Experiencing the Renaissance Workshop

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Enrol now for a new course at the British Institute of Florence

10–14 September 2012

 A week-long practical art and art historical course exploring the major Renaissance drawing and painting techniques using authentic materials and methods taken from 14th-century art treatises. Through on-site lectures and hands-on experimentation with various drawing tools such as silverpoint and pen and ink, and painting techniques such as fresco and egg tempera, participants will gain a unique insight into the traditional materials and methods of Renaissance art. No artistic ability is required for this course.

The instructor is Dr Alan Pascuzzi, Italian-American artist and art historian, a long-time resident of Florence where some of his works – both painting and sculpture – are on permanent display. He is also a specialist in Renaissance techniques, which he teaches both at the BIF and at the New York University Florence campus at Villa La Pietra.

Enrolling now: €470

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Telephone: +39 055267781

Monday 10 September 10.00 –11.30 a.m. Renaissance Drawing

Lecture

The drafting materials and techniques of the Renaissance masters: charcoal, silverpoint, pen and ink, black and red chalk

Beginning with an overview of the concept of drawing in primary sources such as Cennino Cennini’s treatise, The Craftsman’s Handbook, Leon Battista Alberti’s On Painting, and Giorgio Vasari’s On Technique, this lecture will then explore the fundamental importance of drawing in the production of Renaissance art. All aspects of drafting will be covered such as the use of drawing in workshop training, drawing practices of the masters and a complete description of all materials used in producing drawings.

 2.30 –4.30 p.m. Workshop

Hands-on workshop on Renaissance drawing materials and techniques: silverpoint

Following Cennino Cennini’s description of silverpoint drawing, students will make their own silverpoint stylus for drawing, prepare their own paper with banc’ossa ­– crushed bird bone – and, using their own stylus and paper, execute a small copy of a Renaissance silverpoint drawing.

Tuesday 6 September 10.00 –11.30 a.m. Forgery

Lecture

Forgeries in Renaissance art: A history of forgery from antiquity to the Renaissance

An amusing and interesting look at the techniques of forging art from antiquity to the Renaissance. After defining what forgery is, the lecture traces the practice of forgery from Greek coins, Roman copies of Hellenistic originals, Mediaeval fakes and relics, and then looks at cases of forgers and forgery in the Renaissance, which include such names as Michelangelo and Andrea del Sarto. The lecture will also cover the basic methods and techniques used to create fake but ‘authentic-looking’ paintings, sculptures and drawings.

2.30 –4.30 p.m.Workshop

Techniques in making forgeries in drawing and painting

A unique workshop dealing with the materials and techniques in forging works of art. Using the methods described in Eric Hebborn’s book, The Art Forger’s Manual, students will use various methods to produce small forgeries in painting and drawing. Using unusual materials such as coffee or even tea and carefully composing an ‘authentic-looking’ fake, students will gain rare insight into the world of making forgeries.

Wednesday 7 September 10.00 –11.30 a.m. Fresco– Tour

A short history of Renaissance frescoes in the church of Santa Maria Novella: Orcagna, Bonaiuti, Masaccio and Ghirlandaio

A lecture on all aspects of fresco making in the Renaissance. Beginning with a definition of fresco and secco painting, the lecture then explores the chemical nature of fresco and the materials used in making them. In addition to the technical aspect of fresco,  fresco painting from the early 1300s to the 1500s will be explored by looking at some of the major fresco cycles in Santa Maria Novella, concentrating on the works of Orcagna, Bonaiuti, Masaccio and Ghirlandaio.

2.30 –4.30 p.m. Workshop A workshop in fresco painting

Using the same materials and methods as the Renaissance masters, students will make a copy of a portion of a fresco by Masaccio. Beginning with making a cartoon for transfer, students will then learn to make and apply the arriccio and intonaco mortars, mix natural earth pigments and finally paint using natural animal hair brushes.

Thursday 8 September, 10.00 ­–11.30 a.m. Egg tempera

Tour

The technique of egg tempera: visit to the Accademia to see 13th- and 14th-century egg tempera paintings

An in-depth study of egg tempera painting through examining the 13th- and 14th-century egg tempera paintings in the upper floor of the Accademia. By closely examining the brush strokes, colour schemes and use of gold leaf in these Early Renaissance works, all aspects of preparation of panels, painting techniques and methods of gilding will be explored.

Friday 9 September 10.00 –12.00 a.m. and 2.00 –4.00 p.m. Egg Tempera

Workshop Egg tempera painting with gold leafing

Through making a copy of a Masaccio painting in egg tempera, students will gain a unique insight into working with egg tempera. They will first transfer the image to the panel, then apply gold leaf to the background, prepare the egg emulsion by extracting the yellow, mix colours according to Cennini’s treatise and paint the copy using the methods of the Early Renaissance masters.

The British Institute of Florence
Palazzo Lanfredini
Lungarno Guicciardini
950124 Firenze