PleinAir Magazine Jun/July 2021

Intended to follow in his father’s footsteps and become a physician, Peter De Wint (British, 1784-1849) instead pursued his love of art, taking an apprenticeship with the engraver and portrait painter John Raphael Smith. Four years later, he purchased his release from the position with the promise of 18 landscape paintings in 24 months’ time. From there De Wint would go on to hone his skills under the tutelage of Dr. Monro, a well-known patron of young artists, who admired his sketches. A course of study at the Royal Academy schools a few years later cemented his reputation as a painter. And although he worked extensively in oils, he became best known as one of the finest watercolorists of his generation. A short visit to Normandy in 1828 marked De Wint’s…

The complexity of the human mind and the psychology behind mindset are amazing things, especially when it comes to the creation of artwork and bettering ourselves as artists. It turns out that how we think about our art and how we grow as artists matter significantly. Whether painting outdoors or in the studio, we all engage in self-talk. I tend to talk to myself out loud when I paint (please don’t have me committed), but regardless of whether the chatter is internal or external, what we say impacts the outcome of our work. Our state of mind, our expectations, the dialogue we have with ourselves — it all affects the art we create. Imagine for a moment you’re with a friend. She wants to paint in a particular spot, but you’re simply…

One of the side effects of the pandemic has been the realization that we truly are in this together. Precautions and restrictions impacted people the world over, forcing all of us to find creative ways to stay connected. In cities like London, New York, and Atlanta, people clapped and rang bells in the evening to show their appreciation for hospital workers at shift change. And people everywhere were cheered by the videos of Italians singing with one another from their balconies in the earliest stages of lockdown. We’ve reported extensively on how plein air artists and events have learned to cope in these strange times. But there’s another interesting development that I think could have implications far into the future. If you’ve been tuning in to the daily Facebook Live presentations…

CATHERINE HILLIS St. Simons Island, Georgia Lots O’ Lines, 19 x 20 in., watercolor on paper Available through the artist catherine.h.hillis@gmail.com www.catherinehillis.comRepresented by Anderson Fine Art Gallery, St. Simons Island, GA KATHLEEN LANZONI Boulder, Colorado In a Dream, 20 x 40 in., watercolor Available through the artist • 303.898.3734 www.kathleenlanzoni.comRepresented by Mary Williams Fine Arts, Boulder, CO; Creative Framing & Art Gallery, Louisville, CO SUSIE BURCH Athens, Georgia Stone Mason, 15 x 22 in., watercolor on paper Available through the artist susieburchart@hotmail.com www.susieburch.comGallery inquiries welcome JOHN BOWEN Boca Raton, Florida A Face in the Crowd, 27 x 19 in., watercolor • 954.257.1663 www.johnbowenwatercolorist.comGallery inquiries welcome TOM BROWN Fairview, Texas Through the Back Gate, 10 x 14 in., watercolor Available through the artist • 720.260.0517 www.tombrownwatercolors.com DIANNA PORTER Greenwood, Indiana Sweet Tendencies, 20 x 14 in., watercolor Available through the artist • 347.401.3573 www.portalunlimited.comGallery inquiries welcome CINDY BRIGGS Sundance, Utah Antico,…

Few painters are more revered by their fellow artists than Richard Schmid,” wrote John A. Parks (“The Joy of Seeing,” PleinAir Magazine August-September 2018). “In picture after glorious picture, he achieves a kind of ‘holy grail’ of representational painting in which the brushwork is energetic yet sensitive, the color vibrant yet subtle, and the illusion convincing without being labored or overstated. But far more than his considerable technical mastery, it is the sense of sheer joy at looking at and being in the world projected by Schmid’s paintings that engages and captivates the viewer. Painted almost always directly from life, his paintings resonate with his audience as vital and authentic responses to myriad unique situations.” Throughout his career, which saw more than 50 one-man shows, Richard promoted art education through his…

It’s no secret by now that artists can reach collectors, galleries, and other important audiences by having a solid online presence. When done right, it can grow your art career exponentially, reaching people all over the world who are interested in buying whatever you’re selling, from paintings and prints to workshops and commissions. But what does it mean to have an online presence? For most, it involves having a website, a newsletter, and at least one social media account. As an online editor for the art industry since 2010, I’ve seen how countless artists represent themselves online, and I’m here to give you the inside scoop on what works best and how you can maximize your efforts. For this piece, let’s focus on website best practices. NO WEBSITE, NO CRY I know…