Copyright © 1975 by Watson-Guptill Publications. All rights reserved. This Dover edition, first published in 1992, is an unabridged, slightly corrected republication of the work originally published by Watson-Guptill Publications, New York, in 1975. Library of Congress Cataloging-in-Publication Data Sheppard, Joseph, 1930— Anatomy: a complete guide for artists / Joseph Sheppard. p. cm. This Dover ed., first published in 1992, is an unabridged, slightly corrected, republication of the work originally published: New York: Watson—Guptill Publications, 1975. 9780486129945 1. Anatomy, Artistic. I. Title. NC760.S53 1992 743’.49—dc20 92—20645 CIP Manufactured in the United States by Courier Corporation 27279612 www.doverpublications.com This Book Is Dedicated to Rita Table of Contents Title Page Copyright Page Dedication INTRODUCTION 1. PROPORTION 2. THE ARM 3. THE HAND 4. THE LEG 5. THE FOOT 6. THE TORSO 7. THE HEAD AND NECK 8. THE COMPLETE FIGURE INTRODUCTION I first started drawing bad copies of Vargas and Petty girls from men’s magazines when I was twelve years old. I started art school at eighteen and happily discovered that the great periods of painting and sculpture, from the Greeks to the Baroque, used the figure as the main means of expression. I studied at the Maryland Institute under Jacques Maroger, who not only taught painting but anatomy. Maroger stressed drawing through learning basic anatomical forms. He believed that the master draftsmen of the Renaissance had simple formulas for creating the figure, which explains the enormous amount of information many acquired while still young. Maroger used the then-out-of-print Paul Richer anatomy charts in his lectures. I found myself spending nights at the Enoch Pratt Library tracing all 110 plates from that rare book. (This book has recently been reissued by Watson—Guptill in an English translation by Robert Beverly Hale under the title Artistic Anatomy.) Reginald Marsh, Maroger’s close friend, would visit our class in Baltimore from time to time and was a great inspiration to the students. He would sit down in class and work beside us. Marsh was the great figure draftsman of our time and would delight in showing us simple little schemes of numbers and shapes that when put together would represent muscles and bones. Marsh made me realize how much I didn’t know about the figure. I was embarrassed to put figures in my first paintings because I drew so poorly. I told him that as soon as I learned how to draw the figure properly I was going to fill my canvases with them. He said, “Put them in anyway. You have to paint bad ones and make mistakes in order to improve. If you wait until you’re good enough you’ll never paint the figure.” Since that time, there is hardly a canvas that I paint that doesn’t have the human form represented on it. In 1957, I went to Europe on a Guggenheim Fellowship, planning to paint and copy every Rubens painting I could find. Instead I found myself drawing from Greek and Renaissance statues. Here, all the anatomy was worked out, explained, and in the round. All one had to do was add life to it. Eventually I found myself back at the Maryland Institute, this time as a Eventually I found myself back at the Maryland Institute, this time as a teacher, teaching painting and life drawing. In the life class, I discovered that I couldn’t teach students how to draw from the live model if they didn’t have any anatomical knowledge. I looked around for an anatomy book to use in class but found them all either too medical and technical or too “artistic,” loosely drawn and vague. So I made up my own charts, xeroxed them, and would inject an anatomy lesson into my life class each day. My charts, after several years of trying, testing, and changing, finally developed into this book. It is not a medical book, but a book for artists. Because of the many variations in bone and muscle, I have chosen what I think is the simplest form for the artist to understand. I have taken liberties for the sake of clarity, omitting many of the underlying muscles and substituting the English equivalent for much of the Latin terminology. As there are two legs, two arms, two feet, etc., I have chosen to show only the right side. That is, the right leg, the right foot, and so on. The torso and head are shown in their entirety. The information in this book is accumulative knowledge from years of studying drawing, painting and sculpture of the great periods of art: I thank Jacques Maroger, Reginald Marsh, Michelangelo, Peter Paul Rubens, and all those other “Old Masters” for whatever knowledge I pass on to you. Note for the Reader The arbitrary division of the body into separate parts may make for the most efficient way of studying it, but it can also be somewhat misleading. For example, many of the arm muscles extend into the hand muscles, many of the leg muscles extend into the foot muscles, and the muscles of the neck and head are similarly interconnected. Therefore, because it is necessary to know where the muscles originate and insert in order to understand them, and the only way muscle origin and insertion can be explained is in terms of the bones, I have included the bones of the hand in the chapter on the arm, the bones of the foot in the chapter on the leg, and have combined the neck and the head in a single chapter. After the bones are studied as a unit, the muscles can be studied separately, in their natural sequence. 1. PROPORTION Proportion varies as much as people do. However, the classical figure, Greek Proportion varies as much as people do. However, the classical figure, Greek and Renaissance, was an eight-heads-length figure, the head being used as the unit of measure. Mannerist artists created an elongated figure, using nine, ten, or more head lengths. In nature, the average figure height is between seven and eight heads. The eight-heads-length figure seems by far the best; it gives dignity to the figure and also seems to be the most convenient. Landmarks Certain bones project on the surface of the body, becoming important landmarks for the artist. These bones are always next to the skin. On a thin person they protrude and on a heavy person they show as dimples. Key A. Sternal notch B. End of clavicle and scapula C. Bottom end of sternum D. Inside of elbow (humerus) E. Ridge of pelvis F. Pubis bone G. Thumb side of wrist (radius) H. Little finger side of wrist (ulna) I. Inside of upper part of knee (femur) J. Inside of lower part of knee (tibia) K. Kneecap (patella) L. Head of fibula M. Outside of ankle (fibula) N. Inside of ankle (tibia) O. Shinbone (tibia) P. Nipples Q. Navel R. Hipbone (femur) S. Seventh cervical vertebra T. Bottom of scapula U. Dimples caused by end of iliac spine V. Back of elbow (ulna head) W. Head of radius