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The history of artistic renderings of the human form goes back as long as we have existed. From the earliest Paleolithic cave paintings at Lascaux from some 30,000 years ago, to the Minoan “Bull-Leaping” fresco from the Great Palace at Knossos, man has deemed depicting himself as central to our artistic enlightenment. These early paintings were mostly depictions of animals and hunters, and the human forms were predominately curvilinear, but showed movement with innovative means, such as superimposing legs or juxtaposing a succession of multiple drawings, evoking the feeling of motion.
The classical period of Greek art, which depicted the human body in its ideal form, with mathematical proportions, and placed an emphasis on true naturalism and balance. Myron’s “Discobolus” depicts a figure that is about to release his throw. This work is a prime example of rhythm, harmony and balance. Although the figure shows no signs of muscle strain or emotion, the rhythmic quality is what prevails in the mind of most viewers.
The Renaissance was the age of Michelangelo. His masterpiece “David” is considered one of the most important works ever created by man. The marble statue portrays David in a contrapposto stance, just before the battle against Goliath. David is tense and ready for combat, but his shows movement from positioning himself into stance, as he twists his body swinging the sling over his left shoulder.
In the late 19th century, the most important artist with regards to representing the human form was Rodin. In 1878, the sculptor created the work “John The Baptist.” This work was an unorthodox figure of the holy man wandering the desert, full of fervor and fierce expressions. Rodin’s goal for this piece was to create a moving sculpture, and he did just that. By placing both of the figures feet on the ground, he created the effect of walking by combining successive images, similar to the “Bull-Leaping” fresco. Just as a reference, “John The Baptist” was completed one year after Muybridge settled, with a single photographic negative, whether or not Leland Stanford’s racehorse Occident became airborne in the midst of gallop. He was able to photograph the entire stride of the horse, with twenty-four stop motion cameras. Muybridge’s work “The Horse In Motion” was a serious victory for developing new ways to present bodies in motion.
Degas spent his entire career studying the rhythmic figure in the form of drawing and painting dancers. Half of his mature work displays his mastery in the depiction of movement, and is clearly the key figure in understanding representation of the human form in motion.
The artists in “The Rhythmic Figure” continue the tradition of representing the human form, and have a common interest in studying the natural rhythm that occurs in bodily movement. The conception is to show how contemporary artists are representing the human figure, with a concentration on musical patterns, and how they continue on with the tradition of rendering motion through artistic means. Just as it was 30,000 years ago, the path towards enlightenment is still understanding ourselves as human beings.
Robert Berry
Curator
Channing Penna "Martha" |
