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LARA | London Atelier of Representational Art
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LARA | London Atelier of Representational Art's posts

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Since 2008 LARA has been training artists to the highest skill level but sadly we have been informed we need to leave our building.

The media is filled with story after story of artists being squeezed out of London, out of the precious spaces they’ve worked hard to carve out for themselves in the city. We’ve worked tirelessly to protect our students and artists from this great London squeeze, but sadly it’s now happening to us. Our studio space is being pulled down to make room for more serviced offices as part of the wider gentrification of London.

Read More >> http://ow.ly/Dn44308BxAS

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LARA wishes to congratulate former student Jamie Coreth on winning the Young Artist Award at the BP Portrait Award 2016 for his portrait Dad Sculpting Me

http://ow.ly/XjIB301vP8B

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'Researchers now know the curious white lumps were neither insect eggs nor gas bubbles. After a few years of putting Rembrandt’s “Anatomy Lesson” under the scientific scalpel [it was] determined that the strange white muck is lead soap, a substance chemically analogous to the soap Rembrandt might have used to wash his hands after... painting.

But instead of being produced by 16th-century cosmetic manufacturers, the lead soap found in and on this masterpiece is a product of the painting itself, formed over centuries by the marriage of free fatty acids and lead ions from the layers of paint lurking beneath the artwork’s surface.'
http://ow.ly/vdjN301u4h0

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In this journal post we explain how to develop a ‘language’ or system to build confidence and purpose during your quick sketching sessions. http://ow.ly/alZC301tJmt

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Anatomical study reveals the increasingly complex musculature of the different parts of the arm, from the relatively few large muscles in the upper arm, around 20 contained within the similar length of the forearm, while the hand is packed with more than 40.

The corresponding mobile range of each element, poses specific challenges to the artist that can only be resolved with acute observational skills
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“First you draw what you see. Next you draw what you know, and only then will you know what it is that you see.”

The great anatomical expert Robert Beverly Hale on the importance of the knowledge of structure.
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Baccio Bandinelli, Florentine sculptor, anatomist and master of a 16th century atelier, claimed parallels between understanding the human body and the human mind:

“I will show you that I know how to dissect the brain, and also living men, as I have dissected dead ones to learn my art”
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According to Vasari, the great master of the fifteenth century nude Antonio Pollaiuolo “dissected many bodies in order to study their anatomy.”

You don’t have to go quite that far, as our Anatomy Masterclass in September uses beautiful anatomical models!

http://www.drawpaintsculpt.com/short-cours…/artistic-anatomy

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Lara tutor and alumni Harriet Spratt will be teaching on the summer school this July

For Harriet, art always took priority at school. When she left school, none of the established art schools seemed to provide the training that she wanted, so instead she decided to do a Foundation Course to experiment and bide her time. However, at the end of the year, Harriet still couldn't find any representational training. In order to continue her artistic training, she did a joint degree in Fine Art and History of Art at Newcastle University.

It took another two years before Harriet heard about LARA, which appeared to be everything she had been looking for in an art school. Even though she had never stopped painting alongside the jobs she had done post-University, Harriet decided to go back to full time study at LARA for 3 years.

She credits that decision with being the best one she's ever made. In 2015 Harriet's work was chosen for inclusion in the Royal Institute of Oil Painters exhibition and she won 3rd prize in the Winsor & Newton Oil Painters Awards. Harriet now lives and paints in London. http://ow.ly/i/kgCDM http://ow.ly/i/kgCEO
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“Knowing what one is leaving out is more than mere omission,” Lara tutor Stuart Elliot.

Rembrandt’s gestural ink drawings demonstrate economy of line without any loss of meaning.
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