Exploring Light and Color in Watercolor and Acrylic
Author: Dustan Knight
Publisher: Quarry Books Editions
Master the impressionist painting style with Painting the Impressionistic Landscape! The Impressionist movement that began 130 years ago set artists free to experiment outdoors, capturing the fleeting effects and many moods of sunlight in their paintings by juxtaposing contrasting colors. Although those colors may not actually be apparent in nature, on canvas and paper they appear spontaneous and naturalistic. The skill is in knowing how to select and apply them. Impressionistic painting has not remained static over the decades. Artist Dustan Knight walks you through the techniques to achieving brilliant effects in a contemporary style. Using easy to work with watercolor and acrylic, she demonstrates through her own paintings, as well as others she has selected, the step-by-steps for dramatic atmospheric vistas and intimate garden landscapes.
"This compilation will prove highly useful in its assessment of figure and landscape painting; criticism and exhibition strategies; and social, economic,and political history. Distinct art historical voices are brought together, offering the reader a broad spectrum of approaches to the subject."—Margaret Werth, author of The Joy of Life: The Idyllic in French Art, circa 1900 "The texts that Lewis presents are knowledgeably and intelligently chosen and cover the basic revisionist trends in recent scholarship in a broad and admirably thoughtful way."—Jack Flam, author of Matisse and Picasso: The Story of their Rivalry and Friendship "Mary Tompkins Lewis's anthology provides a welcome tool not only for courses on Impressionism itself, but also for anyone interested in teaching a methods course in art history."—James Rubin, author of Impressionist Cats and Dogs: Pets in the Painting of Modern Life
In this handsome book, a leading authority on Impressionist painting offers a new view of this admired and immensely popular art form. John House examines the style and technique, subject matter and imagery, exhibiting and marketing strategies, and social, political, and ideological contexts of Impressionism in light of the perspectives that have been brought to it in the last twenty years. When all of these diverse approaches are taken into account, he argues, Impressionism can be seen as a movement that challenged both artistic and political authority with its uncompromisingly modern subject matter and its determinedly secular worldview. Moving from the late 1860s to the early 1880s, House analyzes the paintings and career strategies of the leading Impressionist artists, pointing out the ways in which they countered the dominant conventions of the contemporary art world and evolved their distinctive and immediately recognizable manner of painting. Focusing closely on the technique, composition, and imagery of the paintings themselves and combining this fresh appraisal with recent historical studies of Impressionism, House explores how pictorial style could generate social and political meanings and opens new ways of looking at this luminous art.
From the Potomac to the Gulf, artists were creating in the South even before it was recognized as a region. The South has contributed to America's cultural heritage with works as diverse as Benjamin Henry Latrobe's architectural plans for the nation's Capitol, the wares of the Newcomb Pottery, and Richard Clague's tonalist Louisiana bayou scenes. This comprehensive volume shows how, through the decades and centuries, the art of the South expanded from mimetic portraiture to sophisticated responses to national and international movements. The essays treat historic and current trends in the visual arts and architecture, major collections and institutions, and biographies of artists themselves. As leading experts on the region's artists and their work, editors Judith H. Bonner and Estill Curtis Pennington frame the volume's contributions with insightful overview essays on the visual arts and architecture in the American South.