The
Dony Mac Manus Studios have been founded to address
the figurative artistic needs of those living in Florence. It focuses
on the human figure with the understanding that it is the most expressive
vehicle in which to express the human condition. The curriculum is
based on the academic principals of the 19th Century academies in France
as a foundation in seeing. Once the students have learnt to see they
are then able to interpret what they see by making informed visual
decisions as opposed to uninformed abstraction. This is based on the
idea that one cannot break the rules unless one knows what they are
and it is only until one knows the rules, that one can break them properly. |
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Artistic
Anatomy is thought most effectively
in 3D by the construction of an Ecorche or flayed human figure.
Because the human figure is a three-dimensional reality, the
construction of it in its closest detail enables the student
to develop a profound understanding of it as a complex and beautiful
form within space.
The exercise
consists in the construction of an aluminum armature in the
exact form of a human skeleton on which the bones are modeled
in plastalina or oil based clay. Once the skeleton is completed
and exactly proportionate to the model, the muscle groups are
applied one by one from origin to insertion with the aid of
a skeleton, anatomy books, large Ecorche model and life model.
Combining all four sources of information one develops a profound
understanding of the human form in space. Special emphasis
is placed on the bones and muscles that influence subcutaneous
form so as to aid the student to recognize these landmarks
when working from the model. |
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| Figure
Structure is based more on the architectonic structure of the human body. The
emphasis here is on abstracting the form into a combination of
large solid planar sections which are further worked into smaller
planar sections, which clarify the direction, and shape of each
form in space. This adds great power, three-dimensionality, presence
and dynamism to ones work. |
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| Cast Drawing is
the best introduction to the figure because it consists of drawing
from plaster casts of sculptures with fixed lighting conditions. The
combination of fixed form and fixed lighting makes it easier for the
student to study the forms and how light reveals them. The student
starts with the simplest of forms such as plaster casts of the eye,
nose, mouth and ear of the statue of David by Michelangelo and works
there way up through the full head to the full body. The sight size
technique, which enables the artist to replicate exactly the form before
them, is used. Only then is one encouraged to work from the life model
with its subtly changing forms and light. |
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| Life Drawing forms
the basis of all study of the human figure and we encourage students
to bring what they learn from Artistic Anatomy, Figure Structure
and Cast Drawing into their life drawing lessons. There are a number
of drawing techniques that we teach and one is the sight size technique
which enables the artist to replicate exactly the model before them.
These techniques are only thought as a means of understanding visual
reality and not as ends in themselves. We hope that the students
would mature in order to liberate themselves from pure technique
to authentic artistic expression, making informed visual decisions. |
Life Sculpture lessons
emphasize the use of internal structural elements such as the skeleton
and the muscle groups to confront the complexities of proportion
by the understanding of fixed bone lengths, gesture by the interplay
of larger masses and surface tensions in relationships of the subcutaneous
forms. Exercises range from bozzetti (small clay sketches) to life
size work while always putting into practice an understanding of
artistic anatomy and figure structure. It is the aim that each student
would complete a sculpture, make a mold and cast it for the last
lesson. |
Life Painting lessons
deal with tonal values, grisaille, limited palette and unlimited
full palette. All that can be learnt from the above lessons prove
invaluable when composing a painting with figures. The students are
encouraged to work either from preparatory drawings or directly on
the painted surface. All aspects from preparation to completion are
covered. |
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