Painting is a lonely endeavor. The bulk of artists’ creative lives are spent interacting alone with their subject matter and artwork. While many of us put considerable effort into listening for what a painting might be saying to us while we are painting, the only voice we really hear is that of our internal...
Two of Gregory Strachov's paintings, To Lux Aeterna and Icon of Common Man, have particularly interesting stories behind them...
In the December 2010 issue of The Artist’s Magazine, Jerry N. Weiss discusses Edouard Manet’s Fifer (1866, oil on canvas, 63x38), which was rejected from the Salon because of the scandal that arose from Manet’s earlier picture, Olympia, (oil, 51.4x74.8, now at the Musee d'Orsay, Paris) shown in 1865.
Greg Albert suggests some value contrast improvements to a pastel seascape.
As a workshop teacher, I critique my students' paintings every day. Thanks to this, I've learned how to critique my own. Here's what I look for.
Download a free copy of Michael Chesley Johnson’s guide to workshops and find out how to get the most out of your workshop dollar.
Knowing what the judges of The Artist's Magazine's 25th Annual Competition looked for can help you make wise choices
when you enter any juried show.
Deborah Secor shares three quick studies she painted while attending one of Duane Wakeham's legendary workshops. For the entire feature, see the October 2008 issue of The Pastel Journal.
All the links from the July 2008 issue of The Artist's Magazine at your fingertips!
Three factors contribute to the dramatic effect of a charcoal portrait by Diane Chilson.
Teasels and Berries (watercolor) is a lovely botanical painting that should inspire artists to explore this unusual and interesting genre.