Born in Victoria, Australia, Martin Lewis was a printmaker who is known for his scenes of urban life in New York during the 1920s and 1930s. As a youth Lewis held a variety of jobs that ranged from working on cattle ranches in the Australian Outback, in logging and mining camps, to being a sailor. In 1898, he moved to Sydney for two years where he received his only formal art training. During this period he may have been introduced to printmaking; a local radical paper, The Bulletin, published two of his drawings.
Lewis left Australia in 1900 and first settled in San Francisco. He eventually worked his way eastward to New York. Little is known about his life during the following decade except that he made a living as a commercial artist and produced his first etching in 1915. Lewis’ skill as an etcher was noticed by Edward Hopper, who became a lifelong friend. In 1920, dissatisfied with his job, Lewis used his entire savings to study art and to sketch in Japan. He returned to New York after a two-year stay and resumed his commercial art career, but also pursued his own work as a painter and printmaker.
During the Depression, Lewis moved to Newtown, Connecticut, but later returned to Manhattan, where he helped establish a school for printmakers. From 1944-1952 Lewis taught a graphics course at the Art Students League in New York.
During his thirty-year career, Lewis made about 145 drypoints and etchings. His prints, like Shadow Dance and Stoops in Snow, were much admired during the 1930s for their realistic portrayal of daily life and sensitive rendering of texture. The artist’s skill in composition and his talent in the drypoint and etching media have received renewed attention in recent years. Lewis is one of the few printmakers of this era who specialized in nocturnal scenes. Some scholars consider his print Glow of the City his most significant work because of the subtlety of handling. A minute network of dots, lines, and flecks scratched onto the plate creates the illusion of transparent garments hanging in the foreground, while the Chanin Building, an art deco skyscraper, towers over the nearby tenements.
Miller’s Penguin book covers and ironic titles catch the art world’s eye
At First Light chronicles twenty-six extraordinary artists of the last two hundred years who have lived and worked in Maine. Published to coincide with the state’s bicentennial in 2020, the volume considers the significant contributions artists have made to a deeper and more profound understanding of Maine’s history, its land and its peoples. Maine’s unique and breathtaking landscape–from its rugged coastline, quaint harbors, majestic mountains, and verdant forests–continues to have a powerful effect on the artists who are drawn to its shores.
The son of a watchmaker, Joan Miró was born in Barcelona in 1893. He moved to Paris in the early 1920s and soon joined the Surrealist movement. He also befriended a host of avant-garde writers, such as Max Jacob, Tristan Tzara, Antonin Artaud, André Breton and Paul Eluard.
In the final years of Georgia O’Keeffe’s nearly century-long life, she employed and befriended the young sculptor Juan Hamilton. The two would become inseparable, and upon her death in 1986, Hamilton inherited fine art and personal affects from the artist’s estate, including rarely seen pieces from the estate of O’Keeffe’s late husband, Joseph Stieglitz.
Every artist needs to learn and master the still life. Written by a well-known artist and expert instructor, The Art of Still Life offers a comprehensive, contemporary approach to the subject that instructs artists on the foundation basics and advanced techniques they need for successful drawing and painting. 
manual and a visual treasure trove of some of the finest still life art throughout history and being created today.
‘The sports stars of today are the movie stars of yesterday,’ proclaimed the artist. It was true; thanks to rapid advances in TV broadcasting, sporting champions in the 1970s were starting to achieve the same level of popularity as other entertainers.
Boomers Daily 