Jeff Hein Website: http://www.artclassessaltlakecity.com/ 16 W 700 S Salt Lake City, UT 84101 United States of America Phone: 801-502-9185 The Hein Academy of art was founded by Jeff Hein in 2007. It accommodates a maximum of sixteen 'Apprenticeship Program' students. Weekly painting and drawing classes may also be taught by apprentices to the public. The HAA consists of two buildings on either side of Main Street totaling 10,000 sq/ft. The east building includes two spacious classrooms and 8 studios for students working on portfolios and graduates. The West building is the personal studio and office of founder/teacher Jeff Hein as well as more studio workspace for the 16 'Apprenticeship Program' students. The HAA is located two blocks from Salt Lake City's beautiful business district, 7 blocks from Temple Square and one mile from the beautiful City Creek Canyon.
Students of the Hein Academy of Art Apprentice directly under Jeff Hein in the same manor that the Renaissance masters apprenticed under their teachers. In exchange for a modest monthly tuition, and occasional assistance to Jeff with studio tasks, each of 16 apprentices has the opportunity to be tutored daily by Jeff. Apprentices work near to Hein throughout the day and are free to witness every aspect of Jeff"s professional and creative processes.
Those enrolled in the Apprenticeship Program are each given their own personal workspace, storage space and easel. They have 24hr access to the HAA studios so that they may have as much time as possible to devote to their studies. Jeff Hein is present from 10-6 Monday-Friday and is available for instruction and critiques during these hours. For three hours, every weekday morning, studio students have the opportunity to draw and paint from a live model while the remainder of their time is devoted to the study of still-life drawing and painting. During the final year of the Apprenticeship Program students will be given a studio in which to complete a professional body of work to submit to galleries upon graduating. At this time Hein will serve as a tutor, providing guidance and insight whenever needed.
The HAA curriculum is designed to create artists who are prepared to enter into a professional career in making and selling art. Professional quality work done under the assistance of a teacher is not a sign of success for the student. This is why, at the HAA, students are expected to show a solid understanding of each area of the curriculum before they may progress. After much instruction and practice each student must complete, to a professional level, several works in each area of the curriculum without assistance. This means that every student will progress at a different rate depending on his/her work ethic and aptitude for learning. These things are important because all too often students graduate from other art institutions with minimal skills because they had been moved through these programs according an insufficient timeline and/or their portfolio reflects the skills of the teacher more than those of the students. Under this format, every student that graduates from the HAA will do so with a professional level of knowledge and skill.
Students will also have the opportunity to hear from other professional artists, and art business professionals to learn about varying views in the art world. This helps each student become well informed about the art world and its challenges which will aid him/her in making intelligent artistic and business decisions when they enter into the field.
Students will ultimately have the opportunity, should they choose, to learn the craft of multi-figure narrative painting in the classical tradition, without the aid of photography and computers. This understanding has unfortunately become increasingly rare due to the increase of technological involvement in art creation and the extreme complexity of this traditional approach. Hein believes this is an art form worth preserving and is the approach he uses in his own work.
The goal of the HAA is for each student to graduate with a professional level of drawing and painting skills, a consistent body of work and the business knowledge with which to begin a successful and fulfilling career.
To schedule an appointment to visit the Hein Academy of Art, to acquire more information or to apply for the Art Apprenticeship Program, please call (801) 502-9185.
2015 Summer Workshops To view the workshops, please click here.
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: firstname.lastname@example.org Website: http://www.lafayetteatelier.org/ 615 S. 10th Street Lafayette, Indiana 47905 United States of America 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 of America 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: email@example.com 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.
The London Atelier of Representational Art (LARA) housed in Vauxhall, was established in response to the rarity of rigorous representational art education in the UK. LARA teaches the fundamentally important aspects of drawing, painting and sculpture from life through the "sight size" method and uses a specific approach designed to teach the essential concepts of proportion, line, gesture, form and light.
Inspired by the atelier method of instruction, LARA offers a unique training with sustained poses of no less than two weeks and up to one month, giving optimum time to observe and understand the figure. LARA believes "To successfully draw from life, one must first understand how to see".
A half day is spent drawing or painting from the nude model, the other half the cast, still life, or portrait model. Each project lasts a minimum of two weeks. Class numbers are limited to no more than 26 and all tutors are classically trained working artists implementing a highly structured style with regular critical appraisal.
LARA welcomes part-time and full-time students, with courses running from one-week intensive workshops to three year full time training. The school also offers weekend classes and holiday schools to aid those with additional commitments.
LARA recognises that students learn at different rates and will arrive with different levels of experience. As a result the approach is flexible, all levels of ability are catered for and teaching is tailored to individual requirements. For further information about the courses please view www.drawpaintsculpt.com
Robert Armetta Email: firstname.lastname@example.org Website: http://www.liafa.com/ 14 Glen St. Suite 201, 2nd Floor Glen Cove, New York 11542 United States of America Phone: (646)508-7645 Overview
Founded in 2000, the Long Island Academy of Fine Art was established as a studio school for the study of traditional painting and drawing. LIAFA offers courses in classical drawing, painting, and sculpture. The main objective of the program is to equip students with the knowledge necessary to create contemporary art rooted in traditional realism.
The Long Island Academy of Fine Art was the first school for classical art studies on Long Island, and since its founding it has established itself as the finest. LIAFA upholds the highest standards of classical academic drawing, painting, and now sculpture. The Academy closely adheres to the strict program of study that founder, Robert Armetta, experienced as a student at some of the best art schools both here in the U.S. and in Europe. At the very core of the program is LIAFA's primary objective: training a student's eye to see accurately and with sensitivity. The whole program centers on this task, following a progression of classes to help the student achieve this step-by-step. Beyond this, the Academy offers an array of classes dealing with an assortment of other disciplines, such as anatomy, color theory, and composition. These classes are taught by thoroughly trained professional artists, many of whom commute to LIAFA from New York City and beyond.
Classes are taught by award-winning, classically trained artists who exhibit nationally and whose works are in both public and private international collections. Courses offered include: Cast Drawing, Still Life Drawing and Painting, Figure Drawing and Painting, Portrait Drawing and Painting, Landscape Drawing and Painting. Also, the Long Island Academy of Fine Art in conjunction withThe New York Academy of Artoffers landscape painting courses. See website for course schedule.
Last updated on 2011-07-08
Los Angeles Academy of Figurative Art (LAAFA) - Extension Program
Admissions Department Email: email@example.com Website: http://www.laafa.org 16926 Saticoy Street Van Nuys, California 91406 United States of America Phone: 818-708-9232 The Extension Program is geared toward the working arts professional, part-time student, and recreational artists who are unable to attend our full-time intensive programs, but want serious art instruction from our highly qualified faculty. These classes are conveniently offered weekdays, weekends, and evenings to fit your busy schedule.
For students looking for a full-time curriculum designed to develop your skills with the most efficient use of time, LAAFA offers Degree and Atelier Programs.
Schedule of Classes:
LAAFA offers classes for students of all levels. We provide all of our students the opportunity to have their work reviewed by one of our highly qualified teachers in order to help them decide which classes are best for them. Let our experienced faculty help you work toward your goal of becoming a well-trained artist.
Workshops and Events:
We are fortunate to have Master Fine Artists and Major Studio Entertainment Artists visit LAAFA and share their wealth of knowledge with our students. We are proud that LAAFA is their school of choice.
Students who are unable to attend LAAFA have the opportunity to take online foundational classes. Currently available: 10-week Ecorché/3D Anatomy -Rey Bustos - Available Now, Drawing the Portrait From Charcoal (Full Demonstration) - Nathan Fowkes - Available Now, 10-week Drawing the Portrait in Charcoal - Nathan Fowkes - Available Now. Schedule online class releases in 2013: Imaginatomy - Rey Bustos, Figure Painting - Max Ginsburg, Alla Prima Painting - David Leffel, Life Painting (with Drapery and Folds) - Ron Lemen, Figure Construction - Ron Lemen, Color Theory - Bill Perkins, Composition - Bill Perkins and Drawing from Imagination - Glenn Vilppu.
For details on our classes, scholarships, and all of our programs, log on to www.laafa.org for your convenience.
Don Gale Male figure Photograph Private collection
Jennifer Ranko Email: firstname.lastname@example.org Website: http://www.lymeacademy.edu/ 84 Lyme Street Old Lyme, Connecticut 6371 United States of America Phone: (860) 434-5232 The mission of the Lyme Academy College of Fine Arts is to provide the best education in Drawing, Painting, and Sculpture through study of the history, traditions, and principles of the fine arts and the Liberal Arts & Sciences, thereby establishing a comprehensive foundation for the development of the artist.
The Academyís curriculum is based on a respect for traditional forms of teaching, which have produced master artists throughout the ages. The studio curriculum is centered around the study of nature and the human figure. The liberal arts curriculum provides a strong academic foundation necessary for advanced critical and creative thought. Together the integrated program is designed to provide a practical foundation on which each student can develop his or her unique intellectual and visual articulation with confidence and integrity.
Therefore, the educational programs of the Academy seeks to develop:
Craftsmanship and technical skill in the use of materials and methods;
Discipline, as intuition and creativity are subjected to judgment and revision;
Knowledge of the history of art, ideas and human experience;
Critical thinking about ideas, events, intentions and issues in contemporary culture;
Commitment to a relentless pursuit of excellence;
Inspiration to fuel the intention and direction of the work;
Respect and tolerance for authenticity and diversity in the search for intellectual and aesthetic integrity;
Integration of the subjective, rational and technical in artistic practice.
Based on these principles, the Lyme Academy offers a strong, sequential program designed to develop intellect and imagination, intensity of observation, quality of execution, individual initiative and creativity, and depth of interpretation of ideas through artistic expression.
Ultimately, the Academy believes the Fine Arts are of unique importance as a defining and substantive element of society and life itself; further, that educated artists are individuals who not only articulate their culture but who give shape and substance to that culture.