Spinous Process, 2008, by Fred Hatt
Some figurative artists dislike “closed” poses, and complain when the models take these positions. They may feel the models are shutting them out. The face and soft frontal torso are hidden, and the back becomes a protective shell, as in the defensive balling-up of a hedgehog or armadillo, or a turtle retreating into its shell. But this kind of pose often conveys emotional qualities and presents the body in abstract forms of great beauty and complexity.
Taoist subtle anatomy sees the front of the body and the inside of the limbs as yin (soft or receptive) and the back and outside as yang (hard or active). The fetus develops curled in this egglike position, with its soft parts protected inside. The fetal position can be experienced as a comforting return to that contained and nourished state. In yoga, it is called the child’s pose, and is one of the primary restorative or relaxed positions.
Balasana, 1996, by Fred Hatt
Many people sleep in a curled-up position. A pop-psych analysis says, “Those who curl up in the foetus position are described as tough on the outside but sensitive at heart. They may be shy when they first meet somebody, but soon relax. This is the most common sleeping position, adopted by 41% of the 1,000 people who took part in the survey. More than twice as many women as men tend to adopt this position.” Most sleepers curl up on their sides, as seen from three angles in the following three sketches:
Sleep Fold, 2008, by Fred Hatt
Bony Points, 2004, by Fred Hatt
Asleep, 2004, by Fred Hatt
This kind of pose presents a variety of juxtapositions and foreshortenings, depending on the angle of view. I’ve often been inspired to bring more than one aspect into a drawing, as in the one below. Here the same side-curled pose is seen from three points of view in superimposed outlines, one in red, one in green, and one in blue, with some sculptural development:
Triple Angle Curl, 2000, by Fred Hatt
In the next two examples, the body is shown as seen directly and in a mirror reflection, bringing out the landscape-like qualities of the body in space:
Reflection, 2000, by Fred Hatt
Mountain Mirrored, 1998, by Fred Hatt
The curled-up position can bring out anatomical forms of great beauty, in ways they wouldn’t otherwise be seen, as with the muscles of the shoulders and back here:
Serrate, 2008, by Fred Hatt
Or the shoulder cleft here:
Hanging Head, 2009, by Fred Hatt
It can reveal complex networks of negative spaces:
Curved Triangular, 2009, by Fred Hatt
Or fresh perspectives and unusual spatial progressions:
Oblique, 1996, by Fred Hatt
The closed pose is not always a simple ovoid structure.
Angular Equipoise, 2001, by Fred Hatt
Positions with the head down or even with the face hidden are not necessarily guarded or concealed, but may express emotional states.
Elbow Knee, 2009, by Fred Hatt
Headrest, 2005, by Fred Hatt
The crouching figure can suggest darkness and brooding:
Tight Crouch, 2009, by Fred Hatt
Brooding, 2009, by Fred Hatt
The human body is as expressive when it is turned inward as when it is expansive or active. The guarded nature of the crouch or fetal position shows vulnerability in a different way than the open pose. The upper and lower parts of the body are drawn together, and the energy pattern becomes circular rather than vertical.
All the newer drawings in this post are 50 cm x 70 cm, aquarelle crayon on paper. The drawings from 2001 and earlier are the same medium but may be a bit smaller.
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6 Comments
Not to sound too dramatic, but I am positively GRATEFUL that you wrote this post, Fred. I’ve been modeling a long time now and I am still, after all these years, dumbfounded at how many artists resist these kinds of poses from models, vehemently in some cases. They accept them for quick gestures, but not for a longer pose. Many artists freak out at not being able to see the face. They seem to forget that there’s a good reason why “life drawing” and “portrait” are always different classes, both in schools and drawing groups.
I personally love closed poses. They come easily to me physically, it’s true. But they definitely offer the model the best opportunities for self-expression, for which the body is the better vehicle than the face, in my opinion.
Great analysis of the beautiful shapes, powerful anatomy, emotional intensity and spiritual significance of these powerful poses, Fred. And a truly sensational collection of drawings! “Hanging Head” and “Balasana” especially are first rate. Well done.
Claudia, I’ve often run into the resistance you speak of in my capacity as monitor of the Monday morning long pose session at Spring Studio. They also resist reclining poses or symmetrical poses or basically anything outside a very narrow range. There’s an exhibit of drawings currently on display at Spring Studio, the work of one artist who goes to the long pose sessions. They’re quite good drawings, but seeing them all together it’s striking that they’re ALL frontal seated or standing poses, all drawn to the same scale and from the same angle. I want to say to the artist, you’ve got this angle down, now challenge yourself!
I have always loved closed poses and have included them before in this blog. One of your closed poses heads up the post on negative spaces.
Very interesting post! The artwork you included proves your point. (I love your loose style, by the way)
Claudia raises a great point about life drawing vs portrait drawing. One doesn’t need to show the face for a pose to be expressive or emotive. Body language tells a story too. It’s challenging not to look like a zombie while sitting for a portrait painting class. I find figure sessions much more expressive – and more fun.
On my web link above there are paintings and drawings of me by a variety of artists. I think talented artists such as Joseph Larkin and Antoine de Villiers provide additional evidence that closed poses can be very expressive.
I don’t think there’s anything wrong with open poses, but figurative art is about the human condition/ experience, so a wide range of poses is a good thing.
Andrew, the work on your site is very well chosen, showing an excellent variety of poses and of artists’ styles. I love seeing the range of work that one fine model can inspire!
Dear Fred,
Thank you for writing this post and thanks to Andrew Cahner for posting the link on Twitter (or was it Facebook?). As an artist who has been drawing from the live model since 1993, I can attest my frustration when artists object to energetic poses that models suggest. I think that many artists are trying to be considerate and want the models to be “comfortable” on a long pose. However, I am a firm believer that each of us knows our own body and abilities best. My preference is to allow the model to bring his own expressiveness to a drawing/session. Why would I reject his or her good idea when I really have no idea what is possible? I would rather have the model try to push him/herself to a beautifully creative end, even if aborted before the time is up, than to only have access to “safe” poses.
Anyway, energetic works you have here and thank you for what you have written.
Ciao, ciao,
Kelly
http://artbyborsheim.blogspot.com
http://borsheimarts.com
Kelly, I’ve found artists object to poses for a variety of reasons. Many of the regulars at open life drawing sessions have settled into a comfortable rut and long ago gave up challenging themselves. Some come to the figure drawing sessions but are really only interested in doing portraits. Many like only one type of pose, or one type of lighting, or one type of model. They always want to claim the same spot in the studio and are upset if someone else got there first. They always draw at the same scale, in the same style, with the same media they’ve been using for years. I’m sure they get enjoyment and meditative benefit out of the activity of drawing, but they’ve stopped growing in their work and are determined not to be challenged. But those people are very habitual, and their regularity helps keep the models paid and the studio open so those who are truly engaged on the artist’s path can practice.
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