Jon Juarez is a visual development artist, illustrator, cartoonist and screenwriter based in San Sebastian, Spain.
He works in a line and color style with a high key and often high chroma palette.
Still life with a green strainer, Jan Bogaerts
Link is to sold listing on Simonis & Buunk gallery, which has a zoomable version of the image.
Early 20th century Dutch painter Jan Bogaerts has a marvelous touch for portraying the surface textures of his still life objects.
At times his deftly handled light and the tactile quality of his subjects create a contemplative feeling that puts me in mind of the great 18th century French still life and genre painter Jean-Baptiste-Siméon Chardin.
For more, see my previous post on Jan Bogaerts.
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.
Imaginary View of Padua, Bernardo Bellotto; pen, black ink and gray wash drawing; roughly 13 x 17 inches (32 x 43 cm). Original is in the collection of the Metropolitan Museum of Art.
18th century Italian artist Bernardo Bellotto had a very effective pen and wash technique for rendering architectural subjects that is similar to the wonderful drawings of his uncle and mentor, Antonio Canal, better known as Canaletto.
Imaginary View of Padua, Met Museum
Vladimir Orlovsky (alternately: Vladimir Orlovskii or Volodymyr Orlovsky) was a Ukrainian landscape painter, active in the late 19th and early 20th centuries, who I first profiled in 2014.
Like most of his Ukrainian contemporaries, who lived and worked at a time when Ukraine was part of the Russian Empire, he is often listed as a Russian painter.
Many of his paintings are relatively large in size and scope, so I’ve provided detail crops for all but one of the paintings I’ve featured above.
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.