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?
Art in general isn’t nearly as fun or powerful in this age. You could say there’s a positive side to all the access we have to art, as well as the exposure, as artists, we can get outside of the traditional structures. But I wonder if it’s worth what we gave up.
For a very long time I thought art was all about esthetics, beauty, grace. I did not look at other dimensions, such as distortions, unbalance, pain, darkness. Now I try to reach both, very much like in nature, there is life and death.
What steps can you take to develop as an artist? Janet A. Cook offers a short guide of thirty-five tips to help get you started and to keep the momentum going.
The question that seems to be posed in this exhibition is whether the Lyme Art Colony’s interest in landscape, light, and color can be enjoyed at face value, or is complicit in whitewashing the area’s history.