Eye Candy for today: Maximilian Liebenwein illustration

Maximilian Liebenwein illustration
Maximilian Liebenwein illustration, details

Walk of Mary across the mountains, Maximilian Liebenwein.

Maximilian Liebenwein was an Austrian/German illustrator active during the “Golden Age” of illustration in the late 19th and early 20th centuries.

I’m unsure what the medium is here, but it looks like watercolor and gouache to me.

I sourced the image from here, larger version here.

For more, see my previous post on Maximilian Liebenwein.


Heinrich Lefler and Joseph Urban

illustration by Heinrich Lefler and Joseph Urban
illustrations by Heinrich Lefler and Joseph Urban

Heinrich Lefler and Joseph Urban were Austrian born illustrators and stage scene designers who collaborated as well as working independently. In addition, Lefler was a painter and Urban an architect, and they were brothers-in-law.

They were active in the late 19th and early 20th centuries. I have not idea how to sort out who did what and which illustrations are collaborative, as they are usually shown and listed together.

Their illustrations often incorporated Art Nouveau influenced patterns, both within and surrounding the images.


Li Yong Hong

Li Yong Hong
Li Yong Hong

Chinese illustrator Li Yong Hong works in scratchboard, a medium that is almost the inverse of pen and ink.

Instead of drawing in ink directly on a white surface, scratchboard is done on a white board that is coated with clay and then coated with a layer of black ink. The black surface is scratched away with needle-like styli, creating white lines by revealing the clay beneath.

The only presence I’ve found on the web for Li Yong Hong’s work is his portfolio on IllustrationX.


Eye Candy for Today: Dean Cornwell untitled illustration

Dean Cornwell untitled illustration
Dean Cornwell untitled illustration (details)

This painting by the fantastic American Illustrator Dean Cornwell is in the collection of the South Dakota Art Museum. The museum doesn’t have a title or source reference for where the painting was used as an illustration (if it was published), but the painting is wonderful nonetheless.

I haven’t see the original, but I’ve taken the liberty here of brightening the image slightly, just on intuition.

I love the visual drama Cornwell has achieved with such a limited and low chroma palette. The painting is full of interesting textures and muted contrasts.

Look at the depth he has created in the successive planes of the foreground figures, the muted color and texture of he stone wall, and the even lower contrast but brighter background of the picket fence and gate.

Notice also, the strength with which the hands of all three people have been drawn and rendered.

Cornwell was a student of Harvey Dunn, who was in turn a student of the great American painter and illustrator Howard Pyle.


The Artist’s Magazine – Imaginative Realism

The Artists magazine March-April 2022- Imaginativ Realism
The Artists magazine March-April 2022- Imaginativ Realism

The March/April issue of The Artists Magazine is devoted to imaginative painting and magical realism. The cover and lead article feature the beautiful painting by James Gurney shown in the images above, and a step-through of his process in creating it.

I’ve had the pleasure of seeing this particular painting in person, and it’s a strikingly beautiful example of Gurney at his best in combining the styles of the Victorian painters with modern fantasy subjects. (Imagine if you will, Lawrence Alma-Tadema painting dinosaurs!)

This is a very good issue of a good magazine. Unfortunately, the Artists Network website, for reasons that elude me, is not very effective in promoting the physical magazine. (They don’t clearly associate the cover with a list of contents and excerpts specific to that issue, and from there link to the ordering page.)

If you’re fortunate enough to have a bookstore in your area that carries a relatively wide array of magazines, you may still be able to find a copy.

You can order a physical copy here, and a digital copy here.

You can also access Gurney’s article, complete with images, online if you’re willing to give them your email address. You can link to the article from this page, and once on this page, enter your email address and you’ll have immediate access to the article.

The entire issue (and the magazine in general), are worthwhile.

James Gurney was a particularly appropriate artist to tap for this issue, given that he’s the author of an excellent book devoted to the subject: Imaginative Realism: How to Paint what Doesn’t Exist (Lines and Colors review here).