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"My creative process is inherently about labor, and against the modern backdrop of instant, image-driven gratification, I have found the physical process involved in the painstaking, craft-driven rendering of a subject or a moment to be ever more important."

Christopher Benson shares an essay on danger of confusing the level of our craft with the quality of our art.

"Just like the girl in my painting 'The Color Collector,' creating art was for me a refuge, a place where I was with myself, away from my country."

"By examining my own world and people closest to me on a daily basis, my paintings have begun to reflect the current season of my life."

Contemporary figurative artist Alan Feltus shares an essay on painting the nude female figure.

In her illustrative storytelling, Morgan Irons often maintains a mystery that holds viewers’ interest and invites them to ...

Eric Drummond uses thickness and thinness of paint to translate form, compression of values to express light, and the experience of interacting with his subjects in person to express moments between human beings. Here, he shares how the experience of Covid influenced his work.

From oil to pastel to watercolor, Mario Robinson explains how his body of work (in media and in subject) could be likened to the acts of a play: rising action, climax, and resolution.

In his 80s — and still painting — Figliola has been referred to as “a contemporary realist, painting the Renaissance and making it today.”

Nanette Fluhr's portrait paintings have a personal touch that transcends the artist/model relationship, inviting the viewer to feel a similar sense of connection within her works. In this Q&A with Daniel Maidman, she explains how.