Do I Need to Read Classic Human Anatomy Before Classic Human Anatomy in Motion
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Book Preface
Classic Human Anatomy in Motion
From the beginning of my artistic pursuits, I’ve ever felt strongly that the study of beefcake is vital for understanding the human figure. This was the primary reason I was attracted to artistic anatomyâ€"though I acknowledge that I was also eager to take on the challenge of learning such a difficult subject. Only as a instructor of figurative art, I realize that many artists are intimidated by anatomy’s sometimes overwhelming complexity. And and so I feel the responsibleness to pass on to others the knowledge that I take gained, and to present the anatomical material in an accurate even so easy-to-understand format attainable to any artist who needs or wants the information. That was the motive for writing my first book, Archetype Human Anatomy, and it remains the motive for this new volume, Classic Human Anatomy in Motion.
The English language philosopher Francis Bacon said, “Knowledge is power,†and that’s certainly true for artists: Agreement something well gives an creative person more than power to create what he or she wants to create. Over the years, I’ve often known figurative artists who wanted to take their art in certain creative directions just who kept hitting a dead terminate because they didn’t really sympathise the basic anatomical elements of the human being form. And so, when they acquired this knowledgeâ€"to any caste they felt was sufficientâ€"their figurative work was transformed. For an artist, anatomical knowledge shouldn’t be an finish in itself. Instead, information technology should inspire and enhance an artist’southward creative work. When artists take the guesswork out of anatomy and truly understand the body’south structures and mechanisms, they can open upwardly to a more than intuitive level when solving certain issues in their figurative work.
Back when I was starting my art training, it was hard to find a class in artistic anatomy. Anatomy classes had been phased out of most art school and art section curriculums in the United States. The change started in the mid-twentieth century, when abstruse expressionism and and so pop fine art, conceptualism, and minimalism became the chief focus in art schools, replacing older artistic traditions. Aye, there were still ateliers that offered anatomy classes, but very few. I myself was scoffed at by teachers and other artists for trying to obtain knowledge of anatomy. They told me the subject area was antiquated, too complicated, no longer necessary, and that I was wasting my time pursuing such an outdated topic.
This hostile attitude, yet, ignited a rebellious desire on my role, and I continued, as best I could, to written report the man figure in the classical way. I began collecting as many artistic and medical anatomy books as I could notice, and I started a rigorous routine of reading the textile and passionately drawing from live models to brand all that information come up alive in my work. I found that understanding the dynamics of class, construction, and movement gave my drawings and paintings an artful edge. I wasn’t just “reporting†bio-mechanical information; I was using that information to raise my fine art and take it to some other level.
I was likewise grilling doctors and medical anatomists with questions whenever I met them. Opportunities opened up for me to draw and report from human cadavers, and this significantly increased my cognition of how muscles and bones connect three-dimensionally. I realize that some people might consider the viewing of a dissected body to be morbid, disrespectful, or fifty-fifty sacrilegious. But for me, those sneak peeks beneath the surface of the skin into a ordinarily inaccessible realm ignited a key sense of wonderment. I institute it miraculous that the body’s trillions of partsâ€"from the macroscopic down to the subcellular levelâ€"all work harmoniously together in a synchronized organization. The study of cadavers was a tremendous souvenir, allowing me to fully capeesh how anatomical forms interconnect and how the skeletal and muscular systems influence the body’s surface forms. Drawing from cadavers gave me a much fuller understanding of what I was seeing when I drew from living models.
So, in the late 1970s, while in my twenties, I was offered the opportunity to teach figurative fine art. I jumped at the take a chance to innovate artistic anatomy to my students, since no other cartoon teacher seemed to talk much about it. My students reacted with enthusiasm, and it was astonishing to see this change in attitude of young art students toward artistic anatomy. I was also noticing that new books on artistic beefcake were being published, and that the “oldies but goodies†books by Andrew Loomis, Paul Richer, and Stephen Rogers Peck were once again in high demandâ€"and were even being reissued in new editions. Over the years, my students had often encouraged me to write my own book, then I decided to accept on that challenge, also.
When Classic Man Anatomy was published in 2009, I thought my goal was accomplished. I was aching to get back into the studio and piece of work nonstop on my paintings once once again. After several months of painting and exhibiting my work in galleries, I finally began to file abroad the piles of anatomy books, inquiry notes, manuscript pages, life drawings, diagrams, and skeleton bones that were nonetheless cluttering my studio. But in the process of doing that, I realized in that location was quite a lot of cloth that I hadn’t been able to fit into Classic Human Anatomy. And so I contacted my publisher and asked if they would be interested in a companion volume, one that would focus on the anatomy of the human being effigy in motion. When they said yeah, off I went, creating new drawings and diagrams andâ€"like a crazed squirrelâ€"excavation deep for whatever buried nuggets of information that I felt might be beneficial for figurative artists.
Since the publication of Classic Human Anatomy, I’ve been touched by the response from people all over the worldâ€"not only artists but people in medical professions, as wellâ€"who’ve written to tell me how much my book has inspired them. And I couldn’t be more pleased that the book is at present considered a preferred anatomical reference book for artists. It is my sincere hope that Classic Human Beefcake in Motion, in addition to providing solid information, will likewise inspire artists equally they go on their own unique creative journeys into the magical realm of the amazing and remarkable human figure.
FiveALERIE L. WINSLOW
Santa Rosa, California, 2015
| Download Ebook | Read Now | File Type | Upload Date |
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| Download Now here | | Epub | May 30, 2020 |
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