Dec 15, 2020, 11:40 AM
Shermund’s cartoons are about human nature, relationships, youth and age, and, more often than not, poke fun at the very metropolitan and highbrow people to whom The New Yorker was marketed.
Artists from James Little’s class, “Non-Objective Painting, Color and Design,” forge ahead with their work over ZOOM.
Robert Philipp was—and this may be a defining characteristic of many League instructors—an iconoclastic traditionalist, well enough versed in the conventions of art to take them as a point of departure.
George B. Bridgman was the preeminent instructor of figure drawing in this country during the first half of the twentieth century and is credited with having taught close to 70,000 students, from illustrators to the avant-garde. What makes his lessons so enduring?
An exhibition of works created in the pandemic that testify to the indomitable nature of artists and to art’s ability to communicate a spectrum of emotion that may be difficult to convey in any other modality.
Photographs and stories of the artists who carry on their legacy.
Artists from James Little’s class kept painting after New York shut down.
Notable work from students in the classes of Janet A. Cook, Christopher Gallego, Leonid Gervits, Oscar Garcia, and Marshall Jones.
Modernism, beauty, aesthetic experience: These concepts are very much alive with my students.
Notable work from students in the classes of Costa Vavagiakis, Robin Smith, Jeff Buckland, Jerry Weiss, Paul Oestreicher & Christopher Raccioppi, and Gregg Kreutz.