Southwest Art October 2019

Scottsdale Art Auction
Saturday, April 4, 2020

NOW ACCEPTING CONSIGNMENTS
44'' X 68" OIL ESTIMATE: $25,000 - 35,000

R AY S WA N S O N
(1937 - 2004)
W HY C HOOSE S COTTSDALE A RT A UCTION ?

• $31.5 million in combined sales realized in 2018 and 2019. • Extensive database of proven collectors.
• Currently holding 236 art auction sales records; with 2019 setting • 6FRWWVGDOH³$PHULFD·V:HVWHUQ$UWGHVWLQDWLRQIRURYHUÀIW\
18 new records. years.
• 95% of all lots sold in 2019. • Permanent onsite sale & showroom—art is displayed in a
beautiful gallery setting for two weeks prior to the auction.
• Lowest buyer’s premium in the industry.
• Advertising in more than ten national publications as well as
• Fair, simple and straightforward commission with no hidden fees. online advertising.
• $SDUWQHUVKLSZLWKRYHU\HDUVRI H[SHULHQFHLQWKHÀHOGRI • The Southwest’s largest and fastest growing auction house
ÀQHDUW specializing in Western, Wildlife and Sporting Art.
For more information please call (480) 945-0225 or visit www.scottsdaleartauction.com
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SPECIAL PORTFOLIO: 10 WOMEN MAKING THEIR MARKS
PLEIN AIR BY
THE OCEAN
Painters Flock to
Laguna Beach
BEST OF
THE BEST
Woolaroc
Retrospective
Honors Top Artists
THE AR
ART
T OF
COLLECTING
ADVICE & INSPIRATION
FOR BEGINNERS & EXPERTS
NATURE’S
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DOUGLAS AAGARD, THE FARTHEST FIELD, OIL, 40” X 30”.
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DESTINY BOWMAN
Skye Loving in White Leather 30 x 40 Oil on Canvas
destinybowmanfineart.com 720.620.1308
HARRIS - “Reunidos” • 18" x 12" x 8" • Portuguese Rose Marble
EVANS - “Time Lapse” • 30" x 48" • Acrylic
MARK YALE HARRIS & DICK EVANS

SENSUAL SURFACE AND VOLUME • Friday, October 4, 2019 • 5 to 7pm
VENTANA FINE ART

400 Canyon Road • Santa Fe, NM 87501 • 505-983-8815 • 800-746-8815 • www.ventanafineart.com
West X West: Teresa Elliott & Jill Soukup
Jill Soukup • Round About • 23.75 x 31.5 • oil on canvas
Teresa Elliott • Longhorn Butler Calf • 16 x 20 • oil on canvas
October 5th through October 26th

Opening Reception: Saturday, October 5th, 6-9pm
1412 Wazee Street | Denver, CO 80202 | 303.571.1261 | gallery1261.com

15th Annual
October 12–19, 2019

Dave Santillanes
SedonaPleinAirFestival.org
CONTENTS
OC TO BER 2019
18 62
Features
56 A Peaceful World 68 Collecting California
John Pototschnik’s paintings recall The Gardena High School Art FIND US ONLINE
the tranquil beauty of an earlier Collection is on view once again.
SouthwestArt.com
time. By Gussie Fauntleroy
• More artwork by featured artists
72 The Do’s & Don’ts • Art news from the West
62 Bodies in Motion of Collecting
Figurative painter Bryce Cameron A compendium of some of Facebook.com/
Liston artfully blends classical and our all-time-best advice about SouthwestArtMagazine
contemporary. By Norman Kolpas art collecting.
76 Women in Art Scan to sign up for our

Meet 10 women who paint biweekly newsletter!
everything from landscapes
to still lifes.
Subscribe to Southwest Art!
subscribenow.southwestart.com
on the cover:
The Calm Descends
(detail) by John
Pototschnik.
30
Show Previews
26 Woolaroc 46 En Plein
Retrospective Air Texas
Woolaroc Museum, San Angelo Museum
Bartlesville, OK of Fine Arts,
San Angelo, TX
28 Laguna 48 Robbie 79
Beach Plein Air Fitzpatrick
Various locations, Brazosport Center for
Laguna Beach, CA the Arts & Sciences,
Clute, TX
Columns
30 Tim Solliday 50 Sedona Plein 15 From the Editor
Maxwell Alexander Air Festival Results from Coeur d’Alene
Gallery, Sedona Arts Center,
Los Angeles, CA
18 Artists to Watch
Sedona, AZ
Andrew Bolam, Ani Espriella,
Karen Blackwood
32 Women 52 Harold Joe 88 Artists of Note
Artists in Texas Waldrum
Foltz Fine Art, Rio Bravo Fine Art, Lee McVey, Bruno Capolongo
Houston, TX Truth or Consequences, NM
90 Special Advertising
Section
34 Evans & Harris 54 Best of America Ones to Collect
Ventana Fine Art, Montgomery Lee
Santa Fe, NM Fine Art Gallery,
112 Index to Advertising
Park City, UT
36 American
Women Artists
RS Hanna Gallery,
Fredericksburg, TX
Melanie O’Keefe Fine Art
Colorado Summer oil on canvas 30 x 40
mokeefeart.com
Ready to Rip, 20 x 20 American Impressionist Society 20th Annual National Juried Exhibition Sept 19 - Oct 2
Painterly Perspectives of Modern Life and Landscape
WWW.NANCYTANKERSLEY.COM 410-253-3641 AIS ASMA

From the Editor
Record-Setting Sale
The Coeur d’Alene Art Auction has another strong year
THE ANNUAL COEUR d’Alene Art

Auction is always a good barometer
for the western art market. Now in
its 34th year, it’s the largest auction
of western art in the country, and it’s
MIKE BUCHER
known for regularly handling top es-

tates and blue-chip artworks. This
year’s installment, held in late July in
Reno, NV, fi nished with a strong total
of $16.8 million sold and several world records set for
important artists.
The top lot in the auction was CASUALS ON THE
RANGE, a 1909 oil painting by Frederic Remington,
which sold for $981,750 against its presale estimate
of $800,000 to $1,200,000. It was one of almost 20
paintings in the auction to come out of the esteemed
collection of John J. “Jack” Mitchell, the cofounder of
United Airlines.
A world-record price was set for Taos Society art-
ist Victor Higgins when his painting TAOS IN WIN- Victor Higgins, Taos in Winter, oil, 24 x 30.
TER sold for $833,000 against a $400,000-$600,000
estimate; it’s the fi rst time his work has gone above
the $800,000 mark. Ending up in similar price ter- famous female painter during the 19th century, Bon-
ritory was fellow Taos artist Joseph Henry Sharp, heur was celebrated for her paintings of animals, in-
whose CROW ENCAMPMENT, MONTANA brought cluding PLOUGHING IN THE NIVERNAIS in the Musée
$892,500 compared to its $300,000-$500,000 esti- d’Orsay and THE HORSE FAIR at the Metropolitan Mu-
mate; that was the fourth-highest price ever paid for seum of Art.
a Sharp at auction. Other world records were also set at the auction:
One of the most notable sales was that of French Hammering for $101,150 was ADOBE, SNOW AND SUN-
artist Rosa Bonheur’s EMIGRATION DE BISONS (AME- SHINE, a 1926 painting by Theodore Van Soelen. And
RIQUE), which also came from the Mitchell estate. selling for $166,600 was STRANGERS IN THE VALLEY by
Estimated at $300,000-$500,000, it hammered for contemporary Montana artist Don Oelze, an oil depict-
$773,500, setting a new world record for her work. ing three Lakota warriors and their horses looking out
The over-6-foot-wide painting, done in tempera and over a sacred valley in the Black Hills.
pastel in 1897, depicts a bison herd in the snow in
highly detailed realism. Bonheur never traveled to
the United States to see bison in the West, but she
met Buffalo Bill Cody at the Exposition Universelle
in Paris in 1889. She was, reportedly, enchanted with
him and visited his Wild West show multiple times,
making sketches of the Indians and buffalo that were Kristin Hoerth
part of his extravaganza. Widely considered the most kristin.hoerth@fwmedia.com
subscribe to southwest art! Visit subscribenow.southwestart.com
OCTOBER 2019 • WWW.SOUTHWESTART.COM 15

PATTI ROBBINS
Fig Branches, Lemons on Stripes oil 48x36 Blood Oranges, Flowers, Stripes and Swirls oil 40x30
www.pattirobbinsartist.com
pattirobbinsartist@gmail.com
805 471-1701
Voices Linger: Women Artists in Texas
A SURVEY EXHIBITION OF EARLY TEXAS WOMEN ARTISTS
Flora %ODQF Reeder, Self Portrait, Foil on canvas, 19 x 27 inches.
ON VIEW
SEPTEMBER 14 - OCTOBER 26, 2019
OPENING RECEPTION:
S A T U R D A Y, S E P T E M B E R 1 4 T H , 6 - 8 P M
BOOK TALK & SIGNING

WITH RON TYLER ,
EDITOR OF
T H E A RT O F T E X A S 250 Y E A R S
SATURDA Y , OCTOBER 5TH , 2-5PM
2143 Westheimer Road • Houston, TX 77098

713.521.7500 • foltzgallery.com
Artists to Watch
THE EDITORS’ CHOICE FOR UP-AND-COMING TALENT
Andrew Bolam
Following his fancies
c Unbroken, acrylic, 60 x 60.

e Persistence, acrylic, 52 x 62.
ANDREW BOLAM’S massive, eye- gether that are purely abstract up close, traded his realistic landscapes for the
catching paintings of Native Americans but when you move away from the piece, “bolder, simpler statements” that char-
and western wildlife are a far cry from visual cues like silhouettes become the acterize his work today. Adds Bolam,
the smaller, more detailed landscape image,” explains the artist, whose influ- “Now I’m happy to allow a lot of negative
paintings he created early in his fine-art ences include famed experimental art- space in my work and seemingly empty
career. Some of those earlier works, all ists like Chuck Close and Gerhard Rich- areas of canvas.”
done in oil, measured a mere 2 by 2 inch- ter. “When Richter started putting paint Occasionally, the artist still paints
es. “Now I barely paint under 40 by 40 on his canvas abstractly and scraping landscapes, though they are mostly
inches—that’s a small painting for me,” into it with a trowel, he was just being simple color fields these days, he says.
says the artist. “I usually like to work 48 true to himself as an artist,” says Bolam. He isn’t certain where his work is head-
by 48 or larger.” “That’s what I do—not what collectors ed next, but Bolam is happy letting the
From his studio in the Sierra Nevada expect me to do.” mystery be. “I’m excited that I’ve given
Mountains, Bolam now paints almost ex- As for his subject matter, the beauty myself the luxury of growing organically
clusively in acrylics. He also works in se- and mystique of the American West and and doing whatever tickles my fancy,” he
ries, which allows him to tackle continu- its native peoples fi rst captured Bolam’s says. “I paint for me.” —Kim Agricola
ally fresh stylistic approaches around attention as a young boy growing up in
the Native American figures and wildlife England in the 1970s, when he’d soak up
subjects he has been dedicated to por- wildlife documentaries and cowboys-
traying for the past few decades. As he and-Indians shows on TV. After studying representation
experiments with different mark-making graphic design at Newcastle College of Mountain Trails Galleries, Jackson, WY,
techniques, textural effects, and color Art, his fascination with the West lured Sedona, AZ, and Park City, UT; Valley
harmonies, his work has become increas- Bolam to California, where he worked as Fine Art, Aspen, CO; Paderewski Fine
ingly abstract, notes Bolam. “I’m trying a freelance illustrator before transition- Art, Beaver Creek, CO; The Bolam
to put shapes and paint applications to- ing to painting full time. Gradually, he Gallery, Truckee, CA.

Robbie Fitzpatrick, A.R.C.L.A., WAOW
“Moments of Light”
Exhibition of over 50 of Robbie Fitzpatrick’s realistic watercolors at the
Brazosport Art Center, Clute, Texas, from October 15 to November 10, 2019.
The exhibition will be open to the public.
10 AM to 4 PM Tuesday through Saturday, 2 PM to 5 PM Sundays Reception, October 18, 6-8pm.
Golden Braids
Dressage Diva Please On Grandma’s Blanket
robbie@robbiefitzpatrick.com www.robbiefitzpatrick.com
Artists to Watch
Ani Espriella
Capturing colorful Colorado
ANI ESPRIELLA was 5 years old when band to his native Colorado. Little did what catches my eye, I was instinctively
she moved with her family from her na- Espriella know how quickly she’d fall in able to figure out what would make a
tive Colombia to Miami, FL. The move love with the striking mountain scenery good painting.” Distilling a scene’s in-
proved to be a fortuitous one for young around her new Longmont, CO, home. formation, on the other hand, has been
Ani, whose next-door neighbor hap- “Having grown up on flat land my whole a more challenging endeavor, but one
pened to be future singer-songwriter life, suddenly coming to Colorado was that she enjoys undertaking in both oils
Gloria Estefan. Back then, Estefan was just like, Wow,” she says. “I thought I was and pastels. For Espriella, a successful
a child herself—just a handful of years on vacation every day for the fi rst five painting boils down to one key princi-
older than Espriella—but her musical years I lived here.” Even now, she adds, ple: “Simplify, simplify, simplify.”
skills were already flourishing, and she “I’m always driving around looking at “By the way,” she notes, “I did start sing-
coached Ani in both singing and playing everything—the snow on the mountains, ing again. Now I do it just for fun. That’s
the guitar. Those lessons helped launch the color of the sky, the clouds.” totally what feeds my soul—singing and
Espriella into her own successful, 20- It was these dazzling focal points and painting. And they are both connected.
year singing career. other scenic subjects around her ad- It’s what makes life bearable—music and
“It was a crazy business, with traveling opted home state that Espriella turned beautiful things to look at.” —Kim Agricola
and nightclubs,” recalls Espriella, who— to when she started painting under the
by the time she reached her early 40s— tutelage of plein-air artist Jake Gaedtke
craved a slower, quieter pace. Back then, in 2005. As she began logging hours at
she was also in family-raising mode as her own easel en plein air and in her stu-
the mother of two young children. So, in dio, she realized her lifelong interest representation
2003, she left behind her singing career in photography was a boon. As a pho- Mary Williams Fine Arts, Boulder, CO;
and moved with her children and hus- tographer, she explains, “Just knowing www.aniespriella.com.
Vanilla Frosting, oil, 8 x 10. Let the Sunshine In, pastel, 14 x 11.

Artists to Watch
Karen Blackwood
Sea psalms
ONCE A YEAR or so, Karen Blackwood good. You almost hear the angels sing.” month entitled Painting the Essence of the Sea
likes to paint a sunrise scene. But gener- One moving example that easily evokes at the Lyme Art Association in Connecti-
ally no more than that. “If I did it more, a chorus of cherubim is ILLUMINATION, cut. The sea, however, wasn’t always the
I’d be afraid it would seem like a stylistic a striking sunrise scene in which Black- artist’s forte. When she was a fi ne-art
gimmick,” says the Newburyport, MA, wood depicts a backlit, pirouetting student at the University of New Hamp-
artist, who predominantly paints sea- wave. The piece garnered first place in shire, her oil-painting studies concen-
scapes cropped in around frothy, splash- Oil Painters of America’s Spring Online trated on figure and still-life painting.
ing waves. Thus, for Blackwood, sunrise Showcase. “There’s just no end to the way After graduation, she worked at an ad
scenes often involve capturing the day’s you can approach water,” muses the art- agency in New York before moving with
first exquisite rays of sunlight illuminat- ist. “In the sea, there’s an abstraction— her husband to California, where they
ing the surf. “Sunrises are the hardest to an ability to focus not so much on things, stayed for 18 years, and where Black-
paint and the most fun to paint,” she says. but on emotion, energy, and color notes. wood dedicated herself fully to paint-
“It’s hard to have that many intense colors Even though I’m trying to depict the ing, gradually introducing landscapes
together and still create harmony. It’s al- realism of a wave, it’s really its essence into her oeuvre. By the time she returned
most mind-boggling. I smile when I paint that gives me a feeling.” to the East Coast, she had painted her
those scenes because it makes me feel Blackwood is teaching a workshop this fair share of seascapes. But upon settling
in Newburyport, just a 10-minute drive
from the coast, she began visiting the
seashore faithfully.
Although primarily a studio painter,
“plein-air painting is when I soak up
information,” notes Blackwood, whose
appreciation for the mercurial sea is as
deep as its depths. Influenced by every-
thing from storms to tidal rhythms, “the
ocean has so many moods,” she says.
“With the sea, that ability to react to
it intuitively is what keeps me coming
back to it.” —Kim Agricola
representation
Susan Powell Fine Art, Madison, CT;
Marine Arts Gallery, Bonita Springs, FL;
Todd Bonita Art Gallery, Portsmouth,
NH; www.karenblackwoodfineart.com.
upcoming shows
American Society of Marine Artists
West Regional Exhibition, Channel
Island Maritime Museum, Oxnard, CA,
September 14-December 30.
Holiday Show, Susan Powell Fine Art,
November 15-January 17.
Holiday Group Show, Todd Bonita Art
Illumination, oil, 16 x 20. Gallery, December 4-January 15.

JOIN US AS WE CELEBRATE OUR VERY SPECIAL ANNUAL EVENT
GALA CELEBRATION
SATURDAY, OCTOBER 12, 2019
FESTIVAL OF ARTS - LAGUNA BEACH, CA
7:00 PM - 10:30 PM
We have planned a unique and special celebration for our 2019 Laguna Plein Air Painting Invitational..
The first Laguna Beach Plein Air Painting Invitational was presented in 1999.
This year we will present our 21st Annual Laguna Beach Plein Air Painting Invitational at our home
located at the Festival of Arts in the heart of Laguna’s arts district!
Spend an enchanting evening under the stars with many of the nation’s top award winning artists,
surrounded by art lovers and some of the finest plein air paintings you can find anywhere - all while enjoying
the creative cuisine of Executive Chef Louis Manginelli of Saltwater Catering.

Yvonne Boseker / Toni & Steve Kellenberg / Dave & Lynn Rahn
Melanie Froysaa & Dave Hussey / Sandy Sewell / Linda & Garrett Pack

Ebrahim Amin Bill Davidson Jane Hunt Terry Miura Patrick Saunders
Joe Anna Arnett Rick J. Delanty Calvin Liang Dan Mondloch Aaron Schuerr
Suzie Baker Jennifer Diehl Daniel Marshall Michael Obermeyer Michael Situ
Cindy Baron Aimee Erickson David Marty Kathie Odom Michele Usibelli
Carl Bretzke Carole Gray-Weihman Jim Mc Vicker Rita Pacheco Jim Wodark
John Budicin Dan Graziano Judd Mercer Anthony Salvo Vladislav Yeliseyev

SHOW PREVIEW
Bartlesville, OK
Woolaroc Retrospective
Woolaroc Museum, October 18-December 29
ON A hillside surrounded by a 3,700- 50,000 square feet, with 10 spacious ex- Lipking; wildlife watercolorist Thomas
acre wildlife sanctuary, the Woolaroc hibition galleries. Starting this month, Quinn; and plein-air painter Skip Whit-
Museum preserves the history of the the works normally on display in high- comb. All of the artists are present for
American West through an outstand- ceilinged Room Six, the largest gallery, the opening reception on Friday, Octo-
ing collection of art and artifacts fi rst make way for the Woolaroc Retrospec- ber 18, from 6 to 9 p.m. Special guests,
begun by oilman Frank Phillips, who tive Exhibit and Sale, which features dignitaries, and sponsors join the art-
founded Phillips Petroleum in 1917. more than 150 paintings and sculptures ists for a gala cocktail party in the mu-
Today the museum encompasses some by eight of the fi nest living artists who seum, followed by dinner in a large tent
focus on western themes. Each on the grounds.
artist is showing about 10 ret- Saturday’s ticketed activities begin
rospective pieces plus eight at 10:30 a.m. with a lecture on creativ-
new works that are for sale. ity presented by Angell. “It’s an honor to
The participating artists are have been selected and asked to be part
avian sculptor and natural his- of the show,” he says. A buffet luncheon
torian Tony Angell; western follows in Woolaroc’s historic lodge
landscape painter Clyde Aspe- home, built by Phillips in 1925. Another
vig; contemporary southwest- talk follows at 2 p.m., with Quang Ho ex-
ern painter Logan Maxwell plaining how to understand painting by
Hagege; still-life, landscape, observing nature. “It is a sweet acknowl-
interior, and figurative painter edgement of the hard work I’ve put into
Quang Ho; animal sculptor painting,” says Ho of his participation.
Tony Hochstetler; contemporary The sale event begins back in Room
western realist painter Jeremy Six at 6 p.m. that evening. Accompa-
c Jeremy Lipking, Riders Under Vermilion Cliffs, 2015, oil, 30 x 40, collection of
Michael and Judy Lombard.
e Tony Angell, Pushing Off, 2017, bronze, 21 x 13 x 10, collection of Bill Klein.

Tony Hochstetler, Rhinoceros Beetle (Large), 1991, bronze, 20
x 18 x 14,, collection of Clayy and Julie
J p
Speer.
Skip Whitcomb, Ascension, 2005, pastel, 24 x 24, collection of Tim and
a Newto .
Cathi
c Clyde Aspevig, Mount Henkel, Glacier Park Mountains, 2011, oil, 36 x

40, collection of the artist.
e Quang Ho, 27-Year Feast, 1995, oil, 30 x 24, collection of the artist.
nied by live jazz, cocktails, and buffets, of the composition and handling of and Kathy Zervas, event chairperson.
guests submit intent-to-purchase slips paint” in his piece THE FARM HAND. Ex- All of the artworks, both vintage and
for each new painting or sculpture in pect works of equally high caliber from new, are on view to the general public
which they’re interested, and then the Aspevig, Hagege, Hochstetler, Lipking, starting on Sunday, October 20, through
buyers are chosen by drawing. Quinn, and Whitcomb. December 29. —Norman Kolpas
The variety of works available repre- “I would certainly be proud to have
sents the very best of these master art- all eight of these artists in our perma-
ists. Angell’s AT REST, for example, de- nent collection,” says Bob Fraser, CEO contact information
picts a shorebird that has settled down of the Frank Phillips Foundation, which 918.336.0307, ext. 10
atop a stone, conveying, says the artist, is dedicated to preserving the history www.woolaroc.org
“that sense of contentment and relax- of the West through the Woolaroc. He
ation, that all is right with the world.” gives particular credit for the high qual- See more work at www.southwestart.com/
Ho notes that he is “particularly fond ity to Dean Zervas, director of the show, events/woolaroc-oct2019.

SHOW PREVIEW
Laguna Beach, CA
Laguna Beach Plein Air

Various locations, October 5-13
WHEN 30 OF THE nation’s top plein-

air painters gather this month for the
21st annual Laguna Beach Plein Air
Painting Invitational, they’ll be do-
ing more than just capturing images
of one of Southern California’s most
idyllic coastal villages. They’ll also be
celebrating a local legacy of painting
that stretches back some 100 years to
the time when California Impression-
ists like Edgar Payne, William Wendt,
Franz Bischoff, and Frank Cuprien fi rst
set up their easels here.
The Laguna Plein Air Painters Asso-
ciation, founded in 1996, preserves and
advances that heritage, and since 1998
the organization has invited top artists
in the genre to gather for a show each
fall. “Our goal,” says LPAPA execu-
tive director Rosemary Swimm, “is to
have the best of the best in the coun-
try. We’ll sometimes even book artists
of this caliber two years ahead.” The
general public can watch them at work Michael Obermeyer, Laguna Spring, oil, 9 x 12.
thanks to a full and well-organized
schedule of activities.
The fun gets started on Saturday, Oc-
tober 5, from 2 to 5 p.m. with a Warm-
Up Paint-Out in Treasure Island Park,
just south of the Montage Resort. Sunday
features a popular Quick Draw Paint-Out
from 2 to 4 p.m. near the heart of town
in Heisler Park. Works created are sold
by auction from 5:30 to 6:30 p.m. at the
Festival of the Arts, just a short drive or
walk up Laguna Canyon Road.
From Monday through Friday, art lov-
ers can witness painters at work from
dawn to dusk throughout Laguna and
surrounding areas. “The fi rst [spot] that
comes to my mind is Crystal Cove,” says
participating artist Kathie Odom, refer-
ring to a California State Park just up
the coast featuring 46 rustic beach cot-
tages from the 1930s and ’40s. Three of
her 11 paintings at last year’s gathering
focused on those cottages, and she also
looks forward to exploring other sub-
jects. Opportunities are myriad. Says Patrick Saunders, Day at Dana Point, oil, 12 x 16.

Michael Obermeyer, a Laguna resident
who has participated in the show for
each of its 21 years, “I’m still fi nding
new spots. There’s so much variety. It’s
not just ocean and beaches.”
All of the artists participate in ad-
ditional events during the week. These
include a nocturne paint-out on Tues-
day, starting at 6 p.m. along Forest and
Ocean avenues, which run through the
heart of the picturesque shopping dis-
trict. There are painting demonstra-
tions on Friday at Heisler Park, Trea-
sure Island Park, and Main Beach. The
artists also take part in “Plein Talks”
on Monday and Wednesday evenings
in the Forum Theater on the Festival
grounds.
Finally, the show wraps up in grand
JJennifer Diehl,, 5th Avenue,, oil,, 11 x 14. style at the Saturday-evening Collec-
tors Gala, where works ranging from
small to large are available to collectors
in a ticketed, fi xed-price sale. (Works
shown here are part of the special In-
vitational Catalog section of the show.)
On Sunday, the show and sale opens to
the public, and more demonstrations
take place. After nine days together, a
spirit of tremendous camaraderie reigns
among the artists. “I’m excited about
totally unplugging and immersing my-
self, without thinking about anything
else,” says Denver watercolorist Judd
Mercer, a fi rst-time participant. “Who
knows? Maybe I’ll never go back home!”
—Norman Kolpas
contact information
949.376.3635
www.lpapa.org
Aaron Schuerr, Contemplation of the Moment, oil, 16 x 20. See more work at www.southwestart.com/
events/lpapa-oct2019.

SHOW PREVIEW
Los Angeles, CA
Tim Solliday
Maxwell Alexander Gallery, October 5-26
TIM SOLLIDAY’S illustrative west-

ern landscape and figurative works,
painted in a style evocative of the early
Taos artists, have been capturing the
eyes and hearts of art enthusiasts for de-
cades. But while the artist continues to
keep busy well into his 60s—including
regularly participating in major annual
shows like the Prix de West Invitational
and Masters of the American West—
it’s been many years since he’s had a
solo gallery show. This month, Solliday
is breaking that streak with a much-
anticipated show titled Colors of the
West at Maxwell Alexander Gallery in
Los Angeles.
The show opens with a reception
on Saturday, October 5, from 6:30
to 8:30 p.m. and runs through Octo-
ber 26. “We’re excited to host Tim’s
fi rst solo exhibition in over a decade,”
says gallery director Beau Alexander.
“His artistic process of creating pen-
Tracking in the Dust, watercolor/gouache, 16 x 22. cil sketches, then pastel color studies,
then ultimately his fi nished oils, allows
him to create unique brush strokes that
mimic those of the pastel crayon. Due
to this lengthy process, it has taken the
artist over a year to gather this body
of work. Collectors will have a unique
chance to see many large-scale pieces on
display in our contemporary gallery in
downtown L.A.”
The artist plans to have 12 to 15
paintings in the show, including a
couple of small landscapes and several
large works featuring Pueblo Indians,
cowboys, horses, and cattle in west-
ern settings with the distinctive light,
color, and billowy clouds for which
he’s known.
In addition, Solliday and Alexander
are excited to feature a “study wall”
displaying 10 to 20 of Solliday’s draw-
ings, which he creates for each of the
individual figures or animals he plans
to include in the larger paintings. “I’ve
never done something like this for a
Village Pastime, oil, 36 x 48. solo show, so it’s really exciting,” Sol-

Autumn Shadows, oil, 30 x 36.
liday says. “Often when someone buys a tenets of great art. Perhaps it’s this ap- the soul of the buyer, paintings they’ll
painting they want to purchase a couple proach that has helped keep his work want to not only purchase but keep and
sketches that go with it, and I love when appealing and relevant to all kinds of enjoy in their home for the rest of their
I have a chance to share a story or a part art collectors and enthusiasts for so lives,” he says. —Lindsay Mitchell
of my process behind the painting, so many years. “I really enjoy being able to
it’s a nice added value for everyone.” bring a wide audience to my work,” the
The artist’s creative process is an artist says.
important aspect of his work. Heavily Whether viewers of this show are contact information
influenced by late-19th and early-20th longtime connoisseurs or new collec- 213.275.1060
century illustrators like Dean Cornwell tors, Solliday hopes they come away www.maxwellalexandergallery.com
(1892-1960), Solliday has always be- with an appreciation for his effort to
lieved that good drawing, composition, orchestrate something really special. “I See more work at www.southwestart.com/
color, and imaginative ideas are the core always aim to create works that touch events/maxwell-alexander-oct2019.

SHOW PREVIEW
Houston, TX
Women Artists in Texas

Foltz Fine Art, September 14-October 26
THIS MONTH, Foltz Fine Art in would be perfect timing to launch the Coreen Mary Spellman, Stella Sullivan,
Houston, TX, presents Voices Linger: gallery’s fall programming with this Janet Turner, and Elizabeth Walmsley.
Women Artists in Texas, a survey ex- show. “Through exhibitions like this, “These are artists whose works have
hibition featuring artwork by women the gallery pays tribute to these women rarely been seen, let alone come to mar-
artists in the Lone Star State, from early artists who came before, who laid the ket, so this is a great opportunity to
impressionism through mid-century groundwork for opportunities for wom- show and sell some incredible historic
modernism. en in the arts today,” she says. Texas art,” Foltz says.
The concept for the exhibition has The exhibition includes approximate- The works on view range from oil
been brewing at the gallery for a few ly 60 works by 20 early female Texas paintings to watercolors to prints, and
years, after several “rediscovery” ex- artists, who were primarily active from they cover a wide spectrum of subjects
hibitions highlighting the careers of the 1920s through the 1950s: Kathleen and styles. There are traditional still
women like Cynthia Brants, Emma Blackshear, Mary Bonner, Mary Nell lifes, portraits, and landscapes as well
Richardson Cherry, Mildred Norris Brooks, Emma R ichardson Cher r y, as forays into modernism through ab-
Compton, Constance Forsyth, and Em- Marie Delleney, Kathleen Nobles Doug- straction, surrealism, cubism, and ex-
ily Rutland. With the recent publication lass, Constance Forsyth, Lucille Jeffries, pressionism. “The exhibit really shows
of the ambitious book 250 Years of Texas Anna Keener, Lucie Locke, Barbara the evolution of some of these painters,
Art by museum professional Ron Tyler, Maples, Florence McClung, Flora Blanc guiding viewers on a visual journey from
gallery owner Sarah Foltz thought it Reeder, Emily Rutland, Ethel Spears, regionalism to modernism,” Foltz says.
c Lucie Locke, Portrait, oil, 12 x 11.

e Kathleen Nobles Douglass, Still Life, oil, 24 x 18.

Coreen Maryy Spellman,
p , Mesas,, watercolor,, 18 x 23.
Kathleen Blackshear,, Abstraction,, mixed media,, 6 x 7.
c Florence McClung, Bluebonnet Landscape, oil, 20 x 24.

e Ethel Spears, La Fonda Hotel, Santa Fe, watercolor, 20 x 13.
Foltz plans to devote more of the ists that weren’t taken as seriously and A talk and book signing with Ron Tyler
gallery’s upcoming programming to have been overlooked for years,” Foltz takes place on Saturday, October 5,
celebrating the stories of pioneering says. “In revisiting and telling their from 2 to 5 p.m. —Lindsay Mitchell
female Texas artists, further develop- stories, these artists will not be forgot-
ing the gallery’s existing body of work ten, and we are given an opportunity to
in the field of important Texas art. “For learn from their lives and experiences, contact information
so long, Texas art history has focused to understand what they overcame, in 713.521.7500
almost exclusively on male artists like order to better appreciate where we are www.foltzgallery.com
the Dallas Nine or the early bluebonnet and provide guidance on how we should
painters—but working alongside them move forward.” See more work at www.southwestart.com/
were a number of fantastic female art- The show runs through October 26. events/foltz-oct2019.

SHOW PREVIEW
Santa Fe, NM
Evans & Harris

Ventana Fine Art, October 4-23
CO. He creates often-massive

sculptures of human and animal
forms from stones like alabaster,
marble, granite, and limestone,
then he casts them in bronze. “I
attempt to express emotion,” says
the artist. “That’s a simple word
that can mean anything from love
and affection to anxiety, from en-
thusiasm and awareness to hiding
from reality, from celebration to
humor.” Such range is present in
his three versions of a 7-inch-high
bronze bear cub, collectively la-
beled LITTLE WORRIES, each with
a different patina. “A collector
could put their bear on a pillow
and turn it and change the posi-
tion of the sculpture to express
their feelings for the day,” says
Harris. His CRUSH, by contrast,
began as a carving in translucent
orange alabaster of a man and
woman kneeling in close embrace;
it has gone on to become a mas-
sive 5-foot-high bronze exhibited
Mark Yale Harris, Crush, bronze, 61 x 80 x 21. in public and private collections,
like many of Harris’ works. That’s
no small achievement for a man
SENSUAL SURFACE and Volume, the and more than a dozen corporations. who came to sculpture after a highly
title of the two-person show featured Though many of his recent images may successful career as a hotelier and then
this month at Ventana Fine Art on Can- bring landscapes to mind, he consid- went on to train under two artists he
yon Road in Santa Fe, serves as more than ers them to be familiar visual “triggers admired, Bill Prokopiof and Doug Hyde,
just a poetic evocation of the works on that put the viewer in a space that allows themselves both protégés of renowned
display. In fact, those words accurately, them to enter a deeper consciousness.” sculptor Allan Houser.
physically describe both the enthralling Indeed, says Evans about such benefi- Viewed together, the two artists’
abstract paintings of Dick Evans and the cially altered states, “people have told works will no doubt achieve a powerful
seductively curvilinear forms of sculp- me over and over that after having seen synergy, each man’s creative vision per-
ture by Mark Yale Harris. Both artists are my paintings, they view the world differ- fectly complementing that of the other.
present for the opening reception from 5 ently.” Whether he’s creating a 90-inch- —Norman Kolpas
to 7 p.m. on Friday, October 4, with more wide triptych like TWENTY-FIFTH PAS-
than 20 recent pieces from each of them SAGE or one of the three 30-inch-square
on display. works that share the title VALENTINE,
Evans, who lives and works in Santa his goal is to convey both physical and contact information
Fe, came to painting through a prodi- emotional power through his luscious 505.983.8815
gious art career that has also embraced brush strokes. www.ventanafineart.com
ceramics, bronze, and welded steel, Such a high level of impact also results
and his works in all mediums can be from viewing the sculptures of Mark See more work at www.southwestart.com/
found in the collections of 17 museums Yale Harris, who’s based in Carbondale, events/ventana-oct2019.

Dick vaa s, Twe ty-Fifth
y a agg , oil,
Passage l,, 48 90.
9
c Dick Evans, Something Remembered, acrylic, 60 x 60.

e Mark Yale Harris, Cavorting Koi, marble, 17 x 13 x 10.

SHOW PREVIEW
Fredericksburg, TX
American Women Artists

RS Hanna Gallery, October 21-December 7
c Diana Reuter-Twining, Maestro, bronze, 26 x 20 x 7.

e Mary Taylor, Fuchsias, colored pencil, 10 x 8.
THE AMERICAN Women Artists or- cellence, runs from October 21 through member, participating artist, and show
ganization was founded nearly 30 years December 7 at RS Hanna Gallery in chair Christine Drewyer. “For so long,
ago with a mission to inspire, celebrate, Fredericksburg, TX. An artists’ recep- women have struggled to get equal rec-
and encourage women in the visual fi ne tion takes place on Friday, November 1, ognition for their artwork in a playing
arts. Today, the organization continues from 6 to 8 p.m., followed by a second field that we feel is out of balance, so
to fulfi ll this mission through annual reception to help close out the show we’re thrilled to work with the wonder-
shows and juried competitions for its on Friday, December 6. Artists’ demon- ful RS Hanna Gallery to provide yet an-
900 members in prestigious galleries strations are also planned during both other avenue for talented women artists
and museums around the country. This receptions. to show and sell their work.”
month, for the fi rst time in its history, “This inaugural show for some of The show features approximately
the group is proud to present an invita- our most elite members is another ex- 100 artists—nearly all of the group’s Sig-
tional show featuring works exclusively citing opportunity—in addition to our nature, Master Signature, and Heritage
by its Signature, Master Signature, and coveted annual juried exhibitions—to Circle members—including Jenny Buck-
Heritage Circle (lifetime) members. display the tremendous female artists ner, Nancy Carroll, Katherine Galbraith,
The show, titled A Tradition of Ex- producing works today,” says board Paula Holtzclaw, Kim Kori, Ann Larsen,

SSheryl
heryl Knight, Overlooking the Pacific, oil, 16 x 20.
Katherine Galbraith,, I Have a Storyy to Tell You,, oil,, 20 x 16.
c Christine Drewyer, Golden Glimmer, oil, 14 x 18.

e Nancy Bass, Out to Pasture, oil, 11 x 14.
Denise LaRue Mahlke, Krystii Melaine, we are and all that we do.” succeeded when people look at my work
Kay Northup, Pokey Park, Elizabeth Pol- One of Drewyer’s favorite pieces sub- and go ‘ahh,’” she says.
lie, Diana Reuter-Twining, Rosetta, Sar- mitted so far is a bronze horse by Diana Indeed, with so many beautiful works
ah Webber, and Romona Youngquist. Reuter-Twining titled MAESTRO. “The on display, many “ahhs” are sure to be
Each artist brings one piece, measur- fi rst time I saw this stunning sculpture, heard at the gallery over the course of
ing up to 20 by 24 inches, to the show. it blew me away,” she says. “It demon- this show. —Lindsay Mitchell
“I’m so delightfully surprised with the strates perfect proportion and accuracy,
exquisiteness, caliber, and quality of balanced with beautiful geometric com-
works already coming in for this show, position, and a glorious green patina.”
but I guess that’s what happens when Apt ly t it led GOLDEN GLIMMER ,
you pull from the best,” Drewyer says. Drewyer’s own piece in the show is a contact information
“From stunning bronzes to figurative, subdued and shimmering landscape www.americanwomenartists.org
landscape, and abstract works in oil, featuring a dramatic sky with sunlight
watercolor, colored pencil, pastel, and peeking out from trees and reflecting See more work at www.southwestart.com/
more—it’s truly a cross section of who on a small body of water. “I know I’ve events/awa-oct2019.

“Across the Fields II” 12” x 36” oil on linen
Susan Hediger Matteson

www.susanmatteson.com
Represented by:
Kilgore American Indian Art - (970) 533.9138
Mary Williams Fine Art - (303) 938.1588
“Light in the Storm” 18” x 24” oil on linen

SUZIE SEEREY-LESTER
Watchful Eye 31x22 Acrylic Twin Peaks 16x12 Acrylic
Thunder Rolls 18x36 Oil
www.Seerey-Lester.com
seereylester@msn.com
(941) 966-2163
Karen Henneck
Impressionistic Paintings of the Western Landscape
Thoughts of Spring 12x9 pastel
Sunlight on the Mountains, 11x14, pastel Summer Afternoon Solitude, 11x14, pastel
karenhenneck@gmail.com 307.277.3487 KarenHenneck.com

Your
Guide
to Art
THROUGHOUT
NEW MEXICO
Every year, the Collector’s Guide brings
you a comprehensive handbook to the
visual arts in New Mexico. From Santa

Fe to Albuquerque to Taos and beyond,
it includes information on a wide range
of galleries, as well as artists, museums,
and cultural events. Also included are

helpful maps and indexes to enrich
your art-collecting experience in the
LAND OF E N C H A N T M E N T.
PICK UP YOUR COLLECTOR’S GUIDE ...

at galleries and other venues throughout New Mexico. Or, visit
www.artistsnetwork.com/store or call 800.258.0929 to order a copy.
Jan Y. Miller
Sunflower Fair 16 x12 pastel
Newcastle Packing Shed Studios and Gallery Newcastle, California www.jymillerfineart.com

SHOW PREVIEW
San Angelo, TX
En Plein Air Texas

San Angelo Museum of Fine Arts, October 19-27
VISITORS TO San Angelo, TX, this

month are treated to West Texas hospi-
tality and a slew of paint-outs at the an-
nual En Plein Air Texas festival, where
nearly three dozen top landscape artists
from around the country celebrate and
share the pleasures of plein-air painting.
Over the course of this lively, nine-day
festival, the artists set up their easels at
a variety of scenic locations, from his-
toric landmarks to the San Angelo Rop-
ing Fiesta fairgrounds to the Concho
River that runs through the heart of the
city. Hosted by the San Angelo Museum
of Fine Arts, the event kicks off on Sat-
urday, October 19, when the artists can
be seen painting around downtown San Richard Sneary, Gray Day, watercolor, 12 x 24.
Angelo, giving the public a fi rsthand
look at the plein-air process.
Artists’ demonstrations have always
been the heart and soul of the festival,
but this year, says event coordinator
Barbara Rallo, “We’re calling the demos
‘Come Watch and Ask While I Paint.’ A
big part of what we do is education. The
artists are so engaging and welcoming,
and they’ll talk about anything about
their paintings.”
Throughout the week, there are nu-
merous opportunities for visitors to in-
teract with the artists as they capture
the local scenery. “The biggest question
we get is, ‘Where can I find the artists?’”
notes Rallo. “We are going to make that
easier for people this year.” On the days
when the paint-outs take place down- Diane Frossard, Serenity, oil, 8 x 13.
town, for example, three designated art-
ists will be painting at specific locations
where the public can meet them. And during the event, says Rallo, including Stampede on Friday evening. The festi-
every artist displays a balloon at their one small work for a special Mini Pearls val concludes with a chuck wagon-style
easel, adds Rallo, that helps make them of the Conchos exhibition on Saturday, brunch on Sunday. —Kim Agricola
visible wherever they’re painting. October 26. It all adds up to around 300
Among the participating artists are paintings, including roughly 70 compe-
Kathleen Hudson, Charlie Hunter, Thom- tition pieces, that are up for sale at his- contact information
as Jefferson Kitts, and Neal Hughes—last toric Fort Concho during closing week- 325.656.2500
year’s four top award-winners—and 30 end. (Works shown here were created at www.enpleinairtexas.com
juried artists, including Jill Basham, Peg- last year’s event.) Collectors have their
gy Immel, Tim Oliver, and DK Palecek. fi rst opportunity to see the competition See more work at www.southwestart.com/
Each artist produces multiple paintings paintings at the ticketed Art Collectors events/en-plein-air-texas-oct2019.

SHOW PREVIEW
Clute, TX
Robbie Fitzpatrick
Brazosport Center for the Arts & Sciences, October 15-November 10
IT HAS ALWAYS been about the light, paintings are on view and for sale in this riety of other subjects. Works on view
first and foremost, for artist Robbie Fitz- expansive, retrospective-like exhibition, include a trio of paintings depicting lu-
patrick: the way it dramatically intermin- although Fitzpatrick prefers to describe minous ballet shoes with subtly different
gles with shadow; the way it illuminates, the show a bit differently: “It’s a picture narratives. Also in the show is a tender,
almost magically, the arresting features of of who I am,” she says. “It’s where I’ve multi-award-winning portrait of the
her subjects; and the way it lends depth, come from.” artist’s Rhodesian ridgeback, Makena,
story, and emotion to the scenes she por- Fitzpatrick, whom the Art Renewal doused in sunlight and shadow.
trays in her chosen medium of watercol- Center has recognized as one of its ARC Fitzpatrick suspects she’ll feel a little
ors. But, sums up Fitzpatrick, “You have Living Artists, learned to paint just seven sad when she parts with any of her paint-
to have the dark to make the light show years ago, after honing her skills in pencil ings in the show that sell. “The trouble
up. That’s what I’m about.” drawing and pottery. “I would take the with painting what you love is that you
Now the Texas artist’s raison d’être glaze and paint pictures on my pottery,” love all your paintings,” she says. But
for painting is the theme of her first solo chuckles the artist, who instinctively there’s joy, too, when her paintings find
exhibition, entitled Moments of Light, gravitated toward a detailed, realist style new homes with collectors, who often tell
which opens at Brazosport Center for the when she started painting, despite also her about their own warm memories her
Arts & Sciences in Clute, TX, on Tues- choosing the famously capricious me- works spark for them. “I’m just blessed,”
day, October 15. An artist’s reception fol- dium of watercolors. “I love it,” she says, she says. “I know people have guardian
lows that Friday at 6 p.m. More than 50 “because I’m a problem-solver.” angels. I think I have an art angel. I love
For her show, the what I do.” —Kim Agricola
artist selected a mix
of paintings created
b e t w e e n 2 01 2 a n d contact information
2019, offering viewers 979.265.7661
a pleasingly diverse www.bcfas.org
overview of her love
for animals, from dogs See more work at www.southwestart.com/
to dressage, and a va- events/fitzpatrick-oct2019.
c Herd of Horns, watercolor, 21 x 27.

e Daddy’s Shoes, watercolor, 29 x 23.

Christine Drewyer - “Golden Glimmer” - 14” x 18” Oil
Bryce Cameron Liston - “First Blossoms” - 20” x 24” Oil

Upcoming Events:
“American Women Artists” October 21 - December 7, 2019
“American Plains Artists” February 1 - 29, 2020
“American Impressionist Society” March 6 - April 4, 2020
“A
“Oil Painters of America” 29th National Exhibition
May 15 - June 13, 2020 Diane Mason - “Mine!” - 5.5” x 9” x 6” Bronze
244 West Main St| Fredericksburg, TX 78624 | 830.307.3071 |Info@RSHannaGallery.com | RSHannaGallery.com

SHOW PREVIEW
Sedona, AZ
Sedona Plein Air Festival

Sedona Arts Center, October 12-19
FOR ANYONE who loves art, beauti- evolves throughout the ensuing week as Santillanes. The award-winning artist,
ful scenery, and a sunny atmosphere, it’s the artists create new plein-air works whose keynote presentation takes place
hard to beat a plein-air festival set in Se- and add their fresh pieces to the show. on Wednesday evening, also serves as
dona, AZ, particularly when it features In addition to the exhibition, must- the judge at the Friday-night awards gala
25 nationally recognized landscape art- see festival events include artists’ dem- at the SAC, for which each artist sub-
ists who bring the city to life in paint onstrations at the SAC campus on Mon- mits three of his or her best works cre-
over the course of seven sparkling au- day and Tuesday. Then, on Wednesday ated during the week for judging. One
tumn days. The 15th annual Sedona Plein morning, the public can take a trolley to of these pieces snags the $5,000 Best of
Air Festival is well worth a visit from art the nearby resort L’Auberge de Sedona to Show prize.
lovers who can make the trip to Sedona watch all of the artists capture the scenic The festivities don’t end there, how-
between October 12-19, when numerous sights along Oak Creek. At noon, awards ever. On Saturday, the popular Main
art-related events unfold around town. are announced and the framed works go Street paint-out and art sale gets under-
“There’s something every single day,” up for sale. Thursday brings a special way in the morning. A cookout with the
enthuses Vince Fazio, executive director ticketed paint-out and art sale from 3 artists at noon concludes this lively and
of the Sedona Arts Center, which orga- to 5:30 p.m. at Mariposa Latin Inspired welcoming affair. “We serve anyone who
nizes the event. For starters, each of the Grill, where artists portray the area’s shows up,” says Fazio. —Kim Agricola
25 invited artists—among them Joshua red-rock country in the late-afternoon
Been, Lyn Boyer, Bill Cramer, and James light. Renowned chef Lisa Dahl serves
McGrew—brings six studio and plein- as the awards judge, and gourmet tapas
air works to the opening reception at 7 and wine are served.
p.m. on Saturday, October 12, at the SAC The flurry of activity continues on Fri- contact information
campus in uptown Sedona. This opening day with a half-day painting demonstra- www.sedonapleinairfestival.org
exhibition and sale then expands and tion by this year’s keynote speaker, Dave
KELLI KLYMENKO
Winners are announced at the Creekside Paint-Out in 2018. Lyn Boyer, Dimensions, oil, 12 x 12.

Come Visit
Cynthia Duff
at the
Tubac Fall
Arts Festival
November 1-3
at
Cobalt Fine
Arts Gallery
“Desert Peace” 38” H x 48” W
Studio visits and commissions are welcome.
970-985-0812 www.cynthiaduff.com

SHOW PREVIEW
Truth or Consequences, NM
Harold Joe Waldrum

Rio Bravo Fine Art, October 12-January 26
tor and the sole trustee for the H. Joe

Waldrum Trust.
Although Waldrum enjoyed consid-
erable success as a painter and print-
maker in northern New Mexico during
the 1970s and ’80s, a desire to start a
new phase in his career sent him to the
small town of Truth or Consequences in
southern New Mexico in 1996, where he
worked toward establishing a fi ne-art
gallery (now Rio Bravo Fine Art). “I came
to work with Joe in 1999,” says Alicea,
who remembers Waldrum as a passion-
ately detail-oriented artist. Influenced
by artists Mark Rothko and Josef Albers,
Waldrum was particularly fascinated
with color and form, as evidenced by
the rich, saturated palettes, bold lines,
and geometric shapes that defi ne his
imagery. The thousands of Polaroid pho-
tographs he snapped over his lifetime
also reveal his deep interest in color
and form. Often, he would photograph
a single subject at different times of day
and in different seasons to study the way
light and shadow affected its color, notes
Alicea’s assistant, Richard Koteras. In
turn, Waldrum became an exceptional
colorist. “It’s his astounding colors that
make Joe’s work his own,” says Koteras.
The artist was remarkably produc-
tive in his last year of life, creating over
a dozen paintings and contributing to
Un Triángulo Amarillo (A Yellow Triangle), aquatint etching, 13 x 13. three art shows despite being diagnosed
with colon cancer, says Alicea. Wal-
drum’s robust retrospective is a testa-
ment to his profound desire to create, to
A RARE RETROSPECTIVE featuring his career. The show opens on Saturday, the very end, and a nod to his vibrant
the works of artist Harold Joe Waldrum October 12, with a reception at 6 p.m. legacy as an important and not-to-be-
(1934-2003) opens this month at Rio Bra- Waldrum, a Texas native, had a pen- forgotten fine artist. —Kim Agricola
vo Fine Art in Truth or Consequences, chant for titling his works in Spanish,
NM. This broad collection—all from the sometimes using detailed, sentence-
recently settled H. Joe Waldrum Trust— long descriptions, in a tribute to the
includes dozens of Waldrum’s linocuts, Spanish heritage that he admired and contact information
acrylic paintings, aquatint etchings, Po- frequently portrayed. “Joe fell in love 575.894.0572
laroids, and slides, some of which date with the Spanish culture and the people, www.riobravofineartgallery.com
back to the 1960s and many of which and all these churches [he depicted]
feature the adobe churches and window were built by Spaniards,” says Eduardo See more work at www.southwestart.com/
imagery the artist explored throughout Alicea, the gallery’s director and cura- events/rio-bravo-oct2019.

Peggy
Trigg
1st Place
Landscape
at Wild Rivers
Plein Air
Festival
“Sunset Over Wild Rivers”, 11 x 14, Oil on Panel
pegtrigg@gmail.com peggytrigg.com
SHOW PREVIEW
Park City, UT
Best of America
Montgomery Lee Fine Art Gallery, September 27-October 27
c Rosa Montante, Flowers for You, oil, 18 x 24.

e John Moffitt, Sheriff’s Office, oil, 30 x 20.
at designated locations in the ell brings an expressive portrait of a

area to paint the alpine scen- New Orleans musician in acrylic, while
ery. On Friday morning, the Rosa Montante shares a color-rich floral
paint-out participants enter oil painting. There’s also John Moffitt’s
up to two paintings for judg- trompe l’oeil piece—an homage to an old-
THE NATIONAL OIL & Acrylic Paint- ing and display in the gallery’s third- time sheriff’s office—and oil painter Judy
ers’ Society heads to the scenic mountain floor exhibit space, where the works re- Maurer’s evocative early-morning winter
town of Park City, UT, this fall for its 29th main on view through Saturday. scene. These are just a few examples of
annual Best of America national juried Throughout opening weekend, a few the gripping pieces on view. As NOAPS’
exhibition and sale. As the title of this es- of the group’s top artists give demon- vice president of operations, Patricia Tri-
teemed, long-running show suggests, the strations at the gallery, beginning with bastone, puts it, “This show is a true rep-
exhibition is an opportunity to see the a landscape-painting demonstration by resentation of the highest quality of art
best of the best in oil and acrylic paint- Shanna Kunz on Friday morning at 9 being produced today.”
ing by NOAPS members from around a.m. Elizabeth Robbins demonstrates Art enthusiasts and collectors who can’t
the United States, Canada, and beyond, her floral-painting process at 9 a.m. on make it to the opening-weekend events
all under one roof. The venue this year Saturday, and then Jian Wu takes the are in luck: The exhibition remains on
is Park City’s Montgomery Lee Fine Art stage at 1 p.m. to show visitors how he view through October 27. —Kim Agricola
Gallery, where the show opens with a re- paints a portrait.
ception on Friday, September 27, at 5 p.m. Wu—a Master Artist member of
Art lovers visiting Park City prior to NOAPS—is the awards juror for this contact information
the opening can catch several exciting year’s Best of America show. Visitors to www.noaps.org
events tied to the exhibition, including a the gallery are treated to a captivating
paint-out on Wednesday and Thursday, display of 125 paintings that vary in style, See more work at www.southwestart.com/
when selected NOAPS members gather mood, and subject matter. Dean Mitch- events/noaps-oct2019.

Wildly acclaimed EnPleinAirTEXAS
34 award-winning Artists
Come & experience a week
of exceptional painting.
Oct 22 · Morning Paint-Out & Brunch

International Water Lily Gardens
Oct 25 · Awards Judge Donald Demers
“What Makes a Good Painting”, free talk
Oct 25 · Art Collectors STAMPEDE
Preview Exhibit, Awards Party & Sale
Oct. 26 · Morning Paint-Out
66th Annual San Angelo Roping Fiesta
Full schedule at enpleinairTEXAS.com
2018 Artist Choice Award “Night Owl” by Neal Hughes
Hosted By
San Angelo Museum

of Fine Arts
William Suys
A Peaceful World
JOHN POTOTSCHNIK ’S PAINTINGS RECALL THE
TRANQUIL BE AUTY OF AN E ARLIER TIME
BY G USSI E FAU N T L E ROY

WHEN JOHN POTOTSCHNIK and and collectors are drawn to his vision
his wife were raising their two sons on of an uncluttered, human-paced world.
a few acres near Wylie, TX, in the 1980s, The tagline for his art, “paintings of
the boys could play freely in the nearby the America we all love,” reflects the
woods and along a creek. Cars were a fact that “We all want a life of joy and
rare sight along the two-lane road. The peacefulness, a less complex life,” he
Pototschniks’ home had the country says. Capturing that feeling are paint-
feeling they were looking for after hav- ings like BE STILL MY SOUL, a quiet land-
ing lived in a Dallas suburb, where the scape dotted with wildflowers whose
artist had a successful career as a free- title comes from a Christian hymn. The
representation
lance commercial illustrator. Over the painting earned a Silver Medal in the Abend Gallery, Denver, CO; Highlands
decades since then, population has in- 2018 Oil Painters of America National Art Gallery, Lambertville, NJ; Illume
creasingly encroached on Wylie, a half- Juried Exhibition, and this year it won Gallery of Fine Art, St. George, UT;
hour northeast of Dallas. The road has Best of Show in the National Oil and Mary Williams Fine Arts, Boulder, CO;
gone from two to four lanes and soon Acrylic Painters’ Society Spring Inter- Southwest Gallery, Dallas, TX; Wylie
will be six. Subdivisions have multi- national Online Exhibition. Fine Art Gallery, Wylie, TX;
plied. A nearby 56-acre open space is up www.pototschnik.com.
for sale.
It’s no surprise that Pototschnik (pro- POTOTSCHNIK’S depiction of coun- upcoming show
nounced poe-TOE-shnick) creates paint- try landscapes and gentle neighbor- He Said, She Said, two-person show
ings that recall rural or small-town life hoods emerges as much from his own with Elizabeth Robbins, Highlands Art
from an earlier time—or that viewers boyhood as from memories of his sons’ Gallery, October 19-November 23.
c Vermont Barn, oil, 12 x 16.

eBe Still My Soul, oil, 30 x 40.

Land of Abundance, oil, 35 x 65.
Staying Home, oil, 16 x 27.
carefree years. The son of an American ten spent time on the farm belonging to strict and expected us to use our time
serviceman and a British “war bride,” relatives in eastern Kansas. wisely,” he remembers. That meant hav-
he was born in England just after World Like many kids of his era, his free ing two paper routes and jobs mowing
War II. The family settled in Wichita, time to play outdoors was balanced lawns and shoveling snow, as well as
KS, when John was a few months old. with a strong work ethic instilled by daily household chores. Without a car
Although they lived in town, they of- his parents. “My parents were quite as a teen, he rode his bicycle to school

and anywhere else he wanted to go. 1968 Olympic trials. While training for his art skills went toward products and
Those habits stayed with him through races, he served as an Air Force infor- projects as diverse as Dr. Pepper, Hag-
the years and served him well in various mation officer and took night classes at gar clothing, jewelry, storyboards for
aspects of his life—as a highly competi- the Art Center College of Design in Pas- television commercials, and the Dallas/
tive bicycle racer for 15 years, as a com- adena. His cycling eventually took him Fort Worth International Airport. Each
mercial illustrator meeting tight dead- to the World Championships in Leices- assignment was an exercise in the cre-
lines, and as a fi ne-art painter putting ter, England. ative visual interpretation of an idea. It
in studio hours each day. After leaving the military, Pototschnik also called on the strong self-discipline
While he was not exposed to fi ne art moved to the Dallas area with his wife, he’d learned as a boy and employed in
growing up, Pototschnik liked work- Marcia, and spent 10 years as a free- racing. “Illustration was great prepara-
ing with his hands to assemble model lance commercial illustrator, primarily tion for fi ne art because there are dead-
airplanes and cars and to draw cars in advertising. Working with major cor- lines, and when things are not going
and planes. His classmates’ enthusias- porations and Dallas-area businesses, well, you have to figure out problems
tic response to his drawings encour-
aged him to join the high school post-
er club, where he put his budding art
skills to use. Still, he had no idea that
art could be a profession. “I just enjoyed
doing it,” he says. When he entered
college, he planned to study business
but quickly realized it was not a good
fit, and by the middle of his freshman
year he was ready to switch. On the
advice of a guidance counselor, he be-
gan taking art classes and discovered
that his boyhood interest had a place in
school, and perhaps beyond, after all. “I
thought, I really like doing this, let’s do
this!” he recalls.
As an art major at Wichita State Uni-
versity, Pototschnik initially imagined a
future as a painter. But it was the era
of abstract expressionism, and nothing
he heard from the school’s painting in-
structors and fellow students seemed to
match his own understanding of fine art.
“It was completely undisciplined. They
were all saying, just do your own thing
[with paint]. It made no sense to me,”
he says. “So I thought, okay, I’ll focus on
commercial art.” At fi rst he considered
aiming for a career as an art director,
designing ads. But the more familiar he
became with the great illustrators of
the day—Mark English, Bob Peak, and
Bernie Fuchs among them—the more he
fell in love with their work and aspired
to become an illustrator himself. In 1968
he graduated with a Bachelor of Fine
Arts in advertising design.
Meanwhile he had become a com-
petitive cyclist, winning local, state,
regional, and national races. After col-
lege he joined the Air Force as a com-
missioned officer and was stationed in
California, where many of the Armed
Forces athletes were training for the Nature’s Subtlety, oil, 28 x 22.

and solutions in a short time,” he says. leaving,” Pototschnik says. “I always ment by a local gallery owner brought
By the late 1970s, Pototschnik began wanted to do fi ne art, and I thought: him up short. Looking at one of his
seeing big changes in the commercial They’re doing it, maybe I can also.” paintings, the gallerist said, “You’re an
art world. Photography and computers In 1982, he did. In the studio at his illustrator, aren’t you?” It was the last
were rapidly replacing hand illustration, Wylie home, he turned to subjects that thing Pototschnik wanted to hear. It
and many of the most respected illustra- reflected his boyhood and love of ru- meant that he was still using an illus-
tors were leaving the field. Artists like ral life. “Once you have the freedom trator’s palette—too bright for a natu-
Kenneth Riley, Howard Terpning, Tom to paint whatever you want, you get in ralistic effect—and incorporating un-
Lovell, and Tony Eubanks were shifting touch with things that have meaning necessary detail. Around the same time,
into fine-art painting. “One after anoth- for you—you begin painting from the Eubanks urged him to paint outside on
er, I just kept noticing major illustrators heart,” he says. Soon afterward, a com- location, and that advice transformed
Rural Hideaway, oil, 25 x 28.

Calm Settles Over the Land, oil, 16 x 30.
the way he observes and paints. houses and barns. In more recent years, and quality of light that speaks of quiet
Since then, a significant focus of Po- he fi nds a spark of something compel- and ease.
totschnik’s work has been learning, re- ling in a scene and then modifies it to Although Pototschnik’s own sur-
fi ning, and teaching the use of color. He create the timeless feeling of a simpler roundings are much less quiet than
has led numerous workshops in which world, the world of his memories and when he and Marcia fi rst built their
he demonstrates how a rich array of col- one in which he and others would like home, he seeks out and fi nds country
or can be produced from a very limited to live. settings where he can walk and hear
palette—often just three primary col- CALM SETTLES OVER THE LAND is one the birds and wind. Or he spends time
ors. To share this knowledge, the artist such piece. The artist transformed an working in his yard. “It gets me in a
created a book, Limited Palette, Unlimited average-looking midday country scene contemplative mood,” he says, and then
Color, along with an instructional DVD, into a serene and restful sunset scene. smiles. “If I wasn’t an artist, I wouldn’t
Create Unlimited Color with a Limited Palette, He kept the old farmhouses and layer- mind being a farmer or gardener. That’s
both published in 2019 and available on ed hills but removed extraneous ele- probably why I paint what I do.” E
his website. He also shares the insights ments, allowing the viewer to be trans-
and experiences of his fellow artists ported back in time. And he added a
through an ongoing series of interviews figure on a tractor, slowing the pace
he conducts and publishes on his blog; even more. “My paintings have a subtle Colorado-based Gussie Fauntleroy writes for a variety
to date he’s done almost 90 of them. narrative that tells the story of people of art publications and is the author of three books on
While color and value remain cen- living in the area, which makes it more visual artists. Learn more at www.gussiefauntleroy.com.
tral to Pototschnik’s art, especially in human,” he says. Other paintings tell
expressing emotion and mood, his im- stories of community—neighbors vis-
agery has shifted in subtle ways over iting on a sidewalk or kids shooting See more of Pototschnik’s work at
time. Early on he was inclined to paint hoops in a driveway, often with 1950s- www.southwestart.com/featured/
exactly what he saw, which was often era cars parked nearby. Still others are pototschnik-j-oct2019.
straightforward rural landscapes with pure landscapes, yet with a composition

A Child’s Summer, oil, 16 x 20.

Bodies
in MotionFigurative painter Bryce Cameron Liston
artfully blends classical and contemporary
BY N O R M A N KO L PA S
HER BLONDE HAIR aglow in the

warm sun, a young girl strolls thought-
fully through a field full of flowers. The
already-picked blossoms in her basket,
along with those all around her, vibrant-
ly complement the bright floral pattern
on her red-and-orange dress, conjuring
an appealing air of serenity.
This scene depicted by painter Bryce
Cameron Liston (and featuring Camp-
bell, the youngest of his three daughters)
in the painting entitled A CHILD’S SUM-
MER possesses a classic, almost timeless
feel, from the faithfully rendered expres-
sion on the child’s face to the harmonies
of color and form all around her. Yet, on
closer examination, the 16-by-20-inch
canvas reveals a decidedly modern ap-
proach as well. The top quarter of the
background, for example, virtually fades
to black, forgoing all detail in order to
direct the viewer’s focus to the fore-
ground subject. In the middle ground,
meanwhile, what at fi rst gave the im-
pression of being a realistically depicted
representation
grassy field is, in fact, broad abstract ar- Beck Fine Art Gallery, Wilmington, NC;
eas of green, shot through with strokes Sage Creek Gallery, Santa Fe, NM;
of mauve and streaks of red and other RS Hanna Gallery, Fredericksburg, TX;
subtle color touches. Palm Avenue Fine Art, Sarasota, FL;
So, the question arises: Is Liston a tra- The Marshall Gallery, Scottsdale, AZ;
ditionalist or a modernist? “I’m in a tran- www.listonart.com.
sition, moving in more of a contemporary
direction that blends realism with the upcoming show
abstract,” the artist explains. “You could American Miniatures, Settlers West
say it’s a romantic traditional approach, Galleries, Tucson, AZ, February 9, 2020.

Listening to the Wind, oil, 24 x 24.
but heading more in a contemporary di- ing immersed in the world of art was a she learned to stop at the store on the
rection.” Yet, casting aside for a moment matter-of-fact constant for Liston. As a way to class and buy me model kits of
such art-world labels, A CHILD’S SUM- 5-year-old with two much older siblings, military planes or tanks or ships to put
MER is also a vivid example of masterly he would tag along with his mother as together on the hood of our car while
portraiture. she pursued her own passion for paint- she painted.”
ing by attending local plein-air classes His home reflected his mom’s inter-
and working from live models. Not that ests as well. In her studio and all around
DURING HIS childhood in the town of young Bryce felt inclined, at the time, the house were books on the works of
Pleasant Grove, UT, amidst the farmland to pick up a brush or pencil himself. “I great figurative artists, from N.C. Wy-
about an hour north of Salt Lake City, be- would get so bored,” he recalls, “that eth to Richard Schmid. “And my mother

always kept her palette in the freezer,
wrapped in Saran Wrap, to keep the oil
paints from drying out and oxidizing,”
he laughs, recalling how she also had to
allow time for the colors to thaw before
each painting session.
Thanks to such constant exposure
to art, and to his own innate abilities,
young Bryce began to manifest glim-
merings of talent himself. “Other kids
would ask me to draw a ship or a plane,
and they thought my drawing was fan-
tastic,” he says. His works eventually
won a few school prizes, and more and
more he hung out with the arts crowd.
“It was the only thing that really inter-
ested me,” he adds.
One decisive moment came toward
the end of his time at Pleasant Grove
Junior High, when he and his mom met
with a guidance counselor for an obliga-
tory career-planning session. “What do
you want to be when you grow up?”
he remembers the counselor asking. “I
said, ‘An artist.’ She looked a little per-
plexed and said, ‘That’s not an accept-
able answer. Choose something else.’”
So, trying to quickly come up with a
response that would extricate him from
the awkward situation, he fi nally said
to her, “How about architecture?” She
found that notion acceptable and wrote
it down in his transcript. “So I took a
lot of drafting classes at Pleasant Grove
High,” Liston recalls. “I liked sitting
down with a pencil and piece of paper
and drawing something.”
When he graduated in 1983, however,
old-fashioned draftsmanship had al-
ready begun to be replaced by computer-
aided design. “That scared the hell out of
me,” he admits, “so I made a snap deci-
sion that I didn’t want to work on a com-
puter,” resolving instead to be an artist.
He eventually enrolled in the art de-
partment at the University of Utah, but
that turned out not to fulfi ll his needs.
Apart from one class that he loved on
figure structure, he felt that the program
was “more into teaching you to talk
about art and about doing something
that’s never been done before” than it
was about the practical, realist studio
experience he craved. So he left after a
year and a half.
Meanwhile, he’d begun working in a
commercial bronze-casting foundry to Deep Evening Glow, oil, 21 x 12.

help pay his bills. Eventually, that led
him to work at the foundry of world-
class historical sculptor Edward J.
Fraughton, whose works are exhibited
in museums and as public monuments
nationwide. During Liston’s 15 years
there, Fraughton personally trained
him “to reproduce all the details of
what he had put into his sculptures,”
down to “all the joints and the bones
and the tendons of a horse’s anatomy. It
was a very, very slow way to learn, but
that was the core of the art training I’ve
had.” He adds with a laugh, “You could
say I learned to paint from a sculptor.”
At the same time, though, Liston was
also training himself outside of his paid
job. “I was self-directed, self-taught,”
he says. “I studied from books and by
going to weekly group drawing sessions
with live models all around the Salt
Lake Valley.” He was also sculpting, and
when he fi nally left the job with Fraugh-
ton in 2000, he fi rst supported himself
and his young family—Liston and his
wife, Susan, have now been married
for 27 years—through his own commis-
sioned sculptures.
Gradually, however, he moved to paint-
ing full time, submitting his works to ju-
ried shows and competitions. He reckons
his first real sign of success came in 2005,
when he took third place in an Oil Paint-
ers of America exhibition in Missoula,
MT. That and other milestones gradually
led galleries across the nation to contact
him and offer representation.
Through it all, he focused primarily on
the challenge of painting the human form.
“Trying to capture a figure and a face, and
to work with anatomy and gesture, really
seems to be the only thing that caught
my interest,” he says. And while he does
paint men and boys from time to time,
girls and women have always been his
main subjects. “There is just something
divine about the female form. I just can’t
paint it enough. I know a lot of women
artists who say the same thing. With a fe-
male subject, there are a thousand differ-
ent poses that look wonderful.”
Liston’s works have continued to win
major accolades, including a Gold Medal
at last year’s Western Regional Exhibi-
tion of the OPA, of which he is now a
Signature Member. Nevertheless, he has
been reconsidering of late the direction Notes in Burgundy, oil, 18 x 12.

he had taken in his approach to paint- and where I could take my art.” ing a little mystery, making the viewer
ing. “It felt like I had been a ‘commercial’ Such thoughts, in turn, have led him question more what’s going on.”
artist, [painting] to earn my living,” he to his current style of work, combining A great example is NOTES IN BUR-
says. So, especially since he turned 50 abstract elements with his classical re- GUNDY, in which the pale flesh tones of
four years ago, he has been giving more alistic representation of the figure. “It’s a woman’s bare back and shoulders are
and more thought to “what I have inside experimentation,” he says, “and it’s ex- surrounded by the red silk robe she has
of me, what I want to say about myself, citing. I’m pushing the colors more, add- just shrugged off, a bright-pink dress
hanging nearby, and bold background
brush strokes of the title color. Liston
notes, “I’m trying to paint a little less
literally. I’m focusing on the overall har-
mony of the cool light and the deep reds.
I’m journeying here into that direction
of abstraction.” The painting sold almost
immediately when it went on display in
a gallery.
Abstract elements aside, Liston none-
theless still begins his works like he al-
ways has, taking reference photos with a
live model. He makes charcoal or pencil
sketches to determine his composition
and then transfers the image he choos-
es to his canvas. Finally, he applies his
oil paints, working from background to
foreground and from dark to light colors.
Despite the success such works have
had, the recent transitions have also been
daunting. “It’s a scary little journey that
I’m on,” he admits. He won’t venture into
full abstraction, however. “I know I need
a certain amount of realism to get me in-
terested in the painting. So, how do I mix
an abstract construction in with a figure?
Morgan in Repose, oil, 11 x 14.
I don’t have the answer for that yet.”
But he’ll keep looking. At the moment,
he’s considering multifigure works,
which suggest the possibility of a “more
abstract puzzle of light and dark shapes
and strange colors. It’s something I can
think about, an open-ended question.”
And, judging by the progression of his
most recent works, the answers at which
Liston arrives will no doubt be compel-
lingly beautiful. E
Norman Kolpas is a Los Angeles-based freelancer

who writes for Mountain Living and Colorado
Homes & Lifestyles as well as Southwest Art.
See more of Liston’s work at

www.southwestart.com/featured/
liston-bc-oct2019.
Olivia in Black, charcoal/chalk, 13 x 19.

COLLECTING
California
T H E G A R D E N A H I G H S C H O O L A RT
COLLECTION IS ON VIEW ONCE AGAIN
One hundred years ago, in 1919, an extraordinary

art collection was born. At Gardena High School in Gardena, CA, just
south of Los Angeles, the senior class gifted the school with an original
landscape painting by Ralph Davison Miller, and they started an annual
tradition. For nearly 40 years, until 1956, each senior class purchased—
with funds raised through school plays and other community-oriented
projects—one or two artworks as class gifts.
The Gardena High School Art Collection is widely acknowledged as one
of the country’s outstanding collections of California Impressionism, not
to mention a leading exemplar of a high-school art collection. In some 70
artworks, it traces the history of Southern California art in the early 20th
century, when plein-air painting and the Arts and Crafts Movement were
flourishing. Among the many prominent artists in the collection are Edgar
Payne, Hanson Puthuff, William Wendt, Franz Bischoff, Maurice Braun,
Armin Hansen, Jessie Arms Botke, Maynard Dixon, and Marion Wachtel. Rockbound
When Gardena High School moved to a new campus in 1956, the long BY E D G A R PAY N E
tradition sadly came to a close. Many of the paintings in the collection Edgar Payne achieved great fame dur-
were temporarily hung in hallways, offices, and the library; however, the ing his lifetime despite being essential-
ly self-taught, after six months of study
gallery space allotted in the new building was too small, and the works at the Art Institute of Chicago. Much of
eventually ended up in storage, gradually forgotten by students and ad- his knowledge about plein-air painting
ministrators alike. and its vivid portrayal of color and light
came from his work as a scene painter
Now the collection is on view for the first time in decades in the ex- for early Hollywood fi lms. Payne was
hibition Gifted: Collecting the Art of California at Gardena High School, the founding president of the Laguna
1919-1956. It is on view through October 19 at the Hilbert Museum of Beach Art Association in 1918, and was
intimately associated with the then re-
California Art in Orange, CA; from January 24 through June 28, 2020, at mote art colony.
the Fresno Art Museum; and from July 18 through November 29, 2020, RO C K B OU N D i s one of fe w e x-
at the Oceanside Museum of Art. It is accompanied by a book of the tant large-scale seascapes by the art-
ist painted in the environs of Laguna
same title. The following text by exhibition curator Susan M. Anderson— Beach. Like the seascape ETERNAL
highlighting some of the collection’s top-notch artists and artworks—is SURGE in the collection of Laguna Art
excerpted with permission. Museum, ROCKBOUND was most likely

c EDGAR PAYN E , ROCKBOU N D, C . 1921 , OIL , 31 X 40.
fJE SSIE AR MS BOTKE , CR AN E S U N DER A GIANT
FER N , C . 1943, OIL /GOLD LE AF, 40 X 32.
based on plein-air sketches Payne made Cranes Under turing birds in spare garden settings
at Coward’s Cove, just east of the Twin
Points promontories in North Laguna, a Giant Fern with gold leaf backgrounds, were an
important feature in the sacred settings
and completed in his studio. BY JESSIE AR MS BOTKE of Shinto and Buddhist temples. Later,
In his influential primer, Composi- Jessie Arms Botke was celebrated for screens featuring cranes were often used
tion of Outdoor Painting, published in her stylized depictions of exotic birds during the births of high-ranking mem-
1941, Payne recommended focusing on in lush gardens with backgrounds of bers of the aristocracy.
breaking waves and spray as a point of 22-karat gold leaf. Botke had studied Botke and her husband, Cornelis, were
interest in marines. As seen in ROCK- with and worked for Albert Herter, son living in Santa Paula at the time of the
BOUND, he used warm colors in the of the founder of the leading decorating 1943 Purchase Prize Exhibit. The painting
rocks to unify and balance the cool fi rm in the United States during the late may have come from a show at the Bilt-
greens and blues of the sea. He wrote nineteenth century. Herter Brothers cre- more Art Gallery in Los Angeles, where
that a “warm foundation” kept the ated luxurious, cosmopolitan environ- the couple exhibited together around
composition from appearing cold. Here ments now recognized within the con- this time. In 1954, they completed a 6 ½
water pools in and glistens over the text of the international Arts and Crafts by 26-foot mural of birds for the Oaks
tide pools lit by the bright midday sun. design movement. Hotel in Ojai, California (now in The Ir-
The dynamic composition is designed Through her work for Herter Looms vine Museum Collection at UC Irvine),
to lead our eye in an s-curve from the preparing tapestry cartoons, Botke dis- that has echoes of the GHS painting.
glistening rocks on the lower right, to covered that birds, inspired by Japanese Ironically, the Japanese community was
the waves and spray on the left, and fi- screens (byobu) of the Edo period (1615- absent from the high school and city of
nally to the open sea. 1868) were her forte. Such screens, fea- Gardena at the time of this selection, as

they had been sent to relocation camps
in 1942 after America’s entrance into
World War II.
On the Road
to San Gabriel
BY JE AN MANNHEIM
Jean Mannheim moved to Los Ange-

les and built a craftsman studio-home
on the Arroyo Seco in 1908. Beginning
around 1906, Mannheim had taught at
the Brangwyn School of Art in London
for a year or so, indicating that he was
sympathetic to the Arts and Crafts ethos.
Frank Brangwyn had been a protégé of
William Morris and prepared designs
for many aspects of Morris’s Arts and
Crafts output.
ON THE ROAD TO SAN GABRIEL depicts
a quiet country road winding through a
eucalyptus allée. Mannheim contrasts
the soft abstract treatment of the sun-
light and shadow with the painterly
texture of the trees’ peeling trunks and
jumbled masses of bright green and blue
leaves. The bright Southern California
light seemingly obliterates everything
that lies in its path, including the trees
on the other side of the road. In the far
distance is the atmospheric purple of the
San Gabriel Mountains.
Wild yet accessible, this rugged area
north of Mannheim’s home in the Arroyo
Seco was a favorite painting spot for art-
ists. Mannheim made a series of studies
and paintings of roads leading through
similar stands of eucalyptus against a
mountain backdrop. ON THE ROAD TO
SAN GABRIEL, like many of his small
studies, is loosely painted and has the
same feeling of being completed in one JE AN MAN N H EIM , ON TH E ROAD TO SAN GABR IEL , C . 1920, OIL , 48 X 36 .
sitting en plein air.
Along the Arroyo Seco

Movement, and symbolic of the “back to state of sustained immersion in nature
basics” lifestyle possible in California. that produces a quiet emotion akin to
BY WILLIAM WENDT ALONG THE ARROYO SECO is an exem- awe, articulating his deeply held beliefs
William and Julia Bracken Wendt’s plary Wendt painting, full of green, the about God and nature.
home and furnishings, as well as their color of hope and of spring. A sense of Wendt’s composition in ALONG THE
lifestyle and beliefs, reflected an inte- new beginnings and divine abundance ARROYO SECO is rhythmic and dynam-
grated attitude toward art and life that is implicit in the artist’s work—making ic. He leads our gaze to the peak of the
was in sync with the Arts and Crafts it a quintessential expression of Cali- mountain by incorporating a zigzagging
aesthetic. Their studio home, like the fornia’s bounty. The high horizon cre- line through the center of the painting
homes of many of the plein-air artists, ated by the canyons lends both monu- in a way that encompasses the whole
was a simple bungalow, a common ar- mentality and intimacy to Wendt’s composition—as if seen by God’s omni-
chitectural style of the Arts and Crafts paintings. His landscapes express a scient eye. The landscape is bathed in

the strong bright light of Southern Cali-
fornia. Foreground, middle ground, and
background are all treated with tre-
mendous depth of field. However, our
gaze continually returns to the small
tree placed slightly below center in the
painting, around which the composi-
tion slowly turns.
Men of the Red Earth

BY M AY N A R D D I XO N
Maynard Dixon was a member of the
informal Garvanza circle of artists at
the turn of the twentieth century. Sit-
uated on a plateau in the valley of the
Arroyo Seco, Garvanza drew numerous
painters as well as Charles Lummis,
founder of the California Landmarks
Club. Dixon was a close friend of Lum-
mis, who in 1900 gave the artist a let-
ter of introduction to the Pueblo Indi-
ans, starting him on his long career as
a painter of the American West and its
inhabitants. At the time, Dixon was an
WILLIAM WEN DT, ALON G TH E AR ROYO SECO, 1912, OIL , 40 X 50.
illustrator, and would have a spell in
New York working for numerous publi-
cations until about 1912.
By the 1920s, Dixon had begun de-
veloping a stark, rhythmic approach
to painting the desert, exposing the
architectural forms and Cubist angles
of the landscape. The pared-back aes-
thetic worked well in rendering the
harsh Southwestern desert and its in-
domitable denizens. Dixon and the pho-
tographer Dorothea Lange, who he had
married in 1920, traveled throughout
the arid lands seeking inspiration for
their art.
MEN OF THE RED EARTH is an exam-
ple of Dixon’s mature work. The iconic
image of Native Americans looking out
over a vast expanse of desert has been
simplified to its barest elements. He
juxtaposes fl at, two-dimensional stria-
tions of color in the distant landscape
with the tangible, three-dimensional
forms of the two men. He emphasizes
stoicism and solemn dignity in the men,
while in the land he underscores the
ordered, abstract structure underly-
ing our perceived reality, endowing the
whole with a sense of the eternal. E
MAYNAR D DIXON , M EN OF TH E R ED E ARTH , 1931 -32, OIL , 36 X 41 .

DO’S &
THE
DON’TS OF
Collecting
Collecting original fine art can be FUN and
rewarding; it can ENRICH your home, your spirit,
and your life. But it can also, at times, be daunting,
PUZZLING, and frustrating. To HELP you
reap all of the benefits without suffering any of
the pitfalls, we’ve compiled this compendium of
some of our ALL-TIME-BEST advice about
art collecting. Here’s hoping it inspires you to bring
WONDERFUL new artwork into your world.

Plein-air paintings, like this one from the Laguna Beach Plein Air show (see page 28), can
offer excellent quality at reasonable prices. CAROLE GR AY-WEIHMAN, SWEEPING PAR ADE, OIL, 12 X 16.
DO listen to your heart DON’T miss out on miniatures around a long time and whose personnel are
You should learn all you can about the mar- One of the best opportunities for viewing knowledgeable and pleasant to work with.
ket and the artists you like, about galleries, a wide variety of art in an affordable price Building a personal relationship with a dealer
genres, and styles, and perhaps art history range is miniatures shows, which are an an- will make the process of collecting an enjoy-
itself. But the final word comes down to this: nual tradition at many galleries and generally able event.
Believe in yourself rather than the so-called feature paintings measuring 9 by 12 inches or
experts. Spend your money on art that elicits smaller. These shows often feature estab- DO stick with an
an emotional response. lished artists who usually work on a larger artist for the long haul
scale and in a much higher price range. But Find an established artist you like whose work
DO widen your horizons for miniatures shows they create jewellike spans a wide price range. That way you can
You can mix contemporary with traditional pieces suited for the budgets of beginning start with small pieces and aim to eventually
art, all on the same wall. Chosen carefully and collectors. obtain more expensive work by the same art-
framed appropriately, it makes a splendid pre- ist. As your budget grows, you’ll be able to
sentation and a lot of times is more interest- DO make it personal follow the artist’s developing career while
ing than keeping to one style. Choose respected galleries that have been adding to your own collection.

artwork—or to recognize when something
about a painting or sculpture feels a little bit
“off.” Trust your gut feeling and look for work
that you truly love.
DON’T worry if you

don’t like the frame
Most artists deliver works to their galleries
already framed. That doesn’t mean, however,
that the frames are always integral to the
paintings themselves. Different artists put
different amounts of time and money into
their frames; some have a custom frame built
for each piece, and others use frames they al-
ready have on hand. In other words, galleries
are well aware that there can be an arbitrary
nature to frames. Sometimes it just doesn’t
work right for the person’s décor, or even for
the piece itself. Galleries across the board are
more than happy to change a frame.
DO ask about payment plans

Traditional “layaway” payment plans are al-
most always an option. Every gallery takes
payments, so don’t be too intimidated to ask
Buying small works, like this one by Ani Espriella these kinds of questions. Depending on the
(see page 20), can be a great way to start collecting. price, the gallery, and the artist, a payment
WINTER BOUQUET, PASTEL, 9 X 12. schedule may vary from just two monthly
payments to three, four, or even more. But
remember that the gallery will hang onto
the artwork until the final installment has
DO ask about buying on approval Getting to know an artist involves gathering been received.
So you’re convinced you love a particular biographical information, including how long
piece of art. But what if you don’t love it next and consistently the artist has been work- DO make a plan
week? Or what if you see something else a ing, where the artist shows his or her work, At some point in your collecting journey, you
few months later that you really wish you’d whether the artist has been included in mu- may find it useful to devise a plan to guide
bought instead? One way to allay that fear seum or juried shows or garnered awards, and your future purchases. That way you won’t
is to take advantage of the policy typical of how the price of the work has changed over end up with a collection of works that is, say,
many galleries: buy a piece on approval with the years. more eclectic—or more repetitive—than
the option of bringing it back for return or you had intended. For starters, think about
exchange within a certain period of time. DON’T limit yourself to paintings whether you want to collect works by de-
Just make sure to agree on all of the terms Drawings, etchings, and hand-pulled prints ceased or living artists; this allows you to zero
up front. can offer a great opportunity to own very in on specific galleries and auctions. Also,
nice pieces by renowned, deceased artists, think about the genres, styles, and subject
DO buy plein-air paintings even when your budget is modest. And when matter that interest you. Some collectors ac-
One way to find excellent art at reasonable it comes to living artists, they may be priced quire numerous works by a single artist; oth-
prices is to look at plein-air paintings. Because lower than similarly sized oil paintings. ers might love, say, wildlife art in all its forms.
they are done on location, such paintings There’s no right or wrong approach.
tend to be smaller and must be painted more DON’T buy a “name”
quickly than studio work. With less time—but Don’t buy a piece solely because it was cre- DO consider a commission
just as much talent—invested in them, plein- ated by a well-known artist. A high-quality When you have a specific concept in mind
air paintings are generally less expensive. image by a less-well-known artist is a much for a painting or sculpture, it can make sense
better buy. The name’s not enough in itself. to commission an artist to execute that con-
DON’T skimp on information cept. It could be, for example, a scenic view
Become acquainted as much as possible with DO trust your gut from your property, or a portrait of a family
the breadth of an artist’s body of work rather You don’t have to be a professional art crit- member or pet. Many artists accept commis-
than a single piece that catches your eye. ic in order to be attracted to a particular sions, but not all. And commissions can cost

Mixing traditional artwork with contemporary pieces, like this one by Andrew Bolam (see page 18), is
perfectly acceptable and brings loads of visual interest to your home. ALCES ALCES, ACRYLIC, 46 X 58.
more. It can be helpful to work with a gallery DON’T buy for investment the long haul. Most likely a piece will retain its
to facilitate the commission, and it’s a good No reputable gallery will make any claims value, and you’ll get a lifetime of enjoyment.
idea to ask the artist for a preliminary sketch that the art they sell is a sound financial in- Ultimately, personal pleasure—not profit—
or study, which you can approve before the vestment. Nobody knows what’s going to should be the point of collecting.
artist begins work on the larger, final version appreciate—there’s just no way to figure
of the artwork. that out. Some artists’ works may skyrocket DO educate yourself
in price, while others remain flat or fall. Gal- Visit as many galleries as possible. Invest in
DON’T be a bargain hunter lerists advise that a combination of careful museum-quality art books and study them.
Exactly the wrong way to go about starting a consideration and patience will generally help Take the time to look at artwork in museums
collection is to hunt for bargains and choose ensure that an investment in good art won’t and galleries, and you’ll eventually develop
quantity over quality. Often what seems like a lose money—as long as the collector choos- a sense of what’s good and what’s not—
bargain at first ends up under the bed. es thoughtfully and hangs onto the work for without having to go to art school. E

IN ART
M E E T 1 0 W O M E N W H O PA I N T E V E RY T H I N G
F RO M L A N DSC A P E S TO ST I L L L I F E S

WOMEN IN ART
LISA
GLEIM
What inspires you to paint? I love painting
the effects of light. It’s fascinating to watch
the colors and shades radically change in a
landscape.
How would you describe your style? I con-
sider myself a pastelist more than anything
else. If I had to pick a style, I would say that I
am a representational colorist.
How did you first get interested in art? I was
always told that I was drawing before I could
write my name. My first award was for a draw-
ing I did when I was 5; my mother entered it
into a state fair art show.
Where did you study art? I graduated from
Loft Cat, pastel, 20 x 24.
the Pennsylvania Academy of the Fine Arts
and studied at length with artists including
Burton Silverman and Peggy Baumgartner.
What is your creative process like? I am al-
ways taking photos of things that inspire me,
so I have thousands of reference photos to
work from. I tend to stick with one subject,
like landscapes or wildlife, for several paint-
ings. Working on several pieces at the same
time helps me keep the paintings fresh and
not overworked.
What have been some of the highlights of
your career? Receiving the Gold Medal of
Honor in Pastel at the Audubon Artists ex-
hibitions in 2012 and 2016 and the Art Spirit
Foundation’s Gold Medal Award for Pastel in
2013. And I am particularly proud of having a
small portrait of my daughter be part of the
American Women Artists’ show at the Haggin
Museum.
What galleries represent your work? Cheryl
Newby Gallery, Pawleys Island, SC; Creighton
Block Gallery, Big Sky, MT; Lovetts Gallery,
Tulsa, OK; Atlanta Artist Collective, Atlanta,
GA; and www.lisagleimfineart.com. Red Barn, pastel, 12 x 16.

DESTINY
BOWMAN
What inspires you to paint? Life in general
is my inspiration. I use painting as a kind of
therapy. At first it was just the act of painting
that was therapy; now the subject matter is
becoming more meaningful.
How would you describe your style? My
work is traditional in technique, but I merge
it with a contemporary feel. And it is a bit
moody with its use of a strong light source.
How did you first get interested in art?
I remember being hooked after doing a pen-
cil drawing of a Victorian woman in middle Making Potions, oil, 36 x 36.
school. In high school I had a lovely art teach-
er who was a huge encouragement.
Where did you study art? I studied at Col-
lege for Creative Studies in Detroit, MI, for
two years. Then, about five years ago, I met
Daniel Sprick and painted with him in his stu-
dio for about eight months.
What is your creative process like? Some-
times I already have an image or composition
in my head, and I work that idea into a paint-
ing. Other times I use my young niece as a
muse, and that starts with me taking candid
shots of her playing.
your career? I’ve had paintings accepted in
both the Oil Painters of America National
Juried Exhibition and the National Oil and
Acrylic Painters’ Society national show.
When you’re not creating art, what else do
you enjoy doing? The time that isn’t spent
painting is spent with my husband and our
pup, Vivy.
What galleries represent your work?
www.destinybowmanfineart.com. Doing the Dishes, oil, 24 x 32.

WOMEN IN ART
c Shadows in the Woods, pastel, 24 x 36.

fWinter’s Complementary Colors, pastel, 14 x 11.
KAREN HENNECK
What inspires you to paint? Nature’s per- college in my town, where I finally learned 200 finalist in the Arts for the Parks compe-
petually changing palette, from season to the basics of art and design. tition. And I was one of 25 artists chosen to
season and day to day. The sparkle of pastels What is your creative process like? I quick- paint a life-size fiberglass buffalo for Custer,
also inspires me. ly draw the scene using hard pastels in the SD, and the Chief of Indian Nations came to
How would you describe your style? complementary hues of the colors I see. dance and pray over it.
Impressionistic and painterly. When finishing the painting, I use soft pas- When you’re not creating art, what else do
How did you first get interested in art? I al- tels in light, quick strokes, leaving the com- you enjoy doing? I love writing and illustrat-
ways loved creating but chose to become a plements to peek through for vibrancy. ing children’s books.
floral designer. At 46, I decided it was time What have been some of the highlights of What galleries represent your work? Laura
to allow my dream of becoming an artist to your career? One of my paintings was se- M Gallery, Saratoga, WY; Deselms Fine Art,
come true. lected to hang permanently in the Wyoming Cheyenne, WY; and www.karenhenneck.com.
Where did you study art? I found a wonder- State Capitol. I am a Signature Member of
ful world opening up for me at a two-year the Pastel Society of America and was a Top

Blue, oil, 48 x 48. Morning Sun, oil, 48 x 36.
MELANIE O’KEEFE
What inspires you to paint? I think there is for me. But believe me, I work hard—art is my your art. After that was being accepted into
nothing more beautiful than nature. life, and I paint every day of the week, any- the National Oil and Acrylic Painters’ Soci-
How would you describe your style? I’ve al- where from six to 15 hours a day. ety’s Best of America Exhibit. I have been ac-
ways preferred realism with clean edges. My What is your creative process like? When I cepted this year, and I am so honored.
mind sees in detail, so that is how I paint. was in design school, we didn’t have com- When you’re not creating art, what else do
How did you first get interested in art? puters, so we drafted. I think that is the one you enjoy doing? If I take time away from
I was born an artist. I was also a ballet dancer, thing that has helped me the most. It helped painting, I spend it with family and friends.
an interior designer, and a gourmet cook. I me see perspective and distance. What galleries represent your work? Ca-
painted some murals for a church that turned What have been some of the highlights of nary Gallery, Birmingham, AL; Lazenby’s
out really well, so I thought I would try paint- your career? The most exciting thing was Genesis Gallery, Birmingham, AL; and www.
ing on canvas. That was six years ago, and I’m when I sold my first painting. There is no big- mokeefeart.com.
very grateful for the doors that have opened ger rush than when someone connects to

WOMEN IN ART
SUZIE
SEEREY-LESTER
What inspires you to paint? My husband and
I are lucky to travel all over the world seeing
animals in their natural habitats.
How would you describe your style? My style
is tight and realistic. I love all the detail I can
paint into straw, wood, barns, and feathers.
I sketched and drew all my life. At 16 I was
the first woman scuba diving instructor in the
country, and I was interested in painting the
sea life that I saw firsthand.
Where did you study art? I took my first art
class in San Diego from Lela Hardy, a local art
teacher. I then started taking wildlife-painting
workshops. That’s how I met my husband,
painter John Seerey-Lester, 200 feet up a tree
at 4 a.m. in Guatemala!
your career? The first time I was selected
for the Birds in Art show was overwhelm-
ing! Later the Leigh Yawkey Woodson Art Queen of the Mountain, acrylic, 16 x 12.
Museum, which hosts the show, purchased a
painting for its permanent collection. One of
my paintings was also featured on the cover
of International Artist magazine. But the best
part was meeting my husband.
you enjoy doing? For the past 18 years I have
been a volunteer with the Moat Sea Turtle
Conservation and Research Program. I am li-
censed by the state of Florida to monitor and
rescue the endangered and threatened sea
turtles on our beaches.
What galleries represent your work? Trail-
side Galleries, Jackson, WY; Hueys Fine Art,
Santa Fe, NM; Native Visions Gallery, Naples,
FL, and Jupiter, FL; The Plainsmen Gallery, Dune-
din, FL; Germanton Gallery, Germanton, NC. Morning Departure, acrylic, 18 x 36.

SUSAN
MATTESON
What inspires you to paint? Light, shadow,
color, and close values like you see in moon-
light and snow scenes. I used to ride my horse
in snowstorms and moonlight, and it still in-
spires me today.
How would you describe your style?
Representational.
How did you first get interested in art? In
sixth grade a teacher showed me how to cre-
ate highlights on my charcoal drawing. I was
totally hooked after that. Evening Shadows, oil, 20 x 24.
Where did you study art? I have a bachelor’s
degree in fine art and an associate degree in
graphic design, both from Southern Illinois
University at Carbondale.
What is your creative process like? I may re-
view my photos or go out plein-air painting. I
have lots of ideas, so I try to distill and refine
them on paper or in smaller paintings.
your career? Getting into Print Magazine’s
Regional Design Annual; designing trout and
salmon stamps for the state of Illinois; win-
ning an Award of Excellence for my paint-
ing SNOWY EVE 2 in Oil Painters of America’s
Western Regional Show in 2018; and being
juried into the California Art Club’s Gold
Medal Show.
you enjoy doing? Playing the piano and try-
ing the violin. I also like to fish, canoe, ride a
horse, and socialize when I get a chance.
What galleries represent your work? Kilgore
American Indian Art, Mancos, CO; Mary Wil-
liams Fine Arts, Boulder, CO; and www.susan
matteson.com. Terrapin Ridge, oil, 18 x 24.

WOMEN IN ART
Lobster Shack Morning, oil, 30 x 30, private collection. Afternoon at Harry’s Bar, oil, 24 x 24, private collection.
NANCY TANKERSLEY
What inspires you to paint? People have in- and I borrowed it. I received positive feed- What have been some of the highlights of
spired me from my earliest beginnings as an back from my extended family, especially your career? The most recent highlight was
artist. I’m interested in the gestural movement when I drew their portraits. being selected as the featured artist for the
of people as they work, play, and interact. I Where did you study art? I majored in fine 49th annual Waterfowl Festival in Easton, MD,
have also been inspired by the landscape, and art at Miami University in Ohio and then fin- in November. In 2017 and 2018 I was invited
now many of my landscape paintings involve ished college later at the University of Cali- to the American Masters show at the Salma-
figures or structures. fornia in Santa Cruz. After that I studied with gundi Club in New York.
How would you describe your style? My Cleve Miller, Danni Dawson, Daniel Greene, What galleries represent your work?
style is impressionistic. I prefer a painting Ken Auster, Quang Ho, and Carolyn Ander- Chasen Galleries, Richmond, VA, and Saraso-
that is a quick glimpse of a moment rather son, among others. ta, FL; Gildea Gallery, Key West, FL; LePrince
than a studied interpretation of all that is in What is your creative process like? My pro- Fine Art, Charleston, SC; and www.nancy
the scene. cess includes a lot of construction and de- tankersley.com.
How did you first get interested in art? My construction to get to just the right balance
brother had a Jon Gnagy learn-to-draw kit, between sharp focus and abstract shapes.

c Fruit, Flowers & Watering Cans, oil, 30 x 40.
fFruit, Flowers and Sunshine, oil, 48 x 36.
PATTI ROBBINS
What inspires you to paint? My still-life fine arts, but I always took studio classes as a juried member of the National Associa-
paintings begin with a treasure hunt through electives. I continued to study at the Atlanta tion of Women Artists and Women Painters
my suitcases filled with fabrics and vessels. I’m College of Art and the Art Students League West. The greatest honor is having my paint-
influenced by color and pattern, and the pro- of New York and attended many workshops ings living with appreciative collectors.
cess of orchestrating these elements into bold over the years. When you’re not creating art, what else do
compositions ignites the creative process. What is your creative process like? I spend a you enjoy doing? Knitting, cooking, dancing
How would you describe your style? lot of time arranging and rearranging items. as exercise, and being with my husband, our
Contemporary realism. I study the shadows that come through my adult children, and our four donkeys, chick-
How did you first get interested in art? As a studio windows. Then I make a quick sketch ens, dogs, and parrot.
child I always loved to color and draw. Grow- and start painting. What galleries represent your work? Gallery
ing up in New York City, I was exposed to What have been some of the highlights of Los Olivos, Los Olivos, CA, and www.patti
many great museums. your career? My first solo exhibit at the San robbinsartist.com.
Where did you study art? My undergradu- Luis Obispo Museum of Art last year; I pre-
ate and graduate degrees were not in the pared for almost two years in advance. I am

WOMEN IN ART
JAN Y. MILLER
What inspires you to paint? I use my art to
show my views and visual perspectives of
the world. I work in dry pastels, focusing on
the beauty that is around us. I hope to share
with viewers the world of pastel painting.
How would you describe your style? I have
stayed true to representational art, but I
have learned that there are abstractions
within representational paintings. One as-
pect that you will consistently find in my
paintings is color.
When asked, “What would you like to do for
your 13th birthday?” my answer was, “Visit
the Art Institute of Chicago.” Ever since then,
understanding the language of painting has
been a focal point of my life.
Where did you study art? I studied at West- Uncharted, pastel, 19 x 25.
ern Illinois University and received a bach-
elor’s degree in fine art from California State
University, Sacramento. I have also had some
wonderful mentors.
What is your creative process like? I usu-
ally look for a concept to portray and then a
mood for the painting.
your career? Achieving Signature status with
the Pastel Society of the West Coast and the
Sierra Pastel Society and Master Painter sta-
tus with Northern California Arts. Also, hav-
ing my paintings selected for awards by dis-
tinguished judges, including the curators of
the Crocker Art Museum, Oakland Museum
of California, and Haggin Museum.
When you’re not creating art, what else
do you enjoy doing? I enjoy being outdoors
gardening, camping, and hiking. I especially
enjoy spending time with my grandson,
Winston.
What galleries represent your work? New-
castle Packing Shed Studio & Gallery, New-
castle, CA; Sacramento Fine Arts Center, Sac-
ramento, CA; and www.jymillerfineart.com. The Visitor, pastel, 11 x 15.

WOMEN IN ART
AMY EVANS
What inspires you to paint? I am inspired
by light as it falls on a subject. I find that I
am most connected to the light as it plays
in nature.
How would you describe your style? I want
to capture the spirit of the subject in paint.
My style is often dictated by what stirs my
soul. Sometimes it is tonal; sometimes it is
more impressionistic.
I drew and painted as a child and was encour-
aged by my grandmother, who was always
doing something creative.
End of the Season, oil, 36 x 36.
Where did you study art? I received my
bachelor’s degree in art at Southwestern At
Memphis University, now Rhodes College.
I also studied at the Memphis Academy of
Art. I was a fiber artist for many years, but
one day I began painting with dyes on my
loom. That made me realize how much
I missed painting. I then took a painting
course at the Art Students League of Den-
ver. I have studied with Albert Handell, Kevin
Macpherson, and Frank LaLumia.
What have been some of the highlights
of your career? Attaining Master Signature
Emeritus status with Women Artists of the
West and Signature Membership status with
Plein Air Artists Colorado; painting sessions
with Scott Burdick and Sue Lyon; the friend-
ships I have made through painting; and a
painting trip in France with other women art-
ist friends. But the best part of my art career
has always been the honor of someone want-
ing to own one of my paintings.
What galleries represent your work? Breck-
enridge Gallery, Breckenridge, CO; Two
Old Crows Gallery, Pagosa Springs, CO; and
www.amyevansart.com. E A Change in the Air, oil, 12 x 16.

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Artists of Note
Lee McVey
At home in the Land of Enchantment
THE MOUNTAINS, canyons, and ar-

royos of the Southwest have enchanted
Lee McVey ever since she moved from
her native New York to Albuquerque,
NM, 15 years ago. A robust plein-air
movement was reverberating through-
out her picturesque new homeland at the
time, and she caught the plein-air bug.
“That really made a big difference in my
studio work,” she says. “It started to im-
prove rather quickly.”
McVey knew from a young age that
she wanted to be an artist. After earn-
ing a degree in education with a minor
in painting, she spent the next several
decades working as a public-school art
teacher while reserving her summers for
painting. Upon relocating to New Mex-
ico, she plunged into painting full time.
While her style has changed little over
the years, falling somewhere between
realism and impressionism, McVey notes
that her approach—her “voice”—is be-
coming more refined in both her oils and
her pastels as she reaps the benefits of
each medium. “There is something im-
mediate about pastel work,” muses the
landscape artist, whose influences range
from Clyde Aspevig to Richard McKin-
ley, with whom she has studied. “I layer
my oils like I do in pastel,” she adds,
“but oils need drying time.”
From time to time, McVey takes out-
of-town painting trips, but these days,
she finds much of her inspiration right at
home. “Albuquerque is quite a beautiful
city,” she says. “I’ve often thought that
artists are so lucky because we see dif-
ferently than the general population. I do
feel privileged as an artist, because beau-
ty is all around us.”—Kim Agricola
McVey is represented by www.leemcvey.com.
ROW 1: Lavender Morning, pastel, 12 x 12. ROW

2: Farmhouse and Fields (detail), pastel, 9 x 12.
Near the Echos (detail), oil, 16 x 20.

Bruno Capolongo
Canadian sublime
WITHIN MONTHS of beginning pri-

vate lessons in painting at the age of
12, Bruno Capolongo was awarded his
first institutional commission. Later, as
a student at the Ontario College of Art,
the artist attracted further recognition
for his work in the form of awards and
new collectors. These early honors, notes
the three-time recipient of the presti-
gious Elizabeth Greenshields Foundation
grant, “propelled me into a lifetime ca-
reer as a full-time artist.”
Today Capolongo is perhaps best
known for his classic still-life paintings
featuring elegant oriental pottery, but
recently he has also been painting land-
scapes in oils and acrylics. His patient
approach to creating both still lifes and
landscapes is a virtue that viewers can
observe and savor. “Because I don’t whip
off paintings, but craft them in successive
layers, the result is often paintings with
rich, complex depth,” he says.
The artist’s reverent portrayals of his
subject matter also encourage quiet re-
flection. “People sense the awe I have for
the mystical and profound beauty around
me,” explains Capolongo, whose “visual
language” echoes that of artists like Albert
Bierstadt and George Inness. In MOUNT
NEMO, for example, which was a finalist
in the Art Renewal Center Salon this year,
Capolongo depicts a peaceful conserva-
tion area in Ontario, Canada, where he
lives. “I have traveled to the finest gardens
and landscapes in the U.S. and Europe,”
he says. “That’s translating into new work
that I’m excited about.” —Kim Agricola
For a list of galleries representing Capolongo, visit

www.brunocapolongo.com.
ROW 1: Winter Palace (Requiem), oil, 36 x 36.
ROW 2: Thai Kintsugi in Ultramarine and Gold,
acrylic, 12 x 12. Then Came Spring, acrylic, 9 x
13. The Silver Dome, acrylic, 10 x 10.
ROW 3: Mount Nemo, oil, 24 x 84.

Ones to
COLLECT
CO L L E C T I B L E A RT WO R K I N T H E 2 1 ST C E N T U RY
O F F E R S A RT LOV E R S A N E X H I L A R AT I N G A R R AY O F
O P T I O N S F RO M W H I C H TO C H O OS E . M A N Y A RT I ST S
are creating works with refreshing stylistic takes on genres both old and new. Others
are taking a more traditional approach to classic and modern themes alike. As you
look for new pieces to collect, we encourage you to explore the diverse sampling of
paintings and sculptures in the following pages. You’ll find works by a combination of
well-known artists and emerging talents. Whether you’re a longtime collector or just
getting started, this section of collectible fine artworks is a handy guide.
Discover original paintings and sculptures

Margaret Drake
Margaret was raised in Northwestern Colorado, and currently lives on a ranch near Glen Rose, Texas. After retiring in 2009, she studied
three-dimensional portraiture, then moved on to figurative sculpture, studying from masters in the field. Recently, one of her pieces was
acquired by the Museum of Western Art for permanent exhibition. e Comanche Spirit, bronze, 22” x 18” x 10”. f Comanche Song, bronze, 22” x 18” x 10”.
mdrake8955@nxlink.com | 254.897.9113 | www.margaretdrakestudio.com
Gretha Lindwood
Viewers often state they could "step right into a Lindwood Mary Rollins
painting.” With soft pastel sticks, powdered pigments from Mary Rollins grew up on a farm, and cattle were a part of
the earth, I record my impressions of our natural world on her daily life. She expresses her ongoing affection for them
artist’s sandpaper. I cherish the Pacific Northwest landscapes, by employing the vivid hues and dramatic values found in
honed by water and time, and delight in capturing their unique watercolor. Mary aspires to portray the unique personality
beauty. Representation: Aurora Gallery, Vancouver, WA; within each animal. Staying Close to Momma has been accepted
Earthworks Gallery, Yachats, OR; Fairweather House & Gallery, into the 2019 National Watercolor Society International Open
Seaside, OR; Rimrock Gallery, Prineville, OR; White Bird Exhibition, October 3-November 17 at San Pedro, CA.
Gallery, Cannon Beach, OR. c Wild In The Gorge, pastel, 12 x 18. c Staying Close to Momma, watercolor, 29 x 37.
gretha@grethalindwood.com | 971.322.6040 artistmaryrollins@gmail.com | www.maryrollins.com

www.grethalindwood.com Facebook: Mary Rollins Studio

Michal Barkai, PSNJ Ginger Whellock
This plein air/studio painting of a scene at nearby South Painting is my meditation and my release. Many different
Mountain Reservation (follow progression on my blog) will be subjects arouse my emotions and compel me to paint their
included in my November solo show at the Palmer Museum in story. I love to paint places filled with life and memories, places
Springfield, NJ. Barkai, who is a signature member of the Pastel that bring us pleasure and happiness and places that reveal our
Society of New Jersey, and currently serves as President, also shared human condition and purpose.
teaches a pastel class in Montclair. c Heather and Birch, oil, 16 x 20.
c Fall Morning on the Rahway, Pastel on Wallis Belgium Mist, 12 x 18.
ginger@gingerwhellock.com | 303-660-1458
mbarkai1@comcast.net | 973.994.7449 | 973.768.7787 www.gingerwhellock.com
www.MichalBarkai.com | www.MichalBarkai.wordpress.com
Annette Tan
Born in China, living in California, Annette began taking interest in painting at the age of 60, and without any previous experience. Her
inspiration comes from the works of old masters and the beautiful nature around her. Annette attended acrylic workshops given by well
know artist Jerry Yarnell. In recent years she has been invited to many juried groups exhibitions both in the States and abroad, and her
work was in many art publications and magazines. She was named one of the finalists in an International Art Competition this year. She
is a member of the National League of American Pen women. Representation: NewYorkArt.com, LagunaArt.com, Southwest Art magazine
2018 and 2019, Contemporaryartstation.com Barcelona, PAKS Gallery Austria
c Desert Sunrise, acrylic on canvas, 18 x 24.
annettesart2007@yahoo.com | www.annettetan.com

Denise L. Sperry
Denise Sperry is a nationally recognized water media artist. She is best known for her rich vibrant colors and bold creative depiction of
subject. Good design, originality, luminosity, intensity of color, and passion are the hallmarks in each painting. Her artwork is unique
and commands the viewers attention. She exhibits Nationally and Internationally. Her paintings are acquired for private and corporate
collections. Representation: River Gallery, Buffalo, NY; Denise Sperry Gallery, Williamsville, NY.
e Candy Cascade, transparent watercolor, 30 x 40. f Curtains Up, transparent watercolor, 22 x 30.
Deeuniques@aol.com | www.Denisesperry.com
Kathi Turner
Original works of wearable art by Kathi Turner showcase significant stones, cut by masters, set in sterling silver and/or 100% copper,
often with meaningful symbols. Visit HIGH DESERT CREATIONS STUDIO #14 during the HIDDEN IN THE HILLS STUDIO TOUR &
SALE 10:00am – 5:00pm November 22-23-24-29-30 & December 1 at 31616 N. 70th St, Scottsdale, AZ.
eIndian Mountain Has A Vision, Bracelet: Indian Mountain Turquoise mined in Battle Mountain, NV cut by Jason Brousseau, NM on hand-stamped 8-gauge silver band, 6 x 1.
f Heart to Heart, Pendant: Tyrone Turquoise cut by Jason Brousseau, NM set in sterling silver with copper accents, 3 x 1½.
kathi89445@yahoo.com | 775.304.6756 | www.highdesertcreations.com

www.facebook.com/HighDesertCreations

Suzanne Betz
Known for her paintings of horses, Suzanne Betz places their forms in an ambiguous color field. Removed from a landscape reference, the
very placement of the horse implies a conscious choice rather than mere observation. When situated in groups, the horses are arranged in
a way that tends towards symmetry while pulling away from it. c Sweet Comfort, mixed media, 42 x 52.
lamesasf@gmail.com | 505.984.1688 | lamesaofsantafe.com
Sandra Delong
I paint with oils, which is applied with a palette knife. I paint
in the style of impressionist Claude Monet: his full-color seeing Paul Cheng
method helps create radiant, glowing images. OPA Signature Member, Art Gallery Painter, Award-Winning
c Tahoe City Beach, oil on linen, 16 x 12, the photo is 5 ½ x 3 ¾. Artist, Sr. Illustrator in Animation / Gaming field, was born
in Guangzhou, China and received his BFA degree from
srdelong@gv.net Guangzhou Academy of Fine Art one of the most prestigious
fine arts schools in China, He left China in 1987 and migrated to
Unite State. c Tender Discovery, oil, 40 x 30 (SOLD).
www.sites.google.com/site/paulchengoilgallery

Cathy McAnally Lubke
Legends of the past inspire Cathy McAnally Lubke’s mystical visions of Noble Americans. Vibrant colors and bold designs gives the
viewer a powerful portrait. A contemporary background contrasts with visions of the past in the figures. Represented by: Houshang’s
Gallery, 50 San Francisco Street, Santa Fe, New Mexico 87501, houshangart@gmail.com. e Bone Heart, acrylic, 36 x 36. fOwl Searcher, acrylic, 36 x 36.
www.cathylubke.com
A.C. Lindner
A.C. Lindner’s meticulously detailed paintings of nature and
animals have captured the hearts of collectors worldwide. The
Mary Frankel artist draws inspiration from her horse farm and family ranch
in the Texas Hill Country, painting subjects from life using
‘People of the West’ are frequent subjects in the artwork of hand-crafted materials and traditional oil glazing techniques.
Mary Frankel, who shares her time between Colorado and Since first appearing in Southwest Art as an Artist to Watch
Texas. Frankel conveys her figurative work with a style of in 2007, her work has been exhibited in cities including New
painting that captures the beauty of impressionism with York, London, Paris, and Florence; and her work has recently
contemporary technique and form. “Bringing people to life on appeared in such international publications as British Vogue,
the canvas, and capturing well the essence of their personality, GQ and House and Garden. Lindner is represented by Russell
is the best reward.”. c The Geologist, oil on linen, 16 x 20. Collection Fine Art in Austin, Texas.
c Les Hortensias, oil on linen, 36 x 36.
www.maryfrankel.com
lindnerstudios@yahoo.com | www.aclindner.com

Jeannine Young
I have long admired the brilliant colors available with glass art and been mulling over ideas how to incorporate glass with my sculptures.
After a year of online classes and experimentation, I have found a way to combine welded steel and bronze with glass. I’m excited to
continue this exploration with one of a kind sculptures. Representation: Alexandra Stevens Gallery of Fine Art, Santa Fe, NM
Jane Hamilton Fine Art, Tucson, AZ, SmithKlein Gallery, Boulder, CO.
e A Mind of Her Own, welded steel and bronze, glass, 19 x 7.5 x 10. f Scarlet, welded steel and bronze, glass, 17.5 X 5.5 x 7.
www.jeannineyoung.com
Nina Cobb Walker

Roberta Mallard Tranquility and peacefulness are strong themes throughout this
Longhorn Cattle are as much a part of the Chihuahuan Desert Trailside Impressionist's work. Nina's paintings, conveying a
in West Texas as the Gila Monster and the Roadrunner. With strong sense of color and pallet. In finding harmony, connecting
sparse vegetation, these Longhorns graze at around one animal to emotions and expressing freshness, Nina demonstrates these
per fifty acres, and rightfully take their place in my Desert transitions: creating and evoking feelings which touch the soul -
Critters Series. I love their strength, keen instinct and colorful connecting humanity. WAOW Signature Member.
aspect against the stark terrain. c Steer by the Stars, acrylic on canvas, Representation: Cate Zane Gallery,
24x36. www.catezane.com, 512-300-0898
c Magic Time Of Day, oil, 16 x 20.
jbmallard@sbcglobal.net | www.robertamallard-localcolor.com
ninawalker63@gmail.com | 915.755.7554 | www.ninacobbwalker.com

Beverly Endsley
Beverly’s travels and love of animals often dictate the direction of her art. Using her impressionistic style, she captures the behaviors
and personalities of the animals and people she encounters, allowing the uniqueness of each one’s individual spirit to shine through. Her
work can be seen at Evergreen Gallery, Arts at Denver Gallery and on her website, Instagram and Facebook. Commissions are welcomed.
e Polly, oil on canvas, 20 x 16. f Rocky Mountain Hi, oil on canvas, 18 x 24.
Bev@BeverlyEndsley.com | 303.588.1087 | www.BeverlyEndsley.com

www.facebook.com/BeverlyEndsleyFineArt
Rachel Hurst
Rachel is the daughter of famed Western artist Oleg Stavrowsky. Growing up surrounded by world-class art, she was lucky to be trained
in the principals of good painting design and technique through exposure. She loves animals and paints her backgrounds to express the
way she feels when she looks at them. e Harimau, Mixed Media on Board (Framed), 20 x 16. f The Color of Elephants, Giclée (Unframed), 18 x 36.
Rachel@RachelHurstFineArt.com | 512.422.2176 | RachelHurstFineArt.com

Emiliya Lane
As a professionally trained artist and art instructor, Emiliya Lane loves to paint all subjects. However, being outside painting nature has
always been a most magical moments for her. As she likes to say: “The union of Art and Nature is pure joy, happiness and something
that keeps me chasing color, light and shadow. Plein Air painting takes me to an inner place where I feel the strongest and most intense
connection to the source, where I find an answer to all my questions, and where I find an end to my search for Beauty, Love and
Harmony. c River flows in You, oil on board, 16x20.
milychka@gmail.com | 206.419.0424 | www.artlanegallery.com
Debbie Pounders
“I don’t always anticipate how people view my Equestrian paintings. They evolve as I visualize the painting while
photographing the horse. I use my simplified style to push emotions through texture and light to tell the horses story.
My work also consists of floral abstracts, figures and portraits.”. c Lead Me to Your River, oil, 36 x 36.
debbiepfineart@icloud.com | 904.553.3019 | DebbiePounders.com

Teri Starkweather
"Super Bloom at Lake Elsinore" by Teri Starkweather is being
exhibited in "California Impressionists: The Masters and the
Casey Craig Greats They Inspire", opening October 4th 6-9pm at Studios On
the Park, Paso Robles, California.
Casey Craig’s imaginative mixed media paintings have a Jean Stern's private preview of the exhibit on October 3rd.
modern simplicity, rich with color and texture. Her stylized Starkweather's inspiration was from "Landscape, Flower
animal paintings are joyful and charming with a bright color Fields" by Benjamin Brown. All invited participants will hang
palette that makes her work distinctive. She lives in the next to their inspirational master.
beautiful Texas Hill Country where inspiration for her animal c Super Bloom at Lake Elsinore, acrylic on canvas, 24 x 36.
subjects is plentiful.
c Longhorn on Wildflower Hill, mixed media, 20 x 16. Teri@teristarkweather.com | www.teristarkweather.com
512.847.7008 | www.caseycraig.com
Hazel Stone
I know I can paint anything I see but I prefer to create work that is far more complex than real life. The more complicated, the better! My
intuition is always part of the process as I design and develop a piece. I continue to do what the painting calls for until it delights my eye!
e Kinetic Journey, watercolor, 22 x 22. f Perpetual Motion, watercolor, 23 x 22.
hazelstone@earthlink.net | www.hazelstonefineart.com | www.hazel-stone-watermediaartist.com

Jenna Hestekin
As a skilled scratchboard artist, Jenna Hestekin loves the
Cecilia Brendel
challenge of capturing the unique nuances of any animal with The world presents a wonderful variety of spiritual and
crisp, brilliant clarity. Her other mediums include pen and ink natural imagery that I love to capture with the juxtaposition
and also wire sculpture. Art commissions are always welcome. of textures, colors, and visual energy. My success is when
c Cougar, scratchboard, 5 x 7. someone has been inspired. c Boots And Hat, oil on linen, 16 x 20.
indee.artist.jen88@hotmail.com | 715.896.4237 | www.thecozyred.com cia@ceciliabrendel.com | 937.602.3173 | www.ceciliabrendel.com
Marie Renfro, NWS Marianna McDonald

I enjoy translating the quick, energetic pastel strokes of a plein
Color and creativity best describe Marie Renfro’s paintings air study into a larger studio piece. Soft pastel on sanded paper
in water media and collage. Formal training includes an MFA is my favorite medium although I also work in oils.
from Texas Woman’s University with additional study abroad. See my newest work at the St. James Court Art Fair, October.
She has signature membership in National Watercolor Society, 4-6, Booth #855 3rd Street, Louisville, KY
Southwestern Watercolor Society, Western Federation of
c Wildflower Rhythm, pastel, 20 x 24.
Watercolor Societies. Representation: www.Gallery8.com.
c Roller Coaster, acrylic on paper, 38 x 30. mariannamcdonald@twc.com | www.mcdonaldfineart.com
mrenfroart@aol.com | 214.232.0622

Kevin McCain
Light and color have always fascinated artists. This fascination is
echoed in Kevin McCain's landscape paintings. Inspired by the early
California Impressionists, he paints the places in the west that hold
significant meaning for him. Always searching, chasing the light, to find
his muse.
e Morning Light in the Aspens, oil, 24 x 36.
f Afternoon Scenic, oil, 20 x 16.
artist@kevinmccainart.com
Roni Lynn Doppelt

Roni Lynn Doppelt’s abstract paintings show an energetic synergy of happiness, color, and passion. Using vibrant splashes of pigment
with crisp white backgrounds, Roni Lynn communicates undeniable beauty as well as indomitable talent to capture vibrant emotion and
imagination. Globally showcased, local resident Roni Lynn Doppelt has been internationally exhibited and has now opened her signature
gallery on Worth Avenue. Roni Lynn D Gallery, 329 Worth Avenue, Palm Beach, FL 33410. c Bouquet, acrylic on canvas, 60 x 48.
ronilynndoppelt@gmail.com | 561.271.8775 | www.ronilynndoppelt.com

Darice Machel McGuire
Helen F. Howerton Darice is an award winning artist with a wide variety of
“As an artist I am inspired by the environment around me. subjects, including landscapes and sealife. Her studio is located
The tall-grass prairie, animal preserves, zoos & national parks in Lahaina Maui, where she paints and offers classes, studio
provide opportunities to study wildlife, to sketch and paint in website www.art-e-studio.net. She is co-athor of "The Art
plein air. Surrounded by the vastness of the landscape, you feel Of Painting In Acrylic", published by Walter Foster. Her work
the balance of life in nature. A painting brings nature indoors is represnted in four Galleries on Maui.
to enjoy.” Master Member Women Artists of the West (WAOW. c Good Night Lahaina, oil on canvas, 16 x 20.
org). Gallery: www.rshannagallery.com, Fredericksburg, TX.
c A Stellar View, Acrylic/Canvas, 14 x 11. darice@daricemachel.com | 530.518.3344 | www.daricemachel.com
hfhowerton@att.net | 918.494.5994 | www.howertonart.com
Cindy Sorley Keichinger, AFC, WAOW

Cindy’s preferred subject matter is wildlife in a natural setting and
prefers to paint in a realistic manner, because she like the challenge
of bringing the subject to life. Cindy likes to bring nature to people’s
attention, as a respite from today’s hustle and bustle. She has been
painting now for over 20 years and pushes herself to ever bigger
challenges. She is a member of several guilds, and has an upcoming
Show in Vancouver Canada, with the Artists for Conservation Show
September 26-29, 2019. Gallery – Sherwood Park AB. 1-800-528-4278,
www.PictureThisGallery.com.
e Morning on the Maligne River, acrylic, 7.6 x 12. f Contested, acrylic, 24 x 18.
goldfarm@telusplanet.net | www.goldenkstudio.com

Gerald Cournoyer
Cournoyer is a dedicated and creative artist with a skilled background of
stylized Ledger art and figurative Indian portraits. Over time, his work
expanded into vibrant abstract watercolors and acrylics. This led him to
create patterns of quillwork on canvas, including large nonfigurative expanses
of color and form that offer the viewer an opportunity to explore the depth
of scintillating color combined with Native patterns. These intricate patterns
are based on the early quillwork of the Northern Plains quill designs and are
prominent in the Lakota iconography. Gerald Cournoyer’s work is now shown
in regional, national, and international venues.
e Woven, acrylic on canvas, 24 x 35. f Stitched Patterns, acrylic on canvas, 24 x 36.
studio3502@yahoo.com | www.geraldcournoyer.artspan.com/home
Ann Maureen Meyer

Ann Maureen Meyer is a Wisconsin artist working in acrylic ink on archival paper. Her work combines layers of fine, freehand
pointillism in brilliant acrylic ink to create a stunning visual texture in its portrayal of landscape.
c Northern Great Plains, Winter Morning near Chinook, Acrylic ink layered pointillism on Fabriano Paper (August, 2019), 11.5 x 14.5.
www.annmeyer.com

Dan Knepper
Dan Knepper creates quiet, elegant landscapes that capture
Jessica Wicken
timeless moments. The viewer is often alone in an expansive Wicken’s full pursuit of painting happened when she moved to
landscape of saturated color and light. Dan’s successes have Colorado in 1996 and was inspired by the surrounding beauty.
garnered him representation from top galleries from coast to Her work has been widely collected and is most noted for its
coast. To view Dan›s work and see his representation, visit sensitive and bold use of color. Her favorite subjects being
his website: DanKnepperArt.com. Available from the Hayley landscapes, quirky still lifes, people and other creatures in the
Gallery. c Sweet Calf, oil, 16 x 12.. midst of life. c Falling Colors, oil, 28 x 40.
danknepperart@yahoo.com jwicken@hotmail.com | www.jessicawickenart.com
Sandy Askey-Adams, PSA Pamela Winters

Sandy is a Signature Member of the Pastel Society of America, Pamela's passion for life and eye for detail allow for amazingly
and the Maryland Pastel Society. "My art journey walks with realistic and moving sculptures. She captures a moment in time
nature. Nature has a powerful effect and influence on me. So, and creates a piece that draws in her collectors and viewers.
yesterday, today and always while on my journey through life, Her vision provides each individual a unique perspective into
with a whispered prayer of gratitude, I aspire to capture the our simple and complex world. Upcoming: Sept. 12 - Oct. 12,
spirit, serenity and timeless beauty of nature. My hope is that Women Artists of the West (WAOW) "Mountain Aire", 49th
the viewer of my work will experience a spiritual connection Nat'l Exhibit, Boulder, CO; Sept. 28, Woolaroc's Cow Thieves
and tranquil uplifting. Through my work, I invite you to join me and Outlaws Reunion, Bartlesville, OK; Oct. 5, Art in the
on those walks with nature." Square, Tulsa, OK. c Follow the Leader, bronze, 12 x 8 x 15.
c Woodland Creek, soft pastel, 16 x 12. pamela@winterssculptures.com | www.winterssculptures.com
Gentlehues@aol.com | 215.322.4481 | www.sandyaskeyadams.com

Janel Maher
Janel's sculptures are known for capturing the heart, soul and the
very essence of one of our greatest treasures - the Horse.
Limited Edition bronzes/paintings. Commissions welcome.
e Le Taureau - The Bull, bronze, 10.25 x 14.75 x 5. f Aim High, bronze, 16.5 x 17.5 x 5.
janel@janelmaher.com | 615.473.9710 | www.janelmaher.com
Erica Hawkes
Artist Erica Hawkes is a contemporary landscape artist currently residing in BC Canada. She
paints in a style she’s called Nouveau 7. Which is a marriage of the Canadian Group of Seven
and the European Art Nouveau movement from the late 1800’s. Hawkes is represented in
galleries across Canada and is collected privately and corporately around the world.
e Reflective Valley, acrylic, 60 x 30. c Indulgent, acrylic, 30 x 60.
hawkesart@hotmail.ca | www.hawkesfineart.com | www.tuttartgalleries.ca | www.artymgallery.com

www.lloydgallery.com | www.theavensgallery.com | www.oceansideartgallery.ca
www.wallspacegallery.ca | www.ryanfineartgallery.com

Terry Denson
The contrast between light and shadow attracts my artistic eye, whether it be in dramatically lit tropical foliage, still life or Southwestern
landscapes. I strive to capture this drama in watercolors and oils. I am an Arizona native currently living in Florida, but my heart is still
in the Southwest. c Last Light, watercolor, 30 x 18.
terry@terrydenson.com | www.terrydenson.com
William Rogers
William Rogers is a multi-media artist who has been the recipient of many awards including those from the CSPWC and recently the Di
Di Deglin Award from the American Watercolor Society. He paints en plein air and figures from life, which is a practice he has constantly
honed for over 25 years. In 2014 Bill served as Royal Tour Artist for HRH Prince Charles.
e Jessica P, watercolor, 24 x 20. f In Thought, watercolor, 21 x 16.
billrogers@eastlink.ca | www.williamrogersart.com

Arlon Rosenoff
Arlon Rosenoff is a contemporary palette knife impressionist who creates rich colorful impasto works in oil featuring scenes from his
travels including Alaska and Hawaii as well as favorite Northwest subjects - reflective rainy cityscapes of Seattle and landscapes from
near his scenic home in Coeur d’Alene, Idaho. c Beach Lavender Bloom 2019, palette knife oil on cradled panel, 27 x 36.
www.arlonrosenoff.com
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Special Sections:
DEC./JAN. ISSUE:
Deadline: October 29th
• New Year, New Works
• Artists From Arizona
Jennifer Morrison Godshalk
Colorado artist Jennifer Godshalk was the 2019 Telluride Jazz
Festival Artist, solo exhibition at the Pro Rodeo Hall Of Fame
in Colorado, and exhibited in Milano, Italy as well as New York
City. Her work is on display in Traum Showroom, New York
City. Galleries: Elinoff Gallery Telluride; MADS Milano Italy;
Gallery 104 New York City; Gallery 1505 Denver.
Kaline Carter c Autumn Bear, oil on canvas 48 x 36.
Tel: 505.506.7698
jennifermorrisonart@gmail.com | 303.927.8560
kcarter@peakmediaproperties.com

Patt Baldino
A finalist in the 2019 Art Renewal Center competition. Patt Baldino’s oil paintings are featured in prestigious solo and group exhibits
as well as juried into international shows that have included Oil Painters of America, International Guild of Realism, Allied Artist and
American Artist Professional League. Her awards have included recognition from the Salmagundi Club, Lyme Art Association, Ridgewood
Art Institute, the National Academy of Fine Arts, and Catharine Lorillard Wolfe Art Club. Patt’s artwork is featured in publications
such as American Art Collector Magazine, The Artist Magazine, Southwest Art Magazine, Best of America Oil Artists Book, New Art
International Book, and Art & Illustration Magazine.
c Beauty Everlasting, oil, 18 x 36.
www.PattBaldino.com
Carol Creel
A photo of the Bengal Tiger was captured at the Audubon Zoo
in New Orleans on a beautiful sunny day. He was laying half in
shadow and sunlight which made his right side void of color.
Val Mouttet I loved the contrast. My goal is to capture realism and beauty
in watercolor. I teach watercolor classes and workshops to
Traditional and Not-so-traditional Landscapes.
beginners and advanced students.
Representation: Sage Fine Art Gallery in Taos, NM.
c Bengal Tiger, watercolor, 22 x 30.
c Sitting with My Thoughts, acrylic, 36 x 36.
carolbc@bellsouth.net | www.carolcreel.com
575.758.9396 | www.mouttetpainting.com

Ellen Jean Diederich
As a Neo-Impressionist from Fargo, ND, Ellen Jean Diederich’s colorful style is defined by her calligraphic brush work. Her Watercolor
and Acrylic paintings whimsically embody the beauty of everyday life. Starry Fields is available as Giclée. Sign up today Ellen Diederich’s
Painting of the Weekblog. c Starry Fields, original watercolor, 25.25 x 35.
www.EllenJeanDiederich.com
Heather Söderberg-Greene
Heather Söderberg-Greene is one of the first women to own and operate a full service bronze foundry, casting both her own work and the
work of other artists. She is located 20 miles east of Portland, Oregon in the heart of the Columbia River Gorge. She is currently sculpting
the world’s largest bald eagle bronze statue, alone and 100% by hand without the use of any scanning or enlargement technology.
e Twilight, cast and patinaed bronze, 24” tall. f River Runners, cast and patinaed bronze, 24” tall.
studio@heathersoderberg.com | 503.869.6459 | www.heathersoderberg.com

Becky Enabnit Silver
“I was born in Wyoming and have lived in Colorado for 45 years. I love the mountains and the beauty of the west. The beautiful colors
of the sunset, the mystery of clouds hanging over the mountains, or the colors reflecting in a mountain stream, all inspire me to paint.
I try to share my feelings with others through my artwork. I paint in a variety of styles from very impressionistic to traditional realism.
My landscapes are usually more impressionistic with a bold use of color. My abstracts are created with a process of layering of colors,
values, and textures. My favorite medium is watercolor, but I also enjoy acrylic, mixed media, and oils.” Aar River Gallery, 3707 W. 73rd
Ave. Weatminster, CO 80030. e Warm Sun, Cold Snow, watercolor, 21 x 29. fColumbine and Aspen, watercolor, 14 x 21.
beckyesilver@aol.com | www.aarrivergallery.com
Alan LeQuire
Alan LeQuire is best known for his monumental works
like Athena and Musica, but he has also been teaching and
working from live models for over thirty years. The resulting
small works in bronze and terra cotta are now available for
purchase. Bronzes are limited to 12 examples before the mold
is destroyed. e Seated Figure Looking Back, bronze, Edition of 12.
f Susan Seated, bronze, Edition of 12.
info@lequiregallery.com | www.alanlequire.com

Patsy Lindamood
Award-winning, Texas-based artist capturing iconic streetscapes, the drama of the rodeo, the speed and agility of cutting, the wonder of
western wildlife, and the grace and beauty of the avian life of the Texas shores in graphite and water soluble wax pastel. Commissions
welcomed. e Transformers, 18 x 24, graphite on cradled (2 inch) Claybord, f One Way, 16 x 20, graphite on cradled (2 inch) Claybord.
lindamood@att.net | 352.339.2353 | Lindamoodart.com

patsylindamood on Instagram | Patsy Lindamood on Facebook
Art sts OVER 60 Magazine

ART COMPETITION
WE’RE LOOKING FOR Deadline: November 11, 2019
ARTISTS AGE 60+ working in
two dimensions in any art media.
Submit your work and you could
see it featured in the May 2020
issue of Artists Magazine!
10 WINNERS will be featured

prominently in Artists Magazine
and will receive $250 EACH in
cash prizes.
For complete guidelines
and to enter, visit
artistsnetwork.com/
art-competitions/over-60.
Marian Vida | Diverse Visions

Advertiser Index
Aagard, Douglas IFC Graziano, Dan 25 Paden, Theresa 21
Aar River Gallery 110 Hawkes, Erica 105 PAKS Gallery 92
Alexandra Stevens Gallery of Fine Art 96 Hayley Gallery 104 Pounders, Debbie 98
Allen, Martye 39 Hazel Stone—Watermedia Artist 99 Renfro, Marie 100
Amin, Ebrahim 25 Heckler, Dennis 49 Rimrock Gallery 91
Arlon Rosenoff Fine Art 107 Henneck, Karen 43 Rio Bravo Fine Art 39
Arnett, Joe Anna 25 Hestekin, Jenna 100 River Gallery 49, 93
Arts at Denver Gallery 97 Hooper, Dana 21 Robbins, Patricia 16
Askey-Adams, Sandy 104 Hortensias, Les 95 Rogers, William 106
Aurora Gallery 91 Houshang’s Gallery 95 Rollins, Mary 91
Baker, Suzie 25 Howe, Delmas 39 RS Hanna Gallery 49, 87, 102
Baldino, Patt 108 Howerton, Helen 102 Russell Collection Fine Art 95
Barbara Meikle Fine Art 2 Hughes, Neal 55 Sage Fine Art Gallery 108
Barkai, Michal 92 Hunt, Jane 25 Salge, Wayne 21
Barnett, Dave 39 Hurst, Rachel 97 Salvo, Anthony 25
Baron, Cindy 25 Immel, Peggy 51 Sarah Foltz Fine Art 17
Bathe, Beth 9 Jane Hamilton Fine Art 96 Saunders, Patrick 25
Been, Joshua 9 Jonas, Lisa Gleim 41 Schart, Albert 21
Betz, Suzanne 94 Keichinger, Cindy Sorley 102 Schuerr, Aaron 25
Bowman, Destiny 6 Kennington, Rick 23 Sedona Arts Center 9
Boyer, Lyn 9 Kilgore American Indian Art 38 Seerey-Lester, Suzie 42
Breckenridge Gallery 47 Knepper, Dan 4, 104 Shanfeld, David 2
Brendel, Cecilia 100 Krzyston, Sue 23 Shroulote, Ruby 87
Bretzke, Carl 25 Laguna Art 92 Silver, Becky 110
Brousseau, Jason 93 Laguna Plein Air Painters Assc 24-25 Simone, Robert 87
Bucks, Peter 40 Lane, Emilya 98 Situ, Michael 25
Budicin, John 25 Legacy Gallery, The BC Smith, Herman 87
Buxton, John 23 LeQuire Gallery 110 Smith, Kirk 87
Carey, Cathy 21 LeQuire, Alan 110 SmithKlein Gallery 96
Carr, Betty 9 Liang, Calvin 25 Soderberg-Greene, Heather 109
Cate Zane Gallery 96 Lindamood, Patsy 111 Solliday, Tim 13
Cheng, Paul 94 Lindner, A.C. 95 Sorrel Sky Gallery 1, 51
Chris Turri Art 3 Lindwood, Gretha 91 Soukup, Jill 8
Contemporary Art Station 92 Liston, Bryce Cameron 49 Sperry, Denise 93
Cournoyer, Gerald 103 Lubke, Cathy 95 Starkweather, Teri 99
Craig, Casey 99 Madaras, Diana 40 Suys, William 55
Creel, Carol 108 Maher, Janel 105 Swanson, Ray BC
Creighton Block Gallery 41 Mallard, Roberta 96 Tagg Art 87
Cynthia Duff Fine Art 51 Manitou Galleries IFC Taggart, Kim 87
Davidson, Bill 25 Mark White Fine Art & Kinetic Sculptures 5 Tan, Annette 92
Delanty, Rick J. 25 Marshall, Daniel 25 Tankersley, Nancy 14
Delong, Sandra 94 Marty, David 25 Tobey, Rebecca 23
Denson, Terry 106 Mary Williams Fine Art 38 Trigg, Peggy 53
Diederich, Ellen Jean 109 Mason, Diane 49 Tse-Pe and Dora 87
Diehl, Jennifer 25 Matteson, Susan 38 Turner, Cecy 40
Dirk Soulis Auctions 87 Maxwell Alexander Gallery 13 Turner, Kathi 93
Dominique Boisjoli Fine Art 3 McCain, Kevin 101 Two Old Crows Art Gallery 47
Doppelt, Roni Lynn 101 McDonald, Marianna 100 Tyler, Ron 17
Drake, Margaret 91 McGuire, Darice Machel 102 Uline Inc. 87
Drewyer, Christine 49 McVicker, Jim 25 Usibelli, Michele 25
Earthworks Gallery 91 Mercer, Judd 25 Ventana Fine Art 7
Elliott, Teresa 8 Meyer, Ann 103 Volkmann, Pen 53
En Plein Air Texas 55 Miller, Jan Y. 45 Waldrum, Harold Joe 39
Endsley, Beverly 97 Miura, Terry 25 Walker, Nina 96
Erickson, Aimee 25 Mondloch, Dan 25 Whellock, Ginger 92
Evans, Amy 47 Mountain Oyster Club Art Show 23 White Bird Gallery 91
Evans, Dick 7 Mouttet, Val 108 Wicken, Jessica 104
Evergreen Gallery 97 Museum of New Mexico Foundation IBC Wilde Meyer Gallery 21
Fairweather House & Gallery 91 Newcastle Packing Shed Wilder Nightingale Fine Art 51
Fitzpatrick, Robbie 19 Studios & Gallery 45 Winters, Pamela 104
Frankel, Mary 95 NOAPS 40 Wodark, Jim 25
Gallery 1261 8 O’Keefe, Melanie 12 Wolf, Liz IFC
Gallery 8 100 Obermeyer, Michael 25 Woytuk, Peter 1
Gallery by the Bay 49 Odom, Kathie 25 Yale Harris, Mark 7
Givinity Press 109 Outdoor Painters Society 87 Yeliseyev, Vladislav 25
Godshalk, Jennifer Morrison 107 Owen Nelson, Christopher 5 Young, Jeannine 96
Gray-Weihman, Carole 25 Pacheco, Rita 25 Zforrest Gallery 51

A Wonderful Mix of Friendship
and Philanthropy
Become a Member of The Circles

The Circles is the premier membership of the Museum of New Mexico Foundation.
Join us and enjoy an exclusive calendar of events that is especially designed to enhance your
appreciation of the art, history and culture of New Mexico. You’ll discover unparalleled
camaraderie with an intimate group of fellow members.
For more information contact Cara O’Brien at 505.982.6366, ext. 118 or email
cara@museumfoundation.org or visit museumfoundation.org/circles

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Skye Loving in White Leather 30 x 40 Oil on Canvas

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Flora %ODQF Reeder, Self Portrait, Foil on canvas, 19 x 27 inches.

BOOK TALK & SIGNING

SATURDA Y , OCTOBER 5TH , 2-5PM

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c Unbroken, acrylic, 60 x 60.

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Dressage Diva Please On Grandma’s Blanket

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        

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c Clyde Aspevig, Mount Henkel, Glacier Park Mountains, 2011, oil, 36 x

OCTOBER 2019 • WWW.SOUTHWESTART.COM 27

Laguna Beach Plein Air

WHEN 30 OF THE nation’s top plein-

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TIM SOLLIDAY’S illustrative west-

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Flora %ODQF Reeder, Self Portrait, Foil on canvas, 19 x 27 inches.