Innholdsfortegnelse for August-September 2024/No. 158 i International Artist

Welcome to International Artist magazine’s August/September issue! We are wildly excited about this issue for a number of reasons. First, it is our annual portrait issue for two of our titles—International Artist and American Art Collector. We are proud of our long standing partner The Portrait Society of America, and this is their annual issue for portrait artists, where they recap the most recent Art of the Portrait Conference. We attend their events, support and award the artists and have come to call them great friends in the art world. In addition, our collector title American Art Collector spotlights portrait artists in the August issue with our annual Portrait Artists Directory 2024 plus our Collector’s Focus on portrait art section. We celebrate portrait art! The next thing we want to…

Maryland, USA, FLORAL FOR LOVEY, oil, 20 x 16” (50 x 40 cm) Finalist My Inspiration Out of the many Old Masters I’ve learned from and works I’ve studied, my heart has always gone back to the 16th and 17th Century Dutch Masters. Among them, Jan Van Huysum stands out as a favorite. His rich translucency of the flowers lights up against the darker backdrops, whether it be as simple as a niche or as complicated as a spring park setting, a sense of metaphor shows the flowers having a shorter life versus the birds’ nests and insects having longer life. And how could one not stop and press their noses against these breathtaking pieces without inspecting how many dew drops are present? Although this was a commission, I was given…

Animals, particularly dogs, have Aalways been one of my major life priorities. Before I was allowed to own a dog as a child I “borrowed” neighborhood dogs. They have continued to be a lifelong passion. When I started to seriously paint it took me a while to realize technique wasn’t enough. Passion was going to make me better and my passion was dogs. When I create, I don’t use a formula, but always use sound principles. When I teach, I try to simplify concepts so as not to overwhelm students. There are many ways to start a painting. One approach may resonate with one student and not another. We bring a lot of ourselves to our paintings. The process I am about to share comes from the idea that you…

When I embark on an outdoor painting session, I am fully aware that nature can present itself as an adversary. The wind can blow hard, the rain can fall incessantly, the cold can penetrate to the bone, and even the sun, which warms us, can become a challenge as it dances across the sky, accompanied by constantly moving clouds. However, despite these obstacles, I find a unique opportunity to deepen my understanding of the nature that surrounds us. Every detail around us—from the landscape that unfolds before our eyes to the air we breathe, the aromas that permeate the environment and the sounds that fill our ears—connects us to a sense of gratitude and wonder. This connection is the first crucial step in creating a truly meaningful work. Although I…

Life can throw a lot our way. We enter into competitions and don’t get accepted, we apply for residencies or programs that don’t get granted, we have a tough time selling our artwork or connecting with collectors, and so on and so forth. This is life, and it can happen to the best of us. And while those disappointments can deepen and fester in your heart, there’s another side to that coin. They can also become beacons of strength and resilience, to continue to pick yourself back up, keep trying, learn what you can, and, most importantly, inherently know your own self worth. As you ponder this letter, dear readers, I hope you all know how important you are. Your uniqueness as artists—in your style, techniques and subjects—as well as…

Michigan, USA, Captured Heart, acrylic, 60 x 48” (152 x 121 cm) Finalist My Inspiration I am inspired every day by the beauty of flowers. In Scotland, I was so inspired by the rhododendrons blooming they reminded me of a delicate love. Within this busy world, there is a place where soft, gentle love can be found. Like a secret, if we take the time to pause and look within…you will discover a delicate, treasured love to melt your heart. My Design Strategy I designed my composition to have all the high-intensity colors, sharp-edged and juxtaposed, motion infused geometric shapes circling around (and in contrast) to the soft and sheltered, calm cluster of blush colored blooms. By doing this, the viewer is drawn into the nucleus of the flowers feeling the…

FULL COLOR DIGITAL PRINT-OUTS Use the Official Entry Form over the page ONLINE Visit our website to upload digital files of the images you want to enter and pay for them using our secure server. www.internationalartist.com To upload your entries you need to prepare your image files to be at least 400 pixels at the shortest edge. Once you are in the Official Online Entry page simply select which challenge you wish to enter then follow the prompts and finally pay the entry fee via our secure server. There you can also see other entries received along with past winners of our competitions. HINTS FOR PHOTOGRAPHING YOUR ARTWORK • Set your camera to the highest quality available. • Shoot your paintings dead square on and fill the frame as much as…

William F. Draper Grand Prize Winner Sponsored by: American Art Collector, Jack Richeson & Co, Portrait Society of America and Silver Brush Limited. Jeffrey Larson, Wisconsin, USA King Hall, oil on linen, 60 x 52” (152 x 132 cm) First Place Painting Sponsored by: American Art Collector, Artwork Archive, International Artist Magazine, Portrait Society of America and Silver Brush Limited. Timothy Rees, Iowa, USA Her Mother’s Locket, Violet at age 3, oil, 24 x 36” (60 x 91 cm) First Place Drawing Sponsored by: Airfloat Systems, American Art Collector, Artefex, Artwork Archive, Natural Pigments, Portraits, Inc., Portrait Society of America and Silver Brush Limited. David Jamieson, Illinois, USA Writer’s Block, graphite, carbon black and white chalk on gray paper, 24 x 18” (60 x 45 cm) Second Place & People’s…

As one sets out to create new work, it is so often the case to look to the Old Masters for inspiration. After all, they achieved a great level of success and notoriety with works that we have come to know well. It’s important to come back to these masterworks as they can teach us so much. Though my style is much tighter and more rendered than the great impressionists and post-impressionists, I can’t help but look to their paintings for inspiration and subject matter. Their subjects are often everyday people doing everyday things. Those little moments in the coffee shops and cafes, the low-lit pubs and nightlife. I look to the works of Edgar Degas, Claude Monet, Mary Cassatt and Henri de Toulouse-Lautrec. In portraiture, John Singer Sargent continues…

So you have made some great pieces of art, and you are ready to show them to the world Sand hopefully sell them. In this month’s article, I’m going to cover some of the ballpark costs that add up in running your art business. We generally tend to track and look at what it costs per year to be in the art business. There are many monthly fees associated with running this type of business, as well as your supply costs. My aim here is to give you a general idea of some of the costs associated with running an art business as a sole proprietor working from a home studio. This article is written assuming you do not own a brick and mortar gallery and excludes the associated costs…

As a self-taught artist my process and philosophy continue to evolve, but I feel like the core of my approach to painting has always been simplification. In content, in materials—in all things, I suppose (or at least I aspire to bring this into my external life as well). In a nutshell, my goal when painting is generally to do as much as I can with as few materials as possible. In a way this technical approach mirrors the scenes and spaces in the works themselves. They often feel to me almost like sensory deprivation chambers of sorts. Spaces where the noise and chaos are somehow held at bay. And all that is left is the heart of the matter. And I like the process to reflect that. The first thing…

I base my work on a foundation of fundamental academic education. The laws of color, perspective and composition that I learned in nine years of art school and four years of academy have helped me a lot. Additionally, I studied modern watercolor techniques from today’s world famous watercolorists. Modern cotton watercolor paper allows me to work in wet techniques and the new lightfast pigments help me create color harmony. Work on a painting usually starts with choosing a site. I always pick this according to my mood and my current mind state—the location must inspire me 100 percent, otherwise I simply won’t start it. In order to portray nature scenes faithfully, I study a lot of material and paint in plein air. I also collect a lot of photo and…

As a painter, I am driven mostly by five elements: mood, composition, texture, color and lines. How these elements interact with each other is peculiar to each and every painting, and depends on many factors: some external, some very intimate and connected to my own state of mind. The unpredictability of the resulting combination is what makes the act of creation truly special if not magic to me. Being a figurative/portrait painter, the very first step of my creative process is establishing a strong connection with the model. They are going to be my anchor throughout and need to inspire me to push my paintings forward and beyond. I usually ask the models to pose in a neutral environment where they can feel at ease and be themselves. I take…

I am a realist painter who works in the I impressionist tradition. For many years, I was a portrait and figurative artist. During that time, I relied heavily on my drawing skills, which still serve as the foundation for all my work. I have been painting in pastel for more than 50 years, and in oil for more than 30 years. In this article, I will discuss my approach to creating pastel paintings of horses. I’ve developed a method that works well for me. I begin by taking my own digital photos of horses in their surroundings. I modify these photos on my computer to enhance details and colors. Then, I look for good background shots among my landscape photos that will support the main theme. Working directly on sanded…

Subscribe today to get the most comprehensive magazine filled with demonstrations, workshops and creative inspiration from the best international artists working today. International Artist is the only educational magazine by artists for artists devoted to sharing voices from across the world, along with special features, columns and more. In every issue, you’ll find: » 6 issues a year, each one featuring a diverse range of work from artists around the globe! » 8+ artist demonstrations and workshops, featuring mediums, styles and subject matter that will inspire you. » Special features that dive deeper into the world of art and the artists. » Regular columns from famous artists such as James Gurney and Harley Brown. » Enjoy features from esteemed organizations including the Portrait Society of America every month. Join our…

Scan for larger reference image: For artists, inspiration can strike anywhere at any time. In this section, we’ll present a different photo prompt in each issue for artists to use as inspiration for their next piece. Rather than a reference, this photo is meant to be interpretive. It’s a jumping off point—a means to spark creativity and get the imagination going. Capture the image exactly as you see it, or take elements of it to create something entirely new. Submissions can be fully completed artwork or rough sketches. Every approach is the right approach. In the following issue of International Artist, we’ll highlight several Editor’s favorites (including your Instagram username), along with the next photo prompt. Chosen submissions also receive a free six-month digital subscription to International Artist. Happy painting/drawing/sketching!…

Matt Ryder Dubai, United Arab Emirates, Rosie, Rosie, Lucy, Rose, oil, 18 x 24” (45 x 60 cm) Grand Prize is a four-page editorial feature in American Art Collector magazine Painterly Petals Artist Matt Ryder is no stranger to being featured in the pages of this magazine, and for good reason. The oil painter is a master of expressive brushstrokes, color and light, creating paintings that truly capture the many intricacies of nature’s blooms in a way that feels free-flowing. “I aim for impressionistic realism, if that’s such a thing! I look to have the paintings read clearly from afar and when you get up close you can see abstract brushwork and flecks of color everywhere,” he says. “I focus on strong composition and simple subjects painted as beautifully as I…

Selangor, Malaysia, Momentary Love, pastel, 18 x 12” (45 x 30 cm) Finalist My Inspiration Epiphyllum is one of my favorite flowers for my still-life painting collection. Its delicate and elusive bloom only graces the night, withering away before the break of dawn. Over the years, I have been fortunate enough to have this plant in my gardens, allowing me to witness this mesmerizing process and truly appreciate the fleeting beauty of its blossoms. The way it transforms the darkness into a captivating work of art is truly remarkable. Moreover, due to its rarity, I often consider this flower as a symbol of good fortune for those fortunate enough to witness its blooming, embodying a deep sense of admiration. My Design Strategy The flowering period of Epiphyllum is brief but exquisite.…

ENTER OUR NEW ART COMPETITION CHALLENGE No. 144 Seascapes, Rivers & Lakes See your work published in International Artist magazine and also receive a 4-page Editorial Feature in American Art Collector, the prestigious magazine read by collectors and galleries looking for new art work in the world’s biggest art market. Winners and Finalists in our competitions don’t just win awards to hang on their walls. The real value of entering and being one of the winners is that your work will not only be seen by hundreds of thousands of readers worldwide but also by leading galleries and collectors in America, the biggest art market of all. Our Grand Prize Winners receive a 2-page spread in International Artist magazine and a 4-page Editorial Feature in American Art Collector. Publicity at…

Monthly Wednesday Webinars Online monthly educational content offered live by faculty artists with question-and-answer sessions at the end of the evening. Members Only Competition Entry Deadline: November 4, 2024 Recognizing Portrait Society members’ artworks in five categories: Commissioned Portrait, Non-Commissioned Portrait, Outside the Box, Still Life and Animals as the Subject. International Portrait Competition Entry Deadline: February 17, 2025 Showcasing the very best in fine art portraiture and figurative work. Signature Status Entry Deadline: September 1, 2024 Signature Status recognizes those practicing and accomplished artists who are dedicated to the educational mission and high aesthetic standards of the Portrait Society of America. 27th annual the Art of the Portrait Conference The annual portrait and figurative artists’ celebration in Washington, DC, from May 8 to 11, 2025. For more information, please…

There are two basic strategies for T generating an income from your artwork online. The first is to build a big following on social media so that you can market your influence through advertising or product promotion. I covered that approach last time in Part 1. But there’s another pathway to earning a living online. The second way, which we’ll look at now, is to go narrow but deep: to nurture a small group of loyal fans who will support you more actively. Instead of generating content with the broadest popular appeal, you can develop high quality relationships with a smaller group of loyal fans. WHO ARE YOUR TRUE FANS? One of the quiet trends happening online is the rise of private groups, subscription newsletters and curated communities. According to…

One of the most prestigious and enriching art prizes in existence, the Bennett Prize for Women Figurative Realists is an incredible opportunity for women artists to showcase their talents to the world. Call for entries for Round 4 of the competition is currently open through October 4, after which a panel of four exceptional jurors will select the winning artist and nine finalists. Elaine Melotti Schmidt Dr. Elaine Melotti Schmidt is co-founder of the Bennett Prize for Women Figurative Realists and co-curator of The Bennett Collection, an art collection dedicated to paintings of women by women. Schmidt received her doctorate in Educational Leadership and Policy Studies from Temple University and has worked or consulted in schools on three continents. With a special passion for reaching children living in poverty or…

“The New Face of the Old West”—it’s a time that no longer exists, merging with a time that is dynamic in its use of color, form, texture, space and light. “The West” as we know it from history no longer exists, but the West in this new age allows an opportunity to bring old and new to life. Whether landscape, wildlife or Western, my work is emotionally charged through color, light and contrast. My artistic endeavors are inspired by the history that’s right behind us, and of the cultures of our ancestors that lived on the very land we live today. My artistic expression lies in highlighting a timeless, symbolic and ambient West of old, to this new daring and vibrant era in which we live today. The concept of…

My artistic passion lies in Mhyperrealism, a meticulous style that has continually evolved since its emergence in the 1970s. This genre transcends mere photorealism, pushing the boundaries of depiction to create a more profound artistic statement, imbuing everyday subjects with a heightened sense of reality and emotional resonance. My primary focus is on the captivating world of birds, where I strive to capture their essence beyond the physical form. Unlike a simple photograph, I don’t strive for a one-to-one copy. Instead, I almost act as a curator, carefully layering and weaving together multiple photographic references. This allows me to construct a richer, more definitive image infused with narrative, idealism and a touch of emotion. The goal is to present the bird not just as a beautiful creature but as a…

Different subjects appeal for different reasons. This hilltop Dvillage in Tuscany grabbed my attention as we drove past. The way the village appears to grow out of the rocky cliff face really intrigued me. I love the gradation from abstract marks to geometric shapes as your eye moves up the rocky surface. The tight color harmony and varied textures adds to the feeling of the village emerging from the ancient rocks. Watercolors » Quinacridone gold » Permanent alizarin crimson » French ultramarine blue » Phthalo blue » Some burnt sienna ink and white gesso Brushes » ½" bristle brush » ½, ¼, 1⁄8" long flat » #1 rigger » 2" Hake STAGE 1 The first thing I did was a rough charcoal sketch to work out how to place the…

My love affair with soft pastels M began close to 40 years ago. It is an unfaltering love, but it wasn’t always so. The first time I tried the medium, I hated it. I truly fell in love when I stopped trying to “draw” and started to “paint.” You see, I was getting caught up in the details, as novices often do. Although pastels may look like a tool you should draw with, they can be clumsy, soft and not easy to get a defined line. Once I began to use broad strokes from the side of a piece of pastel, I started to think of them like a paintbrush. The bigger the piece, the bigger the brush. Don’t even get me started on the need to break pastels into…

Paint this beautiful tropical scene Pfeaturing this bright red sailboat with ease. The boat sailed across the bay and anchored at our camping beach. It was the reddest red boat I’ve ever seen—so powerfully vibrant against the turquoise tropical water. I just had to paint it. STUDENT CRITIQUES 1 Elena Sokolova The red sailboat, acrylic with oil glazing on canvas, 15¾ x 19½” (40 x 50 cm) Solid work, Elena. Looks great! 2 Mark Price Red sail boat, oil on panel, 12 x 15” (30 x 38 cm) Hey Mark, great work here. Punchy colors and nice interest in the background particularly with the trees. You’ve also got beautiful vibrant colors in the water. I’d just suggest you trim a little off the bottom of the back of the boat, add…

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