Narratives and Practice
The workshops I conduct encourage ‘old-school’ narratives and practice.
The classical realist and impressionist painter with an artistic lineage conveys a seriousness.
Essentially the art tradition moves from a master to apprentices, and from teacher to students, over time.
A tradition of time-tested conventions strives to make canvases come to life, just for you.
Since the first light in the Book of Genesis the artists’ vision was seen and you become a beholder of that revelation, connecting with the creator.
A triangle forms for you too, a process as old as time. The artist, the art, the viewer. The artist makes the art to be seen and connections happen.
Artists who produce classical realism and impressionism art are usually very skilled at making these connections.
Since the early years of the 20th-century many ‘new’ artists made it their task to up-end the training legacies of ateliers. Artists in their training studios were marginalised, pushed away to be irrelevant. Shunned.
These ‘new’ kind of artists set out to shock and outrages of their work supposedly reflected more overt social and political meaning. Darkness crept into the narratives of Western European art. The light of God did not count in the new talk-n-walk.
A near-complete overthrow of representational art occurred in universities, museums, and galleries during the 1940s and ’50s.
An artist needn’t be good, but it mattered to follow the right socio-political agenda.
Meanwhile, pockets of academic realism and impressionism continued to work and today are making art successfully. The training ateliers never failed and are responding to a growing demand for sound craft and imaginative art.
Modernist art and the Post-Modernists are calling the shots and running the show in Australia. Culture is ever changing and the highly skilled creative ‘old-school’ artists are regarded too.
The accessibility of the Internet is streaming the realism message. It’s only a matter of time that the shifting focus will establish a resurgent training regime.
This web site will eventually bring to you the lectures from ateliers of my youth, lectures of linage and gravitas for the creative academic realist and the colourful impressionist.
You can find similar on the web, but here are the actual teachings of minor ateliers that kept the faith as the world descended into chaos when the lights were switched off by the greedy socialists’ power surge.
Open Content Menu:
- Zaadstra Art School – Welcome
- Open Access – Zaadstra Atelier
- Tales of the Atelier
- Preview: Modules 1 – 5
- Free Access: Materials No1 + 2
- Create Art on ‘Yupo’
- Kelpie Drawing: panel example
- Pieter Zaadstra – CV
- Zaadstra Atelier Newsletters Archive
- Zaadstra Art Web Site – Content
- The Charming Companion – Part 1
- The Errand Boy – Part 1
- The German Army Coat
- Our first studio in Australia
- Freedom from Fear
- I see things clearly
- Tattletales of the Ateliers
- A Different Conversation
- Quest for the Marvelous
- Lyrical ‘Tegenlicht’ Diversions
- Decay in the Great Game
- The Propaganda Machine
- De-spiritualisation of Art
- Art for Art’s sake
- Avant-garde of Niche
- Realism – Impressionism
- Fern Cove Trout – Progressive
- Quick Links
- Peace, Love and Harmony
- Who are those people?
- Agony of Cider Gums
- Variegation in the Light
- Narratives and Practice
- Control the Past
- Dull and Boring
- Strong Opinion