In comparison to his numerous paintings on religious subjects, Ribera painted few classical or mythological works. Representing a tenth of his entire graphic output, his drawings on such themes include figure studies and rapid compositional sketches in addition to one of his masterpieces, Achilles among the Daughters of Lycomedes. Some of these sheets can be associated with the large-format paintings on the history of ancient Rome commissioned from a number of artists in Italy in the 1630s for the decoration of the Buen Retiro Palace in Madrid. The Triumph of Bacchus or Theoxenia, of which two fragments are in the Prado (on display here), may have been one of these paintings. A studio artist for more than 26 years, Jonathan is also an experienced art educator who has held full-time faculty positions teaching intermediate- to advanced-level drawing, figure drawing, painting and illustration classes at colleges such as the New Hampshire Institute of Art. He believes in sound, proven methods, materials and approaches and offers both private and group instruction on everything from basic drawing skills to more advanced concepts. Flemish Baroque, classical, Christian themes, history painting, mythology, portraiture, hunting scenes Italian High Renaissance, design, figurative, portraiture, religious art, landscape art, human anatomy

Look at the red next to the green running through the figure in Fighter,” observes Rubenstein. “It speaks of something unspeakable.” The stereotype has artists living a poor, Bohemian lifestyle, but Peter Paul Rubens (1577–1640) is evidence that some artists achieve immense success. By most accounts, Rubens was a well-respected, rich and happy artist who also collected antiques, raised a big family, and secured a peace treaty or two while serving as a high-level diplomat.He was a busy man of action, and paper was never doodled upon frivolously—nearly all of his drawings were preliminary studies for grander commissions. Charles Le Brun: First Painter to King Louis XIV, by Michel Gareau (Harry N. Abrams, New York, New York) to use drawing, painting and sculpture to develop and share their ideas, experiences and imagination to use a range of techniques to record their observations in sketchbooks, journals and other media as a basis for exploring their ideasHer focal points of interest in art history encompass profiling specific artists and art movements, as it is these areas where she is able to really dig deep into the rich narrative of the art world. Additionally, she particularly enjoys exploring the different artistic styles of the 20 th century, as well as the important impact that female artists have had on the development of art history.

Become the noodle!” he kept insisting and I soon learned that this meant to relax completely, go limp from head to toe. His constant talk, I decided, was intended to make you become the noodle by not allowing you to think too much. Arturo had me on the FDR Drive at rush hour before I had a chance to think about it. Beauty inhabits both works, even if a typical viewer may not associate both pieces with one artist. “He was trying to pin down the figure in his early drawings,” explains Rubenstein, “and in the later drawings, he was setting it loose.” Tone or Value in Drawing - Learn how to add accurate lighting and shadows in drawings, including various techniques, including hatching, cross-hatching, and reductive or wipe out techniques, to add form and depth in drawings.Identifying and discussing the potential for the development and application of skills within the context of studio-based work and research; Ribera’s drawings from the last years of his life return to some of his preferred subjects, such as the Martyrdom of Saint Bartholomew, the Apostle who was flayed alive, and the Adoration of the Shepherds. He painted at least six Adorations between 1629 and 1650 for important clients such as the King of Spain and the Viceroy Medina de las Torres. Four drawings by Ribera on this subject survive, all from the 1640s, and while none can be strictly identified as preparatory for a painting, they present undeniable formal and compositional similarities. In Ribera’s final years his graphic style, which reveals a less secure stroke possibly due to illness, evolved towards fine, tremulous lines and a more extensive use of wash to animate the composition, although now less subtle than in earlier periods. Also characteristic is a certain disregard for unifying the scale of the figures in the drawings, which include extremely elongated figures that are much larger than others, a feature not evident in the artist’s paintings. Jonathan Simon is a fine artist, illustrator and university professor. He holds a B.F.A in illustration from Memphis College of Art and a M.F.A. in painting from the New York Academy of Art. He has studied with a variety of talented artists in both accredited programs and private apprenticeships, including Tony Ryder, author of The Artist's Complete Guide to Figure Drawing, Jacob Collins and Michael Grimaldi of Water Street Atelier / The Grand Central Atelier, and Frank Porcu at the Art Students League of New York. By the time you complete this drawing course, you will have produced a portfolio of amazing drawings, including professional landscape drawings, accurate portrait drawings, artistic still life drawings, and much, much more. Michelangelo Buonarotti Head of a Young Man (?) by Michelangelo, ca. 1516, red chalk, 8 x 6 1/2. Collection Ashmolean Museum, Oxford, England. “This drawing suggests the influence of Leonardo,” says Rubenstein. “It’s more tonal and delicate than many of his other drawings.”

Comparing Pollard Birches to Wild Vegetation shows the Dutch artist’s growth from representational to the almost completely abstract. The transition is on view to a lesser extent in the portrait The Zouave, in which the majority of the face is depicted with a kind of pointillism while specific features, such as the nose, are formed with classical lines. “It’s a very personal language he [came] up with,” comments Rubenstein. “But the marks themselves [are] mesmerizing.” to develop a wide range of art and design techniques in using colour, pattern, texture, line, shape, form and space One marvels even more at the confident, beautiful lines of Rubens’ drawings in light of the knowledge that he most assuredly would consider them working documents, unsuitable for exhibition. What makes him special is “his mastery of the chalk technique,” according to Eitel-Porter. “He needed just a few strokes to evoke not only the figure’s pose but also its emotional state.” Peter Paul Rubens: The Drawings, by Anne-Marie S. Logan (The Metropolitan Museum of Art, New York, New York)

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Beginning logically with line, Andrew Loomis then takes up the interdependencies of tone and colour and then next how to use these three fundamentals to create good pictures. Next comes the idea, the emotion, the psychology of the pictures. Finally, her gives a practical analysis of the various fields open to the illustrator.” The course provides introductory-to-advanced-level research and methodology instruction, covering topics from art and design theory to the use of technology. This course focuses in depth on various research methods currently used to inform the design process. It builds on knowledge and skills acquired in the first semester to introduce students to specific research methods for designers and artists. The course will cover research in physical human factors; human cognitive factors; cultural human factors; and ethnographic fieldwork. Students will learn how to apply these methods to the design process through hands-on projects requiring a multidisciplinary approach.

Michelangelo was not only one of history’s most loved sculptors and painters, but he was also a master drawing artist. The Dream of Human Life (c. 1500) is one of Michelangelo’s surviving drawings that illustrate the delicacy with which Michelangelo handled the depiction of the human figure. Before commencing his best masterpieces, Michelangelo would create many sketches of the human body to perfect his style and composition. Anatomical study(1607) by Peter Paul Rubens; Peter Paul Rubens, Public domain, via Wikimedia Commons With a foot in both the classical and the Baroque eras, Charles Le Brun (1619–1690) was an artist who found success early and had the political skills to remain a dominant figure in the French court and the Académie until very late in life. The Museo del Prado is inaugurating Ribera. Master of Drawing, an exhibition co-organised with the Meadows Museum, which will be presenting it in Dallas from March next year in a reflection of this outstanding and highly productive collaboration between the two museums. Ribera achieved artistic maturity in the 1620s, the decade when his exceptional gifts as a draughtsman became evident. While most of the drawings of these years are executed in pen with long, precise strokes, his mastery of the technique of red chalk is evident in a group of highly finished drawings characterised by their delicacy and detail and which combine Ribera’s roots in academic classicism and his quest for naturalism. These are works with firm, well defined outlines, drawn with the very sharp tip of the red chalk and using soft modelling. The white of the paper is a fundamental element which the artist used to suggest highlights and create volumes.Leonardo da Vinci (1452–1519) was art’s first undeniable superstar, and his genius is indisputable. But Ephraim Rubenstein, an artist who teaches at the Art Students League of New York, in Manhattan, mixes his admiration for Leonardo with the point that even this Renaissance great did not emerge from a vacuum. The program is designed with an emphasis on professional practice and research, and for the MFA program, with a focus on the teaching of drawing, providing students with possibilities to further their work outside the context of the school. Students are taught how to apply ‘drawing’ in its many forms to unfamiliar and diverse situations and are encouraged to invent projects that will continue beyond the scope of the MA/MFA. The two drawings shown in this section ably illustrate how Le Brun’s style pragmatically changed with the times—with both artistic and material success. “One image shows the simple conception of all the forms, very balanced and posed like a Raphael; and the other shows a figure struggling so hard,” marvels Rubenstein.