Got Rhythm?

It's true that technical skill is really, really cool.  But it's not knowledge of the skeletal system that makes a drawing pleasing to look at.  It's other things.  Things like rhythm. 

"To express rhythm in drawing a figure we have in the balance of masses a subordination of the passive or inactive side to the more forceful and angular side in action, keeping constantly in mind the hidden, subtle flow of symmetry throughout."  -- George Bridgman, Bridgman's Life Drawing

It's the word "subordination" that catches my eye right now.  Drawings that have life in them emerge from choices.  If an artist creates a figure standing equally balanced on both feet, standing upright, and staring straight ahead, no choice has been made.  No choice by the artist, no action in the figure, no rhythm, no life.  But when the artist makes that first decision -- this side will be stretched wide, that side will be compressed -- and that decision leads to other decisions -- this foot must be planted here, that arm must be stretched out to the side -- that's when a drawing really comes to life. 

For all his contempt for 2-dimensional art, I think Michelangelo really got this in his drawings and paintings.  The great masters of figurative art create worlds where the body, not the voice, is the means of expression.  Worlds where everyone is a dancer.  Rubens was another expert at this.  It's no coincidence that we still have several studies Rubens made of Michelangelo's work.

Of course, Rembrandt van Rijn created worlds where every line and brushstroke is a dancer.  But that's another story.

A couple of lesser efforts by your humble host are coming along on the drawing board.  I don't know how soon they'll be finished, but I may post them as works in progress later in the week.

Thanks for dropping by!  Now get back to your sketchbooks. . .