Istituto Poligrafico dell’Arte della Zecca

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There is no better dream in an artists life than to study art in a beautiful place that calls to their soul. For me this is the history, renaissance, sculpture and the creative spirit of Italy. It is the place of inspiration filled with the art and sculpture of the masters that have gone before. In January I was given the amazing opportunity to study the art of Bas Relief at the Istituto Poligrafico dell’Arte della Zecca. The school is the only one of its kind in the world.  Instructors are modern day Masters that have studios in italy and are truly gifted teachers. Only teaching at the school for one day each week the Professors enjoy sharing their wisdom, techniques and hard won experience with the 36 students attending the school.

I have been amazed at the talents of the students and how determined, goal oriented and driven they are.

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The school is located in the beautiful city of Rome, where art is everywhere. An artist can only become better when you are surrounded by the beauty of the local sculpture, architecture and history that is on display in abundance.

12439077_10153175287062163_4855705913795055838_nAt the school we are learning how to make our own tools for everything! And lessons are tradionally classicaly taught in copper engraving and printing, embossing, direct metal engraving,  wax sculpting, relief modelling, molding, chemistry, enamelling, stone carving, gemstone carving, life drawing, new computer technology, archival art restoration, and chase and reposse. The school is associated with the italian mint and develops the talents of italy’s top artists and disperses them into the mints all over the world. Every year there is a calendar medal produced by the mint and created by a student.

to be continued…..

I will be discussing in my next blogs some of the disappearing arts such as copper engraving, embossing, wax modelling, direct engraving metal, stone /shell engraving and chase and reposse. I am Looking forward to sharing some of the art forms I am learning at the school.

Here is a Youtube link to a documentary done by a local Italian TV Show (I am at 23 seconds).

 

The making of a coin –

 

 

http://www.sam.ipzs.it/

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Peter Loebel’s EXPRESSIVE GESTURES

PETER LOEBEL IS AN AMAZING Master of figurative gesture drawing. I often draw the figure from life at our local drawing sessions with him and I am always delighted by his work. I am influenced and moved by his beauiful lines and passionate expression. He is a mentor and a friend.
for more information you may Contact : loebelp@gmail.com 

 

Examples of his work – Urban Landscape Plein air Watercolors

Figurative Gesture Drawings and Paintings from life:
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Waterloo 200 Apsley House Event – November 11th 2014 London England

Benedetto Pistrucci's Waterloo Medal

Benedetto Pistrucci’s Waterloo Medal

Marking the bicentenary of the battle of Waterloo

“I am often asked whether we should not now, in these days of European unity, forget Waterloo and the battles of the past. My reply is, history cannot be forgotten and we need to be reminded of the bravery of the thousands of men from many nations who fought and died in a few hours on 18th June 1815 and why their gallantry and sacrifice ensured peace in Europe for 50 years” His Grace The Duke of Wellington.

18th June, 1815 marked a defining moment in history, the day that at the Battle of Waterloo Arthur Wellesley, the first Duke of Wellington, in collaboration with Prince Blücher and the Prince of Orange, sealed the fate of Napoleon Bonapart, ending the Napoleonic War and over 20 years of conflict in Europe. This day would bring over 50 years of peace and stability and decide the shape of the European continent for years to come.

The ability to command a broad spectrum of multinational forces behind a common goal was key to the outcome in 1815. June 2015 marks the bicentenary of the battle of Waterloo and the legacy of the commemorations is centred on those intrinsic values of ‘Leadership, Respect, Enterprise and Cooperation’ that ensured a new era in Europe.

“I have been commanded to strike two Medals at the Royal Mint in commemoration of the battles of Les Quatre Bras and Waterloo; One, in gold, of the largest size, to embrace
the exploits of the allied army under the Duke of Wellington the Prince of Orange and the Duke of Brunswick, and of the Prussian Army under Field Marshal Blucher. This Medal will probably be given to each
of the sovereigns in alliance with the Prince Regent, to their ministers and generals.”

Ten days after the battle of Waterloo, the Duke of Wellington proposed the creation of a commemorative medal. It fell to William Wellesley Pole, Wellington’s own brother to make the Duke’s vision a reality and he immediately commissioned not one, but two, medals. He asked members of the Royal Academy to submit designs for a bronze medal that would be given to all those who had served at Quatre Bras and Ligny and Waterloo, and a gold medal that would go to the Allied sovereigns, their ministers and generals. The medals were to be of the highest artistic merit and Pole invited the Royal Academicians to “show the world that this country is as superior in her taste as she has lately proved herself to be in the skill and valor of her arms.”

The world-renowned engraver, Benedetto Pistrucci, was assigned the task to design it. The result, the famous Waterloo medal, is celebrated not only for its mammoth dimensions, stunning beauty and historical significance, but also for the colourful story surrounding its development. It took Pistrucci more than 30 years to design the medal, but due to the complexity and the vast size of the medal it was never produced.

On 11th November at Apsley House, we will be joined by renowned historian and author, Peter Snow, CBE, along with members of the Pistrucci family, who will bring to life and recall extraordinary facts of the war that changed the future of Europe.

-Samlerhuset

To order a free campaign medal ( postage required) click here:

http://www.200waterloo.co.uk/

Waterloodies

Peter Loebel – A Master of Figurative Gestural Drawings

Every once in a while you come across an exraordinary artist that inspires you. Peter Loebel is a master of figurative gesture and his style is breathtaking – His unique drawings are fresh and lively with a difference.  He is a favourite artist of mine and an inspiration to life drawing enthusiasts and international art collectors!

Peter Loebel

Peter Loebel

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You may visit his website and blog to view more of his beautiful artworks, for inspiration or to buy his work HERE:

http://www.peterloebel.ca/

About

Peter Loebel is an artist located in Victoria, BC, Canada

Born: 1961, Munich, Germany

Solo Exhibitions

2006 Farbspiel ,Basic Inquiry Gallery, Vancouver, BC Canada

Group Exhibitions

2014 Winter Salon XChanges Gallery, Victoria, BC , Canada

2013 Uncovered CityScape Community Art Space, Vancouver, BC , Canada

2013 Member Show , Basic Inquiry Gallery, Vancouver, BC Canada

2012 East Side Culture Crawl, Vancouver, BC Canada

2012 Defining the Elusive, Basic Inquiry Gallery, Vancouver, BC Canada

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Drawing from Photos vs Drawing from life video by Drawing Art Academy

“An Artist must have his measuring tools not in his hand but in his eye” – Michelangelo

Why is drawing from photos not good for you?

1.  Copying 2 dimensional photos inhibits artists from seeing objects in volume and space.

2. It prevents an artist from judging distance and perspective.

3. The artist does not think and visualize the 3 dimensional nature of an object, but subconsciously regards all objects and shapes 2 dimensionally as seen in photos.

4. By copying flat images, an artist does not make a constructive drawing: there is no comprehensive understanding of objects masses and their spatial relationships.

5. Drawing from photos forces an artist to draw from what he or she sees rather than  what one knows.

6. It stops an artist from learning traditional, time proven, step by step drawing methods, which have been perfected by many generations of fine artists starting from the old masters.

7. Working from photos prevents an artist from learning from his or her mistakes and makes it impossible to improve drawing skills by analyzing and fixing those mistakes.

If you get too used to drawing flat images you will most likely limit your ability to learn how to draw proficiently.

– Drawing Art Academy
http://drawingacademy.com/

“If people knew how hard I had to work to gain my mastery it would not seem so wonderful at all” Michaelangelo Buonauroti

I am an avid believer in drawing from life. I encourage artists that are interested in working on improving their drawing skills to attend life drawing sessions, figurative art classes with a live model or portrait sessions with a model.