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Stephen Scott Young is one of the most successful, talented, and humble artists I know, and I was delighted to write about his recent work for the spring 2010 issue of Watercolor . His watercolors are currently on view at Adelson Galleries , in New York City, where they are priced at $250,000; in 2007...
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Catherine Murphy’s provocative and tense graphite drawings defy category, leaving the viewer wondering if she is tightly rendering abstraction or abstracting realism. by Lisa Dinhofer Mowed Field 1985, graphite, 14 x 17. All artwork this article private collection unless otherwise indicated. A...
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Brian Riley
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7 Aug 2009
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Filed under: Drawing, graphite, Catherine Murphy, sculpture, still lifes, tonal drawing, Lisa Dinhofer, Abstraction, Philip Pearlstein, Representational painting, gesso
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Whether painting in oil or pastel, Connecticut artist Claudia Seymour avoids static compositions by using line, color, and design to move the viewer’s eye through the painting. by Linda S. Price Persian Bittersweet 2003, oil on linen, 20 x 16. All artwork this article collection the artist unless...
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Brian Riley
on
17 Jul 2009
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Filed under: Drawing, oil, Claudia Seymour, Creating Movement in a Still Life, sketches, still lifes, gesso, Metropolitan Museum of Art, Creating Movement, Liquin, Linda S. Price, fixative, Salmagundi Club
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Artists from across the country submitted their work for consideration in the 2009 American Artist Cover Competition. After an extensive selection process Suzanne Eisler’s Still Life With Butterfly was chosen as the winning image. It is presented here, along with artwork from the nine other finalists...
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Brian Riley
on
20 Apr 2009
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Filed under: Drawing, American Artist, Workshop, oil, plein air, watercolor, June 2009, Cover Competition, sketches, sculpture, gesso, American art, focal point, fine art, Rembrandt, Casey Baugh, Sennelier, Grand Central Academy of Art, underpainting, Denise LaRue Mahlke, Jon deMartin, Albert Handell, deMartin
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Mary Sipp-Green bases her oil landscapes on sketches, memories, and imagination, and she makes careful notations about color combinations that capture her feelings about a particular time and place. Nevertheless, there is a point in the creative process at which she has to “get out of the way”...
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American Artist has recently offered a great deal of information to those of us who enjoy working out in nature with oils, pastels, acrylics, watercolors, or drawing materials. Senior Editor Allison Malafronte did a great job organizing a state-by-state landscape painting competition and interviewing...
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Q: When I paint on paper with oil paints, it is all right to prime it with acrylic medium? A: Just as it is imperative that you prime canvas to protect it from acids in the oil, the same is also true with any paper support. Gesso, acrylic polymer primer, would probably work the best. Acrylic gesso can...
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Q: I am planning an acrylic painting that will measure five feet by six. I am put off by the cost and fragility of a large canvas, so I am considering plywood (or something similar) backed by 1"x3" boards for stability. What kinds of support would you recommend (plywood, masonite, luan board...
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Q: Could I use a fluid epoxy resin, such as the type used for auto-body work, on cotton canvas? A: There is no reason to use fluid epoxy resin, a toxic irritant, instead of acrylic gesso on cotton canvas. It is even possible that the epoxy might contain ingredients that would have a corrosive effect...
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Q: I plan on painting on wood with oil paints. I sealed the panel with polyurethane, but do I have to apply gesso over the polyurethane? Would shellac be a good alternative to polyurethane? If so, would I need to apply anything over the shellac? Can I shellac over the boards that already have the polyurethane...
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Q: I recently bought a roll of double oil-primed linen. After stretching a couple of canvases, I noticed that the priming seemed a bit thin, and I could see many pinholes of light showing through the back of the canvas. To solve this problem, I added another layer of gesso to the surface. Was it a mistake...
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Q : I finished an acrylic painting about two weeks ago. Last week I added some highlights to the piece, and this week I began varnishing the artwork. When I applied the varnish, the paint lifted up in a small area of the painting. What happened? How long should I let a painting dry before I varnish it...
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Q : I used to prepare my own canvas using two coats of gesso or a rabbit-skin glue mixture. However, I recall seeing a unique canvas prepared by a student. His prepared canvas was a mid-tone gray, and I believe he used some type of oil mixture to achieve this result. Do you know what mixture he might...
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Q : Is painting acrylic on top of watercolor on gesso-primed wood archival? A : Not at all—both mediums are water-soluble and compatible. Be sure to consult the lightfast information on the labels of both media. Also keep in mind that watercolors are transparent and acrylics are opaque. In terms...
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Q: While in Costa Rica, I purchased a large sheet of banana paper. I plan to use it as a canvas for oil paint. How should I prepare the paper? A: Banana paper has a variety of textures and weights, depending on the manufacturer. Some of these papers are actually made of a mixture of kozo (which is a...