Reilly developed a figure drawing method that began with six basic structural li

nes, a framework upon which the figure could be constructed. He is especially no

ted for developing a means of organizing the palette, based partially on the wor
k of 19th-century colorist Albert H. Munsell. Following Munsell's view of separa
ting color into hue, value and chroma, Reilly organized the figure-painting pale
tte in this manner, creating nine values of neutral grey as a control, with corr
esponding values of red, orange and fleshtone. A value based palette was also de
veloped for landscape painting. His classes at the Art Students League and the c
orresponding landscape classes held in Woodstock, NY were consistently full and
students on the wait list numbered in the hundreds. In the early 1960s he left t
he League to establish the Frank J. Reilly School of Art in the nearby Steinway
Hall Building at 111 West 57th Street. "He taught drawing and painting, values a
nd color, for 28 years, at the Art Students' League of New York....His classroom
s were always jammed to the doors; it is said that, in all he had more pupils th
at any art teacher in history". Memorial tribute by Henderson Wolfe.[2]
Legacy
Many of Reilly's students went on to forge professional art careers. Gerald Alli
son, Michael Aviano, James Bama, Basil Gogos, Jack Faragasso, Fred Fixler, Gordo
n Johnson, Carl Hantman, Doug Higgins, Clark Hulings, Ronnie Lesser, Frank Lilje
gren, Peter Max, Gerald McConnell, George Passantino, Ralph Garafola, Donald Mar
tinetti and Robert Emil Schulz are among them. Reilly's teaching influence conti
nues today with instructors Michael Aviano and Jack Faragasso as well as their s
tudents John Ennis, Jon deMartin, Graydon Parrish, Neilson Carlin and many more.
[3]
Art Students League NEWS, Volume 27, Number 7, October, 1974.
Steine, Kent. "Frank Reilly:Revolutionary Teacher" Step-by-Step Graphics, Ma
y June 2001, p. 93 103.
Silverstein, Bonnie. "Frank J. Reilly: The Man and His Method" American Arti
st Magazine, March 1979. p. 42 49.
Faragaso, Jack. "The Legacy of Frank J. Reilly". Linea, Summer 2006.
Garafola, Ralph. "Frank J. Reilly The Elements of Painting". November 2015.
References
Art Students League NEWS, Volume 20, Number 2, February, 1967.
Wolfe, Henderson. "A Tribute to Frank Reilly" American Artists Professional Leag
ue Bulletin, May 1967. 9.
the reference
The Prix de Rome was initially created for painters and sculptors in 1663 in Fra
nce during the reign of Louis XIV. It was an annual bursary for promising artist
s having proved their talents by completing a very difficult elimination contest
. The prize, organised by the Acadmie Royale de Peinture et de Sculpture (Royal A
cademy of Painting and Sculpture), was open to their students. From 1666, the aw
ard winner could win a stay of three to five years at the Palazzo Mancini in Rom
e at the expense of the King of France. In 1720, the Acadmie Royale d Architecture
began a prize in architecture. Six painters, four sculptors, and two architects[
1] would be sent to the French Academy in Rome founded by Jean-Baptiste Colbert
from 1666.
Expanded after 140 years into five categories, the contest started in 1663 as tw
o categories: painting and sculpture. Architecture was added in 1720. In 1803, m
usic was added, and after 1804 there was a prix for engraving as well. The prima
ry winner took the "First Grand Prize" (called the agr)[2] and the "Second Prizes"
were awarded to the runners-up.
In 1803, Napoleon Bonaparte moved the French Academy in Rome to the Villa Medici

with the intention of preserving an institution once threatened by

evolution. At first, the villa and its gardens were in a sad state,
to be renovated in order to house the winners of the Prix de Rome.
he hoped to retain for young French artists the opportunity to see
masterpieces of antiquity and the Renaissance.

the French R
and they had
In this way,
and copy the

Jacques-Louis David, having failed to win the prize three years in a row, consid
ered suicide. douard Manet, Edgar Degas, Ernest Chausson and Maurice Ravel attemp
ted the Prix de Rome, but did not gain recognition. Ravel tried a total of five
times to win the prize, and the last failed attempt in 1905 was so controversial
that it led to a complete reorganization of the administration at the Paris Con
servatory.
During World War II (1939 45) the prize winners were accommodated in the Villa Par
adiso in Nice.[3] The Prix de Rome was abolished in 1968 by Andr Malraux, who was
Minister of Culture at the time. Since then, a number of contests have been cre
ated, and the academies, together with the Institut de France, were merged by th
e State and the Minister of Culture. Selected residents now have an opportunity
for study during an 18-month (sometimes 2-year) stay at The Academy of France in
Rome, which is accommodated in the Villa Medici.
The heyday of the Prix de Rome was during the late eighteenth and early nineteen
th centuries.[4] It was later imitated by the Prix Abd-el-Tif and the Villa Abdel-Tif in Algiers, 1907 1961, and later Prix d'Indochine including a bursary to vi
sit the cole des Beaux-Arts de l'Indochine in Hanoi, 1920 1939, and bursary for res
idence at the Casa de Velzquez in Madrid, 1929 present.
Winners in the Architecture category
The Prix de Rome for Architecture was created in 1720.