4 Watercolor artist | FEBRUARY 2019
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PHOTO BY CARA HUMMELf
or me, and I suspect for many of
us, our visions of world-famous
cities are signii cantly shaped by
painters’ legendary portrayals of
these places—the Parisian views of
Camille Pissarro and Claude Monet,
for example, or Gustave Caillebotte.
At the root of these memorable interpretations are artists
with a personal connection to the places they’re painting.
Tim Saternow is an artist who identii es with that kind
of personal connection. h ough he can appreciate the gran-
deur of other urban hotspots, he’ll never i nd anything
that captivates him like the visual excitement of New York
City—a subject that of ers plenty of technical challenge.
On page 56, Saternow describes the value-centric strategy
he uses to make sense of the city’s overwhelming “cacoph-
ony of color, texture and shapes.”
Artist James Toogood thinks of his city paintings less
as landscapes and more like “portraits” of a place. On page
70, you’ll learn how the many moods and unique atmo-
spheres of Venice, Philadelphia and New York City have
inspired his work, and how these urban encounters of er
an interesting contrast to his painting experiences in the
more laid-back environment of a tropical island.You’ll also meet artists Wendy Artin (on page 46) and
John Bayalis (on page 62), whose work demonstrates that
towering buildings aren’t a requirement for paintings of the
city. Artin’s paintings bypass some of the more iconic views
of Rome, and other world cities, to depict instead the intri-
cate columns and statues, and even grai ti-covered walls.
For Bayalis, the inspiration may be as likely to come from
a busy suburban intersection as the bustling city center.
When it comes to the city in art, these watercolor artists
demonstrate a wonderful diversity of expression. So, if you
haven’t painted a cityscape in awhile—or ever—this may be
the time to grab your sketchbook and hit the streets! WAJohn Bayalis
captures a unique
view of Havana,
Cuba, in his
painting, Havana
Shop Window
(22x30).