They will come to find that less can sometimes be more and that parts left out are just as integral to a piece as those included. They will decide what characteristics to emphasize in the sitter and how much value and tone to give the piece. The draftsperson has an array of options in front of them. The thread between the model and artist is a point in time allowed to speak eternally. Equipped with technical tools, the artist can enter the creative loop, where we are left alone to discover just how alive a drawing can be. The foundational training leading up to this time was important to the development of their hand and their approach to the start of the drawing, just as the influence of past masters will meld into their approach and psyche. In the studio, the draftsperson will discover that the path they take with each line is a journey that they embark on alone. Training was based on the antique ideal of anatomical study, light, perspective, and analysis, combined with Greek thought and experimental science.” (1) “One can see that in Ingres’s drawings from the École des Beaux-Arts that the human body, whether drawn from a model, a marble sculpture, or a plaster cast, seems to vibrate in the light, seeking equilibrium of movement. The primary goal of the École was to keep alive the soul, the genius, of antiquity. The École des Beaux-Arts created a similar model that can trace its origins back to 1648. “In 1563 Cosimo, Grand Duke of Tuscany, the historian Giorgio Vasari, and Michelangelo presided over the birth of the Accademia della Arti del Disegno in Florence.” (1) At the Accademia, training first in drawing from master copies, then from Greco-Roman statues and poses, would slowly instill in an artist the ability to compose from life. Though few in number, they offer an indispensable guide for proliferating the teaching of art techniques as a skill set. These schools embrace the Old Master traditions of Da Vinci, Michelangelo, and Raphael. Paul, MN, and the DaVinci Initiative in Jersey City, NJ, have kept the torch of skill-based training alive for the next generation of youth. A few academies, like the Art Academy in St. Unfortunately, academic, skill-based teaching in drawing, painting, and composition is all but lost in high schools in the United States. During my time apprenticing in Norway under the master Odd Nerdrum I took part in a continuation of this tradition, modelling for several drawings and paintings. In fact, most of the modeling in the academy was done by studio apprentices posing as mythological gods or religious saints, sinners, or martyrs. During the Renaissance in Florence, disegno (drawing) from life was central to a painter’s development and a daily activity for masters and apprentices. One line, narrowing from thick to thin, can control the weight, movement, and emotion within a composition. Step-by-Step Portrait Drawing: The Power of Line and Light Jeremy Caniglia, “Illuminating Dreams Whispered on Outstretched Wings,” 2019, charcoal and chalk on paper, 11 x 14 in. See how in this step-by-step portrait drawing demonstration from Jeremy Caniglia.
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