INTERNATIONAL ENCAUSTIC ARTISTS THE SAN ANTONIO ART LEAGUE & MUSEUM JUNE 11 - AUGUST 11, 2023
Copyright © 2023 by Lyn Belisle
International Encaustic Artists and The San Antonio Art League & Musuem
All rights reserved. This book or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher and the artists whose works are included except for the use of brief quotations in a book review.
Printed in the United States of America
First Printing, 2023
The San Antonio Art League & Museum
130 King William Street San Antonio. Texas 78204
www.saalm.org
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WAX AND WILDFLOWERS
A COLLABORATIVE EXHIBIT FROM INTERNATIONAL ENCAUSTIC ARTISTS AND THE SAN ANTONIO ART LEAGUE AND MUSEUM
June 11 – August 11, 2023
International Encaustic Artists
www.international-encaustic-artists.org
San Antonio Art Legue & Museum www.saalm.org
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A Collaboration Takes Root and Blooms . . . . .
I have had the pleasure of serving on the Board for International Encaustic Artists for the last three years and always dreamed of a collaboration with that wonderful organization and the San Antonio Art League. Last year while we were discussing venues for the 2023 Juried IEA Exhibition, a “eureka’ seed germinated – it was a wildflower seed!
In the 1920’s there was a call put out from the San Antonio Art League to artists all over the world to paint Texas wildflowers. The event was called The Edgar B. Davis Wildflower Competition and was funded by a wealthy oilman who loved bluebonnets. It was a famous competition that has been written about in many art books. The first prize was $5000, which was unheard of at that time.
I thought, what if we revived the Wildflower theme for the IEA Juried show and brought it to San Antonio? Wax and Wildflowers? Encaustic artists could interpret it any way they wanted for the juror - as a call for sustainable plantings, as a metaphor for back-to-nature, as a straightforward flower interpretation, as eco-prints with encaustic – the ideas are limitless. Fortunately for all of us, both the Art League Board and the IEA Board thought this was a win-win. Wax and Wildflowers is the result, the first all-encaustic exhibit in this area. It is both a delight for the eye and an educational experience about how contemporary artists are using the fascinating medium of wax.
My profound thanks on behalf of the Art League to my friends in the International Encaustic Artists for the cooperation and inspiration, to our distinguished jurors, Bill and Linda Reaves, and to all the artists who shared their wild and wonderful work with us.
Lyn Belisle Kurtin President, San Antonio Art League & Museum www.saalm.org
SAALM Exhibition Committee:
IEA Exhibition Committee:
Lyn Belisle (Chair)
Michelle Belto
Nancy Gerfers
Claudia Langford
Stefani Job Spears
Mary Beth Swofford
Patsy Sasek
Michelle Robinson (Chair)
S. Kay Burnett
Gerry Burnett
Regina Quinn
Rhonda Raulston
Lyn Belisle
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Wax and Wildflowers…
Like many ideas that seem simple at first, the more we considered this theme for this year ’s International Encaustic Artists’ exhibition, the more we realized the endless creative possibilities it could offer our members. But of course, Lyn Belisle (who, in addition to her role at SAALM, serves as IEA’s Vice President) already had that expansive vision when she proposed it for consideration by the IEA Board of Directors.
And how grateful we are to have this opportunity to collaborate with the San Antonio Art League and jurors Bill and Linda Reaves to bring this lovely exhibition to life!
As President of the IEA I am continually awed by the dedication of our board members and our many volunteers who work incredibly hard to provide resources and opportunities for our community of international artists who share a passion for creating artworks that include wax media.
The IEA provides its member artists with a wide range of opportunities to advance professionally, to connect with other artists, and to share their work with an international audience. We produce a beautiful journal, Wax Fusion, which is available to all on our website. We support local chapters so that members can learn from one another and advance encaustics within their communities. We host educational retreats and offer grants and scholarships for member artists at all stages of their careers. We share IEA members’ art through social media. But among the most eagerly anticipated opportunities we provide is the chance to be included in a major exhibition.
Some artists included in this exhibit have an extensive history of exhibitions and for others, this may be their first national or international show. I believe that is among Wax & Wildflowers’ many strengths as it brings together new and experienced artists, all of whom reflected on a theme with historical roots while turning their vision forward, keeping it contemporary and fresh while honoring the artists who considered the wildflower theme a century ago.
My deepest appreciation to all of the artists who submitted their work to this call for entries, to Michelle Robinson, IEA’s Exhibitions Director, and to all the SAALM and IEA volunteers who made this show possible.
Regina B Quinn President, International Encaustic Artists
Learn more about IEA by visiting our website: www.international-encaustic-artists.org/
Many thanks to artist Carol Lelivelt whose work, Marymoor Park Queen Anne’s Lace, was chosen as the representative image for our exhibition graphics.
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About the Jurors
Dr. William E. Reaves and his wife Linda served as Jurors for this show. Bill Reaves wrote the book Texas Art and a Wildcatter’s Dream: Edgar B. Davis and the San Antonio Art League.
Bill and Linda Reaves have contributed to the Texas art community as authors, guest curators, and organizational directors. Mr. Reaves served on the Board of Directors of the San Antonio Art League, and also served as Founder and Chairman of the Board of the Center for the Advancement and Study of Early Texas Art (CASETA). He has also been an active member of collector societies in Austin and Houston.
Both Reaves have served as guest curators and/or advisors for exhibitions in institutions such as the San Antonio Art League Museum, The Heritage Society-Houston, and The Lady Bird Johnson Wildflower Center. They’ve written numerous books and publications on Texas art and artists as well as establishing William Reaves Fine Art (now Foltz Fine Art), a Houston gallery specializing in Texas art.
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Jurors’ Statement
It has been our distinct pleasure to judge entries in the San Antonio Art League’s groundbreaking exhibition entitled “Wax and Wildflowers.” The works collected here truly advance the grand tradition of Texas wildflower painting, thrusting the subject squarely into a new century by offering striking new varieties and dramatic new interpretations of a venerable, always popular, Texas genre. The number, quality, and diversity of works submitted was quite impressive and presented a very tall and challenging order for us in attempts to winnow down the many excellent submissions to relative few.
We realize that any effort to judge art is an inherently biased process, yet we submit that we have tried to objectify our selection process to the extent possible. We have tried to consider our selection criteria within the context of the unique wildflower theme underlying the exhibition. Within that context, four primary factors have guided our selections here. These include:
1. The artist’s distinctive interpretation of the wildflower subject matter, both in terms of overall strength of composition, as well as creativity and sensitivity of presentation.
2. The presence of vivid color and/or resonating tonal qualities which accentuate the wildflower theme and subject matter.
3. The use and application of encaustic media as a tool to enhance both richness of surface textures and add value to the intrinsic compositional elements of a work.
4. Capturing the broadest possible range of artistic style, motif and genre within final selections.
As judges, we are deeply indebted to all of the artists who lovingly responded to this call for work and assure all entrants that viewing each and every work has offered us considerable joy and appreciation. Whether ultimately juried in or out, we deem all works submitted to be both worthy and effective in their own right. Thus, it has been our extraordinary privilege and opportunity to view and engage with such a strong body of work, reminding us of the natural beauties of ubiquitous wildflowers all about us as well as the enduring virtues of encausticbased media. We thank all involved (most especially the artists) and wish all involved a pleasant and delightful experience.
Bill and Linda Reaves, June 2023
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FROM THE IEA WEBSITE: About Encaustic
Encaustic is a painting method, also known as hot wax painting, that involves using melted beeswax. It is usually applied to a rigid, porous, surface such as wood, stone, plaster and so on, and can be reheated into a smooth or textured finish. Powered pigment and oil paint are often used to colorize the wax. Many artists use encaustic medium which is made from adding damar resin from the Dipterocarpaceae family of trees located in India and East Asia. The resin is used as a hardening and stabilizing agent for the wax.
Heat guns, torches and irons are used to manipulate the wax, and hot guns and irons are used to apply heat to bond each layer together. The wax can be reheated and reworked, and because it is impervious to moisture it will not deteriorate. Encaustic lends itself to painting and sculpture, as well as for dipping into and painting on paper. Different opaque and translucent effects are possible, and the wax can be textured, scraped and polished to a high sheen. Working in encaustic is completely, wonderfully different than any other medium.
Encaustic printmaking is a technique that uses an anodized aluminum hotplate. Encaustic paint is applied and manipulated on the hot plate and when the drawing is complete, paper is laid over the hot wax, soaking into the paper. The technique can be done more than once on the piece, and unusual effects can be produced. Lighter papers become beautifully transparent.
History of Encaustic
The word encaustic which means “burn in,” originates from a Greek word. Greek artists practiced encaustic painting as far back as the 5th century B. C. and today these paintings are as bright and glowing as the day they were painted. The website of R&F Handmade Paints has a complete Encaustic History.
www.international-encaustic-artists.org/Aboutencaustic
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WAX & WILDFLOWERS ARTISTS
Emma Ashby
Shary Bartlett
Lyn Belisle
France Benoit
Julie Blythe
Pascale Bouchard
S. Kay Burnett
Patricia Busso
Sue Conner
Chris Craft
Paula Day
Sherry DeGennaro
Andy DeWeerdt
Tannis Engel
Tracy Finn
Susan Greenbaum
Angela Hansen
Linda Ippolito
Wanda Ann Kinnaman
Susan Kirchman
Gigia Kolouch
Rebecca Lamson Nitsche
Claudia Langford
Carol Lelivelt
Laura Martinez-Bianco
Francine Michel
Regina Quinn
Michele Randall
Rhonda Raulston
Leah Read
Mary Jo Reutter
Josie Rodriguez
Patsy Sasek
Tonya Shuler
Melissa Stephens
Joan Stolpen
Mindy Tillery
Sarah Treanor
Stan Unser
Lonnie Zarem
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Emma Ashby
The Haze of Summer
22 x 10 x 1 inches
$995
Encaustic painting of wild flowers on a hazy summers day. Reminiscent of English meadows.
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Shary Bartlett
12.5
$150
Across time, civilizations, and religions, the quiet, natural beauty of flowers has touched human lives, bringing solace, celebration, and connection.
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$400
Covid challenges have caused personal, cultural, and global metamorphosis, however, like flowers, we are emerging from winter to bloom beautiful.
$450
Like spinning dancers, these bursting flower petals are vibrant, wild creations of the imagination.
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Meet Me in the Middle
x 8 x 1 inches
About Face
x 27 x 27 inches
Pirouette
72 x 50 x 30 inches
Lyn Belisle
Poppies and Snakeweed
20 x 20 x 3 inches
$450
Poppies and Snakeweed is a metaphoric work about the beauty of wildflowers, the dangers and harshness of the wild country in which they grow, and the oblivion and innocence of children. The work is done on a cradled panel with layers of wax and mixed media.
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France Benoit
Croquer le ciel (Bite the sky)
36 x 19 x 1.5 inches
$1200
Tryptic on wood pannel. I used encaustic, oil stick and oil pastel
IEA Board Award of Excellence
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Julie Blythe
Rooted in Gold
36 x 12 x 1.5 inches
$750
As the artist behind “Rooted in Gold,” my intention was to showcase the stunning beauty of the bluebonnet, a wildflower that blooms in the hill country during springtime. The painting features a stylized bluebonnet with shimmering gold roots, highlighting the critical role that roots play in sustaining and supporting these plants.
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Pascale Bouchard
Nymphaea
20 x 20 x 1.5 inches
$600
My Nymphaea work is one of my latest encaustic and shellac creations on wood panel. Through this creation which inhabits the entire support, I wanted to approach the emerging center of the flower. Improvised in its form by the use of my torches and inspired by a flower called Blue Lotus, this very textured work in its center allows us a relationship and a private observation with this beauty of nature. Fluidity, movements and relief make my encaustic technique and my favorite subject “femininity through its natural and authentic beauty” vibrate in unison.
Amours en cage
20 x 20 x 1.5 inches
$600
Work in encaustic and shellac on wood panel.
“Amours en cage” is the visual symbolism of the attachment and relationships that life places on our path. Crossings sometimes complementary and on other occasions... confronting but growing.
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S. Kay Burnett
Fire Poppies
18 x 18 x 1.5 inches
$1200
Encaustic and handmade paper. In California, the rare fire poppy blossoms in places that have recently burned. After all the fires and floods, poppies are becoming a symbol of recovery and hope.
The Collector Revisited
18 x 18 x 1.5 inches
$1200
Encaustic and beeswax crayons. In 2013 I painted a small photo realistic version of “The Collector.” It was the first piece that made me feel like I really was an artist. The revisit is a larger, bolder, more abstract version drawn with beeswax crayons and painted with encaustic. It’s a reminder that sometimes we just need to play.
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Patricia Busso
inked flowers
12 x 16 x 1.5 inches
$650
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Sue Conner
12 x 12 x 1.5 inches
$125
Eco print on paper, enhanced with encaustic medium and paint, pigment stick and PanPastel
My need to find balance in life is manifested throughout my artwork. I have spent considerable time reflecting on the people, places, and events that have left memorable impressions on my life - all of which contributed to finding and maintaining balance. This is reflected through the intent of my art where I have pushed myself to create work that communicates a more personal and significant meaning.
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Nature Whispers XIII
Chris Craft
Passenger View
12 x 12 x 1 inches
$488
This image is from my memory of staring out the passenger window on a trip through Texas. The landscape hastily moves by merging all the details into horizontal stripes of color. Fields of daisies turn into masses of yellow. Perfect for interpretation with encaustic paint. Framed.
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Paula Day
$300
Encaustic wax / multi medium. I am inspired by the great beauty of small flowers sprinkled across the countryside celebrating the arrival of spring.
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And the Flowers Sing of Spring
8 x 10 inches
Sherry DeGennaro
$775
I describe the type of my painting as “Representational abstract” suggesting organic shapes, colors and textures in the real world, yet also something unquantifiable and emotional. There’s something familiar, yet not. The eyes beg to linger. This piece wrought in encaustic hot wax medium, an unpredictable translucent molten medium captures a group of wildflowers and a few halfway to seed, and ...possibly something of the artist or viewer as well.
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In the Pink
20 x 20 x 2 inches
Andy DeWeerdt
Flower Nymph 2
10 x 10 x 1 inches
$850
Flower Nymphs were usually depicted with Hyacinth for hair
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Tannis Engel
Flowers and Ice
10 x 12 x 1.75 inches
$75
Part 2 of Flowers and Ice showing again the intensity of spring colours against a wintery background. Giving us hope that spring is coming.
12 x 36 x 1 inches
$200
Inspired by the vibrancy of wildflowers in spring blowing in the wind along a ditch or field edge.
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Flower Fence
Encaustic with oil on birch panel
Tracy Finn
Daydream
8 x 8 x 1.5 inches
$500
The base layer for this painting was a collage using handwritten letters, abstract acrylic painting segments, and a newspaper found in my grandparents garage in the 1970s. My focal point is a floral watercolor which I collaged onto the abstract composition. The layering of encaustic medium and encaustic paint was done section by section, with each color and design decision influencing the next.
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Susan Greenbaum
Morning Mist
12 x 12 x 1.5 inches
$400
Mostly Oil and cold wax with some mixed media ink. The hope here is to capture the essence of a wildflower field in a few elements to make a powerful image in color and design. It is framed in a black floater frame.
Backard Surprises
12 x 12 x 1.5 inches
$350
This painting is done in oil and cold wax medium with some mixed media. This piece is an intuitive expression of what one might find in a wooded back yard. It is framed in a natural wood floater frame.
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Angela Hansen
Arrowleaf Balsamroot
18 x 14 x 2 inches
$640
Here in the Okanagan, the Arrowleaf Balsamroot’s appearance is a sure sign that spring has arrived. Their cheery yellow faces cover the grassy slopes all around us.
Encaustic painted with traditional brushes and oil stick rubbed into scribed lines on watercolour paper mounted onto wooden cradle board.
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Linda Ippolito
Fields of Reflections
6 x 12 x 1.5 inches
$850
I was inspired to revisit my Plein Air painting of the wild fields in Tuscany. The medium is encaustic with pigment sticks.
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Wanda Ann Kinnaman
Jack in the
Frame
21 x 11.5 x 2.5 inches
$410
Jack in the Frame’s inspiration comes from the striped, purple, maroon, and greencolored Jack in the Pulpit plant I found growing below my studio which is located in the Smoky Mountains of North Carolina. The unique appearing plant is easily recognized by its “Jack” standing erect in his pulpit.
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Susan Kirchman
Vanishing
III
18 x 18 x 1.5 inches
$688
This series of work is inspired by the ever worsening effects of climate change on the flora and fauna of our world.
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IEA PRESIDENT’S AWARD
Gigia Kolouch
Cocklebur and Overpass
8 x 8 x 1.5 inches
$135
“Weeds” are beautiful even at the end of winter. Encaustic with photography and Ceracolor
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Rebecca Lamson Nitsche
Winter’s Promise
8 x 10 x 2 inches
$325
I used flowers and other plant materials from my gardens to dye the silk, which was then embedded on a wooden panel using encaustic medium. This piece includes an encaustic dipped and sculpted Asclepias tuberosa seedpod and seeds, as well as rose gold foil etched Eutrochium purpureum. Here in Wisconsin, I let perennial stalks and seeds stand in my gardens to provide winter interest and represent a promise of new life to come.
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Claudia Langford
On a San Antonio Street
11 x 14 x 0.5 inches
$250
There is a house on our street that explodes with colorful wildflowers each spring. The owners let the grass grow long so the wildflowers feel right at home.
Wonderful Weeds
11 x 14 x 0.5 inches
$250
Cutting through the alley while walking my dog, I saw delicate blue, pink, and white wildflowers growing on an outcropping of weeds. They looked very happy to be where they were at that moment in time. So with a little help from Photoshop, they really put on a colorful show!
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Carol Lelivelt
14 x 11 x 1 inches
$275
I layer encaustic medium and paint with photos I’ve taken that are digitally manipulated and printed onto silk tissue (gampi). The final layer is a sprinkling of metallic pan pastel that is lightly fused into the medium.
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Marymoor Park Queen Anne’s Lace
IEA Board Award of Excellence
Laura Martinez-Bianco
Golden Fields
5 x 7 x 1 inches
$400
A desert bloom in Southern California. Golds and yellows everywhere.
Last of the Poppies
18 x 6 x 1 inches
$700
Just cannot resist the poppies.
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Francine Michel
Trash Dump Flower
10 x 8 x 1 inches
$225
This is an encaustic mixed creation. While taking the trash to a New Mexico Dump I spotted this flower. I had never seen a flower like this. Each stem had a petal of a different color. I stayed around until I felt I had captured enough of it to share.
Sunshine Poppers
15 x 15 x 2.25 inches
$325
This encaustic mixed piece was begun with a sky created from water mixable oils. When I was ready for the flowers,I used a wax stylus. Creating texture in different colors captures sunlight and makes this piece glow.
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Regina Quinn
Paradise Burning
14 x 11 x 1.5 inches
$2200
Inspired by the devastating wildfires that burned the lush flora of the Pacific Northwest during the summer of 2021. This work incorporates a gelatin monoprint with encaustics, oils, and India ink on panel.
The Forest Floor, A Universe
10 x 10 x 1 inches
$2000
As I walk through the northern forest, I am awe-struck by the rich diversity of life on the forest floor beneath the leaf-litter. This painting, in encaustics, oils, and India inks, pays homage to the universe that unfolds as you look more and more closely at the world beneath your feet.
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Michele Randall
JURORS’ AWARD
Hazel and Cress
22 x 30 x 1.5 inches
$295
Encaustic and cyanotype painting. The cyanotype print features the Witch Hazel and Hairy Bittercress flowers. Both plants are native to my Pennsylvania home. The Witch Hazel flower appears in February, in the coldest part of our winter, giving a burst of color to an otherwise bland landscape. The Hairy Bittercress, typically considered a weed, arrives in March and April. Often, the two flowers coincide, bridging the end of winter with the begining of spring.
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Rhonda Raulston
Lovinia’s Journey
7.75 x 28.75 x 3.37 inches
$750
The theme of this exhibition gave me an opportunity to combine my ongoing interests in genealogy & family history with herbal lore and art. My mother’s family arrived from England in the 1600s and steadily moved westward, culminating in the birth of my grandfather, who was born in 1880 in the wilds of the Colorado San Juan Mountain Range midway through the family’s journey from Illinois to California.
These journeys were full of hardship and danger and the only available medical help came from the herbal remedies that had been carefully handed down through generations. The plants in these remedies were often found in fields of wildflowers and from plants found along the journey.
As an homage to my great-grandmother Lovinia and the accumulated knowledge of generations of women, I imagined what her Herbal Receipts journal would look like - ailments paired with healing herbs, recipes (or “receipts”, as she would have said), sketches of the plants, and advice.
I used materials that would have been available to my great-grandmother. The pages of the journal are made from lightweight paper; the sketches are pen and ink, colored with gouache paint, and slightly aged as if they were over 100 years old. Each page is encased in protective beeswax, and the elegant “handwritten” entries are photo transfers embossed into the wax. I imagined that her journal was hand-made, especially for this purpose, and was carefully passed down through generations.
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Was Here
12 x 4 x 3 inches
$330
Growing up in rural coastal Marin County, nature has always been an important part of my life. With the National Seashore, State Parks, and endless wildlife areas at my back door just waiting to be explored, it is no surprise that themes of nature are ever present in my work.
My encaustic floral works are an abstract, dream like representation of blooms. With my Novel Bloom series I merge my love of typography, in the form of book pages, with my love of florals. The text adds texture and mystery to the threedimensional forms of the blooms.
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Leah Read
Mary Jo Reutter
After the Bloom
20 x 10 x 1.5 inches
$1200
This piece is based on wildflowers that were spent and the blossoms fallen to the ground, ready to give up their seeds to the next generation. It’s created with encaustic, embedded monoprints, wax crayon, varnish burn and embedded bark and seeds.
Poppin’
12 x 12 x 1.5 inches
$450
California Poppies are everywhere this spring. Due to the rare amount of rain in Southern California we’ve been blessed with a super bloom, and these happy orange flowers are poppin’ up all over. Mixed media, created with encaustic, pigment paint, embedded original photography prints, mono prints on rice paper, and pan pastel.
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JURORS’ AWARD
Josie Rodriguez
Himalayan Blue Poppies
8 x 8 x 1 inches
$275
Layered images with encaustic medium on birch wood panel. The color of this blue took my breath away and I knew it had to be part of an encaustic piece, especially with the theme of Wax and Wildflowers.
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Patsy Sasek
Days of Wildflowers and Wine
16 x 12 x 2 inches
$325
I love the beautiful still life of lazy afternoons just gazing on gathered wildflowers and sips of wine. The bees have come to this little party too to create a timeless time travel in acrylic and wax.
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Tonya Shuler
Nature’s Stillness
15 x 8 x 1.5 inches
$290
Crane amoungst lily pads
Amethyst Bloom
9.5 x 9.5 x 0.5 inches
$110
Lavender Abstract Flower
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Melissa Stephens
JURORS’ AWARD
Dear Della
10 x 10 x 2.25 inches
$325
Beeswax, damar resin, dried daffodils & pressed flower petals, embedded papers & graphite on cradle board
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Joan Stolpen
Bountiful Blossoms
24 x 24 x 1.5 inches
$1200
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Encaustic with mixed media on wood panel
SAALM PRESIDENT’S AWARD
Mindy Tillery
Petals & Wings 3
12 x 12 x 1.5 inches
$375
This mixed media encaustic painting is a layered collage; the female figure floats effortlessly among the dreamy surreality found in nature. It is part of the series titled Flora & Fauna Fantasy.
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Sarah Treanor
Hill Country Blue
12 x 9 x 1 inches
$250
This piece incorporates encaustic wax layers with floral elements and old topographic maps, celebrating the heart of my home state.
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Stan Unser
Blue Bonnets
24 x 20 x 1.5 inches
$435
Digital collage in encaustic, copper patina, oil. Aluminum substrate combining multiple blue bonnets and two superimposed abstracts at the bottom in oil.
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Lonnie Zarem
Fields of Spring
48 x 44 inches
$10000
This is a large Encaustic Monotype. This was inspired by the absolute beauty that is present now, after the incredible California rains this year. The grasses, the flowers, the air, is so alive with color and movement that I can feel it flowing in me. In this piece I wanted to paint it as though I am in the field, surrounded by wildness, color, and flowers and then I can look on an on and only see more!
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IEA Board Award of Excellence
About the San Antonio Art League & Museum
The San Antonio Art League was organized on March 13, 1912. It was founded by volunteers, and 111 years later continues as a beloved, an all-volunteer organization, carrying on the rich traditions and history of its founders while providing contemporary exhibition opportunities for its member artists. Volunteers also care for the extensive Permanent Collection, an invaluable record of the cultural and social artwork of the city and the region. The San Antonio Art League and Museum is a unique hybrid of past, present, and future.
Home for the San Antonio Art League & Museum (SAALM) is a venerable building in the heart of the King William Historic District. Built in 1896, this intimate house-turned-museum and gallery now houses over 600 works in its permanent collection, which focuses on Texas artists. Works in all mediaincluding paintings, drawings, prints and photographs, ceramics and sculpture - are available for public viewing. Revolving contemporary exhibits highlight both local and regional artists, and represent the unique work of diverse Texas talent. Notable Texan artists such as Robert and Julian Onderdonk, José Arpa, Emma Richardson Cherry, E. G. Eisenlohr, Martha Mood, Charles Umlauf, and Amy Freeman Lee are represented in the league’s diverse and highly respected collection.
The San Antonio Art League is an all volunteer non-profit organization that is supported by its membership and by donations.
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About International Encaustic Artists
The International Encaustic Artists (IEA) organization is a dynamic and inclusive community dedicated to promoting and advancing the art of encaustic painting worldwide. Founded in 2006, IEA has become a leading platform for artists working with encaustic, a medium that involves the application of pigmented wax. With a global membership, IEA fosters collaboration, education, and dialogue among artists, educators, and product developers.
The organization offers numerous resources, including workshops, exhibitions, conferences, and a vibrant online presence, connecting artists from different backgrounds and fostering innovation within the field. Through its commitment to artistic excellence and the dissemination of knowledge, IEA plays a vital role in elevating the status of encaustic art and supporting its practitioners. IEA’s signature publication, Wax Fusion, sets a benchmark of excellence in online art journals and it is provided without cost to the public.
One of the valuable initiatives of IEA is its grant program, designed to support and encourage artists working with encaustic techniques worldwide. These grants provide artists with financial resources and opportunities to further their artistic endeavors.
International Encaustic Artists is an all volunteer non-profit organization that is supported by its membership and by donations.
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www.international-encaustic-artists.org
www.saalm.org
