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Kunst & Architectuur
Artists Magazine

Artists Magazine July/August 2020

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.

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10 Edities

in deze editie

2 min.
the best laid plans

As we prepare to send this issue to the printer, we’re just beginning to deal with the impact of the Covid-19 outbreak in the U.S. It’s hard to imagine, but when we planned and prepared these articles, the novel coronavirus wasn’t anywhere on our minds. At the time, a theme tied to travel—and the creative benefits of taking our art on the road—seemed like a great idea. Writing now, in the final week of March, however, we understand that planning for travel has become complicated and uncertain. It brings to mind the expression that surely every traveler has learned on a journey: “the best laid plans of mice and men often go awry.” We have no way of knowing what the situation will be when this issue is delivered, but…

3 min.
a portrait on the road

Dorothy (Dorelia) McNeill captivated both Gwen John (Welsh, 1876–1939) and her brother Augustus, two of the finest artists in London at the turn of the 20th century. The trio had met at the Slade School of Fine Art in 1903, and that autumn Gwen and Dorelia took a walking tour of the French countryside. The two women roughed it for awhile, sleeping outdoors and, sometimes, drawing portraits of the locals to earn money. They eventually opted for more conventional lodging, staying in a rented room in Toulouse, where Gwen painted at least three finished portraits of Dorelia, including Dorelia in a Black Dress. In early 1904, the pair rented an apartment together in Paris, but their partnership didn’t last. Augustus stole Dorelia away, initially to live in a bohemian caravan with…

9 min.
good habits pay off

Tom Christopher was walking down an ordinary street in Manhattan on an overcast day in the late 1980s when he experienced an epiphany. As he describes it, “The sun came out from behind the clouds, and you could see everything: homeless guys in stairwells, lurkers in doorways, women with high-heeled shoes, clowns, deliverymen pushing dollies, taxis and buses inching their way along, the bright lights of Broadway. I thought, ‘I’ve got to paint this!’” In fact, Christopher decided that scenes like this were all he ever wanted to paint again. More than 30 years later, he’s still painting New York City’s street life—large-scale works (5x5 feet or larger) with lots of color and splashy brushstrokes that straddle the line between abstract and representational—but let’s not get ahead of ourselves. The point…

5 min.
the other side of bridges

we tend to think of bridges as works of engineered infrastructure: highly utilitarian and essential for crossing over obstacles such as rivers, canals and uneven terrain. That concept brings to mind one of my first artistic influences—my father, William Harby (1927–2015), a part-time visual artist. He, being influenced in turn by abstract expressionist Franz Kline (1910–1962), created large paintings that celebrate the power of bold, iron bridges and fast movement high in the air—all the better to zoom from one side to the other. No time to stop for the view—that would cause an accident. (See Untitled, opposite). Our journey, however, takes us around the world and back in time to a slower, preindustrial era when, traveling by foot, there was opportunity to stop midspan to enjoy the view, set up…

1 min.
aerial parkway

The Tabiat Bridge gets its name from the Persian word for “nature.” For my overview painting (top), I wanted to capture the idea of the bridge’s organic form, immersed in a natural setting between two parks. To do this, I used the green tones of the landscape to define the tubular struts rather than actually painting or drawing them in. This also conveys the idea of transparency that the structure possesses. My close-up view (above) reveals the multiple levels of the bridge, including an open observation deck at the top.…

1 min.
we asked...

“Two movements that have shaped my work are the Ashcan School and Abstract Expressionism. The common thread is a love of paint—not what paint can represent, but that it can be beautiful in and of itself.” JOHN SALMINEN ARTIST AND INSTRUCTOR “Impressionism for the color and Expressionism for the mark-making.” MARION BODDY-EVANS ARTIST, INSTRUCTOR AND WRITER “I love the irreverence of the Dada movement, along with the solid Cubist-like construction of many of the works of art that came out of this movement. I relish the use of ephemeral ‘found objects’ that artists like Kurt Schwitters [German; 1887–1948] used to fabricate his collages.” MICHAEL SKALKA CHAIRMAN, ASTM D01.57, ARTISTS’ MATERIALS STANDARDS “Futurism was a brief movement in art. The Futurists were a group of radicals and anarchists, but their idea of painting the moment of time…