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Breakthroughs in our artistic practices often come with a change—of venue, of process, or even from within our own creative mindsets. Workshops offer the opportunity to step outside the studio, and suddenly we can see and evaluate from a completely different vantage point. Margaret Krug is a notable...
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The Allegory of Painting by Johannes Vermeer, 1665-67. Figurative realism and allegory go hand in hand. Allegories—complex narratives built on layers of symbolism—are what allow works by Caravaggio, Titian, Bernini, Dürer, and Vermeer to carry resonance and remain intriguing centuries...
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American Artist's Weekend With the Masters Workshop & Conference will be arriving on the sunny shores of Southern California this September 22-26, in our second-annual presentation of this four-day event. Workshops, demos, lectures, panel discussions, and evening events from more than 25 instructors...
Posted to
Plein Air Blog
by
Allison
on
15 Jun 2010
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Filed under: Plein Air, American Artist, Granville Redmond, Robert Wood, Joseph McGurl, oil, Weekend With the Masters, Scott Christensen, George Gallo, Hudson River School, Frank Serrano, Camille Przewodek, impressionist, sketches, workshop, How to Paint, California Art Club, Marcia Burtt
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Lana , 2004, charcoal, 24 x 18. Collection John and Penelope Adams. All works by Casey Baugh. Pivotal moments in my life have often—to take a line from Ernest Hemingway—come "gradually, then suddenly." Nothing appears to be on the horizon, but then a few things fall into place,...
Posted to
Artist Daily
by
cjordan
on
10 Jun 2010
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Filed under: contest, American Artist, draw, Drawing, workshop, Watercolor, how to draw, Art Instruction, cover competition, drawings, Courtney Jordan, figure painting, tips on how to draw, how to draw a person, how to draw realistic people, how to draw portraits, Casey Baugh
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On the Cover: Camie Davis (below) teaching at the Grand Central Academy of Art, in New York City. Photo by Nathan Kraxberger Cedric Egeli: Knowing How to Learn FEATURES Workshops as Shared Learning Experiences by M. Stephen Doherty A number of valuable and lasting benefits can accrue when artists work...
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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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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...
Posted to
Artist Daily
by
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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Robert Johnson's floral still life demonstration began with a studied, thoughtfully arranged composition (left) that culminated in the oil painting on the right. Robert Johnson strikes the perfect balance between master artist and down-to-earth mentor, supporting his students while pushing them to...
Posted to
Artist Daily
by
cjordan
on
22 Apr 2010
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Filed under: oil, draw, workshop, still lifes, painting flowers, Art Instruction, Painting Instruction, painting technique, oil painting techniques, painting techniques, Learn How To Paint, Painting Tips, Courtney Jordan, still life painting, Art lessons, brushstroke, floral painting
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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;...
Posted to
Artist Daily
by
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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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...
Posted to
Artist Daily
by
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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The Painter (detail) by Nancy Guzik, 1990, oil, 36 x 20. Private collection. A couple of years ago I wrote an article about an education program that introduced modern art to children in a museum setting. After seeing the artwork, the kids then had the opportunity to make their own pieces. In the workshop...
Posted to
Artist Daily
by
cjordan
on
18 Mar 2010
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Filed under: oil, American Artist, draw, Drawing, workshop, how to draw, Art Instruction, Art Materials, figure drawing, drawing for kids, drawing for children
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Drawing of Taheera by Sherrie McGraw, 2009, charcoal, 24 x 18. I’ve always thought of a painter’s drawings as his or her diary. A finished painting is the confident, public face shown to the world, but drawings read like journal entries, where you can see an artist’s preoccupations...
Posted to
Artist Daily
by
cjordan
on
11 Mar 2010
Filed under:
Filed under: draw, Drawing, Weekend With the Masters, workshop, Watercolor, how to draw, Art Instruction, figure drawing, drawings, Courtney Jordan, Sherrie McGraw
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Hillside of Poppies 2008, oil, 24 x 30. I have a few suggestions to offer for this painting. The artist may want to consider showing some cast shadows across the path. These shadows would have the same direction as the shadows of the trees, bushes, and house. I would also change the shape of the cast...
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They always say that two heads are better than one. But as an only child, I tended to stick to myself, and I hated group projects and asking for help. Luckily, as I got older, I became more comfortable working with others and recognizing when I needed an outside perspective. Most artists already know...
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Portrait of an Old Man by Roger Burch, 2009, oil on linen, 20 x 16. The artist of this painting may want to consider lightening the irises of the eyes—especially the man’s right eye, since it is farther away from the viewer. Some edges of the hat could be lost into the background, so too...