The text explains how light interacts with different parts of the human body in artistic representation. It describes the distribution of light, shadow, and half-tones across various body parts when viewed from different angles. Emphasis is placed on understanding the light effects to accurately render and model the figure in art.
— 105 —
The text describes how light falls on the human body from the clavicles to the lower abdomen. The chest, being the most prominent part, is the most illuminated. The rest of the torso presents a receding plane where the light gradually diminishes. The thighs, which come forward, receive the light; the legs, which are vertical, remain in the half-tone; the feet, where the light falls directly, are very bright. Here, the right arm is very illuminated, and the forearm is in half-tone; the left arm and forearm receive quite strong light; the top of the hand is very bright; the light glides over the fingers which are upright, and they are in the half-tone.
The torso turns from right to left and from top to bottom. The most vivid light is on the left shoulder and pectoral, which is the illuminated side. The other pectoral receives little light. A less vivid light than that of the left pectoral glides over the belly, where the whole lower part, which presents a receding plane, is completely in the half-tone.
The left thigh being slightly curved from top to bottom, results in the upper part being more illuminated than the lower part. Additionally, since this thigh is round, the right side is devoid of light; the left side is illuminated. In this position, the right thigh, being almost in profile, has its most prominent part, and thus the part receiving the most light, on the right. The left side of this thigh receiving the shadow cast by the left thigh is in half-tone. Moreover, as the knee is bent and comes forward, the greatest light is found at the base, which causes it to appear differently illuminated from the left thigh, where the light is on the upper left side.
Next are the legs in half-tone; the left leg receives a bit of light as it is slightly bent. The right side of each leg is in shadow, while the other side is in half-tone.
The left foot is almost seen from the front: the light falls directly onto it; the top of the instep being the most prominent part, is also the brightest. The right foot is seen almost in profile, is deprived, and a part of this foot receives the shadow cast by the left foot.
The right arm, coming forward, gets a lot of light: only the underside of this arm is deprived of light; the forearm is positioned so that only the top is illuminated, but it is not visible. In contrast, the underside, which is in half-tone, is seen in the shadow cast by the card on the hand.
The shoulder sees a glaring light that fades towards the joint. These arms (seen this way) consist of two main masses, and one must make each mass turn.
The most illuminated part of the forearm is at the most protruding area near the joint.
The top of the hand receives quite vivid light; the fingers are in half-tone, though the first phalanges have been illuminated; the others are completely deprived of light.
After observing and studying (with the eyes and reasoning), one must shape the figure (as represented here, § 3), dealing with only large masses and the general effect. Once the figure is shaped and well-rendered, one attends to the details. For example, the head and neck are finished; the work then proceeds to the chest and shoulders, always applying the same principles to each detail. Thus, to make a shoulder or one of the pectorals turn or stand out, the same methods as those used to portray the head or torso in relief are employed, always with reflections, shadows, half-tones, and lights, and especially by comparing each shadow, light, or half-tone, with those already present; applying oneself especially to studying the joints of the limbs, the hands, the feet*, and accounting accurately for everything seen, even if it's just a small reflection, inquiring about its source. Above all, avoid harsh contours, while maintaining as much purity as possible. Finally, smoothly transition from shadows to half-tones and from half-tones to lights, which is called modeling.
* It's advisable to study some anatomy books for painters. Among the best works in this genre, one can cite the one by M. Gerdy: Anatomy of External Forms, etc. Paris, 1829.
28