®

DRAWING
AROUND
THE WORLD
Inside the
Sketchbooks
of 3 Urban
Artists to Sketchers

WATCH
Incredible Works of Art
WHEN
DISASTER
STRIKES
+
An Artist’s
by 15 Rising Talents Guide to
Insurance

Painting
With Paper
DISCOVER THE CREATIVE
POTENTIAL OF COLLAGE NOVEMBER/DECEMBER 2022
 Contents
Volume 39 | Issue 06
NOVEMBER/DECEMBER 2022

42

56
Compositions
32 56
ON THE RISE SEE THE WORLD,
Meet 15 impressive emerging artists—all winners ONE SKETCH AT A TIME
of the 2022 Artists to Watch competition. Artists from five different continents use
EDITED BY HOLLY DAVIS on-site sketching to share their world and their stories.
BY STEPHANIE BOWER
42
UNSTOPPABLE 64
Six artists in their 80s, 90s and beyond provide COLLECTIVE MEMORY
ample evidence that art-making is much more Travis Walker merges landscapes of the American West
than a career—it’s a life. with iconic scenes from contemporary film.
BY CYNTHIA CLOSE BY JENN REIN

ArtistsNetwork.com 1
 16 22

FAR RIGHT: ACADEMY OF ART SOFA WITH JOANNE (DETAIL, OIL ON CANVAS, 24X18) BY KEVIN WUESTE; FEATURED IN THE OIL PAINTER’S COLOR HANDBOOK (MONACELLI STUDIO) BY TODD M. CASEY
78
Prime Build Outfit
8 ANATOMY OF 22 TUTORIAL 74 BUSINESS OF ART
A PAINTING Explore color mixing with Choose art insurance to fit
Frans Hals’ Portrait a CMYK color palette. your needs—and rest easy.
of a Gentleman BY SCOTT MAIER BY DANIEL GRANT
BY JERRY N. WEISS
26 WORKSHOP 76 DO NOW
10 CREATIVE LIFE Create a collage with Must-see exhibitions
Ziggy Attais turned a French scraps of painted paper. BY CHRISTINA RICHARDS
country estate into a haven BY CAROLE RABE
for artists and writers. 78 INDEPENDENT STUDY
BY LOUISE B. HAFESH 30 ART HACKS Resources for artists
Learn tips and tricks for BY HOLLY DAVIS
16 VOYAGE contour drawing.
Drawing media and BY COURTNEY JORDAN 80 LASTING IMPRESSION
watercolor play intertwined Andrew Wyeth’s
roles for travel sketching. Alvaro and Christina
BY STEPHEN HARBY “Contour drawing outlines BY JANE BLANCO

20 THE ASK shapes with line alone. . . .

What is your favorite art There’s no better way to
medium, and why? give your hand-eye ON THE COVER
EDITED BY ANNE HEVENER The Golden
coordination a workout.” (detail; pastel pencil
on cardboard, 21x30)
— Courtney Jordan by Jia Ying Khor
4 FROM THE
EDITOR

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2 Artists Magazine November/December 2022

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 From The Editor Art sts Magazine
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4 Artists Magazine November/December 2022

 Two new books to help you draw
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 “IN THE PROCESS
OF STRIVING TO
EMPOWER THE
C R E AT I V E S P I R I T I N
ITS MANY FORMS,
W E ' V E C R E AT E D A
VIBRANT ARTISTIC
C O M M U N I T Y.”
—Z I G GY AT T I A S, F O U N D E R
A N D D I R E C TO R O F T H E
C H AT E AU D ’O R Q U E VA U X
I N T E R N AT I O N A L A RT I ST S
& WRITERS RESIDENCY

Artist-in-Residence
Jonathan Ray Hernandez Farris
PHOTO BY ANDREW PUTSCHOEGL

ArtistsNetwork.com 7
Prime ANATOMY OF A PAINTING
Dutch Treat
After two centuries of neglect, the reemergence
of FRANS HALS’ work was a revelation.
by Jerry N. Weiss
w
e tend to think genius is
timeless, but rare is the
artist whose reputation
remains consistently high for more
than a few years, let alone several cen-
turies. Frans Hals (ca 1582/83–1666),
an artist whose canvases are notable
for their virtuosic handling, fell out of
fashion for 200 years. It wasn’t until
a French art historian began writing
about him in the 1850s that Hals was
recognized as one of the masters of
Dutch Golden Age painting, second
only to Rembrandt in the realm of
Netherlandish portraiture. Although
he was prolific, there’s a vast differ-
ence of opinion as to how many of
his paintings exist today. One scholar
placed the number of authentic can-
vases at 222, another at 145. That’s
the downside of teaching dozens of
talented students.
Like his art, Hals’ character was
long misunderstood. Dubious legends
regarding his debauchery—often
accompanied by criticism of his loose
brushwork—have been dismissed in
recent years. We know that Hals was
born in Antwerp and lived most of
his life in Haarlem, where he studied
under Karel van Mander and worked
as an art restorer and dealer. He
married twice, had many children,
and eventually outlived his success.
“What a joy it is to see a Frans Hals. How different
it is from the paintings . . . where everything is
carefully smoothed out in the same manner.”
—vincent van gogh
8 Artists Magazine November/December 2022
Portrait of a Gentleman
(1850–52; oil on canvas,
44⅞x33⁷⁄₁₆) by Frans Hals
NATIONAL GALLERY OF ART, WASHINGTON,
D.C.; WIDENER COLLECTION
Although Hals had to sell his belong-
ings to pay off debts and was left
impoverished in old age, he received
a well-deserved pension from the
city of Haarlem in recognition of his
achievements. Thanks to Hals, we
know just how the city’s gentry and
militia looked.
Hals’ achievements transcended the
boundaries of Haarlem, and his leg-
acy spread beyond the Netherlands.
He had a revelatory effect on 19th-
century artists. “What a joy it is to see
a Frans Hals,” wrote van Gogh. “How
different it is from the paintings—so
many of them—where everything is
carefully smoothed out in the same
manner.” Portrait of a Gentleman
exemplifies the best qualities of Hals’
portraits, in which we’re engaged by
both the relaxed confidence of the
subject and the dynamic facility with
which he’s painted.
Jerry N. Weiss is a contributing writer
to art magazines and teaches at the Art
Students League of New York.
Portrait of a Gentleman was
painted on a thin, white ground
with washes of wet paint.
Pentimenti reveal where Hals
adjusted the position of the hat,
shoulders and arms. The surface is
significantly abraded throughout
the background and the black
drapery, and a restretching of
the canvas resulted in damage at
its edges and a loss of paint. The
head, hands and white fabric,
however, are in good condition.
In the mid-1980s, conservators
removed discolored varnish and
overpainting done by others.
Twentieth-century art historian
Seymour Slive noted that the
gentleman’s pose derives from
a portrait Hals had painted
some 25 years earlier. Portrait of
a Gentleman, painted when Hals
was nearly 70, shows that his
familiarity with the conventions of
portraiture in no way diminished
the freshness of his approach.
Hals began work by drawing in
lines with a brush, using black or
brown paint. Chemical analysis
indicates that the pigments
he used included lead white,
carbon or bone black, yellow
ochre, umber, smalt (blue),
green verditer and vermilion.
While his work was valued during
his life, Hals’ manner of paint
application—the brushstrokes
often juxtaposed rather than
blended—was considered a flaw for
centuries. That attitude changed in
the second half of the 19th century.
Hals’ influence reached into the
studios of the Impressionists—
especially Édouard Manet—and his
example inspired American-born
painters, including Frank Duveneck,
John Singer Sargent, James
Whistler and Robert Henri.
ArtistsNetwork.com 9
Build CREATIVE LIFE

Chateau d’Orquevaux
ZIGGY ATTIAS turned a French country estate into a haven for artists and writers.
article byLouise B. Hafesh
photos by Andrew Putschoegl

In 2016, Ziggy Attias, an American art-

ist, entrepreneur and award-winning
filmmaker, received an early inheri-
tance from his parents—a mid-1700s
property, in much need of care, in the
idyllic Champagne-Ardenne area of
France. That gift was not only life-
altering for Attias but, within a year,
would become a unique residency cen-
ter, fostering the personal growth and
artistic expression of artists worldwide.

A DILEMMA
“My parents had purchased Chateau
d’Orquevaux in 2002,” says Attias.
“I’d always felt the chateau was an
inspiring space, but when they gifted
it to me, I was going through many
difficulties. I thought I’d fix it up
a little and then sell it.” He recalls
that everything about the place was

10 Artists Magazine November/December 2022

 big and needed too much work; none-
theless, he earnestly began tackling
repairs to his French fixer-upper, and
a funny thing happened. “I was falling
in love with everything it could be,”
he says. “It had so much potential
that I started to imagine ways to keep
ABOVE
Nighttime view of it, including a plan for having fellow
Chateau d’Orquevaux, artists visit and help with the restora-
in northeastern tion. It was a romanticized ideal, for
France, home of the sure, but I was looking for solutions.”
Chateau d’Orquevaux
International Artists &
Writers Residency AN IDEA
RIGHT Gradually, the notion of an artist
Artist-in-Residence residency started to gel for Attias,
Noah Stacey
who has a knack for manifesting
OPPOSITE something out of nothing. “At the
Artist-in-Residence time, I didn’t have many choices. I’d
Jonathan Ray run out of ideas and could no longer
Hernandez Farris
support my family,” he says. “Selling
the chateau would be a band-aid that
might solve some financial burdens
in the short term; however, if a res-
idency worked, I might be able to
do good on a larger scale and also
remedy my situation.” Attias began
posting photos of the property on
Instagram, along with questions such
as: “What are you looking for from an artist residency?”
He quickly got 5,000 followers.
A LEAP
The heartening response motivated Attias to create
a safe place for artists to explore, contemplate and share
ideas without judgment. Taking a leap of faith, he moved
from the U.S. to France, where he didn’t speak the native
language, and in 2017, opened applications for the first
Chateau d’Orquevaux International Artists & Writers
Residency. “We received about 100 applications and
narrowed the list down to 38 artists,” he says. He invited
these applicants to the chateau, scheduling their residen-
cies over a three-month period during the summer and
fall. “From then on,” says Attias, “word of mouth from
artists who’d attended and others who’d heard about the
opportunity helped promote the residency in the best
way possible.”
A GROWING VISION
Over the years, the residency has grown remarkably.
Chateau d’Orquevaux has hosted creatives from 32 coun-
tries and currently hosts 17 artists every two to four
weeks. Private rooms and third-floor studios allow partic-
ipants to pursue their art while immersed in the French
country lifestyle. “We accept all types of artists, from
emerging to established, and take diversity, media, people,
ArtistsNetwork.com 11
Build CREATIVE LIFE
and cultures seriously,” says Attias.
“Acceptance isn’t only about the level
of skill but also about what the appli-
cant can bring to the residency and
what we may be able to offer in return.
Each artist interprets Orquevaux dif-
ferently, and that shows up in their
work. Daily I feel lucky to be part of
what they do.”
Grander plans are in the offing.
What began as a residency centered
in the chateau is breathing new life
into the nearby community of fewer
than 75 inhabitants. “We recently pur-
chased a building in the village center,
which will showcase the work of art-
ists who’ve been to the chateau,” says
12 Artists Magazine November/December 2022
Attias. “I think there will come a time
when Orquevaux will be an interna-
tional artist and writer’s village.” To
that end, Attias and his supporters
have acquired village houses for
accommodations and a five-acre parcel
of land that will eventually become
a contemporary art museum and park.
AN OPPORTUNITY
The Chateau d’Orquevaux
International Artists & Writers
Residency currently offers two schol-
arship opportunities: the Emerging
Artist Grant and the Denis Diderot
Grant—named for the 18th-century
FOR ADDITIONAL INFORMATION, VISIT
CHATEAUORQUEVAUX.COM OR
INSTAGRAM.COM/CHATEAU_ORQUEVAUX
ABOVE
Ziggy Attias, Founder and Director of the
Chateau d’Orquevaux International Artists &
Writers Resisdency, and Beulah van Rensburg,
Artist Residency Director
TOP LEFT
Informal get-togethers with other residency
participants is an important aspect of the
Chateau d’Orquevaux experience.
LEFT
Participants are encouraged to share their
work, which provides educational oppor-
tunities as well as entertainment—as with
this concert.
philosopher, art critic and writer
whose unpublished manuscripts were
stored in the chateau for more than
150 years. For the 2023 and 2024
seasons, a grant from the Amram &
Virginia Attias trust will cover all art-
ist application fees.
Asked how it feels to realize his
grand vision so quickly, Attias doesn’t
miss a beat: “Some may call me lucky,
which I am; however, I left every-
thing and everyone I knew to chase
a dream. The cost was high but well
worth it. I aimed to build a beauti-
ful place that inspires not only me
but also other artists attending the
residency. In the process of striving
to empower the creative spirit in its
many forms, we’ve created a vibrant
artistic community.”
Louise B. Hafesh is an award-winning
artist and a frequent contributing writer
to Artists Magazine. For more informa-
tion, visit louisebhafesh.com.
 ®

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 SPONSORED CONTENT

“Experimentation with color leads to new discoveries,” Rachel says,

“as in this color secret: Skip the black and use a dark blue or
purple instead—which you can see I’ve done here, in the hair.”

No-Fear
Color!
When it comes to what she wears, the artist
RACHEL CHRISTOPOULOS says she may
introduce a strategic pop of color here and there,
but when it comes to her art, the acrylic painter
prefers maximum color! “As a painter, I love the
challenge of trying to balance and harmonize
multiple colors and contrasts on canvas,” she says.
Find out how you can turn up the volume in your
painting using System 3 Acrylic paints, by Daler-
Rowney, and Rachel’s tips for color confidence!

14 Artists Magazine November/December 2022

 SPONSORED CONTENT

BECOMING COLOR CONFIDENT

Rachel offers this advice for artists who want to be
bolder in their color choices:
• Trust your gut! As artists, we often can tell
when a painting is off but may find it hard to
identify the reason. Practice verbalizing what
works and what doesn’t. Notice how the colors
you’re drawn to interact with one another. With
this better understanding of your preferences, you
can let your intuition prompt your color choices
more confidently.
• Be curious and embrace experimentation.
Understand that not every painting will end
successfully, but you’ll always be learning
An Acrylic Toolkit
something new as you practice. Rachel’s artwork focuses on blending
• Know your colors and how they relate to one another. Even if you find color the familiar with new ideas and bright
theory boring, just knowing the basics will greatly improve your ability to mix and colors to create a unique take on the
match palettes while you work. figure and other everyday subjects
and scenes. She prefers acrylic paints
because they dry quickly, which is
BRINGING A PORTRAIT TO LIFE how she tends to work. Here’s an
Rachel brings her bold approach to color to every subject, including faces and overview of her tools and materials:
figures. When painting a portrait, she’s interested in capturing the likeness, but she
also brings other considerations into play. “I like to think about the composition Paints: Daler-Rowney System 3
as a whole, asking myself questions such as: What is the mood of the piece? How Acrylic Process Set, which includes
do I want it to sit with the viewer?” she explains. “Often my portrait work is about Process Magenta, Process Yellow,
celebrating life and individuality, and I like picking lively colors that reflect that.” Process Cyan, Titanium White, and
Rachel suggests self-portraiture as a great way to exercise your portrait-painting Black; “System 3 Acrylic paints offer
skills. “In 2020, I began painting expressive self-portraits and it changed my whole a good place to land when you’re
practice,” she says. “Painting the self and interpreting life stages through canvas looking for affordable, quality paints
and color requires a level of to stock your studio,” Rachel says,
introspection, but it’s so much “especially when you’re just getting
fun! If you’re intimidated by started as an artist.”
portraits as a whole, start
painting yourself, for yourself.” Brushes: Princeton Velvetouch
synthetic flat brushes in a variety
of sizes
The art of Wisconsin-based
artist Rachel Christopoulos Surface: Strathmore Mixed Media
(rachelsshoppe.com) is created paper or Blick Studio canvas
from a place of pure curiosity
and a passion for color, Miscellaneous: Blick Disposable
individuality and word play. Palette Pads and a spray mister. “I use
Follow her on Instagram a spray mister to keep my paints wet
@rachelsshoppe.co. both on the canvas and on my palette
“I’m kind of obsessed with the way this Ophelia-inspired
when painting bigger sections,” says
piece turned out,” says Rachel. “I love how the fractured the artist.
color makes it look like she’s disappearing into the water.”

Learn more about Daler-Rowney System 3 Acrylics at DICKBLICK.COM.

ArtistsNetwork.com 15
Prime VOYAGE

Pas de Deux
For artists who sketch during travels, drawing media
and watercolor can play intertwined roles.
text and illustrations by Stephen Harby

t he relationship between the

act of drawing and the creation
of a painting in watercolor is
one with many facets, and while
we could say drawing is the skel-
eton supporting the organs and
tissue of a finished watercolor, this
metaphor is presented at the risk
of oversimplification. It’s true that
sometimes an intricate painting is
only possible thanks to the precise
line-work armature painstakingly
laid out before disappearing under
watercolor washes. Other times, the
drawing itself takes center stage to
revel on its own as the star attrac-
tion. On rarer occasions, an artist
manages to summon sufficient
bravura to dispense with the prelimi-
nary drawing altogether.
Perhaps the more applicable meta-
phor is that drawing and painting are
like two performers collaborating in
a duet or a dance, in which the lead
role is passed back and forth. For this
discussion, let’s define drawing as
the application of lines with a finely
pointed tool, whether it delivers the
mark in ink, graphite or another
medium. Painting, on the other hand,

This presentation drawing

Michigan Avenue at
Dusk, Chicago, Illinois
(graphite and watercolor
on paper, 30x22) began
with a detailed layout
drafted in pencil.
COLLECTION OF THE CHICAGO
ART INSTITUTE

16 Artists Magazine November/December 2022

These drawings, done in Pilot pen, depict the opulent reading rooms in This detailed sketch of the side of the Pantheon (Rome; pen-and-ink in
the Sterling Memorial Library, on the Yale Campus. On a single 8x5½ sketchbook, 6½x5) used line to indicate textures and materials.
sketchbook page, I documented multiple aspects—plan, overall view
and details. For an architect, the very act of committing forms to paper
serves as a memory device.

is the application of broad swaths
of color and tone with a brush.
Sometimes a pen or pencil can mimic
a brush’s repertory of effects, such
as when graphite is applied with the
flat side of a soft lead. Alternatively,
repetitive small marks of hatching
or stippling can represent texture or
surfaces in shade or shadow, although
these roles may be more efficiently
dispatched by a brush. By the same
token, as a watercolor painting pro-
gresses from broad-brush blocking
out to the final rendering of details,
the use of more precise brushwork
assumes the role previously played by
the pencil. The functions of drawing
and painting overlap, and their col-
laboration should be seamless—like
the artistic creation between two
performers in its most perfect and
idealistic sense.
As in all forms of creative expres-
sion, there’s no one approach that’s
right. Just as there are soliloquies,
arias and solo dances in performance,
there can be drawings that stand
on their own. On the other hand,
drawings may be given a lift with the
addition of color, or sketches may
flow directly from a paintbrush. As
I look over my own work in obser-
vational sketching from the past 40
years, I find satisfaction in a variety
of approaches—from analytical
sketches of a reading room in Yale’s
Sterling Memorial Library that
I created as an architectural student
(above left) to a fine-line pen draw-
ings of the Pantheon (above right) to
a pen-and-watercolor drawing of the
newly restored façade of St. Peter’s
Bascilica (page 19), captured during
the papal dedication in October
1999. The first time I completed
a large-scale architectural water-
color in perspective was a quarter of
a century ago. For that painting of a
French classical château (page 19),
I first drew everything in detail, using
lightly applied pencil in a way that

ArtistsNetwork.com 17
Prime VOYAGE

TWO-PHASED APPROACH
For my current work, whether in situ or in the studio, I’ve arrived at one preferred way of progressing from drawn line
to final painting. This entails using a soft-lead, graphite pencil not only to draw lines, but also, primarily, to describe
the unfolding drama of light and shadow, which for me, form the essence of a painting’s structure. These drawings,
usually done on the smooth paper of a Moleskin sketchbook, essentially become notans (black and white works meant
to show light and dark values). My drawings guide the production of the final painting, which I can create with greater
confidence because the design has already been “auditioned.”

In preparation for a painting of a For my second sketch, I began with Shading with the side of a soft graphite
street in Lompoc, Calif., I created two a line drawing. pencil, I added light and dark values.
separate graphite sketches on site. This
first one was a quick study to capture
the shapes and values.

FAR LEFT
Having worked out the
design with my two graphite
sketches, I was ready to begin
my painting. I penciled in the
merest compositional outline
on my watercolor paper. In
fact, that outline probably
wasn’t necessary, since my
initial watercolor wash blocked
in the forms just as effectively.

LEFT
I completed South H
Street, Lompoc (graphite
and watercolor on paper,
14½x11) by adding warm and
cool colors, being careful to
preserve the white of the paper
in areas denoting sunlight on
the cars, distant building and
sides of the tree trunks.

18 Artists Magazine November/December 2022

One of the glories of the restored façade of St. Peter’s Basilica, in
Rome, was the introduction of the slight colors of the travertine marble.
I exaggerated the effect in this sketch (Sakura Pigma Micron pen and
watercolor on paper, 6x6½)
In order to achieve the precision and realism I desired for this large
watercolor painting of a French classical chateau (graphite and
watercolor on paper, 33x22), designed by Francois Mansart, I started
with a detailed pencil underdrawing.
I completed this sketch of Santa Maria della Salute (watercolor on
paper, 9½x7) in less than an hour. Rather than draw a preliminary layout
in pencil, I went straight to blocking in the forms, using extremely light
values of watercolor.
probably comes closest to the idea of drawing-as-skeleton.
In this piece, the pencil lines all but disappeared, and
the washes and color took over—but this wasn’t a quick,
on-site travel sketch; it took many hours to complete in
the studio. In another work created at about the same
time, my depiction of the complex forms of Santa Maria
della Salute (above), in Venice, materialized on the paper
without any preliminary drawing.
Every artist’s work process evolves over time, and I find
mine now leans toward the one I’ve demonstrated in Two-
Phased Approach (opposite). The relatively fast work in the
field is assigned to pencil and paper. The more time-con-
suming work with watercolor comes next, which I find to
be more rewarding in the comfort and convenience of the
studio with my favorite music and libation close at hand.
Stephen Harby is an architect, watercolorist, former faculty
member of the Yale School of architecture and founder of
Stephen Harby Invitational, which organizes travel
opportunities for small groups.
ArtistsNetwork.com 19
Prime THE ASK
WE ASKED...
What is your favorite
art medium, and why?
“I love working with oils.
The challenges are real “I appreciate the deep
resonance of color
but the rewards are,
achieved with oil and
too. The medium is respect its flexibility.
continually teaching It can be blended,
me something new. I’m scumbled, overpainted,
or employed as a wash or
forever the student, sketching agent. The
which is exciting.” artist’s brushmarks can
be visible or concealed,
MIA TARDUCCI
ARTIST and translucent or tinted
glazes can be added
“My favorite medium at the on the surface to
moment is watercolor. It has enhance depth.”
taken me 17 years to accrue JAYNE YANTZ
a reasonable level of INSTRUCTOR OF ART HISTORY,
understanding of its working PENNSYLVANIA ACADEMY
properties. There’s an innate OF THE FINE ARTS
freedom that delineates
watercolor from other media.”
MARIO ROBINSON
ARTIST “Ink and wash. Give me
a watercolor field set with
a fineliner pen or dip pen
and India ink. It’s portable
and flexible, and it always
has the potential for
disaster. I like media that
feels a little out of control.”
DANNY GREGORY
ARTIST, AUTHOR AND CO-FOUNDER
OF SKETCHBOOK SKOOL
20 Artists Magazine November/December 2022
WE ASKE
D. . .
Y O U A N S WERED
“Colored pencils. They’re
portable and wonderful for
detail work.”
—JAN FAGAN
“Alcohol ink—for the vibrant
colors and unexpected
behavior. It’s always exciting
to see how things turn out.”
—BETH KLUTH
“I love pastel, which
combines drawing with
painting. You don’t have to
wait for it to dry, no mixing
is required, and you can
have so many layers.”
—PATRICIA BARBERO
“Acrylics—for the vibrant
colors, beautiful mixing of
hues and ease of cleaning.”
—JENNIFER OLENDORF
MASON
“I love the challenges
charcoal presents. It forces
me to work to get the tones
just right for hyperrealism
and visual textures.”
—ASHLEY SWORDS
CHARDAY PENN/GETTY IMAGES
FOLLOW US ON SOCIAL
@ARTISTSNETWORK TO
ANSWER REGULAR QUESTIONS
FOR “THE ASK.” RESPONSES
MAY BE EDITED FOR LENGTH
AND CLARITY.
 Bu ld
“THERE ARE MANY
W AY S T O C R E AT E A
C O L L A G E . T H AT ' S
W H AT M A K E S T H E
MEDIUM SO FUN!”
—CAROLE RABE

Yellow Napkin
(detail; painted-paper
collage on board, 12x9)
by Carole Rabe

ArtistsNetwork.com 21
Build TUTORIAL

LIMITED DEMONSTRATION:
PALETTE CMYK LANDSCAPE PAINTING
Stuck in a rut with your
color-mixing? SCOTT
MAIER offers tips and
techniques for how to
shake things up with
a CMYK limited palette.
Follow along as he paints
a landscape using just
three hues, plus black
and white.

Materials
SURFACE: 12x16 primed panel
BRUSHES: No. 12 filbert, Nos.
1 and 4 brights, No. 1 round and
a mop
PIGMENTS: cobalt teal,
quinacridone magenta, Hansa
yellow, titanium white, ivory black
OTHER: Gamsol or other solvent REFERENCE PHOTO
My drawing is based on a photo by Teslariu Mihai that I found on
Unsplash, an online resource for copyright-free photographs.

WATCH & LEARN

View a video of this limited-
palette demonstration and
1 MONOCHROME WASH
Using a No. 12 filbert or brush
of similar width, establish a quick
learn more about the monochromatic wash of paint thinned
strategies Maier employs with solvent. I used black mixed with
at https://bit.ly/3BHjaUz. a small amount of magenta and yellow
to add warmth. The main goal at this
stage is to establish a rough drawing,
describing the scene in two values:
a light tone for the sky and river, and
darker tone for the ground.

TIP: I repeated cobalt teal on my

palette to assist with color mixing,
using one to mix with magenta and
the other to mix with yellow. This
helps to reduce contamination when
mixing secondary colors.

22 Artists Magazine November/December 2022

2 BLOCK-IN COLOR
I mix basic secondary colors to
establish a rough block-in of paint
thinned with solvent or medium. I use
a larger brush here to avoid getting too
detailed. The goal is to establish basic
color relationships between areas in the
landscape.
I mix teal and magenta to create
the blue used for the darker parts of
the water reflection. That same blue,
mixed with white, is used for the sky.
A combination of magenta and yellow
are used on the land masses on the right
side and along the horizon. Here, I adjust
the mixture, adding more yellow to the
foreground areas and more magenta to
the distant trees. I add a small amount
of the blue mixture along the horizon to
soften the transition with the sky.
A combination of teal and yellow
create the green used to paint the grass
in the lower left.
TIP: When mixing, start with the
weaker color, gradually adding small
amounts of the stronger color until
you achieve the right mixture. In this
palette, the magenta is strongest,
followed by the cobalt, with yellow
being the weakest.
3 DRAWING
CORRECT THE
I focus on correcting any errors in
the drawing at this stage. The largest
changes happen in the foreground
as I correct the angles and curves of
the river using the same colors mixed
in the previous step. In the sky area,
I create bands of blue to start refining
the gradient. Along the horizon, I use
a mixture of white, magenta and a small
amount of teal. The band above the
horizon shifts slightly as I add more
teal to the mixture. Moving upward,
I gradually add teal and magenta to
create a deeper blue.
I then work the green areas further,
using a combination of teal and yellow
with small amounts of magenta and
black to warm and darken the color.
TIP: Focus on the basic relationships
between color in this stage. As you
build the light and appearance of
depth in the painting, gradually
suggest some of the smaller shapes.
4 REFINE
Next I switch to a smaller brush and
refine the landscape. I start by mixing
a shadow color of cobalt, magenta and
black. I paint the forested areas next
using a magenta/yellow mixture for the
foreground trees. The distant trees use
a mixture of yellow, magenta and teal,
reducing the amount of yellow as the
landscape recedes.
The green areas are painted next
using a mixture of yellow and teal.
I adjust the mixture with yellow, teal
and small amounts of magenta to create
the variations seen in the reference. The
darker shadow areas in the grass are
created by adding a mixture that adds
blue, magenta and black.
The reflection of the sky in the river
features a gradient of lighter values
nearer the horizon and darker values in
the foreground. The distant, light areas
use a teal, magenta and white mixture.
Advancing towards the foreground,
the color shifts from pure teal before
gradually adding magenta and black
where the river advances.
TIP: Use a mop or fan brush to blend
areas of the sky and water, reducing
the texture and creating contrast
against any textured marks in the
land and trees.
ArtistsNetwork.com 23
Build TUTORIAL

Self-Evaluation Tips
The following tips will help you to
identify what’s working well in
your composition, as well as
areas that could use more work.

• Step back from your work

and evaluate the depth and
atmosphere in the landscape.
If it feels flat, don’t be afraid
to scrape your painting down
and start again from Step 3.

• Reflect on the color-mixing

process. When mixing two
primary colors together, was
the result rich and highly
saturated? If they became
muddy, consider the quality of
the paints being used. Higher-
quality paints will have a
larger pigment load, helping to
retain saturation when mixed.
Lower-quality paints can have
less pure pigment, diminishing
the saturation when mixed.

• Was it hard to control your

colors? Consider cleaning
your palette periodically. If
you mix color with a brush,
make sure it’s relatively clean.
I wipe my brushes on a rag
or paper towel with a small
amount of solvent or straight
linseed oil. When mixing with
a palette knife, keep a paper
towel handy to wipe the knife
clean between rounds of color
5 FINAL DETAILS
Evaluate the painting from a distance to identify areas that need further
refinement. In this case, I chose to develop the distant parts of the river near the
mixing.

center of the painting. I used small brushes to refine the dark areas first, using
Scott Maier is an artist, video producer
a combination of teal, magenta and black. I then brightend some of the light
areas in the tree using a clean brush to lay on a range of orange hues ranging and content creator for artistsnetwork.
from nearly pure yellow, to an even mixture of yellow and magenta, and nearly com, where he has hosted 150 episodes
pure magenta. of the of the show Drawing Together.
Finally, the grassy areas were completed using variations of the base green He’s also the author of the instructional
mixture, adding magenta to add warmth and black to darken. art book, See, Think, Draw.

TIP: Try to avoid adding white to your brighter areas. Adding white will
lower the saturation of your colors, so be sparing with it if you need to
lighten values.

24 Artists Magazine November/December 2022

Build WORKSHOP

COLLAGE

Painting With Paper

CAROLE RABE creates art with a little glue and a collection of color swatches.

I’ve been deeply committed to oil painting for many years, but recently,
I felt I needed a break from my intensive work with that medium. I wanted Materials
something that was more immediate, that used simple tools and easily SURFACE: Crescent Collage
manipulated materials and that encouraged new ways of seeing. or Illustration Board—or any
I often tack painted swatches to my work in order to test a color adjust- heavy cardboard
ment without altering the painting. All those leftover swatches led me COLLAGE MATERIAL: color
to collage. This art-making method involves gluing two-dimensional swatches created by
materials—such as paper, newsprint, wallpaper and fabric—onto a backing applying leftover oil paint,
in order to create an image. I realized my swatches would make excellent col- using brushes or a painting
lage material, and I started making more of them, using leftover oil paint at knife, onto lightweight,
the end of a painting session. acid-free drawing paper
I decided to use my oil paintings as subject matter for my collages. Those GLUE: Lineco Neutral ph
paintings provided a good foundation for my work, so I could focus primar- Adhesive, which allows for
ily on color relationships while revisiting and re-exploring ideas. I found easy positioning of collage
that I could create subtle value shifts, vary color temperature, play with the papers, dries cleanly and,
illusion of space, manipulate shapes and create different surface textures— once dry, keeps swatches
many of my primary concerns and joys when using oils. I was painting permanently in place; other
with paper! I also loved that the limitations imposed by my box of colored options: acrylic gel medium
swatches forced me to think of color in inventive ways—similar to my or Nori paste
explorations when working with a limited paint palette. OTHER:
Although my collages closely echo my paintings, the colored-swatch · HB pencil
versions offer a different sensibility and scale. I found it ironic that I’d · tracing paper
started making paint-swatch collages as a way to quickly explore ideas, but · two pairs of high-quality
in some instances, I spent more time completing the collages than I’d taken scissors—one for basic
to create the original painting. cutting and a smaller pair
My collage method works for me, and you can see a demonstration of my for fine work
approach on pages 28 and 29—but there are many ways to create a collage. · X-Acto knife with No. 11
That’s what makes the medium so fun. You can begin experimenting without blade for fine cutting and
a huge investment in materials, time or preliminary sketches—just find or positioning of swatches
make some swatches, start moving shapes around, cut, paste and enjoy the · ruler
process. You’ll develop your personal method of expression as you work.

CAROLE RABE (carolerabe.com) holds a BFA from the

University of Hartford and an MFA from Boston University. She
has worked as a program coordinator and assistant professor
of visual arts at Pine Manor College, in Chestnut Hill, Mass.,
and as a painting instructor at the Danforth Museum School, in
Framingham, Mass. Her work frequently appears in exhibitions
and has been featured in a variety of publications, including
the December 2019 issue of Artists Magazine.

26 Artists Magazine November/December 2022

Yellow Reflection (painted-papers collage on board, 10x10)

ArtistsNetwork.com 27
Build WORKSHOP
STEP 1
Choose reference image: I selected my 30x30 oil
painting, Yellow Leaves, as the inspiration for
my collage.
STEP 3
Make a color plan and gather swatches: My next step
was to determine how I wanted to approach color. For
example, I could explore complementary color relationships,
a cool or a warm palette, or a high-key value range. In this
instance, I decided on a dominant color scheme of yellow,
blue and green—adjacent hues on the color wheel. I wanted
to keep most of the colors neutral and close in value—
except for a pop of pure yellow for the floor reflection.
I started gathering color swatches, knowing I could add or
subtract to these as the picture developed.
28 Artists Magazine November/December 2022
STEP 2
Make a drawing and tracings: Using an HB pencil, I drew
a cartoon of the composition in a 10x10-inch area of my
collage board. This left a 3-inch border, which would allow
for easier matting when the collage was complete. I followed
the composition of the original painting closely because
I wished to reinvent the painting with new color and value
relationships. I then made two tracings of the cartoon. One
of these would be cut into pieces; the other would come in
handy, as the collage developed, for finding a particular
shape that had become hidden under glued papers.
STEP 4
Look for similarities and start cutting: Next, I looked for
colors and values in my reference that are somewhat alike. This
helped me see where I could use like-colored swatches in
a number of areas throughout the picture. Repeating colors unifies
a collage, just as it does in an oil painting. To cut collage shapes
accurately, I placed one of the tracing-paper drawings directly on
the color swatch and cut through both papers. I then placed the
shapes on the board without gluing. This allowed me to rearrange
or recut shapes, as necessary. I made about 12 shapes before
I considered pasting.
 STEP 5
Refine the shapes and begin pasting: Before
I glued a shape, I refined its contour, using my
sharpest, tiniest scissors. I prefer scissors to an
X-Acto knife for this task. When the shape was ready,
I coated its entire back with glue and placed it on my
collage board. I used an X-Acto knife to slide a swatch
into a precise position while the glue was still wet.
STEP 7
Refine the image: The last few details were the most
critical. In this collage, the yellow reflection on the floor is
the focal point—and it influences all the areas around it.
I considered leaving out the pictures hanging on the walls
but decided to include them. I kept the values of these
pictures close except for a few pops of yellow-green, which
tie into the floor reflection. Those small bits of color unified
the design and created lively color relationships.
STEP 6
Continue pasting: I worked all over the collage and developed
it as a whole, just as if I was painting. I established the larger
areas first and then addressed the more specific shapes,
modifying my work as necessary. Sometimes I could peel off
a shape I wanted to change, but if the glue had set, I pasted
another shape over the earlier one. I extended my swatches
slightly beyond the image area to ensure that a framing mat
would cover the collage's edges.
STEP 8
Complete the finishing details: I made sure all the
papers were glued securely and cleaned up any glue
residue by gently rubbing a clean finger or soft cloth
over the surface. Here (and on page 27) you see my
completed collage, Yellow Reflection (10x10), which
I later placed in a simple maple frame with a warm
white mat and Plexiglas.
SEE MORE OF THE ARTIST'S COLLAGES AT
ARTISTSNETWORK.COM/GO/CAROLE-RABE.
ArtistsNetwork.com 29
Build ART HACKS
What Is Contour Drawing?
Contour drawing outlines a shape with line alone—no
shading. Ideally, artists rarely look at the paper. Instead, they
train the hand to draw what the eye is seeing at the moment,
coordinating hand movements with eye tracking. The eye and
hand work at the same speed.
Why Do It?
• There’s no better way to give your hand-eye coordination
a workout.
• When you keep your eye on the subject, you’ll start truly
seeing—as every great artist must. By staying in observation
mode (as opposed to evaluation mode), you’ll notice details
and other items that are usually overlooked.
• Contour drawing can take as much or as little time as you
want to invest—so why not try it?
The Four Types of Contour Drawing
1. Continuous-line contour: This is a nonstop line, done
without lifting your drawing tool from the paper.
2. Blind contour: The goal is never to look at the paper
while drawing. Instead, look at the subject.
3. Modified contour: The artist makes a drawing
with a series of lines rather than
just one—and looks at the drawing
only when beginning a new line.
4. Cross contour: The artist draws
across the surface of the subject
with a continuous line. Curved
lines depict spherical or cylindrical
shapes; straight lines are used for
flat areas.
No Shady Business
There’s no shading with contour
drawing, but you can suggest it with
these methods:
• Reposition your drawing implement to
make use of different edges and create
lines that do different jobs.
30 Artists Magazine November/December 2022
Tour the
Coutour
Try the drawing method that trains the
eye and hand to work together.
—COURTNEY JORDAN
• Try a marker or pen-and-ink to make dynamic lines.
• Vary the width of your lines and the pressure you use to make
them. Usually, the thickest, darkest lines are reserved for
shadow shapes, with thinner, wispy lines used for lighter areas.
Extra Tips
• Go slowly. Give your body and mind time to get on the
same page (pun intended).
• Close one eye: Many instructors recommend this practice
to aid in slowing down and focusing on details of form.
• Follow the 90-percent rule: Look at your subject 90
percent of the time (unless you’re doing a blind contour
drawing; then look only at the subject).
• Give your hand a break: If your hand tires or the position
feels awkward, look briefly at your drawing as you lift your
SKETCHBOOK: PROSTOCK-STUDIO/TETIANA GARKUSHA/GETTY IMAGES; DRAWING TOOLS: ANDY445/GETTY IMAGES
drawing implement and then place it back on the paper—
either where you left off or further back to retrace a line.
• Work at life size: When your drawing is the same size as
your subject, you won’t need to recalibrate your mark-
making. Beginners find this especially helpful.
• Work from life or a photo: Using a variety of references or
objects increases your training experiences.
Enjoy the Journey
Avoid unnecessary “rules.” Feel free to merge, skip or retrace
areas. You can even add lines you don’t see. Once your
drawing session is done, you can go back to connect broken
lines, but keep in mind that contour drawings are about
training your eye to see as it connects with your hand for an
expressive depiction of form. The journey is more important
that getting a perfect result.
READER HACK
For a chance to win a free one-month membership to
Artists Network (artistsnetwork.com), email your favorite
art hack to info@goldenpeakmedia.com with this subject
line: “Art Hacks.” Submissions chosen for publication may
be edited for length and clarity.
 “ I PA I N T E D
W E T- I N T O - W E T
T O C R E AT E A R O L L I N G
SENSE OF MOVEMENT
I N T H E S K Y.”
—KENT BLACKMON

Beach life (detail;

watercolor on paper,
15½x19½)
by Kent Blackmon

ArtistsNetwork.com 31
 On the Rise
You know them when you see their work—those emerging artists whose talent is
too big not to be noticed. Some are quite young; others have developed their skills
later in life. Artists Magazine is happy to present 15 of these individuals—winners
of the 2022 Artists to Watch competition. EDITED BY HOLLY DAVIS

Still Life/Interior

FIRST PLACE When composing Regeneration, I was drawn to the sway of

Lauren Rosenblum the stems that seem to bend toward their destiny. In autumn,
Marlboro, New Jersey colors are subdued but laced with subtle tones and hues as
Regeneration (oil on wood panel, 35x61)
the leaves dehydrate and crumple. This end to the cycle of
seasons is beautiful to me and speaks of what’s to come.
ABOUT ME: After studying life drawing at the Arts Students League of New York
and the Brooklyn Museum of Art, I later found my finest teacher, who gave me
classical training in drawing and painting. My current work combines influences
from my experiences as a painter, muralist, textile designer and fiber artist.

32 Artists Magazine November/December 2022

 ARTISTS TO WATCH COMPETITION / Winners

SECOND PLACE
Elizabeth Jiang
Milpitas, California
A Humble Feast (acrylic on paper, 24x18)
I was alarmed when I learned that food
waste produces billions of tons of carbon
dioxide, which contributes to climate
change. I now embrace simplicity in cooking,
as reflected in the meal of a few fruits
depicted in A Humble Feast. As I built form
with color, I tried to emphasize the various
visual textures, using long brushstrokes for
the smooth, shiny vase and and shorter but
distinctive strokes for the folded napkins.

ABOUT ME: I’m a high school student

who has been taking art lessons from
a young age. I’ve always admired the
bold, emotional and impulsive paintings
of Vincent van Gogh and Paul Cézanne.
I feel that expressive styles like theirs are
what differentiate art from photography.

THIRD PLACE
M. Joy Lemon
Kentwood, Michigan
Drapery Study III (charcoal and
chalk on toned paper, 21½x15¾)
Two years ago I took a sabbatical from
painting to focus on observation-based
drawing, using graphite, charcoal
and chalk. Drapery Study III is part of
a larger body of work depicting various
forms of drapery in still lifes. Although
this drawing is based on direct
observation, it’s also interpretive. My
goal was to capture the feeling and
beauty of light as it illuminates a form,
washing over its surface while being
absorbed and reflected.

ABOUT ME: I have a BFA from Grand

Valley State University. Currently I’m
studying classical painting methods
through the Sadie Valerie Online Atelier.

ArtistsNetwork.com 33
 Animal /
Wildlife

FIRST PLACE
Carrie Cook
Austin, Texas
Louie (oil on linen, 40x20)

I’m a portrait artist

who’s currently focused
on great apes, including
orangutans, such as
Louie. He was born in
a breeder’s compound,
taken from his mother
as an infant and trained
for live stage shows
and films. At age 9,
he’d grown too strong
to handle and was
relinquished to the
Center for Great Apes,
a sanctuary in Florida.
ABOUT ME: I’ve been
an elementary school teacher,
a graphic designer, a student
of Disney artists and a middle
school art teacher—but it was
my work as the head of graphic
design at the Dallas Zoo and
Children’s Aquarium and the
distress I felt around captive
animals that led me down my
current path. I’m a Signature
Member of both the Society
of Animal Artists and Artists
for Conservation.

34 Artists Magazine November/December 2022

 ARTISTS TO WATCH COMPETITION / Winners

SECOND PLACE
Scott D. Ferguson
Douglassville, Pennsylvania
Council (oil on canvas, 30x40)

The Bali starling—one of the rarest

birds—builds a strong social
community. Its members rely on
each other for finding food and
avoiding predators—hence the title
of my painting. The area around
this bird’s eye is featherless,
revealing its vibrant blue skin.
I struggled to match that color,
ultimately using three blues instead
of one. The experience has since
encouraged me to use colors I’d
ordinarily have overlooked.

ABOUT ME: I have a B.A. in

animation and was a digital artist
for 15 years, but I was always
drawn to the tangible beauty
of fine art. Three years ago
I attempted my first oil painting,
and I haven’t stopped since.

THIRD PLACE
Jia Ying Khor
Klang, Malaysia
The Golden (pastel pencil
on black cardboard, 21x30)
A golden eagle represents strength,
courage, wisdom and power. I created this
bird in black and white so viewers would
first notice its sharp eyes and courageous
temperament rather than the brown color
of its feathers. Because The Golden is on
a black surface, much of what I painted
is a depiction of the light-colored edges
of feathers and highlights. I enjoyed this
detail work; my biggest challenge was to
keep the overall shape of the bird correct.

ABOUT ME: I’m a college student and

a largely self-taught artist. I’ve been
a bird-lover since childhood, and besides
drawing eagles, I like painting peacocks,
with their vibrant colors, in watercolor.

ArtistsNetwork.com 35
 Landscape/Cityscape

FIRST PLACE
Kent Blackmon
Manitoba, Canada
Beach Life (watercolor on paper, 15½x19½)

The painting Beach Life was inspired by the carefree days of summer. ABOUT ME: I’m a self-taught
I painted wet-into-wet to create a rolling sense of movement in the artist who enjoys painting
landscapes, cityscapes and
clouds. The bold darks on the horizon and the expansive sky contrasting waterscapes in watercolor. I think
with the small figures on the beach lend drama. The lifeguard station of my paintings as backdrops
provided a wonderful opportunity for showing context, shadows and that allow viewers to imagine
perspective. The rocks and twigs in the foreground, painted with their own stories.

drybrush, help frame the scene and move the viewer into the picture.

36 Artists Magazine November/December 2022

 ARTISTS TO WATCH COMPETITION / Winners

SECOND PLACE
Henry Bosak
Gilbert, Arizona
Crown Street Vagabond
(oil on canvas, 36x24)
The rusted metalwork and weathered
wood and stone of a brownstone in New
Haven, Conn., caught my attention. My
reference photo includes more of the
building, but for the painting, I focused
on the door, steps and windows. Those
windows presented the biggest challenge
because they showed not only the blinds
inside but also reflections of buildings and
trees. I added the cat, using a separate
reference photo. He’s my daughter’s
pet, but in the painting, he becomes the
vagabond referred to in the title.

ABOUT ME: I took art classes throughout

high school and studied commercial art
for two years at a community college.
Other than that, I’m a self-taught painter
who has gone through a lot of canvases.

THIRD PLACE
Patricia
McKeen
Ontario, Canada
Remembering Ireland
(soft pastel on black UART
sanded paper, 8x14½)
I love everything about
Ireland, from the people to
the fast-changing weather
patterns and lovely skies.
While on a bus tour from
Dublin to Avoca, I snapped
the photo upon which
I based Remembering
Ireland. I wanted to capture
the movement of the clouds
and to give the viewer
a sense of a typical day in
this beautiful country.
ABOUT ME: I’ve had an interest in art my entire life but was unable to pursue it fully until
I retired in 2019. To increase my skills, I’ve taken online courses from Marla Baggetta and
follow Tony Allain, Liz Haywood-Sullivan, Alain Picard and Karen Margulis on YouTube.
This is the first year I’ve felt confident enough to enter a competition.

ArtistsNetwork.com 37
 Abstract/Experimental

FIRST PLACE
Jodie Sutton
Ozark, Missouri
Bubble Gum Rocketship, 8
(encaustic and wax pigment
stick on raised wood panel, 7x5)

I made up the
name “Bubble Gum
Rocketship,” which,
in turn, inspired
a series of works with
cheery colors. In
painting No. 8, phthalo
green balances the
bold indigo lines.
I made the more
subtle markings by
running beekeeping
tools, such as a spur
embedder (a wheel
that pushes wire
into wax) on the
encaustic surface
and then filling the
grooves or holes with
a wax pigment stick.
I created the cell-
like webbing at the
bottom by applying
heat to encaustic
paint pigment.
ABOUT ME: I have
a BFA with a focus on
computer graphic design
from Missouri Southern
State University. Seven
years ago, I took a break
from technology and
taught myself the basics
of encaustic painting
with the help of YouTube
and other resources.

38 Artists Magazine November/December 2022

 ARTISTS TO WATCH COMPETITION / Winners

SECOND PLACE
Debbi L. Homola
Novelty, Ohio
Stillness (acrylic on cradled
wood panel, 30x30)
I started Stillness with saturated primary
colors, but after applying several
paint layers, I felt the piece was going
nowhere. I started journaling what
I like about my favorite abstract artists:
limited palettes; big, loose brushstrokes;
visible layers of texture and paint; and
large areas of space. I realized I needed
to use more paint and proceed without
rushing or judging—letting everything
come together in its own time.

ABOUT ME: After nearly 20 years as

a glass artist creating beads, marbles
and jewelry, I decided to switch to
abstract painting in acrylic. I sold my
glass tools and supplies and took classes
from accomplished abstract artists—
Tracy Verdugo, Gwen Fox, Louise Fletcher
and Jodi Ohl. I strive to create relaxing,
intriguing paintings that invite viewers to
look and linger.

THIRD PLACE The Walk came about organically through the use of traditional painting tools
plus finger painting. The pink figure showed itself and transported me to a walk
Alyson Veit down the sunny side of a New York street—with bright storefronts, glass displays
Powell, Ohio and shadowy alleyways. The point of view is from near the ground—from the
level of a cat or child in a stroller.
The Walk (acrylic
on canvas, 24x48) ABOUT ME: I have a B.A. in psychology, but professionally, I own and direct
a dance studio with more than 500 students. As an artist, I’m primarily self-taught.

ArtistsNetwork.com 39
 Portrait/Figure

FIRST PLACE
Stacy Weitz
Minch
Vineyard, Utah
Rachel in the Rain (oil on linen
mounted on foam board, 24x18)

Rachel in the Rain

depicts a teenager
who was going through
a rough patch. She
would spend time at my
house after school until
her parents returned
home from work. One
rainy afternoon, I saw
her in my backyard
with an umbrella and
was struck by the way
the image captured
her emotional tenor.
The umbrella seemed
to symbolize the
safety net that had
been thrown around
her by friends and
neighbors. I worked
from a reference photo,
and the painting came
together quickly, which
often happens for me
when I find a design
particularly inspiring.
ABOUT ME: My art training
comes from workshops and
from my studies at the Master’s
Academy of Art, in Springville,
Utah, under the direction of
Ryan S. Brown.

40 Artists Magazine November/December 2022

 ARTISTS TO WATCH COMPETITION / Winners

SECOND PLACE
Chenglu Li
Harbin, China
Mother (charcoal on paper, 21⅓x15²⁄₅)
I have deep feelings for rural life,
based on my own experiences.
Mother is a simple, honest drawing
of an ordinary farm mother, created
with subtle and delicate strokes of
charcoal. This quiet image reflects
the unadorned external beauty of the
subject as well as her noble inner
beauty.

ABOUT ME: In 2022, I received

a bachelor’s degree in sculpture from
Xi’an Academy of Fine Arts, in China.
I’ve also studied at the National
Taiwan University of the Arts.

THIRD PLACE
Yujie Pan
Shanghai, China
Pondering About Life (mixed-
media collage on paper, 12x9)
In Pondering About Life, I wanted to convey
a teenager’s confusion about coming of age
and stepping into society—but also a hint of
hope. Young people can feel trapped in bubbles
of inequity, poverty and other difficulties that
they’re born into, but there will always be those
who, while pondering the future, prepare to rise
and make changes. Initially, I planned to use
only colored pencil, but the tightly controlled
look of that medium didn’t reflect the emotional
conflict I wanted to convey. Adding blocky, torn-
paper collage elements helped bring this out.

ABOUT ME: I’m a high school senior taking art

classes at YK Pao High School, in Shanghai.
Other than that, I’m mostly self-taught.

ArtistsNetwork.com 41
 Unstoppable
ARTISTS OF A CERTAIN AGE DEMONSTRATE THAT ART-MAKING
ISN’T A CAREER OR AN OCCUPATION, IT’S A LIFE.
by Cynthia Close

ost people look forward to retirement,

M
usually starting around age 65, but
artists often continue to work, some-
times for decades longer, even up until
their final hours. Examples abound
throughout art history of creatives who
were actively evolving—inventing new
approaches and exploring new media—in their elder years,
even as their health declined. For many people, the act of
making art is restorative, providing a font of energy that
can be renewed day by day, year after year, enabling them
to maintain their productivity as they age.

THREE 20TH-CENTURY ARTISTS

After undergoing surgery for cancer, Henri Matisse
(1869–1954) became wheelchair-bound at the age of 71.
Undeterred, he uncovered a source of creative energy by
using a new medium—cut-paper collage. His joy in creating
something new propelled his art-making for 13 more years.
Matisse wielded paper and scissors until his last day.
Pablo Picasso (1881–1973), one of the most influential
and prolific artists of the 20th century, died at the age of
92, having created hundreds of paintings, drawings and
etchings in styles that continued to evolve into the last
five years of his life. As he aged, his work became even
more expressive than the paintings from his youth. His
confrontation with his own mortality only appeared in
his late self-portraits, as seen in the skull-like Self Portrait
Facing Death, from 1971. He was painting until 3 a.m.
on Sunday, April 8th, 1973, just hours before his death,
believed to be brought on by a heart attack.
The famous American folk artist Anna Mary Robertson
Moses (1860–1961), known as Grandma Moses, was a late
In this 1947 photo, Henri Matisse creates a cut-paper
bloomer who discovered her talent for painting at age 78. shape at age 78—a creative activity he continued
A farm worker for most of her life, she initially expressed until his death seven years later.
her creativity in home decorating, often embroidering GETTY IMAGES/ARCHIVE PHOTOS/STRINGER

42 Artists Magazine November/December 2022

 U N S T O PPA B L E

This 1955 photo shows Grandma

Moses painting at age 94.
GRANDMA MOSES: GETTY IMAGES/ARCHIVE
PHOTOS/STRINGER:

Pablo Picasso, shown here in a 1955 photo at the age

of 78, continued to paint until his final hours of life.
GETTY IMAGES/GEORGE STROUD/STRINGER

pictures in yarn, which she gave as gifts to family and

friends until arthritis made using an embroidery needle
difficult. She then took up painting because brushes were
easier to hold. Moses’ positive world view is apparent in
her seasonal depictions of rural landscapes, inspired by
Currier & Ives. In 1938 she modestly priced her works at
$3 to $5, depending on the size of the piece. The following
year, three of her
works were included
in “Contemporary
Unknown American
Painters,” an exhibi-
tion at New York’s
Museum of Modern
Art. More prestigious THREE CONTEMPORARY ARTISTS
exhibitions followed, For many older artists, the prospect of spending leisurely
as well as gallery hours on the golf course or lolling around a touristy
representation in beachside resort holds little appeal. Their pleasure is found
the U.S. and Europe. in the studio, where their inner need to create is fulfilled.
In her 80s she’d The following pages celebrate three impressive artists who
became an overnight haven’t let age hinder their productivity.
sensation. Known Multimedia artist and activist Henrietta Mantooth is
for her quick wit and just three years shy of her 100th birthday and still looks
charming demeanor, forward to working in her studio where she often surprises
she left a trove of herself with the outcome.
artwork behind For most of his life, painter Mel Leipzig has made New
when she died at age Jersey his home and its people his muse. At age 87, he’s
101 and was hon- more prolific than ever, with a sense of humor about life
This 1969 postage stamp features a detail ored posthumously and excitement about tackling his next painting.
of Grandma Moses’ Fourth of July.
when her painting Lois Dodd, known for her intimate, lyrical landscapes,
GETTY IMAGES/TRAVELER1116
titled Fourth of July managed to squeeze in an interview just a few days before
was selected for she headed from her urban studio to her summer enclave.
a 1969 U.S. postage stamp. The record price for a Grandma At age 95, the artist showed no signs of diminished enthu-
Moses painting was $1,360,000, set in a 2006 auction at siasm about the prospects of painting en plein air in the
Christie’s—quite a legacy for this late-blooming artist. wilds of her Maine garden.

ArtistsNetwork.com 43
 Lois
Dodd
WHEN THE NEW JERSEY-BORN
modernist painter Lois Dodd was
asked about her “practice,” she
bristled at the word. “Doctors and
lawyers have a ‘practice,’ artists have
a life,” she said. This interaction
occurred during an online interview
and discussion with Dodd and artist
44 Artists Magazine November/December 2022
Eric Aho, in conjunction with the
2020 exhibition “Figuration Never
Died: New York Painterly Painting
1950–1970,” at Vermont’s Brattleboro
Museum (see a video of the interview
at bit.ly/dodd-brattleboro). It was a
rare moment interrupting the usually
calm demeanor of the 95-year-old
Dodd, who sat patiently answering
a myriad of questions from the par-
ticipating audience members. She
was open, thoughtful and engaged,
just as she was during her interview
for this article, despite the pressure
of preparing for her annual summer
transition to Maine.
 U N S T O PPA B L E

THE ARTIST’S LIFE

Although Dodd thinks of art-making
as integral to her life—more so than
a “practice” or career—certain educa-
tional and professional milestones are
worth noting.
At a young age, Dodd lost her
mother to cancer and, soon after, her
father, a merchant marine, died at
OPPOSITE sea. Fortunately, her older sister was
Sunflower Petal already acting as head-of-household
in Grass (2010; during the father’s voyages, and as
oil on aluminum such, she was able to preserve some
flashing, 5x7)
© LOIS DODD, COURTESY
sense of family stability and continu-
ALEXANDRE GALLERY, N.Y. ity. The artist attended high school
in Montclair, N.J., which she recalls
RIGHT having “a beautiful art room with
Night Streetlight, a skylight.” She learned from her art
Rockgarden Inn
(2011; oil on alumi-
teacher that she could pursue her
num flashing, 7x5) creative interests, tuition free, at the
© LOIS DODD, COURTESY Cooper Union, in Manhattan’s East
ALEXANDRE GALLERY, N.Y. Village. Like her close friend and col-
league, Mel Leipzig, Dodd learned her
BELOW craft at this institution. It was also
Pond (1962; oil
on linen, 58x65) at Cooper that she met her sculptor
© LOIS DODD, COURTESY husband, Bill King (1925–2015).
ALEXANDRE GALLERY, N.Y. Dodd was an active member of the
avant-garde Tenth Street art scene,
a loose-knit coalition of artist-run
galleries operating with low bud-
gets and presenting a 1950s–60s
alternative to the high-end, more
doctrinaire gallery system. She was
the only female founder of the coop-
erative Tanager Gallery, where she
exhibited from 1952 to 1962. The
artist supplemented her art-making
with a teaching position at Brooklyn
College until her retirement in 1992.
Dodd’s first painting to enter
a museum collection was The View
Through Elliot’s Shack Looking South
(1971), acquired by New York City’s
Museum of Modern Art. With her
usual patience and equanimity, she
comments, “If you wait long enough,
the world comes to you.”
These days, Dodd’s paintings of
scenes from her apartment in New
York City’s Lower East Side and from
her family home in Blairstown, N.J.,
near the Delaware Water Gap, as well as
views of the woods and gardens around
her summer retreat in Maine, are
much in demand. She’s currently rep-
resented by the prestigious Alexandre
Gallery, in Manhattan, and has been

ArtistsNetwork.com 45
 “I can’t invent anything. I need to observe from life.”
— LO I S D O D D
included in many solo and group
exhibitions since the 1950s, but it
wasn’t until 2013, when Dodd was 85,
that she was given her first museum
retrospective, titled “Catching the
Light,” at the Kemper Museum of
Contemporary Art, in Kansas City.
CHANGES AND
BELOW LEFT
Night Sky Loft CONSTANTS
(1973; oil on linen, Dodd’s compositions are a product of,
66x54) as she puts it, “finding and framing
© LOIS DODD, COURTESY
ALEXANDRE GALLERY, N.Y.
the everyday.” There’s a naturalness,
an unforced quality in all of the
BELOW RIGHT artist’s work. “I don’t want to set
Shed Window things up,” she says. As a result, her
(2014; oil on linen,
paintings feel inevitable—Zen-like.
66x48)
© LOIS DODD, COURTESY
They simply are. The subject matter of
ALEXANDRE GALLERY,N.Y. her work is broad, but a limited tonal
46 Artists Magazine November/December 2022
color palette is a signature element
running through the artist’s oeuvre.
For her early work, Dodd would
make drawings on site and then
return to the studio to paint the com-
positions on a larger scale, using oil
on linen canvas. “I tried acrylic,” says
Dodd, “but it felt like chewing gum.”
It took the artist some time to
adapt to direct painting en plein air
without preliminary drawing. She
found working on gessoed Masonite
panels, no bigger than 20 inches on
the longest side, allowed her to start
and finish a painting in one outing. “It
has to be one session,” she says. “You
start and keep going until you finish.”
A student introduced Dodd
to aluminum flashing, a roofing
 U N S T O PPA B L E

construction material, as a painting

surface. Dodd, who works alone and
has no studio assistant, says, “I like to
do all the chores—gessoing and sand-
ing the aluminum surface—myself.”
Sunflower Petal in Grass (page 44)
and Night Streetlight, Rockgarden Inn,
(page 45) both painted on aluminum
flashing, are little gems.
In addition to changing her pro-
cess and painting surface over the
years, Dodd developed her style and
compositional approach. Her 1962
painting Pond (page 45) has a loose,
open-air, gestural quality that seems
closer in style to the work of Willem
de Kooning (1904–97) than to Dodd’s
more directly observational, figura-
tive work that followed. Night Sky Loft ABOVE LEFT as one of her rarely present human figures. Blue Towel
and Shed Window (both opposite) are Blue Towel (1982; oil (above left) is animated by a slight breeze, while in Nude
on Masonite, 16x15)
large oil paintings—both of which use Leaning Back – Blue Sky (above), the figure is caught
© LOIS DODD, COURTESY
a window as the primary structural ALEXANDRE GALLERY, N.Y. motionless, wedged between the top and bottom edge of
element—demonstrate very different the frame. Dodd also tends to close in on her focal point.
compositional approaches. ABOVE RIGHT Landscapes, from this artist’s perspective, aren’t grand
Nude Leaning Back–
One characteristic that remains vistas stretching into far horizons—and her uniform tonal
Blue Sky (2020;
constant in her work, however, is oil on aluminum quality obliterates the constant changes of sunlight and
an egalitarian approach to her sub- flashing, 7x5) shadow, making the image timeless.
ject matter. In a painting by Dodd, © LOIS DODD, COURTESY In general, Dodd’s paintings are like haiku or medita-
ALEXANDRE GALLERY, N.Y.
a single piece of laundry hanging tions. They radiate a peaceful sense of quiet—a place of
on a line holds as much significance retreat, which we can all use a little more of in our lives.

ArtistsNetwork.com 47
 Henrietta
Mantooth
REFLECTING ON HOW to live life in The Griot Cloth (opposite), part of The Displaced, a 2017
fearlessly, the political philosopher, installation and concurrent event held in a New York City
Hanna Arendt (1906-75) wrote about loft sponsored by the Critical Practices Project. Mantooth
how useless it is to worry about the points out, “Half the world are refugees. It’s every place.”
future. She concluded that, “Hence Mantooth (the name reflects her part Cherokee grand- Watching in Ruanda
the only valid tense is the present, the mother) did not start out in life intending to study art. (acrylic on canvas,
Now.” The same could be said about “I didn’t have much art education,” she says. “I didn’t know 90x72)
the outlook on life expressed by the
artist/activist/performer/journalist
Henrietta Mantooth. At the age of
97, her abundant energy isn’t wasted
on worry. Although she admits the
demands of an aging body can some-
times be a distraction, she still lives
and works in the same New York City
brownstone she has occupied since
the late 1960s, walking up the four
flights to her apartment or one more
flight up to her 5th floor studio. She
is unaffiliated with any gallery and
prefers being independent.

ITINERANT ARTIST
Raised in Missouri during the Great
Depression by a strong-willed mother,
Mantooth never felt impoverished.
“As kids we were natural artists,”
she says. “In summer we played in
a big mud hole. There’s a freedom
in childhood. We just did it. We
made things. We were involved.”
The economic pressures the family
experienced, including foreclosure
on their home, led Mantooth on a
somewhat nomadic life, although she
never thought of herself as transient.
“I was a happy kid and I’m a happy
person,” she says. The experience of
being “on the road,” however, still
resonates in her work in paintings
such as Watching in Ruanda (right) and

48 Artists Magazine November/December 2022

 U N S T O PPA B L E

who Picasso was, but I was political
by the age of 8 or 9, and I was so
excited about Franklin Roosevelt
being elected President. I was aware
of the poverty and prejudice of
those Depression years, of the dust-
wrecked farmland, the losses and
foreclosures, the stunted lives, lack of
education and segregation. This early
background still gives intensity and
vision to my artistic endeavors and
affects my approach to materials and
techniques.”
Mantooth did manage to attend college, receiving her ABOVE TOP
B.A. from the University of Missouri at Columbia. She TO BOTTOM
The Griot Cloth
went on to study Spanish at the University of Mexico
(part of “The
City, and at the University of Caracas, Venezuela. The Displaced”
artist then spent 18 years living in Latin America as a installation; acrylic
practicing journalist and became fluent in Spanish and on canvas)
Portuguese. Her experiences as a journalist continue to
Brazilian Family
influence her art today. “My work is about witnessing. (acrylic on paper,
I get a lot of ideas from the news,” says Mantooth. She 80x216)
eventually went on to study art in Paris under André
Lhote, as well as at the Martenot Drawing and Sculpture
Studio, in Florence, Italy, and the Art Students League of
New York.

ArtistsNetwork.com 49

INSPIRATIONS AND
OTHER INTERESTS
Mantooth credits the work of both
Pablo Picasso and Jackson Pollock as
major inspirations. “I’m not a colorist,
but I love lush paint,” she says. “I have
a big studio that allows me to paint
big.” Some of her two-dimensional
work is monumental, such as the
18-foot-long drawing Brazilian Family
(page 49). Like Pollock, Mantooth
works mostly on the floor. Her
paintings are like chapters in a story,
fragments in a larger continuum.
The artist’s wide-ranging inter-
ests embrace theater and set design.
“Theater has influenced my work
“I prize discovery over perfection. Often,
I don’t know what I’m doing until I do it!”
— H E N R I E T TA M A N TO OT H
50 Artists Magazine November/December 2022
enormously,” she says. Mantooth
did a lot of acting as a child and,
later as an adult, performed at the
highly regarded Off-Broadway Circle
Repertory Company, in New York,
founded by playwright Lanford
Wilson. She also designed some of
the company’s stage sets. She painted
the floor, along with the actors, in
camouflage for a performance of
Berthold Brecht’s Mother Courage.
It was in doing the stage designs
that she switched from using oil
paint to acrylic. It seemed a shame
to Mantooth that those sets were
used only in the context of a play
and then never used again. She then
LEFT
Netted Jim Crow
(part of the “Jailbirds
& the New Jim Crow”
installation; acrylic
on paper, cardboard
and canvas with
black netting)
OPPOSITE
Incarceration (part
of the “Jailbirds & the
New Jim Crow”
installation; acrylic
on paper and
cardboard)
made the connection that
her art installations could
become a stage, a place for
performance. “I prefer doing
installations to easel paint-
ing,” she says.
CONNECTING
THROUGH
CREATING
Thanks to a two-year grant
from the Joan Mitchell
Foundation for organizing
and archiving her work,
Mantooth has realized the
importance of signing and
dating pieces—especially
when their ephemeral nature
and unstable materials make
them vulnerable to the pas-
sage of time. Reflecting on her life’s
work, she says, “The best shows of my
career were the Jail Birds & Flowers
installation at the Kleinert/James
Center for the Arts, in Woodstock,
N.Y., in 2014, and, in the following
year, a revised version, Jail Birds & The
New Jim Crow (see above and oppo-
site), in Catskill, N.Y. It was part of
a program on Creating Justice at the
Greene County Council for the Arts
Gallery on Main Street. The series
title references Michelle Alexander’s
book of the same name.”
Given the seriousness of her sub-
ject matter, Mantooth confesses,
“I have a very sad part of me.” That
sadness is mitigated, however, by
connecting with people in the act of
creation. “Art is fun. Meeting people
is fun,” she says. “The art makes itself.
I just have to get out of the way and
let it happen.”
 U N S T O PPA B L E

THE ARTIST’S LIFE Henrietta Mantooth (henriettamantooth.com) is an

American painter, designer and performer. The artist spent 20 years in Latin America incorporating Latin
themes into her paintings. Those experiences still have a strong impact on her work today and help her
remain connected with her upbringing in Missouri, where her earliest visual and artistic influences spanned
from the dime stores, corrupt politics and racial inequality of Kansas City’s streets to the farmland where
her mother’s family raised grapes and apples. The influences of her past lend an intensity and vision to her
artistic endeavors and continue to affect her approach to painting materials and techniques. Though much
of her work revolves around social commentary, she also paints landscapes, portraits and any other subject
that attracts her painter’s eye and sparks her enthusiasm.
Beyond painting, Mantooth worked in theater for many years as both designer and performer in Off-
Broadway and Broadway productions. She’s currently collaborating on a small theater piece on the life and
prophecies of Nostradamus, and on another based on the life of her mother.

ArtistsNetwork.com 51
 Mel
Leipzig
LEFT
Joshua Nursing
(1974; acrylic on
canvas, 42x50)

OPPOSITE TOP LEFT

Joshua’s Drums 2
(1992; acrylic on
canvas 66x44)

OPPOSITE
TOP RIGHT
Joshua’s Tattoos
(1996; acrylic on
canvas, 54x64)

OPPOSITE BOTTOM
Francesca’s Room
(1991; acrylic on
canvas, 60x66)

DURING MY FIRST CONVERSATION
with New Jersey-based figurative
artist Mel Leipzig, he immediately
launched into an excited description
of a portrait he was painting of a musi-
cian he’d recently met—a guitarist,
dressed for the painting in a fabulously
patterned Nigerian garment. Leipzig’s
total immersion in his work was elec-
tric. His barely contained energy and
enthusiasm for sharing his discoveries
drove the interview forward.
Finding time to paint isn’t a prob-
lem for Leipzig. Since he doesn’t
own a TV or a computer, he has few
extraneous distractions. His son and
daughter attest that their dad makes
no separation between making art
and living his life. Leipzig’s family
members are fully integrated within
his work, as are so many other people
the artist encounters—and Leipzig
isn’t shy about asking people to pose
for him. His oeuvre includes the series
Paying Homage to the Arts of New
Jersey, depicting artists/friends in
their studios; actors rehearsing per-
formances of plays by Henrik Ibsen;
and artists, family and friends who
summered with him at Cape Cod.

52 Artists Magazine November/December 2022

 U N S T O PPA B L E

“Young artists have to be careful

who and what they listen to.”
— M E L L E I PZ I G

FAMILY PICS
Leipzig’s documentation on canvas of
his children’s lives serves as a visual
diary. Joshua Nursing (opposite) done
in 1974, is one of the artist’s earliest
paintings of his son. This intimate
depiction of his wife breastfeeding
the infant on a rumpled bed has
a Madonna and Child quality. The
subdued color contributes to the paint-
ing’s overall sense of calm, despite the
casual disarray of the room.
A very different Joshua pops up
in Joshua’s Drums 2 (above left). The
baby has become an 18-year-old with
the favorite instrument of many
teenage boys—a set of drums—
dominating the foreground of this
atypical composition. In Joshua’s
Tattoos (above right), a work painted
a few years later, the son stands shirt-
less and somewhat awkwardly in the
middle of his chaotic bedroom, its
walls covered with graffiti. In his son’s
defense, Leipzig says, “I had strict

ArtistsNetwork.com 53
 parents, so whatever my kids wanted
to do was OK with me. My son became
a professional tattoo artist. That
painting says something about him.”
In the painting, Francesca’s Room
(page 53), Leipzig’s daughter appears
meditative, looking down as she sits
on the edge of her unmade bed, the
objects of her teenaged world strewn
about her. “My daughter liked gutsy
women,” says Leipzig. “In my painting,
the posters on her wall of people like
Madonna say something about her.”
The phrase, “says something
about him/her,” comes up frequently
when Leipzig discusses his figural
works—an indication that he sees
his subjects as more than amalgama-
tions of anatomical forms. They’re
people with personalities and inter-
ests, and the environment is part of
the portrait.

THE EARLY YEARS

Born in Brooklyn in 1935, Leipzig
studied art at the Cooper Union in the
early 1950s. During this period, when
abstract expressionism was dominant
in the art world, landscape painter Neil
Welliver (1929–2005) was a mentor
and influence. “Welliver was my best
teacher,” says Leipzig. “He was my
champion. He told me to go to Yale.”
Leipzig followed Welliver’s advice,
earning a BFA from Yale in 1958
while studying under Josef Albers.
That same year, Leipzig was awarded
a Fulbright Grant to paint in Paris. In
1960 he moved back to New York. He
explains that at that time, the city’s
rents were manageable for a freelance
artist, but in that he was married and
would eventually start a family, he felt
the need of a more stable job. “I started
teaching at Cooper Union in 1968,”

LEFT TOP TO
BOTTOM
The Artist and His
Daughter (2016;
acrylic on canvas,
48x36)

The Artist Painting

the Graffiti Artists
Who Painted Him
(2016; acrylic on
canvas, 48x36)

54 Artists Magazine November/December 2022


says Leipzig, “but I told my wife, ‘We can’t bring up a child
in New York City. It’s no place to raise kids, and there are
so many artists in New York—all these competing voices in
my head.’ So we moved to Trenton, N.J. It saved my life. In
Trenton, I became a realist painter.”
PALETTE, PROCESS AND COMPOSITION
Leipzig limits his palette to dark red, yellow and blue—
plus black and white—from which he mixes the colors he
needs. “I used to mix a dark purple as a stand-in for black,”
says Leipzig. “Now I use carbon black, like Manet.”
U N S T O PPA B L E
In fact, Édouard Manet (1832–83)
is Leipzig’s favorite artist, with
Thomas Eakins (1844–1916) as a
close second. “The way Manet uses
black and white is terrific,” says
Leipzig, “and Eakins paints people as
if they have an inner life.”
The exclusive use of fast-drying
acrylic as a medium suits Leipzig’s
manner of painting speedily from life.
“I never paint from photographs,” he
says. “Years ago I’d make elaborate
preparatory drawings, but in the early
2000s, I started painting directly on
canvas from life and finishing the
work in one sitting. I have a natural
gift for composition.”
Two of Leipzig’s self-portraits give
evidence of his outstanding, inven-
tive approach to composition. The
Artist and His Daughter (opposite) is
a painting within a painting, and The
Artist Painting the Graffiti Artists Who
Painted Him (opposite) presents four
portraits: a self-portrait of the artist,
a copy of a mural of the artist and the
two mural artists.
Leipzig enhances his compositions
with mind-blowing details of his sub-
jects’ environments. These particulars
tell viewers as much about the sub-
jects as the expressions on their faces.
“My main concern is the relationship
of the figure to the background.
That’s what makes my work differ-
ent,” says the artist.
In his painting of the African-
American photographer Lou Draper
(see Lou, at top), Leipzig chose to
include all the clutter of Draper’s
office. “He was a collector of stuff,”
says Leipzig. Then comes the familiar
pronouncement: “It says something
about him.”
GOING STRONG
TOP TO BOTTOM With his energetic, outgoing nature,
Lou (1996: acrylic Leipzig loved taking on an artist-in-
on canvas, 60x80)
residency at New Jersey’s Lawrence
Homage to the High High School. At the time, he took the
School Art Teacher opportunity to paint several art stu-
No 6 (2019; acrylic dents and teachers (see Homage to the
on canvas, 48x48) High School Art Teacher No. 6 (above).
“It was good that young people could
see that an old person could still work,”
he says. “Art is unbelievably life-giving.
The main thrill is doing it!”
ArtistsNetwork.com 55
 See the World,
One Sketch at a Time
Meet artists from various
O
corners of the globe who
use the power of on-site
sketching to share their
world and their stories.
excerpts from a new book
by Stephanie Bower
56 Artists Magazine November/December 2022
n April 15, 2019, the day that Notre-Dame Cathedral, in Paris,
was on fire, I sat at home, in Seattle, watching the events
unfold on television with tears streaming down my face. I won-
dered why I was crying about a building so far away. Later that
day, I shared a sketch of the iconic building online, and that’s
when it hit me. Seeing my sketch triggered a flood of memo-
ries. It was not only the soaring spaces and gothic architecture
that I recalled, I could also evoke the music of the Mass and the whispering
of the people around me. I could even feel the cool air. This is why we sketch.
When we focus and look closely at what we draw, the entire experience imprints
on the brain. By sketching Notre-Dame one rainy day, in 2013, the cathedral
had become part of my DNA. So, as the building burned, I was feeling the loss of
something that felt like a dear friend—one I had gotten to know very well.
I hear stories like this from sketchers all over the world. Urban sketching,
sketching what you observe on location, is powerful because it’s not about creating
a perfect piece of art, it’s about documenting an experience. Whether sketching a
famous landmark or the barista at
a local café, these drawings become
snapshots of our lives that hold a pro-
found personal meaning. In sketching,
we are creating a record of our life.
In the following pages, you’ll meet
a few of the urban sketchers featured
in my new book, The World of Urban
Sketching, a city-to-city trip across six
continents to visit sketchers from
almost 40 countries. Their extraordi-
nary artwork offers a glimpse into each
artist’s life—and a chance to see these
parts of the world through their eyes.
On that same day in 2019, Sandrine Laperche,
of Paris, watched the flames of the burning
Notre-Dame cathedral from her kitchen roof
window—a moment captured in her 10-minute
sketch, The Night of the Fire (8½x11¾). She
used a Platinum Carbon fountain pen, black
Platinum Carbon ink cartridges, St Petersburg
White Nights watercolors and a Raphaël
Petit-Gris Pur No. 8 brush on 140-lb. Canson
Montval cold-pressed watercolor paper.
 I used a .5mm
mechanical pencil
with 2B lead, Winsor
& Newton and Daniel
Smith watercolors,
and an Escoda Perla
travel brush to
create my sketch
Mass at Notre-
Dame, Paris 2013
(8x5) in a Pentalic
Aqua Journal
sketchbook.

ArtistsNetwork.com 57
 GUANGZHOU,
CHINA
The sketches of YANG GUOBIN, also
known as ALIENBINBIN, or BIN,
depict a slice of life—and it’s often
a vertical slice! His hometown of
Guangzhou has a long history, with
ancient streets, time-honored noo-
dle and tea shops, and Xiguan “big
houses.” The artist is drawn to captur-
ing those spots where old meets new.
From the bottom to the top of the
sketchbook page, his bold linework
and pops of color tell stories of daily
life, often with a touch of humor. “It’s
a very happy thing,” he says, “to write
it down with a brush.”
Some sketchers start a drawing by
blocking out big shapes, and some—
like Bin—start at one spot and then
let their sketch grow. Bin says that
he starts at the bottom of the page,
often drawing his hands, then works
his way up the page to create his
lively, vertical slices of Guangzhou
street life.

LEARN MORE
Urban Sketchers
(urbansketchers.org) Qinglongzhi Street (ink on paper, 16½x5½) In Guangzhou Porridge Stall (ink on paper,
is a non-profit depicts a street of very old houses with 16½x5½), Bin infused the energy of this
organization and global antique shops below and balconies dripping bustling porridge-sellers street into his sketch,
with plants above. Although Bin paints with animated by the signage, people and especially
community of people a limited palette of hues, his sketch feels the delivery guy on a scooter. “I’ll deliberately
who sketch on location complete because he has used all three distort the straight lines of the buildings to
and share their work. primary colors. make them more dynamic,” he says.

58 Artists Magazine November/December 2022

Bin noticed the old building depicted in his
sketch, Wenxing Street (ink on paper,
16½x5½) and later learned it dates back to
the Qing Dynasty (1644–1912). The artist
enjoys sketching the collision of old and new.
Enning Road (ink on paper, 16½x5½) is a
melding of two scenes. The bottom portion
shows diners at the Xizhi Tea House with its
golden lanterns, and the top shows a line of
customers at a popular ice cream shop. Bin
uses a change in scale between the two scenes
to help separate them on the page.
Calligraphy is an important graphic element
that Bin integrates into his sketches. He plans
where it will go and how he’ll write it. In
Hardware Coffee (ink on paper, 16½x5½),
black ink with one bright color is all it takes to
make the sketch work.
ArtistsNetwork.com 59
 ANTANANARIVO,
MADAGASCAR
A little smaller than Texas, the coun-
try of Madagascar—located just off
the southeast coast of Africa—is the
fourth largest island in the world.
Although it’s considered one of the
world’s poorest countries, it’s rich in
terms of the diversity of the landscape,
with unique flora and fauna not to be
found anywhere else on the planet,
and its warm and welcoming people.
With no art school on the island,
ERIC ANDRIANTSIALONINA (known
as DWA), is a self-taught artist. He
started drawing comics as a child,
which led to his sketching on location.
In 2015, he used his sketching talents
as a way to keep a record of the last Working in a handmade sketchbook built of 140-lb. Velin d’Arches drawing paper, Dwa used
months spent with his father, and he a Lamy safari fountain pen (medium nib) and a mix of De Atramentis brown and red inks, pencil
hasn’t stopped sketching since. and Sennelier watercolors to sketch Light Home (6x8), which shows a workspace in his home,
bathed in warm light. “Take time to find the right angle to sketch your subject,” he says. “Tilting
the composition a little will add dynamism to the sketch.”

In Modern and Old in Mahamasina (8x23½), Dwa captures the marriage of old cars and houses
with new ones in a scene where all are being serenaded by a street performer. His sketching media
included a Noodler’s Ahab Flex Nib Fountain Pen with Noodler’s Bullet Proof black ink, Pentel
brush pen, pencil, brown colored pencil, Sennelier and Isaro watercolors. He made his own
sketchbook, using Velin d’Arches drawing paper.

60 Artists Magazine November/December 2022

TOP ABOVE
Working on 140-lb. Velin d’Arches drawing Dwa was sketching at a café where quarry workers take breaks. When a truck parked in front and
paper, Dwa used a Noodler’s Ahab flex nib blocked his view, he scrapped the first sketch and started a new one, which became Truck in a Stone
fountain pen and ink to draw Guardians of the Quarry in Ambatomaro (ballpoint pen and watercolor, 5x16). Instead of seeing the truck as an
Temple, Fort-Dauphin (8x23³⁄₅). “I was in obstacle, he incorporated it into the sketch in his Moleskine Art Collection Watercolour Notebook.
Fort-Dauphin, in the south of Madagascar, for
two weeks of sketching,” Dwa recounts. “I was
sketching near a church, and night was
coming. I started to leave, but I found this
family—the guardians of the church—outside “ WHEN YOU DRAW
their house, waiting for dinner to be prepared.
I knew that the darkness of the night combined OUTSIDE, PEOPLE DON’T
with the artificial light of the house would
make a good sketch. In southern Madagascar, H E S I TAT E T O W AT C H
the people have their own dialect, so our
verbal communication wasn’t that good, but Y O U D R A W A N D C H AT
the art did the rest, and we spent one rich
moment together.” Dwa added color to the WITH YOU. THEY ARE
sketch later, using Pentel brush pens, Chinese
ink and brush, Sennelier and Isaro watercolors, THANKFUL WHEN YOU
and white colored pencil.
B R I N G A R T T O T H E M .”
— D WA

ArtistsNetwork.com 61
 Since moving from
IBAGUÉ, COLOMBIA Colombia to Spain,
Morales doesn’t get
to see his father as
Although DAVID MORALES H. currently lives in Barcelona, much as he’d like.
the lush landscapes of Colombia are home to the artist. Of his sketch Papá
“I’ve always loved to draw,” says Morales, “but I discov- (9x6), he says:
ered urban sketching while in my last year of architecture “My dad had always
painted, but for
school. I started to draw buildings because I wanted to some reason, he
understand the proportions and the relationship between hadn’t been doing it
the different façade elements.” In 2018, as a New Year’s as much. On this
resolution, Morales committed to drawing every day. “It day, he sat to paint
was hard in the beginning,” he says, “but I accomplished in front of me at his
house, so I decided
the goal not only that year but the following year and to sketch him,
beyond.” Now, after three and a half years, it’s a firmly thinking that this is
established habit—one that Morales really enjoys. exactly how I want to
remember him
forever.”

MORALES’ TOOLKIT
For the sketch of his father, Morales
used .005mm and .05mm fineliner pens
in a sketchbook with 55-lb. extra-white
paper. For all the other sketches shown
here, he used a .005mm fine-line marker
on a Taller de Impresión sketchbook, by
Talante, with 95-lb. paper.

In Iguaima (5x16½),
Morales sketched
this small country
hotel, nestled in a
lush river canyon—
a spot not far from
his hometown. “I
remember hesitating
about how dark the
mountain should be,”
he says. “I think we
tend to go lighter
with backgrounds,
and now I know that
I could have gone
further with the
darker values. It’s
good to remember
that it’s all about
what we see and not
what we think it
should be.”

62 Artists Magazine November/December 2022

Reservas del
Campestre (5x16½)
is a sketch of a sunny
park full of trees
near the artist’s
home. “I thought all
the different planes
were challenging and
interesting to draw,”
Morales recalls. “For
me, this sketch
represents how
happy we were when
we lived here.”
—
Our Home Garden
(5x16½) depicts a
garden that Morales
planted himself.
Sketching the natural
light and negative
spaces helps him
better understand
how to draw textures
and values. Notice
how all of his
sketches are loaded
with emotion as he
captures places
and people he loves.
—
In his panoramic
sketch, Plaza de
Bolivar, Ibagué
(5x16½), a view of
the main square in
Ibagué, Morales
worked to include
textures in a range
of values to create
a sense of depth.

“SKETCHING IS AN OPPORTUNITY Artist Stephanie Bower (drawingperspectives.com), of Seattle,

T O U N D E R S TA N D H O W T H I N G S A R E
M A D E , D E S I G N E D , O R E X I S T. M Y
THOUGHTS, THE MUSIC I LISTEN
TO, OR THE PEOPLE I’M WITH
W H I L E S K E T C H I N G A R E A L W AY S
C O N N E C T E D T O T H AT D R A W I N G .”
— D AV I D M O R A L E S H .
Wash., is the author of the new book The World of Urban
Sketching: Celebrating the Evolution of Drawing &
Painting on Location Around the Globe (Quarry Books, an
imprint of The Quarto Group 2022), from which this article
has been excerpted. Bower poured her many years of
experience as an illustrator, teacher, architect and traveling
sketcher into the book, which she worked on during the initial
months of pandemic isolation—an exercise that brought
renewed clarity to the importance of art, travel and connecting
with the world.

ArtistsNetwork.com 63
 Collective Memory
MEETS THE
Artist’s Brush
TRAVIS WALKER’s compositions transport viewers
directly into scenes that feel like both personal
memory and part of the shared lexicon of film.
by Jenn Rein

64 Artists Magazine November/December 2022

 “When you think about what you have to do to stand out as a creative, you have
to consider your whole life path,” says artist Travis Walker. He gives revelatory nods to
his own path by acknowledging the inspirations that have fed him through the years.
Now 45, his painter’s eye still absorbs and dissects the world before him. “If I’m going
to take a chance, it’s going to be on theme,” he says. “I always hope to broaden who
I am as a painter, thematically.”
As a modernist, Walker makes choices in the familiar theme of cinema. The car
depicted sailing off a cliff in Learning To Fly (opposite) is a nod to the movie Thelma &
Louise; a couple executing an aquatic dance move in Lady of the Lake (page 66) brings
to mind scenes from Dirty Dancing; and in No More Running (below), the man standing
in the road in Monument Valley with a crowd behind him evokes Forrest Gump. Once
the familiar is taken in and the theme identified, there‘s another thread that emerges
in this artist’s work—a fascination with the outdoors.

ABOVE
Learning to Fly
(acrylic on canvas,
18x36)

RIGHT
No More Running
(acrylic on canvas,
40x30)

ArtistsNetwork.com 65
 A resident of Freedom, Wyo., Walker lives not far from
the thriving art scene in Jackson Hole. A mecca for plein
air painters, this mountain hamlet has inspired his creativ-
ity for more than 20 years. Altamira Fine Art, the gallery
that represents his work, holds within an artistic account-
ing of the imagery that’s characteristic to this community.
Subjects in wildlife abound, as do mountain landscapes.
Walker’s art stands out here as a unique and refreshing
take on the West, and his love of nature doesn’t strictly
confine him to outdoor scenes in cinema. With It’s All One
(opposite, bottom), we gaze upon a grove of aspen trees,
a common scene found in the surrounding region. When
depicted with this artist’s brush, however, we see a balance
of soft color and light and a willingness to expand the
palette. Beyond the trees and lush grass that define the
foreground, the steadfast beauty of alpenglow decorates
a distant hillside.
66 Artists Magazine November/December 2022
Brushing Up on Influences
As a student at the Tyler School of Art and Architecture,
in Philadelphia, Walker came to know his own style
through the influences of such artists as Max Beckman
(1884–1950), Robert Rauschenberg (1925–2008), Thomas
Hart Benton (1889–1975) and Jasper Johns (1930– ),
among others. It was his discovery of Edward Hopper
(1882–1967), however, that galvanized Walker’s approach
to the canvas. The breakthrough occured just prior to
earning his bachelor’s degree. “That’s when I really started
to see,” says Walker. He goes on to explain, “I love music
and I listen to a lot of material about how musicians
are inspired and what they go through to compose. I’m
really into the layering of things. I got into trying to layer
my inspirations—enjoying what Hopper is doing over
here with X, then maybe trying to see what Beckman is
doing with Y.”
CLOCKWISE FROM
OPPOSITE
Lady of the Lake (oil
on canvas, 30x40)

Mead Ranch Sky (oil

on canvas, 48x60)

It’s All One (acrylic

on canvas, 38x52)

ArtistsNetwork.com 67
 The artist still finds himself seeing in “Hopper-vision,”
as he calls it. “Old timers sitting on a porch in blue jeans,
their caps squared … the light hits them in a way that
makes you feel like you’re staring at a scene from 100 years
ago,” he muses.
Walker’s pieces are a part of the contemporary art scene
in Jackson Hole, but his modernist approach is also aligned
with post-Impressionism. Nature is always present. The
outdoors is an underlying theme, but his personal take
just happens to include a cinematic moment. With Rico’s
World (opposite), a piece that depicts golden prairie grass
set against a strip of brilliant blue sky, one cannot help
but smile at the orange camper van with pink curtains set
squarely in the middle of the canvas where Uncle Rico from
the cult classic Napoleon Dynamite practices diligently with
his football.
Community, in the Hands
of an Artist
A move in 2002 brought Walker to Jackson Hole, and
upon arrival, he started working for the Jackson Hole
Art Association. He admits that he was not interested in
nonprofit work at the start of his term there, but what
came next was a wholly dedicated effort meant to support
the struggling artist.
He founded Teton Artlab in 2008 with fellow artist
Tristan Greszko. “We started the Artlab through frus-
tration, mostly,” Walker says. In a neighborhood where
property rates are unapproachable for those trying to make
68 Artists Magazine November/December 2022
it on an artist’s living, Teton Artlab emerged as an art
collective that provided both studio space and a means for
artistic growth. After only two years, this endeavor secured
its nonprofit status.
Teton Artlab has given a voice to some of the best art-
ists in the Jackson Hole area and has hosted numerous
events in order to draw attention to multidisciplinary
arts. Walker’s love of music is represented here, as is
work in fashion, printmaking, ceramics and hot glass
demonstrations.
Through the Uncommon Art Residency, Teton
Artlab partners with Jackson’s Anvil Hotel and the Art
Association of Jackson Hole to bring artists into the com-
munity who are willing to demonstrate their process and
educate the public on what feeds their passion. “Every
dollar we make goes to an artist and the life that has to be
sustained around art,” says Walker.
Sustaining Creativity at Home
Walker adopted the Jackson Hole region as his home after
a childhood spent as a “military brat.” If asked where he’s
from, he shifts into conversation about the feeling of home
and how he has found his place. A father of two, he’s proud
to raise his children in a fixed location so near to the wilds
of nature.
The transitory lifestyle of Walker’s childhood took
him, at one time, to the Yokota Air Base, in Tokyo, which
sparked his interest in anything Japanese. This base is
still considered an integral piece of the United States Air
CLOCKWISE
FROM ABOVE
Lockhart
Haybales
(acrylic on
canvas, 18x36)

Rico’s World
(oil on canvas,
48x60)

The Stand
(acrylic on
canvas, 48x60)

ArtistsNetwork.com 69
 “If I’m going to take a chance, it’s going
to be on theme. I always hope to broaden
who I am as a painter, thematically.”
—T R AV I S WA L K E R
Force’s presence in Asia, and currently houses more than
14,000 personnel. “There’s a struggle with identity and fit-
ting in among military brats,” he says. “The kids are coping
at a level that the military members don’t understand.”
In her 1991 book, Military Brats: Legacies of Childhood
Inside the Fortress, author Mary Edwards Wertsch explains
that “nomad” is not an accurate term for children of the
military, since a true nomad moves within an entire com-
munity. “American military children, by contrast,” she
writes, “do not have kinship networks to anchor them. The
constant change is not balanced by social stability. For the
military brat, each time the family moves, the world dis-
solves and is swept away.”
70 Artists Magazine November/December 2022
OPPOSITE
Ye Old Faithful (oil
on canvas, 20x30)
BELOW
A Lone Cowboy (oil
on canvas, 30x40)
One of Wertsch’s interview subjects calls out the
requirement for order within this lifestyle. “The emphasis
in the military is on discipline and conformity. On what
you see. There is no emphasis on interiors.” The fact that
Walker emerged from this environment as an artist speaks
to his own powerful coping mechanisms, anchored in
creativity and imagination.
Walker’s obsessive attention to Japanese culture fed
this mechanism. This included a fascination with manga,
architecture and even the Toyota brand. He nurtured a love
of drawing from an early age and found himself living a
dream when he landed a job in a comic book shop decades
ago. “I couldn’t believe my luck,” he says.
Committed to Creative Growth
As it stands, Walker’s evolution as an artist has come from
an absorption of both nature and popular culture. He’s able
to address these seemingly disparate themes while still
embracing the ebb and flow of artistic growth. “Many years
ago, I got hooked on The Artist’s Way,” he explains. This
book by Julia Cameron has served as a reference for many
creatives, shaping the maker lifestyle as one that can be
rich and fulfilling if a regular discipline is served.
In his role as an artist, but also as a champion of the
artistic lifestyle and its need for personal reflection,
Walker traverses the path of his numerous influences by
finding a way to pay tribute to what came before while add-
ing his own contemporary twist. He honors the visual arts
with both irreverence and respect as he continues to solid-
ify the commitment required to push his own limits.
Jenn Rein is a writer and content producer living in Colorado.

MEET THE ARTIST

Travis Walker (traviswalkeraart.com) was born in Tokyo. With a parent in the Air Force, his
itinerant childhood was filled with comic books, science fiction and drawing. After obtaining
a B.A. in painting and printmaking at Virginia Commonwealth University, the allure of the
Western landscape drew the artist to Jackson Hole, Wyo., where he has lived and worked for
nearly 20 years, blending contemporary landscape painting with the fictional worlds of his
past imaginings. Walker’s work is represented at Altamira Fine Art, in Wyoming and Arizona;
Visions West Contemporary, in Montana and Colorado; and The Art Spirit Gallery, in Idaho. He’s
co-founder of the nonprofit Teton Artlab, an Artist In Residence program based in Jackson Hole,
and his paintings have been featured in several art magazines.

ArtistsNetwork.com 71
 Best In Show | Pets
ART COMPETITION

Forever a Pack
by Morgan Cameron

Enter
Today!
Calling all pet-loving artists! The popular Best In Show | Pets Art Competition is back for
its second year. From cats and dogs to fish and frogs, artwork of any pet subject is welcome.

Early Bird Deadline: December 12, 2022

LEARN MORE AT ArtistsNetwork.com/Art-Competitions/Best-In-Show-Pets

Home of Art sts Magazine

 “STILL LIFE IS A
L A B O R AT O R Y W H E R E A L L
T H E F U N D A M E N TA L S O F
PA I N T I N G C A N B E S T U D I E D,
AND IN A CONTROLLED
E N V I R O N M E N T.”
—SARAH SEDWICK

F R O M DY N A M I C
ST I L L L I F E
F O R A RT I ST S :
A M O D E R N G U I D E TO
E S S E N T I A L C O N C E PT S
AND TECHNIQUES
( R O C K P O RT P U B L I S H E R S )

Ripening (oil on
canvas, 12x9)
by Sarah Sedwick

ArtistsNetwork.com 73
Outfit BUSINESS OF ART
What If ?
When the unthinkable
t he lives of artists can be fulfilling
and rewarding, but there can also
be occasions when catastrophe
strikes—when work is lost, stolen,
damaged or destroyed, for example.
Collectors who passed over your work
happens, the right or critics who fail to praise or acknowl-
edge it might change their minds over
insurance can make all time, but such reversals won’t bring
back a painting destroyed in a studio
the difference. fire. Insurance can’t bring back a paint-
ing either, but it can help address the
By Daniel Grant fiscal damage of losing it. Following
are several factors to weigh when con-
sidering whether or not to invest in
insurance for your art or studio.
TYPES OF INSURANCE
Many insurance companies have what
they call “studio insurance” or “artist
floaters” that offer various levels of
protection for the physical premises
74 Artists Magazine November/December 2022
of the studio as well as the tools,
materials, furniture and artwork
housed within it—whether or not the
work is commissioned or completed.
There are additional types of insur-
ance you might find pertinent to your
situation. Transit insurance can cover
objects shipped to a gallery, art fair
or other location. General liability
coverage can pay medical bills should
someone suffer injury inside your
art studio or while moving artwork.
Workmen’s compensation would cover
work-related injuries or illnesses for
people you employ. Disability insur-
ance would help replace income should
you become unable to work.
CRISSERBUG/GETTY IMAGES
Not every artist requires (or
desires) every type of insurance,
but these policies are available for
creatives—regardless of their stature
in the art world—and at reasonably
affordable prices.

INSURANCE CAN’T BRING BACK A
P A I N T I N G ...B U T I T C A N H E L P A D D R E S S
T H E F I S C A L D A M A G E O F L O S I N G I T.
HOME STUDIO
CONSIDERATIONS
For casual artists who are aren’t
earning an income from their work,
regular homeowners policies would
likely cover damage to a home studio,
although the existence of a studio
and its contents should be noted in
the policy. On the other hand, artists
who earn money from selling their
work might want to consider sepa-
rate studio insurance, because many
homeowners policies place “sublimits”
on payouts toward business property
in the home. Bruce Perkins, president
of Flather & Perkins, which offers
insurance for art galleries and muse-
ums as well as home studios, explains:
“Homeowners policies may pay up to
a certain amount—maybe $1,000,
maybe $2,500—calling it incidental
business coverage, or they may pay
nothing at all. These policies cover
personal items, but they don’t address
a business you run out of your home,
or they address it by excluding it.”
Perkins also pointed out that a
company providing a standard home-
owners policy may balk at paying a
liability claim, such as one covering
medical expenses for an individual
who slips and falls while visiting your
studio to view or buy artwork.
INSURANCE PRICING
The cost of a policy is based on
a number of factors:
• where one lives
• the amount of the coverage
• the amount of the deductible
(usually between $500 and $5,000)
• the existence of a 24-hour
central-station alarm system
• where the studio is located (e.g.,
in the artist’s house, in the woods,
near a fire hydrant, in the down-
town section of a city)
• the studio’s construction material
(e.g., wood, metal, brick)
• the artworks’ inherent suscep-
tibility to damage (e.g., glass
and ceramic items as opposed to
a bronze sculpture)
• the kind of insurance protection
that’s required.
THE FINE PRINT
As with any other contract, an insur-
ance policy requires a careful reading
and thorough understanding. Be aware
that insurance carriers include a num-
ber of exclusions in their contracts.
Standard among these exclusions are
“inherent vices,” or latent defects in
the work. Other common exclusions
include damage caused by wear and
tear, gradual deterioration, rust, cor-
rosion, dampness of atmosphere, dry
rot, mold, changes in temperature,
freezing, insects or vermin, water
from sewer or drainage back ups,
earth movements (e.g., earthquakes,
volcanic eruptions and landslides),
floods, war and nuclear disaster. A pol-
icy may also exclude damage caused by
the artist—an unsuccessful attempt
at restoration, for instance. Loss of
market—the artist’s work becoming
less sought-after—is also generally
excluded, as is the mysterious (not
easily explained) disappearance or
inventory shortage of artwork or
supplies.
Some of these exclusions, such as
damage caused by a volcano, are of
little concern to most artists. Others
may deserve attention, depending
on the location of the studio or its
susceptibility to specific damages.
Exclusions of particular concern can
possibly be modified with the pur-
chase of additional coverage.
PROVING WORTH
Valuations for completed and unfin-
ished artworks that haven’t been
commissioned can become an area of
contention between artists and insur-
ance companies. If an item hasn’t
been purchased or if an artist hasn’t
sold many works in his or her career,
establishing the monetary worth of
a work may be difficult.
The burden of proving that an
item of value was lost—and how
much that item is worth—falls on
the artist. An insurance company
may write a policy for an artist for
a certain level of coverage and take
a premium based on what the artist
says his or her artwork is worth, but
when the time for a payout comes,
the company may assign a value to
the lost item below what the art-
ist claims. The company may also
question whether an item claimed
to be lost actually existed. For these
reasons, artists need to be proac-
tive. To establish the value of your
work, be sure to keep good records
of what you sell, to whom you sell it
and for what price. To establish the
existence of artwork, keep a list of
all the pieces stored in your home
or studio, and note the value of
each. Corresponding images of those
works provide further evidence of
their existence. If these records
are kept on paper, they should be
stored away from the studio or in
a fireproof safe.
BOTTOM LINE
Is insurance coverage for your studio
and artwork worth the cost? Only you
can decide. Hopefully, this article has
provided some guidance for further
investigation that will help you make
that decision.
Daniel Grant is an arts writer and
the author of six books on building
a successful art career, including
The Business of Being an Artist.
ArtistsNetwork.com 75
 Must-see exhibitions
DO
NOW
Chicago
DAVID HOCKNEY:
THE ARRIVAL OF SPRING, NORMANDY, 2020
ART INSTITUTE OF CHICAGO
THROUGH JANUARY 9, 2023
ARTIC.EDU
“David Hockney: The Arrival of Spring, 2020,” organized by
the Royal Academy of Arts, London, in collaboration with
the Art Institute of Chicago, presents the British artist’s
most recent work, a series of digital landscapes. Two years
ago—at the beginning of the COVID-19 pandemic—the
ever-versatile and inventive Hockney, now 85 years old,
traveled to France with the express intention of capturing
the emergence of spring. In the bucolic setting of rural
Normandy, he used an iPad as his tool of choice to paint
a series of landscapes that capture the joy and beauty of the
natural world.
76 Artists Magazine March 2021
CLOCKWISE FROM
TOP LEFT
22nd May 2020, No. 2 (digital, 12x8)
27th April 2020, No. 1 (digital, 8x12)
5th March 2020, No. 2 (digital, 8x12)
Hockney began his explorations of digital art in 2011,
but for this trip used a customized app, which was adapted
to his specific requirements with new brushes and shapes.
As with every medium he uses, the artist mastered the
wealth of possibilities offered and expressed appreciation
for the freedom and mobility the technology allows. “I feel
like I’m painting,” he has remarked. Indeed, his iPad art-
works possess all the qualities of his paintings on canvas,
with his gesture and hand clearly evident in each of the
116 works, including two animated videos and a selection
of works that have an augmented reality component.
Enter Today!
Here’s your chance to see your art
on the cover of this magazine, which
lands in the hands of artists and art
lovers across the country and
around the world!

Quilt Expo III

by Amy Werntz

COVER
COMPETITION
brought to you by

LEARN MORE AT ArtistsNetwork.com/Art-Competitions/Artists-Magazine-Cover-Competition

Home of Art sts

Magazine
 Independent
Study Resources to
inspire + build skills
BY HOLLY DAVIS

ALL ABOUT COLOR

Don’t let the title fool you!
The Oil Painter’s Color
Handbook (Monacelli Studio)
is a scrumptiously beautiful
and informative book about
color, and yes, it’s centered
around oil painting—but
artists of many media will find

Cover art: Yellow Rose (detail; oil on linen on
panel, 12x8) by Todd M. Casey
SETUPS FOR SUCCESS
“Whether you have been painting
for a while or are just taking the
first steps on your art journey, it’s
never too early—or too late—to
discover how a still life painting
practice can improve your work in
any genre!” says artist and painting
instructor Sarah Sedwick. Her book
Dynamic Still Life for Artists
(Rockport Publishers) makes
painting still lifes accessible,
covering everything from setups to
preliminary studies to the actual
painting process. Artwork by
Sedwick and other contemporary
artists illustrates the exciting
variety of approaches and styles
possible with this rich genre.
plenty to appreciate within
its pages. In this guide, artist
and author Todd M. Casey
takes the long view on color
mixing, pigments and palettes,
explaining not only current
approaches but also how
and why they came about.
Images abound—from photos,
illustrations and diagrams to a
generous selection of paintings
by both contemporary and
historic artists.
Cover art (clockwise from top: Lemons on
a Blue Paper Plate (detail; oil on
canvas,10x10), Ripening (detail; oil on
canvas), 12x9), Tempting Tea (detail; oil
on canvas, 10x10); all by Sarah Sedwick
Piece by Piece
Use color swatches cut
from magazines and other
papers to create original
collages. In Paper Collage
Workshop (Walter Foster
Publishing), artist Samual
Price uses 14 step-by-
step projects to teach his
color-based technique,
combining an analog-
grid system with classical
collage processes.
AT TOP: Cover art (details of paper collages;
clockwise from left): Pet Portrait, based on
artist’s photo; Color Abstraction, inspired by
Sonia Delauney; Sunflowers, inspired by
Vincent van Gogh; all collages by Samuel Price

78 Artists Magazine November/December 2022

 WORKSHOPS 2022
Your Complete Guide to Workshops Here and Abroad
Artists never stop learning. Each new painting or drawing can bring another revelation, but when you
want to learn more about a specific technique, medium or style, you can’t do better than to take a workshop.
Start planning now. Check out the following listings for one or many workshops just right for you.
Workshops
Bob Ross
Make that dream finally come true, take a Bob Ross
painting class with a certified instructor, even if
you’ve never painted before. These classes are local,
virtual, or at the Bob Ross Art Workshop in Florida.
Visit bobross.com and click Take-a-Class or call
1-800-262-7677. Year round for your convenience.
John C. Campbell Folk School
October 30–November 5, 2022, Annie Cicale &
Carol Parks, For the Love of the Trees–Identifying,
Sketching, Journaling. $693.
October 30–November 5, 2022, Christina Eichner,
Tin Roof Barn. $693.
November 6–12, 2022, Billie Shelburn,
Shaker Gift Drawings. $693.
December 4–10, 2022, Annie Fain Barralon,
Holiday Inspired Books. $693.
January 15–21, 2023, Bradley Wilson,
Hand-Painted Accordion Books. $693.
Contact: John C. Campbell Folk School at
800-FOLK-SCH or www.folkschool.org
Transparent Watercolor
Society of America
June 07–09, 2023, Chicagoland/Kenosha
Michael Holter, TWSA, Loose and Free: Figures
and Portraits
Laurie Goldstein-Warren, TWSA, Cityscapes
That Sparkle
June 12–14, 2023, Chicagoland/Kenosha
Michael Holter, TWSA, Landscape/Cityscape:
Painting Outside the Lines
Laurie Goldstein-Warren, TWSA, Textures,
Temperatures and Figures
For more information, go to: www.watercolors.org or
contact: Carlotta, 262-945-3744 or
workshop@watercolors.org
The next Workshop Section will appear in the
Artists Magazine January/February 2023 issue.
Space Reservation is by October 25, 2022
Newsstand Date is December 27, 2022
7ë%VX
0ùI%VX Art sts
7LEVI%VX network
#MyArtistsNetwork
Call For Entries
EARLY BIRD DEADLINE: NOVEMBER 22
(SAVE $10/ENTRY)
BEST IN SHOW | PETS ART COMPETITION
Open to all art media!
For more information, visit artistsnetwork.com/
art-competitions/best-in-show.
EARLY BIRD DEADLINE: NOVEMBER 28
(SAVE $10/ENTRY)
ARTISTS MAGAZINE COVER COMPETITION
See your work on the cover of Artists Magazine!
Visit artistsnetwork.com/art-competitions/artists- Weeklong classes in painting,
magazine-cover-competition for more information. drawing, mixed media and more.
EARLY BIRD DEADLINE: JANUARY 9, 2023
(SAVE $15/ENTRY) JOHN C. CAMPBELL FOLK SCHOOL
ACRYLIC WORKS 10 | THE BEST OF ACRYLICS folkschool.org 1-800-FOLK-SCH
For more information, artistsnetwork.com/ BRASSTOWN NORTH CAROLINA
art-competitions/acrylic-works.
Call for Entries
the Transparent Watercolor Society of America
47th Annual
EXHIBITION
May 6 to August 6, 2023
Kenosha Public Museum, WI
OVER $25,000 in CASH AWARDS
Entries Nov 1, 2022–Jan 31, 2023
online entries only at CaFE
www.CallForEntry.org On a Mission by My Muse by
Jurors and June workshop presenters: Michael Holter Laurie Goldstein-Warren
Michael Holter, TWSA Workshop dates June 7-9 and June 12-14 in Kenosha WI
Laurie Goldstein-Warren, TWSA for more info go to www.watercolors.org
STATEMENT OF OWNERSHIP, MANAGEMENT AND CIRCULATION (required by Act of August 12, 1970: Section 3685, Title 39, United States Code). 1. Artists Magazine 2. (ISSN: 0741-3351) 3. Filing
date: 10/1/21. 4. Issue frequency: Bimonthly. 5. Number of issues published annually: 6. 6. The annual subscription price is $22.96. 7. Complete mailing address of known office of publication:
Peak Media Properties, LLC, 500 Golden Ridge Rd., Suite 100, Golden, CO 80401-9552. Contact person: Dana Raven. 8. Complete mailing address of headquarters or general business office
of publisher: Peak Media Properties, LLC, 500 Golden Ridge Rd., Suite 100, Golden, CO 80401-9552. 9. Full names and complete mailing addresses of publisher, editor, and managing editor.
Publisher, Jeffrey Litvack, 500 Golden Ridge Rd., Suite 100, Golden, CO 80401, Editor, Anne Hevener, 500 Golden Ridge Rd., Suite 100, Golden, CO 80401, Managing Editor, Christina Richards,
500 Golden Ridge Rd., Suite 100, Golden, CO 80401. 10. Owner: Peak Media Properties; Jeffrey S. Litvack, CEO, 500 Golden Ridge Rd., Suite 100, Golden, CO 80401. 11. Known bondholders,
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issue during preceding 12 months: 50,666. Actual number of copies of single issue published nearest to filing date: 47,769. C. Total Print Distribution (Line 15f) + Paid Electronic Copies (Line 16a).
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I certify that 50% of all distributed copies (electronic and print) are paid above nominal price: Yes. Report circulation on PS Form 3526-X worksheet 17. Publication of statement of ownership
will be printed in the November/December 2022 issue of the publication. 18. Signature and title of editor, publisher, business manager, or owner: Jeffrey S. Litvack, Publisher. I certify that all
information furnished on this form is true and complete. I understand that anyone who furnishes false or misleading information on this form or who omits material or information requested
on the form may be subject to criminal sanction and civil actions.
ArtistsNetwork.com 79
Lasting impression

FARNSWORTH MUSEUM PURCHASE, 1969.1646 © 2022 ANDREW WYETH/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK
Alvaro and Christina
1968; watercolor on paper, 22¹³⁄₁₆#x#28¾
by Andrew Wyeth (American, 1917–2009)
FARNSWORTH ART MUSEUM, ROCKLAND, MAINE

This is among the very last of the works Andrew Wyeth

painted of a subject inspired by the Olson House, in Cushing, Maine.
For a period of nearly 30 years, until 1968, the artist created some 300
works of Alvaro and Christina Olson, and their saltwater farm. He later
said of the piece: “I conceived this as a portrait of the whole Olson
environment, and painted it the summer after Christina and her
brother, Alvaro, had both died. I went into the house, and suddenly
the contents of that room in the connecting shed seemed to express
those two people—the basket, the buckets and the beautiful blue
door with all the bizarre scratches on it that the dog had made. The
Olsons were all gone but powerfully there, nonetheless.
JA N E B I A N C O
C u ra t o r, Fa r n s w o r t h A r t M u s e u m

80 Artists Magazine November/December 2022

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