The Ravenswood Atelier is a school of traditional art located in Chicago, IL. Matthew Almy and his wife, Magdalena Almy, founded the Ravenswood Atelier in 2007. After studying art at the Florence Academy of Art, they returned to Chicago to pass on the knowledge of classical training that they acquired in Italy. Both have won numerous awards for their work.

Matthew Almy in his studio

Matthew’s work is very impressive. He works on a grand scale, so the figures are life-size. In addition to working from models, he flawlessly invents the landscapes and surroundings from his imagination. Every element is painted with such rich color and texture that I could easily become entranced in only a small portion for minutes. Below is a detail of a painting that he is currently working on.

Not only does Matthew paint beautifully, but I was also amazed by the wealth of knowledge he has ranging from the chemistry of painting mediums to the craft of constructing high-quality frames. This is a frame he is building.

Magdalena Almy in front of her paintings

Magdalena’s work shows a deep understanding of light and color. She works with a minimal palette, using colors carefully and methodically to produce paintings that capture the subtle beauty in life. Her work has a mystical quality that is prominent in her figurative paintings. Below are two masterly paintings that she had in her studio.

In addition to the beautiful artwork, Magdalena’s studio was full of visual inspiration. Every corner of the room resembled the studio space of 18th century artists. This is a slide show of the mysterious ambiance at their atelier.

The program has a strong focus on drawing. In this photo Magdalena is showing me a student’s work.

Students begin their study reproducing in pencil the lithographs of 19th century artist Charles Bargue. These drawings, commissioned by the master painter and teacher Jean-Léon Gérôme, once served as a visual aid for beginning students. Their detailed reconstruction allows the inexperienced eye to observe successful ways of processing and simplifying complex forms. At this point new methods are introduced allowing for greater proficiency in executing these challenging exercises. Having produced several accurate copies, students advance to the next level.

Moving from a flat image to a three-dimensional object, students begin to draw plaster casts of antiquity with charcoal on white paper. This next crucial step allows for a deeper analysis of methods discussed in the previous stage. Strong focus is placed upon a convincing impression of light, air, depth and texture. This exercise often takes months to master. The finished product should attain an illusion of reality indistinguishable from the subject itself as seen from a distance.
Ravenswood Atelier: Curriculum

Visiting the Ravenswood Atelier was an inspiring experience. Matthew and Magdalena imparted so much in-depth knowledge in my impromptu visit, and I enjoyed engaging conversations that delved into the fundamentals of painting. I’m eager to read books that Matthew recommended and try the high-quality products he suggested. My brief visit to their their Atelier has left me with the desire to improve my work habits and strive for time-tested quality.

Overcoming Obstacles in Art

“To succeed you must first improve, to improve you must first practice, to practice you must first learn, and to learn you must first fail.” – Wesley Woo

Obstacles. What is it that really prevents us from doing what we want? It’s probably not the obstacles at all but our attitude towards them. It’s how we face these obstacles that define who we are and what our art looks like.

When I look at an artist’s work, I can clearly see his/her decisions at play. There is always a pull between observation vs. imagination, and it’s this balance which determines how realistic or imaginative a painting looks. What is artist willing to sacrifice to achieve his/her artistic vision? If you are a representational artist, you will confront these decisions every day.

By painting exclusively from life, your painting will look convincing, but may lack drama; and by painting from imagination, your painting will look less realistic. At one end of the spectrum we have an artist like Jacob Collins, who primarily paints from life; Odd Nerdrum uses a combination of models and his imagination which makes his work more imaginative and metaphorical; and Eric Fischl uses photography which frees his imagery, but gives his work a less traditional feel. Will Cotton goes through a tremendous amount of effort to create his images; he works from life, using models and even baking large-scale candy creations.

How much effort are you willing to invest to achieve your vision?

I often think about how I confront my limitations. I use my daughter and family as models because of convenience. I use photos because I don’t want to rely on others. If I didn’t limit myself, I would hire models to create more literal paintings; instead, I look for metaphors within every day scenes. I admire more imaginative painting, but I find myself only wanting to paint what I see around me. The question is whether you are content or merely complacent with your process. Do you see ways to improve your procedures? If you are not attaining the desired effect in your work, what can you do differently to achieve it?

It is the obstacles that define who we are and what is important to us. But, if we are too afraid to fail and take risks, then we will not be able to succeed at reaching our fullest potential. This is as true in life as it is in art.

Odd Nerdrum -- Numbers and Art