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 Wednesday, September 12, 2007
Watercolor Society Showcase in the Works
Posted by jessica

Though it hardly seems possible, we’re currently preparing our annual Watercolor Society Winners’ Showcase feature—which will run in the January/February issue—wherein we publish the winning paintings from a year’s worth of watercolor society competitions, plus some conversations with winning artists from the larger societies. It’s my personal pleasure to get to chat with these artists and learn about the stories behind their award-winning works, their techniques and inspiration.

I found this video of the Western Federation of Watercolor Societies’ 32nd annual exhibition/16th annual Colorado Watercolor Society’s State Watermedia Exhibition just a few minutes ago. It’s a great behind-the-scenes look at what goes into putting one of these shows together.


Look for our February issue on newsstands Dec. 11!


From the Magazine | Overheard
9/12/2007 11:01:08 AM (Eastern Daylight Time, UTC-04:00)  #  Comments [0]
 Monday, September 10, 2007
Weigh In: The Ethical Battle Over O'Keeffe and Eakins
Posted by sarah

images.jpegIt's no news that American universities have suffered financially as a result of a faltering post-9/11 economy, but several of them have made headlines recently when they've announced rather "innovative" fundraising initiatives. Thomas Jefferson University, for example, stood to make $68-million when it sold the Thomas Eakins painting The Gross Clinic and Fisk University stood to recieve more than $10-million for the Georgia O'Keeffe painting Night, New York. But both deals were derailed when resistance proved insurmountable.

In Philadelphia, outraged citizens raised more than $30-million in a matter of months to keep The Gross Clinic (the remaining $38-million will be provided by a bank until the fund can meet the $68-million price tag) in their city. It will now reside at the Philadelphia Museum of Art and the Pennsylvania Academy of the Fine Arts. (You can donate to the fund to keep the painting in Philly here.)

In Nashville, the Georgia O'Keeffe Museum fought to prevent the sale of Night, New York, contending that O'Keeffe's donation of this painting (and several others) in the 1940s was made with the understanding that the collection of works would never be broken apart. Tennessee's Attorney General ruled in the museum's favor, but since then new deals have been brokered.

When donors give art collections worth millions to universities, do they have the right to expect that the work will never be sold? In the case of Fisk, university officials claimed that the sale of the O'Keeffe painting (and one other painting in their renowned collection) was necessary to keep the university afloat. What good is a collection of paintings to a university if the university doesn't exist?

Overheard
9/10/2007 3:15:48 PM (Eastern Daylight Time, UTC-04:00)  #  Comments [0]
 Wednesday, September 05, 2007
Make Your Own Giclée Prints
Posted by jessica

wcm_oct07_latham.jpgIn addition to offering a free, downloadable lesson on working with Photoshop software, we’ve posted our October issue special report—Maggie Latham’s guide to creating your own giclée printshere in its entirety.

For those artists intimidated by technology, the artist insists that just a few years ago she couldn’t even send an e-mail. And today, a good portion of her earnings comes from the sale of her miniature prints, greeting cards and sometimes posters. Take Latham’s advice and revolutionize your own career.
Maggie Latham, Evening Light
(watercolor on paper, 11x14)


From the Magazine | Tips and Tools
9/5/2007 3:42:51 PM (Eastern Daylight Time, UTC-04:00)  #  Comments [1]
 Tuesday, September 04, 2007
Lonely Artists: It's High Time You Joined A Watercolor Society
Posted by Sarah



Sun-Bathing (22x28) by Jean Grastorf
Winner in the 86th Annual National Watercolor Society Exhibition


Every so often, we receive an e-mail from a sad and lonely watercolor artist, who just can't seem to find any fellow artists. "You are in luck," we always say. There are plenty of watercolor societies you can join (including the National Watercolor Society) and there may even be an active local society near you. The benefits of membership include the opportunity to exhibit work, network with other artists and enrich your community's awareness of the medium you love.

To find the perfect society for you, search our online database. And if you're not into the society scene, consider joining one of our online communities. Both the Artist's Network and WetCanvas! have very active watercolor forums. You'll meet thousands of artists there instantly and you'll never ever be a lonely watercolor artist again.

One more way to get connected: you'll find extensive watercolor workshop and showplace listings in our classifieds section.

Note: if you'd like to add your society to our listing, send your information to wcmedit@fwpubs.com.

Overheard
9/4/2007 10:08:03 AM (Eastern Daylight Time, UTC-04:00)  #  Comments [2]
 Friday, August 31, 2007
Art on Film
Posted by Kelly

As any Bond nut will testify, the scene in Dr. No where Bond Girl Ursula Andress emerges from the water was inspired by Sandro Boticelli's The Birth of Venus. And, as Chuck Sambuchino points out in the October issue, it doesn't take an art historian to recognize the connection between Edvard Munch's expressionist painting The Scream and Wes Craven's Scream trilogy and it's villian's elongated rubber mask.

But sometimes the artistic references aren't so obvious. Movies are filled with subtle homages to famous paintings. Blade Runner (1982), often cited as a masterpiece of art direction and film noir, owes its look to the urban images of Edward Hopper, specfically Nighthawks. " I was constantly waving a reproduction of this painting under the noses of the production team to illustrate the look and mood I was after in Blade Runner, says director Ridley Scott in Paul M. Sammon's book Future Noir: The Making of Blade Runner.

So as you head out to the movies this weekend, keep your eyes peeled for subtle and not-so-subtle tributes to your favorite artists and paintings. If you find any, we'd love to hear about it.


From the Magazine
8/31/2007 3:49:08 PM (Eastern Daylight Time, UTC-04:00)  #  Comments [0]
 Wednesday, August 29, 2007
Ingres' Birthday Slideshow
Posted by jessica

In celebration of Jean-Auguste-Dominique Ingres’ birthday (Aug. 29, 1780), take a break and consider the French neoclassical painter’s works in this slideshow put together by Brenda of Dayton, Ohio. While you’re at it, check out some of her other fine art videos.

The other day as I flipped through the book, Paintings That Changed the World (Prestel), I stopped on the entry for Ingres’ painting, Turkish Bath. According to the book, it was this masterpiece—created during the last years of his life, at 82 years old—that established the artist as a revolutionary. Which struck me as odd, considering that his emotional portraits and exaggerated proportions (as in La Grande Odalisque, painted 48 years prior) seem to qualify to me as going against rigid neoclassical conventions. But I digress. Enjoy the slideshow.


Overheard
8/29/2007 3:28:39 PM (Eastern Daylight Time, UTC-04:00)  #  Comments [0]
 Monday, August 27, 2007
What Is Painting?
Posted by Sarah



Succulent Eggplants (synthetic polymer paint on canvas, 74 3/4 x 96 1/2) by Beatriz Milhazes
Gift of Agnes Gund and Nina and Gordon Bunshaft Bequest Fund. © 2007 Beatriz Milhazes


If artist Julian Bell's answers in What Is Painting?: Representation and Modern Art (Thames and Hudson, 1999) don't satisfy your itch for painterly contemplation, perhaps the offerings at MoMA's current exhibitition What Is Painting? Contemporary Art from the Collection (July 7–September 17, 2007) will do the trick. Here's the word on the show:

It presents a selection of artworks made since approximately 1965, including a number of recent acquisitions and many works displayed for the first time since the Museum's reopening. A variety of responses to the question "What is painting?" are proposed in loose chronological sequence, ranging from ironic to sincere; from figurative to abstract; and from an embrace and creative reimagining of painting's possibilities to a critical engagement with its limits.

Read a gamey interview with John Baldessari (whose painting inspired the title of the MoMA installation) here.


Overheard
8/27/2007 4:27:48 PM (Eastern Daylight Time, UTC-04:00)  #  Comments [0]
 Friday, August 24, 2007
Sylvia Plath's Secret Passion
Posted by Kelly

Even as a kid I knew I’d end up involved in the arts in some way. I was as likely to spend an afternoon cutting up my mom’s Better Homes and Gardens and creating elaborate collages as writing skits my friends and I could perform for each other. But sometime around the fourth grade, my fate was sealed: I read Nancy Drew: The Hidden Staircase, and I knew writing great stories was what I wanted to do. Sadly, it turned out I could only serve one muse, and my collages fell by the wayside.

In The Writer’s Brush (due out next month), Donald Friedman reveals the secret drawings, paintings and sculpture of more than 200 famous writers who found themselves as comfortable at the easel as at the typewriter. Among the writer-artists’ works featured are Marcel Proust’s doodle of a jeune fille from his manuscript for In Search of Lost Time, the manuscript sketches that Fyodor Dostoevsky made of his characters, and Joseph Conrad’s racy pen-and-ink cancan dancers. On the cover of The Writer's Brush: Slyvia Plath's Two Women Reading (tempera).

An accompanying exhibition, curated by Friedman, runs from September 11 through October 27 at Anita Shapolsky Gallery in New York.

While I wait, I’m going to head over to Amazon and pre-order my copy of The Writer’s Brush. And, hey, I think I’ve got some collage materials around here somewhere…


Overheard
8/24/2007 5:59:11 PM (Eastern Daylight Time, UTC-04:00)  #  Comments [0]
 Thursday, August 23, 2007
A Festive Weekend
Posted by jessica

artfair1.jpgLast weekend I had the pleasure of attending the Woodland Art Fair in Lexington, Kentucky. Saturday was the perfect day to take in such an event: The heat index was somewhere in the mid-80s, the sun was shining and even a slight breeze found its way throughout Woodland park—not what we’ve become accustomed to lately in the Midwest (and definitely not the same scenario as Sunday). Sponsored by the Lexington Art League and held each year the third weekend in August, the fair featured somewhere around 200 fine artists and craftsmen, live music, food vendors, a beer garden, children’s activities and more—on Sunday afternoon there were belly dancers accompanied by a drum circle.

artfair2.jpgOur editor Kelly Kane was also there, and when we ran into each other we discussed our delight in the watercolor artists’ booths we’d seen. A few that stood out were Arkansas artist Nik Chamberlain’s transparent horses, perfect for the horse-breeding city of Lexington; still lifes, florals and landscapes by Tupelo, Mississippi, artist Carolyn Watson; landscapes by Bruce Allan Neville, from right here in Cincinnati; and gouache and ink drawings by Phillip Jones, of Lexington.

artfair3.jpg

What festivals have you attended this summer?







Overheard
8/23/2007 9:49:04 AM (Eastern Daylight Time, UTC-04:00)  #  Comments [0]
 Friday, August 17, 2007
A Free Lesson in Photoshop for Watercolor Artists
Posted by Sarah




In the October issue of the magazine, we ran a feature on Myrna Wacknov, a watercolor portrait artist with an inventive take on color. In the feature, she explains how she uses Photoshop to help her arrive at the paintings she will eventually paint in a step-by-step guide. Now we've taken the feature a step further: We're offering the artist's guide to using Photoshop Elements in the studio on our website as a free download.

Treat yourself to an inspired painting lesson this weekend and download the guide by clicking here. Who knows? You may just find your next painting in the process.

(Note: the paintings featured above also appear on Wacknov's website in her online gallery.)


Tips and Tools
8/17/2007 2:54:22 PM (Eastern Daylight Time, UTC-04:00)  #  Comments [0]
 Wednesday, August 15, 2007
Art on Your Card
Posted by jessica

If you’re one of the art enthusiasts who can afford to shop for gifts at Sotheby’s, they have two credit card options for you.
6134_FredaWorld.jpg6134_MonetWorld.jpg
Sotheby’s World Mastercard and Sotheby’s World Elite Mastercard—the latter of which is by invitation only—offers benefits like free admission to art museums, a subscription to its magazine Preview, invitations to private exhibitions, 24/7 concierge and travel consultation, business class upgrades on international air travel and more. The rewards include VIP passes to Fashion Week in New York, Los Angeles and Paris, private wine consultation with a Sotheby’s wine expert and other luxuries. Plus, the intriguing images on the cards themselves!

card_degas_lg.gif

We looked around and found another credit card with fine art designs through Discover (pictured here with Degas’ Four Ballerinas Resting Between Scenes). And, if you so desire, there are a couple of companies (here and here) that allow you to design your own, whether it be a photo or your own artwork. Beautifying your credit card: Priceless.



Overheard
8/15/2007 12:09:44 PM (Eastern Daylight Time, UTC-04:00)  #  Comments [0]
 Monday, August 13, 2007
Lost van Gogh
Posted by sarah



Wild Vegetation, owned by the Vincent van Gogh museum
(drawing of the painting discovered beneath Ravine by Vincent van Gogh)

In October of 1889, Vincent van Gogh's brother Theo was late in sending the artist his supplies, leaving him without any unused canvases. Van Gogh did what any impatient and impulsive artist would do: he painted over one of his already completed paintings. 118 years later, the lost painting beneath Ravine (now owned by the Museum of Fine Art, Bosto
n) has been discovered.

Using x-ray technology an
d a close examination of the painting's surface, scholars at MFA Boston and the Van Gogh Museum, Amsterdam, were able to uncover Wild Vegetation, a painting van Gogh referenced more than once in drawings and in letters. According to the press release, the underlying composition was most likely painted in June 1889, during the early period of van Gogh’s stay at the asylum of Saint-Paul de Mausole near Saint-Rémy, and was re-used as a support for Ravine a few months later, in October 1889.

You can't see Wild Vegetation without an x-ray machine (and unusually extensive access to the museum's collection), of course. But you can see van Gogh’s pen-and-ink copy of Wild Vegetation (above) in Van Gogh’s Drawings: New Insights on view at the Van Gogh Museum through October 7, 2007. And Ravine (below)—the masterpiece that now covers the earlier painting—is on view in the MFA’s Impressionist Gallery. The images featured here are courtesy of MFA Boston's website, where you can get the whole story, if you're so inclined


ctr_subimage_2_5034.jpg

ctr_subimage_3_5034.jpg











Ravine
, owned by MFA Boston                X-ray of Ravine showing underpainting   


Overheard
8/13/2007 3:52:24 PM (Eastern Daylight Time, UTC-04:00)  #  Comments [0]
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