Figure Drawing: johann gottfried schadow

Showing posts with label johann gottfried schadow. Show all posts

Tuesday, June 15, 2010

Johann Gottfried Schadow - Book about his works

Here is a book I had not seen before which is digitized at Google Books: GOTTFRIED SCHADOW AUFSÄTZE UND BRIEFE HEBST EINEM VERZEICHNIS SEINER WERKE ZUR HUNDERTJÄHRIGEN FEIER SEINER GEBURT 20. MAI 1764 HERAUSGEGEBEN VON JULIUS FRIEDLAENDER.
in translation: GOTTFRIED SCHADOW ARTICLES AND LETTERS OF and a list WORKS HIS BIRTH CENTENARY CELEBRATION OF HIS 20th May 1764 PUBLISHED BY JULIUS FRIED COUNTRIES.

Among other interesting facts about his life and work was that the 1930s were a very prolific time in terms of his preparation of the teaching materials which form the basis for The Art Student's Guide to the Proportions of the Human Form and The Art Student's Guide to the Bones and Muscles of the Human Body and Lessons on Foreshortening

Here is a translation of a list of his written works in the 1930s:

1830
9th. Study of the bones and muscles of the conditions of the human body, and foreshortening. In thirty panels for use in the Royal Academy of Arts, Berlin 1830, large folio.
A leaf initiation, lithographed, like the panel is signed by G. Schadow and F. Berger. Several other panels contain only declarations.
1834
10th. Atlas of Polyclet of the measurements of people by gender and age, indicating the real nature of size after the Rhenish ruler, and paper by the difference of the face and head formation of the peoples of the earth, by Gottfried Schadow. - Polyclete ou theorie des mesures de l'homme etc. Berlin 1834th 4 °. l'III and 100 pages (German and French side by side).
This in large folio atlas with 29 unnumbered plates Jnhaltsverzeichniss. (These are signs of Schadow himself drawn on zinc.)
In the museum, leaves of Fine Art, edited by F. Kugler, fourth year, 1836, No. 5, is a critique of this and the following work.
1835
11th. -National Physionomy or observations about the difference, the facial features and the external design of the head, the outlines depicted on 29 sheets, continuation of Polyclet or the doctrine of the ratios of the human body, by Gottfried Schadow. - Physionomies national etc. Berlin 1835th 4 °. VI and 112 pages (German and French side by side). This atlas of 29 plates with a Table of contents (these panels are drawn on zinc by Schadow himself).
1843
12th. report on the performance of live images, which in the Hall of K. Academy of Arts', u Berlin on 5 Took place in May 1843 (relation etc). booklet in cross-Quart, 15 pages, German and French side by side (the preface is signed by Schadow). 6 zincography leaves, each of which contains two images.
"From the 'program in this issue appears that goods among the four Schadow representations: the group of the two Prussian princesses, Fortuna, Adam and Eve, Venus. Shown and discussed here is not the same, so it is not known whether the last fdrei were represented by executed works or designs.
See works of art and art views p. 337
13th. artwork and art views by Dr. Johann Gottfried Schadow. Berlin 1849th 8 °. Xxvi and 376 pages.
These images include a booklet entitled: Presentation by the images of the work of the sculptor Johann Gottfried Schadow, Ridolfo Schadow his son, and transparent picture of the professor piston nacb poems of Wolfgang von Goethe. Berlin 1849th 8 pages Folio XXXIII "leaves" images (there are several images on one page and printed uncut, so that there are truth Folio 29 boards in).

You can see the German text of the description of the plates of Polyclet; oder, von den Maassen des Menschen nach dem Geschlechte und Alter at Google Books in an 1877 edition or an 1886 edition but the only edition with the plates is my edition which is a new version of the 1883 English translation with plates reproduced by John Sutcliffe and a translation by James J. Wright. You can see it at Amazon.com or preview it at Google Books.

The Art Student's Guide to the Bones and Muscles of the Human Body: and Lessons on Foreshortening

The Art Student's Guide To The Proportions Of The Human Form

The Art Student's Guide to the Bones and Muscles of the Human Body: and Lessons on Foreshortening

Monday, February 8, 2010

Johann Gottfried Schadow - Drawings

Johann Gottfried Schadow (1764-1850)
Portrait of Charlotte Susanna Juliane Schadow
Black chalk, heightened with white- 33.5 x 27.6 cm
Paris, Musée du Louvre

From: Maîtres du dessin européen du XVIe au XXe siècle. La collection Georges Pébereau
16th to 20th century masters of European drawing. The Georges Péberau collection. Paris, musée du Louvre from 22 november 2009 to 22 february 2010.

Article in The Art Tribune.

More about Dr. Schadow at Figure-Drawings.com: The Sculptor and Art Student's Guide to the Proportions of the Human Form and at Amazon.com.

Other posts with mentions of Dr. Schadow.

Skeleton of a horse from Johann Gottfried Schadow, Die Quadriga, heads from Johann Gottfried Schadow. Die Zeichnungen

Head from Johann Gottfried Schadow. Die Zeichnungen, Porträtzeichnung der Königin Luise

Schadow–Gesellschaft e.V. - Internationales Forum für Kunst, Bildung und Wissenschaft

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

Sunday, August 2, 2009

History of Artistic Anatomy

I found two references to Gottfried Schadow's teaching and writing.

The first is from History and bibliography of Artistic Anatomy By Boris Röhrl:

"During the first half of the century, lessons at the academies were organized according to French patterns but closer to the methods of the 18th century, thus more modern didactics could not have been understood, like the morphology of Gerdy which appeared in a German translation in 1830. The drawing of anatomical preparations and attending demonstrations in anatomical theatre were still compulsory. Artistic anatomy was a fixed part of the curriculum at the great academies in Munich, Dusseldorf, Berlin and Dresden, at which chairs for artistic anatomy were also founded. New books were mainly written by teachers at the institutes. Old fashioned ways of teaching, such as copying of anatomical patterns depicting single bones, were heavily attacked by adherents of the Romantic movement. Although the Romantics had censured the academies, their criticism was not targeted at a total abolition of the old system, but on an adjustment of lectures to a Western European level. From 1830 onwards, teaching methods began quickly to change towards a medical direction. The publication of teaching manuals was strongly encouraged, because it was hoped that Germany would overtake the French example and the predominance of French books - an attempt that never succeeded. One of the first remarkable German publications of the 19th century was initiated by the director of the Dusseldorf academy, Gottfried Schadow, who edited a folio sized atlas with figures from Albinus in 1830. His atlas on proportions, printed four years later, entitled Policlet, was more successful and was re-printed six times. Copies from this work are still used in modern anatomies. Schadow tried to reform the curriculum at the academy in Dusseldorf, which was later regarded as the leading German art school, around the middle of the century."

The second is from a Japanese site Studies in Western Art No. 2 - Special Issue: Art Academies:

Miyuki Ozeki

The History of the Kuenigliche Akademie der Kuenste zu Berlin

"The Royal Academy of the Arts in Berlin was, in 1696, the third public art academy to be founded in Europe, after Rome and Paris. However throughout the 18th century it was no more than a small private school of little importance. Only after two reforms executed about 1800 was it enlivened and reborn as the most modern institution for art education in German-speaking countries. While the first refom since 1786 was led by the teachers and concerned the methodology of teaching art based on neo-classical aesthetics, the second reform of 1809 was instigated by ministers and aimed at reorganizing the whole cultural administration in Prussia. With the foundation of a ministry for culture the academy achieved its independence from the unstable patronage of the monarchy, enabling its continuous development under the initiative of the director Gottfried Schadow. But its mechanical and overloaded teaching curriculum gradually estranged its pupils . By introducing a "Meisterklasse (master course)" at the Duesseldorfer academy Wilhelm Schadow extended the horizon of art education. However, he simultaneously disclosed its duality : Is art democratic enough to be achieved by the educational systems offered by the art schools? Or does art only derive from the genius of an individual person? The separation of the educational department from the Berliner academy in the year 1875, as a result of which the Hochschule der Kuenste was founded, symbolizes the contradictory task of an art academy which originally started as a liberal society of free artists and ended as an art school that regulated the artistic development of the individual."

Other posts about Gottfried Schadow.

Sunday, July 5, 2009

The Art Student's Guide to the Bones and Muscles of the Human Body: and Lessons on Foreshortening

The Art Student's Guide to the Bones and Muscles of the Human Body and Lessons on Foreshortening is available as a download from Figure-Drawings.com, and as a printed book from Amazon.com.

Johann Gottfried Schadow was a talented neo-classical sculptor working in Berlin in the late eighteenth and early nineteenth centuries. He is famous for the quadriga on the Brandenburger Tor and the bust of Friederike von Preußen.

He became director of the Royal Academy of Art in Berlin in 1816 and this book is his first work dedicated to the instruction of his students in the basic anatomy of the human body. He used the prints of Albinus as a starting point and developed clear images of the bone structure and the muscular structure of the human body so that artists and sculptors would have a firm footing as they pursued their craft.

To these plates he added three plates on human proportions, a comparison of heads of youth and adult and old age, and a comparison of male and female, a second plate of typical proportions of the human form, and a third on the proportions of ideal form using classical Greek sculpture as the examples.

A third section is a careful analysis of the human head seen from various angles using the techniques of Albrecht Dürer, Jean Cousin and Johann Preissler.

The book was a revelation to students when first published in 1830, was still in use enough to be republished in 1892 and I think today's students of the human form will find it newly valuable for today's art and new media.