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Head drawing (21)

Head drawing (28)

Head drawing (37)

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Bird drawing (pencil on paper)

Leaf drawing

Vase drawing

Erasmo of Narni (1370 – January 16, 1443), better known as “Gattamelata”, (The nickname means “The Honeyed Cat”) was among the most famous of the condottieri or mercenaries in the Italian Renaissance. He was born in Narni, and served a number of Italian city-states: he began with Braccio da Montone, served Pope and Florence equally, and served Venice in 1434 in the battles with the Visconti of Milan.

He was the subject of Donatello’s equestrian bronze sculpture in the main square of Padua, the same city over which he became dictator in 1437.

Head drawing – Gattamelata

Antinoüs or Antinoös  (c. 110–130) was a member of the Roman Emperor Hadrian’s entourage, to whom he was beloved. He was deified after his death.

Antinous was born to a Greek family in Bithynion-Claudiopolis, in the Roman province of Bithynia in what is now north-west Turkey. One version is that Antinous joined the entourage of the Emperor when Hadrian passed through Bithynia in about 124, and soon became his lover who accompanied him on his many journeys through the empire. Another version has it that Hadrian had the empire searched for the most beautiful youth, and chose Antinous. Although some have suggested the two might have had a romantic relationship, it is uncertain if this was true.

In October 130, according to Hadrian, cited by Dio Cassius, “Antinous was drowned in the Nilus.”(D.C. 69.11) It is not known whether his death was the result of accident, suicide, murder, or religious sacrifice.

At Antinous’s death the emperor decreed his deification, and the 2nd century Christian writer Tatian mentions a belief that his likeness was placed over the face of the Moon, though this may be exaggerated due to his anti-pagan polemical style.

www.wikipedia.org

Head drawing – Antinous (21)

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David’s eyes drawing studies

François-Marie Arouet (21 November 1694 – 30 May 1778), better known by the pen name Voltaire, was a French Enlightenment writer, essayist, and philosopher known for his wit, philosophical sport and defence of civil liberties, including both freedom of religion and free trade.

Voltaire was a prolific writer and produced works in almost every literary form, authoring plays, poetry, novels, essays, historical and scientific works, more than 20,000 letters and more than 2000 books and pamphlets.

http://www.wikipedia.org

Voltaire head drawing

Hermes  is the messenger of the gods in Greek mythology. An Olympian god, he is also the patron of boundaries and of the travelers who cross them, of shepherds and cowherds, of thieves and road travelers, of orators and wit, of literature and poets, of athletics, of weights and measures, of invention, of general commerce, and of the cunning of thieves and liars. His symbols include the tortoise, the rooster, the winged sandals, and the caduceus. The analogous Roman deity is Mercury. In the fully-developed Olympian pantheon, Hermes was the son of Zeus and the Pleiade Maia, a daughter of the Titan Atlas.

http://en.wikipedia.org

Hermess head drawing (Statue of Hermes and the Infant Dionysus)

The Apollo Belvedere or Apollo of the Belvedere is a celebrated marble sculpture from Classical Antiquity. It was rediscovered in the late 15th century, during the Renaissance, and for centuries (through the 19th century) it has epitomized ideals of aesthetic perfection for Europeans and westernized parts of the world. From the mid-18th century, it was considered the greatest ancient sculpture by ardent neoclassicists and for centuries epitomized ideals of aesthetic perfection for Europeans and westernized parts of the world.

The white marble sculpture, which is 2.24 m (7.3 feet) high, depicts the Greek god Apollo, who has just overtaken the serpent Python, a monster recently ravaging the coast of Delphos. The arrow has just left his bow and the effort impressed on his musculature still lingers. His hair, lightly curled, flows in ringlets down his neck and rises gracefully to the summit of his head, which is encircled with the strophium, a band symbolic of gods and kings. His quiver is suspended across his left shoulder. He is entirely nude except that his robe (chlamys) is clasped at his right shoulder and is turned up only on his left arm and thrown back.

The lower part of the right arm and the left hand were missing when discovered and were restored by Giovanni Angelo Montorsoli (1506-63), a sculptor and pupil of Michelangelo.

The moment when Apollo has shot his death-dealing arrow may have been at the slaying of Pytho, the primordial serpent guarding Delphi, making the sculpture a “Pythian Apollo”, or at the slaying of Tityos, who threatened Leto.

Apollo of the Belvedere head drawing 2009

Apollo of the Belvedere head drawing 2008

Aphrodite of Milos, better known as the Venus de Milo, is an ancient Greek statue and one of the most famous works of ancient Greek sculpture. Created at some time between 130 and 100 BC, it is believed to depict Aphrodite (Venus to the Romans) the Greek goddess of love and beauty. It is a marble sculpture, slightly larger than life size at 203 cm (6 ft 8 in) high. Its arms and original plinth have been lost. From an inscription that was on its plinth, it is thought to be the work of Alexandros of Antioch; it was earlier mistakenly attributed to the master sculptor Praxiteles. It is at present on display at the Louvre Museum in Paris.

Although the Venus de Milo is widely renowned for the mystery of her missing arms enough evidence remains to prove that the right arm of the goddess was lowered across the torso with the right hand resting on the raised left knee so the sliding drapery wrapped around the hips and legs could be held in place. There is a filled hole below the right breast that originally contained a metal tenon that would have supported the separately carved right arm.

The left arm was held at just below the eye level of the statue above a herm while holding an apple. The right side of the statue is more carefully worked and finished than the left side or back, indicating that the statue was intended to be seen mainly as a profile from its right. The left hand would have held the apple up into the air further back inside the niche the statue was set in. When the left hand was still attached, it would have been clear to an observer that the goddess was looking at the apple she held up in her left hand.

The statue would have been tinted as was the custom of the era, adorned with jewellery and positioned in a niche inside of a gymnasium. The painting of the statue along with the bedecking in jewellery were intended to make it appear more lifelike. Today, all traces of any paint have disappeared and the only signs of the armbands, necklace, earrings and crown are the attachment holes.

The twisting stance and strong projection of the knee, as well as the rich, three-dimensional quality of the drapery, are typical of Hellenistic art of the third century BC and later. Moreover, the sensuous juxtaposition of flesh with the texture of drapery, which seems about to slip off the figure, adds an insistent note of erotic tension that is thoroughly Hellenistic in concept and intent.

www.wikipedia.org

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Venus de Milo head drawing 2009

Venus de Milo head drawing 2008

In Greek mythology, Heracles or Herakles meaning “glory of Hera”, or “Glorious through Hera” Alcides or Alcaeus (original name)  was a divine hero, the son of Zeus and Alcmene, foster son of Amphitryon and great-grandson (and half-brother) of Perseus. He was the greatest of the Greek heroes, a paragon of masculinity, the ancestor of royal clans who claimed to be Heracleidae and a champion of the Olympian order against chthonic monsters. In Rome and the modern West, he is known as Hercules, with whom the later Roman Emperors, in particular Commodus and Maximian, often identified themselves. The Romans adopted the Greek version of his life and works essentially unchanged, but added anecdotal detail of their own, some of it linking the hero with the geography of the Central Mediterranean. Details of his cult were adapted to Rome as well.

The Labours of Heracles

Driven mad by Hera, Heracles slew his own children. To expiate the crime, Heracles was required to carry out ten labors set by his archenemy, Eurystheus, who had become king in Heracles’ place. If he succeeded, he would be purified of his sin and, as myth says, he would be granted immortality. Heracles accomplished these tasks, but Eurystheus did not accept the cleansing of the Augean stables because Heracles was going to accept pay for the labor. Neither did he accept the killing of the Lernaean Hydra as Heracles’ cousin, Ioloas, had helped him burn the stumps of the heads. Eurysteus set two more tasks (fetching the Golden Apples of Hesperides and capturing Cerberus), which Heracles performed successfully, bringing the total number of tasks up to twelve.

Not all writers gave the labors in the same order.
Apollodorus (2.5.1-2.5.12) gives the following order:

1. To kill the Nemean lion.
2. To destroy the Lernaean Hydra.
3. To capture the Ceryneian Hind.
4. To capture the Erymanthian Boar.
5. To clean the Augean Stables.
6. To kill the Stymphalian Birds.
7. To capture the Cretan Bull.
8. To round up the Mares of Diomedes.
9. To steal the Girdle of Hippolyte.
10. To herd the Cattle of Geryon.
11. To fetch the Apples of Hesperides.
12. To capture Cerberus.

Heracles extraordinary strength, courage, ingenuity, and sexual prowess with both males and females were among his characteristic attributes. Although he was not as clever as the likes of Odysseus or Nestor, Heracles used his wits on several occasions when his strength did not suffice, such as when laboring for the king Augeas of Elis, wrestling the giant Antaeus, or tricking Atlas into taking the sky back onto his shoulders. Together with Hermes he was the patron and protector of gymnasia and palaestrae. His iconographic attributes are the lion skin and the club. These qualities did not prevent him from being regarded as a playful figure who used games to relax from his labors and played a great deal with children. By conquering dangerous archaic forces he is said to have “made the world safe for mankind” and to be its benefactor. Heracles was an extremely passionate and emotional individual, capable of doing both great deeds for his friends (such as wrestling with Thanatos on behalf of Prince Admetus, who had regaled Heracles with his hospitality, or restoring his friend Tyndareus to the throne of Sparta after he was overthrown) and being a terrible enemy who would wreak horrible vengeance on those who crossed him, as Augeas, Neleus and Laomedon all found out to their cost.

Heracles head drawing

Heracles head drawing

Heracles head drawing

In Greek mythology, Zeus is the king of the gods, the ruler of Mount Olympus and the god of the sky and thunder. His symbols are the thunderbolt, eagle, bull, and oak. In addition to his Indo-European inheritance, the classical “cloud-gatherer” also derives certain iconographic traits from the cultures of the ancient Near East, such as the scepter. Zeus is frequently depicted by Greek artists in one of two poses: standing, striding forward, with a thunderbolt leveled in his raised right hand, or seated in majesty.

Zeus was the child of Cronus and Rhea, and the youngest of his siblings. In most traditions he was married to Hera, although, at the oracle of Dodona, his consort was Dione: according to the Iliad, he is the father of Aphrodite by Dione. He is known for his erotic escapades. These resulted in many godly and heroic offspring, including Athena, Apollo and Artemis, Hermes, Persephone (by Demeter), Dionysus, Perseus, Heracles, Helen, Minos, and the Muses (by Mnemosyne); by Hera, he is usually said to have fathered Ares, Hebe and Hephaestus.
( wikipedia.org)

Zeus head drawing (From the Otricoli Bust) (37)

David is a masterpiece of Renaissance sculpture sculpted by Michelangelo from 1501 to 1504. The 5.17 meter (17 ft)marble statue portrays the Biblical King David in the nude. Unlike previous depictions of David which portray the hero after his victory over Goliath, Michelangelo chose to represent David before the fight contemplating the battle yet to come. It came to symbolize the defense of civil liberties embodied in the Florentine Republic, an independent city state threatened on all sides by more powerful rival states and by the hegemony of the Medici themselves. This interpretation was also encouraged by the original setting of the sculpture outside the Palazzo della Signoria, the seat of civic government in Florence. The completed sculpture was unveiled on 8 September, 1504.

History

The history of the statue of David precedes Michelangelo’s work on it from 1501 to 1504. Prior to Michelangelo’s involvement, the Overseers of the people of Office of Works of the Duomo (Operai), comprised mostly of members of the influential woolen cloth guild, the Arte della Lana, had plans to commission a series of twelve large Old Testament sculptures for the buttresses of the cathedral of Santa Maria del Fiore. Until then only two had been created independently by Donatello and his assistant, Agostino di Duccio. Eager to continue their project, in 1464 they again contracted Agostino to create a sculpture of David. He only got as far as beginning to shape the legs, feet and the figure, roughing out some drapery and probably gouging a hole between the legs. His association with the project ceased, for reasons unknown, with the death of his master Donatello in 1466, and Antonio Rossellino was commissioned to take up where Agostino had left off.

Rossellino’s contract was terminated, soon thereafter, and the block of marble originally from a quarry in Carrara, a town in the Apuan Alps in northern Tuscany, remained neglected for twenty-five years, all the while exposed to the elements in the yard of the cathedral workshop. The rain and wind weathered it down to a smaller size than was originally planned. This was of great concern to the Operai authorities, as such a large piece of marble was both costly, and represented a large amount of labor and difficulty in its transportation to Florence. In 1500, an inventory of the cathedral workshops described the piece as “a certain figure of marble called David, badly blocked out and supine.” A year later, documents showed that the Operai were determined to find an artist who could take this large piece of marble and turn it into a finished work of art. They ordered the block of stone, which they called The Giant, “raised on its feet” so that a master experienced in this kind of work might examine it and express an opinion. Though Leonardo da Vinci and others were consulted, it was young Michelangelo, only twenty-six years old, who convinced the Operai that he deserved the commission. On August 16, 1501, Michelangelo was given the official contract to undertake this challenging new task. He began carving the statue early in the morning on Monday, September 13, a month after he was awarded the contract. He would work on the massive biblical hero for 2 years.

http://en.wikipedia.org

David’s head drawing (Michelangelo)

David’s head drawing (Michelangelo)

David’s head drawing (Michelangelo)

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Male figure drawing (lesson 1)

Figure drawing (lesson 2)

Male figure drawing ( lesson 1)

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666.jpg (11)

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