2018-10-01 The Artist's Magazine

Art sts
ARTISTSNETWORK.COM
Magazine
Art of the
Theater
The Enduring Mystery
of Degas' Little Dancer
PAINTING
LIGHT
Determining Color
and Value
Drawing
a Rose
2 Demonstrations
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“A L L I W I S H F O R I S T O
SEE MY OWN CORNER AND
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I T W I T H D E D I C AT I O N .
A R T I S C O N C E N T R AT E D ,
NOT DIFFUSE."
EDGAR DEGAS
COVER
Dancers Putting on Their Shoes
by Edgar Degas (detail, reversed)
THIS PAGE
Two Dancers
by Edgar Degas
"I’m passionate about working in oils.
I love the depth, color, movement, and
texture I get from them. The Utrecht
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me. The spectrum of colors combined
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value, safety, and the working artist."
— Mia Tarducci, Artist

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Contents
Volume 35 | Issue 08
OCTOBER 2018
66
82
Compositions
58 72 78
HISTORY IS NOW THE RISE OF THE JUST DESSERTS
For Melora Kuhn, time does not VIRTUAL TRIBE Wayne hiebaud’s works on paper
erase the past but carries its he founders of Sketchbook Skool are as richly rewarding as his
effects into the present. appreciate that a thriving celebrated paintings.
community is a key part of a
rewarding artistic practice.
66 82
ELUSIVE DANCER FLUID NATURE
The dancer cast in Edgar Degas’ Figuration and abstraction find
beloved statue is forever 14—but balance in the paintings of
that may not mean the piece Calvin Chih Hao Teng.
hasn’t changed over time.
2 Artists Magazine October 2018

14 30 32
Prime Build Outfit
10 BIO 30 TUTORIAL 90 BUSINESS OF ART
Niki de Saint Phalle Understanding The Draw of Illustration
Contrapposto
12 COLOR STORY 94 DO NOW
Scarlet 32 ART HACKS
Ink Points 98 COMPETITION
14 SPACE SPOTLIGHT
School of Rock 34 WORKSHOP
Coming Up Roses 100 INDEPENDENT
16 CROSSROADS STUDY
Setting the Stage 40 PROMPTS
On With the Show 112 LASTING
22 VOYAGE IMPRESSION
The Dalmatian Coast, 42 WORKSHOP
Croatia Striking Gold
26 THE ASK 48 GENESIS

ON THE COVER
50 LESSON RECTO VERSO
Color and Light Dancers Putting on Two Dancers
Their Shoes by Edgar Degas
4 FROM THE EDITOR by Edgar Degas ca 1890–98; pastel on
(detail, reversed) cream wove paper,
6 CONTRIBUTORS ca 1874; thinned oil 27¾x21¹⁄₁₆
paint and sepia on
96 FEATURED PRODUCTS
pink paper, 15¾x12½
AMY MCCORMICK
MEMORIAL COLLECTION
101 WORKSHOP DIRECTORY PRIVATE COLLECTION
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From The Editor Art sts Magazine
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Whether you’re an artist who strives for operatic heights or one who
works in a quieter register, we wish you all the best this month in your life
and art.
Send us your feedback!
Study for The Little Fourteen Write to us at:
Year Old Dancer info@artistsmagazine.com
by Edgar Degas, ca 1878–81;
chalk and pastel on paper,
AUSTIN R. WILLIAMS 18⅛x22½
Managing Editor PRIVATE COLLECTION, LONDON ArtistsNetwork

Contributors
Contributors to this issue of Artists Magazine include …
LEA COLIE WIGHT DONOUGH SUSAN BYRNES

LESSON: “COLOR
AND LIGHT” O’MALLEY “FLUID NATURE”
BUSINESS OF ART: Susan Byrnes
Lea Colie Wight “THE DRAW OF
ILLUSTRATION” is a visual
is a realist painter artist whose
and the author of Donough work includes
the newly available O’Malley, an Irish sculpture,
book Foundations illustrator and multimedia
of Classical Oil designer with installation, radio
Painting. Born in Philadelphia, she over 17 years broadcasts, writing and curatorial
worked primarily in pastel and of experience, projects. Her art has been exhibited
printmaking until the late 1990s, is currently based in the United throughout the Midwest, including
when she began to work in oil. Her Kingdom. Working for clients and at the Korean Cultural Center of
work has received numerous awards, taking part in exhibitions across Chicago; the Woman Made Gallery,
appeared in various publications and the world, his flexibility in both in Chicago; the Sculpture Center, in
been featured at venues including the traditional and digital media means Cleveland; the Dayton Art Institute;
Butler Institute of American Art, in his work is used in a wide variety of and the University of Minnesota’s
Ohio; the Customs House Museum areas such as articles, advertising, Nash Gallery, in Minneapolis.
and Cultural Center, in Tennessee; fiction and children’s picture She holds an M.F.A. from Eastern
and the National Arts Club, in New books. For more information, visit Michigan University and a B.F.A.
York City. For more information, visit donoughomalley.com. from Syracuse University. She lives
leawight.com. in Cincinnati.

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IN NIKI DE SAINT
P H A L L E ’S H A N D S ,
P L AY F U L N E S S I T S E L F
COULD BE A
RADICAL TOOL .
MARKUS SCHOLZ/PICTURE ALLIANCE VIA GETTY IMAGES
Nana on a Dolphin,
by Niki de Saint Phalle (1930–2002),
on display on the bank of the Elbe
River in Hamburg, Germany
Prime BIO
PHOTO: JACK NISBERG/CONDÉ NAST/GETTY IMAGES
NIKI DE SAINT PHALLE

Serious Frivolity
In her colorful sculptures, the French artist combined intellectual ambition
with pronounced playfulness.

p lenty of modern artists have been gifted with a
flair for the dramatic, and Niki de Saint Phalle
(1930–2002) could hold her own with the best of
them. The French sculptor and multidisciplinary
artist created a brightly colored cast of characters over the
course of her long career, and both she and her work pos-
sessed an unmistakably theatrical energy.
Born in the suburbs of Paris, Saint Phalle was self-
taught as an artist. From the start, her work exhibited a
heightened sense of drama that at times bordered on the
absurd. Among her earliest works to gain notice were her
“shooting paintings,” the creation of which involved blast-
ing away at bags of paint with a .22-caliber rifle. In 1963,
she achieved both acclaim and a degree of notoriety for her
80-foot-long sculpture Hon, a garishly painted form of a
reclining woman. The sculpture was hollow, and viewers
were invited to walk inside, with the entrance located in
the figure’s nether regions. Aside from being an impressive
exercise in provocation, the sculpture is notable for being
a rare example from its era of a monumental sculpture by a
woman, depicting a woman—indeed, one that flaunts its
femininity to the max.
As Saint Phalle’s career continued, she became best
known for another interpretation of the female figure—
the colorful, bulbous sculptures she termed Nanas. Made
of materials ranging from papier collé to polyester to bal-
loons, they were often exhibited in lively arrangements
and seemed to dance and lounge around galleries and gar-
dens. Like her earlier work, the Nanas can be interpreted as
complex investigations of art and gender yet are notably
lacking in self-seriousness. In Saint Phalle’s hands, playful-
ness itself could be a radical tool. —AUSTIN R. WILLIAMS
ABOVE
Niki de Saint Phalle at
PHOTO: JEFFREY GREENBERG/UIG VIA GETTY IMAGES
work on Nanas in her

studio on the outskirts of
Paris, in 1971
RIGHT
Saint Phalle’s sculpture
Les Baigneuse on display
at the Museu Coleção
Berardo, in Lisbon
Prime COLOR STORY
Scarlet
A Study in Scarlet
This passionate color ignites the imagination.
f ew colors provoke quite as

visceral a reaction as scarlet.
In the world of theater, the
pomp and ceremony of performance
are centered on the invocation
and manipulation of heightened
emotions, so it makes sense that
many of theater's most iconic
trappings—such as the plush
seats and the all-important velvet
curtain—are often bright red.
The color helps to charge our
imagination and anticipation,
communicating that we've entered
a space apart from everyday life,
where drab colors do not exist.
Henri de Toulouse-Lautrec's The
Box With the Gilded Mask, originally
designed for a play program,
perfectly captures the emotional
essence of the color. The profusion
of scarlet lends the lithograph
an almost macabre air, with the
background all the more striking for
being juxtaposed against its urbane
subject dressed entirely in black.
—MIKE ALLEN
The Box With the Gilded Mask

by Henri de Toulouse-Lautrec
1894; crayon, brush and spatter
lithograph, 19¹¹⁄₁₆x12¹³⁄₁₆
THE METROPOLITAN MUSEUM OF ART, NEW YORK
This lithograph was designed to decorate

the playbill for Marcel Luguet's Le
Missionnaire at the Théâtre Libre, in Paris.
FOLLOW @ARTISTSNETWORK
ON INSTAGRAM AND SHOW US
YOUR SCARLET!
#ARTISTSNETWORK_COLORSTORY

RED CARPET TREATMENT
Red is the color most associated with the
magic of theater. From the seats to the
curtain, the color is integral in those
ceremonial aspects that serve to create
a space of heightened feeling.
PAINT IT RED
In the Middle Ages, vermilion was the red
pigment of choice for painters. Fast forward to
CADMIUM RED, THEATER SEATS: GETTY IMAGES; ILLUSTRATIONS: DANIELLE DONALDSON; PIERCE/HITCHBORN HOUSE: DANITA DELIMONT/GETTY IMAGES; CARDINAL: ALBERTO PIZZOLI/AFP/GETTY IMAGES
the early 20th century, and the vivid synthetic

pigment cadmium red became the standard
red of Henri Matisse and other Western artists.
“A thimbleful of red is
redder than a bucketful.”
–Henri Matisse
NATURE'S BOUNTY
The natural world is filled
with red, from cardinals
to chili peppers to
mushrooms, as Danielle
Donaldson shows in
her book The Art of
Creative Watercolor
(North Light Books).
BOLD
FOUNDATIONS
Built in the early
1700s, the Pierce/
CARDINAL COLOR Hitchborn House is
Cardinals in the Roman Catholic Church wear part of the Freedom
scarlet to symbolize the blood of Jesus Christ. Trail in Boston.
Catholic vestments have long been inspirations As one of the city's
for both artists and fashion designers and are oldest surviving
currently the subject of a major exhibition at brick structures,
the Metropolitan Museum of Art, in New York. it exemplifies
early Georgian
architecture from
the British
colonies.
Prime SPACE
LEFT
Helen La Rota carves using a
point chisel and hammer after
cutting with a diamond saw.
BELOW LEFT
A plaster model by Gianluca
Giarrizzo
BELOW
Supplies for the course are
donated by Jonathan Tibett
of ABC Stone. Seen here are
assorted stone blocks at the
Compleat Sculptor.
School of Rock
Endangered stone-carving techniques
reach a new generation of artists.
m arble sculptures account for some of the most

celebrated works in Western art history, but
the practice of carving marble by hand is rarely
taught in American art schools. An exception to
this trend is found at the New York Academy of
BELOW
The hand-sculpting course is
held in an outdoor area with
good light and ventilation.
Art, which for the past several years has offered

a stone-carving course for students in its M.F.A.
program. Artists Magazine recently dropped in
on a class, where we saw students working dili-
gently with hammers, chisels, calipers, pointing
machines and power tools to slowly create forms
out of rough marble blocks.
“A lot of schools have stopped teaching a tradi-
tional version of stone carving because it’s very
technical and a very long process,” says instructor
Barbara Segal. “Working this way is a dying tradi-
tion. It still exists, but because of the onset of
CNC machines [automated tools using computer
numerical controls], anyone can make a 3-D file
and have it carved out by a robot. But these stu-
dents want to learn how to do it by hand, which
teaches you a whole different language in sculp-
ture. It’s really a pleasure to teach them.”
Throughout the semester, students learn the
traditional, academic manner of stone carving,

while also investigating the artistic aspects of the medium.
“The material we use is a white marble—either Carrara white
or Vermont white, depending on what’s on hand,” Segal
says. Students learn to use tools, including angle grinders,
diamond cut-off saws, pointing machines and pneumatic air
hammers. They start with a block measuring 15 inches to a
side and learn a deductive process in which they first remove
large chunks of stone using chisels and garment saws, then
gradually make flat planes and finer points, measuring from
model to sculpture with the use of a pointing machine.
The class is held at the Compleat Sculptor, a sculpture-
supply store. “There’s an outside bay where we can work,
which is good, because this process makes a lot of dust, and
you need ventilation,” Segal says. “We wear masks and eye
protection, as well as earmuffs, because there’s a lot of noise.”
“It’s been so empowering to be exposed to marble carving,
because it’s not easily accessible to most people,” says student RESOURCES
Kate Sinclair. “Working with power tools on a material you
really have to wrestle with and approach differently than a FOR FURTHER
painting has changed the whole direction of my art making.
It’s given me confidence in sculpture that I wouldn’t have
LEARNING
been exposed to otherwise.” —AUSTIN R. WILLIAMS If you want to try your hand at stone
carving, Segal recommends the
following books:
· The Art of Stoneworking: A Reference Guide
by Peter Rockwell
· Contemporary Stone Sculpture: Aesthetics,
Methods, Appreciation by Dona Z. Meilach
· Sculpture in Stone by Josepmaria Texido and
Jacinto Santamera
· Sculpture: Processes and Principles by Rudolf
Wittkower
ABOVE
Kate Sinclair
works using a
pointing machine.
FAR LEFT
Ayna Musayeva
works by hand
using a claw chisel.
NEAR LEFT
Gianluca
Giarrizzo's plaster
model, with the
artist in the
background.
Prime CROSSROADS
Setting
the Stage
Award-winning scenic designer
Christine Jones shares the artistic
process behind her enchanting Broadway
and Metropolitan Opera productions.
by Allison Malafronte
a groundbreaking set designer must possess not

only the imagination to create the ideal envi-
ronment for a specific performance but also the
ingenuity to make every seat in the house feel intimately
connected to the stage. In a sense, a scenic designer is
part artist, part scientist and part magician, combining
elements of engineering, architecture, fine art, acoustics
and lighting into one seamless presentation. Christine
Jones—the Tony Award-winning scenic designer of the
play Harry Potter and the Cursed Child, as well as the
upcoming production of La Traviata at the
Metropolitan Opera (the Met) in New York
City—has all of these skills in spades. Over
the course of her career, she has managed to
create larger-than-life sets that still somehow
speak to an audience of one.
CONNECTING ACTOR
AND AUDIENCE PHOTOS: EXTERIOR: JENNY ANDERSON; INTERIOR (DETAIL): MANUEL HARLAN
Growing up in Canada, Jones was introduced

to the stage through dance, an art form
she practiced passionately throughout her
adolescence. Her love of dance performance
led her to study drama, and she eventually
became as involved and interested in what
was going on backstage as in what was hap-
pening onstage. Jones was fortunate to have
mentors and teachers early on who introduced
<
her to set design as a profession, specifically BROADWAY PRODUCTION

scenography—the art of creating theatrical scenery Lyric Theatre marquee
through architecture, design and painting. Jones went on
to receive her B.A. in English literature and theater from
Concordia University in Montreal, followed by an M.F.A. in
design for the theater at New York University.

< STAGE SET
The grand stage of Broadway's Lyric Theatre,
where Harry Potter and the Cursed Child is
currently showing
“In set design you’re

essentially creating a three-
dimensional painting.”
—christine jones
HARRY POTTER COLLAGE

A collage of photos and sketches provided
inspiration and reference material for Jones'
for Harry Potter and the Cur
Prime CROSSROADS
As Jones’ professional work in scenic design

progressed from small regional theaters to major
national and international productions, she
became particularly interested in and adept at
what she calls visual acoustics: the spatial and
experiential aspects of a theater performance—
specifically, how the actors and audience connect
to each other. It has been Jones’ desire to break
down the theater’s fourth wall—the invisible
divide between the stage and the audience—in
order to create more authentic and personal con-
nections between actor and audience. To further
unpack the potential of this concept, in 2010
Jones launched the Theatre for One™ project, a
portable performance space designed for one
actor and one audience member. By working on
this critically acclaimed project, she gained an
understanding of small-scale spatial relation-
<
ships and sight lines, which she then used to HARRY POTTER
inform the creation of her large-scale set designs. STORYBOARDS
Simple diagrams on storyboards, like
these that Jones created for Harry
SCULPTING A SET Potter and the Cursed Child, enable
her to envision chronological stage
In explaining her process of scaling a story to the stage, sets for successive scenes.
Jones likens the set designer’s approach to that of a sculptor
working in the round or an artist painting on canvas. “How
you organize space on stage and how you place each element

has a profound effect on how the audience experiences and
processes what they see and hear,” she says. “It’s actually a
very sculptural endeavor. You’re thinking about carving SEE THE SETS (AND SHOWS!)
space with shapes and light and considering how light
Harry Potter and the Cursed Child is currently
affects the appearance and color of the structures. In many
playing at the Lyric Theatre, in New York,
cases, we also have the proscenium, which acts as a frame
and at the Palace Theater, in London. In 2019
around the stage. In set design you’re essentially creating a
it will open in select other cities, including
three-dimensional painting, designing the composition to
San Francisco. For more information, visit
fit within that framework and factoring in how the environ-
harrypottertheplay.com.
ment and figures look in relation to each other from various
perspectives in the theater.” La Traviata opens at the Metropolitan Opera
Whether Jones is building a Theatre for One™ or a in New York City on December 4 and runs
major production for the West End or Broadway, her through April 27, 2019. For more information,
design process begins with the script. This first step hap- visit metopera.org.
pens in collaboration with the production’s director, and
Jones dives right in with an in-depth dissection of the dia-
logue. “I read the text several times carefully and note
paragraphs or series of phrases that have some sort of
poetic relationship to each other,” she explains. “I then cre- "I make a three-dimensional
ate a series of sketches, which help me untangle the
movement of the story and understand how the bodies are
scale model, usually out of paper
moving through space. A significant amount of research and cardboard, which becomes
comes next, and I turn research boards into collages to
begin visualizing the ascendant themes. Last, I make a
the blueprint from which the
three-dimensional scale model, usually out of paper and craftspeople begin building
cardboard, which becomes the blueprint from which the
craftspeople begin building the scenery.” the scenery."
—christine jones
CHOOSING A FOCUS
Jones’ latest scenic-design endeavor finds her pairing up
once again with her longtime creative partner Michael
Mayer, the director of the upcoming production of
La Traviata at the Metropolitan Opera in New York City.
<
PHOTOS: COURTESY OF THE METROPOLITAN OPERA, NEW YORK (NY)
<
MODEL AND SET

The actual stage set for
the Metropolitan Opera of
New York's upcoming production
of La Traviata (above) is based on
Jones' scale model of the set (left),
complete with cardboard standups
of the cast.
Prime CROSSROADS
In the staging of classical opera—the librettos and music

of which were predominantly written in the 18th and 19th
centuries—contemporary directors and scenic designers
have the artistic liberty to set the story in any time period
they see fit. In the case of Verdi’s 1853 La Traviata, the Met’s
2005 production created a contemporary-design precedent
with its modern, minimalist setting and staging à la Marilyn
Monroe’s 1953 performance of the song “Diamonds Are
a Girl’s Best Friend.” Mayer and Jones, however, decided
to build the scenery around the emotional crescendo of
the tragic story, creating a beautiful, elaborate set of the
style of the 18th-century that changes with the seasons.
“We wanted to focus on what is happening emotionally
and musically at the time of Violetta’s death, as she flashes
<
back to various defining moments of her life,” Jones says. SET CHANGES PHOTOS: COURTESY OF THE METROPOLITAN OPERA, NEW YORK (NY)
At top is Jones' actual stage set during a
“Ultimately, a set will reflect the aspect of the story you rehearsal of La Traviata at the Metropolitan
most wish to convey.” Opera. Below that image is Jones' cardboard
Whether designing for La Traviata, a Harry Potter play or model. Comparing these images with those
another project, Jones has always aimed to match the scale of on page 19 reveals changes involving props,
the set to the scale of the story. She does this by combining lighting and the spectacular skylight.
the artistic principles of composition, color and light with the
theatrical principles of dramaturgy, scale and visual acoustics
in unexpected and aesthetically impressive ways. Add to these
qualities Jones’ sincere concern about how each audience
member sees and experiences a production, and you have a
show with a guarantee that every seat in the house will be a
great seat.
FOR MORE INFORMATION ABOUT CHRISTINE
Allison Malafronte is an arts and design writer, editor and JONES, VISIT CHRISTINEJONESWORKS.COM
curator based in the greater New York City area. AND THEATREFORONE.COM.

Prime VOYAGE
The Dalmatian Coast, Croatia

text and illustrations by Stephen Harby
Korčula
graphite and
watercolor on paper,
5x8
The town of Korčula is
on a peninsula—
a journey along the Dalmatian Coast of the Adriatic Sea takes one on a seren-
dipitous journey of discovery through the former Yugoslavia and allows the
artist to unpeel layers of empire and history. Between Dubrovnik, at the
southern end of Croatia’s coast, and Lake Bled, in the mountains of northern Slovenia,
one comes in contact with many of Europe’s great civilizations. Rome, the Venetian
virtually an island Republic, the Ottoman Empire and the Austro-Hungarian Empire all claimed these
apart from the larger lands and left their cultural and artistic traces. A trip through this region affords art-
island of Korčula. ists opportunities to paint and sketch dramatic seaside and lakeside views, as well as
fascinating architecture and other subjects characteristic of the Balkans.
Such a journey is best done from April through October so as to take advantage of the
seaside resorts and to use the network of coastal ferries that regularly ply the waters

from town to town. My journey through
this region commenced in Bari, Italy,
WHERE TO STAY
where my companions and I took an over-
night ferry across the Adriatic to
Dubrovnik. After two days exploring that
compact, walled city, we ventured north-
west along the coast to the small island of
Korčula. We stayed in its medieval walled
main town, which is surrounded on three
sides by water and whose buildings mass
up to a central spire of the cathedral. It’s a
good destination for travelers, with a vari-
ety of small hotels, guest houses and
restaurants appealing to a range of tastes
and budgets.
From Korčula it was a short ferry
hop to another enchanting island, St. Stephen’s
Cathedral,
Hvar. The island’s principal town, Hvar, Croatia
also called Hvar, shows definite influ- graphite and Choices for accommodations Fishing Boats in Port,
ences of the Venetian Republic. The watercolor on paper, include: Hvar, Croatia
resplendent façade of the Cathedral 5x8 graphite on paper, 5x8
DUBROVNIK
of St. Stephen is capped by curved This cathedral's The town of Hvar wraps
l Pucic Palace Hotel
pediments resembling those found in origins date from the around a well-protected
Venice. Another short ferry ride took 14th century, and the KORČULA harbor lined with jetties
bell tower is from the l Lešić Dimitri Palace and esplanades and
us to the larger town of Split, back on 17th. The curved paved with smooth
the Croatian mainland. Split’s walled gable that surmounts and Hotel marble and travertine.
l Korčula De La Ville
historical center follows the plan of the façade suggests
a palace built by the Roman emperor the influence of HVAR
Venice, where similar
Diocletian (244–311 A.D.). It is consid- work by the architect
l Adriana Spa Hotel
ered among the best-preserved Roman Mauro Codussi can SPLIT
sites, and it offers an excellent example be found. l Palace Judita Heritage Hotel
LAKE BLED
PHOTOS: VILA BLED: ISTOCK/GETTY IMAGES; KORČULA: GETTY IMAGES; STATUE: CHAIYUN DAMKAEW/GETTY IMAGES
l Vila Bled Hotel
ABOVE, RIGHT
AND LEFT
Vila Bled
NEAR RIGHT
Statue in Ban
Jelacic Square,
Zagreb, Croatia
The resplendent façade of the FAR RIGHT
Cathedral of St. Stephen is capped Korčula
by curved pediments resembling

those found in Venice.
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of the kind of palimpsest that results ABOVE
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ancient palaces as they degenerate over Island, Slovenia
the centuries into more prosaic abodes. watercolor and
From Split, my party took to land graphite on paper, 5x8
and quickly covered considerably The centerpiece of
more territory, including stops on the Lake Bled is the
Istrian Peninsula at the northern end Assumption of Mary
of Croatia’s coast and in Zagreb, the Church, an island
sanctuary that is a
country’s art-nouveau-filled capital. popular pilgrimage
From there we traveled by train to destination. Guests of
Ljubljana, the capital of Slovenia. the nearby Vila Bled
Finally we reached Lake Bled, a pictur- can paddle there in a
rowboat from the
esque place surrounded by high hotel’s fleet.
mountains and redolent of the
Austro-Hungarian Empire. There, we
luxuriated for a night in the former
8 easy-to-follow painting projects with villa of Josip Broz Tito (1892–1980),
popular workshop instructor Jerry Yarnell Yugoslavia’s strongman leader. The
villa was designed by the architect
WILDLIFE SCENES IN ACRYLIC Josef Plecnik (1872–1957), whose
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ALSO AVAILABLE AS AN EBOOK Ljubljana, among other European
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www.artistsnetwork.com who had a profound impact on this

Richeson
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region during the 20th century—

Peristyle of
Diocletian’s Palace,
Split, Croatia
watercolor and
graphite on paper, 5x8
made a fitting place to end a journey
that had taken us through thousands
of years of history.
New Colors
Open to the sky and Stephen Harby is an architect,
surrounded by watercolorist, faculty member of the
Corinthian columns Yale School of Architecture and
surmounted by arches,
the Peristyle court is
founder of Stephen Harby
the heart of the palace. Invitational, which organizes travel
opportunities for small groups.
richesonart.com 1.800.233.2404
Call to find the dealer nearest you.
Prime THE ASK
WE ASKED...
D. . .
WE ASKE
Who is the most ED
WER
underappreciated YO U A N S
American artist? “Frank Mechau [1904–

1946], a regional artist
and environmentalist.”
—CONNIE ROBBINS BRADY
“Arthur Dove
“Edwin Austin Abbey [1852–1911].
He’s well known by aficionados of [1880–1946].”
“ LES LEY D ILL —BARBARA SNYDER
Golden Age illustration but not by the
general art public. He was an
[ 1 950– ] , MA RIE
American expatriate whose work WAT T [ 1 96 7– ] O R “Mary Cassatt
spanned illustration and easel JACQ U ELIN E [1844–1926].”
painting, and his originals are BIS HO P [ 1 955– ] .” —DORIS GENDRON-
primarily held in the vaults of the MCCUE
Yale art museum. We need a big CHERYL K. SNAY
CURATOR OF EUROPEAN
retrospective and a big book on
ART, SNITE MUSEUM OF “Harriet Whitney
his work.” ART, UNIVERSITY OF Frishmuth [1880–1980].
NOTRE DAME
JAMES GURNEY Please look her up;
ARTIST
she’s truly amazing!”
—REBECCA OLSEN WEBB
LIKE US ON FACEBOOK
“Agnes Martin [1912–2004].” @ARTISTSNETWORK TO
ANSWER EACH MONTH’S
QUESTION IN “THE ASK.”
ELIZABETH OSBORNE RESPONSES MAY BE EDITED
ARTIST FOR LENGTH AND CLARITY.
“AUGUS T US
“The Pennsylvania-based pastelist G. Daniel Massad [1946–]. His still lifes
SAI NT- G AUDENS are a kind of otherworldly cross between the somber works of 17th-century
[ 184 8–1907].” Spanish artists like Zurbarán and Cotán and Giorgio Morandi’s ethereal
depictions of bottles and fruits.”
XAVIER F.
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PETER JAY SHARPE ASSISTANT CURATOR OF EUROPEAN ART,
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Bu ld
“A S A S U B J E C T F O R A R T I S T S ,
T H E R O S E N E V E R S E E M S TO
LOSE ITS FRESH APPEAL .
VIEWED WITH AN EYE TO
S H A P E A N D F O R M , I T ’S A
L O V E LY B U N D L E O F P E TA L S
T H AT S P L AYS O U T WA R D A N D
U P WA R D F R O M T H E S T E M .”
GIGI CHEN
PHOTO: COURTESY OF GIGI CHEN
Build TUTORIAL
Illustration 2
UNDERSTANDING
CONTRAPPOSTO
ROBERTO OSTI explains what a
contrapposto pose is and why
artists turn to it so often.
Contrapposto describes a category of pose that

artists have favored for thousands of years.
Even though “contrapposto” is an Italian word,
the earliest sculptures that depict the human
body posed in this specific stance date back to
the 5th century B.C. in classical Greece.
The typical contrapposto
pose shows the counterposing
of various segments of the
figure: The pelvis and rib cage
are tilted in opposite direc-
tions, and one leg is straight
while the other is bent. This
deliberate counterposing can
contribute various expressive
qualities to a figure. It can aid
the artist in achieving a sense
of movement and elegance,
and it can also help to reveal
the psychology and emotional
life of a subject.
NOT CONTRAPPOSTO
To better understand
contrapposto, we can start by CHARACTERISTICS
looking at an example that is
not contrapposto. Consider Illustration 1 OF CONTRAPPOSTO
illustration 1, a drawing of a A contrapposto pose can be seen in illustration 2,
Greek Kouros sculpture from the Archaic period. It showing a later sculpture that represents the beginning
portrays a figure in a very symmetrical and rigid pose: of the Greek classical style. The sense of life is expressed
● The weight of the body is equally distributed by the much more correct and realistic anatomy and by
between the two legs. the relaxed, lifelike pose:
● The arms are straight and parallel along the sides ● The head, chest and pelvis are aligned along a slightly
of the body. S-curved line running from the top of the head to the
● The body can be divided into two symmetrical ground.
halves by a vertical line, referred to as the “line of ● The pelvis is tilted.
the center of gravity.” ● One leg is engaged—it is straight and carries most of
● The pelvis is not tilted, as we can see from the the weight of the body.
horizontal line. ● The other leg is free—slightly bent and relaxed,
carrying little weight.

Illustration 4
Illustration 3
BREAKING IT DOWN
To better appreciate how the forms of a
contrapposto figure are organized, we can
reduce the organic forms of the body to
basic volumes. Illustration 4 shows the basic
volumes of David:
● The head is slightly tilted to the right and
turned to a three-quarters view.
● The rib cage is tilted to the left.
● The pelvis is tilted to the right.
● One leg is straight and engaged; the other is
free and slightly flexed.
Illustration 5
CONTRAPPOSTO IN
THE RENAISSANCE
During the Renaissance,
the ideals of classical
Greco-Roman culture were
revived, and artists
showed a renewed interest
in the realistic depiction of
the figure. In illustration 3,
we see how Michelangelo’s
David demonstrates a CONTRAPPOSTO IN
methodical application of
contrapposto: MULTIFIGURE COMPOSITIONS
● David’s head, torso, Contrapposto is not limited to single figures. It can also be used in
pelvis and legs are all paintings such as the complex arrangement found in Raphael’s The Three
aligned along an Graces (see illustration 5):
elegant S-curve. ● The head, torso and legs of all three figures are oriented at different
● The pelvis is tilted. angles, creating S-curves running down the length of each figure.
● This elegant pose, ● The pelvic tilt is evident in all three figures.
along with the ● The feet alternate between engaged and free.
accurate anatomy, ● The poses themselves alternate. The first S-curve is oriented opposite to the
contributes to the second. The second and third S-curves have the same orientation, but the
sculpture’s powerful poses are opposite in a different sense, as the figures are facing each other.
sense of life and
psychological intensity. Roberto Osti is an artist, instructor and the author of the book
Basic Human Anatomy (he Monacelli Press).
Build ART HACKS
Ink Points
Try these tips for ink-credible work.
—COURTNEY JORDAN
5. Add gum arabic as a binder.

Now you’ve got sepia-toned brown
ink close to what Rembrandt used.
Sponsored Tip
On the Surface
Be careful of where
With pen and ink, your surface is you display or
probably paper. Take advantage of work with colored
that—turn your surface often for a inks—many aren’t
full range of strokes and working lightfast! FW’s are
Basic Black—and More
angles. Experiment with recycled both lightfast and
Black India ink is your go-to. It’s paper, drawing paper, Bristol permanent
pigment-based, lightfast, board and matte inkjet paper, as because they are
permanent and waterproof. But if well as cold-pressed and hot- made with real
you want to go beyond black, pressed surfaces. Your marks will pigment.
cartridge pens let you swap out look different on each.
colors with ease. No need for an
old-school ink well. Vincent Variety
Van Gogh’s drawings show a
No Take-Backs diversity of marks. He used reed,
quill and fountain pens to create
With pen and ink, you can’t undo a
line variety. Follow suit!
stroke. Here’s what to do instead.
● Pencil first. No one says you
have to go permanent right off. Map Your Marks
● Think twice, ink once. ● Tackle the largest, lightest
● Practice. Keep scrap paper areas first. Make your hatch
nearby to make trial runs of lines and crosshatches broadly
complicated passages. and with a light hand.
● Add on. Just keep going with ● Go from light marks to dark.
more strokes, a wash of water
An “oops” That way you give yourself
FOUNTAIN PEN: DAVID PENNINGTON/UNSPLASH; WALNUT, HATCH MARKS: GETTY IMAGES

or watercolor, or pieces of an out for additional marks.
can be an paper for a collaged look. ● Dots, hatches, crosshatches,
● Embrace it. Don’t think of
opportunity. anything you put down as a
flowing lines, scribbles—use
them all!
mistake—it’s a challenge and an
opportunity. Make the most of it.
DIY Ink READER HACK

“Often one or more legs of my plein air easel sink into
You can make ink by boiling the the ground, so I put plastic lids from peanut butter
fruits of oak or black walnut trees. jars under the legs for a sturdier, more reliable
1. Look for the darkest fruits that surface to support my easel. I also keep spares in my
drop to the ground. kit for water dishes, mixing palettes and other uses.”
2. Bring them to a boil in water and —cindy trevitt
then simmer them for four to six
hours, adding water as needed. For a chance to win a month of free access to Artists
3. Pour the liquid through a cheese Network TV, email your favorite art hack to info@
cloth to strain—twice. artistsmagazine.com with this subject line: “Art Hacks.”
4. Add a bit of ethyl alcohol (to kill Submissions may be edited for length and clarity.
anything oogy).

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Build WORKSHOP
FLORAL
Coming Up Roses
GIGI CHEN demonstrates how to draw a rose—first as a simple outline
and then in layered colored pencil.
As a subject for artists, the rose never seems to lose its

fresh appeal. Viewed with an eye to shape and form, it’s a Materials
lovely bundle of petals that splays outward and upward SURFACES:
from the stem. he base looks almost like a rounded cup · 8x8 Strathmore bristol
or bowl. Moving away from the base, the petals open (for line-drawn rose)
wider, with the stem holding up the whole structure. · 8x10 Borden & Riley sketch
Every rose is unique, but when depicting any particular paper, vellum finish (for
rose, some common principles apply: fully colored rose)
l I recommend drawing roses from the inner petals out- GRAPHITE SUPPLIES:
ward, but you must remember to consider perspective; · 2H and 3H pencils
unless you’re looking straight down at the rose, the · kneaded eraser
center of the bloom should be of-center in your draw-
COLORED PENCILS:
ing. Even with a bird’s-eye-view, real-life variations
Faber-Castell Polychromos
will tend to push the innermost petals of-center.
· Tuscan red
l Details are important. Note the small breaks,
· rose carmine
holes and splits of petals, leaves and stems. hese
· red violet
touches create character and add a lifelike quality
· leaf green
to your drawing.
· light green
l If you add shading or color, make your marks in the
· pine green
same direction as the curves of the petals and leaves.
Prismacolor
Following are two demonstrations on drawing a rose. No
· Col-erase carmine red
matter what medium you use, starting with a pencil sketch
(for line-drawn rose)
can be helpful, so first I take you step-by-step through
· cream
this sketch phase and on to a more refined colored-pencil
· dark chrome yellow
line drawing of a rose bloom, viewed from overhead. his
Derwent
demonstration emphasizes the shapes and arrangement of
· ash rose
the petals. he second demonstration addresses the more
typical side view of a rose. Here I show how to bring out
dimensionality with layers of colored pencil.
GIGI CHEN holds a B.F.A. from

the School of Visual Arts, in New
York City. Her work, which
encompasses animation,
cartooning, illustration and
fine art, has appeared regularly
in solo and group shows. Gigi
lives and works by her personal
motto, “Love, Craft and Fun.” Visit her website
at gigichen.com.

Yellow and Red Rose
colored pencil on paper, 8x10
Build WORKSHOP
LINE DRAWING: ROSE FROM ABOVE
STEP 1 STEP 2
Using a light pencil such as 2H or 3H, draw the basic outline This step shows a detail view of the center
for the bloom—round but not a perfect circle. Add a guide portion of the rose. Draw small, tight
indicating the center of the rose. My guide is a rounded petals fitting into this center guide.
diamond shape. When sketching basic shapes such as this, a Remember, this is only a sketch. You’ll add
dull pencil glides across the paper more easily and will help details later.
you keep your movements fluid and loose—after all, a rose is
a living thing. Have a kneaded eraser handy for adjustments.
STEP 3 STEP 4
Continue adding petals outside the inner Once you’ve completed the base sketch,
guide. Petals are shaped almost like wide start emphasizing the anatomy of the petals.
Cs or Ds. They don’t grow in patterns, nor I used a sharpened Prismacolor Col-Erase
do they form neat, straight rows; instead, colored pencil in carmine red to add details
they alternately overlay, getting larger and and outlines. As in the sketch phase, start
wider farther from the center. from the center and work outward.

STEP 5 STEP 6
As you rework the sketch, add little touches. Rose petals bend Line is a language, and playing with the
and grow unevenly. With a combination of straight and curvy weight of each line adds interest. Keeping
lines, create some character in each petal. Think of each one the pencil sharp, press down to darken
as having its own story and aging at its own rate. Some petals certain areas and ease up on the pressure to
are perfectly curved and rounded; others have corners; others keep the line fluid and loose in other areas.
have little rips and tears; some curl and crinkle. Variation creates volume and movement.
ROSE IN LAYERED COLORED PENCIL
STEP 1 STEP 2
Start with an outline of the basic shapes. Think of the rose as Lay down a base color of cream, saving
petals bursting from a tightly encased bud. Draw from the some outer edges for highlights. Keep your
middle with smaller petal forms, gradually making them pencil sharp, and stroke in a uniform
larger as you continue outward. Avoid even rows and overlap direction for each petal.
the petals. The stem should be sturdy and thick, and the
leaves should be randomly spaced, facing different
directions. The outline for this rose is Tuscan red; the leaves
and stem are leaf green.
Build WORKSHOP
STEP 3 STEP 4
Begin adding depth by gradually darkening the rose Because this is a yellow and red rose, each petal
with dark chrome yellow. Remember to keep your bleeds toward the edges from yellow to pink and
pencil sharp and stroke in the direction of the petals’ crimson. Using ash rose, add a base pink color to the
curves, rotating your drawing to work more outer edges of the petals. Start from the petal’s
comfortably. Make your marks short and deliberate outer edge and, with a sharp pencil tip, stroke
from the inside out, using the tip of your pencil. toward the center. This keeps the edge of the rose
dark and clean.
STEP 5 STEP 6
Push the color further with rose carmine. Add darks with a sharp red violet. This creates rich
This will make the red bleed more and variations between the petals and adds depth and
create contrast with the yellow base colors. contrast. Avoid shading every nook and crevice
evenly, as this will flatten your image. Give each
petal its own character and motion by adding folds,
small pits and splits.

STEP 7 STEP 8
Begin the stem with a base of cream and light green, Go a shade darker with leaf green, using
being careful to maintain highlights. With sharp this opportunity to indicate areas of added
pencils, render the leaves with little strokes from the depth, such as beneath the leaves and at
stem outward. When filling in the stem, make your the meeting of the rose and the stem. As
marks go up and down along its length to create the always, keep your pencil sharp, and stroke
illusion that the rose is shooting upward. in the direction of the curves.
STEP 9 STEP 10
Go further still with the play of depth and To finish the stem, tie the drawing together
perspective by using a sharp pine-green visually by going back to the red violet that
pencil to crisp up the edges and mark out was used to complete the rose. Make the
details. stem pop by darkening the darks and
adding details. Pits, holes and rips in the
greens give the rose a story.
Build PROMPTS
On With
the Show
“All the world’s a stage, and all the men
and women merely players,” said
Shakespeare. That stage and those
players aren’t much to look at without
action and dialogue—or at least some
props, facial expressions and gestures—
things that add life and narrative to the
setting. Here are a few exercises to help
you get the “players” in your artwork to
spill their stories.
—HOLLY DAVIS
2
Studio models simply cannot
hold certain poses—for example,
1
diving into a pool, leaping from a
dance floor, jumping to shoot a
basket. That’s where photographs
Picture a bicycle leaning come into play. Shoot at least 20
against a wall, a rubber ball in
MACARONS: KEILA-HOTZEL/UNSPLASH; DANCER: MIGUEL SALGADO/UNSPLASH; CAVE OF THE HANDS: EYE UBIQUITOUS/UIG/
action photos of a particular
the grass, a half-eaten cupcake. activity that you can refer to
All those images convey human (or for a painting or
animal) presence. Compose a painting drawing.
or drawing that sets the stage for live
interaction without actually showing it.
3
A gesture drawing
emphasizes the pose
and action of a figure.
Google "gesture
drawings by masters"
for inspiration—then
make your own gesture
drawing. Limit your time
4
Cueva de las Manos (Cave of the Hands) in Santa Cruz, Argentina, is famous for
to enhance freshness
GETTY IMAGES
its stencilled paintings of hands created 9,000 to 13,000 years ago. What
and spontaneity. feelings do those hands evoke for you? Create your own artwork of hand stencils
or handprints.

5 6Anger, elation,
Visit an art museum or
surprise, serenity, joy,
flip through a book of sadness, attentive-
masterworks and pick out ness, boredom—
the human face is an
a face or figure that seems
ever-changing canvas
especially expressive to of expressions. With
you. Ask yourself what is the help of selfies or
a mirror, draw three
expressed and how that five-minute self-
expression is achieved. portraits, each
For further revelations, expressing a different
emotion or state of
sketch a copy. mind.
7
Gesture need not be
limited to people.
Much of the appeal
8
Sometimes the setting of an
of Ernest Howard
SELFIE: VERITY JANE SMITH/GETTY IMAGES; A.A. MILNE: JOHNNY GREEN-PA IMAGES/GETTY IMAGES; KOWCH: COURTESY OF THE ARTST
artwork is metaphorical. For

Shepard’s depictions example, the idea of loneliness
of A.A. Milne’s might be conveyed by a figure
Winnie-the-Pooh crouched in a corner or standing
characters (below) apart from a crowd. Compose
arises from gestural a metaphorical scene
expression. Try expressing an idea of
infusing gesture into your choice.
an animal drawing.
9
Narrative artwork suggests a story. Some
narrative works depict scenes from well-known
tales; others merely suggest that something,
big or small, has happened or is about to
happen. Draw or paint a narrative scene.
ABOVE
Dream Chaser
by Andrea Kowch
acrylic on canvas, 60x48
Put your art in the limelight on Instagram:

@artistsnetwork
#artistsnetwork_prompts
Build WORKSHOP
DESIGN
Striking Gold
DANIEL MAIDMAN explores a compositional gold mine
based on a ratio favored by nature itself.
We start with a little math. he Fibonacci sequence, which

has an uncanny knack for appearing in nature, is a Materials
sequence of numbers, each of which is generated by adding SURFACE
the two before: 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89 and so on. · 36x58 Masterpiece Monet
As these numbers march toward infinity, they show an Pro canvas
interesting property: Dividing one of them by the one OILS
before comes closer and closer to a single value, about · burnt umber (Winsor &
1.618. he exact value, a number named ĳ (the Greek let- Newton)
ter phi), is known as the golden mean. his number can be · Payne’s gray (Daler-Rowney)
used to create a rectangle of enduring fascination to art- · titanium white
ists. his golden rectangle (opposite) replicates the (Williamsburg)
Fibonacci relationship: a + b is to a as a is to b. he majesty · Portland warm grey
of this rectangle is that the length-to-width ratio of the (Gamblin)
overall rectangle (1.618, or ĳ) is also the length-to-width
MEDIUM
ratio of the smaller rectangle. hat means you can subdi-
vide the smaller rectangle into a whole new square + · refined linseed oil
rectangle—and so on and so on. (Gamblin)
his would be of interest only to mathematicians if it BRUSHES
weren’t for the fact that the Fibonacci sequence and its core · No. 4 Robert Simmons
ratio, the golden mean, occur all over nature. For profound filbert
but ambiguous reasons, the human mind likes the golden · No. 12 Winsor & Newton
rectangle and its subdivisions, making it a great basis for filbert
art. If you don’t want to run the algebra, just look at the · No. 2 Winsor & Newton
subdivided rectangle. As an artist, that’s all you really need. University bright
To demonstrate how this works, I constructed a compo- · fingers
sition on top of a golden rectangle. I drew inspiration
from the works of Fra Angelico and Filippo Lippi, early
Renaissance painters who created graceful, sometimes
geometric compositions. I’ve long admired their use of
architecture and nature to create complex compositional
spaces that can support an ongoing narrative—the same
figures appearing more than once, as in a comic book. his
compositional model seemed a good choice for a painting
based on the golden mean.
Known for his vivid depiction of the figure, DANIEL MAIDMAN has work in the
collections of the Library of Congress, New Britain Museum of American Art and Long
Beach Museum of Art. His art and writing have appeared in The Huffington Post,
PoetsArtists, ARTnews and other publications. His books, Daniel Maidman: Nudes
and Theseus: Vincent Desiderio on Art, are available from Griffith Moon Publishing.
Jenn Singer Gallery represents his work. Visit his website at danielmaidman.com.

The Invitation of Saint Rebecca
oil on canvas, 36x58
The composition of this painting falls into segments roughly corresponding to a subdivided golden rectangle, which is based on the golden ratio.
Golden rectangle Subdivided golden rectangle
A B
A+B
A+B A
A
= B
Build WORKSHOP
STEP 1 STEP 2
Creating a rough sketch of my composition, I drew I shot a photo of models in position for the left-hand
directly on a printout of a golden rectangle, which had figures. Then I used this photo reference to make a
a golden spiral inscribed onto it. My idea for the rough mock-up of the left side of the composition.
composition was two figures in a room of a little I figured I would bring the models back in for the
building. One begs the other to go outside, where, as ascension into heaven when I got to that point in
part of a continuous narrative, we see a landscape with my painting.
the same figures, now blindingly bright, ascending into
heaven. I tried to accommodate both the squares and
the curves of the golden mean on my template.
STEP 3
I got out my 36x58 canvas (ratio=⁵⁸⁄₃₆=1.611=close enough!) and
drew the divisions of the golden mean onto it with a pencil and
ruler. I changed the composition to make the right wall of the
building visible in perspective. I didn’t draw a detailed mock-up of
the figures as I usually do. I wanted this painting, which was so
mathematically rigorous, to also be intuitive and direct, so I painted
the figures freehand, very loosely. I also made them a bit smaller in
the composition than I had planned in the design sketch.

STEP 4 STEP 5
I then extended my imprimatura (a mix of burnt umber Painting wet-into-wet, I completed the building, filling
and Payne’s gray) to let me paint the exterior walls of the largest square of the golden rectangle. I also lightly
the building. drew in the golden spiral on the right side of the
canvas to help me gauge design elements in the
landscape, such as lighting and the placement of
masses.
STEP 6
Consistent with my loose, intuitive approach, I began the landscape
by filling in values along the curve of the golden spiral. At this point,
I had two ideas for what these patches of light and dark might
become—either a view of a nearby forest or a broad landscape with
lake, clouds and sky.
Build WORKSHOP
STEP 7
I opted for the broad landscape and began filling in and refining
details across the canvas. The pitfall of winging the composition
was that the ascending figures no longer made sense. In the more
intimate forest scene, they’d have fit, but with this setting, they’d
have to be either too far away to be easily read or confusingly close.
Letting them go wasn’t a tragedy, as I’d been having trouble keeping
a straight face about that part of the concept. I’d like to paint an
ascension sometime, but I’m not there yet.
STEP 8 STEP 9
I continued the cycle of refining the image—adding I tend to paint simple images, so The Invitation of
detail, tweaking shape, adjusting and enhancing Saint Rebecca is the most complex composition I’ve
contrasts. With each pass, I oiled out the area I wanted ever painted. I’m really pleased with the sense of
to work on with linseed oil and a rag, then painted with depth and scale, and I think a lot of that has to do
an increasingly diluted mix of linseed oil and my very with the intuitive “rightness” that comes from using
basic palette of burnt umber, Payne’s gray, Portland the golden mean.
warm grey and titanium white.

A FEW EXTRA TIPS
Here you see The Invitation of Saint

Rebecca with the golden mean
subdivisions and spiral superimposed
2 If possible, arrange the details in the
minor unit to take advantage of the
progressively smaller squares and
"For profound but
ambiguous reasons,
on it. Many parts of the composition rectangles within that space. With a
match the subdivisions of space sufficiently complex image, it’s possible to
the human mind likes
created by this geometric system. plan four or five shapes deep. the golden rectangle
In the process of painting this work,
and its subdivisions,
I formulated a few important
guidelines for dealing with this
powerful compositional tool:
3 If you also want to align your image
with the golden spiral, consider
imagery that accommodates both very
making it a great basis
horizontal and very vertical curves. I for art."
1 The golden rectangle has a major
unit (the large left-hand square)
and a minor unit (the narrower
struggled to make the foreground on the
right match the bottom of the golden
spiral.
right-hand rectangle). This
arrangement is conducive to planning
a larger, less detailed image for the
major unit in counterpoint to a more
4 Deviate a bit. Don’t feel a need to
match all the spatial divisions exactly.
If you adhere too strictly to the golden
detailed but smaller image for the mean, you’ll tend to introduce awkward
minor unit. distortions into your painting.
Build GENESIS
How Would YOU

Have Drawn This?
The kind of close attention we reserve for loved ones can be a double-edged sword;
it makes us uniquely equipped to capture their likeness but also more critical of any
inaccuracies we might produce. Limiting your time to a quick sketch can help you
push your inner critic aside. —MIKE ALLEN
SubjectWho are some people (or pets) whose appearance

you know as well as your own? Choose a few as subjects.
Pose List some activities you can picture your subject engaging in.
Will you try to catch this person or pet in a candid pose or have
them sit for you?
Manet's back-and-forth pencil strokes convey

Materials and Gesture
gesture as well as the values of the fur. What drawing implement
and what kind of strokes will you use?

A Cat Curled Up, Sleeping
by Édouard Manet
1861; graphite on paper, 4x4
THE METROPOLITAN MUSEUM OF ART, NEW YORK
STROKING THE CAT

Although Édouard Manet (1832–1883) made waves with the stark shading in
his paintings, his combination of light and dark pencil strokes in A Cat
Curled Up, Sleeping displays a more conventional balance of values.
Build LESSON
COLOR
Color and Light

LEA COLIE WIGHT explains the fundamentals of working with color in
this excerpt from her new book, Foundations of Classical Oil Painting.
Yellow Runner,
Morning
oil on linen
18x26
We are one of the few fortunate spe- world around me and the potential to
cies able to see in vivid color. Why is express this. I vividly remember driving
this so important? Color can lead you home in the late afternoon and noticing
to the cool shade of a tree on a hot beautiful colors I’d never seen before.
day or a spot in the sun on a chilly he road was a warm gold and the shad-
day. It can help you pick out a friend ows under the car in front of me a deep
in a crowd. It can lead you to safety in purple. Now instead of seeing colors in
a burning building. And it can also isolation, I was seeing them as they
show you the beauty surrounding us related to each other. I will be forever
every day. he ability to paint color as indebted to the artist Nelson Shanks
it really is gives the artist the ability for opening the world of color to me.
to share this beauty. hrough his teaching I learned how to
Studying color made a profound see color and use that knowledge in all
diference on my awareness of the my paintings.

THE COLOR OF LIGHT
All light has a color, and there is a
power in understanding color rela-
tionships: the power to show a viewer
the glory of color as it really appears.
his can be the warm beauty of the
end of a day or the cool blue light at
midday, or it can be sunlight shining
through stained glass. An artist can
develop the power to accurately show
this or to twist reality and control the
painting, emphasizing focal points
through color relationships and let-
ting other areas merge in the
background through use of a more
subdued color range. No matter what
your aesthetic is, it is important to
study color because it gives you the
freedom to handle color as you
choose, through knowledge, not lack
of ability.
When we speak of warm and cool
light, think of “warm” as being in
the yellow/orange/red range. he
“cool” colors are in the blue/purple/
green range. Within each color range Boat Shed
there are warm and cool diferences. oil on canvas, 20x22
Cerulean blue is warmer than ultra-
marine blue, for example. It’s all
about comparing. An easy way to
understand this concept is to think
of a sunny day—you feel warmer in Compare and Contrast
the yellow sunshine and cooler in the The first photograph has been printed strictly as value,
blue shade. Or picture yellow or red so it has no color. The second is a direct photograph
showing the true color relationships. Look rapidly from
fire and blue ice. one photograph to the other. Notice the yellowish
If colors don’t correctly relate shadow to the right of the second cup and the blue
to each other, it may prevent the shadow underneath it. The yellow shadow is a result of
viewer from understanding the the cool light coming in from a window. It looks yellow
purpose of your painting. It may because of contrast. The blue shadow underneath the
cup is caused by a warm halogen light shining from
interrupt the experience because above. The blue shadow is barely discernible in the
something seems off. value image on the left, but you can clearly see it in the
color image on the right.
Build LESSON
BELOW, FROM TOP

Orange Box: This is a simple setup. There is only one
object, with clear shadows and easy-to-identify colors.
Green Ball: This compositional setup is slightly more

complicated because of the drapery folds.
Vase and Rose:

A color study like this
might be done as a
study for a final COLOR STUDY diferences at all. For example, many
painting. What would
be your choice of the COMPOSITIONS people have trouble seeing color vari-
first color to put ations in deep shadows because it all
down? To identify Not all color is high keyed. he ability looks so dark. Just keep practicing
simple starting to show very subtle color diferences is with color studies and don’t be too
colors, think about
which colors are the an important strength that comes hard on yourself. he longer you
most like a tube from studying color relationships. he study color, the stronger your color
color. Which colors best way to train yourself to recognize vision will become.
require initial mixing? these diferences is to practice by doing Above are some examples of color
There usually are a
color studies. he easiest way to go study compositions that you can prac-
couple of good
starting choices. In about this is to set up strong yet sim- tice with. Start with simple setups like
this arrangement I ple compositions, then learn how to the box, and do several until you feel
would suggest see—and paint—the diferences comfortable with that level. Move to a
starting with either between them. As you master the sim- more challenging setup and so on.
the yellow or the red.
These are two strong, ple setups, your strength will continue Don’t rush this. his skill is invaluable.
clear colors. to build, and you’ll be able to progress hese exercises are a lot of fun.
to more and more subtle setups. Doing them well means making mis-
If you are new to color study exer- takes, getting messy, experimenting
cises, you may find that you just can’t and often working outside your com-
see the subtle diferences in color yet. fort zone. Be self-confident, not
In fact, you may not be able to see any self-conscious!

DEMONSTRATION: SIMPLE COLOR STUDY
Materials
SURFACE:
· stretched canvas
OIL PAINTS:
· magenta
· permanent rose or quinacridone red
· cadmium red deep
· cadmium red medium or
cadmium scarlet
· cadmium orange or cadmium
yellow deep
· cadmium yellow light or
cadmium lemon
· cadmium green light
· viridian or phthalo green
· cerulean blue
· ultramarine blue
1. BLOCK IN THE COMPOSITION Block in a simple composition · dioxazine purple
using gesture marks. In this simple color study of a pumpkin, the paint mixture for · cobalt violet deep
this stage will be burnt sienna, ultramarine blue and a touch of titanium white. · yellow ochre
Quickly block in your shadows so you will be aware of their location and leave room · Indian yellow
for them. Try not to spend more than a minute or two on this stage. Remember that · burnt sienna or burnt umber
you will be focusing on color and not drawing in this exercise. If you fall in love with · black
your drawing, you will be inclined to be careful and not experimental, which is key to · titanium white
success in this exercise.
BRUSHES:
· Silver Brush No. 1003 size 6
extra-long bristle filbert
· Silver Brush No. 1034 size 4 long
bristle filbert
OTHER:
· nitrile or vinyl gloves
· odorless mineral spirits or Gamsol
· stand oil
STAND OIL
As you work on a color study, you
will probably build up so much
paint that new paint won’t be
easily applied. Should this
happen, use your stand oil. Take a
small container and pour a bit of
stand oil in and then add a small
2. APPLY THE FIRST COLOR NOTE Quickly make a note for the amount of mineral spirits. The
easiest color to “see” in the composition. This is almost always a color in the light and formula will be about three parts
one that is easily named (orange, blue, red, etc.). There is often a choice of good
stand oil to one part mineral
starting places. Don’t linger; instead, make a quick decision. Just select the closest
palette color and put it up on the canvas. Try not to mix more than two palette colors spirits. You may have to adjust,
to arrive at your first impression of the color. This rule prevents fussing and second depending on your painting. Dip
guessing your first reaction to the color. Try not to think about the local or dye-lot your brush into this mixture and
color of the object. Everything is influenced by the color of the light that is hitting it. then into your oil paint. This
Is it a cool northern light? A warm halogen? The color of the light absolutely should allow you to adjust your
influences the local color of the object, so don’t be fooled by what you think you colors more easily.
know as opposed to what you see.
Build LESSON
3. CONTINUE ADDING COLOR Move quickly to 4. MAKE COLOR ADJUSTMENTS Once you
make a single note for every clear object in the composition— have a note for each mass in light and shadow, begin to adjust
one color for the object in light and one for the object in and correct your initial color choices. Where you begin your
shadow. Use a single palette color or two mixed for this. Don’t adjusting is up to you. I usually begin with the color I’m the
dip into the same palette color that you used for another happiest with but see a simple change I can make to bring it
color statement. Move from the simplest, clearest colors to closer to the truth. Then I usually head to the color note that
the more difficult. Use as large a color note as necessary for has been driving me nuts because it’s so off. It is essential that
you to judge one color against another. I suggest not filling in you stand back during the exercise. Move your eyes from one
the entire areas since you’re going to be adjusting and color note to another. Glance at the color you’re trying to see. If
spreading the colors as the study progresses and you make you stare at the color you won’t get the best information about
adjustments. Spend no more than five minutes on this stage. that color as it relates to the other colors around it, and you’ll
Try to move faster than you can fuss or second guess your see details. Remember that you’re building a color relationship
notes. This is an exercise in adjusting and steering color as that will depend on all the other color notes in your composition.
well as investigating color relationships. Trust your instincts. You are trying to make paint create the illusion of life. Don’t
spend more than 20 seconds on each color!
5. EVALUATE YOUR PROGRESS Make several

passes around your painting, always standing back and quickly
moving your eye from one area to another. Do your color mixing
directly on the painting, not on your palette. This ensures that
you don’t underestimate the impact of the color you’re trying to
replicate and prevents second guessing. If you have trouble
adjusting your paint color because you have so much paint on
your canvas, begin to dip into your mixed medium (stand oil and
turpentine). Experiment with dancing the paint on top of your
canvas and pushing in if you want to mix with the paint
underneath. Notice that there is a heavy paint deposit on the
canvas, which you can see in the areas that show glare from the
camera. Once you can see no further adjustments to your six
color areas, you are either done with the color study or you can
decide to break your masses into further divisions. In the
pumpkin study I decided to move on to finding a highlight color
on the pumpkin and also a plane change or relatively dark area
on the light side of the pumpkin. Make sure you have a long filbert
as the color study progresses so you can regulate how much
paint you put on and whether it is deposited correctly on your
canvas. If you’re working with a short bristle brush, it can push
the paint away rather than deposit it.

LEARN A
CLASSICAL
APPROACH
APPROAACH
This
i article is excerpted
from Foundations of
Classical Oil Painting
6. CONTINUE MAKING ADJUSTMENTS
Continue to make adjustments to your colors. Stand back and move your eyes by Lea Colie Wight,
from one color mass to another, always looking for an adjustment. Be fearless in with the permission of
your color adjustments. This is an experimental study and not a finished North Light Books.
painting.
> YOU CAN PURCHASE IT AT
ARTISTSNETWORK.COM/
STORE OR FROM YOUR
FAVORITE BOOKSELLER.
7. ADD MORE COLOR Once you are satisfied with your main color LEA COLIE WIGHT IS A REALIST
PAINTER WHOSE WORK HAS
masses, you can add another color to the shadow mass if you’d like. There is a BEEN FEATURED IN SHOWS
reflected light on the shadow side of the pumpkin, and now is the time to try to ACROSS THE COUNTRY. FOR
show that color shift. It’s important to squint to determine the value of any MORE INFORMATION, VISIT
reflected light in a shadow mass. There is a tendency to paint reflective light too LEAWIGHT.COM.
high in value. Remember that nothing in the shadow will be as light as your
darkest note in the light area.
CAPTURING MOOD
21
Showcase Your Artistic Vision
IN THE PAGES OF SPLASH 21
Your best watercolor could be featured in the
pages of North Light Books’ Splash 21: Capturing
Mood, and your work could be viewed by artists
from across the globe.
5 o’clock Shadow / Carrie Waller
CALL for ENTRIES
Tulip Shadows / Sharon Towle
EARLY-BIRD
DEADLINE:
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Ephemeral / Lance Hunter
DISCOVER MORE AND ENTER AT artistsnetwork.com/art-competitions/splash

“I’VE LONG BEEN
AT T E M P T I N G TO
U N D E R S TA N D H O W
W E G OT TO W H E R E
WE ARE NOW IN THIS
PAT R I A R C H A L W O R L D
W E L I V E I N .”
M E LO R A K U H N
COURTESY OF GALERIE EIGEN + ART LEIPZIG/BERLIN; PHOTO: CHRIS KENDALL
Ralph’s mark on Margaret

by Melora Kuhn
oil on canvas,
47¼x35½
HISTORY
The Drawing Room
oil on canvas, 46⅓x60
PHOTO:CHRIS KENDALL
ALL ARTWORK COURTESY OF GALERIE EIGEN + ART
LEIPZIG/BERLIN

“The past is never dead,”
wrote William Faulkner.
“It’s not even past.”
So it is for painter Melora Kuhn, whose pictures
explore the presence of the past and invite us to
consider how it affects our understanding of the
world we live in. Her work largely involves the
juxtaposition of various 19th-century images in
ways that highlight some disconcerting truths
about colonization, the disregard of nature by
industrialized societies and the sheer caprice of
history. In her painting The Drawing Room (left),
for instance, an American Indian warrior,
mounted on a pony, is set in a luxurious
19th-century drawing room heavy with furniture
and carpeting. The image suggests a relationship
between the wealth displayed in the accoutre-
ments of the room and the effectively genocidal
expansion of the settlement of the United States.
For Melora Kuhn, time does

not erase the past but carries
its effects into the present.
by John A. Parks
IS NOW
Another work, Manifest destiny Manifest destiny paint by number space and, with that, disconnect
paint by number (above), presents an oil on canvas, 60x80 from nature and one’s own nature.
equestrian statue of a soldier on a PRIVATE COLLECTION
Obviously, Hawthorne and Melville
pedestal set against a backdrop view both have a lot to say about that and
of Yosemite, based on a painting by were keen observers and thinkers of
Albert Bierstadt (1830–1902). An first attraction to historical themes the 19th century.”
American Indian encampment is came simply through appearances. Kuhn rightly makes the connec-
included, but its figures and teepees “There’s something about the dress tion between industrialization and
are shown only in silhouette. To all of the 19th century that first drew a change in attitude toward nature.
intents and purposes, the picture me in. I love the bustles and hats and Technological superiority allowed the
suggests, they are so unimportant as hairdos and all.” swift settlement of the West and the
not to be there at all. Manifest Destiny This attraction led her to ask subjection of native peoples. It also
was a widely held 19th-century belief some deeper questions about the created crowded and polluted cities,
that the white settlers were destined past. “I’ve long been attempting to a fact that led to a new appreciation
by God to conquer and occupy the understand how we got to where we of the promise and preciousness of
entire North American continent. are now in this patriarchal world we nature. American painters of the
Kuhn’s painting revisits the idea with live in,” she says. “This goes back to 19th century, such as Thomas Cole
disquieting precision. the dawn of Christianity, and that’s (1801–48) and his pupil Frederich
a lifelong study. But in trying to Edwin Church (1826–1900), rev-
DRAWN TO THE PAST understand our place now, there is a eled in the glories of the New World
PHOTO: CHRIS KENDALL
“Painting is so connected to the lot to learn from the industrial rev- landscape at the very moment it was
past, it’s impossible to make a stroke olution and the introduction of the threatened by spoliation through
without quoting something else, train and the speed of going through settlement, clear cutting, mining and
so for me it’s inherently historical,” the landscape and the disconnect of other industrial operations. Residents
says Kuhn, who admits that her one’s physical movement through of the industrialized East Coast

The Drawing Room
oil on canvas, four 126x208⅔ walls
Installation exterior (A) and installation interior to
the right (B) and left (C) upon entering the doors
cities flocked to see paintings of the

pristine American West by painters
such as Bierstadt, and the wealthy
could purchase scenic wallpapers
that allowed Western and wilderness
scenes to unfold on their walls.
Kuhn makes use of all these images
in her installation The Drawing Room
(this page), in which she created a
PHOTOS: UWE WALTER, BERLIN
19th-century room and painted her

own version of scenic wallpaper on
the walls. On them she hung portraits
of a number of famous figures from
the 19th century. Among them is a
portrait of Olive Oatman, a settler
who was abducted by American Indian B
tribesmen as a young girl and used as

a slave. She was then sold to another
tribe where she was eventually
accepted as a member. Years later as
a young woman, she was returned to
a frontier outpost of the U.S. Cavalry,
and although by now attached to her
life as an American Indian, she went
on to marry and live to age 65. Kuhn’s
portrait of her shows the tattoos that
the tribe made on her face, marks that
she would carry with her for the rest
of her life. “I wonder at her experience
and her immersion in both cultures,”
says the artist.
APPROACH AND DEVICES

Kuhn’s creative process begins with
C
her collection of images. Her studio
wall is hung with reproductions,
postcards and tiny models on What they knew that serves to flatten the paint film a
shelves. Snippets of photographed diptych; oil on linen, little. The rendering achieves a con-
23⅔x10⅔ each
landscapes rub shoulders with repro- vincing realism but isn’t pushed to a
ductions of 19th-century paintings, photographic or super-real finish.
portrait photographs and watercolor Meanwhile the color choices often
sketches. “Sometimes I feel almost she says. “If it’s a portrait, I often reinforce the sense of time and dis-
guilty about how much of my imag- paint the face first, to get the idea of tance in the pictures. Perhaps
ery comes from other people’s work,” the person and then find where they because she often uses monochrome
says the artist. Of course, artists are from there. Portraits I like to do photos as reference, Kuhn sometimes
have always ransacked sources of in one go so they remain fresh. I fol- seems to endow her paintings with
imagery, and in making reference to low Manet in this way. It creates an the feel of a tinted photograph,
the historical past, Kuhn is obliged urgency and immediacy. I often set up achieving a look that is atmospheric
to work with such images as have rules or objectives for each painting— and slightly elegiac.
come down to us. Once an idea has to get into it—and then break them “Color is important!” says Kuhn. “I
begun to form for a work, the artist down at some point of the process. spend a lot of time mixing colors. It’s
will draw it up on a canvas. “I often It’s a very good way to observe one’s never been my intention to convey
grid up the whole canvas and draw own mind.” Kuhn’s rules for a painting the past through the colors; I just mix
the image in blue, thinking of that often include a limited time frame, an them until they are right, until there
as the blueprint for the painting,” approach that she finds helps to focus is a resonance and they work in rela-
says the artist. “I like breaking up the her work. tion to the other colors. This is one of
image in this way. It becomes math- With their carefully drawn out- the hard things about beginning a
ematical, and I enjoy understanding lines and usually strong darks, painting—you don’t have the rela-
the proportions and relations in that Kuhn’s paintings take on a somewhat tionships yet, so I’m always torn and
PHOTO: UWE WALTER, BERLIN
way. It also becomes abstract.” graphic appearance. Edges tend to be want to lay it all in fast so I can start
Once the outline of the imagery is left sharp, and the darks drop away working. I find it very difficult when
established, Kuhn’s approach varies. toward black. The surfaces, while there is canvas showing. The colors
“Sometimes I go in with all the darks retaining some sense of brushing, all have a sound, which I cannot hear
and build it up to the lights, or some- are fairly flat. The artist uses a but can feel, so I keep working until it
times I start by putting washes in,” medium containing damar varnish is resonating in the way I want.”

Sometimes the artist uses color to ABOVE
create a disjunction in a work in order Hall of Mirrors
to highlight a feature of the imagery. oil on canvas, 60x72
In Hall of Mirrors (above) for instance, PRIVATE COLLECTION
the setting of a grand palatial interior LEFT

is rendered in blues while the animals Ralph’s mark on
in the foreground are given more nat- Margaret
ural color. It’s a simple and effective oil on canvas,
47¼x35½
device that encourages the viewer to
focus on particular elements in the
composition.
Another device that Kuhn uses,
particularly in portraits, is to over-
lay a brush line drawing on top of a
realist rendering, adding a further
layer of imagery (see What they
knew, opposite, and Ralph’s mark on
PHOTOS: CHRIS KENDALL
Margaret, left). By imposing a drawing

of another character over a portrait,
the artist is able to suggest a rela-
tionship between two people. The
resulting paintings impart a sense of
“I would hope my work might create a resonance—
and perhaps a consideration of how we are with
ourselves and how we are in the world.”
—melora kuhn

MELORA KUHN IS REPRESENTED BY GALERIE EIGEN+ART, IN
GERMANY. FOR MORE INFORMATION, VISIT MELORAKUHN.NET
OR EIGEN-ART.COM.
the entanglements that are inevitable ended up going to South Africa with
in both family and romantic relation- them as well. They were real mentors
ships. One of the lessons of history to me in my 20s.”
is that human beings don’t act alone
but rather in concert with and in rela- UNCOVERED HISTORY
tion to their fellow men and women. After living some years in Brooklyn,
History is made collectively. New York, the artist moved to the
When it comes to influences, Kuhn country 10 years ago. She found that
names Velázquez, Goya and Manet she enjoys the quiet, the good light
first and says that she has recently and the air. Her home is not far from
been looking at Baroque paintings for the homes of Frederic Church and
their dynamic compositions. “I’m Thomas Cole, and the history of the
influenced by everybody!” she says. Hudson Valley and its role in the
“So many people. As far as contempo- exploitation and industrialization of
rary artists, the list is very long, too: the New World is not lost on the art-
William Kentridge, Anna Viebrock, ist. Even a simple setting, such as the
Kiki Smith, Kara Walker, Janet artist’s old barn studio, rests on a his-
Cardiff, Neo Rauch, Titus Kaphar, tory of colonization, the expulsion of
Nakhil Chopra, Gerhard Richter, native peoples, the cutting down of the
Sigmar Polke, to name a few.” forest, the building of roads and rail-
ways, the running of electricity lines
STUDIO STRICTURES and, now, the establishment of the
Kuhn makes her paintings in a internet. In the artist’s painting Border
bucolic setting in upstate New York, Patrol (left), a well-upholstered sitting
working in a converted barn on her room gives way to a huge diorama of
property. Storage is happily avail- a view in the American West while a
able in a loft upstairs, leaving the group of toy soldiers and Indians fight
artist a pleasant, open and well-lit on the border between the two worlds.
space to work. Her equipment is Kuhn clearly understands how cultural
simple—a solid paint table with artifacts in the form of furnishings,
a large glass palette and various decorations, pedestals and drapes
wooden tables and storage units. present a normative vision for most
She paints with her stretched canvas people, serving to obscure the often
hanging on the wall. It’s a setting that violent underpinnings of wealth and
is at once picturesque and utilitarian. dominance.
“I tend to be a nine-to-five painter,” Part of the power of her work is
says the artist, who credits her focus that, in using a surrealist technique of
and industry with her strong art train- juxtaposing unlikely images, she
ing. “I went to the School of the Art endows historical facts with a sense of
Institute of Chicago and then spent my strangeness, inviting us to think
junior year abroad in Florence, which about the world afresh. “I would hope
ended up being a year and a half, and my work might create a resonance—
met these incredible teachers—Rose and perhaps a consideration of how
Border Patrol
oil on canvas,
Shakinovsky and Claire Gavronsky. we are with ourselves and how we are
71⅔x96 They began doing workshops in in the world,” says the artist. “And I
PRIVATE COLLECTION Tuscany that were very rigorous, with hope that as it reveals things to me, it
painting and theory and printmaking will reveal to others as well.”
and sculpture. We all worked so hard
PHOTO: CHRIS KENDALL
and got lots done. They were strict John A. Parks is an artist as well as a
about a strong work ethic and disci- writer. His latest book is Universal
pline, and introduced me to all sorts of Principles of Art: 100 Key Concepts
things like the theosophists and Jiddu for Understanding, Analyzing, and
Krishnamurti and Rudolf Steiner. Practicing Art. Visit his website at
I returned a number of times and johnaparks.com.
DANCER
The dancer cast in Edgar Degas’
beloved statue is forever age 14—but
that may not mean the piece
hasn’t changed over time.
by John Eischeid

T
he line between the shoulder and the arm is bro-
ken by a ridge, and the collarbones are gone. Her
stance is relaxed, her hips tilted and her shoulders LEFT
slightly askew. A bronze cast of a wax sculpture The 1922 Hébrard
bronzes were cast
by Edgar Degas (1834–1917), Little Dancer, Aged from this wax statue
Fourteen, produced by Adrien A. Hébrard’s foundry of Little Dancer, Aged
in 1922, was recently on view at the Met Breuer in New York City. Fourteen, seen here at
A few additional casts from this wax statue reside in museums and the National Gallery of
private collections around the world, and the actual wax sculp- Art in 2014.
ture of the dancer can be viewed at the National Gallery of Art in BELOW
Washington, D.C. Little Dancer,
In the museums, passersby stop and stare, gazing at the danc- Aged Fourteen
er’s rigid body, but the statue’s history might not be what they plaster cast possibly
1920–21, after
think. As in a carnival funhouse full of mirrors, the original original wax modelled
design might have been lost in a cascade of altered images. 1878–81;
painted plaster, fabric,
metal armature,
A POSED QUESTION on plaster base;
39⅛x13¾x14⅛
“If you just draw a line up her right arm and down her right NATIONAL GALLERY OF ART,
shoulder, they’re about an inch off. And see that buckle at the WASHINGTON, D.C.
back—it’s like it’s dislocated,” said Dr. Gregory
Hedberg as his finger traced a line down her
shoulder. His book, Degas’ Little Dancer, Aged
Fourteen, presents his theory that the bronze
cast that people were viewing alongside us
at the Met Breuer appears different from the
wax statue as it was first shown at the sixth
Expressionist exhibition in Paris, in 1881. The
work presented then was praised for being an
incredibly lifelike depiction of an “opera rat,”
PHOTO: NIKKI KAHN/THE WASHINGTON POST VIA GETTY IMAGES
a young, lowly dancer. It inspired Édouard

Manet and James Abbott McNeill Whistler.
The latter painted Chelsea Girl after seeing the
sculpture in 1881, at which time he “uttered
sharp cries and gesticulated in front of the
piece,” according to one historical account.
Manet even went so far as to revise one
of his own works, A Bar at the Folies-Bergère
(page 68). In an earlier version of that piece,
the central figure, a barmaid, is shown with one
shoulder slightly higher than the other, and her
weight appears to be more on one leg, rather
than equally on both. In the final version of
the painting, the barmaid is squarely facing
the viewer with her hips and shoulders level
Beale, a former art conservator turned semiretired film-
maker, who describes his relationship with Hedberg as
“encourager, consultant [and] guide.” He says, “The reason it
caught my interest is because, if his theories and research
prove to be correct, this would be a major find. Certainly it’s
at the point where it’s earned the right of consideration for
what he’s found. We have to take him seriously.” He adds, “I
think also the subject matter was unusual in itself. You have
all of the artists whose benefactors were kings, queens and
the church, and this was something entirely different.”
CASTING DOUBT
The difference Beale refers to did not surface until the
1990s, when plaster casts were found at the Valsuani
ABOVE in what is known as a four-sided or Foundry, just outside of Paris. Degas often worked in wax,
A Bar at the iconic pose. and from the wax original, a cast would be made, and
Folies-Bergère
by Édouard Manet
This later pose of the barmaid is subsequent pieces would be done in plaster or bronze.
1882; oil on canvas, the one that Hedberg claims the Little The Valsuani casts appeared to be Degas’ works, and some
38x51 Dancer had in 1881, and he claims people claimed these are casts of earlier versions of the
COURTAULD GALLERY, that it is what made the work ground- wax sculptures that were made during Degas’ lifetime.
LONDON
breaking—the birth of Modern art. As Hedberg’s theory goes, Degas later reworked the Little
It was a posture reserved for royalty Dancer himself after the show in 1881, and some repairs
and deities, not dancers colloquially were made by the sculptor Paul-Albert Bartholomé,
referred to as “vermin.” The piece was ultimately arriving at the work we see today.
exhibited in a rectangular glass vitrine, This controversial thesis has been met with some oppo-
which highlighted the four-sided pose, sition. Many art historians simply refuse to weigh in. One
according to Hedberg. By taking such a of the few vocal detractors of this theory is Gary Tinterow,
BELOW lowly figure and presenting it in such the director of the Museum of Fine Arts, Houston. In
Multiple views of
the Valsuani plaster
a prestigious way, Degas had turned 2010, he said, “In my opinion, there is nothing that
cast appear in Gigi the usual convention on its head and demonstrates that Degas had a set of plaster casts made of
Chen’s drawings introduced a concept that could be his sculptures during his lifetime.”
(colored pencil on traced up through Duchamp’s Fountain It may be technically true that nothing clearly demon-
blue-toned paper, when the artist signed a urinal and strates that casts were actually made while Degas was alive,
7x5 each). Neck
muscles and placed it in a gallery. but there is evidence that Degas did at least entertain the
collarbones are Among those who feel Hedberg’s idea. A 1903 letter to Louisine Havemeyer—a well-known
clearly visible. claim deserves attention is Arthur patron of the arts who had expressed interest in buying the

original wax—indicates that Degas was more
interested in selling her a bronze cast of the wax
original than the original itself.
There is historical and scientific evidence that
supports both sides of the question, and these dis-
crepancies plunge our little dancer down the rabbit
hole and through the looking glass.
EVIDENCE AGAINST
HEDBERG
The National Gallery of Art’s wax sculpture of
Little Dancer (page 66)—the one from which the
Hébrard bronzes were cast—has been examined
by Shelley Sturman, head of the department of
object conservation at the National Gallery of
Art, in Washington, D.C.; and Daphne Barbour,
senior conservator in the same department. With
the help of ultraviolet light, microscopes, x-rays
and gas chromatography, they found a hodge-
podge of materials: a metal armature in the legs,
back and shoulders; rope; cotton batting; clay;
wire; and even broken paintbrushes in the arms.
One key element, however, lay in the right leg.
“Complex adjustments would have been
required to transform the Valsuani figure into
the National Gallery sculpture,” wrote Patricia
Failing, a professor emerita of art history at the
University of Washington, in a piece for
ArtNews. “The lead-pipe armature supporting
each leg is nailed to the base of the National
Gallery sculpture. Achieving Hedberg’s ‘second
version’ of the composition would have required
bending the armature in the ‘first-version’ right
leg in a different direction, pulling it out below
the ‘original’ knee and moving it backward on
the base. After the armature had been relocated,
the ‘original’ right leg would need to be entirely
refashioned below the knee and the right foot
turned in a different angle.”
Barbour and Sturman found that no such
adjustments had been made. Moreover, they say,
“The clay surrounding the lead pipes in the feet
and lower legs served to ‘cement’ the armature
in place and prevent any movement or change in
the dancer’s pose.” Study in the Nude of Little Dancer, Aged Fourteen
Hedberg dismisses this interpretation of the findings as by Edgar Degas
“old news.” He points out that those same measurements original wax 1878–81; cast 1920–26;
pigmented beeswax, plaster core, metal and wood
by Barbour and Sturman also found structural cracks in armatures, on plaster and wood bases;
the clay around the feet. 27⅜x11⁹⁄₁₆x11¹⁵⁄₁₆
Alex Racine, a sculptor living in Brooklyn, says that, This piece is generally believed to be a preliminary study
depending on how Degas went about it, adjusting the of Degas’ larger wax statue. Both pieces are on display
wax could have been very difficult. “I’ve worked with plas- at the National Gallery of Art in Washington, D.C.
tiline, which is a clay that never dries hard,” he says, “and NATIONAL GALLERY OF ART, WASHINGTON, D.C.
sometimes I don’t like the way a wrist is, and I’ve moved the
clay, but I have not moved the armature. The armature is too
strong to move. Otherwise, I’d have to cut the piece open,
take the clay off and then move the Human Anatomy for Artists and a former model maker at
armature. If he [Degas] had to do that, the American Museum of Natural History, in New York. “If
he would have had to take portions you hit the armature, you either have to leave it exposed
of the wax out and then move the and fix it later in the plaster or the wax or put a little bit of
armature and then put the wax back clay on it and hope that the form is okay in that position—
on.” Racine feels that if such changes or you can try to whack the armature and move it over,
had been made, Sturman and Barbour make it more embedded."
would likely have found proof of them. Regardless of the position of the Little Dancer’s feet and
legs, one historical account shows that the piece was disas-
EVIDENCE sembled at one point. “And now, the statue of the Little
Dancer is nothing but a ruin,” wrote the art historian Paul
FAVORING Lafond circa 1918. “The arms were broken off from the
body and lying pitifully at its feet.”
HEDBERG This account could explain the broken line between
It would appear that this lead pipe the shoulder and the arm that Hedberg observes. “Maybe
strikes a fatal blow to Hedberg’s the- when they reattached the arms, they also raised the shoul-
ory, but other historical evidence may ders, and part of it was trying to fix that,” he says. Barbour
give it life. and Sturman’s results might not support the necessary
One of the changes Bartholomé changes in the right leg, but they do show a change in
made was to remove a few pieces of the tilt of the head and a change in the shoulders, both of
“recalcitrant iron” when he repaired which are in line with his theory.
Degas’ Little Dancer after the artist’s Their x-rays also showed that the wires that held the hair
death in 1919. Exactly from where to the back of the head had been cut. The hair here is much
was not specified, although given the more than a fashion choice. The Valsuani version has a pony-
x-rays, it was likely closer to the hip, tail or braid, bound tightly with ribbon so that no hair goes
where the armature almost pokes astray. It’s a style similar to Egyptian statues, which only fea-
through the wax surface. tured the four-sided pose when depicting iconic figures. The
“Obviously, he was making a mod- Hébrard version shows the hair in a looser, more flowing
ification and then came upon the ponytail that would be in keeping with a more relaxed con-
armature … and to me, that amature trapposto pose. (see image, below left).The fact that the
alone—without looking at refinement wires were cut raises the question of why. A change in hair-
of modeling or looseness of modeling, style could have been part of a reworking of the piece.
just the position of the armature— “My job as an observer is to look at it and to figure out
says that there was a change in that what’s going on,” says Goldfinger. “I’m not really interested
hip there,” says Eliot Goldfinger, in ‘Is this Degas? Is this real? What can I sell it for? Can I
a figurative sculptor who wrote do an edition?’ That sort of provokes a lot of arguments.
My interest as a sculptor is ‘Okay, what am I looking at?’
I’m interested in process.”
The wax Little Dancer
at the National
In Goldfinger’s opinion, the earlier version would have
Gallery of Art has a been tighter—more realistic and anatomically correct.
loose ponytail of real “And then, like every artist, you rework stuff,” he says. The
hair, tied with an first version may have merely established a foundation of
actual ribbon, as it the form, which was later reworked.
was when the statue
was first displayed in Racine even raises the possibility that the cast itself could
PHOTO; NIKKI KAHN/THE WASHINGTON POST VIA GETTY IMAGES
Paris. have been reworked. Then, later pieces could have been pro-
duced from that reworked cast. “When I cast something into
bronze, the first thing I cast it into is wax, and it’s hollow
wax,” he says. “In fact you have to clean the wax because there
are mold marks, and sometimes there’s some mark that you
don’t like. You can come in and clean it and rework the piece.
Then, you take that wax piece and cast it in bronze. In that
process, you could change things.” Such changes could account
for the discrepancies between the legs and the shoulders.
THE COSTUME FACTOR

Although much of the debate revolves around the form,
another feature that attracted attention at the time

Degas presented the statue was the use of real
materials adorning the piece—real hair, real
ribbon and real fabrics. Until the show in 1881,
lifelike wax sculptures adorned with real cloth-
ing had been exhibited, but the subjects were
usually dignitaries or religious figures. Hedberg
does touch on this aspect in his book, although
only briefly.
“We think of the noble materials of antiquity,
like marble and bronze,” says Beale. “And here,
this incorporation of other materials with sculp-
ture—that was pretty adventurous, bringing it to
a new realism, in a way.”
Nina de Villars, a 19th-century critic, wrote,
“In seeing in village churches those virgins,
those saints in colored wood, covered with
ornaments, with fabrics and jewels, I would say
to myself: Why doesn’t a great artist think of
applying these procedures, so naive and charm-
ing, to a powerful modern work, and now that I
find my idea realized, it’s a true joy!”
One account, attributed to “Our Lady
Correspondent” for Impressionists in England:
The Critical Reception refers to “a semi-idiot, the
head and expression of an Aztec, dressed in real
tulle petticoats, and her hair tied up with emerald green figure’s weight and shoulders were ABOVE
ribbons, is in the act of dancing. Her hair and skin are distributed evenly, as would be the The tutu on the wax
Little Dancer at the
colored to life, and her feet are shot in pink satin shoes and case in a four-sided pose. There is ref- National Gallery of Art
sandals.” It concluded with an indication of the controver- erence to deities with phrases such as
sial nature of the subject: “Can art descend lower?” “nymph’s graces come down from the
The critic Comtesse Louise wrote that the sculpture was summits of old,” and these graces are
“in the costume of a dancing girl”, although the critic also said “to ennoble in shape with a smile
added that Degas had “simply made fun of his friends” by at my choice.” The word “ennoble”
showing this work along with “a few caricatures, sketches suggests that the figure’s shape was
made in the criminal court.” The dancer was “to complete inspired by these deities, in which case
the joke” and belonged in a museum where examples of the pose would have been the iconic,
human pathology were exhibited. four-sided one that Hedberg espouses,
Regardless of the opinion presented, these accounts do although he is of the opinion that the
focus on the figure’s adornment, and there is no mention poem addresses dancers in general.
of the pose, which would have been identifiable as four- Connecting it to one specific work is,
sided or Egyptian, as that ancient culture was popular in he says, “a stretch.”
France at the time. Nonetheless, it follows that if the wax Regardless of the form of the work
exhibited in 1881 were adorned like an icon, then the pose shown in 1881 and the opinions of
would have followed suit. art historians and critics concerning
PHOTO: NIKKI KAHN/THE WASHINGTON POST VIA GETTY IMAGES
Degas’ intentions, the artist could not

have imagined that the work would be
POETIC TESTAMENT scientifically examined with x-rays and
The one historical account that could resolve the debate— gas chromatography, much less cause
a photograph of the piece exhibited in 1881—doesn’t exist. a division in the art world centuries
Alison Luchs, curator of early European sculpture at the later. The debate not withstanding, she
National Gallery of Art, did, however, find a poem about was, is and will always remain a little
dancers penned by Degas himself. Her “free translation” dancer, aged fourteen.
includes “Your thin arm in place on the ordered line,” which “It is a mystery,” says Racine.
suggests that Degas paid particular attention to the place- “Maybe the mystery is what he
ment of the arm and that Hedberg might be right in pointing wanted.”
out that the dislocated shoulder suggests that the sculpture
was altered. The poem also reads that this line “gives balance John Eischeid is a freelance writer based
at once to your weight and your flight,” suggesting that the in New York City.
THE
RISEOF
THE
VIRTUAL
TRIBE THE FOUNDERS OF
SKETCHBOOK SKOOL
APPRECIATE THAT A
THRIVING COMMUNITY
IS A KEY PART OF A
REWARDING ARTISTIC
PRACTICE.
by Samantha Sanders
LEFT
Double Selfie
by Danny Gregory
ink on paper, 11x15
OPPOSITE
Art Tools (detail)
by Koosje Koene
ink, watercolor and
colored pencil on paper,
5x8¼
D anny Gregory can remember the first critic he ever met—

his seventh-grade art teacher. Given an assignment to draw
a bird, Gregory had been inspired. He filled his paper with
not just one bird but dozens. Around those, he drew a land-
scape, complete with trees and a river. Proud of his accomplishment
and energized by the assignment, Gregory excitedly turned it in—
only to see it returned with an F. The assignment, the teacher
explained, was just to draw a bird, nothing else.
Although Gregory may not have put much stock in the opinion of this
particular critic, his lessons—that there’s a time and a place for art and that
artists should just do what they’re told—stubbornly took root. It wasn’t
until decades later, when he was in his late 30s and well into a successful
career in advertising, that Gregory would learn to love to draw again. ABOVE
This is a too-common story: a child’s wild and expansive love of art Tabasco
by Koosje Koene
getting tempered, whether by a teacher or another adult, by an inner watercolor and colored pencil
critic that tells him he isn’t good enough or simply by the demands of on paper, 10x8¼
everyday life. For artists, the thing they love most can also be the most
isolating. But in this regard, things may be changing. BELOW
Jack at the Barber
by Danny Gregory
Finding Your Tribe ink and watercolor
on paper, 7x5
At a recent art retreat on the Massachusetts coast, I spent three days
with a remarkable group of artists—although many felt self-conscious
calling themselves that. They, too, had gotten the message that art was
fine as a pastime but that it had its place and should stay there.
At dinner the first night, I spoke with a retired nurse who’d registered
and made the trip to New England on her own—no small thing for a per-
son who hadn’t spent a lifetime dedicated to art. “My mother told me,
‘Be a nurse,’” she said, “so I did.” But after raising her children and retir-
ing, she felt the return of a long-dormant desire to create. At the retreat,
she spent three days drawing, sharing techniques and being with what
another participant referred to as their “tribe.”
At that same dinner, another woman shared in a hushed voice that,
among her circle of friends, “I’m the only one who does this.” Over the
course of the long weekend, the group bonded, sharing dinners and rides
to the airport, and afterward they began a Facebook group to continue
sharing their work and lives. They’d found a tribe and were
determined to stay members of it.
A School and Community

Without realizing it, this group of artists had accomplished
on a small scale something that had also been percolating
in Danny Gregory’s mind in the early days of his return to
art. After he began drawing again, the act of making art was
itself enough for him, for a while. But having built websites
and nurtured several online communities earlier in his
career, he felt there was an opportunity to do something
much bigger with art.
Around this time, he connected online with Koosje
Koene, an Amsterdam-based illustrator. In contrast to
Gregory, Koene had always known art would be her path.
After high school, she studied graphic design and also
TOP
Airport discovered a passion for photography. Although she was
by Koosje Koene supporting herself and was relatively happy doing so,
colored pencil on paper, 8¼x10 she says, “At some point I lost a little bit of my creativity
because I was just making my money and doing the stuff
ABOVE
Self-Portrait I was told to do instead of making the things I wanted
by Koosje Koene to make.” This creative itch, along with a desire to make
colored pencil on paper, 5x8¼ things with her own hands, prompted her to take up

“THERE ARE SO
drawing again. “I started learning online through blogs
and people I found interesting,” she says. She soon began
MANY EXAMPLES
to think that she could teach classes herself and perhaps
design better ones than she was finding on offer. “That’s
THROUGHOUT HISTORY
when I started to build online courses, and that’s how
Danny and I met.” OF ARTISTS WHO
The fruit of that meeting was Sketchbook Skool, an online
school that centers around sketching and drawing. The pair’s FOUND THEMSELVES
vision for the school went beyond educating and entertaining.
“When someone asks, ‘What do you do?’ we say we run an WHEN THEY BECAME
online art school, but that doesn’t really describe it at all,” says
Koene. She and Gregory want their school to inspire and build
community among artists around the world.
PART OF A COMMUNITY
“It’s important that people get fired up and start to
believe they can make things,” Gregory says. “A lot of
OF OTHER ARTISTS.”
them are overcoming years or even decades of feeling like —Danny Gregory
they aren’t qualified to make art. We wanted to tell them
they can—that they can see themselves as artists. And
that idea is crucial. We’re not here just to teach you how
to mix watercolors or how to draw a human body. We’re Brunching
on the Bowery
here to teach you that you can do all this. There are so by Danny Gregory
ink and colored pencil
on paper, 9x14
many examples throughout history of artists who found
themselves when they became part of a community of
other artists.”
A Philosophy of Feedback
At Sketchbook Skool, students can choose from a variety of
online courses taught by a global team of instructors, but
lessons are not presented in the traditional tutorial format.
Students receive instruction in technique, as they would at
any art school, but they’re also invited into the instructors’
studios through videos, which allow them to spy on the
instructors’ brushes and tools. The videos are personal,
with instructors seemingly speaking directly to the stu-
dent. Instructors are encouraged to share their own varied
approaches and techniques rather than aligning around a
single approach or a rigid curriculum.
Another key component of Sketchbook Skool’s community
is the giving and receiving of feedback. Art-making is often a
TOP ABOVE solitary activity, and unless you’re in an M.F.A. program,
Wunderbar Patience Is the Key
knowledgeable and constructive feedback can be hard to
by Koosje Koene by Danny Gregory
ink, watercolor and colored ink, watercolor, gouache and come by. To Gregory and Koene, this vacuum represented a
pencil on paper, 8¼x10 graphite on paper, 7x7 real opportunity for connection. Getting and giving feedback

and sharing sketchbooks became an integral part of the
experience for their students. Often, this sharing is facili-
tated by the school’s private Facebook group, whose 19,000 LEARN MORE
members also frequently organize in-person meetups.
For more information about
The school also offers persistent encouragement. “Keeping
Sketchbook Skool, visit
after people is another thing we’re good at,” Gregory says.
sketchbookskool.com. This
“You sign up for a class and you do that, but then we send
November, Sketchbook
you other videos or our zine with recommendations for
Skool and Artists Network
books and TV shows. We send you reminder emails saying,
are partnering to present
‘Don’t forget to do this!’ Then a month later we’ll check in to
SketchKon, a convention in Pasadena, California,
say, ‘How’s it going? What are you doing?’ It’s not a one-and-
devoted to drawing, painting and creativity. For
done thing. We care about you and want you to keep going.”
more information, visit sketchkon.com.
Online comment sections are not always known for their
nuance and positivity, so with all the sharing and posting and
critiquing that occurs within this community, I wondered
whether the instructors had to set ground rules for feedback
or step in on social media if things got contentious. “Most of
the people responding to others’ work are positive—they’re
like cheerleaders,” says Koene. “No one says, ‘This sucks.’ It’s a
safe space. We never really set any guidelines. We monitor to
see if there’s anything going on, but we’ve never encountered
something bad. That’s what this community is about—
encouraging and helping one another out.”
“When criticism happens, I’d say it’s self-criticism,”
Gregory says. “Someone says, ‘I don’t know how to fix this,’
and people offer suggestions. If you have a technical problem
or need advice, that’s fine. But we think the ultimate point of
most of the homework assignments is to keep people going.”
“When we are holding your hand, you can’t draw with
it!” says Koene. “So we don’t want to give too much guid-
ance. Keep it going, explore your skills, and have your
sketchbook as your safe space to do it all in.”
Committed Learners
Sketchbook Skool has developed intense loyalty among
many of its students. “I’ve taken every course offered—and
with a few, probably two or three [times],” says M. Robert
Spinola, a California-based artist who’s found a new com-
mitment to his work through his time at Sketchbook
Skool. He explains that before he enrolled, his art-making
was sporadic. “Now I draw, sketch or paint daily.”
Aleesha Sattva, who studies from her home in Thailand,
agrees. “I don’t sketch at home; I always sketch in cafes or
on my Walkstool out in public, so I have people asking me
about my art,” she says. She’s always happy to share her
love of the program. “I even have Sketchbook Skool stick-
ers on my art bag and some of my tools in case someone is My Studio
by Danny Gregory
too shy to ask.” ink and colored pencil
Yes, there will always be critics. And there will even be on paper, 9x7
people who make you feel self-conscious taking out your
sketchbook at the dinner table. But if you’re passionate
about making art and willing to share what you create, it is
possible to find your tribe—virtual or otherwise. You just
need to know where to look.
Samantha Sanders is the event content director for Artists Network

and a writer whose work has appeared in Catapult and he Awl.
Wayne Thiebaud’s works on paper—
Just in such media as graphite, ink, pastel

and watercolor—are as richly rewarding
as his celebrated paintings.
by Austin R. Williams
Dessert

Ice Cream Cone
Shelf of Pies
1964; graphite,
1960; brush and ink,
14x11
watercolor and charcoal;
19x25 This drawing
shows off
This drawing is an early
Thiebaud’s
attempt at what would
consummate
become Thiebaud’s signature
draftsmanship,
subject. “Rows of food items
using an ice
were symbols of an emerging
cream cone in
society of abundance
large part as a
after the privations of the
vehicle to explore
Depression,” writes curator
formal concerns.
Isabelle Dervaux. She also
COLLECTION OF
notes that the subject carried GRETCHEN AND JOHN
social implications, as the deli BERGGRUEN, SAN
and cafeteria counters where FRANCISCO; COURTESY
pies were displayed in this OF THE MORGAN
LIBRARY & MUSEUM
way were generally working-
class venues.
PRIVATE COLLECTION; COURTESY OF
THE MORGAN LIBRARY & MUSEUM
PHOTO: GRAHAM S. HABER 2017; © WAYNE THIEBAUD/LICENSED BY VAGA, NEW YORK, NY
SOME ARTISTS DON’ T CONSIDER THERE

PHOTO: GRAHAM S. HABER 2017; © WAYNE THIEBAUD/LICENSED BY VAGA, NEW YORK, NY
TO BE A GREAT DIFFERENCE BET WEEN

PREPARATORY SKETCHES AND MORE
POLISHED DRAWINGS, BUT WAYNE
THIEBAUD (1920–) DOES.
“There is, in my view, a terrific difference in attitude between what are, in effect,
called public drawings and private drawings,” he says in the catalog of “Wayne
Thiebaud, Draftsman,” an exhibition currently on view at the Morgan Library &
Museum, in New York. Private drawings, he explains, are done “to find out some-
thing, to make notations, or just to experiment. You want to feel … that these are
things that will never be seen, as opposed to public drawings.”
Private and public drawings are both in abundance in this exhibition of
work by one of America’s most celebrated living artists. Thiebaud is well into the
seventh decade of his career, and his seemingly straightforward depictions of
pies, candies and other assorted sweets are immediately recognizable. He is best
known as a painter, but the artist has been an avid draftsman since his early days
as a commercial illustrator.
© WAYNE THIEBAUD/LICENSED BY VAGA, NEW YORK, NY
ABOVE
Page of Sketches With Candied Apples and
Watermelon Slices
1980s; graphite, 8½x11¼
Although the media used to create these works differ from
FROM THE ARTIST’S STUDIO what we’re accustomed to seeing from Thiebaud, the subject
matter, for the most part, does not. Many of the drawings, pas-
OPPOSITE, CLOCKWISE FROM TOP LEFT tels and watercolors present us with delectable foods, often
Candy Ball Machine arrayed in rows and groups, in images that seem both to cele-
1977; gouache and pastel, 23¾x17¾
brate and obliquely critique American consumption and mass
Dervaux explains that Thiebaud exploited the soft, production. The artist’s colorful renditions of consumer prod-
velvetlike quality of pastel to suggest the unctuousness
of sugary foods. “The bright colors of pastel provided a ucts aligned fairly comfortably with the Pop Art movement in
match for the food dyes that proliferated in the ascendance during the 1960s, the decade in which Thiebaud
American food industry of the time,” she writes. quickly rose to prominence.
COLLECTION OF GRETCHEN AND JOHN BERGGRUEN, SAN FRANCISCO Before he began painting pies and cakes, Thiebaud investi-
gated these subjects through drawing, particularly favoring
Nine Jelly Apples
1964; watercolor and graphite, 12x12 brush and ink. As curator Isabelle Dervaux notes in the catalog,
YALE UNIVERSITY ART GALLERY, GIFT OF GEORGE HOPPER FITCHA brush and ink affords deep contrasts of light and dark, making
it a perfect medium for an artist more interested in value con-
Candy Sticks trasts than color. Thiebaud has said, “The concept of light as a
1964; watercolor and graphite, 11¼x15 delineating force has always fascinated me—what light sources
Candy Sticks and Nine Jelly Apples feature classic are about, where they come from, whether they’re multiple or
Thiebaud subjects. Both artworks show off the artist’s variable. The color thing … came much later.”
handling of watercolor, with luminous blue shadows
that appear as tempting as the sweets themselves. Also present in the exhibition are several somewhat vertiginous
YALE UNIVERSITY ART GALLERY, BEQUEST OF SUSAN MORSE HILLES and abstracted cityscape drawings, a subject the artist explored
frequently in the 1970s and ’80s. We also find a selection of
“private drawings”—pages of sketches, which Thiebaud typically
drew on loose sheets that he would later compile in binders. We’re
lucky to see these works that were not originally intended for exhi-
bition, as they, along with the more finished drawings on view,
confirm that although Thiebaud is closely associated with certain
subjects, he has always been a highly versatile and curious artist.

PHOTO: TONY DE CAMILLO; © WAYNE THIEBAUD/LICENSED BY VAGA, NY, NY
ABOUT THE EXHIBITION

“Wayne Thiebaud, Draftsman,” is on view at
the Morgan Library & Museum, in New York
City, through September 23. An
accompanying catalog features more than
100 reproductions. For more information,
visit themorgan.org.
Figuration and abstraction find balance
in the paintings of Calvin Chih Hao Teng.
by Susan Byrnes
FLUID
NATURE
Viewing a painting by Calvin Chih Hao Teng is like
seeing two distinct works of art in one. Stand close,
and the work is full of texture, with fluid lines merging
into larger organic shapes, flecks and splashes of color.
Soft white mists obscure faint forms adjacent to bold,
high-contrast strokes. Stand at a distance, and the
painting becomes a sweeping vista of jagged peaks
emerging from dense clouds.
Teng’s vistas radiate an authenticity equal to realistic depictions of
actual landscapes, but they’re entirely abstract, emanating from the
painter’s imagination. “My work, which is heavily inspired by nature, is
figurative, yet abstract,” says Teng.
AMBIGUOUS NATURE
The artist’s rural studio lies in a peaceful mountain area near Taichung,
Taiwan. “I can’t live in the city,” he says. “It possesses too many distrac-
tions, and most importantly, it’s too distant from Mother Nature, the
main source of my creative inspiration.”
Teng’s compositions, often highly suggestive of landscape forms,
intentionally leave ample room for the viewer’s imagination. With
their ethereal spaces and mesmerizing textures, his paintings empha-
size a poetic approach to composition and mark-making—from the
grand gesture to the most delicate detail. Teng suggests mountain-
ous forms in Enchanting (right) by using a wide brush to place color
over fluid, abstract marks. With thin white paint and visible strokes,
he creates peaks and mist. His use of white as negative space in the

Enchanting
acrylic and oil on
canvas, 39²⁄₅x35²⁄₅
center of the composition creates a stark, The influence of Chinese splashed ink paint-
undefined area that invites the viewer to see ing is clearly visible in Pureness (below). The
fields of snow or, perhaps, heavy fog covering a palette consists solely of black paint on a white
mountain lake. surface. One doesn’t see brushstrokes, only
“The inspiration for my work comes from streams of black flowing into lakes of gray.
nature, as well as the method of Chinese Islands of white emerge from pools of dark pig-
splash ink that employs the natural flow of ment to create sharp contrast. The painted form
ink on paper coupled with the style pioneered appears suspended, and its edges dissolve like
by Zhang Daqian (1899–1983), who married tiny capillaries into the white ground.
absolute control of ink wash with harmoni- The titles of Teng’s imagined landscapes
ous proportions of splash color,” says Teng. often reference psychological and emotional
Daqian is among China’s most famous artists, territories. Compassion and Aspiration (opposite)
considered the Picasso of the East. Teng’s suggests a narrative with its warm pigmentation
work is also strongly influenced by shan shui, in the lower left becoming increasingly pale as
a Chinese painting style and philosophy the composition rises to the upper right. “In
that depicts imagined scenes of water and Eastern philosophy,” Teng says, “one must first
landscapes. Teng merges shan shui with the settle the physical body to settle the inner heart.
contemporary techniques found in the work of To create, I bring my body and mind to total
Zao Wou-Ki (1921–2013), a master of postwar serenity. Only then can I harness the power
abstraction who combined Modern and tradi- of my brushstrokes to freely express my inner
tional Chinese styles. thoughts through my paintings.”
Pureness
acrylic and oil on
canvas, 59x63

Compassion and
Aspiration
acrylic and oil on canvas,
60⅔x37²⁄₅
but insists that color must remain minimal.
MOVEMENT These color choices lend to the quality of
abstraction in his works. “When my colors
AND COLOR begin to populate the surface, my scraper flows
Teng paints on large, primed canvases—ideal for on the canvas, mirroring the movements found
his broad gestures and fine details. Once he’s in tai chi—propel, scrape, circulate and pull—to
prepared himself mentally and physically, he control and guide the colors so as to form my
works quickly. The fast drying time of acrylics is desired composition.”
ideal for his pace. He starts with scrapers and For his acrylic colors, he uses the Amsterdam
large brushes from Purdy, a brand more com- series from Royal Talens. Vigorous Symmetry
monly associated with house painting. He then (below) uses a contrasting palette of orange and
transitions to medium and small brushes as he cyan against a sharp field of black and white.
completes a painting. Here, the colors provide oppositional balance to
Traditional ink paintings are created on rice a composition that plays with repetitive jagged
paper that absorbs water, allowing the ink to forms zigzagging down the canvas.
flow across the page with ease. To create this
look on his nonabsorbent canvas, Teng invented
a technique that combines oil- and water-based TENSION
paints. “Depending on the situation,” he says, “I
may apply shades of black oil and acrylic paint AND RHYTHM
simultaneously to achieve my desired ink-wash The generous use of white or blank space as a
look.” The mixing of the two media causes the compositional element is a traditional aspect of
much denser oil to float on the water-based ink painting. In Teng’s work, it creates ambiguity
acrylic paint. “Once the colors start to flow,” between the figure and the ground as well as the
says Teng, “they’re in constant motion, and it’s positive-negative space relationship of forms on
difficult to control where the colors stop on my the canvas, enhancing the abstract nature of the
canvas. But with my scraper and brush, I’m able pieces. “The control of negative space depicts
to create the effects I want.” how opposing forces contradict one another yet
Vigorous Teng uses black primarily and adds hints of are mutually interconnected and inseparable
Symmetry vivid color—blue, green, yellow, pink, orange— through the fundamentals of the yin and yang,”
acrylic and oil on says Teng. “These polar opposites
canvas, 51¹⁄₅x55 must be present in every painting
to achieve equilibrium in one’s
mind, body and soul.” Serendipity
(opposite) is composed with visual
elements connecting heavily to the
top edge of the frame and circling
around to the bottom edge, creat-
ing the effect of aerial perspective.
The dense, opaque white sitting on
the surface of the canvas gives way
to deep black pools swirled with
touches of gray, white, violet, blue
and pink.
Teng’s brushstrokes and color
also create visual rhythm. Although
originally trained as a mechanical
engineer, Teng aspired to become
a singer/songwriter prior to his
pursuit of painting. After more
than 25 years of painting, Teng
is still strongly influenced by his
musical and theatrical background.
“Before beginning a new piece, I
must find my external and inter-
nal rhythm. I then begin my first
strokes of color,” he says. In Vigorous
Symmetry, the alternating right

Serendipity
acrylic and oil on
and left thrusts of the zigzagged marks create a through musicality, principles of theater and canvas, 63x59
vertical cadence. Those same zigzags also set up a the philosophy of life—all of which are forged
wavelike horizontal rhythm. within the essence of my works.”
“I unite the essence of melody and poetic
expressions in my paintings, allowing me to Susan Byrnes is a visual artist whose work
develop and evolve my current style,” says encompasses traditional and contemporary forms
Teng. “Eastern philosophy of art crosses all and practices, including sculpture, multimedia
boundaries of art forms—life, poetry, music installation, radio broadcasts, writing and
and theater. Therefore, I base my foundation curatorial projects.
CALL FOR ENTRIES
EARLY-BIRD DEADLINE: OCTOBER 1, 2018
Art sts OVER 60 Magazine

ART COMPETITION
WE’RE LOOKING FOR

ARTISTS AGE 60+ working in
two dimensions in all art media.
Submit your work and you could
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ART FEATURED
David Story | Harvest Time | oil 16x48
Brian LaSaga | Facing the Elements | acrylic, 24x34
Tony Luciani | The Dressmaker | oil 48x52
Ann Kraft Walker | A Friend’s Gift | oil 24x18
A LT H O U G H K N O W N
M A I N LY F O R H I S
WRITING, VICTOR
HUGO WAS ALSO A
PROLIFIC VISUAL
A R T I S T.
© MAISONS DE VICTOR HUGO, PARIS/GUERNESEY/ROGER-VIOLLET
Le phare des Casquets

(The Casquets Lighthouse)
by Victor Hugo; 1866; brown ink and
wash, black crayon, black chalk and
white gouache on paper; 35⅜x18⅞
Outfit BUSINESS OF ART
The Draw of Illustration

Illustration work has its own set of criteria that’s well worth the effort of learning.
by C.J. Kent illustration by Donough O’Malley

o ne way to support a studio
practice is through illustra-
tion work. For those who have
good drawing skills, illustration can
be a natural next step, but be
like to manipulate photographs and
add decorative touches? Each of these
preferences will lead you to a certain
market. Be honest about your abili-
ties and interests, or you may end up
preferences and random details to
get a good picture of your client’s
expectations. Look at other materials
to identify recurring traits in your
client’s existing presentations. Also
advised—drawing and illustration disappointing yourself, along with note what isn’t wanted.
are different. Illustration may your client.
Know your audience: The style will
involve drawing, but it also serves a
orient toward a target audience, so
purpose beyond itself. A drawing CULTIVATE AN develop a sense of those people and
may stand alone, but an illustration ILLUSTRATOR’S MINDSET their expectations from your client.
explains, explores or expands upon a
topic or theme. One of the most important distinc- Drop the ego: Doing illustration
tions to keep in mind is the need to work isn’t about your vision as an art-
satisfy the client. A good drawing isn’t ist. If the client doesn’t like the work,
KNOW YOUR STYLE enough. The illustration must also don’t take it personally.
Few illustrators can design for every- correspond with the way the client
one. Notice the aesthetic in your imagines the topic or theme to appear Adapt: Things happen. Be ready to
work. Do you see yourself drawing visually. This can be difficult when change your vision as needed. Find
warm, welcoming images for children? working with clients who hesitate to solutions.
Do you like to make stylized pictures commit, change their minds or claim Match requirements: Illustrations
of shoes and jewelry? Do you prefer they want you to decide. Keep the have technical specifications that can-
the chimerical world of fantasy? Do following guidelines in mind: not be altered, such as image size, as
you gravitate toward accurate rendi- well as color and font limitations.
Be attentive: Take notes on ideas,
tions of objects and events? Do you Follow any style guides.
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Outfit BUSINESS OF ART
Meet deadlines: Adhering to sched-

ules allows others in the process to
fulfill their obligations. Build a good A D R A W I N G M AY S TA N D A L O N E ,
reputation by submitting work
on time. B U T A N I L L U S T R AT I O N E X P L A I N S ,
FIND WORK E X P L O R E S O R E X PA N D S U P O N A
Illustrations fill many different needs. TOPIC OR THEME.
Businesses and charity organizations
desire them for flyers, invitations and
other materials; publishers use them person whom you might contact. professional, and accepting no pay-
to decorate articles and pages; book Reach out to your community to ment suggests you don’t value your
publishers seek book covers; advertis- find out whether someone knows labor. Even a token compensation
ers need illustrations to enhance copy; one or more of these key people and recognizes the effort and expecta-
design companies hire freelance illus- can give you an introduction. If not, tions of the job. When getting
trators to support their clients. Even write a brief email introducing your- started, if you want practice and are
with an increase in premade computer self. Explain why your illustration willing to do small jobs for nothing,
images, opportunities remain for capabilities are appropriate and ask consider volunteering your services
illustrators looking for work. about any upcoming opportunities. for charities that are usually operat-
Consider local businesses or As with any cold call, if you don’t ing on tight budgets, need support
organizations whose visual aesthetic get a reply, follow up in a couple of and might even recognize your labor
(and mission) suit you. Do the weeks, and then wait. as a tax-deductible contribution.
research to find the art director, mar- Be warned about doing free work.
keting director or public relations You want to establish yourself as a SET BOUNDARIES
AND GOALS
If you have a fine art practice, recog-
nize that illustration is a separate
field and task. You may want a dis-
tinct space in your studio for such
DIGITIZING work. Many artists keep separate
websites for the two sides of their
YOUR WORK practice. Others choose to have
These days most illustration work is a separate page on their website,
submitted electronically. That requires labeled something like “Other
illustrators to be adept at photographing Projects,” where they include a few
or scanning work. Once the image is small images of their illustration
properly digitized, you may need to make work and contact information. If you
color corrections in Photoshop or another teach workshops, you could list those
program because colors alter when moving from on this same page to reflect your
analog to digital configurations. Also, most businesses have size professional stature.
specifications for printing, which often require altering the file size Creating an illustration practice
while maintaining the necessary dpi or ppi. requires patience. Cultivating client
The abbreviations dpi and ppi mean “dots per inch” and “pixels per relations, developing a portfolio and
inch.” Both terms refer to the printer’s output resolution and, for learning how to manage your book-
practical purposes, are interchangeable (the term “dpi” remains keeping as you get busier are all a part
although, these days, “ppi” is generally more accurate). The higher of the process. Determine goals for six
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the image. Typical size for print-quality images is 300 ppi. An image start, and then plan how to get there.
of 2x3 inches at 300 ppi will therefore be 600x900 pixels. Online, Celebrate your progress.
image sizes are often noted without mention of dots or pixels, for
example, 600x900. C.J. Kent is a freelance writer and editor,
These numbers matter because, when you increase the original as well as a professor at Montclair State
dimensions of an image, the pixel count per inch (ppi) decreases University. She also founded Script and
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will become 150 ppi at 4x6 inches. That enlarged image may appear people express themselves effectively in
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9RPSGOýI
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Exhibitions, events and other items of interest
1.
1. TACHES (STAINS) BY VICTOR HUGO; 1875; BLACK AND GRAY-BLUE INK AND WASH ON PAPER, 17⁷⁄₁₆x21⅝; © BIBLIOTHÈQUE NATIONALE DE FRANCE 2. HARRIETT PULLMAN CAROLAN BY JOHN SINGER SARGENT; 1911 3. SCREEN BY DO HO SUH; 2005; ABS AND STAINLESS STEEL;
DO
NOW 1. The Drawings of
Victor Hugo
2. John Singer
Sargent
3. The Spaces in
Between
California
THE DRAWINGS
OF VICTOR HUGO
HAMMER MUSEUM • LOS ANGELES
310-443-7000 • HAMMER.UCLA.EDU
SEPTEMBER 27 THROUGH DECEMBER 30
“Stones to Stains: The Drawings

of Victor Hugo” examines the
draftsmanship of the legendary
French writer. Although known
mainly for his writing, Hugo (1802–
85) was also a prolific visual artist,
producing more than 3,000 pieces in 2.
his life. His drawings are surprisingly
experimental in nature; in addition THE ART INSTITUTE OF CHICAGO
to depicting subject matter such as 312-443-3600 • ARTIC.EDU
architecture and landscapes, Hugo 3. THROUGH SEPTEMBER 30
worked with abstract forms and
stains. His approach to drawing was focus on the challenges faced by people “John Singer Sargent & Chicago’s
highly spontaneous—he would often undergoing migration and forging new Gilded Age” celebrates the full range
© DO HO SUH. COURTESY OF THE ARTIST AND LEHMANN MAUPIN, NEW YORK AND HONG KONG
cede control of his compositions identities as a result. The pieces on dis- of Sargent’s (1856–1925) work,
to chance by soaking the paper. play—including a chandelier, decorative including his famous portraits. It also
Other times he would turn his screen and wallpaper—call into question highlights the artist’s connections to
paper, causing his ink to pool into aesthetic differences between the artist’s Chicago and situates his story amid
abstractions. native Korea and his new homes in the the broader history of Chicago’s art
United States and Europe. Suh’s work scene at the turn of the 20th century.
California grapples with the sense of isolation felt
by people in the face of transnational
Iowa
THE SPACES IN migration as well as the inescapable
BETWEEN
nature of one’s past and culture.
SOUTH AFRICAN
CANTOR ARTS CENTER • STANFORD, Illinois BEADWORK
CALIFORNIA • 650-723-4177 NATIONAL CZECH & SLOVAK MUSEUM
MUSEUM.STANFORD.EDU • THROUGH
FEBRUARY 29, 2019
JOHN SINGER & LIBRARY • CEDAR RAPIDS, IOWA
SARGENT & 319-362-8500 • NCSML.ORG
THROUGH SEPTEMBER 17
“Do Ho Suh: The Spaces in Between”
showcases several installations by CHICAGO’S “Ubuhle Women: Beadwork and the
Korean-American artist Do Ho Suh that GILDED AGE Art of Independence” showcases a

Bob
type of bead art developed by Featuring individual folios and
ROHM
women living and working together complete manuscripts that date from
Secrets to Successful
in KwaZulu-Natal, South Africa. The Paintings™
the 9th to the 20th centuries and
featured artists refer to their work which originate from countries NEW
as “ndwangos,” which translates to including Iran, Turkey, India, Spain
“cloth” or “rag.” The pieces consist of and Syria, “Collecting Calligraphy:
a black fabric background that is Arts of the Islamic World” brings to
stretched tight like a canvas, and light the beauty and precision of
then covered in Czech glass beads. Islamic calligraphy and illumination. It
The ndwangos depict abstract as also examines the ways in which the
well as figurative subject matter, and artistic features of these books
a single piece can take almost a year
4. PAGE FROM THE DIWAN (COLLECTED WORKS) OF SULTAN HUSAYN MIRZA; 1490 5. I AM ILL, I STILL SEE COLOR AND BEAUTY: JAMLUDI THE RED COW BY ZONDLILE ZONDO; 2012; GLASS BEADS SEWN ONTO FABRIC
functioned not only to convey

to complete. knowledge but also to legitimize the
empires that produced them.
Ohio Scott W.
Texas
ISLAMIC PRIOR
CALLIGRAPHY MARILYN LANFEAR Vibrant Cityscapes™
SAN ANTONIO MUSEUM OF ART
THE CINCINNATI ART MUSEUM 210-978-8100 • SAMUSEUM.ORG
513-721-2787 AUGUST 24 THROUGH NOVEMBER 11 NEW
CINCINNATIARTMUSEUM.ORG
SEPTEMBER 7 THROUGH
The San Antonio Museum of Art’s
JANUARY 27, 2019
exhibition of work by Marilyn Lanfear
celebrates works from over three
4. decades of the artist’s career. Lanfear’s
sculptures include materials as diverse
as mother-of-pearl buttons, lead and
embroidery hoops. Through her work,
the artist seeks to engage with her
personal family history as well as
confront her urge to preserve
memories. Lanfear finds new context
for familiar objects; a blouse made of
Lori
soldered lead and a set of intricately
carved wooden shelves are among the
McNEE
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items on display. Landscape Painting™
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Outfit APPLAUSE
Competition Spotlight
Finalist artwork from Artists Magazine’s 2017 Annual Art Competition
Renee’s Stroll
in Winter
Mason Mansung Kang oil on panel,
12½x16⅛
SEOUL, SOUTH KOREA · MASONMANSUNGKANG.COM
I like working with oil because it gives me an extended versatility of color mixing that
allows me to express the subtleness of my feelings. In the painting Renee’s Stroll in Winter,
I wanted to convey the sense of warmth and affection of the people in Central Park.
I translated the brightness and liveliness of the city into the warm colors of the people
and buildings against the cool colors of the sky and the bare tree branches.
Never hesitate to put plans into action; we have

much more time in our lives than we think.

Russell Harris
CHICAGO, ILLINOIS · RUSSELLHARRISART.COM
Finding a balance between the physical and psychological elements of creating art has been a
fascinating theme to me. I wanted to use an artist in his natural element, at the beginning of his
workday, deep in thought before he picks up a paintbrush. This thought process is ethereal,
fleeting and, at times, frustrating. While painting Apparition, I dealt with the same issues that
I was trying to communicate.
The biggest room in the world is room for

improvement—be persistent and prolific in your art.
Apparition
oil on linen,
12x10
Independent Toaster
Reflections
by Danny
Gregory
Study Resources to inspire

and build skills BY HOLLY DAVIS
PRACTICE ANATOMY
WITH THE BEST
A brand new addition to the Ilex Press guided sketchbook
series, The Anatomy Sketchbook presents 20 anatomical
drawing prompts paired with works by Leonardo da Vinci,
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other masters.
Study for the Hand of

Dante Holding That of Love
by Dante Gabriel Rossetti
graphite on paper
Art Before Breakfast

THE FIGURE Think you’re too busy to make
FROM LIFE art—or not talented enough? Think
Drawing the human figure is one of again. Better yet, grab copies of Art
the most challenging of artists’
pursuits—and learning from a Before Breakfast: A Zillion Ways
gifted artist and instructor can
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to Be More Creative No Matter
Barrett is the teacher who fits the How Busy You Are and Art Before
bill. In Life Drawing: How to
Portray the Figure With Breakfast: The Workbook (Chronicle
Accuracy and Expression (North
Light Books), he presents lessons
Books), by Danny Gregory. Lose your
from his university studio class, covering everything from the inhibitions; gain a fun and rewarding
fundamentals to capturing character. This book is available in
both print and ebook formats. “art habit.”
NARRATIVE PAINTING
“A picture is worth a thousand words,” says the old adage—and that
saying is especially true for narrative art. In Mastering Composition
From Photos: Narrative Art (Artists Network), Ian Roberts explains
how to create paintings that tell a story—covering everything from
snapping photos to arranging compositions to making the most of
key painting techniques. This video is available in streaming and
downloadable formats or as a DVD.

Your Complete Guide to
Workshops Here and Abroad
WORKSHOPS
2018
WE’RE LUCKY TO LIVE IN A TIME when educational opportunities

for artists abound at home and overseas. Some offer general instruction in the
fundamentals of painting; others provide more specialized instruction in subjects
ranging from achieving brilliant light in watercolor landscapes to drawing
anatomically correct figures to exploring your creativity through unconventional
materials and methods. On the following pages, Artists Magazine is pleased to
GETTY IMAGES
present a listing of many of the workshops and courses that will be offered by
talented instructors in the coming months.
WORKSHOPS
2018
Wo r k s h o p s workshops nurture individual success and personal

enrichment with a big emphasis on daily painting
projects at your own pace. This Burridge flagship
painting and then collage with paper creating a
unique ‘painterly’ figurative collage.
12/3-12/6/18, Jean Bradbury, Sedona Dreamscapes.
ALABAMA workshop offers a variety of painting subjects for Taking inspiration from the natural setting of Sedona
Huntsville Museum of Art everyone. we will paint the plants, animals and geology
10/18-10/21/18, HUNTSVILLE. David Shevlino, 9/20-9/22/18, Robert Burridge, Figurative that surrounds us, combining them into magical
Alla Prima Clothed Figure & Portrait Painting. Abstraction. Get out of your safe zone and into a landscapes reminiscent of memories or dreams.
11/9-11/11/18, HUNTSVILLE. Lian Quan Zhen,
brand new, looser, abstract direction drawing, We will capture the changing desert light by using
Watercolor Painting: Let the Colors Paint painting and collaging the contemporary nude. You copper, aluminum and ‘gold’ leaf in creative ways.
will learn expressive painting techniques for the 5/3-5/5/19, Bill Cramer, Painting at the Grand
Themselves.
modern painter. Your “drawing the nude” skills are Canyon. Nothing really compares to painting at the
11/15-11/17/18, HUNTSVILLE. Perry Austin, not a prerequisite.
Painting the Landscape in Oil. edge of the Grand Canyon. This three day intensive
10/1-10/3/18, Crystal Neubauer, Wax, Paper, offers: master instruction, the support of the Grand
Contact: Laura E. Smith, Director of Education/ Scissors. Delve into the art of paper and glue,
Museum Academy, 256/535-4350 x222 Canyon Association Field Institute (GCAFI) and
working through an intensive exploration of the art coordination through the Sedona Arts Center.
lsmith@hsvmuseum.org or hsvmuseum.org of abstract collage, intended to help you connect to
the design knowledge you already carry within you Contact: www.SedonaArtsCenter.org
ARIZONA to create satisfying works of art while discovering
Robert Burridge your own authentic style. CALIFORNIA
9/17-9/19/18, SEDONA. (Monday-Wednesday). 10/29-10/31/18, Julie Bernstein Engelmann, Luscious Art In The Mountains
Loosen Up with Aquamedia Painting. Sedona Arts Abstraction. Learn a powerful foundation for 4/24-4/26/19 AND 4/28-4/30/19, SANTA BARBARA
Center. 5-day Painting Workshop (Monday-Friday). painting abstracts with depth and feeling. A layering (moved from San Antonio). Alvaro Castagnet,
9/21-9/23/18, SEDONA. (Friday-Sunday). technique helps you enter the painting process The Pillars of Watercolor. Watercolor - plein air -
Contemporary Abstract Figure. Sedona Arts Center. naturally, develop beautiful complexity and flow, intermediate to advanced outdoor painters.
3-day Painting Workshop (Monday-Friday). and bring out the spirit of your painting. You’ll gain 9/9-9/13/19, SANTA BARBARA. David Taylor, Moving
discernment and valuable composition and color Forward and Capturing the Moment. Watercolor -
Contact: 888/954-4442 or 928/282-3809 skills. plein air, intermediate to advanced.
Camille Przewodek 11/5-11/7/18, Jan Sitts, Texture|Color|Feeling. Learn Contact: Tracy Culbertson, 503/930-4572
4/15-4/19/19, SCOTTSDALE. 5-Day Plein-Air to layer mixed media in an atmosphere of fun and
Workshop: Spring Training—Color Boot Camp at info@artinthemountains.com or
spontaneity inspiring new directions and discovery
Scottsdale Artists’ School. Discover and develop through innovative combinations of design and www.artinthemountains.com
a new way of seeing and painting color. All levels, materials. By combining aggressive textures and Robert Burridge
oil preferred. Color that expresses the light key of unusual mediums with various “raw” materials in 9/4-9/7/18, REDDING. Loosen Up with Aquamedia
nature can make any subject strikingly beautiful. the abstract painting we get surprising results. Painting. 4-day Painting Workshop (Tuesday-Friday).
Plein-air still life, landscape, head & figure. 11/10-11/12/18, Gretchen Lopez, Painting in the North Valley Art League.
Contact: Registrar, Scottsdale Artists’ School, Southern Desert. Experience the history of Arizona Contact: Carla Canter, 530/247-7104
800/333-5707, info@ScottsdaleArtSchool.org and the beauty of the Southern desert, as we paint
in and around the first European settlement in canteringreader@gmail.com
William A. Schneider 10/4-10/7/18, ARROYO GRANDE. Robert Burridge
11/12-11/15/18, SCOTTSDALE.
the region. Tubac is a wonderful go-to destination
where we will study capturing the light and learning Studio Mentor Workshop. Come paint with Bob
Expressive Heads and Hands. in his studio (includes individual mentor time,
to paint the essence of what you see from life.
Contact: Scottsdale Artists School, 800/333-5707 11/30-12/2/18, Elizabeth St. Hilaire, Paper Painting demonstrations and personal theme development).
Sedona Arts Center – Animals and Pets. An intense workshop in which 3.5 days Workshop/Mentor Program, limited to 7
9/17-9/19/18, Robert Burridge, Loosen up with students are taught to make a beautiful palette of enrollees.
Aquamedia. Burridge’s popular “Loosen Up” colors with various papers and create an under- Contact: Kate@RobertBurridge.com
1681 E. Hennepin Ave. Minneapolis, Mn. 55414

www.theatelier.org mail@theatelier.org
(612) 362-8421
2019 SPECIAL WORKSHOP 2018 - 2019 WORKSHOPS

Offering one week classes
in the classical realist tradition
Indoor Plein Air Painting
With Brian Stewart Basic Drawing & Painting
FEBRUARY 1, 2, 2019 Life Drawing
OCTOBER 22 - 26
MARCH 11 - 15 2019
THE ATELIER IS NOW ACCEPTING
APPLICATIONS FOR ITS 2018 - 2019 For Information on Other Workshops
FULL TIME 4 YEAR PROGRAM Visit Our Website
Call or write for a brochure
Laura Tundel
Brian Stewart Kimberley Monahan Dady Christine Mitzuk Cyd Wicker

KALINE CARTER • KALINE.CARTER@FWMEDIA .COM • 505-506-7698 | MARY MCLANE • MARY.MCLANE@FWMEDIA .COM • 970-290-6065
10/24-10/28/18, ARROYO GRANDE. Robert Burridge

5-Day Instructional Studio Workshop in Bob’s Studio
(Wednesday-Sunday).
Betty Carr
Contact: Kate@RobertBurridge.com
11/1-11/4/18, ARROYO GRANDE. Robert Burridge
Studio Mentor Workshop. Come paint with Bob
in his studio (includes individual mentor time,
demonstrations and personal theme development).
3.5 days Workshop/Mentor Program, limited to 7
enrollees.
SEDONA WORKSHOP
Contact: Kate@RobertBurridge.com
Robbie Laird
OCTOBER 22–26, 2018
9/19-9/21/18, NIPOMO. Central Coast WS.
Full/Wait list only.
Contact: Jerry Smith, jsmithp38@sbcglobal.net
Tom Lynch
11/12–11/16/19, SAN DIEGO.
Contact: 630/851-2652
Tomlynch@msn.com or www.TomLynch.com
Camille Przewodek
JANUARY-DECEMBER, 2018-19, PETALUMA.
In addition to my workshops, I teach regular
weekly classes at my Petaluma studio in Northern
California. Mondays with Camille is an ongoing
landscape and still life class. View an up-to-date
schedule on the Classes & Workshops page at my
website: www.przewodek.com
5/13-5/17/19, PETALUMA. 5-Day Plein-Air Workshop/
Color Boot Camp. Discover and develop a new way
of seeing and painting color. All levels, oil preferred.
Color that expresses the light key of nature can
make any subject strikingly beautiful. Plein-air still
life, landscape, head & figure.
Contact: Camille, 707/762-4125
fineart@sonic.net or www.przewodek.com
8/12-8/16/19, PETALUMA. 5-Day Plein-Air Workshop/
Color Boot Camp. Discover and develop a new way of
seeing and painting color. All levels, oils preferred.
Plein-air still life, landscape, head & figure.
fineart@sonic.net or www.przewodek.com
10/1-10/4/18, NEWPORT BEACH. 4-Day Plein-Air
Workshop/Color Boot Camp. Discover and develop
a new way of seeing and painting color. All levels,
oils preferred. Plein-air still life, landscape, head
& figure.
Contact: Huse Skelly Studio Gallery, 949/723-6171
COLORADO
Annie O’Brien Gonzales
8/21-8/23/18, TELLURIDE. Joy of Mixed Media Acrylic
Painting. AhHaa School for the Arts.
Contact: www.ahhaa.org
Robbie Laird
11/6-11/8/18, Colorado Watercolor Society.
Contact: Martha Heppard, Martha@heppard.com
CONNECTICUT
Alain J. Picard, PSA
9/22/18, HILL-STEAD MUSEUM, FARMINGTON.
The Painterly Landscape, Plein-Air Workshop,
Saturday 9:00am-4:00pm.
Contact: picardstudio.com/workshops
10/6/18, ELIZABETH PARK, HARTFORD. SAVE THE DATE!
Saturday 9:30am-4:30pm. 14 th Annual
4/26-4/27/19, NEWTOWN.
The Painterly Landscape, Weekend Workshop,
Friday 7:00-9:00pm, Saturday 9:30am-4:30pm.
5/18/19, FLORENCE GRISWOLD MUSEUM, OLD LYME.
8/8-8/10/19, UART, NEWTOWN.
Painterly Techniques on UART, Three-Day Workshop,
Thursday-Saturday 9:30am-4:30pm.
Contact: www.uartpastelpaper.com
FLORIDA
October 13–20, 2018
Fort Myers Beach Art Association
and Gallery SedonaArtsCenter.org
Contact: 239/463-3909
www.fortmyersbeachart.com/classes.php
WORKSHOPS
2018
11/5/18, 11/19/18, 11/26/18, 12/3/18, 12/10/18, 12/17/18, 2/28/19, Mary Klunk, Portrait Made Easy. seeing your subject more clearly and work toward
Cheryl Fausel, Beginner-level Watercolor. (6 Monday 9:30-3:30 pm. Member $55/Non-member $60. developing your own style, in any medium, naturally
mornings). Class Series 9 am to Noon. Member $150/ 3/4/19, 3/11/19, 3/18/19, 3/25/19, Cheryl Fausel, without copying the styles of other artists or
Non-member $180. Beginner-level Watercolor. (4 Monday mornings). instructors.
11/5/18, 11/19/18, 11/26/18, 12/3/18, 12/10/18, Class series 9 am to Noon. Member $100/ Educator: Art Center Sarasota- Painting: portrait,
12/17/18, Cheryl Fausel, Intermediate to Advanced Non-member $120. landscape, still life & more with Ralph Garafola.
Watercolor. (6 Monday afternoons). Class series 3/4/19, 3/11/19, 3/18/19, 3/25/19, Cheryl Fausel, www.artsarasota.org
1 pm - 4 pm. Member $150/Non-member $180.
Intermediate-Advanced Watercolor. (4 Monday Contact: 561/509-0522, Info@ralphgarafola.com
11/11/18, Kathy Durdin, Demo. 4-6 pm. $10 fee. afternoons). Class series 1 pm - 4pm. Member $100/ ralphgarafola.com
11/12-11/15/18, Kathy Durdin, Loosening Up & Seeing Non-member $120.
Color Everywhere. Famous Artist Workshop. frankreillytheelementsofpainting.com
3/14-3/15/19, Cheryl Fausel, Finding the Glow Tom Lynch
Watercolor Workshop. Fee: Member $275/
Non-member $315. Working on Gold Gesso. 9-4 pm. Member $120/ 1/7-1/10/19, BOYNTON BEACH.
Non-member $130 + $10 palette fee.
1/3-1/5/19, Cheryl Fausel, Having Fun with 1/25-1/27/19, INDIAN ROCKS BEACH.
Watercolor. Member $190/Non-member $205. 3/28-3/29/19, Lynne Wesolowski, Gelli Plate Mono 3/5-3/8/19, PUNTA GORDA.
Print/mixed media on gel plate. 9-3 pm. Member
1/7/19, 1/21/19, 1/28/19, 2/4/19, 2/18/19, 2/25/19,
$100/Non-member $110 + $10 supply fee. Contact: 630/851-2652
Cheryl Fausel, Beginner-level Watercolor. (6 Monday Tomlynch@msn.com or www.TomLynch.com
mornings). Class Series 9 am to Noon. Member $150/ Contact: 239/463-3909
Non-member $180. www.fortmyersbeachart.com/classes.php Southern Atelier
1/7/19, 1/21/19, 1/28/19, 2/4/19, 2/18/19, 2/25/19, 10/22-10/26/18, Huihan Liu.
Ralph Garafola
Cheryl Fausel, Intermediate to Advanced 11/28-12/7/18, Steven Assael.
Artist: Garafola’s style is contemporary realism;
Watercolor. (6 Monday afternoons). Class series he works in oil and watercolor. “All my paintings JANUARY 2019, Dan Thompson.
1 pm - 4 pm. Member $150/Non-member $180. are portraits. Whether my subject is a person, FEBRUARY 2019, Dennis Perrin.
1/13/19, Sally Cooper, Demo, 4 pm-6 pm. $10 fee. landscape, seascape, still life or pet, my approach MARCH 2019, Zhaoming Wu.
1/14-1/17/19, Sally Cooper, Famous Artist Workshop is to realistically portray my subject in its natural APRIL 2019, David Shevlino.
Mixed Media, Creative Abstract. Member $375/ environment. It puts the viewer inside the painting” MAY 2019, Charles Miano.
Non-member $420. Garafola says. Contact: 941/753-7755, info@southernatelier.org or
1/18/19, Lynne Wesolowski, One Day Scarf Class. 9-3 Author: Frank J. Reilly - The Elements of Painting” by www.southernatelier.org
pm. Member $50/Non-member $55 + $10 supply fee. Ralph Garafola is a must read for both the aspiring
1/24-1/25/19, Sue Pink, Collage. 9 am-3 pm (2 days). Visual Arts Center
painter and accomplished artist – and everyone in
Member $120/Non-member $130. 1/12-1/13/19, Oil Painting with Dan Graziano,
between. LEARN PAINTING TECHNIQUES OF THE 9am - 4pm, $375.
2/1/19, Sue Pink, Watercolor Batik. 9-3 pm. MASTERS. Once in a great while a book emerges
Watercolor. All Levels. Member $60/ 1/25-1/26/19, Palette Knife Painting with
containing rare content like this one. Artist, author
Non-member $65. and educator Ralph Garafola is part of the great Jan Ellen Atkielski, 9am - 4pm, $375.
2/10/19, Sharon G Tarr, Demo. 4 pm - 6 pm. $10 fee. lineage that dates back to the 19th Century French 2/18-2/21/19, Visual Sensations in Mixed Media
2/11-2/14/19, Sharon G Tarr, Famous Artist Academy, École des Beaux-Arts, Paris that the with Jan Sitts, 9am - 3pm, $500.
Workshop, Oil Painting Fundamentals Made Clear famous Frank J. Reilly taught at the Art Student 3/5-3/8/19, Watercolor with Tom Lynch,
and Easy. Member $350/Non-member $390. League of New York. This book exists due to 9am - 3pm, $500.
2/15-2/16/19, Lynne Wesolowski, Alcohol Inks. Garafola’s meticulous note taking while studying 3/25-3/27/19, Watercolor Portraits with
9-3 pm. Member $100/Non-member $110 + $10 under Reilly. Now you can study Reilly’s method David Lobenberg, 9am - 3pm, $425.
supply fee. as he taught it. Learn to draw and paint, as well 4/1-4/4/19, Acrylic with Kathleen Denis,
2/21/19, Mary Klunk, Basic Drawing. 9:30-3:30 pm. as picture-making involving the composition of 9am - 3pm, $500.
Member $55/Non-member $60. elements to tell a story. Become capable of Contact: 941/639-8810, www.visualartcenter.org
Birgit O’Connor Watercolors

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GEORGIA MARYLAND Chris Unwin

Watercolor Workshop Weekly on Wednesdays.
Annie O’Brien Gonzales Annie O’Brien Gonzales
West Bloomfield, MI 48322
11/2-11/4/18, MARIETTA. 10/31-11/4/19, Bold Expressive Painting Still Life &
Bold Floral Still Life Painting. Florals. The Red Thread Retreat. Contact: Chris Unwin, 248/624-4902
Contact: www.lesleyriley.com ChrisUnwin@att.net or www.ChrisUnwin.net
The Art School in Sandy Springs.
Contact: www.theartschoolinsandysprings.com
MASSACHUSETTS MINNESOTA
INDIANA Casa de los Artistas, Inc. – The Atelier
Masla Fine Art – ArtWorkshopVacations.com 10/22-10/26/18, Basic Drawing & Painting.
Art In The Mountains 10/22-10/26/18, Life Drawing.
9/13-9/15/18, INDIANAPOLIS. Mary Whyte, The ROBERT MASLA STUDIOS NORTH
Contact: 413/625-8382, www.MaslaFineArt.com or 2/1-2/2/19, Brian Stewart, Indoor Plein Air Painting.
Portrait and The Figure. Watercolor - studio.
All levels welcome. www.ArtWorkshopVacations.com 3/11-3/15/19, Basic Drawing & Painting.
Contact: Tracy Culbertson, 503/930-4572 Join Masla this summer and fall for drawing and 3/11-3/15/19, Life Drawing.
info@artinthemountains.com or plein air painting workshops at the edge of the Contact: 612/362-8421, mail@theatelier.org or
www.artinthemountains.com Berkshire Mountains, at Masla Studios North, www.theatelier.org
in picturesque rural Ashfield, MA. Weekend Camille Przewodek
William A. Schneider includes fabulous picnic lunch and some materials.
10/17-10/20/18, NEW HARMONY. 9/24-9/28/18, ROCHESTER. 5-Day Plein-Air
Workshops are for beginners to advanced painters. Workshop/Color Boot Camp. Discover and develop
Expressive Heads and Hands. Experience Maslas’ award winning teaching style a new way of seeing and painting color. All levels,
Contact: Hoosier Salon, 317/682-3970 while you enjoy a beautiful relaxing weekend in oil preferred. Color that expresses the light key of
the country. Small groups with lots of individual nature can make any subject strikingly beautiful.
MAINE attention. Plein-air still life, landscape, head & figure.
Coastal Maine Art Workshops 8/25-8/26/18, Drawing and Painting the Landscape, Contact: Camille, 707/762-4125
As of now!! Saturday & Sunday, (10am - 5pm) – Painting the New
England Landscape in the Fall, Plein Air and the fineart@sonic.net or www.przewodek.com
Check our website or contact us for updates!
Studio with Watercolor, Acrylic or Oil, demos in all, NEVADA
BELFAST, ME 9/29-9/30/18.
7/8-7/12/19, John Hoar, WC. Tom Lynch
7/15-7/19/19, Sterling Edwards, WC. MICHIGAN 8/13–8/19/19, RENO.
7/29-8/2/19, Tony van Hasselt, AWS WC. Tom Lynch Contact: 630/851-2652
ROCKLAND, ME 7/17–7/20/19, LOWELL. Tomlynch@msn.com or www.TomLynch.com
8/19-8/23/19, Andy Evansen, WC. Contact: 630/851-2652
8/19-8/23/19, Janet Rogers AWS WC. Tomlynch@msn.com or www.TomLynch.com
NEW JERSEY
8/27-8/31/19, Herman Pekel, WC. Alain J. Picard, PSA Ralph Garafola
8/27-8/31/19, Ken DeWaard, Oils. 9/11-9/13/18, FLINT. Flint Institute of Arts. The
Artist: Garafola’s style is contemporary realism;
9/2-9/6/19, David Curtis, Oils. Painterly Portrait, Three-Day Workshop, he works in oil and watercolor. “All my paintings
9/9-9/13/19, Marc Hanson, Oils. Tuesday-Thursday 9:30am-4:30pm. are portraits. Whether my subject is a person,
landscape, seascape, still life or pet, my approach
9/16-9/20/19, Colin Page, Master Class Oils. Contact: flintarts.org is to realistically portray my subject in its natural
9/23-9/27/19, Colley Whisson, Oils. William A. Schneider environment. It puts the viewer inside the painting”
Contact: Lyn Donovan, 207/594-4813 9/13-9/16/18, LOWELL. Loosen Up! Garafola says.
info@cmaworkshops.com or Contact: Franciscan Life Process Center, Author: Frank J. Reilly - The Elements of Painting”
www.cmaworkshops.com 616/897-7842 by Ralph Garafola is a must read for both the
WORKSHOPS
2018
aspiring painter and accomplished artist – and
HUDSON RIVER VALLEY everyone in between. LEARN PAINTING TECHNIQUES
OF THE MASTERS. Once in a great while a book
ART WORKSHOPS emerges containing rare content like this one.
Artist, author and educator Ralph Garafola is part
Learning, Laughter, of the great lineage that dates back to the 19th
and Friendships in an Century French Academy, École des Beaux-Arts,
Paris that the famous Frank J. Reilly taught at the
Inspiring, & Inviting Art Student League of New York. This book exists
Environment due to Garafola’s meticulous note taking while
studying under Reilly. Now you can study Reilly’s
method as he taught it. Learn to draw and paint, as
Call Toll-Free 1-888-665-0044 well as picture-making involving the composition
of elements to tell a story. Become capable of
Lorenzo Chavez Sep 9-15, 2018 seeing your subject more clearly and work toward
developing your own style, in any medium, naturally
Judi Betts Sep 16-22, 2018 without copying the styles of other artists or
Henry Yan Sep 23-29, 2018 instructors.
Skip Lawrence Sep 30-Oct 6, 2018 Educator: Art Center Sarasota- Painting: portrait,
Kellee Wynne Conrad Mar 17-23, 2019 landscape, still life & more with Ralph Garafola.
& Gallery Patti Mollica Mar 27-31, 2019
www.artsarasota.org
Contact: 561/509-0522, Info@ralphgarafola.com
Alain Picard Mar 31-Apr 6, 2019 ralphgarafola.com
A working gallery in Alvaro Castagnet Apr 10-14, 2019 frankreillytheelementsofpainting.com
Howard Rose Apr 14-18, 2019 NEW MEXICO
the beautiful town of Koo Schadler May 5-11, 2019 Annie O’Brien Gonzales
Fort Myers Beach, Florida Barbara Nechis May 15-19, 2019 9/10-9/14/18, ABIQUIU. Abiquiu O’Keeffe Immersion.
Robert Burridge May 19-25, 2019 Contact: explore@experienceokeeffe.com or
Emilie Lee May 29-Jun 2, 2019 www.experienceokeeffe.com
Workshops Jane Davies Jun 2-8, 2019 9/27/18, SANTA FE. Painting with Matisse!
Artisan Materials Expo!
Leah Lopez Jun 9-15, 2019 Contact: www.expoartisan.com
Kathy Durdin 11/14/18 Paul Leveille Jun 23-29, 2019 9/28/18, SANTA FE. Bold Botanicals: Floral Stilllife
Sally Cooper 1/14/19 Michael Solovyev Jun 30-Jul 6, 2019 Painting. Artisan Materials Expo!
Debora Stewart Jul 7-13, 2019 Contact: www.expoartisan.com
Sue Pink 2/1/19 10/21-10/25/18, ABIQUIU. Abiquiu O’Keeffe
Kim English Jul 14-20, 2019 Immersion.
Sharon G Tarr 2/11/19 Sally Strand Jul 21-27, 2019 Contact: explore@experienceokeeffe.com or
Michael Story Jul 28-Aug 3, 2019 www.experienceokeeffe.com
Classes artworkshops.com NEW YORK
Hudson River Valley Art Workshops
Juried Shows 9/9-9/15/18, Lorenzo Chavez.
9/16-9/22/18, Judi Betts.
Demonstrations 9/23-9/29/18, Henry Yan.
Painting Groups 9/30-10/6/18, Skip Lawrence.
3/17-3/23/19, Kellee Wynne Conrad.
3/27-3/31/19, Patti Mollica.
Original Art for Sale 3/31-4/6/19, Alain Picard.
4/10-4/14/19, Alvaro Castagnet.
4/14-4/18/19, Howard Rose.
5/5-5/11/19, Koo Schadler.
Host & Sponsor of:
5/15-5/19/19, Barbara Nechis.
Paint the Beach 5/19-5/25/19, Robert Burridge.
5/29-6/2/19, Emilie Lee.
A plein air festival in 6/2-6/8/19, Jane Davies.
Fort Myers Beach, Florida 6/9-6/15/19, Leah Lopez.
6/23-6/29/19, Paul Leveille.
Nov. 1-3, 2018 6/30-7/6/19, Michael Solovyev.
7/7-7/13/19, Debora Stewart.
7/14-7/20/19, Kim English.
Fort Myers Beach 7/21-7/27/19, Sally Strand.
7/28-8/3/19, Michael Story.
Contact: 888/665-0044, info@artworkshops.com
Art Association or www.artworkshops.com
239-463-3909 Alain J. Picard, PSA
10/19-10/20/18, ARDSLEY. The Painterly Portrait,
fortmyersbeachart.com Weekend Workshop, Friday 7:00-10:00pm,
Contact: Annette Meglino,
Oct.-April M-Sat 10-3 annettemeglino@gmail.com
May-Oct. Wed & Thur 9-12 4/1-4/5/19, GREENVILLE. Hudson River Valley Art
Workshops. The Painterly Landscape & Portrait,
Five-Day Workshop.
3030 Shell Mound & Donora Contact: www.artworkshops.com
At the blinking light on Estero Blvd Riverside Art Workshops
Breathtaking Views of The Hudson River.
5/7-5/9/19, NEWBURGH. Kathie George.
5/14-5/17/19, NEWBURGH. Nicki Heenan.
6/4-6/7/19, NEWBURGH. Peggi Habets.
6/10-6/13/19, NEWBURGH. Peggi Habets.
6/18-6/21/19, NEWBURGH. Jean Pederson.
7/9-7/12/19, NEWBURGH. Fabio Cembranelli.
7/17-7/19/19, NEWBURGH. Pat Morgan.
8/12-8/15/19, NEWBURGH. Herman Pekel.

9/10-9/12/19, NEWBURGH. Rick Surowicz.
9/25-9/27/19, NEWBURGH. Michael Reardon.
Workshops In France
10/22-10/25/19, NEWBURGH. Andy Evansen.
Contact: 845/787-4167 All inclusive premier art retreats.
mkmeyerson@gmail.com Paint & sketch side-by-side with artists
NORTH CAROLINA in Southern France.
John C. Campbell Folk School
9/2-9/8/18, Margaret Scanlan, Learning to Draw. All levels, all media.
$630.
9/9-9/14/18, Pebbie Mott, Painting in Acrylics. $564.
9/14-9/16/18, Jane Voorhees, The Art of Sketching: French Château Retreats 2019
Adding Life to Your Drawing Practice. $354.
9/16-9/22/18, Louise Farley, Painting Outside of the Château retreat near Aix-en-Provence.
Lines. $630.
10/7-10/13/18, Bradley Wilson, Get into the Mix
Lavender en Provence: June 19 -18
Adventures in Acrylic & Mixed Media. $630. Late Summer: Sept. 2 - 11 & Sept. 28 - Oct. 7
10/14-10/20/18, Mary Jane Volkmann, Plein Air
Painting in the Fall. $630.
10/21-10/26/18, Marcy Chapman, A Hands-on Scottish Art Retreat 2019
Exploration of Three Japanese Art Forms. $564. Heart of Scotland and Kingdom of Fife
10/28-11/3/18, Annie Cicale & Redenta Soprano,
Botanicla Books: Traditions Old and New. $630. May 20 - 30 ,2019
11/4-11/10/18, Redenta Soprano, Botanical Drawing–
Shaker Seed Packs. $630.
11/11-11/16/18, Virginia Urani, Get Your Feet Wet with
Watercolor. $354.
12/2-12/8/18, Gay Bryant, Painting & Printing
Seasonal Images. $630.
Contact: John C. Campbell Folk School, Brasstown,
NC, 800-FOLK-SCH or www.folkschool.org
Kanuga Watermedia Workshops
3/30-4/5/19, HENDERSONVILLE. Held at the Kanuga
Conference Center in the Blue Ridge Mountains of
North Carolina, we offer 5 full days of instruction
featuring 12 award-winning instructors. Painting
is always a learning experience. Our goal is to help
h I
painters sharpen their critical awareness and
discover painting gratification. Class sizes range
1
from 12 to a maximum of 24 students, and each
student selects one instructor for the entire week.
Small groups. Reserve your place now!
We also have Independent Studios for those who
wish to paint on their own. Meals and lodging are
included. (Commuter option available.)
Contact: 615/202-0281, KanugaWW@gmail.com or
www.kanugawatermediaworkshops.com
Tom Lynch
FREE
2 018
11/8-11/10/18, RALEIGH.
Contact: 630/851-2652 ADMISSION
OHIO
Robbie Laird
8/28-8/31/18, PEPPER PIKE. Ohio Watercolor Society.
MEGA
SALE!
Contact: Michael McEnroe, mcenroem@aol.com
Tom Lynch
10/17-10/20/18, BEAVERCREEK.
Contact: 630/851-2652 100+
WORKSHOPS
Alain J. Picard, PSA
11/2-11/4/18, BEACHWOOD. The Art Studio.
Loosening Up, Three-Day Workshop, Friday-Sunday
9:30am-4:30pm.
BOOK
Contact: Susanporges.com ART SUPPLY EXPO NOW!
OREGON
Art In The Mountains
7/29-8/2/19 AND 8/5-8/9/19, BEND. Herman Pekel,
DATES: Nov. 9th - 11th, 2018
Be Brave and Have Fun. Studio and plein air- Workshops begin on Thursday, November 8th
watercolor. All levels welcome.
8/12-8/16/19, BEND. Iain Stewart, Sketchbook to
www.artofthecarolinas.com
Studio. Watercolor - studio. All levels welcome.
8/19-8/23/19, BEND. Chinmaya Panda, Portrait and
Figure in Watercolor. Watercolor - studio. All levels
welcome.
8/26-8/30/19, BEND. Michael Reardon, Watercolor
Techniques. Watercolor - studio. All levels welcome
- some experience helpful.
Contact: Tracy Culbertson, 503/930-4572
info@artinthemountains.com or
www.artinthemountains.com
N O RT H R A L E I G H H I LTO N • 3 41 5 WA K E FO R E ST R OA D
Robbie Laird RALEIGH, NORTH CAROLINA 27609-7330
10/8-10/12/18, SALEM. Watercolor Society of Oregon.
Contact: Beth Verheyden, vstudios@comcast.net
WORKSHOPS
2018
The Secret to Creating Prize-Winning Paintings SOUTH CAROLINA

William A. Schneider 7/9-7/11/19, GREENVILLE. Mary Whyte, Painting the
AISM, IAPS-MC, PSA-MP, OPA 6LQFH Portrait and the Figure. Watercolor - studio. All
levels welcome.
³3UHPLHU 'HVWLQDWLRQ :RUNVKRSV´ Contact: Tracy Culbertson, 503/930-4572
5HPDLQLQJ2IIHULQJV info@artinthemountains.com or
'DYLG /REHQEHUJ TEXAS
%HQG 25 Robert Burridge
0DU\ :K\WH 9/11-9/13/18, DALLAS. Abstract Acrylic Painting &
Collage. Southwestern Watercolor Society.
,QGLDQDSROLV ,1 Contact: Lou Bono, 469/744-7559
LouBono5@gmail.com or www.swswatercolor.org
:RUNVKRSV Tom Lynch
.DUO\Q +ROPDQ &UXLVH:RUNVKRS 9/6-9/9/18, NEW BRAUNFELS.
9/9-9/13/19, STEPHENVILLE.
*ROG &RDVW $XVWUDOLD 1&DOHGRQLD Contact: 630/851-2652
“On the Road to Mandalay” Oil 24x18 $OYDUR &DVWDJQHW Tomlynch@msn.com or www.TomLynch.com
6DQWD %DUEDUD &$ William A. Schneider
10/1-10/4/18, FREDERICKSBURG.
Workshops
Painterly Portraits
+HUPDQ3HNHO 0DU\:K\WH Painterly Portraits.
Contact: Fredericksburg Artists’ School,
Location: Fredericksburg Artists’ School 830/997-0515
Fredericksburg, TX 3DULV9HUVDLOOHV)UDQFH
BBBBBBBBBBBBB *UHHQYLOOH6&
10/1/18 - 10/4/18 WASHINGTON
(830) 997-0515 ,DLQ 6WHZDUW
%HQG25 Tom Lynch
Expressive Heads and Hands 9/25-9/28/18, CLARKSTON.
%HQG 25
&KLQPD\D 3DQGD
Location: Hoosier Salon Contact: 630/851-2652
New Harmony, IN Tomlynch@msn.com or www.TomLynch.com
%HQG25
'DYLG 7D\ORU
10/17/18 - 10/20/18
(317) 682-3970 Birgit O’Connor
Expressive Heads and Hands 0LFKDHO 5HDUGRQ 10/16-10/19/18, SPOKANE.
Location: Scottsdale Artists School %HQG 25 6DQWD %DUEDUD &$ SSW Spokane Watercolor Society.
Scottsdale, AZ Contact: Carol Grabowski
11/12/18 - 11/15/18 .DUO\Q+ROPDQ&UXLVH:RUNVKRS carol_grabowski@comcast.net
(800) 333-5707
7UDQV$WODQWLFZLWK&RXQWULHV INTERNATIONAL
www.SchneiderArt.com AUSTRALIA
815-455-4972 ZZZDUWLQWKHPRXQWDLQVFRP Art In The Mountains
1/5-1/18/19, Karlyn Holman, Watercolor Fun and Free
New Caledonia and Gold Coast Australia Cruise/
workshop.
APPRENTICESHIPS - WORKSHOPS
CANADA
Full-Time Atelier Apprenticeships: Now Robert Burridge
Accepting Applications for 2018 - 2019 8/27-8/31/18, MURRAY HARBOUR, PRINCE EDWARD
ISLAND. Abstract Acrylic Painting & Collage.
MASTER ARTISTS WORKSHOP DATES 5-day Painting Workshop (Monday-Friday).
Out of Our Minds Gallery.
HUIHAN LIU OCT. 22-26, 2018 Contact: Sandi Komst, 902/962-3612
outofourmindsgallery.com
STEVEN ASSAEL NOV. 28 - DEC. 7, 2018 10/15-10/19/18, VANCOUVER ISLAND, BRITISH
COLUMBIA. Loosen Up with Aquamedia Painting.
DAN THOMPSON JANUARY 2019 5-day Painting Workshop (Monday-Friday).
Vancouver Island Art Workshops.
DENNIS PERRIN FEBRUARY 2019 Contact: Mary, 250/714-8080
info@vancouverislandartworkshops.com
ZHAOMING WU MARCH 2019
DAVID SHEVLINO APRIL 2019 9/17-9/21/18, NANAIMO, BRITISH COLUMBIA.
Bold Expressive Painting.
CHARLES MIANO MAY 2019 Vancouver Island Art Workshops.
Contact us for details! Contact: Mary Stewart, 250/714-8080
www.southernatelier.org info@vancouverislandartworkshops.com or
941-753-7755 | info@southernatelier.org www.vancouverislandartworkshops.com
9/11-9/15/19, CALGARY. Expressive Mixed Media
Southern Atelier is an ARC MID-COAST MAINE Figures. Leading Edge Workshops.
Approved school! AND BEYOND! Contact: Louise Hall, 403/233-7389
Louise.hall@shaw.ca or
www.greatartworkshops.com
COSTA RICA
Robbie Laird
3/24-3/30/19, Capturing Costa Rica In Color.
Contact: Franco Marini, Franco@globalj.org
cmaworkshops.com EUROPE
Master Artist Workshops Check Our Website for Workshop Listings Art In The Mountains
10/20-11/8/19, Karlyn Holman, 9 Countries from
Huntsville, AL | 256.535.4350 | hsvmuseum.org 207-594-4813 • info@cmaworkshops.com Denmark to New Orleans. Painting days are ‘at sea’
days only.

info@artinthemountains.com or RIVERSIDE ART WORKSHOPS Workshop DVDs
www.artinthemountains.com Complete 4 Day
FRANCE
2019 Watercolor Workshops
6/10-6/14/19, PARIS. Herman Pekel, watercolor-
plein air - intermediate to advanced.
Copeland International Arts
One week workshop retreats at the magnificent
Marouatte Castle, Dordogne France. Breathtaking Views of The Hudson River
5/26-6/2/19, Bob Evans, Photography.
7/20-7/27/19, Lynn Gertenbach, Plein-air painting.
7/27-8/3/19, Andrew Gifford, Plein-air painting. Small & Friendly Classes
9/5-9/11/19, Helen Beacham, Plein-air painting.
Contact: www.ArtAtTheCastle.com Kathie George ..................... 5/7-5/9
Studio Escalier
10/21-11/30/18, Autumn at the Louvre. Nicki Heenan ................... 5/14-5/17
12/2-12/21/18, December in Paris.
1/6-3/1/19, Winter at the Louvre. Peggi Habets ... 6/4-6/7 & 6/10-6/13
3/11-3/29/19, Spring Color in Paris.
4/1-4/19/19, Spring Portrait in Paris. Jean Pederson ................ 6/18-6/21
4/25-5/18/19, Spring Portrait in Argenton-Chateau.
5/30-8/17/19, Summer Intensive. Fabio Cembranelli ............. 7/9-7/12
6/17-7/5/19, Summer in Paris - Perceptual Color
(Schoening). Pat Morgan ..................... 7/17-7/19
7/15-8/23/19, Summer in Paris - Figure Drawing
(Hall). Herman Pekel .................. 8/12-8/15
Contact: info@studioescalier.com or
Rick Surowicz ................. 9/10-9/12 The Runaway, Bev Jozwiak, AWS, NWS
www.studioescalier.com
Workshops in France Michael Reardon ............. 9/25-9/27 See Bev Jozwiak’s Video Clips
ART RETREATS and Video Clips of these artists
Chateau art retreat in Provence. Distraction-free Andy Evansen ............. 10/22-10/25 Chris Unwin, NWS
paradise for artists. Friendly. Fabulous food, wine,
accommodation in the Chateau and transportation Nita Engle, AWS
to beautiful painting locations. All-inclusive retreat Alexis Lavine, NWS
except airfare. Newburgh, NY 845-787-4167
6/19-6/28/19, PROVENCE. 10 days. Provence in
Lavender to the Mediterranean. All media -paint and
mkmeyerson@gmail.com WWW. ChrisUnwin.NET
sketch side-by-side with artists.
9/2-9/11/19 OR 9/28-10/7/19, 10 days. Provencal
villages, vineyards and Cézanne. All media. Sketch
side-by-side with artists.
INSTRUCTED WORKSHOPS
Paint with exceptional master painters in France.
Perfectly-balanced painting workshops with
instruction and total immersion in French life. All-
inclusive: instruction, food, wine, accommodation
at the Chateau, except air-fare.
5/3-5/12/19, Jane Hunt Paints Provence – 10 days
painting plein air at chateau workshop with award
winning artist in France.
6/6-6/15/19, Quang Ho Master Painter in Provence –
10 days painting experience in southern France with
modern day master.
9/15-9/24/19, Daniel Gerhartz Teaches in Provence
– 10 days painting exclusive in southern France with
master painter.
Contact: Julie Snyder, 818/533-2363
WorkshopsInFrance.com
INDIA
Sedona Arts Center
2/1-2/8/19, Lori Putnam, Painting in Varanasi. A ROBERT BURRIDGE
visit to Varanasi is a full spectrum adventure to a
world as old as human culture. Here the sacred,
urban and rural all overlap in a dazzling display.
• Burridge Studio App
Lori encourages her students to find a personal and
genuine response to the subject and his or her own, • Free Online Newsletter
distinctive mark.
Contact: www.SedonaArtsCenter.org • Free Weekly BobBlast
ITALY • Current Workshop Schedule
Ming Franz
5/1-5/11/19, UMBRIA.
Dream vacation and Painting workshop in Italy.
• Workshops in Bob's Studio
Contact: Tracy Posey, 855/476-6482
washington@laromita.org or www.laromita.org
Ming Franz, 505/281-4956
mingfranz555@gmail.com or
www.mingfranzstudio.com
Paint Away: Art Classes Abroad!
(a Coastal Maine Art Workshops program)
Details available soon! RobertBurridge.com
MAY 2019, 10 days in Provence.
WORKSHOPS
2018
OCTOBER 2019, 10 days in Venice.
One week workshop retreats
Contact: Lyn Donovan, 207/594-4813
at the magnificent info@cmaworkshops.com or
Marouatte Castle, www.cmaworkshops.com
Dordogne France Camille Przewodek
2019 Season features: 9/8-9/20/19, LAKE COMO & CINQUE TERRE. Discover
BOB EVANS – Photography: a New Way of Seeing Color. This 13-day plein-air
May 26 - June 2 workshop introduces a way of seeing and using color
to paint the light key—capturing the time and type
LYNN GERTENBACH of day through accurate color relationships. All
Plein-air painting levels, oils preferred.
July 20-27
ANDREW GIFFORD
Plein-air painting fineart@sonic.net or www.przewodek.com
July 27 - August 3
HELEN BEACHAM
MEXICO
Plein-air painting Robert Burridge
September 5-11 1/19-1/26/19, Abstract Acrylic Painting & Collage in
ART AT THE CASTLE For more information

www.ArtAtTheCastle.com
Mexico. Casa de Los Artistas. Boca de Tomatlan, 10
miles South of Puerto Vallarta.
Contact: Robert Masla, 413/625-8383
www.ArtWorkshopVacations.com
Casa de los Artistas, Inc. –
Masla Fine Art – ArtWorkshopVacations.com
ROBERT MASLA STUDIOS SOUTH
Contact: 413/625-8382, www.MaslaFineArt.com or
www.ArtWorkshopVacations.com
A Unique Tropical Paintcation with the Best
Instruction in the Best Location. All inclusive
artists retreats - tropical oceanside paradise:
Robert Burridge, Andy Evansen, Tony van Hasselt,
Shelby Keefe, Tom Lynch, John MacDonald, Robert
Masla, Jim McVicker, Mario Andres Robinson, Dave
Santillanes, Randall Sexton. Serene fishing village
10 miles south of Puerto Vallarta. Call for early
registration discounts. Visit our website for more
Weeklong classes in painting, details, schedule, slide show, free instructional
videos and…
drawing, mixed media and more. 1/5-1/12/19 & 1/26-2/2/19, Robert Masla, Paint in
Annie O’Brien Gonzales JOHN C. CAMPBELL FOLK SCHOOL
paradise with Casa Director/Co-founder, Aqua
media, Art & Yoga, Draw Like Crazy – Draw Like a
Santa Fe, New Mexico 505.699.1705 Painter! Painting in Plein Air and the Studio.
anniego@mac.com | www.annieobriengonzales.com folkschool.org 1-800-FOLK-SCH
BRASSTOWN NORTH CAROLINA 1/12-1/19/19, Shelby Keefe, Bold Brush Painting –
Online classes: www.boldexpressivepaintingworkshops.com Plein Air and Studio.
1/19-1/26/19, Robert Burridge, Abstract Acrylic and
Collage Workshop.
2/2-2/9/19, Andy Evansen, Loosening Up Your
Watercolor Painting, Plein Air and Studio.
2/9-2/16/19, Tom Lynch, Watercolor Secrets
Revealed, Plein Air and Studio.
2/16-2/23/19, John MacDonald, Drawing and Painting
in Plein Air and the Studio.
2/23-3/2/19, Tony van Hasselt, Tropical Escapaint &
Creating an Artists Watercolor Travel Sketchbook.
3/2-3/9/19, Randal Sexton, Expressive Brushwork En
Plein Air, Plein Air and the Studio.
3/9-3/16/19, Jim McVicker, Painting in Plein Air and
the Studio.
3/16-3/23/19, Dave Santillanes, Capturing the
Atmosphere - Painting in Plein Air and the Studio.
3/30-4/6/19, Mario Andres Robinson, Painting in
Paradise – the Portrait and Figure in Watercolor.
Tom Lynch
2/9-2/16/19, PUERTO VALLARTA.
Contact: 630/851-2652
SCOTLAND
Workshops in Scotland
7ë%VX
Join Scotland’s art retreat in the Heart of Scotland
Art sts
and Kingdom of Fife. Magnificent countryside,
fishing villages and the best of Scotland.
Comfortable accommodations, all meals, wine,
and transportation included with exception of
0ùI%VX airfare. Includes art and culture tours in Edinburgh

& Glasgow.
5/20-5/29/19, 10 days. Art Retreat. Scotland. All
7LEVI%VX
media. Paint and sketch side-by-side with artists.
Contact: Julie Snyder, 818/533-2363
WorkshopsInFrance.com
ONLINE
#MyArtistsNetwork Contact: www.boldexpressivepaintingworkshops.com
Birgit O’Connor
Check website for Special Live Online Workshops
and to enroll 9-4pm (PST) San Francisco, CA. Check
your time zone. Just like a live on location workshop
you will be able to see other students, ask
questions, problem solve and watch realtime...

Contact: www.birgitoconnor.com Wo r k s h o p s Robbie Laird
Camille Przewodek DEADLINE: OCTOBER 1, 2018
Mondays with Camille. LDL (Long Distance Learning) CATHARINE LORILLARD WOLFE ART CLUB, INC. OHIO August 28-31, 2018
is a continuation program for further developing 122ND ANNUAL OPEN JURIED EXHIBITION at the Ohio Watercolor Society
a new way of seeing and painting color. Online
instruction/critiques are scheduled on Monday
National Arts Club, NY. January 8-25, 2019. Open Michael McEnroe mcenroem@aol.com
to women artists. Media: Oil, Acrylic, Watercolor,
afternoons, from 2 to 5 pm (Pacific Time) for Pastel, Graphics, Mixed Media and Sculpture. Over OREGON October 8-12, 2018
painters who have taken one of my 5-day workshops, $10,000 in awards. Entry fee: $45/Members, $50/ Watercolor Society of Oregon
but are unable to come and continue their studies at Beth Verheyden vstudios@comcast.net
Associates, $55/Non-Members. Online entry. Submit
my regular Monday morning classes in Petaluma CA.
your entries at www.showsubmit.com. Download
Plein-air still life, landscape, head & figure. Please
the prospectus at http://www.clwac.org COLORADO November 6-8, 2018
see website for updated schedule and details. Colorado Watercolor Society
Contact: Camille Przewodek, 707/762-4125 DEADLINE: OCTOBER 15, 2018 Martha Heppard Martha@heppard.com
fineart@sonic.net or www.przewodek.com CENTER FOR CONTEMPORARY ARTS 2018 NATIONAL
COMPETITION (CCAN). September 1, 2018 -
Capturing COSTA RICA
The next Workshop Section will appear in In Color Mar 24-30, 2019
October 15, 2018. $25 per image limited to 3 images.
the Artists Magazine December 2018 issue. Franco Marini Franco@globalj.org
$6,750 in cash prizes. Juror: James Surls.
Space Reservation is by August 30, 2018 All entry submissions through CaFE www.RobbieLaird.com
Newsstand Date for December is October 30, 2018 https://www.callforentry.org
www.TOMLYNCH.com Master Workshop Series 2019

ADVERTISER INDEX Sept 6 – 9 New Braunfels, TX
BRINGING NATIONAL TALENT TO SOUTHWEST FLORIDA
Alain Picard ....................................... 111 Oil Painting with Dan Graziano

Sept 25 – 28 Clarkston, WA 1/12/19 - 1/13/19, 9am - 4pm, $375
Annie O’Brien Gonzales ...................... 110
Oct 17 – 20 Beavercreek, OH Palette Knife Painting with Jan Ellen Atkielski
Art Gallery Frames ............................. 111 1/25/19 - 1/26/19, 9am - 4pm, $375
Nov 8 – 10 Raleigh, NC
Art In The Mountains..........................108 Visual Sensations in Mixed Media with Jan Sitts
2019
Artspan.com.......................................91 2-18/19 - 2/21/19, 9am - 3pm, $500
Jan 7 – 10 Boynton Beach, FL Watercolor with Tom Lynch
Atelier Studio Program Of Fine Art.......102
Jan 25 – 27 Indian Rocks Beach, FL 3/5/19 - 3/8/19, 9am - 3pm, $500
Birgit O’Connor .................................104 Watercolor Portraits with David Lobenberg
Feb 9 – 16 Puerto Vallarta, Mexico
Blick Art Materials ..................... Gatefold 3/25/19 - 3/27/19, 9am - 3pm, $425
Mar 5 – 8 Punta Gorda, FL
Camille Przewodek ............................109 Acrylic with Kathleen Denis
July 17 – 20 Lowell, MI 4/1/19 - 4/4/19, 9am - 3pm, $500
Caran d’Ache .................................... IBC
Aug 13 – 19 Reno, NV
Catharine Lorillard Wolfe Art Club ....... 111 Available For Workshops Register at www.visualartcenter.org
Sept 9 – 13 Stephenville, TX In Your Area
Center For Contemporary Arts............. 111 Call 630-851-2652 Visual Arts Center | (941) 639-8810
Nov 12 – 16 San Diego, CA Tomlynch@msn.com 210 Maud St, Punta Gorda, FL 33950
Coastal Maine Art Workshops.............108
Copeland International Arts ............... 110
Creative Art Workshops .....................109
Crescent Cardboard Company ............... 7
Dixon Ticonderoga...............................33
The Fine Art of Framing
Fort Myers Beach Art Association........106
Framers Outlet................................... 111 Hundreds of ready made frames
General Pencil.................................... 24 in sizes from 4” x 6” to 48” x 72”
Hudson River Valley ...........................106
Huntsville Museum Of Art...................108
Jack Richeson & Co Inc.........................25 La Romita School of Art
Jerry’s Artarama ........................... 5, 107 Splash color workshop
John C. Campbell Folk School............. 110 Laromita.org / Italy
Kanuga .............................................106 Instructor: Ming Franz
CUSTOM SIZE FRAMES AVAILABLE IN MANY STYLES
Liliedahl Fine Art ................................ 95 mingfranz555@gmail.com
May 1-11, 2019 505-281-4956 Order Online:
Marguerite Meyerson .........................109 Lodging, meals, bus www.mingfranzstudio.com ArtGalleryFrames.com
included $2,700
Masla Fine Art...................................108
Ming Franz ......................................... 111
Planes Of The Head............................. 111
RG & L Garafola ................................. 105 Canvas Floater Frames
SEE ALL 7 HEADS
Robbie Laird Art Studio....................... 111 Best Quality - Selection - Price

planesofthehead.com
Service - Low Wholesale Prices

Robert Burridge Studio ......................109
NO MINIMUM - FREE SHIPPING
Sakura Of America................................ 6 ON SELECT SIZES - Plein Air
760.809.3614
Sedona Arts Center ...........................103 Frames too - custom sizes ok

Southern Atelier ................................108 framersoutlet.com 800.228.8527
Staedtler-Mars Limited ........................21
Strathmore Division............................BC
Studio Escalier ..................................104 See Art | Love Art | Share Art
The Art Engine...................................107
Tom Lynch ......................................... 111 #myartistsnetwork
Tombow USA .......................................27
Visual Arts Center .............................. 111
William Schneider .............................108
Lasting impression
Jane Avril Leaving

the Moulin Rouge
by Henri de
Toulouse-Lautrec
1892; essence on
board, 33¼x25
WADSWORTH ATHENEUM MUSEUM OF ART, HARTFORD, CONNECTICUT; BEQUEST OF GEORGE A. GAY; PHOTO: ALLEN PHILLIPS/WADSWORTH ATHENEUM
Jane Avril Leaving the Moulin Rouge

perfectly expresses the feeling so many performers share of
leaving the warmth and color of the theater and moving against
the wind in the stark real world. I’ve always identified with the
haunting figure of the dancer and chanteuse Jane Avril—pale,
angular and devoid of theatricality when away from the
safety of the spotlight.
C H A R L E S B US C H
A c t o r, P l a y w r i g h t , D i re c t o r

FDUDQGDFKHFRP
FUHDWLYHDUWPDWHULDOVFRP

2018-10-01 The Artist's Magazine

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