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Whiskey Creek (Spring) By Kate Ha rding, 2008, found leather garments, thread, grommets, and steel hooks, 54 x 35. One of the things I love about the artistic process is that we all share the need to put our creative energy into practice, we do it in so many different ways, and yet we usually have a...
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Distlefink Girl by Christina Hess , digital. I'm always surprised—and, okay, a little peeved—when my mention of an arts background is often met with a puzzled look followed by the somewhat skeptical question, "What do you do with that?" The truth is there's a lot to do with...
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Seeing a painting or drawing progress from beginning to end allows the finished artwork to be understood as a series of discrete steps leading to a virtuosic whole. During a recent tour of the Grand Central Academy (GCA), in New York City, I observed instructor Joshua LaRock developing a drawing of Michelangelo's...
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Artist Daily
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cjordan
on
17 Jun 2010
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Filed under: draw, Drawing, how to draw, sculpting, drawings, Michelangelo, sculpture, Art lessons, learn how to draw people, how to draw a person, how to draw realistic people, learning how to draw people
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Apple Trees , by John. L. Breck, ca. 1889, oil, 18 x 21¾. For all you landscape painters, collectors, and connoisseurs out there who happen to have a half million or more lying around, I wanted to tell you about some of the amazing landscape works for sale in the "Important American Paintings...
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Lemons with Silver by Jacqueline Kamin, oil, 9 x 12. Weekend With the Masters instructor 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...
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Courtesy R&F Handmade Paints After spending all day sitting at my desk, click-click-clicking away on my computer, I savor getting out and being active, especially if I’m learning a new activity or skill. It’s the difference between reading through the steps of a complicated, unfamiliar...
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Artist Daily
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cjordan
on
25 Apr 2010
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Filed under: oil, Drawing, workshop, Watercolor, Art Instruction, Art Materials, sculpting, Courtney Jordan, art history, sculpture, printmaking, Art lessons, Encaustic painting, grisaille, inlay, Artist Daily Video Gallery
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During a figure-drawing demonstration, artist Robert Liberace showed that an attuned focus on and knowledge of anatomy can lead to strong depictions of the human body. When I look at Artemisia Gentileschi’s Judith Slaying Holofernes , I always focus on Judith’s clenched fist in the foreground;...
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Artist Daily
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cjordan
on
15 Apr 2010
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Filed under: draw, Drawing, workshop, how to draw, figure drawing, drawings, Courtney Jordan, art history, sculpture, figure painting, anatomy, Robert Liberace, Rob Liberace
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WaterCity by Béatrice Coron, 2005. Collection of the artist. Photo: Antoine Tempé In Vladimir Nabokov’s novel Invitation to a Beheading , the pencil is described as the “enlightened descendant of the index finger.” That sounds about right, especially considering the pride...
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Artist Daily
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cjordan
on
1 Apr 2010
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Filed under: oil, American Artist, Drawing, sketch, Art Materials, Courtney Jordan, sculpture, Mixed Media, printmaking, paper, Museum of Art and Design
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El Mercado by Mark Haworth, 2006, oil, 16 x 20. Private collection. Winter Stream by Denise LaRue Mahlke, 2008, pastel, 14 x 18. Private collection. I’ve spent way too much time in murky classrooms looking at slides, slides, and more slides. I’m convinced that the entire academic field of...
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Artist Daily
by
cjordan
on
25 Mar 2010
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Filed under: oil, American Artist, sketch, en plein air, sketches, How To Paint, Art Instruction, cover competition, Painting From Photographs, Courtney Jordan, art history, digital photography, sculpture, Denise LaRue Mahlke, Mark Haworth
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‘Tis the time of the year when galleries across the country host their annual holiday exhibitions, giving artists, dealers, and collectors the opportunity to gather around great art and share some Christmas cheer. Whether these shows are organized around a winter theme; feature small, more affordable...
Posted to
Plein Air Blog
by
Allison
on
3 Dec 2009
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Filed under: Plein Air, American Artist, Tony Pro, Jeremy Lipking, Salmagundi Club, Michael Budden, Clyde Aspevig, oil, en plein air, Watercolor, Scott Christensen, Frank Serrano, Landscape Painting, sculpture, Wildlife, mixed media, plein air painting, Trailside Galleries, Legacy Gallery, Grenning Gallery, Mark Haworth, Clint Herring, Josh Elliott, InSight Gallery, C.W. Mundy, Waterhouse Gallery, Quang Ho, Burton Silverman
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Objects look convincing when a draftsman models the form correctly. Here, we take it step by step to ensure accuracy and a solid foundation. by Jon deMartin Every artist wants to master the modeling of form, using value to create a third dimension in a drawing, so let’s take a look at this fundamental...
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On the Cover: Bargue plate drawing by Jayme del Rosario, courtesy of Judith Pond Kudlow’s NYK Academy. Photo by Nathan Kraxberger The Human Form: How to Put It All Together Graphite: The Drawer’s Humble Tool Materials Materials and Techniques of Renaissance Drawing by M. Stephen Doherty Graphite...
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Antonio Masi employs both the atmospheric and graphic capabilities of watercolor in his commanding paintings of New York icons. by John A. Parks Red Fence— Williamsburg Bridge 2008, watercolor, 60 x 40. Collection the artist. In Antonio Masi’s watercolors, the bridges of New York City live...
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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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Web Features
by
Brian Riley
on
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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Ever think of yourself as a RAP artist? No, not a hip-hop performer who talks in rhyming phrases to a pounding beat, but a reader of American Artist’s print magazines, e-newsletters, or website who is willing to advise the editors. The New York staff is setting up an invitation-only Reader Advisory...