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.
Instructor news, a history painting for the twenty-first century, and more
The question that seems to be posed in this exhibition is whether the Lyme Art Colony’s interest in landscape, light, and color can be enjoyed at face value, or is complicit in whitewashing the area’s history.
While a good abstract painting is an event on the canvas, I strive in my figurative work to do the same.