There is nothing in all the world more beautiful or significant of the laws of the universe than the nude human body. Robert Henri
Charles Louis Müller, A Standing Female Nude Leaning Against an Arch, ca.1864
Once again I decided to talk about some Old Master drawings and delve into the thinking behind how these drawings may have been created and the knowledge of the artist. In the above drawing by Müller, done in sanguine with white chalk highlights, the figure is drawn from a low view-point, with her body twisting toward her left side while resting on one knee. Note how Müller alternates the bent right leg with the bent left arm to create dynamic contrast. The right arm is also foreshortened and partially in shadow. Expressing power and femininity, this is a study that is Renaissance in spirit, even Mannerist, revealing the female nude as sculptural yet always graceful.
Anton Raphael Mengs, Seated male nude viewed from the back, 1755
One of several Academic nude studies by Mengs, this …
Self-Portrait of the Artist holding a Palette, ca.1635
Giovanni Francesco Barbieri, known as Guercino was born on February 8, 1591 in Cento, a small city near Ferrara. He is one of the great masters of the Italian Baroque and poet of painters. Noted for his speed and efficiency, Guercino also worked in a number of mediums with equal passion whether ink, chalk, charcoal, or oils. His nickname, which means 'little cross-eyes' in Italian, derives in part from an apocryphal childhood accident where he supposedly awoke from a deep sleep as a child from a loud scream that caused his eyes to cross. Another story says something was thrown into his eyes. At any rate, he was self-taught as an artist from as early as nine years old and by his early teens was discovered by the eldest of the Carracci where he would spend some time at the Accademia Degli Incamminati before venturing out on his own. Despite his apparent 'handicap', his vision and talent would make him a giant that few…
Drawing is not the form; it is the way of seeing the form.
A male nude from behind, c.1630 Gian Lorenzo Bernini
In this blog I talk about painting but the importance of drawing cannot be understated of course, and I believe we can learn just as much from studying their techniques of line and strokes as we can from brushstrokes...more in most cases as the drawing is more expressive and intimate. It reveals the personality and character of the artist.
The above drawing apparently comes from the period of Bernini's teaching at the Accademia di San Luca in Rome, one of four from the exact same model. This drawing is fairly big for a study, at 55.6 x 42cm (21 x 16 inches). Consider Michelangelo's study for Libyan Sibyl, is only 28.9 x 21.4 cm (11 3/8 x 8 7/16 inches), a small study for a fresco which would be painted several times larger than life size. I can only guess that Bernini was teaching a big class and that maybe his work was on display for students to study, or it ma…