The Florence Academy of Art's U.S. branch is located inside Mana Contemporary - a 2-million-squarefoot arts center in Jersey City, NJ, just 15 minutes from the center of Manhattan. At Mana, the FAA is part of a large and vivacious art scene that includes artists, galleries, exhibition spaces, and opportunities to meet the public - an exciting environment for creating and experiencing art. Students at FAA US are immersed in the quiet concentration of our newly renovated 10,000 square foot studio. Ample north light from the expansive row of windows floods the studio, giving 20 students the perfect environment for drawing and painting from life. Students of all levels (beginner, intermediate, and advanced) work together under one roof, allowing beginners to see and learn from the challenges and progress of students farther along in the program. All of our instructors also work in studios inside the school, allowing students to benefit not only from daily instruction and critique but also from watching the professional artist at work.
Academic Director, Jordan Sokol, and our instructors are trained in the philosophy and methodology guiding the Florence studio. As a result, students may transfer seamlessly into the same level at the Florence or Sweden branches without experiencing any difference in the curriculum or instructional language, or they may spend a trimester of study as an exchange student at one of our locations. While the local neighborhood around the school provides for most of our students' practical needs, housing, shops, and services, Mana Contemporary is easily reached by public transportation from Manhattan. Students may commute from the city, and spend their free time visiting the Metropolitan Museum of Art, the Frick Gallery, and any number of contemporary galleries.
The Florence Academy of Art is accredited by the National Association of Schools of Art and Design (NASAD) as an undergraduate Certificate program.
To view student artwork produced over 20 years, click here.
With three locations in the US and Europe, we encourage our students to take the opportunity to study in Florence, Sweden or New York. As a student you may travel between branches to spend a trimester or year studying abroad without experiencing any difference whatsoever in methodology, curriculum or teaching style. This international opportunity can be significant to your development, and enriching both artistically and personally. At the same time, thanks to our university status, you will earn U.S. college credit for your coursework done at all three campuses.
Faculty Full-time students receive 36 hours per week of instruction, receiving one critique in the morning and one critique in the afternoon from principal faculty and assistant instructors. Instructors at the FAA are trained in the philosophy, methodology and language of instruction of The Florence Academy of Art.
For more about Founder and Director, Daniel Graves, click here.
The images displayed on this page are from students and graduates of The Florence Academy of Art. A number of these artists are now permanent faculty. To view hundreds of images of artwork by our students and graduates, please visit the Student Gallery, Alumni Gallery and Alumni Exhibitions on our website.
The Florence Academy of Art offers workshops throughout the academic year. Taught by our regular faculty, the workshops provide substantial practical information for students to take home, and allow students to experience parts of our regular painting curriculum, as well as a variety of traditional mediums, charcoal, pencil, sanguine, silverpoint and oil paint. Subjects include: Figure Drawing, Figure Painting, Portraiture, Still Life, Landscape, Figurative Sculpture and Ecorché Sculpture. Guided art history tours accompany most workshops. For more information, click here.
The Florence Academy of Art addresses the creative and professional position of the artist in contemporary society. It is proud of its talented alumni, and committed to bringing their work to the public:
A biennial Alumni Exhibition held in Florence is a showcase of work for over 80 graduates from its Painting and Sculpture Programs; patrons and galleries attend from all over the world.
A special section on its web site called the Alumni Gallery gives each alumnus his own page with images and contact information.
Financial Aid and Scholarship Opportunities
The Florence Academy of Art is committed to helping talented students in financial need. Scholarship funding and work-study opportunities are available to second and third year students in order to help them complete the full three-year program.
The Florence Academy of Art in Sweden is approved for Student Loans and Grants. Swedish students may receive study assistance from the Swedish state through CSN B1 to fund their studies at the FAA in Sweden. Students from Norway, Denmark and Finland may use this recognition to apply for funding from their respective countries.
This 300-page volume chronicles the school's fabled history, telling the full story of its founding and evolution and featuring artwork and historical images from the academy's leaders, faculty, and alumni. Written and edited by Allison Malafronte, with more than 500 full-color images and detailed information and interviews from their most important figures, The Florence Academy of Art: The First 25 Years is an important visual and written record of one school's international influence on several generations of draftsmen, painters, and sculptors. To purchase, please visit the FAA Store here.
The Florence Academy of Art is a registered 501(c) 3 U.S. nonprofit educational entity.
The images are property of The Florence Academy of Art. All rights reserved.
Last updated on 2016-03-03
Robert Hale Ives Gammell Predicament Private collection
Kerry Holsapple Email: email@example.com Blue Valley Art Studio, 2547 S. Greensboro Pike New Castle, Indiana 47362 United States of America Phone: (765) 521-0200 Atelier Indiana
"The most effective way to learn about painting. First class instructor who knows what he is doing. I have learned a lot because the teaching is aimed at the student's needs".
"Although his mastery of the art of drawing and painting is at times intimidating, it is so complete, and at the same time it is inspiring. He holds the standard of excellence by being the standard".
"I am very pleased and thankful for the instruction I've received at Atelier Indiana. Kerry has gone beyond my expectations with his comprehensive teaching approach and individualized attention and guidance. I have been given a solid foundation for my art which is based on the awareness of my seeing and that experience, painting techniques, and craftsmanship".
"If you're interested in learning Classical Realism or True Impressionism, then you'll find no better place than Atelier Indiana. The methods taught are based on a tradition that goes back over 600 years. Kerry Holsapple, the instructor, is well versed in those methods and is a master draftsman/painter in his own right. Unlike some artists who have a hard time in passing on their methods, Kerry has a knack for sharing his knowledge with his students in ways that are both expedient and helpful. I can see dramatic improvement in my work in the four years I've been studying with him".
"It's a tragedy that none of this is taught in art schools. Fundamental drawing and painting skills are like words are to literature or notes to music. Without them, you're pretty much left with nothing".
"This Atelier Program is the right choice for serious art students. The experience has been a revelation."
Atelier Indiana provides a serious art student with innovative instruction combined with authentic knowledge and studio practices from the 600-year-old Master Tradition. Core curriculum integrates an ensemble of traditional atelier studies in composition and design, form, light and shadow, tone, color, and craftsmanship leading to true artistry and creative picture making.
In 2015, an atelier studies program, intensive seminars, independent study program, and atelier workshops will continue to be made available to serious students.
A full-time Atelier Program may be offered in the near future.
The setting is the Blue Valley Art Studio overlooking a scenic river valley. Studio space for students will include an adjoining plein air studio.
A NOTE TO SERIOUS STUDENTS: The Atelier Indiana Program can save a serious student a lot of precious time wasted in years of fruitless searching and misguided study. The program focuses on the essence of art study. Drawing and painting instruction is very specific. The essence of each art principle is communicated via dialogue, demonstration, and critique. Training includes evolution of a student's seeing and individual vision, translation/expression of seeing/feeling experience through the visual language into art structure, and integration of multiple areas of art study into authentic artistry to be applied to creative picture making projects.
A comprehensive ensemble of traditional atelier studies are the means through which a student evolves seeing/vision, craftsmanship, and artistry. Leon Gerome advised students: "It is austere and profound studies that make great painters and sculptors; one lives all one's life on this foundation and if it is lacking one will only be mediocre."
To provide each student with the time and attention they need, I can only direct the studies of a small group of serious students. Openings are available on a first come, first serve basis.
About the Artist - Kerry Holsapple is an award-winning artist with direct lineage to the master tradition via the Boston School of Painting. He received his introduction to the tradition through study with Richard Lack at the Atelier Lack and with R.H. Ives Gammell at the Fenway Studios in Boston. As an educational researcher and scholar of the tradition, the artist continues to research the studio practices of the great artists and schools of painting. His works are represented in private collections in the United States and England. He has been teaching drawing, painting, and picture making for over 40 years.
The Atelier Experience by Kerry Holsapple, Atelier Indiana
An atelier is a place where the transmission of professional knowledge and studio practices in an art can take place. Historically, the atelier has been (and continues to be) one of the major educational systems for training aspiring painters in the fine art of picture making. The other main vehicles for art training in the past were the apprentice system and the academy. For the purposes of this article an atelier is defined as a studio school or workshop where a competent painter trained in the fine art of drawing, painting, and picture making directs the studies of a small group of serious students who aspire to learn the art. As I refer to contemporary ateliers, I am referring to the handful of ateliers who have direct lineage to the great western painting tradition through the Boston School of Painting. There may be other ateliers around the world with lineage to the tradition, but I have little information about them.
Ateliers were especially prevalent in 19th century France and this lineage continues unbroken to this day. As the dominant art center of that century, Paris drew students from around the world to take advantage of its ateliers and academies. Some of the more famous ateliers included those of Ingres, Couture, Pils, and Gleyre (before 1850) and those of Gerome, Bonnat, Cabanel, Carolus-Duran, and Laurens (after 1850). Americans who studied in Parisian ateliers comprise a "Who's Who of American Art" for the 19th and early 20th centuries. Alumni include such well known names as: Hunt, Sargent, Eakins, Whistler, LaFarge, Thayer, Bunker, Dewing, Tarbell, Benson, Robinson, Blashfield, Paxton, Metcalf, Cox, Weir, Brush, Enneking, Hassam, Beckwith, Harrison, Bridgeman, Pearce, Beaux, Davis, Wiles, Melchers, Vonnah, Henri and many more. In fact, 2,200 Americans born by 1880 studied formally in Paris. Parisian ateliers exerted a world wide influence as its students returned to their native countries to practice and teach the art they had acquired. For an excellent introduction to French painters, their ateliers, and their American students I refer the reader to The Lure of Paris by H. Barbara Weinberg.
Many American painters trained in Parisian ateliers returned home and continued the time honored tradition of passing on professional knowledge and studio practices to new generations. However, ateliers based on the French model never fully took root in the United States. As the country moved into the 20th century the most prevalent system for art training became museum, university, and independent art schools. As the vehicle for the transmission of a then 600 year-old tradition shifted to less appropriate institutions with less competent instructors, the quality of art training declined. The breakdown in the transmission of professional knowledge and studio practices from competent practitioners to talented students is the major reason for the decline in the fine art of drawing, painting, and picture making in the 20th century. (Note: In speaking of the fine art of painting I am not referring to the diverse manifestations referred to as "modern art" whose aesthetics and practices developed on a different line). The reader is referred to Twilight of Painting by R. H. Ives Gammell for a superb discourse on the decline of the traditional art of painting that had taken place by 1946.
It is interesting to note that Howard Pyle, often called the "father of American illustration", gave up his post at Drexel Institute with its large classes to form his own atelier. The talented students invited to study in Pyle's atelier became some of America's greatest illustrators of the period, including: N.C. Wyeth, Harvey Dunn, Stanley Arthurs, and Frank Schoonover. They in turn taught the next generation of picture makers such as Dean Cornwell, Mead Schaeffer, and Harold Von Schmidt who in turn taught the next generation, and so on. As a result, the work of this line of illustrators graced American books and magazines for more than seven decades.
What is the atelier experience? To begin with, the painter's experience is centered in "seeing". By "seeing" I mean the sensitive awareness of visual impressions and their many faceted qualities. The deep, rich experience of "seeing" is the major inspiration for a painter's art. Learning the fine art of drawing and painting commences with learning "to see". Drawing and painting begins with an artist's visual experience that then "triggers" an emotional and physical response. To "embody" this human experience truthfully and creatively in expressive visual forms comprises the art. Classicism as practiced by the ancient Greeks was a union of representation and abstraction. This principle was rediscovered during the Renaissance leading to the great legacy of western painting as we know it.
The atelier experience is one of connecting with and absorbing a tradition of knowledge and studio practices that link together artists spanning over 600 years. This tradition has given birth to some of the world's greatest artists. Most readers will be familiar with the work of Leonardo, Michelangelo, Raphael, Titian, Rubens, Velasquez, Rembrandt, and Vermeer. Even though every painter who has studied and practiced the tradition has not achieved the greatness of the artists mentioned above, the tradition was kept alive through them. The majority were often very competent practitioners who painted pictures with genuine artistry and transmitted their knowledge of the tradition to succeeding generations. Without a Verrocchio there wouldn't have been a Leonardo, without a Bellini there would not have been a Titian, etc. Closer to our time did you know that Barrias and Lamothe were Degas's early teachers? Who can say when another painter in the caliber of a Velasquez or a Vermeer will arise from within the tradition to carry the art to new heights. As with all events in nature, certain conditions must be present for an event to occur. Great painters do not happen by accident.
While organization, curriculum, and teaching style may vary from atelier to atelier, basic areas of study include: composition and design, form, light and shadow, tone, color, craftsmanship, and picture making. Topics such as perspective, anatomy, modeling, design and color theory, memory work, aesthetics, and art history are usually included within these studies. The means through which learning takes place includes traditional atelier studies such as: compositional studies, cast drawing, still life, head studies, academies, drapery studies, landscape, modeling, etc. A variety of media are generally introduced as part of training a student in the appropriate use of materials and techniques. Upon entering an atelier, a student is usually assigned studies that match his/her level of development. This begins the process of learning "to see" space, form, light and shadow, tone and color values, definitions, ensemble, etc.; to compose and design; to express seeing and feeling with truth and directness; and to construct drawings and paintings with time-honored craftsmanship.
The key relationship within an atelier is the one between the painter/teacher and each student. A competent teacher can save a talented student years of misguided effort. During the foundation years, time is one of a student's most precious commodities. Certain requirements are necessary for a successful transmission of the tradition from painter/teacher to student. The qualities a student needs to bring into an atelier include: the willingness to learn and follow instructions, a solid work ethic, self-motivation, courage, persistence, and patience. Time is equally important to a teacher whose objective is to preserve the tradition by transmitting it successfully to new generations. Qualities of a competent painter/teacher include: an integrated knowledge and practice of the art, the wisdom to assign progressive studies appropriate to a student's level of development, the ability to match presentation of information with a students' learning style, and the insight to provide a student with essential instruction as it is needed. In an atelier that has a group of full-time students, a positive camaraderie between the students will enhance learning and growth as well as help establish life-long friendships and professional associations.
The life of an atelier revolves around its daily schedule. Typically, the schedule consists of a daily morning and an afternoon session five days a week. Oftentimes the morning session is the time for students to work on their assigned studies. For beginning students these studies may include drawing from flat copy in pencil or drawing from plaster casts in charcoal. Intermediate students may be doing cast, drapery, still life, or head studies in charcoal, pastel, or oil and advanced students may be at work on creative projects. Afternoon sessions are usually reserved for figure drawing from the model. Normally, the painter/teacher will visit the atelier two days each week to critique the work in progress and provide instruction. Teaching methods vary from teacher to teacher and may include a combination of discussions/lectures, demonstrations, and individualized instruction. Emphasis from atelier to atelier may also vary. For example, Carolus-Duran emphasized tone values and drawing with the brush from the start while Gerome emphasized expressing form first through line drawing.
It is best if the facilities for an atelier include a clean, well equipped, and well lit studio space of sufficient size to provide each student with his/her own work area. Basic equipment includes easels, taborets, model stands, an assortment of antique casts, screens, draperies, and additional lighting. A reference library is useful as well as a display of atelier studies that serve as models of excellence in drawing, painting, and craftsmanship. An atelier located near major museums and other cultural resources is also a plus. A stable, well-funded atelier with a solid program and good management is key to its long term success.
Ideally, a full-time atelier program provides a student with at least 4 years of intensive training. The first two years establish a solid foundation of basic skills which are then refined and applied during the final two years to a variety of creative projects. These projects may include impressionistic, to decorative, to imaginary picture making. If the transmission of knowledge and studio practices is successful, a solid foundation will be established preparing the student to approach any creative project with competence. With a solid foundation a student is prepared to launch a career as a professional painter and bring his/her vision to the world with truth, creativity, and artistry. Hopefully, trained students will then in time open their own ateliers to transmit the tradition to the next generations. And thus the circle is completed - to begin yet another cycle.
For over 50 years we have been in a period of reconstruction. This work will continue into the foreseeable future. With sufficient resources, solid planning, and progressive construction the tradition can be restored. Ateliers today are generally underfunded and receive little support in relation to the great task they have to accomplish. There are four things serious patrons of the art can do to help restore the tradition: 1) Help establish and support an atelier in their region if none exists. 2) Directly support existing ateliers that provide excellent programs yet are underfunded. 3) Directly sponsor a talented student from your area to attend an existing atelier program, and/or 4) Contribute to established atelier student scholarship and atelier endowment funds. An ideal situation would be the establishment of well-funded and managed ateliers with excellent programs in all the major regions of the United States. This is feasible as well as possible.
My own atelier, Atelier Indiana, currently offers an Atelier Studies Program (a part-time program), atelier intensives, an independent study program, and atelier workshops. Plans for expansion to include a facility for full-time students is in progress. For more information individuals or organizers can contact: Kerry Holsapple, Atelier Indiana, 2547 South Greensboro Pike, New Castle, IN 47362, phone 765.521.0200, or e-mail: firstname.lastname@example.org.
Atelier Study Recommended Book List
It is important for an aspiring student to begin to form a frame of reference as preparation for the study of the tradition. Here are a few titles that will be useful.
Twilight of Painting by R.H. Ives Gammell Oil Painting Techniques and Materials by Harold Speed Hawthorne On Painting by Charles Hawthorne The Art Spirit by Robert Henri The Practice of Oil Painting and Drawing by S. J. Solomon Painting The Visual Impression by Richard W. Whitney The Materials of the Artist and Their Use In Painting by Max Doerner Portrait And Figure Painting by Frank Fowler On The Training of Painters by Richard Lack Jan Vermeer of Delft by Philip Hale Velasquez by R.A.M. Stevenson The Lure of Paris by H. Barbara Weinberg
"My intensive was extremely valuable. Your instruction pointed me in the right direction. You are a great teacher".
"Thank you very much for my excellent intensive. I recommend these intensives to anyone who is interested in learning in depth specific aspects of the craft of painting".
"I learned more real art instruction in the first three hours than in all the national workshops I have attended combined".
"Thanks again for the specific and clear drawing instruction".
"Believe me, you are the one who really teaches how one can become an artist and not a perennial workshop student".
"He is gifted with patience to talk to the student and demonstrate each step of the way. He can explain a principle in many different ways so the student grasps the focus. His passion for practicing art to a high standard is proven out in the excellence of his work".
"Kerry is a very competent professional who enjoys teaching. I've had four intensives with him".
"Individual teaching allows more time for Kerry to demonstrate concepts. And also allows him to check that you as a student have grasped the particular concept, and show you again and again. if necessary, until you understand it completely".
"An intensive is comparable in cost to a 4-credit college course, but unlike college classes where student's are lucky to get a few minutes of an instructor's attention, Mr. Holsapple dedicates hours to a student and his/her work. Literally 60+ hours were devoted to my study. This time and instruction are invaluable."
ATELIER INTENSIVES Presented By Kerry Holsapple, Atelier Indiana
An Atelier Intensive provides a student or group of students with the opportunity to focus on one or a choice of traditional atelier studies. Intensives can be designed for a variety of time frames. Each day of an intensive includes a morning and an afternoon session (a minimum of six studio hours) plus daily instruction and critiques. Each intensive is individually designed to match the needs and schedule of the student.
Many aspiring students because of their location, finances, or obligations do not have the option of attending a full-time or part-time atelier program. Intensives are a good way for serious students to receive an introduction to atelier study. Here is a list of available Atelier Intensives:
Landscape (Plein Air)
Some Possible Combinations (Morning and Afternoon Sessions)
Cast Drawing and Still Life Cast Drawing and Head Study Cast Drawing and Academie Composition and Cast Drawing Composition and Still Life Composition and Head Study Composition and Academie Landscape and Cast Drawing Landscape and Composition Landscape and Still Life Landscape and Head Study Landscape and Academie Still Life and Head Study Still Life and Academie Head Study and Academie
Designing an Intensive
An intensive can be specifically designed to meet your current needs and schedule.
To design an intensive choose from among the Atelier Intensives listed. For an intensive not listed please inquire.
Next, decide upon the number of days you have available for an intensive. A 5-day intensive is recommended as a minimum. However, with some studies a 3-day intensive could qualify as the minimum. Each day of an intensive includes a morning and an afternoon session of three hours each (6 total hours per day). You will receive instruction and continuous coaching during each session of every day. Your instructor can advise you on what combinations of studies are feasible within a given time frame.The cost of an intensive depends on the number of days and the studies selected. The price is determined by adding (as applicable) the cost of the instruction, studio space, model, and art materials. The instruction/coaching fee is standardized whereas the cost of studio space, models, and art materials may vary. Once you've chosen what you want to study and determined your time frame, a schedule will be put together and the cost will be quoted. Upon agreement of the content, schedule, and cost a date will be selected and scheduled for your intensive.
For more information about designing or scheduling an Atelier Intensive to meet your specific needs contact Kerry Holsapple, Atelier Indiana, 2547 South Greensboro Pike, New Castle, IN 47362; call 765.521.0200; or email email@example.com. Attention group organizers: Atelier Intensives are available to bring on location to your area if requirements are met.
Mikel Olazabal Email: firstname.lastname@example.org Madrid, Spain Motivated by experience, the Atelier Madrid has provided a space dedicated to teaching the classical process of drawing and painting in the traditional manner. The Atelier Madrid has started a continuous course that differs greatly from the concept that students usually have of a current school or class.
In this period of training each student will experience and learn step by step the academic process. No learning time limitations. Teaching is completely individualized and constantly adapts to the pace of learning and development of each student.
The space is slightly divided for each person, open from Monday to Friday, every afternoon from 15:30 to 19:30. This makes 20 hours of personal work every week under the supervision and guidance of the instructors.
From the start, students work with sculpture casts in the classic way, focusing on the observation, understanding and reproduction of the form.
The Atelier Madrid believes that consistency, dedication, and personal commitment by the student are essential to make adequate progress in learning.
The atelier can accommodate a group of 10 students in total. Therefore, space is limited for people who really want to dedicate 20 hours per week and be able to enjoy it and to create an inviting atmosphere of motivation, learning and respect.
Atelier Maui is a private teaching studio that provides classical European art education in a lush tropical paradise. Founded by internationally known artist and illustrator Semyon Bilmes, the Atelier is proud to offer apprenticeships and residency programs in fine art.
Extensively trained in his native Russia, Semyon combined the formal Russian academic system with the setup of nineteenth-century French ateliers.
The studio is designed to provide students with the best natural lighting. Large windows and skylights with northern exposure create an ideal setup for artists. Only minutes from the beach on Maui's beautiful North Shore, the Atelier's property is the perfect retreat for any artist.
Classes are held five days a week and include both studio work and studies en plein air in the sublime surroundings of the Hawaiian landscape. Studio exercises include extensive work from the model, as well as studies of classical sculptures and still lifes. The curriculum also ensures ample time for personally tailored instruction and individual critique. Our academic year is divided into four quarters (Fall, Winter, Spring, Summer). Each quarter runs 10-12 weeks. Atelier Maui is committed to providing each student with personal studio space and a rigorous curriculum. Class size is limited to twelve people.
A little history on Russian art training
After the advancement of 20th century modernism, traditional art was rejected by European and American art schools, but, while art education in the West has been practically destroyed, it was preserved and nourished in Russian/Soviet Academies. The Russian Academies have built their program on the best features of classical European academies, adding a tremendous body of theoretical work, uniquely developed by Russian artists-teachers of eighteenth and nineteenth centuries, continued and expanded into the twentieth century. The best years of the Russian/Soviet academy were between 1930s to the end of the Soviet Era.
While proclaiming modernism as "decadent bourgeois" art, and using art as propaganda of socialist/communist ideology, the Russian government ironically created an unparalleled educational system of representational art, of the highest possible level.
"As a school, Soviet Socialist Realism surpassed the best naturalist and realist genre painting in the West during the third quarter of the twentieth century! It was a 'renaissance of realism' behind the Iron Curtain." - Vern Grosvenor Swanson, "Soviet Impressionism".
"The Soviet art educational regime, comparable in its thoroughness and emphasis on traditional technique to the training given to dancers of the Bolshoi and Kirov ballet schools, was the outstanding training of its kind available any where in the world at this time" - Matthew Bown, "Socialist Realist Painting"
Virgil Elliott is one of 24 artists, world-wide, certified by the American Portrait Society, and a Signature Member of the American Society of Portrait Artists. In 1996 he was elected an Associate Guild Member of the American Society of Classical Realism. Other associations include: Artists' Advisory Panel to the California State Fair (1987), Artists in Mensa, American Artists Professional League, and American Society for Testing and Materials (ASTM) D01.57 Committee, which sets standards for artists ' materials in the United States.
"An atelier, in the older sense of the word, meant the studio of a Master artist, where the Master did his own work and taught a small handful of students as well.
The Atelier of Virgil Elliott is an atelier in that tradition; rather than a school or academy. There are no additional instructors, and it has no predesigned program beyond what Virgil Elliott deems most appropriate for each individual student. This is based on his assessment of the student's strengths and weaknesses. The emphasis is placed on the old-fashioned approach of developing the students' talents and abilities through drawing from direct observation, including cast drawing, work from live models, and, later, painting from life. However, the curriculum is flexible, in order to tailor the lessons to best address each student's unique attributes and shortcomings.
Prospective students are expected to be highly motivated of their own accord, and to possess the requisite degree of obsession with Great Art that all serious artists should have."
Historic Oil Painting Courses in Bruges, Belgium with ARC Living Master™ Virgil Elliott
The Flemish Classical Atelier will host two one-month courses with Virgil Elliott in 2012: the Early Flemish Method, September 1-30, and the Venetian Technique as practiced by Giovanni Bellini, October 1-30.
David Hardy Email: DNSHardy@Yahoo.com Website: http://www.atelierschoolofclassicalrealism.net/ 4920 Telegraph Avenue Oakland, California 94609 United States of America Phone: (510) 465-1958 The Atelier School of Classical Realism (ASCR), located in the beautiful San Francisco Bay Area, provides helpful formal training in realism tailored to the individual needs of each student.
The approach of the school is centered in the belief that realism in art is only as effective as it is convincing.
The curriculum at the ASCR explores the dynamics of realistic representation.
The core of the program is training in the techniques used to create illusions of three-dimensional space on a flat surface.
The ASCR teaching of art introduces students to the challenge of learning a new language, a visual language. They learn the structure that is required to genuinely and comfortably "speak" this visual language, plus gain the technical knowledge which serves as its grammar and vocabulary.
The founder of the school, David Hardy, feels strongly that students must build a solid technical foundation from which to work. "You can always leave out some of what you know," says Hardy, "but you can't put in what you don't know."
Giving students a clear understanding of the logic behind the techniques and methods of realism is also an essential component of the ASCR instruction. One can then become master of one's art instead of a slave to the happy accident.
That logical understanding of process, coupled with technical mastery, opens students at the ASCR to new possibilities in freedom of expression. Through learning creative control, they are freed as artists to be more effectively themselves, and thus share genuine beliefs and emotional responses through their art.
Students find the rigorous, traditional approach offered at the ASCR a bridge to now little-known techniques and principles inherited from the golden days of realism. Once learned, these methods help to effectively establish a beachhead in today's challenging art world.
Highly personalized guidance is directed toward encouraging individual growth. Advanced students are led into the fine-tuning of their drawing and painting skills, thus maximizing their accomplishments. Emerging and established art professionals alike are given career counseling.
The development of self awareness and self confidence go hand in hand with the study of drawing and painting at the Atelier School of Classical Realism; by so doing, sudents develop the wisdom and patience to choose carefully as they proceed.
New students attending the ASCR quickly become aware of two major features of the school:
The first is the feeling shared by the students of being at ease with each other, friends among friends. It is a collegial environment of mutual understanding and earned respect. Lunchtime blossoms into "catching up", comparing ideas and opinions, enjoying the weather, joking and having fun.
The second is the level of dedication at the ASCR to the study of the art and techniques of realism. The ASCR offers a positive environment of helpful criticism, encouragement and personal involvement, reflected in the deep personal commitment by the students to the pursuit of their studies. And it is evident in the professional commitment of the faculty to help the students meet their artistic goals.
Curriculum at the ARC includes instruction in cast, figure, portrait and still-life drawing, and cast, figure, portrait, still-life and landscape painting.
Extensive study of color theory includes mixing of color relationships, color harmony and color temperature (change of appearance of local color caused by the influencing from the color of the light source).
Both direct painting and Old Master techniques of layered painting with glaze are presented. Landscape painting is taught both on location in the field and back in the studio. Museum field trips are correlated with Atelier studies. Career counseling and business procedures are offered advanced students.
Admission is by portfolio review.
OLD MASTER DRAWING & PAINTING TECHNICAL FOUNDATION PROGRAM
Classical painting and drawing techniques for today's artist. This course is presented each Tuesday, Wednesday and Thursday both in the afternoons from 1:00 to 4:00 and in the evenings from 6:30 to 9:30, each class for 9 hoursweekly.
This is a complete professional foundation course, exploring illusions of depth, atmosphere, surface textures and color dynamics. Classical drawing procedures as well as direct painting and traditional layered glazing procedures are presented under the supervision of Living Master David Hardy. Subjects range through cast studies, self portraits and still lifes.
The study of COLOR TEMPERATURE at the ASCR is one of the most thorough and helpful being taught today. The dynamics of color as affected by pictorial lighting come alive for the student artist.
Advanced students learn direct approaches to PLEIN AIR oil painting followed by coaching in Old Master layered glazing techniques.
Critiques are given for figure drawings and paintings done in the Sunday and Monday Long Pose Figure Drawing & Painting Workshops.
THE HUMAN HEAD: SCULPTING, DRAWING & PAINTING ON SATURDAYS
To draw or paint the human head and do it well demands an effective knowledge of anatomy and proportion. But doing it extremely well puts any artist up there with the great masters.
This is an intensive two-year course of study. The course is presented during three trimesters, meeting every other Saturday from 9AM to 4PM with a one-hour lunch break midday. Limited class enrollment permits careful guidance in a pleasant, relaxed environment. Each student is permitted to progress at their own pace.
Working with oil-based clay on an armature at the very beginning, a skull will be constructed, onto which will be added cartilage, tendons and muscles. Additions will include ears, eyeballs, eyelids and lips.
A structured course follows, including copies from master drawings, working from plaster casts, doing self portraits and working from the live model. Additional independent studies are encouraged, with critiques of these available upon request.
This is an exploration of landscape dynamics and procedures, taught by noted landscape painter Marshall Hasbrouck.
The emphasis is on realistic landscape rendering and studio work using sketches, color studies, and photos by students rather than on site plein air painting.
Some on site work will be done at selected Bay Area locations as weather permits.
This is an all day class that meets every other Saturday from 9 am to 4pm. Sessions take place at the Atelier School Classical Realism Atelier at 4920 Telegraph Avenue in Oakland.
The course format consists of short lectures and demonstrations, with most of the time dedicated to hands-on practice with input from the instructor. Each class concludes with a critique and discussion of the day's work in a supportive spirit of learning how to paint effective images.
The course will cover such topics as composition, perspective, values and masses, color and the effects of atmosphere and changing light. Registered participants will receive a suggested list of basic equipment and supplies for getting started. Refinements in the gear can be made later as needed.
Admissions Department Email: email@example.com Website: http://www.laafa.org 16926 Saticoy Street Lake Balboa, California 91406 United States of America Phone: 818-708-9232 Accredited by National Association of Schools of Art and Design (NASAD) International Students Welcomed - SEVIS Approved for M-1 and F-1 Visas Approved by the Department of Veterans Affairs for Educational Benefit
The Fine Art concentration at LAAFA offers an accredited BFA Degree or Atelier Certificate*. Once you complete your 18-months of intensive fundamental training, you are equipped to focus on advanced painting skills, personal projects, business of art classes and mentorships with artists of your choice. After three years of study, you will leave the program with a cohesive body of work, the knowledge necessary to alter the landscape of artistic expression, and the confidence to pursue a lasting career as a successful, thought-provoking, professional artist.
The Entertainment Art concentration at LAAFA offers an accredited BFA Degree or Certificate*. Once you complete the 18-months of intensive fundamental training, you will move into rigorous courses in advanced drawing, painting, rendering, digital and 3D software applications as well as Business of Art courses. In addition, you have many networking opportunities with our top professional working faculty and have the opportunity to visit movie and production studios as well as gaming companies.
*The Certificate program includes the same balance curriculum with fewer general education courses required.
Intensive Art Training Tracks
The Intensive Art Programs are for students who are interested in enrolling in a full-time course of study without pursing a formal degree or certificate. Tracks are open to all students who are interested in professional growth, personal development and preparatory art study.
International students are eligible for the Intensive Fundamentals Track and must be conversant in English.
Intensive Drawing Track
This 1-year sequential curriculum focuses on drawing from direct observation. Students will have a working proficiency of the human form as it relates to traditional representation in drawing. In addition, students will learn solid draftsmanship and technical skills in Classic Academic and Figure Construction, which will give students a well-developed understanding of line, form, structure, shadow, tone, light, edges, and the human anatomy.
Intensive Fundamentals Track
This 18-month sequential curriculum focuses on drawing and painting from direct observation. Students will have a working proficiency of the human form as it relates to traditional representation in drawing and painting. Students will learn solid draftsmanship and technical skills, which will give students a well-developed understanding of line, form, structure, shadow, tone, light, edges, and the human anatomy. In addition, students will explore the fundamental practices of painting. Working from the live model, students will be challenged to refine their ability to simplify what they see and create paintings that feature strong structure, clear value organization and elegant simplification.
Students in the Intensive Fundamental Track may have the opportunity to matriculate into our Degree and Certificate Programs. Contact us at firstname.lastname@example.org for additional information.
Intensive Entertainment Track
The 18-month entertainment track is for students who have mastered their foundational skills. Students will start learning and developing concepts for creating convincing environments and imaginative characters. Aspiring artists will be well equipped for a career in the entertainment art industry.
Continuing Education Program
Our classes and workshops offer a variety of short-term (3-months) art classes or week to weekend workshops in drawing, painting, sculpting, digital art for students of all levels. International may attend LAAFA classes while visiting the U.S. on a tourist visa. In certain circumstances, the student may apply for a change of status to an M-1 or F-1 visa. In addition, students from around the world now have the opportunity to be trained online by our accomplished list of LAAFA instructors who are professional Entertainment and Fine Artists working in the Animation, Film, Gaming and Fine Art Industry. As a bonus, all videos are yours to keep. LAAFA's online courses provided by artschoolvideos.com are not graded and are not a part of our degree and certificate programs or intensive art tracks.
LAAFA Faculty represents an illustrious group of accomplished, skilled artists. Each member has been specifically chosen because of their experience and the immense amount of knowledge they possess in their given subjects. Such a wide scope of knowledge and experience allows LAAFA to offer a broad range of approaches to teaching art. You have direct access to our faculty through courses, workshops, mentorships, lectures and personal projects during your studies at LAAFA.
Full-time student body at LAAFA is made up of international students from all over the world. The students bring with them a wealth of backgrounds and perspectives that provide a well-rounded cultural experience and an ethnically diverse environment here at LAAFA. We welcome all applicants from different countries. LAAFA is authorized under federal law to enroll non-immigrant students. We assist the students in obtaining an F-1 or M-1 visas during their studies at LAAFA.
LAAFA is authorized by the Department of Veterans Affairs to enroll students in our full-time programs for benefits under:
Post-9/11 GI Bill (Chapter 33)
The Montgomery GI Bill (Chapter 30)
The Dependents Educational Assistance Program (Chapter 35)
The Vocational Rehabilitation Program (Chapter 31)
The Selected Reserve Educational Assistance Program (Chapter 1606)
It is recommended that applications be submitted to the VA at least two months prior to the start of the enrolling quarter. To honor the men and women who serve our country, your application fee is waived.
Applying To LAAFA
The Office of Admissions looks for prospective students who demonstrate a passion for art, a potential for growth, a strong desire to learn, and a serious commitment to become a professional artist. If you have basic skills in art, the desire to be a well-trained/knowledgeable artist, and possess the willingness to immerse yourself in intensive course of study, then you will be an excellent candidate for LAAFA.
LAAFA has a rolling admission policy. Applications are accepted until all the spots in the Full-Time Program are full. The priority dates below will give students the opportunity for scholarships, work- study opportunities and a smooth transition to school. LAAFA accepts a limited number of students for each start group.
Admission Dates and Deadlines
Fall 2015 Priority Date - June 15, 2015 Payment Deadline - August 28, 2015 Start Date - September 28, 2015
Spring 2016 Priority Date - December 15, 2015 Payment Deadline - February 26, 2016 Start Date - March 28, 2016
Fall 2016 Priority Date - June 15, 2016 Payment Deadline - September 2, 2016 Start Date - October 3, 2016
For information about Tuition, Financing and Scholarships, please visit us online at www.laafa.org.
Barcelona Academy of Art (BAA) is the first Spanish school which aims at teaching drawing, painting, sculpture and digital art using a complete curriculum and teaching methods stemming from the classic- realistic tradition. Its methodology originated in the Renaissance and was brought back to life by the main realistic academic ateliers of the late 19th century (in particular, by great painters such as Jean-Léon Gérôme, Léon Bonnat and Carolus-Durán).
The philosophy behind our curriculum and our teaching methods requires the return to discipline in art and excellent know-how through tested and efficient techniques that are based on working from life. That is, a return to the direct study of nature and to the old masters as the bedrock of any artistic knowledge, while remaining within the parameters of figuration and realism as a way of representing art.
Through practical and comprehensive materials and methods stemming from the nearly forgotten academicism, students will strengthen their knowledge as future artists so as to continue creating contemporary art in our time. At the Barcelona Academy of Art we consider the classic academic approach not as an end but as a tool that students can use to build their own personality and artistic language.
The specificity of the curriculum of the Barcelona Academy of Art attracts students from around the world. As an international school, English is the primary language of instruction.
Local teachers also speak Spanish and Catalan.
The training program at the Barcelona Academy of Art offers regular courses in drawing, painting, sculpture and digital art, which are complemented by workshops, seminars and special courses (Easter and Summer). These provide students with an intensive learning of methods, procedures and techniques from the best professional artists.
After completing the intensive two-year program, the BAA offers students (and a handful of external candidates) the opportunity to enroll in our Residency Program, whereby artists will discover themselves and their personal art voice. Studios are located at the BAA Poblenou facility, where artists will work on personal projects, while receiving the advice from tutors as well as interacting with and learning from professionals from the artistic world: established artists, gallerists and curators, art critics, cultural theorists and more. The Artistic Residency Program seeks to establish a community of figurative artists, thus strengthening the current trend towards contemporary realism, a movement led and supported by the European Museum of Modern Art [MEAM]. The Artistic Residency Program is designed for students seeking to develop their artistic voice. Only individuals seriously intending to make a living as a professional painter, sculptor or digital artist will be considered. BAA alumni and graduates from other ARC-approved schools are potential candidates. Other, non-academically trained artists with exceptional portfolios are also invited to apply.
The project aims to introduce students between 10 and 17 years in the academic method adapting the complexity of the concepts to their capabilities. Learning this method will allow children and adolescents to explore ideas and concepts while receiving highly specialized training that will enable them to exponentially increase their graphic and visual skills.
Joseph Altwer, Terra Chapman, Jordi Díaz Alamà, Pau Marinello, David Masson, Sara Stenlund, Valentina Zlatarova, Adrià Llarch, Roser Masip and Marta Lafuente are some of the excellent teachers at the BAA.
Classes are taught in English, therefore students are required to have basic English skills.
Applications will only be accepted online or by filling out the form at the Academy.
Places will be assigned following a strict order of received applications.
When the groups are full, extra applications will be part of the reservation list.
Please visit our website gallery with our students' works.
Jordi Díaz Alamà Director & Founder of the BAA.
Born in Granollers in 1986, Jordi Diaz Alamà studied Fine Arts at the Universidad de Barcelona,where he afterwards worked as a teacher at the Drawing Department. He had the chance to work with painter Guillermo Muñoz Vera in Madrid thanks to a scholarship from Fundación Arauco, and with the Norwegian painter Odd Nerdrum. He studied drawing at the prestigious The Florence Academy of Art (Florence, Italy), where he also graduated in painting. This traditional training became the backbone of his education. In 2013 he founded the Barcelona Academy of Art (Barcelona, Spain), an Academy which was approved by the ARC in 2014. He was the winner of the Figurativas '11 contest organized by Fundación para las Artes y los Artistas in collaboration with MEAM, with the aim of supporting and promoting Figurative arts and its artists. In 2014 Diaz Alamà won the LI Premi Internacional de Dibuix Ynglada-Guillot of the Reial Acadèmia Catalana de Belles Arts de Sant Jordi (Barcelona) and the Medal of Honor in the 29th BMW Painting contest. In 2015 he received the Honorable Mention in the Figurative Category at the ARC Salon Competition.
Email: email@example.com Website: http://barcelonaatelier.com/ Entenza 40 Street Barcelona, 08015 Spain Located in the heart of Barcelona, Spain, our atelier is one of the few art schools in the country that offers art courses based in the traditional drawing and painting methods of the 19th century.
Barcelona Atelier of Realist Art presents different kind of courses throughout the year.
Our atelier offers a full time and a part time program within the Academic years schedule.
The formal course is primarily a drawing course with different kind of exercices.
The academic program includes:
Charles Bargue lithograph copies in pencil and charcoal
Charcoal cast drawings
Color still life paintings
Drawing from the model in graphite and charcoal
Painting from the model
Portraiture in charcoal and oil
Students undertake an individually structured curriculum. Individual objectives for each session will be stated. Students will move to progressively more difficult and challenging assignments upon satisfactory completion of the assignments.
The study plan is based on the observation of model and cast and we guarantee excellent results for our students because drawing and painting creates a concrete and objective language.
We provide different methodologies like sight size, comparative measures, abstract vision and more in order to improve the eficiency of the student's work.
Specific workshops are scheduled during Easter Holidays and in summer.
Master copy drawings and paintings
We believe art education is fundamental to our culture.
Due to a deep understanding of the realist philosophy we are convinced that art is not just a creative movement.
We strongly believe that viewing life and humans through the realist optic can improve our society.
The Beaux-Arts Atelier at the Institute of Classical Architecture & Art (ICAA) is a one-year intensive program in the study of architectural design following in the method of Ecole des Beaux-Arts. Students receive in-depth instruction in an atelier setting while pursuing coursework in observational drawing, architectural drafting, systematic design methodology, the classical orders, geometry and proportion, traditional methods of architectural wash rendering and drawing, the history and theory of classical architecture, and modeling and sculpting. Students also conduct detailed studies of New York City's architectural masterpieces through on-site observation and field drawing. In addition, field trips are conducted to leading architecture, decorating, and craftsman studios throughout the year. The academic year runs from September to June, and is divided into five six-week terms and a one-week travel term in Rome.
Admission to the Beaux-Arts Atelier is a selective process. While the program is oriented primarily to students in the design and building fields - practicing architects, preservationists, interior designers, and building professionals - others are welcome to apply. Basic drafting skills and a knowledge of general architectural concepts are recommended for preparation. Applications by persons without formal training in a design or historical discipline are nevertheless welcome and will be considered on an individual basis. Financial assistance is available.
Learn more about studying at the Beaux-Arts Atelier, including tuition, housing, internships, and application information by clicking here.
The design studio comprises the core of the program. Over the course of the year, students are presented with a series of design challenges of increasing complexity and are expected to devise thoughtful solutions that evidence a mastery of both artistry and function.
Foundations of Form Drawing the Classical Orders Reading Architecture: Masterpieces of New York The Literature and Theory of Classical Architecture Architectural Rendering in Wash Master Copying Figure Drawing Linear Perspective and Observational Drawing Relief and Ornament Architectural Shades & Shadows Proportion History of the Classical Orders Architectural Drawing & Drafting Rome Drawing & Painting Tour
For more information on our curriculum and coursework, click here.
The ICAA Library The Institute's collection, which numbers over 1800 titles and is constantly growing, has been thoughtfully compiled over the years by the board, fellows, and staff. With titles ranging from architectural antiquity to modern interior design, it is a valuable resource for inspiration and research and is available to students throughout the year.
The Historic Plaster Cast Collection A significant portion of the Metropolitan Museum of Art's seminal 19th Century collection is now a vital permanent resource of the ICAA. The approximately 100 casts of antique and Renaissance sculpture that constitute the publicly-displayed holdings are used as a tool of pedagogy and direct inspiration for students of architecture, cast drawing, painting, sculpture, and their allied building arts. The casts serve concurrently as a compelling and accessible record of the classical tradition from its Greco-Roman origins to the present day.
ABOUT THE INSTITUTE OF CLASSICAL ARCHITECTURE & ART
The Institute of Classical Architecture & Art (ICAA), the Beaux-Arts Atelier's parent organization, was founded as two separate non-profit organizations - the Institutes of Classical Architecture (1991) and Classical America (1968) - that merged in 2002. Today the ICAA is the leading nonprofit organization dedicated to advancing the classical tradition in architecture, urbanism, and their allied arts. It does so through education, publication, and advocacy.
In addition to the Beaux-Arts Atelier, the ICAA is the parent organization of the Grand Central Academy of Art, which provides rigorous instruction to students seeking a traditional art education. Beaux-Arts Atelier students undergo training in drawing, painting, and sculpture in the GCA studios in order to better incorporate artistic elements into their architectural designs.
Beaux-Arts Atelier Administrative Staff:
Richard Cameron Director of the Beaux-Arts Atelier