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| 3-Month Intensive Courses |
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Click on the links below for 2008 Intensive course dates, prices and information:
2008 SUMMER INTENSIVE - 12 weeks in Argenton-Chateau, drawing/painting, 6 hrs daily
2008 AUTUMN INTENSIVE - 10 weeks in Argenton-Chateau, drawing/painting, 6 hrs daily
Intensive Courses - General Overview
Studio Escalier offers two 3-month intensive art courses per year, in the summer and
autumn only.
3-month Inteneisve Courses are open for full-time enrollment only. There is no option for part-time enrollment.
Entry is by application only. But there are no specific pre-requisites. Anyone may apply.
Our intensive courses are offered as non-academic, principles-in-practice studio programs, for art students and artists
of an intermediate to advanced level. "Non-academic" here means two things: not characterized by
artificial thinking, and not pursued for college credit.
"Principles-in-practice" means students will receive real-time coaching
and critique at the easel, weekly lecture-demonstrations, and adequate time to study and practice the
teaching on their own, in front of the model.
Our permanent faculty do all the daily intensive course teaching (Timothy Stotz, Nicole Michelle Tully, Tony Ryder or Ted Seth Jacobs.
Check course description page for upcoming course faculty). There are no student-assistants.
The daily intensive work schedule is 6 hours of life-model, 5 days a weeks. Group lecture-demonstrations are given 1-2 times per week. One-on-one critique is given daily, at least 4 days a week, by one or both full-time faculty members.
Figure poses will vary in length between 10 minutes and two weeks (50+ hrs.), depending on the principles being discussed and taught.
Full-time faculty occasionally work alongside students, producing both drawings and paintings.
The central subject of our intensive courses is drawing and painting the human figure from life.
We will paint what we see, and discuss how to better see, imagine, mirror and present our visual experience of the human figure.
Our school of thought is dedicated to the subjective realization and creative discovery of each student, and purposefully excludes the teaching
of nostalgic styles, material techniques, literary criticism or art-historicized formulas.
We study the figure visually, and as a living design -- its structure, nature, character and the play of light upon it -- in order to more deeply understand our
physical selves, and our own perception of the
visual field. This is our route to better understanding and speaking our traditional pictorial language. We are here to produce
superlative painters who can stand in conscious visual relation to the figure, but who are not subservient to it.
It is not an artistic anatomy course, per se, although seeing and characterizing both basic and advanced figure structure is central to the course.
No cameras, mirrors, lenses, sighting devices, cameras or video recorders of any kind are used in the studio at any time. Drawing and painting are not forms
of technology, but of art -- of vision, imagination and understanding.
Our school of thought can rightly be considered a reformed "eye-mind-hand" training: it strongly combines traditional elements of 18th c.
French Baroque life-training with contemporary concepts of color, structure and subject matter. It is not a fragmentary, pre-modern or static inheritance,
but a holistic, cumulative and creative one.
As in all the New York master classes
from which our school descends -- those of Frank Vincent Dumond, Frank Reilly, Edwin Dickinson and Ted Jacobs -- we examine and discuss
our fundamental perceptions and conceptions in depth. The teaching is a constellation of
perceptual, conceptual and physical exercises. It introduces unmistaken principles from a unique, unbroken,
master-apprentice tradition, and cultivates them in the student through daily studio
practice and critique.
Although our school of thought also descends from a uniformly stellar
Prix de Rome winning line of artists,
our school is not a place to follow a commercial art curriculum from the Ecole des Beaux Arts
circa 1864, nor to study or memorize the recipes, styles, or techniques of any past period. Nor is it
a place to just "do your own thing." It's a place to study and practice a contemporary, traditional way to draw and paint the
human figure from life (d'apres nature).
We are not here to demand compliance with a doctrine, but to perceive and apply vital principles and questions. Insofar as we have
any, our artistic authority is spontaneous. We represent a new, international community of figurative artists who are not necessarily like-minded,
and who are not proposing what's "old", what's "timeless", or what's "new", but what's going on.
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