4th Quarter Newsletter 2023

Journal of the Portrait Society of America volume XXV 4 th Quarter 2023

issue no. 100

d i r e c t o r ’s l e t t e r

FROM THE DESK OF CHRISTINE EGNOSKI

I

believe in the transformative power of art — its ability to inspire, heal, and create connections.

Artists and their artwork play a pivotal role in influencing both the creator and the viewer. In Susan Magsamen’s and Ivy Ross’ new book Your Brain on Art: How the Arts Transform Us, she says, “Many of us tend to think of the arts as either entertainment or as an escape, but what this book will show you is that the arts are so much more.

They can be used to fundamentally change your day-to-day life… and they can both help you learn and flourish.” Magsamen, an assistant professor of neurology at John Hopkins, has devoted her career to understanding the intersections between arts, the brain, healing, and joy. Her focus is neuroaesthetics – a nascent scientific field that looks at how the arts and aesthetic experiences physically alter minds and bodies.

Magsamen’s fascination with the healing potential of art began at a young age. When her twin sister, Sandra, faced a challenging recovery from a farming accident at the age of 12, unable to articulate her fear and isolation, she turned to art. Susan vividly recalls Sandra’s drawings, particularly one depicting a child lost in a sea of people — a reflection of her emotions. Susan recalls, “That’s how she felt. Art became healing, it became a connection.”

In our recent Portrait Society E-News, I highlighted our partnership with the Patriot Art Foundation to offer a scholarship annually for the next 10 years to a military veteran to attend the annual conference. The Patriot Art Foundation’s mission of providing free education and materials to veterans using art as a pathway to a healthier and more meaningful life, aligns perfectly with the educational focus of the Portrait Society. This year our annual appeal funds will be used to for this important program, and contributions can be made on our website: www.portraitsociety.org/donate. At the end of the E-News, I invited our members to share their community involvement, and here’s a glimpse of their impactful contributions.

Megan Lawlor donated portraits of Ukrainian refugees for an art exhibition and auction by Studio Incamminati, emphasizing the power of artists coming together for a meaningful cause. Frank Mendez, deeply engaged in the veteran community, showcased his exhibition “Faces of Courage from the Barrios,” featuring portraits of Vietnam Veterans. Each portrait is numbered, allowing the public to connect with both the artwork and its subject. Mary Lazar shared the “Ageless Palette Program,” a visitation initiative helping artists paint from life in assisted living facilities, fostering connection and creativity. Randall Vemer, a faculty member of the Oregon Society of Artists, consistently teaches veterans and recently organized an exhibition showcasing original works by US Military veterans, including paintings, drawings, sculpture, and glass.

These stories illustrate the inspiring and encouraging healing power of art, emphasizing its capacity to connect, inspire, and educate. I invite you to share your experiences and examples by emailing me at christine@portraitsociety.org.

Christine Egnoski Executive Director

TA B L E OF C ONT E NT S 3 New Works: Linda Tracey Brandon, Nicole Moné, Shana Levenson, Ricky Mujica 4 Cecilia Beaux Forum: Suzanne Valadon by Nancy Rowe 6 Business Side of Art: Scott Jones 7 State Ambassador Report: Kerry Vosler 8 A Day in the Life: Wende Caporale-Greene John Coleman, 12 John Coleman: Kim Azzarito The Oracle, 29x15x14”, 18 Signature Status bronze 20 Portrait Society Member News 22 New and Renewing Members: September, October, November 24 2024 The Art of the Portrait Conference 2 I The A r t of t h e Po r t rait

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 Executive Director Christine Egnoski Advisory Board Sam Adoquei, New York, New York James Gurney, Rhinebeck, New York Robert Liberace, Vienna, Virginia Dean Mitchell, Tampa, Florida Rhoda Sherbell, N.A., Westbury, New York Burton Silverman, N. A., New York, New York Jennifer Welty, Santa Cruz, California Staff & Newsletter Contributors Kim Azzarito, Assistant Director Amanda Oliver, Membership Director Allison Gilliard, Special Programs and Outreach Kerry Vosler, Writer, State Ambassador Coordinator Wende Caporale-Greene, Writer, Board Member Scott Jones, Writer, Washington State Ambassador Mailing address: Portrait Society of America P.O. Box 11272 Tallahassee, FL 32302 Shipping address: 1109 S. Magnolia Ave. Tallahassee, FL 32301 Toll free Telephone: 1-877-772-4321 Fax: 850-222-7890 Web: www.portraitsociety.org

The Art of the Portrait® 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 charity@thecreativepooldesign.com

new work from members

Ricky Mujica, Hank, 11x14”, charcoal

Linda Tracey Brandon, Girl in White, 18x14”, oil on panel

Nicole Moné, Pipe Dream, 40x30”, oil on linen

Shana Levenson, Cardinal, 16x14”, oil on aluminum panel w w w. p o r t r a i t s o c i e t y. o r g

I 3

cecilia beaux forum

RECOGNIZING VALADON You may know her best as the coquettish dancing woman in Renoir’s well-known Dance at Bougival, an impressionistic painting you may have seen so many times that it now holds a cliched romantic flair. Here, the male dancer, whose face is hidden behind a straw hat but whose body language expresses a sexually charged physicality, grips his dance partner. She glances demurely toward the ground, where three symbolic items lay: a fallen flower, a cigarette, and a match. It is perhaps these seemingly insignificant details, which the eye might easily miss, that are the most telling.

By Nancy Rowe

painting. At the time, though, modeling for painters was akin to prostitution. Known for her rebellious spirit and artistic drive, Valadon had her eyes fixed on the horizon – becoming a successful artist in her own right.

Valadon’s rise from meager beginnings, complicated love life, and role as a single mother amount to a storied life. However, that’s not the focus here. While the artist’s personal story is indeed intriguing and often part of the public’s fixation, what is more important is to examine her works in their own right.

2 1 The young attractive model here is Suzanne Valadon, born Marie-Clementine Valadon, who was seventeen at the time Dance at the Bougival was painted. While Valadon may not be an artistic household name like Renoir, Degas, Cezanne, Picasso, or Lautrec, she was an artist in her own right who not only brushed shoulders (and became lovers) with some of the most influential artists of her time but is now coming into clearer focus as yet another woman who deserves more recognition for her work.

Valadon was born in France in 1865 to a single mother, and because of their low social and financial status, started working from an early age (even joining the circus and performing as a trapeze artist). At fifteen, she began modeling for wellknown painters such as Renoir and Lautrec, and it was during this period she developed her own interest in drawing and 4 I The A r t of t h e Po r t rait

Not only to contextualize them, we want to see them more objectively as works with their own life, extending outward beyond a fixed time and place.

One of Valadon’s most famous paintings is Family Portrait, from 1912. Here, Valadon paints herself looking directly at the viewer with her family surrounding her. Her son, the tempestuous artist Maurice Utrillo, sits below her, appearing as the bored, pouting adult child. Behind her stands her elderly mother, perhaps as a vision of both past and future, and above her, her young lover and friend of her son, Andre Utter.

Without any background or history of the painter, the viewer can feel the psychological draw of the piece through its sepiatoned mood and the way the figures in the portrait seem both separate and together. These positions speak volumes about

4 3

each person’s place in this make-shift family. Valadon stands firmly as the central, perhaps even heroic figure, her hand on her chest. This gesture is reminiscent of religious classical paintings; it is also a gesture of the heart and of possession, as if the central character were saying this is “mine.” One might also see it as a show of intimate familial connection. If we did not know this was an unusual version of family, we can sense it.

In another well-known painting, The Blue Room (1923), Valadon paints herself in repose. Painted in a fauvist style with heavy black lines, Valadon places herself firmly in the company of her artistic contemporaries. Instead of the idealized naked woman, like Titian’s Venus of Urbino, the artist seems to be mocking the classical reclined beauty. Here, our Venus is fullfigured, clothed, and slightly older. She wears a camisole and striped pants. She does not appear ready for the male gaze and clearly demonstrates the power of a different kind of femininity. Instead of the symbolic small dog at her feet, we find books, most likely a show of personal intellect. And instead of staring seductively at the viewer, she looks out beyond her viewer, to a place we are not privy to. The bright colors and patterned drapery do not denote dark sexual mystery but seem to bring the woman into full light. A cigarette protrudes from her mouth. This is not the cigarette tossed at her feet as in Renoir’s painting, but one that shows a woman bending the rules and social norms, a woman in full possession of herself.

5 1. Suzanne Valadon, Casting the Net (1914), 79 x 119”, oil on canvas 2. Valadon and son Maurice Utrillo (1884) 3. Pierre-Auguste Renoir, Dance at Bougival (1883), 71.6 x 38.6”, oïl on canvas 4. Suzanne Valadon, Blue Room (1923), 35 x 46”, oil on canvas 5. Suzanne Valadon, Family Portrait (1912), oil on canvas

w w w. p o r t r a i t s o c i e t y. o r g

I 5

business side of art

BUSINESS SIDE OF ART:

ARE YOU READY FOR A DOOR TO OPEN? I often receive messages from artists asking me questions about how to advance their careers, get into galleries and/ or how to get their work recognized. Recently, I received a message from an artist that had been accepted for gallery representation and she excitedly wrote and asked, “I wonder if you have any words of advice or questions, I might not have thought of asking.” I responded with the top ten areas that I felt could be helpful with some explanation on each.

CONTRACTS: Some galleries have contracts, some don’t. Establish a clear understanding that the paintings are on consignment and owned by you. That can be done by contract or by individual painting submissions. Send a consignment sheet with title, dimensions, frame dimensions, medium, and price for each batch of paintings. It’s your inventory. Keep close tabs on it. Send a high-res photo upon completion.

PRICING: How are prices set for your work? Do they accept your pricing or is it discussed? Consistent with other galleries?

You, the gallery, and collectors will want to see prices going up over time.

PRECENTAGE: Most galleries are 50/50 these days. Ask if this is negotiable?

Find out if they offer a discount to a customer and how that is handled for the artist. For instance, perhaps the gallery discounts up to 10% without contacting you? Discounts can be important for multiple piece sales. But you don’t want any 20% or 30% surprises.

INVENTORY: How long does the gallery have your paintings? I generally expect to have a painting for a year to sell. If you want it back before a year, you pay shipping. After a year, the gallery pays shipping.

ADVERTISING AND SHOW COSTS: This is very important as some galleries will co/op and have you pay half, and they pay half. Some galleries will pay for all ad costs. Make sure the gallery discusses with you before any ad money is committed to. Same for show expenses.

MANAGE EXPECTIONS: How many pieces will they want? Some galleries ask for a contracted number of pieces per year. I have never done that. But I do try to get a feel for a range of how many pieces you can supply me. Will you continually get me new work? Or do I consider you to be a show artist? I suggest to artists that they think of wall space as their real estate, and you figure out how to keep that space supplied with your work. Sometimes that means having 6 pieces on the wall and 1 or 2 in storage. When your painting sells, who do you want to replace that spot on the wall? You, of course. Artists often get upset if a piece is not displayed. I 6 I The A r t of t h e Po r t rait

By Scott Jones

sell works not on display all the time. If someone is interested in your work, I am going to show them everything. And some collectors ask to see what is “hidden in the back.”

FRAMING: Very important to make sure you are on the same page regarding how you frame/not frame your work.

What framing trends are popular? Also, what sizes work best for them? And yes, discuss subjects that are popular or underrepresented. The gallery knows its market.

SEASONS: You might want to ask about the seasonality of sales. If they sell mostly in the summer, then you can look for opportunities elsewhere to sell in the winter.

ONLINE PRESENCE: Discuss their website and how often it is updated. Monitor that they upload new artwork to their website. Follow them on social media. Are they active? How can you support?

DIRECT SALES: What are the shared expectations about direct sales from your website and social media? Some galleries object. Here’s what I like to see. If you plan on sending a piece to a gallery, post that intention right up front. If you intend to sell it directly, say it is available through your own studio. I monitor my artists’ websites and social media. I have sold pieces out of artists’ studios and other galleries because I know what is there. Keep your prices consistent between gallery sales and direct sales. Deep discounts on direct sales have the effect of dropping your retail prices in the eyes of collectors. Collectors love to talk about deals. If someone contacts you about a commission and finds you through the gallery, the gallery should get a commission. It goes a long way if an artist asks how the person learned of them? Will the gallery inform you who buys your painting? Some collectors don’t want that information shared. Some want to have contact with the artist. I will give the artist feedback on the emotions and reasons for the purchase. The right piece for the right person at the right time.

Lastly, keep in mind that some galleries have a policy of ‘approving’ all work. So, think about if you want or will you accept gallery critiques of your work? Personally, I don’t want to be an art editor and stymie creativity. But many of my artists have actively sought my feedback. If I see something that needs to be addressed, I’ll offer advice. I also challenge artists to dedicate time to working on subjects or mediums outside their comfort zone. That’s where growth can come from.

Questions welcomed at scottjonesfineart@gmail.com or @scottjonesfineart on Instagram.

Scott Jones has been a passionate art collector since the age of 16, and after a successful exit from the business world, shifted his focus to his passion, selling art. He is currently a Sales Consultant for Cole Gallery in Edmonds, Washington and serves as State Ambassador of Washington for the Portrait Society.

state ambassador

W

e are excited to announce and welcome our newest European Ambassador, Andrea Steinbauer. European members will have their first Zoom meeting in January 2024 and a much anticipated quarterly newsletter will follow. Andrea has amazing ideas for Europe based on her recent member survey. She also recommends the Vermeer Retrospective at the Rijksmuseum in Amsterdam and catching the Dutch Documentary which is currently showing in cinemas in Europe.

We also welcome Stacy Minch as the new co-ambassador with Shari Lyon in Utah. They will continue their “Artists’ Noshes,” where artists gather to share a meal and talk art. Watch for more Portrait Society Meet-Ups in the near future.

Deborah Broach just joined Katherine Cook as a new Co-Ambassador for Florida. They have revamped the Facebook group page to include members only.

Melanie Bates (Kentucky), another of our newest ambassadors, held the first Meet and Greet for Members in September. She has created a painting group called “Impressions from Life,” which is open to all members who want to practice painting and drawing from life.

Jeanine Jackson (Connecticut) and other Connecticut members gathered at the home of celebrated artist, Barbara Mathis, for their monthly Meet ‘n Critique honoring the “Day of the Dead,” and discussed the challenges of creating posthumous portraits.

Kathleen Ericson and Bob Scudder (Michigan) have been busy spreading the word about the amazing Portrait Society programs at various events in Michigan. Bob coordinated with Crooked Tree Arts Center in Petoskey to host a live and wellreceived “Open Figure Studio,” every Tuesday from 1:00 to 4:00 PM. Suzann Beck (Minnesota) is planning another member showcase in 2024.

Rachel Mindrup and Littleton Alston (Nebraska) are excited to announce the funding for ten Creighton art students to study at Studio Incamminati, coming to Creighton March 4 March 9, 2024.

Linda Smith (Nevada) hosted a successful and productive Meet and Greet at her home in September.

Marlene Steele (Ohio) has been busy engaging with young student artists at the High School level through various platforms. The Cincinnati Art Club sponsored an annual high school Paint Out where Marlene engaged as a moderator. Taft Museum of Art has a new program director appointed for the Artists Reaching Classrooms program that promotes the Taft Collection through contemporary artists visiting and lecturing at the high school level.

Alisha Joy (Oregon) has fostered a partnership with the Oregon Society of Artists for future events and special offers to Oregon and Washington Portrait Society members. Forthcoming will be a member’s only show, to be announced.

Nicole Troup (Pennsylvania) has increased her member Zoom meetings to monthly due to increased interest. Meetings include member spotlights and educational content.

1 Jennifer Wharton (South Carolina) coordinated a Member Plein Air Paint Out on the bluff overlooking the Inland waterway. The event on November 8th was open to the public, and it was so successful they are planning another one in the Spring.

2

Betty Bullen (Tennessee) planned a demonstration and workshop by Thomas Caleb Goggans which took place July 27-29, 2023 at the Tennessee Artists Association Studio 106 in Knoxville. She booked The Customs House Museum Gallery in Clarksville for a TN Members Show in October 2025. Details should be completed and announced in mid-next year.

Mary Hull (Texas) hosted another successful faceoff event at Chandor Gardens, TX, which has become an annual event.

Robin Williamson (Texas) sent out emails announcing educational and live model opportunities in the Houston area, including a demo and workshop with Shane Wolf. She is working on a face-off in Houston for the spring of 2024.

Cat Nunn (Vermont & New Hampshire) assisted with The Village Arts of Putney hosting Tina Garrett and Robert Liberace this past fall. Nancy Guzik gave the attendees of both workshops a tour of her and the late Richard Schmid’s home full of beautiful paintings.

Alison Landry (Virginia & Washington, D.C.) met with members for their first museum sketch meetup at the Smithsonian American Art Museum & National Portrait Gallery on November 5th. It was highly successful, and they are planning another great meetup!

Kathie Wheeler (Wisconsin) and other Wisconsin members enjoyed a talk and tour of the Isaac Harris “Bad as Can” Exhibition of captivating portraits and the permanent collection at the Museum of Wisconsin Artists.

Kerry Vosler

National Ambassador Coordinator 1. Texas member Carol Devereaux poses with her completed painting and model at the face-off event in Chandor Gardens.

2. Tennessee members participated in a workshop by Thomas Caleb Goggans in Knoxville in July.

w w w. p o r t r a i t s o c i e t y. o r g

I 7

a day in the life

A DAY IN THE LIFE: PART ONE

8 I The A r t of t h e Po r t rait

By Wende Caporale-Greene

For this issue, I had the distinct pleasure of speaking to Burton Silverman on the occasion of his exhibition Reflections: The Art of Burton Silverman at the Salmagundi Club in New York in October.

Of his retrospective, a former art student summed up his thoughts on the legacy of Burt’s work: “This is the kind of attention and recognition Burton deserves. Your work is so much more meaningful, approachable, relatable, emotionally available, technically brilliant, and interesting. Your intuition and awareness about your work is so deeply ingrained in your compositions, use of color, the said and the unsaid in your drawing and form.

There is purposefulness, deliberateness that is both raw and unapologetic and vulnerable at the same time.”

After several conversations, I am excited to share a portion of what I learned from Burt as he reflects on the modernist art world and his place within it. Part two of his interview will be published in the next quarterly journal.

Caporale-Greene: What do you choose to paint; how do you arrive at what to paint?

Silverman: A group of us (11 artists in 1961) were all associated with a small gallery, the Davis Gallery, and working to create realist works of art. You have to recall, at the time, realism was considered not just archaic, but reactionary.

We decided the best course of action would be to proudly declare that realism was not dead, that it could be both relevant and contemporary.

Opposing us were a chorus of art critics, poets, journalists, and gallery dealers, all of whom seemed indefatigable in their praise of abstract art. Not much has changed to this day. New variations on abstractionism continue to proliferate, each one somehow more removed from human experience and closer to ornament than the next. The market and the media remain laser-focused on the next big breakthrough, which, the art world says, has value in and of itself because it’s something new, something different. It’s a self-perpetuating cycle.

Much to our dismay, the Realist View exhibition flopped. I continued trying to articulate what makes realist art important, but my language always seemed inadequate or overly generalized and strident—as young men are prone to be. In the end, I felt like my best argument was the work itself.

After the group exhibition, I tried to articulate what makes realist art important, but words become increasingly elusive and beset by generalizations almost as weak as the modernist counterpart, and empty of real meaning. There are far too many kinds of art under the rubric of realism, which makes summary judgments not only inaccurate but unfair. But briefly, and this is just my possibly myopic view, but an art that searches for beauty but lacks a philosophic or psychological subtext can become trivialized by mere prettiness. As long as the techniques are not informed by some kind of unique emotional stance or an idiosyncratic take on the visual experience, the form the art takes, however expert the verisimilitude will become just a “machine,” a fatal reminder of the great so-called “machines’ of the 19th-century Salon of the Académie des Beaux-Arts exhibitions.

So, I turned to my own environment for subject matter: my neighborhood, and things that visually somehow seemed important, or at least paintable. I also needed to earn a living and that meant some concessions to the marketplace. My paintings were only marginally salable as long as they stayed within the boundaries of what might generally be considered pleasant, inoffensive subjects.

Caporale-Greene: What do you think has to happen to ensure the relevance of realism in general and portraiture in particular?

Silverman: In order for an art form to flourish, it requires two things: institutional approval and money—lots of it. For now, those resources are almost entirely going towards the ongoing modernist experiment. Is realist art going to get even a fraction of that support any time soon? I don’t know.

Ideally, I’d hope that museums and critics would promote true diversity of content. One component to what we call portrait art includes people who are camera dependent.

Mannequins, 32x44”, oil w w w. p o r t r a i t s o c i e t y. o r g

I 9

a day in the life

All of the moments in history in which art flourished were also a road map to that era’s social and economic power structures.

Kings, popes, despots, military leaders, and wealthy businessmen surrounded themselves with visual confirmation of their power. Once divested of that patronage, art and artists were set adrift to provide a rationale for that urge to paint pictures of the world.

So then, if those hierarchies can’t be relied upon to provide not just the financial backing but the moral and therefore aesthetic authority for art, where would artists turn? In many cases, it led them inward, away from a direct, observational examination of the real world, and towards decoration and map of their own emotional landscape. Take any of Piet Mondrian’s grids or Jackson Pollock’s drip paintings.

Creative, yes, but I’d argue an abandonment of the basic goal of any artist in any medium: to say something both specific and universal about what it means to be a human being at a particular time and place in history.

Instead, they go straight for an undefined emotional stimulation, while avoiding any number of unpleasant realities.

The thing is, once unmoored from specific human events, their universality is a lot easier to sell, and ultimately to proclaim as being of great social importance.

Because there’s none there, critics (or the new clerics) could easily attach whatever high-minded philosophical or socio-political qualities they so desired. And so, the hierarchies were restored.

The critic became the interpreter, and his art was contriving great meaning out of what was, once again, decoration. Art patrons, no longer relying on the church or monarchy, were once again told what is valuable and why, and spent their money accordingly.

There’s a fascinating 1998 New Yorker article about Chuck Close written by the critic and historian Simon Schama. He admitted that from the beginning he was counterintuitively 10 I Th e A r t of t h e Po r t rait

Subway Song, 30x20”, oil

drawn to portraiture, precisely because it seemed the most nearly extinct genre of all. Schama remembers reading that Clement Greenberg once told de Kooning, “The one thing you can’t do in art anymore is make a portrait.” de Kooning replied: “Yeah, and you can’t help but not make one.” Close’s response to all this witty banter was, “F**k ‘em. I’m going to find a way to do it.” And he proceeded to make portraits that bore no resemblance to any in art history.

Critics still seemed unable to accept the idea that Close could both be an artist and a portraitist by trying to dodge this selfinflicted conundrum. They described the paintings as “heads,” funnily enough. But because they were six feet tall each, Close got away with being a portraitist and yet still accepted as a modernist by the contemporary establishment.

Caporale-Greene: Your exhibition at the Salmagundi Club in New York City was very well received, can you tell us about any future plans?

Silverman: I think it was appropriate at this point in time to mount this retrospective. Perhaps it allows me a look at how my art might evolve, unless of course the deficits of my age interrupt all that. In the last painting I completed for this show, I painted a portrait of a young woman seated on the subway.

I was struck by the classic qualities of her profile but also as it contrasted with the flat patterns and shapes around her.

To me, it presented interesting possibilities of finding similar graphic disparities in newer subjects. I may begin to explore that idea, perhaps to say that we are all here in the face of all this flatness, all this decorative art around us.

Wende Caporale-Greene is an award-winning artist and nationally known teacher of portraiture. She is a Master Pastelist with the Pastel Society of America and serves on the boards of the Artists’ Fellowship, Hudson Valley Art Association, and the Portrait Society of America.

Beachscape, 36x48”, oil

w w w. p o r t r a i t s o c i e t y. o r g

I 11

feature

AMERICAN MYTHOLOGY:

by Kimberly Azzarito

A CONVERSATION WITH JOHN COLEMAN

Gall-Sitting Bull-Crazy Horse, 1876, 45x66.5”, oil

12 I Th e A r t of t h e Po r t rait

Born and raised in Southern California, John Coleman is a leading figure in the world of Western Art, with developed mastery in three mediums – sculpture, oil painting, and drawing. His storytelling is deeply rooted in American mythology and traditions, often focused on Native American imagery and the history of the American West.

Coleman began his career as an artist in his early forties after a successful career in real estate. In 2001, he was inducted into the prestigious Cowboy Artists of America (CAA), and several years later, served as president of the organization. His works can be found in private and public collections around the world, including the Joslyn Art Museum, Tucson Museum of Art, Phoenix Art Museum, Gilcrease Museum, and Briscoe Western Art Museum. Recently, I had a chance to speak with Coleman about his storytelling through art, his love of history, and the challenges he has faced as an artist.

Michelangelo’s Sistine Chapel: the angels have wings, God has a long, flowing beard. So, when I have an idea or hear a great story, I think of how this might look, just as actors would interpret it. Like a silent movie, my players must project, in silence, a vocabulary of expression and gesture. And like in silent movies, I might exaggerate the mood for clarity that I’m trying to convey. Once I feel like I am on the right path, I rein it in a little so that my characters are then slightly understated.

Gestures are made subtle, and details are used a little like seasoning, enough to accentuate, but not overwhelm. At this point, the work will start to come alive.

I read a quote where you said you believe art is about putting a physical face on a spiritual idea, and felt it was so profound and fitting to your work. Can you tell us more about that and how you are able to translate that idea into what you want to say?

When I was a child, my parents would take the family with them exploring the ghost towns of the southwest; I will never lose that magical feeling I had back then being surrounded by so much history. Today, I am an avid collector of antiques and Native American regalia, which I use to dress my models. I also keep a fully outfitted 1870 plains tipi for inspiration in front of my studio. As for the time it takes to research a project, this is made more efficient as I have a few historian friends who help me out. At this stage in my career, depending on size, I complete approximately twenty pieces a year.

I think being a student of body language and expression is the key. In other words, I believe we all communicate what we’re feeling, emotionally or spiritually, through the actions and gestures of our body. It seems like since the very beginning, artists have been given the task of fleshing out the spirit. An example is

Your work shows a great respect for the culture and history of Native Americans. How do you determine your projects and what story you want to share?

As a western artist, I see myself as an outsider in the context of Native Americans. I have no idea what it might be like to have been born Native, only that we share different parts of the same American history. The Native ancestors had a profound effect on all Americans. The stories are complicated but rich with heroes and valor in the face of war, victory, and survival.

As a visual storyteller, I believe their history is relatable to most cultures, making the stories almost universal. This is why I call my work American mythology. When doing a sculpture or painting, I gravitate towards the tribes that Lewis and Clark documented and the time period of 1800 to 1876, which, for me, was the most interesting partly because this was the most volatile time and also because their appearance was more striking, and less familiar to the modern eye.

I understand you have a lifelong love of history, and your work reflects that sensitivity, can you tell us how long does it takes from your initial idea and research for a project to the completion of the painting or sculpture?

Your artistic career did not begin until mid-life. Can you tell us briefly what led to the transition and what made you change the trajectory of your career at that point? Have you always had a desire to become an artist?

For as long as I can remember, I thought of myself as an artist.

I was fortunate that before I turned 19, I had started making inroads into commercial illustration. However, Sue (my wife) and I were married as teenagers, and my dream of being w w w. p o r t r a i t s o c i e t y. o r g

I 13

feature

an artist was put on hold. The need to make money became the priority.

Not long after the wedding, we took advantage of an opportunity and started an awning business on the Colorado River. This led to a series of businesses related to construction, real estate, and development. When I turned 42 years old, I knew I needed to realize my dream of becoming an artist.

I was mostly afraid of failure because I didn’t want to lose that beautiful dream.

But I also knew that not pursuing it would be worse. I had a friend who used to warn me about the “IF ONLY DISEASE.” Anyway, both Sue and I were well-versed in business, so when I started my career as an artist full-time, the transition, to my surprise, was fairly easy. I was able to pick up where I had left off back when I was 19.

Is there are commission or project that has been particularly rewarding or gratifying?

Early in my career, I received a call from Chicago. A man had heard about my work and was interested in coming to see me in Prescott, Arizona. When he arrived, I showed him around and he was impressed. He explained to me that he had come from the Mayo Clinic and he was looking for a gift for the doctor who saved his life. He chose one of my wall sculptures and then decided to buy one for himself. Then, before he walked out the door, he proceeded to buy two more sculptures. For that time in my career, I was thinking this couldn’t get much better. But then it did, as we were standing outside the door, and he was getting ready to leave. He asked if I would like to save him number one of each bronze edition I did from that point on. That was about 30 years ago.

And Howie and Frankie Alper, to this day, own number one of every bronze I’ve ever done.

What have been among the most challenging experiences for you as an artist?

Before I started my career as a professional artist, I always thought of myself as a painter, but when I committed myself as

14 I Th e A r t of t h e Po r t rait

He Who Jumps Over Everyone, 25x18x8.5” bronze

a full-time professional, I took up sculpture, which at the time seemed very natural and practical as I could release additions as opposed to the release of just one copy. Approximately 12 years later, I started introducing flat work into my body

Dragon Fly, 18.5x27”, oil Oracle 3, 64x38”, charcoal

of work, starting with drawing then oil painting. The difficult part of my decision was that I had built a successful standard as a sculptor, and if my flat work didn’t measure up, it would diminish the prestige that I had acquired. Being a successful painter has always been a life goal for me, so when it became time, I had no choice but to muster the courage and move forward.

What was the most important breakthrough in your artistic training? What helped you the most aesthetically?

When I understood that my work also belongs to the viewer.

Of course, this is not to say that the work is created solely for the purpose of what the audience expects, but it would be very lonely if I’m the only one that knew what was going on with my art. For me, this is why editing is so important. We must leave room for the viewer to participate with their own story by assessing the work from the perspective of the audience, without sacrificing one’s personal style as an artist. That is to say, what can be left out and what parts are necessary for the basic story. That’s why I believe in the world of art, eloquence is one of the most important ways to bring the work to its highest level. Abraham Lincoln famously, writing to a friend, started by apologizing about the length of the letter, explaining he hadn’t the time to make it brief. w w w. p o r t r a i t s o c i e t y. o r g

I 15

feature Who have been some of your most influential teachers, if any?

From the moment I considered myself a professional, I enrolled in workshops at the Scottsdale Artists School and took workshops by Richard McDonald, Quang Ho, and Stanley Blythefield. During that period, I traveled to New York and spent a week with Odd Nerdrum. But I would say that the artists who have made the biggest influence on my career would be George Carlson, Howard Turpning, and Richard Schmid.

Crazy Horse, 50x28”, oil 16 I Th e A r t of t h e Po r t rait

Is there anything else you would like to share with our members that you feel is important to know about you and your work?

I am dyslexic and have been in recovery from alcoholism for 40 years. Ironically, I believe these two impairments have contributed to my success as an artist. My advice to upcoming artists is to take your art seriously, but not yourself. Always share what you’ve learned, because teaching others can help solidify your own knowledge. When searching for a venue, such as an art show or gallery, aim for the ones that are hardest to be a part of. Being surrounded by talented artists will push you to grow. Remember that the style of your work should come naturally. The harder you try to force it, the less likely you’ll find your true artistic voice. Lastly, always remain teachable, as an artist’s education never ends.

First Light, 18x10x8”, bronze

DAVID JON KASSAN SCOTTSDALE ARTISTS’ SCHOOL

BECOME EXCEPTIONAL The Scottsdale Artists’ School Teaching Artistic Excellence with the Best Artists of our Time

More than just an Art Class Explore, Discover, Be Inspired Learn Art from Living Masters

MARCH 11 - 15, 2024 I SCOTTSDALE

scottsdaleartschool.org

800.333.5707 • 480.990.1422

T H E I N T E R N AT I O N A L

The world’s premier portrait and figurative art competition

Call for Entries As the Portrait Society prepares to celebrate 26 years of showcasing the best portrait and figurative art being created worldwide today, we invite you to enter your work and be part of our International Portrait Competition.

Over $154,000 in cash and prizes will be presented in categories recognizing Painting, Drawing and Sculpture.

The Grand Prize winner will be awarded a $50,000 cash prize.

Entry deadline February 5, 2024

www.portraitsociety.org l 877-772-4321 First Place Painting Alex Venezia, Autumnal Hymn, 37.5x 29”, oil w w w. p o r t r a i t s o c i e t y. o r g

I 17

signature status

T

his year marks the eleventh year the Portrait Society has inducted a class of Signature Members. We are honored to recognize such accomplished artists who are dedicated to the educational mission and high aesthetic standards of the Portrait Society of America. This honorary status grants the right to use the initials of the organization (PSS- Portrait Society Signature) on all personally created works as an indication of our harmonious high standards and goals: to create, to advance and to share. Congratulations to the nine artists who were selected this year and who join a growing list of exceptional artists who share the Signature Status designation.

Kevin Chambers, En Pointe Equanimity Group, 24x18x10”, bronze

Chung-Wei Chien, Sailor, 15x11”, watercolor on paper

Thomas Caleb Goggans, Stella, 16.5x12.5”, charcoal

Ruth Fitton, Portrait of Justin, 32x28”, oil on linen

18 I Th e A r t of t h e Po r t rait

Tina Garrett, Melancholy, 46x72”, oil on canvas

Signature Status Recipients

Seth Haverkamp, Caspians Falcon, 24x33”, oil on board

Jie Liu, Hsin P. Soh, 11x10x26”, stone sculpture

Alexandrea Nicholas-Jennings, King of the Avians, 16x20”, oil and gold leaf on panel

Ted Nuttall, End of Summer, 17.5x18”, watercolor

Leslie Adams, Harry Ahn, Daud Akhriev, Jing An, Anna Rose Bain, Robert Barrett, Gwenneth BarthWhite, Margaret Baumgaertner, Michael Bergt, Suchitra Bhosle, Ned Bittinger, Mary Buckman, Elena Burykina, Judith Carducci, Louis Carr, Kevin Chambers, Chung-Wei Chien, Casey Childs, Robin Cole, Ellen Cooper, Joseph Daily, Robin Damore, Gabriela Dellosso, Stephanie Deshpande, Grace Devito, Kexin Di, Qiyu Dong, Kerry Dunn, Ruth Fitton, Katherine Galbraith, Romulo Galicano, Tina Garrett, David Goatley, Thomas Caleb Goggans, Kristy Gordon, Barbara Hack, Ben Hammond, Johanna Harmon, Liz Harris, Seth Haverkamp, Dana Hawk, Lihuai He, Jeff Hein, Garth Herrick, David Hettinger, Primary Hughes, Natalie Italiano, Jacqueline Jasper, Fengshi Jin, Vasudeo Kamath, Sam Knecht, Linda Kollacks, Lisa Kovvuri, Olga Krimon, Pramod Kurlekar, Shana Levenson, Chin-Hsien Lin, Jie Liu, Jun Liu, Shuang Liu, Ying-He Liu, Yu Liu, Howard Lyon, Kevin Macpherson, Iliya Mirochnik, Kathy Morris, Gregory Mortenson, Ricky Mujica, Mary Muller, Annie Murphy-Robinson, Richard C. Nelson, Paul Newton, Alexandrea Nicholas-Jennings, Olga Nielsen, Ted Nuttall, Carol Peebles, Evert Ploeg, Alicia Ponzio, Aapo Pukk, Kishor Purekar, Ted Reed, Mardie Rees, Tim Rees, Sally Ryan, Patrick Saunders, Oliver Sin, Nathaniel Skousen, Peter Smeeth, Sharon Sprung, Ardith Starostka, William Suys, Judy Takacs, Jianwu Tan, James Tennison, Hsin-Yao Tseng, Susan Wakeen, John Seibels Walker, Patricia Watwood, Jennifer Welty, Amy Werntz, Thomas Wharton, Ernest Wood, Wesley Wofford, Ming Yu, Elizabeth Zanzinger, Stephen Zhang and Vladimir Zlotskiy

w w w. p o r t r a i t s o c i e t y. o r g

I 19

member news 1. R. R. Christensen’s charcoal portrait A Nest Of Thorns Is Still A Home was selected as a finalist in the 2023 Richeson 75 portrait and figurative exhibition. The exhibition can be viewed online at richeson75. com.

2. Randy Clontz recently unveiled his largest painting to date on May 6, 2023, with the dedication of the Mark Bradley Story Innovation Wing of the Catawba Valley Community College Workforce Solutions Complex in Hickory, NC. Pictured: Mark Story, 48x60”, oil on linen 3. J Douglas’ portrait of Retired Chief Circuit Court Judge Newman (3’x4’, oil on linen), is now hanging in the Arlington, VA courthouse.

6. Lori Lamb received the Gold Medal Oil/Acrylic award for Soaking Up the Sun at the Bosque Art Classic, Clifton, TX, in September 2023.

9. Patrick Saunders won the John Stevens Jones Purchase Award, the top award, at the 2023 Bosque Art Classic, for his painting Icon.

7. Gayle Madeira was awarded an honorable mention for her painting Poems Looking for a Seat by the Almenara Collection, and Fine Art Connoisseur Magazine chose it for their announcement about the prize.

10. Sharon Sprung recently unveiled this portrait at the Trustees Dinner at Columbia University honoring Lisa Carnoy and Jonathan Lavine, co-chairs of the University Board of Trustees. Pictured: Jonathan Lavine and Lisa Carnoy, 48x40”, oil on panel

8. Dean Mitchell’s painting At Home with Mr. Northern was selected to receive this year’s purchase award for the National Watercolor Society’s Permanent Collection, selected by judges of the NWS International Open Exhibition.

4 3

5

4. Aida Garrity received the first prize at the VAC for her painting, The Whisper.

5. Michael Gillespie was awarded a First Place in the Coppini Academy Members Show in San Antonio.

Bathsheba Gets a Text Message is an updated version of Rembrandt’s painting of the Biblical story.

2 1 8

7

10

6 9

20 I The A r t of t h e Po r t rait

exhibitions 1. Annette Campbell’s watercolor painting, Life’s Broken Bow, A Renewal of Faith, is available to view at 20232024 Fine Art Annual Exhibit at the Davis Arts Council in Farmington, Utah, through April 2024.

2. Timothy Rees is in a joint exhibition with Evan Ventris at Voices Studio in Dubuque, IA through January 28, 2024. Their artistic pieces embody a perfect blend of traditional techniques with a touch of modern sophistication. For information, call 563-590-2533.

1

2

workshops 3. Anna Rose Bain is leading an in-person art retreat in France, September 14-21, 2024. Mixing intensive workshops with the rich history of Dordogne in southern France, this retreat promises not just skill enhancement but also cultural immersion. Visit uptrek.com/retreat for more information and to register.

4. Laurel Boeck will be teaching a Portrait Painting workshop at the Arts Students League in NYC on February 24-25, 2024. This class is for those who are fascinated with capturing the likeness and character of a person. Visit workshops. artstudentsleague.org to register.

5. Kevin Macpherson is teaching an art workshop, “Casa De Los Artistas” in Puerto Vallarta, Mexico on March 16-23, 2024. Kevin will share the magic of picture making with his famous “magic grid” system that will teach you to see and become fluent in the language of an artist. Register online at kevinmacpherson.com.

3 4

6. Dominique Medici is teaching a “Quick Sketch Portraits with a Limited Palette” workshop at Scottsdale Artists’ School, March 1-4, 2024. Students will work with a systematic technique and use a limited palette of seven colors. Register online at scottsdaleartschool.org.

7. Michael Shane Neal is teaching a Painting the Portrait workshop at his private Nashville, TN home and new studio for a week, May 6-10, 2024. Students will participate in working from live models with one-on-one critiques, watch demonstrations conducted by Neal, and enjoy catered lunches, all in a beautiful setting. Email shannon@ michaelshaneneal.com to sign up.

8. Alex Venezia is teaching a Painting the Portrait workshop through Workshops in Yorkshire, August 12-16, 2024. In this course, Alex will demonstrate his step-by-step approach to painting the portrait from life. Visit workshopsinyorkshire. com for more information.

5

6 7

8 w w w . p o r t r a i t s o c i e t y. o r g I 21

renewals & new members RENEWING MEMBERS A special THANK YOU to our renewing members in September, October, November SEPTEMBER Patron Naomi Allen, UT Alexandrine Bartlett, NM Sandra Chaput, GA Jean Collins, CA Kamette Harmer, UT Marlene W. Johnston, LA Scott Jones, WA Dee Ann McIntyre, NM Vicky McLain, SC Mary A. Muller, IA Leslie Nordness, AL Julie Flom Pizzo, FL Suzanne Reeves, RI Jill Rudzik, KY Victoria Slichter, Italy Gail Spiegel, PA Kimberly Strittmater, WI Susan Weigenant, WI Jennifer Heyd Wharton, SC Winifred Whitfield, WA Cindy Woods, NM Faculty Patron Member Anna Rose Bain, CO Faculty Member Loryn Brazier, VA Ying-He Liu, MA Jean-Paul Tibbles, England General Lisa S. Andrews, CA Tanya Asadovsky, FL Nila Jane Autry, UT Deborah Ayres, VA Jimpsie Ayres, TN Barbara Baum, SC Ronald Bayens, TN Catherine Beard, SC Jose Bedolla, IL Holly Bedrosian, TX Doug Bell, CA Beverly Boren, TX Alexander Bostic, MS Patricia Bradley, OK Janice D. Burton, KY Rodney Butler, TX Ann Campbell, CA Joyce Canaday, CA Elena Caravela, NJ Samantha Carter, FL Jean-Marie Chapman, WI Susie Chisholm, GA Pamm Ciupa, MT Stina Clemmensen, CA Mary Anne Cochran-Fox, VA Sandra Colquitt, GA Abner Andrew Cope, GA Nancy Angelini Crawford, AK Lloyd Crow, AK Daria Dega, TX Lynn Denamur, WI Stephanie Deshpande, NJ Chris di Domizio, GA Kim Di Lalla, OH Kathleen Digney, SC Gene Dillard, TX Stephanie Smiley Eargle, TX Teresa Elliott, TX Deborah Elmquist, FL Marjorie Elwood, CO Megan Euell, NY Matt Fay, CO Janet Felts, TN Emily Carruth Fuller, UT Francine Garza-Vale, TX Karen Geck, FL Stephen Gonyea, VA Shelley Grund, SC Deb Hanes-Nelson, KS Annette A. Hanna, WA Seth I. Haverkamp, GA 22 I The A r t of t h e Po r t rait

Phyllis Henson, AL Joan Hoyle, NC Keersten Jensen, UT Suzanne Barrett Justis, TN Chris Kling, FL Beatrice Ku, HI Elayne Kuehler, LA Ellen Lam, WA Adam Lancaster, TX Denise Laurin-Donatelle, IL Judith K. Leeds, NJ Avery Maples, TN David Martinez, CA Laurin McCracken, TX Lois S. McCune, PA Dave McNally, ID Carly Milligan, UT Lei Q. Min, CA Donna Mitchell, PA Johnny Monstroski, PA Susan Monte, CA Clay Moore, OK Brenda Moss, UT Bharadwaj Mudigonda, GA Negin Mohseni Nejad, MD Ceci Neustrom, LA Catherine Nunn, VT Lindsey O’Connell, VA Ivana Okereke, FL Molly O’Rourke, ME Leslie Outten, IL Diane Paoletti, AK Daralyn Peifer, MN Charles Pierce, FL Debra Pinciotti, PA Nancy Plank, CA Vicki Popwell, AL Cathy Priest, IL Andy Quisumbing, OH Ted Reed, VA Marianne Rice, WI Jose Rivera, MI Connie Ruel, CO Gerald Ruggiero, AZ Rick Rumball, PA Bette Schumann, GA Lorie Scott, TX Maureen Scullin, NC Nata Shemshur, PA Norman F. Simms, PA Ki Slaymaker, NE Valerie Southwood, HI Gary Stavella, NJ Clare Mears Stefanini, PA Sharon Stocking, TN Zhi Su, CA William A. Suys, WI John Tenney, CT Louise D. Thompson, SC Anna Toberman, IL Karin Toppel, CO Katie Torgesen, AZ Laurie Waite-Fellner, VT Zheng Wang, NJ David N. Ward, IL George Weers, IL G. A. Wells, KY Stephen Wierhake, FL Gaye Frances Willard, NC George Wright, MD Zhou Xu, NV International Jing An, China Joke Frima, France Elana Goodfellow, Canada Bonnie Hamlin, Canada Liling Heng, Singapore Shuang Liu, China Alexandrea NicholasJennings, Canada William Rogers, Canada Vicki Sullivan, Australia Jianwei Wu, China Jiaxuan Yi, Canada OCTOBER Patron Michele Alioto, CA Sandra L. Bozer, MI

Mary Buenting, VA Helena M. Chiou, NY Mercedes Lopez Cisneros, FL Angela Classi, NY Garrett Cook, PA Richard Corbett, MA Nan Dawkins, VA Rick Dickinson, MA Charles Elchoueri, NY Judy Lee Emerick, PA George H. Gensic, NC Tina Gleason, TX Beth Grabish, GA Winifred Perkin Gray, MA Lynn Grigsby, CO Tara Keefe, CA Kyle R. Keith, OH Carol Baxter Kirby, GA Deb Lynch, HI Joan MacDowell, TX Lib Mason, NC Kathy McClendon, NM Mary McGlynn, NJ James Nance, CO Teresa A. Palmer, PA Galina Perova, UT Robert L. Raab, WA Sylviana Schanefelt, NM Desmond Senior, Canada Cathy Shippee, WA Lisa Strafford, PA Susan Tesseneer-Pope, KY Gabrielle Tito, NY Patricia W. Travis, LA Nelson Wiegman, DE Marilyn WilliscroftGoldberg, FL Katherine Wilson, UT Tracy Wilson, TX Luana Luconi Winner, NC Sargent Circle Henry Garth Smith, MD, KY General Jimena Agra, CA Kim Abbati, IL Anthony Alemany, ME Judith M. Alkhas, IL Raymond Authement, LA Erqin Baker, CA Cathy Barry, IL Denice Belcher, MO Barbara Benton, OK Michael Bergt, NM Linda Eades Blackburn, FL Laura Blackstock, AL Kenneth Blue, GA AnnDrea Boe, NE Laurel Stern Boeck, NY Betty Branch, VA Michael Brazao, NH Debby Brinkerhoff, NM Paul Brourman, IL Debra Buchanan, OH Michal Susan Bukky, OH Tonya Burdine, CA Eileen Burgess, NY Richel Burkey-Harris, MN Jane Klesh Butkovsky, PA Janie Carey, FL Jose Caro, NC Tracey Chaykin, CA Yong Chen, MA Yuanan Cheng, MA Rachel Christensen, CA Maddin Corey, TN Eve Cornejo, OK Taylor Correa, CA Elaine Gaskell de Spoelberch, CT Marilyn Dietrich, AZ Matthew Donner, TX Martha Doty, CT Pamm Douglas, KY Catherine Eagleson, ME Carolyn Eastman, NY DanidKarim Eid, CO Nanette Fluhr, NJ Christopher Forrest, NJ Sage Gallagher, UT

Melissa Gann, GA Diego Glazer, CO Beth Gladstone Grillo, FL Betsy Barrett Hails, AL John Hanley, CA Helen H. Harrison, CO Peter Hodgson, CA Sharon Hourigan, PA Primary Hughes, MI Alisha Joy, OR Tim Kelly, MD Kristi Kirisberg, UT Lori Lamb, TX Robert Larson, NV Joan E. Leininger, TN Sasha Li, CA Brian Lister, NY Debra Lott, KY Howard Lyon, UT Johanne Mangi, CT Edi Matsumoto, CA Jane McIntyre, FL Pam McLaughlin, CO Loretta McNair, CA Sarah Means, CO Shi Mei, OR Laura Mocnik, MI Lauren Mohundro, GA Cheryl Lee Moore, TX Franklin Murphy, GA Vickie Nash, TX Kim Johnson Nechtman, AZ Patricia L. Newton, CA Lee Nicolay, HI Eileen Nistler, WY Chong Sun Oh, NY Emily Olson, CO Andrea Packard, MN Carla Paine, WA Rebecca Paul, CT Lynda Pauley, OH Simmy Pell, DC Oscar Peterson, NJ Susan M. Pommrehn, MA Michael Prezioso, NY Lenore Prud’Homme, TX Mark Pugh, UT Joshua Risner, MI Jane Rix, IL Judy Robb, WI Carol Roper, AK Jonette Sawyer, FL Steve Scheuring, PA Gaye Sekula, TX Melissa Selcow, NY Meghan Shapiro, RI Rajesh Sharma, LA Pamela Shepard, AL Daune Sheri, CT John Slivjak, NJ Jan Small, MN Lynn Snyder, NJ Tammi Sponseller, AR Douglas L. Stafford, LA Ardith Starostka, NE Nancy Stember, CT Ashley Stewart, GA Zienna Stewart, NM Susan Helen Strok, CO Nancy Stutes, LA Chantal Sulkow, NY Susan Talbot-Elliott, VA Thomas Tannehill, TX Trevor Wade Thomas, PA Maya Trimner, NY Brenda Ward, MN Andrew Wieland, TN Robin Williamson, TX Nancy Willott, NY Rebecca Woodward, IN David Young, OH Edward Zack, IL Carol Zack, IL LiGang Zheng, CA Carol Zukosky, AL Corporate Stefanie Lalor, NJ International Bianca Berends, Curacao

Dominique Bisson, Canada Steven Chisholm, Canada Congxian Dong, China D. Ahsen:nase Douglas, Canada Rosslyn M. Duncan, United Kingdom Xin Fang, China Rishi Kapil, India Aurelia Liwag, Metro Manilla,Philippines Nirit Ovadia, Israel Cher Pruys, Canada Abhinaya Ramadurai, India Peter Smeeth, Australia Cindy Sorley-Keichnger, Canada John Suh, South Korea Catherine Tait, Australia Victoria von Kap-Herr, Austria Louise Weir, Canada Yanqi Zhai, China NOVEMBER Patron Elizabeth Alford, GA Steve Atkinson, AZ Chad Becker, WI John Borowicz, MA Richard Brawley, WA Christopher Budden, CO Martha Carpenter, AL Olga Conens, MI Timothy Crisman, VA Robin Damore, WA Linda Dennin, NJ Donna May DeSpain, KY Jose Luis Diaz, CA Steve Ericson, MI Nancy Greene, LA Jean Grunewald, NC Robyn Hatton, MD James Johnson, NY Ann Manry Kenyon, FL Mike Laiuppa, CT Susie McColgan, MI Karen Medley, LA Marc Richard Mellon, CT Jeff Merrill, FL Matt Miller, MA Mercedes Nugent-Head, NY Karen Perrella, CT Terry L. Reimer, CA Ariana Richards, OR Cathy Schwartz, VA Sandy Shuster, SC Cheryl H. Spenzer, PA Angela Stratton, NY Ellen Taylor, AZ Sunny E. Wirth, NY Dwight Wrench, IL Vladimir Zlotskiy, NY Sargent Circle Susan Basham, TN Trish Savides, FL Mary Whyte, SC Aida Garrity, FL Hope Reis, FL Jerry and Ernie Williams, TN Faculty Member Ellen Cooper, PA Tina Garrett, MO Thomas Caleb Goggans, TN Paul Leveille, MA Bart Lindstrom, NV Kevin Macpherson, NM Ann Moeller Steverson, AL General Linda Ahearn, AZ Courtney Alnutt, PA Littleton Alston, NE Michele Amatrula, NY Kurt Anderson, VA Cameron Anderson, UT John R. Anderson, Jr., MD Mary Aslin, CA Suzanne Aulds, GA Nita Bakay, GA Kristen Barron, MA

Stacy Barter, FL Cheryl Ann Bearss, VA Richard Becker, CA Brenda Behr, NC Carol L. Bendell, AZ Tori Berghoff, CA Kim Bernadas, LA Darlene Bigus-Doheny, LA Ned Bittinger, NM Donna M. Blanton, TX Phil Boatwright, TX Linda Tracey Brandon, AZ Sue Braswell, VA Elena Broach, TX Katherine Buchanan, MS JoAnn Bugg, AL Ellen Buselli, NY John Buxton, PA Marlena Callus, FL Matteo Caloiaro, FL Bruce I. Campbell, MD Lauren Carlo, MD Wanda Caro, TX Ali Cavanaugh, MO Stephen Cefalo, SC Sun Chang, CA Yen Ching Chang, CA Anastasiya ChybirevaFender, TX Joy Ciaffoni, MN Steven Clevenger, IL Robin Cole, CO Ken Corbett, UT Ann Cowden, TN Nancy Seamons Crookston, CA Irina Daniel, NC Joyce Danko, PA Judeth Davis, WA Mary Villon de Benveniste, SC Perry deVick, FL Bob Dienst, NM Jason Drake, NC Merrilyn Duzy, CA Stella Ehrich, VT Michael Fitzpatrick, CA Christopher Forrest, NJ Kelli Kaye Fountain, CA Judy Foust-Harrell, WA Sandy Furst, NJ Sandy Freckleton Gagon, UT Tanja Gant, TX Viorica Ghetu-Vuono, OH Kristin Gibby, SD Lyn Graham, PA Jean Gregory, TN Warren Griffin, GA John Guiseppi, FL Barbara Hack, TX Kelley Hails, FL James Hanania, TX Samantha Hand, VA Cheryl Mann Hardin, AL Erin Hardin, AL Dana Hawk, NY Yuehua He, NY Leah Hopkins Henry, GA Justin Hess, CA John James Hickey, CA James J. Himsworth, III, SC Margaret Holmes, DC Richard J. Horrocks, UT Paul Houson, CA David Jamieson, IL Jacqueline Jasper, PA Richard Jolley, UT Ekaterina Kardonova, NJ Jim Karell, MI Barbara Kern-Bush, MD Matthew Kestner, NY Cindy Klong, CA Kate Lackman, OH Kristin Leap, PA James Lee, MI Jong Lee, CA Taehyub Lee, NY Stephen Left, FL Margot Leigh, AZ Jessica Lewis, TN Susan Lim, CA Vandra Pentecost Linder, IN Catherine L. Lumbera, CA Ellen Lyon, IN

Seema Mahboob, CA Robert Maniscalco, SC Julia H. Mann, MD Joe Marino, CA Kathryn Matthews, VA Lawrence McAdams, CA Christine McBryan, NY Patty McGeeney, CA Sean McGraw, FL Kate McGraw, MD Susan McGuire, FL Andrea McKoy, FL David McLeod, TN Kasandra McNeil, KY Susan Harding Merancy, NY Priscilla Mingus, NE Devi Anne Moore, VA Pam Morra, ME E. Melinda Morrison, TX Charlotte Mortimer, UT Eliza Moser, MA Brian Mrdeza, MI Samantha Newton, UT Catherine Nickle, MD Katherine Norris, GA Ingrid Oertli, MO Brooke Olivares, FL Frances E. Pampeyan, CA G. G. Paratore, NM Monica Parson, VA Steven Parton, CT Christine Peloquin, FL Susan Perrish, MI Sasha Phillips, PA Dianna Porter, IN Leslie D. Pratt-Thomas, SC Lawrence Preston, MA Carolin Prinn, MA Craig Pursley, NH Christina Ramos, CA GayLynn Ribeira, CA Paul Rich, DC Sherri Richards, GA Daniel Robbins, VA Teresa Rogers, FL Irena Roman, MA Rita Romero, CA Laura M. Rosser, SC John Rowe, CA Diane Russell, OR Gail Rutledge, TX Cheri Saffro, IL Philip Salamone, WI Isolde Sarnecki, NC Patricia Schappler, NH Erin Schulz, WA Darlene Shadden, TN Carol Sheets, AR Jo-Anne Sherburne, FL Oliver Sin, CA Mary Smith, TX Daniel Jared Sorensen, TX Jen Starling, CO Victoria Steel, NJ David Steenson, IA Mark Stephenson, NC Suzanne Stoltenberg, PA Carol Strebel, OH Jeffrey Stull, VA Sany Sugianto, TX Fang Sullivan, NY Iglahliq Suuqiina, CA Zimou Larry Tan, NY David Tanner, VA Terry Jo Tasche, CO Gary Tharler, OR Peter Thompson, IA Deborah Tidwell, GA Lyudmila Tomova, NC Karol A. Tucker, NC Lark Upson, VT John A. Varriano, NY Oyunaa Waskin, VA Gail Wegodsky, GA Melissa Weinman, WA Tina Whitfield, TN Sandie Whitman, WY Melinda Whitmore, IL Jeanne Whitney, WA Nicki Wight, WA Carol Wilks, MD Karen Williams, FL

Wesley Wofford, NC Lis Zadravec, MD International Setsuko Aihara, Austria David Aldrich, Canada Frances Bell, United Kingdom Matthew James Collins, Italy Vasily Danilenko, Austria Bertrand Desmaricaux, Belgium Liesl Duthie, South Africa Fernando Garcia-Monzon, Spain Aparajita Gopal, India Marika Istahl, Estonia Alessandra Marrucchi, Italy Morna McIIraith, Australia Charles Moxon, United Kingdom Alan Douglas Ray, Canada Marion Richards, Australia Fernando Robles, Philippines Jingbin Sun, China Koreen Sutherland, Canada Alexandra M. Telgmann, Germany Yuezhi Zhang, Canada Yan Zi, China NEW MEMBERS A WARM WELCOME to our new members that joined in September, October, November SEPTEMBER Patron Christine Barrett, CA Sherri Buerkle, NM Christina Hetzler, MI Barbara Hunter, NC Jon Quinn, CT Stevie Shifflett, VA Marvin Wright, OR General Marie Agritelley, TX Suzanne Batchelor, FL Wang Binhong, CA Annabella Boatwright, TN Lynn Bright, UT John Byrne, GA Danielle Cadorette-Acehan, NY Kate Colquitt, TN Tawanda Davis, FL Melissa Elliott, CA Beth Engel, NV Eva Evangelista, IL Frank Griffen, CA Natalie Higgins, TX Tatyana Holodnova, CA Guy Joy, CA John King, FL Kevin Layshock, AZ Kim Lewis, GA Ava Liberace, VA Jay Parnell, IN Komal Patel, NJ Matthew Perry, CA Heather Rison, UT Jon Salamone, NY Brad Scruggs, FL Meghna Sharma, CA James Shepard, IN Linda Staiger, VA Blanquita Sullivan, TX International Andrea Camagna, Singapore Erina Czinner, Australia Brenda Matsen, Canada Sarmed Mirza, United Kingdom Jean Pederson, Canada Maria Radun, Australia Chi Wah Yeung (Yick Yeung), Hong Kong SAR China Student Tiffany (Yizhi) Gu, CA

Corporate Julie Snyder, CA

OCTOBER Patron Rosie Badera, NY Jane Cowley, IN Rachel Ferguson, WI Barbara Klein, TX Emma Louie, FL Stewart Rauch, Canada Kati Thomson, CA

General Nazima Anuarbekova, NY Roger Banks, VA Petr Bednarik, AR Dick Beeman, KS Joao Brandao, NJ Nathanial Brandner, WI Rebecca Brock, OH Lisa Burns, MN Perry Carsley, MD Fred Cox, GA Sheila Curry, ME Tim Dose, NY Allison Eklund, MN Diana Ellis, TX Scott Ferguson, PA Demeri Flowers, CO Valori Fussell, CA Angela Gasser, OH Shelley Hanna, MO Patience Heyl, NM Christy Homner, WI Samuel Hoskins, OR Sandy Jacobs, CA John Javes, AZ Tuong-Phi Le, TX Thomas Legaspi, NY Vanda Leigh, CA Jessica Smit Mattingly, IL Sherese Mesko, FL Chelsie Murfee, MO Joseph Noorigian, PA Neil Palmer, CA Alisa Phillips, NY Jonathan Pon, CA Yupin Pramotepipop, NY Jean Richardson, CA Weldon Ryan, FL Mechele Shoneman, GA Brady Sloane-Duncan, TX Todd Aaron Smith, KS Sarah Speed, HI Hilary Swingle, UT Donna Turner, NJ Cindy Williams-Ware, TX Mandy Wilson, TX Sophea Woolner, MN

General Deborah Anderson, NC Barrie Barnett, MD MaryAnn Bonura, LA Polly Branch, VA Harrell Bunch, NC Edward Carlos, AZ Pamela Carraway, WA Nancy Carroll, SC Frank Ciulla, NC Leslie Clark, CA Richard Clarke, CA LeaAnn Cogswell, CT Susan Corry, PA John Cummings, OR Lauren Dohring, FL Claiborne Faulkner, TN Cheryl Folkers, WA Jean Hildebrant, AZ Kelsey Horine, OR Heidi Hornberger, CA Dawn Jacobsen, KY Julie Johnston, WI David Knoecklein, FL Samuel Lester, IL Paola Levy, FL Donna Linder, FL Monir Malekpour, WA Linda Marino, CT Celeste Maslovsky, NJ Mary Ann Merritt, VA Marlies Najaka, NY Sally Painter, FL Peter Pang, NY Jane Parker, GA Karla Pirona, FL Michael Reenock, PA Eluster Richardson, FL Zunilda Sarete, NY Rhonda Schone, DE Manjuparkavi Sharan, IL Jimmie Shealey, TX Rachel Solimeno, WA Mia Stendahl, NH Donalee Stuck, AZ Marshall Toomey, CA Svetlana Trofimova, PA Penny Tuffendsam, CA Irving Watts, CO John Wells, WA Yanteng Xiong, CA Sara Zak, NY International Sian Crichton, Canada Gilberto Geraldo, Brazil Yan Huang, China Agnes Janovics, Ireland Irena Korosec, Canada Natalie Legere, Canada Atanas Mihaltchev, Canada Dale Rhodes, Australia Svetlana Solonikova, Russia Walter Vestil, Switzerland Daniel Wasserman, Israel Kristen Young, Canada

International Jenny Davies, Australia Elena Degenhardt, France Jianqi Du, China Rainer Duhaylungsod, Philippines Jane Mant, Australia David Nipo, Israel Ginny Page, Denmark Nicole Thibeault, Canada Andrei Tsukanov, Russia Gyuhye Yeon, South Korea Adam Zhao, Canada Student Caden Ferita, CA

NOVEMBER Patron Magi Hernandez, TX Hima Jain, MD Courtney Panzer, FL Harriett Rolnick, CA Margaret Sue Wright, VA Christine Young, IL Roberto Zavala, NY

w w w . p o r t r a i t s o c i e t y. o r g I 23

The Portrait Society of America P.O. Box 11272 Tallahassee, FL 32302

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