Andrea lives in Munich, Germany. She works full time as a commission portrait painter and figurative artist since 2008, and gives lectures about the foundations of traditional fine art painting. Andrea received a classical art education at Atelier Felicitas Meißer, studied on the ‘Master of Fine Art’ program at San Francisco’s Academy of Art University (AAU) and had the chance to learn from masters like Ted Seth Jacobs, David Leffel or Max Ginsburg. Her artwork was exhibited international and recognized with an international talent prize and a silver award in portrait painting.
Since September 2023, Andrea supports the Portrait Society of America by volunteering as the State Ambassador to Europe/UK.
Letter from the PSoA State Ambassador to Europe/UK
Dear European and UK Members of the Portrait Society of America,
Welcome to the 2nd issue of our European Members Newsletter and thank you for your contributions. While the last few months we have continued to build up a community of artists in Europe & UK united by their passion for portraiture and I’m grateful that the Portrait Society of America is offering us this opportunity. Connecting with other artists and sharing knowledge and information is a valuable benefit for us all. In this issue, I would like to introduce you to Janelle Hatherly, PSoA State Ambassador of Australia/NZ and guest author for our second newsletter. She has written a wonderful article for us to share her experience of attending this year’s PSoA conference in Atlanta. I hope you all enjoy reading the newsletter and look forward to your feedback.
Andrea Steinbauer
Guest Author: Janelle Hatherly
PSoA State Ambassador Australia & New Zealand
Janelle is a professional educator and writer who, for the past decade, has committed her energies to representational art and regularly works from life. Janelle has been honored as a finalist in several portrait contests in Australia and won the 2022 Dungog Archies art prize. In 2020 Janelle was appointed the Portrait Society of America’s Ambassador for Australia/NZ and successfully built up the well-connected ‘PSoADownUnder’ network. She also writes and edits articles for the Cecilia Beaux Literary Committee.
Janelle - Self-portrait
By Janelle Hatherly
The PSOA European Members Newsletter is a fine art newsletter with contribution from European members of the Portrait Society of America for the European members, compiled and written by the PSOA State Ambassador to Europe, Andrea Steinbauer.
Information about the Portrait Society: https://www.portraitsociety.org/ Membership: https://www.portraitsociety.org/join
Contributors: Frances Bell, Aapo Pukk, Rosanna Gaddoni, Fernando Garcia-Monzon, Günter Schwarz, Alex Faudé, Victoria von Kap-herr, Elske Wilton, Anges Janovics, Svetlana Semenova, Phoebe Stewart Carter, Chantal van den Brink, Elena Degenhardt, Francesco Armentano
Copyright: All contents and images of this newsletter are copyright by the authors/artists of the artworks.
Cover Artwork & Design: Andrea Steinbauer
“Broken” set up, paining from life
Awards Congratulations European & UK Artists
PSoA International Portrait Competition
Frances Bell (UK)
1st Honor Award
After her 2nd and 3rd place in past competitions and multiple other awards, Frances Bell was honored with the 1st Honor Award by the Portrait Society in The International Portrait Competition this year.
More then 3000 works from artists from around the world were submitted for the 26th annual The International Portrait Competition. Out of them the jury selected 20 works as finalists; amongst them Frances’s painting “End of Lockdown”. The finalists were exhibited while the Art of Portrait Conference 2024 in Atlanta, where Frances was a faculty artist as well.
Image by Frances Bell: “End of Lockdown“, oil on canvas
International Artist Magazine
Aapo Pukk (Estonia)
People & Figures: 3rd Prize
PSoA signature member Aapo Pukk was awarded with the Third Prize in the International Artist magazine contest “People and Figure“ and received a onepage feature in the American Art Collector magazine, published in issue no 224.
The idea for the family portrait “Mr. Tõnis Pahla with His Father and Sons“ grew from a meeting with his client and Aapo envisioned certain paintings from art history for his design strategy. But he also kept the style and aims of his sitters in mind who live in modern times. Aapo painted the oil painting in layers within about two months and his models came to sit for him several times.
Find more information about Aapo’s inspiration, design strategy and working process in the International Artist magazine no. 155.
Image by Aapo Pukk “Mr. Tõnis Pohla with His Father and Sons”, oil on canvas, 135x115cm
The Art of Portrait Conference 2024
Dear Fellow PSoA international members,
Andrea and I have been communicating about the challenges of coordinating interactions between members when the distances across our region are so great. As Ambassador for Australia and New Zealand since Covid-19, I have seen our group benefit from live Zoom meetings and an online newsletter.
I recently attended the 26th Portrait Society conference held at the Grand Hyatt in Buckhead Atlanta, Georgia (2529 April). Typically, the conference takes place around this time each year alternating between Atlanta and the Hyatt Regency Hotel in Reston Washington, DC.
Image: The Face-Off brings 14 of the faculty artists together to create masterpieces in two hours which are later auctioned to raise funds for PSoA scholarships.
Image: Keynote presentations showcase the best of contemporary realism
Image: Opportunities to sit around with friends and sketch a live model
By Janelle Hatherly - PSoA State Ambassador Australia & New Zealand
This is my third PSoA conference. The first one I attended with conviction as a new member, the second because of lucky circumstances and this last one because I was invited to write an article about it for the International Artist magazine. I thought three times would be enough for me – it certainly is for my wallet! The travel costs from Australia aren’t cheap and our dollar is only worth two thirds of an American dollar.
As a first-timer, there is so much going on over the three days that as well as being seriously impressed, one can also be overwhelmed. This makes the second time more enjoyable as you know what to expect and can prioritise your learning experiences. I expected the third time to be more of the same but found I loved renewing friendships and I could clearly see trends in the concepts I so needed to learn.
Image: There are plenty of demonstrations in which to learn basic techniques
For example, for the art/paintings we do, I saw many times over the need to simplify and focus on the essentials; consolidate and build sound foundations and then, only then, add details … and finish with bravado and boldness. And everyone falls short at some stage, and it’s okay to make mistakes. We learn most from our mistakes and self-forgiveness brings optimism and determination to do it better next time. The more time I spent with attendees, staff, volunteers and faculty, the more I realised what a very special tribe we are!
As realist painters we are but a small part of an ever-evolving art scene. I am so grateful that the Portrait Society of America is open to international members and we don’t have to struggle to establish our own societies. Their large membership means there is a full-time, small but dynamic staff able to offer educational opportunities all year round as well as showcase and celebrate the very best contemporary representational portraiture.
Images: The gala dinner is like attending the Oscars (above)
Hands on sessions to learn and practice techniques in small groups (left)
Technological advances and internet connectivity over the past thirty years have also brought artists and their practices the world over closer together. All the fine art and portraiture that has ever been collected is now accessible for viewing on-line and educational materials and guided instruction are there for anyone interested in learning. There’s more art (of all genres) being created than ever before and the standard in all has improved dramatically. With so many art styles it’s understandable only a small number of realism works are chosen in competitions. It’s the same everywhere.
Fortunately, the US with its larger population is able to support prizes that are purely for representational artwork. Australian artists can and do enter these, and do well. Through social media, Australian (and European) artists can now connect with like-minds, learn new skills, showcase their work and market themselves locally and internationally – virtually and in person!
We are now part of a global art community with increased opportunities for sales, competitions, commissions and workshops. I look forward to meeting some of you in person at a PSoA conference in the not-too-distant future. I’ll certainly be going again!
And best of all is catching up with all your new found friends who just happen to also be brilliant artists! Susan Lyon (left), Tina Figarelli (middle), Janelle (right)
Inspiration Concept to Plan a Composition
“Broken” - oil on panel, 50x70cm
Idea - Story Telling
I found the 70 years old doll at a flea market and wondered what the toy or the former owner may have experienced in their life. This was my inspiration to create a still life painting about the ups and downs of fate and the impermanence of existence by adding symbols to construct a narrative.
Picture Plan - Use of Geometrical Pattern
Using mathematical concepts as a strategy to create harmony and plan how a picture will be read was very popular while the Renaissance, and these rules are helpful to organize the elements of the picture until today. Inspired by Alberti’s proportions of beauty, which he described in his books in the early Renaissance, I’ve used the 9/12/16 ratio (double sesquitertia) to arrange the positions of the objects in my composition.
Whether it’s a portrait, landscape or still life, the composition is an essential element of a painting or drawing and builds the foundation of an artwork. Arranging the elements of a painting is like staging a theater scene, directing a movie or conducting a symphony orchestra. By carefully planning positions, shapes and forms, light and shadows or colors, we can communicate our vision, draw attention and lead the viewer through the picture.
Compositional sketch
Gathering objects
By Andrea Steinbauer
Other Strategies
Linear Design
To develop my linear design I decided to use a sight below the eye level. This perspective creates more depth than using eye level and fits well with the circular movement of the spiral I’ve chosen to lead through the painting.
To create interest, I’ve used objects of different shapes, forms, texture and size and contrasted man made objects with the flowers as natural elements, which act as symbols of transience as well. By using dimmed light to produce a low key composition I intended to enhance the mood of paintings theme.
Painting from Life
A still life is the perfect opportunity to paint from life, because you have an ideal sitter with endless patience who will never move. Since the flowers were starting to fade before I could finish the painting, I used color studies to capture their shapes and colors. In addition I made notes about the hue, values and saturation of the rose and the cherry blossom by using the Munsell color scheme.
News from Members
Exhibitions, Workshops and Other
Rosanna Gaddoni (Netherlands) – Recent Awards and Exhibitions
Rosanna’s work L’Attesa has received the Award of Distinction from the Allied Artist of America in the 2024 Associate Competition and she has been granted the Elected Membership status. L’Attesa is part of the online exhibition from 15 May 2024 until 15 May 2025 on the Allied Artists of America website.
Once again Rosanna’s drawings were awarded in the monthly PleinAir Salons, in April (Best Still Life Award) and in the May edition (Best Animal and Birds Award). Both works will be entered into the judging for the annual cash prizes and the Magazine cover.
Her work “A Wounded Ear” has been selected for the 64th Annual Society of Animal Artists, Art & the Animal Exhibition. The Exhibition will be at the Sioux City Public Museum and run between September 1 – November 30, 2024, with Opening Weekend on October 11-12, 2024.
News
Fernando Garcia-Monzon (Spain) - Finalist
“Queen Sophie 2024 Painting and Sculpture Award”
The Award ceremony was on Thursday 29th Feb 2024. Fernando Garcia-Monzon was Finalist with his work “Teo and Fellows”, a black & white portrait depicting two little girls with their pet dog. The jury appreciated his command of technique as well as the touching of the result. The renowned Q.S. Award takes place annually. On this occasion some 400 works participated. A selection of 56 of them were exhibited in Madrid at the “Buen Retiro” park, “Casa de Vacas” exhibition center.
Images by Rosanna Gaddoni: “L’Attesa”, 2023 and “A Wounded Ear” 2024
Image by Fernando Garcia-Monzon: “Teo and Fellows” Conté crayon on Canson paper, 80x120cm, 2023
Günter Schwarz (Austria) - Exhibition at Galerie Untergrub
From 24.03.24 till 14.04.24, Günter Schwarz had a successful exhibition at the Galerie Untergrub (located near Vienna). The group show “Katze in der Kunst” (Cats in Art), that featured 20 artists, attracted many cat lovers and art collectors and 4 of Günter’s 7 exhibited paintings were sold.
As a former veterinarian, cats are the perfect subject matter for Günter, who paints portraits, figure and others as well. After a thriving career in veterinary medicine, Günter dedicates his time to painting since 2016. He studied at the Art Academy Geras and at the Scottsdale Artists’ School where he learned from American masters like Robert Liberace, one of his favorite teachers, who also introduced him to the Portrait Society.
Günter participated in different exhibitions in Austria and Arizona, amongst them several shows at Galerie Untergrub.
Alex Faudé (Belgium) - Exhibition at EuropArtfair 2024 in Amsterdam
Alex Faudé, will be exhibiting seven of his paintings on September 6th – 8th, 2024, at the EuropArtfair in Amsterdam, the Netherlands. His aim is to inspire a greater appreciation for beauty and a deep love for the arts.
Alex is eager to connect with like-minded artists from Belgium and neighboring regions. If you plan to visit the EuropArtfair, be sure to stop by Alex’s booth to say hello.
Image by Günter Schwarz: Günter with his paintings at Galerie Untergrub
Image by Alex Faudé: Alex with his painting
Victoria von Kap-herr (Austria) - “Swallows”
Victoria tells us about her oil painting Swallows: “This model had the ideal bearing of a grande dame: robust, classical figure, with the requisite royal accessory of a small dog. But where do the birds come from, and just where is this regal dowager? Up in a tower accessible only to winged creatures, free flyers her pet watched covetously? Is she a monarch who prefers solitude and surveys what might be her kingdom from on high? Or is she imprisoned, confined to this small room and defiant as an itinerant painter is forced to create a remembrance of her for posterity?”
Currently Victoria is busy with commission work and her other projects have been on hold, but we are looking forward to learn more about the series she is developing when the time will be right to unveil the work.
Elske Wilton (Netherlands)Result of Robert Liberace Online Course
Elske presents us her painting, the result of an online course with Robert Liberace, about cool and warm colors. The aim was to explore warm and cool light on the head. Elske says: “It was great fun, we painted from photographs and this is the angry face of a Roman actor. It was a challenge and I can recommend Rob’s online courses for us Europeans!”
Image by Victoria von Kap-herr: “Swallows” oil on linen, 101,6x76,2cm
Image by Elske Wilton: Painting from online course with Robert Liberace
Feature of New Members
A warm welcome to all new European and UK members who joined us this year. Amongst them are Agnes Janovics, Svetlana Semenova, Phoebe Stewart Carter, Chantal van den Brink, Elena Degenhardt and Francesco Armentano who are featured in this issue.
Agnes Janovics (Ireland)
Agnes learnt sculpting for 2 years, when she was 20 years old. But her parents didn’t let her go to art school so she became an eye doctor with the secret plan that she’ll do it again. Agnes never learnt drawing before. Finally, at age 60 she started to draw, sculpt a little bit and begun to learn oil painting in January 2023. Agnes is planning to complete a good level knowledge in 2-3 years time to be able to start her new life in fine art.
Svetlana Semenova (UK)
Svetlana Semenova is a contemporary artist, based in London, trained in the classical-realist tradition. She is an Associate Member of the UK’s Society of Women Artists (ASWA).
Svetlana has exhibited in the United States, Europe and Russia, including numerous shows at the Mall Galleries in London. She has received several awards and scholarships for her still life and portrait paintings, and as the winner of the Dame Emma Thompson Women in Art Prize, she will have a solo exhibition in October 2024 with Cass Art in London.
Svetlana’s medium is primarily oils and charcoal, and her works include portraiture, still life and landscapes paintings and drawings. Svetlana’s work is firmly rooted in the tradition of representational art, particularly as passed down through the historical lineage of European ateliers and academies, while also incorporating modern materials and themes. Svetlana has completed courses in art and design at Central St. Martins, in academic drawing and painting at the School of Architecture and Design in Moscow, Russia, and she graduated from the London Atelier of Representational Art (LARA).
Images by Agnes Janovics: Oil painting and sculpture
Image by Svetlana Semenova: Svetlana’s painting “Beth” which won the Dame Emma Thompson Women in Art Prize
Phoebe Stewart Carter (UK)
Phoebe Stewart Carter is from Gloucestershire, England, and grew up between the UK and Maryland, USA. Phoebe began drawing at a young age but felt the need to understand the medium technically before using it expressively. In 2017 she studied at Sarum Studios in Salisbury, England, where she was introduced to academic drawing techniques that were taught through the 19th century. In 2018 she travelled to Italy to begin intensive training at the Florence Academy of Art (FAA) where she spent four years studying, as well as teaching. In 2023 Phoebe moved to Berwick-upon-Tweed, Northumberland, where she currently takes commissions and works on projects encompassing topics such as traditional portraiture and landscape, as well as travel, mining, and international supply chain. Stewart Carter exhibits internationally, and has been awarded prizes for her portraiture by The Royal Society of Portrait Painters, Art Renewal Center, and The Portrait Society of America.
Chantal van den Brink (Netherlands)
All her adult’s life, Chantal dragged a box with paints and brushes from the attic of one house to the cellar of the next, promising herself that one day she would pick them up. About 10 years ago, she actually did as a hobby next to her career as a healer and writer (Chantal wrote the trilogy “Letters from my Soul”). In 2016, she enrolled at the Amsterdam Art Academy Wackers to study figurative painting and sculpting and works as an artist nowadays. Chantal has a passion for form and color, she loves to portray people, to show their essence.
Image by Chantal van den Brink
Image by Phoebe Stewart Carter
Elena Degenhardt (France)
Elena Degenhardt is a German portrait and marine artist, living in France. Her experimental application of pastel - in wet-on-wet technique, with a brush and passion, on unusual surfaces - brought her international recognition and awards. Exhibited at Mall Galleries, London; Salmagundi, NYC; The Atkinson Museum Southport, UK; Abend Gallery, USA; Museum Ostwall at Dortmunder U, Germany, among others; featured in Fine Art Connoisseur, American Art Collector, Artists&Illustrators and Pratique des Arts, her art is in collections worldwide and archived on the Moon. She explores personally relevant themes of displacement, a sense of belonging, lost and found identities, fears, memory, time.
Francesco Armentano (Italy)
Francesco Armentano, was born in 1993 in Lodi, Italy, and currently lives and works in Crema, Italy. He never had any formal training in painting. Francesco studied Literature at the University, but never graduated. He is interested in several fields of visual arts, from classical art to modern art. Beyond that he is also interested in music and literature which he considers a source of influence and inspiration for his work as much as traditional visual arts.
Image by Elena Degenhardt: “Self in a cheese box” (from life), pastel on the inside of a cheese box, 9x9cm, 2023
Ruth Borchard Self Portrait Prize Shortlist
Image by Francesco Armentano: Francesco’s painting
Art Tip Studio Safety - Solvents
As artists we shouldn’t forget to care about our health while being creative and especially the use of solvents in oil painting is an important factor to concern. Typically solvents are used to thin the oil paint to tone a canvas or create an under-painting, they can be a part of oil painting mediums or used for brush cleaning. Most solvents like turpentine or mineral spirits are hazardous, flammable, and can cause damages to the environment when disposed incorrectly.
Turpentine
By Andrea Steinbauer
Distilled from the natural resin of pine trees with the typical pine fragrance. Turpentine is a fast drying solvent, because of its fast evaporation. But the fast evaporation causes a high exposure to harmful vapors which are flammable as well.
Mineral Spirit / White Spirit
Synthetic products of petroleum distillates. They are available in various forms. Amongst artists odorless mineral spirits (OMS) are popular to replace turpentine; they are further refined to remove more of the hazardous aromatic compounds and without the unpleasant kerosene smell. Odorless mineral spirit dries and evaporates slower than turpentine and causes less solvent fumes which can be harmful and flammable.
Other Alternatives
Nowadays we can find a variety of alternatives that are called “natural” or “non-toxic”, and offer a safer handling than turpentine. However the term “natural” doesn’t mean harmless and even so-called “non-toxic” substances might be harmful to the health or the environment if they are used incorrectly.
Whether using turpentine or other solvents, it is important to care about safety measures to prevent potential hazards. In general, any exposure to the solvent should be avoided and working in a well ventilated environment is necessary in most cases as well. Warning labels on containers, manufacturer’s handling instructions and product information should be read and followed. Detailed information about safe handling, first aid, fire protection, waste disposal and others can be found in the safety data sheet of the products.
Photo by Andrea Steinbauer
History of European Portrait Art
Anthonis van Dyck (1599-1641)
By Andrea Steinbauer
The Flemish Baroque painter Anthonis van Dyck is considered to be the most important portrait painter in the history of art. He painted compelling portraits of aristocrats, military commanders, artists and beautiful women, full of expressiveness and grace. Although he died early at the age of 42, he was able to create an extensive life‘s work, which fascinates until today. The career of the talented artist began to rise when the worked in the workshop of the great master Peter Paul Rubens. Van Dyck’s early artwork was dominated by the influence of his mentor, and he struggled with the overwhelming impact of Rubens. By leaving Antwerp and spending time in England and Italy, van Dyck finally succeeded in finding his own style as an artist.
Photos by Andrea Steinbauer: Anthonis van Dyck “Self-portrait”, 1620/21, oil on canvas, 81,5x69,5 cm (left), “Anna van Thielen with daughter Anna Maria Rombouts” 1631/32, oil on wood, 122,8x90,7cm (right), Alte Pinakothek Munich/Bayerische Staatsgemäldesammlung
Last Words Quote
“Painting is poetry that is seen rather than felt, and poetry is painting that is felt rather than seen.”
Leonardo DaVinci (1452 -
1519)
Photo Andrea Steinbauer: Leonardo DaVinci “Madonna of the Carnation”, 1475, 62x48,5cm, oil on wood, Alte Pinakothek, Munich / Bayerische Staatsgemäldesammlung
