Continuing in the tradition of the Boston School of portraitists, and the baroque.
Following on from the last post, I thought that readers might be interested to see some more work of artist Henry Wingate, and to know more about the academic method that he uses to such great effect. I like his portraits especially and he is one of relatively few artists around today who is making a real contribution to a re-establishment of traditional principles by teaching as well as painting (motivated by a desire to serve the Church).
Based in rural Virginia, Wingate studied with Paul Ingbretson in New England and with Charles Cecil, in Florence, Italy. Both Ingbretson and Cecil studied under R H Ives Gammell, the teacher, writer, and painter who perhaps more than anyone else kept the traditional atelier method of painting instruction alive.
The academic method was first developed in Renaissance Italy and was the basis of transmission of the baroque style (described by Pope Benedict XVI as one of three authentically Catholic liturgical artistic traditions, along with the gothic and the iconographic). The method is named after the art academies of the seventeenth century. The most famous early Academy was opened by the Carracci brothers, Annibali, Agostino, and Ludivico, in Bologna in 1600. Their method became the standard for art education and nearly every great Western artist for the next 300 years received, in essence, an academic training.
Under the influence of the Impressionists the method almost died out. They consciously broke with tradition and refused to pass it on to their pupils. This is strange given that all the well known Impressionists were themselves academically trained, used the skills they learned in their art and in fact could not have produced the paintings they did without it. By 1900 the grand academies of Europe had closed. The fact that it survives at all is largely the legacy of the Boston group of figurative artists of the late 19th and early 20th centuries, most prominent among them John Singer Sargent (who was trained in Paris, but knew them and mixed with them). Other names are Joseph de Camp, Edmund Tarbell and Emil Grundmann. The US was slower to adopt the destructive ideas of Europe and the traditional schools survived there a little longer. Ives Gammell received his training at Boston Museum of Fine Arts in the years just before the First World (Read More)