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Auguste Rodin Draws Blind

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Auguste Rodin Draws Blind T e c h n i c a l a r T i c l e Auguste Rodin draws Blind An Art and Psychology Study J o h n T C h A l e n k o a n d R . C h R i S M i A l l Late in his life Rodin produced many thousand “instant drawings.” one model, sometimes two—and he was looking at them He asked models to make natural energetic movements, and he would very attentively. Suddenly, amazed by some movement that draw them at high speed without looking at his hand or paper. To help seemed new to him, or acrobatic or full of vitality, he would understand his “blind drawing” process, the authors tracked the eye and ABSTRACT hand movements of art students while they drew blind, copying complex seize his pencil and, without removing his eyes a single lines presented to them as static images. The study found that line shape instant from the model, he would trace at an extraordinary was correctly reproduced, but scaling could show major deficiencies speed the outline of what he saw in front of him. And that not seen in Rodin’s sketches. The authors propose that Rodin’s direct was unique, a new process, a very difficult one—in a way, vision-to-motor strategy, coupled with his high expertise, allowed him the explanation of the extraordinary vitality of his draw- to accurately depict in one sweep the entire model, without “thoughts ings; he was drawing what he was seeing, not seeing what arresting the flow of sensations.” he was drawing [1]. During the last 20 years of his life, the sculptor Auguste Rodin (1840–1917) produced several thousand of what he Rodin’S instanT DrawingS referred to as “instant drawings” (dessins instantanés). He Rodin seems to be the only artist to have systematically used would ask models to move naturally but with energetic and blind drawing, although teachers of drawing have sometimes rapid—even acrobatic—movements. He would then draw advocated a similar method as training [2,3]. His instant them at great speed, without looking at his hand or the paper. drawings, first created as starting points for further work, The resulting pictures were proficient even though they con- were also notable as finished sketches. At times, the drawn tained the occasional misplaced line. In 2011 Nadine Lehni, line would exceed the paper’s boundaries; the artist would former chief curator at the Musée Rodin Paris, described then redraw the missing element—still without looking— such drawing sessions: elsewhere on the paper. Figure 1 shows this with the model’s left arm and hand. The right arm and hand, possibly the last He had always been drawing from imagination, but from lines drawn on the paper, are also remarkable in that the hand about 1900 onwards, he created a completely new way of is seen clutching for, most probably, the ankle, but missing by drawing. Every day, professional models would come to about one centimeter on the paper. This suggests that, hav- his studio, and Rodin would ask them to be as natural as ing drawn the whole figure essentially in one sweep without possible. He never asked them to pose or to take attitudes to looking at the paper, the artist landed the right hand within convey feelings—he was not interested in that. He wanted a centimeter of its intended position. Rodin explains to his them to act natural and to have vivid movements: to run, to secretary, Ludovici, in 1906: dance, to comb their hair, to kneel on the floor, etc. Rodin was seated in a chair, a sheet of paper on a cardboard held Not once while drawing the contour of this form did I take on his knees and a pencil in his hand. But he was only fol- my eyes off the model. Why? Because I wanted to be sure lowing the model’s movements with his eyes—sometimes that nothing would distract me from my understanding of the model. Thus not a thought about the technical problem John Tchalenko (researcher), University of the Arts London, 272 High Holborn, of representing it on paper was allowed to arrest the flow of London WC1V 7EY, U.K. Email: [email protected]. sensations from my eyes to my hand. Had I looked at my R. Chris Miall (neuroscientist), School of Psychology, University of Birmingham, hand this flow would have ceased [4]. Birmingham B15 2TT, U.K. Email: [email protected]. See www.mitpressjournals.org/toc/leon/52/5 for supplemental files associated Although Rodin had been drawing since youth, the origins with this issue. of this method were situated in sculptural work. In 1880 he ©2017 ISAST https://doi.org/10.1162/leon_a_01553 LEONARDO, Vol. 52, No. 5, pp. 483–491, 2019 483 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/leon_a_01553 by guest on 29 September 2021 Fig. 1. Auguste Rodin, untitled sketch, ca. 1900. Model standing on her right Fig. 2. Auguste Rodin, untitled sketch, post-1900. The outline of the model’s foot while bending her left leg behind her. The model’s left arm and hand are shoulder and back, first drawn blind using a wavy line, was later drawn out of frame but redrawn further down. In actuality, the model’s right hand was sighted as a darker “right line.” The right hand, out of the picture, is repeated probably clutching her left ankle, but in Rodin’s blind drawing the hand missed lower down. The left arm and hand are shown in two consecutive positions, the ankle by about one cm. The right hand’s clutching gesture, the left hand’s revealing the speed of Rodin’s drawing action. The outer contour line of the counterbalancing position, the head’s tilt and the diagonal shoulders express right leg is misplaced: The artist seems to have lifted his hand from the paper the body’s movement at the verge of instability. (Contrast digitally enhanced.) while drawing the thigh, subsequently starting again too low in the picture. (© Musée Rodin) (Contrast enhanced.) (© Musée Rodin) received a commission for the Gates of Hell, a monumental I noticed that he kept his eyes fixed on the model. This 3D panel 6 m high, 4 m wide and 1 m deep, comprising 180 way would produce frequent errors: for instance, the final figures depicting a scene from Dante’s Divine Comedy. Ro- stroke of, say, the right side of a leg, would be brought down din worked for a whole year on preparatory drawings from so very far wide of the stroke representing the left side [as imagination until, finding them not sufficiently close to real- to suggest] elephantiasis [8]. ity, he decided to start again, working from moving models and modeling each figure directly in clay. Pinet [5] mentions The opposite effect is perceptible below the knee: a thin- that Rodin modeled the clay with extraordinary ease, never ning of the lower leg well beyond realistic proportions. Both taking his eyes off the model, forgetting the presence of visi- errors stem from inaccurate line positioning, the line shape tors who were fascinated to see a face or torso emerge from and size being correct. For convenience we term such in- his hands within just a few minutes. In 1896 his friend R. stances “misplacement” errors (see Glossary). Although Marx mentioned seeing “a series of drawings no longer done Ludovici called such errors frequent, in the context of the from memory, but using a model” [6]. The first contempo- several thousand drawings still available today, they consti- rary reference to the artist’s method appeared in a 1903 article tute less than a few percent. Nevertheless, we show their im- by critic Clément-Janin [7]. portance in understanding Rodin’s way of drawing. Ludovici also comments on the mishaps possible when Finishing an instant drawing, Rodin would throw it on drawing without looking. Referring to the upper leg as it the floor and immediately start on the next. At the end of appears in a particular drawing—possibly Fig. 2—he wrote: a session he would revisit each of the sheets he liked best, 484 Tchalenko and Miall, Auguste Rodin Draws Blind Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/leon_a_01553 by guest on 29 September 2021 reinforcing an existing line or adding a darker one, which he racies. Following a brief survey of the experimental methods referred to as “the right line” (le trait juste). Figure 2 shows used, we describe the main features seen during direct trac- this for the model’s back. Some drawings would then be re- ing of an original line, blind copying of lines without vision traced and submitted to further changes—toning, tinting, of the drawn copy and the more natural direct copying with collage assembly, etc. Some resulting pictures were eventually periodic gaze shifts between original and copy. shown in exhibitions, although the original instant drawings remained private, seen only by a few friends and art critics. Testing Method Experimental Setup Blind Drawing ObseRved viA eye-TrackeR Subjects wearing head-mounted eye-trackers were seated about 55cm from a vertical graphics tablet screen. For that Previous Observations distance, 1° of visual angle covers a screen area measuring We have previously reported two types of blind drawing in approximately 1 cm in diameter. For right-handed subjects, first-year contemporary art students, which we termed di- the screen’s left half acted as display monitor containing the rect blind copying and direct copying [9].
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