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Portrait of legendary Byron Janis, American classical pianist, by portrait artist Igor Babailov. Officialy unveiled in New York City. Steinway Hall, attendees included Maria Cooper Janis, Dr. James Watson and many other distinguished guests. Igor V. Babailov, Hon.RAA, KStA Recent Celebrity Portraits Byron Janis American Classical Pianist Byron Janis (oil on canvas, 36" x 36") by Igor V. Babailov Collection: Yale School of Music,. New Haven, Connecticut Sketching Byron Janis in preparation for his portrait painting in oil. Sketching Byron Janis in preparation for his portrait painting in oil. Byron Janis, playing for the guests at Steinway Hall Igor Babailov, unveiling the portrait Byron Janis's portrait was unveiled by the Artist and George Borey, Chopin's great-great-grandnephew Byron Janis's portrait was unveiled by Igor Babailov and George Borey, Chopin's great-great-grandnephew, at Steinway Hall in New York City Unveiling of Byron Janis's portrait at Steinway Hall Unveiling of Byron Janis's portrait at Steinway Hall George Borey, great-great-grandnephew of Frederic Chopin Byron Janis and Maria Cooper Janis Official portrait unveiling by Igor Babailov at Steinway Hall, New York City Portrait of pianist Byron Janis - Official portrait unveiling by Igor Babailov at Steinway Hall, New York City At Steinway Hall Maria Cooper Janis, daughter of movie star Gary Cooper, and American actress Patricia Neal Maria Cooper Janis, daughter of the American film star Gary Cooper, and American actress Patricia Neal With the Nobel Prize Laureate Dr. James Watson, discoverer of the DNA Molecule With the Nobel Prize Laureate Dr. James Watson, discoverer of the DNA Molecule Byron Janis with his legacy portrait, by Igor Babailov OTHER CELEBRITY PORTRAITS by Igor Babailov

Family Portraits of WOMEN by Igor Babailov. Full-length portrait of Ann Lemire, oil on canvas. Igor V. Babailov, Hon.RAA, KStA Family Portraits Ann Lemire Oil on Canvas, 54" x 48" To commission a custom portrait by Mr. Babailov and/or for any questions feel free to CONTACT us. PORTRA ITS of WOMEN by Igor Babailov

Portrait of Regis Philbin, TV personality, host of Live with Regis and Kelly show, Who Wants to be a Millionaire, etc. Commissioned portraits by portrait artist Igor Babailov, unveiled in New York City. Igor V. Babailov, Hon.RAA, KStA Recent Celebrity Portraits Regis Philbin American TV personality, Host of Live with Regis and Kelly show, Who Wants to be a Millionaire and others. Regis Philbin (oil on canvas, 30" x 30") by Igor Babailov Collection: Mr. and Mrs. Regis Philbin At the Unveiling of the Portrait from left to right: Mr.& Mrs. Igor Babailov, Dr. Salvatore Ferrera, Mr. Tommy Lasorda, Mr. Regis Philbin, Dr. Rock Positano Official portrait unveiling, New York City VIDEO of Regis Philbin, unveiling his portrait in front of the millions of viewers on his Regis & Kelly Show OTHER CELEBRITY PORTRAITS by Igor Babailov

Portrait of Billy G. Hudson, world-renowned scientist from Vanderbilt University and co-founder of the Aspirnaut program, by Igor Babailov Igor V. Babailov, Hon.RAA, KStA Billy G. Hudson, Ph.D Internationally known scientist, Elliott V. Newman Professor of Medicine, Director of the Center for Matrix Biology at Vanderbilt University, Co-Founder of the Aspirnaut™ Program. The Aspirnaut Story Portrait of Billy G. Hudson (oil on canvas, 43" x 47") Life Portrait Study (oil on canvas, 24" x 20") OTHER PORTRAITS of MEN by Igor Babailov

Motivational speaker, Igor Babailov, Hon.RAA is represented by one of the nation's leading Speaking Agencies, All American Speakers. Book Igor Babailov's exciting presentation "Greatest Portrait Moments" for your upcoming events. Speaker UP Igor V. Babailov, Hon.RAA, KStA All American Speakers Agency Motivational speaker, Igor V. Babailov, Hon.RAA, KStA, MFA(PhD), D.Litt (Hon.Causa), is represented by one of the nation's leading Speaking Agencies, All American Speakers. Babailov’s lecture presentations “Greatest Portrait Moments” with live drawing demonstrations, as well as his unique lectures on innovation and creativity and how to unleash the DaVinci genius within us, inspire students, business leaders and audiences in every field around the world. Book Igor Babailov's exciting presentations for your upcoming events here. Past Babailov presentations were held at : Mount Vernon Presidential Library, Hotel Waldorf Astoria in New York, numerous Universities, Private Clubs and other event venues across the U.S. and internationally.

When the portrait sitting takes place in New York City, Igor Babailov greets his portrait clients at his prestigious historic National Arts Club. Founded in 1898, its members included three U.S. Presidents, writer Mark Twain, artists Cecilia Beaux, William Merritt Chase and many other luminaries. Igor V. Babailov, Hon.RAA, KStA The National Arts Club New York City When the portrait sitting takes place in New York City, Mr. Babailov greets his portrait clients at his prestigious p rivate and historic National Arts Club. Since its founding in 1898, the club's distinguished members included three U.S. Presidents, writer Mark Twain, artists Cecilia Beaux, William Merritt Chase and many other luminaries. National Arts Club ceiling National Arts Club - bar National Arts Club staircase National Arts Club rooms National Arts Club rooms National Arts Club rooms National Arts Club dining room Private Gramercy Park - National Arts Club Gramercy Park - Private Gate 1/1 U.S. Supreme Court Justice, Samuel A. Alito Portrait sitting in preparation for the official U.S. Supreme Court portrait National Arts Club, NYC Igor Babailov, Hon.RAA is one of the very few artists today whose Portrait Painting Procedure resembles precisely those of the Great Masters of Portraiture, such as Ilya Repin and John Singer Sargent , as it includes preliminary DRAWING STUDIES FROM LIFE. This is the vital step in preparation for portrait painting and Mr. Babailov's unsurpassed 16-year academic art education enables him to skillfully DRAW his subjects entirely from life, which today is a fundamental challenge for many painters. Please see Portrait Procedure . At the same time, clients have the opportunity to see the artist in 'action' and his skill in capturing a full of character life-likeness, within a brief period of time and right on the spot. New York City select portrait news and unveilings At Times Square Igor Babailov on the Billboard at Times Square, New York City Actor James Gandolfini portrait unveiling The "Sopranos" TV series and other films. Official portrait unveiling, New York City Gen. David Petraeus Official portrait unveiling, New York City Justice Joseph P. Sullivan and Roy Reardon Justice Joseph P. Sullivan, the longest serving judge in New York. Portrait by Igor Babailov, official unveiling, New York City HRH Prince Andrew Official portrait unveiling, New York City, Collection: Buckingham Palace, London Rudy Giuliani Official portrait unveiling in New York City Reggie Jackson "Mr.October" American baseball star, portrait by Igor Babailov, official unveiling, New York City Cramer Rosenthal McGlynn, Investment Firm, New York City Bob Costas Sportscaster, Emmy Awards winner, portrait unveiling, New York City Actor Tony Lo Bianco Official portrait unveiling, New York City Pianist Byron Janis Official portrait unveiling. Igor Babailov with Byron Janis and Dr. James Watson (DNA discoverer), New York City Frank Military Music Publisher to Frank Sinatra and numerous other stellar personalities in American music Regis Philbin TV personality, creator of the show "Who Wants to be a Millionaire", portrait by Igor Babailov, official unveiling, New York City Isadore Sharp Four Seasons Hotels founder, with his grand full-length portrait by Igor Babailov Tiki Barber American Football star, portrait by Igor Babailov, official unveiling, New York City Boomer Esiason American Football star, official portrait unveiling in New York City Bill Gallo Legendary Sports Cartoonist - New York Daily News, portrait presentation, New York City Vincent Pitta New York City attorney, portrait unveiling. Bucky Dent American baseball star, official portrait unveiling, Yankee Stadium, NYC NYC portrait unveiling Babailov portrait unveiling at Waldorf Astoria, New York City New York Daily News writes about Igor Babailov's Vatican portrait of Pope Benedict XVI The Mid-South Studio PORTRAIT PROCEDURE The Master Approach What You Need To Know When Commissioning A Portrait Painting CONTACT US

New portrait of George Washington, created by portrait artist Igor Babailov, based on Washington's recognized most accurate likeness, Collection: Mount Vernon Museum Igor V. Babailov, Hon.RAA, KStA Recent Official Portraits George Washington First President of the United States of America New Portrait Collection: George Washington's Mount Vernon Museum Inducted on the Independence Day, July 4th, 2009 "My Beloved Country!" ~ George Washington (28" x 22", Oil on Canvas) Original Portrait Concept & Composition by Igor V. Babailov "We will take great pride in displaying your work for generations to come!" ~ James C. Rees Executive Director, George Washington's Mount Vernon Estate and Museum, Mount Vernon, Virginia Igor Babailov used his mastery and professional expertise to transform this sculpted and most accurate likeness of George Washington into a realistic portrait painting. This NEW Portrait of George Washington was created by Igor Babailov, following his extensive historical research on the true likeness of George Washington. Consequently, this portrait painting was inspired by and based on Washington's likeness captured by the great French sculptor, Jean-Antoine Houdon (1741-1828) in George Washington's official statue, located at the State Capitol in Richmond, Virginia. Babailov's research also included Houdon's preliminary sculpture studies, such as Washington's bust and life mask which the sculptor did from life at Mount Vernon in 1785. When George Washington saw the sculpture, he said, "It is right that people in later generations could see my exact likeness," his friend Gen. Lafayette exclaimed, "That is the man himself!" and even Washington's portrait painter, Gilbert Stuart , agreed, "Houdon's bust comes first, and my head of him [Athenaeum portrait] next." Today, Houdon's sculpture is recognized by historians, as the most accurate likeness ever created of the First President. At work on the portrait of George Washington George Washington's Mount Vernon Museum Official induction of the Portrait into George Washington's Mount Vernon Museum July 4, 2009 Mount Vernon Lunch and Fellowship with Igor V. Babailov George Washington's Mount Vernon Presidential Award Coin Portrait of George Washington by Igor Babailov. Collection: Mount Vernon. Presented on behalf of George Washington by Douglas Bradburn, the President of Mount Vernon. The Sons of the American Revolution Official Collection: George Washington's Mount Vernon Museum OTHER OFFICIAL PORTRAITS by Igor Babailov

Portrait of Margaret Leo of McLean, by portrait artist Igor Babailov, Collection: Catholic Information Center, Washington, DC Igor V. Babailov, Hon.RAA, KStA Margaret Leo of McLean Margaret Leo of McLean (oil on canvas, 30" x 24") Collection: Catholic Information Center, Washington, DC Portrait Unveiling with the Leo family at the Catholic Information Center, Washington, DC

Portrait Master, Igor Babailov, reveals What You Need To Know When Commissioning a Portrait Painting - SEVEN Essentials to Commissioning a Portrait Painting. What You Need To Know When Commissioning a Portrait Painting by Igor V. Babailov, Hon.RAA, MFA( PhD), KStA, D.Litt.(Hon.Causa) A NOTE for Portrait Clients and their Interior Designers Traditionally and historically, a great portrait painting stands on its own - it is not a decorative item that fits a particular interior style, or caters to a color trend / fashion of a moment in time, because the great portrait painting is timeless and it passes onto children and their children and onto future generations in the family. The great portrait painting also stands far beyond photography, because it is NOT a copy of a split second photographic moment of a physical appearance, but it captures the inner world of the person. Unlike photographs which visibly fade and deteriorate in just a couple of decades, it takes 450 years for oil paint to dry completely, making a portrait painting truly a Legacy portrait that lasts forever. here are two key questions everyone would ask when searching for a portrait artist: Who that artist would be? and How much would it cost? T Naturally, commissioning a portrait painting would be something we wouldn't consider to do often, and perhaps once in a lifetime. Therefore, making the right decision today will be what we and our future generations will treasure and live with tomorrow. Please allow me to share with you my professional knowledge and expertise based on the philosophy and professional approach of the Masters of Portraiture, such as Ilya Repin , John Singer Sargent and Valentin Serov , as well as my own highest Academic art education and life-time experience in portraiture; particularly in painting portraits for commission. by Ilya Repin About Portraiture and Higher Standards Artists have painted portraits for centuries, often for commission, and often not. Regardless of how they were done, the artist’s skill would have been looked at first. As the most perfect creation, the Human Form was the main focus of studies at the old Academies. It has been known throughout generations of artists that, “if you knew how to draw the human form, particularly the human portrait, you could draw anything.” All academic studies were based on working with life-models, and the artists drew and painted only from life or from their imagination. Even when photography was already invented, the Artists still learned the Anatomy and the laws of Perspective. They exercised their Visual memory and applied their skills of working from life to create life-like convincing multi-figurative compositions and group portraits. In the past several decades, with the boom of commercialism and drastic changes in Art education, when Drawing and Human Anatomy were completely erased from the curriculum of Fine Art programs, portraiture became something of a commercial venture, and quite often today it is nothing more, but a copy of a photograph, which does not require the Master knowledge, Creativity, Imagination or any in-depth Academic training. Although in the history of art, portraiture has always been recognized by Master painters as the MOST challenging genre in visual arts, today there are more artists call themselves 'portrait painters', than ever before... That is, because many of them simply copy photos without having to test their skills to the challenge of working from life. It would be interesting to imagine just how many of these artists would continue to paint portraits if the camera and photography would not be available to them. Consider this. When we were school children in kindergarten, we copied images from books, comics strips, etc. It really did not require much skill at all to copy a ready made image or a photograph. But in the context of painting portraits professionally in the tradition of the Masters, high artistic skills and ability to realistically create (not just to copy pictures)must be the uncompromising criteria for every "professional" portrait painter! Fortunately, the values of traditional art education are eternal. Currently, the art world experiences an important transition and the notable art academies have already started the reconstruction of their academic curriculum to teach those traditional values to their students again. However, the consequences of promoting art, which doesn’t require a skill of drawing or anatomical knowledge, are still present, and sadly even in portraiture. Therefore, when selecting an artist, consider every aspect including the portrait process. You will be quite surprised to learn just how many artists today cannot draw with a free hand and trained eye, but simply copy/ grid a photograph (do not confuse it with the Masters' method of transferring their own preliminary drawings onto large canvases and murals). Some of today's artists even use projectors, projecting photos on canvas and tracing them. How about painting over the photographs? Believe it or not, that happens too…. by John Singer Sargent The Seven Essentials #1. Realism vs Photo-Realism ( know the difference ) These days even artists are often confused about Realism versus Photo-Realism, what is what? It’s really not that complicated. Photo-Realism is the copying of a photograph. And what is a photograph? A photographic image is only a second of a life time: “Say cheese.. and you’ll freeze.” So, it may capture the moment, but it may not capture the person. Very often we hear: “I don’t like to be photographed!” or “I’m not very photogenic!”... Of course, YOU ARE. That is what the camera, the heartless tool, does – it takes everything, what is necessary and what is not. This is where the difference between the camera and the artist comes in to play, because the ARTIST CAN SELECT. Realism goes f ar beyond photography. Through the harmony of tonal and color values it portrays the subject in the appropriate setting, where everything contributes to the individuality and character of the person, and nothing competes with it or detracts from it. The details on the Realistic portrait are not photographically copied, but portrayed selectively, providing the life-like and convincing image of the person. Of course, to be able to do so, the artist must possess a certain skill, which can only be acquired by the knowledge and the expertise of working from life. Because of the popularity of photography and having no other comparison, the innocent viewer can comment about the strong realistic painting: “It is as good as a photograph!" It has been noticed that such a comment never occurs, if the person actually sits for the portrait, participates and experiences the whole portrait process, and realizes that there was no photography involved and the outstanding realistic likeness can be achieved directly from life with a free hand. That is exactly, what in the old days made people appreciate artists. The artist was recognized as somebody who could do something what nobody else could do! Of course today, the vision and meaning of art have changed, but the necessity of the skill required to create portraits in the best traditions of Classical Realism, remains constant and obvious. Leah (oil) by Igor Babailov #2. The Ability to Draw from Life This is where the true artistic skill is revealed! Again, these days you may hear from some artists: “I paint, but I would rather not draw.” .. Why?.. Because any weakness the artist may have in portraying proportions or tonal values or in the anatomy details, can easily be exposed in black & white drawing. In painting however, they may get away with those mistakes, as the color or "painterly" brush strokes can distract the viewer's eye from those mistakes. As an excuse not to draw in front of a client, such artists may even try to undermine the importance of drawing, saying that to draw would be a low thing to do for their "professional level". This is total nonsense! The curriculum of any true Academic school in all times was always based on perfecting the skill of drawing, as a fundamental for strong painting. That would remain to be the goal of any Master painter throughout their professional career. The famous 17th Century Nicolas Poussin said: “Drawing is the skeleton of painting, the color is its flesh.” The most contemporary American artist Norman Rockwell stated: "You build the house before you paint it." If you can draw, you will always be able to paint. It has been recognized by generations of artists, that Drawing is the core of the artists' strength, especially in portraiture. As part of the teachings of the Masters, the ability to draw and paint from LIFE is and will always be a sign of the true fundamental skill of an artist. However, the popularity of photography has created, if you will, “photocopy artists”, who would only copy photographs which is a very basic level of artistry to begin with. These artists present such copies of photographs as if they were Fine Art portraits, when in fact, they are only representative of a split second in a person's lifetime. PLEASE NOTE: Portrait study with Gen. David Petraeus, US Military Commander and CIA Director If photographs are used in painting a portrait, it would certainly be to your advantage to find out whether or not the artist has a greater skill than just copying photos. The skill in question is the ability to work from life, which enables the artist to portray the likeness with the most natural and life-like appearance, truly immortalizing the person and creating the portrait, which goes far beyond its photographic references. To ascertain the presence of this vital skill for a successful portrait painting, you might wish to consider the following: a simple DRAWING TEST. DRAWING TEST: Ask the artist to draw a black & white sketch of you, your child or whomever the portrait subject is - on the spot, and of course from life. That could be done simply on white paper with a graphite pencil right in front of you. Do not worry, it won't take long. The experienced and skilled Artist should be able to complete a life-like and a full of character sketch within 30 minutes. Remember, just like all the Masters of the past, the pro will always be proud to demonstrate their skill in drawing from life without any hesitation. The 20th century master portrait artist Pietro Annigon i once said: "If one can draw, one can always paint". #3. Experience Another way to be assured of the artist’s qualifications and the artistic credentials is to see more samples of their work, than only those shown in the artist’s portfolio. That could also prevent you from any surprises and an Oops! situation later on. As a preliminary portrait stage and part of the artist's portrait procedure, there maybe a life-study involved. Whether it is drawing or painting, skilled artists usually deliver a faster result without jeopardizing quality, simply because they do not waste their time on fixing mistakes. Below is an approximate time which experienced and skilled Fine Artists will require to complete portrait studies entirely from life in different mediums, relatively fast, yet full of likeness and fine details. DETAILED portrait studies from life by an experienced artist Medium Time required Graphite Pencil Sketch (14"x11") - up to 30 min. Pastel Portrait Study (20"x16") - approx. 1.5 - 2 hrs. Oil Portrait Study (20"x16") - approx. 2.5 hrs. OIL GRAPHITE PASTEL: #4. Academic Education It is as important and fundamental in Realistic art as the alphabet is to learn a language! Figure Drawings from Life Life Models Master Copies in museums As I mentioned earlier, in the past several decades (since about 1960-s) classical art education was basically ignored in many art schools. As a result, after completing art programs, graduates could not really draw, because the in-depth Renaissance teaching methods were not taught. This is why, university art degrees, along with their titles, presented in the artists's portfolios since that time, were often not considered by others to be an important criteria of the artists' credentials. Expertise in Human Anatomy Fortunately a handful of accredited schools remained, providing high quality art education and focusing not only on teaching how to "express emotions", but on giving students the vital Drawing skills. Because of this and due to the Realist Movement and the current return to traditional values in visual art, historical appreciation for Fine Art Degrees is finally coming back.. A standard university art degree, offered by fine art education in 'studio arts', is BFA (Bachelor of Fine Arts). The HIGHEST DEGREE one can earn in visual art education is the MFA degree, Master of Fine Arts, equivalent to the Ph.D. and E.D. in other fields, please read here . ALL the greatest Masters of all times regarded the Traditional Academic training as indispensable in the development of highest artistic and professional skills - the higher the TRADITIONAL ACADEMIC education, the higher the competence, credentials and credibility of the artist. A few examples of the academic works by Igor Babailov, when he was an art student Throughout the centuries, the artists' main goal was to study in the highly acclaimed accredited traditional Academies of Art, or at least under the Master(s), who graduated from such Academies.That was to obtain the highest possible knowledge of Human Anatomy, Perspective, Master Methods of Drawing and Painting from life. Only after successfully completing these studies, could they pursue a professional career in figurative art including, of course, Portraiture. In proper traditional art education, copying of photographs was never acceptable and always considered cheating. Nowdays, due to the lower standards, if the above educational credentials are missing, they are usually replaced by copying / tracing photographs and pandering to the public with superficial tricks. Portrait Drawings from Life #5. Budget and Investment Price comparison is naturally a priority consideration, but make sure that you compare 'apples to apples' ! Since having a portrait painted is usually a once in a lifetime experience, every credential should be considered, including the artist's ability to work from life. If you're thinking to hire an artist to copy a ready-made image of a photograph, you may as well just enlarge that photo and save yourself a lot of money... However, remember: photographs don't last, as they start fading immediately after they are taken..... If you are thinking of a true luxurious Fine Art Portrait in the tradition of the Masters, to pass it on to your descendants and future generations, look beyond the price tag, as in the long run our descendants are going to inherit what we purchased for them. So why not go for the best! Please keep in mind though, because of today's common unawareness of what the portrait painting should be, a 'photocopy artist' may ask almost as high price for a portrait as the skilled Artists would. Once again, the way to be assured in the true qualifications of 'your' artist would be by offering the DRAWING TEST (please see Essential #2). It is known that with time, the works of Fine Ar t * (please see below) increase in value, and this is naturally applied to portrait painting ** (please see below). For your information, ninety percent (90%) of the Metropolitan Museum collection are life-painted commissioned portraits. If the artists' officially commissioned portraits include those of business and political leaders and celebrities, whose names stay in history, the artists' names who officially painted them go into history with their subjects. The value of such artists’ works are guaranteed to be on the higher level at any time and in the future. #6. Painting Hands Another way to asses the quality of work you're possibly interested in, is to observe the artist’s ability to paint hands. It has been recognized by generations of artists to be even more challenging than painting the portrait itself. The Masters referred to hands as "the second portrait." Given their impeccable knowledge of Human Anatomy and not to mention that they painted only from life, the hands in their portrait paintings look life-like just as the heads do. Strikingly, many of today's artists experience difficulty with painting hands even when they are copying photographs. So once again, simply look at the larger number of the portrait samples where the hands are included and then listen to your heart. #7. Listening to your heart Regardless of your art education, or what your occupation is, and whether or not your neighbor had a portrait painted by the same artist, you will feel intuitively, if there is anything wrong with the portrait samples you are looking at. That should be the signal for you to just look more thoroughly at things, so you would avoid making a costly and irreversible mistake. Artists with the lack of proper education and experience of working from life, totally depend on the camera and copy whatever is visible on the photograph, without knowing what’s underneath. As a result, instead of creating the in-depth and full of character portrait, they draw a mask with no soul. Unlike the amateurs, the Pros, by bringing their experience of working from Life, improve on the reality of the camera, filling in the one element missing: the Soul. Photography was a great invention and today it often assists in creating commissioned portraits, both on the client side and for the artist. However, because of its general popularity, photographic image became more than a reference point and quite often even used as a subject for copying and tracing, which sadly simplifies the true essence of fine art portraiture and in reality, shallows its meaning. Just like The Masters of the past, I don't believe in "short cuts", especially in portraiture, as it is a form of art, which represents the highest form of The Creation, us. I also have a great admiration for those contemporary artists realists, who chose not a path of least resistance, but to explore and study the expertise of the traditional school, the most challenging and the only school, which teaches you to draw and empowers the artist with the skills of the Masters. If you have read up to this point, you are one of the many people interested in knowing more about the fine art of portraiture and its timeless values which will always exist, regardless of new movements in art. To Summarize, commissioning a Portrait is a huge responsibility you undertake for the generations to come. Therefore, I believe you deserve to have this necessary fundamental knowledge about: the differences between photographic images and realistic portrait paintings the skill of drawing freehand when photographs are used, developing a portrait from a number of references, vs just copying a single photo the artist's ability to work from life and the value of that experience in painting successful portraits All of these factors and information above may assist you greatly in your selection process and efforts in finding your artist, for you and the future generations to benefit. Igor V. Babailov, Honorary Academician of the Russian Academy of Arts (est.1757) painted his first portrait at the age of four and began his formal classical art education at nine (1974-1990). Having studied with leading Masters of painting and drawing at the Surikov Academy of the Russian Academy of Arts (est. 1757), he received the Master of Fine Arts Degree (MFA) and In the direct ‘teacher-student’ lineage of the Russian Academy, Babailov is a third generation student of the world-famous artists Ilya Repin and Valentin Serov. * Traditionally, "Fine Art" term is referred to the form of art, created by the artist's Talent and the human Skill. This obviously doesn't include photography, which is produced by a camera. ( I.V.B.) According to scientific research, it takes 450 years for Oil paint (Oil paintings) to dry completely, this is why today the beautiful Renaissance paintings look as 'fresh' as if they were painted yesterday. A photograph, on the other hand, starts to deteriorate IMMEDIATELY upon it is taken, and fades visibly in 30 - 50 years. ** © The essay herein is the intellectual property of Igor V. Babailov and may not be reproduced in whole or in part without written permission from Igor V. Babailov. Any attempt to plagiarize the written material of this page will violate the international community's laws and ethics. CONTACT US

Throughout his life-time career as a portrait painter, Igor Babailov has received numerous awards and honors from Governments, Royalty and his fellow professional artists in art organizations. Awards UP Igor V. Babailov, Hon.RAA, KStA AWARDS and HONORS for Artistic Achievements (Selected Awards) CLICK on the images for information to name a few. SCROLL DOWN FOR DETAILS Ellis Island Medal of Honor 2022 Officially recognized by the U.S. Senate and U.S. House of Representatives, the Ellis Island Medal of Honor ranks as one of the most prestigious awards in America. Recipients of this honor are read into the Congressional Record and include eight U.S. Presidents, several Nobel Prize Laureates, leaders in business, arts, politics, and other. CLICK on the photo George Washington George Washington's Mount Vernon Presidential Award Portrait of George Washington by Igor Babailov. Collection: Mount Vernon. Presented on behalf of George Washington by the President of Mount Vernon. Doctorate Honorary Doctorate Cumberland University 2019 Dr. Paul Stumb, President of Cumberland University ( Photo credit: Krissy Leigh Kimsal ) Igor V. Babailov awarded the distinguished academic degree Doctor of Literary Letters (Honoris Causa) by the historic Cumberland University 2019 Academician Hon. American Academician of the Russian Academy of Arts (est. 1757) "Dear Mr. Babailov, Congratulations to you on your election to the Russian Academy of Arts." ~ Dr. James H. Billington The 13th Librarian of the United States Congress "An Academician is a member of an officially constituted Academy, such as the Russian Academy of Arts (est.1757), to be elected to which is a great honor, the pinnacle of the career of a traditional artist." ~ RAA Previous recipients of this honor include designer Pierre Cardin, HRH Princess Chantal of France and American artist, Andrew Wyeth . Knighthood Chevalier of the Order of St. Anne (est.1735) Order of St. Anne, dynastic order of Knighthood, awarded to Igor Babailov by Her Imperial Highness Grand Duchess Maria Vladimirovna, Head of the Imperial House of Romanov and descendant of the Russian, European and British royalty, including Alexander II and Queen Victoria. Malta, 2017 Hereditary Nobility with the Official Coat of Arms Granted to Igor V. Babailov and his family by decree of Her Imperial Highness Grand Duchess Maria Vladimirovna, Head of the Imperial House of Romanov and descendant of the Russian, European and British royalty, including Alexander II and Queen Victoria. 4 November, 2020 Madrid, Spain Vatican Medal Official Bronze Medal of the Pontificate of His Holiness Pope St. John Paul II Vatican City Secretariat of State Vatican, 2003 Gen. Petraeus General David H. Petraeus Award "For Excellence" Presented by General David H. Petraeus, U.S. Military Commander, CIA Director, for the work on his portrait for the West Point Academy Museum. Yankee Stadium ~ Official Major League Baseball ~ Award for Portraiture Presented to Igor Babailov at Yankee Stadium, New York City Joe DiMaggio Awards, 2011 Udmurtia Honored Artist of the Udmurt Republic Presented by President of the Udmurt Republic, Ushakov A.A. Senate Award The Tennessee Senate Resolution N69 "To recognize Igor Babailov and celebrate his artistic achievements." Signed into Law by Governor Bill Haslam and presented by Senator Jack Johnson For Service to Art Order 'For Service to Art' (The Golden Star) Presented by the President of the International Academy of Culture and Art, Stronsky P.T. Hon. Academician of the International Academy of Culture and Art Official ceremony in Malta For extended list of Awards and Honors see 'About the Artist'

In this article, portrait artist Igor Babailov speaks out on the need to return to traditional academic training for visual artists.  Featured in the "International Artist" Magazine Why we must keep the traditions alive Igor Babailov speaks out on the need and the opportunities to return to traditional academic training for visual artists. by Igor Babailov Traditional academic education has become a touchy subject in the contemporary debate over what an art education should be. In the second half of the 20th century, the majority of art schools rejected the traditional approach in their programs, creating not only confusion and chaos in students' minds, but a diminished appreciation of fine art in viewers' eyes. Going back through centuries of art history, generations of artists agreed that traditional studies were a "must" for every art student, encompassing all "views" and "visions", Art, just like a house, needs a strong foundation to prevent it from falling apart in the future, and an academic education provides that foundation. But in the last few decades, human anatomy and drawing - the fundamental necessities for developing true artistic skill - have been completely erased from the pages of students' books. These subjects have been replaced by canvases covered in dribbles and splatters of paint, or by simple geometric colored shapes, and then they are told to believe that these are somehow as great as the old masters. What could possibly be more destructive to a sound art education? In the past 10 years of my teaching career, with students from around the world, I have met many "victims" of such modern-day programs whose talents were imprisoned in the bush of "free expression.." I see them seeking the guiding light of strong traditional instruction wherever it's available. Outposts of tradition Fortunately, academic training has not been completely stamped out. I received a sound traditional education when I was a student at the Surikov Academy of Fine Arts in Moscow, one of the very few old art institutions left in the world that has not been infected by the epidemic of "modernism". The Florence Academy of Art in Italy is another school of this nature, where I had the opportunity to instruct a figure painting class last summer. My good friend and a wonderful artist Allan R. Banks from Florida introduced me to this school. I was very happy to discover that the discipline of step-by-step academic curriculum is the main requirement for students of the Florence Academy. The Florence Academy of Art is a branch of the International Academy of Realist Art, and like the Surikov Academy, it is dedicated to the intensive study and teaching of the Old Masters' methods and techniques. It was founded in 1991 by Daniel Graves, who studied with Richard Lack in Minnesota and later came under the influence of Piertro Annigoni. Graves envisions the Academy as an institution with the potential to turn out a select group of highly skilled Realist painters. Here, internationally varied students can receive training from professional painters of different nationalities and educational backgrounds. The core of academic training Teaching at the Florence Academy was a great experience for me as well. Naturally, I was compairing it to the Surikov Academy, and the similarities in the educational approach were apparent. Both schools emphasize studying the human form, working from life and copying the Old Masters. Drawing and anatomy - the two most important subjects that every artist should know as well as the "two-times table" - are highlighted in both programs. In these courses, most of the hours are devoted to understanding and solving the problems of form and proportions, tonal (value) relationships and chiaroscuro. The students are also required to study composition, human anatomy, perspective and the technology of art materials - all of the ABC's for mastering an artist's skill. In drawing class, students learn the Old Masters' sight-size method of drawing: You stand in the same place in relation to the subject and to your absolutely upright easel, and draw the subject in the same size you see it. Working from a single vantage point marked on the floor, you take visual measurements by sighting along a plumb line. After this study, you step forward to work on the drawing from memory. The benefits to be gained from this exercise are enormous. It trains your visual memory, intensifies your ability to see proportions and foreshortenings, and coordinates your eye. As I always tell my students, the importance of good drawing skills cannot be overemphasized. In the words of Nicolas Poussin, "Drawing is the skeleton of what you do and color is its flash." Painting with the Masters Perhaps one of the most essential exercises in learning to paint is the copying of master works in the museums, a practice that's still maintained by both of these traditional academies. As a student at the Surikov Academy, I was fortunate to have access to such museums as the Pushkin Museum, the Russian Museum and the Hermitage. The students at the Florence Academy have similar opportunities, as the school is located in the center of the city, a short walk from the Duomo, the Accademia and the famous Uffizi Gallery. Academy students are given special permission to draw from originals at the Uffizi Gallery's Old Masters Drawing Room. Of course, copying involves more than expressing your feeling of the subject and reproducing it in your own words. To create a copy, you literally follow step by step after the master artist's procedure, getting to know his method, understanding his philosophy of the "stroke- treatment" and so on. Such practice allows you to understand how the great artists from the past translated three-dimensional form into two dimensions. The copying experience cannot be conveyed in just a few words. When your easel is only a couple of inches away from an original painting or drawing by, let's say, Rubens, it's as if you're having a dialogue with that master. This feeling is indescribable. And to have such an experience while immersed in history, surrounded by Renaissance sculptures, architecture and museum treasures - the whole atmosphere of Florence - is an incredible inspiration, generating a hunger for learning the secrets of the Old Masters. The academic experience The curriculum of the Florence Academy of Art is based on the tradition begun in Italy and developed in the academies of northern Europe, particularly in the major Realist ateliers of 19th-century Paris, best exemplified by that of Jean-Léon Gérôme. Similarly, the system of training in the Surikov Academy is based on the best traditions of Russian as well as European Realist schools, including French Academic tradition. Today's students in both the Surikov and Florence academies find themselves in the privileged situation of having models available almost all day, every day. As they work, they receive criticism that is continuous, precise, non-compromising and gauged to the individual progress. I believe that only by seeing the mistakes can you really learn. The Florence Academy of Art is continuing another tradition, in which artists are trained to master more than a single genre or medium, working in sculpture along with painting. Skill in drawing lies at the core of both these disciplines. In addition to the Drawing and Painting Program, the Florence Academy now offers two new programs of study - Sculpture and Intensive Drawing. There is hope As the spiral of modern art history continues to wind down, we can see the increasing demand for tradition in the visual arts. Although much damage to academic education has been done, there are more and more artists, organizations and schools around the world trying to bring the traditions back, to restore the values left to us by the Old Masters. Ultimately, the aim of such schools of Realist art should be to train artists who are able to draw to a very high standard; have a deep understanding and knowledge of anatomy, perspective and composition as foundations for great painting; have positive attitudes toward life and nature, and see it and express it in their works with uncompromising truth; and have a great knowledge of the Old Masters' methods and techniques, and apply them to their own works in order to preserve these methods for future generations of artists. Now, more than ever before, we Realist artists should join together in a worldwide effort to achieve these educational goals [for example, as found in the work of the American Society of Classical Realism (ASCR), The Art Renewal Center (ARC), the American Society of Portrait Artists (ASOPA) and other sound organizations, dedicated to a renewal in the visual arts]. Regardless of the geographical location and differences in "mother tongues", we have the same idols and the same principles. Our language of communication is our Art. Sharing it with each other and teaching it -- that is the key to the success and never-ending beauty and harmony of Realism. _________________________________________________________________________________________ International Artist Magazine is a Fine Art Magazine, published in Australia. This magazine has wide distribution and is read by serious and professional artists around the world. Mr. Babailov's article on Why we must keep the traditions alive is a direct result of his teaching at the Florence Academy of Fine Art, Italy. It is candid description of his personal views on Classical Realism and his experiences as a professional artist and teacher. The article has generated very positive response from its readers, worldwide. Why we must keep the traditions alive is featured on pages 18-20 of the February/March issue, 2000 of the International Artist Magazine. Igor Babailov's students, Figure Painting class Florence, Italy after K. Flavitsky's "Portrait of an Italian girl" by Igor Babailov Museum copy, Surikov Academy, 3rd year

World-renowned portrait painter and figurative artist, scholar and teacher, Igor Babailov, Hon.RAA, shares his academic expertise in traditional art education with his fellow artists and art students. Igor V. Babailov Hon.RAA, KStA, MFA(PhD), D.Litt.(Hon.Causa) Commissioned Portrait Painter Master of Fine Arts degree (MFA) - official Ph.D equivalent, College Art Association (U.S.A.) Honorary Life-Time Member of the Russian Academy of Arts (est.1757) Knighted Chevalier of the Order of Saint Anne (founded in 1735) Honorary Doctorate - Cumberland University Letter to Aspiring and Professional Artists Dear Friends, ALL of the greatest Masters in the history of art regarded formal academic training as indispensable for the development of the highest professional skills. My teaching experience is a direct result of my own years of studies (1974-1990) in the consistency of the academic discipline and established historic curriculum at one of the world's oldest and acclaimed fine art academies, the Russian Academy of Arts (est. 1757). Having started my formal art education at the age of nine, I continued to study within the academic art system for the next sixteen years and had become very familiar with countless challenges one may face in drawing, painting, composition, etc. Therefore, based on my own vast experience of being a formal student for many years, I understand and know exactly what the students need in any given situation, as well as how to successfully resolve any complicated issues they may have, right on the spot. Students posses and are enriched by the skills and knowledge that their teachers pass on to them. If their teacher had not received an extensive classical education, it is most likely that the students would then be limited to only acquire their teacher's 'style and approach', and the fruits of their labor could result in their becoming 'beggars in knights armor' so to speak, as the roots of deeper knowledge and skill, vital for the development of artistic individuality, would not be introduced. "Painterly" and "Photo-realistic" in contemporary portrait painting Have you ever had a feeling, when looking at contemporary realistic paintings, particularly portrait paintings, that they could be divided into two polarized categories: some seem 'dried out' and resemble photographs, and the others look somewhat 'incomplete' in so called 'bravura' of painterly brushstrokes? A true realistic painting in the tradition of the Masters will not look like a photo, and visible brushstrokes will not be chaotic to draw the unnecessary attention either. The brushstrokes must follow the form and correspond to the bone and muscle structure underneath the skin, to guide the viewer's eye in the right direction and in search of the subject's inner-world, instead of intentionally destructing from possible mistakes in proportions. Speaking of proportions and anatomy... the arms and hands in the portrait, especially HANDS, which were described by the Masters as "another portrait", must always be impeccably drawn in proportion to the body with the expertise of the anatomic structure, to assure their equal life-like appearance in the portrait. This is why the works of the great Masters, such as Sargent and Zorn, are strong and never cartoonish, as they have the substance of anatomic strength and uncompromising loyalty to the accuracy of drawing in every area of the painting. Today, unfortunately, the 'painterly style' is quite often used by portrait artists to camouflage any errors in anatomy and proportions; so, we should not follow blindly the praises for such a "style" without keeping in mind that the above mentioned Masters did not just paint, they "drew with brushes", as I like to say. The great Italian Master of the 20th century, Pietro Annigoni stated: "Painting does not exist without Drawing, and it is Drawing [from life] that gives the exact measure of the painter. Drawing never fails, but often the artist does." Let us remember this! Mother's Love (Oil, Grisaille manner) by Igor Babailov The Power of Proper Art Education One can compare art education to the solid foundation of a house, as once it is built properly, it will hold any shape or form you will place on it. This is why it is not sufficient to acquire just any art education, it must be rather a proper classical art education. As in parallel with painting, it also teaches you DRAWING which IS the core of any strong realistic painting. Having a broad and well-rounded academic formation, is a source ofstrength for every artist. First and foremost, it is the application of the academic principles in every subject we draw that we must learn to see. Wouldn't you like to have total confidence in yourself as an artist and to be able to draw and paint realistically entirely from life and/or from your imagination, absolutely anything and be totally comfortable without the use of the camera, when portraying any subject in any genre: portrait, landscape or multi-figurative composition? The academic method, or someone's "style"? In art education, the academic method of learning is universal and also economical. It saves you time and money in the long run and the trouble of trying to build what you need, out of bits and pieces from various workshops by different instructors who, due to the lack of their own education, teach their "approach", instead of classical foundation. Different instructors' personal approaches and their often complicated palettes, may 'clash' with each other and result in confusion and an unclear direction for students. It is like attempting to learn how to write using both hands at the same time. How far would you go? If you want to learn fast and efficiently, proper academic instruction in the principles of classical academic curriculum, should be your focus. It is accessible, straight forward and recognized for its most effective teaching of composition, perspective, foreshortenings, anatomy and tonal values. All the Masters of the past did just that. Despite their different geographic backgrounds, they all went through the same universal academic art training, as prerequisite for the development of high drawing skills, artistic individuality and, eventually, becoming the Masters. Bouguereau, Zorn, Repin are known for their very distinct individual styles, yet that was not what they learned during their academy training, not the 'styles', but the very same alphabet of the academic art language, and spoke it fluently in their own ways. Zorn Studied at the Royal Swedish Academy of Arts Bouguereau Studied at the École des Beaux-Arts, Paris Repin Studied at the Russian Imperial Academy of Arts Sharing the Historic Russian School of Traditional Art Education Since 1974 through 1990, I was very fortunate to study and receive distinguished art degrees from the Russian Academy of Arts (founded in 1757). My friend Amb. Michael Novak, Templeton Prize recipient and world-renowned American scholar, once stated: "One good thing that came out of the Iron Curtain, was the outstanding Russian art education!" When Modernism was already marching for decades throughout Western Europe and North America, the Russian School of Art was the only historic school in the world, which remained free of Modernist influence, as behind the 'iron curtain' it kept its academic roots intact and preserved the best of classical academic education. Art education is like reading the Bible, over and over again, building on what you know and always learning something new. That is why my classes are not limited to so-called 'levels' of instruction. I share with my students the IN-SIGHT of my formal art education, which covers a broad spectrum of critical issues, highly beneficial to all artists, students and professionals, who aim to improve and polish their skills in drawing and painting. Leonardo da Vinci once wrote, 'Poor is a student, who doesn’t go further than their teacher.' Just like Leonardo, I also believe that there must be no secrets whatsoever and I share with my students one hundred percent of everything I have learned during my own academic years in the classrooms and studios of the historically acclaimed Academy. For God, Gold and Glory The Arrival of Christopher Columbus and his crew in the Americas (oil on canvas, 72" x 79") by Igor Babailov Master Workshops' Agenda My workshops contain two important parts: The Instructor's Demo and The Students' Practice after observing the demo. In Visual Art we learn by seeing. In fact, that is how we learn. Therefore, within my workshop program, I do three separate 1.5 - 3 hour (quick and highly detailed) life demonstrations in Drawing, Pastel and Oil, each in the approach of the academic training. This is a great opportunity for students to witness the progression of portraits from life in different mediums, from start to completion. My goal, as your instructor, is to simply show you and teach you 'right' from 'wrong', so you can quickly get on the right and your own artistic path towards advancing your individual skills where 'the sky is the limit'. Following my demo, inspired students work on their own pieces, and every student receives my personal and individual attention according to their needs and specific requirements. For more information and to see the schedule of my upcoming workshops, please refer to the Workshops page on my website www.Babailov.com . To register, please inquire at info@Babailov.com or you may register online HERE . I look forward to seeing you in class! Most sincerely, SHARE THIS © The essay herein is the intellectual property of Igor V. Babailov and may not be reproduced in whole or in part without written permission from Igor V. Babailov. 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