Drawing from the masters: Titian, Rubens and Van Dyck

Weekend-long practical course

Courses and Classes

  • 17 March 2018, 10.30am — 5.30pm
  • 18 March 2018, 10.30am — 5.30pm

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Part of our

Charles I: King and Collector

events programme
Go to exhibition page

Anthony van Dyck, Henrietta Maria with Sir Jeffrey Hudson (detail), 1633.

National Gallery of Art, Washington, Samuel H. Kress Collection, 1952.5.39 Photo © Courtesy National Gallery of Art, Washington

Exhibition organised in partnership with Royal Collection Trust.

Oil on canvas. 219.1 x 134.8cm.

Led by award-winning painter and figurative artist Andy Pankhurst, this practical course focuses on the artistic ideals adopted by Rubens and Van Dyck, after having worked from the masters such as Titian.

When we draw from such great artists as the Renaissance masters, Titian, Durer and Holbein, it is not merely a copy, but a point of entry into the mind, the thought processes, and the artistic approaches of some of the greatest artists of all time. In turn, you begin to learn about the visual language and concepts of picture-making itself, for example: the structure of compositional surface geometry, the imagined pictorial space and its articulation of three-dimensional form upon a two-dimensional surface, the orchestration of colour relationships - such tangible concepts we learn from the masters.

It was the same for those artists that we consider masters today. For instance, Sir Peter Paul Rubens (1577–1640), the great Flemish artist, drew great influence from Italian Renaissance masters including Mantegna, Leonardo da Vinci, Michelangelo, Raphael, Correggio, Tintoretto - but most of all, from Titian (Tiziano Vecellio) (c. 1487–1576), the foremost master of Venetian painting. Making copies from Titian became common practice for Rubens, although in doing so, his copies always retained their own idiosyncratic Rubenesque characteristics and adaptions.

Rubens copying from Titian, and in turn Van Dyck from Rubens, demonstrates in part the rich legacy and fertile history to draw from in copying after one’s predecessors. Thus, the evolution of the language of the visual arts, though not always linear, develops within a continuous cross fertilisation of ideas.

This course endeavours to embrace and explore such artistic discourse and visual culture essential to creative ideals, while working under the guidance of painter and expert tutor Andy Pankhurst.

Please note - this is a drawing course, using wet and dry drawing materials including pencils, chalks and ink. Paint will not be used during this course.

● Fully booked

● Cancelled

  • 17 March 2018, 10.30am — 5.30pm
  • 18 March 2018, 10.30am — 5.30pm

The Life Room, RA Schools, Piccadilly

£420 Includes all materials, lunch, and wine reception at the end of the second day.

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