In collaboration with the state of art ,we propose seminars and workshops constructed toward practicing photographers.including a residence (room and board) toward the teacher and towards the participants. The workshop format is one exemplar setting to promote learning and exchange of ideas. The whole immersion venue allows for rapid feedback and enhanced exclusive creative growth. For centuries this neighbourhood has inspired painters equally diverse while Botticelli and Michelangelo and Leonardo and Caravaggio. The workshop outfit a unique scope to check and at the uniform time to understand to discern an historic and lovable place. Among the attractions are : the Pieve di San Cresci, mediaeval village of Montefioralle and the surrounding countryside.
The colors of Tuscany, the resonant countryside with their vineyards and olive groves, and the typical architecture, can produce a genuine context of use toward flash of inspiration and a core upon what to stimulate the creative process. This laboratory is predominantly stimulating seeing have a applied section for the realization of the materials such whilst brush and colors. In the Chianti quarter the transformation of the reddish mud into useable objects dates from the Etruscan period. During the Renaissance the energy of the furnaces increased when the Medici and other majestic families decorated their parks of villas with vases,statues, floors and stoves constructed of terracotta from Impruneta. Terracotta art represents a patrimony of great value and a primary constituent of indigenous cultural identity. This geographical region has full-grown the “culture” of the “cotto” (terracotta), that still lives today and in comprehensive spread use. Many small companies dot the countryside production a all-inclusive class of terracotta come to an end products. From the fusion of sand, ignite and creativity timeless objects are born. The utter sector of Empoli has been synonymous with beaker toward centuries when the throughput of drinking glass objects was allied to daily spirit in the discipline of wine bottles, oil ampoules, etc. Following the brainstorm and fantasy of the goblet lord objects of virtue and continuously increased ladylike handsomeness were created, whom today decorate our tables and our homes.
The tradition of glassworks in Tuscany is still very alive today with considerable companies functional in this sector and exporting encompassing the world. From simple objects in lawn glass, the tradition has evolved inside well-mannered techniques and colorful designs. This technique involves the pattern of sheets of statement and the use of colored indenture (obtained using various techniques) to be used on walls, fixture and various further articles. By doing graduated exercises, students will have the chance to practice spraying, gilding, gluing, colouring, oxidation and discolouring techniques. LA MACINA DI SAN CRESCI in collaboration with Photography painting sculpture Workshops FOR INFORMATION AND ENROLMENT: La Macina di San Cresci is promoting a series of proceedings in the applied humanistic discipline sector. The courses and workshops are founded on experimentation and the deliver practicing of the techniques towards the participants. HOW THE COURSES ARE ORGANIZED The courses are reserved outright year round, they previous from 2-6 days, harmonious to the type. Owing to the techniques dealt with and for manufacturing requirements, some workshops may abide held over several periods, so as to entire a learning run through the proper sectors of interest. Teaching encounters are reserved either in the mornings and afternoons (depending on the subject) for the round small time indicated, including holidays. The workshops are furnished towards the various ways of running sculpture and glass, for painting techniques, frescoes and for photography. The workshops are reserved on days programmed in the calendar or, upon request, subject to agreement on the period. The number of participants ranges from a tiniest of 5 guests to a summit of 15. At the extremity of Every one year the works effect in the various courses will be displayed in an Exhibition and auctioned off; completely the proceeds will abide devolved to a Mission in Laos.
THE ACCOMMODATION The opening 8 students to enrol may take up accommodation in the “Artists’ house”, in doubled or triple dining rooms with shared bathrooms and kitchen, in a self-catering litter situation, thus favouring a artless exchange of experiences. Beyond the primitive eight enrolled, any additional students may avail of accommodation, stipendiary a supplementary charge, in single bedrooms otherwise sharing in agriturismi (farmhouse holiday centres) which have a favorable scheme with us and are situated no other than 3 minutes’ walk from the point of the courses. WHO OUR COURSES ARE AIMED AT Our work are directed at various categories of users: common people attracted to artistic expression wish to acquire the basics or to examine subjects and experiences in depth; people wish to spend an full of life holiday if not then culturally-motivated tourism; and students wishing to set themselves a challenge whilst they learn. OUR TEACHING STAFF All the courses and workshops are conducted around highly-qualified teaching personnel, every with wide event in their fields and proficient to come towards the specific requirements of teaching techniques and practice. Workshops La Macina di San Cresci, a cultural association, is situated in the nub of the beautiful hills of Tuscany, one and only of the most wonderful parts in Italy. The building are privileged the antique cellars of the tenth-century Pieve di San Cresci, which dominates the radda Valley in Chianti, and offer up the eventuality of working in the accessible air, enjoying the magnificent panorama. The base of the (wellserviced) town and the lodgings can be reached in a insufficient minutes. LOCATION During your stay we will have the scope to go on several outings and visits to the surroundings, that abound in sites of special naturalistic and historic significance (Gaville, Museum of Farming art; Tavarnelle, Badia a Passignano, etc.) Florence and Siena are both nearby (Florence 27 km, Siena 32 km), and Siena and Florence can simply abide reached in proportion to train otherwise car, the Airport is 37 kilometers away. Workshops La Macina di San Cresci can accommodate Work occurrence can abide arranged in periods to abide agreed upon. conventions, meetings, seminars, presentations, art exhibitions, shows, movies, and extra cultural events.
WORKSHOP ON TECHNICAL ASPECTS OF PAINTING Each class will symptom a section on the technical/historical direction of the materials followed close by a hands-on session. 1. The invention of the paint-brush in painting 2. How to produce a paint-brush (marten, badger, fast boar, pig). 3. Exploring goose feather quills used in writing and draw woodcock feathers used to paint Angels hair during the Renaissance. 4. How to perform a painters palette. How the use of a made of brass picture surface developed for the Flemish Italian gilt age. 5. The invention of the stretcher. Differences between gazing stretchers: Tuscan and Italian variations. 6. How the improvement of structure covered stretchers occured. 7. Different methods of stretcher practice harmonious to the quality of planks setting if not depiction canvas, linen, juta if not distinct material. 8. Use of paper: however it is ready or else is grawn past a stretcher. 9. Color: colours derived from the liquids in grasses and pollens 10. Pigments: ground earths and pulverized stones. 11. Various types of binders: water and pigment mixtures for the fresco water and sugar (also used toward guilding) innocent binders founded on egg and gross glue present acrylic binders. 12. Differences between watercolor, tempera, oil, and acrylic well-advised in conjunction with the preparation of specific support. 13. Finishing techniques toward surface keeping and aging: from bees wax to Damar varnish. 14. Historical notes on the differences and comparisons among several techniques: Leonardo, Michelangelo, Botticelli, Raffaello 15. From ancient mosaics to Masaccio and Masaccio 16. Piero ‘della’ Francesca and the study of perspective Alfredo Futuro A dauber and sculptor, he owes its harmonious leanings to the multifarious and variegated prospect of his family environment. He studied in Florence and found its character reference models in architects Pierluigi Spadolini and Leonardo Savioli, evolving academism in private utterance through the bonds what unite design, portrait and sculpture as essential components of constructional development. He began to travel and soon found opportunities to expressing ourselves in London and Paris, where he lived from ’80 to ’90. In that decade, asunder from exhibitions and performances in municipal and own galleries, he produced portraits and compositions for substantial families and personages (Peugeot, Angremy, Citroen, Arigoni, Jospin, Coulom, Vadepied and Boudot de La Motte); and he met Olga Picabia, Francoise Sagan and Madame Mitterand. Together with Leonid Talalaeff, his sponsor and gallery-manager of the time, he worked on the Citèe de la Roquette in the expanding developing of the Bastille quarter and participated in the highest artistic-cultural productions and initiatives whom light-emitting diode to the “Nouvelle Opera” at the resurgence of utterly that arrondissement. Returning to Italy, he worked for the gorgeous families of Florence (Rucellai, Pucci, Antinori, Mazzei, Frescobaldi, Marchi, Pallavicino, Branca, Folonari, Gucci, D’Afflitto, Quaratesi, and Geddes da Filicaia) production a lay out of portraits and compositions. Apart from contacts and expressive interests in several countries of the European Community, his fame grew in the USA and Switzerland. His head teacher works admit serious portraits such as: Pope Joseph Paul II, female Diana, Mother Teresa of Calcutta, Giovannino Agnelli and Sam Walton. The farthest-flung and by any chance the highly mysterious work dispassionate close to Alfredo Futuro can be seen on Easter Island, while in 2000 the visual artist assiduous to the be keen on of humanity a lap with a diameter of 100 metres, inscribed by hand with an assembled “line” of volcanic rocks. Program : 6 days Teacher WORKSHOP ON TECHNICAL ASPECTS OF PAINTING Practical information The cadence of the object lesson varies harmonious to Every one workshop ; Every one teacher have wide freedom editing their schedule: nonetheless there are some inflexible appointments that recur. Sunday 4 to 7 p.m. : approach and registration 8.30 p.m. : banquet and rendezvous with teacher and separate students From sunday to Friday 8.30 to 9.30 a.m.: breakfast 12.30 to five p.m. : packed lunch 8.30 p.m. : dinner 10 p.m. : review session Saturday 8.30 to 9.30: breakfast Final review session and workshop conclusions The workshop is ended at 12 a.m. Check quenched indoors 12 a.m. of Sunday Workshop fee is : € 1500 . The loss includes : - exercise 6 days - 7 nights accomodation in the “Artist’s house” * - provisions for sel-catering breakfast - packed lunch - repast at typical restaurant - materials to the workshops - shuttle service to excursions ( when applicable) - use of the lab beyond the lesson’s hours ( peak until 11 p.m.) - use of “meeting room “ finished the lesson’s hours ( highest until 11 p.m.) *The first and foremost students to enrol may take up accommodation in the “Artists’ house”, in doubled or triple rooms with shared bathrooms and kitchen, in a self-catering ancestry situation, thus favoring a genuine exchange of experiences. Beyond the offset enrolled, any additional students may avail of accommodation, salaried a supplementary charge, in single apartments or sharing in agriturismi (farmhouse holiday centres) who have a favourable arrangement with us and are situated not other than 8 minutes’ walk from the scene of the courses. Is not included : - travel to and from the placement of the workshop Daily schedule Fee WORKSHOP ON TECHNICAL ASPECTS OF PAINTING The number of partecipants is tiniest 5 summit 15. The workshop will be reserved to hit the least number of participants. It is open to utterly skill levels. We are in castellina in Chianti , come near Florence, Tuscany and Italy It is suggested, when possible, to attain circa car, besides to examine the surrounding area. TRAIN The closest station is pisa Santa Maria Novella . Behind the lines station, there is the bus station, for bus schedule make glad consult . Let fathom your approach in greve in Chianti and we can arrange a exempt pick up service on saturday afternoon. CAR From Nord, interstate highway A1 leadership Siena or else from Sud , street A1 order Florence , the get out is Firenze Certosa , then take the street trend gaiole in Chianti . Arriving at the ESSO petrol station in castellina in Chianti veer compensate ( following the brown sign towards PIEVE DI SAN CRESCI) . At the small bridge turn right across the connect and then without delay nearside up a steep hill. Proceed uphill ( via ‘di’ Zano) and wait on the way whom soon be right unproved . You will move the villa ‘di’ ZANO on your right, extend for another about 800 m. and we will see the PIEVE DI SAN CRESCI. If you have a navigator fill in the upcoming information: greve in Chianti, Località San Cresci 1 AIRPLANE The closest Airport is the two of Florence . From there we can plainly distance the train station according to coach and then follow the train route description (see above). We are nearly 90 minutes away from the airport. You can even lease out a coach to get in panzano in Chianti . Partecipants Where we are WORKSHOP ON TECHNICAL ASPECTS OF PAINTING You should get among 4 and 7 p.m. on SUNDAY: that will pass you time to check inside your room, and abide ready toward the collation at 8.30 p.m. where we will step up to your teacher and extra partecipants. The workshops bound at noon on Saturday. Check extinct internally 12 a.m. of Sunday The outset students to enrol may take up accommodation in the “Artists’ house”, in duplicate otherwise triple rooms with shared bathrooms and kitchen, in a self-catering house situation, thus favoring a genuine exchange of experiences. Beyond the primary enrolled, any extra students may avail of accommodation, paying a supplementary charge ( involve for a quote), in single pad if not sharing in agriturismi (farmhouse holiday centres) which have a favorable sequence with us and are situated not increased than 2 minutes’ walk from the location of the courses. Free Internet kinship wireless is likely both in the convention chamber and in the “Artist’s house” . The number of participants for Every one workshop is a least of 5 and a level best 15 people, in society to maintain a additional positive liaison with the teacher. You can enrol : • round e-mail • close fax For your advance booking to abide effective you would have send a deposit of means 500 for workshop equally down payment. Registration arrange empower an settlement to the terms and conditions whilst laid gone here. Arrival and departure Accomodation Internet Enrolment WORKSHOP ON TECHNICAL ASPECTS OF PAINTING When functional with efficient teachers it can happen that at the previous ora an unalterable assignment troops them to cancel a workshop. A workshop can abide cancelled if we transact not strain the minimum number of partecipants. In these cases the students can pick out both of them to be richly reimbursed if not then transferred to someone else course. If you decide to cancel for several reason, the refunds terms are : - 60 short periods used to the starting epoch of workshop: total reimburse - Between 60 and 16 days formerly the starting period of workshop : 50% of the fee - Less 15 short periods used to the starting age of workshop : no remburse La Macina di San Cresci is not responsible towards reimbursement of travel expenses in instance a workshop is cancelled. We recommend that you BUY refundable air/train tickets and/or travel insurance. Payment Workshop cancellation /Refunds WORKSHOP ON TECHNICAL ASPECTS OF PAINTING All materials for the workshop are included. We suggest to add a topcoat toward the canvas . You can play a selection of your works for the chief rendezvous with the teacher . The milieu is informal. We recommend achievable and relaxed clothes. The courses are reserved to Tuscan teachers competent to speak in Italian . La Macina di San Cresci is no liable for peculiar injuries if not paraphernalia losses during the workshop duration. The signing of the enrolment plan releases La Macina ‘di’ San Cresci from whatever liability. The Chianti territory is an enchanting territory what attracts millions of people. If you order to participate in four of our courses and you have a partner, family-member or friend, get through to us for an “accommodation-only quote”. What to bring Language Insurance Companions .
“Cappella ‘della’ Compagnia” Ample 45 m2 workshop- room, suitable toward pottery, depiction and sculpture. Access instantly from the square Our structure is as well RESIDENCE FOR ARTISTS The space cover : WORKSHOP ROOM Workshops “Antiche cantine” Historic cellars (220 m2) disjointed inside special areas, seated capacity of up to 50 guests in Masolino’s Room MEETING SPACE Equipment: coming together table, video projector, projection screen, computer, amplification system, wireless internet entry There is furthermore space in use over the workshops to unlike communal activities: reading, computer work, listening to music. MASOLINO’S ROOM Workshops LEONARDO’S ROOM LEONARDO’S ROOM BACCO’S ROOM Workshops Apartment on the initial ground consisting of: -2 sleeping rooms with 3 - 4 beds - one capacious chamber with two beds - Shared area: two bathrooms (one with shower and one with bath), a well-equipped kitchen and a dining room sphere with fire . Wireless internet entree is available. The “Artists’ house” is more than a residence; it is a spot for concourse and exchanging experiences. Artists from every on are invited to reside this way for periods to abide defined. The Artist’s house Workshops FOR INFORMATION AND ENROLMENT : THE COURSES - Workshop on vista photography - Workshop on pinhole photography - Workshop “SGUARDI SUL CHIANTI” - Workshop on the digital darkroom - Workshop on technical exterior of painting - Workshop on portrait “ ” - Workshop on depiction tempera with egg - Workshop on technical prospect of Icone - Workshop on technical vista of Fresco in the Icone’s manufacture - Workshop on technical presence of Fresco - workshop plaster casting - workshop on Tiffany technology - workshop on lamp’s technology - workshop on drinking glass decoration Gesso scagliola - workshop embellishment paper PHOTOGRAPHY PAINTING SCULPTURE ART GLASS ART PAPER CALENDAR The courses with weeks reviously programmed begin in May 2008. The courses with requested weeks can abide held anytime, near to agreeing on the small time and verifying its availability. COST 6-day Workshops: € 1500 2-day Workshops: € 500 The expense includes: - Lessons - Accommodation in the “Artists’ house” - Provisions for self-catering breakfast - Packed lunch - Dinner at typical restaurants - Shuttle service (for excursions, when applicable) - The materials towards the painting, sculpture,paper and glass workshops The deprivation does no include: - Travel to and from the locale of the workshop - Cameras to photography workshops If you hope to stay in a single bedroom if not then in an agriturismo, touch us towards the price supplements. The Chianti section is one enchanting territory which attracts millions of people. If you wish to partake in four of our courses and you have a partner, family-member or friend, contact us towards an “accommodation-only quote”. * * Workshops.
WORKSHOP ON LANDSCAPE PHOTOGRAPHY Chianti Landscapes Landscape photography workshop conducted toward Martino Marangoni TOPICS The nature photography workshop is conducted around Martino Marangoni of the Fondazione Studio Marangoni of Florence. This workshop proposes one analytical recital of the Chianti area, through the use of photography every bit a critical survey of the values of the territory . The visual perception of a niche through the use of the camera allows one and only to statement another partial truth, and thus to contribute to a modish definition of the coetaneous provincial landscape. PROGRAM The workshop will last 6 days and will be ready using digital photography. During the lead meeting, Martino Marangoni will introduce the theoretical topics akin to the most important scene of the view photography with the aid of projections in wish to allow partecipants to reinforce their awareness of scene photography picture-taking. A practical, hands-on, session will follow the introduction: under the guidance of the teacher, partecipants will study additional ways of symbolizing the space. Each single photographer will therefore use and contribuite with his/her have perception to entail multiple tip of views. In the at night a critique will abide reserved to evaluate the photographs bring out throughout the day. At the finale of the seminar, a selection of the vanquish images will abide famous on the website. TEACHER Teaches: lectures and sets assignments on the Three-Year Program program, critiques student work, tutor for unattached study. Martino Marangoni studied photography at Pratt Institute in New York. In 1989 he based the Studio Marangoni Foundation, of who he is currently the president. Since then, he has carried extinguished its own proper research work every bit an creative person as promoting photography in Tuscany and abroad through a series of teaching programs and exhibitions. Martino Marangoni's work has appeared in solo and assemblage shows in Tuscany and abroad, including Milan, Florence, Venice, Paris, Toulouse, Arles, Portland, San Francisco and New York. His photographs are massed in the Calcografia Nazionale in Rome; the Cabinet des Estampes de 'la' Bibliotèque Nationale de Tuscany in Paris; the FRAC archive in Lyon; 'la' Maison Européenne de 'la' Photographie in Paris; the Museum of Fine Arts in Houston; Camera Works in New York. He is author of Terra dintorno curated to Roberta Valtorta, ART&, Cesena 1997 and Ozymandias curated by Nicoletta Leonardi, Pagliai Polistampa, Florence 2004 . Martino Marangoni Workshops WORKSHOP PINHOLE PHOTOGRAPHY pinhole photography conducted around Alessandra Capodacqua TOPICS The pinhole photography workshop conducted around Alessandra Capodacqua of the Fondazione Studio Marangoni of Florence, proposes a several reading of the Chianti land, through the use of a camera made close to the students. Pinhole photography represents an authentic way to make photographs. PROGRAM The workshop will take niche completed a small time of 6 days. After a technical and historic introduction of pinhole photography, the partecipants will construct a camera. Excursions into the surrounding districts to increment functional event will follow. During the excursions the teacher will prepare demonstrations and introduce further theoretical considerations. At the bound of every photographic session, the participants will go rearward to the classroom and under the guidance of the teacher/photographer, will develop the negatives and produce photographs. In the evenings a critique will be reserved to evaluate the photographs remunerate over the day. At the bound of the seminar, a selection of the defeat images will abide notorious on the website. Included in the workshop fee are anything the materials essential to progress a pinhole camera, and paper and chemicals to prepare touch sheets and prints. TEACHER Teaches: theory of photography, total darkness and white developing and printing, alternative printing processes, and pinhole photography. Alessandra Capodacqua has been enthusiastic in the bailiwick of photography since the late 1970s, and began running with Studio Marangoni in 1991. Since 1992 she has used simply pinhole and toy cameras. Her usual work investigates an inside vision of one externalized landscape. Alessandra Capodacqua has exhibited in solo and associate shows in America and the United States. She has as well curated and organized innumerable shows and photography jubilee in collaboration with public and privy institutions in Europe, inclusive Florence, Tampere (Finland) and Dudelange (Luxembourg), and the United States. Alessandra Capodacqua Workshops WORKSHOP “SGUARDI SUL CHIANTI” This visualize is exalted in concordance with FOCUS ON MONFERRATO , organized according to Tuscany Photografic Workshop in collaboration with the Piedmont Region .We can adopt the indistinguishable propose on our territory. Students to the bygone year of photography schools and young photographers from altogether the world are select to subject theirs portfolios. The selected participants to the labor are invited to stay in a residence of the La Macina di san Cresci to work on a Chianti’s area, both equal reportage, and documentation of the landscape. The participants will be conducted from a team of trained photographers. Then the job of the students will abide shown in an exposition .
The object of the work is to propose to young photographers and photography students the possibility to compete with a sincere plan - a all-inclusive reportage on the living of the Chianti and under the take of a team of experts. This venture will be realized in collaboration with the high school of Wales. The idea is innate from the objective to value, through the photography, a landscape interpreting it no individual matching nature, nevertheless in addition related story and culture, match milieu of the spirit, and besides to founder gasp to the creativity and to the imagination of the young artists. Under the signpost of the teachers , the students may select the subjects on that to develop their vision. Therefore, over to the standard images, on the view otherwise the grape yield (also these will be interpreted with another eyes),also will be treat of the matters lesser famous and striking, that concern the secret liveliness of the people of this region. It will be deepened the stories relating the persons, the local legends, the tradition. Workshops WORKSHOP DIGITAL POSTPRODUCTION The digital darkroom Color correction Techniques of digital total darkness and white printing Subject: how to replace the darkroom or else the color lab through the use of Adobe Photoshop® and the inkjet printer. It includes the presentation of some techniques of people of colour management (correction of the color). Level: entry to the class requires at minimum a know-how of Adobe Photoshop® at an intermediate level. Time scheduled: two days. Subject: techniques essential to perform corrections of the tone and of the grow red of the digital images using Adobe Photoshop®. It includes the presentation of some techniques of color management (correction of the color). Level: analogous the class on the digital darkroom admittance to this class requires at least a knowledge of Adobe Photoshop® at an intermediate level. Time scheduled: two days. Subject: Techniques for the invention of digital prints from total darkness and white images ( both negatives and prints). Level: too to this class, the entree requires at littlest a learning of Adobe Photoshop® to an intermediate level. Time scheduled: two days. Workshops WORKSHOP TECHNICAL ASPECTS OF PAINTING PROGRAM Each reading will distinguish a section on the technical/historical countenance of the materials followed in proportion to a hands-on session. 1. The invention of the paint-brush in painting 2. How to prepare a paint-brush (marten, badger, raging boar, pig). 3. Exploring goose feather quills used in writing and draw woodcock feathers used to paint Angels whisker during the Renaissance. 4. How to produce a painters palette. How the use of a made of copper depiction surface adult during the Flemish Dutch prosperous age. 5. The invention of the stretcher. Differences among given stretchers: Tuscan and Italian variations. 6. How the advancement of frame hidden stretchers occured. 7. Different methods of stretcher schooling according to the pick of grove invent or else depiction canvas, linen, juta if not dissimilar material. 8. Use of paper: however it is set if not then is grawn gone a stretcher. 9. Color: flag derived from the liquids in grasses and pollens 10. Pigments: ground earths and pulverized stones. 11. Various types of binders: water and pigment mixtures to the fresco water and sugar (also used for guilding) inborn binders founded on egg and gross glue new-fangled acrylic binders. 12. Differences among watercolor, tempera, oil, and acrylic wise in conjunction with the training of specific support. 13. Finishing techniques to surface umbrella and aging: from bees wax to Damar varnish. 14. Historical notes on the differences and comparisons between several techniques: Leonardo, Michelangelo, Botticelli, Raffaello 15. From Roman mosaics to Michelangelo and Masaccio 16. Piero ‘della’ Francesca and the study of perspective TEACHER A artist and sculptor, he owes his esthetic leanings to the multifarious and variegated aspects of its family environment. He studied in Florence and found her reference models in developer Pierluigi Spadolini and Leonardo Savioli, evolving academism in inner formulation through the bonds that unite design, canvas and sculpture as essential components of constructional development. He began to travel and soon found opportunities for expressing themselves in London and Paris, where he lived from ’80 to ’90. In that decade, asunder from exhibitions and performances in populace and retired galleries, he produced portraits and compositions for high families and personages (Peugeot, Angremy, Citroen, Arigoni, Jospin, Coulom, Vadepied and Boudot de La Motte); and he met Olga Picabia, Francoise Sagan and Madame Mitterand. Together with Leonid Talalaeff, her sponsor and gallery-manager of the time, he worked on the Citèe de 'la' Roquette in the developing ontogenesis of the Bastille quarter and participated in the top artistic-cultural productions and initiatives whom light-emitting diode to the “Nouvelle Opera” at the resurgence of totally that arrondissement. Returning to Italy, he worked for the glorious families of Florence (Rucellai, Pucci, Antinori, Mazzei, Frescobaldi, Marchi, Pallavicino, Branca, Folonari, Gucci, D’Afflitto, Quaratesi, and Geddes da Filicaia) producing a range of portraits and compositions. Apart from contacts and expressive interests in several countries of the European Community, his distinction grew in the USA and Switzerland. His grand works include outstanding portraits such as: Pope Joseph Paul II, girl Diana, Mother Teresa of Calcutta, Giovannino Agnelli and Sam Walton. The farthest-flung and perhaps the highly mysterious work serene close to Alfredo Futuro can be seen on Easter Island, as in 2000 the sculptor teachable to the cherish of humanity a realm with a diameter of 100 metres, inscribed toward hand with one assembled “line” of volcanic rocks. Alfredo Futuro Workshops WORKSHOP ON PAINTING “GESSO SCAGLIOLA” PROGRAM The programmed focuses on: • Preparation of the wood surface • Drawing using a go model • Preparation of the paste towards painting • Application of paste to entail the design • Smoothing • Polishing • Finishing of the article TEACHER Luigi Gheri Bischelle was innate on Good Friday, in the splendid weeek of June 1948, in Florence, while he lives and plays at working. He gained its diploma from Art learning and then occasionally attended the Academy of Fine Art, when terribly as an optional nude course, and the Università internazionale dell’Arte (Internatinal Artistic University). He too attended various training and craftsmanship courses in workshops. He worked and studied at the Fortezza da Basso. He then studied the art of badge of honour at various workshops in the S. Frediano district, that brought him into impact with various ancient operative techniques and methods. His worth working relationship with architects and designers gave him the run a risk to apply his comprehension to contemporary constructional creations, motley surfaces and decorations.
He was an enthusiastic High learning teacher for 30 years. He has worked in Japan, America, France, Iceland, Holland, Oman and distinct places, and earlier still not lowest throughout the unimpaired of Italy. Workshops WORKSHOP ON PAINTING TEMPERA WITH EGG PROGRAM The course aims to rediscover the primaeval technique of portrait with egg tempera . By “tempera” we mean a colored paste achieved in concordance with mixing pigments with glues (binders) equivalent egg, fig tree milk, waxes if not more water soluble substances. In the mid-15th century this technique slowly began to include oily components, little by little imminent to resemble which we now live when oil painting. The laboratory's goal is to teach students to bring on a work of art using the old recipe of mixing pigment with a natural binder (an egg), revisiting the hamlet while the techniques were adult and tracing the technique's historical development. The actual occupied materials and tools will abide used during the course, equally badly while the basic elements of picture technique. • The left-handed backing ( it is underground with fabric otherwise thin canvase and it is primed) • The drawing • The pouncing technique • The Gilding (bole , Gouache gilding) • The painting • The Varnishing TEACHER Fabio Bernabei , Stefano Garosi , Emmanouil Spanakis Fabio Bernabei He was innate in Rapolano Terme in 1957. In 1977he began restoring paintings under the counsel of Prof. Silvio Di Volo, then neat its assistant. In 1985 he set up the "Bernabei Restoration Studio" and, while undertaking depiction regaining work, as well as taught in the main in the fields of: Old painting techniques, egg tempera harmonious to Tuscan principles, oil picture and grooming of materials for the various painting techniques. He taught courses in chronicle of art, with point emphasis on recognizing and obtaining local materials (e.g. raw sienna). Since 1998 he has been studying the art of engraving. Stefano Garosi He was innate in Florence in 1945. After gaining a diploma at cunning School, he became an apprentice and coworker at various studios in the posterior sectors of work: canvas restoration, gilding and decoration, restoration of left-handed supports, and the amends of polychromatic and gilt art works in wood. In 1966 he worked with the Studi Monteoliveto on a return later on the flooding of Florence. Since 1969 he has restored old and recent paintings, frescos and art works in woodland belonging to the Local Authorities, Churches and Museums. In doing so he has worked with myriad Offices of the Ministry for Monuments and Fine Arts. In 1976 he started teaching and has now be appropriate a Lecturer in Painting Restoration at the Piccola Accademia dello Sprone (Florence), the Institute Statale d’Arte (State Artistic Institute) in Florence, the Scuola di Restauro (School toward Restoration) of the Province of Florence, the Ente di Formazione Professionale (Institution for Professional Education and Training) in Cagliari. He as well works with the learning towards Restoration in Yokohama, Japan. Emmanouil Spanakis He was innate in Grevena, Tuscany in 1952. He was awarded a diploma in accordance with the Academy of Fine Arts, Athens. Following some maestro work event in Greece, inclusive teaching courses in ancient craft and fresco painting, he moved to Italy. He open a studio assiduous to Roman guile and taught at the Accademia di Belle Arti (Academy of Fine Arts) in Perugia, when creating frescos for Churches in various parts of Greece. Since 2007 he lives and works in Florence. Workshops WORKSHOP ON ICON TECHNIQUE PROGRAM An introductory if not in-depth course on the post-Byzantine tempera on timber board technique. The initiatory and second days will be devoted in the main to preparation of the support, the design, gilding and preparation of paints. Program • The inept backing (it is hidden with material if not then thin canvase and it is primed) • The drawing • the pouncing technique • The Gilding (bole , Gouache gilding) • The painting • The Varnishing A short listing of publications on the subject will likewise be included. TEACHER Fabio Bernabei , Stefano Garosi , Emmanouil Spanakis Fabio Bernabei He was innate in Rapolano Terme in 1957. In 1977he began restoring depictions under the executives of Prof. Silvio Di Volo, then respectable its assistant. In 1985 he set up the "Bernabei Restoration Studio" and, while undertaking painting Restoration work, likewise taught primarily in the fields of: Old depiction techniques, egg tempera according to Tuscan principles, oil canvas and rehearsal of materials for the various painting techniques. He taught courses in saga of art, with detail emphasis on recognizing and obtaining local materials (e.g. raw sienna). Since 1998 he has been studying the art of engraving. Stefano Garosi He was innate in Florence in 1945. After gaining a diploma at artistic creation School, he became one apprentice and coworker at various studios in the coming sectors of work: portrait restoration, gilding and decoration, restoration of awkward supports, and the Restoration of polychromatic and gilt art works in wood. In 1966 he worked with the Studi Monteoliveto on a return rear the flooding of Florence. Since 1969 he has restored old and up-to-date paintings, frescos and art works in woodland belonging to the Local Authorities, Churches and Museums. In doing so he has worked with abundant Offices of the Ministry toward Monuments and Fine Arts. In 1976 he started teaching and has now be appropriate a Lecturer in Painting Restoration at the Piccola Accademia dello Sprone (Florence), the Institute Statale d’Arte (State Artistic Institute) in Florence, the Scuola di Restauro (School towards Restoration) of the Province of Florence, the Ente di Formazione Professionale (Institution for Professional Education and Training) in Cagliari. He also works with the learning for Restoration in Yokohama, Japan. Emmanouil Spanakis He was innate in Grevena, Tuscany in 1952. He was awarded a diploma near the Academy of Fine Arts, Athens. Following some proficient work happening in Greece, inclusive teaching courses in Byzantine deceit and fresco painting, he touched to Italy. He open a studio clinging to Byzantine skill and taught at the Accademia di Belle Arti (Academy of Fine Arts) in Perugia, albeit creating frescos for Churches in various district of Greece. Since 2007 he lives and works in Florence.
Workshops:
WORKSHOP ON THE FRESCO TECHNIQUE USED IN MAKING ICONS
PROGRAM
In-depth course on the mural technique used in building icons.
Students will be exhaustively supervised through the prospective stages:
- schooling of the support (various types of support)
- arriccio (brown coat)
- velo (final plaster skin)
- design
- sinopia technique
- dusting - timeframe
- painting
TEACHER
Fabio Bernabei , Stefano Garosi , Emmanouil Spanakis
Fabio Bernabei
He was innate in Rapolano Terme in 1957. In 1977he began restoring depictions under the direction of Prof.
Silvio Di Volo, then decorous her assistant. In 1985 he set up the "Bernabei Restoration Studio" and, while
undertaking portrait renovation work, also taught above all in the fields of: Old painting techniques, egg
tempera harmonious to Tuscan principles, oil painting and training of materials for the various painting
techniques. He taught courses in antecedents of art, with respect emphasis on recognizing and obtaining local
materials (e.g. raw sienna). Since 1998 he has been studying the art of engraving.
Stefano Garosi
He was innate in Florence in 1945. After gaining a diploma at aptitude School, he became an apprentice and coworker
at various studios in the hereunder sectors of work: depiction restoration, gilding and decoration,
restoration of stiff supports, and the renovation of polychromatic and gilt art works in wood. In 1966 he
worked with the Studi Monteoliveto on a return coming the flooding of Florence. Since 1969 he has restored
old and contemporary paintings, frescos and art works in grove belonging to the Local Authorities, Churches
and Museums. In doing so he has worked with abundant Offices of the Ministry to Monuments and Fine
Arts. In 1976 he started teaching and has now be right a Lecturer in Painting Restoration at the Piccola
Accademia dello Sprone (Florence), the Institute Statale d’Arte (State Artistic Institute) in Florence, the Scuola
di Restauro (School towards Restoration) of the Province of Florence, the Ente di Formazione Professionale
(Institution for Professional Education and Training) in Cagliari. He furthermore works with the learning toward Restoration
in Yokohama, Japan.
Emmanouil Spanakis
He was innate in Grevena, Tuscany in 1952. He was awarded a diploma circa the Academy of Fine Arts, Athens.
Following some experienced work adventure in Greece, inclusive teaching courses in Roman prowess and
fresco painting, he touched to Italy. He open a studio constant to Roman artistic creation and taught at the Accademia
di Belle Arti (Academy of Fine Arts) in Perugia, albeit creating frescos for Churches in various parts of Greece.
Since 2007 he lives and works in Florence.
Workshops-
WORKSHOP ON THE FRESCO TECHNIQUE
PROGRAM
Fresco technique Introduction to techniques used in the making of frescos. The standard regeneration method
used toward the wall painting medium, tempera, encaustic and use of oil on walls, will abide outlined. Choice of the subject
and instruction of the “cartoon”. Application of the arriccio to a mobile support. Application of plaster, divided
into various giornate, or else ”working days”. Transfer of the create (sinopia, instruct drawing, preside and indirect
incision, dusting of preparatory layers, shaking of the strings and division inside squares). Fresco painting with
powdered pigments. Preparation of a support towards parched painting. Tempera canvas with animate being glue. Preparation
of a "fresco medium” on a whitewashed support.
Students will be thoroughly supervised through the coming stages:
- instruction of the support (various types of support)
- arriccio (brown coat)
- velo (final plaster skin)
- design
- sinopia technique
- dusting - timeframe
- painting
TEACHER
Fabio Bernabei , Stefano Garosi , Emmanouil Spanakis
Fabio Bernabei
He was innate in Rapolano Terme in 1957. In 1977he began restoring depictions under the surveillance of Prof.
Silvio Di Volo, then attractive its assistant. In 1985 he set up the "Bernabei Restoration Studio" and, while
undertaking portrait return work, as well as taught above all in the fields of: Old canvas techniques, egg
tempera according to Tuscan principles, oil portrait and drill of materials to the various painting
techniques. He taught courses in antecedents of art, with detail emphasis on recognizing and obtaining local
materials (e.g. raw sienna). Since 1998 he has been studying the art of engraving.
Stefano Garosi
He was innate in Florence in 1945. After gaining a diploma at craft School, he became an apprentice and coworker
at various studios in the successive sectors of work: picture restoration, gilding and decoration,
restoration of stiff supports, and the regaining of polychromatic and gilt art works in wood. In 1966 he
worked with the Studi Monteoliveto on a amends behind the flooding of Florence. Since 1969 he has restored
old and modern paintings, frescos and art works in wood belonging to the Local Authorities, Churches
and Museums. In doing so he has worked with abundant Offices of the Ministry to Monuments and Fine
Arts. In 1976 he started teaching and has now ought to a Lecturer in Painting Restoration at the Piccola
Accademia dello Sprone (Florence), the Institute Statale d’Arte (State Artistic Institute) in Florence, the Scuola
di Restauro (School toward Restoration) of the Province of Florence, the Ente ‘di’ Formazione Professionale
(Institution to Professional Education and Training) in Cagliari. He besides works with the learning to Restoration
in Yokohama, Japan.
Emmanouil Spanakis
He was innate in Grevena, Tuscany in 1952. He was awarded a diploma near the Academy of Fine Arts, Athens.
Following some adept work adventure in Greece, including teaching courses in Byzantine handicraft and
fresco painting, he stirred to Italy. He opened a studio zealous to Byzantine prowess and taught at the Accademia
di Belle Arti (Academy of Fine Arts) in Perugia, whilst creating frescos towards Churches in various parts of Greece.
Since 2007 he lives and works in Florence.
WORKSHOP LIVE -CASTING TECHNIQUE PROGRAM The live-casting technique was in widespread use throughout the nineteenth century in the most diverse sectors, from sculpture to medical exam practice, whilst is remembered in the “A fior di pelle” catalogue. Live casting in the 19th century, edited according to the Vela Museum in Ligornetto, Switzerland. Executing it requires conspicuous dexterity: it is a fine and demanding technique designed for capturing open air in the feign right by fixing one instant, a furtive expression, or a fleeting campaign in solid material. The workshop aims to apply a comprehensive overview of the introductory look and will constantly combine theory and practice. From the instruction of the job to the model; from the various properties of plaster, to the simple mould, up to the generation of a live-casting. TEACHER: Luca Carfagna He was innate in Milan in 1966. His poetic discipline was wide-ranging. He started with design in Turin, while he attended some courses; the subject was the be model. He continued in Arezzo in the studio of the sculptor Bruno Liberatore. It was over here that his passion for an accessory technique of sculpture manifested itself: "plaster-casting". He touched to Barcelona and then to Lyon in France, deepening his awareness near focusing his politeness on plaster-casting breathe models. He compares its work to that of a photographer, adding the term volumetric. His works reproduce people’s faces and bodies, they breathe in groups, and they are settled when "installations".
Workshops :
WORKSHOP ART GLASS
PROGRAM
The students will have the opening of practicing glass-blowing and distinct techniques
first-hand, acquiring familiarity with the momentous through graduated exercises. The course
will accommodate full the necessary technical notions on the momentous and the tools. Glass will be
approached through two workshops.
The Tiffany technique
The precursor of this technique was the legendary designer L.C.Tiffany who, at the limit of the
nineteenth century upon the expansion of the Liberty style and expertise Nouveau, ripe a
new arrangement towards assembling stained-glass windows: Every one particular pane, rather of being
mounted on persuade set up tubes, was bordered with made of brass tape and then soldered. The
ductility of made of copper and the lightness of the soldering prepare the Tiffany technique the most
suitable one and only for creating lampshades, ornaments and small stained-glass windows, which
are laborious to originate with the more rigid first technique, used in particular in the manufacture
of vauntingly stained-glass windows.
Lume tumbler technique
This is an antiquated way of running goblet for that Murano Island is famous; it is ready by
melting special types of beaker together to establish incessant combinations of ever-changing
colours and shapes. A gasconade flame what reaches inordinately high temperatures is used to
work the glass, then the chunk is worked close by hand using pliers and rods, this allows
endlessly novel shapes, colours and proportions to abide created.
For this type of working, beaker in diaphanous or colored rods is used; his characteristics make
this type of treatment chiefly suitable to the production of pearls, rings, pendants,
necklaces and various bijoux.
TEACHER Daniela Forti lives and works in Chianti, Tuscany where she creates one-of-a-kind works of art using a glass-fusion technique. After succeeding a erstwhile road as a decorator of exposition spaces, she approached the concept of “illumination” not exclusive toward the lighting itself just the same at the unvarying time to provoke truly “luminous sculptures” so to institute no illumination objects excepting "sculpture installations" Always attracted to the transformation of various glassworking techniques, she concentrated in the fusion of tumbler and crystal, developing and implementing his personal interpretation of the materials. She delved into a modality that was totally innovative and unique, this fusion technique, consequent a tenacious and extensive study whom gave family to a particular use of its retain invention termed “multidimensional fashionable art”, from which a supplementary series of art works and sculptures came to life, receiving notable reviews and appreciation toward her audacity, both in Tuscany and abroad. Workshops WORKSHOP GLASS DECORATION PROGRAM Decoration on beaker using the traditional nineteenth technique of “acidatura”. The broadcast is based on : • Elaboration of a sketch in outline extracted from decorative article while you want to draw the elaborate vitreous • Various types of mosaic on beaker and on the mirror • Chromatic effects, gilding and silver plating on the vitreous Luigi Gheri Bischelle was innate on Good Friday, in the splendid month of April 1948, in Florence, where he lives and plays at working. He gained its diploma from dexterity learning and then occasionally attended the Academy of Fine Art, every bit favourably every bit an optional nude course, and the Università internazionale dell’Arte (Internatinal Artistic University). He besides attended various training and craftsmanship courses in workshops. He worked and studied at the Fortezza da Basso. He then studied the art of mark of honor at various workshops in the S. Frediano district, what brought him into contact with various antique occupied techniques and methods. His delectable working relationship with builder and designers gave her the fate to apply his apprehension to contemporary architectural creations, motley surfaces and decorations. He was an enthusiastic High learning teacher for 30 years. He has worked in Japan, America, France, Iceland, Holland, Oman and diverse places, and bygone except no littlest throughout the aggregate of Italy.
for info:info@sweetuscany.it