Rome Art Program alumna Rachel Masters has had a productive few years following her time on the program. Let’s find out more… Continue reading Student Success: Rachel Masters
Student Success: Rachel Masters
Author: RomeArtBlog
Student Success: Luc Dubois (Part 2)
Following on the post earlier this month, here is the second instalment of the achievements made by Luc Dubois, 2015 Personal Assistant to our Artistic Director. Continue reading Student Success: Luc Dubois (Part 2)
Faculty Works: Frances Middendorf
Faculty member Frances Middendorf is participating in a group show at the National Arts Club in Gramercy, New York City. Continue reading Faculty Works: Frances Middendorf
Tristan Barlow
If you happen to be out and about in South East London this week then why not pop into Bond House and view the latest show from our 20122 and 2012 Teaching Assistant Tristan Barlow.How to Draw A Painting
How can knowing how to draw make me a better painter? This is a question that many artists used to ask, until in many ways the Impressionist movement detached oil, pastel, and watercolor work from any responsibility to what one might call an underdrawing. In many ways, the Italian painter Caravaggio, whose great canvases of varied religious subjects revolutionized Rome in the early 1600s, was the first Western artist to defy the academic pedagogy of drawing and to flaunt that tradition by leaving not a single trace of pencil or crayon drawing preliminary to his oil compositions and by exiling from his compositions any statuary or architecture that might vaguely suggest an academic element like drawing in his creative act. Continue reading How to Draw A Painting
How can knowing how to draw make me a better painter? This is a question that many artists used to ask, until in many ways the Impressionist movement detached oil, pastel, and watercolor work from any responsibility to what one might call an underdrawing. In many ways, the Italian painter Caravaggio, whose great canvases of varied religious subjects revolutionized Rome in the early 1600s, was the first Western artist to defy the academic pedagogy of drawing and to flaunt that tradition by leaving not a single trace of pencil or crayon drawing preliminary to his oil compositions and by exiling from his compositions any statuary or architecture that might vaguely suggest an academic element like drawing in his creative act.