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Classical Drawing Atelier: A Contemporary Guide to Traditional Studio Practice Hardcover – October 13, 2006

4.6 out of 5 stars 87 customer reviews

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Frequently Bought Together

  • Classical Drawing Atelier: A Contemporary Guide to Traditional Studio Practice
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  • Lessons in Classical Drawing: Essential Techniques from Inside the Atelier
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  • Classical Painting Atelier: A Contemporary Guide to Traditional Studio Practice
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Editorial Reviews

About the Author

Juliette Aristides is the author of Classical Painting Atelier and Classical Drawing Atelier. She is the instructor of the Aristides Classical Atelier at the Gage Academy of Art in Seattle, Washington, where she lives. Her work is exhibited at the John Pence Gallery in San Francisco and can be seen at the Art Renewal Center.
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Product Details

  • Hardcover: 144 pages
  • Publisher: Watson-Guptill; First Edition edition (October 13, 2006)
  • Language: English
  • ISBN-10: 0823006573
  • ISBN-13: 978-0823006571
  • Product Dimensions: 9.3 x 0.7 x 11.3 inches
  • Shipping Weight: 1.9 pounds (View shipping rates and policies)
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (87 customer reviews)
  • Amazon Best Sellers Rank: #68,990 in Books (See Top 100 in Books)

Customer Reviews

Top Customer Reviews

By Craig Banholzer on July 15, 2009
Format: Hardcover
No question this is a beautiful book, and I often have my own copy open to enjoy the excellent reproductions of drawings by masters past and present. The text, especially the chapter on composition, is very thorough and persuasive.

The crux of my growing discontent with the book is the demonstration on how to copy an old master drawing, a drawing by Raphael. It's an impressive performance, accomplished, like most of the projects demonstrated in the book, using the straight line block-in method, and the final result is a near-exact duplicate of the original drawing. The problem is: Raphael didn't draw this way. Neither did Michelangelo, Pontormo, Rubens, Van Dyck, Rembrandt, Prud'hon or Ingres.

There is much which is of value in this book, but in order to understand drawing in a wider context, I would recommend, in addition, anything by Robert Beverly Hale, Burne Hogarth, George Bridgeman, John H. Vanderpoel, or Harold Speed. Also, I highly recommend "The Language of Drawing" by Sherrie McGraw, which is a pointed and subtle rebuttal to what some might see as the over-emphasis on accuracy in the methods taught in this book.

Drawing is a big subject, and no one book covers it all.
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Format: Hardcover Verified Purchase
This is a deep book, a kind of survey of essential drawing topics for the artist student, beginning or advanced. My impression is that Ms. Aristides covers the curriculum of her Atelier, explaining the theory behind the practices and learning accomplished there. At any rate, what she discusses she treats thoroughly and thoughtfully with valuable insights. For instance, I have read a number of excellent books on drawing, but hers is the first that defined for me the different meanings contained in straight lines verses curved lines. For me, a key insight. So I think the true value of this book, in addition to spelling out what her students do and learn, is the key artistic wisdom Ms. Aristides shares out of her experience and expert skills.
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Format: Hardcover
I have quite a collection of art books that I keep as reverences and browse into every now and again. I bought this book as I taught that it might be good, and since I am always looking for `that knowledge' of fine art schools, but since I do not have the time and money to attend to classes, I try to study by myself. Few books ever give me the satisfaction of buying it, and most of the time I end up gathering some information which is either irrelevant or keep on reading the same text from book to book, with just a few words that make it different from all the others. But this one is sooooo different. I have found what I have been looking for in the last couple of years. Can't believe this book is so cheap!!! The pictures are massive, the knowledge is wicked and the style is simply out of this world! If you're into classic fine art, this book is a must, whether you re a beginner or a professional artist.
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Format: Hardcover
Both of Aristides atelier books suffer from the same defect. Neither has a single example that shows the complete process step by step. They both have "lessons" but the lessons have the same formula. 1 - put down simple line work showing the basic shapes. 2 - block in the lights and darks simply. 3 - a miracle occurs. 4 - voila! the work is beautifully finished. Very frustrating.

Anybody who has had any art training can do steps 1 & 2, it's examples of how to get from step 2 to step 4 that is needed. Detailed step by step examples are the very thing that any book with the words "Atelier: A Contemporary Guide to Traditional Studio Practice" should show. And neither Aristides book does.

On the plus side the books are lovely to look at and do have enough general information to be of value. But they should not be sold as guides to studio practices unless they actually guide you through the practices.

I realize that no book can replace face to face instruction but for those of us that have neither the time, money, etc to attend an atelier then books/dvd's are the only option. Why can no one in the modern classical realism movement put out a good studio practices book?
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Format: Hardcover
I've had the pleasure of studying with Juliette and am witness to her wealth of knowledge about art history and technique. I'm very excited that she put as much energy in this book as she does in each painting or drawing. In it, she offers a brief history and some great excersizes that will help improve everyones understanding of art. As explained in the book, those paintings that stand the test of time all share the same basic principles. Juliette covers those beautifully. The images are inspiring as well. I'm stoked to add this book to my library!
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Format: Hardcover
I teach drawing, painting and design and stumbled across this book when looking for the Bargue book. The book is well written with several useful exercises.

Additionally, a clear rationale is presented for teaching academic drawing to the beginning art student as a means to better express their ideas.

I work at the New York Academy of Art (NYAA). Several of the images were made by NYAA instructors and alumni. An additional copy has been added to our library.

JC
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