The text discusses principles of perspective in drawing, highlighting how outlines and muscle depiction contribute to artistic illusion. It explains the differences in proportions between male and female figures, emphasizing how female figures differ in head size, neck length, and limb proportions. Additionally, it covers how children's proportions naturally change with age and describes characteristics of youth, aging, and how they influence artistic representation.
DESIGN
The outlines pass over each other, following the principles of perspective.
PLATE XVIII
Academic figure, seen from the back, after a drawing by Mr. Fragonard
This figure's pose is more pronounced than the previous one, with muscles more defined and outlines more complex. One can notice that the outlines of the right arm, which retreats completely, enhance the illusion by passing over other parts. The right arm appears shorter because it is retracting, and the hand is farther away, appearing weaker than the left on the forefront. The shadows and strokes on the right hand are less vigorous than the left, adhering to the same perspective rule, as with the left leg and thigh.
PLATE XIX
Grouped figures by J. Jouvent.
One can apply principles of planes, ensemble, and figure effects to this group; these three aspects are so tightly linked that breaking them disrupts the spectator's perception. Incorrect alignment between planes, or a figure projecting wrongly against light, demonstrates this interruption. Marked lines A, B, C, D indicate the key planes or support points of these figures, highlighting errors in the rendering and alignment of the plans. Adjustments can correct this misalignment to avoid the overturning effects and maintain perspective.
PLATE XX
Figure of a woman, seen from the front, from the design by Mr. Cochin
PLATE XXI
Figure of a woman seen from behind.
Women's figures follow the same removal and effect principles as men's, though their proportions differ. Women have smaller heads, longer necks, and narrower shoulders but wider hips. The upper arms are thicker, and the hands narrower. The torso and belly are more stable, with the distance between breasts to the navel being half a nose longer; thighs are broader and feet narrower. Outlines are smoother, forms rounder, and muscles less visible due to softer flesh than men's.
PLATE XXII
Fig. 1. Group of children seen in profile and from behind, after Mr. Boucher.
2. Another group with various objects
Children's proportions adjust naturally to their age, their outlines keeping a flowing quality.
PLATE XXIII
Heads depicting attitudes of youth, including:
1. Head of a young man near adolescence, after M. Boucher.
2. Head of a young girl, representing adolescence.
3. Head of an old man, defining age and movement.
4. Head of an old man, depicting longevity.
Traits of youth do not define models or rules strictly but adapt dynamically to age and wisdom, maintaining grace and dignity.
PLATE XXIV
On profiles. Figures and their explanation according to Brun.
Translation Notes:
- "Retreating completely" refers to the visual technique of making an arm appear to retract into the distance.
- "Prescriptions for removal and effect" refers to artistic methods used to create depth and realism.