We now have just over four weeks until the start of the 2016 Rome Art Program!!
What to pack is one of the biggest challenges – especially when you are away for a few weeks. Before you try to squeeze your entire life into suitcase it is worth bearing (in no particular order) a few of the following things in mind.
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
Success can be like buses; sometimes it all comes at once. This is very much the case for Luc Dubois (Personal Assistant to our Artistic Director Carole Robb on the 2015 program) who has sent us this list of everything he has been up to over the past few months. In fact there has been so much going on we have had to split it into two posts! Continue reading Student Success: Luc Dubois
Just as I often hear it said that there are many Romes to discover (depending on the individual person who walking it, visiting its many time-hallowed sites and asking The City his or her own questions) there is always a brand new R.A.P. Semester; receiving not only a fresh group of eager artists but even some of the same teachers as they explore ever new methods for making Rome speak to each of their art students in a highly personable and meaningful way. Continue reading Summer 2016 And The Aha! Feeling
Following last months profile of our Program Director Robb Horsley, we are pleased to introduce you to the second of our faculty members… Continue reading Profile: Frances Middendorf
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.