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The article discusses the author's views regarding the trend among artists of creating works that appear to be copies of works of celebrity artists. The author believes that this is not intentional on the part of the artists but thinks that this is a shortcut done by artists to attain creativity at the expense of their own development. It provides four lessons that artists should allegedly consider for their professional career in art, including step-by-step demonstration on how to create original paintings.

The article focuses on the capriccio, a type of landscape painting. The artists who pioneered this genre centuries ago worked within a tradition that involved transporting the viewer to a place of unimaginable context and composition. A capriccio in painting usually meant an invented view, a landscape often of magnificent ruins composed of recognizable parts in unrecognizable juxtapositions. It relates the difference of capriccio with plein air painting.

The article focuses on oil painter Carolyn Egeli and some of her art techniques. According to the author, Egeli's work has an honesty about them that cannot be taught. She cautions against the artist, and thus the viewer, getting too close and looking down on the subject, especially if the portrait is three-quarter length, including the subject's hands and lap. Egeli takes frequent breaks as a painting progresses, she works on another painting, plays the piano or exercises, and then returns to the painting refreshed.

The article features New Hampshire painter Colin J. Callahan and his style in painting. The artist mixes an academic approach with an appreciation for a somewhat romantic or even whimsical spontaneity. When painting en plein air, Callahan surveys the scene to find which vantage point offers the best geometry. He quickly establishes the horizon line, then scrutinizes the scene to determine which elements are important.

The article features German painter Adam Elsheimer. He painted very small pictures of largely religious subjects and he pursued a career of creating paintings that were mostly, destined to be incorporated as panels into pieces of furniture and cabinetry. His work often has a modern appearance, particularly in the directness and intimacy with which he painted figures. He presents biblical and mythological scenes as events in which very down-to-earth human beings played a role.

The article features figure painter Pauline Roche. Roche searches for connections between museum visitors and the art they view as a way to add an element of poetry to her work. In "Woman in Yellow Coat," the folds of the voluminous coat and hair of the viewer lit by strong light from one side somewhat reflect that in the dancer's dress in Sargent's El Jaleo. In "Leaning Toward the Sargent," she likes the way the model is largely silhouetted with dark clothes against the lighter walls.

The article discusses the techniques used by artist Ruth L. Beeve to capture a variety of subjects while on location at the Forbes Trinchera Ranch in Colorado. Plein air painting still features plenty of chance and uncertainty for Beeve although she has painted confidently in water color for several years. Beeve took that approach when capturing the landscape of the Forbes Trinchera Ranch. Beeve's palette of water-soluble oils used during the location is also listed.

The article discusses realist artists who have been featured by American Artist during its 70 years of existence. In most cases, the reports were the first significant accounts of the featured artists' artwork, techniques and philosophies. Most of the early articles were illustrated with black-and-white reproductions of drawings, paintings, graphic designs, sculpture and ceramics.

The author describes his admiration and support for artist Reeve Schley III. A discussion on the family and educational background on Schley is presented as well as details on his early childhood. The author recounts the purchase of his first Schley painting. In addition to the pleasure that Schley's paintings and friendship has given him, the author is grateful to Schley for helping him feel comfortable collecting the works of living artists.

This article presents a conversation with artist Ken Auster about his paintings. His works cover a variety of subjects including cityscapes, restaurant interiors, beach scenes, landscapes and still lifes. He discusses his educational and artistic background. Auster believes that his sense of design and his understanding of color played a role in the success of his paintings. As for the future, Auster says that he will be making larger paintings.

This article presents a conversation with artist Reeve Schley III about his 50-year-old career and the influences on his creative process. An important aspect of his interest in creating art has been working directly from nature. Teaching has also had an impact on Schley's approach to painting, as he finds the interaction with students to be quite stimulating. Another influence on the development of his art has been the interaction with group of supportive collectors.

The author discusses his method of painting interior scenes. Room interiors provide an opportunity to paint a variety of light intensities, colors and effects, but also present challenges in trying to capture the subtleties of forms within those dimly lit spaces. The creative process are detailed and the recommended painting materials are listed.

The article focuses on the influence of impressionist Claude Monet on the painting of Theodore Robinson. Robinson's relationship with Monet has clearly influence the former's works. His paintings have incorporated Monet's concern for the effects of color, light and atmosphere. Robinson also made use of a high-key palette and a wide range of brushstrokes. He also followed the practice of waiting for propitious atmospheric conditions before finishing canvases.

The article presents several suggestions from artist Roger Armstrong to creating livelier watercolor painting. Armstrong suggests the following steps to improve on watercolor painting: practice drawing on sketchbook, make thumbnail sketches, start with big shapes and come up with the details later, use simple palette and, strive for good design and balance.

The article presents an interview with oil painter Frank Lalumia. According to Lalumia, in approaching a visual world, a painting should have a two-dimensional design. He advises to take a series of steps before beginning a paint to make it easier to simplify and organize a scene. He comments that a composition consisting of middle values presents a special challenge.

Focuses on the approach used by artist Robert Bauer in his drawings and paintings. Manner in which the bodies of work that he created were developed; Views of the artist on modern high-contrast photographic realism; Factors that influenced his method of pulling images out of exploratory marks; Importance of the relative directness of drawing to the activity of painting.

Presents paintings and drawings from several artists presented in various exhibitions. "Universalist Church," by Edward Hopper; "Newfields, New Hampshire," by Childe Hassam; "Woman Beside a River," by Alfred Thompson.

Discusses the technique that incorporates painting, printmaking and collage. Method of painting, printmaking and collage without the use of paint brushes; Photographs of several artworks of Wagner; Details of the printmaking technique.

Profiles painter Lindsey Kent. Materials used by Kent; Her painting styles; Advice of Kent to aspiring artists; Features of her flower paintings.

Profiles California painter Andrew Denman. Features of the acrylic paintings of Denman; Colors used in his paintings; His painting style; Advice of Denman to aspiring artists.

Profiles painter Victor Martinez. Educational and career background; Professional materials used by Martinez; Features of his works; His painting styles.

Profiles oil painter Jonathan Hotz. Reasons for painting in different locations; Colors used his paintings; Features of his art; Advice of Hotz to aspiring artists.

Profiles painter Peter Poskas. Features of his paintings; His painting styles; Methods used by Poskas regarding colors.

Describes several paintings classified into different artistic categories. "Deborah" portrait painting by Richard W. Whitney; "Brothers" landscape painting by Peter Bougie; "The Lute Player" genre painting by Paul DeLorenzo.

Elaborates the process in creating "The Beat Goes On" figure painting. Description of the painting; Source of the scene; Information on the three central figures to be considered in painting; Details of the final composition; Methods in achieving movement in painting.

Relates the importance of composition to painting according to watercolorist Shelly Bechtel Shepherd. Explanation on composition; Methods in painting; Consideration on rhythm; Aspects of contrast; Career background of Shepherd.

Features Max Mason, a mural painter. Approach used by Mason in painting; Technique in painting murals; Materials used by Mason in painting.

Profiles Brenda Ferguson, a pastel painter from Dixmont, Maine. Efforts of Ferguson to develop her own technique in painting; Challenges encountered by Ferguson in learning the techniques of painting; Event which gave Ferguson the opportunity to show her works.

Details the technique and method in painting used by artist Mario Robinson. Examples of the paintings created by Robinson; Description of the works of Robinson; Attitude of Robinson toward painting.

Deals with the advantages of using water-soluble colored pencils in painting. Importance of choosing the right paper when using pencils; Information on techniques for using watercolor pencils; Disadvantage of rubbing wet paper too much.

Presents an article on using colored pencils for paintings. Advantages of using the medium; Reason colored pencils have attracted artists in growing numbers; Purpose of the author for working on black paper.

Presents an article on the use of markers as a medium for fine-art painting. Reason the author keeps a camera in his car; Description of how the painting titled "Big-Horned Sheep" was created.

Presents an article on how the author creates still life paintings. Colors consisting the author's palette; Description of how the author tells if the painting is finished.

Deals with integrating observation and imagination in pastel painting. Information on developing subject matter; Significance of working from imagination; Factors to consider in integrating observation and imagination in painting.

Discusses rules for using complementary colors in watercolor painting. Factors to consider when using or applying complementary colors in a painting; Choice of colors; Advice with regard to color temperature; Tips on mixing colors.

Focuses on developing a personal style in painting. Process of developing a personal style in art; Ways to incite the imagination; Pieces of advice regarding style development in painting.

Discusses the use of oils in the painting process by Richard Raiselis and describes Chad Wooters' method of utilizing different oils in building paintings. Significance of oils in painting, according to Wooters; Type and amount of oil Wooters uses; Information on the principle of fat over lean in painting.

Focuses on the art of painting unexpected visual occurrences by Wisconsin artist Jeffrey T. Larson as of February 2004. Approach of Larson to oil painting and to living; Artistic focus of the paintings of Larson; Aspect of the paintings of Larson; Educational background of Larson.

Presents the art of drawing upon one's own backyard as depicted by Lynn Newman, art coordinator for the Laramie County School District 1, as of February 2004. Educational background of Newman; Demonstration of a painting of Newman on his daughter and their cat; Example of an artistic connection of Newman with the changing land of Wyoming; Important things artists must know about themselves.

Features wildlife painter Edward Aldrich. Goal of Aldrich with his art work; Effect of the evolution of Aldrich's style on his painting process; Changes made by Aldrich on his materials.

Focuses on the representation of religion and faith in Nicora Gangi's artworks. Inspiration of Gangi in her artworks; Description of several paintings by Gangi; Technique and materials used by Gangi in her paintings.

Focuses on the technique used by artist Ron Rencher in en plein air painting. Theme of paintings by Rencher; Description of several paintings by Rencher; Basic colors used by Rencher in his artworks.

Focuses on the technique used by artist Bob Rohm in painting landscape scenery in pastel or oil. Challenges associated with using oil or pastel in painting a landscape; Color used by Rohm when sketching the basic compositional elements of a landscape; Materials used by Rohm in landscape painting.

Describes the key aspects of the controlled spontaneity technique of Carol Cottone-Kolthoff in using the watercolor as a painting medium. Types of photographs where Cottone-Kolthoff's paintings were inspired; Materials used by Cottone-Kolthoff in painting; Information on the masking method in watercolor painting.

Offers information on actress and artist Victoria K. Bell. Theme of the painting "Things Are Not What They Seem," by Bell; Influence of Bell's career as an actress on her inspirations and styles in painting; Information on the reference materials used by Bell for her paintings; Approach used by Bell in her paintings.

Describes the encaustic-and-oil landscape paintings of Florida artist Leslie Neumann. Origin of Neumann's inclination to encaustics; Characterization of her works; Process of working on the 'Garden of Unearthly Delights.'

Presents an article on an artistic approach to painting through the use of plastic toy figures as the subject matter. Fascination for plastic toy figures as objects of art; Characteristics of plastic toys; Techniques applied while painting.

Describes an artistic approach applied while working on the painting 'Sundown, The Crossing.' Evolution of a visual concept before the final image of the painting emerged; Description of the painting; Adjustments and changes made before resolving the final composition.

Features South Carolina artist Chet Goff. His reputation in the field of art; Background of Goff; His inclination to watercolor painting.

Presents an article on an artistic approach to painting. Views on automatism and its role in the artistry of painting; Description of the art movement; Most difficult phase in painting; Significance of the viewers' response to the painting.