Life-Drawing links

"If I could,I would live in a Art Museum and the Life drawing(figurative Art) section,,I would hang-out in the most-might say that my favorite color of things,,I didn't choose,,just is."

Excerpt from : 'The Undressed Art': A Passion for Meaningful Lines

                         This renewed passion for drawing loses none of its interest just because it is being spearheaded by amateurs and a few professional artists too stubborn to believe reports of their own obsolescence. According to Steinhart, here's the puzzle: in a society that values quick and easy success, at a time when few art schools require instruction in drawing from a live model and when so many galleries and museums prefer to give their space to video art, conceptual art and installation art, why do so many keep struggling to master a skill that art critics insist is anachronistic and old hat? Why this continuing compulsion to draw?

To get answers, Steinhart questioned his artist friends. One housewife, who has been "drawing seriously" for six years, doesn't regard her figure drawing as art but as "scales and arpeggios." An art historian who also draws suggests that a drawing is "an immediate emanation of personality," and an art restorer explains her steady attendance at her drawing group by saying, "It trains your eye and it's like a muscle: it gets slack if you don't use it." One artist says simply, "We draw to find our own originality." Yet another is convinced that the chemically induced sensation of pleasure is what keeps many people drawing. He believes that "the drawing process produces serotonin and endorphins in certain individuals. . . . There must be some physical reward for some people. Otherwise they wouldn't do it."

From such diverse explanations, Steinhart discerns a kind of consensus: drawing is more spontaneous and personal than painting. For some it is addictive. And those who are obsessed by drawing are less engaged by producing than by practicing. Steinhart puts it this way: "We do it not because we're good at it, but because there is some prospect that if we keep doing it, eventually we may be good."

Examples of Open Studio figure drawing classes


Jeanne Hébuterne by Modigliani, 1919