ISSUE DATE: SEPTEMBER 1984; VOLUME 48, ISSUE 506

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IN THIS ISSUE:-
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FRONT COVER: Still Life With Tuscan Landscape (detail), by David Ligare, 1984, oil, 31 x 48. Collection and Mrs. William J. Van Wyk. Photo courtesy Hall Gallery, Fort Worth, Texas.

FEATURES:
DAVID LIGARE: In this article -- a letter from the artist to Editor M. Stephen Doherty -- this extraordinarily gifted California painter discusses how he attempts to depict a world of harmony and beauty in his paintings, which are based on classical Greek mythology and themes. Ligare also describes how he uses photographs to compose his neoclassical oils and watercolors. [COVER Artist]

THE WATERCOLOR PAGE: KANDY TATE. This Kansas artist left a full-time teaching position to devote all her time to her watercolors. Here she shares her personal approach to painting landscapes.

A CONVERSATION WITH WILLIAM SCHULTZ. by Charles Movalli. After working with the well-known artist Robert Brackman for six years and becoming one of his most prized students, William Schultz established his own distinctive style of painting, using oil and pastel media. Here the Massachusetts artist describes those early years of development and the five stages his students go through in developing their own paintings.

PETER PELLETTIERI: A NATURAL SCULPTOR, by Nicholas Orsini. This Connecticut artist describes the creation of his Hydrocal cast sculp- tures and how he uses budding plant forms as the basis of his designs.

BUILDING A STORAGE CABINET FOR PAPER, by Bruce Hiscock. The author outlines how you can build your own cabinet constructed of plywood and lattice, which will hold full sheets of papers.

MICHAEL BERGT, by Jeffrey Monhart. This young California artist uses egg tempera to create paintings in the style the author describes as "sophisticated patterned realism." Bergt tries to capture the essence of a scene by examining its subliminal design patterns.

USING ARCHITECTURAL FORMS IN LANDSCAPE PAINTING, by James Ross Chisholm, Jr. "Along with their innate charm, bridges, barns, and other architectural forms can often help the landscape painter identify and understand the less regular forms of nature," says this Massachusetts artist, who goes on to give a step-by-step demonstration of how he uses architectural forms in his oil landscapes.

ART INSTRUCTION SUPPLIMENT:
LOOKING AT SHAPES WITHIN PAINTINGS by Tony Couch.
MORE TECHNIQUES FOR USING ALKYDS by Daniel K. Tennant.

DEPARTMENTS:
LOOKING AT PAINTINGS with Hilton Brown.
PROFESSIONAL PAGE By Jana Jevnikar.
TECHNICAL PAGE by Prof. Clifford T. Chieffo.
ART MART; THE PSYCHOLOGY OF ART.
SPECIAL ART by Betty Kronsky.
FOOTNOTES; LETTERS; ART BOOKS; BULLETIN BOARD; QUICK TIPS; COMING IN OCTOBER; INDEX TO ADVERTISING; PEOPLE, PLACES, & EVENTS.
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