PSWC Magazine Spring 2020

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PSWC magazine

The Heart of An Artist Daniel Greene, our first Pastel Laureate, talks with W. Truman Hosner about his life as an artist

WINNING! The PSWC Online Members Only Online Show Winners and Accepted Entries

Rita Kirkman Laura Pollak interviews her riend amd award winning artist

Meet the Members Joe Mancuso, Marie Tippets, and Doug Tweddale chat with our editor about art

Plus...Suzanne Kuznitsky on Art and Grief, Art tips from Ugo Paradiso, and all the news that’s fit to print!

Jessie by Daniel Greene | 40 x 30

P A S T E L Volume 13, Issue 1






PSWC Magazine | Spring 2020


Spring 2020

We. Are. Pastelists. Join the most dynamic pastel group in the USA for less than 20c per day You don’t have to live on the West Coast to become a member. With PSWC members located around the US, as well as international members, the Pastel Society of the West Coast offers a strong voice for expanding the presence of soft pastel as a major fine art painting medium. PSWC was organized in 1984 to promote pastel artists and the soft pastel medium. Today, PSWC is one of the most recognized pastel societies in the country, with an ever-increasing international presence. Benefits include: Pastels USA Annual Exhibition | Members Only Online Competition | Workshops by Noted PSWC Artists | PSWC Social Media Exposure Opportunities | Free Online Gallery | Critique Program with Master Pastelists | Membership in IAPS | No Juried Membership, unlike other societies.


PSWC magazine Table of Contents



The Heart of the Artist W. Truman Hosner’s interview with the unparrelled Daniel Greene


The Pollak Interview Rita Kirkman chats with Laura Pollak


Meet the Members Joe Mancusco, Marie Tippets, and Doug Tweddale share their stories.




Art & Grief Susan Kuznitsky share a very personal story


Letter from the PSWC President From Sabrina Hill

Art School Ugo Paradiso shows how to use a reference photo.


Contributors See who’s getting it done for the Magazine!

Art Workshops Workshops Coming Up


4 5

News & Notes Latest information on the Society


PSWC Housekeeping Here’s what’s happening with the Society


PSWC Magazine | Spring 2020


Letter from the Editor & President Dear Pastelists, Just before we went to press, we determined that we had to reschedule the PASTELS USA Show due to the coronavirus. This was not an easy decision, but health and safety are always the critical factor, so the show will now be from September 17 through November 1st, 2020. We also learned of the passing of a Pastel Master, Wolfe Kahn. He was 92. He will be remembered as an extraordinary artist and master of color. Pastels were his medium of choice. As 2020 begins, We are ushering in a new year, a new decade, and a wonderful new Members-Only Online Show (MOOS)! Chaired by our own Dug Waggoner, this year’s show is one of the best I have seen. Entries were at an all-time high and everybody brought their “A” game. Our judge, Clark Mitchell, took nearly a week to carefully go through each of the submissions before he determined who made the cut and won the awards. It was an impossibly tough job, but he tackled it and gave us the show that starts on page 10! We are fortunate to have such hard-working contributors to the Magazine. W. Truman Hosner spoke at length with inspirational Daniel Greene, our society’s first Pastel Laureate, a brilliant artist who was gracious enough to agree to discuss his work and art philosophy on art and life. He often work s on huge paintings, and he has done pastels on wood and cloth in the old tradition, as well as paper. Laura Pollak interviewed her friend, the amazing Rita Kirkman (I love her sheep!) about creating art so filed with light, and I was lucky enough to talk with Joe Mancuso, Marie Tippets, and Doug Tweddale about their lives as artists. Ugo Paradiso shares some s ecrets for using a photo as reference for a painting, for Art School, and Susan Kuznitsky wrote a heartfelt reflection on how art helped her deal with losing her husband in Art and Grief--a must read. The board continues to work hard for the Society and make changes to accommodate a larger, more diverse, more active membership base. We hope to touch each of your lives and improve them in some small part--whether it’s a tip from the Magazine, a bit of encouragement from a blog post, or an infusion of inspiration from the shows we feature online. This year’s projects include: the development of a pastel set through Terry Ludwig, further development and publication of our multi-authored Society book, and the premiere of our new show for general members who have never competed--The Newbie Show. We are excited to be a part of all these endeavors while continuing to hold to high standards in all our competitive efforts. I want to speak for a moment about our juried shows. During the membership renewal period I spoke with several members who commented that, as they had never been accepted into one of the PSWC shows, they wouldn’t be renewing their membership. This made me sad, as our society offers so much to its members, and the shows are just one part. I certainly understand rejection--as a life-long artist and creator, I have faced rejection in all parts of my creative life, from book deals to schools acceptances to art competitions. Rejection never feels good, I absolutely get that. But I find it helpful to remember that it isn’t me that is being rejected, it isn’t even a single piece of art that’s being rejected (and at the end of the day, it is just one piece among the many I’ll create in my lifetime). Not being accepted into a show means that others are, and through lifting up the other artists in our community, we are all lifted up. I encourage you to keep painting, keep trying, keep entering the PSWC shows so that we can continue to lift up great art in our community and strive to create better ourselves. The PSWC offers two formal shows a year, this year in February and June. These are two opportunities to present your work to your fellow Pastelists, and learn through the process. We encourage you to submit your work, we can’t wait to see what you’ve created.


Sabrina Hill

PSWC President and Editor, PSWC Magazine

Contributors Contibutors W. Truman Hosner received his Bachelor of Fine Arts and was a Former Instructor at Center for Creative Studies in Detroit. He is a Master Pastelist with PSA, PSEC and IAPS, a Distinguished Pastelist with PSWC, and a Signature Member with DPS. Truman earned his BFA at Wayne State University and studied at Scottsdale Artists School with Harley Brown and Dan Gerhartz. Before moving into fine art, as a nationally recognized illustrator he produced illustrations for brands such as Readers Digest, CBSFox Video and Kennedy Center for the Performing Arts. Paintings by W. Truman Hosner are featured in national and international museum collections and exhibitions ranging from New York Asia.

Laura Pollak is an award winning Fine Artist, showing her works in galleries and museums across the nation. Her works have been juried into National and International Shows. Most recently Laura won First Place in the North Carolina Statewide Show. She has garnered acclaim in the very prestigious International Association of Pastel Societies, and the Pastel Journal’s top 100 pastels. Her work has been published along with an interview in the THE PASTEL JOURNAL and in November 2019, was featured in the book STROKES OF GENIUS available worldwide. Pollak holds a Masters Degree in Fine Arts from Michigan State University with Post Graduate studies from the Center for Creative Studies in Detroit, Michigan.

WANT TO GET INVOLVED? There’s always room for more. Let us know what you want to do, and we’ll find a spot for you!


Ugo Paradiso is a self-taught artist originally from Italy. “I was born and raised in a small town in the Lucania region located in southern Italy. I traveled all over Europe and then immigrated to the United States many years ago where I met my dear wife. Along with our beautiful children, my wife and I now reside in the Kansas City area.”

Susan Kuznitsky-”I was very lucky that my parents noticed my interest in art all the way back in high school and signed me up at the Village Art School in the suburbs of Chicago where I grew up. It was a traditional art education, working in charcoal from plaster casts, then oils, then watercolors. Joe recognized my passion and talent and guided me to the American Academy of Art in Chicago after high school. An advantage to art school in downtown Chicago was exposure to the amazing Art Institute. I fell in love with the Impressionists and became completely smitten with the pastels. Since there was very little instruction at that time in this medium I decided to move to Woodstock, New York to study with Master Artist Albert Handell. It just so happened that Mr. Handell needed a studio assistant. I worked in that capacity for the next two years. My husband’s death deepened my desire to experience life to its fullest, recording all the beautiful moments through my art.”

ABOUT THIS ISSUE Our magazine format was a big hit! This format allows us to add more art and gives readers a PDF version or an online digital version to read on mobile devices.

Fonts: Sabon, Futura, and Open Sans All photos are property of the artists

PSWC Magazine | Spring 2020


News & Notes

News & Notes ATTENTION!! Our biggest news is that the PASTELS USA Show had been rescheduled from June 25, 2020 to September 17, 2020 due to the coronavirus outbreak. So let’s make lemonade out of these lemons--you still have time to create a masterpiece! Stay safe and enjoy this extra time to paint. PSWC members are always up to something. Here are just a few of the things they are doing out in the art world! Shuk Lee was recently elected as an Artist Member at the Salmagundi Club in New York City. Her “Big City Lights” was juried into the Salmagundi Spring Auction Benefis Member Show, and, her “Reminiscence of the Cape” won the Jack Richeson and Company award at the Connecticut Pastel Society Member Show.

Solitude by Marie Gonzales

Mary Stahl is please to announce that two of herpastels were accepted in the 90th Annual Statewide California Landscape Exhibition in Santa Cruz (Feb. 28 - Apr. 12). One of them, “Stormy Skies” was awarded an Honorable Mention.

Reminiscence of the Cape by Shuk Lee

Marie Gonzales will be displaying her art work (10-12 pieces) at the PBS KVIE Gallery, 2030 West El Camino Ave, Sacramento, CA 95833 from April 1, 2020 to May 29, 2020 with an artist reception on April 16, 2020


Stormy Skies by Mary Stahl

Daggi Wallace will be part of a group exhibition featuring some of today’s best artists working in fig-

News & Notes urative realism at the Zhou B Art Center in Chicago, immensely talented and diverse artist. Illinois. The show is called The Creator And The Muse and runs from May 15-July 10, 2020. Artists were asked to paint, draw, photograph or sculpt other artists (and some collectors) who inspire them. Daggi did a triple portrait of painter Richard Barnett and he in turn painted her as well. Neither has seen the paintings. They are to be kept secret until the open-

I Am No Bird; And No Net Ensnares Me II by Daggi Wallace

ing! Daggi also received two Honorable Mentions in the current Pastel 100 issue for the piece above and on page 43.: In addition, Daggi has been hosting world-class artists in her studio in California and Berlin, Germany. Tony Allain’s plein air workshop will be in June, 2020, and there are still a couple of spots left! She is also super excited to host Dawn Emerson in the fall. Details to follow!! It will be at the same location, Camarillo, CA, most likely Nov 12-14, 2020.

Asclepias by Karene Infranco

Clark Mitchell is offering Private Coaching With Clark! Have you reached a point where you need some private, one-on-one time with Clark? Clark is a fantastic teacher and premeir pastelist. This is a wonderful opportunity to study with a master in or near his Napa/Sonoma area studio. Possibilities include painting indoors or outdoors, critiques, demonstrations, consultations. Cost: $60 per hour, two hour minimum. Contact Clark at 707.793.9131

Karene Infranco was recently accepted as an artist member of Salmagundi Club, and she is the incoming president of Catharine Lorillard Wolfe Art Club. The 125th anniversary of the club is next year‌ Catharine was one of the founders of the Met and every year the club donates the proceeds from the annual benefit reception to the American Department at the Met. Karene has organized some spetacular events as the regional representative for the PSWC in the New York area. She also works with the PSA. She is an

Late Spring by Clark Mitchell

PSWC Magazine | Spring 2020


The 34rd Annual International Open Exhibition of

A Dynamic Journey! will be held at Art Center Morro Bay September 17 - November 1, 2020 8

PASTELS USA 2019 Show Winners BEST IN SHOW The Narrator by Candice Grieve, PSA Chesterfield, Michigan 17x21


Mirth and Serendipity by Mary Aslin, PSWC, PSA San Juan Capistrano, California 18x24

Chinese Tea by Jeri Greenberg, PSA Mountainside, New Jersey | 16x12 PSWC Magazine | Spring 2020



PSWC MEMBERS ONLY ONLINE SHOW (MOOS) 2020 WINNERS The Pastel Society of the West Coast’s Members Only Online Show repesents some of the best art in pastels. This year there were nearly 700 entries, so the job of our Judge, Clark Mitchell was especially difficult. Here are all the accepted entries and prize winners. Thank you for making this such a dynamic, beautiful show.






BEST IN SHOW- GENERAL MEMBERSHIP The Calling by Christine Troyer

From the Terrace by Christine Ivers | 15x12

Still Inside by Jeri Greenberg | 14x10

PSWC Magazine | Spring 2020







FIRST PLACE GENERAL MEMBERSHIP Passing Fancy by Nanci King Mertz








PSWC Magazine | Spring 2020













Colorado Memories by Stan Bloomfield

Zack by Stephanie Long


Walk On By by Yael Maimon

Fiesta In Panama by Shuk Lee

PSWC Magazine | Spring 2020




Fresh Snow by Tony Allain

Hernandez by Patricia Stoddard Aragon

Timeline by Patricia Arbino

To Have and to Hold by Mary Aslin

Forever Bonded by Barbara Archer-Baldwin




Across the River by Phil Bates

Echoing by Kathryn Boggs

Just Showin’ Off by Linda Bèze

Boband Zephyr by Barbara Berry

SoCal Halloween Night 2019 by Jennifer Blackburn

PSWC Magazine | Spring 2020




Ears Looking At You by Brennie Brackett

Allure by Ginny Burdick

Sedona Cactus Bloom by Deborah Breedon


The Golden Hour by Kris Buck



Mount Tom East Sierra by Chris Chapman

Wool Hat by Tonya Carpenter

Cassis Beauty by Laetitia Comps-Agrar

Around the Next Bend by Donna Catott

Poppy Pods in Procession by Gina Carstens

PSWC Magazine | Spring 2020




Fields of Gold by Lynda Conley

Loudly Quiet by Patti Christensen-Woodard

Corinne’s World by Mary De Benveniste

Grandpa’s Chair by Sidnee Cox

New Mexico Vista by Patricia Connolly




Cascading Waters by Janis Ellison

Rock ‘n Flow 3 by Francesca Droll

April Showers Bring May Flowers by Garry Drake

Hello by Brenda Ehmann

Off and Running by Donna Dutra

PSWC Magazine | Spring 2020




Summit Harmonic by Linda Evans

Delirious Anticipation By Jen Evenhus

The Violinist by Marian Flahavin


Sunset Cypress by Terri Ford



Patchwork Farm Capay Valley by Robin Fourie

Ocean Sunset by Claudette Gamache

Gaviota Beach Outlet by Karen Glancy

Joyful Memories From Childhood by Irene Georgopoulou

Artist’s Point Yellowstone by Lisa Gleim

PSWC Magazine | Spring 2020




Obi is Gold by Marie Gonzales

Wood Turner with His Lathe by Susan Goodmundson

View Above by Cory Goulet

Somewhere in Between by Alejandra Gos


Evening Commute By Morgan Green



Lemons in a Blue Bowl by Jeri Greenberg Swim and Fetch by Michelle Grant

Walkabout by Christy Harangozo

Rest by the Fire by Ellen Gust

Trust by Candice Grieve

PSWC Magazine | Spring 2020




Vein of Gold by Kathleen Hartman

Where’s My Dinner? By Marianne Harris

Sun View by Carol-Lois Haywood

Chaos and Calm by Dotty Hawthorne


Leaving Hollister Jane Hilton



Al Fresco in Rome by Karen Horne Still Life 1 By Larry Hemmerich Autumn Reflection by Deborah Henderson

Reverie by Katherine Irish Pacific Storm Clearing by Debee Holland-Olson

PSWC Magazine | Spring 2020




Capturing Attention by Karen Israel

From the Terrace by Christine Ivers

Sunday Snow by Becky Johnson

Gentle Rhythms by Randye Jensen


Autumn Sentinel by Lucinda Johnson



Morning Nap by Karen Jones

Catalina by Jackie Johnston

A Cloudy Day At Crab Cove by Deepali Kapatkar

Corah by Tricia Kaman

Sunny Day by Bonnie Kempner

PSWC Magazine | Spring 2020




Ogunquit Dunes by Sherry Killingsworth

Loving Embrace by Jeremy Mun Loong Lee

Hey Bartender by Susan Kuznitsky

Learning to Speak by Nancy Komick


Point Of View by Paula Darby Lipman



California Dreamin by Suzanne Leslie

Sunny Runny Morning by Judith Leeds

Back Road by Marina Marshall

The Fast Lane by Joe Mancuso PSWC Magazine | Spring 2020




Stormy Seas by Catherine McKeever

The Meadow by Linda Melber

Tradiciones Mexicanos by Judy Miller


The Irishman by Carol Murphy



Maestro 3 by September McGee

Ranch Horses by Linda Mutti

Mochaav Cats Life by Maryann Mullett

Magical Place by Nancy Misek

Cedar River Picnic by Barbara Newton

PSWC Magazine | Spring 2020




Won’t Give Up by Christine Obers

Ancient Music by Hal Oleari

Rabbitbrush Season by Bonita Paulis

In the Kitchen by Ugo Paradiso


Spring Willows Lee Vining Creek by Erika Perloff



Still Life 1 By Larry Hemmerich

Enlightened by Denice Peters

First Light by Deborah Pepin

Last Light by Sandra Place

Reverie by Katherine Irish

Water Break by Debbie Patrick Drifting Away by Peggy Post

PSWC Magazine | Spring 2020




Valley Views by Susan Powers

Tulip Blooms by Leah Read

Waiting For the Wave by Heidi Reeves

Trifecta by Jane Robbins


Cottage Charm by Barbara Reich



Spring Harbinger by Elizabeth Rhoades

Peeking Through by Darcie Roberts

Coffee Klatsch by Tamra Sanchez

Joy by Lisa Rico

PSWC Magazine | Spring 2020




The Two Of Us by Gay Lynn Saunders

Canyon Radiance by Denise Rizzo

Devereux Sunset by Ann Sanders Claudia by Cheri Saffro




Sunlit Shadows by Kate Scott

Lucie by Lynn Simon

You Me Peonies by Deborah Shea

Reflecting by Julie Skoda Half Domein September by LaVone Sterling

PSWC Magazine | Spring 2020




The Meander by Jill Storey

The Silver Grove by Sarah St George

Blue Chairs Table Light by Sally Strand

Fortitude Pt. Lobos by Patricia Prescott

Plumpot by Vianna Szabo 40



Lazy River Day by Stephanie Teeter

Oaxacan Marketplace by Nori Thorne

High Noon by Donna Theresa Wanderer by Solene Tartivelle

PSWC Magazine | Spring 2020




On The Brink by Jim Tyler

The Gift Box by Marie Tippets

Waimea Pier at Dusk by Helen Turner

Springtime Flow Cameron Falls by Doug Tweddale




Starbucks Pond by Dug Waggoner

Abundance by Daggi Wallace

Arch Rock b y Marti Walker “Hi” by Pam Walker

Crashing by Bobbye West-Thompson

PSWC Magazine | Spring 2020




Super Bloom In Red by Patricia Westman

Snowy Lashes by Joyce Williams

Cedar Waxwing in High-bush Cranberry by Kimberly Wurster Late Night Marguaritas by Sharon Will

JULY 2019 44


The cure for claustrophobia.



Subscribe | 800.610.5771 | Fog at Back Cove Tom Hughes, acrylic, 45 x 60 in. private collection, studio from plein air painting

PSWC Magazine | Spring 2020


Meet the Members


The Heart of An Artist: Daniel E. Greene

The Heart of An Artist

Feature Stories About Life And Inspiration In An Artistic Life Written by W. Truman Hosner ©

Daniel E. Green (American, 1934- ) This is the second in a series of interviews with artists who have had great influence on the world of pastel art. In this story I continue my search for the art spirit. If I am successful, what we will learn in terms of the individuality in creativity will be of great value to us all. -Truman Hosner

pastel “nation” we all enjoy today. A mutual friend has shared with me that Daniel and his gifted wife Wende Caporale lead understandably private lives. Their home, Studio Hill Farm in New York State, is a place for creative refuge, a sanctuary to contemplate life and art...and a place for teaching.

Over the last century and into the first two decades of this century, like an army of steamrollers, the art world has constantly “There exists in the world a single path along sought to flatten and reinvent itself. Apart from which no one can go except you: where does it that there has been a conlead? Do not ask, go along it.” stant...Daniel Greene. Without question he has stayed -Nietzsche his course with realism in his painting. Take a good look at his resume and you soon realize you are looking at the story of an extraordinarily gifted artist. In terms of portraiture he just may be the John Singer Sargent of our times. He is truly a superstar in contemporary realism, who over the years has taught some of the best of the best. Through it all Daniel Greene has consistently traveled his one and only single path, and the result is amazing! If you love and work in the medium of pastel as I do, meeting Daniel Greene in person is a lot like meeting a president of the United States . . . after all, in so many ways Greene is one of the founders of the

The truth is I have met Daniel Greene in person only twice in my life. The first time was in 2003 at the Sacramento Fine Arts Center in Carmichael, California. Daniel was being honored with the very first Pastel Laureate ever presented by the PSWC. It was the PSWC’s 17th Annual National Exhibition and I had traveled there because a painting of mine had been awarded. Greene and I were both caught in a snowstorm flying out from the East, and I believe we both were plenty glad to have arrived safely soon to be enjoying the California sunshine. I remember he came quite late in the evening to our hotel, we introduced ourselves, and he politely excused himself, weary from travel. The next day at noon we met in the lobby to travel together to the exhibition. On the ride there and during the entire reception, he was charming,

All rights reserved on all images – Daniel E. Greene © Left: 51st St. - Wende by Daniel Greene | 46 x 30 pastel on wood

PSWC Magazine | Spring 2020


The Heart of An Artist: Daniel E. Greene he was complimentary, and he was inspirational! The next time I met Daniel Greene would be three years later at the Pastel Society of America Awards dinner at the National Arts Club in New York City. He was with Wende, an outstanding pastel artist by her own right, who has authored two instructional videos as well as an instructional book about pastel, and to whom he has now passed the baton for his teaching. They were both receiving awards that evening. When I reminded him that we had met before and teased that at the time he had offered to sell me an art video of his teaching, ever the gentleman his response was; “Always the businessman, always the businessman.” It was delivered with a warmly disarming smile. But, I have been meeting Daniel Daniel in the Studio (photo from NY TImes) Greene all along and in many places. I have met him in a veritable list of who’s who of artists through their exclamatory compliments about his teaching and the influence he has had on them both artistically and personally. Daniel Greene’s legendary teaching is mercurial in nature in that it pops up all the time in unexpected ways. It is not unusual to find many of the best artists in and out of the pastel world expressing that Greene was prominent in their artistic development. The spectrum of his students is quite remarkable, from Horace Champagne to Cuong Nguyen, Sharon Sprung to Ron Scherr, Wende Caporale to Nancy Yang. Nancy is a pastel artist and former president of the Pastel Association of Taiwan, and yes, recent Democratic presidential candidate Andrew Yang is her son. The Encyclopaedia Britannica considers Daniel Greene the foremost pastelist in the United States. This is His Story: Born in Cincinnati, Ohio, Daniel Greene began his 48

art studies at the Art Academy of Cincinnati. What was soon to follow was a period where he worked as a street artist out of a storefront in Miami. While this “on the job” art training experience may have been unorthodox in nature, making as many as seven portraits a day he was honing his talent and forming the artistic ideals that would serve him well as he continued along his path. Leaving Miami Beach in the mid-50’s, he moved to Greenwich Village in New York City. In the early 50’s American Abstract painting had suddenly become an international entity and New York City became the new mecca of the art world. Most of us have only read about the likes of Pollock, de Kooning, and Rothko, but along with soon-to-be notable musicians and writers, these artists frequented the Cedar Tavern on University Place. The Cedar Tavern was in Daniel’s neighborhood. Yet despite facing the seductive energy that Abstract Expressionism was generating back then, he chose his own path and pursued classical training at the National Academy of Design and the Art Students League. Eventually, he would teach at the National Academy of Design, then taking over for Robert Brackman he would teach as many as 75 students in three classes at the Arts Students League in New York City. Throughout his career coupled with his workshops, Daniel Greene has unselfishly shared his knowledge with artists wanting to seriously learn contemporary realism. His teaching and thinking are contemporary in spirit. I am convinced he will be remembered with great art teachers the likes of

The Heart of An Artist: Daniel E. Greene

Circus Voltini by Daniel Greene |30 x 40 pastel on cloth

PSWC Magazine | Spring 2020


The Heart of An Artist: Daniel E. Greene

96th Street - Tunnel by Daniel Greene | 40 x 60

Charles Hawthorne, Robert Henri, and of course, Robert Brackman. Though, unlike Henri whose work at times suffered from his teaching schedule, year after year Daniel Green delivers artistic masterpieces. Many times those works are done in pastel. His “Subway” series alone should insure his place in American art history. He is a member of the National Academy of Design; a Hall of Fame Honoree at the Pastel Society of America; a Pastel Laureate with the Pastel Society of the West Coast; has been given the only Lifetime Achievement Award by American Artist’s Magazine; has received the John Singer Sargent Award from the American Society of Portrait Artists; Greene is the recipient of the Benjamin Clinedinst Memorial Medal of the Artist’s Fellowship; and was given a Gold Medal by the Portrait Society of America. Daniel Greene’s subway paintings are the subject of a PBS documentary titled: “The Genuine Article”. He has written two books as instructional treatise for artists who work in pastel, one of which was in print for over 25 years, and has been translated into seven languages, most recently Farsi. He has six instructional videos. 50

Greene is assuredly a national cultural treasure, with work in over 700 private and corporate collections, and museums internationally. A list of highlights here in the US holds no surprises: Smithsonian Institution, Washington, D.C.; the Metropolitan Museum of Art, New York, NY; the Cincinnati Museum of Fine Arts, Cincinnati, Ohio; Columbus Museum of Art, Columbus, GA; Butler Institute of American Art, Youngstown, Ohio and the House of Representatives, Washington, DC. Greene’s reputation in portraiture is also exceptional. Many of his portraits are in pastel and the list of his commissions is absolutely extraordinary, ranging from Eleanor Roosevelt (personally presented to first-lady Hillary Clinton in a special White House ceremony) to Wally Schirra (Astronaut) to Benjamin Cayetano (Governor Hawaii) to the Honarable David Ben-Gurion (Prime Minister, State of Israel) to Robert Beverly Hale (former Curator, Metropolitan Museum, New York (who for years taught anatomy for artists at the Art Students League). To fully appreciate the scope of his accomplish-

The Heart of An Artist: Daniel E. Greene ments it is best to visit his website at: About Life and Art – a Conversation with Daniel Greene Truman: So, first let me start by saying thank you for taking the time to do an interview. I greatly value and respect your work. Daniel: Well thank you. I’m very happy to do it. Truman: Russell Chatham (an American tonal-painter) passed recently and I was surprised to read he never attended school after high school, yet he created remarkable works. If an artist is essentially selftaught like Chatham, what are some of the potential downfalls? Daniel: Being self-taught carries with it some disadvantages. One is that many outlets for teaching (schools & colleges) require art degrees that a selftaught artist may not possess. The major obstacle would be for teaching-positions, art galleries usually do not require a formal art training background. Truman: Are there advantages to being self-taught? Daniel: The only advantage that I can think of is that

Antique Rug by Daniel Greene | 24 x 36

being self-taught would probably make more importance of the personal ideas that an artist has, in other words being self-taught means you don’t have to undo the influence of a teacher. Truman: That’s probably what Georgia O’Keefe was talking about when she said “even the things painters have taught me . . . keep me from painting what I want”. Daniel: Yes, that’s exactly right. The key phrase is “undo”. You don’t have to unlearn anything. A good analogy that I can think of is when one is drafted into the army. The army is pleased when no rifle or weapons have been used by the draftees, so that they don’t have to unlearn anything. That’s why they prefer people with no training rather than people with erroneous training. Truman: Andrew Wyeth’s father N.C. Wyeth said that he felt “no great artist ever went to college”. What do you think he was pointing out? Daniel: N.C. Wyeth was pointing out that a college art education was not necessarily a requirement in order to be a great artist. Truman: Frank Reilly was an apprentice to the great illustrator Dean Cornwell. Reilly was also a re-

PSWC Magazine | Spring 2020


The Heart of An Artist: Daniel E. Greene

Ceremony by Daniel Greene | 32 x 50 pastel on wood

nowned teacher at the Arts Students League. What is unique to your and Brackman’s teaching at ASL that differed from Reilly’s? Daniel: Mine, and Robert Brackman’s teaching was from live models and incorporated traditional painting techniques. Frank Reilly’s method was based on satisfying clients, working from photographs and utilizing a painting system based on commercial compromise. Truman: In your teaching at the National Academy of Design and the Art Students League in New York City, what advantages did those genres of teaching afford you and your students, which could not have been found in a university art program?


Daniel: The main emphasis at the National Academy of Design and The Art Students League was in conveying academic figure painting techniques. Traditional painting methods were not offered during the heyday of Abstract Expressionism in university programs. Truman: University art programs have had a trend to phase out and eventually eliminate classical drawing and painting fundamentals from their art curriculum. Do they then become intellectual art programs? Daniel: Well yes, mainly. The teachers that were hired by universities and various art schools, didn’t really have to have a hands-on knowledge, the the-

The Heart of An Artist: Daniel E. Greene oretical ideas of art were sufficient to qualify as a teacher. You didn’t have to prove that you were excellent at the practical aspects of painting. It was mostly based on theory. Truman: Have the university art programs become cauldrons for art theory more than they are really about painting and drawing? Daniel: That’s so. Truman: Very few abstract painters have come to light in recent years. Would you agree representational art has enjoyed a huge resurgence, and if so, what has transpired to make that happen? Daniel: Many art students, particularly young aspiring painters, have again sought acquiring skill in representational art in order to equip themselves technically in contrast to the intuitive quality of abstract painting. Truman: Do you feel that the ateliers now are the future for learning the fundamentals in classical painting and drawing? Daniel: Unless something else better comes along that’s the area that young artists are seeking in order to get more training. I would imagine that in the future there will be more schools opening or more schools emphasizing the classical painting techniques. Truman: Is the work of contemporary realists “mere illustration” as a critic for Time magazine once pondered about Andrew Wyeth’s work? Daniel: I disagree with the Time magazine critic that once pronounced Andrew Wyeth’s work “mere illustration”. Wyeth’s work was very personal biographical paintings that were based on Wyeth’s emotions and thoughts. Not the same criteria of illustration where work is based on satisfying clients. Truman: What do you feel makes a painting a work of fine art as opposed to an illustrative work?

Daniel: The same as I just said. Truman: Your answers are very succinct and articulate. It occurs to me; you speak the way you paint . . . there are no wasted words. Daniel: Oh, ha . . . well, that’s good to know. Truman: At a time when New York artists were developing the language of abstraction, it became increasingly difficult for representational artists to be considered as anything but outmoded and old fashioned. Why at that time did you then decide to pursue classical training? Daniel: I felt it necessary to acquire mastery of classical painting techniques so that I would be equipped to pursue my painting aspirations without gaps in my training or ability. Truman: Could you tell me what were those aspirations? For example, did you decide that you wanted to be doing portraiture . . . or? Daniel: Well in visiting museums and in looking through art books or books on art, I had concluded that the direction that would equip me most to do the kind of paintings that I was interested in . . . was to be found in realistic training, realistic art works, much like the works that were available in the Metropolitan Museum and the Frick Museum. At the time I didn’t feel that abstract painting would lead to continuous development. It was just simply too easy. I sought out something that I thought would be a more inclusive direction, which was the kind of paintings that I saw in realistic art. Truman: Would it be accurate for me to say that what you were thinking as a young artist was that though you would have a longer path to travel in realistic painting, abstract might lead to some dead ends? Daniel: I wouldn’t put it that way. I just didn’t see any future in abstract painting, which was marginally intuitive. Classical training seemed to be a better direction. In order to be better prepared . . . I was mastering or learning to master realistic figurative painting techniques. And that could be as complicated as the greatest works in realistic painting that were in museums, or it could be as simple as just simply closing eyes and moving paint around on a

PSWC Magazine | Spring 2020


The Heart of An Artist: Daniel E. Greene canvas just through feeling. Truman: Did you ever feel like giving up, that classical training was just too difficult, that you might like to try something easier, like say brain surgery? Daniel: No, I never felt that classical training was. The entire field of painting is to me as complex as religion, mathematics and any other field of extreme complexities. Truman: Following up on the idea about intuition in painting. Would you agree that what makes a great painting is a perfect marriage of skill and intuition neither one standing independent of the other? Daniel: Well that’s a difficult question. I think what makes a great painting is number one; the mastery of the material of paint . . . that is the skills that are involved, and a narrative that’s expressed in the subject, and an area of feeling, which might be another word for intuition. Also, a unique point of view that the artist as a storyteller possesses in the painting. It would be skill, narrative, feeling, and whether the thought behind the painting is properly expressed.

story with this: “May I say, too, that much of what I put in this book was inspired by the grotesque prices paid for works during the past century. Tremendous concentrations of paper wealth have made it possible for a few persons or institutions to endow certain sorts of human playfulness with inappropriate and hence distressing seriousness.” Can contemporary realism ever be reconciled with the “modern art” world? Daniel: I doubt that the contemporary realism movement will ever be reconciled with the modern art world primarily due to the huge investment already committed in the so-called USA abstract movement. Truman: Speaking of Modern art, Pablo Picasso said good artists steal, bad artists copy. What do you think about that statement? Daniel: I disagree with Picasso that good artists steal but I believe bad artists copy. Truman: Before finishing I thought it might be fun to have a little human-interest story from your experience as a painter. Daniel: I do remember something that might be relevant. When I first started as a professional painter it was as a pastel artist in Miami Beach doing rapid portraits in an openfront store of tourists who wanted their portraits done. There would always be a crowd of people watching the artists work.

Daniel at the Easel in Normandy, France

Truman: If I said good realistic painting is really a combination of skill and intuition but, abstract painting is really not skill, it’s really just intuition . . . do you think that would hold true? Daniel: Well that’s applicable. Though I don’t know that those words express it exactly. But in realistic painting there are a number of combinations that need to be satisfied and in abstract painting it’s primarily a question of feelings or intuition of the artist that has to be satisfied. You know I don’t think that abstract painting is nearly as demanding or inclusive as is realistic painting that embodies numerous skills. Truman: In his fictional novel about Abstract Expressionism, Bluebeard, Kurt Vonnegut prefaces his

On one occasion when I was working I was nearly finished doing a portrait of a little girl and a woman behind me said she didn’t think I had the eyes quite right. And I modified the eyes a little bit, as I looked again at the little girl, and I got her okay. Then the woman said she didn’t think something was quite right about the nose. And I tried to re-look at the nose and get it right, and finally she nodded that she approved, and I continued to work and when I was finished I said to my subject, the little girl, you can Right: 86th Street #1 by Daniel Greene |


The Heart of An Artist: Daniel Greene

PSWC Magazine | Spring 2020



The Heart of An Artist: Daniel E. Greene get up now. I think we’ve satisfied your mother, and she said, “oh...that wasn’t my mother!” I said, “It wasn’t?” and she said, “no that was just somebody in the crowd” But the woman had felt compelled to tell me how to do the picture! Truman: One last thought...John F. Kennedy on October 26, 1963 at Amherst College said this in a speech: “The artist, however faithful to his personal vision of reality, becomes the last champion of the individual mind and sensibility against an intrusive society and an officious state. The great artist is thus a solitary figure. He has, as Frost (Robert Frost) said, a lover’s quarrel with the world. In pursuing his perceptions of reality, he must often sail against the currents of his time.” Does this describe your life Daniel? Daniel: Yes, pretty much. Daniel E. Greene will be 86 this year, undeniably he is THE American Grand Master of pastel.

Though much is taken, much abides; And though We are not now that strength which in old days Moved earth and heaven; That which we are, we are; One equal temper of heroic hearts, Made weak by time and fate, but strong in will To strive, to seek, to find and not to yield. -Alfred Tennyson

Gallery Affiliations: Beverly McNeil 60 28th St. South Birmingham, AL 35233 (205) 328-1761 Cavalier Gallery 3 W 57th St New York, NY 10019 (212) 570-4696 Cincinnati Art Galleries 225 E 6th St Cincinnati, OH (513) 381-2128 Cutter and Cutter Fine Art Galleries 25 King Street St Augustine, FL 32084 (904) 810-0460 Gallery Henoch 555 W 25th St New York, NY 10001 (917) 305-0003 Portraits Inc. 2801 6th Ave S. Birmingham, AL 35233 (205) 879-1222 T.H. Brennen Fine Art 7150 E. Main St. Scottsdale, AZ 85251 (480) 994-1355

About the Author W. Truman Hosner earned his BFA at Wayne State University in Detroit, following it with post-graduate work at the Center for Creative Studies where he eventually returned to teach.

Paintings by W Truman Hosner have been featured in national and international museum collections and exhibitions ranging from New York City California... to France and Asia.

Before moving into fine art, as a nationally recognized illustrator he produced illustrations for brands such as Readers Digest, CBS-Fox Video and Kennedy Center for the Performing Arts. Truman then studied at the Scottsdale Artists School with Harley Brown and Dan Gerhartz.

“Painting from life, the integrity of Hosner’s art is never in question as he conveys through his works the evolving moods and dynamics that can be captured only through the art of plein air painting.” -Harry Goldson, Suttons Bay Galleries

Left: Robert Beverly Hale by Daniel Greene | 50 x 36

PSWC Magazine | Spring 2020


The Pollak Interview--Rita Kirkman

Rita Kirkman


by Laura Pollak, PSWC, PSA, PSNC, SP

ment. So let’s learn how Rita became one of our most unique and accomplished pastel artists! LAURA P: Where were you born? Where did you grow up? RITA: I spent my first 19 years in Toledo Ohio, and every summer meant a visit to nearby Cedar Point Amusement Park in Sandusky...(“The Amazement Park!” chock full of roller coasters!)

Everyone knows Rita Kirkman’s work for the brilliant glow and glancing light of her bunnies, cows and does. What we may not know is how exquisitely she paints the figure from Rennaisance Fair characters to tender portraits. Facebook, the great connector of the world is where I first became aware of the joy of Rita’s work. With many comments and heart emojis for her paintings, I eagerly awaited her next post. When I walked into the Hotel Albuquerque lobby in 2017 for my first IAPS Convention, I was trying to gather a crew to go out Plein Air painting. I turned around and saw Rita in the lobby. I was like a rock band groupy! I went right up to her and said ‘OMG You’re Rita Kirkman!’ I think I startled her but then invited Rita to come out painting with us and that’s how we met. Since then I consider her a friend and an artist that always surprises me with her next best accomplish58

In fact, my professional art career started at Cedar Point. The summer I was 18 I was walking up the Midway with my cousin. She pointed to one of the artists and says ‘Hey Rita you could do that’ and I said ‘Yeah...I could do that!’ No hesitation and no doubt. I don’t know why I hadn’t thought of it before. So we had our portraits drawn (for $3.95!) and I took mine home and started practicing. I offered free portraits by artist on campus to gain experience. When I had an interview at Cedar Point, they offered me the job! Long story short, on a whim I ended up declining the job at Cedar Point that summer, and instead applied as an airbrush artist the following summer (A friend told me that was where the real money was!) I had my airbrush interview with the same lady at CP. She said, “What we really need is portrait artists and I can start you at second year commission because I remember you from your interview last year.” I said, “Well, Ok, I guess.” In retrospect, I must have been really good or they must have been really desperate. Ha! Two weeks before the park opened, Kaman’s Art Shoppes, Inc., (the foremost art concessionaire in amusement parks) took over the art concession, raised the prices, added quality frames, and increased the commission rates. Half the artists were


den by Rita Kirkman

PSWC Magazine | Spring 2020


The Pollak Interview--Rita Kirkman first-years that summer, and I found out from the returning artists that it really was a crappy job before. I wonder now if the whim that had me declining the previous year was the hand of fate. That summer of 1986 was one of the best times of my life! I latched on to Emily Christoff, who was the 3rd-year lead artist had the best portrait sketch of anyone there. I watched every line and stroke she made and did my best to imitate her style. LP: Did you finish college? Connection Timed Out by Rita Kirkman


RK: I have a BFA from the University of Dayton. After my first year, I switched from commercial design to illustration because I realized I’m not an idea person. I just wanted to draw pictures. LP: Where do you reside now? RK: I live in New Braunfels, Texas, north of San Antonio. The job with Kaman’s Art Shoppes moved me to Busch Gardens in Williamsburg, Virginia in 1989 then out to Texas in 1992 to manage their operations at Six Flags Fiesta, Texas when the park was

The Pollak Interview--Rita Kirkman first built. I got to hire all my own people and still do portraits. I managed the Portraits, Caricatures, Airbrush, Antique Photos and Temporary Tattoos. I retired from Kaman’s in 1997 before the birth of my son. LP: Describe what your childhood was like. RK: I was the youngest of six, teased and picked on by siblings because they all knew I was my parents favorite ;) I was largely ignored and able to devote large amounts of time to nurturing my imagination.

LP: When did you know you were an artist? RK: I kind of always knew. I have memories from kindergarten or 3-4 years old, and I remember drawing at the dining room table. Even by 2nd grade, I knew art was my subject and that math was NOT MY SUBJECT. All through elementary school, I knew I’d be an artist. I also wanted to be a ballerina. LP: Did you take lessons as a child? RK: Back when art was still a subject in elementary school I had it at least once a week. I remember a summer art class at the Art Museum and my mom argued for me to get into this class when I was 12, even though it was an adult class. The description said “ages 14-adult” and the children’s art class said “ages 8-12.” Mom said since I was going to be 13 the following month, and because of a typo (apparently) there was no class for 13 year olds, that they should let me into the adult class. So... they let me in. I was horribly shy, but I remember doing some really great work and became a sort of “class pet”. Then, in high school I was an art major. PSWC Magazine | Spring 2020


The Pollak Interview--Rita Kirkman LP: Do you have any artistic connections in your family? RK: They all had some kind of musical talent except me, who got most of the visual talent. Bill played keyboards in a band when I was in high school which was kinda cool when his band played events at our school. Dad was a mechanical engineer with darned good drawing ability, which I found out later in life. Therese could draw, too but never used it. My sister Julie is a wizard with a sewing machine, just as Mom was. LP: How did your schooling impact your career? RK: I don’t really recall learning anything in college that I ended up using in my current career as a “fine” artist, but my time in amusement parks doing 5-minute portrait sketches on commission did completely spoil me for any “real” job and gave me an excellent foundation for being self-employed. LP: When did you first get into Pastels?

Chic Chick by Rita Kirkman

RK: My parents bought me a basic set of 12 Nupastels when I was 11, and when they had their bowling league nights, they’d take me along, and I’d sit at one of the round tables in the bowling alley and draw with pastels in a sketchbook. I still have some of those early drawings! LP: Do you use other mediums? RK: I had the basics in all the usual stuff in college, but wet media gave me some bad mixing experiences back then (plus I hate cleaning brushes!) so


throughout college and beyond, if I had to produce something fast, I’d use pastel (or pencil.) I did finally take an oil painting workshop several years ago and I love oils now but pastels are still quicker and easier for me. I’m fairly adept at using watercolor or acrylic (usually as underpaintings for pastel.) LP: How did you develop your personal and distinctive style? How would you describe your technique? My current style developed gradually through several steps. Around 2002 I used some Art Spectrum primer on some matboard to fit this old frame that I had because it was just a bit larger than a sheet of Canson (my usual surface of the time). Well, I found out that matboard is not good when primed and I had to gesso the backside desperately trying to get it to lay flat again! My second attempt with the primers was on foam board… Uh, that didn’t work either. Then somewhere someone told me about Gatorboard and I never looked back. I really enjoy the brushed-on texture of the Art Spectrum primers and the Terra Cotta color became my favorite because I love the warmth. In 2009 I was painting a 32” x 32” study of a white calf, black calf and brown mama, and faced with the choice of building all of those extremes with pastel, or underpainting them first. I opted to underpaint to save time! (“Black Coat”)

The Pollak Interview--Rita Kirkman

Firebrand by Rita Kirkman

PSWC Magazine | Spring 2020


The Pollak Interview--Rita Kirkman With “Texas Pride and Progeny” in 2012, I recalled the Quinacridone Nickel Azo Gold color that was used by Susan Ogilvie, and primed my board first with this color because these grasses were SO gold, it just called out for it! So this painting has the gold under the lights, and the terra cotta under the shadows. I quickly became addictXO by Rita Kirkman ed to this gold color and continued to use it under almost all of my works.

LP: What are your favorite scenes to draw? RK: Animals mostly, even when I get tired of them I always come back (maybe because they sell so well and I’ve been typecast? But I think having started as a portrait artist it’s the faces that pull at me. And furry animals are so much cuter (usually) than humans! It’s a fun job! On the other hand though, it’s the human in me that enjoys the cuteness of the animals, at the same time it’s the artist in me that is fascinated by painting the light that creates the form, shadows and reflected lights... as an artist my true subject is the light. LP: Where do you primarily show your work? RK: I’m in 3 galleries in Texas: The Gallery at Round Top in Round Top TX (but soon to be closing,) The Gallery at Brookwood in Bookshire TX, and The Car-

Since the gold color is slightly transparent and gets darker on each application, and my purpose for underpainting was to save time on the pastel, my underpainting slowly developed into the more value-scaled image that it is today. My actual pastel application has varied depending on who’s workshop I’ve taken most recently, lol. Nowadays I’m back to a variety of strokes using both the side and the tip of pastels. Overall my goal is to merge the underpainting with the pastel as harmoniously as possible. Sometimes it works. LP: Who influenced you in your art career? RK: Gosh, for career success I must credit mostly two artists who’s workshops I took early in my independent development. The artist Sara Eyestone says “Work in a series.” Prominent Daily Painter Carol Marine, says “Paint daily!” (And working small helps with this.) LP: Why do you stay with pastels? Why do you LOVE THEM? RK: What’s not to love?? A thousand other pastel artists have probably answered this question succinctly and poetically, and I agree with all of them! 64

Persephone by Rita Kirkman

riage House Gallery in Boerne TX. I also participate in a handful of fine art festivals each year. LP: Do you have a favorite substrate? RK: Gatorboard, because of its lightness and rigidity, and it can be primed without warping, and then the painting does not need a backing board when framed! More recently, Yupo was recommended to me, because it also will not warp or ripple when

The Pollak Interview--Rita Kirkman primed, and so doesn’t need to be taped down like other watercolor papers. (I’m all about saving time in my process!) I’m loving it when I need to travel because a 10-sheet pad of heavyweight Yupo is the same thickness as one 3/16” sheet of Gatorboard. Compact! Yeah! LP: Do you prefer to paint in a particular size? RK: All sizes appeal to me, because clients come in all (pocketbook) sizes! But working small has helped me to loosen up when I paint large, and it is also more affordable to a larger percentage of collectors. I do recommend working in standard sizes or sizes in which you already have frames.

nal feature in Oct 2013. LP: What are 2-3 non-art related hobbies or interests? RK: Reading fiction. I’d say photography but it’s usually art related (reference pics). I’m doing a fairly decent job refinishing a small antique table, but that’s kind of art related too...

Transience of Innocence by Rita Kirkman

LP: Where in the world do you really wish to go to paint? RK: Everywhere! LP: Tell us about your studio. My studio is an 18x19’ room in the back corner of the outbuilding we built after we moved into our current house. The best thing about it is it’s all MINE!! The worst thing is that it’s becoming the place that is attracting ALL my stuff and it’s gotten very overcrowded in there. (I absolutely must not buy any more frames until I’ve filled all the ones I have!) LP: What advice would you give your ‘younger’ self? RK: Play with your children more. LP: What major shows or publications have you been featured in? RK: Pratique des Arts Spécial Pastel, center feature and cover May 2015. Pastel JourPSWC Magazine | Spring 2020


The Pollak Interview--Rita Kirkman

LP: What would you tell beginning pastel artists as your best advice? RK: Paint, paint, paint!!! Paint every day, and paint what you love, and paint in series of things that are enjoyable to you until your subject becomes subordinate to your process. And paint small. LP: As you can tell, Rita is a very hard working down to earth artist that has also reached the top of her game with credentials like: Pastel Society of America (Signature Member) Austin Pastel Society International Association of Pastel Societies (Eminent

Pastelist) American Impressionist Society Hudson Valley Art Association (Signature Member) Connecticut Pastel Society (Signature Member) Rita is also a very savvy businesswoman. She’s not afraid to hop in her van and hit the road to go cross country to teach or set up at an Art Fair. Her workshops are amazing [I can attest!] and Rita openly shares all her secrets. Go to her website and marvel in the glow of her works and if you haven’t yet taken one of her workshops... book one now. Personally, I learned so much! www.ritakirkman.com0

Hahahaha by Rita Kirkman 66

The Pollak Interview--Rita Kirkman

Intent by Rita Kirkman

About the Author Laura Pollak, is a contributing writer for the PSWC magazine. She lives in Greensboro, NC and Naples, Florida. Laura teaches workshops around the country and teaches classes in her Greensboro Studio. Buzz by Rita Kirkman

PSWC Magazine | Spring 2020


Meet the Members

Joe Mancuso


by Joe Mancusco with Sabrina Hill

fourteen, we were visiting an art fair in Mammoth Lakes. I came upon an artist by the name of Helen Seal. She displayed watercolors and pencil sketches of the High Sierra, and I was amazed at the simplicity and elegance of her work and fell in love with one of her small sketches of Mammoth Mountain and The Minarets. My mom saw this and purchased the drawing for me. I loved the drawing, and it hangs in my studio today. Q: Who or what has had a strong influence in your work? California artist Joe Mancuso is an accomplished landscape artist with an long history of capturing the particular light of the California vista. Encouraged by his parents to pursue art (and have thefallback of teaching), Joe now does both, though he dabbled in construction and the Conservation Corps and sign painting along the way. Here is Joe on Joe: Q: Did you always consider yourself an artist? Or was there one day, when you realized that you were one? Tell me a little about that shift in awareness. A: When I was real young, around five or six years old I can remember visiting Grandma Mancuso’s house and staring at the paintings or prints that were on the wall. She must have had other paintings, but I found myself walking into these landscapes. These are some of my earliest memories. At some point around the same time, I can recall being asked if I wanted to be an artist? I don’t recall my answer, but the idea seemed to stick. For Christmas and birthdays, I would receive art sets, and I loved them. So I began drawing at an early age. My mother was creative and liked artwork and she hung paintings and prints around the house and without realizing it, this had an influence on me. When I was around 68

A: When I was in college 1992, I was a drawing major. I wanted to work with color but didn’t like oil painting at the time. I kept on being introduced to pastels and thought it made sense to hold a stick and drag it across a surface, so I started working in pastel more. About the same time, Clark Mitchell had a solo exhibition at Buena Vista Winery, and I went on a Saturday morning to check it out. I have to say this was it. I had no idea that pastel could do this, and it was a real eye opener. It started looking for pastel books and anything I could find about pastels. It wasn’t too long after I probably learned about PSWC. Q: What other jobs have you done? A: I was a sign maker after graduating from college. I worked for a local newspaper doing paste up. I also did some freelance graphic design. Q: Do you work exclusively in pastels? What other mediums do you use? How do you feel about pastels versus the others? A: Beginning in about 2006, I painted in oils about half the time for about ten years. During this period of time, I would switch back and forth between oil Opposite: Late Days Of Autumn by Joe Mancuso

PSWC Magazine | Spring 2020


Meet the Members and pastel and at times focusing more on one or the other. Before then I worked only in pastel. For the past four years I have only worked in pastel. I made this decision because I felt my work was not improving in either medium. I felt going back and forth became a distraction, and so I made the decision to work only in pastel for the next several pieces and really push myself. It turned out to be a very good decision. My work improved as well as my focus. I continue to use pastel exclusively. I feel like I still have so much more to learn, and that I am only scratching the surface. Q: What do you think about when choosing multiple pieces for a show? What do you look for in a piece to be selected for a show?


A: If the show has a theme, this will dictate what I choose. If I can choose any paintings, I will start with the ones that I feel are my best work. The pieces that achieved the goal or hit the mark that was set for them. Q: For many artists, the idea of entering a juried show or competition is terrifying. What advice would you differ to artists contemplating an entry in a show? A: I understand how that feels. Fear of rejection can be paralyzing. All too often I hear how artists, who have been at this for many years, still receive the dreaded, “Thank you for applying, the jury process was difficult, etc.�. I still receive them; however, I try to understand two things: 1.) This is usually one

Meet the Members person’s opinion, and 2.) Let this be a catalyst for improving your work. I know this is difficult and everyone at all levels experiences this, but it is not the deciding factor of who you are as an artist. Q: What advice would you give to your 20-year-old self regarding art? A: I would tell myself to keep it simple. Just concentrate only on painting and drawing. Study and be inspired by the artists and paintings you admire. Paint consistently, be kind to yourself, focus only on your craft and success will happen.

Gallery Representation Rock Creek Lodge 85 Rock Creek Road Mammoth Lakes, California 93546 877-935-4170 Del Monte Fine Art P.O. Box 2953 On the corner of 6th and San Carlos Carmel, Claifornia 93921 831-626-1100 Distinctive Edge Gallery And Framing 28636 S Western Ave Rancho Palos Verdes, California 90275 (310) 833-3613 The Fast Lane by Joe Mancuso

PSWC Magazine | Spring 2020


Meet the Members

Morning Showers by Joe Mancuso

Hillside Fine Art 445 W Foothill Blvd., Suite 101 Clairmont, California 91711 909- 268-4526 Mancuso Fine Art Studio 310-995-2809 Solvang Antiques 1693 Copenhagen Drive Solvang, California 93463 805-686-2322 The Garden Gallery , California 650 712 7777 North Tahoe Arts 380 North Lake Blvd. Tahoe City, California 96145


Across The River by Joe Mancuso

Meet the Members RECENT AWARDS 10/13/18 ..Rejoice In Art 2018 National Juried Art Competition First Place Award 9/15/18 Artist’s Choice Exhibition - Judith Hale Gallery At Solvang Antiques 9/1-3/18 Mammoth Lakes Festival Of Arts, Mammoth Lakes California 5/16-19/18 Carmel Art Festival Plein Air Competition - Best Pastel Award 4/30/18 San Dimas Western Fine Arts Festival of Arts 42nd Annual Art Exhibition And Sale. 12/3/17 Randy Higbee 6x6 Holiday Exhibition. Award Winner 11/1/17 Dakota Art Pastel Online Exhibit - Honorable Mention 10/20/17 Rejoice In Art 2017 9/1-3/17 Mammoth Lakes Festival Of Arts, Mammoth Lakes California 6/18/17 Los Gatos Plein Air 2017 - Honorable Mention 5/17/17 Carmel Art Festival Plein Air Competition - Artist’s Choice, People’s Choice and Best Pastel Awards

November Morning by Joe Mancuso

4/30/17 San Dimas Western Fine Arts Festival of Arts 41st Annual Art Exhibition And Sale. - Best Pastel Award 4/20/17 Pastel Society Of Southern California Members Exhibition - Best Of Show 3/31/17 Bold Brush Painting Competition - Finalist 6/17 - 9/17 California Art Club - Quintessential California 5/27/17 13th Annual Laguna Beach Plein Air Painters - Best Of Plein Air Exhibit Journey’s End by Joe Mancuso

PSWC Magazine | Spring 2020



Meet the Members

Marie Tippets


by Marie Tippets with Sabrin Hill

On a January day, I spoke to the delightful Mrs. Tippets about her art journey. After working for more than 22 years in her own graphic design business, she took a downturn in the business cycle to turn up her fine arts career. Her graphic design background is evident in her bold compositions--though her subject matter is, in may cases, quite delicate. We talked abouther tools and techniques (she works on rougher paper than you would expect (270 grit) with hard pastels, soft pastels, and pastel pencils. Here is Marie in her own words: Q: Did you always consider yourself an artist? Or was there one day, when you realized that you were one? Tell me a little about that shift in awareness. A: Yes, I always wanted to be an artist since I was a little child. I loved to draw and have been doing so since I was able to control a pencil. My mother tells me that I could draw exact replicas of the Sunday cartoon characters, but that she didn’t believe me. She accused me of tracing them and fibbing about it to get a bit of praise. So, one particular Sunday, she completely removed the cartoon section away from any visible reference and asked me to draw 3 of the characters. She was blown away at the accuracy. It encouraged her to be supportive of my art studies at a time when it wasn’t a very practical choice of a career. I promised that I would add some bit of practicality along the way.. Q: Who or what has had an strong influence in your work? A: Believe it or not, the newspaper. I’m dating myself here, but when I grew up, not only did people read the newspapers, but the fashion ads were illustrated!!!! No photos, just fabulous attitude-inspired sketches. I wanted

The Gift Box by Marie Tippets

PSWC Magazine | Spring 2020


When Life Serves You Lemons by Marie Tippets

to do that, so I signed up my first year in high school for art classes and continued with art education through the accomplishment of a BA degree at the end of college. My favorite high school art teacher, Sister Lizette, encouraged me to study all forms of art to round out my awareness and appreciation as well as my skills. She said that it would better inform me for art-related career choices down the road. In her opinion, she thought that I would make a fabulous architect as I loved math, had excellent drawing skills, and was keenly aware of depth and perspective. Of course, I was insulted – I wanted to be a “fine artist.” Hmmmm, that wasn’t? What a silly teenager. I often wonder now where my journey would have ended up had I studied along that path. I’m fairly confident that which ever way it went, my involvement in any art career would have made me feel as elated and fulfilled as I am today. I feel so fortunate to not only have been blessed with my talents but for that talent to be able to connect with so many wonderful opportunities that have been placed in front of me. The combination has allowed me to achieve so much happiness, and I am so grateful. In college, one of my professors gave us an assign-


Whoops! by Marie Tippets

ment to visit either a museum or art gallery every single week, pick a piece that particularly stood out to us and critique it referencing all that goes into a successful art piece: composition, color harmonies, atmosphere, mood, story-telling. In one particular session after we had been sharing these critiques for several weeks, he singled me out and said that I stood out above all the other students in understanding and appreciating art. I, of course, was blown away, but it encouraged me so much. I discovered Van Gogh, Mary Cassatt, Monet, Cezanne. The impressionists really stood out to me and for years I tried to be as loose and expressive as they were. It never work, as I never felt that my pieces were “done”, so I began listening to my inner self, realizing that maybe realism was my path. And the more that I followed that route, the more successful I became. It’s hard to fight who we are, so perhaps it’s best not to. Q: What other jobs have you done? A: My art journey as I like to call it, has involved one year of teaching (I fulfilled my promise to add a bit of practicality to my college education! Smile!), several Oposite: Celebrating Cherry Blossoms by Marie Tippets

PSWC Magazine | Spring 2020



years in retail as a display artist and later Regional Manager, and eventually the owner of an award-winning and very successful graphic design company. Q: Do you work exclusively in pastels? A: Yes, I work exclusively in pastels. I experimented for a bit with watercolor, but I just love the immediacy of pastels. I often tell people in my presentations that there are two possible reasons why I love pastel: 1.) I’m lazy and don’t want to bother with mixing colors and cleaning brushes, or 2.) It’s convenient--pick it up when you want to work--put it down when you want to stop. Both reasons are valid. But all who know me know that I am definitely not lazy, so we’ll stick with “convenience!” Q: What do you think about when choosing multiple pieces for a show? What do you look for in a piece to be selected for a show? A: I select the pieces that made my heart sing when I created them and again when I was finished, and that I never seem to tire of looking at, even it’s only a picture of them after they have sold to a collector.

La Petit Juggler by Marie Tippets

Q: For many artists, the idea of entering a juried show or competition is terrifying. What advice would you differ to artists contemplating an entry in a show? A: First, study your work for all the qualities that make a great painting, then of your best work, select those that take even your breath away. Art is subjective, no matter how well-educated or decorated a judge is. One particular piece of mine (that still makes my heart sing) was rejected from both PSA in New York, and the IAPS online show, but it won third place in the still life category in the Pastel Journal. It’s all subjective. Rejections are something that an artist has to get used to. We have to keep moving forward, motivated by beauty and our quest for our next wonderful creation.

Marie’s Studio

Q: What advice would you give to your 20-year-old-self regarding art? A: BE BRAVE!! Red Gerberas And Stripes by Marie Tippets

PSWC Magazine | Spring 2020


Doug Tweddale


by Doug Tweddale with Sabrina Hill Doug Tweddale is a plein air artist residing in Pennsylvania. He has been painting since he was a child. After a long career as a CEO in retirement care, he has become a full-time artist and teacher. We had a long chat and he is a fascinating person. He is a well-respected teacher and his workshops are sought-after experiences.

Q: Did you always consider yourself an artist? A: Yes, I always knew. At 6 years old, I did a pencil sketch of an Indian netting salmon in a stream—not a common topic for the average first grader. The first show I entered, at the tender age of thirteen netted me an honorable mention for a painting of a young girl with a lute and a life-long addiction to art. I have done many shows since that one. Q: Who or what had a strong influence on your work? A: Though primarily self-taught, I enjoy studying with mentors. Mentoring began with my Uncle Lester Gallagher at a young age. Lester was a well-known oil painter in northern Indiana who specialized in painting the dunes of Lake Michigan. Since then, I have studied in oils, watercolor and for the last 30 years in pastel. I studied with Herman Margulies; the noted Polish artist best known for his impressionistic pastels. For many years, I have studied with Albert Handell, who is well known in the art world and a master painter in both oils and pastels. Albert is a master at capturing the moment and amazing beauty of nature. He had a tremendous influence on me and I learned so much about the use of color through him. Mentors like Albert have encouraged my own artistic vision and helped me to realize my dreams. These mentors have helped me enhance my skills and deepen my insights towards my art. I have also been influenced by the work of artists like Thomas Moran, an early 20th century plein air painter. He did amazing work with color and form. His art was shown in Congress and convinced them to make Yellowstone a National Park. Frederick Church was another influencer in my life. His works of Niagra Falls and YelSpringtime Flow Cameron Falls by Doug Tweddale 80

PSWC Magazine | Spring 2020


Anastazi Wittness by Doug Tweddale

lowstone, done in huge scale of 7 feet x 11 feet are stunning. Q: What other jobs have you done? A: I did not choose a career in art. I majored in business and science in college and lived most of my life doing a combination of both. After college I taught science then got and Masters Degree in Psychology. I ended up moving into an administrative position for a hospice group and then became the CEO of a 82

Quaker Retirement Community. With the pressures of answering to a Board, dealing with building issues and personnel, I turned to art to find sanity. I took classes and workshops every year. Now I am back to teaching; both locally in Pennsylvania, and nationally. I do lots of plein air workshops on location in places like Sedona and Monterey. Q: Do you work exclusively in pastels? A: I worked in oils and watercolors, but Herman

Margulies introduced me to pastels and now that’s my passion. I love all the pastels, but Terry Ludwig is a favorite as is PastelMat from France and Uart 600 grit paper. I used to make my own paper; and I prefer the smoother papers. I use watercolor for underpainting—I like the drippy effect. I like underpainting because it allows me to get the values better, and it uses less grit.

ing my in a spoke-like formation. I carefully packed up and gently moved through the herd to get back. You don’t have that experience in a studio! Q: For many artists, the idea of entering a show or competition is terrifying. What advice would you give to artist contemplating entering a show?

A: I suspect every artist is mostly self-critical of their work. I so often see students talk themselves out of a color or an expression just as it is born. Often, the Q: What advice do you give your students? result is a painting that is bland and lifeless. To me it A: I have been teaching art for about 10 reflects the art numbing effects of being critical and years. I have some students who paint in second-guessing one’s self. I had a life experience oils, but I encourage pastels. I also empha- that taught me a great lesson about this. We were having neighbors size painting what over for Labor Day excites you. Having a and I was cleaning passion for the subup my studio the ject matter makes it day before. Years worth all the work. before I had done Students use the a narrow, small underpainting techpainting of a train nique for its spontacurving through a neity and to capture gorge with a river the essence of the off to the left. I values. I do some finhad it on the shelf ger blending but use for years, and it sparingly. I don’t picked it up to have a lot of rules. throw it away. For I want student to some reason I did Doug Tweddale in his “studio” paint their passions, not do that. The next day a neighbor walked into my capture the movement and the emotion. I studio and was immediately drawn to this painting. want them to experience plein air and how She explained that her husband loved trains and you see details that are lost in a photoasked if she could buy it and have me frame it. To graph. Being in an the environment allows me it was so striking that she loved it and had been you to really capture the feeling of it. looking for just such a painting, while I thought of it Q: Have you had any “wild” experience as a throw away. I realized that ultimately I had no when you are out on a location? idea how another person would react to my paintA: I was painting at Glacier National Park one time ings. I think of this often when entering shows. Secwhen a mountain goat and her ewe calmly grazed ond to my passion for painting is my wish to share my work with others. After all, to me it is about on the grass under my easel. I just kept painting and bringing beauty into a sometimes-bleak world. I aldidn’t break the mood of the moment. ways encourage other artists to enter their works Another time, I was painting in the Rocky Moun- into shows. Like me, they never know to outcomes. tain National Park. The painting was of mountain grasses and an icy stream. I had been painting for Q: What advice would you give your twenty-year-old a bit and broke focus for a moment to look around. self? When I looked up, I was in a group of elk, surroundPSWC Magazine | Spring 2020


Heart of Zion by Doug Tweddale


A: Spend less time worrying about life. Smell the roses, and enjoy things more. At twenty, I was pushing for a career and not doing enough art. I am 72 now and things have worked out beautifully. Hard times make good times, and I am enjoying the ride. Be grateful—for life, people around you, and for your abilities and interests!

Recent Awards •

Pastel Society of the West Coast 2020 Online Membership Show

Maryland Pastel Society 3rd Place 2019 Shades of Pastel

Pastel Society of the West Coast 2019 Membership Online Show

Pastel Society of the West Coast 2019 Pastels USA Show

Pastel Society Of America 2018 Enduring Brilliance Exhibition

Audubon Center at Mill Grove 2019 Drawn From Nature Show

IAPS (International Association of Pastel Societies) 34th Juried Show

Watch for Doug’s Workshops and RV tours coming to your area!

Sunlit Cottonwood by Doug Tweddale

PSWC Magazine | Spring 2020


Life with Art

Life with Art A Journey of Art and Grief by Susan Kuznitsky

I am heading into the 3rd third year of an unexpected chapter of my life. On November 8th, 2017 my husband of 27 years died suddenly. We were snorkeling in the blue waters of Maui, enjoying time together after years of working toward having the ability of doing so. Our two sons grown and mostly launched, we were just getting started on the coveted “twilight years,” where the fruits of years of labor would allow us to enjoy the company of each other on a more relaxed level. Instead, everything changed in an instant in those waters.

In the first excruciating months after Steven’s death when people would ask me how I was doing—not realizing that even that simple, well-meant question would make me cringe—my answer would be ‘up, down and all around.’ That about sums it up. In the beginning it was minute-by-minute turning into hour-by-hour. I learned intimately that grief has a life of its own. It is irrational and unpredictable and continues to teach me many lessons. What has prompted me to finally begin writing about my experience is something my sister said to me after her 30-year-old son, my sweet nephew died in July 2019. (Yes, my family has been ‘beaten up’ by life these past couple years.) She called me during one of her deepest moments of grief and one of the things she cried to me on the phone was this: “You are so lucky you have a job you love . . ..” The rest was just the gut-wrenching, heart-wrench86

Life with Art

PSWC Magazine | Spring 2020

Pink Bouquet by Susan Kuznitsky


Life with Art

Susan’s Studio

ing cries of a parent who lost their child. We are miles apart physically and it is a helpless feeling when someone you care for so deeply for is in such pain. I hope my own grief journey has enabled me to help her along the long road she must travel. I was in my studio later that day and I kept hearing ‘you are so lucky you have a job you love.’ And yes, I do have a job I love, and it has been a major part of healing from my grief. It started very soon after Steven’s death. I teach weekly classes at the Oregon Society of Artists here in Portland. I went back to teaching quickly. At first it was just because I had a commitment to my students who had purchased a series of classes that was only half done when my personal tragedy took place. Surprisingly, it became the best therapy—for three hours twice a week I could turn my focus to my students, helping 88

them to create and learn on their artistic journey. It became a much-needed break from my intense emotional pain. I would joke with them in the beginning that I felt I should be paying them! It was a big first step for me on the road of healing. It also kept me creating because I had to be organized and do demos for my class. It was a bit of structure to grab onto amongst the chaos. For the first year I couldn’t work in my studio or listen to music which I often do while painting. The studio is a building that my husband built for me years ago behind our house. As artists we know how lonely our profession is by nature. In this first stage of grief it was not the aloneness of being in my studio (which I used to love) that got me, but it was now the sense of loneliness. It was what I had to face after I left the studio and walked back into

Life with Art the house to face my husband’s absence. So, my classes became the main connection to my art in the beginning. And the demos turned into finished paintings. After I felt stronger these pieces were entered into juried shows and shown in galleries. I am not totally there yet, but I can see a flow beginning. The larger art community I belong to both locally and nationally, has been another piece of navigating the rugged road of grief. Some connections are deeper than others, but it helps to feel connected to the larger creative family of artists. There is more to the story unrelated to art. I have two sons in their 20’s who live at home with me. The sudden loss of their dad put them on their own journeys of loss and grief. We all felt broken. I had Steven’s remodeling business to deal with (a whole other story) and ended up closing that down at the

end of 2018. People left my life, people came into my life. I remodeled our house and have had to navigate a whole new way. I am now for the first time in over a quarter of a century (since I became a mom) a full-time artist. Exciting! Scary! Up, down and all around! I am now at the point where I look forward to days where I can just be in my studio. Yes, I am lucky that I love what I do. I truly believe it is this love that drives me to keep moving forward. I have no idea where this road will lead me. The inner chatter that has been known to really drive me off course is still there. Steven was my staMirabelle by Susan Kuznitsky bilizer. I now must quiet those doubting voices on my own. Well that is not exactly true…I have wonderful friends, new ones and old ones, artists and non-artists, and family members that I can reach out to at any given moment. There are days where I am totally energized and days where I feel aimless. I try each day to focus on what I have and not on what I have lost. Some days are more successful than others. My artwork has always been a quest to find the beauty and the light around me. It shows up in many different places and many different subjects. As I move forward on this path of healing I know I am lucky that I have this ‘job I love’. It is truly a blessing that gives me hope and purpose.

The Wanderer by Susan Kuznitsky PSWC Magazine | Spring 2020


Art School

Art School Painting from Photographs by Ugo Paradiso passion and learn as I go. My first policy as an artist is that I will never end the learning. Every project I do is a challenge, and I love to challenge myself into new projects. I have exhibited my work in galleries in the Nashville area and the Kansas City area. I have sold my works and commissioned to public individuals, family and friends. I am a part-time artist that dedicates any spare time to either drawing or painting.

Ugo Paradiso is our workshop guest for this issue. “I was born and raised in a small town in the Lucania region located in southern Italy. I traveled all over Europe and than immigrated to the United States many years ago where I met my dear wife. Along with our beautiful children, my wife and I now reside in the Kansas City area. In my eyes I have always been an artist. To me, it all started in elementary school where my pencil and note book were my best buddies. I discovered that the more I was drawing, the more I was gaining the ability to observe life details. Hence, the desire to discover more. My curiosity was into admiring old keys, sunsets, night lights and so forth. I had questions like how does the sky have so many colors? Why is it that people seem to be so mad around here where this is such a beautiful place? As a child, I was just admiring life for what it was - simple and beautiful and sometimes so complex. I re-discovered my passion for art in 2011 after taking a break for many years. I love to paint any subject that inspires me. I tend to do a lot of sketches any time I can. My selected medium of choice is soft pastel and charcoal, even though I often use watercolor or acrylic ink as the underpainting. I don’t have a formal art school education. Everything I do I taught myself. I have a collection of art books and I have been active in art groups to be able to share my 90

My goal? To achieve the highest standards possible while painting and achieve my yearly goals I set. What do I want to convey with my paintings? Beauty that STIMULATES the viewer and hopefully translates into A STORY. I consider myself a realist/contemporary artist with a twist. Yes, a twist, because as I paint I sometimes let my painting decide the course I am going with it so I may end up with a few loose strokes in a realistic painting. And sometimes I do that on purpose.” I am always eager to learn as an artist. I read art books, do several studies of my own before I paint, but I have to admit that photography goes hand-inhand with my art. I studied photography a few years ago so I would be able to use my own reference pictures for my work. I don’t always use reference pictures (in fact, I often paint from my imagination just get myself loosen up by having no boundaries.) I bought a book last summer titled How to Paint from Photographs by Tony Paul, and it’s a fantastic book. These are the basic points to consider when using a photograph as a reference for a painting.

Art School CROP. Too many trees? Too much shadow? Horizon line too low or too high? Crop the image based on the composition you want. Though it sounds easy, it is an important step for a successful painting. I have made it my habit that, as I go trough my reference photos, I crop the photos right away and put them into a folder in my computer labeled: “Possible to paint�. This saves me time later on when I am ready to paint.


Some favorite tools...


FOCAL POINT OR DISTRACTION? Add or leave out elements in the photo that seem distracting from your main point of focus.

And here is my painting use these two reference photos:

As you can see, I reduced the size of the windmill in my painting to a very small thing in the background. I added the bushes, and I added the wood posts to make it more interesting. I changed the palette to make it more alive. PSWC Magazine | Spring 2020


Art School REFERENCE ONLY. The photo is only a reference from which you are getting information. This information is often (unless you do realistic work) more than what you desire. Here is where your real creativity kicks in! BANG! You sit back and think out of the box. Ask yourself these kind of questions:


A) Do I want to change the background or foreground to make it more interesting? B) Do I want to change the palette/colors of my photo? C) Do I like the focal point or should I change the composition? This is your chance to make decisions before putting pencil to paper. Here iS an example of a wonderful picture I took in Florida of a roseate spoonbill

Here is another painting I did featuring my fatherin-law‘s horse. I wanted the colors in my painting to be harmonized and alive. I used the color wheel as tool to achieve a shift in color. By tweaking the palette, I have dramatized the feeling of movement and power in the photo reference and made the painting my own style.


And I turned this into a night scene with warmer summer color. I added the foggy water to create some mystery and interest into my sketch.

“If you are working on something exciting that you really care about, you don’t have to be pushed. The vision pulls you.” -Steve Jobs.

Art School In this case I wanted to use a portrait photo as a reference And then decided to add my own colors that were not part of the reference photo. Especially for portraits I am a strong believer that the natural pose is the best. Here is a photo I took while Emerie, my daughter was studying

All paintings and reference photos are copyrighted property of Ugo Paradiso.

Finally, here is a painting I did of my father-in-law. He has horsesm and I was inspired by a photo I took of him as he was going down the hill with the horse. And here is the painting that I gave him as a Christmas present

Remember that photos are only reference, and as an artist it is your job to create and make the best out of any photo information. If there isn’t enough use your imagination. I believe that with passion, dedication and strong work ethic, we can all achieve success.

PSWC Magazine | Spring 2020


Art Workshops

Art Workshops Sally Strand Workshops in Pastels throughout the year Focusing on color and light, Sally discusses optical mixing of layered color and how to truly see and identify color, especially subtle color. The effects of light on color, composition, and perception, as well as use of different types of light are explored. Painting from costumed models and still life, each student receives individual attention and critiques. Demonstrations and lectures and a slide show are designed to give students tools to achieve intensely beautiful color Master Class/Next Level (intermediate and up) – If you have taken Sally’s workshops before and want to build on the numerous principles discussed, this new class continues where the previous workshops left off. It begins with a review of painting principles including optical mixing of layered color, essential elements of strong composition and the effects of light. We also focus on the later stages of painting, learning to harmonize color masses while developing the ability to really see and mix color, especially those that are nuanced and subtle. Finally we will explore the finishing touches that turn paintings into personal statements. Sally Strand, a Master Pastelist, was inducted into the Hall of Fame, the highest commendation of the Pastel Society of America, NY. For more information: 949-493-6892 or 2019 Workshop Schedule is online at


2020 Schedule (partial) see website for updates at April 21–24, 2020 Maryland Pastel Society Rockville, Maryland Contact: Susan Van Eseltine (410) 312-5513 April 25, 2020 Demonstration Glenwood, Maryland Contact: Kim Stone (717) 385-3148 November 21, 2020 One Day — Critique of Members’ work/Demo/Half-Day Workshop Fallbrook Art Association Fallbrook, California Contact: Carol Reardon (760) 731-667

Art Workshops

Daggi Wallace

Daggi Wallace offers several portrait workshops throughout the year at her Camarillo, Ca;ifornia studio For more information, sign up for her email list at In addition, she hosts artists in her studio in California and in Berlin, Germany. Upcoming artists include Tony Allain and Dawn Emerson (TBD)

simplify their approach in order to achieve exciting impressionistic paintings flooded with light. Tony’s workshops are for those willing to go through the door marked “leaving your comfort zone” and enter a world of exciting and expressive pastel application! Students will experiment with ways of introducing color and light into their work.

Tony Allain-Chasing the Light, June 1, 2020 - June 3, 2020

The first day will be held in the Blackboard Gallery at Studio Channel Islands, followed by two days of painting on location around Camarillo, Ventura, Malibu (more details to follow). Each day will start with a demonstration and there will be heaps of challenges and loads of individual help at the easel.”

3 day workshop at the Channel Islands Studios, California. 10-4pm each day, bring a lunch. Fee: $350.00 “I am thrilled to host a plein air workshop by international award winning artist Tony Allain, who is traveling from his home in the UK to show us how he interprets our beautiful Southern California landscape! Tony is a very generous and fun teacher who will share some of his working methods in this class concentrating on painting en plein air in various locations (the coast, fields, harbors, all depending on the weather) and bringing that bit of punch to the subjects that Tony is so famous for! Using direct strokes on a textured surface to emphasize “brushwork,” students will learn how to

Studio Channel Islands, 2222 Ventura Blvd. Camarillo, California 93010 Daggi Wallace, PSWC Magazine | Spring 2020


Art Workshops

Rita Kirkman Pastel Workshops around the world & throughout 2020.

Dates: see website Level: All Levels

For more info and to register:


Rita Kirkman’s classic Pastel Workshop focuses on painting small and often to rapidly improve your skills and expand your knowledge. Learn to capture light and loosen up with Rita’s innovative under-painting technique. Instruction emphasizes composition and techniques for a small format, value and temperature control, how to creatively interpret your photos and how to stay productive with your art within a busy lifestyle. Grow your grasp of values, temperature, color and composition in a relaxed and fun atmosphere! For beginner to advanced.Learn from Rita’s 40+ years of experience with pastel. Lots of individual attention given.

Art Workshops

Alain Picard Three-Day Workshop, May 13-15, 2020 Wednesday-Friday 9:30am-4:30pm Location: Piedmont Pastel Society, Charlotte, NC Registration: Piedmont Pastel Society - FULL call 805.540.1470 to be placed on the wait list SALON INTERNATIONAL DE PASTEL FRANCE June 13-27, 2020 Location: La Palmyre - Les Mathes, France Three-Day Workshop, The Painterly Portrait, June 1820, 2020 Three-Day Workshop, The Painterly Landscape, June 23-25, 2020 SALON INTERNATIONAL DE PASTEL FRANCE

For more workshops go to

June 13-27, 2020

Location: La Palmyre - Les Mathes, France

THE PAINTERLY LANDSCAPE CANADA Three-Day Workshop, April 24-26, 2020 Friday-Sunday 10:00am-5:00pm Location: Ellis Art Studios, Kelowna, BC Registration: Ellis Art Studios. Registration: FULL - call 805.540.1470 to be placed on the wait list Loosen up your landscapes using the painterly approach! This workshop will empower you with successful strategies for loosening up your work with bold marks and fresh color. Learn to simplify complex scenes into clear shapes, values, and edges. Organize these shapes into strong design and color combinations using bold, expressive marks to interpret your environment for that lush painterly look. Learn innovative approaches to color through the use of underpainting techniques and interpretive color strategies that will break you out of your routine.

Three-Day Workshop, The Painterly Portrait, June 1820, 2020 Three-Day Workshop, The Painterly Landscape, June 23-25, 2020 On this painting workshop to the south of France, we will explore and paint the beautiful region of Dordogne. An abundance of inspiration is provided, full of everything from quaint historic villages and medieval castles to breathtaking views of the rolling countryside and traditional French markets. With beautiful accommodations, delicious organic, locally sourced foods and wines, and endless inspiration surrounding us, this is your perfect opportunity to create beautiful art and enduring memories that will be treasured for a lifetime.

Every morning, Alain will demonstrate a painterly approach to the landscape from start to finish, focusing on a unique subject and approach. Students will then respond to the lesson, beginning with morning exercises to loosen up their work and learn techniques to simplify the subject. Students will progress to loosely finished landscape paintings by end of day. A constructive and encouraging group critique will wrap up our workshop together.

PSWC Magazine | Spring 2020


Art Workshops

Doug Tweddale

Sedona, AZ, April 13-18, 2020

Monterey is a magical place to paint. There are many beautiful state parks such as Point Lobos and other locations that will be our painting inspiration. We will have a studio to use as our home base and in case of rain. Subjects include Cyprus tree groves, amazing surf, and beautiful rock formations. All locations are easy access with facilities. All experience levels and media are welcome. Contact Doug at for these two workhops.

Fee: $450 for the week with $100 deposit.

Long Beach Island, NJ, September 10-13, 2020

This Plein Air workshop will be in various sites and state parks in the area. We will have the use of a studio as home base for critiques and in case of inclement weather. Subjects will include red rock cliffs and moving water in Oak Creek Canyon, plus some old world Spanish buildings and beautiful Sycamore trees of the area. All painting locations will be easy access by car with restroom facilities. All experience levels and media are welcome.

Fee: $375.

PLEIN AIR WORKSHOPS During each workshop Doug will be doing demonstrations on various subjects, plus support at the easel for all. Each day will end with a class critique of the work done that day and the workshop will end with an overall critique of the work done during the workshop.

Monterey, CA July 12-18, 2020 Fee: $450 for the week with $100 deposit. 98

This workshop is sponsored by U-Art Pastel Papers, and U-Art will provide the pastel papers for you to use during the workshop. Our home base will be at the Long Beach Island Foundation in case of rain. Subjects will include beach and dune scenes with surf, plus salt marshes. We will also paint at the site of Barnagut Light House and its surrounding park. This workshop is for pastel artists only. Please contact Laura Heller at 845-875-6260 or to register for this workshop.



ELECTED BOARD POSITIONS President/Editor Sabrina Hill

Here’s a Bit of News for Members & Information on New Members


One of the best ways to support a healthy society is to bring in new members. There are lots of good reasons to join. If you have artist-friends who are not members, now’s the time to invite them to join. Contact Debbie Pepin if you have questions or would like more information.


e: Secretary Bonnie Griffith e: COMMITTEE APPOINTEES Awards Historian Chair Mary Beth Sasso e: Eblast Coordinator/Publicity Cynthia Riordan

Members, we need your other ing for a Workshop Coordinator, ties for volunteers from working ing Paint-outs. Please contact

talents, too! We are currently lookand we have the lots of opportunion the PASTELS USA Show to hostSabrina Hill for more information.


e: Facebook Coordinator/Social Media Rita Romero e: Magazine Editor Sabrina Hill e:

The magazine is looking for ideas, suggestions, and contributors. If you have something to say, an idea for a feature, or a favorite artist for an interview, I want to hear from you! And if you have graphics experience, would be willing to collect information, write an article or help with production contact me at

Sheri-Lyn Adams Tony Allain Andrea Bishop Jacquelyn A. Cattaneo Marietta Cohen Karen Conger Gwen Crociata Claudette Gamache Susan D. Gorrie Jo-Neal Graves Lindsay Hirsch Kathi Holzer Karen L Jones Sherry Killingsworth Marina Marshall Diane Olivier Penny Orton Lori Owen Judith Panick Sharon Romm Kate Scott Karen Shawcross Geoffrey Staniford LaReece Stinger Patricia Prescott Sueme Stephanie Teeter Vicki B. Thompson Janice Atwood-Ramey

Vice President/Treasurer Susan Goodmundson

We are always looking to expand our membership. As one of the largest Pastel Societies in the United States, we are proud to have such talented, diverse and active artists in our group.



Membership Chair Deborah Pepin e: Membership Show Chair Dug Waggoner e: Museum Liaison W. Truman Hosner e:

Discovery Bay, CA Penzance, Cornwall, UK Oakland, CA Gallup, NM Sunnyvale, CA Tehachapi, CA Benicia, CA Phippsburg, ME McMinnville, OR Capitola, CA Los Angeles, CA Boise, ID Mountain Home, AR Bryan, TX Plano, TX San Francisco, CA Nampa, ID Tigard, OR Santa Clara, CA Seattle, WA Cape Town, WC Portland, OR Wallasey, Merseyside, UK Greenleaf, ID Santa Ana, CA Boise, ID Lenexa, KS Sutter Creek, CA

Pastels USA 2020 Chair

Jan Miller e:

Scholarship Co-Chairs Pam Comfort e: Ranjani Mohana e: Strategic Planning Chair Deborah Shea e: Ways & Means Chair Workshop Coordinator

PSWC Magazine | Spring 2020 PSWC Magazine | Spring 2020


Best in Show : The Narrator by Candice Grieve, PSA

The 34rd Annual International Open Exhibition

A Dynamic Journey! Will be held at the Art Center Morro Bay tSeptember 17, 2020 through November 1, 2020 100

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