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The Undressed Art book cover
Categories , ,
ISBN 13: 978-1400041848
Pages: 272
Dimensions: 5.75 x 7.5 x 1 inches
Publisher: Alfred A. Knopf

The Undressed Art (test)

Why We Draw
by Peter Steinhart
Peter Steinhart author portrait sketch
Peter Steinhart is a naturalist and a writer. For twelve years he was an editor and columnist at Audubon, and his work has appeared in Harper’s, the New York Times, the Los Angeles Times, Mother Jones and Sierra. He has twice been a finalist for a National Magazine Award, and his essays have been widely anthologized. He has published four books, the most recent of which is The Company of Wolves. He lives and draws in Palo Alto, California.

A brief excerpt from the book…

Eleanor Dickinson’s line is lively and lyrical, a flute passage from Vivaldi, confident and sunny. It flows from the end of her felt-tip marker in curls and ribbons to divide form from formlessness, to mark the places where light glances and clings, to define the subtle curves of life.

It is a remarkably supple and observant line, full of information, full of understanding of how a wrist curls or a finger bends, broad where shadows collect, finer as light intensifies, broken and invisible where light dazzles.

It comes into a kind of miraculous life, born from the tip of the pen bold and finished, yet continually moving, continually revealing and describing: the back of a middle finger folding delicately away from the light, rounding down and darkening to the fingertip, then turning sharply where its contour meets the last knuckle of the index finger, now thin again in the light, down again to the index finger’s rounded tip.

By and by, a hand—or its contour—has appeared on the paper, and to my eye it has the exact proportion, the weight, the texture, the strength, the experience, the life of the hand across the room.

About this book…

We all draw as children: we scrawl a sunbeamed circle for a face and dots for eyes, and then we move on to portraits of Mom with an upside-down U for hair and Dad with trousers up to his armpits. But sooner or later, almost everyone stops. In this delightful, revelatory book, Peter Steinhart explores why some of us keep on drawing–and what happens when we do.

Combining the scientific, the historical, the anecdotal, and the personal with marvelous ease, Steinhart asks some provocative questions: Why do drawings often speak to us more eloquently than paintings? What is the mind doing when we draw? Why are so many drawings of the face and of the nude figure? What is the dynamic between a clothed artist and a naked model?

Steinhart clarifies that, at its best, drawing is a spontaneous expression of what we see, an “undressed art” unencumbered by affectation or calculated fashion. And he reveals its many rewards: it helps us focus, slow down, and really see the world and ourselves. At once erudite and engaging, The Undressed Art illuminates the allures and joys of a familiar art–and inspires us to pick up a pencil and draw.