STUDIO FOR ADULTS
VENUE
The Studio, Level 2
at Singapore Pinacothèque de Paris
PRICE (inclusive of GST)
$68 per session
Materials used in class are included in the price
Purchase full series of 4 sessions and attend the
Blockbuster Session (worth $68) for FREE
Over a four-week period we will examine how
relationships are built between the objects we
make, and the spaces that these objects occupy.
The sessions will begin with an investigation of twodimensional surfaces. We will then progress into
exploring how these relationships change as a work
is slowly brought into three-dimensional space.
STUDIO SESSION (4 PART SERIES) – Suitable for adults looking for progressive learning
CLASS CONTENT
WED, 10AM - 1 PM SAT, 1.30 - 4.30 PM
11 NOV
18 NOV
25 NOV
2 DEC
14 NOV
A window to the world
Investigate how space can be treated in two dimensions by looking
at perspective, tone and colour. Medium: Paint
21 NOV
The transition from 2D to 3D
Study mass, form and illusion. Learn about the trompe-l’oeil
technique. Medium: Paint
28 NOV
3D space and composition
Discover how forms are composed in a freestanding sculpture
from relief to armature. Materials: Air-dry clay, wire
5 DEC
The object and its environment.
Use objects from nature as a starting point and uncover the
relationships between material, subject, form and space.
Materials: Air-dry clay, wire
BLOCKBUSTER SESSION – Suitable for adults looking for workshop-style classes
9 DEC
12 DEC
Understanding and Working with Clay
Using objects from nature as a starting point, uncover the
relationships between the material, the subject, its form and the
space it inhabits. Materials: Air-dry clay, wire
LECTURE SCHEDULE
VENUE
The Seminar Room, Level 2
at Singapore Pinacothèque de Paris
DURATION
90 minutes (no intermission)
Thursdays, 7.00 PM - 8.30 PM
PRICE (inclusive of GST)
$68 per session / $580 for 10 lectures
Includes one complimentary All-Access ticket
DAY AND TIME
DATE
TITLE
SPEAKER
Thursday,
5 Nov
Technology and the birth of Modernism
Richard Kearns
Thursday,
12 Nov
Rembrandt and printmaking in 17th-century Holland
Tony Godfrey
Thursday,
19 Nov
Picasso & Modigliani: Art, love and bad breakups
Chong Min Tse
Thursday,
26 Nov
“Primitivism” in early 20th-century European art
Cleo Thang
Thursday,
3 Dec
Portraiture: “I am the many faces that I paint”
Martin Constable
Thursday,
10 Dec
Jackson Pollock: Dripper painter or master artist?
Toby Ouvry
Thursday,
17 Dec
Discover Colour: Enter the dotty world of Pointillism
Claire Kwiatkowski
Christmas and New Year break
Thursday,
7 Jan
Prospects and problems in contemporary art practices
Shubigi Rao
Thursday,
14 Jan
Surrealism: Dreams or reality?
Toby Ouvry
Tuesday,
21 Jan
The line is a mountain: Abstraction in painting
Shubigi Rao
LECTURE DETAILS
Technology and the Birth of Modernism
Rembrandt and printmaking in
the 17th-century Holland
Picasso & Modigliani:
Art, love and bad breakups
Richard Kearns
Tony Godfrey
Thursday, 12 November 2015
Chong Min Tse
Thursday, 19 November 2015
Haven’t artists always engaged with technology? The painter Giotto
was also an architect in the 1300s. One hundred years, later another
painter, Leonardo da Vinci, also designed weapons, musical instruments
and flying machines. What about the invention of the printing press in
the 1430’s, which was quickly embraced by artists to disseminate work
throughout Europe?
Rembrandt was one of the greatest
and most innovative of print makers.
Etching allowed him to reach a far
wider audience and also gave him great
scope for experimentation. He lived at
a time and in a country where there
was a great hunger for prints. Although
Rembrandt was exceptional many
other artist made prints, giving us an
extraordinary picture of life at that time.
This lecture will be illustrated by actual
prints from the period.
Behind every great artist there is a great muse,
and Pablo Picasso and Amedeo Modigliani were
no exception. Both men drew inspiration from
feminine figures, particularly the women who had
the most personal impact on their lives at the
time - their wives and mistresses. Though they
were contemporaries in Paris and were, at one
time, friends, Picasso and Modigliani took two very
different approaches to depicting their lovers and
muses in painting. This lecture explores the stories
behind these artworks, and the relationships
between painter and painted.
Thursday, 5 November 2015
What was it about the technology at the turn of the 19th century that
seems responsible for such a radical upheaval in the relationship artists
had with the work they made?
01
In this lecture we will explore what it was that contributed to the
disruption that rose as modernism.
“Primitivism” in early 20th-century European art
VENUE
The Seminar Room, Level 2
at Singapore Pinacothèque de Paris
Portraiture: ‘’I am the many faces that I paint’’
Cleo Thang
DURATION
90 minutes (no intermission)
Martin Constable
Thursday, 3 December 2015
‘Primitivism’ in modern art started around 1905 when a group of young
European artists felt compelled to turn their eyes towards the ‘primitive’
as their role model in art making. During the mid-eighteenth to nineteenth
century, when ‘primitive art’ or tribal art became accessible through museums
and travel, they began to form an impact on some modern European artists.
This lecture explores the ideas behind ‘primitive’ appropriations in art through
the works of Picasso and Emil Nolde, and art groups like the French Dada and
Surrealists, as well as the German Die Brücke.
DAY AND TIME
Thursdays, 7.00 PM - 8.30 PM
This talk will introduce the genre of portrait painting. It will address
such subjects as the history and function of portrait painting, and how a
portrait is constructed. Notable portrait painters will be introduced, such
as Thomas Gainsborough (1727-1788), Francisco Goya (1746-1828) and
Jean-Auguste-Dominique Ingres (1780-1867). The talk will end with a
brief introduction on the impact that photography had on the portrait
painting tradition.
Thursday, 26 November 2015
PRICE (inclusive of GST)
$68 per session / $580 for 10 lectures
Includes one complimentary All Access ticket
Jackson Pollock: Dripper painter Discover colour: Enter the dotty Prospects and problems in
world of Pointillism
contemporary art practices
or master artist?
Toby Ouvry
Thursday, 10 December 2015
Claire Kwiatkowski
Thursday, 17 December 2015
Shubigi Rao
Thursday, 7 January 2016
In the 1940’s and 50’s, Jackson Pollock was one of the
most prominent painters to pioneer the emerging
abstract expressionist movement, which simultaneously
revolutionized the art world and radically challenged the
conventional idea of what art and being an artist was.
Georges Seurat pioneered his own style
by applying science to the methods of the
Impressionists. He was just 25 years old when
he jockeyed for leadership of the movement
through his avant-garde masterpiece, ‘A
Sunday Afternoon on La Grande Jatte’ (1884).
The painting would become his manifesto. It
is a massive work that demonstrates Seurat’s
painstaking approach. Colours are broken up
and placed in small dashes and dots that, instead
of being mixed on a palette, were intended to
blend in the eye of the viewer to produce a
more alive and brilliant luminosity. This was the
foundation of Divisionism, the movement more
commonly known as Pointillism.
This lecture looks at the multiple ways
contemporar y ar t practices navigate
multiple arenas.
Pollock’s drip paintings, often produced when he was
heavily inebriated with alcohol and chain smoking, had no
recognizable representational forms, seemingly random
patterns and often muddy and even dull colours. They
became an object of ridicule for some and admiration
for others.
Was he a master painter or a charlatan? What are
the characteristics of a master painter and a cutting
edge artist? How can we ourselves make an informed
decision about this and come to our own conclusions?
What might the answers say about the way we live and
create in our own lives? These are the questions that this
interactive lecture will ask and explore with you!
Surrealism: Dreams or reality?
Toby Ouvry
Thursday, 14th January 2016
Surrealism was a philosophical and artistic
movement that was most active in the first half
of the 20th century. It sought to release the
creative potential of the unconscious and mind,
and explore the relationship between our dream
and outer realities.
How did the Surrealists attempt to tap the
creative power of their unconscious minds? And
how can what they created in their art help us
to access and tap into the creative power of our
own unconscious creative potential?
What is the relationship between our outer
reality and the inner reality of our dreams? Most
of us assume that the outer world is real and
our dream world is ‘just imagination’, but is this
really the case? Join our lecture as we use the
‘Surrealist art approach’ to explore dreams, the
unconscious and the nature or reality itself!
03
02
The line is a mountain:
Abstraction in painting
Shubigi Rao
Thursday, 21st January 2016
Beginning with Cézanne, the lecture demonstrates the
inherent power and longevity of abstraction, and its
particular relevance in contemporary practices.
01
Rembrandt Harmensz. van RIJN
(Leiden, 1606 - Amsterdam, 1669)
The Beheading of Saint John the Baptist
1640
Copperplate
Signed and dated 1640 (in reverse)
The Kremer Collection
02
Amedeo MODIGLIANI
(Livorno, 1884 - Paris, 1920)
Young Lady with Earrings
1915
Oil on canvas
Signed on upper right
03
“Batak sculptors and the modern artists:
Modigliani, Picasso and all”
Speaker: Tony Godfrey
1 Sep 2015
SPdP Art Academy Lecture series
©photo :The Kremer Collection/Fondation Aetas Aurea
© Photo : Pinacothèque de Paris/ Fabrice Gousset
© Photo : Singapore Pinacothèque de Paris