The text emphasizes the importance of anatomy in drawing, particularly when starting to work from nature. It advises artists to mark muscles gently to maintain a balanced depiction of light and shadow. The author warns against overemphasizing anatomical details, as done by some, like Michelangelo, which can result in lifeless figures, instead of realistic ones.
The Drawing
What is often seen as insignificant and neglected at the beginning, are actually very essential points. It is only through continuous attention that one can imitate the true nature and even color in one's drawings.
When starting to draw from nature, one initially hardly notices any muscles. That's why, before beginning this study, one should have some basic knowledge of Anatomy. This helps in more easily identifying the location of bones and muscles. It's not that all unseen muscles on the model should be marked just because we know they are there; rather, Anatomy should serve as a guide to more easily perceive and place them appropriately. One must then apply care to mark them so gently that they do not interrupt the light masses, allowing large parts to remain clear as well as shadowed.
Several great artists, like Michelangelo and others, have made the mistake of marking bones and muscles too strongly. However, following such examples too strictly is dangerous, as it might lead to creating skeletons and skinned figures, rather than lifelike images. This is the opinion of Mr. de Piles in his Painting Course: "There are painters," he says, "who, far from seeking a just moderation in their designs, have insisted on making contours and muscles more pronounced than proper for their Art. This is likely done to appear skillful in Anatomy and in a design taste that could attract the admiration of posterity, but they..."
Translation Notes:
- "Squelettes & des écorchés" implies anatomical sketches showing the underlying structures, which can be intense and detailed.