Remembering Henry Hope Reed by Steven W. Semes

Henry Hope Reed loved Rome. Years ago, I asked him where as a young architect I should go to study “the Classical,” as he always called the kind of architecture we both loved. “Rome,” he answered unhesitatingly. “Rome is the place.” It was good advice, though it took me a couple of decades before I was able to follow it…

The Beautiful Life of Henry Hope Reed by David Brussat

For half a century the leader of the classical revival in America, the historian, tour guide and founder of Classical America, Henry Hope Reed — the arch-antagonist of modern architecture — died May 1, in Manhattan, at age 97…

Remembrance from Requiem Eucharist at Saint Thomas Church by Catesby Leigh

Henry Hope Reed was a man with a deep appreciation for luxury, which might sound like a trait unbefitting a Christian gentleman. For Henry, the luxurious decoration of a public square, the luxurious ornamentation of a building, even the luxurious embellishment of one’s own person were essentially a matter of enriching our visual experience of the world…

Remembrance from Requiem Eucharist at Saint Thomas Church by Alvin Holm

“In spite of the triumphs of the American Renaissance (1890-1920) the daemonic forces of abstract nihilism have prevailed.”

I read these ringing words and yawned. They are the opening sentence of Chapter Four called “The Golden City” from the book of the same name published in 1959…

In Memoriam: Henry Hope Reed, Jr. by David Mayernik

Henry Hope Reed passed away on the first of May, and I wanted to add my voice to the list of those like my colleague Steve Semes, and David Brussat at the Providence Journal, in honoring Henry and what he stood for…

On the evening of April 4, 2013 Ann Long Fine Art in Charleston SC will host the inaugural exhibition of work from the Academy of Classical Design titled ‘Pure Ornament’. Until recent times, the study of ornament was a regular part of an art student’s training, like anatomy or perspective, especially for those interested in mural painting. Artists from Michelangelo to Sargent have been expected to learn the language of ornament along with the ability to represent nature, and in doing so, develop the discernment to apply both in architectural decoration, often with astonishing results.

* The Academy’s Director D. Jeffrey Mims will deliver an introductory lecture titled ‘Pure Ornament‘ at 6:00 on April 3 at the Charleston Library Society. This event is being sponsored by Ann Long Fine Art , The Charleston Library Society , and the Charleston Chapter of the Institute of Classical Architecture .

Kenyon Cox 1856 ~ 1919 was an American mural painter and author of The Classic Point of View. Among the many convincing arguments he made in support of traditional painting (and more relevant than ever) is the following:

‘From the classic point of view, the study of design is the most salutary discipline possible in this too naturalistic age. If I could have my way in the training of young artists, I should insist upon their spending a good deal of time in the study and designing of pure ornament that they might learn how independent fine design is of its content and how slight may be the connection between art and nature.’

D o not allow it to be supposed that the mere patronage of fashion, the mere reward offered by high price, is sufficient to secure true excellence; and remember that it is the intelligent worship of beauty, and the effort to produce it, which constitute the basis of all excellence in art.

Quote from W. E. Gladstone, Britain’s Prime Minister under Queen Victoria

Portrait of W. E. Gladstone by J. E. Millais

English painter, sculptor and President of the Royal Academy of Arts, Frederic, Lord Leighton (1830 -1896) was arguably the finest draughtsman of his time. His former home and studio is now open to the public as the Leighton House Museum.

The Leighton Drawings Project aimed to catalogue, conserve, photograph and exhibit the collection of almost 700 drawings by Leighton at Leighton House Museum. It was carried out between 2005 and 2007 with the support of the Heritage Lottery Fund. The fully illustrated catalogue can be accessed through the Leighton Drawings Project website, along with a database of all Leighton drawings in other public collections worldwide, created with the support of the Paul Mellon Centre for Studies in British Art.

Courtesy of The Royal Borough of Kensington and Chelsea

Considered by many to be the only modern artist ever to successfully compete with the ancients in this arena was the Florentine, Michelangelo Buonarotti. The majesty of his David, and especially the features of the face, have themselves evolved into icons for training and are often used as a transition in studying from the flat to the round.

In honor of and as tribute to the life of astronaut Neil Armstrong, the first man to actually stand on this mystery, we include a look at the junction between our moon and the history of Art, through either symbol or visual representation.

The images above are by the French designer and architect Pierre-Adrien Paris – and the story below, one of perseverance.

In 1769, Pierre-Adrien Paris travelled to Rome as tutor to his teacher’s son after three unsuccessful attempts at winning the Prix de Rome. While in Italy, Paris traveled extensively and made drawings and casts after antiquity. Based on this catalog of drawings, Louis XVI appointed him King’s Designer and Architect upon his return to France. Later in life he returned to Italy and while acting director of the French Academy in Rome, directed excavations at the Colosseum and arranged the purchase for France of the Borghese collection of antiquities.

This Spring, students from the academy will be supplementing the regular curriculum by making careful drawing studies at the Weymouth Studio and grounds. Based on examples (above) from our recent lecture on Plant Studies, this practice will allow each student to experience this important and often overlooked aspect of picture making.

The Art of England– an Untold Story will be the subject of ten beautifully illustrated lectures delivered by artist and Academy Director, D. Jeffrey Mims. Reaching back to the court of King Henry VIII, a narrative will follow the struggles and triumphs of a nation learning to define its artistic identity.

THE ART OF ENGLAND · AN UNTOLD STORY
A Two-Part Lecture Series
Series I February 1st – 29th · Series II May 2nd – 30th

Wednesdays 3:00 to 4:00 pm
Subscription for each five-lecture series ~ $100

The Academy’s main studio is located behind the Country Bookshop in downtown Southern Pines. Series tickets available at The Country Bookshop, or call the Academy office at 910·692·9743.

Series I

February 1st
ESTABLISHING “ENGLISHNESS”

February 8th
THE POPISH QUESTION

February 15th
THE FLEMISH INFLUENCE

February 22nd
THE ENGLISH GARDEN

February 29th
THE NEW WORLD

Series II

May 2nd
PRIVATE COLLECTIONS

May 9th
AN ENGLISH PROPHET

May 16th
THE ROYAL ACADEMY

May 23rd
THE PRE-RAPHAELITE BROTHERHOOD

May 30th
THE TRIUMPH OF PUBLIC ART