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Work in Progress - Plate 1,7 now completed of The Bargue Plate - The Foot of the Gladiator [ Pied du Gladiateur ]
 
Pencil heightened with white chalk on toned paper.
 
This is the foot of what was once one of the most admired of ancient sculptures, now known as the Borghese Warrior. It is signed by Agasias, son of Dositheos of Ephesus, and is now in the Louvre Museum in Paris.
 
Plaster casts of the statue were in virtually every academy of art in Europe and the Americas. Discovered around 1611, the statue was in the Borghese collection in Rome until 1808, when it was bought by Napoleon Bonaparte and shipped to Paris.

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Completion of Bargue Plate 1,6 part B of the heel. Pencil and white chalk.


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The Bargue plates are based upon casts from ancient Greek or Roman statuary. This means the foot has already been idealized and simplified.

Here is my latest drawing which is from plate 1,6 part a - Heels [ Pieds, talons] Materials used are pencil and white chalk.




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Just completed Plate 1,5 from the old masters Bargue drawing course using pencil and some highlights in white chalk on toned paper. We now start to focus on the form of the cast.

Profile of a foot. (Pieds de profil.)



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Okay so here is my version of Plate 1,4 in pencil and charcoal.

Ears are complicated, so this is an important plate that you should copy repeatedly until you can draw correctly from nature.

Look at the finished drawings, and ask how you would yourself would plot the main lines.
Next week the fun begins as I begin work focusing on shadows and forms in the drawing.



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This is my version of Plate 1,3 from the old masters Bargue drawing course in pencil and charcoal.

The focus here is on noses. Just as the mouth was considered as an organic part of a face, the nose is here seen in its proper relationship to the eyes and mouth in profile.



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Welcome to Bargue Monday... Each week I share a drawing as I progress through the book, here is Plate 1,2 Part B in pencil, pen and charcoal. Next week the difficulty level starts to increase.

These models are idealized views of nature, taken from classical sculpture

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Bargue Plate 1,2 Part A in pencil, pen and charcoal

Simple profile of faces with focus on mouth and nose, next week I will add my drawing of the rest of this plate (part B) along with a diagram on how best to use the sight-size method.

The sight-size is a well known and proven method for taking measurements in a setting where the model is posed, or the subject is stationary .



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Plate 1,1 Part B in pencil, pen and charcoal

Next week, I will be uploading some profile exercises of the head.

They are completed using the sight size method, which was a common method of working for both students and accomplished artists prior to the twentieth century, during which it fell into disuse in most art education settings. (Since re-instated at all Atelier's worldwide)

The term "sight size" refers to making a drawing the size it would be if projected onto a plane extending left or right from your drawing board and intersecting your line of sight.

This enables the artist to look at the subject and the drawing from a chosen vantage point and see them side by side and appearing to be the same size.


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The Charles Bargue Drawing Course in collaboration of Jean-Leon Gerome is a famous and fabled publication of the late 19th century divided into 3 parts, precise drawings after casts, master drawings and male models, all arranged in a some what progressive degree of difficulty.
 
My mastercopy of Bargue plate 1,1 part 1

Plate 1,1 Part A in pencil, pen and charcoal

This is my journey as I progress through this epic course which was originally taught in Atelier schools in France and Europe.


For those interested in purchasing a copy of this book, this publication is available from various online book stores, and is a timeless reference book for all serious artists who wish to learn and master the techniques of drawing and creating exquisite tonal harmonies.

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