Those who participate in typical life drawing classes do not generally obsess about things like the latissimus dorsi (back muscle) or the anterior superior spine (bone in the pelvis). Artistic anatomy classes, which are required in most graduate art programs, involve intensive, meticulous study of the musculature and skeletal structure of the human body. The MFA students at the New York Academy of Art are fortunate to have a superb instructor like Robert Armetta, with whom I’ve had the pleasure of working with for some time now.
Posing for anatomy is a different experience for the model as well. While students make good use of classroom skeletons and écorché casts for bone and muscle observation, the model is there to exhibit, and sometimes actively demonstrate, those same bones, muscles, and connectors as they appear in a living, breathing life subject. We’re often asked by instructors to flex, twist, rotate, or create resistance so as to emphasize a particular muscle or bony landmark. For the long pose, students will draw on their paper the model as skeleton alongside the full figure. Teachers and students alike benefit greatly when their anatomy model is a seasoned professional, one who is comfortable being pointed at at close range, and who doesn’t cringe when the term “fatty tissue” is uttered during a demo. Fatty tissue???? NOOOOOO!!!!! Just kidding 😆
Here I am in Robert’s class posing alongside my anatomy buddies – écorché cast on the far left for muscles, skeleton (who lost his head!) in the middle for bones, and the sum total of it all, yours truly, with bones, muscles, skin, a messy hair bun, the whole shebang:
It was a marvelous experience posing for this class of first year students at the Academy. The focus and dedication they displayed was impressive, and I was honored to be their model over the past several weeks. They’re well on their way. Keep up the good work guys!
Lovely drawing from the class by Chusit Wijarnjoragij: