Illustration by @abby.ouelette

Today, Abby continues to take the lessons she learned at MassArt into her freelance illustration business. She’s found that maintaining a daily sketchbook practice and reflecting on past critiques of her work helps drive her current editorial illustrations for clients like the Wall Street Journal, Los Angeles Times, NPR, Politico, and others. Her long term goal is to be the main contributing illustrator for a weekly column.

The biggest lesson she’s learned so far: “Pushing visual boundaries is what helps illustrators succeed.” And while the media landscape continues to evolve, she’s found that news outlets are trying to prioritize illustration where they can, particularly when it comes to small-scale animation.

Since graduating, Abby has moved out west, but continues to stay involved with the MassArt community as a member of the Alumni Leadership Council. As for her advice for students: “Keep the momentum going in your artistic practice and maintain relationships with your peers and professors. And most of all, don’t be afraid to promote yourself.”

In preparation for this project, students met with Dr. Teresa Neff, H+H’s Christopher Hogwood HIP Fellow, to learn about the historical context in which Beethoven composed his 4th piano concerto. Students were also introduced to the period instruments with which Beethoven composed and first performed the work in 1808 — just like those H+H musicians play today as a historically informed orchestra. Esteemed H+H violinist Jesse Irons played a variety of classical excerpts, providing students with a sense of the sound of historical instruments, explaining, for example, how gut strings emit a different tonal quality and texture than modern, steel-wound strings.

Classical music critic Stephen Johnson commented that works from Beethoven’s “middle period” including his Piano Concerto No. 4, “are characterised by intense striving, heaven-storming ambition, revolutionary daring in matters of form and expression.”[1] Students took these creative contexts: sights, sounds, and history to fill their canvases with personal interpretations of the music: an orchestra of mice playing a symphony inside a piano; a modern woman transported back to the past, her heart resonating to the same music that graced ears so many years ago; a scene of two lovers on the run; the duality of home: bright skyscrapers against the tranquility of nature; and much more.

Jurors for the art competition included MassArt President Mary Grant, H+H Artistic Director Jonathan Cohen, and GBH Arts Editor Jared Brown. The 12 selected student artworks will be on display during both concerts and the artists will be there to answer questions about their work. All the art is for sale and each student takes home 100% of the sale price.

Concert Information and Tickets

The Handel and Haydn Society presents Beethoven, Mozart + The Bear at Symphony Hall (301 Massachusetts Avenue, Boston) on Friday, May 2 at 7:30pm and Sunday, May 4 at 3pm.

In addition to Beethoven’s Piano Concerto No. 4, the performances will include selected movements from Mozart’s only theatre score, Thamos, King of Egypt, followed by Haydn’s Symphony No. 82, nicknamed The Bear for its playful, romping final movement.

To reserve a $15 student ticket, click the “Buy Tickets” link on the Beethoven, Mozart + The Bear concert page, select a seat, and then select “Student” pricing; or call the H+H Box Office at 617-262-1815 Monday through Friday between 9am and 5pm. Students are encouraged to bring their ID to the concert hall.

In addition to $15 student tickets, H+H has extended a special offer to the MassArt community of 50% off tickets to the Friday, May 2 concert. To take advantage of this offer, use promo code MASSART50 at checkout when purchasing tickets online at handelandhaydn.org.

[1] BBC Music, July 25, 2023.  NB: “characterised” is the British spelling of “characterized.”