- September 9-10, Oil Painting Fundamentals
- October 7-8, Drawing for Beginners
- November 11-12,Oil Painting Fundamentals
- December 9-10 Introduction to Pastel
September 2017 – May 2018, Wednesday/Thursday evening from 7:00 – 10:15 PM.
This class provides training in the direct observation of the figure. It emphasizes tonal drawing–the perception and composition of the appearance of nature- and form drawing–the development of form concepts as derived from the study of anatomy and perspective. This class works from the nude model, with poses generally lasting three weeks.
It also introduces a broad range of materials to explore their expressive possibilities. They include broad, painterly media, such as charcoal, gray-scale chalks and graphite powder and harder, more linear media such as sanguine pencil, graphite pencil and silver-point. We also experiment with mixed-media processes, such as using wax as a resist for subsequent ink washes.
September 14 2017 – January 4 2018, every other Thursday afternoon from 4:45 – 6:30PM.
This seminar examines landmarks in writing about art. It will include works of theory, criticism, connoisseurship and the writings of artists themselves. Readings come from Van Gogh, Gombrich, Henri, and Rilke, among others.
The Seminar brings together students and artists from different disciplines, approaches and walks of life to read and talk about essential questions in the visual arts, such as; is there such a thing as an artistic personality? To what extent and in what ways can art be taught? Is there a relationship between art-making and mental illness? In what ways has the history of art been influenced by patronage and money in general?For more information or to register, contact the Art Students League of New York, 212-247-2510.
Columbia University School of Professional Studies, Narrative Medicine Program PSNMED5040
Fall Semester 2017. Thursdays, 10:10 AM – 12:00 PM
Seminar in the Literature of Art will examine selected landmarks in the history of writing about art. It will include works of theory, criticism, connoisseurship and the writings of artists themselves. We will examine such questions as; is there such a thing as an artistic personality? Is there a relationship between art-making and mental illness? And why do so many artists allude to suffering, both mental and physical?
One of the major questions raised by the seminar is the extent of Western art’s involvement with the body. The nude body has been absolutely central to our conception of beauty and proportion, and has provided the most potent vehicle imaginable for empathy and for the projection of feeling. But most importantly, all of the writers studied in the seminar teach us how to look more closely, and how to make sense out of what we are seeing. In this way, the visual arts become an arena through which we learn to look at the world more slowly and carefully.