To visit Frank's website go to   To find a workshop near you.  Learn to paint like the Old Masters, even if you want to create Modern Art using the theories of Classical Academic Art.  This Class is just as great for a beginner as it is for a seasoned professional.  

Raleigh, NC Coordinator, Katie Friedman for contact info 



 To find an Old Master to copy, check out the website below. 

The largest on-line Museum on the internet. A work in progress, steadily expanding with thousands of high quality images of the greatest paintings and sculpture in history, the Art Renewal Center is building an encyclopedic collection of essays, biographies and articles by top scholars in the field.  

ARC is the Eye of the Storm, at the core, hub and center of a major cultural shift in the art world. With a growing body of experts, they are setting standards to become ARC Approved™ for artists and  systems of training, museum exhibitions and historical scholarship, to bring guidance, direction, goals and reality to an art establishment that has been sailing rudderless for nearly a hundred years.  

Additionally, the Art Renewal Center is a non-profit educational organization committed to reviving standards of craftsmanship and excellence. Only by gaining a full command of the skills of the past masters can we create the masters of tomorrow.

More on the History of Frank Covino: 

Students are encouraged to paint on untempered masonite, coated with three applications of a bonded marble gesso; Frank's "Rennaissance Gesso" has the true marble grit of the product described by Cennino Cennini in"Il Libro delle' Arte" (circa 16th century), with far more porosity than any other contemporary product.
Frank, Jr. was small, the shortest kid in his class all through grammar and junior high school. To compound his humiliation, he was the only boy in the New York Italian neighborhood who wore glasses, crushed on a monthly basis by schoolyard bullies, who took delight in beating the frail child on a regular basis. Frank, Sr. took pride in coaching the high school baseball team, but Frank Jr. coulan't throw or hit the ball. He was ridiculed for even trying. He cried in his room a lot, and, after seeing some of his grandpa's drawings, he began to sketch.

Frank, Jr.'s sketches were not stick figures; he could draw anything he could see with extraordinary precision. His mom recognized the gift and supplied pencils for the child, proudly showing his work to her husband every day when he returned from the post office.
They were a little strange: the long-haired boys on Tenth Street, but Frank really liked to draw. It was something he could do inside while his peers played baseball, and, inside, he could wear his glasses, without shame. Besides, the weirdest artists of Tenth Street weren't artists at all, in the boy's mind. They couldn't draw, so they eliminated realism and self-expressed, a euphemism for untalented attacks upon canvas by legions of the technically inadequate.

Since there was no way the poor Italian family could support his college education, Frank Jr. enlisted in 1950. The government offered four years of college expenses in exchange for four years of service. His thoughts of an art education at Pratt Institute, if he returned, may have kept Sergeant Covino alive during the Korean War months. Spartan survival toughened the soldier enough to earn him a spot with the USAF Boxing team, Welter-weight division, after Panmunjon, and Frank counted the days to his Honorable Discharge. He couldn't wait to begin his freshman year in 1954.

Right: Covino reasons: "The complexion of a model is as unique and important as the alignment of her features. It can and should be duplicated."

But Frank waited too long. The reputable Pratt Institute had weeded out all the Classical Academicians by that time, and the Self Expressionists and Abstract Expressionists had well entrenched themselves on the faculty. For his Classical Art Education, the veteran had to cross the East River, to visit one of the finest art museums in the world. The Metropolitan Museum of Art not only offered great treasures of art from the Renaissance, but it also displayed some unfinished art of the Masters, which offered many clues to the mystery of their procedure.

Frank learned the early processes by copying from these Masters, and from researching Renaissance literature available just a couple of miles south of the Met, at the New York Public Library. Visits to his "grandpa" helped to fill in some of the gaps, but, when Leonardo da Vinci's "Treatise On Painting" was finally translated into English after 400 years, many of the questions in the mind of Frank Covino were soon clarified.
A talent search by a correspondence art school in Westport, Connecticut lured Frank to the famous artist's school in 1959 where he was hired to critique paintings submitted by distant students, after reading their seventh instructional chapter. Frank taught there for three years, continuing to organize the thoughts for his first book. It was a great job, and there was a paucity of instructors who could teach portraiture, so Frank had carte blanche for his letters of critique and for his corrective paintings, but he missed the interpersonal contact.
Right: Beginning students are encouraged to duplicate "Old Masters" enabling Covino to guide then through time-tested academic principles. "Significant art," defends Covino, "can only follow a thorough analysis and duplication of significant art. Copying the Masters with qualified guidance is how the Masters themselves learned how to paint."

In 1962, he began to teach a private class in the Classical Manner of Oil Painting at the Museum of Art, Science and Industry, in Bridgeport, Connecticut,. This led to the formation of his own school, the Frank Covino Academy of Art, which he conducted for 30 years, and to the publications of Discover Acrvlics with Frank Covino (Watson-Guptill, 1974) and Controlled Painting (North Light Pub., 1982), two highly informative books that were "sold out" just two years after publication.
Another bronze sculpture by the artist may be seen in Riverside Park, Westport, CT. Covino's shocking five by eight foot portrayal of the second coming of Jesus, titled Return of The Lamb....As A Lion stirred the emotions of thousands of parishioners at the Calvary Episcopal Church in Bridgeport, Connecticut for several years, before it closed its doors. the powerful, judgmental Christ has been hanging in the artist's studio waiting for another Christian home.
In 1992, Frank Covino closed the doors to his Academy to begin nationwide workshop seminars, which he conducts to the present day.

Coordinator, Katie Friedman for contact info   Classes in North Carolina.  Fine Art Classes in Cary, Fine Art Classes in Raleigh.