Harry Clarke was a Irish illustrator and stained glass artist, active in the early 20th Century, in the latter part of the Golden Age of Illustration.

As an illustrator, he is known in particular for his work for Hans Christian Anderson’s Fairy Tales and Edgar Allen Poe’s Tales of Mystery and Imagination.

You can see the influence of earlier Golden Age greats like Edmund Dulac, Kay Nielsen and Aubrey Beardsley, but Clarke wove his influences into a unique and fascinating style. You can also see Clarke’s influence carried forward, for example in the work of contemporary comics artist and illustrator P. Craig Russell.

There is a particularly good resource of Clarke’s work on 50 Watts with excellently prepared images of his work, including his black and white Poe illustrations and a selection of detail crops from them, along with the text decorations and color plates.

There is also a wider selection of Clarke’s work, though with smaller images, on Grandma’s Graphics

[Obliquely via io9, (skip the FastCo Design link, it’s poorly presented)]

[Note: some of the images (particularly the Poe color plates) should be considered NSFW and not suitable for children.]

Artist Derek Penix came from a family in which his mother and grandfather both painted, and took it up himself after high school.

He says his admiration for painters like Nicolai Fechin, John Singer Sargent and the French Impressionists has been superseded as his primary influence by his studies with contemporary painter Quang Ho.

Penix has a crisp, painterly approach with a deft play of light and shadow. I particularly enjoy his paintings of outdoor market stalls and the play of sunlight on brightly colored wooden boats.

Gold is an extraordinarily malleable material. When hammered into very thin sheets, a kind of foil called “gold leaf”, a very small amount can cover a relatively large area, and it can be applied to surfaces for decorative effect.

Gold leaf has been applied to art objects and decorative surfaces through much of recorded history. The most common application familiar to contemporary artists is in the gilding of picture frames.

New York based artist Brad Kunkle, who has a background applying metal leaf as a decorative artist when he was younger, incorporates gold and silver leaf directly into his oil paintings, utilizing the material both for its symbolic and physical and visual properties.

Kunkle uses a very controlled, almost monochromatic palette in his paintings, the subjects of which are women, either in landscapes or amid elements of nature that are often in flux or in motion and in defiance of gravity or other natural laws.

Kunkle uses his metallic elements, pushed forward by the grisaille-like palette, to emphasize these magical or metaphysical suggestions, giving his images a kind of implied magic, perhaps coming full circle to one of the characteristics that has been ascribed to precious metals, and gold in particular, throughout their historic use in art related to religion and ritual.

Kunkle’s work in currently on display in a solo show, The Women in the Fields of Gold, at the Arcadia Fine Arts gallery (Soho) in New York that runs until May 5. 2012.

Unfortunately, the Arcadia gallery’s website (though much improved over its previous versions) has navigation within a Flash file, and I can’t give you direct links. From the home page, choose: Exhibitions: Soho for a view of works in the show (while it’s current), and select the artist’s name from the main list on the home page to view his work as represented by the gallery at other times.

There is a Step by Step process series on Underpaintings.

As I’ve suggested before, Vincent van Gogh’s work was much more varied and diverse than most books on the artist, which tend to take the safe path of presenting his “greatest hits” over and over, would lead you to believe.

Van Gogh: Up Close, an exhibition that is toward the end of its run at the Philadelphia Museum of Art and then moves to the National Gallery of Canada in Ottawa, focuses attention on a range of his lesser known works, primarily from the later part of his career and with a theme of intimate subjects, both landscape and still life.

There are still examples of his sweeping views of fields and farms, but also the less frequently seen subjects of “sous bois” (undergrowth) paintings, which immediately became favorites of mine, and his remarkable paintings of simple grasses, in which he sees subjects where other artists might see nothing of interest. And though the famous sunflowers are represented by the Philadelphia Museum’s iconic piece of the golden topped vase, and the Metropolitan Museum of Art’s sunflower blossoms as still life, there are also still life paintings different from those we are used to seeing.

Van Gogh’s strikingly textural use of paint is evident in several pieces, brush strokes that are so three dimensional they look as though they were just laid down, a characteristic often evident in his more famous works. One of the things that struck me, however, in comparing these paintings to many of his more well known works, was his use of directional strokes.

Van Gogh, whether intentionally or as a byproduct of his efforts to express what he saw, was a master of the application of brushstrokes that move across and around forms, through skies and backgrounds and lead your eye through his paintings in a way quite unlike any other artist. These effects are frequently combined with his remarkable tendency to mix outlines and other elements of drawing into his paintings.

Even in a simple still life subject of apples, grapes and pears, in which any other artist would have painted the highlights on grapes with a simple horizontal stroke of lighter color, Van Gogh has used a vertical hatching of strokes to define them, imparting a fascinating textural quality — but not for a moment reducing their presence as grapes.

In other images his strokes point toward the focal point of the painting, leading you in like a Photoshop Zoom filter. Somehow these elements captured my attention more in these works in which he also played with focus and depth of field and frequently portrayed distant and close objects in the same scene.

The Philadelphia Museum of Art does not have much of a selection of images from the show on their website, but the National Gallery of Canada does. On this page, the National Gallery has been posting a new image from the show every week, to continue up to the opening on May 25. As of this writing they are up to 21 images. (Click on images to view larger versions.) I’ve also linked below to a few images not yet posted that I made note of and looked up elsewhere.

There is also a book from the exhibition, available from the Philadelphia Museum and the National gallery, as well as Amazon and other booksellers.

Van Gogh: Up Close is on display at the Philadelphia Museum of Art until May 6 (timed paid or member tickets required, but some are still available according to the website). It moves to the National Gallery of Canada where it will be on display from 25 May to 3 September, 2012.

Van Gogh is an artist for whom many misconceptions and popular assumptions, and the very brilliance of his fame, often obscure the actual artist. Van Gogh: Up Close, by focusing on less familiar works and more intimate ones as well, gets us a bit closer to Vincent van Gogh, the painter.