EDITOR'S NOTE

For more than thirty years thousands of art students crowded into George Bridgman's classes at the Art Students' League in New York to learn at first hand the method of drawing from life which was his personal contribution to art education and which in his own lifetime had become famous. Many of the best known names in contemporary painting and sculpture and commer-cial art were enrolled in those classes.

Bridgman's vivid and articulate personality brought lively interest to the study of anatomy. His beautiful drawings of musculature and bone struc-ture have provided a truly new literature on the subject. These were anatomical drawings made not for the medica! student or the doctor but specifically for the artist. How the body moves, bends, how its parts coordi-nate, how the hands clutch, pull, or push, are among the countless bodily movements he illustrated and analyzed.

Great artists have, in the past, illustrated the phases of anatomy that related to one or another portion of the human body. In the new "COMPLETE BRIDGMAN" it is clear that all of the constructive anatomy of the human figure is gathered into one volume.

Bridgman invented a terminology which graphically describes the twist-ing and turning of the human body. The term "Wedging" likewise is his own; it describes how one group of muscles integrates with another. By sim-plifying forms and giving them increased definition, he makes bis particular method an easy one to remember. In a sense these drawings of the human

TABLE OF CONTENTS HOW TO ORA W THE FIGURE PROPORTIONS OF THE HUMAN FIGURE-MEASUREMENTS

Movable Masses -WEDGING, PASSING ANO LOCKING-BALANCE RHYTHM TURNING OR TWISTING -LIGHT ANO SHADE DISTRIBUTION OF THE MASSES -BUILDING THE FIGURE MOULDINGS THE HUMAN HEAD

The Skull-Drawing the Head -Perspective of the Head -Distribution of Masses oj the Head -Construction of the Head -Planes of the Head -The Head in Profile A hove Eye Leve/ Below Eye Level -Round F orms of the H ead Round and Square F orms o/ the H ead Cube Construction Oval Construction -The Head in Light and Shade-Comparative Measurements oj the Head -The Child's Head Muscles of the Face Expression The Chin-The Eye The Ear -Planes oj the Ear The Nose-The Mouth -The Neck-Front oj the Neck Back of the Neck -

THE TORSO-Front View Masses Planes of the Torso--Front View Structure -Torso--Profi.le Rib Coge -

12 17 20 23 25 33 37 42 48 54 57 62 67 68 74 76 81 84 86 93 94 96 98

100 102 105 106 110 112 113 114 117 120 122 124 125 130 133 134 135 146 148 151 153 155 160

THE TORSO-Back View Mechanism of the Torso and Hips -Shoulder Girdle

THE SCAPULA-MECHANISM OF THE SHOULDER BLADE THE ARM

Mechanism of the Arm The Forearm -Masses of the Shoulder and Arms-Pronator and Supinator Elbow

THE ARMPIT -THE HAND -

Expressions of the Hand The Wrist and the Hand -Mechanism of the Hand and Arm Anatomy of the Hand Muscles of the Hand -The Hand-Back View -Construction of the Hand Thumb. Side of the Hand -Little Finger Side of the Hand -The Fingers The Fist -Knuckles of the Hand -Hand of the Baby-

THE PELVIS The Hip -

THE LOWER LIMBS The Thigh and the Leg -The Knee

THE FOOT -Abduction and Adduction Eones and Muscles oj the Foot Toes-

DRAPING Styles Composition Draping the Figure -Folds Types of Folds Diaper Pattern Pipe or Cord F olds -Zigzag F olds Spiral Folds -Half-Lock Folds -Inert Folds -Volume -Rhythm

INDEX and GLOSSAR Y

161 167 168 172 176 193 194 200 205 207 212 214 218 223 226 228 230 232 240 242 248 260 272 277 280 282 286 288 289 302 308 311 314 315 318 320 322 324 328 330 333 334 336 340 342 345 349 350 351