Painting outdoors in winter can be an extreme sport. The snow, the
wind, the cold—it takes a certain kind of artist to paint a winter
landscape while in a winter landscape. The first time I
attempted this was a couple of years ago when I was living in
Connecticut. Two feet of snow had fallen the day before, but when I
looked out my window the scene was so inviting. I didn’t go far and
didn’t stay out long, but I had fun trying to capture the light effects
and reflective surface of the snow during daylight.
Drawing a face is a little like reading a map. And no, not the cool
Indiana Jones map where the red line draws itself to the destination
and ‘X’ marks the spot. I wish! It is more that when learning how to draw people,
there are a few “signposts” on the face and rules of thumb about facial
feature measurements that can steer you in the right direction so you
don’t get lost when drawing faces, as I often have. Here are a few that
I learned from artist and writer Dan Gheno that I wanted to share with
During this time of the year, as acts of generosity and appreciation
abound, I’m drawn to the works of the painters and draftsmen of the
Ashcan School, which thrived during the early 20th century. This group
of artists—among them Robert Henri, Everett Shinn, John French Sloan,
and William Glackens—were united by a commitment to drawing and
painting the people and places of their daily lives. Sometimes this
meant focusing on the underbelly of society, but many of the works were
really just about depicting reality. Their artwork shone a light on the
plight of the people who were part of the community in which these
I used to think so romantically about Monet, Pissarro, and the other
Impressionists. Not romantic like Manet is so dreamy; romantic as in
idealizing this particular group of painters—thinking they stepped
outside of their studios and, snap, Impressionism just happened.
Veneration can sometimes blind the mind’s eye to all the toil and
planning that goes behind an elegant masterpiece. The reality is that
the Impressionists were strategists, thinkers, and pioneering
technicians when it came to the art they produced.
Jacqueline Kamin paints with a
sculptural sensibility that isn’t at all foreign to her practice.
Earlier in her career she spent time as a bronze bust sculptor.
“Working with sculpture is a lot of fun,” Kamin says. “It is very
tactile and organic, but it takes a toll physically, and you aren’t
responsible for the whole process unless you have your own foundry.”