As Lucia Fairchild sat drawing in class, she must have been flush with the good fortune of her talent, her friendship with John Singer Sargent, and all the promise her future held.
Zoom offers a different kind of learning experience, a natural fit for lectures, demonstrations, or art history. But what about for studio workshops?
At the League
The Metropolitan Mindset of New Yorker Cartoonist Barbara Shermund
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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?
Art in general isn’t nearly as fun or powerful in this age. You could say there’s a positive side to all the access we have to art, as well as the exposure, as artists, we can get outside of the traditional structures. But I wonder if it’s worth what we gave up. Too much art exposure can bore a person. You can also become impervious to the effects that art can have on us.
ASL Alumni, At the League
How the Art Students League Shaped the Life of Twentieth-Century Artist Marion Greenwood
October 15, 2020 0
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Formative experiences with Art Students League instructors shaped the way Marion Greenwood viewed and painted the world around her.
An exhibition at the Royal Academy of Art asks, Does great art begin with studying nature, or studying the great art of the past?
For a very long time I thought art was all about esthetics, beauty, grace. I did not look at other dimensions, such as distortions, unbalance, pain, darkness. Now I try to reach both, very much like in nature, there is life and death.
What steps can you take to develop as an artist? Janet A. Cook offers a short guide of thirty-five tips to help get you started and to keep the momentum going.
The most important quality in an artist is need. A need to draw, a need to paint, a need to observe and obsess.