Gage Academy of Art | Intermediate Expressive Figure Painting: Degas and Toulouse-Lautrec

Intermediate Expressive Figure Painting: Degas and Toulouse-Lautrec

360 Online Class | This program is completed

Level

Intermediate - Advanced

Date

9/17/2020-11/30/2020

Time

4:00 PM-7:00 PM PDT on Th

iCalendar

Download iCalendar

Tuition

$490.00

Member Tuition

$441.00

Registration Fee

$10.00

To assist you in preparing for this class, we have provided a link to the setup / test pages from the conference provider. If you have never used this conference service before please click on the link below so that your PC or device will be ready to participate in this class.

Click here to download app

Program Description

This course pairs Edgar Degas with Henri de Toulouse-Lautrec. You’ll make two very different paintings: a drawing-painting in the manner of Lautrec, and a layered—built from the ground up—in the manner of Degas. Both Degas and Lautrec painted people of their time, including friends and acquaintances, dancers and performers. They were among the avant-garde in Paris, they frequented some of the same cafés and overlapped circles of other artists. They’re compositions were influenced by Japanese prints that were popular in Paris in the late 1880’s, along with many other artists, namely Van Gogh. Degas and Lautrec's paintings are equally experimental, though Lautrec's approach was based on discovery versus Degas who worked more analytically. Their depictions of the figure are divergent also, with Degas' composition being more removed and classical in nature, versus Lautrec’s direct confrontation and gestural-line painting approach. In this 10-week course, you’ll paint in the manner of each artist, using live models online. Issues covered include composition, paint applications, surface qualities, drawing/painting use of line, and expressive color. You’ll make two paintings, studying one artist at a time. Oil or acrylic paints welcome.

Required Supplies

OIL/ACRYLIC PAINTS: Please have the following requested colors (color names vary according to brand)
· OIL PAINT NAMES:
o Titanium White
o Zinc White (very important, no mixed white)
o Ivory Black (optional)
o Yellow Ochre (optional)
o Raw Umber
o Hansa Yellow Light (or a Lemon Yellow)
o Hansa Yellow Medium or Deep (this is a yellow-orange)
o Permanent Orange (optional, or any other orange is optional)
o Permanent Red (or) Organic Vermillion (or) Napthol
o Alizarin Crimson
o Chromium Green Oxide (optional)
o Sap Green
o Phthalo Green
o Ultramarine Blue
o Phthalo Blue
o Dioxazine Violet (or) Violet (or) Carbazole Violet
· ACRYLIC COLOR NAMES:
o Titanium White
o Zinc White (very important)
o Ivory Black (optional)
o Yellow Ochre (optional)
o Raw Umber
o primary yellow (series 2) / or Hansa Yellow Opaque (series 4) /or a Lemon Yellow
o Hansa yellow medium (a yellow-orange color)
o Pyrrole Orange (optional)
o Napthol Red Light (or) Cad Red Light (or) Pyroll Red Light (or) a bright red
o Alizarin crimson
o Chromium Oxide Green (optional)
o Sap Green Hue or Jenkins Green
o Viridian Green Hue (optional)
o Pthalo Green
o Ultramarine blue
o Pthalo Blue
o Ultramarine Violet (optional)
o Dioxazine purple (or) purple
· OTHER OPTIONAL COLORS:
o Perinone Orange
o Quinacridone Coral or Quin Red
o Cobalt Teal Blue
o Perelyene Maroon
o Indian Yellow
o Manganese Violet
o Permanent Green Light
BRUSHES
o HOG HAIR BRISTLE (variety of sizes, rounds/filberts/flats) –these are Stiff brushes (not soft synthetic)
o A small Selection of synthetic brushes, softer bristle, ROUNDS are best.
o A liner (also known as Rigger) Brush for thin lines (You might have two sizes of this brush for variety)
o I recommend at least TWO SIZES of each shape of brush (FILBERTS / ROUNDS / FLATS --large and small, such as a #8 or #10 and a #4 or #2. Basically a large and small of each shape gives you a good choice while painting for variety of brush work.
CANVASES and BOARDS
o 1 18x24”: for a painting sketch. Can be stretched canvas, a board, or from a canvas pad.
o 1 stretched canvas, minimum size: 24x36” (or one side is at least 32”). Rectangles are best (versus a square).
o (4) CHIP BOARDS, 3 PLY or 4 PLY is best: around 20x30” each. At Artist & Craftsman Supply they have 3 PLY sheets, 32x40” which you can simply cut in half. At Dick Blick Art Supply, ask for the 30-PLY (same as 4-ply) which come in 22x28” (or 28x44” and cut in half). ***DO NOT PRIME, DO NOT ADD A GROUND. You will paint directly on the chip board’s original surface. Have a board that’s larger than the board to tape it down and handle it more easily on your easel.
PAINTING TOOLS:
1 PAINTING PALETTE KNIFE: I recommend the medium sized rounded diamond shape (i.e. Blick RGM style 6 knife)
1 SCRAPER for cleaning your palette
1 PAINTING PALETTE: glass, Plexiglas or paper–a good-sized one please (14?X20? or larger is good). Acrylic painters—you may want to use the “Stay Wet” palette to keep paints moist
PAPER TOWELS (I recommend “Bounty” or “Viva”)
CUT COTTON RAGS, from an old T-Shirt is best
PAINTING MEDIUMS:
ACRYLIC PAINTERS: There are many mediums now for acrylic paints. This class requires at the least, a Matte or Gloss Medium. You may also use a RETARDER or GLAZING medium which extends the drying time of your paint. Also have a SPRAY BOTTLE to keep paints wet.
OIL PAINTERS: I highly recommend WALNUT ALKYD MEDIUM made by M. Graham for this class. This is a fast dryer medium to allow for multiple layers more quickly in oil. Otherwise, mix a 50/50 linseed oil and Gamsol in a small squeeze bottle to add to color mixes as you work.
OIL PAINTERS solvent: I recommend GAMSOL for your solvent.

Instructor(s)

Barbara Fugate