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Classical Realism is an artistic movement in the late-20th and early 21st century in which drawing and painting place a high value upon skill and beauty, combining elements of 19th-century neoclassicism and realism.
The term "Classical Realism" first appeared as a description of literary style, as in an 1882 criticism of Milton's poetry. [1] Its usage relating to the visual arts dates back to at least 1905 in a reference to Masaccio's paintings. [2] It originated as the title of a contemporary but traditional artistic movement with Richard Lack (1928–2009), who was a pupil of Boston artist R. H. Ives Gammell (1893–1981) during the early 1950s. Ives Gammell had studied with William McGregor Paxton (1869–1941) and Paxton had studied with 19th-century French artist, Jean-Léon Gérôme (1824–1904). In 1967 Lack established Atelier Lack, a studio-school of fine art patterned after the ateliers of 19th-century Paris and the teaching of the Boston impressionists. By 1980 he had trained a significant group of young painters. In 1982, they organized a traveling exhibition of their work and that of other artists within the artistic tradition represented by Gammell, Lack and their students. Lack was asked by Vern Swanson, director of the Springville Museum of Art, Springville, Utah, (the exhibition's originating venue), to coin a term that would differentiate the realism of the heirs of the Boston tradition from that of other representational artists. Although he was reluctant to label this work, Lack chose the expression "Classical Realism." It was first used in the title of that exhibition: Classical Realism: The Other Twentieth Century. The term, "Classical Realism", was originally intended to describe work that combined the fine drawing and design of the European academic tradition as exemplified by Gérôme with the observed color values of the American Boston tradition as exemplified by Paxton.
In 1985 Atelier Lack began publishing the Classical Realism Quarterly, featuring articles written by Richard Lack and his students to educate and inform the public about traditional representational painting. In 1988 Lack and several associates founded The American Society of Classical Realism, a society organized to preserve and promote fine representational art. The ASCR functioned until 2005 and published the influential Classical Realism Journal and Classical Realism Newsletter.
In a separate vein, another major contributor to the revival of traditional drawing and painting knowledge is the painter and art instructor Ted Seth Jacobs (born 1927), who taught students at the Art Students League and the New York Academy of Art in New York City. [3] Their lineage is rooted in the Académie Julian, the Golden Age of Illustration in New York, and the School of Paris. In 1987 Ted Seth Jacobs created his own art school, L'Ecole Albert Defois in Les Cerqueux sous Passavant, France (49). Many of Jacobs' students such as Anthony Ryder and Jacob Collins became influential teachers and acquired their own student following. [4]
Classical Realism is characterized by love for the visible world and the great traditions of Western art, including Classicism, Realism and Impressionism. The movement's aesthetic is classical in that it exhibits a preference for order, beauty, harmony and completeness; it is realist because its primary subject matter comes from the representation of nature based on the artist's observation. [5] Artists in this genre strive to draw and paint from the direct observation of nature, and eschew the use of photography or other mechanical aids. In this regard, Classical Realism differs from the art movements of Photorealism and Hyperrealism, as well as from industry methods as used in disciplines such as concept art. Stylistically, classical realists employ methods used by both Impressionist and Academic artists.
Classical Realist painters have attempted to restore curricula of training that develop a sensitive, artistic eye and methods of representing nature that pre-date Modern Art. They seek to create paintings that are personal, expressive, beautiful, and skillful. Their subject matter includes all of the traditional categories within Western Art: figurative, landscape, portraiture, indoor and outdoor genre and still life paintings.
A central idea of Classical Realism is the belief that the Modern Art movements of the 20th century opposed the tenets and production of traditional art and caused a general loss of the skills and methods needed to produce it. Modernism was antagonistic to art as it was conceived by the Greeks, resurrected in the Renaissance, and carried on by the academies of the nineteenth and early twentieth centuries. [6] Classical Realist artists attempt to revive the idea of art production as it was traditionally understood: mastery of a craft in order to make objects that gratify and ennoble those who see them. [7] This craftsmanship is then applied to drawing, painting or sculpting contemporary subjects which the artist observes in the modern world.
Like the 19th-century academic models from which it derives inspiration, the movement has drawn criticism for the premium placed upon technical performance, a tendency toward contrived and idealized depictions of the figure, and rhetorical overstatement when applied to epic narrative. [6] Maureen Mullarkey of the New York Sun referred to the school as "a contemporary style with retro appeal—like Chrysler's PT Cruiser". [8]
The Classical Realist movement is currently sustained through art schools based on the Atelier Method. Many present-day academies and ateliers follow the Charles Bargue drawing course. Richard Lack is generally regarded as the founder of the contemporary atelier movement. His school, Atelier Lack, was founded in 1969 and became a model for similar schools. [9] These modern ateliers are founded with the goal of revitalizing art education by reintroducing rigorous training in traditional drawing and painting techniques, employing teaching methodologies that were used in the École des Beaux-Arts. These schools pass on a method of instruction which melds formal academic art training with the influence of the French Impressionists.
Under the atelier model, art students study in the studio of an established master to learn how to draw and paint with realistic accuracy and an emphasis on rendering form convincingly. The foundation of these programs rests on an intensive study of the human figure, renderings of plaster casts of classical sculpture, and the emulation of their instructors. The goal is to make students adept at observation, theory, and craft while absorbing classical ideals of beauty. [9]
Atelier schools founded in this tradition include (in chronological order of founding):
Academic art, academicism, or academism, is a style of painting and sculpture produced under the influence of European academies of art. This method extended its influence throughout the Western world over several centuries, from its origins in Italy in the mid-16th century, until its dissipation in the early 20th century. It reached its apogee in the 19th century, after the end of the Napoleonic Wars in 1815. In this period, the standards of the French Académie des Beaux-Arts were very influential, combining elements of Neoclassicism and Romanticism, with Jean-Auguste-Dominique Ingres a key figure in the formation of the style in painting. The success of the French model led to the founding of countless other art academies in several countries. Later painters who tried to continue the synthesis included William-Adolphe Bouguereau, Thomas Couture, and Hans Makart among many others. In sculpture, academic art is characterized by a tendency towards monumentality, as in the works of Auguste Bartholdi and Daniel Chester French.
A figure study is a drawing or painting of the human body made in preparation for a more composed or finished work; or to learn drawing and painting techniques in general and the human figure in particular. By preference, figure studies are done from a live model, but may also include the use of other references and the imagination of the artist. The live model may be clothed, or nude, but is usually nude for student work in order to learn human anatomy, or by professionals who establish the underlying anatomy before adding clothing in the final work.
Robert Hale Ives Gammell was an American artist best known for his sequence of paintings based on Francis Thompson's poem "The Hound of Heaven". Gammell painted symbolic images that reflected his study of literature, mythology, psychology, and religion.
Burton Silverman is an American artist.
Modern Greek art is art from the period between the emergence of the new independent Greek state and the 20th century. As Mainland Greece was under Ottoman rule for all four centuries, it was not a part of the Renaissance and artistic movements that followed in Western Europe. However, Greek islands such as Crete, and the Ionian islands in particular were for large periods under Venetian or other European powers' rule and thus were able to better assimilate the radical artistic changes that were occurring in Europe during the 14th-18th century.
An atelier is the private workshop or studio of a professional artist in the fine or decorative arts or an architect, where a principal master and a number of assistants, students, and apprentices can work together producing fine art or visual art released under the master's name or supervision.
Robert Beverly Hale was an artist, curator of American paintings at the Metropolitan Museum of Art, and instructor of artistic anatomy at the Art Students League of New York and the Pennsylvania Academy of Fine Art. He was also the author of the well-known book Drawing Lessons from the Great Masters, as well as the translator of the classic anatomy text Artistic Anatomy by Dr. Paul Richer.
Jacob Collins is an American realist painter working in New York City. He is a leading figure of the contemporary classical art revival.
Realism in the arts is generally the attempt to represent subject matter truthfully, without artificiality and avoiding speculative and supernatural elements. The term is often used interchangeably with naturalism, although these terms are not synonymous. Naturalism, as an idea relating to visual representation in Western art, seeks to depict objects with the least possible amount of distortion and is tied to the development of linear perspective and illusionism in Renaissance Europe. Realism, while predicated upon naturalistic representation and a departure from the idealization of earlier academic art, often refers to a specific art historical movement that originated in France in the aftermath of the French Revolution of 1848. With artists like Gustave Courbet capitalizing on the mundane, ugly or sordid, realism was motivated by the renewed interest in the common man and the rise of leftist politics. The realist painters rejected Romanticism, which had come to dominate French literature and art, with roots in the late 18th century.
Graydon Parrish is a realist painter living in Austin, Texas. He is both trained in and an exponent of the atelier method which emphasizes classical painting techniques.
The Boston school was a group of Boston-based painters active in the first three decades of the twentieth century. Often classified as American Impressionists, they had their own regional style, combining the painterliness of Impressionism with a more conservative approach to figure painting and a marked respect for the traditions of Western art history. Their preferred subject matter was genteel: portraits, picturesque landscapes, and young women posing in well-appointed interiors. Major influences included John Singer Sargent, Claude Monet, and Jan Vermeer. Key figures in the Boston school were Edmund C. Tarbell, Frank Weston Benson, and William McGregor Paxton, all of whom trained in Paris at the Académie Julian and later taught at the School of the Museum of Fine Arts. Their influence can still be seen in the work of some contemporary Boston-area artists.
The contemporary realism movement is a worldwide style of painting which came into existence c. 1960s and early 1970s. Featuring a straightforward approach to representation practiced by artists such as Philip Pearlstein, Alex Katz, Jack Beal and Neil Welliver. The movement refers to figurative art works created in a natural yet highly objective style. Today the term Contemporary Realism encompasses all post-1970 sculptors and painters whose discipline is representational art, where the object is to portray the "real" and not the "ideal".
Lyndall Bass is an American realist painter and teacher who primarily paints still lifes, flower paintings and symbolist figure paintings. She lives and works in Santa Fe, New Mexico. She is the designer of the current reverse of the Lincoln cent, which has been in use since 2010.
Peter Seitz Adams is an American artist. His body of work focuses on landscapes and seascapes created en plein air in oil or pastel as well as enigmatic figure and still-life paintings. He is noted for his colorful, high-key palette and broad brushwork. Adams has held numerous solo and group exhibitions in galleries and museums, including throughout California, the Western United States, and on the East Coast in Philadelphia, Vermont, and New York. Adams is the longest serving President of the California Art Club and has served on its board of directors in Pasadena, California from 1993 to 2018. He is also a writer on subjects relating to historic artists for the California Art Club Newsletter, as well as for a number of the organization's exhibition catalogs.
Alexander Mikhailovich Lyubimov was a Russian and later Soviet realist painter, graphic artist, illustrator, and art teacher, professor of Repin Institute of Arts and Vera Mukhina Higher School of Art and Industry, who lived and worked in Leningrad. He was a member of the Leningrad Union of Artists and regarded as one of founder and the brightest representatives of the Leningrad school of painting, most famous for his portrait paintings and satirical drawings.
Aleksander Balos is a Romani-Polish-American artist and figurative painter, known for his classical photorealistic paintings depicting contemporary subject matter and narrative. He currently lives in the United States and is a naturalised American.
Patricia Watwood is an American figurative painter living in Brooklyn, NY.
Contemporary-Traditional Art refers to an art produced at the present period of time that reflects the current culture by utilizing classical techniques in drawing, painting, and sculpting. Practicing artists are mainly concerned with the preservation of time-honored skills in creating works of figurative and representational forms of fine art as a means to express human emotions and experiences. Subjects are based on the aesthetics of balancing external reality with the intuitive, internal conscience driven by emotion, philosophical thought, or the spirit. The term is used broadly to encompass all styles and practices of representational art, such as Classicism, Impressionism, Realism, and Plein Air painting. Technical skills are founded in the teachings of the Renaissance, Academic Art, and American Impressionism.
Richard Frederick Lack was an American artist, educator, and writer. He is known for his work in all major genres of traditional art. He founded Atelier Lack in 1969 to train students interested in learning the skills necessary to create fine representational art, and he initiated the use of the term “Classical Realism” as an artistic designation. He trained thirty-one artists who taught or opened ateliers.
Atelier Lack was a studio school of drawing and painting established in 1969 by Minnesota artist Richard F. Lack. It was incorporated as a non-profit corporation in 1971. Richard Lack had studied with Boston artist, R. H. Ives Gammell, in the 1950s. In 1967 Lack had written "On the Training of Painters," an examination of the training of painters throughout the history of Western art, and his judgment about the superiority of the atelier, or studio system. The first years of the school were helped by three grants from The Elizabeth T. Greenshields Memorial Foundation in Montreal, Canada, “to help initiate an atelier for the purpose of training young students in the traditional craft of painting...”
