Tours are scheduled Tuesdays/Thursdays at 12:30pm. Other times possible by request.
Grand Central Atelier The GCA is a collaborative workspace for the study and practice of drawing, painting and sculpture. To ensure a deep understanding of classical form, design, practice and discipline, artists-in-training work in a structured, organized studio with hands on guidance from the studio's principal artists. To educate the public about classically inspired art, the studio sponsors full time and part time training, lectures, artistic competitions and exhibitions.
Eleventh Street Arts Eleventh Street Arts is a gallery space adjacent to the GCA. The space offers a program of professional solo and group exhibitions, lectures and social events. The goal is to promote and celebrate the best contemporary talents working in a classically inspired representational mode. The space is a hub for education, conversation and connoisseurship in the Long Island City arts scene.
Resident Artist Program Artists who have been through GCA's core program have the opportunity to share studio space with colleagues who are also developing their professional career. A studio fee covers year-round personal studio space and access to all studio resources.
Hudson River Fellowship Fellows gather for a three-week long collaborative fellowship to paint the landscapes that drew the Hudson River School painters in the 19th Century including Thomas Cole, Asher B. Durand, George Inness, Sanford Gifford, Jasper Cropsey and Albert Beirstadt. The HRF provides all accepted students with full tuition and free housing in shared rental houses.
Artistic Competitions GCA hosts a series of live, studio competitions for draftsmen, painters and sculptors. Students as well as professionals are invited to apply.
Core Program Lasting up to four years, the full-time core studies are composed of three consecutive segments. The first year is a drawing program. The second year is a painting program. Then there is a third and fourth year resident studies program. The first year or the first and second years are offered as potential standalone program. Admission into each subsequent segment will be based on the achievements of the previous year.
The full-time program is not accredited. Artists do not earn a degree or college credits.
Annual tuition is $10,500. Merit-based studio prizes towards next year's fees are awarded annually.
First Year Drawing Program A one year drawing program in which students progress from rigorous cast drawing and linear "block-in" drawing through structural analysis of the figure, perspective and sculpture. The year ends with a series of highly finished long posed figure drawings. These drawings are the heart of our teaching as they have always been the crucible of draftsmanship.
Second Year Painting Program A year long accelerated course in figure painting. Artists will begin with a thorough introduction to theory of tonal value. Painting the casts "en grisaille" will be followed by portrait and figure painting in gray scale. The second half of the year begins with a weeklong course in color theory followed by intensive portrait and figure painting in a limited and full palette.
Students may a pply to enter a Third/Fourth Year Resident Studies program.
Core Schedule Full-time studios are open September through May. Attendance is required Monday through Friday, 8:30am-5pm. There are two daily studio sessions. The morning session is 8:30am-12:30 pm. The afternoon session is 1:00-5:00pm. Core artists have access to studios in the evenings and weekends. A studio share is offered in summers.
Admissions Artists are accepted into the program with different levels of experience and training. In reviewing applications, principal studio artists give serious consideration to applicants with little training if they show a serious work ethic and a sincere desire to learn and a commitment to make fine art their career. Applicants who have done their "homework", who are familiar with the GCA and what it offers artists are also appreciated. We recommend that artists visit the studio to tour the facilities and speak to some artists before applying. Artists who enroll in an evening or weekend studio, or for a daytime workshop will have the invaluable opportunity to experience the training first hand and meet other artists.
Applications are due on February 1 (early admission) or April 15.
Applications submitted throughout the year will be considered as space allows.
Application Requirements Artists must show through an online application (which includes a portfolio of their work) and an interview, a serious work ethic, a sincere desire to learn, and a commitment to make fine art their career. High school diplomas are not required. In-person interviews are preferred, but long-distance applicants may request a phone interview.
In addition to a Statement of Intent and two recommendations, the application requires that 7 works be submitted. All works should be done from life (not from photos). Works should be a good representation of the different types of representational, figurative art that the applicant likes to make. For example: While cast drawing is a valuable exercise, please do not submit a group of only recent cast drawings.
Part Time Training Opportunities GCA offers weekly evening and weekend classes that typically last 8-10 weeks. Shorter full day intensive workshops are offered year-round and last anywhere from one to twenty days.
Many of the artists who teach in our full time studio also teach in weekend, evening and daytime workshops offered in the summer. Artists will be exposed to the same pedagogy and curriculum that is imparted to artists in our core program.
Are you new to classical drawing, painting or sculpture? For beginners, or artists who want a serious dose of GCA training, GCA offers several bootcamps throughout the year offering an introduction to the drawing, painting and sculpture curriculum at GCA.
For beginners who live in the area, we suggest a taking an evening or weekend cast-drawing studio. This studio is an introduction to the basic skills and vocabulary that will be used in successive study.
Jeff Hein Website: http://www.artclassessaltlakecity.com/ 16 W 700 S Salt Lake City, UT 84101 United States of America Phone: 801-502-9185 The Hein Academy of art was founded by Jeff Hein in 2007. It accommodates a maximum of sixteen 'Apprenticeship Program' students. Weekly painting and drawing classes may also be taught by apprentices to the public. The HAA consists of two buildings on either side of Main Street totaling 10,000 sq/ft. The east building includes two spacious classrooms and 8 studios for students working on portfolios and graduates. The West building is the personal studio and office of founder/teacher Jeff Hein as well as more studio workspace for the 16 'Apprenticeship Program' students. The HAA is located two blocks from Salt Lake City's beautiful business district, 7 blocks from Temple Square and one mile from the beautiful City Creek Canyon.
Students of the Hein Academy of Art Apprentice directly under Jeff Hein in the same manor that the Renaissance masters apprenticed under their teachers. In exchange for a modest monthly tuition, and occasional assistance to Jeff with studio tasks, each of 16 apprentices has the opportunity to be tutored daily by Jeff. Apprentices work near to Hein throughout the day and are free to witness every aspect of Jeff"s professional and creative processes.
Those enrolled in the Apprenticeship Program are each given their own personal workspace, storage space and easel. They have 24hr access to the HAA studios so that they may have as much time as possible to devote to their studies. Jeff Hein is present from 10-6 Monday-Friday and is available for instruction and critiques during these hours. For three hours, every weekday morning, studio students have the opportunity to draw and paint from a live model while the remainder of their time is devoted to the study of still-life drawing and painting. During the final year of the Apprenticeship Program students will be given a studio in which to complete a professional body of work to submit to galleries upon graduating. At this time Hein will serve as a tutor, providing guidance and insight whenever needed.
The HAA curriculum is designed to create artists who are prepared to enter into a professional career in making and selling art. Professional quality work done under the assistance of a teacher is not a sign of success for the student. This is why, at the HAA, students are expected to show a solid understanding of each area of the curriculum before they may progress. After much instruction and practice each student must complete, to a professional level, several works in each area of the curriculum without assistance. This means that every student will progress at a different rate depending on his/her work ethic and aptitude for learning. These things are important because all too often students graduate from other art institutions with minimal skills because they had been moved through these programs according an insufficient timeline and/or their portfolio reflects the skills of the teacher more than those of the students. Under this format, every student that graduates from the HAA will do so with a professional level of knowledge and skill.
Students will also have the opportunity to hear from other professional artists, and art business professionals to learn about varying views in the art world. This helps each student become well informed about the art world and its challenges which will aid him/her in making intelligent artistic and business decisions when they enter into the field.
Students will ultimately have the opportunity, should they choose, to learn the craft of multi-figure narrative painting in the classical tradition, without the aid of photography and computers. This understanding has unfortunately become increasingly rare due to the increase of technological involvement in art creation and the extreme complexity of this traditional approach. Hein believes this is an art form worth preserving and is the approach he uses in his own work.
The goal of the HAA is for each student to graduate with a professional level of drawing and painting skills, a consistent body of work and the business knowledge with which to begin a successful and fulfilling career.
To schedule an appointment to visit the Hein Academy of Art, to acquire more information or to apply for the Art Apprenticeship Program, please call (801) 502-9185.
2015 Summer Workshops To view the workshops, please click here.
Established in 1982 the Ingbretson Studo of Drawing and Painting provides a direct link to the Nineteenth Century Boston School* approach to painting featuring:
Direct Painting Academic Draughtsmanship Impressionist Color Sound Composition Painterly Craft
Painting the "Visual Impression" as the Boston School taught it - studying the relational world of line, value and color in the production of shape, form, gesture and light.
Picture Making is the vehicle for the training with strong emphasis on composition.
Sound Painterly Craft is incorporated from the start.
Program Progression is from cast drawing to still life painting, to figure drawing, and portrait and figure painting.
Ingbretson's Personal Critiques, the basis of the instruction, are weekly and often more frequent with additional part-time assistance by artists who have successfully completed his training.
Seminars are provided in memory drawing, anatomy, perspective, and intensive composition.
Summer Landscape workshops on direct impressionist 'en plein air' painting provided as weather permits.
Guided tours of significant east coast exhibitions and museums is a norm.
Course Completion typically takes up to five years for full time artists though an artist's education is ongoing.
Open Every Day from dawn to dusk with some evening activities, beginning September 15 and ending June 15. One may begin any time of year when space is available.
Individual Studios a feature in an historic old mill building along the Merrimack River with twenty-three large north light windows, a spacious figure studio, lounge and kitchen.
Visit the Studios any time. Prospective students should call to arrange a visit at their earliest convenience.
Paul Ingbretson studied in New York at the Art Students League and then spent several years working in the Gammell atelier in Boston. Gammell, who was able to deliver the academic training he had been looking for, had been a student of William Paxton and Paxton a student of Jean Leon Gerome at the Atelier des Beaux Arts in Paris. Joseph DeCamp, with whom Paxton subsequently worked in Boston, and his contemporaries, Edmund Tarbell and Frank Benson with whom Gammell also studied, learned the basics of drawing and composition in the academic ateliers of Europe and then sought to combine that knowledge with the color and light of the French Impressionist painters. The resulting work became know as the Boston School and it is this thinking that primarily informs the work and teaching of Paul Ingbretson.
Ingbretson has spent thirty years analyzing painting for the purpose of mastering the field and teaching. His recent teaching activity is focused on breaking out the most fundament elements of design into a systematic course enabling his students to truly understand this difficult but essential part of fine painting.
*Edmund Tarbell, Frank W. Benson, Joseph Decamp and William Paxton brought the French Ecole des Beaux Arts and Academe Julien training to Boston and R. H. Ives Gammell among whose students was New Hampshire Artist Paul Ingbretson.
The present class format is for six months, limited to seven students. The course is extremely information-intensive, and not for the casual workshopper. My goal is to continue to form future professional artists and instructors. The program is not for everybody. It's challenging.
All information will be presented in simple language. Instruction is in the form of frequent lecture-demonstrations, and lengthy individual critique. Principles are generalizations. They must then be applied to very specific cases. We will work with two categories. One is intellectual, the principles. The other is purely sensory. Comparing what we see on the canvas, to what we see on the model. Visual to visual.
For example, light travels from an energetic source. Therefore it is directional. For our terrestrial studio purposes, we can say it travels in a straight line thatÔøΩs a principle. It is then necessary to carefully decide that light direction as it reflects from the model, and at what angle it reflects to our eyes. That is determined visually. We will always be dealing with three-dimensional objects, in three-dimensional space.
Principle: All light has an intensity, and a coloration. Visual: Exactly how bright is that light, and what is its color? We discover these specifics by comparing what we have done to what we see. General principles x comparison=Discovery!
Our basic subject is the actions of light on the structures of forms. Structure includes the specific shapes of every form, how those shapes are modified by action, how they are arranged on the body (nature's organized design ) how they grow, modular proportions, families of structures, how they are tilted in space relative to our line of sight, and so on.
Light is invisible unless it reflects from form. Form is invisible without light. In order for the process of sight to occur, both light and form are necessary. Restructured Realism is the study of perception, and the optimal suggestion paint allows, of what we see. It is a contemporary vision, or perhaps a future one, whose roots are from the past. This program is unique in the world. You will receive information not available elsewhere. If you are very highly dedicated, contact me for the brochure.
James Werner Portrait of Bill Parks Oil on canvas Private collection
James Werner Back to Basics Charcoal Private collection
James C. Werner Email: email@example.com Website: http://www.lafayetteatelier.org/ 615 S. 10th Street Lafayette, Indiana 47905 United States of America Phone: (765) 532-1604 The Lafayette Atelier is a private art studio school, based on the traditional European model and those that and exist around the world today, that promote the advancement of classical methods of drawing, painting, and sculpture. Currently utilizing a 1880s Queen Anne Victorian home in Lafayetteís Historic Hilltop Neighborhood, the Atelier consists of a large, natural light, painting studio and 4 separate apartments for housing. Our primary goal is to become an asset to the local arts community by providing a rich cultural facet with historical substance, and offering an opportunity for serious artists to develop strong skills in a traditional manner.
Open figure drawing and painting sessions, as well as classes and private lessons, are available at reasonable rates. A certificate program offers a course of study that is based on centuries of realistic tradition, rooted in direct observation and disciplined study. All sessions are multi level and the program can be entered at any time, relying on individual systematic progression, rather than any given time frame for its completion.
The program starts with two basic courses, Traditional Drawing in the Academic Method and Fundamentals of Art. These are a series of foundational exercises designed to prepare students for painting the figure, as well as making advanced creative works. Advanced figure drawing and painting later refines studentís skills and familiarizes them with basic artistic anatomy and composition.
James C. Werner
Founder and director of the Lafayette Atelier, James Werner studied in Chicago, at the Palette and Chisel Academy and graduated Valedictorian from The American Academy of Art. James received his classical training under Bill Parks, John Trapp and Ted Smuskiewicz, their training stems from the Belgium Royal Academy and the Superior Institute in Antwerp where William Mosby studied after WWI before bringing the tradition to Chicago. James also has taken summer classes at the Florence Academy of Art in figure drawing and painting, and holds a Masters in drawing, painting and printmaking from Purdue University where he was a teacher of life drawing and other courses before founding the Lafayette Atelier.
Hope Railey, Chair of Fine Art Email: HRailey@lcad.edu Website: http://www.LCAD.edu 2222 Laguna Canyon Rd Laguna Beach, California 92651-1136 United States of America Phone: (949) 376-6000
Drawing and Painting Major
LCAD's drawing and painting major is one of a few undergraduate (BFA) and graduate (MFA) programs whose educational focus is to produce highly skilled, representational drawers, painters, and sculptors. The program and curriculum is based on classical traditions. Students learn core skills to accurately portray the still life, figure, portrait, landscape, and group figures to address concepts and ideas of contemporary, narrative storytelling.
In addition to mastering technique, the business of art is integrated in the curriculum. Students are introduced to professional practices, marketing and presentation to beprepared for the challenges of a demanding and competitive art world.
LCAD is unique in being one of only a handful of accredited colleges that offer classes in figurative sculpture. Raymond Persinger is the coordinator of the Sculpture Department. A classically trained figurative sculptor, Ray has created sculptures for science museums around the world and continues to receive public art commissions. Our classes employ a variety of techniques, producing works ranging from half life-size to life-size. These courses are a valuable hands-on approach to advancing drawing, painting and animation skills. Courses in sculpture can be combined to earn anemphasis or a minor in sculpture.
The London Atelier of Representational Art (LARA) housed in Vauxhall, was established in response to the rarity of rigorous representational art education in the UK. LARA teaches the fundamentally important aspects of drawing, painting and sculpture from life through the "sight size" method and uses a specific approach designed to teach the essential concepts of proportion, line, gesture, form and light.
Inspired by the atelier method of instruction, LARA offers a unique training with sustained poses of no less than two weeks and up to one month, giving optimum time to observe and understand the figure. LARA believes "To successfully draw from life, one must first understand how to see".
A half day is spent drawing or painting from the nude model, the other half the cast, still life, or portrait model. Each project lasts a minimum of two weeks. Class numbers are limited to no more than 26 and all tutors are classically trained working artists implementing a highly structured style with regular critical appraisal.
LARA welcomes part-time and full-time students, with courses running from one-week intensive workshops to three year full time training. The school also offers weekend classes and holiday schools to aid those with additional commitments.
LARA recognises that students learn at different rates and will arrive with different levels of experience. As a result the approach is flexible, all levels of ability are catered for and teaching is tailored to individual requirements. For further information about the courses please view www.drawpaintsculpt.com
Administration Email: firstname.lastname@example.org Website: http://www.londonfineartstudios.com 146 Battersea Business Centre, 99-109 Lavender Hil London, England SW11 5QL United Kingdom Phone: 44 07762892987 London Fine Art Studios forms part of a long line of ateliers dedicated to teaching the classical techniques of drawing and painting. It has the endorsement and support of the de Laszlo Foundation, which is testament to the quality of teaching and calibre of artists.
LFAS provides a thorough introduction and development in the craft of drawing and painting, from foundation through to the more advanced levels of portraiture, figure, gesture and anatomy, still life and landscape. Each year we offer a full programme of courses from short intensives to full time tuition. There are classes in painting, drawing, sculpture and printmaking as well as a sketch club and study groups.
Students receive one-to-one critiques and learn also from demonstrations. By keeping the class numbers small we ensure that the standard of teaching is not compromised and that each student is given sufficient attention as well as the opportunity to ask questions. We encourage them to take the time to observe their peers and tutors as an important part of the education.
LFAS is committed to fostering community, enabling its students to find their own painterly style. We are home to an exceptional group of aspiring and established artists.
We also host a variety of events, which help fund scholarships. Lead Curator for 19th Century Art at Tate Britain, Alison Smith and Simon Schama, broadcaster, author and History of Art Professor at Columbia University, are amongst those who have contributed to our extensive calendar of activities.
In addition we have cultivated partnerships with organisations of international standing such as Dulwich Picture Gallery and Leighton House Museum as well as working on innovative projects including with scientists from the King's College London. We believe that a rounded education and exposure to professional networks is fundamental to the artist's progress.
Above all London Fine Art Studios ensures that the pillars of representational art remain central to the professional training and development of every artist.
Robert Armetta Email: email@example.com Website: http://www.liafa.com/ 14 Glen St. Suite 201, 2nd Floor Glen Cove, New York 11542 United States of America Phone: (646)508-7645 Overview
Founded in 2000, the Long Island Academy of Fine Art was established as a studio school for the study of traditional painting and drawing. LIAFA offers courses in classical drawing, painting, and sculpture. The main objective of the program is to equip students with the knowledge necessary to create contemporary art rooted in traditional realism.
The Long Island Academy of Fine Art was the first school for classical art studies on Long Island, and since its founding it has established itself as the finest. LIAFA upholds the highest standards of classical academic drawing, painting, and now sculpture. The Academy closely adheres to the strict program of study that founder, Robert Armetta, experienced as a student at some of the best art schools both here in the U.S. and in Europe. At the very core of the program is LIAFA's primary objective: training a student's eye to see accurately and with sensitivity. The whole program centers on this task, following a progression of classes to help the student achieve this step-by-step. Beyond this, the Academy offers an array of classes dealing with an assortment of other disciplines, such as anatomy, color theory, and composition. These classes are taught by thoroughly trained professional artists, many of whom commute to LIAFA from New York City and beyond.
Classes are taught by award-winning, classically trained artists who exhibit nationally and whose works are in both public and private international collections. Courses offered include: Cast Drawing, Still Life Drawing and Painting, Figure Drawing and Painting, Portrait Drawing and Painting, Landscape Drawing and Painting. Also, the Long Island Academy of Fine Art in conjunction withThe New York Academy of Artoffers landscape painting courses. See website for course schedule.
Last updated on 2011-07-08
Los Angeles Academy of Figurative Art (LAAFA) - Extension Program
Admissions Department Email: firstname.lastname@example.org Website: http://www.laafa.org 16926 Saticoy Street Van Nuys, California 91406 United States of America Phone: 818-708-9232 The Extension Program is geared toward the working arts professional, part-time student, and recreational artists who are unable to attend our full-time intensive programs, but want serious art instruction from our highly qualified faculty. These classes are conveniently offered weekdays, weekends, and evenings to fit your busy schedule.
For students looking for a full-time curriculum designed to develop your skills with the most efficient use of time, LAAFA offers Degree and Atelier Programs.
Schedule of Classes:
LAAFA offers classes for students of all levels. We provide all of our students the opportunity to have their work reviewed by one of our highly qualified teachers in order to help them decide which classes are best for them. Let our experienced faculty help you work toward your goal of becoming a well-trained artist.
Workshops and Events:
We are fortunate to have Master Fine Artists and Major Studio Entertainment Artists visit LAAFA and share their wealth of knowledge with our students. We are proud that LAAFA is their school of choice.
Students who are unable to attend LAAFA have the opportunity to take online foundational classes. Currently available: 10-week Ecorché/3D Anatomy -Rey Bustos - Available Now, Drawing the Portrait From Charcoal (Full Demonstration) - Nathan Fowkes - Available Now, 10-week Drawing the Portrait in Charcoal - Nathan Fowkes - Available Now. Schedule online class releases in 2013: Imaginatomy - Rey Bustos, Figure Painting - Max Ginsburg, Alla Prima Painting - David Leffel, Life Painting (with Drapery and Folds) - Ron Lemen, Figure Construction - Ron Lemen, Color Theory - Bill Perkins, Composition - Bill Perkins and Drawing from Imagination - Glenn Vilppu.
For details on our classes, scholarships, and all of our programs, log on to www.laafa.org for your convenience.