|Toroazul Painting and Fine Arts
about the artist
black & white
course in theory, design, and graphics, where they
learn the essentials of the discipline in a
hands-on studio setting, including sketching
field-trips and a design charrette.
This year, SOA Professor Carmen Guerrero
coordinated EXPLORATIONS 2005 and invited
The power of drawing and painting as a tool of understanding and asking
questions also became clear to the class when we directed our attention to one of
the most intriguing artworks in the university's Lowe Art Museum. Only this
time, the class was not only looking at lines, volumes, and color --- they were
including the narrative subject that inspired this unique mural on canvas.
Jason, the mural's Greek hero,
was familiar to the class from
his part in the voyage of the
Golden Fleece, but Allston's
mural shows him the moment he
arrives in his hometown, from
which he had been cast out
(much like Moses , Hamlet, and
of a stranger wearing only one
remarkable to see the students in
characters in the large clusters
form of the mural before drawin
relationship to each other .
Knowing the myth, they could
figure between the two rearing
see the sort of living geometry
on the bottom right -- forming
pediment against the sky.
Almost miraculously, before rolli
Rome to America, Allston drew
Jason's famous sandal. Seeing
charcoal line, the students
the immense power of a LINE.
|After "Jason Returning to Demand
His Father's Kingdom"
19 " x 25 "
original pastel study by J. G. Peralta
|Jason Returning to Demand His Father's Kingdom,
Washington Allston (U.S., 1779-1843)
16.8 ' x 24 '
oil, chalk on canvas
(CLICK here) Lowe Art Museum, University of Miami
|" I l Redentore"
Painting exercise for Explorations 2005
14 " x 18 "
oil on canvas panel
by his uncle Pelias when Jason was still a baby
Oedipus). An oracle had warned Pelias to beware
sandal who would try to overthrow him. It
was EXPLORATIONS 2005 first look for the
of undefined figures (above) -- to analyze the entire
g in charcoal its main components in right
look for Jason and for "mean" uncle Pelias (he's the
blue horses in the center of the work). And they could
of Jason, Pelias, and the woman with the baby seated
a TRIANGLE, much like the shape of the temple
ng up his unfinished mural for posterity and fleeing
into the work the single charcoal line that indicated
Jason's sandal, indicated by an almost imperceptible
realized what any good architect or artist knows :
the 16th century church of Il Redentore, designed by Andrea Palladio,
to see the relationship of drawing to architecture by analyzing the
Venetian church's plans, elevations, and sections.
Simultaneously, we introduced the students to oil painting and
showed them how to use traditional glazing techniques to create their
own individual "reading" of the church's façade. Oil glazing is ideal
for this exercise, since it can be used to describe spatial relationships
and other aspects of the church which the class first studied
analytically by looking at the plans, section, and elevation. Below are
several examples of the students' work -- as they analyzed features
like symmetry, diagonals, other geometries embedded in he Palladian
to co-teach the graphics component with her.
The final week of this intensive course, our class studied
The mural was begun but never
finished by Washington Allston,
an American artist living in Rome
shortly after the French
Revolution. Since its three main
levels of execution are distinctly
visible -- under-painting, charcoal
line drawing, and finished oil
glazes -- the mural is very much
like the "section cut" of an
architectural space or building, and
it thus becomes a wonderful
teaching tool for more than only
the painting process.
Every summer, the University of Miami's
School of Architecture offers students of
high-school age who are considering an
architecture career a three-week intensive