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American Artist
Artist magazine of largest circulation. Artist profiles/interviews include multiple photos and reproductions over multiple pages, PLUS: Illustrations, technical features, columns, vintage ads and MORE --Exclusive MORE MAGAZINES detailed content description, below! Issue Date: SEPTEMBER, 1975; Vol. 39, No. 398 IN THIS ISSUE:- This description copyright Edward D Peyton. Any un-authorized use of this description is strictly prohibited. COVER: The Painter's Atelier, a True Allegory Summarizing a Period of Seven Years in My Life, by Gustave Courbet, 1855, oil, 12' x 20'. Collection the Louvre, Paris. Photo: European Art Color, Peter Adelberg, New York City 10023. DRAWING FROM THE MODEL, A MEANS AND AN END: AN INTERVIEW WITH ANDREW SANDERS, by Joan Tomcho. For Sanders, drawings made from the model serve a dual purpose: they are ends in themselves and, as preparatory drawings, they determine the aesthetic considerations for his final oil painting. Here Sanders demonstrates his procedures in these drawings and how he adjusts his approach to suit their function. NOTES ON PAINTING FROM THE MODEL, by Bernard Dunstan. Artists work from models in a variety of ways--from direct observation, from memory, or from a combination of both approaches. Here Dunstan observes the different methods by which several artists of the 19th and 20th centuries painted from the model. PAINTING FROM WITHIN: JOYCE TREIMAN, by Frances Luban. Treiman paints the figure as a means of transmitting intense emotional content: she places the figures in symbolic settings and costumes. The disturbing quality in her work arises from their incongruous juxtaposition. CAROLE LEE KATCHEN: DRAWING FROM LIFE, An intervIew with John Jellico. Katchen looks for subjects who convey an emotion or attitude that strikes an immediate chord with the artist--not beauty necessarily, but inner strength. She strives for the essence of feeling communicated rather than for a physical likeness. ART STUDENTS LEAGUE: 100 YEARS, by Nancy G. Helier. On its 100th anniversary we pay tribute to an art school claiming a most important and illustrious tradition, the school where "everyone" seems to have studied or taught. Here's why. THE WATERCOLOR PAGE: GEORGE HARKINS: "Color shapes have a life of their own," states this watercolorist, who tends to regard his objects as patterns of color which he places in such a way that his paintings take on a puzzle-like effect. BULLETIN BOARD; FOOTNOTES; LETTERS TO THE EDITOR; QUICK TIPS; ART BOOKS; ART MART. TECHNICAL PAGE by Ralph Mayer. PROFESSIONAL PAGE by Betty Chamberlain. This description copyright Edward D Peyton. Any un-authorized use of this description is strictly prohibited. Magazine is COMPLETE and in VERY GOOD +++ condition. (See photo)
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