Classical Life Drawing Studio: Lessons & Teachings in the Art of Figure Drawing (Art Students League of New Yor) (英語) ハードカバー – 2010/8/3
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Classical drawing is staging a comeback. The Art Students League of New York presents a unique and perfect celebration of this revival: a gallery of never-before-published 19th- and 20th-century drawings and invaluable insights from the League's figurative drawing teachers along, with exemplary works by them and their select students. With a foreword by celebrated artist Will Barnet, this collection is the ultimate volume on the art of drawing.
Will Barnet's paintings and drawings have appeared in museums around the world, including the Metropolitan Museum of Art and the Museum of Modern Art in New York City. He lives and works in New York.
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The book contains comments about Classical Theory which are very good and some analysis of drawings by current teachers at the League.
Overall, the book is to be highly recommended (although, I wish the size were a bit bigger to permit larger reproductions of the drawings - most of which were 24 inches or more in height.
It should be on the shelf of every representational artist.
This book is a very interesting mixed bag. The two dozen or so really superb life and cast drawings reproduced in it make it well worth the price. The rest is probably only of interest to fans of the particular institution at which they were produced, or historians of life drawing in general. Here is what I got from it.
My esteem for George Bridgeman, who still shines with the aura of a god at the League, was definitely diminished by this book. I only needed to see a couple of the crudely exaggerated figure drawings done by his students before I began to wince every time another one appeared.
On the other hand, I was astonished anew by the loving observation and careful execution of the drawings done, in the period before Bridgeman's tenure, by students of Kenyon Cox and John Henry Twachtman, among others. These artists obviously knew everything about gesture, anatomy and form that Bridgeman and his students knew, but, rather than making a show of it, they were content to gently conceal it in soft lights and luminous shadows. True art.