Drawing One Part Four Figures Project : form exercise: essential shapes -body twists, foreshortening research and my images

Looking at body twists, foreshortening and accelerated perspective

Hermaphrodite    Jacques Louis David  (French, Paris 1748–1825 Brussels)

Date:  ca. 1780 or ca. 1810
Medium:   Black chalk on paper     sourced on line (October 2013) from:  http://www.metmuseum.org/Collections/search-the-collections/459570
This sketch demonstrates both foreshortening and a twist in the body as it lies in quite an uncomfortable looking position on cushions
Accelerated perspective
One of the most famous pictures in which accelerated perspective is used to “hide” the image of the skull in the foreground( -a representative of the fragility of life) is the “Ambassadors” by Holbien:

Double Portrait of Jean de Dinteville and Georges de Slve (“The Ambassadors”), 1533.

Oil and tempera on oak, National Gallery, London.  Hans Holbien    sourced on linbe (Oct. 2013) from:   http://en.wikipedia.org/wiki/File:Hans_Holbein_the_Younger_-_The_Ambassadors_-_Google_Art_Project.jpg

Accelerated perspective can be produced by looking steeply down on the subject.

My drawings of essential shapes: all done in ten minutes or less

Views of Paul reading twisted in easy chair Pen and Ink

Paul reading

Paul reading Ink and pen

-I like the image by Degas (below) in very fine ? pencil in which the dancer’s skirt is hinted at and the block shading underlying the hatching is of very light pressure (although there are some areas of darker line around neck onto shoulder and depicting the waist and lesser intense but harder line around the arms and leg –I wonder how long he took in drawing this image?

reference –

Dancer Adjusting Her Slipper, 1873
Edgar Degas (French, 1834–1917)
Graphite heightened with white chalk on faded pink paper
sourced on line (October 2013) from:  http://metmuseum.org/toah/works-of-art/29.100.941

Similarly      Michel Angelo’s pressure on his drawing implement appears light and minimally respectful of the model and the paper on which he draws so giving the image a quiet perfection.

Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a Small Sketch for a Seated Figure (verso), 1508–12
Michelangelo Buonarroti (Italian, 1475–1564)

Red chalk (recto); charcoal or black chalk (verso)    sourced on line (Oct 2013) from:  http://www.metmuseum.org/toah/works-of-art/24.197.2

Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a Small Sketch for a Seated Figure (verso), 1508–12
Michelangelo Buonarroti (Italian, 1475–1564)
Red chalk (recto); charcoal or black chalk (verso)

In this drawing a fine and determined line in red  chalk outlines areas of very soft  and fine hatching across the back and shaded areas of limbs –these hatches appear to be overlaid with blocks of soft shades (possibly chalk rubbed in with finger or instrument).

I would like to spend longer on the life drawing in an attempt to softly represent the shade with a finer medium, although it may be my clumsy hands rather than the time factor or medium. (clumsy= Lacking physical coordination, skill, or grace; awkward.ref:http://www.thefreedictionary.com/clumsy)

Perhaps I should look at artists who have a more sculptural view of the model-perhaps their drawings are less perfect and more “clumsy”   I picked some images by Lucien Freud -his models are not perfections of human figures and he draws much more forcibly, heavier and darker -although looking closely at the image there is a lot of fine hatching and possibly block shading on heavier paper. This model hits the paper with force. I would call Freud’s picture clumsy because of subject matter not because of dexterity.

Lucien Freud portraits



Lucian Freud (1922‑2011)

Woman with an Arm Tattoo
Date 1996
MediumEtching on paper