Our Programs

Year 1

CLASS’ART
INTENSIVE DRAWING

The Class’Art year can be a one-year training in its own right.

Year 2

BACHEL’ART 1
DRAWING & PAINTING

Year 3

BACHEL’ART 2
DRAWING & PAINTING

 

Instruction is conducted in English, and students are expected to have a working knowledge of the language.

YEAR 1

CLASS’ART INTENSIVE DRAWING

The Class’Art is a one-year drawing intensive program designed to provide a strong foundation for students who intend to pursue further studies in academic or professional art schools worldwide, or to aid in refining the observational drawing skills of artists with an existing practice. Exercises are designed to foster a rational process for translating visual phenomena with line and value. The rigorous curriculum is centered on the traditional study of plaster casts and drawing from the live model.

Cast Hall Exercises

1) Bargue plate cast copies

Ranging in complexity, this series of copies will be undertaken in graphite to help the student establish a rational block-in process, developing visual tools such as comparative measurement, abstract shapes, and tilts on the picture plane.

2) Bargue plate figure copies

A series of graphite copies of the Bargue figure studies will continue to refine the student’s block-in process, while introducing new considerations such as gesture, contour overlap, and conceptual anatomy.

3) Cast block-in

This graphite exercise initiates a transition from copying flat shapes on the picture plane to translating three-dimensional volumes in space.

4) Cast drawing (block-in and form rendering)

Incrementally more complex, these longer-term graphite studies begin with the accurate linear description of contours, plane changes, and shadow shapes, then proceed to the description of dimensional volume using carefully modulated values, prioritizing conceptual over optical analysis.

 

Figure Studio Exercises

1) Short pose figure block-in

Ranging from 20 minutes to 180 minutes, these graphite exercises continue to solidify the student’s block-in process with a focus on quickly capturing dynamic gesture and proportions of the living model.

2) Long pose figure drawing (block-in and form rendering)

Ranging from 30 to 60 hours, these highly developed graphite studies synthesize all skills acquired in the preceding exercises (linear block-in and conceptual form modeling), with an additional emphasis on structural anatomy and portraiture.

  • 12h per week

    Drawing and painting the live nude model is the heart of all great academic art traditions and the fundamental exercise of our curriculum. In long poses that range from 30 to 60 hours, students will learn to translate the complex forms of the human body into two dimensions using graphite and oil paint. Areas of focus include accurate proportion, dynamic gesture, structural anatomy, and creating a convincing light effect using gradations of value. A variety of optical and conceptual strategies will be utilized in this rational approach to translating visual phenomena with line and value.

  • 12h per week

    Inspired by the rigorous traditions of the 19th century academy, the formal study of plaster casts and still life picture-making comprise an essential component of classical training. Students will render—first in graphite and eventually oil paint— a series of incrementally more complex plaster casts of 19th century, Renaissance, and classical sculpture. Proceeding from these exercises, the student will embark on a series of still life painting projects, with an emphasis on developing facility in paint handling, accurate color mixing, textural description, and composition.

  • 3h per week

    The anatomy course will develop the artist’s comprehension of structure, gesture and volume through a series of écorché sculpture projects designed to support and enrich the practice of drawing and painting the figure. Over the period of each academic quarter, we will make a sculptural inquiry of the major masses of the human body with reference to anatomical texts such as Eliot Goldfinger’s Human Anatomy for Artists and Neri Pozza’s Struttura Uomo. Beginning with an écorché exercise in standard anatomical pose, continuing students will proceed to investigating more dynamic and challenging poses while deepening their knowledge of anatomical structure.

  • 3h per week

    The portrait course is dedicated to fostering a clear approach to drawing the portrait. Accurate proportions, cranial anatomy, expressive mark making, abbreviated modeling, and the achievement of specific likeness will be explored through a variety of exercises, including portrait studies in graphite, studies on toned paper in graphite and white chalk, studies in charcoal, and master copies in graphite, charcoal, or oil paint.

    Portrait Course exercises

    • 3 hour, one session portrait sketch in graphite
    • 6 hour, two session portrait study in graphite
    • 6 hour, two session portrait study on toned paper in graphite and white chalk
    • 6 hour, two session portrait study in charcoal
    • Master copies in graphite, charcoal and oil
  • 3h per week

    Sketching from live models is a vital step for students to become aware of proportions and movement. Rapidly and faithfully capturing the model’s proportions, tensions and values is what provides a drawing with its expressivity. This favours the creation of effective style and graphic originality.

    This quick sketching develops students’ observational skills and understanding of the model and allows them to understand notions of anatomy. Students must be able to quickly produce a harmonious sketch with realistic proportions in a set amount of time and must also display a certain sensitivity in their rendering.

YEAR 2 & 3

BACHEL’ART 1 DRAWING AND PAINTING

The Bachel’art is the flagship degree offered by the Paris Academy of Art.

The second year serves as a bridge between drawing and painting. Continuing to cultivate a strong and rational approach to drawing, students will begin to also translate visual information in oil paint. Students will develop a keen understanding of the properties of hue, value, and chroma in oil paint, as they proceed from monochromatic grisaille to limited colour to full colour palette. Half of the day is dedicated to a long pose with a live model and the other half to studying casts and still life.

Cast Hall Exercises

1) Cast painting in grisaille

Transitioning from dry media to oil painting begins with monochromatic cast painting, focused on tonal value and paint handling using ivory black, raw umber and titanium white pigments on toned canvas.

2) Cast painting in limited palette

These exercises introduce additional pigments to represent subtle shifts in colour, analyzed according to the properties of hue, value, and chroma.

3) Still life painting

Using simple objects of their own choosing, the student will continue to practice paint handling and translating colour with reference to the properties of hue, value, and chroma, with an added focus on textures and composition.

 

Figure Studio Exercises

1) Long pose figure painting in grisaille

Mirroring the transition from graphite to oil in the cast hall exercises, figure painting in monochromatic grisaille continues to deepen the student’s ability to translate three-dimensional volumes using carefully modulated tonal values.

2) Long pose figure painting in limited palette

Supported by a clear understanding of the three properties of colour, the introduction of additional pigments to the palette will allow for the exploration of hue, value, and chroma in human skin with an emphasis on establishing accurate local colour.

3) Long pose figure painting in full palette

After transferring an accurate graphite block-in to canvas, the student work with an expanded palette of pigments to continue exploring colour relationships and increase fluency in paint application.

 

BACHEL’ART 2 DRAWING AND PAINTING

The third year continues the transition from dry to wet media, focused on developing a strong approach to interpreting colour and increasing confidence in paint application. In addition to the traditional long pose figure painting exercises, students will embark on a series of independently-driven projects including still life, portrait, and self-portrait painting. These projects offer the opportunity for students to cultivate a stronger sense of personal ownership over their practice that will help them transition from their academic studies to their lives as professional artists.

Third Year Studio exercises

1) Still life painting

Incorporating more complex objects and a full palette, students will develop a more integrated approach to picture making with greater emphasis on composition and narrative.

2) Portrait painting

Paired final year students will compose and execute a fully realized portrait painting.

3) Self portrait painting

Final year students will compose and execute a fully realized self-portrait painting.

 

Figure Studio exercises

1) Long pose figure painting in full palette

Synthesizing all skills gained in preceding exercises, final year students will continue to paint the figure, both full and cropped views, with a special focus on ancillary concerns such as paint quality, textural effects, brushwork, and environment.

  • 12h per week

    Drawing and painting the live nude model is the heart of all great academic art traditions and the fundamental exercise of our curriculum. In long poses that range from 30 to 60 hours, students will learn to translate the complex forms of the human body into two dimensions using graphite and oil paint. Areas of focus include accurate proportion, dynamic gesture, structural anatomy, and creating a convincing light effect using gradations of value. A variety of optical and conceptual strategies will be utilized in this rational approach to translating visual phenomena with line and value.

  • 12h per week

    Inspired by the rigorous traditions of the 19th century academy, the formal study of plaster casts and still life picture-making comprise an essential component of classical training. Students will render—first in graphite and eventually oil paint— a series of incrementally more complex plaster casts of 19th century, Renaissance, and classical sculpture. Proceeding from these exercises, the student will embark on a series of still life painting projects, with an emphasis on developing facility in paint handling, accurate color mixing, textural description, and composition.

  • 12h per week

    Studying still lifes is essential to further one’s study of colour, texture and three-di- mensional space. In the third year, a more extensive palette is introduced, and students gradually learn to create specific colours by choosing the correct pig- ments. In-depth work allows them to obtain the desired textures and effects. Par- ticular focus is placed on arranging the parts of the still life in order to teach the rules of composition. During the third year, students will carry out a progressive series of four or six projects, taking on the following themes: bright red drape- ry (the most difficult colour to paint), white glazed ceramics, writing, perishable goods and chiaroscuro.

  • 3h per week

    The anatomy course will develop the artist’s comprehension of structure, gesture and volume through a series of écorché sculpture projects designed to support and enrich the practice of drawing and painting the figure. Over the period of each academic quarter, we will make a sculptural inquiry of the major masses of the human body with reference to anatomical texts such as Eliot Goldfinger’s “Human Anatomy for Artists” and Neri Pozza’s “Struttura Uomo”. Beginning with an écorché exercise in standard anatomical pose, continuing students will proceed to investigating more dynamic and challenging poses while deepening their knowledge of anatomical structure.

  • 3h per week

    The portrait course is dedicated to fostering a clear approach to drawing the portrait. Accurate proportions, cranial anatomy, expressive mark making, abbreviated modeling, and the achievement of specific likeness will be explored through a variety of exercises, including portrait studies in graphite, studies on toned paper in graphite and white chalk, studies in charcoal, and master copies in graphite, charcoal, or oil paint.

  • 3h per week

    Sketching from live models is a vital step for students to become aware of proportions and movement. Rapidly and faithfully capturing the model’s proportions, tensions and values is what provides a drawing with its expressivity. This favours the creation of effective style and graphic originality.

    This quick sketching develops students’ observational skills and understanding of the model and allows them to understand notions of anatomy. Students must be able to quickly produce a harmonious sketch with realistic proportions in a set amount of time and must also display a certain sensitivity in their rendering.

EVENING CLASSES

WEDNESDAY 7.30 pm > 10.30pm

DRAWING FROM LIVE MODEL

A live model drawing course in long pose over several weeks or short pose.
The course (in french) is taught by Sébastien Jupille.

€ 400 per quater

MONDAY OR TUESDAY 4.30 pm > 7.30 pm

ANATOMY

This is an important class that allows students to understand and analyse movement and the structure of the human body, which is essential when drawing from a live model. This is an invaluable class and helps establish a foundation for drawing classes.
The course (in english) is taught by Jessica Artman.

€ 400 per quater

WEDNESDAY OR THURSDAY 4.30 pm > 7.30 pm

PORTRAIT

Portraits, by their complex structure and need to portray a likeness, are an excellent way to develop one’s drawing technique. Proportions, volume and values are all studied in depth when a portrait is produced.
The course (in english) is taught by Patrick Byrnes.

€ 400 per quater

Enrolment on at least 3 courses for which fees are paid in a single payment at the start of the year entitles the student to a discount of €300.

Programs

SHORT COURSES & SUMMER SCHOOL

Join the Paris Academy of Art for three or six weeks of complete immersion in our programs and methods of instruction. Discover the various steps to excellence in the academic process by following a program that closely echoes that of our students.

FROM JUNE 24 TO AUGUST 2, 2019

SUMMER SCHOOL

3 or 6 weeks drawing or painting from live model

Paris Academy of Art offers two summer schools, one in intensive drawing, the other in painting. Each consists of lessons in life drawing (3 hours per day) and still life and plaster casts (also 3 hours per day) from Monday to Friday inclusive.

The course is intensive, aimed at those who would like to improve their academic practical art skills. Open to all levels, teaching staff are able to adapt to each student to deliver effectively targeted expertise.

The summer schools are run by Savannah Tate Cuff (https://www.savannahtatecuff.com) and Mackenzie Swenson (http://www.mackenzieswenson.com).

Location: Paris Academy of Art – 78, rue Raspail – 92270 Bois-Colombes – France

Level: Beginner to Advanced

Medium: Oil on canvas or panel/Graphite drawing

Class size: 10 students

Language: English

Schedule: 10 am > 1 pm / 2 pm > 5 pm

 
€ 1 400 for 3 weeks
€ 2 800 for 6 weeks

10 places are available / Teaching is conducted in English and students are expected to have a working knowledge of the language / Below 50% of participants the course is canceled / The accommodation is not included.

 

THE PETIT ATELIER Drawing for teenager

WEDNESDAY 4.00 pm > 6.30 pm

Accademic approach & preparation for art school

Observation drawing course around academic methods: cast, still lifes, Bargues method and portrait. Preparation for high school students who wish to move towards an artistic preparation.
The course (in French) is led by Nathalie Sizaret.

€ 280 per quater