Chelsea Classical Studioschool of Fine Art Art Students League
INTERVIEW with BRANDON SOLOFF
WHERE DO You lot LIVE AND Piece of work?
I currently live and piece of work in New York, NY
TELL US Almost YOUR PAINTING CAREER. In addition to existence ane of the founders of Chelsea Classical Studio Fine Art Materials, I teach at Chelsea Classical Studio and The Art Students League. In the past I've taught at The National Academy, Studio126 (co-founded with Michael Grimaldi), workshops at The Academy of Classical Pattern, The Washington Fine art Clan and others since effectually 2002.
I'thousand a classically trained oil painter focusing on the human figure and portraits.
I've exhibited since the tardily 1990s, including Hirschl & Adler Gallery (New York, NY), Alan Rock Gallery (New York, NY), Hammer Galleries (New York, NY), The Imperial Society Portrait Painters (London, England), Meredith Long Galleries (Houston, TX), The Copley Society of Boston (Boston, MA) and others.
Portrait commissions for institutions such every bit Dartmouth University and Westmont Higher, also as Frederick Whittemore (Morgan Stanley), David H. Koch Jr. (David Koch Family), Paul Raether (Kohlberg, Kravitz and Roberts),Didier Pineau-Valencienne (Schneider Industries Europe) and others.
WHAT IS YOUR EDUCATIONAL BACKGROUND IN THE ARTS?
After graduating high schoolhouse in 1991 I went to Florence, Italian republic for 3 years. I studied at Charles Cecil Studios and 1 twelvemonth at Haverford Higher somewhere in the heart :-).
After I shared a studio for vi months in Boston with Charles Weed and Frank Strazzulla, two impressive artists with dissimilar temperaments and aesthetics.
I then studied privately in North Carolina with D. Jeffrey Mims for 2 years (he since created the University of Classical Design).
I apprenticed on a Ben Long fresco projection for Transamerica in Charlotte NC.
Likewise spent 6 months with Martine Vaugel, a sculptor whose pedagogy actually helped to accost structural, depth and volume problems that painters often ignore. I studied various short stints with artists such as Stephen Perkins and Frank Porcu (anatomy, sculpture and ecorche work), and a few months at Water Street Atelier.
I independently spent many many months copying original drawings and paintings in Boston (Fogg, MFA), London (British Museum, V&A), and Paris (Louvre, Henner).
Basically spent the 1990'southward studying and traveling…..
WHAT IS A Lilliputian KNOWN FACT You lot WOULD LIKE TO SHARE ABOUT YOURSELF?
My grandfather was a bootlegger
Y'all'VE STUDIED Under A NUMBER OF ARTISTS IN THE U.s.a. AND EUROPE. HOW Have DIFFERENT METHODS SHAPED YOUR Approach TO PAINTING?
I don't work specifically in a way I was taught at one place, but certainly every place I studied was determinative and influential.
Rather than going to an art college, I studied at ateliers and straight with other painters and sculptors, because I wanted to decide who I studied with and for how long. The teachers were all knowledgeable but all had very different working methods and things they believed, which at times was hard to reconcile, simply in the stop very enriching.
Charles Cecil focused on sight-size, fine art history and really inspired people to respect and appreciate oil painting; D. Jeffrey Mims stressed composition, design, taking your time to look for means to make each attribute improve, and to be critical of what y'all are doing to improve over the long term; Ben Long is an impressive expressive draughtsman who studied extensively with Annigoni, and watching and helping on the fresco as it developed from sketches to completion was a real didactics. The other artists and teachers gave a lot of perspective on things, and the independent museum work really created appreciation for non just the quality of paintings, simply also how varied and rich painting is, and how each painter evolved over time as they developed.
The best teachers, I feel in retrospect, were the ones that pushed the students to get autodidactic and larn how to piece of work on their own. The skill to become independent and develop across the classroom is in keeping with the tradition of artists we admire whose work evolved greatly throughout their lives as their interests and influences directed them to learn new things. When comparing the early on to belatedly work of artists such as Rembrandt, Michelangelo, Velazquez etc.- information technology becomes clear they were non just a product of their education but made themselves exceptional over time.
Accept YOU E'er BEEN CURIOUS Almost THE MATERIALS Yous USE?
In Florence, the teacher and students by and large were very interested in grinding our ain paints, discussing mediums and techniques. So from the historic period of 18 I was introduced to texts and discussions about materials. Over the years I experimented with making and using unlike materials, more often than not out of curiosity and dissatisfaction with the materials available at the stores. I would sometimes give materials workshops at the Art Students League. When I started education together with other artists at Chelsea Classical Studio similar Rick Piloco, we would frequently talk shop and it seemed that a lot of materials nosotros used were things we made ourselves or were hard to notice, especially the naturally cleaned Linseed oil and alternative solvents. And then somewhen we put things together and started a minor artist-run oil painting materials visitor: Chelsea Classical Studio Fine Art Materials.
TELL US ABOUT A FEW OF YOUR FAVORITE CCS PRODUCTS?
Nosotros specialize in naturally cleaned oils and alternative solvents such as Linseed Oil, Walnut Oil, and Spike Oil Solvent. Our mediums and varnishes utilise these as the principal ingredients. We also produce brush cleaning solvents.
Nosotros spend a lot of time on our Linseed to make information technology pale, more bodied and faster drying, and then I am partial to it.
The Spike works actually well, and we similar the smell of information technology compared to Turpentine or Petroleum (equally well as not getting headaches).
IF SOMEONE WANTED TO Larn More Almost CHELSEA CLASSICAL STUDIO (SCHOOL OR PRODUCTS), WHERE SHOULD THEY GO?
On the site we endeavor and explain everything as clearly as possible, and welcome peoples' questions if they have them. world wide web.chelseaclassicalstudio.com
Source: https://newwaveart.com/blogs/news/brandon-soloff
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