Who painted Extent of Motion, One Figure?

Extent of Motion, One Figure was painted by George Scharf in 1829.

Where can I see Extent of Motion, One Figure?

Extent of Motion, One Figure is held by National Gallery of Art.

What movement is Extent of Motion, One Figure?

Extent of Motion, One Figure is associated with Romanticism.

Artwork

Extent of Motion, One Figure

George Scharf , 1829

Extent of Motion, One Figure is an ink print by the Romanticist artist George Scharf. It dates from 1829 and is held in the collection of the National Gallery of Art.

About this work

Overview

George Scharf’s 1829 lithographic print, titled Extent of Motion, One Figure, presents a minimalist study of the human form. Rendered as a stark, stick‑figure nude, the composition consists of basic linear contours without anatomical detail, surrounded by faint circular and linear marks that suggest a schematic approach to tracking movement and proportion.

Subject & Meaning

The work isolates a solitary standing figure, arms relaxed at the sides, to explore the fundamentals of bodily motion rather than decorative representation. The surrounding geometric guides function as visual annotations, indicating the artist’s interest in quantifying the range and balance of human movement through a simplified visual language.

Technique & Style

Executed as a lithographic proof before lettering, the piece employs a quick, sketch‑like hand that emphasizes line over texture. The absence of shading and the use of rudimentary shapes align the print with instructional studies, where clarity of form and proportion takes precedence over aesthetic refinement.

History & Provenance

Created in 1829, the print belongs to Scharf’s early period, a time when he engaged in anatomical and motion studies for academic purposes. While specific ownership records are limited, the work survives as part of collections documenting 19th‑century printmaking practices and pedagogical approaches to the human figure.

Context

During the early nineteenth century, artists and scientists increasingly sought systematic methods to analyze human anatomy and movement. Scharf’s lithograph reflects this interdisciplinary climate, echoing contemporary efforts to merge artistic observation with empirical measurement, a precursor to later studies in biomechanics and figure drawing.