Charles
Bargue
with the collaboration of
Jean-Léon
Gérdome
DRAWING
COURSE
Geraid M. Ackerman ACR EdDrawing 7
Study for The Opinion of
the Model. (tude pour
as du model.)
The Waters Art Museum,
Hat10
18
128
180
CONTENTS
Preface and Acknowledgements
Introduction
The History of the Drawing Course, p. 10; Public Controversy over Teaching,
Materials, p. 12; Goupil Proposes a Solution, p. 13; The Organization of the
Drawing Course, p. 16
PART |: DRAWING AFTER CASTS
(MODELES D’APRES LA BOSSE)
Introduction, p. 18; Practical Matters: Using the Plates as Models to Copy,
p. 22; The Schemata or Plans, p. 22; Materials, p. 23; Drawing Terms, p. 23;
Suggestions for Copying the Plates, p. 24: Values and Modeling, p. 25
Procedure for Modeling, p. 26; Finishing the Drawing, p. 27; Notes on the
Plates, p. 98
PART Il: COPYING MASTER DRAWINGS
(MODELES D’APRES LES MAITRES)
Introduction, p. 128; Realism, Idealism, and Academic Drawing, p. 129;
Practical Matters, p. 131; On Choosing a Master Drawing to Copy: The
Benefits of Copying, p. 131; Getting Down to Copying, p. 132; A Note
About the Drawings by Hans Holbein the Younger, p. 133; Notes on the
Plates, p. 168
PART Ill: PREPARATION FOR DRAWING ACADEMIES
(EXERCICES AU FUSAIN POUR PREPARER
A LETUDE DE LACADEMIE D’APRES NATURE)
Introduction, p. 180; Ancient Sculpture as the Model of True
Beauty: The Prevalence of Male Models, p. 181; Practical Matters:
Copying the Drawings, p. 183; Some Notes on Bargue’s Style, p. 184;
A Repertoire of Traditional Poses, p. 185; Notes on the Plates, p. 240