DOCSLIB.ORG

© Supersoniks 2016 Célébration Du 500Ème Anniversaire De L’Arrivée De Léonard De Vinci Au Château Du Clos Lucé À Amboise (1516-1519)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
© Supersoniks 2016 Célébration Du 500Ème Anniversaire De L’Arrivée De Léonard De Vinci Au Château Du Clos Lucé À Amboise (1516-1519) © Supersoniks 2016 Célébration du 500ème anniversaire de l’arrivée de Léonard de Vinci au Château du Clos Lucé à Amboise (1516-1519). À l’invitation de François Ier, Léonard de Vinci s’installe au Château du Clos Lucé à Amboise, à l’automne 1516. A l’âge de 64 ans, il traverse les Alpes avec certains de ses disciples, dont Francesco Melzi et Batista de Vilanis son fidèle servant milanais. Il vit là, travaille à de nombreux projets pour le Roi et s’éteint le 2 mai 1519 dans sa chambre du Château du Clos Lucé. La mission du Château du Clos Lucé, menée par la famille Saint Bris depuis 1954, est de transmettre au plus grand nombre l’héritage et le patrimoine de ce génie de la Renaissance. Ce cinq centenaire est donc une formidable occasion de restituer l’atelier vivant de la Joconde, de rendre hommage aux œuvres et travaux réalisés par Léonard de Vinci en France, mais aussi de réactualiser ses idées visionnaires et ses valeurs humanistes. L’année 2016 sera marquée par une programmation exceptionnelle. Une exposition temporaire, la restitution de la demeure après 60 ans de travaux, des spectacles inédits, la remise du Prix Léonard de Vinci et le Festival Européen de Musique Renaissance. Leonardo da Vinci’s house The Leonardo da Vinci Park A top cultural attraction – a real journey of discovery, on the trail of Leonardo da Vinci’s visionary genius. Enter the universe of Leonardo’s creativity, enjoying a walk which is both fun and educational… Leonardo’s garden The Château du Clos Lucé brings to life the Master’s botanical drawings, geological studies and landscapes. Spread out over a hectare, “Leonardo’s Garden”, a real outdoor museum, has been landscaped and planted in the spirit of Leonardo da Vinci’s paintings and drawings. 2016: the year of completion of more than 60 years of restoration 1854 The Saint Bris family take ownership of Le Clos Lucé 1954 100 years later, Hubert and Agnès Saint Bris open the private historical monument to the general public 2016 The Château du Clos Lucé celebrates the completion of its restoration and renovation work. The Saint Bris family has spent more than 60 years renovating Leonardo da Vinci’s final home. • A family adventure to revive the spirit of the site of Leonardo da Vinci’s home in the days of the Renaissance. • The buildings were restored, stone by stone, by specialized artisans who employed the techniques of their 15th and 16th century ancestors to work the stone, the mortar, the wood and the stained glass From top to bottom The Château du Clos Lucé © Léonard de Serres Leonardo da Vinci’s bedroom © Léonard de Serres The polyhedron © Léonard de Serres The council room © Léonard de Serres The Saint Bris family © Droits réservés LEONARDO DA VINCI’S LIVING WORKSHOPS Inaugurated at the same time as the exhibition, Leonardo da Vinci’s workshops put the final touch on the immense restoration project. For this occasion, the Musée de Chambéry agreed to a special loan of a St. Anne from 1855. Located in a 100 m2 space on the ground floor of the building, these three rooms – previously closed to the public – have been restored with the aim of immersing visitors in the abundant creativity and the work environment that reigned at the time. Shadow and light, a recurring theme for Leonardo da Vinci (and theorized in his A Treatise on Painting), guide each guest through a day in the life of the Master, from morning to night. In each room, the décor has been recreated with incredible attention to detail: original frescoes repainted in pigments used during the Renaissance, furniture produced from plans from the era and stained glass with small circular panes that bathe the rooms in the captivating atmosphere of shadow and light beloved by the Master. Two years of research and renovation, 30 people and 15 trades were required to restore Leonardo da Vinci’s workshops, library and study at Le Clos Lucé. “Le Clos Lucé was a space of work and inspiration for Leonardo the painter” François Saint Bris, President of the Château du Clos Lucé From 1516 to 1519, Leonardo da Vinci completed a multitude of personal projects and royal commissions in his workshops at Le Clos Lucé: • sumptuous celebrations for King Francis I and his court; • a gigantic bronze statue; • projects to lay pipes throughout the kingdom; • plans for the perfect city in Romorantin; and the list goes on... But painting occupied a central place in the cultural profusion at Le Clos Lucé. For Leonardo da Vinci, painting was the supreme art, concentrating all the knowledge developed in the other disciplines. Don Antonio de Beatis, the precious secretary to the Cardinal of Aragon, visited him at Le Clos Lucé on 10 October 1517, where he reported seeing the three masterpieces – St. Anne, Mona Lisa and St. John the Baptist – and “countless manuscripts”. Recent research conducted on preparatory drawings for St. Anne’s dress proved that the paper employed came from France. This backs up Antonio de Beatis’s account of the work that Leonardo da Vinci was doing on that piece which would, in the end, remain incomplete. As if Leonardo da Vinci had just stepped away... From top to bottom Living worshops of Leonardo da Vinci © Léonard de Serres THE LIFE OF THE MASTER, MORNING TO NIGHT... “Visitors go through these spaces over the equivalent of a workday. They first discover the Master’s workshops and library and then find him again at dusk in his study, to which he liked to withdraw.” THE ARTIST’S WORKSHOP IN THE MORNING In the first area, visitors discover the ambiance of the bottegas that were typical of the Renaissance, those craft workshops full of life where Leonardo da Vinci took his first steps in Florence and which he recreated at Le Clos Lucé. Book stands, blueprints, pigments and painting tools have been reconstructed according to documents from the period. On the worktables, visitors will find models of the giant bronze statue of a horse commissioned by Francis I but never completed, plus a half dozen copies of sketches in the Master’s hand. A historic copy of his St. Anne, on loan from the Musée de Chambéry, is presented on the easel where it bathes in the morning light. THE LIBRARY AND THE CABINET OF CURIOSITIES DURING THE DAY In the library, facsimiles from the Institut de France and ancient texts are aligned alongside an astonishing cabinet of curiosities. Astrolabes, world maps, plant illustrations, skeletons and taxidermy, vanitas and shells are revealed in an interplay of shadow and light. “These workshops are a source of great pride, because never has anyone been so close to Leonardo da Vinci’s daily life, which has always been the aim of Le Clos Lucé and the mission taken on by our family” François Saint Bris, President of the Château du Clos Lucé THE STUDY AT NIGHTFALL Swept away by an immersive scene, visitors watch the meeting between the Cardinal of Aragon and Leonardo da Vinci at nightfall, thanks to special effects and holograms. An audiovisual production that uses “ghost technology” or “optical theatre” is projected. The visitors become spectators of this extraordinary, immersive and emotional encounter with Leonardo da Vinci in his workshop... as if he were just as present today as he was 500 years ago. ANTONIO DE BEATIS’S TESTIMONY His Lordship went to visit with us, in a area outside Amboise, my Lord Leonardo da Vinci, of Florence, more than 70 years old, a very famous painter of our time. He showed the cardinal three paintings: the portrait of a Florentine lady painted unaffectedly in the past by order of the late Magnificent Giuliano de’ Medici, a St. John the Baptist child and lastly a Virgin with the child seated on the lap of St. Anne. Those three pieces were executed with great perfection. Antonio de Beatis: Itinerary of his Grace the Archbishop and the illustrious Cardinal of Aragon in Germany, Holland, Belgium, France and Italy (1517-1518) TEMPORARY EXHIBITION 17 June - 15 November 2016 « From the Clos Lucé to the Louvre, the Three Masterpieces of Leonardo da Vinci » Exhibition curator: Alessandro Vezzosi Président d’Honneur : Prof.Carlo Pedretti François Saint Bris - President of the Château du Clos Lucé Catherine Simon Marion - Deputy Director “The aim of the exhibition is to shed some light on the mysteries surrounding these masterpieces.” François Saint Bris, President of Château du Clos Lucé The Château du Clos Lucé showcases the French history of three major pieces by Leonard da Vinci: The Virgin and Child with St. Anne, St. John the Baptist and the famous Mona Lisa. The exhibition explains the construction of the myth over the five centuries that the three paintings have seen. It tells the story of the pieces’ genesis in Italy, followed by their journey from Le Clos Lucé in Amboise to the Louvre Museum in Paris where they still live today. Mona Lisa’s smile is a guiding thread: she smiled and then, beginning in the 19th century, she made others smile in turn. The Research and Restoration Centre for the Museums of France (C2RMF) presents the results of its scientific studies of the Mona Lisa and The Virgin and Child with St. Anne. The secrets of St. John the Baptist will reveal its secrets by the end of 2016, once its studies and restoration are complete. Lastly, the exhibition offers a modern perspective on the artistic and cultural interpretations of these legendary masterpieces. Alessandro Vezzosi is curating the event. He has put a large segment of his collection of artwork and drawings by Leonardo da Vinci, as reinterpreted by 20th century artists, on display, along with the portrait of the Monna Vanna, a subject of much debate and mystery making its first public appearance in France.
Load more

Recommended publications
  • Sara Fox [email protected] Tel +1 212 636 2680
    For Immediate Release May 18, 2012 Contact: Sara Fox [email protected] tel +1 212 636 2680 A MASTERPIECE BY ROMANINO, A REDISCOVERED RUBENS, AND A PAIR OF HUBERT ROBERT PAINTINGS LEAD CHRISTIE’S OLD MASTER PAINTINGS SALE, JUNE 6 Sale Includes Several Stunning Works From Museum Collections, Sold To Benefit Acquisitions Funds GIROLAMO ROMANINO (Brescia 1484/87-1560) Christ Carrying the Cross Estimate: $2,500,000-3,500,000 New York — Christie’s is pleased to announce its summer sale in New York of Old Master Paintings on June 6, 2012, at 5 pm, which primarily consists of works from private collections and institutions that are fresh to the market. The star lot is the 16th-century masterpiece of the Italian High Renaissance, Christ Carrying the Cross (estimate: $2,500,000-3,500,000) by Girolamo Romanino; see separate press release. With nearly 100 works by great French, Italian, Flemish, Dutch and British masters of the 15th through the 19th centuries, the sale includes works by Sir Peter Paul Rubens, Hubert Robert, Jan Breughel I, and his brother Pieter Brueghel II, among others. The auction is expected to achieve in excess of $10 million. 1 The sale is highlighted by several important paintings long hidden away in private collections, such as an oil-on-panel sketch for The Adoration of the Magi (pictured right; estimate: $500,000 - $1,000,000), by Sir Peter Paul Rubens (Siegen, Westphalia 1577- 1640 Antwerp). This unpublished panel comes fresh to market from a private Virginia collection, where it had been in one family for three generations.
    [Show full text]
  • Leonardo in Verrocchio's Workshop
    National Gallery Technical Bulletin volume 32 Leonardo da Vinci: Pupil, Painter and Master National Gallery Company London Distributed by Yale University Press TB32 prelims exLP 10.8.indd 1 12/08/2011 14:40 This edition of the Technical Bulletin has been funded by the American Friends of the National Gallery, London with a generous donation from Mrs Charles Wrightsman Series editor: Ashok Roy Photographic credits © National Gallery Company Limited 2011 All photographs reproduced in this Bulletin are © The National Gallery, London unless credited otherwise below. All rights reserved. No part of this publication may be transmitted in any form or by any means, electronic or mechanical, including BRISTOL photocopy, recording, or any storage and retrieval system, without © Photo The National Gallery, London / By Permission of Bristol City prior permission in writing from the publisher. Museum & Art Gallery: fig. 1, p. 79. Articles published online on the National Gallery website FLORENCE may be downloaded for private study only. Galleria degli Uffizi, Florence © Galleria deg li Uffizi, Florence / The Bridgeman Art Library: fig. 29, First published in Great Britain in 2011 by p. 100; fig. 32, p. 102. © Soprintendenza Speciale per il Polo Museale National Gallery Company Limited Fiorentino, Gabinetto Fotografico, Ministero per i Beni e le Attività St Vincent House, 30 Orange Street Culturali: fig. 1, p. 5; fig. 10, p. 11; fig. 13, p. 12; fig. 19, p. 14. © London WC2H 7HH Soprintendenza Speciale per il Polo Museale Fiorentino, Gabinetto Fotografico, Ministero per i Beni e le Attività Culturali / Photo Scala, www.nationalgallery. org.uk Florence: fig. 7, p.
    [Show full text]
  • Visual Arts Art 1 One Year Grades 9-12 No Prerequisite This Course Is
    Visual Arts Art 1 One Year Grades 9-12 No prerequisite This course is a combined studio art, artist influence, and art history class for the beginning high school student, with the general aim of improving student skills, building individual abilities, instilling art appreciation, and encouraging creative forms of expression. Studio art activities include drawing, painting, linear perspective and art form exploration. At the freshmen or sophomore levels, this course is intended to help prepare students for success in DP Visual Arts. Multimedia Arts One Year Grades 9-12 No prerequisite This course requires technical skills to integrate two or more forms of media. Students are provided an introduction to the creation of original digital works in the disciplines of logo design, digital illustration, infographic design, web design, animation, stop motion animation, and video editing using software applications such as Adobe CC, and iMovie, as well as HTML coding, CSS coding, and various other computer software applications and processes. Because of software licensing capacity requirements, this course is limited to 20 students. Digital Video & Film Studies One Year Grades 9-12 No prerequisite This course provides discrete development in the execution of original digital works in the discipline of digital video creation, editing, compositing and special effects using an iPhone, or a digital video camera, and software applications such as iMovie and Adobe Premiere, along with various other computer software applications. Students will become conversant with various cinematographic and video editing vocabulary and techniques. Because of software licensing capacity requirements, this course is limited to 20 students. Photography One Year Grades 9-12 No prerequisite This course involves the study of analog and digital photography as both an art form and a technical skill.
    [Show full text]
  • Discover the Impressionist Technique with Claude Monet
    Published on L'atelier Canson (https://www.cansonstudio.com) Home > Discover the Impressionist technique with Claude Monet Return to article list [1] Discover the Impressionist technique with Claude Monet Create like famous artists [5] Rate this article Rate ? After having discovered the technique of the Impressionists and their understanding of time, the children will learn to develop their sensitivity and create emotion in the manner of Claude Monet. Using this sheet, discover one of the leaders of the Impressionist movement: Claude Monet. After having discovered the technique of the Impressionists and their understanding of time, the children will learn to develop their sensitivity and create emotion in the manner of Monet. Painting in the style of the Impressionists is being able to find the sense of freedom that guided this group of dissidents. It's submitting oneself to contours without being trapped. The idea is also to give free rein to colour, material and texture. An exciting composition game for all ages! Historic period: 19th century - Impressionism. Claude Monet was a French painter born in Paris on the 14th November 1840 and died in Giverny on the 5th December 1926. Directly linked with the origins of Impressionism with his canvas "Impression, sunrise", Claude Monet went on to dominate this movement that introduced modernity to art in the 19th century. Nicknamed the "Raphael of water" by Manet, he left behind an immense body of work. Context and analysis of the ?uvre Context: At the end of the 19th century, a small group of young painters who broke away from the conventions of traditional painting gathered in private workshops to give free rein to their imagination and desire to create something different.
    [Show full text]
  • This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
    This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Touching the Void: The museological implications of theft on public art collections Jillian Seaton Ph.D. University of Edinburgh 2014 Abstract Of central importance to this thesis is the way security measures contradict the process through which museums have been seeking to divest themselves of theoretical hierarchies and value judgments in recent years. A context for investigation is established that considers how a perceptible increase in art theft, complicated by the escalating value of individual objects and the proliferation of museums as represented by a rise in attendance figures has produced a climate of vulnerability for arts collections around the world. In response, museums are installing unprecedented levels of security that are having a significant impact on established viewing conditions and redefining museum space. Further hindering this situation is the disparity between the fields of museology and museum security.
    [Show full text]
  • Edgar Degas: a Strange New Beauty, Cited on P
    Degas A Strange New Beauty Jodi Hauptman With essays by Carol Armstrong, Jonas Beyer, Kathryn Brown, Karl Buchberg and Laura Neufeld, Hollis Clayson, Jill DeVonyar, Samantha Friedman, Richard Kendall, Stephanie O’Rourke, Raisa Rexer, and Kimberly Schenck The Museum of Modern Art, New York Contents Published in conjunction with the exhibition Copyright credits for certain illustrations are 6 Foreword Edgar Degas: A Strange New Beauty, cited on p. 239. All rights reserved at The Museum of Modern Art, New York, 7 Acknowledgments March 26–July 24, 2016, Library of Congress Control Number: organized by Jodi Hauptman, Senior Curator, 2015960601 Department of Drawings and Prints, with ISBN: 978-1-63345-005-9 12 Introduction Richard Kendall Jodi Hauptman Published by The Museum of Modern Art Lead sponsor of the exhibition is 11 West 53 Street 20 An Anarchist in Art: Degas and the Monotype The Philip and Janice Levin Foundation. New York, New York 10019 www.moma.org Richard Kendall Major support is provided by the Robert Lehman Foundation and by Distributed in the United States and Canada 36 Degas in the Dark Sue and Edgar Wachenheim III. by ARTBOOK | D.A.P., New York 155 Sixth Avenue, 2nd floor, New York, NY Carol Armstrong Generous funding is provided by 10013 Dian Woodner. www.artbook.com 46 Indelible Ink: Degas’s Methods and Materials This exhibition is supported by an indemnity Distributed outside the United States and Karl Buchberg and Laura Neufeld from the Federal Council on the Arts and the Canada by Thames & Hudson ltd Humanities. 181A High Holborn, London WC1V 7QX 54 Plates www.thamesandhudson.com Additional support is provided by the MoMA Annual Exhibition Fund.
    [Show full text]
  • Plein Air & Landscape Workshops
    PLEIN AIR & LANDSCAPE WORKSHOPS The Atelier is pleased to present an offering of landscape workshops. The study of landscape should be included in the student and artist training as it is an important element in the development of a well-trained and diverse artist. 3-DAY SUMMER SPRING OUTDOOR LANDSCAPE WORKSHOP LANDSCAPE CRASH COURSE WITH BROCK LARSON WITH BRIDGET ERTELT In this three-day workshop, students will be taken The focus of this class will be painting the landscape through Brock Larson’s approach to painting outdoors. Get ready for a lot of information and landscapes on location. Outdoor painting has a learning! Day 1 is all about value. We will study the large set of challenges, from fleeting light effects to value structure of the landscape and simplify values unpredictable weather changes, so practicing the to create strong starts. Day 2 will focus on color. We ability to predict, prepare, and adapt for these changes is a necessity to painting will discuss seeing color as value and organizing from nature. Brock will demonstrate his process on Friday and Saturday colors in a way that creates dynamic starts. Using temperature shifts to create the effect of different types of light will be discussed. We will mornings, breaking down the stages of how to gain the initial impression, also talk about green since there is a lot of it during our Minnesota summers. Day 3 will composition and overall placements, to solving smaller passages while cover atmospheric perspective, gradation, and special lighting situations such as sunsets. maintaining the “big look.” The general outline is as follows: Fri.
    [Show full text]
  • Frequently Asked Questions
    The Seward Johnson Atelier Sculpture exhibition MOST FREQUENTLY ASKED QUESTIONS Are there real clothes on the sculptures? No. Surprisingly each sculpture is entirely bronze. The realism of the textures and details is the hallmark of Johnson’s art, and this detailing is achieved with hours and hours of intense labor. Seward Johnson begins each bronze with a twelve inch tall “sketch” in clay, and then enlarges this to life scale in clay. Often delicate textures, such as the skin, can be made more real with fabrics pressed into the still-moist clay at this stage. Sometimes articles of clothing are stiffened with a resin and used in the mold process, but there is no clothing on top of, or under the bronze, in the sculpture that you see today. Other times clay clothing is sculpted onto the figure by the artist using fine-edged wooden and metal tools. As the figures are sawed into many parts for the casting process, there are dozens of roughly welded areas when the parts are reassembled in bronze. At this stage, the artist must replace many of the fine textures; a corduroy, a tweed, a cable knit sweater pattern, with an electric tool that is much like a fine dentist’s drill. This is the most time consuming part of creating these bronzes. It takes up to one year to create a new sculpture. Who does the artist used as models? When Seward Johnson is ready to enlarge a piece from the small gesture sketch into the life size version, he will seek out just the perfect face and body type for the story of the sculpture.
    [Show full text]
  • Mitteilungen Des Kunsthistorischen Institutes Lxiii
    MITTEILUNGEN DES KUNSTHISTORISCHEN INSTITUTES LXIII. BAND — 2021 IN FLORENZ HEFT 1 Bad Reception Expressing Disapproval of Art in Early Modern Italy LXIII. BAND — 2021 MITTEILUNGEN HEFT 1 DES KUNSTHISTORISCHEN INSTITUTES IN FLORENZ Bad Reception: Expressing Disapproval of Art in Early Modern Italy edited by Diletta Gamberini, Jonathan K. Nelson, Alessandro Nova Redaktionskomitee | Comitato di redazione Alessandro Nova, Gerhard Wolf, Samuel Vitali _ 83 _ Maddalena Spagnolo _ 3 _ Diletta Gamberini - Efmere saette: sfide e limiti Redakteur | Redattore Jonathan K. Nelson Samuel Vitali Preface di una satirico- Kunstliteratur Editing und Herstellung | Editing e impaginazione burlesca Ortensia Martinez Fucini _ 7 _ Alessandro Nova Kunsthistorisches Institut in Florenz Bad Reception in Early Modern Max-Planck-Institut _ 99 _ Paolo Celi Via G. Giusti 44, I-50121 Firenze Italy: An Introduction “Che non l’arebbe fat’a pena Tel. 055.2491147, Fax 055.2491155 s.vitali@khi.fi.it – martinez@khi.fi.it Cuio”. Porte, apparati e www.khi.fi.it/publikationen/mitteilungen facciate fiorentine in tre testi Die Redaktion dankt den Peer Reviewers dieses Heftes _ 15 _ Jonathan K. Nelson - für ihre Unterstützung | La redazione ringrazia i peer pasquineschi dello Zoppo reviewers per la loro collaborazione a questo numero. Richard J. Zeckhauser Italian Renaissance Portraits Carrozziere e dell’Etrusco Graphik | Progetto grafico RovaiWeber design, Firenze that Disappoint: Isabella d’Este, Francesco del Giocondo, and Produktion | Produzione _ 115 _ Sefy Hendler Centro Di edizioni, Firenze Other Displeased Patrons “Broken into pieces and its Die erscheinen jährlich in drei Heften und head thrown into the square”: könnenMitteilungen im Abonnement oder in Einzelheften bezogen werden durch | Le escono con cadenza The Numerous Failures of quadrimestrale e possonoMitteilungen essere ordinate in abbonamento _ 33 _ David Ekserdjian o singolarmente presso: Bad Reception and the Michelangelo’s Bronze Statue Centro Di edizioni, Via dei Renai 20r of Pope Julius II I-50125 Firenze, Tel.
    [Show full text]
  • FALL 2021 COURSE BULLETIN School of Visual Arts Division of Continuing Education Fall 2021
    FALL 2021 COURSE BULLETIN School of Visual Arts Division of Continuing Education Fall 2021 2 The School of Visual Arts has been authorized by the Association, Inc., and as such meets the Education New York State Board of Regents (www.highered.nysed. Standards of the art therapy profession. gov) to confer the degree of Bachelor of Fine Arts on graduates of programs in Advertising; Animation; The School of Visual Arts does not discriminate on the Cartooning; Computer Art, Computer Animation and basis of gender, race, color, creed, disability, age, sexual Visual Effects; Design; Film; Fine Arts; Illustration; orientation, marital status, national origin or other legally Interior Design; Photography and Video; Visual and protected statuses. Critical Studies; and to confer the degree of Master of Arts on graduates of programs in Art Education; The College reserves the right to make changes from Curatorial Practice; Design Research, Writing and time to time affecting policies, fees, curricula and other Criticism; and to confer the degree of Master of Arts in matters announced in this or any other publication. Teaching on graduates of the program in Art Education; Statements in this and other publications do not and to confer the degree of Master of Fine Arts on grad- constitute a contract. uates of programs in Art Practice; Computer Arts; Design; Design for Social Innovation; Fine Arts; Volume XCVIII number 3, August 1, 2021 Illustration as Visual Essay; Interaction Design; Published by the Visual Arts Press, Ltd., © 2021 Photography, Video and Related Media; Products of Design; Social Documentary Film; Visual Narrative; and to confer the degree of Master of Professional Studies credits on graduates of programs in Art Therapy; Branding; Executive creative director: Anthony P.
    [Show full text]
  • Read Our Mission Statement
    Polins Atelier Mission Statement: Polins Atelier aims to provide serious art students and professional working artists alike, with training in the fundamentals and advanced concepts of painting and drawing in the tradition of Classical and Contemporary Realism. Constructed on the French and Italian Ateliers, PA seeks to combine these methodologies with contemporary approaches. Our mission is to stimulate both public and private artistic advancement, to maintain an environment fostering mutual pursuit of excellence, and to apply the tools necessary for developing rewarding careers in the arts. At Polins Atelier we strive for excellence in the pursuit of painting and drawing in a Classical Realist tradition. Providing the serious student the fundamentals and advanced concepts of drawing and painting from direct observation. Searching for an aesthetic beauty in art while investigating direct study of nature as the foundation for great painting, drawing and sculpture. It is our job as a learning institution to be a source of stimulation and healthy competition, all while mastering the practices needed to develop rewarding careers and lives in the arts. In Jason’s words: My process has been inspired by my extensive training in school from life and nature as well as by studying the works of master painters. I have a great respect for master painters of the past, because they were innovative and creative in their painting techniques. With my own artistic Hue, value, chroma and drawing are all equally important elements. If you neglect one, the others will be aversely affected. For a painting to be successful it must remain a cohesive unit.
    [Show full text]
  • Impressionism
    IMPRESSIONISM Eugène Boudin (1824 – 1898) was one of the first French landscape painters to paint outdoors. Boudin was a marine painter, and expert in the rendering of all that goes upon the sea and along its shores. His pastels, summary and economic, garnered the splendid eulogy of Baudelaire; and Corot called him the "king of the skies.” He opened a small picture framing shop in Le Havre and exhibited artists working in the area, such as Jean-François Millet, and Thomas Couture who encouraged young Boudin to follow an artistic career. Boudin, The Beach at Villerville 1864 In 1857/58 Boudin befriended the young Claude Monet, then only 18, and persuaded him to give up his teenage caricature drawings and to become a landscape painter, instilling in the younger painter a love of bright hues and the play of light on water later evident in Monet's Impressionist paintings. They remained lifelong friends and Boudin joined Monet and his young friends in the first Impressionist exhibition in 1873. Boudin, Sailboats at Trouville 1884 Johan Jongkind (1819 – 1891) was a Dutch painter and printmaker. He painted marine landscapes in a free manner and is regarded as a forerunner of Impressionism, introducing the painting of genre scenes from the tradition of the Dutch Golden Age. From 1846 he moved to Paris, to further his studies. Two years later, he had work accepted for the Paris Salon, receiving acclaim from critic Charles Baudelaire and later on from Émile Zola. Returning to Rotterdam in1865 he moved back to Paris in1861, where he rented a studio Jongkind, in Montparnasse, the following year meeting in View from the Quai d'Orsay 1854 Honfleur Sisley, Boudin and the young Monet.
    [Show full text]