The text explores the concept of movement in the human figure, distinguishing between physical and mental aspects. It discusses how an artist captures the dynamics of movement, emphasizing the importance of understanding nuanced attitudes to convey strength without stiffness. Examples are provided to illustrate how these movements manifest in actions like striking or throwing, where posture and energy are crucial.
OF THE HUMAN FIGURE.
Gestures devoid of sense, like those of a madman, a drunkard, or one in delirium.
Movement becomes mixed when the physical is joined with the mental. In this union, above all, the gaze of the figure is directed towards the object on which the mind has resolved to act. Then, gradually, the limbs adjust themselves following the mental movement, so that by assuming suitable postures, they execute what the mind intends.
Local movement is that by which a body is transported from one place to another. It occurs either voluntarily, with haste, gravely and step by step, or violently by being lifted, carried away, or borne. Artists must especially strive to understand all these movements, which we will explain with the following examples.
Application of the principles of movement to examples.
An artist often finds it difficult to properly express pride, promptness, liveliness, agility, effort, and similar qualities of an athlete full of energy and courage. One must show strength, not stiffness, as any stiffness in the limbs always has a negative effect unless dealing with a dead body. A man preparing to strike a violent blow or throw a projectile with force turns the upper part of his body from the shoulders to the navel, completely concealing it from view.