What an incredible experience we shared at the 27th Annual The Art of the Portrait conference! Nearly 800 artists from across 42 states and over 20 countries came together for an unforgettable weekend of learning, connection, and celebration. From live demonstrations and thoughtprovoking discussions to portfolio critiques and the stunning display of original artwork by our 19 finalists, the event was a true celebration of the art of the portrait.
Thank you to everyone who attended—your presence and support mean the world to us. A heartfelt thank you also goes to our 29 dedicated faculty artists who generously shared their knowledge, techniques, and passion with their fellow artists.
One of the highlights of the conference was the ever-popular 6x9 Mystery Art Sale. Invited artists created small works, signed only on the back, and attendees had the thrilling opportunity to purchase them without knowing the artist’s identity until after the sale. Proceeds from this exciting event support tuition scholarships for emerging artists to attend the conference. This year, 12-year-old Eliot Maxfield was one of our scholarship recipients. He wrote, “Thank you so much for the scholarship. The conference was lifechanging and really inspiring. Everybody was so kind and encouraging and it really meant a lot!” His father, Andrew, added, “I was floored by the goodwill, encouragement, and generosity that were showered on Eliot. This has been a huge blessing in his life, and I’m grateful that he has fallen in with such a remarkable crowd.”
Looking ahead, in addition to already working on the faculty and programs for next year’s conference being held April 9-12, 2026, in Atlanta, Georgia, the Portrait Society is hard at work planning upcoming programs and publications designed to inspire, educate, and connect artists across all stages of their journey. We’re excited about what’s ahead and hope you’ll be part of it.
In the meantime, don’t miss our upcoming Wednesday Webinars! We’ve scheduled six engaging sessions this summer, covering topics such as mastering flesh tones, constructing compelling visual narratives, understanding bone structure in portraiture, and capturing expressive side profiles. These online events are a great way to stay connected and continue learning from wherever you are. Visit our website for the artists that are teaching and a full description of their session: www.portraitsociety.org.
Also, make note of these important upcoming deadlines:
August 14, 2025 – Final day to enter the Future Generation competition
September 3, 2025 – Deadline to apply for Signature Status
November 4, 2025 – Final day to submit entries for the Members Only Competition
These opportunities reflect our ongoing mission to cultivate a vibrant and supportive portraiture community made up of artists, collectors, and educators alike. Your participation and enthusiasm are what make this community so special. Wishing you a creative and inspiring summer ahead,
Christine Egnoski, CEO
The 6x9 Mystery Art Sale was a tremendous success, raising an impressive $32,175 in support of the Portrait Society’s scholarship program. Featuring anonymously donated original works by leading artists, the event highlighted remarkable talent while directly contributing to the growth and education of emerging portrait artists. Through this inspiring initiative, the artistic community came together to invest in the future of portraiture.
William F. Draper Grand Prize Winner and People’s Choice Award
Frances Bell, Yellow Trainers, 35.5” x 37.5”, Oil on Canvas
ARTEMISIA GENTILESCHI: PAINTING HER OWN STORY
Artemisia Gentileschi’s rise to fame was neither accidental nor solely dependent on her talent in history painting. It was the result of deliberate self-positioning, technical brilliance, and a keen understanding of the social function of portraiture. At a time when artistic careers were built as much in court salons as on canvas, she used portraiture to introduce herself, maintain relevance, and control the narrative others told about her.
Born in Rome in 1593, Artemisia was trained in the workshop of her father, Orazio Gentileschi, a respected painter who had worked alongside Caravaggio. From an early age, she showed greater interest and talent in the family trade than her brothers.
She is best known for her historical paintings that depict scenes from ancient history, classical mythology, and the Bible. By the age of fifteen, she was already producing professional work, and at seventeen, she completed one of her most acclaimed paintings, Susanna and the Elders (1610).
By Emma Sims
Two years later, after enduring a traumatic and highly public trial following her rape by fellow artist Agostino Tassi, Artemisia relocated to Florence—a strategic and transformative decision. There, she gained admission to the Accademia delle Arti del Disegno, becoming its first female member. Portrait commissions in Florence provided her not only with financial stability but also with a platform to reshape the public perception of her identity. She was actively shifting her image from victim to virtuosa.
Florence marked a pivotal period in Artemisia’s career. She mingled with members of the Medici court and positioned herself as a serious professional artist. She completed works for Grand Duke Cosimo II de’ Medici and other Florentine nobles. Her ability to capture likeness and convey social prestige earned her access to elite circles and respect in a predominantly male field.
Artemisia was also a master of selfpromotion. She understood the power of portraiture in crafting a public persona. Her self-portraits from the 1610s and 1620s served as tools to elevate her reputation. As they circulated among the upper class, these works showcased her technical skill while presenting her as both artist and intellectual. Paintings such as Self-Portrait as a Lute Player and Self-Portrait as the Allegory of Painting exemplify this strategy. These images conveyed her artistic autonomy and allegorical sophistication—traits rarely afforded to women artists of the era.
By the 1620s and 1630s, Artemisia had established a successful studio in Naples. From there, she accepted commissions throughout Italy and even traveled to England to work at the court of Charles I, one of Europe’s most discerning art patrons. Portraiture remained central to her career, not only as a service she offered, but also as a medium for forging and maintaining professional relationships.
2. Self Portrait as the Allegory of Painting, 1638-1639
3 Self-Portrait as a Lute Player, 1615-1617
4. Susanna and the Elders, 1610
By this time, Artemisia’s reputation was formidable. Letters from contemporary collectors and artists confirm that she was regarded as one of the most talented painters of her generation, regardless of gender. She was celebrated not only for her dramatic narrative works but also for her ability to capture character, texture, and presence in portraiture.
For portrait artists today, Artemisia remains a powerful figure not only because of the quality of her work but also because of her strategic use of portraiture as both a professional and personal tool. She possessed a deep understanding of the social value of portraiture and the transformative power of the painted likeness, not just for the sitter, but for the artist behind the brush.
In recent years, one of Artemisia’s historical masterpieces, Hercules and Omphale, was restored by the J. Paul Getty Museum in Los Angeles. The painting survived a devastating explosion at the Beirut port in 2020 and was left in severely damaged condition.
An example of Artemisia’s skill with allegory, Hercules and Omphale depicts the mythological hero being forced to do women’s work as punishment for killing Iphitus—an inversion of traditional gender roles. Historians believe Artemisia painted it in 1630s Naples, where she lived and worked for much of her life.
This restored painting is currently on view at the J. Paul Getty Museum through September 14, 2025. The exhibition, titled Artemisia’s Strong Women: Rescuing a Masterpiece, also features other works by the artist, including Susanna and the Elders, the painting she signed and dated at the age of seventeen.
A DAY IN THE LIFE: CHELSEA LANG
Accomplished artist Chelsea Lang walks us through a day in her studio. Lang is a classically trained artist known for alla prima oil paintings that explore the threshold of delicate realism and expressive paint application. Lang has cultivated a vibrant online community through YouTube where she helps other artists reach their creative goals. You can learn more from Chelsea from her recent Wednesday Webinar available through the Portrait Society website.
Can you walk us through a typical day in your studio? What does your daily routine look like?
I have certain days blocked off for painting, others for working with students and some strictly for business admin. Most days end up being a blend of studio work and teaching. Before I dive into painting, I like to get the business side of things handled — making sure my students are supported, scheduling emails, and getting my YouTube content squared away. I find it easier to focus creatively when I’m not stressing about bills or unfinished admin.
I start by checking in with my students, answering questions, and looking over their latest work. Teaching is a core part of what I do, and it helps center me before I shift into my own creative space. From there, I’ll spend time getting clear on the inspiration behind whatever project I’m working on. That means sorting through reference materials and finding images that spark a connection to the idea I want to explore.
By Rachel Christensen
Once I’ve gathered my references, I move into creating digital mock-ups in Photoshop, sometimes collaging in brushstrokes from past paintings until I land on a composition that feels just right. Those planning stages might not sound glamorous, but they’re so important. They allow me to approach the canvas with confidence and clarity.
When it’s time to paint, I’ll queue up a good fiction audio book to settle in and stay focused. Music makes me want to dance, which is great fun but not practical for painting. I’ve learned to honor the different parts of my schedule, and I’m especially grateful for every moment I get to spend at the easel.
How do you incorporate Teaching into your schedule?
Teaching has always been a huge part of what I do. Before I made the leap to working as a full-time artist I was teaching, and it’s something I’ve always loved. I knew early on that being a professional artist would mean finding ways to share what I’ve learned and that’s still one of the most exciting parts of my work.
Today, I specialize in helping artists who are tired of painting tightly or photo realistically. A lot of them feel stuck in overly academic, rigid techniques, and I help them uncover their unique artistic voice, loosen up their style, and master the tools to paint with more freedom and authenticity.
I check in with my online group most mornings and host Zoom calls with the artists I mentor twice a week. It’s not just a job for me; it’s a huge source of inspiration. Getting to talk through challenges and breakthroughs with other painters keeps me sharp and fuels my own creativity.
What do you find most fulfilling about your day-to-day life as an artist?
Sharing the journey with other creatives is the most fulfilling aspect of my day-to-day life. I get to geek out over new techniques, live vicariously through the incredible work my students create, and build a community that feels supportive
Chelsea Lang won the Oil Painters of America Gold Medal in their Eastern Regional in October 2024.
Chelsea Lang, Make Believe, 24x30”, oil on panel
and energizing. I’m constantly learning and growing by observing how others push their boundaries in art.
While I’m living my own artistic journey, I’m also inspired by the new paths others are forging. The best part is getting to share this excitement with others who are just as enthusiastic about art. To meet people whose goals I can genuinely support and encourage, and to see them have life-changing breakthroughs is incredibly rewarding.
Beyond that, I feel fortunate to run my own business, create my own culture, and shape a daily life that truly works for me. It’s not just about making art — it’s about crafting an environment where I can thrive creatively and support others to do the same. That combination of personal freedom and the joy of helping others grow is absolutely the most fulfilling part of being an artist for me.
What projects are you currently working on?
The first big project is a full curriculum refresh for my students. After teaching full-time for the past five years, I’ve learned so much from the thoughtful, insightful questions my students bring to the table. It’s made me realize how valuable it would be to go back, update those lessons, and film new demos that address the common challenges artists face when moving from tight, overly controlled painting styles to something more loose, expressive, and uniquely their own. It’s been on my wish list for a while, and I’m thrilled to finally have the breathing room to dive into it this year.
The other big focus is working on more ambitious paintings for major competitions — particularly the Portrait Society’s “The International” portrait competition. I had hoped to submit something this year but just didn’t have the bandwidth to finish a piece I felt truly excited about. I’m a very goal-driven person, and I love reverse-engineering my way toward something big.
After winning the OPA Gold Medal for their Eastern Regional last October, I’m feeling more motivated than ever. I have some specific techniques and compositions I want to practice, with the ultimate aim of creating a piece for the Portrait Society’s competition next year. In the meantime, I’m prepping a piece for the OPA National, and I am genuinely excited about the work ahead.
What advice would you give a young artist interested in becoming a figurative painter?
First, doing this full time and achieving a sense of mastery in your craft is not something you can sprint towards. This is a long-term goal, and you need to make it genuinely sustainable. Mastery is something that you work towards your entire life, and if you want to avoid burning out on that journey, make sure you never lose the sense of fun.
Figure out what really fuels you artistically and makes you want to get into the studio, and build your practice around that. I think this is a kind of tortoise and hare scenario, where it’s really critical to ensure that you’re going to have the fuel to stick with it in the long run. At the end of the day, enjoyment is the best fuel for longevity.
My second piece of advice is to start putting your work out there as a professional. It is really tempting to give what you
do away for free, but you need practice selling and getting paid. Often the people who most want to see us succeed are the people closest to us. Don’t be afraid to take that commission from your grandparents, an aunt, or a family friend.
Start practicing getting compensated for your work as soon as you can. It might start as a slow trickle, the occasional commission here and there because you want this to be a dial you can slowly turn up over time. Many artists really shy away from the entrepreneurial side of actually selling their art. The reality is, doing this full-time requires that you have as much energy put into the business skills as the painting skills.
You employ such expressive brushstrokes in your work, when you approach a painting do you plan those deliberately ahead of time or is it something you feel out in the moment instead? I am very intentional about painting expressively and employing painterly brushwork. There are multiple ways that I create that intention. I maintain a clear vision board of artists like Richard Schmidt and John Singer Sargent whose work and mark making inspire me. I then spend time building muscle memory around creating the kind of marks that I love in their work. I wasn’t always a loose expressive painter, and I find that practice is really necessary for me.
When I approach my paintings, I put together a mock-up in Photoshop with my reference and images of actual brush strokes I’ve made previously and liked. That way, when I physically start a piece I don’t have to make a lot of editorial decisions, I’ve already figured it all out.
This practice also makes it easier when I’m painting more improvisational from life. I naturally fall back on the repertoire of marks that I’ve put into previous pieces and find I can execute those expressive marks more spontaneously. I definitely did not get to this point just by relying on intuition or instinct; it was something that I built up in a very measured, intentional, goal-oriented way.
Chelsea Lang, Reverie, 12x12”, oil on panel
THE PORTRAIT SOCIETY OF AMERICA CONFERENCE
The Portrait Society of America celebrated its 27th anniversary with their annual The Art of the Portrait Conference. An impressive assembly of artists, scholars and enthusiasts converged to exchange ideas, demonstrate techniques and celebrate portraiture. A fusion of art and insight, world class instruction and inspiring community made this extraordinary gathering a memorable experience for all in attendance.
Attendees of the conference had the option of registering for a full day, pre-conference workshop lead by renowned artists Dan Thompson, Mary Whyte and Alicia Ponzio. As guests arrived in the evening to pick up name badges and register, the crowd gathered for the Face-Off event, a fast-paced performance where 18 faculty artists draw, sculpt and paint from live models.
The kickoff event was followed by the “Next Generation” presentations, where up-and-coming artists Pheobe Stewart Carter, Elizabeth Ralph-Smith and Emma Rach-Syslak demonstrated their skill. This year, the Portrait Society also included a welcoming reception for first time conference attendees.
The conference began the following morning on a high note, promising a day filled with inspiration and learning. The doors of the Regency Ballroom opened at 10 am, offering participants an initial look at the exhibits and sales of art materials and products. The Grand Ballroom buzzed with anticipation as Michael Shane Neal, this year’s chair, delivered a warm welcome to all participants.
The morning sessions kicked off with “Keys to Understanding: The Mouth, Nose, and Eyes,” led by Robert Liberace, Alicia Ponzio and Dan Thompson. This detailed exploration into facial anatomy laid the foundation for more intricate artistic discussions, offering crucial insights into capturing the
By Sharon Smith
human face with precision. Following this informative session, attendees enjoyed a short break to process and discuss the concepts introduced.
Michelle Dunaway took the stage in the Grand Ballroom with a presentation on bringing your creative vision to life. Here, artists learned how to harness their inner creativity and translate personal visions into compelling pieces of art. This session resonated with attendees by encouraging them to push creative boundaries and approach portraiture with renewed fervor. During the lunch break, discussions naturally flowed into portfolio critiques and book signings in the Grand Ballroom foyer, with artists like Virgil Elliott, Rose Frantzen, and Mary Whyte generously sharing insights and experiences.
The afternoon was dedicated to engaging breakout sessions that catered to various interests. Attendees dispersed across different venues, diving into topics such as “Dual Visions: A Portrait Demonstration in Color and Structure” by Quang Ho and Kevin Macpherson and a presentation with Ali Cavanaugh on innovative surfaces in modern watercolor technique. These sessions offered unique methods and perspectives, empowering artists to expand their skill sets and artistic expressions. Meanwhile, the enigmatic “The Hand: The Second Portrait” by Dan Thompson and a panel discussion on the value of color, with artists Dominique Medici, Paul Newton, and Timothy Rees explored the nuanced roles that hands and color play in portrait artistry.
As the clock struck 4:30 pm, attendees gathered for the material demonstrations and happy hour in the Regency Ballroom. This provided a relaxed setting for networking and exploring the latest art supplies and tools while enjoying refreshments.
As evening descended, the Grand Ballroom hosted the 6x9 Mystery Art Sale, a lively event where the hidden talent of artists was showcased in an intimate yet exhilarating bidding atmosphere. This was complemented by the silent auction of Face-Off paintings, an interactive element that added amazing energy to the evening proceedings.
For those seeking more artistry, the day wrapped up with a nude figure demonstration by Robert Liberace and Shane Wolf. The Lake Audubon and Lake Thoreau conference rooms offered attendees additional opportunities to refine their craft with free and open drawing space hosted by Phoebe Stewart Carter, Elizabeth Ralph-Smith, and Emma Rach-Syslak.
Saturday began with a dive into artistic mastery and a deeper exploration of the art form. Shane Wolf captivated the audience with “Anatomy Essentials: How the Head Connects to the Neck, and More” in the Grand Ballroom, underscoring technical mastery in observing and recording human anatomy.
The mid-morning was dedicated to specialized breakout sessions, where artists honed specific techniques and concepts. Highlights included Huihan Liu’s “Mastering Alla Prima: Exploring the Upper Torso and Movement” and Mario Robinson’s session on watercolor portraiture. Further sessions explored Egg Tempera’s rediscovery with Michael Bergt, a blend of sculpture and painting with Robert Liberace, Alicia Ponzio, and Louise Weir, and a panel discussion on the fundamentals of composition with Ruth Fitton, Jeffrey Larson, and Kevin Macpherson.
the art of the portrait conference
Attendees took advantage of the book signings by James Gurney, Huihan Liu, and Oliver Sin, as well as portfolio critique opportunities to receive expert feedback on their work. The day’s crescendo was a session titled “Capturing Youth: The Art of Painting the Child’s Portrait” led by Timothy Rees and Adrienne Stein, which offered artists methods to capture the essence and innocence of youth in portraiture.
The evening concluded with a grand cocktail reception in the Conservatory, leading to the much-anticipated 27th Gala Awards and Banquet. This prestigious event honored exceptional achievements in the field, with awards such as the Future Generation, Signature Status, and The International. Frances Bell was honored with both the Draper Grand Prize and People’s Choice award. James Gurney was recognized for Excellence in Fine Art Education, while George Carlson took home the Gold Medal, providing the perfect end to a day full of artistic exploration and achievement.
The final day continued to engage with a culmination of learning and inspiration. Rose Frantzen and Scott Burdick delivered a touching presentation titled “Which Way to Go?” in the Grand Ballroom, exploring artistic direction and career development.
Morning book signing with Michael Shane Neal provided personal interactions while the afternoon offered a cultural excursion to the National Portrait Gallery, allowing attendees to appreciate historical and contemporary works in a broader context.
The Portrait Society of America’s annual conference was a vibrant convergence of innovation, talent, and camaraderie, emphasizing the community’s dedication to the craft and the timeless beauty of portraiture. Participants departed enriched, inspired, and ready to apply their newly acquired knowledge and insights into their creative pursuits.
Photos by Robin Damore and Peggy Kinstler.
27th ANNUAL INTERNATIONAL PORTRAIT COMPETITION
WILLIAM F. DRAPER GRAND PRIZE WINNER AND PEOPLE’S CHOICE AWARD
1. Frances Bell Northumberland, United Kingdom Yellow Trainers, 35.5”x37.5”, Oil on Canvas Sponsored by: American Art Collector, Jack Richeson & Co., Portrait Society of America, Silver Brush Limited, smART Coach, and Workshops in Yorkshire
1 2
FIRST PLACE PAINTING
2. Joseph Daily NY, United States
Mayor Michael A. Nutter, 39x52”, Oil Sponsored by: American Art Collector, Artwork Archive, International Artist Magazine, Portrait Society of America, and Silver Brush Limited
competition awards
FIRST PLACE DRAWING
3. David Jamieson IL, United States Pathologist–Portrait of Dr. Maurice Jamieson, 26x20”, Graphite, Carbon Black, Pastel, Ink Wash on Paper Sponsored by: American Art Collector, Airfloat Systems, Artefex, Artwork Archive, Natural Pigments, Portraits, Inc., Portrait Society of America, and Silver Brush Limited
FIRST PLACE SCULPTURE
4. Kate Brockman PA, United States Newell Convers Wyeth, 23x14x18”, Bronze Sponsored by: American Art Collector, Jack Richeson & Co., Portrait Society of America, and Rosemary & Co.
SECOND PLACE
5. YiLun Zhang Beijing, China Morning, 39.5x23.5”, Oil Sponsored by: Artefex, Blick Art Materials, FM Brush Company, Jack Richeson & Co., Michael Harding, New Wave Fine Art Products, Portrait Society of America, Rosemary & Co., and Silver Brush Limited
THIRD PLACE
6. Roberto Gammone Rome, Italy
Baroque Recycling, 21.6x35.4”, Oil on Canvas Sponsored by: Gamblin Artists Colors, Jack Richeson & Co., New Wave Fine Art Products, Portrait Society of America, Rosemary & Co., Scottsdale Artists’ School, and Silver Brush Limited
FOURTH PLACE
7. Timothy Rees AZ, United States Dark Whispers and Black Lace; Passing of Youth, 50x30”, Oil
Sponsored by: Ampersand Art Supply, Artefex, Golden Artist Colors, Jack Richeson & Co., New Wave Fine Art Products, Portrait Society of America, Silver Brush Limited, and Winsor & Newton
FIFTH PLACE
8. Anna Rose Bain CO, United States King of the Wild Things, 30x30”, Oil
Sponsored by: Ampersand Art Supply, Holbein Artists’ Materials, Jack Richeson & Co., MacPherson’s Art (Raphael), New Wave Fine Art Products, Portrait Society of America, Silver Brush Limited, and Vasari Classic Artists’ Oil Colors
competition awards
1ST HONOR AWARD
9. Palden Hamilton MD, United States
Self Portrait at 45, 48x38”, Oil
Sponsored by: Artefex, FM Brush Company, Jack Richeson & Co., Natural Pigments, Portrait Society of America, Rosemary & Co., Silver Brush Limited, and Vasari Classic Artists’ Oil Colors
2ND HONOR AWARD
10. Thomas Root TN, United States
Heather Holding Flowers, 50x40”, Oil
Sponsored by: FM Brush Company, Gamblin Artists Colors, MacPherson’s Art (Fabriano), New Wave Fine Art Products, Portrait Society of America, and Silver Brush Limited
SPONSORS
The 27th annual International Portrait Competition was made possible by the generous contributions of a variety of organizations that join us in supporting the arts through our educational mission. Our sincere thanks to the following sponsors.
Diamond
American Art Collector
International Artist Magazine
Jack Richeson & Co.
Silver Brush Limited
smART Coach
Workshops in Yorkshire
Platinum
Artwork Archive
Vasari Classic Artists’ Oil Colors
Gold
Artefex
Blick Art Materials
Fabriano
FM Brush Company
Gamblin Artists Colors
Masterson Art
Michael Harding Handmade Paints
Natural Pigments
New Wave Fine Art Products
Portraits, Inc.
Raphael
Raymar
Rosemary & Co.
Sennelier
u.go Plein Air
Silver
Blue Ridge Oil Colors
Golden Artist Colors
PanPastel Artist Pastels
Scottsdale Artists’ School
The DaVinci Studios
Winsor & Newton
Bronze
Airfloat Systems
Ampersand Art Supply
Chelsea Classical Studio
Fine Art Materials
EdgeProGear
Holbein Artist Materials
M. Graham & Co.
RGH Artists’ Oil Paints, Inc.
AWARDS OF EXCEPTIONAL
MERIT
1. Laura Arenson London, United Kingdom I Solomnly Swear That I Am Up To No Good, 21.6x17.7”, Oil
Sponsored by: MacPherson’s Art (Fabriano), New Wave Fine Art Products (u.go Plein Air & Masterson Art), Portrait Society of America, Raymar, and Rosemary & Co.
2. Tim Bates Cambridge, United Kingdom A.J.B., 30cmx30cmx40cm, Carrara Marble Sponsored by: M. Graham & Co., New Wave Fine Art Products (u.go Plein Air & Masterson Art), Portrait Society of America, and Vasari Classic Artists’ Oil Colors
3. Giselle V. Brown NJ, United States Happy 100th Birthday Great Grandma Dot!, 20.5x28.5”, Charcoal on grey tone paper Sponsored by: New Wave Fine Art Products (u.go Plein Air & Masterson Art), Portrait Society of America, RGH Artists’ Oil Paints, Inc., and Vasari Classic Artists’ Oil Colors
4. Scott Burdick NC, United States Jessica’s Garden, 36x48”, Oil Sponsored by: Blue Ridge Oil Colors, EdgeProGear, and Portrait Society of America
5. Matteo Caloiaro FL, United States After Lunch, 30x40,” Oil
Sponsored by: Blick Art Materials, MacPherson’s Art (Sennelier), Michael Harding Handmade Paints, and Portrait Society of America 1 2 3 4 5
competition awards
6. Rose Frantzen IA, United States
The Impossibility of Feeling Worthy of a Universe of Infinite Beauty, 36x48”, Oil on Panel Sponsored by: Jack Richeson & Co., Natural Pigments, Portrait Society of America, Raymar, and Silver Brush Limited
7. Pavel Sokov Bahrain, Asia
Watching the Tribal Dance, 36x24”, Oil
Sponsored by: Blue Ridge Oil Colors, Michael Harding Handmade Paints, Portrait Society of America, and The DaVinci Studios
8. Meghan Sours NC, United States
Secret Sorrow, 22x30”, Charcoal and Chalk Sponsored by: Blick Art Materials, Golden Artist Colors (PanPastel Artist Pastels), Michael Harding Handmade Paints, and Portrait Society of America
9. Alexandra Tyng PA, United States As I Am, 56x36”, Oil on Linen
Sponsored by: Chelsea Classical Studio Fine Art Materials, Golden Artist Colors, Michael Harding Handmade Paint, Portrait Society of America, and Winsor & Newton
6 7 8 9
FRANCES BELL WINS DRAPER GRAND PRIZE WITH BOLD, INTROSPECTIVE
Frances Bell’s self-portrait has earned her the prestigious Draper Grand Prize, a recognition that celebrates both technical excellence and profound conceptual depth. With this award-winning piece, Bell invites viewers into a visually arresting world that is at once personal, symbolic, and universally resonant.
“Painting a self-portrait is the contradictory occupation of turning attention inward but also taking a step back to assess oneself more broadly,” Bell explains. “So, it can often feel like a tension between the objectivity of the observer and a highly personal self-examination.” Though this is not her first foray into self-reflection through art, Bell notes that this particular piece carries a deeper sense of maturity, introspection, and curiosity.
Her composition is nothing short of striking. Black-and-white stripes dominate the environment, forming a mesmerizing pattern that blankets both wall and floor. The effect is disorienting and hypnotic, blurring the line between background and figure while also grounding the viewer in a symbolic space. “In this portrait,” Bell says, “both the floor and the wall are an attempt to consider domineering patterns and, in so doing, explore a narrative in relation to myself at this time of my life.”
She sees the black and white palette as characteristic of life’s ongoing efforts toward reconciliation, between opposing demands, responsibilities, and ideologies. “From the privilege of family and friends to more prosaic daily demands and our polarized culture as a whole,” she notes, “I see the black and white here as symbolic of the reconciliation that we are all engaged in around the zero sum demands of our lives.”
This theme of duality and contrast is not new in Bell’s work. “The black-and-white striped theme is a long-held curiosity in my work,” she says, “especially in thinking of how to tackle
SELF-PORTRAIT
the strongest of contrasts in a pattern which transgresses the cardinal rules of keeping parallel lines and sharp distractions around the figure at bay. But there is something so beguiling about stripes with their regularity and order, and they appear all over our aesthetic lives, from our clothes and furniture to within nature itself.”
In the midst of this carefully structured chaos sits Bell herself, composed, observant, and undeniably present. While her demeanor suggests calm self-assurance, her bright yellow trainers disrupt the monochrome with a touch of whimsy and resistance. “The yellow trainers seemed the most whimsical,” she smiles, “like they had plans of their own.”
The self-portrait ultimately reads as a meditation on individuality within rigid structures. “Can one sit among these dogmatic, seemingly inflexible elements and try to make them softer, more pliable and accommodating around oneself?” she asks. “Can one comfortably inhabit an individuality between the extremes? I simply pose the question.”
With this work, Bell doesn’t offer easy answers, but instead, she invites viewers to dwell in the nuance. Her portrait is both a personal statement and a larger commentary on balance, complexity, and the courage to stand out. It’s no wonder that this is the piece that earned her one of the highest honors in contemporary portraiture.
1. Surprised and delighted to learn of her Grand Prize and People’s Choice awards, Frances takes a moment to share her gratitude and to acknowledge the extraordinary work showcased in the finalists’ exhibition.
2. William F. Draper Grand Prize Winner and People’s Choice Award, Frances Bell, Yellow Trainers, 35.5” x 37.5”, Oil on Canvas
CONFLUENCE & CONVERGENCE
What a month of May! I spoke with hundreds of artists and felt the collective hopes and joy for their art.
Two words kept popping into my discussions as I was asked many of the same questions: Convergence and Confluence. A quick AI search shows the two words as synonyms, and yet differences are noted. Convergence means approaching a specific point. Confluence is from the Latin “flowing together” where two or more things merge into one.
Watching an art sale is always a thrill. The right person finds the right piece at the right time. Stand out of the way. Let it happen. It can be a very emotional “meant to be” moment. That is convergence in my mind.
Confluence is understanding, promoting, and executing actions that flow together and merge into that specific moment. I wish I had a formula for confluence; x + y + z = sale would certainly be advantageous, but it is not that simple.
I visited multiple galleries, several artists’ studios, and came across other spots with art for sale. I understand the gallery world best. A gallery will always be limited in how many artists they can represent. I could never represent every artist I wanted to. While Gallery XYZ may be your goal, you must achieve sales in other ways to get there. A Google search in Bend, OR yielded six galleries including one of my favorite top dozen galleries. I had a wonderful discussion with the owner about his artists. He is truly an admirer of them all.
I met an artist from Bend taking a workshop at the Scottsdale Artists’ School in April. I reached out, and she invited me to meet her at another gallery. It might just be the best co-op gallery I have ever seen. The quality of art and how it was displayed all screamed professionalism. I watched her complete a sale and line up two other paintings to go out on approval, all while she talked with me about her art and the other four artists in the gallery. I could easily see myself being a client of that gallery where personal relationships are key.
My search had yielded two galleries upstairs in the same building. They were both artists’ studios with space for art to be created, hung and sold. I enjoyed watching them create. My
By Scott Jones
last gallery stop was a bust. I walked in and was ignored. That happens too often in the gallery world.
During the month I spoke with many artists who have never sold through galleries. Their sales are made directly. I noted several similarities in their approaches which I have discussed in previous articles, such as updated websites with pricing and “buy it now” capability as well as monthly emailed newsletters to their mailing list. (A reminder of what I like to see: Something available for purchase right now, what you are working on for the future, and something about you as a person to help develop a personal connection.) Other approaches include social media posts to entice people to their website to purchase, thank-you’s and follow-ups with prior buyers to encourage multiple purchases, opening their studio to prospective collectors and current buyers, studio tours with other area artists, and participating in local events to keep their name visible in and active in their community. Do not forget the local coffee shop might be a venue for your art. I stopped in one bakery to find art beautifully displayed.
One other observation from my trip: be prepared with an answer for any purchase inquiry. I saw an artist stumble with an inquiry by a serious collector. The artist did not have an answer for availability or price or where/when it might be available. Conversely, while plein air painting, a man walked up to the artist painting next to me. He asked and she immediately responded yes, price, and she asked if he wanted to buy it wet or have her frame it and ship it at an added cost. She took his payment right there. Right piece for the right person at the right time. I watched artists painting in the exhibitor hall at the Portrait Society. I am looking at a small study I saw being completed. I am happy I asked about buying it. The artist is, too.
Note 1: Pricing is important. You would never attempt to sell a home without knowing what comparable sales were in your area. I encourage you to monitor the prices of other artists you feel you are comparable to. Keep in mind that sales momentum is what will attract that gallery or show. Red dots create increasing prices.
Note 2: Find opportunities to paint in front of people. You make lasting impressions. Make connections with other artists by painting with them.
I remember my daughters floating stick boats down a small creek near our home. I envision some of them reaching a nearby stream which ran into a small river which flowed into a larger one. Each thing you do to promote yourself is like one of those stick boats going into the water with confluence and convergence as your objective. Launch a lot of boats.
Scott Jones has been a passionate art collector since the age of 16 and shifted his focus to selling art nearly 20 years ago. While having retired this year from the gallery world, he remains committed to the success of artists. He serves as State Ambassador of Washington for the Portrait Society.
Emily Pastor studio visit, The Parting Glass, 30x14”, Oil on Linen
We are excited to welcome Hongbin Zhang as our new Ambassador in China. Hongbin is well known in China and throughout the globe as an artist and great supporter of Chinese Artists. Among his many endeavors he is the founder of the “Sheng Xinyu Art,” established in 2002. Sheng Xinyu Art is a cross-cultural international art exchange and art promotion platform which has achieved remarkable results in promoting the communication, connection and cooperation between Chinese artists and art institutions around the world. Hongbin is uniquely qualified to represent our 50 Portrait Society of America Members in China.
The Art of the Portrait conference was excellent in Reston, Virginia. The Portrait Society facilitated a lunch with attending ambassadors, and as always we were happy to see each other in person and share ideas, connect and talk about our unique programs with one another.
Here are just a few highlights from our 2nd quarter.
Donna Catotti (Alaska) helped host a Studio Incamminati portrait workshop with Jafang Lu in Haines, AK. Donna will also share about the Portrait Society on an upcoming cruise.
Janelle Hatherly (Australia and New Zealand) held two Zoom get-togethers this quarter. Also, six members of the Portrait Society took part in the Royal Art Society of New South Wales’ Portrait Exhibition in April in Sydney.
Sherry West (California) continues to work with The Anneberg Estate at Sunnylands in Rancho Mirage for a Portrait Day in The Gardens, which has to be scheduled a year in advance.
Andrea Steinbauer (Europe/UK) hosted a Zoom meeting for members as well as sent updates via email about upcoming events and shared member news in the newsletter.
Kim Abbati (Illinois) hosted the Third Annual Portrait Society Illinois Members Show with great success! There were 37 pieces and one sculpture. Coming up, members will have a month long show starting September 28 followed by a mock Portrait Artist of the Year event.
Rachel Mindrup and Littleton Alston (Nebraska) organized an informal drawing session for some Nebraska members in May. They are also exploring the possibility of doing another member’s exhibition soon.
Billy Seccombe (New Jersey) had two events this quarter: the New Jersey membership luncheon in Reston, VA during the annual conference, and Max Ginsburg’s show in Montclair, NJ.
Suzanne Viechnicki and Jennifer Wharton (South Carolina) hosted a plein air painting experience in May for their members. They will be working on some new plans for the end of the year.
Mary Hull (Texas) hosted a successful face-off event in Lewisville, TX. The artwork from the face-off is still on display at the Grand Theater in Lewisville until the middle of July.
Carol Fairlie (Texas and New Mexico) attended a portrait workshop in west Texas and shared about the Portrait Society with attendees. She is having a free plein air weekend in the Davis mountains in early September, and she hopes to have an open portrait painting group meet once a week.
Alison Landry (Virginia and Washington, DC) gathered 18 members together for lunch during the conference. She also hosted their spring paint-out at the home of an artist member.
Kathie Wheeler (Wisconsin) continued the monthly newsletter to the Wisconsin members, and she arranged a lunch during the conference for members from Wisconsin to meet up together. She’s working on details to host a member portrait show at Richeson School and Gallery.
Kerry Vosler Ambassador Coordinator
Portrait Society State Ambassadors gather at the annual conference in Reston, VA in May 2025. Hongbin Zhang is the new Portrait Society ambassador for Chinese members in China.
1. Cynthia Dill’s portrait of Regina, Free Minds Member, Youth Charged as Adult was shown in the Oil Painters of America’s 34th National Exhibition of Traditional Oils at The Herrig Center for the Arts, Bradenton FL.
2. Mary Kearney Hull had two oil paintings included in the international juried exhibit at the Cape Cod Museum of Art in Dennis, MA this spring. Pictured: Rising Above
3. Loretta McNair’s painting The Age of Elegance is included in the National Oil & Acrylic Painters Society International Spring 2025 online exhibition.
4. Dwayne Mitchell won 1st Place for his painting, Career Choices, at the Portrait Society of Atlanta’s 2025 Spring Members-Only Exhibition, juried by the esteemed Dominique Medici.
5. Jennifer Riddell won 3rd Place for her artwork, Liefde Voor Mamma, at the Portrait Society of Atlanta’s 2025 Spring Members-Only Exhibition, juried by the esteemed Dominique Medici.
6. Vicki Sullivan’s portrait of Deborah Cheetham Fraillon, The Stolen Songline of Miss Roselands 2 year Old, has been acquired by the State Library of NSW for their collection.
7. Amy Werntz received the prestigious The Bennett Prize, which supports the fine art practice of a woman painter working in figurative realism. Her artwork will be featured in the Rising Voices 4 Exhibition and Sale through August 24, 2025, at the Muskegon Museum of Art in Muskegon, Michigan. Pictured: Carlyla, 24x18”, oil on panel 1 2 3 4 5 6 7
8. The Wausau Museum of Contemporary Art will host the International Biennial Portrait Competition, on display July 8 through September 27, 2025. Learn more about the exhibition at wmoca. org. Pictured: Linda Harris Reynolds, Philadelphia Conversation, 15x18”, oil on linen, to be exhibited at WMOCA
9. Mary Whyte’s “WE THE PEOPLE: Portraits of Veterans in America” exhibition is now open until the end of the year at the Eisenhower Presidential Library and Museum, Abilene, Kansas. The exhibition of 50 paintings depicts veterans from all 50 states. Visit the Museum’s website for more information: www. eisenhowerlibrary.gov
exhibitions workshops
10. Thomas Caleb Goggans is teaching a workshop in the Wyoming High Country this September 10-14, 2025. This year’s Workshop will include Featured Artist Kathleen Dunphy, Guest Artist Loren Miller, and Keynote Speaker Quang Ho. Learn more and register at thomascalebgoggans.com/ wyomingworkshop2025.
11. Join Barbara Hack in a 10-day workshop in Lucca, Italy next April 11-21, 2026. You will not only capture the feeling of this gorgeous environment in paint, but also experience the food, wine and history of this region. Learn more and register online at followtuscany.com.
12. Mike Laiuppa is teaching a workshop called “Painting Light!” at Lyme Art Association on August 9th and 10th. Attendees will learn to navigate the properties of light and how to apply them to your paintings to achieve eye-popping results that captivate your viewers. Learn more at lymeartassociation.org.
13. Teresa Oaxaca is teaching “Painting the Floral Portrait: The Art of Neo-Baroque” this August 25-29, 2025, in Haarlem, The Netherlands. Attendees will combine direct observation with invention to establish a strong composition. Learn more and register online at www. dutchartatelier.com. 8 9 10 11 12 13
renewals & new members
RENEWING MEMBERS
A special THANK YOU to our renewing members in March, April, May
MARCH
Patron
Adam Bauder, VA
Jason Bouldin, MS
Chris Clamp, NC
Joann Clark, CA
Olga Conens, MI
Len A. DeAngelis, RI
Steve Farrar, VT
Toy Fowler, VA
Jennifer Goyette, FL
Anne E. Hall, GA
Julia Bythewood Hodges, GA
Teri Howard, AZ
Guy Kiernan, PA
Sylvana Lankshear, CA
Donella Lay, TX
Albert G. Lopez, CT
Kenneth L. Miller, PA
Mark Novak, CA
Mary Reilly, VA
Kathleen V. Schmitt, TX
Cornelia Sidley Parker, MN
Alexandra Tyng, PA
Wendy Wagner, FL
Taleta Willer, South Africa
Archelle Wolst, WI
Gretchen Wurth, NC
Paula Zeller, MD
General
Littleton Alston, NE
Anne Alston, NE
William Arnott, IV, SC
Livia Ayal, OH
Sue Bailey, TX
Sherry Barber, TX
Marshall J. Barrash, GA
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MaryBeth Bellon, IL
Claire Benedict, GA
Christiane Bouret, IL
Stephanie Britt, WA
Kate Brockman, PA
Lisa Busby, MS
Leonard Buscemi, TX
Johnna L. Bush, AL
Gary Byrd, NM
Mary Carew, NY
Sung Chung, VA
Danielle Day Damson, AL
Kathy Daniel, NJ
Cynthia Dill, NY
Jackie Doner, FL
Kathleen Dunphy, CA
Duane Eells, AZ
Najila Emadi, OH
Jessica Falcone, CA
Jan Fritsen, CA
Christopher Froeter, IL
Deborah Gill, ID
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Francis Y. Huang, OR
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Lisa Anne J McLoughlin, AZ
Gregory Kellogg, NY
Darren Kingsley, PA
Cathy Kline, MO
Ethel Morris Kovacic, OH
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Pam Powell, CA
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Craig Pursley, NH
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Eric Von Berg, CA
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Richard Walton, UT
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John Wendling, UT
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Linda Williams, IL
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International
Diane Firth, United Kingdom
Rosanna Gaddoni, Netherlands
Jaq Grantford, Australia
Penelope R. Graydon, Canada
Qing He, Canada
Karen Larson, France
Sergey Malina, Canada
Sally Ryan, Australia
Athina Soultani, Greece
APRIL
Patron
William T. Chambers, IL
William Dixon, GA
Miranda Gray, NM
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Matt Miller, MA
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General
Daniel I. Altshuler, MA
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Carole Chalmers, GA
Kevin Chambers, GA
Carmen Chami, IL
David Chang, FL
Sang Chon, TX
Sherry Clark, TX
Joseph A. Czarnota, NY
Elaine Gaskell de
Spoelberch, CT
Nora Dempsey, TX
Michael DiSante, CO
Joni Emily, CO
Carol Fors, LA
Elizabeth Franklin, MN
Michelle Garro, MA
Jane Haverty, FL
Alla Hiser, VT
Jeanne Hyland, NM
Diana Kirkpatrick, SC
Jeffrey Legg, AR
Nancy Lunsford, TN
Kathleen Ann Lusby, FL
Christine McBryan, NY
Cecile Mines, VA
Mary H. Minifie, MA
Sharon A. Morley, MA
William H. Neukomm, GA
Lynn Newhouse, NC
Lorna Perkins, NH
Lauren Peterson, IL
Cynthia Pierson, FL
Sandi H. Prentis, NC
Mardie Rees, WA
Lois Rhomberg, MN
Kristi Rose, TX
Leonard A. Scrivanich, PA
Robert Scudder, MI
Elinor Howard Smith, IN
Judith D. Specht, MD
Tessa Tallakson, AL
Nicholas Thorp, NC
Karin van Oort, TX
Robert R. Williams, MI
Debbie Williams, UT
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Shaoxiong Wu, GA
International
James Armstrong, Trinidad and Tobago
Vasily Danilenko, Austria
MAY
Patron
James Andrews, WA
Charlotte Arnold, FL
Renee Bates, TN
Linda Mount Cappelluzzo, AL
Eddie Filer, TX
Varda Vidal Goldstein, NY
Virginia Hickey, VA
Patrice Hudson, WI
Monica Ibarra, NJ
Erica Marshall, CA
Jamie Lee McMahan, TN
Zack Murray, TX
Kathryn Powell, DC
Andrea Schneider, NJ
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General
Tony Armendariz, IL
Richard Arnemann, TN
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Eloise Bradley, GA
Susan Brunson, GA
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Muriel Christensen, IL
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Peter Gillespie, IL
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Arthur B. Jones, GA
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Ann Lewis, NM
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Joanna A. McKethan, NC
Jessica Michaelson, UT
David Mietty, MI
Dwayne Mitchell, GA
Chuck Morris, IA
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Cathy Priest, IL
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Connie Ruel, CO
Cheri Saffro, IL
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Francisco Sanchez, TX
Rebekah Sanders, AL
Christopher Schade, IL
Jessica Smit Mattingly, IL
Sherry Soares, CO
Matt Talbert, CA
Sue B. Thomas, TN
Patrick A. Tupa, ND
Sarah Wainwright, TX
Kathleen Wildman, IL
Larry Witham, MD
Edward Zack, IL
International
Joseph Alexander, Netherlands
Martine Norman, United Kingdom
Visionary
Christopher Phillips, VA
Judy Takács, OH
NEW MEMBERS
A WARM WELCOME to our new members that joined in March, April and May
MARCH
Patron
Lourdes Cordeiro, FL
Kathleen Wood, VA
General
Katherine Abdun-Nur, OR
Elise Fuller Broadway Boerder, TX
Don Di Sante, IL
Delea Dunn, MI
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Minerva Grau, NY
Judith Harlin, UT
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Suzanne Paddock, VA
Deb Piecora, WA
Laura Romero Warner, UT
Deborah Schiavone, VA
Jana Stiles, SC
Joseph Sturniolo, CO
Sarah Turfboer, VA
Mariana Umarusman, FL
Cory Wright, IN
Chris Zimmerman, WA
International
Christine Hill, United Kingdom
Nicole Warner, Switzerland
Zhihai Xu, China
Hua Zhu, China
APRIL
General
Nancy Allan, NC
Maggie Davis, CA
Mara Levin, MA
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Irene Susan Meekins Wolfe, NY
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Shireen Saidi, PA
Leat Silvera, CA
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Ruby West, SC
Rose West, SC
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International
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Student
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MAY
Patron
Brent Erickson, VA
General
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Scott Landwehr, WI
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Rachel Melander, HI
Terra Novak, CO
Susan Pennington, VA
Elizabeth Pilar, PA
Alena Vavilava, VA
International
Deborah Ahee, Canada
Shannon Gukelberger, South Africa
Saara Knapp, Italy
Anna Steinhouse, United Kingdom
Svetlana Wolpin, United
Kingdom
Quan Yuan, Canada
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.
August 13, 2025 Mastering Flesh Tones
RUTH FITTON
September 17, 2025
Powerful Profiles: An alla prima demo with a difference, focusing on the angle most of us avoid – the side profile.
November 19, 2025
YouTube: A Path to Creative Success with Emily Olson
ROSE FRANTZEN
December 17, 2025
A Contemporary Approach to Traditional Techniques
MARK PUGH
October 22, 2025
Visual Narratives: Storytelling Through Portraiture and Mixed Media
PAUL NEWTON
EMILY OLSON
The Portrait Society of America
P.O. Box 11272
Tallahassee, FL 32302
PORTRAIT SOCIETY OF AMERICA
UPCOMING EVENTS & PROGRAMS
The Portrait Society of America offers a variety of upcoming events and competitions designed to inspire, educate, and connect artists specializing in portraiture and figurative art. Whether you’re looking to showcase your work or engage with fellow artists, there are numerous opportunities to participate.
1. MONTHLY WEDNESDAY WEBINARS
Join our live, monthly online sessions led by faculty artists, featuring engaging educational content and interactive Q&A segments to close each evening.
2. SIGNATURE STATUS
Entry Deadline: September 3, 2025
Signature Status recognizes those practicing and accomplished artists who are dedicated to the educational mission and high aesthetic standards of the Portrait Society of America.
3. MEMBERS ONLY COMPETITION
Entry Deadline: November 4, 2025
Recognizing Portrait Society members’ artworks in five categories: Commissioned Portrait, Non-Commissioned Portrait, Outside the Box, Landscape and Animals as the Subject.
4. INTERNATIONAL PORTRAIT COMPETITION
Entry Deadline: February 2, 2026
A celebration of excellence in fine art portraiture and figurative work—highlighting outstanding achievements in painting, drawing, and sculpture by artists dedicated to the traditions of the craft.
5. 28TH ANNUAL THE ART OF THE PORTRAIT CONFERENCE
The annual portrait and figurative artists’ celebration in Atlanta, Georgia from April 9-12, 2026.
For more information, please visit www.portraitsociety.org or call toll-free 1-877-772-4321.
