{"id":2423,"date":"2011-04-11T15:03:13","date_gmt":"2011-04-11T20:03:13","guid":{"rendered":"http:\/\/fredhatt.com\/blog\/?p=2423"},"modified":"2014-12-14T20:26:57","modified_gmt":"2014-12-15T01:26:57","slug":"academic-figure-studies","status":"publish","type":"post","link":"https:\/\/fredhatt.com\/blog\/2011\/04\/11\/academic-figure-studies\/","title":{"rendered":"Academic Figure Studies"},"content":{"rendered":"
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Ali, 2010, by Fred Hatt<\/p><\/div>\n

The term “figure study” seems calculated to evoke pedagogical sobriety absent any whiff of lasciviousness.\u00a0 Even the word “figure” suggests cogitation rather than concupiscence.\u00a0 Representational artists have long found contemplation and analysis of the human body to be both an invaluable skill-building practice and a source of inspiration, but in the imagination of the general public all artists are rou\u00e9s and their models are not simply “undraped” but downright nekkid.<\/p>\n

Those who are actually familiar with the practice drawing from life know that a room full of artists focused on the model is often suffused with a meditative intensity more like the atmosphere of a monastery than that of a brothel.\u00a0 For fifteen years I have served as the monitor (supervisor) of a three-hour weekly class at New York’s Spring Studio<\/a>.\u00a0 We do a set of quick poses to get the energy flowing for both model and artists, and then a single long pose for the rest of the session.\u00a0 Minus the breaks, we have about two solid hours to study and draw a single pose.<\/p>\n

I’ve featured many drawings from those sessions in various posts on this blog.\u00a0 Sometimes I work on the portrait, other times I concern myself with the subtleties of color and light or the complexities of foreshortening.\u00a0 In this post I’ll feature drawings from the Spring Studio long pose sessions that come as close as I ever come to the ideals of traditional academic figure drawing practice.<\/p>\n

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Betty, 2009, by Fred Hatt<\/p><\/div>\n

The academic approach to figure drawing generally demands that the entire figure be scaled to fit the page.\u00a0 Artists may use a variety of measuring aids, such as a plumb line or a viewing grid, and use special techniques<\/a> to establish accurate relationships, often spending more time in measuring and mapping than they do in actually drawing.\u00a0 Some artists who work this way attend the long pose classes at spring studio.\u00a0 They usually use graphite sharpened to a needle-fine point and work very carefully.\u00a0 They’ve often been schooled in the techniques taught by Charles Bargue and Jean-L\u00e9on G\u00e9r\u00f4me<\/a>, where students start their studies drawing from plaster casts of classical sculpture before graduating to the live figure.\u00a0 Some of Bargue’s own drawings<\/a> are particularly beautiful, and many other artists use these techniques to wonderful effect, although the danger always seems to be that the live model comes out in the drawings looking like a plaster cast.<\/p>\n

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Marilyn, 2009, by Fred Hatt<\/p><\/div>\n

If you’re familiar with my work, you’ll know that this traditional academic method is quite far from my way of working.\u00a0 For me it would be painfully slow and timid.\u00a0 I do some measuring when I’m drawing, but more for checking and correcting rather than initial construction.\u00a0 As a self-taught artist, I prefer to work as quickly,\u00a0 spontaneously, and boldly as possible.\u00a0 It’s certainly not the appropriate way for everyone to draw, but for me it’s how I get the feeling of aliveness into the work.<\/p>\n

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James, 2010, by Fred Hatt<\/p><\/div>\n

So these aren’t really “academic figure studies” at all.\u00a0 They are, however, drawings in which I have striven to depict, as accurately as I can, the reality of the model on the posing stand.\u00a0 This includes the individual characteristics of the models and the way their bodies rest on or around the various boxes and bits of furniture and fabric that make up the completely artificial environment in which they are placed for our observation.<\/p>\n

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Emma & Maria, 2010, by Fred Hatt<\/p><\/div>\n

Two models posing together lets us see the body in relation to another body, with all its differences and similarities.\u00a0 The models for the drawing above were a mother and daughter.<\/p>\n

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Jeremiah, 2010, by Fred Hatt<\/p><\/div>\n

It is rare in the open drawing long pose sessions that we get to study the back.\u00a0 The back is just as complex as the front of the torso, but its defining points are much more subtle and therefore more challenging to draw.<\/p>\n

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Claudia, 2010, by Fred Hatt<\/p><\/div>\n

The drawing above is of Claudia, the great model-blogger behind Museworthy<\/a>.<\/em><\/p>\n

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Elizabeth, 2010, by Fred Hatt<\/p><\/div>\n

For the drawing above, I was sitting on one side of the model’s platform in Spring Studio’s horseshoe-shaped arrangement.\u00a0 I’ve included a very rough representation of the other artists on the opposite side of the room.<\/p>\n

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Jiri, 2010, by Fred Hatt<\/p><\/div>\n

Standing poses are often considered the simplest and most basic poses for drawing, because they generally lack foreshortening and tricky juxtapositions.\u00a0 I find them challenging, though, first because the tall and narrow standing body doesn’t fit well within the moderate rectangle of the drawing paper.\u00a0 I find it hard to make myself draw so small, and I have a tendency to make the head too big because it’s hard to get the needed detail in such a small area.<\/p>\n

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Jennie, 2011, by Fred Hatt<\/p><\/div>\n

Seated and reclining poses come more naturally to me, but every pose presents its own special challenges.<\/p>\n

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Maria, 2011, by Fred Hatt<\/p><\/div>\n

The boxes and fabrics and objects around the model become part of the composition, but they also create a set of geometrical relationships that can help the artist to analyze the scene and establish proportions.<\/p>\n

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Yisroel, 2011, by Fred Hatt<\/p><\/div>\n

For me, the reason to understand the anatomical structure of the body is not to be able to alter the figure to more closely resemble an ideal, but to better appreciate the range of variations on every part of the form that makes each figure unique.<\/p>\n

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Jun, 2011, by Fred Hatt<\/p><\/div>\n

On most of the drawings featured in this post I’ve remained fairly faithful to the actual background objects on the model’s platform, though I’ve often simplified them and altered the colors to please my own sense of composition and color harmony.<\/p>\n

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Kuan, 2011, by Fred Hatt<\/p><\/div>\n

I’ll close with another dual-model pose.\u00a0 These men are not related as were the mother and daughter seen in the other two-model drawing here, but they had a great rapport.\u00a0 Both of them look like they belong in the 19th century!\u00a0 The younger model is the same James seen in the fourth image in this post.<\/p>\n

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James & Tram, 2011, by Fred Hatt<\/p><\/div>\n

All of these drawings are 18″ x 24″ or close to that size, aquarelle crayon on paper.\u00a0 All were drawn at Spring Studio’s Monday morning long pose sessions.<\/p>\n","protected":false},"excerpt":{"rendered":"

The term “figure study” seems calculated to evoke pedagogical sobriety absent any whiff of lasciviousness.\u00a0 Even the word “figure” suggests cogitation rather than concupiscence.\u00a0 Representational artists have long found contemplation and analysis of the human body to be both an invaluable skill-building practice and a source of inspiration, but in the imagination of the general […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[204],"tags":[59,133,19,17,44,18,164],"class_list":["post-2423","post","type-post","status-publish","format-standard","hentry","category-figure-drawing-practice","tag-anatomy","tag-art-modeling","tag-crayons","tag-figures","tag-nudes","tag-portraits","tag-spring-studio"],"yoast_head":"\nAcademic Figure Studies - 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