Thomas Fuchs is an illustrator originally from Germany and now based in New York.
Fuchs works in a conceptual vein for much of his illustration, seeking out a mental twist to give his image editorial content, while often reducing the image to graphic simplicity.
His website shows the images with a brief description of the context of the article for which they are intended. Rather than creating stand-alone images that merely accompany the article, Fuchs commits his illustrations to adding meaning to the written content.
He also has a different, specialized portrait style, but even here he often adds context, as in his illustrations for Rolling Stone’s Playlist, in which musicians comment on other musicians. For these, he combines the commentator and their subject.
The home page of Fuchs’ website inexplicably looks like a portfolio page with blank, nonfunctional thumbnails — giving the impression that it is either under construction or abandoned; you must click through to one of the categories before being presented with an actual choice of images.
Sections are divided into categories like painted, digital and portraits. The Logos/icons section is more interesting/fun that you might think.
You can also view Fuchs’ work on his Behance portfolio, where the illustrations are arranged by project or publication.
Fuchs has replaced the function of his older blog with a more recently updated News page, but the former still has lots of items of interest.
Melancholy, Constance Marie Charpentier
On Wikimedia Commons; original is in the Musée de Picardie, Amiens, France.
Charpentier is another of those fine French painters from the 18th and 19th centuries about whom we know little, likely because they were female — even though Charpentier won gold and silver medals in the Pais Salons of 1814 and 1821.
Charpentier is thought to have been a student of Jacques-Louis David, though that has not been established with certainty. Some of her works were at one time attributed to him.
On a side note: a wonderful painting in the Metropolitan Museum of Art titled Young Woman Drawing, also long incorrectly attributed to David, was at one point attributed to Charpentier, before its current attribution was established to another skilled female French artist for whom there is little information available, Marie-Denise Villers.
Sylvie Daigneault is an illustrator based in Toronto.
Her clients include Tetley Tea, The Royal Canadian Mint, Publix, American Express, Bell Canada, MTA, The National Ballet of Canada, UTF University of Toronto, Harlequin, MacMillan/McGraw-Hill and Harper Collins.
Daigneault works primarily in colored pencil, with finishes sometimes modified digitally. She uses to advantage that medium’s strengths for creating intricate detail, subtle texture and layers of multiple colors within single passages.
Dancer Adjusting her Slipper, Edgar Degas
Pencil on colored paper, 13×10 inches (33x24cm). In the Metropolitan Museum of Art.
Degas did numerous studies, drawings, pastels and paintings of dancers preparing; this seemingly simple pencil drawing has always been one of my favorites.
Straightforward and direct, we see Degas seeking out his model’s form and gesture, reworking the hand position, adjusting the line of the foot, and — apparently satisfied with the result — squaring up the drawing for transfer.
I’m not aware, however, of a finished pastel or painting using this pose.
Paul Cornoyer was an American painter who worked in the Barbizon and Impressionist styles.
Born in St. Louis, he studied there at the St. Louis School of Art, as well as in Paris at the Académie Julian.
He spent much of his later career in New York, where he taught and delighted in painting street scenes and parks, particularly in rain, snow and atmospherically muted conditions. He also spent time painting and teaching in East Gloucester, Massashusetts, where he had a summer home.
A View of the Groenburgwal with the Zuiderkerk, seen from the River Amstel, Amsterdam, Johannes Christiaan Karel Klinkenberg
On the Elsewhere blog (for which I must issue a Timesink Warning). Also on Sotheby’s. Original is in a private collection.
Another beautiful example of the genre of 19th century Dutch townscape paintings that I just love — in this case a wonderfully painterly example.