Drawing the Classical Figure I
Classical Drawing I:
The Still Life
Classical Drawing I and II: In this course, you will enjoy an introduction to the basic principles of Classical and Realist Drawing, learning the traditional techniques of the Old Masters. Although this course will emphasize strengthening technique and skill, the most vital elements of artistic development---creativity, joy, and success at every stage of an artist’s growth---will be present in every session. Learning these traditional techniques and skills will offer course participants strength, confidence, and a sense of virtuosity as the foundation of their artistic and expressive abilities.
Using simple materials at first, and working from still life set-ups and drapery studies, course participants will practice the traditional hatching and cross-hatching techniques used by the Old Masters. This course will cultivate your ability to see and render accurately, and strengthen your ability to understand, see, and render value (light/dark) and form; it will develop your overall proficiency in technique, and will cover other basic principles and techniques of Classical and Realist Drawing. The course moves progressively and sequentially through the sessions of both sections, Classical Drawing I and II. You will begin with learning and practicing the traditional techniques of hatching and cross-hatching, and exercises in seeing and placement, and understanding line; then adding exercises on value (light/dark) and form: understanding how light creates form, and seeing the relationships of objects and ground in terms of value, form, and line; continuing with studies of value and form, and how light creates form, using drapery set-ups; followed by exercises in drawing the wholeness of the piece in terms of the relationships of positive and negative space, object and object, and object and ground, again in terms of value, form, and line; copying Old Master drawings; exercises in composition and set-up design; working with complex forms (seashells, flowers, etc.) and texture, etc.; and continued studies of value and form, working with more complex materials. Individual instruction and attention are emphasized.
Each section, approximately 8 sessions (weekly) of 2 hours each;
16 sessions total for both sections (Classical Drawing I and II).
This course builds upon the skills and knowledge gained in Classical Drawing from Still Life, I and II, using the more complex forms of sculpture and casts of the human figure, and portions of the figure (such as hand casts), as well as the bust and head. Again, we will begin with simple materials at first, using the traditional Renaissance hatching and cross-hatching technique, and move to more complex materials later. This course will include at least two days (two expanded sessions) at the Museum of Fine Arts in Boston, to draw from sculpture in the galleries, with instruction. Individual instruction and attention are emphasized.
Approximately 12 weekly sessions, each session 2 to 4 hours.
Includes at least two days (expanded sessions, full day) at the MFA, Boston.
Prerequisite: Classical Drawing I and II, and permission of the instructor.
Through numerous exercises in creating and setting up still life compositions, learn to see and understand the elements of good still life composition and design, including values, objects, background, color, movement of light, design of light and shadows, etc. Perfect your ability to design and create beautiful reference photographs for still life compositions for paintings.
Four sessions of 2 hours each.
Still Life Composition and Design: Photography for Painting
Classical Drawing III: Sculpture and Casts
Four 2 hour sessions, plus one day (two additional sessions) at the Museum of Fine Arts, Boston, MA
While much of the great art in the Western tradition deals specifically with Biblical and religious subjects, in a broader sense, the entire artistic process itself is spiritually significant for both artist and viewer. From Kant to Kandinsky, Plato, St. Benedict, Rothko, Chardin, Claudio Bravo and others, considering topics such as seeing, silence, grace, authenticity, beauty, healing, transcendence and transformation, appreciate art as a spiritual practice, while acquiring an understanding of some classical still life design and composition principles, with reference to numerous exquisite works in this traditionally philosophical and metaphorical genre. We will also look at the field of theological aesthetics. This seminar is designed for those who love painting as well as for painters.
Includes a guided visit to the Museum of Fine Arts, Boston.
$275.00 per person: 6 class sessions, includes lunch at the MFA's Bravo Restaurant.
Drawing the Classical Figure II
Classical Drawing II:
The Still Life
Drawing the Classical Figure I and II: Building on the skills and knowledge gained in Classical Drawing I and II, followed by Classical Drawing III, Sculpture and Casts, you will learn the fundamental principles and techniques of classical realist figure drawing. Working from a live model, you will cultivate the ability to see and render accurately and beautifully. Beginning with shorter poses and simple materials, course participants will establish skills for longer poses. Through direct observation, an understanding of gesture, form, proportion and composition will be strengthened. As you progress through the two sections of the course, you may also do copies of Old Master figure drawings, and work with more complex materials. Individual instruction and attention are emphasized.
Each section, approximately 12 (weekly) sessions of 3 hours each;
24 sessions for both sections I and II.
Prerequisite: Drawing from Sculpture and Casts, and permission of the instructor.
I also offer private instruction, one on one, in classical drawing and painting. Please use the email form on the Contact page of this website to contact me if you are interested in private tutoring.
Classical Painting II:
Color and Value, from Still Life
Classical Painting I:
Grisaille from Still Life
Classical Painting I: Monochromatic Underpainting:
Learn the basis of traditional Italian Renaissance painting technique, as well as the basis of most other classical approaches to painting, in the monochromatic underpainting, later called the “grisaille” or “brunaille”. Working from still life and drapery studies, and using a monochrome umber and toned white, perfect this underpainting technique, establishing a strong composition of values as the foundation of strong painting composition and technique. Individual instruction and attention are emphasized.
Sessions will be 3 hours each; number of sessions, as required, and continuing.
Prerequisite: Classical Drawing I and II.
Classical Painting II: Color:
Working from still life, beginning with a limited palatte, using impasto application of paint as well as thinner applications of scumbling and glazing, learn the traditional technique of gradually building color on the basis of a strong underpainting. Individual instruction and attention are emphasized.
Sessions will be 3 hours each; number of sessions, as required, and continuing. Other traditional approaches to color will also be taught as desired and appropriate.
Prerequisite: Classical Painting I.
Art as Spiritual Practice Seminar I
Private Tutoring in Classical Drawing and Painting
Still Life 1 copyright 2001/2015 Kathryn Dana Halpern
Still Life 2 copyright 2001/2015 Kathryn Dana Halpern
Kathryn Dana Halpern, After Michelangelo Buonarroti
Kathryn Dana Halpern, After Pierre-Paul Prud'hon
Continue to develop your skills from Classical Drawing I, II, and III, and Drawing the Classical Figure I and II, working from a model, using a traditional Long Pose. Discussions of anatomy can be included, as useful. Individual instruction and attention are emphasized.
Sessions will be 3 hours each (weekly), continuing over several weeks for each pose as suitable.
Prerequisite: Drawing the Classical Figure I and II, and permission of the instructor.
Drawing the Classical Figure III:
Traditional Long Pose
Reclining Figure 2, copyright 2002/2015 Kathryn Dana Halpern