VL Visual Language Magazine Vol 2 No 4 April 2013

Page 1



contemporary fine art


April 2013 Volume 2 No. 4

Cover Artist Lesley Humphrey lesleyhumphrey.net



Contemporary Fine Art

VisualLanguageMagazine.com Subscribe Free Today. April 2013 Vol 2 No 4 @GraphicsOneDesign1998-2013


Lesley Humphrey

Please read more about Lesley inside VL this month.


The Portal

The Huntsman

VL Cover Artist

Lesley Humphrey is actually a featured studio artist this month in Visual Language. Her work has transformed over the years as she has grown as an artist. Her travels between the United Kingdom and the United States keeps her on the scene of change both in the art world as well as in the world of horse racings and horses grazing.

Dawn Waters Baker Landscape Show Mary Tomas Gallery May 2013

“Downpour” 36 x 36 Oil on Canvas


1110 Dragon Street, Bldg. 1080

Dallas, Texas 7520




CFAI New Artists Pages 5 Painter’s Keys - Robert Genn Page 12 Colors on My Palette Pages 21-22 Angeline Payne and Cheri Homaee

Artspan Picks Page 23 Artspan Focus Page 24 Learning to Paint Pages 29 Hall Groat II VL Studio Visit Page 45 Lesley Humphrey International Equine Artists Page 53 Founder Deborah Flood

Equine Photographer Page 57 Katherine Minott Equine Sculptor Page 67 Joe Collins VL Studio Visit Page 73 Tom Pauly Artspan Artist Spotlight Page83 Matt Flint Feature “Age is Wisdom” Page 91 Barry Scharf CFAI Juried Show Page 93-96

Caroline Peterson, Nancy Medina, Linda Bell, Pamela Blaies

Western Masters Pages 97 Diane Whitehead CFAI Art Challenge Page 101-104 Carol Schiff and Linda McCoy

CFAI Blog Review Page 113 Equine Artists International

CFAI Artists Spotlight Page 115 Texas Artists Daily Painters Page 121 CFAI Art Collections under $200 Page 131

VL new artists on cfai.co Angela Sullivan

Ingrid Dohm


Helen Bailey

email: hbailey107@gmail.com 6

Hall Groat II

Ham and Cheese www.cfai.co/hallgroat


American Fine Artist

To Each Man is His Choice... BTL www.cfai.co/hallgroat


The Five Grace

Lincoln ~ Pace ~ Togel ~ Whitehead ~ Zora





What makes The Five Graces special/unique?

All members of The Five Graces create bold, vividly-colored artworks with an inspirational flair. Several of the group are excellent teachers and writers. They work energetically toward touring exhibitions that showcased th artworks - shows to the US and to Europe. All five artists are spread out over the US.




e heir

Who are The Five Graces? Debbie Grayson Lincoln (the steady grace), Laurie Justus Pace (the heartbeat grace), Conni Tรถgel (the wired grace), Diane Baird Whitehead (the business-minded, directly spoken grace) and Mary Jo Zorad (the quietly inspired grace) have as many similarities as they do differences. Their artwork demonstrates a common commitment to a high standard of workmanship. To speak with any one of the five women reveals a commonality in what inspires them and how they choose to live their lives, with integrity and a commitment to doing their work for a higher cause. Each feels her creative inspiration as a passionate and natural calling.

thefivegraces.blogspot.com for daily updates






Contemporary Fine Art

Visual Language Magazine Staff Editorial Editor -in-Chief Laurie Pace Executive Editor Lisa Kreymborg Managing Editor Nancy Medina Consulting Editor Diane Whitehead Consulting Editor Debbie Lincoln Feature Contributor Robert Genn Painter’s Keys Artspan Media Manager Sarah Hucal CFAI Contributor Kimberly Conrad Feature Editor Art Reviews Hall Groat II Feature Writer Barry Scharff VL Sponsor ARTSPAN Eric Sparre Advertising Contact: VisualLanguageMagazine@gmail.com Marketing and Development Executive Director Laurie Pace Senior Director Lisa Kreymborg


René PleinAir

Carolyn McKee-Freese

All Artwork is Copyrighted by the Individual Artists. Visual Language Vol 2 No 4

Painter’s Keys with Robert Genn

Robert Genn’s Studio Book

February 22, 2013 Dear Artist, At shows, I often notice other painters with their noses pretty close to my work--trying to figure out what I’m up to. Fact is, quite a few artists can make paintings that look like mine, but they don’t seem to be able to make them made like mine. A few years ago a slippery customer sent one of my paintings to China to get it copied. By sheer luck I had a look at the result. I’m happy to report that even the best of the Celestial Kingdom couldn’t quite get it right. The painting looked like mine, but the painter had trouble figuring out the order I laid-in its various layers and parts. The name Otto Wacker might not mean much to you. He was a young art dealer in Berlin in the 1920s who managed to find a lot of “undiscovered” Van Goghs and sell them here and there. He eventually went to jail for the fakes, but not before many art critics, experts and museum directors had made a fools of themselves authenticating and unauthenticating the lineup of the work in the courtroom. Fact is, Van Gogh’s paintings were fairly easy to counterfeit. The style is unique and can be simulated. The technique is pretty straightforward--characteristic and frenzied strokes directly and singularly applied, often with colour right out of the tube. In other words, Van Goghs were faked because they could be. It’s estimated that at one time as many as 600 fake Van Goghs were floating around Europe. In the case of Otto Wacker, his painter-friend was never found, but most suspicion goes to his brother Leonhard. I know this may sound perverse, but I think artists should consider giving their work such a personal touch that future fakers will really have to scratch their heads before they might knock one off. As I mentioned, order is valuable--primer, underpainting, glazing, scumbling, re-glazing, final impasto, etc. Also, changing the order on a whim is more fun than a wheelbarrow full of Deutsche Marks. In my case, it surprises me that the fakers aren’t able to pick up the various tones of my original primers. Best regards, Robert PS: “The job of the artist is to always deepen the mystery.” (Francis Bacon) Esoterica: If you’re at all interested in the fun and games of Otto Wacker, I thoroughly recommend Solar Dance by Modris Eksteins. It’s a tribute to Van Gogh, an insight into life in Berlin between the wars, a parade of the great art accumulators from both sides of the puddle, a cameo of a failed painter by the name of A. Hitler, and exploratory operations on art dealers both honest and crooked.


Painter’s Keys - Robert Genn

The personal touch


l Jenkin


Marcia Spivak Equestrian Scuplture




MaryAnn Brooks maryannbrooksfineart.com

Dyan Newton



Denice Zengo

Lancelot & Guinevere 48 x 60 Acrylic on Canvas


Angeline Payne

Colors On My Palette

http://www.cfai.co/angelinepayne http://www.cfai.co/colors-on-my-palette/angeline-payne

When did you realize you loved art and wanted to be ‘an artist’? I have always loved the excitement of the transposition of colour and found painting as a form of art in keeping me connected to the spirit of the land and people. Who has been the greatest influence from your past to mentor you to this career? I have had the most wonderful teachers and instructors who encouraged me in studying art. Jack Shadbolt, a west coast Canadian Artist has been most influential by his works and teachings. The impressionists have always been a magnet in my career. Who is your mentor today, or another artist you admire and why? My students who I have been teaching for the past 20 years, in ages from 6 to 86 continue to leave me with a sense of awe in their accomplishments and followings. Without fail, I admire their unforetold capacity to absorb be creative. What is your favorite surface to paint on? Describe it if you make it yourself. Canvas is my favorite surface to paint on - I love the feel of paint and brush strokes on canvas for a more painterly approach.


Read more at http://www.cfai.co/colors-on-my-palette/angeline-payne

Cheri Homaee

Colors On My Palette

http://www.cfai.co/cherihomaee http://www.cfai.co/colors-on-my-palette/cheri-homaee

When did you realize you loved art and wanted to be ‘an artist’? I have drawn and painted since before I started kindergarten. I love art and had the same art teacher in Steubenville Ohio public school system from K to 12th grade. I have in recent years taken online classes and self study. I did a lot of crafts, but started to get serious about art about 5 years ago. I planned to return to art after I retire. I always wanted to pursue art but didn’t feel like I could support myself with the income so the next best thing I though would be going to school for draft design. After working for a while I decided to go back to school and get a BS in Mechanical Engineering. After working as an Engineering, Mathematician, and Programmer, I retired in 2002 with my own business as a consultant. My husband moved to Ohio on a transfer and I retired. I decided to try my hand at art again. Who has been the greatest influence from your past to mentor you to this career? My K - 12 art teacher Mr. Steve Psaroudis. He would travel to all the schools in the area giving art classes. In high school I had all these A’s on my report card and one big red F I was doing the artwork for another student who infatuated with during those years. I did this giant oil painting of The Blue Boy by Thomas Gainsborough for his rec room. Who is your mentor today, or another artist you admire and why? I like Michael Parks, Andrew Wyeth and James Tissot. Michael Parks I love the fantasy, his is the first print I bought; Andrew Wyeth, I just think we connect many people have told me my work reminds me of his work. My photography runs along the same subject matter that he painted; and Tissot I like the details in his work

Read more at http://www.cfai.co/colors-on-my-palette/cheri-homaee


artspan picks

Selected Members Worldwide

Marcy Lansman

Trevor Young

Vladimir Holomek

Julie Brown Smith

Sia Corrina 23

Julie Hester Lucas

Maren Heydel

David Cicero



FOCUS ON: Ceramics

Marcela Noriega Del Valle www.delvallestudios.com

Pam Stern


Sydney McQuade Otto

www.sydneymcquadeotto.com/home 24

Matt Flint


MattFlint.com Blue 36.75”x36.75” Oil and Mixed Media on Canvas over Panel 2012 Courtesy of The Adamson Gallery

The Wolf 47.75”x47.75” Oil and Mixed Media on Canvas ov Private Collection


ver Panel 2012

Elder 47.75”x47.75” Oil and Mixed Media on Canvas over Panel 2013 Private Collection


Debra Hurd




Learning How to Paint by New York Art Professor Hall Groat II Professor and Chair, Art and Design Department Broome Community College

Learning how to oil paint in a classical style requires one to practice observing the world in a completely new way. You have to become a child once again. Instead of looking at apples as just round forms strewn on a tabletop, one must learn how to see them in terms of both color and value within the space that they rest. This empty space that surrounds the apples, believe it or not, has a unique color and value, too, and must be observed as carefully as the fruit itself. Learning how to paint well and the process of becoming an artist are completely different. Good paintings are about mastery of craft; whereas a fine artist has to achieve a balance between mastery of craft and the idea behind the painting—its content! Don’t bother trying to be an artist in the beginning; first learn the fundamentals of painting before setting out to consciously make paintings about grand ideas. The simplest subjects often make the most profound statements. It is better to make a small painting about a big idea, rather than a monumental painting that expresses nothing. If you study nature daily through your paintings, there will be great truth in your work. What you see in the world provides the answers.


Thomas’ English Muffins on Plate 8x10 in. Oil on canvas by Hall Groat II

McDonald’s French Fries with Coke 10x8 in. Oil on canvas by Hall Groat II

SELECTING A SUBJECT TO PAINT One must get into the habit of studying their surroundings in order to discover desirable subjects to paint. The most engaging motif often presents itself during ordinary, day-to-day life, when you are not actually trying to decide on what to paint. Begin by choosing a subject that you find aesthetically appealing and inspiring, one that perhaps evokes memories or has a quality about it that catches your eyes. Ordinary, mundane objects often reveal extraordinary qualities, such as a mysterious glimmer of light or reflection on a metallic surface. In some instances, the particular mood of the space that surrounds the motif may be what attracts you

VL Learning to Paint with Hall Groat II

Dunkin’ Donuts 10x8 in. Oil on canvas by Hall Groat II

ARRANGING OBJECTS INTO A COMPOSITION The composition of your painting is the most important component. One can paint with tremendous virtuosity; however without a well-balanced and unified composition the painting won’t keep the viewer’s attention for more than a few seconds. For many painters it is the most elusive and intimidating step in the creative process to tackle. A good composition is like a well-organized kitchen, where there is logic for how the appliances are strategically positioned around the room. Why do people place the refrigerator along the wall and not directly in the middle of the kitchen, or the toaster on top of the counter and not on the floor where someone could trip and fall on their face? In most cases, well-composed rooms are formed in ways that reflect their function, allowing people to freely move throughout the living space. In the same way, the viewer of a painting should be able to rhythmically move throughout the picture from object to the next way – the composition should be inviting to enter. An unbalanced and non-unified painting will appear weak and unappealing; no matter how well you paint it! For some artists, the ability to set up engaging compositions is a natural gift, and for others, it requires countless hours of trial and error.

Artspan? https://www.artspan.com/visual_language#.USzscuvwJvI


Kimberly Kelly Santini

** ** h o r s e s, c a t s, b u n n i e s, e t c w e l c o m e d ksantini@turtledovedesigns.com


Michella Danielle Expressionist Abstract Artist

When I was Five


24 Carrot

Jonelle T McCoy mccoysgaitedhorseartworks.blogspot.com


David Forks Fine Art

DavidForks.com mailto:dforks@gmail.com

DForks.blogspot.com New paintings posted regularly.

RenĂŠ PleinAir


Blue Moon Gallery

www.bluemoongallerysacto.com 2353 Albatross Way Sacramento, CA 95815 916-920-2444


Something Special in Your Life...

Linda McCoy


Equine Portraits, Wildlife, Animals and Nature

Carolyn McKee-Freese carolynfreese.com

Laurie Justus Pace Commission Work Welcome






Jump Expression 4


The Huntsman


Artist of the United Kingdom and Artist of Texas Lesley Humphrey at home in her studio.

Spirit Horse



Whinnying, stomping, snorting... The jangle of bits... The British wind buffeting my face as we careen down the road...My bike and I. What a perilous pairing! As a child, when unable to cajole my riding instructor into more “lessons�, my bicycle became my trusty steed, complete with actual reins and bits attached to the handlebars... Treacherous beginnings for this horse artist!

Lets Fall in Love


I believe that my lifelong love affair with the horse began with my first breath, and when I wasn’t riding them or dreaming about them, I was drawing them....From ponies to thoroughbreds... I’ve had the lot. I have driven ponies, rode to hounds, competed in 3day eventing, and even galloped racehorses. Every encounter informs my art. The nature, the fear, the triumph, the love, the mystery, the resolve, the training... the stories

Time to Leap 49


I was deeply grateful when I was selected as the Official 2011 Kentucky Derby Artist, yet the crowning achievement of my work, so far was when I was presented to H.R.H. Queen Elizabeth II at Buckingham Palace, as artist to the Grenadier Guards. My passion is to pass-on what I know, and you can check out my free, online “Lessons With Lesley� at www.lesleyhumphrey.net. Happy painting!

The Portal




Lori Musil lorimusil.com

Deborah Flood

Image: Platadero, Wild Spanish Mustang 20 x 23 inches Watercolor on 300lb Arches Paper. Original and Limited Edition Prints Available. A percent of sales from the Platadero Limited Edition Prints are donated to the Monero Mustang Sanctuary in New Mexico.


International Equ

Above: IEA Signature Member Carol Walker Photographing in the field. Right: IEA Signature Member Debby Thomas Photographing in Portugal.

The persistent gentle nuzzle of a horse

is often the reminder of great things before in a relationship and great things yet to come. The connection between man and horse has been celebrated since the beginning of time. Sir Winston Churchill aptly described this feeling “There is something about the outside of a horse that is good for the inside of a man.� All relationships take time in our lives to develop and bloom. The relationship to a horse often takes more time, effort and dedication. As an artist the awareness of the fierce strength and the sweet gentleness of the horse is key to capturing the true spirit. Equine and Western Artist Deborah Flood knows this well. Once a part of a thriving equine art group, she was encouraged to grow and find her way with her own work. She grew to treasure the camaraderie of all the artists and when the group disbanded, it left not only a hole in her life, but in the lives of many other equine artists. 53

uine Artists, IEA

The need to stay connected man to man, man to horse, horse to horse, is primary. When each wanders away the connection grows weaker and the relationship struggles. Deborah Flood took a deep breath, closed her eyes and decided it was time to bring these artists back together. It was then International Equine Artists was born. From her own studio experience Deborah knew what was needed to nurture this new group into life. Creating an Internet presence and developing a marketing plan. Each day new things were born. From the website, the blog, to a reference image library, and on to Facebook. From here professional online member shows came to life with People’s Choice voting from the public. IEA has grown faster than Deborah anticipated and the connection solid and nurturing for all members. United together by the making of art and woven tightly by the love of the horse, each artist brings to the group their own unique talents, strengths and gifts. Encouraging, mentoring, fostering and sharing, the IEA is open to anyone that has that special connection to the horse. Join the IEA members at their site to visit their online members exhibit and read about all the latest news and sign up for the IEA newsletter open to the public

The International Equine Artists was founded September 16, 2010 by Equine and Western Artist, Deborah Flood. Visit http://www.internationalequineartists.com/about.html to learn more about IEA and to join in membership.


IEA Signature Member Susan Monty with Baby, sketching.

IEA Signature Member Thomas Allen Pauly in front of his 5’ x 12’ triptych.

IEA Signature Member Mindy Colton working on a large sculpture.

IEA Signature Member Kenna Al-Sayed working in her studio.

International Equine Artists InternationalEquineArtists.com

Katherine Minott KatherineMinott.com


When I step out my front door, I enter a classroom teeming with teachers, some winged, others four-legged. They share with me the most valuable of lessons about patience, simplicity, and beauty. My photography is a way to record these lessons and to celebrate my animal teachers.

KatherineMinott.com Before the Dance Katherine Minott

Katherine Minott


Whether I approach the corral of a 30 year old horse or the sidewalk spot of a homeless dog, I carry my camera and a quiet curiosity about the lives of these creatures, described by naturalist Henry Beston as being “gifted with extensions of the senses we have lost or never attained, living by voices we shall never hear.� And then a magic in our meeting reveals itself, often in the movement of sunlight across the tips of fur or a breeze through whiskers, and a shared sense that, together, we are held in this net of life. Art and animals. These two subjects give my life purpose and expression. And they have fueled my life-long learning and career as a photographer. There has been no better blessing.

Angel Hair Katherine Minott 59


A Fire Katherine Minott

Katherine Minott


El Embajador de Mexico Katherine Minott Totem for the Boneyard Katherine Minott

The Touch Katherine Minott

Sky Sketch Katherine Minott


Ann Hoffpauir




Studio Visit with Scul

I have spent a lifetime in close association with nature and the natural world. My childhood on a small farm, my career in natural resources management and leisure pastimes have all combined to create in me a love for all things occurring in the natural world. I have spent much time in the American West, traveling, hunting and for over 20 years working on a cattle ranch for a period each year. It is a great and rewarding challenge to take an inert, cold metal and create a piece of art that transcends the medium, and elicits an emotion in the viewer that connects with the person, animal or situation depicted. I find great satisfaction in capturing, in bronze, the fluid and graceful motion of a galloping horse. What could be more elegant than a wild mustang gliding over the open plains, unencumbered and free?

lptor Joe Collins


Joe Collins Sculptures


Comparing Apples to Oranges

Studio Visit with Joe Collins

My goal in creating my art is to bring pleasure, concern or thoughtful contemplation about the subject of each piece of art. Ideally, the art will stir something in the soul that transcends every day life--that transports the viewer to another place, another time. The soul needs nurtured as well as the body. http://www.joecollinssculptures.com/

VL HorseArtist.com



Studio Visit Tom Pauly



TOM PAULY - Horse Artist

It was the caricature of President Richard M. Nixon that Thomas Allen Pauly drew in the fifth grade that initially sparked his interest in art, a piece copied from Mad Magazine’s legendary cartoonist Mort Drucker. But, it was an invitation in 1978 from his friend to witness his father’s harness horse, Rusty Win capture the feature race at Sportsman’s Park that began the burgeoning artist’s career.. From that day, demand for his artwork only grew. In 1989, he portrayed the who’s who in racing at his home track, Arlington Park International Racecourse. He has photographed and portrayed every Kentucky Derby champion since1999. Pauly was commissioned by Churchill Downs as the official portrait artist of the 2006 Kentucky Derby. His portrait of the champion Barbaro was published as the track’s commemorative portrait. “They made 10,000 prints of my painting and gave them away on the track’s fan appreciation day. People were lined up in the parking lot waiting to get the poster,” Pauly said. Pauly was commissioned along with 10 international artists to paint the portraits of the Dubai World Cup winners. His portrait of Cigar capturing the first Dubai World Cup was the highlight of his career. “They invited all of the artists to Dubai to take part in the Dubai World Cup Art Auction and Exhibition. It was a trip of a lifetime,” Pauly said.


Tight Quarters

His portraits of Thoroughbreds and jockeys grace the walls of the racing elite, including his life size portrait of a jockey wearing the silks of Kentucky Derby owners Kenny and Lisa Troutt’s WinStar Farms. “It is truly an impressive piece and I am honored that it is in the collection of the great WinStar Farms in Kentucky,” Pauly said. Jockeys are Pauly’s favorite subjects and his portfolio includes portraits of many of the all-time greats. “I enjoy portraying the jockeys with their colorful silks riding up on their champions, but I also like to portray them in the walking ring waiting patiently for their mounts,” he said. Since 2009, Pauly has been volunteering with The Permanently Disabled Jockeys Fund (PDJF) to assist with their graphic designs. “We are very grateful to have a gifted artist like Tom Pauly share his time and talents to support our mission, stated Nancy LaSala, Executive Director PDJF. His work with the PDJF and compassion to help the men and women we serve enriches our program and is greatly appreciated.” Pauly’s 5’ x 12’ triptych titled Gates Open, They’re Racing and his Racing to the Wire were recently featured in the National Art Museum of Sports exhibit Speed and Motion: Racing to the Finish Line. Not too bad for a kid who started out playing with comic books.



TOM PAULY HorseArtist.com

To Their Mounts




Sarah Schryver PerformanceHorsePortraits.com

ARTSPAN Artist Spotlight

Matt Flint

Contemporary Fine Art

When did you realize you loved art and wanted to be an artist? When I was young I always felt like I had to make things. I spent my free time drawing, building tree houses, forts, “inventions,” and wandering around in the woods. I never really thought about art as a career until my junior year of high school when I realized that I had no aptitude for math like the rest of my family and that I really loved making art. Who has been your mentor, or greatest influence to date? My greatest influence to date has been a professor at Wichita State (where I attended grad school), Professor Ron Christ. Ron practices what he preaches and I admire his professionalism and drive. He taught me how to analyze and construct a good painting. Who is another living artist you admire and why? I have always liked the work of Jim Dine. He is able to work in such diverse media while maintaining a consistent approach that I really relate to. What is your favorite surface to paint on? I paint on 2” thick basswood stretched birch panels wrapped in canvas. To ensure the best quality, I have my stretchers made to museum standards. I like the rigidity of the panels, but I also like the texture of canvas, so this is the perfect solution for me. What is your favorite brand of paints to use? I use Windsor Newton most of the time. If I had an unlimited budget, I would use Old Holland. Do you have a favorite color palette? Not really. I tend to stay towards earth tones and blues. What is your favorite color in your closet? Brown You seem to paint a lot of water lilies. What prompted this? I don’t paint water lilies per say, but I do use an elliptical shape sometimes in my work. It is more ambiguous and could refer to any number of natural things. 83



Horse in Rain How often do you paint? how many times a week? I have two full time jobs; teaching and painting. My studio time is blocked out just like a job. I spend anywhere from 20-40 hours a week painting. What is the one thing you would like to be remembered for. Being kind. There are many culprits that can crush creativity, such as distractions, self-doubt and fear of failure. What tends to stand in the way of your creativity? I think self doubt is always near, but that is why I keep making work. Doubt in my abilities, vision, etc. is a motivator for me; I certainly do not let it crush my creativity. How do you overcome these obstacles? I accept obstacles as part of the artistic process. I try not to let a day go by that I do not work, the continuum is important for me. What are your inspirations for your work? Present and past experiences in the outdoors. The rural setting I grew up in and the rural mountain setting I live in now. What is your favorite way to get your creative juices flowing? I make work. Again, the making the process is where I like to be. As I work, ideas snowball, and suddenly I am working on 10 or more paintings all headed in a direction that is exciting, undefined, and optimistic. Which work of yours is your favortie? The work I am making right now for my show at Gallery MAR in Park City in February. Ask me the same question in a few months and it will be whatever work I am creating then.



ARTSPAN Artist Spotlight Wanderer

When Night Comes

Matt Flint MattFlint.com

Up Close and Personal What book are you reading this week? I listen to books on CD in the studio. Right now I am listening to “The Pearl” by John Steinbeck. Do you have a favorite televion show? Not Really. What is your favorite food? Coffee! What color sheets are on your bed right now? Greenish ... I think? What are you most proud of in your life? My family. Who would you love to interview? J. M. W. Turner Do you have a passion or hobby other than painting? What is it? I love to mountain bike and cross country ski. I also really enjoy working out at Lander Cross fit. Who would you love to paint? Maybe Giacometti, but that would be a lot of pressure. If you were an animal what would you be and why? A wolf. I love to paint them. They are shrouded in myth and controversy and yet are so close to our domesticated family pets. If you were stranded on a desert island and could only take three things, what would they be? Unlimited food, water and shelter. Share something with us that few people know about you. I once designed kid’s clothes for a company called Chocolate


If you could live anywhere in the world, where would you live? Right where I live now.

ARTSPAN Artist Spotlight

Matt Flint

A Glance



Orchard Horse



Generations 24 x 36

Trio 16 x 40


Elizabeth Mami Magical Realist

Available in Print, matted and framed. Paintings are done on Commission from Photographs. 40 years Experience. All Mediums and Subject Matter.


Barry Scharf I have been an artist all my life and have like every other artist made many works that I wish I never made. This is because in my early years I was unskilled, unclear about direction and meaning and without experience in life itself. Youth is filled with energy, passion and devoid of life lessons, Expression often lacks meaning and a clear vision. At the time I believed that the sheer volume of work would eventually define the value and justify it’s existence. But now that I have lived long, and in retrospect see that there have been many works that have made others pale, I am glad for all those smaller ideas that lead nowhere and produced nothing. Without them I would not have the clarity of vision I do today. Age is wisdom only if one pays attention. Energy levels change with each year that passes, and I think of what time I have remaining. What do I want to create in the limited number of paintings and sculptures I have left in my life? I think about subjects of importance in my life and seek to express those topics in a way that encapsulates the depth and breath of my skill. I look to painting or sculpting or digitally manipulating images by orchestrating symphonic compositions instead of some small


Spring Buck by Barry Scharf

The Nest by Barry Scharf

pop single. I believe these are the works that will define me as an artist. If I am to have any impact with my art there must be works that create a focal point of idea, design, concept and execution. Works that bring a total of understandings of experience, knowledge and skill of creative process together into a summery of self expression. This is not to say that simply living long and working at my art will justify a positive outcome, rather living long will provide the time for dedicated study, practice of excellence in skill and constantly expanding the envelope of ones experience. Taking chances, walking on new paths and seeing new places. One must develop tolerance of other ideas, test theories and be open to evolve and change your mind. To seek spiritual awareness, push physical limitations, and intellectual concepts. I believe it is the goal of art to teach us how to live in this world. Great art inspires us in spirit, makes us think of ways we can do and be better, and charges us with the energy to do so. It is the “Shape of Content� (Ben Shaun) that delivers meaning to a visual image and expresses a creative life. http://scharf62.blogspot.com/

Juried Show Winter 2012

Best of Show - Carol Peterson www.cfai.co/carolpeterson http://www.cfai.co/juried-shows-elegance-winter-2013/ When you think of elegance, what kinds of subjects or objects come to your head first? I think of elegant clothes and people first. Elegance is almost an attitude. The most beautiful, well dressed person, may not be elegant unless they have the right attitude. Do you most often paint from photographs, a mental picture, or real life? I usually paint from one or more photographs. I do participate in a life drawing group on Fridays and, of course, we paint from life at that time. Occasionally, I will paint from a mental picture or just let the painting develop on it’s own. What do you do when you have a creative block? I tend to create new surfaces to paint on when I have a creative block What painting of yours has the most meaning to you and why? I have painted all my children and grandchildren. These paintings have the most meaning to me. I also like to paint people from trips I have taken and those paintings are close to my heart also. What is the most challenging part of your creative process from blank canvas to finished piece? I have a hard time knowing when to quit. I can easily overwork a painting. What is on your easel right now? I am working on a painting of two older people snoozing on a cruise.

Artist Bio:

I grew up in Michigan and left to go to college and marry. After raising three children and moving around the country a bit, we settled in Lubbock, TX. After retiring from teaching “Computer Information Systems” in a Junior College, I pursued my lifelong interest in watercolor.



Juried Show Winter 2012

www.cfai.co/carolpeterson http://www.cfai.co/juried-shows-elegance-winter-2013/

Juried Show Winter 2012

First Place - Nancy Medina www.cfai.co/nancymedina http://www.cfai.co/juried-shows-elegance-winter-2013/ When I think of elegance, I think of the simple line of a flower, and the playful way those lines bend and move in the breeze. I believe nature always has a hand in making flowers feel real, and part of the authenticity and beauty of nature is the fact that it is not static, it is not plastic. This is why I always encourage my students to paint from life. A real flower moves, it grows, it begins, and it ends. All of those stages, from the buds to the brown edges of the leaves are part of what makes a flower elegant to me. I paint mostly from fresh flowers in the studio. Every flower is unique, there are no two sunflowers that look exactly alike, for example. Add to that all the different ways light changes at different times of day, and you have an infinite number of ways you can paint a single flower. I began painting every day five years ago. I have not had a creative block in quite some time that I can recall. The only thing blocking me is the day to day chores of life that have to be accomplished before I can rush to the studio, and AnnieBee, my little four-footed helper who tosses her ball at my leg every now and then when I've forgotten it's break time.... I do not consider a particular painting to have overarching meaning to me as an artist, but there are certain paintings that seem to mark turning points in my work. Every now and then I produce a work that seems beyond my abilities for that timeframe in my growth. I’m not sure if I can attribute this to perseverance, intuition, or simple good fortune. By painting every day, your relationship to the process begins to extend beyond mechanics and becomes more intuitive. More and more with time I am influenced by the mood or the energy of a color or the way light plays upon an object - shape and light become more important than the flower, vase, or setup. When I become excited about a color or the way light strikes a petal or reflects onto a tabletop, I respond to that muse right away. The most challenging part of every painting for me is often the background. I am not a fan of using dark colors to push subjects forward. I strive to tell a story with subtle changes between hues. My goal is to create an interplay between temperatures, rather than a harsh backdrop that forces the eye to see your focal point. On my easel right now - blue hydrangeas! I’m working on two paintings simultaneously. One for my monthly giveaway on Facebook, and one for a client. Blue hydrangeas have been calling my name lately so I have to respond!

Juried Show Winter 2012

Second Place - Linda Bell

Third Place - Pamela Blaies

Honorable Mentions

Gabriele Bitter Elaine Monnig

Annie O’Brien Gonzales

Rae Andrews


Diane W

Continuing the Tradition with Th

The Western Masters Art Show & Sale is a four-day fine art exhibition held each spring at the Best Western Heritage Inn in Great Falls, Montana.

The Western Masters Art Show & Sale is a four-day fine art exhibition held each spring at the Best Western Heritage Inn in Great Falls, Montana. Diane Whitehead is one of 140 juried artists displaying in this years show. Diane is highly praised for her strong brushstrokes and bold use of color: both of which make her work come alive. Her animals look you in the eye with a majesty and gentleness that creates an instant bond. At once elegant and whimsical, Diane’s animals touch our soul and our sense of humor. Diane has been juried into such prestigious shows as Salon International, Best of Utah. She is a juried award-winning artist represented in numerous galleries in Utah, Montana, Wyoming and Texas Diane is a full time artist working from her studio in Park City Utah and Ovando Montana. Diane is represented by Rich Haines Gallery Park City Utah Rare Gallery Jackson Wyoming Sundance - Sundance Utah Paws Up! Greenough Montana, Dutch Art Gallery Dallas Texas Hodges Fine Art- Big Timber Montana DianeWhitehead.com



The Western Masters Art Show

Diane Whitehead DianeWhitehead.com

CFAI.co Art Challenge “R

CFAI Art Challenge

Best of Show

Best of Show Groovin’ Carol Schiff 101


Romance� February 2013

Carol Schiff


CFAI Art Challenge

First Place Second That Emotion Linda McCoy


CFAI Art Challenge

Second Place MOONLIGHT ROSES Marie Williams


CFAI.co March Art Challenge - “Places I Have Been” - $100 Cash Prize Open to all artists! Enter now www.cfai.co/art-challenge 103

Winter’s Soltice Patty Ann Sykes


CFAI Art Challenge

Third Place DATE NIGHT Kristine Kainer

Submit your portfolio to join

Contemporary Fine Art International



Sheep Incognito


Conni Togel Charisma-Art.com

Caroline Ratliff

Lost Maples 16 x 20 Oil

CarolineRatliff.com Studio: 4848 Guiton #209 Houston, Texas 77027

Melissa Doron

"Art is subjective. Not everyone will like your work but if you love it then everything else will fall into place." -Melissa Doron

ArtistDoron.com 281-236-6096

Mary Jo Zorad ZoradArt.com

Carol Engles

carolenglesart.blogspot.com carolengles.artspan.com

Debbie Grayson Lincoln

NoworNever-Debbie.blogspot.com DebbieLincoln.com

Gibson Pottery and Glass GibsonPottery.com

Suzan Madison Casey


Blog Review

Laurie Pace

Susan Bell 113

Rosemary Bonnin

Jonelle T. McCoy

EquineArtistsInternational.blogspot.com Equine Artists

Dottie Martz Rae Andrews Theresa Paden

Ally Benbrook


Texas Artist Spotlight

Filomena de Andrade Booth


Kristine Byars


Niki Gulley

Barbara Haviland

http://www.nikigulley.com 115


George De Chiara

Nancy Medina


Sheri Jones

http://www.nancymedina.com http://www.sheriart.net

Texas Artist Spotlight


Leada Wood

Kimberly Conrad

Pouring Color

kimberlyconradcoastalcollections. blogspot.com

Conrad Coastal Collections, Original Pai

Contemporary Artist r into Your Life

intings and “Other” Lovely Things Coastal ConradCoastalCollections.blogspot.com


Painting with


Step by Step


h Hall Groat II


p Demonstrations




Daily Painters.comDaily

Tom Brown

Carol Nelson

Mark Adam Webster


Crystal Cook

Barbara Fox

Kay Smith

Linda McCoy

Kimberly Conrad


Filomena De Andrade Booth

David Larson Evans

Mark Schwartz

Dottie Martz

Debra H


Carolee Clark

Kelley Macdonald

Pam Holnback


Connie Chadwell

Roxanne Steed

Nancy Medina

Laurie Pace

Kit Hevron Mahoney

Hall Groat II

Justin Clements

Kay Wyne

Debbie Grayson Lincoln

Jeanne Illenye

Delilah Smith





Daily Painters Abstract Gallery http://dailypaintersabstract.blogspot.com

Bob Coonts


Spring 2013 Juried Show - “The Tapestry of Life” - Open to Artists Worldwide $500 in total cash prizes Open to all visual artists Enter today! www.cfai.co/juried-shows

Papa’s Red Tractor - Barbara Haviland



Lisa-McKinney.com Lisa-McKinney.artistwebsites.com

Nancy Medina NancyMedina.com


Artists Retreat at t

Art Workshop Sc

Lodging is available on a first come, first serve basis. There is additional hotels and motels in nearby Marble Lunches are prepared for you and in the evneings, everyone brings food to share along with a favorite bottle for over eight generations and is today an active cattle ranch.


Oils/Studio February 9-10 $240



Oils/Studio Working from photos or mannequins February 19-21 $350


Drawing and painting the Watercolor/ Studio figure in mixed media May 20-23 May 9-11 $575 $350 http://www.wenmohsranch.com/Art%20Classes.htm


Acrylic/ mixed medium/ St abstract February 25-28 $450


Oils, Pastels/ Plein Air October 25-27 $360


the Bunkhouse

chedule for 2013

e Falls. Our aim is to make you happy and see to it that you have your best learning experience ever. e of wine. Life is truly good at Wenmohs Ranch. The Texas Ranch has been in the Wenmoh family




Oils/ Studio/ Plein air 2 days of each March 4-7 $595

Oils/ Plein air March 20-22 $350

ROBERT BURRIDGE Acrylic, Studio/ abstract April 1-5 $630

Also soon to schedule will be the great teaching team of KAREN VERNON and KEN MUENZENMAYER. For those of you looking for a great holiday gift idea--other than a class at the WENMOHS RANCH, En Plein air Pro is offering a 15% off until the end of 2012 on all of their artist easel packages.


See you at the Bunkhouse!

Oils/ Studio/ Plein air 2 days of each November 4-7 $595

Dena Wenmoh



CFAI.co Collectors http://www.cfai.co/gallery/art-under-200/

Carol Schiff


Linda McCoy


Maria Kitano



Art under $200 http://www.cfai.co/gallery/art-under-200/


Suzy Pal Powell

Carol Jo Smidt



CFAI.co Collectors http://www.cfai.co/gallery/art-under-200/

Tim Lin Barbara Haviland


Ally Benbrook


Patty Ann Sykes 115



Art under $200 http://www.cfai.co/gallery/art-under-200/ http://www.cfai.co/gallery/art-under-200/


Lisa McKinney

Carolyn McDonald



Dutch Art Gallery

Painting by Kay Wyne


Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.