys wil eed
amp of ara ways to mang hts
ropa these arangemen must remain abate bie
trout he dang process Sh changes inthe posten of
‘Be tothe cast can moh imposi to sino a dan
adh in pores. Trace the ui of the Fe te ato the
on othe shade bs in case the ease yes mon
‘Ug teks arme 10 the ses of the bon, ar pe
een ra of He Gt An € that cats th te cnt
someten the mid and crosses thigh some importare
dere rare pois. This te plu Ere wl be tho same
15 the plums fee (Vertikal recreo line) dd which your
Ala wil e organize, ay fae sare tm o e dhe ct
Main the shadow box.
In aie ea cas hat mal a liz tario
le cat she enaieg paper on sel wil be poc are
204 jst gt, abet of the suc in the shadow bar. the
abc a cant ce al lo, shold be in tp cher on à
ande in aso bin. Shan draninga Be model the mode
sur
steal pot bei the ad, a we isan fren
ch bet ey so, m a the in ob
ste ree vol pn These e aor ua
Drawing After a Cast: Positioning the Drawing
Mer the cat hs bee st gi the co the laa
ass, and the ease paced with the kai bond and pape
‘on et properly new to tho dore ben, th dain procos
‘asi. The plete ape a he ex of he rag
‘al onthe mess ice) ae ae dg bd tre ee
<x dow to he sew che mode wi mabe carro mu
manement han he shit ad male val conn
A ou work ard ec i AS
‘Sep 1: Daw hinab creme hepa ut bene he
hod of the ca. Since you rood à plumb lo ble den,
he gure the string cf the plumb nef the eet le the
‚a Use your Dam to mah the ibe aceon he
faut en,
Sarah she ing bete fy Par early aco he
peak ofthe hea ofthe made ard oe. the drawing pap,
erie the path ee ri cr pue: Sep
ar aed mk dv psoe qe tao muro lo
Sep back and me Uo eng of yo ants hs
ruck for cou than Jo the ingrid reposa Ihe pros
ce the ko pit he fet: dr overs ll a
mesurement jon jour eye
‘Srl a spin srl ch the mas y hp
cs the ding and cas apa, Dow het ea
‘och of the mudo, and bonn
er 2 Dich an te pce ft cmt mago open de
paper by abs weh ug he Lu o ynz eye,
Mme he wah cl th can a hs pesen yn
Stace pea, Mane the enter rg ines de paper
thie abre as ma mtl tu ee Lr ben oe
‘cdg of paper cars the ca. Ati bh en on he pue
hock your rmvements
‘Sep 3: Draw a plumb ne la vertical reference fine from the
‘up ine whe bso ine ri be awn vert inde
e Es you ve prend e
Use the ing 0 the jr a ha rw
64 the figure am its placement. ian the paper beter yaa sin:
{he pis fre onthe pues. Yo mus fi pic az he md
Mos you want on the subject, à line, sy, followings the center
aline, pda one hat pn heh many ar an
the sre e eva rng gon: Even the ek
“change of ica as hg or lee onde abet your
and your parres
‘Nt: Newer cono the bert ie fling lt a
o sty m he same place and sance, and ew om
memory, added by your ment marks.
Excursus: Shadow Boxes
A do bi lly rd fo cant an Mas wil I
cop ra drang ah mode for a as, Even,
poo ma so how these ca canins went much Sve is
‘wal hep you when ya stc (om the Borge cast din to
al nt.
The an he use forthe cat up sam reich
bon with Eso bt ro op, ana apc vocal ss
can be ult om erator cert fur a wood ox
(ie fg Ad, The bon, of cour, rests on a wel are or table
that es eae eight wa that when you ar in pos
you ae locking a derer 0 he cet. Line the bos weh
ck paper or oth abs ight an ory sen recto
gados on the cat. (Same uses prefer a mekllgay toed
Paper or th Lean e dea of te shadows) em a
dm wind or a mp shod wre the est eet So the
heaters duty of fe cade, and à some 0 tas an in
escape ai While bg or e pls in par bys wil eed
amp of ara ways to mang hts
ropa these arangemen must remain abate bie
trout he dang process Sh changes inthe posten of
‘Be tothe cast can moh imposi to sino a dan
adh in pores. Trace the ui of the Fe te ato the
on othe shade bs in case the ease yes mon
‘Ug teks arme 10 the ses of the bon, ar pe
een ra of He Gt An € that cats th te cnt
someten the mid and crosses thigh some importare
dere rare pois. This te plu Ere wl be tho same
15 the plums fee (Vertikal recreo line) dd which your
Ala wil e organize, ay fae sare tm o e dhe ct
Main the shadow box.
In aie ea cas hat mal a liz tario
le cat she enaieg paper on sel wil be poc are
204 jst gt, abet of the suc in the shadow bar. the
abc a cant ce al lo, shold be in tp cher on à
ande in aso bin. Shan draninga Be model the mode
sur
steal pot bei the ad, a we isan fren
ch bet ey so, m a the in ob
ste ree vol pn These e aor ua
Drawing After a Cast: Positioning the Drawing
Mer the cat hs bee st gi the co the laa
ass, and the ease paced with the kai bond and pape
‘on et properly new to tho dore ben, th dain procos
‘asi. The plete ape a he ex of he rag
‘al onthe mess ice) ae ae dg bd tre ee
<x dow to he sew che mode wi mabe carro mu
manement han he shit ad male val conn
A ou work ard ec i AS
‘Sep 1: Daw hinab creme hepa ut bene he
hod of the ca. Since you rood à plumb lo ble den,
he gure the string cf the plumb nef the eet le the
‚a Use your Dam to mah the ibe aceon he
faut en,
Sarah she ing bete fy Par early aco he
peak ofthe hea ofthe made ard oe. the drawing pap,
erie the path ee ri cr pue: Sep
ar aed mk dv psoe qe tao muro lo
Sep back and me Uo eng of yo ants hs
ruck for cou than Jo the ingrid reposa Ihe pros
ce the ko pit he fet: dr overs ll a
mesurement jon jour eye
‘Srl a spin srl ch the mas y hp
cs the ding and cas apa, Dow het ea
‘och of the mudo, and bonn
er 2 Dich an te pce ft cmt mago open de
paper by abs weh ug he Lu o ynz eye,
Mme he wah cl th can a hs pesen yn
Stace pea, Mane the enter rg ines de paper
thie abre as ma mtl tu ee Lr ben oe
‘cdg of paper cars the ca. Ati bh en on he pue
hock your rmvements
‘Sep 3: Draw a plumb ne la vertical reference fine from the
‘up ine whe bso ine ri be awn vert inde
e Es you ve prend e
Use the ing 0 the jr a ha rw
64 the figure am its placement. ian the paper beter yaa sin:
{he pis fre onthe pues. Yo mus fi pic az he md
Mos you want on the subject, à line, sy, followings the center
aline, pda one hat pn heh many ar an
par and preserve y sing actes ps be
Yo the shack fan. Jue wen
othe as. Th cb
Fir he Asai 0 Hs wih ha ra wee wer when dieing where:
paper Find by mesure where the cal party
ned Wi re Gd the see y
e, Draw the perras thug Ut Spa, rig su hat sepa with
dani by mesure ait
aye hn tthe ines or sj frm te sie ara
dest in pres eo and arm och and steady, a ys kl
wt, AVI your asad ahvays tho same pion, hank wth one
Au yu cc you m
ant with the sere are
tabs Ihe same eye Abu want dhe mide drawing
ocd nn as hs vee le for intra. on bo
Yo the shack fan. Jue wen
othe as. Th cb
Fir he Asai 0 Hs wih ha ra wee wer when dieing where:
paper Find by mesure where the cal party
ned Wi re Gd the see y
e, Draw the perras thug Ut Spa, rig su hat sepa with
dani by mesure ait
aye hn tthe ines or sj frm te sie ara
dest in pres eo and arm och and steady, a ys kl
wt, AVI your asad ahvays tho same pion, hank wth one
Au yu cc you m
ant with the sere are
tabs Ihe same eye Abu want dhe mide drawing
ocd nn as hs vee le for intra. on bo
Drawing After a Cast:
Measuring Apparent Distances
fe expen, mie he mec ram the plomo Inc
he widest and kant jeer. (1) Lk for an important ange.
roca or cone, the conto othe mude. (2) Fn sent
mark cs postion, Pl up ous pum Hine srg and mh
sre tha yon are hing oran by comparo wa the
pr and ben hervor on the kann paper (3 Pick am
‘epoch wi hep eine the lupe ofthe mage Start
“wth the exe and extinct Ed, Mone te ing
tid Potter te point yas wih to room (3) Mike
a moda on the los bre where the horzoral ing fancy
hf Wand e ae om the cas Take the enh of sing
Abed th encon the 160 fingers of vou extended hard!
ad mess the de ram are othe st Bas
your thon and the plum fine hanging before the cas)
ering your ari extended ara the srg tut. me the sing
mer ae ag jap; une ene the sig halb ine
the rk an en plumb King; hie the ate wi be ner
‘the poper where the contour mad, shoud be, Memoria But
4. Sep forward and mach aby Step buck and check the
cy placement with the send pub ine
‘Work tha vay around dv figure und you ve the shape:
euere by dots when You. we onan they are all
‘carrey measured ond plc, yous may cannes the dts weh
sat Fin Wo can mas hs then pam fe fr the
ré the shoes, hips oF her fatter Adi ana
barré paper esta ay he you deal as sexe
eu as. The musgos, placing, and costing de
mb at fst but as you Ina the method you wl Be
ab to pick a lower an bt pois cn the coma to wk
rom ar 10 estimate tances mone quick) omnes With
ya eye aire Sister sl é stop tack a mess
al Soon mark ora y, yon und Fave in your
and altea the pc cr col, ep ie, and he
rer so tha yeu can such Instrument, without on Your
arrasó
Be sume I rae ss Fa comen lines sagt. The
‘caries can be wor ut at, The gtr the amplitude of he
‘ame, the maw stright fins—conneried by prison wi
past ovlre the cave. One tandumental of Bang‘ mer
isthe umpifiasion of complex um ts stra: one sa
ding cu one tend ta daw an are and als ad o ore
Where top As your eve em expo, ou M De ak
‘connate of he dots by cunt
m
Op al com he di, sok Le caro ecos
han outer nd shay a Ur way outre
nes mühe ink ose om am: qu Sth your
easing 07 comping With the eval a mm Wil Np
a rem emo. A mor should aa be At hardy kr
heeking yous drawing) Retin the nie sera me bei
(hg the cuves, peri ies dr Ihe major on, en
stehende ain. Once you ft inthe major Sus sige,
ox wile hu the four rss haber aime.
Key ss dress acces i the gr uch
juste yous wil pur diy fig the logres irn the
‘deine and yeas may even ne the ers 0 um on Wn
‘Where hued lo mesure yc pun cam on o nd o
surement again. Remember tala sie wider Invite
ck may charge yung boy nk à mw mar
Drawing After Flat Models:
Bargue's Plates
The Hane plates pts art wee an fro the ed
int of view of a stable model: they might Rave been dan
wäh sii technique oF à version of 2 One ol the mia
beret cd working in vos bed, Ihe pri ul am
curas imag —a the tring it es the eye in manu vss
dimensions. Hoth 10 peepare Your Yo Work from casa and
‘eds in shes a o ber o hi rl the ye £
‘vee to aps as uc ofthe set as pst
the copying the plates
ace the plate ard the shaw pur side y side om à
deni ter, pri an, or era on a wei wa
cate a good plumb tne onthe deawing, ou ca ape a poor
¡stgo pro ove the erg fr he prs bre and Ke the
{egy ane etc beet) earner ther oD chang So
ps foot pions tend onal: perp it
te uri u he pie ane he paper. Csi te foxx pocorn
‘wil rt you use acing mount rom a stance Wich
à phamb ne, mem them, stepping fontand to and
them, and stepping back 1 comet thom Ty to do as much of
‘your werk 2 poms in Ik manner. AL ares rg det
‘one up wil rev A aay sep Hach lo aho sone
rh Sp ck al as you canoe the eet te
‘whale. which you can futher ase using mer Check mus
shaw mass a ck mir
Measuring Apparent Distances
fe expen, mie he mec ram the plomo Inc
he widest and kant jeer. (1) Lk for an important ange.
roca or cone, the conto othe mude. (2) Fn sent
mark cs postion, Pl up ous pum Hine srg and mh
sre tha yon are hing oran by comparo wa the
pr and ben hervor on the kann paper (3 Pick am
‘epoch wi hep eine the lupe ofthe mage Start
“wth the exe and extinct Ed, Mone te ing
tid Potter te point yas wih to room (3) Mike
a moda on the los bre where the horzoral ing fancy
hf Wand e ae om the cas Take the enh of sing
Abed th encon the 160 fingers of vou extended hard!
ad mess the de ram are othe st Bas
your thon and the plum fine hanging before the cas)
ering your ari extended ara the srg tut. me the sing
mer ae ag jap; une ene the sig halb ine
the rk an en plumb King; hie the ate wi be ner
‘the poper where the contour mad, shoud be, Memoria But
4. Sep forward and mach aby Step buck and check the
cy placement with the send pub ine
‘Work tha vay around dv figure und you ve the shape:
euere by dots when You. we onan they are all
‘carrey measured ond plc, yous may cannes the dts weh
sat Fin Wo can mas hs then pam fe fr the
ré the shoes, hips oF her fatter Adi ana
barré paper esta ay he you deal as sexe
eu as. The musgos, placing, and costing de
mb at fst but as you Ina the method you wl Be
ab to pick a lower an bt pois cn the coma to wk
rom ar 10 estimate tances mone quick) omnes With
ya eye aire Sister sl é stop tack a mess
al Soon mark ora y, yon und Fave in your
and altea the pc cr col, ep ie, and he
rer so tha yeu can such Instrument, without on Your
arrasó
Be sume I rae ss Fa comen lines sagt. The
‘caries can be wor ut at, The gtr the amplitude of he
‘ame, the maw stright fins—conneried by prison wi
past ovlre the cave. One tandumental of Bang‘ mer
isthe umpifiasion of complex um ts stra: one sa
ding cu one tend ta daw an are and als ad o ore
Where top As your eve em expo, ou M De ak
‘connate of he dots by cunt
m
Op al com he di, sok Le caro ecos
han outer nd shay a Ur way outre
nes mühe ink ose om am: qu Sth your
easing 07 comping With the eval a mm Wil Np
a rem emo. A mor should aa be At hardy kr
heeking yous drawing) Retin the nie sera me bei
(hg the cuves, peri ies dr Ihe major on, en
stehende ain. Once you ft inthe major Sus sige,
ox wile hu the four rss haber aime.
Key ss dress acces i the gr uch
juste yous wil pur diy fig the logres irn the
‘deine and yeas may even ne the ers 0 um on Wn
‘Where hued lo mesure yc pun cam on o nd o
surement again. Remember tala sie wider Invite
ck may charge yung boy nk à mw mar
Drawing After Flat Models:
Bargue's Plates
The Hane plates pts art wee an fro the ed
int of view of a stable model: they might Rave been dan
wäh sii technique oF à version of 2 One ol the mia
beret cd working in vos bed, Ihe pri ul am
curas imag —a the tring it es the eye in manu vss
dimensions. Hoth 10 peepare Your Yo Work from casa and
‘eds in shes a o ber o hi rl the ye £
‘vee to aps as uc ofthe set as pst
the copying the plates
ace the plate ard the shaw pur side y side om à
deni ter, pri an, or era on a wei wa
cate a good plumb tne onthe deawing, ou ca ape a poor
¡stgo pro ove the erg fr he prs bre and Ke the
{egy ane etc beet) earner ther oD chang So
ps foot pions tend onal: perp it
te uri u he pie ane he paper. Csi te foxx pocorn
‘wil rt you use acing mount rom a stance Wich
à phamb ne, mem them, stepping fontand to and
them, and stepping back 1 comet thom Ty to do as much of
‘your werk 2 poms in Ik manner. AL ares rg det
‘one up wil rev A aay sep Hach lo aho sone
rh Sp ck al as you canoe the eet te
‘whale. which you can futher ase using mer Check mus
shaw mass a ck mir
Pros and Cons Concerning the Sight-Size Technique:
A Dialogue
Using ightslze as the only way of deawieg might mabe practitioners model-bound and
chere with their depiction of objects from memory. Since modes are incapable of hing
dynamic panes for more than a few minutes, à may delay leaming the elements that give
‘mation to a dening, Inaction to increasing the studeres dependence upon the model &
sho creates à dependence upon ideal conditions —1ypialy those encountered in a studio—
Sach as a controled Hg source, an uncittered and neutral backgound, and à model
trained o hold long posean a rase pater, However, i does not hide the depiction of
subjects linge oe sm than He size because these are several easy mechanical means of
enlarging or demining des images.
Fig. tena and once a
Working Soon à Caos Ure Mae Te
‘cumple salen om the Polen
tra tne, ack ve pe AL.
Formar: Cray Par
A Dialogue
Using ightslze as the only way of deawieg might mabe practitioners model-bound and
chere with their depiction of objects from memory. Since modes are incapable of hing
dynamic panes for more than a few minutes, à may delay leaming the elements that give
‘mation to a dening, Inaction to increasing the studeres dependence upon the model &
sho creates à dependence upon ideal conditions —1ypialy those encountered in a studio—
Sach as a controled Hg source, an uncittered and neutral backgound, and à model
trained o hold long posean a rase pater, However, i does not hide the depiction of
subjects linge oe sm than He size because these are several easy mechanical means of
enlarging or demining des images.
Fig. tena and once a
Working Soon à Caos Ure Mae Te
‘cumple salen om the Polen
tra tne, ack ve pe AL.
Formar: Cray Par
nr Bug, the arts repens or the ne detniion ofthe cg size tech ot o
teeming a Us apfel, cused the mans anal sahara of the pra Wh nn
on exchange of lets 2001, om ich several excerpt fll. In expanse Wo my camer
Atos the ineumerable tins one yanked o daw something whem tsi set portly
on pa case ya not habe, he lcd:
Om he sar oft we, dy yn si a wert NERY lr
lwo rem, Or sepa can ep back and Krk the et a do pith bth dhe sab
nd ai in view) sal by sch währe mening your head up and dos e let and ight Tar,
ace yx vig nm à ec Ynay pein and enema, your ding became tre
the mone your ome ti may en the weal, ec the Lg Bre awn cme o he
subject an the extn.
Sis very unc in many ways but fay fie Serias Wa gpod tir ad
ed we a every I eae shar te jane eye or junporten ree
inch ard price objec: covalent in which in work R's gw lr ane in the suche m à
ont es but Cs imprarial le Landscape pining (rot heil; bat in fractal
ems or king uli from Ue onto hy“ lv aan cd tafe some hen o sn
i (ir eng experience, oF of a strong cs md, sgh Sn te way OF SNE
hen they reich actin point ins dept, They wil une the plam Bre br much rc
Mer eye nt enough Ie abv rage tha pi gt yon haa to were yo a a
Im er sing palm comi Ea yo kart ep ack ancl comparo ba yas sw
Inf you si ca py og a ace such dyes Pame à Pal that's 12 0 2732
Ii an swith arm te shower hat ala tha much 20 namen, the eal lk ee
Hard you can stand thee wth yur amb re fran ur and be Unable to name ta
anal rations wen any confidence, ex jt dk ta al os bl you WOH Am Why
pati ya ines pue. Se yous han: o ok and compar ol whi cr hw
A any art worth hiss ga ely practice lng don wh pc un sap, or sam
Ita race. seso a cap lr gering mom Mal or me cn manon a
lor seuss fen ca ke a
1 hope À uve been vo dic. Final #3 whasever wks. OL, ln my ion, that
hose fs be rare in wen da ra, can y as Lad of ar
nam pe pay ls an ent gm tee is ey”
“scat the Con ht it lea. "Ta as y hc” Me ont.
Sata © ge fos Ich ober an preci. js dr swf Im Heng
teeming a Us apfel, cused the mans anal sahara of the pra Wh nn
on exchange of lets 2001, om ich several excerpt fll. In expanse Wo my camer
Atos the ineumerable tins one yanked o daw something whem tsi set portly
on pa case ya not habe, he lcd:
Om he sar oft we, dy yn si a wert NERY lr
lwo rem, Or sepa can ep back and Krk the et a do pith bth dhe sab
nd ai in view) sal by sch währe mening your head up and dos e let and ight Tar,
ace yx vig nm à ec Ynay pein and enema, your ding became tre
the mone your ome ti may en the weal, ec the Lg Bre awn cme o he
subject an the extn.
Sis very unc in many ways but fay fie Serias Wa gpod tir ad
ed we a every I eae shar te jane eye or junporten ree
inch ard price objec: covalent in which in work R's gw lr ane in the suche m à
ont es but Cs imprarial le Landscape pining (rot heil; bat in fractal
ems or king uli from Ue onto hy“ lv aan cd tafe some hen o sn
i (ir eng experience, oF of a strong cs md, sgh Sn te way OF SNE
hen they reich actin point ins dept, They wil une the plam Bre br much rc
Mer eye nt enough Ie abv rage tha pi gt yon haa to were yo a a
Im er sing palm comi Ea yo kart ep ack ancl comparo ba yas sw
Inf you si ca py og a ace such dyes Pame à Pal that's 12 0 2732
Ii an swith arm te shower hat ala tha much 20 namen, the eal lk ee
Hard you can stand thee wth yur amb re fran ur and be Unable to name ta
anal rations wen any confidence, ex jt dk ta al os bl you WOH Am Why
pati ya ines pue. Se yous han: o ok and compar ol whi cr hw
A any art worth hiss ga ely practice lng don wh pc un sap, or sam
Ita race. seso a cap lr gering mom Mal or me cn manon a
lor seuss fen ca ke a
1 hope À uve been vo dic. Final #3 whasever wks. OL, ln my ion, that
hose fs be rare in wen da ra, can y as Lad of ar
nam pe pay ls an ent gm tee is ey”
“scat the Con ht it lea. "Ta as y hc” Me ont.
Sata © ge fos Ich ober an preci. js dr swf Im Heng
Tara the execsion can be preci | o à problem in fe Feared to on the
sudores me modo aod Unica lo o poses oy can a ine therm Th heap
‘them fom 2Stenpirg moth, mot capes, Interaction bein personen et. They
fo dt and pit races ting. ying, or sang around. (As comple thal Pe ol
end gi the od chocan! enden out ul the Le hn and int pining But, tf you
ang li mii shuns yon the wy
e caco of A ur Dari Canes Ivo ein ice thawing se Wir
‘he sures thaw ater medi wih the drawing boar on ther Lp, slanted rat it,
hr. These Schein sesons cc wn e es nights» week, wih poses of Woes
‘ees an hen Vu sand o st here you can Hl at ol hat hi en was a a
eae tthe Pa the ise technique that were pickup inthe atime sons 2
Mes.
* fh Marga co Wi iy mita of ass a aan, ls up Be be pr lis
A the ren ac Parse sents crew atemasely from cass of arica and mn
med, ni es In ah am. In Fler students daw tom the cast for hala ey
nd in odes los the cer uk. Consequently one wid personaly men toward rims
eau ln 06's parcel yl Usb one stopped cafe in hm: Berg pi
in ber doc cou px your sy un soho go gres you Del cath ps
hs ar rs the it sation md à yr body ype inch. the nick gee
ap the ted por
“Ln fee aies her mesh ww a prion ul ary lc 1 do ray pdr und
char bet wht À ce taught. bu meek rot Ime Gm eg dora abun 4: À
snk that cierra method of deawing from Le shot pat be cle methods nome th eke
way. and tha he np reed a prof tho mtb tht organizo uk and
teers ate The pay wl ay be the res
To which Mt Bouge replica: “Mare ia abou dhe htc of sea sity re
snoring in conned stas, and deu breed a shpenderce cm the mel. Em gi a y
Tuning stants dt more work m fat ny freine ge, fps in met, arf on, I
(ny evi: the gap between the study of nature and ts opc to making picts. ln dol
daa, on gung o compare ds o and try 10h pope how Diy ler: Ihe Wick We lo
beep thor on rc with bat the mot wl Us kung abat cnet wid ani
thefts ol each end pre cher, ea i ete Sons nie, ir rane Rss
inthe Fond of the perl"
sudores me modo aod Unica lo o poses oy can a ine therm Th heap
‘them fom 2Stenpirg moth, mot capes, Interaction bein personen et. They
fo dt and pit races ting. ying, or sang around. (As comple thal Pe ol
end gi the od chocan! enden out ul the Le hn and int pining But, tf you
ang li mii shuns yon the wy
e caco of A ur Dari Canes Ivo ein ice thawing se Wir
‘he sures thaw ater medi wih the drawing boar on ther Lp, slanted rat it,
hr. These Schein sesons cc wn e es nights» week, wih poses of Woes
‘ees an hen Vu sand o st here you can Hl at ol hat hi en was a a
eae tthe Pa the ise technique that were pickup inthe atime sons 2
Mes.
* fh Marga co Wi iy mita of ass a aan, ls up Be be pr lis
A the ren ac Parse sents crew atemasely from cass of arica and mn
med, ni es In ah am. In Fler students daw tom the cast for hala ey
nd in odes los the cer uk. Consequently one wid personaly men toward rims
eau ln 06's parcel yl Usb one stopped cafe in hm: Berg pi
in ber doc cou px your sy un soho go gres you Del cath ps
hs ar rs the it sation md à yr body ype inch. the nick gee
ap the ted por
“Ln fee aies her mesh ww a prion ul ary lc 1 do ray pdr und
char bet wht À ce taught. bu meek rot Ime Gm eg dora abun 4: À
snk that cierra method of deawing from Le shot pat be cle methods nome th eke
way. and tha he np reed a prof tho mtb tht organizo uk and
teers ate The pay wl ay be the res
To which Mt Bouge replica: “Mare ia abou dhe htc of sea sity re
snoring in conned stas, and deu breed a shpenderce cm the mel. Em gi a y
Tuning stants dt more work m fat ny freine ge, fps in met, arf on, I
(ny evi: the gap between the study of nature and ts opc to making picts. ln dol
daa, on gung o compare ds o and try 10h pope how Diy ler: Ihe Wick We lo
beep thor on rc with bat the mot wl Us kung abat cnet wid ani
thefts ol each end pre cher, ea i ete Sons nie, ir rane Rss
inthe Fond of the perl"
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