Eileen Morey
Expressive Oil Painting: An Open Air Approach to Creative Landscapes
Expressive Oil Painting: An Open Air Approach to Creative Landscapes, by George Allen Durkee is a good, instructional book for oil painters. Artists working with acrylics will learn great tips from it as well.
From the start, I was impressed. Instead of using the usual photos of art supplies as he talks about what he paints with, Durkee actually painted pictures of his art supplies.
That’s pretty cool.
Then, he lost me when he talked about objects being based on one of four shapes, or a combination of them: A cube, cone, sphere or cylinder.
I’d seen my mother feel constrained by that approach; she’d learned it in art school (Mass. College of Art) many years ago, and… well, that’s one reason why she didn’t want me to go to an art college. She didn’t want my creativity cramped by rules like that. So, that section of the book was an instant turn-off for me.
However, Durkee’s artwork is refreshing. His use of color is so free-thinking and vibrant, it’s almost at the fantasy level.
His tips and instructions are insightful and useful for landscape painters. For example, on page 50 he said, “… as the flat plane of land recedes, you see it through a thicker layer of moist air,” and “… receding hills become lighter and cooler with distance.”
This is the kind of information that will help any landscape painter identify the areas that he (or she) can improve.
All in all, I like this book. Though it’s not as exciting as some books I own, it’s a book I’ll refer to often, especially to develop my skills as a landscape painter.
Expressive Oil Painting: An Open Air Approach to Creative Landscapes by George Allen Durkee
Buy this book at Amazon.com
Art Model’s Handbook
The Art Model’s Handbook, by Andrew Cahner is one of those books I look at and exclaim, “Why didn’t anyone write a book like this before..?”
If you use artist’s models in your studio, work as an artist’s model, or have ever thought of working as an artist’s model*… you need to own a copy of this book.
Yes, I usually say, “Read this book at your public library first, and see if you want to buy it.” However, this is the kind of book that you’ll refer to so often, you may as well buy a copy and save yourself multiple treks to the library.
This book is 141 pages of to-the-point information. There’s no fluff, and the author is knowledgeable, experienced, and addresses issues on both sides of the canvas (or sketchpad).
Author Andrew Cahner has left nothing out. He tackles the difficult aspects of nudity in Chapter 2. In Chapter 3, he tells you the two things that every model must bring with him (or her), and then lists many items that will make your work easier and create a more professional environment.
Chapter by chapter, Cahner provides useful tips and the kind of information every artist — and artist’s model — needs to think about before, during and after a modeling session.
For example, the author provides some brilliant ways to research poses, so you don’t stand in front of the group, blink, and ask shakily, “Err… what do you want me to do?” (Likewise, if you’re working with models, these resources will avoid wasted time while the artists try to think of poses, and the model responds, “Okay, how about this?”.)
There’s even a list of useful links to find modeling work, online.
If there’s anything missing from this book — from either the model or artist’s standpoint — I can’t see it. And, I’m speaking as a third-generation artist who worked as an artist’s model during her college years.
I rarely give a book five stars, but — for this topic — I can’t think of any way the author could have improved the book. Every working artist and every classroom that uses models should have a copy of this book in their studios. When you have a question, the answer will be right there.
And, of course, every working model should own one as well.
I read many books about and for artists, and this one stands out as a brilliant idea, well executed and long overdue. It’s well-written and easy to read, but — even more importantly — it’s a useful reference that provides far more than just the basics.
*If you’re willing to sit still for 20 minutes at a time — with a roomful of people staring at you — this can be a fine career choice for people who need work or want extra income. Taking off your clothes is optional but will significantly increase your chances of getting work, but it’s not vital. (Portrait and other models are needed, too, but — for economy — classes often swap-out students in those roles.)
Even better, this book will explain the nuances of working in this field so you don’t feel like a total novice.
Finding Your Visual Voice – review
Finding Your Visual Voice: A Painter’s Guide to Developing an Artistic Style
Almost every book about succeeding as a full-time artist tells you to have a “cohesive body of art” before approaching a gallery.
That means at least eight to ten paintings in the same style.
However, if you’re like me, you just paint. You don’t think about style. And, if that’s working for you, that’s fine, but it wasn’t working for me.
I painted realistically for many years, and then realized that I’m more comfortable with a less photographic style. Since I love Impressionist paintings by Monet and Bonnard, I read lots of books about that style of painting and incorporated their tips in my own work.
My art was often well-reviewed and sold in shows. My best works sold for (and were appraised at) about $500. “Not bad,” I thought. It validated me as an artist, and it paid the bills.
Then, I decided to become professional about marketing my art… and I hit a creative wall. Nothing about my art stood out, to distinguish it from… well, every other competent, semi-Impressionist painter of the late 20th and early 21st centuries.
After looking at this book in the bookstore for several weeks, I bought a copy.
Then, I glanced at it every few months, got overwhelmed, and put it down again.
Finally, something clicked, and I began reading the book and answering the questions in it. I also looked for more art by the featured artists, to see why I like their work, and what it has in common with my past (and most successful) drawing and painting styles.
All of a sudden, the lights came on. I understood where I needed to go with my art.
For me, it explained how my plein air1 studies connect both my Tonalist2 and Semi-representational3 works. It showed me the areas where I need to practice more, to improve my art. I gave me a sense of the elements in my work that could make a show cohesive, and how I can improve my personal artistic voice to stand out in the crowd.
I stopped being stuck as an artist, and started learning my craft again. I’m growing by leaps and bounds as an artist.
I won’t claim that this book was the complete answer, but it was definitely a pivotal element in resolving my long-term dilemmas and confusions as an artist.
If you’re not sure where you’re going with your art, and you need to clarify that to take your next step as a professional, I highly recommend
SUMMARY
- Discover your unique, personal style as an artist.
- Many styles represented; can be overwhelming at first.
- Vital for artists who need a cohesive body of work.
[rating:4/5]
Order a copy or read others’ reviews at
Amazon.com or Amazon.co.uk
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1 Plein air (also “en plein air”) means to paint on location, generally outdoors. It’s different from paintings created from memory or sketches, or in the studio using photographs as reference. The phrase, “plein air,” is generally pronounced like “plain air” or “plehn air.”
2 Tonalist paintings tend to be landscapes with soft focus and a limited range of colors that represent the light and dark (tone) of the subject. Tonalism was popular during the same era as Impressionism, and the two sometimes overlap.
3 Semi-representational paintings are usually very stylized and almost abstract, but the viewer can usually guess what the subject is.
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