2nd Q Journal 2026

PORTRAIT SOCIETY OF AMERICA volume XXVIII

2nd Quarter 2026

issue no. 109

d irector's let ter

F RO M T H E D E S K O F C H R I S T I N E E G N OS K I

The Power of Portraiture For nearly thirty years, the Portrait Society of America has worked to advance the practice, appreciation, and understanding of traditional portraiture and figurative art through education, exhibitions, publications, and outreach. We believe portraiture remains one of the most meaningful forms of artistic expression—a timeless vehicle for storytelling, connection, and the exploration of our shared humanity.

Our mission here at the Portrait Society is fulfilled through three guiding principles: advocacy, community, and innovation.

As an advocate for portraiture, the Society promotes the value and relevance of the genre through education, mentorship, and public engagement. By supporting artists at every stage of their careers, we help ensure that portraiture continues to thrive while evolving with contemporary audiences.

Equally important is our community. More than 20,000 artists, collectors, educators, and enthusiasts are connected through the Society, creating opportunities for learning, collaboration, and artistic growth. It is a place where ideas are exchanged freely and where emerging and established artists alike find encouragement and support.

We are also committed to balancing tradition with innovation. While honoring the rich history of portraiture, we encourage experimentation and new directions within the genre. Preserving the legacy of portraiture while expanding its possibilities remains central to our mission.

Our annual conference is one of the most visible expressions of this work. We just returned from hosting The Art of the Portrait where, each year, hundreds of artists gather for education, fellowship, and professional development. This year the energy and positivity were contagious, and I returned to the office with ideas for new programs as well as thoughts about how to enrich and expand our community.

As we look ahead, we will be implementing many of these new ideas as we also continue to strengthen our existing programs and expand these opportunities for members. Recent initiatives include a comprehensive rebranding, the creation of the Sargent Circle philanthropic leadership group, expanded artist-to-artist critiques, enhancements to our Signature Status program, and the development of an online community forum offering practical professional resources. As we prepare for the next thirty years, our commitment remains stronger than ever. Together, we can ensure that portraiture continues to inspire, connect, and enrich lives for generations to come.

Christine Egnoski, CEO Recognizing and celebrating excellence in portraiture is part of our mission.

At the conference this year, Rose Frantzen, recipient of the Rorick Grand Prize, and Bo Bartlett, the 2026 Gold Medal honoree, shared a moment of camaraderie following the Gala Awards Banquet.

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Board Members Michael Shane Neal, Chair, Nashville, Tennessee Dawn Whitelaw, Vice-Chair, Franklin, Tennessee Wende Caporale-Greene, Treasurer/Secretary, Woodbury, Connecticut Quang Ho, Denver, Colorado Mary Whyte, Charleston, South Carolina Louis Carr, Cary, North Carolina CEO Christine Egnoski Advisory Board Sam Adoquei, New York, New York Susan Basham, Nashville, Tennessee Peggy Kinstler, Easton, Connecticut Sandra Murzyn, Manitowoc, Wisconsin Burton Silverman, N. A., New York, New York Timothy Standring, Denver, Colorado Jennifer Welty, Santa Cruz, California Sheila Wolfe, New York, New York Staff & Newsletter Contributors Kim Azzarito, Director of Programs Amanda Oliver, Membership Director Allison Gilliard, Special Programs and Outreach Becka Darling, Executive Assistant Karey Mortimer, Special Events Coordinator Kerry Vosler, Writer, State Ambassador Coordinator Scott Jones, Writer, Washington State Ambassador Sargent Circle Platinum Members Susan Basham Bryan and Alice Essary Sandra Murzyn Scott and Kathi Myers Michael Shane Neal Leslie Nordness Sarah Perot Brant and Joelle Phillips Trish Savides Henry Garth Smith, MD Mary Whyte Gold Aida and Kevin Garrity Hope and Billy Reis Teresa Spinner Louis and Jessica Sterchi Silver Melinda and Jeff Balsar Peggy Kinstler Jerry Williams Sheila Wolfe 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 Web: www.portraitsociety.org This newsletter is published quarterly by the Portrait Society of America. All contents copyright Portrait Society (unless otherwise noted). No part or whole of this newsletter may be reproduced or transmitted in any form unless prior express consent has been given. Please send submissions to the editor at the Portrait Society.

Design Charity Myers I THE CREATIVE POOL DESIGN thecreativepool@gmail.com

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4 table of contents

11 Cover: William Rorick Grand Prize Winner and People’s Choice Award, Rose Frantzen, Last Light, 44x52”, oil

4 Legacy and Vision: Janelle Hatherly 6 A Day in the Life: Marianne Rice Portrait Artists Gather: 8 Where Phoebe Stewart Carter 11 International Portrait Competition Finalists 17 Rorick Grand Prize Winner: Becka Darling 18 Business Side of Art: Scott Jones 19 State Ambassador Report: Kerry Vosler 20 Portrait Society Member News New and Renewing Members: 22 March, April, May 24 Upcoming Events and Programs www.portraitsociety.org

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legacy a nd vision

D A N G E R O U S LY M O D E R N : AUSTRALIAN WOMEN ARTISTS IN EUROPE 1890–1940

By Janelle Hatherly

Art museums and other cultural institutions are the mirrors of our society, reflecting humanity’s culture. They play a significant role in shaping our future identity and many are now committed to improving gender representation in their historically-formed collections.

When curators Tracey Lock and Elle Freak from the Art Gallery of South Australia and Wayne Tunnicliffe from the Art Gallery of New South Wales realised they were independently working on the same new exhibition, they banded together to produce Dangerously Modern: Australian Women Artists in Europe 1890 to 1940. Three years in the making, this truly magnificent exhibition was on show at both venues throughout 2025, marking the 50th anniversary of International Women’s Year.

Their deep research into the art and lives of women artists in the late 19th and early 20th centuries focused on 50 trailblazing Australia and New Zealand women who left their homelands to pursue careers abroad. Through 220 works from their institutions’ collections, as well as loans from other institutions and private individuals, the significant contribution of women artists to the development of international modernism can now be fully appreciated.

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The exhibition focused primarily on art produced beyond Australia but includes work produced soon after they returned. It celebrated and rediscovered paintings, prints, sculpture and ceramics neglected in history and expanded understanding of modern art movements such as realism, post-impressionism, cubism and the emergence of abstraction. The period covered the rise of feminism internationally and ended with the beginning of the Second World War. The independent attitude of artists from the southern hemisphere was influenced by women’s suffrage in New Zealand and South Australia at the turn of the last century.

By 1902 Australia was the first country in the world to grant women the right to vote. The opening of the Suez Canal in 1869 meant travel to Europe was much faster.

Opportunities were opening up in London and Paris, where art schools started admitting women for life drawing and study, creating a real possibility for a career in art. The selected artists were highly motivated to overcome the challenges of distance, economics and the prejudice of gender to compete as professional artists.

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Despite newfound freedoms, female artists still had to cope with an uneven playing field. Many were still at the mercy of male figures who looked after family finances, and if independent, they earned less than their male counterparts and had to sell their art more cheaply. Female artists paid more for tuition, meals and accommodation and were forced to undertake jobs outside their profession. On returning home, they were faced with Australia’s still conservative society and obsession with grand scale landscape art.

The exhibition gets its name from an article written by Thea Proctor who, upon returning to Sydney from London in 1921, was surprised to find her art labelled as ‘dangerously modern.’ After two decades away, she thought she was just keeping up with the times and even considered herself a bit old-fashioned compared to the younger set in London. As the first wave of professional women artists, they were seen as daring in both their art and personal lives. Their work could be overtly bold or more subtle with subversive messages and at times coded with sapphic symbolism.

As life was cheaper outside big cities, many of the artists were long-term residents and regular visitors to rural art colonies throughout Europe. Here life was social and communal, and they could share ideas, paint together and organise exhibitions. The experience was important to their artistic development as they embarked on a journey of the senses, explored colour, light, form and movement and offered moments of contemplation, love, loss and spirituality.

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The three co-curators of the exhibition were challenged to pull together a cohesive exhibition, given each artist could have a whole exhibition dedicated to their exciting lives and remarkable art! They were astonished how extensive this international network of women was and how adventurously they travelled, well beyond the cultural hubs of Paris and London.

There were works of many genres in this exhibition, but they all showed a sensitivity and tenderness lacking in many paintings created at the time. This led the curators to set aside the dominant national canon and reframe the work of these women around five overarching themes which encouraged new interpretations.

Sections called ‘Search and solitude’, ‘Radiance and rupture’, ‘Loss and renewal’, ‘Awakening’, and ‘Resolve’ were introduced with wall texts set out to explain the artists’ inner psyche. Each theme emphasized emotions and states of being over literal renderings of the world. As Maud Sherwood wrote in 1925, “The new conception of art strives more and more for emotion, rather than reality.”

In light of this, the exhibition reconsidered works of artists already well known and both institutions were able to acquire significant art works by Margaret Preston, Ethel Carrick and Hilda Rix Nicholas. Wayne Tunnicliffe remarked that the acquisition of major works by little-known artists like Mary Cockburn Mercer, Eleanor Ritchie Harrison and Justine Kong Sing, has transformed how we tell this period of art history, and there will be more discoveries to come as the search for missing artworks continues.

1. Janet Cumbrae Stewart, The Chinese Coat, 62.2 x 49.5 cm, pastel on paper, circa 1918 2. Florence Fuller, Mother and Child, 43 x 61 cm, oil on canvas, c1880s–1890s 3. Agnes Goodsir, Type of the Latin Quarter, 100 x 81 cm, oil on canvas, c1926 4. Edith Collier, Peasant Woman of Bonmahon, 101 x 75.3 cm, oil on canvas, 1915 5. Eleanor Ritchie Harrison, A Winter Morning on the Coast of France, 88 x 159 cm, oil on canvas, 1888

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LEONA SHANKS A N A R T I S T ’ S R E F L E C T I O N O N A L I F E D E E P LY C O M M I T T E D T O A R T E D U C AT I O N Artist Leona Shanks, alongside her late husband Nelson Shanks, co-founded the Philadelphia-based school for contemporary realist art, Studio Incamminati. For over two decades Leona has given her life to the endeavor, and she continues to play an ongoing role in the school’s leadership today. Gordon Wetmore, a founding member of the Portrait Society of America, once described the accredited school as an “exceptional example among a number of excellent schools which have been instrumental in training a growing population of young artists.” Nelson and Leona worked tirelessly to develop a curriculum that exemplified their shared ideals of a perfect art education, combining classical drawing with impressionist color. Studio Incamminati was awarded the Excellence in Fine Art Education Award at the 28th annual The Art of the Portrait Conference this April in Atlanta. Leona shares with us her reflections on a life spent committed to the arts and education.

You are an accomplished artist in both painting and sculpture. Can you reflect on the influences that led you toward art and the use of these mediums?

I remember being emotionally awestruck at a young age by great works of art. That early exposure awakened a deep desire to create something worthy of that feeling. I began studying art obsessively through museum visits and books. I was especially fascinated with Renaissance and Baroque art. My lifelong dream, and a worthwhile human endeavor, has been to create a work of art that ignites an emotional reaction from the viewer.

By my late teens, artists like Pablo Picasso, Jackson Pollock, and Andy Warhol were all the rage. The popular 6

I PO R T R AI T S O C I E T Y O F A M ERICA

By Marianne Rice

objective in art was to be cool and hip. Classical training and the very mention of skill building was frowned upon.

“Art experts” informed the public that “representational art was uninspiring and no longer relevant.”

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Abstract expressionism was perceived as intellectual and the new vibrant future. That art scene left me feeling empty. I was curious and desired knowledge and the ability to paint the magnificent things I saw, with mastery and great sensitivity. That would require skill, and skill required training. I wanted Rembrandt, not Rothko.

Rather than pursuing a formal college education, I sought out mentors in Philadelphia. I studied sculpture extensively with Evangelos Frudakis. He introduced his students to the great Greek sculptors of 100 to 400 B.C. I learned so much from him.

Every artist should spend time experiencing sculpture for its dimensional attributes. Learning about canons of proportion is extremely beneficial to avoiding proportional struggles. Fundamental anatomy through écorché, the anatomical figure of the muscle and bone structure of the body, provides tremendous understanding of our bodies.

I also began to teach myself painting by copying Old Masters at the Philadelphia Museum of Art. Two days a week for two years I copied Italian portraits. There was much to learn. One day, toward the end of those two years, Nelson Shanks was touring the museum with the curator. I was 24 years old when we were first introduced.

Eventually, I became an apprentice, along with Ron Frontin and Eleanor Greaves, at Nelson’s home and studio where

each apprentice had a private room in his home. We painted with him every day in his studio. We painted next to him as he painted his clients and models, and we would assist Nelson with teaching at the Art Students League in New York two nights a week.

Never underestimate the observational awareness of children. I believe that exposing children to observation and drawing at an early age is invaluable to developing their awareness and satisfying their curiosity.

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It was a life of true apprenticeship.

As students, we learned Nelson’s painting process and how a professional studio operates. After four years of shadowing him as my teacher, Nelson asked me out on a date. We married in 1989, and a fairytale life continued.

What do you find most inspiring as an artist and teacher?

My greatest source of inspiration comes from nature, and I strive to surround myself with its visual beauty.

When the sun shines or a room is illuminated, the light source creates a unique pattern of light and shadow.

Within that pattern of light and shadow, there is an endless treasure of values and color.

The effect of light on objects has always mesmerized me. When we were training in Nelson’s studio, he would often yell out “capture the light!” or “Turn the light on in your painting!” It was a rally cry to capture the effect of light in the painting.

When Nelson was five years old, his dad returned home from World War II with a little paint kit in his duffle bag. Nelson took the paint kit and copied a postcard he found of an adobe house in Santa Fe. The wooden rafters of the adobe roof jutted out, causing long cast shadows on the side wall of the house.

This was the beginning of Nelson’s lifelong fascination with light and shadow.

I have always related to his story because I, too, have a specific memory of the first time I was aware of the effect of light. I was five years old, sitting in the grass while my mom was hanging the laundry on the clothesline. I remember being hyperaware of how the sun, as it shined on the grass and tree trunks, made the colors so beautiful and shifted from light into shadow. The early morning sun made the grass glitter like diamonds.

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Can you tell me more about Studio Incamminati and your deep commitment to teaching?

My husband and I founded Studio Incamminati in 2002. Education was the best way we knew how to give back to society. The word “Incamminati” translates from the Italian language, meaning “to progress” or “walk forward.” It is derived from the 16th century Italian Art Academy “Accademia degli Incamminati,” founded by the Carracci family in 1585.

This movement was the genesis of the Baroque period of art. Their purpose was to reject mannerism and return to naturalism. We adopted the name Studio Incamminati to pay homage and show respect to the great representational artists throughout history.

The Incamminati curriculum is a series of sequential skill-building exercises to strengthen individual artistic ability. We believe that mastery of technique is prelude for creative expression. The point is, if you are trying to express an idea, you don’t want to be bogged down with technical issues of value and color transitions.

Mastery of skill enables one to paint with freedom, while the lack of technique can be paralyzing. Technical fluency enables artistic independence. We train to become enabled through competence rather than limited by inability.

1. Leona Shanks, The Hero, 30x40”, oil on linen 2. Leona Shanks, Retrospect, 20x16”, oil on linen 3. Leona Shanks with Michael Shane Neal and Wende CaporaleGreene, accepting Studio Incamminati’s Excellence in Fine Art Education Award at the 28th annual The Art of the Portrait Conference in Atlanta.

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t he a rt of t he portrait conf erence

WHERE PO RTR A I T ARTIST S GAT H E R

By Phoebe Stewart Carter

The Portrait Society of America’s The Art of the Portrait conference is a much-anticipated event, providing a place for artists and enthusiasts to meet, and facilitating the exchange of ideas that strengthen the artistic community. Hundreds flocked to Atlanta this year for the 28th anniversary, preparing for an exciting and jam-packed four days. The conference consistently arranges captivating demonstrations and talks by impressive portrait artists, informative and fun workshops, and an exceptionally organised gala—every year seemingly better than the last.

Those quick to sign up attended pre-conference workshops on Thursday. Ali Cavanaugh, Kevin Chambers, and Susan Lyon offered their expertise on colour, anatomy, and value, each in a different medium—making these workshops difficult to choose between.

The hotel began to fill with attendees Thursday afternoon, eagerly awaiting the opening of the ballroom doors, where the Face Off was taking place. This year’s event included 16 talented artists who were given three hours to paint, draw, or sculpt live models side-by-side.

Friday morning kicked off with impassioned talks from renowned artists Jason Bouldin, Quang Ho, Alicia N. Ponzio, Mary Whyte, and Portrait Society Chairman, Michael Shane Neal. Neal announced an exciting Portrait Society redesign, revealing a new banner and elegantly rebranded name tags.

Next was a demonstration by Daniel Keys and Mary Whyte. The two artists worked in different mediums, oil and watercolour, discussing the similarities and differences between techniques as they painted. It was fascinating to watch the portraits progress and to see where these two mediums cross over.

Afterward, while some artists went in search of food and sunshine, others formed lines for portfolio critiques. A selection of artists volunteered their time during the lunch hour to offer private critiques. And if there weren’t already enough ways to spend the break, drawing studios with live models were running throughout the day.

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That afternoon, Frances Bell and Shane Wolf paired for a demonstration focused on Solid Beginnings. Both have had successes at this event, so who better to offer advice on where to start? They compared their processes and priorities in the beginning stages of a painting and focused on how important a “solid start” is to a successful work. Despite the contrasts between their styles, you’d be surprised by how much they agree on.

Louis Carr, Grace DeVito, and Chelsea Lang created an impressive panel to discuss photography in portraiture.

Many of us know the delicate balance required when using photo references and how it can be “make or break.” The panel offered expert guidance on walking that thin line between being inspired by photography and being dictated by it.

Casey Childs and Susan Lyon cracked open the prop box in their program on Designing Narrative Portraits. With help from a model, Childs and Lyon composed several different arrangements with costumes, lighting, and props to illustrate how to convey meaning in a portrait.

In absence of the “right kind of shirt,’ audience members even started donating their own clothes; it was definitely an interactive demo!

Renowned artist Dawn Whitelaw led a workshop on Fixing the Most Overlooked Parts of Drawing the Head.

Attendees were instructed on the fundamentals of drawing the head while making quick sketches. With many years of experience, there is no one better than Whitelaw to tell you where most go wrong.

signed on the back to keep the artists’ anonymity before they were purchased. However, more than a few keeneyed attendees recognised their favourite artist’s work from a mile away. The sales are decided by chance, and many kept their fingers tightly crossed as they threw their name tags into the raffle.

As winners collected their 6x9s, the Next Generation artists set up for Face Off 2.0. Tina Figarelli, Julia Maddalina, Jackson Wrede, and Kristen Valle Yann represented the talented new wave of artists while skillfully painting and drawing from live models in a youthful recreation of Thursday night’s Face Off. Finalist and The Undraped Artist podcaster, Jeff Hein, led a late-night art talk discussing the realities of life as an artist with Anna Rose Bain, Frances Bell, Quang Ho, and Daniel Keys.

Once the breakout sessions finished, the doors of the library opened for attendees to meet the finalists of The International competition, admire their work, and start voting for the People’s Choice award!

Shane Wolf served as a dose of caffeine Saturday morning with an energetic and engaging talk on hands. Often described as “the second portrait,” Wolf demonstrated how the hands are endlessly expressive and can convey an array of emotions and meaning. The talk highlighted the importance of anatomy but also that gesture and expression are of equal significance.

The excitement of the evening continued as many burst into the ballroom for the 6x9 Mystery Art Sale. After spending the day watching artists create work, attendees now had a chance to purchase an original piece. Each was

Kevin Chambers, Richard Christian Nelson, and Alicia N. Ponzio guided the audience through multiple layers of anatomy in an in-depth presentation with the assistance of a nude model. www.portraitsociety.org

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t he art o f t he portrait conf erence

Anna Rose Bain and Louis Carr took to the main stage for their breakout, leading a demonstration on painting children’s portraits. This can be a difficult task for both the artist and the child, but Bain and Carr offered their expertise on how to capture and embrace that youthful energy.

Ali Cavanaugh led a class on watercolour surfaces and the effects achieved with them. There’s nothing artists love more than talking about materials, and participants were encouraged to experiment with the medium, break away from old habits, and try something new.

Michelle Dunaway and Stephanie Paige Thomson led a beautifully matrilineal demonstration as they painted Dawn Whitelaw. The three artists each represent a different generation yet come from an intertwined lineage of artistic tutelage.

Whilst painting, they held a captivating and candid conversation focused on mentorship and their influences.

Michael Shane Neal finished off the Saturday demonstrations with an inspiring talk on portrait commissions. Sometimes a daunting prospect, Neal led us through his process to make that task seem enjoyable and uncomplicated. He was joined on stage by his daughter and fellow artist, Mattie Ree Neal, who posed as he demonstrated how he would start a commissioned work.

That evening, attendees appeared dressed to the nines for the Gala Awards and Banquet. Following dinner, the award winners were announced. There was a crescendo of applause as Rose Frantzen was revealed to be the winner of both the newly renamed Rorick Grand Prize and the People’s Choice Award. The Gold Medal was awarded to Bo Bartlett for his inspiring and influential career as an artist, and Studio Incamminati was the recipient of the Excellence in Fine Art Education award.

Two final programs wrapped up the conference on Sunday. Jeff Hein and Micah Christensen reminded us how portraiture has evolved with a riveting art history discussion spanning centuries. They were followed by Zhaoming Wu, who eased us out of a busy weekend with a thoughtful demonstration on the poetry of drapery. Attendees wearily packed away their new brushes and books with a feeling of inspiration and motivation amongst the excitement-induced fatigue. Some piled into buses to visit the High Museum of Art or the Booth Western Art Museum while others caught flights home to their studios, where more portraits will undoubtedly be created.

The Portrait Society has created an event like no other, where artists are encouraged to fuel inspiration in each other. As stated by Marshall Bouldin, “Happiness is a by-product of a progressive realization of a worthwhile goal.

I guess that’s why we artists are so happy.” The Art of the Portrait conference continues to reinvigorate that sentiment in our lives, year after year.

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co mpet it ion awards

2 8 TH A N N U A L I N T E R N AT I O N A L PORTRAIT COMPETITION RORICK GRAND PRIZE WINNER AND PEOPLE’S CHOICE AWARD 1. Rose Frantzen IA, United States

Last Light, 44x52”, oil

Sponsored by: American Art Collector, Jack Richeson & Co., Portrait Society of America, Silver Brush Limited, smART Coach, and Workshops in Yorkshire

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FIRST PLACE PAINTING

2. Grace DeVito CT, United States

Dziedzictwo (Heritage), 24x30”, oil

Sponsored by: American Art Collector, Artwork Archive, International Artist Magazine, Portrait Society of America, and Silver Brush Limited

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FIRST PLACE DRAWING

3. Chu Tiến Thăng Long Bien, Vietnam Portrait of Bao Tran, 16x12.5”, mixed media on panel Sponsored by: Airfloat Systems, American Art Collector, Artefex, Artwork Archive, Natural Pigments, Portrait Society of America, and Silver Brush Limited

FIRST PLACE SCULPTURE

4. Kevin Chambers GA, United States Dusk, 44x32x12”, bronze Sponsored by: American Art Collector, Jack Richeson & Co., Portrait Society of America, Richard Schmid Publications, and Rosemary & Co.

SECOND PLACE

5. Jeff Hein UT, United States Carol, 16x12”, oil Sponsored by: Artefex, Blick Art Materials, Jack Richeson & Co., Jerry’s Artarama, Michael Harding Handmade Paints, New Wave Fine Art Products, Portrait Society of America, Rosemary & Co., and Silver Brush Limited

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THIRD PLACE

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6. David Jamieson IL, United States Iron Man–Portrait of Anthony Adcock, 48x24”, graphite, pastel, charcoal and ink wash on paper Sponsored by: Gamblin Artists Colors, Jack Richeson & Co., New Wave Fine Art Products, Portrait Society of America, Rosemary & Co., Silver Brush Limited, and Scottsdale Artists’ School

FOURTH PLACE

7. Olena Burykina TN, United States Dynamic Gaze, 24x30”, oil Sponsored by: Ampersand Art Supply, Artefex, Jack Richeson & Co., Jerry’s Artarama, New Wave Fine Art Products, Portrait Society of America, Silver Brush Limited, and Urban Goat

FIFTH PLACE

8. Jungchan Chang Tainan East, Taiwan The Female Portrait, 10.6x8.7”, oil Sponsored by: Ampersand Art Supply, Holbein Artist Materials, Jack Richeson & Co., Michael Harding Handmade Paints, New Wave Fine Art Products, Portrait Society of America, Silver Brush Limited, Urban Goat and Vasari Classic Artists’ Oil Colors

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compet it ion awards

1ST HONOR AWARD

9. Marc Dalessio France Ian, 28x19”, oil on linen Sponsored by: Artefex, Natural Pigments, Portrait Society of America, Rosemary & Co., Silver Brush Limited, SourceTek, and Vasari Classic Artists’ Oil Colors

2ND HONOR AWARD

10. Anthony Adcock IL, United States Beginning - Portrait of David Jamieson, 28x20.5”, charcoal, graphite, and white chalk on paper toned with ink Sponsored by: Gamblin Artists Colors, Jerry’s Artarama, Natural Pigments, New Wave Fine Art Products, Portrait Society of America, and Silver Brush Limited

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The 28th 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. smART Coach Silver Brush Limited Workshops in Yorkshire PLATINUM Artwork Archive Richard Schmid Publications Vasari Classic Artists’ Oil Colors GOLD Artefex Blick Art Materials Gamblin Artists Colors Jerry’s Artarama Masterson Art Michael Harding Handmade Paints Natural Pigments 14

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New Wave Fine Art Products Portraits, Inc. Raymar Rosemary & Co. u.go Plein Air SILVER Blue Ridge Oil Colors Scottsdale Artists’ School SourceTek The DaVinci Studios Urban Goat BRONZE Airfloat Systems Ampersand Art Supply Chelsea Classical Studio Fine Art Materials EdgeProGear Golden Artist Colors Holbein Artist Materials M. Graham & Co. RGH Artists’ Oil Paints, Inc.

AWARDS OF EXCEPTIONAL MERIT 1. John Borowicz MA, United States Tad (Homage to Gainsborough), 24x42”, oil Sponsored by: New Wave Fine Art Products (u.go Plein Air & Masterson Art), Portrait Society of America, Raymar, Rosemary & Co., and Vasari Classic Artists’ Oil Colors 2. Scott Burdick NC, United States Solaris Rising, 48x36”, oil 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. Matteo Caloiaro FL, United States Andreas Under the Fig Tree, 30x40”, oil Sponsored by: New Wave Fine Art Products (u.go Plein Air & Masterson Art), Portrait Society of America, RGH Artists’ Oil Paints, Inc., Richard Schmid Publications, and Vasari Classic Artists’ Oil Colors 4. Casey Childs UT, United States Grace, 24x18”, oil on linen Sponsored by: Blue Ridge Oil Colors, EdgeProGear, and Portrait Society of America

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compet it ion awards

5. Alessandra Marrucchi Toscana, Italy Our Golden Wedding Anniversary, 24x27.5”, oil on linen canvas Sponsored by: Blick Art Materials, Michael Harding Handmade Paints, Natural Pigments, Portrait Society of America, and Richard Schmid Publications 6. Scott Myers TX, United States Resilient, 19.75x15x10.25”, plaster Sponsored by: Natural Pigments, Portrait Society of America, Raymar, Richard Schmid Publications, Silver Brush Limited, and SourceTek

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7. Oliver Sin CA, United States Juan, 17x14”, vine charcoal Sponsored by: Blue Ridge Oil Colors, Portrait Society of America, and The DaVinci Studios 8. Jennifer Welty CA, United States Ocean Eyes, 16x22”, oil and acrylic Sponsored by: Michael Harding Handmade Paints, Portrait Society of America, and Richard Schmid Publications 9. Jean Yang IL, United States Happy Charlie, 10x8”, oil Sponsored by: Blick Art Materials, Chelsea Classical Studio Fine Art Materials, Michael Harding Handmade Paints, Portrait Society of America, and Urban Goat

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rorick grand prize

HONORING HUMANITY:

R OSE FRANTZEN RECEIVES THE R O R ICK G R A N D PR IZE A N D P EO PLE’S CHOICE AWA R D

by Becka Darling Rose Frantzen’s achievement in The International portrait competition stands as a celebration of excellence in art.

Widely admired for her luminous paintings and deeply human approach to portraiture, Frantzen was awarded the prestigious Rorick Grand Prize for her extraordinary oil painting Last Light. Selected from more than 2,200 entries submitted by artists around the world, the work exemplifies the highest standards of technical mastery and emotional depth.

Frantzen’s recognition is especially meaningful because her career reflects many of the values at the heart of our organization: dedication to craftsmanship, commitment to working from life, and a profound respect for the human spirit expressed through portraiture. Throughout her career, Frantzen has demonstrated an unwavering devotion to depicting people with sensitivity and grace.

Her paintings remind us that portraiture is not simply about likeness, but about connection and storytelling.

Last Light depicts Chuck, a model who Frantzen worked with on several occasions. While accepting the award, she explained that he had passed away and that this painting was a thank you to all the people who have ever taken the time to pose for her. “Portrait painters, sculptors, draftsmen, none of us can do it without those people giving us those hours of present stillness in which we can actually experience something like possibly that light that makes it worth being here,” Frantzen said.

Frantzen’s poignant painting meditates on the passing of a day, and of a life. A mortal man emerges from darkness, his arm bandaged to cover his wounds. Though weary and sagging, he remains upright. Not long ago, he danced; soon, he will pull to the side of the road knowing he is dying. At this threshold, perhaps he sees the light differently: not only as a golden reflection of all that has been, but also as the promise of something luminous ahead.

Last Light captivated both the judges and conference attendees with its atmospheric beauty and emotional resonance. In addition to receiving the Rorick Grand Prize, the painting was also honored with the People’s Choice Award. The portrait’s subtle orchestration of light, color, and expression creates a compelling sense of intimacy that invites viewers into a deeply reflective moment.

1. Learning of her Grand Prize and People’s Choice awards, Rose takes a moment to humbly share her gratitude for the honors.

What distinguishes Frantzen’s work is her ability to balance technical sophistication with painterly freedom.

Her brushwork remains alive and expressive without sacrificing structure or form. Frantzen creates portraits that convey presence and psychological depth. In Last Light, every passage of paint contributes to the emotional atmosphere of the composition, revealing an artist fully in command of both technical mastery and feeling.

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Frantzen has long been respected for her commitment to portraying ordinary individuals with extraordinary dignity. Her work consistently honors the individuality of her subjects while revealing something universal about the human experience. This sensitivity to character and emotion has made her an inspiring example for artists dedicated to the tradition of realism.

Members who attended The Art of the Portrait conference witnessed firsthand the excitement surrounding Frantzen’s recognition. The response to Last Light was immediate and enthusiastic, with many artists drawn to the painting’s quiet power and poetic atmosphere. Such moments remind us why portraiture remains one of the most compelling and enduring forms of artistic expression: it speaks directly to our shared humanity.

2. William Rorick Grand Prize Winner and People’s Choice Award, Rose Frantzen, Last Light, 44x52”, oil www.portraitsociety.org

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business side of art

WH Y P E O PL E B U Y ART + AS KING FOR T H E SAL E

by Scott Jones

I have attended four major art events/conferences so far this year, and there was an opportunity to watch artists paint and sculpt at each. During these events, I can easily find myself in the mode of “collector.” Let us discuss some positive responses when I said, “I like to buy studies, sketches and drawings.”

Artist #1 – “What is it about this one that excites you?”

I responded. She listened and said, “It is available for purchase; the price is $X. I would be thrilled to have you add it to your collection.” SOLD. She gave me the chance to verbalize for myself why I wanted it.

Artist #2 – “I do these studies for use in painting a larger studio piece. I am planning to do that with this one since it turned out so well. I can hold it for you and ship it to you when I am ready to part with it.” She told me the price.

SOLD! Her comments let me know how pleased she was with the painting, confirming my own reaction.

Artist #3 – “Oh, I don’t sell my art. Sometimes I donate it or give it away, but I am not into selling art.” I pushed a little harder. She responded, “This is my first national convention, a kind of ‘bucket list’ item for me. I’m getting to that age when I might not be able to do things like this anymore. I want to keep it as my memory of this week.” I told her I understood and that memory-building was the reason I was interested in buying it. She opted not to sell.

This is still a win in my book and a new artist I would like to follow if only she had a website or social media account, which I asked about. It truly was a wonderful pastel study.

I gave her a card with my contact info, and I hope she reaches out sometime soon.

What was a little unique in each of these situations was that the three artists did not know who I was. Each conversation was meaningful, and each artist was ready.

NOTE: There was also Artist #4 who did know me. When I was admiring what he had done and sharing with another artist what I liked about it, he very politely ended the conversation he was having, looked at me, and said, “I do sell my demos and the studies I have displayed. I hope you will consider adding my work to your collection sometime.

The price on that one is $X.” SOLD. I realize asking for the sale is hard to do sometimes, but he handled it perfectly.

What about collectors? Why do people buy art? Everyone you meet is a prospective client, including other artists.

Artists buy art. Every interaction can lead to a potential or future sale. Never discount someone’s ability to buy art based on appearance. Have an internal mental discussion with yourself about how you are going to respond to 18

I PO R T R AI T S O C I E TY O F A M ERICA

someone who is admiring your work and is giving extra attention to a particular piece.

Collectors buy for a myriad of reasons.

1. Decorating. It matches the sofa or curtains is an oftencited adage. Personally, I have not seen so much of this with original works of art.

2. It prompts an emotional memory of a person, time and place, or thing important to that person.

3. It helps fulfill a personal dream, want or desire of that person. Maybe it is an experience they always wanted to have but likely never will.

4. It creates a memory of the experience that person is having that day, that trip, or that time in life.

5. It starts a new relationship with an artist or deepens an existing relationship. Many collectors are artist benefactors.

Relationships are key. The sale of that first piece to a client should be thought of as the first of several.

6. It’s a learning experience. “How did she do that?” Both artists and non-artist buyers can have this motivation.

7. Buy as an investment.

Does art always go up in value? No. Do some artists have a track record of increasing value? Yes. I have sold a substantial number of artworks to people who plan to enjoy it for a time and then sell for a profit – a win/win. I Laurie Maddalina, Look What You Just have done this myself.

Made Me Do, 36x24”, oil Locking in on what is motivating the interest of a particular person can help you appropriately ask for the sale. Here’s what not to say to someone looking at your art: “Let me know if I can answer any questions.” Rather, look at them and ask, “Are you an art doer, art appreciator, or both?” I have found this opens a conversation every time, and it never hurts to compliment someone on being an art appreciator.

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 from the gallery world, he remains committed to the success of artists. He serves as State Co-Ambassador of Washington for the Portrait Society.

s ta te a mbassador

First, a big welcome goes out to our three newest ambassadors. Mr. Nattawut “Kim” Kreangkraileard will be representing the Portrait Society of America in Thailand.

He is excited to bridge the gap between the local talent in Thailand and the international standards that the Portrait Society upholds. Lisa Newman will be representing the Portrait Society as the State Ambassador for California. Lisa is currently making a transition back to her art career and is looking forward to serving in a capacity that promotes, sustains, and preserves portraiture. Theresa Harris is the new State Ambassador for Georgia and has already been busy reaching out and connecting with members across the state.

Also, the State Ambassadors in attendance at The Art of the Portrait conference in Atlanta convened for a luncheon, 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. We awarded six outstanding ambassadors with the 2026 State Ambassador Excellence Award for their hard work and dedication to furthering the Portrait Society’s mission. Congratulations to Kim Abbati (Illinois), Suzanne Viechnicki and Jennifer Wharton (South Carolina), Betty Bullen (Tennessee), Andrea Steinbauer (Europe/UK), and Janelle Hatherly (Australia/New Zealand).

Here are some highlights from our 2nd quarter.

Donna Catotti (Alaska) has scheduled a members’ exhibition at Haines Sheldon Museum in the Hakkinen Gallery. The show will open on December 4, 2026 and will be on display through January 24, 2027.

Crystal DeSpain and Lisa Manzo (Colorado) are still busy planning an artists’ retreat. This is the first year for this event, and they hope to make it an annual gathering. More information is coming soon, so be on the lookout!

Li Volk (Southwest Florida) shared that Huihan Liu demonstrated the art of the portrait at a well-attended public event in Sarasota. An open studio with a live model was hosted by Katie Dobson-Cundiff Studio,

as well. More events are to be scheduled for the fall.

Theresa Harris (Georgia) has been busy updating the Instagram account for members. She has also been holding Zoom meetings for members to exchange ideas and has sent out two newsletters to members since taking the position.

Deborah Gill (Idaho) presented an Idaho State Ambassador award to Danielle Grace Kelly of Idaho Falls. Danielle is a graduating senior at the Watersprings School. The award included a Dick Blick gift certificate and a monetary gift from Deborah.

Suzanne Viechnicki & Jennifer Wharton (South Carolina) reported that their Plein Air Paint Out at Cypress Creek Wetlands in Port Royal was a huge success.

Betty Bullen (Tennessee) arranged for Virgil Elliott to teach a workshop in Knoxville, and he did a free public demonstration as well. The event was well attended by Tennessee members.

Robin Williamson (Texas) organized a “Face-Off” event for local Portrait Society artists. The event was held on June 20th at Sawyer Yards with sixteen artists demonstrating.

Alison Landry (Virginia/DC) convened with members for their third annual Spring Portrait Paint-out on May 9th. It was a lively event, and local members enjoyed getting to know each other.

Kathy Wheeler (Wisconsin) and the Richeson School and Gallery is hosting a Member Show. It will be open June through August, and kicked off with an accompanying Face-Off event on June 13th that was open to the public. Stay tuned for the monthly newsletters for upcoming news and events in Wisconsin.

Kerry Vosler National Coordinator

1. Portrait Society State Ambassadors gathered at the annual conference in Atlanta, GA in April 2026.

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2. Members from Virginia and Washington, DC convened for their third annual Spring Portrait Paint-Out.

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member news 1. Anna Rose Bain’s painting Red Balloon, 40x48”, oil, was awarded Best of Show at this year’s Colorado Governor’s Art Show. She says she was incredibly honored that the jurors recognized something in this piece that felt worthy of the top prize.

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2. David Claudio’s bas-relief bronze sculpture Leda and the AI Swan won Best of Show at the Soulard Art Gallery in St Louis, Missouri. It is based on the Greek myth of Leda and the Swan.

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3. Cynthia Dill’s portrait was juried into the American Women Artists 2026 Exhibition at the Customs House Museum and was awarded the Kathleen J Smith Humanity in Art Award. Pictured: Proved Innocent after 38 Yrs Incarceration, oil.

4. Nanci France-Vaz was commissioned to paint an official portrait of Elizabeth Blume Silverstein for the new lobby and atrium at Rutgers University Law School. The unveiling and dedication ceremony was held on Monday, June 1, 2026.

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5. Nattawut “Kim” Kreangkraileard was recently named a Selected Artist by Watercolor Golden Brush (The 3rd Annual International Virtual Exhibition-Competition 2026, France). Pictured: My Dad Survived his Illnesses, 21x29.7”, watercolor 6. Laurie Maddalina is honored to have been awarded the McAvoy Purchase Award through the Art Renewal Center for her painting Lately I’ve Been Dressing for Revenge which will be included in the international award salon at Sotheby’s in July.

7. Scott Myers’ life-size bronze portrait sculpture of community leader Jean Cate was unveiled and installed in the Shanley Sculpture Garden in Granbury, Texas on March 13, 2026.

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8. Vicki Sullivan was selected as a finalist in the Archibald Prize, Australia’s most famous portrait prize, with her portrait of Jan Fran titled Peace Actually. Jan is a compelling and thoughtful voice in Australian media, and Vicki wanted to capture both her strength and her humanity in this work.

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9. Wendi Zlamal was awarded First Place in the prestigious annual “Top Choice” awards at SoBo Gallery in Winter Garden, Florida.

This award was presented to her along with a $500 cash prize.

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I P O R T R AI T S O C I E TY O F A M ERICA

exhi bit io ns 1. Marianne Rice was honored to have been juried into the Oil Painters of America 35th Annual National Exhibition, where she was awarded the $20,000 Dorothy Driehaus Mellin Fellowship for Midwestern Artists, for her painting titled Ollie and Lilly - Friendly not Quite Tame. The OPA National Exhibition will be on display at the Steamboat Art Museum, in Steamboat Springs, Colorado, through August 29, 2026.

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2. Adrienne Stein’s solo show, “The Enchanted West of Adrienne Stein,” opens August 22 through November 7, 2026 at the Museum of Western Art in Kerrville, Texas.

Her paintings celebrate the natural world through bold, vibrant color.

Online pre-sale of paintings opens on July 15.

3. Judy Takács has a solo show, “We the People…All the People, Paintings to inspire hope and action for the 250th Birthday of Our United States of America.”

It opens June 25, 2026, at the Midtown Collaboration Center in Cleveland, Ohio and continues through Election Day, November 3, 2026. Pictured: Hope is Singing Bird and Swinging Axe

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works hops 4. Casey Childs will be teaching two workshops at his studio in Salem, Utah, this September: Charcoal Drawing Workshop on September 21-22, and Studio Painting and Alla Prima Workshop on September 23-26, 2026. Join Casey for one or both workshops!

Artists will have the opportunity to work from a live model and will receive one-on-one instruction gaining a fuller knowledge of traditional drawing and painting.

Learn more at caseychilds.com/ workshops.

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5. Join Thomas Caleb Goggans along with Anna Rose Bain and Jared Brady for six days of landscape painting in the Wyoming High Country, September 8-13, 2026. This workshop is all-inclusive, with painting demonstrations, coaching, instruction, lodging, and meals all included. Learn more at thomascalebgoggans.com.

6. Watch Michael Shane Neal paint a commissioned portrait from life and photographs in the historic Kinstler country studio, October 9-11, 2026, in “Behind the Brushstrokes: A Live Look at the Artistic Process.”

This virtual workshop is a rare opportunity to engage in an intimate and revealing look at the artist at work. Email becka@ michaelshaneneal.com to sign up.

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7. Nicole Troup will be leading a workshop called “Incorporating Gold Leaf Into Your Charcoal Portraits” on August 1, 2026, at the Maryland Hall, in Annapolis, Maryland. The workshop will cover facial proportions and how to incorporate gold leaf methods on paper. Register at www. nicoletroupmasterpiece.com.

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renewals & new members RENEWING MEMBERS We gratefully acknowledge all members who renewed in March, April, and May. Your ongoing support sustains the Portrait Society’s mission.

MARCH Patron Jose Cardenas, CA Mihwa Cha, KS Kathleen Ericson, MI Dione Fetner, FL Ronald Franklin, TN Joseph Knipe Gastrock, VA James Gill, TX Lyn I.A. Graham, PA Daniel Hayduke, NY Alice Hedden, IN Charles Gilbert Kapsner, MN Sylvana Lankshear, CA Jeffrey T. Larson, WI Jeanne Crain Leemon, TN Albert G. Lopez, CT Denise Kyle Pollack, PA Joshua Adam Risner, MI Patricia W. Travis, LA Joseph C. Walker, MS Kathleen Wallace, FL Kathleen Wood, VA Suzi Zefting-Kuhn, NY General Katherine Abdun-Nur, OR William Arnott, IV, SC Claire Benedict, GA Carol Berning, TN Laura Blackstock, AL Melody Bogle, FL Martha Bradshaw, CT JoAnn Bugg, AL Kathleen Carroll, MD David Chang, FL Bob Clyatt, NY Sandra Corpora, PA Thomas L. Cranmer, VA John Darley, UT Barbara B Davis, AL Camille C. Day, GA Lenin Delsol, IL Annette Devitt, NJ Don Di Sante, IL Mike Elkins, TN Jessica Falcone, CA Diane Farr, OH Emily Michelle Fossum, NC Jan Fritsen, CA Linda Gantt, NC Vicky Gooch, TX Kim Gorrasi, MA Minerva Grau, NY Linda Groene, FL James Howe, VA Connie Kilkenny, CA Cynthia Cochran Kinard, NC Alana M. Knuff, NC Marilyn Kohn, FL Marcia Koynok, PA Megan Lawlor, PA 22

Rosemary Luksha, PA Gayle Madeira, NY Mary Georgina Mayhew, IN Jacqueline Medeiros, GA Carol Medhurst, OH Margie Milne, NJ Sharon A. Morley, MA Meredith Moss, VA Lee Nabors, AL Richard Christian Nelson, NC Jonathan NicholsNavarro, CA Greg Nott, GA Thomas Keith O’Brien, PA William Henry O’Brien, FL Suzanne Paddock, VA Libbie Patterson, MS Mary Plaia, TX Phil Pringle, MS Lori Putnam, TN Mary Qian, IL Cynthia Riordan, CA Laura Romero Warner, UT Ed Routon, TN Ginger Sanaie, VA Lauren D. Sawchyn, MA Judy Schubert, NH Peter Schuller, CA Billy Seccombe, NJ Michelle R. Snead, NC Meghan Sours, NC Jana Stiles, SC Jeanne Tangney, RI Andree Tullier, MD Jim G Tyler, CA Mariana Umarusman, FL Manjit Vohra, FL Li Volk, FL Richard Walton, UT Amy Wax, NJ Jennifer R. Welty, CA Julie Wende, TX MaryLynn Elliott Williams, SC Ernest Vincent Wood, KS Theodore A. Xaras, PA Chris Zimmerman, WA International Christine Hill, United Kingdom Karen Larson, France Norman Lockington, Canada Kevin John Sartorio, Canada Ingrid Scott, Canada Victoria gerhardine von Kap-Herr, Germany Nicole Warner, Switzerland Elske Wilton, Netherlands Cynthia Yam, Canada APRIL Patron Sue Jacobson Bailey, TX Betty Bullen, TN William T. Chambers, IL Linda H. Champanier, NY Steven J Farrar, VT

I PO R T R AI T S O C I E TY O F A M ERICA

Robert Toy Fowler, VA Miranda Gray, NM Armando Gutiérrez G., MN Anne Emerson Hall, GA Sam Knecht, MI Suzy Mellott, FL Carol K. Mullen, VA Mary Reilly, VA Suedale Schierman, CA Patricia Taylor, TX James Tennison, TX Alexandra Tyng, PA Tony-Two Feather Lee Weldon, FL Archelle Wolst, WI Scott Woyak, PA Paula Zeller, MD General Wendy Adams, GA Nancy Allan, NC Chad Awalt, GA Maria Battista, CO Julia Bezgacheva, VA Howard Bolter, MN Kate Brockman, PA Mary Ross Buchholz, TX Mary Kathyrne Buckman, CA Mary Jane Bugh, OH Gary Byrd, NM Andrina Carey, FL Charles A. Carnahan, WV Jane Glickman Cavala, CA Carmen Chami, IL Sung Chung, VA Sherry Clark, TX Karen Lee Crenshaw, NC Joseph A. Czarnota, NY Danielle Day Damson, AL Kathy Daniel, NJ Felicia Feldman, CT Kathy Fieramosca, NY Carol Fors, LA Joan Marie Francischelli, FL Clydetta Fulmer, AL Cary S. Galbraith, PA Kerri Gibbs, NY Jane Haverty, NC Olga Hegner, UT Jeanne Hyland, NM Jeffrey Janoff, CA Tricia Kaman, OH Diana Kirkpatrick, SC Kathy Kitzmiller, GA Vonnie Kohn, TX Garry Kravit, NC Rhonda Renee Lanclos, TX Jamie Lindholm, CO Pamela Mack, TN Hal A. Martin, TX Ruby Danise Mason, GA Christine McBryan, NY Kathy Morris, GA Ted Nuttall, AZ May Yoneyama O’Brien, VA Elizabeth Brooks Oliver, AL Robert Papp, PA Rosie Penning, CA Cynthia Pierson, FL Sandi H. Prentis, NC Craig Pursley, NH

Mardie Rees, WA Colleen Regan, VA Elizabeth Rouland, CO Leo Rucker, NC Elizabeth Bowles Salim, VA Rebekah Saxanoff, NC Beverly Schupp, AK Robert Scudder, MI Mami Shimomura, WA Tara Smith, CA Tara Susanne Sood, VA Alice Taylor, GA Mike Torma, LA Rosalie T. Vaccaro, AZ Eric Von Berg, CA Eric Von Schmidt, CO Chiachen Wang, CA Chaiho Charles Wang, VA Robin Wellner, NC Ruby West, SC Elaine Western, AL Barbara M. Williams, CA Debbie Linford Williams, UT Robin Williamson, TX Rhonda C Wittorf, WA Nancy Workman, IL Shaoxiong Wu, GA Visionary Mary Jane Zimarowski, MA International James Armstrong, Trinidad and Tobago Rosanna Gaddoni, Netherlands Jaq Grantford, Australia Tai Meng Lim, Malaysia Sally Ryan, Australia Karen Sinclair, Qatar Morag Webster, Canada Student Eliza Shin Hoffman, TX Leshan Li, CA M AY Patron Renee Bates, TN Adam Bauder, VA Joanne Braganza, Canada Chris Clamp, NC Kathy Collins, TN William Dixon, GA Connie Erickson, KY Varda Vidal Goldstein, NY Virginia Hickey, VA Guy Kiernan, PA Marcia Klioze, VA Kenneth L. Miller, PA Mark Novak, CA Sharif Sadiq, NY Wendy Wagner, FL Sandra Ward, TN General Carol Arnold, MA Sherry Barber, TX Mohammad Ali Bhatti, TX Joseph Bonomo, KY

Christiane Bouret, IL Lynda Brill, IN Mary Carew, NY Debra Destoppeleire, IL Cynthia Dill, NY Michelle Dunaway, NM Kathleen Dunphy, CA Margaret Ann Garrett, GA Deborah Gill, ID Mary Harvey, TN Joanie Hennigar, MI Alla Hiser, VT Heidi Hoffer, NM Barbara Humbert, IL Margaret Hunt, SC Toni L James, AZ Susan Kemp, PA Lisa Kovvuri, NH Susan LaMantia, NY Ann Lewis, NM Michael Margherone, IL Patricia Mathes, AZ Mary Ann May, TN Kathleen McKenna, OH Gregory Mejia, IL Rachel Melander, HI Thomas Mewborn, VA E. Melinda Morrison, TX Lisa Newman, CA Dale Owen, GA Nishith Pandya, DC Christine Rapa, MD Cheri Saffro, IL Kathleen Simmons, IA Stephy Sunny, NY Katharine Taylor, MI Nicholas Thorp, NC Barbara Tooley, WI Catherine Trezek, IL Nicole Troup, PA Alena Vavilava, VA Ning Wang, WA Linda A. West, CT Duke Windsor, CA Visionary Emilie Rhys, LA International Deborah Ahee, Canada Diane Firth, United Kingdom Penelope R. Graydon, Canada Surabhi Kanchan Gulwelkar, India Liling Heng, Singapore Carla Laffra, Netherlands Athina Soultani, Greece

NEW MEMBERS Welcome to all who joined in March, April, and May! We’re excited to have you as part of the Portrait Society community.

MARCH Patron Richard G Reese, TX General Anne Alden, WA Judith Almasque, WA Diane Bares, WI Keith W Chirco, TX Jonathan Cranmer, AZ Katie Dobson Cundiff, FL Lara De Lange, GA Jordan Deliman, CA Jaree Adelee Duenke, MD Mariana Durst, MI Kate M Galligher, FL Laura Inman, GA Sarahlee Kittons, AK Sally McMahon, FL Kayleen Marie Mezei, AZ Laura Monroe-Duprey, VA Karen Murphy, AL Robert Alan Omilian, MI Megan Penniston Aujla, GA Zac Terrence Rybacki, IL Richard Shu, KY Neha Thakurdesai, CO Fueche Vang, IA Suzy Wear, CA Linda Williams, IL Mary Wivell, GA Randy Wolfe, TN Shangzhe Xuyu, AZ Corporate John Ball, FL Student Rose Ayse Cakar, TX APRIL Patron James C Bienvenu, LA Cherrie Geerdts, CO Kellie L Lawry, MI Elizabeth Anne Scheele, MN

Daniel Hill Riedel, OH Jennifer Tope Stanton, VA Jodi F Weitzman, CA Deborah Wittich, CA Visionary Michelle D Truglia, CT International Adebanji Adeola Alade, United Kingdom Veronika Baun, Switzerland Nattawut Kreangkraileard, Thailand Xiong Zhong Xia, China Student Frankie Mae Dowdy, CA M AY General Victoria Bayagich, MI Colleen E Boynton, CO Teresa Cobb, TN Nancy Sue Drake, AK Sarah Marie Fantuzzo, PA Tina Amico Gargiulo, NY Steve N Grunyk, IL Gerry Hirschstein, NY Brandi Kaaykati, MI Terry A Oberdank, FL Noel Olivia O’Neal, AZ Olga Porter, TX Karen Raidy, IL Wendy Robbins, TX Stacey A Shapiro, IL Ani Vosbikian, MA Marilyn Wear, CA Lisa C Woolf, CA Guanghua Xing, CA Yael Zakon Bourke, MA International Karen Bendersky, United Kingdom Rianne Hardeman, Netherlands Peizhen Li, China Jacine Marleena Makdessi, Australia

General Carlie K Cornell, TX Nancy Coven, TN John Brandon Cowden, TN Heather D Earnest, FL Blanca Favi, IL Joyce Faucette, NJ Michael Havis, MI Tracy Kadonaga, OH Kim Lassiter, WY Cynthia Jeanne Mello, GA Lisa Ann Morrison, KS Sonal Radadiya, CA

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Non-profit Organization U.S. Postage PAID Permit 977 Tallahassee, FL

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. FUTURE GENERATION COMPETITION

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Entry Deadline: August 14, 2026 This competition was created to acknowledge the work of talented, emerging artists, who are 18 to 25 years old. Early recognition in art competitions can have a great impact on a young artist’s career, as it did for John Singer Sargent, who at the age of 23, won Honorable Mention at the Paris Salon for a portrait he painted of his teacher, Carolus-Duran.

3. SIGNATURE STATUS

Entry Deadline: September 3, 2026 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.

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4. MEMBERS ONLY COMPETITION

Entry Deadline: November 4, 2026 Recognizing Portrait Society members’ artworks in five categories: Commissioned Portrait, Non-Commissioned Portrait, Outside the Box, the Nude Figure, and Animals as the Subject.

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5. INTERNATIONAL PORTRAIT COMPETITION

Entry Deadline: February 17, 2027 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.

6. 29TH ANNUAL THE ART OF THE PORTRAIT CONFERENCE

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The annual portrait and figurative artists’ celebration is in Washington, D.C. from May 6-9, 2027.

info@portraitsociety.org | www.portraitsociety.org | 877-772-4321