“Qi Yang was known as abstract painter in the 90s in Germany. His powerful brushes explore extremely concise compositions that fascinate the simplest forms and reflect endeavor; the paintings achieve a vivid and lively nature and embody the figurative expression and perfect abstraction”
(Beate Reifenscheid, director of Ludwig Museum Germy)
“Learning by doing” In this workshop you will learn figurative painting in an abstract style. The figure here means either the human or animal or imaginative figurations, whatever you like. It is free from your own idea and will be shaped from your insight feeling.
And which abstraction of the figuration you prefer to paint – if you generate figurative form by drawing with lines, colors or by sketching with color stains of abstraction, could be individual and personal decided for your best choice.
German abstract figurative painting with the name New Wilde or Neo-Expressionistic Painting was the historic revolution of German art movement in the late 1970s and the 80s, which was one of the most important streams of the abstract figurative painting in the world. Today artists are democratically and freely to work in the style which could suit them best by creating their I-being art.
British Museum, London
Linden Museum Stuttgart
City Heidelberg
Kunsthistorisches Institut der Universität Heidelberg
Deutsch-Amerikanisches Institut, Heidelberg
Ethno-Expo/Ethnologische Ausstellungen, Zürich
International Art Collection SAP, Walldorf
Kunststiftung des Museums Villa Rot, Ulm
China Art Academy, Hangzhou
Fine Art Academy of Arts, University Anhui, Hefei
Art collection of Bank Cial, Zürich
Bayer AG, Leverkusen
Ministerpräsidium Tübingen
Museum Zhu Jizhan, Shanghai
Art Foundation La Roche, Basel
Bethe Stiftung, Wuppertal
Hasso Plattner Förderstiftung, Potsdam
Ludwig Museum Koblenz
Dolun Museum of Modern Art, Shanghai
Fujian Art Museum
Wutong Art Museum, Shanghai
Spring Art Museum, Shanghai
Since 1989 lectures given at University Heidelberg, Institute of Arts and Art Therapy Bochum, Free Art Academy Basel, University Witten, Art Faculty of Bergisch University Wuppertal; Bauhaus University Weimar, Cambridge University UK, Art Academy of Shanghai University, Centre Academy of Fine Arts Beijing, China Art Academy Hongzhou, Fudan University Shanghai, Academy of Creative Arts, Jiaotong University Shanghai, Academy of Arts Fujian Normal University, Art Academy of South-East China Normal University Shanghai and Li Keran Painting Academy Beijing, etc.
Qi.Yang@t-online.de
www.qi-yang.de
Acrylic painting, a course that teaches techniques and just so leads to free experimental work.
Even if a horizontal line divides a picture surface without a preliminary drawing, the viewer almost always immediately associates it with the horizon of a landscape.
With acrylic paints we work on colour surfaces that become landscapepaintings / cityscapes.
Mixing the basic colours on the palette or also directly on the canvas, or first on paper, is just as much a topic as the liberating painting technique.
The instructor supports you in overcoming your own claim to reality and surrendering more and more to the painterly process and the colour.
With a broad brush or palette knife, mood and geometry, as well as light and shadow are captured. Here the art of omission is called for in order to direct the view to the essential.
The properties of acrylic allow for the most interesting combinations and also interplay in the mixed technique.
In this course we will work with classical acrylic colours as well as with ink, charcoal, pastels or oil crayons. This offers great opportunities for experimentation and a wide range of artistic demands.
This courseis aimed at everyone, from beginners to advanced artists.
Acrylic painting, a course that teaches techniques and just so leads to free experimental work. Even if a horizontal line divides a picture surface without a preliminary drawing, the viewer almost always immediately associates it with the horizon of a landscape. With acrylic paints we work on colour surfaces that become landscapepaintings / cityscapes. Mixing the basic colours on the palette or also directly on the canvas, or first on paper, is just as much a topic as the liberating painting technique. The instructor supports you in overcoming your own claim to reality and surrendering more and more to the painterly process and the colour. With a broad brush or palette knife, mood and geometry, as well as light and shadow are captured. Here the art of omission is called for in order to direct the view to the essential. The properties of acrylic allow for the most interesting combinations and also interplay in the mixed technique. In this course we will work with classical acrylic colours as well as with ink, charcoal, pastels or oil crayons. This offers great opportunities for experimentation and a wide range of artistic demands. This courseis aimed at everyone, from beginners to advanced artists.
The Figure in Action:
How to loosely and accurately create paintings of people in their environment.
Using simple methods, this enriching painting workshop will interrupt the tendency to overthink and will allow artists to break free of their inner critic. We will explore the stunning Assisi landscape in search of people in action and practice gestural sketches while enjoying the scenery. We will also collect photos on our outdoor excursions to use in the studio for subject matter during drawing and painting lessons.
Our mornings together will consist of demonstrations, using a viewfinder, compositional lessons, creating value studies, and of course, painting! Afternoons will be free for touring and activities – and you might decide to take your sketchbook and camera to help you collect images for class the next day.
Working with a limited, yet expansive color palette of Golden Open Acrylics, we will learn about warm and cool colors, how to mix and use midtones, how to mix and use desaturated colors, how to set up an accurate value scale that leads to success, and how to “block in basic shapes” which will allow students to paint loosely and expressively.
Drawing Marathon, Intensive course with Ilse Murdock and Guests at the New York Studio School, Jan. 2023
Portrait Painting and Drawing, Al Gury, Philadelphia Academy of Fine Art, Spring 2021
University of Arkansas at Little Rock, Master of Art, GPA 4.0, May 2014
Rollins College, B.A., Major: English, Double Minor: Spanish and Studio Art, 1993
Sean Clancy, “CALS Presenting Trio of River Market Exhibits”, Arkansas Democrat Gazette, Dec. 18. 2022
Jefferson Geiger, “Laura Raborn Captures the Human Spirit of Breckenridge,” Summit Daily newspaper, April 28, 2022
Featured Artist Interview, Arkansas Art Scene blog with Philip Mayeux, Jan. 2021
Featured Alumna, UA Little Rock Holiday Wish List Campaign
Ellis Widner, “Raborn Has ‘Presence’ at Cantrell Gallery, Arkansas Democrat Gazette, May 26, 2019
Featured “Resident Artist,” Heights Living magazine, Sept. 2018
Featured “Artist in Residence,” Arkansas Times’ Heights Hillcrest Riverdale Neighborhood Guide, Winter 2017
Erin Wood, “Transmuting Trump: Arkansas Artist Laura Raborn Transforms Trump Quotes into Funds for Planned Parenthood,” Ms.
Magazine, Mar. 2017 and Entropy magazine, Mar. 2017
Rachel Trusty, Art Talk Radio Show, KABF 88.3, Jan. 13 and Jan. 27, 2017
University of Arkansas at Little Rock, Arts & Culture news
Catherine Rodgers, “What Art Can Do for a City,” Arkansas Democrat Gazette, Dec. 11, 2016
Jordan Hickey, “Arkansas Sketchbook,” Arkansas Life magazine, Aug. 2016
A plan for Painting Workshop – Watercolours/Acrylics on paper.
For beginners and others.
A practical workshop, divided into several overlapping sections. Always involving the actual doing of painting, with accompanied observations. A whole of life look at inspiration and achieving a work of art.
Subjects:
The aim is to create conditions for the ability to create a painting which expresses the observations and insights of individual painters. The basis of originality. The use of traditional methods to go over and above the usual.
The aim of creating something very strong and individual exclusive to you!
Opening up a character and personality, to arrive at a painting identifiable as unique to each painter.
Materials, work-tools and their property and uses, brushes, colours, and paper qualities. Useful for beginners and experienced painters. How to assess materials and all other necessities. Values of various colours and papers, including what suits each individual painter. Cost versus quality. Assessment of necessities. What makes a serious painting and what doesn’t count and isn’t needed.
Colours, properties of colours, mixing, observing, perspective with colour, bases of colour, tensions between colours, colour washes, different uses of colour. Ways of thinking and looking. Observational abilities and how to extract the essential. How to look at a subject and get it down to a unique and personal and complete artwork, identifiable to the painter. Thoughts about the aims of the painting, why it is a chosen subject, and one that brings out the unique individuality of the painter. Plenty of thinking talking.
Avoiding the obvious or pedestrian rendering of a subject. Plenty of thinking talking.
Stretching one’s thinking and working to find the pure essence. Stretching one’s thinking and working to find the pure essence. Looking at the space as an opportunity to make a personal statement. How to construct a painting. Constructive criticism.
The importance of washes and the luminosity of colours painted with water. The underlying bases of colours and how to create space and distance and detail without fussiness. The construction of expressive qualities. The completeness of a composition without unnecessary detailing. The purity of simplicity and the impression of light and distance without effort.
The start and finish of a painting. When to complete, when to desist! How to judge ones own work. When the message has been delivered. How to be one’s own critic. How to pare it all down to one’s identity as a painter. How and when to be satisfied. The completion of an artwork each day of the workshop.
Qantas Airways; NZ Law Society; Art Rentals, London, UK; Christchurch City; Canterbury Society of Arts; Ashburton Society of Arts; Ashburton Borough Council; Ashburton Licensing Trust; Christchurch Girls High School; SIMU; Commissione Lotto; Telecom; Air New Zealand – Christchurch, Auckland, Los Angeles USA, Singapore, Melbourne, Brisbane Australia; Postbank; Christchurch
Hospital Board; NZ Ministry of Foreign Affairs, Washington, USA; Robert McDougall Art Gallery; Christchurch City Art Gallery; Robert Jones; Bell South; Brierleys Corporation; Trustbank; ANZ Bank; Westpac Bank; National Bank; Spicer & Oppenheim; PDL Industries; Concedere Cameron; Resene Paints; Southpac; Forsyth Barr; Lane Neave Rolandson; Anthony Harper; Auckland Golf Club; Wallace Collection, Berkeley, USA; Takahashi Collection, JAPAN; Brian Jones Collection, New York; ASB Bank; PRG Collection AUSTRALIA; BNZ
Bank; Canterbury Regional Council; Mattioli-Mascarelli Collection, ITALY; private collections, Hong Kong; Caxton Press; Comune di Bevagna; In Chartis, Bevagna; Lincoln University, Canterbury, Parliamentary Collection NZ Government, plus many law studios and company and private collections.
Please note: All extras such alcholic drinks or other services non included in the above list is due for direct payement at the front desk before the check-out.
Not Included in Tuition: Airfare, Insurances, transportation to and from Giomici, field trips, outdoor painting, excursion fees, liquor, laundry, and meals outside the hotel.
Ph. (+39) 075 813738 | Mobile 335-5855894 | E-mail info@provobisassisi.com
