美术学专业：《解剖学》课程书籍文献（教学）英文 [向米开朗基罗学习人体绘画]Lessons.from.Michelangelo

LESSONS FROM MICHELANGELO Based on Techmiques of the Master BY MICHAEL BURBAN

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LESSONS FROM MICHELANGELO

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ESSONS FROM MICHELANGELO igure Drawing Based on Techniques of the Master BY MICHAEL BURBAN

31551力14998293 I want to thonk everyone byMary Suttudy and Candace Raney Coovright 1986 by watson-Guotill Publications 475-1564 d.No part of this publicatior 12345678910919089888786

l\,vqnt ljo thonk everyone iNoh/ed In cleoiicg lhls book. lom sinceely grcJeful lo Donold Holden, I\,4ory Suffudy ond Condoce Roney for lheif wisdom ond gL]idonce. Ed'led by Mary SLrilody and Candace Ran6y Oe{ign€d by Bob Flle Graphic p|oduclion by E len G€ons Cogright @ 1986 by Wat6on-G Lrpli I Pub loations Fn$ pubtished 1986 in N€w York by Watson-Guplill PLrbllcations, a dMsioi ol Billboard Publications, nc. 1515 aroadway New York, N.Y 1003€ t ir'ry ot Congr€s Cat loging.ln"Publlcatlon D6lt Lrssolls tom Michelangslo. 1. F$tEdlawing-Tschnique. 2. Drawing, FgEirsaE-E{hniqu6. 3. [4ichelangelo Buonarlo, r475-156a-Thern€€, moti!€s. l. Title. ifc6t5.B8'/ €86 743'.4 86-11107 rsa o{e*zzr+1 Disttrtsd h !E t niled Kingdom by Phaidon Press, Lld., Li@ab Eols€, SL Ebbeb St., Oxiofd All riits r€s€.Ed. No pa.t of ihis publication may be rwodr€d 6us€d h any iom or by any means graphic, electD.*i n nE ls*:al. indlding photocopying, recod'ng, lalirE, 6 hturdir| $rage ard leideval systems-wilhout sm€.t pr.tri*irx: d t|e Fui*rer Manuftdll€d in U.S-A. 1 23,1 5 6 7 8910/91 9089 8A 87 86

TO ALL THE ARTISTS OF THE WORLD AND THE MODELS WHO POSE FOR THEM

CNV IHI SllCOv',I OH/!{ lSOd lloi l\lHI ol TIV IHI $sLalv io tHI cuol

CONTENTS INTRODUCTION CHAPTER ONE The Underlying Structure of Form 10 o。 12 THE SKE NCE ARTISTS、22 COMPLEX FORM CHAPTER TWO The Head and Neck /28 MASSING THE HEAD 29 POSITIONING THE HEAD IN SPACE 30 DPORTIONAL SYSTEMS:FACIAL FEATURES 32 DEFINING THE FEATURES 2 40 CHAPTER THREE The Torso:Anterior Region PLACING THE LARGE MASSES OF THE BODY 49 POSMTONING THE RIB CAGE IN SPACE 52 THE PLANES OF THE TORSO 54 THE SHOULDER GIRDLE 56 THE FORMS OF THE CHEST 58 OVERLAPPING FORMS OF THE TORSO60 THE RECTUS ABDOMII MUSCLE 62 THE EXTERNAL OBLIQUE 64 THE FOLD OF THE GROIN 6 ARATIONS OF FORM:MALE AND FEMALE 68 CHAPTER FOUR The Torso:Posterior Region SIMPUFYING THE FORMS OF THE BACK 71 DEEP MUSCLES OF THE BACK 72 THE SCAPULA AND ITS MUSCLES 74 THE TRAPEZIUS MUSCLE 76 LATISSIMUS DORSI 78

BODY 82 THE TORSO IN PROFILE 86 CHAPTER FIVE The Upper Limb ae THE MUSCLES OF THE UPPER ARM 89 TRICEPS:THE THREE-HEADED MUSCLE 90 THE RELATONSHIP OF THE FORMS OF THE ARM TO THE SCAPULA 92 THE MUSCLES OF THE RAISED ARM 94 THE MUSCLES OF THE FOREARM AND THUMB 98 MASSING THE FOREARM 100 MUSCLES OF THE HAND 102 SIMPLIFYING THE HAND 104 CHAPTER SIX The Lower Limb 106 THE FRONT OF THE THIGH 107 THE MUSCLES THAT MOVE THE THIGH 108 THE HAMSTRING MUSCLES 110 HE RELATONSHIP OF THE THIGH TO THE PELVIS 112 THE BONES OF THE KNEE 114 THE FORMS OF THE KNEE 116 THE BONES AND MUSCLES OF THE LEG 118 THE MUSCLES OF THE FIBULA 120 THE MUSCLES OF THE CALF 122 THE FOOT:THE BONY ARCH 124 THE MUSCLES OF THE FOOT 126 MAN:THE UPRIGHT ANIMAL 128 CHAPTER SEVEN Drapery 130 SIMPUFYING THE FOLDS OF DRAPERY 132 MASSING WITH LIGHT AND SHADE 13 IN CONCLUSION 138 GLOSSARY 140 CREDITS 141 INDEX 142

L CHAPTER FIVE The Upper limb uu IHE MUSCLES OF]HE UPPER A?IV €9 TRICEPSTIHE IHREE HEqDED MUSCLE 90 THE RELAIIONSH P OF lHE FORMS OF IHE ARIV TO THE SCAPULC 92 .,. THE IVUSCLES OFIHE RAISED ARM 94 ' TllE IVIUSCLES AND BON€S Of Iltr FOREARM 96 . itE lvuscrrs or nE FoREARM AND IHUMB 98 . : IVASSING IHE FOREARN' ,oo THE I\IUSCLES OF IHE IIAND '02 SIMPT]F/INGlHEI{AND'04 CHAPTER SIX The Lowef Lifllb ,oo THE FRONT OF THE 1HIOH ,10l THE MUSCTES THAT IVO!€ THE iHIGH 408 THE IIAMSTRING l\ilUSCtES 4,10 THE RELATIONSH]P OF IHE THIGH TO i}IE PELVIS lHE BONES OFTHE KNEE 4'4 THE FOR]\4S OF THE KNEE 1'6 THE BONES AND MUSCLES OF IHE LEE ,1'18 lHE MUSCLES OF THE FIBULA '20 THE I\iIUSCLES OF THE CALF /22 THE FOOT: THE BOIW ARCH 124 THE MUSCLES OF ]HE FOOT 426 TIANITHE UPR]GHT AN IV1AL i28 112 ,N CONCLUSTON 'os -:-:,::i.' GlnSSADv,/n r '. , , :ri :I : :.:. CHAPTER SEVEN Dropery r:c FSTABI SF NG VPSS 1I4 "yii,Tic lli:gi"_s g:?*_T 1., l.t::i,'.r:: -t ,I , .M4SSING WTH Llcllt AND SHADF 'r34 : . .r, . , I , .THE GESTURE-oRRH\+jM oF FABnlc : /36

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INTRODUCTION and changes their shapes in the different tions of the figure.In fact, positions. oe se able amount of time to the study of anatomy. ps on the sur- ne vy en and oe no face of the figure. For gre ater clarity.I have under dis ends. w an body that would knock down some bariers and 、ie that if I wanted the reader to share my great actinaeneahenp6aoyv8hng else,this book is the NeeRtoe 9

I ! I t I I I l I INTRODUCTION nne do,/ \dh e vlewing o drow ng show Vhod on etperience thot offected m- :eeplyLs cosuo ywo kedlhroughihe room, :aw o drowing I coudn't toke my ey€s olf, :nd ol lhe olher drowlngs seemed sho ow and und slingu shed by compor son. Thoi :rcwing wos o nude sfudy by M chelongelo lihough hod been lomi or wlh '.ilche ongelot work ol my fe, iseemed lhol .nly now perhops becouse of myeducolion :nd troin ng, was lrecept\€to hh nfe|preto _ ?ns of lhe figufe nfocl,ilwasos fhodn-.ver :eenlhem before ondlholnothing could be -ore exciiing lhcn lo be n ihe presence of _ gh Renoissonce od ond flno ly hove eyes _rol cou d see it Since lhol doy I ho!€ been lhoroLrghly n ,c\,€d n the process ond mogic of drowing _.1e fgure My increosed knowledge hos _e\€rde$royed lhe sponlonelly ond mogcl ' hos only enhonced ilgreoiy ln foct, I ho!€ 'rund thol drow ng wthout o frm foundolion _ lhe p ncpes of onoiomy s more diflicu I ron ihe ocil.ro lsdrn ng of lhose prnciples When begon io wte lh s book, mY inTen- _3n wqs io keep the spirl of fgu€ drowing .iocl.lho!€ nol oltempled io soy eveMhing roi con be said oboul drowing, nor frove - ed to lisi olLihe musc es oflhe h!mon body iclher, in o mosi pleoslroble wqy, I\tonlecl to : i down wiih \,ou, look ol these mognifcenl ,crks ond begin discusslng those cspects of ',llch6ongelo3 \^ofk lhoi ore ceoresl lo ob- :?tue os wel os mosl imporiant io lilsl_roie '3iJ|e drow ng, when lbegon io wriie ihis book, my inien rn wos io keep lhe spit of figure drowng _ioct, ho\€ nol oliernpted to soy e\€Mh ng -ci con be so d oboui drowng, nor hove I - ed to sl a I the mlrscles of the humon bodl Rothet in o mosl p eosurable woy, lws nled lo st down wilh you, look ai lhese mogn ficent works ond beg n d scuss ng those ospecls of eoch wgrk thol o re cleo resi 1l. observe os we os mosi imporloni lo lirst role fgure drowing Iire draw ngs se ecied ior th s trook show ih,. figure in many wrols poses irom a ldi terenl po nls ofvew There is o greoloppodu nly here 10 observe howo mosler drcflsmon foreshodens mony ol the fofms of lhe body ond chonges lheif shopes in ihe different Anyone who serously $onts lo underslond greol frgure drowing musl de\r'cie oconslder ob e omounlof lirne lolhesludyof onolomy hove only concenlroled on the mosl impor ionl muscles ond musce groups on l1_ie slr face of the f gure For greoler clorlv I ho\€ ncluded next lo Michelongelob works o di ogrom of lhe skeleton show ng ony ihe mus cle or musces under discussion These ore nlended io he p you underslond ond re￾anember exocily where o fom begins and These wrl ngs oTe io be considered on in￾troducton or cotolysl io o pfofound slLlciy thoi yo! w spend lhe rest of )o!r doys enJoy ng. I fei strongly ihol \tonled lo create o book ihoi would knock down some borefs ond a low \,oung orihis io beg n to reqlly undef￾stond the lorms offhe flgure,li ls cleorto me thal f wonled ihe reoder lo shore my g€oT enihlsiosm for onolomyand drqwng prlnc￾p es, wou d have lo express some comp ex deos in o more simplfed wqy ond I loke responsib iV lor thot. N4ore lhon on!4hng ese, lhis book is ihe express on of o lo\,€ affo r thol I hove hod wllh the exhoordinory drawlngs of lhe greolesl moster of the figure, Mcheongeo. Michoe Bubon New York C ly, 1986