2018-11-01 The Artist's Magazine

Art sts
ARTISTSNETWORK.COM
Magazine
Art at
Home
Interiors in Oil,
Painting the Walls,
Fallingwater Revisited
PALETTE
KNIVES
How to Choose and Use Them
Georgia
O'Keeffe
in Hawaii NOVEMBER 2018
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H O U S E T H AT Y O U D O N O T K N O W
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B E B E A U T I F U L .”
WILLIAM MORRIS
The Bed
by Nicolas Martin (detail)
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Contents
Volume 35 | Issue 09
NOVEMBER 2018
76 88
Compositions
54 68 82
BACK TO THE LESSONS OF HOMES AWAY
THE WALL FALLINGWATER FROM HOME
Wallpaper motifs favored by Frank Lloyd Wright's celebrated Art clubs offer opportunies to
artists and designers since the residence underlines the exhibit, learn and socialize.
Victorian era find fresh life. importance of beauty and grace
in design.
60 88
AWAKENING 76 PARADISE FOUND
Georgia O'Keefe's short visit to
AUTHENTICITY PAINTING ON Hawaii engendered pivitol works.
Nicolas Martin stresses honesty THE CEILING
and growth in his depictions of Andrew Tedesco transforms
interior spaces. homes and businesses with
paintings mimicking frescoes
96
and murals. ART DIVISION
A nonproit program in Los Angeles
serves young-adult artists.
2 Artists Magazine November 2018

8 32 38
Prime Build Outfit
8 BIO 28 TUTORIAL 102 DO NOW
William Morris Painting Knives
108 INDEPENDENT
12 COLOR STORY 30 ART HACKS STUDY
Forest Green Domestic Vignettes
109 COMPETITION
15 THE ASK 32 WORKSHOP SPOTLIGHT
Combining Watercolor
16 SKETCHING and Colored Pencil 112 LASTING
11 Best Places to Sketch IMPRESSION
36 PROMPTS
18 WELLNESS Learn at Home
A Space to Call One's Own
38 LESSON
22 CROSSROADS Creating Surface Textures
In Bold Print: Marimekko
44 GENESIS
46 WORKSHOP
Harmony of Senses
4 FROM THE EDITOR ON THE COVER

5 CONTRIBUTORS The Bed
by Nicolas Martin (detail)
106 FEATURED PRODUCTS oil on canvas, 9x12
Artists Magazine (ISSN 0741-3351) is published 10 times per year (January, March, April, May, June, July, September, October, November and December) by F+W Media Inc., 10151 Carver Road, Suite 300, Cincinnati OH 45242; tel: 386/246-3370.
Subscription rates: one year $25. Canadian subscriptions add $15 per year postal surcharge and remit in U.S. funds. Foreign subscriptions add $20 per year postal surcharge and remit in U.S. funds. Artists Magazine will not be responsible for
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ArtistsNetwork.com 3
From The Editor Art sts Magazine
MANAGING EDITOR Austin R. Williams
ART DIRECTOR Amy Petriello
SENIOR EDITOR Holly Davis
ASSOCIATE EDITOR Mike Allen
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HOME IS WHERE THE ART IS James Woollam

VP, CONSUMER MARKETING John Phelan
For many, artful surroundings play an important VP, GENERAL COUNSEL Robert Sporn
role in fostering a suitable environment for VP, HUMAN RESOURCES, CUSTOMER SERVICE AND TRADE
Gigi Healy
artmaking, so this month, Artists Magazine VP, MANUFACTURING & LOGISTICS Phil Graham
explores the many connections between art and VP, PRODUCT MANAGEMENT Pat Fitzgerald
the home. We meet several artists who have NEWSSTAND SALES, CONTACT:
fashioned studios that are small and perhaps Scott T. Hill, scott.hill@procirc.com
unconventional but well-suited to their needs ARTISTS MAGAZINE EDITORIAL OFFICES
(page 18). We then turn and face the wall—so 1140 Broadway 14th Floor, New York, New York 10001
as to consider the history of fine wallpaper info@artistsmagazine.com
and the changes it has undergone in the era of SUBSCRIPTION SERVICES

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digital printing (page 54). We tiptoe through the hushed, inconspicuous Tel: 800-333-0444 (U.S. and Canada)
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Website: ArtistsNetwork.com
America’s most iconic houses (page 68). INTERNATIONAL NEWSSTAND DISTRIBUTION
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which serve as a second home for many members (page 82), and we meet 730 River Road, New Milford, NJ 07646
Tel: 201-634-7400 Fax: 201-634-7499
an artist who has made a specialty of installing his paintings on the walls, ATTENTION RETAILERS
ceilings and even floors of his clients’ residences (page 76). On a different To carry Artists Magazine in your stores,
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services that may be of interest to you. If you prefer we withhold
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a chair and an easel, I hope that you find your surroundings conducive to
creativity. As always, I wish you all the best in your life and art.
Send us your feedback!
Jasmine Write to us at:
by William Morris info@artistsmagazine.com
AUSTIN R. WILLIAMS 1872; block-printed wallpaper,
Managing Editor 21⁷⁄₁₆x22½
THE METROPOLITAN MUSEUM OF ART,
NEW YORK ArtistsNetwork

Contributors
Contributors to this issue of Artists Magazine include …
ROBERT K. RHÉNI TAUCHID JOHN EISCHEID

CARSTEN LESSON: “CREATING
SURFACE
“HOMES AWAY
FROM HOME”
LESSON: “COLOR TEXTURES”
AND LIGHT” John Eischeid is a
Rhéni Tauchid is a freelance writer
Award-winning writer, painter who lives in New
artist Robert K. and educator York. He has a
Carsten, PSA, based in Kingston, master’s degree
studied at the Art Ontario. She is from Columbia
Students League the materials con- University’s
of New York, the Rhode Island School sultant for the acrylic paint Graduate School of Journalism, and
of Design and the Accademia di Belle manufacturer Tri-Art Mfg., a member his work has been published by
Arti (Italy). He has instructed art of the company’s product develop- The New York Times and Scientific
workshops and classes for over four ment team and the founder of the American. He also has a background
decades, juried national and regional Tri-Art Acrylic Education Program in photography, and his photographs
exhibitions and written numerous and the Art Noise studio program. have been published in Scientific
articles on artists and their work. She teaches painting workshops and American and displayed in a salon
“The creative process is my great lectures in Canada and abroad. Her show at Lesley Heller Gallery.
passion,” says Carsten, who works most recent book is Acrylic Painting
in pastel, oil, acrylic and mixed Mediums and Methods: A Contemporary
media. For more information, visit Guide to Materials. For more informa-
robertcarsten.com. tion, visit rhenitauchid.com.
“OUR PRINT DESIGNERS ARE
FREELANCERS, AND MANY
O F T H E M D O N O T A C T U A L LY
COME FROM THE FIELD OF
TEXTILE DESIGN. ... WE SEE
T H I S A S A S T R E N G T H .”
M I N N A K E M E L L- KU T V O N E N ,
M A R I M E K KO
PHOTO COURTESY OF MARIMEKKO
Prime BIO
WILLIAM MORRIS
Artisan Extraordinaire
PHOTOS.COM/GETTY IMAGES
The influence of this Victorian-era Renaissance man continues to be felt

by artists and designers.

NEAR LEFT
A Woman
Playing Pipes
1872–74; stained
glass, 28x17
FAR LEFT
Detail of a stained-
glass window
by Morris at St.
Peter’s Church,
in Kirkbampton,
England
w illiam Morris (1834–96) was a creative

dynamo—a prolific designer, craftsman,
painter and writer. He was instrumental in
shaping the design aesthetics of the late 19th century
in Britain and America, and even today, nearly two
centuries after his birth, his impact on the culture of
MINSTREL: GETTY IMAGES; RUG: COURTESY THE METROPOLITAN MUSEUM OF ART, NEW YORK; ANGEL: FIONA MCALLISTER PHOTOGRAPHY
artisans and makers of all sorts is pronounced.

Morris was born to a prosperous family in the East of
England and educated at Oxford. He considered joining
the clergy, but after being inspired by the writings of
art critic John Ruskin, he decided to devote himself to
art and architecture. He worked for a time in an archi-
tect’s office while also writing poetry and practicing
other creative pursuits. He became involved with the
Pre-Raphaelite circle of painters and was a close friend
to Burne-Jones and Dante Gabriel Rossetti.
In 1861, Morris co-founded the manufacturing and
decorating company Morris, Marshall, Faulkner &
Co., which in 1875 was renamed simply Morris & Co.
Through this venture Morris produced all manner of
domestic items, including furniture, carpets, textiles,
stained-glass windows and wallpapers. The company was
a leading force in the Arts and Crafts Movement, which
advocated for the value of traditional craftsmanship as a
bulwark against industrialization and mass production.
Morris was also an early proponent of socialism and
an avid social reformer who believed that people of all
classes should live in an aesthetically rich environment,
with well-designed and well-crafted furnishings. He
never quite succeeded in creating such objects himself,
as the production of his own designs proved too expen-
sive to be affordable for members of the working class. Holland Park Carpet
Nevertheless, his aspirations took root and influenced late 19th century; wool,
203x156¼
generations of designers and thinkers, many of whom
have sought to imbue mass-produced items with down-
to-earth, handmade qualities. —AUSTIN R. WILLIAMS
easel adjustments with
the touch of a finger
COUNTERBALANCED LIFTING SYSTEM
8" ≈ 10" PANELS UP TO 72" CANVASES
SIT TO STAND POSITION IN SECONDS
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Prime COLOR STORY
Forest
Green Going Green
This deep, rich green is fit for subjects
both earthy and regal.
i n a sense, the name “forest green” is a misnomer, because as artists well know, leaves and
mosses are never a single color, much less a single value. Nevertheless, forest green does evoke
the overall impression of foliage—the sort of thick canopy that can block midday sun during
a summer hike through the woods.
When the color finds its way into domestic spaces, it can lend a degree of earthiness and calm. Still Life
This connection with nature is apparent in Still Life With Teapot, Cup and Fruit by Émile Bernard With Teapot,
Cup and Fruit
(1868–1941), in which the colors of the man-made objects seem to take their cue from the color by Émile Bernard
of the fruit. But in other hands, this shade of green can be a luxurious color, suitable for objects 1890; oil on canvas,
far less humble than Bernard’s collection of charming ceramics. —MIKE ALLEN 15⅓x18½
FOLLOW @ARTISTSNETWORK ON INSTAGRAM AND SHOW

US YOUR GREEN! #ARTISTSNETWORK_COLORSTORY

HOME TO
ROOST
"Green is the prime color Mallards are at
of the world, and that from home in almost
LEAVES: PIYANUT SUNTARANIL/UNSPLASH; MALLARD: NIGEL BOWERS/GETTY IMAGES; JAGUAR: B&M NOSKOWSKI/GETTY IMAGES; OSIRIS: KAIROINFO4U/FLICKR; ITALY: SABRINA MAZZEO/UNSPLASH; EMERALD CITY: BBSFERRARI/GETTY IMAGES
any wetland
which its loveliness arises." environment,
natural or
–Pedro Calderon manmade.
de la Barca
GREEN MEANS GO
“British racing green,” seen here on a 1964 Jaguar
E-Type S1 Roadster, is the official motor-racing
color of the United Kingdom. The color’s
association with auto racing dates back to a 1903
race held in Ireland; the cars were painted deep
green as a show of respect to the host country.
A doorway in Scicli,
a town in Sicily, Italy
A GIFT FROM
THE RIVER SPONSORED COLOR
Agate has been mined TURNING GREEN WITH ENVY? TRY DERWENT'S
since ancient times, ALL-NEW LIGHTFAST PENCILS. THEY'RE
FORMULATED TO BE 100 PERCENT LIGHTFAST
including by the AND HAVE A SMOOTH OIL BASE, CREATING
Egyptians, who used it RICH VIBRANT COLORS THAT MIX ON THE PAGE
to decorate a myriad FOR PAINTLIKE EFFECTS. DERWENTART.COM
of items. Agate is
named after the PILLARS OF LIFE
Achates River (now This depiction of Osiris, found on a pillar in a
called the Dirillo), an burial chamber, features green skin, signifying
ancient source of the resurrection. This association began with the
stone in Sicily. ancient Egyptians’ observation of the
death-and-rebirth cycle of vegetation.
THE ASK Prime
WE ASKED... WE ASKE
D. . .
What piece of art that YO U A N S

WER ED
you’ve never seen in “The Rosary Chapel, in

Vence, France. Matisse
person do you most decorated the entire
thing with paintings and
want to visit someday? stained-glass windows.”
—EMMA BELCHER
“Guernica, hands
down.” —JON APPLE
“L E CORBUSI E R’S
“James Turrell’s Roden Crater, near N OT R E DA ME “The city of Samarkand,
Flagstaff, Arizona, which has been in Uzbekistan.”
D U H AU T , I N
under construction for over 30 years
RONCH AMP, —ALEJANDRINA MICHEL
and is still closed to the public. The
site actually incorporates numerous F RANCE , AND T H E
individual works by Turrell, but these ROT H KO CH AP E L , “I think Rothko’s work
are all subsumed into a single, unified I N H OUSTON.” is impossible to
experience. Or so I’ve heard.” appreciate without
CHERYL K. SNAY experiencing in person,
KJELL M. WANGENSTEEN CURATOR OF EUROPEAN
ASSISTANT CURATOR OF EUROPEAN ART, SNITE MUSEUM OF and I hope someday to
ART, INDIANAPOLIS MUSEUM OF ART ART, UNIVERSITY OF visit the Rothko Chapel,
NOTRE DAME in Houston.” —GINA
PESCARINO HARTWIG
“Michael Heizer’s City, in Nevada.” “The Sistine Chapel.

I’m fascinated by the way
XAVIER F. SALOMON
PETER JAY SHARPE CHIEF CURATOR, the figures are painted
THE FRICK COLLECTION on the curved ceiling,
making them look in
proper proportion—yet,
“ HU BERT A N D if laid flat, they’d appear
JAN VA N EYC K’S “I’ve always wanted to
visit Russia to see
grotesque.”
GHENT ALTARPIECE, —MARIANNE BERZINSKAS
Valentin Serov’s paintings
IN T H E S A IN T BAVO and Nicolai Fechin’s early
CAT H ED R A L , IN works in person.” LIKE US ON FACEBOOK
BELG IU M .” @ARTISTSNETWORK TO
SUSAN LYON ANSWER EACH MONTH’S
QUESTION IN “THE ASK.”
COSTA VAVAGIAKIS ARTIST RESPONSES MAY BE EDITED
ARTIST FOR LENGTH AND CLARITY.
Prime SKETCHING
11 Best Places to Sketch

Sketching is the most immediate way you can let your creativity flow. Just put
pen, pencil or brush to paper and you’re halfway there. Here are 11 places to
linger with your sketchbook. –COURTNEY JORDAN
EVERYDAY PLACES
1 Errands take you around your city or
town a few times a week. Why not take
SKETCH: MATT ROTA; PHOTO: AKSHAY CHAUHAN/UNSPLASH
a tour of your regular haunts with a

sketchbook? Some of the best places to sketch are
places that you know like the back of your hand:
your favorite lunch spot or bookstore, the street
where you live, your grocery store or post office.
2 ARTFUL PLACES
Museums, sculpture gardens and public
art spaces are all awesome places to sit
and sketch. You may not be the only
one with that idea, so keep your eyes peeled for
sketch friends you didn’t know you had.

these might be the perfect setting for a sketch, and you
won’t have to do a thing to set the stage.
GREEN PLACES
8 Go where nature grows! Botanical gardens,
community gardens, fruit-tree groves, a park or
your backyard. Even your porch might have one
brave potted plant lifting its face to the sky.
COLORFUL PLACES
Niagara Falls
9 Close your eyes and think of color—vibrant,
shout-out-loud color. Are any of those colors
connected to a particular place? They are for me:
my local church, with sunlight streaming through the
ICONIC PLACES
3 Places that are instantly recognizable are fun
sketch subjects because they give you an instant
stained-glass windows; the county fair, with its twinkling
lights and rides with colorful cars; the Neon Museum, in
Las Vegas—to name a few.
compositional focus. Iconic subjects may
be natural (Grand Canyon, Mississippi River,
Niagara Falls) or man-made (St. Louis Gateway
Arch, Mount Rushmore, New Orleans streetcars).
STAY-AT-HOME PLACES
4 Have a sketch stay-cation! Prop yourself
on your bed or sofa and sketch what you
see: your pet, a houseplant or the
kitchen sink. Personally, I think this kind of sketch
is the most interesting of all. In this world of filters
and controlled camera angles, these views are the
real deal—and like no one else’s.
PEOPLE PLACES
5 Crowds both big and small are sometimes
the best places to sketch. Think of a busy
The Neon Museum, in Las Vegas,
illuminated in green lights
coffee shop or crowded beach. The

NIAGARA FALLS: NAEEM JAFFER/GETTY IMAGES; NEON MUSEUM: GNAGEL/GETTY IMAGES
people-watching will be second to none, and you can

SEASONAL PLACES
zero in on something particular or take a vantage point that
lets you capture the big picture. 10 My creativity is sparked by different things,
depending on the season. In summer, I love
CHILDHOOD-MEMORY PLACES watercolor sketching and seek out
6 If I could return to my childhood for a sketching
session, I would visit the zoo, the circus and the
dramatically shady places (to avoid sunburn). In winter, I
might sketch footsteps in the snow. In the fall it’s pumpkin
patches, turning leaves and barrels of apples. Wildfowers
dentist. Seek out places that elicit warm and clear blue skies speak of spring. Seek out your own
memories (I was a weird kid; I liked my dentist.) Your seasonal favorites.
sketch will be infused with nostalgia, but you’ll also have
the opportunity to bring that memory up to date.
EXOTIC PLACES
ARRANGED PLACES
11 Take a mental magic carpet ride via
7 Seeing historic homes or fancy interiors is one
of the best field trips for anyone who loves
computer search or by browsing the pages of
a travel magazine. Sketch a place that you
know only through photographs. Just be aware of the
architecture and design. Alternatively, you could challenges of working from photos as you render your
go to showrooms or big-box stores, such as IKEA. One of own “postcard” sketch.
Prime WELLNESS
A Space to
Call One’s Own
Three artists describe their unique solutions
to the quest for studio space.
by Samantha Sanders
e dward Hopper’s was a tiny,

fourth-floor walkup warmed
by coal fire in an otherwise
unremarkable Greenwich Village
townhouse. Donald Judd’s was essen-
Despite being restricted in varying
degrees by time, resources, budget
and know-how, three women—Carrie
Schmitt, Emilie Lee and Miranda
Aisling—have found unique ways to
tially his whole house—all five stories radically reimagine the space they use
of it—now refashioned as a museum to create.
PHOTOS OF SCHMITT AND STUDIO/BUS: MICHAEL SLADEK PHOTOGRAPHY
of his work. Francis Bacon’s was
messy, chaotic and stuffed with more CARRIE SCHMITT
than 7,000 artifacts of his career. Carrie Schmitt enjoys the mobility of her studio,
Each of these artists enjoyed a “My process is that I paint from the Rosie the Art Bus. She sets up her easel at the
studio where he created much of the heart, which means I do whatever back end, which has windows on three sides,
work he’s known for, but for many feels good,” says Artists Network plus ceiling lights. The couch converts to a
table, for more work space.
other artists, dedicated studio space contributor Carrie Schmitt, who
is a luxury. They face challenges to describes her work as expressive and
their creativity before their brushes intuitive. It comes as little surprise, gets desperate, she gets most creative,
ever touch their canvases. Making the then, to learn that a traditional studio she claims. Inspiration entered in the
best of things, they eke out space in space is unappealing to Schmitt—not form of a Craigslist ad selling a small
a spare bedroom or a corner of the to mention outside of her budget. school bus that an antiques dealer
garage. Then again, there are art- “I live in an expensive part of the was unloading. Carrie immediately
ists for whom necessity has proved world, and I couldn’t find affordable saw the possibilities. A mobile studio
mother to some pretty extraordinary studio space,” says Schmitt, referring space meant she could not only create
inventions. to her Seattle home. But when she her art anywhere but would also have

a chance to connect with a wider
community—particularly with young,
would-be artists who might not oth-
erwise meet a working artist. She
knew the challenges. As a single
mother, her budget was limited, and
she didn’t know how to do the inte-
rior repairs the bus needed. Thanks to
some strategic budget-crunching, she
was eventually able to hire a builder
to complete the work.
“We tore everything out,” she says.
“We put in new floors, cabinetry and
a sink. There’s a couch that converts
to a table with space to paint and even
air conditioning.” There are also plans
to build a roof deck where Schmitt can
paint in the open so that people in the
“I WANT KIDS TO SEE ME AND KNOW communities she visits can come and
T H AT A R T I S T S A R E R E A L . W E E X I S T ! ” ask questions—or just watch. “I want
kids to see me and know that artists
CARRIE SCHMITT are real. We exist!” she says.
But there’s a practical streak that
runs through this artist, too. “I told
my dad I could always live in the bus
if I had to,” she says, “but he told
me, ‘Aim higher, Carrie.’ Someday,
though, when my kids are grown up,
I might! To me, it’s a great symbol of
my freedom.”
EMILIE LEE
Less than a year ago, Emilie Lee was
teaching at a Vermont college and
feeling frustrated by a demanding
schedule that left little time for her
own art. A pricey apartment lease
didn’t ease her mind, and besides,
this figure-and-landscape artist’s
true home is on the road. “I couldn’t
afford my rent, and I was Airbnb-ing
my apartment and sleeping in my car
a lot. I figured I might as well live in
my car and just not pay rent and see if
I could paint more.”
That fleeting thought manifested
into a cross-country journey that
lasted two months as Lee made her
way west. She alternated staying at
friends’ homes with camping out and,
along the way, painted some of her
most beloved landscapes.
“I just kicked into my momentum,”
she says. “I made more than 50 paint-
ings!” Where did she stash them while
she and her dog, Honey, were on the
road? “I sold them on Instagram along
Prime WELLNESS
Emilie Lee and her dog, Honey, embrace a nomadic lifestyle in their travels to plein air sites. A van
stocked with art materials and equipment doubles as a sleeping space. The arrangement enables Lee
to travel farther on a small budget and to remain on one site for several days.
Lee now plans regular trips, some- of them. And I like to bring my crea-
times traveling to a specific location ture comforts with me—my cooler of
to paint a commission and other food, coffee.” Lee suggests a few
times simply setting out to satisfy her additional essentials: a good back-
creative urge. “Last week I went to pack with a hip belt to get weight off
Northern California and didn’t even your shoulders, bug spray, sunscreen,
answer my phone,” she says. “I hiked a hat and clothing you can wear in
about 45 minutes into this ravine layers. “I always emphasize when I’m
the way,” she says. “I made about with a hot thermos of tea and a dog teaching that if you’re not comfort-
$6,000 and had almost no expenses bed for Honey, and I got to spend six able, you’re not going to be able to
aside from gas and groceries.” hours down there working on two focus,” she says. “A lot of times I end
Although Lee and her boyfriend paintings. I came back super inspired up picking the spot to paint because
have since settled into domestic life to get back in the studio and even got it looks most comfortable, like it has
in California, don’t think she’s left some commissions from it.” shade or a place to sit or even just
the influence of her life-changing While a life painting out of the level ground so I’m not standing in
road trip behind her. “I arrived in back of your car might sound roman- an awkward position for five hours.”
California feeling really empowered,” tic, Lee offers a few practical tips for Her advice is based on experience. “I
she says. “My strategy has been to when reality interrupts the day- have actually painted in my car, sit-
keep overhead low, so I can really dream: “Invest in a high-quality ting behind my steering wheel,” she
focus on painting and be productive.” tripod. It’s worth it; I’ve broken a lot says. “It was not great.”

MIRANDA AISLING
For abstract oil painter Miranda
Aisling, the dream of a dedicated
studio space began “unromanti-
cally,” as she describes it. “It was an
economic decision,” she says. “I was
working at a nonprofit arts center. I’d
just finished my master’s degree and
was looking at my debt, my savings
and the amount I was spending on
rent, and I realized that in the tiny-
house world, you could spend about
$30,000 and have a place to
live full-time. I’d spent nearly
$16,000 on housing in just
two years of grad school,
Miranda Aisling’s tiny house is now
so initially I was just trying stationary, but it can be moved,
to find a find a financially like a trailor. A loft, accessible by
responsible way to live that ladder, provides sleeping space.
would also enable me to pur- With a small kitchen and bathroom,
sue art in the way I wanted.” electricity, heat and a renewable
source of water, Aisling’s basic needs
Tiny houses are having a are met, leaving her free to paint in
cultural moment, but Aisling her home.
emphasizes that dealing
with one isn’t always as easy
as it might look on home-
improvement shows. The
first hurdle is finding a place
to put it. “My tiny house is
in a friend’s backyard, about
45 minutes outside of the
city, so one of the choices I
had to make was to become a
commuter.” Zoning laws can
be a problem: “Tiny houses
do best in places where they
don’t draw a lot of attention,”
Aisling says.
Although her house, which
she dubbed “Aubergine” for
its striking purple paint
job, is in a secluded location
now, it had a much showier
beginning. “It was built on
the front yard of an arts
center in Concord, Massachusetts, and see the stories of 100 people out of a sense of boredom. Living in a
so it was very public,” says Aisling. within 160 square feet,” she says. small space where I don’t have inter-
“It was there for an entire year for “My mother’s hands are all over this net, I don’t have TV, and when I first
its construction.” Aisling, the project house. I had friends who donated moved in, I didn’t even have electricity,
manager, received help from more the artwork. It engenders a level of forced me to slow down. I think slow-
than 50 people who ranged in skill respect for my home and respect for ing down is one of the best things you
level from professional carpenters myself within that home—and creates can do to be creative.”
to individuals with no building a sense of responsibility.”
experience. When asked about the philosophy Samantha Sanders is the event content
Sitting in her home brings remind- behind her decision, Aisling instead director for Artists Network and a writer
ers of those helpers and other emphasizes the practical: “People write whose work has appeared in Catapult
contributors: “I can look around me all the time about creativity coming and he Awl.
Prime CROSSROADS
In Bold
Print
Finnish textile design
house Marimekko built
their brand on strong,
bright prints and the
dynamic use of color.
by Allison Malafronte
e ven if you’re not a design

aficionado, chances
are you'd recognize a
Marimekko pattern from a mile
away. The Finnish company’s
iconic prints—such as Tasaraita
(Even Stripes) and the Unikko
poppy (see Pop Go the Pillows,
opposite)—helped define the
fashion and culture of the 1960s
and ‘70s. Marimekko’s cheerful,
colorful designs have been worn by
everyone from Jacqueline Kennedy
Onassis to Sarah Jessica Parker.
THE MAKING OF
<
A BRAND PALATABLE PATTERNS

Statement table settings, with items
The company began in the late 1940s as a small printed- that lend themselves well to mixing-
textile factory called Printex, owned by Viljo Ratia. In the and-matching, are a signature of
the Marimekko lifestyle brand. Here
early 1950s, his wife, Armi Ratia, commissioned a group of the Rosarium-print tablecloth and
young artists to create striking fabric designs for her hus- plates are complemented by the
band’s company. In 1951, she held a fashion show featuring noncompeting patterns and neutral-
clothes made with these printed fabrics. Five days later she toned surfaces of Puolikas ceramic
launched a separate company named Marimekko—Finnish plates and a Kubb plywood serving tray.
for “Mary’s dress.” Soon after, Marimekko expanded into
home goods—tableware, kitchen textiles, pillow covers, bed
linens and more—making Marimekko one of the world’s
first lifestyle brands.

“Each of our artists has a very
personal way of sketching—some
paint, some draw, others cut paper—
and a uniquely individual handprint.”
—minna kemell-kutvonen
<
POP GO THE PILLOWS

This stack of pillows features iconic
Marimekko patterns and more recent
designs. The Unikko print (top) proves
a timeless way to add a pop of color.
EARLY DAYS
Marimekko factory workers, in 1968, printing fabric by hand
PHOTO: MATTL SAANLO
From the beginning, Marimekko’s team of artists has

been at the helm of building the brand into an international
design house. Maija Isola, for instance, not only inspired
the launch of the company with her 1949 Amfora pattern
(page 24) but, in 1964, was also the creator of the Unikko
poppy, Marimekko’s most popular print to date. Vuokko
Eskolin-Nurmesniemi helped revolutionize 1950s fashion
by loosening the restrictive stays of women’s dresses for
a more relaxed fit. Annika Rimala’s 1968 Tasaraita design
became synonymous with the equality movements of the
time. Two Japanese textile designers, Katsuji Wakisaka
and Fujiwo Ishimoto, were instrumental in creating inter-
national demand for Marimekko in the 1970s and beyond.
Artists such as Heikki Orvola—designer of the classic Kivi
candleholder—and Sami Ruotsalainen—who designed
the acclaimed Oiva tableware collection with patterns by
Maija Louekari—proved that Marimekko’s designs are as
enduring in home décor as they are in fashion.
MARIMEKKO NOW
Today, Marimekko has a fresh breed of award-winning
artists finding increasingly creative ways to make bold,
colorful patterns a part of everyday life. According to
Minna Kemell-Kutvonen, Marimekko’s design and product
development director of home products and prints, what
makes Marimekko designers distinct is their eclectic mix
<
PRIME MOVER of artistic expertise. “Our print designers are freelancers,

Marimekko founder Armi Ratia adds and many of them do not actually come from the field of
her signature to one of her designs. textile design,” she says. “Some are illustrators and ceramic
Prime CROSSROADS
<
PROLIFIC DESIGNER
Maija Isola (1927–2001), who created more
than 500 prints for Marimekko during her
30-plus-year career, including Amfora
(1949; below) and Unikko (1964; see Pop
Go the Pillows, page 23), drew inspiration
from traditional folk art, modern visual art,
nature and countless worldwide trips.
designers, and several also design for other companies and

artistic projects. Because creative people from other fields
do not necessarily know the limitations of silk-screen
printing, they can be more free and expressive in their
designs. We see this as a strength, as it challenges us to
continually expand our printing techniques to develop the
sketch into a format that enables screen printing.”
At Marimekko, the printing process starts when the
designer’s sketch is transferred into a digital format and
screens are produced according to the digital file. Having
design and production under one roof has always been a
distinguishing characteristic of Marimekko. Because the
company’s own textile-printing factory—which turns
out more than one million meters of printed fabric per
year—is located in-house at their Helsinki headquarters,
print designers can work seamlessly with production on
conceptualization, creation and problem-solving.
As pioneers in textile printing, Marimekko also inno-
vated the color-overlapping process, which continues to be
a standout of their textile printing. “This approach began
in the 1950s, when Marimekko fabrics were printed by
hand and there was a shortage of color,” Kemell-Kutvonen
says. “Overlapping created new, interesting colors. Paucity
<
became a signature effect for the brand.”

As one might imagine, Marimekko’s design process
FROM BARE TO BERRIES
Lumimarja (2004), designed by Erja Hirvi,
requires, in the words of Kemell-Kutvonen, “strong artistic was inspired by bare winter branches; Hirvi
thinking, a unique and high level of artistic expression, added berries for a colorful burst.

original thinking about color and the
ability to work well on a team.” These
<
are qualities one detects in the work FROM PATTERN TO
of those who have designed recent, FINAL PRODUCTS
successful prints, such as Rosarium Marimekko prints often find multiple ways
to make themselves at home. Shown
(at right; by Aino-Maija Metsola), here is the Rosarium print (designed by
Lumimarja (opposite; by Erja Hirvi), Aino-Maija Metsola) as fabric next to
Siirtolapuutarha (by Maija Louekari), several of its manifestations in the home
Juhannustaika (by Aino-Maija Metsola) department. Metsola designed the print
based on a rose garden in full bloom. Of
and Bottna (by Anna Danielsson). There
the various rose varieties shown, rosa
are multiple ways that these and other rugosa—one of Metsola’s favorites—
designs have been developed, but each dominates the design.
artist on the team has his or her singular
approach to creativity.
“The design process starts when we
set the theme, colors and feel for each
collection,” says Kemell-Kutvonen.
“When we brief our print designers, we
are looking for their own interpreta-
tion of a collection’s theme. Each of our
artists has a very personal way of sketch-
ing—some paint, some draw, others cut
paper—and a uniquely individual hand-
print. We want to honor that handprint
and preserve the human touch from con-
ceptualization all the way through to the
finished product.”
Allison Malafronte is an arts and design

writer, editor and curator based in the
greater New York City area.
FOR MORE INFORMATION

ON MARIMEKKO AND
ITS DESIGNERS, VISIT
MARIMEKKO.COM/US_EN.
<
HOME PRODUCED
Marimekko has its own printing factory located in-house at their
headquarters in Helsinki, Finland. The factory produces more than
one million meters of printed fabric per year.
PAINT, PLAY, EXPLORE: EXPRESSIVE MARK-
MAKING TECHNIQUES IN MIXED MEDIA
$24.99 · R3915 · ISBN 9781440350283
ù IV
Also available as an eBook
( M W G Mixed-media artist Rae Missigman pushes

you to find your own beautiful artistic
ýIQ E V O W J S V “fingerprint” to create work that is

interesting, full of life and distinctly yours;
W X
and above all, to embrace the journey.
] ø V Q S • 60+ mark-making tools and mediums
E V X
• 23 stepped-out demonstrations
EYýIR X M G on collage, one-brush painting,

monoprinting, resists, transfers & more
• 4 start-to-finish projects
Available at your favorite bookseller. To learn more about the full range of Artists Network products,
including North Light books, visit ArtistsNetwork.com.
Bu ld
“O I L PA I N T I N G W I T H A
PA I N T I N G K N I F E P R O D U C E S
A DY N A M I C S U R FA C E —
ONE QUITE DIFFERENT
F R O M T H AT P R O D U C E D BY
B R U S H E S A L O N E .”
HELEN OH
PHOTO: HELEN OH
Build TUTORIAL 2
PAINTING KNIVES
1
HELEN OH demonstrates a 3
variety of textures and effects
achievable with a painting knife.
Oil painting with a painting knife produces a

dynamic surface—one quite different from
that produced by brushes alone. Application of
paint with a knife allows a great range of
effects, from very heavy impasto (from the
Italian word for “dough”) to sharp, stucco-like
textures to glass-smooth finishes.
I use a painting knife for various functions:
paint mixing, application, scraping paint from a
canvas and cleaning the palette. Any oil painter’s
kit should contain at least one painting knife.
BLADE: SHAPE + FLEXIBILITY

Knives can be made of metal or plastic. I use stainless steel
blades for easy application. Although plastic knives are
economical, their tips lack flexibility. also small enough for the rendering of intricate details.
In particular, I like Blick’s RGM No. 61 painting knife (see To cover large areas, I recommend a 3-inch-long knife made by
knife No. 1, above). The oblong blade is ¼-inch wide by 2 either Holbein or Winsor & Newton (see knife No. 2, above). I avoid
inches long—a narrow shape that enables me to see the areas using a blade with a sharp, pointed tip, since that could easily
around which I’m applying paint. This knife is scratch the surface or lift off paint all the way down to the canvas.
DEMONSTRATION: PEAR
1 To understand how the form of a

pear turns, I peeled the fruit and
examined the facets. My palette knife
2 I sketched the pear with vine charcoal.
Then, I scraped a generous amount of
raw umber onto the underside of a painting
3 By adjusting the pressure on the blade,
I could control the thickness of the
impasto. The paint on the pear's light area is
applications will represent the planes as knife. Holding the knife as if it were a music much thicker than that on the shadow area.
I follow the turn of each facet, adjusting baton, I applied paint in flat strokes with Highlights came last. Colors: white, lemon
the value and intensity of the colors. the blade parallel to the surface. yellow, cadmium green light and raw umber.

PAINTING KNIFE VS. PALETTE KNIFE
The terms "painting knife" and "palette knife" are used
DEMONSTRATION:
interchangeably, although these items do differ. While both DONUTS
types of knife can have blades with straight or tapered
widths, a painting knife flattens to an almost paper-thin tip,
making it quite flexible. A palette knife, in contrast, has the
same thickness at the tip as at the handle and hence is less
bendable. In addition, a painting knife has a blade with a
bent stem that attaches to the handle. This design keeps
the artist’s hand from making contact with the canvas while
applying paint. On a palette knife, the blade and handle
have no bends (see knife No. 3, opposite). bottom
view
Paint applied with a palette knife can

be thick or thin. If used straight from
1 I sketched a couple of donuts
with vine charcoal on a canvas
toned in raw sienna. I then used a
the tube, the paint appears to project brush to block in the shadows with
raw umber. I continued to render
forward and can give an almost the donuts with a knife, treating the blade
sculptural appearance to the subject. brown topping as if I were frosting
a confection with a cake spatula.
angle
I used a large amount of brown side view of

madder to create a rich chocolate- paint application
like texture. Colors: white, lemon
yellow, raw sienna and brown madder
The drawing (above right) shows the appearance of

the paint load on the painting knife for the rendering
of the chocolate frosting.
BRUSH + BLADE COMBO bottom

view
I started this painting of garlics by sketching the
composition in vine charcoal on a prepared board. I then
blocked in, using a brush for the shadows and a knife for
the lights—a mixed technique that speeds the painting
process. When painting the lights, I scraped paint off the
2 I painted the white napkins by
placing the blade flat against
the canvas. For the decorative
palette with an angled knife so the paint coated only the left drizzle, I angled the blade, using
edge of the blade. To apply the paint, I held the blade at an only the left edge. I brushed in the
angle. This application created little wedge shapes, suitable background and foreground.
for describing the flaky skin of garlic as it catches the light. blade
Lastly, I painted the background and foreground with loose The drawing at right shows the angle
brushstrokes. appearance of the paint load on
the painting knife for the rendering side view of
paint application
Helen Oh is an artist and convervator, and an instructor at of the white zigzag lines.
the School of the Art Institute of Chicago.
Build ART HACKS
Domestic Vignettes
A fancy way of saying, “Stay home and paint interiors.”
—COURTNEY JORDAN
Stuff Matters consistent in color and

direction all day.
● Rooms have moods. Take the
● Southern light is brighter
styling and color of a room into
and casts strong
consideration before you depict it.
shadows—great for
● A room without clutter that’s
photography. Paint in the
painted in cool colors will give you
early morning and late
a tranquil and maybe stark
afternoon for color
interior. Look to the
consistency. Disperse
works of Carl Vilhelm
glare with light-diffusing blinds or
Holsøe for inspiration.
tracing paper tacked on windows.
● Warmth and
● Sunlit interiors have cooler color
intimacy enter when
values; shadows are warm.
a room is full of
● Doors, windows, picture frames
furniture, patterns,
and polished furniture have strong
colors and wall
graphic shapes defined by
adornments. Get
reflected light. Fabrics and rugs
inspired by Édouard
Vuillard, Adolph
envelop objects in soft shadows. Rooms lit by
● Incandescent and halogen bulbs
Menzel or Jan Steen.
cause color distortions. Consider incandescent
Blank Walls
color-corrected fluorescent bulbs light have
that mimic natural light.
warm middle-
VUILLARD: THE METROPOLITAN MUSEUM OF ART, NEW YORK; LIGHT BULB: GETTY IMAGES; PILLOW: CAROUSELDESIGNSSHOP/ETSY.
Invigorate those
monochromatic Perspective Check tone areas
walls—break up the and cool
Make all horizontals—furniture,
color by painting the
shadows, adding
shelves, doorways and tops of shadows.
framed objects on the walls—run
texture or variation in
parallel. Check these against the top
brushstrokes or adding
edge of your painting or drawing
décor.
The Green Interior surface. Measure verticals against
(Figure Seated by a the sides of your surface.
Curtained Window) Pattern Study But old homes have character.
by Édouard Vuillard When depicting something that isn’t
1891; oil on cardboard, Devote an entire art session to
mounted on wood; capturing the patterns in your home. straight as an arrow, make the lines
12¼x8¼ Consider wallpaper, curtains, rugs, “off” enough to appear intentional.
tablecloths and so on. If you don’t
want to paint in situ, snap photos
and work with them in a place where READER HACK
you can splatter paint. “During a painting session, I wipe excess paint or
thinner from my brushes on an old, coverless phone
Let There Be Light book. The liquid soaks through only one or two pages,
and when a page is saturated, I just tear it out and
● Explore light sources—computer throw it away. After my painting session, I clean my
screens, fireplaces, candles, brushes with fresh paper towels.” —jane gomez
chandeliers and lamps. A table
lamp in an otherwise dark room For a chance to win a month of free access to
casts dramatic shadows on Artists Network TV, email your favorite art hack to
adjacent walls and objects. info@artistsmagazine.com with “Art Hacks” as the subect
● Light entering north-facing line. Submissions may be edited for length and clarity.
windows stays relatively

CALL FOR ENTRIES
EARLY-BIRD DEADLINE: OCTOBER 1, 2018
Art sts OVER 60 Magazine

ART COMPETITION
WE’RE LOOKING FOR

ARTISTS AGE 60+ working in
two dimensions in all art media.
Submit your work and you could
see it featured in the July 2019
issue of Artists Magazine!
10 WINNERS will be featured

prominently in Artists Magazine
and will receive $250 EACH in
cash prizes.
For complete guidelines

and to enter, visit
artistsnetwork.com/
art-competitions/over-60/
ART FEATURED
David Story | Harvest Time | oil 16x48
Brian LaSaga | Facing the Elements | acrylic, 24x34
Tony Luciani | The Dressmaker | oil 48x52
Ann Kraft Walker | A Friend’s Gift | oil 24x18
Build WORKSHOP
LEGION
MIXED MEDIA MASTER CLASS
SPONSORED BY
Combining
Materials
Watercolor & PAPER:
· 140-lb Stonehenge
Aqua Coldpress
Colored Pencil
KATHY KRANTZ FIERAMOSCA demonstrates how
artists can bring together watercolor, gouache
and colored pencil to create an elegant look.
here’s nothing more feminine than beautifully draped fabric

and ribbon with its calligraphic movement across the page. In WATERCOLORS:
this fabric study, I was drawn to the delicacy of the conical folds Winsor & Newton
and the gentle twists and curls of the ribbon. For my colors I · permanent magenta
used a modiied version of the traditional triad of red, yellow · yellow ochre
and blue. he red is a red purple, the yellow is a gold, and the · brown ochre
blue is the very muted blue-gray of the cast shadow. I used · blue black
Payne’s gray, a low-chroma blue, in the stone of the earrings. · Payne’s gray
I began this study with a trip to a large fabric store in the GOUACHE:
heart of the Garment District in Manhattan. I wanted a fabric Winsor & Newton
with an easy drape, something soft and utterly feminine. I did · brilliant yellow
have a color concept in mind as I selected the elements of my · yellow ochre
study. Once I returned to my studio, I arranged the objects · white
and pinned them to a piece of foam core. hen I lit the still
BRUSHES:
life with a lamp at a 45-degree angle—just enough to form
· Winsor & Newton series 7,
beautiful cast shadows, which add to the composition.
various sizes
My goal was to create a study of form, color and compo-
COLORED PENCILS:
sition, using elegant fabric and the graceful line of ribbon.
I worked on Stonehenge Aqua Coldpress paper, using both Caran d’Ache Pablo
watercolor and colored pencils. · aubergine
· purple
· purple violet
· purplish red
KATHY KRANTZ FIERAMOSCA’s paintings · raspberry red
hang in numerous private and public · brown ochre
collections, and she has exhibited at venues · gold
including Gallery 71, Francesca Anderson · golden ochre
Fine Art, the National Academy of Design, · hazel
the National Arts Club, the Salmagundi Art Blick Studio
Club and the Society of Illustrators. She has · slate gray
won awards from organizations including the · steel gray
American Artists Professional League, the New Jersey Watercolor OTHER:
Society and the Catharine Lorillard Wolfe Art Club. For more · 3H graphite pencil
information, visit kathyfieramoscaart.com. · stump
· kneaded eraser

STEP 1 STEP 2
After drawing an initial sketch on tracing paper and I began applying layers of colored pencil—first in the shadow
transferring it to my watercolor paper, I refined my areas, then in the halftones and dark lights. I used a light
drawing using a 3H graphite pencil, maintaining a touch to scumble the colored pencils over the watercolor
clean, light line. Then I laid down a simple, flat wash wash in order to prevent filling in the tooth of the paper too
of watercolor over the drapery, ribbon and jewelry. soon. This allowed for subsequent layers of color to be laid
down. I used a kneaded eraser to lift color in order to expose
the pale watercolor wash for the highlights on the fabric.
STEP 3
I continued adding layers
of color to the red-violet
drapery, refining the
plane changes of the folds
of the fabric. To soften
the texture and blend
the edges of the value
changes, I used a stump
in the smaller areas and a
soft cloth over the larger
passages. I then began
working on the ribbon
as well, adding golds,
ochres, yellow and umber.
Build WORKSHOP
Fabric Study in Magenta and Gold

watercolor, colored pencil and gouache on
Stonehenge Aqua Coldpress, 12x9
STEP 4:
THE FINISHED PAINTING
In this final step I worked on the jewelry, using both watercolor and gouache to
accentuate the facets of the black stones in the earrings. Next, I added a soft, dark
gray tone in colored pencil to the cast-shadow areas, letting them fade to the pale
watercolor wash. In the final touches, I used gouache in yellow ochre, cadmium yellow
and white to add some highlights to the edges of the ribbon.

Build PROMPTS
Learn
at Home
Sure, getting away from
familiar surroundings
lends a creative boost, but
getaways aren't always
practical. The good news is
that you can shake up the
“same old” without leaving
your home. Cross-learning
is the key. If you typically
work in one genre—say
landscape or portrait—try
another—maybe still life
or abstraction. Then apply
what you've learned to your
preferred genre. —HOLLY DAVIS
1
Still Life—lighting:
Choose an object and
depict it three times,
rendering each with a
2
Caricature—
different light source abstraction:
STILL LIFE: MANUFOTO; BIRD: YULIA SHEVCHENKO/GETTY IMAGES; CARICATURES: IGOR ZAKOWSK/GETTY IMAGES
or light angle. Yes, caricature
is a form of
abstraction—
reducing the face to
essential lines with
a healthy dose of
exaggeration. Make
faces in a mirror or
work from selfies.
You’ll get some
bonus laughs out of
this one.
3
Animal—combining life study with 4
reference: Animals don’t understand the
concept of posing, so when you depict your Portrait—organic forms: Invite a neighbor to sit for
cat or dog—or the squirrel or bird outside a half-hour portrait session. Concentrate on rendering
your window—you’ll almost certainly need the basic forms of the face or body. Thank them with a
reference material. Do what you can from
life and then snap photos or search the shared meal or a snack.
internet for more information.

5
Floral—color values:
Raid your garden—or snip a
small branch from a tree or
bush. The curves, bends and
wrinkles of petals and leaves
present challenges in
6
Landscape—
capturing color-value
changes.
perspective:
Keep this simple. Depict
a structure you can see
from your window—
preferably one that’s
not straight in front
of you. Concentrate
7
Pattern—abstraction: Search your home for
on getting the lines of patterns—fabric prints, louvered blinds or
BRANCH: KWANCHAI KHAMMUEAN/EYEEM/GETTY IMAGES; TILE: MARIA TOCZYNSKA/GETTY IMAGES; UMBRELLA: DRA UJHELYI/EYEEM/GETTY IMAGES
panels, window panes, wood grain—you get

perspective right. the idea. Use one or more as inspiration for an
abstract piece. This can be anything from a
floral pattern to something that's completely
nonrepresentational.
9
Figure—gesture: A family member, partner
or roommate works best for this. Let your
subject go about his or her normal business
as you make quick sketches. Strive for
expressive gestural movements rather than
8
Interior—perspective: Corners of rooms
a detailed likeness.
present a different type of perspective challenge Turn in your homework! Share your painting or
from outdoor structures. Pick a corner in drawing and tell us briefly what you learned on
your home and depict it in the medium of Instagram:
your choice. @artistsnetwork #artistsnetwork_prompts
Build LESSON
ACRYLIC
Creating Surface Textures

RHÉNI TAUCHID explores a world of textural possibilities with acrylic mediums.
PHOTOGRAPHY BY JONATHAN SUGARMAN AND CONNIE MORRIS
Autumn Peaks
by Ksenia Sizaya
2017; acrylic paint, soil, glass pebbles, acrylic polymer emulsion, modeling paste and
crackle medium on treated cotton canvas,40x30
PRIVATE COLLECTION

When tinted gel is sandwiched between two sheets of Measuring up: a one-inch tinted gel peak
smooth paper and the sheets are then peeled away from
each other, the suction creates sharp veins of texture.
Perhaps the most obvious use for acrylic mediums, IMPASTO (ALLA PRIMA APPLICATION)
especially the thick ones, is to create and control tex- Impasto is the term generally associated with thickened
tures. Mediums collectively ofer painters almost paint that’s slathered onto canvases in rippling, bold
unlimited potential for dictating the appearance and waves, showing the bold strokes of the artist’s hand. It is
character of the painted surface, from ultra-smooth to not the only method of producing texture, although it’s
the spikiest of peaks. certainly the one most often discussed.
Touching paintings is discouraged, which I ind incred- Alla prima is usually used to describe the application of
ibly frustrating because being able to physically feel the paint colors, but can be used for mediums, as well.
surface of an exquisitely textured painting can greatly Whether they are thrown liberally onto a surface or sys-
increase my appreciation and understanding of it. Sadly, tematically applied with deliberate accuracy, unaltered
gallery and museum etiquette, not to mention conserva- mediums can produce some incredibly complex and expres-
tion concerns, dictate that we keep our hands at a sive textures. he signature of the artist’s hand is evident
respectful distance from the artwork, so we usually have in the directional strokes of paint or medium.
to rely on letting light, instead of our ingertips, play on hick impasto surfaces are typically built up in successive lay-
those surfaces. ers. Gel and modeling paste are recommended mediums. Tools
TYPES OF TEXTURE
Acrylic mediums are the masters of diversity when it
comes to disrupting and dictating every possible nuance
of an acrylic painting. hey transform color into a
three-dimensional, interpretive tool. he shallowest of
valleys between paint peaks provides enough shadow to
amplify contrasting surface textures in a painting. A
rough, granular surface scatters light, while a slick swath
of acrylic lings it, beaming, back toward the viewer.
Velvety matte surfaces appear to absorb light, rendering
the surface soft and nebulous.
here are myriad tools and methods for producing tex-
tures, ranging from the traditional to the more crafty.
Following are some examples of how to produce and
amplify textures in your acrylic paintings and the tools A mixture of nepheline gel extra coarse plus liquid mirror and carbon black
you’ll need to create them. produces a granular, iridescent texture on this stenciled surface.
Build LESSON
for impasto include brushes, palette knives and paint shapers

such as the Catalyst tools made by Princeton Artist Brush Co.
BAS RELIEF
In contrast to the drama and spontaneity of impasto tex-
tures, bas relief textures are shallow and subtle. he term bas
relief (after the Italian basso rilievo) refers to very low tex-
tures on a completely lat surface. I extend the idea by using
the term to refer to any relief that has only a slight height.
You can add a third dimension onto a two-dimensional
surface by either building up or carving down into the
material. If you’re building up, you can create surface tex-
ture and detail using a variety of methods: by layering
modeling pastes or gels, by using masking or stencils to
produce sharply deined relief or by adding collage ele-
ments. Relief creates areas of light and shadow, adding
visual dimension. Producing a more minimal texture in a
controlled manner can be accomplished with masking,
dripping, incising and some deft tool use.
GRANULAR TEXTURES
A surprising variety of granular mediums are available on
the acrylics market, and they seem, so far as I can tell, Gel textures
A B
Each petal of these flowers started as a thick filbert brushstroke of untinted gel (A). Once the
gel was dry, the color was built up in thin dry-brushed layers (B). Interference and iridescent
colors give the petals extra dimensionality and contrast against the matte black background.
ABOVE
One classic example of bas relief is the face of a coin.
Here, the image on the coin has been quickly reproduced
with a smooth swatch of gel. Areas have been etched
away with the smooth edge of a color shaper, and detail
has been incised with the tip of a bamboo skewer.
LEFT
Multiple dry-brush and wash applications,
finished with a tinted glaze, enhance this bas
relief surface’s visual depth. Repeated dry-brush
applications of slightly opaque metallic colors
accentuate the edges of the stenciled shapes.

A mixture of tinted fine
and coarse nepheline
gels was scraped with a
palette knife, then
dry-brushed with light
and dark colors to bring
out this granular
surface texture.
to be quite underused. here’s a particulate for every taste, heir velvety tooth minimizes streaks and breaks up the
ranging from the subtle and uniform to the wildly erratic color while causing barely perceptible visual color mixing.
and coarse. Like the spice in a recipe, they add new dimen- Granular mediums with larger grit particles can be
sion to plain gel medium. Opaque pumice, translucent a little loose and messy. To keep those errant parti-
nepheline syenite, glass, metal, plastic, and other materials cles in check, you can add more gel medium to bulk up
are used to give grit to acrylics. the adhesion. Dry-brushing and applying thin washes
Granular mediums break up the surface of a painting, onto coarser mediums highlights the rough edges and
scattering light and adding tooth. Finer particulate granular three-dimensional appearance of the particles, adding a
mediums provide lovely surfaces on which to blend colors. real sense of depth to the paint surface.
Part of the process of getting to know a medium, such as this nepheline PETE plastic gel texture with dry-brushed and wash applications of color
extra coarse gel, is to experiment with paint application methods as well as
various types of color. Dry-brushing, color wash and alla prima painting
were applied, leaving the clear medium in the center untouched.
Build LESSON
ENHANCING BAS RELIEF WITH COLOR

Augmenting the appearance of texture can be easily accomplished with minimal use of color. A little goes a long
way in amplifying subtle textures. These images show just a few methods for enhancing bas relief with color.
Application of color with a very dry brush Detailing around clear gloss gel ridges.
reveals the valleys and ridges of dried
gloss gel medium.
A smooth alla prima application of color Water with just a single drop of color
reveals the underlying texture. pools in the valleys between elevated
gel cross-hatchings.

A B
A tinted glaze of liquid medium brings out the nuances of a surface textured
with clear gel. Using a flat tool such as this color shaper, you can push the glaze
into the texture without adding brush marks (A). The dry glaze rests in varying
thicknesses on the textured ground (B).
ABOUT THE PRODUCTS

Full disclosure: The description of acrylic mediums and their This article is an excerpt from
use in this excerpt comes with a caveat. While I have done Acrylic Painting Mediums and
my best to make this a general reference on existing acrylic Methods: A Contemporary Guide to
mediums, I primarily reference acrylic materials produced Materials, Techniques, and
by Tri-Art Manufacturing because of my affiliation with the Applications by Rhéni Tauchid,
company and my familiarity with and appreciation of their published by Monacelli Studio,
products. There are many dissimilarities between acrylic 2018.
brands. For further information on other brands’ mediums,
visit their manufacturers’ websites.
Build GENESIS
How Would YOU

Have Painted This?
Sometimes you need a little space to create. Whether you’re working in a
studio or at your kitchen table, the space around you will inevitably take on
signs of your personality. Think about some of the spaces in which you’ve
created art as you answer the following questions. —MIKE ALLEN
ToolsIf you were painting a studio, what artmaking tools

and equipment would you depict?
OrganizationInterior With the Artist's Easel (opposite), by

Vilhelm Hammershøi (1864–1916), is spare in the extreme.
Is your imagined space cluttered or austere? Do mundane
affairs intrude upon the space?
Hammershøi depicts the artist’s easel from the back.

Perspective
List some possible points-of-view and think about how each
one affects the composition.

Interior With the Artist’s Easel
Vilhelm Hammershøi
1910; oil on canvas, 33x27
NATIONAL GALLERY OF DENMARK, COPENHAGEN
MAKING THE FAMILIAR STRANGE

Hammershøi’s style casts everyday spaces and situations in a somber and austere
light. Many of his haunting works were depictions of rooms in his own home or of his
wife going about her daily routines.
Build WORKSHOP
TEXTURE
Harmony of Senses
ANDREW S. CONKLIN demonstrates how the choice of elements and rendering
of texture can appeal to the senses of touch and sound as well as sight.
Among the attributes of a realist painting is the ability to

engage the participation of multiple senses. he sense of Materials
sight is obvious, but others can also be quickened, if only in SURFACE:
the mind of the viewer, by a purposeful inclusion, arrange- · 17x10 panel toned with a
ment and rendition of speciic objects. In my mixture of glue-size and
demonstration I’ve focused on a variety of objects made raw umber
from wood. he many types of wood, the nearly endless DRAWING AND TRANSFER
forms into which human hands have coaxed this material MATERIALS:
and the way in which wooden objects appeal to our senses · graphite pencil
of touch and sound make this material a fruitful and · orange colored pencil
challenging subject for painting. · Saral blue transfer paper
I began by arranging wooden objects in my studio with · soft white Conté chalk
an eye toward presenting a connection among them
OILS:
beyond mere material similarity. I noticed the subtle difer-
Winsor & Newton (WN),
ences in texture, color and inish, as revealed by moving
Gamblin (G),
them around in the cool, steady daylight coming though
Williamsburg (W),
my east-facing studio window. I eventually settled on a
Sennelier (S)
composition of a violin, an artist’s mannequin, a cork-
· Cremnitz white (WN)
wrapped rosin block and a book on an upholstered chair
· Mars black (G)
with a cotton cloth draped over it. In the background I
· raw umber (G)
placed a potted ig tree against a burnt-orange fabric
· transparent earth yellow (G)
draped over a board.
· transparent earth red (G)
· Spanish earth (W)
· Venetian red (G)
· Naples yellow (G)
ANDREW S. CONKLIN earned a B.F.A. · Van Dyke brown (G)
from the American Academy of art, in · brown ochre (S)
Chicago. He attended the National · rose madder (WN)
Academy of Design and the Art Students · neutral tint (S)
League of New York before earning an · sap green (G)
M.F.A. from the Academy of Art · lemon yellow hue (WN)
University, in San Francisco. Gallery
MEDIUMS:
Victor Armendariz, in Chicago,
· Gamblin Gamsol
represents his work. For more information, visit
· mixture of 25 percent
cargocollective.com/andrewsconklin.
stand oil to 75 percent
Gamsol for oiling out
WATERCOLOR BRUSHES:
· ⅛- to ¾-inch flat and
angled brushes
· No. 1 round for details
· genuine squirrel oval
wash for blending

Still Life With
Violin and
Wooden
Mannequin
oil on panel,
17x10
Build WORKSHOP
STEP 1 STEP 2
Toning and drawing: I toned a 17x10 panel with a middle value Retracing: I retraced my lines, using firm pressure. This
of glue-size mixed with raw umber. I then taped on tracing caused the blue transfer paper to transfer the lines to the
paper for a graphite contour-line drawing. I wanted defined, panel. I used a bright orange pencil so that I could be sure
unshaded forms since I wasn’t sure where I might crop the I didn’t miss any contours.
image. With the drawing on a separate surface, I could easily
alter, reposition or even discard the design.
STEP 3
Darks: After removing the tracing
and transfer papers, I laid in
the shadows with warm earth
colors—raw umber, Van Dyke
brown, transparent earth red and
transparent earth yellow—thinned
with a small amount of Gamsol.
My aim was to keep the luminous
darks free of white, which would
not only lighten but also cool and
cloud the shadow colors.

STEP 4 STEP 5
Background and large forms: The background came next, Lights: The lighter colors followed, with greater amounts
along with other larger forms. These I placed rapidly, slightly of white added to the earth colors. I used Winsor & Newton
overpainting the edges in order to fuse one form into the other Cremnitz white, which has a beautiful translucency, allowing the
so that no gaps separated the shapes. This way, I could adjust ground color to glow through. It also has a rapid drying time.
the contours while the paint remained wet. This completed the first layer, which I let dry before continuing.
STEP 6
Highlights: The various wood
textures reflected the cool daylight
in different ways, which I aimed to
replicate in the highlights—great
indicators of a material’s textures.
With white, Spanish earth, neutral
tint and ultramarine blue, I placed
lights on the chair back. I redrew
the mannequin’s contours in
graphite, restated its darks, then
rendered its midtones and, finally,
the highlights. With similar colors
I began to address the violin’s
strongly defined highlights, created
by the instrument’s glossy varnish.
Build WORKSHOP
STEP 7 STEP 8
More highlights: Focusing on the large highlight Oiling Out: Normally, a second oil paint layer
across the body of the instrument, I noticed has a tendency to dry matte, with the oil from
subtle hue shifts and a softness of transition to dark earth colors sinking to the support. To
the warm local color of the wood. Painting this revive the color, I “oiled out” the surface by
took intense concentration, but I couldn’t work brushing on a thin wash of about 25 percent
too slowly because natural light has a tendency stand oil to 75 percent solvent over the dried
to shift in temperature with passing time and pigment. I gently spread this application with a
changing weather. I also added highlights to soft cloth, which revealed the true colors.
the chair’s carved back and side. I let this paint
dry completely.

STEP 9 STEP 10
Fabrics, cork and rosin: I next turned to the Fig tree: I wanted to add an element of live
white fabric, adding the yellow stripes over the wood to the painting, so I placed a fig tree
plain white folds of the cloth. I painted the black branch at the left. The green leaves contrast with
cloth corners of the book cover and outlined the the burnt orange surrounding it, and the distinct
cork rosin holder in graphite. I then placed the shape of its ripening fruit echoes the shape of
amber hues of the hard rosin with transparent the mannequin’s head. The fig tree also harks
earth colors. Into this wet paint, with small back to the idea of desire and the female, hence
brushes, I added cooler, lighter dabs of paint to its inclusion with a female wooden figure and the
indicate the surface textures. hourglass-shaped violin. I drew the contours in
soft white Conté chalk, then painted the plant
with a mix of white, earth colors and sap green.
CAPTURING MOOD
21
Showcase Your Artistic Vision
IN THE PAGES OF SPLASH 21
Your best watercolor could be featured in the
pages of North Light Books’ Splash 21: Capturing
Mood, and your work could be viewed by artists
from across the globe.
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CALL for ENTRIES
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“ W H E N I PA I N T A B E D, C H A I R
O R S TA I R C A S E I N A H O T E L ,
I C A N F E E L T H AT S O M E O N E WA S
T H E R E B E F O R E M E .”
N I C O L A S M A RT I N The Invitation
by Nicolas Martin
oil on panel, 24x18
BACK
WALL

Representational wallpapers
depicting everything from simple floral
motifs to panoramic historical scenes have
been favored by designers and artists since
the Victorian era. New technologies are
giving the practice fresh life—and bringing
to the fore something that has long been
considered part of the background.
by Benjamin Riley
Trellis
by William Morris
1862; block-printed wallpaper, 27x21½ (sheet)
THE METROPOLITAN MUSEUM OF ART, NEW YORK
I
n Charles Dickens’ novel
Hard Times, a government
inspector visits a schoolroom
to instruct children on the
essentiality of “fact.” After
asking the children whether
they would “paper a room
with representations of The Design Reform campaign was
horses,” he launches into his answer: a reaction against perceived excesses
“You are not to have, in any object in 19th-century wallpaper design, but
of use or ornament, what would be a as Edward Poynter, a one-time presi-
contradiction in fact. You don’t walk dent of the Royal Academy, remarked
upon flowers in fact; you cannot at the time, “This determined insis-
be allowed to walk upon flowers in tence upon the necessity of a purely
carpets. You don’t find that foreign flat kind of decoration has produced
birds and butterflies come and perch as a result a kind of work, quite as
upon your crockery; you cannot be unfortunate, if not more so, than
permitted to paint foreign birds and the vulgar rococo ornament which it
butterflies upon your crockery. You has superseded.” We can be glad Cole
never meet with quadrupeds going up and his cadre of improvers failed, for
and down walls; you must not have had they succeeded, we might have
quadrupeds represented upon walls.” been deprived of some of the world’s
In short, the inspector argues that most iconic wallpaper designs. These
using recognizable images to decorate include William Morris’ Trellis ( page
walls and carpets is a grand offence 54), which depicts a vine climbing a
Leon E. Panetta, then against reason. wooden trellis, with birds nesting and
the United States Absurd as this sounds, Dickens flying on and off the slats. Birds don’t
Secretary of Defense, was lampooning a real figure—Henry nest on interior walls in fact, do they?
meets with members
of Parliament in
Cole, a 19th-century British civil ser-
vant. Cole headed the Design Reform
2013 in the Pugin
Room of the Palace campaign, which sought simulta-
OPPOSITION TO
of Westminster, neously to improve British taste by REPRESENTATION
in London. On the grounding it in “fact,” and to raise the Cole was not the only Victorian to
walls is red-and-gold
wallpaper by A.W.N. quality of British wallpaper manufac- take aim at the supposed defective-
Pugin that emulates turing so that it might be made more ness of British wallpaper. No less than
medieval hangings. attractive to buyers abroad. A.W.N. Pugin (1812–52), the designer

of the interior of the Houses of emulating medieval hangings. Grand
Parliament, railed against wallpapers medieval homes lacked wallpaper—
“where a wretched caricature of a although the first examples of
pointed building is repeated … door wallpaper date to the 15th century,
over pinnacle, and pinnacle over the form did not reach anything near-
door,” and are therefore “defective in ing ubiquity until the 18th. Instead,
principle.” For Pugin, who saw in the medieval walls would likely have been
promotion of “true” Gothic styles a hung with tapestry, hence Pugin’s use
concomitant return to traditional reli- of wallpaper to imitate fabric.
gious and social practices in England, Imitating fabric was one method
anything less than a faithful repro- Pugin used to avoid what he called
duction of original forms was heresy. “the extreme absurdity of repeating a
Wallpaper’s mode of production, perspective over a large surface with
wherein blocked forms are repeated, some hundred different points of
was precisely the issue for Pugin, for sight.” Another method was to employ
if the pattern was pictorial, it might geometric sources such as medieval
repeat a door over an arch—this was tiles, of which Pugin approved, noting
not fact. Instead, Pugin favored geo- that they are “merely ornamented with
metric patterns, thereby avoiding any a pattern not produced by any appar-
misrepresentational effects. ent relief.” For this most religious of
The aptly named Pugin Room at interior designers, illusionistic depth BELOW LEFT
the Palace of Westminster displays was another grave sin. Soho Square—
Marine Flock
Pugin’s historicizing drive (opposite). IMAGE SUPPLIED BY LITTLE
The brilliant red-and-gold wallpaper GREENE
design—subtly floral but merely geo- HISTORICAL REVIVALS
metric from a distance—was based on Those who pay attention to the BELOW RIGHT
Great Ormond St.
a 15th-century Flemish velvet pattern, walls around them will note that IMAGE SUPPLIED BY LITTLE
and it achieves the artistic goal of the Victorian moralizers failed in GREENE
America print in the White House’s
Diplomatic Reception Room (above),
she was not rectifying an accident
of removal, nor was she overly con-
cerned with anachronism. The paper,
which depicts 32 fantastic panoramas
of the early American landscape,
CLOCKWISE FROM their quest to dash representational wasn’t first printed until 1832, four
OBAMA: SAUL LOEB/AFP/GETTY IMAGES; INSTALLATION: JOHN F. KENNEDY PRESIDENTIAL LIBRARY AND MUSEUM, BOSTON;
TOP LEFT wallpaper. Indeed, since at least decades after the White House’s con-
President Barack the beginning of the 20th cen- struction, and it had never hung in
Obama speaks in
front of Zuber & Cie’s tury, decorators have favored the building before.
Views of North historical wallpapers—often with Zuber & Cie has been in con-
America wallpaper in representational patterns—for a tinuous operation since 1797 and
the Diplomatic variety of projects, especially the still uses its original wood print-
Reception Room of
the White House in
restoration of historic homes. In her ing blocks. The French company’s
2009; workers 1905 book Old Time Wall Papers, Kate labor-intensive, traditional crafts-
installing the Sanborn noted how the burgeoning manship ensures that its papers
wallpaper in 1961; Colonial Revival in architecture had stand at the top of the market—a
the newly created a demand for reproductions single panel today can run around
redecorated
Diplomatic Reception of colonial wallpaper designs. In his $2,000—but advances in technology
Room in 1961. 1983 handbook to antique wallpa- have been a boon for other tradi-
per, Wallpapers for Historic Buildings, tional wallpaper manufacturers. Cole
Richard C. Nylander shows that even & Son—a British producer founded
before 1900, “several historical soci- in 1875 and holding a royal war-
eties and even a few private owners rant as a supplier of wallpaper to
had commissioned custom repro- the Queen—uses surface print and
ductions of early papers they had intaglio to make its Historic Royal
found on the walls of buildings they Palaces collection. These wallpapers
ROOM: BETTMAN/GETTY IMAGES
were restoring.” take inspiration from disused royal

More often, wallpaper reproduc- residences. One, for example, emu-
tions have been used to correspond lates plastering added by George II in
to a general period rather than a rooms at Hampton Court.
specific duplication of a historical Little Greene, another man-
fact. In 1961, when Jackie Kennedy ufacturer, has its own historical
installed Zuber & Cie’s Views of North reproduction collection, under the

auspices of English Heritage, a
preservation association. The eight
designs date from 1760 to 1890 and
include a circa-1775 flock wallpaper,
originally made of wool and printed
with a velvety texture to imitate
damask (page 57).
INTO THE
DIGITAL AGE
The advent of digital printing
technology may serve to bring repre-
sentational and historical wallpapers
to a wider audience, and a number
of companies now offer the ability to
print custom wallpapers of virtually
any subject or pattern, historical
or contemporary. Want a panel of
Veronese’s Allegory of Love in your
living room? Have it printed as a wall- One company offering such ser- ABOVE
Wreath
paper, with a linen effect (below). vices is Surface View, which can
From the V&A
convert consumer-supplied images collection at
to murals, wallpapers, tiles or surfaceview.co.uk
even lampshades. Especially use- The pattern is
ful for wallpaper is Surface View’s available in a range of
bespoke interior
partnership with the Victoria & décor products.
Albert Museum (V&A), whose col-
lection includes numerous designs LEFT
by William Morris and C.F.A. Allegory of Love, IV
(Happy Union)
Voysey. Although Morris & Co. may
Mural from the
decline to produce certain histor- National Gallery
ical patterns now, owing to a lack collection at
of commercial viability, Surface surfaceview.co.uk
View’s mining of the V&A’s archives
allows consumers to seek out for-
gotten patterns such as Wreath,
from 1876 (above).
In the introduction to The Papered
Wall: The History, Patterns and
Techniques of Wallpaper, Lesley
Hoskins describes the liminal nature
of wallpaper, asking, “Is it background
or foreground, art or decoration, vul-
gar or respectable?” Although these
questions remain unanswered, the
continuing interest in historical wall-
paper reproduction suggests that
consumers tend to take William
Morris’ view: “I love art, and I love
history, but it is living art and living
history that I love.”
Benjamin Riley is an associate editor of

he New Criterion, and his writing has
also appeared in he Georgian Group
Journal. He received his M.A. from the
Courtauld Institute of Art, in London.
Awakening
Authenticity
Above all, Nicolas Martin stresses honesty and growth

in his depictions of interior spaces.
by Robert K. Carsten

The Bed
oil on canvas, 9x12
S ince early childhood, Nicholas

Martin has had a passion for
drawing. He attended the Lycée
Auguste Renoir, a high school
of applied arts in Paris and, at the age of 19,
moved to Canada to complete his studies at
the Université Laval, in Québec City, where he
majored in graphic design. Afterward, his career
as a designer and art director blossomed. He
worked for the noted department store Galeries
Lafayette, in Paris, and for companies in Europe
and North America. But in 2010, Martin had
a change of heart. “When I was 30 years old,
I realized that I was not going in the right
direction,” he says. “All I’d ever really wanted to
do was paint, but I had listened to others and
thought it impractical, if not impossible, to
make a living as a painter.”
A Radical Decision
“When I decided to paint for real, for good and
forever, I changed everything completely,” says
Martin. “I took two years to save up enough
money so that I could stockpile quality paints
and supplies, then gave up my apartment, sold
my car and even changed my social life. When
I made up my mind, I was really ready to do this.
I was going to be a painter and I had a plan.”
Martin had hardly ever painted before that
momentous decision, and his plan did not
include painting lessons. “I have always been
very curious,” he says. “I spent a lot of time in
museums studying paintings, figuring out tech-
niques and how artists used color and design.
I had this dream of being a painter, and I was
determined to figure it out by myself. In the
beginning, I painted many different subjects.
I was trying to prove that I could paint any-
thing. I wanted to find my limits, but what I
found out was that I really didn’t know myself.”
tial and profound meaning for me.
Freedom to Evolve I’m fascinated by the idea that
Martin began honing his focus commonplace objects can suggest
with the realization that he was a story and reveal a history. When
especially attracted to the subject I paint a bed, chair or staircase in a
of night scenes. His concentra- hotel, I can feel that someone was
tion and achievements in this area there before me. I share this imag-
were soon rewarded by a series of ery so that people may recognize
successful solo exhibitions at the something about their own lives in
Gallerie L’Oeil du Prince, in Paris, it. I find great beauty in this idea
and other shows in the United and subject.”
States. “I quickly became known Now, before he travels, Martin
for an ability to capture outdoor, researches possible hotels, review-
evening light,” says Martin. “I built ing pictures of the rooms, lighting
my career on those effects, as can and hallways to select those that
be seen in Night Walk (below), but offer interesting subjects for paint-
I found that it wasn’t possible for ings. Bed of Clouds (right) is from the
me to just keep doing similar things hotel room he stayed at in Brooklyn
over and over again. That’s just not when he was exhibiting in a group
me. I want to change and to always show at the Salmagundi Club in New
grow as an artist. To do this, I need York City. “I chose it because of its
to always feel free to express myself. architecture and atmosphere,” he
So I decided to do the opposite of says, “The latter was so intriguing
an exterior night scene. I started that I wanted to link the outside
to paint interiors by natural day- with the inside so that the viewer
light and sometimes with multiple would sense the sky and feel the air
artificial light sources. It’s become in the manner in which I painted the
a subject that’s full of vast poten- light and drapery. It was the first
Night Walk
oil on canvas, 18x24
Bed of Clouds
oil on canvas,
18x24

time I realized that a title can have This is my own voice and I want to that?’ I need to see something that
an impact on the idea in a painting.” express something that I truly I can correct and purposely choose
A different concept is revealed believe and trust.” to leave it alone. This idea, to me,
in The Bed (page 60). Here Martin Martin’s desire to maintain touches upon why we do art and
emphasizes his subject’s individual authenticity and experiment what it’s really about. It’s about
identity. “I don’t like the impersonal intentionally means he must deal authenticity. We do art not just to
in art,” he explains. “Some artists with the problem of knowing when show a place, but to express how we
would paint a model with the same and how to stop working on a feel about a subject and to evolve as
routine that they paint a piece of particular piece. “It’s difficult,” says a person. Sometimes just one brush-
furniture—with automatism. I used Martin, “because I have to go far stroke can teach me a lot of things.
to think and paint that way. I see into a painting, but there’s always I have to always keep that in mind
and do things so differently now. that tendency to correct oneself too because it’s easy to settle into a
The more I paint, the more I am much. If I always make things per- routine and make the same mistakes
honest with myself. I am looking for fect, I can end up completely missing again and again. Painting teaches
an evolution in an authentic way the point. Artists are human. We me humility, and being humble is
with a reason behind it. I don’t want all have some weaknesses. So, I ask important because that’s the way we
to experiment just to experiment. myself, ‘Why am I not showing improve and evolve.”
and execution. The ladder dramat- year. They had hired models for
Places That Inspire ically cuts across the expressively a painting session in the historic
While visiting Normandy, a friend painted, near-monochrome ground. studios of Académie de la Grande
showed Martin a deserted indus- The darkness of the ladder and the Chaumière, in Paris, but Martin
trial dynamite facility that ignited man set against that minimalist became enchanted with the light
the artist’s imagination. Open Door background encourage more ques- falling upon a group of stacked stools
(opposite) and L’homme à L’échelle tions than answers. It’s a work and supplies on shelves, resulting
(Man on the Ladder), below, are two entwined with mystery and com- in the painting Les Tabourets (The
of many paintings inspired by this plexity, its significance and story Stools), page 66. The studios provided
area. “I wanted to challenge my color remaining inaccessible despite its a gold mine of imagery for Martin. He
palette in Open Door in order to apparent straightforwardness of had just turned off the light on the
express something other than what subject matter. easel, but the one above his brushes
was exactly there,” says Martin. “I Martin is part of the artist group was still on when he glimpsed his
do that a lot in order to improve Americans in Paris and participates subject for Weapons (page 67). “I
my understanding of color.” The in their Paris seminars. The group like this painting because there are
enigmatic Man on the Ladder stands studies, paints, visits museums and a lot of things going on and a lot of
out for its powerful composition exhibits together throughout the information in it,” says Martin. “Here
LEFT
L’homme à
L’échelle (Man on
the Ladder)
oil on canvas, 12x9
OPPOSITE
Open Door
oil on canvas, 12x9
are my tools—my weapons. They are Portrait (left), a painting that was
all I have to engage in my battles for commissioned with the intent
realization and authenticity. I do not by the patron that I would learn
paint for relaxation or fun. For me, a lot about myself and painting.
painting is hard work. It’s a struggle Although I had painted many
to achieve an honest self-expression, figures before, I feel I made a
but I’m always gaining and learning. breakthrough with this painting by
I also like this painting because I capturing an exacting realism while
used something that I first observed retaining that feeling of expressive
in Édouard Manet’s paintings—an freedom that I love. To me, paint-
outlining of form. It can bring an ing is a world of never-ending,
object forward, and I can play with abounding beauty.”
space as in the edges of the jars and
brush holder. I plan on using this Artist, writer and exhibitions juror
effect in other paintings.” Robert K. Carsten teaches workshops
Martin further explains, “I nationally and internationally. Visit his
first used this outlining on Self- website at robertcarsten.com.
Self-Portrait
PARIS-BORN NICOLAS MARTIN

LIVES AND WORKS IN MONTREAL.
VISIT THE ARTIST’S WEBSITE AT
THEARTOFNICOLASMARTIN.COM.
RIGHT
Les Tabourets
(The Stools)
oil on canvas 24x18
OPPOSITE
Weapons

The
Lessons of
Fallingwater
Frank Lloyd Wright’s
celebrated residence
reminds us of the
importance and the
difficulty of striving for
beauty and grace.
by C.J. Kent
HONGYUAN ZHANG/GETTY IMAGES

For the past three years
I have been learning to
live in a Frank Lloyd
Wright house. …
In a very short time, I decided that since
I could not adapt the house to my way of
living, I must adapt my way of living to
the house. It proved to be surprisingly
easy, and once the decision was made,
my education had begun.”
So wrote Liliane Kaufmann (1889–
1952) in an essay about Fallingwater, the
home at Bear Run, in southwestern
Pennsylvania, that she and her husband,
Edgar J. Kaufmann, Sr. (1885–1955), com-
missioned in 1935 from Frank Lloyd
Wright (1867–1959). The essay was titled
“An Eye-Opening Experience and a
Constructive Lesson,” as if to emphasize
her point that a Wright house was no
readymade home. Instead, his designs
required their inhabitants to reconsider
expectations and habits. Fallingwater, pos-
sibly Wright’s most renowned residence, is
a demanding, challenging, glorious work
of art—one that teaches us how our sur-
roundings can frame our outlook on, and
experience of, art and life.
In 1935, the Kaufmanns commis-
The Birth of an Icon
PHOTO: CHRISTOPHER LITTLE, COURTESY OF THE WESTERN PENNSYLVANIA CONSERVANCY

sioned Wright to build their home with
The Kaufmanns had been visiting the a view of the waterfall. Only a visionary
Bear Run area for years. For them it was a like Wright could have imagined build-
haven from the hubbub of Pittsburgh and ing the house not with a view of the falls
the demands of their popular department but hanging over them. It was an expen-
store. After purchasing a large share of sive project—the estimated cost was
land there, they first established a summer $35,000 at a time when houses averaged
retreat for their employees, building a small $5,000. Like countless other renovation
shack without electricity, heat or running and construction stories, Fallingwater
water that they dubbed “the Hangover.” went well over budget—the final cost
The waterfall was one of their favorite has been reported as $155,000—but
aspects of the scenery. When the summer few other projects have done so while
retreat became less popular among employ- also creating a space that redefined
ees, Edgar Kaufmann, Sr. determined to see American architecture.
a family home built overlooking the water- The iconic view of Fallingwater
fall. The couple’s son, Edgar Kaufmann, Jr. shows the jutting terraces over Bear
(1910–89), was a student of Wright’s at Run Spring, which echo the rock ledges
Taliesin, the architect’s Wisconsin estate, along the ravine. The architectural feat
and Edgar Jr. encouraged his father to is an eloquent testimonial to aesthetics
consider the architect. and engineering while respecting the

Wright wanted people to live fully, and doing so required an active
appreciation of the world in which we live, from the placement of
a bowl on a side table to the bend of a tree in the woods.
structure’s placement in nature. Four bol- greatest work of art was nature, and he
sters anchored into the bedrock beneath designed all his spaces to gravitate toward
the main floor act as the fulcrum of the nature whenever possible. Over one bed-
house and prevent it from toppling into room fireplace is a slab of red stone.
the stream. The stone chimney that rises Wright placed it there himself, having
from the living room into the upstairs declared the stone a divine masterpiece.
bedroom stabilizes the cantilevered trays. The gradations in the texture and color of
Other walls throughout the house balance the stone shift with the light, an ode to
the weight so that the home successfully nature’s perfect variety.
rests on the side of the hill, as if a mere Wright tried to minimize his impact on
THIS PAGE, ABOVE LEFT: SMITH COLLECTION/GADO/GETTY IMAGES; THIS PAGE, ABOVE RIGHT: GETTY IMAGES
extension of the rock formation. The the area—he believed a house in nature
three cantilevered floors made of rein- should sit alongside the trees of the for-
forced concrete extend to terraces on each est rather than clearing them. As an
level, gently guiding visitors toward the example of this, Wright created a cement
splendor of the Bear Run Nature Reserve trellis entrance with pockets in the slats
surrounding the house. that allow the continued growth of the
As the Kaufmanns drove up to their slender saplings. The Kaufmanns and
house, they would have seen white rho- guests stepped through a natural haven
dodendrons and laurel trees veiling before walking into the house.
their home, wrapping it in nature’s Many visitors to Wright’s houses
beauty. As they crossed the stream, remark upon their narrow doors and hall-
Fallingwater would come into view, ris- ways. The architect did this intentionally
ing above the waterfall—subtle in some to create an experience of compression
respects yet a striking declaration of and release. Narrow frames encourage the
human presence. sense of expansion when delivered into
his open, light-filled, communal rooms.
Unlike previous home designs with sepa-
In Communion rate living rooms, parlors and dining
rooms, Wright generally created open
With Nature plans for people to move freely with large
Wright’s aesthetic sought its model in windows on most walls as a reminder of
nature. Wright once said in an interview the great outdoors.
that “organic architecture is an architec- The many windows throughout
ture from within outward.” For him the Fallingwater highlight the glories of the
landscape and also create a natural air allow greater air flow. To create a sense
flow. A glass-enclosed stairway on the of ambient light in rooms, Wright hid
side of the living room leads down to fluorescent lights behind paper screens
the stream; when the doors are open, in the ceiling. There are few table lamps,
the cool air from the water offers a as they cluttered tables and marred
breeze throughout the first floor. sightlines. Nevertheless, beside every
Because this was a summer retreat, built bed are lamps with paper screens that
over a stream, mosquitoes were plenti- swivel to modulate the amount of light.
ful, and the Kaufmanns insisted on Wright worried about how people
screens over the windows, despite would destroy his perfectly designed
Wright’s protestations that screens homes once they moved into the spaces.
impaired the views. He often created furniture and recom-
mended artwork to minimize the
disorder he foresaw occurring when his
Deliberate Design patrons cluttered his rooms with furni-
PHOTOS: CHRISTOPHER LITTLE, COURTESY OF THE WESTERN PENNSYLVANIA CONSERVANCY

As much as possible, Wright wanted ture and knickknacks. As Liliane
materials to seamlessly meet their land- Kaufmann so politely acknowledged,
scape. The floor of the living room, for Wright wanted to inculcate in his home-
example, is uneven sandstone. This isn’t owners an experience of how to live
simply in honor of the natural stone— beautifully and simply, in accordance
Wright had the stone waxed to create a with nature.
polish that provided the sensation of In this regard, Wright was inspired in
walking on water for the Kaufmanns, part by Japanese art, materials and design
who enjoyed being barefoot. That he principles. While working on the Imperial
tried to convince them to use his own Hotel in Tokyo between 1915 and 1923,
barrel chairs, which rocked on the he developed an appreciation for the
uneven surface, was folly; the Kaufmanns thoughtful austerity of Japanese design.
instead selected three-legged chairs that He saw its minimalism as a means of pro-
kept guests steady as they crowded viding visual order to the chaos perceived
around the black-walnut dining table. by an untrained eye. For Fallingwater,
The sofas in the living areas of both the Wright designed several zabutons
main house and the guest house, as well (Japanese seating cushions) that allowed
as several desks throughout the rooms, increased seating without interrupting
are cantilevered against the wall to the sightlines through the windows to the
remove the sight of ungainly legs and surrounding forest. He also guided the

Kaufmanns to the five Japanese prints in alongside the professional guides, rarely
the Fallingwater art collection—including admitting who he was, as he shared
several by Hiroshige (1797–1858)—of stories behind the design subtleties.
which a different one can be found in Wright was a visionary, but so was
almost every bedroom. Edgar Kaufmann, Sr., who thought to
A beautiful home requires art, and check on Wright’s designs with external
the Kaufmanns collected everything reports from engineers. They strongly
from Asian antiquities to works by recommended additional steel reinforce-
cutting-edge, contemporary artists. A ment for the first floor, without which
Song-dynasty Buddha head graces one of contemporary analysts insist the house
the terraces, facing east for serenity. As would certainly have collapsed. Wright
friends of Diego Rivera (1886–1957) and was furious when he discovered his
Frida Kahlo (1907–54), the Kaufmanns patron doubted his design but relented as
hosted Kahlo at Fallingwater, and a he rarely did with others.
graceful gouache of a sleeping girl by The dangers did not end there. In the
Rivera hangs in the gallery between late 1990s a graduate student noticed
the main house and the walkway to that the main terrace was not a
the guest house. They commissioned self-supporting cantilever. Studies and
sculptures for the terraces, and Edgar major efforts over several years by
Kaufmann, Jr. kept adding to the renowned architects, engineers and pres-
collection after his parents’ deaths. ervationists went into stabilizing the
Eventually, he entrusted the home slow sag of the terraces. Over three days,
and all its belongings to the Western using 400,000 pounds of force, the build-
Pennsylvania Conservancy so that every- ing was lifted half an inch, sealing
one might learn from Wright’s creation. longstanding cracks and halting the
building’s decline for the new century.
Such problems were not simply a
Lessons and Legacy mark of time. When the Kaufmanns
At Fallingwater, everything from the can- moved into Fallingwater, the first rain-
tilevered sofas to the placement of stones storm revealed 50 leaks around the
in construction forms a piece of Wright’s house. Today, there are only 18. One
vision. Since the house was opened to the architect humorously suggested a bet
public in 1964, some 8 million visitors for anyone who could identify a Wright
have experienced the graceful architec- house without leaks. With so many
tural design and the seamless placement issues, why would the Kaufmanns and
of art and artifact. Until he died, Edgar others continue to praise Wright’s
Kaufmann, Jr. continued to give tours work?
TOP: PHOTO BY CHRISTOPHER LITTLE, COURTESY OF THE WESTERN PENNSYLVANIA CONSERVANCY; BOTTOM: ACRHIVE PHOTOS/GETTY IMAGES
Art and architecture imbue our world with design, and an artful abode
begins the process of appreciation.
In a culture that so often emphasizes impoverished. But if you invest in beauty,

leisure and ease, we too often forget that it will remain with you all the days of
great beauty is hard work, filled with mis- your life.”
takes and complications. Instead of
putting in the effort to discover and enjoy C.J. Kent is a freelance writer and editor, as
one of the great works of art, whether in well as a professor at Montclair State
literature, music or any other aesthetic University. She also founded Script and Type
endeavor, we eagerly sink into entertain- (scriptandtype.com), which helps people
ment. Wright wanted people to live fully, express themselves efectively in writing and
and doing so required an active apprecia- in person.
tion of the world in which they live, from
the placement of a bowl on a side table to
the bend of a tree in the woods.
A home, therefore, isn’t simply an
escape from weather and work. The
home, the primal place where we live and
love, can also frame how we experience
everything else. Art and architecture
imbue our world with design, and an
artful abode helps begin the process of
appreciation. As Wright said, “If you
foolishly ignore beauty, you will soon
find yourself without it. Your life will be

HONGYUAN ZHANG/GETTY IMAGES
EXPERIENCING FRANK LLOYD WRIGHT’S WORK IN PERSON

Fallingwater is located in Mill Run, Pennsylvania, roughly 50 miles southeast of Pittsburgh,
and can be visited via guided tour. For more information, visit fallingwater.org. Other buildings
designed by Wright can be visited throughout the country, including his estates Taliesin, in
Wisconsin, and Taliesin West, in Arizona. For a comprehensive list of sites, visit the website
of the Frank Lloyd Wright Foundation, franklloydwright.org.
PAINTING ON
THE CEILING
PHOTO: PHILLIP ENNIS

UNLESS OTHERWISE INDICATED
PHOTOS: ANDREW TEDESCO
LEFT: Andrew
Tedesco poses
with a Frank
Stella-inspired
geometric design
breaking through
an Old World
fresco.
BELOW:Tedesco
sits on scaffolding
as he installs the
work on a ceiling.
OPPOSITE:
The completed
work installed
in the Blairsden
Mansion, in New
Jersey.
(AND ON
THE WALLS,
AND ON THE
FLOORS)
In his paintings mimicking
frescoes and murals,
Andrew Tedesco
transforms homes and
businesses with an eye
toward antiquity.
by Mike Allen
LIKE MANY ARTISTS, to a bolt long—there can never be any
seams,” he says. Tedesco was careful to
construct his current studio so that it
ANDREW TEDESCO had walls slightly larger than the aver-
age client’s. Once he’s completed any
work in his studio, he rolls up the can-
IS INSPIRED BY THE vas and transports it to the client’s
home, where he glues it to their wall.
OLD MASTERS. He compares this process to the 17th-

century practice of marouflage, in
which plaster walls in Venetian villas
Unlike many artists, he literally paints the insides of his clients’ would be covered in canvas, both to
wears these influences on his homes. Nothing is off-limits—he provide better structural support and
sleeve—or, rather, his arm. “I actu- works on walls, ceilings and floors. to create an easier surface on which to
ally have tattoos of works by my The artist says his process of work- paint. “I don’t use gesso like a lot of
three favorite Renaissance artists,” ing with clients is more involved than artists,” he says. “I just use Benjamin
he says. “Number one is da Vinci, the most people imagine. “I don’t just Moore’s Fresh Start primer. It’s got a
second one is Michelangelo and the show up, have one quick meeting and kind of glue in it, which provides the
last one is Tiepolo. To finish up that then begin painting a two-month solid foundation I need. Once I get
sleeve, I have the Duomo, because mural,” he says. “There are many that into my muslin, I can put all these
that’s my architecture foundation.” meetings before I actually start paint- other products on top and always
Tedesco studied architecture in high ing. I love the technology side of art; know that it’s going to stick just right.
school, but eventually changed Photoshop has been an amazing tool To attach the finished mural, I apply
courses: “I went to college and found for me. I use it to create presentations wallpaper glue to the walls and then
out how much math was involved in for people; I can use software to show carefully smooth on the canvas.”
getting an architecture degree and clients what their room will look like Unsurprisingly, Tedesco tends to
switched over to fine art.” He went with a surprising degree of accuracy attract clients with a similar apprecia-
on to graduate from the University before the process begins.” tion for the Old Masters. “I just got
of Maryland having majored in art Tedesco paints some murals in his done working with some clients who
history and studio art. studio and paints others directly onto are super into antiquities,” Tedesco
Tedesco’s practice is unusual in that walls or floors. For the pieces painted says. “They recently remodeled their
his canvas, in most cases, is not actu- in his studio, the artist works on huge kitchen and realized the brand new
ally canvas—nor is it linen or panel or pieces of muslin. “It comes in sizes appliances and everything stood out
paper. Instead, Tedesco primarily anywhere from 40 feet long on a roll against the Old World look of the rest
ABOVE: Tedesco’s dog Topher sits in the artist’s studio.
OPPOSITE, TOP: This tropical mural hides two pocket doors. The ceiling is painted to look like a trompe l’oeil tent.
OPPOSITE, BOTTOM: Tedesco works on a floor mural that he gifted to his church’s parish hall.

CLOCKWISE FROM TOP LEFT: A blank dome; the
artist working on a yin-yang dragon-and-phoenix
design in his studio before trimming the work and
gluing it into the dome; before applying his design,
Tedesco painted the dome in a red base coat
covered with gold leaf; the finished dome, awaiting
only its chandelier
of their home. We were able to add a for free. Then I started using the yellow sands the floor to the raw surface.
three-dimensional effect to the ceiling pages to find designers. I’d call them Then, if we’re doing multiple colors, I
with this process where we skipped a and say, ‘Hey, can I meet with you and have him stain the floor in the light-
trowel over a synthetic plaster, just show you my book?’ Slowly but surely, est color so we can go progressively
kind of touching over the top, and it they started giving me jobs. These days darker from there. In the early stages,
literally looks like Old World plaster. it all just pours in from the internet. I the floor is very, very delicate.
Then we did a five-color glaze into the can put 50 pictures on a website and Nobody else can come in, and I don’t
plaster, added some baroque elements everybody understands what I’m doing have any coffee or water in the room
over the eating area and used a little instantly. It’s so much easier to market because if you were to drop any liquid
sandpaper to rub it off. When we were yourself now.” on a stain, it immediately sucks the
done, the clients popped a bottle of Of the surfaces he works on, the stain out of the wood. Eventually, my
champagne and said, ‘I cannot believe artist says that floors are the most associate comes back in and lays down
what you did to this room.’” physically demanding and surpris- polyurethane over the top of the
When it comes to finding new cli- ingly technical. “You get to the point painting, and then we’re done.”
ents, the internet has been a boon for where your knees are aching, the sides When it comes to paints, Tedesco
the artist. “When I first started, I knew of your legs are numb because you’ve has embraced the modern. “I use all
I needed to build a portfolio,” he says. been sitting on them all day. … To latex paint,” the artist says. “Latex has
“So I started painting in my sisters’ begin each floor, I contact a profes- come so far from when I started paint-
homes, as well as my aunts’ and uncles’, sional floor finisher I’ve been working ing in the 1990s. It used to be you had
at a greatly reduced price—sometimes with for 10 years; he comes in and to use oil paints to achieve depth, but

LEFT: A 60-foot Renaissance
ceiling mural in Miami Beach
BELOW LEFT: An outdoor,

Tiepolo-inspired mural surrounded
by the client’s pool and spa.
I always felt like oil was so evil for the

environment. I like Benjamin Moore
because, instead of having to mix all
these colors, I can just order these lit-
tle samples in all the colors I need.”
For brushes, his favorite is the angle
bright from Princeton Artist Brush
Co. “Since it has a chiseled tip, I can
use the point to just barely touch
something. I can go side-to-side with
it to do a fill, or I can pull it straight
down and do line work. So instead of
just constantly reaching for different
brushes, I’ve found that angle brights
are like five-in-one tools for me.
Another cool thing about them is that
they’re very tightly packed when you
first get them, so they’re very precise.
As they age, they start to splay open,
and then they’re great for blending.
My brush bag is full of angle brights at
various stages of their lives.”
Tedesco’s admiration for the Old
Masters extends to his daily routine.
“There’s this word that Michelangelo
used: giornata,” Tedesco says. “It
means, ‘a day’s work.’ When he
painted the Sistine Chapel, for
instance, he would smear on the lyme,
and he would paint into it. And as
soon as that lyme dries, you’re done;
you can’t do any more. If you didn’t
like what you did, you had to chisel it
off and start over. We don’t have that
same limitation today, but I still ask
myself, at the end of every day, ‘What
was my giornata today? Did I exceed
what I wanted to do, or do I have to
go backwards? Or did I nail it?’ That’s
the greatest joy of being an artist to
me—at the end of the day, looking
back at my work and thinking, I
totally accomplished that.”
Mike Allen is the associate editor of

Artists Magazine.
ANDREW TEDESCO LIVES AND WORKS IN

THE NEW YORK CITY METROPOLITAN
AREA. FOR MORE INFORMATION, VISIT
ANDREWTEDESCO.COM.
HOM E S
AWAY F R O M
HOME
Tastes may change, and art movements may rise and fall,
but one constant in the art world is the clubs that for
generations have provided artists with opportunities for
exhibition, education and socialization.
OPPOSITE: COURTESY OF THE NATIONAL ARTS CLUB; ABOVE RIGHT: NOAM GALAI/GETTY IMAGES FOR THE NATIONAL ARTS CLUB: DALI BALL
by John Eischeid
The humid summer air brother is visiting from Massachusetts, and clubs
was pierced by the sharp cries of the cornet that wailed aren’t really his thing,” says Nicholas Lowry, the chair-
over the oppressive heat outside. Next to a tiger-striped man of the club’s Fine Art Committee. “He’s like, ‘This
couch sat a worn side table with a crack running across is great! You hang out, you talk to people, you have like
the top—a battle-scarred furnishing with a tale to tell interests.’ I say, ‘Yes, that’s what a club is. You have
as a frosted-glass lampshade with gold flapper frills that in common, and you can really just have a nice
listened in. A leopard-print rug provided the stage. In a conversation.’ You’ve got 80-year-olds and you’ve got
window, an air-conditioning unit grumbled away, try- 30-year-olds, and everyone gets along great.”
ing its best to fight the heat. In the next room, a “I think that a club answers a sort of human calling,
group of 30-somethings discussed travel plans over which is to gather with people with whom you enjoy
drinks. One floor down were two art galleries of paint- socializing,” says Alice Chadwyck-Healey, the executive
ings and photographs, full of guests flittering about director of the Arts Club, in London. “In our club, it’s
from the dining room with turquoise chairs and white people from all walks of life—all nationalities, indus-
tablecloths to the bar beneath a stained glass ceiling. tries, interests, ages, and obviously we aim for a 50/50
One room over, a statuesque platinum blonde of split on gender as far as we can. A really good club is a
indeterminate age wearing a dark red evening gown really good mix of people. For us, they have a common
with a fur top and frilled bottom moved denominator—they have a demonstrable
about on silver pumps. Beneath a glass interest in the arts. You could work in real
ABOVE
chandelier, a band played. “Somebody’s got Organizers of the estate but be an absolutely passionate afi-
all that I need/My future is guaranteed,” Dalí Ball, a Surrealism- cionado of opera.”
the vocalist sang. themed event at the This social aspect is only one of many,
At the National Arts Club (NAC), in New National Arts Club however. Art clubs also serve as community
(NAC), in New York City
York City, it was the final night before the hubs that promote awareness, education and
club closed for the summer. “I’m here with a OPPOSITE mentorship programs, some of which can
friend of mine who’s a member, whose A stairway in the NAC have measurable impacts on artists’ careers.
“There’s something going on here every night,” says Linda archivist. Now middle-aged, he has worked at the club in
Zagaria, the president of the NAC. “Our mission is to edu- some capacity since he was 19 years old. “The club was so
cate the American people in the fine arts.” fortunate to buy this property,” he says, “to obtain it when
they did, because everything was still intact, all the trea-
sures were still here.” These include a stained glass window
Building With History by John La Farge.
At the NAC, this mission stretches back more than a century, The space serves both literally and figuratively as a
following the international recognition of American painters home to artists. In apartments upstairs, artists still live
in the Hudson River School, which was founded by Thomas and work, and the steady stream of people and social
Cole and included Frederic Edwin Church and Albert events serves as an informal support system. During the
Bierstadt. “In the late 19th century, people were going to power outages caused by Hurricane Sandy in 2012, some
Europe to buy art and collect art,” says Zagaria. “But a few members took up residence at the club. “It’s a massive
people got together and said, ‘Wait a minute, we have many
fine artists here in the United States.’ This was the impetus
for founding the National Arts Club. That was 1898.”
The club bought its current building—a former mansion
facing Manhattan’s exclusive Gramercy Park—in 1906. It
serves as one of the club’s defining features. “It does
require tender loving care,” Zagaria says of the building. A
house committee takes care of the mansion’s aesthetics to
make sure “everything looks as though it belongs.” Other
than that, there are no official guidelines. “The design of
the house’s carvings, even on the outside, is very organic,
all dealing with elements of nature—leaves, flowers, ani-
mals,” says Robert Yahner, who serves as the club’s
EXTERIOR: H.N. TIEMANN/THE NEW YORK HISTORICAL SOCIETY/GETTY IMAGES; BAR: COURTESY OF THE NATIONAL ARTS CLUB
LIVING ROOM AND DALI BALL: CINDY ORD/GETTY IMAGES FOR THE NATIONAL ARTS CLUB: DALI BALL;
CLOCKWISE
FROM FAR LEFT
The mansion
housing the NAC,
seen near the turn
of the century;
a room in the
club; Cassady
Rose Bonjo
performs during
the Dalí Ball;
bar and dining
area at the NAC

CLOCKWISE FROM LEFT
A private dinner at the Arts Club, in London; the first-floor landing at the
Arts Club; the Peruvian dance troupe D1 performing at the Arts Club; Ante
Room at the Arts Club
DINNER: DARREN GERRISH/WIREIMAGE; DANCE TROOP: IAN GAVAN/GETTY IMAGES; LANDING AND ANTE ROOM: COURTESY OF THE ARTS CLUB
network of people,” says Libbet Loughnan, an artist from a reorganization that resulted in increased dues and a
Australia who was recently awarded the NAC’s President’s greater number of members.
Award. “It’s an amazing building.” She keeps an apart- “The new owners saw that this really needed an injection
ment there, and she refers to the club as “part of my foot of tender loving care, so they took on this absolutely stun-
in the city.” ning Georgian building—really, really beautiful,” says
Chadwyck-Healey. “It’s been brought back to its glory with a
very classical approach to colors and materials used and
Across the Pond enhanced with a contemporary art collection to make it feel
Many clubs have not been so lucky as to have owned fresh and of-the-moment. They completely overhauled the
and occupied the same home for so long. The building food and beverage operation. Mayfair in 2010 was a very
housing the Arts Club, in Mayfair, London, was bombed different place from Mayfair in the 1970s, and whilst it still
during World War II, and along with the building, much has a wonderful village feel, it’s really a financial hub, it’s an
of the club’s history was lost. “It’s pieced together from arts hub, it’s the sort of epicenter of London, if you will. The
secondary sources,” says Chadwyck-Healey. The rebuild- food and the drink and the cultural programming that we
ing was finished in 1956, although much of that process put on needed to be cutting edge as well, right at the fore-
remains a mystery, as well as much of the club’s activities front of what was going on in London. So they spent a lot of
up until 1972, when it was closed for refurbishment and time completely remapping the offer for members. Now we
“A club answers a sort of human calling, which is to gather
with people with whom you enjoy socializing.”
–Alice Chadwyck-Healey, executive director, The Arts Club
THIS PAGE: ALL PHOTOS COURTESY OF THE CALIFORNIA ARTS CLUB
CLOCKWISE FROM TOP

Artists of the California Art Club (CAC) participating in a paint-out at the Autry Museum of the American West, in Los Angeles; CAC artists participating in a
critique at a retreat in California; the CAC’s Annual Gold Medal Exhibition

could come in and dine very handsomely and see emerging music schools around the country, such as the Brit School,
artists that perhaps you wouldn’t have been exposed to or Paul McCartney’s school in Liverpool, which is called the
before and attend cultural events—such as talks, debates Liverpool Institute of Performing Arts, and we take the
and panel discussions, ballet performances—all sorts of dif- most talented young people we can find, and when they
ferent things. You’re sitting right in your club with some of finish their studies, they come down to London, and we
the cutting-edge minds of our time.” build bands around them,” says Chadwyck-Healey, at the
Arts Club. The club gives the musicians rehearsal and per-
formance opportunities, after which many are hired for
Wider Nets other gigs. “Some have gone on to be backing singers for
One, however, is sometimes not enough—the Arts Adele, Sam Smith and all these amazing people, so it’s part
Club recently announced plans to open locations in Los of the ethos of our club to support these young artists and
Angeles and Dubai. “Fundamentally, it just comes down musicians and performers.” Influential musicians and pro-
to member demand,” says Chadwyck-Healey. “We’re an ducers have taken part in the club’s activities as well. Mark
international bunch—people who have homes in the U.S. Ronson has served as the director of music, and speakers
join the club in London, or people who work overseas one have included Brian Eno.
or two weeks of the month, so they’ve been kind of plant- Stateside, the NAC has offered music scholarships and
ing that seed. Obviously, it depends on the right piece of also runs a creative-writing project in which NAC members
real estate coming up. L.A. was a pretty easy decision.” As work with New York City students. The club has a pro-
for Dubai, she says, “The downtown art scene in Dubai gram showing work by students from a local public high
is crazy right now. We have a good relationship with Arts school, and it also hosts an annual student exhibition that
Dubai and various institu- includes students from the
tions in the Middle East. School of Visual Arts, Fashion
They have representation in Institute of Technology and
London and are supportive New York University. The
of the exhibitions we do. winner is crowned with a
Again, it seemed like a very solo exhibition. It also offers
natural place where a lot of the Kesselring Prize for play-
art lovers travel for busi- wrights, which, in 1991, was
ness, so it’s nice to be able won by Tony Kushner for
to offer them a home out Angels in America.
there. It’s sort of a whole Aside from the formality
new world through having of awards, NAC also offers
an extra clubhouse.” art classes in sketching, life
Other clubs have made drawing and fashion. Plans
multiple locations an integral for future programs include
part of their operation. The a program in which school-
California Art Club (CAC), Singer Dionne Bromfield (center) performs with the Knights Before, children in the metropolitan
for example, is headquar- at the Arts Club, in London area visit the club. The club
tered in Pasadena but has is also developing a partner-
chapters in other areas, such ship with the Lucy Moses
as Sacramento, San Francisco and Monterey Bay. “There School at the Kaufman Music Center.
were a lot of people who were outside of that range who In California, the CAC offers summer school classes,
weren’t able to attend meetings or workshops, so the works with the Pasadena Unified School District and
chapters were started as a way of letting more people par- has a mentorship program for people under 30. Another
ticipate and have things near to them,” says Eric Merrell, institution, the Salmagundi Club, in New York City, began
the club’s historian. The headquarters itself has not been with education in the forefront, in 1871. “The whole
as permanent as that of some other clubs. “The CAC has idea of the club started when students at the National
kind of bounced around for a lot of its existence,” Merrell Academy wanted to have more of a life than they were
says. “It was founded in South Pasadena. Unfortunately, getting through school,” says club president Robert
MUSICIANS: DAVE M BENETT/GETTY IMAGES
they never had property. In the 1920s, they had talked Pillsbury. “They started this club in each other’s studios,
about certain properties in downtown Los Angeles, and and that’s really how it all began.”
there was even a building fund, but that was derailed.” As the art world changes, new genres are introduced and
trends come and go, the appreciation remains. The clubs
carry on at a steady pace, like a clock forever ticking on. To
Outreach and Education describe this evolution, Zagaria borrows the words from an
No matter the location, one theme runs through most old song: “Everything old is new again.”
clubs: youth outreach and education. Many clubs’ efforts
on this front are not confined to fine art. “We go out to John Eischeid is a freelance writer based in New York City.
Nine weeks in Hawaii
resulted in a body of lesser-
known yet pivotal works in
Georgia O’Keeffe’s oeuvre.
by Holly Davis
The best of times seemed past. Georgia O’Keeffe (1887–1986),

having made a significant mark in the art world, was beginning
to get what-have-you-done-lately vibes from critics who felt she
was repeating herself. Although
her marriage to renowned photog-
rapher Alfred Stieglitz (1864–1946)
remained intact, she knew her
husband shared his affections
with another woman. O’Keeffe
struggled with depression.
Then came a proposal from
the advertising agency N.W. Ayer
& Son: Would she like to travel to
Hawaii via ocean liner for a nine-
week, all-expenses-paid visit? She
could roam the islands and paint
whatever and as much as she
pleased, retaining rights to her work, providing she produced
two paintings that could be used in an ad campaign for the
Hawai’i Pineapple Company (now Dole Food Company).
Georgia O’Keeffe on Leho’ula Beach, near Aleamai Hāna, Maui

1939; gelatin silver print, 2x2⅞
ALFRED STIEGLITZ/GEORGIA O’KEEFFE ARCHIVE, YALE COLLECTION OF AMERICAN LITERATURE/BEINECKE RARE BOOK AND MANUSCRIPT LIBRARY

Hibiscus With Plumeria
SMITHSONIAN AMERICAN ART MUSEUM; GIFT OF SAM ROSE AND JULIE WALTERS, © 2018 GEORGIA O’KEEFFE MUSEUM/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK
seem real. My idea of the world—
nature—things that grow—the fantastic
things mountains can do has not been
beautiful enough.”
Connections to Place
In her letters, O’Keeffe wonders whether
she’s up to the task of painting her
impressions of Hawaii. Such self-doubt
isn’t unusual for artists, who can be their
own worst critics, but in this case,
O’Keeffe’s misgivings stemmed from a
sort of visual disorientation—a discovery
of a whole new kind of beauty.
One of O’Keeffe’s strengths, however,
was her ability to absorb and then convey
a sense of environment. While teaching
at the West Texas State Normal College
(1916–18), she’d created a series of
abstracted landscapes inspired by Palo
Duro Canyon with its red-rock walls. In
the 1920s, she painted the towering edi-
fices of New York City. Her paintings of
the arid landscapes of the Southwest are
among her best known.
Theresa Papanikolas—deputy direc-
tor of art and programs and curator
of European and American Art at the
Honolulu Museum of Art—who curated
the exhibition, points out that although
O’Keeffe was her own person, she was
also part of Stieglitz’s circle of artists, who she says, “were
Unbelievable Beauty very interested in formulating a specifically American
O’Keeffe accepted the commission. In 1939, after a Modernism that was linked with American values.
nine-day voyage, she arrived in Oahu to be feted and enter- O’Keeffe resonates with that in her pursuit of place in
tained by the island’s elite. Her two-month immersion her work, in her constant desire to capture the essence
resulted in 20 paintings, exhibited in 1940 at An American of places that she visited and in which she lived. How she
Place, a gallery owned by Stieglitz. Art critics responded formed a connection with Hawaii enough to paint it—
with enthusiasm. Afterward, O’Keeffe would resume her that’s the really interesting part of the story. She took a
painting of the Southwest. The Hawaii pictures found their couple of weeks just touring around, getting up to speed,
ways to various museums and collectors, eventually fading and finally decided to begin painting. She started with
to a footnote against her more familiar body of work. flowers—something she knew very well.”
Currently, though, the Hawaii paintings are enjoying a
New York City reunion in the exhibition “Georgia O’Keeffe:
Visions of Hawai’i,” on view at the New York Botanical Saying It With Flowers
Garden. The venue offers a unique opportunity to view not At the time of her visit to Hawaii, O’Keeffe had already
only 17 of the Hawaii paintings but also 300 actual plants established a reputation for her oversized depictions of
O’Keeffe saw or might have seen, presented in settings flowers. Her introduction to Hawaii’s blossoms began as
simulating those O’Keeffe would have experienced. soon as she disembarked from the ocean liner, with the
Of course, the scope of the Hawaiian landscape—earth, placement of several leis over her head. This traditional
sky and water—cannot be captured in a botanical garden. welcome was apparently unfamiliar to O’Keeffe, and in her
For a sense of the impact Hawaii had on O’Keeffe, one can letters to Stieglitz, she repeatedly expressed delight over
read the letters she sent to her husband during her the colors and scents of these floral necklaces.
sojourn. There one learns of O’Keeffe’s awe over hardly She often wrote of walking about to look at “things that
believable blooms, rain that “doesn’t seem to make you grow” and marveled at exotic blossoms in shapes that
wet,” “fantastic black lava shapes” and more. At one point seemed improbable. She took it all in with enthusiasm—but
she wrote, “Many things are so beautiful that they don’t as an artist rather than as an environmentalist or botanist;

OPPOSITE ABOVE
Heliconia, Crab’s Claw Ginger White Bird of Paradise
1939; oil on canvas, 19x16 1939; oil on canvas, 19x16
COLLECTION OF SHARON TWIGG-SMITH; © 2018 GEORGIA O’KEEFFE MUSEUM/ARTISTS RIGHTS GEORGIA O’KEEFFE MUSEUM, SANTA FE; GIFT OF JEAN H. MCDONALD; © 2018 GEORGIA
SOCIETY (ARS), NEW YORK O’KEEFFE MUSEUM/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK
Widened Vision
As O’Keeffe traveled the islands, she expanded her focus
to encompass larger views—landscapes that could so
quickly change from verdant mountains to black lava cliffs,
from ocean vistas to lush vegetation, from wilderness
to cultivated fields of sugarcane, bananas or pineapples.
Besides the subject matter, the most noticeable difference
between the Southwest and the Hawaiian landscapes is the
palette. “The Southwest works are done in more muted
tones, more earth tones,” says Papanikolas. “The Hawaii pic-
tures have been described as having ‘humid colors’—colors
that are bright and highly saturated. Yet both bodies of work
have these beautiful tonalities of blues and grays.”
Black Lava Bridge, Hāna Coast, No. 1 (opposite), with its
uncharacteristic lack of finish, demonstrates O’Keeffe’s push
to capture the essence of a locale. “O’Keeffe uses this very
loose brushwork to replicate the jaggedness of the lava and
the sea foam that’s crashing all around it,” says Papanikolas.
“The evidence of her hand and how she’s attempting to work
through this subject, which is very new to her—capturing
the movement of water—is quite extraordinary.”
not one of the flowers depicted in her paintings is native to

Hawaii. This is understandable when one realizes that the
islands had been subject to waves of cultural implants, each
contributing to the flora. The Polynesians, who arrived
during the first millennium, came with “canoe plants” that
provided building materials and edibles such as bananas,
coconuts and sweet potatoes. The 18th- and 19th-century
immigrants, from both the East and the West, introduced
flowers such as the plumeria, heliconia, ginger and hibiscus
that O’Keeffe painted. A Spanish advisor to the Hawaiian
king introduced pineapples in 1813.
Underlining O’Keeffe’s lack of interest in horticultural
detail is her less-than-meticulous identification of plants.
Heliconia, Crab’s Claw Ginger (page 90) is actually a lobster
claw heliconia. Several additional titles misidentify plants
or misspell their names. The artist was more focused on
presenting colors and shapes. Consider White Bird of
Paradise (page 91). “It’s so absolutely modern in its treat-
ment of that flower” says Papanikolas. “She intertwines
the blooms in this highly sculptural way. The grays and the
blue-and-pink color field on which the blooms rest, almost
like an abstract expressionist painting, is just such a beau-
tiful thing. It’s a very good example of how she idealized,
stylized and abstracted the flowers that she painted.”
The compositional approach of the Hawaiian florals is
similar to O’Keeffe’s other florals, but the island pictures ABOVE
tend to have a light, airy quality that speaks to the island Waterfall, No. III, ´Īao Valley
1939; oil on canvas; 24¼ x20
setting. Heliconia, Crab’s Claw Ginger, for example, presents
HONOLULU MUSEUM OF ART; GIFT OF SUSAN CRAWFORD TRACY, 1996; © 2018 GEORGIA
an imposing bloom that dwarfs the backdrop of clouds and O’KEEFFE MUSEUM/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK
thin stripe of ocean, yet one senses an endless expanse of
sky and water. Hibiscus With Plumeria (page 89) shows less ABOVE LEFT
Waterfall, No. I, ´Īao Valley, Maui
of the sky, but the blue peeking through sunshine-yellow,
1939; oil on canvas, 19⅛x16
soft-white and pink petals embodies the essence of an MEMPHIS BROOKS MUSEUM OF ART, MEMPHIS, TENNESSEE; GIFT OF ART TODAY; © 2018
island paradise. GEORGIA O’KEEFFE MUSEUM/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK

Black Lava Bridge, Hāna Coast, No. 1
HONOLULU MUSEUM OF ART; GIFT OF THE GEORGIA O’KEEFFE
FOUNDATION, 1994
Pineapple Bud
PRIVATE COLLECTION; © 2018 GEORGIA
O’KEEFFE MUSEUM/ARTISTS RIGHTS SOCIETY
(ARS), NEW YORK

Quintessential O’Keeffe
For all O’Keeffe’s efforts to create a distinctive sense of SEE THE SHOW
place in her work, it remains that an O’Keeffe painting—
“Georgia O’Keeffe: Visions of Hawai’i”
whether inspired by the red rocks of Texas or cityscapes of
New York, the Southwest wilderness or the Hawaiian para- New York Botanical Garden • New York City
dise—is still characteristically O’Keeffe. Her works exhibit Through October 28
a leaning toward abstraction and a tendency to simplify Memphis Brooks Museum of Art • Tennessee
the subject and constrict the view, often lending a surreal December 1 through February 24, 2019
quality. Waterfall, No. I, ´Īao Valley, Maui and Waterfall, No.
III, ´Īao Valley (both on page 92) present representational
views of the verdant, “wrinkled” mountainsides O’Keeffe
mentions in her letters, but the abstracted shapes also
appear flowerlike, with outer leaves sheathing an emerging
blossom—the thin waterfall doubling as a pistil. Pineapple Perplexities
Papanikolas points out design devices shared between But what about the pineapple? At least twice O’Keeffe
the Hawaiian and Southwest bodies of work: “They have walked through a pineapple field during the first weeks of
compositional continuities, especially in the treatment of her Hawaiian travels. She expressed admiration for the
mountains, where O’Keeffe is very interested in the vortex, plant’s beauty, but she did not paint it at the time. Perhaps
the spaces where the mountains come together and what’s the visits were too early, and she was still sorting through
in-between those spaces [as seen in the Waterfall paint- her impressions. She later indicated that her excursions in
ings]. And then also the voids, where a hole shows up in the fields were restricted, and she wasn’t able to spend as
the middle of the painting that gets filled with either much time around the pineapples as she’d wished.
what’s behind it or what’s within it.” Black Lava Bridge, O’Keeffe’s typical mode of work was to sketch on-site but
Hāna Coast, No. 1 presents a particularly good example, do her serious painting in the studio. Although she had
with a circle of lava surrounding a “hole” filled with crash- access to studio space throughout her trip, she painted
ing waves. Papanikolas goes on to say that the Hawaiian many of her Hawaiian works after she returned home—so
paintings are where instances of the vortex and the void it’s not surprising that she didn’t paint a pineapple while
begin to appear. in Hawaii. More perplexing is that neither of the two
paintings she originally sent Ayer to fulfill her contract
was of a pineapple. One, was the misnamed Heliconia,
Crab’s Claw Ginger, which was accepted; the other was a
painting of a papaya plant, which was rejected, papayas
constituting a competitive market to pineapples.
Chances are O’Keeffe was unaware of the commercial
rivalry between papayas and pineapples, for as casual as
O’Keeffe was about the names of the plants she painted, she
was surely aware of the difference between the two fruits.
Still one wonders—after taking a free nine-week working
vacation in paradise, was the decision not to paint a pineap-
ple pure chutzpah? More likely, she felt inhibited by her lack
of time in the pineapple fields. Perhaps she felt that the
ambience of Hawaii was more important than the literal
depiction of a pineapple. She probably took her freedom to
paint the subject matter of her choice literally.
Nevertheless, under promptings from Ayer and the
PHOTO COURTESY OF NEW YORK BOTANICAL GARDEN
Hawai’i Pineapple Company, O’Keeffe eventually fulfilled

her commission by turning in Pineapple Bud (opposite).
The closely cropped vortex of pineapple leaves surround-
ing a nascent fruit resembles the description of the plant
she’d written to Stieglitz, suggesting that she painted from
memory and sketches. It’s a striking painting, although
one suspects it’s not the view Ayer had expected. Then
again, perhaps with O’Keeffe, that’s exactly what is to be
expected—the serving up of views that make us see the
world anew.
An open-sided, thatched-roof pavilion, inspired by a traditional Hawaiian hale,
in “Georgia O’Keeffe: Visions of Hawai’i” at the New York Botanical Garden. Holly Davis is the senior editor of Artists Magazine.
Artists Magazine recently had the pleasure of visiting Art Division,
a nonprofit arts program in the MacArthur Park area of Los Angeles.
Founder Dan McCleary has lived in the area for more than 30
years. “It’s a densely populated, incredibly poetic neighborhood
a mile west of Downtown Los Angeles,” he says. The campus
comprises a library, a gallery, a painting studio and a printmaking
studio. Serving young adults aged 18 to 26, the program offers
classes ranging from painting and figure drawing to public
speaking, career coaching and cooking.
ART
DIVISIO

BELOW Dan McCleary, who founded Art Division in 2010, stands in his studio alongside several paintings.
Before founding Art Division, he was a teacher at Heart of Los Angeles, a program serving children 6 to
18. “I was interested in what happened once they turned 18,” he says. “It felt like there was such an
emptiness of art classes, and kids were really interested in continuing to make art in a creative
environment. Art Division became a way to have that continuation, a place where they could make art and
have exhibitions.” PHOTO: ZEFREY THROWELL
RIGHT The library boasts approximately 10,000 art books, and McCleary describes it as “the heart
and soul of Art Division.” PHOTO: ZEFREY THROWELL
ON
ABOVE
Students film an Art Division promotional video.
PHOTO: ART DIVISION
FAR LEFT
Luis Mateo, a painter, has participated in Art Division’s programs for several years. “In January, he
was our first student to become an exchange student when he traveled to Oaxaca to study
printmaking,” McCleary says. “He’s a wonderful artist and young man.”
PHOTO: ZEFREY THROWELL
NEAR LEFT
Art Division offers a core group of classes including drawing, painting, printmaking, photography,
creative writing and filmmaking. Newer programs include acoustic music performance and career
building.
LEFT
(From left to right) Andy Rivera,
Cesar Robelo Lara and Javi
Sebastian stand in the Art Division
gallery. Hanging on the wall below
them are paintings by Luis Mateo (at
left) and Alfredo Alvarado (at right).
Art Division hosts frequent
exhibitions in the gallery, as well as
in off-campus locations. Recently,
work by Art Division students was
seen in the exhibition “Dos
Colectivos” at the USC Fisher
Museum of Art.
BELOW
Juntos (detail)
by Roberto Ortiz; acrylic on canvas
RIGHT
A student works in the Art Division painting studio. PHOTO: ART DIVISION
BELOW
Untitled
by Lauren Belcher; linocut. PHOTO: ART DIVISION

THIS PAGE, CLOCKWISE FROM TOP LEFT
Untitled
by Jessica Cuautle; linocut; PHOTO: ART DIVISION
Students examine work during a printmaking workshop; PHOTO: ART DIVISION
Art Division studio; PHOTO: ZEFREY THROWELL
Cría Cuervos y te Sacarán los Ojos

by Luis Mateo; oil on canvas; PHOTO: ZEFREY THROWELL
Art Division library; PHOTO: ZEFREY THROWELL
&
present:
2018 Pasadena
November 2-4
Melanie Reim
Sponsored by: DRAW, PAINT, CREATE, & SHARE.
with Sketchbook Skool.
Pasadena from November 2-4, 2018 for an inspiring weekend
so much more.
IF YOU LOVE TO DRAW & PAINT, YOU’VE GOTTA JOIN US!
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Reserve your space—at the best price—today.
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Brenda Swenson
SHANE CAMPBELL GALLERY (DEC. 17, 2017–FEB. 4, 2018); COURTESY OF THE ARTIST AND SHANE CAMPBELL GALLERY; PHOTO: EVAN JENKINS
WILLIAM J. O’BRIEN
CHALLENGES THE
B O U N D A R I E S T H AT
H AV E T R A D I T I O N A L LY
S E PA R AT E D F I N E A R T
FROM FUNCTIONAL
C R A F T.
Reliquary (Installation View)

by William J. O’Brien
Exhibitions, events and other items of interest
DO
NOW
California
RENÉ MAGRITTE:
THE FIFTH SEASON
SAN FRANCISCO MUSEUM OF
MODERN ART • 415-357-4000
SFMOMA.ORG • THROUGH
OCTOBER 28
René Magritte (1898–1967) is one of

the most enduring of the Surrealists,
and over the course of his roughly
40-year career, he never lost his ability
to surprise and disturb viewers. Many
of his most familiar paintings— been called his “Sunlit Surrealist” period, during which the
including The Dominion of Light (the nocturnal scene with a artist began using saturated colors—a marked departure
daytime sky) Golconda (the raining men) and The Son of from his former, muted palettes. “The sunlit surrealist
Man (the apple-face man)—date from the second half of and vache [“dirty” or “mean”] paintings are deeply, thor-
his career, in the years following World War II. These three oughly weird, not only in their iconography but also in
works are among the more than 70 artworks from this their departure from Magritte’s long-established style,
THE FIFTH SEASON, FORETHOUGHT; © CHARLY HERSCOVICI, BRUSSELS/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK
period on view in “René Magritte: The Fifth Season.” palette, and facture,” writes Abigail Solomon-Godeau, in
The 1940s saw significant changes in Magritte’s art as the exhibition’s catalogue. “Whereas previously Magritte
he separated from the Surrealist movement with which he acknowledged only the artistic influence of the Italian
had been closely associated. The years 1943 to 1947 have Surrealist Giorgio de Chirico, the sunlit surrealist works
refer—sometimes quite directly—to late paintings by
TOP Pierre-Auguste Renoir.”
The Fifth In the 1950s, Magritte steered back toward his earlier
Season signature style, but he continued to find new ways to use
by René Magritte painting to question the nature of reality and modern
1943; oil on
canvas life. Many of his paintings from this period made use of
“hypertrophy,” the depiction of objects at jarringly skewed
RIGHT scales—for instance, an apple that takes up an entire room.
Forethought The last decade of Magritte’s career is notable for the artist’s
by René Magritte
1943; oil on
further development of the motif of the bowler-hatted
canvas man, an ambiguous figure who may represent the anonymity
KOONS COLLECTION; of modern life.
MUSÉES ROYAUX DES
BEAUX-ARTS DE
“Magritte’s paintings opened up whole fields of inquiry
BELGIQUE that are still being explored by artists today,” says Caitlin
Haskell, the exhibition’s curator. “My hope is that those
who don’t yet know Magritte will visit and encounter a
painter who inspires them to question their surroundings;
while those who are familiar with his work will be able to
discover new sides of a supremely fascinating artist, who
understood that the insights we find in paintings can
affect how we see the world.”

Bob
using shou sugi ban, a traditional
ROHM
Japanese charring technique famed for Secrets to Successful
1. THE PHILOSOPHER’S STONE BY BARBARA FAHRNER AND DANIEL E. KELM; 1992; MUSEUM BOARD, PAPER, STAINLESS STEEL WIRES, TUBING, COLORED INK, PENCIL AND WATERCOLOR; LOS ANGELES; GETTY RESEARCH INSTITUTE; © BARBARA FAHRNER AND
its ability to render wood weatherproof. Paintings™

“Radical [Re]Constructions” aims to !
NEW
connect the Smart Museum to another
of Emmanuel Pratt’s projects: the
ongoing development of the Perry
Avenue Commons, located two miles
DANIEL E. KELM; 2. COLOSSAL OCTOPUS [AFTER PIERRE DENYS DE MONTFORT] BY ORRA WHITE HITCHCOCK; PEN AND INK AND WATERCOLOR WASH ON COTTON, 27⅞x21; AMHERST COLLEGE ARCHIVES AND SPECIAL COLLECTIONS
west of the Smart Museum, where

Pratt works through Sweet Water
Foundation to transform a “blighted”
neighborhood through urban agricul-
1 ture, art and education.
California New York

ARTISTS’ BOOKS CHARTING THE Scott W.
THE GETTY RESEARCH INSTITUTE
LOS ANGELES • 310-440-7335
DIVINE PLAN PRIOR
Vibrant Cityscapes™
GETTY.EDU • THROUGH OCTOBER 28 THE AMERICAN FOLK ART MUSEUM
NEW YORK CITY • 212-595-9533
!
“Artists and Their Books/Books and FOLKARTMUSEUM.ORG • THROUGH NEW
Their Artists” questions the nature of OCTOBER 14
art as well as the role played by books
in contemporary culture by examining “Charting the Divine Plan: The Art of
an array of artists’ books. Featuring Orra White Hitchcock (1796–1863)”
some of the most surprising and examines the work of one of America’s
noteworthy examples the Research first female scientific illustrators, trac-
Institute’s collections have to offer, ing her progress from school projects
“Artists and Their Books” urges to impressive renderings of the natural
viewers to reconsider their beliefs beauty of the Connecticut River Valley,
about what a book can be. The books which were created for her husband
on display can be unfurled, unfolded, Edward Hitchcock’s geology publica-
tions. Other works on display include
unpacked or disassembled, with
pieces designed to be displayed
Huihan
hanging on walls or installed as
sculptures or installations.
2 LIU
Expressive Figure Painting™
Illinois
NEW
RADICAL [RE]
CONSTRUCTIONS
SMART MUSEUM OF ART
CHICAGO • 773-702-0200
SMARTMUSEUM.UCHICAGO.EDU
THROUGH DECEMBER 30
“Emmanuel Pratt: Radical [Re]

Constructions” centers around a
three-dimensional representation of a
formerly abandoned house. It features a
network of multifunctional, sculptural
furniture, architectural wall drawings
and video elements. The installation’s 1. Artists’ Books 1-877-867-0324
materials include salvaged wood that has
been treated by Pratt and his apprentices
2. Charting the Divine Plan
3. Delacroix (page 104)
LiliArtVideo.com/Artist
Catherine Hillis
3. SAADA, THE WIFE OF ABRAHAM BEN CHIMOL, AND PRÉCIADA, ONE OF THEIR DAUGHTERS BY EUGÉNE DELACROIX; 1832; WATERCOLOR OVER GRAPHITE ON WOVE PAPER, 8¾x6⅜; THE METROPOLITAN MUSEUM OF ART, NEW YORK; BEQUEST OF WALTER C. BAKER,
WATERCOLOR WORKSHOP
OCTOBER 10–12, 2018
the artist’s works on cotton, some of

which measure more than 12 feet long.
These were made to illustrate her hus-
band’s lectures on geology, zoology,
anatomy and botany. Through these,
Orra White Hitchcock portrayed com-
plex scientific principles in visual
abstractions that appear surprisingly
modern. The exhibition’s archival let-
ters, manuscripts, albums and diaries
reveal Edward and Orra White
Hitchcock’s roles at the forefront of
scientific inquiry.
New York
DELACROIX
Join Catherine at the THE METROPOLITAN MUSEUM OF ART
14 th Annual NEW YORK CITY • 215-535-7710
METMUSEUM.ORG • THROUGH
JANUARY 6, 2019
In a joint project with the Musée du

Louvre, the Met’s exhibition on
Eugène Delacroix (1798–1863) is a
chronological tour through the artist’s
imagination, featuring more than 150
1971; IMAGE © THE METROPOLITAN MUSEUM OF ART
rarely seen paintings, prints, manu-

scripts and drawings. The exhibition
October 13–20, 2018 will examine topics in literature, reli-
gion, history and nature that
preoccupied the artist’s imagination.
100+ workshops annualy with nationally known artists! Utah
SedonaArtsCenter.org WORKING HARD

TO BE USELESS
THE UTAH MUSEUM OF
Art sts artspan
CONTEMPORARY ART • SALT LAKE websites since 1999
CITY • 801-328-4201 • UTAHMOCA.ORG
THROUGH DECEMBER 29
A rt span Member Art: Minako Ota

“Working Hard to Be Useless” exam-
ines the contemporary push for
urban development and the growth
of city centers. It calls into question
the groups that are directly helped
and those that are harmed by the
erosion of public spaces and by the
proliferation of “defensive architec-
ture”—aspects of the modern city
that dictate who has access to public
spaces. The concept of “walkabil-
P R I N T S - ON - D E M A ND
ity,” for instance, is investigated.
Although it is often touted as a goal For the Artist, Maker Sell your art
for urban development, the artists
featured in this exhibition seek to
& (Forever) Inspired Modern designs
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planners and developers subtly (and step of your art journey. Easy to manage
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who operated in Europe during the
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Wisconsin
WILLIAM J. O’BRIEN:
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Multidisciplinary Chicago artist

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improvised work owes as much to
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experimentation common to Outsider
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craft. “William J. O’Brien: Reliquary”
presents an eponymous reliquary, or
container of holy relics: a tent made
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drawings, and flanked by two life-size
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houses textured bronze vessels and
glazed ceramic pieces on a pedestal.
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BY HOLLY DAVIS
WALLPAPER: V&A IMAGES © 2017 VICTORIA AND ALBERT MUSEUM LONDON/THAMES & HUDSON; LINE ILLUSTRATIONS © THAMES & HUDSON; LINE ILLUSTRATIONS BY EMILIA BUGGINS; SPECTRUM: COURTESY OF THAMES & HUDSON;
Perspective
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INSPIRING INTERIORS Drawing (North Light
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demonstrations cover
the 15th century to the present. Photos of fabrics and a variety of subjects,
wallpapers, accompanied by color
grids that show the proportion of each including interiors,
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material as well as inspiration.
architecture, still lifes and
landscapes. This book is
The Art of Wallpaper (Thames & Hudson) not only
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STILL LIFE SERIES

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APPLAUSE Outfit
Competition Spotlight
Finalist artwork from Artists Magazine’s 2017 Annual Art Competition
Spring Snow
in Russia
oil on canvas,
14x22
CJ Lukacsik
PINE, ARIZONA · CJLUKACSIK.COM
I had always wanted to visit Russia because of my love for the artist
Nicolai Fechin (1881–1955). When I finally got to go, I fell in love with the
countryside; it sang to my heart. On my way home from Russia, my mind
started reeling about how I would convey the scenery on a canvas. I had
already painted it in my mind before the plane landed.
Travel as much as possible so that you

can meet other artists and exchange ideas.
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Lasting impression
Cat
by Ryosuke Kumakura
2017; oil on canvas,
16½x11x1
COURTESY OF PATRON
GALLERY, CHICAGO
Ryosuke Kumakura’s cat paintings are, in part,

a contemporary painter’s manifestation of the Shinto tradition of displaying spirit
charms in the home. Such charms include maneki-neko, the lucky cat that brings
good fortune, and the paper talismans known as ofuda. By folding the canvas
corners into ears and painting hidden footprints on the painting’s fold over the
bottom edge of the stretcher, Kumakura fuses the painted image and the canvas
together as a singular amulet. The Western classical painting tradition is used to
present the Japanese concept of the ‘spirit body,’ and in the process, the artist
subverts the genre of kitsch pet-portrait painting.
JIMMY WRIGHT
Artist

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Art sts

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2 Artists Magazine November 2018

4 FROM THE EDITOR ON THE COVER

HOME IS WHERE THE ART IS James Woollam

and the changes it has undergone in the era of SUBSCRIPTION SERVICES

wooden surfaces (page 46). Printed in the USA

4 Artists Magazine November 2018

ROBERT K. RHÉNI TAUCHID JOHN EISCHEID

The inﬂuence of this Victorian-era Renaissance man continues to be felt

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w illiam Morris (1834–96) was a creative

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What piece of art that YO U A N S

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11 Best Places to Sketch

a tour of your regular haunts with a

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From the beginning, Marimekko’s team of artists has

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24 Artists Magazine November 2018

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28 Artists Magazine November 2018

Paint applied with a palette knife can

I used a large amount of brown side view of

The drawing (above right) shows the appearance of

BRUSH + BLADE COMBO bottom

Stuﬀ Matters consistent in color and

30 Artists Magazine November 2018

Art sts OVER 60 Magazine

WE’RE LOOKING FOR

10 WINNERS will be featured

For complete guidelines

here’s nothing more feminine than beautifully draped fabric

32 Artists Magazine November 2018

Fabric Study in Magenta and Gold

34 Artists Magazine November 2018

36 Artists Magazine November 2018