Marvin Mattelson Email: email@example.com Website: http://www.fineartportrait.com/teaching.html c/o The School of Visual Arts 209 E. 23rd St. New York, New York 10010 United States of America Phone: 212-592-2050 Marvin Mattelson is an award winning classical realist portrait painter who has devoted himself to painting and teaching for over thirty years. He has created a course of study geared towards artists of all levels wanting to master their figure and portrait painting skills.
His teaching is based on the idea that painting is more than just the act of copying what is in front of you. It requires the ability to understand and interpret what you see. There is an answer for every question and a purpose to every action. The goal is to achieve the illusions of light, atmosphere and form and space, by employing efficient color mixing, accurate values and appropriate edge handling. All aspects of study, such as accurate drawing skills, the development of a transparent under painting and the techniques of painting wet into wet and scumbling, are reinforced by lectures and demonstrations.
Marvin teaches at the School of Visual Arts in New York City. His classes are available as stand alone courses as part of the Continuing Education Department. He is also conducts private group workshops on location. Teaching and workshop schedules can be viewed at http://www.fineartportrait.com/teaching.html
Marvin Mattelson Painting Workshops
SVA Classes: Fridays 12 AM - 6 PM and Saturdays 10 AM - 4 PM, during both Fall and Spring Semesters
Upcoming Workshops: Atlanta GA- January 3rd to 8th, 2005
Edward Duarde, Academy Director Email: firstname.lastname@example.org Website: http://www.mastersofpleinair.com Los Angeles, CA 91006 United States of America Phone: US - 01 831 869 5788 Masters of Plein Air Academy® is a private institution devoted to the special genre of Plein Air Painting. Using techniques grounded in traditional art, the academy progresses through the drawing and painting process using the methods of the High Academics, the Hudson River School and the California Impressionists. The academy does not emphasize the face and figure to the extent that a traditional atelier does because they are focused on the landscape. Nonetheless, especially in the beginning, the academy does stress portraiture, figurative work and the still-life (after all, the landscape is nature's still-life). The modern plein air process is a testament to the artist's skills, including the abilities to observe, measure, draw, compose, simplify, condense and render a believable, representational work of art, on site, within two or three hours. Like anything else it is next to impossible to simplify and condense without thoroughly understanding what students are simplifying and condensing. Plein air artwork has advanced significantly since the days when such works were considered mere field studies. Plein air paintings, as rendered today, are complete works of art in themselves.
The facility is truly unique among art schools. As part of a 9,000 square foot residential estate it contains a collection of Renaissance, Baroque, Impressionist and Representative Art that is invaluable as a reference source. The warm climate of the location allows all work to be conducted outdoors on the grounds or under the covered patio, complete with skylights and wonderful north light. As classes progress the studio moves to many storied outdoor locations: Malibu Beach; Yosemite National Park, Big Sur, Point Lobos, Carmel and Monterey. Students will truly enjoy their learning experience at the school.
METHOD AND PROGRAM
The program of instruction begins with a step-by-step journey through the 5 P's of drawing: Perspective, Proportion, Placement, Planes and Pattern. Using these concepts students learn to set forms into the window of our canvas utilizing the laws of nature and light. Students learn to see nature, study natural effects and set down their observations in their artwork using dimension, contour, gesture and light. Of all these elements, light is the dominant factor. Only through light, which produces all tone, color and appearance, can artists produce a true representational image.
Studnets begin the drawing process by exploring basic two-dimensional geometric forms. These are easy to draw and they are used to introduce the concepts of shape, perspective, light and shadow. Students move on to complex three-dimensional forms before progressing to draw the still life and the human figure. A variety of aids are used to assist the figurative learning process including casts, skeletons, manikins and models. Students begin with charcoal and paper and progress to painting on canvas. Students learn to use the elements of underpainting, grisaille, wet-in-wet, layering, glazing and expressive brushwork to enhance the painting process. Since the plein air depiction of human and animal forms is usually more distant, students focus less on anatomical detail and much more on gesture, perspective and placement within the window of our canvas. Finally teh students are practiced and sure enough to work solely on aesthetic and creative elements under the belief that it is the purpose of the artist to make nature better.
All of the academy's instructors are professional artists engaged not just in teaching but in actively creating, exhibiting and selling their art in the open marketplace. Their accomplishments include long histories of recognition by their peers and other members of the art community. They are all formally trained. Their individual achievements can be viewed on the academy's website.
Cheng Lian, Figurative Painting - Cheng Lian demonstrates and teaches using his award winning style of painting. He walks through the strategies of painting the figure and incorporating the figure in the plein air painting. He emphasizes the importance of drawing and gesture in making the painting come alive.
Karen Leoni, Instructor, Plein Air Painting - Karen Leoni reveals her special skills and methods of incorporating architectural and floral objects in the plein air painting. In the process she discusses the importance of light in shaping and depicting these elements. Her outdoor floral scenes are vibrant and compelling.
Edward Duarde, Academic Director, Instructor, Drawing and Landscape Painting - Edward Duarde walks the student through the techniques of the High Academics, the Hudson River School Artists and the California Impressionists.
Coursework is offered during the Spring and Fall Semesters. The acadmey also offers Art Immersion Experiences (one to three weeks) and Workshops (two to three days) throughout the year. Please visit their website for more information.
Office of Admissions Email: email@example.com Website: http://www.nyaa.edu/ 111 Franklin Street New York, New York 10013 United States of America Phone: 212.842.5961 MISSION The New York Academy of Art is a graduate school that combines intensive technical training in the fine arts with active critical discourse. We believe that rigorously trained artists are best able to realize their artistic vision. Academy students are taught traditional methods and techniques and encouraged to use these skills to make vital contemporary art. The Academy serves as a creative and intellectual center for all artists dedicated to highly skilled, conceptually aware figurative and representational art.
ACCREDITATION NYS BOARD OF REGENTS NYSED Office of Higher Education, 89 Washington Ave., Albany, NY 12234, p (518) 474-2593 The New York Academy of Art is institutionally accredited by the New York State Board of Regents (Regents) and the New York State Commissioner of Education acting under their standing as a nationally recognized accrediting agency. The Academy was granted an Absolute Charter on June 24, 1994, by the Board of Regents of The University of the State of New York, for and on behalf of the State Education Department, and executed under the seal of said University and recorded as Number 21,661. The purposes for which such corporation is to be formed are:
To conduct studio art education programs (painting, drawing, and sculpture) leading to the Master of Fine Arts degree, which offer college graduates intensive advanced education in the classical tradition of figurative art, and to assure that such academically trained artists will continue to be available in sufficient numbers to our schools and the society at large.
NASAD NASAD 11250 Roger Bacon Drive, Suite 21, Reston, Virginia, 20190, p (703) 437-0700 The New York Academy of Art is an accredited Associate member of the National Association of Schools of Art and Design (NASAD) effective as of April 2013. NASAD is a specialized accrediting agency for schools of art and design and is recognized by the U.S. Department of Education.
MSCHE MSCHE 3624 Market Street, Philadelphia, PA 19104, (p) 267-284-5000 The New York Academy of Art is accredited by the Middle States Commission on Higher Education (MSCHE). The Commission on Higher Education is an institutional accrediting agency recognized by the U.S. Secretary of Education and the Council for Higher Education Accreditation.
Office of College and University Evaluation Attention: Accreditation State Education Department 89 Washington Avenue, 5 North Mezzanine Albany, NY 12234 p (518) 474-1551 f (518) 486-2779
MASTER OF FINE ARTS (MFA) The MFA is a specialized 60-credit terminal degree at the graduate level for students seeking advanced education in fine arts. Central to the curriculum is the study of figurative and representational art and the reinterpretation of traditional methods for the contemporary artist. An MFA student is expected to achieve mastery of traditional techniques and practices as well as successful engagement with current art methodologies and critical discourse. The achievement of these goals allows students to develop an authentic visual language as a means to communicate their personal vision, resulting in technically and formally sophisticated work that is engaged with the contemporary art world. The MFA at the Academy requires students to learn traditional methods and techniques in the service of creating vital contemporary art. Potential Academy students align with the Academy's mission through observational skills and a balance of conceptual awareness and technical proficiency.
Students specialize in one of three concentrations, Drawing , Painting or Sculpture.
CERTIFICATE OF FINE ARTS (CFA) The New York Academy of Art Certificate of Fine Art (CFA) Program is a twelve-month, 36-credit studio sequence that provides students the opportunity to develop their personal vision and specialized skills within an active and inspiring fine arts school. The CFA program is designed for those seeking intensive instruction in painting, sculpture, and drawing and interested in engaging in the critical discourse of contemporary representational art.
Last updated on 2016-12-28
NYK Academy at Willow Avenue Atelier
Atelier Image NYK Academy at Willow Avenue Atelier Photograph Private collection
Judith Pond Kudlow, Director Email: judithpondkudlow.faso.com Website: http://www.judithpondkudlow.com 728 East 136th Street, 4th Floor - The Paperclip Bronx, New York 10454 United States of America Phone: (917) 492-1923 The NYK Academy was established in 2002 as the Harlem Studio of Art. In 2016, it moved to a larger space, at the Willow Avenue Atelier in the Port Morris section of the South Bronx.
It continues its commitment to bringing classical training in drawing and painting to the contemporary painter of all levels.
The drawing course is based on the Cours de Dessin developed by Charles Bargue in the 19th century. Students progress at their own pace through the curriculum, beginning with graphite copies of Bargue drawings, cast drawings in charcoal and drawing in both graphite and charcoal of live models.
Students prepare to begin painting by completing the color course, a series of exercises based on the Munsell color system. They complete a series of limited-palette still-lifes and paintings from the model. They then progress to larger, more complicated paintings utilizing a full palette. All paintings are based on careful drawings utilizing the sight-size method of measuring.
Students who have completed the painting program may apply for admittance to the Masters Program. They are given a small studio where they develop their own work under the supervision of Ms. Kudlow. They will also be guided in professional development covering all aspects of the business of art, including gallery representation.
Enrollment is available year-round. Students should contact Ms. Kudlow for an interview. Hours are flexible, but it is recommended that students attend at least 10 hours per week. The cost is $400 per month and may be paid monthly.
All instruction takes place in the atelier of Ms. Kudlow on the fourth floor of the historic Paperclip Building - part of the rapidly-growing artist community in the Port Morris section of the Bronx. It is very convenient by car to those living in Westchester with ample free parking. For those coming from Manhattan, it is just a 5-minute walk from the Cypress Avenue stop on the 6 train.
Studio is located 10 minutes from Miami International Airport.
Old Masters Atelier began as a place for those who love beauty and the great traditions of drawing and painting. Our program continues as a vibrant community where students acquire the foundational skills necessary to become artists. The grand masters of art knew the secret to enduring success depends on not only inspiration, but also disciplined application of vast artistic knowledge. Today it is commonly assumed that the aesthetic principles established by the masters inhibit the artist's uniqueness or self-expression. However, fluency with tools and technical training liberate the artist to fully realize his unique vision. Atelier training features an apprenticeship-like course of study in which students receive intensive mentoring from an artist over a period of years.
Old Masters Atelier is committed to giving the student a secure foundation of knowledge upon which the artist could lay the building blocks of his or her artistic future. In an atelier program the artist gives each student new information only as he or she is able to apply it and theory is always linked to practice. The results represent the focus, determination, and skill of students who have put in long hours, held themselves to the highest standards, and set aside every distraction in order to master the basics of artistic expression. By so doing, the students ensure that their future works will be limited only by their imaginations.
Old Masters Atelier offers instructed private classes, uninstructed open sessions with life models, and instructed workshops with artist from all over the world.
The Academy is open to all those who, regardless of age, nationality or background, want to acquire the skills needed to become accomplished at realist painting or drawing.
By enrolling in the Paris Academy of Art, you are following in those illustrious footsteps and continuing a rigorous, demanding, excellence-based artistic tradition. Just as in other artistic disciplines, drawing and painting require precise and rigorous training, guided by the best art masters. The Paris Academy of Art offers a focused, excellence-oriented environment that favours that training.
It also emphasises the professor-student relationship, helping the student make progress Under the best conditions. Class sizes at the Paris Academy of Art are small and each student is individually supervised.
By the end of their time at the Paris Academy of Art, students will have the necessary skills to work in fields as varied as cinema, animation, video games and illustration. They may also choose to work as freelance artists. Whatever their choice may be, the Paris Academy of Art will provide them with the tools they need to achieve their goal.
Our method is both gradual and intensive and follows the same method that was used in the nineteenth-century Parisian studios. It pushes students to surpass themselves, allowing them to acquire the confidence they need to have a career as a high-level artist.
It is underpinned by four foundations:
the teaching of the fundamentals of painting and drawing by relying on the masters of the Italian Renaissance;
individual supervision: each student benefits from personalised supervision, though observing and analysing the work of others is essential;
controlled progression: each step in the learning process, defined ahead of time with instructors, must be acquired before moving on to the next step;
drive and a desire to work: studies are full time (more than six hours per day five days a week), allowing students to develop the self-discipline which will be essential to their future professional lives.
BACHEL'ART (3 YEARS) CLASSICS DEPARTMENT
The Bachel'art is the flagship degree offered by the Paris Academy of Art. The degree is conferred after three years of study, including rigorous academic coursework and intensive studio experience. Students are guided in the cultivation of technical knowledge and the refinement of visual skills. A small student-faculty ratio ensures that students receive maximum attention and one-on-one instruction.
CLASS'ART (1 YEAR) FOUNDATIONAL PROGRAM
The Class'art is a one-year intensive program designed to provide a strong foundation in descriptive art for students who intend to pursue further studies in academic or professional art schools worldwide. The curriculum includes rigorous coursework and studio engagement.
Admission into the Class'Art program is highly competitive. In addition to a portfolio (from 3 to 10 pictures), applicants are asked to submit a one-page personal statement that reflects influences, interests and motivations for applying to the Paris Academy of Art.
Instruction is conducted in English, and students are expected to have a working knowledge of the language.
Every year, the school organises a series of practicums spread out over three seasons: spring, summer and autumn. Each season, an original programme is created and led by visiting lecturers, chosen for their talent.
Each programme is drawn up by Shane Wolf in cooperation with the director of the school.
June 26 - 30, 2017 TRAVIS SCHLAHT Quick portrait painting
July 3 - 7, 2017 SHANE WOLF The figure in action from the live model
July 17 - 28, 2017 CHARLOTTE BRUNHES / MAUDIE BRADY The portrait in sculpture
July 31 - August 4, 2017 TERESA OAXACA An expressive approach to portrait and figure drawing
August 7 - 11, 2017 SHANE WOLF The figure in oil, an academic approach
August 14 - 18, 2017 SHANE WOLF The figure in oil, alla prima
August 21 - 25, 2017 PATRICK BYRNES Fundamentals of portrait drawing
August 28 - September 1, 2017 PATRICK BYRNES Portrait painting: the Zorn palette
The instructors at the Paris Academy of Art are all graduates of the major international academies. They are all accomplished professionals who practice art in various fields. In addition to being long-time draughtsmen and painters, they have also been chosen due to their teaching abilities and because they work closely with students, both of which are essential to the teaching process.
Founder and director : François Supiot Academic advisor : Shane Wolf
Instructors: Patrick Byrnes Danny Ferland Jessica Artman Sara Longo
Born in 1976 in Cincinnati (USA), Shane Wolf studied at the Angel Academy of Art in Florence until 2009. After teaching there for two years, he then moved to Paris. ShaneWolf only works from live models, drawing upon his knowledge of human anatomy and his imagination. The international prizes and awards he has won include:
1st and 2nd prize for the Best Nude from the Art Renewal Center in New York (2013);
gold medal, Salon de l'Académie Européenne des Arts (2013);
medal from the Société des Artistes Français (2012) and from the Société Nationale des Beaux-Arts (2011);
the Taylor Prize for his show at the Grand Palais (2011);
finalist, America China Oil Painting Artists League (2010).
François Supiot DIRECTOR François Supiot is a graduate of the École Supérieure d'Arts Graphiques de Paris(ESAG/Penninghen). He worked as a freelance artistic director for twenty years, and also does illustrations for the press and for publishers. In 2014 he decided to return to drawing and, after having completed a course at the Barcelona Academy of Art and meeting Shane Wolf, he decided to bring the teaching of realist painting and drawing back to Paris, thus establishing the Paris Academy of Art.
Ravenswood Atelier was established in 2008 by two Florence Academy alumni and former instructors, Matthew and Magdalena Almy. The school offers a four-year apprenticeship program centered around the principles of academic training developed in the late 19th c., according to the teaching passed down to its founders in a direct master-to-student lineage dating back to the atelier of Jean-Léon Gérôme. Teachers paint alongside the students from the same model daily. The poses are set up not just for the purposes of academic study, they are also utilized in multi-figure, complex compositions by the instructors. Students are immersed in the process of developing a successful work of art from the start by observing experienced painters at work in their studio. With theory routinely reinforced by demonstration, the students glean valuable insight into the application of these teaching practices and leave prepared to enter the art world as professional painters.
The education begins with mastering drawing in graphite and charcoal and continues through painting in a series of systematic steps designed to maximize the handling of each medium as the students learn to interpret and translate three dimensional spaces beyond their own limitations. Equipped with tools and techniques to rapidly increase their proficiency and knowledge of the process, the students face each challenge well prepared. Continual learning is strongly encouraged even outside the school curriculum as intermediate level students are also tasked with copying old master works in oil to better prepare them for the assignments ahead. Graduates are expected to produce a multi-figure, narrative piece as their final project.
The training at the Ravenswood Atelier is fully comprehensive and suitable for beginner, intermediate and advanced students. The most important criterion of acceptance into the program is commitment to long-term study and a desire to excel. The instructors devote much of their time to the advancement of their students' skills and expect the same dedication in return. The ideal student is one who is willing and eager to fulfill his or her highest potential.
The goal and passion of this establishment is to facilitate a disciplined return to the established canons of beauty and to point the way back to the objective study of nature. The standard used to judge the students' progress is founded on the greatest examples of art in history. The instructors themselves strive to meet this high standard in their own work and encourage others to stay the course. Ravenswood Atelier's mission is training artists who might one day surpass the former masterworks in skill and execution and serve as examples for future generations to follow. Whether their contribution proves to be large or small, the philosophy of The Ravenswood Atelier is that the higher the bar is raised, the greater the distance traveled.
For further information related to the curriculum, faculty, schedule, tuition, as well as other details email the staff directly at firstname.lastname@example.org
Rob Gutteridge, Director and Instructor Email: email@example.com 49a Whitmore Square Adelaide, South Australia 5000 Australia Phone: 61 434965434 The Rob Gutteridge School of Classical Realism is a new school, created by Rob Gutteridge in 2016 in Adelaide, the capital city of the state of South Australia, Australia. It provides atelier training in realist art with a focus on painting and drawing the human figure. Rob Gutteridge has been an artist and teacher for more than 40 years. His school developed out of the growing need expressed by local aspiring realist artists and students, for traditional skill based classical training in painting and drawing.
At the Rob Gutteridge School of Classical Realism (RGCR), students are taught how to make accurate and beautiful realistic drawings and paintings. They learn the techniques, develop the skills, and acquire the knowledge of materials required to achieve the high technical standards associated with classical realism in drawing, painting and sculptural anatomy. The range and depth of the school's courses are coordinated in a purposeful study program, making it unique in Australia as a place to immerse oneself in a complete curriculum in classical realism.
Subjects include: Bargue drawing, sight-size and comparative drawing, cast drawing and painting, master copies, life drawing and painting, anatomy, oil painting materials and techniques, portrait, and still life.
The RGCR is an atelier style school, "atelier" being the French word for studio. It denotes both a location for learning, and a practice-led form of teaching.
Rob Gutteridge has designed an integrated curriculum of subjects and lessons based on the training methods of 19th Century French academies. Through a sequence of exercises, students move from simple to increasingly complex tasks. It is a methodical, thorough learning process. The emphasis is on teaching competency and proficiency in each task, before moving on to the next. In this teaching model, learning is an accumulative process. There is no rush or time limit to complete a Level or a Subject. Students proceed at their own pace. Quality is the only measure of success.
Rob Gutteridge uses the term "classical realism" in the school's name as a way of connecting two opposing philosophies of art that are at the core of academic training: the idealisation of classicism and the factual nature of realism. It corresponds to the conceptual and perceptual basis of RGCR training methods, as well as the tenets of art history they are linked to.
Rob Gutteridge's visual investigation of the human figure, through drawing, painting, and sculptural anatomy places the figure at the heart of his school. The overall educational aim is to fully equip and enable students to make realistic drawings and paintings to the highest standard. For this to happen, students need depth and breadth in their education. At the RGCR, the accumulative, step-by-step teaching model provides depth, and the range of twenty subjects provides breadth. All this takes dedication and time to achieve.
Teaching certain subjects requires specialist knowledge - artistic anatomy, and écorché (anatomical sculpture of a flayed figure) for example. Both are taught at the RGCR. In Australia, training in artistic anatomy has been hard to come by, and teaching écorché became extinct. Rob Gutteridge is self-taught in both fields, reviving a studio practice dating back to the Renaissance and before. A student with anatomical knowledge brings understanding to their perception of the human figure. Consequently their drawings and paintings are enriched and improved. Implicit in this is the idea, confirmed by neuroscience, that knowledge alters perception.
RGCR is unique in Australia for a number of reasons. It offers:
A comprehensive, coherent, sequenced educational programme in classical realism, designed to organise student learning from the simple to the complex. This facilitates a logical, easy transition from novice, to intermediate, to advanced levels of learning and professional practice.
The human figure is the central theme and motif around which subjects are organised and taught.
Flexible tuition based on year round enrolment on a monthly basis (no terms or semesters).
In-depth, comprehensive course in classical écorché (anatomical sculpture of a flayed figure).
A comprehensive 4-subject program in human anatomy for artists combining perceptual drawing, conceptual drawing, and sculptural anatomy (écorché).
Analytic figure drawing: constructive, conceptual figure drawing of form and structure exploring the architecture of the figure.
An aspiration in the current inception phase of the atelier: the Director's Mentorship - at the completion of the entire program, and at the discretion of the Director, a student will be invited to work alongside the Director to be mentored by him for 1 year. The mentorship is full time, and tuition is free.
From September 2016 Russian Academy of Art under collaboration with LABA Firenze launches a new double degree program. Upon successful completion of three-year program, the student receives double degree: Private Academy Diploma in Painting and Drawing and Bachelor Degree in Visual Arts, recognized by the State.
Upon successful completion of two-year Master program, the student receives: Private Academy Diploma in Painting and Drawing and Master Degree in Visual Arts, recognized by the State.
Enrollment is already open, and the students who apply before 1st of May 2016 are eligible to apply for a scholarship.
Classes are taught both in English and Italian. In the first year of studies, there is an obligatory intensive Italian language course.
Starting from year 2015 Russian Academy of Art offers different accommodation options for our students at the student dorm, based at the main campus of the Academy.
The mission of the Russian Academy of Art is to teach the fundamental principles, methods and techniques of classical art diligently transmitted over the centuries since the Italian Renaissance. Our academic program provides thorough training in anatomy, composition, chromatics, perspective, painting, constructive drawing and study of the works of the Old Masters. With this solid framework, students will be able to go on to develop their own individual styles and methods of creative expression ("New Masters").
The Russian Academy of Art is right in the center of Florence, Italy, only 2 minutes away from its famous Duomo. The city is a rich, stimulating environment for the study of art - you can be in direct contact with the original works of masters such as Michelangelo, Leonardo da Vinci and Botticelli who emerged, lived and worked in Florence. The Galleria degli Uffizi, Palazzo Pitti and several other museums feature among the most prominent art collections in the world. In addition to aesthetic and technical excellence, we encourage our students to grasp the vital importance of the spiritual, humanist and Christian values that motivated and inspired the great Masters.
Our instructors are highly qualified: they were all trained in art academies in Russia and have vast experience in the arts. The classes are held in both Russian and English.
Curriculum Students start painting and drawing right from the very start of the first year, beginning with basic geometric shapes (from life) and building up to casts, portraits and full body images by the end of the third year.
Our Russian Academy Master teachers supervise both the painting in the morning (10am-1pm) and the drawing session in the afternoon (2pm-5pm) each day. Accompanied by English and Italian-speaking interpreters, they explain and demonstrate their methods to each student by picking up their pencil or paintbrush and helping with their picture, because we believe that watching a master at work is one of the cornerstones of academy study.
A full day each week is devoted to Composition, which means creating and designing a full oil painting starting from an idea. Students work on term-long projects, going from initial abstract spot designs, through architecture, character and oil colour studies, before eventually producing a full-size drawing which can then be used as a basis for an oil painting.
Twice each academic year (6 weeks total), our anatomy professor Aleksey Bakhtin gives lectures and practical tasks for our intensive anatomy program which is part of the full-time course for all students. The course will teach you to understand the human body in a conceptual form and in such a way that you will be able to use the knowledge when working with a live model.
Faculty All our professors are graduates from the prestigious Repin Institute of Painting, Sculpture and Architecture in St Petersburg, Russia. You will be seen at least twice a day by a professor, once in the morning painting session and once in the afternoon drawing session.
Class hours are for a total of 35 hours each week (10am - 5pm); studios are open from 9am to 8pm for students.
The academy also runs workshops and evening courses, which are available to the public (and to full-time students half-price). We cover portrait, costumed portrait with hands, human figure, plein-air painting, watercolour, constructive drawing and more - see the following links for details and prices:
How we see our Academic Methods A short explanation of how we think about drawing, succinctly put in the following interview between Dinotopia artist James Gurney and our professor Sergey Chubirko.
Gurney: Do you draw what you see or what you know?
Chubirko: I try not to copy unconsciously what I see. The most important point about the model for me is that the model must be inspirational; it must provoke my imagination for the creation of an image.
That is why I never start drawing before I see clearly the image which I would like to show, through the model. Knowledge of anatomy and the laws of form are certainly necessary as they help me to work independently and to render my thoughts freely and quickly.
Such knowledge must be automatic so that it does not distract, does not bound the imagination and, at the same time, introduces independence to the hand. This is the automatic skill that provides an artist with freedom and fluency when he works. An artist should only care about "what" to express not about "how" to do it.
Gurney: How does the knowledge of anatomy shape the way you interpret what you see?
Chubirko: For academic drawing, knowledge of anatomy and the rules of the form need profound study at the initial stages of art education. Such knowledge should not be ignored as, for instance, knowledge of the alphabet cannot be ignored when one wants to learn to read and write. When we learn to read and to write we start with ABC, after that we put letters into syllables; later we learn how to compose simple sentences, then finally - complex sentences. And, as soon as we have learnt to express ourselves freely in complex sentences, we do not need to go back to the alphabet again. We do not think about letters any longer because they are just tools for a very creative process of reading and writing; for expressing our thoughts and feelings.
The same goes for drawing. Knowledge of anatomy and the laws of form is just a tool necessary for the creation of artistic imaginative works without limits.
Gurney: What do you change when you draw?
Chubirko: Selection in drawing is very important and this is the artist who selects what to show and what not to. Any model always has in itself the essential and the supplementary, secondary things.
The aim of the artist is to see what is really important and to emphasize it. The author's selection in this case should be convincing for the viewer. That is why when I am drawing from life, my personal vision as well as the image I would like to create is much more important than the model itself. Every model has its particular features, which, in fact, define the artist's choice of primary and secondary points.
Also, Russian Academy of Art offers variety of summer Plein-air courses from June through September. The applicants are welcome to join for periods of two weeks up till one month for each given course. For more information, please contact our secretary office:
Sadie Valeri Email: firstname.lastname@example.org Website: http://www.sadievaleriatelier.com/ 1045 17th Street, Suite 201 San Francisco, CA 94107 United States of America Sadie Valeri Atelier offers art classes in traditional realistic painting and drawing techniques, both Online and at their beautiful San Francisco studio.
Through Sadie's experience introducing hundreds of students of all levels to Classical Academic methods, she has developed a powerful and effective curriculum for bringing the benefits of historic art training into the hands of today's artists.
Along with a select group of guest instructors, invited for their skills both as artists and teachers, the Atelier offers artists the opportunity to reach their highest artistic goals.
The Atelier offers the opportunity for both Part Time and Full Time study, including a discounted-tuition scholarship program. Workshops with nationally known guest artists, and short term, full time Intensives for students who want an immersive experience are also offered at the atelier.