Part 4. Project 4. Exercise 2. Three Figure Drawings

Fig. 1. Seated figure. Charcoal on watercolour paper. A2.

I find charcoal useful for getting dark tones and very forgiving as it can be smudged and rubbed out easily.

Fig. 2. Reclining figure. Pastel on yellow sugar paper . A2

Fig. 2. For this drawing I tried to do something a bit different. I wanted to use the yellow of the paper as a mid tone but the blue I chose as a light tone was actually tonally darker than the paper so I then used some yellow pastel as a highlighter. I like the loose drawing style and the foreshortening and proportions are fairly accurate – I did a lot of measuring.

Fig. 3. Standing figure. 5h Pencil and oiled charcoal on A1 cartridge paper.

Fig. 3. took a remarkably long time to draw mainly because I couldn’t get the proportions of the head and arms right. I did a lot of underdrawing in pencil then overdrew quite quickly in oiled charcoal.  I was trying to keep the immediacy of a quick sketch while working to a larger scale  (A1) than I am used to.  I also wanted to work in line.  Generally, I am pleased with the result. Maybe it looks too sketchy though?


Part 4. Project 4. Research Point. Look for historic and contemporary artists whose work involves the underlying structure of the body.

Anatomical drawings by Leonardo da Vinci

Leonardo da Vinci was a scientist as well as an artist. He was fascinated by how things worked, whether it was a machine or a human, and spent a lot of time dissecting corpses and drawing the structures of the human body, making copious notes. Did this work influence how he painted?

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Lady with an Ermine. Oil on Wood Panel. Leonardo da Vinci

This beautiful portrait of Cecilia Gallerani shows signs of Leonardo’s observations on the human body, especially in Cecilia’s hand which is observed in detail. The form of the ermine is also very well observed. Having recently looked at foreshortening, I can see Cecilia’s hand comes towards the viewer looking proportionally large compared to her face. Cecilia’s neck and face are incredibly smooth and unlined. Her face, neck and shoulders show no real sign of the muscles and tendons observed by da Vinci in his anatomical studies.

Modern British artist Euan Uglow painted nudes which he measured in painstaking detail. He worked from life and left the remains of his measuring marks on the canvas. His clinical approach creates a strange otherness. A minutely observed human who is somehow other than human.

Summer Picture. Euan Uglow. 1971 – 2

Interestingly, like da Vinci, Uglow’s models are smooth and unblemished.

Margaret Evans pregnant 1978. Alice Neel.

American artist Alice Neel painted the people who lived around her in poor neighbourhoods in New York. She also painted female nudes. Her portraits focused less on anatomical accuracy and more on the personalities of the people she was painting through capturing their expressions, gaze and in the non-nudes, their clothes.

Alice Neel: Elenka (1936). Metropolitan Museum of Art, New York, Gift of Richard Neel and Hartley S. Neel, 1987, 1987.376. Photo: © The Metropolitan Museum of Art / Art Resource / Scala, Florence 2015 © Estate of Alice Neel
Elenka. 1936. Alice Neel

It is interesting that a painting which is less anatomically accurate can be a more accurate portrait of a human being. Neel was especially keen on the unsymmetrical eye. In her portraits, one eye almost always looks higher than the other, and she revels in the unsymmetrical nature of a human face and body.

Part 4. Project 4. Exercise 1. The structure of the human body. 

I was confused by this exercise which asks you to sketch parts of your own body.  I think it means looking in a mirror but drawing one’s own body without a mirror might be a more interesting exercise. I’m not sure I can draw my own elbows without looking in a mirror though! Here are drawings of hands and feet not in a mirror.

Fig. 1. My feet on the grass. Pencil on paper
Fig. 2. Hands

I also feel like this is a potentially endless exercise so I’ll add pictures as and when I do them.

Fig. 3. Arms and hands