As Lucia Fairchild sat drawing in class, she must have been flush with the good fortune of her talent, her friendship with John Singer Sargent, and all the promise her future held.
Shermund’s cartoons are about human nature, relationships, youth and age, and, more often than not, poke fun at the very metropolitan and highbrow people to whom The New Yorker was marketed.
Robert Philipp was—and this may be a defining characteristic of many League instructors—an iconoclastic traditionalist, well enough versed in the conventions of art to take them as a point of departure.
George B. Bridgman was the preeminent instructor of figure drawing in this country during the first half of the twentieth century and is credited with having taught close to 70,000 students, from illustrators to the avant-garde. What makes his lessons so enduring?
An exhibition of works created in the pandemic that testify to the indomitable nature of artists and to art’s ability to communicate a spectrum of emotion that may be difficult to convey in any other modality.