Tracing Old Master Drawing #2
December 16, 2014
Second of my personal 100 great Old Master drawings, based on the Hale & Coyle classic textbook, involving both a tracing and, where possible, tracking back to the original painting.
Similar to the Michelangelo pose, but less extreme, is this by Rubens. Again, I’ve used red in the traps, orange in the lats and yellow on the pesky teres group.
Hale and Coyle make many references to the infraspinatus which ultimately means I need to go back and check the scapula bone and the origins/insertions of muscles attached to it. Which is a good thing. The Proko anatomy course will eventually cover all this, but I know Riven Phoenix in Structure of Man deals with the spine/scapula/clavicle connections very well. I think it was Proko who described the scapulas as like plates sliding over the “egg” surface of the upper body.
Just as Michelangelo increased the sense of exaggeration in the painting compared to the original drawing, Rubens does the same. The line of the clavicle is much more horizontal in the painting (perhaps so as not to interfere with the pleasing geometry of the red drape in the figure behind); the back is falling out towards the viewer much more in the painting whereas the sitter for the drawing feels like he’s been posing for a very long time.
There is some confusion in my understanding of the muscles around the hip (there are significant tonal differences between the drawing and the painting in the description of the oblique and the sitter’s entire right side, the painting looking distinctly more realistic).