WORKSHOPS WILL BE HELD ONLINE,
UNLESS NOTED OTHERWISE IN THE DESCRIPTION,
To register for a workshop, click the "REGISTER" link below the title.
Sign up for the mailing list to be notified of new workshops.
Contact us at blackpondstudio@gmail.com with questions.
Workshops are listed in chronological order.
Scroll down for complete listings.
UNLESS NOTED OTHERWISE IN THE DESCRIPTION,
To register for a workshop, click the "REGISTER" link below the title.
Sign up for the mailing list to be notified of new workshops.
Contact us at blackpondstudio@gmail.com with questions.
Workshops are listed in chronological order.
Scroll down for complete listings.
BLACK, WHITE, AND IN-BETWEEN
WITH NANCY McCARTHY
June 9-12, 2022
Thursday-Saturday
ONLINE WORKSHOP The striking contrasts of black and white, and the subtle differences between grays, will be the fuel for our images. First, using brushes with black ink on white paper, we will build compositions from shapes of black and white, with still life and the landscape as our sources. We will move into ink washes, then switch to white on black, and each day delve into more exercises using pens, cut paper, collage and block prints. Our aim is to generate a volume of drawings, from both observation and abstraction, which expand our visual vocabulary, sensitivity to value and shape, as well as compositional skills. We will use Zoom to meet as as group, view image presentations, and Padlet share and discuss work.
June 9-12, 2022
Thursday-Saturday
ONLINE WORKSHOP The striking contrasts of black and white, and the subtle differences between grays, will be the fuel for our images. First, using brushes with black ink on white paper, we will build compositions from shapes of black and white, with still life and the landscape as our sources. We will move into ink washes, then switch to white on black, and each day delve into more exercises using pens, cut paper, collage and block prints. Our aim is to generate a volume of drawings, from both observation and abstraction, which expand our visual vocabulary, sensitivity to value and shape, as well as compositional skills. We will use Zoom to meet as as group, view image presentations, and Padlet share and discuss work.
FIELD NOTES
WITH TIM KENNEDY and EVE MANSDORF
AUGUST 8 - 12, 2022
Monday - Friday
(TOP: Eve Mansdorf BOTTOM: Tim Kennedy)
ONLINE WORKSHOP. Since the invention of the paint tube in the early 19th century artists have been able to enter the landscape in order to paint directly from it. Think of Monet at Argenteuil or Fairfield Porter in Maine. Like an explorer setting out on an expedition, part of the fun in painting the landscape is organizing yourself and your materials to be able to do it at all. Landscape painters eye each others easels and palettes the way fishermen size up competitors’ rods and reels. Efficiency of movement and paring down what one carries to the bare essentials is learned and prized. Each artist finds his or her own process and way of being in the landscape. These locations need not be far off and exotic locations, but even painting a motif a few blocks or miles from the artist’s studio requires logistical planning.
This workshop promotes finding a site where people and nature coexist whether it be an industrial site, a nearby state park, a public swimming pool or the outskirts of a suburban neighborhood. The vagaries produced by human interaction with the landscape are the real subject. Will that car still be here tomorrow? Will the crop be harvested before I finish my painting? Temporality can lend urgency and vitality to an on site painting. The observation of how a place is being used can influence how the painter sees the motif. Each participant will produce a series of small one day paintings that explore both the natural beauty of a place and the human use of that space as it may be presented through objects, activities or built structures. During the course of the workshop we will use Zoom to meet two to three times a day to share our work.
AUGUST 8 - 12, 2022
Monday - Friday
(TOP: Eve Mansdorf BOTTOM: Tim Kennedy)
ONLINE WORKSHOP. Since the invention of the paint tube in the early 19th century artists have been able to enter the landscape in order to paint directly from it. Think of Monet at Argenteuil or Fairfield Porter in Maine. Like an explorer setting out on an expedition, part of the fun in painting the landscape is organizing yourself and your materials to be able to do it at all. Landscape painters eye each others easels and palettes the way fishermen size up competitors’ rods and reels. Efficiency of movement and paring down what one carries to the bare essentials is learned and prized. Each artist finds his or her own process and way of being in the landscape. These locations need not be far off and exotic locations, but even painting a motif a few blocks or miles from the artist’s studio requires logistical planning.
This workshop promotes finding a site where people and nature coexist whether it be an industrial site, a nearby state park, a public swimming pool or the outskirts of a suburban neighborhood. The vagaries produced by human interaction with the landscape are the real subject. Will that car still be here tomorrow? Will the crop be harvested before I finish my painting? Temporality can lend urgency and vitality to an on site painting. The observation of how a place is being used can influence how the painter sees the motif. Each participant will produce a series of small one day paintings that explore both the natural beauty of a place and the human use of that space as it may be presented through objects, activities or built structures. During the course of the workshop we will use Zoom to meet two to three times a day to share our work.
BAROQUE MARATHON
WITH LUCY MacGILLIS
NOVEMBER 11-13, 2022
Friday-Sunday
In this three-day ONLINE course via Zoom with Italy-based Lucy MacGillis, painters will look closely at three 500-year-old Italian Renaissance and early Baroque masterpieces investigating what makes them so powerful. Each day will begin with an introduction to the painter whose work we are studying that day and the context in which the painting in question was created. Using transcription, we will draw from these paintings, not copying, but searching for the brilliant uses of rhythm, duality, and repetition within the geometry of each. From Giorgione to the Baroque Caravaggio and Artemisia Gentileschi we will explore a specific painting on paper and in a discussion. In the later part of each day, participants will create a painting sketch to better grasp the use of color in that day's masterpiece. We will conclude with a group critique of the studies and a discussion about the colors which were used to create the original paintings.
Each participant will receive a kit in the mail, prior to the course, containing the prints of the three paintings we will transcribe, as well as Fabriano drawing and primed paper measured in proportion to the works. Throughout the class there will be several demos from Lucy MacGillis' studio. THE COST OF THE KITS IS INCLUDED IN THE WORKSHOP PRICE.
NOVEMBER 11-13, 2022
Friday-Sunday
In this three-day ONLINE course via Zoom with Italy-based Lucy MacGillis, painters will look closely at three 500-year-old Italian Renaissance and early Baroque masterpieces investigating what makes them so powerful. Each day will begin with an introduction to the painter whose work we are studying that day and the context in which the painting in question was created. Using transcription, we will draw from these paintings, not copying, but searching for the brilliant uses of rhythm, duality, and repetition within the geometry of each. From Giorgione to the Baroque Caravaggio and Artemisia Gentileschi we will explore a specific painting on paper and in a discussion. In the later part of each day, participants will create a painting sketch to better grasp the use of color in that day's masterpiece. We will conclude with a group critique of the studies and a discussion about the colors which were used to create the original paintings.
Each participant will receive a kit in the mail, prior to the course, containing the prints of the three paintings we will transcribe, as well as Fabriano drawing and primed paper measured in proportion to the works. Throughout the class there will be several demos from Lucy MacGillis' studio. THE COST OF THE KITS IS INCLUDED IN THE WORKSHOP PRICE.
LINEAGE INTO PAINT
WITH CATHERINE KEHOE
THIS WORKSHOP IS FULL
Five weekly meetings
WEDNESDAYS
December 1, 2021
December 8, 2021
December 15, 2021
December 22, 2021
December 29, 2021
2-6 p.m. Eastern time, US and Canada
ONLINE WORKSHOP. Photos of ancestors — those we have known in life and those we can know only from the images — will be the sources for this workshop. These photos might trigger a narrative, imaginary or real. We might begin with an impulse for detail and description, a desire to imagine those we can know in no other way. The ultimate goal will be reduction and a search for how much is enough. By analyzing the images as designs in a rectangle, breaking down the pictorial elements through simplification and abstraction, we will build drawings and paintings that stand on their own. Mediums will include graphite, collage, acrylic and/or oil paint.
We will meet on Zoom and share the work in an online platform.
THIS WORKSHOP IS FULL
Five weekly meetings
WEDNESDAYS
December 1, 2021
December 8, 2021
December 15, 2021
December 22, 2021
December 29, 2021
2-6 p.m. Eastern time, US and Canada
ONLINE WORKSHOP. Photos of ancestors — those we have known in life and those we can know only from the images — will be the sources for this workshop. These photos might trigger a narrative, imaginary or real. We might begin with an impulse for detail and description, a desire to imagine those we can know in no other way. The ultimate goal will be reduction and a search for how much is enough. By analyzing the images as designs in a rectangle, breaking down the pictorial elements through simplification and abstraction, we will build drawings and paintings that stand on their own. Mediums will include graphite, collage, acrylic and/or oil paint.
We will meet on Zoom and share the work in an online platform.
THE THIRD DOOR
WITH NANCY GRUSKIN
THIS WORKSHOP IS FULL
January 14-16, 2022
Friday-Sunday
ONLINE MIXED MEDIA WORKSHOP. American artist Robert Zakanitch has described ornamentation as “the third door,” an alternative entry to painting from representation and abstraction. This three-day workshop will explore ornamentation and
pattern-making through collage, paint, and paper. We will begin on Friday with a slide presentation on the role of pattern in 20th- and 21st-century art. Morning Zoom meetings on Saturday and Sunday will include warm-up exercises and introduce assignments for the day. We will then reassemble on Zoom in the evening for group feedback and discussion. Participants will share their work on an online platform. The emphasis will be on experimentation and discovering new processes.
THIS WORKSHOP IS FULL
January 14-16, 2022
Friday-Sunday
ONLINE MIXED MEDIA WORKSHOP. American artist Robert Zakanitch has described ornamentation as “the third door,” an alternative entry to painting from representation and abstraction. This three-day workshop will explore ornamentation and
pattern-making through collage, paint, and paper. We will begin on Friday with a slide presentation on the role of pattern in 20th- and 21st-century art. Morning Zoom meetings on Saturday and Sunday will include warm-up exercises and introduce assignments for the day. We will then reassemble on Zoom in the evening for group feedback and discussion. Participants will share their work on an online platform. The emphasis will be on experimentation and discovering new processes.
PAINTING RESET
WITH JENNIFER POCHINSKI
THIS WORKSHOP IS FULL
January 28-February 1
Friday-Tuesday
“If you want to have clean ideas, change them like shirts” — Francis Picabia
The objective for the course is to find new perspectives through short exercises. Exploration and discovery are the goal in working from life-- objects or self-portraits. Most work will be carried out on paper or on top of old paintings. Participants may work on any scale.
ONLINE WORKSHOP. Participants will meet daily on Zoom over the course of five days. There will be slide presentations as well as demos that illustrate the focus for the day. Exercises will be introduced in the meeting each morning. Participants will post their work on Padlet and will have group feedback in the afternoon/evening.
THIS WORKSHOP IS FULL
January 28-February 1
Friday-Tuesday
“If you want to have clean ideas, change them like shirts” — Francis Picabia
The objective for the course is to find new perspectives through short exercises. Exploration and discovery are the goal in working from life-- objects or self-portraits. Most work will be carried out on paper or on top of old paintings. Participants may work on any scale.
ONLINE WORKSHOP. Participants will meet daily on Zoom over the course of five days. There will be slide presentations as well as demos that illustrate the focus for the day. Exercises will be introduced in the meeting each morning. Participants will post their work on Padlet and will have group feedback in the afternoon/evening.
THE DIFFERENCE BETWEEN THINGS
WITH CATHERINE KEHOE
THIS WORKSHOP IS FULL
Five weekly meetings.
WEDNESDAYS
February 2
February 9
February 16
February 23
March 2
2022
10:30 a.m.-2 p.m.
Eastern time, US and Canada
Calculate for your time zone
ONLINE WORKSHOP
I do not believe in things; I believe only in their relationship. For things to exist, there must first come into being a relationship between you and the things, or between the things themselves.
— Georges Braque
In this still-life workshop, participants will build and light their own setups, and have a full week between meetings to explore a series of exercises. Time lends depth to the painted image and frees us to pare down to the essential. The exercises include:
• Mapping the relationships between objects and the rectangle, using a specific drawing method.
• Exploring different limited palettes to discover the nature of a few paint colors at a time, in terms of opacity, transparency, and relative tinting strength.
• Shape will be central to our approach. Reducing the motif to10-15 shapes will bring the focus on color mixing and accurate value structure.
• Adjusting the colors in a multiple-pass painting to keep up with the way appearances can change from day to day.
Medium: oil paint
We will meet on Zoom and share work on an online platform
THIS WORKSHOP IS FULL
Five weekly meetings.
WEDNESDAYS
February 2
February 9
February 16
February 23
March 2
2022
10:30 a.m.-2 p.m.
Eastern time, US and Canada
Calculate for your time zone
ONLINE WORKSHOP
I do not believe in things; I believe only in their relationship. For things to exist, there must first come into being a relationship between you and the things, or between the things themselves.
— Georges Braque
In this still-life workshop, participants will build and light their own setups, and have a full week between meetings to explore a series of exercises. Time lends depth to the painted image and frees us to pare down to the essential. The exercises include:
• Mapping the relationships between objects and the rectangle, using a specific drawing method.
• Exploring different limited palettes to discover the nature of a few paint colors at a time, in terms of opacity, transparency, and relative tinting strength.
• Shape will be central to our approach. Reducing the motif to10-15 shapes will bring the focus on color mixing and accurate value structure.
• Adjusting the colors in a multiple-pass painting to keep up with the way appearances can change from day to day.
Medium: oil paint
We will meet on Zoom and share work on an online platform
THE HEAD IN THE MIRROR
WITH JOE MORZUCH
THIS WORKSHOP IS FULL
Five weekly meetings
SATURDAYS
February 5
February 12
February 19
February 26
March 5, 2022
ONLINE WORKSHOP. Painting one’s reflected likeness is a strange and wonderful experience. It requires focus, patience, and the courage to look deeply at and within. With this workshop, participants will investigate the technical and conceptual challenges of painting self-portrait heads from direct observation. Referencing the work of historical and contemporary painters, participants will complete multiple works over the course of 5 weeks, guided by specific prompts and/or formal limitations. Each subsequent exercise will advance the concerns addressed the week before, resulting in an accumulated understanding of the complexities of painting a self-portrait from direct observation. Topics covered will include: the general structure and proportions of the human head, light, shadow, and tonality, form simplification and planar analysis, color temperature and intensity, and an exploration of various painting implements.
Workshop will be held on Zoom, and work will be shared on Padlet.
THIS WORKSHOP IS FULL
Five weekly meetings
SATURDAYS
February 5
February 12
February 19
February 26
March 5, 2022
ONLINE WORKSHOP. Painting one’s reflected likeness is a strange and wonderful experience. It requires focus, patience, and the courage to look deeply at and within. With this workshop, participants will investigate the technical and conceptual challenges of painting self-portrait heads from direct observation. Referencing the work of historical and contemporary painters, participants will complete multiple works over the course of 5 weeks, guided by specific prompts and/or formal limitations. Each subsequent exercise will advance the concerns addressed the week before, resulting in an accumulated understanding of the complexities of painting a self-portrait from direct observation. Topics covered will include: the general structure and proportions of the human head, light, shadow, and tonality, form simplification and planar analysis, color temperature and intensity, and an exploration of various painting implements.
Workshop will be held on Zoom, and work will be shared on Padlet.
INTERIOR SPACE
WITH PETER VAN DYCK
THIS WORKSHOP IS FULL
Weekly on Sundays
February 6
February 13
February 20
February 27
March 6, 2022
ONLINE WORKSHOP
Using pencil sketches, color studies, larger drawings and painting on location, we will build paintings of interior spaces from direct observation. Our goal will be to merge two different ways of organizing and depicting space in a painting: one will be through drawing the 3-dimensional, volumetric quality of the space; the other will be through finding large color relationships to express the movement of light through space. Experience in basic observational drawing as well as with oil and/or acrylic paint will be helpful.
THIS WORKSHOP IS FULL
Weekly on Sundays
February 6
February 13
February 20
February 27
March 6, 2022
ONLINE WORKSHOP
Using pencil sketches, color studies, larger drawings and painting on location, we will build paintings of interior spaces from direct observation. Our goal will be to merge two different ways of organizing and depicting space in a painting: one will be through drawing the 3-dimensional, volumetric quality of the space; the other will be through finding large color relationships to express the movement of light through space. Experience in basic observational drawing as well as with oil and/or acrylic paint will be helpful.
TRANSCRIBING ITALIAN MASTERS
WITH LUCY MacGILLIS
THIS WORKSHOP IS FULL
THURSDAYS
March 3
March 10
March 17
March 24
March 31
2022
In this five-week ONLINE course via Zoom with Italy-based Lucy MacGillis, painters will look closely at four 500-year-old Italian Renaissance and Rococo masterpieces, investigating what makes them so powerful. Each meeting will begin with an introduction to the painter whose work we are studying that week, and the context in which the painting was created. Using transcription, we will draw from these paintings, not copying, but searching for the brilliant uses of rhythm, duality, and repetition within the geometry of each.
From Fra' Angelico and Botticelli to Andrea del Sarto and Tiepolo, we will explore a specific painting on paper and in discussion. Participants will create a painting sketch to better grasp the use of color in that week's Renaissance masterpiece. We will conclude with a group critique of the studies and a discussion about the colors which were used to create the original paintings. Work will be shared in an online platform.
Throughtout the class there will be several demos from Lucy MacGillis' studio.
Each participant will receive a kit in the mail, prior to the course, containing the prints of the four paintings we will transcribe as well as Fabriano drawing and primed paper measured in proportion to the works. THE COST OF THE KITS IS INCLUDED IN THE WORKSHOP PRICE.
THIS WORKSHOP IS FULL
THURSDAYS
March 3
March 10
March 17
March 24
March 31
2022
In this five-week ONLINE course via Zoom with Italy-based Lucy MacGillis, painters will look closely at four 500-year-old Italian Renaissance and Rococo masterpieces, investigating what makes them so powerful. Each meeting will begin with an introduction to the painter whose work we are studying that week, and the context in which the painting was created. Using transcription, we will draw from these paintings, not copying, but searching for the brilliant uses of rhythm, duality, and repetition within the geometry of each.
From Fra' Angelico and Botticelli to Andrea del Sarto and Tiepolo, we will explore a specific painting on paper and in discussion. Participants will create a painting sketch to better grasp the use of color in that week's Renaissance masterpiece. We will conclude with a group critique of the studies and a discussion about the colors which were used to create the original paintings. Work will be shared in an online platform.
Throughtout the class there will be several demos from Lucy MacGillis' studio.
Each participant will receive a kit in the mail, prior to the course, containing the prints of the four paintings we will transcribe as well as Fabriano drawing and primed paper measured in proportion to the works. THE COST OF THE KITS IS INCLUDED IN THE WORKSHOP PRICE.
COLLAGE AFTER MASTERS
WITH ROTEM AMIZUR
THIS WORKSHOP IS FULL
March 18-22, 2022
Friday-Tuesday
ONLINE WORKSHOP We will begin by painting papers with colors that excite us. Then, looking at old masters’ paintings, we will choose hues that create a sensation equivalent to what is evoked by them. Working only with our pre-painted papers helps us find unexpected color combinations. We look for relationships that feel good as opposed to "mixing the colors out there." Once colors are chosen and satisfying to us, we can dive into the continuous cycle of building, overlapping, changing and moving the cutout shapes — thus experiencing painting, drawing, observation, and invention as inseparable.
We will work small, with foam board and pins, pinning the cut-out shapes as we go along. Pinning as opposed to immediately gluing gives us a chance to constantly move shapes around. Making a variation, then another and another... Each new combination of colors leads us to see the reproduction in a new way — memory and familiarity making the game even more exciting and giving us the courage to make decisions we wouldn’t have dreamed of in the beginning. We are using the masters as our source but creating something distinctly personal and our own.
We will use Zoom to meet as as group, view image presentations, and discuss work shared on Padlet.
THIS WORKSHOP IS FULL
March 18-22, 2022
Friday-Tuesday
ONLINE WORKSHOP We will begin by painting papers with colors that excite us. Then, looking at old masters’ paintings, we will choose hues that create a sensation equivalent to what is evoked by them. Working only with our pre-painted papers helps us find unexpected color combinations. We look for relationships that feel good as opposed to "mixing the colors out there." Once colors are chosen and satisfying to us, we can dive into the continuous cycle of building, overlapping, changing and moving the cutout shapes — thus experiencing painting, drawing, observation, and invention as inseparable.
We will work small, with foam board and pins, pinning the cut-out shapes as we go along. Pinning as opposed to immediately gluing gives us a chance to constantly move shapes around. Making a variation, then another and another... Each new combination of colors leads us to see the reproduction in a new way — memory and familiarity making the game even more exciting and giving us the courage to make decisions we wouldn’t have dreamed of in the beginning. We are using the masters as our source but creating something distinctly personal and our own.
We will use Zoom to meet as as group, view image presentations, and discuss work shared on Padlet.
ON YOUR MARKS
WITH MAUREEN NATHAN
THIS WORKSHOP IS FULL
March 25-27, 2022
Friday-Sunday
ONLINE WORKSHOP. This drawing workshop is about freeing up expectations and engaging in the process of discovery. Participants will undertake various exercises with the aim of generating unexpected and compelling outcomes, as well as finding the drawing vocabulary unique to each artist. This workshop is especially helpful to artists who feel they are becoming stylized in their approach and is equally suitable for those new to drawing.
THIS WORKSHOP IS FULL
March 25-27, 2022
Friday-Sunday
ONLINE WORKSHOP. This drawing workshop is about freeing up expectations and engaging in the process of discovery. Participants will undertake various exercises with the aim of generating unexpected and compelling outcomes, as well as finding the drawing vocabulary unique to each artist. This workshop is especially helpful to artists who feel they are becoming stylized in their approach and is equally suitable for those new to drawing.
BACK TO LIFE
WITH JENNIFER POCHINSKI
THIS WORKSHOP IS FULL.
APRIL 21-25, 2022
THURSDAY-MONDAY
“Art is an adventure into an unknown world, which can be explored only by those willing to take risks.” – Mark Rothko
IN-PERSON WORKSHOP AT BLACK POND!
In celebration of being able to paint together in person, the workshop will center around painting from life. We will start with objects/still life and move to figures and self-portraits. The workshop will be made up of many short exercises throughout the 5 days. There will be a slide presentation and plenty of discussion.
Lunches are included in the workshop fee.
FULLY VACCINATED ONLY.
THIS WORKSHOP IS FULL.
APRIL 21-25, 2022
THURSDAY-MONDAY
“Art is an adventure into an unknown world, which can be explored only by those willing to take risks.” – Mark Rothko
IN-PERSON WORKSHOP AT BLACK POND!
In celebration of being able to paint together in person, the workshop will center around painting from life. We will start with objects/still life and move to figures and self-portraits. The workshop will be made up of many short exercises throughout the 5 days. There will be a slide presentation and plenty of discussion.
Lunches are included in the workshop fee.
FULLY VACCINATED ONLY.
PAINTING THE FIGURE WITH THE ITALIAN EARTH PALETTE
WITH LUCY MacGILLIS
THIS WORKSHOP IS FULL
June 24-26, 2022
Friday-Sunday
10 a.m. - 5 p.m.
IN PERSON. On site at Black Pond
FULLY VACCINATED
In this intensive three-day course, Lucy MacGillis shares her love for paint, beginning with its creation — mixing raw earth pigments from Italy with linseed oil. Working directly from observation of the model, participants learn not only how to create their own paint, but are guided in looking closely at the tones of the figure before them. By limiting the range of colors, painters use the relationships between colors to give them more force.
Using herculaneum and pozzuoli red, warm italian earth, yellow ochre, naples yellow, earth green, herculaneum blue, burnt and raw umber, roman black earth, and titanium white, participants are encouraged to paint with the palette knife via trial and error, mixing, placing the paint and scraping it off as needed — the result being a harmonious study of space, color and form.
Working directly from the observation of the nude model, participants are encouraged to simplify the figure into simple, carefully mixed planes of color.
On the each day there will be several fast studies as well as longer poses. Each day ends in a group critique including art historical examples, referring back to the Italian tradition of figure painting.
THIS WORKSHOP IS FULL
June 24-26, 2022
Friday-Sunday
10 a.m. - 5 p.m.
IN PERSON. On site at Black Pond
FULLY VACCINATED
In this intensive three-day course, Lucy MacGillis shares her love for paint, beginning with its creation — mixing raw earth pigments from Italy with linseed oil. Working directly from observation of the model, participants learn not only how to create their own paint, but are guided in looking closely at the tones of the figure before them. By limiting the range of colors, painters use the relationships between colors to give them more force.
Using herculaneum and pozzuoli red, warm italian earth, yellow ochre, naples yellow, earth green, herculaneum blue, burnt and raw umber, roman black earth, and titanium white, participants are encouraged to paint with the palette knife via trial and error, mixing, placing the paint and scraping it off as needed — the result being a harmonious study of space, color and form.
Working directly from the observation of the nude model, participants are encouraged to simplify the figure into simple, carefully mixed planes of color.
On the each day there will be several fast studies as well as longer poses. Each day ends in a group critique including art historical examples, referring back to the Italian tradition of figure painting.