Books in the Dover Anatomy for Artists series

Reference shows important parts of the human body, both in motion and in repose: hand, wrist, fingers, forearm, neck, thigh, leg, and more. "Best book on artist's anatomy."" -- Art Students League News."

Classic treatment by a master teacher features 430 pencil and charcoal illustrations depicting fundamental features of human anatomy. Topics include shading, curvature, proportion, foreshortening, muscular tension, and much more.

More than 500 drawings and text teach you to abstract the body into its major masses. Also specific areas of anatomy.

Here are 288 remarkably lifelike drawings of animals, furnishing artists and students with an easy-to-follow method of instruction in the drawing of horses, dogs, lions, cows and bulls, stags, and goats. So detailed and so accurate are these drawings that this book has long been a classic work of its kind. The animals are shown in three ways: external full views and dozens of details (paws, head, eyes, legs, etc.); beneath-the-skin drawings of musculature and of the positions and insertions of each muscle; and skeleton drawings of the bone structures that support and determine surface contours and configurations. In addition, special cross-sections dissect those portions of the animal--such as the head and limbs--that are most important to the artist. For this edition, Lewis S. Born of the American Museum of Natural History collected 25 plates from George Stubbs's Anatomy of the Horse, long unavailable; Straus-Durckheim's Anatomie Descriptive et Comparative du Chat; and Cuvier and Laurrillard's Anatomie Comparée. These plates, as fully annotated as the plates that make up the original book, supplement Ellenberger, Baum and Dittrich with anatomical drawings of the monkey, the bat, the flying squirrel, the rat kangaroo, the seal, and the hare. Mr. Lewis also provided a new preface and added to the annotated bibliography, which now contains 66 items. "Highly recommended as one of the very few books on the subject worthy of being used an an authoritative guide."--Design "Illustrators, sculptors, and taxidermists who draw or model animals will welcome this new revised edition."--Natural HistoryEnlarged (1956) edition, revised by Lewis S. Brown, American Museum of Natural History.

What is the difference between art anatomy and Bridgman's concept of the human machine? The human machine is the body as not only a fixed framework but also as a complex work of art which moves and was designed to move. In over 400 drawings, George B. Bridgman demonstrates the machine through the presentations which made him a gifted lecturer and teacher in his nearly fifty years at the Art Students League in New York and which gave life to drawings by his many students during those years. All skeletal and muscular systems are fully identified, and all are shown in front, back, and side views.The Human Machine begins with the framework of bones. In each section (head, neck, hand, arm, forearm, elbow, trunk, shoulder, back, scapular region, pelvis, hip, thigh, leg, knee, foot, and toe as well as the combinations of the major sections working together), George Bridgman starts with the skeletal components of the system; then he adds the muscles, shows the changes in the muscles as the body moves and, finally, shows the appearance of the bodily section in action. At the title implies, Bridgman, throughout, supplements his anatomical work with comparative drawings of simple machines. The anatomical approach to figure drawing is the foundation for the study of human form, and as in his other books on figure drawing, Bridgman's Life Drawing and The Book of a Hundred Hands, Bridgman's approach to the subject is important and unique. The Human Machine will give students and serious artists the conception of the human structure as the complex of beautiful machines it is, and will show how bone and muscle structures are solely responsible for our movements and for the shapes which we, at various times, display. Unabridged republication of the 1939 edition.

A master of animal portraiture presents an extensive course in creating lifelike drawings of wild and domestic creatures. Subjects include animal musculature, bone structure, psychology, movements, habits, and habitats. 123 illustrations.

Profusely illustrated book by master of the subject offers complete course in transforming the study of anatomy into art. Each stage progresses logically through the body's main areas -- trunk, limbs, head, and features. Scores of drawings by painters, graphic artists, sculptors, art teachers, and students. 55 figures in color; 141 in black and white.

Certainly one of the most difficult, often neglected areas of art study is the correct rendering of heads, features, and faces. This volume, prepared by an expert in the field, is devoted exclusively to just that. With its clear, concise text, its almost 200 excellent illustrations, and its overall life-drawing approach, the book provides valuable guidelines on how best to portray faces, features, and heads. There is probably no better instructor to turn to than George B. Bridgman. He brings to the subject both his expertise as an artist and his fifty years' experience as lecturer and teacher at the Art Students League of New York. Throughout the book, he places as much emphasis on perspective and planes as on anatomy. In this way, you'll develop a more precise understanding of each feature, the head and face in general, the relationship between features, and the relationship between a specific feature and the face or head. Mr. Bridgman's consideration of the head includes such topics as the head at eye level and below eye level; planes of the head; and round and square forms. Four features--eye, nose, mouth, ear--are dealt with in detail. Sections on light and shade, comparative measurements, and principles of cube and oval construction further enhance the scope of the book. The finely executed drawings complement the textual material, illustrating all important concepts. Of special value is the author's inclusion of the work of famous portrait artists. Vermeer, Hals, Rembrandt, Reynolds, Louise Elisabeth LeBrun--these are the people who made portraiture a master art; and you'll be able to study, up close and at your leisure, the qualities that let their work achieve the status it did. Unabridged republication of the original 1932 edition.

This is the largest selection ever made from the famous Muybridge sequence high-speed photographs of human motion. Containing 4,789 photographs, it illustrates some 163 different types of action: elderly man lifting log, woman sweeping, woman climbing ladder, men boxing and wrestling, child crawling, man lifting weight, man jumping, and 155 other types of action, some of which are illustrated by as many as 62 different photographs. Taken at speeds ranging up to 1/6000th of a second, these photographs show bone and muscle positions against ruled backgrounds. Almost all subjects are undraped, and all actions are shown from three angles: front, rear, and three-quarter view. These historic photographs, one of the great monuments of 19th century photography, are reproduced original size, with all the clarity and detail of the originals. As a complete thesaurus of human action, it has never been superseded. Muybridge was a genius of photography, who had unlimited financial, technical, and scientific backing at the University of Pennsylvania. This volume presents the final selection from more than 100,000 negatives made at an expenditure of more than $50,000. It has never been superseded as a sourcebook for artists, students, animators, and art directors. "An unparalleled dictionary of action for all artists, photographers."--American Artist."Impressive and valuable collection."--Scientific American.