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Bibliographical Note
This Dover edition, first published in 2005, is an unabridged republication of the
work originally published by Bridgman Publishers, Inc., Pelham, N.Y, in 1935
under the title Female Form / by Ben Pinchot / With Analytical Drawings / by
George B. Bridgman.

Library of Congress Cataloging-in-Publication Data
Bridgman, George Brant, 1864-1943.
[Female form]
Drawing the female form / George B. Bridgman and Ben Pinchot. p. cm.
Originally published: Female form / by Ben Pinchot ; with analytical drawings by
George B. Bridgman. Pelham, N.Y : Bridgman, 1935.
9780486136127
1. Figure drawing—Technique. 2. Drawing from photographs—Technique. 3.
Female nude in art. I. Pinchot, Ben. Female form. II. Title.
NC765.B7753 2005
743.4’4—dc22
2005045975

Manufactured in the United States by Courier Corporation 44347703
www.doverpublications.com
Table of Contents

Title Page
Copyright Page
INTRODUCTION
INTRODUCTION

There are many books extant that deal with the human figure portrayed
photographically as well as graphically. And each publishing season finds a fresh
series thrown into the market. So many volumes are typographically and
artistically engaging, but with that perfection of beauty their purpose appears to
end. Most of them are collected from diverse sources (and therefore lack
uniformity of creation) and are usually without preconceived purpose or unity of
contents. For the most part, their very beauty precludes any utilitarian features.
This is especially true of photographic compilations. While many more of the
books limited to graphic depictions have a basic idea for their conception, they
are sadly lacking in authentic life and vitality. It has been our aim, and hope, to
ideally combine the sharp reality of a photograph and the illuminating and helpful
fragments of a drawing and thus produce a volume that will have captured the
outstanding features of both arts.
This collection is dedicated primarily to the beginner and the student who must
learn to work from a living model, yet cannot afford the mounting expense of
retaining one for daily use.
Every successful artist has spent the greater portion of his creative years
working from a model. No matter how profound his knowledge of anatomy, no
matter how skilled and artful his memory may be in its application of the
constructive elements of the human figure, he achieves the consummate touch, the
ultimate authenticity of the great master by working directly from life.
There is nothing truer to the replica of nature than a photograph. The eye of the
lens has the precise and unyielding rigidity of a formula of science. In the hands of
a worker who acknowledges its candid limitations only to mold them to his own
advantage, the lens can produce photographs that will vie with nature for their
incredibly faithful honesty.
We have sought in these photographs to establish, as far as possible, a
sculptural quality, to make them pleasing without sacrificing any of the clarity or
realism of the figures, and whenever feasible, to emphasize any features that
should be of special interest to the beginner.
The fine muscular development, the delicately sculptural modeling, the bone
structure under the rounded flesh—the combination of photographs and
progressive drawings should, we feel, take the place of a living model, and
consequently prove of invaluable aid to the beginner and student.
We have chosen to do most of our photographs of the female form. To translate
the power of beauty, so perfectly exemplified by a lovely woman’s body, is a task
toward the success of which the artist must fortify his creative powers with the
perfect technique that comes only of long and stubborn and enduring practice. And
it is our hope that this volume will reach the field that needs it the most—that of
the talented and ambitious beginner who needs to work from the model.
The progressive drawings for this series were done by George B. Bridgman,
whose works on anatomy have become classic references for the art students.
The photographs of the female form were posed by Desha, the famous dancer.
Her flexible and pliant body, her uncannily intuitive knowledge of poses, and her
experience in modeling for many of our famous artists and sculptors have made
her an ideal subject for this type of photograph. The male studies were posed by
Jean Myrio, the French dancer, who was instrumental in introducing the adagio
type of dance on the continent some years ago.
B.P



NEW YORK CITY . DECEMBER 1, 1934