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I learned how to build an armature and work with terracotta. On my own, I began contacting experienced sculptors.

So, I focused on painting until after grad school. вЂњWhen I first got into the art program in college, sculpture was my focus, but nothing was available at my school. Like so many Italian artists before him, Liberace is not only a painter, but also a sculptor. вЂњMichelangelo had a powerful impact on me and gave me the interest to express myself and show the figure in classical language to express the body.вЂќ MichelangeloвЂ™s four prisoners, the non finito or unfinished Dying Slave, Awakening Slave, Bound Slave, and Rebellious Slave inspired Liberace. He learned how to show expressions of the figure based on particular actions and in transition. That led him to artists such as Bernini, Michelangelo, and the photography of Eadweard Muybridge.

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He continued to research old papers and drawings full of character, and to explore anatomy and the mechanics of the body. Early on, he was working on single figures, showing pentimenti, unfinished lines, and changing positions to foster a sense of action. He imbues the figure with character, natural activity, and fluid motion. Using pentimento, he shows unfinished lines and changes that evolve as the drawings develop. LiberaceвЂ™s animated contrapposto images display torsos twisting the body with a natural sense of movement.

Under this influence, he visited the print and drawing rooms at great museums, reserving these works to study and copy on his own. Wright encouraged travel, copious drawing, and study of techniques to refine his paintings. With Frank Wright, whose background included years of living and studying in Tuscany and Paris, Liberace developed an even deeper love of the old masters.

This scholarship freed him to concentrate on honing his skills. The skills exhibited not just correct musculature and proportion, but also depth of emotion and impending motion. Stevens encouraged his application, which he won with a portfolio replete with a sophisticated grouping of figure and portrait studies.

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Two instructors, Brad Stevens, and later, Frank Wright, led him through a series of studies, just as the masters had done with their students centuries before.ДЄfter Liberace finished his Bachelor of Liberal Arts, he applied for the prestigious Morris Louis Scholarship, which offered tuition and a stipend to pursue a Master of Fine Art degree at GMU. With his love of the figure, his goal was a complete understanding of anatomy, the dynamic movement of the figure, and the techniques of classical drawing and painting, influenced by the old masters. Although he had been intrigued by HogarthвЂ™s вЂњ Dynamic Figure DrawingвЂќ as a child, it was his first figure drawing class from GWU art instructor Brad Stevens that shaped his future. While attending GWU, he expanded his horizons to develop his love of art. Robert Liberace left Rockland County, New York, to attend George Washington University, in Washington, DC, on a baseball scholarship. Bush, Ambassador Sol Linowitz, Marc Pachter, Director of the National Portrait Gallery, and General Wallace M. Or that his portraits today would include the 41st President of the United States, George H. Who could have known that a star baseball player from a large Italian family in Pomona, New York, would become one of the worldвЂ™s living masters of the 21st centuryвЂ™s renaissance of realism and classical figurative art.