Razas Humanas - Antonio J. Bastinos, editor and publisher

Antonio J. Bastinos was an editor and publisher of children's instruction books. From what I can find they are almost too numerous to mention.

His books were characterized by their many illustrations, many in color. Some other prints of marine life are on sale at the George Glazer Gallery.



Here is a partial list of Spanish titles and their English translation.

You can see most of them at Abebooks.com or at AbeBooks Spain.

Los Albores De La Vida - The dawn of life
Maravillas Italianas - Italian Wonders
Panorama. Nuevo libro manuscrito que trata de la naturaleza y la civilizacion. Redactado e ilustrado por Julian Bastinos - Panorama. New book manuscript that deals with the nature and civilization. Written and illustrated by Julian Bastino
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Best Books on Artistic Anatomy - 1891

The Best Books: - A READER'S GUIDE TO THE CHOICE OF THE BEST AVAILABLE BOOKS
(ABOUT 50,000)
IN EVERY DEPARTMENT OF SCIENCE ART AND LITERATURE
WITH THE DATES OF THE FIRST AND LAST EDITIONS
AND THE PRICE SIZE AND PUBLISHERS NAME OF EACH BOOK
By William Swan Sonnenschein

This listing of the best books on Artistic Anatomy from 1891 lists a couple of republished books available for purchase.

Dr. G. Schadow's The Sculptor & Art Student's Guide to the Proportions of Human Form as available at Amazon.com as:
The Art Student's Guide to the Proportions of the Human Form
Or download a copy at Figure-Drawings.com.

Another book by Dr. Schadow:
The Art Student's Guide to the Bones and Muscles of the Human Body and Lessons on Foreshortening Or download a copy at Figure-Drawings.com.

Dr. J. Fau's Anatomy of the External Forms of Man is available both at Lulu.com and at Amazon.com as:
Anatomy for Art Students, Painters and Sculptors
Or download a copy at Figure-Drawings.com.




Some more references about Johann Gottfried Schadow:


From Johnson's Universal Cyclopedia: a new edition - By Johnson, A. J., company, A.J. Johnson Company, 1895

Schadow, Johann Gottfried : sculptor; b. in Berlin, May 20, 1764; studied drawing and sculpture in his native city and at Rome 1785-87, and was appointed professor at the Academy of Art in Berlin in 1788. His life was spent chiefly at Berlin from this time on, but he traveled much, especially in Italy. His style is founded upon classical traditions. His principal works are statues of Frederick the Great, in Stettin ; Leopold of Dessau, in Ziethcn, and the Count de la Marck, in Berlin ; Luther, in Wittenberg; the monument of Marshal Blilcher, at Rostock ; and a number of busts, some of which are in the Walhalla on the Danube near Ratisbon, etc. He also modeled the quadriga over the Brandenburg gate of Berlin, and a frieze on the outside of the mint in that city. D. in Berlin, Jan. 27, 1850.

From A History of European and American Sculpture from the early Christian Period to the Present Day, Volume 2, By Chandler Rathfon Post, Cambridge, Harvard University Press and London, Humphrey Milford, Oxford University Press, 1921:

The most prominent German sculptor of the neoclassic period, Johann Gottfried Schadow (1764-1850), transports us from southern Germany to Berlin. It is necessary to describe Schadow as "of the neoclassic period," and not as essentially neoclassic himself, since, although inevitably somewhat influenced by the rococo style of his youth and by the prevalent antiquarianism, he was, in his lesser degree like Houdon, independent of any movement, and recognized as his guides only nature and his own conceptions. If he must be assigned to any tendency, it would be to the rococo. His naturalism is, of course, more in harmony with this style; and he may be described, especially in his feminine figures, as a belated and highly individual representative of the eighteenth century, with that increasing interest in the antique which marked so much of the sculpture in the second half of the century. Born in Berlin, he was apprenticed to Tassaert, who, as a rococo artist, had a more enduring effect upon Schadow than has usually been recognized. Having made a romantic marriage, he obtained enough money from his father-in-law to spend the coveted period of study in Italy, where he was influenced by the art of the Cinquecento as well as by the antique. In 1788 he returned to Berlin as court sculptor, and although Frederick the Great had died two years before, Schadow's works embodied not only the pride of that monarch's epoch but also, stylistically, the curious fusion of French rococo taste with German solidity exemplified by Frederick himself. His position corresponded to that of Schluter under Frederick I, but his lack of full sympathy with neoclassicism or with the later romanticism cost him his popularity, so that the great body of his production falls within the space of about twenty years from the time of his appointment. In 1791 he made a journey to Copenhagen, Stockholm, and Petrograd to learn bronze-casting, but the more important effect of this event was the acquisition of inspiration by acquaintance with monuments executed with historical realism and not according to the bald principles of neoclassicism.
He approached nearest to the neoclassic in his early decoration of the Parolesaal and the yellow Pfeilersaal of the Royal Palace at Berlin, in the copper Quadriga driven by Victory, the metopes of the Centaurs and Lapithae, and the resting Mars, all on the Brandenburg Gate, Berlin, and in his last work in marble, the recumbent maiden now in the National Gallery, Berlin. But these suggest almost as much the French eighteenth century as they do the antique, and in fact belong to neither one style nor the other. They are rather the outcome of Schadow's personal style, in which now reminiscences of one epoch are apparent, now those of another, but which remains nevertheless essentially his own and is permeated by naturalism. His feminine forms are even more real than those of Dannecker; one has only to compare the Sappho of the latter with the above-mentioned recumbent maiden.

Perhaps the most striking instances of his realism, all with contemporary military uniforms, are the statues of the generals Ziethen and Leopold von Dessau, now in the Kaiser Friedrich Museum, and the statuette of Frederick the Great accompanied by two dogs in the Hohenzollern Museum at Berlin. The reliefs on the pedestal of the Ziethen monument, representing battle scenes, reject the laws of neoclassicism by indulging, as also on the Tauentzien monument at Breslau, in pictorial perspective. At other times, especially in his late works, the reliefs for his monument to Bliicher at Rostock and the relief of the apotheosis of Queen Louise in the church at Paretz, he was curiously archaeological in his avoidance of pictorial perspective. In the representation at Rostock of the battle of Ligny, for instance, the main episode of Bliicher lying under a horse and protected by the genius of Germany is set at the bottom of the relief, and the details of the cavalry battle, which ought to be in the background, are simply placed, as in certain ancient reliefs, at a higher level, with the figures in slightly smaller compass; and even the fall of Bliicher is treated with ancient conventionalism. Both at Rostock and Paretz, the elaborate allegories are due to literary interference — in the Bliicher monument that of Goethe.

His many portrait busts, as was to be expected, are convincing pieces of realism in the manner rather of the best eighteenth-century work: notable examples are the Frederick the Great (formerly in the possession of the Kaiser), the Princess Louise (in the National Gallery, Berlin), and the rector Meierotto (in the Joachimsthaler Gymnasium at Berlin). The dead are usually clothed in antique garb, the living in contemporary costume. His neoclassic leanings are revealed, however, in the fact that he is said to have modelled first an ideal head for his portraits and then to have accommodated the individual's features to it. His most renowned work is the standing portrait group of the two sisters, the princesses Louise and Friederike of Prussia in the Palace at Berlin (Fig. 152). He has attained that agreeable fusion of naturalism, even in small details, and ancient grace, which is often to be discerned, with the naturalism less dominant, in the production of Dannecker, and which was much assisted by the similarity of the fashionable Empire costume to that of ancient Rome. The same manner is found in other achievements of Schadow, as in the mourning widow, suggested perhaps by the Agrippina statue, upon the tomb of Count Arnim at Boitzenburg and in the sepulchral figure of the nine year old Count von der Mark on his tomb in the Dorotheen-Kirche, Berlin. This early and famous work depended for its ideas upon the painter Puhlmann and had been ordered first from Tassaert. Although all its forms and elements are neoclassic and reflect Schadow's recent sojourn at Rome, it belongs more or less to the dramatic type of mausoleum of the eighteenth century: the relief on the sarcophagus represents Death or Time dragging the boy away from the school of Minerva to Hades, and in a niche above the sarcophagus sit the three Fates deciding his destiny. Schadow's tombs, however, like the majority of those of the period in Germany, are normally of the sentimental, less complicated, neoclassic type with urn, bust or medallion, and colder allegorical figures, posing but comparatively inactive. Characteristic is the Darjes monument on the "Anger" at Frankfort on the Oder. His naturalism rescued the allegorical figures from the absolute frigidity of the ordinary neoclassicist, and bestowed upon them that French rococo loveliness which is so potent an ingredient of the charm in the portrait group of the two royal sisters.


From The Encyclopaedia Britannica: Eleventh Edition, Volume 24

SCHADOW, a distinguished name in the annals of German art.

I. Johann Gottfried Schadow '(1764-1850), sculptor, was born and died in Berlin, where his father was a poor tailor. His first teacher was an inferior sculptor, Tassaert, patronized by Frederick the Great; the master offered his daughter in marriage, but the pupil preferred to elope with a girl to Vienna, and the father-in-law not only condoned the offence but furnished money wherewith to visit Italy. Three years' study in Rome formed his style, and in 1788 he returned to Berlin to succeed Tassaert as sculptor to the court and secretary to the Academy. Over half a century he produced upwards of two hundred works, varied in style as in subjects.

Among his ambitious efforts are Frederick the Great in Stettin, Blucher in Rostock and Luther in Wittenberg. His portrait statues include Frederick the Great playing the flute, and the crown-princess Louise and her sister. His busts, which reach a total of more than one hundred, comprise seventeen colossal heads in the Walhalla, Ratisbon; from the life were modelled Goethe, Wieland and Fichte Of church monuments and memorial works thirty are enumerated; vet Schadow hardly ranks among Christian sculptors. He ia claimed by classicists and idealists: the quadriga on the Brandenburger Tor and the allegorical frieze on the facade of the Royal Mint, both in Berlin, arc judged among the happiest studies from the antique. Schadow, as director of the Berlin Academy, had great influence. He wrote on the proportions of the human figure, on national physiognomy, &c.; and many volumes by himself and others describe and illustrate his method and his work.

Kunst-Werke Und Kunst-Ansichten (1849) (German Edition)

Dr. Schadow's own book Kunst-werke und Kunst-Ansichten is available for viewing at Google Books.
By Johann Gottfried Schadow

Anatomy for Art Students, Painters and Sculptors - The Art Student's Guide to External Anatomy

 

A new edition with an expanded introduction and new scans of the plates is available at Figure-Drawings.com, look for it soon at Amazon.com.

A new book, Anatomy for Art Students, Painters and Sculptors, is available both as an ebook at Figure-Drawings.com and as a printed book at Lulu.com, and at Amazon.com





This is a republished edition of The Anatomy of the External Forms of Man, Intended for the Use of Artists, Painters and Sculptors by Doctor J. Fau, Lithographed by M. Leveillé, pupil of M. Jacob, New edition with additional plates by William Norris. I located another edition with a publication date of 1849.




Another edition featuring the black and white engravings was just published on June22, 2009 and is available at Amazon.com:

Human Anatomy for Artists: A New Edition of the 1849 Classic with CD-ROM (Dover Pictorial Archives)








The following information about Dr. Fau, the editor of the book is from Ludwig Choulant's History and Bibliography of Anatomic Illustration, published in 1920.
JULIEN FAU

Julien Fau, doctor of medicine in Paris, edited two different anatomic works for artists: Anatomie des formes exterieures du corps humain, a I'usage des peintres et des sculpteurs. Avec un Atlas de 24 planches dessinées d'apres nature et lithographiees par M. Leveille, eleve de M. Jacob. Paris: Mequignon- Marvis fils, 1845 (16 and 214 pp.), 8° and fol. (24 lithographic plates), black and white and also colored.


The plates are very beautifully finished and comprise one plate of skulls of different nationalities; several different views of the nude bodies of a man, a woman, and a child, all drawn from nature, some of them supplemented by skeletons placed alongside of the bodies, with the body outlines; representations of the bones, and the muscles, the latter with the bones in some cases drawn in.

Particular attention has been given to the various positions and flexions of the extremities. The last plate represents the myology of the Laocoon, without the sons, after Charles Clement Bervic's well-known print. This work has been translated into English, with additions, by the physician Robert Knox, and published under the title: The anatomy of the external forms of man, intended for the use of artists, painters and sculptors, London, 1848, 8°, with an atlas of 26 plates in quarto; published in black and white and also colored.



The second, smaller, and less expensive work by Fau is: Anatomie artistique elementaire. Dessins d'apres nature par J. B. Leveille, gravures sur acier. Paris: Mequignon-Marvis, 1850, 8°, with 17 steel engravings in 8°, three of which are in small folio.In this work the representation of the shapes of skulls, of the nude bodies, and of the Laocoon are missing, but representations of three beautiful skeletons, with the contours drawn around them, have been added. The remainder deals with osteology and myology, although less exhaustively than in the previous work.

The same author had a young artist, Eugene Caudron, a pupil of David d'Angers, make an anatomic plaster statuette, 70 centimeters high, for the use of artists (nouvel ecorche) which is sold, white or colored, with a description and four pages of pictorial representations (the four views of the statuette), for 15 and 30 francs respectively (the description alone costs 3 francs). Prior to this, Johann Martin Fischer's plaster.



Photos are of two different sculptures by Jacques-Eugène Caudron each titled Écorché (dissection of a man).
The second is in Rouen ; musée Flaubert & d'Histoire de la Médecine. It was a clever piece, according to a description at the French Ministry of Culture, which has a great searchable website of French art objects, "Each arm is removable by Keys. The chest and abdominal wall are open and reveal the organs dealt with summarily. "

A modern version on the Écorché is available. The Male Anatomy Figure : version 1 from Cawrse Authentic Anatomical Figures is for sale as are other detailed anatomical models.

There were as many as ten editions of the book published in French, English, Dutch and German. The Anatomie artistique elementaire (Petit Fau) has shortened descriptions and only 17 steel engraved plates. I have come across an English version of it with additional illustrations and notes on sculpting, muscular anatomy and human proportion. I am working on an ebook version of this. Below are 3 photos of the French Edition from 1865. This was a self published book by Jonathon Scott Hartley which contains the same steel black ink engravings as Anatomie artistique elementaire . Hartley's book combines the plates with extensive commentary on anatomy and a chapter on proportion and the art of modeling (sculpting in clay).
Another English edition with plates was Elementary Artistic Anatomy of the Human Body, Translated and edited by Charles Carter Blake was published in 1881. There is a reference to Carter Blake in Charles Darwin's letters, Blake was an advocate of the discredited study of cranioscopy, which tried to make sense out of the races by a study of skulls. There was a schism in Victorian science with some arguing that cranioscopy proved distinct races, and ethnologists arguing for the unity of the races.
Preceeding Dr. Fau's book and perhaps influencing it was another by P.N. Gerdy similarly titled Anatomie des Formes Exterieures which included 3 schematic diagrams of the human form.

Another book with art designed by M. Leveille and engraved under his supervision was Heath's Operative Surgery.

A Course of Operative Surgery, consisting of a Series of Colored Plates, each plate containing Several Figures, Drawn from Nature by the Celebrated Anatomical Artist, M. Leveille, of Paris, Engraved on Steel under his immediate superintendence, with Descriptive Text of Each Operation, and numerous Wood Engravings. By Christopher Heath, F.r.c.s., Surgeon to University College Hospital, and Holme Professor of Clinical Surgery in University College, London. One Large Quarto Volume. Second Edition, Revised and Enlarged. Sold by Subscription. Full information upon application. Cloth, $12.00. P. BLAKISTON, SON & CO., 1012 Walnut St., Philadelphia.

A German edition of Dr. Fau's book was published by Anton Elfinger (January 15, 1821 - January 19, 1864). His book titled Anatomie des Menschen die Knochen - Muskel - und Bandelehre was published in 1854. It has 27 lithographs of which three are original designs by Elfinger and are plates of skulls. One of these appears in The Anatomy of the External Forms of Man, Intended for the Use of Artists, Painters and Sculptors which is the basis for my republished edition. I found another and included it is the introduction. Anton Elfinger was a physician in Austria. He studied at the Academy of Fine Arts in Vienna under Leopold Kupelwieser and after his studies there took up the study of medicine, less by choice than at the urging of his family, earned his doctorate in 1845.

Anatomie des Menschen, die Knochen-Muskel- und Bänderlehre enthaltend in 27 lithografirten Tafeln. Bevorwortet und erklärt von Dr. Anton Elfinger

He became a permanent employee of the Vienna General Theaters newspaper and contributed costume pictures which he signed "Cajetan." He also contributed illustrations to Humoristisch-Satiriscen Volkskalender and was a cartoonist and political cartoonist.

A concert in 1846 by Cajetan from larousse.fr.



He worked with a dermatologist, Ferdinand von Hebra and was an illustrator of medical literature. He produced the watercolors for Hebra's Atlas der Hautkrankheiten (Atlas of Skin Diseases). Another book he illustrated is Horizontaler Durchschnitt des Menschlichen Auges, by Dr. Arlt. This book illustrates the human eye.

F. von Hebra informational website with images taken from Anton Elfinger's lithographs for Hebra's book.

Wikipedia article.

Skin in Water-Colours: Unpublished Aquarelles from Hebra's Department in Vienna 1841-1843 at Amazon.com.

The last three plates in the book are dissections of ancient statuary, The Laocoon, The Gladiator and Discobolus. Link to Washington School of Medicine - Monuments of Medicine page - rare books from the Bernard Becker Medical Library, which has a note on the French edition and a picture of the Laocoon Plate, compare it to the original sculpture. The Laocoon plate was original to the French edition, the Gladiator and Discobolus are original to theEnglish edition.






Anatomie Des Formes Exterieures Du Corps Humain at Amazon.com.

A Manual of Artistic Anatomy for the Use of Students in Art at Amazon.com.

Dramatic photos of the Laocoon group.



The final section of the book contains 12 pages of hand drawn ink drawings of bone and muscle by an unknown artist. These provide very clear illustrations of the structure of the human body, and have extensive clear labeling.


A link to an exhibition of Jean Baptiste François Leveillé's works and another one and a link to the home page of the exhibition Anatomy Acts. Google Books result for Traite Practique D'Anatomie, with plates by Leveillé.







According to Boris Röhrl in his History and Bibliography of Artistic Anatomy, Julien Fau's textbook along with Duval's Precis d' Anatomie, were the most successful publications of their period. Fau's invention was to supplement the textbook with the large atlas of prints. Röhrl also notes that for the reader not interested in the extensive description of the prints found in the textbook a pocket book, Anatomie artistique elementaire, was created. French at students called the small volume Petit Fau, and the large textbook Grand Fau. Röhrl argues that while Fau was influential in anatomical studies, his main concern was with the faithful rendering to produce art. "The only question posed is why a picture executed with the greatest scientific exactitude should not be an effective work of art at the same time.Thoughts based in the metaphysical or spiritual sphere were not considered by Fau, but he does recognize that the plain reproduction of nature did not produce artistic value in a certain work to the same degree. His main argument lies in a continuation of the tradition of the Renaissance."

You can search for a copy of Röhrl's book at Abebooks.com. Use the search terms "Boris Röhrl," or "History and Bibliography of Artistic Anatomy."





An English translation of the large textbook (Grand Fau) without the plates is at Google Books
The Anatomy of the External Forms of Man, ed. with additions by R. Knox.

A reprint of the atlas of anatomical prints is what makes up my book, Anatomy for Art Students, Painters and Sculptors.

Links:

Bibliothèque artistique de la Ville de Bruxelles - Art Library of the City of Brussels - Image from Anatomie des formes exterieures du corps humain.

Artist versus Anatomist, Models against Dissection: Paul Zeiller of Munich and the Revolution of 1848 - Article by Nick Hopwood, MSc, PhD - mentions Anton Elfinger's employment.

These arrangements were informal, but then “anatomical modeller” was not a regular occupation. Medical models were made by artists, preparators and others. Most German universities had a drawing teacher, but professors’ attempts to create posts for scientific artists tended to founder on the combination of demanding job description and low academic and artistic status. Models were more of a luxury than drawings and the skill was less widely distributed. Some state collections already employed staff to prepare specimens for display—Munich's zoological preparator had a doctorate—but it was rare for a medical modeller to gain a dedicated position, such as Joseph Towne enjoyed at Guy's. In Vienna Dr Anton Elfinger was from 1849 hired by the medical faculty to produce illustrations and models, but the money soon ran out. A little later at the University of Freiburg in Baden Dr Adolf Ziegler made embryological waxes as a zootomical Assistent, a position that for others was a stepping-stone to a chair, but from which he resigned in 1868 to build up a private studio.

Related Books:
Art of Drawing Anatomy



The Artist's Guide to Human Anatomy


The Female Nude I: A Pose Book For Artists


The Nude Female Figure: A Visual Reference for the Artist





Art Models 4: Life Nude Photos for the Visual Arts (Art Models series)





Art Models 3: Life Nude Photos for the Visual Arts (Art Models series) (No. 3)

Art Models 2: Life Nude Photos for the Visual Arts (Book & CD-ROM) (No. 2)


Art Models: Life Nudes for Drawing Painting and Sculpting

Samples from the art models books.














Classic Human Anatomy: The Artist's Guide to Form, Function, and Movement

A post about Japanese Artist Kuwagata Keisai (Kitao Masayoshi) shows examples of his figures and a drawing of human proportions.

Artist versus Anatomist, Models against Dissection: Paul Zeiller of Munich and the Revolution of 1848 "...These arrangements were informal, but then “anatomical modeller” was not a regular occupation. Medical models were made by artists, preparators and others. Most German universities had a drawing teacher, but professors’ attempts to create posts for scientific artists tended to founder on the combination of demanding job description and low academic and artistic status.39 Models were more of a luxury than drawings and the skill was less widely distributed. Some state collections already employed staff to prepare specimens for display—Munich's zoological preparator had a doctorate—but it was rare for a medical modeller to gain a dedicated position, such as Joseph Towne enjoyed at Guy's. In Vienna Dr Anton Elfinger was from 1849 hired by the medical faculty to produce illustrations and models, but the money soon ran out. A little later at the University of Freiburg in Baden Dr Adolf Ziegler made embryological waxes as a zootomical Assistent, a position that for others was a stepping-stone to a chair, but from which he resigned in 1868 to build up a private studio..."

Other Books:

Anton Elfinger

Elfinger, Anton u. Ferdinand Hauser‎

‎Der physische Mensch. Wissenschaftlich-populäre Zusammenstellung des Wichtigsten über den Bau des menschl. Körpers und seine Lebensverrichtungen.‎


Anatomy for Artists: A Complete Guide to Drawing the Human Body

Female Anatomy Figure: Version 1

Female Anatomy Figure: Artist Version 2C

Video of the female ecorche.