As a young child, I could not be stopped from drawing with anything, on anything, all of the time. Nothing has changed that.
As all portrait artists know, there is something solemnly ceremonious about the full-profile position. We do not make eye contact—that being somehow beneath the authority of the subject—just as the set mouth seems to be not just momentarily, but eternally, silent.
As Lucia Fairchild sat drawing in class, she must have been flush with the good fortune of her talent, her friendship with John Singer Sargent, and all the promise her future held.
George B. Bridgman was the preeminent instructor of figure drawing in this country during the first half of the twentieth century and is credited with having taught close to 70,000 students, from illustrators to the avant-garde. What makes his lessons so enduring?
Notable work from students in the classes of Costa Vavagiakis, Robin Smith, Jeff Buckland, Jerry Weiss, Paul Oestreicher & Christopher Raccioppi, and Gregg Kreutz.
Notable work from students in the classes of Dan Gheno, John Varriano, Cliff Dufton, and Hak Sul Lee.
Notable work from students in the classes of Max Ginsburg, Frank Porcu, Amy Weiskopf, and Michele Liebler.
Notable work from students in the classes of Frederick Brosen, Natsuki Takauji, Anne Stanner, and Dana Parlier.
Notable work from students in the classes of Elizabeth Allison, Leonid Lerman, Jon deMartin, Mary Beth McKenzie, and Steven Walker.
Notable work from students on the classes of Anthony Antonios, Ellen Eagle, Sigmund Abeles, Peter Golfinopoulos and Donna Mitchell, and Eric March.