The goal of European physical activity for a long time (even as far back as the 1600's from what I know from primary sources and probably much earlier) whether it was dancing or standing to give a speech was as to acquire movement and pose informed by the principles of European art. The body when standing and moving should imitate artistic ideals that you see in Grecian statues and movement was to be consistent with that ideal. So I was not surprised to see this comment in another thread.
Does anyone also have any insight why these ideals in posing were rejected? In many arts academies since about the 60's there has been is a similar rejection of this ideal.sticksb wrote: ↑Mon Mar 27, 2017 6:49 pmPerfect proportions and classic statue poses . Years ago I took a friend of mine to a bodybuilding show (regional).
She was an art major at Syracuse University . " What do you think ?" I asked her ." For the most part they look like
a bunch of body parts stuck together. No grace . No flow . Despite the bulging muscles there seemed no athletic
grace to most of the physiques displayed ". I think if Duranton or Clancy Ross were on that stage it might have
changed her mind . The Europeans through the 80s found that happy balance along with the Zanes and Baldwins
of the bodybuilding world.
Additionally I have been reading Monte Saldo's How to Pose and I am wondering if there are any other books that anyone can recommend that have any sections on academic art poses or classical poses?
N.B: I have noticed that the library seems to be missing a copy of Monte Saldo's How to Pose. Copies of the scans from the old maxalding.co.uk website contributed by Ron Tyrrell have been archived through archive.org and can be accessed at https://web.archive.org/web/20130104015 ... -intro.htm