On Newsstands Now
From the Latest Issue of PleinAir Magazine
We are seeing thousands adopt the plein air painting lifestyle, which means more painters’ groups, more events and shows, and more people being exposed to original art and collecting it.
What does a top award winner anticipate as he begins a new plein air season? Maryland artist Tim Kelly reveals his expectations for 2018.
Some of the paintings you were hoping to see on exhibit in a museum are available in study centers. Thanks to the Henry Luce Foundation, thousands of paintings, sculptures, and furnishings that the curators didn’t want to show can be seen inside glass cases within several large museums. Find out which museums have these study centers.
Robert Graham adds cold wax medium to his oil colors so he can brush, scrape, thicken, thin, and scumble layers of color and texture to create a dreamlike state. See how he works with the medium
Pennsylvania artist Beth Bathe is featured in the upcoming March 2018 issue of PleinAir. Here’s a preview of how she uses water-mixable oils, which have some of the characteristics of oils, acrylics, and watercolors. You may want to use these paints and avoid oil solvents.
Richard F. Lack (1928-2009) taught students not to see a colors in isolation, but rather to see them in relation to those that surround them. What were his teaching methods?
During her presentation at the Plein Air Convention & Expo, Tennessee artist Kathie Odom will reveal that she has been fortunate to find spiritual and personal support as her career skyrocketed to higher levels. What will she recommend to artists in Santa Fe?
“If people start looking for color in the shadow, they will see it,” says Mark Fehlman, one of the featured artists at the Plein Air Convention & Expo (www.pleinairconvention.com). “If they stop and look, compare things, and consider what they want to emphasize most, they will get a lot more out of their observations.” How does Fehlman actually accomplish that?
Over the past few years, some of California’s most distinguished plein air artists have painted in the wilderness areas of the High Sierra Mountains. Now a large group of their plein air and studio paintings are on exhibition. Find out which artists are included in the show.
Maine artist Stephan Giannini spent days creating two plein air paintings in an apple orchard, and one of them is on the cover of the March 2018 issue of PleinAir. Find out why he worked so long on location.
A wide variety of outdoor paintings are about to go on exhibit in art centers and galleries around the country. Here are a couple in which inspiring and informative work will be on display. Make sure you stay informed.
In recent years, top plein air painters have been using painting procedures associated with academic studio painting. Painters like Marc Dalessio, Joseph McGurl, and Matt Chinian all frame their landscape subjects inside a rigid viewer, then paint exactly what they see inside that rectangle. Find out why.
With dozens of events to consider and deadlines looming, it’s time to plan your outdoor painting activities for 2018. Here is the news about a few upcoming events.
Outdoor painters have faced challenges in almost every region of the country during 2017-2018. Here is how a few hardy souls made it through.
Over the past 25 years, David E. Dallison has taken his portable watercolor equipment to more than 35 countries, sometimes ignoring travel warnings and political unrest. He is now being a bit more cautious since he is traveling with his young family. Here’s how he works with watercolors in distant locations.