American Artist 1997: Vol 61 Index

3 Pages·1997·1.7 MB·English

INDEX TO 1997 ISSUES OF
AMERICAN ARTIST
ACRYLIC A Multilayer Approach to Colored Pencil, Methods & Materials: Black as a Color, by
Exploring the Versatility of Acrylics, on on Darryl D. Alello, by John R. Kemp, Nov., Christopher Willard, Aug., pp. 12-16.
yp. 50-55, 74.
Ronald Lewis, by M. Stephen Doherty, Mar., New Ideas for Wildlife Paintings, on Jan
pp. 24-29. Nuts & Bolts: Artist’s Illustrations Make a — _— by Peggy Arenz, Dec., pp.
Classic Children’s Tale, on Dean Morrissey, 6-41, 70.
How to Mix Acrylics Using Triads, by bon-
nie brown fergus, Aug., pp. 44-49, 74-75. edited by E. Lynne Moss, Nov., p. 60. Methods & Materials: Safe Materials for
“Photo Expressionism,” on Larry Gerber, INTERIORS Young Artists, by Christopher Willard, Dec.,
pp. 18-21, 23.
by Steve Winston, Nov., pp. 40-45, 72 Exploring the Versatility of Acrylics, on
ART HISTORY Ronald Lewis, by M. Stephen Doherty, Mar., MIXED MEDIA
pp. 24-29.
Methods & Materials: Thomas Eakins The Watercolor Page: Working With
Under the Microscope: A Technical Study LANDSCAPE Watercolor Washes in Mixed-Media
Landscapes, by Jan Kirkpatrick, Mar., pp.
of the Rowing Paintings, by Christina Interpretations of the Colorado
Masschelein-Currie, Jan., pp. 12-19. Landscape, by M. Stephen Doherty, Jan., 30-33.
pp. 33-48. Nuts & Bolts: Combining Medical
Learning From a Forgotten Master, on
Illustration and Fine Art, on Tim Phelps, by
Louis Remy Mignot, by M. Stephen Doherty, Using Linear Rhythms for Composition,
Karen Stanger Johnston, Aug., pp. 66-72.
Feb., pp. 42-45. by Harold Bruder, Jan., pp. 54-59, 80.
OIL
Sargent, Sorolla, and Zorn: What Made Beginning and Ending En Plein Air, on
These Artists Great?, by M. Stephen Charles M. Thompson, by Mary Avis Murphy, Making the Most of Sunlight, on Carol
Doherty, April, pp. 22-29. Feb., pp. 30-35. Crump Bryner, by Terry Sullivan, Jan., pp.
22-27.
Advertisements for the + by Joseph C. The Watercolor Page: Getting a New
Skrapits, Sept., pp. 22-29,7 Perspective on Landscapes, by Dean Mary Close’s Significant Still Lifes, by
Davis, Feb., pp. 46-51. Karen Frankel, Jan., pp. 28-32.
Multiple Personalities: iii in
Series by Four Masters, by Terry Sullivan, The Watercolor Page: Working With Using Linear Rhythms for Composition,
Sept., pp. 30-41, 88. Watercolor Washes in Mixed-Media by Harold Bruder, Jan., pp. 54-59, 80.
Landscapes, by Jan Kirkpatrick, Mar., pp.
Points of Perspective, on Will Barnet, by Beginning and Ending En Plein Air, on
30-33.
Linda S. Price, Nov., pp.26-35. Charles M. Thompson, by Mary Avis Murphy,
Painting Landscapes on Toned Surfaces Feb., pp. 30-35.
BUSINESS
oe by Edward Cooper, May, pp.
Combining Abstract and Figurative
Success Stories: Making Murals That Hit 42-47.
Imagery, on Sheila Isham, by Stanley
the Spot, on Robert Dafford, by Kristina
Composing Urban Landscapes, by Marcus, Feb., pp. 58-61, 73-74.
Feliciano, Feb., pp. 18-25.
Babette Martino, June, pp. 36-41.
Using Light to Give Figures Meaning, on
Nuts & Bolts: A Gallery of One’s Own, on
On Location With Peter Adams, by Linda Elias Rivera, by Jim Lynch, Mar., pp. 34-39.
Lizette Lugo and Nono Rivera, by Kristina
S. Price, July, pp. 22-27, 71-72.
Feliciano, Mar., pp. 60-68. Indirect Painting, by Marquita “Kita” Macon,
Seeing Paintings Instead of Locations, on April, pp. 34-37.
Working on Commission, on Rhoda Ross,
Mitchell Johnson, by Susana Byers, July, pp.
by Terry Sullivan, April, pp. 44-49, 73-74. Seeking Realism Through the Abstract,
44-51.
= — Cox, by Judith S. Wyer, May, pp.
Nuts & Bolts: Your Tax Return as a Work
Painting Impasto Landscapes, on Alfred
of Art, by Peter Desmond, April, pp. 64-66.
Currier, by Mary Leone, Aug., pp. 32-37.
A Studio Visit With Wolf Kahn, by Jonathan
Nuts & Bolts: How to Ensure Positive
Painting the Rural California Landscape, Phillips, May, pp. 48-53.
Outcomes When Working on Commission,
on James Warren Perry, by Terry Sullivan,
by Alan Bamberger, Oct., p. 60. From Graphite to Oils, on Marcel
Dec., pp. 42-49.
Franquelin, by Stanley Marcus, May, pp. 58-
Nuts & Bolts: Artists and Art Organiza-
MISCELLANEOUS 63, 81-82.
tions Are Not Charity Cases, by M.
Stephen Doherty, Nov., pp. 66-70. Nuts & Bolts: Inspiring Artists: Susan Reproducing Your Paintings as Screen
Crile, by Kristina Feliciano, Jan., pp. 74-78. Prints, on Don Hatfield, by Karen Frankel,
COLLAGE
June, pp. 20-25, 71-72.
Methods & Materials: Mixing Images and
Combining Abstract and Figurative
Words, by Christopher Willard, Feb., pp. 26-29. Composing Urban Landscapes, by
Imagery, on Sheila Isham, by Stanley
Babette Martino, June, pp. 36-41.
Marcus, Feb., pp. 58-61, 73-74. Inspiring Artists: Myriam “Mara” Marshall,
by Cathy Grubman, Feb., pp. 68-72. John Hrehov’s Allegorical Realism, by
Developing Your Sense of Design
Eunice Agar, June, pp. 42-45.
hme g Collage, on Edward Betts, by Methods & Materials: Lighting Your
Linda S. Price, April, pp. 50-57. Studio, by Christopher Willard, April, pp. 14- Paintings that Tell a Story, on Renée P.
19. Foulks, by James A. Metcalfe, June, pp. 46-51.
DRAWING
Methods & Materials: Finding the Right On Location With Peter Adams, by Linda
Devoted to Drawing, by Constance Moore
Easel, by Christopher Willard, May, pp. 18-22. S. Price, July, pp. 22-27, 71-72.
Simon, Feb., pp. 52-57.
Nuts & Bolts: Sixty Years and Counting— Painting Still Lifes of Abundance, on Ellen
Drawing the Figure, by Jacques Devaud,
Artist by Artist, Advertiser by Advertiser, Hutchinson, by M. Stephen Doherty, July, pp.
with Bonnie Iris, Mar., pp. 44-49, 69.
American Artist Celebrates its Sixtieth 34-39.
From Graphite to Oils, on Marcel Year, by Cathy Grubman, May, pp. 72-78.
Seeing Paintings instead of Locations, on
Franquelin, by Stanley Marcus, May, pp. 58-
Methods & Materials: Manipulating Texture, Mitchell Johnson, by Susana Byers, July, pp.
’ 2. by Christopher Willard, June, pp. 10-15. 44-51.
John Hrehov’s Allegorical Realism, by
Nuts & Bolts: Finding a Workshop that Nuts & Boits: Painting Your Memories, on
Eunice Agar, June, pp. 42-45.
Works for You, by Louise Grieger, June, pp. Barbara Savan, by Karen Stanger Johnston,
Using French Gray to Enrich Colored- 66-68. July, pp. 62-68.
Pencil Drawings, on Barbara Newton, by
Methods & Materials: Promoting Your Scott Noel’s Painterly Realism, by Jeffrey
Sandra Angelo, July, pp. 52-55, 75.
Art—The Little Details of Making a Big Carr, Aug., 18-25.
peg Mediums to Their Best Advantage, Impression, by Christopher Willard, July, pp.
Painting Impasto Landscapes, on Alfred
on C.F. Payne, by M. Stephen Doherty, Oct., 14-18.
Currier, by Mary Leone, Aug., pp. 32-37.
pp. 32-39, 82-84.
DECEMBER 1997 73
Changing Subjects and Styles, on Jeff SCULPTURE
PAINT Miller, by Karen Frankel, Aug. op. 54-59.
The Sculptures of Louis Marinaro, by
Nuts & Bolts: A Simple Approach to John A. Parks, Dec., pp. 50-53, 71.
THE GULF Luminism, by Alan J. Eddy, with E. Lynne
Moss, Dec., pp. 62-63, 66, 68. STILL LIFE
Mary Close’s Significant Still Lifes, by
ISLANDS PASTEL Karen Frankel, Jan., pp. 28-32.
The Pastel Page: Constructing a
The Watercolor Page: Reflections on
BY BOAT. “Pathway” Into a Painting, by Anne Table Settings, by Patricia Pilié, April, pp.
Heywood, Jan., pp. 60-63.
12 day sessions 30-33.
January thru March The Pastel Page: Painting Light and Indirect Painting, by Marquita “Kita” Macon,
Movement With Vibrant Colors, on Isa April, pp. 34-37.
Barnett, by Linda S. Price, Feb., pp. 36-41.
Seeking Realism Through the Abstract, on
ArtStudy + Florida The Pastel Page: Creating Rhythm With Colleen Cox, by Judith Wyer, May, pp. 30-37.
Color and Line, by William A. Herring, Mar.,
pp. 40-43. The Watercolor Page: Painting Fabrics in
Still Lifes, by Helen Garretson, with Ginny
The Pastel Page: Eliminating the Obvious
ome Baier, June, pp. 32-35.
and Exaggerating the Essential, on Bill
James, by Kristina Feliciano, April, po. 38-43. Painting Still Lifes of Abundance, on Ellen
Hutchinson, by M. Stephen Doherty, July, pp.
The Pastel Page: Relying on Drawing
34-39.
Skills, on Roy Pfister, by John R. Kemp,
MONET'S May, pp. 38-41, 79-80. Using French Gray to Enrich Colored-
Pencil Drawings, on Barbara Newton, by
The Pastel Page: Using Edges and Stroke
Sandra Angelo, July, pp. 52-55, 75.
Quality to Control Space, by Eileen
GARDENS. Stewart, June, pp. 26-31. Harmonies in Colored Pencil, on Barbara
12 day sessions re by Stanley Marcus, Oct., pp. 44-51,
April thru October The Pastel Page: Creating Transilucence 81 -8
With Pastels, on Jeff Webb, by Linda S.
Price, July, pp. 40-43, 72-75. nh to Set Up a Still _ » by Christopher
Willard, Nov., pp. 16, 18,2 !
ArtStudy + Giverny The Pastel Page: Working With a Limited
Palette, by Brad Faegre, Aug., pp. 26-29. TECHNICAL
f*oboodt/hl opdrgoigngr/aimnss triunccltuidoen | The Pastel Page: Arbitrary Color— What Artists Need to Know About
Painting Portraits With Bright Pastels, on Framing, by M. Stephen Doherty, Oct., pp.
For Brochures & Info: Kay Polk, by Linda S. Price, Sept., pp. 16-19. 69, 72-78.
ArtStudy, Ine.
5724 Flamingo Dr. The Pastel Page: Making the Most of WATERCOLOR
Cape Coral, FL 33904 Directional Light, by Urania Christy Tarbet,
[phone] Oct., pp. 52-55. The Watercolor Page: Making Shadows
Important, by Brigitte Schreyer, Jan., pp. 50-
The Pastel Page: Practical ideas for Plein
53.
Air Painters, by Maureen O’Hara Pesta,
Nov., pp. 36-39,7 The Watercolor Page: Getting a New
ALBERT HANDELL p.s.a. A“Neo-Pointillist” iin — ay “ta Moore, Perspective on Landscapes, by Dean
Davis, Feb., pp. 46-51.
NATIONWIDE PAINTING WORKSHOPS by Linda S. Price, Dec., pp.2
Mixed Media Pastet and Oil Painting The Watercolor Page: Working With
LEARN TO PAINT LANDSCAPES ON LOCATION PORTRAITURE Watercolor Washes in Mixed-Media
AND INTHE STUDIO © Four demonstrations weekly Creating a Likeness in Portraiture, on — by Jan Kirkpatrick, Mar., pp.
daily individual citea t each artist's ease Joanette Hoffman Egeli, by M. Stephen 30-33.
Doherty, Aug., pp. 50-53. The Watercolor Page: Reflections on
The Watercolor Page: Portraits of Crisis Table Settings, by Patricia Pilié, April, pp.
and Change, on Ann Manry Kenyon, by M. 30-33.
Stephen Doherty, Sept., pp. 10-14. The Watercolor Page: Creating a
The Watercolor Page: Portraits of Crisis Watercolor Journal Usin Meditation, on
and Change, on Ann Manry Kenyon, by M. Maureen Carey, by Linda . Price, May, pp.
Stephen Doherty, Sept., pp. 10-14. 54-57.
Self-portraits: Public and _ Private The Watercolor Page: Painting Fabrics in
Collections, by E. Lynne Moss, Sept., 42-53. Still Lifes, by Helen Garretson, with Ginny
Baier, June, pp. 32-35.
Turbulent Indigo: Self-portraits by
“Nonpainters,” by Stanley Marcus, Sept., The Watercolor Page: Knowing and Using
pp. 54-59, 81-82: the Basics, by Max Muller, July, pp. 28-33.
Nuts & Bolts: Self-portraits in the Third The Watercolor Page: Making Use of
Early Blossom, Oils, 16 x 20 Person, by Kristina Feliciano, Sept., pp. 66-72. Symbolism, by Linda Stevens Moyer, Aug.,
pp. 38-43.
ON LOCATION WORKSHOPS 1997 Announcing the American Artist
Taos (area), NM October 5-10 Sixtieth-Anniversary Art Competition The Watercolor Page: Portraits of Crisis
Finalists, Oct., pp. 20-30. and Change, on Ann Manry Kenyon, by M.
Nevada City/Grass Valley, CA Nov 2-7 Stephen Doherty, Sept., pp. 10-14.
1998 ANumtesr ica&n ArBtoilstts :R eadSeerlsf,- PoNrotvr.a,i tpsp . 62f-r6o4.m The Watercolor Page: Two Methods of
Fredericksburg, TX Mar 1-6 Composing a Still Life, by Joyce Grace,
(Fredericksburg Artist School) PRINTMAKING Oct., pp. 40-43, 80-81.
Stone Mountain, GA Mar 29-Apr 3 Methods & Materials: How to Get Started The Watercolor Page: Paint Close to Your
(Atlanta area) in Printmaking, by Christopher Willard, Pe by Charmaine Pearson, Nov., pp. 46-
Cambria, CA May 10-15 Mar., pp. 12-19. 49, 72.
Santa Fe, NM June Reproducing Your Paintings as Screen The Watercolor Page: Techniques for
Lac du Flambeau, WI (Dillman’s Lodge) July 19-28 Prints, on Don Hatfield, by Karen Frankel, ee Details, by Ray Doyle, Dec., pp.
June, pp. 20-25, 71-71. -35. Bi
Beene monnM As he 8 ae 9-14
Responding to Nature in Paintings and
Prints, on Frederick Nichols, by M. Stephen
Doherty, June, pp. 52-57, 72-73.
P.O. Box 9070 Santa Fe, NM 87504-9070
Phone [phone] « Fax [phone]
74 AMERICAN ARTIST
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