Dates: June 23 – July 7, July 14 – July 21, 2019
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.
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
Dates: June 23 – July 7, 2019
What does it mean to be a painter in 2019, investing one’s energy in the most time-honored medium while so much of everyday life has migrated online into the world of the screen? How has the internet and digital technology changed our sense of space, gesture, and composition in painting today, and how can we embrace this change to move painting forward into the twenty-first century and create images which capture our contemporary moment?
This class is open to beginners as well as advanced professionals and will introduce students to a variety of digital tools in order to allow them to expand their palette both formally and conceptually. We will explore the visual effects of image processing programs, working from both analog and digital models, and a range of other multi-media processes to consider how incorporating the computer, digital photography, and inkjet printing into the studio setting can liberate us to compose paintings unburdened by the limitations of the human hand. Equal attention will be paid to both figuration and abstraction, as we focus on how we can use color, line, and light in new ways to depict the mediated reality of the virtual world of today.
Teaching Professor: Pieter Schoolwerth, New York
Dates: July 7 – July 14, 2019
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
Dates: July 7 – July 14, 2019
Once Don Van Vliet aka Captain Beefheart wrote down his 10 Commandments for the guitar player. A pure dada-style set of rules how to treat an instrument rather then play it, reaching the far ends of the musical and imaginary landscape of the possibilities a certain medium can guide you and accompany you to new territories. So excited as I was reading them, and a Beef-guitar-at-heart fan, I practiced all 10 commandments, visually and sonically (as shown at the exhibition Rebel Rebel at Musee Grand Hornu in 2016). A few months later I wrote a set of 10 commandments myself, this time more specific, for the guitar player in Vienna, as I was invited for a residence and exhibition at Galerie Krinzinger in Vienna.
The 10 commandants have, hens the reference to the 10 commandments Moses received from God, thus a sacred and religious aura, incorporating a fulfillment and commitment, which can guide you in unexpected ways. My focus is not on this religious connotation, it’s a matter of crossed terminology, and can be meaningful in a certain context, as in a catholic city/country as Venice/Italy moreover. No, my interest is in the change of position, the change of perspective, you brought yourself, by just taking a different turn, 10 times.
For this workshop and master class I would like to work on a new set of commandments, for painting. Incorporating this specific medium, with its tools and all aspects it involves, from a daily to a historical perspective, to create 10 mental guidelines for a practice, in art, in painting. Depending on the dynamics in the group, which will be decided upon the first day, we will create 1 communal new set of 10 commandments for the painter, or we will work from an individual basis. The first process will and has to go very quick, the focus and more important aspect off course is how to bring them into practice. Even more ideally you prepare a few directions, which can become one of the 10.
All media are welcome and open to participate, though it’s much more challenging, especially within a certain time frame as in this specific context of a master class, to have an immediate focus and direction, which will in this case be painting. Off course, the commandments lead to different use of the medium anyhow. I will support and guide in any possible way, from the first process of giving this concept a quick start, to a personal and communal guiding in the process of practice.
WARNING: This method can change and damage your way of working and approaching your medium forever.
Teaching Professor: Joris van de Moortel, Hoboken