several slots open for small class in two weeks

[AGottlieb]

I teach a very small figure painting class for ten weeks, four semesters a year at my own studio in Los Angeles. Right now I have three openings, beginnging in exactly two weeks on Saturday, June 25th. I know this is short notice, but if you contact me now, you will be able to get all the materials you will need to begin by then.

The class is in the atelier tradition as I was trained at the Florence Academy of art. A great deal of attention is given to accuracy and sensitivity toward light, color and transitions. Also covered will be much of the classical materials and technique not frequently addressed in Los Angeles, with regards to oils, colors, glazing and scumbling.

If you are interested, you can contact me at adgot@yahoo.com. The class is every Saturday from 9:30am-4:30pm, and the tuition cost is $800.

Adrian Gottlieb

http://i8.photobucket.com/albums/a13/adriangottlieb/finalcandyweb.jpg

http://i8.photobucket.com/albums/a13/adriangottlieb/Alexweb.gif

http://i8.photobucket.com/albums/a13/adriangottlieb/Jimweb.gif

http://i8.photobucket.com/albums/a13/adriangottlieb/Allison.jpg

[poise]

wow! I love these paintings!
I'm from L.A. but went to art school in SF. Moving to NY soon. I feel like I'm missing out! Well whoever snaggs the opening is lucky. :wink:
Do you have a website, that has your artwork and students artwork, because i might be interested in a few years :)

[USER777]

it's HERE (http://www.adriangottlieb.com/)

oh my god.. it's a shame i don't live in america at times.. mr gottlieb, why don't you come over to good ol' europe so i could attend your class?
you learned at the florence academy of arts, right? i consider going there some time: do you especially recommend it? is it worth the money (3000 bucks for 4 months isn't nothing)

i would be glad if you replied to this <3

[CaptainInsano]

gorgeous paintings!

I'm in Santa Monica. I might be interested in this, but I'm also applying to LA Academy of Figurative Arts. Their classes are only $400, but it's only 3 hours a week and it's in f*** Van Nuys.

[AGottlieb]

it's HERE (http://www.adriangottlieb.com/)

oh my god.. it's a shame i don't live in america at times.. mr gottlieb, why don't you come over to good ol' europe so i could attend your class?
you learned at the florence academy of arts, right? i consider going there some time: do you especially recommend it? is it worth the money (3000 bucks for 4 months isn't nothing)

i would be glad if you replied to this <3

When balanced out with the education you get out here, the FAA offers something that very very few others can. It is worth it.

[Aerythes]

Wow. Looking at these makes me want to quit my job and go study in your atelier.

There should be an option for voting 6 stars :D

[Sems]

10/10, this is the greatest in realism I've ever seen anywhere. These are great, you're defiently fit to be teaching a class ;)

[Danilo]

Im not as far good as you, but I think that this paintings are too empty, also clothes are detailed much less than heads.

[Diego Eis]

Owl man!
Wonderful work.
The light and shadow be well done;

Well...
Great job man!
Congratulations.

[tpro]

Im not as far good as you, but I think that this paintings are too empty, also clothes are detailed much less than heads.


Danilo... are you kidding me with those comments? "Clothes are detailed much less than heads."

Go back to art school....

:x

[Ian Mack]

He's got his right to an opinion. And he is right since the clothes are less detailed than the heads. His "empty" comment might be directed to the eyes.

I think these paintings are fantastic for my part. However, I think the fine arts portion of my education will not be explored until I'm working as an animator.

[tpro]

He's got his right to an opinion. And he is right since the clothes are less detailed than the heads. His "empty" comment might be directed to the eyes.

I think these paintings are fantastic for my part. However, I think the fine arts portion of my education will not be explored until I'm working as an animator.

One of the first rules of portraiture is to simplify the clothing and drapery to not distranct from the important features... the head.... look at Sargent and Zorn...

He simplified the pattern of the clothing and most likely because he didn't have time to render clothing due to doing this from life...

I am not saying he can't have an opinion, but don't make a statement about someones art when they don't have the training enough to identify the artist intention... that's all.

[AGottlieb]

I'm happy to see that this debate is of interest to anybody. The reason that I did not describe the clothing so much (if at all) is that quite simply, it doesn't interest me at all. I cannot possibly relate to you how fascinating I find each and every individual human being. This is not to say that I necessarily find them good, as that I find them utterly fascinating. Even people that I paint portraits of whom I dislike I eventually, in a month-long span of time, find many aspects of that I respect a great deal. All my portraits become stories for me. That is what a real portrait is - it is a story of the individual caught in a seemingly mundane instant of time. If this moment is caught successfully, nothing more need be said of them.

Every facial expression, every laugh, smirk, frown, etc. is nothing more to me than a mask. The real human being lies in when they have tired of those masks, and can only be contented to be themselves, however mundane that may appear to be.

Platonically, I love all of my sitters. Even those whom I initially despised.

Otherwise, portraiture is no different than commercial illustration. No offense meant to all of the commercial illustrators here, but there is a very real difference between your goals and mine.

And the clothing? It's of no interest to me, although I'd respect any challenge to my current way of thinking. Otherwise, I'd pay somebody else skilled in painting fabric a six-pack of Samuel Adams to paint the shirt, cause I couldn't care less about it.

[AGottlieb]

BTW, the blue shirt did reproduce pretty badly.

[tpro]

I'm happy to see that this debate is of interest to anybody. The reason that I did not describe the clothing so much (if at all) is that quite simply, it doesn't interest me at all. I cannot possibly relate to you how fascinating I find each and every individual human being. This is not to say that I necessarily find them good, as that I find them utterly fascinating. Even people that I paint portraits of whom I dislike I eventually, in a month-long span of time, find many aspects of that I respect a great deal. All my portraits become stories for me. That is what a real portrait is - it is a story of the individual caught in a seemingly mundane instant of time. If this moment is caught successfully, nothing more need be said of them.

Every facial expression, every laugh, smirk, frown, etc. is nothing more to me than a mask. The real human being lies in when they have tired of those masks, and can only be contented to be themselves, however mundane that may appear to be.

Platonically, I love all of my sitters. Even those whom I initially despised.

Otherwise, portraiture is no different than commercial illustration. No offense meant to all of the commercial illustrators here, but there is a very real difference between your goals and mine.

And the clothing? It's of no interest to me, although I'd respect any challenge to my current way of thinking. Otherwise, I'd pay somebody else skilled in painting fabric a six-pack of Samuel Adams to paint the shirt, cause I couldn't care less about it.

Well said.... Great description of portraiture...

Miss seeing you at the school Adrian...

Tony

[behemot5]

wow.....your paintings are just amazing....wonderfull.....

[Arctis]

your results are amazing : I've seen a lot of realistic painter in USA, but many of them don't make enough choices... You make them, congats. No need to detail more what's less important.
I love the "noble jester"'s touch, sober and precise, and slightly blurred... reminds me Vermeers portraits, one of my big fav.
How many hours do you spend on these portraits ? Do you use photo refs, or people are posing for you during long sessions ? ;)
Keep posting and good luck for your class.

[liquidwerx]

Simply breathtaking, thanks for posting.

M

[arghmisfit]

hey, its jason m with a afro :P

great work

keep it up

[AGottlieb]

your results are amazing : I've seen a lot of realistic painter in USA, but many of them don't make enough choices... You make them, congats. No need to detail more what's less important.
I love the "noble jester"'s touch, sober and precise, and slightly blurred... reminds me Vermeers portraits, one of my big fav.
How many hours do you spend on these portraits ? Do you use photo refs, or people are posing for you during long sessions ? ;)
Keep posting and good luck for your class.

Thanks.

I try not to work from photo references when I can help it. I find that working from photographs kill my paintings. They flatten the form, make the colors uninteresting, and besides that, they are flat pieces of paper. I can make a figure come to life when painting from life, but not when painting from a dead piece of paper. So if you've ever seen a painting of mine that was completely and utterly lifeless, it was most likely the result of one of those unfortunate times I was forced to copy from a photo.

My best paintings are of people with powerful personalities and who are willing to give me all the time in the world to complete the piece. Alex (the Noble Jester) and Jim were such people. Also, if any of you who have ever gone to Haley's and painted Sarah Streeter know, a model who is completely open to the painter is absolutely essential to making a painting come to life. Every time I've ever crashed some workshop and Sarah was posing, the painting painted itself. I just happened to be the guy holding the brush at the time. So when you see a painter paint the same model over and over and over again, it's not because they looked really interesting or really hot (although those are definitely strong factors), it's because that painter had truly found their muse, somebody who was truly open, who sent nothing but positive and creative energy.

As for your question on how long it takes me to make my paintings, I truly don't know. I lose all sense of time when creating a piece. I don't just mean that I'll work on a painting and eight hours will lapse when I only perceived a couple hours to pass. I mean that I could be working on a painting for two months and honestly believe that only two weeks passed. I once painted a model for two months. I only know that because she told me that after I said I was a month into the painting. I was extremely surprised. So it's hard to answer that. I believe that I painted Jim in three weeks. I believe that I painted the Noble Jester in two weeks. But to be perfectly honest, the truth could be very different.

[Justme]

Originally Posted by AGottlieb:
"I teach a very small figure painting class for ten weeks, four semesters a year at my own studio in Los Angeles. The class is in the atelier tradition as I was trained at the Florence Academy of art."

http://losangeles.craigslist.org/ats/103120321.html

[bwkeough]

10 weeks for $800? That's a steal. If I lived out that way, I would definitely be interested.

[Unit18_Nate]

Im not as far good as you, but I think that this paintings are too empty, also clothes are detailed much less than heads.

Yeah the same can be said of John William Waterhouse's portraits.

[Rascar Capac]

Hello Adrian

We talked not too long ago about your class. I will definitely sign up for it in the future when I get more into painting. Your work is very inspirational.

At this point, I decided I'll be concentrating strictly on drawing;
I'm starting with Tim's cast/sight size classes at LAFIGART tommorrow, cant wait..

I understand he was a student of yours?

PS - Van Nuys though... not quite as inspiring as Florence eh?

-Hovig

[Marko Luna]

simply beatiful

[Icey]

very beautiful!
5* well deserved! :)

[Grooveholmes]

If i lived in LA i would be all over that class, man.

You know.. you could make a killin off of DVD's for those of us not fortunate enough to make the class.

[AGottlieb]

Hello Adrian

We talked not too long ago about your class. I will definitely sign up for it in the future when I get more into painting. Your work is very inspirational.

At this point, I decided I'll be concentrating strictly on drawing;
I'm starting with Tim's cast/sight size classes at LAFIGART tommorrow, cant wait..

I understand he was a student of yours?


Tim's a good man.

He was a student of mine on and off for the past two years, and I found that he is able to communicate his points with a clarity that very few others possess. I have a hard time imagining his students feeling too confused when leaving his class at the end of the day.

PS - Van Nuys though... not quite as inspiring as Florence eh?
-Hovig

No. It isn't.

In fact, I plan on returning to Europe in a little under a year, hopefully for good.

[AGottlieb]

You know.. you could make a killin off of DVD's for those of us not fortunate enough to make the class.

That's an idea. Perhaps some day. I can guarantee, however, that any dvd of me painting would resemble very little the videos of other painters.

[ammoburger]

Hey Adrian, it's Spencer Sharp. I'm still working on my figure contruction and studying with Paul Wee Wednesday nights. I'll let you know when I think I'm ready to be taught how to paint from you. Then you decide whether I'm ready or not. Hope to see you in the future.

[AGottlieb]

Hey Adrian, it's Spencer Sharp. I'm still working on my figure contruction and studying with Paul Wee Wednesday nights. I'll let you know when I think I'm ready to be taught how to paint from you. Then you decide whether I'm ready or not. Hope to see you in the future.

Hi Spencer. I checked out the drawings you're doing for Paul, and I'm definitely happy with your progress. Just keep pushing those gestures. They're still coming off a little stiff. But you're definitely in a lot better a place than before.

[ammoburger]

Hi Spencer. I checked out the drawings you're doing for Paul, and I'm definitely happy with your progress. Just keep pushing those gestures. They're still coming off a little stiff. But you're definitely in a lot better a place than before.
Thanks very much.~

My studio is finally finished and now I need to kick myself into gear if I want to study in Europe. A peaceful and quiet place to draw alone is something I've never had, so I think I will benefit a lot from my studio. In Tim's class I finally learned sight-size. So I'm excited.

My father's easel is brilliant in my estimation. To be honest, I don't know how the hell he did it, but it's so cool that I have to forgive him for being so neurotic. :rendered: He has decided that the consumer model HAS to be aluminum because steel is just too heavy. And the consumer model will also fit through a doorway. My father admires you as an artist and greatly appreciates your critique of the easel. He has developed a silent mechanism that accompanies the convenient positioning of the easel (at your request). He also developed a system that will allow you to move the easel easily around a room and lock firmly into place when your done (at your request).

I think you'll enjoy it.

[Egets]

okay that is just emasing, never seen anything as realistic skin rendering as this, I would most defenately be interested though is not possible for me right now, you are probably holding these studies again later ?

[AGottlieb]

Thanks very much.~

My studio is finally finished and now I need to kick myself into gear if I want to study in Europe. A peaceful and quiet place to draw alone is something I've never had, so I think I will benefit a lot from my studio. In Tim's class I finally learned sight-size. So I'm excited.

My father's easel is brilliant in my estimation. To be honest, I don't know how the hell he did it, but it's so cool that I have to forgive him for being so neurotic. :rendered: He has decided that the consumer model HAS to be aluminum because steel is just too heavy. And the consumer model will also fit through a doorway. My father admires you as an artist and greatly appreciates your critique of the easel. He has developed a silent mechanism that accompanies the convenient positioning of the easel (at your request). He also developed a system that will allow you to move the easel easily around a room and lock firmly into place when your done (at your request).

I think you'll enjoy it.

I was already extremely impressed with the easel even when it was in its experimental, clunky stage. I was particularly impressed that it addressed every possible inconvenience that most artists simply take for granted. When he perfects it, I know that it will be the Bentley of easels. I can't wait to check it out.

[Justme]

Gottlieb Studios & Atelier Program (http://www.gottliebstudios.com/)