Anthony Antonios studied at Pratt Institute, the City College of New York, the Art Students League, and the National Academy School of Fine Arts. He has taught at the University of Hartford and in the drawing program at the Cathedral of St. John the Divine. His commissions have come from the National Conference of Catholic Bishops, Rensselaer Polytechnic Institute, White Plains Memorial Hospital, Seamenís Union, and Honeywell Corp.
Mr. Antonios's work has appeared in the Grand Central Galleries, Five Points Gallery, and the Fleischer Museum, in Phoenix, AZ. He has won many awards for his work including the Agapoff Memorial Prize, the Leonard J. Meiselman Prize, the Maurice Hexter Memorial Award, the Harriet Whitney Frishmuth Prize and the Council of American Artists Society Prize. Mr. Antonios is a fellow of the National Sculpture Society.
Monday-Friday, 9:00-12:00 pm
Class limit 12
The class presents an in-depth exploration of human form through modeling in clay. It will include anatomy, form, concepts, proportion, structure, composition, and design through individual attention to each student. There will be demonstrations and lectures on the human figure. Students get a thorough foundation in figurative sculpture that will give them the tools necessary for personal expression and for becoming sculptors.
Drawing - eds177
Wednesday 7:00-10:00 pm
Tuesday 4:00-7:00 pm
Class limit is 15
Students explore the human form through drawing, stressing the importance of the structural relationship of the different parts of the body to three-dimensional design. Translating the human figure to a two-dimensional surface requires an understanding of human form from the inside out. Connections are made between the live model and the human anatomy. Principles of light and shade and how line helps to reveal form will be examined.
Last updated on 2011-07-05
Class: Woodstock School of Art - Hong Nian Zhang
Hong Nian Zhang Halloween Eve, Woodstock Private collection
Zhang Hong Nian born in Nanjing, trained at Central Art Academy, Beijing and MFA City College NY. Paintings in China's Central Art Museum, corporate and private collections in America and elsewhere. Instructor, New York Academy of Art. His unique approach is presented in The Yin-Yang of Painting by Zhang and Woolley, Watson-Guptill.
Painting & Composition
Workshops in Figure, Still Life and Landscape
Value, light, texture, color, glazing and composition are explored through demonstrations and instruction. Model fee $5 per class on occasion.
The Georgetown Atelier is an apprenticeship-style school that specializes in traditional drawing and painting. It's located in Seattle's historic Georgetown District, renowned for its thriving artistic community. It's housed in a charming brick and wood building that was once the bottling plant of the old Rainier Brewery.
The Georgetown Atelier is designed for students who are aiming to achieve a rock-solid foundation in traditional drawing and painting. It's intended for the aspiring career artist- whether gallery or industry, or for the already practicing artist who needs to take a step back and build a skill-based foundation that was skipped over in prior education.
The curriculum combines both observational and constructive methodologies, formulated to provide a balanced education. The founder/instructor has both extensive training as a classical artist and as an industry professional. His teaching and curriculum draws from both territories.
The Georgetown Atelier offers 4 program tracks:
Full-Time Comprehensive Program
Full-Time 1 Year Intensive Program
Full-Time Custom Program *
* This option available ONLY if the student has prior training AND has portfolio samples that demonstrate a sufficient levelof mastery of applicable areas in order to "transfer credit".
Year 1: Drawing
Year 2: Monochromatic Painting/ Warm-Cool Painting, and Limited Palette Painting
Year 3: Advanced Painting
Year 4 (Optional): Students are given the opportunity to continue into a 4th year as a full-time student, or as a mentored student on a part-time basis.
1 Year Intensive Program
This program mirrors the 1st year of the comprehensive program, except students spend the first 2 semesters drawing, and the 3rd in Monochromatic Painting.
Students have the option to continue into the 2nd year Comprehensive Program after the 1 Year Intensive is completed. The instructor then works with students individually to determine if any additional drawing projects are needed.
The drawing portion of the curriculum forms the foundational pillars for everything that follows. Students begin by learning to 'block-in' the figure and other subjects. The relative simplicity of materials allows students to learn critical practices without having to juggle paint complexities.
Below is a list of Core-Subjects within the Drawing Curriculum:
Block-Ins, Working Broad to Specific
Constructive Anatomy, Inventing the Figure (new!)
Creative Perspective (new!)
Drawing on Toned Paper
Drawing with Color Temperature and using Custom Materials
Photoshop I (new!)
Monochromatic Painting, Warm/Cool, and Limited Palette Painting
In the second major stage of the curriculum students are introduced to painting. Students begin by working in Grisaille (grayscale), in order to learn painting procedures and materials without having to juggle color complexities. This way, students are able to more readily apply their experience gained through drawing into painting. Students then learn to paint in color one step at a time: first with warm/cool relationships, then with a limited palette.
Below is a list of Core Subjects within this section of the Curriculum:
Painting Materials and Mediums I
Painting with 6 Values
Placing 'tiles' with paint
Drawing to Painting Transfers
Painting in Layers
Fundamentals of Color Temperature: Warm/Cool painting
Learning the Reilly Method with a customized Earth/Flesh Tones limited palette
Transitioning to an Open Palette while making use of Value-Color 'Strings'
Painting with a 6 color 'Velasquez' limited palette
The final stage in the curriculum is learning to paint with advanced techniques and with a full-color palette. Using all the knowledge, practice, and principles gained though drawing and painting with color constraints, Students embark upon the virtually limitless domain of oil painting in full-color.
Below is a list of Core Subjects within the Advanced Painting Curriculum:
Painting Materials and Mediums II
Advanced Painting Techniques: Sculpting with the paint-emulating the surface of the subject and building texture with impasto, Glazing over impasto.
Advanced Portrait Painting
Expanding your palette one color at a time and on a need basis according to the painting.
Andrew Ameral Email: email@example.com Website: http://www.goldengateatelier.com Oakland, CA United States The Golden Gate Atelier offers a complete classical training for the realist artist. Students draw and paint the human figure from life using sight-size. In addition, they receive a thorough grounding in constructive drawing, anatomy, and perspective. The oil painting program is dedicated to craftsmanship and to the skillful use of materials and techniques. Students work in all genres: still life, landscape, portraiture, and figurative art.
The Golden Gate Atelier challenges students to make meaningful images for our time and gives them the tools to do so. The visually-based anatomy and écorché program is one of the finest in the country. The composition program includes both decorative design and narrative painting. Art history and humanities courses introduce the great paintings and ideas of the Western tradition. Every graduate produces a diploma painting that is a culmination of his or her time at the atelier. As a result, graduates are well placed to succeed as professional artists.
Art Renewal Center former scholarship winner Andrew Ameral is the Director of the Golden Gate Atelier. Andrew studied at the Florence Academy of Art, where he was a Principle Drawing Instructor and Director of Anatomy. A graduate of California College of Arts and Crafts (CCAC), Andrew taught in at the San Francisco Academy of Art University and worked as a professional illustrator. He has led anatomy workshops at the Grand Central Academy, Academy of Realist Art and other ateliers. Andrew's painting has been featured in The Artist's Magazine.
Sean Forester, Golden Gate Atelier Instructor and Director of Humanities and Compostion, studied at Cecil Studios and the Florence Academy of Art, where he was Director of Art History, Humanities, and Composition. Sean has a B.A. from The Great Books Program at St. John's College and an M.A. from Cambridge University where he was a Rotary Scholar. He has lectured at the Grand Central Academy and taught at Sarum Studios in England.
The Golden Gate Atelier is dedicated to the highest standards of draftsmanship. Students begin with Charles Bargue's Drawing Course. Ameral and Forester studied with Daniel Graves (who rediscovered the Bargue lithographs in 1982) and Simona Dolci, perhaps the world's expert on the Drawing Course. Next, students work from the Golden Gate Atelier Cast Collection, the best on the West Coast. The casts are sourced directly from Italy and coordinated with the Drawing Course so students can draw from the same sculptures as Bargue. When these foundations have been mastered, students move on to charcoal portraits and figure drawings from life using sight-size. This time-tested program gives students a high degree of skill.
The Golden Gate Atelier is one of the few classical ateliers that includes conceptually-based structural drawing. They believe it is essential to draw from life and to be able to construct the figure from one's imagination. Students learn the basics of perspective and how to construct the figure with geometric forms and their knowledge of anatomy.
Painting at the Golden Gate Atelier is based on craftsmanship and proven classical techniques. Students learn the limited palette before moving on to full color for portraiture, still life, and landscape. They are taught to represent nature faithfully by using a mosaic of specific shapes and color values- each shape defining a specific plane and relating to the whole. Students study how edge variety creates atmosphere; they create color harmony by using subtle differences in warms and cool tones.
The Golden Gate Atelier is the only atelier to offer a comprehensive Humanites, Art History, and Composition Program. The composition course is based on nineteenth century manuals. Sean Forester created a series of exercises beginning with still life and landscape, and moving to multi-figure composition. The humanities program is a survey of Western culture as it applies to visual artists. Forester based the course on the Great Books Program. Weekly art history lectures focus on the masters of classical painting from Titian and Rembrandt to Degas and Sargent.
Andrew Ameral offers a visually-based anatomy and écorché course. Ameral is one of the leading experts on artistic anatomy. He has taught écorché for more than 10 years and developed the anatomy program at the Florence Academy of Art.
Jacob Collins Email: firstname.lastname@example.org Website: http://www.grandcentralacademy.org/ 20 W. 44th Street 6th Floor New York, New York 10036 United States Phone: 212-730-9025 Overview Founded in 2006, GCA offers instruction in classical realist drawing, painting and sculpture. There is a full-time core program (Water Street Atelier,) a part-time program of evening and Saturday classes, and summer workshops held both in NYC and en plein air in the White Mountains of New Hampshire. Competitions include a 5-day figure drawing, figure sculpting, and still life painting competitions(June) and a 3-day portrait sketch competition (August.). The Hudson River Fellowship (HRF) awards landscape painters a three-week collaborative fellowship in New Hampshire, and the Alma Schapiro Prize awards a three-month study at the American Academy in Rome. General Questions(emailing preferred): email@example.com Blog:grandcentralacademy.blogspot.com
Full-Time Study Water Street Atelier/Core Program Instructors in the four-year, full time program include Jacob Collins, Ted Minoff, Scott Waddell, Josh LaRock, Tony Curanaj and Jiwoong Cheh. Annual tuition is $8,500. Classes run September - May, Monday - Friday, 8:30am - 5pm
Admissions: Applications for September admission are due on February 1, and notification is by April 1. Applications for January admission are due on October 1. Rolling admission is considered year-round, space-permitting. Prospective students are strongly encouraged to schedule a tour or take a class - in cast drawing especially. Students with different levels of art experience are encouraged to apply. An excellent work ethic along with a clear mission is highly valued in applicants. Prospective students are asked to submit, to the extent possible, work samples done from life as opposed to from photographs. Work from photographs may be submitted but it is the admissions committee's preference to see work done from life.
Scholarships: In addition to 4 annual scholarships awarded for academic excellence in cast drawing, block-in and figure works, one new full scholarship will be awarded to a promising incoming student.
Financial Assistance: Students may apply for open work-study positions after they have been at GCA at least 6 months. Positions are awarded balancing financial need with job skill and seniority. Awards vary depending on job responsibility.
Part-Time Study Evening & Saturday Classes No application required. Drawing, painting, sculpting, ecorche, perspective and MET Museum copying classes offered September - May. New students are encouraged to take a foundational cast drawing class, but it is not required. Most classes run in 4-8 week cycles. Once a student is in a class, he or she may re-enroll through priority registration to keep their spot. Core teachers Ted Minoff, Josh LaRock, Scott Waddell and Tony Curanaj also teach part time classes. Other teachers include established artists and teachers Rick Piloco, John deMartin, Jiwoong Cheh, Mason Sullivan, and Chad Fisher as well as distinguished graduates of the Water Street Atelier: Sam Wisneski, Carla Crawford, Colleen Barry, Will St. John, Justin Wood, Greg Mortenson and Angela Cunningham. Questions/Enroll: email Joy Tomasko at firstname.lastname@example.org
Summer Study Workshops in June, July & August No application required. GCA's daytime workshops last from 3 - 20 days. Up to 20 workshops are taught by regular and visiting teachers. Plein Air landscape painting workshops are offered in NYC and in New Hampshire's White Mountains. Students are encouraged to take single workshops or to design an intensive course of study by enrolling in consecutive workshops. Enrollment is first come, first served with a 50% deposit to hold your spot. For those interested in full time study, the month-long Drawing Intensive is a solid introduction to the curriculum, teaching and environment of the Water Street Atelier. Questions/Enroll: email Registrar, Joy Tomasko at email@example.com
Competitions Classical Figure Drawing Competition in June 2013: Twelve finalists are selected to compete in a 5-day, 40-hour concours to sculpt a 32" figure from life. The model poses for 8 hours per day. The competition is open to all figurative sculptors including previous finalists. Participants will be selected for their modeling ability, and demonstrated aspirations to make beautiful, excellent classical sculpture. Awards include 1st Place, $10,000, 2nd Place, $3,000 and 3rd Place, $2,000. There is a $25 application fee, and a $75 fee to compete. Questions: email Justine Kalb at firstname.lastname@example.org
Classical Still Life Painting Competition in June 2014: Ten finalists are selected to compete in a 5-day, 40 hour concours to paint a still life. Participants will be selected from an online portfolio submission of 5 images. All artists from student to professionals, young and old are encouraged to apply. Awards include 1st place, $10,000, 2nd Place, $3,000, and 3rd Place, $2,000. There is a $25 application fee, and a $75 fee to compete. Questions: email Justine Kalb at email@example.com
Classical Figure Sculpting Competition in June 2015: Twelve finalists are selected to compete in a 5-day, 40-hour concours to sculpt a 32" figure from life. The model poses for 8 hours per day. The competition is open to all figurative sculptors including previous finalists. Participants will be selected for their modeling ability, and demonstrated aspirations to make beautiful, excellent classical sculpture. Awards include 1st Place, $10,000, 2nd Place, $3,000 and 3rd Place, $2,000. There is a $25 application fee, and a $75 fee to compete. Questions: email Justine Kalb at firstname.lastname@example.org
Hudson River Fellowship Based out of the village of Jackson in the White Mountains of New Hampshire, Fellows gather for a three-week long collaborative fellowship to paint the landscapes that drew over 400 painters in the 19th Century including Thomas Cole, Asher B. Durand, George Inness, Sanford Gifford, Jasper Cropsey, Albert Beirstadt, and the New Hampshire native credited with founding the White Mountain School, Benjamin Champney. The Fellowship runs for three weeks in the summer. The HRF provides all accepted students with full tuition and free housing in shared rental houses. There is no application fee. There is a $100 participation fee and a $100 housing deposit to be returned at the end of the fellowship. Questions: email Justine Kalb at email@example.com
Alma Schapiro Prize at the Institute of Classical Architecture & Art The GCA, with the ICAA, offers a prize for a 3-month stay at the American Academy in Rome. The prize is awarded every two years. Past winners include Michael Grimaldi (2007), Jeffrey Mims (2009) and Will St. John (2011). The total award includes Academy fees, travel allotment and award stipend. The proposed three-month stay must begin between September 2014 and March 2014 and to conclude no later than May 31, 2014. The application deadline is Monday, November 1, 2013. Applicants must be at least 21 years of age. Questions: email firstname.lastname@example.org
Established in 1982 the Ingbretson Studo of Drawing and Painting provides a direct link to the Nineteenth Century Boston School* approach to painting featuring:
Direct Painting Academic Draughtsmanship Impressionist Color Sound Composition Painterly Craft
Painting the "Visual Impression" as the Boston School taught it - studying the relational world of line, value and color in the production of shape, form, gesture and light.
Picture Making is the vehicle for the training with strong emphasis on composition.
Sound Painterly Craft is incorporated from the start.
Program Progression is from cast drawing to still life painting, to figure drawing, and portrait and figure painting.
Ingbretson's Personal Critiques, the basis of the instruction, are weekly and often more frequent with additional part-time assistance by artists who have successfully completed his training.
Seminars are provided in memory drawing, anatomy, perspective, and intensive composition.
Summer Landscape workshops on direct impressionist 'en plein air' painting provided as weather permits.
Guided tours of significant east coast exhibitions and museums is a norm.
Course Completion typically takes up to five years for full time artists though an artist's education is ongoing.
Open Every Day from dawn to dusk with some evening activities, beginning September 15 and ending June 15. One may begin any time of year when space is available.
Individual Studios a feature in an historic old mill building along the Merrimack River with twenty-three large north light windows, a spacious figure studio, lounge and kitchen.
Visit the Studios any time. Prospective students should call to arrange a visit at their earliest convenience.
Paul Ingbretson studied in New York at the Art Students League and then spent several years working in the Gammell atelier in Boston. Gammell, who was able to deliver the academic training he had been looking for, had been a student of William Paxton and Paxton a student of Jean Leon Gerome at the Atelier des Beaux Arts in Paris. Joseph DeCamp, with whom Paxton subsequently worked in Boston, and his contemporaries, Edmund Tarbell and Frank Benson with whom Gammell also studied, learned the basics of drawing and composition in the academic ateliers of Europe and then sought to combine that knowledge with the color and light of the French Impressionist painters. The resulting work became know as the Boston School and it is this thinking that primarily informs the work and teaching of Paul Ingbretson.
Ingbretson has spent thirty years analyzing painting for the purpose of mastering the field and teaching. His recent teaching activity is focused on breaking out the most fundament elements of design into a systematic course enabling his students to truly understand this difficult but essential part of fine painting.
*Edmund Tarbell, Frank W. Benson, Joseph Decamp and William Paxton brought the French Ecole des Beaux Arts and Academe Julien training to Boston and R. H. Ives Gammell among whose students was New Hampshire Artist Paul Ingbretson.
The present class format is for six months, limited to seven students. The course is extremely information-intensive, and not for the casual workshopper. My goal is to continue to form future professional artists and instructors. The program is not for everybody. It's challenging.
All information will be presented in simple language. Instruction is in the form of frequent lecture-demonstrations, and lengthy individual critique. Principles are generalizations. They must then be applied to very specific cases. We will work with two categories. One is intellectual, the principles. The other is purely sensory. Comparing what we see on the canvas, to what we see on the model. Visual to visual.
For example, light travels from an energetic source. Therefore it is directional. For our terrestrial studio purposes, we can say it travels in a straight line thatÔøΩs a principle. It is then necessary to carefully decide that light direction as it reflects from the model, and at what angle it reflects to our eyes. That is determined visually. We will always be dealing with three-dimensional objects, in three-dimensional space.
Principle: All light has an intensity, and a coloration. Visual: Exactly how bright is that light, and what is its color? We discover these specifics by comparing what we have done to what we see. General principles x comparison=Discovery!
Our basic subject is the actions of light on the structures of forms. Structure includes the specific shapes of every form, how those shapes are modified by action, how they are arranged on the body (nature's organized design ) how they grow, modular proportions, families of structures, how they are tilted in space relative to our line of sight, and so on.
Light is invisible unless it reflects from form. Form is invisible without light. In order for the process of sight to occur, both light and form are necessary. Restructured Realism is the study of perception, and the optimal suggestion paint allows, of what we see. It is a contemporary vision, or perhaps a future one, whose roots are from the past. This program is unique in the world. You will receive information not available elsewhere. If you are very highly dedicated, contact me for the brochure.
James Werner Portrait of Bill Parks Oil on canvas Private collection
James Werner Back to Basics Charcoal Private collection
James C. Werner Email: email@example.com Website: http://www.lafayetteatelier.org/ 615 S. 10th Street Lafayette, Indiana 47905 United States Phone: (765) 532-1604 The Lafayette Atelier is a private art studio school, based on the traditional European model and those that and exist around the world today, that promote the advancement of classical methods of drawing, painting, and sculpture. Currently utilizing a 1880s Queen Anne Victorian home in Lafayetteís Historic Hilltop Neighborhood, the Atelier consists of a large, natural light, painting studio and 4 separate apartments for housing. Our primary goal is to become an asset to the local arts community by providing a rich cultural facet with historical substance, and offering an opportunity for serious artists to develop strong skills in a traditional manner.
Open figure drawing and painting sessions, as well as classes and private lessons, are available at reasonable rates. A certificate program offers a course of study that is based on centuries of realistic tradition, rooted in direct observation and disciplined study. All sessions are multi level and the program can be entered at any time, relying on individual systematic progression, rather than any given time frame for its completion.
The program starts with two basic courses, Traditional Drawing in the Academic Method and Fundamentals of Art. These are a series of foundational exercises designed to prepare students for painting the figure, as well as making advanced creative works. Advanced figure drawing and painting later refines studentís skills and familiarizes them with basic artistic anatomy and composition.
James C. Werner
Founder and director of the Lafayette Atelier, James Werner studied in Chicago, at the Palette and Chisel Academy and graduated Valedictorian from The American Academy of Art. James received his classical training under Bill Parks, John Trapp and Ted Smuskiewicz, their training stems from the Belgium Royal Academy and the Superior Institute in Antwerp where William Mosby studied after WWI before bringing the tradition to Chicago. James also has taken summer classes at the Florence Academy of Art in figure drawing and painting, and holds a Masters in drawing, painting and printmaking from Purdue University where he was a teacher of life drawing and other courses before founding the Lafayette Atelier.
Hope Railey, Chair of Fine Art Email: HRailey@lcad.edu Website: http://www.LCAD.edu 2222 Laguna Canyon Rd Laguna Beach, California 92651-1136 United States Phone: (949) 376-6000
Drawing and Painting Major
LCAD's drawing and painting major is one of a few undergraduate (BFA) and graduate (MFA) programs whose educational focus is to produce highly skilled, representational drawers, painters, and sculptors. The program and curriculum is based on classical traditions. Students learn core skills to accurately portray the still life, figure, portrait, landscape, and group figures to address concepts and ideas of contemporary, narrative storytelling.
In addition to mastering technique, the business of art is integrated in the curriculum. Students are introduced to professional practices, marketing and presentation to beprepared for the challenges of a demanding and competitive art world.
LCAD is unique in being one of only a handful of accredited colleges that offer classes in figurative sculpture. Raymond Persinger is the coordinator of the Sculpture Department. A classically trained figurative sculptor, Ray has created sculptures for science museums around the world and continues to receive public art commissions. Our classes employ a variety of techniques, producing works ranging from half life-size to life-size. These courses are a valuable hands-on approach to advancing drawing, painting and animation skills. Courses in sculpture can be combined to earn anemphasis or a minor in sculpture.
Administration Email: firstname.lastname@example.org Website: http://www.lavenderhillstudios.com/ Unit 101 - Battersea Business Centre - 99-109 Lave London, England SW11 5QL United Kingdom Phone: 020 7223 2360 Lavender Hill Studios is the first atelier in London dedicated to teaching traditional techniques of representational art.
The studio has been open since November 2004, offering a variety of full and part-time courses. Students work alongside the teachers and studio assistants. The teaching is intensive with painting and drawing demonstrations fundamental to our teaching method.
Mission Statement: We believe art students want to receive clear, practical instruction on the principles and methods of drawing and painting. Therefore, students begin with a ten-session foundation course, consisting of 1) proportion, 2) line and volume 3) chiaroscuro and 4) colour. Professional artists use all these elements simultaneously, but a learner can be taught these one at a time, each stage naturally leading into the next.
Students will practice these four elements in short repetitive exercises, but their days will be balanced with longer projects where they can push their work to a higher degree and are encouraged to find their own artistic voice.
We offer a variety of full and part-time courses.
Full-time Course. An intensive two year commitment where the student trains three to five days a week for three 12 week terms a year. Acceptance based on portfolio review and an interview if possible.
The Foundation Course. Every student, regardless of professional experience completes the ten session introductory Foundation Course. This is the basis of our philosophy and is very informative. The course runs three times during the academic year and once in July. Ten 3hour sessions to be completed within a 12 week period, held 4 times a week (Mon. and Wed. 9.30-12.30 and 6.30-9.30).
July Courses. Four 1 week courses: 1) The Foundation Course 2) Portrait Course 3) Figure Course 4) Sculpture or Landscape Course; students can enroll for any number of the four courses. Many international students attend the July course, which offers an opportunity to study four different disciplines in one month of intensive training.
Sketch Club. Tuesday evenings 6.30-8.30 Open drop-in drawing session from September until March.
Atelier sessions. Please call or e-mail for further information.
Art Material: All the necessary materials can be purchased from the studio store, Lavender Hill Colours. Initially students paint with the cheapest materials available so they learn not to be precious about their work. As they become more advanced we introduce higher quality paint and canvas and more sophisticated mediums. Eventually the students learn to make their own canvases and oil paints.
Scott Pohlschmidt specializes in materials, sculpture and in traditional techniques of alla prima and glazing. He trained and taught at the Charles H. Cecil Studios in Florence, Italy for 10 years. He had a successful solo exhibition at Leighton House Museum, London followed with an article in the 2006 July/August issue of American Artist Magazine. He appeared in John Myattís "Mastering the Art: Edward Hopper" 12 part series for Sky Arts. His portrait ìTimî was accepted in the BP portrait award 2007. He works out of a London studio with a growing portraiture and sculpture practice.
Ann Witheridge read History of Art at Christ's College, Cambridge and studied painting in both Venice and Florence. A recent commission took her to Goodwood House to paint the impressive cedar trees for The Duke of Richmond and subsequently appeared in the catalogue of the collection 'Goodwood: Art and Architecture, Sport and Family'. She taught at the Charles H. Cecil Studios for five years. Ann works on figure compositions and landscapes for galleries and commissions. www.annwitheridge.com.
Nick Bashall has an established portraiture career in England. He has also been commissioned by the British Army to paint under its armed protection on the streets of Kosovo, Afghanistan and Iraq, invariably in front of large crowds of local people. A former lawyer, Nick subsequently trained for five years as an artist in Mallorca under Joaquim Llado Torrents. www.nickbashall.com.
Geoffrey Leckie studied and assisted Frank Mason at the Art Students League for many years. He exhibits regularly in London and America. He now lives in Venice, Italy and teaches the July Landscape course with Ann.
Alex Tzavares studied at Central St. Martinís College of Art and Design in 1994-95 leaving without completing a degree because of the lack of formal instruction. He continued his search for formal training, attending many part-time painting courses in London. Alex first came to the Lavender Hill Studios in 2005 as a part-time student, and was inspired to study full-time. In 2007 he was awarded a bursary by the studios.