with Xenia Hodza (series of three)
The so-called “post-impressionists” were artists so independently genius, that nomenclature broke down. These bold explorers were gasping with inspired breath as they forged ahead with a bounty of experiments that would change the “pretty picture” forever. We will investigate the period from 1886, the year that held the last Impressionist exhibition, until 1907, the start of the cubist movement. Old favorites such as Pointillism and Fauvism will be discussed, as well as movements less known, including Cloisonnism, Japonism, Nabism, Primitivism and Symbolism.
with Xenia Hodza (series of 3 lectures)
Why did Jan van Eyck turn a looking glass on himself in 1433 and paint what he saw: a man in a red chaperon? What would make Jenny Saville, in 1992, make a painting of herself in the nude, exaggerated and grotesquely obese? And who paid $12.4 million to own it last year? Since at least the Renaissance, artists have employed the genre of self portraiture to varying effect. We will look at a short history of portraiture beginning in ancient Egypt, then turn to some notable artists who depicted themselves (and their sometimes not-so-innocent motives in doing so).
with Xenia Hodza (series of 3 lectures)
Since prehistoric times, we humans have coveted color. 30,000 years ago, ocher, red, and black earths were used to paint on the walls of Lascaux. Fourteenth century Europe welcomed Giotto’s use of ultramarine, made from lapis lazuli – more expensive than gold leaf – and extracted from a mine in Afghanistan. This talk will reveal the gradual development of the painter’s palette in theory and in practice. The fascinating history of pigments, their quality and availability, will be brought to light. Moreover, we will see how these factors affected the painted image and understand what Renoir meant by, “Without tubes of paint, there would have been no Impressionism.”
with Xenia Hodza
This is a workshop of endless possibilities. Using an unrestricted variety of found materials – papers, photos, fabrics, and more -- you will create a unified work. We explore compositional strategies, juxtaposition, synthesis, and develop technical skills. Introductions to the history of Mixed Media will be presented for inspiration. Whether you’re an experienced artist or an absolute beginner, collage offers you a jumpstart to creativity. Beginning and advanced levels are welcome. This workshop takes place on two consecutive Saturdays; May 4 and Saturday May 11.
with Karen Simmons
In this one day workshop, we will explore Bonnard’s methods in his life long exploration of painting as a medium for expressing emotional recall and impact. The purpose of this workshop is not to paint a Bonnard painting, but to practice his methods of alternating perception and memory to arrive at a personal expression on canvas of a place, the objects and the people who inhabit it. We will work from a casual still life tabletop set up in the front gallery/entry at WAA, and explore through initial sketches and color notes, working back and forth to a larger interior/still life canvas in the studio. We will also explore his use of both literal and emotional color. Bonnard’s paintings encourage us to look slowly, and discover in his paintings what he apprehended over time, the memories of each object, the peripheral visions of things, people and light. His process will be our inspiration.$125
with docent Roberta Shea
Enjoy a one-hour tour of The Beyond to discover the lasting impact and legacy of O’Keeffe’s work as a touchstone for artists working today, showing the continuing connections between our collective history and our present. This will take place at The New Britain Museum of American Art, 56 Lexington Street, New Britain, CT 06052. Roberta will meet all participants at the front desk at 1pm. Reservations and payment must be made in advance.
with Thursday May 16, 2019
Explore NYC museums on your own. The bus will drop you off at the Metropolitan Museum of Art on 5th Avenue. You are on your own to discover any museum you wish. The Guggenheim Museum, NEuE Gallery,the Frick Collection are all open.
Dining options: All of the museums have cafes, a hot dog on the steps of the MET, food vendors in Central Park or any restaurant.
Departure time from Washington Art Association is 8:30am
Departure time from Bridgewater Senior Center is
Arrival at the MET approx. 11am
Return trip departure time 3:30pm
Cost $50pp for the bus. Admission to the museum is separate.
directed by Phil Grabsky and Co–Sponsored with Gunn Memorial Library
“Art is not a matter of what you see, but what you make other people see.” Edgar Degas
EXHIBITION ON SCREEN journeys from the streets of Paris to the heart of a superb exhibition at the Fitzwilliam Museum in Cambridge, whose extensive collection of Degas’ works is the most representative in Britain. With exclusive access to view rare and diverse works, this film tells a fascinating story of Degas’ pursuit for perfection through both experimentation with new techniques and lessons learnt from studying the past masters. This film reveals a more complex truth behind one of the most influential French artists of the late 19th-century and serves as an exploration of the complex workings of Degas’ artistic mind. Directed by Phil Grabsky. 1h 30 min.
GUNN MEMORIAL LIBRARY ~ www.gunnlibrary.org Free and open to the public. Registration is requested. Please contact the library directly: 860-868-7586
For more information about our classes and to register for a class, you may also telephone us at 860.868.2878 or email us at email@example.com.
Tuition must be paid in full one week prior to the first class. Students are guaranteed a place in class only after full payment is received.
Materials are extra for some classes and workshops.
Please note: Occasionally, WAA documents classes and other educational events using photography and video. This is for publicity purposes and these images may be used in our promotional and informational materials as well as on our website.
Registration for any of these events at WAA or sponsored by WAA assumes permission to collect an image of you and/or your artwork and to use those images publicly to promote WAA. You may inform us at the time of registration, or inform the photographer/videographer at the event, that you do not wish to have your image taken.