James Haas has recently had a first-time experience of posing as a model. He did so at the

Maryland Institute College of Art in Baltimore,MD.  

Jim has done many things, BUT THIS was a first. 

He experienced sculpture from the other side.

He sent photos of his two picks from the sessions.  

Jim says the second sculptor was a student named Ana. She is also a very talented painter. Born in Italy she came to America to study art. Were you to speak with her, you would hear not a trace of an Italian accent. A number of her paintings have been exhibited and her future looks bright.

The sculptor’s name is Dooree. She graduated from the Maryland Institute College of Art in June.  [Webmaster notes: This captures Jim in his familiar grin.]

Jim reflected about the sessions:

Having written and published a biography of American sculptor Hermon Atkins MacNeil, I have had a few occasions to mention the models he used for a number of his works. That being said, I had no real understanding of what being an artist’s model entailed. And then my friend Bob Copskey, professor of sculpture at the Maryland Institute College of Art asked if I would serve as the model for a portrait bust to be modeled by his students. I said “yes.”

Jim continues:  … “on the appointed day one as I drove to the school, I will admit to experiencing some small amount of anxiety. While I knew I would be asked to assume a pose that would have to be maintained for a number of hours, I wondered if I would be able to stay in one position for that length of time, and what would I think about?”

He sent a photo of the whole class at the Maryland Institute College of Art:  

“Returning the following week, the morning was spent with the students refining their work, the routine pretty much the same.

In the afternoon I once again gave a presentation on MacNeil followed by a review of the fifteen portrait busts during which I observed that I had never given much thought to what the back of my head looked like.  Some students laughed. I enjoyed seeing every effort, a few from more experienced students standing out.  Had it been possible I would have purchased one or two.  Alas, the clay was remanded to the bins, but cell phone photos were taken …  Sic transit gloria mundi.

Closeup of Dooree’s final sculpture of Jim Haas.  [Webmaster notes: This captures Jim in his familiar grin.]

Portrait bust in clay by Ana from Italy studying in Maryland Institute College of Art

For More: Read Jim’s Reflections:  

“Confessions of a First-Time Artist’s Model:

            Having written and published a biography of American sculptor Hermon Atkins MacNeil, I have had a few occasions to mention the models he used for a number of his works. That being said, I had no real understanding of what being an artist’s model entailed. And then my friend Bob Copskey, professor of sculpture at the Maryland Institute College of Art asked if I would serve as the model for a portrait bust to be modeled by his students. I said yes and on the appointed day one as I drove to the school, I will admit to experiencing some small amount of anxiety. While I knew I would be asked to assume a pose that would have to be maintained for a number of hours, I wondered if I would be able to stay in one position for that length of time, and what would I think about?

Having given presentations about MacNeil to his students in past years, I was familiar with the studio and as it happened, had once been present to observe a model at work. At the time I did not take note of the revolving platform on which she sat, but as the session began, Bob explained that the centrally placed stage would be rotated slightly every couple of minutes. This would enable the students standing at their platforms circling the platform to have a 360 degree of my neck and head. “Call for a break at any time, assume a pose that is comfortable,” Bob directed, “and to the extent possible, maintain it by focusing on a specific floor to ceiling point. “No problem” says I and so the session began. 

I watched as each student leaned into the bins to scrape the clay that would be applied, layer upon layer and bit by bit to the armature that would in time be transformed into their collective versions of yours truly. Never having sat in one position for so long a time, it was easier than I thought it would be and no breaks were taken. So, what went through my mind in the course of the two hours that followed?

For some, but not all, modeling a portrait bust was a new experience. Some were tentative; others set their minds and hands to the task at hand and, as expected, all took a turn at Prof. Copskey’s request, to “please turn the model.” As the first hour passed and much clay having been applied to their armatures, a number of students began to approach the stand to examine my head from every vantage point possible. I studiously avoided their prying eyes at the same time being curious as to what exactly they were trying to see and wondering if they would be able to retain their findings when they got back to their work stands.    

Over the course of two and half hours, I had made two 360-degree revolutions around the room charting the progress of the fifteen artists noting what each of three males and twelve females did as they worked. Some had ear buds leading me to wonder if they were listening to music. One of them, a young lady, was very definitely dancing to the beat she was hearing, so I knew she was. As for the others, well, who’s to say? Common to all was the look of intent and purpose each wore as I looked at them and they looked back.

As I made my two revolutions, I watched and listened to the counsel given to each by Prof. Copskey, always encouraging, never without a positive suggestion based on many years of classroom teaching, he himself an accomplished sculptor and medalist. I thought “How fortunate they are!”

A welcome lunch break followed during which Bob asked how I thought the day was progressing, was I comfortable and other related questions. My truthful answer was that “Yes, I was very comfortable, that holding the suggested pose was not difficult, and that I was enjoying the whole experience more than I thought I would.”

Returning to the studio it did not surprise me to see the young artists already working the clay refining their version of their model’s head. Once again, I mounted the platform and retook what I thought was this morning’s pose, but was surprised when Bob, employing his many years of teaching made suggestions, very gently, that I adjust the tilt of my head ever so slightly, alter the expression on my face and as much as possible, focus my eyes and the level of my gaze as I had in the morning session. The afternoon session went well.

Returning the following week, the morning was spent with the students refining their work, the routine pretty much the same. In the afternoon I once again gave a presentation on MacNeil followed by a review of the fifteen portrait busts during which I observed that I had never given much thought to what the back of my head looked like. Some students laughed. I enjoyed seeing every effort, a few from more experienced students standing out. Had it been possible I would have purchased one or two. Alas, the clay was remanded to the bins, but cell phone photos were taken. Sic transit gloria mundi.” 

Stay tuned for more …..

Visit  Bob Copsky’s website here: 

And  Bob’s Gallery section here:

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