nude drawing

nude drawing

Nude drawing is one of the most important pillars of a painter’s education. For me, it has always been one of my weak points. These works are from the time I was at the academy and the time I started to enjoy life drawing.

One of the main reasons why I made no progress with nude painting for so long was that I clung too much to a great Austrian draftsman, one of the artists I still admire today, Fritz Martinz. But I’m not the only one who couldn’t escape his dominance in nude painting.
Later I changed my style completely.

drawing by Fritz Martinz

More of this kind can be seen in: earliest sketches

Zettl Fine Arts

paintings graphics calligraphy

14 comments on “nude drawing

Lovely work and interesting models too

thank you, Graham. yes, interesting models, easier to draw than most western models which usually have more meat on their bones 🙂

Amazing.You can sense the emotions in each subject.

Thank you Rebecca for your kind words. I was not so good on nude drawings but rather good on portraits, I think.

I agreed. The emotion in each subject was the first thing I observed from the pictures as well.

With these drawings you kind of go back in art history. We find them interesting but we wouldn’t hang them on our walls. We prefer more abstraction.
Thanks for sharing
The Fab Four of Cley
🙂 🙂 🙂 🙂

Thanks for your comment! They were not meant to be hung on walls, but we’re studies to understand anatomy. Considering art under the aspect of wether it can be hung on walls is another thing.

Yes, you are right.
Thanks for answering
The Fab Four of Cley
🙂 🙂 🙂 🙂

I was thinking yesterday that I wish we had life drawing sessions somewhere within 50miles (I live in the middle of nowhere) but no. I haven’t figured out how I ended up painting landscapes other than that’s what there is to paint. My one-person show was almost all figurative art.

Your work is very beautiful, and these are amazing models.

Thank you again, Martha! There was a period when fellow painter and me hired a model every week. This way we could afford models and were encouraged to attend the sessions. But in the middle of nowhere models and fellow painters are scarce, I know. However I think it is important though I was never good in it.

For a while in Denver in the late 70s/early 80s a popular coffee house (among the young avant garde or those who considered themselves such) expanded into a tiny, old movie theater. There were a hundred or so theater seats and a stage. For $5 every Monday night we could draw a live model for 2 hours. It was wonderful and I got so much out of the experience.

What I learned from life drawing was how to see motion. In my recent little job illustrating that book — which required me to draw horses — I was really intimidated until I transferred the motion aspect of life drawing to a different animal. Then it worked and I began to love drawing horses.

As it happens painters where I live are everywhere. The American southwest — since Georgia O’Keefe, D.H. Lawrence, etc. — has been a kind of Mecca for artists. There’s a definite “Southwestern style” in which I don’t participate. Why should I paint someone else’s paintings?

The “Denver project” sounds very interesting. As for horses, I also did several paintings with horses. I will post them some day. I dodn’t know if you ever saw the horses by Liu Boshu. I knew him personally and have a small work by him which I still like a lot. I always found them more intersting than Xu Beihong’ horses. As for following schools, I see it the same way. Why should I limit my horizon by setting myself a boundry?


Thank you very much! I am happy you like it!

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