Art Can't Be Taught?
By Mandy Theis Hallenius
(President and Cofounder of the Da Vinci Initiative)
The contemporary Modern Art movement in America advocates a single approach for educating artists. Pillars of Modern Art theory, such as the belief that real artists can only be made through their ideas, and that the confines of training will inhibit the journey to true artistic enlightenment, are frequently advocated in art education as unbendable truths. The painter Jean Dubuffet articulates the Modern Art philosophy when he writes, “…I hold to be useless [conventional] kinds of acquired skill, and those gifts, whose sole effect seems to me to be that of extinguishing all spontaneity, switching off the power and condemning the work to inefficacy.” (Ashton, pg. 123).
The Austrian stone sculptor, Fritz Wotruba, goes so far as to warn all artists, “In technique lurks death.” (pg. 110). Some Modern Art extremists label supporters of traditional techniques as socialists, as the Expressionist artist Pierre Alechninsky did when he wrote, “fighting … Social Realism on the left kept me pretty busy...” (Ashton, 11).
The unquestioned acceptance of these ideas prevents educators from teaching specific concepts out of concern of ruining budding artists. Issues with teaching a Modern-Art-only curriculum, however, reach deeper than reluctance among pedagogues. This approach to education also inhibits the active, targeted teaching of art in favor of a passive approach, as it is perceived that teaching a specific objective will interfere with the creative potential of pupils. Also, it creates a system in which educational goals are vague and students often have little understanding of what it is they are supposed to learn.
These theories also deprive art educators in the K-12 system of much-needed educational tools, especially well-rounded textbooks and meaningful assessments. In addition to these problems, the Modern Art Movement accepts almost everything as art, which allows many non-art subjects to supplant the art curriculum in the K-12 public school system. The adoption of Modern Art ideologies has also deprived teachers themselves of well-rounded art educations to use in their own pedagogical practices. Finally, these ideologies have created a lack of understanding among art teachers of what technical skills students can learn, and at what developmental stage pupils can learn them.
Advocates of the Modern Art system of teaching-by-not-teaching include professors at prestigious art schools, such as Michael Asher at CalArts. Asher is famous for his teaching philosophy, which asserts that “…students do all the talking while instructors bear witness” (Thornton, p. 46). His theory is that the instructor’s role in the school is not to interfere with whatever it is the students are doing: and that the students, who by definition lack knowledge, should teach each other.
Although this methodology of teaching-by-not-teaching is used by most art professors today, it has an increasing number of influential critics. One is James Eakins, a respected art historian who works in the strongly Modern-Art-learning Art Institute of Chicago. Eakins believes that the trend of Modern-Art-influenced teachers has nearly ended the teaching of the majority of classical art techniques that were traditionally passed from generation to generation. In fact, he describes these nearly-lost techniques, that until recently were a staple of art education, as endangered species. He states that “…there is no reason why ‘endangered’ media can’t be revived. It’s just that they are not usually taught, so they count as things that cannot be learned in studio art classes. With the giddy growth of new media, it might seem that [they] are obscure or trivial. On the contrary: they were the central techniques of centuries of art production. In that respect, it’s contemporary practice that’s impoverished, not older practice” (p. 74).
Though Modern Art pedagogy was invented as recently as the 20th century, it is nearly universally adopted by art teachers today, many of whom teach these principles exclusively. This narrow approach of teaching-by-not-teaching negatively affects the education of art students by depriving them of an active source of artistic training. The Modern Art idea of treating every child as an individual on a mission of self-discovery with minimal guidance also creates boredom, frustration, and confusion for both pupils and educators. If nothing a child does can be wrong in the art classroom, and no clear objectives are presented for what the child should learn from a day’s lesson, then it becomes impossible to measure how and what the pupil is actually learning. The faults of this approach go against many established principles of pedagogy commonly used in other subjects.
The absence of these established principles in the art classroom, such as standards-based learning and active assessment, can best be noticed when compared to other subjects. For example, a music teacher would never give a child a trumpet and for the next several years tell him that nothing he does with that trumpet is incorrect while simultaneously refusing to teach him how to play notes. The child would inevitably become bored by his lack of progress in music, and by his complete inability to create what initially drew him to music. The boredom, misunderstanding, and confusion in art education is in large part due to the exclusive application of Modern Art theories.
The Modern Art approach to education also dominates many contemporary mainstream textbooks, which are an important tool used by art educators. In these textbooks, trendy modern art subjects are covered in depth, while classical principles such as armatures of rectangles, have been ignored for so long they have become completely forgotten by many authors. Look carefully through the Art Connections series, or the Art and the Human Experience textbooks and a plethora of lesson plans emphasizing balance, symbolism, shape, rhythm, and pattern can be viewed. These topics are the most instrumental tools of the Modern Art movement according to many Modern Art practitioners. In fact, Gunther Uecker uses many of these concepts when describing his own work.“ At first I use strictly arranged rhythms, mathematical sequences, but these dissolved into a free rhythm… I decided on a white zone, as it is the extreme of colorfulness, the climax of light, triumph over darkness.”
Although these textbooks include some art history lessons that cover art prior to the advent of Modern Art, they teach few skills needed by students in order to achieve a similar result. The lesson plans that do reference pre-Modern Art are heavily Modern-Art-derived. They focus on shapes and colors, and offer little in the way of technical skills. Modern Art plays a very influential role in the way techniques and ideas are selected for art education textbooks, which in turn dictates the way art is disseminated within K-12 classrooms. Due to the Modern Art belief that less technical training (and especially no classical training) makes purer artists, contemporary art textbooks are skewed heavily towards a Modern-Art-style lessons at the expense of more balanced educational approaches.
Another important tool, assessment, is also not applied by educators who believe in a Modern–Art style of pedagogy because this methodology specifically prohibits making value judgments about art. Art teachers have been taught through their K-12 education and then at college not to judge art. If someone protested that a black dot on a canvas for example, were not art, she would be condemned as ignorant by Modern Art advocates. This mentality has created a fear of making any judgments towards any art, and therefore many art teachers have forfeited the ability to be discerning when it comes to art created by their students. If all art is equally valid, how can teachers possibly make meaningful assessments of student work? Many choose instead to grade art students on superficial factors such as participation or classroom cleanup. Neither of these teaches art to students, and therefore many teachers who grade in this way have come to the conclusion that art can’t be taught. Teachers have effectively inhibited themselves from teaching art by refusing to evaluate art.
When art educators accept the Modern Art idea that art is anything and everything an individual wants it to be, they enable the definition of art to become so broad that it invites other subjects to besiege art curricula. Frequently these additions to art curricula include “everything else” that the government/ school board/ principal decides should be taught but doesn’t want to fit in elsewhere. In the K-8 school where I recently taught, for example, measuring, greenhouse, and Native American studies are all squeezed into the art class, and all must be taught in just one period per week per class. Because art teachers have allowed the definition of art to become so broad, we can no longer defend art as an independent and legitimate subject. The strongest defense art educators in this Modern Art system have left to them is that exposure to art improves student performance in other subjects.
Another major reason why many art teachers are so invested in promoting Modern Art pedagogy is that an overwhelming majority of them do not know how to teach technical skills. This is often true because their teachers didn’t know how to teach those skills. And nor did their teachers’ teachers. An overwhelming majority of art teachers today are a product of this Modern Art system that has eliminated technical training in favor of so-called “pure” ideas. Because art teachers have never been taught these under-appreciated skills, many do not believe the skills are teachable. This problem of technically-untrained art teachers is a direct result of the nearly universal application of Modern Art theories throughout the last century.
Of all the reasons for the belief that “art can’t be taught,” perhaps the most obvious is that few teachers really seem to know what technical skills students are capable of learning in art, and at what age they are able to learn them. This lack of understanding becomes very apparent when art skill sets are taught outside the art curriculum. Skill sets that cover art topics in The Creative Curriculum for Preschool compare very oddly to those indicated in art education textbooks. In The Creative Curriculum for Preschool, there is an entire column devoted to assessing random scribbles, controlled scribbles, and circle scribbles. Preschoolers are expected to know shapes, including triangles, circles, squares, rectangles, ovals, and diamonds. They are expected to draw people with faces and arms and bodies that stand on a baseline and show two dimensions. Preschoolers can do all this, yet similar lessons are presented to many grade levels in the K-12 art textbooks.
Considering shapes, for example, the third grade Art Connections textbook introduces square, triangle, circle, rectangle, and freeform shapes, and suggests that students practice tracing shapes with their fingers. The fourth grade Art Connections textbook also covers most of these same shapes (the freeform shape is excluded for unknown reasons) even though the same textbook series already covered the material in third grade (p. 68). The fifth grade Art Connections textbook covers the same material yet again (p. 88). And yet, according to preschool experts, these shapes are fully recognizable to the average child at the age of three or four. This lack of understanding of developmental artistic skill sets is due largely to the fact that Modern Art theorists value neither technical ability nor assessment, and therefore choose not to study how children learn art.
The Art Connections curriculum is not alone in underestimating children’s technical abilities. Page 5 of A Handbook of Arts and Crafts states, “In such areas (as perspective and lettering), dexterity can be judged, but one can rarely expect great displays of comprehension and coordination in the lower grades.” This passage asserts that younger students are not capable of understanding calligraphy. Yet handwriting, a subject regularly taught in Kindergarten, is by definition a form of calligraphy. In fact, all areas of art can be effectively assessed when certain principles of Modern Art theory are rejected, which will then allow a true understanding of students’ technical abilities to emerge.
Modern Art ideas have a place in many art curricula, but should not be taught exclusively. Art teachers have a professional obligation to their students to provide them with a balanced education and a complete art curriculum from which to learn. With multiple tools and approaches, professionals can expand art education beyond its current boundaries and lift students to even higher levels of artistic understanding.
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Not having any paywalls or charging for products gives me a global advantage over others teaching the art of composition. I can reach thousands of artists and photographers worldwide without asking them to open their wallets.
I'm not influenced by trends in marketing, I don't shape the content of my articles and videos to sell products, and I make no money on the books or videos I promote. I only have one interest in mind. Learning as much as I can about art and design and sharing that knowledge with those that visit my website. All for free.
Ever since I got my first camera in 1982, I have been passionate about taking better photographs. Spending all of my teenage years in my father's darkroom taught me a lot. I learned all of Ansel Adams' techniques on the zone system and swiftly moved into street photography from there.
I was heavily influenced by photographers like Henri Cartier-Bresson and Elliott Erwitt. And like many other amateur photographers, I wanted to learn how to shoot like the "masters." But unfortunately, sometimes our passion is limited by our lack of knowledge and experience. In other words, I kept hitting a wall with my progress regardless of how many photobooks I purchased or how many hours I spent shooting. What was missing in all of my images? One thing. My understanding of design.
Unfortunately, throughout most of my photographic journey, there has been very little written on the topic of composition. In fact, when I say "very little," I mean almost nothing. And sure, you could argue the fact that you can jump on any photography website and find a few cherry-picked concepts like the rule of thirds and the golden section. But this isn't enough. Not even close.
One day, in an intense effort to research information on composition, I stumbled upon the Barnstone Studios DVDs. To say I was excited would be an understatement. I immediately purchased the ten disc set and watched them for over a decade. That's where my true journey began.
From that point on, I have spent all my free time researching the art of composition. No easy task. Was this an obsession of mine? Sure, I would never argue that fact. But with everything in life, there are always unseen benefits when you set out to do something to improve yourself or your craft.
After spending many years studying design, I realized that other artists could benefit from the information I have discovered. In truth, my website The Art of Composition is a reflection of my passion and desire to learn. For those that have taken the time to visit my website, I want to thank you for stopping by. But more than that, I hope that you find the free books and videos beneficial and worth your time.
If you like this website and the information I provide, please feel free to make a donation. Any amount will help. With inflation on the rise, and the price of everything going up, it's getting more difficult to keep this website alive. With your generous help, you can keep my research moving forward and allow me to help you, the dedicated artist and photographer.
This website relies solely on donations for support.
Not having any paywalls or charging for products gives me a global advantage over others teaching the art of composition. I can reach thousands of artists and photographers worldwide without asking them to open their wallets.
I'm not influenced by trends in marketing, I don't shape the content of my articles and videos to sell products, and I make no money on the books or videos I promote. I only have one interest in mind. Learning as much as I can about art and design and sharing that knowledge with those that visit my website. All for free.
Ever since I got my first camera in 1982, I have been passionate about taking better photographs. Spending all of my teenage years in my father's darkroom taught me a lot. I learned all of Ansel Adams' techniques on the zone system and swiftly moved into street photography from there.
I was heavily influenced by photographers like Henri Cartier-Bresson and Elliott Erwitt. And like many other amateur photographers, I wanted to learn how to shoot like the "masters." But unfortunately, sometimes our passion is limited by our lack of knowledge and experience. In other words, I kept hitting a wall with my progress regardless of how many photobooks I purchased or how many hours I spent shooting. What was missing in all of my images? One thing. My understanding of design.
Unfortunately, throughout most of my photographic journey, there has been very little written on the topic of composition. In fact, when I say "very little," I mean almost nothing. And sure, you could argue the fact that you can jump on any photography website and find a few cherry-picked concepts like the rule of thirds and the golden section. But this isn't enough. Not even close.
One day, in an intense effort to research information on composition, I stumbled upon the Barnstone Studios DVDs. To say I was excited would be an understatement. I immediately purchased the ten disc set and watched them for over a decade. That's where my true journey began.
From that point on, I have spent all my free time researching the art of composition. No easy task. Was this an obsession of mine? Sure, I would never argue that fact. But with everything in life, there are always unseen benefits when you set out to do something to improve yourself or your craft.
After spending many years studying design, I realized that other artists could benefit from the information I have discovered. In truth, my website The Art of Composition is a reflection of my passion and desire to learn. For those that have taken the time to visit my website, I want to thank you for stopping by. But more than that, I hope that you find the free books and videos beneficial and worth your time.
If you like this website and the information I provide, please feel free to make a donation. Any amount will help. With inflation on the rise, and the price of everything going up, it's getting more difficult to keep this website alive. With your generous help, you can keep my research moving forward and allow me to help you, the dedicated artist and photographer.
This website relies solely on donations for support.
The Art of Composition
A Simple Approach for Creating Masterful Designs
The Art of Composition: A Simple Approach for Creating Masterful Designs evolved from my personal and professional experience as a photographer, master level darkroom technician, and graphic designer. After years of applying the same "popular" rules of composition to my images and designs, I reached a point in my artistic career where I was no longer able to improve my portfolio regardless of how much time and money I invested in photography workshops, photography books, and high-end camera equipment.
Realizing I was getting nowhere with the Rule of Thirds, the Rule of Odds, the Rule of Space, and Leading Lines, I began an intensive search for any information I could find on real design principles. I read every art and design book I could get my hands on and spent endless days and nights analyzing over five thousand works of art. The Art of Composition: A Simple Approach for Creating Masterful Designs is a series of personal analytical notes that reflect this ten-year study.
By sharing this collection of analytical notes with other artists and photographers, I hope to save them years of frustration and wasted time as well as put them on the most productive path for improving their lifetime body of work. While other books written on composition tend to focus on incorporating complex design methods using overlapped Dynamic Symmetry root rectangles, this user’s guide takes a one grid approach to teaching that will make it easier for the artist and photographer to learn the art of composition at the quickest rate possible.
A Simple Approach for Creating Masterful Designs
The Art of Composition: A Simple Approach for Creating Masterful Designs evolved from my personal and professional experience as a photographer, master level darkroom technician, and graphic designer. After years of applying the same "popular" rules of composition to my images and designs, I reached a point in my artistic career where I was no longer able to improve my portfolio regardless of how much time and money I invested in photography workshops, photography books, and high-end camera equipment.
Realizing I was getting nowhere with the Rule of Thirds, the Rule of Odds, the Rule of Space, and Leading Lines, I began an intensive search for any information I could find on real design principles. I read every art and design book I could get my hands on and spent endless days and nights analyzing over five thousand works of art. The Art of Composition: A Simple Approach for Creating Masterful Designs is a series of personal analytical notes that reflect this ten-year study.
By sharing this collection of analytical notes with other artists and photographers, I hope to save them years of frustration and wasted time as well as put them on the most productive path for improving their lifetime body of work. While other books written on composition tend to focus on incorporating complex design methods using overlapped Dynamic Symmetry root rectangles, this user’s guide takes a one grid approach to teaching that will make it easier for the artist and photographer to learn the art of composition at the quickest rate possible.
Recently Updated (02/05/2022)
Additional Recommendation
Thomas Kegler PDF on the Rule of Thirds/Harmonic Armature
Thomas Kegler PDF on the Rule of Thirds/Harmonic Armature
Dynamic Symmetry and Harmonic Armature Grids
(211 Pack)
(211 Pack)
THE ATELIER APPROACH TO ART EDUCATION
THE ATELIER APPROACH TO ART EDUCATION HAS ITS ROOTS IN THE GUILDS OF THE EARLY RENAISSANCE. FOR MORE THAN FIVE HUNDRED YEARS, MASTER ARTISTS TRANSMITTED A SYSTEM OF KNOWLEDGE TO THEIR STUDENTS. THIS TRADITION REACHED ITS ZENITH IN THE SECOND HALF OF THE NINETEENTH CENTURY, WHEN ATELIERS PREPARED THOUSANDS OF ACCOMPLISHED ARTISTS TO PAINT IN DOZENS OF DIFFERENT STYLES ON COUNTLESS SUBJECTS. SKILL-BASED TEACHING IN THE NINETEENTH CENTURY WAS CENTERED ON OBSERVATION OF NATURE, SOUND ARTISTIC PRINCIPLES, AND UNIVERSAL THEMES. ASPIRING ARTISTS OBTAINED THE TECHNICAL ABILITY, PERSONAL COMMITMENT, AND PHILOSOPHICAL VIEWS NEEDED TO CREATE GREAT ART. THE IMPACT OF ENLIGHTENMENT THINKING, WITH ITS RESPECT FOR HUMAN RIGHTS AND EQUALITY BEFORE THE LAW, ALLOWED ART TO EXPOSE THE EVILS OF SLAVERY AND CHILD LABOR AS WELL AS TO PROMOTE WOMEN’S RIGHTS AND OTHER SOCIAL ISSUES. THIS NEW DEMOCRATIC WAY OF THINKING, IN CONJUNCTION WITH UNPARALLELED CLASSICAL TRAINING, IGNITED THE GREATEST PERIOD OF CREATIVITY THAT THE FINE ARTS HAD EVER SEEN.
WITH A SHIFT IN THE AESTHETICS OF ART-WORLD POLITICS, AFFECTED IN PART BY THE HORRORS OF WORLD WAR I AND WORLD WAR II, CYNICISM, NOVELTY, SHOCK, AND REBELLION BECAME THE FASHIONABLE STAPLES OF ART IN THE EARLY TWENTIETH CENTURY. ART THAT COULD BE PRODUCED RAPIDLY AND YET BE CONSIDERED VALUABLE BECAME A DREAM COME TRUE. MODERN ART, ALTHOUGH IT MAY HAVE HAD CLAIM TO A FEW ARTISTS WITH A SINCERE DESIRE TO EXPERIMENT AND REBEL, SOON BECAME LOST, FOR WITHOUT STANDARDS OR ANY NEED TO COMMUNICATE THROUGH UNIVERSAL THEMES, IT WAS EASILY CONTROLLED BY THOSE WHO STOOD TO MAKE VAST FORTUNES FROM THIS “NEW” QUICKLY MADE ART. ART BECAME “ART ABOUT ART” NOT ART ABOUT LIFE.
AGAINST ALL ODDS AND FACING RIDICULE, A HANDFUL OF ARTISTS WHO WERE STILL ACADEMICALLY TRAINED MANAGED TO PRESERVE THE CORE TECHNICAL KNOWLEDGE OF WESTERN ART AND TO CONTINUE THE PROCESS OF TEACHING ANOTHER GENERATION. THERE IS NOW A GROWING MOVEMENT OF ARTISTS DEMANDING TO BE TAUGHT THE CLASSICAL METHODS. THEY ARE PART OF A NEW RENAISSANCE THAT HAS BROUGHT THE ATELIER METHOD FULL CIRCLE AND BACK INTO THE ART WORLD OF TODAY. IN THE ATELIERS OF THE TWENTY-FIRST CENTURY, ARTISTS HAVE ONCE AGAIN LIT THE TORCH OF INSPIRATION WITH THE DESIRE TO REUNITE THE POWERS OF MASTERLY PAINTING AND HUMANISTIC SUBJECT MATTER. AS LONG AS HUMANITY IS PERMITTED TO COMPARE AND DECIDE FOR ITSELF WHAT CONSTITUTES ART, TRUTH, BEAUTY, AND A COMMITMENT TO EXCELLENCE WILL PREVAIL.
FRED ROSS
CHAIRMAN, ART RENEWAL CENTER
FROM THE BOOK CLASSICAL PAINTING ATELIER - JULIETTE ARISTIDES
(The painting above demonstrates the use of the 14 line armature)
THE ATELIER APPROACH TO ART EDUCATION HAS ITS ROOTS IN THE GUILDS OF THE EARLY RENAISSANCE. FOR MORE THAN FIVE HUNDRED YEARS, MASTER ARTISTS TRANSMITTED A SYSTEM OF KNOWLEDGE TO THEIR STUDENTS. THIS TRADITION REACHED ITS ZENITH IN THE SECOND HALF OF THE NINETEENTH CENTURY, WHEN ATELIERS PREPARED THOUSANDS OF ACCOMPLISHED ARTISTS TO PAINT IN DOZENS OF DIFFERENT STYLES ON COUNTLESS SUBJECTS. SKILL-BASED TEACHING IN THE NINETEENTH CENTURY WAS CENTERED ON OBSERVATION OF NATURE, SOUND ARTISTIC PRINCIPLES, AND UNIVERSAL THEMES. ASPIRING ARTISTS OBTAINED THE TECHNICAL ABILITY, PERSONAL COMMITMENT, AND PHILOSOPHICAL VIEWS NEEDED TO CREATE GREAT ART. THE IMPACT OF ENLIGHTENMENT THINKING, WITH ITS RESPECT FOR HUMAN RIGHTS AND EQUALITY BEFORE THE LAW, ALLOWED ART TO EXPOSE THE EVILS OF SLAVERY AND CHILD LABOR AS WELL AS TO PROMOTE WOMEN’S RIGHTS AND OTHER SOCIAL ISSUES. THIS NEW DEMOCRATIC WAY OF THINKING, IN CONJUNCTION WITH UNPARALLELED CLASSICAL TRAINING, IGNITED THE GREATEST PERIOD OF CREATIVITY THAT THE FINE ARTS HAD EVER SEEN.
WITH A SHIFT IN THE AESTHETICS OF ART-WORLD POLITICS, AFFECTED IN PART BY THE HORRORS OF WORLD WAR I AND WORLD WAR II, CYNICISM, NOVELTY, SHOCK, AND REBELLION BECAME THE FASHIONABLE STAPLES OF ART IN THE EARLY TWENTIETH CENTURY. ART THAT COULD BE PRODUCED RAPIDLY AND YET BE CONSIDERED VALUABLE BECAME A DREAM COME TRUE. MODERN ART, ALTHOUGH IT MAY HAVE HAD CLAIM TO A FEW ARTISTS WITH A SINCERE DESIRE TO EXPERIMENT AND REBEL, SOON BECAME LOST, FOR WITHOUT STANDARDS OR ANY NEED TO COMMUNICATE THROUGH UNIVERSAL THEMES, IT WAS EASILY CONTROLLED BY THOSE WHO STOOD TO MAKE VAST FORTUNES FROM THIS “NEW” QUICKLY MADE ART. ART BECAME “ART ABOUT ART” NOT ART ABOUT LIFE.
AGAINST ALL ODDS AND FACING RIDICULE, A HANDFUL OF ARTISTS WHO WERE STILL ACADEMICALLY TRAINED MANAGED TO PRESERVE THE CORE TECHNICAL KNOWLEDGE OF WESTERN ART AND TO CONTINUE THE PROCESS OF TEACHING ANOTHER GENERATION. THERE IS NOW A GROWING MOVEMENT OF ARTISTS DEMANDING TO BE TAUGHT THE CLASSICAL METHODS. THEY ARE PART OF A NEW RENAISSANCE THAT HAS BROUGHT THE ATELIER METHOD FULL CIRCLE AND BACK INTO THE ART WORLD OF TODAY. IN THE ATELIERS OF THE TWENTY-FIRST CENTURY, ARTISTS HAVE ONCE AGAIN LIT THE TORCH OF INSPIRATION WITH THE DESIRE TO REUNITE THE POWERS OF MASTERLY PAINTING AND HUMANISTIC SUBJECT MATTER. AS LONG AS HUMANITY IS PERMITTED TO COMPARE AND DECIDE FOR ITSELF WHAT CONSTITUTES ART, TRUTH, BEAUTY, AND A COMMITMENT TO EXCELLENCE WILL PREVAIL.
FRED ROSS
CHAIRMAN, ART RENEWAL CENTER
FROM THE BOOK CLASSICAL PAINTING ATELIER - JULIETTE ARISTIDES
(The painting above demonstrates the use of the 14 line armature)
Books Available on Classical Skill Based Art Techniques
All of the books listed below I own and highly recommend. They are the best books available when it comes to learning classical skill-based art information that is easy to understand. If you have any questions about any of these books, please feel free to drop me an email.
All of the books listed below I own and highly recommend. They are the best books available when it comes to learning classical skill-based art information that is easy to understand. If you have any questions about any of these books, please feel free to drop me an email.
Are you tired of overly complicated books on Dynamic Symmetry? Do you want to learn the basics of design in days, not years? The Art of Composition: A Simple Application of Dynamic Symmetry by Michel Jacobs is the perfect book for those artists and photographers that want to learn more about the art of composition and improve their visual literacy skills.
A Simple Application of Dynamic Symmetry Video Lectures Series
10 Videos Now Available!
10 Videos Now Available!
Written by a well-known artist and best-selling art-instruction author with almost rock-star popularity in the contemporary world of representational art, Beginning Drawing Atelier, with its unique workbook/sketchbook approach, and high-quality paper, offers a comprehensive and contemporary twist on traditional Atelier art instruction practices.
Atelier education is centered on the belief that working in a studio, not sitting in the lecture hall, is the best place to learn about art. Every artist needs to learn basic drawing skills.
In this elegant and inspiring workbook, master contemporary artist and best selling author Juliette Aristides breaks down the drawing process into small, manageable lessons; presents them progressively; introduces time-tested principles and techniques in the Atelier tradition that are easily accessible; and shares the language and context necessary to understand the artistic process and create superior, well-crafted drawings. What makes this approach unique is the fact that it includes blank pages for copying and practicing within each lesson, facilitating traditional Atelier methods.
Ateliers have produced the greatest artists of all time--and now that educational model is experiencing a renaissance. These studios, in a return to classical art training, are based on the nineteenth-century model of teaching artists by pairing them with a master artist over a period of years. Students begin by copying masterworks, then gradually progress to painting as their skills develop. Beginning Drawing Atelier is like having an atelier in a book--and the master is Juliette Aristides, a classically trained artist. On every page, Aristides uses the works of Old Masters and today's most respected realist artists to demonstrate and teach the principles of realist drawing and painting, taking students step by step through the learning curve yet allowing them to work at their own pace. Unique and inspiring, the approach in this new book offers serious art courses for serious art students.
Atelier education is centered on the belief that working in a studio, not sitting in the lecture hall, is the best place to learn about art. Every artist needs to learn basic drawing skills.
In this elegant and inspiring workbook, master contemporary artist and best selling author Juliette Aristides breaks down the drawing process into small, manageable lessons; presents them progressively; introduces time-tested principles and techniques in the Atelier tradition that are easily accessible; and shares the language and context necessary to understand the artistic process and create superior, well-crafted drawings. What makes this approach unique is the fact that it includes blank pages for copying and practicing within each lesson, facilitating traditional Atelier methods.
Ateliers have produced the greatest artists of all time--and now that educational model is experiencing a renaissance. These studios, in a return to classical art training, are based on the nineteenth-century model of teaching artists by pairing them with a master artist over a period of years. Students begin by copying masterworks, then gradually progress to painting as their skills develop. Beginning Drawing Atelier is like having an atelier in a book--and the master is Juliette Aristides, a classically trained artist. On every page, Aristides uses the works of Old Masters and today's most respected realist artists to demonstrate and teach the principles of realist drawing and painting, taking students step by step through the learning curve yet allowing them to work at their own pace. Unique and inspiring, the approach in this new book offers serious art courses for serious art students.
Figure Drawing Atelier offers a comprehensive, contemporary twist to the very traditional atelier approach to the methods that instruct artists on the techniques they need to successfully draw and ultimately paint the figure. The book offers art instruction, practical and progressive lessons on drawing the figure, and high-quality sketchbook paper in a beautiful package that includes blank pages for sketching and copying. Artists will then have a record of their process, like with a sketchbook, which many artists like to document and save.
In this elegant and inspiring workbook, master contemporary artist and author Juliette Aristides breaks down the figure drawing process into small, manageable lessons, presents them progressively, introduces time-tested principles and techniques in the atelier tradition that are easily accessible, and shares the language and context necessary to understand the artistic process and create superior, well-crafted drawings.
Atelier education is centered on the belief that working in a studio, not sitting in the lecture hall, is the best way to learn about art. Every artist needs to learn to master figure drawing. Ateliers have produced the greatest artists of all time--and now that educational model is experiencing a renaissance. These studios, a return to classical art training, are based on the nineteenth-century model of teaching artists by pairing them with a master artist over a period of years. Students begin by copying masterworks, then gradually progress to painting as their skills develop. Figure Drawing Atelier is like having an atelier in a book--and the master is Juliette Aristides, a classically trained artist and best-selling art-instruction author with almost rock star popularity in the contemporary world of representational art. On every page, Aristides uses the works of Old Masters and today's most respected realist artists to demonstrate and teach the principles of realistic figure drawing and painting, taking students step by step through the learning curve yet allowing them to work at their own pace. Unique and inspiring, this book offers a serious art course for serious art students.
In this elegant and inspiring workbook, master contemporary artist and author Juliette Aristides breaks down the figure drawing process into small, manageable lessons, presents them progressively, introduces time-tested principles and techniques in the atelier tradition that are easily accessible, and shares the language and context necessary to understand the artistic process and create superior, well-crafted drawings.
Atelier education is centered on the belief that working in a studio, not sitting in the lecture hall, is the best way to learn about art. Every artist needs to learn to master figure drawing. Ateliers have produced the greatest artists of all time--and now that educational model is experiencing a renaissance. These studios, a return to classical art training, are based on the nineteenth-century model of teaching artists by pairing them with a master artist over a period of years. Students begin by copying masterworks, then gradually progress to painting as their skills develop. Figure Drawing Atelier is like having an atelier in a book--and the master is Juliette Aristides, a classically trained artist and best-selling art-instruction author with almost rock star popularity in the contemporary world of representational art. On every page, Aristides uses the works of Old Masters and today's most respected realist artists to demonstrate and teach the principles of realistic figure drawing and painting, taking students step by step through the learning curve yet allowing them to work at their own pace. Unique and inspiring, this book offers a serious art course for serious art students.
Want to paint more like Manet and less like Jackson Pollock?
Students of art hailed Classical Drawing Atelier, Juliette Aristides’s first book, as a dynamic return to the atelier educational model. Ateliers, popular in the nineteenth century, teach emerging artists by pairing them with a master artist over a period of years. The educational process begins as students copy masterworks, then gradually progress to painting as their skills develop. The many artists at every level who learned from Classical Drawing Atelier have been clamoring for more of this sophisticated approach to teaching and learning. In Classical Painting Atelier, Aristides, a leader in the atelier movement, takes students step-by-step through the finest works of Old Masters and today’s most respected realist artists to reveal the principles of creating full-color realist still lifes, portraits, and figure paintings. Rich in tradition, yet practical for today’s artists, Classical Painting Atelier is ideal for serious art students seeking a timeless visual education.
Students of art hailed Classical Drawing Atelier, Juliette Aristides’s first book, as a dynamic return to the atelier educational model. Ateliers, popular in the nineteenth century, teach emerging artists by pairing them with a master artist over a period of years. The educational process begins as students copy masterworks, then gradually progress to painting as their skills develop. The many artists at every level who learned from Classical Drawing Atelier have been clamoring for more of this sophisticated approach to teaching and learning. In Classical Painting Atelier, Aristides, a leader in the atelier movement, takes students step-by-step through the finest works of Old Masters and today’s most respected realist artists to reveal the principles of creating full-color realist still lifes, portraits, and figure paintings. Rich in tradition, yet practical for today’s artists, Classical Painting Atelier is ideal for serious art students seeking a timeless visual education.
The practice of drawing distilled to its essential elements. The companion DVD enclosed inside, beautifully filmed in Florence, Italy, provides real-time drawing lessons so that any gaps in the learning process are filled in with live instruction.
In this elegant and inspiring primer, master contemporary artist and author Juliette Aristides breaks down the drawing process into small, manageable lessons; introduces time-tested principles and techniques that are easily accessible; and shares the language and context necessary to understand the artistic process and create superior, well-crafted drawings.
In this elegant and inspiring primer, master contemporary artist and author Juliette Aristides breaks down the drawing process into small, manageable lessons; introduces time-tested principles and techniques that are easily accessible; and shares the language and context necessary to understand the artistic process and create superior, well-crafted drawings.
A companion volume to Lessons in Classical Drawing and an atelier in book form, Lessons in Classical Painting breaks down the foundational skills and techniques of painting in a format that is accessible and manageable for all readers.
With the same direct, easy-to-follow approach of Juliette Aristides's previous books, Lessons in Classical Painting presents aspiring artists with the fundamental skills and tools needed to master painting in the atelier style. With more than 25 years of experience in ateliers and as an art instructor, Aristides pairs personal examples and insights with theory, assignments and demonstrations for readers, discussions of technical issues, and inspirational quotes. After taking a bird's eye look at painting as a whole, Aristides breaks down painting into big picture topics like grisaille, temperature, and color, demonstrating how these key subjects can be applied by all painters.
With the same direct, easy-to-follow approach of Juliette Aristides's previous books, Lessons in Classical Painting presents aspiring artists with the fundamental skills and tools needed to master painting in the atelier style. With more than 25 years of experience in ateliers and as an art instructor, Aristides pairs personal examples and insights with theory, assignments and demonstrations for readers, discussions of technical issues, and inspirational quotes. After taking a bird's eye look at painting as a whole, Aristides breaks down painting into big picture topics like grisaille, temperature, and color, demonstrating how these key subjects can be applied by all painters.
Ateliers have produced the greatest artists of all time—and now that educational model is experiencing a renaissance. These studios, a return to classical art training, are based on the nineteenth-century model of teaching artists by pairing them with a master artist over a period of years. Students begin by copying masterworks, then gradually progress to painting as their skills develop. Classical Drawing Atelier is an atelier in a book—and the master is Juliette Aristides, a classically trained artist. On every page, Aristides uses the works of works of Old Masters and today’ s most respected realist artists to demonstrate and teach the principles of realist drawing and painting, taking students step by step through the learning curve yet allowing them to work at their own pace. Unique and inspiring, Classical Drawing Atelier is a serious art course for serious art students.
A painting's technique, color, and perspective may all be excellent, yet the painting will fail unless its composition succeeds. Composition is the harmonious arranging of the component parts of a work of art into a unified whole. Henry Poore examines the works of old masters and moderns in this book and uses these examples to explain the principles of compositions in art.
All the paintings that the author analyzes are illustrated in the text — 166 illustrations, including 9 in full color. Thirty-two diagrams by the author accompany his textural discussion of such topics as the importance of balance, entrance and exit, circular observation, angular composition, composition with one or more units, and light and shade. Balance is the most important of these topics, and it is considered in the greatest detail — balance of the steelyard, vertical and horizontal balance, and so on. A complete index enables the reader to locate his own specific areas of interest.
To see how a painting by Cézanne, Goya, or Hopper, for example, follows definite principles of composition allows the practicing artist or art student to learn composition from the finest instructors — the artists themselves. This book is also very useful to the art devotee, who will find his appreciation of the subject greatly enhanced.
All the paintings that the author analyzes are illustrated in the text — 166 illustrations, including 9 in full color. Thirty-two diagrams by the author accompany his textural discussion of such topics as the importance of balance, entrance and exit, circular observation, angular composition, composition with one or more units, and light and shade. Balance is the most important of these topics, and it is considered in the greatest detail — balance of the steelyard, vertical and horizontal balance, and so on. A complete index enables the reader to locate his own specific areas of interest.
To see how a painting by Cézanne, Goya, or Hopper, for example, follows definite principles of composition allows the practicing artist or art student to learn composition from the finest instructors — the artists themselves. This book is also very useful to the art devotee, who will find his appreciation of the subject greatly enhanced.
Arguably the most challenging of subjects for the artist, the human figure also offers opportunities for works of incredible beauty and complexity. In this book, one of today's leading figurative artists shares techniques and approaches for drawing the human form. With a reverent grounding in the methods of the Old Masters and keen perspective developed over Jon DeMartin's 20+ years of making and teaching art, this comprehensive workshop focuses on the power of line and how it can be used to achieve a convincing sense of dimension and life.
Beautifully illustrated with classical drawings as well as step-by-step progressions, these lessons explore the enlightening practice of copying, how to use proportion and measurement wisely, drawing the head and its features, rendering the figure in motion, short-pose exercises, and much, much more. Throughout, artists will master techniques for achieving a compelling "living force" in their drawings, while building a base of understanding that will ultimately make the process more intuitive and enjoyable.
Beautifully illustrated with classical drawings as well as step-by-step progressions, these lessons explore the enlightening practice of copying, how to use proportion and measurement wisely, drawing the head and its features, rendering the figure in motion, short-pose exercises, and much, much more. Throughout, artists will master techniques for achieving a compelling "living force" in their drawings, while building a base of understanding that will ultimately make the process more intuitive and enjoyable.
The art of portraiture approached its apex during the sixteenth century in Europe with the discovery of oil painting when the old masters developed and refined techniques that remain unsurpassed to this day. The ascendance of nonrepresentational art in the middle of the twentieth century displaced these venerable skills, especially in academic art circles. Fortunately for aspiring artists today who wish to learn the methods that allowed the Old Masters to achieve the luminous color and subtle tonalities so characteristic of their work, this knowledge has been preserved in hundreds of small traditional painting ateliers that persevered in the old ways in this country and throughout the world.
Coming out of this dedicated movement, Portrait Painting Atelier is an essential resource for an art community still recovering from a time when solid instruction in art technique was unavailable in our schools. Of particular value here is a demonstration of the Old Masters’ technique of layering paint over a toned-ground surface, a process that builds from the transparent dark areas to the more densely painted lights. This method unifies the entire painting, creating a beautiful glow that illuminates skin tones and softly blends all the color tones. Readers will also find valuable instruction in paint mediums from classic oil-based to alkyd-based, the interactive principles of composition and photograph-based composition, and the anatomy of the human face and the key relationships among its features.
Richly illustrated with the work of preeminent masters such as Millet, Géricault, and van Gogh, as well as some of today’s leading portrait artists—and featuring seven detailed step-by-step portrait demonstrations--Portrait Painting Atelier is the first book in many years to so comprehensively cover the concepts and techniques of traditional portraiture.
Coming out of this dedicated movement, Portrait Painting Atelier is an essential resource for an art community still recovering from a time when solid instruction in art technique was unavailable in our schools. Of particular value here is a demonstration of the Old Masters’ technique of layering paint over a toned-ground surface, a process that builds from the transparent dark areas to the more densely painted lights. This method unifies the entire painting, creating a beautiful glow that illuminates skin tones and softly blends all the color tones. Readers will also find valuable instruction in paint mediums from classic oil-based to alkyd-based, the interactive principles of composition and photograph-based composition, and the anatomy of the human face and the key relationships among its features.
Richly illustrated with the work of preeminent masters such as Millet, Géricault, and van Gogh, as well as some of today’s leading portrait artists—and featuring seven detailed step-by-step portrait demonstrations--Portrait Painting Atelier is the first book in many years to so comprehensively cover the concepts and techniques of traditional portraiture.
"This is an outstanding text for teachers and students." — The Studio
This richly illustrated examination of visual arts in the European tradition shows how the great masters employed the "golden mean" and other geometrical patterns to compose their paintings. Author Charles Bouleau explores a tremendous variety of ancient and modern works: the Parthenon friezes, Italian mosaics, the Bayeux Tapestry, and Gothic stonemasons' marks of France and Germany as well as paintings by Picasso, Kandinsky, Klee, and Pollock. His insightful expositions cast new light on such well-known works as Raphael's "The School of Athens," Botticelli's "Birth of Venus," Rubens' "Descent from the Cross," and Renoir's "Le Moulin de la Galette."
Advancing step by step through each painter's vast body of work, the survey highlights new contributions from each period and artist. Every analysis is conducted according to strict methods, placing the work within the intellectual atmosphere of its time. Original, informative, and stimulating, The Painter's Secret Geometry reveals the framework of art as well as its most profound and secret poetry. This new edition of the cult classic is a vade mecum for any student of art history or artistic composition.
"I found the material presented in this book to be fascinating. Though originally published in the 1960's it's tenets hold up well. It would lend itself well to an art history course or to anyone interested in the concepts outlines." — Tacoma Public Library
This richly illustrated examination of visual arts in the European tradition shows how the great masters employed the "golden mean" and other geometrical patterns to compose their paintings. Author Charles Bouleau explores a tremendous variety of ancient and modern works: the Parthenon friezes, Italian mosaics, the Bayeux Tapestry, and Gothic stonemasons' marks of France and Germany as well as paintings by Picasso, Kandinsky, Klee, and Pollock. His insightful expositions cast new light on such well-known works as Raphael's "The School of Athens," Botticelli's "Birth of Venus," Rubens' "Descent from the Cross," and Renoir's "Le Moulin de la Galette."
Advancing step by step through each painter's vast body of work, the survey highlights new contributions from each period and artist. Every analysis is conducted according to strict methods, placing the work within the intellectual atmosphere of its time. Original, informative, and stimulating, The Painter's Secret Geometry reveals the framework of art as well as its most profound and secret poetry. This new edition of the cult classic is a vade mecum for any student of art history or artistic composition.
"I found the material presented in this book to be fascinating. Though originally published in the 1960's it's tenets hold up well. It would lend itself well to an art history course or to anyone interested in the concepts outlines." — Tacoma Public Library
There is a lot more to photography than simply picking up a camera, pointing it toward something, and tripping the shutter. Achieving a great photograph requires thought and preparation, an understanding of the photographic process, and a firm grasp of how light and composition affect a photo. There must be personal involvement and personal expression. There must be experimentation, with the recognition that only a small percentage of experiments end successfully.
In this book, best-selling author and world-renowned photographer and teacher Bruce Barnbaum explores these seldom-discussed issues by drawing upon his personal experiences and observations from more than 40 years of photographing and teaching. In addition to photographs, Bruce also uses painting, music, and writing, as well as the sciences and even business, to provide pertinent examples of creative thinking. These examples serve as stepping-stones that will lead you to your own heightened ability to see and be creative.
Creativity is a topic that is almost wholly ignored in formal education because most instructors think that it cannot be taught or learned. To the contrary, Bruce has proven that photographic seeing and creativity can be taught, learned, and improved. This book expands on the ideas that are central to Bruce's method of teaching photography, which he has used in workshops for the past 41 years.
In this book, best-selling author and world-renowned photographer and teacher Bruce Barnbaum explores these seldom-discussed issues by drawing upon his personal experiences and observations from more than 40 years of photographing and teaching. In addition to photographs, Bruce also uses painting, music, and writing, as well as the sciences and even business, to provide pertinent examples of creative thinking. These examples serve as stepping-stones that will lead you to your own heightened ability to see and be creative.
Creativity is a topic that is almost wholly ignored in formal education because most instructors think that it cannot be taught or learned. To the contrary, Bruce has proven that photographic seeing and creativity can be taught, learned, and improved. This book expands on the ideas that are central to Bruce's method of teaching photography, which he has used in workshops for the past 41 years.
An essential guide to the oil painting techniques that will allow artists to master a variety of subjects, including figures, portraits, still life, landscapes, and interiors.
Many painters limit themselves to one type of subject matter, but in Oil Painting Essentials, artist and art instructor Gregg Kreutz shows how a multi-genre approach can dramatically improve your painting skills. Arranged by category, each chapter covers both the essentials specific to that subject matter and those that apply to all genres.
Through step-by-step lessons and examples from his own oil paintings, Kreutz shows how you can strengthen your skillset for one genre by painting in another. This comprehensive exploration of the conceptual and practical issues behind oil painting provides all of the tools and encouragement you need to successfully take on any type of oil painting.
Many painters limit themselves to one type of subject matter, but in Oil Painting Essentials, artist and art instructor Gregg Kreutz shows how a multi-genre approach can dramatically improve your painting skills. Arranged by category, each chapter covers both the essentials specific to that subject matter and those that apply to all genres.
Through step-by-step lessons and examples from his own oil paintings, Kreutz shows how you can strengthen your skillset for one genre by painting in another. This comprehensive exploration of the conceptual and practical issues behind oil painting provides all of the tools and encouragement you need to successfully take on any type of oil painting.
A landscape painting guide for oil painters that breaks landscapes down into component elements from nature, and showcases tools and techniques used by classic and modern oil painters for bringing these scenes to life.
Landscape painting is one of the most popular subjects for painters working in the medium of oils--from classic masters to contemporary artists. In The Elements of Landscape Oil Painting, established Watson-Guptill author and noted instructor/painter Suzanne Brooker presents the fundamentals necessary for mastering landscape oil painting, breaking landscapes down into component parts: sky, terrain, trees, and water. Each featured element builds off the previous, with additional lessons on the latest brushes, paints, and other tools used by artists. Key methods like observation, rendering, and color mixing are supported by demonstration paintings and samples from a variety of the best landscape oil painters of all time. With The Elements of Landscape Oil Painting, oil painters looking to break into landscape painting or enhance their work will find all the necessary ingredients for success.
Landscape painting is one of the most popular subjects for painters working in the medium of oils--from classic masters to contemporary artists. In The Elements of Landscape Oil Painting, established Watson-Guptill author and noted instructor/painter Suzanne Brooker presents the fundamentals necessary for mastering landscape oil painting, breaking landscapes down into component parts: sky, terrain, trees, and water. Each featured element builds off the previous, with additional lessons on the latest brushes, paints, and other tools used by artists. Key methods like observation, rendering, and color mixing are supported by demonstration paintings and samples from a variety of the best landscape oil painters of all time. With The Elements of Landscape Oil Painting, oil painters looking to break into landscape painting or enhance their work will find all the necessary ingredients for success.
Professional painting instructor Lea Colie Wight demystifies the formulaic process of oil painting into a simple approach to help you paint confidently and accurately in full color. Develop a core foundational skill set to develop your paintings and discover a signature way of working from life that can be applied to figure painting, portraits, landscapes and still life. Though the focus is on oils, the methods in this book can be applied to all painting mediums including acrylic, pastel and watercolor.
Following in the footsteps of author, artist, and art instructor Suzanne Brooker's previous title The Elements of Landscape Oil Painting, this book pairs the most universally-pursued topic for artists (drawing) with the popular subject matter of the natural landscape.
Brooker breaks down landscapes into their various elements--including the earth, water, air, and trees--to convey how the fundamentals of drawing are applied to capture each aspect. Using the graphite pencil as her baseline instrument, Brooker provides you with step-by-step lessons that help you improve your rendering skills and re-create the beauty of the world outdoors.
Examples from art history and contemporary masters supplement these lessons. The end result is a drawing instruction book that provides artists with everything they need to render landscapes no matter their skill level.
Brooker breaks down landscapes into their various elements--including the earth, water, air, and trees--to convey how the fundamentals of drawing are applied to capture each aspect. Using the graphite pencil as her baseline instrument, Brooker provides you with step-by-step lessons that help you improve your rendering skills and re-create the beauty of the world outdoors.
Examples from art history and contemporary masters supplement these lessons. The end result is a drawing instruction book that provides artists with everything they need to render landscapes no matter their skill level.
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NOW YOU CAN LEARN HOW TO CREATE A BEAUTIFUL CLASSICAL FIGURE PAINTING IN THE STYLE OF THE OLD MASTERS
Juliette has more than 25 years of art experience and is the director of the Aristides Classical Atelier at the prestigious Gage Academy of Art in Seattle. She is the author of four books, and her artwork is featured in galleries across the country.
Juliette is a modern master of the classical technique and a gifted teacher able to explain both the how and the why behind each brushstroke and each decision. The classical technique she teaches is perfect for both "the thinker" and "the feeler" within you.
Get the same world-class training that Juliette teaches at the Gage Academy of Art in Seattle (and in international workshops).
In our studio, Juliette created an inspirational 8-hour demonstration — a step-by-step tutorial on classical figure painting allowing us to "peek behind the curtain" to see how it’s really done.
Follow this tutorial, and Juliette will take you by the hand and show you how to go from the very first steps of posing your model and preparing your materials......to adding the final details to a figure painting full of life.
We’ve placed the entire 8 hours of instruction (plus an exclusive one-on-one interview) in a video titled: The Secrets of Classical Painting
Juliette has more than 25 years of art experience and is the director of the Aristides Classical Atelier at the prestigious Gage Academy of Art in Seattle. She is the author of four books, and her artwork is featured in galleries across the country.
Juliette is a modern master of the classical technique and a gifted teacher able to explain both the how and the why behind each brushstroke and each decision. The classical technique she teaches is perfect for both "the thinker" and "the feeler" within you.
Get the same world-class training that Juliette teaches at the Gage Academy of Art in Seattle (and in international workshops).
In our studio, Juliette created an inspirational 8-hour demonstration — a step-by-step tutorial on classical figure painting allowing us to "peek behind the curtain" to see how it’s really done.
Follow this tutorial, and Juliette will take you by the hand and show you how to go from the very first steps of posing your model and preparing your materials......to adding the final details to a figure painting full of life.
We’ve placed the entire 8 hours of instruction (plus an exclusive one-on-one interview) in a video titled: The Secrets of Classical Painting
This instructional documentary follows artist Thomas Kegler as he completes an oil painting on a linen panel outdoors. Over the course of two late summer days, Kegler captures the image of a veteran maple tree on the edge of a forest. The film focuses on the experience of painting outdoors – with an emphasis placed on observational, cognitive, and intuitive Plein air approaches.
It is intended for intermediate to advanced painters who already have a rudimentary knowledge and skill level in oil painting techniques and materials. Kegler’s commentary during the film explains his philosophy and processes of traditional Plein air painting. His technique mirrors the efforts of the Hudson River School greats of the mid- 1800s such as Durand, Cole, and Church. The final painting reveals a deep connection and understanding of his subject.
It is intended for intermediate to advanced painters who already have a rudimentary knowledge and skill level in oil painting techniques and materials. Kegler’s commentary during the film explains his philosophy and processes of traditional Plein air painting. His technique mirrors the efforts of the Hudson River School greats of the mid- 1800s such as Durand, Cole, and Church. The final painting reveals a deep connection and understanding of his subject.
This lesson by master artist Ken Goshen covers how to successfully design a composition. Video length: 1:53:58. Upon purchase you’ll receive a PDF with a link to the content page and an access password.
In this instructional video, you will see, firsthand, why Bill believes that composition trumps everything else, and why it’s crucial that you continue to study and apply design and composition to every painting you create.
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Mandy Theis Podcast Interview
Mandy Theis, president and co-founder of The Da Vinci Initiative, was interviewed by Daniel Digriz of the Thriving Artist Podcast. The interview delves into the necessity for traditional training in the visual arts, how realism has become a counter-culture movement in art and the need to educate the public on becoming art collectors.
Mandy Theis, president and co-founder of The Da Vinci Initiative, was interviewed by Daniel Digriz of the Thriving Artist Podcast. The interview delves into the necessity for traditional training in the visual arts, how realism has become a counter-culture movement in art and the need to educate the public on becoming art collectors.
Mandy Theis Podcast (Most Recent Interview)
Skill-Based Art Website: A Learning Resource for Art Students & Teachers
Skill-Based Art Website: A Learning Resource for Art Students & Teachers
What is An Atelier?
Ateliers are schools that train students in realism skills. They are often lead by one teacher who inherited hundreds of years of collective artistic information from another atelier-trained artist.
For example, Paul Ingbretson currently runs an atelier in Manchester, New Hampshire. He trained with R.H. Ives Gammell, who trained under William McGregor Paxton, who trained under Jean-Léon Gérôme, whose lineage goes all the way back to Jacques-Louis David.
Contemporary atelier training often requires 2-6 years of full-time study. It is common for atelier students to spend 3-4 hours every day with a live figure model, and an additional 3-4 hours per day on still life and other projects.
Usually, students work only in charcoal for the first year of training. Drawing skills are honed during this time.
Second-year students often begin training in painting, sometimes in Grisaille. Grisaille is a method of painting in black and white. The idea is that students will master paint handling skills before adding the additional component of painting in color.
Third year students usually paint with a limited or full color palette. This warm/cool training is an integral part of the curriculum at many ateliers, including the Aristides Atelier in Seattle, Washington.
Most ateliers are not accredited. However some, such as The Florence Academy of Art, offer associate's degrees to their atelier students. Some are partnered with accredited colleges to offer credit for studying with them, such as Studio Incamminati in Philadelphia, Pennsylvania. Others, like the Los Angeles Academy of Figurative Art, incorporate some atelier training into their degree and certificate programs.
Anyone who is interested in learning how to paint in a realistic manner or in a classical tradition is highly encouraged to attend an atelier. The gaming industry, motion graphics industry, and fine art market judge artists based on portfolios. Serious students who intend to pursue these career paths should attend an atelier for their artistic training.
Drawing above by Mandy Theis
Juliette Aristides is the founder and instructor of the Aristides Atelier at the Gage Academy of Fine Art in Seattle. Juliette teaches workshops both nationally and internationally. She is the author of Classical Drawing Atelier, Classical Painting Atelier, Lessons in Classical Drawing and Lessons in Classical Painting, her books provide an overview of traditional drawing and painting skills and within each book are exercises related to improving your artistic practice.
She exhibits in one person and group shows nationally including a solo exhibition, “Observations” at the Reading Public Museum of Art in Reading—Pennsylvania, an upcoming exhibition called 'A life's work' at the Customs House Museum in Clarksville TN, and her 4th Atelier show at the Maryhill museum of art. Click below to listen to the podcast.
She exhibits in one person and group shows nationally including a solo exhibition, “Observations” at the Reading Public Museum of Art in Reading—Pennsylvania, an upcoming exhibition called 'A life's work' at the Customs House Museum in Clarksville TN, and her 4th Atelier show at the Maryhill museum of art. Click below to listen to the podcast.
Danny Grant Interview with Juliette Aristides
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