Classic Human Anatomy: The Artist's Guide to Form, Function, by Valerie L. Winslow
By Valerie L. Winslow
After greater than thirty years of study and instructing, artist Valerie Winslow has compiled her exact tools of drawing human anatomy into one groundbreaking quantity: Classic Human Anatomy. This long-awaited ebook offers basic, insightful ways to the advanced topic of human anatomy, utilizing drawings, diagrams, and reader-friendly textual content. 3 significant sections–the skeletal shape, the muscular shape and motion of the muscle groups, and movement–break the fabric down into easy-to-understand items. greater than 800 particular illustrations aspect the flow and activities of the bones and muscle tissue, and particular charts display the origins and insertions of the muscle groups. filled with a rare wealth of data, Classic Human Anatomy is bound to turn into a brand new vintage of artwork guide.
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Extra info for Classic Human Anatomy: The Artist's Guide to Form, Function, and Movement
Beneath them there can also be seen, in the center, a person reduced to a head, a trunk, and a leg, with one vertebral column that appears to be escaping from him. If I have dwelt at such length on the detail of these two drawings, it is because they seem to me characteristic of Antonin Artaud's procedure at that time. He has to take possession of the whole space, peopling it with signs and words, garnishing it in all possible directions with diverse weapons, without permitting the slightest breach to appear in which malevolent forces could go to work.
16. V, 121. 17. VII, 481, n. 3. 18. I, 62. 11. Antonin Artaud, Lettres a Genica Athanasiou (Paris: Gallimard, 1969), p. 46. 12. Ill, 111, letter to Yvonne Gilles about November 22, 1923. 13. 'Amour" (Paul the Birds or the Place of Love) ( cf. I, 54-56), whose theme was taken from "Paolo Uccello," in Vies imaginaires (Imaginary Lives) by Marcel Schwob. A first version of this text was called "Drame mental" (Mental Drama). 'amour. 19. I, 147-148. 20. Andre Breton, Entretiens (Interviews) (Paris: Gallimard, 1952), p.
The gesture that Antonin Artaud must have made to inscribe such heavy marks in the paper is certainly the same one that I saw him repeat hundreds of times when, having discovered on his back, or his head, or 4I Paule :Jlevenin any other part of his body a spot of particular pain, he would stick into it the point of his pencil or his knife, pressing as hard as possible for several minutes. The first objects he drew are generally found in the margins; relatively geometrical in shape, they are often crosses, taus, coffins.