"Thou Art the Man."

At this session we again were fortunate to have three models, greatly increasing the possibilities for poses, which I took advantage of by creating historical scenes. Thanks to The Church on the Hill, Boston, for letting us use the room.

"Thou art the man." (2 Samuel 12:7). This scene takes its name from the prophet Nathan's accusation of King David after David seduced Bath-Sheba and arranged the murder of her husband to cover up for the fact that she was carrying David's child. In the biblical account Bath-Sheba does not appear in the episode of the accusation. But I have added her to the scene behind the other figures (to represent being in the background in the text). She looks out to the viewers and, by engaging them, reminds the viewer that she, too, will suffer (note how she caresses her belly, wherein grows the child that Nathan prophesies will die). Both Nathan's and David's heads are in profile, engaging solely with each other, with Bath-Sheba being the only figure looking directly at the viewers. Whereas the text says that David comforted Bath-Sheba after the death of the child, I have Bath-Sheba placing her hand on David's head to comfort him.

Susanna and the Elders. This scene, which was very popular in the Baroque period, is taken from the 13th chapter of Daniel (in Catholic and Orthodox Bibles, it is omitted in Jewish and Protestant Bibles). It is the story of the virtuous woman falsely accused by lecherous old men when she spurns their improper advances. Here we see them spying on her, and even attempting to grope, her as she bathes in her walled garden. The models enjoyed this pose, which is why our Susanna, quite inappropriately to the scene, is smiling.

The composition is based on that the Giuseppe Bartolomeo Chiari's late Baroque Susanna and the Elders.

First-time model Bhavki created this dynamic pose himself and held it for several minutes.

Here I am posing the models.

Photo credit Christopher Morgan.

Intimate Apparel

Beauty salon scene from our May 14, 2015, life drawing party.
Photo credit Chris Morgan.

Our Thursday, May 14, 2015, life drawing session featured two new things, a photo shoot that was not part of the drawing experience, and modeling instruction for a first time model.

This coming fall, David Trumbull will be teaching a course in the Textile, Fashion Design and Merchandising Department of the University of Rhode Island. A major part of it will be on the sourcing of the various component parts of a finished garment. Take for example, the narrow elastic fabric that goes into the waistband of underwear and is used for brassiere straps. Some years ago there was a dispute, between apparel retailers and the U.S. textile industry as to whether elastic waistband and brassiere straps were essential components of the garments or were "findings or trimmings." In some cases narrow strips of fabric sewn into or onto a garment are "findings or trimmings." But David argued, from the law, the regulation, and several prior U.S. Customs rulings, that in the case of intimate apparel such as pictured below, they are essential components. At stakes was potentially millions of dollars in tariff duties the importers would face if David were to prevail.

Our models, Jennifer and Jim
Photo credit Chris Morgan.

The legal arguments while strong, were not quite enough to win the battle, so David approached it another, more practical way, saying, "They are not findings or trimmings, they are essential components, because this (see photo below) is what happens when you omit an essential element, not a finding or trimming.

Photo credit Chris Morgan.

The case of the brassiere straps, David won. In the case of the waistbands straps it was a partial win. Customs said brassiere straps were not findings or trimmings and that waistbands were not necessarily so and would have to be decided on a cumbersome case-by-case basis. Since business hates the uncertainty of Customs or any government agency saying "maybe, maybe not" the effect was they didn't even try to use the findings and trimmings exemption for waistbands.

Our model John Photo credit Chris Morgan.

Jennifer is an experienced model having done many advertising or promotional shots, but this was her debut as nude art class model. She was a delight to work with, took direction well, and with an art history course under her belt, immediately got what we were doing with some of the classic poses. Jim has previous art model experience and was the perfect chose for the embarrassed "Joe College" character suddenly, and unexpectedly, depantsed. John had no modeling experience, but after some brief instruction, he took to it fabulously. As usual, we started with the models posing separately in quick two or three minute poses to warm up the artists and models alike. Again, we thank The Church on the Hill for the use of the room and the spot light, carrying on an ancient tradition of churches as patrons of the arts.

Danielle L. created this Shakespearean pose for John.

Jennifer, John, and Jim as the Three Graces

Jennifer getting the full beauty spa treatment, pedicure from Jim and hair washing from John (pose created by David)

Jim (left) and John (right) fight over Jennifer (pose created by David)

Nancy created this interesting pose with all three models. David chose to focus on Jennifer, rendering her in a abstract, streamlined fashion

Nancy created this interesting pose with all three models. Chris created this pose with the models leafing through the pages of the book Art Models 2

David and Chris created this pose, with Jennifer recumbent, her hair cascading into Jim's lap, while John sits nearby, inscrutable.

The "Nude Deal"

Thursday, March 6, 2014, Mary and David held their sixth life drawing session, and, once again, space for the event was graciously provided by The Church on the Hill.

It was also a birthday party for our friend, and Mass College of Art student, Danielle L.

Our models Alex and Sally were both excellent at taking direction and creating poses.

How to be an Artist

In keeping with Mr. Benchley's "How to Sleep," "How to be a Detective," and his other "How to..." essays and short film subjects, the "We've Come for the Davenport" Chapter of the Robert Benchley Society presented, Sunday, November 24, 2013, "How to be an Artist." This was the fifth such life drawing session, and, once again, space for the event was graciously provided by The Church on the Hill. Due to some unavoidable delays both models arrived late so, in spite of the title, David did not give the participants any tips on How to be an Artist, and we jumped in immediately to sketching.

The Thea had modeled for us before, in September 2012 (http://trumbullofboston.blogspot.com/2012/09/its-okay-to-stare.html), John, also was with us before, in November 2011 (http://trumbullofboston.blogspot.com/2011/11/artists-and-models-11182011.html)

Thea has the curves of a classic art model and excels at formal poses, such as the one above, inspired by the ballet "Swan Lake." John is tall and lean with clearly defined muscles, excellent for teaching the artists anatomy.

The height difference between the models presented challenges in poses such at the one at the right.

As usual there was music, conversation, and drinks throughout the session. Just as the models finished our food order arrive (chicken -- legs and breasts) and the party continued.

For the next life drawing session David plans to explain some of the tools (pencils, crayons, etc.) available to the artists and how they are used.

Barefoot up to Her Chin

The Boston "We've Come for the Davenport" Chapter of the Robert Benchley Society was rounded up Friday, January 18, 2013, for "Barefoot up to Her Chin." The name of this life drawing session was taken from the title of H. Allen Smith's interview with ecdysiast Sally Rand. Smith, a newspaperman and humorist of the mid-20th century, was a friend and great admirer of Robert Benchley.

Alicia, seen above with Mike in a sketch by Alan B., is a beautiful young curvy lady, with a good repertory of classic solo poses for artists of all abilities. In poses with other models of both sexes her comfort with her colleagues results in natural-looking scenes of friendship and affection.

With the lithe figure of a dancer, Natalia, here seated, posing with Alicia, excels at creating fascinating dynamic poses that challenged even the most experienced artists while also offering beginners some classic poses. We recommend Natalia of the beautiful face and twisted torso to artists and I would definitely hire her again. You can see more of Natalia at nataliastwistedtorso.weebly.com

This second time working with Mike was, again, very enjoyable. Posing with the female models he was comfortable and confident, creating poses that delighted the eye and showed off to good advantage his muscular build and the curves of his partners. In solo work on hand gesture studies his causal chatting with the beginning artists put them at ease and he also gave them helpful pointers on sketching.

It's Okay to Stare

On Saturday, September 15, 2012, the Boston "We've Come for the Davenport" Chapter of the Robert Benchley Society celebrated the anniversary of the birth of Mr. Benchley with an evening of life drawing.

This, the third such session, was directed toward learning how to draw a posed couple. The artists ranged from several beginners to a few advanced students. We had two excellent models, a male and a female. We started with the models doing self-directed solo poses, offering a variety of poses, from simple to more complex, suited to the varying levels of the artists. The young man was handsome, with a fighter's physique, and the artists enjoyed the opportunity to study the muscles as he executed stop-action athletic poses. The artists were fascinated by the young woman model as she combined the classic beauty of the young and shapely female nude with a hint of the exotic in her hair and make-up choices.

In the couples poses, which David created, our models were thoroughly professional, taking direction well. Both stretched themselves to execute physically demanding poses, such as one derived from classical ballet and with good humor got in the spirit of some whimsical poses designed to appeal to the mostly beginner crowd.
Music Selected for the Evening  

   

After sketching, we had chicken dinners delivered -- anyone up for breasts and thighs?

Expose Yourself to Art!

On Sunday, May 13, 2012, the Boston "We've Come for the Davenport" Chapter of the Robert Benchley Society met for an afternoon of life drawing based on the similar successfull Chapter Round-up in November.

This time we had two experienced professional models, each top in his or her field. Jim has posed at many venues in New England and was even chosen to illustrate classic poses for the art reference book Art Models 2, available at http://www.posespace.com/. Shoney's work, both as photographer as well as model, has been displayed in many New England galleries. Unfortunately, the lights on the stage we out of service and had to improvise with a low riser and some portable lights, which explains the constrained poses. We'll have more active poses at the next event.

David gave a few pointers as follows --

1. The human body has no straight lines. Carefully observe the curves of the human figure. Now record those curves on your pad. Try observing a curve and drawing it while not looking at the pad.
   
2. Although there are no straight lines in the body, the posed figure is arranged on lines that tend to connect the hands, feet, head, and joints. Notice how, from the head of the standing male in a classic pose, you can drop a plumb line that will touch the foot of his weight-bearing foot. Note how that creates the sense of groundedness and stability that is one of the characteristics of the classic nude standing male. Now hold out you pencil and use it as a rule along that imaginary line and measure how far it is from foot to knee, to groin, to navel, to nipples, to neck, to face. This will help you with one of the most difficult tasks for the beginning artist, getting the figure into proper proportion.
   
3. The classic nude standing female you will observe naturally falls into a pose arranged along two great arcs that follow the curve of either hip. Observe the actual curves of the model and record them, but use these imaginary arcs to assist you in getting the proper proportions.

Artists and Models - 11/18/2011

On Friday, November 18, 2011, the Boston "We've Come for the Davenport" Chapter of the Robert Benchley Society enjoyed an evening of life drawing.

Above -- David shakes the cocktail of the evening, the aviation. Note the retro-deco rocket cocktail shaker.

Mr. Benchley, prior to his writing career, was first an illustrator at the Harvard Lampoon and in the 1920s hung out with artists in New York City, so we believe he would fit right in.

Nearly all the participants were non-artists and the evening was designed to expose them to something new, sketching from the live model. There was a time, when we were young, when we all drew -- you would have been a very peculiar child if you didn't like to draw -- but then the time comes when you notice that your drawing is not as good as professionals or trained amateurs, and that is when people get the idea that they cannot draw. This has not always been true. In the nineteenth century many educated Americans and Europeans who were not artist did, nonetheless, learn how to sketch. People of means loved to travel -- the "Grand Tour" of Europe, Niagara Falls in America, and so forth -- and not all carrying camera phones, they sketched what they saw.

For the non-artist, the point of sketching is not necessarily to create great "art" but to learn how to observe. I can tell you that of my visits to Rome, the places there I most vividly remember are those I sketched, because sketching requires close observation. That is what this evening of life drawing is about -- learning how to observe. Do not compare you work to others in the room, rather note, how over the course of the evening, your work improves as you learn how to observe the model.

In art school you normally start with sketching from still-lives -- fruit, flowers, and so forth -- and the live model is not introduced until the second semester of the first year or even first semester of the second year (or at least that's how it was when I was in school). However, if I invited you over on a Friday evening to sketch a plate of fruit, I do not believe I'd have gotten nearly as many of you to attend as we have here tonight when we have two nude models, Hannah, 18-year-old female, and John, 20-year-old male, both with perfect bodies. Now, draw, and have fun!

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