Chelsea Magazine

Art & Architecture
Artists & Illustrators

Artists & Illustrators November 2019

Artists & Illustrators is the UK’s best-selling magazine for artists and art lovers, providing advice and inspiration every month. Published for almost 25 years, each issue of Artists & Illustrators contains a colourful palette of profiles and features, together with valuable practical ideas, expert technical advice and useful product tests. Whether you favour oils or watercolours, portraits or landscapes, abstract art or botanical illustration, Artists & Illustrators brings a refreshing blend of creativity and advice every four weeks throughout the year.

United Kingdom
Chelsea Magazine
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13 Issues

in this issue

1 min.

How do you go about painting something that isn’t there? And I’m not just talking about when a naughty nephew steals an apple that was taking pride of place in your latest still life composition. I mean those intangible qualities like nostalgia, atmosphere, love, loss and time passing. I started to think about this when illustrator Lucinda Rogers, featured on page 22, was describing her experiences drawing at Ground Zero in the immediate aftermath of the 9/11 terrorist attacks in New York. There was a physical loss to illustrate here – the very real absence of the iconic towers – but also something far larger than that. Anne Magill’s paintings (page 60) are a constant search for these elusive qualities too. Inspired by both vivid scenes from her own past and…

3 min.

NEVER GONNA GIVE YOU UP For years I have been an amateur painting and often, when I see some of the wonderful pictures in Artists & Illustrators, I think I’ll give up as I could never achieve such a high standard, but on second thoughts I realise that I get such pleasure from doing my modest paintings that I might as well continue. Some months ago, I had an operation and was not interested in taking up my brushes. At last the paints and brushes are being used again and I feel so much better. If you enjoy painting, don’t give up! Marion Hiddleston, Lisburn, Northern Ireland IN IT FOR THE MONET What a refreshingly attractive and informative magazine this is, bursting with informative and varied articles. Issue 409 was a joy to leaf through…

1 min.
clean fuels

I was interested in the letter in September’s issue referring to peinture à l'essence, prompted by Martin Kinnear’s article. Years ago, I was intrigued to learn that Toulouse-Lautrec used petrol as a medium for his oil sketches and paintings in the cafés, bars and brothels of Paris as it dried extremely quickly. I was tempted to try this method, it would have been in the 1960s, I did buy a bottle of essence de pétrole, most probably from Jermyn Street. I still have the bottle amongst my collection of mediums. What the results were, I can’t recall, and I have no trial sketches. Perhaps I should have a go now, but in these puritanical days of odourless mediums, it won’t be in bars or cafés – or indeed brothels. John Bell,…

2 min.

1 DIVINE PEOPLE: THE ART OF AMBROSE MCEVOY 26 November to 24 January 2020 Despite this society portraitist’s impressive oeuvre, with sitters including Winston Churchill and Lady Diana Cooper [above], the dramatic art of Ambrose McEvoy has often been overshadowed by his contemporaries. In the first retrospective since the artist’s death in 1927, this exhibition brings together more than 40 of his most daring portraits, which were often dramatically illuminated as a result of his novel approach in using coloured lightbulbs. Philip Mould & Company, London SW1. 2 LIFE? OR THEATRE? 8 November to 1 March 2020 While hiding from Nazi oppressors in 1940s Berlin, German-Jewish artist Charlotte Solomon created an expanded work of art titled Ein Singspiel – “a play with music”. The series brought together imagery, text and musical references to paint a picture of…

2 min.
switch on the lights

When using white paper, it’s difficult to get a lamp to look like it’s switched on. This only works when very dark tones are drawn or painted around it. It’s easier to use opaque white on coloured paper to “highlight” what is supposed to shine. The coloured paper serves as a medium tone. Cover the light areas with pure opaque white. By mixing together opaque tempera (or gouache) paints and translucent watercolour paints, you can create subtle nuances. Translucent, transparent surfaces can be achieved with clear watercolours on coloured paper – provided that the paper is sufficiently absorbent. Here’s a tip: first wet the intended area with clear water, let it soak in for a short time and then paint it. This should prevent the colour from blotching. Artist Miguel Herranz, much…

1 min.
cobalt violet

THE COLOUR The first real violet pigment was manufactured in France in 1859. It provides a cool, deep colour, less red than Manganese Violet. THE PROPERTIES Cobalt Violet is semi-transparent and has a notoriously low tinting strength. Many oil paint manufacturers offer light and deep varieties. THE USES Monet called violet the “true colour of the atmosphere” and many Impressionists used it as a shadow colour – a compliment to the yellow of sunlight. Though a muted tint, Cobalt Violet mixes with white to form interesting greys.…