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Robert Beverly Hale - Drawing Lessons From the Great Masters: 45th Anniversary Edition

Here you can read online Robert Beverly Hale - Drawing Lessons From the Great Masters: 45th Anniversary Edition full text of the book (entire story) in english for free. Download pdf and epub, get meaning, cover and reviews about this ebook. City: New York, year: 1989, publisher: Potter_TenSpeed_Harmony;Watson-Guptill Publications, genre: Science fiction. Description of the work, (preface) as well as reviews are available. Best literature library LitArk.com created for fans of good reading and offers a wide selection of genres:

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Drawing Lessons From the Great Masters: 45th Anniversary Edition: summary, description and annotation

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A book whose sales have not diminished but rather increased dramatically since its publication 45 years ago, this bestselling classic is the ultimate manual of drawing taught by the late Robert Beverly Hale, whos famed lectures and classes at New York Citys Art Student League captivated artists and art educators from around the world.
Faithfully producing and methodically analyzing 100 master drawingsincluding works of Michelangelo, Leonardo da Vinci, Rodin, Goya, and Rembrandt among othersHale shows how these artists tackled basic problems such as line, light and planes, mass, position and thrust, and anatomy. With detailed analytical captions and diagrams, every lesson is clearly delineated and illustrated. Throughout, also, is commentary that sheds light on the creative process of drawing and offers deep insight into the unsurpassed achievements of the masters

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Drawing Lessons From the Great Masters 45th Anniversary Edition - photo 1Head of a Man by Albrecht Durer 14711528 pen 8 316 5 1316 208 148 cm - photo 2
Head of a Man by Albrecht Durer 14711528 pen 8 316 5 1316 208 148 cm - photo 3Head of a Man by Albrecht Durer 14711528 pen 8 316 5 1316 208 148 cm - photo 4

Head of a Man by Albrecht Durer (14711528), pen, 8 3/16 5 13/16 (20.8 14.8 cm), reproduced courtesy of the Trustees of the British Museum.

45 TH A NNIVERSARY E DITION
First printing 2009

Copyright 1964 by Watson-Guptill Publications

First published in 1964 in the United States and Canada by Watson-Guptill Publications.
The 2009 edition is published by Watson-Guptill Publications, an imprint of the Crown Publishing Group, a division of Random House, Inc., New York.

www.crownpublishing.com
www.watsonguptill.com

Library of Congress Catalog Card Number: 64-24246
ISBN 978-0-8230-1401-9

eBook ISBN: 978-0-7704-3475-5
Trade Paperback ISBN: 978-0-8230-1401-9

Cover design: Timothy Hsu and Jess Morphew

Edited by Donald Holden
Designed by Betty Binns

All rights reserved.

v3.1

FOREWORD

WHEN I WAS ASKED TO WRITE THIS FOREWORD , I was thrilled and a bit unnerved. The idea has a strange circularity. I am now contributing to the very book that thirty years ago helped form who I have become.

When I was twelve years old, my grandmother, who was an artist and very dear to me, gave me a copy of Robert Beverly Hales Drawing Lessons from the Great Masters. I had always loved drawing, but Hales book changed everything. I spent the following years poring over the plates and explanations in Hales book. I made scrupulous copies of at least a dozen of the drawings, and I applied the fundamental geometric conceptualization to all the drawings I made.

Writing this foreword got me thinking about my drawing life in a fundamental way. In the years since I was a boy and spent so much time with this book, I have made a lot of figure drawings and figure paintings. I went on to study with a few wonderful teachers, was influenced by many gifted colleagues and brilliant students. I pursued skills of naturalistic observational drawingskills that Hale encourages us to move beyond. Further, I have been exposed to methods and ideas that Hale does not touch on in this book and might not have endorsed. But as I now think about drawing as an artist and a teacher, I return to this books deep and powerful principles. What he made so clear to me back then has formed the bedrock under all my subsequent drawing: Know the anatomy deeply and organize it by simple geometrical concepts.

Through the plates and the text, Hale offers a magical glimpse into a lost world, a world he dares you to try to enter. To a dreamy and ambitious young artist, his claim that there is No one alive today who can draw the figure even as well as the worst artist represented in this book, reads like a challenge, like the sword in the stone. After reading something like that, how can you not spend your life trying to join that magical confraternity of giants? I know that, like me, many of my artist friends today were inspired by that lofty challenge.

Since the original publication of this book in 1964, a great many changes have overtaken the art world. I am sure Robert Beverly Hale would hardly recognize it now. Some of the developments he might find a bit unsettling, while others he might look upon with amusement and delight. But the development that I most wish he were here to see is the broadening and deepening enthusiasm for figure drawing that he helped to foster with this book. The last thirty years have seen a vigorous revival of the classical drawing tradition Hale cherished. There are new artists and schools popping up all around us. They are dedicating themselves to the deep and serious figure drawing for which Hale argued so eloquently. All around me I am seeing better and better drawing. Someday soon, the passage in Drawing Lessons from the Great Masters about how no one alive can draw as well any master in the book may not ring so true. And if it doesnt, it will be because of Hales vision.

J ACOB C OLLINS

PREFACE

IT HAS ALWAYS SEEMED to me that if you really wanted to excel in drawing the figure, you should go and study with the greatest living master of figure drawing. But the trouble is that there is no one alive today who can draw the figure very well; there is, perhaps, no one alive today who can draw the figure even as well as the worst artist represented in this book. The explanation for this state of affairs is somewhat complex, but I suspect that any sophisticated student knows the esthetic and historical factors that have brought about the situation. But things are not as bad as they seem, because in these days of unlimited reproductions you can study with any of the old masters you wish.

You see, your instructor in art can do little more than help you solve your technical problems; the rest is very much up to you. And even a cursory examination of the pictures in this book should expose a multitude of technical problems, and the artists brilliant solutions.

Since the studio practices I am attempting to explain were apparently shared by all the artists herein, the pictures are neither placed chronologically, nor grouped by styles: they simply are arranged to give clarity to the text. The pictures also have been chosen to reveal all parts of the body from differing points of view, and to include many studies of heads, hands, and feet. All drawings are reproduced as large as the page size permits and many are actually reproduced larger than the original for detailed study.

ACKNOWLEDGMENTS

I should like to thank Stewart Klonis, Director of the Art Students League, Jacob Bean, Curator of Drawings, Metropolitan Museum of Art and A. Hyatt Mayor, Curator of Prints, Metropolitan Museum of Art for their very kind assistance in the preparation of this book. I should like especially to thank my wife, Nik Mylomas Hale, for all the work she has done. And I am most grateful to my editor, Donald Holden, for his sustaining encouragement and for the many valuable suggestions he has given me. All photos have been supplied by the museums credited in the captions and by Alinari Art Reference Bureau.

CONTENTS
ONE
LEARNING TO DRAW
TWO
LINE
THREE
LIGHT AND PLANES
FOUR
MASS
FIVE
POSITION, THRUST, OR DIRECTION
SIX
ARTISTIC ANATOMY
SEVEN
DRIVING ALL THE HORSES AT ONCE
LIST OF ILLUSTRATIONS

John Henry Fuseli THE DEAD ACHILLES MOURNED BY THETIS

Annibale Carracci STANDING FIGURE OF A NUDE WOMAN

Luca Cambiaso GROUP OF FIGURES

Luca Cambiaso CHRIST LEADING THE CALVARY

Nicolas Poussin HOLY FAMILY

Honor Daumier DON QUIXOTE AND SANCHO PANZA

Leonardo da Vinci MADONNA AND CHILD AND OTHER STUDIES

Jacopo da Pontormo NUDE BOY SEATED

Pupil of Leonardo da Vinci HEAD

Raphael Sanzio FIGHT BETWEEN MAN ON A HORSE AND TWO NUDE SOLDIERS

Albrecht Drer HEAD OF A MAN

Rembrandt van Rijn WOMAN WITH CLASPED HANDS

John Henry Fuseli MAN EMBRACING A WOMAN

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