. Portrait . et les flèches la direction des mains. Les peintres érélierpeintres semblaient avoir été friands de la pose, dia-gram IV-2, un bras plié au coude et l'autre suspendu d'une façon plutôt angulaire. Seulement gradé-ils sont arrivés à la conclusion que le bras pendant vers le bas aurait l'air plus gracieux si elle était curvedet l'autre ferait une apparence plus favorable si l'avant-bras était étendu vers le bas. Cette intime a produit un certain parallélisme dans les deux bras.cette position est l'un des plus efficaces, comme ithelps pour briser le massif de la forme de buste.nous le remarquons dans la Fig. i

• Contributeur: Reading Room 2020 / Alamy Banque D'Images
• ID de l’image: 2CH84D7
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. Portrait . and the arrows the direction of the hands. The earlierpainters seemed to have been fond of the pose, dia-gram IV-2, one arm bent at the elbow and the otherhanging down in a rather angular fashion. Only grad-ually they arrived at the conclusion that the arm hang-ing down would look more graceful if it were curvedand the other would make a more favorable appear-ance if the forearm were extended downward. This intime produced a certain parallelism in both arms.This position is one of the most effective ones, as ithelps to break the massiveness of the bust shape.We notice it in Fig. i, a well known portrait by the PORTRAIT great French draughtsman, Ingres. With the sHghtdifference, however, that both arms are drawn in acurve. This is certainly one of the best devices forthe disposition of the arms in a three-quarter view ofthe body. It gives a rounded appearance to a nat-urally angular form. This desire to represent the. Portrait of a Woman Rembrandt arms in curve-like movements lead to the simple andgraceful device, particularly in female bust portraits, to bring the arms as near to each other as possible, and to fold them as it were, about the body, as seenin diagram IV-4 and 5 and Fig. 2 and Fig. 3. Nomatter what the composition may be, if the arms are PORTRAIT represented as drawing near to each other you willalways produce an agreeable attitude. We, in modern times, have deviated a good dealfrom these old rules. We are fond of more variety, , and do not follow as closely the pyramid forms of thefuUface and three-quarter views. True enough, itwould be impossible to represent all lady-sitters withfolded hands. Still, it is more advisable to followthese old formulas than to pose the arm in some mean-ingless and willful fashion. For as soon as the arm

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