Stephen Rogers Peck's Atlas of Human Anatomy for the Artist remains unsurpassed as a manual for students. It includes sections on bones, muscles, surface anatomy, proportion, equilibrium, and locomotion. Other unique features are sections on the types of human physique, anatomy from birth to old age, an orientation on racial anatomy, and an analysis of facial expressions. The wealth of information offered by the Atlas ensures its place as a classic for the study of the human form.

Profusely illustrated book by master of the subject offers complete course in transforming the study of anatomy into art. Each stage progresses logically through the body's main areas -- trunk, limbs, head, and features. Scores of drawings by painters, graphic artists, sculptors, art teachers, and students. 55 figures in color; 141 in black and white.

Students and professionals alike will benefit from this focus on the figure in the overall composition of a sketch or drawing. Its solid instruction and many fine examples make it a particularly valuable tool for intermediate artists.
Author Paul G. Braun examines the concept of arrangement with single and multiple figures and within a border. Additional topics include the distribution of light and shade, draped figures and folds, the depiction of movement, and many other aspects of figure drawing. The final chapter offers pointers on how to illustrate a story, and numerous helpful sketches complement this guide's teachings.

"How to Airbrush Pinups" is a collection of ten sequences done by well-known and experienced airbrush artists. The human form, the human face, and skin tones, are three topics that beginning artists struggle to get right. And it is these three topics that make up much of this new book. Each of the ten photo sequences starts with the artist's sketch and moves, step-by-step, to the finished panel. The chapters provide an opportunity for the reader to sit down and 'talk' with the artist. These chat sessions include a discussion about not only the artists favorite airbrush, but how they learned their skills, who inspires them and how to avoid the typical beginners mistakes. The styles seen in "How to Airbrush Pinups" run the gamut from retro pinup and Vargas-style work of Edward Reed to modern stylized pinups of Tom Nguyen. With over 500 color images spread across 144 pages, "How to Airbrush Pinups" is an invaluable aid for anyone who wants to become proficient in painting pinups, nudes and portraits.

Women - as warriors, workers, mothers, sensual women,even absent women - haunt 19th- and 20th-century Western painting: their representation is one of its most common subjects. Representing Women brings together Linda Nochlin's most important writings on the subject, as she considers work by Miller, Delacroix, Courbet, Degas, Seurat, Cassatt and Kollwitz, among many others. In her riveting, partly autobiographical, extended introduction, Nochlin documents her own pioneering approach to art history; throughout the seven essays in this book, she argues for the honest virtues of an art history that rejects methodological assumptions, and for art historians who investigate the work before their eyes while focusing on its subject matter, informed by a sensitivity to its feminist spirit.

Ce livre presente une etude historique et culturel sur l'art figuration humaine et le portrait dans un contexte islamique medieval base sur des sources litteraires et iconographiques. Avec: Sheila Blair; Eloise Brac de la Perriere; Oleg Grabar; Kata Keresztely; Mika Natif; Yves Porter; Houari Touati This book presents an art historical and cultural study of human figuration and portraiture in a medieval islamic context, based on literary and iconographic sources. With contributions by: Sheila Blair; Eloise Brac de la Perriere; Oleg Grabar; Kata Keresztely; Mika Natif; Yves Porter; Houari Touati

The follow-up title to the hit title, Drawing Cutting Edge Comics which has been translated into 7 languages, this drawing tutorial shows artists how to draw the exaggerated musculature of super-sized figures in action poses. The guesswork is taken out of figuring out which muscles show through to the surface and how muscles appear through clothing. This instructional manual even gives both the Latin and the common term for particular body parts such as scapula/shoulder blade. Hart covers all aspects of extreme anatomy. The book opens by providing detailed diagrams of all of the various muscle groups, including chest, back, shoulder, arm, and leg muscles. Then he covers many of the various extreme comic book types including good guy, bad guy, insane guy, punk, genius, and brute for men; and the heroine, bad gal, trashy gal, seductress, fighter babe, and cyber chick for women. As an added bonus, this book closes with two invaluable sections to all aspiring comic book artists. One provides a roadmap of all the steps an artist must take if he or she is going to get started in the comic book business, and advice on how the comic book business works. The second section features interviews with people from two of the most significant companies in the world of comics, Marvel Comics and Dark Horse!

An Authoritative, Comprehensive Guide for Contemporary Figurative Artists At a time when renewed interest in figurative art is surging throughout the art world, author Robert Zeller presents The Figurative Artist's Handbook - the first comprehensive guide to figure drawing and painting to appear in decades. Illustrated with Zeller's own exquisite drawings and paintings as well as works by nearly 100 historical and contemporary figurative art masters, the handbook is also a treasure trove of the finest figurative art of the past and the present day. Included are Michelangelo, Pieter Brueghel the Elder, Peter Paul Rubens, Jean-Auguste-Dominique Ingres, Gustav Klimt, Edward Hopper, Andrew Loomis, Andrew Wyeth, Lucian Freud, Odd Nerdrum, Eric Fischl, Bo Bartlett, Steven Assael, John Currin, and many others. Original and thoroughly modern in his approach, Zeller brings together three figure-drawing methods long thought to be at odds, synthesizing these seemingly incompatible techniques to achieve a cohesive and complete understanding of the human figure. Although all three methods underlie contemporary fine-arts practice and education, no artist's handbook has ever combined them before. - The Study of Gesture (Disegno): Rooted in the Italian Mannerist style of the 16th and 17th centuries, the gestural method emphasizes life, rhythm, and movement in the human body. - The Structural Approach: A mainstay of 20th- and 21st-century art instruction, this method applies an architectural perspective to the body, using a block conception for anatomically sound, solid figures. - The Atelier Method: Based on the training provided by 18th- and 19th-century art academies, the atelier approach creates sensual, smooth renderings based on meticulous study of the figure's surface morphology in light and shadow. Covering all the basics as well as many advanced techniques, The Figurative Artist's Handbook is aimed at both students and experienced artists. A practical, how-to guide, it provides in-depth step-by-step instruction and - rare among figure-drawing books - features sections on composition, portraiture, and painting. Chapters on creativity and on using a sketchbook help readers hone their artistic vision and evolve ideas from the initial inspiration to the fully developed work. Also included is an extensive section highlighting the great movements in figurative art throughout history - from ancient Egypt and Greece to the present.

What is a woman? What is a man? How do they--and how should they--relate to each other? Does our yearning for "wholeness" refer to something real, and if there is a Whole, what is it, and why do we feel so estranged from it? For centuries now, art and literature have increasingly valorized uniqueness and self-sufficiency. The theoreticians who loom so large within contemporary thought also privilege difference over similarity. Silverman reminds us that this is but half the story, and a dangerous half at that, for if we are all individuals, we are doomed to be rivals and enemies. A much older story, one that prevailed through the early modern era, held that likeness or resemblance was what organized the universe, and that everything emerges out of the same flesh. Silverman shows that analogy, so discredited by much of twentieth-century thought, offers a much more promising view of human relations. In the West, the emblematic story of turning away is that of Orpheus and Eurydice, and the heroes of Silverman's sweeping new reading of nineteenth- and twentieth-century culture, the modern heirs to the old, analogical view of the world, also gravitate to this myth. They embrace the correspondences that bind Orpheus to Eurydice and acknowledge their kinship with others past and present. The first half of this book assembles a cast of characters not usually brought together: Friedrich Nietzsche, Sigmund Freud, Marcel Proust, Lou-Andreas Salome, Romain Rolland, Rainer Maria Rilke, Wilhelm Jensen, and Paula Modersohn-Becker. The second half is devoted to three contemporary artists, whose works we see in a moving new light: Terrence Malick, James Coleman, and Gerhard Richter.

This is an inspiring must-have resource for artists seeking new approaches to drawing the human figure. It features more than 20 fundamental figure drawing exercises. It empowers students and artists of all levels to make progress with the figure beyond their expectations. Throughout the history of art, figure drawing has been regarded as the very foundation of an artist's education and at the centre of the art-making process. In "Expressive Figure Drawing", innovative teacher and author, Bill Buchman, explores the idea that the way we draw is a direct expression of our emotions and perceptions. It includes 20 plus fundamental figure drawing exercises that are undertaken one step at a time so that students and artists of all levels are empowered to make progress with the figure beyond their expectations. Throughout the book, the author reveals his methods for developing proficiency using a variety of traditional media and the latest art materials available today.

Mickalene Thomas's vivid paintings, collages, and photographs explode off the wall. Their larger-than-life women stare back and down at the viewer, confronting them head on. Over the course of her prolific career, Thomas has created a body of work that expands notions of beauty, gender, sexuality, and race, offering a complex vision of what it means to be a Black woman. In Femmes Noires, Thomas moves breezily between pop culture and the long history of Western and African art, inserting images of Black women into iconic paintings. At times she poses them nude; at other times, she draws on elements as diverse as 1970s black-is-beautiful images of women, Edouard Mamet's odalisque figures, the mise-en-scene studio portraiture of James Van Der Zee and Malick Sidibe, and her own collection of personal portraits and staged scenes. Her ability to detect and contain contradictions and to wrestle with stereotypes translates into powerful, self-possessed depictions of Black women that confront and subvert stereotypes. Femmes Noires is a bold examination of Thomas's work and her artistic practise at an important moment in history. It blends writing from iconic Black writers and essayists (Alice Walker, Chimamanda Ngozi Adichie, Edwidge Danticat, and Lorraine O'Grady) with 120 reproductions from Thomas's oeuvre (collages, paintings, film stills, and photographs). Original essays by Andrea Andersson, visual arts curator of the Contemporary Art Center of New Orleans; Julie Crooks, curator at the Art Gallery of Ontario; and writer-art critic Antwaun Sargent complete the book. Mickalene Thomas: Femmes Noires accompanies an international touring exhibition organized by the Art Gallery of Ontario and the Contemporary Art Centre in New Orleans..

Future Bodies from a Recent Past brings to life a hitherto little-noticed phenomenon in art and sculpture in particular: the reciprocal interpenetration of bodies and technology. With 120 works by 59 artists-primarily from Europe, the USA and Japan-the exhibition is dedicated to the major technological changes since the post-war period and examines their influence on our notions of bodies. With contributions on topics such as the influence of changing production technologies, materialities, and concepts of the body, but also interdisciplinary considerations of body-technology relations, a multi-perspective history of contemporary sculpture will be outlined. English Edition! Exhibition Museum Brandhorst Munich 2 June 2022 until 15 January 2023

Praised by critics and teachers alike for more than 40 years, Burne Hogarth's Dynamic Anatomy is recognized worldwide as the classic, indispensable text on artistic anatomy. Now revised, expanded, and completely redesigned with 75 never-before-published drawings from the Hogarth archives and 24 pages of new material, this award-winning reference explores the expressive structure of the human form from the artist's point of view. The 400 remarkable illustrations explain the anatomical details of male and female figures in motion and at rest, always stressing the human form in space. Meticulous diagrams and fascinating action studies examine the rhythmic relationship of muscles and their effect upon surface forms. The captivating text is further enhanced by the magnificent figure drawings of such masters as Michelangelo, Rembrandt, Rodin, Picasso, and other great artists. Dynamic Anatomy presents a comprehensive, detailed study of the human figure as artistic anatomy. This time-honored book goes far beyond the factual elements of anatomy, providing generations of new artists with the tools they need to make the human figure come alive on paper.

Draw amazingly accurate portraits starting today! Even if you're an absolute beginner, you can render strikingly realistic faces and self-portraits! Instructor and FBI-trained artist Carrie Stuart Parks makes it simple with foolproof step-by-step instructions that are fun and easy to follow. You'll quickly begin to: Master proportions and map facial features accurately Study shapes within a composition and draw them realistically Use value, light and shading to add life and depth to any portrait Render tricky details, including eyes, noses, mouths and hair Proven, hands-on exercises and before-and-after examples from Parks' students ensure instant success! It's all the guidance and inspiration you need to draw realistic faces with precision, confidence and style!

The architect is at all times also an artist. How otherwise would he be able to tame the three-dimensionality of space and subdue the urges of physics and structural mechanics with the creations of his fantasy? This creativity is however mostly restricted purely to its own field. Rob Krier is an exception. For years, he has seen his love of art as a vocation -- one which he nurtures parallel to his work in construction. Fine art should stand in dialogue with architecture and it is Krier's ambition to have iconographic themes brought into the latter, so that they might speak equally to both the occupants of a building and to bystanders, moving them to thoughtful reflection. In his contribution to the European Embankment project in St Petersburg, Krier recently demonstrated the power of architecture and fine art to cross-fertilise. The architects in charge of the urban development of this district are Sergei Tchoban and Evgeny Gerasimov. Krier designed the facade for a 132-metres long building on the Newa riverbank one that looks across the water onto the rear facade of the Hermitage. The vibrancy of the architecture is enhanced by its sculptural ornamentation based on the Balzac theme, 'The Human Comedy'. In this regard, Krier modelled over 50 figures in white clay, as well as around 65 linear metres of reliefs. The short poems that comment on the sculptures also centre on the theme of mankind and its interrelationships in society.

In August 1960, Anna Halprin taught an experimental workshop attended by Simone Forti and Yvonne Rainer (along with Trisha Brown and other soon-to-be important artists) on her dance deck on the slopes of Mount Tamalpais, north of San Francisco. Within two years, Forti's conceptually forceful Dance Constructions had premiered in Yoko Ono's loft and Rainer had cofounded the groundbreaking Judson Dance Theater. Radical Bodies reunites Halprin, Forti, and Rainer for the first time inmore than fifty-five years. Dance was a fundamental part of the art world in the 1960s, the most volatile decade in American art, offering a radical image of bodily presence in a moment of revolutionary change. Halprin, Forti, and Rainer-all with Jewish roots-found themselves at the epicenter of this upheaval. Each, in her own tenacious, humorous, and critical way, created a radicalized vision for dance, dance making, and, ultimately, for music and the visual arts. Placing the body and performance at the center of debate, each developed corporeal languages and methodologies that continue to influence choreographers and visual artists around the world to the present day, enabling a critical practice that reinserts social and political issues into postmodern dance and art. Published in association with the Art, Design & Architecture Museum, University of California, Santa Barbara. Exhibition dates: Art, Design & Architecture Museum, University of California, Santa Barbara: January 17-April 30, 2017 New York Public Library for the Performing Arts: May 24-September 16, 2017 Events: Pillowtalks, Jacob's Pillow, Becket, MA: July 1, 2017

We owe a great debt to Jean Baptiste Marc Bourgery (1797-1849) for his Atlas of Anatomy, which was not only a massive event in medical history, but also remains one of the most comprehensive and beautifully illustrated anatomical treatises ever published. Bourgery began work on his magnificent atlas in 1830 in cooperation with illustrator Nicolas Henri Jacob (1782-1871), a student of the French painter Jacques Louis David. The first volumes were published the following year, but completion of the treatise required nearly two decades of dedication; Bourgery lived just long enough to finish his labor of love, but the last of the treatise's eight volumes was not published in its entirety until five years after his death. The eight volumes of Bourgery's treatise cover descriptive anatomy, surgical anatomy and techniques (exploring in detail nearly all the major operations that were performed during the first half of the 19th century), general anatomy and embryology, and microscopic anatomy. Jacob's spectacular hand-colored lithographs are remarkable for their clarity, color, and aesthetic appeal, reflecting a combination of direct laboratory observation and illustrative research. Unsurpassed to this day, the images offer exceptional anatomical insight, not only for those in the medical field but also for artists, students, and anyone interested in the workings and wonder of the human body.

Ever since women artists gave themselves the right to express their sexual fantasies, their work has reserved surprises for those who once expressed their fantasies for them. In a raw language that ignores taboos and describes images that are sometimes hard to cope with, these women speak of sex like Courbet painted The Origin of the World. Keep This Sex Out of My Sight is a hymn to women's sex, a sanctification of a feminine desire so often erased, hidden, and forgotten. For the artists whose texts and images appear here, obscenity has become a territory in which lurks the source of the fear of their bodies. In it can be conjured the mutilating weight of masculine observation and its post-religious, obscurantist remnants, where pornography is the response to the fear of the female sexual organ. Showing the unshowable parts of the body flies in the face of social constraint, of plays for power where sexual liberation and liberation are all too often confused, where sex becomes political because of its integral role in the field of individual control.

Renaissance bodies, dressed and undressed, have not lacked attention in art historical literature, but scholarship on the male body has generally concentrated on phallic-oriented masculinity and been connected to issues of patriarchy and power. This original book examines the range of meaning that has been attached to the male backside in Renaissance art and culture, the transformation of the base connotation of the image to high art, and the question of homoerotic impulses or implications of admiring male figures from behind. Representations of the male body's behind have often been associated with things obscene, carnivalesque, comical, or villainous. Presenting serious scholarship with a deft hand, Seen from Behind expands our understanding of the motif of the male buttocks in Renaissance art, revealing both continuities and changes in the ways the images convey meaning and have been given meaning.