zeller_int_all_6p_v2.indd 1 11/4/16 12:23 PM THE FIGURATIVE ARTIST’S HANDBOOK A CONTEMPORARY GUIDE TO FIGURE DRAWING, PAINTING, AND COMPOSITION ROBERT ZELLER FOREWORD BY PETER TRIPPI AFTERWORD BY KURT KAUPER MONACELLI STUDIO zeller_int_all_6p_v2.indd 2-3 11/4/16 12:23 PM Copyright © 2016 ROBERT ZELLER and THE MONACELLI PRESS Illustrations copyright © 2016 ROBERT ZELLER unless otherwise noted Text copyright © 2016 ROBERT ZELLER Published in the United States by MONACELLI STUDIO, an imprint of THE MONACELLI PRESS All rights reserved. Library of Congress Cataloging-in-Publication Data Names: Zeller, Robert, 1966– author. Title: The figurative artist’s handbook : a contemporary guide to figure drawing, painting, and composition / Robert Zeller. Description: First edition. | New York, New York : Monacelli Studio, 2016. Identifiers: LCCN 2016007845 | ISBN 9781580934527 (hardback) Subjects: LCSH: Figurative drawing. | Figurative painting. | Human figure in art. | Composition (Art) | BISAC: ART / Techniques / Life Drawing. | ART / Techniques / Drawing. | ART / Subjects & Themes / Human Figure. Classification: LCC NC765 .Z43 2016 | DDC 743.4--dc23 LC record available at https://lccn.loc.gov/2016007845 ISBN 978-1-58093-452-7 Printed in China Design by JENNIFER K. BEAL DAVIS Cover design by JENNIFER K. BEAL DAVIS Cover illustrations by ROBERT ZELLER Illustration credits appear on page 300. 10 9 8 7 6 5 4 3 2 1 This book is dedicated to my daughter, Emalyn. First Edition This book was inspired by Kenneth Clark's The Nude and Andrew Loomis's Figure Drawing for All It's Worth. MONACELLI STUDIO This book would not have been possible without the help of some important peo- THE MONACELLI PRESS 236 West 27th Street ple. I’d like to thank: New York, New York 10001 Elisabeth Conner Skjærvold; without her professionalism, this book would not have www.monacellipress.com been half as good. Christian Johnson for believing in it from the start and extending himself for its betterment. Katie Ferrari for reminding me to include more women. PAGE 1: David Kassan, Shay, 2015, charcoal and Martin Wittfooth for highlighting two key concepts that have made it a much better Charcoal White on Mylar, 24 x 14 inches (61 x 35.6 cm) work. Gagosian, Driscoll Babcock, Forum Gallery, and Adelson Galleries for being PAGES 2–3: Rob Zeller, Convalescence, 2007, pencil so easy to work with. The families of Andrew Wyeth, Edwin Dickinson, Norman and charcoal on paper, 36 x 52 inches (91.4 x 132.1 cm) Rockwell, Nelson Shanks, Kent Bellows, Andrew Loomis, and Frank Frazetta for OPPOSITE: Rob Zeller, Stretched, 2015, graphite, acrylic, being willing to share their relatives’ work in this book. Last, the late Conger Metcalf and oil on paper, 21 x 15 inches (53.3 x 38.1 cm) for always reminding me that I was only as good an artist as my figure drawings. Conger, the art lessons you gave to me as a young man inspire me to this day. 5 zeller_int_all_6p_v2.indd 4-5 11/4/16 12:23 PM CONTENTS FOREWORD BY PETER TRIPPI 8 Step 3: Blocking In with Anatomy, CHAPTER 5: THE ARTIST’S Camie Davis Salaz 248 Light, and Shadow 100 SKETCHBOOK 180 Noah Buchanan 250 PREFACE 10 Step 4: Modeling the Form 107 Keeping a Sketchbook 182 Christopher Pugliese 252 Step 5: Adding the Finishing Touches Aleah Chapin 254 CHAPTER 1: THE GREAT and Refinements 121 CHAPTER 6: PORTRAIT DRAWING Jason Bard Yarmosky 258 John Currin 260 MOVEMENTS IN FIGURATIVE Advanced Lessons: Other Artists’ FOR THE FIGURE 204 ART 12 Lucian Freud 262 Perspectives on the Front View 122 Step 1: Finding the Gesture 207 Jenny Morgan 264 The Art of Ancient Egypt 16 Step 2: Blocking In 207 Kurt Kauper 266 The Art of Ancient Greece 18 CHAPTER 3: STANDING FIGURE, Steps 3 & 4: Dividing Light from Odd Nerdrum 268 132 Gothic Art 22 BACK VIEW Shadow & Modeling the Form 212 Michelle Doll 270 Northern Renaissance Art 26 Step 1: Finding the Gesture 134 Advanced Lesson: Synthesizing Nicola Verlato 272 Italian Renaissance Art 30 Step 2: Establishing the Basic Proportions 136 Your Drawing Skills 214 Robert Zeller 274 Baroque Art 36 Step 3: Blocking In with Anatomy, Patricia Watwood 276 Nelson Shanks 278 Rococo Art 42 Light, and Shadow 142 CHAPTER 7: PORTRAIT PAINTING 218 Steven Assael 280 Neoclassicism 46 Step 4: Modeling the Form 148 Maria Kreyn 282 Step 5: Adding the Finishing Touches Step 1: Blocking In the Head 220 Romanticism 50 Christian Johnson 284 and Refinements 150 Step 2: Modeling the Form (a Bit) 222 Realism 52 Julio Reyes 286 Advanced Lessons: Other Artists’ Perspectives Step 3: Adding the Finishing Touches and Nineteenth-Century British Art 54 Alyssa Monks 288 on the Back View 152 Refinements (to the Drawing) 223 Premodernism 56 Frank Frazetta 292 Step 4: Turning the Drawing into a Painting 224 Adam Miller 294 Twentieth Century—Realism for Hire 62 CHAPTER 4: RECLINING Step 5: Blocking In the Head (in Paint) 225 An American Narrative 64 FIGURE 162 Step 6: Tying It All Together 226 The Figurative Divide 70 AFTERWORD BY KURT KAUPER 297 Step 1: Finding the Gesture 164 Advanced Lessons: Exploring the Beyond Modernism and Postmodernism and into Step 2: Establishing the Basic Proportions Possibilities of Painting 228 SELECTED BIBLIOGRAPHY 299 the Twenty-First Century 72 (and a Bit of Spatial Mapping) 165 ILLUSTRATION CREDITS 300 Step 3: Blocking In the Figure 166 CHAPTER 8: THE CREATIVE INDEX 302 CHAPTER 2: STANDING FIGURE, Steps 4 & 5: Modeling (and Connecting) the PROCESS 238 80 FRONT VIEW Forms & Adding the Finishing Touches 167 Andrew Wyeth 240 Step 1: Finding the Gesture 82 Advanced Lessons: Other Artists’ Ann Gale 244 Step 2: Establishing the Basic Proportions 86 Perspectives on the Reclining View 170 Brad Kunkle 246 zeller_int_all_6p_v2.indd 6-7 11/4/16 12:23 PM FOREWORD BY PETER TRIPPI At the risk of seeming over the top, it is safe to say that to put their messages across in a manner that is unique, this book is a milestone. Obviously a labor of love, it authentic, and comprehensible to modern viewers? also marks the opening of the next chapter in the re- Zeller’s substantial focus on composition and vision is, birth of figuration in America today. As Rob Zeller notes therefore, gratifying; he wants his readers to take that in his thorough though not overwhelming text, there is next step, and he paves the way by showing them who’s growing energy in this sector of contemporary art, yet done it already and how. instructors like him must juggle half a dozen existing Necessity is the mother of invention, so Rob Zeller books to convey what their students need to know. In took matters into his own hands—addressing a need the development—in this case, the recovery—of a field, he perceived in his classroom by creating a useful tool. building a solid literature is essential, and this book will Yet it would surely have been easier and cheaper to definitely be used for at least a generation or two. make his book short and plain. Monacelli Studio knows Though his primary audience is working artists, a good thing when it sees it, though, and now deserves Zeller’s opening section on the history of figuration credit for going the extra mile to produce a volume makes for lively reading by anyone interested in art. that will inspire readers through its beauty as much as Moving forward, the lessons offered should intrigue through its information. even those who don’t make art, primarily because the On behalf of the art collectors served by Fine Art artists—both historical and living—selected by Zeller Connoisseur, I am grateful to everyone involved in for emulation are uniformly outstanding. As editor of this project for making it happen. We all look forward a magazine called Fine Art Connoisseur, I am naturally to watching its artist-readers grow to the next level, keen on calling out who’s good/better/best, so it gives enhancing our collective vision with important works of me joy to see that Zeller has highlighted only the best. art that are both well made and well conceived. It’s a reminder of how golden an age we are experienc- ing now that many of the artists examined here are still PETER TRIPPI in their thirties and forties. There is so much talent at Editor-in-Chief, Fine Art Connoisseur • New York City work right now, with decades still to run. Speaking of those generations, an urgent question about them has been that, though their technical skills are evident, what exactly do they have to say as indi- OPPOSITE: Rob Zeller, Jamaal, 2014, pencil on paper, 24 x viduals, and how can their compositions be enhanced 18 inches (60.9 x 45.7 cm) 9 zeller_int_all_6p_v2.indd 8-9 11/4/16 12:23 PM PREFACE When I was first asked to consider writing this book, I I have been teaching figure drawing and painting was reluctant. I could think of at least five artists in my for seven years. One of the main problems I’ve faced circle of friends who were better figurative draftsmen. in teaching the figure is that I have to use six or seven To anyone with atelier training, no matter what we tell books, because no single book is comprehensive ourselves about content, there is always a voice that enough. As good as these references are, they are all says technical excellence is the most important criterion. missing one necessary component or another. What if We are continually ranking ourselves. I could change that? What if I could write something But upon further reflection I saw the need.