History of the Nude, and Life Drawing

with Gail Brown


During this 5 week course we will explore and examine the ways in which the human figure, specifically the nude, has been observed and employed by a range of diverse artists, from the classical age, to the present day.

Each week the life drawing class will include a talk by Gail on the area to be covered. This is followed by a life class directed by Kate, informed by the talk. Information and observation.

  • Tutor, Gail Brown, and Kate Measham
  • Jan 12th, 19th, 26th, and Feb 2nd and 9th
  • 18.00 to 20.30
  • at the Studio Bransbury, and online with ZOOM
  • £200/5 classes studio, or £100/5 classes zoom
  • suitable for all




What to expect on this course

This course is designed as a life class with extra depth. You will be treading in the footsteps of all artists before you – this is not a burden but an exciting moment to remember, explore and build on the experience of others.


The creative, often dynamic dialogue between artist and model is fascinating territory. Those wanting  to kickstart, or challenge their own creative practice will develop an awareness of how the timeless tradition of a life class has engaged artists throughout history

Each week Gail Brown will discuss a different theme, and introduce us to artists, showing their work, and using our life models to strike similar poses for you to work from.



The following are a guide to topics and artists that will be covered over the five weeks of the course. There are a number of different styles, materials and time periods covered.

Week One – The Academic Standard

Praxiteles, Botticelli, Ingres, Seurat, Matisse…

Week Two – Body Language , Introspective 

Gwen John, Rodin, Jenny Saville 

Week Three – Body Language , Expressive

Bernini, 

Week Four -Turning Points

Manet, Gauguin, Picasso, Tracey Emin, Joan Semmel…

Week Five – Action Figures

Poussin, Gericault, Duchamp…


Materials

There are a lot of different materials used by the artists that will be covered in this course. Some will have used materials not readily available, or commonly used today. The suggested materials are not obligatory, and probably not comprehensive, but a good place to start.

  • Sketchbook – A3, cartridge paper, not too thin
  • Have at least one large (A2 or A1) piece of good quality cartridge paper per class
  • Drawing board if working via zoom
  • mix of charcoals
  • Mix of pencils, including mechanical pencils
  • mix of erasers
  • indian ink and dipping pen
  • Koh i Noor Brilliant watercolours and big brush (note brilliant, not ordinary)
  • kitchen roll