Peter Steinhart, "The Undressed Art: Why We Draw" (2004)
After showing a drawing buddy of mine a project I've been working on, she lent me Peter Steinhart's book, The Undressed Art. I've written a few entries here about various live figure drawing sessions that I've been frequenting since last June. Reading this exploration added some contextual depth to my experience.
The book begins with a lamentation for the gradual decline in respect for drawing in the fine arts. In the age of computer-generated graphics, increasingly accessible photography, and abstract art, the skills and draftsmanship of portrait drawing could be disappearing. Yet throughout the United States, artist of varying abilities gather in weekly figure drawing sessions to continue a tradition that is thousands of years old. Just in the Bay Area of California alone, there are currently more than 80 such groups. Some are organized by universities, some meet in galleries and/or studios, and others take place in the homes of the artists. But few of the members of such groups will ever seek to display or sell their works. And it is the rarest exception for a man or woman to actually make a living from their artwork. So why do they do it? That's the question that intrigues Steinhart the most.
Steinhart is a naturalist who spent 12 years writing and editing for Audobon. He currently resides in Palo Alto , CA. When he was a child he began to love making portraits of the wildlife he was so enamored with. He used this practice in order to see the animals better. It is Steinhart's contention that this systematic practice of learning to see better motivates many artists to attend live drawing sessions. But there are a variety of personal reasons to draw- for meditation, to improve one's skills, to get out of the house, to participate in a shared experience... the list may be as as expansive as the range of people that draw.
Of course Steinhart doesn't deny that there can be an element of the naughty or risque in drawing nudes. But as anyone who has frequented these sessions on a regular basis knows, it's not about sex. In fact Steinhart devotes whole chapters to the culture of the figure drawing session. He examines the varying social dynamics between models and artists. Every group has its own formal or informal set of routines. Some moderators won't let any of the artists speak directly to the model while they are posing. A loose and casual feel characterizes other groups. Generally newcomers pick up on whatever unspoken rules prevail. Models pose in a mix of gestures (less than two minutes long), short and long poses (up to 30 minutes without a break). The effort required to maintain the stillness of these poses is often physically demanding. And just like artists, models have a wide variety of reasons for doing such work. Undeniably some are exhibitionists. Others are marginally employed and need the money. Some experience a sense of empowerment and a greater acceptance of themselves by taking their clothes off in front of strangers.
Given the author's background, it should not be surprising that Steinhart often looks to science to explain some of the phenomena that he explores in his book. There are parts of his book that read like an anthropology text. But just as often, he lapses into a nonsectarian spiritualism that may put off more jaded readers. It is obvious that he sees drawing as inextricably linked to his being. It's refreshing to hear a perspective which restores an almost sacred regard for a neglected side of the contemporary art world.
The book begins with a lamentation for the gradual decline in respect for drawing in the fine arts. In the age of computer-generated graphics, increasingly accessible photography, and abstract art, the skills and draftsmanship of portrait drawing could be disappearing. Yet throughout the United States, artist of varying abilities gather in weekly figure drawing sessions to continue a tradition that is thousands of years old. Just in the Bay Area of California alone, there are currently more than 80 such groups. Some are organized by universities, some meet in galleries and/or studios, and others take place in the homes of the artists. But few of the members of such groups will ever seek to display or sell their works. And it is the rarest exception for a man or woman to actually make a living from their artwork. So why do they do it? That's the question that intrigues Steinhart the most.
Steinhart is a naturalist who spent 12 years writing and editing for Audobon. He currently resides in Palo Alto , CA. When he was a child he began to love making portraits of the wildlife he was so enamored with. He used this practice in order to see the animals better. It is Steinhart's contention that this systematic practice of learning to see better motivates many artists to attend live drawing sessions. But there are a variety of personal reasons to draw- for meditation, to improve one's skills, to get out of the house, to participate in a shared experience... the list may be as as expansive as the range of people that draw.
Of course Steinhart doesn't deny that there can be an element of the naughty or risque in drawing nudes. But as anyone who has frequented these sessions on a regular basis knows, it's not about sex. In fact Steinhart devotes whole chapters to the culture of the figure drawing session. He examines the varying social dynamics between models and artists. Every group has its own formal or informal set of routines. Some moderators won't let any of the artists speak directly to the model while they are posing. A loose and casual feel characterizes other groups. Generally newcomers pick up on whatever unspoken rules prevail. Models pose in a mix of gestures (less than two minutes long), short and long poses (up to 30 minutes without a break). The effort required to maintain the stillness of these poses is often physically demanding. And just like artists, models have a wide variety of reasons for doing such work. Undeniably some are exhibitionists. Others are marginally employed and need the money. Some experience a sense of empowerment and a greater acceptance of themselves by taking their clothes off in front of strangers.
Given the author's background, it should not be surprising that Steinhart often looks to science to explain some of the phenomena that he explores in his book. There are parts of his book that read like an anthropology text. But just as often, he lapses into a nonsectarian spiritualism that may put off more jaded readers. It is obvious that he sees drawing as inextricably linked to his being. It's refreshing to hear a perspective which restores an almost sacred regard for a neglected side of the contemporary art world.
posted by Merge Divide at 12:09 PM
2 Comments:
I think that artists that participate in figure drawing basically enjoy this drawing challenge. Let's work on making nudity non issue and focus on the drawing. The human form is the ultimate challenge to draw because it is the form most familiar to us and the viewer immediately recognizes what is not a true line.
Regardless of the imagery an artist makes, a drawing skill is basic and should be nurtured. JM
JM,
I agree with your comments, aside from the "nudity" issue. I don't think you can get around it as a reality. But I do belive it becomes less of an issue the longer an artist draws the figure.
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