Table Of Content

INDEX TO 1994 ISSUES OF AMERICAN ARTIST ACRYLIC Capturing Emotion With Color, on Rose Naftulin, by Bill A Painter for All Seasons, on George Stave, by Sam Scott, Feb., pp. 20-27, 75-76. Kirby, July, pp. 22-29, 78. A Career of High Standards and Hard Work, on Jeanette Shadows and Light, on Barbara Green, by Eunice Agar, Arriving at Representation Through Abstraction, by Pasin Sloan, by Jane Cottingham, Jan., pp. 42-47, 75-76. Feb., pp. 38-43. Duane Wakeham, Aug., pp. 20-25, 78-80. A Dialogue With the Past, on Elisabeth Hanna-von Techniques of impressionist rey > C.W. Mundy, Upholding the Classical pray 9 on Elizabeth Torak, by Braitenberg, by Eunice Agar, Jan., pp. 54-57. by JamesA . Metcalfe, Mar., pp. 30-35, 66-6 Suzanne Martinucci, Aug., pp. 26- Developing a Looser Style, on Michael Jacques, by For the Love of Painting, on Betty Buckner, by Diane A Puzzling Approach to Printmaking, by Jim Eder, Aug., Sandra Angelo, Feb., pp. 32-37, 72-74. Casella Hines, April, pp. 46-49, 79-81. pp. 38-43, 80. Techniques of Impressionist Painting, on C.W. Mundy, The Russians Are Coming!, by Karen Stanger, April, Painting Acrylics on a Textured Surface, by Roylynn by JamesA . Metcalfe, Mar., pp. 30-35, 66-67. pp. Evans, Aug., pp. 58-62, 82-83. it’s Better Under the Sea, on Michael Hoffman, by Richard Cover Artist: Stone Roberts, by Laurie S. Hurwitz, April, Between Object and Illusion, on Michael Tompkins, by L. Harrison, May, pp. 54-59. pp. 68-71. Karen Haber, Sept., pp. 26-33. Painting Acrylics on a Textured Surface, by Roylynn Using Color to Convey a Mood, on Nick Paciorek, by The Watercolor Page: Around the World with Evans, Aug., pp. 58-62, 82-83. JamesA . Metcalfe, June, pp. 58-63, 81-82. Watercolors, by Donaid Allen Mosher, Sept., pp. 40-45. Methods & Materials: Acrylics—Part |: A New Kind of Nuts & Bolts: The Importance of Color Relationships in A Modern Look at Landscape Painting: Ten Tips For Painting Emerges, by Laurie S. Hurwitz, Sept., pp. 20-25. Portrait Painting, by Comer Jennings, Aug., pp. 74-77. Working en Plein Air, by Sam Adoquei, Sept., pp. 46-51. Methods & Materials: Acrylics—Part II: Gels and Working From the Model in Pastel, by Winifred Pawiiger Painting Expressively With an Airbrush, by Eunice Agar, Mediums, by Laurie S. Hurwitz, Oct., pp. 12-17. Gailen, Sept., pp. 34-39. Oct., pp. 24-29, 73. Vision and Response: The Work of Philip Geiger, by Painting Holidays: Making Miracies in the Southwest, ART HISTORY Paula Champa, Nov., pp. 56-61, 82-83. by Laurie S. Hurwitz, Oct., pp. 50-57, 75-76. Redi ing the Society of American Fakirs, by imparting a Sense of a to Paintings, on Scott Classical Landscapes, on Diana Horowitz, by Lois Martin, Ronald G. Pisano and Bruce Weber, Jan., pp. 48-53, 79-81. Duce, by M. Stephen Doherty, Dec., pp. 32-37. Nov., pp. 24-29. The Nineteenth-Century Landscape Through the Eyes The Watercolor Page: ap > “alata of Two Masters, on William Stanley Haseltine and Frederic GOUACHE by Jack R. Brouwer, Dec., pp. 38-43 Edwin Church, by Joseph C. Skrapits, Jan., pp. 20-29, 76. TNoovn.y, pGpr. e3en4'-s4 1G,8y 0p sy Odyssey, by M. Stephen Doherty, bLye aBvililn gSc otNto, DSetco.,n ep p.U n4t4u-r4n9e. d, on Patricia Brock Ingersoll, BUSINESS imparting a Sense of Mystery to —* on Scott Nuts & Bolts: Opening Your Studio to Visitors, by INTERIORS Duce, by M. Stephen Doherty, Dec., pp. 32-3 Daniel Grant, Jan., pp. 68-72. Patterns of Light and Dark, by Sherry Blanchard Stuart, Nuts & Bolts: Artists’ Advisors Make the Business of TJahne. , ipmpp. or34t-a4n1c e of Form and Content, by G. Paul Stutler, Dec., pp. 50-55. Art a Clear Picture, by Daniel Grant, Feb., pp. 66-68. Professional Page: Does An Artist's Statement Really CKaatphteruirnien gS pitSzhpoaffc,e bya nLodi s CMoarltoirn, iMna y,E gpgp . T40e-m4p5.e ra, on MATTING AND FRAMING Say Anything?, by Danie! Grant, June, pp. 20-24. Professional Page: Using Self-Published Catalogs to AKi rbPya,i nJtuelry, pfpo.r 2A2l-l2 9S, ea78s.o ns, on George Stave, by Sam CMaertmhio dWse in&gr oMda,t erMiaayl,s :p p.T h1e8 -2A1.e sthetics of Framing, by Promote Your Work, by Daniel Grant, July, pp. 14-16. Professional Page: The Value of Doing Covers for LANDSCAPE MISCELLANEOUS Nonart Publications, by Daniel Grant, Sept., pp. 79-84. CHARCOAL oTFfhr eed TewrNioicn etMEedawesintnte hr-sCC,he unrtcouhn, r yW iblyLl aiJnaodmss ecpSahtp aenC .l eTyShk rroaHpuaigsthse, l ttiJhnaene . ,E yapenpds. MmFeeebnt.t,h so,pdp s. R1e2&d- u16cM.at tieornisa,ls : PrTorjaencstfieornrsi,n g byI iCmaargmie s—WEenilnagrrgoed-, Shadows and _— on Barbara Green, by Eunice Agar, 20-29, 76. Art News: Exploring Opportunities in Arts Education, Feb., pp. 38-43 Resolving the Interplay of 2 on Richard McDaniel, by Karen Stanger, Mar., pp. 14-21. Visions of the Present, Techniques of the Past, by by G. Alexander Irving, Feb., pp. 50-55 The Russians Are Coming!, by Karen Stanger, April, Bruno Surdo, Oct., pp. 36-41, 74. Landscape Painting: Making Decisions About Materials pp. 60-66. Leaving No Stone Unturned, on Patricia Brock Ingersoll, and Techniques, by M. Stephen Doherty, Feb., pp. 60-64. Nuts & Bolts: Creating Art: Your Rx For Health, Part I, by Bill Scott, Dec., pp. 44-49.. Taming Wild Places, on Michael Scott, by Laurie S. by Robin Longman, May, pp. 64-72. Hurwitz, Mar., pp. 22-29 1994 American Artist Achievement Award Winners, COLORED PENCIL Techniques of Impressionist Painting, on C.W. Mundy, June, pp. 25-41. by James A. Metcalfe, Mar., pp. 30-35, 66-67. Nuts & Bolts: Creating Art: Your Rx For Health, Part ll, APa sCianr eSelro ano,f Hbiyg Jha nSet aCnodtatridnsg haamn,d JHaan.r,d pWp.o r4k2,- 47o,n 7J5e-a7n6e.t te The Watercolor Page: Establishing Your Own Gallery, by Robin Longman, June, pp. 68-74. by Wini Smart, Mar., pp. 42-45, 65. The Watercolor Page: The Art of Making Videos, by Mei CAnogleolro,e d-MaPre.,n cpipl. 50A-r5t6i.s ts Get It Together, by Sandra Prints That Parallel Paintings, on Richard Thomas Davis, Stabin, Aug., pp. 32-37. by Terry James, April, pp. 28-33, 74-76. Nuts & Bolts: Wayne Thiebaud Selects, by M. Stephen DRAWING The Watercolor Page: Creating a Sense of Place, by Doherty, Oct., pp. 64-70. Alan Singer, April, pp. 40-45. Lessons: Making Hand Studies, by Kristina Feliciano, App .H 4o6m-e53l.e ss Family Album, by Jeffrey Carl Horn, May, PStaeipnhteinn g Dothheer tyL,i feAp riWle, ppS.h a5r0-e5,5 . on Irene Buszko, by M. DEexcp.e, rippm.e n2t0i-n2g2 With the Arts in Education, by Jo Yanow- Achieving Harmony Through Design, on Clyde Aspevig, Schwartz, Dec., pp. 70-74. EGG TEMPERA by Peggy Arenz, May, pp. 22-27, 76-78. Capturing Space and Color in Egg Tempera, on From Rags to Riches, on June Stratton, by Karen Haber, OIL Katherine Spitzhoff, by Lois Martin, May, pp. 40-45. May, pp. 34-39, 78-79. The Nineteenth-Century Landscape Thi the Eyes The Gentile Melancholy of Trees, by Paul Cunningham, of Two Masters, on William Stanley Haseltine and FIGURE June, pp. 46-51. Frederic Edwin Church, by Joseph C. Skrapits, Jan., pp. 20-29, 76. A Dialogue With the Past, on Elisabeth Hanna-von Using Color to Convey a Mood, on Nick Paciorek, by Braitenberg, by Eunice Agar, Jan., pp. 54-57. James A. Metcalfe, June, pp. 58-63, 81-82 The Importance of Form and Content, by G. Paul Stutler, Jan., pp. 34-41. EEE eee DECEMBER 1994 85 eS A Career of High Standards and Hard Work, on Jeanette Working on the Scale of the Masters, on Dean Hartung, The Russians Are Coming!, by Karen Stanger, April, Pasin Sloan, by Jane Cottingham, Jan., pp. 42-47, 75-76. by M. Stephen Doherty, Dec., pp. 24-31. pp. 60-66. Capturing Emotion With Color, on Rose Naftulin, by Bill Patterns of Light and Dark, by Sherry Blanchard Stuart, Cover Artist: Stone Roberts, by “_aurie S. Hurwitz, April, Scott, Feb., pp. 20-27, 75-76. Dec., pp. 50-55. pp. 68-71. Loran Speck’s Timeless Obsessions, by Karen Haber, The Watercolor Page: Reinventing the Old Masters, by Feb., pp. 44-49, 74-75. PASTEL Gary D. Curtis, May, pp. 28-33. Resolving the Interplay of Shape, on Richard McDaniel, Shadows and Light, on Barbara Green, by Eunice Agar, A Painter for All Seasons, on George Stave, by Sam by G. Alexander Irving, Feb., pp. 50-55. Feb., pp. 38-43. Kirby, July, pp. 22-29, 78. Taming Wild Places, on Michael Scott, by Laurie S. Resolving the Interplay of Shape, on Richard McDaniel, The Fragrance of Color, by Sharon Burkett Kaiser, July, Hurwitz, Mar., pp. 22-29. by G. Alexander Irving, Feb., pp. 50-55. pp. 30-35. Techniques of Impressionist Painting, on C.W. Mundy, A Conversation With Mark Hayden, by Charlies Movalli, The Watercolor Page: Painting the Poetry of Opposites, by James A. Metcalfe, Mar., pp. 30-35, 66-67. July, pp. 63, 80-82. on Eileen Goodman, by Eloise Gray, July, pp. 36-41. Painting With Pattern, on Carla Perry, by Peggy Arenz, Methods & Materials: Oil Pastel: Its Brief History and Nuts & Bolts: Techni of Cl | Still-Life Mar., pp. 36-41, 65-66 Use, by Laurie S. Hurwitz, Aug., pp. 12-19. Painting, by William Michael Yenkevich, July, pp. 70-76. The Raw and the Cooked, on Polly Dixon, by Paula Nuts & Bolts: Petstels: Working Wet, by Darrell Fusaro, Upholding the Classical _—— on Elizabeth Torak, by Champa, April, pp. 34-39, 76-79. Aug., pp. 68-72. Suzanne Martinucci, Aug., pp. 26-31. For the Love of Painting, on Betty Buckner, by Diane Working From the Model in Pastel, by Winifred Pawliger Representing the Human Condition, by Darleen Phipps, Casella Hines, April, pp. 46-49, 79-81. Gailen, Sept., pp. 34-39. Aug., pp. 52-57, 80-81. Painting the Life We Share, on Irene Buszko, by M. The Pleasures and Perils of Portrait Painting, by Dorothy Between Object and Illusion, on Michael Tompkins, by Stephen Doherty, April, pp. 50-55. Barta, Oct., pp. 46-49, 74-75. Karen Haber, Sept., pp. 26-33 The Russians Are Coming!, by Karen Stanger, April, Leaving No Stone Unturned, on Patricia Brock Ingersoll, The Waiercolor Page: Around the World With pp. 60-66. by Bill Scott, Dec., pp. 44-49. Watercolors, by Donald Allen Mosher, Sept., pp. 40-45. Cover Artist: Stone Roberts, by Laurie S. Hurwitz, April, Pastels: Intertwining Color, by Lisa Marie Waters, Dec., Leaving No Stone Unturned, on Patricia Brock Ingersoll, pp. 68-71. pp. 56-61 by Bill Scott, Dec., pp. 44-49. Achieving Harmony Through oy on Clyde Aspevig, by Peggy Arenz, May, pp. 22-27, 76-7: PORTRAITURE WATERCOLOR The Gentie Melancholy of Trees, by Paul Cunningham, Nuts & Bolts: A Demonstration of Portrait-Painting Methods & Materials: Bending Watercolor Traditions— June, pp. 46-51. Techniques, by Basil Baylin, Jan., pp. 62-68. A Look at Mediums and Modifiers, by Carmi Weingrod, Jan., pp. 10-16. Using Color to Convey a Mood, on Nick Paciorek, by Shadows and Light, on Barbara Green, by Eunice Agar, James A. Metcalfe, June, pp. 58-63, 81-82. Feb., pp. 38-43. The Nineteenth-Century Landscape Through the Eyes of Two Masters, on William Stanley Haseltine and Frederic Methods & Materials: Giving Alkyds a Chance: A Look A Homeless Family Aibum, by Jeffrey Carl Horn, May, Edwin Church, by Joseph C. Skrapits, Jan., pp. 20-29, 76. at Fast-drying Oils and Painting Mediums, by Carmi pp. 46-53. Weingrod, July, pp. 18-21. The Watercolor Page: Zooming in on Shape and A Conversation With Mark Hayden, by Charles Movalli, Texture, by Alexander J. Guthrie, Jan., pp. 30-33. A Painter for All Seasons, on George Stave, by Sam July, pp. 63, 80-82. Kirby, July, pp. 22-29, 78 A Career of High Standards and Hard Work, on Jeanette Nuts & Bolts: The Importance of Color Relationships in Pasin Sloan, by Jane Cottingham, Jan., pp. 42-47, 75-76. The Fragrance of Color, by Sharon Burkett Kaiser, July, Portrait Painting, by Comer Jennings, Aug., pp. 74-77. pp. 30-35. The Watercolor Page: A Fascination With Detail, by L. Working From the Model in Pastel, by Winifred Pawliger Herb Rather, Jr., Feb., pp. 28-31. A Conversation With Mark Hayden, by Charles Movalli, Gailen, Sept., pp. 34-39. July, pp. 63, 80-82. The Watercolor Page: Establishing Your Own Gallery, Nuts & Bolts: Mixing Grayed Color, by Jim Kosvanec, by Wini Smart, Mar., pp. 42-45, 65. Nuts & Bolts: Techniques of Classical Still-Life Sept., pp. 62-66. Painting, by William Michael Yenkevich, July, pp. 70-76. The Watercolor poy os a Sense of Place, by The Pleasures and Perils of Portrait Painting, by Dorothy Alan Singer, April, pp. 40-4! Upholding the Classical Tradition, on Elizabeth Torak, by Barta, Oct., pp. 46-49, 74-75. Suzanne Martinucci, Aug., pp. 26-31. The Wat Page:R i g the Old Masters, by GaryD . Curtis,i e pp. 28-3 3. “Photo-Impressionism,” on Robert Forbes, by Betsy PRINTMAKING Schein Goidman, Aug., pp. 44-51 From Rags to Riches, on June Stratton, by Karen Haber, Representing the Human Condition, by Darleen Phipps, Prints That Parallel Paintings, on Richard Thomas Davis, May, pp. 34-39, 78-79. Aug., pp. 52-57, 80-81. by Terry James, April, pp. 28-33, 74-76. The Watercolor Page: Form As Content: The Non- Between Object and Illusion, on Michael Tompkins, by Methods & Materials: From Dark to Light: An Approach objective Painting, by Arthur L. Kaye, June, pp. 42-45. Karen Haber, Sept., pp. 26-33. tpop. t1h4e- 19M.e zzotint Process, by Carmi Weingrod, June, The Watercolor Page: Painting the Poetry of Opposites, on Eileen Goodman, by Eloise Gray, July, pp. 36-41. A Modern Look at Landscape Painting: Ten Tips For Working en Plein Air, by Sam Adoquei, Sept., pp. 46-51. App .P u3z8z-l43i,n g 80A. pproach to Printmaking, by Jim Eder, Aug., The Watercolor Page: The Art of Making Videos, by Mel Stabin, Aug., pp. 32-37. Janet Alling’s Passionate Eye, by Bob Stone, Oct., pp. 30-35, 73-74. VGaiutlr,e oSgerpatp.,h yp:p . M5a2k-i57n.g Prints With Glass Plates, by Emily The Watercolor Page: Around the World with Watercolors, by Donald Allen Mosher, Sept., pp. 40-45. Visions of the Present, Techniques of the Past, by Bruno Surdo, Oct., pp. 36-41, 74. SCULPTURE NSeuptts. , &p p.B o6l2t-s6:6 . Mixing Grayed Color, by Jim Kosvanec, The Pleasures and Perils of Portrait Painting, by Dorothy Barta, Oct., pp. 46-49, 74-75. Dan Ostermiller: L’Animalier, by Dorina H. Fleischer, The Watercolor Page: Constructing “Graphic April, pp. 22-27, 73-74. Watercolors,” by Bobbie White, Oct., pp. 42-45. Painting Holidays: Making Miracles in the Southwest, by Laurie S. Hurwitz, Oct., pp. 50-57, 75-76. The Animated Sculpture: Combining the Absurd and The Pleasures and Perils of Portrait Painting, by Dorothy the Sublime, on David Beck, by John A. Parks, June, pp. Barta, Oct., pp. 46-49, 74-75. Lessons: Reexamining the Oil Sketch, by Laurie S. 52-57, 80-81. Hurwitz, Nov., pp. 14-20. The Watercolor Page: Painting on the Waterfront, by Nuts & Bolts: Where Sculpture Stands Its Ground, by Howard Schafer, Nov., pp. 30-33. Tony Green's Gypsy Odyssey, by M. Stephen Doherty, Kristina Feliciano, Nov., pp. 66-68. Nov., pp. 34-41 Tony Green’s Gypsy Odyssey, by M. Stephen Doherty, Nov., pp. 34-41, 80. Mirror images, on Fran Beallor, by Eunice Agar, Nov., pp. STILL LIFE 42-47, 83-84. The Watercolor Page: Taking Control of Your Paintings, A Dialogue With the Past, on Elisabeth Hanna-von by Jack R. Brouwer, Dec., pp. 38-43. = Fifty Miles on the Erie Canal, on Charles Movalli, Dale Braitenberg, by Eunice Agar, Jan., pp. 54-57. Ratcliff, Don Grieger, by Louise Grieger, Nov., pp. 48-55, 80. Capturing Emotion With Color, on Rose Naftulin, by Bill Vision and Response: The Work of Philip Geiger, by Scott, Feb., pp. 20-27, 75-76. Paula Champa, Nov., pp. 56-61, 82-83. Loran Speck’s Timeless Obsessions, by Karen Haber, Leaving No Stone Unturned, on Patricia Brock Ingersoll, Feb., pp. 44-49, 74-75. by Bill Scott, Dec., pp. 44-49. The Raw and the Cooked, on Polly Dixon, by Paula imparting a Sense of eg to Paintings, on Scott Champa, April, pp. 34-39, 76-79. Duce, by M. Stephen Doherty, Dec., pp. 32-37. 86 AMERICAN ARTIST