NAKED (n.)

NAAKT (nld.) · NACKEND (deu.) · NACKIG (deu.) · NACKT (deu.) · NACKTER MENSCH (deu.) · NU (fra.) · NUDO (ita.)
NAAKT (nld.)



3 sources
3 quotations


If in truth Naked, and other polite Bodies were so formed, as that we might detect the course, and inclination of the Threads, Fibers, and Grain, so as we perceive it in Stuffs, Cloth, Linnen and other Draperies ; nothing would appear more facile ; for let them assume what ply they will, it does not all concern the tissue, Tenor or range of the Threads and Wales (as they call them) which is easily imitated, both as to their inclinations, and distances from the point of sight.
But since we are much at a loss, and can perceive no such direction or clue in Nudities, and other smooth surfaces, it were haply worth the while, to find out some expedient which should assist the imagination in this affair, and that might encounter the difficulty upon other
terse and even objects, by forming such stroaks, and directors upon them in our Imagination ; observing, that there are some parts in them commonly to be distinguished from the Mass in gross ; for example, the hairs in men, eyes, teeth, nails, &c. that as one would conceive such lines, or hatches on those Masses, others may likewise be as well fanci’d upon those lesser, and more delicate members 

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → figure et corps
MATERIALITE DE L’ŒUVRE → technique de la gravure


Some further Observations in drawing a Naked Figure, standing Foreright, by the Life.

In my Opinion, to understand how to make choice of a good
Naked, and to draw it well, is one of the most Difficult Studies in Painting, because it cannot be done well without the understanding of Anatomy. Being then desirous to draw a Naked Figure, you must strike a Line Perpendicular as long you would have the Figure to be, then you divide that Line into so many Divisions or Parts as you design the Proportion […]. And since Nature, that Cunning Work-Mistress, is so extremely Various in her Representations, the Painter is not bound to observe this Rule exactly when he draws to the life ; because all these Rules were intended for no other use then to create the Idea of such and such Proportions first in our Brain, and before they be designed in a true Symmetrical way upon Paper, and to prevent us from Designing our Figures in an Extravagant or Preposterous Proportion. […]. 
Observe (as you proceed downwards) to place all the Muscles in their right and proper places according to Nature, as you judiciously may observe in the Life, there being no certain Rules for placing and drawing the Muscles in their proper places Therefore ’tis extremely Advantageous to draw very much after the Life, and after good Prints of Anatomy, and those Statues aforementioned, and Anatomies of Plaster of Paris, which is the onely way to arrive at the perfection of Drawing a Naked Figure well ; without which never expect to be a good History Painter.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → figure et corps
CONCEPTS ESTHETIQUES → nature, imitation et vrai