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      6 Historical Institutions for the Study of Classical Art

      August 12, 2025

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      Art History

      6 Historical Institutions for the Study of Classical Art

      Before the establishment of institutions for Classical Art, artists relied on alternative methods of study such as guilds, workshops, and apprenticeships. Guilds were sworn associations, often composed of merchants, craftsmen, or tradesmen and were typically linked to a certain town or city. These craft guilds regulated training, production standards, and member welfare. Workshops served as key training environments for aspiring artists, where they learned their skills over several years. Apprentices typically started by copying existing sketches and eventually progressed to creating artwork under their own names. Training generally lasted for three to five years but could often be varied based on the apprentice’s progress. Their tasks ranged from running a workshop to making brushes from boar’s hair, preparing glues, and grinding pigments in marble basins.

      The advent of classical academies for the study of art broadened opportunities for aspiring artists as early as the sixteenth century. These academic traditions have survived the centuries, influencing the study of Classical Art as we know it today. Academies like the Princeton Academy of Art seek to replicate the methods of teaching and study which saw great success in the early years of the academic institutions for Classical Art. The following six academic institutions set the standards by which the classical academies of our modern era seek to emulate.

       

      1562 – The first historical institution is the Accademia di Belle Arti di Firenze, also known as the Academy of Fine Art of Florence, located in the heart of historic Florence.

       

      The art school’s origins trace back to the city’s early trade organizations, particularly the Compagnia di San Luca, or Company of St. Luke. In 1562, the school evolved into the Vasarian Academy of Drawing. Its founders aimed to protect Tuscany’s cultural heritage, establishing it as the first European institution to integrate the teachings of both art and science. Numerous artistic masters have taught at the Academy, such as Felice Carena, Galileo Chini, and Giuseppe Graziosi.

      The Accademia di Belle Arti di Firenze offers programs at both bachelor’s and master’s levels. The bachelor level includes painting, decorative arts, sculpture, printmaking, and graphic arts departments, whereas the master’s level includes visual arts, curatorial studies, and sculptural set design for theater. The academy also offers the Erasmus program which allows students to study at partner institutions abroad. 

      Today, nearly 2,000 students from all over the world attend the school. The curriculum includes three-year and two-year specialist courses. Additionally, the school opened its doors to the city and the surrounding region.

       

      1577 – The second historical institution for Classical Art is Accademia di Belle Arti di Roma (Academy of Fine Arts of Rome). 

      The Academy of Fine Arts traces its origins to the Academy of San Luca, founded in 1577 by Girolamo Muziano and Federico Zuccari. This institution originally focused on three major arts: painting, sculpture, and architecture.

      During the Enlightenment, the Academy established the Free School of Nude, emphasizing the essential study of drawing the human form from life. This approach enhanced the Academy’s reputation and led to prestigious commissions, such as the renovation of the Pantheon and the Basilica of San Paolo. The building in Via di Ripetta, also known as The Horseshoe, was constructed as a residential complex in the 1840s. It is now repurposed to serve as the headquarters of the academy.

      After Italy’s unification and Rome’s designation as the capital, there was a push to reform art education to align with the new state’s needs. This led to the gradual evolution in the institution’s approach to art education. The school was initially called the Royal Academy of Fine Arts of San Luca, later became known as the Institute of Fine Arts, and eventually adopted the current name, the Academy of Fine Arts in Rome.  

      Today, the Academy offers courses in drawing, painting, sculpture, photography, and videography. It also provides 3 PhD programs: PhD in Cultural Heritage Sciences, PhD in Cultures Practices and Technologies of Cinema, Media, Music, Theatre, and Dance, and a PhD in Cultures, Practices, and Communication of Visual Arts.

       

      1593 – The third historical institution is the National Academy of San Luca or Saint Luke located in Rome. 

       

      The Academy of Saint Luke evolved from the Universitas picturae ac miniaturae, an organization with deep roots in Rome. On December 17, 1478, Pope Sixtus IV updated the statutes. Since Girolamo Muziano had the desire to restore and elevate the arts and create a prestigious institution for teaching young artists, he advocated for the formation of an academy to welcome artists.

      In 1593, Federico Zuccari established the academy’s headquarters, a modest building next to the church of Santa Martina. This building was remodeled over time and became a significant influence both locally and internationally, attracting numerous foreign artists who spent varying lengths of time in Rome.   

      Today, the National Academy of San Luca continues to promote the arts and architecture by recognizing the achievements of artists and scholars through their election to the Academy. It also supports the advancement and promotion of Italian art and architecture. The Academy’s commitment to the arts is demonstrated today through numerous initiatives, exhibitions, conferences, and meetings dedicated to these fields.

      The academy is structured into three classes: painting, sculpture, and architecture. It includes 90 National Academicians, 30 Foreign Academicians, 36 Cultori Academicians, and 24 Benemeiriti Academicians. The National Academy of San Luca also maintains collections that are organized by painting, sculpture, and architecture. 

      1671 – The fourth historical institution is École des Beaux-Arts located in Paris, France. Founded in 1671 by Jean-Baptiste Colbert, the school’s mission is “to educate and train students planning to devote themselves to high-level artistic creation”. 

      The academy was initially named the Académie des Beaux-Arts. The term “Academy” refers to the tradition of ancient classical schools of thought and art. The École was established to provide instruction in painting, drawing, sculpture, modeling, gem-cutting, and engraving.

      Notable alumni of the École des Beaux-Arts include Camille Pissarro, an influential landscape artist, as well as painter Pierre-Auguste Renoir.

      Today, the École des Beaux-Arts organizes its courses by department, including artistic practice, technical skills, printing and multiples, and drawing. Additionally, the school hosts an exhibition that attracts tens of thousands of aspiring artists. The exhibition features over 260 works and documents from the Beaux-Arts de Paris collections, as well as contributions from approximately thirty private and institutional lenders.

       

      1757 – The fifth historical institution is the Russian Academy of Arts located in Moscow, Russia.

      On November 6, 1757, Peter the Great’s vision for a Russian art school was conceived with the founding of the Academy of Three Noble Arts. Ivan Shuvalov, the Academy’s first curator, brought in European teachers, enrolled the Academy’s initial Russian students, and donated his private collection, which became the foundation of the Academy’s Museum and Library. In 1764, Catherine the Great further established the Academy’s significance by renaming it the Imperial Academy of Arts. The Academy’s students engaged in a wide range of artistic disciplines, including various painting and drawing techniques, as well as sculpture and architecture. Since 1997, the Academy has been led by the internationally acclaimed artist and sculptor Zurab Tsereteli.

      The Academy features creative workshops focused on exploring modern fine arts developments and integrating new technologies. These workshops offer young specialists opportunities for in-depth training, allowing them to apply theoretical knowledge practically, refine their professional skills, and gain advanced experience.

      In addition to these workshops, the Academy houses a museum and exhibition complex. The exhibition space covers over 550 square meters and is located in a mansion dating back to the 18th and 19th centuries.  Between 1904 and 1906, the interiors were renovated to showcase the collection of Ivan Morozov, a Russian industrialist, philanthropist, and visionary collector who became the owner in 1899. Morozov’s collection is a private European collection with a vast array of Impressionist and Post-Impressionist paintings. There were more than 100 canvases by famous artists within the collection, including works by Claude Monet, Vincent Van Gogh, and Camille Pissarro.

       

      1768 – The final historical institution worthy of discussion is the Royal Academy of Arts, located in London, United Kingdom.

      Founded in 1768, the Royal Academy was established after Sir William Chambers visited the king, seeking permission to “establish a society for promoting the Arts of Design”. With the king’s approval, the Royal Academy of Arts was formed. The Academy’s 36 founding members were a diverse group, including four Italians, one French, one Swiss, and one American. Some notable members of the Royal Academy of Arts include Joshua Reynolds, Joseph Mallod William Turner, John Constable, John Everett Millais, and Angelica Kauffman.

      Their collection spans 250 years of British art, featuring works from Constable and Turner to Hockney and Emin. It includes approximately 935 paintings, 350 sculptures, 700 plaster casts, 25,000 prints and drawings, and 5,000 historic photographs.

      The Royal Academy of Art offers short courses in printmaking, life drawing, modern painting, and conceptual art as well as lectures on various subjects. Additionally, the Academy maintains an online collection where you can explore works by past artists, and hosts events such as the annual Summer Exhibition.

      https://abaroma.it/corsi-page/

      https://abaroma.it/storia-sedi/

      https://accademiadarte.net/home/about/

      https://www.accademia.firenze.it/it/component/docman/doc_download/886-accademia-firenze-english-a-a-2014-15

      https://accademiasanluca.it/accademia/storia-dell-accademia

      https://accademiasanluca.it/visita

      http://www.art-in-rome.com/2016/05/accademia-nazionale-di-san-luca.htmlhttps://www.britannica.com/topic/Ecole-des-Beaux-Arts

      https://beauxartsparis.fr/en/ecole/presentation-ecole/presentation

      https://beauxartsparis.fr/en/exposition-simple/souvenirs-de-jeunesse-entrer-aux-beaux-arts-de-paris-1780-1980

      https://www.dailyartmagazine.com/famous-art-academies/

      https://eng.rah.ru/academy/history/

      https://eng.rah.ru/museum_and_exhibition_activity/museum_and_exhibition_complex_of_the_raa/exhibition_halls_of_the_russian_academy_of_arts.php

      https://notesfromapianist.wordpress.com/2016/02/02/pictures-and-promenades-moussorgsky-goes-for-a-walk/russian-academy-of-fine-arts/

      http://www.italianrenaissanceresources.com/units/unit-3/essays/guilds-arti/

      https://www.royalacademy.org.uk/page/a-brief-history-of-the-ra

      https://www.sothebys.com/en/museums/royal-academy-of-arts

      https://theculturetrip.com/europe/france/paris/articles/a-brief-history-of-the-ecole-des-beaux-arts

      https://www.turismoroma.it/en/places/academy-fine-arts-rome

      https://www.worldhistory.org/article/1611/life-in-a-renaissance-artists-workshop/

      5 Influential Greco-Roman Sculptors for Artists to Study

      May 27, 2025

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      Art History, Sculpture

      5 Influential Greco-Roman Sculptors for Artists to Study

      The Classical period forms the foundation of artistic study at Princeton Academy of Art, and as our students pursue a classical education in art, one vital area of study is that of Greco-Roman sculpture. The art historical term ‘Greco-Roman art’ refers to the works and design principles of the ancient Greeks and Romans.

      Due to the eroding nature of time, much of Greek art from antiquity has been lost, but what survives today is a vast quantity of marble sculptures, both by Greek sculptors and Roman copyists. It is in these marble works that a student can glimpse the techniques of the greatest sculptors of the Classical period. Five Greco-Roman sculptors worthy of close study are Phidias, Polykleitos, Praxiteles, Lysippos, and Scopas.

       

      Phidias

       

      Phidias was an Athenian sculptor and the artistic director of the Parthenon’s construction. He created its most important religious images and designed and supervised its overall sculptural decoration. One of the sculptural techniques incorporated into the Parthenon’s construction is called frieze, a technique which exemplifies Greek classical art. Phidias gained most of his fame through two major works: the statue of Athena in the Parthenon and the statue of Zeus at Olympia.

      Phidias’s earliest monument to Athena was the bronze statue known as Athena Promachos created around 456 BCE. Constructed on the Athenian Acropolis, it stood approximately 30 feet tall, making it the largest statue ever installed at that time.

      Phidias and his team were also responsible for the marble sculptures that decorated the Parthenon.

       

      These works offer insight into Phidias’s artistic style. Even when depicting movement in his reliefs, there is a sense of monumental grandeur. His thorough understanding of human anatomy is evident in his controlled and balanced representations. This mastery is why he is acknowledged as the greatest ancient Greek sculptor and a key figure of the classical style of the 5th and 4th centuries BCE.

      Most of these pieces, known as the Elgin Marbles, are now housed in the British Museum. The Elgin Marbles have long been at the center of international discourse concerning their repatriation to Greece and broader efforts toward the decolonization of museum collections, especially of religious icons, through collaborative cultural stewardship.

       

      Polykleitos

      Polykleitos (also spelled Polycleitus or Polyclitus) was a Greek sculptor of the High Classical period in the 5th century BCE. He is considered one of the most significant and greatest sculptors of classical antiquity and was renowned primarily for his bronze sculptures. He was taught the art of sculpture by Ageladas of Argos, who was also the teacher of Phidias.

      Polykleitos emphasized that statues should be composed of clearly definable parts related to mathematical proportions and balance. He based his approach on ratios established by Pythagoras, the Greek philosopher, and his approach to creating mathematically proportionate sculpture became the standard for subsequent generations of sculptors.

      Several of his notable works include the Amazon figure for Ephesus, the statue of Hera, and the Doryphoros. Another well-regarded work is his colossal gold and ivory statue of Hera. The Doryphoros, which means “spear-bearer”, is one of his most significant contributions. Polykleitos aimed to create a representation of a “proportionately perfect man”. The original bronze statue no longer exists, but marble copies are preserved. Today, a 6-foot-tall copy of the Doryphoros exists at the Minneapolis Institute of Art and another copy was excavated from the Palaestra of Pompeii.

      Polykleitos was the first sculptor to establish a group of followers. This school, which lasted three generations, was most active from the late 4th century to the early 2nd century BCE.

       

      Praxiteles

      Praxiteles is considered the greatest Attic sculptor–relating to Athens–of the 4th century BCE. He was the son of the sculptor, Cephisodotus the Elder, and had two sons of his own. His career spanned from the late Classical period to the Hellenistic period of Greek art.

      Praxiteles was known for pushing the boundaries of his art by experimenting with new techniques to make his artwork as vibrant and lifelike as possible. He used both stone and bronze to create dynamic curves, light, and shadow.

      The only piece surviving is the marble statue, Hermes Carrying the Infant Dionysus, which is noted for its delicate modeling and surface finish. Discovered in Olympia, this statue is celebrated as a masterpiece due to its beautiful surface, smoothly rounded head, and lifelike expression. Additionally, Praxiteles is renowned for his refined representations of both the feminine figure and the masculine youth.

       

       

       

       

       

       

       

       

       

       

       

       

       

       

      Throughout Praxiteles’ career, he aimed to achieve a high level of realism in his art. To enhance the lifelike quality of his sculptural figures, he had painters like the great Nikias decorate them–an element which has unfortunately been lost to time.

       

      Lysippos

       

      Lysippos (also spelled Lysippus) was a Greek sculptor of the 4th century BC. Originally a metalworker, he taught himself sculpture by closely observing nature and studying Polykleitos’ Doryphoros. He adapted Polykleitos’ technique by introducing new, slender proportions and enhancing realistic naturalism. An example of this is his statue of Alexander the Great, in which he reduced the size of the head and elongated the limbs to make the figure appear taller and more statuesque.

      Lysippos pushed the limits of marble sculpture by incorporating a dynamic sense of movement. An example of his marble sculpture work is his large statue of Hercules located at the National Archaeological Museum in Naples. 

      During his career, he received numerous portrait commissions from Alexander’s Generals. Additionally, as the head of the athletic school of Peloponnese, he sculpted many athletes–who proved to be popular subjects for Greek sculptors. Among his most popular works was a depiction of an athlete using a strigil, a curved tool for scraping oil, dirt, and sweat from the body. A well-known example of this is the Apoxyomenos (The Scraper), a Roman marble copy displayed in the Vatican Museum. 

      Later in his life, Lysippos became the head of the school of Argos and Sikyon. With the assistance of Skopas and Praxiteles, he was able to successfully transition into the Hellenistic period of art, where emotional portrayal in figural sculpture became influential.

       

      Scopas

       

       

       

       

       

       

       

       

       

       

       

      Scopas (also known as Skopas) was a Greek sculptor and architect of the late Classical period. He was considered influential in establishing the depiction of powerful emotions as artistic themes–a technique which reigned in the succeeding Hellenistic period.

      Scopas was known for his work on several monumental buildings. According to the Greek writer Pliny, he was responsible for the sculptures on the eastern wing of the Mausoleum at Halicarnassus, which are recognized for their expressiveness and emotional impact.

      He worked on three major monuments of the 4th century: the temple of Athena Alea at Tegea, the temple of Artemis at Ephesus, and the Mausoleum at Halicarnassus. The construction of the temple of Athena Alea began after 394 BC. In the temple, he was responsible for the statues of Asclepius and Hygieia that stood on each side of Athena Alea.

      In addition to these statues, it is possible that Scopas also created the pedimental sculptures for the temple, including the surviving fragments depicting the hunt of the Calydonian boar, which are now housed in the National Archaeological Museum in Athens. 

      Scopas’ legacy lives on, along with Praxiteles and Lysippos, as he completely changed the character of Greek sculpture. Their techniques and the schools they founded significantly impacted the history of sculpture, influencing both the Italian Renaissance and modern art.

       

      References

      https://britannica.com/biography/Phidias

      https://www.brown.edu/Departments/Joukowsky_Institute/courses/greekpast/4795.html

      https://www.worldhistory.org/Phidias/

      https://www.smithsonianmag.com/smart-news/ancient-roman-statue-embodies-perfect-man-was-it-stolen-180980138/

      http://www.visual-arts-cork.com/sculpture/polykleitos.htm

      https://artsandscience.usask.ca/antiquities/collections/items/greek-items/classical/sculpture/hermes-with-dionysus.php

      http://www.visual-arts-cork.com/sculpture/praxiteles.htm

      https://www.britannica.com/biography/Lysippus

      https://www.roger-pearse.com/weblog/2019/05/27/the-lysippus-bust-of-alexander-the-great/

      http://www.visual-arts-cork.com/sculpture/lysippos.htm

      https://www.britannica.com/biography/Scopas

      http://www.visual-arts-cork.com/sculpture/skopas.htmv

      Hale, William Harlan. “The Horizon Book of Ancient Greece”. American Heritage Publishing Co. Inc., 1965.

      Vout, Caroline. “Classical Art: A Life History from Antiquity to the Present”. Princeton University Press. 2018.

       

      Article by: Hanna Hill

      Edits by: Kelsey Doherty

      Opinion: My Top 5 Paintings from the National Gallery of London

      March 13, 2025

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      Art History, Opinion

      Opinion: My Top 5 Paintings from the National Gallery of London

      The National Gallery in London was founded in 1824 to provide an outstanding collection of paintings for public viewing. It is home to a national collection of paintings from the 13th to the early 20th centuries. The National Gallery houses over 2,300 works, including several famous paintings such as van Eyck’s The Arnolfini Portrait, Vélazquez’s Rokeby Venus, Turner’s Fighting Temeraire, and Van Gogh’s Sunflowers.

      A printed collection of the National Gallery’s paintings can be found in the book, “Paintings in the National Gallery, London” by Augusto Gentili, William Barcham, and Linda Whiteley. Below, we have chosen five notable works to discuss from the examination of composition, content, and technique.

      The first painting worth noting is titled A Waterfall in a Rocky Landscape by Jacob Van Ruisdael, made between 1660-1670. This oil on canvas painting contains a lot of detail, particularly in the trees, the moving water, and the people on the wooden bridge. Closer inspection of the painting reveals a house hidden among the trees. The various detailed textures and tones give the landscape realistic depth, which is further emphasized in how the steep hillside slides down to the river.

      Additionally, note how the artist included two waterfalls: one in the back of the painting and one in the front. The front waterfall contains a lot of detail, capturing the water crashing against the rocks with minuscule highlights depicting bright reflections of sunlight.

       

      The next painting is a still-life composition titled Flowers in a Terracotta Vase by Jan Van Huysum, made in 1736-1737. This painting is rich in detail as well, featuring over 30 species of flora in the vase, including florid roses, peonies, poppies, as well as primroses, apple blossom, and bachelor’s buttons.

      What is striking about this piece is how each unique flower contains a lot of detail regarding every petal, leaf, and stem. The colors are vibrant and beautifully arranged, enhancing the overall appeal, while the use of shadow and light establishes dimension.

      The next painting is titled Venice: The Doge’s Palace and the Molo from the Basin of San Marco by Francesco Guardi, made in about 1770. In this painting, Guardi captures the bustling scene in the basin of San Marco with numerous people traveling in gondolas. This painting includes the Doge’s Palace and the bell tower of St. Mark’s Basilica.

      Like the other paintings we have discussed, Guardi managed to include an impressive level of detail, particularly in the arches of the palace, the depiction of the gondolas from the foreground to the background, and the bustling sidewalk fading out of perspective.

       

      The next painting is titled A Sporting Contest on the Tiber at Rome by Claude-Joseph Vernet, made in 1750. This painting is viewed from the west bank of the Tiber, looking toward the Castel Sant’ Angelo. The painting shows what seems to be an unidentified competition on the river.

      Vernet managed to capture a lively atmosphere with an active, enraptured audience watching the frenzied boaters engaged in competition. The inclusion of shadows reflected in the water heightens the realism which shines throughout the piece. The framing of the buildings and the bridge in the background enhance the scene and provide a nice context for the competition.

       

      The last painting is titled The Hay Wain by John Constable, created in 1821. The title refers to the wooden wagon, or wain, “used for transporting cut and dried meadow grass”, or hay. This painting is a view of the millpond at Flatford on the River Stour. This mill was used for grinding corn, leased and operated by the Constable family for 100 years.

      This painting is notable because of the amount of history behind it, which is personal to the artist and his family. Impressively, when Constable was painting this composition, he only referred back to three small oil sketches of the mill which he had made in 1811.

      Overall, “Paintings in the National Gallery, London” by Augusto Gentili, William Barcham, and Linda Whiteley reveals the gallery’s impressive collection of exemplary works which range from nature and city-scapes to still life compositions. These five unique pieces among the many within the National Gallery’s collection exemplify how the artists each had unique ways of painting and translating the world around them.

       

      https://www.nationalgallery.org.uk/paintings/jacob-van-ruisdael-a-waterfall-in-a-rocky-landscape

      https://www.nationalgallery.org.uk/paintings/jan-van-huysum-flowers-in-a-terracotta-vase#:~:text=Jan%20van%20Huysum%2C%20’Flowers%20in,Terracotta%20Vase’%2C%201736%2D7&text=Pale%20flowers%20glow%20in%20a,gaze%20like%20a%20tiny%20eye.https://www.nationalgallery.org.uk/paintings/jan-van-huysum-flowers-in-a-terracotta-vase

      https://artuk.org/discover/artworks/venice-the-doges-palace-and-the-molo-from-the-basin-of-san-marco-116146

      https://www.nationalgallery.org.uk/paintings/claude-joseph-vernet-a-sporting-contest-on-the-tiber

      https://www.nationalgallery.org.uk/paintings/john-constable-the-hay-wain

       

      Article by: Grace Crayner, PAA Intern

      What is Classical Art?

      March 7, 2025

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      Art History, Buildings, Uncategorized

      What is Classical Art?

      Classical art refers to artwork that was created during the Classical Period, commonly recognized as Greek and Roman art. This period lasted roughly 1500 years from 1000 BCE to 450 CE, which corresponds to art created after the decline of the Roman Empire in the 5th century CE. It specifically describes art found in various forms including Greek and Roman Paintings, writings, sculptures, plays, frescoes, and architectural designs.

      One of the most classical sculptures is the Greek sculpture. The Greek sculpture emphasizes the depiction of realistic human features. These sculptures are indicative of the standards of the time, such as the prevalence of idealistic proportions, balance, symmetry, and an emphasis on beauty. A particularly famous example of this is Michelangelo’s statue, David, which exemplifies the attention to detail and precision that defines this period.

      Frescoes, which are murals painted on fresh plaster, are another notable artistic technique used in the Classical Period. Nowadays, frescoes are difficult to analyze because many of them were destroyed due to various factors such as poor methods of conservation and renovation.

      Classical architecture involves wide structures, large columns, and elegant designs. This architecture is still popular today and commonly seen in government buildings. A current real-life example of this is Pasadena City Hall, built in 1927, which includes style elements of baroque, gothic, and Beaux-Arts.

      File:Pasadena City Hall 2016.jpg

      Another work of classically-inspired architecture includes Trevi Fountain, built in Rome in the 18th-century, while the ancient structures of The Colosseum and the Parthenon in Rome and Athens, respectfully, remain standing as architectural giants from the heart of the Classical Period.

      File:Fontaine Trevi - Rome.jpg
      File:Colosseum in Rome-April 2007-1- copie 2B.jpg   File:The Parthenon in Athens.jpg                                                                                                                                                                                                                                                                                 

      Classicism is commonly associated with the depiction of harmony, balance, symmetry, realism, and the beauty of the human form. Classical art involves a lot of discipline, technical skill, and aesthetics which have shifted people’s views of beauty. Classical artwork was used for decoration in temples and public buildings. Some of the artwork commemorates well-known figures or celebrates a victory.

      Today, classical art allows us to escape from the busy world and pause to look at the details crafted by artists who sought to interpret this same world many centuries ago.

       

      https://www.artlex.com/art-movements/classical-art/

      https://www.atxfinearts.com/blogs/news/what-are-the-characteristics-of-classical-art

      https://www.studiobinder.com/blog/what-is-classicism-art-definition/

      https://www.tate.org.uk/art/art-terms/c/classicism

      Student Interview – Jocelyn

      February 12, 2025

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      Interviews

      Student Interview – Jocelyn

      1. What is your favorite part of being a Princeton Academy of Art student?

      Uhm, the environment, how positive it is, and how cool the people are. It is inspiring because I learn from the teachers and students and learn about different styles and how my classmates interpret the projects.

       

      2. What is your favorite plaster cast in the studio?

      Oh, definitely the full-size Houdon ecorche. 

       

      3. What is your favorite place to grab lunch in Princeton?

      I like Tacoria.

       

      4. Where is your favorite place to paint outdoors in Princeton?

      I really like Prospect Garden. I hate that it’s under construction in that area but I love the house itself and the flowers and the trees and the insects and the bees. *laughs*

       

      5. Are there any local events or places in or around Princeton that you think every art lover should check out?

      Everybody should check out the floral booth thingymajig at the Princeton Farmers Market. I really like the guy that sells the flowers – he’s really cool and has cool flowers – I recommend it.

       

      6. If you had to describe Princeton, NJ in (approximately) three words, what would they be?

      Uhm, historic, pretty, and “little New York side street”…

       

      7. What are your favorite streets to walk around in Princeton? What’s fun about it?

      Oh, I always go to the campus side of Nassau Street across from the Academy. There’s a little grassy spot up there. It’s calming and private. 

       

      8. Can you share a memorable moment or project from your time here and why?

      I really enjoyed an impressionistic painting workshop we had with Varya. She taught me a completely different type of painting, applying it thick and not using shadows to define form. Instead, we used olor. It helped me with my classical work, too.

       

      9. If you could have dinner with any artist, past or present, who would it be and why?

      Frida Khalo because it would be cool to pick her brain and hear her story firsthand. I really find the way that she paints and her compositions interesting and inspiring. I would like to make a piece inspired by her.

       

      10. What is your favorite specimen from the Academy’s collection?

      There are so many specimens that we study from that come from so many parts of the world. They’re really old but I like the bird that looks like a turkey the most… uh the ruffled grouse. Dudeee, they’re so cool. They’re literally Jurassic Park. Omg, I love this thing.

       

       

      11. What’s one artistic goal you hope to achieve in the next year?

      Remembering the skull from inside and out from memory. And more anatomy and shnaz.

       

      12. What kind of music genre do you like?

      Uhmm I like rock and R&B. Uh yeah.

       

      13. What’s your favorite oil paint color and brand and where do you buy it?

      I usually get Windsor & Newtown paint from Michaels or Jerry’s Artarama, depending on which has a better price. My favorite color is transparent oxide red – it’s kind of like a brighter, thinner, burnt sienna.

       

      14. Where’s your favorite place to take a break from class at PAA?

      I really like to sit in the director’s chairs that we have and sit in the main studio and take a nap during lunch break,

       

       

       

      July 15, 2024

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      Art History, People

      Oil mediums and Solvents of the Masters

      Throughout art history, mediums and solvents have played a critical role in the creative processes of painters. Peter Paul Rubens, Pieter Bruegel the Elder, and John Singer Sargent, three renowned artists (three of my favorite artists) from different eras, each utilized these materials in distinctive ways to enhance their masterpieces. Let’s explore the similarities and differences in their use of oil mediums and solvents.

      A key similarity among Rubens, Bruegel, and Sargent is their use of linseed oil as a primary medium. Linseed oil, derived from flax seeds, was favored for its excellent binding properties and ability to form a strong, flexible film. In addition to linseed oil, all three artists occasionally used walnut oil. Walnut oil has a slower drying time and is resistant to yellowing, making it ideal for preserving the clarity and brightness of lighter colors. This choice was particularly helpful when used for intricate details and subtle color transitions in their paintings.

      First, we’ll start with Pieter Bruegel the Elder. Born in 1525, Bruegel the Elder grew to be one of the most significant and inventive painters and draftsmen of the Northern Renaissance. He was a prominent member of a large, influential South Netherlandish family that had been active for four generations. Bruegel was renowned for his complex and highly detailed landscape paintings and his introduction of oil mediums into his practice. His use of sun-thickened linseed oil, which involved exposing the oil to sunlight to enhance its properties, enabled him to achieve the detailed textures and rich colors distinctive of his works.

      He was trained in three painting techniques: illumination, oil on panel, and tempera on canvas. During the 15th and 16th centuries, tempera on non-prepared linen canvases was also used. Amid the revolutionary changes of the 1550s, Bruegel modernized traditional methods by using oil as a medium. An example of his work is “Peasants and Seasons,” which marked a significant shift in painting practices moving forward.

      In other paintings, Bruegel is known for his unique visual effects, achieved through techniques like swift finger flicks, blotting with a cloth, and using the brush handle’s point. An example of his work where he blotted wet paint with sections of natural sponge on transparent or opaque color is “The Return of the Herd.” In this piece, Bruegel outlined the composition with a thin brush and then added thinly scratched areas of color within those outlines. He sometimes used a dry brush for this technique. In addition to these techniques, Pieter Bruegel used the impasto method, which involved a thicker, more textured painting style. He used linseed oil as a binding agent for the ground pigments.

       

      Next we explore Sir Peter Paul Rubens. Born in 1577, Rubens was a Flemish artist known for his paintings, drawings, and diplomacy. He combined elements of the Italian Renaissance with naturalistic forms and landscapes. His artworks are renowned for their mastery of movement, color, and emotion. Rubens produced countless pieces, including multi-figural compositions, portraits, and landscapes depicting religious, mythological, and allegorical scenes.

      Rubens’ unique oil mediums used in glazing allowed each brushstroke to be placed next to one another and on top of one another. His paintings are noted to contain various mediums, including linseed oil, walnut oil (often in his whites, blues, and light colors), turpentine, pine resin (some trace amounts often found in glazes, said to come from dipping his brush in turpentine), and egg whites and yolks (detected in some paintings). Though he often used many different mediums, it is said that Rubens preferred walnut oil to minimize yellowing.

      Rubens’ “Samson and Delilah” used linseed oil mixed with pine resin in the paint layers. The mixture of oil and resin affected the painting’s texture, brightness, durability, and visual depth.

      Another technique Rubens used was dipping the brush in turpentine to blend colors on the palette. This allowed for smoother blending and helped prevent the colors from “sinking.” The careful use of mixtures like linseed oil and pine resin and solvents like turpentine showcases the deep understanding and early chemistry knowledge of 17th-century Flemish painters. This method of combining oil and essential oil mediums represented a newly discovered process in painting during that era.

       

      John Singer Sargent

      The second artist is John Singer Sargent, an American painter and draftsman, born in 1856. In his time, he was the most successful portrait painter and also a talented landscape painter and watercolorist.

      Sargent began his paintings by lightly sketching with charcoal. He placed only a few marks on the canvas, leaving most of it gray.

      He started by using a bit of turpentine to apply a general tone to the background and outline the head. For the rest of the painting, he used his colors directly without adding any oil medium, including turpentine.

      Additionally, Sargent studied with Carolus-Duran, who used the alla prima method, also known as “wet-on-wet.” This technique involves applying paint with a loaded brush directly onto the canvas and completing the painting in one sitting. Sargent never attempted to repaint an eye if he was not satisfied with it.

       

       

       

       

       

      Further Reading:

       

      Altamura, Maria Luisa, ed. Marco Ciatti “La tecnica artistica di Rubens nelle due grandi tele degli Uffizi.“ Rubens agli Uffizi: il restauro delle Storie di Enrico IV. (Florence, Edifir, 2001), 49-59

      Brown, Christopher. Rubens’s Landscapes: Making and Meaning, London: National Gallery London, 1998.

      Bruce-Gardiner, Robert and Helen Braham. “Rubens’s Landscape by Moonlight”, The Burlington Magazine, vol. 130, no. 1025, (1988), 579-596.

      Buck, Richard. “Rubens’s The Gerbier Family; examination and treatment”, Studies in the History of Art (1973): 32-53.

      Boersma, Annetje, Friso Lammertse and Alejandro Vergara. “Catalogue”, Peter Paul Rubens. The Life of Achilles, (Rotterdam: NAi Publishers, 2003).

      Cardinali, Marco, Maria Beatrice De Ruggieri, Claudio Falcucci. “I dipinti di Rubens alla Vallicella: Studio della tecnica esecutiva” in La festa del colore: Rubens alla Chiesa Nuova, ed. Anna Gramiccia. (De Luca Editori d’Arte, 2005), 39-63.

      Doherty, Tiarna, Mark Leonard and Jorgen Wadum. “Brueghel and Rubens at Work: Technique and the Practice of Collaboration”, Rubens and Brueghel a Working Friendship. (Los Angeles: The J. Paul Getty Museum and the Hague: Royal Picture Gallery Mauritshuis in association with Waanders Publishers, Zwolle, 2006), 215-251.

      Feller, Robert L. “Rubens’s The Gerbier Family; technical examination of the pigments and paint layers”, Studies in the History of Art (1973): 54-74

      Fisher, Sarah. “The Finding of Erichthonius”, Allen Memorial Art Bulletin, vol. 38, no.1 (1980-1981): 21-37.

      Fabian, Daniel. “Wan eim ein geschossener Pfeil im Lieb ist plieben”, Hommage à Paolo Cadorin; l’amour de l’art, (1999), 117-126.

      Goetghebeur, Nicole; Guislain-Wittermann, Régine; and Masschelein-Kleiner, Liliane. “Painting Technique”, Bulletin (Institut Royal du Patrimoine Artistique), vol. 24 no 182 (1992):  119-138.

      Keith, Larry. “The Rubens Studio and the Drunken Silenius Supported by Satyrs”, National Gallery Technical Bulletin, vol. 20 (1999): 96-104.

      Kirby, Joe. “The Painter’s Trade in the 17th Century,” National Gallery Technical Bulletin, vol. 20 (1999): 5-49.

      Lammerste, Friso. “Small, larger, largest. The making of Peter Paul Rubens’s Life of Achilles”, Peter Paul Rubens. The Life of Achilles, (Rotterdam: NAi Publishers, 2003), 11-31.

      Plesters, Joyce. “Samson and Delilah: Rubens and the Art and Craft of Painting on Panel”, National Gallery Technical Bulletin, vol. 7 (1983): 30-49.

      Nykogosyan, Mariam. “Susanna and the Elders from the Rostov Regional Museum of Fine Arts; the lost painting of Rubens’ studio?”, VDR Beitrage zur Erhaltung von Kunst- und Kulturgut, (2005): 28-37.

      Roy, Ashok. “Rubens’s Peace and War”, National Gallery Technical Bulletin, vol. 20 (1999): 89-95.

      Saunders, Linnaea. “A Rubens Portrait Re-examined”, AIC Paintings Specialty Group Postprints, vol. 18 (Minneapolis: June 8-13, 2005), 76-83.

      Stols-Witlox, Maartje, Tiarna Doherty and Barbara Schoonhoven. “Reconstructing  seventeenth-centrury streaky imprimatura layers used on panel painting” inPreparation for Painting, the Artist’s Choice and its Consequences. (London: Archetype Publications, 2008), 79-89.

      Von Sonnenburg, Hubertus. “Rubens Bildaufbau und Technik II. Farbe und Auftragstechnik”, Maltechnik Restauro, vol. 85, issue 3 (1979), 181-203

      Wadum, Jorgen. “Latest News from Paradise a Preliminary Attempt to Identify Rubens’s Studio Practice, Part II”, Preprints of the ICOM Committee for Conservation 13th Triennial Meeting, (Rio de Janeiro, 22-27 September 2002), 473-448.

      Wallert, Arie. Still Lifes: Techniques and Style, (Amsterdam: Rijksmuseum Amsterdam; in association with Waanders Publishers, Zwolle, 1999).

       

       

      Student Interview – Winni

      July 12, 2024

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      Interviews

      Student Interview – Winni

      1. What is your favorite part of being a student at Princeton Academy of Art?

      The teachers are very professional, and the students actually care and are really passionate about art. The discussions about technique and methodology that we have in class are very insightful plus we learn about art history, so it’s all been very valuable for me.

       

      2. What is your favorite plaster cast in the studio?

      The upper half of the full-size Houdon sculpture because the muscles are very clear, and that helps me so much with anatomy. It’s easier to draw because it’s full-size, and everything is enlarged.

       

      3. What is your favorite place to grab lunch in Princeton?

      Tiger Noodles, specifically their fried rice.

       

      4. Where is your favorite place to paint outdoors in Princeton?

      On Princeton’s campus in Prospect Garden. The flowers are beautiful, and there are a lot of things to draw and paint (the house, fountain, and beautiful old trees). It’s interesting to see how the flowers change through the seasons. Summer and spring are the best time to go there.

       

      5. Are there any local events or places in or around Princeton that you think every art lover should check out?

      Grounds for Sculpture is a place someone should check out.

      Grounds for Sculpture is cool and allows artists to explore scale and perspective. Many sculptures are inspired by famous paintings, which brings them to life for us on a monumental scale. It’s a really interesting way to learn about art history for art lovers and people who don’t know much about art.

       

      6. If you had to describe Princeton, NJ in three words, what would they be?

      Friendly, academic, and peaceful

       

      7. What are your favorite streets to walk around in Princeton? What’s fun about it?

      Nassau Street is my favorite because it’s safe to walk around at any time of day—parking/walking to school at night is no problem. Nassau has a lot of cute shops to check out, too. I love to go to Labyrinth Books—they sell really interesting art and literature books, and I love their postcards. 

       

      8. Can you share a memorable moment or project from your time here and why?

      I love to go on class trips, specifically to the MET in NY. It was really fun because Anna (PAA Founding Director and Head Instructor) explained the logic and theory behind a lot of the paintings we copied and discussed in class. She is like an art history encyclopedia, and it is really cool to learn from her.

      A note for other art students, too – looking at masterpieces is essential for fine art study in general and sets the standard for what a high-quality painting looks like. Seeing pieces in real life is so helpful in learning about glazing and composition. The MET is an amazing resource for me.

       

      9. If you could have dinner with any artist, past or present, who would it be and why?

      Monet because I like his paintings – they are very vibrant and full of life. I love to pelin air paint and draw a lot of inspiration from him. The way he captured light and color is very unique to me. It’s abstract, but not abstract enough that you can’t understand it. When I look at them in life, I feel very moved. 

       

      10. What is your favorite specimen from the Academy’s collection?

      The blue butterfly in a frame – it’s so delicate and captivates me.

       

      11. What’s one artistic goal you hope to achieve in the next year?

      To create a professional body of work alongside my digital portfolio. After learning for 2 years specifically in traditional media, I’m able to apply that understanding to digital works. I have the tools to use my own voice in whatever material I choose. I’ll never stop learning but I’m really happy with how far I’ve come.

       

      12. What kind of music genre do you like?

      Pop music

       

      13. What’s your favorite oil paint color and brand and where do you buy it?

      Jerry’s Artarama in Lawrencville NJ

      Favorite color: Ultramarine Blue

      Brand: Winsor & Newton

       

      14. Where’s your favorite place to take a break from class at PAA?

      I like to go to the library and read books because it’s quiet and cozy.