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4 Editors Note
6 Letters
6 Whats New atforums.myAmericanArtist.com
7 Art Mart
8 Quick Sketches
Plein Air Painting to Help Special-
Needs Teens...Artist-In-Residence
Program Accepting Entries...
Brooklyn Museum Launches
Customized Smart Phone Gallery
Tours.
CONTENTSN O V E M B E R 2 0 0 9
EASY REFERENCE
Oil: 12, 30, 38, 44, 58, 66, 67, 68, 70, 72
Watercolor: 52
AMERICAN
ARTISTCOVERSelf-Portrait (detail)
by Lea Colie Wight, 2008, oil, 24 x 18.Collection the artist.
12 The Arrival of French
Impressionism in America:Californias Golden Years
BY JEAN STERN
Around the turn of the 20thcentury, Impressionism had
become the style of choice amongmost American painters. Turningfrom academic modes and styles,
the public slowly embraced thesebright, colorful paintings and
looked to the California artists toadapt the French-inspired way of
painting light in the landscape.
30 Paint What You See at a Glance
BY M. STEPHEN DOHERTY
Lea Colie Wight spent yearslearning to paint fleeting imagesthat captivated her attention.
Im now helping studentsunderstand what took me years to
learnthat painting is aboutrecording what you see and feel
at a moment in time, she says.
38 Capturing Atmosphere in Oil
Landscapes
BY M. STEPHEN DOHERTY
Maryland artist Gavin Brooksinstills landscape paintings with
a sense of air, saturated light, time,and distance. She accomplishes
that by managing the subtlety ofvalues, establishing hard and soft
edges, controlling the intensity ofcolor, and creating a layering ofpaint qualities.
44 Portrait Sketches That Guide
Artists and Their Clients
BY M. STEPHEN DOHERTY
Brian Neher paints two small oil
sketches of his portrait subjectsto help set a direction for the
finished portrait that satisfies himand his clients.
Copyright 2009 by Interweave Press, a division of Aspire Media, all rights reserved. Title registered in U.S. Patent Office. The contents ofthis publication may not be reproduced either in whole or in part without consent of the copyright owner. American Artist (ISSN 0002-7375USPS 494-930 Issue 803) is published monthly except July/August by Interweave Press, 201 E. Fourth St., Loveland, CO 80537. Subscriptionsare $29.95 per year domestic, $39.95 Canada and foreign countries. Group subscription rates on request. American Artist is printed in the U.S.A.Periodicals postage paid at Loveland, CO, and additional mailing offices. POSTMASTER: Send address changes to: American Artist, P.O. Box469074, Escondido, CA 92046-9074.
www .myAme r i c anA r t i s t . c om
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52 44
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5866
52 10 Steps to Determine Values
in Watercolor
BY DAVID R. DANIELS
Although I am known for using vibrant
colors to create what appear to be playful,spontaneous images in my watercolorpaintings, the key to the success of these
paintings is the value structure of thecompositions. Heres how I teach others to
use studies to plan effective compositions.
58 Using Layers to Create a Sense of Place
BY JOHN A. PARKS
John Evans evocative and compelling oil
paintings emerge from a long process ofstruggle, overpainting, layering, sanding,
and soul-searching.
66 Exhibitions
Reconfiguring the Body in American Art,
18202009...Gaze: Portraiature After Ingres...Luis Melndez: Master of the Spanish StillLife...Czanne and American Modernism...
Call of the Coast: Art Colonies of New England.
74 Business of Art
76 Technical Q+A
78 Bulletin Board
80 Coming in...
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4 American Artist
Portrait byEverett Raymond Kinstler
EDITORS NOTE
FOUNDER, CREATIVE DIRECTOR: Linda Ligon
CEO: Clay B. Hall
PRESIDENT: Marilyn MurphyCFO: Troy Wells
VICE PRESIDENT, CONSUMER MARKETING: Bob Kaslik
VICE PRESIDENT, SALES& MARKETING : Stephen KoenigVICEPRESIDENT, PRODUCTION: Trish Faubion
VICEPRESIDENT, TECHNOLOGY: T.J. HartyVICEPRESIDENTAND DIVISIONPUBLISHERFOR ARTAND JEWELRY: David Pyle
PRINTED IN U.S.A.
Send editorial mail to AMERICANARTIST, 29 W. 46th St., 3rd Floor, New York,N.Y. 10036. AMERICANARTISTwelcomes editorial submissions, but assumes noresponsibility for the loss or damage of any unsolicited material. Unsolicitedmaterial must be accompanied by a self-addressed, stamped envelope.
Subscription services and information: AMERICANARTIST, P.O. Box 469074,Escondido, CA 92046-9074, or call (866) 917-2676; or outside continentalU.S.: (760) 317-2316. Back issues are available for $9.99 each plus postageand handling.
AMERICANARTIST (ISSN 0002-7375; USPS 494-930) is indexed in TheReaders Guide to Periodical Literature and The Art Index; it is reproducedon University Microfilms, Ann Arbor, Michigan 48106; on microfiche by Bell& Howell Micro Photo Division, Old Manfield Road, Wooster, Ohio 44691;and abstracted by ARTbibliographies, P.O. Box 9, Oxford, OXI 5EA, England.Book reviews are indexed in Book Review Index..
AMERICANARTIST: published (since 1937) monthly, except for July/August, byInterweave Press. EDITORIAL and ADVERTISING offices, 29 W. 46th St., 3rdFloor, New York, N.Y. 10036. Telephone: (646) 841-0050. $5.99 a copy,
U.S.A., and $6.99 a copy Canada. Yearly subscription in U.S.A. andPossessions, $29.95, elsewhere $39.95. Group subscription rates on request.
The contents of this publication may not be reproduced in whole or in part withoutthe consent of the copyright owner, Interweave Press, a division of Aspire Media.
Attention Retailers: To carry AMERICANARTIST in your store, call IPD at1-866-473-4800, or write: American Artist Dealer Dept., c/o IPD SourceInterlink Companies, 6195 Lusk Blvd., San Diego, CA 92121-2729.
NOVEMBER 2009 VOLUME 73 ISSUE 803
EDITORIAL
EDITOR-IN-CHIEF
M. Stephen DohertyMANAGING EDITOR
Bob BahrSENIOR EDITORS
Allison Malafronte Brian F. RileyART DIRECTOR
James B. Bogner IIIASSISTANT EDITOR
Austin R. Williams (646) 841-0050
CONTRIBUTING EDITORSLynne Bahr Daniel Grant
John A. Parks Linda S. PriceJoseph C. Skrapits Jane Sutherland
PUBLISHING
PUBLISHER
David PyleMEDIA SALES DIRECTOR
Jim McIntosh (513)-961-0034MEDIA SALES MANAGER
Mary McLane (970) 290-6065ONLINE PRODUCT DEVELOPMENT MANAGER
Karyn Meyer-BerthelAD TRAFFICKERS
Teresa Warren Melissa BrownCIRCULATION DIRECTOR
Bob KaslikCIRCULATION MANAGER
Sheila DerringtonWEB BUSINESS DEVELOPMENT MANAGER
Tricia Gdowik
MARKETING MANAGERAnnie Hartman Bakken
PRODUCTION
PRODUCTION DIRECTOR
Nancy M. PollockPRODUCTION EDITOR
Nancy ArndtFOR SUBSCRIPTION INQUIRIES
(866) 917-2676 (U.S.) (760) 317-2316 (outside U.S.)[email protected]
M. STEPHEN DOHERTY
Editor-in-Chief
Would You Have Chosen That Cover?
There are times when picking the cover image for American Artist can be achallenging assignment. The drawing or painting has to represent the contentsof the issue, it must fit into the rectangular space in such a way that the sub-
ject of the artwork is immediately recognizable, the text must be able to floatover the image and appear legible, and the finished cover design must be dis-
tinguishable from those of the most recent issues. Sometimes we have three orfour outstanding works of art to choose from that fit all those criteria, andsometimes we struggle to find just one.
No matter how difficult or easy the selection process might be, we always won-der if we came up with a cover you thought was appealing enough to buy the
issue, subscribe to the publication, or renew your subscription. We dont know theanswers to those questions until six or eight months after the magazine is printed
when all the bookstore and newsstand reports have been finalized and we receivea comprehensive report from our circulation department in Loveland, Colorado.
All that is about to change, because we are establishing a Reader Advisory
Panel (RAP) of artists who will vote on cover options, article titles, special issue
themes, event locations, and favorite artists. If you want to join this panel,please go to our website (http://forums.myAmericanArtist.com) and click onthe link to our RAP questionnaire. This questionnaire asks for some basic
information about your preferred art medium and level of experience so thatwe can better understand why you might prefer one option over another.
In the meantime, I would appreciate it if you would think about your level of
interest in the articles included in this issue. Did you find Jean Sterns articleabout the history of California plein air painting to be helpful in understanding
how the great artists of the past helped shape your current work (page 12)? Andwas David R. Daniels article on determining values in watercolor relevant to
the challenges you face when painting (page 52)?Ill look forward to reading your comments on the RAP group surveys, in
the forums section of our website, or in e-mail messages sent to
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