Easel Choices for Artists

Easels are manufactured in every possible size and from a wide range of materials. Some are strictly decorative and some are just functional, but all that are offered meet a specific need. Prices vary with the weight, size and materials used. Whether a talented child, beginner or intermediate painter, or professional watercolorist, there is an easel just right for your application.

Small display easels can be made of thin strips of wood, metal or acrylic. They are usually not designed to use as a "working" easel. Their primary function is one of decoration, to hold a small painting or framed sketch. Display easels are very useful when there is no wall space on which to hang artwork or when a desk/piano/shelf is the intended display spot. Prices range from very economical wood styles to elaborate metal (even precious metal) with moderate to high costs.

Artists often start with a tabletop easel before they decide on the size and style of studio easel they want to buy. Tabletop models are very sturdy for medium-sized canvases and come in both wood and metal. While few are decorative, all are well suited for artists' work so long as the canvas size does not greatly exceed the height of the easel. Tabletops most often fold quickly, making them perfect for field work or transport. They usually have a streamlined style that makes them easy to keep clean. Tabletop easels come in several sizes and have some sort of ledge to help hold the canvas in place while the artist is painting.

Floor easels offer the greatest variety in size, material and price. There are two distinct sections of easels that free-stand on the floor. Decorative easels and studio easels are sized larger and are well suited for display of finished works of art or mirrors and for studio work by artists. Artists usually select a wood or metal style that is heavy enough for the work they do. For example, an artist who specializes in a moderate-sized canvas would select an easel that fits that size, while an artist who works large is best served by a heavy-duty wood easel with a large, wide stance and a wide tray or ledge on which to rest the canvas.

Studio easels are made of quality woods or heavy extruded aluminum. Both are easy to clean, are heavy duty enough for large paintings and are usually outfitted with easy-roll casters for moving from one spot to another within the studio. Some studio easel manufacturers offer a rotating/repositioning canvas support so that the canvas can be turned 360 degrees during painting.

In the category of folding professional easels, there are several styles of compact easels that transport easily and are, thereby, well suited for outdoors or plein air watercolor work. These easels are constructed of wood or aluminum and fold into neat bundles that are easy to trek "into the bush " and work on location. Some sling over the shoulder and some fold up and include a chair and paint box but are still easily carried.

When it comes to a small bundle that carries a bang, easels called paint stations include not only an upright easel, a tray for your palette, and a lower tray for extra paint tubes, but also a hanger for a roll of paper towels. Now what more could you ask for?

Clamp-on easels are good for those with storage limitations that want a sturdy easel for moderate-sized works. They are usually made of aluminum, making them lightweight and easy to move around. Clamping on to a table edge, this beauty performs at infinite angles, in both horizontal and vertical positions, while allowing the use of the adjacent tabletop for supplies. Adjustable upper and lower clamps hold a variety of items firmly so that work can be done at whatever location you wish. Really well suited for airbrush and watercolor work, this style of easel interferes less with the work area and sets up in a flash.

Paint box easels are lightweight but are very well suited for field work. They consist of folding legs attached to the bottom of a paint box and they telescope to a working height so that the open paint box also serves as a work surface. With the carrying strap, this style of easel/box is great for field watercolor work.

Another style offers a paint box that opens to form an easel with the lid of the box above the box body, which has open shelves. The legs below the shelves hold it steady on all surfaces and the back support folds out from behind. With its unique three-point structure, the shelves and upper easel--all of which fold into a small suitcase shape--this style is very versatile.

Completely different, yet very effective is the Art Horse. It consists of a comfortable wooden bench with a vertical end against which canvases or drawing boards might be propped. Straddling the bench is quite comfortable, and grooves in the bench hold the bottom of the stretcher strip or board while it leans against the upright support at the end--very simple and very effective.

So, no matter what size paintings or drawings you do, there is an easel that is perfectly suited to your work. Things to consider when shopping for an easel include the size of your work, the medium in which you work, whether it will be used in the field or in your studio setting, longevity of the materials and ease of care/maintenance. Shop until you find the easel that suits you the most. And, remember, money that helps you achieve your best work is well spent.

With summer just about a memory, we can focus our attention on the fall season and all the projects that we might enjoy. Fall means pumpkins, holiday decorations and lots of creative possibilities for every member of the family. Materials for projects might even be collected on a trip to the woods or accumulated over the next few weeks.

Consider the possibilities of collecting the husks (or shucks) from late summer corn on the cob and using them to create neat decorations and home decor items. Simply strip the husks from corn prior to cooking and allow them to dry. The crisp, fibrous husks are perfect for many different applications. Store the dry husks in brown paper grocery bags until you are ready to spend an afternoon of creative adventure.

Cornhusk dolls or small doll ornaments are fun to make and don't require special materials. You will have the best success if you use long pieces of shuck to create the doll, and then trim where necessary. You will need a tight ball of paper to create the head (about 1 inch in diameter) or a wad of corn husks the same size; husks for the body/arms and strips of husk to hold the shapes and features of the doll/ornament; scissors; and a large bowl of water to soften the husks and give them the pliability needed. For the ties, select subtle yet strong soaked husks and tear them into long strips. (Cotton string can be used as ties if the husks are not strong enough.)

Soak the cornhusks in warm tap water for about 20 to 30 minutes. Remove the softened husks and set them on a hand towel to remove excess moisture, but do not let them dry out. Shape a tight ball of paper. Collect the longest husks to create the body of the doll/ornament. About two large husks should be perfect. Tear the husks into long strips about one inch wide. Use as many of the one-inch strips as you think will be needed to cover the paper ball. Tie the husks together at the top as close to the top edge as possible. Leave long ties so that the ornament may later be hung. Push the ball of paper in tightly under the tied area. Smooth the husks around the ball to cover it completely, and then use another strong strip of husk to tie under the ball.

Select one large husk to create the arms of the doll. The arms should be about half as long as the doll is tall. Fold the husks to create the proper length. It will look as if you are creating a cross as you slide the "arms" under the "neck" of the doll. Tie with shuck or string under the "arms" and spread the skirt out in a fan shape. Tie the ends of the arms to create a "hand" at the end of each.

You may want to add a couple of husks to the skirt area prior to tying under the arms. This will give more fluff to the skirt. To add fullness, loop extra husks over the middle of the arms before tying. Spread the skirt out and allow the entire project to dry completely. Reshaping during the drying process will insure a uniform skirt shape. Trim if desired.

Generally, cornhusk dolls do not have facial features. They are simple, yet elegant ornaments reminiscent of holidays in early America.

Trick or Treat Fun

The Children's Museum of Denver (CO) presents its 20th annual Trick or Treat Street--"BOO-tiful Bugs" for young children from October 27 31, 10 a.m. to 7 p.m. This is a non-scary alternative for some serious playing, learning and trick or treating. A buggy theme transforms the museum into a fantasyland for all the little fairytale characters, pumpkins and superheroes. The days will be jam-packed with music, stories, crafts, games, theater performances, lots of candy and much more. Call 303.433.7444.

Museum Exhibition

The Children's Museum of the Arts in SoHo, New York City, presents "The Characters of Keith Haring" through October 31. The exhibition highlights "The Story of Red and Blue," a portfolio of 20 lithographs investigating Haring's narrative of color and invention, as well as a small collection of original drawings exploring character and line. Additionally, the exhibition contains a reproduction of a figurative mural created by Haring for a solo exhibit at the Leo Castelli Gallery in 1985. Visitors are encouraged to add to the mural by drawing and coloring directly onto the image. Also included are two silkscreen editions, "Pop Shop II" (1988) and "Pop Shop III" (1989), which showcase Haring's classic use of bold color and iconic forms. Call 212.274.0986.

National Gallery of Art Classroom:

Teaching Resources and Activities

Three new Web-based lessons have been added to NGA Classroom for the new school year. "Counting on Art," "New Angles on Art," and "Who Am I? Self-Portraits in Art and Writing" seek to engage students with works of art in the Gallery's collection through interactive experiences related to national curriculum standards. Each lesson includes lesson plans for teachers, on-line student activities, printable worksheets, artist biographies, a glossary, and links to related reading and Web sources. See www.nga.gov/education/classroom.

Artist Profile

Edward Weston (1886-1958)

Revered as one of the masters of 20th century photography, Edward Weston was born in Highland Park, Illinois, on March 24, 1886. At the very young age of six, his parents gave him a camera and he began what was to become a career that spanned more than half a century.

From this beginning, Edward Weston explored many aspects of photography. He moved to California in 1906, soon after the great earthquake, and worked as a door-to-door portrait photographer. In 1908 he returned to Chicago to attend the Illinois College of Photography but spent his summers in California working as a printer in photographic studios.

In 1909 he met and married Flora Chandler and they had four sons: Edward Chandler, Theodore Brett, Laurence Neil, and Cole. Soon after the birth of Cole, Weston met Tina Modotti and began a long relationship with photographic collaborations in Mexico and later a widely publicized love affair.

Weston opened and operated his own portrait studio between 1911 and 1922 in Tropico, California. This studio is where his first works utilizing his original "soft focus" pictorial technique originated. He also began to have articles published in magazines such as American Photography, Photo Era and Photo-Miniature, where his article entitled "Weston's Methods" on unconventional portraiture appeared in 1917.

Weston was very successful and widely sought for his method of capturing and emphasizing the essence of an individual. But, as is the case with a truly creative mind, Weston became restless with this style. After viewing a photo exhibit at the World's Fair in San Francisco, he began to develop a more artistic approach. By 1920 he was experimenting with semi-abstractions in a hardedge style. And in 1922 Weston went to New York City where he met Alfred Stieglitz (husband to Georgia O'Keefe), Paul Strand and Charles Sheeler.

Weston's work of the steelworks of ARMCO in Ohio marked a turning point in his career. Their "straight" imagery was depicted in their angular forms and was true to the reality the photographer viewed through his lens. A new style of recording scenes now entered the scope of Weston's work. He later wrote, "The camera should be used for a recording of life, for rendering the very substance and quintessence of the thing itself, whether it be polished steel or palpitating flesh." Gone was the soft focus, flattering and often disguising method, replaced by the stark reality viewed through the lens of his camera.

In 1923 Weston moved to Mexico where he opened a studio with his apprentice, Tina Modotti. He had made many important portraits and nudes of Modotti over the years. Through her contacts, Weston met many of the Mexican Renaissance artists including Rivera and Orozco, who encouraged the new realism of his work. In 1924 Weston abandoned completely the use of soft-focus techniques and started his precise studies of natural forms. He left Mexico and moved permanently to California in 1926, where he began the work for which he is most recognized: natural-form close-ups, nudes and landscapes. Weston's photos of shells, vegetables and nudes were the basis of his work from 1927 to the end of his life.

Weston opened a San Francisco studio, along with his son Brett, in 1928. The following year he moved to Carmel where he began photographing in the Point Lobos area. This area was a favorite of Weston's and he returned to it time and again; and this was the location of the last photos made during his life.

In 1930 Weston had his first New York exhibit at a prestigious gallery and later exhibited at the Harvard Society of Contemporary Arts. Weston was a Charter member of the "Group f/64" that was started in 1932 and included Ansel Adams, Imogen Cunningham and others. They chose this term because they habitually set their lenses to that aperture to obtain maximum image sharpness, foreground and distance. The view cameras they used, large format media with infinite settings and adjustments, allowed such critical focus. Weston went even further toward photographic purity in 1934 when he resolved to make only unretouched portraits.

Despite his renowned stature in the photographic community, Weston never achieved financial comfort; and in 1935 he initiated the "Edward Weston Print of the Month Club," offering photographs for $10 each. In 1937 he was the first photographer awarded a Guggenheim Fellowship. This allowed him (and his assistant and future wife, Charis Wilson) to travel and photograph. In 1940 his photographs were included in Wilson's book California and the West, and in 1941 he illustrated a new edition of Walt Whitman's "Leaves of Grass."

In 1946 Weston began to exhibit symptoms of Parkinson's disease and in 1948 made his last photographs. In 1952 his Fiftieth Anniversary Portfolio was published with images printed by son Brett. In 1955 Weston selected several of what he called "Project Prints" and began having Brett, Cole and Dody Warren (associate) print them under his supervision. A film, "The Naked Eye," in 1956 used several of Weston's prints as well as footage of Weston himself.

Weston died at his home on January 1, 1958. Weston's legacy includes several thousand carefully composed, superbly printed photographs, which have influenced photographers around the world for nearly 60 years. The sincerity and naturalness of his photos give them a timeless and exquisite quality.

View Edward Weston's images at www.huntington.org, a collection of photographs made by Weston as part of a collection that would live well after his death.

"Edward Weston--A Photographer's Love of Life," at the Portland Art Museum (OR) through November 28, is the first major photography show to be held in the museum's special exhibition galleries. Included is an impressive selection of over 80 rare vintage prints, along with personal letters and postcards from the Weston family. A virtual survey of Weston's entire career from his teens to his years in Mexico and Carmel, CA, to his Guggenheim Fellowship and photographs from the late 1940's, this exhibition showcases the work that Weston considered among his best.

Art Competitions/Residency

Cover Competition for American Artist, Watercolor and American Artist DRAWING Magazines

Here's an opportunity to have your artwork reproduced on the cover of the above magazines in 2005. One work of art will be selected for the cover of each publication, and 10 semifinalists will be chosen for articles in the same issues. All subjects will be considered. For more information, see www.myamericanartist.com; e-mail mail@myamericanarist.com; or see American Artist magazine. Deadline: November 1.

"Pastels USA 2005"

The 19th Annual International Open Exhibition of the Pastel Society of the West Coast will be held May 7-31, 2005 at the San Luis Obispo Art Center. Works in soft pastel only are eligible. Juror of Awards is Sally Strand. For a prospectus, send a business size SASE to: PSWC "Pastels USA," c/o Kathryn Higley, 828 Mikkelsen Dr., Auburn, CA 95603. Deadline: February 21.

18th International Exhibition on Animals in Art

Sponsored by the Veterinary Medicine Library at Louisiana State University in Baton Rouge, the exhibition will be held March 19 April 17, 2005. All artists 18 years of age or older and all media are eligible. For prospectus, send SASE to: Exhibition, Veterinary Medicine Library, Louisiana State U., Baton Rouge, LA 70803-8414; or visit www.vetmed.lsu.edu/library. Deadline: January 21.

Society of Watercolor Artists 24th Annual Exhibition

The exhibition will be held April 6-29 at the Fort Worth Community Arts Center in Fort Worth, TX. All artists over 18 years of age are eligible and works must be primarily water media on paper. Juror: Dan Burt. For a prospectus, send a #10 SASE to Gayle Bunch, Show Chair, 5300 Quail Creek Court, Keller, TX 76248-4595; or e-mail trayle@lscom.net. Deadline: January 28.

Residency Open

The Bemis Center for Contemporary Arts is accepting applications for residency for 2005-2007. Residencies are open to all visual artists, and applications will be accepted from 2-4 months in length. Based on the conviction that exceptional talent deserves to be supported, they provide well-equipped studios, living accommodations and a monthly stipend to artists who are awarded residencies. The Bemis Center has supported artists and artists' projects for more than 20 years, and the facility is housed in two urban warehouses and a half-block of open urban property in downtown Omaha, NE. For further information, call 402.341.7130 or visit www.bemiscenter.org.

Exhibition Proposals Requested

The E3 Gallery, 47 East 3rd St., NYC 10003, is currently accepting exhibition proposals for the winter 2004-2005 season. Submissions are open to all media. For more info, call 212.982.0882 Th Sat, 2-6 p.m. or e-mail FAQ@e3gallery.com

Framing

Tips for Framing Fabric Artworks

Although there are several key concerns when framing works of art on fabric or other fiber art pieces, most are surmounted with a minimum of effort. First and foremost is the consideration of longevity. If you have created the fiber art, you are well aware of the time and effort that go into such a creation. Correct mounting and display is needed to insure years of enjoyment of your efforts. If the piece was a gift or acquisition, you want to be sure it is exhibited yet protected from assault by everyday dirt and grime, moisture buildup and/or long-term discoloration or fading.

There are several crucial elements in the preservation of stitchery and fiber artworks. How much light and what temperature fluctuations the exhibited item will experience are possibly the two most important. Basic environmental moisture where the artwork will be hung is also a serious consideration. Improved mounting materials and glazing products round out the equation needed to preserve and protect fabrics.

Light--ultraviolet rays--has the most potential for destruction of art, regardless of what substrate it is created upon. Light increases the rate at which paper discolors or fabric deteriorates. It can cause slight soil on any surface to darken with time and greatly adds to the yellowing and eventual collapse of inexpensive papers and fabrics. While the process takes a very long time to be recognized, light starts its "attack" as soon as the art piece is put on display. Note: Always be sure your fiber art is clean before placing it under glazing of any kind. Solution: Display all fiber art under a UV protective material such as conservation glass or UV Plexiglas.

The temperature in the display area is best when held constant. In situations where sunlight travels across a fabric artwork exhibited under glass, there is a very strong chance that moisture will be trapped under the glass and inside with the mounted fiber piece. The accumulation of moisture over time can cause not only watermarks on both the glass and mat, but also mildew on the fiber art. The cure: Select a display location where no temperature changes occur. Try to avoid the obvious moist locales such as bathrooms and kitchens near the sink or dishwasher vents.

Many long-time stitchery and fiber artists desire that every thread of their creation be visible and unencumbered by glass or other glazing materials. One must weigh the possible consequences of no protection against the loss of finite detail. And, when clear conservation glass is selected, there is little change in the look, other than the sheen of the glass surface. The artist or owner of the fiber art must decide what is most important to her.

Gather your fiber art and exhibit it in your home. They are treasures and should be enjoyed. But select a display area and materials that will enhance rather than destroy the beauty of each.

Philadelphia Museum of Art Craft Show

The 28th Annual Philadelphia Museum of Art Craft Show will be held November 4-7 at the Pennsylvania Convention Center in center city Philadelphia. See the best of contemporary American craft by over 190 artists from across the country; and purchase remarkable one-of-a-kind and limited edition objects made from clay, fiber, metal and wood, as well as wearables and jewelry. All proceeds benefit the Museum. See www.pmacraftshow.org.

Great Pumpkin Carve and Show

At 5 p.m. on October 21 (rain date--October 22), artists will begin carving huge pumpkins in the grove behind the Chadds Ford Historical Society's Barn in Chadds Ford, PA. At nightfall the pumpkins will be lit and the judges will be ready to tackle the job of choosing winners among 60 hauntingly carved masterpieces. On October 22 and 23, visit the Great Pumpkin Show where lit pumpkins will be displayed and live music, food and hayrides will be available. Hours are 5-9 p.m. all three nights and there is an admission fee. Call 610.388.7376 for info.

Naples Art Festival

On October 16 and 17 the 6th Annual Downtown Naples Art Fair returns to 5th Avenue South to delight the art lover of Southwest Florida. Over 200 artisans for this juried art festival will participate in a variety of mediums such as pottery paintings, jewelry, ceramics, sculpture and more. A new feature of the festival this year is a variety of kids' activities and art-related projects. Free admission. For info, call 239.435.3742 or visit www.artfestival.com/pr/naples1004/.

Airbrush

Airbrushing on Paper with Acrylics

There have been many innovations in the field of art materials over the years, but one of the most unique and well received is the development and refinement of artist acrylic colors. The airbrush artist, in particular, seeks paints that are affordable, durable, easy to use and can easily be thinned to the right consistency for spraying. Artist acrylic colors meet all these requirements, but the most important feature of acrylics for the airbrush painter is that they dry quickly, making them convenient for use with a technique that utilizes frisketing and stencils. When considering acrylics, most artists think of painting on canvas, but acrylics are also ideally suited for painting on paper surfaces--particularly for airbrush.

Acrylic paints are available in a variety of formulations--tube, jar color and liquefied. No matter which one is used, they all have the same attributes--fast drying, durable, waterproof, non-yellowing, non-aging, non-flammable, low in toxicity, extremely flexible, non-oxidizing, non-cracking/flaking and, most importantly, they thin with water.

For the airbrusher to spray this paint, it must be of the consistency of milk or thinner. Some acrylics are already available in this consistency, but artists who have a preference for a particular brand can alter it to an acceptable viscosity by using commercial airbrush reducing medium or water.

As with all other mediums, the selection of paper to be painted is important. It should be as white as possible, be neutral pH so that it doesn't yellow, and of at least 2-ply thickness so that it won't buckle when paint is applied. If you use self-adhering stencil techniques, the paper surface (or illustration board, for that matter) must be strong enough so that it does not lift (pick) upon removal of a stencil. A variety of papers fit this criterion, and they can range from heavy-duty watercolor paper to student grade drawing paper.

To test the paper's surface, apply a piece of masking tape to the corner and then remove it. If the paper picks from the surface, it is not suitable for use with self-adhering frisket material. If you work in a wet-in-wet manner and wish to airbrush, you must first stretch the paper, as you would in traditional watercolor technique.

A basic concern with airbrushing acrylics can be their tendency to clog the airbrush, since the paint dries so quickly. Paint buildup will likely occur on the tip of the airbrush and inside the air cap. These should be cleaned periodically using airbrush cleaner and a stiff brush. If the acrylics are left too long in the color reservoir or paint jar, they will dry into one solid mass. However, if this happens, all is not lost. Normally the area where the paint adheres is machine-smoothed, and the dried acrylic paint can often simply be peeled from the metal surface in one piece. The paint also can be loosened and removed by soaking the color cup or jar in airbrush cleaner. Most commercial cleaners are designed for all water-soluble paints, so they remove acrylics as well as watercolor, gouache, tempera, inks and dyes. To help prevent clogging or paint setup, spray cleaner through the equipment periodically to help maintain peak performance.

It is not necessary to varnish an acrylic painting on paper, but you can if you so desire and then display it without glass. But if you display an acrylic rendering under glass, it should be matted to prevent the paint surface from coming into contact with the glass or Plexiglas because over time it will likely adhere.

Artist acrylic colors are ideal for works on paper that encompass both paintbrush and airbrush techniques, and can be used to develop paintings that range from watercolor techniques to hardedge.

Spokesperson Introduced--Tara Materials, Inc., manufacturer of the innovative new Fredrix Watercolor Artist Canvas, has announced that internationally acclaimed watercolorist Tom Lynch will partner with them to promote their new watercolor canvas. Lynch said, "I feel this product will elevate the acceptance and value of watercolor to new heights and I want to be a part of it." See your retailer for this innovative new watercolor surface.

Art Showcased--The U.S. Postal Service has released "The Art of the American Indian" commemorative postage stamps. The pane of 10 jumbo self-adhesive stamps features photos of American Indian artifacts dating from around the 11th century A.D. to circa 1969. John Stevens, a calligrapher from N.C., designed and created the lettering in the title. Descriptive text on the back of the stamps includes an overview and specific information about each of the objects. In addition to the 37-cent stamps, a booklet of twenty 23-cent stamped postal cards was issued.

Approval Received--The Commission of Fine Arts has given unanimous and final approval to Frank O. Gehry's design for the second and final wing of the Corcoran Gallery of Art. The new design doubles the space, reorients the principal entrance, creates new public space and reorganizes the galleries to create a logical continuum of old and new for the visitor.

Free Speech Promoted--The "Freedom of Expression National Monument" located in Foley Square, Lower Manhattan, invites the public to step up and speak their minds during the election season. This enormous red megaphone, a public artwork by architect Laurie Hawkinson, performer John Malpede, and visual artist Erika Rothenberg, will be on view through November 13 and is presented by Creative Time and the Lower Manhattan Cultural Council.

Anniversary Celebrated--The Rodin Museum in Philadelphia, PA, is celebrating its 75th anniversary with a lively series of public programs, including family and children's activities, school programs, concert performances and a gala planned for October 14. A special installation, "Echoes: Celebrating 75 Years of Rodin in Philadelphia," illuminates the artist's working process and how he developed his themes and features provocative pairings of his sculptures. Through May 31, 2005. For info, call 215.763.8100.

Exhibitions

Gainesville, FL -- Samuel P. Harn Museum of Art (University of Florida) -- The Tumultuous Fifties: A View from the New York Times Photo Archives is comprised of about 200 black and white photos taken from this collection and focuses on the 1950's. The works examine the seminal issues of the day from McCarthyism, Sputnik and Cold War politics to Bebop, Abstract Expressionism and Beat poetry. Through November 28.

Columbus, Ohio -- Columbus Museum of Art -- Georgia O'Keeffe and New Mexico: A Sense of Place pairs 35 significant paintings in tandem with photos of actual locations that display how O'Keeffe's work captured the contours, colors and textures of existing sites in a land that fascinated her. Opens October 5 through January 16.

Baltimore, MD -- The Walters Art Museum -- Popular Prints from the French Revolution highlights how such prints from this period were used, sold and displayed and explores the sources for their imagery in popular culture. Thirty never before exhibited prints from the Walters collection will be grouped into seven thematic sections. Opens October 3 through December 19.

Pasadena, CA -- Norton Simon Museum -- Nature Transformed explores the diverse approaches that artists adopt to depict the natural world and includes over 15 artworks from the 15th through the 20th centuries. Opens October 8 through February 28.

Los Angeles, CA -- The J. Paul Getty Museum -- Cézanne in the Studio: Still Life in Watercolors features over 20 masterworks in the first focused exhibition to highlight the intersection between the genre of still life and the medium of watercolor in the oeuvre of Paul Cézanne. Opens October 12 through January 2, 2005. This exhibition is complemented by "The Prismatic Palette--Four Centuries of Watercolor," opening October 5 through January 2.

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Copyright ARTtalk Vol. 14 No. 12 -- October 2004