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Calendar
| October 2007 - NYC |
| 10 / 13th Old Masters Techniques Intensive Workshop- Philippe Devaud |
| November 2007 - NYC |
| 11 / 16-18th Egg Tempera Course - Ophrah Shemesh |
| April 2008 - NYC |
| 04 / 11-13th Egg Tempera Course - Ophrah Shemesh |
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| Special Six-Day Workshop Beginning October 13, 2007 | |
| Old Masters Techniques Intensive
Workshop (intermediate - advanced) Philippe Devaud Saturday October 13 10-5pm Monday 10/15 thru Friday 10/19 6:30-9:30 pm $450.00 (includes model fee) |
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| Trained as a restorer of antiquities, Philippe
Devaud spent years studying traditional media, pigments
and brush styles. The techniques and color palette he has developed expand and
update this knowledge with modern chemicals and processes. Mr. Devaud will
teach elements of his techniques in this intensive six-day workshop.
Topics addressed will include mixing media and choosing the right pigments for each step of the process, understanding the properties of pigments and media to control paint quality, drying time, quality of surface finish, etc., and using various brushes for applying and manipulating paint. Mr. Devaud will also teach students how to use powdered pigments to make other media such as watercolor, acrylic, and pastel. Time will be divided between lecture, demonstration and studio, when students may apply the techniques to painting from the life model. Since Mr. Devaud has worked exclusively and in concert with the manufacturers of Kremer Pigments and DaVinci brushes for many years, these companies are pleased to sponsor his association with the New York Academy of Art. Click Here to Visit Mr. Devaud's Website Students will be provided with an assortment of powdered pigments and mediums from Kremer Pigments to use during the workshop and will receive a boxed set of five specially designed DaVinci brushes as a gift. The New York Academy of Art 111 Franklin St. New York, NY 10013 Contact: John Cichowski 212-966-0300 x968 or johnc@nyaa.edu |
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James Gloria
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James Gloria studied the art of scagliola at the Accademia Caerite in Rome, and continued his
studies with fresco courses at the Parsons School of Design. He holds a B.F.A. of the Mason Gross School of
the Arts, Rutgers University. ln 2OO2 he received a Certificate in Scagliola and Stucco Marmo at the
European Center for the Preservation of the Architectural Heritage on the lsland of San Servolo, Venice. Mr. Gloria is a self-employed decorative artist and instructor, whose recent commissions include murals in the Spanish Peace Garden at the Newark Museum, and other commercial and residential projects. Besides teaching at Kremer Pigments, Mr. Gloria has taught classes at Parsons School of Design, the Newark Museum Arts Workshop, and the Bard Graduate Center for Decorative Arts. His courses at Kremer Pigments start with the basic making of scagliola panels, and continue with the advanced techniques of inlay. |
| All Classes are now held in my studio in Eastern Pennsylvania, 70 miles west
of New York City. Local accomodations are available. website link: http://jamesgloria.com/scag/ScagFrame.html and click on Classes or http://tottsgap.com/ |
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| Decorative Painting: I am now offering the following classes in Decorative painting in my studio on request. Students will work
directly on the wall, learning professional techniques. To reserve a date call (570)-897-5880 or email me: murals@jamesgloria.com
Intro to Faux Finishes: A one day class for beginners covering my water based technique, an introduction to materials of
decorative painting, and basic techniques like sponging, ragging, and colorwashes. Faux Finishes II: Will cover further techniques used by the pro's such as strie, drift marble, and pearlescent finishes.
Intro to faux finishes is recommended as a starter class. Faux Marble: Learn the secrets of marbleizing by working with layers of glazes, and by analyzing real samples to
achieve a professional result. Intro to faux finishes recommended for beginners. Mural painting: Learn to design an execute large scale murals on site or on canvas to be installed.
Students will learn the process from rendering to installation, working directly on canvas with acrylic paints,
each student will finish a small canvas panel to take home. Art experience is a requirement. |
Interested in places to stay nearby? Here are our recommendations: Stroudsmoor Country Inn Back O' the Moon Bed and Breakfast: Georgi Offrell proprietor Arrowheart Inn Bed and Breakfast: David Palmer, Ed Hill proprietors |
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Michael Price graduated from the London Central School of Art in 1974. He has exhibited in Germany , France , England and the USA , including David Findlay Galleries in New York . He has published his research in “Leonardo” Journal for the Arts, Sciences and Technology,(MIT press), Artwatch UK , and the German exhibition catalogue “Bunte Götter ” on Greek polychromatic sculpture. He is collaborating with the scientific department at the MOMA, New York , and the Vienna University of Technology, Austria. |
The Contemporary Relevance of the Renaissance Palette: New to Kremer Pigments |
Weekend Seminars on the Preparation and Application of Natural and Mineral Pigments by Michael Price Those of you familiar with our catalogue will know the range of mineral pigments include Azurite “Michael Price”. Kremer Pigments is pleased to announce that the New York based British artist will make his vast knowledge and results of his on-going pigment and binding medium research available to our customers. Besides learning how to employ many of the Kremer products, the main topics include: 1. Turning crystals and rocks into pigment. 2. Perfecting levigation techniques of the mineral pigments offered by Kremer Pigments. 3. The myths about the support and ground, both traditional and modern. 4. Binding mediums: distemper, tempera, casein, the use of resins such as Venetian and Strasbourg turpentine, oils including raw, sun-thickened, stand oil and co-polymerised walnut and linseed oils. 5. Making oil paint and how to make modern synthetic pigments luminous, including earth pigments. 6. The question of varnish: traditional oil-resin varnishes versus resin-solvent and modern synthetic varnishes. |
For further details contact Michael Price directly at: artmprice@gmail.com or 212 694 8884. Seminars for small groups are planned in the artist's studio in the D.U.M.B.O area of Brooklyn on: |
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Ophrah Shemesh received a traditional art education at the Bezalel Academy of Art and Design in
Jerusalem, Israel, where she graduated with a B.F.A. and ran the etching workshop in her final year.
After moving to New York in 1979 she studied at the New York Studio School, where she became a
faculty member in 1986. From 1988 to 1990 she taught painting in Italy, and, before returning to teaching
and painting in 1993, worked in film in France and Italy. Ophrah Shemesh has recently had solo exhibits in New York and San Francisco, which followed one-woman shows in Boston, Rome and Milan. Her course in egg tempera starts with a lecture at the Metropolitan Museum of Art, because, as Ms Shemesh says, "we cannot develop our own language if we do not understand the history of art." |
| Tempera - Technique and Theory |
| Tempera emulsion was the major painting technique until the end of the 19th century.
For the student to understand the function and practical application of tempera, the weekend course will
start on Friday night at the Metropolitan Museum of Art with a lecture on the origin of egg tempera
and the transition to egg emulsion and oil painting from the beginning of the Classical era
through the Renaissance, followed by a visit to Kremer Pigments. The class will then meet
on Saturday and Sunday, to work on individual projects.
Workhop Costs for November 2007: $ 300.00 including registration fee. Students provide own materials.
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| Visual Arts Italy |
| Located on the estate of Villa Lina in Ronciglione, one our north of Rome,
Visual Arts Italy is a program comprising painting, art history, art theory, criticism, and
visits to historical sites and museums. The curriculum centers on the idea of the relationship
between creativity and art history through observing works of arts, painting, and discussion.
Painting Instruction with Ophrah Shemesh
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| Contact:
Visual Arts Italy 115 W. 29th St., Suite 1103 New York, NY 10011
E-mail: visualartsitaly@yahoo.com |
Daniel Bozhkov
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Daniel Bozhkov studied at the Academy of Fine Arts in Sofia, Bulgaria where he was trained in the traditional
painting techniques of fresco, egg tempera and oil painting. While doing his graduate studies in Fine Arts at Hunter
College in New York City he was sent on a travel grant to Mount Athos, an autonomous monastic republic in
Northern Greece which includes twenty Eastern Orthodox monasteries and numerous smaller hermitages. Daniel Bozhkov teaches fresco at Rhode Island School of Design and also at the Skowhegan School of Painting and Sculpture. He was sent by Skowhegan on teaching sabbatical to Venice, where he studied with Renato Giangualano at the European Center for Preservation of the Architectural Heritage on the Island of San Servolo. Mr. Bozhkov is also an exhibiting and award-winning arist, who has recently had a solo show at Andrew Kreps Gallery in New York, and was awarded studios at P.S. 1 Contemporary Art Center and Marie Walsh Sharp Space Program. |
| Basic Fresco Painting |
| The aim of this workshop is to introduce students to the tradition and practice of
fresco painting and to give them hands-on experience and a chance to work on small fresco panels.
The course includes a slide talk, demonstration of tools, preparation of pigments, plastering and
painting in fresco. Weekends, Saturday morning to Sunday evening.
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| Advanced Fresco Painting |
| This workshop aims to further develop the understanding and the experience of fresco painting.
It includes working on a larger portable panel, on two giornata sections, exploring the Florentine method,
described by Cennino Cennini. This course is suited for students with some previous experience in fresco,
or for those who have taken FRESCO PAINTING at Kremer Pigments. Weekends, Saturday morning to Sunday evening
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| Advanced Oil Painting |
| The aim of this course is to explore further the technique of oil painting.
Students will work on different surfaces using tempera underpainting with oil glazes, and combined egg-oil
emulsion. The techniques of the early Flemish and Dutch masters will be compared to the Venetian school of
painting. The course is suited for artists with experience in oil painting. Weekends, Saturday morning to
Sunday evening.
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Karen Gorst
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Karen Gorst is a leader in the field of manuscript illumination. Studying at Cooper Union, she
pioneered the use of historical painting materials at an early age, making them from scratch at a time when
they were not readily available from Kremer Pigments. As a faculty member of the School of Sacred Arts, NYC, from 1983 to 1992, Ms. Gorst deepened her connection to the transformational qualities of illumination technique. In 1992 she co-founded the Gabreil Guild, a network of artists, scholars and researchers whose common interests are the technical and spiritual practices of medieval/early Renaissance manuscript illuminators. She is currently predident of the Board of Governors of the Society of Scribes. Ms. Gorst's 20 years of experience researching and using medieval techniques has made her an invaluable asset to historians, conservators ans especially to artists interested in learning medieval painting techniques. She teaches at the Pierpont Morgan Library, the Huntington Library, the Metropolitan Museum of Art and the Cloisters and at Kremer Pigments. Ms. Gorst is an arist whose work explores the rich traditions of medieval symbolism and mysticism. She has recently had solo exhibits at the White Plains Public Library, St. John's University Library and Greenwich Public Library. Her work is represented by Diane Calvert Medievales Enluminures, Noyers, France. Ms. Gorst recently finished a commission to be part of the Smithsonian Collection, in Washington, D.C. Lapis & Gold: Unlocking the Secrets of Medieval Painting for Contemporary Artists - by Sybil Archibald and Karen Gorst |
| Medieval Colors and Painting Techniques |
| Western art builds on a long tradition of techniques involving the use of colors found
in nature and early chemistry. Ms. Gorst has developed this unique four day course to make you familiar
with the origin of colors from minerals, plants and animals, their use in paints, their working properties
and historical uses, while creating a medieval illumination. Together we will make pigments from cochineal
and saffron, inks from buckthorn berries and oak apples, medieval paints and gouache, learn about gilding
and working on animal skin and rag paper.
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| Origin of Color |
| Color surrounds us - but where do paints come from? What is the origin of the color particle and how does
it interact with various binding media? This course focuses on the earliest examples of natural and
man-made pigments, and their uses in painting. Students will encounter plants and rocks that are the
sources for color, learn about basic chemistry that makes them permanent and interact with their binding
mediums, and about their historical uses, as they prepare and try out vegetable and mineral paints.
This course will change the way you think about pigments!
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Dmitri Andreyev
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Dmitri Vladislavovich Andreyev, the instructor of our Spiritual Art class, was born in 1964 in St. Petersburg, Russia. He studied various fine arts at the St. Petersburg's Youth Art School and the lnstitute of Applied Arts. His growing interest in the heritage of traditional Russian Art, particularly in its religious manifestations, led Mr. Andreyev to study the ancient examples of icons and the traditions of icon-writing. In 1989, Mr. Andreyev came to the United States to study full-time with his father, master iconographer Vladislav Andreyev, and has since been practicing icon writing and teaching classes, most recently as a faculty member of the Prosopon School of lconology and at Kremer Pigments. He is currently working on commissions in the Byzantine-Russian tradition. |
| Spiritual Art |
| Founded by master iconographer Vladislav Andreiev and continued by his son Dmitri,
the Prosopon School guides students through the practice and theory of ancient Christian art of icon
painting as a meditative task. This discipline of the hand, mind and heart can lead beyond iconic
symbolism and the metaphysical basis of each step in the process to the discovery of the painter's own
inner life and principles. New students will be provided with step-by-step instructions and all necessary
materials. Advanced students are encouraged to continue and deepen their studies. Using ancient materials and
techniques, each participant will create an icon from the ground up.
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