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The article features illustrator Newell Convers Wyeth. He was a graduate of the Massachusetts Normal Art School and the Eric Pape School of Art in Boston. Wyeth was accepted to the small class organized by the famous illustrator Howard Pyle and became a full fledged member of the Howard Pyle School of Art. He was first commissioned by a magazine called "Success."

The article features illustrator Don Hedin. Hedin was educated in the public grammar, studied at Pratt Institute and briefly at the Art Students League after his stint in the army, and in 1948, joined the Reader's Digest. It is inferred that Hedin is known for his sense of humor as evidenced by his children's book illustrations and Christmas card designs and his accurate eye is shown in his paintings. His works include "Lowell's Bench" and "Gran's Blue Cupboard."

The article features painter Seymour Remenick, his style, techniques, and works such as "Red Tree," "Gloucester Dock," and "Schuylkill River Scene." Receiving encouragement from art instructors at Southern High School in Philadelphia, Pennsylvania, Remenick obtained a scholarship to the Temple University's Tyler School of Art in his elementary years. After leaving the classes of Hans Hofmann, Remenick enrolled at the Pennsylvania Academy of Fine Arts. Among the Dutch masters he admired such as Rembrandt and Velasquez, Bruegel is deemed most influential.

The article profiles artist Morris Blackburn who began his artistic journey toward the mastery of his different media namely oil, watercolor, gouache, egg tempera, casein and acrylic colors. He was born in 1902 and he studied at the school of the Pennsylvania Academy of the Fine Arts, where he now teaches in 1970. In 1928 and 1929, Blackburn won Cresson European scholarships while a student. Several photographs of his paintings are presented including "Red Sky" and "Expedition."

The article features four artist-teachers of the method of artist Howard Pyle. Walter Everett was the first to instruct a large of students at the accredited art school, the Pennsylvania Museum School of Industrial Art. Thornton Oakley reportedly introduced the idea that art could be conquered by love. The author shares that George Harding employed a no-nonsense and aggressive temperament in interpreting his Pyle training.

The article features artists who use the pen in their works including Charles Dana Gibson, William Small and Joseph Clement Coll. The author describes pen drawings as a convention and plainly a translation but with clarity and kinship with the printed page. The article also highlights the works of Audrey Beardsley, Charles Keene and Edmund J. Sullivan.

The article focuses on American illustrator Felix Darley. Darley was born in Philadelphia, Pennsylvania in 1822 and began his professional career as an illustrator at the age of 20. He is considered as the first popular illustrator in the U.S. who learned to draw by studying pictures available to him and observing the life around him. Darley was offered a job by writer Edgar Allan Poe as an illustrator for a magazine called "The Stylus."

The article features artist Paul Gorka and his artworks. He was born in Nanticoke, Pennsylvania in 1931. He studied Bachelor of Fine Arts at the University of Pennsylvania and graduated in 1955. He also studied at the Graduate Schools of New York University and at the University of Munich in Germany. It cites the awards that he received as a student in Pennsylvania, including the Cresson Travelling Scholarship in 1960.

The article discusses the evolution of the illustrated book, both for children and adults. It cites several typographic designers who served as teachers for the artist in book design, including Bruce Rogers, Frederic Goudy and Elmer Adler. The influence of the American Institute of Graphic Arts is also explored. The institute presented its inaugural exhibition "The Fifty Books of the Year" in 1923," which showed American publishers examples of fine books. It also presents several book illustrators, including Howard Pyle and Randolph Caldecott.

The article discusses the Brandywine Tradition or School in art. In the physical sense, the Brandywine Valley is a ribbon of stream, meadowlands, and encircling hills in Pennsylvania. This setting was reportedly the background of the work by three writers namely Thomas Buchanan Read, Bayard Taylor, and George Lippard. The artist Howard Pyle used the method where the artist draws upon a block of boxwood or trace a drawing on it.

The article features U.S. graphic artist Robert Riggs and his works. He studied at The Art Students League of New York and worked as a commercial artist in Philadelphia, Pennsylvania. His influences were the post-impressionist and early modernist artists like Paul Cezanne and Pablo Picasso. Riggs' works are displayed in such galleries as The Metropolitan Museum, the Brooklyn Museum and The Museum of Modern Art.

The article provides information on Benjamin Eisenstat, known in Delaware Valley for his reportorial drawings and reproduced watercolors, who has documented historical spots in his home region. His work has been published in several journals that include "Philadelphia Inquirer," "New York Times" and "Lincoln Mercury Times." Eisenstat reveals that motivation came from compliments he received as a child and again after high school while at the Graphic Sketch Club. He is Associate Professor in Painting and Drawing at the Philadelphia College of Art.

The article discusses how the step-by-step march toward abstraction is used to approach issues related to pictorial subjects in painting. It says that the pull of the unconscious is fruitful only when the subconscious is filled with the raw material of art, which artists believe is everything. The author adds that young and middle-aged painters who have absorbed the important lessons of modernism are forced to work out a dialogue between the concrete and the abstract. The threat of relapse into the mindless repetition of standard forms is also discussed.

The article focuses on American artist Frank Schoonover. It reviews the career of Schoonover whom the author describes as a teacher and artist of distinction. Born in Oxford, New Jersey in 1877, Schoonover was one of Pyle's original group of pupils. From the Pyle studio, he moved to several contemporary locations. The author considers Schoonover as a romantic realist drawn toward the picturesque and the out-of-doors. At the age of 87, Schoonover still teaches.

The article features scientific illustrator Rudolf Freund. When asked about the start of his career, Freund mentions he was given work by publishers because of his association with the American Museum of Natural History. He attended public schools in Philadelphia, Pennsylvania then took classes at the Graphic Sketch Club after high school and the illustration course at the Philadelphia Museum College of Art. His pictures have appeared in magazines such as "Life" and "Scientific American."

The author comments on the changes in the world of art, particularly in the visual arts. It discusses the decline of the modern abstract school and the continued search for revaluation. Key figures in the art community that emerged during the 20th-century include painter Thomas Eakins and artist Thomas Anshutz. Several art works by selected artists are also presented including "Nude With Apple," by William Glackens, "Variations in Pink and Grey," by James McNeill Whistler, and "Mrs. Anshutz," by Thomas Anshutz.

The article presents profiles Sherman Hoeflich, an artist. Hoeflich studied at the Pennsylvania Academy of Fine Arts and at night classes at the Graphic Sketch Club and The Philadelphia Museum College of Art. Having the talent of being a natural draughtsman, Hoeflich gained a career in advertising and illustration. He worked under a number of advertising agencies as art director with Studio School of Art as his last stint as director of advertising department before transferring to France.

The article profiles U.S. artist Ben Solowey who is known for his excellent drawings such as life-draw portraits. According to the author, one of the drawings of Solowey is a young man named Laurence Olivier whom he met in a hotel when he appeared in the U.S. theatrical production "The Green Bay Tree." He adds that the artist has won several awards including the Dawson Memorial Medal at the yearly exhibition of the artists of the Pennsylvania Academy of Fine Arts.

The article discusses the value of a sketchbook for traveling artists. It highlights the work of several artists who traveled in Europe, and shows how different images are captured through drawings. It features several European sketches, including a pen drawing of the Lisbon street cafe, the Borghese Gardens in Rome drawn in grease pencil, and pen drawing of a shepherd boy in Greece with smudged ink tone.

The article discusses the changes in American illustration from the late 1930s to the early 1960s. The author believes that the 1960s has not surpassed the two preceding decades but there was certainly an improvement in general illustration standard, there are more first-rate illustrators and less mediocre picture-making. He also observes the increase in competition among illustrators, improvement in training and the rise of illustration talent from more sources.

The article features Don Lord, a romantic-realist painter in the U.S. who has received various awards including three first prizes from the Art Club of Erie, Pennsylvania. It is stated that his paintings were inspired by his wife and children and the valleys and wooded slopes of the countryside close to Erie. Lord states that ever since he was a child, he has been drawn to nature and his paintings are expressions of fantasy. Samples of his paintings are presented including "The Garden,' "Sleeping Girl" and "Nina."

The article profiles American painter Maurice Freed. Freed spent a year in Paris, France with his family to concentrate on his painting. He reveals that they had planned for a long time to go abroad, but his children were then too young so the whole family decided to stay in the U.S. and postpone their overseas plans. He also details how Paris inspired him and recounts how arriving at Vence provided him with the subjects for his paintings.

The article discusses the accumulations of illustration from different historical periods. It profiles the most notable Redskin illustrators in the U.S. during the latter part of the 19th-century led by Howard Pyle, Frederic Remington, and Arthur B. Frost. The author infers that the proliferation of magazines with a circulation of a million or more is the most obvious factor in the growth of illustration in the U.S. It is also suggested that some of the finest illustrations are hidden in smaller publications, journals, and catalogs.

The article features U.S. artist Ben Kamihira. Described as a secluded, rapt painter, Kamihira has a hungry pictorial eye for the visible world, according to the author. His sustenance was drawn from the line of western painters from the Venetians to other middle and late Italian painters and the Spaniards Goya and El Greco, the author adds. Kamihira considers his picture as his statements. He studied at the Art Institute of Pittsburgh and at the Pennsylvania Academy of the Fine Arts.

The article presents information on illustrator Edward Shenton. It is stated that he became an editor for the Penn Publishing Co. after studying at the Pennsylvania Museum School of Industrial Art and the Pennsylvania Academy of the Fine Arts. It is also mentioned that he was able to do pictures for books like "On to Oregon," by Honoré Willsie Morrow, "Fighting Frontiersman: The Story of Daniel Boone," by John Bakeless, and "Long Hunter: The Story of Big Foot Spencer," by Ed Winfield Parks.

In this article, the author features artist Jack Bookbinder and his success in the art industry which may be attributed to his graphic skills and educational attainment. Bookbinder obtained his art education from Pennsylvania Academy of the Fine Arts in Philadelphia, Pennsylvania. The two painting media that he uses include casein and oil.

The article profiles Francis Speight, a painter based in Schuylkill Valley, Pennsylvania. It discusses the natural features of the Schuylkill Valley and how it inspires the artists in the area such as Walter Stuemfig, W. Emerson Haitland and Albert Gold. The article presents several photographs of Speight's works and discusses his artistic style and the common themes represented in his paintings.

The article offers information on book illustrators. The illustrators have to work fast while the inspiration is high which develops their alertness in decision making and execution. It explains the process of planning and executing an illustrated book such as "The Chronicles" which include text selection, format, and picture size. It also presents a profile of Henry Pitz who has illustrated more than 200 books on various subjects.

The article features American modernist painter Paul Zimmerman. In a five-year span, the 38-year-old artist widely exhibited his works that dealt with a variety of subjects, such as figure compositions, still life, architectural, and landscapes. His works garnered numerous awards, and many were sold for private and public collections. Between 1945 and 1954 alone, Zimmerman received fifteen regional awards and the First Hallgarten Prize at the National Academy of Design.

The article focuses on book illustration talents of the husband and wife team Martin and Alice Provensen. It describes how they complement each other's work attitude and their cooperation as a team. With tempera as the medium of choice, they use several techniques to achieve the textural quality they want. The couple is known for their illustrations' color combinations and the way they choose unusual shapes to enhance their pictures' dramatic impact. The couple has released several books including "The Fireside Book of Folk Songs."

The article features the epic art of graphic artist Feliks Topolski which includes a panoramic mural he made for the Festival of Britain and is housed at the Victoria Memorial Hall in Singapore. It narrates how Topolski became known at age 28 when he went to England as a young Polish artist. He drew the pictures for "The London Spectacle" in 1935 and several of English author and playwright George Bernard Shaw's books. He eventually published his own "Chronicle" where he documented several events with his graphic art.

The article explores the contributions of Willet Studios and their shops in Philadelphia and Amber, Pennsylvania, in the revival of stained glass in the U.S. William and Anne Lee Willet founded the enterprise in late 1890s and their son, Henry, become president of the studios when William died in 1921. The studios developed the cement technique and combined the ancient art of stained glass with modern designs and techniques to create windows for church buildings. The role of Henry's apprenticeship program in the rejuvenation of this art is also cited.

The article profiles American watercolor artist Andrew Wyett, considered by the author as a legend of his time. His talent is traced to his exposure to and apprenticeship in his artist-father's studio as a young boy. His favorite subjects, painting style and the qualities of his work are described. Space relationships and drama are hallmarks of his paintings, several of which are presented, including "Portrait Detail (Citizen Clark)," "Flexible Flyer," and "The Boat."

The article focuses on the group of artists known as "The Illustrators of the Sixties." The term refers to the works produced by the group, which include Frederick Sandys, G. J. Pinwell, and Dante G. Rossetti, around the 1960s. The genre was characterized by the progression of Great Britain from an agricultural to an industrial nation. The art industry was responding by documenting the activity but picture reproduction through aquatint was expensive and so wood engraving was left the only option for reproduction.

The article features Joseph Hirsch, a prolific artist who received the Lippincott prize for figure painting and the Third Hallgarten Prize at the National Academy of Design at the age of 23 for his painting "Masseur Tom." Hirsche used oil and watercolor and served as war correspondent in England, Italy and the South Pacific. Besides several fellowships and grants, his awards include first honorable mention at the 1935 Prix de Rome competition, First Choice at the New York World's Fair of 1939 and second prize at the Carnegie Exhibition in 1947.

The article describes how painter George Harding restored and decorated the ornithologist John James Audubon's first U.S. home at Mill Grove, Pennsylvania. With a commission from the Montgomery County and after studies, Harding opted against the conventional solution of restoring the building and adding furniture and accessories of the period. He made the house structurally sound then painted murals in egg tempera showing Audubon's life and achievements and installed them on the walls.

The article discusses the art and the life of Helen Sewell, who the author claims is one of the most important talents in the field of book illustration, especially children's books. Despite suffering from ill health, Sewell had illustrated 64 books with deliberate rigorousness and technical meticulousness. Her "A First Bible" in 1934 made her an instant sensation with the book featuring full-page pictures done in slow line and stipple.

The article details the life and works of husband-and-wife illustrators Paul and Marie Nonnast from Doylestown, Pennsylvania. Paul has been a teacher of illustration at the Moore Institute of Art in Philadelphia up to the time he met his wife Mary, who was his student. While Paul's work has been almost entirely in the fields of advertising and magazine, Mary concentrated on drawing animals as living creatures. The couple has received awards at the Seventeenth Annual Exhibition of the Philadelphia Art Directors Society.

The article features artist and painter Gil Wilson and the influence of the novel "Moby Dick," written by Herman Melville, and the poem "Leaves of Grass," written by Walt Whitman, on the themes of his artworks. It mentions his artworks on the "Moby Dick" theme, some of which were exhibited under the sponsorship of Pearl Buck, Doctor Walter H. De Mott, and the late Walter Huston, which include designs for stage sets and lighting effects and drawings. His dream of creating a sculpture of the spirit of Walt Whitman is also discussed.

The article focuses on paperback book cover design. While the rebirth of paperbacks in the early 1940s led eager artists to submit their drawings, majority were not appreciated by the public. Publishing firms, particularly Doubleday and Company started printing academic books such as its Anchor series which paved the way for artists to design paperback covers according to Doubleday's standards. Also noted are some pointers for publishers in knowing the market, the readers and their tastes.

The article features Charles Dana Gibson, a U.S. graphic artist-illustrator of contemporary life. It describes his pen-and-ink sketches of real life which created the Gibson girl, one of the first American pin-up girls. He sold his first work to "Life" magazine and his works were found in every media all over the country during his time. According to the article, his famous Gibson technique is seen in one of the most complete pictorial documents any age has left.

The article features Albert Gold, a U.S. painter and draughtsman. It cites that the subject matter of Gold's paintings is urban life and he loves the colors and textures of walls and sidewalks, the metropolis-warren, and tight living. Having studied at Philadelphia Museum School of Art, it is noted that Gold has nurtured his skill and craftsmanship with intelligence and diligence.

The article discusses the career and artworks of U.S. illustrator Jacob Landau. Having evident artistic talents as a child, he was transferred into a more advanced illustration class at the Philadelphia Museum School of Art during his preparatory years. According to Landau, the concept of eclecticism in art has a positive side. Aside from being an artist, he also teaches anatomy, graphics and illustration classes.

The article discusses the career of U.S. portrait and landscape painter Furman Finck and his interest in medical-related subjects for his paintings. He has been chosen to create portraits for medical school authorities at the Medical School of Temple University in Philadelphia, Pennsylvania for his knowledge, painting skills and experience. According to Finck, artist and physician J. Walter Levering was the one who first invited him to observe medical operations and surgical procedures that have been the focus of his artworks.

The author discusses the feasibility of using trees as subjects of art. He claims that if an artist decides to make trees as his subject of art, he could fell in love with his subject and that he will be hooked and make it his lifetime subject. He cites that the transition periods in the tree's leafage are of particular interest to the artist as a subject of art, including its beautiful green colors during springtime and the muted browns or fire-red colors during autumn.

The article features artist Thomas Yerxa. He was born in Oakland, California in 1923. He studied at the Pennsylvania Academy of Fine Arts. At the school, he was taught by such painter-teachers as Franklin Watkins, Walter Stuempfig and Hobson Pittman. His subjects are mainly the life and architecture of the city neighborhood, specifically the poor environments around the industry.

The article discusses the next possible move of an art student following his graduation. It claims that among the decisions that a newly graduated art student has to make is whether to do free-lance jobs or search for a salaried work. It also suggests some of the things that should be prepared by the artist when finding a job, such as several samples of his work. It also cites that the artist's diploma or degree are of no value except in a teaching job.

The article profiles artist Lynd Ward and his illustrations. Ward studied at the National Academy for Graphic Arts in Leipzig, Germany where he acquired a technical knowledge of book structure and design. He also studied design theory, methods of teaching and history of art at Columbia University. The author describes Ward as a meticulous draftsman and adds that Ward's sense of pulsing and dramatic composition is one of his best assets. His works include illustrations for "The Biggest Bear," "Little Baptiste," and "Innocent Voyage."