Did you just
read that and think, "Wha-wha-what?" Well, when I first saw the phrase--which was
originally applied to the sculptures of Antonio Canova--applied to the work of
Pierre-Paul Prud'hon, I had the same reaction. But it is true--there is
something inherently contradictory about his drawings. They are simultaneously
sensual and academic, powerfully physical but cerebral and still as well. But
most contradictory of all is that this 18th-century master's drawing
techniques still have many things to teach us hundreds of years later.
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Académie of a Seated Man, Seen From Behind by Prud'hon,
black chalk heightened with white on blue paper, 17 3/16 x 11 3/16. |
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There are
few better draftsmen to learn how to draw from than Prud'hon. His output is legendary
and the drawing program that he embarked upon during his career was based on
the belief that learning to draw was absolutely essential for any artist who hoped
to rise in skill and public estimation.
Prud'hon's
working method was a systematic one. He usually worked on blue paper, giving
him a cool middle-tone to start with, and--now, this is unusual--he would use
both black and white chalk from the start. Many artists wait until the end of
the drawing process to add smatterings of highlights, but Prud'hon built up a
full range of tones from the outset.
He would
start with a rough contour to establish proportions and gesture, but then went
right in with loose and free hatching. After this, he would often stump down
the drawing, rubbing it so that lines became broad "washes" of light and dark.
He would then go in with more tightly controlled hatching to reintroduce
structure to the forms. It went this way, back and forth, but always the last
layer was hatching, not stumping, so that on the surface the forms--made with
tandem strokes of black and white--appeared delicately modeled and luminous.
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Seated Nude Woman by Prud'hon, black and white chalk on
blue paper, 22 x 15.
Adapted from an article by Ephraim Rubenstein |
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Studying Prud'hon's
work, you realize that many of his best drawings were made when he was a
student--still learning but thrilled with the course he'd set himself upon. As
his career progressed, his output of drawings increased, and they often served
as the source of his creative inspiration. This all seems to indicate that Prud'hon
never stopped learning to draw, and never stopped believing in his ability to
learn something new from the figure.
That is
inspirational to me because I know that my art can change and improve with time
and effort, too. And I've got a new trick up my sleeve: Artist's Network
University. It's essentially an online art atelier where we can get all the
fine art education we are looking for, at any skill level. These online art
classes have one-on-one instruction and weekly assessments of your work from
instructors who work in a variety of mediums. No other art resource I know of
is quite like this! And from now until November 15, Artist's Network University is offering 15%
off any course you want to take. See what classes
are available, register, and enjoy!
