Albinus on anatomy

Аннотация

When the first editio n o f Albinus on Anatomy came o ut in 1979 ther e was str o ng evidence o f a growing interest in the study of the human figure. Today, this focus is greater than ever. The study of basic anatomy has always been an important point of departure for the study and creation of artistic fo r m. In the pr esent day, Ar tistic Anato my is taug ht as a basic co ur se in mo st ar t scho o ls and ar t departments of universities. Art educators realize more than ever that without a knowledge of basic structure and muscular function, it is difficult for an artist to understand the great mysteries of design co mmo n to all living cr eatur es. The wo r ks o f such master s as Leo nar do , Dür er, Michelang elo , Rubens, Raphael, and Degas r eflect this basic kno wledg e and under standing o f the r elatio nship o f form and function. In his Trattato della Pittura, Leonardo wrote that a knowledge of bone structure and muscular articulation was essential for the artist to become aware of the true nature and design of organic form. He advised that through such study artists can avoid “the wooden and graceless nudes that seem rather as if you were looking at a sack of nuts than a human form, or a bundle of radishes rather than the muscles of nudes.”