Not Your Usual Old Masters
A quick flip through shows this pattern continued through the book: fine reproductions of old masters, useful and often highly accomplished examples by contemporary artists, and then a stunner of a piece that makes you sigh with delight. Once you get over the feeling that you perhaps ought not ever pick up a pencil again, you'll want to grab your sketchbook and get to work. Or possibly get on the next plane to the nearest Atelier.Aristides' own portraits are impressive. Drawn in classic 'Trois Crayons' technique, they are clearly reminiscent of the great 19th century portraitists, but at the same time the style and attitude of her sitters are utterly contemporary. Another variation of classic-meets-modern is apparent in a small sketch by contributor Mark Kang-O'Higgens, which incorporates energetic working marks to break up the surface. Bo Bartlett's austere self-portrait evoke Redon in a painterly mood, while Steven Assael's minimal "Ulysses" reminds me of Redon at his most ethereal.
Exploring History and Ideas
'Classical Drawing Atelier' is not a 'how to' book. As the dustcover blurb states, it is a "tour of an atelier education". The opening chapter looks briefly at the historical context of the art studio, beginning with the workshop and Artist's studio, through the Academy to the contemporary Atelier. Aristides gives only the most cursory of overviews. While this material won't be anything new to the aficionado classical technique,it might be a useful precis for those who need to explain their intentions to prospective sponsors. Then there is the obligatory chapter on Classical proportion and the Golden Ratio.Aristides then looks closely at the role of line, value and form in the classical drawing. This is where we get into the guts of the book. Some readers may find this frustrating, as she generally talks about a subject rather than explaining how to do it, this is particularly the case with sight-sizing. However, in the process, Juliette Aristides explores many useful ideas, such as the use of tonal value 'palettes' in classical atelier drawing, just as you might select a color palette. More important is the understanding that isn't just the manual techniques that make classical art different. Rather it is the aesthetic, and attitude that inform those techniques, and here Aristides excels.
Hands On
The 'hands on' section of the book is disappointingly brief, with the tutorials broken into just a few steps. More advanced artists will probably find this sufficient, but beginners may find themselves somewhat adrift. Details demonstrating layering of shading and contouring would be helpful, and an illustrated demonstration of sight-sizing would, I'd have thought, been essential in a book on 'old master' drawing techniques. I'm reluctant to be too critical here, as I know how difficult it is to break drawing down into neat 'chunks', and space and publication requirements impose their own limitations on the author. The lessons in this practical section are really a 'taster', just to whet your appetite for the disciplines of the classical drawing atelier.The Bottom Line
Overall, 'Classical Drawing Atelier' is an interesting and well-written text that explores the Atelier tradition, and the ideas that are pivotal to classical drawing technique. It is worth buying for the illustrations alone (I say that in all seriousness: the reproductions are of good quality, and the artwork is superb). It isn't a 'stand alone' instructional text, though - 'Classical Drawing Atelier' will give you plenty to think about, but if you want to learn 'old master' drawing on your own, you'll still want to get a practical text like Gerald Ackerman's 'Charles Bargue - Drawing Course'.
