SHANE WOLF / The figure in oil, alla prima

This 2-day workshop will focus on alla prima figure painting in oil of both a female and a male model. Using shorter poses of just a few hours students will learn to be efficient in capturing the model’s gesture and essential masses of the figure. Paint handling and palette management will be a strong focus of the workshop as well. As is customary in his workshops, Shane will be demonstrating various phases of painting, lecturing on anatomy and color theory, and providing close individual instruction.


December 1 > 2, 2018 – 2 days tuition – 12 hours

Registration :


Location: Paris Academy of Art – 78, rue Raspail – 92270 Bois-Colombes – France
Level: Beginner to Advanced
Medium: Oil on canvas or panel
Class size: 8 to 15 students
Language: English/French
Schedule: 10 am > 1 pm / 2 pm > 5 pm



Born in 1976 in Cincinnati (USA), Shane Wolf studied at the Angel Academy of Art in Florence until 2009.  After teaching there for two years, he then moved to Paris. Shane Wolf only works from live models, drawing upon his knowledge of human anatomy and his imagination.
The international prizes and awards he has won include:
• 1st and 2nd prize for the Best Nude from the Art Renewal Center in New York (2013);
• gold medal, Salon de l’Académie Européenne des Arts (2013);
• medal from the Société des Artistes Français (2012) and from the Société Nationale des Beaux-Arts (2011);
• the Taylor Prize for his show at the Grand Palais (2011);
• finalist, America China Oil Painting Artists League (2010).


An important note: Due to their toxicity no solvent or turpentine is allowed during the workshop, neither for medium use nor for cleaning brushes. During these workshops brush cleaning will be done by soaking dirty brushes in safflower oil or walnut oil or linseed oil (note: buy one of these oils in a supermarket and not at an art store; the cheaper the better!) then cleaned with soap and water. If you’ve never cleaned your brushes in this manner not only is it nontoxic but it’s also quite good for the bristles of the brushes.

Paints (feel free to use the brands you like; just be sure that whatever brand they are they are “Extra Fine” quality and not student grade or other cheapened versions):
• Titanium white (no other white)
• Yellow Ochre (I use Old Holland “Yellow Ochre Light” or “Deep”)
• Vermillion or Cadmium Red (I use Old Holland “Cad Red Light”)
• Ivory Black

Paint Supplies:
• palette (NO white disposable palettes; if you like using disposable palettes, avoid white)
• palette knife
• paper towels or rags
• your favorite paintbrushes
• your joie de vivre
• a small bottle of walnut oil or safflower oil or linseed oil (something cheap; this is for cleaning brushes; see the note above)
• a jar or container of some sort to soak your brushes in

At least 3 canvases prepared with the neutral gray imprimatur (see the following instructions), roughly 55 x 45cm or smaller (cotton or linen, panels, stretched, unmounted canvas, etc, however you prefer). I say “at least 3 canvases” because some may prefer to do multiple studies of the same pose.

Canvas preparation:
All of the canvases for both weeks of this workshop need to be prepared ahead of time with an imprimatur: a very thin, diluted coat of paint that is applied to the entire surface of the canvas. Do your best to match the example color provided (of course each computer screen will have a slightly different variant of the color, and that’s ok; our goal here is to kill the white of the canvas with a relatively neutral, mid-tone gray).

For the imprimatur in OIL:
In most cases a simple mixture of lead white or titanium white plus ivory black is all that is necessary for this gray. If the hue is particularly blueish you may add a touch of burnt umber to neutralize the coolness if desired. Once the proper color is mixed, dilute the paint with odorless mineral spirits or turpentine for those who prefer until the consistency is almost as liquid as that of house paint (this requires a lot of mineral spirits). Using a house painting brush, scrub this paint very thinly over the totality of the canvas. Set the canvas aside for at least 5 days to dry (more if you used titanium white).

For the imprimatur in ACRYLIC:
Attention: only canvas prepared with a synthetic, universal ground can be prepared with an acrylic imprimatur; oil ground canvases cannot (If you’re not certain if your canvas has a universal or oil ground, it is most likely a universal ground. Oil ground canvases are becoming a rarity, thus the far majority of canvases bought in mainstream art stores are universal ground.). The application process is the same as mentioned above, except the paint mixture is diluted with water instead of with odorless mineral spirits or turpentine. Dry time is reduced to just a few hours instead of days.


What’s included 
2 days of tuition, end of workshop aperitif.
Canvas can be given when needed.

What’s no included
Materials and accomodation.


The Paris Academy of Art is an approved atelier by the Art Renewal Center