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    Art Anatomy of Animals
    Art Anatomy of Animals
    Art Anatomy of Animals
    Ebook285 pages1 hour

    Art Anatomy of Animals

    By Ernest Thompson Seton

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    About this ebook

    A prolific author of books on wildlife, the great naturalist Ernest Thompson Seton was also an accomplished illustrator. Noting a dearth of general zoological anatomies for artists, he took it upon himself to create one. This volume is the result of his efforts. In it, he provides a definitive artist's-eye view of the exterior anatomy of animals, helping readers depict surface features such as hair or fur, as well as basic body and facial structures.
    Chapters cover a number of domesticated and wild species: the anatomy, size, and proportion of the lion, tiger, leopard, and other members of the cat family; bears (including the grizzly, European brown, American black, and the polar bear); as well as the camel, Indian elephant, and the caribou. Additional sections consider the horse in motion, the gallop of a dog, and bird feathering.
    One of the most widely consulted books on the subject, Art Anatomy of Animals will be a valuable addition to the libraries of both instructors and students of art.
    LanguageEnglish
    PublisherDover Publications
    Release dateAug 21, 2012
    ISBN9780486140919
    Art Anatomy of Animals

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      Art Anatomy of Animals - Ernest Thompson Seton

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      DOVER BOOKS ON ART INSTRUCTION

      THE ARTIST’S GUIDE TO HUMAN ANATOMY, Gottfried Bammes. (0-486-43641-1)

      PRACTICAL GUIDE TO ETCHING AND OTHER INTAGLIO PRINTMAKING TECHNIQUES, Manly Banister. (0-486-25165-9)

      ILLUSTRATING NATURE: HOW TO PAINT AND DRAW PLANTS AND ANIMALS, Dorothea Barlowe and Sy Barlowe. (0-486-29921-X)

      ACRYLIC PAINTING: A COMPLETE GUIDE, Wendon Blake. (0-486-29589-3)

      ACRYLIC WATERCOLOR PAINTING, Wendon Blake. (0-486-29912-0)

      FIGURE DRAWING STEP BY STEP, Wendon Blake. (0-486-40200-2)

      LANDSCAPE DRAWING STEP BY STEP, Wendon Blake. (0-486-40201-0)

      OIL PORTRAITS STEP BY STEP, Wendon Blake. (0-486-40279-7)

      WATERCOLOR LANDSCAPES STEP BY STEP, Wendon Blake. (0-486-40280-0)

      PEN AND PENCIL DRAWING TECHNIQUES, Harry Borgman. (0-486-41801-4)

      BRIDGMAN’S LIFE DRAWING, George B. Bridgman. (0-486-22710-3)

      CONSTRUCTIVE ANATOMY, George B. Bridgman. (0-486-21104-5)

      DRAWING THE DRAPED FIGURE, George B. Bridgman. (0-486-41802-2)

      ANIMAL SKETCHING, Alexander Calder. (0-486-20129-5)

      CHINESE PAINTING TECHNIQUES, Alison Stilwell Cameron. (0-486-40708-X)

      CARLSON’S GUIDE TO LANDSCAPE PAINTING, John F. Carlson. (0-486-22927-0)

      THE ARTISTIC ANATOMY OF TREES, Rex Vicat Cole. (0-486-21475-3)

      PERSPECTIVE FOR ARTISTS, Rex Vicat Cole. (0-486-22487-2)

      METHODS AND MATERIALS OF PAINTING OF THE GREAT SCHOOLS AND MASTERS, Sir Charles Lock Eastlake. (0-486-41726-3)

      CHINESE BRUSH PAINTING: A COMPLETE COURSE IN TRADITIONAL AND MODERN TECHNIQUES, Jane Evans. (0-486-43658-6)

      ART STUDENTS’ ANATOMY, Edmond J. Farris. (0-486-20744-7)

      ABSTRACT DESIGN AND HOW TO CREATE IT, Amor Fenn. (0-486-27673-2)

      PAINTING MATERIALS: A SHORT ENCYCLOPEDIA, Rutherford J. Gettens and George L. Stout. (0-486-21597-0)

      FIGURE PAINTING IN OIL, Douglas R. Graves. (0-486-29322-X)

      LIFE DRAWING IN CHARCOAL, Douglas R. Graves. (0-486-28268-6)

      ABSTRACTION IN ART AND NATURE, Nathan Cabot Hale. (0-486-27482-9)

      CREATING WELDED SCULPTURE, Nathan Cabot Hale. (0-486-28135-3)

      HAWTHORNE ON PAINTING, Charles W. Hawthorne. (0-486-20653-X)

      GEOMETRIC PATTERNS AND HOW TO CREATE THEM, Clarence P. Hornung. (0-486-41733-6)

      THE ART OF ANIMAL DRAWING: CONSTRUCTION, ACTION ANALYSIS, CARICATURE, Ken Hultgren. (0-486-27426-8)

      FIGURES AND FACES: A SKETCHER’S HANDBOOK, Hugh Laidman. (0-486-43761-2)

      MODELLING AND SCULPTING THE HUMAN FIGURE, Edouard Lanteri. (0-486-25006-7)

      MODELLING AND SCULPTING ANIMALS, Edouard Lanteri. (0-486-25007-5)

      THE PAINTER’S METHODS AND MATERIALS, A. P. Laurie. (0-486-21868-6)

      ETCHING, ENGRAVING AND OTHER INTAGLIO PRINTMAKING TECHNIQUES, Ruth Leaf. (0-486-24721-X)

      THE ART OF CHINESE CALLIGRAPHY, Jean Long. (0-486-41739-5)

      ANATOMY FOR ARTISTS, Reginald Marsh. (0-486-22613-1)

      THE ART OF FRESCO PAINTING IN THE MIDDLE AGES AND THE RENAISSANCE, Mrs. Mary P. Merrifield. (0-486-43293-9)

      FIGURE SCULPTURE IN WAX AND PLASTER, Richard McDermott Miller. (Available in U.S. only.) (0-486-25354-6)

      THE ART OF CARTOONING, Roy Paul Nelson. (0-486-43639-X)

      PERSPECTIVE MADE EASY, Ernest Norling. (0-486-40473-0)

      PAINTING AND DRAWING CHILDREN, John Norton. (0-486-41803-0)

      DRAWING OUTDOORS, Henry C. Pitz. (0-486-28679-7)

      COMPOSITION IN ART, Henry Rankin Poore. (0-486-23358-8)

      PRINCIPLES OF PATTERN DESIGN, Richard M. Proctor. (0-486-26349-5)

      THE MATERIALS AND METHODS OF SCULPTURE, Jack C. Rich. (0-486-25742-8)

      SCULPTURE IN WOOD, Jack C. Rich. (0-486-27109-9)

      THE ELEMENTS OF DRAWING, John Ruskin. (0-486-22730-8)

      ANATOMY: A COMPLETE GUIDE FOR ARTISTS, Joseph Sheppard. (0-486-27279-6)

      DRAWING THE LIVING FIGURE, Joseph Sheppard. (0-486-26723-7)

      SCULPTURE: PRINCIPLES AND PRACTICE, Louis Slobodkin. (0-486-22960-2)

      OIL PAINTING TECHNIQUES AND MATERIALS, Harold Speed. (0-486-25506-9)

      THE PRACTICE AND SCIENCE OF DRAWING, Harold Speed. (0-486-22870-3)

      THE ANATOMY OF THE HORSE, George Stubbs. (0-486-23402-9)

      MATERIALS AND TECHNIQUES OF MEDIEVAL PAINTING, Daniel V. Thompson. (0-486-20327-1)

      THE PRACTICE OF TEMPERA PAINTING, Daniel V. Thompson. (0-486-20343-3)

      VASARI ON TECHNIQUE, Giorgio Vasari. (0-486-20717-X)

      CREATIVE PERSPECTIVE FOR ARTISTS AND ILLUSTRATORS, Ernest W. Watson. (0-486-27337-7)

      MOSAIC AND TESSELLATED PATTERNS, John Willson. (0-486-24379-6)

      THE ART OF THREE-DIMENSIONAL DESIGN, Louis Wolchonok. (0-486-22201-2)

      PENCIL DRAWING, Michael Woods. (0-486-25886-6)

      Paperbound unless otherwise indicated. Available at your book dealer, online at www.doverpublications.com, or by writing to Dept. 23, Dover Publications, Inc., 31 East 2nd Street, Mineola, NY 11501. For current price information or for free catalogs (please indicate field of interest), write to Dover Publications or log on to www.doverpublications.com and see every Dover book in print. Each year Dover publishes over 500 books on fine art, music, crafts and needlework, antiques, languages, literature, children’s books, chess, cookery, nature, anthropology, science, mathematics, and other areas.

      Manufactured in the U.S.A.

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      Bibliographical Note

      This Dover edition, first published in 2006, is an unabridged republication of the work originally published by Macmillan and Company, Ltd., London, in 1896 under the title Studies in the Art Anatomy of Animals.

      Library of Congress Cataloging-in-Publication Data

      Seton, Ernest Thompson, 1860–1946.

      [Studies in the art anatomy of animals]

      Art anatomy of animals / Ernest Thompson Seton.—Dover ed.

      p. cm.

      Originally published: Studies in the art anatomy of animals. London: Macmillan and Co., Ltd., 1896.

      Includes index.

      9780486140919

      1. Animals in art. 2. Anatomy, Artistic. I. Title.

      NC780.S5 2006

      743.6—dc22

      2005046661

      Manufactured in the United States of America

      Dover Publications, Inc., 31 East 2nd Street, Mineola, N.Y 11501

      TO MY LIFE-LONG FRIEND

      MRS. C. M. B. SCHREIBER,

      WHO FIRST DIRECTED MY ATTENTION TO THE STUDY OF ART ANATOMY,

      THIS VOLUME IS

      Affectionately Dedicated.

      PREFACE

      THERE has hitherto been no general work on the Anatomy of Animals from the Art standpoint. There have been several treatises on the Anatomy of the Horse and one or two on others of the domesticated animals, but no work presenting the general principles of Comparative Anatomy applied to Art.

      The various special works existent cannot be said to answer the present purpose even within their somewhat circumscribed limits. All are open to serious objection. Either they were written entirely from the surgical or zoological standpoint, and internal structure rather than external form made the chief object of study; or the subject is treated obviously with the dead animal only in view; or they are overburdened with text and in most cases poorly illustrated.

      I have endeavoured to advance a step by treating primarily the visible form of the living animal; working always with the living subject before me as well as a dead one on the dissecting table. I have aimed to inculcate general principles by treating in detail a familiar and typical species, the Dog, comparing with it all animals commonly represented by the painter and sculptor and supplementing the anatomical studies of each by series of actual and proportional measurements.

      I have made a careful study of Hair, or Fur, from the scientific as well as the artistic point of view. That this is the first attempt ever made to study the subject is surprising in view of its great importance to the artist, an importance which will scarcely be questioned after an examination of the works of the conscientious Japanese or the best modern masters of animal sculpture. The section on the Art Anatomy of Birds may also claim to be unique, for although antedated by the full and valuable papers from the pen of Mr. Goodchild, this is the first time that the subject has been treated in a publication designed expressly for artists.

      The plates, which are the chief feature of this work, are from original drawings made from my own dissections or from nature.

      The same anatomical names are used for all the species treated, as I cannot understand why anatomists should give a fresh set of names to the muscles for each new animal—surely it is better to retain throughout, as far as possible, the familiar nomenclature of the human subject. It is maintained that this results in occasional absurdities in view of the meaning of the terms, but it seems to me preferable to consider the names merely as handles to the facts, as abstract symbols ; for if we admit the right to a fully descriptive name the nomenclature must continue to change as long as human opinion changes.

      Among the books referred to, the most useful were Ellenberger and Baum’s Anatomie des Hundes, and the anatomical works of Chauveau, Mivart, and Cuyer and Alix. A list of the principal works consulted is appended.

      My thanks are due to Dr. John Caven, of Toronto Medical School, and to Dr. A. Primrose, of Toronto Biological School, for assistance in making my dissections as well as for placing at my disposal the material and appliances in their laboratories; to Professor Filhol, of the Museum d‘Histoire Naturelle, for putting at my service the skeletons in the Galerie d’Anatomie Comparée; and to Professor Ed. Cuyer for assisting me with the material in the Museum of the École des Beaux Arts in Paris.

      I am also indebted in an especial degree to Mr. William Anderson, F.R.C.S., Professor of Anatomy at the Royal Academy of Arts, London, for assistance in matters bibliographical, and for a revision of the text, particularly of the chapters relating to the bones and muscles; and to Miss Grace Gallatin, of New York, for essential aid in the literary revision of the work, and for putting the manuscript in due form for the printer.

      ERNEST E. THOMPSON.

      PARIS,

      August 1895.

      Table of Contents

      DOVER BOOKS ON ART INSTRUCTION

      Title Page

      Copyright Page

      Dedication

      PREFACE

      INTRODUCTION

      ART ANATOMY OF ANIMALS

      CHAPTER I. - GENERAL CONSIDERATIONS.

      CHAPTER II. - THE HAIR.

      CHAPTER III. - THE SKIN FOLDS.

      CHAPTER IV. - THE NERVES.

      CHAPTER V. - THE GLANDS.

      CHAPTER VI. - THE VEINS.

      CHAPTER VII. - THE FASCIÆ LIGAMENTS AND TENDONS.

      CHAPTER VIII.

      CHAPTER IX. - THE MUSCLES OF THE DOG.

      CHAPTER X. - THE MUSCLES OF THE DOG (continued. )

      CHAPTER XI. - THE MUSCLES OF THE DOG (continued.)

      CHAPTER XII. - THE MUSCLES OF THE DOG (continued).

      CHAPTER XIII. - THE MUSCLES OF THE DOG (continued).

      CHAPTER XIV. - THE SIZE AND PROPORTIONS OF THE DOG.

      CHAPTER XV. - THE ANATOMY, SIZE, AND PROPORTIONS OF THE WOLF.

      CHAPTER XVI. - THE FOX.

      CHAPTER XVII. - THE ANATOMY, SIZE AND PROPORTIONS OF THE CAT.

      CHAPTER XVIII. - THE ANATOMY, SIZE AND PROPORTIONS OF THE LION.

      CHAPTER XIX. - THE ANATOMY, SIZE AND PROPORTIONS OF THE TIGER.

      CHAPTER XX. - THE JAGUAR.

      CHAPTER XXI. - THE LEOPARD.

      CHAPTER XXII. - THE COUGAR, PUMA, PANTHER, OR MOUNTAIN LION.

      CHAPTER XXIII. - THE CHEETAH, CHITA, OR HUNTING LEOPARD.

      CHAPTER XXIV. - THE BEAR FAMILY.

      CHAPTER XXV. - THE GRIZZLY BEAR.

      CHAPTER XXVI. - THE BROWN BEAR OF EUROPE.

      CHAPTER XXVII. - THE AMERICAN BLACK BEAR.

      CHAPTER XXVIII. - THE POLAR OR WHITE BEAR.

      CHAPTER XXIX. - THE ANATOMY OF THE HORSE.

      CHAPTER XXX. - THE SIZE AND PROPORTIONS OF THE HORSE.

      CHAPTER XXXI. - THE

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