the curriculum 2015-2016
CURRICULUM 2015- 2016 CLASSICAL ACADEMY OF FINE ARTS Groningen 1 SUBJECT MATERIAL Classical fine art converges with the west European artistic tradition from the Middle Ages onwards. It has always been a dynamic tradition encompassing discovery, change, movement and counter movement. Important characteristics are the recognition of form and the illusion of space on a flat surface, such characteristics, which nowadays are found mainly in photography, still rely on the “old skills” for their employment in various fields ranging from realistic art, illustration to game design. Students draw with charcoal, chalk, pastel, pen and ink, reed pen as well as duck wings, kneaded erasers and stomps; there are lessons in hatching, washing, highlighting and much more. 1.3 COMPOSITION Composition is a basic principle in visual art, the various approaches are studied within the methodology of preparation and construction of a painting. Additionally we look at the role of composition as the carrier of expression. 1.1 TECHNIQUES, KNOWLEDGE AND SKILLS We define techniques as follows: The use of various types of paint Shading Reproduction techniques etc. as well as knowledge, skill and insight into composition tone and colour volume and perspective, etc. and the ability to combine the various components in one picture. Xandra Donders 1.4 TONAL VALUES 1.2 DRAWING TECHNIQUES Tonal values are the gradations between light and dark, all grey tints between black and white, but also all tints between light and dark in every colour. Jan van der Kooi 1.5 COLOUR Colour theory Knowledge of colour is essential as well as the effect of complementary colours, warm and cool colours, brightness and saturation, etc. 1.6 PALETTE 1.7 FORM STUDY Annelies Middel Form study requires the development of fine motor skills. With practice students develop the ability to reproduce the subject accurately and to create tension in the drawing or the painting. The best way to practise this is through figure drawing from life. . . 1.8 ANATOMY Juane Xue Preparing and mixing colours is normally done on a palette. The selection of colours is paramount but mixing a palette is a very personal matter: students are taught the rudiments and are given guidelines, never rules. In order to reproduce the human figure a thorough knowledge of the human anatomy is essential. 1.9 VOLUME Paul Boswijk The idea of reality can be suggested on a two-dimensional surface, i.e. the artist creates an illusion of volume on a flat surface. 1.10 ATMOSPHERIC PERSPECTIVE 1.11 LINEAR PERSPECTIVE Joost Doornik In paintings of buildings and still life the use of linear perspective, discovered 500 years ago in the Renaissance, is indispensable for creating the credible illusion of space. 1.12 TEXTURAL EXPRESSION Peter Durieux The illusion of depth can be created by means of perspective; in landscapes by aerial or atmospheric perspective, thus creating space by decreasing saturation and contrast in colours. Chris Herenius Textural realism depends on the artist’s ability to adequately express the visual properties of the subject matter. A piece of rock looks quite different to a cauliflower. The surface of a cotton cloth differs from that of a silk handkerchief. A stretch of sand looks different to a pool of water. Textural expression relies on the artist’s skill in defining these properties. 1.13 PAINTING STYLE painting material demands a different approach, for example painting with transparent watercolours as opposed to opaque oil paint. Finally the individual ‘signature’ or the surface finish of the paint will determine the end result. 1.15 FORMS OF EXPRESSION Arnout van Albada The various painting methods will be dealt with; from a single layer to several layers of paint and from textured to smooth. 1.14 PAINTING TECHNIQUE Riny Bus (watercolour) A distinction is made between wet in wet painting techniques and layered painting as well as painting with areas of colour as opposed to painting with contours. Each Ruud de Rode The essential nature of the image is its expression or charisma. The variations are innumerable and depend on the personality or even the mood of the maker but they are often underpinned by certain rules. Students learn the basic principles during lessons and later in the Master classes. 1.16 IMAGINATION 1.17 PRINTMAKING TECHNIQUES Siemen Dijkstra (woodcut) Tom S. Hageman A picture can be enhanced in two ways; by an idiosyncratic interpretation of an observation or by using forms from the imagination of the maker or by a mixture of both. Observation is always the starting point but the Academy never underestimates the imagination Editions of prints can be made by hand. The most popular printmaking techniques are taught during workshops in the second year, i.e. relief, intaglio and lithography. It is possible to continue studies in printmaking and to specialise in this field. 1.18 ARTISTS’ MATERIALS Foto: Xandra Donders In all artisan professions a knowledge of materials and their qualities is imperative. Experience is built up during painting lessons both in practice and in theory. Working with different materials during the lessons allows students to gain a greater understanding of how they work. 1.19 ART IN HISTORICAL CONTEXT Visual art dates back 40.000 years and is one of the oldest traditions of mankind. The study of art history is part of the artist’s general development. This also applies, to a lesser extent, to (classical) literature, music history and religious knowledge in relation to its artistic expression. 1.20 SELF-TUITION Self-tuition is an important part of the study. Students must be able to work independently on assignments and elaborate on studies. This self-tuition plays an increasing role during the course and forms the main substance in the last study year. 1.21 VOCATIONAL PREPARATION Finally vocational training is given to prepare students for the day-to-day practice of their profession. Afbeelding 2.3 PROGRAMME 2 30 lessons of one morning or one afternoon per week of figure drawing; Course in human anatomy with study hand-outs and homework assignments; regular individual in-progress critiques of work made during the course and at home (own work, sketchbooks and homework assignments). BASIC TRAINING 2.4 SEMESTERS 2.1 SYLLABUS Lessons are held on Mondays. Group 1: 09.30 till 12.00 hrs Group 2: 12.30 till 15.00 hrs 2.2 LOCATION Classical Academy of Fine Arts (Klassieke Academie), AKerkhof 43-c, Groningen The academic year runs from September until June and is divided into two semesters of 15 weeks each. Between the first and second semester a collective progress discussion takes place. The holiday periods coincide with the majority of the official school holidays for the northern Netherlands. PROGRAMME WEDNESDAY Anatomy & figure drawing - Annelies Middel Volume & perspective – 1st semester Tim Blaauw, 2nd semester Joost Doornik 3 FIRST YEAR VOCATIONAL COURSE IN PAINTING THURSDAY Composition & expression: Tom Hageman (replacing Xandra Donders) Art history: Miranda van Gelderen 3.1 INTRODUCTION TO BASIC PRINCIPLES AND SKILLS Drawing techniques: Peter Durieux AUTUMN HOLIDAY PERIOD The following subjects are covered: Tonality Composition Drawing techniques Anatomical drawing and form study Perspective Workshop printmaking techniques: Reinder Homan, Siemen Dijkstra, Onno Broeksma Most of this study year is spent drawing. ANATOMY & FIGURE DRAWING –Annelies Middel Subjects: Line drawing, shading, etc.; Figure drawing (short pose) and the abstraction of form into cubes and cylinders whereby emphasis is placed on anatomical lines and axes; Anatomical theory (of the superficial muscles); Prepare a portfolio of own studies; Figure drawing (long pose). 3.3 COMPOSITION & EXPRESSION – TOM HAGEMAN (REPLACING XANDRA DONDERS) 3.2 VOLUME & PERSPECTIVE - JOOST DOORNIK Tom Hageman An expressive approach to composition and tonality A summary of concepts relating to composition (using study hand-outs with homework assignments) 3.4 ART HISTORY – MIRANDA VAN GELDEREN The principles of volume and pictorial space on a twodimensional surface The study of tonal values in the expression of three dimensional form: light studies using plaster casts and dark studies using black cloth and dark props; in relation to: Art-history from the pre-historic to the renaissance Exercises in perspective using still-life installations Exercises in the use of light and shadow in figure drawing Exercises in composition and perspective using still-life installations. Final criteria art history Visual analysis paper (in accordance with the guidelines provided). Students describe an artwork of their own choice which must be approved by the tutor and written in accordance with the guidelines of Analysis level 1. The purpose of the visual analysis paper is to develop the students’ skills of observation, analysis and description of the formal elements of an artwork. 3.5 DRAWING TECHNIQUES – PETER DURIEUX Reinder Homan Various drawing techniuques and methods Exploration of drawing in a broad sense Development of drawing techniques Observation from life Dry and wet drawing techniques Creating light and dark areas using the various drawing materials Onno Broeksma Print workshop 3.6 WORKSHOP PRINTMAKING – SIEMEN DIJKSTRA, REINDER HOMAN, ONNO BROEKSMA The printmaking workshops take place during the excursion week following the autumn holiday; they comprise the three main printmaking techniques, each lasting two days in which students are divided into smaller subgroups. Siemen Dijkstra (woodcut and linocut) Reinder Homan (etching) Onno Broeksma (lithography) Following this workshop students can enrol for courses in the print workshop at Paradijsvogelstraat 16 (Groningen). Opening hours: Tuesday and Thursday 9.30-12.00 hrs. Wednesday 12.30-15.00 and 15.30-18.00 hrs. In the last session there is teacher assistance during the first semester. There is room for seven participants per session. Siemen Dijkstra OPTIONAL LESSONS Wednesday midday Plaster cast drawing, 1st semester Jan van Loon, 2nd semester Tom Hageman Wednesday afternoon Printmaking, 1st semester Reinder Homan, Siemen Dijkstra, Onno Broeksma Thursday midday Figure drawing, Annelies Middel Thursday afternoon Figure sculpting, Anita Franken Students can enrol for the above optional lessons. A maximum number of students is allowed for each subject. Staff assistance is available for approximately one hour during a 2.5 hour session. These optional lessons are open to students of both faculties i.e. students from the sculpture department can also enrol for lessons in the painting department and vice versa. Enrolment takes place via Eloka. EXCURSION WEEK The week after the autumn holiday is the college excursion week. Students can register on Eloka. 3.7 ATTAINMENT TARGETS FIRST YEAR Basic knowledge of drawing techniques using various materials; Compositional ability: make an asymmetrical or non-central, balanced composition with tonal values; Shape and proportion: adequate portrayal of the human figure showing evidence of basic anatomical knowledge; tonality: ability to establish areas of light and shadow ; space and volume: students must gain knowledge of the basic principles of atmospheric and linear perspective as well as threedimensional shape and be able to apply these principles in practice. 3.8 FINAL ASSIGNMENT FIRST YEAR Draw a tonal light-dark study of the human figure in an interior whilst focussing on composition, proportions and perspective. 3.9 FINAL CRITERIA ART HISTORY Examination on the subject matter as dealt with during the academic year; art history from Prehistoric times up until the present day. Students must show understanding and knowledge of the subject matter. Visual analysis paper (in accordance with the guidelines provided). Students describe an artwork of their own choice, which must be approved by the tutor and written in accordance with the guidelines of Analysis level 1. The purpose of the visual analysis paper is to develop the students’ skills of observation, analysis and description of the formal elements of an artwork 4.2 ARTISTS’ MATERIALS, TECHNIQUES AND REALISTIC PAINTING - CHRIS HERENIUS 4 SECOND YEAR VOCATIONAL COURSE IN PAINTING We approach painting in a number of different ways relating to: Materials Realistic painting Painting with a limited palette Suggestion of space Figure painting Composition and Expression Direct and indirect methods, from transparent to opaque 4.1 PROGRAMME LESSONS Students work with various types of paints during the lesson; with this practical experience a greater understanding is gained of how the materials work. MONDAY Materials, techniques and realistic painting: Chris Herenius Layered painting: Arnout van Albada TUESDAY Composition & expression: Ruud de Rode Figure painting: Paul Boswijk Art History: Miranda van Gelderen Emphasis on materials; Paint small objects with emphasis on composition, representation and textural expression in all paint types; Underpainting and grounding; Layered painting; Homework assignments: make composition sketches and transfer to a suitable painting surface 4.3 LAYERED PAINTING – ARNOUT VAN ALBADA Personal themes; ‘Overall’ observation and practice; Composition; Large figurative studies using wide brushes (finding the fundamental form), in the context of the spatial composition Limited palette; Focus on expression. 4.5 FIGURE PAINTING – PAUL BOSWIJK – Painting with a limited palette Tonal study using the black-white value scale; The illusion of depth created in grey tones, using gouache, acrylic and oil paint; Emphasis on composition; The limited palette. 4.4 COMPOSITION & EXPRESSION – RUUD DE RODE The study of form with live (nude) models, in combination with colour and painting techniques Painting a concept Figure painting with limited palette Construction and composition of the image The suggestion of space 4.6 ART HISTORY – MIRANDA VAN GELDEREN EXCURSION WEEK The week after the autumn holiday is the Academy’s excursion week. Students can register via Eloka. 4.8 ATTAINMENT TARGETS SECOND YEAR Evidence of development since the end of the first academic year; students must be - familiar with the various carriers and painting materials; - able to paint with a limited palette; - capable of producing textural expression in an artwork. 4.9 FINAL ASSIGNMENTS SECOND YEAR Art history from Mannerism to the present day a) Paint with a limited palette a nude human figure in a space with correct perspective; b) Paint from observation a still-life consisting of several objects. . 4.7 OPTIONAL LESSONS Wednesday afternoon - early Plaster cast drawing, 1st semester Jan van Loon, 2nd semester Tom Hageman Wednesday afternoon - late Printmaking, 1st semester Reinder Homan, Siemen Dijkstra, Onno Broeksma Thursday morning Figure drawing, Annelies Middel Thursday afternoon - late Figure sculpture, Anita Franken Students can enrol for the above optional lessons. A maximum number of students is allowed for each subject. Staff assistance is available for approximately one hour during a 2.5 hour session. These optional lessons are open to students of both faculties i.e. students from the sculpture department can also enrol for lessons in the painting department and vice versa. Enrolment takes place via Eloka. Emphasis is placed in both assignments on composition, shape relationships, pictorial space and textural expression. 4.10 FINAL CRITERIA ART HISTORY Examination on selected topics: the twentieth century and the works of individual, figurative artists from the nineteenth and twentieth century. Students must show insight and understanding of the course material. . 5 THIRD YEAR VOCATIONAL COURSE IN PAINTING Completion of required skills: Watercolour technique; Extended palette; the effect of more colours; Figure painting from life in various techniques from pastel to layered painting; Composition and expression; Integration of the various aspects in one artwork. Shape relationships and connection; Position of components in a picture plane; Arrangements of subject and surroundings; The narrative of light and dark, contrasts and colours; Construction; Impact; Interaction. 5.3 ART APPRECIATION AND CULTURAL HISTORY – ERIC BOS 5.1 PROGRAMME THURSDAY Composition and expression: Xandra Donders Art appreciation: Eric Bos Watercolour: Riny Bus FRIDAY Figure painting: Tom Hageman Colour: 1st semester Keimpe van der Kooi, 2nd semester Juane Xue 5.2 COMPOSITION & EXPRESSION – XANDRA DONDERS Cultural history as the source of artistic inspiration An artistic frame of reference is developed through a programme of cultural history and the relationship of visual art to: Photo: Xandra Donders Visual research into: Religions Literature and film Theatre and music 5.4 WATERCOLOUR – RINY BUS Painting from observation using various tinted surfaces and various techniques, materials and methods, focussing on: - Forms of composition; - Proportions and the anatomical form; - Construction using contour and shape; - painting methods (pastel, alla prima, layered, glazing, dry brush, etc.) - tonality and brushwork (clair obscure, soft focus, smooth finish and impressionistic painting); - colour (tonality, contrast, warm-cool colours). 5.6 PAINTING IN COLOUR - FIRST SEMESTER KEIMPE VAN DER KOOI, SECOND SEMESTER JUAN XUE These lessons cover the following topics: Five compositional studies; Application of the three primary colours; Volume and shape Working with complementary colours; The various types of watercolour techniques 5.5 FIGURE PAINTING – TOM HAGEMAN The starting point is colour: the composition, the effect, impact and interaction of colour in the search of an individual palette. topics: Warm versus cool colours; Complementary colours; Colours and their intensity; Colour schemes and contrasts; The individual palette. 5.7 OPTIONAL LESSONS Tuesday afternoon - late 1st semester, portraiture: Jan van Loon, 2nd semester, figure painting: Paul Boswijk - Suggest atmosphere in space and volume; - Incorporate individual ideas, interpretation and/or insight 5.10 FINAL ASSIGNMENTS THIRD YEAR a) Make a composition in colour of a nude figure in a space with correct perspective. Make a watercolour painting in tone and colour. Wednesday afternoon - late 1st & 2nd semester, representational painting: Chris Herenius, 2nd semester Arnout van Albada b) Wednesday morning plaster cast drawing, 1st semester Jan van Loon, 2nd semester Tom Hageman Both assignments should show an understanding of the following: Wednesday afternoon - late printmaking, 1st semester Reinder Homan, Siemen Dijkstra, Onno Broeksma Thursday morning figure drawing, Annelies Middel Thursday afternoon - late figure sculpting, Anita Franken Students can enrol for the above optional lessons. A maximum number of students is allowed for each subject. Staff assistance is available for approximately one hour during a 2.5 hour session. These optional lessons are open to students of both faculties i.e. students from the sculpture department can also enrol for lessons in the painting department and vice versa. Enrolment takes place via Eloka. 5.8 EXCURSION WEEK Excursions take place during the week following the autumn holiday week. In addition to the regular excursions 3rd year students can also register for the excursion week abroad (mostly in Tenerife) where the main objective is painting in the open. Registration takes place via Eloka. 5.9 ATTAINMENT TARGETS THIRD YEAR Students must show evidence of development since the end of the first and second academic year; in addition students must be able to: - Work with watercolour paint; - Paint with an extended palette; Composition Shape relationships Human anatomy Construction Pictorial space Textural expression. 5.11 FINAL CRITERIA ART APPRECIATION AND CULTURAL HISTORY Third year students of Art Appreciation write an essay twice a year in November and May on an exhibition or a painting. The essay is not only a formal report on for example subject matter and composition but should also deal with the context (where and how is the exhibition staged, who is the artist, in what sort of historical or social environment was the artwork created etc.). Attention to narrative, style and content is very important. In this way students are prepared to write about their own work and learn to observe in different ways. The subject matter of the essay should be studied within the oeuvre and time frame of the artist. Students are assessed in their ability to provide insight into the way a work of art is made and its meaning. A certificate is awarded to students at the end of the third year of the vocational course. 6 FOURTH AND FIFTH YEAR MASTER SCHOOLING photo: Xandra Donders In the Master schooling students build on skills previously acquired during the vocational course. Students perfect their skills by making a choice from the subjects on offer, developing their own identity and interpretation. Jan van Loon The exploration of staged compositions and their dramatic effect Afbeelding portret van Jan A robust approach to portraiture and figure painting 6.2 ELECTIVE COURSES - WEDNESDAY 1st semester Jan van Loon; 2nd semester Ruud de Rode. Jan van Loon With Jan van Loon students aim to create large-format paintings using wide paintbrushes Ruud de Rode 6.1 ELECTIVE COURSES - TUESDAY 1st semester Jan van Loon; 2nd semester Xandra Donders Xandra Donders The challenge for students to develop an original line of approach 6.3 ELECTIVE COURSES – FRIDAY 1st semester Gerrie Wachtmeester; 2nd semester Juane Xue. 6.4 ELECTIVE COURSES – SATURDAY 1st semester Matthijs Röling; 2nd semester Rein Pol. Matthijs Röling Gerrie Wachtmeester In search of individual development Juane Xue Figure painting Rein Pol Colour in relation to subject matter Rein Pol offers guidance to students with their questions and ideas 7 MASTER CLASSES There are a number of Master classes which run from two to five consecutive days in one week. Some of these classes are fixed programmes, sometimes guest tutors are engaged from elsewhere. 7.2 MASTER CLASS FEBRUARY – SAM DRUKKER This takes place for 3 consecutive days during the Academy’s “Open Days” Master class with Henk Helmantel 7.1 MASTER CLASS SEPTEMBER – JAN VAN DER KOOI This Master class takes place for 5 days consecutively during the excursion week following the autumn holiday. 7.3 MASTER CLASS APRIL – HENK HELMANTEL This takes place during the project week prior to the May holiday for 3 days consecutively plus an excursion day in Museum De Weem. 7.4 MASTER 1ST YEAR LECTURES IN ART HISTORY A reference frame is formed by a series of lectures on art appreciation, cultural criticism, philosophy and other art related subjects, by various guest lecturers. Location: Akerkhof 43-c. This programme is compiled annually and organised by Eric Bos and Miranda van Gelderen. 7.5 MASTER 2ND YEAR PRESENTATIONS 7.7 At the beginning of the second year of the master schooling students must do a presentation according to the guidelines provided for their own group of students and teachers. Using visual material of their own work students look back over the four-year course through review and self-evaluation. The presentation should give a clear indication of the area in which the student plans to graduate. The presentations are supervised and assessed by Eric Bos and Miranda van Gelderen. 7.6 MASTER 2ND YEAR VOCATIONAL PREPARATION The Vocational preparation programme serves to prepare students for the day-to-day practice of their profession. In a series of guest lectures and excursions students are introduced to all aspects of the profession, for example: presentation, how museums, visual art centres and galleries function, the criteria used by critics and the business aspects of an artistic career. These take place in the second year of the master schooling. WORK WEEKS/EXCURSIONS A work week (abroad) of landscape painting is also scheduled in the Master schooling as well as a museum excursion which takes place during the week following the autumn holiday. Students can register via Eloka. 7.8 FINAL EXAMINATION The emphasis shifts in the second year from guided study to working independently with feedback from tutors. Students can also enrol for elective courses, availability permitting. Students can arrange meetings with chosen tutors for periodical guidance. Finally students can request commentary and advice for a period of one hour from an artist of their choice (outside the Master schooling). This consists of: Presentation The various presentation techniques and forms with emphasis on photography for printwork, digital presentations and printed material. Market How galleries determine their operating policy, what plays a role in their choices. Visual art centres: the aim and purpose of documentation, assignments and the art library. How do museums determine their policy, what plays a role in their decision making. Business The business aspects of an artistic career. 8 GRADUATION With the approval of the graduation committee a diploma will be awarded to students who graduate after completion of the two-year Master schooling. Graduates need to attain not only a high level of competence but must also produce a number of quality works for the concluding exhibition (this oeuvre is the final examination project). If a student does not attain the required level the study may be prolonged once. students’ studies but also as the launch of their artistic career. The Master schooling is concluded with a diploma and an exhibition. 8.1 GRADUATION EXHIBITION Students’ work produced during the Master schooling in their own studios is exhibited in the Graduation Exhibition which is hosted in June by Kunstlievend Genootschap Pictura, Sint Walburgstraat 1 in Groningen. The Graduation Exhibition should not just be seen as the completion of 9 CONTENTS 1 Subject material .................................................................................................................................... 1 1.1 Techniques, knowledge and skills ................................................................................................. 2 1.2 Drawing techniques ............................................................... Fout! Bladwijzer niet gedefinieerd. 1.3 Composition .................................................................................................................................. 2 1.4 Tonal values ........................................................................... Fout! Bladwijzer niet gedefinieerd. 1.5 Colour ..................................................................................... Fout! Bladwijzer niet gedefinieerd. 1.6 Palette ........................................................................................................................................... 3 1.7 Form study .................................................................................................................................... 3 1.8 Anatomy ........................................................................................................................................ 3 1.9 Volume ................................................................................... Fout! Bladwijzer niet gedefinieerd. 1.10 Atmospheric perspective .............................................................................................................. 4 1.11 Linear perspectvie ......................................................................................................................... 4 1.12 Textural expression ................................................................ Fout! Bladwijzer niet gedefinieerd. 1.13 Painting style .......................................................................... Fout! Bladwijzer niet gedefinieerd. 2 3 1.14 Painting technique ........................................................................................................................ 5 1.15 Forms of Expression ............................................................... Fout! Bladwijzer niet gedefinieerd. 1.16 Imagination ............................................................................ Fout! Bladwijzer niet gedefinieerd. 1.17 Printmaking techniques ................................................................................................................ 6 1.18 Artists’ Materials .................................................................... Fout! Bladwijzer niet gedefinieerd. 1.19 Cultural knowledge ................................................................ Fout! Bladwijzer niet gedefinieerd. 1.20 Self-tuition.............................................................................. Fout! Bladwijzer niet gedefinieerd. 1.21 Vocational preparation .......................................................... Fout! Bladwijzer niet gedefinieerd. Basic Training ........................................................................................................................................ 8 2.1 Syllabus ......................................................................................................................................... 8 2.2 Location......................................................................................................................................... 8 2.3 Programme ............................................................................ Fout! Bladwijzer niet gedefinieerd. 2.4 Semesters...................................................................................................................................... 8 First year Vocational Course in Painting ............................................................................................... 9 3.1 Introduction to basic principles and skills ..................................................................................... 9 3.2 Volume and Perspective ................................................................................................................. 3.3 Composition and Expression ......................................................................................................... 9 3.4 Art History ..................................................................................................................................... 9 3.5 Drawing Techniques.................................................................................................................... 10 ................................................................................................................................................................ 10 4 3.6 Workshop Printmaking ............................................................................................................... 10 3.7 Final criteria first year ................................................................................................................. 10 3.8 Final assignment first year .......................................................................................................... 11 3.9 Final criteria Art History .............................................................................................................. 11 Second Year Vocational Course in Painting ........................................................................................ 13 4.1 Programme ................................................................................................................................. 13 4.2 Artists’ Materials , Techniques and Realistic Painting ................................................................ 14 4.3 Layered Painting.......................................................................................................................... 14 4.4 Composition and Expression ....................................................................................................... 14 4.5 Figure Painting ............................................................................................................................ 15 4.6 Art History .............................................................................. Fout! Bladwijzer niet gedefinieerd. 4.7 Optional Lessons .................................................................... Fout! Bladwijzer niet gedefinieerd. 4.8 Final criteria second year ....................................................... Fout! Bladwijzer niet gedefinieerd. 5 6 7 8 4.9 Final assignments second year .............................................. Fout! Bladwijzer niet gedefinieerd. 4.10 Final criteria Art History ......................................................... Fout! Bladwijzer niet gedefinieerd. Third Year Vocational Course in Painting............................................................................................ 16 5.1 Programme ............................................................................ Fout! Bladwijzer niet gedefinieerd. 5.2 Composition & Expression .......................................................................................................... 16 5.3 Art Appreciation and Cultural History......................................................................................... 16 5.4 Watercolour ................................................................................................................................ 17 5.5 Figure Painting ............................................................................................................................ 17 5.6 Painting in colour ........................................................................................................................ 17 5.7 Optional lessons ..................................................................... Fout! Bladwijzer niet gedefinieerd. 5.8 Work week ............................................................................. Fout! Bladwijzer niet gedefinieerd. 5.9 Final criteria Third year .......................................................... Fout! Bladwijzer niet gedefinieerd. 5.10 Final assignments Third year....................................................................................................... 18 5.11 Final criteria Art Appreciation and Cultural History.................................................................... 18 Fourth and Fifth year Master schooling ............................................................................................. 19 6.1 Elective courses - Tuesday .................................................... Fout! Bladwijzer niet gedefinieerd. 6.2 Elective courses - Wednesday................................................ Fout! Bladwijzer niet gedefinieerd. 6.3 Elective courses - Friday .............................................................................................................. 20 6.4 Elective courses - Saturday ......................................................................................................... 20 Master classes ..................................................................................................................................... 21 7.1 Master class September – Jan van der Kooi ............................................................................... 21 7.2 Master class February – Sam Drukker ........................................................................................ 21 7.3 Master class April – Henk Helmantel .......................................................................................... 21 7.4 Master 1st Year Lectures Art History .......................................................................................... 22 7.5 Master 2nd Year Presentations .................................................................................................. 22 7.6 Master 2nd Year Vocational Preparation ................................................................................... 22 7.7 Work weeks and excursions................................................... Fout! Bladwijzer niet gedefinieerd. 7.8 Final Examination ................................................................... Fout! Bladwijzer niet gedefinieerd. Graduation ..................................................................................... Fout! Bladwijzer niet gedefinieerd. 8.1 Gradudation Exhibition ............................................................................................................... 23
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