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The gathering, filled to overflowing, offered a remarkable contrast to the events at the Hilton Hotel, although there were a number of visitors wearing green CAA identification cards. In contrast to the great number of meetings hosted by the CAA this year, there was only one event at the League, held in the large lecture room on the second floor. The influence of the League and the Academy, in their championship of traditional figurative arts education, waned in the latter half of the twentieth century. Morse and Hudson River School artists Thomas Cole and Asher B. The League was founded in 1875 by a breakaway group of teachers and students from the National Academy of Design, established in 1825 by Samuel B.
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The national economic downsizing most conspicuously affected the publishing houses, which offered far fewer art publications, but it may also have contributed to the smaller number of flamboyant subjects than in previous conferences.Īnother noticeable difference was the presence of an alternative arts symposium, held only a few blocks away at the venerable Art Students League. The mood this year seemed more upbeat than in previous years, more self-congratulatory, less hostile and more professional, more willing to allow a few dissident voices to challenge the paradigm that has dominated the CAA since the 1970s. The fourth floor of the hotel was devoted to book publishers and art supply manufacturers advertising their latest wares. There were 180 two-to-three-hour panel discussions, with a half-dozen speakers each, presented simultaneously at the rate of fifteen per hour. For four days, some 6,000 scholars, educators, artists, curators, authors, publishers and thousands of networking graduate students seeking employment, connections and book deals, jammed into a hundred or so spaces throughout three floors of the hotel’s convention center, for talks and slide presentations delivered by several hundred scholars, professors, political and gender activists, artists, university deans and foundation chairmen. In early February 2011, members and acolytes of the College Art Association gathered in New York City to celebrate the 100th anniversary of the CAA at the Hilton Hotel. We leave so many exhibitions today with a sense of emptiness, a lack of substance…as all these new technological multimedia flashes take over…it is difficult to find work that has any kind of the richness of experience that the past has given us.
ROBERT LIBERACE PEN AND INK DEMO SERIES
He has filmed a series of tutorial dvds on painting and drawing which are available through his website.Today we are overwhelmed with imagery and influences. He also teaches for their annual "Weekend with the Masters" workshops. Rob pioneered one of the first online teaching courses for American Artist Magazine which included live webinars and critiques. They also published an article about him in the Summer 2009 issue of the same magazine. American Artist's Workshop Magazine featured one of Rob's Ireland workshops in their Spring 2006 issue. He teaches at The Art League of Virginia and holds workshops throughout the United States and abroad. Rob is known for his inspiring and informative teaching style. Rob lives with his wife, illustrator Lina Liberace, and their two daughters in their 1910 Virginia home which has turned out to be a never-ending renovation project.
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He is represented by the Arcadia Gallery in New York City, the John Pence Gallery in San Francisco, and the M Gallery in Charleston. Rob has been selected to be an honorary member of the America China Oil Painting Artists League. He works in a variety of mediums including pencil, chalk, pen and ink, watercolor, and oil. His work is inspired by the centuries of knowledge, skill, and elegance of the old masters. Robert Liberace is equally accomplished in drawing, painting, and sculpture.