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Staying
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 contents
MARCH 2012 VOLUME 29 NUMBER 2

36
features
28 Details of the Mystery
Paul Fenniak renders the strangeness
of contemporary life by placing ordinary
people in odd situations. By Rick Stull

36 Slow & Steady

Master painter Douglas Flynt methodically
explains the nuances of classical techniques
for composing and painting a still life.
By Louise B. Hafesh

42 California Dreaming
Working within a narrow value range in
pastel, Jannene Behl depicts the lush land-
scapes of the Pacific Coast.
Interview by Maureen Bloomfield

50 The Hybrid Landscape

of the Heart
With a startlingly original vision and alter-
nating applications of thick and thin paint,
Melanie Daniel deconstructs images of
Canada and Israel. By Ruth K. Meyer

56 At Their Peak
Having retired from the workaday world, the
ten winners of our Over 60 Art Competition
celebrate their lives’ second acts.
By Maureen Bloomfield, Chris McHugh
and Holly Davis

28

02_tam0312Contents.indd 2 12/9/11 11:14:42 AM

 42
columns
7 Letters
8 Close-Up
At the same time an artist im-
provises and changes his mind,
he builds up layers of texture.
By Paul Fenniak
10 The Artist’s Life
The film A Woman Like That
re-creates the life and times of
Artemisia Gentileschi; an artist
sews her subjects; plus reviews
of two books on the history of
art. Edited by Cherie Haas
74
02_tam0312Contents.indd 3
50
16 Exhibitions
22 Drawing Board
A complex, multifigured portrait
begins with simple sketches.
By Michael De Brito
26 The Artist’s Magazine’s
29th Annual Art
Competition
67 Brushing Up
Learn the various products
to use and ways to create an
archival ground for oil.
By Michael Chesley Johnson
72 Master Class
On his deathbed Théodore
Géricault drew his left hand.
By Jerry N. Weiss
74 Supply Cabinet
Find new products and interest-
ing revivals.
Edited by Cherie Haas
88 Competition Spotlight
Posing her daughter as a model,
an artist creates a timeless
scene. By Pauline Roche
56
on the cover
Oil-Painting Grounds 67
Classical Painting Techniques 36
Staying Young at Heart 56
Make Clouds Move in Pastel 42
Multifigure Paintings 22
COVER: Eddie, No. 1 (Marine) (colored
pencil, 40x32) by John P. Smolko
The Artist’s Magazine (ISSN 0741-3351) is published 10
times per year (January, March, April, May, June, July,
September, October, November and December) by F+W
Media Inc., 10151 Carver Road, Suite 200, Cincinnati OH
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$22.96; two years $45.92. Canadian subscriptions add $15
per year postal surcharge and remit in U.S. funds. Foreign
subscriptions add $20 per year postal surcharge and remit
in U.S. funds. The Artist’s Magazine will not be responsible
for unsolicited manuscripts, photographs or artwork. Only
submissions with a self-addressed, stamped envelope will
be returned. Volume 29, No. 2. Periodicals postage paid at
Cincinnati OH and additional mailing offices. Postmaster:
Send all address changes to The Artist’s Magazine, P.O. Box
420235, Palm Coast FL 32142-0235. F+W Media Inc. Back
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 web
EXTRA

Look for the

online extras icon
throughout this
issue to find out
what’s waiting for
you on the Web.

online at
www.artistsmagazine.com
MARCH

Link to these Web and Daily Extras at

www.artistsnetwork.com/tamonlinetoc.
Winners of the Over 60 Art Competition
See photos of the artists who won the 2011 competition (their works appear in
this issue, starting on page 56). And take a look at the pictures that won last year’s
contest.
Save Space With Issues on CD
www.northlightshop.com/ Grounds for OIl Paintings
category/art-magazine-annual-cds Michael Chesley Johnson demonstrates how applying a clear ground can help
create color harmony.

Feature Article on Michael De Brito

Don’t miss our previous article about Michael De Brito’s portraits. See how he
depicts his extended family as they cook and enjoy each other’s company.

january 2012 Hit the Road,

Jack (watercolor,
11x14) by
Paul Fenniak’s Intuitive Process
sunday Joyce K. Jensen

Read the unabridged version of Paul Fenniak’s step-by-step demonstration, and

www.joycekjens
monday en.com
1 tuesday
2 wednesday
3 thursday
4 friday
New Year’s
Day
5 saturday
6
7
8
9
10

learn more about his intent for and process in his painting Birthday.
11
12
13
14
15
16
17
18
19
Martin Luther
King Day 20
21
22
23
24
25
26
27
28
29
30

More Pictures by Our Featured Artists

31
december
s m t 2011
March issue w t f
february
2012
hits newsstands s s m t
4 5 6 1 2 3 w t
7 8 9 f s
11 12 13 10 1 2 3
14 15 16 5 6 7 4
18 19 20 17 8 9 10
21 22 23 12 13 14 11
25 26 27 24 15 16 17
28 29 30 19 20 21 18
31 22 23 24
26 27 28 25
29

Get The Artist’s Magazine Gifts See how Jannene Behl works with color temperature as well as value in her land-
www.zazzle.com/gifts-for-artists scapes, how Melanie Daniel places figures in improvised scenes, and how Paul
Fenniak makes small shifts away from reality to tell stories strange and true.

Daily Extras
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 The SALMAGUNDI CLUB | 47TH Fifth Avenue | New York, New York

Lighting up the art world

WITH $5,000 & A GOLD MEDAL
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sase to: D. Wels, Corr. Secy., 1710 First Avenue, #245, New York, NY 10128

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 MARGARET CARTER
BAUMGAERTNER
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06_tam0312Letters.indd 6 12/13/11 8:54:51 AM

 letters FROM THE EDITOR, OUR CONTRIBUTORS AND READERS

Growing Toward the Light

OF THE THREE CONTESTS The Artist’s Magazine
sponsors, our Over 60 Art Competition is my favorite.
Looking at the more than 3,000 impressive entries this
year and talking to the irrepressible winners (ranging
in age from 61 to 76) who are joyfully reinventing their
lives, I was reminded of May Sarton’s meditation on
growing older: “On the edge of old age myself (Sarton
was 66 at the time), I sense that we may be ‘newborn
spirits’ (as in Keats’s “Endymion”)
at any moment, if we have courage.
Old age is not an illness; it is a time-
less ascent. As power diminishes, we
grow more toward the light.” We
thank all the radiant artists who
shared their work with us, as we
congratulate the 10 stellar win-
ners (John P. Smolko’s Eddie No. 1
(Marine) graces our cover); read their
stories in “At Their Peak,” starting on
page 56.
In this March issue, you’ll
also find Douglas Flynt’s classical
techniques as they apply to the composition of still life
(“Slow & Steady,” page 36); Paul Fenniak’s brilliant
visions and revisions of haunted suburbia (“ Details of the
Mystery,” page 28); Melanie Daniel’s buoyant evocations
of inner and outer worlds (“ The Hybrid Landscape of the
Heart ,” page 50) and Jannene Behl’s serene landscapes
of the Pacific Coast (“California Dreaming,” page 42).” In
addition, Michael De Brito shows how he creates a por-
trait with multiple figures by sketch-
ing each subject first (Drawing Board,
page 22), and Michael Chesley
Johnson offers a thorough lesson in
oil painting grounds (Brushing Up,
page 67). Finally, Jerry N. Weiss
takes a close look at Théodore
Géricault’s last work, completed
on his deathbed—a drawing of the
artist’s taut and still powerful hand
(Master Class, page 72).

Digital Subscriptions?
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Magazine for years and recently pur-
chased a digital back issue. I have to
say it’s much more convenient and
enjoyable on my iPad. Do you think
that you’ll soon be offering digital
subscriptions?
Liz Moore, via e-mail
Editor’s Note: Indeed, we’re offering
both print and digital subscriptions
of The Artist’s Magazine. To order
a subscription, call us at 386/246-
3370, or go online to place an order
at www.artistsmagazine.com and
click on the secure “subscribe” link.
Continuing Education
I started work in art about six years
ago when I attended the College of
Creative Studies in Detroit. I could
no longer afford the tuition, but I
was determined to keep at it, so I
subscribed to your magazine. The
help and inspiration I derived from
your publication are incalculable. I
just now logged onto your website
(www.artistsmagazine.com) and got
vital information from a 2008 article.
Thanks.
Richard Agelink, via e-mail
Praise for Acrylic Artist
magazine
I picked up the Fall 2011 Acrylic
Artist magazine. Congratulations! I
can’t put it down. Are you offering
subscriptions? I don’t want to miss a
single copy.
I work in the abstract idiom, so
your article on Katherine Chang
Liu (“What’s the Big Idea?” Fall
2011) was an eye opener. I’m taking
a good look at my work now as I’m
struggling to find myself and have
decided after reading “What’s the
Big Idea?” that abstract assemblage
may be what I need to try. I thank
you for creating such a wonderful,
creative, inspirational gem.
Hilma Doherty, via e-mail
I just want to thank you so very
much for producing the Acrylic Artist
magazine. I have the first edition
and now the latest fall edition. Each
is full of wonderful information. I
already subscribe to The Artist’s
Magazine and Watercolor Artist, and
Acrylic Artist is a wonderful addition
to my library. I now almost exclu-
sively paint with acrylics and feel
that there is still so much to learn.
Arlene Haggerty, Manitoba, Canada
Editor’s Note: Acrylic Artist is on sale
on newsstands, and online at www.
artistsnetwork.com/acrylic-artist-
magazine in both print and digital
formats. ■

March 2012 7

06_tam0312Letters.indd 7 12/13/11 8:55:00 AM

 close-up BY PAUL FENNIAK

B D

B C D

C
A
E

Texture and Glazing

I KEPT CHANGING MY MIND about this head, so the mess of semi-erased
heads beneath this one was helpful in suggesting the final form. I used a large
brush loaded with blue-gray to paint broad swaths around the shapes left by
the previous heads until I saw something in all the chaos that seemed right
and then based my model’s pose on that. One great benefit of this otherwise
annoying and time-consuming intuitive method is the build-up of textures.
A In the area around the mouth, under the lip particularly, I brought out
underlying texture by scraping to interrupt what was the flat opacity of
the green-gray shadow.
B Around her right eye, the already textured surface allowed me to lightly
drag thin paint with a soft flat brush over the ridges of dry paint to sug-
gest wrinkles and break up the surface, thereby animating the flesh. I also ABOVE: As you can tell by his description of
dragged wet over dry paint in the highlight on the forehead. painting this face for Arrival of the Homing
C I established the basic shape of the head with strong blue-violet shapes Pigeon (oil, 48x60), Fenniak’s process is
with crimson edges on the side of the head and the side of the nose. anything but systematic. He likes to build up
layers of paint, finishing parts of the painting
D For producing the effect of late-day sun shining in her face, I used a
while leaving other parts in the thin wash
progression from yellow to orange to red to crimson—but crucially with
state to be completed much later. Learn more
accents of cool, light blue-grays (and occasionally green), especially on the about his process and materials, beginning
edge of the forehead and along the edge of the nose. on page 28.
E Bright sun meant there should be conspicuous reflected light in the
shadows. This is most evident along the jawline and on the neck, where I
glazed the crimson underpainting with ultramarine violet. ■

8 www.artistsmagazine.com

08_tam0312CloseUp.indd 8 12/13/11 9:46:29 AM

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 the artist’s life EDITED BY CHERIE HAAS
A Woman Like That
Contemporary filmmaker Ellen Weissbrod puts the spotlight on Artemisia Gentileschi.
BY RUTH K. MEYER
JUST SAY THE words a woman like
that, and you’ll have an idea of the
spirited nature of Ellen Weissbrod’s
amazing independent feature fi lm. A
Woman Like That is now playing in
art museums and university galleries
not only because of its art histori-
cal heroine, Artemisia Gentileschi
(1593–ca 1652-3) but also because
of the heroism of the fi lmmaker.
Weissbrod calls the project her
“coming-of-middle-age story.” After
30 years of making other people’s
documentaries, she has made one of
her own, and it is a triumph.
In 1990 Weissbrod read a
book review of Mary D. Garrard’s
Artemisia Gentileschi: The Image of the
Female Hero in Italian Baroque Art
(Princeton University Press, 1989).
Weissbrod says: “Ah, female heroes …
10 www.artistsmagazine.com
10_tam0312ArtistsLife.indd 10
I’d worked in film for more than 10
years, most often on fi lms about male
poets, painters and musicians. I’d
just directed my first feature docu-
mentary about a very successful male
musical ‘genius.’ I felt surrounded by
male colleagues. I was hungry for a
female hero.” Weissbrod’s 93-minute
fi lm tells the story of Artemisia’s
struggle to be known as a painter, by
exposing the struggles Weissbrod
herself had with museum authori-
ties to make this fi lm. The parallel
storylines are developed in a narra-
tive that’s clever, truthful, and deeply
moving in the end.
Artemisia made her way into the
canon of recognized master painters
only in the 1970s when feminism
erupted among art historians. Earlier
in the century, in 1916, an Italian
LEFT: “If you say you’ve never heard of
Artemisia,” says Weissbrod, who has given 20
years of contemplation and study to this film,
“that may be the heart of my undertaking.”
scholar had tried to reveal her career
and her character, but she remained
in obscurity until determined femi-
nists, such as New York University
Professor Linda Nochlin, began to
ask, “Why are there no great women
artists?” and the hunt was on.
Artemisia was hidden in plain
sight. Her paintings had been
attributed to her father, Orazio
Gentileschi, who was also her
teacher, and to other male art-
ists in the group known as the
Caravaggisti, after the infamous
Italian Baroque artist Michelangelo
Merisi da Caravaggio (1571–1610).
Today approximately 40 paintings
have been attributed to Artemisia,
but challenges to this inventory still
occur, and her champions believe
that some of her works are hanging
prominently under the names of oth-
ers. Artists didn’t sign their works in
her day, and scholars must patiently
scrutinize the records of the aris-
tocratic collectors known to have
patronized this young woman with a
curious and troubled background.
Artemisia was Orazio’s only
daughter, and he encouraged her
talents, which were useful in his
own practice. Some say that Orazio
thought his daughter could use some
lessons in perspective, so he hired
Agostino Tassi as her tutor. Tassi, a
married man, preyed on the teen-
aged girl. Artemisia, unaware of
his marital status and thinking she
12/13/11 9:47:59 AM

might become his wife, continued
the relationship. When it was clear
that marriage wasn’t an option, her
father brought suit against Tassi and
charged him with rape. Tassi was
found guilty and sentenced to exile
from Rome, but didn’t serve his time.
In her fi lm, Weissbrod uses extracts
from the Roman archives and the
testimony of scholars who have stud-
ied them to establish how Artemisia
was both damaged and motivated by
these life-changing events.
Later, a marriage to a minor
Florentine artist was arranged, and
Artemisia moved to Tuscany (1613–
1620). Florence wasn’t the center it
had been in the Renaissance, but
Artemisia found work there and
became the first woman accepted
into the Academia. The Medici
dukes engaged her for portraits,
Galileo became her confidant,
and Michelangelo Buonarroti the
Younger commissioned a painting
for the ceiling of Casa Buonarroti.
But Artemisia and her husband had
financial problems and she returned
in 1621 to Rome, where she strug-
gled alone to support her daughter,
who was unwell.
Weissbrod tells Artemisia’s
story with cautious respect for the
opinions of scholars who have
labored to piece it together.
Her admiration deepens as
she interviews visitors to the
exhibition, organized by the
Metropolitan Museum of
Art, who traveled to the St.
Louis Art Museum, where
she’d hoped to be allowed to
fi lm the exhibition. This is
the point at which her fi lm
breaks loose, and we see the
daring of Weissbrod inspired
by the Baroque artist who
is compared to a virago by a
Roman collector. Artemisia
is best known for her paint-
ings of the biblical heroine
Judith, who beheaded the
tyrant Holofernes because he
10_tam0312ArtistsLife.indd 11
the artist’s life
was holding the Israelites hostage.
Weissbrod cleverly links the Judith
paintings to an early fi lm by D.W.
Griffith on this subject.
Much as she loves art history,
Weissbrod says she isn’t an art his-
torian, and thus she arrived at some
unusual maneuvers to analyze the
artist’s paintings. She costumed a
group of friends and asked them
to act out the stories of Artemisia’s
grand heroines following the for-
mat of the poses in the paintings.
Equally profound and hilarious,
these women get right into the
characters they portray and act out
their roles with passion. This conceit
makes the fi lm feel more contempo-
rary than historical.
There is so much in the fi lm
that’s funny and poignant, “you’ll
laugh, you’ll cry,” as reviewers say, Art Journey America
and you’ll walk out of the show Landscapes: 89 Painters’
cheering the two viragos, Artemisia Perspectives
and Weissbrod. EDITED BY KATHRYN KIPP
You can visit www.awomanlike
Landscapes give artists inspiration
that.com to find local screenings, to
and a way to rise to the challenge—
get involved with the project, and to
be it how to adapt to changing light;
learn more about A Woman Like That.
what to do with all the greens; how
to capture the mood of the season, a
RUTH K. MEYER is an art consultant and
fleeting moment, delicacy or drama.
writer who lives on the banks of the Ohio River.
Art Journey America Landscapes
showcases the work of top contem-
porary American artists and lets you
in on the challenges they faced to
help guide you on your own journey
through the landscape.
Find Art Journey
America Landscapes at
www.northlightshop.com.
JEN LEPORE is a senior editor for North
Light Books. To see all of Jen’s Picks, go to
www.artistsnetwork.com/northlight.
March 2012 11
12/13/11 9:48:07 AM
 the artist’s life

Bringing Life
to Still Life
Vera Barnett knows still life. After
10 years of painting traditional

Collection of Eric and Debbie Green

compositions, she began incorporat-
ing inflatable pool toys in some of
her paintings to add an element of
interest and whimsy.
At first, however, she noticed
that every couple of days her draw-
ing would be inaccurate compared
to the scene she’d created. Barnett
quickly realized that the combina-
tion of time passing and electric
lights heating the props was causing
the air to expand and contract; her
work itself was fine. That’s when she
took initiative and began designing
her own models and re-creating spe-
cific portraits and classical scenes.
Using vinyl that she cuts, sews
and stuffs with cotton, she paints
the models and then poses them
with props that are incorporated
into the paintings. This part of the
process can take up to two weeks, ABOVE: Classical Plastique: Frugal Repast
but Barnett says, “I’ve gotten a lot (2006; oil, 44x36) was inspired by Pablo
quicker at it.” Picasso’s The Frugal Repast.
Although she’s saved a few of
the models after painting them, she BELOW: “Getting the body language just right
says they’re not made to last: “The was the biggest challenge,” Barnett says of
models are designed only for the this preliminary picture.
purpose of being painted, so the
backs, for example, aren’t well-made.
They tend to fall apart and the paint
flakes off after so long.” Fortunately
for us, she has the final paintings to
last a lifetime. —C.H.

:D[DQGKHDWDPDWFKPDGHLQKHDYHQ
,FDUXV'UDZLQJ%RDUG
,GHDOIRU
:D[EDVHGFRORUHGSHQFLOV
$UWLVW&UD\RQV
2LO3DVWHOV
(QFDXVWLFV
7ROHDUQKRZWKLVLQFUHGLEOH
SURGXFWZRUNVRUWRYLHZWKH
VSHFWDFXODUDUWFUHDWHGZLWKWKLV 
ERDUGSOHDVHYLVLWRXUZHEVLWH
LFDUXVDUWQHW
12 www.artistsmagazine.com

10_tam0312ArtistsLife.indd 12 12/13/11 9:58:07 AM

 the artist’s life

Historically Speaking
Art history is a fascinating subject, but even for those
who may not acknowledge religious and political impli-
cations of art throughout the
ages, PBS’s comprehensive Art
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is likely to capture attention.
Viewers, touring through 2,500
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resources. The Art of the Western World DVD is available
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March 2012 13

10_tam0312ArtistsLife.indd 13 12/12/11 1:29:41 PM

 Create the look you’re after

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 Portland Museum of Art, Scott M. Black Collection; photo by Benjamin Magro
exhibitions EDITED BY CHERIE HAAS

Edgar Degas:
The Private
Impressionist
Works on Paper
by the Artist and His Circle
Why see it: The works within this February 23 through May 28
exhibition demonstrate the ability
of Edgar Degas (1834-1917) to Portland Museum of Art, Maine, 207/775-6148
combine his profound appreciation www.portlandmuseum.org
for the old masters with his passion
for photography and Japanese prints,
while demonstrating his singular
“through-the-keyhole” approach.
Featuring striking images of bal-
let dancers behind the scenes at the
Paris Opera and women dressing in
their boudoirs, these images capture
the private side of 19th-century
Paris. Intimate drawings and prints
of the artist’s family and friends
reveal the private world of Degas.

What you’ll see: Visitors can explore

more than 70 drawings, prints,
pastels and photographs as well as
several sculptures by Degas. “The
Private Impressionist” will also
Portland Museum of Art, Scott M. Black Collection; photo by Melville McLean

include a select group of rare works

on paper by artists of his circle,
including captivating works by
Mary Cassatt, Paul Cézanne, Jean-
Auguste-Dominique Ingres, Camille
Pissarro and Henri de Toulouse-
Lautrec.

TOP: Portrait de Père Papeille (Portrait of

Father Papeille) (1873; pastel, 21¼x17½) by
Camille Pissarro

RIGHT: Danseuse assise (Seated Dancer)

(1894; pastel, 22¾x17¾) by Edgar Degas

16 www.artistsmagazine.com

16_tam0312Exhibitions.indd 16 12/12/11 1:33:15 PM


RIGHT: Sunset, Canyon de Chelly (1916; oil
on canvas, 28x34) by Edgar Payne
Edgar Payne:
The Scenic Journey
February 11 through May 6
Crocker Art Museum
Sacramento, California, 916/808-7000
www.crockerartmuseum.org
Why see it: Edgar Payne (1883-
1947) utilized the animated brush-
work, vibrant palette and shim-
mering light of Impressionism, but
his powerful imagery was unique
among artists of his generation.
While his contemporaries favored a
quieter, more idyllic representation
of the natural landscape, Payne was
16_tam0312Exhibitions.indd 17
exhibitions
devoted to subjects
of rugged beauty.
Mark C. Pigott Collection
His majestic land-
scapes are informed
by his reverence for
the natural world.
What you’ll see:
This exhibition traces Payne’s artistic photographs and objects from the
development as he traveled the world artist’s studio.
in search of magnificent settings: the
California coast, the Southwest des- Other venues: Pasadena Museum
ert, the Sierra, the Swiss Alps, and of California Art, June 3 to October
the harbors and waterways of France 14; Gilcrease Museum, Tulsa,
and Italy. On display are nearly 100 Oklahoma, December 1, 2012, to
paintings and drawings, as well as March 24, 2013
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March 2012 17
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 exhibitions
Gauguin and Polynesia:
An Elusive Paradise
February 9 through April 29
Seattle Art Museum, Washington
206/654-3100
www.seattleartmuseum.org
Why see it: The key feature in
Paul Gauguin’s personal mythol-
ogy is the constant yearning for
an exotic paradise; he sought it in
the bohemian arts community at
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and later on the South Seas island
of Tahiti. When that outpost of
French colonialism began to feel
too constraining, Gauguin moved
to a still more remote location, the
Marquesas Islands, where he died in
RIGHT: Arearea no varua ino (Words of
the Devil, or Reclining Tahitian Women)
(1894; oil on canvas, 235⁄8x389⁄16) by Paul
Gauguin (1848–1903)
© 2010 Estate of Pablo Picasso/Artists Rights Society (ARS), New York
The Museum of Modern Art, gift of Mrs. Simon Guggenheim;
ABOVE: Girl Before a Mirror (1932; oil on
canvas, 64x51¼) by Pablo Picasso (1881–1973)
RIGHT: Self-Portrait (1966; silkscreen ink on
synthetic polymer paint on nine 22½x22½
canvases; 675⁄8x675⁄8) by Andy Warhol
18 www.artistsmagazine.com
16_tam0312Exhibitions.indd 18
1903. His fascination with local cul- paper) that reveal the influence of
tures resulted in a kind of personal Polynesian art and culture on his art.
iconography. It will also highlight about 60 works
from the Pacific that exemplify the
What you’ll see: The show will dynamic exchanges of Pacific Island
display about 50 works by Gauguin peoples with Europeans throughout
(paintings, sculptures and works on the 19th century.
Ny Carlsberg Glyptotek, Copenhagen, dontated by Helge Jacobsen 1927
Picasso to Warhol: achievements of these pioneers of
14 Modern Masters modern art will be presented in
Through April 29 depth, exploring each artist’s stylistic
High Museum of Art, Atlanta, Georgia development.
206/625-8900, www.high.org
What you’ll see: Visitors can view
Why see it: “Picasso to Warhol” approximately 100 works in one of
features art created by 14 iconic the largest concentrations of mod-
artists from the 20th century. The ern art masterpieces to be exhibited
in the southeastern
United States. Featured
artists include Pablo
Picasso, Henri Matisse,
Constantin Brancusi,
Piet Mondrian,
Fernand Léger, Marcel
Duchamp, Giorgio de
Chirico, Joan Miró,
Alexander Calder,
Jackson Pollock,
Romare Bearden,
Louise Bourgeois,
Jasper Johns and Andy
Warhol. ■
Gift of Philip Johnson; © 2010 Andy Warhol Foundation for the Visual Arts/Artists
Rights Society (ARS), New York
12/12/11 1:33:22 PM
19_tam0312.indd 19 12/8/11 2:03:42 PM
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 drawing board BY MICHAEL DE BRITO
Sketch It Out!
Work out composition, forms, shapes and patterns with preliminary sketches
and drawings—before you even pick up a paintbrush.
DRAWING IS fundamental to my
development as an artist. It gives
me not only insight into the human
figure, but also a connection to the
human beings who become subjects
in my paintings.
A painting for me always begins
with an experience. I like to capture
everyday moments of human interac-
tion. Having my sketchbook handy
allows me to record those moments
on paper as quickly and loosely
as possible, without getting too
attached to my drawings. I like to
work out all the issues—composition,
modeling of form, shapes and pat-
terns—in my preliminary sketches
and drawings before I begin to paint.
That way there’s no confusion when I
get to the canvas.
22 www.artistsmagazine.com
22_tam0312DrawingBoard.indd 22
1. Preliminary Sketches
My process always begins with
sketches—sometimes as many as
20 to 50! For this painting, I began
with preliminary pencil drawings
in my sketchbook. I use a variety
Materials
Preliminary sketches: Canson
sketchbook (8x11), Eberhard
Faber ebony pencil; Sanford
Design kneaded eraser
Charcoal drawings: Canson
charcoal pad (18x24), Winsor &
Newton vine charcoal, medium
paper blending stump, sandpaper,
Grumbacher spray fixative
LEFT: This scene of three men having lunch
on Faro Beach in Portugal appealed to me
because of the complexities of the composi-
tion, which include lots of different people and
objects that create compelling vertical and
diagonal movement. After doing a number of
my customary preliminary sketches of the
major elements, I was better prepared to paint
Men on Faro Beach (oil, 74x96).
of strokes—hatching strokes, cross-
hatching and blended strokes, some-
times using the side of my pencil for
the darkest areas.
I generally use a hardbound
Canson 8x11 sketchbook with
medium-textured paper. My sketch-
book pencil is an ebony pencil,
which is dark enough for my blacks
and soft enough for my lights. Using
one ebony pencil is also easier than
carrying 20 pencils around. I prefer
to use a small razor to sharpen my
pencils to control the amount of lead
that’s exposed. A normal sharpener
tends to keep the lead too short. I
try to capture what I can in the brief
time that I have, quickly putting
down what defines the subject. My
pencil sketches take no longer than
five to 10 minutes apiece to create.
Cropping
These pencil sketches help me gener-
ate ideas of what the final piece will
look like. I tend to see what will
make the composition more dynamic
by cropping down the scene. I felt
this piece worked best cropped mid-
table at the bottom and with more
room above the men’s heads at the
top. This cropping keeps the figures
as the main focus and provides some
airiness in the folds of the tarp and
the space above the men.
12/12/11 9:06:37 AM
 drawing board

A B C

Composition and Form
While I’m in front of my subjects, I
try to figure out what the composi-
tion of the final painting will be. My
goal is to make a balanced composi-
tion through which I can lead the
viewer’s eye. This composition might
change throughout the progression
of the work. With this project, I
spent the majority of my time on the
three central figures. (See images A ,
B and C, above.)
Shapes and Patterns
While working on my preliminary
sketches, I look at each figure and
his or her surroundings and how
the figure and space relate to one
another, keeping in mind the shapes
and patterns that play a part as well.
I also look for patterns and shapes
that will keep the composition inter-
esting and help it flow. This piece
visually began from left to right

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March 2012 23

22_tam0312DrawingBoard.indd 23 12/12/11 9:06:46 AM

 drawing board

D E

Drawing Tip: Seeing

Characteristics
The major figure (in the foreground) had hands that would play an important part in
the piece, and I felt they should be captured correctly (see image E, above). Hands
have their own characteristics and are like faces, which are different for each per-
son. If you think of hands that way, it seems to help in defining the drawing. .

with the band of light on the central

Diagonals and Shapes figure’s shirt leading the eye across

the space diagonally.

in Men on Faro Beach 2. Refined Charcoal Drawings

Once I’ve compiled enough pencil
When I came across the scene with the men on the beach, there were strong sketches and taken some photos, I
diagonals that caught my eye (see finished painting, page 22): Framing the com- then work on larger, more refined
position were the slope of the structure’s roof down from the top-left corner of charcoal drawings. For these I use a
the cropped view, and then the strong diagonal of the table from the bottom- Winsor & Newton soft vine charcoal
right corner up. Echoing the slope in the roof was the diagonal shaft of light, first pencil (which is easy to manipulate,
noticeable on the head of the man in the foreground and then traveling across the wipe away and readjust), a kneaded
middle man’s shirt and the third man’s arm to the bottles on the table. eraser, a small piece of sandpaper (to
In addition, I liked the way the stripes on the shirt of the man in the foreground sharpen the charcoal) and a Canson
pulled the eye into the piece. I also wanted to capture the repeated pattern and 18x24 charcoal pad with a medium
thrust of the men’s right arms in the composition. All these strong diagonals tooth.
are balanced by the horizontal folds in the tarp in the background and by the These 18x24 charcoal sketches
repeated vertical shapes created by the men melding with the figures in the back- allow me to get a better understand-
ground and the supporting poles. ing of how the final painting will
look. I make drawings of the key
elements in the composition. Most

24 www.artistsmagazine.com

22_tam0312DrawingBoard.indd 24 12/12/11 9:06:54 AM

 drawing board

of the time, for me, that means the

heads and hands. I try to capture
the figures’ gestural movements and
G
model the forms of the facial struc-

VERNÉT
tures with hatching strokes, cross-
hatching and blending. In this piece
the key elements are the head of the
man in the foreground (page 24, D)
and his hands (E), the middle figure’s
head (F), and the third figure’s head
SUPERIOR
and full torso. (I didn’t feel it neces-
sary to complete another drawing of
OIL COLOR
the man on the right in the scene.) I
used the figures in the background
to help activate the composition.

3. Final Charcoal Study

Focusing on the form and color, I
next create secondary charcoal
sketches or studies on the canvas
itself to map out the proportions and
H
perspective for each major figure
(see images G ,H and I, this page). For
this step I use a vine charcoal and a
medium paper blending stump. The
vine charcoal gives me the freedom
to apply and remove marks as I see
fit, and the blending stump allows
me to take measurements as well as
blend. Once the drawing is com-
pleted, I apply a spray matte fi xative
to secure the drawing in place before
I begin to apply paint. ■

MICHAEL DE BRITO has received a Pollock-

Krasner Foundation Grant and has been
awarded gold medals by the Allied Artists of
America, Audubon Artists and the Society
of Illustrators. His work, represented by the
Eleanor Ettinger Gallery in New York City I
(www.eegallery.com), has been included in
exhibitions at the National Portrait Gallery in
London, and the Scottish National Portrait

Coming Soon
Gallery in Edinburgh. Visit his website at www.
michaeldebrito.com.

web
To read part of our January/
February 2010 feature article
Pure Excellence From
EXTRA
about De Brito and see more of
his paintings, go to www.artists
network.com/tamonlinetoc.

March 2012 25

22_tam0312DrawingBoard.indd 25 12/13/11 9:50:04 AM

 Beyond the Frame
t
&JMFFO
&EFS

See your work in The Artist’s Magazine

Winners will be featured and finalists’ names published in the December 2012 issue of The Artist’s Magazine.
CASH PRIZES THE STUDENT/BEGINNER DIVISION
5 First Place Awards: $2,500 each * For artists age 16 or over who (1) have been enrolled in a
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5 Third Place Awards: lessons for no more than four years.
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in The Artist’s Magazine; twelve finalists will be featured
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¨ Visit www.artistsnetwork.com/the-artists-magazine-annual-competition for complete guidelines and to enter online.

26_tam0312.indd 26 12/9/11 11:21:33 AM

 Compete and Win in 5 Categories!
ABSTRACT/EXPERIMENTAL ANIMAL/WILDLIFE LANDSCAPE/INTERIOR
PORTRAIT/FIGURE STILL LIFE/FLORAL
ELIGIBILITY
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DEADLINE: April 2, 2012
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26_tam0312.indd 27
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 28 www.artistsmagazine.com

28_tam0312Fenniak.indd 28 12/9/11 9:58:18 AM

 Proceeding in an intuitive manner,
Paul Fenniak conjures
precise and vivid images of people
responding to the strangeness
of the world around them.

details of
the mystery BY RICK STULL

CCANADIAN ARTIST Paul Fenniak uses a combination of techniques

and procedures that he modestly claims most experienced oil paint-
ers employ as well. This may be true, but the series of moves that
Fenniak brings to bear during the different phases of creating a work
is a reminder that “techniques and procedures” probably have as many
permutations as there are artists. The results of his array of working
habits are complex images representing moods and states of mind that
find their human subjects—and those of
us looking at their painted world—peering OPPOSITE: For some time Fenniak had in the back

into the mysteries of contemporary life. of his mind the image of an air vent on a ship’s deck
looming over a figure. “The large, dark oval reminded
me of Motherwell’s Elegy (to the Spanish Republic)
The Artist’s Development
paintings,” he says, “since it was hard not to associ-
Fenniak’s own path to his particular and ate this image with death. The stark immobility and
vivid art included stops that many other feeling of cold indifference these vents exuded in
artists have made along their ways. He drew combination with the suggestion of moving air—a
cartoon characters as a teenager. Then, in kind of breath—convinced me that it would be
his high school library, he happened upon appropriate for a painting about grief. In order for
some books on 20th-century art, and things it to be effective, I knew I’d have to emphasize the
began to change. Cubism and the work of abstract quality of the shapes and reduce descrip-
the New York Abstract Expressionists were tive detail in Offshore (oil, 72x60).”
the first things to catch his eye and inter-
est. He recalls a particular fondness for Franz Kline and Willem de
Kooning, from whom he acquired a continuing love of oil paint’s sensu-
ous, expressive possibilities, certainly a taste shared with de Kooning.
So how does a young artist enamored of such sources wind up
painting the way Fenniak does now? One might suspect that part of the
answer lies in his thoughts and feelings about people. Or that, in some
unknown way, these techniques choose the artist, rather than the other

March 2012 29

28_tam0312Fenniak.indd 29 12/9/11 9:58:34 AM

 way around. Fenniak explains, “The overarch- which is usually tinted. The canvas drawing is
ing subject I seem to come back to most often executed with vine charcoal because, according
is the interior life—more specifically, the to Fenniak, it’s easy to erase. In fact, throughout
BELOW: A photo
of a beach crossed
individual’s mental struggle with the strange- many stages of the work, Fenniak will “correct
by a bar of sunlight
ness of the world around her. We need to and rework.” This includes the drawing on the
was the starting keep before ourselves as full and complete an canvas as well as the later painting stages in oil.
point for Encounter image as possible of what a human person is, Intuition plays a significant part in the
(oil, 60x48). “I especially when so many of our culture’s repre- development of a work. Fenniak’s descriptions
re-created horizontal sentations of people reduce them to simplistic of his working habits are littered with phrases
‘setting-sun’ type types and sometimes simply to commodities.” such as “when I feel ready.” When he does
lighting in the stu- Those sound like words to live by. feel ready to paint, he often starts by applying
dio,” says Fenniak, thin, broad oil washes. Doing so enables him
”and photographed
Getting Started to cover the whole canvas quickly and to get
the models standing
Fenniak’s making of a painting invites the same an idea of the general look of the piece. At this
half in shadow, using
a doorway frame. I
intriguing speculation. The procedure often point, he usually turns to his photo resources.
used two different
begins with pencil thumbnails in a sketch-
models for the male book: “I don’t try to make a ‘good’ drawing at From Photos, But Not Exactly
figure and ‘collaged’ this point. I’m only looking to develop ideas.” Fenniak works primarily from photos. This
parts from both to When Fenniak has a sketch that he likes or never means, however, a slavish copying of a
get the final pose.” feels is right, he begins drawing on the canvas, composition from photo to canvas. He refers
to many photographic images, which he prints
from his computer and attaches to the walls of
his studio. The assemblage of photos continues
throughout the process and can range from
specific people to parking lots to old-fashioned
televisions to handheld metal detectors to
pigeons and on and on. Fenniak uses these
images as a sort of dictionary from which to
draw the people, places and things that he’ll
eventually incorporate into a painting.

Toward the Finished Piece

Then he begins to paint in earnest, concentrat-
ing on certain areas and being guided by his
intuition. The artist’s description of this stage
is telling: “Some things must be done first in
order for me to get a feeling for the possibili-
ties of the piece. This is very intuitive; it may
be a head or a sky, anything that might set the
tone for the whole. These areas I then paint in
more completely, usually with more regard for
form than color at this point. It gets rather less
systematic after this.” Less systematic!
From here on, Fenniak builds up the layers
of paint, finishing parts of the painting while
leaving other parts in the “thin wash state,” to
complete later. Typically two to four months
may pass before Fenniak considers the painting
close to being finished. At this point, he deep-
ens dark colors that have dulled in the process,
using glazes applied with a soft synthetic
brush. He then puts the piece aside and starts
a new one, now and then eyeballing the almost
finished work and making desired adjustments.
Then comes the final step in his dizzying

30 www.artistsmagazine.com

28_tam0312Fenniak.indd 30 12/9/11 9:58:46 AM

 ABOVE: Arrival of the Homing Pigeon (oil, 48x60)
began as a crowded scene, but Fenniak gradually removed
figures as he realized that, in order to create the “feeling of
entanglement” he wanted, “there would have to be greater
emphasis on the lines created by the leashes and the
shadows cast by the fence.”
process, when he applies a coat of Lefranc &
Bourgeois extra-fine retouch varnish. “Lefranc
& Bourgeois, unlike some other retouch var-
nishes I’ve tried, doesn’t disappear after a few
weeks,” Fenniak says. “I use this instead of a
full-strength varnish because I don’t usually
have the luxury of waiting six months for the
painting to dry before I have to ship it off.”
Questions Remain
Always after a detailed examination of how a
painting is done, there remains an inexplicable
element, if not for the artist, at least for the
Text continued on page 35
28_tam0312Fenniak.indd 31
Materials
Surface: as heavy a canvas as Fenniak can get that’s still smooth and
tightly woven—10- to 14-ounce cotton canvas and occasionally linen, pur-
chased on rolls from Kama Pigments
Oil paints: Old Holland, Rembrandt, Holbein, Sennelier, Kama Pigments
and Stevenson (Fenniak prefers Old Holland—always uses Old Holland tita-
nium and Cremnitz whites—but limits use of the brand because of the cost.
Kama Pigments and Stevenson are Canadian brands.)
Medium: turpentine and stand oil—a lean 3:1 medium for the early stages
and a fat 2:1 medium for the late stages—sometimes with a splash of damar
added
Palette: large tabletop glass palette for general use; handheld wooden
palettes with dippers (containers for holding small quantities of medium)
attached for detailed close-up work
Brushes: often cheap brushes from the Dollar Store or hardware stores—
stiff hog’s hair (rounds, flats, filberts, long hairs, short hairs) for thick layers;
soft brush (natural or synthetic) for thin layers and glazes
Other tools: palette knives for applying and scraping paint; razor blades for
scraping; sandpaper for preparing a surface and for various textural effects;
rags for wiping glazes; fingers for softening edges, among other things
March 2012 31
12/9/11 9:58:57 AM
 A Process of
Intuition and
Experimentation
BY PAUL FENNIAK
Before applying any paint for Birthday (oil, 48x60), I photo-
graphed each of the models separately and loosely worked out
a general composition in a sketchbook. Then I sketched a very
loose charcoal drawing onto the tinted canvas.
For the unabridged version of Fenniak’s step-by-step
web demonstration and further explanation of his process
EXTRA
and intent for Birthday, go to www.artistsnetwork.
com/tamonlinetoc.
4 5
4. I decided to reposition the seated figure’s head to a profile
so that the line of his eyes leads to the landscape. At this point
I was primarily concerned with getting an interesting, slightly
distorted shape with impasto in the lights, so I sculpted basic
head forms with minimal regard for color. Also I was trying out
different head poses for the second figure from the right, using
loose charcoal drawing on top of dry paint.
32 www.artistsmagazine.com
28_tam0312Fenniak.indd 32
1
1. I began with a quick all-over lay-in using washes of thin
paint over a reddish-brown tinted ground (still visible in the
head on the left and the legs of the seated figure). I applied
some impastoed white in areas I knew would be the brightest
lights. At this point I wasn’t concerned with precision; the main
thing was to get an overall impression.
5. I began the modeled underpainting for the right-hand
figure’s shoulders and arms. Making sure to leave some of the
glaze visible, I scumbled gray-white onto the yellow-brown
glaze that was on the lampshade. I also defined the second
female figure’s pose (second figure from the right) a bit more,
working from imagination and scumbling a thin, dark brown.
The white impasto collar helped give me a clearer sense of an
“anchor” for the head. I tried to use a Rembrandt self-portrait
as the basis for her face. The light was right, but ultimately it
introduced an unnecessary historical reference, so I wiped it
out.
12/9/11 9:59:06 AM
 2 3
2. On the left-hand area of the wall, I used a palette knife to lay
on a thick, blue-white layer using fast-drying Cremnitz white
and ultramarine blue. Once this dried, I glazed the area with
burnt umber (I also used a warm glaze over a cool underpaint-
ing in later stages). Next I worked up the white T-shirt in a thick
layer and then developed the two main heads in some detail
(when I paint, if I feel the heads are OK, I’m motivated to con-
tinue with everything else). Later I began the painfully detailed
dress pattern with thin paint and a small, soft brush.
6 7
6. From left to right: I developed the shadows on the wall with
palette-knifed ultramarine blue and white, glazed with burnt
umber. I painted the lower part of the T-shirt in detail, showing
reflected light from the as yet unpainted sparklers. I worked on
the far-left figure’s arms and painted the seated figure’s shirt
in more detail. In the lights, I dragged a thin titanium white
overpainting on top of the textured dry Cremnitz, which had
been glazed yellow-brown. Then, here and there, I scraped
or sanded the overpainting to bring up ridges of Cremnitz
impasto. I rendered the head in similar fashion, with reds and
oranges added. I decided to repaint the female’s head (sec-
ond from the right) from a photo of a friend. I also refined the
colors and details in the patterned dress.
28_tam0312Fenniak.indd 33
3. At this stage I wiped a brown glaze over the lampshade
and laid in the seated man’s head in rough, crude colors, with
a view to going over it again later, during which time I could
scrape down to this layer. I laid in his legs and feet and gave
his shirt a bit more definition.
7. Here I laid in the green sofa with a bluish green so that
when I’d apply the yellow-brown glaze (see step 8), it would
become a warm green. Dissatisfied with the flat white of the
T-shirt, I glazed over it with burnt umber so I could paint over it
in the next stage. I finally established a reason for the second
female figure’s hand position; she’s about to put her purse
strap over her shoulder. This decision allowed me to give spe-
cific form to her hand. I deepened the dark tones on the left
side of the flowered dress for a greater sense of volume. Then
I added a much-needed area of cool color by introducing the
blue shopping bag. At this point I painted in the wine glasses
from photos with bright horizontal light.
Demonstration continued on next page
March 2012 33
12/9/11 9:59:12 AM
 8 9

8. Following the general lighting scheme of warm lights and
cool shadows, I glazed the sofa’s light areas with warm brown,
making sure to leave warm, reddish accents along the edges
of and within the blue-gray shadow. This helps to counteract
a flat, monochromatic look. I overpainted the T-shirt, adding
more detail and a wider range of hues in the whites. Finally
I began defining the smoke from the sparklers by using thin
paint and soft brushes as well as by rubbing it with my fingers
to soften the edges.
9. Using small opaque titanium white marks with reddish yel-
low accents and glazes, I added the sparklers. I also laid in the
radiator under the window with ultramarine blue and white to
prepare it for a burnt umber glaze. I wanted to produce a gray
with more depth than one mixed on the palette and applied
directly (see next stage for result). The floor was painted in
more detail using a range of reddish tans plus gray-green
patches. I then worked up the still life and table in more detail
from my imagination and from photos taken in my kitchen.

10
10. In the last few days, I added
the final lampshade details: a
warm tan interior with a cool
gray transition into shadow. I
overpainted the exterior shadow
blue. Using a wide, soft brush
over a warm gray underpainting, I
laid down a cool gray layer, then
applied a brown glaze over the
radiator. I added a small framed
picture at the top for composi-
tional reasons, scumbling over
it with translucent gray-blue to
make it recede. I also added
landscape details, including a mul-
tilayered sky that I scraped and
sanded to bring up cool patches
among the areas of warm glaze in
Birthday (oil, 48x60)

34 www.artistsmagazine.com

28_tam0312Fenniak.indd 34 12/9/11 9:59:18 AM

 Text continued from page 31
viewer. One only need look at Eavesdropper
(below), Arrival of the Homing Pigeon (page 31)
or the recent Offshore (page 28) to be reminded
of this. What’s that woman standing on the
bed listening to? The pigeon being carried by
the parachute aside, what’s on the end of the
leashes? What, or rather who, is being dumped
over the railing of the ship?
The answers to these inevitable questions
can never be known with any certainty, which
is, of course, part of the allure of the paintings.
The answers and consequences no doubt exist on
the other side of the wall, or somewhere beyond
the edge of the canvas, or in a stateroom below
deck. Wondering about such mysteries quick-
ens the mind and keeps us, as humans, inquisi-
tive and alert. Perhaps more importantly—
certainly to Paul Fenniak—these musings keep
us aware, in this increasingly depersonalized
world, of each other’s presence. ■
RICK STULL lives in a small cottage in the foothills of the
Catskill Mountains.
28_tam0312Fenniak.indd 35
Meet Paul Fenniak
Born in Toronto, Canada, Paul Fenniak received a bachelor of fine arts degree
from Queen’s University in Kingston, Ontario, and a master of fine arts degree
from Concordia University, Montreal. His work is represented by Forum Gallery
in New York City, and he’s participated in numerous solo and group exhibitions.
Fenniak has received awards from the Pollock-Krasner Foundation, the Elizabeth
Foundation for the Arts and the Elizabeth Greenshields Foundation. In 2008 the
Canadian Broadcasting Corporation
made three short films on his work for
its Artspots series. Writing in The New
York Times, critic Ken Johnson said of
Fenniak’s work: “… there is a genuinely
haunting, cinematic monumentality. It
reminds one that the narrative as well
as painterly possibilities of traditional,
figurative representation are still far
from exhausted.” Fenniak lives and
works in Montreal. Learn more about
him and his work at paulfenniak.com.
For a link to more of Fenniak’s art,
web go to www.artistsnetwork.com/
EXTRA
tamonlinetoc.
LEFT: “The figure’s head and her
reflection are placed to one side in
Eavesdropper (oil, 48x48),” says
Fenniak, “so that the lamp can
have equal status, so to speak, and
acquire a certain figural presence
of its own. I was thinking of how the
tree in Edvard Munch’s Three Girls
on the Pier, which—by virtue of its
placement and stylization—some-
how acquires a personality. The
eavesdropper’s feet, disappear-
ing into the soft duvet, are placed
centrally to emphasize the feeling
of sinking. The phone book adds a
touch of yellow to contrast with the
wall.”
March 2012 35
12/9/11 9:59:24 AM
 Douglas Flynt teaches
classical techniques like grisaille
and ébauche while breaking
the process for painting still lifes into
a series of manageable tasks.

slow &
steady BY LOUISE B. HAFESH

“F “FOR YOU, AS REPRESENTATIONAL artists,

classical art training can play a vital role,”
Douglas Flynt told students who attended
his sold-out workshop at the Grand Central
Academy of Art in New York City this past
summer. “Classical techniques establish stan-
dards for accuracy and often drive us not only
to organize the abstract components we see,
but also to comprehend the ‘why’ of what we
perceptions of color in its components of hue,
value and chroma.

see. Slowing down to think things through
allows us to solve problems and upgrade our
unconscious, reactive decisions—for more
thoughtful strategies and deliberate tactics.”
Flynt, whose own style is influenced by
the classical principles of order, structural
clarity and plasticity, offered us, 13 psyched
participants, an extensive look at a still life
painting process that emphasizes drawing
skills, planning, and the arranging of composi-
tional elements. And finally, Flynt taught us to
examine how light illumining form affects our
Drawing is Key
Kicking off the workshop, Flynt said, “Poor
drawing skills are a major limiting factor for
the artist.” With that he launched into a paint-
ing demonstration of a still life that he brought
to near completion during the course of the
two weeks.
Having arranged a few of his favorite
props, illuminated by a single, overhead light
source, he talked his class through the block-
ing-in stage of a drawing. “Separating disci-
plines into stages—such as drawing and paint-
ing—and even subsets within those stages—
such as blocking in or underpainting—allows
you to gain competency over those individual
components,” he said. “Break complex pro-
cesses into smaller, more manageable goals.”
As he spoke, he mapped out proportional

36 www.artistsmagazine.com

36_tam0312Flynt.indd 36 12/9/11 10:07:05 AM

 LEFT: Conches (oil,
12x20) by Douglas
Flynt

Composing a Setup A
BY DOUGLAS FLYNT
The initial setup (A), created by workshop student Cynthia Farris, worked
well thematically and showed good color harmony. The composition already
had strengths, such as the strong diagonal created by the statuette’s gaze;
however, I felt the composition could be improved. From the initial design,
one could almost imagine a right-angled triangle with the statuette making
up one vertical side, the objects meeting the table top creating a horizontal
side, and the direction of the statuette’s gaze completing the diagonal side of
the triangle. This type of triangle made the composition
slightly too heavy on the right.
Upon learning that the student had extra spools,
I suggested that she place them on the lower right-
B
hand side of the composition (B). The additional spools
widened the base of the triangle, thus balancing the
composition. The spools also repeated existing color
notes, further harmonizing the design.

March 2012 37

36_tam0312Flynt.indd 37 12/9/11 10:07:12 AM

 Drawing, Grisaille
and Ébauche
BY DOUGLAS FLYNT

Materials
Palette: Winsor & Newton *alizarin crimson
permanent, *terra rosa, cadmium red, *burnt
sienna, *cadmium orange, *burnt umber, *yel-
low ochre, *raw umber, cadmium yellow light,
sap green, viridian, phthalo blue, *ultramarine
blue, magenta, *ivory black (This is my standard
palette; only those colors marked with an asterisk
were used in this demonstration.)

Medium: mixture of stand oil, alkyd medium

and odorless mineral spirits—the proportions
dependent on the drying and handling properties
needed
Brushes: mainly soft sable rounds; occasionally
sable filberts; bristle rounds or filberts for larger
passages
Surface: Claessens double-primed Style 13
linen, either stretched or mounted on a panel
1. This finished linear drawing progressed through a block-in stage for which
I used predominately straight lines. I then checked the structural integrity of
my rendering of each object and rounded these straight lines into curves. To
increase visual clarity, I lightly shaded many of the shadow areas, although I pur-
posely kept the drawing devoid of any heavy shading—saving that for the paint-
ing process. I transferred this drawing to a lightly toned linen surface, where it
served as a linear template for my painting.

TERMS relationships in his setup, using two knitting
needles to measure the relative sizes of objects.
An OPEN
He also drew angles to check whether the
GRISAILLE is a
framework (underlying structure) of his piece
monochromatic
underpainting that
was cohesive and plotted pivotal points with
uses the white of graphite, which he then connected with lines
the painting surface to indicate contour (silhouette). Making note
for the lightest of defining characteristics, such as overlapping
values. forms, abrupt transitions of planes and value
changes, Flynt explained that the goal of a
An ÉBAUCHE is an
underpainting or an
blocked-in drawing is to create a trustworthy
oil sketch. reference or standard to use later in the process
(See Drawing, Grisaille and Ébauche, steps
1 and 2, above). He encouraged us to think
three-dimensionally and sketch conceptually,
going beyond the picture plane (the abstract
surface of the canvas) and visualizing the flow
of forms. “In essence,” said Flynt, “drawing,
whether it’s done with line, tone or even color,
is the correct placement of any mark or brush-
stroke that expresses spatial form and structure
on a flat surface.”
Compositional Tips
After watching Flynt construct his draw-
ing, we began creating setups for our own
still lifes while he made the rounds, helping
students tweak their individual concepts (see
Composing a Setup, page 37). Intermittently,
he threw out insightful comments for the ben-
efit of all: “Remember to create atmosphere
in your compositions”; “create beautiful disor-
der, a sense of the chaotic that is actually an
organized, beautiful arrangement”; “employ
some extreme notes of light and dark to set off
all the middle values”; and “place the highest
intensity of color near the focal point.”
Oil Transfer
After we’d decided on our setups and com-
pleted our drawings, Flynt walked us through
an oil transfer of these sketches onto our can-
vases. First, using a bristle brush, we scumbled
(scrubbed) raw umber oil paint onto the back
of a photocopy of our drawings. Then we
placed the paper—oil side down—on a toned
canvas or linen, affi xing one side of the draw-
ing with low-tack masking tape to prevent
slippage. Finally, we traced over our drawings,
using red ink so we could clearly see what pas-
sages we had completed. Mahlsticks helped us
avoid resting our hands on the paper, which

38 www.artistsmagazine.com

36_tam0312Flynt.indd 38 12/9/11 10:07:19 AM

 2. In this detail you can see that the orienta-
tion of marks used to create the shadows
often changed as I knitted together small
structural planes or facets. You can also see
a remnant of the cup’s central structural axis,
which I drew to aid in the construction of the
elliptical opening.
would have resulted in paint smudges on our
canvases.
Open Grisaille
Flynt then demonstrated the creation of a
monochromatic underpainting, using raw
umber along with a mixture of titanium white
oil paint and titanium white alkyd paint
(the alkyd speeds drying time) with Liquin
medium. “The purpose of this underpainting
or open grisaille,” said Flynt, “is to block in the
light and shadows to get a feeling of the forms,
thus bringing a sense of light to a painting.”
The validity of this point was evident to the
class, who witnessed a luminous
glow emerging from his canvas.
Noting that the use of a
limited palette at this stage
enables the artist to discern
values without the distraction
of color, Flynt suggested we
think and paint sculpturally:
“Addressing the foreground and
then the background helps us
‘build out’ and make the work
three-dimensional.” As he spoke,
36_tam0312Flynt.indd 39
3. Here you see the completed raw umber wash-in or grisaille. For some of the
lightest areas, I added white paint. This stage, which gives a sense of form and
shows variances from the objects’ local values, is keyed much lighter than what
the final values will be.
Demonstration continued on next page
Strings on a Palette
Taking the time to lay out color strings helps Flynt make better and
swifter choices during the actual painting process. Along the far left
edge of the palette is a string of his main colors (see Materials, page 38).
Underneath Flynt repeats some of the same colors with the addition of
white and also introduces new colors
To the left of the main colors, also along the edge of the palette, Flynt
mixed a string of gray values. Beneath the grays are three more strings
in blue, yellow and red (see the first, second and fourth strings beneath
the grays). The specific hues, chromas and values in these three strings
are based on the predominant color scheme of his demonstration
painting (see Drawing, Grisaille and Ébauche, top of pages 38 and 39).
For the workshop demonstration painting, Flynt added a fourth,
supplemental string (the
third string under the grays),
which he used to hit higher
chromatic notes and extend
the color range for the
orange hues. In this case,
the hues in the supplemen-
tal string are generally higher
in chroma than those of the
other strings.
March 2012 39
12/13/11 9:51:54 AM
 4. Here is my finished ébauche or first block-in with color. Conceptually, this 5. This close-up shows the contrast between
stage helps me connect color with form as I imagine the objects with small the ébauche—seen on the cup and back-
structural planes or facets and identify the hue, value and chroma for each facet. ground—and the final paint passage on the
This passage was done with thin paint, allowing the ground to show through to shell.
some degree. Because of the thin paint application, the values—particularly the
darker ones—are still lighter than what they will be in the finished painting. I’ve
repainted some areas (such as parts of the shell and the smaller cup on the left),
entering into the final paint passage. Before starting this final layer, I rubbed a
thin “couch” of medium onto the appropriate areas to “oil in” the surface. This
allows the dry paint to accept the wet paint more easily.

he coaxed the shape and curves of a shell
into place while deftly establishing the dark
and light values (see Drawing, Grisaille and
Ébauche, step 3, page 39).
Neutrals and Color Strings
The next step in Flynt’s painting process is an
ébauche—in this case, a full-color block-in of
forms that acts as a “rough draft” of
the finished painting. Before actually
Meet Douglas Flynt
While studying at Florida State University,
in Tallahassee, Douglas Flynt apprenticed
with the vice chair of the Portrait Society of
America, Edward Jonas. Later Flynt studied
with Jacob Collins and Michael Grimaldi at
the Water Street Atelier in Brooklyn, New York. From Florida State University, Flynt
received a bachelor’s degree with a major in the history and criticism of art along
with a bachelor of fine arts degree in studio art. He also earned a master of fine
arts degree from the New York Academy of Art in New York City. He made his
“Premixing and laying out a whole range of
mark painting figures before switching to still life. Flynt teaches workshops in his
home state of Florida as well as at classically based art institutions, such as the
Grand Central Academy and the Bay Area Classical Artist Atelier in San Francisco.
Visit his website at www.douglasflynt.com.
applying color, however, Flynt demonstrated
how to lower a color’s chromatic intensity—
using grays rather than complementary colors—
by mixing a string of neutrals in nine different
values. “I do this before I begin to paint,” he
said. “Then as I’m working, I can readily go to a
neutral mixture of the same value as the color I
need. I’ll slowly add that neutral to the color to
dull the chroma.”
The artist begins this string with an
achromatic black—“Flynt neutral,” as his
students affectionately called it—formulated
with six parts ivory black, one part raw
umber and one part burnt umber (all Winsor
& Newton). “In combination with various
amounts of titanium white,” said Flynt, “this
mixture creates all my neutral values.”
In addition to employing a standard pal-
ette (see materials list in Drawing, Grisaille
and Ébauche, page 38), Flynt uses color strings
as an integral part of his systematic process.
color values in advance takes out a lot of the
guesswork as you paint,” he said. He ordinarily
mixes three strings—a yellow, a blue and a
red, based on the predominant color scheme

40 www.artistsmagazine.com

36_tam0312Flynt.indd 40 12/9/11 10:07:34 AM

 6. Because of time constraints, I was unable to finish the painting (Untitled; oil, 7. This detail shows a portion of the shell and
8x10) during the workshop. Most of the shell and the smaller cups to the right of the cup with a final passage of paint.
and left of the shell have received a final paint passage. The cup behind the shell,
along with the background and blue cloth, are still in the ébauche stage.

“Slowing down to think things through

of a setup. He’ll often add a fourth string to
hit higher chromatic notes and extend the
color range for the focal point. Instructing us
to create our own color strings, he said, “It’s as
if we’re making roadways through color space.”
(See Strings on a Palette, page 39.)
Within such precise instruction, Flynt
intermingled insightful commentary on per-
sonal preferences: “I always finish a ‘thought,’
such as the placement of my brushstroke, even
if I haven’t applied the right chroma,” he said
while concentrating on a particular challenge.
“You can always go back and correct or tweak
later, but it’s better not to break a thought in
midstream. Sometimes, if I feel a particular
passage needs to be more dramatic, I’ll push
the chroma. Experiment and nudge the notes
a little higher to accentuate certain aspects and
make them look more beautiful. However,” he
cautioned, “always be ready to scale back if
the overall harmony is affected. Naturally, you
don’t want to go over the top.”
Divide and Conquer the Process
As the workshop came to a close, Flynt
expressed regret at not finishing his
allows us to solve problems and
upgrade our unconscious, reactive
decisions—for more thoughtful strategies
and deliberate tactics.” Douglas Flynt
demonstration painting for the benefit of the
class (a typical 9x12 piece can take from 50
to 75 hours.) However, in addition to sharing
technical handouts, he had spent a lot of time
at each participant’s easel giving individualized
coaching, and additional time in front of the
class giving group critiques. Having watched
Flynt bring major portions of his still life to
fruition, we students felt confident that we
could apply his instruction to our own ends.
That, in fact, was Flynt’s goal: “I want students
to leave the workshop having been exposed to
a process that allows them to take a daunting
task and see it as a series of manageable tasks
that can be studied individually and eventually
mastered.” ■
LOUISE B. HAFESH is an award-winning artist and writer
and a contributing editor for The Artist’s Magazine. See
examples of her work at www.artworks-site.com and www.
paintersportal.blogspot.com.

March 2012 41

36_tam0312Flynt.indd 41 12/9/11 10:07:41 AM

 CALIFOR
42 www.artistsmagazine.com

42_tam0312Behl.indd 42 12/9/11 10:20:38 AM

 Jannene Behl considers color
temperature when working with
value to evoke the halcyon
landscape of California in soft pastel.
INTERVIEW BY MAUREEN BLOOMFIELD

OONE MORNING IN EARLY October I spoke

to Jannene Behl. In Cincinnati, the trees had
started to change color, and the red maples
outside my window were particularly bright. In
contrast, Behl was 15 minutes away from the
Pacific—looking at rain as it fell on the Ojai
Mountains.

MB You live in a small town that’s so beautiful

that it stood in for Shangri-La in Frank Capra’s
movie Lost Horizon. How did you end up in Ojai,
California?
JB I knew I wanted to bring my child up in
a rural area, the kind of place I grew up in.
When we go hiking we always find water-
falls and pools we can dive into. Except for
a two-year stint in Sun
Valley, Idaho, I’ve lived LEFT: This beach is an accident, a
consequence of the creation of Santa
in California my whole
Barbara Harbor. Leadbetter Beach
life. I grew up in Pacific
(pastel, 16x20) shows how Behl starts
Palisades, Malibu, where with simple shapes, then applies many
my father built sailboats layers of pastel to create atmospheric
and I spent a lot of time passages of subtle light.
on the water, sailing or
surfing. I went to college in Santa Monica,
where I studied piano. I was an ice skater,
too, and Holiday on Ice invited me to join
the troupe, but I got married and moved to

NIA
Ventura and played in Guys & Dolls.

dreaming March 2012 43

42_tam0312Behl.indd 43 12/9/11 10:20:44 AM


ABOVE: The Spanish How did you switch from performance—acting,
named this beach, piano and ice skating—to painting?
located south of I never knew I was a visual artist until I read
Santa Barbara, Julia Cameron’s Artist’s Way: A Spiritual Path
Carpinteria because
to Higher Creativity (Tarcher, 1992). She writes
the original inhabit-
about getting in touch with the child within. I
ants, the Chumash
Indians, had a car-
decided—because I’d always loved horseback
pentry shop where
riding and had drawn horses, like all the girls
they made canoes. in sixth grade—to take drawing lessons. In
In this beautifully Ojai there’s an Art in the Park show every year,
tonal work, Clouds and I entered 14 charcoal and pastel drawings
Over Carpinteria of horses, and all 14 were accepted into the
(pastel, 19x25), Behl show. At the opening, I met Bert Collins, who
uses strokes of an said, “That’s exactly how I started—drawing
ochre that’s warm in Tennessee walkers!” She invited me to her
temperature to unite
studio. When I looked at her paintings—they
the land and sky.
were all of nature—I said, ‘I want (to do) that.’
I started going to her classes at the Ojai Art
Center, and she pushed me to enter shows.
Then the artists at Ventura County Pastel
Society invited me to join—that was 15 years
ago. Now I teach classes in pastel.
Your pictures are beautiful and filled with light,
but they’re not dramatic. The color modulations
are subtle. Can you tell me about your process
and how you teach your process?
A lot of it has to do with the paper. I use
LaCarte, UArt and Wallis sanded paper, but I
find the Wallis sanded paper ideal for teaching;
44 www.artistsmagazine.com
42_tam0312Behl.indd 44
Materials
Surface: La Carte,
UArt or Wallis
sanded paper
Pastels: Nupastels
and Girault to start;
Unison for the
middle; Schmincke
or Sennelier and
Terry Ludwig at
the end
Tools: pieces of
foam pipe insulation
I start the students out on black sheets. In
pastel you go from dark to light, and with the
black paper, the dark is already there. I still
have them use charcoal on the black paper so
they can see the main shapes. The black sur-
face helps students learn about negative space.
With a black-on-black surface, how do you teach
them to discern negative and positive shapes?
I keep drumming into my students’ heads
that they shouldn’t be looking for reality
when they paint. They have to learn to see
abstractly. I do a demo in each class. I take
a photograph and have copies made, so they
each have a copy at the easel. They paint as I
paint. The first thing I have them do is turn
the photo upside down. They can’t see real-
ity—which helps them stay in the negative
spaces. I show them that a grouping of trees,
for instance, would be a positive shape and
possibly the center of interest if everything
around it were negative space.
The students start drawing while the
photo is upside down. I have them draw every-
thing—the entire shape and all the interior
shapes—in charcoal. They fl ip the photo right
side up and back again once they start paint-
ing. They learn that you can make anything
you want into a negative space. They learn to
carve out a shape and then fi ll in a shape. I
12/13/11 9:54:03 AM
 have them do the sky at the very end. Using
the black surface also helps them because the
dark is already there and they avoid what hap-
pens when you put light over dark pastel—the
result is mud.
Your work has been called tonalist, which
generally means working within a narrow value
range in which the variations of color are slight.
How do you teach that kind of subtlety to
students, especially if they’re just beginning?
My mentor, Bert Collins, used to say I was a
natural, but being a natural and understanding
what you’re doing or how you can describe it to
someone else is another thing. I learned tonal
values from Glenna Hartmann, who tragically
died in 2008. I teach those principles to my
students, but if I can see they’re colorists rather
than tonalists, I’ll encourage them to pursue
their own way.
42_tam0312Behl.indd 45
ABOVE: Carmel-by-the-Sea has attracted artists for generations. Its landscape con-
tains a city within a forest, as well as a long, sandy beach. Carmel Wildflowers
(pastel, 12x16) shows a succession of planes of color—from the subtle blue and
rose of the sky and the muted line of mountains in the background, to a row of
brush, and then the several waves of flowers, indicated by subdued roses and
yellows in warm temperatures.
One lesson: I have them take their pastels
and put down three cool greens, then put three
warm greens down that are same value. I want
them to see that they’re the same value (not
darker or lighter), but not the same color. This
is an exercise to help them see color tempera-
ture. Some students can’t tell warm from cool;
they just can’t see it.
What do you do in that case?
I show them how cooler (blue) tones keep
the eye back (in the distance), while warmer
March 2012 45
12/9/11 10:20:58 AM
 1 2
Making Clouds Move
BY JANNENE BEHL

Painting clouds is my favorite thing to do.

1. To create the composition, I pencil in the abstract shapes on

UArt, La Carte or Wallis sanded paper. The clouds will com-
prise two-thirds of the painting.

2. I do a watercolor underpainting, making sure the shadow

areas are the darker and cooler shades of blue.

3. I start to put in my pastel; the darks are first. I use charcoal

3
or Nupastel black in the foreground third of the painting, and
softer pastels, such as Sennelier or Schmincke, for the clouds,
so I can blend the strokes easily.

4. I start to soften the clouds with lighter values, using warm

colors against cool colors to bring in the light. In the upper left
corner, I make the negative space the color and value of the sky,
rather than the color and value of the clouds. This small pas-
sage of warmer temperature will push the clouds forward and
convey a sense of movement.

5. I bring the warmest colors into the foreground and put a few
touches of the same tones into the clouds—to pull the painting
together. To make the clouds move and to unite the disparate
parts of a landscape, I always inject a little of the color and tem-
4
perature of the foreground into the sky and clouds, as I did in
Clouds (pastel, 16x20).

5
46 www.artistsmagazine.com

42_tam0312Behl.indd 46 12/9/11 10:21:06 AM

 (yellow) tones move the eye forward.
I take my students outside and tell them to
find the sun and figure out what it’s hitting. If
the sun is hitting a tree, for instance, the tem-
perature will be warm, even in the shadows.
Also I tell them to consider the season.
Colors can be warm or cool, depending on the
time of year. In summer, the blue is warm, so
the sky can be aqua; in winter, it’s cooler. The
students also have to take into account the
atmosphere; fog can be cool or warm, with
pink or peach in it. Browns are either warm or
cool, even in shade.
Many pastels are more like drawings than
paintings. I’m thinking especially of Degas’s
pastels, where you can see the pure strokes
of color on the tinted surface. In your work, in
contrast, the pigment fills up the tooth of the
paper.
To blend and smooth an area like the sky, I
use my fingers, paper towels and occasion-
ally pieces of foam insulation. I learned the
42_tam0312Behl.indd 47
last trick from Richard McKinley. I buy the
foam insulation pieces at Home Depot; they’re
basically the rubber stuff that goes around a
pipe to keep it from freezing. It’s a little like
Styrofoam or rubber. I sometimes use peanuts
(the packing material) to smooth the color, too.
To save the tooth of the paper, I start with
harder pastels, Nupastels and Girault. I use
Unison pastels to give me the most pigment
during the midstage. For the final touches,
I use the softer pastels, such as Schmincke,
Sennelier and Terry Ludwig. I like the sharp BELOW: Rather than
edge on the square Terry Ludwig pastels to strive for drama,
press in the illusion of twigs and grasses in the Behl prefers a reflec-
foreground—and the large flat surface of the tive mood, reinforced
by close attention to
Ludwig pastels to get the effect of movement
color temperature.
when I drag the pastel’s surface over what will
Note how warm
seem to be a body of water.
colors (surrounded
by cooler ones) shift
Is the first step in your own process what you the focus to the
teach your students—to sketch the composition sliver of water in
in charcoal? Clouds Over the
Yes, I use a medium piece of vine charcoal. I Gap (pastel, 16x20).
March 2012 47
12/9/11 10:21:12 AM
 ABOVE: Lake Casitas put in all the dark, abstract shapes, the darkest
was formed by the tonal values, which for me would be the char-
Casitas Dam. Lake coal or a black Nupastel. I always work from
Casitas (pastel dark to light; the abstract shapes in the paint-
11x14) is a good
ing need to be there fi rst.
example of tonalism,
Then I go to my next darkest tonal value.
as there are only
two values, and the
It’s all about what’s underneath the light. Take
colors are within
a tree for example. The dark, shadow side of
a restricted range. the tree would be a cooler temperature (blue-
The sky is cool, as green or cool purple) and the other side would
are the eucalyptus have a warmer temperature of blue—maybe
trees; the foreground, even a warm brown or warm violet. If the sun
warm in temperature, is setting, the tree would be backlit and the
shimmers with an warmer areas would display more color, such as
incandescent light. orange, pink, a warm violet, even red.
Next I put in some detail, which can be
tricky. Too much detail can make the paint-
ing look contrived. I like to have places in my
paintings where the eye can rest.
All your titles are the names of actual locations
in California. You seem to want to depict a place
rather than a state of mind, but, of course, you
do both.
I love California. I like cities; I love the
theatre and concerts, but in New York City I
get claustrophobic. I love coming back to the
48 www.artistsmagazine.com
42_tam0312Behl.indd 48
mountains. In California the mountains go
all the way down to the ocean. I started surf-
ing when I was 12 years old. I had an old balsa
wood board that was so heavy! My friends
and I would hike down the slope to the water.
Then we’d haul the dinged up and waterlogged
boards back uphill. We were outside, in nature,
all the time; I just can’t imagine being any-
where other than California.
I’m a homebody but, in my paintings, I
like to lead the viewer on a journey. Every
painting is its own journey for me, as well.
Some journeys are easier than others. If a
painting is too much of a struggle, I put it
away, sometimes for a whole year.
The most important part is the initial bal-
ance of the composition: the distribution of
negative and positive spaces, the placement
of warm and cool colors, and the pattern of
complementary colors that give a painting its
overall feeling of continuity.
Also the movement, indicated by the dis-
tribution and slant of the strokes, is important.
There has to be a rhythm and it has to carry
over the entire picture. I don’t want a painting
of nature to look static or flat. I want it to have
what Bert Collins would call “the wow factor.”
12/9/11 10:21:19 AM
 BELOW: The eucalyptus tree and its reflection provide a
focal point, a locus for the viewer’s eye. To create the illu-
sion of a wet surface, Behl kept the colors consistent, mak-
ing the mirrored image a simple, tonally consistent shape
in Day at Devereux Slough (pastel, 19x25). Along the
eastern gateway to the Gaviota Coast, Devereux Slough is
a protected wetland, home to endangered birds and fish,
about a half a mile away from the Pacific Ocean.
I’m happy when someone wants to walk into
the painting and be there.
Since you’re a musician as well as a visual artist
and you’ve worked as an interior decorator, I’d
love to know what your studio looks like and
what music you have playing there.
When I work at home, I just set up my small
Heilman box and my easel—a very simple
setup in my garden room. I play classical music.
I have lots of natural light, with windows
all the way around. My main studio I share
with my mentor, Bert Collins. I paint there
about four days a week; the studio has the best
track lighting, and I have all my pastels there:
Glenna Hartmann bequeathed her pastels to
me; in addition, I have whole sets of Terry
Ludwig, Sennelier, Unison and Nupastel, but
I paint from a small Heilman box that I’ve set
up with everything I need.
I paint sitting down with my work on an
easel, and my pastels on both sides. In the
studio, there are windows with views of the
Ojai Mountains on one entire side and of
eucalyptus trees on the other: It’s very bright
and cheerful. I teach a workshop there every
Thursday. We always have lots of goodies
42_tam0312Behl.indd 49
Meet Jannene Behl
“Somebody told me that if you can find some-
thing in life that you can make a living at—and
love what you’re doing—it’s a great gift,” says
Jannene Behl, who has won Jack Richeson/
Unison Pastels Best of Show in the 2004 Pastel
100 Contest sponsored by The Pastel Journal
and first place in 2008 in the landscape/Interior
category of The Artist’s Magazine’s Annual
Art Competition. Having grown up in Pacific
Palisades, California, Behl now lives in Ojai. Her
work is represented by the Primavera Gallery
and the Ojai Valley Inn in Ojai; the Village Frame
& Gallery in Montecito; and the Mountainsong
Galleries in Carmel-by-the-Sea, California.
around like chocolate. Sometimes I take a
web
walk with my dog, Bear, the studio mascot—a EXTRA
large white Samoyed. Sometimes I take a
break and walk across the Besant Meadow, For a link to more
of Behl’s art, go to
which is part of Ojai Valley Land Conservancy.
www.artistsnetwork.
Bear loves that, and as I look at the beautiful
com/tamonlinetoc.
landscape around me, I feel very lucky.
Do you still play the piano?
I do. I love Chopin; I love the jazz pianist
Bill Evans. I love Tchaikovsky, Bach, Mozart,
Debussy—I love all of them.
My life is very full. In addition to mak-
ing art and teaching classes, I work two days a
week as a hair stylist. I’ve been doing my cus-
tomers’ hair for over 20 years; they’re friends
rather than clients. Going into the salon isn’t
like work; it’s more like a social event. I catch
up with what’s going on in my friends’ lives.
There are many paths I could have taken.
If I hadn’t become a visual artist, I maybe
would have become a dancer. I love to dance,
and I go swing dancing at least two nights a
week with my boyfriend. I like to live life! ■
MAUREEN BLOOMFIELD is the editor of The Artist’s
Magazine.
March 2012 49
12/9/11 10:21:26 AM
 Melanie Daniel creates images
of disintegration that unite fragments of
her Canadian and Israeli heritage.

the
hybrid
landscape
of the
heart
BY RUTH K. MEYER

T TRAVELING IN INDIA, Melanie Daniel, a

Canadian, met an Israeli, Yair Harel, who
became her husband. Today the couple lives in
Tel Aviv, although they are currently spending
a year in British Columbia so that their son
can learn about his Canadian heritage.
Heritage is important to Daniel, although
she makes a determined effort to avoid the
nostalgia and romanticism that adhere to
wolf, identified with Canada, becomes an icon
of martyrdom in a fantastical landscape that
suggests the desert of Israel. In Storm Clouds
national themes. Take the totem pole: a potent Gather (page 52), Daniel creates a Northwest
symbol of its creators, the First Nations people downpour cascading over the features of a
who are indigenous to Canada. Painting totem totem head that is superimposed on a green
poles in Israel is Daniel’s way of holding on to camouflaged background. In Israel, camou-
her culture while living in a foreign environ- flage is both worn on the body and draped over
ment. Kings of the Frontier (on this page) adapts the landscape for concealment. But the green
the idea of the totem animal. In this case, a marks could just as well be moss.

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50_tam0312Daniel.indd 50 12/9/11 10:32:35 AM

 Surveying her work of the last three years,
one sees evidence of the hybridization that’s
taking place in both her conscious and uncon-
scious minds. In Satellite Totem (page 52), six
canvases have been joined to create an iconic
figure with one, dishlike eye. The body of the
figure is covered with a pattern of desert foli-
age, and antlers stretch out like arms in the
center crosspieces. Th is two-dimensional icon
is keeping vigil over something by its mere
50_tam0312Daniel.indd 51
ABOVE: In Kings of the Frontier (oil, 63x87), Daniel
inserts the totemic wolf, identified with the Northwest, into
a chimerical landscape. “I started,” she says, “by dividing
the canvas into two parts, foreground and background. To
each I applied a uniform layer of color. I allowed the under-
layers to dry before creating the wolf heads and their
respective stumps. I used a masking tape stencil to make
the dark blue patches, which I painted over with a thick
brush.”
March 2012 51
12/9/11 10:32:42 AM
 ABOVE: A totem is presence and by modern technology, the satel- not celebrations of natural beauty; they have
an object that serves lite dish, a familiar feature in the landscape of complicated personal messages and some of
as an emblem for a Israel. Hot orange and pink motifs pulsate on these are political, although she prefers to leave
tribe or a clan. Of the surface as if to power the transmissions. such readings to the viewer. Surveying her
this piece Daniel
career, the artist says, “I’m primarily a figura-
says, “I was thinking
From Literature to Art tive painter of landscapes imbued with loose
about how totems
are traditionally
Daniel studied literature and philosophy in narratives. Fifteen years ago I was interested
made from one tree
Canadian universities before her life in Israel in serial, nonfigurative geometric paintings
and how three- began. It was in Jerusalem that she became that were very flat, and unlike the lush impasto
dimensional art a serious painter, although the tradition was which was to come later. I loved Agnes Martin
occupies space and already in her family background. “If DNA and Robert Ryman. In a sense, I’ve come full
commands presence. determines what aptitudes a person enters the circle by incorporating abstraction without
Painting, however, is world with,” she says, “then the decision was forfeiting the dominant figurative aspect. I’m
about surface, and made for me on a meaty level. Painters have presently striving for less storytelling, hoping
painters have to been in my family for generations.” In 1994 the paintings will verge on disintegration.”
respect those limi-
Daniel applied to the Bezalel Academy of Arts Disintegration as a motif is evident in the
tations.” Satellite
and Design in Jerusalem and got in. startling Before Anything (at right), where it
Totem (oil, 78x46)
consists of modules
While in Jerusalem’s desert, she remem- appears Daniel set out to paint the explosive
originally hot-glued
bered Canada’s wetlands, forests and snow. power of a natural force. There is no center of
to the studio wall Landscape painting has always been significant interest or focus. Rough-hewn logs fly across
and now secured in Canadian art through the efforts of the early a blue surface that could be water or sky;
with tiny brackets. 20th-century Group of Seven artists and their streaks of pink are like flames, and snowballs
followers. Daniel, on the other hand, sees no have been thrown in from another angle. It’s
need to paint more trees. Her landscapes are strangely beautiful and disturbing as well. Of

52 www.artistsmagazine.com

50_tam0312Daniel.indd 52 12/9/11 10:33:05 AM

 LEFT: “I didn’t have a specific plan when I painted the gray
background and thin, gray, vertical lines,” says Daniel. “I
wanted to start with a “fact” that already existed on the
canvas. Only later did I think of painting a head, which
was worked into the stripes in Storm Clouds Gather
oil, 31x28). Then came the green and rusty parts, which
reminded me of moss.”
this kind of work, she says: “Rather than a
subject, I look for a quality that burrows itself
in my mind and lasts.”
The Goo of the Painting
The quality that “burrows itself ” into her mind
is examined and worked out via the paint-
ing. “The proof is in the material itself,” she
says, “the goo that is painting—did someone
play here, curse the day she was born here? If a
painting is too self-assured, too slick, then why
does it need me to look at it? It already has all
the answers!” For Daniel, a painting not only
represents the progress of a state of conscious-
ness, it actually contains aspects of that prog-
ress. “I had a big dog for 13 years,” she says,
“and her fur is embedded in all my paintings’
surfaces until the year of her demise.”
Stressing again the physicality of the
paint, she says, “Subject matter is only one
part of what makes a painting good. The way
it’s painted is no less significant: that twilight
zone, or living interface
between artist and the
thing, the painting.” The
“living interface” that
Daniel speaks of is the
essence of her practice,
one that combines a
philosopher’s quest for
meaning with a painter’s
pleasure. She uses a num-
ber of methods: alla prima,
which, she says, “lends a sluttish ease and
spontaneous look.” She also paints in layers
“with days or hours of drying time in between
to achieve different effects.” Indeed, she
dilutes the oil paint with turpentine and either
Galkyd or linseed oil. “I use less medium now
as I’m working in a cold environment (a garage
in British Columbia) and the curing process
is much slower. In my Jaffa-Tel Aviv studio, I
add more medium to extend the working time
because the weather is so hot, it speeds up the
oxidation process.”
Is there a method to the way she makes
her marks? “I pay attention to what’s hap-
pening on the surface—from a good distance
and up close,” she says. “The painting needs
to be interesting to me when I zoom in and
out. I don’t have any hard-and-fast rules about
brushes or technique. Trial and error is my
method.” When she wants opacity, she creates
tints (adding white); for tranparency, she mixes
dry metallic pigments into the paints.
The Crux of Content
One unusual aspect of her practice, possibly a web
holdover from her study of literature, is that EXTRA
she initially makes lists rather than drawings. For a link to more
“Sometimes I write the words directly on the of Daniel’s art,
canvas,” she says, “but not on the image itself.” go to www.artists
There’s always a crux—a theme at the core. “I network.com/
can pour over Internet images or old family tamonlinetoc.

RIGHT: Before Anything (oil,

75x110) could be called a color
field, an abstraction that serves
as a ground for planks of wood
(and/or drawing elements) and
other moving elements that sug-
gest a world in flux or a world
about to come into focus. The
white splotches that seem to
punctuate the movement imply
an explosive force.

March 2012 53

50_tam0312Daniel.indd 53 12/13/11 9:55:22 AM

 photos, looking for something specific to cata-
lyze an idea I’m entertaining. It’s always a hunt
for that spark—the ember that has to keep me
hot so I can keep plugging away.” Once started,
Materials the picture becomes “a spontaneous invention,
Surface: heavy which is a nice word for problem-solving.”
cotton canvas To keep that ember glowing and to spot
primed with rab- the problems that need fi xing, she looks
bitskin size, an oil- through a small mirror while her back is to
based primer
the painting. What this exercise yields, she
Paints: oil and, says, are “patches of cruel clarity.” She explains:
occasionally, dry “Once, in a flash of frustration—I didn’t trust
pigments mixed my eyes anymore—I was looking out the win-
with oil color dow and saw a section of my painting in its
Mediums: lin- reflection. I realized immediately how I could
seed oil, stand oil, proceed and solve the work.”
Gamblin Galkyd
and damar Sabotaging the Work
Brushes: miniscule Any painter who relies less on actual subject
to huge, round and matter than on her psychic geography comes
flat, square and face to face with the problem of content: “At
pointed first I began with an idea that resonated
inside of me; now the act of painting itself has
become the impetus, and the imagery arises
less from conscious thought and more from
spontaneous invention. I’m trying to go at it
blindly, so to speak. I believe that if I stay true
to the painting throughout all the sessions, it
will ultimately be a reflection of my desire.”
The work then, through the process of its evo-
lution, will reveal its authenticity and meaning.
To make sure that this act of creation
doesn’t become routine, Daniel purposefully
destroys passages in order to keep the work
in motion and to “problem solve.” “At some
point in the making,” she says, “I sabotage the
painting, by throwing it off its visual/compo-
sitional balance. Then there can be surprises
when trying to rectify the new situation. It’s
about deliberately detouring onto Ugly Street
in order to navigate my way out. The objective,
after all, is to play, as banal as that sounds, and
not to rely on old tricks.” Her greatest fear in
the studio, it’s clear, is boredom. “If I feel too

Meet Melanie Daniel

“Artists generally are an awful lot when it comes to sharing
limited resources,” Melanie Daniel says. “Sharing information,
writing recommendations and networking benefit all those
involved. What I like most is to see other artists succeed and
what I do best is promote them and help them attain their
goals.” Having won the Rappaport Prize for a Young Israeli
Painter in 2009, Daniel showed her work in a a solo exhibi-
tion entitled “Evergreen” at the Tel Aviv Museum of Art. She
won the Sharett America-Israel Cultural Foundation Prize in
2001 and 2006. Daniel
has shown her paint-
ings in Israel and in
New York City, at Asya
Geisberg Gallery in
Chelsea, where she’ll
have a solo show in the
fall of 2012.

RIGHT: In Fool (oil on canvas, 51x39), Daniel incorporates the

figure that serves as locus for several arrowlike vectors. Because
studio work is so solitary, Daniel likes to step outside on occasion
to make videos. “Sharp shifts in creative work inform all aspects
of what goes on in the studio and life in general,” she says. “It’s
like a ricochet of ideas and experiences.”

54 www.artistsmagazine.com

50_tam0312Daniel.indd 54 12/9/11 10:33:18 AM

 comfortable, then I know something’s wrong.”
Antlers in Berry Season (below) vividly calls
to mind the paintings of Wassily Kandinsky
(1866–1944), whose many paintings with
the title Composition were attempts to attain
what he called “the spiritual in art,” a phrase
identitied with an artist’s going far beyond the
representational elements of a landscape to
express the energies that created their forms.
His works were speculative, experimental
and intuitive—also, not always easy on the
eye. Similarly, Daniel can pull off a “seasonal”
painting with strange antlers that look some-
what fabricated or branchlike and are well-
hidden among an explosion of summertime
BELOW: Daniel’s process for Antlers in Berry Season
(oil, 35x43) was trial and error. “I started with a stick draw-
ing of where the antlers would go,” she says. “I made wide
burgundy strokes around the antlers, added two dark
shapes and, at the end, yellow fluorescent drips.”
50_tam0312Daniel.indd 55
color. It’s a joyful expression with berry colored
swishes, orange and fluorescent yellow drips
and patches. Nonetheless, two large dark
blue shapes sprinkled with glitter push to the
foreground—driven by the powers unleashed
in the brushwork. Given all the steps, missteps
and detours, the point at which things come
together is Daniel’s favorite part of the process,
what she calls “that aha moment, when the
painting starts to come into itself and has a little
life of its own.” She explains: “The best part, if it
happens at all, is doing something totally unan-
ticipated and strange, and it works. Sometimes
there are rare moments when a painting is just web
like a gift.” Melanie Daniel is definitely one to EXTRA
watch, a contemporary painter reinventing 20th-
To find out more
century expressionism through a study of its
about Daniel’s
foundations—without disregarding the events process in creat-
of her lifetime and the challenges it contains. ■ ing Antlers in Berry
Season, visit www.
RUTH K. MEYER is an art historian, art consultant and artistsnetwork.com/
former museum director. tamonlinetoc.
March 2012 55
12/9/11 10:33:24 AM
 at their peak
Jane Tracy
70 • Boca Raton, Florida
www.janetracyartist.com
In her earlier life, Jane Tracy was a professional
potter who sold high-fired stoneware to retail
stores. She had a studio at home; as her children
got older, they became their mother’s apprentices.
“When the last one left for college, I realized,” Tracy
says, “what hard work making pots was—lugging
all that clay around! In my next life, I said I’m going
to be a jeweler who has everything she needs in a
tiny box.” Once she and her husband retired, mov-
ing part time to Boca Raton, Tracy took classes in
painting at Boca Raton Museum of Art’s school and
got, as she says, “hooked.”
Tracy works either on stretched canvas or on
wooden panels that she builds herself. To prime
the surface, she uses either black gesso, in which
case the process becomes taking black away in
some places and leaving it in others, or white
gesso, to which she adds a wash, as she did for
Floating By. What watercolor and acrylic afford is
color. “My palette is so much broader now than
was possible when I worked with glazes,” she says.
“Floating By began, as most of my paintings do, with
a design in my head. I entered pencil strokes to
define the basic composition, and then I struggled,”
says Tracy. “The struggle never really goes away,
although the agony wasn’t as severe for Floating
By. It may have been the colors I chose or the view
from my studio window—I never know what the
source is or where it comes from.”
Tracy shares her studio, whether in Connecticut
or in Florida, with her husband. “Part of the space
is allotted to his music, and the other part—the
bigger part!—is set up for my work,” she says. “It’s
a nice way to go through our years together; it’s a
great way to continue this journey.” —M.B.

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56_tam0312Over60.indd 56 12/9/11 10:48:18 AM

 The winners of our Over 60 Art Competition
are joyfully obsessed now that they’re
free to devote themselves to making art.
BY MAUREEN BLOOMFIELD, CHRIS MCHUGH AND HOLLY DAVIS
BELOW: Floating By (acrylic, 30x40)

March 2012 57

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 BELOW: Temple Bar (oil, 18x36)
Rod Williams
74 • Cameron Park, California • rodwilliams.fineartstudioonline.com
Rod Williams graduated from Washington
University’s School of Fine Arts in St. Louis,
Missouri, but worked as an interior designer for
retail stores until about 15 years ago. “My medium
then was magic marker,” he says. “The drawings
I did were very detailed; the idea was to convince
the client to give us his business. Doing Temple
Bar (oil, 18x36) was like doing an elevation (a geo-
metrical drawing that depicts one vertical plane of
a structure) to show a customer what a wall might
look like. The challenge was to make the picture
as dark and moody as the scene seemed when I
encountered it.”
Temple Bar is a saloon that Williams and his
daughter walked by on their last day in Dublin. “I
didn’t go in; I was pubbed out by that point,” says
Williams. But he snapped a photograph that
58 www.artistsmagazine.com
56_tam0312Over60.indd 58
recorded the ironic juxtaposition of “temple” and
“traditional Irish music.”
Working in oil is a departure for Williams, who
switched from watercolor because, he says, “in the
world of art, watercolor is harder to sell. In every
gallery, there are 50 oils for every three watercol-
ors. It’s a different exercise, but my oils tend to be
just as tight as my watercolors were.”
Happily obsessed, Williams paints every day,
sometimes eight or nine hours a day. “It’s not a
problem because my wife is usually playing bridge.
We meet for cocktails and dinner. I spend most of
my waking hours either painting or thinking about
painting. Sometimes I wake up in the middle of the
night, when an image comes to mind, but getting
up to paint in the dark is not a good thing.” —M.B.
12/9/11 10:48:31 AM
 Rosa Vera
62 • San Antonio, Texas • www.rosavera.com
“One day I’m in love with Klimt; the next day I’m in
love with Schiele or Sorolla or Sargent. We artists
take something from everything we see and every-
one we meet,” says Rosa Vera, whose first career
was in international finance, an occupation that left
her “stressed and depressed.” She was fortunate,
however, to live at that time in Washington, D.C.,
“where there are so many museums and all of them
are free. I would run to a museum during my lunch
hour; that would fill my heart.”
Vera’s intention as an artist is to abstract the
figure; central to her style is a prepared surface:
two coats of Daniel Smith acrylic gold gesso on
watercolor paper or hardboard. “My style is simply
putting on and taking off,” she says. “The gessoed
ground makes it easy to swipe off one layer of
56_tam0312Over60.indd 59
watercolor with a damp towel and put another,
opaque layer on. The gessoed ground also allows
for more mixing of color on the surface.”
After struggling over the course of a year, she
abandoned Into the Light, then forced herself to
finish it. The picture had started with a photo of a
flower girl at a wedding. “It was a cold but sunny
March day in Chicago,” Vera says. “The girl was
grasping a railing. I decided to change her gesture
so she would look as if she were stepping into the
light.” For Vera, who only started painting after
her first husband died suddenly of a heart attack,
it’s an emotionally resonant piece. “I guess, when
you’re over 60, so many things have happened
that you realize you have to turn toward the light.”
—M.B.
LEFT: Into the
Light (watercolor on
gold-gessoed board,
29½x29¼)
March 2012 59
12/9/11 10:48:41 AM
 Richard Broderick
62 • Granada Hills, California
“You can make a really good living in art,” says get all values and colors as accurate as possible.
Richard Broderick, “if you’re willing to use your Then, after turning the painting to the wall for close
talents to do what other people want. You have to to a week, he proceeded to paint over it, refining it,
be attuned to that.” Broderick started out as an and especially painting dark over dark to cover the
apprentice hand-painting billboards in Los Angeles. canvas completely.
He’s worked on storyboards for TV animation and Now that he’s retired, he’s thrilled to be able to
was most recently a concept designer for Walt work on the projects he chooses: “When you get the
Disney Imagineering, the creative force behind good ones,” he says, “they make you fly!” —C.M.
the Disney theme parks and
entertainment venues.
The gentleman featured
in Broderock’s painting Eric
Polk was a workshop student
at the Los Angeles Academy
of Figurative Art along with
Broderick. “He was way more
interesting than any of the
models,” says the artist. After
snapping a number of photos
when he and Eric were talking,
Broderick combined two or three
of them to create the pose he
used for the painting. “Coming
up with a background to fit the
pose was a bit of a challenge,”
Broderick admits. Painting
directly with fresh paint, he
applied the first layer, trying to

RIGHT: Eric Polk (oil, 48x36)

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56_tam0312Over60.indd 60 12/9/11 10:48:50 AM

 Maya Farber
76 • New York, New York
www.mayafarberart.com
“Struck by the unusual name and beauty” of the
fried egg poppy she saw as she paged through
magazines looking for inspiration, Maya Farber
knew she “just had to use that flower.” Deciding
to create a bouquet of collaged pieces, she
painted on the canvas a dark acrylic background
and the outline of a vase from her collection.
After transferring a preliminary sketch of the
flowers to the background, she began the
daunting and time-consuming task of cutting
out photos of the flowers in the appropriate
sizes, positions and lighting. Then she began to
arrange the luminous bouquet, “exactly like a
jigsaw puzzle,” adhering each flower with semi-
gloss acrylic medium. “My objective,” explains
Farber, “is to fool the eye and create a seamless
transition between the collaged and painted
surfaces. Acrylic paint ties the areas together
and blends the edges of the collaged materials.”
Farber has been “consumed with art-making” ABOVE: Fried Egg Poppy (collage
since she was 15, when an art teacher at her and acrylic, 24x18)
high school encouraged her. Later, at 18, she
took classes at the Art Students League in New
York City from the legendary Will Barnet and
Reginald Marsh. Even after she’d married and
later was caring for her four children, she made
time to collage and paint at odd hours during
the day and late into the night in her garage stu-
dio. “The expression of ‘feminine’ imagery, such
as flowers and household objects,” she says,
“has enriched my art and been a source of great
personal satisfaction.” —C.M.

March 2012 61

56_tam0312Over60.indd 61 12/9/11 10:48:56 AM


Kathi Coyle
63 • Kingston, New York • www.kathicoyle.com
Upon entering college, Kathi Coyle was told, “If
you’re interested in being an artist, you’ll have to go
into advertising.” However misguided that advice
was, her classes did awaken her love for drawing.
Later she moved to New York City and studied at
the Art Student’s League, the School of Visual Arts
and the National Academy School. Over the years
she’s studied painting with Daniel E. Greene and
Burt Silverman, as well as 19th-century drawing
techniques at the Grand Central Academy of Art.
Inspiration for Late Summer on Chodikee Lake
came to Coyle as she observed the orange under-
sides of the lily pads that her canoe had overturned.
She returned to the site several times to sketch dif-
ferent compositions, eventually settling on a design
with a strong diagonal trajectory leading to a patch
of sky that allows the eye an escape. She also noted
62 www.artistsmagazine.com
56_tam0312Over60.indd 62
BELOW: Late Summer on Chodikee Lake (oil, 30x45)
specific shapes of plants. “I knew I could substitute
any trees and bushes and observe the lilies in my
own pond for further reference” says Coyle.
She underpainted with burnt sienna, knowing
that hue would shine through the complementary
green. Next she massed in the large compositional
shapes. “The painting started as a two-dimensional
abstract design,” says Coyle, “which transitioned
to generalized local color shapes with basic value
considerations. By further subdividing the painting
and becoming more specific with values and color
subtleties, the piece became more realistic.”
Five years ago Coyle opened the Arden Atelier
Academy of Art, named in honor of her first art
teacher, her father. There on the top floor of her
home, she teaches classes in oil and pastel, as well
as in her latest passion, sculpture. —H.D.
12/9/11 10:49:03 AM
 Sandra Burshell
61 • New Orleans, Louisiana • www.sandraburshell.com
“When I arrived early in the morning at this coffee ultimately, the room—the environment—became
house,” says Sandra Burshell, speaking of the setting the portrait of the individual.” She calls these works
for her winning piece, Streaming Light, Fair Trade Roomscapes.
Café, “the scene screamed, ‘Notice and paint me!’” Burshell’s style has also evolved through the
What had struck Burshell was the sharp light in the years from literal, detailed renderings to more
dark environment, which became the basis of her abstract interpretations with mystical overtones.
geometric design. A purple underpainting comple- When Burshell came upon the scene in Streaming
menting the predominant yellow of the light helped Light, Fair Trade Café, someone had just left the
her achieve the painting’s dramatic contrasts. table. Burshell points out that the horizontals, ver-
Burshell earned a bachelor‘s degree in art from ticals and diagonals set up relationships, “as if the
Temple University in Philadelphia, Pennsylvania, tables themselves were conversing.” —H.D.
and then a master’s degree from
Tyler School of Art (part of Temple
University). A highly awarded and
involved pastelist, she teaches
workshops, exhibits her work regu-
larly and was vice president of the
International Association of Pastel
Societies from 1994 to 2006. Carol
Robinson Gallery in New Orleans
represents Burshell’s work.
Given these accomplishments,
one wouldn’t suspect that Burshell
is legally blind in one eye. And yet,
even with greatly reduced depth
perception, she’s drawn to paint-
ing interiors. “At first I wanted to
be a portrait artist because I loved
the emotion and character of the
face,” says Burshell. From portraits
she went on to figures and then
began including related objects
and, finally, an entire room. “The
figure grew smaller while the room
got bigger,” says Burshell, “until,

RIGHT: Streaming Light, Fair Trade

Café (pastel, 19x18)

March 2012 63

56_tam0312Over60.indd 63 12/9/11 10:49:10 AM

 RIGHT: Betty (graphite
and oil, 36x48)

Gail Postal
67 • New York, New York • www.gailpostal.com
“What I love about her is that she doesn’t conform Seeing a Fra Angelico exhibition at the Met—the
to the ideal of classical beauty,” says Gail Postal gold, the lapis lazuli, the detailed drawing—was
of her model Betty. “She walks around without a “transcendent experience.” Encountering the
clothes; she’s confident and beautiful. When I asked Russian icons at Kirilov Belozersky Monastery was
her if it was all right that I was putting her, naked, another one. The icons—vertical, gilded panels—
in what was akin to a religious icon, she said, ‘Sure, show saints depicted in a linear but naturalistic
my aunt is a nun.’” way. “I realized that was what I was trying to do,”
Postal always wanted to be an artist, but her says Postal. “I was so excited I e-mailed Sharon
family was poor and her father warned that she’d Sprung from the boat on the Volga!”
have to support herself. For 27 years Postal taught After coating a hardboard surface with gesso,
pre-K through third grade in an open classroom. “I Postal draws the figure in graphite, sprays the
took my kids to every museum in the city,” she drawing with fixative and then starts the slow
says. During the summer she traveled, and at night process of creating the gold surface: five layers of
she earned a doctorate. When she retired she Holbein gold paint, each layer diluted with Liquin.
signed up for a drawing class with Sharon Sprung at Postal feels as if she has to make up for lost time.
the National Academy of Design. “My whole world “I have a big living room that’s become my studio.
changed,” Postal says. The first thing I do when I get up is to sit down in
She discovered she loved line. “I wanted to paint,” my pajamas and stare at the painting on the easel,
she says, “but I didn’t want to lose the drawing.” and that’s the last thing I do at night.” —M.B.

64 www.artistsmagazine.com

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 Mike Hill
69 • Gresham, Oregon • www.mikehillwatercolors.com
Mike Hill came upon the Duesenberg he featured
in Ain’t She a Duesy at the Nethercutt Museum in
Southern California in March of 2010. “I wanted to
capture the nostalgia for the 1930s,” he says. “I
like to show the relevance of cars to history and to
the world around them in my paintings and com-
missions. The Duesenberg Model J was definitely
a statement about American engineering in the
period during the Depression and before WWII.”
Hill has a personal connection to the fashions of
the era as his mother was a commercial artist in
San Francisco during that time, and the drawings
of the models in the Macy’s store window are the
types of illustrations she did. “It was a challenge to
integrate the fully painted car with the backdrop of
RIGHT: Ain’t She a
Duesy (watercolor and
gouache, 30x20)
56_tam0312Over60.indd 65
the line drawing of the models,” he says, “but I had
fun with it.”
As a young man, Hill attended the California
School of Fine Arts and started out as a commer-
cial artist but shortly thereafter went into dentistry
as a more secure livelihood. He’s retired now, after
some 30 years in dentistry, and for the last 10 years
has become more serious about his art again.
“Being a winner in this competition is a validation
of what I started in art school,” he says. “I always
wondered if I could make it. Yet the rewards in art
aren’t always monetary—there are the acknowl-
edgments from friends who recognize the value of
what you’ve created.” —C.M.
March 2012 65
12/9/11 10:49:22 AM
 John P. Smolko
61 • Kent, Ohio • www.smolkoart.com
If you think scribbles are kids’ stuff, think again. professor from Smolko’s fine arts graduate-student
John P. Smolko has turned scribbling into an art days at Kent State University, encouraged Smolko
form. “I started as a realist—almost a photorealist,” to try scribbling.
says Smolko, “layering and blending oils to make Eddie, No. 1 (Marine), a portrait of Smolko’s
skin smooth. I actually love all kinds of realism, but nephew just before deployment to Afghanistan,
I decided I needed to go in a new direction, away began with a detailed line drawing in white pencil.
from polished renderings.” He began experimenting Next came a color block-in of controlled scribbles—
with cross-hatching in colored pencil. Tom Lehnert, small back-and-forth strokes made without raising
a member of Smolko’s critique group and also a the pencil from the surface. “I put a little bit of
every color everywhere,”
says Smolko. “Since the
shirt was yellow, I put yel-
low in the face, too.” He
laid these scribbles in
random directions and
varied his line thickness by
letting the pencil lead wear
down before sharpening
it. The third stage involved
bolder, more spontane-
ous scribbles as Smolko
worked around the compo-
sition, sometimes stepping
back or walking away for
a period so he could see
what was needed to “tie
things together.” No line
was truly random. Smolko
remarks, “I understand
what Degas meant when
he said, ‘Every line is
exactly where I want it.’”
A retired high school
art teacher, Smolko now
works as a full-time artist,
occasionally teaching
workshops on his scribbling
technique. —H.D. ■

LEFT: Eddie, No. 1 (Marine)

(colored pencil, 40x32)

66 www.artistsmagazine.com

56_tam0312Over60.indd 66 12/9/11 10:49:29 AM

 brushing up MICHAEL CHESLEY JOHNSON
Grounded for Life
Enhance the look and insure the longevity of your oil paintings with well-grounded surfaces.
IN MY EXPERIENCE as a painter
and teacher, I’ve learned that many
painters, students and profession-
als alike, don’t understand how
to properly prepare a surface for
oil painting. Whenever someone
says, “I just prime my panels with
white house paint and go to it,” I
cringe. For the record, quality house
paint is not made to last the ages. It
might last 15 years before you have
to paint your house again, but it’s
not made to coexist with archival
artist’s materials. House paint will
quickly degrade those expensive,
hand-mulled paints you just bought.
Seal Your Support
Although oil painters have worked
on a variety of supports over the
centuries, wood panels and stretched
canvas are perhaps most traditional.
In order to create a long-lasting
painting, the support must first be
sealed. The oil in paint will, over
Ground
Absorbency Test
To show the relative absorbency of differ-
ent grounds, I applied unthinned Gamblin
burnt sienna on a variety of prepared
surfaces. With a No. 8 bristle brush, I first
made one solid stroke and then scrubbed
the brush to get a thinner layer. You can
see how some surfaces absorb more oil
than others, resulting in broken color.
67_tam0312BrushingUp.indd 67
time, rot any canvas it comes in con-
tact with. Wood contains organic
compounds that can migrate into the
paint fi lm, discoloring it. To seal the
support and to protect both it and
the paint fi lm, you must apply a size.
The traditional size is rabbitskin
glue. As the name implies, this
material is simply animal hide that
has been boiled to create a gelatinous
mixture that’s applied warm with
a brush. The glue has some vulner-
abilities, though. It expands and
contracts with humidity, which can
cause cracking in the overlying paint
fi lm. Also, rabbitskin glue attracts
insects and can develop mold. A
more modern and animal-rights
friendly product is acrylic. Either
PVA (polyvinyl acetate, a type of
“white glue”) or an acrylic dispersion
medium can be used. (See Sizing
Hardboard, page 68, for a demon-
stration of applying PVA as a seal-
ant). Acrylic is stable, whether in
Gamblin oil ground Winsor & Newton
oil primer
Golden acrylic gesso
Winsor & Newton
clear gesso
Ampersand Gessobord
the dry desert or at the foggy coast,
and I haven’t found a bug yet that
will eat it. Among the several acrylic
products available are Gamblin PVA
size and Golden GAC-100 (see
Resources, page 69).
Know Your Grounds
You can paint directly on the sizing,
once it dries; however, many paint-
ers like to apply a ground—also
called a primer—over the sizing. A
ground provides tooth (which helps
pull paint off the brush), absorbency
(which helps the paint layer adhere)
and a reflective, white surface
(which, when used with transpar-
ent paints, can give the final work a
more luminous appearance).
There are three types of grounds:
gesso, oil ground and acrylic dis-
persion ground. Gesso—Italian for
chalk—is just that. It’s not to be
confused with acrylic “gesso,” which
is more accurately called acrylic
Golden matte medium
Traditional gesso Ampersand Claybord
March 2012 67
12/12/11 1:35:55 PM
 brushing up

Sizing Hardboard dispersion ground. Real gesso is

1. I usually use untempered hardboard
as my substrate, no matter what the
ground. To prepare it, I first wipe the
surface with rubbing alcohol to remove
any oil and grease.
2. Next, I apply a thin coat of size (in
this case, Gamblin PVA size) with
a brush to seal the surface. Acrylic
dispersion medium or rabbitskin glue
could also be used. After the size dries,
I’m ready to apply my ground of choice.
chalk, rabbitskin glue and white
lead. (Today, other whiteners, such
as titanium dioxide, often replace
lead, and gypsum may be substituted
for chalk.) Gesso, which creates
an inflexible and fragile fi lm, is
intended for rigid supports such as
panels. It must be heated, usually in
a double boiler, and made liquid so it
can be brushed on. Also, its extreme
absorbency must be adjusted by a
final application of size. Gamblin
sells both the glue and the gesso;
Realgesso.com sells panels already
prepared this way (see Resources,
page 69).
On the other end of the absor-
bency scale is an oil ground, which is
made of linseed oil, chalk and white
lead. Because the oil in the paint
stays on the surface, this ground
can give a glossy look to the final

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67_tam0312BrushingUp.indd 68 12/13/11 1:14:13 PM


painting. Oil ground can be applied
to a rigid or flexible support and, in
the case of canvas, can be worked
into the weave to make a smooth
painting surface. Gamblin, Golden
and others sell oil grounds (see
Resources, bottom right).
You can buy traditional gesso
that’s ready-to-use, or you can make
your own and have more control over
the end product. These days, how-
ever, finding a painter who takes the
time to make or use traditional gesso
is rare. Instead, many of us take the
easy road. We use acrylic “gesso.”
Acrylic gesso—or acrylic disper-
sion ground—couldn’t be easier to
use. It comes in a jar, and you just
slap it on with a brush and then
clean up with water. Some brands
are formulated to include a size, so
you can eliminate applying a sepa-
rate sealing layer (check the manu-
facturer’s directions). Some acrylic
dispersion grounds offer a flexible,
reflective fi lm that’s good for wood
or canvas; others are more absorbent
and give better coverage. It pays to
experiment.
Choose Your Ground
Not all grounds are created equal.
The handling of the brush and the
resulting look of brush marks can
vary significantly, depending on the
surface’s texture and absorbency.
As I mentioned earlier, traditional
gesso tends to be very absorbent,
and without sufficient paint on
the brush or enough medium, the
brush will drag and skip. But if you
like the look of broken strokes and
color, traditional gesso is the perfect
ground. If you use an oil ground,
your brush may annoyingly scratch
through the paint, exposing an ugly
bit of white ground. But the highly
reflective nature of an oil ground can
create a strikingly luminous paint-
ing when transparent pigments are
used. Acrylic dispersion grounds
include clear acrylic mediums, such
as Golden matte medium, which
67_tam0312BrushingUp.indd 69
brushing up
Definitions
Acrylic dispersion ground or primer: acrylic “gesso”; can be used on rigid or
flexible supports, although it’s not recommended for very large stretched can-
vases because oil paint, which dries to an inflexible film, may ultimately crack
on this ever-flexible ground.
Acrylic dispersion medium: when used as a size, creates a “harder,” less per-
meable film than PVA size; when sizing wood or wood-derived panels on
which an acrylic dispersion ground is to be applied, acrylic dispersion medium
is recommended over PVA size, which may let water from the wet ground
seep through and damage the wood. An example is Golden GAC-100.
Gesso: the traditional ground of hide glue, chalk and a whitener, such as titanium
dioxide; because gesso is inflexible and can crack, it must be used only on
rigid supports.
Ground: a product applied over a size to provide a suitable surface for oil paint; a
good ground should be toothy, white and semiabsorbent.
Oil ground: a ground of linseed (or safflower) oil and whitener, typically titanium
dioxide and zinc oxide; some oil grounds use lead white and are toxic; oil
ground can be used on rigid or flexible supports.
PVA (polyvinyl acetate): a type of “white glue” that can serve as a size; Gamblin
PVA size is an example.
Size: a product, such as rabbitskin glue or a polyvinyl acetate (PVA) solution, that
seals and protects the support from the paint layer
Support: any number of materials that serve as a painting surface, such as canvas
on stretcher bars or hardwood panels
Tempered hardboard: hardboard made of compressed wood fibers glued
together with the wood’s natural lignin and then treated with oil to make the
board more durable; in the past, considered inferior to untempered hard-
board because the oil content would cause adhesion problems with size and
ground; today’s tempered hardboard, which uses a minimal amount of oil,
eliminates this problem.
Resources
Manufacturers
Many manufacturers’ websites have a wealth of technical information about their
products:
• Gamblin Artists Colors (www.gamblincolors.com) rabbitskin glue, traditional
gesso, PVA size, oil painting ground
• Winsor & Newton (www.winsornewton.com) oil painting primer
• Golden Artist Colors (www.goldenpaints.com) absorbent ground, white
gesso, black gesso, matte medium
• Realgesso.com (www.realgesso.com) prepared traditional gesso panels and
traditional glue/oil-ground surfaces
• Ampersand Art Supply (www.ampersandart.com) Gessobord, Hardbord,
Claybord
Books
• The Painter’s Handbook: Revised and Expanded (Watson-Guptill, 2006) by
Mark David Gottsegen
• The Artist’s Handbook of Materials and Techniques: Fifth Edition, Revised and
Updated (Viking, 1991) by Ralph Mayer
March 2012 69
12/12/11 1:36:28 PM
 brushing up

Applying Acrylic Dispersion Ground

1. Using a PVA-sized hardboard panel, I 2. After the first coat dries, I turn the 3. After the “X” dries, I flip the panel back
apply a thin coat of acrylic dispersion panel over and make an “X” with the over and lightly sand the first coat.
ground (in this case, Golden gesso) with acrylic gesso. This keeps the board from
a brush. I don’t dilute the acrylic gesso warping as it dries.
but use it right out of the jar (check the
label for directions). You can use any
brushstroke you want; I usually go for
a somewhat random stroke to create
interesting texture.

A B

4. Finally, I apply a second coat of acrylic To apply Golden matte medium (A) and Winsor & Newton clear gesso (B), follow the
gesso. Again, I use a somewhat random same process as you do to apply Golden gesso. The matte medium is thick, so you can
pattern. After the ground dries, I give the have fun with the texture. When the clear gesso dries, the substrate shows through,
panel another light sanding. Each coat acting like a toned surface to help create color harmony.
may take a day to dry properly, so mak-
ing a panel will take two or three days. I
prepare a couple of dozen at a time.

70 www.artistsmagazine.com

67_tam0312BrushingUp.indd 70 12/12/11 1:36:35 PM

 brushing up

allow the tone and color of a wood

or hardboard panel to show through
and help harmonize the finished
painting (See Ground Absorbency
Applying Oil Ground
Test, page 67).
I prefer to paint on panels with
a somewhat absorbent ground that
has a bit of texture. I don’t care for
the more aggressive texture of cotton
or linen, so I use panels, especially
for outdoor painting. My preferences
for presized and pregrounded panels
are Ampersand Gessobord, which
has an eggshell finish and is slightly
absorbent, and Realgesso.com
boards, which are so absorbent that I
always apply a little thinned oil paint
to make them less so. More often,
though, I prepare my own panels, as
I describe in Sizing Hardboard (page 1. Using a palette knife, I take a table- 2. Next, I use the knife to spread the
68), Applying Acrylic Dispersion spoon or so of Gamblin oil painting ground on a PVA-sized hardboard
Ground (at left) and Applying Oil ground, put it on a disposable paper panel.
Ground (at right). palette and thin it with a few drops of
The choice of grounds is really Gamblin Gamsol.
up to you. You can, of course, buy
canvases and panels ready-to-go, C
and many of them are excellent. But
preparing your own painting surface
isn’t difficult. If you like a custom-
ized surface, that’s the way to go.
Just know the limitations and tech-
nical requirements of each ground.
Experimenting is one of the best
ways to learn. ■

MICHAEL CHESLEY JOHNSON, longtime

contributor to The Artist’s Magazine and the
author of Backpacker Painting: Outdoors
with Oil & Pastel, teaches plein air work-
shops throughout North America. View
free previews of his video workshops at
3. I use a housepainting brush to finish Winsor & Newton oil painting primer
artistsnetwork.tv. Visit his website at www.
the job. Brushstrokes disappear in the (C) has a thinner consistency than
michaelchesleyjohnson.com.
ground, leaving a smooth surface that Gamblin oil painting ground, so I can
I don’t have to sand. After the ground apply two thin coats of the primer with
dries for a day, I apply a second coat. a housepainting brush, letting it dry for
For a demonstration showing
web how a clear ground can help
The final surface should dry for about a a day between coats. I give the primer
EXTRA
create color harmony, go to week before it’s used for painting. a light sanding between coats.
www.artistsnetwork.com/
tamonlinetoc.

March 2012 71

67_tam0312BrushingUp.indd 71 12/12/11 1:36:42 PM

 master class BY JERRY N. WEISS
The Artist’s Left Hand
On his deathbed, Théodore Géricault was driven to record what lay before him.
Musée du Louvre, Réunion des Musées Nationaux/Art Resource, NY; Photography by Michèle Bellot
I’M WAITING for Hollywood to
make a movie about Théodore
Géricault, the progenitor of French
Romanticism. A man subject to deep
bouts of depression, Géricault was
by turns manically creative and reck-
lessly self-destructive. In his mid-20s,
he ended a romance with his married
aunt, who bore him an illegitimate
child, and fled to Italy. Inflamed
by the work of Michelangelo, he
About the Show
David, Delacroix, and Revolutionary
France: Drawings from the Louvre
recently closed at the Morgan Library
and Museum in New York City. Buy the
catalogue: www.themorgan.org/shop.
72 www.artistsmagazine.com
72_tam0312MasterClass.indd 72
returned home and made studies for
The Raft of the Medusa, an immense
canvas that depicted human suffer-
ing in the aftermath of a shipwreck;
the shipwreck was a national scandal, his emotional reach, nor did he
and The Raft was a masterpiece. It
revealed his flair for high drama,
as well as the attribute of social
consciousness—in one fell swoop,
he transformed the convention of
history painting into a vehicle for
conscientious outrage (painted sev-
eral years earlier, Goya’s The Third of work just as effectively in a low key.
May ought to have the honor but was
probably not exhibited publicly until
the mid-1800s). In every sense of the watercolor drawing of his left
word, The Raft was one of the most
sensational paintings of the 19th
century (see page 13).
The artist’s immersion in his
work was total. In preparation for
LEFT: The Artist’s Left Hand
(1824, watercolor, with black and
red chalk, 9x113⁄5) by Théodore
Géricault (1791–1824)
The Raft, Géricault tracked
down survivors of the
disaster and smuggled
corpses and body parts
into his studio to paint.
His fascination with the
dark corners of human
existence would have been
merely a rhetorical eccen-
tricity, had he not been
able to draw and paint so
well.
Géricault’s short
life (1791–1824) is often
described as the mani-
festation of genius left
unfulfi lled, save for the
fortuitous appearance of Eugène
Delacroix, who brought his mentor’s
promise to fruition. Géricault did
not live long enough to extend
embrace color for its potential, as
did Delacroix. Yet Géricault could
fashion melodrama into great art. A
series of portraits of the insane, as
moving in their restraint as was The
Raft for its ambition, shows that he
could turn the volume down and
One of Géricault’s last works—
perhaps his very last—was a
hand. In his memoirs the novelist
Alexandre Dumas recounted a visit
to Gericault’s studio the week before
the artist’s death. Dumas found
him bedridden, at work on this
12/12/11 1:42:08 PM
 SEE MORE ART
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saic, Géricault remained fully aware
of design, anatomy, lighting and
movement.
In its modest way, this draw-
ing touches on the main interests of
Géricault’s creative career. As a frag-
ment it’s a reminder of his disembod-
ied studies for The Raft of the Medusa,
and it alludes to his fascination with
the substantiality of the human
figure. It is at once realistic and
monumental. At the end, Géricault
called upon his academic training
and powers of observation in an
extraordinary circumstance. He was
able to observe his own tragedy dis-
passionately, and left this study for
us to interpret as a final dramatic act,
a coda to a meteoric life. ■

Contributing editor JERRY N. WEISS is an

artist and workshop instructor, as well as a
writer. Read more at www.jerrrynweiss.com.

March 2012 73

72_tam0312MasterClass.indd 73 12/13/11 3:34:08 PM

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Colored Pencil Workshops Jan Sitts
March 4-10, 2012 Myrtle Beach, SC 843-315-7150 Art Workshops
March 24, 2012 Milwaukee, WI 800-722-7450
March 25, 2012 Milwaukee, WI 800-722-7450
in Mixed Media
April 14-15, 2012 Cumberland, MD 814-733-4012
June 25-29, 2012
July 9-11, 2012
Bernard, ME
McMinnville, OR
207-244-9742
503-435-1316
See Website
July 13-14, 2012 Astoria, OR
Newport, OR
503-325-5081 for all U.S.
July 17-20, 2012 219-874-4688
Sept. 10-13, 2012 Lake Geneva, WI 219-874-4688 Workshops
Oct. 15-19, 2012 Boone, NC 800-227-2788
219-874-4688 • www.artshow.com/kutch
11555 W. Earl Rd, Michigan City, IN 46360 jan@jansitts.com www.jansitts.com
kakutch@earthlink.net

MEL STABIN AWS, NWS SUSAN SARBACK

2012 Watercolor Workshops Capture Radiant Color
2012 Plein Air Landscape & Color
Boone, NC - Apr Rockland, ME - Aug The Fine Art of Framing
Workshops
Cape May, NJ - May Dallas, TX - Sept Hundreds of ready made frames
in sizes from 4” x 6” to 48” x 72” CA: Fair Oaks,
Montgomery, NY - May Island Hts., NJ - Sept Napa Valley
Lac/Flambeau, WI - Jun Montgomery, NY - Sept FL: Bonita Springs
Cape Cod, MA - Jun Stockbridge, MA - Oct SC: Charleston
Sugar Loaf, NY - Oct NC: Cary
Landgrove, VT - July
Greenville, NY - Aug Author of
the Book
Amsterdam, The Netherlands - July CUSTOM SIZE FRAMES Capturing Radiant Light and Color in Oils and Pastels
AVAILABLE IN MANY STYLES (Instructional DVDs Available)
www.melstabin.com Order Online: The School of Light & Color
melstabin@optonline.net • 201-746-0376 ArtGalleryFrames.com 916-966-7517 www.lightandcolor.com
Q

VALDES ART WORKSHOPS 2012

March 21-23 Laura Robb Still Life in Oil Jeanne Dobie, AWS, NWS Author: MAKING COLOR SING
June 11-15 Nancy Reyner Acrylic Innovation
18-22 John Salminen Realism Through Design COLOR/DESIGN
DVD WORKSHOP
25-29 Joshua Fallik Still Life in Oil
777 Laguna Canyon Rd, Laguna Beach, CA 92651 949-494-4514 ORDER GICLEES, PRINTS, BOOKS
July 9-13 Ramon Kelley Portrait & Figure Show Dates: June 29 – September 2 And PREVIEW DVD at
16-20 Ted Nuttall Portrait from Photos in W/C Hours: Sun-Thurs 10am-9pm, Fri & Sat 10am-10pm
jeannedobie.com
www.art-a-fair.com
23-27 Doug Dawson Pastel
30-Aug 3 Michael McGuire Watercolor Fundamentals
Aug. 6-10 Roberta Remy Portrait Painting & Drawing 7RS,QVWUXFWRUV$OO0HGLD PASTEL SOCIETY OF AMERICA
20-24 John Poon Plein Air Acrylic Celebrating 40 Years
27-31 Lorenzo Chavez Plein Air Oil & Pastel Treat yourself to one of our 16 exciting workshops in
Sept. 10-14 Darlene McElroy Art Alchemy 2012 or take one of our on-going classes at the PSA
School for Pastels. Please visit our website.
17-21 John Poon Studio Acrylic Landscape
Pastel Society of America
SANTA FE, NEW MEXICO 15 Gramercy Park South • NY, NY 10003 • (212) 533-6931
505-982-0017 www.valdesartworkshops.com ZZZDFDGLDZRUNVKRSFHQWHUFRP psaoffice@pastelsocietyofamerica.org • www.pastelsocietyofamerica.org

Caroline Jasper Powercolor

THREE & FIVE DAY Painting
WORKSHOPS Workshops
in scenic Bucks County, oils, acrylics, water-soluble oils
info@carolinejasper.com
Pennsylvania www.carolinejasper.com
Workshop schedule, books,
NATIONAL & BUCKS instructional DVDs, color chart

COUNTY ARTISTS

Go to our website for instructors

& schedule of workshops........

www.
buckscountyartworkshops
.com

March 2012 77

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 artist’s marketplace

WORKSHOPS 2012 Robbie Laird

2012 Flowing Watermedia Workshops
Paul Leveille June 2-4
Don Demers June 5-8
WAITING LIST ONLY

Libby Kyer June 13-15

Mel Stabin June 18-22
Daryl Urig June 27-29
Rosalie Nadeau July 13-15
154 Crowell Road, Edward Minchin Aug 2-4
Chatham, Cape Cod Northern California Aug 6-10, 2012
MA 02633 Joyce Washor Sept 6-8
For information about this workshop - robbie@robbielaird.com
Joseph Paquet Sept 10-13 Italy - Fall Harvest time! Oct 1-13, 2012
1-508-945-3583
Mary Whyte Sept 17-21 For information about this workshop - franco@globalj.org
Web Site: Private & Semi-Private Workshops in
capecodcreativearts.org William Davis Sept 22-23 Robbie’s studio by arrangement
530-259-2100 robbie@robbielaird.com www.RobbieLairdArtStudio.com

RANDALL SEXTON Paint Europe InView Center for the Arts

At the Landgrove Inn, Landgrove, VT
Workshops 2012 Workshops with
Pat Fiorello
“Moving Paint to Great Places” France - July
Brand-new, 50’x30’ Post & Beam Workspace
Tuscany - October Idyllic Green Mountains setting
Country chic lodging • Nationally-known Instructors
(404)531-4160
www.patfiorello.com | patfiorello@aol.com

For info on classes call:

(800) 669-8466
or (802) 824-6673

Locations in AZ, CA, GA, HI, VT & WI

www.RCSEXTON.com www.landgroveinn.com
132 Landgrove Rd., Landgrove VT 05148

WATERCOLOR WORKSHOPS
Marathon FL, Feb 6-9, 2012 Medford OR, April 15-19
Cambia CA, March 5-9
Salmon ID, March 26-30
St. Simons GA, May 7-11
Elida, OH June 4-8
Available for a workshop at your location
Learn at home Books and DVDs
(678) 513-6676 I www.tonycouch.com
Springmaid Beach
watermediaworkshops
Myrtle Beach, S.C.
All Inclusive 7 Day Format
Featuring Top Instructors
Session One: March 4 - March 10
Gerald Brommer, Carrie Burns Brown,
Fred Graff, Kristy Kutch
Session Two: March 11 - March 17
Mary Ann Beckwith, Harold Gregor,
William (Skip) Lawrence, Warren Taylor
Session Three: March 18 - March 24
Mary Todd Beam, Jean Grastorf, Paul Jackson, AWS, NWS
E.B. Lewis, Janet Walsh Watercolor Workshops • www.pauljackson.com
For details or to register: marlamjackson1@aol.com
843-315-7150 www.springmaidwatermedia.com

Italy L A R OM I TA

2012
Art Workshops
S C HO OL OF A RT
Choose from ten two-week workshops between
May and October. Live in a restored 16th century
monastery in Umbria. Painting, drawing, Classes in Painting, Drawing,
en plein air, any level of experience, any media.
Renowned instructors. Mixed-Media and much more!
Full immersion Italian cultural experience. Call 1-800-FOLK-SCH
Visit our website at: www.laromita.org or visit www.folkschool.org
Contact us via email or telephone at: for a free catalog!
schoolinfo@laromita.org ∙ 1-855-4ROMITA

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 Birgit O’Connor
Watercolor • DVD’s
Brushes • Workshops
For Free Brochure
Call 800-749-4784
P.O. Box 828 • Bolinas CA 94924
www.birgitoconnor.com
Workshops
ARIZONA
Robert Burridge
3/12-3/16/12, Sedona. Artist Retreat -
Contemporary Abstract Figure Painting & Collage
5-day Workshop (Monday-Friday).
Sedona Arts Center.
Contact: 888/954-4442 or 928/282-3809
www.sedonaartscenter.com
Lois Griffel
4/30-5/4/12, Tubac.
Contact: Kathy Reyes, Workshops of Tubac
PO Box 4337, Tubac, AZ 85646
workshops@losreyes.com
Birgit O’Connor
3/26-3/30/12, NAWS Sedona.
Big Bold & Beautiful Flowers, Birgit O’Connor,
Watercolor, Floral, Painting Flowers. All levels.
Maximum class size of 25.
Contact: Rosemary Roe Corneto, 928/301-1929
rutano5@msn.com or www.birgitoconnor.com
Susan Ogilvie
3/12-3/16/12, Scottsdale. (Studio)
Scottsdale Artists’ School.
Contact: www.scottsdaleartschool.org
Camille Przewodek
3/12-3/16/12, Scottsdale. Discover and develop
a new way of seeing and painting color. All levels,
oils. Color that expresses the light key of nature
can make any subject matter strikingly beautiful.
Contact: Camille Przewodek, 707/762-4125
fineart@sonic.net or www.przewodek.com
Marilyn Whitaker, 800/333-5707
info@ScottsdaleArtSchool.org
www.ScottsdaleArtSchool.org
Sedona Arts Center
2/25-2/26/12, Sedona. Self-Publishing,
Kelli Klymenko, All levels.
2/27-3/2/12, Sedona. Alla Prima Figure Painting
David Shevlino, Oil, Live Model, Studio, All levels.
3/5-3/9/12, Sedona. Creating Intimacy With Oils
Tracey Frugoli, Oils, Studio, All levels.
3/12-3/16/12, Sedona. Contemporary Figurative
Artists Retreat, Robert Burridge, Watermedia,
Drawing, Studio, All levels.
3/19-3/23/12, Sedona. Drawing Without Fear,
Peggy Sands, Open, Studio, All levels.
3/19-3/23/12, Sedona. Shimmer and Glow With
Pastels, Polly Cullen, Pastels, Studio, All levels.
3/26-3/30/12, Sedona. Still-Life To Landscape,
Jeanette Le Grue, Oils, Quick and Small, All levels.
4/2-4/5/12, Sedona. Magic Still-Life, Jim Todd,
Oils, Studio, All levels.
4/2-4/6/12, Sedona. Plein Air Painting In Oils,
Jennifer McChristian, Oil, Plein Air, All levels.
4/9-4/12/12, Sedona. All Media Plein Air, Michael
Chesley Johnson, Open, Plein Air, All levels.
4/19-4/21/12, Sedona. Sculpting Animals From
Life, Ken Rowe, Oil based clay, Studio, All levels.
4/13-4/15/12, Sedona. Figurative Raku Sculpture,
Lorri Acott, Clay, Studio, All levels.
4/20-4/22/12, Sedona. Paper Paintings, Elizabeth
St. Hilaire Nelson, Paper, Studio, All levels.
4/21-4/22/12, Sedona. Zen Calligraphy, Alok
Kwang-Han, Ink, Studio, All levels.
4/23-4/27/12, Sedona. Painting The Landscape,
Michael Workman, Oils, Plein Air, All levels.
4/23-4/25/12, Sedona. Pochade Sketching With
Kath Macaulay, Kath Macaulay, Watercolor, Studio,
All levels.
4/26-4/29/12, Sedona. The World Of Encaustics,
Cathrine Nash, Encaustics, Studio, All levels.
4/30-5/4/12, Sedona. The Creative Still Life,
Clinton Hobart, Oils, Studio, All levels.
5/7-5/11/12, Sedona. Colored Pencil Magic,
Richard Drayton, Colored Pencils, Studio,
All levels.
TAMMarWorkshopClassifieds.indd 79
VAN HASSELT, AWS
WATERCOLOR WORKSHOPS
Mar: Florida’s Amelia Island
May: Spring in N Hampshire
Jun-Jul: Paint Coastal Maine
Sep: Fall Prelude in Vermont
800-248-6449
tonyvanhasselt.com
5/7-5/11/12, Sedona. Plein Air Painting With Jill
Carver, Jill Carver, Oil, Plein Air, All levels.
5/15-5/17/12, Sedona. The Perceptual Moment,
Stuart Shils, Oils, Studio, All levels.
5/19-5/21/12, Sedona. Plein Air Painting In
Sedona, William Scott Jennings, OiI, Plein Air,
All levels.
5/21-5/25/12, Sedona. Luminous Oils,
Brian Davis, Oil, Studio, All levels.
6/4-6/8/12, Sedona. A Painting A Day,
“Alla Prima”, Abbey Ryan, Oil or Watercolor,
Plein Air, All levels.
6/11-6/15/12, Sedona. Joy Of Creativity, Larisa
Aukon, Oil, Studio, All levels.
6/11-6/15/12, Sedona. Painting Without Fear,
Vince Fazio, All Media, Studio, All levels.
6/16-6/18/12, Sedona. Self Portrait, Daryl Urig,
Oil, Studio, All levels.
Contact: Vince Fazio, Director, School of the Arts
Sedona Arts Center, 928/282-3809 or
888/954-4442, vfazio@sedonaartscenter.com
www.SedonaArtsCenter.com
Randall Sexton
3/21-3/24/12, Tucson. Out about town..How to
‘Simplify the Complex’ painting on location.
Tucson Art Academy. Tuition: $525
Contact: 520/903-4588
info@tucsonartacademy.com
Jan Sitts
5/9-5/12/12, Sedona. Sedona Arts Center
Visual Sensations Art Workshops
11/6-11/9/12, Sedona. Sedona Arts Center
Visual Sensations Art Workshops
Contact: 928/282-3809 or 888/954-4442
www.jansitts.com
ARKANSAS
Paul Jackson
3/21-3/24/12, Sherwood. Mid-Southern
Watercolorists. Painting Glass and Shiny Stuff.
Contact: Cheryl Nelson, 501/944-8736
cbnrealtime@yahoo.com
CALIFORNIA
Art-A-Fair
6/29-9/2/12, Summer Oil Workshops! Learn to
paint like a Dutch Master! Professional artist Alice
Hernandez-Gaona will host weekly Still Life oil
painting workshops at this summer’s Art-A-Fair.
Limit six students, must be 16 years+, all supplies
included, $45/4hrs.
Summer Collage Workshops! Turn your scraps
into art and exercise your whimsy! Professional
artist Agnes Copeland will host weekly Collage
workshops at this summer’s Art-A-Fair. Limit six
students, must be 16 years+, all supplies included,
$45/4hrs.
Summer Acrylic Workshops! Bring the wild
indoors! Professional wildlife artist Carol
Heiman-Greene will host weekly acrylic painting
workshops at this summer’s Art-A-Fair. Limit six
students, must be 16 years+, all supplies included,
$45/4hrs.
Summer Watercolor Workshops! From A-Z,
traditional to Yupo. Professional artists Maribeth
McFaul and Emilee Reed will each host weekly
watercolor painting workshops at this summer’s
Art-A-Fair. Limit six students, must be 16 years+,
all supplies included, $45/4hrs.
Contact: 949/494-4514, www.art-a-fair.com
Robert Burridge
2/2-2/5/12, Palm Desert. 1 day & 2 day
Workshops! Loosen Up With Aquamedia Painting
- 1 day, Start Abstract Painting Today! - 1 day.
Contemporary Abstract Figure Painting & Collage
- 2 days. Venus Studios Art Supply, 74-280
Highway 111.
Contact: Debra Ann Mumm, 760/340-5085
VenusStudios11@aol.com
3/2-3/4/12, Loosen Up With Aquamedia Painting
3-day Workshop (Friday-Sunday)
Central Coast Art Association
Contact: Deborah Russell, divadeba@gmail.com
2012 Village Green Art Workshops
Northbrook, Illinois
March 17 & 18 – Anne Abgott - Watercolors
April 28 & 29 – Tom Nachreiner – Oil Painting
May 19 & 20 – David Jamieson - Drawing & Painting
www.northbrookarts.org
3/6-3/8/12, Contemporary Abstract Figure
Painting & Collage, 3-day Workshop (Tuesday-
Thursday). Central Coast Art Association
Contact: Deborah Russell, divadeba@gmail.com
Tony Couch
3/5-3/9/12, Cambia.
Contact: 678/513-6676
toncouch@mindspring.com
www.tonycouch.com
Idyllwild Arts
Located in the beautiful mountains of Southern
California. Over 50 workshops for adults,
including Painting, Drawing, Mixed Media,
Ceramics, Metals/Jewelry, Native American Arts,
Printmaking, Book Arts, Sculpture. Painting &
Drawing Workshops
6/24-6/26/12, Idyllwild. Peggi Kroll-Roberts,
The Figure & Still Life. $490
6/24-6/26/12, Idyllwild. Brian Cohen,
Drypoint Etching. $490
6/27-6/29/12, Idyllwild. Ray Roberts,
Painting Portraits. $490
6/28-6/30/12, Idyllwild. Barbara Roth,
Watercolor. $490
7/2-7/6/12, Idyllwild. Lisa Adams, From
Representation to Abstraction. $680
7/2-7/6/12, Idyllwild. Amber George,
Encaustic Painting. $680
7/6-7/8/12, Idyllwild. Robert Dvorak,
Drawing & Painting as Meditation. $490
7/8-7/10/12, Idyllwild. Barbara Tetenbaum,
Book Arts. $490
7/9-7/13/12, Idyllwild. Margaret Scanlan,
Drawing Intensive. $680
7/9-7/13/12, Idyllwild. Marie Thibeault,
Painting Now: Color and Meaning. $680
7/16-7/18/12, Idyllwild. Clark Mitchell,
Plein Air with Pastels. $490
7/16-7/18/12, Idyllwild. Nicholas Simmons,
Watercolor Unleashed. $490
7/16-7/20/12, Idyllwild. Ron Pokrasso,
Beyond Monotype. $695
7/16-7/20/12, Idyllwild. Dan Archer,
Graphic Novel. $680
7/20-7/21/12, Idyllwild. David Clark,
Encaustic Monoprinting. $325
Contact: 951/659-2171, ext. 2365
summer@idyllwildarts.org
www.idyllwildarts.org
Paul Jackson
10/7-10/9/12, Chico. Painting Glass and Shiny
Stuff. Butte County Watercolor Society.
Contact: Cynthia Sexton, 530/318-2105
bcwatercolorsoc@gmail.com
Caroline Jasper
3/23-3/24/12, Palm Desert.
Powercolor Painting and Paint The Desert.
Sponsored by Venus Studios Art Supply.
Contact: Debra, 760/340-5085
VenusStudios11@aol.com
Robbie Laird
8/6-8/10/12, Northern California.
Contact: Robbie, robbie@robbielaird.com
Birgit O’Connor
3/1-3/4/12, Napa Valley / Calistoga.
Big Bold & Beautiful Flowers, Birgit O’Connor,
Watercolor, Floral, Painting Flowers. All levels.
Maximum class size of 16.
Contact: Birgit O’Connor, P.O. Box 828, Bolinas,
CA 94924, 415/868-0105
birgitoconnor@sbcglobal.net
www.birgitoconnor.com
4/16-4/20/12, Mendocino. Spring Flowers, Birgit
O’Connor, Watercolor, Floral, Painting Flowers.
All levels. Maximum class size of 25.
Contact: Mendocino Art Center, 707/937-5818 or
800/653-3328, register@mendocinoartcenter.org
www.birgitoconnor.com
www.mendocinoartcenter.org
March 2012 79
12/14/11 3:01:24 PM
 artist’s marketplace

Camille Przewodek
5/7-5/11/12 and 8/13-8/17/12, Petaluma.
Discover and develop a new way of seeing and
painting color. All levels, oils. Color that expresses
the light key of nature can make any subject
matter strikingly beautiful.
Contact: Camille Przewodek, 707/762-4125
fineart@sonic.net or www.przewodek.com
School of Light & Color
2/13-2/17/12, Fair Oaks. Light & Color Landscape
sponsored by The School of Light & Color.
Instructor Susan Sarback. All levels. Includes
tuition.
Contact: Bonita Springs Art Center, 239/495-8989
albs@artinusa.com or www.lightandcolor.com
3/19-3/22/12, Fair Oaks. Advanced Techniques
sponsored by The School of Light & Color.
$475. Instructor Susan Sarback. Intermediate &
advanced. Includes tuition.
Contact: Susan Sarback, 916/966-7517
sarback@lightandcolor.com
www.lightandcolor.com
5/19-5/20/12, Fair Oaks. Plein Air Landscape
sponsored by The School of Light & Color.
$275. Instructor Susan Sarback. Intermediate &
advanced. Includes tuition.
Contact: Susan Sarback, 916/966-7517
sarback@lightandcolor.com
www.lightandcolor.com
6/18-6/21/12, Napa Valley. Plein Air Landscape
sponsored by The School of Light & Color.
$525. Instructor Susan Sarback. Intermediate &
advanced. Includes tuition.
Contact: Susan Sarback, 916/966-7517
sarback@lightandcolor.com
www.lightandcolor.com
Randall Sexton
4/18-4/21/12, Newport Beach. How to develop
studio work from sketches. 2 days on location
with 2 days in studio. Tuition: $600
Contact: 949/723-6171, mail@debrahuse.com
5/4-5/6/12, Petaluma. “Urban” Landscape. Learn
to simplify the complex on location. Hosted by the
“L’Atelier aux Couleurs” in Northern California.
Tuition: $420
Contact: 707/773-1324, www.acartacedemy.com
Jan Sitts 2/23-2/26/12, Key West. The Burridge Plein Aire
7/16-7/19/12, Mendocino. Experience! 4-day Workshop (Thursday-Sunday)
Mendocino Arts Center. The Studios of Key West.
Contact: 800/227-2788 Contact: Martha Barnes, Director of Programs &
7/23-7/25/12, Gualala. Gualala Arts Exhibitions, 305/296-0458
Contact: 707/884-1138 martha@tskw.org or www.tskw.org
www.jansitts.com
Tony Couch
COLORADO 2/6-2/9/12, Marathon.
Contact: 678/513-6676
Marla Baggetta, PSA toncouch@mindspring.com
Ready to break out of the conventional and work www.tonycouch.com
on finding a unique voice as a pastelist? Demos,
lots of personal attention and a fresh look at the Lois Griffel
fundamentals with the intention of loosening up March 2012, Gulf Coast.
and pushing boundaries. Contact: Jaime Golub, 239/939-2787
All levels welcome. Now booking for 2013. gulfcoastatelier@gmail.com
Contact: Marla Baggetta, 503/329-5117 www.gulfcoastatelier.org
mbaggetta@comcast.net or 11/1-11/4/12, Sarasota.
visit www.marlabaggettastudio.com Contact: Mimmi Fitzgerald Mianno
10/11-10/14/12, Telluride. The Southern Atelier, 7226 21 St East,
Pastel en Plein and Studio. Sarasota, Florida 34243, 941/753-7755
Contact: Wendy DeHart, 503/550-2499 or mimmi@thesouthernatelier.org
wjdehart@comcast.net
Paul Jackson
FLORIDA 3/11-3/15/12, Miami. Miami Watercolor Society
Contact: Diane Lary, 305/607-5447
Marla Baggetta, PSA outpostart@aol.com
Ready to break out of the conventional and work
on finding a unique voice as a pastelist? Demos, Caroline Jasper
lots of personal attention and a fresh look at the 2/18/12, Sarasota. Dramatic Depth in Painting
fundamentals with the intention of loosening up Contact: 941/955-8866
and pushing boundaries. cssp@ringling.edu or www.ringling.edu
All levels welcome. Now booking for 2013. 3/17/12, Sarasota.
Contact: Marla Baggetta, 503/329-5117 Painting Water with Oils or Acrylics
mbaggetta@comcast.net or Contact: 941-955-8866
visit www.marlabaggettastudio.com cssp@ringling.edu or www.ringling.edu
2/28-3/1/12, Central Florida.
Pastel Society of Central Florida. Kristy Kutch
Contact: Sherese, ShereseG@aol.com 2/3-2/5/12, Bradenton. “Vibrant Painting with
Colored Pencil”, sponsored by Art Center
Robert Burridge Manatee.
2/13-2/17/12, Bonita Springs. Larger and Looser: Contact: Mary Roff, 941/746-2862
The New Master’s Program for the Postmodern mary@artcentermanatee.org
Painter, 5-day Workshop (Monday-Friday). Demo,
Sunday, February 12, 3:00 - 5:00 pm. Center for Susan Ogilvie
the Arts. Art League of Bonita Springs 4/16-4/20/12, Amelia Island. (Plein Air)
Contact: 239/495-8989 Contact: 904/415-3900
albs@artinusa.com or www.artcenterbonita.org www.ameliaislandartistsworkshop.com

Lois Griff el SUSANOGILVIEPSA

PAINTING THE
SPRING 2012 IMPRESSIONIST
WATERMEDIA WORKSHOPS LANDSCAPE
Hendersonville, North Carolina
April 15-20, 2012
BRUCE BOBICK
CARRIE BURNS BROWN
KEN GOLDMAN
CHARLES HARRINGTON
ROBBIE LAIRD
Workshops
MARK MEHAFFEY
Tubac, AZ • Tampa, FL
JUDY MORRIS Wilmington, NC • Amalfi, Italy
TED NUTTALL Falmouth, MA
NANCY REYNER Provincetown, MA • Acadia, ME
MYRNA WACKNOV Bucks County, PA • Sarasota, FL Valley Afternoon. 12 x 9.” Workshop Demo.

ERIC WIEGARDT For more info on my NEW book Pastel Workshops

DONNA ZAGOTTA
www.KanugaWatermediaWorkshops.com
Registration opens August 1, 2011
Robbie Laird, Director
530/259-2100 (Pacific Time)
Painting Impressionist Color with an emphasis on Composition and Color
DVDs & 2012 Workshop Schedule:
email: lois@loisgriffel.com
www.LoisGriffel.com
2012: AZ · FL · VT · WA
520-207-4055 susanogilvie.com

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 Tony van Hasselt 5/19-5/20/12, Northbrook. David Jamieson,
3/19-3/21/12 or 3/19-3/23/12, Fernandina Contemporary Realism Drawing and Painting,
Beach. Victorian Island Charm sponsored by van www.davidjamieson.net, classic representative
Hasselt Watercolor Workshops. Choose a 3 or drawing and painting of realistic objects.
5-day session. Instructor: Tony van Hasselt, A.W.S. Contact: 847/921-5239, www.northbrookarts.org
Watercolor en Plein Air. Intermediate and
advanced. KANSAS
Contact: Sherry Cross, Registrar
registrar@tonyvanhasselt.com Paul Jackson
www.tonyvanhasselt.com 4/3-4/5/12, Manhattan.
Painting Glass and Shiny Stuff.
GEORGIA Contact: Emmalee Tredway,
emmatredway@netscape.net
Tony Couch
5/7-5/11/12, St. Simons. MAINE
Contact: 678/513-6676
toncouch@mindspring.com Acadia Workshop Center
www.tonycouch.com 6/4-6/8/12, Michael Story, Oil
6/11-6/15/12, Jeanean Martin, Oil
HAWAII 6/18-6/22/12, Mary Alice Braukman
Randall Sexton Mixed Watermedia Collage
2/10-2/12/12, Lanai. “Old School Hawaii”, Escape 6/25-6/29/12, Kristy Kutch, Colored Pencil
the winter cold to paint on Lanai and experience 7/2-7/6/12, Christine LaFuente, Oil
the relaxed Hawaii of yesteryear! Tuition: $375 7//9-7/12/12, Pat Weaver, Watercolor -
Contact: Mike Carroll Gallery, 808/565-7122 4 day workshop
www.mikecarrollgallery.com 7/16-7/20/12, Marie Garafano, All Media
7/23-7/27/12, Kris Parins, Watercolor
IDAHO 7/30-8/2/12, Nicholas Simmons, Watercolor -
4 day workshop
Tony Couch Contact: Gail, 207/460-4119
3/26-3/30/12, Salmon.
awcmaine@gmail.com
Contact: 678/513-6676
www.acadiaworkshopcenter.com
toncouch@mindspring.com
www.tonycouch.com Coastal Maine
June 2012 TBA, Jonathon Frost, Ten Day Plein Air
ILLINOIS Painting Trip to France! Begin and end in Paris;
Northbrook Arts Commission spend the rest in the beautiful and historic Loire
Spring 2012 Village Green Center Art Workshops Valley. Contact us for details!
3/17-3/18/12, Northbrook. Anne Abgott, 7/16-7/20/12, Tony van Hasselt AWS, Watercolor
Watercolor Painting, www.anneabgott.com Workshop. Plein Air. Beg-Adv. 3 day M-W and 5
award winning author of Daring Color, published day M-F Options $375 & $550. Balance due June 4.
by North Light Books. 7/23-7/27/12, Alvaro Castagnet AWS, Watercolor
4/28-4/29/12, Northbrook. Tom Nachreiner, With Passion! Plein Air. Int-Adv. $600. Balance due
Landscape and Still Life Oil Painting, June 11.
www.tomnachreiner.com, impressionistic, bold, 8/3-8/9/12, Susan Beebe, The Magic of Maine
colorful painting technique. Woods and Water; “A Peaceful Maine Island
Getaway” at nearby Whitehead Island Light
Station…complete with lighthouse! Oils Plein Air.
Beg-Adv. $1600. Early Bird till March 1st: $1400!!
(includes tuition, 6 nites lodging/dbl occupancy, all
meals, boat trip to the island.) Registration open
until May 1; $500 deposit due at sign-up. Balance
due June 15.
8/6-8/9/12, Don Demers, Painting the Coastal
Landscape. Oils Plein Air/Studio. Int-Adv. $550.
Balance due June 25.
8/13-8/17/12, Thomas Owen AWS NWS, Painting
the Joy of the Coast. WC. Plein Air. Int-Adv. $550
Balance due July 2.
8/20-8/24/12, Mel Stabin AWS NWS, Watercolor:
Simple, Fast and Focused! Plein Air. Beg-Adv. $650
Balance due July 9.
8/27-8/31/12, Don Andrews AWS, Color Emphasis
Landscape. WC Studio/Plein Air. Beg- Adv. $600.
Balance due July 16.
9/3-9/7/12, Morgan Samuel Price AWA, Fishing
Villages: Focus on Light. Oils Plein Air. Beg-Adv.
$600. Balance due July 23.
9/10-9/14/12, Colin Page, The Maine Landscape.
Oils Plein Air. Int-Adv. $550. Balance due July 30.
9/17-9/21/12, Bill Teitsworth AWS NWS, Northern
Light. WC/ACR Plein Air. Int-Adv. $540. Balance
due August 6.
9/24-9/28/12, Frank Webb AWS (DF) NWS,
Watercolor Energies. Studio/Plein Air. Beg-Adv.
$600. Balance due August 13.
10/1-10/5/12, Ron Ranson, Big Brush Watercolor.
Studio/Plein Air. Beg-Adv. $550. Balance due
August 20.
10/8-10/12/12, Leah Lopez, The Compelling Still
Life. Oils Studio. Beg-Adv. $540. Balance due
August 27.
And, Bermuda and Italy in 2013!!
Contact: 207/594-4813
info@coastalmaineartworkshops.com
www.coastalmaineartworkshops.com
Lois Griffel
9/24-9/28/12, Acadia.
Contact: Gail Ribas, Acadia Workshop Center, 7
Bernard Road, Bernard, ME 04612, 207/460-4119
awcmaine@gmail.com

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March 2012 81

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 artist’s marketplace
Kristy Kutch
6/25-6/29/12, Bernard. “Coastal Colored Pencil”,
sponsored by Acadia Workshop Center,
(Acadia N.P.)
Contact: Gail Ribas, 207/244-9742
awcmaine@gmail.com
Mel Stabin
8/20-8/24/12, Rockland. Watercolor: Simple,
Fast, and Focused. Sponsored by Coastal Maine
Art Workshops. All levels.
Contact: Lyn Donovan, 207/594-4813
info@coastalmaineartworkshops.com
www.coastalmaineartworkshops.com
Tony van Hasselt
6/18-6/20/12 or 6/18-6/22/12, Boothbay Harbor.
Treasures of Coastal Maine sponsored by van
Hasselt Watercolor Workshops. Choose a 3 or
5-day session. Instructor: Tony van Hasselt,
A.W.S. Watercolor en Plein Air. Intermediate and
advanced.
Contact: Sherry Cross, Registrar
registrar@tonyvanhasselt.com
www.tonyvanhasselt.com
7/16-7/18/12 or 7/16-7/20/12, Rockland.
Explore the Coastal Landscape sponsored by
Coastal Maine Art Workshops. Choose a 3 or
5-day session. Instructor: Tony van Hasselt,
A.W.S. Watercolor en Plein Air. Intermediate and
advanced.
Contact: Sherry Cross, Registrar
registrar@tonyvanhasselt.com
www.tonyvanhasselt.com
MARYLAND
Kristy Kutch
4/14-4/15/12, Cumberland.
“Plunge Into Watersoluble Drawing”,
sponsored by C.P.S.A. DC Chapter 121.
Contact: Donna Whitford Housel, 814/733-4012,
whitfordhousel@centurylink.net
Camille Przewodek
7/23-7/27/12, Easton. Discover and develop a
new way of seeing and painting color. All levels,
oils. Color that expresses the light key of nature
can make any subject matter strikingly beautiful.
Contact: Camille Przewodek, 707/762-4125
fineart@sonic.net or www.przewodek.com
Kathi Ferguson, Easton Studio & School
410/770-4421 or eastonstudio@verizon.net
MASSACHUSETTS
Marla Baggetta, PSA
Ready to break out of the conventional and work
on finding a unique voice as a pastelist? Demos,
lots of personal attention and a fresh look at the
fundamentals with the intention of loosening up
and pushing boundaries.
All levels welcome. Now booking for 2013.
Contact: Marla Baggetta, 503/329-5117
mbaggetta@comcast.net or
visit www.marlabaggettastudio.com
9/24-9/26, 2012, 2nd session 9/28-9/30/12,
Cape Cod.
Pastel Painters Society of Cape Cod.
Contact: Joan, 781/844-5157
joan@joandromey.com
Creative Arts Center
6/2-6/4/12, Paul Leveille, PSA, Painting Children’s
Portraits in Oil, Pastel and Watercolor.
6/5-6/8/12, Don Demers,
Landscape Painting in Oil.
6/13-6/15/12, Libby Kyer, Explore New Surfaces
for Colored Pencil Paintings.
6/18-6/22/12, Mel Stabin, AWS
Watercolor: Simple, Fast, and Focused.
6/27-6/29/12, Daryl Urig,
Plein Air Palette Knife Painting in Oil or Acrylic.
7/13-7/15/12, Rosalie Nadeau, PSA
Plein Air Painting in Oil or Pastel.
8/2-8/4/12, Ted Minchin, AWS
Design and Color in Watermedia.
9/6-9/8/12, Joyce Washor,
Big Art Small Canvas in Oil.
9/10-9/13/12, Joseph Paquet,
Plein Air Painting in Oil.
9/17-9/21/12, Mary Whyte,
Still Life, Landscapes & Figures in Watercolor.
9/22-9/23/12, William Davis,
Landscape Painting in Oil.
Contact: 508/945-3583
www.capecodcreativearts.org
82 www.artistsmagazine.com
TAMMarWorkshopClassifieds.indd 82
Lois Griffel
6/11-6/15/12, Falmouth, Cape Cod.
Contact: Falmouth Artist Guild, PO Box 660,
Falmouth, MA 02541, 508/540-3304
Fax: 508/540-1142, info@falmouthart.org
www.falmouthart.org
7/30-8/4/12, Provincetown, Cape Cod.
I lived on Cape Cod.
Contact: Grace Ryder-O’Malley, Program
Administrator, 508/487-1750 ext 20
gryderomalley@Paam.org or www.paam.org
Mel Stabin
6/18-6/22/12, Cape Cod. Watercolor: Simple,
Fast, and Focused. Sponsored by Creative Arts
Center. All levels.
Contact: Sally Lamson, 508/945-3583
cacdirector1@verizon.net
www.capecodcreativearts.org
10/1-10/5/12, Stockbridge. Watercolor: Simple,
Fast, and Focused. Sponsored by IS183, Art
School of the Berkshires. All levels.
Contact: Amy Butterworth, 413/298-5252
info@is183.org; www.is183.org
MICHIGAN
Marla Baggetta, PSA
Ready to break out of the conventional and work
on finding a unique voice as a pastelist? Demos,
lots of personal attention and a fresh look at the
fundamentals with the intention of loosening up
and pushing boundaries.
All levels welcome. Now booking for 2013.
Contact: Marla Baggetta, 503/329-5117
mbaggetta@comcast.net or
visit www.marlabaggettastudio.com
6/11-6/12/12; 2nd session 6/13-6/15/12
Traverse City.
Contact: Debra Zamperla, idzamperla@gmail.com
MISSPISSIPPI
Paul Jackson
10/26-10/28/12, Picayune.
Painting Glass and Shiny Stuff
Contact: Marla, marlamjackson1@aol.com
Camille Przewodek
10/29-11/4/12, Madison. Discover and develop a
new way of seeing and painting color. All levels,
oils. Color that expresses the light key of nature
can make any subject matter strikingly beautiful.
Contact: 707/762-4125
fineart@sonic.net or www.przewodek.com
Julie McCartney, 601/607-7834
julie.mccartney@att.net
Lori Putnam
July 9-11 Pontotoc. Studio
Contact: lori@loriputnam.com
www.loriputnam.com
MONTANA
Frank Francese
5/21-5/24/12, Great Falls. Inspirational and
Fun Watercolor, varied subjects, all levels
$100 reservation required now; remainder
due by April 21st.
Contact: Carol Spurgeon, 406/761-6026
spurgeon@3riversdbs.net
Triple D Game Farm
2/11-2/13/12, Animals in Mt Winter.
Photography event.
2/14-2/15/12, Horse Round-up.
Photography event.
2/17-2/21/12, February Special.
Photography event.
2/23-2/26/12, John & Suzie Seerey-Lester’s
‘Wilderness Workshop’.
4/3-4/24/12, Triple D Road-Trip. Join the Triple
D’s fabulous wildlife as they travel to Monument
Valley Utah!!! We will offer the following events: 6
three-day wildlife photo events in the spectacular
Monument Valley landscapes!! 3 Navajo Mustang
Roundups/Navajo Cultural Events Dates. 6 Private
Back-Country Scenic Tours Dates.
8/24-8/27/12, John & Suzie Seerey-Lester’s
‘Wilderness Workshop’.
9/28-10/1/12, Julie T Chapman’s ‘Expressing The
Essence’.
Contact: 406/755-9653
www.tripledgamefarm.com
NEW HAMPSHIRE
Tony van Hasselt
5/30-6/1/12 or 5/30-6/3/12, East Madison.
Springtime Explorations sponsored by van
Hasselt Watercolor Workshops. Choose a 3 or
5-day session. Instructor: Tony van Hasselt,
A.W.S. Watercolor en Plein Air. Intermediate and
advanced.
Contact: Sherry Cross, Registrar
registrar@tonyvanhasselt.com
www.tonyvanhasselt.com
NEW JERSEY
Mel Stabin
5/14-5/17/12, Cape May. Watercolor: Simple,
Fast, and Focused. Sponsored by Marie Natale.
All levels.
Contact: Marie Natale, 609/214-9905
mariedezines@comcast.net
www.marienatale.com
9/17-9/20/12, Island Heights. Watercolor:
Simple, Fast, and Focused. Sponsored by Ocean
County Artists Guild. All levels.
Contact: Leona Lavone, 732/914-9941
busby67@comcast.net or www.ocartistsguild.org
NEW MEXICO
Art In The Mountains
4/16-4/20/12, Sante Fe. Alvaro Castagnet
The Passionate Painter. Watercolor - Plein air.
Intermediate to advanced outdoor painters.
Cost $695. Limit 20.
Contact: Tracy Culbertson, 503/930-4572
info@artinthemountains.com
www.artinthemountains.com
Starlight Ranch
Starlight Ranch sits at the foot of South Mountain,
of the San Pedro mountain chain, east of
Albuquerque and south of Santa Fe, New Mexico.
An inspirational setting for artist workshops
and retreats, it has evolved into a center for
successful and talented artist instructors to
share their skills and knowledge with students
from around the country. There are beautiful
rooms available for students who want to totally
immerse themselves in the relaxing comfort
of Starlight Ranch throughout the workshop
experience. Rooms start at $95 (double
occupancy/includes tax). Each room has a private
bath and a lovely view, with breakfast included!
May & September 2012, Strategies for
Landscape Painting with David Schwindt.
June 2012, Watercolor Workshop with Charles
“Bud” Edmondson & Figurative Landscapes in Oil
with Carolyn Lindsey.
September 2012, Portraits in Oil or
Pastel with Fred Miller.
Contact: 505/281-6839
www.StarlightRanchNM.com
Valdes Art Workshops
Valdes Art Workshops has offered week-long
workshops in beautiful, historic Santa Fe since
1983. Come paint and draw in one of America’s
most unique cities. We offer classes for every
medium, painting style, and level of experience.
One of our workshops will be a perfect fit for you.
3/21-3/23/12, Santa Fe. Laura Robb,
Still Life in Oil.
6/11-6/15/12, Santa Fe. Nancy Reyner,
Acrylic Innovation.
6/18-6/22/12, Santa Fe. John Salminen,
Realism Through Design.
6/25-6/29/12, Santa Fe. Joshua Fallik,
Still Life in Oil.
7/9-7/13/12, Santa Fe. Ramon Kelley,
Portrait and Figure.
7/16-7/20/12, Santa Fe. Ted Nuttall,
Portrait From Photographs in Watercolor.
7/23-7/27/12, Santa Fe. Doug Dawson, Pastel.
7/30-8/3/12, Santa Fe. Michael McGuire,
Watercolor Fundamentals.
8/6-8/10/12, Santa Fe. Roberta Remy,
Portrait Drawing and Painting in Oil.
8/20-8/24/12, Santa Fe.
John Poon, Plein Air and Studio Acrylic.
8/27-8/31/12, Santa Fe.
Lorenzo Chavez, Plein Air Pastel.
9/10-9/14/12, Santa Fe.
Darlene Olivia McElroy, Art Alchemy.
9/17-9/21/12, Santa Fe. John Poon,
Studio Acrylic Landscape.
Contact: 505/982-0017
ValdesArtSchool@qwestoffice.net
www.ValdesArtWorkshops.com
12/14/11 3:01:46 PM
 NEW YORK 3/4-3/9/12, Pam Beagle-Daresta, Introduction to
Watercolor Landscapes. Beginner, Tuition: $508.
Hudson River Valley Art Workshops 3/9-3/11/12, Pam East, Watercolor Enamel
4/15-4/21/12, John MacDonald Pendants. Beginner, Tuition: $320.
5/6-5/12/12, Karen Rosasco 3/11-3/17/12, Melody Boggs, Old Masters Style of
5/17-5/20/12, Jean Uhl Spicer Oil Painting. Beginner, Tuition: $568.
5/20-5/26/12, Robert Burridge 3/18-3/24/12, Peg Piltingsrud, Beginning to
5/31-6/3/12, Elizabeth Apgar-Smith Intermediate Rosemaling. Beginner, Tuition: $568.
6/3-6/9/12, Ted Nuttall 3/30-4/1/12, Ken Umbach, Watercolor Weekend.
6/10-6/16/12, Carol Marine Beginner, Tuition: $320.
6/17-6/23/12, Richard McKinley Contact: John C. Campbell Folk School,
7/15-7/21/12, David Dunlop Brasstown, NC, 800/FOLK-SCH
7/22-7/28/12, Frank Webb www.folkschool.org
8/5-8/11/12, Mel Stabin
8/12-8/18/12, Peter Fiore Kanuga Watermedia Workshops
8/18-8/21/12, Margaret Evans 4/15-4/20/12, Hendersonville. Bruce Bobick,
8/23-8/26/12, Elin Pendleton Carrie Burns Brown, Ken Goldman, Charles
8/26-9/1/12, Judi Betts Harrington, Robbie Laird, Mark Mehaffey,
9/9-9/15/12, Lorenzo Chavez Judy Morris, Ted Nuttall, Nancy Reyner, Myrna
9/16-9/22/12, Donna Zagotta Wacknov, Eric Wiegardt, Donna Zagotta
9/23-9/29/12, Pat Dews Contact: Robbie Laird, 530/259-2100
9/30-10/6/12, Skip Lawrence www.kanugawatermediaworkshops.com
10/7-10/13/12, Kenn Backhaus Kristy Kutch
Contact: 888/665-0044 10/15-10/19/12, Boone.
info@artworkshops.com “Luminous, Lustrous Colored Pencil”, Paper Painting !
www.artworkshops.com sponsored by Cheap Joe’s Art Stuff.
Contact: Edwina May or staff, 800/227-2788
Elizabeth St. Hilaire Nelson
Pastel Society of America
3/4/12, Elissa Prystauk, PSA edwina@cheapjoes.com April 20 - 22, 2012
Bring Life to Your Landscape. Birgit O’Connor elizabethsthilairenelson.blogspot.com
3/10-3/11/12, Margaret Evans, PSA 5/16-5/20/12, Charlotte. Big Bold & Beautiful
Studio Pastels with a Plein Air Mood. Flowers, Birgit O’Connor, Watercolor, Floral,
3/18/12, Alain Picard, PSA Painting Flowers. All levels. Maximum class size
The Painterly Pastel. of 25.
3/23-3/25/12, Maggie Price, PSA Contact: Nancy Couick Studios & Gallery
Paint the Landscape in Pastel. 704/541-6944, artistsgallery@bellsouth.net
4/1/12, Christina Debarry, PSA www.birgitoconnor.com
Awaken the Artist in You!
4/15/12, Eileen Serwer, PSA Lori Putnam
Landscape Interpretations. 4/25-4/27/12, Nags Head. Plein air.
4/22/12, Robert Carsten, PSA Contact: lori@loriputnam.com
Luminous Sunsets and Sunrises. www.loriputnam.com
4/29/12, Diana DeSantis, PSA Jan Sitts
Landscape Painting in Pastel. 10/1-10/5/12, Boone. Cheap Joe’s
5/6/12, Ellen Eagle, PSA Contact: 800/227-2788
Portrait Painting. www.jansitts.com
5/20/12, Sangita Phadke, PSA
Painting with a Limited Palette. Mel Stabin
9/19-9/21/12, Richard McKinley, PSA 4/23-4/27/12, Boone. Watercolor: Simple, Fast,
Exploring Landscape Possibilities with and Focused. Sponsored by Cheap Joe’s Art
Underpainting Techniques. Workshops. All levels. Alla Prima Painting
10/6-10/7/12, Fred Somers, PSA Contact: Edwina May, 800/227-2788
Playing with the Dust of Butterfly Wings. edwina@cheapjoes.com or www.cheapjoes.com Abbey Ryan
10/14/12, Bill Creevy, Pastel Alla Prima.
OHIO June 4 - 8, 2012
10/21/12, Rae Smith, PSA abbeyryan.com
Before the Storm - Painting Atmosphere. Tony Couch
10/28/12, Christine Ivers, PSA 6/4-6/8/12, Elida.
Exploring Light on Black! Contact: 678/513-6676 2012 Spring Workshops
11/4/12, Janet A. Cook, PSA toncouch@mindspring.com
New York City Nocturnes. www.tonycouch.com in Beautiful Sedona, AZ
Contact: 212/533-6931
www.pastelsocietyofamerica.org OREGON Jennifer McChristian Plein Air
Mel Stabin Art In The Mountains Jill Carver Plein Air
5/20/12 and 9/29/12, Montgomery. 6/4-6/8/12, Bend. Charles Reid, Portrait/Figure
Watercolor: Simple, Fast, and Focused. - studio. Intermediate to advanced students. Stuart Shils Plein Air
Sponsored by Wallkill River School. All levels. $795 (includes model fees). Limit 18 Larisa Aukon Joy of Creativity
Contact: Shawn Dell Joyce, 845/457-2787 6/11-6/15/12, Bend. Charles Reid, Portraits/
wallkillriverschool@hvc.rr.com Figures, Landscape and Historic Photo - studio Michael Workman Landscape
www.wallkillriverschool.com and plein air. Intermediate to advanced students. Jan Sitts Mixed Media
8/6-8/10/12, Greenville. Watercolor: Simple, Fast, $795 (includes model fees). Limit 18.
and Focused. Sponsored by Hudson River Valley 6/18-6/22/12, Bend. Sherrie McGraw, The Beauty Brian Davis Luminous Florals
Art Workshops. All levels. of Visual Ideas in Realism, oil - studio. Beginning
to advanced painters. $795 (includes model fees). Richard Drayton Colored Pencil
Contact: Kim LaPolla, 888/665-0044
info@artworkshops.com or Limit 20. Kath Macaulay Pocket Sketching
www.artworkshops.com 7/9-7/13/12, Bend. Mary Whyte, The Best of
Watercolor - studio & plein air. Beginning to Alok Kwang-Han Zen Calligraphy
10/15-10/18/12, Sugar Loaf. Watercolor: Simple,
Fast, and Focused. Sponsored by North East advanced. $795 (includes model fees). Limit 20. Cathrine Nash R&F Encaustics
7/9-7/13/12, Bend. Kim English, Paint Instinctively,
Watercolor Society. All levels.
Contact: Richard Price, 607/637-3412
studio & plein air. Beginning to advanced Peggy Sands Drawing w/o Fear
students. $725 (includes model fees). Limit 18.
info@northeastws.com or www.northeastws.com 7/16-7/20/12, Bend. Birgit O’Connor, “The Tracey Frugoli Intimacy w/Oils
NORTH CAROLINA Essence Within the Flower”, studio watercolor. Jeanette Le Grue Stilllife/ Landscape
Beginning to advanced students - some
Lois Griffel knowledge of watercolor is helpful. Cost $595. Polly Cullen Glowing Pastels
4/15-4/20/12, Wilmington. Limit 20. Lori Acott Figurative Raku
Contact: Kirah Van Sickle, 910/395-5132 or 7/23-7/25/12, and 7/26-7/27/12, Bend. Lian
Cell 775/291-7578, kirahart@yahoo.com Quan Zhen, Watercolor Landscape and Chinese
www.kirahfineart.com Accordian Book. “Exclusive Plein Air Opportunity” Explore more workshops and
Beginning to advanced. Limit 18. Field Expeditions to Tuscany,
John C. Campbell Folk School Cost 5-day $625, 3-day $450, 2-day $325.
2/5-2/11/12, Louise Farley, Contemporary 7/23-7/27/12, Bend. John Seerey-Lester, “Wildlife Grand Canyon and more
Portraits in Oil. Beginner, Tuition: $568. in Oil or Acrylic”, Studio to plein air. Intermediate
2/12-2/17/12, Billie Shelburn, Creative to advanced students. Cost $795. Limit 18. @SedonaArtsCenter.com
Watermedia Techniques. Beginner, Tuition: $508. Contact: Tracy Culbertson, 503/930-4572
2/17-2/19/12, Virginia Urani, Get Your Feet Wet info@artinthemountains.com 888.954.4442
with Watercolor. Beginner, Tuition: $320. www.artinthemountains.com

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 artist’s marketplace
Art Workshops By The Sea
Art Workshops By The Sea provides artists &
individuals the opportunity to develop their ideas,
visions and skills by bringing them together with
today’s top teaching artists from around the
world in an environment that is uniquely inspiring.
Traditional to Contemporary.
Contact: 541/991-1709
www.ArtWorkshopsByTheSea.com
Marla Baggetta, PSA
Ready to break out of the conventional and work
on finding a unique voice as a pastelist? Demos,
lots of personal attention and a fresh look at the
fundamentals with the intention of loosening up
and pushing boundaries.
All levels welcome. Now booking for 2013.
Contact: Marla Baggetta, 503/329-5117
mbaggetta@comcast.net or
visit www.marlabaggettastudio.com
10/19-10/21/12, Bend. Loosen Up Pastels.
Contact: Sue, 541/408-5524 or
www.cascadefineartworkshops.com
Tony Couch
4/15-4/19/12, Medford.
Contact: 678/513-6676
toncouch@mindspring.com
www.tonycouch.com
Kristy Kutch
7/9-7/11/12, McMinnville. “Luminous, Lustrous
Colored Pencil”, sponsored by Currents Gallery.
Contact: Kathleen Buck, 503/435-1316
kbuckcheney@comcast.net
7/13-7/14/12, Astoria. “Exploring Colored Pencil
Potential”, sponsored by Dots ‘n Doodles Art
Supply Store.
Contact: Tim or Scott, 503/325-5081
leahing@rocketmail.com
7/17-7/20/12, Newport. “Lush and Lively Colored
Pencil”, sponsored by Kristy Kutch Colored Pencil
Workshops.
Contact: Kristy, 219/874-4688
kakutch@earthlink.net
PENNSYLVANIA
Marla Baggetta, PSA
Ready to break out of the conventional and work
on finding a unique voice as a pastelist? Demos,
lots of personal attention and a fresh look at the
fundamentals with the intention of loosening up
and pushing boundaries.
All levels welcome. Now booking for 2013.
Contact: Marla Baggetta, 503/329-5117
mbaggetta@comcast.net or
visit www.marlabaggettastudio.com
5/21-5/25/12, Bucks County.
Bucks County Workshops.
Contact: Jackie, 877/855-2276
www.buckscountyartworkshops.com
Bucks County Art Workshops
Weekend Workshops
4/13-4/15/12, John Ennis, Portrait Studio, Oil
4/27-4/29/12, Carlo Russo, Still Life Studio, Oil
5/4-5/6/12, Joe Gyurcsak, Interiors Studio, Oil
9/14-9/16/12, Richard Lundgren, Plein Air, Pastel
Week Long Workshops
4/2-4/6/12, Kenn Backhaus, Plein Air, Oil
5/21-5/25/12, Marla Baggetta,
Plein Air & Studio, Pastel
6/4-6/8/12, Betty Carr, Studio, Oil
6/18-6/22/12, Ken Dewaard, Plein Air, Oil
7/9-7/13/12, Joyce Hicks, Watercolor, Landscape
8/6-8/10/12, Trisha Adams, Studio, Oil, Floral
8/20-8/24/12, John Salminen, Watercolor, Studio
9/24-9/28/12, Tom Nachreiner, Plein Air, Oil
9/24-9/28/12, Lois Griffel, Plein Air, Oil
Contact: 215/249-9186 or 877/855-BARN (2276)
www.buckscountyartworkshops.com
Lois Griffel
10/8-10/12/12, Bucks Country.
Stone Ridge Farm Country Inn, Perkasie.
Contact: Jackie Walker, Director, 215/249-9186
innkeeper@stoneridge-farm.com
www.buckscountyartworkshops.com
Jan Sitts
4/19-4/22/12, Latrobe. Latrobe Art Center
Contact: 724/537-7011, www.jansitts.com
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TAMMarWorkshopClassifieds.indd 84
SOUTH CAROLINA
Kristy Kutch
3/4-3/10/12, Myrtle Beach. “Draw, Brush,
Flow, and Spatter with Watersoluble Pencils”,
sponsored by Springmaid Beach Watermedia
Workshops.
Contact: Regina K. Wynn, 843/315-7150
rwynn@springmaidbeach.com
School of Light & Color
4/16-4/20/12, Charleston. Light & Color
Landscape sponsored by Charleston Art League.
Instructor Susan Sarback. All levels. Includes
tuition.
Contact: Tina Mayland, 843/768-5696
tinamayland@mindspring.com
Springmaid Beach
Watermedia Workshops
3/4-3/10/12, Gerald Brommer, Carrie Burns
Brown, Fred Graff, Kristy Kutch
3/11-3/17/12, Mary Ann Beckwith, Harold Gregor,
William (Skip) Lawrence, Warren Taylor
3/18-3/24/12, Mary Todd Beam, Jean Grastorf,
E.B. Lewis, Janet Walsh
Contact: 843/315-7150
www.springmaidwatermedia.com
TENNESSEE
Paul Jackson
4/13-4/15/12, Rarity Bay/Vonore.
Painting Glass and Shiny Stuff. The Community
Activity Center Rarity Bay.
Contact: Trisha Hanna, thth321@tds.net
4/18-4/22/12, Knoxville.
Dramatic Urban Landscape in Watercolor.
Contact: Kate McCullough
kate_mccullough@att.net
TEXAS
Mel Stabin
9/10-9/13/12, Dallas. Watercolor: Simple, Fast,
and Focused. Sponsored by Southwestern
Watercolor Society. All levels.
Contact: Mary Treadwell, 972/745-1700
mary@treadwell.biz or www.swswatercolor.org
VERMONT
InView Center for the Arts at
The Langrove Inn
6/11-6/13/12, Ted Nuttall, Portraits in Watercolor.
7/9-7/13/12, Mel Stabin,
Watercolor Plein Air Workshop.
8/6-8/10/12, Janet & Steve Rogers,
Watercolor Workshop.
9/20-9/23/12, Randall Sexton, Plein Air in Oils.
10/22-10/26/12, Alvaro Castagnet,
Watercolor Workshop.
Contact: 800/669-8466 or 802/824-6673
vtinn@sover.net or www.landgroveinn.com
Susan Ogilivie
10/23-10/27/12, Manchester.
Southern Vermont Arts Center
Contact: 802/362-1405, www.svac.org
Mel Stabin
7/9-7/13/12, Landgrove. Watercolor: Simple, Fast,
and Focused. Sponsored by InView Center for the
Arts. All levels.
Contact: Tom Checchia, 716/867-9044
vtinn@sover.net or www.landgroveinn.com
Tony van Hasselt
9/24-9/26/12 or 9/24-9/28/12, Landgrove.
Fall Foliage Splendor sponsored by van Hasselt
Watercolor Workshops. Choose a 3 or 5-day
session. Instructor: Tony van Hasselt, A.W.S.
Watercolor en Plein Air. Intermediate and
advanced.
Contact: Sherry Cross, Registrar
registrar@tonyvanhasselt.com
www.tonyvanhasselt.com
VIRGINIA
Paul Jackson
4/26-4/28/12, Richmond.
Dramatic Landscape in Watercolor
Contact: Marla, 573/356-1999
marlamjackson1@aol.com
WASHINGTON
Robert Burridge
3/29-4/1/12, Mt. Vernon. Put the Wow in
Watercolor! 4-day Workshop (Thursday-Sunday)
Dakota Art Center.
Contact: Lisa, 888/345-0067
info@dakotapastels.com
www.dakotaartcenter.com
Susan Ogilvie
5/18-5/21/12, Mt. Vernon. (Studio)
Contact: 888/345-0063 x 5
www.dakotaartworkshops.com
8/24-8/27/12, Mt. Vernon. (Plein Air)
Contact: 888/345-0063 x 5
www.dakotaartworkshops.com
Jan Sitts
8/13-8/16/12, Coupeville.
Pacific Northwest Art School.
Contact: 360/678-3396 or 866/678-3396
www.jansitts.com
WISCONSIN
Marla Baggetta, PSA
Ready to break out of the conventional and work
on finding a unique voice as a pastelist? Demos,
lots of personal attention and a fresh look at the
fundamentals with the intention of loosening up
and pushing boundaries.
All levels welcome. Now booking for 2013.
Contact: Marla Baggetta, 503/329-5117
mbaggetta@comcast.net or
visit www.marlabaggettastudio.com
9/17-9/20/12, Fish Creek. Peninsula School of Art.
Contact: Karen, 920/868-3455
www.peninsulaartschool.com
Margaret Carter Baumgaertner
Portrait Atelier
Winter Workshops 2012
2/29-3/3/12, La Crosse.
Mentoring Workshop $600.
3/5-3/9/12, La Crosse.
5-Day Portrait Mini Atelier $600.
Summer Workshops 2012
6/3-6/6/12, La Crosse.
Mentoring Workshop $600
6/11-6/18/12, La Crosse.
7-Day Oil Portrait Workshop $625
6/20-6/23/12, La Crosse.
4-Day Charcoal Workshop $375
6/20-7/25/12, La Crosse.
The Baumgaertner Portrait Atelier $2,000
6/25-7/9/12, La Crosse.
12-Day Oil Portrait Workshop $900
6/27-7/8/12, La Crosse. 5-Evening Portrait
Sculpture Workshop with Mike Martino $200
7/11-7/25/12, La Crosse.
12-Day Advanced Workshop $1,000
7/28-8/1/12, La Crosse.
Mentoring Workshop $600
Contact: 608/788-6465 or 608/385-5899
baumportrait@cs.com or www.baumportrait.com
http://portraitclasses.com/workshops/
workshopschedule.html
Jack Richeson & Company, Inc
3/19-3/23/12, The Figure In Design,
Carla O’Connor.
3/26-3/30/12, Watercolor Fun and Free,
Karlyn Holman.
4/25-4/27/12, En Plein Air Boot Camp,
Thomas Trausch.
7/9-7/12/12, Realism Through Design,
John Salminen.
7/30 -8/3/12, Landscape/Cityscape Painting in
Pastels and Oils, Alan Flattmann.
8/20-8/24/12, The Interpretive Portrait:
Capturing The Spirit, Charlotte Wharton.
10/8-10/12/12, The Figure In Pastel,
Margaret Dyer.
10/25-10/27/12, The Still Life in Oils,
Elizabeth Robbins.
Contact: Richeson School of Art,
556 Marcella St., Kimberly, WI 54136
920/738-0744, artschool@richesonart.com
www.richesonart.com/school/workshops
Kristy Kutch
3/24-3/25/12, Milwaukee. “Colored Pencil
Techniques, Traits, and New Tips” and
“Watersoluble Colored Pencil Techniques,
Traits, and New Tips”, available on two separate
workshop days; sponsored by Artist and Display.
Contact: Nora or staff, 800/722-7450 or
414/442-9100, info@artistanddisplay.com
12/14/11 3:01:57 PM
 9/10-9/13/12, Lake Geneva. “Colored Pencil: FRANCE
Delicate to Dynamic”, sponsored by Kristy Kutch
Colored Pencil Workshops. Ian Roberts
Contact: Kristy, 219/874-4688 5/20-5/29/12, Plein Air Painting in Provence with
kakutch@earthlink.net Ian Roberts. Spectacular landscape, focused,
encouraging instruction, gourmet food.
Madeline Island School of the Arts All media, all levels.
6/11-6/15/12, La Pointe. Andy Evansen Contact: ianroberts.com
6/18-6/22/12, La Pointe. Frank Francese 6/3-6/12/12, Plein Air Painting in Provence with
6/18-6/22/12, La Pointe. Cheng-Khee Chee
7/9-7/13/12, La Pointe. Myrna Wacknov
7/16-7/20/12, La Pointe. Janet Rogers
Ian Roberts. Spectacular landscape, focused,
encouraging instruction, gourmet food.
All media, all levels.
Unique Island Setting,
7/16-7/20/12, La Pointe. Steve Rogers
7/23-7/27/12, La Pointe.
Sally Brown/Sally Nystrom
Contact: ianroberts.com
Pat Fiorello
Exceptional Workshops
8/6-8/10/12, La Pointe. Karlyn Holman 7/9-7/16/12, Paint the French countryside with 2012 Painting Workshops
8/6-8/10/12, La Pointe. Karen Knutson artist/instructor Pat Fiorello. Grow as an artist June 11-15 Andy Evansen
8/13-8/17/12, La Pointe. Mary Ann Beckwith while exploring the treasures of the French
8/20-8/24/12, La Pointe. Kami Polzin Champagne and Bourgogne regions.
June 18-22 Frank Francese
8/20-8/24/12, La Pointe. Tony van Hasselt Open to artists of all levels and mediums. June 18-22 Cheng-Khee Chee
9/10-9/14/12, La Pointe. Marc R. Hanson Contact: Pat, 404/531-4160, patfiorello@aol.com July 9-13 Myrna Wacknov
9/10-9/14/12, La Pointe. Leonarda Boughton or www.patfiorello.com
9/17-9/21/12, La Pointe. Mary Massey
July 16-20 Janet Rogers
10/8-10/12/12, La Pointe. Daryl Urig
Flying Colors Art Workshops July 16-20 Steve Rogers
6/4-6/15/12, Brittany and Normandy.
Contact: Jenna Erickson, 715/747-2054
Judy Morris, AWS, NWS. Medium: W/C. Variety. July 23-27 Sally Brown / Sally Nystrom
www.madelineschool.com
All levels of instruction. Class size of 20. Aug 6-10 Karlyn Holman
Lori Putnam Contact: Johanna Morrell, 858/518-0949 Aug 6-10 Karen Knutson
8/20-8/22/12, Fish Creek. Studio. FlyingColorsArt@me.com
Contact: lori@loriputnam.com www.FlyingColorsArt.com Aug 13-17 Mary Ann Beckwith
www.loriputnam.com
Dory Kanter Art Escapes Workshop Aug 20-24 Kami Polzin
Randall Sexton 9/10-9/18/12, South of France. Watercolor, Aug 20-24 Tony van Hasselt
7/16-7/19/12, Door County. Location to Studio. mixed media and the art of the travel journal. All Sept 10-14 Marc R. Hanson
Learn to prepare for studio work en plein air. abilities. Includes day trips to Avignon and Pont du
Hosted at the Peninsula School of Art Gard, cooking lesson, photography instruction and
Sept 10-14 Leonarda Boughton
Contact: 920/868-3455 more. Beautiful hotel in charming Uzès, Provence. Sept 17-21 Mary Massey
info@PeninsulaSchoolofArt.com Contact: dory@dorykanter.com Oct 8-12 Daryl Urig
Jan Sitts www.dorykanter.com
6/11-6/15/12, Lac du Flambeau.
Dillman’s Creative Arts
GUATEMALA
Contact: 715/588-3143, www.jansitts.com Flying Colors Art Workshops
2/28-3/9/12, Don Andrews, AWS, NWS. Medium:
Mel Stabin W/C. Plein Air Landscape and Clothed Models. All
6/4-6/8/12, Lac du Flambeau. Watercolor: REGISTRATION INFORMATION AT
Simple, Fast, and Focused. Sponsored by
Dillman’s Bay Resort. All levels.
levels of instruction. Class size of 20.
Contact: Johanna Morrell, 858/518-0949 www.MADELINESCHOOL.com
FlyingColorsArt@me.com Ç£x°Ç{Ç°Óäx{ÊÊUÊÊ>Ê*œˆ˜Ìi]Ê7
Contact: Denny & Sue Robertson, 715/588-3143
www.FlyingColorsArt.com
vacations@dillmans.com or www.dillmans.com
Tony van Hasselt HOLLAND
8/20-8/24/12, Madeline Island. Explore Island
Charm. Sponsored by Madeline Island School
Flying Colors Art Workshops
of the Arts. Instructor: Tony van Hasselt, A.W.S.
Watercolor en Plein Air. Intermediate and
7/18-7/29/12, Amsterdam. Mel Stabin, AWS,
NWS. Medium: W/C. Plein Air-Landscape, People, M a r l a B a g g e t t a PSA, MC
Boats. All levels of instruction. Class size of 20.
advanced.
Contact: Johanna Morrell, 858/518-0949
Contact: Sherry Cross, Registrar
FlyingColorsArt@me.com
registrar@tonyvanhasselt.com
www.FlyingColorsArt.com
www.tonyvanhasselt.com

WYOMING
Lori Putnam
8/9/12, Cheyenne. Plein air.
Contact: lori@loriputnam.com
www.loriputnam.com
INTERNATIONAL
CANADA
Paul Jackson
11/10-11/12/12, Victoria, British Columbia.
Contact: Sam Boehner, sam@samboehner.com
Birgit O’Connor
2/24-2/27/12, Victoria, Brentwood Bay, British
Columbia. Big Bold & Beautiful Flowers, Birgit
O’Connor, Watercolor, Floral, Painting Flowers.
All levels. Maximum class size of 16.
Contact: Sam Boehner, 250/652-2827
sam@samboehner.com or Birgit O’Connor, P.O.
Box 828, Bolinas, CA 94924, 415/868-0105 or
250/652-2827, birgitoconnor@sbcglobal.net
www.birgitoconnor.com
4/30-5/3/12, Toronto. The Essence within
the Flower, Birgit O’Connor, Watercolor, Floral,
Painting Flowers. All levels. Maximum class
size of 25.
Contact: Tamar Citak at Studio Six, 905/475-1136
Fax: 905/475-1271, webmaster@studio-six.com
www.birgitoconnor.com
CROATIA
Lori Putnam
5/22-5/31/12, Korcula. Plein air.
Contact: lori@loriputnam.com
www.loriputnam.com
ITALY
Etruscan Places
May - October 2012, Landscape Painting in
Tuscany and the Roman Campagna. Intensive
open air painting workshops on location, rain
or shine, in some of Italy’s most spectacular
landscapes since 1995. Four distinct programs.
Contact: 212/780-3216
www.landscapepainting.com
Pat Fiorello
10/13-10/20/12, Paint the beauty of Tuscany
with artist/instructor Pat Fiorello. Grow as an
artist while being taken care of with true Italian
hospitality. Open to artists of all levels and
mediums.
Contact: Pat, 404/531-4160, patfiorello@aol.com
or www.patfiorello.com
Flying Colors Art Workshops
9/6-9/17/12, Cinque Terre, Lucca. Frank Webb,
Wo r k s h o p s 2 0 1 2
AWS, NWS. Optional Extention to Florence 3 nts.
Medium: W/C. Variety. All levels of instruction. Oregon, Washington,
Class size of 20.
Contact: Johanna Morrell, 858/518-0949 Colorado, Nebraska, Texas,
FlyingColorsArt@me.com
www.FlyingColorsArt.com Wisconsin, Michigan,
La Romita School Of Art, Inc. Massachusetts, Maine,
In 2012, La Romita will be offering a series of
two-week programs in various media. All levels Pennsylvania.
welcome. Classes run from May to October in
Terni.
5/5-5/19/12, Luminosity…Under the Umbrian Sun
with Marian Dunn. marlabaggettastudio.com
5/22-6/5/12, Umbrian Scenes and Colors with
Bob Rankin and Fritz Kapraun.
6/8-6/20/12, Scenes, Details, Place and 503.329. 5117
Atmosphere with Kay Russell.

March 2012 85

TAMMarWorkshopClassifieds.indd 85 12/14/11 3:02:03 PM

 artist’s marketplace
6/25-7/9/12, Susan Elliott, Workshop Coordinator.
7/12-7/26/12, Drawing on the Way to Watercolor
with Benno Philippson.
7/29-8/12/12, Umbrian Art Escape, Sketching
Words and Images with Sharon Zeugin.
8/16-8/30/12, Bring Umbria to Life with
Thom Ricks.
9/2-9/16/12, Sketchbooks in Italy with
Ken O’Connell.
9/19-10/3/12, Exploring Italian Gardens with
Lisa Guthrie and Tom Brown.
10/5-10/12/12, Autumn in Umbria with
Vera Dickerson and Robin Poteet.
Contact: 855-4ROMITA, schoolinfo@laromita.org
www.laromita.org
Robbie Laird
10/1-10/13/12, Fall Harvest Time!
Contact: franco@globalj.org, www.globalj.org
Virtual Art Academy
A five-day painting workshop with Barry John
Raybould in the heart of the Tuscany countryside,
Italy. This is arguably one of the most beautiful
parts of Tuscany since it includes mountain as
well as pastoral scenery and is also near one of
the most beautiful stretches of coastline in the
whole of Italy, known as the Cinque Terre region.
5/21-5/25/12, Tuscany.
9/10-9/14/12, Tuscany.
Contact: www.VirtualArtAcademy.com
THE NETHERLANDS
Mel Stabin
7/18-7/29/12, Amsterdam.
Watercolor: Simple, Fast, and Focused.
Sponsored by Flying Colors Art Workshops.
All levels.
Contact: Johanna Morrell, 858/518-0949
flyingcolorsart@me.com or
www.flyingcolorsart.com
RUSSIA
Russian Art Tour
7/30-8/6/12, Join artist, Cathy Locke, on a
spectacular adventure through Russia’s best
museums to savour some of the finest collections
of art in the world.
Contact: 415/328-3562, www.russianarttour.com
Advertiser Index
Acadia Workshop Center . . . . . . . 77
Art Gallery Frames . . . . . . . . . . . . 77
Art In The Mountains . . . . . . . . . . .76
Art Papa . . . . . . . . . . . . . . . . . . . . .76
Art-A-Fair Fine Arts Festival . . . . 77
Atelier St. Luc . . . . . . . . . . . . . . . . 77
Baggetta Studio . . . . . . . . . . . . . . 85
Best Brella . . . . . . . . . . . . . . . . . . . 77
Birgit O’Connor . . . . . . . . . . . . . . . 79
Blick Art Materials . . . . . . . . . . IFC, 1
Camille Przewodek. . . . . . . . . . . . 78
Caroline Jasper Studio . . . . . . . . . 77
Coastal Maine Art Workshops . . . .76
Creative Arts Center . . . . . . . . . . 78
Etruscan Places . . . . . . . . . . . . . . .76
F+W Media, Inc
. . . . . . . 17, 20, 21, 23, 26, 27, 68, 87
Flying Colors Art Workshop . . . . . .76
HK Holbein Inc . . . . . . . . . . . . . . . 25
House Of Artistry . . . . . . . . . . . . . . 6
Hudson River Valley . . . . . . . . . . . .76
Icarus Art, Inc . . . . . . . . . . . . . . . . .12
Idyllwild Arts . . . . . . . . . . . . . . . . . 77
86 www.artistsmagazine.com
TAMMarWorkshopClassifieds.indd 86
Call for Entries
DEADLINE: MARCH 2, 2012
St. Augustine, Florida: The St. Augustine Art
Association presents the 3rd Annual Nature &
Wildlife juried exhibition. April 28 - May 27, 2012.
Seeking 2D & 3D original works of art that explore
the beauty and balance of the natural world.
$2,000 top prize; additional cash awards.
Digital images. Contact 904/824-2310.
Download prospectus at www.staaa.org
DEADLINE: MARCH 5, 2012
Springfield, Oregon: National juried show. Over
$6,000 in prizes, paintings only. Show dates are
May 1 - June 1, 2012. Prospectus: SASE to:
Attn: Emerald Spring Exhibition 2012, Emerald
Art Center, 500 Main St., Springfield, OR 97477 or
download at www.emeraldartcenter.org
DEADLINE: MARCH 20, 2012
Sautee Nacoochee, Georgia: Southern
Watercolor Society 35th Annual Exhibition
June 9 - July 7, 2012 at the Sautee Nacoochee
Center. Juror: Frederick Graff AWS, NWS, TWSA.
Cash/merchandise awards. Fred Graff workshop
June 11-15, 2012. Limited to artists residing in
the 18 states and DC which comprise SW. Digital
entries. Prospectus/information SASE to Ann
Kromhout, 319 Westbrook Dr., Carrboro, NC
27510. Download prospectus at
www.southernwatercolorsociety.org
DEADLINE: MARCH 30, 2012
Cape Cod, Massachusetts: Pastel Painters
Society National Juried Exhibition “For Pastels
Only On Cape Cod 2012” June 26 - July 22, 2012
at the Cultural Center of Cape Cod.
Over $5,000 in awards. Contact:
president@pastelpainterssocietyofcapecod.com
Prospectus online at
www.pastelpainterssocietyofcapecod.com
DEADLINE: APRIL 7, 2012
Lancaster, Pennsylvania: Lancaster County Art
Association National Juried Exhibition 2012:
June 10 - July 19, 2012. Juror: John Costanza.
One to three slides or jpgs. $3,000 in cash prizes.
For prospectus, call 717/687-7061 or
www.lcaaonline.org
Jack Richeson & Co Inc . . . . . . . .IBC
Jan Sitts . . . . . . . . . . . . . . . . . . . . . 77
Jane Jones. . . . . . . . . . . . . . . . . . . 73
Jeanne Dobie . . . . . . . . . . . . . . . . 77
Jerry’s Artarama . . . . . . . . .13, 14, 15
John C Campbell Folk School . . . 78
Kalish Brushes . . . . . . . . . . . . . . . .76
Kanuga . . . . . . . . . . . . . . . . . . . . . 80
Kristy Kutch . . . . . . . . . . . . . . . . . 77
Landgrove Inn . . . . . . . . . . . . . . . . 78
La Romita School Of Art. . . . . . . . 78
Lois Griffel . . . . . . . . . . . . . . . . . . . 80
Madeline Island School Of Art . . . 85
Martin Universal Design Inc . . . . . . 9
Mel Stabin . . . . . . . . . . . . . . . . . . . 77
National Society Of Painters In
Casein & Acrylic . . . . . . . . . . . . . . 5
Northbrook Arts Commission . . . 79
Pastel Society Of America . . . . . . 77
Pat Fiorello . . . . . . . . . . . . . . . . . . 78
Paul Jackson . . . . . . . . . . . . . . . . . 78
Peggy Baumgaertner . . . . . . . . . . . 6
Portrait Society Of America . . . . . .19
DEADLINE: APRIL 15, 2012
The Woodson Art Museum is accepting
submissions for the annual juried Birds in Art
exhibition, September 8 - November 11, 2012. All
works must interpret birds and related subject
matter. Processing fee: $50 for one entry; $60 for
two entries. For prospectus/entry form, visit
www.lywam.org; call 715/845-7010;
fax 715/845-7103; email museum@lywam.org;
or write 700 N 12th St, Wausau, WI 54403-5007.
DEADLINE: JUNE 1, 2012
Call for Artists: Skokie, Illinois: Art Guild’s 51st
Annual Art Fair. July 14-15, 2012. Fine Art. Prizes
and awards. $150 booth fee. 75 exhibitors. Apply
now! Tel. 847/677-8163, skokieart@aol.com or
www.skokieartguild.org
DEADLINE: JULY 6, 2012
The Pastel Society of America 40th Annual
Open Juried Exhibition at the National Arts
Club, New York City, September 4-29, 2012.
Soft pastels only. Over $25,000 in awards.
Digital entries only. Download prospectus at
www.pastelsocietyofamerica.org, or send
SASE (#10) to The Pastel Society of America,
15 Gramercy Park South, New York, NY 10003.
Info 212/533-6931 or
psaoffice@pastelsocietyofamerica.org
DEADLINE: JULY 7, 2012
Connecticut Pastel Society 19th Annual
National Exhibition “Renaissance in Pastels” at
the Mattatuck Museum Waterbury, Connecticut,
September 22 - November 4, 2012. SOFT PASTELS
ONLY. Over $10,000 in awards. For prospectus
please send #10 SASE to: Mally DeSomma; CPS; 37
Rutland St., Waterbury, CT 06708 or download from
www.ctpastelsociety.com
DEADLINE: AUGUST 1, 2012
Meeker Classic Art Contest Call for Entries.
First Place $2,000. www.meekersheepdog.com
for contest rules and entry form or SASE. Artwork
must reflect sheepdog trials. Meeker Classic Art
Contest, PO Box 1394, Meeker, CO 81641
Randall Sexton Studio . . . . . . . . . 78
Robbie Laird Art Studio . . . . . . . . 78
Robert Burridge Studio. . . . . . . . . .76
Royal Brush Mfg Inc . . . . . . . . . . . BC
Russian Art Tour . . . . . . . . . . . . . . .76
School Of Light & Color . . . . . . . . 77
Sedona Arts Center . . . . . . . . . . . 83
SourceTek Art Supply . . . . . . . . . . 73
Springmaid Beach Watermedia Wk
. . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Starlight Ranch . . . . . . . . . . . . . . . 78
Stone Ridge Farm B&B . . . . . . . . . 77
Stu-Art. . . . . . . . . . . . . . . . . . . . . . .13
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87_tam0312.indd 87 12/12/11 10:58:37 AM

 competition spotlight EDITED BY NICHOL AS KELLY

Competition Spotlight artists are chosen

web from competition finalists. Visit www.
EXTRA
artistsnetwork.com/tamonlinetoc to view
winning entries from our 28th Annual Art
Competition.

The Student
Pauline Roche, San Diego, California, paulinerochefineart.com

PEOPLE IN DISTINCTIVE settings

inspire my figurative paintings; in
particular, I look for connections
between people and art and often
contemplate the lives and practices
of painters of the past. I think about
pigments and oil and linen and the
smell of linseed oil. Thinking of
art students of yesteryear was the
inspiration for this painting: a young
pupil, fully engaged at a large easel.
My daughter, wearing clothing
that I thought was perhaps reminis-
cent of the clothing that might have
been worn by students in older times,
sat on a stool in my studio to model
for The Student. I liked the silhouette
and solidity of the figure and the
profi le of the easel.
I begin all my paintings by
squinting as I look at my subject.
Squinting helps me simplify the sub-
ject to lights and darks. I use neutral
midvalue paint, such as thinned raw
umber, to establish a simple state-
ment with soft-edged, generalized
masses for the shadows and shapes
of darker areas. At this point I don’t
make too much commitment to hard
edges or sharp contrasts.
Once I’ve made an initial state-
ment on the canvas, I start to com-
mit to the composition—with darker
colors and firmer shapes. From this
point, I have a rough map to work During the final stages, I select ABOVE: The Student (oil, 20x16) was a final-
from as I move forward. I’ll begin which parts of the painting I wish ist in the portrait/figure category of our 28th
using brighter colors to develop to emphasize by pulling them into Annual Art Competition.
greater contrasts and clearer edges. focus while leaving other areas less
I like to work all over the canvas defined. The painting slowly moves
rather than finish one element at a from being out of focus to becoming
time. sharper and more vivid. ■

88 www.artistsmagazine.com

88_tam0312Spotlight.indd 88 12/9/11 11:29:10 AM

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c4_tam0312.indd c4 12/8/11 2:04:18 PM