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The  mission  of  the  Russian   Academy  of  Art  is   to   teach   fundamental principals,  methods  and  techniques of classical art, diligently transmitted over the centuries since the  Italian  Renaissance.  Our  academic  program  provides thorough training in anatomy,  composition, chromatics,  perspective,  painting, constructive drawing,and sculpture and study of the works of Old Masters. With this solid framework,students can thus develop their  own  individual  style  and creative expression,becoming in essence New Masters. 

 The Russian Academy of Art is established in Florence, Italy  which offers a rich, stimulating  environment  for  the  study  of  art.  Here one can be in direct contact with the original  works of  masters  such  as  Michelangelo,  Leonardo da Vinci and Botticelli who  emerged, lived and worked  in  Florence.  The  Galleria degli Uffizi, Palazzo Pitti and  several other  museums  feature  among  the most prominent art collections in  the world.  In  addition  to  aesthetic  and  technical excellence,  we  encourage  our  students  to  grasp  the  vital  importance  of  the spiritual, humanist and Christian values that motivated and  inspired the  great  Masters. 

Our  instructors  are  highly  qualified  with  vast  experience in  the   arts  and trainedin  art  academies  in  Russia.  The classes are held in both Russian and English.

                                 Welcome to Russian Academy of Art 

  Academic Methods: Russian Academy of Art

Professor , who teaches at the Russian Art Academy.
Gurney: Do you draw what you see or what you know?
Professor: I try not to copy unconsciously what I see. The most important point about the model for me is that the model must be inspirational; it must  provoke my imagination for the creation of an image.

That is why I never start  drawing before I see clearly  the  image, which I  would like to show, through the  model. Knowledge of anatomy and the laws of form are certainly necessary  as  they  help  me to  work  independently  and to  render my thoughts freely and quickly.

Such knowledge must be automatic so  that  it does not  distract,  does not  bound imagination and, at the same time,  introduce  independence to the hand. This is the  automatic  skill  that  provides  an  artist  with  freedom and fluency when he works. An artist should only care  about “what” to  express  not  about “how” to do it.
Gurney: How does the knowledge of anatomy shape the way you interpret what you see?
Professor: For academic drawing, knowledge of anatomy and the rules of the form  need  profound  studying  at  the  initial   stages   of   art   education.   Such knowledge should  not be  ignored  as,  for  instance,  knowledge  of  the  alphabet cannot be ignored when one wants to learn to read and write. When  we  learn to read and to write we start with A, B, C,  after  that  we  put  letters  into  syllables; later   we  learn  how   to   compose   simple   sentences,  then   finally  –  complex sentences. And, as soon as we  have learnt to  express  ourselves freely in complex sentences, we do not need to go back to  the alphabet   again.  We   do   not   think about letters any longer because they are just tools for a  very  creative  process of reading and writing; for expressing our thoughts and feelings.

Same is in drawing. Knowledge of anatomy and the laws of form is just a tool necessary for an unlimited work of imagination and  creation  of  the  artistic images.

Gurney: What do you change when you draw?
Professor: Selection in drawing is  very  important  and  this is  the  artist  who selects what to show and what not to. Any model always has in itself the essential and the supplementary, secondary things.

The aim of the artist is to see what is really  important  and  to  emphasize it. The author’s selection in this case should be convincing for  the  viewer.  That  is  why when I am drawing a live model my personal vision as well as the image I would like to create is much more important than a  model  itself.  Every  model  has its particular features, which,  in  fact,  define  artist’s  choice  of  the  main  and  the secondary points.

Art Academy 2013