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Charles Bargue with the collaboration of Jean-Léon Gérdome DRAWING COURSE Geraid M. Ackerman ACR Ed Drawing 7 Study for The Opinion of the Model. (tude pour as du model.) The Waters Art Museum, Hat 10 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

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