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Figure Drawings in Color

Figure Drawings in ColorFigure Drawings in Color (book)

Print: $28.00

Download: $6.00

This book is a collection of colored pencil figure drawings by a twentieth century Canadian artist, Cedric Fleetwood Weaver. When I saw the drawings I was impressed by the confident line and interesting use of color. In many he achieved the effect with just black and red. Included is a section step by step figure drawing instruction in color and another section of color figure drawings by me that were inspired by Mr. Weaver's work.

The Art Student's Guide to the Proportions of the Human Form

The Art Student's Guide to the Proportions of the Human FormThe Art Student's Guide to the Proportions of the Human Form (book)

Print: $29.00

Download: $17.50

This famous book by a classical German sculptor Johann Gottfried Schadow (the figures on the Brandenburg Gate - among many other works) is next to impossible to find. It is based on the pioneering work by Greek Sculptor Polycletus. This is a reproduction of an 1883 translation of the German Atlas Zu Polyclet Oder Von Den Maassen Des Menschen Nach Dem Geschlechte Und Alter. The original is a huge book, for this reproduction the 18 inch x 24 inch double pages have been both photographed for a full page view, and scanned in sections to provide the largest possible reproductions. In addition there are full page reproductions of an original reduced size 8.5 inch by 11 inch German edition.

How Harry Cook Learned to Draw

How Harry Cook Learned to DrawHow Harry Cook Learned to Draw (book)

Print: $16.00

Download: $5.00

In 1897 a young student at Dartmouth College studied free-hand drawing and made this journal. His drawings are supplemented by lessons from the time that he used as examples to copy. A interesting window into how drawing was taught 100 years ago and the high value placed on it as a way of thinking visually in preparation for other careers, such as science or engineering. This book consists of a student journal drawn by Harry Irving Cook and examples of lessons and engravings published in a book called Chapman's American Drawing Book. The illustrations in this book could easily provide the basis for a modern course in drawing. You could use them as examples of forms to draw or even as a pattern book to copy. Each drawing is done in pen and ink with no mistakes or erasures so a good deal of practice preceded the making of this journal. Each exercise builds on the other and demonstrates a growing mastery of the art of drawing.

How to Draw the Human Figure

How to Draw the Human FigureHow to Draw the Human Figure (book)

Print: $19.00

Download: $5.00

This book is based on the figure drawing notebook of a young student in Philadelphia in 1927 and 1928. It illustrates the methods of drawing the figure which were used at the time, and will be interesting to anyone learning to draw the figure today. The drawings show the work of a confident and talented artist who was studying a new course of drawing from the figure. Formerly students at the school had draw from casts and prints and studied the rules of perspective. The book includes all the drawings from Grace Young's notebook plus examples of the knowledge of figure drawing from the time from a self-published anatomy book Anatomy in Art by Jonathon Scott Hartley, and illustrations from Studies of the Human Figure, and The Human Form and It's Use in Art by Ellwood and Yerbury. Also included are details of Grace Young's drawings.

Anatomy for Art Students, Painters and Sculptors

Anatomy for Art Students, Painters and SculptorsAnatomy for Art Students, Painters and Sculptors (book)

Print: $34.00

Download: $17.00

This book has two parts. The first is a series of 27 outstandingly beautiful lithographs from three sources. 24 of them come from Dr. Julien Fau's Anatomie des Formes Exterieures du Corps Humain, a l'usage des Peintres et des Sculpteurs, with lithographs by M. Leveille. There is an additional plate of skulls by an artist who was trained in medicine but was naturally attracted to the arts. He made lithographs for several medical books and worked as an illustrator and cartoonist for popular publications of his day, Anton Elfinger. The last 2 prints were added to the English Edition by William Norris. Each plate is faced with a page of labeling. The original book was published in the mid nineteenth century. The second part is 12 pen and ink anatomical drawings of the structure of bones and muscles with labels.

Life Drawing - Croquis de Pierre Lissac

Life Drawing - Croquis de Pierre LissacLife Drawing - Croquis de Pierre Lissac (book)

Print: $27.00

Download: $7.50

Drawings of Paris life by Pierre Lissac as published in the pages of La Vie Parisienne in the early part of the twentieth century. Pierre Lissac was an astute observer of boulevard life and brought wit and humor to his drawings of these ladies, artists and artist models.

Traite de Perspective

Traite de PerspectiveTraite de Perspective (book)

Print: $29.00

Download: $17.00

This is the most complete, one of the most influential and without a doubt the most beautiful book on perspective ever published. Every other page has a description of the principle being illustrated, followed by a hand engraved plate (in the original you can see the impressions the plates made on the page) to illustrate the principle. The descriptions are in French but as you can see from the plates, each plate is drawn with such care and clarity that even a reader who does not know French can easily understand the principles illustrated. Some of the plates are repeated so that the description of the principle and the illustration may appear consecutively because sometimes the plates illustrate two ideas, or the description exceeds the length of a page. The first plates show a small human figure to demonstrate the position of the eye. Later plates show the various complexities of drawing perspective including curved figures, shadows, and reflections.

The Art Student's Guide to the Proportions of the Human Form

The Art Student's Guide to the Proportions of the Human FormThe Art Student's Guide to the Proportions of the Human Form (book)

Hardcover Print: $36.00

This famous book by a classical German sculptor Johann Gottfried Schadow (the figures on the Brandenburg Gate - among many other works) is next to impossible to find. It is based on the pioneering work by Greek Sculptor Polycletus. This is a reproduction of an 1883 translation of the German Atlas Zu Polyclet Oder Von Den Maassen Des Menschen Nach Dem Geschlechte Und Alter. The original is a huge book, for this reproduction the 18 inch x 24 inch double pages have been both photographed for a full page view, and scanned in sections to provide the largest possible reproductions. In addition there are full page reproductions of an original reduced size 8.5 inch by 11 inch German edition.

Figure Drawing

  • William Reginald Watkins - Figure Paintings

    2009 Nov 05

  • William Rimmer's Art Anatomy

    2009 Nov 02



    William Rimmer's Art Anatomy was another book of human anatomy written and drawn by an artist. Like Gottfried Schadow he distilled his knowledge of the human form into a series of 81 plates which the art student could study.

    From the publisher's notes:

    "The book contains nearly nine hundred drawings, illustrating in the fullest manner the ethnological, bony, anatomical, and artistic construction, movement (both simple and composite), and purposes of the human form, of both sexes and all ages, as well as the expression of the passions, will full explanatory text on the same page with the drawings. The drawings are for the most part in outline, and are made with great firmness and beauty. Many of the figures are statues in their conception. There is one full-page composition, entitled the Call to Arms. The "Art Anatomy" is the most perfect compendium of pictorial and artistic knowledge on this subject that I have ever seen, and without doubt unique."

    "It has been said that William Rimmer's reputation rests most soundly upon his art anatomy. I believe there can be no disputing this. In the plates of his anatomical drawings we find nearly 900 drawings, not notes or sketches, but master products of a pencil craftsman and works of art of the first order. He begins with the skull; the first chart contains nine drawings, each illustrating a different aspect of the head, beginning with its basic structure, and in the last drawing showing muscular attachments. From this he carries the student through a most exhaustive study of the human head—unquestionably the most marvelous of all created things. Of the eighty-one charts, thirty-one are given to this study of the head, physically, artistically, and psychologically. He deals with primitive and highly developed forms, comparing and emphasizing the characteristics that civilization retains and those called elemental.

    "This thoroughness one finds in all Rimmer's activities. A wonderful mind, wonderful visualization, and an imagination which contemplated all that was worth while or great in nature and art."


    From Nineteenth Century Art Worldwide, Life Drawing from Ape to Human: Charles Darwin's Theories of Evolution and William Rimmer's Art Anatomy by Elliott Bostwick Davis.

    Excerpts from Art Anatomy by William Rimmer at Scott-Eaton.com.


    From the Literary Digest, Volume 70:

    OUR PROPHET UNHONORED IN ART

    A PROPHET IS NOT THE ONLY ONE who may be without honor in his own country. So may an artist and sculptor be unhonored and unsung, even tho, in the words of Gutzon Borglum, the sculptor, he be "the superior of Leonardo da Vinci and Michelangelo in the delineation of various forms of art anatomy." Dr. William Rimmer, of Boston, who died in 1879, is the artist of whom Mr. Borglum writes so enthusiastically under the above title in the New York Evening Post. "In sculpture he worked more like Rodin at Rodin's best than any man in modern times," we are told. "Rimmer probably never heard of Rodin; it appears that he never went abroad, yet it is curious that he dealt with form with that strange, intense, plastic quality and that mastery of structural modeling which we see only in Rodin and one or two of his greatest contemporaries." Continues Sculptor Borglum of Sculptor Rimmer:

    "How such a force could have lived in New England and thought, talked, modeled, and painted as he did for a long lifetime (in the memory of many still alive) without recognition is utterly incomprehensible. In so far as his great ability and his great productions affected the civilization of his environment, he might as well have been in Greenland. The truth is that Rimmer was not seen, not understood, because there was no one to understand him.

    "What seems more remarkable still is that he is yet unknown. Artists do not know him. Recently at a little dinner I referred to him. My fellow guests were among the ablest of our painters and sculptors. Only one out of six had even heard of him. He is unknown in the schools. I did not learn of him through the regular art channels. I found his book of drawings in the possession of an American lady of the generation of Rimmer. I borrowed it. I lost all interest in the world for a week after my discovery, and grew angry and despaired over a world that knew nothing of it. Later I found that Truman Bartlett had written his life, and that the cellar of the Boston Museum had long been the vault wherein many of his fragments were neglected or lost." ,

    In the sixties and seventies Dr. Rimmer was known in Boston art circles as a remarkable lecturer on art anatomy, Mr. Bartlett says in his bock, as the sculptor of several statues and busts, and as a man who had painted much without establishing a reputation as a painter. Yet,-Mr. Borglum assures us, "I have seen nothing in the records of art by the great Italian masters (excepting a few works of Da Vinci) that is comparable with Dr. Rimrner's drawings as studies not only of anatomy but of character." This modern sculptor then goes on:

    "Unless it be a few of Holbein's and one or two I have seen by Velasquez, there are no drawings extant of the Renaissance, whether in France, Italy, Spain, England, or Holland, that can compare with some ninety pages of work which this remarkable man produced at the request of Mrs. W. A. Tappan, a lady who attended his lectures.....

    "The story runs that this benefactress of humanity asked Dr. Rimmer if ho could not or would not make some of these drawings permanent so that the world might have them. He said that he would be glad to do it. She told him that she had a couple of thousand dollars she did not need, and asked him to take the money and do as much as he felt would be right for such a sum. With it he produced these ninety-odd pages, all of which are masterpieces for what they illustrate as well as works of art in character of line and general rendering. Half of them, at least, excel any drawings extant in pure beauty and as masterful demonstrations of knowledge of the human figure. They have a character of truth without exaggeration that is not unlike the Greek. The man is inspired by the same beauty and drama as the Italian Angelo, and in his drawings of hands and feet we feel the influence of the Renaissance masters, but in the form and structure of the figure and its proportion he is Greek."


    From Ptak Science Notes, Dadaist Images in 19th Century Prints: William Rimmer's Artistic Anatomy, 1877

    Conscience Continuum Blog.

    ART: WILLIAM RIMMER WORKS ON EXHIBITION - The New York Times Review

    ArtMagick Biography.

    EVENING OR THE FALL OF DAY and FLIGHT AND PURSUIT
    by William Rimmer (1816 — 1879) - Mindworkshop.com a post written by William Rimmer's great-great-great nephew.


    Art Anatomy

    Art anatomy original edition.

    Art Anatomy board edition.

    From The Century Illustrated Monthly Magazine, Volume 25:

    Dr. RlMMER is one of the many figures in American art that fill one with uneasiness. The artistic genius in this country, until recently, has had no place. In other circumstances Rimmer might have achieved more satisfactory results ; here everything was against him, though perhaps nothing was so much against him as a disquiet and pride inherited from a father who believed himself a prince by birth, and his own inherent lack of patience and humble teachableness. He had a strong artistic temperament, but was thorough in nothing except anatomy. In that he was an excellent theoretic teacher, though he always disapproved of dissection for art-students, and, in explaining the most difficult parts of interior anatomy, would use the blackboard only.

    Rimmer made his strongest impression not in his studied designs, pictures, and modelings, but at the blackboard. He had a most facile pencil, and would improvise on the blackboard as a musician does on the key-board, producing varied and beautiful harmonies of line. He was eminently a draughtsman, caring little for the illusion which a picture-maker is apt to cherish. He was totally ignorant of color, and took very uncertain interest in form as such ; but line as a rapid means of expressing a situation, an idea, a passion, was always at his own command, and strongly moved him in such men as Rembrandt and Michael Angelo. His enormous egotism not only prevented him from understanding and learning from his immediate contemporaries, but kept him from acknowledging indebtedness to an older artist like Allston (whom he was doubtless affected by), or to a modern master like Blake, who also evidently had a decided effect upon his thought.


    Atlantic Monthly. Volume 74, Books on Architecture and Art.


  • 1762 Drawing Book - The artist's vade-mecum: Being the Whole Art of Drawing

    2009 Nov 01





    The artist's vade-mecum: being the whole art of drawing, taught in a new work, elegantly engraved on one hundred folio copper-plates, To which is prefixed, an essay on drawing.

    R. SAYERS, AT THE GOLDEN BUCK, IN FLEET STREET, MDCCLXII.

    Click here to see the 1762 prints for sale on Ebay.

    Vade-mecum means a book for ready reference. This book is a compilation of prints designed for the student of art.






    The folio was influential to other publishers of drawing instruction books including Chapman's American Drawing Book.