Painting I

Dates: June 24 – July 15, 2018

A training, built on the newest didactic methods, on abilities of drawing and painting, is offered to beginners, as well as to advanced artists alike:

The portrait, the human body in movement, space, colors, color mixing, strategically application of colors in painting:

Painting I is the practice of figurative representation of the human body on the basis of models and subsequently also from videos and photos of these models.

For absolute beginners the painting techniques which allow an easy entrance full of relish in the figurative painting are shown.

For the advanced, methods of experimentation are shown, to extend the known and perfected abilities attained until now. The experienced painter is challenged to develop further into new ways of expression.

Voluntary excurse:
For these interested, the expansion of the “flat canvas” will be elaborated. Starting from motives of the ceiling frescos in the Sala dei Specchi in the Palazzo Zenobio in which our studios are located, we will extend the canvas by moving images. An additional space of phantasy will evolve which is larger and not hermetically. The viewer associates freely and individually.

The piece of art starts its existence in the viewer, by thinking the separated parts together.

The co-operating models are professional dancers and actors who support the students in setting up scenes according to subjects they want.

Teaching Professor: Wolf Werdigier, Vienna

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Painting II

Dates: June 24 – July 8, 2018

The aim of Painting II Class is an exploration of different approaches of the artistic creation.

The course will focus on the topic of the information society’s media-oriented reality, in which we will examine the possibilities of painting’s role and validity.

Topics will include, How can we re-interpret painting as a model of memory-technique? that is, how a successful painting gives a hint of the invisible, rather than what can be seen. In other words, the creative intention should give a space for the random, for the not specified.

How can we develope this "virtual" eyes?

The birth of an interesting painting is always on the border of an alchemical transmutation. The transformation can take various different forms, when the painter becomes the paintbrush, and / or the colour, the colour becomes shapes and / or light, etc.

How can we find the way of this transmutational process?

Painting's primary attribute is timelessness, some say, it is just an illusion of slowness. What one thrive for when painting is to create a moment of clarity, and enter the state of the flow. We will also try to find an answer to the question, how is it possible to get in the state of flow?

Technical principes are:

  • Brush discipline (gesture, pressure and gravity);
  • Theory of chromatic and tonal progression (matching colors and mastering the “chiaroscuro”);
  • Composition and forces that run a painting;
  • Guidelines to analytical approach to draw a model.

This course brings up the individual potential of each student.

The Painting II Class is designed for beginners and for those who already have experience in painting and would like to explore various possibilities inherent to the process of painting.

Teaching Professor: Attila Szűcs, Budapest

 

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Painting III

Dates: July 8 – July 15, 2018

Running like a common thread through the Painting Class II is the question regarding the conceptual and formal layering of a painting.  As an introduction to this subject, the analysis of the enigmatic painting La Tempesta by Giorgione is proposed. What is it that, even after 500 years, this painting continues to intrigue, and has retained its sense of suspense and mystery? How does Giorgione succeed in creating a sense of alienation that still resonates, even today? The complexity of this timeless painting, in my opinion, lies in the tension between concept and image.

A strong work requires an effort on the part of the spectator and raises questions that evade answers. Together we analyze, aside from The Tempest, both the works of old masters and of modern and contemporary artists whose paintings evince a similar and ambiguous layering.
We base this research on the personal work of the students and expand on their visual language and concepts. This creates a dialogue between the student and the teacher. Through this process, the students enrich their view on painting and call into question their personal work and research.
To achieve this goal, a series of trips have been planned to view a number of works of the Venetian school. This will allow us to compare these concepts and techniques against our perception. First, as mentioned earlier, we will examine La Tempesta by Giorgione, but also works by his contemporaries such as Jacopo Tintoretto with his complex compositional schemes, the impetuous brushstrokes of Francesco Guardi, the enigmatic works of Giambattista Tiepolo and their common forebear Giovanni Bellini. 

Since I understand this Painting Class as a constructive dialog based on the work of each student, the program of visits has not yet been entirely scheduled.
Together we will investigate the power of the painterly gesture, which lies in the relation between the paint stroke and the clarity and expression of color. How did an old master construct his painting and how can we translate this approach into a contemporary painting? Finally, we will use a variety of painterly techniques such as, among others, glazing and alla prima and learn how to combine them.

This master class is designed for beginners and experienced artists alike.

Teaching Professor: Virginie Bailly, Brussels

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Running like a common thread through the Painting Class II is the question regarding the conceptual and formal layering of a painting.  As an introduction to this subject, the analysis of the enigmatic painting La Tempesta by Giorgione is proposed. What is it that, even after 500 years, this painting continues to intrigue, and has retained its sense of suspense and mystery? How does Giorgione succeed in creating a sense of alienation that still resonates, even today? The complexity of this timeless painting, in my opinion, lies in the tension between concept and image.

A strong work requires an effort on the part of the spectator and raises questions that evade answers. Together we analyze, aside from The Tempest, both the works of old masters and of modern and contemporary artists whose paintings evince a similar and ambiguous layering.

We base this research on the personal work of the students and expand on their visual language and concepts. This creates a dialogue between the student and the teacher. Through this process, the students enrich their view on painting and call into question their personal work and research.

To achieve this goal, a series of trips have been planned to view a number of works of the Venetian school. This will allow us to compare these concepts and techniques against our perception. First, as mentioned earlier, we will examine La Tempesta by Giorgione, but also works by his contemporaries such as Jacopo Tintoretto with his complex compositional schemes, the impetuous brushstrokes of Francesco Guardi, the enigmatic works of Giambattista Tiepolo and their common forebear Giovanni Bellini. 

Since I understand this Painting Class as a constructive dialog based on the work of each student, the program of visits has not yet been entirely scheduled.

Together we will investigate the power of the painterly gesture, which lies in the relation between the paint stroke and the clarity and expression of color. How did an old master construct his painting and how can we translate this approach into a contemporary painting? Finally, we will use a variety of painterly techniques such as, among others, glazing and alla prima and learn how to combine them.

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