Pages

Arranging the pictures

This will take a few moments...

  • Bending forward hands on knees

    1972

    pen and Indian ink

    14.3 x 10.1

  • Leaning on a shelf

    1972

    pen and Indian ink

    22.5 x 14.9

  • Kneeling on all fours

    1972

    Conté on coloured paper

    27.3 x 14.9

  • Lying on his front

    1972

    Conté on coloured paper

    17.2 x20.6

  • Lying on his side: back view

    1972

    Conté on coloured paper

    26.7 x 18.1

  • Sitting - turning away

    1973

    Conté on coloured paper

    34.2 x 21.3

  • Sitting pulling off Levis

    1973

    Conté on coloured paper

    23.9 x 33 +

  • On his back: asleep

    1974

    Conté on coloured paper

    15.5 x 12.7

  • White vest and pants (hand on hip)

    1974

    Conté & gouache on coloured paper

    30.5 x 11.4

  • Stepping out of Levis

    1974

    Sanguine conté on coloured paper

    34.5 x 29.2

  • Shirt off & on fast x 3 - back view

    1974

    Conté on coloured paper

    42.5 x 26

  • Shirt off & on fast x 3 - front view

    1974

    Conté on coloured paper

    40 x 20

  • Singlet off & on fast x 3 - side view

    1974

    Conté on coloured paper

    40 x 24.8

  • Shirt off & on fast x 3 - side view

    1974

    Conté on coloured paper

    40.3 x 29.5 +

  • Tattooed man pulling off a T shirt

    1978

    Conté on coloured paper

    20.3 x 27.9

  • Tattooed man putting on a T shirt

    1978

    Conté on coloured paper

    27.2 x 22.2

  • Tattooed man - quick strip

    1978

    Graphite

    14.9 x 12.1

  • Twisting out of Levis

    1978

    Graphite

    20.3 x 27.9

  • Pulling on socks

    1979

    Graphite brush & Dr Martin's Watercolour

    17.8 x 9.5

  • Sitting pulling off Levis

    1979

    Graphite

    14.6 x 15.5

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Nudes in Line

A sense of immediacy sets these drawings apart from the rest of my output. They are ends in themselves and have no role as studies for paintings. That function is served by my tonal drawings in which the figures are an integral part of a design. The earlier drawings in this selection are in the tradition of the Art School Life Class where the model tends to take up poses that can easily be held for long periods.

Because of my fascination with movement I asked my model to go through the motions of dressing and undressing but to do it in slow motion so as to give me a chance to record some of the wonderful shapes he was making. The tentative drawings of July 1974 show that he was still moving too fast for me. The August drawings, however, revert to the procedures I had used for the tonal drawings and my camera simply selected the shapes that interested me. To maintain a sense of momentum and keep my line lively I drew swiftly from the resulting photographs.

Freed from my usual slow and deliberate working methods, I was now able to indulge in the exhilarating sensation of ‘taking a line for a walk’.

© Michael Leonard