ArtistsMagazine 03-March 2018

Art sts
ALL NEW!
ARTISTSNETWORK.COM
Magazine
Paint Your
Cake!
(And Eat It Too)
9 Projects 2 Workshops
1 Tutorial 4 Profiles
ARTISTS WE’RE
LOVING NOW
30 Competition
Winners
Throw a Dish
Ceramics Is the
New Fun Art
GO TO MARKET
Top Advice on Making MARCH 2018
+
Money As an Artist
SPECIAL SUPPLEMENT
Your Complete Guide to Art
Workshops Here and Abroad
“A R T I S A N
EPIPHANY IN A
C O F F E E C U P.”
E L I Z A B E T H M U R R AY
Painted plate by
MICA student
Dani Clover-Flick
Created with Utrecht Artists' Oil Colors
Prized by artists around the world, Utrecht Artists' Oil
Colors offer superior intensity and opacity, buttery texture,
outstanding lightfastness, and excellent tinting strength. For
more than 50 years, Utrecht has been handcrafting these
professional-quality oil paints in Brooklyn, New York.
Count on Utrecht Artists' Oils to maintain their
consistency, quality, and performance from
batch to batch and year to year.
BLICK
®
DickBlick.com 800.828.4548
"Utrecht paints are a part of my mix and have been for
nearly 20 years. I've done over 40 paintings using
exclusively Utrecht paints."
– Kevin Hunter
"The Sea Captain's Dinner" by Kevin Hunter

kevinhunterart.com
Contents
Volume 35 | Issue 02
MARCH 2018
74 62
Compositions
56 70 79
ART & CAKES LIFE OF THE PARTY A DISPLAY OF
Celebrity cake decorator An exhibition examines the EXCELLENCE
Ron Ben-Israel utilizes his creation and ongoing impact of We present the 30 winners of
artistic eye to beautify his The Dinner Party, Judy Chicago’s this year’s Annual Art
delectable desserts. landmark work of feminist art. Competition.
62 74
WHAT’S THE BIG THE WELL-FED ON THE COVER
IDEA? ARTIST Painted plate by Maryland Institute College
A trio of still life painters—Roberto Make your art and eat cake,
of Art student Dani Clover-Flick
Bernardi, Samuel Hung and Robert too—embrace the business side PHOTO: AL PARRISH
Jackson—shoot for happiness. of art-making. STYLIST: JAN NICKUM
2 Artists Magazine March 2018

44 100
22
Prime Build Outfit
12 BIO 36 TUTORIAL 94 SPOTLIGHT
Maxfield Parrish Setting Up a Still Life The Commissioners
14 COLOR STORY 38 WORKSHOP 96 SHORT STORIES

Marzipan Peach Showing Form Through
Underpainting 98 INDEPENDENT
17 SPACE STUDY
Small-Space Solution 44 LESSON
Understanding the 100 DO NOW
18 WELLNESS Picture Plane
Listen to Your Body Talk 104 LASTING
50 PROMPTS IMPRESSION
22 CROSSROADS 9 Creative Projects
Fine Art Meets
Fine Dining 52 TECHNICAL Q+A
From Work Space to
26 ALCHEMY Framed Works
The Parts That Make
the Whole
4 EDITOR’S NOTE
5 CONTRIBUTORS
31 THE ASK 6 BEHIND THE COVER
32 GENESIS W1 WORKSHOP DIRECTORY
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 200, Cincinnati OH 45242; tel: 386/246-3370.
Subscription rates: one year $25. Canadian subscriptions add $15 per year postal surcharge and remit in U.S. funds. Foreign subscriptions add $20 per year postal surcharge and remit in U.S. funds. Artists Magazine will not be responsible for
unsolicited manuscripts, photographs or artwork. Only submissions with a self-addressed, stamped envelope will be returned. Volume 35, No. 2. Periodicals postage paid at Cincinnati OH and additional mailing offices. Postmaster: Send all address
changes to Artists Magazine, P.O. Box 421751, Palm Coast FL 32142-1751. F+W Media Inc. Back issues are available. For pricing information or to order, call 855/842-5267, visit our online shop at ArtistsNetwork.com/store, or send a check or money order
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ArtistsNetwork.com 3
From The Editor Art sts Magazine
CONTENT STRATEGIST + EDITOR IN CHIEF
Michael Gormley
MANAGING EDITOR Austin R. Williams
CREATIVE DIRECTOR Dean Abatemarco
ART DIRECTOR Amy Petriello
SENIOR EDITOR Holly Davis
ASSOCIATE EDITOR Michael Woodson
ASSOCIATE EDITOR Mike Allen
ADVERTISING
ADVERTISING CONSULTANT Mary McLane
970-290-6065; mary.mclane@fwmedia.com
MEDIA SALES COORDINATOR Barb Prill
800-283-0963 ext. 13435; barb.prill@fwmedia.com
DIRECTOR OF ADVERTISING SALES Tony Carrini
646-859-6599; tony.carrini@fwmedia.com
F + W, A C O N T E N T + E C O M M E RC E C O M PA N Y
CHIEF EXECUTIVE OFFICER Thomas F.X. Beusse
CHIEF OPERATING OFFICER Joe Seibert
CHIEF CONTENT OFFICER Steve Madden
CHIEF TECHNOLOGY OFFICER Joe Romello
ART AND ABUNDANCE SVP, GENERAL MANAGER, F+W FINE ART,

WRITING AND DESIGN GROUPS David Pyle
MANAGING DIRECTOR, F+W INTERNATIONAL
Ever since our mothers first served us a bowl of tomato soup or a slice of James Woollam
apple pie on a rainy day, we’ve come to associate food with love and VP, GENERAL COUNSEL Robert Sporn
VP, HUMAN RESOURCES Gigi Healy
abundance. It follows that artists have long depicted food as symbolic of
VP, MANUFACTURING & LOGISTICS Phil Graham
comfort, and in this issue we celebrate “food art” that achieves this and more.
NEWSSTAND SALES, CONTACT:
An article on healthy eating by Dr. Sara Chipps Scott T. Hill, scott.hill@procirc.com
(page 18) serves as the first step on our path to
wellness. A well-laid table is one sure sign of artful ARTISTS MAGAZINE EDITORIAL OFFICES
1140 Broadway 14th Floor, New York, New York 10001
living, and we feature the marvelous creations of info@artistsmagazine.com
ceramicist Molly Hatch (page 22). If you want to SUBSCRIPTION SERVICES
create your own tableware, you’ll learn about a few P.O. Box 421751, Palm Coast FL 32142-1751
Tel: 800-333-0444 (U.S. and Canada)
of the tools you’ll need (page 26). And because we Tel: 386-246-3370 (international)
need to see beautiful food before we can paint it, Website: ArtistsNetwork.com
we share in Ron Ben-Israel’s famous wedding cakes INTERNATIONAL NEWSSTAND DISTRIBUTION
Curtis Circulation Co.
(page 56). 730 River Road, New Milford, NJ 07646
To help you paint such delightful confections, we offer lessons on still Tel: 201-634-7400 Fax: 201-634-7499
life composition (page 36), underpainting (page 38) and drawing (page 44). ATTENTION RETAILERS
To carry Artists Magazine in your stores,
We then explore a range of food-inspired artwork, including a trio of contact us at sales@fwmedia.com
realist painters (page 62) and Judy Chicago’s landmark The Dinner Party PRIVACY PROMISE
(page 70). Because being a starving artist is passé, we run a story on how to Occasionally we make portions of our customer list
available to other companies so they may contact you about
make a living through your art (page 74). Exposure is the key to success, products and services that may be of interest to you. If you
and in that vein we proudly feature the winners of this year’s Annual Art prefer we withhold your name, simply send a note with the
magazine name to List Manager, F+W, 10151 Carver Road,
Competition (page 79). Suite 200, Cincinnati OH 45242.
Art, food and life are all in abundance in this issue of Artists Magazine. Printed in the USA
CAKE: MANUEL RODRIGUEZ; EDITOR: ALI BLUMENTHAL
Enjoy and be well. Copyright © 2017 by F+W Media, Inc. All rights reserved.
Artists Magazine is a registered trademark of F+W.
Cheers,
Thoughts on our new design?

MICHAEL GORMLEY Let us know! Email us at:
Content Strategist + Editor in Chief info@artistsmagazine.com
ArtistsNetwork

Contributors
Impressions & Observations
Contributors to this issue of Sketches, drawings & paintings
Artists Magazine include… 1942 -2017
Kinstler has painted from life eight American

LINCOLN AGNEW WYLZPKLU[ZPUJS\KPUN[OLVMÄJPHS>OP[L/V\ZL
“THE WELL-FED ARTIST” portraits of Gerald Ford and Ronald Reagan. No
Lincoln Agnew is a freelance other artist has portrayed more historical and
illustrator who currently lives in
Vancouver. When he isn’t busy
cultural personalities of his time than Kinstler.
walking in the park or staring at These selections from his sketchbooks provide
jellyfish, he enjoys cutting and a window into his thinking and into his skills
pasting pictures for such publications
as Vanity Fair, Entertainment Weekly PU[LYWYL[PUNMHJLZÄN\YLZHUKSHUKZJHWLZ
and The New Yorker.
SARAH CHIPPS
WELLNESS: “LISTEN TO YOUR
BODY TALK”
Sarah Chipps, Psy.D. is a New York “Kinstler’s
sketchbooks
State licensed psychologist. She is the
reveal his
clinical director at Monte Nido River inspirations,
Towns, a residential treatment creativity, and
facility in Irvington, New York, for display his
women with eating disorders, and she sees clients in virtuosity as a
her private practice in New York City. She has great painter.”
presented at several national and international Tom Wolfe
conferences on topics such as ethnic diversity, the
client/therapist relationship and creativity in the
treatment of eating disorders.
HELEN OH
TUTORIAL: “SETTING UP A
STILL LIFE”
Helen Oh studied at the School of
Visual Arts and the National
Academy of Design. She holds a Soft cover, 164 pages, $50 + $15 s/h
B.F.A. from Columbia College
Chicago. For a decade, as a gilder and to order you may visit
paintings conservator, she participated in the
treatment of Dutch and Italian Old Master www.EverettRaymondKinstler.com
paintings for private collectors in New York City. For Books & Videos
more information, visit cargocollective.com/helenoh
or coolredwarmblue.blogspot.com. call 203-268-5552
send your check to:
Everett Raymond Kinstler
P. O. Box 147, Easton CT 06612
Behind the Cover
We served up a sweet assignment
to a class of skillful students.
photography by Al Parrish styling by Jan Nickum
For the cover of this issue, Artists Magazine presented students at

Maryland Institute College of Art with a challenge: On a plain white
dinner plate, create an interpretation of a dessert.
The artists, members of a Fine Art Illustration class taught by Matt
Rota, eagerly took this prompt in different directions. They worked in a
variety of materials—including ink, marker, acrylic, gouache and colored
pencil—and took strikingly different approaches to the content.
In preparation, the class studied the history of food art—from still
life paintings by Dutch and Spanish Old Masters to contemporary art-
ists Wayne Thiebaud and Will Cotton. “I tried to push the students not
only to think about drawing things realistically but also to look at food
as design elements and as abstract shapes,” says Rota. “I think the
forms that you can pull from food really lend themselves to exciting
possibilities with drawing. This really became a lesson about the ways
in which something as common as dessert can be made exciting
through technique and how you can break a subject like that down and
interpret it.” —AUSTIN R. WILLIAMS
MICA student Martha

Walker plans her plate.
M A RT H A
WA L K E R
SAMUEL
KANG

J I YU N
PA R K
< <
ALEX
C A S T E L LO N
ELI YUECEN
BOWLES WA N G
ALEX
C A S T E L LO N
Behind the Cover
RICHARD
LIU
A L LY
GREENZAID
CINTHIA
LIN
ASHE
C O D D I N GTO N

CALL FOR ENTRIES
acrylicworks 6
Creative Energy
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EXPRESS YOUR CREATIVE ENERGY!

Celebrate your best acrylic artwork by entering it in
AcrylicWorks 6: Creative Energy!
Along with a feature in the sixth edition of North
Light Books’ AcrylicWorks, your win could lead to
recognition from your peers and even potential clients.
A variety of subjects and styles are welcome, so
let your creative energy shine on the canvas and
enter today!
Le
eRRouuge
ge e
et Le
e Noir
Noiir, L
N Liill anne
Lil
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FOR MORE INFORMATION AND TO ENTER, VISIT

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NORTH LIGHT BOOKS
an imprint of f+w, a content
+ ecommerce company
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new Richeson Oils
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Call 1.800.233.2404 for your nearest
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M O L LY H ATC H
Prime BIO

Maxfield Parrish’s Old King Cole mural
hangs in the bar of the St. Regis hotel,
in New York City.
MAXFIELD
PARRISH
and Old King Cole
In a historic hotel, a titan
of American illustration
is remembered in an
appropriately colossal way.
by Michael Gormley
a dvances in printing technology

between the late 19th century and
the early 20th century allowed for
more accurate and inexpensive reproduc-
tions, creating a market for quality graphic
art. The staggering demand for imagery to
decorate books, calendars, greeting cards,
newspaper advertisements and magazine
covers inspired a period of artistic output
MURAL: COURTESY OF THE ST. REGIS NEW YORK; PARRISH: © CORBIS/CORBIS VIA GETTY IMAGES
subsequently referred to as the “Golden

Age of Illustration.” Maxfield Parrish
(1870–1966) was one of the era’s leading
practitioners, and he was treated like a
star. Reproductions of his work were widely distributed, and for a period in the
1920s, he was America’s highest-paid commercial artist.
Parrish’s success can be largely attributed to his unique approach to realism. His
works are often extremely precise in their detail, yet they’re saturated with luminous,
sometimes otherworldly color, inspired in part by the artist’s travels throughout the
American Southwest. His Titian-inspired indirect-painting approach, which mim-
icked the new four-color printing process, began with a detailed ultramarine
underpainting over which he would scumble a multitude of translucent glazes. When
this method was deployed to illustrate fantasy narratives, the results were magical.
The artist’s fame eventually led to commissions beyond the printed page. In
1906, Colonel John Jacob Astor commissioned Parrish to paint a mural for his
new hotel in New York City, the Knickerbocker, for the princely sum of $5,000.
The Knickerbocker proved to be a short-lived venture, and the mural, depicting
the court of Old King Cole, was moved several times before it found a permanent
home in the bar of New York’s St. Regis hotel, in 1932. Recently restored to its
original brilliance, the mural remains a beloved destination for discerning
patrons worldwide.
Prime COLOR STORY
Marzipan
Peach Please
Peach
The fruit we crave in the dog days of summer gives us
life year-round with its gorgeous color.
It’s impossible to ignore the beautiful, plump peach when it appears in a still life
painting—it’s in its nature to stand out. Harvested in China as far back as 6,000
B.C., peaches were celebrated as the fruit that offered the most vitality. In many Chinese fables, paintings
and theater productions, the peach symbolizes immortality.
As the peach traveled, so did its attraction for painters. Artists such as Jean-Siméon Chardin, Paul
Cézanne and Claude Monet gave the fruit plump roles in countless still life paintings. In Earthenware Earthenware Cup
Cup With Peaches, Grapes and Bees (below) by the 17th-century Italian artist Panfilo Nuvolone, the peach With Peaches,
Grapes and Bees
offers a sense of youth. It’s a light in the dark; a new beginning. by Panfilo Nuvolone
From dessert to design and everything in between, this month we celebrate the color peach for its ca 1615–20; oil on
lively spirit and its sweet offerings. —MICHAEL WOODSON board, 13¾x17
PHOTO: SERGIO ANELLI/ELECTA/MONDADORI PORTFOLIO VIA GETTY IMAGES
SPONSORED BY
FOLLOW @ARTISTSNETWORK ON INSTAGRAM AND SHOW US YOUR PEACH! #ARTISTSNETWORK_COLORSTORY ROYALTALENS.COM

The Art Deco Historic District
of Miami Beach, Florida, is home
PEACHY KEEN to more than 900 buildings
LIP GLOSS SMEAR: CREATED BY VECTORPOCKET/FREEPIK.COM; MIAMI: JASON BRISCOE/UNSPLASH; MACAON: HOANG VIET/UNSPLASH; BEN SHERMAN: STUART C. WILSON/GETTY IMAGES; MING PLATE: MUSEUM OF EAST ASIAN ART/HERITAGE IMAGES/GETTY
Actress Saoirse Ronan

looks peach perfect at a constructed in the art deco style
Los Angeles event in
2016.
and painted in a plethora
of perfect pastels.
RUNWAY READY
LEFT: MAC Prrr
Lipglass is a must-have
for every season.
RIGHT: A model
turns heads at the
Ben Sherman show
during the
2017 London Fashion
Week Men’s.
Shantay you stay!
IMAGES; SAORSIE RONAN: JON KOPALOFF/FILMMAGIC
IT’S TEATIME
SOMEWHERE!
Put up your feet and
take a break with some
English breakfast and a HOME COURT
macaron for dipping! ADVANTAGE
This painted lacquer dish from
Ming dynasty-era China is ripe with
peach imagery, showing two birds
amid prunus and peach sprays.
COLOR STORY
PROUD SPONSOR
REMBRANDT OIL COLOURS MARZIPAN PEACH PALET TE

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103 281 282 279 222 280 223 224 334
“Love my Rembrandt
paints – they have
the perfect balance
of juicy, flowing paint,
combined with plenty
of body.”
KATHY ANDERSON
Fine Artist
KathyAndersonStudio.com
VISIT US | RoyalTalensNor thAmerica.com FOLLOW US | @RoyalTalensNA

LEFT
Computer-generated design
SPACE Prime
with framework for the wall unit
and above-door platform
Small-Space
Solution
When it comes to studios, small is
beautiful—not to mention affordable.
ABOVE
u rban real estate prices have skyrocketed, and many artists

have opted to abandon city living altogether. For me, how-
ever, that simply won’t do. Capitulating to the necessity of
downsizing, I set about looking for a space I could afford. In the pro-
cess I learned that achieving a sense of spaciousness isn’t necessarily
Finished space,
window end:
A ceiling-hung
fluorescent fixture
provides good light,
even at night!
dependent on square footage. Good light, a high ceiling and minimal LEFT
clutter go a long way toward fostering a sense of openness. Finished space,
door end
My search led to a 175-square-foot space in a former warehouse.
The space is within my budget and has a large, east-facing casement BELOW
window, wood floors and a 12-foot ceiling. Once the lease was signed, Before the
I stuck to a rigorous decluttering plan and hired Paul Pino, a sound renovation
sculptor who also does carpentry, to design a storage
system. Pino used mostly 2x4s and ¼-inch plywood to
build a combination closet, painting rack, bookshelf
and workbench on the long side of the room. He also
built a small storage platform above the entry door.
His ideas can be applied to a variety of small spaces
(including a spare bedroom) to transform them into Before
viable studios. —MICHAEL GORMLEY After
MIDDLE LEFT
In-process closet
NEAR LEFT
In-process
painting rack:
On the outside wall
Artist Paul Pino designed and of the rack, there
constructed my studio storage will be shelves, with
units. Here he stands beside the a workbench below
in-process painting rack. The them.
space between the window and
the rack will be a closet
Prime WELLNESS
Listen to
Your Body
Talk
For a happy and healthy

relationship with food,
try an intuitive approach
to eating.
by Sarah Chipps
PHOTO: TWOMEOWS/GETTYIMAGES

i went on my first diet in 1990. I was
10 years old. At the suggestion of
fellow fifth-grade girls, I stowed my
mother’s meal-replacement shakes in
my backpack every morning and threw
out the bagged lunches my father had
prepared for me. I’d already bought into
cultural messages that thinness
equated to beauty and, therefore, value
as a female human. I felt high on the
promise of a leaner physique that
would advertise my desirability, intelli-
gence and refinement.
For many years I fought my natural
body size, limited the types and
amounts of foods I could eat, counted
calories, attempted to burn off those I
took in and celebrated the feeling of
hunger as success. Eventually, I chose
to make peace with food and my body.
Today, as a psychologist specializing in
treating problems with eating, I use my
experience as an ex-dieter to guide my
work with patients.
clean-eating rules are restrictive, and INNER FOOD CRITIC
DOWNFALL OF like all restrictive diets, can result in
the eater feeling deprived.
BATTLES
DEPRIVATION One of the main reasons the idea of Psychologically, deprivation caused by
Over the years I’ve witnessed a profu- dieting has become unpopular is that a restrictive mindset can undermine
sion of diets take hold in the United research now backs anecdotal experi- weight loss, even when your body
States, each claiming to offer superior ence that dieting doesn’t work. In fact, doesn’t feel physically deprived. Picture
rules and strategies for eating. putting restrictions on which foods or it: You’ve just come home from work.
Whether pushing grapefruit, cayenne what amounts of food you allow your- You’ve eaten “healthy” foods through-
pepper, whole grains or protein, the self to eat actually increases the chance out the day and feel proud that you
goal is always the same: to shed that you’ll gain weight. The reasons for didn’t indulge in a vending machine
pounds. Recently the word “diet” has this frustrating fact are based in both “treat” or a sugary drink at the coffee
tanked in popularity, and a culture of biology and psychology. Humans are shop. You tell yourself you want to con-
“clean eating” has emerged. Clean- designed to survive natural disasters. tinue to eat “healthy” at dinner and
eating rules can include eating only When we don’t take in enough energy, skip dessert. Suddenly, another voice in
nonprocessed, organic or raw foods, over time our bodies think Famine!, your head pipes up: Maybe you could
encouraging the consumption of food slowing metabolism and increasing have just a small scoop of ice cream.
in its purest possible form. Although hormones that signal hunger in order Just one. After dinner you have that
this seems a rational notion, to prepare for the next shortage. one scoop. A pang of disappointment
and guilt hits you. Well, I’ve already
blown it, you think. I may as well have a
little more. And that one scoop turns
into two or three or maybe the whole
TA K E I N F O O D A S Y O U W O U L D TA K E I N container.
The problem with this picture isn’t
A W O R K O F A R T, N O T I C I N G A L L T H E that you’ve eaten a quart of ice cream.
PHOTO: KERRICK/GETTYIMAGES
The problem is that the experience of

S E N S AT I O N S I T O F F E R S . T R Y E AT I N G eating has been hijacked by an
argument—a squabble between the
WITH THE QUALITY OF PRESENCE, part of you that feels deprived and
I N T E N T I O N A N D AT T E N T I O N T H AT Y O U your inner food critic. Instead of enjoy-
ing the creamy, sweet goodness that is
G I V E T O Y O U R C R E AT I V E E N D E AV O R S . ice cream, you’re in your head—battling
Prime WELLNESS
about how much you can eat, punish-

ing yourself for eating and feeling
guilty for breaking the intention that
your inner food critic had set for the
day. Deprived and punished by the
food rules of your inner food critic, eat-
ing can become an act of rebellion and
desperation.
INTUITIVE ALTERNATIVE
Conversely, people who eat in accor-
dance with their intuition and physical
cues—eating what they want when
they are hungry and stopping when
they are full—have been shown to have
lower body mass indexes and to be at
reduced risk for heart disease. Called
“intuitive eating,” the practice of choos-
ing foods according to internal physical
cues along with nutritional knowledge
has also been shown to improve body
image, self-esteem, the ability to cope
with stress more positively and, overall,
more positive health indicators.
I’ve been blessed to work with many
creative people in my career as a
psychologist. Whereas most of my
patients find developing an intuitive
relationship with food challenging after
years of following culturally imposed
food rules, creatives often transition to
intuitive eating more easily. Having the
experience of following an intuitive
aesthetic sense, creatives have a knowl-
edge base to work from. They know, for
example, when a swatch isn’t just the
right hue, when the layout feels heavy,
when lighting needs adjustment. In
the same way, they can learn to know
when they feel more like eating a ham
sandwich than a salad, when they’re
craving protein or when they’re about
to be full.
FIVE STEPS TO SUCCESS

So, how does one practice eating
intuitively?
1 Give yourself unconditional

permission to eat whatever you
want. This is the first and most
important step. At this suggestion
you’re probably guffawing, Eating
whatever I want will lead to weight gain
and health problems! You may also be
thinking, If I let myself eat anything I

want, I’ll just eat junk food all the time. differently. Some of us feel pain in our
Permission to eat what you like when stomach when we’re hungry; others
you want it is key to ending the cycle of start to get cranky. Identifying hunger
psychological deprivation and rebellion and fullness is a skill you can develop
that triggers unhealthful eating habits. over time by paying attention to
It takes time and patience, but by subtle physical sensations and
continually checking in with your listening for messages your body is
physical experience of food, you can sending you.
learn to notice which foods and which
amounts make you feel good after you
eat them, as well as which give you the
best sensory experiences.
5 Make a list of “unhealthy” and
“healthy” foods and your
negative and positive judgments
about them. Consider where you
Become a
NorthLightShop.com
2 Eat what you love when you can

enjoy it. If you’re full after a
hearty lunch and anticipate
formed these judgments. Do you have
any positive memories of eating
“unhealthy” foods from your childhood
VERY
IMPORTANT
PAINTER
feeling stuffed after eating your favorite or a time before you decided these
piece of pie for dessert, skip it or take it foods were unhealthy? Notice if you
to go. There’s an abundance of pie in find any holes in your inner food
the world; you can always have pie later critic’s logic. Consider words of Free US Shipping
when you’re feeling hungry for it. compassion for yourself for enjoying
foods your inner food critic condemns. Access to more than 500 art
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Fine Art Meets

Fine Dining
Molly Hatch merges design and
fine art to create one-of-a-kind works
in ceramics.
by Allison Malafronte
m olly Hatch has two identities as a ceramicist.

In the retail space, she is highly regarded for
her whimsical decorative plates and dinner-
ware designed for such boho-chic trendsetters as
Anthropologie. In the art world, she is equally respected
for her one-of-a-kind “plate-painting” installations that
have been exhibited at such major institutions as the
Museum of Fine Arts, Boston and the High Museum of
Art, in Atlanta. A designer, painter and decorative art-
ist, Hatch earned her B.F.A. at the School of the
Museum of Fine Arts, at Tufts, before receiving her
M.F.A. in ceramics from the University of Colorado. She
now works at her studio in Massachusetts, where she
conceives limited-edition collections, collaborates with
curators on museum installations and shares her creative
< DINE IN STYLE

Hatch’s Heritage Collection—a line of tableware and teaware
designed exclusively for Twig New York—was inspired by teacups from
18th-century European factories. Seeing each piece as a blank slate,
Hatch decorated not only visible surfaces but also the backs and bases
of pots, plates and cups. “Imagine seeing the decoration on the base
when having the last sip of tea, or the illustrations on the back of the
plates in a dish rack,” she says. “It’s traditional with a twist!”

< A CONTEMPORARY RECITATION
Hatch’s Recite installation, a detail of which is shown here,
was exhibited in 2014 at the Smithsonian Cooper-Hewitt
National Design Museum in New York City. For this project,
the artist worked with the museum’s textile curator in a
collaborative exploration of their textile and wall-covering
collections. Hatch decided on an 18th-century floral textile
as the source imagery. She deconstructed the repeated
pattern by highlighting select floral motifs on the surface of
200 hand-thrown, hand-painted porcelain plates.
“As we move through our daily

lives, eating breakfast, sipping an
afternoon cup of tea or gathering
for a family dinner, the patterned
ceramic objects we live with are
precious witnesses to our stories.”
—Molly Hatch, from her book
A Passion for China: A Little Book
About the Objects We Eat From,
Live With and Love
THE CHINA BLUE COLLECTION

This whimsical place setting from Hatch’s debut collection,
approach through online workshops, college courses and
China Blue, was designed in collaboration with
instructional books. Nashville-based company, Hester & Cook. The personality of
Hatch’s design process is built on the principles of form, the place setting perfectly captures Hatch’s ability to bring art,
function, surface and color. She considers herself a painter design and functionality together to celebrate special
“who just happens to choose the surface of ceramics instead occasions and everyday moments.
of canvas.” For her tableware designs, Hatch is not only
thinking of the aesthetic aspects that the plates present but
also the personal context in which they will be used and
appreciated. In her book A Passion for China: A Little Book
About the Objects We Eat From, Live With and Love, Hatch
delves into the history behind treasured pieces of china and
tableware while celebrating the role that ceramics play in the
everyday. “As we move through our daily lives, eating break-
fast, sipping an afternoon cup of tea or gathering for a family
dinner, the patterned ceramic objects we live with are pre-
PHOTO: JOHN POLAK (RECITE)
cious witnesses to our stories,” she writes. “We eat from

them, they warm our hands after a cold walk outdoors, and
we pull them out to celebrate the births, marriages and lives
of our loved ones.” Throughout the book, Hatch shares the
stories behind beloved ceramics from her childhood and
traces the provenance of several vintage pottery patterns to
their origins.
Prime CROSSROADS
Continually intrigued by decorative art

history, Hatch has also dedicated significant
time to reimagining ceramics from the past
with a contemporary point of view. “The
skill and detail in decorative art history is
always rich with ideas,” the artist says. “I
love studying 18th-century European and
Chinese export items, and I often see ways
to make these objects from the past relevant
in a new way through my work.” For her
museum partnerships, Hatch works with a
curator to identify a piece or collection from
their decorative arts or fine art departments
that she feels is worthy of fresh attention.
She will then gather source imagery and
information from that collection to create a
new composition, the design of which she
hand paints on a multiplate arrangement.
The plates are then displayed as a finished
work of art.
One of Hatch’s proudest and most ambi-
tious achievements to date is her two-story,
“Rethinking a medium that

is so familiar and part of
our daily lives is essential to
exploring the relationship of
<
history and the

A CONTEMPORARY contemporary.”
DISPLAY OF HISTORY –Molly Hatch
Molly Hatch stands in front of her
2015 plate-painting installation
Deconstructed Lace. Hatch used
the timeless patterns of the
Royal Copenhagen Porcelain
Manufacturer as her inspiration
for this piece, exploring the
relationship between the historical
and the contemporary by studying
a traditional pattern.
<
PHOTO: JOHN POLAK (DECONSTRUCTED LACE)
BRINGING ART TO
THE TABLE
Hatch’s first major solo exhibition
premiered within a year of her
finishing graduate school. Titled
Mimesis and held at the Clay Studio
in Philadelphia, the show included
this painterly collection of
ceramics-as-fine-art cups.
The illustrative display framing the
collection adds to the artistry of the
presentation.

<
A LITTLE PIECE
OF LONDON
Hatch’s Physic Garden, installed in the
main lobby of the High Museum of Art in
the spring of 2014, makes an impressive
statement. Hatch took inspiration from
the museum’s Frances and Emory Cocke
Collection of English Ceramics in the
creation of this plate-painting installation,
which assumes floral imagery from the
Chelsea Physic Garden in London.
400-plus-plate installation at the

High Museum of Art, Physic
Garden (at left). Hatch drew
inspiration for this series from
two 1755 Chelsea factory plates
from the High Museum’s Frances
and Emory Cocke Collection of
English ceramics. These histori-
cal plates depict realistic flora
and fauna from the Chelsea
Physic Garden—a botanical gar-
den founded by the Worshipful
Society of Apothecaries in
London in 1673—and were cre-
ated in the Chelsea “Hans
Sloane” style of the early 1750s.
Sarah Schleuning, curator of
Decorative Arts and Design at
the High Museum of Art, stated,
“One of the most exciting
aspects of Physic Garden is seeing
the historic decorative arts and
design collection through the
lens of a creative young artist.”
Hatch does indeed provide a
renewed vision in the decora-
tive arts world. She is also
playing a pivotal role in helping
ceramics be seen as a viable
part of the fine art continuum. “I want people to view
PHOTOS: COURTESY OF THE HIGH MUSEUM OF ART, ATLANTA
plates as one would view a painting,” she says.

“Rethinking a medium that is so familiar and part of our
daily lives is essential to exploring the relationship of
history and the contemporary.”
Allison Malafronte is an arts writer, editor and curator based

in the greater New York City area.
MOLLY HATCH RECENTLY COMPLETED A PLATE-PAINTING

INSTALLATION, REPERTOIRE, FOR THE NEWARK MUSEUM’S
PERMANENT COLLECTION. FOR MORE INFORMATION ON HATCH
AND HER PROJECTS, VISIT MOLLYHATCH.COM AND
MOLLYHATCHSTUDIO.COM.
Prime ALCHEMY
The Parts That

Make the Whole
Ceramicist Julie Hadley shares the power of an open
studio and the everyday impact of her work.
ceramics by Julie Hadley photography by Manuel Rodriguez
Ceramics, by nature, bring people together—be these objects

decorative bowls or plates off of which to eat. It’s an art form
meant for sharing, so it’s no surprise that New York cerami-
cist Julie Hadley prefers an open-studio setting. “Working
in an open studio in school gave me the space to turn in
toward myself, to be absorbed in my thoughts and my
work, while maintaining a communal atmosphere to
share ideas, get critiqued and be inspired by others,” she
says. “After college I missed that communal atmosphere. I
would sketch and paint in my apartment, but I felt secluded.
When I passed by La Mano Pottery one day—at that point it
was a small studio in the basement of a brownstone—I went
inside and loved the idea of creating around others.”
From the materials to the firing process, Hadley’s love for her art is all-encompassing.
“I cannot believe that I’m so involved with and interested in the science behind all of
it,” she says. “The oxidation and reduction inside a kiln, the transformation from clay
to something ceramic, the chemistry of glaze mixing. I love designing new pieces and
exploring all of the possibilities.”
Here we’re happy to share a look inside Hadley’s studio as she develops her impressive
creations. We also offer our own suggestions for a few tools you might find helpful if you
want to give ceramics a try. —MICHAEL WOODSON
3
CREDIT

ALCHEMY Prime
1. Deluxe Pottery Tool Set

2. Amaco Plasti-Bat
3. Blick Ceramic Glaze Detail Brush Set
4. Shimpo Banding Wheel
5. Potter’s Rib
6. Elephant Ear Sponges
6
CREDIT
4
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“I LOVE THE FUNCTIONAL

ASPECT OF CERAMICS—
T H E I D E A T H AT M Y
POT TERY IS GOING TO BE
US E D A N D E N J OY E D BY
O T H E R S I S I M P O R TA N T
TO ME. AFTER I MAKE
A NEW SHAPE FOR A
M U G , I ’ L L TA K E I T H O M E
AND USE IT TO LEARN
W H AT W O R K S A N D W H AT
D O E S N ’ T.”
ABOUT THE STUDIO —J U L I E H A D L E Y
Opened in 1998, La Mano Pottery is a full-service ceramic
studio located in the Chelsea neighborhood of New York City.
La Mano offers classes in hand building and using the potter’s
wheel for both beginners and experienced potters, as well as
classes for children and teenagers. For more information, visit
lamanopottery.com. PRODUCTS SPONSORED BY BLICK ART MATERIALS.
LEARN MORE AT DICKBLICK.COM AND SEARCH
KEYWORD #CERAMICSUPPLIES.

ALCHEMY Prime
Hadley begins the

glazing process for one
of her pieces at La Mano
Pottery in New York,
which she co-owns.
CREDIT
Artwork by:
Shannon Slaight-Brown
For surfaces that pop,

shop BLICK.
From glazes and tool sets to brushes, banding wheels,
and more, you’ll find everything you need to create
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THE ASK Prime
“Mark Rothko: WE ASKED...

A Biography,
by James E.B. WHAT’S THE LAST
Breslin.”
ELIZABETH OSBORNE,
GREAT BOOK ABOUT
ARTIST
ART YOU’VE READ?
“Edmund de Waal’s The Hare
With Amber Eyes. De Waal,
a very talented ceramicist in “ J O H N S I N G E R S A R G E N T : W AT E R C O L O R S ,
his own right, traces the
history of a collection of
A N E X H I B I T I O N C ATA L O G B Y E R I C A E .
Japanese netsuke (miniature HIRSHLER AND TERESA A. CARBONE.
sculptures) that managed to
I T H A S A F A S C I N AT I N G C H A P T E R A B O U T
remain in his family’s
possession despite Nazi T H E T E C H N I C A L A S P E C T S O F S A RG E N T ’S
looting and other calamities. W AT E R C O L O R M E T H O D .”
It’s essentially a meditation
on the values and meanings JAMES GURNEY, ARTIST
that works of art can accrue
long after they’ve left the
artist’s studio.”
“Catherine
KJELL M.
WANGENSTEEN,
“The last great book I read Whistler’s Venice
regarding an aspect of the art
ASSISTANT CURATOR
OF EUROPEAN ART AT THE experience was The Creative and Drawing
INDIANAPOLIS MUSEUM Spark: How Imagination Made 1500–1800:
OF ART AT NEWFIELDS Humans Exceptional, by
Agustín Fuentes, a Theory, Practice
primatologist and biological and Collecting.”
anthropologist.”
XAVIER F. SALOMON,
“Two books I reread recently ANTHONY WAICHULIS, PETER JAY SHARP CHIEF CURATOR
were Letters to a Young ARTIST AT THE FRICK COLLECTION
Poet, by Rainer Maria Rilke,
and My Life in Art, by
Konstantin Stanislavsky. “I really enjoyed reading The Romantic Revolution: A History, by
Rilke speaks to the artist’s Tim Blanning. While reading it, I realized the Romantic movement was
need of isolation, and the origin—the first cultural step—that led us to a truly modern
sensibility. These Romantic artists and writers are more like
Stanislavsky speaks of the
contemporary realist painters in temperament than most of our
artist’s need for precursors in art history.”
community.”
JULIETTE ARISTIDES, ARTIST
COSTA VAVAGIAKIS, ARTIST
Prime GENESIS
How Would YOU

Have Painted This?
Almost certainly, you find the word “kitchen” steeped in memories and
emotions. Let those thoughts and feelings simmer as you contemplate
how you would paint a kitchen scene. –HOLLY DAVIS
Where? Where is this kitchen, and whose kitchen is it—

yours, your grandmother’s, a restaurant’s?
Who?Is anyone in this kitchen—one person, two, many?

What about animals? Or is the kitchen unoccupied?
What? Do you envision a wide view of the kitchen or a

more focused composition—perhaps even a still life
setup? Are the items or foods you include contemporary
or of a bygone era? Do they reflect a particular cuisine?

COOKING UP GENIUS
Before becoming court painter to King Philip IV of
Spain, Velázquez “cut his teeth” with tavern and
kitchen scenes that combine genre painting and
still life. The woman and boy in An Old Woman
Cooking Eggs seem strangely detached, but note
Velázquez’ dramatic lighting and his masterful
handling of textures—from pottery and metals to
a grooved and scarred gourd to coarse fabrics.
An Old Woman Cooking Eggs

by Diego Velázquez
1618; oil on canvas, 39½x47
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Bu ld
“ THE INVENTORS OF OIL

P A I N T N O T I C E D A C O R R E L AT I O N
B E T W E E N T H E W AY D AY L I G H T
FA L L S O N O B J E C T S A N D T H E
W AY P A I N T I S L AY E R E D F R O M
T R A N S P A R E N T T O O P A Q U E .”
A N D R E W S. C O N K L I N
Build TUTORIAL
SETTING UP
A STILL LIFE
Set yourself up for success with
these tips from HELEN OH.
The word composition means

“the way something is put together.”
In painting, composition refers more
specifically to pictorial structure, including the
arrangement of colors and values in an image / WHAT YOU’LL NEED /
and the path followed by the movement of the Assorted objects • board to hold objects •
viewer’s eye. Here we’ll learn some basic princi- color wheel • drapery • lazy Susan hardware •
ples for arranging the composition of a still life light source • ViewCatcher
drawing or painting.
COMPLEMENTARY ANALOGOUS TRIAD
USING A COLOR SCHEME IN SELECTING SUBJECTS

The painter Maurice Denis said, include particular objects to reinforce that Analogous: colors adjacent to each
“Remember that a painting—before being meaning. The photos above show three other on the color wheel, such as
a battle horse, a nude woman or ways of combining objects using various yellow and green.
an anecdote of some sort—is essentially a color schemes, each of which conveys
flat surface covered with colors, put different emotional effects. Triad: three hues equidistant from one
together in a certain order.” Before another on the color wheel, forming a
combining objects with personal or Complementary: colors directly perfect triangle—for instance violet,
symbolic meaning, one must first work out opposite each other on the color wheel, orange and green.
a color scheme to evoke an emotion, then for example red and green.
/ SPINNING SETUP / Place the lazy Susan hardware on a flat surface and lay a sturdy
board over it. Arrange your objects and drapery on the board. By rotating the setup, you can
examine it from 360 degrees before deciding on the best composition.

HIGH OR LOW?
The eye level is one of the most
important choices you’ll make when
creating your composition. In images
featuring a high eye level (A), the
viewer dominates the subject and sees
more converging and angled lines.
A low eye level (B) integrates the viewer
with the subject and emphasizes
horizontal lines. C D
MOVEMENT, UNITY, RHYTHM,

FOCAL POINT
A composition can imply shapes and lines that aren’t actually present, and
different arrangements of shapes produce different effects.
Photo C shows a triangular, or pyramidal, composition. A triangle is a stable
A geometric structure, and compositions such as these create a sense of balance.
Positioning objects at the corners of the triangle momentarily stops the eye. You
can select one object to be your focal point by rendering it more completely
than the others.
Other approaches emphasize strong vertical, horizontal, diagonal or
S-shaped lines. Repeating these lines sets up a visual rhythm. In Photo D, the
B repetition of vertical lines and elliptical shapes creates unity and rhythm.
THUMBNAIL
SKETCHES
A thumbnail sketch is a quick drawing that explores the structure and value
of a composition. To create a thumbnail of your setup, look at it through a
ViewCatcher. Note how the objects relate to one another and how the setup
might be cropped. On a sheet of white paper, draw the contours of the
objects inside a 4x5 rectangle. Then, render the sketch in just three values:
light, medium and dark.
I often draw thumbnails on buff-colored paper. Its tone provides a medium
value, so I can quickly indicate darks in pencil and lights in white gouache.
Build WORKSHOP
OIL
Showing Form
Through Underpainting
ANDREW S. CONKLIN shows how an underpainting made from only
two colors can convey depth and volume, establishing the foundation
for a successful painting.
One of oil paint’s unique and useful properties is its affinity

for the layering process. The inventors of oil paint—Flemish
painters of the 15th century—noticed a correlation between
Materials
the way daylight falls on objects, drawing out light from PAINTS:
shadow, and the way paint is layered from transparent to ·raw umber
opaque. They saw that if shadows were painted transparently, ·flake white replacement
with little or no white paint, and if lights were painted SURFACE:
opaquely, with generous amounts of white, then the illusion ·double-primed linen
of three-dimensional form was powerful. Why? Because both canvas, 11x16
daylight and white pigment have a cool quality, whereas BRUSHES:
shadows and transparent paint have a warm tonality. ·flat watercolor brushes,
When you create an underpainting in oil, your color various sizes from ¼- to
choices can reinforce this property. In this demonstration, I ¾-inch
will show how with only white and raw umber, an under- ·faux-squirrel brush, ¾-inch
painting can convey not only a range of light and dark values, KNIFE:
but also a cool and warm shift that will support subsequent ·painting knife
paint layers.
SOLVENT:
·Gamsol
ANDREW S. CONKLIN earned a

B.F.A. from the American Academy of
Art, in Chicago. He attended the
National Academy of Design and the
Art Students League of New York
before earning an M.F.A. from
Academy of Art University, in San
Francisco. He’s represented by
Gallery Victor Armendariz, in Chicago. For more
information, visit cargocollective.com/andrewsconklin.

EXERCISE: Transparency and Opacity
STEP 1 STEP 2
We can easily test the proposition that opacity and I labeled the left square “transparent” and the right
transparency correlate to cool and warm colors, “opaque.” I then thinned some raw umber oil paint
respectively, by using white and raw umber, painted with a little Gamsol to a medium-light value and
into two squares drawn on a canvas remnant. I first filled in the left square, smoothing the area to a
traced two sticky notes on a scrap of primed canvas. uniform surface.
STEP 3 STEP 4
Next, I mixed raw umber with white, using a painting You can test to see that the values match by taking a picture with
knife so that the value matched the left square, and I your cell phone of the two squares, then reducing the saturation to
filled in the right square with this color. zero so the image is black and white. If done correctly, the squares
should be the same value.
Notice the difference in quality in the actual painted squares. Both
are a combination of raw umber and white, but the difference is in
how the colors combine. The transparent square uses the white of
the canvas, which reflects light through the raw umber film,
producing a warmer color. The blended white and raw umber paint
make a milky ”coffee with cream” color that is decidedly cooler.
Build WORKSHOP
DEMONSTRATION: Still Life Underpainting
STEP 1 STEP 2
I stretched an 11x16 oil-primed linen canvas and My setup consisted of a compote of pears, plums
applied an imprimatura of raw umber thinned with and an orange, plus a lemon and a cast of the mouth
Gamsol, which I let dry. of Michelangelo’s David—familiar to art students
everywhere. I arranged the objects on a polished
marble countertop, placed to the right of a window
so that the light struck the setup from the left,
shading the right sides of the forms.
STEP 3
Once the imprimatura was completely dry, I secured
a sheet of tracing paper to the canvas and made a
careful contour line drawing of the setup. I aimed for
as accurate proportions as possible.

STEP 4
Next, I transferred the outlines of the drawing to the canvas
by placing a sheet of blue Saral transfer paper between the
drawing and canvas, making sure to place the blue-powder
side toward the painting surface. Once it was taped in
place, I took a colored pencil and, with moderate pressure,
retraced my contour lines. The pressure of the pencil tip
inscribed blue lines on the canvas.
STEP 5
The underpainting process consisted of two stages: painting the shadows and
painting the lights. For the first stage, I applied the shadows in raw umber,
thinned only with some Gamsol. With synthetic watercolor brushes I began
painting in the shadows on David’s mouth, the left background, the plums, and
the shadows on the compote, lemon and reamer.
Build WORKSHOP
STEP 6 STEP 7
I added the lights, using a mixture of white and raw At a second session, again using a brush loaded with
umber, increasing the amount of white to correlate with a mixture of white and raw umber, I rendered the
the brightness of the objects. With a brush loaded with lights of David’s mouth, the cloth backdrop in light
this mixture of white and raw umber, I covered the light and the marble counter.
side of the compote, lemon and reamer.
STEP 8
I let this layer dry for a day before overpainting it with an expanded palette of colors.
When painting over an underpainting such as this, try to observe a similar process. To
maintain warmth and transparency in the shadows, omit or at least limit the use of white
in the shadows. (Yellow ochre can be substituted to both lighten and warm the darks.) In
the lights, apply colors containing a generous amount of white, which will add both light
and “body” to those areas. This approach will help to create the qualities of weightiness
and texture that reinforce the tangibility of the objects depicted.

“To maintain warmth and transparency in the
shadows, omit or at least limit the use of white in
the shadows. Yellow ochre can be substituted to
both lighten and warm the darks.”
THE FINISHED
UNDERPAINTING
Build LESSON
DRAWING
Plane and Simple

DENNIS ANGEL explains the all-important concept of the picture plane
and outlines three ways artists can use it for accurate drawing.
One of the most perplexing chal-

lenges facing the perceptual artist is
the inherent contradiction between
the spatial, three-dimensional world
being observed and the flat surface
onto which that world is being trans-
lated. In the years I’ve spent helping
students solve this complex puzzle,
I’ve found that one of the most bene-
ficial and easily accessible tools is the
picture plane.
The concept of the picture plane
first emerged in the 15th century with
the discovery of linear perspective,
and it gave painters the ability to cre-
ate the illusion of a three-dimensional
space on a flat canvas, paper or even
wall. Using the principles of the pic-
ture plane, artists such as Albrecht
Dürer built devices called picture nets
to ensure the accuracy of their draw-
ings and paintings. (See figure 1,
opposite, top.)
A simple way of demonstrating the
principle of the picture plane is to
imagine looking outside through a
window and using a marker to care-
fully trace the shapes of everything
you see. Your marker drawing would
be a remarkably accurate representa-
tion of the situation. (See figure 2,
opposite, middle.)
You can use this concept when
you’re drawing from observation.
Visualize an imaginary sheet of glass in
front of you through which you see
your subject, whether it’s a figure, a
landscape, a still life setup or some-
thing else. You can make visual
calculations on this imaginary “glass”
in order to help solve a myriad of draw-
ing problems. Keep in mind that as
Homage to Leonardo your head or line of vision tips forward
colored pencil on and back, so will the picture plane. (See
rag paper, 34x26 figure 3, opposite, bottom.)

ABOVE
PICTURE PLANE
BEST PRACTICES FIGURE 1
To get the full benefits of the picture Draughtsman Making
a Perspective
plane, it’s essential to use it correctly. Drawing of a
Follow these practices: Reclining Woman
1. Always close one eye when using the by Albrecht Dürer
picture plane. It’s important that you ca 1600; woodcut,
3¹⁄₁₆x8⁷⁄₁₇
see through only one point of view,
your station point. LEFT
2. Imagine the picture plane as a flat,
clear surface that’s a full arm’s length FIGURE 2
away from your body. (See figure 4, The picture plane is
page 46.) You can make proportional an imaginary
measurements by holding a pencil window through
out to “touch” this plane. Don’t bend which the artist
your arm as you do, or your mea- views the world.
surements will be inconsistent
BELOW
because the distance between your
eye and the pencil will always be FIGURE 3
changing.
The picture plane
3. When holding the pencil up to the tips with the artist’s
picture plane, pretend that the pencil field of vision.
is resting flat against a vertical sheet
Build LESSON
of glass. It should not be tilted

toward or away from you. If the
FIGURE 4
pencil is titled, it will appear fore- When using the
picture plane,
shortened and distorted, preventing
extend your arm
accurate measurements. fully, and hold the
4. When you’re visually sighting and pencil so that it is
measuring proportions (processes flat against the
outlined below), keep the pencil imaginary plane, not
aligned with a vertical or horizontal tilted toward or
axis. Imagine that there is a grid away from you.
etched on the surface of the glass.
Keep the pencil aligned with the hor-
izontal and vertical lines of the grid;
don’t tip the pencil to measure dis-
tances along an angle.
SETTING A
COMPOSITION
To demonstrate how I’ve used the pic-
ture plane to achieve accuracy in a
drawing, I’ll take as an example my still
life Homage to Leonardo (page 44). The
setup includes a shell, a toy submarine
and a reproduction of one of
Leonardo’s “grotesque head” drawings,
all placed in front of a piece of cloth.
I find it helpful to frame my subject
with a window viewfinder before I begin FIGURE 5
a drawing. (See figure 5, right.) Adjustable An adjustable
viewfinders are best since they let you viewfinder is useful
change the proportions of your “window” to help frame your
to find the best composition. Think of composition.
the viewfinder as a miniature picture
plane through which you can visualize
your finished piece.
Once you’ve framed your composi-
tion with a viewfinder, you can create a
corresponding frame in any size—but
of the same proportions—on your
paper. For this composition, using my
viewfinder I settled on a frame with a
2-to-3 width-to-height ratio. On my
paper I then drew a rectangular frame
for my drawing measuring 20x30.
With my composition framed and a
corresponding rectangle drawn on a piece
of paper, I was now ready to use the pic-
ture plane, employing three very valuable
techniques: measuring proportions, trans-
ferring angles and visual sighting. of an object in relation to its height, or it can be the length of
one part of an object in relation to the whole.
MEASURING Still life arrangements give me many opportunities to take
visual measurements. Typically I like to start with the larger
PROPORTIONS shapes and add smaller ones later. For this composition, with
The word “proportion” refers to the rela- the pencil resting against the picture plane, I found the pro-
tionship of parts. This can be the width portions (or the relationship of the width to the height) of the

entire cloth shape to be 1-to-2. (See figure 6, below.) Later I fell at the top of the head in the Leonardo
measured the nautilus shell and saw that its proportions drawing. The point where these vertical
were 1-to-1. I then lightly drew a square box on my paper in and horizontal axes cross is the exact
which I could build the shell. (See figure 7, bottom.) Note center of the drawing, a convenient land-
that when you take a single measurement, you don’t have to mark. By marking the center point in my
draw it at the same size it appears to you. Rather, you want drawing, I knew exactly what should rest
always to take two measurements and apply that ratio to there.
whatever size you desire in your drawing.
By measuring, you can also find the exact center of your com- TRANSFERRING ANGLES
position. I found that along a horizontal axis, the exact center of
this composition fell at the corner of a large fold in the cloth. There are many angles, literal and
(See figure 8, page 48.) Along the vertical axis, the exact center implied, in any composition. You can use
FIGURE 6
I measured the
overall proportions
of the piece of cloth
and found it had a
1-to-2 width-to-
height ratio.
FIGURE 7
I measured the
proportions of the
shell and found a
1-to-1 ratio.
Build LESSON
the picture plane to find these angles and ABOVE

transfer them to your drawing.
Closing one eye, I held my pencil up
FIGURE 8
to the picture plane and tilted it clock- By measuring, you can find the exact
wise so that the edge of the pencil center of a composition.
appeared to be resting on the left edge
of the cloth. (See figure 9, right.) BELOW
Keeping my wrist rigid and keeping the
pencil at this angle, I moved my pencil in FIGURE 9
front of my paper and lightly indicated I used the angling technique to help
this line. I went back and forth between draw the drapery.
my picture plane and the drawing, mak-
ing sure the angles matched. Using this
technique I was able to sketch the angles
of the cloth on my drawing. As you do
this, it’s essential to prevent your wrist
from rotating—if it does the angle will
be incorrect.
For corners of a geometric shape,
such as the base below the plastic toy,
two pencils can be used simultane-
ously to visualize the correct angle.
(See figure 10, right.) This technique
tip When transferring angles, ABOVE

ask yourself, "If your pencils are
the hands of a clock, what time are they FIGURE 10
pointing to?" You can then indicate an
To draw geometric shapes, you
angle representing the same “time”
can use the angling technique
in your drawing.
with two pencils.

of using two pencils simultaneously can be an excellent
device when drawing objects such as furniture or the
FIGURE 11 corners of a room.
Visual sighting can be
used to compare the
location of points VISUAL SIGHTING
along a vertical axis.
The technique of visual sighting allows you to see the
relationship between parts of your composition, moving
from top to bottom along a vertical axis or from left to
right along a horizontal axis. This helps you ensure that
the placement of all the parts of your composition is
correct.
I extended my arm and held my pencil vertically
against the picture plane. I observed that along this
imaginary vertical axis, the peak of the cloth’s central
fold lined up almost exactly with the outer-right edge of
the nautilus shell. (See figure 11, left.) I then checked my
drawing to see if the same was true. If my drawing were
different, I could make adjustments as needed. I later
held my pencil horizontally, and I saw that the top of the
nautilus shell coincided with the periscope on the toy
submarine. (See figure 12, below left.) Again I checked
my drawing to make sure the same was true.
have demonstrated how I use the picture plane with a
I still life drawing, but these techniques can be used

with any subject matter. The picture plane is espe-
cially beneficial for studies of the human form, where
proportional problems are common. Using measurement,
proportions can be found for the figure. In most poses
there is a series of angles present in the limbs that can be
transferred from the picture plane to the paper. And visu-
ally sighting the human figure along a vertical or
horizontal axis can be helpful in allowing you to see the
relationship of parts. For example, you might check for
the place along a vertical axis where the center of the head
falls in relationship to where a foot is located.
Even after more than 30 years of observational draw-
ing, the picture plane is still an essential tool I use to solve
many of the challenges I face as an artist. Ultimately I see
this imaginary sheet of glass as the liaison or bridge
between the spatial world that I continue to be fascinated
with and the flat page onto which that world is translated
and depicted.
DENNIS ANGEL has been an artist

and educator for more than 30
years. His work has been included in
over 200 national and international
exhibitions and is found in numerous
private and public collections. His
book Perceptual Drawing: Concepts,
FIGURE 12 Methods and Materials was recently
Visual sighting can also be released in its second edition by Kendall Hunt Publishing.
used with a horizontal axis.
For more information, visit dennisangel.com.
Build PROMPTS
9 Creative Projects
Food. No matter how we spend our days and nights,
we always come back to food. We daydream about it, respond
to the scent of it, plan our schedules around it, socialize with
it and, naturally, eat it. What better creative stimulus could
1
Sumptuous texture is a
there be than something so elemental to life and happiness? feast for the eye. Head to your
–HOLLY DAVIS grocer and select items with
intriguing surfaces—cheeses,
crackers, nuts, shellfish, fruits
and veggies. Quick, set up a
2 still life before you eat

your finds.
What's your favorite

cuisine—French,
Italian, German,
Mexican, Chinese,
Japanese, Thai—
3
Make or buy your favorite sweet treat
or something to draw, paint or sculpt. Go extra large
without fear of calories—check out the
else? What foods, dimensions of Mary Ellen Johnson’s
cookware or sundae (at left)!
tableware do you
associate with
that cuisine?
Make those items
the "ingredients"
for a painting or
illustrated recipe.
4
SALAD: UNSPLASH; POTS: BRIAN BUMBY/GETTY IMAGES
Let a cooking item from a

past generation feed your
imagination—but try for a
contemporary feel to your
setup. No old-style
cookware, crockery or
kitchen implements on
hand? Visit an antique store
Butterscotch and Fudge Sundae
by Mary Ellen Johnson or flea market.
oil on panel, 48x20½

Points II
by Jeanette
Pasin Sloan
watercolor and
gouache on paper
15¼x18¼
5
Try a different medium!
6
Jeanette Pasin Sloan taught
Glaze a greenware bowl herself to paint by challenging
or plate with your own herself to depict every item in her
design—or start from kitchen. She now especially likes
scratch and work with capturing the play of light and
clay or papier-mâché to patterns on reflective items.
make a bowl or plate. Pick a reflective item from
your kitchen and create
a still life.
7
It’s all about colors, shapes and patterns for Nava Grunfeld. Note the flat, graphic look
of Bitter Oranges (below). Fruit and flowers just add to the shapes and colors of her
plates and fabrics. Gather your own tableware, fabrics and foods to create a bold design
to paint, draw or collage.
8
The kitchen is
Bitter Oranges by Nava Grunfeld the center of the
watercolor on paper, 30x40
home; the table is
its gathering place.
BOWLS: KAORI YOSHIDA /GETTYIMAGES; POINTS II: PHOTO COURTESY OF WILLIAM HAVU GALLERY
Create a kitchen
or table scene that
includes family or
friends. Give attention
to lighting, viewing
angle and gestures.
9
Complete a project from
this list and send us
a photo on Instagram!
@artistsnetwork
#artistsnetwork_prompts
Build TECHNICAL Q+A
From
Work Space
to Framed
Works
Expert answers to
art-related questions
by Michael Skalka
illustration by Anje Jager
WORK SPACE WISDOM however, when inexpensive real estate is tenants may ignore that rule and outfit
considered as a place to make art, the “kitchens.” Tenants move huge quanti-
Q To create prints, I rent studio
space in an old factory that has
no air conditioning. Another artist
potential new tenant needs to focus on
some important factors: Who owns and
ties of wood, paper and canvas into
their studios, so hallways may become
manages the building? Is the landlord secondary storage places. The building
working in this space paints in oil.
reputable? Considering the use of the has no heating, ventilation and air con-
I’ve noticed that prints can warp
space, what measures need to be taken ditioning (HVAC), so it’s hot in the
from heat and humidity. What can I
to make the building both functional summer and cold in the winter, leading
do about this? Are there any other
and safe? For example, what has been tenants to use space heaters to provide
concerns related to the lack of
done to renovate the building to address warmth during cold periods. The result
climate control that my fellow
the fact that, in addition to electricity is a high volume of combustibles, mul-
tenant and I should be aware of?
and adequate lighting, the artists occu- tiple sources of ignition and accelerants
A Climate control issues in a studio

are important—but the lack of an
air conditioning system is usually indic-
pying the space will need some sort of
climate control to provide active ventila-
tion that removes solvent vapors?
in abundance—all in a building that
may have no fire suppression or alarm
system. Spaces like this make headlines
ative of other more serious concerns What’s more, all these needs must be when fires destroy them.
about the adequacy of an old factory met while adhering to local building From this perspective, the warping
repurposed as a studio space. codes. Other important and often of artwork due to heat and humidity is
Many artists gravitate toward finding neglected questions include whether the least worrisome part of being in a
an inexpensive place to create their art anyone will be allowed to set up resi- shared, factory-space studio. That said,
so that they can avoid contaminating dence in the studio space and what the even if you have a safe, comfortable,
their home with the byproducts that purpose of the former factory was. well-maintained studio, you can’t do
result from making artworks. The desire A perfect storm can develop when anything about safeguarding your art-
to control high costs for rental space can an improperly renovated building is work from humidity and temperature
lead an artist to make a critical mistake turned into an artist’s studio. Such a conditions in a building that has no
when selecting a place to work. renovation may consist only of making climate control. The best thing is not to
Exploring and rehabilitating urban 8-foot high divider walls between store completed artwork there.
spaces that were originally built for studio spaces. The landlord may forbid Attempting to outfit your space with
other purposes has become fashionable; living in the studio space, but some heat and air conditioning may tax the

electrical system to its limit and con- LET’S BE CLEAR paintings with this type of coating can
tribute to an electrical fire that triggers never remove only the varnish layer
the “perfect storm” scenario described. ABOUT VARNISH because the same solvents that
HOW TO HOST VISITORS Q Will varnish yellow? An artist

at my building was criticizing
artists who finish their photo tiles or
remove the varnish will also dissolve
the paint. The key is to use a surface
coating material that responds differ-
IN YOUR WORK SPACE paintings with varnish. If the varnish ently than the paint when exposed to
Q What are the best practices for

preparing an artist’s work
space for a public show?
does yellow over time, can it be
removed?
solvents. As mentioned, for acrylics
that would be a solvent-based acrylic
varnish.
A Open studio nights can be excit-

ing for visitors, but the
A Synthetic resins used as varnish
coatings don’t tend to discolor as
much as natural resins in oil-based GLAZING GUIDELINES
experience should be both pleasant
and safe. Artists should be sure their
spaces don’t present any of the dan-
varnishes. Natural-resin varnishes, as
well as linseed oil, contribute to the
“yellowing” photochemical reaction
Q Pastel artists frame their work
under glass because of the
vulnerability of the medium—but
gers discussed in the previous that oil-related surface coatings expe- can works in other mediums be
response. They should also take care rience over time. framed this way?
not to expose people to solvent vapors For this reason, when giving oil
and tripping hazzards.
Preparing a studio for a public visit
is challenging. The daily work-area
paintings a final protective coating,
consider using solvent-based var- A Protective glass in a framing
package is called glazing, and
any painting—oil, acrylic, watercolor
nishes made with synthetic resins
clutter needs to be cleaned up. A vari- rather than natural resins. One such or pastel—can be glazed. It’s import-
ety of plastic, freestanding closets varnish is a derivative of acrylic man- ant, however, that the framing
with shelves can be ideal for putting ufacturing. When dissolved in a package provides space between the
away tools, paints and related equip- solvent, it can be applied to works of paint and the glazing. If not, optical
ment. Cleaning the space also allows art. These varnishes are referred to as aberrations will occur where the
visitors to move around easily and “solvent-based acrylic coatings.” The paint touches the glazing and the
view more artwork. second solvent-based varnish I sug- paint (especially acrylics and oils)
If the studio is used to store artwork, gest for oil paintings is an aldehyde will eventually adhere to that sur-
decide what should be viewable and hang resin dissolved in a mild solvent. Both face. In such a case, if the frame
those pieces securely on stable walls or of these varnishes are marketed in package were to be disassembled, the
display them on easels. You can create gloss and matte finishes. Oil painters paint could come away from the
temporary tripod easels with three 2x3 have embraced the use of synthetic painting and end up on the glazing.
studs attached at the top with a long lag resins as varnishes because they can Glazing also needs to be separated
bolt. Then use long screws as pegs for be removed with fairly mild solvents, from the surface of a pastel.
positioning artwork on the easel—or even after a long period of time, and Framers employ a variety of clear,
mount a crossbar across the two front they don’t discolor in the same man- inert acrylic spacers made to separate
legs to form a ledge on which to rest ner as their natural-resin counterparts. the contents of an artwork from touch-
paintings. Use heavy cardboard boxes to For an acrylic painting, a solvent- ing the glazing. Installed properly in a
serve as bins for flat artwork that can be based acrylic varnish is an excellent frame that has an adequate rabbet
flipped through by visitors. Consider cov- choice, but water-based acrylic var- (recessed area into which the artwork is
ering artwork that’s not ready to be nishes create problems. Chemically, a set), the spacers can be nearly invisible.
shown with a canvas drop cloth. water-based acrylic varnish is indistin- Care should be exercised in assuring
Finally, make sure the space is well guishable from acrylic paint. For this that a painting framed with glazing
lit and inviting. reason, artists who varnish acrylic isn’t hung where it’s exposed to direct
sunlight. A glazed painting is an equiv-
alent of a miniature greenhouse, and
exposure to sunlight on the surface of
the artwork can result in heating the
painting to a high degree.
OPEN STUDIO NIGHTS CAN BE
Michael Skalka has degrees in art
E XC I T I N G F O R V I S I TO R S , B U T T H E history and museum studies. He is the
EXPERIENCE SHOULD BE BOTH chair of the Subcommittee on Artist
Paints and Related Materials for ASTM
PLEASANT AND SAFE. International.
The Prayer (above left) by Barbara Berry, and Smudge (above right) by Rexanne Chadwick, from Strokes of Genius 9
THE BEST OF DRAWING

Strokes of Genius 9
Creative Discoveries
EDITED BY RACHEL RUBIN WOLF
Powerful creative discoveries can give you new energy and direction.
They can often come from something practical, like a new material
or technique, or they may be the result of your connection with a
certain teacher or friend. Perhaps something occurred in your life
circumstances that changed your attitude toward art or sent you in a
new direction. All of the above, and much more, are revealed by the
artists within these pages.
Explore more than 100 artists’ discoveries selected from thousands of

entrants in this beautiful oversized book. Spark your own creativity with
tips, techniques, captions and quotes from artists highlighting stories
about their work with of Strokes of Genius 9.
Hardcover book • 9781440347061 • R0821 • $37.00
Available at your favorite bookseller. To learn more about the full range of
ArtistsNetwork products, including North Light books, visit ArtistsNetwork.com.
“ I T ’S V E RY S E N S UA L
AND TRICKY TO
MAKE. I HAD TO PULL
T H E E D G E S BY H A N D
T O M A K E I T F R I L L .”
RON BEN-ISRAEL
PHOTO: MANUEL RODRIGUEZ
ART &
CAKES Celebrity cake decorator
Ron Ben-Israel utilizes his
artistic eye to beautify his
delectable desserts.
by Michael Woodson
photography by Manuel Rodriguez

CREDIT
IN AN OLD SHOE FACTORY
in New York City’s Garment District, Ron Ben-Israel kneads
bright-orange sugar paste. The paste is thick, almost like clay, which
he flattens with a roller and cuts with a mold into the shape of a
flower. He removes it from the mold and picks the petals out by
hand. “You don’t want it to be too perfect,” he says, “otherwise it
doesn’t look real.”
A very artistic sensibility: To be imperfect is to be real. This alone is
something of a contradiction within the baking world, where a recipe
is not something one improvises. But that combination of scientific
precision and artistic freedom is what makes Ben-Israel’s work
stand out.
Ben-Israel came to cakes from an artistic point of view. “I went to
art school for four years,” he says. After retiring from a 15-year
career as a modern dancer, he turned his sights toward his lifelong
love of pastry arts—having watched his mother bake as a child. In 1996, his cakes were discov-
ered while on display in the windows of Mikimoto, on Fifth Avenue, and commissions soon
followed. His baking career thus began, and he quickly started to attract attention. One early
admirer was Martha Stewart, who became a mentor. Gradually, Ben-Israel grew to become one
of the most sought-after cake designers in the business. His work has been featured in Martha
Stewart Weddings, Brides magazine and New York Magazine. He has appeared as a judge on Food
Network’s Cake Wars and had his own show, Sweet Genius, for three seasons. We were lucky
enough to watch him in action, witnessing firsthand the patience and love that one must have
in order to create something mouthwatering and mouthwateringly beautiful.
Michael Woodson is the associate editor of Artists Magazine.

“A cake is perishable;
it doesn’t hang on the
wall. That’s the charm
of it—it’s not forever.”
—RON BEN-ISRAEL
A WORLD OF
FLOWERS
Ben Israel holds a sugary recreation
Ben-Israel
of the cattleya orchid (directly
above). “It’s a very exotic flower,” he
says. “It’s famous for being very frilly.
It has wild colors. It’s very sensual
and tricky to make. I had to pull the
edges by hand to make it frill.
They’re very expressive. There’s
another orchid I like to do called
dancing ladies. It’s a huge world of
flowers in general, but orchids in
particular are fascinating.”

CLIENT
KNOWS BEST
Ben-Israel’s
Ben Israel’s cakes are collaborative
creations, and he works closely with his
clients throughout the planning process.
“Hopefully I will be able to capture what
they have in mind,” he says. “We cannot
proceed without feedback and approval.”
FOR MORE INFORMATION,

VISIT WEDDINGCAKES.COM. YOU
CAN FIND BEN-ISRAEL ACROSS
SOCIAL MEDIA AT @RBICAKES.
What’s
the
Big
Idea?
A trio of still life painters—Roberto Bernardi,
Samuel Hung and Robert Jackson—shoot for happiness.
by Michael Gormley
Playing With
My Food
(Triptych)
by Robert Jackson
oil on linen, 24x54

a ll artists, be they fledgling students or seasoned professionals, struggle at one time or
another with subject matter. Often artists get stuck because they can’t come up with a “big
idea,” or they fear they have nothing to say or that their subject must be something extraor-
dinary. A lot of this thinking can be traced to (at best) a reductive and counterproductive
application of modernist art theory—a misconception that art need always be made in a
new way or establish some major conceptual breakthrough. That doesn’t sound like much
fun—which might explain why so much contemporary art strikes us as forced, if not tortured. We have a diffi-
cult time connecting with it; we sense that it’s too knowing and, hence, affected and disingenuous.
I suggest that we release our hearts from our heads and give the former a chance. Rather than focusing
on innovation, a better idea may be to simply paint what you love—or look for the beauty and character in
the simple things that surround you. The results may not always amaze you, but your work will certainly
take on a distinctive quality as you strive for honest and genuine expression. Good painting isn’t about
sweet colors, nice tones and smart brushwork—lots of people serve up those. Far fewer can paint canvases
that demonstrate interest or pleasure. Focus on that rather than on technical virtuosity, and your work will
likely express the sort of vitality you’re trying to achieve with bravura technique.
The still life artists Roberto Bernardi, Samuel Hung and Robert Jackson all share an enthusiasm for the
genre, as demonstrated by their works’ masterful display of traditional realist techniques. The childlike sub-
ject matter—lollipops, sugary drinks and bathtub toys—similarly betrays a cultural nostalgia for artwork
that was once simple, innocent and likeable. These are not just random subjects; they’re loaded psychosocial
emblems that represent a nurturing impulse. In other instances, the works deploy dynamic compositional
strategies and jesting narratives. Offering a carnivalesque effect, they pose as witty disclaimers of the mod-
ernist principles defining “serious art.” Here we have art that unabashedly dares to be charming, joyful and
happy—genuine and without the defensive irony that undermines true sentiment. Is it really a travesty,
these artists ask, for art to make you happy?
L’ippopotamo al Tramonto
by Roberto Bernardi
oil on canvas, 55x63

Roberto Bernardi
Roberto Bernardi recalls visiting the Uffizi Gallery, in Florence, as a child and being
fascinated by Michelangelo’s Doni Tondo. “I returned many times to admire it,” he
says. “At about age 15, I decided to become an art restorer. I trained for about a year
in Rome before realizing that what I really wanted was to be a realist painter.”
Bernardi’s early training as an art restorer, which exposed him to the materi-
als and techniques of the old masters, proved to be an excellent foundation for
his signature realist style. Though Bernardi works largely from photographic
reference, his paintings nevertheless display a masterful dimensionality and
depth—not the lifelessness and flatness photo-referenced works generally
exhibit. He notes, “I start by drawing the composition on the white canvas, con-
centrating on the outlines of the objects and making sure they’re done
precisely. I don’t draw the internal detail of the objects or the shadow areas. I
then proceed to paint, using many layers—as painters did during the
Renaissance. These layers give the painting a unique three-dimensional effect. I
finish by varnishing the painting when it’s totally dry (usually after about three
months) with damar varnish. This last step brings back colors that may have
dulled in the drying process and adds further depth and luminosity.”
Bernardi notes that, although achieving technical mastery was difficult, the
investment has freed him to focus on choosing subject matter. He says, “I
remember how difficult it was to paint a tree, a crystal or a human face. Now I
no longer have to think about how I’m going to paint something. Instead I’m
focused on what catches my eye. It may be a mundane scene, but I may see
Tweety and Bunny
something interesting enough to turn into a work of art.” by Roberto Bernardi
“C H I L D R E N ’S B O O KS ,
E S P E C I A L LY T H O S E B Y C H R I S
VA N A L L S B U R G , F A S C I N AT E D M E
L O N G P A S T E A R LY C H I L D H O O D .
T H E I L L U S T R AT I O N S W E R E
REALISTIC, MAGICAL AND ODD
( I N A G O O D W AY ) .”
—SAMUEL HUNG
Samuel Hung
When Samuel Hung was 5 years old (during pre-internet days), his parents
bought an encyclopedia set from a door-to-door salesman. Hung loved the illus-
trations—particularly those that diagramed insect anatomy—and he’d spend
hours copying them into his notebook. He also recalls N.C. Wyeth’s illustrations
for Treasure Island. “I remember them being realistic and theatrical at the same
time,” says Hung. “I could sense the drama in the paintings. Children’s books,
especially those by Chris Van Allsburg, fascinated me long past early childhood.
The illustrations were realistic, magical and odd (in a good way).”
Hung’s love of children’s books subsequently led him to the ArtCenter
College of Design, in California, where he majored in illustration. His studies
initially focused on portraits and figures, but he soon discovered his love for
still life. He says, “I really liked Giorgio Morandi’s minimalistic still life paint-
ings. The subtle tones and simple objects felt really soothing to me. Wayne
Thiebaud became a huge inspiration for the playfulness of his subjects. They
have this wonderful nostalgic quality and kitsch about them. I’m not usually a
fan of Odd Nerdrum’s work, but there are these brick paintings I really fell in
love with. They’re very simple and understated but painted so well, you could
feel the weight of the brick. To capture the brick with such honesty elicited a
much larger emotional response from me than his other, louder paintings.”
Hung’s path as an artist was interrupted after college; unsure of a career
direction, he traveled and picked up odd jobs. He ended up in New York study-
ing drawing, painting and sculpture with Jacob Collins at the Grand Central
Atelier. As with Bernardi, the added technical training and mastery of skills
have provided Hung with the creative freedom to paint the subjects that bring
him joy.
Imposters No. 1
(Butternut Squash
& Drinking Bird)
by Samuel Hung
oil on panel, 15x16
Robert Jackson
The road to becoming a professional artist proved to be long and winding for Robert Jackson. “I was Fortune Hunter
always carrying around an art book and drew all the time,” he says, “but as for that being a career, it by Robert Jackson
oil on linen
never occurred to me, nor was it encouraged. So I went to school as an electrical engineer and worked
40x30
in that profession for five years, left that for the ministry for five years, left that and have been paint-
ing full time for the last 20 years.”
Jackson’s artistic direction was inspired by the realists of the 1960s and 1970s—William H. Bailey,
Jack Beal, Janet Fish, Alfred Leslie, Philip Pearlstein and Wayne Thiebaud. “I’m not really enamored
with the current realist atelier movement,” says Jackson. “Sometimes I think these painters ask the
wrong questions and spend too much time discussing and refining techniques but rarely discussing
what to actually paint. I tend to believe that mediocre skill and a great idea creates a better painting
than great skill with a mediocre idea. The best musicians don’t always create the best songs. I person-
ally loved the Ramones; they came in with three chords but had a fabulous idea that blew people away.
It makes me think I need to spend much more time brainstorming, pondering and generating ideas.”
Jackson always carries a sketchbook for recording ideas and making thumbnail sketches. “Many
ideas never materialize,” he says, “but I keep the books going, organic and evolving. Ideas need some
maturation and a certain amount of self-awareness. It’s hard to keep up that practice of continually
filtering and evaluating ideas.”
Jackson also recommends viewing art. “I’m surprised at how little most artists look at art,” he says.
“Artists seem to know their small genre but as a whole are unaware. Whether you like what you see or
not, it’s good to know what art is out there, speaking to society.”
Michael Gormley is the content strategist + editor in chief of Artists Magazine.
Fruit vs Vegetables
by Robert Jackson
oil on linen
48x48

CREDIT
LIFE
OF T HE
PA R T Y
An exhibition examines the creation and ongoing impact of
The Dinner Party, Judy Chicago’s landmark work of feminist art.
by Allison Malafronte
I n Judy Chicago’s large-scale installation The Dinner Party, dozens of seminal figures in the wom-
en’s suffrage and feminist movements are invited to a grand ceremonial dinner and given their
rightful place in the artist’s rewrite of Western history. New insight into this milestone artwork is
provided in “Roots of ‘The Dinner Party’: History in the Making,” an exhibition at the Brooklyn
Museum, where the artwork is on permanent display. Through more than 100 objects, including
test plates, notebooks, preparatory drawings and other ephemera, viewers are given an in-depth
look at the creation of this multilayered, monumental installation.
The exhibition offers a deeper understanding of Chicago’s original goals for the piece, as well as a
renewed perspective of The Dinner Party’s relevance today. Chicago, a pioneer in the presentation of
feminist thought through art, created The Dinner Party between 1974 and 1979 as a way to recognize
Testing the Mound Sojourner Truth No. 2 Test Plate

(from The Dinner Party) (from The Dinner Party)
by Judy Chicago by Judy Chicago
1977; porcelain and china paint, ca 1978; porcelain and china paint,
14-inch diameter 14-inch diameter
COURTESY OF THE ARTIST; © 2017 JUDY CHICAGO/ Judy Chicago in The Dinner Party China Painting Studio, 1975 BROOKLYN MUSEUM, GIFT OF JUDY CHICAGO; © 2017
ARTISTS RIGHTS SOCIETY (ARS), NEW YORK; COURTESY OF THROUGH THE FLOWER ARCHIVE JUDY CHICAGO/ARTISTS RIGHTS SOCIETY (ARS), NEW
PHOTO © DONALD WOODMAN YORK; PHOTO: SARAH DESANTIS, BROOKLYN MUSEUM
OPPOSITE
The Dinner Party
by Judy Chicago
1974–79; ceramic, porcelain and textile, 576x576
BROOKLYN MUSEUM, NEW YORK; GIFT OF THE ELIZABETH A. SACKLER FOUNDATION; © 2017
JUDY CHICAGO/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK; PHOTO © DONALD WOODMAN

RIGHT
Judy Chicago and others working in
The Dinner Party Needlework Loft, 1978
COURTESY OF THROUGH THE FLOWER ARCHIVE
BELOW
The Dinner Party workers painting names on the
heritage floor tiles, 1978
Study for C. Herschel, S. Anthony, E. Blackwell and E. Smyth Plates

(from The Dinner Party) by Judy Chicago
1978; ink and collage on paper, 23x35
COURTESY OF THE ARTIST; © 2017 JUDY CHICAGO/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK;
PHOTO © DONALD WOODMAN
women’s contributions to all areas of

society and amend their relative absence
from the grand narrative of history.
A second purpose was to reassert the
value and artistry of such objects as
ceramics, painted fine china and textiles,
which traditionally had been relegated to
T he Dinner Party comprises an
enormous triangular table, set for
a banquet, with 39 unique place set-
tings, each honoring a different
Inscribed in gold on the white-tile
floor supporting the table are the
names of 999 additional women. The
dark, expansive background seems to
the domain of women’s domestic life. historical woman. The invitees include suggest stretches of space that one can
The installation also serves as a hum- women’s-rights activists and political imagine filled with several centuries’
bling reminder of the hardships endured figures such as Susan B. Anthony, worth of audience members witnessing
by women of past eras and of how hard Sojourner Truth and Elizabeth this tribute.
those women worked to achieve ever- Blackwell, as well as writers, artists and Chicago spent five years on The
greater freedom and equality with men. musicians, including Virginia Woolf, Dinner Party’s design and execution,
“Because we are denied knowledge of our Georgia O’Keeffe and Ethel Smith. The and nearly 400 women and men
history, we are deprived of standing upon place settings center on elaborate, assisted in its creation. Upon comple-
each other’s shoulders and building upon sculptural porcelain plates featuring tion in 1979, the installation was first
each other’s hard-earned accomplish- symbolic butterfly and vulvar designs, exhibited at the San Francisco
ments,” the artist says. “Instead we are which signify each guest’s struggles Museum of Modern Art. It immedi-
condemned to repeat what others have and accomplishments. The plates are ately became a popular attraction—its
done before us, and thus we continually complemented by gold chalices and first exhibition was seen by nearly
reinvent the wheel. The goal of The utensils and ornately embroidered 100,000 viewers over three months. It
Dinner Party is to break this cycle.” table runners. also inspired widespread discussion,

Study for Virginia Woolf (from The Dinner Party)
by Judy Chicago
1978; ink, photo and collage on paper, approximately 24x36
NATIONAL MUSEUM OF WOMEN IN THE ARTS, WASHINGTON, D.C.; GIFT OF MARY ROSS TAYLOR IN HONOR OF
ELIZABETH A. SACKLER; © 2017 JUDY CHICAGO/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK; PHOTO: LEE STALSWORTH
Judy Chicago designing the entry banners for

The Dinner Party, 1978
including its share of criticism and she teetered on the brink of firm for 50 years—she did not swerve
controversy. sanity—holding on long enough, in her commitment,” Chicago writes.
In the decades since its creation, the often enough to speak with true “Was it easy for her? Did she become
artwork has come to be considered a female voice which, like a beacon, discouraged, did her spirit ache, did
cornerstone of both feminist and late- beckons us.” her body break down? How did she
20th-century American art. “The Through Chicago’s studies we can bear the pressure? I am her and she is
Dinner Party is a milestone in the art of also trace her thought process as she me and the struggle welds us into one
the last century, and continues to created the symbolic forms for each of being. I twist and turn and reach and
inspire and inform those who come to her guests. Near her sketch for Susan yearn as she did. Can we make you,
see it at the Brooklyn Museum, read B. Anthony’s design, for instance, Susan, can we give you the form you
about it in art history books or use it as Chicago writes, “This form should be want and deserve?” With The Dinner
a model for questioning history,” says more struggling than any other— Party, Chicago does give Anthony the
Carmen Hermo, the exhibition’s cura- twisting, turning, pushing up, raising form she deserves, and “The Roots of
tor and assistant curator of the up as Susan B. pushed and strained ‘The Dinner Party’: History in the
Elizabeth A. Sackler Center for throughout her lifetime—her only Making” helps us to understand
Feminist Art. “This signature piece in goal to change the world, humanize it exactly how and why.
our collection continues to be a vital and end the oppression of women.”
resource for sparking conversation Chicago’s description of Anthony’s Allison Malafronte is an arts writer,
about feminism, political art and struggles seems in some ways to mir- editor and curator based in the greater
diverse representation.” ror her own efforts. “Anthony stood New York area.
B y examining Chicago’s prepara-

tory work, we can see how the
artist began to relate to each of these
historical figures and, especially, how
ABOUT THE EXHIBITION
“Roots of ‘The Dinner Party’: History in the Making” is on view at the
she empathized with their positions Brooklyn Museum, in New York, through March 4. The Dinner Party is
and plights. For example, in her on permanent view at the museum, where it is part of the Elizabeth
study for the design of Virginia A. Sackler Center for Feminist Art. For more information, visit
Woolf ’s dinner plate, Chicago writes, brooklynmuseum.org.
“Poor Virginia—she was a flower of
delicacy, a genius, a shaking leaf—
The
Well-Fed
Artist
Make your art and eat cake, too—
embrace the business side of the creative life.
H
by Kristian Nammack illustration by Lincoln Agnew
ERE’S THE GOOD NEWS: Artists

can have economically sustainable
careers. Here’s the challenging
news: Artists still see themselves
as being outside of the usual
economic system. Art collectors,
organizations and even art schools
prey on this attitude, expecting art-
ists to display their artwork for free
and provide services as unpaid or low-
paid interns and part-time staff. Art
schools expect students to pay the
same rates to earn an M.F.A. as hope-
ful investment bankers pay for an
M.B.A.—with very different financial
prognoses after graduation.
Furthermore, many art schools don’t
provide professional development classes
in the final year, even as electives, for an
M.F.A. The nonprofit sector has tried to
close this gap with professional develop-
ment-programs for artists, but these barely
scratch the surface of artists’ needs.

So, what’s to be done,
and what are some
of the sources of
income for artists?
The short answer is
to change your atti-
tude, stand up for your economic rights, educate yourself
about business and finance issues and develop strategies to
sell your art.
Stop Underearning and Start Thriving. Books like these not
only offer practical advice but also begin to change the
inherent “underearner” attitude to which so many artists
seem to capitulate.
There are also basic courses on financial planning and
business management—both online and in-person. Browse
Coursera’s online course offerings at coursera.org. Look for
your local Small Business Administration chapter at sba.gov.
Check out some of their online tools, like how to draft a basic
business plan—then write a business plan! The Foundation
Center (foundationcenter.org) is a more art-focused
PA R A D I G M S H I F T resource. Not only does it offer a comprehensive database to
The starving artist is a prevailing archetype, well documented search funding opportunities but it also gives courses, many
by Puccini in La Bohème, later reprised and updated by of which are available later as podcasts, on the basics of
Jonathan Larson in his 1990s rock opera RENT. It’s echoed art-business management.
in the myth of Basquiat, whose paintings now sell at auction Local nonprofits also offer programs, but getting into
for over $100 million. This outmoded notion keeps many one is often competitive. Check with your local art muse-
people from choosing art as a career. Being an artist can be a ums and nonprofits to see what exists near you. One
sustainable career choice if you’re willing to rethink what that nationally recognized program is Springboard for the Arts,
means to you. in St. Paul, Minnesota.
First, it’s important to see yourself as a self-employed
business owner. The business you own is that which con-
ceives of, creates and distributes your art. Crass as it may COMMERCIAL GALLERIES
seem, you’re in the manufacturing industry, with merchan- Another critical strategy is to develop a market for your
dise, inventory, marketing, sales channels, cost of goods sold art—the most obvious source of income for an artist. In the
and all the other issues with which manufacturers contend. United States, there are myriad outlets for fine art sales,
This is the view of Amy Davila, who founded ArtSmart, a including intermediaries like commercial and nonprofit gal-
consulting firm based in Los Angeles that helps artists create leries, various web-based businesses and, of course,
sustainable livelihoods. Davila discusses the emotional direct-to-collector sales. Perhaps the most extensive survey
blockage: “Artists have fallen victim to the romantic idea of the art market is the study commissioned annually by The
that in order to make great art they must suffer. This anti- European Fine Art Fair (TEFAF). The 2017 TEFAF report
quated construct perpetuates and continues to plague credits the global network of commercial galleries for more
artists, resulting in feelings of guilt, confusion and shame. than half the overall turnover for art sales in 2016.
Artists want that financial success and independence, but Commercial galleries sell the work of their artists, who
they stop short of embracing it for fear of selling out or pla- typically get solo exhibitions every second year. These galler-
cating the market.” Working with artists, Davila focuses on ies sell to private collectors, sell and place work in museum
three goals—exposure, context and financial independence. collections, develop public relations, procure commissions
“Artists have to start thinking in these terms and say to and rent booths at art fairs—the fastest-growing venue for
themselves I want to be a successful artist,” she says. art sales over the past 15 years. Galleries are also increasingly
Once Davila has convinced her artist clients that it’s OK selling artists’ works via web-based strategies. Although web
to want to be financially successful, she helps with the prac- sales currently represent only 4 percent of overall market
tical things—setting up a legal business entity, financial sales, according to TEFAF’s report, they’re rapidly expanding
management and advising, cash flow management, budget- at a 50 percent year-by-year pace.
ing, general bookkeeping and accounting, payroll, tax Galleries typically charge their artists a 50 percent com-
planning, inventory database management, gallery liaison— mission of the sale price for new work and often expect to
all the things that most artists need but are often not willing recoup some of their costs as well. They sometimes advance
or able to do themselves. production costs to their artists—especially for the artist’s
biennial solo show—but this benefit is mostly reserved for
their top performers. Judging by their placement in the main
LEARN MUCH AND PROSPER art fairs, the top-selling galleries seem to be Gagosian Gallery
Outsourcing business and financial management is not an and David Zwirner Gallery in New York; Hauser & Wirth in
option for everyone—so what are some practical first steps? Zurich; and White Columns in London. Blue-chip galleries
Go to your library for some basic business and financial- such as these add to their roster every year and even some-
planning texts. Dave Ramsey’s The Total Money Makeover, times add younger artists. More typically, however, young
Jen Sincero’s You Are a Badass at Making Money and Laina artists work their way up the value chain, starting with a
Buenostar’s Happy Money are all personal-finance best- group show in a nonprofit or emerging gallery. In time, these
sellers. A book I found transformative, now available only as artists are invited into a smaller gallery, usually one local to
an ebook, is Jerrod Mundis’ Earn What You Deserve: How to the artist’s hometown.

One clue to the more successful emerging galleries is
the art fairs that specialize in working with them. Check A S A N A R T I S T,
out the galleries involved with fairs organized by the New
Art Dealers Alliance (NADA) in Miami Beach and New
York or the emerging-gallery sections of larger art fairs.
I T ’S I M P O R TA N T
These galleries, often young and small, will each have a dif-
ferent strategy for building a strong roster of artists. Some
T O C I R C U L AT E —
seek a broad diversity of art styles and personalities; others
focus on a specific sector, region or medium. Generally, how- O R AT L E A S T
ever, gallerists don’t respond to being approached directly.
They like to discover artists on their own, so the trick is to be
discoverable. It reminds me of the old adage—luck is when
H AV E Y O U R
preparedness meets opportunity.
As an artist, it’s important to circulate—or at least have WORK
your work circulate and get seen, talked about, written about
and shared on social media. Let others recommend you to gal- C I R C U L AT E
lerists. As Benjamin Tischer of Invisible Exports on New York’s
Lower East Side says, “If another artist recommends an artist,
we more than likely do a studio visit. The same holds true with
AND GET
curators and collectors. In the eight years we have existed, we
have only shown two random submissions, both in group con- S E E N , TA L K E D
texts.” Tischer also says, “Less than half of the artists we represent
support themselves exclusively from art sales—and even those
augment sales with lectures, performances and publications.”
A B O U T,
WRITTEN
NONPROFIT GALLERIES
In addition to commercial galleries is the longstanding tradition of ABOUT AND
nonprofit galleries. Some spaces focus on specific media or sub-
jects. For example, in New York City the International Center for
Photography (ICP) and Aperture Gallery show photography;
SHARED
NURTUREart presents first exhibitions; and Printed Matter, Inc.
specializes in works on paper.
ON SOCIAL
Some galleries offer spaces to make art, often a significant cost in cit-
ies like San Francisco and New York. These high-demand spaces are MEDIA.
allocated through an application process. There are other nonprofits that
offer studio space at a below-market rate as their main mandate.
Nonprofit galleries should offer a stipend or honorarium to artists they
show—as should the big contemporary art museums like the Broad
Museum in Los Angeles, the Museum of Contemporary Art in Chicago
and MoMA PS1 in New York. Too often, curators will convince the exhibit-
ing artist that the exposure alone is worth the effort—but exposure doesn’t
pay bills. It should be a secondary benefit, with pay for content the
primary benefit.
Sometimes, especially with nonprofit spaces that are noncollecting,
sales are made. If so, artists commonly share the proceeds with the non-
profit but not at the same rate as with a commercial gallery. Perhaps the
nonprofit will expect 25 percent or so of the proceeds.
Some nonprofit art spaces focus on highlighting social issues or work with
specific segments of the artist population. One is Alternate ROOTS in Atlanta.
Alternate ROOTS fosters artists and also “the creation and presentation of
original art that is rooted in communities of place, tradition or spirit.” Their
website goes on to say, “We are a group of artists and cultural organizers based
in the South creating a better world together. As Alternate ROOTS, we call for
social and economic justice and are working to dismantle all forms of oppres-
sion—everywhere.” These types of spaces are often funded by foundations and
endowments, and they have special community goals on top of and sometimes
superseding an interest in artist exposure.
60 percent going to nonprofits. By compari-
INTERNET SALES son, in the United States, total state and local
The 2017 TEFAF report estimates that about support of the arts was $368 million and $827
4 percent of gallery sales happen via the inter- million respectively. Unlike the NEA, many
net. While galleries are approaching their state and local arts agencies fund individual
clients and attracting new clients over the web, artists directly, so it makes sense to research
so are artists who sell work directly, bypassing what is available in your state, county or city.
the gallery system or working alongside their
galleries with direct “studio sales.” Sometimes
represented artists will pay a small percent to GENEROUS PLACES
their gallery as a courtesy; other times not, as Arts funding in the United States often compares
negotiated in advance. Some artists work exclu- unfavorably with other countries and looks mea-
sively as their own sales agents. The advent of ger alongside France, Germany and Australia, for
Instagram, in particular, makes this possible. example. The NEA budget is 0.003 percent of the
Nashville-based artist Shane Miller was federal budget, or 46 cents per American—less
recently the subject of a Forbes magazine article than the cost of a postage stamp, as pointed out in
for his success in selling via Instagram. To quote Andrea Scott’s comments in a March 2017 article
Marion Maneker of the Art Market Monitor, a in The New Yorker, “Trump’s N.E.A. Budget Cut
popular art-and-business blog, “Miller’s ‘aha’ Would Put America First, Art Last.”
moment with Instagram came when he reached New York State and City both have had a long his-
out to Instagram influencer Ruthie Lindsey, a tory of supporting the arts with relative generosity;
friend with a large following in March 2017. ‘She however, Minnesota is the state that spends the most
had 90,000 followers and I asked if she’d trade a per capita on art and culture. In 2008, Minnesota vot-
painting for a promoted post,’ he says. ‘When we ers passed the Clean Water, Land and Legacy
met up she brought a friend who had 1.2 million Amendment, which levies a supplemental sales tax on
followers with her, and he liked my work and ended all purchases. Twenty percent of this money may go to
up showcasing it on his feed.’ the State Arts Board and regional arts councils, which
“Almost overnight, Miller’s following ballooned have sent over $100 million in funding to the arts since
from 500 to 3,500; today it’s a respectable 4,279.” the amendment passed. According to the National
Assembly of State Art Agencies, the top 10 states for
arts funding per capita are, in order, Minnesota, Hawaii,
P R I VAT E F U N D S A N D Delaware, Maryland, Rhode Island, New York,
NONPROFITS Massachusetts, Missouri, New Jersey and Wyoming.
Because the United States is primarily a market- Surprisingly, California ranks 38th.
driven, consumer-focused economy, art sales have been
the predominant method for funding visual artists here.
There are, however, multiple layers of government and NETWORKING
privately funded grants available. These public sources To become part of the “art system,” you’ll need to develop
differ according to where you live. The United States is a network, and the most obvious network comes from
among the least generous countries on the federal level, attending art school to earn a B.F.A. and even an M.F.A. In
and Germany is the most generous, as a percent of gross fact, it may be that the best asset an M.F.A. program gives
domestic product allocated to the arts broadly and artist an aspiring artist is access to the network of represented
grants specifically. There are also locale-dependent tax artists, public and private grant makers, collectors and gal-
incentives. The United States has allowed tax-deductibility lerists who look to these programs to select the best
for private contributions to nonprofit organizations, potential talent. Visiting the art schools and poaching young
including those supporting artists, but a tax bill under con- talent is a common strategy for galleries, especially those
sideration at the writing of this article may change or focusing on emerging artists. While much can be debated
eliminate that deduction. Some countries, such as Ireland, about the merits of paying tuition to become an artist versus
have experimented with allowing artists a tax exemption relying on self-directed inspiration and talent, and while the
from some of the income they get by selling their work. financial prospects of an M.F.A. versus an M.B.A. are not
The main U.S. body for funding the arts on the federal equal, there’s no debate about the merits of the network that
level is the National Endowment for the Arts (NEA). The comes from being part of a higher-education program.
NEA primarily funds nonprofit arts organizations on a The bottom line is this: Don’t sell yourself short. Sustaining
project basis. It no longer funds individual artists directly, yourself as an artist is an attainable goal—and one that will
but the nonprofits it funds pass on some of the NEA’s help you reach your creative potential. Go for it!
funding to pay artist stipends and honoraria.
The 2016 appropriation to the NEA was $148 million, Kristian Nammack is an arts patron with extensive
with 40 percent going to state and regional agencies and experience in arts management and consulting.

A DISPL AY OF
E XCELLENCE The 30 winners
of this year’s
Annual Art
Competition
For the past 34 years, we have been
witness to the pursuit of excellence in
the form of our Annual Art Competition.
Every year brings us new, compelling
art from across the globe, pushing
boundaries and rendering work that
both recognizes the present and honors
the past. We welcome these winners into
the pages of Artists Magazine for their
boldness and their beauty.
JURORS
PORTRAIT/FIGURE: David Jon Kassan
LANDSCAPE: Jerry N. Weiss
ANIMAL/WILDLIFE: Julie Askew
STILL LIFE/INTERIOR: Jaye Schlesinger
ABSTRACT/EXPERIMENTAL: Betsy Dillard Stroud
PORTRAIT/
FIGURE
FIRST PLACE
Sarah Marie Lacy
Ottawa, Ontario
I am everything
oil on linen, 24x18
“The title
I am everything
challenges the idea
that this woman is
a one-dimensional
stereotype. She is
complex, rich. She
contains multitudes.
She is everything.”
– sarah marie lacy
RIGHT
SECOND
PLACE
Brooke
Olivares
Sarasota,
Florida
The Orange Mug
OPPOSITE, LEFT
THIRD PLACE
William
Neukomm
Aliso Viejo,
California
Chomp
oil on linen, 54x72

HONORABLE MENTIONS
BELOW BELOW BOTTOM RIGHT
Justin Hess Eugene Kuperman Sydney Bella Sparrow
San Francisco, California Los Angeles, California York, Maine
#blacklivesmatter #gaylivesmatter 1915 K’nea
oil on linen, 55x43 oil on linen, 30x40 oil on linen panel, 24x24
LANDSCAPE
FIRST PLACE
Ron Stocke
Everett, Washington
Bermondsey, London
watercolor on paper, 14x21
“My advice to other

artists is to fail
frequently. This is
so very important in
painting. I’ve learned
more from failure in
every aspect of life
SECOND PLACE A Road Less Traveled
than success.” Camille Przewodek
oil on panel, 8x10
–ron stocke Petaluma, California

THIRD PLACE
Marcie Cohen
Denver, Colorado
Path to Chianti
pastel on paper, 12x16
HONORABLE
MENTIONS
NEAR RIGHT
Emily
Thompson
Doylestown,
Pennsylvania
Pink House
oil on panel, 12x12
FAR RIGHT
Esther Huser
Weinfelden,
Switzerland
Downtown Zurich
oil on aluminum,
35½x23½
RIGHT
Nancie
King Mertz
Chicago, Illinois
Hell’s Kitchen
pastel on panel, 18x21
ANIMAL/
WILDLIFE
FIRST PLACE
Dale Marie Muller
Roberts, Montana
Descend
“Let go of fear, and

be persistent.
Listen to your soul
and paint with true
emotion. Find a
subject that makes
your heart sing
so that your
enthusiasm will SECOND PLACE
Kyle Ma
shine through in Austin, Texas
your work.” Beautiful Morning
oil on panel, 14x18
–dale marie muller

THIRD PLACE
Anne Peyton
Phoenix, Arizona
On His Territory
acrylic on board, 18x13
HONORABLE MENTIONS
ABOVE TOP RIGHT ABOVE RIGHT
Jan Stommes Rick Pas Linda Besse
Owen, Wisconsin Lapeer, Michigan Mead, Washington
Moving On QR Code GLM Woven
oil on canvas, 36x48 acrylic on panel, 12x12 oil on panel, 33x44
STILL LIFE/
INTERIOR
FIRST
PLACE
Mimi
Jensen
San
Francisco,
California
Family Reunion
BELOW
SECOND
PLACE
Roberto
Rosenman
Toronto,
Ontario
Artist and Jester
oil on panel, 18x24
“Roses are alive

and complex, so
the biggest
challenge was
painting them as
they opened and
before they com-
pletely wilted. They
spent each night in
our refrigerator!”
–mimi jensen

THIRD PLACE
Ann Kraft Walker
The Woodlands, Texas
They Flew Away
oil on panel, 12x16
HONORABLE MENTIONS
ABOVE LEFT ABOVE
Kari Tirrell Martha Cowan

Gig Harbor, Rancho Cucamonga,
Washington California
Attempted Murder Cuties With the Blues
acrylic on aluminum, 16x24 oil on panel, 8x16
LEFT
Robert Papp
Quakertown,
Pennsylvania
Victoriana
oil on linen, 32x30
ABSTRACT/
EXPERIMENTAL
FIRST PLACE
Sally Cooper
Parkland, Florida
Conversation in Blue
acrylic on canvas, 48x51
“My marks are

my emotional
response to the
canvas. They
become a visual
vocabulary. It’s
important that
they speak to
each other.”
–sally cooper
RIGHT
SECOND PLACE
Denise Athanas
Sandy Springs,
Georgia
Jazzy Red IV
acrylic on paper, 22x30
OPPOSITE, LEFT
THIRD PLACE
Sharen Watson
Katikati, New
Zealand
Apples 4 Apples
Dust 2 Dust
On the Road to Success,
Who Should One Trust.
acrylic on canvas, 36x48

HONORABLE MENTIONS
BELOW BELOW RIGHT BOTTOM RIGHT
Aili Kurtis Liz Walker Geoffrey McCormack

Perth, Ontario Portland, Oregon Eugene, Oregon
Autumn Abstract Waiting in the Wings Learning to Walk in My Own Shadow No. 11
acrylic on canvas, 20x20 acrylic marbling and collage on paper, 13x19 acrylic on paper, 24x18
For a list of competition finalists, turn to

page 102.
COLOR YOUR OWN MASTERPIECE
Master Prints:
34 Frameable Masterpieces to Color
Edited by Kristy Conlin | Art by Jamie DeAnne
Master Prints invites you to reinvent 34 of the most

celebrated paintings of the past six centuries, recreated
here as beautiful, hand-rendered line art for your
coloring enjoyment. Use your unique color sense to
experience these masterpieces in a whole new, highly
personal way. Channel your inner Michelangelo as you
bring to life The Creation of Adam. Spend an afternoon in
Seurat’s A Sunday Afternoon on the Island of La Grande
Jatte. Give Mona Lisa a makeover. Anything goes with
you behind the color wheel...so grab your medium of
choice, and color your own masterpieces!
Paperback • 9781440348464 • R2055 • $19.99
To learn more about the fullrange of ArtistsNetwork products, including North Light books,
visit ARTISTSNETWORK.COM.
FIND GREAT DRAWING INSTRUCTION
Figure Drawing Essentials:
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Brent Eviston
Brent Eviston has taught both traditional and contemporary

drawing through studios, museums, galleries and schools
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drawing video demonstration gets you started with a
review of the subject and how to choose a good reference
photo. Next, move into light gesture drawing using a sepia-
colored pencil on warm, tinted drawing paper. Explore
measuring techniques to keep the figure in proportion as
you learn how to build shape, volume, and form with line
quality, shadow and light values. By the end of this lesson
you’ll have completed a beautiful figure drawing.
DVD • 9781440353222 • R6867 • $31.99
April 12–15, 2018 | Loveland, CO | Embassy Suites
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THESE PERSIAN
CARPETS, MANUSCRIPTS,
C E R A M I C S , M E TA L W O R K S
AND JEWELED OBJECTS
A R E O N P U B L I C D I S P L AY
FOR THE FIRST TIME.
PEAR; IRAN, 19TH CENTURY; STEEL INLAID WITH GOLD; PRIVATE COLLECTION; COURTESY OF THE MUSEUM OF FINE ARTS, HOUSTON
Outfit SPOTLIGHT
CLOCKWISE
FROM RIGHT:
Beverly McNeil,
Julia Baughman,
Ruth Reeves
The Commissioners
Beverly McNeil, Ruth Reeves and Julia Baughman—
who together run one of America’s largest portraiture
companies—share what they’ve learned from a life of
business and art.
by Michael Gormley
portrait business,” Reeves recalls. She McNeil’s business. Soon after, they
b
soon launched The Portrait Source, approached Reeves with a proposition
everly McNeil grew up in the focusing her efforts on the lucrative to join forces, and Portrait Brokers of
South, which has a long tradi- corporate and military markets. America and The Portrait Source
tion of commissioned Julia Baughman was born to be in merged. Soon after that, Portraits Inc.
portraiture. She remembers sitting for business. Personable, efficient and went on the market, and the newly
a painting her father had commis- great with numbers, she pursued a formed trio of McNeil, Reeves and
sioned from the portraitist Robert career in finance and commercial bank- Baughman decided to buy it—a fitting
Bruce Williams. “I became fascinated ing. Securely established in her career, and happy ending for their collective
with the process,” she says. “I had she and her husband began collecting hard work and perseverance.
always been interested in art, but art and were invited onto the boards of “We find ourselves just as fascinated
portraiture, particularly of family local cultural organizations. “I really today as we did when we first began,”
members, began to mean something caught the art bug,” she says. says Reeves. “It was an eye-opening
more. I realized that they were painted When Baughman retired from bank- experience when we realized we all had
out of love.” ing, she began thinking about working the ability to run a business of this
Years later, after McNeil had in the arts. As fate would have it, magnitude. The winning ingredient
founded a successful home décor busi- mutual friends introduced her to was that we each brought different
ness, she decided she wanted to open a McNeil. The two hit it off, and strengths and experiences.”
portrait gallery. She called the new ven- Baughman became a partner in Asked what advice she would give
ture Portrait Brokers of America. “The young women considering a business
shift was very organic,” McNeil says. “I career in the arts, Baughman says that
already had a strong sales team—all passion and drive are essential. “Go to
women at the time. We got good at college first,” she adds, “and get experi-
selling portraits.” ence in other art-related businesses,
Ruth Reeves experienced portrai- as interns at museums or galleries. It’s
ture for the first time in very similar not as easy as many think, and some-
fashion, when she and her husband times it takes a number of years in the
sat for a commission—coincidentally, business to really break through.”
by Robert Bruce Williams. The experi- “You must have perseverance, cre-
ence enthralled Reeves as it had ativity, flexibility and respect for your
McNeil, and it initiated a career shift. colleagues,” adds McNeil. “In short, you
“I began showing Williams’ work to need a willingness to do whatever it
my friends and getting him commis- takes to succeed. We all love helping
sions,” she said. the artists make a living doing what
Reeves soon decided she wanted to they love. Ultimately, we’ve become
break into the art business. She trav- experts in the business of commis-
eled to New York and applied for a sioned portraiture and helping our
sales position at Portraits, Inc.—the clientele navigate through what can be
venerable business founded in 1942 by an overwhelming process. We’re willing
Lois Shaw—and was summarily to wear a variety of hats to make our
rejected. But the rebuke steeled her to business successful, and we thrive on
make a go of it on her own. “I was liter- Dean Bill Russel, Princeton University the excitement of helping people get a
ally sitting on the curb crying when I by Paul Newton great portrait—and a wonderful work
realized that I could just start my own oil on canvas, 62x41 of art as well.”

oil on canvas
charcoal pastel watercolor
WHO WILL PAINT YOUR PORTRAIT?

Portraits, Inc. has curated a collection of today’s foremost portrait artists,
representing a range of styles, mediums and price points.
    • I N F O @ P O R T RA I T S I N C . C O M

W W W. P O R T R A I T S I N C . C O M
short stories Brief reflections on notable
exhibitions BY AUSTIN R. WILLIAMS
The Portraits of a Writer

ISABELLA STEWART GARDNER MUSEUM • BOSTON
GARDNERMUSEUM.ORG • THROUGH JANUARY 21
For Henry James (1843– fine art. He spent much of

1916), one of America’s his life in elite circles of
most celebrated writers, the expatriate Americans in cities
visual arts were a major such as London, Florence,
interest and source of inspi- Venice and Rome, in which
ration. This relationship artists and patrons figured
between pigment and prose prominently. One friend, the
was the subject of the exhi- painter Elizabeth Boott
bition “Henry James and Duveneck, served as the
American Painting,” which inspiration for characters in
included work by John several of James’ novels. The
Singer Sargent, James author had a particularly
Abbott McNeill Whistler enduring friendship with
and John La Farge, all of Sargent, who painted the
Serena imagen (Serene Image) whom were friends of the author several times, includ-
1991; oil on canvas, 50x60
PRIVATE COLLECTION
writer. ing a masterful 1913 portrait
James’ life and work of James on his 70th birth-
abound with connections to day (below).
Mystic Abstractions
PATRICIA & PHILLIP FROST ART MUSEUM • MIAMI
FROST.FIU.EDU • THROUGH JANUARY 28
A selection of elusive and extradimensional space. To

spiritual abstractions by a some extent, the paintings
significant Cuban artist are are reminiscent of photo-
on display in “Rafael graphs of nebulae and other
Soriano: The Artist as astronomical bodies. “I am
Mystic,” at Florida moved by the longing to
International University’s travel through my paintings
Frost Art Museum. The in a dimension of spirit
exhibition shows how the where the intimate and the
work of Soriano (1920– cosmic converge,” the artist
2015) evolved over the once said.
course of more than 50 Soriano was born in the
years from a more geomet- Cuban province of
ric approach to the almost Matanzas. He studied art in
metaphysical style he Havana, then returned to
developed in his mature Matanzas, where he taught
period, which began in the visual arts for almost 20
1980s. years. He fled the country
Soriano’s ethereal late in 1962 in the wake of the
paintings are dominated by Cuban Revolution. He set-
blue and violet tones and tled into exile in Miami,
deep, dark backgrounds. where he worked as a
Henry James
Waves of light and matter graphic designer, among
by John Singer Sargent
seem to materialize, float, other jobs, while continu- 1913; oil on canvas, 33½x26½
blend and disperse in an ing to paint. © NATIONAL PORTRAIT GALLERY, LONDON

Colored
Pencil Call for Entries
Elizabeth Boott Duveneck

by Frank Duveneck
1888; oil on canvas, 65½x34¾
CINCINNATI ART MUSEUM
BFFs—Save the Elephants, Gemma Gylling, CPSA (California)
$5,000 Best of Show and CIPPY Award, 25th Annual CPSA International Exhibition
James’ interest in painting frequently
shows through in his writing—The Cash awards for the 26th Annual This is a juried gallery exhibition
Portrait of a Lady, perhaps his most cele-
Colored Pencil Society of America to be held at the Bridgeport Art
brated work, evokes the art of
portraiture in its very title. Artists and
International Exhibition will total Center in Chicago, Illinois, from
patrons populate his casts of charac- more than $15,000. July 13 to August 20, 2018.
ters—for instance one of the central Artwork must be 100% colored For full information about the
characters of The Golden Bowl is a pencil and meet other requirements. exhibition and CPSA convention,
wealthy art collector reminiscent of J.P. Enter online between December 15, visit: www.cpsa.org/INA
Morgan. James’ prose style itself is often 2017, and March 31, 2018.
described as painterly. The celebrated Since 1990
late novels The Wings of the Dove, The
Ambassadors and The Golden Bowl are
narrated through the limited perspec- Join CPSA
tives of their characters, an approach Become a positive voice
frequently compared to Impressionism. for colored pencil fine art
Today, many readers are introduced to www.cpsa.org
the author through paperback editions
featuring the work of his artist contem-
poraries. Recent Penguin Classics
editions of The Portrait of a Lady and The
Turn of the Screw, for example, feature
works by Sargent on their covers.
“Henry James and American
Painting” originated at the Morgan
Library & Museum, in New York,
Subscribe Today
Art sts
where it was on view last summer. It
was co-curated by Declan Kiely, a cura-
tor at the Morgan; Marc Simpson, an
independent curator; and Colm Tóibín,
an Irish novelist and the author of The
ARTISTSNETWORK.COM
Magazine
Master, a fictionalized account of
James’ later years. A catalog featuring
essays by Tóibín and Simpson is avail-
800-333-0444 • ArtistsNetwork.com/magazine
able through themorgan.org/shop.
Independent
Study Resources to inspire
and build skills BY HOLLY DAVIS
ILLUSTRATED
RECIPES
More than 70 years ago, Cipe Pineles, the first female
art director at Condé Nast, took on a personal
project—a sketchbook of hand-lettered, illustrated
recipes from her Eastern European Jewish childhood.
Her manuscript went unheralded until writer Sarah
Rich and illustrator Wendy MacNuaughton discovered
Met Her, it at an antiquarian book fair. Finding the gouache
paintings and meticulous handwriting irresistible,
Knew Him, they, along with writer Maria Popova and artist
Debbie Millman, became the editors of Leave Me
Made a Alone With the Recipes: The Life, Art & Cookbook
of Cipe Pineles (Bloomsbury)—a luscious paean to a
Painting remarkable 20th-century designer.
Everett Raymond
Kinstler has done it all—from cartoons to
book and magazine illustrations to portraits of
cultural and political icons, including Katharine
Hepburn, Paul Newman, Tom Wolfe, Salvador
Dalí and eight U.S. presidents. In Impressions
& Observations: The Sketchbooks of Everett
Raymond Kinstler, the artist shares work from his
sketchbooks spanning his 75-year career, as well
as finished paintings and insights on art-making.
LOOSEN UP!
If you love the energetic look of broad brushstokes but find yourself getting caught up
in the details when you paint, then Acrylic Painting Brushwork Techniques: Fast, Loose
and Bold (Artists Network TV) is for you. In this still life digital workshop, available as
a download or a DVD, Patti Mollica paints three still lifes, showing different
approaches to gestural brushwork.

Teacups
and Other
Treasures
A Passion for China:
A Little Book About
the Objects We Eat
From (September
Publishing), is a
gorgeous book
written and
illustrated by Molly
Hatch. In its pages, ARCHITECTURAL WATERCOLOR
Hatch shares her Thomas Schaller, noted for his watercolor landscapes
highlighting architectural subjects, shares his
memories and family expertise in an Artists Network TV three-part video
stories of cherished workshop, Watercolor Painting With Thomas
Schaller:
china pieces along ·Perspective and Design (107 minutes) covers the
with the history of basics of perspective and composition—for the start
their designs, paints of a successful painting.
·Dramatic Complements (102 minutes) demonstrates
and ceramic-making the importance of various forms of contrast.
processes. ·Fog on the River (106 minutes) explains how to
capture atmospheric effects of sky, water and fog.
Mugs from the “Animates” series by
Win Ng, late 1970s ARTISTS NETWORK TV • VIDEO DOWNLOAD OR DVD
READING ROUNDUP
Daniel E. Greene collaborated with Not sure how to draw the textures of Copying is a time-honored method of
Maureen Bloomfield, art critic and fur, rocks and other surfaces? Steven artistic practice. Fantastic Forgeries:
former editor-in-chief of Artists Pearce’s handy book, 101 Textures in Paint Like Van Gogh: A Step-by-Step
Magazine, to create Daniel E. Greene Graphite & Charcoal: Practical Course to Painting Van Gogh’s Classic
Studios and Subways: An American Drawing Techniques for Rendering Artworks (Race Point Publishing) lets
Master, His Life and Art (North Light a Variety of Surfaces & Textures you copy eight van Gogh masterworks
Books), which brings together the best (Walter Foster) gives the answers with the help of gridded templates, plus
of Greene’s work in oil and pastel. with demos of four to six steps each. guidance on color and technique.
Exhibitions, events and other items of interest 3.
1.
1. Persian Treasures the same time as the
1. BOWL WITH FISHES; IRAN, LATE 13TH TO MID-14TH CENTURY; BLACK DECORATION UNDER TRANSPARENT TURQUOISE GLAZE ON STONEPASTE; PRIVATE COLLECTION 2. INDIAN POWER BY FRITZ SCHOLDER; 1972; OIL ON CANVAS; DENVER ART MUSEUM, GIFT OF VICKI AND
2. Wild West Myths conference. As a
3. Drawings by Michelangelo
DO
result, this March,
KENT LOGAN; © ESTATE OF FRITZ SCHOLDER 3. UNFINISHED CARTOON FOR A MADONNA AND CHILD BY MICHELANGELO BUONARROTI; 1525–30; BLACK AND RED CHALK, WHITE GOUACHE, BRUSH AND BROWN WASH, 21⁵⁄₁₆x15⁹⁄₁₆; CASA BUONARROTI, FLORENCE
Pittsburgh will
become a mecca for
ceramic-arts enthu-
siasts. Visitors can
NOW
thoroughly immerse
themselves in the
event with a four-day pass or enjoy select
exhibitions, sales and demonstrations that
2. are free of charge to the general public.
Colorado New York Quebec

EAT WELL COMMERCIAL ART WILD WEST MYTHS
ASPEN, COLORADO SOTHEBY’S • NEW YORK CITY MONTREAL MUSEUM OF FINE ARTS
FOODANDWINE.COM/CLASSIC MVVOART.COM MONTREAL • 514-285-2000
JUNE 15 THROUGH 17 FEBRUARY 22 THROUGH 25 MBAM.QC.CA/EN
THROUGH FEBRUARY 4
It’s not too early to mark your calendar “Ad Art Show 2018” marks the launch of a
for the Food & Wine Classic in Aspen, curated exhibition created by MvVO ART. “Once Upon a Time … The Western: A
a summer weekend of epicurean wine The show’s goal is to promote talented New Frontier in Art and Film” shows
and food sampling, cooking demon- artists who work or have worked in adver- how the exchange of stereotypical
strations and a host of other tising and who do not currently have content between the fine arts and the
food-related presentations and events. gallery representation. The MvVO ART cinema have contributed to the myth
Organized by Food & Wine magazine, website points out that Edward Hopper, of the North American West—and how
the event brings together top culinary René Magritte, Georgia O’Keeffe, Norman artists and filmmakers in recent
talents from around the world and Rockwell and Andy Warhol all had adver- decades are reinterpreting that con-
highlights the latest in eating trends. tising backgrounds. “It’s time we add more struct. The exhibition includes more
Events take place in hotels and parks in names to that distinguished list!” says than 400 paintings, sculptures, instal-
and around Aspen, Colorado. Ticket Maria van Vlodrop, founder and CEO of lations, photographs, artifacts, film
sales will begin in April 2018. MvVO ART. The show will feature the stills and excerpts from the mid-1800s
work of up to 50 participants, chosen by a to today. The beauty and romance of
New York selection committee comprised of experts the region, as well as the beliefs and
in contemporary art. attitudes that portrayals of Western
DRAWINGS BY life have engendered, come to light.
Themes addressed include ethnic prej-
Pennsylvania
MICHELANGELO udices, violence and gender roles.
THE MET FIFTH AVENUE CERAMIC ARTS
NEW YORK CITY • 212-535-7710
DAVID L. LAWRENCE CONVENTION Texas
METMUSEUM.ORG
CENTER • PITTSBURGH • NCECA.NET
THROUGH FEBRUARY 12
MARCH 14 THROUGH 17 PERSIAN TREASURES
With works from 50 public and private Every spring, the National Council on MUSEUM OF FINE ARTS, HOUSTON
713-639-7300 • MFAH.ORG
collections, “Michelangelo: Divine Education for the Ceramic Arts (NCECA)
THROUGH FEBRUARY 11
Draftsman & Designer” offers a unique chooses a different city within the United
glimpse of the artist’s creative thought States to host its annual conference—her- “Bestowing Beauty: Masterpieces From
process as he worked out ideas for alded as the world’s largest ceramic-arts Persian Lands” features more than
paintings, sculptures and architecture event. The conference offers invaluable 100 works from the 6th to the 19th cen-
through his drawings. Items by networking opportunities for ceramic art- tury, highlighting the cultural heritage of
Michelangelo include 128 drawings— ists and art lovers while introducing more Iranian civilization. Drawn from one of
from quick sketches and fresco casual visitors to various aspects of the the most significant private collections of
cartoons to finished pieces—three craft. In addition to sponsoring its own Persian art, these carpets, woven silks,
marble sculptures, his first painting presentations and exhibitions, the NCECA manuscripts, paintings, ceramics, lacquer
and a model for a chapel vault. Works also reviews proposals for other exhibi- works, metalworks, scientific instru-
by other artists give context to tions in the host area and then promotes ments and jeweled objects are on public
Michelangelo’s mastery. nearly 100 of these shows, all running at display for the first time.

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FINALISTS ANIMAL/
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Shannon Fannin
Brent Funderburk
Janet Gilliland
John Brennan
Jeri Greenberg
Leah Davies
PORTRAIT/ Kevin Brunner Tanya Harsch
Kim Diment
FIGURE Nathan Campbell Chelsea Herron
Christophe Drochon
Manuel Rodrigues Almeida Juan Cantavella Kenneth Hershenson
Michael Dumas
Filipe Assuncao J.R. Cook Jasmine Huang
Claire Duncan
Tony Baselici Robert Coppen Bernie Hubert
Kathleen E. Dunn
Ezgi Beyazit Kayla Corby Stephen Johnston
Camille Engel
Jason Brady Sheila Delimont Lorena Kloosterboer
Laura Farrell
Elena Caravela Lyn Diefenbach Chris Krupinski
Alejandra Gos
Kathleen Carr Paula Dunn Andrew Leventis
David Haley
Rosanne Cerbo Jean S. Elston Nick Long
Robin Huffman
Andrew S. Conklin Carla Falb Laurie MacKenzie
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Michelle Iglesias
Kimberly Dow Guy Frazer Mary Ellen McLaughlin
Mariko Irie
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George Ann Johnson
Vincent Giarrano Vincent Giarrano Ted Polomis
Stephen Johnston
Pedro Gonzalez Evan Goldman Patricia Rempel
Mostafa Keyhani
Glenn Harren Alison Grapes Judy Saltzman
Karen Kinder
Russell Harris Hayley Haddad Murad Sayen
Judy Lalingo
Jennifer Heine Scott Harris Alisa Shea
Heather Lara
Philipp Humm Steven Hill Julie Skoda
Yael Maimon
Frank Interrante Marcia Holmes Jacques Soulas
Viktoria Majestic
Stephen Johnston Jean Sbarra Jones Ann Steverson
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Sharon Knettell Mason Mansung Kang Anselmo Swan
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Charles Lilly C.J. Lukacsik
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Chin Hsien Lin Ihor Lytviak
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Laurence Saunois Bre Barnett Crowell
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ARTISTS MARKETPLACE
MARY MCLANE • MARY.MCLANE@FWMEDIA.COM • 970-290-6065
C a l l Fo r E n t r ie s Call for Entries

DEADLINE: MARCH 1, 2018
RRWS 25TH NATIONAL JURIED WATERMEDIA Pastel Society of America
EXHIBITION, June 18 - August 4, 2018. Juror/workshop
instructor Mark Mehaffey. Top Awards: $1,250; $1,000; 46th Annual Open Juried Exhibition
$750 plus more. For Prospectus
and entry: www.redriverws.org or at
www.OnlineJuriedShows.com
DEADLINE: MARCH 11, 2018
SOCIETY OF WATERCOLOR ARTISTS INTERNATIONAL
WATERCOLOR JURIED EXHIBIT. Awards - $5,000. Juror The Crown Jewel of Pastel Exhibitions
and workshop - Don Andrews. Exhibit at Atrium Gallery
FWCL in Fort Worth, TX,
April 15 - May 20, 2018. For more info:
www.swawatercolor.com or email exhibit chair:
Entry Deadline: Midnight PDT, June 11, 2018
www.ShowSubmit.com
swaexhibitions@gmail.com
DEADLINE: APRIL 8, 2018
CAPE COD ART CENTER - BAY STATE OPEN - OPEN
JURIED EXHIBIT AND SALE - May 14 - June 17, 2018.
Submit digital images through
https://client.smarterentry.com/capecodart
before April 8 deadline. Accepted work received
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to the annual juried Birds in Art exhibition, September framersoutlet.com 800.228.8527
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processing fee April 15, 2018. For prospectus/entry
form, visit www.lywam.org/2018-prospectus; call
715/845-7010; email museum@lywam.org or write 700
N 12th St., Wausau, WI 54403-5007. #myartistsnetwork
DEADLINE: MAY 15, 2018
PENNSYLVANIA WATERCOLOR SOCIETY’S 39TH
INTERNATIONAL JURIED EXHIBITION, September 15 -
October 20, 2018. At the Crary Art Gallery, Warren,
PA. Juror of Selection – Keiko Tanabe, Juror of Awards
– Ron Thurston. Over $14,000 in Awards. Entries
accepted beginning March 1, 2018. For a prospectus, ADVERTISER INDEX
visit www.pawcs.com or email
pwsjuriedshow@gmail.com Alia Fine Art Studios ................................ W13 Jerry’s Artarama ....................................... 20
Aline Ordman .......................................... W13 John C. Campbell Folk School ................... W12
DEADLINE: MAY 18, 2018, NOON PDT
Annie O’Brien Gonzales ............................ W15 John Hewitt ............................................. W8
NWS 98TH INTERNATIONAL EXHIBITION, October 4 -
December 16, 2018. Online Entry Only - Open April 1 - Art In The Mountains .................................W11 Kristy Kutch ............................................ W12
May 18, 2018 Noon PDT. Jurors: Carla O’Connor, NWS, Art New England Workshops ......................W2 Leigh Yawkey Woodson Art Museum ........... 103
AWS DF, NWWS, SDWS, Linda Doll, NWS, AWS, SDWS, Artspan.com .............................................. 21 Lotus Tours ............................................. W15
Linda Daly, NWS, AWS, TWSA, SDWS, ISEA, LWS, WW. Blick Art Materials ....................... Gatefold, 30
Awards Juror: D. Scott Atkinson, Chief Curator San Madeline Island School Of Art ................... W13
Diego Museum of Art. Fine Arts Advisor and Appraiser. Bosque Arts Center................................... W6 Margaret Carter Baumgaertner .................. W9
Upload Prospectus: nationalwatercolorsociety.org Camille Przewodek ...................................W11 Mel Stabin .............................................. W12
Cannon Beach Gallery Group .................... W12 National Watercolor Society ...................... 103
DEADLINE: JUNE 11, 2018 Cape Cod Art Center ................................. 103
PASTEL SOCIETY OF AMERICA. THE 46TH ANNUAL Northeast Art Workshops......................... W15
OPEN JURIED EXHIBITION: Enduring Brilliance! Cloudcroft Workshops ............................. W15 Ocean County Artists’ Guild ...................... W15
at the National Arts Club, New York City, Coastal Maine Art Workshops ................... W13
Pastel Society Of America.......................... 103
September 4-29, 2018. Soft pastels only. More Colart America .......................................... BC
than $40,000 in awards. Online digital entries only. Pennsylvania Watercolor Society ............... 103
Colored Pencil Society Of America................97
Download prospectus after March 15th at Planes Of The Head ................................... 103
www.pastelsocietyofamerica.org or send SASE (#10) Community Arts Association...................... W7
Portrait Society Of America ...................... W16
to Pastel Society of America, 15 Gramercy Park South, Creative Art Workshops ........................... W13
Portraits, Inc........................................ 94, 95
New York, NY 10003. Info 212/533-6931 or Creative Arts Center .................................W11
psaoffice@pastelsocietyofamerica.org Red River Watercolor Society..................... 103
D’Ambruoso Studios, LLC ......................... W15
Rich Brimer .............................................. W6
DEADLINE: JUNE 17, 2018 Daniel Greene .......................................... W7
Robert Burridge Studio ............................W10
CAPE COD ART CENTER - THE NATIONAL - OPEN JURIED Debra Zamperla ...................................... W15
EXHIBIT AND SALE - July 16 - August 12, 2018. Drawing Art Academy ..............................W10 Royal Talens North America ......................... 16
Submit digital images through Everett Raymond Kinstler ............................. 5 Sedona Arts Center................................... W3
https://client.smarterentry.com/capecodart Shenandoah Art Destination ..................... W15
before June 17 deadline. Accepted work received F+W ......... 9, 21, 34, 54, 90, 91, 92, 97, 103, IBC
by July 16. Reception: 5-7pm Thursday, July 19. Firststreet ............................................... 101 Society Of Watercolor Artists..................... 103
Pickup: August 13. Over $3,000 cash awards. Flemish Classical Atelier, VZW ....................W5 Susan Truitt ............................................ W12
www.CapeCodArtCenter.org Flying Colors Art Workshop ...................... W15 The Art Engine .......................................... W7
DEADLINE: SEPTEMBER 16, 2018 Framers Outlet ......................................... 103 The Gallery At The Top.............................. W12
CAPE COD ART CENTER - ALL NEW ENGLAND - OPEN Henning Communications.......................... W8 Tom Lynch .............................................. W12
JURIED EXHIBIT AND SALE - October 15 - Hudson River Valley ..................................W11 Transparent Watercolor Society ................ W12
November 11, 2018. Submit digital images through
Huntsville Museum Of Art ...........................W2 Victoria Brooks........................................ W15
https://client.smarterentry.com/capecodart before
September 16 deadline. Accepted work received by Idyllwild Arts ........................................... W4 William Jameson Fine Art ......................... W15
October 15. Reception: 5-7pm Thursday, October 18. Jack Richeson & Co Inc ................................10 William Schneider ...................................W10
Pickup: November 12. Over $3,000 cash awards.
www.CapeCodArtCenter.org
Lasting impression
Trash Pile
by Will Cotton
oil on linen,
60x48
© WILL COTTON; COURTESY OF MARY BOONE GALLERY, NEW YORK
Will Cotton uses real sweets for his hyperrealistic paintings.

In this world, cotton candy clouds and buttercream hills are the norm.
Trash Pile, however, suggests a dark side of utopia. A ziggurat of dense
chocolate cake slumps and slides like damp earth. Donuts, dipped
cherries and whole tortes have been dumped. In this land of unlimited
richness, more than enough is clearly too much.
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AN N UAL
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Waiting In the Wing
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Apples 4 apples, Dust 2 Dust, On the Road to success, Who should one trust.
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EARLY-BIRD DEADLINE: APRIL 2, 2018

Compete and Win in 5 Categories:
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Tear Your Complete Guide to
me out!
Workshops Here and Abroad
WORKSHOPS
2018
San Giorgio and the
Zitelle From the Giudecca
by Stephen Harby
graphite and watercolor
on paper, 12x15
HAVE YOU EVER NOTICED that when you create art while traveling, the
results aren’t quite the same as what you produce at home? Travel heightens our
senses and keeps us alert to new ideas. Education can work in a similar way. In the
classroom, we open our minds and eagerly explore the challenging and the unfamiliar.
It’s no surprise, then, that travel and education often make for happy partners.
Artists Magazine is pleased to present its latest guide to art workshops. Whether
you choose a far-flung expedition or an arts center a half-mile from home, we hope
these pages help you find the workshop that will take your art to a new level.
ArtistsNetwork.com W1
WORKSHOPS
2018
nature can make any subject strikingly beautiful. that follows in the head of the painter, and the
Wo r k s h o p s Plein-air still life, landscape, head & figure.
Contact: Registrar, Scottsdale Artists’ School
way that perception translates into paint; and on
shaking up and/or questioning what is meant by
ALABAMA 800/333-5707, info@ScottsdaleArtSchool.org “finish”.
Huntsville Museum of Art Sedona Arts Center 5/4-5/6/18, Julie Gilbert Pollard, Wet and Wild.
2/9-2/11/18, HUNTSVILLE. Sara Beth Fair, Learn how to make water look wet, reflective
MULTIPLE DATES, 2018, Richard Drayton, Colored
Painting with Light, Color & Joy. and splashy! With intimate woodsy creeks as
Pencil Adventure. 2-day workshop teaches the
5/3-5/6/18, HUNTSVILLE. David Dunlop, secrets of creating high performance art with your model, study water in motion and its glassy
Natural Elements; Painting with the Masters, Prismacolor fine art pencils. Award winning artist reflection. Choose either oil, watercolor or acrylic
Old & New Techniques. as your primary medium.
and illustrator Richard Drayton will guide students
6/1-6/2/18, HUNTSVILLE. Alan Shuptrine, through step-by-step techniques that will result in 5/10-5/13/18, Kathryn Stats, Plein Air in the Studio.
Realistic Watercolor Landscapes. rich blended colors and powerful composition. Kathryn Stats is known for her vibrant color,
8/16-8/18/18, HUNTSVILLE. Keith Andry,
4/13-4/15/18, Scott Conary, The Story in the Still
dramatic compositions and subtle brushwork.
Strong Design & Bold Strokes in Watercolor. In this studio workshop students will have the
Life. Every painting is a story told by what subject
10/18-10/21/18, HUNTSVILLE. David Shevlino, opportunity to choose whether they wish to work
we choose to paint, how we present that subject,
Alla Prima Clothed Figure & Portrait Painting. on landscape composition from photo-reference or
and how we paint it. Learn to connect the interest in
11/9-11/11/18, HUNTSVILLE. Lian Quan Zhen, with a still-life/floral situation or both!
a subject and how that drives the story, and directs
Watercolor Painting: Let the Colors Paint how the painting is made. 5/14-5/18/18, Robert Burridge, Abstract Figurative
Themselves. Workshop. Learn to work with the nude, draped
4/16-4/18/18, Larisa Aukon, The Power of
11/15-11/17/18, HUNTSVILLE. Perry Austin, and partially draped model, lots of paint sketching,
Landscape. This workshop is an opportunity for
Painting the Landscape in Oils. and create multi-panel compositions. Be prepared
students to concentrate on creating a beautiful and
Contact: Laura E. Smith, Director of Education/ to paint looser, bolder, freer, lighter and more
powerful landscape, and learn about principles of
Museum Academy, 256/535-4350 x222 intuitively. Plenty of time for action-filled painting
composition through an exciting process, where
lsmith@hsvmuseum.org or hsvmuseum.org exercises, demos and personalized attention.
painting starts with the idea and gradually unfolds
into a work of art. 6/8-6/10/18, Bill Cramer, Painting at the Grand
ARIZONA 4/20-4/22/18, Elizabeth St. Hilaire, Paper Painting
Canyon. Nothing really compares to painting at the
Robert Burridge edge of the Grand Canyon. This three day intensive
– Animals and Pets. An intense workshop in which offers: master instruction, the support of the Grand
5/14-5/18/18, SEDONA. Contemporary Abstract students are taught to make a beautiful palette of
Figure Painting & Collage. Sedona Arts Center. Canyon Association Field Institute (GCAFI) and
colors with various papers and create an under- coordination through the Sedona Arts Center.
Contact: 888/954-4442 or 928/282-3809 painting and then collage with paper creating a
http://sedonaartscenter.org/School/Faculty/ unique ‘painterly’ figurative collage. Contact: www.SedonaArtsCenter.org
robertburridge2.html 4/30-5/4/18, Christine Debrosky, Dusty Trails. Mel Stabin, AWS
Madeline Island School of the Arts Join this 5-day pastel immersion workshop with 2/12-2/16/18, TUCSON. Painting in Watercolor with
MISA WEST AT TANQUE VERDE RANCH Christine Debrosky, PSA, AIS, IAPS Master exploring Energy and Expression. Sponsored by Madeline
6/4-6/8/18, John Lovett. the pure pigment of pastel, with rich, jewel like Island School of the Arts. All levels.
Contact: 715/747-2054, www.madelineschool.com color unattainable with any other media. Learn to Contact: MISA Registrar, 715/747-2054
Camille Przewodek simplify the subject- a point that students often misa@cheqnet.net or www.madelineschool.com
3/12-3/16/18, SCOTTSDALE. 5-Day Plein-Air struggle with the design or how to compose work for
Workshop: Spring Training—Color Boot Camp at best impact. CALIFORNIA
Scottsdale Artists’ School. Discover and develop 5/1-5/3/18, Stuart Shils, The Perceptual Moment. Robert Burridge
a new way of seeing and painting color. All levels, Emphasis will be placed on the perceptual 3/9-3/11/18, UPLAND. Abstract Acrylic Painting &
oil preferred. Color that expresses the light key of processes in front of nature, the editorial response Collage. Art Box Studio.
The full program will be available January 16, 2018 | MassArt.edu/ane
In-depth one week workshops held in

Bennington VT., taught by accomplished
and generous artist/teachers. Courses
in painting, drawing, printmaking, book
making, ceramics and sculpture.
Week One July 15–21
Week Two July 22–28
Week Three July 29–August 4
For questions please contact Joe Doucette: jdoucette@massart.edu or 617-879-7165
W2 Artists Magazine March 2018

MARY MCLANE • MARY.MCLANE@FWMEDIA .COM • 970-290-6065
Contact: Sylvia Megerdichian, 909/981-4508

artboxsylvia@netzero.net or
http://www.sylviamartist.com/ArtBoxStudio/
workshops-2/2018-workshops/bob-burridge
3/16-3/18/18, FRESNO. Loosen Up with Aquamedia
Painting. Alliance of California Artists.
The Fresno Art Hub.
Contact: Deborah Pepin, 559/288-5507
Pepin61@msn.com or
http://www.allianceofcaliforniaartists.com/
demonstrations/acaworkshop.html
3/26-3/30/18, ARROYO GRANDE. Robert Burridge
5-Day Instructional Studio Workshop.
Contact: Kate@RobertBurridge.com
4/1-4/6/18, SCOTTS VALLEY. Loosen Up with
Aquamedia Painting.
Contact: 844/ 544-1440, info@1440.org or
https://1440.org
Carmel Visual Arts
2/17-2/19/18, Sean Cheetham, will focus on learning
to paint a portrait from life in oil. He will be going
over composition, drawing, likeness, organizing your
palette, color mixing, value, edges, and producing a
completed portrait.
4/9-4/12/18, Julie Houck, Hue, value and chroma
are the three elements we work with in creating
accurate and harmonious color. Working from small
“poster studies“, we will examine the more abstract
essences of light and form and develop a deeper
understanding of how these aspects relate.
4/23-4/25/18, Paul Kratter, will stress composition
and design starting with the thumbnail sketch.
Paul will break down the sketch process so you can
better design your paintings, before you ever get
out your paints. Demonstrations will start each
class with a thorough breakdown of the process.
He will stress good drawing by looking at specific
graphic shapes and simplifying the elements of your
composition.
5/7-5/11/18, Albert Handell, Join Albert Handell
in this exciting 5-day indoor/outdoor painting
workshop. In the morning demonstration you will
see and learn what to select and emphasize and
what to play down or even take out of your paintings
in order to make a strong design statement,
and work sensibly towards finish. It will be an
opportunity to see how a Master Artist works in a
studio setting and on location.
6/11-6/13/18, Mary Whyte, Artists and art students;
open to all levels of experience. In Mary Whyte’s
Watercolor Workshop, she will teach you her
approach to fundamental drawing and watercolor
painting skills, how to mix clean color, create
dynamic compositions, correct mistakes, use
lighting effectively, and make emotional paintings
that endure. You will learn how to capture the
character and presence of a model from the
foundational composition to the final details
that define a great work of art. Through daily
demonstrations and one-on-one guidance Mary
starts you on your way to painting your best works.
6/22-6/24/18, Mike Hernandez, A strong
understanding of natural color and lighting is an
important asset to any environment artist or fine
art painter. In this 3-day gouache workshop, Mike
Hernandez will cover the important fundamentals of
composition design, color relationships, staging the
light, atmospheric perspective, simplification and
shape design through the use of gouache (students
are welcome to use acrylic if desired). This is a great
workshop for anyone interested in painting and
would like to learn how to capture a rich sense of
natural lighting and color into their artworks. Vivid Florals in Oils Workshop
Jody Florman
7/23-7/25/18, Carolyn Lord, The portability of
watercolor makes it an ideal media for painting
outdoors in Carmel. To prepare, the workshop
students will spend the first day in the class room
studio familiarizing themselves with the unique
May 7–11, 2018
qualities of watercolor; strategies of interpreting
the subject matter while incorporating the SedonaArtsCenter.org
traditional concerns of composition and drawing.
The second and third day will be spent painting Over 100 art workshops each year with nationally known artists.
outdoors with painting demonstrations and
individualized attention. Lord’s experience painting
in oils and at ateliers means that she can explain
her painting concepts to artists who are new to
watercolor.
WORKSHOPS
2018
8/6-8/9/18, Calvin Liang, will be teaching 4-day a canvas. It is a form of conversation, that can have with Camille is an ongoing landscape and still life
workshop with on two days of painting small unexpected turns, sudden discoveries and hidden class. View an up-to-date schedule on the Classes &
outdoor studies from direct observation. Then, subtext and periods of silence. All this is what Workshops page at my website:
we will spend the following two days in the studio makes painting endlessly fascinating.” www.przewodek.com
working on a single large studio painting that will Contact: 831/250-5732, carmelvisualarts.com 5/14-5/18/18, PETALUMA. 5-Day Plein-Air Workshop/
be based on your studies and reference photos you Sam D’Ambruoso Color Boot Camp. Discover and develop a new way
will take on location. Each of the 4 days, Calvin will LATE SEPTEMBER 2018, CARMEL. Great painting
begin with a demonstration, then he will spend time of seeing and painting color. All levels, oil preferred.
opportunities-NEW this year! The beauty of the Color that expresses the light key of nature can
with each student throughout the rest of the day. It Carmel and Monterey region of California is well-
is recommended to bring a laptop or tablet for the make any subject strikingly beautiful. Plein-air still
known for their inspirational painting venues. We life, landscape, head & figure.
studio days. Alternately, you may have color prints have developed a program that will excite your
of your reference photos printed locally. painting passions to no end! We have over 10 major Contact: Camille, 707/762-4125
8/27-8/30/18, Randall Sexton, Come paint the painting locations all lined up as well as wine fineart@sonic.net or www.przewodek.com
Monterey and Carmel Coastline with award tastings and other local sightseeing trips. Call us for 8/20-8/24/18, PETALUMA. 5-Day Plein-Air Workshop/
winning California artist Randall Sexton. This 4-day specific dates and hotel location. Color Boot Camp. Discover and develop a new way of
workshop is open to all levels, but is especially Contact: 203/758-9660 seeing and painting color. All levels, oils preferred.
geared to push the experienced artist to greater SamDambruoso@comcast.net or Plein-air still life, landscape, head & figure.
heights. Sexton will review the basics of solid www.SamDAmbruoso.com
picture making… while sharing his own methods Contact: Camille, 707/762-4125
for “simplifying the complex.” Three days (weather Flying Colors Art Workshops fineart@sonic.net or www.przewodek.com
permitting) will be spent on location (gathering APRIL 2018, SANTA BARBARA. Brenda Swenson, W/C
direct experience en plein air), while an optional Sketchbook. All levels of instruction. Class size 12. CONNECTICUT
fourth day (in the studio) will be focused on simple Contact: Cris Weatherby, 858/518-0949 Sam D’Ambruoso
figure painting techniques that will help you with FlyingColorsArt@me.com or 8/17-8/19/18, OLD LYME. On the trail of the
your painting skills no matter your subject. Daily www.FlyingColorsArt.com Impressionists (17th year). Old Lyme drew the
demonstrations will be followed up with “one-on- John Hewitt, WHS attention of the early American Impressionists
one” assistance at the easel. 8/13-8/18/18, YOSEMITE. because the light in this area so closely resembles
9/14-9/16/18, Karl Dempwolf, This 3-day workshop Contact: johnhewitt@mcn.com or
will be an outdoor plein air experience along that of Provence. Paint on the grounds of the
johnhewittart.com American impressionists at the Florence Griswold
Monterey Bay’s magnificent coastline. Possible
coastal paintings sites will be Point Lobos, Idyllwild Arts Summer Program Museum in Old Lyme.
Garrapata Beach and Asilomar Beach. Join us for Metals and Jewelry workshops during Contact: 203/758-9660
10/27-10/29/18, Alex Kanevsky, Join contemporary Metals Week 2018! Also, a variety of workshops SamDambruoso@comcast.net or
realist master Alex Kanevsky on a three-day journey in Painting, Drawing, Printmaking, Ceramics, www.SamDAmbruoso.com
of perceptual figure painting. Work from the life Mixed Media, Sculpture, Glass Blowing, Book Arts,
model, with insights from the artist to break from Textiles, Native American Arts, and more. Located
in the beautiful mountains of Southern California.
FLORIDA
the traditional assumptions of observational Robert Burridge
painting. Explore painting as a form of dialogue, Established in 1950.
Contact: 951/468-7265, summer@idyllwildarts.org 2/12-2/16/18, BONITA SPRINGS. Postmodern
aligning the creative process with one’s personal Polyptych Painting. Center for the Arts of Bonita
experiences to create work that is dynamic and or www.idyllwildarts.org/adultarts
unexpected. Learn to use the imprecisions and Camille Przewodek Springs, FL. Demo, Sunday, February 11.
“mistakes” that occur in the development of a JANUARY-DECEMBER, 2018, PETALUMA. In addition Contact: Donna Delseni, 239/495-8989
painting toward discovering a new form of reality. As to my workshops, I teach regular weekly classes at adulted@artsbonita.org or
Kanevsky puts it, “Painting is not something I do to my Petaluma studio in Northern California. Mondays www.artcenterbonita.org/workshops/index.html
I D Y L L W I L D A R T S
PAINTING & DRAWING

WORKSHOPS
2018 FACULTY
John Brosio • Charlie Ciali • Robert Dvorák
David Reid-Marr • Jesse Reno • Margaret Scanlan
and more!
Registration opens February 1, 2018

MARGARET SCANLAN, ROBIN'S WINDOW
summer@idyllwildarts.org 951.468.7265
idyllwildarts.org/register
Use the PROMO CODE: TAM2018 for $25 off of Idyllwild Arts Summer
Adult Programs. Only 20 available! Expires: 3/1/18

2/18-2/21/18, KEY WEST. Abstract Acrylic Painting & Transparent Watercolor Society ROCKLAND, ME
Collage. The Studios at Key West. of America 5/15-5/18/18, Alvaro Castagnet, AWS WC.
Contact: Erin Stover-Sickmen, Artistic Director 6/4-6/8/18, KENOSHA. John Salminen, 7/23-7/27/18, Sterling Edwards, WC.
305/296-0458, erin@tskw.org or https://tskw.org Realism Through Design. 8/13-8/17/18, Frank Eber, WC.
Tom Lynch 6/4-6/8/18, KENOSHA. Soon Warren, 8/20-8/24/18, Herman Pekel, WC.
1/18-1/21/18, DAYTONA BEACH. Creating Cut Crystal & Pouring Background. 8/20-8/24/18, Ken DeWaard, Oils.
1/26-1/28/18, LAKEPARK. 6/11-6/15/18, KENOSHA. John Salminen, 8/27-8/31/18, Marc Hanson, Oils/Pastels.
2/14-2/17/18, PUNTA GORDA. Abstraction Through Design. 8/27-8/31/18, Kathy Conover, AWS NWS, WC.
3/13-3/15/18, TEQUESTA. 6/11-6/15/18, KENOSHA. Soon Warren, 9/3-9/7/18, David P. Curtis, Oils.
3/27-3/29/18, THE VILLAGES. Creating Silver & Pond Water. 9/3-9/7/18, Mike Bailey, AWS, WC.
Contact: 630/851-2652 Contact: www.watercolors.org 9/10-9/13/18, Lori Putman, Oils.
9/10-9/14/18, Charles Reid, WC.
Tomlynch@msn.com or www.TomLynch.com INDIANA 9/17-9/21/18, Colin Page, Oils.
Aline Ordman Art In The Mountains 9/17-9/21/18, Larry Moore, Oils.
3/10-3/11/18, NORTHPORT. Northport Art Center. 9/13-9/15/18, INDIANAPOLIS. Mary Whyte, The 9/24-9/28/18, Colley Whisson, Oils.
Oil and Pastel. Finding the Abstract to Create the Portrait and The Figure. Watercolor - studio. Check our website for details!
Reality. All levels welcome.
Contact: Lyn Donovan, 207/594-4813
Contact: venicebarb@gmail.com Contact: Tracy Culbertson, 503/930-4572
info@cmaworkshops.com or
info@artinthemountains.com or www.cmaworkshops.com
GEORGIA www.artinthemountains.com
Art In The Mountains Mel Stabin, AWS
Kristy Kutch 7/16-7/20/18, BELFAST. Watercolor: Simple, Fast,
6/11-6/15/18 AND 6/18-6/22/18, SAVANNAH. 10/1-10/3/18, DONALDSON (NEAR PLYMOUTH). and Focused. Sponsored by Coastal Maine Art
Charles Reid, Drawing and Painting with Charles Contact: 574/935-1712 Workshops. Intermediate to Advanced.
Reid. Watercolor - studio. Intermediate to advance jkostielney@poorhandmaids.org Contact: Lyn Donovan, 207/594-4813
painters.
Contact: Tracy Culbertson, 503/930-4572 IOWA info@cmaworkshops.com or
www.cmaworkshops.com
info@artinthemountains.com or Mel Stabin, AWS
www.artinthemountains.com 5/15-5/17/18, PERRY. Watercolor: Simple, Fast, and MARYLAND
Focused. Sponsored by Iowa Watercolor Society. William A. Schneider
Mel Stabin, AWS All levels.
4/9-4/12/18, NORCROSS. Watercolor: Simple, Fast, 3/16-3/18/18, STEVENSVILLE.
Contact: Michael Broshar, 319/240-0620 Revealing the Soul-Sensitive Portraits & Figures.
and Focused. Sponsored by Kudzu Art Zone Gallery michaelbroshar@gmail.com or
and Art Center. All levels. Contact: Chesapeake Fine Art Studio, 410/200-8019
www.iowawatercolorsociety.org
Contact: Melonie Weatherford, 770/840-9844 MASSACHUSETTS
admin@kudzuartzone.org or MAINE Creative Arts Center in Chatham
www.kudzuartzone.org Coastal Maine Art Workshops 4/14-4/15/18 AND 10/20-10/21/18, William Davis,
BELFAST, ME
ILLINOIS 7/9-7/13/18, Bill Rogers Oils.
Oil Studio. Working with Tonality and Light. Bill
Davis will instruct students in the use of tonalist
William A. Schneider 7/16-7/20/18, Mel Stabin AWS, WC. colors, working with contrast and creating a strong
4/6-4/9/18 CHICAGO. Master the Portrait. 7/30-8/3/18, Tony van Hasselt AWS, WC. light source. Daily demonstrations on painting
Contact: Palette & Chisel Academy, 312/642-4400 8/6-8/10/18, Don Andrews AWS, WC. techniques and glazing will be showcased.
WORKSHOPS
2018
5/5-5/6/18, Paul Schulenburg, Figure Painting 9/24-9/26/18, Mary Whyte, Portrait in Watercolor/ of using a medium that allows for spontaneity,
Made Easier. Working from a live model, Paul will Studio. Demonstrating each day, Mary will instruct improvisation, correction, and revision. She will
demonstrate his approach to creating a convincing her students of all levels in the fundamental and be using watercolor and white gouache in her
figure/portrait painting. Composition, focal point, advanced approaches to watercolor painting. Color demonstrations, but students are free to work in
color temperature, edges and capturing the mixing, edges, composition and capturing light on any media. Participants should bring reference
subtleties of the mood will be addressed. the figure. Personal one on one assistance and tips materials to work on during the week – sketches,
5/30-6/2/18, Andy Evansen, Watercolor Studio/ on marketing. still life set-ups, or photos (please only photos you
Plein Air. Students will learn to simplify a scene into Contact: 508/945-3583, capecodcreativearts.org have taken yourself).
larger shapes that will help them paint more boldly, Northeast Art Workshops 4/3-4/5/18, ANN ARBOR. Mark Daniel Nelson, Image
leading them on a path to painting impressionistic 4/10-4/12/18, Kat Masella, Encaustic. to Abstract 2. Acrylic or Oil. This workshop is for
watercolors. the painter ready to push his or her work beyond
5/1-5/4/18, Jane Davies, Acrylic.
6/4-6/7/18, John Cosby, Organizing the Scene. the point of recognizable subject matter into the
5/21-5/25/18, Katie Pasquini Masopust, Fiber Arts.
The key to a successful painting is placing your realm of pure abstraction. Students will start with
shapes correctly with tonal accuracy at the 5/28-6/1/18, Charles Reid, Watercolor.
6/5-6/8/18, Patti Mollica, Acrylic. traditional representational approaches and move
beginning of your painting. Working with 3-4 through progressively more abstract techniques
pools of tonal colors will simplify color mixing. 6/11-6/15/18, Birgit O’Connor, Watercolor.
until arriving at purely non-objective paintings.
Individualized instruction. 6/18-6/22/18, Frank Eber, Watercolor. Special attention will be paid to the elements of
6/13-6/15/18, Carol Maguire, Joyful Painting Oil 6/25-6/29/18, Kim English, Oil. composition as they apply to abstract painting.
Studio. Observing directly from life you will learn 7/16-7/18/18, Barbara Nechis, Watercolor. Through a combination of slideshows, discussions,
how to capture the light and apply paint boldly, with 8/16-8/25/18, (2 Days up to 10 Days) assignments and critiques, this workshop will
lots of personal attention in this instructional and Summer: Artist Retreat Immersion. expose students to new artistic possibilities for
spirited workshop! 8/27-8/30/18, Karyn Holman, Watercolor. self-expression.
6/20-6/23/18, Don Demers, Oil, The Plein Air 9/10-9/13/18, Keiko Tanabe, Watercolor. 4/9-4/11/18, ANN ARBOR. Lyn Asselta, Painting the
Landscape. Following Don’s daily demos, this
workshop will emphasize all of the fundamentals 9/16-9/22/18, Katherine Chang Liu, Mixed Media. Expressive Landscape in Pastel. My expressive
of good draftsmanship, design, composition, color, 9/23-10/2/18, (2 Days up to 10 Days) Landscape workshop focuses on the “Why” of
value and brush techniques as students tackle Fall: Artist Retreat Immersion (Gloucester). painting as opposed to just the “How” of painting.
landscapes. Contact: 978/729-4970 We spend time discovering Why we choose to paint
9/6-9/8/18, John Clayton, Oil, Plein Air. Each day www.NortheastArtWorkshops.com what we paint, and we learn ways to focus on what
John Clayton will demonstrate mixing colors and we actually want our paintings to say. If you want
working with a palette knife en plein air and studio. MICHIGAN your paintings to stand out, to be more expressive,
He will simplify the scene to flat masses and to say more… this workshop will give you tools to
Artensity do that.
develop values and exciting color notes. 3/26-3/28/18, ANN ARBOR, Donna Zagotta, Adding
9/12-9/15/18, Joseph Paquet, Oil, Plein Air. The the You Factor to Paintings. All Media. In this lively 4/30-5/2/18, ANN ARBOR. Scott Conary, Painting the
Prismatic Palette. Focusing on the prismatic palette, workshop you will learn how to create and rely on Story in the Still Life. Oil. Every painting, even the
Joe will demonstrate each day showing students a personal rather than a rule-based approach to humble still life, has a story in it. It’s told by what
how to achieve specific effects of light in their composition, design, and the formal elements – a subject we choose to paint, how we present that
painting. All aspects of landscape painting will be key ingredient in turning everyday subjects into subject, and how we paint it. Finding what interests
explored. creative, imaginative, and expressive paintings. us in a subject and how we connect to it drives that
9/18-9/21/18, Daniel Keys, Oil Studio. After daily Each day’s lesson will focus on an individual aspect story, and directs how the painting is made. We’ll
demos, students will paint from still life while for getting there: seeing and personalizing shapes, work on small still life paintings to explore the
receiving one-on-one instruction. In this intensive abstract understructures, non-representational process. We will walk the line between technique
workshop, learn insight into composition, drawing, value patterns, creative color schemes, and and intuition, using the still life as a way to explore
color, value and edges. more. Donna will also discuss the advantages paint and why we make art.
33rd Annual
Bosque Art Classic
National Juried & Judged
Representational Art Show & Sale
$15,500
In Prizes
Kim Lordier Mary Whyte

Angus Wilson • Sean Cheetham
Julie Houck • Paul Kratter
Albert Handell • Mike Hernandez
Faded Love by Kathy Tate Carolyn Lord • Calvin Liang
2017 Art Patron Purchase Award, Gold Medal Oil Randall Sexton • Karl Dempwolf
Jason Rich, CA William Wray • Alex Kanevsky
2018 Judge
EēęėĞ DĊĆĉđĎēĊ
May 29, 2018
Prospectus Online 254.386.6049
& By Request art@BosqueArtsCenter.org
ĜĜĜ.BĔĘĖĚĊAėęĘCĊēęĊė.ĔėČ carmelvisualarts.com | (831) 250-5732

7/23-7/25/18, ANN ARBOR. Cuong Nguyen, Portrait

Painting in Pastel. This workshop is designed to
create a relaxed, informative, yet focused working
environment for all skill levels. The core of the
lesson will be based on drawing, values, edges,
composition and creating life-like skin tone color.
Students will focus on the fundamentals of drawing
the human head while developing new skills in soft
pastel. The workshop will feature a live model, and
Cuong will demonstrate his own techniques to draw
from life. Students will learn to use an approach
that helps them see the big shapes first, and then
go into details towards the end of the session. This
is a great opportunity for you to discover your own
passion for drawing, or just take your existing skills
to the next level.
10/22-10/23/18, ANN ARBOR. Karen O’Neil, Color
and Energy Workshop. Oil or Acrylic. Learn to see
better and use strategies to get the most out of
your colors. Students are encouraged to use larger
brushes and see form as large masses of color and
value. Mixing color, working quickly and decisivley,
and developing productive work habits are
important elements of this workshop.
11/5-11/7/18, ANN ARBOR. Felicia Forte, Alla Prima
Painting with a Focus on Abstraction. Oil. Alla Prima
painting, or wet into wet, single session painting
is a stimulating method which teaches you to be
present in every brush stroke, focusing only on the
essentials, ultimately giving you great dexterity and
control. With demonstration and gentle critique,
Felicia will challenge you to correctly observe
and record the fundamentals: shapes, values,
edges and color. In this workshop Felicia will
combine portraiture, the subject that she was first
interested in, and with which she gained her skill,
with her current interests in still life, interiors and
abstraction.
Contact: www.artensity.org
Chris Unwin
Watercolor Workshop Weekly on Wednesdays.
West Bloomfield, MI 48322
Contact: Chris Unwin, 248/624-4902
ChrisUnwin@att.net or www.ChrisUnwin.net
Workshops In France 2018

MINNESOTA
Kristy Kutch
6/11-6/14/18, GRAND MARAIS.
Contact: 218/387-2737
programs@grandmaraisartcolony.org All Inclusive Premier Art Retreats
Camille Przewodek
9/24-9/28/18, ROCHESTER. 5-Day Plein-Air
Paint and sketch side-by-side with artists in
Workshop/Color Boot Camp. Discover and develop
a new way of seeing and painting color. All levels,
Southern France or Scotland.
oil preferred. Color that expresses the light key of All levels, all media.
nature can make any subject strikingly beautiful.
Plein-air still life, landscape, head & figure.
Contact: Camille, 707/762-4125
fineart@sonic.net or www.przewodek.com
French Château Retreat
Château retreat near Aix-en-Provence.
MISSOURI May 6 – 15, 2018
Robert Burridge
5/3-5/5/18, SPRINGFIELD. Loosen Up with Aquamedia September 16 – 25, 2018
Painting. Visual Artist Alliance of Springfield.
Contact: Suzi Agee, 417/818-4766
suzia@hotmail.com or
Retreat in Scotland
http://visartalliance.org/workshops Highlands and Kingdom of Fife
NEW HAMPSHIRE June 16 – 28, 2018
Aline Ordman
MONDAYS, SEPTEMBER 2018 - JUNE 2019, HANOVER.
Oil Painting.
Contact: https://www.hanoverrec.com/info
NEW JERSEY
Community Arts Association
5/9/18, ALLENDALE. Ryan Fox, “Watercolor Batik”,
Rice Paper & Wax Resist.
5/10/18, ALLENDALE. Ryan Fox, “Impressionistic Reserve Your Space Today
Watercolor” Pouring & Mouth Atomizer.
info: caafinearts.org and www.rfoxphoto.com
Contact: glendahaas1@gmail.com
WorkshopsInFrance.com
Tom Lynch (323) 388-3234
5/15-5/18/18, MANAHAWKIN.
Contact: 630/851-2652
Tomlynch@msn.com or www.TomLynch.com
Small groups. Your artistic getaway awaits..!
WORKSHOPS
2018
Ocean County Artists’ Guild 6/11-6/15/18, Rich Gallego, Oil/Acrylics/Pastel - All Hudson River Valley Art Workshops
ISLAND HEIGHTS Levels “A Simple Approach to Powerful Plein Air 3/18-3/24/18, Margaret Evans.
4/5-4/7/18, Janet Rogers, Watercolor. Painting” $475. 4/22-4/28/18, Margaret Dyer.
5/3-5/6/18, Mel Stabin, Watercolor. 6/18-6/22/18, Mira White, Mixed Media/Soft Pastel 4/29-5/5/18, Christine Camilleri.
5/9/18 AND 10/10/18, Marcie Falconetti, “Stunning Abstracts with Mixed Media and Soft 5/6-5/12/18, Peter Fiore.
Gourd Workshop. Pastels” $525. 5/16-5/20/18, Christine Ivers.
5/19-5/20/18, Marilyn Waltzer, Botanical Drawing. 6/18-6/22/18, Michael Holter: NWS, OPS, SWS, SWA 5/20-5/26/18, Robert Burridge.
5/31-6/1/18, Rita Paradis, Colored Pencil. Watercolor “Expressive Watercolors: Steps to 5/30-6/3/18, Larisa Aukon.
Success” $495. 6/3-6/9/18, Laurie Goldstein-Warren.
6/27-6/29/18, Lisa Mitchell, Pastel.
7/9-7/13/18, Ken Hosmer, Watercolor - All Levels 6/10-6/16/18, Richard McKinley.
8/13-8/15/18, Pat Dews, Watermedia.
“Creative Color - Loose and Vibrant” $495. 6/17-6/23/18, Joel Popadics.
9/24-9/26/18, Karen Knutsen, Watercolor &
7/16-7/20/18, Laurie Goldstein-Warren, Acrylics/ 6/24-6/30/18, Elizabeth St Hilaire.
Charcoal Pours.
Watercolor - All Levels “Pouring and Painting 7/1-7/7/18, Brenda Swenson.
10/18-10/19/18, Pat Morgan, Children in Watercolor.
Everyday Objects” $495. 7/8-7/14/18, Kathyanne White.
Contact: Tamara Woronczuk, Coordinator
7/23-7/27/18, Alan Flattmann, Oil/Pastels - All Levels 7/15-7/21/18, Fabio Cembranelli.
732/998-8286, The Guild, 732/270-3111
“Painting Portraits & Figures in Pastel & Oils” $525. 7/22-7/28/18, David Dunlop.
www.ocartistsguild.org
7/30-8/3/18, Cathy Lubke, Watercolor/Mixed Media - 7/28-8/1/18, Patti Mollica.
Mel Stabin, AWS All Levels “Recipes for Powerful Paintings” $495. 8/1-8/5/18, Howard Rose.
5/4-5/6/18, ISLAND HEIGHTS. Watercolor: Simple, 8/7-8/10/18, Qiang Huang, Oil/Acrylics/Pastel - All 8/5-8/11/18, Mel Stabin.
Fast, and Focused. Sponsored by Ocean County Levels “Capturing the Light” $525 (4 days). 9/2-9/8/18, Self-Directed Retreat.
Artists Guild. All levels. 8/13-8/17/18, Joyce Hicks, Watercolor - All Levels 9/9-9/15/18, Lorenzo Chavez.
Contact: Tamara Woronczuk, 732/998-8286 “Watercolor Landscapes: Transforming Ordinary 9/16-9/22/18, Judi Betts.
TWoronczuk@yahoo.com or www.ocartistsguild.org Scenes into Extraordinary Ones” $500. Contact: 888/665-0044, info@artworkshops.com
Contact: Linda Shiplett, 915/490-5071 or www.artworkshops.com
NEW MEXICO cawregistrar@gmail.com or Kristy Kutch
Art In The Mountains www.cloudcroftart.com 4/20-4/22/18, MANHASSET (LONG ISLAND).
4/8-4/10/18 AND 4/12-4/14/18, SANTA FE. Contact: 516/304-5797, sherbst@theartguild.org
Alvaro Castagnet, The Pillars of Watercolor. Annie O’Brien Gonzales
Watercolor - plein air. Intermediate to advanced 9/27-9/29/18, SANTA FE. Artisan Expo. Aline Ordman
Contact: www.expoartisan.com 5/18-5/20/18, NEW YORK CITY. Pastel Society of
outdoor painters. America. Painting on Location in NYC.
5/8-5/10/18, SANTA FE. Mary Whyte, The Best of Madeline Island School of the Arts Contact: susanmstory@gmail.com
Watercolor. Watercolor - studio. All levels welcome. MISA WEST AT SANTA FE
Contact: Tracy Culbertson, 503/930-4572
Pastel Society of America
2/12-2/16/18, Elizabeth St. Hilaire. PSA School for Pastels
info@artinthemountains.com or Contact: 715/747-2054, www.madelineschool.com National Arts Club, 15 Gramercy Park South,
www.artinthemountains.com New York, NY 10003
Cloudcroft Art Workshops NEW YORK Contact: 212/533-6931
6/4-6/8/18, David Barranti, Drawing “Motivational Wende Caporale psaoffice@pastelsocietyofamerica.org or
Drawing” $425. 8/5-8/10/18, NORTH SALEM. Studio Hill Farm. www.pastelsocietyofamerica.org
6/11-6/15/18, David Barranti, Drawing “Master Portraiture Workshop in Oil & Pastel. Enrich your paintings and study with these
Drawing by Review” $450. Contact: 914/669-5653, www.wendecaporale.com masterful artists.
John Hewitt, WHS Missouri Watercolor Society

2018 International Competition
June 19 – July 5, 2018
Quingdao Laotian Museum, China
$20,000 in awards and prizes!
Entries accepted December 1, 2017 – February 15, 2018
All selected entries to be shipped unframed and rolled
View prospectus at MOWSART.#/-
Watercolor Painting Tour Of China

June 21 – July 6, 2018
Join us for a 17-day Sightseeing and Watercolor

Painting Tour of China with Dongfeng Li and
Daven Anderson, sponsored by the Missouri Watercolor
Society. Tour reservations close March 31, 2018;
$3,800 includes airfare, all hotels and meals.
MOWSART.#/-
Workshop in Greece
Sept. 26 - Oct. 15, 2018
See site for other workshops
www.johnhewittart.com
2/18-2/23/18, PSA Destination Workshop in Dunedin, William Jameson

FL with Richard McKinley PSA-MP, Hall of Honoree 1/16-1/18/18, SALUDA. “Saluda Winter Weekend”. MARGARET CARTER
2010.
3/17-3/18/18, Exploring the Application of Broken
Come enjoy the crisp and clean air in the mountains!
Winter in Saluda is the perfect season for painting BAUMGAERTNER
Color in the Landscape with Maria Marino PSA. sculpture-like trees, bright sunshine and maybe
4/14/18, Dancing Pastels, Inspired by Gesture and even some snow. We will paint a variety of area
Movement with Janet Cook PSA. landscapes from the warmth of our studio and
4/27-4/29/18, Chasing the Light with painters can work in their choices of media. Our
Tony Allain PSA. workshop will include a “welcome party”, daily
5/11-5/12/18, Day at the Museum Animal Drawing demonstrations and critiques. This workshop is
open to beginners to advanced and is limited to
with Patricia Wynne, professional illustrator and 8 participants so please come enjoy our newest
naturalist. Saluda workshop! You will receive a materials list
5/18-5/20/18, People in Places in NYC with upon registration.
Aline Ordman PSA-MP. 2/15-2/17/18, SALUDA. “Working Large without
6/1-6/3/18, Hands-on Albers Color Workshop with Fear”. This 3 day workshop will be an intensive
Cynthia Dantzic, LIU professor of art, author, exploration of handling a large canvas. Leave
student of Josef Albers. your comfort zone and enjoy working a little or
8/17-8/19/18, Soften the Edges of the City with Pastel a lot larger than your usual sizes. Become adept
with Nancie King-Mertz PSA-MP. at making larger as well as better paintings and
9/24-9/26/18, The Prosaic Landscape made Poetic discover why some compositions are meant to be
small works and others translate beautifully into
with Richard McKinley PSA-MP, Hall of Honoree a larger format. Participants may work in any or
2010. all media and will receive a materials list upon
10/13-10/14/18, On Color! Unity & Form with registration.
Casey Klahn PSA. 5/10-5/12/18, SALUDA. “Spring on the Blue Ridge”.
10/20/18, Emerging from the Dust of Failed Paintings This 3 day plein-air workshop is one of our most
with Anna Wainright PSA-MP. popular! We will paint a variety of landscapes in
10/27-10/28/18, Pastel Portraits from Life in the and around the historic town of Saluda including
Classical Realist Tradition with Carol Pebbles PSA. Saluda’s Victorian summer homes, waterfalls and
CLASSES – ONGOING YEAR ROUND: winding streams, beautiful Spring foliage as well
Mondays, 2pm-5pm, The Human Figure, Conveyed and farm and vineyard activities. Participants may
with Light, Movement and Form with work in any or all media and will receive a materials A Child’s Portrait in Oil
Robert Palevitz PSA. list upon registration. Painting from the Photograph
Tuesdays, 5:30pm-8:30pm, Introduction to Pastel 6/20-6/24/18, CAPE FEAR. “Cape Fear Artist Guild”.
Still Life and Landscape with Janet A. Cook PSA. The name comes from the 1585 expedition of Sir 6 DVD
Wednesdays, 9am-12pm, Portraiture, Landscape Richard Grenville when sailing to Roanoke Island, Portrait Series!!!
and Still Life with Diana DeSantis PSA-MP. his ship became trapped in the cape. Some of the Includes the challenges and gratifica-
crew were afraid they would wreck, giving rise to tion of painting a child. Manipulating
Wednesdays, 1pm-4pm, Flowers, Faces and Fabrics the name Cape Fear. From the hopping beach towns photo references to work for you.
with Wennie Huang PSA. to the delicate barrier islands that are completely Order Now! $249 plus $15
Thursdays, 1pm-4pm, Color & Composition with undeveloped, the sheer diversity of painting Shipping: Visa or Mastercard
Maceo Mitchell PSA-MP. options is incredible! This 5 day workshop will Special price! $189
Thursdays, 6:30pm-9pm, Introduction to Drawing allow us to sample a wide range of town and shore (if ordered before 4/30/2018)
for Pastel with Simon Levenson. opportunities. As always, participants may work
in any or all media and will receive a materials list
Mel Stabin, AWS
upon registration. Painting the Plein Air Portrait
4/29/18, MANHATTAN. Painting in Watercolor with
Energy and Expression. Sponsored by New York 7/26-7/28/18, CASHIERS. “Painting Cashiers”. 5 DVD
Open Center. All levels. Escape the summer’s heat for 3 days and enjoy the Portrait Series!!!
Contact: Registration Department, 212/219-2527 cooler temps in the North Carolina mountains. This
workshop is sponsored by Mountain Mist Gallery, Outdoor Painting Simplified!
registration@opencenter.org or located in the middle of the charming village of Cape School Method!
www.opencenter.org Cashiers, and owner David Berger is providing Includes color theory, block
6/2-6/3/18, MONTGOMERY. Painting in Watercolor a great studio for us inside the gallery. We will study and head study.
with Energy and Expression. Sponsored by Wallkill work from photographic reference materials and Order Now! $249 plus $15
River School. All levels. learn how to make the transition from photo to Shipping: Visa or Mastercard
Contact: Shawn Dell Joyce, 845/457-2787 successful painting. This workshop will include Special price! $179
wallkillriverschool@gmail.com or demonstrations, critiques, and one to one (if ordered before 4/30/2018)
www.wallkillriverschool.com instruction in oil, acrylic, or watercolor or your

choice of medium. Open to beginners to advanced,
8/6-8/10/18, GREENVILLE. Watercolor: Simple, Fast,
this workshop is limited to 8 participants and filled Painting the Alla Prima Portrait
and Focused. Sponsored by Hudson River Valley Art very quickly last year! Participants may work in any
Workshops. All levels. 5 DVDs 4.5 Hours
or all media and will receive a materials list upon Alla Prima: Juicy, Fresh Wet into Wet Painting!
Contact: Kim LaPolla, 518/966-5219 registration. Special price! $189 (if ordered before 4/30/2018)
info@artworkshops.com or Contact: Bill Jameson, billj@williamjameson.com or
www.artworkshops.com visit www.williamjameson.com Painting the Corporate Portrait
NORTH CAROLINA John C. Campbell Folk School
1/28-2/3/18, Bradley Wilson, Fearless Painting: 7 hour 7 DVDs Special price $279
Alia Fine Art Studios Adventures in Acrylic. $630. (if ordered before 4/30/2018)
2/2-2/4/18, RALEIGH. Karen Offutt, 2/11-2/16/18, Billie Shelburn, Fast and Loose Ink &
Figure Painting Essentials. Wash. $564. 2018 PORTRAIT WORKSHOPS
3/9-3/11/18, RALEIGH. Scott Conary, 2/18-2/24/18, Kathy Chastain, Introduction to
Painting the Story In Still Life. Painting with Watercolor Gouache. $630. BAUMGAERTNER ATELIER
6/1-6/3/18, RALEIGH. Aaron Westerberg, 3/4-3/9/18, Nan Cunningham, Painting with LA CROSSE WISCONSIN
The Designed Figure & Portrait. Authority. $564.
9/7-9/9/18, RALEIGH. Jennifer Balkan, 3/11-3/17/18, Gay Bryant, Watercolor II – Improving 4 - Day Mentoring Workshop June 8 - June 11
Portrait Painting in Oils Exploring Color. Your Painting Techniques. $630. 4 - Day Charcoal Portrait Workshop June 20 - June 23
10/15-10/19/18, RALEIGH. Nicolas Uribe, 3/18-3/24/18, Peg Piltingsrud, Scandinavian Painted 7 - Day Oil Portrait Workshop June 25 - July 2
The Figure: Form & Color. Furniture. $630.
Contact: 919/272-7362, info@alia-fineart.com or 13 - Day Oil Portrait Workshop June 25 - July 12
3/25-3/31/18, Redenta Soprano, Botanical
www.alia-fineart.com/classes Watercolor – Blooms in Spring $630. 11 - Day Advanced Workshop July 5 - July 18
Robert Burridge 4/1-4/6/18, Suzanne DesLauriers, Mountain 5 - Day Mentoring Workshop July 14 - July 18
2/4-2/8/18, HUNTERSVILLE. Abstract Acrylic Painting
Landscapes in Watercolor. $564.
The Baumgaertner Portrait Atelier June 20 - July 18
& Collage. Donna Downey Studios. 4/6-4/8/18, Virginia Urani, Get Your Feet Wet with
Watercolor. $354. Baumgaertner Portraits
Contact: Bill Downey, 704/948-4627
4/8-4/14/18, Annie Pais, Painting with Natural Oils. 621 South 28th Street
bill@donnadowney.com or www.donnadowney.com $630. La Crosse WI 54601 USA
Annie O’Brien Gonzales 4/15-4/21/18, Mary Jane Volkmann, Painting the Telephone: 608-385-5899 or 608-788-6465
5/18-5/20/18, HUNTERSVILLE. World Around Us. $630. E-mail: baumportrait@cs.com
Donna Downey Studios. 4/22-4/27/18, Billie Shelburn, The Mechanics of www.portraitclasses.com
Contact: www.donnadowney.com Sketching to Paint. $564.
WORKSHOPS
2018
4/29-5/5/18, John Mac Kah, Fusion Painting – Gebhart, Miniature Watercolors. Gretha Lindwood, Annie O’Brien Gonzales
Crossover Techniques in Acrylics & Oils. $630. Capturing the Landscape with pastels. All skill 4/9-4/10/18, GEORGETOWN. Georgetown Art Center.
Contact: John C. Campbell Folk School, Brasstown, levels welcome. For detailed information about all Contact: www.georgetownartcentertx.org
NC, 800-FOLK-SCH or www.folkschool.org workshops or to register, go to
www.cbgallerygroup.com/2018-plein-air-workshops Tom Lynch
Mel Stabin, AWS 4/11-4/14/18, DALLAS.
8/20-8/24/18, BOONE. Watercolor: Simple, Fast, and Kristy Kutch 9/6-9/9/18, NEW BRAUNFELS.
Focused. Sponsored by Cheap Joe’s Art Workshops. 7/10-7/13/18, NEWPORT.
All levels. Contact: 630/851-2652
Contact: 219/874-4688, kakutch@earthlink.net
Contact: Edwina May, 800/227-2788 Tomlynch@msn.com or www.TomLynch.com
7/18-7/19/18, ASTORIA.
edwina@cheapjoes.com or www.cheapjoes.com Contact: 503/791-8444, astoriaartloft@gmail.com VERMONT
OREGON 11/8-11/10/18, SPRINGFIELD. Art New England Workshops
Contact: 541-726-8595 A Program of Massachusetts College of Art and
Art In The Mountains workshopasst58@gmail.com
7/23-7/27/18 AND 7/30-8/3/18, BEND. Herman Pekel, Design: One week workshops held in Bennington,
VT., taught by accomplished and generous
Be Brave and Have Fun. Watercolor- studio and plein
air. All levels welcome.
TENNESSEE artist/teachers. Courses in painting, drawing,
8/6-8/10/18, BEND. Fabio Cembranelli, Intuitive Tom Lynch printmaking, book making, ceramics and sculpture.
Painting, Transcending the Subject. Watercolor - 6/5-6/8/18, COOKEVILLE. 7/15-7/21/18, Week One, Collette Fu, Vera Illiatova,
studio. Intermediate to advanced. Contact: 630/851-2652 Dean Nimmer, Yuan Zuo, Susan Rostow and
8/13-8/17/18, BEND. David Lobenberg, California Tomlynch@msn.com or www.TomLynch.com Craig Taylor.
Vibe. Studio - watercolor. All levels welcome. 7/22-7/28/18, Week Two, Jim Lee, David Campbell,
8/20-8/24/18, BEND. Lian Quan Zhen, East Meets TEXAS Brian Rego, Gwen Strahle, Sally Moore, Tim
West. Watercolor - studio. All levels welcome. Bosque Arts Center Hawkesworth, Lala Zeitlyn and Nancy McCarthy.
8/27-8/31/18, BEND. Ward Jene Stroud, Brusho and NOVEMBER 2018, Bosque County’s fall foliage is the 7/29-8/4/18, Week Three, Meredith Fife Day,
Beyond. Watercolor - studio. All levels welcome. backdrop for this plein air workshop by acclaimed Catarina Coehlo, Elizabeth O’Reilly, Tim
Contact: Tracy Culbertson, 503/930-4572 Cowboy Artists of America, Bruce Greene & Martin Hawkesworth, Lala Zeitlyn, Bob Green, Joetta Maue
info@artinthemountains.com or Grelle. The two-day workshop usually takes place and Catherine Kehoe.
www.artinthemountains.com on the first or second weekend in November. Visit Contact: ane@massart.edu
www.BosqueArtsCenter.org to be placed on the
Cannon Beach Gallery Group email list for workshop notifications.
Tom Lynch
6/20-6/22/18, CANNON BEACH. Plein Air & More 7/24-7/25/18, BURLINGTON.
Workshops. Just named the only beach on the U.S. Contact: Bosque Arts Center, PO Box 373, 215 S.
College Hill Drive, Clifton, TX 76634. 254/675-3724 Contact: 630/851-2652
Mainland to be included in the list of the “Top 50 Tomlynch@msn.com or www.TomLynch.com
Beaches in the World.” Workshops will lead up The Gallery at the Top
to the 10th Annual Plein Air & More Arts Festival. 2/21-2/23/18, Eric Jacobsen, Oil and Acrylic Painting Aline Ordman
Michael Orwick, Learning the Language of Light Workshop. Discover explosive color and painterly 8/6-8/9/18, LANDGROVE INN, LANDGROVE.
and Color, open to all levels of both acrylic and oil expression! Figure painting oil and pastel.
painters. Hazel Schlesinger, Beginning and Beyond, 4/24-4/27/18, Robert Johnson & Rick Hodgins, Contact: http://www.landgroveinn.com
Painting on the Beach and focusing on quick study Round Top. Still Life and Portrait in Oil. 4 days/ 2
sketches, open to all levels of oil painters. Mike teachers. Master teachers, historic town, Texas VIRGINIA
Rangner, Two days working En Plein Air, learning to
express yourself through painting the landscape. All wildflower season. Tom Lynch
experience levels welcome. Josh Henrie, Bringing Contact: Karen Vernon, 979/249-4119 4/30-5/4/18, FREDERICKSBURG.
the Soul out of Stone, learning the basics of creating Art Round Top/The Gallery at Round Top Contact: 630/851-2652
a sculpture. All experience levels welcome. Linda www.thegalleryatroundtop.com Tomlynch@msn.com or www.TomLynch.com
The Secret to Creating

Prize-Winning Paintings
William A. Schneider
AISM, IAPS-MC, PSA-MP, OPA
ROBERT BURRIDGE
• Burridge Studio App “Queen of Hearts” Pastel 20x16
• Free Online Newsletter Workshops

Revealing the Soul-
• Free Weekly BobBlast Sensitive Portraits & Figures
Location: Chesapeake Fine Art Studio,
• Current Workshop Schedule Stevensville, MD
3/16/18 - 3/18/18
• Workshops in Bob's Studio (410) 200-8019
Master the Portrait
Location: Palette & Chisel Academy,
Chicago, IL
4/6/18 - 4/9/18
(312) 642-4400
www.SchneiderArt.com
RobertBurridge.com 815-455-4972

Shenandoah Art Destination

The Shenandoah Art Destination, a 10-acre
property, is magnificently located near the historic
town of Lexington, nestled in the Shenandoah
Valley between the Blue Ridge and the Allegheny
Mountains. The owners, Jan-Willem & Nancy Boer, ³3UHPLHU'HVWLQDWLRQ:RUNVKRSV´
offer an ideal creative vacation and inspiration for
all art lovers of any ability – the fee for your stay is
all-inclusive – accommodations (private room and
bath), meals (home-cooked), and art instruction.
'$9,'7$</25RQ&UXLVH
Pick-up from local airports and train station -DQ)HE1= $XVWUDOLD
available for nominal fee. All artists are welcome
from the beginner to the professional for painting
$/9$52&$67$*1(7
(all media), drawing and printmaking. Daily course $SULO6DQWD)H10
guidance/tutelage by your host, Jan-Willem Boer,
an established artist and illustrator for over 25 years
0$5<:+<7(
in the USA & Europe, earning his degree from the 0D\6DQWD)H10
Rietveld Academie in Amsterdam, The Netherlands.
Each day there is a focus on a different skill with &+$5/(65(,'
much one-on-one instruction. The facility is set up
with two great indoor studios and many wonderful
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outdoor locations for plein-air painting. It is the +(50$13(.(/
perfect setting to focus on art and at the same
time have a refreshing vacation. Courses run from
-XO\ $XJXVW%HQG25
early spring to late autumn; for cost and more )$%,2&(0%5$1(//,
information please visit website. Non-participating
spouse/partner is also welcome (see website for
$XJXVW%HQG25
their cost). The testimonials of previous participants '$9,'/2%(1%(5*
acknowledge what a wonderful experience you will
have as well as the Google Reviews posted directly $XJXVW%HQG25
on Google. Featured in the Washington Post Travel /,$148$1=+(1
Magazine 9/13/15 - http://t.co/bDaZdFZ9Cj
4/6-4/8/18, Weekend session
$XJXVW%HQG25
4/12-4/15/18, 4-Day session. :$5'-(1(67528'
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5/6-5/11/18, 6-Day session.
$XJXVW%HQG25
5/25-5/28/18, 4-Day session. 0$5<:+<7(
6/1-6/3/18, Weekend session. 6HSWHPEHU,QGLDQDSROLV
6/6-6/11/18, 6-Day session.
6/14-6/17/18, 4-Day session.
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6/20-6/25/18, 6-Day session.
7/10-7/15/18, 6-Day session.
ZZZDUWLQWKHPRXQWDLQVFRP
7/19-7/22/18, 4-Day session.
7/26-7/29/18, 4-Day session.
7/31-8/5/18, 6-Day session.

8/31-9/3/18, 4-Day session.
9/21-9/23/18, Weekend session.
10/7-10/12/18, 6-Day session. HUDSON RIVER VALLEY
10/28-10/31/18, 4-Day session.
11/2-11/4/18, Weekend session.
ART WORKSHOPS
Contact: 612/221-1140 Learning, Laughter,
nancy@shenandoahartdestination.com or and Friendships in an
www.ShenandoahArtDestination.com Inspiring, & Inviting
WASHINGTON Environment
Tom Lynch
9/25-9/28/18, CLARKSTON.
Contact: 630/851-2652 Call Toll-Free 1-888-665-0044
Margaret Evans Mar 18-24, 2018
WISCONSIN Margaret Dyer Apr 22-28, 2018
Baumgaertner Atelier Christine Camilleri Apr 29-May 5, 2018
Margaret Carter Baumgaertner Peter Fiore May 6-12, 2018
PORTRAIT WORKSHOPS
Christine Ivers May 16-20, 2018
6/8-6/11/18, LA CROSSE. Mentoring Workshop.
Students work from their own photo reference with Robert Burridge May 20-26, 2018
assisted critique. 8 student limit. All levels. $500. Larisa Aukon May 30-Jun 3, 2018
6/20-6/23/18, LA CROSSE. 4-Day Charcoal Laurie Goldstein-Warren Jun 3-9, 2018
Workshop. Students create four charcoal drawings
and have an opportunity to work in the sauce Richard McKinley Jun 10-16, 2018
medium. All material for the class provided. 12 Joel Popadics Jun 17-23, 2018
student limit. All levels. $375. Elizabeth St Hilaire Jun 24-30, 2018
6/20-7/18/18, LA CROSSE. Baumgaertner Portrait
Atelier. Continuous Portrait Program including Brenda Swenson Jul 1-7, 2018
the 4-Day Charcoal Workshop, 7-Day Oil Portrait Kathyanne White Jul 8-14, 2018
Workshop and the 11-Day Advanced Workshop. The Fabio Cembranelli Jul 15-21, 2018
student completes a total of six portraits. All levels.
$1,600. David Dunlop Jul 22-28, 2018
6/25-7/2/18, LA CROSSE. 7-Day Oil Portrait Patti Mollica Jul 28-Aug 1, 2018
Workshop. Basic Portraiture Workshop. Students Howard Rose Aug 1-5, 2018
paint one model in the morning and a second
model in the afternoon. Two, 4-hour portrait Mel Stabin Aug 5-11, 2018
demonstrations and a five-hour marketing round Self-Directed Retreat Sep 2-8, 2018
table discussion. 12 student limit. All levels. $625.
6/25-7/12/18, LA CROSSE. 13-Day Oil Portrait
Lorenzo Chavez Sep 9-15, 2018
Workshop: The first seven days mirror the 7-Day Judi Betts Sep 16-22, 2018
Oil Portrait Workshop. During the second six days,
the students will paint one long pose portrait. 12 artworkshops.com
student limit. All levels. $900.
WORKSHOPS
2018
“One of the 100 most beautiful places in the world.” 6/26-7/10/18, LA CROSSE. 5-Evening Portrait
Sculpture Workshop with Mike Martino. 8 student
~National Geographic limit. All levels. $200.
7/5-7/18/18, LA CROSSE. 11-Day Advanced Workshop.
One 6 day long pose head and shoulder model. The
long pose allows the student to explore finishing
techniques. 12 student limit. 5 Day mentoring
session. Students work from their own photo
reference with assisted critique. All levels. $900.
7/14-7/18/18, LA CROSSE. Mentoring Workshop.
Who wouldn’t want to paint here? Students work from their own photo reference with
June 20-21 Workshops assisted critique. 8 student limit. All levels. $600.
Contact: Margaret Carter Baumgaertner,
June 22-24 10th Annual 621 South 28th Street, La Crosse, WI 54601,
Plein Air & More Art Festival 608/788-6465 or 608/385-5899
Baumportrait@cs.com, www.portraitclasses.com
or www.baumportraits.com
Kristy Kutch
FOR DETAILS:
9/10-9/13/18, LAKE GENEVA.
Contact: 219/874-4688, kakutch@earthlink.net
Madeline Island School of the Arts
7/9-7/13/18, Joe Paquet.
Kristy Kutch COLORED PENCIL WORKSHOPS 7/9-7/13/18, Carol Nelson.
7/16-7/20/18, Thomas Schaller.
Manhasset (Long Island), NY • April 20-22
Our 516-304-5797, sherbst@theartguild.org
Grand Marais, MN • June 11-14
8/6-8/10/18, Skip Whitcomb.
8/20-8/24/18, Richard McKinley.
classes 218-387-2737, programs@grandmaraisartcolony.org

Newport, OR • July 10-13
8/27-8/31/18, Patti Mollica.
9/10-9/14/18, Don Demers.
last a
9/17-9/21/18, David Shevlino.
219-874-4688, kakutch@earthlink.net
9/24-9/28/18, Lorraine Glessner.
Astoria, OR • July 18-19
lifetime.
Contact: 715/747-2054, www.madelineschool.com
503-791-8444, astoriaartloft@gmail.com
Lake Geneva, WI • September 10-13 Transparent Watercolor Society
219-874-4688, kakutch@earthlink.net of America
What you learn at the Donaldson (near Plymouth), IN • October 1-3
6/4-6/8/18, KENOSHA. John Salminen,
Folk School stays with you. 574-935-1712, jkostielney@poorhandmaids.org
Realism Through Design.
6/4-6/8/18, KENOSHA. Soon Warren,
Springfield, OR • November 8-10
JOHN C. CAMPBELL FOLK SCHOOL 541-726-8595, workshopasst58@gmail.com
Creating Cut Crystal & Pouring Background.
6/11-6/15/18, KENOSHA. John Salminen,
folkschool.org 1-800-FOLK-SCH
BRASSTOWN NORTH CAROLINA
www.artshow.com/kutch • 219.874.4688 Abstraction Through Design.
11555 West Earl Road • Michigan City, IN 46360 6/11-6/15/18, KENOSHA. Soon Warren,
Creating Silver & Pond Water.
Contact: www.watercolors.org
www.TOMLYNCH.com
Jan 18 – 21 Daytona Beach, FL
MEL STABIN, AWS In t e r n at i o n a l
Jan 26 – 28 Lakepark, FL 2018 Watercolor Workshops BALI
Feb 14 – 17 Punta Gorda, FL Flying Colors Art Workshops
Mar 13 – 15 Tequesta, FL Plein Air Tucson, AZ – Feb 12-16 Montgomery, NY – June 2-3 AUGUST 2018, UBUD AND CANDI DASA.
Mar 27 – 29 The Villages, FL Ken Goldman, WC. All levels of instruction.
Norcross, GA – Apr 9-12 Belfast, ME – July 16-20
Apr 11 – 14 Dallas, TX
Contact: Cris Weatherby, 858/518-0949
New York, NY – Apr 29 Greenville, NY – Aug 6-10 FlyingColorsArt@me.com or
Apr 30 – May 4 Fredericksburg, VA
www.flyingcolorsart.com
May 15 – 18 Manahawkin, NJ Island Hts, NJ – May 4-6 Boone, NC – Aug 20-24
June 5 – 8 Cookeville, TN Perry, IA – May 15-17
BELGIUM
July 14 – 17 Conception Bay, Canada Flemish Classical Atelier
LAUTERBRUNNEN, SWITZERLAND - June 17-27 3/5-3/30/18, BRUGES. Clayton J Beck III,
July 19 – 22 Conception Bay, Canada
40 Heads Boot Camp.
July 24 – 25 Burlington, VT Available For Workshops 4/30-5/11/18, BRUGES. David Gray,
Sept 6 – 9 New Braunfels, TX In Your Area www.melstabin.com The Classical Portraiture.
Call 630-851-2652
Sept 25 – 28 Clarkston, WA Tomlynch@msn.com
melstabin@optonline.net • 201-746-0376 6/25-6/28/18, BRUGES. Alyssa Monks,
Transcending The Photo Reference.
7/2-7/13/18, BRUGES. Gregory Mortenson, Modern
Techniques of Painting the Classical Portraiture.
2018 TWSA Workshops with 7/16-7/24/18, BRUGES. Max Ginsburg,
Evocative Multi-Figure Paintings.
John Salminen, TWSA DM
8/13-8/24/18, BRUGES. Cindy Procious,
June 4–8 Realism through Design
Painting the Realistic Still Life.
June 11–15 Abstraction through Design 9/10-9/21/18, BRUGES. Cuong Nguyen,
Soon Y Warren, TWSA Pastel Painting.
June 4–8 Creating Cut Crystal & Contact: studio@flemishclassicalatelier.com or
Pouring Background www.flemishclassicalatelier.com
June 11–15 Creating Silver & Pond Water
CANADA
sign up at www.watercolors.org
Annie O’Brien Gonzales
9/17-9/21/18, NANAIMO, BR. COLUMBIA.
the Transparent Watercolor Society of America Vancouver Island Art Workshops.
42nd Annual Contact: www.vancouverislandartworkshops.com
Tom Lynch
EXHIBITION 7/14-7/17/18, CONCEPTION BAY.
7/19-7/22/18, CONCEPTION BAY.
Kenosha Public Museum, WI Contact: 630/851-2652
May 5 through August 5, 2018

CHINA
Henning Communications MADELINE ISLAND
6/21-7/6/18, Watercolor Painting Tour Of China. Join
us for a 17-day Sightseeing and Watercolor Painting
Tour of China with Dongfeng Li and Daven Anderson,
SCHOOL of the ARTS
sponsored by the Missouri Watercolor Society. Tour
reservations close March 31, 2018. $3,888 includes 2018 PAINTING WORKSHOPS
airfare, all hotels and meals. -/1"ÊUÊ* Ê,ÊUÊ8 Ê
Contact: DavenAAnderson@gmail.com
MISA West at SANTA FE, NM
FRANCE
Lotus Tours Elizabeth St. Hilaire ............ February 12-16
6/24-7/1/18, European river cruise from Lyon to MISA West at TANQUE VERDE RANCH, AZ
Avignon. Watercolor instruction, visiting local
artists & galleries, sightseeing, luxurious award- John Lovett ................................... June 4-8
winning cruise, sumptuous food & drink. All tips &
taxes. No single supplement (subj. to avail). Painting MADELINE ISLAND
materials are provided, or bring your own.
Contact: www.barbarakerstetter.com
Joe Paquet ...................................July 9-13
Paint Away: Art Classes Abroad! Carol Nelson .................................July 9-13
A Coastal Maine Art Workshop Program. Thomas Schaller ..........................July 16-20
Non-painters welcome!
5/5-5/15/18, LE VIEUX COUVENT. Skip Whitcomb ......................... August 6-10
Mike Bailey AWS, WC.
6/9-6/19/18, PROVENCE. Richard McKinley ..................... August 20-24
Tony van Hasselt AWS, WC. Patti Mollica ........................... August 27-31
Check our website for details!
Contact: Lyn Donovan, 207/594-4813 Don Demers ......................September 10-14
www.cmaworkshops.com David Shevlino ...................September 17-21
Workshops in France Lorraine Glessner ................September 24-28
ART RETREATS
Chateau art retreat in Provence. Distraction-free Unique Island Setting,Exceptional Workshops
paradise for artists. Friendly, fabulous food, wine,
accommodation in the Château and transportation
to beautiful painting locations. All-inclusive retreat
except airfare.
5/6-5/15/18, PROVENCE. 10 days. Poppies to the
Mediterranean. All media -paint and sketch side-by-
side with artists. 715.747.2054 La Pointe, WI
9/16-9/25/18, 10 days. Provencal villages, vineyards
and Cézanne. All media. Sketch side-by-side with www.MADELINESCHOOL.com
artists.
INSTRUCTED WORKSHOPS.
Paint with exceptional master painters in France.
Perfectly-balanced painting workshops with
instruction and total immersion in French life. All-
Contact us for details! Workshop DVDs
inclusive: instruction, food, wine, accommodation
at the Chateau, except air-fare.
7/4-7/13/18, Carol Marine Instructor Painting MID-COAST MAINE
Provence- 10 days painting experience in southern AND BEYOND!
France with Daily Painting pioneer.
9/3-9/12/18, Tim Horn Instructor Paints Provence –
10 days painting plein air at château workshop with
award winning artist in France.
Contact: Julie Snyder, 323/388-3234
GREECE
John Hewitt, WHS cmaworkshops.com
9/24-10/14/18. Belfast, ME 27-31 Marc Hanson Oils/Pastels
Contact: johnhewitt@mcn.com or JULY 2018 27-31 Kathy Conover AWS NWS WC
johnhewittart.com 9-13 Bill Rogers Oils SEPTEMBER 2018
16-20 Mel Stabin AWS WC 3-7 David P. Curtis Oils
ITALY 30-8/3 Tony van Hasselt AWS WC3-7 Mike Bailey AWS WC
Artensity AUGUST 2018 10-13 Lori Putman Oils
5/19-5/27/18, Graceann Warn, “Transformation/ 6-10 Don Andrews AWS WC 10-14 Charles Reid WC
Revelation”. Mixed media. The beautiful city of 17-21 Colin Page Oils
Florence will provide unending inspiration as we will Rockland, ME 17-21 Larry Moore Oils
explore ways to take materials including beeswax, MAY 2018 24-28 Colley Whisson Oils
cold wax, paper, found and or created images as 15-18 Alvaro Castagnet AWS WC
Paint Away Classes!
well as objects and transform them into succinct JULY 2018 May 5-15, 2018 SW France
and strong stories in the form of collages and 23-27 Sterling Edwards WC Mike Bailey AWS WC
assemblages. AUGUST 2018 June 9-19, 2018 Provence
5/30-6/7/18, FLORENCE. Vianna Szabo, Painting the 13-17 Frank Eber WC Tony van Hasselt AWSWC
Light of Italy. Pastel, Oil, Acrylic, or Watercolor. 20-24 Herman Pekel WC Oct 2-12, 2018 Venice
During this nine-day workshop experience you 20-24 Ken DeWaard Oils Ken DeWaard Oils
will learn to hone your vision of a particular place 207-594-4813 • info@cmaworkshops.com
and its people, visit world class museums, dine on
full course Italian dinners, and walk on the same Marching to the Beat
of Your Own Drum
cobblestone streets as the Renaissance greats. The
focus of the workshop will be on simplifying the “Korcula Palms” by Bev Jozwiak, AWS, NWS
landscape and capturing the light of Italy. We will
be working in plein air and using sketchbooks to
9x12 pastel See Video Clips
record our adventures. Nita Engle, AWS, Chris Unwin, NWS
Workshops:
6/9-6/16/18, Casey Klahn, The Colors of Italy in Alexis Lavine, NWS, Soon Warren, AWS
Florida, NYC, Vermont
WWW.ChrisUnwin.NET
Pastel. Find out how to respond to the beauty and
richness of the Italian scenery in Florence and
Tuscan countryside, Italy with artist Casey Klahn. If
you want to substitute the evident colors of a Tuscan
www.alineordman.com or Call Chris: 248-624-4902
WORKSHOPS
2018
hillside, or the Florentine cityscape, to add more
emotion to your pictures, how will you choose new
colors? Let Casey teach you something new about
abstracting your color world to add both excitement
and harmony to your artwork.
SEPTEMBER 2018, Henry Yan, Drawing the Figure.
Marla Baggetta, The Tuscan Landscape (intensive).
Contact: www.artensity.org
Victoria Brooks, AIS, NOAPS
9/19-9/26/18, PLEIN AIR LAKE COMO, ITALY.
A small group workshop of oil, watercolor or acrylic
painters staying in Varenna. Painting Varenna,
Bellagio, Menaggio, Lenno & Tremezzo, all-inclusive
pricing.
F FER ! Contact: Victoria Brooks, 916/768-1751
O N O victoria@vbrooks.com, www.vbrooks.com or
RIPTI
infotuscany@aol.com, www.toscanaamericana.com
SUBSC
Sam D’Ambruoso
AR T E R 6/23-6/30/18, AMALFI. The Drama of the Amalfi

Coast. It’s our 17th year in Amalfi! We will be
CH plein air painting on the beautiful Amalfi Coast,
a World Heritage Site. Amalfi consistently offers
a unique artistic challenge & historic perspective
on this magnificent region. Perfectly preserved
ancient villages spill down sheer cliffs to the
azure sea offering the most spectacular vistas to
be found anywhere. It is the perfect venue for a
painter. On June 27th, it is the Feast of St Andrew,
the patron saint of Amalfi. There will be plenty of
entertainment in the town square of Amalfi.
10/20-10/27/18, TUSCANY. Painting Workshop.
Join us for our 20th year in this beautiful Italian
countryside in the little mountain village of Bagno
Vignoni, just south of Siena. Plein air painting at
its best! Cypress, umbrella pines, and the rolling
landscape all bathed in the glowing light of the land
continue to present challenges to the painter. It is
truly an artist’s retreat. Let’s not forget the fabulous
Tuscan food and wines!
Contact: 203/758-9660
SamDambruoso@comcast.net or
www.SamDAmbruoso.com
William Jameson
10/20-10/26/18 (4 painting days) and 10/27-11/2/18
(4 painting days), MONTISI, TUSCANY. Montisi is
Subscribe to the all-new Artists Magazine and get 10 issues of the world’s best situated in the Province of Siena, about half way
magazine for working artists. between Rome and Florence, in southern Tuscany.
Montisi has ancient roots: in fact it arose in the
Middle Ages and is home to diverse and highly
In every issue of Artists Magazine, you’ll find inspiration, step-by-step talented professional artists and artisans so we
want to join them at least for a little while!
instruction, fascinating interviews, savvy business advice and much more to You have the choice of two 4 day workshops or you
help you live a more artful life. can stay for both. We will take maximum advantage
of the beautiful scenery not to mention the food
and wine! Our accommodations are delightful and
To order on-line, go to www.artistsnetwork.com or call 1-800-333-0444 and the owners are most gracious and welcoming. As
mention Priority Code A8BAMP or mail the coupon to the address below. always, this workshop will include demonstrations,
critiques, and one to one instruction in oil, acrylic,
or watercolor or your choice of medium. We expect
Order Artists Magazine today and become the artist you aspire to be! to fill up quickly so please contact Bill Jameson at
billj@williamjameson.com or visit his website
www.williamjameson.com.
Open Air Italy
5/9-5/19/18, Mary Garrish, Plein Air in Sicily. Oil,
Mail the coupon below with your payment to: Artists Magazine, PO Box 421751, Palm Coast, Acrylic, & Pastel – All Levels. 9 days ~ 2 locations.
FL, 32142-1751 or call 1-800-333-0444 and mention code A8BAMP Open to a maximum of 8 students.
6/2-6/9/18, Tuscany Artist Retreat - Uninstructed,
Plein Air in Tuscany’s Val D’Orcia, All Mediums/All
Levels.
YES! Send me one year (10 issues) of Artists Magazine for just $21.99 9/5-9/12/18, Jon Budicin, Plein Air on the Shores of
Lake Como. Oil. All Levels. Open to a maximum of 8
students.
Name (please print) 10/13-10/20/18, Larry Moore, Amalfi Coast in Plein
Address City, State, ZIP Air. All Mediums ~ All Levels. Open to a maximum of
8 students.
E-mail Contact: 321/626-2717, okiegirl54@gmail.com or
An e-newsletter and special offers from Artists Magazine are included in your subscription for full workshop information www.openairitaly.com
Please charge my T Visa T MasterCard T AmEx Paint Away: Art Classes Abroad!
Card # Exp. Signature A Coastal Maine Art Workshop Program.
US orders only. Non-painters welcome!
10/2-10/12/18, VENICE. Ken DeWaard Oils.
A8BAMP
Check our website for details!
Contact: Lyn Donovan, 207/594-4813
www.cmaworkshops.com

75694 TAMAdPasJ2-18Issue.indd 1 11/17/17 9:00 AM
MEXICO
Robert Burridge Watercolors
1/20-1/27/18, Abstract Acrylic Painting & Collage in
Mexico. Casa de Los Artistas. Boca de Tomatlan, 10 in Provence
miles South of Puerto Vallarta.
A unique workshop
Contact: Robert Masla, 413/625-8382
www.artworkshopvacations.com/robert-burridge on a deluxe Uniworld
Flying Colors Art Workshops river cruise. 6/24~7/1/18
3/4-3/10/18, SAN MIGUEL DE ALLENDE.
Judy Morris, WC. All levels welcome. For details: Lotus Tours/PDT
3/11-3/17/18, SAN MIGUEL DE ALLENDE. (212) 267-5414
Betty Carr, WC. All levels welcome. www.barbarakerstetter.com
10/21-10/27/18, SAN MIGUEL DE ALLENDE.
Don Andrews. All levels welcome.
FlyingColorsArt@me.com or
www.FlyingColorsArt.com
NEW ZEALAND
Art In The Mountains
1/31-2/10/18, New Zealand Cruise/workshop and
2/10-2/12/18 plein air in Sydney, Australia with David
Taylor. “Strength and Flow of Watercolor”.
Contact: Tracy Culbertson, 503/930-4572 Northeast Art
info@artinthemountains.com or
www.artinthemountains.com Workshop Retreats
SCOTLAND gets rave reviews!
John Hewitt, WHS
5/28-6/4/18, ABBOTTSFORD. Internationally Acclaimed
Contact: johnhewitt@mcn.com or Artist Instructors
johnhewittart.com All levels & all media including:
Workshops in Scotland watercolor, encaustic, acrylic,
Join Scotland’s art retreat in the Highlands oil, collage, etc.
and Kingdom of Fife, Scotland. Magnificent
glens, countryside and the best of Scotland. 2000 sq ft Dream Studio also
Comfortable accommodations, all meals, wine, and Annie O’Brien Gonzales available for Shares and Rentals
transportation included with exception of airfare. Santa Fe, New Mexico 505.699.1705
Includes 3-day art and culture tour-Edinburgh & anniego@mac.com | www.annieobriengonzales.com
Glasgow. northeastartworkshops.com
New Book: “The Joy of Acrylic Painting:
6/16-6/28/18, 13 days. Art Retreat. Scotland. All
media. Paint and sketch side-by-side with artists. Expressive Painting Techniques for Beginners”. 978.729.4970
Contact: Julie Snyder, 323/388-3234
SWITZERLAND PLEIN AIR LAKE COMO
Flying Colors Art Workshops
JUNE 2018, LAUTERBRUNNEN. Italy, Sept. 19 – 26, 2018
Mel Stabin, WC. All levels. Victoria Brooks, Instructor
FlyingColorsArt@me.com or www.vbrooks.com
(916) 768-1751 ART WORKSHOPS 2018
www.FlyingColorsArt.com
Mel Stabin, AWS MEXICO-San Miguel de Allende
6/17-6/27/18, LAUTERBRUNNEN. Watercolor: Simple,
www.ToscanaAmericana.com
Judy Morris, Betty Carr, Don Andrews
Fast, and Focused. Sponsored by Flying Colors Art
William
Workshops. All levels. SWITZERLAND June 2018
Jameson
Contact: Cris Weatherby, 858/518-0949 Mel Stabin-WC
flyingcolorsworkshops@gmail.com or
www.flyingcolorsart.com SANTA BARBARA April 2018
2018 Painting Brenda Swenson-WC
O n lin e Workshops BALI-Ken Goldman August 2018
DrawingAcademy.com
Ongoing online classes - “How to Draw Whatever VISIT www.williamjameson.com FlyingColorsArt.com 858-518-0949
You See or Imagine”. Discover traditional drawing
techniques and get an unlimited personal support
from the Academy tutors. Watch Free “How to
Sam D’Ambruoso
Draw” Video Lessons here:
http://DrawingAcademy.com/free Ocean County Artists’ Guild PAINTING WORKSHOPS
Camille Przewodek P.O. Box 1156 Italy
Mondays with Camille. LDL (Long Distance Learning) Island Heights, NJ 08732 Amalfi June 23-30, 2018
Tuscany October 22-29, 2018
is a continuation program for further developing
a new way of seeing and painting color. Online 732-270-3111 USA
instruction/critiques are scheduled on Monday Old Lyme, CT August 17-19, 2018
afternoons, from 2 to 5 pm (Pacific Time) for Carmel, CA Late September, 2018
painters who have taken one of my 5-day workshops, info@ocartistsguild.org www.ocartistsguild.org www.SamDAmbruoso.com 203-758-9660
but are unable to come and continue their studies at
my regular Monday morning classes in Petaluma CA.
Plein-air still life, landscape, head & figure. Please
ARTENSITY
see website for updated schedule and details.
Contact: Camille Przewodek, 707/762-4125
fineart@sonic.net or www.przewodek.com
artensity.org Meals - Lodging - Art Instruction

The next Workshop Section will appear in For 2018 course schedule & rates
Artists Magazine’s July/August 2018 issue.
Space Reservation is by March 27, 2018 see ShenandoahArtDestination.com
Newsstand Date for July/August is May 29, 2018
Ann Arbor, MI • Florence, ITALY
20 th Annual International
Portrait Competition
Call for Entries
William F. Draper
Grand Prize
Winner & People’s
Choice Award
David Kassan
Love and
Resilience,
Portrait of Louise
and Lazar Farkas,
Survivors of
the Shoah,
46 x 42”, oil
First Place
Drawing
Sookyi Lee
Bridget,
18 x 24”,
charcoal on
paper
ver $100,000 in prizes and awards will be

presented in categories recognizing Painting,
Drawing and Sculpture. In celebration of our
20th anniversary, the Grand Prize winner will be awarded a
cash prize of $20,000.
First Place
Painting
Ming Yu
In Bvlag,
15.8 x 19.7”,oil
First Place
Sculpture
Susan Wakeen
Marcy,
30 x 12 x 13”,
clay for plaster
Visit our website for full details or call toll-free for your prospectus.
Entry Deadline February 22, 2018

1-877-772-4321 www.portraitsociety.org
A national non-profit 501 (c ) (3)

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Art sts

"The Sea Captain's Dinner" by Kevin Hunter

2 Artists Magazine March 2018

14 COLOR STORY 38 WORKSHOP 96 SHORT STORIES

ART AND ABUNDANCE SVP, GENERAL MANAGER, F+W FINE ART,

Thoughts on our new design?

4 Artists Magazine March 2018

Kinstler has painted from life eight American

For the cover of this issue, Artists Magazine presented students at

MICA student Martha

6 Artists Magazine March 2018

8 Artists Magazine March 2018

EXPRESS YOUR CREATIVE ENERGY!

FOR MORE INFORMATION AND TO ENTER, VISIT

12 Artists Magazine March 2018

a dvances in printing technology

subsequently referred to as the “Golden

PHOTO: SERGIO ANELLI/ELECTA/MONDADORI PORTFOLIO VIA GETTY IMAGES

FOLLOW @ARTISTSNETWORK ON INSTAGRAM AND SHOW US YOUR PEACH! #ARTISTSNETWORK_COLORSTORY ROYALTALENS.COM

14 Artists Magazine March 2018

Actress Saoirse Ronan

REMBRANDT OIL COLOURS MARZIPAN PEACH PALET TE

VISIT US | RoyalTalensNor thAmerica.com FOLLOW US | @RoyalTalensNA

u rban real estate prices have skyrocketed, and many artists

For a happy and healthy

18 Artists Magazine March 2018

The problem is that the experience of

about how much you can eat, punish-

FIVE STEPS TO SUCCESS

1 Give yourself unconditional

20 Artists Magazine March 2018

2 Eat what you love when you can

3 Plan a time and place to eat

presence, intention and attention

4 Listen to your hunger and

Fine Art Meets

m olly Hatch has two identities as a ceramicist.

< DINE IN STYLE

22 Artists Magazine March 2018

“As we move through our daily

THE CHINA BLUE COLLECTION

cious witnesses to our stories,” she writes. “We eat from

Continually intrigued by decorative art

“Rethinking a medium that

history and the

24 Artists Magazine March 2018

400-plus-plate installation at the

plates as one would view a painting,” she says.

Allison Malafronte is an arts writer, editor and curator based

MOLLY HATCH RECENTLY COMPLETED A PLATE-PAINTING

The Parts That

Ceramics, by nature, bring people together—be these objects

26 Artists Magazine March 2018

1. Deluxe Pottery Tool Set

“I LOVE THE FUNCTIONAL

28 Artists Magazine March 2018

Hadley begins the

For surfaces that pop,

“Mark Rothko: WE ASKED...

How Would YOU

Where? Where is this kitchen, and whose kitchen is it—

Who?Is anyone in this kitchen—one person, two, many?

What? Do you envision a wide view of the kitchen or a

32 Artists Magazine March 2018