Search Results

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 These subjects have been replaced by canvases covered in dribbles and splatters of paint, or by simple geometric colored shapes, and then they are told to believe that these are somehow as great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

Find the answers to Frequently Asked Questions about Igor Babailov's portrait master-workshops. Igor V. Babailov, Hon.RAA, KStA Portrait Master Workshops F requently A sked Q uestions Please NOTE: © 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. What skill levels is this class recommended for? Q: IB: Traditional academic training is as important for any artist, as strong foundation is for any house: first it must be built, then it needs maintenance! So, my classes are beneficial for all levels of artists. What makes this class different from other instructors' classes? Q: IB: I was fortunate to receive my sound academic training within the studios of the historically acclaimed Russian Academy of Arts (est.1757) with the in-depth studies of Human Anatomy, Perspective, Foreshortening, and other sciences in art, applications of the Great Masters' knowledge, all put into practice. Consequently, based on my education I do not teach to copy neither my or someone else's "approach" or "style," but convey the insights of fundamental principles in proper classical fine art education, historically taught in traditional schools of art . This is the only path to develop your own uniqueness and individuality as an artist, a prerequisite to becoming a Master artist yourself. Q: How fast will I learn in this class? IB: Due to my own vast experience of having been a student for many years during my formal academic art education (1974-1990), I understand and know exactly what students need in any given situation, as well as how to successfully resolve any complicated issues they may have, right on the spot. Q: What are the benefits of the demos in the learning process? IB: In Visual Art we learn by seeing. In fact, that is how we learn. Therefore, my workshops contain two important parts: the Instructor's Demo and the Students' Practice after observing the demo. Each day begins with an inspirational "how to" portrait demonstration in a different medium, a great opportunity to witness the complete step-by-step fast and detailed development of the portrait from start to finish. Upon the demo's completion, students are working from life with the model on their own pieces under my i ndividual and undivided attention and one-on-one instruction. While watching the demo, students may also take photos of various stages of portrait progression, which can be used later as point of reference in their own works after the workshop is over. Q: Can photographs be used in the class? IB: The purpose of this class is to free yourself from dependency on the camera, and to learn the skills of drawing and painting like the Great Masters did, in direct communication with nature. If you are able to work from LIFE, you will always be able to apply that skill to working with photographs, if you have to. In that case, the artist is always in control of the situation and creates the portrait which goes far beyond its photographic references, instead of just copying a photo. Intensive Portrait Master Workshops Intensive Portrait Master Workshops The Babailov Palette & Art Supplies Intensive Portrait Master Workshops Intensive Portrait Master Workshops Intensive Portrait Master Workshops Please NOTE: © 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.

Family Portraits of WOMEN by Igor Babailov. Full-length portrait of Theresa Menefee, oil on canvas. Igor V. Babailov, Hon.RAA, KStA Family Portrait Paintings Theresa Menefee Oil on Canvas, 64" 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

New York Daily News writes an article about portrait artist Igor Babailov and his offiicial portrait of Pope Benedict XVI. BY DAVE GOLDINER DAILY NEWS STAFF WRITER Tuesday, April 15th 2008, 4:00 AM New York, NY Pontiff's aura colors artist's image Pope Benedict 's official portrait will be unveiled on Tuesday night - and the artist hopes it provides a unique window into the pontiff's soul. Painter Igor Babailov says he labored to create a realistic image of the holy father, but also to convey the inner power that lets him inspire billions of people worldwide. "There is this special aura about him," Babailov, 43, said Monday. "When he touches you, something special happens in the room." Benedict, who sat for several preliminary sketches with Babailov, will see the finished portrait for the first time tonight at the Vatican ambassador's residence in Washington . The life-size work of art depicts the pontiff, hands clasped in front of him, standing next to Jesus - images meant to show the power of faith and prayer. "We're all God's children," Babailov said. "We are all special people, and the Pope is no different." The painting is like an early birthday present for the Pope, who turns 81 tomorrow. It drew rave reviews from Archbishop Pietro Sambi, the Vatican's ambassador to the U.S. "It is much more than an image but rather a painting of a presence," Sambi said. Babailov grew up in Russia in a family of artists. He is no stranger to painting famous people: He has done portraits of President Bush , Nelson Mandela , Hillary Clinton and Rudy Giuliani . Perhaps Babailov's most important assignment was a portrait of Pope John Paul II in 2003. The late pontiff loved the work so much that he had it moved to his Vatican apartment as he lay on his deathbed. Babailov journeyed to Rome 18 months ago to start working on a half-dozen sketches of the regal-looking Pope Benedict. "It's a luxury to have so much time, especially with someone so important and busy," he said. "You have to get a feel for the person." dgoldiner@nydailynews.com With Bill Gallo

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

Official Portrait of Brian Mulroney, 18th Prime Minister of Canada, by Igor V. Babailov. Collection: House of Commons, Parliament Hill, Ottawa, Canada. Igor V. Babailov, Hon.RAA, KStA Recent Official Portraits Prime Minister Brian Mulroney 18th Prime Minister of Canada Official Portrait of The Rt. Honourable Brian Mulroney 18th Prime Minister of Canada (Oil on Canvas, 48" x 40") Official Collection: House of Commons, Parliament Hill, Ottawa CLICK Official portrait painting sitting at the Artist's Studio On the occasion of the portrait unveiling, the official photograph with two Prime Ministers of Canada, the Right Honorable Brian Mulroney and the Right Honorable Jean Chretien, was taken in the very room where Winston Churchill posed for his iconic photograph in 1941. Winston Churchill official photograph by Yousuf Karsh (1941). Collection: House of Commons, Ottawa, Canada. Graphite portrait studies from Life, in preparation for the official oil portrait painting Photo credit: Canadian press (nationalobserver.com) Official collection: House of Commons, Parliament Hill, Ottawa, Canada OTHER OFFICIAL 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

Igor Babailov, All Galleries, Commissioned Portrait Paintings & Drawings, Murals, Sacred Art, Landscapes & Other Works. Igor V. Babailov, Hon.RAA, KStA ALL GALLERIES PORTRAITS MURALS SACRED ART OTHER WORKS PRESS & NEWS PRESS GALLERY VATICAN SPLENDORS MASTER - CLASSES

Portrait studies

An educational article by portrait artist Igor Babailov, featured in PRIMO Magazine, Italian-American magazine, U.S.A. The Latest News…from an Italian-American Perspective PRIMO magazine Italian Influence on Realistic Portraiture by Igor Babailov Portrait Artist Igor Babailov, the only Living Artist in the Vatican Splendors Exhibition, tells PRIMO why Artists Giovanni Battista Tiepolo and Pietro Annigoni are his Key Influences. Igor Babailov's painting "For Gold, God and Glory" on the cover of PRIMO magazine. The great Italian contributions in the history of art are immeasurable. On my website www.Babailov.com , there are a number of artists, whose works I recommend to study, and among them are Giovanni Battista Tiepolo (1696 - 1770) and Pietro Annigoni (1910–1988). These are only two great names out of many fine visual artists of Italy. They represent two different centuries, yet both come from the same educational background in the classical tradition of one of the oldest art schools in the world: the Italian Academy of Art. “La Strega” by Pietro Annigoni “Head of a Young Man in Three-Quarter View Facing Left, Looking Upward,” by Giovanni Battista Tiepolo Given that they lived in different eras, both Tiepolo and Annigoni faced unique challenges. Tiepolo’s challenge at his time was to explore the knowledge of the Masters before him and around him and to apply it to his own beautiful figurative works, which were celebrated by his contemporaries, as the sophisticated appreciation of the skill in art was taught and very much present at the time. Pietro Annigoni, the utmost admirer of the Old Masters, had a very different challenge at the peak of his career in 1950s-70s, being constantly attacked by the “art critics” for painting beauty and emphasizing the importance of the masters’ methods and techniques as prerequisite of skill for any artist. The celebration of Beauty and God’s Creation is the main focus of the traditional school of painting, which requires more than talent, but the skill to produce, and consequently cannot be achieved without the proper education. It has always been at the core of the academic curriculums and the Italian academy has given the world some of the best known names in the history of art, until about the mid 20 th century, when the rich inheritance of the Renaissance Masters suddenly became “debatable” by “art critics who couldn’t draw.” I became familiar with the name Annigoni when I was invited to teach at the Florence Academy of Art, in Italy in 1999. When I discovered more about his life and works, I immediately felt the closeness to this artist, fully relating to his values and ideals. I myself being a contemporary realist artist, like Annigoni, was asked on numerous occasions “if there was enough of Renaissance in the period of Renaissance…” This question was well answered by Pietro Annigoni, who I quote: “Only those who know nothing about art may think that a Style is repeatable in every age. It is the destiny of every artist to strive to say something NEW with an OLD language.” In 2008, my life size portrait of Pope Benedict XVI was officially presented to the Pope upon His Holiness’s arrival in the United States. Two years later, I received a call from the Papal Nuncio in Washington, D.C. with the news that my papal portrait arrived in America to exhibit in Vatican Splendors, the North American museum tour from the Vatican Collection. The Vatican Splendors exhibition consists of almost 200 objects representing 2,000 years of the Vatican’s history. They include historic works of art, important period documents, even the relics of St. Peter. The significant part of the exhibition are paintings, sculptures and other works of art; as well as the Papal portraits, with my portrait representing the Papacy of Pope Benedict XVI. At the opening of Vatican Splendors I approached the Vatican Curator Roberto Zagnoli to thank him for selecting my work for such an important exhibition and he replied: “No, no, no, Maestro, the Pope chose it!” That was, of course, a huge honor. Some of the artists’ works on the exhibition include the works of Michelangelo, Giotto, Bernini, Guerchino, Vasari and many other Masters of the Renaissance, and I was humbled to be the only living artist there. The 2000-year impact of the Vatican in art history is unquestionably immense and impressive, with the majority of its artists being Italians, and I’m proud to be among such a distinguished group and company of Masters in the history of art. The Vatican Splendors exhibition moved to the John Heinz History Center in Pittsburgh, and then the Fine Arts Museum in Ft. Lauderdale until May 2011, when it returned back to the Vatican. Igor Babailov at work on the portrait of Pope Benedict XVI On another note, some of my famous Italian American portrait subjects included: Mayor Rudy Giuliani of New York, actor James Gandolfini and the most recent portrait of Iraq veteran of war and American Hero, Brendan Marrocco. They all are on my website www.Babailov.com Editor’s Note: PRIMO had the honor of featuring the work of Igor V. Babailov on the cover of our September/October 2001 edition on Christopher Columbus. The painting, oil on canvas, was titled “For Gold, God and Glory.” Artist Babailov is praised by many for his sensitive and detailed portraits of contemporary luminaries in politics and entertainment, as well as a number of spectacular landscape paintings. Please review his latest works at www.Babailov.com Igor Babailov and Pope Benedict XVI Apostolic Palace, Vatican

Artist Aleksey P. Kholmogorov, renowned Russian artist, was the painting teacher of Valery Babailov, Igor Babailov's father. Художник Алексей Павлович Холмогоров - Народный Художник России и Удмуртской Республики. Igor V. Babailov, Hon.RAA, KStA Teacher~Student Lineage Aleksey Pavlovich Kholmogorov (1925 - 1987) "He was an outstanding artist, teacher and mentor to my father, Valery Babailov ." ~ Igor Babailov Aleksey Pavlovich Kholmogorov was born on March 1, 1925. in the Udmurt Republic. Veteran of the Great Patriotic War, he entered the Palekh Art College, where his teacher was Alexander Korin, the brother of the famous painter Pavel Korin. A year later he transferred to the Kazan Art College, graduated in 1951. In 1953 Kholmogorov entered the Moscow State Institute named after V.I. Surikov. His Professor was Victor Tsyplakov , a student of renowned artists and teachers, Igor Grabar and Sergey Gerasimov , who studied in the studios of world-famous artists Ilya Repin and Valentin Serov . After graduation in 1959, Kholmogorov returned to Izhevsk. The same year, the art and graphic faculty was opened at the Izhevsk's State Udmurt University. Kholmogorov became one of the first lecturers there, he invited colleagues from other cities, organized the reception of students and the educational process. One of his first students was Valery Babailov whom Kholmogorov regarded as his "favorite student' throughout his life. The intense creative activity and active civil position in the following years were marked by awarding him the title of the People's Artist of the USSR (1967), Honored Artist of Russia (1972), People's Artist of Russia (1981). In the 1970's, for the cycle of paintings "People of my Republic" he became a laureate of the State Prize of Udmurtia. In 1981 for the series of portraits "Women of Udmurtia" and the painting "Consultation" he was awarded a silver medal of the Academy of Arts of the USSR and the State Prize of Russia named after I.E. Repin. two of his works are in the collection of the State Tretyakov Gallery: "Portrait of Zoya Mikhailova" and "Victory Day, Village Veterans." Kholmogorov was the chairman of the board of the Udmurt branch of the Union of Artists of the RSFSR, elected secretary of the Union of Artists of Russia in 1972.. He died on September 30, 1987, in Izhevsk. A young Udmurt mother Grandma Darya Kurbatova from Bagrash-Bigra Portrait of Mikhail Kalashnikov Igor V. Babailov Direct Teacher~Student Academic Lineage CLICK

Portrait of Mayor Rudy Giuliani (oil on canvas), by Igor Babailov. Officially unveiled in New York City. Igor V. Babailov, Hon.RAA, KStA Recent Official Portraits Rudolph W. Giuliani Mayor of New York City (1994-2001) Collection: Giuliani Partners , NYC Portrait of Mayor Rudy Giuliani of New York (Oil on canvas, 36" x 30") Original Concept & Composition, Copyright © Igor V. Babailov Attendees included Dr. Henry Kissinger (on the left) Official Portrait Unveiling Dr. Sal Ferrera with the portrait Igor Babailov with Rudy Giuliani OTHER OFFICIAL PORTRAITS by Igor Babailov