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Life drawing with oil paint

Five-week practical evening course

Short courses

● Fully booked

18 June — 16 July 2018

Unidentified British Artist (Formerly Attributed to William Etty R.A.), Seated female nude, c. 1850?.

Chalk, ink (?) and oil paint on wove paper. 383 x 557 mm. © Royal Academy of Arts, London; photographer: John Hammond.

This oil painting course focuses on the foundations of picture-making through the exploration of formal concepts including proportion, tone and form, temperature, composition and space, and colour itself.

It is not unusual for the concept of drawing or painting to be perceived as separate entities. We often associate drawing with the use of an array of media such as pencils, charcoal, pens and ink, but not painting which might be associated with watercolours, acrylic or oil paints. In fact, painting and drawing are closely related and for many artists, to paint is to draw. This course will explore in detail the relationship between painting and drawing, with particular reference to techniques for drawing with paint, which has informed artists throughout time, and can be a useful part of the creative process.

Since the Renaissance, artists have not only made figurative and compositional drawings on paper aimed towards designing a major larger painted work, they also produce painted studies: drawings with paint. These studies, most often smaller than the intended finished piece, are often painted with a very limited range of pigments chosen by the artist for their palette.

Towards the end of the 16th and during the first half of the 17th century, artists such as Rubens and Van Dyck would work in this way, preferring to use either just black and white, or with an inclusion of possibly a limited selection of warm earth pigments such as brown of burnt sienna or umber, yellow and red natural iron oxide (ochre). This practice enabled them to focus and explore pictorial possibilities within their compositional designs in a more immediate way regarding; proportions, chiaroscuro (tones of lights and darks), temperature contrasts of warm and cool values that can help, among other things, the sensation of a perceived three-dimensional space. Rubens would then variably continue his investigations further with painting a colour study by adding extra colours from the spectrum like lapis lazuli (today’s equivalent is French Ultramarine Blue), with other reds, yellows and greens.

This course explores how this rich tradition in drawing with painting influences ideas of picture-making and how it has continued to be a fertile way of exploring pictorial and representational concerns. The colour studies that the Post-Impressionist George Seurat made on small un-primed wooden panels made in preparation for his famous large magisterial figurative compositional paintings are one such example from the 20th century.

This exciting and dynamic techniques and ideas-based oil painting course runs over five consecutive weeks under the guidance of painter and expert tutor Andy Pankhurst, with participants working directly from different life models and poses each week in order to explore both painting and drawing with paint.

This course runs on Monday evenings, from the 18 June – 16 July, from 6.30pm-9.30pm

● Fully booked

● Cancelled

18 June — 16 July 2018

The Clore Learning Centre, Burlington Gardens, Royal Academy of Arts

£540. Includes all materials, light refreshments on arrival and a drinks reception at the end of the final session.