Innholdsfortegnelse for Issue 17 i Creative Artist

This issue we have found several talented artists who share their artistic styles and ideas with us. These artists take us on a journey to explain who and what inspires their art and their stories are truly fascinating. We have also included a fantastic selection of upcoming shows and exhibitions from galleries across Australia. There are many exciting events taking place in the coming months so make sure to mark them on your calendar. We love to hear from our readers and to showcase the work of Australian artists, so if you are a passionate beginner or an accomplished artist keen to have your work displayed in the magazine, please send in your submissions to: The Editor, simon@wpco.com.au, or post your contributions to: Creative Artist, PO Box 8035, Glenmore Park,…

For the past two years Bundoora Homestead Art Centre staff have been working hard to make the Darebin Art Collection accessible to all members of our community. This has now been realised with the launch of the Darebin Art Collection website. The Darebin Art Collection is regularly exhibited and displayed at the Bundoora Homestead and other publicly accessible locations within the City of Darebin, including its libraries, town halls, the Intercultural Centre, as well as customer service and civic centres. It inspires, informs, engages and connects the community in an appreciation of the visual arts and local heritage. Importantly, it also supports artists in their endeavours to contribute to a vibrant municipal culture. No matter where you may be, as long as you can access the Internet, you can explore…

Brush strokes and clicks start a new adventure journey for the illustrator and photographer! Botanical and wildlife can become an addictive and rewarding pastime for the dedicated. Exploring habitat association will abound endless inspiration and challenges for the nature loving artist and photographer. Habitat association of fauna and flora takes us into a realm of nature’s delicate network where everything depends upon the other and in turn our survival relies entirely on nature’s sustainability. Habitat is the source of shelter and food for wildlife. A few general pointers; birds, honeyeaters in particular, follow the honeyflow produced from stands of flowering flora. For example, Eucalyptus trees, Grevilleas and Banksias, each species have their season where honeyeaters drink up the nectar during the day while nocturnal marsupials and mammals visit the honeyflow…

This year the National Gallery presents the first ever exhibition devoted to the creative partnership between Michelangelo (1475–1564) and Sebastiano del Piombo (1485–1547), featuring exceptional loans, some of which have not left their collections for centuries. Michelangelo & Sebastiano explores the complementary talents, yet divergent personalities, of the two artists. It encompasses approximately seventy works – paintings, drawings, sculptures and letters – produced by Michelangelo and Sebastiano before, during and after their association. Examples of their extensive, intimate correspondence offer us a unique insight into their personal and professional lives; their concerns, frustrations and moments of glory. A key loan to the exhibition is the ‘Lamentation over the Dead Christ’, also known as the Viterbo ‘Pietà’ (about 1512–16) after the central Italian town where it resides. This painting is Michelangelo…

Next issue highlights: •Step-by-step workshops for you to enjoy •Art news from all around the world •Be inspired by Australian galleries •Practical advice and tips for all artists Look for it in your newsstand soon – or become a subscriber to ensure that you never miss an issue! On sale 29 June 2017 We would love to hear your views on almost anything to do with art. Please don’t hesitate to write to us at Creative Artist. Send your letters to: The Editor, Creative Artist magazine, PO Box 8035, Glenmore Park NSW 2745.…

This survey exhibition of works spanning over ten years charts Adam Pyett’s long-standing interest in the still life genre. Mining traditional subjects from leaves and flowers, transparent vessels, and skulls, through to those that reflect popular culture such as drink cans and rock t-shirts, still life is the genre through which Pyett explores his primary interest, the subject of painting itself. The exhibition charts the progression of Pyett’s practice: his most recent works (2015–16) depict native Australian plants, arranged in transparent vessels, variously atop plain or decorated surfaces. Painted in a vibrant palette, the plant cuttings, water-filled vases, shadows and table surfaces take on almost abstracted forms. This series was preceded by a number of still life paintings in which native arrangements housed in modest recycled water bottles and café…

A talented artist who has always had a passion for art, Amanda Gray cannot remember a time in her life when she was not painting or drawing. Coming from a family of engineers, pilots and mathematicians, Amanda felt somewhat like the black sheep, but art has always been an important part of her life. As a small child she was fascinated by her family’s Constable prints, and always ran to pictures when visiting, to see what people had. For reasons unknown, Amanda has always had a lifelong love of the painted surface, something she describes as a source of deep pleasure and sustenance through difficult times. She met her husband-to-be at art school, and left to marry. A lifetime later Amanda’s kids had grown and her marriage ended, leaving her…

Marking the continuing centenary of the Great War (1914-18), the National Gallery of Australia presents the first of two exhibitions exploring the works of Official War Artists and their civilian counterparts in the lead up to, and during, World War I. Curated by Associate Professor David Hansen with assistance from students from The Australian National University (ANU) as a professional development opportunity, Artists of the Great War features 50 works by celebrated Australian artists of the time, including Will Dyson, George Lambert, Norman Lindsay, Arthur Streeton and Hilda Rix Nicholas, alongside works by soldiers, recruiters, and women behind the lines. Revealing the heroism, grief, and horror of the Great War through various perspectives, the exhibition explores the themes of propaganda, official commissions, and contemporary reactions to the war effort. Propaganda…

Materials • Hydrocryl Acrylic paint (Australian made nontoxic): Titanium white, burnt sienna, Transparent red oxide, yellow ochre, lemon yellow, Ultramarine blue, cerulean blue, turquoise, alizarin crimson• Gloss medium and varnish• A stay wet palette• Flat synthetic brushes• Watercolour hake• Hog hair fan brush• Smaller round brushes Step One I begin working in thin layers of acrylic paint, thinned down with some gloss medium and water, using a 2inch hake brush almost in a watercolour wash style. The first colours are a very pale blue mix of cerulean and white for the sky, burnt sienna and yellow ochre in the under painting of the water and some blues and mauves in the middle distance as the back drop for the trees. My first application is kept loose and fresh. For this I used the fan and flat brushes.…

What the Eyes Cannot See offers an unusual experience to the visitors of the permanent exhibition Medieval Art in Bohemia and Central Europe 1200-1550 in the Convent of St. Agnes of Bohemia. Visitors will have the opportunity to see the hidden layers in some of the original artworks on display and witness the first phase of the image-making process. More than fifty pivotal works – from the earliest examples of Bohemian panel painting by the workshop of the Master of the Vyšší Brod Altarpiece, Master Theodoricus and Master of the Tÿreboÿn Altarpiece to Late-Gothic panel paintings by workshops of Master of St. George’s Altarpiece, Master of the Litomÿeÿrice Altarpiece and the Monogramist IW – are presented along with photographs of their underdrawings. Underdrawing – the preparatory layout for the final…

Materials List • Canvas panel 69x48cm• Various brushes – hog’s hair chisels, Taklon round, Riggers. Size 00 to 12• Turps & stand oil• Titanium White• Naples Yellow• Yellow Ochre• Indian Red• Burnt Sienna• Van Dyke Brown• Viridian• Cadmium Yellow• Lemon Yellow• Magenta• Prussian Blue Step One I always work with my reference photo ‘Blu-tacked’ to the easel as a guide. Firstly, I block in the sky and significant areas like foliage and rock. I’m trying to pick up the general tone and weight to create an undercoat and a sense of where I want to go. I’m using very thinned paints, (turps or stand oil and turps 1:3), and throwing colour down very much like a watercolour wash. Like water colours, I lay in light tones, such as Naples Yellow, Burnt Sienna and Yellow Ochre with White, then dark. That may be a thicker…

As Perth finally shakes off its winter chills, and the sun starts to creep over the Darling Range in the early mornings with a little venom in its smile, we in WA also smile, and our spirits start to lift after what seemed to be a long cold winter. Warming days and lengthening shadows are replacing grey skies and winter woollies. Today, I was venturing south of the Swan River, past the wide sweep of Melville waters that unite the Swan and Canning rivers. The water was sparkling and pelicans sat precariously atop the lamp posts, some nestling down while others stood defiantly, displaying their bellies and wings, like prize fighters ready to claim their share of the small fish that move through the shallow water. Monet’s Garden, well not…

Hi Brett, How do you know when you’re finished a drawing? Astrid. Hi Astrid, I’ve learnt over the years to do your best to do everything possible during the ‘normal’ drawing process to get a finished result obviously, trouble is you get so close to it in the process you really can’t see it clearly anymore. That’s when I sign it (I call it being provisionally signed) and put it away for a day or two. Draw something else for a while or play catch ups with the dishes and the yard, then get it back out and prop it up on an easel with the reference image you used right next to it and leave it like that for a while, comparing them (drawing and reference) now and then…