On February 28, 2025, the Portrait Society of America will celebrate its 27th anniversary! Since its formation I have served as the CEO, and I take immense pride in what we’ve accomplished and remain deeply committed to the enduring importance of portraiture. In a world dominated by digital photography, I believe the tradition of portrait painting remains a vital and irreplaceable art form. Portraits, handcrafted by skilled artists, transcend mere physical likeness to capture the essence, emotion, and spirit of their subjects. Preserving this tradition ensures not only the continuation of an artistic practice but also a timeless form of storytelling that bridges generations.
Unlike photographs, which often freeze a fleeting moment, portrait paintings are the result of deep observation and deliberate creation. Artists dedicate countless hours to studying their subjects, interpreting their personalities, and weaving subtle, symbolic details into their work. This thoughtful process imbues each painting with depth and meaning, offering a richness that no snapshot can replicate.
The preservation of portrait painting also holds immense historical and cultural significance. Throughout history, portraits have served as records of influential figures, milestones, and the values of society. The grandeur of Renaissance masterpieces, the intimacy of Impressionist works, and the bold expressions of modernist art all provide profound insights into their respective eras. By continuing this tradition, we maintain a tangible connection to these rich artistic legacies.
Lastly, portrait painting fosters a rare and enduring human connection. The collaborative relationship between artist and subject is built on trust and mutual understanding, resulting in artworks that resonate deeply on a personal level.
In today’s fast-paced digital age, the deliberate and thoughtful nature of portrait painting offers a powerful counterbalance. It reminds us of the enduring value of patience, craftsmanship, and human expression. Working to keep this tradition alive is a worthy endeavor and ensures that future generations inherit not only an art form but a profound way of seeing and honoring one another.
John Singer Sargent, Madame X, 95.7x56.6”, oil on canvas, Metropolitan Museum of Art
This portrait of Madam Pierre Gautreau by John Singer Sargent was part of the 1884 salon and created quite a stir. Critics found the gown’s neckline and the right strap of her dress that was slipping from her shoulder too shocking for Parisian society. Sargent later repainted the strap and kept the work for over 30 years. He ultimately sold it to the Metropolitan Museum, commenting, “I suppose it’s the best thing I have done.” Despite the controversy, it cemented his reputation as a portrait painter and led to a fruitful career.
Kerry Vosler, Writer, State Ambassador Coordinator
Scott Jones, Writer, Washington State Ambassador
Sargent Circle
Platinum Members
Susan Basham
Sandra Murzyn
Michael Shane Neal
Sarah Perot
Brant and Joelle Phillips
Trish Savides
Henry Garth Smith, MD
Mary Whyte
Gold
Aida and Kevin Garrity
Hope and Billy Reis
Louis and Jessica Sterchi
Silver
Melinda and Jeff Balsar
Peggy Kinstler
Jerry and Ernie Williams
Carol and Darryl Yochem
Mailing address: Portrait Society of America P.O. Box 11272 Tallahassee, FL 32302
Shipping address: 1109 S. Magnolia Ave. Tallahassee, FL 32301
Toll free Telephone: 1-877-772-4321
Fax: 850-222-7890 Web: www.portraitsociety.org
Design
Louise Weir, Sima, 18x14x9.5”, ceramic with oils
ELENA KISELEVA A RETURN TO THE LIGHT
It wasn’t until the end of her life that Elena Kiseleva gained recognition for her art. The rediscovery of her work in 1967 is credited to the Russian Voronezh Regional Art Museum– this is where senior researcher Margarita Luneva uncovered a letter written in 1921 by Elena Kiseleva to artist Ilya Repin. Luneva wrote to the address and discovered Kiseleva, now 88 years old, still living in Belgrade at the same residence. The two would continue correspondence until the last days of the artist’s life.
Elena Kiseleva was born in 1878 in Voronezh, into a well-known, progressive family. Her father was an accomplished educator and mathematician who was active in public life, and her mother dedicated much of her time to charity work.
Showing an interest in the arts at an early age, Kiseleva first received private drawing lessons from Mikhail Ponomarev, a famous local photographer and artist. Her early education was spent at the Voronezh drawing school, after which she attended the Mariinsky Women’s Gymnasium, a secondary school, where she graduated in 1896 with a gold medal.
Soon after high school graduation, she attended the St. Petersburg Academy of Arts, and later the Imperial Academy of Arts, where she became a favored student of renowned artist Ilya Repin. In 1903 Repin entrusted Elena and one other pupil to complete four dioramic panels celebrating the 200th anniversary of St. Petersburg. Her final project, a painting titled Brides. Trinity Day, received high accolades from the art community. In 1907, Kiseleva would become the first female graduate of the Academy of Arts to be awarded a pension for studies abroad.
During her time abroad, she trained at the academies of Eugene Carriere and Rudolph Julian in Paris, and then continued in Italy and Germany. Kiseleva participated in several international exhibitions, including the New Society and the Union of Russian Artists in Munich in 1909, Rome in 1911, and numerous exhibitions in Russia from 1910-1916 She earned a first-place award from the Academy of Arts. Kiseleva was now well-respected, ambitious, and receiving recognition for her work with a promising future ahead of her.
By Marianne Rice
In 1914, Kiseleva met Anton Bilimovich, a professor (and later rector) of Novorossiysk University. The two married, and Kiseleva gave birth three years later to their only child, a son named Arseny. However, the turbulence of 20th century Russia and the Soviet Union would soon uproot Kiseleva’s professional aspirations.
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The 1917 Revolution and civil war would eventually move the family to Belgrade, where her husband’s career took precedence as an important scientist and academic at the University. Isolated from her Russian community of artists and entrusted to the care of raising their son, Kiseleva had less time for painting, something she lamented in her letters.
While she continued to paint, Kiseleva’s work was rarely exhibited after moving to Belgrade in 1920. World War II would put an end to the artist’s career altogether. Ilya Repin, grieved by the absence of her work in exhibitions, wrote to her, “It cannot be true that you gave up painting. I could never believe that. You are too talented to do that. I do hope that you will make us happy by painting new works.”
In 1942, Elena Kiseleva’s son, Arseny, was arrested with his wife in German-occupied territory and placed in a concentration camp. Though he survived, he would never recover and died soon after his release. A painting titled, Portrait of a Son on His Deathbed, was Kiseleva’s last artistic work. Thirty years later in 1974, after her own death at the age of 95, the portrait of her dying son was cremated and buried with Kiseleva.
The Voronezh Regional Art Museum, which currently houses the largest collection of Kiseleva’s work, held an exhibition marking the artist’s 90th birthday in 1969. A retrospective exhibition titled ‘The Elegant Epoch,’ took place in 2017 at the Museum of Russian Impressionism in Moscow and was later shown in Voronezh under the title ‘Shine, oblivion and return to the light.’
A talented portrait painter and figurative artist, Kiseleva displayed skillful and assured command of her artistic faculties. Her use of color and the combined influence of the Russian realistic school with the techniques of post-impressionism produced a body of work that is both visually pleasing and stylistically unique. As the first female member of the Society of Architects and Artists, and first female graduate to receive a stipend from the Academy, Kiseleva was a trailblazing artist.
Facing emigration, isolation, the weight of societal demands and deep loss, the flame of Russian artist Elena Kiseleva’s brilliant ambition was prematurely extinguished by the social and political unrest of her time. It was Margarita Luneva’s discovery of a letter and quest to find Kiseleva and share her life and work with the world that was so consequential in its return to the light, allowing Kiseleva to take her rightful place in the history of Russian painting.
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1. Marusya (1913)
Beautiful Hydrangeas (1908)
3. Portrait of P. Ye. Schegolev (1911)
4. A Model with a Green Vase (1910)
5. Portrait of the Artist’s Son (1925)
MANAGE EXPECTATIONS AND THEN EXCEED THEM!
Let’s talk about sales. When my daughters were in their teens, they would often question me, “Why don’t you like salesmen? You are one.” I would explain, “I manage accounts’ businesses; not just try to sell them stuff!” As the President of a midsized manufacturing and sales company, I learned a few things about sales and salespeople. I tried to keep it simple and relied on three basic sales principles:
1. Salespeople fall into two categories: 1) Hunters/Closers – they excel at establishing contacts with new prospects, delivering the sales pitch, and closing the deal. 2) Account Managers – they are great at understanding the client’s business, creating the sales presentation, looking for new products and services to help the client, and managing the client’s ongoing relationship with our company. Rarely does a salesperson excel at both. I would use them in situations where they were best suited. As an artist, you do both.
2. My company mantra was, “Manage expectations and then exceed them!” I would emphasize with my people to never overpromise attempting to get a deal. That is fraught with problems down the road. We mutually set reasonable expectations, and then we work to beat them. It is a proven way of growing business for both parties. As an artist, these expectations are vital in your ongoing relationships with clients and galleries. What deadlines are you promising to meet? How many pieces are you committing to? Are you meeting and exceeding expectations in your completed art? I have told many artists that I would rather have a fewer number of great pieces for a show than have them push too hard to produce more to sell.
By Scott Jones
3. Asking for the sale can be tricky. “Can I wrap that up for you?” very rarely works for me. That is why my daughters understood my dislike for pushy salespeople. I do not recall ever saying those words in the gallery. For me, an art sale involves a very personal and intimate acknowledgement of what the person is feeling. Do not cheapen that. “Why do you think you will enjoy having this painting in your home?” Asking questions requiring more than yes/no answers can be quite effective. Once you have the sale, I reminded my salespeople to “shut up!” I am aware of many instances of sales quashed by continuing to talk. I have experienced artists losing sales by pointing out things they wished they had done better. After the sale is not the time for your insecurities to surface or for your boastfulness.
I had to laugh when an artist friend, who had reached out several months earlier to ask for some stock tips, called me. I do not like to give individual investment advice, but he had been persistent and asked what three stocks I had most recently purchased. He proceeded to review the excellent returns on each of the three stocks. I agreed that I was quite pleased. He then admitted that he had not purchased any of them. But he quickly added, “I was thinking you might be smart to take some profits (pause) … and use them to buy one of my paintings.” No, it did not work. But, then again, maybe it did. I now watch for and follow everything he paints.
Note: The impetus of this article popped into my head after unpacking a painting by Portrait Society of America Signature Member Tina Garrett. This painting blew away my already sky-high expectations! I could not wait to hang it for all to see.
An artist is required to do it all. You are an entrepreneur running your own business. You create ideas and channel your inspiration, you put brush to canvas or hands to clay and create something worthy of purchase, you seek for and practice improving your skills, you manage your distribution and marketing, and you often personally oversee the sale itself. Being an artist is incredibly unique in demanding so much expertise and such varied skills from one person.
Questions welcomed at scottjonesfineart@gmail.com or @scottjonesfineart on Instagram.
Tina Garrett, Secrets, 30x20”, Oil
state ambassador
As we usher in the New Year, we want to take a moment to thank our Ambassadors for their commitment to our Portrait Society of America members. It takes an extraordinary amount of time to maintain our ambassador program throughout the states and abroad.
We welcome two new ambassadors: Suzanne Viechnicki is our new co-ambassador in South Carolina, and Eric Crenshaw is our new ambassador in Maryland. Feel free to reach out to them and give them a warm welcome. All ambassadors and their contact information can be found on our website: www. portraitsociety.org/state-ambassadors
Janelle Hatherly (Australia) held a Zoom meeting in November and a Zoom Christmas Party in December. They discussed what everyone is working on, what art prizes are coming up and shared studio tips.
Rachel Christensen and Sherry West (California) held their first Zoom live model drawing and painting event to great success! They brought in a model who sat for three hours while providing two options for members to participate: in-person in Rachel’s studio in San Clemente and virtually over Zoom.
Jeanine Jackson (Connecticut) continued monthly Meet ‘n Critiques mostly via Zoom. They are planning an exciting spring collaboration with The Greenwich Botanical Center called “Portraits in Bloom” in which Portrait Society members are welcome to participate.
Andrea Steinbauer (Europe and the UK) is planning the 3rd issue of the European Members Newsletter for the 1st Quarter 2025 and a Zoom meeting in January or February 2025.
Melanie Harding Bates (Kentucky) continues to open her home to artists who want to paint from a live model.
Rachel Mindrup and Littleton Alston (Nebraska) were able to secure funding to bring Studio Incamminati back to Creighton University this spring.
Nicole Troup (Pennsylvania) scheduled a Zoom meeting for the PA members in November 2024 to discuss plein air painting and painting mediums.
Len DeAngelis (Rhode Island) continues to meet with members three times a year over coffee as well as drawing sessions. They stay in touch and try to vary location for members facing challenges or less able to travel.
Taléta Willer (South Africa) had a meeting with members and other artists on November 30 who participated in drawing from life. For this meeting it was about quick sketches in charcoal, and she will host another session in the new year where she will demonstrate painting from life in longer poses.
Jennifer Wharton and Suzanne Viechnicki (South Carolina) are hard at work planning the South Carolina Members’ show coming up in February, as well as brainstorming other outreach ideas.
Mary Hull (Texas) is happy to announce that she is hosting the Face Off at the Lewisville Grand Theater in May 2025. She received the micro artist grant of $1,000.00 from the City of Lewisville that will help with paying for advertising and refreshments. She is choosing Texas members to participate, and the ten models are going to be people that make a difference in the community.
Robin Williamson (Texas) had a great last quarter for members in the greater Houston area. At the end of September, they had a Face-off event with 15 artists and four models. In October, several members participated in a joint venture with the Bayou City Arts Festival. They provided a booth where various members of the Portrait Society painted three different models for three days (pictured).
Kathie Wheeler (Wisconsin) has continued with the monthly newsletter where she reminds folks of what is going on with the Portrait Society. She also has a face-off event in the works at Richeson School of Art in February.
Would you consider becoming an ambassador in the coming year? We have vacancies in the following states: Arkansas, Georgia, Iowa, Louisiana, Maine, Montana, North Dakota, Oregon, South Dakota, West Virginia, Wyoming, and International regions of Canada, South America, and Asia.
Kerry Vosler Ambassador Coordinator
Live demo at the Bayou City Arts Festival (Texas)
This year marks the twelfth induction of Signature Members by the Portrait Society of America. We are honored to recognize these accomplished artists, whose dedication upholds the educational mission and high aesthetic standards of the Society. Signature Status grants the privilege to use the designation (PSS - Portrait Society Signature) on all personally created works, symbolizing our shared commitment to creating, advancing, and sharing the art of portraiture. Congratulations to the four artists selected this year, joining a distinguished group of exceptional artists who hold this esteemed designation.
Ali Cavanaugh, Girl with a Pineapple Earring, 20x24”, watercolor on panel
Signature Status Recipients
John Darley, Grandfather, 16x16”, oil
Leslie Adams, Harry Ahn, Daud Akhriev, Jing An, Anna Rose Bain, Robert Barrett, Gwenneth Barth-White, Margaret Baumgaertner, Michael Bergt, Suchitra Bhosle, Ned Bittinger, John Borowicz, Mary Buckman, Elena Burykina, Judith Carducci, Louis Carr, Ali Cavanaugh, Kevin Chambers, Chung-Wei Chien, Casey Childs, Robin Cole, Ellen Cooper, Joseph Daily, Robin Damore, John Darley, 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 Takács, Jianwu Tan, James Tennison, Hsin-Yao Tseng, Susan Wakeen, John Seibels Walker, Patricia Watwood, Louise Weir, Jennifer Welty, Amy Werntz, Thomas Wharton, Ernest Wood, Wesley Wofford, Ming Yu, Elizabeth Zanzinger, Stephen Zhang and Vladimir Zlotskiy
Louise Weir, Sima, 18x14x9.5”, ceramic with oils
John Borowicz, Tad, 30x40”, oil on canvas
THE INTERNATIONAL
The world’s premier portrait and figurative art competition
Call for Entries
As the Portrait Society celebrates 27 years of showcasing the finest portrait and figurative art from around the world, we invite you to submit your work to our International Portrait Competition. With over $160,000 in cash and prizes awarded across categories in Painting, Drawing, and Sculpture, this is a unique opportunity to gain international recognition. The Grand Prize winner will receive a $50,000 cash award. Join us in celebrating excellence in representational art!
Entry deadline February 17, 2025
www.portraitsociety.org l 877-772-4321
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
scottsdaleartschool.org
First Place Painting Tim Rees, Her Mother’s Locket, Violet at age 3, oil, 24x36”
A JOURNEY THROUGH ART: REFLECTIONS ON A CREATIVE PATH
By Kim Azzarito
Art has been a profound part of Huihan Liu’s life for as long as he can remember. Growing up surrounded by inspiration and encouragement, his path was shaped by personal experiences, education, and encounters with diverse cultures. His creative journey spans decades and is rooted in a blend of tradition and innovation.
Foundations of an Artistic Journey
Liu’s formal art education began at the Guangzhou Academy of Fine Arts in China, where he studied from 1972 to 1975. This was later complemented by studies at the San Francisco Academy of Art in the United States from 1987 to 1989. These formative years laid the groundwork for his artistic development, but his passion for art started much earlier.
As a child, Liu was captivated by the beauty of nature, often drawing scenes from his surroundings. This early fascination with the world’s natural beauty set the stage for a lifelong devotion to art. Encouragement from a father who was a teacher and inspiration from an uncle who was a skilled painter and sculptor instilled a deep respect for the arts and a determination to pursue this passion.
Influence of Art History
Growing up in China during the 1950s and 1960s, Liu found himself drawn to the art movements of the late 19th century. These movements significantly shaped his artistic philosophy and painting style. Immersing himself in the works of great masters, he studied techniques and ideas that have had a lasting impact on his work.
Liu’s artistic inspirations include a diverse range of painters, each contributing uniquely to his creative direction. From the realism of Velázquez to the dynamic brushwork of Joaquin Sorolla, the influences are numerous. Other notable inspirations include Maria Fortuny, Antonio Mancini, DagnanBouveret, John Singer Sargent, Anders Zorn, Nicolai Fechin, Isaac Levitan, and Ilya Repin. Encounters with their masterpieces in museums deeply moved Liu and shaped his approach to envisioning themes, compositional design, and paint application.
1. Pilgrims Gathering, 36x40”, oil
2. Winter Moon, 30x15”, oil
Evolving Studio Practices
Over the years, Liu’s studio painting process has undergone a significant evolution. While his earlier works leaned toward narrative representations, his more recent pieces explore an abstract vision that focuses on mood and emotion.
Though his foundational techniques remain consistent, Liu now prioritizes intuitive responses to the themes they depict. Their
aim is to create works that transcend objective reality, inviting viewers into a realm of abstract appreciation. By blending reference material with emotional intuition, they strive to evoke feelings and ideas that resonate on a deeper level.
Painting the Lives of Tibetan People
One of the most significant themes in Liu’s work has been the depiction of Tibetan culture. His connection with Tibet began in 1987, during a trip to create a mural for a Holiday Inn in Tibet with a group of invited artists from Guangzhou. This experience had a profound impact and marked the start of his enduring interest in Tibetan communities.
For many years, Liu has depicted the lives and stories of Tibetan people. His paintings are not merely visual representations but emotional connections to the traditions, resilience, and spirit of these communities. Collectors often share how Liu’s works evoke strong emotions, even if they have never visited Tibet themselves. Such feedback is a source of immense motivation, driving his continued exploration of these themes.
In addition to Tibetan subjects, Liu has also painted American Indian communities, particularly those in Taos Pueblo, New Mexico. He has noted striking similarities between Tibetan and Native American cultures, both of which are deeply rooted in tradition and closely connected to their environments.
Returning to Tibet
Liu has traveled to Tibet many times, seeking not just inspiration but emotional and creative rejuvenation. His first trip in 1987 was followed by numerous others, during which he immersed himself in the dramatic landscapes and vibrant culture of the region.
In 2006, Liu led his first painting workshop in Tibet, which was groundbreaking. Despite challenges in obtaining visas, the workshop brought an American group to explore and paint on location. This opportunity allowed artists to engage deeply with the Tibetan environment. Subsequent workshops in the Yunnan Tibetan Region (2016) and the Gansu Tibetan Region (2018) further deepened Liu’s connection to the area while inspiring his own work.
Back in his studio, Liu combines sketches, photographs, and personal experiences to create paintings that reflect the essence of these journeys. While he currently has no plans to return to Tibet, the region remains a vital source of inspiration. Observing its changes over the years underscores the importance of capturing its unique spirit.
3. Gaze, 24x18”, oil
4. Silent, 12x12”, oil
5. Taos Spirit, 30x15”, oil
Advice for Emerging Artists
To those beginning their artistic journey, Liu offers this advice: Listen to yourself and identify what truly inspires you to create. Art is deeply personal, and understanding your motivations is essential to remaining authentic.
Patience and persistence are also crucial. The artist’s path is rarely straightforward, and progress often comes through trial and error. Embrace mistakes as learning opportunities and remain open to new ideas and approaches.
Above all, remember that art is a lifelong journey. There is always more to explore, express, and discover. Stay curious, remain dedicated, and continue evolving.
A Lifelong Passion
Art has been Liu’s constant companion, from his early days sketching nature to his current studio practices that blend realism and abstraction. His journey has been enriched by the people, places, and ideas that have shaped his work, and he is deeply grateful for the opportunity to share it with others.
Whether painting the lives of Tibetan communities or exploring the rich traditions of art history, Liu’s goal has always been to create work that connects with people on a deeper level. For him, art is not just about crafting visually compelling images but about telling stories, evoking emotions, and inspiring thought.
As Liu continues on his creative journey, he remains committed to growth and sharing his passion. His hope is that his experiences and reflections will encourage emerging artists to pursue their own paths with determination and creativity.
Art, at its core, is a celebration of the human spirit and the boundless possibilities of imagination.
6. Family Time, 40x30”, oil (Frederick Remington Award 2022. Prix de West, National Cowboy & West Heritage Museum)
THE ART OF THE PORTRAIT
We are thrilled to announce that the 27th annual The Art of the Portrait will return to the place it all started… in Washington, D.C. area, from May 8–11, 2025. Join us, along with 800 fellow artists from around the globe, for four days of immersive experiences, including live demonstrations, illustrated lectures, portfolio reviews, artist book signings, and much more!
Each year, we select a theme to guide our educational programs, and this year’s focus is on diversity—both in styles and mediums. The weekend kicks off with pre-conference workshops on Thursday, May 8th, featuring hands-on sessions in watercolor, clay, and graphite. Renowned faculty artists Mary Whyte (watercolor), Alicia Ponzio (sculpture), and Dan Thompson (drawing) will lead these workshops, working directly from live models.
The conference officially opens Thursday afternoon with the dynamic Face-Off event, where groups of three artists demonstrate their skills across a variety of mediums. Staying true to the theme, the demonstrations will include oil, watercolor, charcoal, egg tempera, graphite, and clay. Directly after the Face-Off, our Future Generation artists Phoebe-Louise Carter, Elizabeth Ralph-Smith and Emma RachSyslak will be sharing their approach to the portrait during an open painting session.
By Christine Egnoski
Attendees will also have the chance to view the original artwork of the 20 finalists from The International, the premier competition celebrating representational art. With a $50,000 cash Grand Prize, this competition highlights some of the finest figure-focused art being created today. The entry deadline is February 17, 2025.
Don’t miss the pinnacle event of the weekend on Saturday night—the Oscars of portraiture. During the gala awards banquet, we will induct the 2025 Signature Status class, reveal the Grand Prize winner, and celebrate James Gurney as the recipient of the Excellence in Fine Art Education award. Register today on our website to join us for a unique celebration of portraiture and creativity: www.portraitsociety.org.
The conference continues Friday, Saturday and a half-day on Sunday, offering a rich schedule of demonstrations, discussions, portfolio critiques, book signings and hands-on classes. Highlights include an in-depth exploration of facial features with Robert Liberace, Alicia Ponzio, and Dan Thompson. Michelle Dunaway will showcase the final stages of a painting in progress. Breakout sessions, held Friday and Saturday, feature smaller class sizes and workshops led by Oliver Sin, Dan Thompson, Ali Cavanaugh, Dominique Medici, Paul Newton, Mario Robinson, Louise Weir, Ruth Fitton, Jeffrey Larson and Michael Bergt, covering topics like composition fundamentals, anatomy, and the use of color.
The always-anticipated mainstage demonstrations will showcase artists such as Quang Ho, Kevin Macpherson, Huihan Liu, Rose Frantzen, Daniel Sprick, Timothy Rees, Robert Liberace, Shane Wolf, and Adrienne Stein, sharing insights and techniques to help attendees elevate their work.
It is a wonderful time of gathering together to learn from and observe today’s master artists paint from life right before our eyes. Sitting in the audience and hearing master artists talk about the role of portraiture and figurative work is an experience that is not only valuable to every member, but so appreciated. – Katherine Galbraith
1. Alicia Ponzio will be teaching various classes covering sculpture, facial features and anatomy.
2. James Gurney will be honored and celebrated with the Portrait Society’s Excellence in Fine Art Education award, in acknowledgment for his lifelong dedication to the arts.
3. John Borowicz, Ali Cavanaugh, John Darley and Louise Weir will be inducted into the 2025 Signature Status class during the Saturday evening Gala Banquet.
A Day in the Life with Mardie Rees
ART, FAMILY, AND FINDING HARMONY: A SCULPTOR’S LIFE IN BALANCE
Can you walk us through a typical day in your studio? What does your daily routine look like?
Most of my days lately are all about time management. I have always been a very ambitious person, and I suppose that applies to my family life as much as my art career. I experience seasons of incredible productivity and seasons where I am more available to my family. I am the mother of three kids aged 15, 13 and 8. The youngest is in public school, my middle child in private school, and the oldest is homeschooled, so my day can often have many interruptions. I kickstart most days by lifting free weights and doing some core exercises so I stay strong and fit for sculpting. After breakfast I drop my youngest off at the school bus and then come home and work with my 9th grader who I’ve been homeschooling for four years.
Studio time is my favorite time of day. I try to get started before 10:30am if possible. Sometimes I tackle a little email and look over my daily checklist, but most often I leave simple business tasks for time I have later and get right to sculpting. If I have more than one project I am working on, I choose one for the whole day so I can focus on just making progress on one project to avoid spreading myself too thin. If I have a very large project underway, most of the time I pick up exactly where I left off the day before.
After lunch I try to work straight until 5p-6p with only a coffee break to keep me going. If I wasn’t able to exercise that particular morning, I may take a break from the studio a bit early, go for a run, return home, and start dinner. Evenings after dinner usually include business activities like bookkeeping, invoicing, research, email, school papers, helping with last-
By Kim Azzarito
minute school assignments, or finishing up something in the studio that isn’t quite finished and is due the next day. I like to end the day with reading a novel or a passage from the Bible.
How do you balance studio time with other aspects of your life, like family or personal commitments?
Balance is nearly impossible to achieve when simultaneously working as an artist and raising three children, but I try to maintain a mindset of ‘harmonious living without excessive chaos.’ If I can’t accomplish enough during the week in my studio, I work Saturdays and sometimes Sunday afternoons. I am a very social person even though I work alone and enjoy it. During the week I like to see friends for a walk or for coffee, so I try to squeeze in those precious minutes sporadically during the week. I also try to carve out what I call ‘block time’ for several hours working in the studio, however I have found that working nonstop for days on end causes me to burn out and can stymie idea generation.
The most difficult challenge I currently face is finding time to help my eldest daughter read or discuss existential ideas spurred by books on the American Revolution or any other subject she is reading. I find it requires an immeasurable amount of patience to halt what I am working on and give any one of my children my full attention. There are so many challenges to each stage of parenthood, especially while working as an artist.
Is there a time of day do you feel most productive or inspired to create, and how do you make the most of that time?
After lunch is my easiest time to work and usually the quietest. Typically, I have already worked an hour or more before then and feel most comfortable making decisions knowing I don’t have to quit until the day’s end. I am happiest when I have my afternoons to myself in which to work.
How do you handle creative blocks or days when inspiration is harder to find?
Sometimes all those interruptions you get as a mother are quite helpful. When I am stuck or can’t solve a particular challenge in the studio, I may choose to go lap swimming or discuss it over coffee with my painter friend. Occasionally, I will ask my mom to visit and give me a critique (she lives right next door, so I take her up on this whenever she is free).
Some creative blocks may mean setting a piece aside for a few weeks or even covering it up with a cloth so it doesn’t “talk to you” from across the room. Overall, my creative blocks or inspiration issues usually stem from the lack of a generous supply of free time or the ability to work long hours without interruption, but we all have to work within limits and so I have always made do with whatever my schedule allows.
Are you currently teaching and how do you incorporate that into your schedule?
I am teaching a small amount; however, I find it challenging to teach more than half a day a week. I do teach two weeks of art camps every summer out of my studio, which has been a tremendous success. I also sometimes teach basic drawing and have mentored quite a number of sculpting students virtually in the last few years.
What do you find most fulfilling about your day-to-day life as an artist?
I am happiest when I get to do what I love while also having my family close by to live life with. I really enjoy the hugs when my kids come home from school, and I’m a huge fan of having access to my studio at all times of day. Art is really a way of life, and I like that artmaking often falls into life’s “in-between” spaces. I think my kids have grown used to finding mom on scaffolding sculpting a portrait or out behind the garage in the rain torching on a bronze patina in her coveralls. It is a good life.
What projects are you currently working on?
I recently completed a monument-scale sculpture in clay of Saint Elizabeth of Hungary for Saint Elizabeth Hospital in Enumclaw, Washington. We delivered it to the foundry a little over a month ago. I have been sculpting Saint Elizabeth just under a year; because she was so large and challenging, I was not able to give other projects any attention whatsoever. Saint Elizabeth will be installed in summer of 2025, so I will be making several trips to the foundry in Oregon to oversee the wax chasing, metal work, and patina. Currently I am finding new directions in my studio, finishing some kiln glass casting projects and pursuing other commissions.
Creating sculptures is such a multistep process, from sculpting a clay maquette to the enlargement, then mold making and finally pouring in bronze. How do you handle balancing production and income when it’s such a timeconsuming process?
Balancing the costs of sculpture is astoundingly difficult as are all the phases you plow through for each piece. I find it is sometimes easiest to have multiple projects underway at the same time – but all at different phases: wax chasing for bronze, clay models in process, and bronze ready for patina. This year I realized this approach only works if all projects are of a manageable size or scope. Sculpting Saint Elizabeth this year did not allow for much else while also managing my family. As far as production and income, I keep the engine of each commission contract running by breaking it into three or four progress payments. In slower times I often squeeze in gallery projects or small commissioned work in between larger commissioned works.
What advice would you give a young artist interested in becoming a sculptor?
That’s a hard question, does he or she really want to do it that badly? You really must want to do it even if it means working late nights or every extra hour you have because you are going to need a lot of grit. You need stamina, not just for sculpting the piece, but for facing the reality of a failed mold or a casting project gone wrong that cost a lot of money to make. If their answer is yes, then seek the best resources. Find some experts to train under and ingest all the material you can
possibly learn - clay, mold making, plaster, anatomy, composition. Without question I suggest looking to the great sculptors in Europe because the United States pales in comparison.
Composition and movement are such an important part of a successful sculpture; is there a process you follow from conception of an idea to the realization of the final piece?
As an old instructor of mine at Laguna College of Art and Design, Ray Persinger always used to say, “walk around it and look at it from all sides.” There is no front or back to sculpture… you must always want to keep looking from every angle. That is a viewpoint that I’ve always heard in my head when designing sculpture; even today I am working at becoming better by exercising this concept. Over the years I’ve learned to start with small studies and then develop a few choice designs to a height of about eight inches. If the piece will eventually be of monument scale, once the design direction is established, I will create a maquette sized work that is usually 1/4 scale. This approach allows me to work out all of the kinks and maximize the gesture.
1. Saint Elizabeth of Hungary, 99 x 60 x 42”, Clay for bronze
2. Soul of the Forward & Faithful: WWII U.S. Marine Raider Memorial, 36.75 x 50.75 x 19”, Bronze
3. Saint Michael, 23 x 15 x 18”, Bronze and Cast Crystal Wings
THE NECK: OUR INDISPENSABLE CONDUIT FOR COMMUNICATING THE PORTRAIT
Over the previous quarter century, motivated students of portraiture have dedicated themselves to understanding the subtlety of human form. Their eagerness for learning how to depict facial construction continues to unearth obscure and more graceful structures. Comprehending the figure’s less-celebrated regions, those aligned or affiliated with the head, will inherently generate more unique artwork. A territory with extreme potential for improvement in contemporary portraiture is the human neck.
Particularly in the event that photo references are the main source of visual information, refocusing one’s attention on the power and transformative impact of the neck (Figure 1) will lend a sense of flair and dynamism to this compelling subject. Notice in the 18th century drawing by Watteau how the entirety of the image relies on this astounding piece of human form – one whose influence can be fraught with misunderstandings.
Many issues involving neck misinterpretation arise from a tendency to portray the neck in a flattened manner. To counter this, the artist must accept the identity of the neck on fundamental terms: as a cylinder in space. The incline of the neck cylinder is often treated proceeding in the opposite direction than its true nature. Aspiring painters confuse the form of the neck by reading it from the side and not the center. This is because of a strange but beautiful muscle called the Sternocleidomastoid, which moves from the sternum upward and further backward in space, eventually connecting to a prominence just behind the ear. Reading the terms of the neck this way would indeed appear to push the top of a sitter’s neck further away than the base. The neck actually possesses a fascinating, forward projection which positions the top closer to the viewer.
To develop one’s conceptual framework, the artist must now curve this cylinder, bending the neck column until it assumes a slightly convex space curve (Figure 2, the beginning of a plasteline Écorché, meaning “without skin”). The grand column of the neck maneuvers to allow the head to commonly achieve equilibrium. Note, in the clay image, that the model makes a claim for the prevailing shape of the body’s first rib. This enables artists to visualize a critical structure, Vanderpoel’s “Neck Base.”
By Dan Thompson
Figure 1: Antoine Watteau, Head of a Man (1718) The Metropolitan Museum of Art, New York
Figure 2: A clay model, constructed to demonstrate the forward curve of the neck cylinder
Another counterintuitive characteristic to be mindful of is that much of the neck will typically receive less light, nesting as an under plane (Figure 3). Artists will be less inclined to work with this fact, introducing too much contrast into neck passages. It helps to remember that the underside character of the neck can be more dramatic in the throat region. In Dr. Wong’s portrait, observe the forms shifting even darker as the supportive conditions of the throat are addressed.
An enabling concept for finer neck artistry is that, as a subdivided structure, the neck exists as a series of intricate overlaps, of smaller rudiments, which gesture in varying directions. These include muscular forms like the Omohyoid and Levator Scapulae muscles (Figure 4) both of which equip one with an appreciation of hatchmark – feasibly derived from the multitude of expressive elements within the human neck.
Involved in all of this are a series of fascinating triangles that break down neck geometry. These triangles – many of which are named and important for the study of medical anatomy, are keys to any believable representation of the human neck (Figure 5). They contribute to planar modeling by helping to clarify shadow illumination. They also bridge the column to the face.
For further study, anatomy serves in a more comprehensive system of visual interpretation. Conveying the elemental neck will help one answer any particular visual challenge. By manifesting structural thinking in the work at hand, a convincing volume in space can always be realized.
All of this should add up to more beautiful portrayal of a form which is grossly underserved by the portrait artist.
Figure 3: Dan Thompson, Dr. Wong, 2022, Charcoal and Crayon, private collection
Figure 4: As a form in the round, neck muscles can be profound influences on its grace and character
Figure 5: Neck triangles greatly assist the artist with planar form-making in oil, clay or graphite
Figure 6: (Tarsal Plate, Dan Thompson, 2024, graphite pencil) Drawing from dissection can be a tremendous vehicle for clarity
1. Tony Armendariz won the Mary Bryan Memorial Award and Medal for his watercolor portrait José at the Allied Artists of America 111th Annual Exhibition.
2. Megan Lawlor’s oil painting In Line in Montmartre was juried into the first annual 12 x 12 Show, a partnership between T.H. Brennen Fine Art Gallery, Scottsdale, AZ, and RAYMAR Fine Art Panels.
3. Sandra Murzyn’s painting Ukrainian Child won the Oil Painters of America - Portraiture Award of Excellence 2024 Eastern Regional Associate and Signature Division. The exhibit was shown at The Centerpiece Gallery and judged by Oil Painters of America and Judge Elizabeth Pollie.
4. Alexandrea Nicholas-Jennings was chosen as the 1st Place Winner of the Boynes Artist Award - 11th Edition. Pictured: The Caucus Race, 36x48”, oil on panel
5. Linda Harris Reynolds was interviewed by FOX29 in Philadelphia for their cultural arts segment “The 215” which aired on December 6-8, 2024.
6. GayLynn Ribeira’s painting, Dogdemic, 12x9”, oil, was awarded the Gold Medal for Best Portrait in the California Art Club’s Gold Medal Exhibition.
7. Marianne Rice unveiled five portraits gifted to the city of Sparta, Wisconsin and its citizens. The portraits honor the work of a volunteer group known as “The Shovelmen” whose vision and efforts in developing community infrastructure have revitalized their city. 2 1 3 4 5 6 7
exhibitions
1. Daud Akhriev and Melissa Hefferlin will present their joint exhibition, “Wandering Spirits” at Reinert Fine Art in Charleston, SC, opening Friday, March 7, 2025 through March 23, 2025. Visit reinertfineart.com for more information.
workshops
2. Laurel Stern Boeck will be teaching a three-day workshop at Willow, a Vermont Retreat in Newfane, VT, April 25-27, 2025. This class is for those who are fascinated with capturing the likeness and character of a person. Each full day includes a morning session and an afternoon session. Learn more and register at www.willowvt.com/art/ boeck.
3. Robert Liberace is teaching an Intensive Figure and Portrait workshop in beautiful Dedham Vale in Essex, England, August 4-15, 2025. There are only a few spots left! Learn more and register at robertliberace. com/england2025.
4. Johanne Mangi is teaching a “Painting the Dog as Fine Art” workshop, February 24-27, 2025, at Scottsdale Artist’s School. As one of her most popular workshops, she makes sure it’s fresh every year with new ways to learn that adhere to basic principles. Learn more and register at www.scottsdaleartschool. org. Pictured: Johanne Mangi, Emma in Snow, 14x11”, oil on linen
Melissa Hefferlin, Sherbet, 25x21”, oil on linen
Daud Akhriev, His World: A Journey, 47x40”, oil on linen
renewals & new members
A special THANK YOU to our renewing members in September, October, November
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A WARM WELCOME to our new members that joined in September, October and November
