Repin Academy of Fine Arts Oil Painting Portrait Selection

Author: (Russia) Buroshin and others
Publisher:
Publish Date: 2004-07-01
Features: Learning to draw, whether entering a professional art school or self-studying, generally follows two approaches: one is life drawing, and the other is copying. Since art schools are equipped with facilities, have standardized teaching curricula, and offer teacher guidance, they place greater emphasis on life drawing. Starting from basic courses, students progress systematically and gradually delve deeper, from initially grasping () to skillfully applying (). Classroom life drawing is often employed, but copying courses are also indispensable during the learning process, as mastering basic () is essential before engaging in life drawing. Life drawing fundamentally differs from photography—it is the product of an objective object observed through human vision, thought, and the adoption of corresponding (), involving an interactive process of eye, brain, and hand. Copying, on the other hand, is the best method for learning how to represent objective objects. Self-study, lacking the conditions of art schools for life drawing, relies more heavily on extensive copying to acquire technical skills, whether learning Western or Chinese painting. Copying is the best way to learn traditional techniques and absorb the successful experiences of predecessors. Through copying, one can more conveniently learn methods and techniques for representing objects, avoiding the need to start from scratch and thus minimizing detours, ultimately achieving the goal of mastering traditional techniques. The renowned painter Zhang Daqian strongly emphasized the importance of copying, saying, "Painting must begin with copying—it is like reading. Copying is like studying the 'Three-Character Classic.' Without prior reading, whether writing classical Chinese or vernacular Chinese, one cannot write at all. Only with a solid foundation in copying can one talk about creation." He compared copying to running a business with a capital, warning his students that a business without capital cannot succeed. Many Western painting masters in the world have dedicated effort to copying the works of their predecessors, and the principle is the same as in learning Chinese painting. I remember when I attended an art academy, the classroom would always display works and sketches by famous painters. Students continuously observed and analyzed these works, adjusting their own methods of representation. After class, they copied these works to consolidate their knowledge, gaining immense benefits in the process.
This book compiles famous artworks and outstanding sketches from higher art academies and renowned museums around the world over the past two decades, organized by excellent painters. Adhering to the principles of careful selection and high-quality printing, and striving for affordable pricing, this series of books aims to provide supplementary reading materials for higher art education institutions and self-taught art enthusiasts, contributing to the improvement of national higher art education standards.