Hard to believe there wasn't a Gold's Gym somewhere in renaissance era Europe. Seriously, though, they must have had a gym somewhere to have models such as those used as reference for famous sculptures like "David," by Michelangelo. Sculpting has evolved so graciously and drastically since the dawn of its art, science, and some might even claim necessity. There is just something magical about taking a plain marble slab or block, and finding the form and figure within. Not only is one able to perceive a tangible and recognizable form, they are able to spend years unearthing that figure, carefully and minutely scraping and chiseling away at pounds and pounds of solid stone until the life within the white is entirely realized by the artist, seen by the masses, and left as a standing marker of its time. Such a prestigious art that swayed many and found to be that of such a stoic nature isn't only appreciated by its patrons and general public. Not only was it regarded as a high-caliber art, it was necessary for painters. It has been used as a medium for appreciation and practice for decades, boosting painters' knowledge and viewing of of human anatomy. But was it the best way for everyone?.
Peter Paul Rubens of the Netherlands (1577-1640) was a monumental painter whose work still rings throughout the ages and stands as a worthy inspiration for artists of all levels today. His intense chiaroscuro elegantly supports his knowledge of color and form, making his paintings stand out even from a distance. It is unmistakably conspicuous he has a clear understanding of the human figure. In his piece "De Imitatione Statuarum," he discusses his views on the effects of sculptures on painters. "To some painters the imitation of the antique statues has been extremely useful.In order to attain the highest perfection in painting, it is necessary to understand the antiques, nay, to be so thoroughly possessed of this knowledge, that it may diffuse itself everywhere.
