All instruction is given in English and all skill levels are accommodated. Classes meet in small groups and students work individually with instructors
Three levels of vocal training are offered. Please see our introductory page for complete details.
Painting classes are developed around basics of oil painting. Because oils allow a student to be most careful and attentive to color, and given the fact that the structure of an oil painting is complex, we believe it is an ideal teaching medium. We believe it is necessary for students to learn these fundamentals before handling acrylics or other painting media. With careful observation and attention to nature, the student will proceed through a series of exercises designed to enlarge the painting vocabulary, to expand vision, and increase technical ability. More advanced students will develop a program which will be organized in conjunction with the instructor. All students are exposed to the history of painting through use of reproductions and will enter discussions on the technical aspects of various past masters. Painting students will be assigned studios in which they will be expected to put in many hours, aside from classroom time. During the autumn Italian program, students will see and study great masterworks first hand.
In drawing classes, both with the model and in basic drawing, we strive to teach the student to see three dimensional form clearly and to describe it on a two dimensional surface using the traditional methodology of the western world. Using various exercises we help our minds to sort out all the incoming information into clear and readable lines, using known technical means that help us to express the feeling which we gather on viewing the world. We emphasize proportion, balance, weight and mass, seeking also to find our own voice in translating from one world to the other. Much of the work done is in the studio but there are also trips into the surrounding countryside to discover what nature at her most exuberant can give us. The student will use pencil, charcoal, pen and ink and perhaps pastel and watercolor depending on the group. As all artists can improve their drawing skills, no matter how advanced, we consider these classes a necessity for all studio artists.
Working through a series of exercises which enhance the student’s ability to ‘see’ and reconstruct the human form in two-dimensional space, this class hones the students’ drawing skills and introduces the vocabulary of value, line, weight and mass, volume, proportion, light and shadow, and composition. Using a variety of media the student is challenged to draw accurately,
confidently and expressively. A full use of different media expands the students understanding of composition and uniqueness of expression.
Introductory and advanced levels are offered. The introductory level comprises the basics of camera, film, exposure control, and darkroom procedure including the printing of black and white negatives in formats up to 5x5 inches. Technique is emphasized as a means of developing a personal vision. Advanced students are accepted on the basis of work samples which should be submitted at the time of application. Advanced level work includes the fine-tuning of techniques and understanding of materials which allow photographers more fluency in their work. Our darkroom is equipped with the excellent German Kaiser Enlarging Systems. Each black-and-white enlarger is appointed with Kaiser dichroic multi-grade variable light source for unsurpassed variable contrast control, as well as Nikon and Schneider Kreuznach Companon-S enlarging lenses. Our lab system is designed to produce only archival quality output. Advanced study is strictly individual. Color theory and technique will be discussed.
In this course we work through the entire digital photography workflow including colour theory and colour management, system calibration, building our own ICC profiles, scanning, camera work and materials. Students learn how to use digital imaging software, peripheral capturing devices, and printer management specific to fine photographic printing.
From capture to finished print we address how use of technical control informs our ideas and creative voice, how a practiced knowledge of 'craft' is essential to the creative process fostering much greater potential and possibilities for expression in photography.
Another important aspect of this course is using the digital lab to produce photographic images of the highest quality and permanence. Photographs produced in the Center's digital lab rival, and most often exceed, those of the traditional silver process. In this class we are not concerned with expanded computer arts, per se, although elements outside the realm of photography are illuminated and addressed as they overlap and occur within our workflow. Camera work is of fundamental importance in the course, both digital and film cameras, image evaluation, as is aesthetics and the Creative Process in general.
The primary processing environment in our digital lab is Adobe Raw, Photoshop and Adobe Lightroom. The printers we use are the Epson 7900, 4800 pro, 3880 pro, 3800 pro and 2880. We are doing our fine black-and-white printing using Jon Cone's incomparable Piezography carbon black ink sets on the 4800 and 2880.
All aspects of the intaglio print will be explored. Instruction includes the application of hard and soft grounds and aquatint, scraping and burnishing, drypoint, inking, wiping and printing the plate. Printmaking classes take the student through the mono-
print technique which leads to an understanding of the print process, press handling, paper usage and aesthetic exploration. Following this the student can make an etching on zinc and learn to handle acids, aquatint, soft ground and hard ground application and dry point. Lithography is not available.
The Aegean Center's Writing Workshop is, precisely, a workshop, where students receive encouragement and criticism from their peers and from the instructor. Students submit samples of poetry or fiction to the instructor for discussion. Assignments and technical exercises are given as needed, and appropriate readings are discussed. Expository writing is also offered. The workshop format is used for group discussion, readings, and analysis. Since the workshop is small, students are asked to have a new piece or a revision for every class; if the class is large (never more than ten, usually six or seven), then at least once a week. Students who write more than can be discussed in class meet privately with the teacher. In class, student works are discussed in detail, and specific suggestions for revisions are always offered. Exercises are given to students who wish to learn specific skills, and also to students who find it difficult to write creatively but remain committed. In addition, short readings of classic poems (sometimes stories or other texts – but nothing in translation) are offered as examples, and are analyzed in class. Specific techniques – e.g. rhyme and meter in poetry, narrative strategies in prose fiction -- are discussed and exercises given when needed or requested. Guest readings happen during the semester, and many poets have read at the Aegean Center. The course concludes with a public reading, always well attended.
Italian painting, sculpture, and architecture from 1200 to 1600 are emphasized, though older and newer churches are also visited. A long series of slide lectures parallels the touring. Since we stay longest in Pistoia we visit most of the ancient city's old churches, as well as three museums. Full days are spent in on-site study in Siena, Lucca, Pisa, and Prato. In Siena we go slowly through two museums, as well as the Duomo and other churches, and take an architectural walk through the city. In Lucca we study four masterpiece-filled churches in detail, visit a museum, and walk many of the town's medieval streets and ramparts. In Pisa we spend most of the day at the Piazza dei Miracoli, with its four great buildings (cathedral, Camposanto, Leaning Tower, baptistery) and their innumerable works of art. During our several days in Venice we visit the Academy Museum and the chief churches at length. During our four days in Florence we study many churches, all brilliant with famous artworks of the Florentine Renaissance. Several long architectural walks are taken through the city. Three museums are covered in detail. During our three days in Rome the class takes several architectural walks, with stops in many churches. A whole day is spent in the Vatican Museums and Saint Peter's. Slide lectures and seminars are presented on a regular basis to enhance and support our tours of museums, churches and historic sites throughout Italy, as well as Italian cities and landscape. Once back in Greece we address the history of art specific to Greece. Individual courses of study can also be arranged.
Slide lectures and seminars are presented on a regular basis by staff members, with emphasis on Greek Art from the Cycladic through the Byzantine period. Student requests for specific lecture topics are welcome, and individual courses of study can also be arranged. Just walking about Paros is an education in classical art and literature. And after a long morning spent at the Acropolis, and hours spent at other ancient sites (including on Paros), you can understand the meaning of Greek statues, of Greek tragedy, and of classicism. The course includes 12 two-hour slide lectures on Greek art from Cycladic through Byzantine, and detailed on-site study in the Acropolis and Archaeological Museum of Athens. In our home base of Paros, thorough tours are taken of Paros' Archaeological Museum and of the Delion, the Asclepion, and the ancient quarries. The Roman Art lectures includes a guided tour of the Roman Forum, two slide lectures, and a tour of the Vatican's Roman museum (fall session only); and on Paros, the famed Byzantine Church of a Hundred Doors is much studied.
A series of lectures introduces the early development of photography, tracing the growth of its many aspects in an historical context. After three general background lectures each session is devoted to the work of one major artist. The lectures encourage the student to see all the possibilities of the medium and understand the role of the photographic image in daily life, as
well as absorbing it into his own work. The artists studied in any given term may vary depending upon the needs and interests of the participating students.
Courses in literature are designed and offered individually and in small groups, ranging from Classical Greek to contemporary. When you study the Odyssey while looking at the Aegean Sea, where Odysseus actually passed on his way south from Delos, the stories, themes, and images of Ancient Greece come alive as they cannot in a classroom, and seem natural. Twelve classes in literature are included. These usually include Homer, Archilochos, Sappho, Aeschylus, Sophocles, Euripides, Aristophanes, and Plato. All works are read complete and much discussed
Notice of Nondiscriminatory Policy
The Aegean Center for the
Fine Arts, Inc. admits students of any race, color, national and ethnic origin
to all the rights, privileges, programs, and activities generally accorded or
made available to students at the school. It does not discriminate on the basis
of race, color, national and ethnic origin in administration of its admission
policies, educational policies, scholarship and loan programs, and other school-administered