ZINIO logo
Artists Magazine

Artists Magazine March 2020

Voeg toe aan favorieten

Readers learn painting and drawing firsthand from other artists through written instruction and reproduction, guiding them step-by-step through the creative process. The magazine shows readers a wide variety of creative options, teaching the fundamentals of art making, presenting techniques in different painting and drawing media.

Meer lezen
United States
Peak Media Properties, LLC
€ 6,33(Incl. btw)
€ 17,20(Incl. btw)
10 Edities

in deze editie

2 min.
the power of place

“Most artists look for something fresh to paint; frankly I find that quite boring. For me it is much more exciting to find fresh meaning in something familiar.” — ANDREW WYETH Many artists are inextricably linked to a specific location. For Monet, it was his beloved gardens at Giverny; for O’Keeffe, the unique beauty of New Mexico; and for Wyeth, it was the scenery of Chadds Ford and Brandywine, Pa., as well as coastal Maine. Sure, these artists found inspiration in other places and subjects, but they made famous their attachments to these particular landscapes—places that, for a variety of reasons, captivated their attention in significant ways. It’s worth noting that an artistic response to a place must involve more than simply recording what everyone else can see; it requires an emotional…

3 min.
“the smell of the earth”

we think of modern art as the product of urban centers, but its history is incomplete without the contributions of dozens of provincial outposts. Pontoise, a northwestern suburb of Paris, played a prominent role in the development of Impressionist painting. Although a number of brand names—among them, Vincent van Gogh, Paul Cézanne, Paul Gauguin and Charles-François Daubignylived there or nearby, it’s Camille Pissarro (French, 1830–1903) whose legacy is most closely associated with Pontoise. He lived there from 1866 to 1883 and painted the environs in dozens of his greatest landscapes. In Pissarro’s early landscapes, one can see an affinity with the Barbizon School, but by the time he moved to Pontoise, the influence of his mentor, Camille Corot, had begun to wane. The separation was due, quite literally, to a difference…

3 min.
houses of devotion on top of the world

the monasteries of the ancient Buddhist kingdoms of the Himalayas (Tibet, Bhutan and, in India, Ladakh) present a unique and fascinating building type. The topography and natural environment found in this part of the world are some of the most extreme and challenging found anywhere, and the architecture has evolved in response to that as well as to strong cultural and religious tradition. Tibet has always been the heart of the branch of Buddhism called Mahayana, and its influence spread throughout the neighboring mountainous regions. IMMERSED IN TRADITION Historically, the core of each local community was the monastic order, a group of monks (usually male) who gathered at the feet of their teacher, or lama, as disciples. Beginning in the eighth century, the traditions spread throughout the region as communities expanded and…

8 min.
all the world’s a stage

only in the greatest opera houses can the sights one sees on stage be as spectacular as the sounds one hears. That’s certainly the case at the Metropolitan Opera (Met Opera) in New York City. This mise-en-scène artistry is fully evident in the work of John Macfarlane, an internationally recognized set and costume designer. His work is part of four major 2020 productions at the Met Opera: Handel’s Agrippina, Wagner’s Der Fliegende Holländer (The Flying Dutchman), Puccini’s Tosca, and Donizetti’s Maria Stuarda. All of these productions will also be simulcast to a global audience through the Met Opera’s Live in HD series. ENTER, STAGE LEFT Macfarlane—a native of Scotland who currently resides in the countryside of Wales—knew from childhood that his artistic talent would find a home in theater. “I remember my…

5 min.
creative destruction

they put erasers at the end of pencils because the act of expression is punctuated with second thoughts. We try out an idea only to entertain a different notion, change direction, make an adjustment or flat-out expunge what we’ve written, drawn, painted or sculpted. The creative process is a graveyard of false starts. Middles and endings don’t always work out, either. THOUGHTFUL ACTS OF DESTRUCTION Correction and destruction are baked into the creative process. We may take small consolation knowing that Michelangelo built bonfires into which he cast heaps of his drawings. For him, the impetus was to guard the secrecy of the process; for others, destruction is done to cull lesser works in the hope of leaving a stronger legacy. Sometimes the rationale is based less on ego and more on ecological…

1 min.
we asked...

“Edward Hopper is said to have painted from memory rather than from reference, allowing him to capture his initial emotional response to a scene as opposed to the factual reality. Early Sunday Morning is emotionally evocative and encourages the viewer to create the story.” JOHN SALMINEN ARTIST AND INSTRUCTOR Early Sunday Morning (1930; oil on canvas, 35¼x60) by Edward Hopper WHITNEY MUSEUM OF AMERICAN ART (PHOTO BY FRANCIS G. MAYER/CORBIS/VCG VIA GETTY IMAGES) “Monet’s rooms of water lilies in the Musée de l’Orangerie in Paris. The work is abstract that we read as realism because of what we know about the subject. The scale of them, but also the lack of horizon, pulls us into a world in which reflection and pond are one and fill our vision.” MARION BODDY-EVANS ARTIST, INSTRUCTOR AND WRITER “When standing in front…