Innholdsfortegnelse for Issue 137 i Artist's Palette

Welcome to our latest issue of Artist’s Palette. We’re thrilled to share with you the life stories of our five featured artists, and hope that their demonstrations will tempt you to try some new techniques. Are you aware of the paintings by Johannes Vermeer and Jan Van Eyck? Our historical feature uncovers the important artists of the Dutch and Flemish genre paintings from the 15th, 16th and 17th centuries, explaining why their works are considered the world’s most extraordinary examples of humanity’s conventionality. There’s plenty going on in the art world at the moment, so don’t forget to check out our Artbeat and What’s On Show sections. We love to showcase the artistic works of talented Australians, from enthusiastic beginners to accomplished artists, so if you’re keen to be published…

ARTIST’S PALETTE magazine seeks to showcase the works of talented Australians producing art at a whole range of skill levels, whether they are accomplished creative people with a long history of achievements or beginners (of all ages) striving to build their identities and reach their particular artistic goals. This ‘Gallery’ segment provides a place to display pictures by people who may not have the means or the opportunity to be extensively featured in our magazine. Submissions are sought from such people for future Issues. This month we are pleased to display the work of another three enthusiastic artists. Hi my name is Glenn and I have been painting for just over two years here’s a few of my favourite works I have done in oils. I subscribe to your magazine…

• It is important to get to know your subject or better still have a passion for it, as the more familiar you are with the subject the better you will paint it. Do lots of thumb nail sketches to get your design right first as I feel this is one of the fundamentals of a good painting, patterns of light and dark. Look for soft and hard edges in your subject. • When beginning a painting (I find this is a most exciting time, I can’t wait to get the paint out), I tend to start my paintings with a feverish momentum, covering the canvas so there is no white glaring at me, usually with acrylic as it has brilliance and intense colour as well as drying very fast,…

• Do your homework. Regardless of whether you are creating a fictitious creature or painting a real one, it is important to study the animal. Begin with the bones and ‘work your way out’. The skeletal structure of an animal informs its posture and movement. The structure of the skull is also quite important to examine. You may then want to examine the muscles of the creature. And then investigate its more visible aspects such as eye shape, nose, ears, paws, and for our furry friends, the direction of the fur or hair is very important and can differ greatly. I find that images on the internet can help with our investigation, as well as fantastic biology books, and the like, that can be found in second-hand books shops. But…

EUROPEAN PRINTS & DRAWINGS Mantegna, Rembrandt, Watteau, Gainsborough, Goya, Constable, Blake, Ingres, Delacroix, Manet, Cézanne, Degas, Klimt… This is a rare chance to see works on paper by some of Europe’s greatest artists, which are usually kept in storage due to their sensitivity to light. European prints and drawings 1500-1900 presents 150 outstanding works from the Art Gallery of NSW collection. On display for the first time is the recent acquisition Melencolia I by Albrecht Dürer, marking the 500th anniversary of this 1514 engraving – one of the most enigmatic images in Western art. Charting some four centuries since the Renaissance, these works show the development of various graphic techniques and reveal the story of the graphic arts in Europe. The big subjects of European art and culture, and changing…

Like most artists, the love of art started at a very early age. I was born in Holland in 1951 and migrated to Australia at the age of three with my family; my father couldn’t assimilate into the Australian way of life and left my Mum with a young family of four children. The Catholic Church found Mum work and accommodation in Daylesford in Victoria, which is where I began my schooling. (The school is now an art gallery, “The Convent Gallery”, and I have been fortunate enough to have a joint exhibition there.) I loved all the art works, paintings and sculptures that were everywhere in the school and the church. Being good at drawing meant being asked to draw on the blackboard. It was most enjoyable, and often…

I was born in 1983 in the Blue Mountains, NSW. Growing up in a place relatively unspoilt by modern development and so full of natural beauty rich in both flora and fauna left a strong impression on me. I think it is why I first picked up a paintbrush. I can’t remember a time when I was not drawing, painting, or creating something. Luckily for me, creativity was encouraged in my family. As a defence force family, we moved every few years and so my experience was widened. We even got posted to England where I experienced walking through British landscapes and learning about a different variety of flora and fauna. Although I was only 12, my memories of travelling around Britain and Europe include having the opportunity to meet…

I was born in 1942 in a country town in south west Queensland. My mum and aunts said I quickly learnt to amuse myself, this being done by lying on my back watching anything that flew overhead. The USA had an aircraft base in our town with planes flying in and out all the time. The planes and flocks of birds became a fascination for me. My weird sense of humour probably came from watching the antics of the birds and other animals. Our old galah Cocky seemed to be around forever and only went into the cage (this had no door or floor) when he wanted a safe resting place. Watching his funny antics gave me the desire to try and sketch his amusing antics. As I was a…

MATERIALS • Charcoal• • Turps Oil• Raw Umber• Phthalo Blue• Titanium White There are no structured steps to the way I paint. There are really only three steps I follow: sketch, build from wherever the brush takes me first and continue to wherever it takes me next. Sometimes I start with the eyes, other times with the chin, shoulders, hair or neck. I always start with Raw Umber and paint in a way that there is always balance. It is a bit like dancing, you just listen to the music and let your body move to it; if you think too much you end up looking like a robot or confused. In the same way I think you should keep looking at your canvas and let your hands to the rest. STEP ONE Do a basic…

MATERIALS • Boards I use MDF or plywood boards that I have given at least three coats (preferably more) of a quality white gesso. I use a small paint roller to apply the gesso. In between each coat I sand the board, resulting in a paper-like texture. It is important to make sure all sides (edges included!) of the board are coated to ensure the board is sealed and to prevent it from warping with moisture. • Paints Atelier Interactive Artists’ Acrylic: – Arylamide Yellow Deep – Arylamide Yellow Light – Cobalt Blue Hue – French Ultramarine Blue – Napthol Crimson – Titanium White – Carbon Black • Brushes I use a number 6 or 8 sable (or similar alternative) for blocking in colour. The rest of my work is…