
Thoughts on color theory, contemporary painting, and the art world at large. Mitchell Johnson’s color and shape driven paintings exist at the intersection of color theory, art history, nostalgia, and observed experience.
| Platform | Pricing | Only free issues | Publishes | Twice weekly | |
|---|---|---|---|---|---|
| Issues | 325 | Founded | 2 years ago | Last Issue | 4 days ago |
| Active | |||||

Do you ever read the pigment description on the back of your paint tubes to see the source of the colors you are using and whether or not they are permanent? One of the classes at Parsons School of Design’s MFA Painting program in the 1980s...
Mitchell Johnson, “North Truro (Edward),” 2026, 24x30 inches, oil/canvas. Private Collection, Park City, Utah.
I’m already getting a lot of questions about my annual September exhibition on Cape Cod. I teach a color theory class every Sept...
I started partnering with The New Yorker in 2020.
My first ad with them was on the back cover of the August 17, 2020 issue; Wayne Thiebaud’s ice cream cone painting was on the cover. How perfect was that? I got two hundred emails from the...
E.M. Saniga, “Sunbathers on the grass,” 2026, 24x23 inches, oil on board.
Hurry and see this wonderful exhibition of small intimate paintings by E. M. Saniga (b. 1946) at Donald Ryan Gallery on East 71st Street through this Saturday, April...
Mitchell Johnson, “Meyreuil Still-Life,” 1991, 16x24 inches, oil/canvas.
Mitchell Johnson, “Parsons Still-Life,” 1988, 16x18 inches, oil/canvas.
When I look at both of these paintings, I feel like I am reading a page from a journal or dia...
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California artist, Mitchell Johnson, writes weekly about the intersection of color theory, art history and his own studio practice.
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