GREAT MASTERS PROGRAM
A "Boston School"* Training:
Established in 1982 the Ingbretson Studio of Drawing
and Painting provides a direct link to the Nineteenth Century Boston School* approach to
A workspace in the Manchester, NH studio.
Painting the "Visual Impression"
- Direct Painting
- Academic Draughtsmanship
- Impressionist Color
- Sound Composition
- Painterly Craft
as the Boston School taught it - paying simultaneous
attention to the relationships of form, shape, value, color, and gesture.
is the vehicle for the training with strong emphasis on composition.
Sound Painterly Craft
derived in significant part from Seventeenth Century Dutch
is from cast drawing to still life, to figure drawing, portrait
painting and figure painting.
, the basis of the instruction, are weekly and often more frequent
with additional part-time assistance by artists who have successfully completed his training.
are provided in memory drawing, anatomy, perspective, and intensive composition.
Open Every Day
from dawn to dusk with some evening activities, beginning September
15 and ending June 15.
In Depth Understanding
typically takes five to seven years for full time artists
though an artist's education never ends.
workshops on direct impressionist 'a plein air' painting provided
as weather permits.
of significant east coast exhibitions and museums is normal.
The Studio Location
is a spacious old Manchester, NH mill building with twenty-three
large north light windows, large two person studios, and a great figure studio, lounge and kitchen.
Visit the Studio
any time. Prospective students should call to arrange a visit at their earliest convenience.
*The "Boston School" Connection
The "Boston School" sought to combine the truth of impressionist color with good
draughtsmanship, sound composition and skillful paint handling. Its leading exponents
included Edmund Tarbell, Frank Benson, William Paxton, Joseph Decamp, Philip Hale and Leslie
Thompsom. R.H. Ives Gammell (with whom Ingbretson studied) was a turn-of-the-century Boston
Museum School pupil of the first three men and later consulted extensively with Paxton who
was himself a product of the French Beaux Arts training.