london atelier of representational art

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1 london atelier of representational art

2 Anastasia Pollard Aging Clown oil on board BP Portrait Finalist 2006 Anastasia Pollard Organia oil on board BP Portrait Finalist 2007 Luca Indraccolo Iska oil on linen exhibited RP show 2013

3 Anastasia Pollard Kate oil on board exhibited RP show 2012 Philosophy The London Atelier of Representational Art (LARA) was founded in response to continuing demand from students for a structured approach to learning. The School teaches 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, the LARA offers unique training in representing sustained poses of no less than one week and up to one month giving optimum time to observe and understand the figure. LARA s philosophy supports a return to discipline in art. By employing traditional, time-tested methods, LARA seeks not to return to the past, but rather to build upon it. We provide students with the opportunity to explore distinctive aspects of their chosen subject through the development of draughtsmanship, direct study of works and a practical understanding of the materials and methods of the artist. By this means and through the resulting identification of clear artistic objectives, students acquire creative self-confidence, and visual understanding with subtle and precise powers of description.

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5 Atelier system The atelier system is a highly-structured and systematic curriculum passed on from tutor to student. It emerged around the seventeenth century and later became the most common method of training painters. Students of differing standards and experience work together, each learning from the other and with the tutor tailoring his critique to that of the student s individual requirements. This is an extremely effective way of quickening the process of learning and getting results. Tasks are assigned like building blocks and each task must be completely mastered before moving on to the next.

6 Sight-size method When working in sight-size, the artist first sets a vantage point where the subject and the drawing surface appear to be the same size. Then, using a variety of measuring tools (which can include strings, sticks, mirrors, levels, and plumb-lines) the artist draws the subject so that, when viewed from the set vantage point, the drawing and the subject have exactly the same dimensions. When properly done, sight-size drawing can result in extremely accurate and realistic drawings. It can also be used to draw the exact dimensions for a subject in preparation for a painting. Professional painters will in time, develop an eye that precludes the need for measuring devices and plumb-lines, but the observation method itself is not abandoned instead it becomes second nature.

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9 Drawing Drawing is the foundation of our course and central to good painting and sculpture. We have divided the course into two parts: line drawing and tonal drawing. In line drawing we teach proportion, gesture and correct shapes, using sight-size and comparative measurements. In the study of contour, a high degree of accuracy is obtained, along with the ability to describe the figure by the simplest of means. Students start by preparing a series of drawings, defining the figure with a few lines, to then approach the full realisation of form. Our approach to tonal drawing is based on the association between drawing and painting. We focus on the simple reduction of tone into mass and three sets of values from light, to middle, to dark, demonstrating how patterns of light and shadow reveal form and how this prepares one for painting. Luca Indraccolo Figure drawing demo charcoal on paper

10 Painting Painting is the natural continuation of mass drawing with the addition of colour. Working from both the model and still life, students complete a series of exercises that cover colour-mixing and paint application to achieve textures and atmosphere in painting. We use a limited palette of 5 colours which enables the student to keep focused on tone, temperature, mark making, and painterly qualities those aspects that can ultimately separate a painting from a photograph which have less to do with absolute colour than with overall mood. Advanced projects in the drawing programme allow a natural progression into working with oil paint. Students initially begin with a grisaille pallette to familiarise themselves with the medium and the challenges of accurate value mixing and paint handling. They soon progress into working with the traditional limited colour palette, enabling an accurate and convincing colour impression, marrying a strong sense of drawing with the principals of direct painting. Luca Indraccolo Bryan oil on linen

11 Travis Seymour Vanessa oil on linen Giles Lester Portrait of Alain oil on linen Anastasia Pollard Ghost of Velazquez oil on board Alex Heath Self Portrait oil on linen

12 James Napier The Abandoned Soldier Trafalgar Square Valentina Zlatarova Portrait sketch

13 Sculpture Accuracy and keen observation of the human figure in three-dimensional space is at the heart of the LARA method of teaching. Courses consist of sculpting from the live model, whether it be the figure or portrait. Long poses lasting several weeks provide a rare opportunity for the student to make a considered and in-depth study of the human figure. Integral to the course are several key principles that form the basis of naturalistic figurative sculpture. It is the intention of the course to instil these principles into the student s creative process thus enabling them to bridge the gap between what they see, and the quality of work they are able to execute. These include an accurate sense of proportion and gesture, a believable and strong structure, a sensitivity to contour, well-articulated planes and transitions, and the correct application of anatomical knowledge. Students also become familiar with the practical considerations of figurative sculpture, such as armature making.

14 Masterclasses For students who are unable to commit to full time study, LARA provides a program of intensive week long masterclasses run by the atelier tutors. Aimed at both the advanced student and those new to atelier teaching, these masterclasses provide an opportunity to learn or practice drawing and painting skills aided by a professional tutors. Courses covered include still life painting, portraiture and classical figure drawing techniques.

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16 LARA Courses Diploma in Fine Art (Full-time or part-time) Foundation in Fine Art (Full-time or part-time) Drawing & Painting Summer School Drawing & Painting Easter School Figure Drawing Masterclass Portrait Drawing Masterclass Cast Drawing Masterclass Artistic Anatomy Masterclass Figure Painting Masterclass Portrait Painting Masterclass

17 To apply contact: Tel +44 (0) Website: LARA London Atelier of Representational Art W0012/14 West Wing Basement Studio Westminster Business Square 1-45 Durham Street SE11 5JH

18 Student Gallery 1 Tom Greenwood Portrait drawing Audrey - charcoal and chalk on paper 2 Daniel Sequeira Cast drawing Bernini - charcoal on paper 3 Sean Rohr Cast drawing Costanza Bonarelli - charcoal and chalk on paper 4 Tom Greenwood Figure drawing Luther - charcoal and chalk on paper 5 Conner Burke Figure drawing Ruta - pencil on paper 6 Jamie Coreth Figure painting Eamon oil on canvas 7 Andrew Hitchcock Cast painting Laocoon - oil on canvas 8 Sally Jane Fuerst Portrait of Avril - oil on canvas 9 Sofia Welch Figure Painting Rea - oil on canvas 10 Radoslav Topalov Cast drawing San Benedetto charcoal on paper 11 Jamie Coreth Figure drawing Sebastian charcoal on paper

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