sculpture of a man and woman studying another woman in an anatomy class

The Anatomy Lesson

Specifications:
24″H x 17.5″W x 11″D
Edition of 30

Price:
$7,800

Scott’s Piece Description

I was inspired by Leonardo de Vinci’s, “the Anatomy Lesson”, where he painted medical students around a dissected cadaver. What if I was to move this concept forward in time 400 years? I felt to use a live model and make her the focal point.

I know physicians use living as well as dead models (as human anatomy’s fullness and vibrancy ceases to exist from one state to the other).I love anatomy! One of my greatest joys is to discover new forms to sculpt on the body (the shape of a bone, the bulge of a muscle, how cloth falls from stress points, what muscles do when stretched). I learn a new form as though I just found a new flavor of ice cream.

Discovery is learning! Whether that learning be forced or embraced, (i.e. compulsory or passion filled) experience equates into knowledge – from which wisdom can be born.

I never realized how much influence Norman Rockwell has had on my artwork – until this piece. I love the arrangement of characters, each being the totality of ‘themselves”. I love that men are angular and women curvaceous. I love, like he did, to create windows of humanity – the interplay of characters – each in his own little world, and intimately involved in the lives of others. When I find a new form, while studying anatomy, it is like eating candy to my eyes. I get excited discovering a new form on the body to create in clay. I marvel at this creation of form (the body). I depict here, a medical college (circa 1900) where a physician, intern, nurse and model are all intertwined in an anatomy lesson.

Curator Review

In The Anatomy Lesson, Scott Rogers bridges the chasm between past and present with a nod to da Vinci and a wink to Norman Rockwell. Where da Vinci painted a somber dissection, Rogers sculpts life—literally. The focal point is no cadaver but a living woman, poised and graceful, elevating the scene from scientific study to artistic revelation.

The triangular composition—a physician, an intern, a nurse, and the model—evokes classical Renaissance structure, yet each figure hums with personality. The woman stands tall, one arm raised, unflinching under scrutiny. The doctor leans in, pointer poised with precision. The nurse records attentively, while the second physician stands, arms folded, contemplative. Rogers’ gift lies in imbuing even the most technical of scenes with warmth and humanity. The subtle expressions, the interplay of body language, and the juxtaposition of soft curves and angular postures speak volumes about gender roles, professional rigor, and mutual respect.

Thematically, this piece explores the nature of learning—not as a rote act, but as a layered, collaborative discovery. The artist’s own reverence for anatomy translates to every ripple of cloth, every tensioned muscle. His sculptural touch transforms this 1900s-era medical college into a timeless ode to curiosity and connection.

In this sculptural tableau, Rogers doesn’t just teach anatomy—he teaches attention, wonder, and the enduring beauty of the human form.

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