PSWC Magazine Fall 2020

PSWC magazine

PASTELS USA 2020

All the award winners and accepted entries at our biggest show now Online

The Heart of An Artist Artist Harley Brown talks about art and life with W. Truman Hosner

Meet the Members

Cindy Gillett shares her artistic journey .

Beyond PSWC

Laura Pollak chats with Lyn Asselta

Online Teaching

Susan Kuznitsky offers her thoughts on The Thought by Harley Brown

teaching during a pandemic

Pa s t e l S o c i e t y o f t h e W e s t C o a s t Volume 13, Issue 2

Fall 2020

PSWC Magazine | Fall 2020

1

congratulations to the Pastel Society of the West Coast and all the Artists in the Pastels USA 2020 Show!

2

www.pswc.ws

PSWC magazine Table of Contents

FEATURES SPECIAL SUPPLEMENT PASTELS USA 2020 Winners & Accepted Entries The Heart of an Artist W. Truman Hosner Interviews Harley Brown Meet the Members Cindy Gillett shares her passion for art Beyond PSWC: Laura Pollak talks to Lyn Asselta

8 50 68 74

ABOUT ART Art Class Goes Online Susan Kuznitsky’s adventures in teaching Gallery Tour Featuring Karen Horne Karen Miller & Marianne Harris Art School Marie Tippets shows us her technique Art Workshops Workshops Coming Up

80 84 90 94

REGULARS Letter from the PSWC President From Sabrina Hill

4

Meet the Contributors Who’s Who in the Magazine

5

Scholarship Winner Say Congrats to Natalie Schmidt

98

PSWC Housekeeping Here’s who’s new in the Society

99

PSWC Magazine | Fall 2020

3

Letter from the President & Editor

Dear Pastelists,

Since the last issue of the Magazine in February, 2020, the world has been engulfed in chaos. COVID-19, shelter-in-place, hurricanes, wild fires, earthquakes, heat waves, snowfall in July, protests...it’s been quite a year, and it’s not over yet!

In spite of all of this, artists gotta paint, so we canceled our brick-and-mortar show PASTELS USA and went online only. The response was positive and overwhelming: we had the largest pool of applicants ever, as you will see on the following pages (and on our website, www.pswc.ws). We received entries from all over the world as artists entered without fear of having huge shipping charges.

PSWC is fortunate to have wonderful volunteers to work on our many projects. Jan Miller, Chairwoman of PASTELS USA, kept us organized and on track after the decision to go from a live show to an online show. There are lots of moving parts to pulling together an event like this, and she managed them beautifully. Susan Goodmundson handled donations in addition to her roles as Treasurer and VP. There would have been no prizes if not for Susan. Rita Romero and Ranjani Mohana put together the presentation slideshows to announce the entries and winners. These slideshows take technical expertise and lots of patience. They are beautiful and can be seen online as well.

A huge thank you to our jurors, Mary Aslin, Brian Bailey and Julie Freeman for evaluating nearly a thousand paintings. This is a time-consuming task, made harder by the terrific quality of the entries. Judge W. Truman Hosner spent days looking at the 171 pieces determined by juror scores, to arrive at the 25 award winning pieces. We are so fortunate to have these experts to share their time and experience with us.

I have emmence gratitude for the people who help me create content for the Magazine.

Truman’s interviews for his series, The Heart of the Artist, are beautifully researched and prepared, Laura’s interviews show us a very human side to the artist, and Susan always gives a glimpse into her unique view of art. This month, Marie provides a lesson is creating a realistic painting. Thank you, my friends. I could not do this without you!

Also since our last issue, we have lost two important pastelists. Our own Pastel Laureate, Daniel E. Greene died in April, just a few months after his interview with W. Truman Hosner in this magazine. Another pastel great (and member of PSWC), Elizabeth Mowry passed away in July. She and Daniel left a remarkable impression on scores of students whose art and lives were shaped by their talents and wisdom. They will be missed.

“Develop interest in life as you see it; the people, things, literature, music- the world is simply throbbing with rich treasures, beautiful souls, and interesting people. Forget yourself.

Henry Miller

4

www.pswc.ws

As we continue on this journey with all the citizens of the world, remember this: There is an artist inside of all of us, a creative spirit that has a lust for beauty and an desire for that made by the skill of our hands and the strength of our imagination for the pleasure of our souls.

Keep painting and love one another!

Sabrina Hill PSWC President and Editor, PSWC Magazine

Contributors Contributors W. Truman Hosner, PSWC-DP, IAPS-MC, PSA-MP received his Bachelor of Fine Arts and was a Former Instructor at Center for Creative Studies in Detroit. He is a Master Pastelist with PSA, PSEC and IAPS, a Distinguished Pastelist with PSWC, and a Signature Member with DPS. Truman earned his BFA at Wayne State University and studied at Scottsdale Artists School with Harley Brown and Dan Gerhartz.

Before moving into fine art, as a nationally recognized illustrator he produced illustrations for brands such as Readers Digest, CBSFox Video and Kennedy Center for the Performing Arts. Paintings by W. Truman Hosner are featured in national and international museum collections and exhibitions ranging from New York City...to California...to Canada...to France...to Asia.

Susan Kuznitsky, PSWC-I was very lucky that my parents noticed my interest in art all the way back in high school and signed me up at the Village Art School in the suburbs of Chicago. It was a traditional art education, working in charcoal from plaster casts, then oils, then watercolors. I was guided to the American Academy of Art in Chicago after high school. I fell in love with the Impressionists and became completely smitten with the pastels. Since there was very little instruction at that time in this medium I decided to move to Woodstock, New York to study with Master Artist Albert Handell because he needed a studio assistant. I worked in that capacity for the next two years. My husband’s death deepened my desire to experience life to its fullest, recording all the beautiful moments through my art.

WANT TO GET INVOLVED? There’s always room for more.

Let us know what you want to do, and we’lll find a spot for you!

KEEP IN TOUCH & FOLLOW US!

Laura Pollak, PSWC, PSA, PSNC, SPS is an award winning Fine Artist, showing her works in galleries and museums across the nation.

Her works have been juried into National and International Shows.

Most recently Laura won First Place in the North Carolina Statewide Show. She has garnered acclaim in the very prestigious International Association of Pastel Societies, and the Pastel Journal’s top 100 pastels. Her work has been published along with an interview in the THE PASTEL JOURNAL and in November 2019, was featured in the book STROKES OF GENIUS available worldwide. Pollak holds a Masters Degree in Fine Arts from Michigan State University with Post Graduate studies from the Center for Creative Studies in Detroit, Michigan.

ABOUT THIS ISSUE

Marie Tippetts, PSWC, PSA, IAPS-MC My current body of work is

InDesign Magazine Template

motivated by my enchantment with light and all of its subtle nuances.

I am endlessly fascinated by the effects that juxtaposed objects will have on one another once the light dances across their forms and casts shadows upon their surfaces creating strange and often unexpected shapes. I have come to love and wait for my favorite light which is the natural light of the late afternoon, when the color of the setting sun casts a warm glow onto the set, and drips long slinky shadows over everything – it’s just magical to me. It’s the magic that turns an ordinary arrangement of objects into a story that is worth telling. I am a member of the International Guild of Realism. I am also an active member of AAUW/Laguna Beach. My work in held in private collections nationally.

Our magazine format was a big hit! This format allows us to add more art and gives readers a PDF version or an online digital version to read on mobile devices.

Designed by Erick Ragas StockInDesign Inc. www.stockindesign.com @stockindesign Fonts: Sabon, Aller Display, and Open Sans All photos are property of the artists

PSWC Magazine | Fall 2020

5

PSWC Magazine

We. Are. Pastelists.

Join the most dynamic pastel group in the USA for less than 20c per day You don’t have to live on the West Coast to become a member. With PSWC members located around the US, as well as international members, the Pastel Society of the West Coast offers a strong voice for expanding the presence of soft pastel as a major fine art painting medium.

PSWC was organized in 1984 to promote pastel artists and the soft pastel medium. Today, PSWC is one of the most recognized pastel societies in the country, with an ever-increasing international presence. Benefits include: Pastels USA Annual Exhibition | Members Only Online Competition | Workshops by Noted PSWC Artists | PSWC Social Media Exposure Opportunities | Free Online Gallery | Critique Program with Master Pastelists | Membership in IAPS | No Juried Membership, unlike other societies.

CHANGES DUE TO COVID-19: We are offering online classes, see the workshop section online and in this magazine. We know it’s difficult to shelter-in-place and social distance, but it can make room for some wonderful workshops. In addition, our next competition, Membership Only Online Show (MOOS) is coming up in the new year. Start working on your next masterpiece!

6

www.pswc.ws

PSWC Magazine

Copyright Š 2020 to Jack Richeson & Co., Inc. All Images and Content; all rights reserved. | 557 Marcella Street Kimberly, WI 54136 | 1.800.233.2404 | 920.738.0744

http://richesonart.com

PSWC Magazine | Fall 2020

7

8

www.pswc.ws

The 34th Annual International Open Exhibition of

A Dynamic Journey!

A Special Supplement PSWC Magazine | Fall 2020

9

Pastels USA 34th Annual International Exhibition

PASTELS USA 2020: A DYNAMIC JOURNEY The 34th Annual International Exhibition of PASTELS USA: A Dynamic Journey is officially judged and complete. And this year, “A Dynamic Journey” doesn’t begin to sum up what it took to get here. A pandemic, two brick-and-mortar show cancellations, and the most entries we have ever had with some of the best art we have ever seen. We are grateful to every artist who entered, and we applaud every artist who was accepted, and we congratulate every artist who won an award. It was a tough year, but the spirit of these and EVERY artist is what it means to see good in the world and have faith in humanity.

We thank our wonderful chairwoman, Jan Miller, for the outstanding job she did keeping us organized and forwardmoving as things changed and Susan Goodmundson, who handled Ways and Means as well as her job as Treasurer and Vice President. Rita Romero managed our social media and prepared a video of all the entries for our YouTube channel and Live awards ceremony, and Ranjani Mohana who made the Winners video for the live ceremony on August 30, 2020.

Finally, our deep gratitude to our jurors, Mary Aslin, Brian Bailey, and Julie Freeman for the awesome job they did in assessing the entries and to the incomparable W. Truman Hosner for his expert judging and for the insightful video he made about the top winners.

Jan Miller– Chairwoman, PASTELS USA 2020 Jan Y. Miller feels privileged to serve as Chairperson for the PSWC Pastels USA 2020 International Exhibition which may be viewed on the PSWC website. It was very exciting to see such beautiful paintings as they were submitted. It is truly an international exhibition, as this year’s Pastels USA 2020 event received more than 975 entries from 13 countries and 39 states. It has been an honor to serve as Chairperson for such a prestigious art exhibition.

Achieving Signature Artist status with the PSWC is a high point in my artist career, as PSWC is highly regarded by artists worldwide and PSWC also has worldwide membership. This is evidenced by the worldwide participation in the Pastels USA 2020 exhibition.

As an artist, I have tried multiple mediums, but pastels have been my greatest enjoyment and challenge. Painting with pastels continually provides opportunities to discover new approaches to its use, application, and presentation. It has been a particular honor to have studied with several distinguished pastel artists who have graciously shared their experience, knowledge and techniques of painting with the pastel medium. It is a joy to work for and with other artists who chose pastel as their medium of expression.

PASTELS USA Judge W. Truman Hosner

W. Truman Hosner- Born in Detroit, William Truman Hosner earned his BFA at Wayne State University, and went on to study illustration at The Center for Creative Studies, College of Art and Design in Detroit where he eventually returned to teach. Over his 17 years as a professional illustrator, his assignments included, among others, The Kennedy Center for the Performing Arts, Field and Stream magazine, CBS-Fox Video, and Reader’s Digest. At the peak of a very successful career in commercial art, Hosner re-focused himself: Studying under two master painters at the Scottsdale Artists School in Arizona: Harley Brown and Dan Gerhartz. Plein-air fine art painting captured his passion. For two decades Hosner was also fortunate to have the personal mentoring of Max Altekruse, himself a student of the renowned Frank Reilly of the Art Students League in New York City.

“During an open air painting session everything is always changing, the light is constantly modulating . . . and then my painting slowly evolves . . . if I am successful it becomes dynamic, it pulsates with the energy before me and the exuberance of the plein-air experience implants itself into the work.” -Truman Hosner 10

www.pswc.ws

Pastels USA 34th Annual International Exhibition

PASTELS USA Jurors Mary Aslin has received numerous awards for her paintings, most recently the Wakeham/ Sutherland 2nd Place Award in the Pastel Society of the West Coast’s Pastels USA 33rd Annual Open Exhibition, Best of Show in the annual membership show for the Pastel Society of the West Coast, Outstanding Pastel in the Bold Brush competition, invited to participate in the 2nd Biennial International Pastel Exhibition in Suzhou, China, has been featured in The Pastel Journal in many Pastel 100 competitions and in a feature article, and in several French art publications under the Pratique des Arts name. Several books including the Pure Pastel and Flowers in Art have featured her paintings. She is a Signature Member of the Pastel Society of America, the Pastel Society of the West Coast, and the Northwest Pastel Society, a Master’s Circle Member of the International Association of Pastel Societies, and an Artist Member of the California Art Club. She has studied with several renowned painters, at the Gage Academy of Art in Seattle, and at the Watts Atelier in Encinitas. Mary exhibits her work each summer at the prestigious Festival of Arts in Laguna Beach and teaches workshops out of her Laguna Beach studio and abroad. Mary’s lifelong goal as a painter working mostly from life is to honor beauty through the nuances of light and the stories that unfold from that experience.

Brian E. Bailey was born in Lancaster, Massachusetts. Formerly a professor at the School of Visual Arts in New York, he now paints and teaches privately in New Jersey. Following a successful career that spanned several decades as a noteworthy illustrator, he began to focus his energies on more personal artistic pursuits. He has won numerous awards for his work in pastel and has been featured in select exhibitions both nationally and abroad. Most recently his work was exhibited at the International Pastel Biennial in Suzhou, China, as well as several exhibitions at the Butler Museum of American Art in Youngstown, Ohio. His work is in several public and private collections including the National Portrait Gallery in Washington D.C. As an artist working in a realist tradition, he tries to create singular contemporary images that speak to the fragility of both the natural world and the human condition.

The stillness of his painting offers the viewer a moment of both contemplation and reflection.

“In my painting there is nothing I take away, nor give artifice to enhance the quiet permanence of a subject’s beauty.” www.brianbaileyartist.com

Julie Freeman is a self taught artist from New Zealand with a passion for realism, who strives to create artwork beyond the photograph. Over the years, she has developed her skills in working with pastel and is encouraged by the positive response and increased demand for her work. Her subject matter is varied, from coastal and nautical to the natural fauna and flora of NZ, but if asked she would say she has an affinity with painting animals/wildlife.

Julie teaches privately from her studio in Auckland and teaches workshops in New Zealand and Internationally with her husband Michael. Julie continues to win awards nationally and internationally Exhibiting work in New Zealand, New York , Italy and New Mexico. . Her artwork is in private collections in the United Kingdom, USA, and New Zealand.

Julie is a Master Pastelist with the Pastel Artists of New Zealand (PANZ) a Signature Member of the Pastel Society of America. (PSA), and is a Master Circle member with the International Assoc of Pastel Societies (IAPS). www.juliefreeman.co.nz

facebook juliefreeman pastel artist

PSWC Magazine | Fall 2020

11

Pastels USA 34th Annual International Exhibition

Pastel Society of the West Coast Pastel Laureates PSWC’s Pastel LaureateTM is the highest level of award presented by The Pastel Society of the West Coast in connection with our Annual International Exhibitions. It is awarded to honorees in recognition of their nationally or internationally significant contributions to the advancement of the pastel medium. The honoree’s impact on the advancement of pastel may be through teaching, writing and/or major contributions of their work in galleries or museums. Having won at least ten awards in the Pastels USA exhibitions and membership in the PSWC may also be considered qualifying factors. The PSWC Board of Directors will nominate and select the recipient of this award. A combination of all factors will be considered. Here are the past honorees.

2000 Albert Handell, PSWC-PL, PSA-MP Blue Wonder

2006 Margot Schulzke, PSWC-PL, PSA Quiet Sea

2003 Daniel E. Greene, PSWC-PL, PSA-MP, NA Self Portrait Grand Central Station

2008 Marbo Barnard, PSWC-PL, PSA Nõ Gaku

2012 Richard McKinley, PSWC-PL, PSA-MP Arizona Impressions 12

www.pswc.ws

2004 Bob Gerbracht, PSWC-PL, PSA-MP Loraine

2009 Duane Wakeham, PSWC-PL, PSA-MP Sonoma, Summer Evening

2019 GErald Boyd, PSWC PL, IAPS-MC, PSA Family at the Black Rodeo

Pastels USA 34th Annual International Exhibition

Distinguished Pastelist & Signature Status Awards The Distinguished Pastelist is accorded to PSWC signature members who have received an award in three (3) of five (5) consecutive PSWC International Open Exhibitions. Scholarship Awards will not be considered in making this determination. PSWC Signature Status is awarded for acceptance into three Pastels USA Exhibitions or two PASTELS USA Exhibits and one award in the PSWC Membership Show. Congratulations to those artists who qualified for status this year!

PSWC DISTINGUISHED PASTELLIST HONOREE FOR 2020

1998

Rita Romero

Mary Wagstaff

PAST YEARS: 1989 DeLoma Davis Margot Schulzke 1990 Sherrie Casaurang Hayashi 1991 Marbo Barnard Reif Erickson Adele Lloyd 1992 Anita Wolff 1993 Thelma Davis Milton Meyer Clark Mitchell 1994 Claire Miller Hopkins Gwen C. Manfrin 1995 Mikki R. Dillon Elizabeth Mowry Roy Pfister Gina Leyton Marsh Nelson Duane Wakeham 1996 Gary R. Blackwell 1997 Beverly Nichols

Betsy Kellum Vera Sickinger 1999 Ruth Hussey Waif Mullins 2000 Lee A. Kimball 2001 W. Truman Hosner 2002 Christine Debrosky 2003 Alana Smart Shirley 2004 Richard McKinley 2005 Deborah Matlack 2006 Elaine Augustine Terri Ford Nancy MacDonald Jane Wallis 2007 Joe Mancuso 2008 Sarah Blumenshein Tina Moore 2009 Gerald Boyd Kim Lordier Cuong Nguyen Claire Schroeven Verbies

2010 Lisa Fricker 2011 Philip R. Bates 2012 Ellen Dreibelbis Kari Tirrell David Will 2013 Evalynne A. McDougall Vianna Szabo Marie Tippets 2014 Linda Mutti Jennifer Rowe Dug Waggoner 2016 Diane Fechenbach Ann Sanders 2017 Debbie Patrick Willo Balfrey 2018 Lynda Conley Daggi Wallace 2019 Kimberly Wurster

2020 SIGNATURE MEMBERS Deborah Breedon Marie Gonzales Karen Horne Karene Infranco Becky Johnson Shuk Susan Lee Judith Leeds Andrew McDermott Nancie King Mertz Carol Murphy

PSWC Magazine | Fall 2020

13

Pastels USA 34th Annual International Exhibition

PASTELS USA 2020 Awards The Pastel Society of the West Coast wishes to extend the sincerest gratitude to our wonderful donors. Your generosity and support make this show possible. We cannot imagine a world without art, and your contributions to the continued advancement of art excellence keeps the world a more colorful place.

Thank You!

AWARD WINNER TITLE VALUE DANIEL E. GREEN MEMORIAL AWARD BEST OF SHOW AWARD Chengyi Song Portrait with SIlver Mirror $2,500 WAKEHAM/SUTHERLAND AWARD OF EXCELLENCE Carol Peebles Rest Where You Are $2,000 PLEIN AIR MAGAZINE AWARD 1/4 PAGE AD

Michele Ashby We Look Up at the Same Stars $1,200 ROBERT & PATRICIA SUGGS AWARD OF DISTINCTION Elena Prudnikova On the Windowsill $1,000 DAKOTA ART PASTELS AWARD Sally Strand Beginnings $ 500 PSWC AWARD OF MERIT Yang Zhao Time $ 500 GOODMUNDSON FAMILY AWARD Corey Pitkin Hodgepodge

$ 500 RUTH CABRERA ART AWARD - Nancy O’Hara Falling Light

$ 500 TERRY LUDWIG PASTELS AWARD Yanqi Zhai

My Son $ 350 WAIF MULLINS AWARD Paula Phelps Sonoma Sill $ 250 ATLANTIC PAPERS AWARD #1

Candice Grieve The Artist $ 250 ATLANTIC PAPERS AWARD #2

Diane Fechenbach Middle Fork Afternoon $ 250 JACK RICHESON & CO. PLATINUM AWARD Otto StÜrcke The Last Ride

$ 200 JACK RICHESON & CO. GOLD AWARD BF Reed

Spheres 2

$ 175 JACK RICHESON & CO. SILVER AWARD Cindy Gillett Textures of Home $ 150 PASTEL SOCIETY OF AMERICA AWARD Fabang Pei Grandma Dachick $ 150 HK HOLBEIN INC AWARD #1 Rita Romero Social Isolation

$ 148 HK HOLBEIN INC AWARD #2 Gerald Boyd In Her Familiar Space $ 130 JACK RICHESON & CO. BRONZE AWARD Jill Wagner Promenade $ 125 JACK RICHESON & CO. COPPER AWARD Susan Hong-Sammons The Bather

$ 100 PASTEL SOCIETY OF NEW MEXICO AWARD Andrew McDermott Fiery Lights

$ 100 PAN PASTELS AWARD Vianna Szabo Sidelight $ 100 PASTEL SOCIETY OF CONNECTICUT AWARD Robert Richey Abandonment $ 100 PAT ARAGON AWARD Karen Jones Morning Nap

$ 100 CANSON ART AWARD Stan Bloomfield Beginnings $ 100

Each artist puts their heart and very soul into their work. These awards are a validation of that effort and emotion. We encourage our readers to consider making an awards donation in future shows. It is a wonderful way to honor an artist, in the present or posthumously. Please contact our president or treasurer to discuss making a donation.

14

www.pswc.ws

Pastels USA 34th Annual International Exhibition

PASTELS USA 2020 Show Winners

DANIEL E. GREENE MEMORIAL AWARD: BEST IN SHOW Portrait with Silver Mirror

by Chengyi Song Suzhou, China 26x20 NFS

PSWC Magazine | Fall 2020

15

Pastels USA 34th Annual International Exhibition

PASTELS USA 2020 Show Winners

WAKEHAM/SUTHERLAND AWARD OF EXCELLENCE Rest Where You Are

by Carol Peebles New Orleans, Louisiana 24x18 $2,500

16

www.pswc.ws

Pastels USA 34th Annual International Exhibition

PLEIN AIR MAGAZINE AWARD We Look Up at the Same Stars (And See Such Different Things)

by Michele Ashby Chelmsford, United Kingdom 14x12 $800

ROBERT & PATRICIA SUGGS AWARD OF DISTINCTION On the Windowsill

by Elena Prudnikova St. Petersburg, Russia 17x22 $2,600

PSWC Magazine | Fall 2020

17

Pastels USA 34th Annual International Exhibition

DAKOTA ARTS PASTELS AWARD Beginnings by Sally Strand Capistrano Beach, California | 24x18 $7,500

GOODMUNDSON FAMILY AWARD

PSWC AWARD OF MERIT

Hodgepodge by Corey Pitkin Broadalbin, New York | 18x24 $2,000

RUTH CABRERA ART AWARD Time

by Yang Zhao Suzhou, China 31x21 $8,000

Falling Light

by Nancy O’Hara Germantown, New York 44x30 $2,700

18

www.pswc.ws

Pastels USA 34th Annual International Exhibition

TERRY LUDWIG PASTELS AWARD

WAIF MULLINS AWARD

Sonoma Sill by Paula Phelps Merritt Island, Florida | 17.5x11 $850

My Son by Yanqi Zhai Bejing, China | 21x15 $3,000

ATLANTIC PAPER AWARD 1 & 2

Middle Fork Afternoon by Diane Fechenbach Highlands Ranch, Colorado | 9x12 $800 The Artist by Candice Grieve New Baltimore, Michigan| 33x16.5 $1,600

PSWC Magazine | Fall 2020

19

Pastels USA 34th Annual International Exhibition

PASTEL SOCIETY OF AMERICA AWARD

Grandma Dachick by Fabang Pei Ningbo, China | 40x32 $5,000

HK HOLBIEN, INC. AWARD #1

PASTEL SOCIETY OF NEW MEXICO AWARD

Fiery Lights by Andrew McDermott Vancouver, British Columbia | 12x18 $1,500

HK HOLBIEN, INC. AWARD #2

Social Isolation by Rita Romero San Francisco, California | 10x10 $300 In Her Familiar Space by Gerald Boyd Galt, California | 20x16 NFS

20

www.pswc.ws

Pastels USA 34th Annual International Exhibition

JACK RICHESON & CO, INC. AWARDS

PLATINUM: The Last Ride by Otto StÃœrcke Valencia, California 18x24 NFS

GOLD: Spheres 2 by BF Reed Jacksonville, North Carolina | 27x19 $2,000

BRONZE: Promenade

by Jill Wagner Saline, Michigan 9x12 NFS

SILVER: Textures of Home

by Cindy Gillett Meridian, Idaho 20x16 $5,500

COPPER: The Bather

by Susan Hong-Sammons West Boylston, Massachusetts 15x8 $650

PSWC Magazine | Fall 2020

21

Pastels USA 34th Annual International Exhibition

PAN PASTEL AWARD

PASTEL SOCIETY OF CONNECTICUT AWARD

Abandonment by Robert Richey Warminster, Pennsylvania | 9x12 $600

Sidelight by Vianna Szabo Romeo, Michigan | 17x12 $2,200

PAT ARAGON AWARD

Morning Nap by Karen Jones Lincoln, California | 11x14 NFS

22

www.pswc.ws

CANSON ART AWARD

Beginnings by Stan Bloomfield Flagstaff, Arizona | 16x21 NFS

Pastels USA 34th Annual International Exhibition

ACCEPTED ENTRIES

All the Tea in China by Judy Albright Middlebury, Vermont | 18x24 $2,000

The Sketchbook Lesson by Barbara Archer-Baldwin Venice, Florida | 12x12 NFS

Around the Bend by Willo Balfrey Weed, California | 12x16 NFS

Valiant Devotion by Patricia Arbino Northridge, California | 11x14 $800

The Window Across the Street by Carol Arnold Kerrville, Texas | 24x18 NFS

On Point by Melissa Bartlett Los Alamos, New Mexico| 20x30 NFS

PSWC Magazine | Fall 2020

23

Pastels USA 34th Annual International Exhibition

Deadline Falls V2

by Phil Bates Myrtle Creek, Oregon 12x12 $1,200

Creek Walk

by Britt Block McMinnville, Oregon 40x32 NFS

Jalama Coreopsis by Deborah Breedon Lompoc, California | 9x12 $625

Autumn Tidal Flats on the Chilkat River by Donna Catotti Haines, Arkansas | 16x20 NFS

24

www.pswc.ws

The Venus Minuet

by Evelyn Brody Chicago, Illinois 38x26 NFS

Fifty Shades of Grey by Debra Cepeda Auburn, Washington | 18x24 $2,200

Pastels USA 34th Annual International Exhibition

Standing Faith by Lynda Conley Fort Worth, Texas | 16x20 NFS

Sleeping Remi by Yu-Li Chang Chiayi, Taiwan| 17.3x11 $10,000

The Boss

by Billie Cochrun Fort Worth, Texas

20x16 $850

River Runs Through It by Patricia Connolly Fairfax, California | 9x12 $400

Two’s Company

by Pamela Cook Leland, North Carolina 16x15 NFS

The Bridal Portrait

by Mary DeBenveniste Walterboro, South Carolina 40x28.5 NFS

PSWC Magazine | Fall 2020

25

Pastels USA 34th Annual International Exhibition

E Non Ho Amato Mai Tanto La Vita

by Elena Degenhardt Duesseldorf, Germany 20x27 NFS

Waiting to Launch

by David Denyse Essex, Massachusetts 24x24 NFS

Garment of Destiny

by Kathe Drake Edina, Minnesota 20x16 NFS

April Showers Bring May Flowers

by Garry Drake Placerville, California 18x8 $800

Anita Segelman by Merrilyn Duzy West Hills, California | 10x8 $400

26

www.pswc.ws

Swift Waters by Janis Ellison Grants Pass, Oregon | 12x23 $1,900

Pastels USA 34th Annual International Exhibition

Study of Light

by Kim Eshelman Battle Ground, Washington 12x8.5 $250

Chinook on Blewett by Jen Evenhus East Wenatchee, Washington | 9x12 $650

The Chess Players by Alan Flattmann Covington, Louisiana| 24x30 $8,000

Grandpa’s Eyes by Marian Flahavin Veradale, Washington | 15x15 NFS

Old Mill Casita

by Terri Ford San Jose, California 12x16 NFS

The Basket

by Jan Frank Santa Cruz, California 24x18 $2,800

PSWC Magazine | Fall 2020

27

Pastels USA 34th Annual International Exhibition

Hot Shot by Dina Gardner Southborough, Massachusetts | 12x24 $4,000

Clouds Over Elburn by Ted Fuka Mokena, Illinois | 9x12 $750

“B” is for Boat by Irene Georgopoulou Sunol, California | 9x20 $1,000

Marg

by Susan Goodmundson Auburn, California 22x18 $5,000

One Fine Day in Yosemite by Marie Gonzales Folsom, California | 20x16 NFS

A Moment of Peace by Alejandra Gos Bothell, Washington | 9x9.5 NFS

28

www.pswc.ws

Pastels USA 34th Annual International Exhibition

Blue by Cory Goulet Everett, Washington | 21x27 $2,000

Evening Commute by Morgan Green Santa Barbara, California | 16x20 $2,000

Green Blanket 11AM

by Jeri Greenberg Leland, North Carolina 12x16 $850

Untitled No. 1

by Rob Gregoretti Woodside, New York 6x6 NFS

River Dance by Bonnie Griffith Meridian, Idaho | 8x10 $600

Here Now

by Susanna Griswold Orinda, California 14x11 $1,050

PSWC Magazine | Fall 2020

29

Pastels USA 34th Annual International Exhibition

Boogie Board Duo by Ellen Gust Palo Alto, California | 18x18 $1,200 Daughter by Chaowei Guo Nanchang City, China | 27.5x20 NFS Barrel Cactus Still Life

by Larry Hemmerich Palm Springs, California 15x24 $900

Legs by Marianne Harris Wilton, California 20x10 $950

Painting Myself

by Carolyn Hancock Richmond, Texas 24x18 $3,300

Spring Dressed in Yellow

by Deborah Henderson Olympia, Washington 12x12 $550

30

www.pswc.ws

Pastels USA 34th Annual International Exhibition Wrench

by Joey Heuisler-Ward Costa Mesa, California 18x12 NFS

Hit the Road Jack

by Kathy Hildebrandt Calgary, Alberta 16x20 NFS

Into the Mystic by Catherine Howe Hopkinton, Massachusetts | 9x24 $800 Whisperings: Sharing Secrets During a Balinese Festival

by Heidi Hornberger Mill Valley, California | 24x17.5 NFS

Her Coat of Many Colours by Lynn Howarth Glasgow, United Kingdom | 19.5x27 NFS

Winter Run Drifters by Debee Holland-Olson Weaverville, California | 20x24 $1,100

PSWC Magazine | Fall 2020

31

Pastels USA 34th Annual International Exhibition

Along New Road by Karene Infranco Short Hills, New Jersey | 12x16 $1,200

Desert Design by Gary Huber Buffalo, Wyoming | 18x24 $2,300

Rock Creek by Mike Ishikawa Torrance, California | 12x18 $550

Time to Rest by Katherine Irish Placitas, New Mexico | 12x18 $1,100 Kodachrome

by Karen Israel West Hartford, Connecticut 14x10 $1,800

Primary Colors by Christine Ivers Meriden, Connecticut | 9x12 NFS

32

www.pswc.ws

Pastels USA 34th Annual International Exhibition

Midas Touch 1 by Randye Jensen Corvallis, Oregon | 10x18 $525

Stairway To the Sky by Becky Johnson Colorado City, Colorado | 6.75x9.5 NFS

Undampened Spirits

by Janet Johnson Wilmington, North Carolina 26.5x18 NFS

Dreaming of the Past

by Ann Justin Bozeman, Montana 28x20 $2,750

The Three R’s

by Betsy Kellum Midlothian, Virginia 16x20 $2,000

Near Wagga

by Fiona Kent St. Ives, Australia 18x18 $1,250

PSWC Magazine | Fall 2020

33

Pastels USA 34th Annual International Exhibition

Leaving he Canyon by Kae Kinley Cat Spring, Texas | 18x24 NFS

Trees Company by Mike Kolasinski Chicago, Illinois | 16x20 $1,200

Enduring by Allison Krajcik North Easton, Massachusetts | 22x26 $1,200

34

www.pswc.ws

Martini on the Rocks by Tracy Klinesteker Kalamazoo, Michigan | 20x25 $5,000

Crystal Citrus by Cristine Kossow Middlebury, Vermont | 11x12 NFS

Walk in the Garden by LaDonna Kruger Olympia, Washington | 16x20 $1,600

Pastels USA 34th Annual International Exhibition

Dappled Summer

by Susan Kuznitsky Portland, Oregon 8x6 NFS

Late Afternoon

by Mitzi Lai Broadview Heights, Ohio 12x9 $650

Rain Bird

by Margaret Larlham San Diego, California 20x16 $1,200

Breakfast with a Doll

by Anna Lapygina St. Petersburg, Russia 23x20 $8,000

Stuffed Olive

by Sally Lebwohl Stockbridge, Massachusetts 9.5x8.25 NFS

In the Limelight

by Jeremy Mun Loong Kuala Lumpur, Malaysia 9x12 $2,000

PSWC Magazine | Fall 2020

35

Pastels USA 34th Annual International Exhibition

Daylight Emptiness by TaiMeng Lim Beranang, Malaysia | 11.5x16 $1,600 Bill by Judith Leeds Montville, New Jersey | 16x20 $1,200

Wheels by Matt Lister El Dorado Hills, California | 18x24 $700

The Gift of Time by Kim Lordier Millbrae, California | 30x40 $18,500

36

www.pswc.ws

Zack by Stephanie Long Tuolumne, California | 14x20 $1,200

The Rhyme of the Sea Return Boat by Fubao Ma Suzhou, China | 31.5x43 $4,000

Pastels USA 34th Annual International Exhibition

End of Dinner by Yael Maimon Ashkelon, Israel | 25.5x32 NFS

Silence by Nancy MacDonald Provo Canyon, Utah | 30x32 $3,500

Before it Snows

by Joe Mancuso Torrance, California 18x14 $1,800

Games We Play by Renee Marz Mullis Las Cruces, New Mexico | 12x16 $850

Grand Dane

by Jory Mason Plymouth, Massachusetts 22x18 $800

Moments

by Nadine McCluskey Manhasset, ,New York 28x19.5 $600

PSWC Magazine | Fall 2020

37

Pastels USA 34th Annual International Exhibition

Broadway 2310

by Evalynne McDougall Coldstream, British Columbia 26x20 $1,850

Arran

by Claire McFarlane Livermore, California 16x12 $3,000

Divide on Division

by Nancie King Mertz Chicago, Illinois 17x8 $1,000

Cast Your Net Wide

by Jan Miller Roseville, California 24x18 NFS

The Fishmonger

by Christine Mulcahey Narragansett, Rhode Island 14x11 $600

Last Paddle of the Season

by Clark Mitchell Cotati, California 19x15 $2,500

38

www.pswc.ws

Pastels USA 34th Annual International Exhibition

On The Fence

by Maryann Mullett Fitzwilliam, New Hampshire 22x19 NFS

Waiting Patiently

by Carol,Murphy Salem, Oregon 21.25x16.5 $675

Hearts Afire by Linda Mutti Santa Barbara, California | 12x16 NFS

Hidden Streams by Nancy Nowak Suwanee, Georgia | 11x14 NFS

Rock Creek Winter 5 by Barbara Newton Black Diamond, Washington | 11x18 $1,100

Cody by Christine Obers Mariposa, California | 11x14 NFS

PSWC Magazine | Fall 2020

39

Pastels USA 34th Annual International Exhibition

Water Break

by Debbie Patrick Sausalito, California 19x13 $950

Auspicious Clouds

by Fubang Pei Ningbo, China 39x24 $6,500

Road to Carol’s

by Deborah Pepin Sanger, California 20x16 $625

Coil

by John Plishka Lindenhurst, Illinois, 11x14 $1,400

Cast Shadows

by Laura Pollak Greensboro, North Carolina 20x16 NFS

Slow Dance by Peggy Post Pebble Beach, California | 18x24 NFS

40

www.pswc.ws

Pastels USA 34th Annual International Exhibition

Olympic Moment

by Jayne Quig Vashon, Washington 9x12 $400

Contentment

by Elizabeth Rhoades, Belle Haven, Virginia 24x20 $3,000

Miss Ivy

by Lisa Rico Vacaville, California 16x12 $750

Hope Eternal

by Darcie Roberts Yakima, Washington 11x11 $700

Evelyn

by Peggy Rose West Windsor, New Jersey 30x20 $4,800

A Cast of Shadows

by Bob Russin West Pittston, Pennsylvania 24x18 $3,900

PSWC Magazine | Fall 2020

41

Pastels USA 34th Annual International Exhibition

Violin Case by Silja Salmistu | Slagelse, Denmark | 17x24 NFS Footpath by Teresa Rizzo | Mountain View, California | 11x14 $800

Morning Gossip

by Tamra Sanchez Santa Rosa, California 17x12 $1,800

Sunset Serenity

by Ann Sanders Goleta, California 12x16 $950

Felicias Virgin BlackBerry

by Dolores Saul Schmitten, Germany 12x9 $300

Wilding Warrior

by William Schneider Village of Lakewood, Illinois 20x16 $3,250

42

www.pswc.ws

Pastels USA 34th Annual International Exhibition

Lockdown Nights Selfie by Kate Scott Cape Town, South Africa | 9x8 $400

Touch of Gold by Julie Skoda Western Springs, Illinois| 8x16 $650

The Girl Who Loved Yellow

by Deborah Shea Redwood City, California 41x41 NFS

A Pleasant Afternoon by Hongquan Shen Suzhou, China | 24x47 NFS

Easy

by Dawn Secord Westminster, Texas 20x16 NFS

Wading Through the Puddles

by LaVone Sterling Visalia, California 12x16 $1,100

PSWC Magazine | Fall 2020

43

Pastels USA 34th Annual International Exhibition

Lingering

by Susan Story Rensselaerville, New York 30x22 $3,800,

Just Swell

by Patricia Sueme North Tustin, California 12x12 NFS

Rainbow Wave

by Terri Taber Santa Barbara, California 10x22 NFS

Midwinter Afternoon by Katrina Thorstensen Norwich, Vermont | 12x19 $800 Deadman’s Hand by Nori Thorne Sedona, Arizona | 9x12 $1,000

44

www.pswc.ws

Pastels USA 34th Annual International Exhibition

The Gift Box by Marie Tippets Dana Point, California | 13.5x13 $3,000

Awakening of Nature by Christine Troyer Mount Vernon, Washington | 8x8 $400

Toward Morning by Dug Waggoner El Cerrito, California | 14x18 1,500

Prairie Mother-Elder Duguima

by Kai Tian Hohhot, China 18x13 $3,000

Sunlit Falls

by Doug Tweddale North Wales, Pennsylvania 16x20 $1,000

PSWC Magazine | Fall 2020

45

Pastels USA 34th Annual International Exhibition

I am No Bird and No Net Ensnares Me by Daggi Wallace Camarillo, California, | 7x11.5 NFS

Fulpati by Juan Wang Bejing, China 43x25 $70,000

Breaking

by Bobbye West-Thompson Los Osos, California 8x18 $700

Winter Patterns by Sharon Will Washington, Michigan | 12x16 $1,250

46

www.pswc.ws

Golden Hills 9 by David Wolfram Hermosa Beach, California | 12x19 $1,145

Pastels USA 34th Annual International Exhibition

They’re Calling for Sun

by Kimberly Wurster Coquille, Oregon 24x18 $2,100

Female Teacher

by Chenxiang Xu Hohhot City, China 35x24 $1,500

Pray for Blessings

by Tuo Yu Shenyang City, China 21x22 NFS

The Taste of Sunshine

by Qingquan Zhang Jining, China 30x21 $2,000

Car No. 13 by Anni Zhu Bejing, China 29x19 15,000

PSWC Magazine | Fall 2020

47

48

www.pswc.ws

Featured Interview: Artist to Artist

PSWC Magazine | Fall 2020

49

The Heart of An Artist: Harley Brown

The Heart of An Artist Stories About Life And Inspiration In An Artistic Life

By W. Truman Hosner © All Rights Reserved Images by Harley Brown © All Rights Reserved

Harley Brown (Canadian, 1939- ) Whether collector or artist we are married in like spirit . . . the magic of art.

- Truman Hosner

This is the third in a series of interviews with artists who have had great influence on the world of pastel art. In each story I search for the art spirit. If I am successful, what may be learned in terms of the individuality in creativity will be of great value to us all.

“When the pupil is ready...The master appears.”

–Zen

pastel landscape workshop I had enrolled in was canceled. However, there was room in a portrait in pastel class with an artist by the name of Harley Brown. Now, I had led a very focused career in illustration and knew well many of its past and present greats, but who was this guy?

So I looked him up, and, unbelievable!

There I am the morning of the first day of Harley’s workshop with a full class of twenty other artists, We have all heard this expression before. In 1995 all talking and laughing out loud, for me it came true. But it was for this guy to show up.

“THERE IS A WAY BETWEEN waiting not so much a mystical Buddhist Even the model was on stage happening as it was sheer luck.

VOICE AND PRESENCE WHERE waiting. Then, precisely at 9am, I was transitioning away from in bounces a restless bundle of INFORMATION FLOWS. IN my commercial art career energy, Harley Brown. and into what I hoped would DISCIPLINED SILENCE IT OPENS, be a new career in fine art. A WITH WANDERING TALK IT It was just as if I was back in grade school, when my friend suggested that I give the CLOSES.” classmates and I would be Scottsdale Artist School a try. unruly before the teacher So, I signed up for a landscape RUMI arrived, then teacher would in pastel workshop. I had a BFA degree, twenty years experience as a commercial appear, all would grow quiet, and the classroom artist, and it was to be my first professional fine order was returned. art workshop.

It also was not meant to be.

Ruth Kasper, the executive director at SAS at the time, phoned me one day to say that the 50

www.pswc.ws

He was alive, he was animated and charming, and after just a few introductory comments he sat right down and began to paint a pastel portrait from life. I couldn’t believe what I was

The Heart of An Artist: Harley Brown

Paranoid Brown by Harley Brown PSWC Magazine | Fall 2020

51

The Heart of An Artist: Harley Brown witnessing. After years of experiencing art teachers who could espouse loquacious and, at times, laborious sentences on the theories of art but would never demonstrate them, a master had appeared who was willing to have his performance do the talking. I don’t mind telling you that I was so happy I actually had a tear run down my cheek. Through blind luck, I had stumbled onto an artist who was willing to show me how to “play the violin!” -so to speak. I knew I was incredibly lucky to have found him.

“The supreme misfortune is when theory outstrips performance.” - Leonardo da Vinci In Harley Brown’s classes you were there to work on art, not to talk about it. You did the normal 9am to noon, and 1pm to 4pm workshop thing, but then, sharing the model costs and with Harley participating along side of us, we worked again each evening from 7pm to 9pm.

Harley was full of energy, it was hard to keep up. He could be a taskmaster, too.

I remember in one workshop Harley walked up to a portrait I was working on and pointed out about a dozen things I could do to make it better. He was spot-on, and he delivered them with a smile and a; “Weren’t you here when I gave those lessons?” It caught me off guard, my ego was rustled, but I made the corrections, and it was a much better portrait. About a year later in another of his workshops he pulled the same thing and delivered them with the same sentence, except this time there was only about a half dozen improvements needed, so I knew I was getting better. When he did it this time I looked up and in answer to his question I said; “ I was here! And you know what? I was even listening!”

This time it was Harley who was caught off guard!

52

www.pswc.ws

He hesitated and then said with a warm smile and his hand on my shoulder; “That’s OK, it takes a while to get this stuff.” I thought aha! All-along, behind this extremely talented, boisterous and hard driving teacher, had been a heart of gold and a sensitive soul that poured himself into everything he did.

Sometimes I would learn principles in art from Harley that I would intellectually and emotionally disagree with, thinking in the end that I knew better.

As it turned out, it was what we used to call in the business “illustrator bull-shit.” I had to get my ego out of the way to learn.

I will tell you always, and I mean always, in the end Harley would be right. I just needed to find out through hard work. Sometimes it could be two years later or more, and I would come to an epiphany and say to myself, damn if Harley isn’t correct, again! Today Harley feels that some art schools push students ahead too fast, - hard work, time, and finding your own voice are key to development. He also feels that we are in an art renaissance, “I think there are artworks today that are as great as historic masterpieces of the past.

Young Dancer by Harley Brown We’re in a grand renaissance.”

It was the beginning of many marvelous and enriching memories at the Scottsdale Artist School and with Harley Brown. It was also the beginning of a deeper appreciation for the humbling honor of being a member of the hallowed and time-honored society of fine artists and the processes of learning how to become one.

“A teacher should be like a bridge that collapses once the student has crossed over.” -Zen Until this interview I hadn’t spoken with Harley in over 20 years. Yet when he answered the phone,

The Heart of An Artist: Harley Brown

The Gate by Harley Brown

it was as if I was in that very first class, same polite Canadian voice with a pinch of the King’s English to it, the same gregarious expressions and the same articulate thinking.

Harley now lives in Vancouver, British Columbia, “Four, not five minutes from the U.S. border.” The road to Vancouver has been varied and at times long, but always Harley’s.

This is his story:

Harley Brown was born in Edmonton, Alberta, Canada in 1939 and grew up in Moose Jaw, Saskatchewan.

In his youth Harley was shy and often preferred his own company. But he found solace in old movies and the character actors that populated them and never felt lonely. His father was an amateur artist and Harley’s first art teacher. “I chose to be an artist when I was seven and saw a drawing by my dad that changed my life forever. My father was a good artist, but he needed to put food on the table so he really

PSWC Magazine | Fall 2020

53

The Heart of An Artist: Harley Brown

Good Friends on a Lazy Afternoon by Harley Brown

never had the opportunity to explore his talent. I still have that drawing hanging in my studio.”

Harley’s first love was piano, practicing at times until midnight. At 12 years old he was capable of playing complex Beethoven pieces. During high school Harley accomplished a teaching certificate in music.

To earn money while in art school, Harley would play jazz piano professionally, and for a brief stint he even played piano in a brothel. “I was the ladies mascot, on break, they would all gather around my piano.” He wasn’t above playing honky-tonk music in bars either. In taverns, he and his college buddies would draw portraits for a round of beer. Then $1 portraits came about when he couldn’t get galleries interested in selling his work. He went down to city hall, took out a peddlers-license and went door-todoor offering to draw portraits. It was brutal, with slammed doors and sometimes feet smashed in the 54

www.pswc.ws

door. After about 100 calls a woman finally agreed, and Harley drew her son. Neighbors saw it and he was on his way to some hard earned cash.

Harley Brown attended what is today the Alberta University of the Arts in Calgary, Canada. At the time it was the Alberta College of Art. It was the early 60’s, and it had a huge art building. “There were four or five of us who really hung around together. We inspired each other, it was a time to experiment a bit, and it helped bring me out of being a loner. To this day, we still all speak to one and another.”

At school we would draw from life four hours a day. Then three nights a week we would go to the taverns and draw some more...and drink a lot, too.

I was even going from door to door to sell my art.

I was playing piano professionally all along. In art school, it took us a few years to get deep into the things about art we really didn’t understand.

The Heart of An Artist: Harley Brown I remember how my piano playing abilities were exposed. I was sitting at lunch in the college cafeteria one day with a group of my buddies and I let it slip out that I was fairly accomplished on the piano. Well there was a piano in the corner so they rolled it out and said ‘show us.’ So I did, and soon there were people gathered all around including some female students. After class a group of us went to a local college hang out. I was playing piano and drinking beer and that was my coming out of my shyness. I gave the drinking up 50 years ago, but I still play the piano from time to time.”

Robert Lougheed he entered the National Academy of Western Art show and garnished a Gold Medal for a portrait. I don’t think he ever looked back.

After Calgary, on a hunch, Harley hocked most of what he owned, including every painting he could sell, to raise the needed funds to move with his family to London, England. While there, he attended the Camberwell School of Art. It was at this time he began to make a name for himself in Western Art and was commissioned to paint an official portrait of Prime Minister Winston Churchill.

In 2012, Harley authored a book for Terpning

For years, Harley and his wife Carol, went back and forth between Calgary and Tucson, Arizona, eventually moving permanently to Tucson.

It was during this period that Harley began friendships with renowned Western painters the likes of Howard Terpning and Tom Hill and became a member of the group of Western artists known as the Tucson Seven.

Sacred Moment by Harley Brown

Harley went on to do portraits of many well-known personalities. President Ronald Reagan (for his second inauguration), Clint Eastwood, Sophia Loren, and Kim Novak.

“Kim is an iconic presence on the silver screen. For the past number of years, she has been painting inspiring works of art. I’m a devoted admirer.”

“When I was younger, I was on fire. I wanted to bring a person to life on a piece of paper.

I remember that there weren’t enough hours in the day, I never wanted to go to sleep.”

Returning in 1966 to Calgary, he began extensive investigation and work on the reservations. At that time, Harley was still having trouble getting his work into galleries. But he caught a break when he impressed Bob Morgan, curator of the Montana State Historical Society with his work. Morgan offered Brown a one-man exhibition that included 50 of Harley’s works. The exhibition sold out.

He was on his way. Next, at the invitation of PSWC Magazine | Fall 2020

55

56

www.pswc.ws

The Heart of An Artist: Harley Brown titled Terpning: Tribute to the Plains People. Using a unique artist’s view of Terpning’s oeuvre, Harley makes artistic descriptions on each painting in the book.

He has authored three books on his own oeuvre d’art, including Harley Brown’s Eternal Truths for Every Artist, and Harley Brown’s Inspiration for Every Artist (“450 of my thoughts!”) a one-of-a-kind guide to the heart and soul of Mr. Harley Brown; artist, teacher, and piano player! Another book of Harley’s Confessions of a Starving Artist, with two tipped in hand-signed etchings, has sold for as much as US$2000.

is a success when I feel the heart beating within the portrait. At that point not another stroke! A successful commissioned portrait must have part of the subject and part of the artist in it.” – Harley Brown About Life and Art – a conversation with Harley Brown “It is not the contented or glowing who have left many of the profound testimonies of what it means to be alive.” - Alain de Botton During his interview, I soon discovered that Harley Brown has remained the same alive bundle of energy I met so many years ago, and yes, I still have to work hard to keep up with him.

Often choosing to focus his art on Western subjects, Harley Brown is renowned for his original and unique paintings of the people of the West and Mexico. It WTH: Please tell us about the drawing that at age 7 changed your life forever? is a love that he has carried with him since childhood.

“WHEN I WAS YOUNGER, I WAS ON FIRE. I Harley: At age seven, I was He has been a member of getting curious about life; the National Academy of the world was like a fantasy, WANTED TO BRING A PERSON TO LIFE Western Art (he holds five and I began to realize, “... gold-medals there), the ON A PIECE OF PAPER. hey, I’m actually part of it.“ Northwest Rendezvous My dad was very perceptive Group and the Prix de West.

I REMEMBER THAT THERE WEREN’T about my “curiosities.”

Currently, Harley belongs That’s when he opened a ENOUGH HOURS IN THE DAY, to Oil Painters of America, big folder of his artwork; and Cowboy Artists of drawings and watercolors I NEVER WANTED TO GO TO SLEEP.” America. He has work in he had done in his early the permanent collections years. He started bringing of the National Cowboy them out, and I was totally and Western Heritage Museum in Oklahoma City, fascinated. These were wonderful images reaching the C. M. Russell Museum in Great Falls, the Gene my young mind. They were mostly portraits and Autry Museum in Los Angeles, and the Eddie Basha figures; people actually brought to life on paper!

Collection in Arizona. Brown also has acquired a Then there was one work that affected me great reputation as a portraitist. Dan Gerhartz once differently, the profile of actor Ronald Coleman. Dad said to me; “No one can make a head as ‘solid’ as was ready to put it down to get another, and I asked Harley can.” if I could see it more. He held the watercolor up for “A person’s day is filled with confronting one face a few more minutes and then put it away. But those after another. Each face is so different, not only in minutes made the difference that stayed with me all features but in angles of expression or the way the my life. At that very moment, I said to myself, “That’s light hits on it. Each face has secrets to uncover, what I want to do,” -a simple declaration I made to and I interpret a reflection of the person’s life and myself and an obsession that stayed. mind. This is why I am so interested in the Native Many years later on a very special day I was given American’s face. Its lines, furrows, texture, and color this portrait. It immediately went up into my art are as much a part of nature as the Superstition studio and has stayed, no matter where I’ve lived.

Mountains. In my own terms, I know my portrait Opposite: Stampede Chief by Harley Brown PSWC Magazine | Fall 2020

57

The Heart of An Artist: Harley Brown I see it daily and not for a moment tire of it. It is the most precious piece of art simply because it was first, created by my dad and second, it opened the door to the rest of my life, -a door to the glorious world of art.

seventies. Now, I’m making art but also smelling the roses and serenely observing those snow capped mountains. Upon reflection, it’s hard to imagine what I’ve done in my lifetime. I have to agree with that film company: no one would believe it.

WTH: In class you used to say; “I’m serious when I get to the easel, the rest of my life is a bit crazy.” Care to expound on that a bit?

Author’s note: If you ever have the chance to read Harley’s book Confessions of a Starving Artist, you’ll see that he isn’t bragging here. It turns out Harley Brown has often taken a walk on the wild side.

Harley: The CRAZY part of my life is an understatement.

An individual in the film world was quite taken with my autobiography book, “Confessions of a Starving Artist.” That individual had a wellknown production company read my life story and see if it was possible as a film. After a few studio people read it, I received a letter, including: “Mr. Brown, very interesting biography. but your life is much too bizarre, no one would believe it.”

58

WTH: What were you talking about when you said; “In art school it took us a few years to get deep into the things about art we really didn’t understand.”

What didn’t you understand?

In simple terms, that describes the CRAZY part.

The SERIOUS part is when I walk to the easel. It’s a combination of serious, but embedded with inspired artistic energy inside me waiting to be released on a painting or drawing.

No matter what I work on, my intention is always that this will be my most important piece. “Most Important?!” How’s that? Because when I’m creating art, I’m living for that very impassioned, serious moment. Each work is like traveling a mysterious winding road through a forest, -and finally a glorious destination.

Harley: That has certain complexities.

When we’re young, there are plenty of things we don’t quite get. In some cases, we eventually grasp their meaning and reason in life. There are other things that seem to be over there on the horizon waiting for us; we keep traveling towards them and never really catch on.

But at the same time, after a good while, we say to ourselves and our friends and those Kim Novak by Harley Brown who will listen to us, “Yes, I do understand Picasso and Rothko and if you want, I can reveal their mystery to you.” I had the words and expressions down pat as I would let people in on the contemporary art scene. I was pretty good because I’d always keep a serious look and if there was a doubtful expression with the listener, I’d quietly walk away, thinking: “So sad that some will never realize the importance of these works.”

I speak here of the years between my twenties and

I did this for years and would include explaining the

www.pswc.ws

The Heart of An Artist: Harley Brown seriousness of art to my parents, anyone who would listen: “Please, you have to see what you’re missing.

The experience of these works; how they challenge our minds. Please hear me on this!”

Well, it turned out that I actually never did “get” contemporary art, which is still the case. Strangely I thought I did. Finally realizing this is not for me, I bailed out.

No, I still don’t understand Picasso or Rothko. Not one tiny bit. The best part of all this is that it teaches us how labyrinthine our mind can be, from youth on to the elder years.

I’m always fascinated with people and their way of thinking.

Whether or not they understand Picasso or music composer John Cage or Andy Warhol’s film “Empire.”

WTH: Why did you choose Camberwell?

Harley: One of my many strange moments in life was deciding to move with my family to London, England.

That was based on reading one sentence in a newspaper: “Londoners are eccentric.” That’s all I needed, and off to Britain we went to live. While there, The Camberwell School of Art was highly recommended; and their life drawing classes were classically taught. I could not get enough life drawing, and this was a place of inspiration and understanding of art and artists. A well-remembered time of my life.

WTH: Was there a teacher that you feel was a key influence in your life and art education...and how so?

Harley: The answer to this is variable. First, my dad was the greatest influence, and there’s so much that happened with his encouragement and teachings.

After my high school days, I was at the Alberta University of the Arts for three years. We students went through many areas of art both personally and historically. Some parts didn’t register and others made real differences in developing my abilities. That was an important time in so many ways. A few years later, it was Camberwell Art School and for a short spell at The Art Student’s League, (Gustav Rehberger) in New York. Then at just the right time, Robert Lougheed was a major part of my understanding of art and where I could take it into my own very personal way. He mentored a good number of us younger minds at a golden period when I grew in my understanding and approach to art.

WTH: When we first spoke you asked me to ask you about women artists?

Harley: To this day, the mystery of women has fascinated me.

When I went into teaching workshops, s o m e t h i n g quite profound happened. At first I didn’t quite notice, but soon, it became apparent.

Once in a while in class, Elvis by Harley Brown I would talk about a difficult principle in art. The women immediately got what I was explaining. With the fellows, I often had to repeat it, (as it was often repeated to me in my learning years.) I could see the ladies calmly sit with slight smiles as if this was not unusual.

I’ve always figured that women have extra senses, something I’d observed since grade school. But now we were into the complexities of art, which included hours upon hours teaching theories of aesthetics that I’d learned to work with over the decades.

PSWC Magazine | Fall 2020

59

60

www.pswc.ws

The Heart of An Artist: Harley Brown There were many times that ladies astounded me in how they approached their art and moved forward in their own personal way.

One story was a woman in her mid 30’s. The first day in class, I went over to see how she was doing, drawing our model. Right away, I figured she’d been sketching since she was a child; a natural, very skilled flow with her pencil, and a keen sense observing. I said to her, “Oh, you’ve been an artist all your life, I’ll bet you were drawing all the time since grade school.” “No,” she said, “I started three years ago.

I always wanted to be an artist, so I saved up the money, quite my job and began spending 12 hours every day at art colleges, mentors and workshops.

And here I am with you Mr. Brown.”

me to submit a piece at the National Academy of Western Art, -an astounding invitation that literally had me speechless.

“Harley, Harley, are you there?” said Bob. “Oh, yes, I’m here, Mr Lougheed. Did I hear you right?”

That indeed was a major turn in my art life. And also was the beginning of a great friendship.

At the first NAWA show, I met some of the leading greats of art. I won’t list them because I don’t want to miss a name. Every one of them was known and revered by all of us in the art-world. What a memorable event and one of those times that is so clear in my memory.

I was quite amazed. Yet, many of my lady students Bob and I kept in touch for the next few years. Every had equally inspiring stories. A good number said Fall a number of us artists would get together for that once their kids left home, they finally made art a month in the middle of British Columbia, at an happen...and did! I’ll continue area where there were many to say, from my personal “I THINK THERE ARE ARTWORKS TO- live animals. We had paper perspective, I’ve always been and pencils and canvas and captivated with women in art DAY THAT ARE AS GREAT AS HISTORIC oils and painted and drew from historic past to present MASTERPIECES OF THE PAST. WE’RE IN every day. It was beyond times. Today, with modern description; like being on a A GRAND RENAISSANCE.” technology, we can see art from fantasy planet. One of the every part of our planet. And absolute major turning points observe the great masterpieces in my understanding of art, of so many gifted women and men artists.

I learned so much about art and about myself. I WTH: I read that your career made a leap forward when Robert Lougheed called you to submit work to a National Academy of Western Art Show. Would you share with us what that meant to you as well as the personal friendship you eventually had with Bob Lougheed?

Harley: I was sitting in my studio wondering “what now,” and the phone rang. I answered and heard these words: “Hello, is that Harley Brown? I’m Robert Lougheed.” I immediately stood up and said “Yes, this is Harley.”

Bob Lougheed had been one of my art heroes for many years, and here he was on the phone with me.

We talked for a while about generalities and then he told me the reason he was calling. He’d seen one of my works in a gallery window, liked what he saw and decided to contact me. He then said he wanted

could actually feel my mind growing.

WTH: About Bob Lougheed; I remember once in class you told us that you were watching him paint an elk in the wild from life and just when you thought you knew what he was going to do next he did it differently.

What little gem of wisdom might you have garnished for yourself through that experience?

Harley: This was 40 years ago, and all so memorable.

First, let me say that my weeks with Bob Lougheed, out in the fields drawing and painting animals, was a gift of artistic wisdom. The first day, the experience was unlike anything I had encountered.

Bob came over to my first drawing and gave me a powerful lesson in how to push further into the grand principles of art; how I could make my own approach stronger. It was a moment of true impact; this was serious stuff. I immediately realized we

Opposite: The Moment by Harley Brown PSWC Magazine | Fall 2020

61

The Heart of An Artist: Harley Brown weren’t going to be a bunch of artists just hanging around, having fun.

Something happened that night within my subconscious. The next day, I couldn’t wait to get up early, rush out with all the artists, get to the animals, set up easels and go full force. And yes, Bob who was nearby, came over and gave me double what I was prepared for. No, he didn’t want me to draw like him; he wanted me to release what was waiting within me and bring it to life on paper. Shadows, shapes, design, working lights against darks, accurately. Accuracy as interpreted by me.

between the two?

Harley: I made two art videos. I can fully understand that the two are different and here’s why.

That was a period of real changes in me. I was painting and drawing day and night. Painting with other artists, doing a wide variety of subjects. All of this after rather subdued years. I went through enormous developmental changes between the first and second video and in a way those two show a major growth that can happen. Had there been a third video, it could show further evolution within my personal approach. Yes, there was real artistic input going on in my very accepting mind. Exciting and mind expanding in the extreme.

Once in a while, I’d go over and watch Bob work on a piece, stroke by confident stroke. The first time, I figured I knew how he would finish the piece.

WTH: Speaking of videos, I don’t think you have ever Then, wow, he took it another way. That said to made instructional videos. Am I incorrect? If so, why me, we’re creative artists; no need to stick to any didn’t you? plan. In the middle of a work, I haven’t for no If we see another way that’s “HARLEY HAS THE RARE ABILITY OF Harley: particular reason. I’ve simply better, more inspiring, we go continued on with my art SEEING AND EXPRESSING HUMAN that direction, -a continual happily writing many art flow of true, skilled art. It hit EMOTIONS IN A WAY THAT EVERYONE life articles for International Artist me deep because I was seeing CAN UNDERSTAND AND APPRECIATE. magazine, and four art books. it actually happen; he was course, combined with turning bits and parts around FOR ME HIS ART IS MUSIC FOR THE Of workshops throughout many in his painting where he felt countries. All that I’m putting SOUL.” -KIM NOVAK they were needed. It was like forth with the articles, books my jazz piano playing, when and workshops are what all my classical training gave my hands the strength and knowledge to diverge, I’ve learned from the masters and also what I’ve personally learned through the good old-fashioned break away from the expected. hit and miss sessions at my easel. My books really Moment by moment, watching that happen stayed reveal my life in art through what I’ve learned; with me. When I’m doing a figure or portrait, I go moments that really count. where my heart, imagination and abilities guide me. As artists, we can expect the unexpected. My WTH: What motivated the moves from Calgary to Tucson to Vancouver? energy doubled.

WTH: This is going way back now, Harley; Dan Blanchard and Walter Grey, Jr. produced a series of artist interviews in VHS, called Creative Crafts for the Oklahoma City Public Library. There were a number of notables; Steinke, Lougheed, Hulings, Chmiel, even a very young Dan Gerhartz, and of course you. My question is this; You made two videos for them. There was a style change in the second that is the way I came to know your approach that didn’t seem to be in the first. Was there a paradigm shift in your thinking 62

www.pswc.ws

Harley: Calgary was my home for thirty years. I loved it for many reasons. But, Tucson beckoned because my art friends lived there along with galleries and the many subjects in surrounding areas, including Mexico. I can say that the decades in Tucson were almost a frenzy of art and life that was actually spellbinding. To explain it would be like describing a fantasy world. The kind of world that artists dream of. And yes, I lived it, -mostly inspiring moments.

The Heart of An Artist: Harley Brown

Beauty and the Beast by Harley Brown

PSWC Magazine | Fall 2020

63

The Heart of An Artist: Harley Brown Then for a number of reasons, as the years came and went, we decided to move to British Columbia.

We wanted our world to be a bit more tranquil, less of the continual traveling, art events and shows.

I felt privileged because the “members” of this exclusive club were artistic heroes of mine. I was the youngest of the group, and I’d seen all their works since my art college days.

WTH: Many of us know of The Group of Seven in Canada. Would you please tell us a little about the Tucson SEven?

A typical get together might be going to Old Tucson, which was a film location for many major Western movies. We’d arrive there with our art equipment and wander about. We drew and painted sets and people throughout this famed area...oil paintings, watercolors, charcoal, and pastel. We’d then put our works together to observe what we’d done, and it was easy to see who painted what. We’d have lunch and then look for other parts of this historic place; set up easels and keep making art.

Harley: There are important moments in our lives that mean so much. One of my most personal and long lasting was the grand friendship of THE TUCSON SEVEN. Artists: Dwayne “Dick” Bryers, Don Crowley, Tom Hill, Bob Kuhn, Ken Riley, Howard Terpning and Harley Brown.

After getting together at art shows and social events, we decided to make our relationships even closer, more personal. We would start traveling together, paint together and enjoy each other’s company along with our families.

Right from the start we took amazing trips; for instance, off to Russia, Spain, The Caribbean.

To top all this, we’d have major museum shows where we would display what we’d been painting past and present.

Publications and television programs became interested in us as our adventures and art events went on for years.

Yes, grand times with the TUCSON SEVEN. Now, sadly, there are three of us. But in spirit there’ll always be The Seven, traveling the world, talking about anything and everything; making art and enjoying each other knowing our blessed times together meant so much for heart and soul.

Our grand adventures would fill a mammoth book. In some ways they can’t be explained; the emotions, the joy, such levels of inspiration we Girl with Flowers by Harley Brown had beyond description.

We lived some of the most precious moments one Always when we’d get together, there was plenty to might imagine. Memories of the TUCSON SEVEN are talk about: Life, family, politics and of course new with me every day. art-pieces we were working on. We thoroughly WTH: You authored a book on the Western genre enjoyed our gatherings with the pure joy of talking, paintings by Howard Terpning. Back in the 70’s and listening and relaxing. It’s interesting that each of us 80’s I remember seeing these remarkable illustrations had a totally different approach to art as well as our for film posters by Terpning. Eventually he moved subjects and themes. I’ll add that our personalities his artistic energies exclusively into telling the story certainly differed. With all this, we never got tired of of native-Americans. What made that body of work our relationships that went on with no end in sight. different than his illustrative paintings?

64

www.pswc.ws

The Heart of An Artist: Harley Brown Harley: A major difference with Howard Terpning’s works from his days of Illustrations to his works of the past few decades is that he now is bringing his own subjects and purpose with his Native American paintings. For example, his illustrations of Gone with the Wind and Doctor Zhivago had their own narrative for the film studios. Now, Howard’s works to bring to life his own inspired interpretations of a world that continues to fill his imagination and grand talents.

Artistically, I see Howard’s early illustration art with similarities in the inventive brilliance with his works of these past few decades. Now, that brilliance is entirely dedicated in showing a true appreciation for the unparalleled, historic American West.

WTH: And finally; what has it been like for you to be an artist instead of say, a pianist, or an actor?

All that aside, I’ve been having a life that I dreamed of when I was young. The best part was that my young mind accepted the fact that I was quite simply going to draw and paint the rest of my life. No matter how I got there.

Strangely, there was a time in those early days that the piano was also dominating my mind. I’d been learning the classics and fiddling around with Fats Waller stride plus boogie-woogie. Periodically, I thought I’d be happy playing the piano for the rest of my life in a lounge. Or, just maybe playing Rachmaninoff’s 3rd Piano Concerto in Carnegie Hall. Ah, what a dream to have the people in the audience rise from their seats to applaud my performance. Yes, but that remained a dream.

(Actually, for a while, I did play piano in a brothel.)

At art college one day, something happened that caused a 180-degree turn in life. Art was my life, but that day, the piano became important.

All my fellow students heard me playing the piano, something until that moment I held as secret. And that day, I began altering my shy personality to fit the occasion. People noticed me.

Harley: Me being an artist is because of wonderful happenings of life.

First, I exist because my dad happened to meet my mother at the University in Saskatoon, Saskatchewan. Almost as important, art continually flowed through my mind from age of 7 because my dad showed me a particular drawing he did. After graduating from high school, my dad gave me five minutes to make up my mind if I wanted to go to art college for 4 years . . . oh yes!

The next day I rushed to the college and signed in for the Fall semester.

Putting aside that historic moment of my life, a moment that lasted a number of years, the rest of my life has been dedication to art.

I’ll add something of great importance: Obsession is a mighty plus as well as being slightly off balance.

“Off balance” in a positive, nonconformist way.

Then out of college and my art career began. A career filled with events that steered me towards my serendipity, -events almost surreal. In fact, I find it hard to believe many of my lifetime occurrences in and out of art.

The actor part of me also began on that specific day. I put on various personalities depending on the situation. Sometimes cool, sometimes outrageous, sometimes endearing. All performances were worked on to almost a professional level and then,

Kathleen by Harley Brown

PSWC Magazine | Fall 2020

65

The Heart of An Artist: Harley Brown 15 years later, because of a startling incident all of that ceased to exist.

Indeed, my acting hopes have been trimmed somewhat; I would love to be an extra in a movie, -you know, sitting on a park bench during a chase scene, or a father watching his daughter, get married. Perhaps a body in a morgue, -now there’s where I’d shine.“ And the Academy Award for best extra goes to Harley.”

Artists are in the world of the Arts. We create, we dream, we keep working on doing and developing ourselves. I can’t add numbers or remember historic dates. Chemical equations, other than H2O, forget that. I got some of the lowest marks in the history of my high school. Actually true!

The Arts are special. I’m extremely comforted waking each morning knowing I can do something creative from my mind and body without a boss telling me that I’d better smarten up or I’m out!

Painting and drawing, yes, even privately, I have a smile on my face in knowing I’m doing what I wanted to do when I was seven and my dad showed me one of his art works. When I decided really what I would be doing the rest of my life. Art. Just so you know, I have a piano that I walk by daily but rarely touch it.

Much of my life and thoughts have been detailed in my books. I’ve been living a life that many don’t believe. I hardly believe it myself. It is a very complex story indeed.

PS: At this moment, I’m thinking back to the time I finished grade twelve; with a mind rather oblivious.

Certainly not switched on about the future. It was real and a pivotal point; now that I’d finished all those years of learning facts and figures, “Okay world, what am I going to do with you, what are you going to do with me? Who’s in charge? You or me?”

We soon realize we’re in charge with where we’re going with the world offering many pathways to get there. I discovered that those paths double with each turn; keeping the mind swirling with the realities of life and the love of what we do, a combination of joy and hard work. Like the classic mix of caramel and salt. And it works.

66

www.pswc.ws

Today “Dad always said; ‘One day you’ll want to smell the roses.’”

Harley Brown is doing just that–he paints and draws, a little. He continues to write for International Artist magazine, he loves spending time with his wife Carol and his family, and enjoys the natural beauty of British Columbia. Harley still loves old movies and their character actors, though he seldom watches them any more.

He says; with a smile in his voice, “In my youth I kept wondering, am I ever going to be mature? Well I am 81, and I’m still not ‘mature.’ Being a bit childish is now a compliment.”

Today, Harley periodically chums around with an elusive artist by the name of Balinofski. (some claim he’s Harley’s alter ego.) It is a long friendship that has run hot and cold over the years. Harley says that Balinofski’s art is an inspiring contrast to his own; he also enjoys Balinofski’s intellect and unique sense of humor. Harley readily admits that jealousy led to a brief breakup of their friendship. It occurred 50 years ago with a two-person show. Balinofski sold most of his artworks and Harley just a few. At the time, it was a bit much for Harley and is a reveal that his ego was just as vulnerable as any of ours.

Ah, but time does heal wounds and diminishes lofty behavior and the relationship was revived.

One thing about Harley is certain.

He remains, to this day, the unsinkable Harley Brown!

Gallery Affiliations and More His regular column and insightful Bon mots can be seen in International Artist magazine.

You may also find Harley Brown on Instagram, Facebook, and YouTube.

To learn more: visit Harley Brown I Canadian Artist I Author at - https://www.harleybrown.ca

The Heart of An Artist: Harley Brown Books: •Harley Brown’s Eternal Truths •Confessions of a Starving Artist •Harley Brown’s Inspiration for Every Artist •Terpning – A Tribute to the Plains People by Harley Brown

Gallery Affiliations: •Settlers West Galleries 6420 N Campbell Ave. Tucson, AZ 85718 www.settlerswest.com/ html/gallery.html

Baja Sunset by Harley Brown

About the Author W. Truman Hosner earned his BFA at Wayne State University in Detroit, following it with post-graduate work at the Center for Creative Studies where he eventually returned to teach.

Before moving into fine art, as a nationally recognized illustrator he produced illustrations for brands such as Readers Digest, CBS-Fox Video and Kennedy Center for the Performing Arts. Truman then studied at the Scottsdale Artists School with Harley Brown and Dan Gerhartz.

Paintings by W Truman Hosner have been featured in national and international museum collections and exhibitions ranging from New York City ...to California...to Canada...to France and Spain...to Asia.

“Painting from life, the integrity of Hosner’s art is never in question as he conveys through his works the evolving moods and dynamics that can be captured only through the art of plein air painting.” -Harry Goldson, Suttons Bay Galleries

PSWC Magazine | Fall 2020

67

Brot

68

www.pswc.ws

therly Love by Cindy Gillett

Meet the Members: Cindy Gillett

Cindy Gillett

by Cindy Gillett and Sabrina Hill

Cindy Gillett is a pastelist from Meridian Idaho. Though she leaned toward an impressionist style, she was told that it takes at least 300-500 paintings to determine your style. So she painted and painted and painted, and 500 paintings later discovered she is a contemporary realist. Though she displayed artistic talent in high school, she graduated from college, got married and had children before she really pursued any formal training.

She came to pastels later in life, initially learning on YouTube, but as you can see, she has made her mark. “There are no short cuts,” she says, “Just commitment to the work.”

Along the way, she joined Daily Paintworks and took one of their 30 in 30 paint challenges.

She wasn’t surprised she finished it, but she didn’t expect to sell all the paintings. Her most recent 30 day series is shot glasses, which she names with tongue-in-cheek titles like Tot Shot (Tater Tots in a shot glasses) and Shot of Winter (Snowman in a shot glass). Clever, witty, and charming, talking to Cindy is like chatting with a dear friend. We share her talent with you on the pages that follow.

Q. Did you always consider yourself an artist? Or was there one day, when you realized that you were one?

A. Like most artists, I was drawn to art as a child however the greatest shift in my own awareness happened only a few years ago. After raising my family and completing my career I was free to explore my artistic talent to become the artist I always dreamed I would someday be. But of coarse I didn’t know exactly where to start. So, I took a drawing class, read books, watched videos, and tried out a few mediums. It wasn’t until I read a Pastel Journal article in 2013 about Iowa pastelist Marcia Wegman, that I had my first “light bulb moment”. When asked why she paints with soft pastel she said she had always been a drawer and that soft pastels was a natural progression for her. At the time, that’s exactly the encouragement I needed. I was tired of drawing pets and portraits and wanted to explore color! I knew nothing about soft pastels so, from then on, I devoured everything I could about the medium and slowly gathered the supplies I would need. She was right, it PSWC Magazine | Fall 2020

69

Meet the Members: Cindy Gillett

Cast Iron and Wool

by Cindy Gillett

was a natural fit for me as well.

The second “light bulb moment” came when I read Van Gogh’s Letters by H. Anna Suh. I realized when reading some of his earliest letters to his brother and seeing the crude drawings he included with each letter that his early works were quite elementary.

Yet it was his passion and commitment which were extraordinary to me. I knew then and there that I would have to put in a lot of work behind the easel if I truly wanted to progress to the highest level I can be as an artist. I’m still working on that journey.

The third “light bulb moment” came when I found my “tribe”. Through an odd twist of fate I was visiting family in Wisconsin during the summer of 2014 at the same time the Door County Plein Air Festival was occurring. I took time out to drive up to Door County and was introduced to the friendliest people I’ve ever met...and they all had the same passion as I did! It was a surreal experience to be surrounded by such great artists. I hadn’t planned on staying the night but I stayed two days in order to absorb 70

www.pswc.ws

as much as possible before heading back. I was given so much good advice on how to start and stay motivated. Frankly, I owe an awful lot to those artists, some who are also pastelists and considered friends to this day. I couldn’t help but tear up a bit when I drove away...I had for the very first time in my life found my “artist tribe”. I was overwhelmed!

Q. Who or what has had an strong influence in your work?

A. I find that Vincent Van Gogh has had the strongest influence on my motivation. I’m at the “tail-end” of life and even if he didn’t fully realize it, he was too.

I new I needed to really hustle and make a huge commitment of time to do what I wanted to do (and still hope to do). My style is nothing like his but I found a kindred spirit in his writings.

Q. What other jobs have you done?

A. I was in the financial industry for 26 years. Nothing much to elaborate on...but a good career overall.

Q. Do you work exclusively in pastels?

A. Mostly.

Meet the Members: Cindy Gillett Q. What other mediums do you use? How do you feel about pastels versus the others?

quite appealing to me.

A. I feel like I’m cheating on my pastels when I paint

1. Enter when you feel you’re ready and then enter your best piece(s).

with other mediums since pastels have been a constant companion for the past six years...but I do love painting with oils (in spite of the necessary cleanup when using them)..

Q. What do you think about when choosing multiple pieces for a show? What do you look for in a piece to be selected for a show?

A. Currently I like to work in series. Children, fishing flies, boats, tables for two, cast iron kettles, shot glasses are a few of them. One reason I like a series is to get to know the subject matter well. Generally, I gravitate to those things that make a person, place, or thing uniquely its own. Whether it’s the texture, atmosphere or the quirkiness of my subject matter.

I typically choose from my most recent works when entering a show. To be “eligible” for entry in my mind is to have a strong composition, values, and color harmony..

Q. For many artists, the idea of entering a juried show or competition is terrifying. What advice would you differ to artists contemplating an entry in a show?

A. The best advise I received came from Barbara

So my own advice would be:

2. A good piece will have a strong composition, values, and color harmony.

3. Expect to be disappointed...never assume your piece will get into a show no matter how good you may feel it is or how successful an artist you are.

4. Remember the jurors are human and they truly try to be objective. What they select one day might be different the very next day.

5. Rejection is tough for us all! Stay humble, win or lose and remember, your on a life long journey not a short lived race.

Q. What advice would you give to your 20-year-old-self regarding art?

A. Don’t be in a hurry...at first, “becoming an artist” is like being a hungry caterpillar chomping at ever leaf in sight. So consume all you can (books, videos, workshops, connect with other artists in person and online).

Jaenicke and I’ll pass that along. She said while you may not be a competitive person, entering shows will help you gauge your own individual progress.

As you progress with your art and are accepted into shows you may even eventually receive an award which often is in the form of more art supplies and/or cash. “More art supplies” and comparing my own progress over the years really sounded Table for Two: Southwest Charm by Cindy Gillett PSWC Magazine | Fall 2020

71

Try every medium, every genre, every style, every substrate and every pastel brand you can...create every day. Purchase the best supplies you can afford. Paint plein air, from life and in the studio...do it all and take your time!

Then allow for the transition into your own cocoon... there is where you will learn the most about yourself as an artist and develop your own voice...your own style. Be gentle with yourself...always, always quiet the critic inside because at first that critic is a loudmouth!

During this “cocoon stage” your style will develop naturally. Then, ever so slowly, the artist within you will emerge as does the butterfly. Then you will be ready to fly in all your glory, to continue your journey and finally be confident enough to call yourself “an artist.” www.cindygillett.com Eat Your Veggies by Cindy Gillett

Copper John by Cindy Gillett Lady Amherst by Cindy Gillett

Shot of Lead by Cindy Gillett

72

www.pswc.ws

Tot Shot by Cindy Gillett

Shot of Winter by Cindy Gillett

Along the Shoreline by Cindy Gillett

PSWC Magazine | Fall 2020

73

Beyond PSWC: Lyn Asselta

Lyn Asselta, IAPS-EP, PSA

by Laura Pollak, PSA, PSWC, SPS, PSNC

it’s a quiet street scene or the rocky shores of her beloved Maine. Let’s meet Lyn and her sweet and gentle personality that creates powerfully emotional works.

LP: Where were you born? Where did you grow up?

LA: I was born in Lackawanna, NY, and although I lived in several states before I was ten years old, I spent the majority of my childhood on the coast of Maine.

LP: Did you go to college for art?

I ‘met’ Lyn Asselta via Facebook several years ago.

At that time, Lyn, not surprisingly, won an award at the Southeastern Pastel Society Show at the Ogilthorpe Museum in Atlanta, and I happened to be in attendance. Lyn could not make it, and I know how exciting it is to win an award in this prestigious show. I sent Lyn a personal message through Facebook to let her know, and she was sweet enough to give me a call back. I had to tell her that I ‘had some good news and some bad news. First, the good news, she won an award (clearly one of many to come having just won the top prize in the Pastel Society of America’s Enduring Brilliance 2020), and next was the bad news: her second accepted entry was ‘dusted’ from shipping (sadly something many of us have experienced). Since then, we have stayed connected and become friends, sharing the joy of pastels. Lyn’s career has really taken off since I’ve known her, and her works have a deep ‘sense of place’ that evoke an emotional response, whether 74

www.pswc.ws

LA: I spent two years at art school in Portland, Maine, at what is now the Maine College of Art. I studied painting and graphic design. I have a bachelor’s degree in Elementary Art Education.

LP: Where have you lived and where do you reside now?

LA: After college, I moved to Saint Augustine, Florida and spent 36 years there. Last year, I moved back to Maine.

LP: How did you get your start in art?

LA: I think my big break in art happened when I started the First Coast Pastel Society in northeast Florida. At that time, I was able to paint full-time and to begin to concentrate on getting into galleries.

LP: Describe what your childhood was like.

LA: I was lucky to have spent my childhood exploring the outdoors. I spent most days climbing on rocks along the coast, examining tide pools, figuring out the names of plants. For a while, we lived right across the road from a rocky little beach and I was within walking distance of pine woods, the deteriorating

Beyond PSWC: Lyn Asselta

Red Streak by Lyn Asselta

PSWC Magazine | Fall 2020

75

Beyond PSWC: Lyn Asselta

Facing the Day by Lyn Asselta

foundation from a long-gone hotel which was a treasure trove of everything from wooden bowling balls to glass inkwells, tidal salt marshes, and views of the Atlantic Ocean in every sort of weather. As a kid, I always thought the world provided magical things… even an afternoon spent on a rock surrounded by wild blueberries was special. Everything around me seemed to have stories to tell.

LP: When did you know you were an artist?

LA: I truly can’t remember a time when I didn’t think I needed to create things. So, I think that, although I probably didn’t consider myself an “artist” early on, I always felt as though there was something to do or to make, to write about or to draw.

LP: Did you take lessons as a child?

LA: Yes, my first art lessons were when I was about 11 years old, from a local artist who was well known in the area. I still own three of his paintings and they inspire me every single day.

LP: Do you have any artistic connections in your family?

LA: I had an uncle who painted off and on and my brother paints. My grandfather introduced me to a drawing board and his drafting tools, which 76

www.pswc.ws

absolutely fascinated me as a child.

LP: How did your schooling impact your career?

LA: Since I took both painting and education classes, I think my schooling contributed greatly to the two things I continue to do: paint and teach.

LP: When did you first get into Pastels?

LA: I got into pastels in 2004 or so. I came across an old box of Grumbacher pastels from my college days and decided it might be fun to try them out again. When I started looking for Canson paper, which was the only thing I knew at the time, I discovered sanded paper, ordered some, and found a combination that has kept me interested for 15 years or so now.

LP: Do you use other mediums?

LA: I dabble these days in other mediums, occasionally. I used to paint in oils, but not enough to really be proficient. I use watercolor or gouache or pen & ink in my sketchbooks. I find that there is still more I’d like to do with pastel, though, so I paint almost exclusively in pastel.

LP: How did you develop your personal and distinctive style? How would

Beyond PSWC: Lyn Asselta

you describe your technique?

LA: This is a hard question to answer…I don’t know that I actually made an effort to develop a personal style. There are so many “styles” that I admire. I just kept painting…a LOT. I found that if I tried to imitate someone else’s style, it just simply never worked.

So, I would say that my style evolved as I became more proficient with the medium.

LP: Who influenced you in your art career?

LA: At a young age, I admired the artists who lived near me. There were several local artists who had studios that I would walk by on my way to the bus stop or the beach. The town nearby, Ogunquit, Maine, had once been an artists colony

As Dusk Arrives by Lyn Asselta Standing at the Edge by Lyn Asselta

PSWC Magazine | Fall 2020

77

Beyond PSWC: Lyn Asselta and in the late 19th century, painters like Hopper, Henri, Hartley and Bellows painted there. Charles Woodbury started the Ogunquit School at a place called Perkins Cove. Walt Kuhn’s daughter, Brenda, used to show me his paintings hanging on the walls of their home; Kuhn’s Harlequins were popular, but I always loved his seascapes. So, the works of those artists who painted in Ogunquit were some of the first paintings I was exposed to. I often visit the Ogunquit Museum of Art even now to see the paintings I remember from my childhood.

LP: Do you have a favorite artist?

LA: I have always admired O’Keeffe for her tenacity and her choice to be true to her unique lifestyle as much as for her paintings. It’s impossible for me to name just one artist…and I love discovering artists whose work I haven’t seen before. I’m especially drawn to Hartley, Wyeth, Pissarro’s winter scenes, Whistler, VanGogh…

LP: How have they influenced you?

LA: In general, other artists inspire more than influence me. I often notice compositions or colors that will stop me in my tracks. They make me want to get back into the studio to paint and experiment.

LP: Do you still take workshops?

LA: I try to take one workshop a year, usually in something totally different from what I normally paint. This year, I’m taking a portrait workshop.

LP: Why do you stay with pastels? Why do you LOVE THEM? LA: I love them because I’ve always been very aware of mark-making and the way the hand controls 78

www.pswc.ws

those marks (I was a calligrapher for a long time).

Being able to place color and marks onto a surface with just a pastel in my hand is both immediate and gratifying.

LP: What are your favorite genres/scenes to draw?

LA: I am first and foremost a landscape painter because I’ve been fascinated with the landscape for as far back as I can remember.

LP: Where do you primarily show your work?

LA: My work is at galleries in Florida, Maine, and North Carolina. I also enter exhibitions and show my work in those shows.

LP: Do you have a favorite substrate?

LA: My “go-to” is UART 400 mounted on heavy matboard.

LP: Do you prefer to paint in a particular size?

LA: My paintings range in size from 6x6 to 48x48.

LP: What would you tell beginning pastel artists as your best advice?

LA: Admire other artists’ work but don’t try to imitate them. Your hand will paint differently from every other artist’s hand, just like your handwriting will be different, so the best thing you can do is to paint all the time. Your personal style will emerge that way.

Needing a Quiet Day by Lyn Asselta

LP: Where in the world do you really wish to go to paint?

LA: I’m living there now, back on the coast of Maine.

But, I’d still like to return to Scotland to paint, possibly to the Scandinavian countries, and I’d like to get back to Algonquin Provincial Park in Canada.

LP: Tell us about your studio.

LA: My studio is a 4-season porch on the side of my

Beyond PSWC: Lyn Asselta house with windows that cover the expanse of 3 walls. I have a view of the cove across the street from the front windows, and the back windows look out over a moss-covered hill, bordered by old pines and maples with a stone wall lining the upper ridge. It’s a comfortable place to be, and I have an upright easel there, along with a large wall easel.

LP: What advice would you give your ‘younger’ self?

LA: Paint sooner! I dabbled in soooo many other forms of art before getting up the courage to paint. I waited ‘til I was in my 40’s.

LP: What major shows or publications have you been featured in?

LA: I’ve been so fortunate to have my work in shows with IAPS and PSA, I’ve shown in other pastel society shows around the country, and in exhibits in France and China, as well. I’ve had feature articles about my work in Pastel Journal (including a cover), Plein Air Magazine, and the French publication, Pratique des Arts.

LP: What are 2-3 non-art related hobbies or interests?

LA: I read a lot, and I love cooking and baking. Now that I’m back in Maine, I’m looking forward to more hiking.

LYN’S BIO Lyn Asselta readily admits that she has considered the landscape her muse since she was a child.

Growing up on the rocky coast of Maine, where the weather changed almost by the minute, the effects of atmosphere on land and water were an everyday, mesmerizing occurrence. Her memories are rich in details of the places she has experienced throughout her life and she has a deep reverence for places that exude a sense of strength and quiet. Those qualities continue to appear time and time again in her paintings. Her chosen medium of pastel allows her to extend her tactile sense of communicating with the natural world into the painting process at her easel.

Lyn’s landscape paintings have been exhibited throughout the United States and have been included in invitational exhibitions in France and China. A sought-after workshop instructor, she has

Outstretched by Lyn Asselta

taught workshops in Canada, Curacao and across the USA. Lyn is an IAPS (International Association of Pastel Societies) Eminent Pastelist, a Signature member of the Pastel Society of America, a member of the Salmagundi Club, a Member of Excellence in the Southeastern Pastel Society, and is the founder and past president of the First Coast Pastel Society based in northeast Florida. In 2009, Lyn was selected as an Artist in Residence at Acadia National Park in Maine. Her work has been featured in several magazines including Pastel Journal, Plein Air Magazine, and Pratique des Arts.

Lyn’s work is represented by Cutter & Cutter Fine Art Galleries in Saint Augustine, Florida and Ponte Vedra, Florida, Gleason Fine Art in Boothbay Harbor, Maine, and The Lucy Clark Gallery in Brevard, North Carolina.

About the Author Laura Pollak, PSA, PSWC, SPS, PSNC is a contributing writer for the PSWC magazine. She lives in Greensboro, NC and Naples, Florida. Laura teaches workshops in person and online around the country and teaches classes in her Greensboro Studio. www.Laurapollakart.com. Youtube Channel; Laura Pollak Artist

PSWC Magazine | Fall 2020

79

Art Online

Teaching Art Online

by Susan Kuznitsky

When the COVID-19 virus arrived, classes shut down. What’s an art teacher to do? Teach Online! Susan Kuznitsky regrouped and flourished with classes on ZOOM.

Sunday March 15, 2020 was the last time I taught an art class in person. It was a one-day beginners pastel workshop at Oregon Society of Artists (OSA), where I have been teaching two weekly classes for the past four and a half years. We were aware of this virus, but the official ‘lockdown’ had not been put in place. Thirteen out of the fifteen enrolled students showed up, as well as myself and my dear artist friend who joined in to paint along and help as my assistant.

A week later the state of Oregon shut down, joining most of the rest of the world. It was shocking and scary. I had just written an article that was published in the Spring edition of this magazine on Grief and Art. I shared my experience of losing my husband suddenly in November 2017 and how my art has helped me heal and keep moving forward. Little did I know how my art would come to the rescue in a whole new way to help me through this trying time.

I had heard of this thing called ‘Zoom’ that people were using to stay connected with friends and family and for meetings for work, but I knew nothing about how it worked. The whole OSA teaching staff 80

www.pswc.ws

was asked to consider teaching online with Zoom.

I said, “YES,” even though I had NO idea what I was saying yes to. I connected with one of my coworkers who teaches Acrylic painting. He had been looking at Zoom to teach classes to his California base of students. We shared some ideas on format for classes, and he shared what he knew about the platform and what was working as far as devices.

So, I bought myself a web cam and invited my current students to be my ‘test’ class. They had a few lessons coming to them as part of a pre-paid series. This seemed like the best way to make that up Dahlia by Susan Kuznitsky to them and jump into the world of online teaching. I made a whole series of mistakes– call them ‘Zoom Bloopers’.

Everything from students getting knocked off the class and ‘sitting’ in the Zoom waiting room for me to let them back in to recording the demo with everyone showing on the recording looking like the Brady Bunch going to art class! But I was learning.

I ended up typing up a ‘what to do and not do’ list that I taped up next to me in the studio.

It was now April, and I get a call from the President

Art Online of the North Carolina Pastel Society where I was scheduled to teach a three-day workshop the last weekend in June. I assumed she was calling me to formally cancel the workshop. Everything for myself and all my artist/teacher friends was being canceled and/or rescheduled. Instead, she asked if I would teach the workshop online. Again, I said, “YES,” having NO idea what I was saying yes to! You see the pattern here! Jump in and then figure it out seems to be the theme here.

At the same time, a small group of my Midwest artist pals started what evolved into a weekly Zoom time to support each other in figuring this all out. I told them about my experience and trial classes and what worked and what didn’t and low and behold I instantly became the ‘expert’. It gets better…My friend Laura, in North Carolina, had an idea to create a group to connect with other pastel teachers and Dahlia Demo by Susan Kuznitsky would I host the first Zoom meeting. Once again, I said, “YES.” This group has grown and has been invaluable. It has become one of the ‘silver linings’ of this Pandemic situation–bringing us all together to support and learn from each other.

This crazy whirlwind was happening. I have to date taught a 5-week series and a three-day workshop and have a few one on one mentoring students.

There are more workshops scheduled and more weekly classes in the fall. What has worked for me is starting each class with a 30 to 40 minute demo covering different subjects and different under-painting approaches. This is followed by a PowerPoint presentation and critiques that I do on Photoshop and email to each artist. I also photograph my palette used for each demo to include in the follow up email. Depending on the length of the class (weekly class or multiple day

workshop, students have the option to ‘hang out’ on Zoom and work remotely with help from me as needed. I record the demos and upload them on YouTube (unlisted) so students can access them later. I try to make it as close to a real art class experience as possible. We all know this will never replace being together creating but it has turned out to be the next best thing.

It has been a lifeline on so many levels. The feedback from participants has been really encouraging.

There is such a huge need during this time to stay connected and stay creative. There are even benefits to learning this way. I have had comments about how watching a demo can be better – everyone gets a front row seat. But again, it will never replace walking up to the demo during a break to really take it in. But this is what we have for now.

It has been fast and furious. I listen to what my colleagues are doing and love that we can openly collaborate and support one another.

We share ‘classroom’ issues and protocols as well as the tech part of teaching online. I have so far stuck with my MacBook Pro and my web cam, (who I have nicknamed ‘Webby’) which is mounted on a tripod and practically sits on my lap while I teach. I have tweaked my studio lighting a bit and learned about a web cam app to help adjust the color and has the ability to zoom. Now that I am comfortable with this process I am adding OBS (Open Broadcast Software) to the mix. Pricing is also a topic we addressed as a group. There is some misconception that an online class or workshop should cost less than an in person class. What some students may not understand, (I certainly had no idea) is there is more prep work that goes into online teaching vs. showing up in person.

That being said, I have to add that I am enjoying the entire process and have come to believe we (online

PSWC Magazine | Fall 2020

81

Dappled Light by Susan Kuznitsky

art teachers) are an ‘essential business.’ We need to help our students stay connected to their own creativity and ability to see the beauty around us to help balance the chaos.

As I said in the beginning, I wrote an article on how art has helped me process my grief. This pandemic has created a whole new grief for all of us, losing our lifestyle of coming and going as we please.

Helping others stay creative has kept me staying creative and given me a sense of helping others while being isolated.

And the isolation is profound. I lost my life partner and was doing a decent job of creating a new life and then that went away. I am grateful that Zoom was created before this all happened.

I have experienced what is called ‘Zoom fatigue’. A whole new kind of tired. I did some research about it for this article. I 82

www.pswc.ws

learned others have also experienced this exhaustion after a meeting or a class. Turns out virtual interactions can be extremely hard on our brains. It doesn’t seem like it while I am doing it, but I apparently emote much more to stay focused on what I am doing and how I am connecting with my students. I have learned that I do need to walk away once an hour during a class and take a break, eat something and breathe some fresh air. It is an evolving process for all of us. I do believe this amazing technology will be with us even after this pandemic passes. I have had students join in from all over the country and as far away as Northern England. It does open a whole world of possibilities.

All in all, my process of saying YES and figuring it out later seems to be working. The experience has kept me grounded, focused and moving forward. And as I wrote in my last article, I am living proof that art heals.

Dappled Light Demo by Susan Kuznitsky

Tree Demo and painting with Zoom set up.

For more info on classes contact Susan through her website at www.susankuznitsky.com

PSWC Magazine | Fall 2020

83

Gallery Tour

Paris Comes to Salt Lake City Karen Horne, MFA, PSWC, is currently presenting twenty of her latest pastel paintings, at HORNE Fine Art in Salt Lake City, Utah.

Many of these were inspired by her pilgrimage last fall to Paris and Giverny. The show features a series of 6 water lily garden paintings as well as 8 lively new pastels of Paris parks, monuments and cafes.

Also included are pastels of musicians and neighborhood gardens observed in walks during the pandemic. www.hornefineart.com Eiffel Tower by Karen Horne Two Paris Cityscapes by Karen Horne

84

www.pswc.ws

Gallery Tour

Monet Garden Series #9 by Karen Horne Two Paintings of Paris Life by Karen Horne

PSWC Magazine | Fall 2020

85

Gallery Tour

Composed for Solace Featured Artist Karen Miller at Upstairs Art Gallery Karen A. Miller presents Composed for Solace, a collection that highlights pastel paintings created during the current pandemic and centering on subject matter from (necessarily) close to home. Earlier in the year, she began exploring post-Kincaid Fire landscapes but in March, as we all had to do, she switched gears. Every crisis changes our focus. This artist’s reaction was to look for what gives us solace, becoming more introspective and reflective - appreciating

86

www.pswc.ws

Gallery Tour

anew our most familiar surroundings. While most of her prior work was local landscapes, this newer work expands to include more interiors and figures. Miller takes the viewer on “old” paths that take on new meaning in these pastel paintings. “I like finding new delights in common everyday surroundings and translating them to a visual format. I guess one might say, a silver lining to SIP,” commented Miller.

Karen Miller has shown her work in numerous juried shows, in many Sonoma County venues as well as online. She exhibited in the prestigious Pastel Society of the West Coast and earned Signature Member status after only three years of submitting work.

“At Least I Have Oranges” by Karen Miller

Upstairs Art Gallery 306 Center Street, Healdsburg, CA https://www.upstairsartgallery.net M-F 11-3 Weekends 11-6 PSWC Magazine | Fall 2020

87

Gallery Tour

Walk on the Wild SIde Artist Marianne Harris at Elk Grove Fine Arts Center Marianne Harris will be part of the Elk Grove Fine Arts Center 9th Annual Art Tour on Saturday, October 10th from 10AM – 4PM at the Vanatta Winery with three other artists. She will have several original paintings available, as well as prints, greeting cards and other gift items.

The 9th Annual Art Tour hosted by The Elk Grove Fine Arts Center. The tour consists of three different locations with 15 different artists participating. Each artist is donating an original piece of art that will be included in a raffle. Tickets for the raffle will be selling during the tour and winners will be notified on November 7th. There is a Tour Guide Map available at the Elk Grove Fine Arts Center website (elkgrovefineartscenter.org). Admission is free at all locations.

Vanatta Winery at 8718 Grantline Road in Elk Grove Marianne and Sierra, the subject of many of her paintings!

88

www.pswc.ws

Gallery Tour

“Observer” by Marianne Harris 16” x 20” pastel on velour, photo reference used with permission from Pat Nadarajah.

Vanatta Winery 8718 Grantline Road Elk Grove, California

“Hummin’ Along” by Marianne Harris 14” x 18” pastel on velour

PSWC Magazine | Fall 2020

89

Art School

Art School

“STUDY IN GREEN”

by Marie Tippets PASTEL ON Tippets UART A 16x16 Study in- Green

by Marie

16 x 16 on UArt Paper

Working Photos

90

www.pswc.ws

If truth be told, I must admit that I have a particular fondness for stripes and reflective surfaces. I find a limitless number of possibilities in combining the two for exciting still life compositions.

Given a shiny surface, some patterned fabric that might be reflected in an unexpected manner on that surface, a mix of other elements, and the late afternoon sun (when the light casts beautiful long shadows) - it’s off to work - organizing, composing, and rearranging until the perfect balance is struck. Seems simple enough, but some days it works, and others it doesn’t. It can often take several days to get it just right.

The photos on the left are from a set that was recently created to explore what reflections might be made by a cluster of apples inside a silver bowl, and along the bowl’s upper rim. I particularly liked the play of the stripes against the simple shapes of the apple, and the folds in the fabric. The contrast between the dark blue stripes and the bright green apples was quite nice also. But in analyzing the photos, both the stripes and the apples seemed to compete for attention. In the end, I opted for a monochromatic approach that gave visual importance to the apples over the stripes, while still allowing the patterning to bring a level of excitement to the overall composition. The apples then remained the focal point.

Art School

The color palette chosen for the painting was bright greens and their purple complementaries. And the primary tools of choice were Holbein, Caran d’ache and Carb Othello. All three offer a beautiful color selection, are firm enough to not fill the tooth too quickly, and are quite easy to handle.

I do not use any mechanical pencil sharpeners to keep the points on my pencils because they tend to waste too much of the pastel. Instead, I use a technique that I learned from a Coung Nyugen tutorial video - whittling them

by hand with a very sharp blade. His blades are much larger than mine and I found them to be a bit scary, so I experimented with xacto and that worked perfectly for me. I have in fact become quite adept at doing this and, can brag that so far I’ve been fortunate enough not to slice off any portion of my fingers! I also uses pencil extenders so that all pencils can be utilized down to the last chunk of pastel - at nearly $5/per pencil, frugality is a good thing. Dick Blick has the best pricing on all pastels, though Dakota’s service and friendliness cannot be matched.

Amazon offers a variety of pencil extenders.

As I begin each painting, I make a quick sketch to help define the composition. In this particular instance, the lower left corner wasn’t working - there was a lot going on, and something simple was needed to balance all the patterning of the stripes.

More setups with possible solutions followed (see photos on first page).

PSWC Magazine | Fall 2020

91

Art School .

When I was satisfied with the addition of a simple apple in the lower left corner, I began the painting with a light sketch to define the placement of objects. As the painting progressed, however, that didn’t really work for me, and the lower section was completely erased. I went back to my original setup trying to wait for the same light conditions and experimented with a half apple and some slices. The white rather than just another green apple gave me what I was looking forward. . le I work from photos to better recall White the exact light conditions that I was particularly fond of, I do keep the setup in place for the duration of the painting. Because it can often take me upwards of a week to complete a piece, the photo references become indispensible to me. My work is very light/shadow specific and will neither last that long or be the same the next day at the same time. I do photograph the setting at several points during the day until I am satisfied with just the perfect balance of light and shadow. The photos in the most intense light give me my shadow/highlight information, and the photos taken very early on remind me of the details in the shadows in the event that some of that information may need to be added to the composition.

I also work with a piece of paper over the unpainted areas to keep the surface of my support clean and free from oils; and, I use a handmade stick to support my arm and hand when going back in the final stages to clean things up and make final tweaks.

92

www.pswc.ws

Art School

Other works utilizing stripes in my compositions...

Red Gerberas and Stripes 16x20

Retired 16x20

See Marie’s art at www.marietippets.com Butterfly Orchids 16x20

PSWC Magazine | Fall 2020

93

Art Workshops

Art Workshops L A N A B A LLOT

PA IN T ING SPA R K LING WAV E S W I T H PA S T EL S ONLINE WOR K SHOP V I A ZOOM Sparkling ocean is mesmerizing! It’s also a challenging subject to paint. Starting with discussing and practicing anatomy of waves, we’ll move on to capturing the ocean sparkles with pastels.

More info and to register at https://www.lanaballot.com/workshop/25431/ sparkling-waves-with-pastels

94

www.pswc.ws

Sep 26-27, 2020 Pastels/All Levels Price: $250

Art Workshops

W. T r u m a n H o s n e r Figures in Landscape Truman Hosner teaches a natural way to draw and paint the figure outdoors and incorporate it into the landscape. In the tradition of painters like Joaquin Sorolla, he uses observation techniques of light, shadow, and temperature to show the student how to develop fast, natural approaches to working the figure en plein air. www.wtrumanhosner.com

Mar 29 - Apr 2, 2021

“We know what we are, but know not what we may be.� - William Shakespeare

Pastel/All Levels

scottsdaleartschool.org

800.333.5707

480.990.1422

Monday - Friday $700 + $60 model fee/5 days PSWC Magazine | Fall 2020

95

Art Workshops

JER I GR EENBERG

COME ZOOM ALONG! LET’S PAINT FIGURES AND INTERIORS WITH JERI GREENBERG PSA, IAPS-MC Come and explore how much fun it can be to paint the “everyday” life that we see all around us. I’m always on the lookout for interesting scenes happening, and I want you to be also. My classes are about “Making the Ordinary Extraordinary”! In this workshop we will work on composition and intention, as well as the handling of this wonderful medium and how to make the viewer say “wow”!

More info and to register at https://pswc.ws/event-calendar/#!event/2020/10/16/figures-interiors-and-urban-landscapes-with-jeri-greenberg

96

www.pswc.ws

OCT 16-17, 2020 Pastels/All Levels Price: $150

Art Workshops

October 30th, 31st, & November 1st, 2020

PSWC Magazine | Fall 2020

97

2020 PSWC Scholarship Winner

2020 BOB GERBERCHT SCHOLARSHIP WINNER

by Pam Comfort With painted illustrations on her water bottle, calculator

In addition to using art to support her academic success,

and blue jeans, it would have been hard for anyone to

Natalie envisions a future in which she will be able to

miss Cheyenne Mountain High School senior Natalie

combine her art with a medical practice. While pursuing

Schmidt’s passion for art. This year’s recipient of the

a major in Fine Art, Schmidt plans to also take Pre-Med

PSWC Scholarship grew up in an artistic family in Colorado

classes in preparation for enrolling in medical school

Springs, and with encouragement from

to pursue a degree in Osteopathic

her graphic designer dad, has been

Medicine. She sees her double major

taking art classes since she was six years

in both Art and Science as a path

old. Over the last four years, Natalie has

toward fulfilling her need to continue

received awards for her works in textile,

as an artist while also helping people

sculpture, printmaking and painting in a

through medicine.

variety of media.

Natalie believes that her art will help

“Art helps me think outside the box,”

her to become a better doctor. There

Natalie writes, “Art helps me calm down,

is plenty of evidence to support her

relax and get inspired.” The seventeen

assertion, including the fact that some

year old, now a new student at Bethel

medical schools are now requiring

University in St. Paul, Minnesota explains

that students take art classes in

how her pursuit of art and academic

order to improve critical thinking,

achievement have been intertwined. “I

observational and communication

use art to help me memorize and learn

skills, and empathy.

more efficiently. Art surrounds me and is my life; I do it every day in every way.

I use it to learn about the world around me.”

learning includes both Art and Science and her high school art teacher Kate McCall, shares that Natalie has an

Home-schooled from third to ninth

excellent eye for composition and

grade, Natalie enrolled at Cheyenne

proportion, and skillfully applies the

Mountain as a sophomore and had

concepts of value, form, color theory

enough credits to skip her junior year

and line quality in her work. Natalie

and graduate early. The high school’s

was awarded a Gold Key in the State

psychologist

(Learning

of Colorado for the Scholastics Art

and

LEAD

Disabilities)

Show 2020, a Best of Show award for

Coordinator, Jeanine Morrow Charlton

sculpture in 2017 and a 2nd place

recalls watching a video of Natalie from

award for printmaking in 2019 at

one of several speech competitions

the Colorado Springs Young People’s

saying, “I was incredibly impressed with

Art Exhibit, and multiple Awards of

her poise, her professionalism and her

Excellence in her school district’s

command of the audience.” Combining

art show, including one this year for

the knowledge gained from her Advanced

Watercolor painting.

and

Education

About

LEAD class and her own experience with dyslexia and Attention Deficit Hyperactive Disorder (ADHD), Charlton has seen Natalie skillfully present information about being a student with a disability to a range of audiences including at the Courage to Risk Conference.

98

Natalie says that her passion for

www.pswc.ws

Natalie has also received regional and national awards for expository speaking, an award for community service, and multiple academic honors. McCall confirms that “Natalie is a very driven young woman.”

Housekeeping

PSWC HOUSEKEEPING ALWAYS LOOKING FOR VOLUNTEERS Members, we need your other talents, too! We have the lots of opportunities for volunteers from working on the PASTELS USA Show to hosting Paint-outs to working on the Magazine. Please contact Sabrina Hill for more information here.

ELECTED BOARD POSITIONS President/Editor Sabrina Hill e: Art@sabrinahill.com Vice President/Treasurer Susan Goodmundson e: goodmundson@sbcglobal.net

MEMBERSHIP DRIVE One of the best ways to support a healthy society is to bring in new members. There

Secretary Bonnie Griffith e: bzgriff53@gmail.com

are lots of good reasons to join. If you have artist-friends who are not members, now’s the time to invite them to join. Contact Debbie Pepin if you have questions or would like more information.

NEW MEMBERS

COMMITTEE APPOINTEES Eblast Coordinator/Publicity Cynthia Riordan e: clriordan@gmail.com Facebook/Social Media Rita Romero e: artist@romeroartstudio.com Membership Chair Deborah Pepin e: pswcmembership@gmail.com.

Magazine Editor Sabrina Hill e: art@sabrinahill.com Membership Show Chair Dug Waggoner e: dugwaggoner@att.net Museum Liaison W. Truman Hosner e: truman@wtrumanhosner.com Pastels USA 2020 Chair Jan Miller e: halfhalt@saber.net Scholarship Co-Chairs Pam Comfort e: pinfree@gmail.com Ranjani Mohana e: ranjanimohana@gmail.com Strategic Planning Chair Deborah Shea e:deb@deborahsheastudios.com Ways & Means Chair OPEN Workshop Coordinator Sheri Adams e: sherilynadams@yahoo.com

PSWC Magazine | Fall 2020

99

BEST IN SHOW Portrait with Silver Mirror by Chengyi Song| Suzhou, China | 26x20

The 34nd Annual International Open Exhibition 100

www.pswc.ws