The body in its state of natural splendor is the supreme example of beauty. The truest picture of the body is that which shows it unadorned. All that it has to say is said by its presence alone, by the silent eloquence of form.
Likewise in drawing, painting or sculpture. One draws, paints or sculpts a nude in quite a different way from any other subject. It is not theory or method, but the mind alone, inspired by the eye, which evokes the creative impulse. Thereafter, attitudes and gestures of the body combine to form the harmony of the line and the balance of the composition.
One should paint or sculpt an apple, a face, or a flower, in the same way as one would paint a cabbage, a mountain, or a bottle. The shape or size or colour of an object does not limit the artist to any particular method of representation. An outline takes shape according to a series of curves and surfaces, which joined together, we may call a pear, or a few flat pieces of geometry we call a brick; so that a collection of forms in juxtaposition, as they are seen and than depicted, from either an object or a human form. The artist’s impulse being derived in both cases from a similar reaction, a similar line of thought, and interpreted with the same degree of skill, the result stems from application of the same knowledge to both subjects.
The choice of a model is a question of taste and vision and personal ideals; nevertheless it is limited by certain general principles. In the way in which the artist adapts these principles to suit the interpretation of his ideas may be found the key to his individual style.
Nude art has an aestheticism of its own. More than sensitivity, the artist should possess sensuality and sexuality in the purest sense in order to be totally honest and believable. Sculptor, painter, makes no difference which , really needs therefore to be transported, as it were, to another higher sphere.
This gift not granted to everyone, nor presented at any particular time. Fortunate is he who receives it; happy is he who finds it in the contemplation of a work thus conceived.
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