Painting – Advanced level course

COURSE DESCRIPTION

Prerequisites: all students should have already studied basic drawing techniques and color theory.

The II level Painting course (advanced) is intended for all of those who want to research and study techniques and composition/representation concepts related to painting. The theoretical-practical research is articulated between composition (perception and structuring) and the conceptual definition of the work (analysis of the studied subject).

The laboratory lessons will be preceded by a brief theoretical presentation, with the support of slide shows. They will focus on the theory of composition and its potential, on painting techniques (with vinyl matt emulsion paints and with oil paints) and on the different practical aspects related to sign/gesture, sampling/layering, stratification/removal, construction/fragmentation, thickening/refraction.

Through personal research and guided by the lecturer, the students will learn the different techniques used during the drafting of the works in order to deepen and better identify the peculiarities of their own pictorial language and forms of expression. An outlook to give a visible form to one’s need to paint.

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    Course type: group session – in-person
    Participants: Min 08 / Max 15
    Start/end of the course:  February 8 – April 2021
    Registration dates: February 3, 2021
    Frequency: Weekly
    Duration: 10 lessons – total 30 hours
    Cost: 380 euros (to be paid in full upon registration)
    Materials: the costs are borne by the student
    Language: Italian
    
Lecturer: Guido D’Angelo
    
Location: Via degli Ausoni 7A (Painting classroom) – Rome

    Monday: 5 pm – 8 pm
    February: 8/15/22
    March: 1/8/15/22/29
    April: 12
    10th and last lesson:  lesson outside of the classroom on a date to be defined with the group of students

    Course objectives: during this advanced painting course each student will have the opportunity to investigate and consolidate his/her own painting journey thanks to the support and guidance of the lecturer for the theoretical/conceptual and technical aspects. The painting techniques examined will be mainly painting with oil paints and painting with vinyl matt paints. In addition to the individual research project, exercises will be proposed on specific topics such as: “Works generators”, “the Sower” by Millet, Van Gogh, Bacon, “The orthogonal painting, from Piet Mondrian to Analytical Painting”, “Passages” – Homage to Giacometti, emotional portrait of the artist Paolo Cotani. Historical paintings  will also be studied.

    During the course students will tackle the following topics and technical applications:
    – the subject in space, visual perception and construction of the painting;
    – color as sensitive epidermis and dense body of the painting, drafts and treatments;
    – the secret and hidden structure of a painting;
    – sign and gesture, rewriting reality;
    – painting between sedimentation and removal of matter/color, negation and erasure;
    – colour and slow perception, the deep perception of color;
    – ambiguity and doubt generating visions, figure and background;
    – the fold and the body, anatomy of the inner drapery;
    – unraveling the skein, deconstruction of painting, the painting as a device.

    Recommended bibliography:
    – Maurice Merleau-Ponty – The eye and the spirit, Ediz. SE, 1989.
    – Rudolf Arnheim – Art and visual perception, Ediz. Feltrinelli, 1994.
    – Silvia Bordini – Contemporary art and techniques, Ediz. Carocci publisher, 2019.
    – Mario Perniola – Contemporary aesthetics, Ediz. Il mulino, 2011.
    – Yves-Alain Bois, Rosalind Krauss – The formless, instructions for use, Ediz. Mondadori, 2003.
    – George Didi-Huberman – Modern Nymph, essay on the fallen drapery, Ediz. Il saggiatore, 2004.

    Materials for drawing techniques:

    – Graphite pencils (choice between Caran D’Ache – Staedtler – Winsor & Newton – Conté À Paris – Koh I Noor – Faber Castell – Derwent) grades: 2B / 4B / 6B – alternatively white Staedtler eraser (or similar);
    – pencil sharpener;
    – Winsor & Newton (or other brand) medium “fusaggine”;
    – Cretacolor gray kneaded eraser;
    – 2 black carré (square section) Conté À Paris;
    – 1 bottle of black Indian ink 30 ml. Winsor & Newton;
    – 10 sheets of Spolvero paper size 70X100 cm;
    – 1 roll of yellow paper tape 3 cm high.

    Materials for the technique with the water-based vinyl emulsion colors Flashe by Lefranc Bourgeois:

    – titanium white 022;
    – light Japanese yellow 183;
    – carmine red 366;
    – ultramarine blue 043;
    – phthalo blue 036;
    – natural Sienna 482;
    – red ochre 306;
    – natural shade earth 478;
    – sepia brown 107;
    – black 265;
    – white acrylic chalk 500 ml. Lefranc Bourgeois.

    Oil colors Winton series by Winsor & Newton:

    – 087 Cadmium Lemon Hue – (37 ml Tubes);
    – 109 Cadmium Yellow Hue – (37 ml Tubes);
    – 095 Cadmium Red Hue – (37 ml Tubes);
    – 468 Permanent Alizarin Crimson – (37 ml Tubes);
    – 229 Dioxazine Purple – (37 ml Tubes);
    – 263 French Ultramarine – (37 ml Tubes);
    – 516 Phthalo Blue – (37 ml Tubes);
    – 048 Phthalo Deep Green – (37 ml Tubes);
    – 552 Raw Sienna – (37 ml Tubes);
    – 554 Raw Umber – (37 ml Tubes);
    – 331 Ivory Black – (37 ml Tubes);
    – 644 Titanium White – (200 ml Tubes).

    For oil paints:
    – Sansodor thinner, 250 ml;
    – Liquin Original, 75 ml;
    – Liquin Impasto, 60 ml.

    Long-handled flat brushes in pig bristle or strong synthetic fibres (hard type):.
    (each brand has its own classification, which tends to range from 0 to 28);
    – brushes, large size, number 20 or 24;
    – brushes, medium size, number 14 or 16;
    – brushes, small size, number 6 or 8;
    – brushes, small size, number 2;
    – Sansodor flat brush, number 50 or number 60.

    Round brushes with long handles made of pig bristle or strong synthetic fibres (hard type):
    (each brand has its own classification, which tends to range from 0 to 28);
    – brushes, medium size, number 14 or 16;
    – brushes, small size, number 6 or 8;
    – brushes, small size, number 2.

    Other materials:
    – steel spatulas (shapes and sizes to be agreed with the teacher at the beginning of the course);
    – canvases size 50 X 60 cm. or 60 X 80 cm. (at choice);
    – rectangular wooden palette for oil colors;
    – flat, large plastic plates for vinyl colors;
    – glass jar with lid (jam type) for oil;
    – water container (like a tall bowl or jar) for vinyl;
    – cloth rags for cleaning materials.

    Guido D’Angelo was born in Rome in 1971. He graduated in 1997 from the Academy of Fine Arts in Rome. In 2008 he obtained a teaching qualification for Pictorial Disciplines at the Academy of Fine Arts in Rome. In 2009 he obtained his Master’s Degree in Educational Sciences at the Telematic University of Human Sciences Niccolò Cusano. His work focuses on painting as a language and process system, and aims to manifest and visualise the complexities and articulations within the device of representation. His research also extends to installation interventions with the use of different materials in constant dialogue with space. Guido D’Angelo has been teaching painting techniques and technologies at RUFA since 2019. Since 2015 he has taught painting and drawing techniques at SRF – Scuola Romana dei Fumetti. Since 2014 he has held painting courses and workshops at the Fondazione smART Roma – Polo per l’Arte. Since 2013 he has been the creator and curator of the art project MAGTRESTUDIO in the project room at the art courtyard in Rome. Since 2011 he has been the creator of art projects and events for the TFAC – The Fine Art Collective program, and technical consultant for brands: Liquitex, Winsor&Newton, Conté à Paris, Lefranc Bourgeois. For the TFAC programme, he also holds workshops on painting and drawing techniques in fine arts academies and art training institutes throughout the country. In 2006 he began his professional collaboration with the artist Paolo Cotani, taking part in projects in galleries and museums. In 2005 he started the experimental research project on Image Action in the Environment in Berlin, named ‘Progetto Aliacorpora’. Since 1999 he has worked as a volunteer assistant with Prof. Franco Berdini for the chair of Semiotica del Segno Sperimentale at the Academy of Fine Arts in Rome. In 1996 he founded the research group SANGIORGIO, a project focused on the experimentation of environmental installations using the Multiverse Diaprojections technique, borrowed from the experiences of the historical Lanterna Magika by Josef Svoboda, Alfred Radok and Vaclav Kaslik.

    FEE REDUCTIONS:

    RUFA students: 10%
    
University students: 5% (upon presentation of the university registration booklet)
    Course package: If you have signed up for two or more courses, you are eligible for a 10% reduction on any courses purchased after the first one.

    At the end of the course, upon request, a certificate of attendance will be issued, after attending at least 8 of the 10 lessons.

    INFO & REGISTRATION

    corsibrevi@unirufa.it | +39 06.85865917 | +39 06.85355862