conversations.from: human
conversations.value: What is a description for a book titled Drawing Lessons from the Great Masters about Art, Anatomy, ROBERT with the genre: Arts & Photography, History & Criticism?
conversations.from: assistant
conversations.value: ROBERT BEVERLY HALE was the Curator of American Paintings and Sculpture at the Metropolitan Museum of Art, a world-renowned teacher at New York Students Art League for 40 years, and Adjunct Professor of Drawing and Lecturer on Anatomy at Columbia University. He also co-authored Anatomy Lessons from the Great Masters.
conversations.from: human
conversations.value: What is the first three paragraphs for this book?
conversations.from: assistant
conversations.value: Drawing Lessons from the Great Masters
  Since the studio practices I am attempting to explain were apparently shared by all the artists herein, the pictures are neither placed chronologically, nor grouped by styles: they simply are arranged to give clarity to the text. The pictures also have been chosen to reveal all parts of the body from differing points of view, and to include many studies of heads, hands, and feet. All drawings are reproduced as large as the page size permits and many are actually reproduced larger than the original for detailed study.
  I AM DELIGHTED to be permitted to write this preface. I have admired Robert Beverly Hale's work and his abilities as a teacher for some time. He has taught drawing and artistic anatomy at the Art Students League for the past twenty years. Countless artists have benefited from his insights.
  We are witnessing today a resurgence of interest in realistic and representational draftsmanship. A few years ago, good figure drawing seemed doomed to extinction. A kind of fever had attacked even the best known art schools. In many places where art was taught, drawing was slighted and even neglected completely. (I am glad to say this was never true of the Art Students League). But this fever now seems to have run its course. Once again, good drawing is being understood as a foundation for painting — no matter what style or direction. It is surely no accident that the great masters of the modern movement were, without exception, well schooled in draftsmanship!
conversations.from: human
conversations.value: What is five more paragraphs?
conversations.from: assistant
conversations.value: It must be understood at once that the form of the body is dictated by the bones. Tap yourself all over. Whatever parts are hard are essentially bone. Your head, your hands, your feet, your joints: the form is primarily influenced by bone.
  The influence of bones on the rest of the body is more subtle but just as strong. The base of the column of your neck is founded on the circle of your first ribs. The shape of the important mass of the external oblique is forced by the ribs and the pelvic crest. The inside of the thigh is a reflection of the pelvis, etc.
  Pull off your muscles, like Hercules in his death throes, and scatter them about. They are so much shapeless meat unless attached to the skeleton. But your skeleton will remain as before, unchanged in form and proportion.
  Therefore, the first thing to do is to get a collection of bones. They may be ordered from any medical supply house. I know that bones are expensive, and that art students are poor; but remember, they will last for a lifetime, and it is possible that you will be giving your lifetime to your art.
  It is better to buy the separate bones, rather than the whole skeleton (which is often put together by ignorant mechanics). The shape of the important ends of the bones is forced by places where they touch each other; these places cannot be nicely observed in the assembled skeleton. When you have acquired your bones, study them until you can draw them by heart from any position. Then draw them together as a full skeleton.
conversations.from: human
conversations.value: What is the last four paragraphs?
conversations.from: assistant
conversations.value: Rib cage, 1.1, col2.1, col2.2, col3.1, col3.2, 4.1, 4.2, 4.3, 5.1, col6.1, col6.2, col6.3, col6.4, col7.1, col7.2, col7.3, col7.4, col7.5
  Rubens, Peter Paul, 4.1; Nude woman, col7.1; Portrait of a little boy, col7.2; Portrait of Isabella Brant, col3.1; Studies of arms and legs, col6.1; Studies of heads and hands, col5.1; Study for Abraham and Melchizedek, col7.3; Study for Mercury descending, col5.2
  Thrust, col5.1, col5.2, col7.1, col7.2, col7.3, col7.4, col7.5; and drapery, 5.1, col5.3, col5.4, col5.5; and light, 3.1; and line, 5.2; and tones, 5.3; and true shape, 5.4; determining, 5.5
  Tintoretto, Design for archer, col2.1; Design for Venus and Vulcan, col3.1; Draped standing figure, col5.1