Wet-in-Wet

A painting technique in which wet color is applied into or on top of paint that is still wet.


Related Posts

  • You don't have to think terribly hard to figure out that the painting genre that has all of these characteristics in common is floral painting . It is a practice that has inspired artists to create beautiful, graceful paintings for centuries, but
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  • I work with knitters, and a student recently told me, "I don't like the way my stuff turns out." When I asked her what kind of yarn she used, she replied, "Oh, I just picked up something cheap. I didn't want to spend money on something
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  • Recently the students at Studio Incamminati went to New York. I chose not to go, instead wandering around the school looking at the drawings and paintings on the student walls. Natalie Italiano , an instructor in the core program as well as a Fellow there
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  • Do you know how frustrating it is to love something, but not necessarily know everything about it? That's sometimes the way I feel about color. I have such a visual lust for color--learning new colors, discovering new paint mixes, figuring out how
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  • Earlier this week I was lucky enough to attend the opening of Jason Bard Yarmosky's solo show "Elder Kinder" at Lyons Wier Gallery, in New York City. It's a terrific painting exhibition, and it got me thinking about how an artist can
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  • I can't think of a single parent who lolls in the passenger seat of the car, detached while observing their teenaged driver's inaugural foray into the city streets. Sometimes we rest, relax and dream--not, however, when we are actively painting
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  • My mom is an artist, but she's nothing like me. For all that, we're both artists. If you want to know where I got my artist genes, I got most of them from her. Genes alone don't make an artist, though. Making art is kind of a stupid career
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  • I've come to realize that that old saying "It's not always what you know, but who you know," is spot on. Even at American Artist magazine . Luckily, "we" know a lot of people, and as a result we have remarkable access to some
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  • I've heard of painting for yourself, for school, for work, but painting for the trash can?! Artist and watercolor painting instructor Jean Haines explains why working this way isn't rubbish at all. Enjoy! The aim of being an artist is to create
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  • Emma Twice , 2009, oil on canvas, 48 x 48. All works by Daniel Maidman. Over the past few posts, we've been discussing shocks to the system as a way of avoiding growing complacent and thoughtless in your art. I shared two of my own tricks— varying
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  • The Norwegian Artist and I have a friend who specializes in painting small pet animals...that is, when he paints. While to paint regularly, you don't need a huge space, you'll find yourself happiest with a designated one. On the Horizon by Steve
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  • I'm sure many of you are aware of the Spanish living legend Antonio López García, but I'm ashamed to say I was not familiar with his artwork until recently. And as with any new discovery, once you become aware of a new person, place
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  • Short of lobotomy, we will always have the equivalent of mental trails that our brains follow when we are painting. Artists develop these based on painting techniques that they've learned along the way, or they can be expressions of inherent ideas
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  • Different people attend painting workshops with varying expectations, but the ones who get the most out of the experience are those who recognize that workshops are not: A workshop gives you the opportunity to start at one point in your artistic journey
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  • I started off seeing skin tones in a closed off way, not really pushing to find the dimension and depth right in front of me. I almost felt I was still pulling a Crayon out of the box to color a figure's form from head to toe like I did in childhood
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  • It's funny how I have gotten so immersed in art that I tend to project very human emotions or ideas to inanimate objects in paintings and drawings. Still life painting objects that don't spatial connect in some way most often won't connect
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  • A few weeks ago I had a studio session with Lea Colie Wight , a great painter who had a really lovely tone to her oil painting surface that many of us loved and wanted to know more about. I wanted to share that info with you! Canvas Toning Process The
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  • Yep, it is a pretty lofty goal. I know it. But there are so many incredible artists out there who are doing incredible work and deserve more visibility! Here are a few ways that you can elevate your artistic profile in the wider world. By no means are
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  • One of the major challenges of painting outdoors is the need to gather enough visual information about our subject in a brief moment of perfect light. In rushing to capture the light in nature, it is easy to lose those subtle details and tonal changes
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  • Whether or not you like to be around a lot of people is one thought to consider when you choose the right workshop for you. Descent into Bryce by Steve Henderson, 18 x 18, oil painting, also available as a limited edition signed print . Let's assume
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  • But in the very best way! When I was trolling for artists who draw like they paint and vice versa, Giovanni Boldini immediately came to mind. His mark making is a tour de force, no matter if he is working in oils, pastels, or when charcoal painting. Spanish
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  • Drawing with ink takes the precision of a master draftsman and the skill of a watercolorist handling a fluid medium. When I was in school I was completely captivated by the silky dark lines of one of the most famous pen and ink artists, Aubrey Beardsley
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  • I deliberately entitled this post using a word that I have eliminated from my vocabulary: Should. Like sunrise to a new day, the right workshop can lead you to fresh new beginnings in your art pursuits. Awakening by Steve Henderson, 24 x 40, oil painting
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  • Painting is a deep and vast ocean. It is a world full of possibilities. And while I am deeply drawn to that wide-open aspect of it, I'm also super intimidated by it too! I feel like there is no limit to what I can learn, and while I'm thirsty
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  • A Summer Night by Winslow Homer, 1890, oil on canvas, 30 3/16 x 40 3/16. The word "great" (or "greatest") can be pretty subjective, and lately I've been thinking about how to better qualify the term. To celebrate our 75 th Anniversary
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  • A friend mentioned to me that someone challenged her to read, within one year, a particularly long and demanding book. "I didn't really want to do it," she confessed. "But he's knowledgeable and he was insistent, so I did."
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  • The Sensorium by Walton Ford, 2003, watercolor, gouache, pencil and ink on paper, 152.9 x 302.3 cm. Yes, that is a complete exaggeration. But my point is that a lot of times in the art world people tend to silo or separate genres of painting to such an
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  • A willingness to experiment with perspective and style is often the determining factor between a competent artist and a master. A new exhibition at the Philadelphia Museum of Art , "Van Gogh Up Close," takes a compelling look at the choices
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  • Patricia Watwood is a skilled oil painter and incredibly deserving of a lot of praise for the art career she has built for herself. She's also quite willing to share her approach to building a network for her art, as she attests below. Enjoy! The
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  • Carnations flowing in a loose watercolor with exciting watermarks and color effects evident within the composition. I have just taken a week of watercolor painting workshops and I came across a problem that many watercolor artists have in common. Many
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  • One of my first self-assigned duties at Artist Daily was to get out in the local American art community and see the kind of work that is being made all over the country, what kind of art techniques are gaining in popularity, and how artists are communicating
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  • In our new special issue, American Artist guides you through the most important aspects of the painting process, from selecting your materials to preparing a canvas to advanced techniques for accurately depicting landscapes and figures.
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  • While I was working recently on American Artist's new special issue, The Complete Painter's Handbook ( order now! ), I had a little debate with myself. The question at hand: If you are working to learn how to paint, is it better to focus on following
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  • Portrait artist and painter David McLeod is amidst an exciting project: creating a 10-part video series on portraiture . McLeod takes viewers through the steps that all portrait artists go through to create a compelling, visually appealing portrait, but
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  • Moonrise, La Giudecca, Venice by JMW Turner, 1829, watercolor painting, 8 7/8 x 11 1/4. Delicacy, luminousness, light, and color--these are what you can expect when you look at a watercolor painting . But details? Heck no--or at least, not much. With
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  • Where would painting be without the color blue? It is so easy to obtain artist paints of any hue these days that we forget that in the time of both Michelangelo and Titian, a pure, vibrant blue pigment could only be made by laboriously cooking and hand
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  • Below you'll find artist and blogger Jennifer King's discussion of when a plein air painting can be too real. I don't think she's being harsh at all, but you'll have to decide for yourself. Enjoy! ***** I think it's time for some
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  • There was a time in the not-so-distant past when my interest in art history stopped at Post-Impressionism. When I read art books and visited museums, I was instinctually drawn to artwork from the Italian Renaissance through Impressionism and curious to
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  • We have always felt that as plein air painters we are observers of the landscape—recording moments and places that can rapidly transform with fleeting changes of light. In a pure landscape, figures and animals are rendered small and insignificant
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  • Portraiture is, in my humble opinion, the domain of artistic masters. All the greats, such as Velazquez, Rembrandt, Goya, and Sargent, can be counted as incredibly skilled and innovative portrait artists in addition to being pretty brilliant at everything
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  • Woman with a Hat (detail) by Henri Matisse, 1905, oil on canvas. Archimedes (detail) by Jose de Ribera, 1630, oil painting. Self-portrait by Vincent van Gogh, 1888, oil painting. A few days ago I was hanging out with a mixed bag of artists. And by mixed
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  • I love that my job allows me to learn something new every day—and the fact that the majority of those discoveries are art-related make them all the more inspiring. Lately I've been in art-historian mode, and I've have been trying to better
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  • I don't care how many times I see Monet's paintings, they never cease to inspire me. I just had the great pleasure of seeing the new Monet show at the Cincinnati Art Museum with my art buddies, and especially for those of us plein-air artists
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  • The Water Lily Pond by Claude Monet, oil painting, 1899. Mitchell Albala is an inspiring art instructor in the field of landscape painting , and it turns out he's an awesome detective as well. Recently, he did some sleuthing on a rare video clip of
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  • Yellow Pen by Nat Meade, oil on linen, 24 x 20, 2011. Focusing on formal concerns in art does not make an artist uptight or unimaginative. Quite the opposite actually—pursuing matters of pattern, line, space, and color can prove to jumpstart free
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  • Sometimes the question shouldn't be what to paint as much as how to paint. There are centuries' worth of artists who fill art history textbooks, but those who stand heads and shoulders above the rest do so because they turned their painting art
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  • There are differing opinions among color theory purists whether white should be considered a color at all, since it represents the absence of hue or chroma, and cannot be made from the three primaries, as black theoretically can be. It's not usually
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  • Artist Daily Member Spotlight: Steve Henderson Summer Breeze by Steve Henderson, oil on canvas, 24 x 24. Artist Daily: Tell me about your oil painting process . Are there rules you adhere to or just the opposite? Steve Henderson: Although I do follow
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  • Inkhead , 2009, oil on canvas, 29 x 16. Dorothy , 2010, oil on canvas, 14 x 14. Anakin Padawan , 2009, oil on canvas, 44 x 28. I have been blogging this past year about preparing for my exhibit, "Myths and Individuals." Now, it's time for
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  • At least I feel that way. I set myself a goal this week—I wanted to learn a few new watercolor painting techniques because I feel like when I contemplate working in watercolor, I only know the "first gear" approaches. I feel like Tim Saternow
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  • When I was young and taking art classes, I was always stumped when my teachers would let us decide individually what to paint. There were just too many creative options and I would simply shut down. One time I went home in a funk, stressed out about what
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  • The aim of being an artist is the ability to create. But with this desire of wishing to constantly achieve wonderful paintings that can be framed or exhibited comes an enormous amount of pressure on our shoulders. We expect to always succeed in our goal
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  • Have you ever been looking for a new place to live, visiting different apartments or houses, and every time you experience a new reaction to a place and its spaces? It always happens to me. Either I love the architecture and light in this one, or the
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  • Dutch still life painting set the standard for out-of-this-world virtuosity in the 17th century, and I'll never get over the unusual mix of objects artists chose to depict: food of all kinds, polished silverware and gleaming glass, embroidered and
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  • Elton , 11 x 14, mixed media on gesso board, 2011. Yesterday was an interesting day for me. I thought I was near finished with a painting I had been working on for over three months, but when I sent it over to my agent in New York, who I call my third
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  • Artists working today that I admire most all usually have one thing in common—they have developed their own unique contemporary practice while still utilizing classical methods. I've come to realize that I have a bias for artwork that has a
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  • A painting brush isn't animate. It isn't going to teach me how to paint or go about painting art when no one is looking. It needs the hand of the artist to do its job. Penitent Mary Magdalene by Titian, 1560s, oil on canvas. But one thing a brush—by
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  • Old Cedar by Bill Guffey, oil, 18 x 24. Peasant by Joan Langdon, watercolor painting, 10.5 x 11.5. Tomiko by Adriana Guidi, oil on canvas panel, 14 x 18. That's Brian Neher's mantra for his upcoming free art contest , and it is one that I can
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  • I know it is only January, but I'm already thinking spring! And so is the Pantone Color Institute . The organization has just released their seasonal color report, and while this is specifically written for the fashion and design industry, we art
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  • When I asked friends and colleagues about landscape painting artists with the best use of color, the conversation got downright heated. Mostly because there's so much to consider when you look at each individual artist's color "theory"
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  • Spring in the Hills II by John Hulsey, 5 x 7, oil painting. Whenever we get to feeling that there is nothing really new to be discovered in art or the world, we have to keep in mind that the "undiscovered country" often lies in our own backyards
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  • Children on the Seashore by Joaquin Sorolla, oil on canvas, 1903 . I was once again reading through my copy of the catalog for the 1989 exhibition, The Painter Joaquin Sorolla , and came across this 1933 quote by John Paul Getty in an article called Creative
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  • Eva Mullarky by Kristin Künc, oil on linen, 9 x 13, 2011. I can be a really hard sell when it comes to portraiture because from a beginner painter's perspective, I'm not always sure how to get the most out of a portrait painting session.
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  • Venus Awakes by Patricia Watwood, 2011, oil on canvas, 38 x 34. Karen in White by Paul McCormack, oil on canvas, 40 x 29. Enigma (Self-Portrait) by David Leffel, 2009, oil on canvas, 52 x 34. On Sunday, January 22 nd , the ACOPAL group will celebrate
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  • Astor Place by Emily Falco, watercolor painting, 14 1/2 x 14 1/2, 2009. It warms my heart when I hear artists expressing excitement about their chosen painting medium because artists are the ones in the business of knowing all the ins and outs of their
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  • Our contributing bloggers John Hulsey and Ann Trusty of The Artist's Road wrote a really informative blog about how to get the most out of a photograph of your painting or drawing, and I wanted to share it with you. Enjoy! Film holder frame attached
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  • I get excited and a bit chagrined whenever I discover oil painters of the past that I've never heard of. I realize that I'm no walking encyclopedia, yet I like to think I've got sound footing in oil painting . But the history of fine art oil
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  • Don't give up your plein air focus over the winter months. Try to paint from life indoors and keep sketching. ( Melting Snow by Ben Fenske, 60 x 75, oil on canvas.) For some of us, winter weather is just a bit too unpredictable and chilly to spend
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  • Back II (Joshua) by Martha Mayer Erlebacher, 2003, oil on canvas, 42 x 42. The human body is beautiful—as a whole and in its parts. Body drawings that accentuate the sensuous lines of the body and the power of the human form are steeped in a knowledge
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  • We spent a lot of painting time along the cliffs outside San Juan. Painting can be a pretty isolating affair, and though I love the alone time spent with my muse, I miss the collective energy that working in a group of like-minded colleagues provides
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  • The botanical gardens in Washington, DC, near the Capitol. When I'm visiting family in Virginia during winter, I always make a point to walk through the botanical gardens near the Capitol in Washington, DC. It is one of my favorite places, and the
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  • Philadelphia Story II--Spires by Sarah Yeoman, watercolor painting, 14 x 20. I don't mean literally shrink it, but if you take a photo of your painting and reduce it to thumbnail size and it still holds together compositionally, you've got a good
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  • Watercolor artist Thomas Schaller achieves convincing and dynamic effects in his skies ( Salisbury Cathedral , watercolor painting). I know it is a bias, but sometimes I can't help thinking that painting skies belongs to a particular realm of watercolor
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  • I plan on spending quality time with the catalog published by the Whitney Museum on Lyonel Feininger ( Gaberndorf II , oil on canvas, 1924, 39 x 30.5). Take this time and don't draw or paint. Okay, I was kind of thinking the world would end if I said
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  • Grisaille copy of Jacques-Louis David's Patroclus , oil on linen, 48 x 78. At this time of year, we all travel so much that it can be a real challenge to figure out how to bring our painting supplies with us when we visit family and friends. Whether
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  • In the December/January issue of American Artist magazine, the editors and staff put out feelers throughout the art community to find artists who are established or up and coming, and deserve recognition. They had limited space in the print issue, so
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  • I adore color—deep ruby reds, bold blues, verdant greens, rich golden yellows...I could go on and on, but one thing that I often forget in my zeal is that color is not just a matter of hue. Saturation and subtle color layers also play a huge part
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  • The Honorable Clarence Harmon, Mayor of St. Louis by Patricia Watwood, oil on canvas, 24 x 18, oval, 2002. Collection of St. Louis City Hall. Someone recently asked me what I did to get recognized and become part of the art scene in my hometown of St
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  • Ariadne by Janet Rogers, watercolor painting. Since coming to Artist Daily, my parents are both super supportive of me and our web community. My mom does her best to get everyone she knows to join us at Artist Daily, and my dad buys me art supplies in
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  • T o Be Where There's Life by Ryan Coleman, oil on canvas, 30 x 40, 2010. The coolest thing I ever learned about painting flowers , specifically how to paint a rose, was when a painting teacher told me that you paint them by not painting them. Back
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  • I remind myself that even artistic legends like Michelangelo struggled. When he did the Sistine ceiling in fresco, a medium he wasn't familiar with, the first few sessions were stressful and trying for the artist. But he persevered and created one
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  • We've been discussing shocking your system to keep your art practice from falling into routines. Another excellent means of accomplishing shock is to switch media. By and large, I work in two media: graphite and white pencil on toned paper, and oil
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  • The Coming Storm by George Inness, 1879, oil on canvas, 27 1/4 x 41 3/4. Are you as bored of pretty outdoor painting scenes as I am? My eyes just seem to glaze over when I see a plein air painting scene with picture perfect sunlight over an idyllic landscape
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  • My family and I at my opening. Cute bunch, right? The show included works from the last 10 years. I know it's been a while since I've written. Let's see--the last time was just when I got back from my summer vacation. And now it's....November
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  • Ugh, after all the holiday eating I've been doing, I should probably go exercise or run laps. But as a warm up I thought I would talk about physicality, power, and movement in oil painting . Maybe this'll be the inspiration I need to get off my
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  • This being the day after Thanksgiving, we celebrate leftovers in my house—and pretty much all other activities that result in eating. So I thought, why mess with family tradition? I'm devoting today's column to one subject matter I rarely
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  • All the hard work and unique vision that we pour into our painting and drawing can result in artwork that we are proud of. The next step is to make an accurate photographic record of our art to share with friends, collectors, galleries and perhaps to
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  • The Gossips by Norman Rockwell, 1948. I think every one of us loves Norman Rockwell's illustrations, whether it is a little bit or a lot. They tell stories and always seem to capture expressions and reactions so perfectly. My favorite has always been
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  • Faded Glory by Rose Frantzen, 36 x 48, oil painting. If there were daredevils of art, I certainly would not be one of them. I'm always hesitating and rethinking what I'm doing. (In my day-to-day life I'm not such a scaredy cat—I swear
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  • Train Tracks by Valerio D'Ospina, 2011, oil on melamined MDF, 30 x 24. Some artists such as Jackson Pollock discover and use their own visual language to communicate with the world, and this singular voice takes them through an entire career of putting
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  • I want to share an inspiring story I just heard from one of our members, Mark Beale . Enjoy! Bryce Canyon by Bruce Stam, oil painting, 8 x 10. Backwater Twilight by Mark Beale, oil painting, 9 x 12. Bruce Stam and I are two landscape painters from opposite
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  • Lee's Ranch - Sunny Day by Camille Przewodek, 9 x 12, oil on canvas. Even now it sounds like a beautiful, incredible, impossible thing to accomplish. I mean, paint light ? It seemed like magic to me at first. And I didn't understand what it all
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  • During this time of year I like to reflect upon and appreciate all the blessings in my life (...also eat a lot of carbs and watch TV marathons). But lately I've been dwelling on how lucky we are to have so much amazing art created and inspired by
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  • The Remains by Joe Gyurcsak, 2007, oil painting, 24 x 24. If I start my morning with a bit of artistic inspiration, it really carries me through the whole day, just like a wholesome breakfast does! And today is a very good day because I was able to begin
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  • The Grimaces by Louis-Leopold Boilly, 1823, lithograph, 13 1/8 x 10. A few weeks ago I was in the Met and saw "Infinite Jest," an exhibition of drawings and prints that explore satire and caricature from the Italian Renaissance to the present
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  • We plein-air artists seem to put a lot of emphasis on traveling to far off places to paint, don't we? The fields of Tuscany, the rugged California coast, the farmhouses of the Cotswolds all seem to beckon. And heeding that call can be fantastic. I
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  • Delphinium by Sherrie McGraw, oil painting, 8 x 10. Sherrie McGraw's work always surprises me because she doesn't allow the objects she is painting to dictate how she paints. Instead, McGraw paints to articulate form, masses, and her own ideas
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  • Portrait of Queen Elizabeth I by Nicholas Hilliard (attributed), 1585. I can only imagine the excitement and thrill of sitting for any one of the great portrait painters in history such as Bronzino, Velazquez, and Sargent. But then my mind goes directly
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  • Optimal Orientation of Subject and Artist in Plein Air Before the first daub of paint is squeezed out of the tube and brush is put to canvas, many plein air painters have already set themselves up for failure. How? By selecting a site that doesn't
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  • This is one of the artist's more traditional pieces in terms of his painting process. ( Raspberry House by Jamie Wyeth, 1988, watercolor, 22 1/2 x 28 1/2.) Watercolor is one of those wondrous materials that can be manipulated in so many different
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  • The Red Canoe by Winslow Homer, watercolor painting, 1889. Some years ago, Ann and I drove to New York to deliver a vanload of watercolor paintings to a gallery for a solo exhibition of my work. The exhibition was going up for a month, after which we
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  • Camille au métier by Claude Monet, 1875, oil painting. "My rejection at the Salon brought an end to my hesitation [to settle in Paris] since after this failure I can no longer claim to cope... alas, that fatal rejection has virtually taken
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  • ...are ones that paint self-portraits. As we all well know, artists have a lot of firepower at their disposal. It comes from being trained to look critically and creatively at the things you see. For an artist to turn that kind of acuity on him- or herself
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  • When discussing landscape painting , we often hear the phrase "capturing a sense of place." What does that mean to you? To me, it means so much more than just recording the physical attributes of the location. It goes way beyond suggesting the
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  • Flamenco by Ann Trusty, oil painting, 48 x 60. The science community is busy investigating the mechanisms and processes by which people are able to perceive the world around them and make visual sense of it. There are many basic questions still to be
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  • Breaking the Light by Don Demers, 24 x 36, oil painting. Don Demers knows that inspiration is always there if you know how to look for it, but he's also nobody's fool—he understands that to create a breathtaking and moving painting you sometimes
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  • Under the Awning by Joaquin Sorolla, oil painting, 1910. "There is nothing truer than truth. All the mistakes committed by great artists are due to their having separated themselves from truth, believing that their imagination is stronger...There
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  • Isn't hanging a painting as easy as that? Yeah, right! There are so many ways that you can showcase your work, and each one can make such a difference in how each painting or drawing is perceived. Unframed. I prefer the art that I have in my apartment
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  • Ernest Lawson (1873 - 1939) came to maturity at the dawn of the 20th century, so his work was modern and gritty and real. His are not the idyllic landscape paintings of Corot , nor are they the dazzling light shows in Monet's plein air paintings
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  • Slicker by Mary Whyte, watercolor painting, 18 1/2 x 18. I went through a phase when I thought I could control everything--where my career was headed, how my relationships were going to turn out, and what kind of life I was going to have. Ah, I crack
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  • Study for Gapstow Bridge in Sunlight by Bennett Vadnais, oil on canvas, 12 x 16, 2007. Fall is my favorite time of year. It's my birthday season, so of course I'm partial, but I also just love the smell of autumn. It's crisp and clean, and
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  • Reflect Your True Vision with Accurate Form Now you can paint the human form with the depth and detail it deserves - your artwork will come alive with this exciting special issue from American Artist: Portrait and Figure Painting Highlights Fall 2010. Improve the detail of your portraits with 100 pages
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  • Farm Visitors by Hardie Gramatky, watercolor, 1971. I can't get over the fact that Watercolor magazine is celebrating its 25 th year. For a quarter of a century it has been the eyes and ears of watermedia artists all over the country, and has featured
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  • Paris by Danny McCaw, 24 x 16. Not to be a whiner, but I don't have an artistic legacy to build on. So far as I know, no one in my family is an artist or has any particular leanings towards painting or drawing. That's why I'm so enamored with
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  • But I think it's time for some straight talk. I've participated in many, many plein air painting critiques over the years, and I can't begin to tell you how often I've been faced with landscape paintings that are a little off. Perhaps
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  • Here's the oil painting by Casper David Friedrich that I have on a postcard called The Sea of Ice (1824, oil on canvas, 38 x 50). In college, I created a series of mixed media collages that incorporated several of the same images, but each looked
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  • And I am! I'm calling myself out on the carpet. I've got a handful of mirrors in my apartment and don't take advantage of what is right in front of me. Which is why I'm fired up about getting people to do more self-portraits--including
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  • Norwegian artist Odd Nerdrum, currently facing time in prison for tax fraud, is certainly a character, taking on more of a dramatic persona than most people do in their day-to-day lives. He's also a bit of a polarizing figure. I know artists who think
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  • Lucrezia by Francisco Benitez, 30 x 30, encaustic on panel. I recently had a conversation with an artist about how she is struggling to get her drawings and oil paintings noticed by the "art world" and her frustration that she can't seem
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  • Female Nude by Thomas Eakins, oil painting, c. 1881. The Thinker by Thomas Eakins, oil painting, 1900. Thomas Eakins earned himself quite a reputation during his lifetime. He didn't suffer fools gladly, he didn't hold his tongue, and he didn't
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  • This issue marks the 25th Anniversary of Watercolor. To celebrate, we present 25 tips, 25 painting locations, and 25 tools that today's top watermedia painters say they can't do without. We also take a look at the innovations of early practitioners and trace the masterful use of watercolor throughout
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  • Self-Portrait by Kristin Kunc, oil on linen, 2011. As you probably well know, I'm online...a lot. And I'd like to think of myself as somewhat well informed about artist websites. I'm on them all the time—whether it is through an email
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  • These four oil paintings have something in common. Yes, of course, they were all painted by George Inness (1825-1894), one of the greatest American landscape painters of all time. But there's something else, an incredibly valuable lesson. Have you
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  • Sarah Simblet (her pen drawing, Isis 38 , above) taught me a lot about how intertwined the semblance of motion and mark-making are in really good drawings. Maybe it is part of having an arts career or maybe it is just me, but I love books and magazines
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  • When I flipped through the Fall issue of Watercolor magazine—celebrating their 25 th year in print (whoop whoop!)—I was super impressed with the feature article on "25 Artists to Watch." It confirms what I know is happening out in
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  • I was born and raised in the suburbs, with rural farmland and city centers nearby so I have an unbiased appreciation for both. I'm attuned to the natural elements around me and I love to be outdoors, but I also get so energized by the sights and sounds
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  • Recollection of Mortefontaine by Jean-Baptiste-Camille Corot, landscape oil painting, 1864. One of my great heroes in art is Jean-Baptiste-Camille Corot (1796-1875), the world-famous French artist who is still considered one of the best landscape artists
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  • Schloss Kammer at Lake Atter I by Gustav Klimt, 1908, oil on canvas. It seems impossible, right? I mean I'm out there painting, everything looks so fresh and crisp, the air and wind feel so good on my face, and then all of a sudden I am practically
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  • I am kidding! So kidding! But I was thinking about this article and how I wanted to discuss working with a model, specifically how to position your model in a figure drawing , and what that position can convey both compositionally and as part of the narrative
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  • Seeing John Phillip Osborne at his canvas reminds me of all the things I think of and value as an artist. I know I don't have to explain it to all of you , but when I am in situations with people who aren't as passionate about art I find myself
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  • Notice how Gury scratches through the paint in his oil painting Autumn Glow , reinforcing the shape and outline of the tree limbs. I'm not one to ask or judge someone by their resume or history because we all walk our own paths and get meaningful
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  • Judith and Her Maidservant by Artemisia Gentileschi, 1613, oil on canvas. I'm not one to put artist before artwork. If I like the painting or drawing, it has nothing to do with who the art-maker is. But that doesn't mean that I don't believe
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  • In this large scale painting by Stephen Bennett ( Beach Baby , 2001, acrylic, 80 x 64), the faint lines and varied color on the lips are faithfully rendered. As an unrepentant smart mouth, I know how much value two lips have, in real life and especially
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  • Oil painting demonstration by Robert Liberace. To listen to Robert Liberace talk during one of his demonstrations, sometimes, fleetingly, it sounds to me like there is an occasional contradiction. The most recent example I can point to is when he talked
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  • Passing clouds from my window by Jos van Riswick . The artist has made a commitment to doing a postcard-size oil painting a day. Wherever I visit, I always send my parents postcards. It's a way of sharing my travel experience with them; giving them
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  • I put aside my oil painting work to take up a sketchbook and watercolors to capture the sights and sounds around me during my trip . If you are a painter, you know that sometimes the best thing to do is get away from it all...and do more painting. I was
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  • Rhododendron by James Sulkowski, 2001, oil painting. Notice how the flowers are arranged in a curving S-shape, starting in the back and bring your eye to the foreground. Most artists have a love-hate relationship with floral painting. There's plenty
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  • Fifty by Mitchell Albala, 2006, oil painting on canvas. In this painting, the artist strongly distinguishes the land and sky to give a sense of vertical distance. This summer I've been traveling a bit, but of course it's never as much as I would
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  • Notice the chalk lines drawn over the figure to assess and check the proportion and length of her limbs. I have finally finished my oil painting , Leaves of Grass , which I have blogged about previously. In all, the painting probably took nearly 2 months
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  • Le Parc Monseau by Claude Monet, oil painting, 1877. Interestingly enough, technology played a major role in influencing the course of art history in the mid-1800s. Among several notable technological revolutions was the invention of the metal paint tube
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  • Sunset over the Catskills by James Gurney, oil painting. If I want to excel in my craft and become any kind of decent realist painter, the two aspects of oil painting that I need to focus on are color and light. Perfecting the two, together, will allow
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  • My version of an art "mixed tape" is a bunch of really great info and inspiration for us as we head into the home stretch of summer. Here are several of my favorite recent Artist Daily blog entries and American Artist online articles that have
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  • John had to deal with rapidly changing weather conditions as he worked on his plein air watercolor painting, Cub Lake Trailhead . We outdoor painters are always on the search for beautiful places to paint, and so we become inveterate travelers and explorers
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  • In Dancers at the Bar by Edgar Degas, 1888, the artist used complementary colors to make a sharp contrast between the figures and the space. We all know that Impressionism heralded a new way of painting. Material and technical advancements--metal tubes
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  • La Carmencita by John Singer Sargent, oil painting, 1890. I try and shy away from describing art in bombastic terms. It can become a slippery slope of flowery language with no real takeaways. But when I'm studying the works of no less than John Singer
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  • Stacee by Scott Burdick, three-hour oil portrait painting study, 12 x 16, 2001. I remember when Mr. Nemerow, my very enthusiastic freshman biology teacher, launched into what, looking back, I'd best describe as a full-body fit about how the epidermis
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  • Left: Kem , detail, 2004, 48 x 24, oil on canvas. Right: Hands #1 , 2011, 24 x 24, oil on canvas. I am not claiming either painting is better, but without my figure drawing practice between 2004 and 2011 I couldn't have painted the newer painting
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  • On Hamilton's Prairie by Rose Frantzen, 32 x 40, oil painting. Rose Frantzen's work has been on my radar for a while and even more so after I saw her oil painting portrait show at the Smithsonian Portrait Gallery in Washington, DC, which featured
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  • Early Morning by Keith McCulloch, 12 x 16, oil painting. Artist Daily Member Spotlight: Keith B. McCulloch When I first saw Keith McCulloch's paintings, I took a deep breath. It was an involuntary reaction but a telling one—the airy, openness
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  • Fallen Tree, Mississippi by Jeffrey Smith, 11 x 14, oil painting. My studio is filled with stuff to look at: still life objects, postcards of paintings that I love, and written notes of things to think about and remember as I'm working on a painting
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  • Portifino by Jean Grastorf (watercolor painting, 20 x 30, 2003) was created using the artist's signature pour technique. I'm always surprised that the so-called ‘Painter of Light' isn't a watercolorist. Luminous light effects are
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  • Revue by Everett Shinn, 1908, oil painting, 18 x 24. Everett Shinn was one of the Ashcan School artists or "The Eight," which was led by Robert Henri and included Arthur B. Davies , William Glackens , Edward Hopper, Ernest Lawson , George Luks
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  • Ocean II by John Hulsey, 30 x 40, oil painting. The painting Ocean II was created from a smaller plein air study created at sunrise on Isle of Palms, South Carolina. I liked the composition and colors, and especially the way the wet sand mirrored the
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  • Overlay by Ali Cavanaugh, 12 x 12, watercolor painting. As a wannabe artist, I have a lot of years ahead of me to invest in perfecting my painting. Knowing this, I often think about the medium I will choose to work with—what will grow with me through
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  • A gray-scale photograph of my plein air oil painting subject. If you read my last post , you know I'm a believer in spending time planning a composition before diving into a plein-air painting . Yet, I also want to get started as soon as possible
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  • Pandora by Patricia Watwood, oil on canvas. I've had it in my head to make a "Pandora" oil painting for a while now. In the myth, Pandora is overcome with curiosity (well, who wouldn't be??) and she opens the proverbial box and releases
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  • Watercolor study by John Hulsey, 7 1/2 x 7. Being strong dog proponents (especially for dogs in the studio, where they never provide negative commentary), and being the caretakers (or is it the other way around?) of two ancient (in dog years) Great Pyrenees
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  • Artist Al Gury is known for his direct or alla prima painting knowledge. The oil painting, above, shows his decisive ability to create complex colors and shapes through successive layers. I love saying the phrase 'alla prima' but it's way
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  • New Year by Mary Whyte, watercolor painting of a milliner from Atlanta, GA; 2009, 22 1/2 x 29. Sometimes I get so sick of people calling a painting or drawing 'art' because it has a good-looking person in it. Who wants to hang out with Barbie
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  • Believe it or not, this piece of cloth was sky painted by artist Terry Maddox using light-sensitive paints. Yowza--it's beautiful. Who says I have to start painting or drawing on a blank page? Some of my favorite drawings are doodles that are on torn
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  • Sunrise River II by John Hulsey, oil on canvas. "You can observe a lot by just watching." - Yogi Berra I was reminded of this quote as I was sitting on the boardwalk in Constitution Marsh on the Hudson River near where we used to live. I hadn't
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  • This is an underdrawing for Michael's large oil painting, Air (72 x 104). I really feel like I've grown so much during my time at Artist Daily, and in large part that is because of my exposure to the staff of and featured artists in American Artist
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  • Portrait of Ginevra di Benci by Leonardo da Vinci, 1474-1476, oil painting on wood, 16.5 x 14.5. I've described the most important technical parts of my study of Da Vinci: line and anatomy . When I began to study how to paint, I opted not to follow
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  • Scott Burdick often does plein air studies, like this one ( Vermilion Cliffs , 2009, plein air oil painting, 9 x 12), on lightweight panels that are easy to travel with. I was watching a documentary about the Appalachian Trail the other day and was amazed
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  • I don't want to learn how to paint from just anyone. I don't mean that snobbishly, but I know how I work and learn. I am a visual learner and I learn by doing. Hearing someone drone on and on makes me want to get up and run around the room, so
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  • Self-portrait in Red by Melvin Toledo, oil on canvas, 20 x 20. Artist Daily Member Spotlight: Melvin Toledo When I can see the "art" in the everyday, that's when I know I'll be working and thinking at my fullest potential. I'm still
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  • Flower Garden by Clyde Aspevig, oil on canvas, 24 x 12. Content adapted from an article by Allison Malafronte. Clyde Aspevig is a landscape painter and seasoned plein air artist who prides himself on going out into his chosen environs with a feeling of
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  • One of my favorite still-life artists is G. Daniel Massad. He plays with space in an incredible way. His pastel paintings are stark, eerie, and lovely all at once. Above, Three Plums and Rosehip , 2005, pastel, 11 x 10 7/8. What I love best about still
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  • Rocky Cliff by Asher B. Durand, oil on canvas, 1860. Based on an article by Allison Malafronte. As you all well know, I spend a lot of time writing. But I also spend a lot of time reading, and lately I have absolutely fallen in love with reading letters
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  • Squall Line by John Hulsey (30 x 40, oil painting). John Hulsey and Ann Trusty created their website, The Artist’s Road , to inspire their readers and students with practical art tips and plein air painting techniques for the traveling artist. John
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  • The ACOPAL show featured contemporary American Realist painting. Whenever I step inside the beautiful and historic National Arts Club, on Gramercy Park in Manhattan, I'm reminded of how long it has been a supportive home for American Realism. In May
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  • 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
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  • Wait until you are in front of your outdoor painting scene before deciding what to tone your surface. I've found that how you prepare your canvas has a huge impact on the finished result of your plein-air painting . Do you start your painting right
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  • Looking at paintings can be like unraveling a mystery, especially with watercolor. Layers are so delicate and there are many interesting watercolor painting techniques that are quite subtle to the eye. That's certainly what I felt when I looked at the work of watercolor artist Miguel Dominguez. I
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  • As any artist can attest, versatility is the key to a long and illustrious career. The ability to work with a variety of media, subject matter, and techniques helps keep skills up-to-date, the mind engaged, and one's creativity consistently challenged. With that in mind, we've decided to use
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  • America is a land of rich diversity that extends throughout our landscapes, cities, and regions. I'd say that one of the most distinctive places we have is Cape Cod. Now, being a born-and-raised Southern girl, I have always romanticized the northern coasts and beaches because they always look so
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  • Ellen Cooper’s In Defiance of Erebus won the People’s Choice and First Place Award. After participating in a panel discussion about career goals for artists at this year’s Portrait Society of America Conference I wanted to share a few more tips that I use to keep my art growing and
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  • Plein air watercolor sketches of sites in Kansas and Charleston, South Carolina. All works by John Hulsey. It took me awhile to realize it, but I have invented a time machine. I didn’t set out to invent a time machine exactly, but like many other
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  • Meeting artist and Studio Incamminati instructor Lea Colie Wight was a little bit like meeting a favorite celebrity and miracle worker all rolled into one. Lea's execution and subject matter resonates with me, but it is her perseverance and desire to share common experiences in painting that really
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  • When Scott Royston sets his sights on flowers for one of his still life oil painting compositions, he isn’t drawn to tiny buds or small bouquets but expressive flora in full bloom. For him, painting flowers is a gradual process that starts with a rough sketch in his sketchbook and toning his canvas
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  • Self-Portrait Sitting on the World by Julie Heffernan, 2008, 78 x 56, oil on canvas. I started with another post about Julie Heffernan’s out-of-the-box conceptual acuity and dynamic oil painting methods , but I just couldn’t stop there. Here
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  • Circles and ellipses influenced the compositional arrangement in Heffernan's Self-Portrait as Big World , oil on canvas, 2008, 65 x 68. If I could jump into any painting and live in that world for a time, I’d throw myself at a Julie Heffernan
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  • For the Portrait Society of America Conference in Atlanta this year, I was invited to participate in a panel on Professionalism, Leadership, and Service. I was asked to speak to “Building a Career for the Long Term.” Now, anyone who saw my tax returns for 2010 would NOT have put me on a short
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  • In a recent post on how to paint clouds at sunset , we diagrammed a pastel painting and explained a bit about the types of clouds one may encounter when painting outdoors . This time, we have dissected a watercolor, Ghost Ranch IV , that I painted in New Mexico near Georgia O’Keefe’s house
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  • Patricia Traub presents animals—above, The Collector , 10 1/2 x 14 3/4, 2008—in her work in a naturalistic way that emphasizes their unique physical attributes and bearing. I don’t have pets but I really love drawing animals because
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  • Painting flowers is sometimes a study in the subtlety of color, as in Ann's flower oil painting, Philadelphus III (oil, 12 x 16). Painting large flower portraits has given me the opportunity to explore what seem to be the nearly infinite shades and
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  • That’s one of the first questions I put to artist Caitlin Hurd about her oil paintings, which feature dazed, inert figures floating through the landscape. But they aren’t floating as much as sleepwalking, according to Hurd. “It all started with how I wanted to live my life,” she
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  • Art is a matter of infinite variation and the knowledge of a few tried-and-true essentials. As instructors, Scott Burdick and Susan Lyon bridge these two by focusing on sound technical practice in the larger context of what contemporary artist face working today--and the tools that are at our disposal
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  • Golden by Daniel Gerhartz, oil on canvas, 16 x 12. Since its inception in 2009, Weekend With the Masters Workshop & Conference has brought together some of the top instructors of representational art under one roof for a long weekend of workshops
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  • I’ve always dreamed of having something, anything—shoes, a coat, a car!—custom made. While all of those are pretty much still out of my reach, I know that I can custom design how I get my art training. There are a lot of options out there for us art-minded folk, but I spoke to Rob Zeller
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  • When John Hulsey and Ann Trusty told me the name of their website— The Artist’s Road —I smiled to myself because they got it so right! Art—painting, drawing, sculpting, all of it—is a path, a journey. Sometimes the path is smooth and things go right, and sometimes it is
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  • I have found that toning my support, whether canvas or paper or board, is something I often do now. I’m showing two works to illustrate the difference between toning and not toning.
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  • When I first saw watercolor artist Joan Becker’s work, the word that came to my mind was pageantry because her work is colorful, rich, and all about giving the viewer an amazing visual spectacle. Take a look at any watercolor painting of Becker’s and chances are it is filled from top to bottom
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  • I interviewed Sadie Valeri on her unusual wax paper paintings months and months ago, but since then I've been keeping an eye on her. She's got great spirit, enviable talent, and she's just super nice! Little did I know that her sweet exterior
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  • My answer to that is nada! Zippo! Zilch! As the weather heats up from coast to coast, now is the time when artists turn their attention to the excitement of landscape painting. But I'll be honest with you. I'm still intimidated by the whole landscape painting process. There seems to be so much
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  • The Gowanus Ballroom brought together installation art, contemporary sculpture, and realist painting. Every once in a while, I get to do something that is comes uniquely from the place where I’ve chosen to live—Brooklyn. My studio is in Gowanus
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  • Artist Daniel Gerhartz's new book, Not Far From Home , is a visual compendium of his life's work as a painter. In it, you not only find inspiring, lush photographs of Gerhart'z paintings, but insightful and instructional information as well. To showcase all of the great content in the book
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  • Summit by Odd Nerdrum, oil painting, 2000, 93 x 88. Odd Nerdrum: Weekend With the Masters Instructor Odd Nerdrum was born in Hälsingborg, Sweden, in 1944. He was a student at The Academy of Art in Oslo at the time when Modernism made its delayed
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  • Up the Block by Rose Frantzen, oil painting, 40 x 50. Rose Frantzen: Weekend With the Masters Instructor Rose Frantzen 's peers hold her in especially high regard as an artist's artist. In her 25 years as a full-time painter, she has also gained
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  • Lea Colie Wight: Weekend With the Masters Instructor "From time to time you notice something unexpectedly beautiful in the most ordinary person; the overlooked corner will tell the story of the people not present; something will tug at you and you
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  • Glass Study 3 by Stephen Early, oil painting on masonite, 7 x 5. Stephen Early: Weekend With the Masters Instructor Artist Stephen Early began his art education at the Pennsylvania Academy of Fine Arts in Philadelphia. He has received many notable portrait
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  • The Den by Scott Waddell, oil painting, 20 x 16. Scott Waddell: Weekend With the Masters Instructor Scott Waddell was born and raised in Central Florida. He received his B.F.A. from Florida State University. After college, Waddell spent the next several
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  • Venus Pregnant by Steven Assael, oil painting, 72 x 48, 2002. Steven Assael: Weekend With the Masters Instructor Artist Steven Assael was born in New York City in 1957. He attended Pratt Institute and presently teaches at The School of Visual Arts, in
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  • Breton Wash Basin by Edward Minoff, oil painting. Edward Minoff: Weekend With the Masters Instructor Edward Minoff graduated with honors from New York University's Tisch School of the Arts. Throughout his high-school and college years he studied painting
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  • Portrait of His Holiness, John Paul II by Nelson Shanks, 2001, oil painting on canvas, 54 x 50. Nelson Shanks: Weekend With the Masters Instructor One of the most sought after teachers and portrait painters in the world and founder of the post-graduate
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  • Persian Archer by Dan Thompson, 18 x 28, oil painting, 2004. Dan Thompson: Weekend With the Masters Instructor Dan Thompson was born in Alexandria, Virginia, and graduated from the Corcoran School of Art, in Washington, DC. He earned his M.F.A. from the
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  • Untitled by Daniel Sprick, 2006, 24 x 24, oil painting. Daniel Sprick: Weekend With the Masters Instructor Daniel Sprick was born in Little Rock, Arkansas. He studied at the Froman School of Art and The National Academy of Design and received his B.F
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  • Seascape by Ray Roberts, oil painting. Ray Roberts: Weekend With the Masters Instructor Ray Roberts is best known for his seascapes, figurative work, and majestic views of California and the Southwest, and is one of California's most respected plein
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  • The Love on the Road by Ron Hicks, oil painting. Ron Hicks: Weekend With the Masters Instructor Ron Hicks grew up in Columbus, Ohio, and was introduced to art at an early age under the influence of his artist mother. Continuing to pursue drawing through
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  • Seated Figure by Dan McCaw, 24 x 18, oil painting. Dan McCaw: Weekend With the Masters Instructor Dan McCaw was born in 1942 and raised in Montana and during his academic art career attended the Montana Institute of Technology, in Butte Montana; Academy
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  • Youth by David A. Leffel, oil painting, 15 x 13 1/2. David Leffel: Weekend With the Masters Instructor David A. Leffel is widely recognized as one of the most accomplished representational artists today and is often referred to as a living Old Master
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  • Pastel painter and oil painter Albert Handell. Albert Handell: Weekend With the Masters Instructor Pastelist and oil painter Albert Handell was born in Brooklyn, New York, in 1937. At an early age, a favorite activity of his was drawing with chalks on
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  • Skylar in Blue by Jeremy Lipking, oil painting, 16 x 12, 2010. Jeremy Lipking: Weekend With the Masters Instructor In a remarkably short period of time, Jeremy Lipking has emerged as one of the country's premier oil painters. His talent, which rivals
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  • Red Carnations with Ming Rice Bowl by Jacqueline Kamin, oil painting, 20 x 16. Jacqueline Kamin: Weekend With the Masters Instructor Born in 1950 in Washington, DC, Jacqueline Kamin received her formal art education from the Corcoran Museum School in
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  • Connecticut Yankee Spring by George Gallo, 20 x 24, oil painting. George Gallo: Weekend With the Masters Instructor Award-winning writer, director, and painter George Gallo is capturing the hearts of both the general public and artist-audiences everywhere
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  • Spring Dance by Nancy Guzik, 12 x 20, oil painting. Nancy Guzik: Weekend With the Masters Instructor Throughout her career in art, Nancy Guzik has been quietly perfecting not only her skills but also the focus of her work. The result on the surface of
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  • Champs Elysees by John Salminen, watercolor painting. John Salminen: Weekend With the Masters Instructor John Salminen was born and raised in St. Paul, Minnesota. He earned his bachelor's degree and master's degree from the University of Minnesota
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  • Serra Chapel by Timothy Clark, watercolor painting, 29 x 40, 2006. Timothy J. Clark: Weekend With the Masters Instructor Timothy J. Clark is a master watercolorist and oil painter whose work is included in the permanent collections of The Butler Institute
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  • Sublime Order by Daniel Pinkham, oil painting. Daniel Pinkham: Weekend With the Masters Instructor Born in Los Angeles, Daniel Pinkham has been a principal force in the resurgence of plein air painting in California and throughout the country. Pinkham
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  • Approaching Noise (in progress) by David Jon Kassan, oil painting on wood panel, 40 x 34. David Jon Kassan: Weekend With the Masters Instructor Following his initial drawing studies at University of the Arts, in Philadelphia, David Jon Kassan attended
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  • Graffiti by Mary Whyte, watercolor painting. Mary Whyte: Weekend With the Masters Instructor Born in Ohio in 1953, Mary Whyte grew up with all the rural Midwest has to offer. She graduated from Tyler School of Art, in Philadelphia, in 1976 with a Bachelor
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  • Untitled by Robin Frey, oil painting, 14 x 14, 2008. Robin Frey: Weekend With the Masters Instructor Artist Robin Frey grew up in Sarasota, Florida, taking art classes as a child at the Ringling School of Art. She received her B.F.A. from Eastern Mennonite
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  • Maya with Guitar by Susan Lyon, oil painting, 12 x 9. Susan Lyon: Weekend With the Masters Instructor Susan Lyon studied painting at the American Academy of Art and the Palette & Chisel Academy of Fine Arts, both in Chicago. It is there she first
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  • Morro Bay Rock, Near Cambria by C.W. Mundy, oil painting on linen, 16 x 20. C.W. Mundy: Weekend With the Masters Instructor C.W. Mundy, an American impressionist, was born in 1945 and raised in Indianapolis, Indiana. He graduated with a B.F.A. from Ball
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  • Dawn, High Tide-Navesink River by Skip Whitcomb, oil painting on linen, 10 x 20. Skip Whitcomb: Weekend With the Masters Instructor Born in 1946, M.W. Skip Whitcomb has been interested in art since his childhood on a ranch near Sterling, Colorado. However
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  • A Wind to Ward Off Dreams by Jean-Pierre Roy, 58 x 68, oil painting, 2010. Jean-Pierre Roy: Weekend With the Masters Instructor Jean-Pierre Roy is an artist and teacher currently living and working in New York City. Born in Santa Monica in 1974, Roy pursued
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  • Santa Catalina Island by Kevin Macpherson, oil painting, 30 x 50. Kevin Macpherson: Weekend With the Masters Instructor Kevin Macpherson is one of the country's leading plein air painters and is highly respected among collectors and fellow artists
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  • February Shadows, Rio Grande by Stephen Quiller, acrylic painting, 17 x 19 1/2. Stephen Quiller: Weekend With the Masters Instructor Stephen Quiller is an internationally known painter who works primarily in water media, monotypes, and intaglio printmaking
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  • Throughout his career, Richard Schmid has promoted art education through his books, articles, workshops, seminars, and television presentations. Richard Schmid: Weekend With the Masters Instructor Richard Schmid was born in Chicago, Illinois in 1934.
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  • Stringbeans by Morgan Weistling, oil painting, 30 x 26. Morgan Weistling: Weekend With the Masters Instructor Well known for his paintings of early American pioneer life, Morgan Weistling began his art career as a movie-poster illustrator. While still
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  • Window II by Alyssa Monks, oil painting, 2011, 48 x 36. Alyssa Monks: Weekend With the Masters Instructor Born 1977 in Ridgewood, New Jersey, Alyssa Monks began oil painting when she was just a child. Later, when she embarked on her academic career, she
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  • Sunlit Birch by Frank Serrano, oil on canvas, 12 x 12. Frank Serrano: Weekend With the Masters Instructor Contemporary landscape artist and plein air painter Frank M. Serrano was born in Los Angeles on November 29, 1967. He developed an early interest
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  • Thinking Man by Jacob Collins, oil painting, 30 x 20, 2004. Jacob Collins: Weekend With the Masters Instructor Jacob Collins is a leading figure in the contemporary revival of classical painting. He earned a B.A. in history from Columbia College and attended
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  • Market Colors by Scott Burdick, oil on canvas. Scott Burdick: Weekend With the Masters Instructor Scott Burdick was born in Chicago, Illinois, in 1967, where his mother and father encouraged his interest in art from an early age. "I spent a lot of
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  • Light at Sunset by Joseph McGurl, oil painting, 24 x 36. Joseph McGurl: Weekend With the Masters Instructor Joseph McGurl has been referred to as one of the acknowledged leaders in the current American landscape painting arena. This has been confirmed
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  • Vermont Farmhouse by Clayton Beck, oil painting. Clayton Beck: Weekend With the Masters Instructor Clayton J. Beck III studied at the American Academy of Art and the Palette & Chisel Academy of Fine Arts, in Chicago, and launched his career as a professional
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  • Handline Hook by Stephen Scott Young, watercolor painting, 2010, 10 1/2 x 19 1/2. Stephen Scott Young: Weekend With the Masters Instructor Stephen Scott Young grew up in St. Augustine, Florida, and studied at the Ringling College of Art and Design, in
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  • Self-Portrait by Daniel Graves, oil on canvas, 2007. Daniel Graves: Weekend With the Masters Instructor Daniel Graves , born in Rochester, New York in 1949, is an oil painter, etcher, and founder and director of The Florence Academy of Art, Florence,
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  • Dave by Carolyn Anderson, oil painting, 16 x 12. Carolyn Anderson: Weekend With the Masters Instructor Carolyn Anderson , a nationally recognized artist, is an accomplished pastelist and oil painter. Born and raised in the Chicago area, Anderson attended
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  • Vineyard Melody by Camille Przewodek, 16 x 20, oil on canvas. Camille Przewodek: Weekend With the Masters Instructor Camille Przewodek is a plein air colorist based in Petaluma, California, who received her B.F.A. in illustration from the Academy of Art
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  • Nouveau by Daniel Gerhartz , oil painting. Daniel Gerhartz: Weekend With the Masters Instructor Daniel F. Gerhartz was born in Wisconsin in 1965, where he now lives with his wife Jennifer and their four children. His interest in art piqued at an early
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  • Morning Light Crystal Cove , by Joe Paquet, oil painting on linen. Joseph Paquet: Weekend With the Masters Instructor Joseph Paquet received his Bachelors of Fine Art at the School of Visual Arts, in New York City, and had the good fortune of being mentored
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  • Over and over again I hear artists cooing about the thick richness of oil paints and its appealing spreadability, and yes, all of that is totally true. But artist Bev Jozwiak is giving oil a run for its money in terms of buttery appearance and saturated colors, and she’s doing it with watercolor
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  • Wilson uses the visual world as a lexicon of poetic images, as in his painting, Mary . In the 19th century, painters depicted modern life, embracing the “real” and eschewing narrative subjects and symbolism. Now, modern figure painters are
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  • If the eyes are the windows to the soul, then a painter needs to get them right when creating a portrait. But the "oval, circle, dot" anatomy of the eye that we all first learned as children is far removed from how to give the illusion of a real eye in your work. Here are a few tips about painting
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  • Artists aren’t superheroes. No capes, no spandex onesies, and no butlers named Alfred. Artists don’t necessarily lead extraordinary lives in which they paint or draw between bouts of saving the world. Artists are like you and me. They are you and me, actually. We all go about our day-to-day
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  • 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
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  • Here's John using his heavy-weight watercolor gear while painting in Colorado. Through trial and error, over the years, we have figured out how to pack for our foot-powered plein-air painting adventures. We like to keep our heavy-duty Eagle Creek
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  • Sometimes in making a small study for a larger oil painting, an artist will sketch in certain areas very loosely. It's almost as if she says to herself, "and there's some other stuff that fills in this area of the composition, but I'll think about that later." With the set of small
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  • Breaking out of a painting rut sometimes requires a little more oomph than just adding another color to your palette or going from a still life to a figure painting. Sometimes your whole process needs an overhaul. A few years ago, artist Francis Di Fronzo took a fairly drastic measure to take his work
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  • I’m a color junkie. In fashion, in design, and especially in painting, vibrant color is what gets me creative. But before the image of Mimi from The Drew Carey Show becomes forever attached to my name in your mind, I’ll point out that I can control myself…sometimes. It’s tough
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  • Study for Leaves of Grass . All works by Patricia Watwood. With the image of a female figure reading in the summer grass in mind, I began to develop my oil painting , Leaves of Grass . I started with a preparatory drawing. I work with models and from
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  • Measure First, Draw Second; The Pathway to Great Compositions; Make Every ?Brushstroke Count; Learn How Top Artists Paint; How the Academic Technique can Work for You
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  • Point Lobos , oil, 12 x 16. All works by Matt Smith . Have you ever had a moment where you’ve stumbled on something unexpected and you think to yourself, “What a find!” That was so me a few days ago. I read an amazing Q&A that one
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  • Palette knife painting sounds a little edgy and dangerous, but it’s really all about texture—the thick impasto swipes and flat sweeps of color that make up the surface of a painting. I’ve never created an entire painting with just a palette knife before, and I wanted to see what the
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  • Water is perhaps one of the more challenging subjects to paint convincingly in a plein air landscape painting. Whether one is inspired by the ocean, a river, or a pond or lake, each subject requires a studied familiarity and often distinctly different paint handling. Here are a just a few tips that we
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  • Margaret Krug, painter, writer for American Artist , and author of An Artist Handbook: Materials and Techniques, is teaching a one-of-a-kind program, Painting on Panels , from August 12-26 in Spannocchia, Italy. The scope of the workshop is traditional
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  • Leah , oil on canvas, 2010, 24 x 20. The Sicilian Expedition , oil on canvas, 2010, 60 x 40. They say that there are two kinds of painter: color painters, and the other kind--the kind that focuses on form, tone, and line. I'm that "other"
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  • Slicker by Mary Whyte, 2010, watercolor. Watercolor magazine and the Burchfield Penney Art Center in Buffalo, New York have come together for a very special event: WaterMedia Weekend 2011 . It is the opportunity for total immersion in the medium you love
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  • Darrell Brown paints simple, seemingly timeless "portraits" of fruits and vegetables. A few days ago a reader came to me with a good point: If an artist running a workshop can talk about the philosophy behind his or her oil painting art, all
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  • 10 Keys To Making Accurate Judgments; Use Measurements & Simple Shapes for Better Portraits; Learn Variations of Impressionist Painting; 4 Stages Of Successful Plein Air Paintings
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  • For a while now, I have been exploring narrative themes. This is what R. H. Ives Gammell called “poetical pictures.” In the 19th century, this was commonly referred to as “history painting”, but by history they did not just mean world events as we define the term. “Poetical
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  • The American Artist Weekend With the Masters events are always a whirlwind of activity—new people to meet, alluring art to gawk over, and then there are the workshops. Articulate, passionate artist-instructors share their own particular artistic
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  • Lemons by James Tormey, oil on canvas. Natural objects in sharp detail--that says it all according to artist James Tormey. For him, creating great still life paintings is a matter of painting natural objects in sharp detail. Tormey works on large-scale
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  • Jeffree , oil, 18 x 15. All works by David A. Leffel. I spend a lot of time brainstorming how an artist can become an Old Master of the 21st century. What kind of confidence, skill, and vision will it take for an artist working today to gain that reputation
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  • Perhaps sometime over the last couple of years, you looked at your most recent drawing or oil painting and thought “Why am I doing this?” The economic recession has caused all of us to rethink our commitments and has given many artists reason to doubt that “making it” as a professional
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  • Somewhere out there, maybe even as you read this, a group of hungry, dedicated artists are taking a plein-air painting workshop. And at some point during this workshop—perhaps right at this very moment—one of those aspiring artists will ask the classic question voiced at least once in every
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  • Study for Pandora , oil on canvas, 2010. All works by Patricia Watwood. For the past six months, I have been working away at a new series of figure paintings. Over the next weeks and months, I will tell you more about each of them, and the steps involved
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  • When we start making art, we don't start from a position of, "I want to paint like so-and-so," or not even, necessarily, "I want to paint well." We should start from a position of, "I have a need to make art." This is an important principle; it gives us the strength
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  • Turn Mistakes into Masterpieces; create the element of surprise with acrylics; get creative with Sunlight and Shadow; use value studies To Save Time; go inside Workshops With the Pros
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  • Learn more about Mary Whyte’s full-length DVD. I'm a reader and studier by nature, but the lessons and techniques that I learn from books and magazines always seem to click much quicker when I watch an artist paint, rather than try to puzzle
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  • When I’m landscape painting I’m always drawn to the curious, in-between places where the outdoors and indoors meet. This could be an ivy-smothered barn that almost looks like it is disappearing into the landscape, or an ocean view from an open window. The places where architecture and the
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  • Waiting for Supper , 18” x 35”, oil on canvas, 2010. All works by Patricia Watwood . Hello! I am delighted to begin this new venture with Artist Daily and start an ongoing conversation about my painting process and my thoughts on art. Most
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  • The limbs of each figure is achieved with a quick stroke in this watercolor sketch by Wendy Artin. When I think of gesture drawings or quick studies, I see myself with a pencil in hand—that's always just made sense for those kinds of spirited
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  • Oak in the Snow by Caspar David Friedrich, 1825, oil, 44 x 34.5 cm, Wallraf-Richartz Museum, Cologne, Germany. I think all landscape artists and plein air painters have a touch of the romantic in them. It doesn’t really matter what type of landscape
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  • I’ve always prided myself on learning good technique when faced with any new skill, and doing this has definitely made a difference. That goes for when I was learning to dance, swim, draw, or paint in oil. Art techniques were always especially rewarding to tackle this way, because once you grasp
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  • Imagine breaking down even the most complex painting into just a handful of shapes. Painter Ron Hicks has found that the process of painting a portrait can be intimidating, if not overwhelming, to even the most practiced painters because a lot of detail is often confused with what makes a successful
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  • Trying to capture the likeness of a person in a finite period of time and meeting the high expectations often associated with portraiture are far from effortless tasks. They take commitment and savvy to do well. Our eBook Oil Painting Lessons on How to Paint a Portrait: 15 Portrait Painting Techniques
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  • I’m starting this year by reassessing my approach to painting and recommitting to more concentrated studio time. I don’t necessarily feel that I want to completely revamp my process, but there are a few old habits that I want to break and a few new ones I want to instill. I’ve found
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  • 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
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  • Sunlight by Carol Carter, watercolor, 22 x 30. Mark Mehaffey, Nicholas Simmons, Keiko Tanabe, Carol Carter, Thomas W. Schaller, and Kathleen Alexander have formed the North American Watercolor Artists, a group of six U.S. watercolor artists, to represent
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  • Noelle with a Black Dress by Ron Hicks, 2007, oil, 20 x 16. Collection Gallery 1261, Denver, Colorado. I think photography has altered the way we judge the painted portrait. With the ability to capture a photographic likeness—from the details of
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  • Reflect Your True Vision with Accurate Form Now you can paint the human form with the depth and detail it deserves – your artwork will come alive with this exciting special issue from American Artist: Portrait and Figure Painting Highlights Fall 2010. Improve the detail of your portraits with 100
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  • The Lantern Bearers by Maxfield Parrish, 1908, oil on canvas board, 40 x 32. I have a confession to make: I've never glazed with oils. The process intimidates me a bit—creating luminosity and an inner glow on canvas is no easy feat—and
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  • Watercolorist Stephen Scott Young getting into the details of his watercolor technique with students. All photos by Manuel Rodriguez . Artists of the past are often remembered as working solo, toiling alone in their private studios and intimate garrets
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  • On the Cover: Seaside Stroll (detail) by Alan Wylie, 1993, watercolor, 15 x 21. Private collection. FEATURES Artist to Artist: Dale Meyers Cooper With a career spanning nearly 50 years and work in the permanent collections of such institutions as the
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  • Collage materials can be added to add visual interest and texture to a painting surface. Artwork by Misty Mawn. When I feel creatively blocked or bored, I revert back to childhood and start to play. Doodling, writing stream-of-conscious text, or painting
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  • As an artist who has painted the natural world for over 20 years, Adam Straus has a complicated connection to his environment. In the 1990s, he painted Oil Slicks , a series of paintings that referenced the oil spills that happened at the time, and the relevancy of these paintings has been asserted again
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  • Clouds Moving , 1999-2009, oil on canvas, 31 1/4 x 37 1/2. All works by Bernard Chaet. Courtesy David Findlay Jr Fine Art . It’s the materiality—or, for many, that’s at least part of it. The buttery rich feel of paint moving across the
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  • On the Cover: Painter Peter van Dyck leading a workshop at the Pennsylvania Academy of Fine Art. FEATURES Frank Serrano: Accurate & Efficient Plein Air Landscape Painting by M. Stephen Doherty In his popular DVDs, book, and workshops, California artist
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  • La Danse (I) by Henri Matisse, 1909, oil on canvas,102.4 x 153.9 in. I've always believed that art speaks most profoundly when it actually has something to say. Communicating with a viewer is a powerful opportunity, and The Peace Project engages artists
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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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  • 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.
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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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  • Experiment with Acrylic; Learn from the Masters: Hawthorne, Hensche & Sargent show you how to become A better artist; Drawing from Life; Combine Media in Deep & Meaningful Still Lifes
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  • With summer in full swing, I've been spending as much time as possible outdoors, going to concerts and plays, walking from place to place when I do my errands, and just finding every excuse for an outdoor excursion. Plein air painting is another perk of the season. There's something invigorating
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  • Artists are the sharpest of observers, attuned to a person's passing gesture or the play of light and shadow on a building façade—but not everything that catches our eye is a painting waiting to happen. For Utah watercolorist Joseph Alleman , the stories that hold his interest are reflections
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  • Almost any artist will tell you that there's a certain appeal to working outdoors that can't be found anywhere else. With summer in full swing, many of us have left our studios for our porches, backyards, and beyond. To celebrate the season and all of the art being made en plein air, here are
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  • Brooklyn-based artist Allison Maletz doesn't want to use watercolor in a traditional way. Although her work is representational and often figure-based, exploring themes of human connection and the quirky, often dysfunctional, "average American family," she refuses be bound by any rules
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  • 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 has spent the last several years painting family members and friends in familiar surroundings, such
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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
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  • 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 another, and whether the mixtures tend to have a warm
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  • After several months of hiatus, the Plein Air blog is back! Our new Artist Daily editor, Courtney Jordan, and I have worked out a biweekly schedule to get the Plein Air blog back on track, and I’m excited to resume coverage of the artists, events, exhibitions, tools and tips, and conservation issues
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  • It’s often the case that when you live somewhere, you don’t take full advantage of the opportunities that the place affords, and only after leaving do you realize how valuable those opportunities were. This can be true for artists, who, after moving, may regret not utilizing a strong local
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  • When I walk through a museum or gallery, there are certain paintings that I breeze past and others that always draw me in. Self-portraits definitely fall into the latter category. I’m always intrigued by how artists choose to represent themselves and perpetuate their own personal mythologies. True
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  • 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 process and actually seeing it
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  • Robert Johnson strikes the perfect balance between master artist and down-to-earth mentor, supporting his students while pushing them to create the best works that they can. At a recent three-day workshop sponsored by The Art League School in Alexandria, Virginia, Johnson led students through the stages
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  • Gaining exposure and recognition for one’s work starts with putting finished pieces in the public and critical eye. This can mean participating in local community shows or full-fledged exhibitions, entering competitions, and hanging pieces in galleries. It is an exciting prospect, but it can also
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  • 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 are virtually unknown.
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  • It’s only March, and already I’m fantasizing about summer road trips and exotic jaunts. But then I remember that almost every time I go on vacation my glow wears off once the artists show up. Inevitably, I see a traveler who is painting or sketching, creating significant and personal mementos
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  • A still life changed my life?! It sounds corny, but it’s a little bit true! It was Francisco de Zurbarán’s Still Life with Lemons, Oranges and a Rose . He was a Spanish Baroque painter and I was a freshman searching for a major. Bliss and art history degrees followed.
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  • With landscape artist Chris McHenry's hard-won oil painting tips and techniques, you’ll start to understand how to create a realistic sense of contrast for objects in your paintings, establish depth and focus in a landscape painting with a balance of warm and cool colors, and more. Attending
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  • I recently joined a gym in my neighborhood, with the hopes of working off some of those extra holiday pounds that seem to wear out their welcome around this time every year. My schedule is pretty busy, so I try to streamline my visits, making a beeline
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  • It’s often said in sports circles that the best players often make the worst coaches. That’s because it is hard for naturally gifted athletes to relate to players who are not so innately talented. A perfect example of this is former Boston
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  • Greek Steps, Sifnos by Thomas W. Schaller, 2008, watercolor, 12 x 9. I just finished writing an article on Thomas W. Schaller's watercolor paintings for the April 2010 issue of American Artist, and it occurred to me that Thomas is the third licensed
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  • I normally work from plein air sketches or my imagination, but this scene I photographed while on vacation in Costa Rica was just too beautiful to pass up. As most artists do when working from a photo, I made adjustments to the composition to better suit
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  • Our newest free eBook, “24 Tips to Learn How to Paint a Plein Air Landscape,” is now available to download, and in it you’ll find tips on how to get started working en plein air and how to improve your en plein air painting technique
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  • Back in 1994, after my husband and I relocated to New Hampshire, an artist friend invited me to join a group of painters and photographers who met every Wednesday morning at a quaint café in downtown Nashua. This group of about a dozen artists
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  • The beach scene in Manuel Antonio. I normally paint with oils mixed with Galkyd fast-drying medium, so I assume I can make radical changes in the composition of shapes, values, and colors as I formulate the intended outcome of my pictures. But I had to
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  • Over the past decade, I've worked with half a dozen commercial galleries, and although I enjoyed the prestige of being able to say that I am represented by a gallery, the truth is that I've been able to sell my artwork better on my own. Many of
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  • The basic set of supplies John Hulsey uses when painting on location. The recent spat of wet weather in New York has made it difficult to get outside to paint, but that doesn’t mean we in the American Artist offices haven’t been thinking about
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  • By subtly layering pastel, Marlene Wiedenbaum creates a luscious and convincing sense of the world.
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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
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  • Roses and Delphiniums by Janet Walsh, 2009, watercolor, 201⁄2 x 16. Janet Walsh recently stopped by our New York office to deliver a new set of watercolor paintings to be photographed for her next article in Watercolor magazine. The images will
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  • Although I am known for using vibrant colors to create what appear to be playful, spontaneous images in my watercolor paintings, the key to the success of these paintings is the value structure of the compositions. Here’s how I teach others to use studies to plan effective compositions.
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  • Antonio Masi employs both the atmospheric and graphic capabilities of watercolor in his commanding paintings of New York icons.
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  • Michigan artist Jim Johnson offers valuable hints for successful watercolor painting outdoors.
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  • Check out what's featured in the October 2009 issue of American Artist.
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  • When I first moved to New York City about a dozen years ago, I drew my father's face from memory quite a lot. It usually wasn't a good depiction at all, but occasionally it resulted in a decent drawing of a handsome man — which reminds me
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  • Lori Woodward Simons kicks off her new blog with a post about the 20-hour challenge
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  • Using subtle washes and minimal detail, Keiko Tanabe creates a powerful sense of time and place.
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  • Emerging artist Daniel James Keys couldn’t enroll at an art school, but he used every other available means to educate himself as an artist, to connect with other painters, and to promote his artwork. His experience proves that with determination, support, and computer savvy, artists can make significant
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  • The winners of the Hot 100 Watermedia competition are announced.
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  • The Table of Contents for the Summer 2009 issue of Workshop magazine.
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  • During a recent workshop in the Lowcountry of South Carolina, William Jameson provided instruction in plein air oil painting, but he knew it was just as important to offer encouragement and direction to students while they enjoyed the experience.
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  • Steve Doherty asks readers if they have experienced bickering or tension between competitive artists at art association meetings, and compares those rivalries to the ones that occured among artists in 16th century in Venice, Italy.
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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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  • Steve Doherty talks about upcoming exhibitions by national watercolor societies, and asks readers to relay their any experiences they have had while participating in juried exhibitions.
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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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  • The Table of Contents from the May 2009 issue of American Artist .
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  • Steve Doherty talks about landscape painting, and shows a video of a recent painting excursion in New Orleans.
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  • Recent visits to still life painting workshop and exhibitions has reminded Steve how still lifes provide an opportunity to share some aspect of our lives with those who look at our drawings and paintings. Here, he expands on that thought, and asks about the ways you compose, execute, and personalize
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  • Artist and teacher Mel Stabin recommends painting loosely and boldly, an approach that has defined his career.
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  • Steve wishes a happy 70th birthday to Joe Miller, owner of Cheap Joe’s Art Stuff, in Boone, North Carolina.
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  • Q: I used masking tape to mask out the border of my watercolor painting but it abraded the surface when I tried to remove it. What did I do wrong? Should I have used frisket? A: Two things may have contributed to your problem with the masking tape sticking
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  • Q: Is there a spray fixative for watercolor paintings, and if so, should I use it? A: There is no fixative for watercolors. Fixatives are primarily used for four purposes: 1) to allow the piece to repel dirt and allow for light cleaning; 2) to make it
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  • Q: I want to rework an oil painting that has been sitting for more than a year. How should I go about it? A: Begin by cleaning the canvas surface. Wipe away any dust particles with a cotton cloth or with cotton balls. If any dirt is evident, remove it
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  • Q: Can I varnish my oil painting as soon as it is dry to the touch? I use a medium made of Damar medium, linseed oil, and turpentine, and have finished a commission that needs to go to the client in one week. Would it be better to not varnish? A: An oil
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  • Q: Is there a sealer that can be applied to a watercolor painting so that it can be framed and displayed with a glass cover? A: I would suggest using Lascaux Fine Art Fixative. It protects paintings from UV rays and prevents yellowing. It will protect
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  • Q : What should I use for retouching? Are Liquin and linseed oil compatible on the same canvas? A : There are many products you can use to go back into your oil painting after it has dried. Winsor & Newton’s Liquin, which produces a matte finish
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  • Q : How often do I have to varnish an oil painting? How do I clean the painting before I apply new varnish? A : A final coat of varnish—on a finished and completely dry oil painting—can last hundreds of years. Sennelier makes two kinds of
    Read More >>
  • Q: I’m working on an oil portrait, but I’m having trouble getting the right tones. What colors do you recommend? A: Painting a successful portrait is similar to painting a successful still life. Assuming that the subject has one major light
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  • Q: One of my students wishes to mount some paper cutouts from magazines onto her oil painting on stretched canvas. What would be the best way to adhere these, and what is the best way to seal them once the surface is dry? A: If the surface is dry, your
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  • Q: I just finished an oil portrait for a client, and I need to varnish it. I usually use gloss dammar spray for last-minute varnishes. I know I shouldn’t wait until the last minute, but what would you recommend under the circumstances? A: There
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  • Q: I’m interested in trying watercolor painting. I took a few classes from a local artist, but I need to learn more of the basics. How can I educate myself about color? I need to experiment, but I also need to read about it. I have medium texture
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  • Q: I recently varnished an oil painting with matte varnish, but I am unhappy with the finish (Grumbacher). Can I varnish the painting again with a glossy varnish? A: You can revarnish the painting, but to be safe you should use the same brand of varnish
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  • Q: How do I tell if a painting has been done in oil or acrylic? A: For the most part, an acrylic painting will dry leaving a flat finish and an oil painting will dry leaving signs of brushstrokes. On the other hand, there are many mediums that can be
    Read More >>
  • Q: Could you please tell me how to clean an oil painting without damaging the paint? A: Are we talking about maintenance or restoration? There is no system of cleaning that can be applied to all situations, which is why the diagnosis and treatment of
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  • Q: How can I age an oil painting surface to make it look old? A: Very old paintings can yellow over time. Colors may also fade if they are not archival. Without damaging your artwork, you may want to thinly glaze your artwork with either burnt umber or
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  • Q: An oil painting I finished a couple of years ago has developed a section that has cracked and fallen off. I never use any medium except turpentine, and always paint "fat over lean.” Since I paint for a living, I'm more than a little
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  • Q: Is it necessary to prime plywood before painting on it with oil? Couldn't I apply a layer of oil paint directly to the board, let it dry, and then start painting on it? A: Painting directly on plywood can prove problematic. Plywood is porous and
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  • Q: I paint in oil and acrylic, and I've successfully used an acrylic final varnish for both. I seem to have misplaced this final varnish recipe, but I believe that it was part gloss and part matte. Can you recommend a recipe of this type for me? A
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  • Q: I don’t know which white to use in my watercolors. How do you choose the right white? A: Many traditional watercolorists will say the only white that should appear in a watercolor painting is the color of the paper—either untouched by the
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  • The Table of Contents for the April 2009 issue of American Artist magazine.
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  • Michael Graves may be best known now for designing household items and iconic buildings, but he has roots in traditional rendering, as a 2007 book featuring architectural renderings from a 1960 sketchbook shows.
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  • Emerging oil and watercolor artist Janette Jones is the focus of this exhibition at the Knowlton Gallery, in Lodi, California, during the month of February. Jones, who began her career working in watercolor but recently switched to painting outdoor in
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  • Many pastelists consider their pieces to be paintings. Here at American Artist, we have tried to steer clear of the debate on whether pastel is a drawing medium or a painting medium, although when put against the wall and poked in the chest, we'll
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  • Steve Doherty discusses the social aspects of watermedia painting and the proliferation of watermedia organizations.
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  • Gainesville, Florida, artist Marion W. Hylton is adept at oil, masterful in watercolor, and award-winning in pastel. High Water 2006, pastel, 19 x 26. Collection the artist. Best in Show at the St. Augustine Art Association's Honors Show. By Bob Bahr
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  • We have provided a list of links to online art resources that we think are helpful. You can also access these links in the Art Educators section of our website. Art Associations Plein Air Plein Air Painters of America The Plein Air Scene Indiana Plein
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  • Taylor Road Barn 2007, watercolor, 15 x 22. This week, Joyce Washor looks at a watercolor painting by one of our readers and suggests varying the edges to add a sense of distance to the painting. The artist has done a remarkable job on this painting.
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  • Mark Leithauser collaborated with his brother, the poet Brad Leithauser, on a series of books that expanded his imaginative powers, leading him to consider a multitude of new subjects. A 2002–2003, graphite drawing. All artwork this article courtesy
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  • One of the most useful aspects of painting workshops is the personalized critiques offered by knowledgeable instructors. Now you can get this advantage anytime through the American Artist Critique Blog. Through this blog, you can get commentary and suggestions
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  • The Muscarelle Museum of Art, in Williamsburg, Virginia, will be the initial site for the national tour of the major exhibition of Old Master paintings. The Dutch Italianates: Seventeenth-Century Masterpieces From Dulwich Picture Gallery Through March
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  • James Toogood comments on Ross Sterling Turner's watercolor painting Fairylands, Bermuda. Fairylands, Bermuda by Ross Sterling Turner, 1890, watercolor and gouache, 18 x 25 1/2. by James Toogood What's most interesting about this painting is the
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  • Francis Di Fronzo stopped working with paint brushes to create his own technique of “tapping the landscape into existence.” All Paths to War Lead Back to You (Part I) 2002, oil on panel, 48 x 48. Private collection. by Lynne Moss Perricelli
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  • John A. Parks examined the art of Giorgio Morandi in the December issue of American Artist . In one section, he asserted, "[His] paintings are a testimony to the act of something deeply contemplated. It is a kind of painting that has nothing to do
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  • The natural cycle of water and its place in the landscape is the focus of this exhibition at the Irvine Museum, in Irvine, California. All The Water That Will Ever Be, Is, Right Now Through January 17, 2009 The Irvine Museum Irvine, California (949) 476
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  • A collection of recent artwork by Jason Bryant, including large-scale oil paintings and smaller, more intricate portraits, will be presented in this exhibition at the Raandesk Gallery, in New York City. Someday, Maybe, Never 2008, oil on canvas, 40 x
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  • While packing to move into our new offices, I came across a self-portrait I painted several years ago that was lost in a stack of papers. I immediately recognized that the face was drawn inaccurately—an error I didn’t see at the time I created
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  • For many artists, growing and tending to their own gardens provides an additional outlet for creative expression. by Naomi Ekperigin Tulips in a Square Vase, by Susan Van Campen, 2006, watercolor, 23 x 30. Courtesy Hirschl & Adler Galleries, New York
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  • This Utah artist is drawn to figures and faces, and he works hard to balance his work-related duties with his love of traditional oil painting. Kaitlyn, 2007, oil on board, 14 x 18. All artwork this article collection the artist unless otherwise indicated
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  • In the November 2008 issue of American Artist, we discussed how John Falato enjoys introducing students to the nuts and bolts of watercolor painting. Here, we reproduce additional images of Falato's paintings. Autumn in Southford 2005, Casein on Masonite
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  • Connecticut artist John Falato primarily paints in oil, but he also enjoys introducing students to the nuts and bolts of watercolor in his exciting, fast-paced beginner classes. August Road 1983, watercolor, 21 1/8 x 16. All artwork this article private
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  • Connecticut artist John Falato primarily paints in oil, but he also enjoys introducing students to the nuts and bolts of watercolor in his exciting, fast-paced beginner classes. August Road 1983, watercolor, 21 1⁄8 x 16. All artwork this article
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  • When J.C. Airoldi left a successful career as a designer, she applied the same level of determination, practicality, hard work, and marketing skills that she used in her previous profession to creating and selling paintings. Gloucester Solitude 2008,
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  • Warm-up exercises are as important for artists as they are for musicians and athletes. by Daniel Grant Athletes stretch before a game. Prior to performing, opera singers sing scales, and actors practice their lines. Warm-up time is important in a variety
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  • When Chris Krupinski made the transition from oil to watercolor painting, she refused to sacrifice her love of detail and bold, rich color. A Glass of Cherries 2004, watercolor, 30 x 22. All artwork this article collection the artist. by Naomi Ekperigin
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  • Painting with watercolor requires an understanding of not only the paints themselves but also how to apply them. Like what you read? Become a Watercolor subscriber today! by James Toogood Breakers on a Rocky Coast 2005, watercolor, 24 x 18. Private collection
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  • Read the transcript from yesterday's live online chat with pastel artist Janet Monafo. 2008-06-09 11:00:12.0 Administrator: You have joined a chat with Janet Monafo, a top pastelist who has been highlighted in American Artist magazine. Feel free to
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  • During a recent workshop, New York artist Max Ginsburg showed students how to respond to the specific lighting effects they observed rather than to use premixed colors and repetitive procedures. by M. Stephen Doherty Ginsburg made adjustments to the balance
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  • This dynamic young artist believes anyone can learn the language of painting and use it to express themselves, which he proves in both short-term and extended workshops. by M. Stephen Doherty Baugh working directly on a student's canvas “There
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  • We chose 10 finalists for our Drawing Magazine Cover Competition—and then easily named William Rose the winner, as he best showcased the skill level and imagination of our readers. View the winners of the Watercolor magazine 2008 cover competiton
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  • During a recent plein air workshop in Southern France, Judith Carducci helped students who worked with pen-and-ink, pastel, watercolor, and oil colors. The unifying themes of the 10-day class were that drawing basics are a foundation of all media and
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  • During a recent plein air workshop in Southern France, Judith Carducci helped students who worked with pen-and-ink, pastel, watercolor, and oil colors. The unifying themes of the 10-day class were that drawing is a foundation of all media and working
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  • This New York City artist has found that the more he understands the science of the elements in his still life scene, and the more carefully he executes his drawing and underpainting, the freer he can interpret the subject matter in the final stages to
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  • James Toogood comments on Ogden Pleissner’s watercolor painting St. George's Harbor. by James Toogood St. George's Harbor by Ogden Pleissner, 1953, watercolor, 14 1/4 x 20 1/4. Collection Masterworks Museum of Bermuda Art, Paget, Bermuda
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  • James Toogood comments on William Trost Richards' watercolor painting A Rocky Coast. by James Toogood A Rocky Coast by William Trost Richards, 1877, watercolor and gouache on fibrous brown wove paper, 28? x 36¼. Collection The Metropolitan
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  • James Toogood comments on Judy Morris' watercolor painting Chinatown: San Francisco. by James Toogood Chinatown: San Francisco by Judy Morris, watercolor, 34 x 28. This is a delightful piece, not overly serious but beautifully executed. It's a
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  • In the summer 2008 issue of Workshop, we discussed how Scott Tallman Powers was able to express strong emotions in oil paintings by first establishing a clear concept for the picture and then remaining focused on delivering that content to viewers. We
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  • James Toogood comments on Frederick Brosen's watercolor painting Brooklyn Bridge. by James Toogood Brooklyn Bridge by Frederick Brosen, 2006, watercolor over graphite, 28¾ x 51¾. Courtesy Hirschl & Adler Galleries, New York, New
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  • In the Fall 2007 issue of Workshop magazine, we presented Daniel E. Greene's approach to teaching drawing and painting in art-school classes, short-term workshops, and filmed programs. Here we reproduce the article from the November 2007 issue of
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  • James Toogood comments on John Singer Sargent’s watercolor painting Venetian Canal. by James Toogood Venetian Canal by John Singer Sargent, 1913, watercolor and graphite on off-white wove paper, 15¾ x 21. Collection The Metropolitan Museum
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  • James Toogood comments on Mary Cassatt’s watermedia painting Self-Portrait. by James Toogood Self-Portrait by Mary Cassatt, watercolor on ivory wove paper, 33 x 24. Collection National Portrait Gallery, Washington, DC. Mary Cassatt was not known
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  • In the Fall 2008 issue of Workshop magazine,we discussed how Dan Young helped both beginners and experienced painters develop their skills by showing them how to simplify forms, increase the sense of light, push background shapes into the distance, and
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  • Renowned photorealist painter Richard Estes will be showing more than 20 new paintings during this exhibition at the Marlborough Gallery, in New York City. Richard Estes October 14 through November 15 Marlborough Gallery New York, New York (212) 541-4900
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  • Barbara Edwards experiments with media and techniques in her paintings that make use of both representation and abstraction. by Lynne Moss Perricelli Mountain Pasture 2007, acrylic, 27 x 22. All artwork this article collection the artist unless otherwise
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  • During the spring of 2008, 13 women painters from California, Nevada, and Utah gathered together in the Yosemite Valley to paint the national park for a week. Yosemite on Canvas: 13 Western Artists Paint the Park Through November 29 Knowlton Gallery Lodi
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  • In the summer 2008 issue of Workshop magazine, Frank Serrano discussed his approach as an artist and his methods as a teacher. Here we present his step-by-step demonstration Oak Study . Step 1 During his weekly landscape-painting workshop in Southern
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  • Congratulations to the 10 finalists chosen in the 2008 Watercolor Cover Competition. These accomplished artists each take a different approach, revealing the versatility and adaptability of watermedia. Here, they describe their sources of inspiration
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  • In the winter 2007 issue of Workshop magazine, Alan Flattmann showed two methods of painting the landscape. Here we present a step by step demonstration of his painting The Abita River. Step 1 Flattmann toned the canvas with a thin wash of burnt-umber
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  • Artists Carl and Sandra Bryant use tiny pieces of glass to create intricate mosaic works of art. by Stephanie Kaplan Autumn Landscape by Sandra Bryant, 2006, glass mosaic, 24 x 32. Collection the artist. Mosaic Landscape by Sandra Bryant, 2005, glass
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  • As an experimental artist, Minnesotan Lana Grow has no rules. She begins her paintings in different ways and lets them evolve. Like what you read? Become a Watercolor subscriber today! by Linda S. Price Simply Flora 2006, watermedia, 22 x 22. Collection
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  • This New York City artist paints landscapes, still lifes, and portraits that highlight the relationships between seemingly disparate objects. by Naomi Ekperigin This Situation 2006, oil, 20 x 16. All artwork this article collection the artist. Self-Portrait
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  • For this Massachusetts artist, water is both her subject and her medium. Iceberg From Our Zodiac, Antarctica No. 2 2005, watercolor, 24 x 36. All artwork this article collection the artist, unless otherwise indicated. by Naomi Ekperigin The majority of
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  • James Toogood comments on Thomas Girtin’s watercolor painting Kirkstall Abbey, Yorkshire: Evening. by James Toogood Kirkstall Abbey, Yorkshire: Evening by Thomas Girtin, ca. 1800, watercolor on laid paper, 12½ x 20½. Collection Victoria
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  • Denise LaRue Mahlke believes that being an artist is a calling that involves preserving, celebrating, and sharing in God’s creation. That’s one of the reasons she challenges herself to strive for excellence as a pastel painter and a teacher
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  • The method for preparing a canvas varies from artist to artist. This is primarily because there are several options to choose from in every phase of preparation. Here, we outline the choices available so that you can confidently begin to work in oil.
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  • This self-taught artist has found that learning to paint in watercolor is not only fun and challenging, but it also enables her to explore the world around her. Day Job 2007, watercolor, 22 x 12. All artwork this article collection the artist. by Naomi
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  • This Florida-based artist paints still lifes in oil that hint at a human presence. Trio on Marble Block 2007, oil, 36 x 48. All artwork this article collection the artist unless otherwise indicated. by Naomi Ekperigin For 15 years, Arturo Samaniego’s
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  • In the fall 2008 issue of Workshop magazine, we showed how Casey Baugh used both short-term and extended workshops to teach the language of painting. Here we present his step-by-step demonstration Red Scarf . Reference The model who posed for the three
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  • In the spring 2008 issue of Workshop magazine, Colorado artist Ron Hicks discussed how breaking down his subjects into shapes, and capturing gradations of light in each, allow him to create the moody figurative and interior work he is best known for.
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  • In the summer 2008 issue of Workshop magazine, we discussed how Mary Anna Goetz's workshops address the tendencies students have to lose sight of the center of interest and to mix colors that are garishly overstated or inaccurate value assessments
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  • With the wide range of watercolors available, it is important to know the different formulations to create a palette that best suits your needs. Each side of the table above lists 4 common transparent and opaque pigments. by Naomi Ekperigin Watercolor
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  • This artist, who primarily paints landscapes in transparent watercolor, finds the unpredictability of the medium to be its most enjoyable trait. by Naomi Ekperigin Cascade 2004, watercolor, 19 x 28. All artwork this article private collection unless otherwise
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  • In an exhibition opening this month in New York City, Daniel E. Greene presents still-life and figure paintings inspired by the experiences and objects of his childhood. Those paintings allowed him to explore the themes of challenge, contrast, and competition
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  • This Massachusetts painter uses a closely controlled palette and open painting approach to create highly evocative visions of interiors and figures. by John A. Parks Family at Sundown 2005, oil on linen, 48 x 72. All artwork this article collection the
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  • Utah artist David Koch likes to bring elements of his state’s pioneer past into his computer-aided compositions. by Linda S. Price Crossing The Sweetwater 2002, oil on linen, 55 x 44. Collection Walt and Katie Gasser. Until David Koch won a competition
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  • James Toogood comments on Richard Parkes Bonnington’s watercolor painting A Fisherman on the Banks of a River, a Church Tower in the Distance. by James Toogood A Fisherman on the Banks of a River, a Church Tower in the Distance by Richard Parkes
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  • An appropriate background is essential for setting the scene in a still life composition. by Janet Walsh Silver Server With Cups 2002, acrylic, 12 x 24. The artist has done a nice job painting these still life items. However, the artist may want to consider
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  • Three painting friends exchanged photographs and then produced paintings of the same 15 subjects in an experiment designed to teach them about different approaches, challenge them to push beyond their comfort zone, and allow them to work on a common painting
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  • James Toogood comments on John Sell Cotman’s watercolor painting The Drop-Gate, Duncombe Park. by James Toogood The Drop-Gate, Ducombe Park by John Sell Cotman, ca. 1806, graphite and watercolor on laid paper, 13 x 9. Collection the British Museum
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  • In the fall 2007 issue of Watercolor , Johnnie Liliedahl discussed Old Master approaches that help her students understand the basics of oil painting. Here, we present a demonstration for her painting Lady in White. Reference: A photograph of a model
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  • The vast array of materials and tools available to artists can make it difficult to determine which is best for rendering a certain subject. Even a traditional oil painter has a wealth of options and can choose from alkyds, water-soluble oils, and traditional
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  • In this online exclusive gallery, view more artwork by New York artist Max Ginsburg, one of the artists featured in the summer 2008 issue of Workshop magazine. Fabiana 2007, oil, 12 x 11¾. Collection the artist. Julie 2008, oil, 12 x 9. Collection
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  • James Toogood comments on Thomas Eakins' watercolor painting John Biglin in a Single Scull. by James Toogood John Biglin in a Single Scull by Thomas Eakins, ca. 1873, watercolor (and gouache?), 19 5/16 x 24 7/8. Collection The Metropolitan Museum
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  • The goal of this exhibition at the National Academy Museum, in New York City, is to dispel the image of Ralph Albert Blakelock as a “mad genius,” by demonstrating the value of his work and its influence on modern and contemporary artists.
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  • In the July/August 2008 issue of American Artist, we discussed Barbara Kassel's autobiographical interior paintings. In this online exclusive gallery, we juxtapose her interior and exterior paintings. Jim’s Fish House 2006, oil on Masonite,
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  • View more computer-aided paintings by David Koch, one of the artists featured in the September 2008 issue of American Artist. Breakfast Thoughts 2007, oil on linen, 20 x 16. Collection the artist. This Old Clock Tower 2003, oil on linen, 24 x 18. All
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  • In this online exclusive gallery, view more examples of plein air landscapes by Kevin Sanders, one of the artist featured in the September 2008 issue of American Artist. Ponte Vecchio 2006, oil, 18 x 24. All artwork this gallery private collection, unless
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  • Watch an audio slideshow demonstration, by Lori Woodward Simons, of a watercolor portrait—one of the step-by-step demonstrations in the summer 2008 issue of Watercolor magazine (3:12). Watercolor Portrait with Simons Posted to Artist Daily by Karyn
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  • James Toogood comments on Winslow Homer's watercolor painting Road in Bermuda. by James Toogood Road in Bermuda by Winslow Homer, ca. 1899-1901, watercolor over graphite on cream paper, 14 x 21 1/16. Collection Brooklyn Museum of Art, New York, New
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  • Herrick adjusts the light mass on the ground below the children, and lightens the middle girl's face. I have been adding to the light mass on the ground below the kids. This may be overstated right now, but I can readjust this later. I also keyed
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  • The artist realizes that he needs to lighten the boy's shirt and face. I need to lighten the boy's face and shirt, and that means everything needs to be keyed up higher in the same way. It is a frustrating but necessary adjustment. About the Artist
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  • Watch summer 2008 Watercolor featured artist Donna Zagotta combining watercolor and gouache to play with color and form in the interior painting Valencia (1:27) . Watercolor demo of hotel interior Posted to Artist Daily by Karyn on October 08, 2009 Click
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  • The Historical Society of the United States District Court has commissioned Herrick to paint a copy of an original Gilbert Stuart portrait for their collection. Another diversion—I'm in the process of copying an original Gilbert Stuart portrait
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  • Watch a landscape painting audio slideshow demonstration of Morgan Samuel Price's Last of the Roses (2:08). Price was one of the artists featured in the spring 2008 issue of Workshop magazine. Oil painting garden scene Posted to Artist Daily by Karyn
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  • The winner and semifinalists of our annual cover competition reveal how they created paintings that captured the attention of our judges. Frank J. Strazzulla Jr. Studio Interior 2003, oil, 18 x 14. Private collection “One of the compelling themes
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  • One of Carla O’Connor’s objectives in a workshop is to persuade students to stop thinking about the tools of watermedia painting—the brushes, paints, and paper—and to focus on expression. To her, focusing on materials is like wondering
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  • Midwestern artist Christopher Copeland paints the landscape that surrounds him, imbuing it with emotion and recording the transient moments that are often difficult to capture. by Naomi Ekperigin Midsummer Evening 2007, oil, 30 x 32. Private collection
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  • Known for his innovative method of using transparent watercolor on a nonabsorbent surface, this California artist employs an open-ended approach. Like what you read? Subscribe to Watercolor today! by Lynne Moss Perricelli Sunday Morning Nougat 2003, watercolor
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  • An elegant combination of traditional tonalism and contemporary design allows Utah artist Shanna Kunz to speak to her viewers in a gently alluring voice. by Jennifer King Christmas Meadows 2003, watercolor, 20 x 24. Private collection. “All of your
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  • The artist takes a break from Of Scions and Sunlight to complete this portrait of a college president. I often have to interrupt one commission to finish another. Recently, I had to put aside Of Scions and Sunlight to complete this portrait of a college
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  • Herrick takes a break from this portrait to work on other projects. The client has been great—they were more concerned with getting the best painting than getting the finished piece at a particular time. But because the painting was taking up a
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  • In this installment of the demonstration, the artist works on the details in the portrait. The little girl was close to where I wanted her to be, but the older girl seemed a little too dark. I needed to add a white glaze over her just to send it in the
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  • In the next installment of the demonstration, Herrick works on the background. I needed to address the background foliage to establish a context for the portraits. Things were looking a little dark in the background, so I removed some paint that was just
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  • In the July/August 2008 issue of American Artist, we discussed how California-based artist Christopher Evans creates idyllic landscapes that communicate an extraordinary reverence for nature. We offer more of his paintings, with accompanying details,
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  • As one studies a new medium, it can be useful to learn about the process of masters that came before in order to gain inspiration and insight into tackling various techniques. Here we focus on the great watercolorists of the past. Mink Pond by Winslow
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  • Watch a plein air watercolor demonstration by spring 2008 Watercolor featured artist Lori Woodward Simons Lori Woodward demo on plein air Posted to Artist Daily by Karyn on October 12, 2009 Click to Play | View Details
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  • In the next installment of the demonstration, the artist tackles the boy's shorts and develops the highlights on the boy's face. I tackled the boy's shorts, organizing the color changes in reflections and shadows. Although the kids were wearing
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  • In the fourth installment of the demonstration, Herrick concentrates on the older girl in the painting. She was a bit of a challenge because I was sorting out her likeness from multiple reference photos. I wasn’t sure of her expression—in
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  • In the third installment of the demonstration, Herrick continues blocking in the portraits and begins to place a few notes of color on the canvas. I was just trying to find my way with this painting—locating bigger shapes and anchoring positions
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  • In the second installment of the demonstration, Herrick tones his canvas and begins blocking in the heads of the children. I didn’t do a drawing—I did most of my thinking with the camera and Photoshop, and then I just jumped right into things
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  • Follow Garth Herrick's entire demonstration from start to finish. Meeting the Client This came through an agent, a local representative of Portrait Source [a portrait broker]. I think the client found me in the agent’s portfolio. The couple
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  • Follow Garth Herrick's entire demonstration from start to finish. Meeting the Client This came through an agent, a local representative of Portrait Source [a portrait broker]. I think the client found me in the agent’s portfolio. The couple
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  • Urban landscape painter Scott Prior proves that a contemporary, “punk-rock” alternative to classical California subject matter can still produce moving and thought-provoking imagery. by James A. Metcalfe Island Life 2007, oil, 24 x 18. Courtesy
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  • Varying color and subduing the background helps create an effective floral composition. by Janet Walsh Geraniums 2005, acrylic, 8 x 10. The artist has certainly made good color choices in the bouquet, and has created the feeling of sunlight throughout
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  • In the fall 2007 issue of Workshop , Gayle Levée discussed how the underlying structure of a painting gives the finished work its strength. Here we present a demonstration for her painting Reflections in Gold . To read the feature article on Levée
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  • Over the next few months, we will keep you abreast of the progress made on a large portrait commission taken on by Garth Herrick, a Philadelphia-based artist featured in the June 2008 issue of American Artist. In this first installment, the artist discusses
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  • Heralded as a rebel of the Romantic movement, Gustave Courbet is today considered one of the first to propel Realism into the modern world. by John A. Parks The Desperate Man 1844–1845, oil, 17¾ x 21?. Private collection. Born in 1819, Gustave
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  • In the December 2007 issue of American Artist, Joseph Gyurcsak used the work of Giorgio Morandi and Paul Cézanne to help illustrate lessons on developing paintings. Here, we present a step by step demonstration of his painting Subtle Grays . The
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  • Six top artists combined observation, investigation, and invention to respond to the encompassing reality of the landscape. They will be exhibiting their sketches and studio paintings together for the first time this summer. by M. Stephen Doherty The
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  • In the June 2008 issue of American Artist, we explored how urban landscape painter Scott Prior proves that a contemporary, "punk-rock" alternative to classical California subject matter can still produce moving and thought-provoking imagery
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  • In the June 2008 issue of American Artist , we explored how Gustave Courbet is considered one of the first to propel Realism into the modern world. We offer more examples of his realist approach in this online exclusive gallery. The Preparation of the
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  • In the May 2008 issue of American Artist, we discussed how Nancy Switzer pushes the possibilities of surface and color to create rich and spectacular paintings. Here, we offer more of her oil paintings in this online exclusive gallery. Blue Scad Melt
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  • Because most of his Pennsylvania landscapes begin with his photographs, Peter Fiore considers his paintings reorchestrations of reality. “A painting is what I envision,” he says, “not necessarily what nature gave me.” by Linda
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  • For almost 20 years, Jimmy Sanders has set specific goals for his art education, the types of paintings he creates, and the projects he undertakes. “Goals are dreams with deadlines,” he says. “They are important to realist painters who
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  • In this online exclusive gallery, view more oil landscapes by May 2008 American Artist featured artist Peter Fiore. February Meadow 2007, oil on linen, 18 x 24. Courtesy Travis Gallery, New Hope, Pennsylvania. Fiore believes beautiful skies can make even
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  • Having completed more than 400 watercolor portraits of children, Jane Paul Angelhart knows how to avoid potential problems with muddy paints, uncharacteristic poses, nervous children, and overbearing mothers. Like what you read? Become a Watercolor subscriber
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  • California-based artist Don Gray paints large-scale murals and applies his traditional training to the depiction of historical events. He brings to this work a sense of spontaneity and freedom that is fueled by the creation of a new small painting every
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  • Renowned for his watercolor paintings of the figure, this artist reminds others to simplify, merge the subject with the background, and respond in a way that is natural and authentic. To read more features like this, subscribe to Watercolor today! Watercolor
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  • For me, the goal of landscape painting is to paint stirring images that engage and inspire viewers, and this is more likely to happen when I use information from a variety of sources. by Steve Armes Sketch for Sierra Blanca 2005, oil, 8 x 10. All artwork
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  • From the thousands of art-instruction books available, we offer a list of those that have proven beneficial to new artists. by Naomi Ekperigin There are many options available for artists wishing to improve their skills. However, the price and time commitment
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  • We present biographies and artwork from our 20 esteemed watercolor teachers. by Beth Patterson Mary Alice Braukman The Power of Letting Go by Mary Alice Braukman, 2005, mixed media and collage, 22 x 30. Collection the artist. Mary Alice Braukman is an
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  • In the early 20th century, Johannes Itten’s theories on color changed the way artists and scientists viewed the spectrum of colors in the world around them. Here, we outline some of Itten’s basic tenets—many of which are still employed
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  • This New York artist discovers many of his breakthroughs through drawings, depicting strictly what he sees with little thought for accepted standards of draftsmanship. by John A. Parks Study for Eroded Cliff 1955, sepia wash on paper, 18¾ x 23
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  • Throughout his long career, Henry Casselli has looked to drawings to clarify his impressions and better understand his subject. To read more features like this, subscribe to Drawing today! by Lynne Moss Perricelli Study for Sparring Partner 2005, graphite
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  • This Bahamas-based artist seeks to capture the natural landscape right outside his front door. Evening Exuma 2000, oil on canvas, 24 x 30. Collection the artist. Artist Allen Webb has two loves: tennis and painting. As a professional tennis player and
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  • We present the semifinalists in the pastel category. by Karen Stanger Johnston Changing Channels by Mike Barret Kolasinski, 2007, pastel on archival foam board, 12 x 24. First Place: Mike Barret Kolasinski Chicago artist Mike Barret Kolasinski is passionate
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  • Combining close observation with an intuitive approach, Joyce Washor creates tiny paintings with big impact. To read more features like this, subscribe to Watercolor today! by Tina Tammaro My Cup Runneth Over III 2007, watercolor, 4¾ x 3¾
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  • In the April 2008 issue of American Artist, we discussed how Christine Lafuente's still lifes and plein air landscapes are oriented toward achieving a color harmony that captures the play of light across the forms. In this online exclusive gallery
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  • Despite the demands of her busy life, Arizona watercolorist Carole Hillsbery finds time to paint thoughtfully executed watercolors. by Linda S. Price Puerto Penasco 2006, watercolor, 30 x 22. All artwork this article collection the artist unless otherwise
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  • Drawing is critical to Gary Akers’ creative process, helping him to know the subject, decide the value structure and composition, and define the focal point. Like what you read? Become a Watercolor subscriber today! by Lynne Moss Perricelli The
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  • Alabama artist Clint Herring has been successful with watercolors that focus on the architecture and people of the Southern United States and the Bahamas. As one of his dealers explains, the strength of the work is its connection to the rich traditions
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  • Michael Albrechtsen achieves a stronger impression of both the emotional and physical aspects of a landscape by standing back from his easel and thinking carefully about what he sees. by M. Stephen Doherty Cool and Wet 2007, oil, 40 x 30. Collection the
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  • In the April 2008 issue of American Artist, we discussed how Maryland artist Abigail McBride is still acquiring skills to help her successfully build paintings more than 20 years after she started studying art seriously. We present more of McBride's
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  • When Rhode Island artist Peter Hussey taught himself to paint, he noticed that great artists often used diagonal and curved shapes to bring viewers into and around their pictures. That lesson, along with many others he learned by studying both historic
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  • Many of the great teachers who trained Daniel Graves were featured in American Artist in the 1970s, while he and his students have been profiled in more recent issues. As the magazine celebrates its 70th anniversary, we examine the academic art education
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  • Most artists want their paintings to be viewed and appreciated by others, and many hope that connection will result in the sale of their work. However, a lot of artists produce more paintings than they sell, and even the most acclaimed artist cannot boast
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  • View more of examples of how March 2008 American Artist featured artist Kim Casebeer develops her oil paintings in this online exclusive gallery. Autumn Evening at Buffalo Mound 2007, oil, 36 x 48. Private collection. Evening Along Buffalo Fork 2007,
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  • An exhibition at the Pennsylvania Academy of the Fine Arts, in Philadelphia, aims to present Cecilia Beaux for the great painter she was: one of the most accomplished among men and woman alike. by Lynne Moss Perricelli Self-Portrait 1894, oil, 25 x 20
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  • Likening her process for painting flowers to that of her portraits, Maine artist Susan Van Campen puts patience, skill, and heart into interpreting the life of a flower. by Allison Malafronte Bouquet, June 2006, watercolor, 42 x 29½. All artwork
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  • This French master teaches us much about contours, portraiture, and how to draw people. by Mark G. Mitchell Portrait of Charles- François Mallet 1809, graphite, 10 9/16 x 8 5/16. Collection The Art Institute of Chicago, Chicago, Illinois. So that’s
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  • In the March 2008 issue of American Artist, we discussed how watercolorist Patrick Gordon transitioned into creating large, multipanel oil paintings of flowers. Here, we offer more of his oil flowers as well as a selection of the watercolors from the
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  • After a successful 20-year career as a watercolorist in Tulsa, Patrick Gordon moved to New York to create large, multipanel oil paintings of flowers. “I’ve never worked harder or had more fun than I have in the past few years,” he explains
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  • Texas cattle rancher Lonnie Shan depicts the animals he admires in stunning watercolors, taking great care to capture their personality and soul. by Naomi Ekperigin Hard is the Journey 1991, watercolor, 14 x 10. Collection the artist. Viewing one of Lonnie
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  • In this online exclusive gallery, view more paintings from the Cecilia Beaux traveling exhibition, which is on view at its final venue at the Pennsylvania Academy of the Fine Arts , in Philadelphia, February 2 through April 13. New England Woman 1895
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  • Water-soluble colored pencils offer the perfect solution for artists who want to create watercolor effects without the hassle of watercolor paints. by Stephanie Kaplan Plumeria 2006, watercolor pencil, 8 x 10. Watercolorist Kristy Ann Kutch owned a set
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  • Selecting a palette of colors often means limiting the choices, making studies, and experimenting along the way. by Christopher Willard One of the keys to successful watercolor painting is to choose a workable set of colors. Today, with the wide range
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  • In the February 2008 issue of American Artist, we discussed how although Thomas Cordell's subject matter often reflects his architectural training, he doesn't construct his paintings as he would his buildings. We offer more of his cityscapes in
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  • In the February 2008 issue of American Artist, the Plein Air Painters of Chicago revealed both the pitfalls and pleasures that landscape painters often encounter when painting in an urban setting. In this online exclusive gallery, we showcase several
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  • Many great landscape drawings were created as preparatory studies, educational exercises, or informational journals and not as finished works of art. We can now study those freely made graphic images for evidence of the drawing essentials , ideas, and
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  • In the February 2008 issue of American Artist, Steve Armes discussed how his goal for landscape painting was to paint stirring images that engage and inspire viewers. In this online exclusive gallery, we present more of his oil landscapes. Above Lake
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  • Oregon artist Scott Gellatly knows that a broad knowledge of materials and techniques can help painters realize their visions. That’s why he now travels around the country on behalf of Gamblin Artist’s Colors teaching painters how to give
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  • by Linda S. Price Anderson Homestead 2002, watercolor, 18½ x 22½. Private collection. Kolb looked for diagonals to create drama in this composition. Vermont artist Kathleen Kolb is not a fussy painter. She doesn’t need sunny skies
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  • By employing a most unusual form of contrast, Yachiyo Beck has found a way to create still lifes with a distinctly personal flavor. by Jennifer King Afternoon Apples 2005, watercolor, 18 x 28. Collection the artist. If one of her paintings looked like
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  • Santa Barbara artist Ann Sanders finds natural beauty in her surroundings and puts it down in pastel using proven methods—and she stresses that you can too. by Bob Bahr Devereux Afternoon 2006, pastel, 11 x 15. Collection Shirley Dettmann. The scenes
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  • There are few American painters who were as celebrated, successful, or influential as Frederic Edwin Church. by M. Stephen Doherty Twilight, a Sketch by Frederic Edwin Church, 1858, oil, 8¼ x 12¼. Collection Olana State Historic Site, Hudson
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  • Two masters of still life painting have much to teach us about developing our paintings. by Joseph Gyurcsak Ochre & Blue Gray 2007, oil, 12 x 16. Collection the artist. Two of the most admired masters of still life painting are the Italian artist
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  • Oil painter Debra Teare mixes the best of conventional trompe l’oeil techniques with her own modern sensibilities to make her illusionistic pieces. by James A. Metcalfe Everything Nice 2007, oil, 13 x 10. Collection Christine E. Lynn. For more than
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  • Most artists are familiar with the axiom that states there is art created for commerce’s sake and art created for art’s sake, but few are able to find a happy medium between the two. by Daniel Grant Most artists are familiar with the axiom
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  • For New York City artist Ellen Buselli, painting is centered on translating what she sees to canvas, which is why she finds observing and understanding the nature of color and light so important. by Linda S. Price Classical Light 2007, oil on linen, 20
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  • In the January 2008 issue of American Artist, New York City artist Ellen Buselli explains why she finds observing and understanding the nature of light and color so important. Her attention to light and color is also evident in the still lifes presented
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  • This Dominican-born artist uses rich color to create an exotic and intense experience of the world. by John A. Parks Standing Nude Study 1988, oil, 20 x 16. All artwork this article collection the artist unless otherwise indicated. Although he has long
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  • We present the semifinalists in the watercolor category. by Karen Stanger Johnston After the Harvest by Gail M. Wheaton, 2003, watercolor, 30 x 22. Collection Evan and Patricia Harter. First Place: Gail M. Wheaton Arizona artist Gail M. Wheaton completed
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  • Renowned watercolorist and workshop instructor Mary Whyte offers readers five tips for creating dynamic works of art in any medium. To read more features like this, subscribe to American Artist today! by Mary Whyte Bean Soup 2006, watercolor, 38 x 28
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  • The California Art Club recently held its 96th Annual Gold Medal Juried Exhibition at the Pasadena Museum of California Art, in Pasadena, California. California Art Club Announces Award Winners The California Art Club recently held its 96th Annual Gold
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  • The National Portrait Gallery, in Washington, DC, is presenting this exhibition of portraits of the former associate justice of the United States, Sandra Day O’Connor, through October 8. The National Portrait Gallery Presents “Portraits of
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  • Laguna College of Art & Design, in Laguna Beach, California, recently announced the winners of its Student Juried Exhibition. Laguna College of Art & Design Exhibition Winners Announced Laguna College of Art & Design , in Laguna Beach, California
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  • Knowing how watercolor paints are classified, and how the colors appear on paper and differ among manufacturers, is the critical first step for any watercolor artist. Here’s what you need to know. by Christopher Willard When it comes to watercolor
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  • We present the semifinalists in the colored pencil category. by Karen Stanger Johnston Ya Reckin by Rosemarie Rush, 2006, colored pencil, 16 x 20. First Place: Rosemarie Rush Like most of the images of Western life by California artist Rosemarie Rush
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  • Santa Fe artist Doug Higgins has many strategies for directing the viewer’s eye toward the center of interest and leading it around the painting. by Linda S. Price Painting at Smith Cove 2004, oil, 20 x 24. All artwork this article collection the
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  • We present the semifinalists in the oil category. by Karen Stanger Johnston Hyacinth (and the McCoy Pot) by Ellen Buselli, 2006, oil on linen, 12 x 16. Private collection. First Place: Ellen Buselli Ellen Buselli’s favorite subject is the still
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  • Prud’hon drew from the figure throughout his career, and now those “académies” anchor his reputation. How did he draw such stunning figure studies? by Ephraim Rubenstein Standing Nude charcoal heightened with white chalk on blue
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  • In the winter 2007 issue of Drawing magazine, we explored how Ingres taught us much about contours and portraiture. Here, we offer an excerpt from the feature about how the artist's use of graphite on smooth white paper was ahead of his time. by Mark
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  • Childhood memories can have a lasting impact on the artistic imagination and even the creative process. by Carl Dalio Along the Oregon Coast 2007, watercolor, 14½ x 21½. This high view of the Oregon coastline presents a story of endurance
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  • Primarily an oil painter, Elizabeth O’Reilly makes a point of painting the figure in watercolor, where she stretches her painting skills to solve new kinds of problems. by Lynne Moss Perricelli Large Woman With Umbrella 2006, watercolor, 16¼
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  • Former woodcarver Suzanne LaPrade is very much interested in the underlying structures that make up her pastel and oil subjects. by Karen Frankel The Heiress 2006, oil, 48 x 30. Collection Mr. and Mrs. P.T. Farrel. The woods behind Suzanne LaPrade’s
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  • A look at the anatomical structure of the ear, and some helpful tips on how to draw people . by Ephraim Rubenstein Maddie 2005, pastel on sanded board, 19 x 15. In this portrait of my daughter, Madeleine, her ear is lit very dramatically from behind.
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  • The artists of the Ashcan School, known for their raw depictions of urban life, shared a background in newspaper and magazine illustration that shaped their drawing and painting styles. by Edith Zimmerman Far From the Fresh Air Farm by William Glackens
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  • In the November 2007 issue of American Artist, we discussed how Susan Goetz and Robert Schneider, who are husband and wife, studied with some of the same instructors and developed techniques based on similar historical precedents; yet they focus on different
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  • In the November 2007 issue of American Artist, we discussed how Richard Baumann relies on two complementary colors to develop his landscapes and interior scenes, applying mixtures of them around the canvas so he can orchestrate the relationship between
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  • Robert Gamblin developed his art career and paint manufacturing business by learning how quality paints are made and how they can be used safely and effectively in the studio. by M. Stephen Doherty Evening Makena 2007, oil, 24 x 18. Collection the artist
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  • California artist J. Peralta did not choose her subject matter, it chose her. After stumbling upon and deciding to paint a scene of field workers near her home, the artist not only found inspiration for her artwork but also discovered a new respect for
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  • This Maryland oil painter, renowned for her portraits, seeks the essence of her subjects and settles for nothing less. by Janice F. Booth Evening Pasture oil on linen, 24 x 30. Collection the artist. When we remember a friend’s face, we don’t
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  • A current exhibition in Stockton, California, shows how members of the Plein-Air Painters of America (PAPA) interpret their on-site studies to make larger studio paintings. We asked eight of the exhibiting painters to share their approaches with American
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  • In the October 2007 issue of American Artist, we profile eight of the Plein-Air Painters of American (PAPA) members who will be part of the group's 21st annual exhibition and sale, titled "From the Heart: Plein-Air Painters of American"
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  • In the October 2007 issue of American Artist, we explored how Maryland oil painter Carolyn Egeli, renowned for her portraits, seeks the essence of her subjects and settles for nothing less. In this online exclusive gallery, we present more of her landscape
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  • View a demonstration of Slice of Life by Watercolor magazine feature artist Scott Moore (5:06). > Moore process of still life watercolor Click to Play | View Details
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  • Nearly 60 views of Malibu created by members of the California Art Club are featured in this exhibition, which explores not only the city’s picturesque scenery but also the enduring California plein air landscape tradition. by Michael Zakian Driving
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  • I n the October 2007 issue of American Artist, we discussed how beginning his career as a fine artist relatively late in life affected Roger Dale Brown's career goals and painting strategies. Classics 2006, oil, 30 x 40. Collection Mr. and Mrs. Greg
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  • View a gallery of portraits by acclaimed portrait painter Dawn Whitelaw, who will lead an online chat on May 30 at 3 p.m. EST about how to identify and fix problems in your paintings. Carol oil, 24 x 18. All artwork this gallery private collection. Colton
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  • This California artist pursues an aggressive, take-no-prisoners approach to plein air painting. by John A. Parks Dos Roses 2006, oil, 12 x 9. Courtesy Red Piano Art Gallery, Hilton Head Island, South Carolina. Ken Auster uses loads of thick paint and
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  • In the December 2006 issue of American Artist, Kansas artist Elizabeth Pruitt was most concerned with expressing the emotions a subject evokes in a still-life painting. In contrast, we present 12 of her portraits in this online exclusive gallery. Michelle
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  • Watercolorist Terry Sellers Buckner, the subject of a feature story in the Spring 2007 issue of Watercolor magazine, explains how she created the portrait Grant Irons in this three-step audio slideshow demonstration. Buckner portrait demo Click to Play
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  • Oil painter Matthew Mitchell adapts Rembrandt’s working method for his portraits spotlighting Americans serving in civilian or military roles in Iraq and Afghanistan. by Karen Frankel Alexander Scott Arredondo 2005, oil on linen, 30 x 26. All artwork
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  • Veteran California oil painter Meredith Brooks Abbott explains how she has maintained a devotion to the routine of painting every day, with continually improving results. by Molly Siple Bird Refuge 2006, oil on linen, 11 x 11. All artwork this article
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  • We present more examples of Meredith Brooks Abbott's oil paintings in this online exclusive gallery. Strawberries 2006, oil on linen, 16 x 20. All artwork this gallery private collection unless otherwise indicated. Wild Flowers for the Wedding 2006
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  • In the September 2007 issue of American Artist, we discussed how Kathleen Kolb worked in oil and watercolor to create country landscapes. To supplement the watercolors highlighted in the print feature, we show Kolb's oil landscapes in this online
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  • Traditionally trained artist Sarah Lamb uses her passion for the kitchen to bring a new vitality to the art of the still life. Mousse au Chocolat 2005, oil on linen, 20 x 32. All artwork this article private collection unless otherwise indicated. by John
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  • In the September 2007 issue of American Artist, we explored how after years of enjoying the immediacy and energy of painting landscapes outdoors, Californian Pat Kelly brought the same materials and techniques into the studio to paint still lifes. Here
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  • Sometimes painful experiences can cause people to lose interest in activities that once brought them incredible fulfillment. That’s not the case with Nashville artist Camille Engel. Her trials have actually driven her back to her original passion
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  • Read an excerpt from the July/August American Artist feature on still-life artist Emphraim Rubenstein. by William Chapman Sharpe Self-portrait With Vanitas Symbols by David Bailly, 1651, oil, 25½ x 38?. Collection Stedelijk Museum de Lakenhal,
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  • One of the top artists specializing in children’s portraits recently offered workshops for both oil and pastel painters. Although some of Wende Caporale’s specific instructions related to one medium or the other, her general discussions about
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  • In the July/August issue of American Artist, we explored how portrait artist Leonid Gervits takes a stand for the legitimacy of the fine draftsmanship and multilayered technique 400 years after Velázquez. Here, we offer an excerpt from the feature
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  • We present an excerpt from the July/August American Artist feature on Philip R. Jackson that discusses how Jackson achieves his dramatic still-life setups. To read more features like this, check out the July/August 2007 issue of American Artist. by James
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  • Celebrated for its extraordinary collection of European art, The Phillips Collection is also home to some of the most distinguished examples of American painting. American Impressionism: Paintings From The Phillips Collection Through September 16 The
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  • Read the transcript from our online chat with artist-instructor Dan Thompson. If you have more thoughts to share, chat with your peers on Artists' Forum , and check back for more online chats with featured artists. 2007-06-13 12:00:02.0 Administrator
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  • Watercolor Watercolor pigment is sold in cakes, tubes, and pencils. The binding agent for the pigment is usually gum arabic. Many artists prefer watercolor colors in tubes because they allow more-fluid application and increased control over color intensity
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  • View a demonstration of artist-instructor Dan Thompson's figure-painting techniques. Be sure to check back in the coming weeks for a more detailed video demonstration of Thompson's work. Step 1: Thompson set up the model in a sitting position
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  • The artistic journey of Bonnie Ramsbottom is one of both tragedy and triumph: she came to art late in life literally by accident when she began painting as a means to recover from the removal of a brain tumor, the surgery of which she was not expected
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  • This oil painter finds that his ongoing series of paintings depicting books allows him to venture into a number of themes—including self-portraiture. View an online exclusive gallery of Rubenstein's work. by William Chapman Sharpe The Great
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  • Oil Painting Pigments and mediums Oil paint is pigment suspended in oil, usually linseed oil. Painters thin oil paints by adding either more oil or a solvent, such as turpentine--or a mixture of both. In addition to linseed, artists use walnut, poppy
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  • In the June 2007 issue of American Artist, we explored how Ismael Checo uses rich color to create an exotic and intense experience of the world. Here, we present an online exclusive still-life demo as another example of his oil technique. Checo’s
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  • Take a closer look at Warren Chang's technique in this demonstration from the April 2007 issue of American Artist . The Thumbnail Sketch Using reference photos taken in the field, Chang did a 4"-x-6" pen-and-ink thumbnail sketch on paper
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  • After Colorado artist Stephen Quiller finishes presenting exercises, demonstrations, lectures, and critiques during a workshop, students often comment that no other instructor has covered that vital information with such depth and clarity. Even experienced
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  • After Colorado artist Stephen Quiller finishes presenting exercises, demonstrations, lectures, and critiques during a workshop, students often comment that no other instructor has covered that vital information with such depth and clarity. Even experienced
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  • View more of Ephraim Rubenstein's paintings depicting books in this online exclusive gallery. Library I 1997, oil, 32 x 21. Private collection. Books: Pile IV oil, 8 x 9. Prviate collection. Books: Pile IV oil, 8 x 22. Collection the artist. Books
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  • by William Chapman Sharpe In the July/August issue of American Artist, William Chapman Sharpe investigated how oil painter Ephraim Rubenstein used books as subject matter in his paintings to explore their meaning in society and to serve as an indirect
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  • In the December 2006 issue of American Artist , veteran painter James Tormey conveyed powerful meaning in his still lifes by continually shifting the backgrounds and settings in which they appear. Here, we present 10 more of his meticulous oil paintings
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  • This veteran painter conveys powerful meaning in his still lifes by continually shifting the backgrounds and settings in which they appear. by John A. Parks Icon 1994, oil, 18 x 12. All artwork this article private collection unless otherwise indicated
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  • Take a closer look at Philip R. Jackson's unconventional still lifes in this online exclusive gallery. Tension Series: Sweet Victory 2006, oil on panel, 7 x 5. All artwork this gallery private collection unless otherwise indicated. Tension Series
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  • Mississippi artist Philip R. Jackson’s unconventional still lifes ask viewers to see the beauty in everyday objects. by James A. Metcalfe The Mighty Goldfish Cracker 2004, oil, 8 x 10. Private collection. By casting ordinary items—a bunch
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  • In the July/August 2007 issue of American Artist, we discussed how Massachusetts oil painter Nancy Colella maintains a sense of spontaneity in her landscape paintings. Here, we present more of her landscapes as well as her still-life paintings. Chat about
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  • In this online exclusive gallery, we offer more mesmerizing landscapes by spring 2007 Workshop featured artist Joseph McGurl. Read the feature article on McGurl. In this online exclusive gallery, we offer more mesmerizing landscapes by spring 2007 Workshop
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  • This Hudson River Valley artist uses a limited palette to create landscapes drenched in an evocative and transporting light. by John A. Parks Hook Mountain, Nyack, New York 2006, oil on linen, 36 x 60. Private collection. All images this article courtesy
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  • We present more examples of Ismael Checo's oil technique and discuss his materials to expand upon his June 2007 American Artist feature article. Old Shoes 1987, oil, 16 x 20. All artwork this gallery collection the artist unless otherwise indicated
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  • In the June 2007 issue of American Artist, we discussed how the influences of a prismatic palette, a gifted teacher, and a solid foundation in drawing combined to infuse Susan Hope Fogel's oil paintings with convincing realism and sublime atmospherics
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  • California artist Alyona Nickelsen uses odorless mineral spirits to dissolve some of the pigment in her colored pencil drawings, eliminating the pencil strokes and creating rich, luminous color. by Lynne Moss Perricelli Sincerely Yours 2006, colored pencil
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  • We explored John Beerman's illuminating Hudson River Valley landscapes in the June 2007 issue of American Artist. Here, we offer more of his light-drenched landscapes, including an oil sketch for one of the pieces mentioned in the feature article
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  • Despite the differences in their styles, materials, and techniques, the teachers we surveyed offered similar recommendations—up to a point. by M. Stephen Doherty Funchal by Frank Webb, 2005, watercolor, 22 x 30, Collection the artist. Over the past
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  • Helen Klebesadel offers tips on how to introduce the sometimes daunting medium of watercolor to novice painters. by Leanne MacLennan Cedar Dance II 2004, watercolor, 30 x 22. All artwork this article collection the artist. Watercolor instructor Helen
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  • We explored Rose Frantzen's insightful approach to teaching figure painting in the spring 2007 issue of Workshop magazine. Here, we offer some tips from the article. View a demonstration of Frantzen's Emergence. Helpful Hint: Evaluate Your Process
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  • The Fogg Art Museum at Harvard University, in Cambridge, Massachusetts, presents this exhibition of more than 50 watercolors and drawings by American followers of John Ruskin, including nearly a dozen rarely seen works by Ruskin himself, through July
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  • We present more of Colin J. Callahan's oil paintings that capture light with a sense of energy in the May 2007 issue of American Artist . Ireland 2004, oil on panel, 8 x 10. Collection the artist. Hills of Western Virginia 2005, oil on board, 11 x
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  • After a Trip to Italy, Fred Wessel learned more about egg tempera painting and adding gold leaf to his panels. He now teaches those procedures for emulating the dazzling beauty and inner glow of 14th- and 15th-century pictures. by M. Stephen Doherty The
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  • In the January 2007 issue of American Artist , we discussed how Timothy Barr explored his oil landscapes by combining multiple digital images, using Photoshop to design the perfect scene. Here, we present an excerpt from the article that further explains
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  • A combination of variable brushstrokes, a warm and dark underpainting, and careful observation of environmental conditions help New Hampshire painter Colin J. Callahan capture light with a sense of energy. by Bob Bahr Banana 2001, oil on paper, 31 x 21
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  • We present more of Pauline Roche's figure paintings that capture contemporary viewers mesmerized by the genius of Old Master work in the May 2007 issue of American Artist . View an audio slideshow demonstration of Roche's still-life work Spring
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  • In the winter 2007 issue of Watercolor , we discussed how Georgia artist Brenda Turner switched from painting with transparent watercolor to using gouache on dark-colored paper. In contrast, we offer a variety of her oil paintings in this online exclusive
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  • As well as any artist before or since, John Singer Sargent learned the best lessons in value, light, and form and used them throughout his life—lessons clearly visible in his drawings. by Mark G. Mitchell Sleeping Child 1872–1873, graphite
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  • The man who has shaped American watercolor for more than 60 years identifies the historic painters who have made the most of the medium. by M. Stephen Doherty 1. Milton Avery (1893–1965) Tall Tree by Milton Avery, 1943, watercolor, 22 x 30. Private
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  • Offering constructive criticism to students is one of the most important parts of the teaching process. Here we offer educators tips and exercises for facilitating successful critiques among students of different age levels. by Leanne MacLennan Constructive
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  • Forbes and American Artis t again invited a group of artists to spend a week together interpreting a vast Colorado ranch in their choice of medium, subject, and style. by M. Stephen Doherty View of Cat Mountain by Ephraim Rubenstein, 2006, oil, 9 x 17½
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  • View more of Marla J. Brenner's plein air paintings in this online exclusive gallery, which expands upon the print feature in the April 2007 issue of American Artist . Headwaters of the South Fork 2006,oil on linen, 12 x 9. All artwork this gallery
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  • In this online exclusive gallery, we present more paintings from the Forbes Trinchera Ranch residency as a supplement to the feature in the March 2007 issue of American Artist . Creek by Ryan S. Brown, 2006, oil, 22 x 28. All artwork this gallery collection
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  • View more examples of how New Jersey painter David Ahlsted renders the world with geometric lucidity and brilliant color in this online exclusive gallery. Tankers and Refineries on the Delaware 1994, oil, 36 x 84. Collection New Jersey State House, Trenton
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  • This California-based artist uses a 19th-century palette to create a nostalgic atmosphere in his paintings. by John A. Parks Entrance 2003, oil, 40 x 30. Courtesy Morseburg Galleries, West Hollywood, California. Warren Chang paints scenes from two very
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  • In the winter 2006 issue of Workshop magazine, Ned Mueller discussed how to properly mix the right colors with which to convey a scene. Here, we offer an excerpt from the article. by Bob Bahr “Many students want to learn as much as they can in an
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  • In the winter 2006 issue of Workshop magazine, we explored how James M. Sulkowski showed students how to paint people posing in lush garden scenes during his Pennsylvania workshop. In this online exclusive gallery, we offer more of his oil paintings.
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  • The James A. Michener Museum, in Doylestown, Pennsylvania, will present this retrospective of work by Pennsylvania Impressionist Harry Leith-Ross through March 4. Poetry in Design: The Art of Harry Leith-Ross Through March 4 James A. Michener Art Museum
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  • In the winter 2006 issue of Workshop magazine, we offered an inside look into Montana painter Ned Mueller's plein air workshops. Here, we showcase his figurative and landscape paintings as well as a few drawings. Norwegian Summer 2006, oil, 11 x 14
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  • In the winter 2006 issue of Workshop , John A. Parks tackled what is arguably the most difficult subject matter: how to organize color to paint the nature of light. We present an excerpt from the article with Park's advice about the basic principles
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  • While on location at the Forbes Trinchera Ranch, in Colorado, Ruth L. Beeve used watercolor and water-soluble oil to capture a variety of subjects. Back in her California studio, she uses those studies as the basis for more ambitious graphite drawings
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  • We went in search of Anders Zorn in his homeland and discovered a personality large enough to encompass numerous contradictions—and a natural ability to paint in both oils and watercolor. by Bob Bahr When Anders Zorn's name is mentioned in the
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  • It's understood that a career in the visual arts can be personally fulfilling and professionally risky. That's why most people work secure 9-to-5 jobs and enjoy drawing and painting during evenings and weekends. But those limited hours just aren't
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  • In this excerpt from the fall 2006 issue of Drawing , David Mayernik discusses how copying the work of Old Masters trains his taste so he can draw and paint original work with the classical beauty he reveres. by Bob Bahr For David Mayernik , who has gone
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  • Josh Elliott, one of the artists featured in the February 2007 issue of American Artist , has painted snow in Montana quite a bit, but excitement still creeps into his voice when he discusses snow’s beauty and challenge. Here he offers some tips
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  • In the winter 2006 issue of Workshop magazine, Ned Mueller taught students how to use color effectively in their paintings. We offer Muller's comments on student work that was completed during the workshop. by Bob Bahr Before After Mueller asked for
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  • Steve Rogers can point to the specific time in his career when his watercolors changed from being average to exceptional. That occurred when he met his future wife, found a subject he was passionate about painting, and had a religious experience. by M
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  • In the February 2007 issue of American Artist , New York artist Judith Pond Kudlow followed a disciplined approach to representing objects and people exactly as they appear. We offer more of her oil paintings in this online exclusive gallery. Il Verde
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  • In the February 2007 issue of American Artist , we explored how Rick Hansen painted landscapes and still lifes that reflected the way things appear at one moment in time. Here, we offer more of his paintings in this online exclusive gallery. Backwater
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  • In the February 2007 issue of American Artist , we explored how oil painter Josh Elliott painted tones and designs in his landscapepaintings. Here, we offer more of Elliott's picturesque scenes, including several of what he calls his "tone poems
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  • Oil painter Josh Elliott strives to paint tones and designs, not just picturesque scenes. by Bob Bahr Evening Shadows, Swan Valley 2006, oil, 12 x 16. All artwork this article private collection unless otherwise indicated. Josh Elliott is 33 years old
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  • In the February 2007 issue of American Artist , James Woodside discussed how his paintings reflected his experiences in some of the planet's remotest locations. Here, we present more of his plein air paintings in this online exclusive gallery. Breaker
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  • In the “The Art of Travel” article in the January 2007 issue of American Artist , watercolorist Gayle Garner Roski explained how art enhanced her traveling experiences, allowing her to better appreciate her surroundings. Here, Roski further
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  • Maintaining a distinctive value structure is at the core of Joann Ballinger's pastel instruction--and her own paintings. by Lynne Moss Perricelli In both her teaching and her own pastel paintings, Joann Ballinger emphasizes the importance of a distinctive
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  • In the January 2007 issue of American Artist , Timothy Barr used Photoshop and multiple digital images to paint the perfect oil landscapes. Here, we offer an online exclusive painting that exemplifies Barr's work. Ausable River at Mt. Porter 2006
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  • To achieve accuracy and harmony in his alla prima figure paintings, Californian Sean Cheetham stresses drawing and a system of mixing colors based from “mud” mixtures, as he calls them, that govern shadows, midtones, and highlights. He recently
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  • A glass mosaic mural by Jack Beal was recently mounted on the wall of a New York City subway station across from his related mural that was unveiled just after September 11th. This new image presents an earlier episode in the myth of Persephone, Queen
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  • by M. Stephen Doherty Winter Ain't Far Away watercolor, 15 x 15. Can a pharmacist who describes himself as cheap actually convince artists to trust his advice about buying art supplies? He can if he is passionate about art, respectful of painters
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  • In the fall 2006 issue of Watercolor , we showcased 20 artists that offered a glimpse of what the 25th anniversary issue of Watercolor magazine might look like. Here, we highlight additional paintings by many of these artists in the field of watermedia
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  • What will the 25th anniversary issue of Watercolor magazine look like? The answer could well be determined by the artists in this article who were recommended by teachers who are in contact with some of the most promising watercolorists. We asked those
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  • Editor-in-chief of Watercolor magazine, M. Stephen Doherty, recounts his memorable visit to the home of legendary watercolorist Andrew Wyeth. by M. Stephen Doherty In this account of my visit with Andrew Wyeth, I hope to convey the sense that he is like
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  • In the January 2007 issue of American Artist , we explored how Katherine Ann Hartley took her still lifes and her career to a new level of professionalism she never could have imagined by committing to a period of intense instruction and painting the
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  • New York painter Travis Schlaht looks for—and finds—compelling beauty in many corners of life. Then, using a restrained but powerful palette, he mirrors it on canvas. by James A. Metcalfe Bar II 2005, oil on linen, 26 x 36. All artwork this
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  • In the fall 2006 issue of Workshop magazine, Timothy R. Thies taught students how to capture the temperatures of light and shadow in their landscape paintings. Here, we offer an excerpt from the article regarding color charts. by Edith Zimmerman A few
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  • In the fall 2006 issue of Workshop magazine, landscape painter Timothy R. Thies taught students how to capture the elusive and nuanced temperatures of light and shadow on the picturesque beaches of the Jersey shore. Here, we present an excerpt from the
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  • In the fall 2006 issue of Workshop magazine, we examined how Sean Cheetham demonstrated that drawing and a system of mixing colors based from "mud" mixtures governed shadows, midtones, and highlights during a five-day workshop. Here, we present
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  • In the fall 2006 issue of Workshop magazine, Randall C. Sexton taught participants how to create oil paintings in response to subjects that they were anxious to paint. We present an excerpt from the article. by M. Stephen Doherty Is the focus of my painting
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  • In the fall 2006 issue of Workshop magazine, California artist Sean Cheetham explained how to achieve accuracy and harmony in his alla prima figure paintings. Here, the artist discusses common weaknesses in figure paintings in an excerpt from the article
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  • In the fall 2006 issue of Workshop magazine, Thomas Van Stein taught students how to capture the elusive light of night. In this excerpt from the article, Van Stein offers a number of helpful tips for artists to keep in mind when painting at night. by
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  • In the fall 2006 issue of Workshop magazine, Randall C. Sexton taught participants how to create oil paintings in response to subjects that they were anxious to paint. We present an excerpt from the article. by M. Stephen Doherty Keep your palette organized
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  • Joseph Gyurcsak, the resident artist for Utrecht Art Supplies, is an art materials expert who assists artists, companies, and industry manufacturers in understanding different aspects of art materials and techniques. He also travels extensively, conducting
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  • In the fall 2006 issue of Workshop magazine, Lynn Gertenbach taught her students that plein air painting is a partnership between the artist and nature. We offer an exerpt from the article with Gertenbach's tips for painting water. by Molly Siple
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  • John Howard Sanden is one of the country’s leading portraitists working today. His clientele includes leading political, business, and religious figures, and he has toured the nation teaching his portrait-painting technique to thousands of artists
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  • With sold-out solo shows, numerous awards, and prominent collectors to his credit, Malcolm T. Liepke is considered one of the finest figure painters working today. by Lynne Moss Perricelli Head Study Brunette 2002, oil, 12 x 8. All artwork this article
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  • In the fall 2006 issue of Workshop magazine, California nocturne painter Thomas Van Stein taught seven students his process for capturing the light of night on canvas. Of the many challenges students faced, the most difficult ones seemed to involve value
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  • In the November 2006 issue of American Artist , we explored how Texas artist Chris McHenry balanced constrasting values, color temperatures, and edges to establish depth, atmosphere, focus, and emotion in his oil landscapes. We present an excerpt from
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  • This exhibition of large-scale landscape paintings by Paul Caranicas will be on display at Bernarducci Meisel Gallery, in New York City, through October 28. Paul Caranicas: Yesterday, Today & Tomorrow Through October 28 Bernarducci Meisel Gallery
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  • In the November 2006 issue of American Artist , we showcased James Gurney's impressive landscape paintings. We present an excerpt from the article that discusses the books that have influenced Gurney as an artist. by John A. Parks In developing his
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  • In the November 2006 issue of American Artist , we explored how oil painter Sarah Lamb's passion for cooking brought a new sensibility to the art of still life. We present an excerpt from the article. by John A. Parks Peaches 2005, oil on linen, 17
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  • In the summer 2006 issue of Drawing , New York artist Lisa Dinhofer drew convincing objects in imaginary spaces, finding meaning in both the items and their presentation. In contrast, we offer nine of her playful oil paintings in this online exclusive
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  • Sondra Freckelton is widely recognized for her well-planned, thoughtful, and expertly crafted watercolors she develops using principles that expand artistic expression; and she is appreciated for helping others learn those principles while gaining a concrete
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  • Like many artists accustomed to working with opaque paints, Jamie Wyeth prefers to use combinations of water-soluble materials rather than just transparent watercolor. He finds that layers of gouache, ink, graphite, acrylic, and watercolor allow him to
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  • Lee Boynton, a master of Impressionistic watercolor painting, explains how to learn more about color and value by simplifying your subject and painting it repeatedly under different light conditions. by Linda Gottlieb and M. Stephen Doherty Cozy Harbor
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  • Milt Kobayashi grants students permission to take complete control of their paintings and not feel obligated to paint exactly what they see. During a recent workshop, he encouraged participants to change a model’s pose, coloration, and costumes
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  • This New York artist draws convincing objects in imaginary spaces, finding meaning in both the items and their presentation. by Lynne Moss Perricelli Into the Light: Yellow 2004, colored pencil and collage, 19 x 22. Collection the artist. New York artist
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  • Tonal drawing--the juxtaposition of relative values, the notion of seeing masses rather than outlines--more closely replicates the way humans see than do lines. This emotional way of depicting the world has been explored since Leonardo; modern artists
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  • This New York state plein air artist creates impressive landscape paintings informed by his work as an illustrator and inspired by the work of the Hudson River School. by John A. Parks Creek Above Kaaterskill Falls 2004, oil, 20 x 16. All artwork this
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  • Artists often limit their potential by not taking full advantage of watercolor paints and supplies. Here’s advice that has proven helpful to my students. by Catherine Hillis There is so much conflicting information and advice available to watercolorists
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  • "My goal," says Andy Evansen, "is to finish a painting in only three washes." Through simplification, bold brushstrokes, a bit of planning, and confidence, the Minnesota watercolorist capitalizes on the medium's ability to render
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  • Celebrated English watercolorist Alexander Creswell is the focus of this exhibition at Hirschl & Adler Modern, in New York City, October 5 through November 4. The Grand Scale: New Watercolors by Alexander Creswell October 5 through November 4, 2006
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  • In the October 2006 issue of American Artist , California artist Ken Auster explained how he pursues an aggressive, take-no-prisoners approach to plein air painting. Here, we offer further insight into his technique. by John A. Parks Canvas. Cotton duck
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  • In the September 2006 issue of American Artist , Indiana artist Tim Kennedy explained how his figurative paintings have a connection to other artists, past and present. Here, the artist describes his painting process. Dancers 2005, oil, 72 x 60. Courtesy
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  • In the October 2006 issue of American Artist , oil painter Ken Auster discussed how he paints in layers to achieve powerful illusions and rich surfaces. In this online exclusive gallery, we present five more of his works. This Buds For You Oil. This is
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  • This Pennsylvania artist combines alkyd with oil to achieve poetic paintings of his local landscape using a closely controlled technique. by John A. Parks Gene McInerney paints delicate views of his beloved Pennsylvania countryside with a fullness and
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  • In the October 2006 issue of American Artist, Joseph Gyurcsak explained how he paints interior light. In contrast, we present 12 more images, mostly of landscapes, in this online exclusive gallery. Rachel's Room Oil on canvas, 11 x 14. The Dining
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  • Room interiors provide an excellent opportunity to paint a variety of light intensities, colors, and effects; but they also present challenges in trying to capture the subtleties of forms within those dimly lit spaces. by Joseph Gyurcsak Interior scenes
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  • In the September 2006 issue of American Artist, Indiana artist Tim Kennedy explained how his figurative paintings have a connection to other artists, past and present. In this online exclusive gallery, we present nine more of his works. Rental, oil on
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