She then met and became lifelong companions with Max Ernst. Like Ernst, Tanning moved from the dream state explorations of the Surrealists into that shifting netherland between representational and non-representational art.

Her suggestions of recognizable forms draw you in, then drift into half-recognized shapes abstracted from something undefinable, providing fertile ground for the viewer to project their own interpreted content and meaning.

Tanning was prolific, even into her later years. She died on Wednesday, January 1, 2012, at the age of 101.

Her official website has an extensive collection of her work, though the images are unfortunately somewhat small and not of the highest quality.

I’ve listed some obits and other sources below.

Quilling is a practice that traces back at least to the Renaissance, in which strips of paper are rolled into shapes, usually around a quill — hence the name, and glued together to create designs, ornaments and images.

It turns out that the technique, in Nilsson’s hands, seems to be well suited for the depiction of anatomical cross-sections.

In investigating her website, I found that the Tissue Series, as she titles it, is one of several directions in which Nilsson works. Others include Boxes, assemblages in the tradition of the Dadaists, Small Paintings and Greeting Card Illustration (note that most images are linked to larger versions).

The anatomical quilling seems a natural outgrowth of her studies, which include training in illustration, medieval manuscript illumination, painting and certification as a medical assistant.

Her paintings, which are often quite small in scale — around 5×7″ (13x18cm) to 8×10 (20x25cm), are done in gouache on paper.

If true, the painting gives us not only an insight into the master’s techniques, as it was apparently revised as Leonardo revised the original, but also reveals a clearer picture of what the original, which has not been cleaned for some time, may have looked like when originally painted.

According to The Art Newspaper, which broke the story, the scholarly paper that suggests the new placement of the painting within Leonardo’s studio at the same time as the original was presented in conjunction with the current landmark exhibition Leonardo da Vinci: painter at the Court of Milan that ends soon at the National Gallery, London.

I’ve linked to several articles below, though most source from The Art Newspaper. The LA Times has posted perhaps the best side by side image of the two paintings.

The copy by the as yet unidentified student shows us not only the brighter colors that probably lie under layers of varnish in the original, but a younger looking subject (assumed to be Lisa Gherardini).

It also makes clearer what I have long asserted to be the source of her famously “enigmatic smile” — mouth corners turned up at one end, but straight on the other [see my previous post: La Giaconda (The Mona Lisa), flipped for your viewing pleasure].

With the help of Dave at Poster Plus, Sedelmaier has accompanied the article with numerous examples of these beautiful posters, most of which are linked to much larger versions.

In sharp contrast to many articles you might see on the web about older posters, these are not only credited to the artists who designed them, but arranged by artist within the context of the article.

Wonderful.

Also reprinted on Salon.com as Posters that rival the London Underground.

(Images above, pairs are by the same artist: Willard Frederic Elmes, Otto Brennemann, Hazel B. Urgelles, Norman Erickson, Oscar Rabe Hanson, Robert Beebe, Arthur A. Johnson, Willard Frederic Elmes)

Beavers says in his artist’s statement that he thinks of his work as symbolist, in that the subjects of his compositions represent something beyond the objects themselves, and while I don’t claim to have an understanding of the intentions behind his pieces, I do find that element of “more than meets they eye” comes through and adds to the appeal.

I particularly enjoy the series he calls “Stillscape”, in which he paints objects commonly used for still life in the context of shoreline landscapes.

Beavers also paints figurative work and landscapes. The latter tend to be spare and open, often with dramatic cloud formations as their focus.

[Via Jeffrey Hayes]

Though not present in all of his compositions, trees are often the primary subject. Hargreaves finds special fascination in trees with gnarled, twisted trunks, roots covered in moss and wonderful textural elements that give his landscapes a great deal of presence. In a way, it almost feels as if he were doing tree portraits, so individual do some of them seem.

His work appears detailed in small reproduction, but in larger images shows as pleasingly painterly. Though his approach is never overtly impressionistic and his color palette is often muted, there are times when his compositions remind me of some of Van Gogh’s lesser known works, particularly those influenced by Japanese prints.

I personally respond strongly to visual texture in paintings, and in this characteristic, Hargreaves constantly delights. From weathered bark to soft moss to delicate patterns of leaves and branches, he seeks out the most interesting textural aspects of his scene and conveys them with tactile virtuosity.

Adam Hargreaves is the son of Roger Hargreaves, the well-known author and illustrator of the “Mr. Men” series of children’s books. Adam inherited responsibility for the line from his father, and when not painting, continues to write and illustrate books in the series.

Adam Hargreaves is represented by the Fairfax Gallery which has a selection of his work online.

On Hargreaves’ own site, there are two galleries under “Paintings”, for work from 2010, and 2009. Both come up as a slide show, but it can be stopped and thumbnails can be accessed from controls at the bottom. In the 2010 gallery, there is an additional “zoom” control. While not really a zoom feature in the usual sense, it does bring up larger versions of some of the images (as does clicking on the images themselves).

[Via ensuciando las paredes]

In the case of Golden Age illustrator Charles Robinson, who I wrote about in 2007, I’m delighted to say the answer is an emphatic yes.

You might say that illustration was in Charles Robinson’s blood, his father was an illustrator, as were his brothers Thomas Heath Robinson and William Heath Robinson. Elder brother William is the best known of the three, and Charles is sometimes in his shadow, Thomas definitely so.

It’s unfortunate that the work of all three brothers doesn’t receive the attention it deserves.

The good news is that those additional resources I mentioned include several complete books illustrated by Charles, and one with work by all three brothers, now available on the Internet Archive. These, unlike some illustrated books featured on the Archive, have quite good reproductions of the illustrations.

The books feature both color reproductions and a wealth of Robinson’s beautiful ink drawings, reproduced better and in more quantity than I’ve previously seen, and I have to say they have raised my appreciation of Robinson as a pen and ink artist.

Each of the books can be flipped through page by page, or accessed through a page of thumbnails. In addition to the full illustrations, there are numerous spot illustrations and page decorations.

[I found the Internet Archive entries courtesy of this post on The Art of Charles Robinson on "{ feuilleton }", the blog of artist and designer John Coulthart, and I recommend browsing through his Illustrators Archive (Time-Sink Warning).]

Originally from New York, Peterson studied at the Art Institute of Boston and the Art Center College of Design in Pasadena. His clients include Time Magazine, The New York Times, The San Francisco Chronicle, Readers Digest, Fortune, McGraw-Hill, Watson-Guptill, Macy’s, Courvoisier, Warner Brothers, Joe Boxer and Bill Graham Presents, among others; and his rock posters have included such performers as Paul McCartney, Phish, The String Cheese Incident, Sting, Eric Clapton, Elvis Costello, John Hiatt, Taj Mahal and Gloria Estefan.

Peterson’s approach varies from relatively highly rendered, to painterly to loose and sketchlike. His website features sections for posters, illustration, concept renderings and sketches, and you can find an additional portfolio of his work on the Shannon Associates artists’ representative site.

I particularly enjoy the fun conceptual devices he employs in his rock posters, with band names and concert information arrayed on grain elevators, buildings, room interiors, train cars and the like.