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Your Complete Guide to Oil Painting Grounds
Classical
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Techniques
Staying
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The 10 Winners
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Art Competition
Make Clouds
Move in Pastel
Multigure
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March 2012
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contents
MARCH 2012
36
VOLUME 29 NUMBER 2
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 landscapes of the Pacic Coast.
Interview by Maureen Bloomeld
50 The Hybrid Landscape
of the Heart
With a startlingly original vision and alternating 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 Bloomeld, Chris McHugh
and Holly Davis
28
02_tam0312Contents.indd 2
12/9/11 11:14:42 AM
42
50
56
columns
7 Letters
16 Exhibitions
8 Close-Up
At the same time an artist improvises and changes his mind,
he builds up layers of texture.
By Paul Fenniak
22 Drawing Board
A complex, multigured portrait
begins with simple sketches.
By Michael De Brito
26 The Artists Magazines
10 The Artists Life

The lm 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
29th Annual Art

Competition
on the cover
Oil-Painting Grounds 67
Classical Painting Techniques 36
67 Brushing Up
Learn the various products
to use and ways to create an
archival ground for oil.
By Michael Chesley Johnson
Staying Young at Heart 56

Make Clouds Move in Pastel 42
Multigure Paintings 22
COVER: Eddie, No. 1 (Marine) (colored
72 Master Class
On his deathbed Thodore
Gricault drew his left hand.
By Jerry N. Weiss
74 Supply Cabinet
Find new products and interesting revivals.
Edited by Cherie Haas
88 Competition Spotlight
Posing her daughter as a model,
an artist creates a timeless
scene. By Pauline Roche
74
pencil, 40x32) by John P. Smolko
The Artists Magazine (ISSN 0741-3351) is published 10

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online at
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 years
contest.
Save Space With Issues on CD

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Grounds for OIl Paintings

Michael Chesley Johnson demonstrates how applying a clear ground can help
create color harmony.
Feature Article on Michael De Brito

Dont miss our previous article about Michael De Britos portraits. See how he
depicts his extended family as they cook and enjoy each others company.
Paul Fenniaks Intuitive Process
january 2012
Hit the Road,
Jack (watercolor,
monday
thursday
10
16
Martin Luther
22
wednesday
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11
18
24
25
19
26
saturday
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King Day
23
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Day
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New Years
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Joyce K. Jensen
www.joycekjens
en.com
sunday
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31
december
March issue
hits newsstands
2011
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w t
f
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10
14 15 16
18 19 20
17
21 22 23
25 26 27
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28 29 30
31
Read the unabridged version of Paul Fenniaks step-by-step demonstration, and

learn more about his intent for and process in his painting Birthday.
february
2012
s m t
w t
f
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1 2 3
5 6 7
4
8 9 10
12 13 14
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15 16 17
19 20 21
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More Pictures by Our Featured Artists

See how Jannene Behl works with color temperature as well as value in her landscapes, how Melanie Daniel places gures 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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06_tam0312Letters.indd 6
12/13/11 8:54:51 AM
letters
FROM THE EDITOR, OUR CONTRIBUTORS AND READERS
Growing Toward the Light

The Artists 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 Sartons 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 Keatss Endymion)
at any moment, if we have courage.
Old age is not an illness; it is a timeless 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 winners (John P. Smolkos Eddie No. 1
(Marine) graces our cover); read their
stories in At Their Peak, starting on
page 56.
In this March issue, youll
also nd Douglas Flynts classical
OF THE THREE CONTESTS
Digital Subscriptions?
Ive subscribed to The Artists
Magazine for years and recently purchased a digital back issue. I have to
say its much more convenient and
enjoyable on my iPad. Do you think
that youll soon be oering digital
subscriptions?
techniques as they apply to the composition of still life

(Slow & Steady, page 36); Paul Fenniaks brilliant
visions and revisions of haunted suburbia ( Details of the
Mystery, page 28); Melanie Daniels buoyant evocations
of inner and outer worlds ( The Hybrid Landscape of the
Heart , page 50) and Jannene Behls serene landscapes
of the Pacic Coast (California Dreaming, page 42). In
addition, Michael De Brito shows how he creates a portrait with multiple gures by sketching each subject rst (Drawing Board,
page 22), and Michael Chesley
Johnson oers a thorough lesson in
oil painting grounds (Brushing Up,
page 67). Finally, Jerry N. Weiss
takes a close look at Thodore
Gricaults last work, completed
on his deathbeda drawing of the
artists taut and still powerful hand
(Master Class, page 72).
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
Liz Moore, via e-mail
Indeed, were oering

both print and digital subscriptions
of The Artists Magazine. To order
a subscription, call us at 386/2463370, or go online to place an order
at www.artistsmagazine.com and
click on the secure subscribe link.
Editors Note:
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 aord the tuition, but I
was determined to keep at it, so I
Praise for Acrylic Artist

magazine
I picked up the Fall 2011 Acrylic
Artist magazine. Congratulations! I
cant put it down. Are you oering
subscriptions? I dont want to miss a
single copy.
I work in the abstract idiom, so
your article on Katherine Chang
Liu (Whats the Big Idea? Fall
2011) was an eye opener. Im taking
a good look at my work now as Im
struggling to nd myself and have
decided after reading Whats 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 rst edition
and now the latest fall edition. Each
is full of wonderful information. I
already subscribe to The Artists
Magazine and Watercolor Artist, and
Acrylic Artist is a wonderful addition
to my library. I now almost exclusively paint with acrylics and feel
that there is still so much to learn.
Arlene Haggerty, Manitoba, Canada
Editors Note: Acrylic Artist is on sale
on newsstands, and online at www.
artistsnetwork.com/acrylic-artistmagazine in both print and digital
formats.
March 2012
06_tam0312Letters.indd 7
12/13/11 8:55:00 AM
close-up
BY PAUL FENNIAK
C D
C
A
E
Texture and Glazing

about this head, so the mess of semi-erased
heads beneath this one was helpful in suggesting the nal 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 models pose on that. One great benet 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 at 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 at brush over the ridges of dry paint to suggest wrinkles and break up the surface, thereby animating the esh. I also
dragged wet over dry paint in the highlight on the forehead.
C I established the basic shape of the head with strong blue-violet shapes
with crimson edges on the side of the head and the side of the nose.
D For producing the eect of late-day sun shining in her face, I used a
progression from yellow to orange to red to crimsonbut crucially with
accents of cool, light blue-grays (and occasionally green), especially on the
edge of the forehead and along the edge of the nose.
E Bright sun meant there should be conspicuous reected light in the
shadows. This is most evident along the jawline and on the neck, where I
glazed the crimson underpainting with ultramarine violet.
I KEPT CHANGING MY MIND
ABOVE: As you can tell by his description of
painting this face for Arrival of the Homing

Pigeon (oil, 48x60), Fenniaks process is
anything but systematic. He likes to build up
layers of paint, nishing parts of the painting
while leaving other parts in the thin wash
state to be completed much later. Learn more
about his process and materials, beginning
on page 28.
08_tam0312CloseUp.indd 8
12/13/11 9:46:29 AM
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the artists life
EDITED BY CHERIE HAAS
A Woman Like That

Contemporary lmmaker Ellen Weissbrod puts the spotlight on Artemisia Gentileschi.
BY RUTH K. MEYER
LEFT: If you say youve never heard of
Artemisia, says Weissbrod, who has given 20
years of contemplation and study to this lm,
that may be the heart of my undertaking.
JUST SAY THE words a woman like

that, and youll have an idea of the
spirited nature of Ellen Weissbrods
amazing independent feature lm. A
Woman Like That is now playing in
art museums and university galleries
not only because of its art historical heroine, Artemisia Gentileschi
(1593ca 1652-3) but also because
of the heroism of the lmmaker.
Weissbrod calls the project her
coming-of-middle-age story. After
30 years of making other peoples
documentaries, she has made one of
her own, and it is a triumph.
In 1990 Weissbrod read a
book review of Mary D. Garrards
Artemisia Gentileschi: The Image of the
Female Hero in Italian Baroque Art
(Princeton University Press, 1989).
Weissbrod says: Ah, female heroes
10
Id worked in lm for more than 10

years, most often on lms about male
poets, painters and musicians. Id
just directed my rst feature documentary about a very successful male
musical genius. I felt surrounded by
male colleagues. I was hungry for a
female hero. Weissbrods 93-minute
lm tells the story of Artemisias
struggle to be known as a painter, by
exposing the struggles Weissbrod
herself had with museum authorities to make this lm. The parallel
storylines are developed in a narrative thats 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
scholar had tried to reveal her career

and her character, but she remained
in obscurity until determined feminists, 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 artists in the group known as the
Caravaggisti, after the infamous
Italian Baroque artist Michelangelo
Merisi da Caravaggio (15711610).
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 others. Artists didnt sign their works in
her day, and scholars must patiently
scrutinize the records of the aristocratic collectors known to have
patronized this young woman with a
curious and troubled background.
Artemisia was Orazios 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 teenaged girl. Artemisia, unaware of
his marital status and thinking she
10_tam0312ArtistsLife.indd 10
12/13/11 9:47:59 AM
the artists life
might become his wife, continued

the relationship. When it was clear
that marriage wasnt an option, her
father brought suit against Tassi and
charged him with rape. Tassi was
found guilty and sentenced to exile
from Rome, but didnt serve his time.
In her lm, Weissbrod uses extracts
from the Roman archives and the
testimony of scholars who have studied 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 wasnt the center it
had been in the Renaissance, but
Artemisia found work there and
became the rst woman accepted
into the Academia. The Medici
dukes engaged her for portraits,
Galileo became her condant,
and Michelangelo Buonarroti the
Younger commissioned a painting
for the ceiling of Casa Buonarroti.
But Artemisia and her husband had
nancial problems and she returned
in 1621 to Rome, where she struggled alone to support her daughter,
who was unwell.
Weissbrod tells Artemisias
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
shed hoped to be allowed to
lm the exhibition. This is
the point at which her 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 paintings of the biblical heroine
Judith, who beheaded the
tyrant Holofernes because he
was holding the Israelites hostage.

Weissbrod cleverly links the Judith
paintings to an early lm by D.W.
Grith on this subject.
Much as she loves art history,
Weissbrod says she isnt an art historian, and thus she arrived at some
unusual maneuvers to analyze the
artists paintings. She costumed a
group of friends and asked them
to act out the stories of Artemisias
grand heroines following the format 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 lm feel more contemporary than historical.
There is so much in the lm
thats funny and poignant, youll
laugh, youll cry, as reviewers say,
and youll walk out of the show
cheering the two viragos, Artemisia
and Weissbrod.
You can visit www.awomanlike
that.com to nd local screenings, to
get involved with the project, and to
learn more about A Woman Like That.
RUTH K. MEYER is an art consultant and
writer who lives on the banks of the Ohio River.
Art Journey America

Landscapes: 89 Painters
Perspectives
EDITED BY KATHRYN KIPP
Landscapes give artists inspiration
and a way to rise to the challenge
be it how to adapt to changing light;
what to do with all the greens; how
to capture the mood of the season, a
eeting moment, delicacy or drama.
Art Journey America Landscapes
showcases the work of top contemporary 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 Jens Picks, go to

www.artistsnetwork.com/northlight.
March 2012
11
12/13/11 9:48:07 AM
the artists life
Vera Barnett knows still life. After

10 years of painting traditional
compositions, she began incorporating inatable pool toys in some of
her paintings to add an element of
interest and whimsy.
At rst, however, she noticed
that every couple of days her drawing would be inaccurate compared
to the scene shed created. Barnett
quickly realized that the combination of time passing and electric
lights heating the props was causing
the air to expand and contract; her
work itself was ne. Thats when she
took initiative and began designing
her own models and re-creating specic portraits and classical scenes.
Using vinyl that she cuts, sews
and stus with cotton, she paints
the models and then poses them
with props that are incorporated
into the paintings. This part of the
Collection of Eric and Debbie Green
Bringing Life
to Still Life
process can take up to two weeks,

but Barnett says, Ive gotten a lot
quicker at it.
Although shes saved a few of
the models after painting them, she
says theyre not made to last: The
models are designed only for the
purpose of being painted, so the
backs, for example, arent well-made.
They tend to fall apart and the paint
akes o after so long. Fortunately
for us, she has the nal paintings to
last a lifetime. C.H.
ABOVE: Classical Plastique: Frugal Repast
(2006; oil, 44x36) was inspired by Pablo

Picassos The Frugal Repast.
BELOW: Getting the body language just right

was the biggest challenge, Barnett says of
this preliminary picture.
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12

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12/13/11 9:58:07 AM
the artists life
Historically Speaking
Erich Lessing; Courtesy of Black Dog and Leventhal Publishers
Art history is a fascinating subject, but even for those

who may not acknowledge religious and political implications of art throughout the
ages, PBSs comprehensive Art
of the Western World DVD set
is likely to capture attention.
Viewers, touring through 2,500
years of Western art, travel
to more than 150 locations in
eight countries for an in-depth
overview of painting, sculpture
and architectureand their
cultural relevance.
And for the rst time,
every painting from the Louvre
is now available in a stunning, unprecedented bookan
ocial publication of the
museumwhich art lovers will
cherish. It features all 3,022
paintings on display in the
Louvres permanent collection
in full color, complete with
descriptions.
Here in the oces of The Artists Magazine, both the
Art of the Western World and The Louvre: All the Paintings
have not only brought us joy, but have elicited gasps of
awe from those passing by my desk. Both are excellent
resources. The Art of the Western World DVD is available
at www.acornonline.com. The Louvre: All the Paintings is
available at www.workman.com. C.H.
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March 2012
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12/12/11 1:29:41 PM
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12/8/11 2:05:28 PM
Portland Museum of Art, Scott M. Black Collection; photo by Benjamin Magro
exhibitions
Edgar Degas:
The Private
Impressionist
Works on Paper
by the Artist and His Circle
Why see it: The works within this
exhibition demonstrate the ability

of Edgar Degas (1834-1917) to
combine his profound appreciation
for the old masters with his passion
for photography and Japanese prints,
while demonstrating his singular
through-the-keyhole approach.
Featuring striking images of ballet 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 artists family and friends
reveal the private world of Degas.
February 23 through May 28

Portland Museum of Art, Maine, 207/775-6148
www.portlandmuseum.org
more than 70 drawings, prints,

pastels and photographs as well as
several sculptures by Degas. The
Private Impressionist will also
include a select group of rare works
on paper by artists of his circle,
including captivating works by
Mary Cassatt, Paul Czanne, JeanAuguste-Dominique Ingres, Camille
Pissarro and Henri de ToulouseLautrec.
TOP: Portrait de Pre Papeille (Portrait of
Father Papeille) (1873; pastel, 21x17) by

Camille Pissarro
RIGHT: Danseuse assise (Seated Dancer)
(1894; pastel, 22x17) by Edgar Degas
16
Portland Museum of Art, Scott M. Black Collection; photo by Melville McLean
What youll see: Visitors can explore
16_tam0312Exhibitions.indd 16
12/12/11 1:33:15 PM
exhibitions
RIGHT: Sunset, Canyon de Chelly (1916; oil

on canvas, 28x34) by Edgar Payne
Edgar Payne:
The Scenic Journey
Why see it: Edgar Payne (18831947) utilized the animated brushwork, vibrant palette and shimmering 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
This exhibition traces Paynes artistic

development as he traveled the world
in search of magnicent settings: the
California coast, the Southwest desert, the Sierra, the Swiss Alps, and
the harbors and waterways of France
and Italy. On display are nearly 100
paintings and drawings, as well as
Mark C. Pigott Collection
February 11 through May 6

Crocker Art Museum
Sacramento, California, 916/808-7000
www.crockerartmuseum.org
devoted to subjects
of rugged beauty.
His majestic landscapes are informed
by his reverence for
the natural world.
What youll see:
photographs and objects from the

artists studio.
Other venues: Pasadena Museum
of California Art, June 3 to October

14; Gilcrease Museum, Tulsa,
Oklahoma, December 1, 2012, to
March 24, 2013
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March 2012
17
12/13/11 3:10:41 PM
exhibitions
Gauguin and Polynesia:

An Elusive Paradise
February 9 through April 29
Seattle Art Museum, Washington
206/654-3100
www.seattleartmuseum.org
1903. His fascination with local cultures resulted in a kind of personal

iconography.
What youll see: The show will
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It will also highlight about 60 works
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Ny Carlsberg Glyptotek, Copenhagen, dontated by Helge Jacobsen 1927
Why see it: The key feature in

Paul Gauguins personal mythology is the constant yearning for
an exotic paradise; he sought it in
the bohemian arts community at
Pont-Aven on the coast of Brittany
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, 2358x38916) by Paul
Gauguin (18481903)
The Museum of Modern Art, gift of Mrs. Simon Guggenheim;

2010 Estate of Pablo Picasso/Artists Rights Society (ARS), New York
Picasso to Warhol:
14 Modern Masters
Through April 29
High Museum of Art, Atlanta, Georgia
206/625-8900, www.high.org
achievements of these pioneers of

modern art will be presented in
depth, exploring each artists stylistic
development.
What youll see: Visitors can view
Why see it: Picasso to Warhol
features art created by 14 iconic

artists from the 20th century. The
ABOVE: Girl Before a Mirror (1932; oil on
canvas, 64x51) by Pablo Picasso (18811973)

RIGHT: Self-Portrait (1966; silkscreen ink on
synthetic polymer paint on nine 22x22
canvases; 6758x6758) by Andy Warhol
approximately 100 works in one of

the largest concentrations of modern art masterpieces to be exhibited
in the southeastern
United States. Featured
artists include Pablo
Picasso, Henri Matisse,
Constantin Brancusi,
Piet Mondrian,
Fernand Lger, Marcel
Duchamp, Giorgio de
Chirico, Joan Mir,
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
18
12/12/11 1:33:22 PM
19_tam0312.indd 19
12/8/11 2:03:42 PM
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12/13/11 11:18:16 AM
2012 Artists & Graphic

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BRINGING ART TO LIFE
12/13/11 11:18:22 AM
drawing board
BY MICHAEL DE BRITO
Sketch It Out!
Work out composition, forms, shapes and patterns with preliminary sketches
and drawingsbefore you even pick up a paintbrush.
LEFT: This scene of three men having lunch
on Faro Beach in Portugal appealed to me
because of the complexities of the composition, 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).
to my
1. Preliminary Sketches
development as an artist. It gives
My process always begins with
me not only insight into the human
sketchessometimes as many as
gure, but also a connection to the
20 to 50! For this painting, I began
human beings who become subjects
with preliminary pencil drawings
in my paintings.
in my sketchbook. I use a variety
A painting for me always begins
with an experience. I like to capture
everyday moments of human interaction. Having my sketchbook handy
Materials
allows me to record those moments
on paper as quickly and loosely
Preliminary sketches: Canson
as possible, without getting too
sketchbook (8x11), Eberhard
attached to my drawings. I like to
Faber ebony pencil; Sanford
Design kneaded eraser
work out all the issuescomposition,
modeling of form, shapes and patCharcoal drawings: Canson
ternsin my preliminary sketches
charcoal pad (18x24), Winsor &
and drawings before I begin to paint.
Newton vine charcoal, medium
That way theres no confusion when I
paper blending stump, sandpaper,
get to the canvas.
Grumbacher spray xative
DRAWING IS fundamental
22
of strokeshatching strokes, crosshatching and blended strokes, sometimes using the side of my pencil for
the darkest areas.
I generally use a hardbound
Canson 8x11 sketchbook with
medium-textured paper. My sketchbook 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
thats 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 denes the subject. My
pencil sketches take no longer than
ve to 10 minutes apiece to create.
Cropping
These pencil sketches help me generate ideas of what the nal 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 midtable at the bottom and with more
room above the mens heads at the
top. This cropping keeps the gures
as the main focus and provides some
airiness in the folds of the tarp and
the space above the men.
22_tam0312DrawingBoard.indd 22
12/12/11 9:06:37 AM
drawing board
Composition and Form

While Im in front of my subjects, I
try to gure out what the composition of the nal painting will be. My
goal is to make a balanced composition through which I can lead the
viewers 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 gures. (See images A ,
B and C, above.)
Shapes and Patterns
While working on my preliminary
sketches, I look at each gure and
his or her surroundings and how

the gure 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 interesting and help it ow. This piece
visually began from left to right
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March 2012
23
12/12/11 9:06:46 AM
drawing board
Drawing Tip: Seeing

Characteristics
The major gure (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 person. If you think of hands that way, it seems to help in dening the drawing. .
Diagonals and Shapes

in Men on Faro Beach
When I came across the scene with the men on the beach, there were strong
diagonals that caught my eye (see nished painting, page 22): Framing the composition were the slope of the structures roof down from the top-left corner of
the cropped view, and then the strong diagonal of the table from the bottomright corner up. Echoing the slope in the roof was the diagonal shaft of light, rst
noticeable on the head of the man in the foreground and then traveling across the
middle mans shirt and the third mans arm to the bottles on the table.
In addition, I liked the way the stripes on the shirt of the man in the foreground
pulled the eye into the piece. I also wanted to capture the repeated pattern and
thrust of the mens right arms in the composition. All these strong diagonals
are balanced by the horizontal folds in the tarp in the background and by the
repeated vertical shapes created by the men melding with the gures in the background and the supporting poles.
24
with the band of light on the central

gures shirt leading the eye across
the space diagonally.
2. Rened Charcoal Drawings
Once Ive compiled enough pencil
sketches and taken some photos, I
then work on larger, more rened
charcoal drawings. For these I use a
Winsor & Newton soft vine charcoal
pencil (which is easy to manipulate,
wipe away and readjust), a kneaded
eraser, a small piece of sandpaper (to
sharpen the charcoal) and a Canson
18x24 charcoal pad with a medium
tooth.
These 18x24 charcoal sketches
allow me to get a better understanding of how the nal painting will
look. I make drawings of the key
elements in the composition. Most
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 gures gestural movements and
model the forms of the facial structures with hatching strokes, crosshatching 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 gures
head (F), and the third gures head
and full torso. (I didnt feel it necessary to complete another drawing of
the man on the right in the scene.) I
used the gures 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
perspective for each major gure
(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
t, and the blending stump allows
me to take measurements as well as
blend. Once the drawing is completed, I apply a spray matte xative
to secure the drawing in place before
I begin to apply paint.
MICHAEL DE BRITO has received a PollockKrasner 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
(www.eegallery.com), has been included in
exhibitions at the National Portrait Gallery in
London, and the Scottish National Portrait
Gallery in Edinburgh. Visit his website at www.
michaeldebrito.com.
web
EXTRA
To read part of our January/

February 2010 feature article
about De Brito and see more of
his paintings, go to www.artists
network.com/tamonlinetoc.
VERNT
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March 2012
25
12/13/11 9:50:04 AM
Beyond the Framet&JMFFO&EFS
See your work in The Artists Magazine

Winners will be featured and nalists names published in the December 2012 issue of The Artists Magazine.
CASH PRIZES
5 First Place Awards:
5 Second Place Awards:
5 Third Place Awards:
15 Honorable Mentions:
THE STUDENT/BEGINNER DIVISION

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Nine finalists will be featured in Competition Spotlight

in The Artists Magazine; twelve finalists will be featured
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works of twelve finalists will be featured
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All winners will be posted in
an online gallery.
* For artists age 16 or over who (1) have been enrolled in a

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N O RT H
LIGHT
DEADLINE: All entries must be postmarked no later than April 2, 2012.
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
The competition is open to artists anywhere in the world. Only original
artwork, conceived and created by the entrant, will be considered.
Original means that if a painting is based on reference photos, the
photos were taken by the artist or were used with permission of the
photographer. Photography, with the exception of minor elements
incorporated in a collage, will not be considered. Neither digital art nor
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26_tam0312.indd 27
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12/9/11 11:21:42 AM
28
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
Paul Fenniak uses a combination of techniques

and procedures that he modestly claims most experienced oil painters employ as well. This may be true, but the series of moves that
Fenniak brings to bear during the dierent 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
nd their human subjectsand those of
OPPOSITE: For some time Fenniak had in the back
us looking at their painted worldpeering
of
his mind the image of an air vent on a ships deck
into the mysteries of contemporary life.
CANADIAN ARTIST
looming over a gure. The large, dark oval reminded

me of Motherwells Elegy (to the Spanish Republic)
paintings, he says, since it was hard not to associate this image with death. The stark immobility and
feeling of cold indifference these vents exuded in
combination with the suggestion of moving aira
kind of breathconvinced me that it would be
appropriate for a painting about grief. In order for
it to be effective, I knew Id have to emphasize the
abstract quality of the shapes and reduce descriptive detail in Offshore (oil, 72x60).
The Artists Development

Fenniaks own path to his particular and
vivid art included stops that many other
artists have made along their ways. He drew
cartoon characters as a teenager. Then, in
his high school library, he happened upon
some books on 20th-century art, and things
began to change. Cubism and the work of
the New York Abstract Expressionists were
the rst things to catch his eye and interest. He recalls a particular fondness for Franz Kline and Willem de
Kooning, from whom he acquired a continuing love of oil paints sensuous, 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
12/9/11 9:58:34 AM
BELOW: A photo
of a beach crossed
by a bar of sunlight
was the starting
point for Encounter
(oil, 60x48). I
re-created horizontal
setting-sun type
lighting in the studio, says Fenniak,
and photographed
the models standing
half in shadow, using
a doorway frame. I
used two different
models for the male
gure and collaged
parts from both to
get the nal pose.
way around. Fenniak explains, The overarching subject I seem to come back to most often
is the interior lifemore specically, the
individuals mental struggle with the strangeness of the world around her. We need to
keep before ourselves as full and complete an
image as possible of what a human person is,
especially when so many of our cultures representations of people reduce them to simplistic
types and sometimes simply to commodities.
Those sound like words to live by.
Getting Started
Fenniaks making of a painting invites the same
intriguing speculation. The procedure often
begins with pencil thumbnails in a sketchbook: I dont try to make a good drawing at
this point. Im only looking to develop ideas.
When Fenniak has a sketch that he likes or
feels is right, he begins drawing on the canvas,
which is usually tinted. The canvas drawing is

executed with vine charcoal because, according
to Fenniak, its easy to erase. In fact, throughout
many stages of the work, Fenniak will correct
and rework. This includes the drawing on the
canvas as well as the later painting stages in oil.
Intuition plays a signicant part in the
development of a work. Fenniaks descriptions
of his working habits are littered with phrases
such as when I feel ready. When he does
feel ready to paint, he often starts by applying
thin, broad oil washes. Doing so enables him
to cover the whole canvas quickly and to get
an idea of the general look of the piece. At this
point, he usually turns to his photo resources.
From Photos, But Not Exactly
Fenniak works primarily from photos. This
never means, however, a slavish copying of a
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
specic 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 hell
eventually incorporate into a painting.
Toward the Finished Piece
Then he begins to paint in earnest, concentrating on certain areas and being guided by his
intuition. The artists description of this stage
is telling: Some things must be done rst in
order for me to get a feeling for the possibilities 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, nishing 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 nished. At this point, he deepens 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
nished work and making desired adjustments.
Then comes the nal step in his dizzying
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

gures 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-ne retouch varnish. Lefranc
& Bourgeois, unlike some other retouch varnishes Ive tried, doesnt disappear after a few
weeks, Fenniak says. I use this instead of a
full-strength varnish because I dont usually
have the luxury of waiting six months for the
painting to dry before I have to ship it o.
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
Materials
Surface: as heavy a canvas as Fenniak can get thats still smooth and
tightly woven10- to 14-ounce cotton canvas and occasionally linen, purchased on rolls from Kama Pigments
Oil paints: Old Holland, Rembrandt, Holbein, Sennelier, Kama Pigments
and Stevenson (Fenniak prefers Old Hollandalways uses Old Holland titanium and Cremnitz whitesbut limits use of the brand because of the cost.
Kama Pigments and Stevenson are Canadian brands.)
Medium: turpentine and stand oila lean 3:1 medium for the early stages
and a fat 2:1 medium for the late stagessometimes 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 hogs hair (rounds, ats, lberts, 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; ngers 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 photographed 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.
web
EXTRA
For the unabridged version of Fenniaks step-by-step

demonstration and further explanation of his process
and intent for Birthday, go to www.artistsnetwork.
com/tamonlinetoc.
4. I decided to reposition the seated gures head to a prole

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 gure from the right, using
loose charcoal drawing on top of dry paint.
32
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 gure). I applied
some impastoed white in areas I knew would be the brightest
lights. At this point I wasnt concerned with precision; the main
thing was to get an overall impression.
5. I began the modeled underpainting for the right-hand

gures 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 dened the second
female gures pose (second gure 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. 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 underpainting 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, Im motivated to continue with everything else). Later I began the painfully detailed
dress pattern with thin paint and a small, soft brush.
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
reected light from the as yet unpainted sparklers. I worked on
the far-left gures arms and painted the seated gures 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 females head (second from the right) from a photo of a friend. I also rened the
colors and details in the patterned dress.
3. At this stage I wiped a brown glaze over the lampshade

and laid in the seated mans 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 denition.
7. Here I laid in the green sofa with a bluish green so that

when Id apply the yellow-brown glaze (see step 8), it would
become a warm green. Dissatised with the at white of the
T-shirt, I glazed over it with burnt umber so I could paint over it
in the next stage. I nally established a reason for the second
female gures hand position; shes about to put her purse
strap over her shoulder. This decision allowed me to give specic form to her hand. I deepened the dark tones on the left
side of the owered 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. Following the general lighting scheme of warm lights and

cool shadows, I glazed the sofas 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 at, monochromatic look. I overpainted the T-shirt, adding
more detail and a wider range of hues in the whites. Finally
I began dening the smoke from the sparklers by using thin
paint and soft brushes as well as by rubbing it with my ngers
to soften the edges.
9. Using small opaque titanium white marks with reddish yellow 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 oor 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 nal 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 compositional reasons, scumbling over
it with translucent gray-blue to
make it recede. I also added
landscape details, including a multilayered sky that I scraped and
sanded to bring up cool patches
among the areas of warm glaze in
Birthday (oil, 48x60)
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 Oshore (page 28) to be reminded
of this. Whats that woman standing on the
bed listening to? The pigeon being carried by
the parachute aside, whats 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 quickens the mind and keeps us, as humans, inquisitive and alert. Perhaps more importantly
certainly to Paul Fenniakthese musings keep
us aware, in this increasingly depersonalized
world, of each others presence.
Meet Paul Fenniak

Born in Toronto, Canada, Paul Fenniak received a bachelor of ne arts degree
from Queens University in Kingston, Ontario, and a master of ne arts degree
from Concordia University, Montreal. His work is represented by Forum Gallery
in New York City, and hes 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 lms on his work for
its Artspots series. Writing in The New
York Times, critic Ken Johnson said of
Fenniaks work: there is a genuinely
haunting, cinematic monumentality. It
reminds one that the narrative as well
as painterly possibilities of traditional,
gurative representation are still far
from exhausted. Fenniak lives and
works in Montreal. Learn more about
him and his work at paulfenniak.com.
web
EXTRA
RICK STULL lives in a small cottage in the foothills of the
For a link to more of Fenniaks art,

go to www.artistsnetwork.com/
tamonlinetoc.
Catskill Mountains.
LEFT: The gures head and her

reection 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 gural presence
of its own. I was thinking of how the
tree in Edvard Munchs Three Girls
on the Pier, whichby virtue of its
placement and stylizationsomehow acquires a personality. The
eavesdroppers feet, disappearing 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 bauche while breaking
the process for painting still lifes into
a series of manageable tasks.
slow &
steady
BY LOUISE B. HAFESH
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 standards for accuracy and often drive us not only
to organize the abstract components we see,
but also to comprehend the why of what we
see. Slowing down to think things through
allows us to solve problems and upgrade our
unconscious, reactive decisionsfor more
thoughtful strategies and deliberate tactics.
Flynt, whose own style is inuenced by
the classical principles of order, structural
clarity and plasticity, oered us, 13 psyched
participants, an extensive look at a still life
painting process that emphasizes drawing
skills, planning, and the arranging of compositional elements. And nally, Flynt taught us to
examine how light illumining form aects our
FOR YOU, AS REPRESENTATIONAL
36
perceptions of color in its components of hue,

value and chroma.
Drawing is Key
Kicking o the workshop, Flynt said, Poor
drawing skills are a major limiting factor for
the artist. With that he launched into a painting 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 blocking-in stage of a drawing. Separating disciplines into stagessuch as drawing and paintingand even subsets within those stages
such as blocking in or underpaintingallows
you to gain competency over those individual
components, he said. Break complex processes into smaller, more manageable goals.
As he spoke, he mapped out proportional
36_tam0312Flynt.indd 36
12/9/11 10:07:05 AM
LEFT: Conches (oil,

12x20) by Douglas
Flynt
Composing a Setup
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 statuettes 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 statuettes 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 righthand 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
12/9/11 10:07:12 AM
Drawing, Grisaille
and bauche
BY DOUGLAS FLYNT
Materials
Palette: Winsor & Newton *alizarin crimson
permanent, *terra rosa, cadmium red, *burnt
sienna, *cadmium orange, *burnt umber, *yellow 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 spiritsthe proportions
dependent on the drying and handling properties
needed
Brushes: mainly soft sable rounds; occasionally
sable lberts; bristle rounds or lberts for larger
passages
Surface: Claessens double-primed Style 13
linen, either stretched or mounted on a panel
TERMS
An OPEN
GRISAILLE is a
monochromatic
underpainting that
uses the white of
the painting surface
for the lightest
values.
An BAUCHE is an
underpainting or an
oil sketch.
1. This nished 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 purposely kept the drawing devoid of any heavy shadingsaving that for the painting process. I transferred this drawing to a lightly toned linen surface, where it
served as a linear template for my painting.
relationships in his setup, using two knitting

needles to measure the relative sizes of objects.
He also drew angles to check whether the
framework (underlying structure) of his piece
was cohesive and plotted pivotal points with
graphite, which he then connected with lines
to indicate contour (silhouette). Making note
of dening characteristics, such as overlapping
forms, abrupt transitions of planes and value
changes, Flynt explained that the goal of a
blocked-in drawing is to create a trustworthy
reference or standard to use later in the process
(See Drawing, Grisaille and bauche, 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 ow
of forms. In essence, said Flynt, drawing,
whether its done with line, tone or even color,
is the correct placement of any mark or brushstroke that expresses spatial form and structure
on a at surface.
Compositional Tips
After watching Flynt construct his drawing, we began creating setups for our own
38
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 benet of all: Remember to create atmosphere
in your compositions; create beautiful disorder, a sense of the chaotic that is actually an
organized, beautiful arrangement; employ
some extreme notes of light and dark to set o
all the middle values; and place the highest
intensity of color near the focal point.
Oil Transfer
After wed decided on our setups and completed our drawings, Flynt walked us through
an oil transfer of these sketches onto our canvases. 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 paperoil side downon a toned
canvas or linen, a xing one side of the drawing with low-tack masking tape to prevent
slippage. Finally, we traced over our drawings,
using red ink so we could clearly see what passages we had completed. Mahlsticks helped us
avoid resting our hands on the paper, which
12/9/11 10:07:19 AM
2. In this detail you can see that the orientation 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 cups central structural axis,
which I drew to aid in the construction of the
elliptical opening.
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 nal values will be.
Demonstration continued on next page
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,
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 rst, second and fourth strings beneath
the grays). The specic hues, chromas and values in these three strings
are based on the predominant color scheme of his demonstration
painting (see Drawing, Grisaille and bauche, 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 supplemental 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 nished bauche or rst block-in with color. Conceptually, this

stage helps me connect color with form as I imagine the objects with small
structural planes or facets and identify the hue, value and chroma for each facet.
This passage was done with thin paint, allowing the ground to show through to
some degree. Because of the thin paint application, the valuesparticularly the
darker onesare still lighter than what they will be in the nished painting. Ive
repainted some areas (such as parts of the shell and the smaller cup on the left),
entering into the nal paint passage. Before starting this nal 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
bauche, step 3, page 39).
Neutrals and Color Strings
The next step in Flynts painting process is an
bauchein this case, a full-color block-in of
forms that acts as a rough draft of
the nished 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 bachelors degree with a major in the history and criticism of art along
with a bachelor of ne arts degree in studio art. He also earned a master of ne
arts degree from the New York Academy of Art in New York City. He made his
mark painting gures 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.douglasynt.com.
40
5. This close-up shows the contrast between

the baucheseen on the cup and backgroundand the nal paint passage on the
shell.
applying color, however, Flynt demonstrated

how to lower a colors chromatic intensity
using grays rather than complementary colors
by mixing a string of neutrals in nine dierent
values. I do this before I begin to paint, he
said. Then as Im working, I can readily go to a
neutral mixture of the same value as the color I
need. Ill slowly add that neutral to the color to
dull the chroma.
The artist begins this string with an
achromatic blackFlynt neutral, as his
students aectionately called itformulated
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 palette (see materials list in Drawing, Grisaille
and bauche, page 38), Flynt uses color strings
as an integral part of his systematic process.
Premixing and laying out a whole range of
color values in advance takes out a lot of the
guesswork as you paint, he said. He ordinarily
mixes three stringsa yellow, a blue and a
red, based on the predominant color scheme
12/9/11 10:07:34 AM
6. Because of time constraints, I was unable to nish the painting (Untitled; oil,
8x10) during the workshop. Most of the shell and the smaller cups to the right
and left of the shell have received a nal paint passage. The cup behind the shell,
along with the background and blue cloth, are still in the bauche stage.
of a setup. Hell 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, Its as
if were making roadways through color space.
(See Strings on a Palette, page 39.)
Within such precise instruction, Flynt
intermingled insightful commentary on personal preferences: I always nish a thought,
such as the placement of my brushstroke, even
if I havent applied the right chroma, he said
while concentrating on a particular challenge.
You can always go back and correct or tweak
later, but its better not to break a thought in
midstream. Sometimes, if I feel a particular
passage needs to be more dramatic, Ill 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 aected. Naturally, you
dont want to go over the top.
Divide and Conquer the Process
As the workshop came to a close, Flynt
expressed regret at not nishing his
7. This detail shows a portion of the shell and

of the cup with a nal passage of paint.
Slowing down to think things through

allows us to solve problems and
upgrade our unconscious, reactive
decisionsfor more thoughtful strategies
and deliberate tactics. Douglas Flynt
demonstration painting for the benet 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 participants 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 condent that we
could apply his instruction to our own ends.
That, in fact, was Flynts 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 Artists Magazine. See
examples of her work at www.artworks-site.com and www.
paintersportal.blogspot.com.
March 2012
41
12/9/11 10:07:41 AM
CALIFOR
42
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
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
Paciclooking at rain as it fell on the Ojai
Mountains.
ONE MORNING IN EARLY
MB You live in a small town thats so beautiful

that it stood in for Shangri-La in Frank Capras
movie Lost Horizon. How did you end up in Ojai,
California?
JB I knew I wanted to bring my child up in
NIA
a rural area, the kind of place I grew up in.

When we go hiking we always nd waterfalls and pools we can dive into. Except for
a two-year stint in Sun
LEFT: This beach is an accident, a
Valley, Idaho, Ive lived
consequence of the creation of Santa
in California my whole
Barbara Harbor. Leadbetter Beach
life. I grew up in Pacic
(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
surng. 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
Ventura and played in Guys & Dolls.
dreaming
March 2012
43
12/9/11 10:20:44 AM
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
ABOVE: The Spanish
named this beach,

located south of
Santa Barbara,
Carpinteria because
the original inhabitants, the Chumash
Indians, had a carpentry shop where
they made canoes.
In this beautifully
tonal work, Clouds
Over Carpinteria
(pastel, 19x25), Behl
uses strokes of an
ochre thats warm in
temperature to unite
the land and sky.
How did you switch from performanceacting,

piano and ice skatingto painting?
I never knew I was a visual artist until I read

Julia Camerons Artists Way: A Spiritual Path
to Higher Creativity (Tarcher, 1992). She writes
about getting in touch with the child within. I
decidedbecause Id always loved horseback
riding and had drawn horses, like all the girls
in sixth gradeto take drawing lessons. In
Ojai theres an Art in the Park show every year,
and I entered 14 charcoal and pastel drawings
of horses, and all 14 were accepted into the
show. At the opening, I met Bert Collins, who
said, Thats exactly how I starteddrawing
Tennessee walkers! She invited me to her
studio. When I looked at her paintingsthey
were all of natureI 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 jointhat was 15 years
ago. Now I teach classes in pastel.
Your pictures are beautiful and lled with light,
but theyre 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
nd the Wallis sanded paper ideal for teaching;
44
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 surface 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 shouldnt 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 rst thing I have them do is turn
the photo upside down. They cant see realitywhich 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 everythingthe entire shape and all the interior
shapesin charcoal. They ip the photo right
side up and back again once they start painting. They learn that you can make anything
you want into a negative space. They learn to
carve out a shape and then 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 happens when you put light over dark pastelthe
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 theyre just beginning?
My mentor, Bert Collins, used to say I was a

natural, but being a natural and understanding
what youre 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 theyre colorists rather
than tonalists, Ill encourage them to pursue
their own way.
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 Wildowers
(pastel, 12x16) shows a succession of planes of colorfrom 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 owers, 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 theyre the same value (not
darker or lighter), but not the same color. This
is an exercise to help them see color temperature. Some students cant tell warm from cool;
they just cant 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
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 comprise 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 rst. I use charcoal
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 passage 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 cloudsto 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 temperature of the foreground into the sky and clouds, as I did in
Clouds (pastel, 16x20).
5
46
12/9/11 10:21:06 AM
(yellow) tones move the eye forward.

I take my students outside and tell them to
nd the sun and gure out what its hitting. If
the sun is hitting a tree, for instance, the temperature 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, its 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. Im thinking especially of Degass
pastels, where you can see the pure strokes
of color on the tinted surface. In your work, in
contrast, the pigment lls up the tooth of the
paper.
To blend and smooth an area like the sky, I

use my ngers, paper towels and occasionally pieces of foam insulation. I learned the
last trick from Richard McKinley. I buy the

foam insulation pieces at Home Depot; theyre
basically the rubber stu that goes around a
pipe to keep it from freezing. Its 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 nal touches,
I use the softer pastels, such as Schmincke,
Sennelier and Terry Ludwig. I like the sharp
edge on the square Terry Ludwig pastels to
press in the illusion of twigs and grasses in the
foregroundand the large at surface of the
Ludwig pastels to get the eect of movement
when I drag the pastels surface over what will
seem to be a body of water.
Is the rst step in your own process what you
teach your studentsto sketch the composition
in charcoal?
Yes, I use a medium piece of vine charcoal. I
BELOW: Rather than

strive for drama,
Behl prefers a reective mood, reinforced
by close attention to
color temperature.
Note how warm
colors (surrounded
by cooler ones) shift
the focus to the
sliver of water in
Clouds Over the
Gap (pastel, 16x20).
March 2012
47
12/9/11 10:21:12 AM
ABOVE: Lake Casitas
was formed by the

Casitas Dam. Lake
Casitas (pastel
11x14) is a good
example of tonalism,
as there are only
two values, and the
colors are within
a restricted range.
The sky is cool, as
are the eucalyptus
trees; the foreground,
warm in temperature,
shimmers with an
incandescent light.
put in all the dark, abstract shapes, the darkest

tonal values, which for me would be the charcoal or a black Nupastel. I always work from
dark to light; the abstract shapes in the painting need to be there rst.
Then I go to my next darkest tonal value.
Its all about whats underneath the light. Take
a tree for example. The dark, shadow side of
the tree would be a cooler temperature (bluegreen or cool purple) and the other side would
have a warmer temperature of bluemaybe
even a warm brown or warm violet. If the sun
is setting, the tree would be backlit and the
warmer areas would display more color, such as
orange, pink, a warm violet, even red.
Next I put in some detail, which can be
tricky. Too much detail can make the painting 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
mountains. In California the mountains go

all the way down to the ocean. I started surfing 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 wed haul the dinged up and waterlogged
boards back uphill. We were outside, in nature,
all the time; I just cant imagine being anywhere other than California.
Im 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 balance 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 distribution and slant of the strokes, is important.
There has to be a rhythm and it has to carry
over the entire picture. I dont want a painting
of nature to look static or at. 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 reection provide a

focal point, a locus for the viewers eye. To create the illusion of a wet surface, Behl kept the colors consistent, making 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 sh,
about a half a mile away from the Pacic Ocean.
Im happy when someone wants to walk into

the painting and be there.
Since youre a musician as well as a visual artist
and youve worked as an interior decorator, Id
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 easela 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 Ive 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: Its very bright
and cheerful. I teach a workshop there every
Thursday. We always have lots of goodies
Meet Jannene Behl

Somebody told me that if you can nd something in life that you can make a living atand
love what youre doingits 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 rst place in 2008 in the landscape/Interior
category of The Artists Magazines Annual
Art Competition. Having grown up in Pacic
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

walk with my dog, Bear, the studio mascota
large white Samoyed. Sometimes I take a
break and walk across the Besant Meadow,
which is part of Ojai Valley Land Conservancy.
Bear loves that, and as I look at the beautiful
landscape around me, I feel very lucky.
web
EXTRA
For a link to more

of Behls art, go to
www.artistsnetwork.
com/tamonlinetoc.
Do you still play the piano?
I do. I love Chopin; I love the jazz pianist

Bill Evans. I love Tchaikovsky, Bach, Mozart,
DebussyI love all of them.
My life is very full. In addition to making art and teaching classes, I work two days a
week as a hair stylist. Ive been doing my customers hair for over 20 years; theyre friends
rather than clients. Going into the salon isnt
like work; its more like a social event. I catch
up with whats going on in my friends lives.
There are many paths I could have taken.
If I hadnt 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 Artists
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
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 eort to avoid the
nostalgia and romanticism that adhere to
national themes. Take the totem pole: a potent
symbol of its creators, the First Nations people
who are indigenous to Canada. Painting totem
poles in Israel is Daniels way of holding on to
her culture while living in a foreign environment. Kings of the Frontier (on this page) adapts
the idea of the totem animal. In this case, a
TRAVELING IN INDIA,
50
wolf, identied with Canada, becomes an icon

of martyrdom in a fantastical landscape that
suggests the desert of Israel. In Storm Clouds
Gather (page 52), Daniel creates a Northwest
downpour cascading over the features of a
totem head that is superimposed on a green
camouaged background. In Israel, camouage is both worn on the body and draped over
the landscape for concealment. But the green
marks could just as well be moss.
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 thats
taking place in both her conscious and unconscious minds. In Satellite Totem (page 52), six
canvases have been joined to create an iconic
gure with one, dishlike eye. The body of the
gure is covered with a pattern of desert foliage, and antlers stretch out like arms in the
center crosspieces. Th is two-dimensional icon
is keeping vigil over something by its mere
ABOVE: In Kings of the Frontier (oil, 63x87), Daniel
inserts the totemic wolf, identied 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 underlayers 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
an object that serves

as an emblem for a
tribe or a clan. Of
this piece Daniel
says, I was thinking
about how totems
are traditionally
made from one tree
and how threedimensional art
occupies space and
commands presence.
Painting, however, is
about surface, and
painters have to
respect those limitations. Satellite
Totem (oil, 78x46)
consists of modules
originally hot-glued
to the studio wall
and now secured
with tiny brackets.
52
presence and by modern technology, the satellite dish, a familiar feature in the landscape of
Israel. Hot orange and pink motifs pulsate on
the surface as if to power the transmissions.
From Literature to Art
Daniel studied literature and philosophy in
Canadian universities before her life in Israel
began. It was in Jerusalem that she became
a serious painter, although the tradition was
already in her family background. If DNA
determines what aptitudes a person enters the
world with, she says, then the decision was
made for me on a meaty level. Painters have
been in my family for generations. In 1994
Daniel applied to the Bezalel Academy of Arts
and Design in Jerusalem and got in.
While in Jerusalems desert, she remembered Canadas wetlands, forests and snow.
Landscape painting has always been signicant
in Canadian art through the eorts of the early
20th-century Group of Seven artists and their
followers. Daniel, on the other hand, sees no
need to paint more trees. Her landscapes are
not celebrations of natural beauty; they have

complicated personal messages and some of
these are political, although she prefers to leave
such readings to the viewer. Surveying her
career, the artist says, Im primarily a gurative painter of landscapes imbued with loose
narratives. Fifteen years ago I was interested
in serial, nongurative geometric paintings
that were very at, and unlike the lush impasto
which was to come later. I loved Agnes Martin
and Robert Ryman. In a sense, Ive come full
circle by incorporating abstraction without
forfeiting the dominant gurative aspect. Im
presently striving for less storytelling, hoping
the paintings will verge on disintegration.
Disintegration as a motif is evident in the
startling Before Anything (at right), where it
appears Daniel set out to paint the explosive
power of a natural force. There is no center of
interest or focus. Rough-hewn logs y across
a blue surface that could be water or sky;
streaks of pink are like ames, and snowballs
have been thrown in from another angle. Its
strangely beautiful and disturbing as well. Of
12/9/11 10:33:05 AM
LEFT: I didnt have a specic 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 painting. The proof is in the material itself, she
says, the goo that is paintingdid 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 consciousness, it actually contains aspects of that progress. 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
its painted is no less signicant: 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
philosophers quest for
meaning with a painters
pleasure. She uses a number 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 dierent eects. Indeed, she
dilutes the oil paint with turpentine and either
Galkyd or linseed oil. I use less medium now
as Im working in a cold environment (a garage
in British Columbia) and the curing process
is much slower. In my Jaa-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 whats happening on the surfacefrom a good distance
and up close, she says. The painting needs
to be interesting to me when I zoom in and
out. I dont 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
holdover from her study of literature, is that
she initially makes lists rather than drawings.
Sometimes I write the words directly on the
canvas, she says, but not on the image itself.
Theres always a cruxa theme at the core. I
can pour over Internet images or old family
web
EXTRA
For a link to more

of Daniels art,
go to www.artists
network.com/
tamonlinetoc.
RIGHT: Before Anything (oil,

75x110) could be called a color
eld, an abstraction that serves
as a ground for planks of wood
(and/or drawing elements) and
other moving elements that suggest a world in ux or a world
about to come into focus. The
white splotches that seem to
punctuate the movement imply
an explosive force.
March 2012
53
12/13/11 9:55:22 AM
Materials
Surface: heavy
cotton canvas
primed with rabbitskin size, an oilbased primer
Paints: oil and,
occasionally, dry
pigments mixed
with oil color
Mediums: linseed oil, stand oil,
Gamblin Galkyd
and damar
Brushes: miniscule
to huge, round and
at, square and
pointed
photos, looking for something specic to catalyze an idea Im entertaining. Its always a hunt
for that sparkthe ember that has to keep me
hot so I can keep plugging away. Once started,
the picture becomes a spontaneous invention,
which is a nice word for problem-solving.
To keep that ember glowing and to spot
the problems that need xing, she looks
through a small mirror while her back is to
the painting. What this exercise yields, she
says, are patches of cruel clarity. She explains:
Once, in a ash of frustrationI didnt trust
my eyes anymoreI was looking out the window and saw a section of my painting in its
reection. I realized immediately how I could
proceed and solve the work.
Sabotaging the Work
Any painter who relies less on actual subject
matter than on her psychic geography comes
face to face with the problem of content: At
rst 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. Im 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 reection of my desire.
The work then, through the process of its evolution, will reveal its authenticity and meaning.
To make sure that this act of creation
doesnt 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 o its visual/compositional balance. Then there can be surprises
when trying to rectify the new situation. Its
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, its 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 benet 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 exhibition 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 paintings in Israel and in
New York City, at Asya
Geisberg Gallery in
Chelsea, where shell
have a solo show in the
fall of 2012.
RIGHT: In Fool (oil on canvas, 51x39), Daniel incorporates the
gure 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. Its
like a ricochet of ideas and experiences.
54
12/9/11 10:33:18 AM
comfortable, then I know somethings wrong.

Antlers in Berry Season (below) vividly calls
to mind the paintings of Wassily Kandinsky
(18661944), whose many paintings with
the title Composition were attempts to attain
what he called the spiritual in art, a phrase
identitied with an artists going far beyond the
representational elements of a landscape to
express the energies that created their forms.
His works were speculative, experimental
and intuitivealso, not always easy on the
eye. Similarly, Daniel can pull o a seasonal
painting with strange antlers that look somewhat fabricated or branchlike and are wellhidden among an explosion of summertime
BELOW: Daniels process for Antlers in Berry Season

(oil, 35x43) was trial and error. I started with a stick drawing 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 uorescent drips.
color. Its a joyful expression with berry colored

swishes, orange and uorescent yellow drips
and patches. Nonetheless, two large dark
blue shapes sprinkled with glitter push to the
foregrounddriven by the powers unleashed
in the brushwork. Given all the steps, missteps
and detours, the point at which things come
together is Daniels 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 unanticipated and strange, and it works. Sometimes
there are rare moments when a painting is just
like a gift. Melanie Daniel is denitely one to
watch, a contemporary painter reinventing 20thcentury expressionism through a study of its
foundationswithout disregarding the events
of her lifetime and the challenges it contains.
RUTH K. MEYER is an art historian, art consultant and
former museum director.
web
EXTRA
To nd out more
about Daniels
process in creating Antlers in Berry
Season, visit www.
artistsnetwork.com/
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-red stoneware to retail
stores. She had a studio at home; as her children
got older, they became their mothers apprentices.
When the last one left for college, I realized, Tracy
says, what hard work making pots waslugging
all that clay around! In my next life, I said Im going
to be a jeweler who has everything she needs in a
tiny box. Once she and her husband retired, moving part time to Boca Raton, Tracy took classes in
painting at Boca Raton Museum of Arts 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
dene the basic composition, and then I struggled,
says Tracy. The struggle never really goes away,
although the agony wasnt as severe for Floating
By. It may have been the colors I chose or the view
from my studio windowI 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 partthe
bigger part!is set up for my work, she says. Its
a nice way to go through our years together; its a
great way to continue this journey. M.B.
56
56_tam0312Over60.indd 56
12/9/11 10:48:18 AM
The winners of our Over 60 Art Competition

are joyfully obsessed now that theyre
free to devote themselves to making art.
BY MAUREEN BLOOMFIELD, CHRIS MCHUGH AND HOLLY DAVIS
BELOW: Floating By (acrylic, 30x40)
March 2012
57
12/9/11 10:48:24 AM
BELOW: Temple Bar (oil, 18x36)
Rod Williams
74 Cameron Park, California rodwilliams.neartstudioonline.com
Rod Williams graduated from Washington
Universitys 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 geometrical 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
didnt go in; I was pubbed out by that point, says
Williams. But he snapped a photograph that
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 watercolors. Its 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. Its 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 Im in love with Klimt; the next day Im in
love with Schiele or Sorolla or Sargent. We artists
take something from everything we see and everyone we meet, says Rosa Vera, whose rst career
was in international nance, 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 ll my heart.
Veras intention as an artist is to abstract the
gure; 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
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
nish it. The picture had started with a photo of a
ower 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 rst husband died suddenly of a heart attack,
its an emotionally resonant piece. I guess, when
youre 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,
29x29)
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
Richard Broderick, if youre willing to use your
talents to do what other people want. You have to
be attuned to that. Broderick started out as an
apprentice hand-painting billboards in Los Angeles.
Hes worked on storyboards for TV animation and
was most recently a concept designer for Walt
Disney Imagineering, the creative force behind
the Disney theme parks and
entertainment venues.
The gentleman featured
in Broderocks 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 t the
pose was a bit of a challenge,
Broderick admits. Painting
directly with fresh paint, he
applied the rst layer, trying to
get all values and colors as accurate as possible.

Then, after turning the painting to the wall for close
to a week, he proceeded to paint over it, rening it,
and especially painting dark over dark to cover the
canvas completely.
Now that hes retired, hes thrilled to be able to
work on the projects he chooses: When you get the
good ones, he says, they make you y! C.M.
RIGHT: Eric Polk (oil, 48x36)
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 ower. 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
owers to the background, she began the
daunting and time-consuming task of cutting
out photos of the owers in the appropriate
sizes, positions and lighting. Then she began to
arrange the luminous bouquet, exactly like a
jigsaw puzzle, adhering each ower with semigloss 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
since she was 15, when an art teacher at her
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 shed 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 studio. The expression of feminine imagery, such
as owers and household objects, she says,
has enriched my art and been a source of great
personal satisfaction. C.M.
ABOVE: Fried Egg Poppy (collage
and acrylic, 24x18)
March 2012
61
12/9/11 10:48:56 AM
BELOW: Late Summer on Chodikee Lake (oil, 30x45)
Kathi Coyle
63 Kingston, New York www.kathicoyle.com
Upon entering college, Kathi Coyle was told, If
youre interested in being an artist, youll 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 Students League, the School of Visual Arts
and the National Academy School. Over the years
shes 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 undersides of the lily pads that her canoe had overturned.
She returned to the site several times to sketch different 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
specic 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 specic 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 rst art
teacher, her father. There on the top oor 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
house, says Sandra Burshell, speaking of the setting
for her winning piece, Streaming Light, Fair Trade
Caf, the scene screamed, Notice and paint me!
What had struck Burshell was the sharp light in the
dark environment, which became the basis of her
geometric design. A purple underpainting complementing the predominant yellow of the light helped
her achieve the paintings dramatic contrasts.
Burshell earned a bachelors degree in art from
Temple University in Philadelphia, Pennsylvania,
and then a masters degree from
Tyler School of Art (part of Temple
University). A highly awarded and
involved pastelist, she teaches
workshops, exhibits her work regularly and was vice president of the
International Association of Pastel
Societies from 1994 to 2006. Carol
Robinson Gallery in New Orleans
represents Burshells work.
Given these accomplishments,
one wouldnt suspect that Burshell
is legally blind in one eye. And yet,
even with greatly reduced depth
perception, shes drawn to painting interiors. At rst 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 gures and then
began including related objects
and, nally, an entire room. The
gure grew smaller while the room
got bigger, says Burshell, until,
ultimately, the roomthe environmentbecame

the portrait of the individual. She calls these works
Roomscapes.
Burshells style has also evolved through the
years from literal, detailed renderings to more
abstract interpretations with mystical overtones.
When Burshell came upon the scene in Streaming
Light, Fair Trade Caf, someone had just left the
table. Burshell points out that the horizontals, verticals and diagonals set up relationships, as if the
tables themselves were conversing. H.D.
RIGHT: Streaming Light, Fair Trade
Caf (pastel, 19x18)
March 2012
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 doesnt conform
Seeing a Fra Angelico exhibition at the Metthe
to the ideal of classical beauty, says Gail Postal
gold, the lapis lazuli, the detailed drawingwas
of her model Betty. She walks around without
a transcendent experience. Encountering the
clothes; shes condent 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 iconsvertical, 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 shed
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 gure in graphite, sprays the
took my kids to every museum in the city, she
drawing with xative and then starts the slow
says. During the summer she traveled, and at night
process of creating the gold surface: ve 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 thats become my studio.
changed, Postal says.
The rst 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 didnt want to lose the drawing.
and thats the last thing I do at night. M.B.
64
12/9/11 10:49:17 AM
Mike Hill
69 Gresham, Oregon www.mikehillwatercolors.com
Mike Hill came upon the Duesenberg he featured
in Aint 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 commissions. The Duesenberg Model J was denitely
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 Macys store window are the
types of illustrations she did. It was a challenge to
integrate the fully painted car with the backdrop of
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 commercial artist but shortly thereafter went into dentistry
as a more secure livelihood. Hes 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
arent always monetarythere are the acknowledgments from friends who recognize the value of
what youve created. C.M.
RIGHT: Aint She a
Duesy (watercolor and

gouache, 30x20)
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.
John P. Smolko has turned scribbling into an art
form. I started as a realistalmost a photorealist,
says Smolko, layering and blending oils to make
skin smooth. I actually love all kinds of realism, but
I decided I needed to go in a new direction, away
from polished renderings. He began experimenting
with cross-hatching in colored pencil. Tom Lehnert,
a member of Smolkos critique group and also a
professor from Smolkos ne arts graduate-student

days at Kent State University, encouraged Smolko
to try scribbling.
Eddie, No. 1 (Marine), a portrait of Smolkos
nephew just before deployment to Afghanistan,
began with a detailed line drawing in white pencil.
Next came a color block-in of controlled scribbles
small back-and-forth strokes made without raising
the pencil from the surface. I put a little bit of
every color everywhere,
says Smolko. Since the
shirt was yellow, I put yellow 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 spontaneous scribbles as Smolko
worked around the composition, 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
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.
as a painter
and teacher, Ive learned that many
painters, students and professionals alike, dont 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 its
not made to coexist with archival
artists materials. House paint will
quickly degrade those expensive,
hand-mulled paints you just bought.
IN MY EXPERIENCE
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 rst be
sealed. The oil in paint will, over
time, rot any canvas it comes in contact with. Wood contains organic
compounds that can migrate into the
paint lm, discoloring it. To seal the
support and to protect both it and
the paint 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 thats applied warm with
a brush. The glue has some vulnerabilities, though. It expands and
contracts with humidity, which can
cause cracking in the overlying paint
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 demonstration of applying PVA as a sealant). Acrylic is stable, whether in
Gamblin oil ground
Ground
Absorbency Test
To show the relative absorbency of different grounds, I applied unthinned Gamblin
burnt sienna on a variety of prepared
surfaces. With a No. 8 bristle brush, I rst
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.
the dry desert or at the foggy coast,

and I havent 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 painters like to apply a groundalso
called a primerover the sizing. A
ground provides tooth (which helps
pull paint o the brush), absorbency
(which helps the paint layer adhere)
and a reective, white surface
(which, when used with transparent paints, can give the nal work a
more luminous appearance).
There are three types of grounds:
gesso, oil ground and acrylic dispersion ground. GessoItalian for
chalkis just that. Its not to be
confused with acrylic gesso, which
is more accurately called acrylic
Winsor & Newton

oil primer
Golden acrylic gesso
Golden matte medium
Traditional gesso
Ampersand Claybord
Winsor & Newton

clear gesso
Ampersand Gessobord
March 2012
67_tam0312BrushingUp.indd 67
67
12/12/11 1:35:55 PM
brushing up
Sizing Hardboard
1. I usually use untempered hardboard

as my substrate, no matter what the
ground. To prepare it, I rst 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,
Im ready to apply my ground of choice.
dispersion ground. Real gesso is

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 inexible and fragile 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
nal 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 absorbency 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 nal
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12/13/11 1:14:13 PM
brushing up
painting. Oil ground can be applied

to a rigid or exible 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
thats ready-to-use, or you can make
your own and have more control over
the end product. These days, however, nding 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 gessoor acrylic dispersion groundcouldnt 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 separate sealing layer (check the manufacturers directions). Some acrylic
dispersion grounds oer a exible,
reective lm thats 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 signicantly, depending on the
surfaces texture and absorbency.
As I mentioned earlier, traditional
gesso tends to be very absorbent,
and without sucient 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
reective nature of an oil ground can
create a strikingly luminous painting when transparent pigments are
used. Acrylic dispersion grounds
include clear acrylic mediums, such
as Golden matte medium, which
Denitions
Acrylic dispersion ground or primer: acrylic gesso; can be used on rigid or
exible supports, although its not recommended for very large stretched canvases because oil paint, which dries to an inexible lm, may ultimately crack
on this ever-exible ground.
Acrylic dispersion medium: when used as a size, creates a harder, less permeable lm 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 inexible 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 safower) 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 exible 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 bers glued
together with the woods natural lignin and then treated with oil to make the
board more durable; in the past, considered inferior to untempered hardboard because the oil content would cause adhesion problems with size and
ground; todays 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 Painters Handbook: Revised and Expanded (Watson-Guptill, 2006) by
Mark David Gottsegen
The Artists 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

apply a thin coat of acrylic dispersion
ground (in this case, Golden gesso) with
a brush. I dont dilute the acrylic gesso
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.
2. After the rst coat dries, I turn the

panel over and make an X with the
acrylic gesso. This keeps the board from
warping as it dries.
4. Finally, I apply a second coat of acrylic

gesso. Again, I use a somewhat random
pattern. After the ground dries, I give the
panel another light sanding. Each coat
may take a day to dry properly, so making a panel will take two or three days. I
prepare a couple of dozen at a time.
70
3. After the X dries, I ip the panel back

over and lightly sand the rst coat.
To apply Golden matte medium (A) and Winsor & Newton clear gesso (B), follow the
same process as you do to apply Golden gesso. The matte medium is thick, so you can
have fun with the texture. When the clear gesso dries, the substrate shows through,
acting like a toned surface to help create color harmony.
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 nished
painting (See Ground Absorbency
Test, page 67).
I prefer to paint on panels with
a somewhat absorbent ground that
has a bit of texture. I dont 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 nish 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
68), Applying Acrylic Dispersion
Ground (at left) and Applying Oil
Ground (at right).
The choice of grounds is really
up to you. You can, of course, buy
canvases and panels ready-to-go,
and many of them are excellent. But
preparing your own painting surface
isnt dicult. If you like a customized surface, thats the way to go.
Just know the limitations and technical requirements of each ground.
Experimenting is one of the best
ways to learn.
MICHAEL CHESLEY JOHNSON, longtime
contributor to The Artists Magazine and the
author of Backpacker Painting: Outdoors
with Oil & Pastel, teaches plein air workshops throughout North America. View
free previews of his video workshops at
artistsnetwork.tv. Visit his website at www.
michaelchesleyjohnson.com.
web
EXTRA
For a demonstration showing

how a clear ground can help
create color harmony, go to
www.artistsnetwork.com/
tamonlinetoc.
Applying Oil Ground
1. Using a palette knife, I take a tablespoon or so of Gamblin oil painting

ground, put it on a disposable paper
palette and thin it with a few drops of
Gamblin Gamsol.
2. Next, I use the knife to spread the

ground on a PVA-sized hardboard
panel.
3. I use a housepainting brush to nish

the job. Brushstrokes disappear in the
ground, leaving a smooth surface that
I dont have to sand. After the ground
dries for a day, I apply a second coat.
The nal surface should dry for about a
week before its used for painting.
Winsor & Newton oil painting primer

(C) has a thinner consistency than
Gamblin oil painting ground, so I can
apply two thin coats of the primer with
a housepainting brush, letting it dry for
a day between coats. I give the primer
a light sanding between coats.
March 2012
71
12/12/11 1:36:42 PM
master class
BY JERRY N. WEISS
The Artists Left Hand

On his deathbed, Thodore Gricault was driven to record what lay before him.
Muse du Louvre, Runion des Muses Nationaux/Art Resource, NY; Photography by Michle Bellot
LEFT: The Artists Left Hand

(1824, watercolor, with black and
red chalk, 9x1135) by Thodore
Gricault (17911824)
for Hollywood to
make a movie about Thodore
Gricault, the progenitor of French
Romanticism. A man subject to deep
bouts of depression, Gricault was
by turns manically creative and recklessly self-destructive. In his mid-20s,
he ended a romance with his married
aunt, who bore him an illegitimate
child, and ed to Italy. Inamed
by the work of Michelangelo, he
IM WAITING
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
The Raft, Gricault 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 eccentricity, had he not been
able to draw and paint so
well.
Gricaults short
life (17911824) is often
described as the manifestation of genius left
unful lled, save for the
fortuitous appearance of Eugne
returned home and made studies for
Delacroix, who brought his mentors
The Raft of the Medusa, an immense
promise to fruition. Gricault did
canvas that depicted human suernot live long enough to extend
ing in the aftermath of a shipwreck;
the shipwreck was a national scandal, his emotional reach, nor did he
embrace color for its potential, as
and The Raft was a masterpiece. It
did Delacroix. Yet Gricault could
revealed his air for high drama,
fashion melodrama into great art. A
as well as the attribute of social
series of portraits of the insane, as
consciousnessin one fell swoop,
moving in their restraint as was The
he transformed the convention of
Raft for its ambition, shows that he
history painting into a vehicle for
could turn the volume down and
conscientious outrage (painted sevwork just as eectively in a low key.
eral years earlier, Goyas The Third of
One of Gricaults last works
May ought to have the honor but was
perhaps his very lastwas a
probably not exhibited publicly until
the mid-1800s). In every sense of the watercolor drawing of his left
hand. In his memoirs the novelist
word, The Raft was one of the most
Alexandre Dumas recounted a visit
sensational paintings of the 19th
to Gericaults studio the week before
century (see page 13).
the artists death. Dumas found
The artists immersion in his
him bedridden, at work on this
work was total. In preparation for
72_tam0312MasterClass.indd 72
12/12/11 1:42:08 PM
master class
SEE MORE ART

Go to www.artistsnetwork.com/
tamonlinetoc for links to reproductions
of Gricaults Raft of the Medusa and
Goyas Third of May.
study. Dumas wrote: And indeed,

so thin was Gricault that one could
see the bones and muscles of his
hand through the skin ... Perhaps.
Whats striking in The Artists Left
Hand is not his emaciation, but an
implicit sense of power, the grandness that was integral to Gricaults
vision of the human gure, even
in death. This is a self-portrait by
indirect means. Simply composed,
the artists hand dominates the page.
Its diagonal placement and strong
light-and-shadow patterning provide a dramatic image. The forms
are powerfully modeled and sensitively observedthe outer ngers
are relaxed, while the middle digits
press down slightly, as indicated by
the direction of the intermediate
phalanges. Even while engaged in
a subject that we may consider prosaic, Gricault remained fully aware
of design, anatomy, lighting and
movement.
In its modest way, this drawing touches on the main interests of
Gricaults creative career. As a fragment its a reminder of his disembodied studies for The Raft of the Medusa,
and it alludes to his fascination with
the substantiality of the human
gure. It is at once realistic and
monumental. At the end, Gricault
called upon his academic training
and powers of observation in an
extraordinary circumstance. He was
able to observe his own tragedy dispassionately, and left this study for
us to interpret as a nal dramatic act,
a coda to a meteoric life.
Jane Jones
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March 2012
72_tam0312MasterClass.indd 73
73
12/13/11 3:34:08 PM
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artists marketplace
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Available for a workshop at your location
Learn at home Books and DVDs
(678) 513-6676 I www.tonycouch.com
Mary Ann Beckwith, Harold Gregor,

William (Skip) Lawrence, Warren Taylor
Session Three: March 18 - March 24

Mary Todd Beam, Jean Grastorf,
E.B. Lewis, Janet Walsh
843-315-7150 www.springmaidwatermedia.com
Italy
2012
Art Workshops
L A R OM I TA
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,
en plein air, any level of experience, any media.
Renowned instructors.
Full immersion Italian cultural experience.
Visit our website at: www.laromita.org
Contact us via email or telephone at:
schoolinfo@laromita.org 1-855-4ROMITA
78
Paul Jackson, AWS, NWS
Watercolor Workshops www.pauljackson.com

For details or to register: marlamjackson1@aol.com
Classes in Painting, Drawing,

Mixed-Media and much more!
Call 1-800-FOLK-SCH
or visit www.folkschool.org
for a free catalog!
12/14/11 3:01:14 PM
VAN HASSELT, AWS
Birgit OConnor
WATERCOLOR WORKSHOPS
Watercolor DVDs
Brushes Workshops
Mar: Floridas Amelia Island

May: Spring in N Hampshire
Jun-Jul: Paint Coastal Maine
Sep: Fall Prelude in Vermont
For Free Brochure

Call 800-749-4784
800-248-6449
P.O. Box 828 Bolinas CA 94924
tonyvanhasselt.com
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 OConnor
3/26-3/30/12, NAWS Sedona.
Big Bold & Beautiful Flowers, Birgit OConnor,
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
neart@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.
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 summers 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 summers 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 summers 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 summers
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 (TuesdayThursday). 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 OConnor
3/1-3/4/12, Napa Valley / Calistoga.
Big Bold & Beautiful Flowers, Birgit OConnor,
Watercolor, Floral, Painting Flowers. All levels.
Maximum class size of 16.
Contact: Birgit OConnor, P.O. Box 828, Bolinas,
CA 94924, 415/868-0105
birgitoconnor@sbcglobal.net
4/16-4/20/12, Mendocino. Spring Flowers, Birgit
OConnor, 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.mendocinoartcenter.org
March 2012
79
12/14/11 3:01:24 PM
artists marketplace
Camille Przewodek
Jan Sitts
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.
7/16-7/19/12, Mendocino.
Mendocino Arts Center.
Contact: 800/227-2788
7/23-7/25/12, Gualala. Gualala Arts
Contact: 707/884-1138
www.jansitts.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
$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
6/18-6/21/12, Napa Valley. Plein Air Landscape
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
LAtelier aux Couleurs in Northern California.
Tuition: $420
Contact: 707/773-1324, www.acartacedemy.com
COLORADO
Marla Baggetta, PSA
Ready to break out of the conventional and work
on nding 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
10/11-10/14/12, Telluride.
Pastel en Plein and Studio.
Contact: Wendy DeHart, 503/550-2499 or
wjdehart@comcast.net
FLORIDA
Marla Baggetta, PSA
2/28-3/1/12, Central Florida.
Pastel Society of Central Florida.
Contact: Sherese, ShereseG@aol.com
Robert Burridge
2/13-2/17/12, Bonita Springs. Larger and Looser:
The New Masters Program for the Postmodern
Painter, 5-day Workshop (Monday-Friday). Demo,
Sunday, February 12, 3:00 - 5:00 pm. Center for
the Arts. Art League of Bonita Springs
Contact: 239/495-8989
albs@artinusa.com or www.artcenterbonita.org
Lois
Griff
el
PAINTING THE
SPRING 2012
WATERMEDIA WORKSHOPS
2/23-2/26/12, Key West. The Burridge Plein Aire

Experience! 4-day Workshop (Thursday-Sunday)
The Studios of Key West.
Contact: Martha Barnes, Director of Programs &
Exhibitions, 305/296-0458
martha@tskw.org or www.tskw.org
Tony Couch
2/6-2/9/12, Marathon.
Contact: 678/513-6676
www.tonycouch.com
Lois Griffel
March 2012, Gulf Coast.
Contact: Jaime Golub, 239/939-2787
gulfcoastatelier@gmail.com
www.gulfcoastatelier.org
11/1-11/4/12, Sarasota.
Contact: Mimmi Fitzgerald Mianno
The Southern Atelier, 7226 21 St East,
Sarasota, Florida 34243, 941/753-7755
mimmi@thesouthernatelier.org
Paul Jackson
3/11-3/15/12, Miami. Miami Watercolor Society
Contact: Diane Lary, 305/607-5447
outpostart@aol.com
Caroline Jasper
2/18/12, Sarasota. Dramatic Depth in Painting
Contact: 941/955-8866
cssp@ringling.edu or www.ringling.edu
3/17/12, Sarasota.
Painting Water with Oils or Acrylics
Contact: 941-955-8866
cssp@ringling.edu or www.ringling.edu
Kristy Kutch
2/3-2/5/12, Bradenton. Vibrant Painting with
Colored Pencil, sponsored by Art Center
Manatee.
Contact: Mary Roff, 941/746-2862
mary@artcentermanatee.org
Susan Ogilvie
4/16-4/20/12, Amelia Island. (Plein Air)
Contact: 904/415-3900
www.ameliaislandartistsworkshop.com
SUSANOGILVIEPSA
IMPRESSIONIST
LANDSCAPE
Hendersonville, North Carolina
April 15-20, 2012

BRUCE BOBICK
CARRIE BURNS BROWN
KEN GOLDMAN
CHARLES HARRINGTON
ROBBIE LAIRD
MARK MEHAFFEY
JUDY MORRIS
TED NUTTALL
NANCY REYNER
MYRNA WACKNOV
ERIC WIEGARDT
DONNA ZAGOTTA
www.KanugaWatermediaWorkshops.com
Registration opens August 1, 2011
Robbie Laird, Director
530/259-2100 (Pacic Time)
80
Workshops
Tubac, AZ Tampa, FL
Wilmington, NC Amalfi, Italy
Falmouth, MA
Provincetown, MA Acadia, ME
Bucks County, PA Sarasota, FL
For more info on my NEW book
Painting Impressionist Color

DVDs & 2012 Workshop Schedule:
email: lois@loisgriffel.com
www.LoisGriffel.com
520-207-4055
Valley Afternoon. 12 x 9. Workshop Demo.
Pastel Workshops
with an emphasis on Composition and Color
2012: AZ FL VT WA
susanogilvie.com
12/14/11 3:01:31 PM
Tony van Hasselt

3/19-3/21/12 or 3/19-3/23/12, Fernandina
Beach. Victorian Island Charm 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
GEORGIA
Tony Couch
5/7-5/11/12, St. Simons.
Contact: 678/513-6676
www.tonycouch.com
HAWAII
Randall Sexton
2/10-2/12/12, Lanai. Old School Hawaii, Escape
the winter cold to paint on Lanai and experience
the relaxed Hawaii of yesteryear! Tuition: $375
Contact: Mike Carroll Gallery, 808/565-7122
www.mikecarrollgallery.com
IDAHO
Tony Couch
3/26-3/30/12, Salmon.
Contact: 678/513-6676
www.tonycouch.com
ILLINOIS
Northbrook Arts Commission
Spring 2012 Village Green Center Art Workshops
3/17-3/18/12, Northbrook. Anne Abgott,
Watercolor Painting, www.anneabgott.com
award winning author of Daring Color, published
by North Light Books.
4/28-4/29/12, Northbrook. Tom Nachreiner,
Landscape and Still Life Oil Painting,
www.tomnachreiner.com, impressionistic, bold,
colorful painting technique.
5/19-5/20/12, Northbrook. David Jamieson,

Contemporary Realism Drawing and Painting,
www.davidjamieson.net, classic representative
drawing and painting of realistic objects.
Contact: 847/921-5239, www.northbrookarts.org
KANSAS
Paul Jackson
4/3-4/5/12, Manhattan.
Painting Glass and Shiny Stuff.
Contact: Emmalee Tredway,
emmatredway@netscape.net
MAINE
Acadia Workshop Center
6/4-6/8/12, Michael Story, Oil
6/11-6/15/12, Jeanean Martin, Oil
6/18-6/22/12, Mary Alice Braukman
Mixed Watermedia Collage
6/25-6/29/12, Kristy Kutch, Colored Pencil
7/2-7/6/12, Christine LaFuente, Oil
7//9-7/12/12, Pat Weaver, Watercolor 4 day workshop
7/16-7/20/12, Marie Garafano, All Media
7/23-7/27/12, Kris Parins, Watercolor
7/30-8/2/12, Nicholas Simmons, Watercolor 4 day workshop
Contact: Gail, 207/460-4119
awcmaine@gmail.com
www.acadiaworkshopcenter.com
Coastal Maine
June 2012 TBA, Jonathon Frost, Ten Day Plein Air
Painting Trip to France! Begin and end in Paris;
spend the rest in the beautiful and historic Loire
Valley. Contact us for details!
7/16-7/20/12, Tony van Hasselt AWS, Watercolor
Workshop. Plein Air. Beg-Adv. 3 day M-W and 5
day M-F Options $375 & $550. Balance due June 4.
7/23-7/27/12, Alvaro Castagnet AWS, Watercolor
With Passion! Plein Air. Int-Adv. $600. Balance due
June 11.
8/3-8/9/12, Susan Beebe, The Magic of Maine
Woods and Water; A Peaceful Maine Island
Getaway at nearby Whitehead Island Light

Stationcomplete 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
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
Learn Plein Air & Studio Painting

with B a r r y J o h n R a y b o u ld M.A .
Structured Four Year

Self-Study Program
"I am very impressed with quality of information, the way it is
presented, and the interactive facility. It motivates me to keep up
the studies. I joined Virtual Art Academy to better myself as an artist.
This is a flexible, easy to participate course with many options to
suite everyone that has the same artistic goal. This is by far the best
online course available"
Rated five stars on independent review site:
www.xomreviews.com/virtualartacademy.com
visit www.VirtualArtAcademy.com
Tuscany Workshops 2012

May 21 - 25, Sept 10-14
visit www.bjrgallery.com
for more info and to book
March 2012
81
12/14/11 3:01:39 PM
artists marketplace
Kristy Kutch
Lois Griffel
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
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-OMalley, Program
Administrator, 508/487-1750 ext 20
gryderomalley@Paam.org or www.paam.org
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
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
5-day session. Instructor: Tony van Hasselt,
A.W.S. Watercolor en Plein Air. Intermediate and
advanced.
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
advanced.
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,
Kathi Ferguson, Easton Studio & School
410/770-4421 or eastonstudio@verizon.net
MASSACHUSETTS
Marla Baggetta, PSA
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 Childrens
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
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
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,
Contact: 707/762-4125
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-Lesters
Wilderness Workshop.
4/3-4/24/12, Triple D Road-Trip. Join the Triple
Ds 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-Lesters
Wilderness Workshop.
9/28-10/1/12, Julie T Chapmans 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
advanced.
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 Americas
most unique cities. We offer classes for every
medium, painting style, and level of experience.
One of our workshops will be a perfect t 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@qwestofce.net
www.ValdesArtWorkshops.com
12/14/11 3:01:46 PM
NEW YORK
Hudson River Valley Art Workshops
4/15-4/21/12, John MacDonald
5/6-5/12/12, Karen Rosasco
5/17-5/20/12, Jean Uhl Spicer
5/20-5/26/12, Robert Burridge
5/31-6/3/12, Elizabeth Apgar-Smith
6/3-6/9/12, Ted Nuttall
6/10-6/16/12, Carol Marine
6/17-6/23/12, Richard McKinley
7/15-7/21/12, David Dunlop
7/22-7/28/12, Frank Webb
8/5-8/11/12, Mel Stabin
8/12-8/18/12, Peter Fiore
8/18-8/21/12, Margaret Evans
8/23-8/26/12, Elin Pendleton
8/26-9/1/12, Judi Betts
9/9-9/15/12, Lorenzo Chavez
9/16-9/22/12, Donna Zagotta
9/23-9/29/12, Pat Dews
9/30-10/6/12, Skip Lawrence
10/7-10/13/12, Kenn Backhaus
Contact: 888/665-0044
info@artworkshops.com
www.artworkshops.com
Pastel Society of America

3/4/12, Elissa Prystauk, PSA
Bring Life to Your Landscape.
3/10-3/11/12, Margaret Evans, PSA
Studio Pastels with a Plein Air Mood.
3/18/12, Alain Picard, PSA
The Painterly Pastel.
3/23-3/25/12, Maggie Price, PSA
Paint the Landscape in Pastel.
4/1/12, Christina Debarry, PSA
Awaken the Artist in You!
4/15/12, Eileen Serwer, PSA
Landscape Interpretations.
4/22/12, Robert Carsten, PSA
Luminous Sunsets and Sunrises.
4/29/12, Diana DeSantis, PSA
Landscape Painting in Pastel.
5/6/12, Ellen Eagle, PSA
Portrait Painting.
5/20/12, Sangita Phadke, PSA
Painting with a Limited Palette.
9/19-9/21/12, Richard McKinley, PSA
Exploring Landscape Possibilities with
Underpainting Techniques.
10/6-10/7/12, Fred Somers, PSA
Playing with the Dust of Buttery Wings.
10/14/12, Bill Creevy, Pastel Alla Prima.
10/21/12, Rae Smith, PSA
Before the Storm - Painting Atmosphere.
10/28/12, Christine Ivers, PSA
Exploring Light on Black!
11/4/12, Janet A. Cook, PSA
New York City Nocturnes.
Contact: 212/533-6931
www.pastelsocietyofamerica.org
3/4-3/9/12, Pam Beagle-Daresta, Introduction to

Watercolor Landscapes. Beginner, Tuition: $508.
3/9-3/11/12, Pam East, Watercolor Enamel
Pendants. Beginner, Tuition: $320.
3/11-3/17/12, Melody Boggs, Old Masters Style of
Oil Painting. Beginner, Tuition: $568.
3/18-3/24/12, Peg Piltingsrud, Beginning to
Intermediate Rosemaling. Beginner, Tuition: $568.
3/30-4/1/12, Ken Umbach, Watercolor Weekend.
Beginner, Tuition: $320.
Contact: John C. Campbell Folk School,
Brasstown, NC, 800/FOLK-SCH
www.folkschool.org
Kanuga Watermedia Workshops

4/15-4/20/12, Hendersonville. Bruce Bobick,
Carrie Burns Brown, Ken Goldman, Charles
Harrington, Robbie Laird, Mark Mehaffey,
Judy Morris, Ted Nuttall, Nancy Reyner, Myrna
Wacknov, Eric Wiegardt, Donna Zagotta
Contact: Robbie Laird, 530/259-2100
www.kanugawatermediaworkshops.com
Kristy Kutch
10/15-10/19/12, Boone.
Luminous, Lustrous Colored Pencil,
sponsored by Cheap Joes Art Stuff.
Contact: Edwina May or staff, 800/227-2788
edwina@cheapjoes.com
Birgit OConnor
Lori Putnam
4/25-4/27/12, Nags Head. Plein air.
www.loriputnam.com
Jan Sitts
10/1-10/5/12, Boone. Cheap Joes
Contact: 800/227-2788
www.jansitts.com
Mel Stabin
4/23-4/27/12, Boone. Watercolor: Simple, Fast,
and Focused. Sponsored by Cheap Joes Art
Workshops. All levels.
Contact: Edwina May, 800/227-2788
edwina@cheapjoes.com or www.cheapjoes.com
OHIO
Tony Couch
6/4-6/8/12, Elida.
Contact: 678/513-6676
www.tonycouch.com
OREGON
Art In The Mountains
5/20/12 and 9/29/12, Montgomery.

Sponsored by Wallkill River School. All levels.
Contact: Shawn Dell Joyce, 845/457-2787
wallkillriverschool@hvc.rr.com
www.wallkillriverschool.com
8/6-8/10/12, Greenville. Watercolor: Simple, Fast,
and Focused. Sponsored by Hudson River Valley
Art Workshops. All levels.
Contact: Kim LaPolla, 888/665-0044
info@artworkshops.com or
www.artworkshops.com
10/15-10/18/12, Sugar Loaf. Watercolor: Simple,
Fast, and Focused. Sponsored by North East
Watercolor Society. All levels.
Contact: Richard Price, 607/637-3412
info@northeastws.com or www.northeastws.com
6/4-6/8/12, Bend. Charles Reid, Portrait/Figure

- studio. Intermediate to advanced students.
$795 (includes model fees). Limit 18
6/11-6/15/12, Bend. Charles Reid, Portraits/
Figures, Landscape and Historic Photo - studio
and plein air. Intermediate to advanced students.
$795 (includes model fees). Limit 18.
6/18-6/22/12, Bend. Sherrie McGraw, The Beauty
of Visual Ideas in Realism, oil - studio. Beginning
to advanced painters. $795 (includes model fees).
Limit 20.
7/9-7/13/12, Bend. Mary Whyte, The Best of
Watercolor - studio & plein air. Beginning to
advanced. $795 (includes model fees). Limit 20.
7/9-7/13/12, Bend. Kim English, Paint Instinctively,
studio & plein air. Beginning to advanced
students. $725 (includes model fees). Limit 18.
7/16-7/20/12, Bend. Birgit OConnor, The
Essence Within the Flower, studio watercolor.
Beginning to advanced students - some
knowledge of watercolor is helpful. Cost $595.
Limit 20.
7/23-7/25/12, and 7/26-7/27/12, Bend. Lian
Quan Zhen, Watercolor Landscape and Chinese
Accordian Book. Exclusive Plein Air Opportunity
Beginning to advanced. Limit 18.
Cost 5-day $625, 3-day $450, 2-day $325.
7/23-7/27/12, Bend. John Seerey-Lester, Wildlife
in Oil or Acrylic, Studio to plein air. Intermediate
to advanced students. Cost $795. Limit 18.
Contact: Tracy Culbertson, 503/930-4572
info@artinthemountains.com
www.artinthemountains.com
Lois Griffel
4/15-4/20/12, Wilmington.
Contact: Kirah Van Sickle, 910/395-5132 or
Cell 775/291-7578, kirahart@yahoo.com
www.kirahneart.com
John C. Campbell Folk School

2/5-2/11/12, Louise Farley, Contemporary
Portraits in Oil. Beginner, Tuition: $568.
2/12-2/17/12, Billie Shelburn, Creative
Watermedia Techniques. Beginner, Tuition: $508.
2/17-2/19/12, Virginia Urani, Get Your Feet Wet
with Watercolor. Beginner, Tuition: $320.
elizabethsthilairenelson.blogspot.com
5/16-5/20/12, Charlotte. Big Bold & Beautiful

Flowers, Birgit OConnor, Watercolor, Floral,
Painting Flowers. All levels. Maximum class size
of 25.
Contact: Nancy Couick Studios & Gallery
704/541-6944, artistsgallery@bellsouth.net
Mel Stabin
NORTH CAROLINA
Paper Painting !
Elizabeth St. Hilaire Nelson
April 20 - 22, 2012
Alla Prima Painting

Abbey Ryan
June 4 - 8, 2012
abbeyryan.com
2012 Spring Workshops

in Beautiful Sedona, AZ
Jennifer McChristian
Jill Carver
Stuart Shils
Larisa Aukon
Michael Workman
Jan Sitts
Brian Davis
Richard Drayton
Kath Macaulay
Alok Kwang-Han
Cathrine Nash
Peggy Sands
Tracey Frugoli
Jeanette Le Grue
Polly Cullen
Lori Acott
Plein Air
Plein Air
Plein Air
Joy of Creativity
Landscape
Mixed Media
Luminous Florals
Colored Pencil
Pocket Sketching
Zen Calligraphy
R&F Encaustics
Drawing w/o Fear
Intimacy w/Oils
Stilllife/ Landscape
Glowing Pastels
Figurative Raku
Explore more workshops and

Field Expeditions to Tuscany,
Grand Canyon and more
@SedonaArtsCenter.com
888.954.4442
March 2012
83
12/14/11 3:01:51 PM
artists marketplace
Art Workshops By The Sea
SOUTH CAROLINA
WASHINGTON
Art Workshops By The Sea provides artists &

individuals the opportunity to develop their ideas,
visions and skills by bringing them together with
todays top teaching artists from around the
world in an environment that is uniquely inspiring.
Traditional to Contemporary.
Contact: 541/991-1709
www.ArtWorkshopsByTheSea.com
Kristy Kutch
Robert Burridge
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
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
School of Light & Color
Susan Ogilvie
Marla Baggetta, PSA

10/19-10/21/12, Bend. Loosen Up Pastels.
Contact: Sue, 541/408-5524 or
www.cascadeneartworkshops.com
Tony Couch
4/15-4/19/12, Medford.
Contact: 678/513-6676
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
PENNSYLVANIA
Marla Baggetta, PSA
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)
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
Jan Sitts
4/19-4/22/12, Latrobe. Latrobe Art Center
Contact: 724/537-7011, www.jansitts.com
84
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.
advanced.
VIRGINIA
Paul Jackson
4/26-4/28/12, Richmond.
Dramatic Landscape in Watercolor
Contact: Marla, 573/356-1999
marlamjackson1@aol.com
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.
Pacic Northwest Art School.
Contact: 360/678-3396 or 866/678-3396
www.jansitts.com
WISCONSIN
Marla Baggetta, PSA
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 OConnor.
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:

Delicate to Dynamic, sponsored by Kristy Kutch
Colored Pencil Workshops.
Contact: Kristy, 219/874-4688
Madeline Island School of the Arts

6/11-6/15/12, La Pointe. Andy Evansen
6/18-6/22/12, La Pointe. Frank Francese
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
7/16-7/20/12, La Pointe. Steve Rogers
7/23-7/27/12, La Pointe.
Sally Brown/Sally Nystrom
8/6-8/10/12, La Pointe. Karlyn Holman
8/6-8/10/12, La Pointe. Karen Knutson
8/13-8/17/12, La Pointe. Mary Ann Beckwith
8/20-8/24/12, La Pointe. Kami Polzin
8/20-8/24/12, La Pointe. Tony van Hasselt
9/10-9/14/12, La Pointe. Marc R. Hanson
9/10-9/14/12, La Pointe. Leonarda Boughton
9/17-9/21/12, La Pointe. Mary Massey
10/8-10/12/12, La Pointe. Daryl Urig
Contact: Jenna Erickson, 715/747-2054
www.madelineschool.com
Lori Putnam
8/20-8/22/12, Fish Creek. Studio.
www.loriputnam.com
Randall Sexton
7/16-7/19/12, Door County. Location to Studio.
Learn to prepare for studio work en plein air.
Hosted at the Peninsula School of Art
Contact: 920/868-3455
info@PeninsulaSchoolofArt.com
Jan Sitts
FRANCE
Ian Roberts
5/20-5/29/12, Plein Air Painting in Provence with
Ian Roberts. Spectacular landscape, focused,
encouraging instruction, gourmet food.
All media, all levels.
Contact: ianroberts.com
6/3-6/12/12, Plein Air Painting in Provence with
Ian Roberts. Spectacular landscape, focused,
encouraging instruction, gourmet food.
All media, all levels.
Contact: ianroberts.com
Pat Fiorello
7/9-7/16/12, Paint the French countryside with
artist/instructor Pat Fiorello. Grow as an artist
while exploring the treasures of the French
Champagne and Bourgogne regions.
Open to artists of all levels and mediums.
Contact: Pat, 404/531-4160, patorello@aol.com
or www.patorello.com
Flying Colors Art Workshops

6/4-6/15/12, Brittany and Normandy.
Judy Morris, AWS, NWS. Medium: W/C. Variety.
All levels of instruction. Class size of 20.
Contact: Johanna Morrell, 858/518-0949
FlyingColorsArt@me.com
www.FlyingColorsArt.com
Dory Kanter Art Escapes Workshop

9/10-9/18/12, South of France. Watercolor,
mixed media and the art of the travel journal. All
abilities. Includes day trips to Avignon and Pont du
Gard, cooking lesson, photography instruction and
more. Beautiful hotel in charming Uzs, Provence.
Contact: dory@dorykanter.com
www.dorykanter.com
6/11-6/15/12, Lac du Flambeau.

Dillmans Creative Arts
Contact: 715/588-3143, www.jansitts.com
GUATEMALA
Mel Stabin
2/28-3/9/12, Don Andrews, AWS, NWS. Medium:

W/C. Plein Air Landscape and Clothed Models. All
levels of instruction. Class size of 20.
6/4-6/8/12, Lac du Flambeau. Watercolor:

Simple, Fast, and Focused. Sponsored by
Dillmans Bay Resort. All levels.
Contact: Denny & Sue Robertson, 715/588-3143
vacations@dillmans.com or www.dillmans.com
HOLLAND
8/20-8/24/12, Madeline Island. Explore Island

Charm. Sponsored by Madeline Island School
of the Arts. Instructor: Tony van Hasselt, A.W.S.
advanced.
WYOMING
ITALY
7/18-7/29/12, Amsterdam. Mel Stabin, AWS,

NWS. Medium: W/C. Plein Air-Landscape, People,
Boats. All levels of instruction. Class size of 20.
INTERNATIONAL
CANADA
Pat Fiorello
Paul Jackson
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, patorello@aol.com
or www.patorello.com
11/10-11/12/12, Victoria, British Columbia.

Contact: Sam Boehner, sam@samboehner.com
Birgit OConnor
2/24-2/27/12, Victoria, Brentwood Bay, British
Columbia. Big Bold & Beautiful Flowers, Birgit
OConnor, Watercolor, Floral, Painting Flowers.
All levels. Maximum class size of 16.
Contact: Sam Boehner, 250/652-2827
sam@samboehner.com or Birgit OConnor, P.O.
Box 828, Bolinas, CA 94924, 415/868-0105 or
250/652-2827, birgitoconnor@sbcglobal.net
4/30-5/3/12, Toronto. The Essence within
the Flower, Birgit OConnor, 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
CROATIA
Lori Putnam
5/22-5/31/12, Korcula. Plein air.
www.loriputnam.com
Andy Evansen
Frank Francese
Cheng-Khee Chee
Myrna Wacknov
Janet Rogers
Steve Rogers
Sally Brown / Sally Nystrom
Karlyn Holman
Karen Knutson
Mary Ann Beckwith
Kami Polzin
Tony van Hasselt
Marc R. Hanson
Leonarda Boughton
Mary Massey
Daryl Urig
REGISTRATION INFORMATION AT
www.MADELINESCHOOL.com
x{x{U>*i]7
M a r l a B a g g e t t a PSA, MC
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 Italys most spectacular
landscapes since 1995. Four distinct programs.
Contact: 212/780-3216
www.landscapepainting.com
8/9/12, Cheyenne. Plein air.

www.loriputnam.com
2012 Painting Workshops

June 11-15
June 18-22
June 18-22
July 9-13
July 16-20
July 16-20
July 23-27
Aug 6-10
Aug 6-10
Aug 13-17
Aug 20-24
Aug 20-24
Sept 10-14
Sept 10-14
Sept 17-21
Oct 8-12
Tony van Hasselt
Lori Putnam
Unique Island Setting,

Exceptional Workshops

9/6-9/17/12, Cinque Terre, Lucca. Frank Webb,
AWS, NWS. Optional Extention to Florence 3 nts.
Medium: W/C. Variety. All levels of instruction.
Class size of 20.
La Romita School Of Art, Inc.

In 2012, La Romita will be offering a series of
two-week programs in various media. All levels
welcome. Classes run from May to October in
Terni.
5/5-5/19/12, LuminosityUnder the Umbrian Sun
with Marian Dunn.
5/22-6/5/12, Umbrian Scenes and Colors with
Bob Rankin and Fritz Kapraun.
6/8-6/20/12, Scenes, Details, Place and
Atmosphere with Kay Russell.
Wo r k s h o p s 2 0 1 2
Oregon, Washington,
Colorado, Nebraska, Texas,
Wisconsin, Michigan,
Massachusetts, Maine,
Pennsylvania.
marlabaggettastudio.com
503.329. 5117
March 2012
85
12/14/11 3:02:03 PM
artists 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 OConnell.
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 ve-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.
Sponsored by Flying Colors Art Workshops.
All levels.
yingcolorsart@me.com or
www.yingcolorsart.com
RUSSIA
Russian Art Tour
7/30-8/6/12, Join artist, Cathy Locke, on a
spectacular adventure through Russias best
museums to savour some of the nest collections
of art in the world.
Contact: 415/328-3562, www.russianarttour.com
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

Springeld, 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., Springeld, OR 97477 or
download at www.emeraldartcenter.org

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: 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 Guilds 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
psaofce@pastelsocietyofamerica.org
DEADLINE: JULY 7, 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
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: APRIL 7, 2012
DEADLINE: AUGUST 1, 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
Meeker Classic Art Contest Call for Entries.

First Place $2,000. www.meekersheepdog.com
for contest rules and entry form or SASE. Artwork
must reect sheepdog trials. Meeker Classic Art
Contest, PO Box 1394, Meeker, CO 81641
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 OConnor . . . . . . . . . . . . . . . 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
Jack Richeson & Co Inc . . . . . . . .IBC

Jan Sitts . . . . . . . . . . . . . . . . . . . . . 77
Jane Jones. . . . . . . . . . . . . . . . . . . 73
Jeanne Dobie . . . . . . . . . . . . . . . . 77
Jerrys 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
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
Susan Ogilvie . . . . . . . . . . . . . . . . 80
Tony Couch . . . . . . . . . . . . . . . . . . 78
Tony van Hasselt. . . . . . . . . . . . . . 79
Trekell & Company . . . . . . . . . . . . . 6
Triple D Game Farm . . . . . . . . . . . .76
Valdes Art Workshops . . . . . . . . . 77
Virtual Art Academy. . . . . . . . . . . 81
Vistra Framing . . . . . . . . . . . . . . . 78
White Light Creations . . . . . . . . . . .76
12/14/11 3:02:10 PM
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12/12/11 10:58:37 AM
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EDITED BY NICHOL AS KELLY
web
EXTRA
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artistsnetwork.com/tamonlinetoc to view
winning entries from our 28th Annual Art
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The Student
Pauline Roche, San Diego, California, paulinerocheneart.com
settings
inspire my gurative 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 reminiscent 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 gure and the
pro le of the easel.
I begin all my paintings by
squinting as I look at my subject.
Squinting helps me simplify the subject to lights and darks. I use neutral
midvalue paint, such as thinned raw
umber, to establish a simple statement with soft-edged, generalized
masses for the shadows and shapes
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make too much commitment to hard
edges or sharp contrasts.
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colors and rmer shapes. From this
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I like to work all over the canvas
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time.
PEOPLE IN DISTINCTIVE
88
During the nal stages, I select

which parts of the painting I wish
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focus while leaving other areas less
dened. The painting slowly moves
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sharper and more vivid.
ABOVE: The Student (oil, 20x16) was a nal-
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88_tam0312Spotlight.indd 88
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