Fifty Figure Drawings (Dover Anatomy for Artists)

Fifty Figure Drawings (Dover Anatomy for Artists)

Language: English

Pages: 80

ISBN: 0486451208

Format: PDF / Kindle (mobi) / ePub


Crafted by leading students from the finest American art schools of the early twentieth century, these black-and-white illustrations represent a wide variety of life drawing styles. The original renderings—in crayon, charcoal, pencil, and ink—are beautifully reproduced here, with faithful attention to every shadow and nuance.
George B. Bridgman, a longtime instructor at New York's Art Students League and a prominent teacher of figure drawing, selected these fifty drawings as examples of differing styles, techniques, and forms of artistic expression. Bridgman deliberately declined to accompany the drawings with critical text, in the expectation that the illustrations would speak for themselves. Inspiring for students and invaluable for instructors, this collection offers a wealth of expressive possibilities.

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At Dover Publications we’re committed to producing books in an earth-friendly manner and to helping our customers make greener choices. Manufacturing books in the United States ensures compliance with strict environmental laws and eliminates the need for international freight shipping, a major contributor to global air pollution. And printing on recycled paper helps minimize our consumption of trees, water and fossil fuels. The text of this book was printed on paper made with 10% post-consumer

in art. I. Bridgman, George Brant, 1864-1943. NC765.F45 2006 743.4—dc22 2006046291 Manufactured in the United States by Courier Corporation 45120803 www.doverpublications.com Foreword The purpose of this book is to show by definite examples the best work produced by students of the leading Art Schools of this country. It is in fact a summary of International Life Class work, making apparent the different styles, technique, creative power and artistic expression of the human figure. In

DRAWINGS IN EUROPE the art schools of the past consisted of groups of workmen held together by a master Director, much as is today, the commercial art studio, where there is directing head, or a modern master who corresponds in a modern sense to the old masters of the past. In the studio of Peter Paul Reubens the apprentice student worked on and carried out the conceptions of the master and at one time there were as many as one hundred student helpers or apprentices working in his Antwerp

Studio. Van Dyck had his London school and Rembrandt a school at Antwerp. The training apprentices today come from the art school. In America we have had no artistic tradition, we have borrowed only from what has been done before. The old apprentice school is in modern American way, Art School of today. The schools and the classes are patterned very much after the schools of Europe in a general way, but the policies vary greatly. Instructors naturally have many different viewpoints, regarding

first pictures, so, to express oneself, one must imitate. Constructive drawing is built upon the fact that there are three great masses of the human body, made up of, the head, the chest and the pelvis. To give the expression of movement these masses must tilt, turn, or twist. If the masses change, the outline changes, giving a sense of balance. You have, the principles of construction. To express one’s innerself so that others can understand you, is art. If your expressions are elevated and

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