Kunst & Architectuur
Artists Magazine

Artists Magazine September 2016

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

1 min.
“what thou lov’st well ...”

ONE WONDERFUL ASPECT OF MY JOB is that every day I get to collaborate with artists, most recently with Harvey Dinnerstein. A gentleman of the old school, Dinnerstein wrote his text by hand. Along with his friend and compatriot, Burt Silverman, whose work was showcased in the June 2015 issue, Dinnerstein has pursued truth and its attendant, beauty, on the streets of New York City. I am thrilled to share with you his newest, extraordinary works that meditate on love and death (“The Ninth Decade: New Work,” page 34). Mary Carol Kenney is also committed to depicting what is real (“Lavish Light,” page 26), as her portraits show nude women who are strong rather than alluring. Focusing on the human figure is the most direct way for an artist to investigate…

1 min.
the art institute of chicago

THE CHICAGO ACADEMY OF FINE ARTS was established in 1879, only to be renamed the Art Institute of Chicago in 1882, serving both the museum and the School of the Art Institute. Occupying many buildings throughout the downtown area over time, it was moved in 1893 as part of the World’s Columbian Exposition. With well over 100,000 members—a staggering number at any rate, but certainly compared to its humble beginnings of just 1,100—the Art Institute is visited by more than 1.4 million local, national and international visitors annually. TO LEARN MORE about the Art Institute of Chicago, visit its website at artic.edu.…

1 min.
transported into the past

The expression “Life imitates art” finds new meaning with Vincent van Gogh’s The Bedroom (right). Coinciding with the Art Institute of Chicago’s exhibition “Van Gogh’s Bedrooms,” which ran through May 10, the room—recreated in meticulous detail—was available as a one-night stay through rental site Airbnb for just $10. According to its Airbnb profile, “This room will make you feel like you’re living in a painting. It’s decorated in a Post-Impressionist style, reminiscent of Southern France and times gone by. Its furniture, bright colors and artwork will give you the experience of a lifetime.” VISIT ARTIC.EDU TO SEE FUTURE EXHIBITIONS. THE ART INSTITUTE OF CHICAGO, HELEN BIRCH BARTLETT MEMORIAL COLLECTION…

7 min.
drawing atelier: the initial sketch

GETTING STARTED: THE INITIAL SKETCH Proportion is, in essence, ratio. Determining correct proportion is a matter of measurement and comparison. As we draw, we are continually relating one thing to another and relating various parts to the whole. We may not realize it, but when we draw, we perform these sorts of comparisons all the time. Before we dive into a discussion of measurements, it’s important to emphasize that it’s not wise to begin a drawing by measuring or to use measurement as the sole means of creating a drawing. You first must draw your subject by eye so that you can then use measurement to compare and check your drawing for accuracy. Ultimately, the eye must be the judge of a well-proportioned drawing. Duke Ellington once said, “If it sounds good,…

4 min.
the rhythms of water

GROWING UP IN BROOKLYN, I did not experience mountain streams. Later I lived in Woodstock, N.Y., in the heart of the Catskill Mountains where streams were abundant. I was spellbound by the moving water as rivulets crisscrossed and emptied into each other. There was the millstream that ran right through Woodstock, the Esopus Creek nearby and the creek that flowed from Kaaterskill Falls, a favorite area of Thomas Cole’s and the Hudson River school of the mid-19th century. Two practices taught me much about painting moving water. PRACTICE 1: PAINTING WITHOUT PAINTS I’d paint in the morning (I had to paint every day), and then I’d hike, with or without a camera. While viewing the scenery, I trained myself to paint “mentally.” This was a quiet practice. I would even mix my…

1 min.
rock and water: transparent and opaque

To draw the viewer’s eye to the water in Interior Falls (top left; oil on linen mounted on board, 30x40), I painted the peripheral red rocks semitransparently and the tumbling water far more opaquely. (I also cropped the bottom of the scene so the eye would continue along the tumbling path of the water.) The detail (bottom left) shows clearly the semitransparent paint application of the rock formation. As you look at this detail, try squinting to reduce your awareness of the dark accents and the few light color notes. View the rock formation in this manner from top to bottom. Notice that the color on top is a muted green, which has a sense of wetness. The green fades into a muted, red-brown, which in turn transitions to warm gray…