For Immediate Release:

Contact:   Jennifer Rankin, Arts Education Coordinator

      252-972-1632, Email: jennifer.rankin@rockymountnc.gov.   

 

In January 2010, the Rocky Mount Arts Center will be accepting new students at its new atelier-style painting school. This two year course of study with noted North Carolina painter Charles Philip Brooks concentrates on preparing students for professional careers as artists. Emphasis is placed on traditional methods of oil painting, including making copies, and plein-air landscape painting. Students receive instruction in traditional 19^th century techniques as well as practical advice for careers in fine art. Weekly lectures and critiques provide a continual context for student development, allowing each student to pursue his or her interests in the light of their appropriate art historical contexts. 

The program is unique, relying heavily on the practice of plein-air painting. Students develop stamina and discipline, painting many on-site studies from nature. Unlike seasonal schools or single workshops, our school emphasizes outdoor painting year round, encouraging students to study nature during each season. Demonstrations and discussions explore the works of painters of the classical, realist, romantic, and naturalist schools. Students will become familiar with the various movements and styles of landscape painting as they relate to the practices of working contemporary painters. Studio space is included to allow students the opportunity to work anytime the facilities are open. 

The cost is $1,200 per 3 month session. Sessions include studio space, weekly lectures, and critiques. The studio is housed in the landmark Imperial Centre for the Arts and Sciences. For an information packet please contact Jennifer Rankin at the Rocky Mount Arts Center.  

Rocky Mount Department of Parks & Recreation. 

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The Value of a Teaching Studio / Why Atelier Training is Worthwhile Education…

Atelier-style training is a worthwhile and practical education. In the teaching studio of a qualified artist (one whose techniques are desirable to learn and possible to market) students receive a combination of careful critiques, personal career-oriented attention, and time-tested technical advice. 

In an atelier or teaching studio, a working artist (usually an artist who is established enough to make a good living through the sale of their work) sees to the education of a small, select group of students. In this setting, there is a significant level of commitment on the teacher’s part towards the students’ future careers which is rarely matched in other environments. 

In my teaching studio, students progress from the making of copies of masterworks (to learn how other painters solve problems) to painting from life. These exercises continue and repeat, giving students an opportunity to dramatically improve their technique and observation from nature. My teaching relies heavily on the practice ofoutdoor (plein-air) painting during all seasons. In this way, students develop a keen ability for observation along with an appreciation of the myriad beauty and transcendent significance of nature. 

An appreciation for art history is integral to learning about various modes of realist, impressionist, naturalist, and classical art. I discuss painting with both a reverence for its history as an aesthetic experience (connoisseurship) and also as a proponent of traditional methods.

I am an advocate of art students studying in various ateliers during the course of their careers. The methods ofstudy I use with my students are not subject-specific to landscape painting, although American Impressionist and Tonalist landscape painting remains my current interest and area of focus. My teaching studio runs on atwo-year schedule, as opposed to the four or five years necessary in a figurative-based atelier. 

I pride myself on talking frankly with students about the business of art and about its viability as a full-time career. After helping refine their portfolios through years of study and attention, I am happy to help students approach galleries to exhibit their work. I have helped to found two exhibiting groups of significant contemporary realism, aided in securing commissions and exhibitions for other artists, and organized a variety of solo and collaborative exhibitions. As painter-in-residence at the Imperial Centre for the Arts and Sciences I take an active and practical interest in the creative life of the community. 

I have been privileged to have this type of education. I am committed to offering a similar course of study. In fact, I consider it as a vital part of my career as a painter.

Charles Philip Brooks