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They offer workshops for working in oil if they do not offer to study one specific year i would reccomend practicing at home with graphite by copying bargue drawings there are many instruction videos out there in YT and i would reccomend Stephen Bauman's patreon page its only 10$ you can learn to work with graphite and oil , work in graphite and charcoal at least 1 year and then do some workshops in florence at Angel Academy

Thank you for the question! There is a great deal of charming praise for natural light (in particular, North light) in art-related literature. When this lighting condition is properly controlled, it is often lovely. However, we must remember that historical alternatives to natural light have been, until recently, rather primitive, offering a narrow range of the spectrum of natural light, improper colour balance and a harsh "spot-light" effect. Fortunately, we are now in the 21st century and artists and art schools have access to modern lighting fixtures that replicate the effect of natural light for all intents and purposes. -This includes the colour temperature, the expanse of the light source (eliminating the harsh "spot-light" effect) and the gentle transition from half-tones into shadow. The advantage that modern lighting systems have over natural light is that it is consistent. The student trying to study under natural light will be victim to changes in the appearance of the subject due to clouds, rain and the early arrival of sunset during the winter. The students at the Angel Academy of Art, on the other hand, can comfortably work on their projects from 9.00 am to 9.00 pm without visual inconsistancies due to lighting! For a student trying to learn about the creation of form, this is a great benefit. Should you be curious, we have also chosen the colour of the walls, floor tiles and curtains to further enhance the lighting effect on the subject and to provide the maximum degree of focus for the student. Hope this answers your question!

@@AAAAngelAcademyOfArt What is the price of a year of study may i ask? I can't find information from anywhere. Also, are there any entrance exams to study here? What level?

Exactelly. I am professor of conservation of works of arts and i do know what it takes financially for one person to attend a private classical atelier like this one: a lot ! Or you have a very secure financial background to go there to live a cumbaia life style, studying at will, have a home to live, food, etc and be non preoccupied with other things or you simply can't do it. Going from another country to that place, trying to work and study at the same time is almost , if not completely, impossible. And in the end you will probably not have money to pay for food or sheler after the monthly tuition ( thi is IF you get a job there in the first place, cleaning dishes or serving tables ). This is a very romantic and fluffy video , but the reallity is one: it is expensive, is for people with money, that have someone that pay for them ( parents, family, etc ) not for people with talent that are poor and really could use an impressive art course like this one. Hell, i almost paint like this and i don't even ave a formal painting education, just an education in conservation of works of art. And i searched for online couses everywere from the Wattts Atelier, to the Barcelona Atelier, the Florence Academy, Angel, etc etc and the prices are all astronomical, absolutely impractical .. These academies operate with the tuitions of rich students, not poor talented people. A sad reality, but a reallity non the less. But just as it is, the courses are unbelievable and supreme, i wish i could have the money to go there. Impossible.

no you dont... Honestly what most people dont understand is no matter the quality of the school you go to. At the end of the day you are still educating yourself. Teachers only find the material and provide it to you and give you shortcuts by answering questions directly and demonstrating but at the end of the day you inside your own brain put that knowledge together and put it into practice. If you dont have the money you can model your education that you do at home after an atelier. THats what I did. I spent 6 years doing cast drawing at home, moving to a limited palette of color eventually and doing still life etc. When I saved up enough I attended gage academy for a couple semesters so i could ask teachers questions and get info. Now im a professional artist who makes a really good living doing what I love and I know several artists who spent big bucks going to academy's and they work minimum wage jobs now.

I would actually say I personally see a huge problem with these academy's because many people who are drawn to realism tend to be so structured and regimented in personality so much so that they cant break away from this academic training when they leave. It just becomes ingrained in them. and now we are seeing in the galleries that i work with hundreds of artists here in the states painting identical looking academic figure paintings with no real life of the artist in them. You are better off working your ass off and teaching yourself and attending workshops from artists you admire while doing master studies of your own. You are more likely to develop your own voice.

Rich people ;)

@@pedrosilvaferreira2562 lol right........

No, you are learning technique. Look at the people who have finished the Angel Academy, none of them are just copyists.

I gotta say experience is what separates

I’m taking a local Bargue course with an excellent instructor. Trying to copy the plates from the book without an instructor is probably like learning engine repair or neurosurgery from a book, possible but not the most effective or efficient approach.

@@jeffhreid I am an art teacher and i say: You just made a comparison that makes no sense at all just for the sake of commenting.

I read that by the national gallery and it seems you are the one who didnt have the knowledge or understanding to comprehend what you were reading and the fact that it actually agreed with this academic approach of a grisaille only using a different name for it. You look pretty foolish in my eyes because the national gallery literally states that there is 3 different types of techniques used by Caravaggio examined in the study on his surfaces. You chose one of the examples and tried to base your argument off it while ignoring the others. The technique of applying a semi transparent white (in caravaggio's case egg tempera white which was probably some sort of egg oil emulsion) over a toned warm ground to bring out the modeling in certain parts is explicitly shown in their research. He didnt do it every time, he didnt do most of the time but he still used it to model flesh. BTW they show students using full color in the red and bright colors in this academic approach. They arent teaching a full grisaille in the first place which would be a black and white painting. It clearly shows them applying full body color with no under painting just as caravaggio did. This is the more academic approach to Caravaggio's technique. There are also other studies from conservation departments in Italy that you can pull up on CZcams that actually show a breakdown of his technique and it shows how caravaggio used a white tinted with naples yellow transparently over a warm ground to model his flesh tones in some of his work. Thats what a grisaille is. Its a largely colorless first pass at flesh or modeling of something.

@@devinmichaelroberts9954 The technical bulletin is called "Three Paintings by Caravaggio" by Larry Keith. It covers three paintings 1."Boy Bitten by a Lizard" 2."The Supper at Emmaus" 3."Salome Receiving the Head of John the Baptist". It's impossible for me to know which of the three you think was painted using the grisaille technique because you've not said which one or two you think were painted in this way. I just don't think any or them were painted using grisaille. On the other hand 2. and 3. are explicitly described as using the "abbozzo" technique. When it comes to 1. I am saying that Caravaggio did not paint the illuminated flesh areas in a grisaille over which he then painted a flesh coloured layer, that just did not happen but you and the film above say that it did. There is nothing in this bulletin that states that Caravaggio used the grisaille technique at all.