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The Legs

The Art Of Painting - The Legs - 2, a brief series of articles on the art of painting and drawing
 
 
In the front view, follow closely the bone forms,
particularly the tibia, from the inside of the knee to the inner ankle-bone. When the weight of the torso is thrown on either hip, see that the foot plumbs well under the head, and that the legs and feet are always firmly planted.
Here the highest swellings in the outlines are indicated, so that the proper undulations following the bone forms may be secured

For this your plumb-line will be found most useful.
In studying the foot you cannot do better than draw from a good cast. When working from nature you must draw all that you see, in spite of the imperfections of your model ; but when you wish to idealise you will find the antique your safest guide. You will note that the Greek sculptors elongated the middle toes so that they project beyond the great toe ; but do not look on antique sculptures as so many models from which to learn drawing and tone.
THE ATTACHMENT OF THE FOOT IN THIS VIEW

They may serve such purposes in your early studentship, but far higher lessons are embodied in them—the perfection of human form, grace, and dignity, all that is most beautiful, simple, and inspiring.
My London readers would do well to study the Elgin marbles in the British Museum,' the seated figure of Demeter, the benevolent Mausolos, the Hermes, and many other figures and fragments, as well as the busts of Roman workmanship, and the shapely Greek vases with their decorative designs.
1 Casts of these works are to be found in some of the chief art-galleries in the country.
The instructions given for the drawing of the arms apply equally to the legs, the main points being a comparison of the relative swellings and undulations of the lines on either side of the limb, which are rarely exactly opposite each other.



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