American Artist Magazine, November 2012

In this issue, we trace how representational art has alternated between hyper-realism and a more lyrical expression throughout history and look at some ways in which both past and contemporary practitioners utilize these techniques.

advertisement


FEATURES

The Basis for Beauty
We recently asked instructors at Studio Incamminati, in Philadelphia, to try some new drawing and painting grounds. Their experiences are not meant to endorse a particular product but instead give you new criteria to consider the next time you’re at your local art-supply store.

The Renaissance Portrait: Donatello to Bellini
By John A. Parks
A recent exhibition demonstrates how 15th-century Italy learned to use the power and appeal of portraiture. 

The Portrait, Demonstrated: Part 3 of  3
In this final installment of our three-part series, Gregory Mortenson shares his palette and explains his paint-application process.

Painting As the Romans Paint
The recent program “Rome Through the Eyes of Piranesi” took artists and architects on a drawing and painting tour of Rome, under the auspices of the Institute of Classical Architecture & Art (ICAA). We recently spoke with instructor Patrick Connors about the program and about how Renaissance-inspired theories of perspective and proportion inform his own paintings. 

Paradise  Lost
By Michael Gormley
Mark Innerst creates sublime paintings of urban landscapes and coastal regions that juxtapose realist and abstract elements.

Ahead of His Time: The Vision & Experimentation of Édouard Vuillard
By Allison Malafronte
Although this turn-of-the 20th-century artist is often overlooked in the art-historical documentation of Modernism, it is now apparent that Vuillard’s aesthetic vision both anticipated and surpassed that revolutionary movement. 







 

 

 

 

 

 

 

 


Related Posts
+ Add a comment