Realism vs construction(a guide to choosing the right art education) - Page 7

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  1. #181
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    thanks Lena for the pictures and help to the teaching of academic art

    found a link of Russian artists amazing!!
    http://www.leningradschool.com/

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  4. #182
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  6. #183
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    Check this link - the guy is showing how to build a miniature clay model of the human body, thus learning all the anatomy.

    http://ameralart.com/eSculpture.html

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  8. #184
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    Very nice links !! A pity we have no idea how to search for russian artist's website. The link El Aprendiz post is indeed a treasure to have. I wonder if there is a russian alternative to CA.... haa. Keep all the links coming.. i am really enjoying this thread

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  10. #185
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    Yes this is an excellent thread.

    Found some VERY good anatomy reference -

    http://images.google.dk/imgres?imgur...a%3DX%26um%3D1

    It shows many 3D ecorche models. Pick one and it will load, then just move the mouse across the photo and the figure will spin around
    Not all are 3d models, some just normal pics.

    You can also find photo - ecorche pictures that requires flash. Then youd move the mouse and the photo of a real model turns into ecorche!!! HOW COOL IS THAT?!

    HAVE FUN!

    Last edited by hummel1dane; December 13th, 2009 at 02:10 PM.
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  12. #186
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    Man are you reading my mind?

    I was looking ecorches too today!



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  16. #188
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  18. #189
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    leningrad school

    Quote Originally Posted by El Aprendiz View Post
    thanks Lena for the pictures and help to the teaching of academic art

    found a link of Russian artists amazing!!
    http://www.leningradschool.com/
    Well, you guys are all over the place. I am very familiar with the www.leningradschool.com I actually happen to own a few landscapes by some of these artists particularly Ivan Varichev. Unfortunately, most of these guys are dead. It was an interesting generation, born in the twenties, then fought in World War II and then became Repin Academy students right after the war. They were so devoted. I think it had a lot to do surviving the war and just being lucky to be alive and painting. Here are a few of the paintings I bought from them back in the late nineties, when the Soviet Union collapsed and these guys were trying to survive. When I visited their studios they'd have stacks and stacks of these plein air studies which they sometimes used for their genre paintings. The company that published that website is basically a museum-gallery in St. Petersburg that now sells all these guys' works for thousands of dollars, mostly buying it from their children and grandchildren.

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  20. #190
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    another example of leningrad school

    This piece by another Leningrad School artist Sophia Loseva when she was a student at the Repin Academy back in the fifties, probably first year. I now have it in my studio and often use it as sort of a study guide for myself.

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  22. #191
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    the head

    detail of the head from above

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  24. #192
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    First post, and with good reason!

    HumdelD! Awesome that you are doing this. Gathering information, researching to really understand what you want to do with visual description. This research is going to take you soooo far, and all of us too!!!!

    Being a long time Angel Student, and having spoken a good bit with other schools (but not nearrrrrrrlly enough with Renaissance approach schools) I would love to contribute some info.

    -FAA is really interested in the construction of the figure, anatomy being key in the work for them, big picture before small picture. Pelvis in relation to ribcage, in relation to feet, the weight of the figure, these are all big considerations. Buuuut, the school also has an incredibly strong interest in correct replication, thus sight sizing to help out.

    Sight sizing helping.... you may ask...how? Because the school has a duality in interest, that of specific replication and that of conceptual understanding, sight size helps them get shapes and proportions faster, which thus allows them to spend their time thinking about the mass and structure of a figure. The result is something strong in structure and highly Representative of the studied subject.....OK.
    BTWN:Andy Ameral (who you linked for echroche) was anat teacher and student at FAA

    Angel: I find as I progress in the program the ideas behind the process become clearer and clearer. The school is run on a mixed set of techniques, that of strong gestural drawing, done in s and c curves (conceptual) and that of architectual drawing (done in straight lines). There are a few snags to be sure. I find the biggest one is that students have no strong idea behind the history of the methods, where each part comes from and why it is the chosen way of representing reality. An example would be straight lines, yes they represent solidity (in their relation to architecture) but lacking the knowledge of why one line is at it's angle, has it's length. The beauty of expression through gesture and shape design could be the best plausible outcome. The pitfalls have already been mentioned.

    Two people who seems to get it: Robert Liberace and Randolph Melick.
    Both have put together the best parts of your world current outlook/mindset and the methods and understanding of their past masters. A great quote "Paintings are artists speaking through the ages." paraphrased, can't remember the full.

    Again, this is just great. Hum have Dorian give you my contact info, these conversations need to be had often, and in person! We will bring a new life to what angel has to offer (which you will find out is sooooo much)

    Last edited by EBKF; December 16th, 2009 at 04:33 AM.
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  26. #193
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    My thoughts.

    EBKF thank you for your post!

    Angel academy has taught me much already, Im very grateful. And I hope that Ill get to the painting stuff one day. I like the way they paint.

    As for what I think of FAA and Angels figure drawing program(and other schools like it) ;
    If the goal is to draw and paint like the french masters of the 19th century then I think its a very bad idea!

    --

    Now If we are talking about ideal figure drawing education then Id say that we have to start by deviating from the seen reality right away. 3D anatomical construction with a strong composed perspective.
    Now, on top of this base you can do all the light study you would like, but the base need to be there. That is my opinion.

    The 19th century french masters was strongly rooted in a different tradition, the same tradition that they kept in the Soviet union and the tradition that we have to return to IF we want to get back to the standards of the past.

    --

    Now as for the system that is being used at FAA or Angel or other places, I understand that this system works well for having a short(3-4 year) program.
    It is most likely the fastest way of learning realist drawing/painting. I wont argue with this. I believe in it!
    But I also believe that a figure without inner structure or strong composed perspective is lacking the essential!
    Then Id rather wait with the study of realism and subtle rendering of light/shade untill Ive mastered the basics. That makes sense in my mind.

    I talked with a person from the Angel school who, after 4 years, admitted that he had no draftman skills.

    But I see many people at Angel academy very satisfied with the figure drawing program. I dont think they would be happy with a complicated system that required them to sketch bones on a daily basis, learn planar construction, etc.

    So as for the situation today, perhaps it has to stay like this for a while.

    --

    I can give you much insight into the rutine of a russian renaissance atelier, I like to talk about this so I just write it her.

    Now half of the day is spent drawing bones. These bones will be constructed in perspective, planar construction, light/shade rendered from imagination using Michelangelos system. In this conceptual system the only point there is, is to communicate form. Thus the light/shade follows form. Edges(places where the form changes angle) are rendered, marked. Sharp edges is rendered with sharp transition, soft with soft transition.
    The other half of the day is spent doing figure studies - from 15min to 15 hours, perhaps more.
    Bones are used while you draw the figure - you grap them and study them and compare them to the figure in front - and figure out where they are on the figure you are looking at.
    As for the rendering, bones are rendered with a sharp transition, muscles with a soft transition. This works well with the feeling of touch.

    Youd be feeling the form with your hands if you cant figure it out. Personally I prefer to just mark the edges(change of form) with a piece of charcoal.
    Youd be using cross-hatch to follow the form, and REALLY get the feel of 3d form.

    The organizing outline is the most difficult to master - as the "outline" really moves into the form, marks the bones. These organizing lines are especially usefull in order to keep the structure together. That is, small forms grouped with other small forms, on top of bigger forms. Thus "outline" ISN'T contoure, but is also found within the figure. An outline is ANY line that is used to help the visual communication by seperating form(one form behind another) AND organize a hierarchy of forms.
    Then there are different strenghts of outline, both in size and value. (Sorry to say that this is impossible to communicate in words!!!)

    But this is ESPECIALLY why even the fastest sketches done by masters work so well - they simply organize everything - communicate the most complex structure with the simplest possible use of lines!!!

    TRANSPARENT DRAWING!

    This is perhaps the most important thing,

    You train your 6th sense of form, x-ray eyes, omniescient wisdom!

    ALWAYS draw transparent, draw what YOU CANNOT SEE!!!
    Draw the backside of the model when you only see the frontside, and MOVE around the model. Look at the pose from ALL ANGLES to really understand it. You NEED that omniescient knowledge in order to construct a proper pose!
    Even in his 80's Michelangelo would still draw transparent to solve more complicated movements of the limbs.
    It is simply impossible to get the true feel of the body without this way of working. You ARE the body that you are drawing - your mind is inside it, rather than just scraping the surface.

    All right, there is much much more..

    --

    About the artists you mentioned. I truly think they are amazingly talented. Honestly.
    As for Robert Liberace, the reason I think he is so talented is that he manages to copy the renaissance style so well, without understanding the subtleties of construction.
    But that is also where his limitation lies. He simply cannot push it much further, because his technique is still mainly based on copying. This is what it looks like to me - maybe Im wrong? Time will tell.

    The renaissance artists differed - their technique where mainly based on construction, then copying came second. Michelangelo rarely copied the light, much study he did from imagination.

    Strength is especially needed in the composed perspective.

    I can tell you a story,

    When I was studying at the drawing academy with my russian master, there was a student who was drawing a bust that was put above head hight.
    Now this bust was slightly leaning to one side, making the eyebrow to eyebrow line tilt opposite of what it would have done had it been stable.
    This person drew it like he saw it, aka copying. Then the master came along and REVERSED the angle of the eyebrow to eyebrow line - thus being opposite of what the person saw.
    This resulted in a huge argument, and what was most interesting was that the master didnt even look for one second at how the bust was actually leaning!
    Because this lean was accidental and worked against a strong perspective, it would really weaken the feeling of a high position and make the drawing too complicated for a beginning student (minutely tilted head)

    Because in order to do something that truly works, we have to EXAGGERATE and find the ideal way of visual communication, and this is also where I find many problems with todays realist figure drawing programs.
    I suppose you could say that exaggeration is "manerism" but it truly isnt. Its the only way to learn how to draw properly in the long run.

    The model pose is another example.
    In the russian system you set up a slightly exaggerated contraposto, because you really want to communicate(and learn) this pose. This is not manerism, this is logic. Especially since the model stiffens.
    But in order to exaggerate you first need control, and that is hard work! Draw the bones, construct the figures, get the feel of working in 3 dimensions, learn the anatomy etc. This can take many many years alone.

    But if you want realism after only 3-4 years, then you have to skip all the basics, and that is why I say that the current atelier system can never produce masters of the same standard as the past. It is completely impossible.

    Seperate the principles, learn them one by one, and then build on top of these.

    --

    To get back to your post,

    I dont know much about sight size with the figure. I cannot imagine using it, also because I want to learn to do proper proportions without having to rely on such a system. But if you find it useful, thats great!
    I know that Thomas Eakins used it when doing portrait sketches. So he could work faster, getting an expression without having to worry about proportions.

    About the angel gesture system, there are some things I really like about it.
    Personally I prefer Vilppus system.
    The russians thinks more in terms of tilts of the big forms.
    Often why their academic works lacks gesture. I dont think they have a linear gesture system.

    All right, quite a long post. Yes we can discuss it face to face on day.
    But you have to understand that Im an advanced beginner, may say things that arent to the point. If you truly want to learn this "renaissance" system then "the drawing academy" is the only school that teaches it at a high level. Outside of russia that is.

    Last edited by hummel1dane; December 16th, 2009 at 06:44 PM.
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  28. #194
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    One more thing - in the beginning, all form is treated as the same value. No differation between the red of the lips.. Or white of eyes..
    Now after mastering the basics you can differ from this, rendering lips with darker value, pupils very dark etc. But in the beginning it is essential to render all in the same value in order to understand form.
    Michelangelo always kept to this "neutral" tonal system.

    This is also why his drawings make use of such hard contrast - he always kept thinking like a sculptor.

    Now Leonardo would constantly seek new ways of rendering - he did many studies of realistic light situations, thus many of his drawings make use of more subtle rendering, but even so, he avoided highlights. Kept his work more planar.

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  30. #195
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    Cool !! Very nice write up... thanks dude....

    I am always curious what is the typical day is like in a russian academy and your writing just explain everything. I know a artist who studied in a fine art academy back in China and i think their system is similar. They start with geometric shapes and study them extensive and learn how to render them. After that, they move on to casts, followed by still life, then finally the human figure. I believe in this period, they cant even tough paint and stick to pencil and charcoal. One thing i notice is that they use pencil more than they use charcoal, reason being with charcoal, you cannot reach the same level of detail. Many of the chinese teachers went to repin academy to study before going back to china to teach, thus explaining the similarity.

    Michelangelo is certainly one of the best artist to learn from for form. I am watching a documentary on him called The Genius of Michelangelo and they explain that he never consider himself an artist but think more like a sculptor. Since young, he learn his craft from studying the ancient Roman and Greek sculpture which during the renaissance is the highest level of artistic achievement. I think that make it all the more sensible for artists to study both from sculpture and paintings.

    -JS Neo

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  32. #196
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    Yes we certainly studied still life objects as well, building them transparent and in perspective.
    But our instructor found it necessary to try out different methods, to see what worked best!
    Drawing stones to learn cross-hatch and build a planar understanding was very succesfull. I suppose also a way of disregarding the uneven structure(to learn generalisation of major planes, and subdivision) and to disregard the tone, to learn to think in terms of "neutral values"
    A stone is simple, and yet still have an organic shape - unlike still life objects. Also branches are very organic. Branches are also good to study weight.
    And drawing from plastercasts is done as well.

    There really isnt any fixed curiculum, the instructor will decide what he/she thinks is best, most needed. Maybe even throw different exercises at different people.
    If you are more advanced, copying Michelangelo would probably be it.
    Thats also how they teach when they draw on your drawing - they can see that you are lacking a specific understanding of something and then draws in order to show you visualy "how to do it"
    If you dont need help, they might avoid you entirely for a long time. Because there is no point! Or if they find that you are struggling with a specific understanding, they might give you time for it to sink in.
    Sometimes theyd draw on your drawing for a few minutes, sometimes for half an hour! Whatever is needed for you to understand.

    As for "style" they dont really care so much what it looks like in the end, as long as it accomplishes the purpose of explaining form. All they really want is for you to master the principles(but they will point out bad proportions and gesture though).
    In this process the word "finished" makes less sense. Its a study.
    You start to regard it as an exercise and not as "fine art" Thats also great for beeing more loose. Not attached to any outcome.
    My master would tell us not to make any "Pretty drawings for your mama"

    In "die gestalt des menchen" by Gottfried Bammes there are many students drawings from various semesters. It is interesting to see the exercices they had to solve.

    As for the Chinese academy - sticking to pencil must be to learn value control. I think we had a few of those drawings posted in this thread? Cones rendered in different values?
    Mm, the russian system I know is more conceptual/form minded - so charcoal and redchalk and whitepencil is usually used. Pencil is considered more for beginners, because its easier to control and correct.
    Also the eraser is often used in the same way as a white pencil - so you can cross-hatch with an eraser!
    Red chalk is often used in the beginning, and if the paper is of a darker tone, it can be highlighted with a white pencil. And if its a longer study, you can go over the whole thing with charcoal later on.
    This is a great way of working, as you can softly and loosely build the whole structure with red chalk and then make it tight again with charcoal.(I have to admit that I dont have any huge experience with this process..)
    The type of paper is also very important - in general you work in A2 with rough paper. I will try to see if I can get information about the brand.

    I would love to watch that documentary. I got another one, think its just called "Michelangelo".

    Yes, most of the french masters did clay sculpture as a way of studying the human form. I think those classes were free if you were a student at the academy. Gerome instructed all his students to take those classes.

    I could imagine talking classes in ecorche building will teach a lot as well.

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    One thing that I am finding in my research does not corrilate. I don't think the masters we think of: Leonardo, Michaelango, Greuz, thought of faces as planar in this way, just as romans and greeks did not think in this way. Rather, I am thinking they thought in terms of more natural form, not as blocks but from the begining as natural forms, organic forms, and altering them after study to then describe through relation to these idealied forms such as blocks or spheres. ONe might say the solution is in understand the real thing then idealizing it, rather than idealizing first, Angel has the interest in it, but it is hard for the students to understand (and to teach), as the explanation for this seems daunting for a person who has no base knowledge. I think it is important to realize that though these russian schools do have a MUCH stronger relation to that idea of form in the past, it has changed, the principles are similar, but different, like that of platonic and neoplatonic. this is a truely complex subject!!! and to make the descision for why one uses the concept is soo important!

    p.s. I have been at angel for years as well, and I could not bout with any master!!
    BUT, there are many many things about painting I've learned from this school that I see no other school teaches.

    Last edited by EBKF; December 18th, 2009 at 07:10 PM.
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  36. #198
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    Yes i agree the pencil is more for the beginners. I make u use it for the first few drawing because i believe the point of the first couple of exercise (cast drawing and still life) is to train ur perception and value judgment, hence the need to have a simpler medium which let you totally concentrate on what's important. I am not too sure but I believe when they move to figure drawing, they add charcoal to their arsenal.

    The video is http://www.teach12.com/ttcx/CourseDe....aspx?cid=7130 Michelangelo is without doubt a genius in my opinion. In the video, it was stated that he has an uncanny ability to learn new skill at a rapid rate, and most of the time, does it better than the one he is learning from. I have to say, he would make a rather infuriating student to have. Haaa

    One thing that I am finding in my research does not corrilate. I don't think the masters we think of: Leonardo, Michaelango, Greuz, thought of faces as planar in this way, just as romans and greeks did not think in this way. Rather, I am thinking they thought in terms of more natural form, not as blocks but from the begining as natural forms, organic forms, and altering them after study to then describe through relation to these idealied forms such as blocks or spheres.
    I think what you say is true. We can never know what those artists are thinking or if they even think in the same way. I tend to believe that each of them have their own system of thinking. From what I observe, Michelangelo is in awe of the roman sculpture and think in the sculptural way. He is famous for his rather muscular women. Leonardo is more soft and probably use the egg mass conception more than Michelangelo. So did Raphael. But one thing I notice that is common to them is probably their lack of direct light. They usually invent their own lighting (most of the time indirect lighting) and sometimes, each figure might have its own lighting system.

    -JS Neo

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  38. #199
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    Edited : This post contains confusing language, I won't delete it as it is a part of the general discussion. But the problem is in the definition of planes and working planar. I will be doing better and hopefully less confusing explanations in the tutorials I'm working on - http://conceptart.org/forums/showthread.php?t=178694

    EBKF-

    Yes you are absolutely right!
    And I can add to what you said that the true lesson is to learn "to think" as there are no rules or truths. There is only one way to find out if something works, just try and see.

    Now as for many of the russian drawings, yes they are very planar. Perhaps they build more on Michelangelo than Leonardo and Raphael.
    Vilppu's style is very different from Michelangelo. Vilppu teaches mainly animators, thus his need is more "gesture" rather than "sculpture"
    Like stated, the russians can get a bit stiff. Communism perhaps, who knows.

    But as for planar understanding - you build the planes where you want them! There is no such thing as an ideal planar head - these "ideal heads" are only a help.
    You can also work very planar in the beginning, then later on, soften the tone. Then you have a very concrete planar base, with an organic smoothness.

    The main reason to work very planar is to do perspective alignments and figure out the location of light/shade. Thus I believe many artists who later went "soft" did those planar studies in their youths.

    Interestingly its the excact same way we work with 3D in a computer system(if you count out z-brush)
    Everything is actually planar to begin with - then you use an integrated smoothing system of subdividing big planes into smaller planes.
    A circle is also a plane, actually its a subdivided triangle!
    A triangle is the simplest plane, then square, pentagon etc. Only in the end comes the circle. (except that theoretically a circle is still a polygon, but with endless sides)
    The ancients used to worship the circle as God!

    But you can use the circle right away as the tool to create the feeling of 3 dimensions. And base everything on spherical forms. I just find it more difficult.
    But I can tell you that its much faster to draw a circle than a square, so its especially valuable in quick sketches.

    When considering the symmetry of the human body, working with boxes makes much sense. Then we simply locate fixed symmetry points in perspective space. When combining two of those with a straight line, you are already half way to building a plane.

    You can also have sliced planes going inside the form, it doesnt need to be surface planes. These sliced planes can be circles, such as a circle around the neck.
    BUT they are easier to align if you just choose 4 points, and make a square in perspective. Then later you can refine you square, make it into a sort of modified circle and perhaps curve this line around the neck muscles.
    These inside planar slices can be worked out everywhere you choose, and become any form you like.
    In the beginning they are very simplified, but as your anatomical knowledge increases, you can refine.

    Now about the circle; If you want to make a correct circle in perspective, you would need a plane anyway.
    Square planes get distorted because of perspective. If planes get distorted, so does circles. Then simply construct the square plane in perspective, and draw the circle inside the distorted plane.
    But this is just crazy theory - I dont know how precise perspective alignment of the figures they did in the past.

    But it is this "3D thinking" that we build upon.

    Besides, all the russian drawings we see are just student drawings, its impossible to know what they did later on...

    As for light, its a free system, do what you like! Experiment!

    --

    Yes painting is taught very well at Angels.

    --

    Mydrako - I dont understand, is it only 30min lecture, or 30min times 36 lectures?

    Last edited by hummel1dane; January 19th, 2010 at 05:47 PM.
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  40. #200
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    jerusalem studio school

    Found this link on the Jerusalem Studio School with more figurative work

    http://jssart.wordpress.com/

    Master Class Gallery link

    http://jssart.wordpress.com/gallerie...class-gallery/

    I don't know about you all, but this is the most impressive of all the atelier schools that I've seen. Has a more artistic approach, more humanist, may be?

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    trip to repin

    Erik from Denmark decided to go check out the Repin Academy at the end of January, that is when they have their Open Studio days. Basically, all the studios are open to the public and all the work has been graded by the professors, it only happens twice a year. I was wandering if any of you guys want to join him? I've put him in touch with our New York students who are now at the Repin Academy, and they will show him around.

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    Quote Originally Posted by lena murray View Post
    Erik from Denmark decided to go check out the Repin Academy at the end of January, that is when they have their Open Studio days. Basically, all the studios are open to the public and all the work has been graded by the professors, it only happens twice a year. I was wandering if any of you guys want to join him? I've put him in touch with our New York students who are now at the Repin Academy, and they will show him around.
    When exactly will he go and how many days is it open?

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  46. #203
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    open studio days at Repin Academy

    Here is Erik's email to me

    "I've corresponded with Jim, and I've decided to come to St. Petersburg January 14th and depart the 18th, which he thinks sounds fine. I will begin making flight and hotel reservations as soon as possible."

    This is from Erik Klærke Heltner

    I don't know if you guys know him, but I will ask him first if it's OK to give out his email to anyone who wants to join him.

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  48. #204
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    This thread has a lot of great info. I take oil painting lessons from a russian teacher, and yes, the system is definitely a lot different from american instructors I have had previously. I feel like I am learning now to paint with more life and feeling than I have had previously, even though I have not graduated to painting the figure (yet...). I'm still in high school, so I'm looking at options for when I graduate and summer programs, since this is my junior year. I've looked at the pre-college programs, and have a relative who went to one, but I haven't been impressed by the student work. I've been thinking about studying at an academy/atelier during the summer as well... but residency might end up being an issue.
    I've also looked at a few options for when I have graduated high school. I wanted to know if anyone knew anything about the Art Academy in St. Petersburg (http://www.artac.ru/). It looks like a good school (with a few teachers who graduated from Repin), albeit very far from home. I'm pretty used to the russian system of academic painting/drawing now.. and I just want to be able to continue painting in this way after high school. The one year program could also fit in well if I decide to come back to the U.S. and attend college. I'd really love to know some more about the program, Hummeldane or Lena, if you know anything about it.

    Last edited by Praemium; December 31st, 2009 at 05:07 PM.
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  50. #205
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    Praemium -

    I know that you can study in Florence as well(same school, www.artac.ru). I havent yet visited their school, but it looks pretty good.
    Just note that not all of their teachers are equally good, they also have student teachers of a lower standard.
    I would suggest that you check in advance how much time you get with the really good teachers.

    Lena -

    Since Im a dane myself I would really like to get in contact with Erik. I wont be able to join him though, but Im very curious about his past experience and future plans etc. Could you give me his email?

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    answering Praemium

    I don't know much about that school, I think it is relatively new. But, I did look at their website and had the same observation as hummel1dane, meaning that not all of their teachers looked equally good to me.

    Of course, I can invite you to come to our school in New York (Bridgeview School of Fine Arts) for the summer program, which would prepare you better for studying at Repin, if that is your ultimate goal. Our summer program runs July and August and we have drawing, painting and sculpture (www.academicart.com)

    Feel free to write me a private message. I will try to help you the best I can.

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  54. #207
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    Another 3D anatomy link. Pretty cool!! Drag the mouse, move the bones around in 3 dimensions - or drag the mouse and see the different layer of muscles!!! Also veins

    http://www.msd-control.com/services/...ish/index.html

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    This one is really good. You can turn the whole body in real time 3D.
    It was free a while ago but is seems you have to pay now for the full version.

    http://www.visiblebody.com/


    Realism vs construction(a guide to choosing the right art education)

    Realism vs construction(a guide to choosing the right art education)

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  58. #209
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    Quote Originally Posted by hummel1dane View Post
    Praemium -

    Lena -

    Since Im a dane myself I would really like to get in contact with Erik. I wont be able to join him though, but Im very curious about his past experience and future plans etc. Could you give me his email?
    Hi hummel1dane, did you get in touch with Erik? I sent you his email as a private message here on CA, but not sure it went through.

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  60. #210
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    Just saw it now thanks!

    Ill contact him right away. Judging by his email he's employed by the same school that taught me classical drawing, the drawing academy Viborg.
    In the past people from that school went on to study privately with Boris, but if he's dead now, I suppose many students from the drawing academy will prefer to study at the Repin.

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