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Nymphs and Satyr, by William Bouguereau (Detail)
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ARC Articles

The ARC Philosophy

  • ARC Chairman Fred Ross' Oil Painters of America Keynote Address

  • Chapter I. The Great 20th Century Art Scam

  • Chapter II. Art / Bad Art - Pulling Back the Curtain

  • Chapter III. Bouguereau and the "Real" 19th Century

  • Chapter IV. ARC Chairman speaks at the Angel Academy of Art

  • Chapter V. ARC Chairman Speaks at duCret School of Art

  • Chapter VI. Abstract Art is Not Abstract and Definitely Not Art

  • Chapter VII. Oppressors Accuse their Victims of Oppression

  • Special Feature  Hockney's 'Secret Knowledge': Refuted

  • Most Recent Articles

    by Michael John Angel

    During his lifetime, Caravaggio was accused by his enemies of being unable to draw. He worked from live models, used lenses and mirrors, and employed a two-tone value scheme to attain unprecedented realism.

    by Michael John Angel

    Colour has three aspects: hue, value and chroma. Two examples of value schemes used in colour composition are the Holbein Scheme and the Two-tone Silhouette.

    February 7, 2014 Artists Keynote Address to Connecticut Society of Portrait Artists
    by Fred Ross

    Why Realism? There are finally today many organizations that believe in the value and importance of realism, both classical and contemporary; but why Realism? Why, after a century of denigration, repression and near annihilation, when the accepted beliefs taught in nearly every high school, college and university for the last hundred years, has been that realism is unoriginal? After all, all realists do is just copy from nature. Realism they say is unsophisticated. Most people can tell what is going on in realistic painting or sculpture. It's so easy to understand. It's uncreative; only creating forms and ideas not found in nature show real originality. So the question of the day for society, and for realist artists, the question for the month, year, and really for the rest of their lives, is: Why Realism?

    by Mark Steven Walker

    William Bouguereau's methods of picture-making and his originality are examined in this article.

    by Richard Lack

    The present rediscovery of Bouguereau will eventually give the French master his rightful place in the pantheon of art, neither overly condemning him for those faults which Modernism has too hastily laid upon him, nor overly praising him for those virtues too easily conceded by his contemporaries.

    by Frederick Ross

    In the twilight of the 20th century, Bouguereau is once again attaining the respect he so richly deserves.

    by Stephen Gjertson and Peter Bougie

    This article is an obituary of Paul DeLorenzo and contains an earlier interview conducted by Peter Bougie about his experiences in becoming an artist.

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