The autumn season is approaching, and the lazy days of summer will soon be a hazy (and humid) memory. Our collective engines ramp up to full throttle this time of year as we cycle through the few remaining months in the calendar. November marks the end of harvest season, and we are reminded to be grateful for the abundance that is provided us. Artistic abundance—the product of sustained study, diligent effort, and a deep appreciation of beauty—overflows in the art world, and we can provide but a small sampling of all there is to see, learn, and create within the context of contemporary practice.
As such our November issue focuses on classical art, a tradition that offers a rare and uplifting humanist symbolism and embraces the true spirit of the fall season. With critical text, illustrated demonstrations, and stunning artwork, this issue explores the materials, methods, and motives that inform classical art. We begin with a special section on supports, surfaces, and techniques by faculty and students affiliated with the Teaching Studios of Art. A survey of historical applications follows in the first part of our review of the exhibition “Youth and Beauty: Art of the Twenties,” at the Brooklyn Museum. Two generational leaders in classical realism, Daniel E. Greene and Jacob Collins, have their recent gallery exhibitions and current studio practices featured as well. Next is a look at the practice of Juan Carlos Martínez, an instructor at the Academy of Realist Art, in Toronto, who offers a step-by-step demonstration of portrait painting on copper plates. And the magazine culminates, appropriately, with an annotated listing of recommended schools that specialize in the study of classical art.