Via an empirical analysis of donor cadavers, learn how artist-anatomists of the late 15th and 16th centuries - such as Leonardo of Vinci - pioneered a new found applied knowledge of the human body, to the practice of drawing the human figure; long before the discipline received anywhere near the same degree of rigor at the tertiary level. Then be guided in gaining a knowledge of the human skeleton and muscle groups of the body, in conjunction with a drawn study of a specific donor cadaver of your choosing. Finally, learn to make use of shading, in relation to the laboratories light source, in order to convey the form and muscle structure of the drawn cadaver specimen. No prior knowledge or drawing experience is required. Medical and art students are most welcome.
- Dr Paul Richer, Artistic Anatomy (1889) trans. Robert Beverly Hale (Watson Guptil: 2011).
- Robert Beverly Hale and Terence Coyle, Anatomy Lessons from the Great Masters: 100 Great Figure Drawings Analyzed (Watson Guptil: 2011).
- Domenico Laurenza, Art and Anatomy in Renaissance Italy: Images from a Scientific Revolution (Yale University Press: 2012).
- Historical overview of artistic anatomy - from Classical Antiquity to the Renaissance / Early-Modern period. This will be in addition to discussing how artists have both historically and practically, used a study of anatomy and cadavers for the drawing of the human figure.
- A group analysis of the skeleton and muscle groups of specific donor cadavers.
- Drawing demonstration (where to start) - Initial proportion, identifying bony landmarks of the skeleton and the convexed forms of individual muscles / muscle groups; Drawing from a chosen donor cadaver.
- Introduced in more detail, to both the conceptual and practical ways in which artists use a knowledge of anatomy in relation to the drawing of the human figure.
- Drawing demonstration (completing a drawing) - shading a cadaver; Drawing from a chosen donor cadaver
By the end of this course, students should be able to:
- Recognise the practical distinction between medical and artistic anatomy and the ways in which both have informed each other historically.
- Gain knowledge of the skeleton, in terms of both its underlying structure and external bony landmarks.
- Gain knowledge of the muscle groups of the human body, inclusive of their origins and insertions.
- Develop skills in both proportion and shading
- A3 sketch book
- Graphite pencil OR black / sanguine red chalk pencil
- Eraser, pencil sharpener for graphite pencil OR Stanley knife for chalk pencils
- Notebook, or other art materials (optional)
IMPORTANT: Please arrive to the first class with all the relevant materials. A lack of materials is not just a handicap to you but to the ability to teach. Materials cost is not included in a course fee. In the event of a course being cancelled WEA cannot be held responsible for the purchase of any course materials. We therefore suggest you purchase your materials closer to the time of the course commencing.
The following stockists are examples of places where you can purchase art materials for your course:
- Art on King: 199-201 King Street, Newtown. Ph: 9516 2342
- Eckersley's Art and Craft Store: 93 York Street, Sydney. Ph: 9299 4151. Also located in various locations throughout Greater Sydney. WEA students receive a 10% discount on materials required for their course at the York Street store when showing their course confirmation email.
- Parkers Art Supplies: 3 Cambridge Street, The Rocks. Ph: 9247 9979
- The Art Scene: 914 Victoria Road, West Ryde. Ph: 9807 6900
- The Sydney Art Store: 11 Salisbury Street, Botany. Ph: 9699 2162
You can also purchase materials from places such as Dymocks, Officeworks, Spotlight, Lincraft or online art suppliers such as Art Shed Online.
