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The process of underpainting has such a buttoned-up reputation. If it were cast in a movie, it would be the uptight, by-the-book stickler that no one wants to hangout with. That’s because the process of underpainting is often associated with a belabored, rigid series of steps that delays us from...
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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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First Bite , 17 x 16, 2009. All works by Michael de Brito. Courtesy Eleanor Ettinger Gallery. Painting the people and places one sees every day can be either a mind-numbing trial or an impetus for creativity that just happens to be homeward bound. For New Jersey-based artist Michael de Brito—who...
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Artist Daily
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cjordan
on
20 Jun 2010
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Filed under: oil, Drawing, sketch, How To Paint, Art Instruction, sketchbook, Art Materials, Painting Instruction, painting technique, oil painting techniques, painting techniques, Portrait Painting, figure painting, fixative, painted portraits, portraits paintings, portraits painting
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Procida, Italy IV by Keiko Tanabe, watercolor, 14 x 21, 2008. One of the best things about joining the Artist Daily team is seeing incredible artwork on a daily basis. This is especially true in the area of watercolor. I wasn't too familiar with many contemporary artists working in the medium before...
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Old Timer by Aaron Westerberg, 12 x 9, oil on canvas. Painting instructors often ask students to consider two important relationships between the colors squeezed out on their palettes: value and temperature. By that they are asking them to consider whether one color mixture is lighter or darker than...
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Seated Male Nude (study for The Martyrdom of St. Lawrence) by Agnolo Bronzino, 1565-1569, black chalk, 13 x 18 1/4, corners cropped. Collection The Metropolitan Museum of Art, New York, New York. The Martyrdom of St. Lawrence by Agnolo Bronzino, 1569, fresco. Basilica di San Lorenzo, Florence, Italy...
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Artist Daily
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cjordan
on
11 Apr 2010
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Filed under: draw, Drawing, workshop, sketch, how to draw, sketches, Art Instruction, painting technique, figure drawing, Metropolitan Museum of Art, drawings, Michelangelo, Courtney Jordan, art history, fresco, cartoons, fresco painting, preparatory drawings
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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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Daily She Comes by Toni Lance, 2009, watercolor, 28 x 20. A few of my artistic heroes get worse than no respect. They get anonymity. Jacques le Moyne de Morgues, Philip Gidley King, James Cook, Joseph Frederick Wallet Des Barres, John James Audubon—all were artistic adventurers, and most of them...
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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...
Posted to
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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Ever since my trip to Venice, Italy, last year, I have been looking at paintings of the city by 19th-century artists such as Sargent and Whistler, as well as contemporary artists such as Steve Rogers and Leonard Mizerek . I've become more aware of how these artists exaggerated color relationships...
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I recently met an artist who said, completely nonchalantly, “I never sketch, I never throw out a painting, and I’m always pleased with my final work.” If only we could all be so lucky! Sometimes when I’m writing an article, such as an exhibition review for Drawing, I get in a...
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Lake Louise Steps 2008, pastel, 24 x 18. Collection the artist. By subtly layering pastel, Marlene Wiedenbaum creates a luscious and convincing sense of the world. by John A. Parks In her pastel painting Path With Trees to Hidden Pond, Marlene Wiedenbaum presents a resplendent view of a glade whose rich...
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Web Features
by
Brian Riley
on
27 Oct 2009
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Filed under: Drawing, American Artist, Workshop, oil, watercolor, sketch, pastel painting, John A. Parks, en plein air, Hudson Valley, American art, focal point, fine art, Sennelier, kneaded eraser
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Model James Orona When I was photographing George Towne’s step-by-step demonstration for the December 2009 issue of American Artist, I took 15 minutes to draw James Orona, the model who was posing for George. My Conté crayon sketch turned out not to be an accurate portrait of James, so I...
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I admit that I am not one who adores painting on location. If the truth be known, when I visit a national park, I'd rather be exploring and walking around—taking photos of everything that strikes my interest. Oh yes, I've paid my dues by lugging my oil painting equipment to remote vistas...
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Curt Walters painting at the Grand Canyon. None of us want to be stuck in the rut of painting the same subjects over and over again, so we try different landscape locations, select new groups of still life objects, or join a sketch group that hires models to pose. We discover that it takes a while to...