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Si bien contiene 100 reproducciones de bocetos de grandes maestros, el valor del libro no radica en ver qué bonito dibujaban los Rembrants o da Vincis, sino en el texto que usa esos dibujos para señalar lo que hay que saber para ser un buen dibujante. Si se pretende que este libro enseñe temas de dibujo, aquí hay bastante información (formas, luz y sombra, línea, anatomía, etc.). Los textos suelen ser breves pero muy puntuales y completos, y es claro que el autor sabe de lo que habla y es muy buen maestro. Por otro lado, si la idea es conseguirlo para ver las imágenes sin leerlo, acabarían obteniendo una consulta de Google empastada. Pero detenerse a asimilar todo lo que señala el autor usando estas imágenes como ejemplos, y extrapolar lo aprendido a otros bocetos –dentro o fuera del libro–, a dibujos propios, o a otras obras de arte… ahí sí vale mucho la pena tener este libro.
Before anything it should be said I was living in italy when I got this book. I was traveling alot and visiting all the like major museums in Europe.
and I'm also a sketch artist, and I was transitioning from do cartoons and comics. and moving on to realism. this book brought it all together it kinda feel on my lap at the right time in my life. I think I found it on one of those top ten book all artist should read or something.
I don't think its for everyone. sorta depends what your into. alot of artist aren't looking at the classics stuff cause they think it's boring or just not their thing. I was kinda of the same way. but living in italy changed that. this book look at the sketches of the masters, it's not only like a master study if you choose really sit and copy some of the drawings and study the sketches.
but these are the underpainting, the sketch studies, and the random sketches of some of the best painters and sculptors. it like seeing their thinking, there planing. you see how they got it wrong some times and keep at it. these are loose and no one was meant to really see them at the time they were created. this is like an artist today printing a book of sketches and picking and choosing his/her best work. if that what you looking for you'd be disappointed. cause it's more like someone publishing your diary.
mostly pictures you can find alot of these on the net. but if your gonna study these really. it's best to have in print instead of a screen. and it all in one place and you don't have to worry about resolution.
I really liked it but thats me. not for everyone though. like everything else it kinda depends on you and open you are and what you are look for.
I'm a fanatic for buying books and DVDs on painting and drawing. I have also loved the classical realist painters all of my life, so my review is written from that perspective. If you are into stick figures and blobs of coloured paint don't buy this book.
Also, I *do* give negative reviews of book and other things I buy, so if you think my gushing praise is from some marketing rep check out my other reviews. I hate marketing people as much as you probably do.
So...I have to say this book is absolutely superb. It is full of excellent commentary and great examples of the points the author makes. I have learnt more from this than any other book or number of books that I have read. Really brilliant stuff. The points the author makes are always explained simply and clearly and in short paragraphs. They are followed by pages and pages of examples after each section, all annotated and marked up to show the things the author has just explained.
It isn't a "how to" book in the sense of (say) "A head is split into x number of parts, the ears go between here and here." It is more of a how to in the conceptual sense. That is "You can light the head as a block, or a cylinder, or a block with a rounded face" etc. It shows you how the masters left out cast shadows, or made them smaller than they should be, or even changed the main light direction on different parts of the body. All to help their composition and to show form better. There are many examples of these manipulations of light or line, form and mass to enable them to get their message across in the best way.
If you buy this, keep a sketchbook and pencil next to you because every few minutes you will get a new insight and be desperate to try out the effect yourself to see if it really works. I haven't stopped scribbling since I started this book.
Hale was smoking weed. Either that or he should have kept the window open when painting. How else can you explain his statement 'the best artist today could not draw better than the worst artist in this book'. Granted, he said that a long time ago. Certainly well before Lance Richlin et al came on the scene. I have the latter's book 'Lifelike Heads'. But back to Hale's book, 'Drawing Lessons from the Great Masters': John Henry Fuseli #18th century dude on p.49 and, if you like vomiting, p.19# is 'interesting' in the way he renders form. But he has nothing on the graphite pencil sketches in Richlin's short tome quoted above. Don't ask an art buff if my statement is valid. Ask a kid. Or your wife. Someone who hasn't been indoctrinated by the art world's heroes, like Hale. Someone who can say what they really feel and think. Kids can do that, and I'm pretty sure a kid would not choose Hale' masters over Richlin for artistry. Hale's statement is bizarre, and his book is equally so. Leonardo, Leonardo. Get over it. He was ahead of his time, just not this time. I've seen the old man Hale on youtube, along with the fawning idiot trying to sell DVDs of Hale waxing on about this and that. For $700? More weed? Hale looks as straight as a razor and, to be sure, he seems just as sharp and insightful about the human skeleton. But you're reading this review because you're thinking of buying his book, not figuring if he knew the human form backwards or could hold a class. I bought the book, and I say that if you're looking to buy 'Lessons from the Great Masters' well, it isn't a PATCH on 'Lifelike Heads' by Lance Richlin. Don't agree? Then I guess you know a whole lot more about art than I do. So why're you reading my review? Go ahead. Buy this funny, antiquated old man's funny, antiquated old book with its ridiculous statements and 'interesting' artists of a bygone, thankfully gone, era. Or invest your money wisely in accessible art books by the likes of Lance Richlin, Betty Edwards or JD Hillberry. I hope you find success and happiness in what you achieve with pencil. If you're like me, Hale's book will send you back to those stale, dull school lessons led by left-leaning art teachers who've wasted their spent youth on Hale's alleged masters.
I wanted to know how the great masters Leonardo, Raphael, Michelangelo among others, lived under hard conditions and anyway managed to produce some of the greatest creations in the history of art and science in Europe and still be able on this time of our own era to amaze us and teach us their art and accomplishments!
This book is in no way "lessons" ... just images of the great masters with some sort of explanation which cannot be compared to a lesson. The explanations are repetitive, showing planes and some construction lines, but it is not helpful for artists looking to a better understanding of anatomy. I rate it 1 star because it did not even meet 10% of my expectations. Unfortunately I cannot send it back because I ruined some pages while reading it
This book contains a ton of useful drawing lessons. And it is a treat for the eyes! Take the time to read through the text, observe the illustrations closely and you will really enjoy learning from the masters!
Robert Beverly Hale's drawing books are some of the first one I go to on my shelf when looking for drawing advice. Drawing Lessons from the Great Masters is terrific book to get a handle on the mental aspects of drawing.
This book is a little more generic than his others, focusing more on a general approach to drawing and a very basic overview of anatomy.
The primary truth Hale mentions that many students fail to realize and some other drawing books skip over is that drawings aren't supposed to be a copy of real life. They're just symbolic depictions of life.
If a limb needs to be moved to make a better drawing, or if the entire lighting plan needs to be redone in your head, do it. The model is just the initial suggestion on which to base a drawing.
Where Hale's books shine is that he uses old master drawings for his examples. Basic art concepts such as conceiving body forms as basic geometric shapes to help control and simplify details are much easier to understand when you can see it in a Rubens or DaVinci drawing.
I will admit that some of his advice (like buying bones to study anatomy) may sound a tad odd. But you should remember that this book is 20 years old and draws on teaching experience for 30+ years before that. However, other than that the lessons in this book are just as important and relevant now and when they were first written.
I have a ton of drawing books, (almost literally) but this and Robert Beverly Hale's other books are some of my favorites.