Eclario
Barone
Born in Salerno on 23 January 1961.
From 1980 to 1984, he was a student of the artists Nato Frascà and Gianpaolo Berto at the Academy of Fine Arts in Rome.
Lecturer in Painting and Drawing at the Academy of Fine Arts in Rome; from 2016 to 2017 he was a lecturer in Drawing at the Academy of Fine Arts in Florence; from 2010 to 2016, he taught painting at the “Mario Sironi” Academy of Fine Arts in Sassari, and in 1992 he taught sculpture at the Academy of Fine Arts in Frosinone.In the academic years 1987–1988 and 1988–1989, he obtained an Erasmus scholarship for a doctorate in Sculpture at the University of La Laguna in Tenerife, Spain.
In 1989, he was invited to the First Mediterranean Graphic Arts Biennial – Agios Nikolaos – Gulf of Mirabello – Crete – Greece.
Various solo and group exhibitions of painting, sculpture, printmaking, illustration and installations, in Italy and abroad. He has worked in the fields of theatrical set design, television and cinematography. He works in sculpture using various materials, installations, painting, printmaking and visual poetry, with a particular interest in the relationship between visual art and contemporary music. He has conducted in-depth research into instinctive and informal drawing based on Nato Frascà’s “Teoria dello Scarabocchio degli adulti”.
Published texts:
– Nato Frascà. La didattica, un percorso artistico. VADO>VERSO>DOVE>VENGO 2.0, Eclario Barone and Franca D’Angelo 2019, Academy of Fine Arts in Rome. Publisher “L’Erma di Bretchneider”. Rome.
– Alcuni topoi della Psiconologia, una proposta di glossario’ ‘in ‘Parol, N.24 Quaderni d’arte ed epistemologia, AA.VV. 2014, Academy of Fine Arts in Sassari, Edizioni EDES Sassari
LEARNING OBJECTIVES:
Through a variety of practical exercises and ongoing individual and group reflection, the course aims to develop an original and conscious approach to the use of the visual form, enabling students both to express and communicate their own visual explorations and to organise and structure more complex works (paintings, sculptures, performances, etc.).
CONTENT AND TOPICS:
Experimenting with various drawing techniques: slow and fast execution; the rhythm of the stroke; the energy of the stroke; drawing from life and from the imagination; negative and positive space; drawing as a project and as free expression; composition; the use of compositional grids and geometry; synthetic and analytical drawing; chiaroscuro; the use of form and texture; portraiture; the human form at rest and in motion; the symbolic meanings of the line. Use of traditional and mixed media techniques. Practical exercise and decoding of the “Adult Doodle” based on Nato Frascà’s psychological theory.
References to the drawing methods of contemporary and past artists (monographic presentations)
TEACHING METHODS/COURSE ORGANISATION:
The course includes theoretical and practical sessions, including the use of live models.
Both traditional and experimental techniques will be used. The use of notebooks will be a structural feature:
1- hands, feet, eyes, ears, mouth; 2- figures in everyday poses; 3- views and places; 4- development of themes taken from the book: “Lettere ad un giovane poeta” by R. M. Rilke; 5- individual study of the painting: “La visione dopo il sermone” by Paul Gauguin, to be compared and reworked with another work of the student’s choice.
– THE ZEN REAM: exploring one’s own style through daily practice, using a ream of 500 A4 sheets.
FINAL ASSESSMENT METHOD:
The exam will be preceded by at least two assessments (in person and online) during the year, in which the notebooks and folders (and/or PDF files) with all the work done will be viewed. The evaluation criteria for the exam will be: attendance, individual development of the proposed themes, display and quality of the presentation of the work.
THEME OF THE YEAR: “La visione dopo il sermone” by Paul Gauguin
EXPERIENCES:
– Visits to exhibitions and museums, “in person” and “remotely”, with the creation of graphic studies using various techniques
– Practical exercise and decoding of the “Doodle” based on Nato Frascà’s “Psychonology”.
– Visits to museums, exhibitions, parks and botanical gardens may be organised…
PERSONAL EQUIPMENT:
– Fabriano F4 type drawing album with smooth and rough sheets
– pencils, graphite, pens, nibs, felt-tip pens, brushes, soft eraser, palette knife, etc.
– cutter, scissors, ruler, paper tape,
– glue stick
– apron (optional)
– synthetic sponge, natural sponge
– 50×70 cm folder
– ream of A4 photocopy paper (at home)
BIBLIOGRAPHY:
– R. M. Rilke, Lettere ad un giovane poeta
– John Berger, Sul disegnare, Il Saggiatore
– Wassily Kandinsky, Punto Linea Superficie, Adelphi
– Paul Klee, Teoria della forma e della figurazione, Mimesis
– Betty Edwards, Disegnare con la parte destra del cervello, Longanesi & C.
– Nato Frascà, L’Arte all’ombra di un’altra luce: Lo Scarabocchio degli adulti (la Psiconologia), Editore Franca D’Angelo Frascà
The course consists of a theoretical part and a practical part:
THEME OF THE YEAR:
“WAR AND PEACE” The dream of reason gives rise to… art!
THE THEORETICAL PART:
An analysis, through the recommended texts, of the work of artists from various periods (copying, analysis of parts and marks, symbolism, etc.) who have expressed themselves primarily through graphic art. Reading of the book “FIGURE come funzionano le immagini dal Rinascimento a Instagram” by Riccardo Falcinelli, EINAUDI Stile libero EXTRA.
Presentations and practical exercises in reading the work.
THE PRACTICAL PART:
– The study of the human body with a living model or through original videos – exercises on various themes related to the study of the graphic mark, composition, texture, graphic techniques, illustration, etc.
Some examples of exercises:
– Designing Your Own Monogram – Your Own Abstract Portrait – Precise and Imprecise Lines – Drawing a Void – Drawing a Solid Form – Drawing a Diagonal Journey – Life Drawing: The Model Posing – Natural Textures,…
– Study of nature from life and consequent reworking of forms – graphic exercises through daily practice in the “notebook”
NOTEBOOKS:
– Figures from life – noses, hands, feet, ears – daprès from works by engravers of the student’s choice with analysis of the lines.
– Textures: natural, abstract, etc.
ANALYSIS OF THE WORK:
– “Crocifissione” by Guttuso to be combined and reworked with another work of the student’s choice.
– “Los desastres de la guerra” series by Goya.
Copying, analysis of parts and marks, composition, decomposition, reworking, symbolism, etc.
THE “ZEN REAM”:
Exploring one’s own style through daily practice, using a ream of 500 A4 sheets.
– Visits to exhibitions and museums, including “remotely”, with the creation of graphic studies using various techniques.
– Practical exercise and decoding of the “Doodle” based on Nato Frascà’s “Psychonology”.
THE EXAM:
There are at least two reviews (in person and online) before the exam.
The evaluation criteria for the exam will be: attendance, individual development of the proposed themes, display and quality of the presentation of the work.
PERSONAL EQUIPMENT:
– Various authors, Le notti chiare erano tutte un’alba. Antologia dei poeti italiani nella I Guerra Mondiale. Bompiani.
– Michael Walzer, Sulla guerra, Edizioni Laterza.
– Sun Zu, L’arte della guerra.
– Riccardo Falcinelli, FIGURE – come funzionano le immagini dal Rinascimento a Instagram, EINAUDI Stile libero EXTRA.
– William Kentridge, SEI LEZIONI DI DISEGNO, Johan&Levi editore.
– Betty Edwards, Disegnare con la parte destra del cervello, Longanesi editore.
– Nato Frascà, L’Arte all’ombra di un’altra luce: Lo Scarabocchio degli adulti (la Psiconologia), Ed. Franca D’Angelo and Xuan Frascà.
LEARNING OBJECTIVES:
Through various practical exercises and ongoing individual and collective reflection, the objective of the course is to develop an original and conscious use of the visual language, enabling students both to express and communicate their own visual explorations and to organise and structure more complex paintings.
CONTENT AND TOPICS:
Experimenting with various drawing techniques: slow and fast execution; the rhythm of the stroke; the energy of the stroke; drawing from life and from the imagination; negative and positive space; drawing as a project and as free expression; composition; the use of compositional grids and geometry; synthetic and analytical drawing; chiaroscuro; the use of form and texture; portraiture; the human form at rest and in motion, including through the practice of drawing live models; the symbolic meanings of the stroke. Use of traditional and mixed media techniques. From Instinctive Markings to Calligraphy: a practical approach and interpretation of “Adult Doodles” based on Nato Frascà’s psychological theory. References to the drawing techniques of contemporary and historical artists: individual study (thematic sketchbook and original works) of Hieronymus Bosch’s painting: “The Garden of Earthly Delights (triptych).
TEACHING METHODS:
Individual and group theoretical-practical sessions, individual in-depth study, internships.
TEACHING METHODS/COURSE ORGANISATION:
The course includes theoretical sessions and workshop activities: individual, group and collective, including the use of live models in person. Individual and group study will be required both in preparation for and following the lectures. Both traditional and experimental techniques will be used. The use of notebooks to be filled with drawings and sketches of the proposed themes (1 – hands, feet, eyes, ears, mouth; 2 – figures; 3 – views and places) will be a key part of the course. Particular attention and in-depth study will be given to the concept of planning in the creation of a work of art.
In addition to the above requirements, first-year students on the two-year course will be required to:
– Submit an individual portfolio of work completed during the three-year course.
– – Presentation of the student’s most recent research and identification of a theme or project to be developed throughout the academic year, involving experimentation documented at regular intervals through preparatory works and the keeping of a notebook or journal in which to record the techniques used, thoughts on the process, references, etc. This year, the lectures will be based on topics taken from the book by R. M. Rilke “Landscape and Other Writings” and on the theme of the year: “The Climate Change Emergency”.
– Presentation of the student’s own working methods and selected artists
FINAL ASSESSMENT METHOD:
The exam will be preceded by at least two assessments (in person and online) during the year, during which students’ notebooks and portfolios containing all their work will be reviewed. The evaluation criteria for the exam will be: attendance, individual development of the proposed themes, display and quality of the presentation of the work.
THEME OF THE YEAR:
The Climate Change Emergency.
FURTHER READING:
“Lo Scarabocchio degli adulti” by Nato Frascà
TEXT OF THE YEAR:
R. M. Rilke, Il paesaggio ed altri scritti, (Ed. Adelphi) – to which a notebook of notes and the design and creation of an original work are to be dedicated.
EXPERIENCES:
Design and creation of site-specific works for an end-of-year exhibition on the theme: The Climate Change Emergency.
PERSONAL EQUIPMENT:
– Fabriano F4 drawing pad with smooth and rough sheets
– pencils, graphite pencils, pens, nibs, felt-tip pens, brushes, soft eraser, palette knife…
– cutter, scissors, ruler, paper tape,
– glue stick
– apron (optional)
– synthetic sponge, natural sponge
– 50×70 cm folder
– ream of A4 photocopy paper (at home)
BIBLIOGRAPHY:
– R. M. Rilke, Il paesaggio ed altri scritti, Adelphi
– John Berger, Sul Disegnare, Il Saggiatore
– Wassily Kandinsky, Lo spirituale nell’arte, Adelphi
– Paul Klee, Teoria della forma e della figurazione, Mimesis
– Nato Frascà, L’Arte all’ombra di un’altra luce: Lo Scarabocchio degli adulti (la Psiconologia), Editore Franca D’Angelo Frascà
– William Kentridge, Sei lezioni di disegno, Jhoan & Levi Ed.