The History of Anatomy in Art -- The Art and Science of Anatomy -- Science and Art -- Anatomy and Nudes -- Anatomy and Pictorial Styles -- Anatomy Throughout History -- The Nude as a Model for Art -- The Nude in Asian Art -- Anatomy prior to Greece -- An Esthetic Wager -- Anatomy and Greek Art -- Anatomy in the Ancient World -- Classical Greece -- Art Based on the Human Body -- Idealized Anatomy -- The Greek Canon -- Creating a Canon -- The Canon of Polyclitus -- Stylization of the Canon -- Adaptations to the Canon -- The Renaissance -- Dissections -- Artists and Anatomists -- The Anatomy of Vesalius -- Art and Science -- Anatomy and Proportion -- Studies of Proportions -- Art Academies -- George Stubbs and the Anatomy of the Horse -- Anatomy in Our Time -- The Revolt Against Academia -- Anatomy and Avant-garde Art -- Anatomy's Validity in the Modern World -- Proportions, Muscles, and Bones -- Proportions of the Human Body -- The Canon prior to the Greeks -- The Western Model -- Development of the Canon -- Other Systems of Proportion -- Skeletal References -- Identifying Muscles and Bones -- The Skeleton -- Articulations -- Depicting the Skeleton -- References to Muscles -- The Nature of Muscles -- Mechanics and Disposition of Muscles -- Muscles as an Expression of Energy -- Anatomy of the Head -- Bones of the Head -- Muscles of the Head -- Muscles of the Neck -- Drawing the Head -- The Shape of the Head -- Layout of the Face -- The Process of Drawing -- Anatomy and Drawing of the Head -- Using an Articulated Mannequin -- Three-dimensionality -- Types of Mannequins -- Articulation -- A Three-dimensional Sketch -- The Torso -- Bones of the Torso -- Articulation and Relief in the Thorax -- Muscles of the Torso -- Relief in the Torso -- The "Esthetic Armor" -- Laying Out and Drawing the Torso -- Three Sections -- Graphic Construction -- The Female Figure -- The Back -- Bones of the Back -- Muscles of the Back -- The Lumbar Aponeurosis -- Laying Out and Drawing the Back -- Laying Out the Back -- Drawing Muscular Relief -- The Muscles that Wrap Around the Shoulder -- The Hips -- Bones of the Hips -- Muscles of the Hips -- The Ischial Position -- The Arms -- Bones of the Arms -- Articulation of the Forearm -- Muscles of the Arms -- Pronation and Supination -- Drawing the Arms -- Parts of the Mannequin's Arms -- Drawing the Muscles -- Articulation of the Elbow -- Muscles as Cords -- The Legs -- Bones of the Legs -- Muscles of the Legs -- Adduction and Abduction -- The Popliteal Hollow and the Shape of the Femur -- Laying Out and Drawing the Legs -- The Shape of the Legs -- The Hands -- Bones of the Hands -- Muscles of the Hands -- Drawing the Hand -- Drawing the Hands -- Laying Out the Drawing -- Developing the Subject -- Streamlining and Finishing -- The Feet -- Bones of the Feet -- Muscles of the Feet -- Position of the Malleoli -- Drawing the Feet -- Feet Planted on the Ground -- Colored Drawings -- Shading -- Shadows and Colors -- The Spinal Column -- Vertebrae -- Movements of the Spinal Column -- Technique And Practice -- Studies in Balance -- The Importance of Balance -- The Line of Gravity -- The Support Surface -- Intuitive Calculation -- Studies in Movement -- Axes of Movement -- Contraposto -- Three Horizontal Axes -- Vertical Axes -- Laying Out the Pose -- Axes of Movement and Proportion -- Layout Models -- Straight Lines and Curves -- Geometrical Drawing -- Sketches of Movement -- Rapid Sketches -- Visual Memory -- Quick Layout -- Rhythm of Line -- Academic Anatomy -- Academy Figures -- Usual Techniques -- Other Techniques -- Chiaroscuro Style -- Light and Anatomical Relief -- Light and Shadow -- Types of Illumination -- Selecting Illumination -- Background Illumination -- Selecting a Pose -- Repose -- Action -- Open and Closed Poses -- The Profile -- Layout and Shaping of Anatomy -- Paper and Charcoal -- The Drawing Process -- Blocks of Shadow -- Shading -- Line and Color in Anatomical Drawing -- Materials -- Initial Areas of Color -- Applying Pigment with a Brush -- Finishing the Process -- Anatomy and Line Drawings -- Abstraction -- Length of Lines -- Width of Lines -- The Final Product -- Simplicity of Line -- Anatomical Drawings Using an Artist's Pen -- Colored Inks -- Format and Technique -- Developing the Work -- Finishing the Drawing -- Light and Shadow -- Studies in Light and Shadow (I) -- A Basic Study in Charcoal -- The Initial Shadows -- Depicting Shapes -- Nuances -- Studies in Light and Shadow (II) -- Layout -- Initial Shading -- Anatomical Details -- Charcoal in Anatomical Drawings -- Shaping the Anatomical Features -- A Complete Anatomical Study -- Proportions -- Preliminary Shading -- Shaping the Features -- Divisions and Proportions -- Anatomy and Chiaroscuro -- Outlines -- Shadows -- Contrasts -- Chiaroscuro -- Anatomy and Baroque Chiaroscuro -- Harmony in Anatomical Relief -- A Good Preliminary Sketch -- Washes -- Modeling -- Finishing the Work -- Watercolors and Anatomical Studies -- Light and Color in Anatomy (I) -- Pencil Drawing -- Color Contrasts -- Harmonizing -- Finishing -- Color of the Paper -- Light and Color in Anatomy (II) -- Pictorial Synthesis -- Coloring -- Modeling and Adjusting the Color -- Anatomy and the Atmosphere of the Nude.

Human body structure is analyzed in detail to help art students achieve naturalistic, anatomically accurate renditions in all media. Emphasis is on skeletal structure and musculature of both male and female figures. The hardcover, compact-sized titles that make up this series are quick-reference guides for art students and teachers. Filled with color illustrations, they discuss different aspects of art theory and its application. The series is color-coded to distinguish four categories: Purple Series books explain art media and techniques; titles in the Red Series describe art genres and techniques; Green Series books deal with art tools, perspective, and color theory; and Yellow Series books recount art history and art movements. This title falls within the Red Series category.