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ANATOMY AND DRAWING
By VICTOR PERARD
Dover Publications, Inc.Copyright © 2001 Dover Publications, Inc.
All rights reserved.
To express outward form correctly requires a knowledge of the internal structure, that is, of the bones which compose the framework and define its proportions and of the muscles and tendons which direct its action.
Every figure artist finds sooner or later, as he advances in his artistic career, that his work needs strengthening through a well grounded knowledge of anatomy. The great masters of the past realized this and their grasp on the fundamentals of anatomy is reflected not only in their finished works, but in such of their preliminary sketches as are still preserved.
The ability to construct figures correctly from the imagination rather than to depend entirely on models is a distinct aid to the draftsman and to the sculptor. The student of anatomy should therefore test his skill by making memory drawings and by applying his knowledge to compositions of his own fancy.
When working from living models, the artist will find that his knowledge of anatomy will enable him to analyze and interpret the forms before him in a more understanding way than he could without such information. It will develop in him greater powers of observation. An understanding of anatomy is an instrument in the mechanics of Art: a means to be employed to assist but never allowed to dominate. The artist must learn properly to evaluate his anatomical information and to know the part it is to play in the development of his art. The studies he makes will then be done more intelligently and with better draftsmanship as an inevitable result.
Excerpted from ANATOMY AND DRAWING by VICTOR PERARD. Copyright © 2001 Dover Publications, Inc.. Excerpted by permission of Dover Publications, Inc..
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