Our Tradition of Drawing from the Life Model

Whether we think about it or not, when we gather for our Figure Drawing Workshop with sketchbook and charcoal, we are continuing a tradition begun many years ago. We are learning how to draw, the fundamental step in learning how to be an Artist, by drawing from the Life Model.

Some of this tradition is illustrated here from the book, Studios of Paris, the Capital of Art in the late Nineteenth Century, by John Milner.


Here is a session conducted by a famous artist of the time, Bonnat, in the Ecole des Beaux Arts, the official school. Look how organized these students are. This is how to place easels for maximum efficiency.

Do you think the artists wore vests and ties each time they drew the model?
Perhaps we should treat the situation as a personal religious ritual.



Julian's Academie was perhaps the most popular, so there must have been more artists participating than in this illustration.







Here is the Atelier of another contemporary artist by the name of Cormon. He is doing a demonstration, so the students would know the correct way to make the drawing I guess.

What do you suppose is the strategy of that short famous artist at the left. He isn't paying attention to the master's drawing since he can't see the front of the easel.

Is he getting ready to rush to the front when the model resumes posing so he doesn't have yet another drawing of everybody else's 'figure' blocking the figure of the model?

Figure Drawing Workshop-Paris

Thanks to the great artist and photographer Brassai, we can see what it was like to attend the Academie Julian.

What I love is the lighting from the skylight windows. With all the finished busts and full-figures on the shelves though the Academie seems like a factory producing exact and faithful representions of the model.













How about the more personal environment of Matisse in his studio and his careful study to be faithful but his openness to interpret in his language?

How about THIS POSE?

How about Figure Ground relationship?

How about the long lines in the pose and the moving in space of the model?

Wouldn't YOU like to be in Matisse's shoes? If he is wearing shoes that is.

the Ridgeline

Easily overlooked during the models pose, in our effort to get our eyes zoomed in on the details of model, is the Ridgeline. The boundary between the vastly different region of figure and ground.
It's where the feet meet the pavement, where the butt meets the seat.
How can I show this relationship? There is more Plastic involved than in just measuring and describing space.

This presupposes you have brought your 'fast eye' to the game tonite and already have the composition, the 'fit on the page' solved because you are dealing with the border of some of these areas.

I simply want to give you ONE idea-nugget to think about during the longer poses. Pay particular attention to this edge and differentiate

• what is man-made: structure, cold, heartless, support and
• what is man: organic, warm, breathing, with heart and soul.

Just a reminder to vary your emphasis during your drawing.
Just a reminder to be Plastic and be open to news ways of expressing relationships.
Just a reminder to Bring your 'fast eye' to the Game and create.