Artists' Lay Figures, Part 2

When Edgar Degas painted his friend Henri Michel-Levy in 1878, he included a lay figure sprawled on the ground below him. 

How did lay figures hold a pose? As we saw in the final illustration yesterday, lay figures could be held up with ropes attached to the extremities. But some of them also had adjustable screws in the joints.

For standing poses, the figure generally also had a support attached to the pelvis from behind. This wood and metal skeleton has many points of articulation, even separate radius and ulna “bones” in the arm.

In this one, the arms also pronate, and the knees can rotate outward. All the joints can be tightened with screws. It has sort of a pre-Steampunk (“wood-punk?”) mech vibe to it. Imagine an army of these guys with crossbows. 

This full size lay figure had sufficient bulk and volume to support the shape of the clothes. But such mannikins never looked completely natural, and artists were often embarrassed to use them, regarding them as a poor substitute for a live model. 

For this reason, lay figures were not often discussed, or if so, they tended to be disparaged. The Journal of the Society of the Arts in 1854 said that under pressing financial circumstances, a painter with a “mercantile spirit” might use a lay figure that “answers for both the male and female form,” which could lead to a disharmonious and incongruous figure. 

Check out the robot blog where I'm a guest contributor: "Nuthin' But Mech."

Read the full GurneyJourney series on lay figures:
Part 1

Part 2
Part 3 
Part 4