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Still Life Painting

Discover representational still life paintings (including advice for painting) through interviews and features on contemporary artists.

Inspired by a symbolic circle of life, Soon Y. Warren shares why and how she paints sunflowers using watercolor. Bonus: View her realistic still lifes that show a mastery of painting crystal.
While drafting tape looks, at first glance, to be a lot like masking tape, there are some fundamental differences you should be aware of. Read on to see more from Laurin McCracken on this common watercolor painting technique.
If photorealism is evolving to reflect the visual experience of our digitized times, then the paintings of Sangita Phadke are a poster for the kind of clarity, definition, and detail that are possible.
In the contemporary still life paintings of Christopher Stott, simple, straightforward compositions showcasing familiar yet useless objects bring the themes of the fleeting nature of life, the warnings of our vanity and the inevitably of obsolescence.
There are a number of “rules” about how color should be used that aren’t true—or aren’t always true. Todd Casey explains this, explains the term "local color," and shares a bonus tip for mixing colors in this excerpt from his new book, "The Art of Still Life."
Go behind the scenes of how Eric Wert creates masterful Dutch-inspired still life paintings of subjects that are common, yet "unknowable."
"Finding a clever connection between objects and observations can be exciting but it’s important to avoid the pitfall of letting the message overwhelm the mechanics." Katharine Krieg explains why the constant underlying job of any painter is to make a structurally sound painting with building blocks like balance, value, and good drawing.
Art Competitions > Congratulations to Barbara S. Groff, whose work has been recognized in the PleinAir Salon.
Contemporary artist Terry Norris takes us through the concepts that inspire her traditional still life paintings, and the quickest and most effective way she has found to develop one's own vision and practical painting knowledge.
The idea of seeing — truly seeing — is where Aristides wants her students to start, eventually finding their way to the creation of beauty, which she considers a “portal to meaning.”
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