4 Artists Magazine December 2019
From The Editor
EDITOR-IN-CHIEF Anne Hevener
SENIOR DESIGNER Brian Roeth
SENIOR EDITOR Holly Davis
SENIOR EDITOR Beth Williams
ASSOCIATE EDITOR McKenzie Graham
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[email protected]ArtistsNetworkFAMILY MATTERS
The 18th century English artist Thomas
Gainsborough (1727–1788) was an in-demand
society portrait painter whose sitters included
kings and queens. Nevertheless, the artist found
time to paint a number of portraits of his wife
and children. The painting above—the first
known of several he did of his daughters Mary
and Margaret—can be enjoyed both as a tender
portrayal of family by a loving father as well as a
tribute to the innocence of childhood. In spite of
the fact that landscapes were the artist’s first love, Gainsborough still felt
called to use some of his noncommissioned free time to paint those dear-
est to him and, by doing so, immortalized them on canvas.
The use of family members as models for painting is common among
artists. Certainly one reason is simply the practical fact that family mem-
bers are readily available and don’t require modeling fees. But it’s also true
that artists are clearly responding to the very real emotional connection
they feel when they choose their family as subjects. For portrait artist
Vianna Szabo (page 10), her paintings of loved ones are more than
images. “They’re memories, feelings and moments captured in paint—
and a testament to my creative journey,” she says.
In this issue, we explore—among other things—the idea of family as
fodder for art-making. From Jerry N. Weiss’ behind-the-scenes look at
Édouard Manet’s masterful painting of the Monet family in the garden at
Argenteuil (page 6) to the slew of ideas for all-in-the-family art collabora-
tions on page 30, we’re out to prove that sometimes—when it comes to
creative inspiration—it’s all relative.ANNE HEVENER
Editor-in-ChiefThe Painter’s Daughters
Chasing a Butterfl y
by Thomas Gainsborough
ca 1756; oil on canvas, 44⁷⁄₁^0 x41⅓
NATIONAL GALLERY, LONDON