POETS AND ARTISTS

100 Great Drawings. Issue 78

Steven DaLuz

December 2016

EPOCH TIMES

Creating Meaning in The Art World

Florence Academy of Art Bridges Old and New in the US

By Milene Fernandez

August 2016


EPOCH TIMES

What Unfinished Masterpieces Say To Living Artists

Spotlight on the third floor of Met Breuer's "Unfinished" exhibition

By Milene Fernandez

August 2016

Amaya Gurpide, Painter and Principal Instructor of TheFlorence Academy of Art–U.S. Branch, on Michelangelo

“Studies for the Libyan Sibyl” (circa 1510-11) by Michelangelo Buonarroti (Italian, Caprese 1475–1564, Rome). (The Met Breuer)

“Studies for the Libyan Sibyl” (circa 1510-11) by Michelangelo Buonarroti (Italian, Caprese 1475–1564, Rome). (The Met Breuer)

Michelangelo had one of his male assistants pose for the “Libyan Sibyl,” one of the figures he used to decorate the ceiling of the Sistine Chapel in Rome. He exhaustively drew this figure doing many anatomical studies to understand concepts like gesture, perspective, weight, movement, and design.

When you see this drawing you have the feeling of seeing a relic, a document of time.

One of the most fascinating things about it is to think about a time when artists didn’t have pencils like we do today. Michelangelo had to shape a piece of red chalk carefully to create a sensitive line, and the line work in this drawing is absolutely exquisite.

Also, it’s important to notice the scale of this little drawing and think that the actual size of the final figure was three times life size, so these studies were a crucial roadmap for the final composition.

Seeing this drawing helps me connect with the tradition of the old masters and their use of studies as a part of their creative process. These studies were done with precision, investing all of the necessary time and care in a search to thoroughly understand their vision. All that planning is extremely inspiring when you see how much of that gets translated into the final piece.

When I look at this drawing I think about how much the role of drawing has evolved throughout time. Today, even though we still conceive of studies as a part of the creative process, drawing has acquired it’s own value and has become an independent art form in and of itself. 

Amaya Gurpiede, artist and principal instructor at The Florence Academy of Art-U.S. Branch in Jersey City, New Jersey, on July 14, 2016. (Samira Bouaou/Epoch Times)

Amaya Gurpiede, artist and principal instructor at The Florence Academy of Art-U.S. Branch in Jersey City, New Jersey, on July 14, 2016. (Samira Bouaou/Epoch Times)

One of the most relevant things to me about this show is the fact that it’s through these unfinished paintings that we have the opportunity to see and decipher the work of the old masters. For example, in Velazquez’s “Portrait of a Peasant Girl” you can observe his economical use of line, carefully measured and placed on the canvas to suggest the body and to serve as a guide for his application of paint.Each artist in this show had a particular way of handling line in their work that speaks of their time and circumstance, and through that their different personalities are revealed. For us as spectators this offers a terrific document of the past and a way to analyze and enjoy the work of the old masters.

Read more:

http://www.theepochtimes.com/n3/2131546-what-unfinished-masterpieces-say-to-living-artists/

 


LESSONS IN CLASSICAL PAINTING:

Essential Techniques from Inside the Atelier

By Juliette Aristides

July 2016

The painting "Winter on Beverley Road" was Featured in "Lessons in Classical Painting" by Juliette Aristides, Watson-Guptil Publications, NY. (page 63)


NEWINGTON-CROPSEY CULTURAL STUDIES CENTER.

Art and Culture now.

The Three Artists of the FAA U.S.A. 

by Allison Malafronte

October 2015

 A section of the studio

 A section of the studio

The Florence Academy of Art opened its first American campus in the New York metropolitan area of Jersey City in January of 2015. This article takes a peak inside the private studios of the academy’s Principal Instructors.

I first visited with Amaya Gurpide at the end of the school’s spring semester this past June. She was preparing for the FAA’s end-of-term critique and also anticipating their upcoming summer workshops in July, after which she would spend the month of August in Spain and Scandinavia with her husband Jordan Sokol. There was much activity and accomplishments to be shared from this talented draftswoman and painter, and Gurpide seemed to be settling comfortably into her new life on the East Coast and dual roles as artist and teacher. What immediately stood out in the studio was a large 47½-x-31½-inch drawing titled Maryum in graphite and chalk, the scale and quality of which felt like a painting. “I’ve been doing a lot more drawing and less painting lately, but I’m approaching each drawing as if it were a painting,” she explained. “I work large-scale and invest as much time — usually around four months for each piece — and money on models as needed to finish the work properly. I often frame the drawing as soon as it’s finished, even if it doesn’t have a home, so that it has that sense of completion. In these ways I’m trying to dignify the drawing and bring it up to the level of a painting because I think drawings are every bit as beautiful and important as paintings, if not more so.” Read more:

http://www.nccsc.net/studio-visits-allison/three-artists-faa-usa


FINE ART CONNOISSEUR

Pure Paper

Andrew Webster Reporting

Editor, Fine Art Today

August 2015

Since its introduction during the 2nd century BCE in China, paper has provided astronomers, philosophers, mathematicians, and artists an affordable surface on which to record their ideas. An upcoming exhibition is bringing together a collection of works that embody the versatile nature of paper.
 
Featuring artists such as Casey BaughRick BerryCandice BohannonKim CoganGregory Mortenson, and many more, Arcadia Contemporary is offering a fresh exhibition showcasing the versatility of paper across a wide spectrum. The exquisite drawings of Amaya Gurpide display soft, atmospheric spaces with masterfully rendered figures. “Maryum” — a graphite, black Conte, gouache, and white chalk drawing — is stunning in the range and depth of the figure. Gurpide’s chiaroscuro is done so well that the sitter nearly breathes on the page.

Read more: 

www.fineartconnoisseur.com/pages/21852187.phputm_content=buffer

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FINE ART CONNOISSEUR

The Finest in Figure Drawing

Jeffrey Carlson Reporting

Editor, Fine Art Today

Thursday, 14 May 2015

For a testament to the lasting legacy of the academic tradition and the healthy state of contemporary realism, look no further than a figure drawing exhibition with entries from Jacob Collins, Steven Assael, and many more.
 
Eleventh Street Arts, the new exhibition space abutting the Grand Central Atelier in Long Island City, New York, will debut an exhibition of exceptional figure drawings this weekend. "NUDE: A figure drawing exhibition" opens May 15 and continues through June 15. All are welcome to attend an opening reception that takes place May 15, from 6-9 p.m.

Read more:

http://www.fineartconnoisseur.com/The-Finest-in-Figure-Drawing/21511147

 


AMERICAN ARTIST MAGAZINE 

75th Anniversary. "75 Greatest Artists of all times"

By Allison Malafronte 

Editorial Assistant, American Artist

January 2013

 What makes an artist stand out as someone of great promise in a crowd of worldwide practitioners? Certainly we know that art is subjective and that it can't just be about an individual's style, because styles resonate with some and not with others. But there should be an overarching set of criteria that help better define and establish what makes an artist worthy of watching. For this category, we selected painters based on their skill level, subject matter, motivation, understanding, and expression. Another important factor was the internal makeup of each artist: his or her temperament, level of intelligent thought, and that all-important desire to keep searching and reaching for the next level.

 Some of the names on the next several pages are immediately recognizable-artists who are represented by blue-chip galleries, regularly featured in magazines, and respected names among their contemporaries. Others are relatively obscure-off their radar but still making a splash, albeit underground, because of their awe-inspiring talent and abilities. In an issue of this nature we have the advantage of seeing how these artists stack up in the context of what came before them. Do any of them have what it takes to be remembered among the greats? Will they run the full race and see their art through to the end? Only time will tell.


LESSONS IN CLASSICAL DRAWING:

Essential Techniques from Inside the Atelier

Juliette Aristides

November 2011

The drawing Fall was published on the back cover of the book "Lessons in Classical Drawing" by Juliette Aristides, Watson-Guptil Publications, NY. (page 26 and back cover) .