The Artist 39 S Magazine - 01 2019

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14 HELPFUL HACK G 9 TIPS FOR SKETCHING SNOW

W G WINTER RETREAT
Art sts
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Magazine
Cold-Weather
Painting Guide
CLAUDE MONET
GET INSPIRED! RECONSTRUCTED
Lesson on the
30 Best Works
of the Year Color of Snow
+ Cozy Up With
11 Artsy Reads
The Wisdom of
an Art Specialty
JANUARY/FEBRUARY 2019
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“ N AT U R E I S P A I N T I N G F O R U S , D AY A F T E R D AY,
P I C T U R E S O F I N F I N I T E B E A U T Y I F O N LY W E
H AV E T H E E Y E S T O S E E T H E M .”
JOHN RUSKIN
Frosty Evening
by Tatyana Chernikh
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Contents
Volume 36 | Issue 01
JANUARY/FEBRUARY 2019
54 46
Compositions
46 70 74
ART OF MEMORY AND PAINTING IN A WINTER FROM PAGE TO CANVAS
MEANING WONDERLAND Artists through the ages have
Simon Andrew distills winterscapes Outdoor Painters of Minnesota shown that words can be worth a
to their most significant elements. hosts a yearly plein air retreat to thousand pictures.
inspire artists amidst a wilderness
of ice and snow.
54 80
EYE ON EXCELLENCE WINTER SOJOURN
We present the winners of the 35th Eric Aho depicts the landscapes of
Annual Art Competition. mind and memory in the guise of
snowy scenes.
2 Artists Magazine January/February 2019

10 96
38
Prime Build Outfit
8 COLOR STORY 22 WORKSHOP 90 BUSINESS OF ART
Dove Gray Evoke a Mood Using Find Your Niche
Dominance
10 VOYAGE 92 DO NOW
Boston: Cradle of Liberty 26 WORKSHOP Must-See Shows
and Architecture Silver Linings
With Silverpoint 96 LASTING
14 DRAWING BOARD IMPRESSION
Winter Watercolor 32 WORKSHOP Pissaro in Winter
Sketching See, React, Interpret
18 THE ASK 37 ART HACKS

Favorite Art Books Art on Ice
38 LESSON
Mind Your
Acrylic“Beeswax”
4 FROM THE EDITOR ON THE COVER

38 FEATURED PRODUCTS Frosty Evening
by Tatyana Chernikh
detail; oil on canvas, 14x18
Artists Magazine (ISSN 0741-3351) is published 10 times per year (January, March, April, May, June, July, September, October, November and December) by F+W Media Inc., 10151 Carver Road, Suite 300, Cincinnati OH 45242; tel: 386/246-3370.
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From The Editor Art sts Magazine

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ART DIRECTOR Brian Roeth
SENIOR EDITOR Holly Davis
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Decoding
Degas with Desmond O'Hagan
Desmond O’Hagan’s new Degas-inspired

video series features demonstrations of
figural work in charcoal, and charcoal
and pastel, and insights into his unique
techniques for painting skin tones, hair
and backgrounds. O’Hagan also discusses
the lessons learned from Degas—about
color, line, contrast, and design—and how
they impact his own work in a painting
demonstration of a Paris street scene.
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“ TA K E B A C K T H E W I N T E R
A N D P U T T H E I N E V I TA B L E S N O W
PILES TO USE AS SKETCHING
A N D P A I N T I N G F O D D E R .”
ROZ S T E N D A H L
Downtown St. Paul Snow Pile

detail; Platinum carbon black ink
fountain pen and watercolor on Fluid 100
140-lb. cold-pressed watercolor paper
Prime COLOR STORY
Dove
Gray Dove Gray
Sophisticated but ambiguous, this color is the polite
middle child of the color wheel.
g ray sometimes gets pushed to the side as a forgettable noncolor that exists between all
the other, more exciting ones. Technically, true gray doesn't contain color—it's a shade;
but, in practice, grays muddle with color and exist as a rainbow of hues, effective for
imbuing feelings from joy to sorrow to playfulness into a piece of art.
Arrangement in
Dove gray typically includes a hint of pink or blue, making it a gentle, slightly feminine version
of the familiar shade. Perhaps this is why Whistler chose to set the stage for his mother's portrait Grey and Black No. 1
(Portrait of the
with a background of dove gray that almost shows as purple against the stark blacks and whites Artist's Mother),
of the subject's outfit and the rest of the room. Whatever the artist's reason, the color shines in James Abbott McNeill
this now-iconic portrait. —MCKENZIE GRAHAM Whistler, 1871
"Gray is the queen of colors,

because she makes everyone
else look good."
–Helen Van Wyk
FINE ART IMAGES/HERITAGE IMAGES/GETTY IMAGES
FOLLOW @ARTISTSNETWORK ON INSTAGRAM AND SHOW

US YOUR GRAY! #ARTISTSNETWORK_COLORSTORY

ROCK SOLID
Always appearing
on the edge of
collapse, carefully
constructed cairns
FOR THE are actually a
LOVE OF symbol of strength
DOVES
MARKEL: POOL/SAMIR HUSSEIN/WIREIMAGE/GETTY IMAGES; DOVE: UNIVERSAL IMAGES GROUP/GETTY IMAGES; ROCKS:
and often denote

The inspiration landmarks, hiking
behind the color, trails and other
mourning doves important natural
epitomize the features.
tinted gray now
YUSUFSARLAR/GETTY IMAGES; CAR: NATIONAL MOTOR MUSEUM/HERITAGE IMAGES/GETTY IMAGES
synonymous with
class and style.
GRAY ON
BOARD
Between the castle
and the refined
color choices on
this classic car,
we're getting major
Downton Abbey
vibes—minus the
roadway tragedy.
GRAY GOES ROYAL PALETTE

Meghan Markle chose a dove
gray dress by Roland Mouret
POINTERS
for the second day of her trip To mix a basic gray, watercolor artist
with Prince Harry to meet the Keiko Tanabe says, "I use three primary
Irish president and his wife. colors, such as alizarin crimson for red,
The choice is in line with yellow ochre for yellow and French
Markle's frequent preference
ultra-marine for blue. The color
for elegant neutrals after
marrying into the royal family. temperature can be made warmer by
using more alizarin crimson or cooler by
using more French ultramarine.
Essentially, this method is the same as
using two complementary colors (one
primary and one secondary) to mix gray:
red and green, blue and orange, and
yellow and purple."
Prime VOYAGE
Boston: Cradle of Liberty

and Architecture
text and illustrations by Stephen Harby
Masachusetts
State House
t he “Hub,” “Beantown,” “Cradle of Liberty”—these are the nicknames by which
I came to know the city of my youth. I grew up in Cambridge, and Boston,
across the Charles River, was my immediate Mecca. I detested the proverbial
Boston baked beans; however, my visual diet from the age of 9 was the local
smorgasbord of extraordinary architecture. I delighted in structures designed by
graphite and American greats from Charles Bulfinch (1763–1844) to Henry Hobson Richardson
watercolor on (1838–1886) to the 20th-century firm Kallmann, McKinnell & Knowles.
paper, 5x8¼ The latter is hardly a household name, but I became familiar with it because,
on Sundays, my father would take me to major construction sites to observe
new buildings. The 1962 Boston City Hall—based on the firm’s competition-
winning design—was going up, and the site, amazingly enough, was completely
accessible. The building (see sketches, opposite), although maligned by some

and now threatened with demolition, is

a highly influential structure in the style
that came to be called “New Brutalism.”
The architecture was a riff on that of
the 1957 monastery Sainte Marie de La
Tourette, near Lyon, France—a revered
design by Le Corbusier (1887–1965). In
turn, the design of the Boston City Hall
has been copied the world over.
I’m sure that being surrounded by
Boston’s interesting buildings is the
reason I became an architect. Although
I remained in the vicinity until going to
college, I’d never contemplated capturing
the city’s architecture in graphite and
paint—until recently.
Masachusetts State House Sketch

graphite on cartridge paper, 6x8
Charles Bulfinch’s design of the

Massachusetts State House,
completed in 1798, was certainly
influenced by Andrea Palladio’s
Villa Almerico Capra Valmarana,
constructed two centuries earlier
near Venice, Italy. In my watercolor
(opposite), I was able to correct the
too-large dome in my pencil sketch.
BOSTON CITY HALL BY KALLMAN,

MCKINNEL & KNOWLES, 1962
Boston City Hall

graphite and watercolor on paper, 5x8¼
In both my pencil and watercolor sketches, light and shadow are Boston City Hall Sketch
the primary definers of Boston City Hall’s form. This structure, graphite on cartridge paper, 6x8
constructed of cast-in-place concrete with base elements of brick,
is set in a brick plaza, which the architects claimed was inspired by
the great square in Siena, Italy—Piazza del Campo.
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Trinity Church Sketch

My sketch captures the medieval Romanesque style that Henry
Hobson Richardson adopted from the French in 1872–77. In doing so,
Richardson created a fashion for the style, which came to be called
“Richardsonian Romanesque.”

Kyle
North Cambridge MA
Street Sketch Painting Roses™
graphite on
cartridge paper, 6x8
This quiet residential street of wood-frame houses is in the neighborhood where I grew William A.
up. The houses present a unity of frontage and of the relationship between mass and
smaller elements—like porches. At the same time, a variety of expression prevents SCHNEIDER
monotony. The pencil sketch allowed me to block out the masses and establish light Composition Secrets for
and shadow values. Figure Painting™
Beacon Hill Sketch

This drawing explores the
varying scales of the city and its
orientation on the Charles River.
Mario A.
ROBINSON
Watercolor Portraits™
visit. They also allowed me
to test compositions for
the watercolor paintings.
In order to retain
The portfolio presented in this spontaneity and avoid turning the
article is an object lesson in the watercolors into labored studio
challenges of sketching and painting pieces, I set myself a time limit of
while traveling. My recent visit to about a half hour for each sketch.
Boston occurred on a rainy day, With this method, I could keep my
making plein air painting—my commitment to capturing the journey
preferred approach—an unrealistic graphically while maintaining a fast-
option. Not to be deterred, I drew paced schedule of moving from one
thumbnail sketches in situ with a site to another.
soft pencil on smooth paper. A week
or so later, these drawings, plus Stephen Harby is an architect,
reference photos, served as prompts watercolorist, faculty member of the
for small watercolors in my Pentalic Yale School of Architecture and founder
Aqua journal. With the pencil of Stephen Harby Invitational, which
1-877-867-0324
sketches, I captured the effects of organizes travel opportunities for
light and shadow at the time of my small groups. LiliArtVideo.com/Artist
Prime DRAWING BOARD
Winter Watercolor Embrace the unexpected snowy scenes
Sketching that can be found right outside your window.

by Roz Stendahl
I
f you’re a watercolorist who enjoys nature journaling or for five or more months of the year due to inclement
urban sketching, you don’t need to curtail your outdoor weather, so I’ve devised nine ways to take back the
art endeavors just because the weather has turned cold winter months—and put the inevitable snow piles
and snowy. As a Minnesota resident, I can’t stop sketching to use as sketching and painting fodder.
1
Snow Pile, Sears EASE INTO WINTER SKETCHING.
Sakura Pigma professional brush pen FB and Instead of standing outside in zero-degree weather for several hours
watercolor on Stonehenge Aqua cold-pressed
paper in a handmade journal creating a masterpiece, work from the heated comfort of your vehicle.
I like to drive to the nearby Sears parking lot where big mountains of
snow are created by snowplows clearing the lot. By the time I reach this
destination, my car is warmed up, so I turn off the engine, pull out my
visual journal and begin sketching. (I like to use a Niji waterbrush with
its own water supply, but you can set up water containers in your dash-
board cup holders if you prefer.) Before my car cools down, even on a
cold day, I’ll have created a watercolor sketch.
Sketching snow piles is a great way to get out and get over cabin fever.
An artist friend of mine spends his winters seeking out the largest
mounds the city snowplows create. Sketching in the winter also can
become a scavenger hunt of sorts.

2
SEEK OUT ROOMS WITH A VIEW.
If you’re housebound or you don’t
drive, you can still enjoy winter
sketching; just look out your win-
dows. If your dwelling has a second
story, look down into your yard to
observe all the footprints the neigh-
borhood critters have left behind.
I actually leave items in the yard now,
just so there will be fun shapes for me
to sketch after it snows.
Sketch of a Buried Bicycle

fountain pen on scrap bond notepaper; the sketch shows the handlebar of a buried bicycle that
cemented my love of snow piles.
BE SPONTANEOUS.
I typically have a journal with me at all times, but one afternoon ona run to the
art-supply store, I wasn’t prepared when I saw a bike buried in a plowed snow
pile. I went back into the art supply store and got a sheet of notepaper, borrowed
my husband’s fountain pen and spent five minutes standing on the icy sidewalk,
capturing the scene. When I got home, I glued the sketch into my journal.
Once you start viewing snow and snow piles as worthy sketch subjects, your
mind and observant eye will scan the landscape for interesting compositions.
3
Snow Pile, BBQ
Staedtler pigment liner .05 and gouache on
Annigoni Designo paper in a handmade journal
WORK QUICKLY.
4 Winter temperatures can drop rapidly, especially as
night falls. If you see something with your artist’s
eye, you need to get it down. Do the roughest out-
line. Put notes everywhere on your page about the
height and width of elements, and the quality of
light and shadow. Mentally break down what you
might do to capture the current atmospheric
effects—and then write it down.
Think of your diagram as a sort of thumbnail
sketch with callouts. Once you return to the studio,
use your notes to create a small portion of the light-
ing that captured your attention (see the strip to the
right of my sketch). Treat this as a memory exercise,
stretching your retention of lighting effects and your
Snow Pile, Sears II
artistic mark vocabulary. These sketches bring back diagram of a snow pile in failing light on a scrap of paper with a fountain
solid, happy memories for me. They’re evidence that pen; pen sketch (right) with Staedtler pigment liner sketch pen on blue
I’m always working on my observational skills. Magnani Pescia handmade journal
Prime DRAWING BOARD
5 FOCUS ON WHAT MATTERS:

THE LIGHT.
Winter is the best time to see
light. Yes, the light might be
dazzling coming through fall
leaves or shining through neon-
green spring leaves, but when
all the vegetation has died back
and the world seems bleak,
white, barren and blank, look
again. Each snow-covered sur-
face reflects light in myriad
ways. Look carefully to see the
dazzling colors found in those
crystalline reflections.
Focusing on winter light
will teach you to make quick
decisions and speed up your
sketching—a skill you can
use in any season.
Atelier Snow Pile
Faber-Castell calligraphy pen sketch with blue water-soluble ink pen on
Annigoni Designo paper in a handmade journal
6
LOOK FOR THE UNUSUAL AND EXPERIMENT WITH DIFFERENT MEDIA.
My love of snow piles has become an obsession. Not only do I enjoy looking out my own windows, but I also like to look
out the windows of friends’ homes. I see this as a positive habit because each view allows me to think spatially, play with
capturing the light, and experiment with the materials and media that I have at hand. Sometimes I use watercolor paper,
but I often use a handmade book with toned paper such as Annigoni Designo or Zerkall Nideggen. Then I’ll use a little
gouache to capture the effects of snow. It’s quick sketching because the toned paper does all the mid-tone fill-in for me.
Paper and media choices give you the chance to increase your facility for sketching and provide quick methods for
capturing fading light. Switching up your supply choices enables playfulness and experimentation that can lead to
new painting series and new passions for, well, maybe snow piles?
Snow Pots at Diane’s

Staedtler pigment liner and
gouache on Annigoni Designo
paper in a handmade journal
ROZ STENDAHL IS AN INTREPID DAILY

SKETCHER. VISIT HER WEBSITE AT
ROZWOUNDUP.COM.

7 SEE THE SHADOWS AND THE FORM

TO CREATE COMPOSITIONS.
Snow in any setting, but particularly in an urban
scene, can be visually dramatic as it melts. In choosing
to sketch this snow pile with its melting spires,
I positioned myself so that the hotel behind it provided
a sense of scale and a dark backdrop for the focal
point spire of snow.
Play with ways to marry the snow with the sur-
rounding architecture in your compositions and
make white stand out.
Downtown St. Paul Snow Pile

Platinum carbon black ink fountain pen and watercolor on Fluid 100
140-lb. cold-pressed watercolor paper
8
STRETCH YOUR DEFINITION OF BEAUTY.
Just like the other three seasons, winter has its own stages. New snowfall, white and diamond-like in its reflectivity,
easily lures the artistic eye. But, don’t overlook equally rich and rewarding views of urban snow in early spring when dirt,
debris and multiple freeze-thaw cycles create a collage of light and dark that most might walk right past. As artists,
we need to look at all facets of life and bring our understanding and interpretation to them.
Snow Pile
water-soluble brush pen in a Hahnemühle landscape watercolor sketchbook
9 CAPTURE MEMORIES NEAR AND FAR.

You don’t have to travel to experience something wonderful and worthy of
sketching. There are subjects all around that will challenge and engage you.
More important, you have access to them anytime you want so that you
can build a solid sketching practice that works for you all year long.
Start filling your sketchbooks with your life instead of putting your
sketching on hold for the “big trip” or ideal weather conditions. If you sketch
daily throughout the winter, you’ll be all set for wherever you might venture
once the temperatures climb and the flowers bloom. Get a running start
on future seasons.
As anyone who has ever lived in any cold climate knows, there’s some-
Alley Snow
thing infinitely interesting around every corner: a view of what life is like in Faber-Castell calligraphy pen on a scrap of green
the present moment. These moments captured in your journal create a rich bond paper collaged on Annigoni Designo paper
document of your life—in all seasons. in a handmade journal
Prime THE ASK
WE ASKED...
D. . .
WE ASKE
What is the most ED
WER
beautiful book about Y O U A N S
art that you own? “How to Be an Explorer of the

World by Keri Smith. It teaches
you how to look at things
differently and break out of
creative ruts. I must have read
the book five times now—
“Dessins d’Ingres: Catalogue
constantly referring back to it
Raisonné des Dessins du Musée
in my studies.”
de Montauban (Ingres’ Drawings:
— EMMA JAYNE
Catalogue Raisonné of the
Drawings of the Museum of
Montauban) by Georges Vigne. “Georgia O’Keeffe: One
Jean-Auguste-Dominique Ingres Hundred Flowers, edited by
bequeathed to Montauban, his Nicholas Callaway. I love her
hometown, an exceptional set “Call me old-fashioned, but I explanation: ‘So, I’ll paint what
of paintings and about 4,500 I see—what the flower is to
still relish the History of Art by me. but I will paint it big, and
drawings. In this book, each H.W. Janson that was my Art
drawing is reproduced in its they will be surprised into
entirety and is accompanied by
History 101 and 102 textbook. taking time to look at it.’ ”
a note that includes a scientific The black-and-white images — MEERA RAO
sheet and references to have a silver sepia tone to them
exhibitions and volumes, as well that’s stunning.” LIKE US ON FACEBOOK
as the concordance with @ARTISTSNETWORK TO
previous inventories. It's an MICHAEL SKALKA ANSWER EACH MONTH’S
CHAIRMAN, ASTM D01.57 QUESTION IN “THE ASK.”
amazing book that I keep going
ARTISTS’ MATERIALS STANDARDS RESPONSES MAY BE EDITED
back to again and again.” FOR LENGTH AND CLARITY.
COSTA VAVAGIAKIS
ARTIST
“The History of Paris in Painting by Georges Duby and Guy
Lobrichon. This rather large-format book (20x14x3 inches) contains
more than 300 full-color illustrations that present Paris ‘from its
“The two-volume set, days as a medieval city on the Ile de la Cité, in the middle of the
Art of Florence (1999), by Seine River, through the tumultuous days of the French Revolution
Glenn Andres, John Hunisak to the “Haussmannization” of Paris, when much of the city was
and Richard Turner.” razed to make way for broad boulevards emanating from the Arc de
Triomphe.’ This book is truly a feast for the eyes for any art lover.”
CHERYL K. SNAY
CURATOR OF EUROPEAN ART, ANTHONY WAICHULIS
SNITE MUSEUM OF ART, ARTIST, INSTRUCTOR, ANI ART ACADEMIES
UNIVERSITY OF NOTRE DAME

21 st Annual International
Portrait Competition
Call for Entries
William F.
Draper Grand
Prize Winner
Daniel Keys
Innocence
40 x 45”
oil on linen
First Place
Painting
Yuqi Wang
Red Hook Fantasy
65 x 58”
oil on linen
nter one of the most prestigious competitions

focused on the figure. Over $115,00 in prizes and
awards will be presented in categories recognizing
Painting, Drawing and Sculpture. The Grand Prize
winner will be awarded a $25,000 cash prize.
First Place
Drawing
Leon Doucette
Gathering
15 x 22.5”
charcoal on
paper
First Place
Sculpture
Ben Hammond
An Angel in
Contemplation,
20.5” x 9” x 12”
bronze
Visit our website for full details or call toll-free for your prospectus.
Entry Deadline February 21, 2019

1-877-772-4321 www.portraitsociety.org
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“ S T R O N G PA I N T I N G S S U C C E E D
B E C A U S E T H E Y E V O K E A M O O D .”
—MICHAEL CHESLEY JOHNSON
Bu ld
Days of Yore
by Michael Chesley Johnson
detail; oil on panel, 12x16
Build WORKSHOP
DESIGN PRINCIPLES
Evoke a Mood
Using Dominance
MICHAEL CHESLEY JOHNSON explains the role of color dominance in design
and demonstrates its mood-building property.
Strong paintings succeed because they evoke a mood. And mood is

created by dominance, specifically as it relates to color. Think of your Materials:
favorite shipwreck movie. Remember when disaster struck and the SURFACE: 12x16 Jack Richeson
ship was besieged by a monstrous storm? The colors on the screen hardboard, first treated with
were low-key blues and grays. Now fast-forward to the rescue. The Gamblin PVA Size and then with
sun has come out, and the sea has calmed. It's all high-key sunny two coats of Blick Master Gesso
yellows and reds, making you feel warm and cheery inside. BRUSHES:
These scenes work because they evoke a mood through the use of · Silver Brush Grand Prix No. 8 hog
dominant colors. Adding contrast, especially between a dominant bristle flat
color and a subdominant color, enhances the effect. The storm scene · Silver Brush Grand Prix Nos. 2, 4
may show a single, yellow lamp shining in the wheelhouse, but this and 6 hog bristle rounds
makes the blues and grays seem even more fraught with danger. The
GAMBLIN ARTIST’S OIL COLORS:
rescue scene may show the dark blue hull of the ship, but again, it
· cadmium yellow medium
makes the yellows and reds seem all the cheerier.
What’s at work here is what I call “contrast pairs.” Color consists of · Indian yellow
value, temperature, chroma and hue. Each of these characteristics can · gold ochre
be considered a contrast pair: light/dark, warm/cool, rich/dull, color/ · cadmium red
complement. The colors in our movie’s storm scene are mostly cool · transparent earth red
blues and grays that are also dark and dull; the subdominant hue is a
· brown pink
yellow that is warm, light and rich. On the other hand, the colors in
the rescue scene are almost reversed with respect to dominance. We · permanent alizarin crimson
have mostly warm hues that are both light and rich; the subdominant · dioxazine purple
color is a cool, dark blue. This kind of careful consideration to how · cerulean blue hue
dominance and contrast pairs are used gives you full control of the · phthalo green
emotional impact of your art. · Portland grey light
· Portland grey medium
· titanium-zinc white
MICHAEL CHESLEY JOHNSON
OTHER:
(mchesleyjohnson.com) is an artist,
· Gamblin Gamsol
author and workshop instructor
· Gamblin solvent-free gel
who works in oil and pastel to paint
the landscapes of the American
Southwest, coastal Maine and the
Canadian Maritimes. Johnson is the
author of Outdoor Study to Studio:
Take Your Plein Air Paintings to the Next Level and
other books.

Days of Yore
oil on panel, 12x16
Build WORKSHOP
HOW TO EVOKE MOOD

For this demonstration, I want to depict the mood of a bright and cheerful summer morning. With that in mind, I decide
the oil painting should be dominantly warm and light with rich color.
STEP 1 STEP 2
To set the stage for a warm, sunny painting, I block in my main color masses, making sure that the dark,
I use a hog bristle flat brush to tone the top shadowy masses—castle and bridge—occupy much less area
half of the canvas with Indian yellow, thinned than the sunlit passages. I use dioxazine purple for the dark
with Gamsol, and the bottom half with passages. For the sunlit areas, I use Indian yellow, gold ochre,
transparent earth red, also thinned. cadmium yellow medium, and brown pink (a warm, orangey
transparent earth color). This creates a cartoon-like version
of the scene. For this step and all succeeding steps, I move
START WITH A STUDY exclusively to hog bristle rounds.
1. Analyze your scene to determine which qualities of

color dominate. What is the overall value?
Temperature? Hue? Chroma? You’ll have more
success if you’re working from life. Photographs
distort all of these qualities.
2. Note what mood the dominant color creates.
3. Determine whether there’s an area of subdominant
(contrasting) value, temperature, hue or color. If not,
consider adding or inventing one to enhance the
dominant element.
4. Now, get to work. Create color studies in which you
play with your chosen colors. For example, you may
vary the amount of canvas taken up by each color
and play with the ratio between dominant and
subdominant. If the dominant color takes up a very
large area, perhaps make it smaller. Alternatively,
change the amount of contrast between members of
STEP 3
a contrast pair. If the values of the two colors are To make the scene more realistic, I adjust the colors of the main
masses—again, keeping in mind dominance and mood. Into the
close together on the value scale, push them further
sky I brush cerulean blue hue, which is a warm blue that allows
apart and see what happens. me to add a blue note without cooling off that area too much.
5. Once you come up with a study that evokes the mood I also apply it to the distant hills to suggest atmosphere. In the
you want, use your study to create a finished painting. foreground, I add a touch of cadmium red for a deeper, richer
note of warmth. In the shadowed castle and bridge, I introduce
Portland grey (light and medium) to dull down the violet.

HELPFUL DEFINITIONS
• Dominance is one of the principles of design. For the
purposes of this article, where dominance is used to
create a mood, I’m considering square inches of
color. What color seems to occupy the most area?
You may also consider a dominant family of colors—
such as red, orange and yellow.
• The principles of design include balance,
proportion, rhythm, dominance and unity. These
principles help the artist create a design that is
pleasing (or not, depending on the artist's goal).
• The elements of design include color, line, shape,
texture, space and form. The principles of design are
applied using the elements of design. Choosing to
STEP 4 emphasize one color (an element) through
I redefine my shapes with transparent dominance (a principle) can create mood.
earth red thinned with Gamsol.
• Subdominant colors take up fewer square inches
than the dominant ones.
• A contrast pair consists of the extremes of any of the
elements of design. In this case, the contrast pairs are
made up of the attributes of color: light/dark (value),
warm/cool (temperature), rich/dull (chroma), color/
complement (hue). Using a contrasting pair properly
accentuates the effect of dominance and, therefore,
mood. The subdominant member of the pair is usually
present in a small amount.
• A low-key painting has low-value dominant colors
with a small, higher value passage. A high-key
painting has high-value dominant colors with a small,
contrasting, lower-value passage. A mid-key painting
stretches across the value range with dark and light
values, but the middle range values dominate.
STEP 5
I continue to adjust hue and intensity for all the shapes,
but leave the temperature and value largely untouched. I add
cadmium yellow light, permanent alizarin crimson and phthalo
green. I add a little solvent-free gel to make the paint more
workable. I make a glaze of solvent-free gel and Indian yellow
to warm up some of the foreground areas. See the finished
painting, shown larger, on page 23.
Build WORKSHOP
DRAWING
Silver Linings
SHERRY CAMHY demonstrates how to achieve
the rich subtleties of silverpoint.
During the Renaissance, before the use of graphite for

drawing, artists such as Leonardo da Vinci and Raphael used Materials
silverpoint to create delicate portrait studies. hey worked SURFACE: gesso-primed
on fragile surfaces prepared with a specially formulated birchwood panel
primer painstakingly designed to make the silver marks PRIMING TOOLS:
visible. he size of the images was limited, and no erasing · soft brush
was possible. Today, a silverpoint surface of any size can be · fine sandpaper
prepared with commercial gesso or even house paint—and
SILVERPOINT IMPLEMENTS:
erasing is feasible.
· sterling silver in a metal
A gesso-primed birchwood panel provided a light, solid
holder
surface for Portrait of Olivia (opposite), a detailed work with
· Cretacolor silverpoint
a wide range of values. I applied several layers of gesso,
stylus
working in alternating directions with a soft brush. After
· sharp-pointed metal stylus
each layer dried, I sanded it smooth. he more layers—
ERASERS:
and the smoother they are—the better, although some
brushstroke impressions became visible as the drawing · kneaded
progressed, giving the image the texture of laid paper. · plastic
he silver used for silverpoint isn’t costly—and so little is · Tombow Mono
used, I’ve never needed to buy a second
piece to complete an image. Working
with this medium is a bit like working
with a ballpoint pen or a mechanical
pencil. he lines are even in width, and
there’s no need to sharpen the point. I
used only two types of silver implements
with their tips sanded smooth for
Portrait of Olivia. A small, thin piece of
sterling silver in a metal holder produced
the light gray marks. With time, those
will tarnish to a warmer, glowing hue. TOP TO BOTTOM
he darker lines, created with a Cretacolor Pointed stylus, Cretacolor silverpoint stylus,
silver stylus holder, sterling silver
silverpoint stylus, will become a deeper,
cooler color as the silver ages.
SHERRY CAMHY’s silverpoint images are in the permanent collection of the

Telfair Museums, in Savannah, Ga., and the Arkansas Arts Center, in Little
Rock. In addition to curating silverpoint exhibitions at the National Arts Club
in New York City and the Art Students League of New York, she has written
articles on the subject for Drawing, Fine Art Connoisseur and Linea. Camhy is
on the faculty of the New York University Tisch School of the Arts, the Art
Students League and the School of Visual Arts, in New York City. For more
information, visit sherrycamhy.com.

Portrait of Olivia
silver on birchwood panel, 16x12
Build WORKSHOP
STEP 1 STEP 2
Line drawing: To avoid proportion mishaps, I drew the face Eye forms: Using the sterling silver
on tracing paper and lightly transferred only the most stylus, I began carefully developing the
essential landmarks to the gessoed surface. Using a eyes, focusing on the forms surrounding
Cretacolor stylus, I boldly indicated the dark accents of the them, which helped to determine the
features. Drawing in silverpoint is a counter-intuitive location of the start of the nose.
process: Timidly massing areas and then attempting to place
silver on itself to slowly increase values can be unpredictably
difficult. Instead, start with the darks. Direct contact of silver
on the gesso surface creates the darkest darks possible.
STEP 3
Shapes of features: Continuing
with the softly rounded point of
the sterling silver stylus, I shaped
the features of the face. Although
traditional blending techniques
are not viable with silver, it’s
possible to develop amazingly
subtle value gradations by varying
the pressure of the tip and
patiently placing the lines tightly
together in the same and
alternating directions, building
areas of tone.

STEP 4 STEP 5
Shadowed area: The transparent quality of White-paper highlights: Sterling silver can be used to
sterling silver worked wonderfully to create the delicately render forms in the light. As those shapes subtly
luminous shadow on the side of the face. unfold, the untouched surfaces become gently simmering
Eventually, the silver will tarnish to a slightly highlights. As the dark of the hair began to frame the
darker and warmer, subtle color—one not planes of the face, the reflected light on its shadowed side
possible to achieve in any other medium. was optically enhanced and seemed to glow.
STEP 6
Hair—early strokes: Wispy light
strokes starting from where the hair
is parted make the strands appear to
be growing from the forehead. Hair
has massed, darker areas flowing in
logical patterns, as well as many
random individual strands.
Preserving areas of the surface for
the highlights is important. The
contrast of crisp, dark lines against
the white makes the hair shine.
Build WORKSHOP
STEP 7 STEP 8
Warm and cool hues: Hair develops slowly. Focused composition: Balancing the rhythms of
Listening to music helps to keep the rhythm of the both sides of the hair is the next step. The goal is
strokes flowing. I used both warm and cool silvers to use the directions of the shapes of the waves to
so that their tarnished tones would eventually move the viewer’s focus around the portrait—
work with and against each other to create especially toward the eyes. As the hair began to
another dimension of complexity and depth. frame the model’s fine features, its definition could
gradually be heightened as well.
STEP 9
Value range: Drawing hair is an
art form all its own. Patience is
necessary as its complexity of
hard and soft areas develops
stroke by stroke. All the time and
energy invested in carefully
preparing the surface of the
birchwood panel with many layers
of gesso pays surprisingly rich
dividends, allowing strong accents
without the fear of damaging the
less sturdy surface of clay-coated
paper often used for silverpoint.

STEP 10 STEP 11
Scraped highlights—hair: At this Scraped highlights—eyes: I also used the sharp-
point, I used the sharp-pointed metal pointed metal stylus to create the sparkle in the eyes.
stylus to scrape through the densely
coated silver surface, exposing the
underlying white gesso to create
sparkling highlights in the hair.
STEP 12
Completion: Here is a closer look at the
details of the facial features. When is a
drawing finished? When nothing needs to
be taken away from or added to the
message you want to share. See the entire
finished portrait on page 27.
Build WORKSHOP
WATERCOLOR
See, React, Interpret

THOMAS W SCHALLER demonstrates how to move beyond
what the eye actually sees to present a unique vision.
It’s my belief that an artist’s job is to interpret what he or

she sees, not just to imitate it. Also, an artist should try to Materials
express what is felt about the subject, not just what is seen. SURFACE: Fabriano Artistico
There are different forms of reality. The observed reality of bright white 140-lb. cold-
the subject is one form, but there is also the reality of the pressed watercolor paper, 22x15
painting that results from this observation. This reality is PAINT: Sennelier watercolor
more crucial because it’s where the artist’s voice is heard.
BRUSHES:
So many times I’ll see a student complete a beautiful
· Raphael Softaqua (imitation
passage, only to find that it has been scrubbed away min-
squirrel) Nos. 2, 4 and 8
utes later. “What happened?” I’ll ask. Usually students
petit-gris
will tell me the painting looked OK, but it didn’t look
· Raphael Kaerell (synthetic) No.
exactly like the subject. “But it looked like your painting,
10 round and No. 12 flat
and that’s what matters,” I’ll reply. Once the world of
· Raphael Precision (imitation
your painting begins to evolve, that is the only reality you
sable) No. 10 flat
need. For as long as it takes to complete the painting, the
· ¾-inch synthetic flat
artist needs to live only in that world.
· Nos. 4, 8 and 10 synthetic
If changes to what we see need to be made to make a
rounds
better painting, by all means, we’re free to make them.
While we may begin with a plan for our final work, let-
ting that plan evolve or change completely is critical.
Many times, it’s the “mistakes”—the things that we
don’t plan—that can be the very making of our work.
Remember to enjoy the process—relax, just breathe, and
let it happen.
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2010 he left his career as an
internationally renowned
architectural artist and concept
designer to turn his attention to
creating and teaching fine art in watercolor. His work
has been featured in prestigious exhibitions in more
than 20 countries. Schaller has authored three
best-selling books on painting; the latest is Thomas W OPPOSITE
Cathedral of San Martino,
Schaller: Architect of Light (North Light Books, 2018).
Lucca, Italy
watercolor on paper, 22x15

Build WORKSHOP
STEP 1 STEP 2
While in the Tuscan city of Lucca, Italy, I snapped this photo I did a quick compositional sketch to help me figure out
of the Cathedral of San Martino. The wall in the foreground, where I wanted to place major objects and values in my
dating from medieval times, is impressive, but I was more painting for maximum effect. Although the character of my
interested in the cathedral tower. This photo was merely drawing is very different from my reference photo, it retains
the springboard for my artistic vision. a connection to my original inspiration. This sketch served
as a guide, but I felt free to change course as I painted.
STEP 3 STEP 4
I like to draw an indication of the general shapes of my The sky I painted doesn’t look anything like the sky in the
subject on my painting surface—without getting too reference photo. In my interpretation, bright light comes in
detailed. When a drawing is done right, it will join from left to right, hitting the tower on the left. I flipped the
beautifully with the subsequent watercolor washes, values of the sky from what appears in the photo because
showing the initial idea of the artist come to life. I wanted the center of focus to be toward the bottom of the
tower. The value contrast between the darker blue portion
of sky and the sunlit tower draws the eye to that area.

STEP 5 STEP 6
I also flipped the values of the tower, making it darker on I painted the trees on the right impressionistically. Note that
top, which draws the eye to the center of the painting. In these trees don’t reach as high as those in the photo. To add
addition to value contrast, I like contrasts of detail and dimension, I varied the values. The lighter foliage on the top
specificity. The tower will be the tightest, most finished- appears farther back. One of the easiest, most successful tricks
looking part of the painting. Even the other parts of the in painting is to set up three distinct values—light, dark and
cathedral have been painted a bit more loosely. mid-tone. As if by magic, they imply depth.
STEP 7 STEP 8
I didn’t want the foreground to attract too much attention To avoid the bookend-ish look of the trees in the photo,
or be too specific, so I laid it in with a big, wet, juicy brush. I differentiated the shape, tonality, color and specificity of the
At this point, the tree trunks were a bit more specific than two areas of foliage. Dark values make the tree on the left seem
I liked, but I would deal with them later. closer, and its thin branches connect the left side to the right.
I added a few dark marks to the tower to indicate ledges and
window insets. Spritzes of water softened the edges of the tree
trunks and blurred the foreground washes, adding mystery.
THE FOUR ELEMENTS OF WATERCOLOR

SENNELIER WATERCOLORS FABRIANO ARTISTICO
SINCE 1887 SINCE 1264
RAPHAËL BRUSHES CRETACOLOR PENCILS

SINCE 1793 SINCE 1790
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Build ART HACKS
Art on Ice
Ward off the winter chill with these hacks.
—COURTNEY JORDAN
Feet First
Cold toes are the worst! Be
prepared for standing outdoors
at your easel: Double up
● Wear boots! on socks,
● Smack, kick or brush off snow
clinging to your feet before it if your boots
has time to melt. can handle it.
● Painter Emilie Lee suggests
Dare To Go Spare standing on a piece of cardboard
or old carpet to insulate yourself
Snow simplifies the landscape in from the snowy ground.
Snow both shape and color. Embrace the
idea of doing more with less, and
can make don’t force complicating factors
Small, Sunny and Fast
stunning into your composition. Take advantage of a sunny winter
day with an outdoor sketching
visual Flakey session. Here’s how to stay
patterns with You can paint snowflakes a few ways:
frost-free:
● Paint small. Take your
white-barked ● Flick your loaded brush over smallest sketchbook or
your surface (practice on scratch
aspens, paper first). This technique
canvas. This is the time
WOODS: ADVENTURE_PHOTO/GETTY IMAGES; CAR INTERIOR: WESTEND61/GETTY IMAGES;
for visual vignettes and

evergreens works great for stars, too! quick sketches.
● For bits of falling snow, paint
and other the flake and then drag a clean
● Limit yourself to 15–30
BOOTS: NYS444/GETTY IMAGES; SKETCHBOOK: PAKORNKRIT/GETTY IMAGES
minutes of sketching or
trees. Take brush lightly upward from that painting. Then step back,
flake. Again, experiment for the
note of right look—and check out artist
make sure you can feel
your fingers and toes, and
the visual Stephen Quiller's paintings. He’s
a falling-flake meister!
assess what to do next.
rhythms of ● Snow can be untouched or full
● Keep your tools as simple as
possible so you aren’t delayed
woodlands of texture. Make smooth,
unbroken strokes or scribbly
by looking for a brush or tube
of paint.
and forests. marks to get the look you want. ● Set up in the sunniest spot
you can find—out of the wind,
Blanket of Snow if possible.
Artist Liz Haywood-Sullivan suggests
making your pastel strokes follow the
lay of the land. Place snow horizon- “To reduce the restriction of my legs and arms when
tally over the ground, replicating the painting en plein air in cold weather, I cut off the
way it covers the earth. sleeves of a 'retired,' oversized sheepskin coat. The
coat becomes a vest, and the sleeves become leg
warmers.”—teresa hough
Moveable Studio
Stay within the shelter of your car. For a chance to win a month of free access to Artists
Keep your gear simple and prop your Network TV, email your favorite art hack to info@
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wheel. Lay down a sheet or towel to Submissions may be edited for length and clarity.
keep your upholstery clean.
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Build LESSON
ACRYLIC
Mind Your “Beeswax”

PATTI BRADY explores how to use acrylic to create an aged patina in this excerpt
from the 10th anniversary edition of her seminal book, Rethinking Acrylic.
The possibilities that

can be created with
acrylic encaustic
are endless. Here,
multiple layers of gels
produce a translucent,
waxy depth.
a crylic is a totally different medium
than beeswax, but it can create
beautiful transparent and translu-
cent layers that simulate the seductive
quality of encaustic. Some of the lumi-
with beeswax are easily reproducible with
acrylics. In fact, many artists use acrylic
gels simply because they create stunning
multidimensional effects—even when
they aren’t trying to copy the look of
nous colors and lush surfaces produced beeswax.

ACRYLIC ENCAUSTIC OPTIONS

I’ve found that there’s no “one” encaustic look. Artists (matte) is particularly good, as it’s very stiff and dries
who are interested in working with encaustic but are to a waxy, translucent surface. Adding small amounts
unable to provide the proper ventilation may find acrylics of fine pumice gel or acrylic ground for pastels will change
a viable alternative. the level of matting agents, creating the milky, diffused
Many acrylic gels can appear waxy, resembling encaustic. transparency that characterizes encaustic surfaces.
This is especially true of the matte products. High solid gel Experiment to discover your own formulas.
ACRYLIC “BEESWAX”
FORMULAS
Below are three formulas that you could
apply over a finished painting to create
effects reminiscent of beeswax. The different
viscosities of the formulas create different
surface textures, as will the technique with
which you apply them. Always test a formula
on a sample and allow the mixture to dry,
as there’s a color shift from wet to dry.
Unrefined Acrylic Yellow Acrylic Refined or Bleached

“Beeswax” “Beeswax” Pourable Acrylic Unrefined Acrylic “Beeswax”
“Beeswax” Add 6 drops of fluid interference blue (fine) and 1 to 3 drops
of fluid quinacridone/nickel azo gold to 8 ounces of Golden
high solid gel (matte). This formula creates a thick “wax”
with a stiff viscosity in a bright, cool, translucent yellow.
Apply the mixture with a wide palette knife.
Yellow Acrylic “Beeswax”

Add 2 drops of fluid Naples yellow hue, 1 drop of fluid
quinacridone/nickel azo gold and 2 drops of fluid
interference red to an 8-ounce jar of Golden soft gel
(matte). This creates a “wax” with the viscosity of yogurt
and the color of warm liquid beeswax.
Refined or Bleached Pourable Acrylic “Beeswax”

Combine 2 ounces of Golden soft gel (gloss) with ½ ounce
of soft gel (matte). Add ½ ounces of water and then add
4 drops of fluid interference blue (fine) and 1 drop of fluid
iridescent gold (fine). Let the mixture sit overnight.
This creates a “wax” with a smooth, matte surface with
minimal color.
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WWW.GOLDENPAINTS.COM
Unrefined Acrylic Yellow Acrylic Refined or Bleached

“Beeswax” “Beeswax” Pourable Acrylic
“Beeswax”
Build LESSON
PATINA RECIPE
Mix fluid raw umber and fluid iridescent micaceous
ADDING AN iron oxide with Golden acrylic glazing liquid
(gloss). Use a soft cloth to apply and then wipe
AGED PATINA off the excess patina, leaving the mixture in the
crevices and buffing the pigments into the gel.
he yellow acrylic “beeswax” formula has the perfect If you prefer a more subtle effect, omit the
viscosity for creating the look of soft, warm folds of hot iridescent micaceous iron oxide from the mixture.
wax spread over a surface. Apply the “beeswax” over the
surface with a pastry knife, spreading the formula to create
the texture.
Slather on the “Beeswax” Remove the Patina With a Cloth Outcome: Rich Texture
Here you can see how thickly the acrylic Acrylic Glazing Liquid (gloss) gives the The finished example is rich with texture and looks
“beeswax” is applied to the painting’s patina mixure a long open time, so if as if the “beeswax” was melted onto the surface.
edges. Although this looks incredibly thick, you’ve chosen a color of glaze you don’t
acrylics lose volume as they dry because like, just wipe it up and begin again.
the water evaporates, so slather it on and
let it dry.
OPTION
Create your own recipes by
varying the color or viscosities.
Here I applied yellow acrylic
“beeswax” and the patina recipe
over a painting. When this dried,
I mixed refined pourable acrylic
“beeswax,” altering it by adding
some quinacridone/nickel gold
azo and burnt umber. This gave
me the pourable viscosity
I needed to create the waxy drips.

DEMONSTRATION: INTARSIA Materials

Intarsia is a woodworking term for a panel that has been incised to form SURFACE: wood panel or canvas
a channel that’s then inlaid with a contrasting piece of wood. Intarsia is over board
also a great technique for encaustic because the soft wax can be easily GOLDEN FLUID ACRYLICS:
carved. More wax can be added if the excavation is deep, or oil paint can · chromium
be rubbed into fine lines. Acrylics may be used for intarsia effects as well. · oxide green
It’s a bit more complicated to carve into a dry surface, thoguh it can be · Naples yellow hue
done. Here the carving is performed while the acrylic is still wet. · pyrrole orange
GOLDEN HEAVY BODY ACRYLICS:
· cobalt teal
TOOLS:
· Colour Shapers in various sizes
· soft cloth
OTHER:
· Golden Acrylic Glazing Liquid (gloss)
· Golden Heavy Gel (matte)
· Golden High Solid Gel (matte)
1. Prepare the Surface 2. Paint Over the Incisions

and Incise a Pattern
Over a dry basecoat of Naples yellow hue,
Mix 3 parts high solid gel (matte) with EXPLORE ACRYLIC
1 part Heavy Body cobalt teal. Spread the
use a wide Colour Shaper to apply a mixture mixture deeply into the incisions with a
of 3 parts heavy gel (matte) to 1 part wide Colour Shaper. Scrape in different
chromium oxide green. While wet, incise a directions, pushing the mixture deep
pattern with a pointed Colour Shaper so the into the channels.
basecoat shows through. Frequently wipe off
the Colour Shaper’s end for clean lines. Let
the surface dry.
This article is excerpted

from Rethinking Acrylic
by Patti Brady, with the
permisison of North
Light Books.
> YOU CAN PURCHASE THE
BOOK AT ARTISTSNETWORK.
COM/STORE OR FROM YOUR
FAVORITE BOOKSELLER.
3. Touch Up the Surface 4. Apply Final Details
Dampen a soft cloth with acrylic glazing The basecoat of fluid Naples yellow hue peeks PATTI BRADY IS AN ARTIST,
liqud (gloss) and use it to remove the through the carved lines. On the left, the yellow AUTHOR AND FORMER WORKING
cobalt teal from the areas surrounding channels remain empty. On the right, the thick ARTIST PROGRAM DIRECTOR
the incision. FOR GOLDEN ARTIST COLORS.
mixture of high solid gel (matte) and opaque cobalt FOR MORE INFORMATION,
teal paint blocks out the yellow base. In the middle, VISIT PATTIBRADY.COM.
I applied a stripe of pyrrole orange, a transparent
pigment, which allows the yellow to glow through,
creating more depth and richness of color.
Mixing color is never as simple

as yellow plus blue makes green.
But you can save a lot of paint practicing at goldenMXR.com
The paint mixer is just one way we strive to support artists.
We understand the subtlety of simple things like mixing two
colors, even as we break more complicated subjects like
sustainability and art preservation down to basics.
We offer an extensive library of technical and application guides and

dozens of videos on our website. We have a team of artist educators
that spans the globe. What’s more, we have JustPaint.org
JustPaint.org, where
we share our research in paint related articless.
If you have a new or unique question or problem, we have

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We won’t claim to have all the answers, but

any time you have a question or concern, justt
send it to help@goldenpaints.com. If we
GRQ¶WNQRZWKHDQVZHUZH¶OO¿QGLW
©2018 Golden Artist Colors, Inc., New Berlin, NY ƒ800-959-6543ƒgoldenpaints.co

om
“ I H A N G T H E PA I N T
O N T H E L A N D S C A P E .”
SIMON ANDREW
Pink Sky, Winter Snow

by Simon Andrew
detail; oil on plywood, 12x15
A RT OF
Memory&
Meanıng
Canadian painter Simon Andrew’s winterscapes reveal the creative process

and unique vision of this master artist. By Robert K. Carsten
O
riginally from the county of Cornwall in southwestern England, oil painter Simon
Andrew was raised in a family of artists. “Both my father and stepfather attended
Slade School of Fine Art of University College London,” he says. “My stepfather was
taken under the wing of noted Cornish abstract landscape painter Peter Lanyon, and
my father, by the great abstract, landscape and still life painter Ben Nicholson,” recalls
Andrew, who began his own studies at Queen’s University, in Canada, to study science.
Soon though, Andrew decided to explore fine art, following in his familial footsteps. “One of the things
that was difficult was finding my own way,” he admits. “I didn’t want my work to just be a clone of what
I grew up with. I was very lucky, though, and had seven years of study at Queen’s University and at
Newcastle University, in England, which I particularly enjoyed. I found the different mindsets of the
students and their different ways of approaching art fascinating. It was liberating for me, and I was able
to work in ways that interested me. I’d always been intrigued, in particular, by the landscape as subject
matter and how it can be worked in different ways.”
Nocturnal Snow-Covered
Landscape
oil on board, 18x25
A CHANGE OF SCENERY ABOVE OPPOSITE

Pink Sky Reflected All Seasons
Andrew has visited Canada since he was 10 years old and on Frozen Lake oil on canvas, 48x48
now lives in Kingston, Ontario. Five years ago, he and oil on plywood, 12x15
his partner, artist Erika Olson, along with their archi-
tect, designed the couple’s 2,500-square-foot studio. DISTILLING BEAUTY
Illuminated predominantly by warm halogen light, it’s Although Andrew does paint landscapes en plein air
where Andrew creates many of his landscapes, both large in Canada and during his visits in England, he also
and small, often working on several paintings simultane- creates extraordinary landscapes in the studio by using
ously. “Sometimes I’ll do a quick sketch, and it happens what he refers to as his “distilling process.” He explains,
very fast and that’s fun, but it doesn’t happen very often,” “When I go to a place and come back to the studio and am
Andrew says. “Other paintings can take a considerable painting from my memory of that scene, I remember only
amount of time and are a struggle, but when I finally get what was really important to me and forget all the small,
them to work—to mean something—that’s a very differ- insignificant details. My focus is only on what’s important
ent feeling of accomplishment, not an immediate one. to me. This process of relying on memory—of recent or
It’s more like when you run a marathon and you feel like long ago—serves to distill the painting experience into
you’ve really done something. solely what I found interesting. Superfluous bits and pieces
“When I first came to Canada, I was doing a lot of are forgotten, yielding to what was especially relevant to
Canadian landscapes that looked pretty English to a lot me when I looked at the scene.
of people,” Andrew recollects. “I think where you grow up “Something else that’s always very important to me,”
is very formative as an artist, and I found that when you Andrew continues, “is the paint itself and all of the things
move to a different place, it takes a long time for a new it can ‘say’ and do. As far as I’m concerned, everything con-
landscape to sink into your bones, so to speak … to filter sidered, it’s really all about paint. I often say that ‘I hang the
through you and become part of your visual experience paint on the landscape.’ What I mean is that paint is hung
so as to come out organically in your paintings.” on an idea of the landscape and, in the process, creates a

“ WHEN YOU MOVE TO A DIFFERENT PLACE ,

I T TA K E S A L O N G T I M E F O R A N E W L A N D S C A P E
TO SINK INTO YOUR BONES, SO TO SPEAK …
T O F I LT E R T H R O U G H Y O U A N D B E C O M E P A R T
O F Y O U R V I S U A L E X P E R I E N C E .”
—SIMON ANDREW
Night Fall THE SPLENDOR OF SNOW

oil on board, 16x20
Not unlike the Group of Seven painters who found
Canadian snow-clad fields, woodlands and ice-covered
lakes to be significant sources of inspiration, Andrew
landscape. I’ve always loved being able to see how a finds the icy waterways and blanketing snows of northern
painting was done. When I was young, my family visited winters a powerfully inspirational motif. Of Pink Sky
museums all around the world, and what always fascinated Reflected on Frozen Lake (page 48), the artist says,
me was how some artists could make their brushstrokes “It’s very much like the type of landscape I see when
say so much. What might seem like a flippant little brush- looking across a small waterway of Lake Ontario.” He
stroke instead becomes something that conveys so much created the painting on Baltic birch plywood, first prepping
information and is truly relevant to the rest of the paint- the board with a coat of Liquin, and then proceeding to
ing.” Andrew names Corot, Turner and Rembrandt as paint quite thickly to obscure the grain of the plywood.
artists whose paintings exemplify these traits. “So often While Andrew primarily uses large brushes, he some-
of primary concern to me is the physicality of the paint— times applies paint using a palette knife or his fingers for
what it does and how it works to create some sort of texture variations. He also scrapes paint away to make
reality,” he says. “Other times, though, my painting the surface more interesting. “As a painter, I have a short
becomes more about a process of recording direct observa- attention span,” Andrew says. “I want art that excites me,
tions. Sometimes when I’m painting outside, the landscape so I’ll do whatever a painting needs. In Pink Sky Reflected
suggests interesting color relationships. Nature is so on Frozen Lake, I was particularly interested in the reces-
intriguing to observe because it’s so random. When I’m sion of color and space, and how I could make that warm
indoors and not working from nature, I’m always attempt- pink sky at the horizon sit back in space from those cooler
ing to make things varied enough to seem real. Regardless greens in the foreground.”
of which way I’m working, I always have a profoundly inter- Meanwhile, in Hedges and Fields With Orange Sky
esting conversation with paint.” (opposite), foreground blacks advance adjacent mixtures of

Materials
Paints: a modern-day equivalent of a “Matisse”
palette of oil colors, including cadmium reds dark
and light, alizarin crimson, quinacridone red,
cadmium yellow, cadmium lemon yellow, phthalo
green, phthalo blue, cerulean blue, cobalt blue,
ultramarine blue, dioxazine violet, lamp black,
titanium white
Brushes: assorted fine art and inexpensive
craft brushes, house-painting brushes, Luco
round brushes
Mediums: Liquin, stand oil, alkyd medium,
linseed oil, cold wax (occasionally mixed
with color to produce a matte appearance)
Surfaces: hardboard panel, birch plywood,
stretched canvas
ABOVE BELOW
Snow-Covered Flat Land Hedges and Fields With Orange Sky
oil on board, 16x16 oil on board, 16x20
A Winter Scene, grayish-greens, anchor them to the foreground and thrust

their forms forward from the relatively saturated orange
in the sky. Whites in the middle ground add important
Reconstructed emphasis to certain planes in the landscape.

Strong use of black and white also appear in Andrew’s
visually powerful Nocturnal Snow-Covered Landscape
(pages 46–47). He describes how he achieves the gorgeous
viscosity of paint in the snow-laden fields. “I often squeeze
lots of paint from the tube directly onto the canvas and
then move it around with a brush or knife,” he says. “I
proceed by painting into the white with a ‘dirty’ brush
to achieve variations of color.”
Some of the artist’s landscapes, such as Night Fall
(page 50), edge closer to abstraction. Here, Andrew applies
paint with both intuitive control and admirable freedom.
With its riveting expressive force, the painting evokes the
beauty and drama of an evening storm.
Another work of expressive impact is Late Snowfall
(opposite), its quickly denoted forms painted with vigorous
The Magpie brushwork. “Nature isn’t perfect, with everything in place,”
by Claude Monet explains Andrew. “It’s untidy and messy, so if I do that
1868–1869; oil on canvas, 35x51 in paint, sometimes it makes a painting seem more real.
Accordingly, I find it important to keep mark-making in a
E
painting interesting. It’s fascinating how creating variety in
ver curious, Andrew referenced Claude Monet’s areas with thick and thin paint and different ways of using
winter painting The Magpie, reconstructing it a brush can provide so much meaning within a painting.”
with his own contemporary vision. “I wondered Andrew doesn’t like to spell everything out for the
what it would be like if one was painting next to Monet viewer or to describe everything in detail. “I think that
from a slightly different angle, or what it would have takes away from the experience,” he says. “I prefer paintings
looked like at a different time of day and the bird had in which the viewer can make up his mind what a painting
flown away,” the artist says. is about, and look at all those strokes and bits and wonder
“I thought I’d try and take his painting apart and what they are. Then the painting grows with the observer.
reconstruct it. Though mine looks very sketchy compared All said and done, like reading between the lines, it’s the
to his, in creating my painting [below], I learned that space between the brushstrokes that’s so very important.”
there’s a lot of color in snow. It’s important, though, not
to make it look overcolored. I used a lot of straight-out-of-
the-tube white. Unlike the Impressionists, I believe that ON REFLECTION
pure white and pure black used somewhere in a painting Across decades of work, Andrew’s art, past and present,
bring everything out, expanding the dynamic range.” remains fresh, insightful and surprising to viewers. He
continues to vary, change and evolve in approach, style and
subject matter. Of his need to keep art interesting, Andrew
says, “In my view, the amazing thing about being an artist
is that you can never pigeonhole the act of creating art. It’s
always changing. You can say something through painting
about a subject and work that way for years. Later, you
might think and paint in completely opposite ways. Perhaps
paintings reveal more and make greater sense in retrospect
than they do at their time of creation.
“Like a feedback system or gazing into a mirror, painting
helps me explain who I am to myself,” Andrew continues.
MONET: MUSÉE D’ORSAY/GETTY IMAGES
“By recalling my experiences, feelings and thoughts, and by

making images that reflect this reality, the act of painting
helps me realize more fully what it is to be human. Painting,
for me, isn’t about consistency. It’s about truth and being
honest with who I am and how I feel in the moment.”
Monet Reconstruction—The Crow Has Flown
by Simon Andrew Artist, instructor and writer Robert K. Carsten (robertcarsten.
oil on board, 12x15 com) enjoys painting in various media and writing about
artists and their work.

VISIT THE ARTIST’S WEBSITE AT

SIMONANDREW.COM.
LEFT
Late Snowfall
oil on canvas, 36x48
BELOW
Landscape With Orange
and Brown Sky
oil on board, 16x20
EYE ON
X
E CELLENCE

Winners of the
35th Annual Art Competition
PORTRAIT/
FIGURE CELEBRATION OF ARTISTS
Year after year, the Annual Art Competition gives Artists
Juror: Beverly McNeil, executive
Magazine the opportunity to showcase outstanding
partner of Portraits, Inc.
contemporary artists from around the world. Traditionally,
this competition awards work in five categories: abstract/
experimental, animal/wildlife, landscape, portrait/figure and
GRAND PRIZE still life/interior. In this landmark 35th year, we added a grand-
AND 1ST PLACE prize winner selected from the first-place winners in the five
categories. The prize was a weeklong workshop, Retreat to
Helen Bouchard Tuscany, taught by watercolor artist Thomas W Schaller at the
Silverton, Oregon Italian resort-farm Tenuta di Spannocchia. This past September,
helen-bouchardart.com grand-prize winner Helen Bouchard soaked up the Tuscan
The Calling scenery and sun, not to mention Schaller’s insights.
oil on linen, 24x24 Our praises and congratulations extend to all the winners of
the 35th Annual Art Competition. On these pages, Artists
“The Calling depicts the Magazine is honored to present their inspiring contributions to
the world of art.
moment one discovers
a life passion. A young
girl sits by a window
overlooking Oregon’s wine
country, representative
of prosperity. While
drawing, she’s visited by a
mockingbird that deposits
seeds representing
potential and the growth
that she can achieve
through study and hard
work. She’s unaware or
Helen Bouchard (in the red cap) and other workshop participants give rapt
uninterested in a text attention to Schaller’s art demonstration at Tenuta di Spannocchia, in Tuscany.
on her cell phone as she
ponders her future.
PORTRAIT/
FIGURE
2ND PLACE
Annie Murphy-Robinson
Carmichael, California
anniemurphyrobinson.com
Casey “Waiting”
sanded charcoal on paper, 28x42
“Casey ‘Waiting’ is about young women everywhere and the

future they may face. Some may have incredible lives of their
choosing and some, depending on the culture they belong to,
may have everything decided for them. On a more personal
level, this piece is about my daughter (the model) and the
world she’ll inherit in a few short years as a woman.”
3RD PLACE
Oliver Sin
San Francisco
instagram.com/oliversin
Father
charcoal on paper, 17x14
“I drew this portrait of my dad from life as a present for his

85th birthday. Since moving to the United States 20 years
ago from my native city of Hong Kong, I haven’t spent
much time with my dad, so drawing him was a memorable
opportunity for us to reconnect—a priceless experience for
us to reunite through art.”

HONORABLE MENTIONS
Jenedy Paige
Pleasant Grove, Utah
jenedypaige.com
There’s More to See
oil on linen panel, 24x24
Pauline Roche
Del Mar, California
paulinerochefineart.com
The Grand Salon
oil on linen, 36x36
Calvin Lai
San Francisco
calvinlaiart.com
Going to Market
FINALISTS
Grace Devito
Judy Fan
Andrea Fenn
Wei Han
Richard Harper
Ninni Heldt
Marissa Oosterlee
Jenedy Paige
Misty Segura-Bowers
LANDSCAPE
Juror: Jinger Richardson, owner of
The Legacy Gallery
1ST PLACE “The subject of Canyon Snows is Spider Rock,

Robert Highsmith at Canyon de Chelly, Ariz.—a national park
Las Cruces, New Mexico
rhighsmith.com
in Navajo lands. I’ve been there many times
Canyon Snows
in different seasons. I’m never disappointed
watercolor on paper, 22x30 with its awesome beauty, and I always feel
a spiritual reverence when I’m there. During my
last visit, I toured the canyon floor by horseback—
one of the best ways to view the canyon.”

2ND PLACE
Tatyana Chernikh
Minsk, Belarus
chernikh.com
Frosty Evening
“This house with an established

apple orchard isn’t far from my
countryside studio in Belarus.
One cold, bright evening, I became
intrigued by the snow and ice
glimmering in the low January
sun. Shadow shapes provided a
delightful composition, and the
contrast between warm and cool
light lent character. I made mental
notes of my impressions, took a
picture and then painted quickly
in my studio.”
3RD PLACE
David Stanger
Pittsburgh
davidstanger.com
Allegheny River
oil on linen, 14x30
“I painted Allegheny River mostly during open-air sessions. I watched the river come and go through after-
noon haze, offering forms in undulating warm and cool grays. During the hours spent painting a motif, one
becomes increasingly aware of the sun’s movements and affects, the patterns of clouds and atmosphere. The
sounds, scents and feeling of the breeze become part of a vision made solid through oils and pigment.”
LANDSCAPE
HONORABLE MENTIONS
Diane Davich-Craig
Nashville, Tennessee
dianedavichcraig.com
The King’s Palace
oil on panel, 16X20
Mark McDermott
Anchorage, Alaska
markmcdermottart.com
Trapper Creek #1
Lynn Garwood
Burlington, Wisconsin
lynngarwood.com
Leaving
acrylic on canvas, 54x72
FINALISTS
Linda Brown
Bethany Fields
Jane Hunt
Matt Hurdle
Garry Kaye
Wendy Liang
Emily Thompson
Ken Vrana
Richard Wagener

ABSTRACT/
EXPERIMENTAL
Juror: Ellen Taylor, president of
Art Students League
1ST PLACE
Diane L
Farquhar
Hallstrom
Eugene, Oregon
farqart.com
Opposition
acrylic on canvas, 60x48
“I love the physicality of painting large with few boundaries of thought or space.
Discovery occurs in the fringes of comfort levels, so I push myself to experiment with
mediums, processes, techniques and ideas while allowing the painting to develop its unique
message. Opposition is a study in contrasts, a painting void of color yet full of drama.”
ABSTRACT/
EXPERIMENTAL
2ND PLACE
Colette Odya Smith
Wauwatosa, Wisconsin
coletteodyasmith.com
In High Spirits
pastel over watercolor on museum board, 30x30
“Every step of my process in creating In

High Spirits came together joyfully. The
reference photographs I took of a shallow
stream in a ravine began to capture some
of the beauty, mystery and excitement
I feel in such delightful places. While I did
make some alterations to the composi-
tion and color values, the painting shares
what I feel was a pure gift.”
3RD PLACE
Margaret Larlham
San Diego
margaretlarlham.com
Fever Tree
pastel on sanded paper, 24x20
“The dreamlike image of Fever Tree took shape

apart from rational determination. Pastel dis-
solved in isopropyl alcohol forms the abstract
background. My reference for the murky vegeta-
tion was a photo of the Hluhluwe River in South
Africa’s Zululand that, by chance, fluttered from
my file. For the reflections in the water, I con-
jured ‘the great grey-green, greasy Limpopo
River, all set about with fever-trees’ of Rudyard
Kipling’s story ‘The Elephant’s Child.’”

HONORABLE MENTIONS
Kathy Dana Carol Staub

Sacramento,
Port Saint Lucie,
California
kathydanaart.com
Florida
carolstaub.com
GroundSwell
acrylic on photography by Sea Motion 1
Donald Satterlee on canvas, acrylic on panel encased in
84x60 resin, 36x36
FINALISTS
Stephanie Holznecht
Akarsh Kummattummal
Pirkko Lela Linnenkohl
Michal Mitak
Mäkelä- Mahgerefteh
Haapalinna Steven Paulsen
Kemijärvi, Finland Kay Skipper Reinke
pmhdesign.fi Benjamin Sack
Messenger of Light
Nancy Smitherman
pastel and ink on paper, Carol Staub
43⅓x31½ Dan Welden
STILL LIFE/
INTERIOR
Juror: George Henoch Shechtmann,
owner and director of Gallery Henoch
1ST PLACE “I love the way objects shine in the sunlight.

Alexandra Averbach Blueberries, seemingly simple and ordinary,
New York City
alexandrapaintings.com
become striking and multi-tonal when
Blueberries
illuminated in bright sunshine. In this
oil on canvas, 20x28 painting, I strove to capture their radiance.
The jar’s red cap serves as the perfect
counterpoint to the deep blues.”

2ND PLACE
Nicole Finger
Telluride, Colorado
fingerpaintingart.com
Whipped
“As sweets become ever more

taboo in our concerns over
health, their images become
like idols or fossils in our mem-
ories and are thus elevated. In
my Cupcake series, each treat
finds its own personified char-
acter. Whipped could conjure
up sweet childhood memories
of birthdays past or be seen as
a seductive temptress taking
off her party dress.”
3RD PLACE
Nancy Calder
Stratford, Ontario
nancycalder.ca
Market Morning Weigh In
oil on aluminum panel, 16x20
“The inspiration for

Market Morning Weigh In
came from my fascination
with the beautiful natural
colors of organic eggs. The
antique egg scale in the
foreground was a gift from
a good friend. I imagined
a quiet corner of a barn
where these precious
eggs would be collected
and weighed. The aged
window and distressed
wood further support this
atmosphere.”
STILL LIFE/
INTERIOR
HONORABLE MENTIONS
Chris Krupinski
Hurricane, West Virginia
chriskrupinski.com
Not So Black and White
Sun Jiangang
Taiyuan, China
facebook.com/sunjiangangyiwang
Home
watercolor, 16x22
Dan
Simoneau
Kenosha,
Wisconsin
FINALISTS dsimoneau.com
Deborah Chabrian Bag of Grannys
Loren Dibenedetto acrylic on canvas, 36x36
Zoey Frank
Carol Gobin
Hans Guerin
Judith Leeds
Robert Papp
Lawrence Preston
Steve Scheuring
Nancy Tankersley

ANIMAL/
WILDLIFE
Juror: Adam Duncan Harris, Ph.D.,
Peterson Curator of Art and Research at
the National Museum of Wildlife Art
1ST PLACE “While picking up some pumpkins at a local

Shawn Gould farm, I was inspired to use them in a painting.
Eureka, California
shawngould.com
The combination of shapes, textures and color
Pumpkin Pies
made for a wonderfully dynamic setting. Adding
acrylic on hardboard, 24x36 the magpies gave the piece life, and the bold
contrast and iridescent color of their feathers
worked beautifully against the orange pumpkins.
The idea also came with a ready-made title.”
ANIMAL/
WILDLIFE
2ND PLACE
Jan McAllaster
Stommes
Owen, Wisconsin
janstommesart.com
Cross Fox Watch
oil on panel, 11x14
“While driving around Jackson Hole,

Wyo., last February, I came upon
this beautiful vixen and took many
photographs. Research revealed that
it was a cross fox, a partial-melanistic
red fox with the black fur running
down its back and crossing the shoul-
ders laterally to make a cross. As an
animal scientist and artist, I was
exhilarated to find her. How could
I not paint her?”
3RD PLACE “My dog, Annie, often ‘melts’ patiently on the

studio floor. I feel some calm and comfort
Sandra Corpora from her presence, and, every so often, I see
Bethlehem, Pennsylvania her from a different angle. This view struck
sandracorpora.com me as the perfect way to paint her as ‘studio
Studio Dog dog.’ The ant’s-eye vantage point is critical to
oil on linen, 12x27 the idea, as is the horizontal format.”

HONORABLE
MENTIONS
David S. Haley
Florissant, Missouri
oagalleryonline.com/david-haley
Bee No. 30
Rob Richards
Peoria, Arizona
robartwork.com
Approaching the Glade
graphite pencil and dust
on bristol board, 10x16
Deborah LaFogg Docherty

Boynton Beach, Florida
lafogg.com
Cara Cara
pastel on pastel paper, 12x9
FINALISTS
Kathryn Ashcroft
Nancy Bass
Linda Besse
Claire Duncan
Kathleen E. Dunn
Neil Hamelin
Jacob Houston
Rebecca Luncan
Mary Shira
Amy Stauffer
PAINTING
IN A
WINTER
WONDERLAND
A group of artists trek out to a secluded area of Minnesota each year,
surrounded by winter’s splendors, for a week of art-making and camaraderie.
By Michael Woodson
or plein air painters, hoping
F for perfect weather conditions

comes with the territory—but
like art itself, “perfect weather
conditions” means something differ-
ent to everyone. While some prefer the
dry, warm climate of a Santa Fe sum-
mer, others brave the treacherous and
unforgiving winter landscape. A plein
air excursion in winter can be challeng-
ing, even grueling, but the experience
and season can inspire creative work.
Outdoor Painters of Minnesota
(OPM) hosts an event that helps
artists better their winter landscape
painting while giving them an oppor- Allison Eklund, events director Long Shadows,
tunity to work alongside their fellow for the winter retreat, is an attorney Daniels Lake
outdoor-in-winter enthusiasts. The by trade. “I was several years into by Allison Eklund
oil on board, 9x12
week-long plein air winter retreat that this winter retreat that I absolutely
takes place at YMCA Camp Menogyn adored,” she says, “and at that time
in Grand Marais, Minn., where, among it was being run by the Grand Marais
frozen lakes and forests, a group of Art Colony.” Eklund enlisted plein
Photo by Allison Eklund
15-20 outdoor painters brave the air painter Neil Sherman, who lives Scott Lloyd
Anderson
below-freezing temperatures to cap- a block offshore on Lake Superior, observes his
ture winter landscapes and enjoy the and, with his help, connected with plein-air setup,
camaraderie that comes with surviving the YMCA Camp Menogyn to host complete with
such an event. the retreat. “They keep a skeleton hot beverages.

Minnesota Minivan
by Allison Eklund
oil on board, 9x12
crew at YMCA Camp Menogyn in the

winter time,” she says. “They keep
sled dogs on loan there to get exercise
when they’re not racing, and it creates
this amazing winter retreat for a low
cost. I’m only half joking when I say
it’s probably cheaper for the week
all-inclusive in the wilderness than to
stay home and spend it on groceries.”
Wake-up call for attendees is around
7:45 a.m.; resident cooks make break-
fast; and around 8:30 a.m. the artists
make their way out to the frozen lake.
“We’re generally out painting every
morning and afternoon—sometimes
continuing into evening,” says Eklund.
“You get this magical color at 5 p.m. as
the sun goes down, and it creates those
long, cobalt blue shadows combined
with that brilliant yellow-orange and
pink-orange color of the sun. The
entire frozen lake lights up. Part of it is
that you don’t know if you’re going to
get sun, in which case all of your paint-
ings are a study in gray. It’s pure
euphoria when we get a sunny day.”
GOING TO EXTREMES
It’s no secret that winter plein air
Photo by Allison Eklund
painting is a challenge, but Eklund

Scott Lloyd
believes that’s the secret to its
Anderson takes his success. “I find that it makes me
winter plein-air a better painter because there are cer-
painting skills to tain pressures outdoors that you don’t
Minnehaha Falls, in
Minneapolis, Minn.
DRESSING FOR
THE OCCASION
Three retreat participants give their
best advice for keeping warm.
Allison Eklund: “Use plenty of hand

and foot warmers: They last six to eight
hours and make it much easier to stand
in one place.”
Scott Lloyd Anderson: “Heat packets

that hunters use. Put them in your
gloves; put them by your toes; put one
on the small of your back; and tape one
to the top of your hat, on the inside.”
Mary Pettis: “Go to someone in your

area who does winter workshops. They
Allison Eklund
can tell you where to get the gear and bundles up to paint
what’s necessary and how to adapt your Minnesota Minivan,
mittens for painting.” opposite.
get from a controlled studio environ- Anderson. He’s been attending the
ment,” the artist says. “Even in the winter retreat on and off since its “ I F I N D T H AT
summertime, you’ll find wind, rain, inception and won the 2018 OPM
bugs, changing light—all these chal- award for the best landscape painting. [WINTER PLEIN AIR
lenges that make plein air painting “You’re out on a frozen lake in the wil-
both wonderful and challenging and derness and the cars are half a mile PA I N T I N G ] M A K E S M E
interesting and terribly frustrating. away. You hike around the area on foot
In the wintertime, all of that is mag- for most of time. Being with other peo-
A B E T T E R PA I N T E R
nified. You’ve got a limited amount of ple makes it tolerable.” BECAUSE THERE ARE
time to do anything before you start The artists share these stories with a
to get cold, and, in some cases, we’re laugh, confirming Eklund’s sentiment C E R TA I N P R E S S U R E S
talking mortally cold.” that the retreat is as much about the
Eklund recalls one specific morning community as it is about making art. “I O U T D O O R S T H AT YO U
with Scott Lloyd Anderson while on really thought I was an odd bird,” she DON’ T GET FROM A
OPM’s first retreat. “He’s a really gifted says. “I’m a person who loves people,
plein air painter who has an eye for but I’m introverted. A lot of artists are, CONTROLLED STUDIO
beauty in the unexpected,” she says. “In but there are some introverts who really
the morning it was 20 degrees below love people. For some reason the plein E N V I R O N M E N T.”
zero. I plopped down in a snowdrift and air community is filled with people just
watched him paint this scene that, to like me. There’s a satisfaction in finding —A L L I S O N E K LU N D
me, just looked like a jumble of flicker- one’s tribe.”
ing lights, snow, trees and branches. Anderson agrees. “It’s been a high-
I couldn’t make heads or tails out of it, light for me,” he says of the winter
and he made a masterpiece out of it in retreat. “It’s one thing to paint by Outdoor Painters of Minnesota
about 90 minutes. It just blew me away. yourself in the winter and struggle to 10-Year Anniversary Retreat
I realized that making these design and get back to your car and thaw out and January 27–February 1, 2019
paint decisions under pressure taps into drive back. Being with other people
Retreat Reception and Exhibition
the creative part of the brain in ways makes it more fun. It’s just a very
Johnson Heritage Post Art Gallery
that can be very exciting.” social period of time painting where
Grand Marais, Minn.
Shattered backpack buckles and there’s a lot of camaraderie.”
Photo by Barb Casey
February 1–24, 2019

other anecdotes of the fallout from
freezing temperatures are a dime a Michael Woodson (michaelwoodson. For more information, go to
dozen with many of the artists who’ve com) is a freelance writer and outdoorpaintersofminnesota.org.
attended the retreat. “It’s hell,” says photographer in Cincinnati.
Ophelia
by John Everett Millais
PHOTO: TATE, LONDON, 2011,
VIA WIKIMEDIA

From Page to
Canvas
Artists through the ages
have shown that words
can be worth a thousand
pictures.
by C.J. Kent
F or some, curling up
with a good book
is a relaxing escape
from daily concerns;
for artists, how-
ever, the written word can often
be a prod to action. Gustave Doré
created famous prints of Dante’s
Divine Comedy, Milton’s Paradise Lost,
Poe’s “The Raven” and other texts.
Salvador Dalí brought his surrealist
delight to Lewis Carroll’s Alice in
Wonderland, Cervantes’ Don Quixote
and Montaigne’s essays. Cy Twombly’s
large-scale paintings inspired by The
Iliad are abstract marvels. Myth-
based writings by Ovid are the basis
for countless paintings, prints and
sculptures. And who can imagine the
cathedrals of art emptied of works
inspired by Bible stories?
Every artist brings a personal sen-
sibility to depictions of a chosen text.
The Romantic painters often turned
to poetry and myths, and brought
those tales to life in ways that remain
with us to this day. John Waterhouse’s
The Lady of Shalott, based on the
eponymous poem by Alfred Lord
Tennyson, has been so popular that
one can even find it on mugs—and Sir
John Everett Millais’ Ophelia (at left)
Frankenstein Konfidential, Chapter 1: In

the Cemetary (oil on linen, 79x127), by
Hyeseung Marriage-Song, sets the tone for
has created a lasting visual impression illustrative bent natural to posters
Frankenstein: Konfidential, Tommy Zurhellen’s of Shakespeare’s tragic figure. Edwin and gothic films. Recently, however,
retelling of Mary Shelley’s Frankenstein. Landseer, Henry Fuseli, Edwin Austin a classical artist named Hyeseung
Abbey, Sir John Gilbert and, of course, Marriage-Song has created several
William Blake also drew inspiration large-scale paintings to accompany a
from the Bard. new telling of the story, Frankenstein:
These examples reference legendary Konfidential, by Tommy Zurhellen.
texts, but there are still more artists The writer and artist met at an art-
who have found obscure, forgotten ists’ retreat, where Zurhellen admired
works that spark the imagination. some of Marriage-Song’s paintings of
Some tales, though popular with other the cemeteries she’d visited during her
visual media, such as film, are simply travels. Four years later, while working
waiting for an artist to commemorate on his manuscript, Zurhellen recalled
their characters and events. Marriage-Song’s evocative paintings
and approached her. The author sets
BOOK: ANN RONAN PICTURES/PRINT COLLECTOR/GETTY IMAGES
THE (RE)MAKING his retelling of the story in Nazi-era

OF A MONSTER Germany and creates the monster
One iconic book celebrated its as a type of a golem from Jewish
200th anniversary in 2018: Mary mythology. After several conversa-
Shelley’s Frankenstein; or, the Modern tions and a reading of his version,
Prometheus. This tale of scientist Marriage-Song imagined huge paint-
Victor Frankenstein, whose desire ings about these haunted characters,
to overcome life’s limits leads to and a collaboration was born.
creating a monster that he ultimately The two support each other’s cre-
rejects, is a heartbreaking story ative vision; just as Zurhellen had
The novel Frankenstein, by Mary Shelley, was first with many interpretations. Its departed from Shelley’s story, so
published in 1818. In this cover illustration from
a late 19th-century edition, Victor Frankenstein renowned film renditions form the too did Marriage-Song find her own
confronts the monster he has created. basis for most of the art the tale has elements to explore. Having begun a
generated, with a strong graphic and Ph.D. in philosophy before dedicating

herself to painting, she dove into Konfidential, Chapter 1: In the Cemetary;

the cultural, psychological and philo- opposite). Although such imagery was
sophical nature of the golem within the initial basis for the collaboration,
Zurhellen’s tale. Zurhellen, a profes- she soon realized the plot wasn’t what A GOOD STORY
sor of English and a novelist with an captured her interest; rather, her
understanding of Jewish folklore, passion and artistic potential lay in PROVIDES A
extended his research to visit Castle presenting the characters, as seen in
Frankenstein, in Darmstadt, Germany, Frankenstein Konfidential: Lilo (below),
DIFFERENT
where an alchemist who conducted his depicting Viktor Frankenstien’s stu- WORLD TO
own mad experiments in the 17th cen- dent—a new, strong female lead in
tury may have inspired Mary Shelley. Zurhellen’s story. An ardent reader, as IMAGINE AND
Zurhellen and Marriage-Song had well as confident portraitist, Marriage-
plenty of insights to share. Song found that her research brought CARVES A
Marriage-Song’s interest in new life to her portrayals of the S PA C E F O R
reliquaries offered a starting point fictional personalities. Since Viktor
for her response to chapter one of Frankenstein’s creative drive aligns SEEING AGE-
Frankenstein: Konfidential, result- him with the artistic life, the artist
ing in a nearly 12-foot-wide scene invited participants in the art world OLD ISSUES IN
adapted from her visit to Père Lachaise to model for the seven- and eight-foot
Cemetery, in Paris (see Frankenstein portraits of these enigmatic characters.
N E W W AY S .
Frankenstein Konfidential: Lilo

EXPANDED NARRATIVES
by Hyeseung Marriage-Song Reading produces its own kind of
oil on linen, 84x60 conversation and can cultivate the
The Wide Sargasso Sea

imagination. Many artists listen given explicit expression to her politi- by Paula Rego
to audio books instead of music cal ideology in works about her native 2000; conté on paper, 71x96
while working in the studio. Others, Portugal. In addition, her viewpoints
remembering books from their influenced her adopting Charlotte
childhood, return to them time and Brontë’s Jane Eyre and Jean Rhys’ in the symbolism and composition of
again. English artist Paula Rego loved Wide Sargasso Sea, classics of femi- Rego’s works.
to read as a child, and many of her nist and post-colonial literature, to Her painting The Wide Sargasso
images are imbued with a folk and present the psychological impact of Sea (above) is likewise crammed
fairy-tale aesthetic akin to the sur- narrowly defined lives. with characters from the Rhys novel
realist imaginings of artists Leonora Rego’s lithographs inspired by about Bertha, the Caribbean woman
Carrington or Remedios Varo. Brontë’s novel are celebrated for locked in the attic in the storyline
PRIVATE COLLECTION/BRIDGEMAN IMAGES
Working with pastels, Rego cor- their resistance to prettifying the of Jane Eyre. Despite her departures
rupts the charm of Snow White or characters—in keeping with Brontë’s from the books, Rego’s work has the
Cinderella, for example, by altering own descriptions of her protago- theatrical, narrative and symbolic
the age, awareness and sexuality of nist, Jane Eyre—which permits the elements that allow viewers to make
these heroines, a twist on the sexism figures an admirable ugliness rem- connections to the original texts.
these tales encourage in many of their iniscent of Goya or Velázquez. The
popular figurations. prints depart from the plot of the ELUSIVE ALLUSIONS
Known for her narrative and Brontë novel in significant ways, but The abstract paintings of Barnett
psychological images, Rego has also a sense of the major issues is present Newman (1905–1970) demand a

different kind of effort from the everything written by Hegel, Marx or

viewer. Although Newman is now Lenin. Texts and ideas are always in
considered one of the major figures
of Abstract Expressionism, with sig-
the background of his paintings, chal-
lenging the viewer to understand the INSPIRED
nificant influence on Minimalism,
his work was roundly condemned by
visual enactments. BY ARTISTS
Just as the written word inspires
critics until he was in his 50s. CREATIVE DYNAMIC many artworks, so also do artists
Newman’s flat, minimal color Texts of all kinds inspire artists to and art inspire writers. Below are
with strict vertical lines dividing the produce works that the viewer might a few of the comic escapades,
space of the canvas are challenging not associate with the allusion if not historical novels, mysteries and
visual contemplations. His work for the title, and yet some of the other literary works that revolve
The Stations of the Cross (below), a excitement and passion that the artist around the world of art:
series of 14 black-and-white paint- holds for the text is transported to
ings about Christ’s final day and his the art. The musings over the words, Old Masters: A Comedy by Thomas
journey to crucifixion, is a stunning their meaning and malleability across Bernhard
intellectual feat that the National time, provoke an entirely distinct
The Matisse Stories by A.S. Byatt
Gallery of Art in Washington D.C. visual expression.
keeps on permanent display. Though some have worried that art Strapless by Deborah Davis
In general, however, Newman became literary when it focused on Headlong by Michael Frayn
evoked figures from texts, as seen theory and concept, many artists
The Pitmen Painters by Lee Hall
in his paintings Abraham, Adam, show the simplicity in such a belief.
Eve, Uriel and Ulysses. His mini- Texts offer ideas and images that art- The World to Come by Dara Horn
malist style demands that viewers ists transport and transform through The Forgery of Venus by Michael
meditate on the visual correlation their medium. A good story provides a Gruber
to these Biblical and mythological different world to imagine and carves Sacré Bleu by Christopher Moore
personalities. a space for seeing age-old issues in
Newman had studied philosophy new ways. The Art Forger and The Muralist by
at the City College of New York and B.A. Shapiro
wrote magazine articles in the sub- C.J. Kent is a freelance writer and editor, The Agony and The Ecstasy, Lust
sequent decade; one presented a list as well as a professor at Montclair State for Life and Depths of Glory by
of books, recommending Spinoza’s University. She also founded Script and Irving Stone
Ethics, Plato’s Republic and the Type (scriptandtype.com), which helps The Bride Stripped Bare by Her
writings of the Russian anarchist people express themselves efectively in Bachelors, Even by Chris F. Westbury
Peter Kropotkin—and condemning writing and in person.
Four of the 14
paintings from
Barnett Newman’s
The Stations of the
Cross (magna on
canvas) on display at
PHOTO (DETAIL) BY BILL O’LEARY/THE WASHINGTON POST VIA GETTY IMAGES
the National Gallery of

Art, Washington, D.C.
Winter
Sojourn
Eric Aho depicts the landscapes of mind and
memory in the guise of snowy scenes.
By Susan Byrnes
Where might a painting take you if you let

it? Without taking a step, you could go to a
place that’s familiar or one that’s foreign.
You might visit the past or the future, a
place of memory or invention. You might
enter an internal space, a place that exists
beyond recognizable objects to one
governed by impressions, reminiscences
and feelings. For Eric Aho, a painting’s
magic lies in its power to transport. His
abstract landscapes deliver viewers to
close and distant territories.
Sheet
oil on linen,
62x80

More Than Landscapes Woods

(diptych) for some narrative or expressive purpose,” he
Aho creates generously proportioned, luminous oil on birch says. “Now, landscape is more about my physical
vistas, making paintings as large as 7x9 feet that panel, 20x32 response to it than a picture of it. The physical
occupy one’s entire field of view. The works suggest response part is the “figure” in the equation—the
natural spaces of deep woods, fields of brilliant landscape as a surrogate for human form or human
flora, skies and water. His paintings of winter expression. The paintings may be of trees and
landscapes reflect the snow-covered mountains skies and hillsides, but my greater wish is that they
and hemlock groves of his native New England, as represent something larger.”
well as the frozen lakes and ice floes that recollect
his Finnish heritage.
After earning a BFA from Massachusetts College Allusions to Figures
of Art and Design, in Boston, Aho’s advanced Aho likens the very material of the paint to the
studies took him to Finland, London and Cuba. figure, describing the paint itself as “fleshy” and
Later, he traveled to Iceland, Russia, Europe the composition and rendering of the forms in
and Mexico, among many other places. “When I terms of musculature, skeletons and armatures. In
returned home and stopped traveling so much,” Woods (diptych), above, delicate white horizontal
Aho says, “I really understood what it meant to strokes of branches shoot across the top of the
apply a universal lens to something local.” Because panels, directing the gaze into the depths of the
his own imagination had been fueled by travel, he woods as they cut across the vertical stripes of the
sought to make paintings that served as vehicles to tree trunks like a guide’s pointing arm.
transport people to other kinds of places. Through The figurative reference is particularly strong in
his global experiences, he began to see new Sheet (pages 80–81). This veritable sheet of ice or
possibilities in the terrain so familiar to him. snow appears as a path, leading the viewer to a
To hear him tell it, however, Aho doesn’t distant passage or ledge. The flat, white triangle,
consider himself a landscape painter. He which pulls the viewer into the center of the space,
maintains that there’s something else he seeks is proportioned to allude to the form of a body
to communicate. “I started out as a figurative covered by a sheet or shroud. Composed of thick
painter earlier in art school, drawing and making and thin paint, heavy floating chunks hang
prints in a figurative manner, utilizing the figure overhead like the threat of an avalanche.

Halonen
oil on linen,
60x50
Aho often creates a correlation of the Base of work or explores new questions. “I never work
figurative and the landscape by titling his oil on linen, the same way twice,” says Aho. “I might work on
62x70
paintings after an individual; the landscape a series of things, and then I totally forget how to
then becomes a representation of that person. make the cake.” His work is informed by imagery
The painting Halonen (page 83) is named for ranging from that of Titian and Rembrandt to that
the Finnish painter Pekka Halonen. In what Aho of Arthur Dove and Agnes Martin.
calls a “crude reiteration” of one of Halonen’s The natural elements visible in Aho’s paintings
works, faint tree trunks suggest a snow- and are remarkably descriptive in spite of the spare
fog-filled ravine, while warm and cool shadows rendering he may apply to a limb sagging with
sculpt the snow in the foreground. In a reference snow, for example, or a shadow on ice. He uses
to Halonen’s forests, laden with voluptuous, a process of putting things down and taking
cloudlike snow, Aho’s meandering blue and them away, sometimes building up the paint
gray brushstrokes imply outlines of fleecy white to a visible thickness or scraping it back to the
boughs with delicate tips. linen surface. Rather than use glazing to give
the illusion of transparency, he applies opaque
Marks, Textures and Shapes swaths of color.
The basic materials Aho uses for his work are On the right side of the painting Base (above),
strictly traditional; he paints with oil on primed he scumbled fleshy pink and brown strokes over
linen, uses a variety of paint brands and creates cooler tones for texture. Pronounced strokes of
his own medium mixture of stand oil and linseed white and sienna define edges and peaks. Thick,
oil. His technical approach, however, is anything white foreground planes cede to a soft blue center,
but standard. He often develops new methods of giving the space visual weight and depth while
painting as he seeks different qualities in a body maintaining a sense of translucent ice and mist.

“LANDSCAPE IS MORE ABOUT MY PHYSICAL

R E S P O N S E T O I T T H A N A P I C T U R E O F I T.”
—ERIC AHO
Viewfinder
oil on linen,
52x48
Lake
oil on linen,
78x70
Aho paints with inexpensive Chinese bristle and

house-painting brushes; among these, his favorites
come from Italian and Spanish hardware stores. “I
don’t want the mark to be so special,” he says. “A
crude brush makes a certain straightforward mark.”
Of course, it’s what you do with a mark in the
context of your subject that makes the painting.
For Aho, the attraction to a subject is about more
than just the specificity of a detail. “It’s really a
relationship to the space and the shape—whether
it feels like it suggests something and that
something is a way into the painting,” he says. In
Viewfinder (page 85), an odd shadow stretches
across the middle of the painting, possibly cast
by a darker, upper mass. The receding diagonal
lines that surround it create a strong triangular
symmetry that pulls the viewer into the space
and to the tiny hills beyond. In Lake (at left),
Aho connects the shapes of the lake and trees by
emphasizing the flatness of their volumes with
monochromatic green tones and low contrast.
He goes on to explain, “When a tree stops being
a tree and starts being a series of shapes, that’s
interesting to me. I try to paint the tree without it
being a tree. I don’t want to show the trunk and its
branches and all of its leaves. I’m interested in the
more unusual forms that it generates and the way
those unusual forms remind me of something.”
Depicting Sensibilities
During much of his career, Aho painted en
plein air. Rather than replicate external details,
he sought to capture his visceral response,
incorporating fore, aft and peripheral views along
with his physical and psychological sense of
the scene. Over the past 10 years, however, he
has been working primarily in his rural Vermont
studio, making paintings based on things he has
seen and experienced in previous observations or
from glimpses of things caught while walking or
driving—or perhaps referencing smaller paintings.
He doesn’t use photographs because he feels they
tend to pollute rather than inform his vision of a
situation. At this point, Aho’s principal motivation
is working from memories and impressions.
“My ambitions for the paintings in the last
few years have been more psychological than
Hemlocks
February Snow
oil on linen, 60x50

topographical because I’m more interested in black rectangular hole set at an oblique angle
Ice Cut
how we make our way through the world, so the (1937) to the viewer. Beyond the frightening drop into
paintings are less about those places and more oil on linen, nothingness, the facing plane of the cut is an
about the meaning of those places,” he says. In 74x95½ alluring emerald green—seductive, almost, with
Hemlocks February Snow (opposite), heavy strokes the receding snow on the far side softening into
wash down the face of the painting, smudging the cloudlike forms.
surface with a glowing and sometimes dull light. Aho’s winter landscapes continue to explore
The weight of this image comes not only from the new territory, extending beyond imagery related
dragging directionality of the brushstrokes but to New England or his Finnish roots. “It’s more
from the deep and varied shadows. This is the wet, about the Arcadia of the North—this idea of a
dreary snow of late winter. fragile state, a veneer covering human elements
like a veil we use to cover ourselves,” he says. “We
mask our feelings, hide behind things. Winter is
Cutting Through Time elemental. I see it like a human skin somehow—
cold and unapproachable, but at the same time,
Ice Cut (1937), above, is an autobiographical work THE WORK OF
representing an ongoing series in which Aho recalls ERIC AHO IS it’s beautiful and sensitive.”
REPRESENTED
his father’s stories of harvesting ice as a child BY DC MOORE
in the Finnish community. The artist generated GALLERY, IN Susan Byrnes is a visual artist whose work
NEW YORK
the image by cutting a hole in the ice of a nearby CITY. FOR encompasses traditional and contemporary forms
pond. He then returned to the studio to paint from MORE and practices, including sculpture, multimedia
memory. A gaping black abyss absorbs all light, INFORMATION, installation, radio broadcasts, writing and
VISIT AHO’S
and, similar to Sheet, seems to reference a body WEBSITE AT curatorial projects. For more information, visit
or even a grave. Jagged white peaks surround the ERICAHO.COM. susanbstudio.com.
acrylicworks 7
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JAZZYY D V tail) | D ni e At anas
“BENEFITS ABOUND FOR THOSE

A B L E T O F I N D W AY S T O A D A P T
T H E I R C R E AT I V E S E L F I N T O T H E I R
Delilah and Judy C U LT U R E ’S C O M M E R C I A L C L I M AT E .”
by Emily Muller
ink and watercolor,7x5 —J O H N R O M A N
Outfit BUSINESS OF ART
Find Your Niche

Narrowing your creative focus can actually widen your career horizon.
by John Roman
s pecialization is the norm in many professions.

Doctors train in different fields of medicine, attor-
neys limit their practices to specific branches of the
law, and engineers concentrate in particular technologies
and products. Rarely do we think of artists as specializing
in distinct disciplines, yet they have been doing just that
since antiquity.
HISTORIC PRECEDENT
In 1435, the Renaissance master Leon Battista Alberti
wrote the classic work Della Pittura, in which he counseled
artists of his time on the importance of finding their
unique calling as creators. He suggested Renaissance art-
ists not spread their talents too thin and advised building a
career based on personal interests and artistic strengths.
“Nature gives to each intellect its own gifts,” Alberti
explained, and he documented several examples of ancient
artists who had followed this model.
Reaching back to the fifth century B.C., Alberti began his
treatise with the work of Phidias, a Greek sculptor who nar-
rowed his subject matter to representations of the beauty of
young men. The Athenian painter Nicias was known for his
skill at depicting female figures in melodramatic situations.
Moving forward one century, there was Euphranor, a Greek
artist who spent most of his career painting and sculpting
lllustrator Becca Cahan (beccacahan.com) specializes in fun hand-lettering.
members of the nobility. Serapion worked solely on Greek

theater scene painting. During the second century B.C.,
Heraclides was strictly a marine painter of sea and ships.
Alberti’s account continued with two first century B.C.
Roman artists: Alexander, an expert at painting animals of
all kinds, and Arellius, who painted only goddesses. Leaping
ahead to Alberti’s own century, there was Dionysius,
an icon-painter whose distinctive style became known as
Muscovite mannerism.
Alberti’s research into art history uncovered a
well-established precedent for Renaissance artists to com-
partmentalize their professions into niche markets. Alberti
revealed this information to educate artists of his day in
the value of specializing within their vocations. His book
Maria Palkon (mariapalkon.com) turns intricately cut paper into an art form. touches on valid points that today’s artists can ponder
with regard to their own pursuits.

Artist Emily Muller (emilymullerart.com) creates

animal portraits and illustrations. Jude (7x5) is
from her ink-and-watercolor series.
attention and drives our creativity, the next step is to

shape, challenge and develop those special techniques or
skills. We hear of artists such as Georgia O’Keeffe who
would tackle one subject—a fossilized bone or a magnifi-
cent flower—and paint it over and over again. Each new
work would grow out of the previous attempt. This degree
of focus and commitment is essential to finding ultimate
expression. Through this process, we become aware that our
art isn’t coming out of us—it’s coming through us, and,
according to Alberti, art emanating from our innermost
being will, “hold the eyes and the soul of the observer.”
RESPECT YOUR INDIVIDUALISM

The Renaissance brought to the forefront reverence for the
individual. Accordingly, Renaissance artists were the first
in history to sign their works. Alberti realized that an
artist’s reputation is built on his or her individuality—
one’s artistic “branding”—and that benefits abound for
those able to find ways to adapt their creative self into
their culture’s commercial climate.
Specializing within the broader expanse of the arts
has deep roots reaching back many centuries. From that
distant time, our early mentors imparted by example
a tactical business plan for artists today.
ACKNOWLEDGE YOUR INNER “GOLD”
John Roman (johnromanillustration.com), an award-winning
Alberti placed a priority above financial rewards when he illustrator specializing in illustrated maps and technical art, is
stated, “The first aim of being an artist is to bring pleasure the author of he Art of Illustrated Maps (HOW Books), and
to the artist.” Of course, this is not to say an artist’s work 50 Markets of Illustration (HOW/e-Books). He teaches at
shouldn’t bring monetary gain. Rather, Alberti believed Boston’s Massachusetts College of Art and Design.
true artists are in close touch with nature and, thus, in
close touch with the nature of their own passions. Poet
Robert Bly refers to this as one’s “inner gold.” Alberti said
that the first step is to honor one’s exclusive talents. It’s by
following one’s personal inspirations that a professional
life in art is most rewarding—on all fronts.
I interpret Alberti’s instructions in Della Pittura as
the voice of a career consultant guiding creators to a
place where they’re able to ignore what is trendy and
look beyond what everyone else is doing in the art field.
Typically, artistic people don’t follow the crowd, but some-
times pressures or erroneous advice from fellow artists,
educators, parents, friends and even from the marketplace
can put artists on a path that isn’t, at heart, of their own
choosing. This is especially true for young artists begin-
ning their careers. Recognizing your inner gold, then, is the
key to bringing “pleasure to the artist.”
CULTIVATE YOUR GIFT

Alberti continued his coaching with a brief but significant
statement: “Our gifts of nature should be cultivated.” He’s
saying that once we’re in touch with what holds our Artist Laura DeDonato Wiatt (lauradedonato.com) focuses on murals.
Exhibitions, events and other items of interest
DO
1.
1. Lower Falls,
Yellowstone Park
(Grand Canyon of
the Yellowstone)
NOW
by Thomas Moran
oil on canvas,
39⅝x591⁄4
2. Bridal Veil Falls,
(ROBERT F. PHIFER BEQUEST) AND VARIOUS DONORS, BY EXCHANGE. 3. PRINCETON UNIVERSITY LIBRARY, RARE BOOKS AND SPECIAL COLLECTIONS 4. LOS ANGELES COUNTY MUSEUM OF ART; LOS ANGELES COUNTY FUND
Yosemite
by Albert Bierstadt
1. GIFT OF THOMAS GILCREASE FOUNDATION, 1955; GILCREASE MUSEUM, TULSA, OKLA. 2. NORTH CAROLINA MUSEUM OF ART, RALEIGH; PURCHASED WITH FUNDS FROM THE NORTH CAROLINA STATE ART SOCIETY
oil on canvas,
36⅛x263⁄8
New Jersey
NATURE’S NATION: 2.
AMERICAN
ART AND 3.
ENVIRONMENT
PRINCETON UNIVERSITY
ART MUSEUM • PRINCETON, N.J.
ARTMUSEUM.PRINCETON.EDU
THROUGH JANUARY 6
“Nature’s Nation: American Art and

Environment” will use 300 years
worth of art to portray the ever-
changing relationship between
people and the natural environment.
Artists have often had a hand in
society’s perceptions regarding the
dynamic between the human condi-
tion and the untamed beauty of the
wilderness. More than 100 works will
be shown, demonstrating various
ideologies, such as manifest destiny
in the 19th century, biblical dominion 4.
and modern ecological sensitivity.
Iconic masterpieces will be intermixed
with rarely displayed works.
3. Carolina Parakeet
Future venues for the show include by John James
the Peabody Essex Museum, in Salem, Audubon
Mass., between February 2 and May from The Birds Of
5, and the Crystal Bridges Museum of America, Plate 26
American Art, in Bentonville, Ark., color-printed
lithograph on
from May 25 to September 9. paper, 38⅞x251⁄4
4. Cliff Dwellers
by George Wesley
Bellows
oil on canvas,
40¼x421⁄8

Ohio
FRANS HALS PORTRAITS:
A FAMILY REUNION
TOLEDO MUSEUM OF ART • TOLEDO, OHIO
TOLEDOMUSEUM.ORG
THROUGH JANUARY 6
“Frans Hals Portraits: A Family Reunion” will feature

the various family portraits painted by Frans Hals
during the Dutch Golden Age. The exhibition is a
collaboration between the Toledo Museum of Art
and the Royal Museums of Fine Arts of Belgium in
TOLEDO MUSEUM OF ART, TOLEDO, OHIO, INV. 2011.80
Brussels. The show was prompted by the acquisition

of the image shown at right, which was originally
combined with another composition that will also be
shown. There will be three other family portraits
painted by Hals, on loan from the Cincinnati Art
Museum, the National Gallery, in London, and the
Museo Thyssen-Bornemisza, in Madrid.
Accompanying the exhibition will be a contem- The Van Campen Family in a Landscape
porary take on the evolving nature of families, with by Frans Hals
voices from the neighborhoods surrounding the ca 1623-25; oil on canvas, 59½x64½
Toledo Museum of Art. The museum is also planning
times for storytelling, art-making and workshops.
artspan
websites since 1999
A rtspan Member Art: Minako Ota
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MADELINE ISLAND HUDSON RIVER VALLEY

SCHOOL of the ARTS ART WORKSHOPS
-/1 "ÊUÊ* Ê,ÊUÊ8 Ê Learning, Laughter,
2018 MISA West | Tucson, AZ and Friendships in an
Karlyn Holman ...................November 26-30 Inspiring, & Inviting
2019 MISA West | Santa Fe, NM Environment
Skip Lawrence ........................ February 4-8
Sterling Edwards ..................... March 18-22 Call Toll-Free 1-888-665-0044
Karlyn Holman ........................ March 25-29 Kellee Wynne Conrad Mar 17-23, 2019
Jane LaFazio ...... WAIT LIST ....... April 15-19 Patti Mollica Mar 27-31, 2019
Kami Mendlik ........................... April 15-19 Alain Picard Mar 31-Apr 6, 2019
Jane Davies .............................. May 13-17 Alvaro Castagnet Apr 10-14, 2019
Jane LaFazio ............................ May 13-17 Howard Rose Apr 14-18, 2019
Carol Nelson ............................ May 20-23 Koo Schadler May 5-11, 2019
2019 Madeline Island Barbara Nechis May 15-19, 2019
Dan Mondloch........................... June 10-14 Robert Burridge May 19-25, 2019
Emilie Lee May 29-Jun 2, 2019
Kellee Wynne Conrad ................ June 24-28
Jane Davies Jun 2-8, 2019
Joe Paquet ..................................July 8-12 Leah Lopez Jun 9-15, 2019
Ward Jene Stroud .........................July 8-12 Paul Leveille Jun 23-29, 2019
Jane Dunnewold ......................... July 15-19 Michael Solovyev Jun 30-Jul 6, 2019
Jane Davies ............................... July 22-26 Debora Stewart Jul 7-13, 2019
Herman Pekel ............................ July 22-26 Kim English Jul 14-20, 2019
Pam Garrison ..................... July 29-August 2 Sally Strand Jul 21-27, 2019
Kami Mendlik ............................ August 5-9 Michael Story Jul 28-Aug 3, 2019
Elizabeth St. Hilaire ................ August 12-16 David Daniels Aug 4-10, 2019
John Cosby............................ August 19-23 Retreat Week Sep 1-7, 2019
Sandra Duran Wilson ..........September 16-20 Margaret Dyer Sep 8-14, 2019
Fabio Cembranelli ..............September 23-27 David Taylor Sep 15-21, 2019
www.MADELINESCHOOL.com artworkshops.com
See Art | Love Art | Share Art

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C a l l Fo r E n t r ie s 0DU\:K\WH
Weeklong classes in painting, 0DUFK
DEADLINE: JANUARY 22, 2019 /DJXQD%HDFK&$
LOUISIANA WATERCOLOR SOCIETY 49TH drawing, mixed media and more.
INTERNATIONAL EXHIBIT, New Orleans. May 4-24, $OYDUR &DVWDJQHW
2019. Michael Holter, juror. 1st Place: $2,500.
JOHN C. CAMPBELL FOLK SCHOOL $SULO $SULO
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DEADLINE: MARCH 7, 2019 BRASSTOWN NORTH CAROLINA +HUPDQ 3HNHO
RED RIVER WATERCOLOR SOCIETY’S 26TH ANNUAL
NATIONAL JURIED WATERMEDIA EXHIBITION,
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June 17 through August 3, 2019, Fargo, ND. 3DULV9HUVDLOOHV
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Juror - Iain Stewart AWS, NWS. Awards $5,000 -XO\ $XJXVW $XJXVW
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DEADLINE: MAY 15, 2019 -XO\ $XJXVW

PENNSYLVANIA WATERCOLOR SOCIETY’S 40TH *UHHQYLOOH 6& %HQG 25
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2019. Oil, watercolor, acrylic, or mixed media.

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Lasting impression
Piette’s Houses at Montfoucault

by Camille Pissarro
1874; oil on canvas, 18¼x27
ACQUIRED BY STERLING AND FRANCINE CLARK, 1941; 1955.826; USED WITH PERMISSION OF THE CLARK ART INSTITUTE
THE CLARK ART INSTITUTE
In 1874, Camille Pissarro (French, 1830–1903) and his

family traveled to the home of the artist’s friend, Ludovic Piette.
The Impressionists were interested in the effects of light upon
surface, so picturing a winter landscape was an enticing challenge
for Pissarro. Though seemingly monochromatic at a glance, the
painting comprises a complex layering of light pigments—
blue-grays, greens, ochres and whites. Heavily worked passages of
white paint indicate a blanket of snow upon the trees’ branches,
which droop under the weight of the accumulation.
ESTHER BELL
R O B E RT A N D M A RT H A B E R M A N L I P P C H I E F C U R ATO R ,
C U R ATO R O F PA I N T I N G A N D S C U L P T U R E
T H E C L A R K A RT I N ST I T U T E


The Artist 39 S Magazine - 01 2019

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The Artist 39 S Magazine - 01 2019

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