Since most of the work is not intended for exhibition but as practice, we have an opportunity to enter the private world of artist and model and to better understand the tradition they continue—a tradition that began in Europe during the 15th century. Why We Draw, received national acclaim for his insight into the expressive nature of drawing and the innate and human impulse to draw what we see. Most artists draw on paper with pencil or charcoal, but others paint or model in clay or wax. It can depict such complicated emotional states as sad and embarrassed, or sad and vengeful, or sad and contrite, or sad and confused. The quick gestural drawings were made rapidly, from one minute poses. Studio assistants, all male, served as models for these preparatory drawings, and it is very common to see drawn male nudes reappear in paintings as the Virgin, male and female saints, or angels.
Some use measuring sticks or viewfinders to aid in measuring up the figure and composing the drawing. The studio is rarely an ideal temperature, with spotlights compounding summer heat, or winter drafts finding their way around the meager output of space-heaters. It is also an excellent method for non-artists to develop a meditative focus, studying how activity, gravity, age, and emotion all dynamically act on the human form and how it conveys much of who we are as individuals. Artists have for at least years been deeply absorbed in understanding and reflecting such states. Drawing from life is training, plain and simple. So, if it is such hard work, why do we draw from models, and why must they be nude? There is simply no mental space for stray thoughts—licentious or otherwise. In suburbs and small towns, you can find them in local art and community centers, in colleges and adult schools, and in private homes and studios. By the mid 15th century when figure drawing became prevalent, there was widespread use of relatively inexpensive tinted papers, sketchbooks, and large sheets for preliminary studies of paintings. Similarly, it is expected that musicians practice, to enable their bodies to make rapid, minute, and exact movements. In his drawing Seated Youth Florence, Uffizi , he first sketched a nude young man, probably one of his studio assistants, and then lightly drew diaphanous clothing over the figure. And it derives in part from a feeling that as modern life increasingly imposes shallow conventions upon us we long to see, think and feel for ourselves. In previous exhibits, there have been those with disabilities — a legally-blind participant whose drawings combine imagination and direct observation. The quick gestural drawings were made rapidly, from one minute poses. It seems to have sparked first in these drawing groups, but in the past decade there has been a glimmering rediscovery of drawing and the figure in museums and galleries as well. For others, the drawings are end products. For some artists, the point is to make acute observations from nature. Giorgio Vasari, the famous biographer of Italian Renaissance artists, for example, had a large collection of drawings which he frequently referred to in his writing. It arises in part from a sense that film and television tend limit the body to exaggerated expressions of sex or power. Florentine artist Andrea del Sarto provides a typical example. Most artists draw on paper with pencil or charcoal, but others paint or model in clay or wax. The ubiquity of drawing paper is perhaps best illustrated by Paolo Uccello, who left whole chests full of drawings to his heirs in Body posture and facial expressions have the same meaning in every culture, and we are capable of something like 10, different facial expressions alone. It is only logical and practical that artists should study the human form, how activity, gravity, age, and emotion all dynamically act upon it, and how it conveys much of who we are as individuals. The drawings in The Figure Revealed show this range, from quick fresh gesture drawings to the more studied and detailed work that results from longer poses. The language of the body is subtle and complex, and with it we send nuanced and layered messages. The artist then has to work as quickly as possible to block in the pose, comparing proportions, making decisions regarding lights and darks, and constantly trying to make sense of visual information that frequently is at odds with what the brain thinks things should look like.
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