by Jennifer Hebblethwaite

Nelson Shanks will personally supervise the studio training and other students insight into his works-in-progress by painting at the Incaminati studio

It is common knowledge in the art community that Nelson Shanks is an avid collector.

Chelwood, Shanks' 19th century French Italianate Manor home, is virtually a museum of important Renaissance paintings and sculpture. One of his most treasured pieces is the Madonna and Child with Saints Lucy, Dominic, and Louis by Annibale Carracci. Shanks adores the painting, but more importantly, Carracci's artistic ideologies offered Nelson special inspiration.

In 1589, Annibale Carracci, along with his uncle and cousin, opened the Academia delgi Incaminati, later called the "School of the Eclectics" and the "School of Carracci." Their objective was to "revive" art in the manner of the great masters. Numerous important figures in 17th century painting learned their principles of drawing, painting and printmaking from the Carracci family tutelage, which was steeped in art theory and practice.

According to Nelson, "Over four centuries ago the Academia degli Incaminati was formed in response to absurd excesses in the art world and today again we respond to the same need in an effort to reconnect to the depth of purpose of great art." Shanks has been tireless in his crusade to redirect modern art, campaigning for a movement towards what he calls "Progressive Realism." Progressive Realism is art inspired by classical principles and modern dynamism where skilled technique meets contemporary form and color. To teach these ideals, Nelson Shanks has opened his own school of the arts, inspired by the spirit of Carracci's Academia, that will offer a structured approach to teaching progressive realist painting. Shanks named the school Incaminati: Studies in Realist Art, and they opened the doors October 1, 2002 with 30 outstanding students from around the world.

For years, Nelson has contemplated creating an academy. He envisioned a type of foundation that would act as "an artistic collective where painters interact with and learn from musicians, philosophers, artisans, and members of the intellectual community who have passionate interest in realist art. " Financial considerations and the lack of a facility, however, made such a place seem years from realization. . .but that was before Dr. and Mrs. Hubert Schoemaker. Dr. Hubert Schoemaker is a renowned microbiologist and founder of Centacor, a major chemical group. Shanks describes their family as, "dear friends and incredible people who are connoisseurs and collectors of fine art." The Shoemakers launched Incaminati with a seed grant of $40,000 to lease a portion of the Wolf Building on 12th street in Philadelphia, offering 5,000 square feet and 120 feet of precious north light.

With the additional cost of renovations and equipment, the Shoemaker's generous donation was quickly "eaten up." Shanks says his school is a "not for profit, not for too much loss organization. We are charging so little for tuition. At $160 per week for full-time students, it's about one-fourth the cost of your average art school tuition. It doesn't even come close to paying the rent or the models' fees. We're trying to raise money, to create a board of directors, and to establish an endowment. We're going to have to use what we believe in and what we know we can accomplish as our sales tool to raise this money. I have every intention that Incaminati will become the art school to set all standards; I just have to raise a few million dollars."

Nelson Shanks has already started soliciting individuals to serve on Incaminati's board of directors. He hopes that one day there will be an honorary board featuring some of the "kings and queens and famous opera singers and actors and actresses" that he has painted, but for now he is focused on organizing a group of people who will "roll up their sleeves and get the work done. Ideally, I'd love to have what happened to Prince Phillip and the World Wildlife Fund to happen to usÑthe Prince became a real worker, not just a name on the letterhead. I just feel so strongly that we need to strike out for what we know to be higher culture, because the cultural level has been dropping dangerously and precipitously. We just have to have a revival and there are going to be influential people who will help instigate that revival!"

With a facility in place and funding under way, Shanks set about solidifying the curriculum at Incaminati. Studies begin by gradually raising students to the level of basic mastery in drawing and painting: "The student will first begin to understand form and value through drawing, then continue with color studies in oil, beginning with the classic monochromatic technique grisaille and full color painting from both the model and still life." Assisted by advanced teaching associates, Shanks will personally supervise the studio training and offer students insight into his works-in-progress by painting at the Incaminati studio. Moreover, visiting guest lecturers and artists, demonstrations, museum visits and exhibitions of student work will supplement students' learning.

Shanks also plans to bring his original concept of a flourishing artistic collective to fruition: "It's already begun. The Chamber Orchestra of Philadelphia is going to give us their excess tickets. The students have already been down to one concert. They will go regularly. I'm hoping to purchase a piano and other instruments for the Incaminati to help lure musicians into the studio. We would be able to paint them and their instruments while they played. We could do the same thing with people who came to talk about art and religion and other related things. We can paint them while they lecture. Our facility is also next door to a theatre company. There are so many possibilities. I want it to be a community. It's just amazing to me that Incaminati is turning out to be just what I had described and hoped for."

While Shanks also hopes for additional students to enter for evening, weekend or summer classes, he plans to accept 10 to 12 more full-time students into his program, with a course of study that he sees lasting three to five years. Ideally, students would begin in large classes, then move to smaller, more intimate sessions, and the most advanced students would have their own studio space in the facility. Questions, however, have already been raised regarding criteria for admissions and student capacity: "Whom do I accept? Well, those with a portfolio that show they are very accomplished, those I can scarcely say no to. But people who have never drawn to speak of, I would be reluctant not to accept them. If my teaching methods are as sound as I think, then I hate to say no. They could be the next Michelangelo. Unfortunately, people soon will have to wait for a slot to open up before they can join the school, but I don't want to limit. I want to help."

After just one month, Shanks has been so impressed with the progress of students that he is already talking about plans for expansion. He is establishing an art supply store on campus where students can purchase their materials wholesale, "so students never have to go an hour without the right equipment." He also would like to occupy more of The Wolf Building, expanding their space from 5,000 to 10,000 square feet with 240 feet of north light. A portion of this space he plans to set aside for dormitories: "One of the reasons that I opened the school here instead of New York is the high cost of New York real estate, not to mention the expense of living in the city. Now we're in a comfortable, easy place for people to find good accommodations, but it would help good students if dormitories were available."

The art community's interest in Nelson Shanks Incaminati has been startling. He insists, "The level of excitement and dedication and enthusiasm is on a level I have never witnessed before in 42 years of teaching!" But Shanks' passion for the ideals of Progressive Realism goes beyond founding an academy. He hopes that Incaminati "will not be just a school. I want it to be a movement. We want to produce our own great classical art and upgrade society!"

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Jennifer Hebblethwaite is the literary manager for the Horizon Theatre Company in Atlanta, Georgia, and a freelance writer and dramaturg.

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