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PROGRAM	PROGRAM CODE	PRICE	DATES
Summer 2008	MSASU	$5,615	June 13 - July 26
Eligibility: Students must have graduated from high school and be at least 18 years of age. Students must have a minimum GPA of 2.5. Open to students with any level of French and art experience. Total contact hours: 90 per summer session. 15 contact hours = 1 semester credit. 10 contact hours = 1 quarter unit. Possible U.S. Credits: 6 semester credits per summer session The transcript for this program is issued by the Institute for American Universities. If your school requires an American transcript, click here

THE MARCHUTZ SCHOOL OF ART - AIX-EN-PROVENCE, FRANCE:

Summer 2008 Courses

All courses are subject to change. Unless otherwise noted all courses are taught in English.

Marchutz Summer students take the two Seminar classes listed below for a total of 6 semester credits, plus the Conversational French "survival course," (below) which is not for credit.

PAINTING AND DRAWING

ART 307S: Studio Art Seminar (3 semester credits)
Designed for students enrolled in the Marchutz interdisciplinary curriculum. Figure drawing/painting, copying, memory work, museum study, landscape/still life. Students are asked to explore, through a rigorous perception of the visible world, the relationship of drawing and color, volume and light, content and form, technique and imagination. 72 contact hours, 30 hour individual project. ART 309S must be taken concurrently.

ART 309S: Art Criticism Seminar (3 semester credits)
Intensive critical and comparative analysis of works from different periods and cultures, with an emphasis on the relationship between content and form. Includes three full-day site visits. ART 307S must be taken concurrently.

The fundamental principle of the Marchutz School is simple: the synthesis of sight (a perception of the world) and insight (a perception of art) can be the precursor to fresh, original painting. It can be the springboard to a new concept.

From this principle, students at the Marchutz School begin. They draw and paint - every day if possible. They work from models, children, musicians, dancers. They interrelate figure drawing, portraiture, landscape and still-life with interpretative copies of master works, memory work, and sketch book journals. Painting and drawing, study in museums and reading/writing assignments challenge students to explore the correspondences between natural and artistic forms.

Group and individual critiques are integral aspects of each student's process. Technique is developed in concordance with each student's vision and imagination. Individual projects give students the freedom to explore their unique concerns.

FRENCH LANGUAGE

FRE100S: Conversational French (not for credit)
The Marchutz School summer program does not offer a language course for credit because of the demands of the intensive studio work. However, the school has created this not-for-credit "survival course" for the Marchutz students during the 6-week session at no extra tuition cost. Beginners meet for two one-hour sessions a week with a professor from The Aix Center, who gives them some basic tools to negotiate their time in France. Intermediate and advanced students also meet with the professor twice a week for one hour to ameliorate their conversational French structures. The survival course is not mandatory but strongly recommended for all Marchutz summer

students.

MARCHUTZ PROGRAM OVERVIEW - SEMINAR
Weekly interdisciplinary seminars ask students to seek connections in their works with that of other artists as well as critics from different times and cultures. Music, poetry and theater are often compared to painting, sculpture or architecture. Intensive discussions around slide comparisons of works from all periods of art have their positive affect on the students' capacity to view their art in a larger context.

CRITIQUES
The purpose of critiques is for students to take distance on what they've done and have the experience of looking at a body of their work. Taking distance allows students to begin to judge the relative value of one work compared to another: how successful one painting is, or what promise another image shows in terms of a possible direction that might be explored in the future.

When you're involved in painting, you're much too close to be able to judge what you're doing. So, while painting, you must learn to simply let yourself go and immerse yourself in the visual experience you're having rather than trying to judge it immediately as to its ultimate value.

Critiques involve separating yourself from what you've done, looking at the work objectively, and then trying to judge it - in terms of how successful it really is - regardless of what you wanted to make of it or how you felt at the time you were doing it.

Often, some of the best paintings done by students have occurred during times when they felt they were doing their worst work. And sometimes paintings that students consider to be their masterpieces show themselves to be rather mediocre or conventional, because they are simply expressions of what was wanted or willed, and don't go beyond that.

Critiques are a time of looking carefully and, little by little, discovering what the images reveal.

EXCURSIONS
Excursions are an integral part of the program. Students visit small towns and villages of Provence, which in the past have included St. Remy, Arles, Luberon Valley villages of Bonnieux and Lacoste.