John Singer Sargent: A Century of Influence on Portraiture
As we commemorate the 100th anniversary of John Singer Sargent’s death, we reflect on his extraordinary contributions to portraiture and his lasting impact on artists today. Born in 1856, Sargent was one of the most sought-after portraitists of his era, celebrated for his masterful use of light, expressive brushwork, and ability to capture the essence of his subjects. His work continues to inspire artists, solidifying his legacy as one of the greatest painters of all time.
During his lifetime, Sargent’s portraits defined the elegance and grandeur of the late 19th and early 20th centuries. His ability to infuse personality and vitality into his subjects set him apart from his peers. Works like Madame X and Lady Agnew of Lochnaw exemplify his signature style—bold, yet refined, with a sense of immediacy that brought his subjects to life. Though he was initially criticized for the provocative portrayal of Madame X, the painting is now considered a masterpiece.
A hundred years after his passing, Sargent’s legacy continues to thrive. His paintings are displayed in museums across the globe, and his techniques remain a source of inspiration for new generations of artists. As we mark this centennial, numerous exhibitions are being held around the globe which highlight his enduring influence and celebrate a master whose work still shapes the world of portraiture.
John Singer Sargent and his Circle at Broadway Museum and Art Gallery
Broadway, Worcestershire, England
April 11 - July 19, 2025
Sargent and Paris at The MET
New York, NY
April 27 - August 3, 2025
Heiress: Sargent’s American Portraits at Kenwood
London, England
May 16 - October 5, 2025
Carnation, Lily, Lily, Rose, 1885–6, John Singer Sargent, Tate Britain
Kerry Vosler, Writer, State Ambassador Coordinator
Scott Jones, Writer, Washington State Ambassador
Sargent Circle
Platinum Members
Susan Basham
Sandra Murzyn
Leslie Nordness
Michael Shane Neal
Sarah Perot
Brant and Joelle Phillips
Trish Savides
Henry Garth Smith, MD
Teresa Spinner
Mary Whyte
Gold
Aida and Kevin Garrity
Hope and Billy Reis
Louis and Jessica Sterchi
Silver
Melinda and Jeff Balsar
Peggy Kinstler
Jerry and Ernie Williams
Carol and Darryl Yochem
Mailing address: Portrait Society of America P.O. Box 11272
Tallahassee, FL 32302
Shipping address: 1109 S. Magnolia Ave. Tallahassee, FL 32301
Toll free Telephone: 1-877-772-4321
Fax: 850-222-7890 Web: www.portraitsociety.org
Design
ZOEY FRANK: FRAGMENTS OF REALITY
By Kate Orr
Recently, I had the privilege of speaking with artist Zoey Frank to gain deeper insight into her artistic journey, creative process, and professional development. Zoey’s thoughtful responses offer a glimpse into her exceptional skill and innovative approach to art, as well as valuable advice for aspiring artists.
From Laguna College of Art & Design and Gage Academy of Art, how was your experience, and what was the most impactful thing you learned there?
I studied for four years with Juliette Aristides at Gage Academy training in the classical atelier tradition. We worked from live models every day, drawing for the first year and then progressing to painting with gradually expanded palettes. I learned how to draw accurately from observation, how to paint three-dimensional forms, and how to control my value relationships. I loved the intensity and the focus of learning a specific skill set really well.
Laguna College was a very supportive environment to develop my own work after the atelier training. The most impactful
thing that I learned there was an experimental approach to building my paintings. I started to set out different rules or parameters for each new project, like working from a motif that I knew would change so that I had to paint one piece at a time, adjusting my color palette for each painting, or using colored construction paper to create a specific set of color relationships in the motif. This approach has continued in my work today and has helped me find my way to making paintings that feel uniquely my own.
Could you explain your style and the idea behind it?
I don’t make paintings that all look one way. I continue to try out new ideas and allow my work to continually change. I like working in series on a single subject, painting it in different modes, from more abstract to solidly representational, varying approaches to the light or the space, etc. Though the paintings can look quite distinct from each other, somehow it does feel like there’s a through line that makes them all feel like mine. Perhaps it’s the way that I put down paint or the kind of space in the picture that I find satisfying. For a painting to work for
me, there needs to be something that pulls the image out of pure observation, that unsettles the picture, that brings me to the surface of the image. Sometimes it’s an imposed color scheme, patterns, or abstract shapes that interact with the observed elements.
In your paintings, you often work with different panels grouped together to make a large singular piece. Each one is often slightly different in colors and style, giving the piece a fragmented, stained-glass-like effect. What was your inspiration to do this?
These multi-panel projects grew out of the idea of working in series. I want to try out all of these different ways of looking at a thing, and having them all together as part of a single image was an interesting way to play with that idea. Grapevine was the first time I tried this, painting different panels in all 4 seasons, in sunlight, under cloud cover, abstract, very tight, light, dark, on raw linen, on primed panel, and so on. It also fits my experience of the subject; since this grapevine is in our backyard, I encounter it at different times of day, in different seasons, and it takes on new shapes, new characters. This fragmented image was more accurate to my experience than just a single painting of the subject at one moment in time.
Could you please explain the colored boxes you often include within your paintings?
I’ve made a series of paintings where I experiment with odd color palettes. For Back Garden I used a different limited palette for each panel. The pigments I chose are marked out at the edge of each panel and then a few mixtures that explore the range of color they can achieve are next to that. I like how the color charts look, and I like that they make the painting feel like a study about something specific. The color squares also become an element of abstraction or fragmentation. In Picnic #1 the squares feel like digital glitches, bringing the image in and out of focus.
Do you have any current or future projects you can tell us about?
In 2021 I began work on a monumental 18’ x 20’ painting of a backyard gathering. The painting spans five large canvases that I developed separately in my studio. I assembled the full piece for the first time in the summer and fall of 2024, painting from a scissor lift during a nine-week artist residency under the high ceilings of the Bo Bartlett Center at Columbus State University in Columbus, Georgia. The painting is nearly completed now, and I’m so excited about how the project has come together. I learned a lot from working at such a large scale, specifically that I could!
I would like to extend sincere gratitude to Zoey Frank for sharing her insights and offering Portrait Society supporters an exclusive glimpse into her exceptional work and creative vision.
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1. Picnic #1, 72x102”, oil on linen on panel, 2024
2. Grapevine, 105x150”, oil on linen on panel, 2020
3. Berlin Window #6, 24x24”, oil on linen on panel, 2018
4. Back Garden, 87x70” overall, oil on canvas on multiple panels, 2024
INSPIRATION & MOTIVATION
I waited to write this until after returning from Scottsdale because I figured I might find inspiration. It was a fully packed five days at Western Horizons at Legacy Gallery benefitting Western Spirits: Scottsdale’s Museum of the West with thirty-seven of the best artists in the world. There was a thought-provoking presentation by Artist Kim Wiggins and panel discussion with Jeremy Lipking, Bill Anton, and Kyle Polzin. Workshops at the Scottsdale Artists School were held with Kathy Anderson, Richie Carter, Rose Frantzen, and Daniel Keys including his amazing annual Palette Project for artists ages 17 – 22. I enjoyed buying a bunch of watercolor brushes from Rosemary at Rosemary & Co. Brushes. I spoke with well over one hundred artists at the Celebration of Fine Art and Arizona Art Expo. I have always thought how perfect those two venues are for buying art, and of course, I visited all my favorite galleries in town.
Prior to Scottsdale, I attended the online program WatercolorLive. I am challenging myself to pick up a brush this year. I have also been listening to podcasts and attending shows that are introducing me to the world of fantasy art and imaginative realism. There are so many remarkable artists to learn about.
What have I learned? 1) The passion to create must be strong, and 2) One needs to work through disappointments and mistakes. This article might be a little disjointed, but what I hope to do is convey a few thoughts and truths to chew on.
Kim Wiggins stated, “You can see the rise and fall of cultures through their art. What type of art will define our culture?” Kim explained the history and trajectory of Western Art as “American Art” through examples from various noteworthy artists. He believes, “The art of the American West will one day be recognized as the defining hallmark of American society.”
As artists in the Portrait Society, you are also contributing memorable aspects of your culture through your art. How will your art define your culture’s legacy? The international context of the Portrait Society is noteworthy. Art is a powerful medium for cultural exchange between nations.
Kim also referred to these three quotes:
“Art should concern itself, not with imitation, but with creation.” -Emil Bisttram
“The dignity of the artist lies in his duty of keeping awake the sense of wonder in the world.” -Mark Chagall
“You use a mirror to see your face; you use art to see your soul.” -George Bernard Shaw
By Scott Jones
Artists do struggle. I know this from my 18 years of working alongside you and representing you. I find these tidbits worth noting:
“Have no fear of perfection – you’ll never reach it.” -Salvador Dali
“You will learn more from 50 starts than 1 finish.” -Elizabeth Robbins
“Quit practicing your mistakes!” -Jeff Hein, who also described his desire, “to make poetry out of the vocabulary I have been working so hard to establish.”
“Perfect, but not too perfect.” -Janine Helton
“Doesn’t need as much help from me as I might think.” -Shelly Prior
“Watercolor wants to be beautiful. Got to let it cook.” -Richie Vios
“Don’t get attached to too many rules; break them!” -Bjorn Bernstrom
“Don’t fix mistakes, just play with them.” -Alvaro Castagnet
And from a t-shirt I own: “No mistakes; just happy accidents.” -Bob Ross
This article seems a little more motivational than practical in terms of business ideas and concepts, probably due to my personal reflections on current events. One last quote: “What would life be if we had no courage to attempt anything?” -Vincent van Gogh.
I truly admire artists with your dreams, creativity, inspiration, drive, and your devotion to improving and never being satisfied. You are our culture! My 7-year-old granddaughter was talking last evening about growing up. “Grandpa, will I have as much fun when I turn 8?” I assured her she would. After answering a math story problem my wife gave her, she asked, “Do you still learn lots of stuff, grandpa?” Definitely a reference to my age, I told her that “we never grow all the way up!” She liked that. It also reminded me of a painting I thought of after listening to a recent podcast. It fits nicely here. May you never grow up in your passion, pursuits, mistakes, and successes.
Julia Maddalina, Never Grow Up, 16x20”, Oil. I still remember meeting 16-year-old Julia for the first time at the Portrait Society in the General Pencil Company booth, watching her draw side by side with David Kassan. I bought a David Kassan Signature Drawing Set that day.
State Ambassador Quarterly Reports: Have you considered becoming an Ambassador? There are so many benefits to being a Portrait Society Ambassador, such as learning about events in your state or country, getting to know other members, and enriching your location with special member events unique to your state or country. Lynita Motes (Alabama) writes, “I am enjoying this position, and I have been blown away with the talent we have here in Alabama. Plus, I have made wonderful new art friends I never would have met otherwise.”
This is also why I have been part of this amazing program since the beginning. I have seen how artists’ lives have been enhanced through the efforts of Ambassadors here and abroad.
Our upcoming Portrait Conference will be in Virginia this coming May 8-11! Make sure you look for your ambassador during the conference. Many ambassadors are having special gatherings during this conference. I will be there, and you can chat with me about becoming an ambassador as our current South African Ambassador last year did. Also, please welcome our newest Ambassador, Simona Buna for the state of Indiana. Here are some highlights from our Ambassadors:
Lynita Motes (Alabama) will have monthly events in different parts of the state. In April, there will be a studio and gallery tour hosted by two members on Lake Tuscaloosa, and in May, members are meeting in Hurtsboro at a member’s studio for a class and demonstration.
Katherine Cook and Deborah Broach (Florida) hosted a lecture and video presentation by Allan Banks entitled, “A Student Memoir of R.H. Ives Gammell” at Vosler Atelier on February 1. They also hosted a live sculpture demonstration and discussion in March by American Master, Stephen Perkins at the Vosler Atelier. Portrait Society members have been meeting to paint regularly at Cork Art Studios in Jacksonville.
Wendy Roberts (Hawaii) said William Zwick of Zwick Academy of Fine Art will be performing a demo from a live model on April 11.
Melanie Harding Bates (Kentucky) hosted live model events for members to paint/draw.
Kim Abbati (Illinois) hosted a get together in March at the Palette and Chisel in Chicago. There will be a model and critique session meeting at McCord Gallery in Palos Park set for June 29.
Eric Crenshaw (Maryland) sent an email introducing himself as the Maryland ambassador along with a survey designed to determine the needs of our MD members.
Rachel Mindrup and Littleton Alston (Nebraska) invited Studio Incamminati to teach 10 students at Creighton University this March.
Nicole Troup (Pennsylvania) hosted a Zoom meeting called “What’s on Your Easel” where members were able to share what they were working on in their studios.
Jennifer Wharton and Suzanne Viechnicki (South Carolina) opened the South Carolina members show, “Spirit of America,” at the Aiken Center for the Arts, Aiken, SC. The quality of the work was outstanding, the reception was well attended, and a sale happened during the opening.
Betty Bullen (Tennessee) put together a workshop with Seth Haverkamp at Tennessee Artists Association’s Studio in Knoxville, TN, in February, which was well-received. The next demo will be with Virgil Elliott at TAA’s studio on May 21-23.
Mary Hull (Texas) is happy to announce that the face-off is coming along with the city of Lewisville, Texas, Visual Art League of Lewisville and the Portrait Society members, scheduled Sunday, May 18 from 1-4pm at the Lewisville Grand Theater.
Janelle Hatherly (Australia/New Zealand) held the first Zoom meeting for the year in January. Her plan for 2025 is to hold bimonthly Zoom meetings with minutes being written up by the Ambassador and distributed to all members.
Andrea Steinbauer (Europe/UK) wrote and shared the 3rd issue of the European members newsletter featuring member news, inspiration, and European art history.
Taleta Willer (South Africa) got a group together to paint a live model.
We are looking forward to hearing from you!
Kerry Vosler
Ambassador Coordinator
Caption: Attendees paint at Seth Haverkamp’s workshop in Tennessee.
a day in the life
A Day in the Life with Mario Robinson
SELF-DISCIPLINE: THE PATH TO PRODUCTIVITY AND PURSUIT
In this issue, acclaimed artist Mario Robinson walks us through his day, providing helpful insight into the habit of self-discipline that keeps him on the path to productivity and pursuit. A professional artist of three decades, Robinson is a graduate of New York’s Pratt Institute, an author, and an instructor who works in various mediums, including watercolor, pastel, oil and graphite.
Robinson’s portraits, landscapes and interiors, are inspired by the non-idealized world of everyday situations and ordinary people. There is a quiet dignity and a poignant sense of isolation, even loneliness to Robinson’s work, which hearkens back to artists like Andrew Wyeth and Edward Hopper. As a faculty artist, attendees of the 27th annual The Art of the Portrait Conference in Washington, D.C., this May will have the opportunity to learn from Robinson as he demonstrates the expressive watercolor portrait sketch.
Can you walk us through a typical day in your studio? What does your daily routine look like?
My day begins at 6:30am with a couple cups of coffee to kick-start my morning. After enjoying that quiet time, I check my email and direct messages, catching up on important communication and drawing inspiration for the day ahead. By 8:00am, I am at my easel ready to immerse myself in the creative process. I paint throughout the afternoon, taking a brief break around 2:00pm and end my session at 4:30pm. If I am finding it difficult to walk away from a painting, I will extend the session until I exhaust myself. This disciplined routine sets a focused tone for my studio practice and allows me to avoid distractions.
How do you balance studio time with other aspects of your life, like family or personal commitments?
Maintaining balance requires structure. I have to admit, I don’t have the best work-life balance. I have been a professional artist for the past thirty years, and I am becoming more aware of the importance of spending personal time with my family and partner. Scheduling has helped me achieve that. I live alone now, so I have to make a conscious effort to keep in touch with the people in my life.
Is there a time of day you feel most productive or inspired to create, and how do you make the most of that time? Mornings are usually my most inspired hours. To maximize productivity, I avoid distractions, set a clear plan before
By Marianne Rice
starting, and work in focused blocks of time. If I hit a creative rhythm, I let it flow rather than forcing a break. Conversely, if I struggle, I step away briefly to regain energy.
How do you handle creative blocks or days when inspiration is harder to find?
There are days when I feel as if I am dragging myself into the studio. This frame of mind is instantly recognizable, and a reminder of the human condition. When I face this dilemma, I approach it by finding work that allows me to be present in the studio but requires less mental energy. There is generally a section of a painting that requires less attention to detail, such as a block-in layer. There are other projects on which I can work that give me a sense of accomplishment. Whether I am performing maintenance on my website, creating content for my social media channels or photographing finished work, there is always something to do.
Are you currently teaching, and how do you incorporate that into your schedule?
I am not currently teaching at any formal institution. My mother passed in 2023, and I took time away from my adjunct position at the New York Academy of Art to heal. I have taught a few watercolor workshops at the Art Students League (NYC) recently, and it has been enjoyable. I find the occasional workshop to be a welcomed addition to my studio practice, as it’s mentally stimulating to connect with other artists.
What do you find most fulfilling about your day-to-day life as an artist?
The fact that I have the ability to express myself through a visual language is highly rewarding. There is a feeling of calm that comes over me when I am interacting with my work. We live in a frenetic world, and it can be difficult to disengage from the noise. I find solace in knowing there is a place I can re-center and explore the depths of my inner self.
What projects are you currently working on?
For the past two months, I have been working on a series of oil paintings based on scenes from Nantucket. I have been a resident artist at the Artist’s Association of Nantucket for the past five years. The two-week residency allows me to paint on location, as well as spend time refining ideas in the studio. The paintings I am currently working on will be part of a pop-up exhibition held towards the end of my residency in June.
You work in multiple mediums, including watercolor, pastel, oil and graphite. How do you balance the use of those mediums?
I often rotate between mediums based on the project or mood. Some pieces demand the transparency and spontaneity of watercolor, while others benefit from the depth and texture of oil or pastel. I don’t make a conscious effort to utilize a particular medium, as the subject matter often dictates my decision. I suppose the best way to summarize the process is deciding which emotion I am seeking to convey and opting for the most effective way to tell the story.
Reflecting on your early art career, how has your experience influenced the advice you give young or developing artists?
I am a firm believer that there is no such thing as “one size fits all” advice for developing artists. In my case, I chose to focus on the business aspect of art creation. There are a few basic steps visual artists can take in the infancy stage of their career. My first word of advice is to properly photograph finished works of art. This is a necessary skill to
create professional promotional materials, build a portfolio, enter art call submissions, publishing, etc. Secondly, set realistic short-term and long-term goals for yourself. Having a clear vision will assist you in decision making along the way. Lastly, establish clear boundaries when conducting business, and read the fine print prior to signing a contract.
How do you balance creating art that is true to your voice and narrative, with production and income as a working artist?
I am cognizant of the potential to appeal to a broader audience with work created strictly for the purpose of satiating the market. I would rather earn money through other means. It is far more rewarding to invite viewers into a conversation I would like to have regarding the current state of our world. To the point of selling art, there is no exact science behind why art collectors choose to purchase a particular piece. It’s nearly impossible to predict what will guarantee the sale of a drawing or painting during its creation. I am confronted with my early work quite frequently (online and through other sources) and each work reminds me of the time and space in which it was created. I believe work created from a highly personal place will find itself in the right hands.
1. Mario in his studio
2. Thirty-One Easy Street (Nantucket), 12x9”, oil on panel
3. The Old Mill (Nantucket), 11x14”, oil on linen
4. Pixie, 60x40”, watercolor
5. Flickering Flame, 18x24”, oil on linen
MEMBERS ONLY COMPETITION WINNERS FOR 2024
For the past 20 years, the Portrait Society has hosted a competition for our members only. We received an overwhelming total of 1,003 entries with the quality of works reaching yet another level of excellence. The judges based their selections on a specific set of criteria that included fundamental skill development, technical proficiency within the potential of the medium, originality and uniqueness in concept and design, and aesthetic sophistication. The following pages feature this year’s award winners. Thank you to all the members that participated and were part of another great collection of creative work.
1st Place: David Pagani Marvin Curl, 18x24”, oil
2nd Place: Mardie Rees Saint Elizabeth of Hungary, 99x60x42”, clay for bronze
3rd Place: Elizabeth Zanzinger Liubov & Vlad, 20x26”, oil on panel
4th Place: Patrick Tupa Tom, 24x18”, oil
5th Place: Jean Hildebrant Kyle, 36x24”, oil
6th Place: Anna Rose Bain
7th Place: Ted Nuttall
8th Place: Joseph Daily
9th Place: Marcia Klioze
10th Place: Oliver Sin
Finalists (alpha order): Phil Boatwright, Matteo Caloiaro, Perry Carsley, Robin Damore, Crystal DeSpain, Nanette Fluhr, Nanci France-Vaz, Gavin Glakas, David Goatley, Thomas Caleb Goggans, Jaq Grantford, Kevin Macpherson, Nancy Mauck, Aapo Pukk, Sharon Sprung, Phoebe-Louise Stewart Carter, Chantal Sulkow, Charles Young Walls, Jennifer Welty, and Ligang Zheng
5th Place: Sharon Tousey Retrato de mi Abuela (Portrait of my Grandmother), 27x19”, pastel
Finalists (alpha order): Annabella Boatwright, Manny Cosentino, Robin Damore, Crystal DeSpain, Gary Godbee, Charles Moxon, Robert Papp, Nicholas Thorp, Erdenebulgan Unubaatar, and Rainny Zhao
6th Place: Kate Brockman Rhodes
7th Place: Ruth Fitton
8th Place: Lavely Miller
9th Place: Brian McClear
10th Place: Sara Kaplan
6th Place: Tracy Frein
7th Place: Michael Bergt
8th Place: Lyn Diefenbach
9th Place: Stephen Cefalo
10th Place: Robert Papp
1st Place: Jackson Wrede Self-Portrait in a Hat, 24x18”, oil
2nd Place: GayLynn Ribeira Truce, 30x40”, oil
3rd Place: Tanja Gant Self-Portrait, 12x12”, charcoal
4th Place: Vladimir Zlotskiy Music of Time, 14x17”, pastel
5th Place: Shana Levenson Spiral, 22x22”, oil on aluminum panel
Finalists (alpha order): Kevin Chambers, Rylee Cook, Casey Field, Nanci France-Vaz, Rosanna Gaddoni, Barbara Hack, Janelle Hatherly, Jen Starling, Jesse Lane, Jessica Lewis, Nancy Mauck, Michael Patterson, Daniel Robbins, Karen Warshal, and Gail Wegodsky
STILL LIFE
1st Place: Steve Scheuring Tastes of Home, 48x48”, oil on canvas
2nd Place: Jeffrey Legg Raku with Green Pears, 16x20”, oil
3rd Place: Robert Papp 48 Stars, 32x32”, oil
4th Place: Scott Royston Sewing Unity, Reaping Freedom, 40x30”, oil
5th Place: Sally Ryan Tea Party with a Twist, 30.1x42.1” oil on linen
6th Place: Andrew Sjodin
7th Place: John Buxton
8th Place: Charles Kapsner
9th Place: Yanteng Xiong
10th Place: Sivananda Nyayapathi
Finalists (alpha order): Naomi Allen, Michele Amatrula, Grandier Gil
Bella, Juan Cantavella, Donna Catotti, Isabelle Chouinard, Chris Clamp, Romeo Jr Cortez, Stephanie Deshpande, TaiMeng Lim, Brian McClear, William Neukomm, Ginny Page, SJ Penner, Rosie Penning, Fernando Robles, Jen Starling, Saara Väli, Ann Walker, and Charles Young Walls
6th Place: Rosanna Gaddoni
7th Place: Jimena Agra
8th Place: Evert Ploeg
9th Place: Carrie Nygren
10th Place: Stephanie Deshpande
ANIMALS AS THE SUBJECT
1st Place: Yelena Lamm Hide and Seek, 36x20”, oil
2nd Place: Felicia Feldman Before the Nap, 18x24”, oil on panel
3rd Place: James Tennison Oakley, 20x30”, oil
4th Place: Johanne Mangi Sublime, 14x11”, oil
5th Place: Crystal DeSpain Ladies in Waiting, 18x10”, oil
Finalists (alpha order): Jessica Armstrong, Suzann Beck, Jerrold Castro, Chung-Wei Chien, Barbara Fox, Rebecca Grim, Barbara Hack, Catherine Hafer, Mike Laiuppa, Wanning Liao, Janet Maines, Brenda Matsen, Linda Harris Reynolds, Fernando Robles, Scott Royston, John Suh, Li Jian Volk, Ann Walker, Cali Ward, and Maria Willison
TIPS FOR A GREAT WORKSHOP EXPERIENCE
More so now than ever before, artists have an abundance of learning opportunities at their disposal. One can further their artistic development through books, instructional videos, Patreon subscriptions, live Zoom demonstrations and online mentorships without ever leaving their driveway. These resources have proven to be invaluable, and many artists use a combination of these formats in their studies.
Nevertheless, in-person workshops continue to be an indispensible learning experience for those pursuing artistic excellence, as few other resources offer the hands-on training and interpersonal connection. Ranging from 3 days to a week, these workshops offer intense study with a desired artist, and often include live demonstrations, educational presentations, open dialogue and one-on-one feedback. Here are some tips for a great workshop experience.
1. Sign up for workshops with artists you admire. Choose teachers who paint in a direction you would like to go in your own work. Bear in mind, some of the best artists are not natural teachers, and some of the best teachers are not natural artists. Those who have had to work hard to achieve a certain level of skill, can often communicate core fundamentals and techniques in a way that artists of “natural talent” may not be able to. Word of mouth is a great way to find excellent teachers, so ask other artists about their workshop experiences.
2. Keep an open mind. Try the method being taught even if it feels awkward or doesn’t seem like a natural fit. Workshops are the perfect opportunity to push boundaries and try a new approach. If you always return to your comfort zone and the way you have always painted, you’ll never reach new ground. As Henry Ford once said, “If you always do what you’ve always done, you’ll always get what you always got.”
By Marianne Rice
3. Take notes. Keep a notebook and folder specifically for workshops so you have everything in one place. Title each entry by instructor, date and location, and store workshop handouts in your folder. Understanding how others teach and recognizing effective methods will help you develop as an artist and also provide excellent reference material if you decide to teach your own workshops in the future.
4. Don’t compare yourself to other students. Everyone comes to a workshop with different levels of experience and different stages of artistic development. In the same token, don’t be afraid to be the only beginner in the group! Sign up for workshops geared toward your level of skill and don’t be intimidated – artists are a friendly and generous crowd. Be thoughtful of your instructor’s time and attention, but remember, if you need further clarification on something, it’s likely someone else does too. Don’t be afraid to ask questions.
5. Focus on the process, not the product. New learning can take you into uncomfortable territory. Don’t concern yourself with whether you are viewed as a “talented” or “good” artist; a workshop is not the time to display your current ability, but to take on something new. Don’t expect your best work, roll up those sleeves, prepare to fail, keep a sense of humor and enjoy the process. It can feel awkward for everyone, and there is frequently a perceived skill regression when trying new methods, so plan for it.
6. Limit your workshops. Too many workshops in a calendar year may leave you with burnout and fatigue. Focus on one or two takeaways from a workshop that you can build upon and work into your own practice and try them on for a while. Keep what works for you and leave the rest.
7. Stay connected! Social media is a great way to stay in contact with fellow students and the instructors. Evenings and lunch breaks provide opportunities to meet interesting
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1. Workshop with Portrait Society member Kathie Wheeler
2. Workshop with Portrait Society member Margaret Carter Baumgaertner
3. Workshop with Portrait Society member Anna Rose Bain
4. Seven workshop artists reunited at the Portrait Society Conference 2024
people with shared passions. Many enduring friendships have been made through attending workshops. In fact, at the last Portrait Society Conference, I was able to reconnect with seven other artists who had all attended the same summer class!
If you are interested in attending a workshop, the Portrait Society of America frequently highlights upcoming workshops in their member spotlight posts on social media. If you have a particular artist you would like to study from, follow them on social media and sign up for their newsletter or email list if available through their website. If a nearby venue hosts artist workshops, be sure to sign up for their contact list, so you know what is available. Scholarships, mentorships and grant opportunities are also available through the Portrait Society. Check their website to learn about these resources and more.
STEP BY STEP
By James Tennison
I photographed these two young boys at the Stock Show and Rodeo in Fort Worth, Texas. Right away, I knew that I wanted to paint them because their expressions, body language, and the atmosphere of the rodeo conveyed a powerful sense of nostalgia and youthful spirit. Capturing this moment on canvas became my goal, and I wanted to ensure that every brushstroke reflected the energy and essence of the scene.
STEP ONE: Drawing the Composition
I began by drawing with a filbert bristle brush on a 36x24” oil-primed linen canvas, using yellow ochre thinned with lavender spike oil. I made sure that I had an accurate drawing before applying paint. This initial stage is critical because an accurate foundation ensures a strong composition and proper proportions. I kept my lines loose and gestural, avoiding excessive detail to allow room for adjustments as the painting progressed.
STEP TWO: Establishing the Base Layers
Using a palette of twelve colors, I started blocking in the painting, keeping the paint thin in the initial stages. Working from general to specific, I started with my darkest darks and brightest colors, which helped me judge other values and colors as the painting progressed. I worked on the older boy’s face, knowing I would refine the likeness later. This stage was about creating structure and setting the overall mood and lighting of the piece.
STEP THREE: Expanding the Color and Value Range
I continued blocking in the painting, not being overly concerned with detail at this point. My objective was to get the whole canvas covered as I established my values and colors as accurately as possible. This process allowed me to see how the different elements of the painting interacted and helped me refine my composition. I paid special attention to warm and cool tones, ensuring that the skin tones of the boys appeared lifelike and vibrant.
STEP FOUR: Refining the Younger Boy’s Features
Continuing to cover the canvas, I worked on the younger boy. I tried to capture his expression and paint his skin tones correctly. I would do much more work on him later. Once I had covered the whole canvas, I let the painting dry completely before continuing. Allowing the paint to dry in between layers helped me build depth and maintain color harmony throughout the portrait.
STEP FIVE: Enhancing the Details and Edges
From this point on, it was a series of adjustments. I began applying the paint more thickly and working on likenesses and details. I also began thinking more about hard and soft edges. By controlling edges, I could direct the viewer’s eye and create a more dynamic composition. The folds in the boys’ clothing, the shadows cast by their hats, and the subtle expressions on their faces all required careful rendering.
STEP SIX: Final Adjustments and Finishing Touches
After many days and hours of work, Hero was finished. At this stage, I stepped back from the painting multiple times to assess the overall composition. Small refinements, such as highlights in the eyes, subtle color shifts in the skin, and final touches to the background, helped bring everything together. I wanted to maintain a painterly quality while ensuring that the realism and emotion of the piece were fully realized.
Reflections on the Process
Painting Hero was a rewarding experience that reinforced the importance of patience, observation, and technique. Capturing the spirit of these two boys required more than just technical skill, it demanded an emotional connection to the subject. Every painting presents new challenges, but through careful planning, thoughtful execution, and a deep appreciation for the story behind the image, I was able to create a piece that resonates with viewers. The process of portrait painting is as much about the journey as it is about the final result. From the initial sketch to the last brushstroke, every stage contributed to the story I wanted to tell. In the end, Hero became more than just a painting; it became a tribute to the spirit of youth, adventure, and the timeless tradition of the rodeo.
Hero, 36x24”, oil
member news
1. Maria Battista’s bronze sculpture The Eternal Fiesta will be installed in the Northglenn, Colorado Art on Parade in E.B. Rains Park. Six sculptures are selected annually and will be placed in May of 2025.
2. Rosanna Gaddoni received two awards at the 17th International ARC Salon. Her drawing Within was awarded the 33PA Publishing Prize, and Solstizio d’Inverno (Winter Solstice) received an Honorable Mention award in the Drawing category.
3. Dean Mitchell received the Gold Medal of Honor by the American Watercolor Society of New York for Tampa Bay Drawbridge, 30x22”, watercolor.
4. Lori Putnam received Master Signature Member status in the Oil Painters of America. She will be accepting the honor during the National Juried Exhibition this year in Bradenton, Florida in May. Pictured: Where the River Runs Cold, 30x36", oil on linen
5. Andrea Schneider’s drawing End of the Day was juried into the 127th Anniversary exhibit of the Catherine Lorillard Wolfe Art Club at the Salmagundi Club in NYC, December 2024.
6. Chantal Sulkow’s painting Nedah was juried into The Portrait Society of Atlanta’s Members Only Spring 2025 Juried Exhibition, which was held at The Roswell Visual Arts Center in March and April.
7. Christine Swan’s pastel work Dervish, 20x16”, won the 3rd Quarter Dakota Pastels International Competition in the Established Artist Category, and it also won Honorable Mention in the Pastel Journal “Pastel 100” International Competition.
8. Randall Vemer taught 20 veterans painting along with making a film about it entitled “Boots on the Ground for Art,” which has won awards throughout the world. 2 4 5 7 3 6 8
exhibitions
1. Lisa Kovvuri has a selection of paintings in “The Whistler House Museum of Art presents: Artists in Residence 1900-2025” exhibition of works by the museum’s artists in residence past and present. The exhibition runs through May 30, 2025, in Lowell, MA. Call (978) 4527641 for more details.
2. Andrea Steinbauer’s painting Krista was chosen to become part of the MEAM Hall exhibition at the MEAM Museum in Barcelona, Spain from May 6 - August 24, 2025.
workshops
4. Anna Rose Bain will be teaching “Finding a Likeness through Form and Gesture” portrait workshop June 17-19, 2025, in Lowell, MI. This 3-day workshop will focus on specific ways to light, pose, and capture your model’s unique personality and expression. Learn more and register online at artworkbyannarose.com.
5. Casey Childs and Mary Sauer are teaching a “Painting the Portrait” workshop June 4-7, 2025, at Casey Childs’ Fine Art Studio in Salem, UT. Mary and Casey will demonstrate together their approach to painting the portrait from life. Learn more and register online at caseychilds.com.
6. Grace DeVito is teaching “Painting the Portrait: Focus on Refining” workshop, May 19-21, 2025, at The Kinstler Studio in Easton, CT. Each day will focus on the stages of creating a finished portrait head. Learn more and register online at gracedevito.com.
7. Nanette Fluhr is teaching a five-day workshop retreat July 8-12, 2025, at Landgrove Inn in Landgrove, VT. Working from a live model for 5 days, attendees will learn the principles of portrait painting in the classical tradition. Learn more and register online at artworkshopsatthelandgroveinn.com.
3. Jackson Wrede’s debut solo exhibition, “Menagerie”, is on view at the Birmingham Bloomfield Art Center in Birmingham, Michigan until May 1, 2025. The exhibition features 25 paintings created over the past two years.
8. Tina Garrett was invited by the Berkely Hall Club of Bluffton, SC to teach a three-day workshop, Painting the Figurative Portrait, October 10-12, 2025. Join Tina in the exploration of the elements of great portraiture. Learn more and register online at tinagarrett.com. 1 2
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renewals & new members
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The Portrait Society of America
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WEDNESDAY WEBINARS
Connect – Inspire – Educate
It’s these three words that define the Portrait Society’s public purpose. In keeping with that mission, we are excited to unveil our Wednesday Webinars for 2025. All formats include a live Question-and-Answer session with the artist. Cost is $39-$49 and includes a link to view the webinar for 30 days. For more information and to register, please visit www.portraitsociety.org or call toll-free 1-877-772-4321.
DAN THOMPSON
July 16, 2025
Portrait Bedrock: Drawing with Dan Thompson
MARK PUGH
October 22, 2025
Visual Narratives: Storytelling Through Portraiture and Mixed Media
