Artist On Art Spring

1
01 The Painters Reference

By Jeremy Mann
09 S tanding before creation

By Michael Klein
18 C onceptualism on parade
By William Wray
21 t he sense of light
By Daniel Gerhartz
27 F ireflies and the art of design

By Kevin Beilfuss
37 M
y Art. my world.
By Dr. Ernest Biscardi
43 C apturing the essence

By Michelle Dunaway
50 Strength through abstraction

By Seth Haverkamp
55 C ollectors and the unspoken

language of art
By Kristen Thies
61 in support of artists

By Emily Dietrich
Modern trends are affecting painters in countless ways, and trusting in a photograph
as a reference is one of the detrimental departures from where our hearts should
be when painting. We should be mindful of the haste of the present and our
dependence on the deceitful photograph. The first step is acknowledgement,
and then to focus on challenging lazy ignorance with purposeful elegance.
Like words to a poet or notes to a composer, the marks an

artist makes within a painting hold the voice of emotion.
Composition is natures underlying geometry of beauty,
incorporating an undefined layout of shapes, lines, values
and balance. Color speaks to the soul, and can release moods
from the heart of a viewer. The arrangement and quality
of the formal foundations are the ingredients for brilliant
paintings that stir wonder and emotion in the viewer. But
the grocery store of a reference photo is at best limited in

its stock.
There is no substitute for nature. Study from life should
be the highest priority for every artist, because having a
good reference makes all the difference. And life is the best
reference. However, there are still plenty of us who needor
wantto work from a photograph. Culturally, we no longer
The Lure of the Muse,

24 x 36 inches, Oil on Vellum, 2012
Sold through The Safehouse Show 4
dress as gentlemen, lounging in the gardens and fields,
drinking wine with elegant beauties in gowns as seen in so
many 19th and 20th century works. Instead we speed across
freeways, scan the interwebs for instant gratification, get off
the bus at the Grand Canyon to snap some wicked photos,
before hitting up Vegas. Photograph as reference has become
a norm, the quiet blighta too simple and available tool that
clouds our judgment of painterly beauty. But if we know
this, let us not be lazy slobs to our culture and our audience.
Let us learn to bring life back into our work with a complete
disregard for the photographs blind team spirit.
Our lenses may be similar, but the camera lacks a soul. It
cannot feel the wind in its face and witness trees bending
and resisting its blow, or feel the heat of a hot summer day
burning your upturned face. It cannot suddenly realize that
its feet have gone numb in the snow and that it should hasten
back to a fire, or enjoy the quiet of a lost field. This is plein

air painting. The photograph cannot compare. How often do
you see a relatives photo album of last summers grand RV
adventure to Yosemite, and then the standard excuse: The
photo doesnt do it justice.
But sit in those same backcountry fields and lakesides, forest
and hills, hear the hum of a mosquito, the running of a
stream, and the clank of your bear spray at your side, and you
will know what nature can offer. Your first defense against
the ridiculousness of photographic landscape references is to
study plein air (or alla prima for figures and still life).
I often find the best way to capture the true feeling of an
outdoor scene is to force the pace. In freezing snow, rushed
and white, with a limited palette of only the necessary colors
that appear before you (often whites and bluespretty easy).
Plein air studies in Lake Tahoe, CA
A wonderful study of changing harmonies and fleeting

moments comes from a quick five minute plein air thumbnails
of the sunset. Consider pushing yourself as a way to lessen
the attention you spend on whats before you. Perhaps you
just need a warm-up or quick visit to nature, as a way to focus
on simply the feeling of the scene you are in. With a
photograph, you work from outside, and doing so only
encourages the viewer to also experience your painting from
outside. In nature, you are immersed in ityou feel nature
from within, and if you paint in nature, the viewer will be
absorbed in your work, and join you there.
But at some point we may find a photographic reference is
the only way forward with a painting. Adjusting that reference
requires a journey into the underworld of photo editing, and
you should be well versed in its astounding capabilities. I have
been influenced by the brilliance of my comrades to traverse,
undercover style, the wickedness of digital imagery. Ive
learned its capabilities, and returned to my studio of oils and

thinners to strike my reference in its weak spot. Here are a
few weak spots to adjust in your photographic reference before
approaching the painting.
Focal point
Good Lordthe camera crispifies, and brings clarity and
focus to every square inch. Its natural for the camera to do
this, and should not be admonished for it. But we artists
should criticize ourselves for ignoring the differences. Eyes
need a place to rest, a focal point full of details and intrigue.
The eyes need to float to a secondary point of interest,
then out to the depths and distance, led back then to home.
Add details where necessary. Add more stuff in the area of
focusmore branches, more grass, more people, cars, lights.
Do so with a splendid negligence, whilst leaving other areas
flat or atmospheric, full with less stuff.
You need some plastic portable toilets, details like

stuff in the yard as if the place has been lived in.
Stuff as paint is just more touches, but you dont
want to know what it is, you dont want to know
theyre plastic portable toilets. Bill Maughan
Atmosphere
Photographs fail when it comes to understanding the
landscape before them, while simultaneously comprehending
the sky. Not only do photographs harden distant mountains
and objects with sharp edges, but they increase the contrast,
value range, and mock their true color. Why is the sky blue?
(My father told me because if it was green, I wouldnt know
where to stop mowing.) Because there is water in the sky,
the more distance between you and those mountains, the
more water is in the way, making things bluer, foggier and
more blurry (think windshield in the rain). Quite revealing
Morning at Thousand Islands Lake,

48 x 73 inches, Oil on Panel, 2011,
Sold through John Pence Gallery
once understood; unfortunately we strive for perfection,

and copying our reference is inherentwhether nature
or photograph. But knowing these things, you can push
the atmosphere in your painting to be more full of the
atmospheres color (whatever that color may beyellow
sunsets, red mornings, perylene nights), while lessening the
value range as distance deepens. You can create edges lost and
found and full of life, all of which will leave the viewer with a
calmer and more natural state of being.
Color
The purpose of color is to fill harmony within your work, and
evoke a mood in the viewer. According to my photographs,
everything in the city at midday is beige and blue. I dont
believe them. Learn to adjust the references color patterns
to match the mood you wish to convey, and spend a lot time
doing it. If you are not sure, create many different color
harmonies of the same reference, thumbnail them real quick
in a sketchbook, and the answer will become much clearer.
Highlights and Shadows

The cameras dead giveaway is that it cannot see
simultaneously, as we can, within the shadows and directly
into the light. Bracketing your shots (shooting one
underexposed, one evenly exposed, and one overexposed) will
at least give you a range of reference from which to choose
intelligently. Advanced editing allows you to superimpose all
three together. I learned from Coro, a good friend of mine,
that even in life, shadows are always lighter than you think.
Painting them as such will add vitality to your paintings. You
can spot a painting done from a poor reference if there are
three or more heavily highlighted areas competing for first
place. The same goes for shadows. Unless youre working on
a fantasy novel cover, there probably shouldnt be shadows so
deep and black that not even light can escapeavoid painting
black holes and Higgs bosons in your work (unless required
by a commissioned client of course).
Practice adjusting your reference in concert with alternating

warm and cool patterns. Use other artists color choices
as inspiration; use complementary or split complementary
color palettes; use magazine cutouts of interesting colors. I
personally de-saturate my photos to near death. It gives me
more control over exactly where I wish to saturate my notes
in the actual painting, and keeps me from being a slave to the
rainbow of colors so easily lusted after in photographs.
I prefer to work from a large mounted monitor. Aside from
giving me the physical freedom to paint with more reckless
abandon, the large monitor allows me to change the reference
as I choose, should I need to, but also because I paint light.
With a printed photographic image, unless your reference
source is a Litebright, the printed image is already dull and
stunted in its value range.
Colorswatch samples from my sketchbook.
Adding and Subtracting

Alfred Stieglitz once spent an hour in the snow on Madison
Ave waiting for all moving elements to align. Today we do
not have to use expensive silver films or colloidal wet tin
plates. We can take a hundred photographs in only a few
minutes. So why not do so! If there is a scene that captures
you, photograph it as you would experience it from life
from many vantage points. Or remain still and take many
shots of one view, as people and vehicles move by, as the
light changescapture life in still frame. Then combine and
remove these elements in your references within the studio,
Unmodified original image of several

images pasted together
cutting and pasting images together as a conductor adds

and quiets instruments in the orchestra. Move trees, raise
buildings, remove odd facades, add people, get rid of people,
kill grass and grow flowers. Cut and paste an abstract area
from one of your previous paintings onto your reference and
simply play with the layer blending. I prefer mine gritty and
raw; perhaps you prefer them softer or lighter. Each artist is
different; be true to who you are. All efforts to control your
reference first will better train it to behave later as you wish.
Reference photo after many alterations
Although I focused this discussion on landscape and cityscape, the same principles apply to working from the figure
photographic reference, which perhaps presents even greater difficulties. My random babblings on the alluring beauty of a figure,
and my emotions for it, would wander far from this discussion, but I apply the same ideas to my figure work. In a sense they are
one and the same. Strive not to be a portrait artist or a cityscape painter, but simply a painter.
The end result is this: the closer your photographic reference is to an actual painting, the better your work will be. Choose your
reference well. In the beginning, choose and crop your reference with a de-saturated monitor. This eliminates the distraction of
color, and focuses on the importance of compositionlike smelling scents with your eyes closed. Never completely trust your
photographic reference. Always remember it is a shortcut, and the emotion behind your painting must come from within you.
Learn to control the reference, and dont say, Oh, Ill fix that area when I paint it. Just fix it now and save yourself the struggle.
Construction #3,
36 x 36 inches, Oil on panel, 2011,
Sold through the Principle Gallery
There are many other ways to mold your reference to have

better manners as an aid in painting, but we must always
remember that it is just thatan aid. A more expensive and
flashy hammer wont build a better palace, and attempting
to construct your painting without the scaffolding of
fundamental knowledge, study and artistic experience will only
end up in a terrible waste of time. Study from life, always.
Paint with a purpose, a reason, about something you respond
to and that fills you with emotionwhatever the emotion
that burns you. And make sure the voice in your marks, the
flow and balance of the piece, the mood and the harmony of
colors; make sure all qualities you paint give justice to your
subjects beauty.
Lament,
48 x 48 inches, Oil on Panel, 2011,
Sold through the Principle Gallery
About Jeremy Mann

Jeremy graduated from Ohio University with a degree in
Fine Art before earning a Masters at the Academy of Art
University in San Francisco. Now living in downtown San
Fransico, with his studio at The Safehouse Studios, Mann
paints his surroundings with intimate and dynamic expression.
To see more of his traditional landscapes and figures, as well
as his contemporary works, please visit www.redrabbit7.com
There is nothing more misguided than the belief that the only created order in
the universe is that of man.
After returning to New York from a three-and-a-half year

sojourn abroad, I realized the profound impact beauty has
on our lives. On our property in Buenos Aires there are two
small houses and a large artists studio. While in Argentina,
my daily routine consisted of waking up in the morning, and
walking through a beautiful rose-filled garden. Being back in
the states, I now wake up to the reality of city lifevery little
fresh air, no vegetation other than a couple trees planted for
aesthetic reasons, and a lot of noise as people rush to work.
The reason I mention this contrast is because beauty is crucial
to understanding nature, and therefore, art.
Beauty is truth, truth beauty, that is all/Ye know on earth,
and all ye need to know. John Keats nineteenth century
poem Ode on a Grecian Urn reflects on the idea that beauty is a

very present realitywe cant deny its existence. And because
beauty exists, we can know that truth exists as well. By
contrast, eighteenth century Scottish philosopher and skeptic
David Hume wrote, Beauty in things exists merely in the
mind which contemplates them.
If Humes view is true then beauty does not exist as a thing
in itself, and everything is just random chance. But common
sense tells us that randomness by definition does not have
order, and that one of the essential qualities of beauty is
order. To be more precise, mathematical order can be found
in many different aspects of composition of both music
and painting.
Spring Floral, 8 x 12 inches, Oil on panel
Think about the sound of a crowd cheering. Then compare

that to a choral piece by Bach. Both are created with human
voices, working together to produce a desired effect. One is
a completely random attempt to cheer on a favorite team
some with loud voices, others less so. In this instance the
pitch or tone at which they are screaming doesnt matter. Now
think about how much practice, talent and orchestration is
required to produce the Bach composition.
reason for the stark difference is apparent when we hear

LeWitts explanation of his creative process: The draftsman
and the wall enter a dialogue. The draftsman becomes bored
but later through this meaningless activity finds peace or
misery. The lines on the wall are the residue of this process.
Each line is as important as each other line. All of the lines
become one thing. The viewer of the lines can see only lines
on a wall. They are meaningless. That is art.
With this you can begin to understand that defining things

is an important part of distinguishing varying aspects of
the world around us. One could easily say that the chant
of thousands of people cheering for their favorite team is
something beautiful to behold, and I agreealthough it is
in a fundamentally different class than the beauty of a
Bach choral piece.
This contrast between the work of Whistlera source

of beautyand the work of LeWittan expression of
meaninglessnessillustrates the difference between art and a
form of obsolete intellectualism.
We could make a similar comparison with visual art. If you set

Whistlers Harmony in Blue and Gold: The Peacock Room against
Sol LeWitts wall drawings, the difference is astonishing. The
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After many years of painting, I now believe that great art

embodies the soul of man, just as through the created universe
we are able to see the invisible attributes of the creator God.
This is not a fashionable avenue down which to travel, but
I have become profoundly aware of the importance of
understanding myself and my art in relation to God.
The apostle Paul wrote in his letter to the Romans, For

the invisible things of Him from the creation of the world
are clearly seen, being understood by the things that are
made. Without the physical creation of a thinga painting,
a musical workyou cannot come to know what the artist
thinks or feels. The proportions of man, color harmonies that
exist in organic objects and natural design such as the Golden
Rectangle, point to beauty made for a reasonbeauty created
by an artist whose character and soul can be seen by what he
has created.
Artists have historically incorporated elements like the
Golden Rectangle into their paintings and sculptures. But
if we think that nature is essentially meaningless, then any
claim we make about order in our painting is essentially
meaningless as well. There are two sides to this coin. Artists
who do not incorporate a theistic worldview cannot come
up with any concise reason as to why painting matters. To be
completely fair if everything is an accidenta proposition
that I completely rejectthen anyone can do or say whatever
they want. Followed to its logical conclusion, every aspect of
society would soon arrive at a kind of barbarism.
White Harmony, 24 x 18 inches, Oil on linen
Diana Resting,
6 x 10 inches, Oil on panel
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Awaiting Work,
29.5 x 47 inches, Oil on linen
Representational art is the only part of life that actually has

been affected by this move toward meaninglessness, because
it has become completely conceptual. There is no such thing
as a world where ideas do not have consequences, and where
a moral codesecular or biblicaldoesnt exist. Painting is
a luxury that brings joy to our lives, it allows us time to sit
in front of nature and be awed by the beauty that exists. If
postmodern artists were to advise their physicians to practice
medicine in a way similar to the way they practice art, they
probably wouldnt feel too comfortable in the doctors office.
To be honest, a trip through the MoMa gives me a
similar feeling.
We create because it is essential to our character as human
beings. Think about why we create music, sculptures or
paintings. Art serves no purpose for survival. If we had to
go without art we could. Everything we experience as human
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beings is reflected in our art. It is not until paintings or

sculptures are created that we begin to see the art spirit take
form. Art is the conduit for the artists soul to escape into
the here and now of present-day reality. I often say that the
essence of our spirit is sustained in a thin layer of paint on
canvas for generations after us to behold.
We know in the depth of our souls that staring at a modern
canvas painted all white does nothing to us. People are
therefore once again returning to representational art.
Countless tourists from all over the world walk the halls
of the Metropolitan Museum of Art every year. It would
be fair to assume that the average person probably doesnt
understand the technical process behind any of the works
they are admiring. But being unable to discern what went
into the painting or sculpture does not hinder observers from
enjoying the arts inherent beauty.
This observation of inherent beauty is also true for a sunset

or a waterfall with a rainbow in the mist. No mind can fully
understand the depth of how glorious a sunset is. Im not
discrediting any sort of science that describes the process of
light refracting through the atmosphere. Im talking about the
creation of light and matter arranged in a way so that it can
be perceived as a sunset. In order to even see anything we
need to have vision, which is a miraculous concept in itself.
Imagine for a moment: because of our inability as human
beings, we cant fully comprehend where everything comes
from. Our life is sustained by an infinite number of tiny
variables. If any one of these were off, we could not exist.
Something is holding every piece of the puzzle together.
The notion that anything can come from nothing is hard
to imagine but many brilliant people think this way. Science
would lose all meaning if the world was an accident, because
nothing could be predicted.
If painters of our time only try to duplicate a similar

aesthetic to paintings that have already been made, they will
unfortunately always be re-presenting representation. If we
are inspired only to paint something that is visually similar
to paintings we have seen from the past, then we are limiting
ourselves to a superficial discovery of what art is truly about.
I believe that art is the celebration of creation. It is a response
to the beauty in the natural world. Art is an expression of
thanks to the One who created everything. Right now the art
world seems almost completely devoid of beauty and truth.
There is a spirit, but it is one that is far from meaningful.
Spring Floral,
Realism will be accepted by the art world. It is the humble

pursuit of beauty and truth that will not be accepted. If you
paint an image of a little girl posed in white, this will not be
accepted. But if you paint with the same amount of ability
and skill something shocking, it will be accepted. There is a
trend occurring, and I believe it all stems from the philosophy
that says everything comes from nothing.
The new Atheists have been successful in convincing the
world that nothing was designed. Someone would think I
was joking if I told them that my latest painting happened
when my palette fell to the floor, and paint bounced up and
landed on my canvas, in perfect representation of flowers and
a vase. This illustration may seem silly, but on a grand scale
Karinas Rose,
12 x 9 inches, Oil on linen
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Studio Table,
this is what many people believe about the world around us.
The evidence for the world being the work of a thinking,
creative being is overwhelmingall you have to do is look at
a flower or the waves of the ocean. The Golden Rectangle is
just one of many signs that show there is order present in
the universe.
At one point I said that I will spend my life trying to

paint something beautiful. Now, I would change that, and
say instead, I will spend my life painting what is already
beautiful.
Demonstration
I commence the block-in with a soft pencil (6B) on smooth watercolor paper taped to a drawing board. The paper Im using is hot
pressed Fabriano Artistico. Then after the completion of the drawing I seal the paper with a Poly Vinyl Acetate (PVA) size. This
process makes a separation from the watercolor paper to prevent it from rotting.
Image 1: I block in my darks and lights to
establish a value range. This step is fairly easy
when you have a block-in guiding where youll
be placing the darks initially. If you do not
do the first step, you will need to concentrate
much harder during this stage because
essentially you would be setting up all of your
composition at the same time you construct
the drawing.
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Image 2: I continue drawing with my

brush using accurate color notes and paying
attention to the sense of space between the
back flowers and the foreground.
Image 3: Starting to focus on atmosphere

and how edges relate to one another. Keeping
my colors subdued, I think about subtle
things such as the way the underpainting
will show through in parts creating a nice
color harmony.
Image 4: At this point Im slowing down

trying to push the painting from the block-in,
to some of what will remain the final layer.
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Image 5: I have worked two days and put in

about 6 hours total so far. I work the different
sides of the bouquet on separate days to
allow for any changes the flowers will make.
Image 6: Working on blocking in the

transparent warm notes on the vase.
Image 7: Continue to think about the quality

of the glass and work on the character of
the vase.
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Final Painting: I have to consider the painting complete at this point, although they never are. I move on to the next project and
think about what I could do to improve on my process.
About Michael Klein

Michael started his training at ateliers in Minnesota where he was offered a rigorous academic program that adhered to the
stringent French academic tradtions. After finishing his studies in the Midwest, Michael sought out the renowned painter Jacob
Collins. Through the influences of his peers, Klein has developed in a direction unique for his time. Michael lives in the Bronx,
NY while spending time throughout the year in his wifes hometown of Buenos Aires, Argentina. For more information, please
visit: www.michaelkleinpaintings.com
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Conceptualism on
Parade
Commentary by William Wray
Art as Totem
Why did so many people find themselves drawn to the Big
Rock being moved to LACMA this March? People love
parades. Face it: we love exhibitions in any context as long as
they are really bloody BIG. A 500-pound rock being pulled
in a kids wagon by angry baboons might get on the news if
an overly curious onlookers face gets torn off by an excited
baboon, but the public needs something of substantial
tonnage to really spike their awe meter. We love Clash of
the Titans immenseness. Gigantic-stone-gods-getting-theirleviathan-on-juggling-whales kind of spectacle. Awe mixed
with a dose of instinctual fear of being Monster Truck
crushed brings the bumps to our flesh, the Oh my God!
to our lips, the little stain to our collective panties.
In the case of the LACMA Rock, the public will literally

be looking up and staring potential death in its rock face.
Walking under its suspended power will be a must-see
art stop. Cringing under the Rocks shadow will be the
culmination of the complete Los Angeles art vacation
package. Love the idea or loath it, let me explain why visiting
the boulder in question will affect you no matter your resolve
to resist its power. Because of visual context, your bowels
will quiver in its presence. Scale is the key; even a kids toy
embodies dominance over us when its giant. Ive created
some visual aids accompanying this article to help the reader
understand this theory.
Figure 1: Real world scale. The Bennie

Baboon is more or less to real scale, nothing
to get excited about. No investigation into
deeper context of the subjective duality that
enhanced scale can achieve. An intellectuallevel equivalent to a small town art show or a
bathtub fart.
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Figure 2: Scale is used to re-purpose visual

context by re-imagining a giant Bennie
Baboon as a totem-like art entity. Jeff Coons
has made effective use of this juxtaposition
to give power to a childlike metaphor for a
post-modernism deviation of chrome balloon
animals. Keep in mindto attempt to make
any object art rocket to museum art totem
level you need a minimum of ten million
bucks. Otherwise it could be confused with
a giant logo over a car dealership or tire
store. My own example here would be more
effective if it were plated with gold. Metal
makes the big cute toy into the God symbol
and gives it the weight to crush puny humans,
essential to instinct awakening in the arttotem-worship area of the brain.
Figure 3: This scale goes past the art context
and achieves the power-potential-deityworship from the masses. While Figure 2
can be conceptualized as an effigy of an art
Totem, Figure 3s gargantuan scale cant help
but make the puny human instinctually drop
into prayer supplication mode. The dicey
part of this is the real danger of symbolism
confusion. Is it art or a symbol of God or
Monster? Does the work tap the instinctual
need to worship thats in every humans
unconscious? Hollywood has capitalized on
this theory since King Kong. The fine art world
is just now catching up.
Rock God
One can now understand how an oversized Baboon can be
king, but how can a Big Rock have the same power as giant
Monkey Ju-Ju? Big Monkey can grab us in its paw and stuff us
in its maw. Giant rock just sits there. Rock needs the power of
nature producing a landslide or man levitating it with a crane
to transcend to the monumental status that will make it stand
out from the other peasant rocks at the quarry. The King Rock
needs the artist to turn it from mere debris to art totem.
The artist used to go to the mountain and carve out

presidential effigies so people would know he was a great
artist. These days since carving rocks is hopelessly pass, the
giftedly financed artist brings the rock to a museum.
When the Rock is parked next to a building, context ensues
and the rock achieves its metaphor power as an upwardly
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stationary city rock, unlike the quarry county bumpkin-type

rocks destined to be ground up for your driveway.
So is the Rock a symbol for the power of nature or the
arrogance of mans ability to destroy Rock if that whim is
exercised? Is Rock a God to be worshiped or kissed for good
luck? Personally I think the Rock is magic-mountain-meetsHollywood conceptualized as art. Artists will tell you that fine
art is a pure form of unique personal expression, light years
removed from the shallow hype of Hollywood imagery, but
its just a matter of time and space until the artist moves the
whole mountain and that feat will take real Hollywood money.
What about the lowly painter?

Will art ever go back to just being a simple act of talent without
ten million dollars worth of showmanship behind it? I think it
willby the totem art becoming is own category and leaving
the regular mortal artists in the earthly world of painting.
One of the most derisive put-downs one hears from
contemporary artists is their judgment of representational
painting being suited for a tourist art gallery. But something
tells me a lot more tourists will come to see the Rock right
after they visit Universal Studios than will come to visit my
gallery in Cambria.
About William Wray

William Wray has lived in California most of his life and
studied painting at the Art Students League in New York.
Making his living as a cartoonist who specialized in painted
subjects, he spent many years coalescing a eclectic array of art
styles, ultimately finding his voice in a contemporized reflection
of traditional California regional painting that focus on humble
subject matter rarely considered as fine art. To see more of
Williams work, visit: www.williamwray.com
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As an artist, continuing education is necessary and critical to my development.

My primary means of gaining new information has been to visit museums here
and abroad, and absorb the works of the masters. I have studied, copied, and dug
deep to try to understand how they solved problems, and how their explorations
can offer insight into ways I deal with matters of light and form.
As I reflect on what I have seen and experienced, one

question I always try to ask is, What were the works that
most moved me? As I have tried to identify the reasons
why certain works emerged, it is often easier to identify
reasons why others have not. It has certainly not been the
subject matter. My favorites have ranged from the simplicity
of a pail of potatoes, to a young child with pearlescent skin
tones; from the beauty of youthful spring to the lament of
the dying. It was not the color alone that drew me in. My
favorites have varied from the colorful, vibrant beach scenes
of Joaquin Sorolla, to the most impressive reserve in grays
by Emile Carlsen. Nor was the composition necessarily the
element that caused my heart to skip a beat. While the design
may have grabbed my attention from across the room, I dont
believe that was what mesmerized me in the end.
What was this element, I wondered, that courted my soul and
set my sense of wonder astir? I believe it was the convincing
effect of light captured by the artist. When I refer to the
effect of light, I dont necessarily mean just a strong,
bright source of light, but instead one that is perhaps the
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The Sketch, Gertrude Ksebier, 1902

Beatrice Baxter Ruyl in Newport, Rhode Island
most subtle trace of twilight light, or the soft coolness of an

overcast afternoon.
Once I had identified that the sense of light was the unifying
link that moved me most, the obvious question as a student
of art was, How did they achieve such effects?
In my experience, when I have been most successful
capturing light, it has not been when I consciously set out
to do so, but instead, when I honestly tried to reproduce
the effect before me. There are no tricks to painting light,
although some may suggest otherwise. An accurate portrayal
of the values and edge relationships is the essential key.
Some may think that color is the necessary ingredient to
painting the effect of light, but I would ask you to consider
works in monochrome, such as drawing or photography
that can carry an amazing feeling of light without color. The
etchings of Anders Zorn or the photographs of Gertrude
Kasebier are two great examples of the effect of light in
monochrome.
The New Song, Anders Zorn, 1903
She is not gone,

23
I would agree that color does add another dimension to the

effect, but it is not the foundation of the feeling or mood
that is carried through light. There is another reason I know
this to be true. In the past, when I have had paintings that
did not read like light, I thought I could remedy the problem
by adding more color, but this only made the work noisier
and less sensitive. When I am teaching I see this tendency in
students as well. No amount of color will make up for out-ofkey values and edges that are not accurate representations of
what we are actually seeing.
Here are a few works that help illustrate valuable tips I have
learned to assess the subject in order to most accurately relay
the correct values and edges.
To be able to see the correct relationships of form, value,
and edge, the first and most important technique is the act of
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Autumns Last Harvest,

squinting at the subject. For an in-depth look at my approach

to squinting, please see my Technical Insights blog, post #3.
In terms of value, once you have identified the extremes in
value through squinting, it is crucial at the beginning stage of
your painting or drawing to render in the lightest lights and
darkest darks. You can then use these extremes to judge every
other value relationship. The reason we use the extremes as
benchmarks is that they are the easiest to identify. It is very
hard to judge the middle values when the extremes are not
in place. Often if one begins without these benchmarks, the
piece can start out too dark or light in the overall light tone
of the form. Every other subsequent value is then misplaced,
throwing off the whole effect of light. This is a common
mistake, particularly when working with an extreme light
source such as candlelight, sunset or backlight.
In the Stillness,
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As in the painting Golden Light, if the overall values of the

models face and white blouse had not been keyed dark
enough, there would not be enough light left in the value
range to accomplish the striking brilliance of her backlit hair.
Keep in mind that if you intend to transpose the key to either
a high or low key work, the extremes in value may not go
from a number one to a number ten in value. Transposing
will not be detrimental to the effect of light, but will simply
shift the key. The relationship between the values is the
critical element.
Much the same can be said about the approach to accurately
assessing the edge relationships. One must squint at the
subject to allow the hardest edges to emerge, and then
establish them on the canvas as early in the process as
possible. Again, this provides an extreme against which to
judge other edges.
As an example, the edges on the models shoulders in In the
Stillness are very sharp on the top edge and soften as they
descend past the scapula and ribcage. They harden again as
the fold moves out horizontally away from the subjects waist
and in again. In her face, the sharp edge on top of the nose
accentuates the soft, graduating light as it descends across the
face. These combined elements build the sense of light that
originally drew me to the subject.
All of this brings me back to where I started. Allow yourself
to be mesmerized by the sense of falling light, strive to be
honest in your approach to the subject, submit to the subtlety,
and record the beauty you see.
As my breath was taken away by the works of the masters
because of their genius with light, perhaps someone may
experience a work of yours one day and feel the same.
About Daniel Gerhartz

For more information about Daniel, his paintings,
workshops, and publications, please visit his website
at www.danielgerhartz.com
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Golden Light,
16 x 12 inches, Oil on Linen
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With this simple, albeit brief conversation, I realized that

Carolyn was seeing things much differently than I was! I
had always been taught to draw the figure as if you were
constructing the subject itself: This is how you draw the
head. This is how you draw the eyes. This is how you
draw the nose. How many heads tall is the figure? Etc.
I was drawing the subject without regard to the design of the
painting as a whole.
What was catching Carolyns eye in the subject was the
negative space between a mother and her childs head as they
read a book together. She was not as drawn to the subjects
themselves, as she was to the negative space that allowed
her to see gesture, and design. Our conversation was short
because I didnt know what further questions to ask, but what
I learned over time, as I tried to comprehend what Carolyn
was seeing, was that the subject can become secondary in
importance to the overall design of the painting.
I was up late one night, struggling to figure out how to put

into words for my workshop students just what I was seeing
when I viewed a subject as a painting. It was at that moment
that the idea of fireflies came to mind. Our eyes main focus
is to seek out detail. Imagine yourself outdoors at dusk with
the sky a blanket of darkness. Suddenly a spark of light
appears, and vanishes. Then another spark appears, then
another. With each spark our eye moves to a new position.
Our eye is trained to go where something is visually grabbing
our attention.
When approaching a painting, the concept of fireflies can
help the artist understand how ones eye is naturally led
around a subject. The eye will always seek out something
new and different to focus onbasically it seeks out
contrast. Contrasts come in the form of value (lightness/
darkness), activity vs. passivity, and contrasting colors
and textures. All of these contraststhese fireflieswill
catch the eyes attention.
Ophelia,
24 x 36 inches
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Sophia,
24 x 36 inches
Lets take a look at these fireflies individually and see how

they can help us design a painting.
Value
If a subject has a strong light on it, there will be distinct light
shapes (where the light is reflecting off the subject), and
distinct dark shapes (where the light is being absorbed by the
subject (a shadow is being cast, or a turning of the form.)
Most artists seem to start with a fairly light background
(canvas, panel, or paper). Even if there is a tone on the
surface, it is usually not darker than a middle value. We start
to draw these dark shapes against our lighter backgrounds,
thus producing a contrast. Getting these dark shapes in the
right relationship to one another is what will make the subject
before us, look like the subject before us.
As an artist, if one chooses not to paint the subject exactly as
they see it, but rather thinks as a designer, the value structure
can be altered to make a possibly more interesting design,
thus allowing room to use more color in the shadow areas.

For example, the shadows can be lightened, and not painted
as dark as they appear when squinting. As long as the shadow
shapes are darker than the lights on the subject, they will read
as a shadow. So value contrasts are the firefly I seek out first
when designing a painting.
Activity vs. Passivity
Finding the active and passive passages of your subject
is probably the most difficult firefly to describe. The
easiest way to explain this phenomenon is when viewing the
nude figure. It is especially easy to see when the body twists,
or bends. Where the muscles are bearing weight, they will
become taut and full to keep the model in balance. This is
known as the active side. On the opposing side you will find
the muscles becoming more relaxed and stretched to allow for
the activity of the muscles opposite them. This is known as
the passive side.
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In the weight-bearing areas you will find activitythere will

be sharper angles, more pronounced shadow shapes, more
tension. Folds and creases in the skin occur around where the
muscles are tight and where the form bendsjust like the
folds in fabric where it is cinched.
All of these details act as fireflies to draw our attention, and
this is also where I find the negative space to be the most
interesting. In the passive areas the form will appear softer,
with more gentle, longer curves. It is in these areas that one
can decide to loosen an edge, or have the form meld with the
background. It is also in these areas that I like to edit out
unnecessary information. The old adage Less is more is a
concept to keep in mind. Allow room for the viewer to fill
in areas of the painting. Theres no need to spell everything
out for themtheyre smarter than you may think!
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Color
I have a theory on color: it doesnt matter! My main focus
when approaching a painting is not to capture the subject
exactly as I see it. I am more concerned with creating a
design for the painting than I am with getting the exact color
temperature hitting my subject. By approaching a painting
from an abstract point of view, the gesture and rhythm
become the main focus. The subjects in my paintings are
usually human beings, but when designing a painting, the
subject could be anything. When approaching a painting in
this way, one is less concerned with capturing the likeness of
the subject and is instead more focused on playing with the
color harmonies.
I remember a day back in art school (Im surprised I can
remember back that far!) when I had a huge mental block.
Study on Active/Passive
will be able to judge immediately whether the color (or value)

you just put down will work for the painting or not? It was
out of this frustration of trying to figure out the exact color
I was seeing, that I decided to use some funky colors to
loosen up.
I find now that I will use bright blues, greens and pinks in the
early stages of the painting to keep me from over-thinking
the color issue. I usually place these bright color notes in the
areas where my fireflies are, thus also keeping me focused
on the overall design, and where I want to lead my viewers
eye through the painting.
King of the Yard,
8 x 36 inches
As I looked between the model and the colors on my palette,
I could not for the life of me figure out what colors to mix
to capture her flesh tones. As I tell students now, Just put
something down! Why stand there wasting time, when you
My final thoughts on colorfor noware that as long as

the color is in the right value relationship (in the shadow, or
the light), then it doesnt matter if it is correct. As an artist,
youre the boss. Does the color fit within the boundaries you
have set for the painting? If it does, then nobody can tell you
that youre wrong. If it works, it works.
Una Poca Siesta,
18 x 24 inches
31
Aiya,
16 x 12 inches
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Texture
The last form of fireflies I see when creating a painting is
in the use of texture. The relationship of thin areas (where
the canvas is showing through), against thick bold paint
applications creates another example of contrasts to catch our
eyes attention. For me this relationship is just as important
as those I already mentioned. Our eye tends to go to the
bold, thickly painted areas. There may be only a few of these
passages. But in the same way that small areas of bright color
will leave the viewer with the impression that the painting
was colorful, the viewer here is left remembering the whole
painting as deliciously thick!
Even as our eye tends to gravitate to the textured areas, I find
I usually paint the skin of the model (especially women, so as
to appear soft), with thinner applications, yet surround those
areas with the bolder paint. These juxtaposed areas will catch
the viewers eye, and lead them through the painting. For me,
the relationship between different textures in a painting draws
me in more strongly than a painting where the surface texture

is consistent.
So, as I sit and think back on my conversation with Carolyn,
I have to stop and say Thank you. I dont know if this is
actually the way she thinks, but by allowing me to figure out
what works for me, she gave me a great gift of discovery
the ability to grow, and learn for myself! What I have learned
is that designers no longer have to be allocated to the
commercial art field. As fine artists we should not ignore,
but rather explore this role in our own paintings.
To all you designers out therelet the firefly be your guide.
About Kevin Beilfuss
Kevin lives near Chicago with his wife Janice, and son Drew.
To view more of his work, see gallery representation, and
workshop schedule, visit: kevinbeilfuss.com
Demonstration
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Sometimes the world is not a kind or welcoming place. We spend much of our lives
searching for secure, calm, and safe havens that are often difficult to find. So why not
create them? Why not spin our own cocoon from which to emerge energized and
excited? This is the concept on which I base my collecting.
For me my art is not merely an embellishment to my

environmentit is the foundation upon which my
environment is built. It is the stage set that takes me wherever
I might want to go. It provides, on demand, the various
emotions, feelings, and stimulations that I might choose to be
surrounded with on any given day.
be with a piece, and allow it to remind me why I purchased

it. My art tends to be a tangible reflection of the moments
in my life that have provided rich memoriesmemories
both wonderful and dark, yet always memories from which I
have grown. Like creating files on a computer, the artworks
become my emotional storage spaces.
We live in a colorful world where there often is no color.

This is why I lean toward figurative, highly dramatic, and
mysterious piecespieces that will evoke thought and
excitement, as well as action.
The Artists Bedroom by Jeremy Lipking, for example, embodies

my entire Italian Catholic upbringing. That enormous red
rosary hanging from the mirror surveying the room is a
familiar memory. Now whether that memory evokes a smile
or abject terror is a whole other article. Yet it is my life. Its
placement in my dining room allows me to extrapolate from
it the fond memories it conjures up: Grandma cooking,
Grandma yelling (Italians dont speak, they yell), and
Now before you stop reading because I sound like a lunatic,

let me just get down to it: beautiful and evocative things just
make me feel better. As I pass through my home, I can stop,
In the great room, works by Michael Klein and Jeremy Lipking
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Grandma forcing us to, Eat more! Placed anywhere else those memories
would not be as much fun. Strangely enough, however, I do allow the piece to
take me to darker places on occasion. I suppose we all have our dark days!
The Last Sticks by Michael Klein has a proud placement in the center of my
home. It represents to me all that I have been through and all that there is left
to do. No matter how old that old pile of sticks becomes, it is still there. In
Man and Superman, George Bernard Shaw wrote, I want to be thoroughly
used up when I die, for the harder I work the more I live. For me, this piece
is the incarnation of that thought.
Flood by Aron Wiesenfeld stores all of my fears and follies. Not just superficial
fears and follies, but those that are darkly profound. The image of the
unknown girl emerging nearly naked from the murky woods is one of the
finest representations of vulnerability that Ive seen. Its placement in the
library of my home allows me to step into my fears surrounded by my books.
Books represent knowledge and truth to me, and it is knowledge and truth
that can ease fear. Its a safe place to revisit my fears and mysteries, as the
answers are always near at hand.
The Artists Bedroom,

The total mystery and weirdness in Daniel Spricks Snow Bird is a constant
reminder of who I am. I love those, What the hell is going on here!
situations that life hands us on occasion, and I love even more what we have
39
The Flood,
24 x 24 inches, Oil on canvas
to do to figure them out. In confusion there is the ability to

learn. My philosophy is that unless I am there, in the center
of chaos, then I am not really living. After all, once you have
figured it all out, life may be easier, but it is sure to be boring.
Where else but in the main hallway should it hang, as I go
from one area to another in search of new places to be?
Snow Bird,
Side by side with Snow Bird in the main hall is Ron Hicks
The Journey Begins. The image of a woman with sadness,
excitement, and hope in her eyes as she embarks on a long
ride just says it all for me: Never stop searching and never
stop being courageous. Life is full of new wonders.
Candace in Yellow No. 2 by Julio Reyes is a perfect example of
looking into the face of a stranger. We know nothing about
her. Do we make a human connection or do we run for the
hills? If we run we will never know how our lives might have
been altered if we had stayed. It is one of those paintings that
give me pause as I remember all the times that I ran. It hangs
invitingly in the guest bedroom.
Deluge by Jordan Sokol is one of my favorite pieces. The
looming image of a man in black emerges from an indistinct
40
The Journey Begins,

background. Although he is clothed and bathed in darkness, mystery,

and solitude, he somehow seems approachable. There is also a sense of
agelessness and timelessness about him. He can be anywhere, in any time,
and still be who he is. Thats power. Each night before I lay down to sleep I
pass him as I enter my bedroom.
So art is my old friend. It allows me to visit and revisit my life trials and
experiences. It shields and sheaths my memories and allows me the ability
to never forget. It adds depth and beauty to my life.
Poor Sybil. She only had sixteen different personalities to find containers
for. Not only am I blessed with many more, but in addition, my containers,
which house my memories, my hopes, and my dreams, are exponentially
more beautiful, glamorous, mysterious, pleasing, and alive.
Candace in Yellow No. 2,

10 x 8 inches, Oil on copper
Bottom left: In the bedroom, paintings by Michael Klein and Camie Davis
Below: By the Fire by Michael Klein
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Deluge,
110 x 80 cm, Oil on linen
In the guest bedroom, The Storm Glass by Brad Kunkle
About Dr. Ernest Biscardi

Ernest lives and works in New York
City, retreating to his woodland home
in the Catskills to relax and enjoy the
majority of his collection. His life,
career, and art synthesize in harmony,
making him very happy.
In the dinning room, paintings by Jeremy Lipking
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In painting, essence is what fascinates me. As artists, we are attracted to and become enchanted
with subtletiesthe light cascading over a subject, the rhythms of compositional movement, the
nuances of color notes, just to name a few. We lay a solid foundation of structure to highlight
these beautiful aesthetics. And though my eye becomes infatuated with these visual elements, my
soul falls in love with the essence.
After all, it is another human being sitting in front of us,

allowing us to observe them and see a glimpse into the story
of who they are. For a moment we get to experience the
essence of that person, even in some small measure, and that
is truly something to be cherished. Even when painting a
landscape or still life, we are witnessing a transitory moment
in time that will never be quite the same again. Observing,
experiencing, and expressing such moments enriches us
exponentially as human beings.
One of my favorite quotes by Robert Henri from his book
The Art Spirit states this so succinctly. There are moments in
our lives, Henri writes, there are moments in a day, when
we seem to see beyond the usual. Such are the moments of
our greatest happiness. Such are the moments of our greatest

wisdom. If one could but recall his vision by some sort of
sign. It was in this hope that the arts were invented. Signposts on the way to what may be. Sign-posts toward greater
knowledge.
The essence, that intangible quality we connect to and
experience, infuses everything. Its defined as the intrinsic or
indispensable properties that serve to characterize or identify
somethingthe most important ingredient, the crucial
element. When beginning to paint a subject, that is what
I want to be aware of, connect to and fully experience; to
somehow imbue within the work.
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Among the Aspens,

40 x 26 inches,
Oil on linen
When painting from life, our minds must of course be

focused on the fundamental technicalities that compose
painting. It is essential to lay the foundation of accurate
drawing, structure, variations of color temperature,
conservation of values, etc. After all, these are the only tools
at our disposal with which to express the more ephemeral
qualities. What is in front of us, though, is so much more
than that. While my mind delves into the technical aspects, I
try to keep in the forefront of my heart the exquisite privilege
of being able to study another human being; to see, even
if just in some small measure, part of their life story. My
deepest desire is that the painting resonates with a glimpse of
that story.
One of the things that inspires me the most is the seeming
dichotomy we exhibit as human beings. We are, each of us, a
completely unique culmination of our varied life experiences.
No one on this earth has experienced life, thought about life,
or observed life in exactly the way you have. We are varied and
unique individuals, yet at the same time we all experience the
same emotional journeys through life as human beings, and
that connects us in a powerful way. We all long for and desire
the same essentialswe all want to matter, for our life to have
significance and purpose, to love and be loved, to experience
peace, freedom, and happiness. These basic fundamental
human needs profoundly connect us in a way that is
independent of our personal histories or geographical culture.
As an artist I am captivated by the unique aesthetic beauty of
an individual, and am utterly mesmerized by our underlying
connectivity to each other through our emotional journeys.
Relation and connection are not somewhere and

sometimes, but everywhere and always. The divine
order does not stop where sight stops.
~ Ralph Waldo Emerson
Morning Light,
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Remembering Home, 20 x 15 inches, Oil on linen

Right: Life study for Remembering Home
I always tell students in my workshops: before laying brush to

canvas, invest time to take in the subject visually; to observe,
study, and ask yourself the question of what you want to
capturewhat moves you visually. Form that intention before
beginning and then retain that intention while in the process
of painting, while simultaneously allowing yourself to be
open to the creativity of the moment. I believe learning to see
is as vital as learning how to paint what youre seeing.
Remember to pay attention to the traces of emotion that
pass across the subjects eyes or face in the subtlest of ways
when they are lost in thought. Connect with that, become
aware of it, and it will be transposed into your paintings in
beautifully subtle ways. Painter Cecilia Beaux wrote about this
in her notes on portrait painting. The mood of the painter
who undertakes to deal with a living soul, Beaux said, must
indeed be poised and alive at every point. He must feel in the
depths of his own nature the shadow of a shade of change
46
of expansion or contraction, that passes over the being

before him.
The paintings that capture that essential nature move us in a
way that we cant quite explain. It is beyond accurate drawing,
beautiful brushwork or exquisite color shifts, but by all
means, all of those elements are present in the finished work.
The paintings that capture our attention and make our breath
catch resonate with the ineffable, indefinable spark that is
intrinsic to a human being.
John Singer Sargent, Joaquin Sorolla, Jules Bastien Lepage
and all the great masters captured this human spark in their
work. You not only marvel at the technical attributes, the
handling of paint, the accurate portrayal of elements in a
representational way, but their paintings always resonate with
a strong sense of essence. Whether it is Sorollas paintings
of working fisherman on the beaches of Spain, Sargents
Fisherman in Valencia,
30 x 41 inches, Oil on Canvas
Joaqun Sorolla, 1904
paintings of high society, or Lepages portrayals of people
in the countryside, the character of the subjects permeates
the painting. We are seeing a glimpse of life, an essence of
the subject, and an insight into the artist. We are left with a
feeling of stronger awareness and appreciation for having
seen those paintings.
Viewing a great work of art doesnt just give us inspiration
as artists; it also gives us a heightened appreciation and
awareness simply of life surrounding us. And isnt that
what painting is all about? Its about capturing a moment
of life, visually paying attention to the world around us, and
encouraging others through our creations to do the same. Its
to remind each other to stop for a moment and pay attention,
to appreciateand to express that appreciation creatively.
One of my favorite poets, Mary Oliver, puts it poignantly:
To pay attention, this is our endless and proper work.
I really believe art changes the world. I know this sounds

over-generalized, but when we see art, the observation of
it changes us. We walk through the world differently. We
engage with the world from a new perspective, from a higher
intention, and that changes things incrementally.
This concept became very clear to me when I was 24 and
living in Philadelphia, working on a commissioned sculpture.
One day I was walking around Center City, looking at some
of the fantastic murals that dot the area. I was standing across
the street from a mural thinking about art, its significance, and
my own lifes path. You see, this was the first time I had lived
in a crowded urban city. As much as I enjoyed the culture of
the city, I had also seen a lot over the months that left me
dismayed and searching for answers. The week before I had
seen a father physically abusing his young son on the street.
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so aggressively that I was afraid the boys arm would be

pulled out of its socket. My heart sank at the sight, but then
something happened. The little boy looked up at the mural,
the tears suddenly stopped and his face lit up with the biggest
smile. There was a complete transformation at seeing art for
that little four-year-old. His circumstances were the same,
they hadnt changed, but he had become different, elevated
above his circumstance through the viewing of art.
Now just a note, this wasnt a colorful childrens mural; it was
a tonal grey mural of Benjamin Franklin. Even though its not
what one would consider inspirational to a child, it still gave
him joy and still produced in him a transformative effect. The
little boy continued smiling in a lofty daze even after passing
the mural, as if carrying it with him on the inside.
Right then I knew, yes, art is enough.
Autumn Wildflower,
8 x 6 inches, Oil on Linen
By the appearance of the boys face it was obviously not the

first time. Thankfully, through a series of events the boy was
removed from that abusive relationship.
But the event left me feeling extremely stressed and depleted,
although grateful that I could do something about what I had
seen (an eyewitness account was what child services needed
to take effective measures). I share that story because as I
stood there looking at the mural just days after that event, I
remember thinking, is art enough? Maybe I should become a
lawyer and really try to change things instead of just painting
pictures.
At that moment, just as I was questioning the relevance
of doing art, a man walked in front of the mural on the
other side of the street. He was very roughly pulling a
young boy of about four by the arm, while simultaneously
yelling obscenities at him. He was dragging the crying boy
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Oliver Wendell Holmes said, Mans mind, once stretched

by a new idea, never regains its original dimensions. Art
inspires us; it transposes the ordinary into the extraordinary.
Through the giving of our attention and creative efforts
to it, we become part of that process of transformative
power. Its power is alchemic, giving us inspiration, and an
inspired human being is someone who is not hindered by
circumstances or limitations.
A person inspired can do anything.
I am so thankful to the artists who have had the courage to
follow their inspiration throughout history and to the present
day. They are human beings expressing themselves and the
world around them creatively. They remind me every day: as
a human being I can do the same, and so can you. Connect
with who you are when youre painting, connect with the
beautiful intricate essence of your subject, learn the technical
aspects (your ABCs), and then write your novel or your poem
in paint. Speak your truth with those tools because it will add
so much to this world and it will inspire others in ways you
cant even begin to imagine.
Art is the giving by each man of his evidence to the
world. Those who wish to give, love to give, discover
the pleasure of giving. Those who give are tremendously
strong. ~ Robert Henri
About Michelle Dunaway

Michelle trained in California under
contemporary masters Morgan Weistling
and Jeremy Lipking before teaching at
the renowned California Art Institute in
Westlake Village and at the Los Angeles
Academy of Figurative Art. She currently
lives in New Mexico while teaching
nationally through various workshops.
www.dunawayfineart.com
Katie and Jenni The

Daughters of Jane Seymour,
Finalist in Portrait Society of America
International Portrait Competition and
Award of Exceptional Merit winner
49
One of the most common characteristics of my work is the abstract background.

I use it to give power to the subject and weight to the painting. Heres how I do
itand why.
Painting portraits is my passion. Nothing holds my attention

more than painting a faceyoung or old, man or woman. I
can spend half a lifetime painting a face, striving countless
hours to capture the unique quality of that face. However,
as my painting years progressed, I noticed that I struggled
to finish paintings. Although I liked the concept of the
backgrounds I chose to paint, they were impossible for me
to finish. I couldnt focus on them. Somehow, they got in the
way of the portrait and did not support the subject. I would
do anything to keep from painting when it was time to fill in
the rest.
I have been painting and drawing most of my life, and I feel I
am just now starting to figure out both how and what I want
to paint. I have always been inspired by what other artists
have created, but too often I have been too influenced, to the
point of wanting to simply emulate them. This led to subjects
and objects I just plumb wasnt interested in painting. Of
course I didnt realize this at the time, so I kept making the
same mistake time and again. I came to the conclusion that
painting was supposed to be misery, and that every artist out
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there hated their passion. Another problem with being overly

influenced by others was that my paintings lacked a common
thread linking them together.
A couple of years ago I noticed on a trip to the National
Gallery of Art that the vast majority of portraits had
simplified backgrounds. I dont know why this had never
dawned on me beforeits as clear as day now. I realized that
I had been complicating my painting unnecessarily. Some of
the greatsRembrandt, Sargent, Klimt, and Ingresall used
simplified backgrounds. A few modern masters like Wyeth,
Shanks and Schmid also approach backgrounds with the
attitude of less-is-more. What a fantastic realization: many
masters, past and present, often simplified their backgrounds.
I decided to experiment. Although certainly not a new way to
paint, it was new to me. I came up with this style of splashing
paint for the backgrounds of my portraits. By building up
layers, I can play around with colors and textures in ways I
feel are most supportive to the subject.
Essies Yellow Ribbon,

51
The way I now create my backgrounds

I always work the portrait and the background simultaneously.
This helps ensure that the background and the subject relate
and fit together as one. I first put a thin coat of paint on the
background, usually transparent brown oxide. This is my
grisaille color and starting point for my paintings. After the
grisaille dries, I brush on a thinned-down color (the general
background color) with a lot of turpenoid mixed in. After
laying the painting flat, I cover the subject with paper towels
and start to fling thinned paint with a big cheap bristle brush
onto the panel. I generally use strong colors, and attempt to
get a color theme going. By varying the thinness of paint, I
can achieve a wide array of different-sized paint splatters. I
do multiple layers and glaze different colors until I feel the
background both supports the subject and also has a weight
of its own. I want the backgrounds of my paintings to be
able to stand on their own, yet not distract from the subject.
52
Virginia,
There are many different ways to approach these

backgrounds that lead to highly varying results. For example,
if you paint a wide area with relatively dry paint and then
splatter turpenoid on top, it spreads the paint out and leaves
the color underneath. You can also do this with some stand
oil mixed in and you get yet another result.
Part of the fun of this process is that you never know exactly
how its going to dry.
What is a painting anyway? To me, it is a visual experience:
this one moment in time captured forever by me, in the
way that comes naturally to me. As I strive and continue to
become my own artist, I paint how I want to paint.
And that is the difference. I enjoy it.
Villi,
Penelope,
53
Most of my portraits have the subject in the center of the

painting. I often stick to this simple composition partially
because Im not trying to do anything clever or say anything
more with my paintings than simply here is an interesting
person to look at. I hope viewers will think the paintings
are painted in a beautiful way, both the subject and the
background, and are beautiful to look at. For me, at the
moment, thats enough.
same period is Thomas Wilmer Dewing. He will forever

hold me enthralled. His subtle tones, encasing figures frozen
forever in acts of simplicity, are some of the most beautiful
paintings to behold. One other artist I have to mention is
Andrew Wyeth. Such strength and heartbreaking grittiness.
Much like Dewingin the sense that his paintings portray a
lonelinessit appears to me that with each painting Wyeth
reveals a slightly different angle of himself.
One influence I have is Gustav Klimt. His backgrounds

opened a door for me that was previously locked. His use
of negative space surrounding his subjects has a tantalizing
effect on me. He gave me permission to experiment with
unreal backgrounds: a great painting can lack foreground,
middle ground, and background. Another artist from the
Finally, after years of painting, I have come to the point that

when I am engrossed in a painting, I dont look at the work
of other people. I discovered that I was the subject in the
middle of the painting, and all other art becomes abstract
background.
About Seth Haverkamp

Seth comes from a family of creative out-putters. One of
Seths earliest memories is painting in his older brothers
room. Seth remembers driving his brother nuts with a
nonstop string of questions concerning painting and how to
achieve what his brother did. Seth still does this, except now
he is asking his children the questions. Seth currently lives
in Falls Church, Virginia with his artist wife, Kat, and
four children.
www.sethhaverkamp.com
Echos Headdress,
54
by Kristen Thies
Curating Fine Art Collections Since 1998
At some time in their careers, most artists ask why collectors

buy the paintings they doa question that is usually followed
by, How can I entice them to buy more of mine? To better
understand what attracts fine art collectors to the work of
certain living artists, while that of others goes unnoticed,
I asked some prominent connoisseurs about their reasons
for collecting.
Although several said they acquire art as an investment, their

answers were as varied as the representational paintings and
sculpture they own. But they did share a common theme:
an emotional connection with the works they purchase.
Interestingly, some collectors agreed with Leonardo da Vincis
concept of cosa mentali, the spiritual component that makes
fine art more than just the application of paint to a surface.
There are many reasons Im led to purchase a work
of art. I feel the moment art moves you relates to the
moment the artist had in mind when he or she set out to
capture the scene. This is the silent whisper that comes
to both the artist and the collector uniting them in a
special way. ~ J.S.
Sometimes a painting stirs strong memories, transporting us
back to a favorite place or time long past. For example, upon
acquiring a forest landscape one collector reminisced:
Shoreline Naushon Island, Oil, 11 x 14 inches, Clyde Aspevig

Painted on location during a painting trip to the Forbes family
island off of Cape Cod, MA
55
As a child I loved the forest. Our house in Maryland,

bordered by acres and acres of forestland, backed up to
a reservoir. My sister and brother and I spent countless
hours back in the woods. We used to peel up the moss,
move it to one spot and make little beds to sleep on the
lush, green moss (scared the whole time!). This painting
by Timothy reminds me of our marvelous childhood.
~ S.L.
Another collector shared a special vision for the future:
My wife is purposefully, carefully and discerningly
putting together a collection of master works because
it is an inspiration for her: and because she has a vision
that such a collection will inspire others in the future. She
has been, and is, very committed to this vision. ~ W.B.
Then there are collectors who purchase paintings for the pure
joy of viewing them on a daily basis, and for the ambience of
peace they create:
One cant help but look at something beautiful. There
is an elegance and beauty in art thats so touching; it
illuminates and enlivens the beauty within me. ~ V.F.
Sacred Pines
30 x 18 inches, Oil, Timothy R. Thies
Painted en plein air during four consecutive days, 2004
Art chose me. Being an artist is a passionate pursuit of something indefinable and
indescribable; it is a driving inner force to paint. Fine art is my lifes work. If youre painting
for your selffor your soulyour work will endure. ~ Timothy R. Thies (2006)
56
Arpeggios,
15 x 22 inches, Oil, Richard Schmid 2012
New painting by Richard Schmid, featured in the upcoming Summer 2012 Exhibition A Return to Understated
Excellence, opening July 6, 2012 on Cape Cod, MA. For more information visit www.WestWindFineArt.com
Nancy Guzik is internationally recognized as one of the truly gifted painters

of her generation. The winner of numerous awards, she is regarded by many
as a leader in the exploration of new ways to celebrate the experience of life
through art.
Creating an artwork that is compelling enough to make a viewer want to
possess it, starts from skill of course, but the real connection happens
when the artist, myself for example, is painting from personal inspiration
free that is, from what I am supposed to do. Keeping the purity of my
inspiration alive throughout the painting is the hard part, because I am
often trying something I have never tried before and that can sometimes
make me feel vulnerable. This is why confidence is so vital to success, and
why this adventure is so exciting. ~ Nancy Guzik (2012)
Samantha in White,
14 x 11 inches, Oil on linen, Nancy Guzik 2011-2012
57
In addition, a couple of collectors shared their connection

with the silent stories captured by the artists brush or forged
by the sculptors hands.
A common thread runs through our collection of
representational art. Whether its a landscape, a figure,
or a still life, we are drawn to paintings that move you
beyond the surface into the essence of the subject
paintings that give you the sense that something more is
going on than what you see. The artists interpretation
and subtle variations of brushwork, color, and edges can
give a painting an inner quality that draws you in and
makes you feel that youre participating in the moment
making a connection with the subject and the artists.
Giving you stories and memories, you cant quite know
but want to imagine. The emotional connection is what
we look for in a painting and why we collect original art.
~ D. & M. B.
With this in mind, it becomes even clearer that art is an
unspoken languagea direct communication between the
artist and the viewer. I therefore recommend knowing to
whom youre speaking, especially if your intention is to
establish a market for your work.
Capturing natures awesome power is evident in paintings
and sculpture by George Carlson. Aspiring artists can
learn much from Georgeundoubtedly one of the most
Rosetta Waiting,
Bronze, 21 inches high, George Carlson
prominent American sculptors and painters of our time. His

bronze pieces grace private and public museum collections
throughout the world, and he is the recipient of the Prix de
West, numerous gold medals, and countless other awards.
He just won the Artists Choice award at the Masters
of the American West Exhibition at the Autry Museum
show in February of this year. His paintings were sold by
purchase draw and both boxes were stuffed with collectors
names. Only one name was drawn and I witnessed many
disappointed people who really wanted to purchase one of
his extraordinary oils.
I asked George for his thoughts on the artist/collector
relationship. The artistic act of producing something that is
fine, he said, is mainly the act of caring, giving and loving.
Success of a work is when the viewer feels the same wonder
that drew you to the subject in the first place.
Georges life-long passion for excellence and the creative
process are other key factors to his distinguished
achievements. He added with a smile, Im in the prime of
my life and Im having the time of my life!
George Carlson with his paintings

at the 2012 Autry Exhibition.
Photo Kristen Thies 2012
58
Clyde Aspevig is one of the foremost Landscape painters

in America, recognized for his role in establishing a major
presence for representational art. He has won countless
awards including the Prix de West and was honored with the
Moonrise Over Vineyard Sound,

24 x 30 inches, Oil, Clyde Aspevig
Masters of the American West Award presented at the 2007
Masters of the American West Fine Art Exhibition at the
Autry National Center in Los Angeles, California. During his
long career, Clydes paintings have been exhibited in dozens
of one-person museum shows throughout America. His latest
book, Visual Music: The Landscapes of Clyde Aspevig (2010),
published by Juniper Ridge Studios, is exquisite.
as an artist to awaken our senses to the beauty that surrounds

us every day, to seek it out with a little vigor, like my father,
who always kept an eye open for the beautiful and the
unusual, even in a familiar place. Life is an incredible journey
of curiosity, imagination and awe. Beauty stands all around us
if we just build the habit of looking for it. Thats what I want
to help people do.
When I asked Clyde to share some of his thoughts, he said,

The artists job is not to copy nature, but to bring something
different to it. If I do my job right, the viewers mind can fill
in the details Ive left out but implied. I want to use my skills
I then turned to Richard Schmid for his words of wisdom.

He is my dear friend and the beloved painter and author
of Alla Prima, which is now in its eleventh printing. He has
won nearly every major art award in America and has just
59
completed a master work of Abbotsford The Home of Sir

Walter Scott, in Melrose Scotland, which will be unveiled at the
Wichita Center for the Arts on September 29, 2012.
At age 76, Richard is one of the most prosperous American
artists in history. He is a master of the unspoken language
and his books, DVDs and lectures have helped establish a
powerful force for the renaissance of representational art
worldwide.
The great golden ages in art, Richard told me, have
always been times that celebrated the highest aspirations
of the human spirit. Weve been in a period in which the
nihilistic aspects of human experience are emphasized and
publicized. Now as we enter the second decade of the 21st
century, the demise of this unfortunate art trend is becoming
increasingly apparent as more and more thoughtful artists
express something that has meaning to it. I choose to paint
what is meaningful to me, and if it is compelling, my work
will be significant to someone else. Painting is a direct visual
communication between the artist and the viewer. It is a
joyous affirmationa reverence for just being alive. Its a
realization that being an artist is a privilegeits a prayer to
creation.
Says Schmid, Art is always about the artist a self portrait of
its creator.
If we learn only one thing by following the example of
these five great masters, it is this: the success of their work
is measured by their great love of beauty and dignity of life.
Perhaps Carlson said it best: When I am in the presence of
the subject, I strive to be in sympathy with that life form, to
use every ounce of my talent to forge a work that will honor
that life.
60
For me, it really comes down to this: Successful artists are

defined by their passion for creativitythey always strive
for excellence and choose inspiring subjects. Each of these
great artists has put in the time to master the tools necessary
to create art that is meaningful, with profound authenticity.
Ultimately, their Art captivates the viewer with harmonious
colors, a variety of edges, values, and excellent drawing
skills, and with sculpture, fidelity to accurate form and
exquisite patinas.
Striving for excellence is the key to success in life and in the
arts. It is my hope that if you continually strive for excellence,
your art will resonate with the viewer. So much so that
collectors simply will not be able to resist owning the beauty
of its silent yet compelling language.
About Kristen Thies
Kristen established West Wind Fine Art with her late husband
Timothy R. Thies in 1998. She assisted Richard Schmid
in producing his landmark book, Alla Prima and four of
his instructional DVDs. In addition, she helped to curate
Schmids Retrospective Exhibition at the Butler Institute of
American Art in Ohio in 2003. She is the author of Wisdom
and The Dreamer: Achieving Fulfillment in the Arts, published by
West Wind Fine Art in 2006. Currently Kristen represents
the Art of Richard Schmid, Clyde Aspevig, George Carlson,
Nancy Guzik, Carol Guzman-Aspevig, Daniel J. Keys, Judy
Stach, and prints by Timothy R. Thies.
In addition, Kristen has just launched her new blog site:
www.MyLifeWithTheMasters.wordpress.com
Artists thrive when surrounded by people who nurture

their self-expression and creative spirit. With the proper
physical and moral support artists can achieve anything.
61
From the initial idea to the final brushstroke, artists wrestle to

bring forth their art, as a butterfly strains to break free and fly.
The struggle is a labor of love, and is a part of the creative
process. As Robert Henri said in The Art Spirit, A work of art
is the trace of a magnificent struggle.
But a struggle an artist should not experience is with their
supplies, particularly their painting supports. To create art,
said Oscar Wilde, is the most intense mode of individualism
that the world has known. Part of that individualism is
finding the right support for your painting style. Robert
Henri said, Your style is the way you talk in paint. And your
support should speak your style, enhance it, and preserve it
through the ages.
There has always been the need for a strong painting support
that will endure for generations. Traditionally, stretched
canvas has been the popular choice. Large paintings can be
removed from their stretcher frames for easy storage and
transport. However, the process of re-stretching and
re-keying the canvas creates fine tears in the natural fibers,
and the paint film eventually cracks.
Because the back of the canvas is exposed, stretched

canvases are more susceptible to damage during handling and
environmental conditions of dust and mold.
To avoid these issues, conservators recommend painting on
a panel. Ross Merrill, former chief curator of conservation
at the National Gallery of Art in Washington D.C., said that
to restore paintings and prevent further deterioration, the
museum mounts them onto a rigid surface. So why not avoid
this process by painting on a panel from the start?
The value of painting on a panel may not be universally
understood. Artists prefer panels for plein air because
transport is easy, and sunlight does not penetrate the back
of the canvas and distort colors. Yet we sense a growing
paradigm shift among artists to use panels exclusively for
both studio and plein air work.
Aaron Westerberg made the switch and prefers panels over
stretched canvas. After painting on a RayMar panel he said,
I am addicted and dont want to use anything else! These
are the strongest supports I have used and they do not
Left: Emily with John Burton (6th annual RayMar Competition Judge) at Weekend with the Masters 2011
Right: Garrapata, 12 x 16 inches, Oil by John Burton
62
warp at all. However, Aaron said one of his galleries, . . .

preferred a stretched canvas simply because it looked better
or more classical. He told the gallery, I would hope a buyer
purchases a painting because of what is on the front not the
back. He went on to explain to the gallery why a panel is
more archival than a stretched canvas. Artists know the value
of painting on panels but galleries and collectors may not.
So what are the essential elements of a museum-quality
painting panel? Most importantly the panel should be pH
neutral to resist degradation over time. Whether you purchase
a panel or make your own, you must use a pH neutral
adhesive to bind the canvas to a high quality board or archival
surface.
Next, the panel should be balanced to prevent warping.
If the back of the panel is left bare there will be unequal
stress on the two faces, which will then cause the board to
bow. Sealing the back of the board can prevent this. Ross
Merrill suggested mounting canvas to the unpainted side of
a whiteboard, which is hardboard with a tough, white coating
on one side. Made of melaminea resin-infused paperthis
coating equalizes the pull of the paint from the one side of
the canvas to prevent warping.
Aaron Westerberg
Admiration, 48 x 24 inches, Oil on linen panel
William Wray
Backdoor, 24 x 24 inches, Oil on canvas panel
Once I tried panels I had no interest in stretched canvas.

I like their solid feel with no give. The rigidity allows me
to attack the surface with my choice of tools. Stretched
canvas flops around too much and is easy to dent. Its a
luxury to open a big pack of fresh custom-made RayMar
panels (I even like the smell) and Im happy to get to work.
~ William Wray
63
As an artist, I do not need to be rich but I do need to be

richly supported, said Julia Cameron, author of The Artists
Way. As my mother Cathy (co-founder of RayMar with my
late father) and I became more involved with our professional
artist family we wanted to do more to support them and be
connected with their art. In 2005 we launched RayMars first
annual Fine Art Competition, an online painting contest with
professional artist judges and cash awards. Our innovation
was to request that judges write critiques for the winning
paintings. We wanted to create an environment for artists to
support and learn from each other.
Robert Coombs was motivated to enter so judge Hui Han
Lui could view and critique his work. Coombs was our first
Grand Prize Winner. I later met Robert at a gallery opening
in Scottsdale. He took me aside and said, Your competition
helped jumpstart my career. It was music to my ears, and
confirmed our contest idea was a success.
Michelle Dunaway, a finalist in the fifth annual Fine Art
Competition and a monthly judge, said:
I believe supporting each other as artists is fundamental
to our own individual artistic journey. We all stand on the
shoulders of those who have forged the way before us.
That is why teaching and sharing our knowledge with each
other is so important. So when I was asked to judge the
RayMar Fine Art Competition this past February I quickly
said yes. I believe art contests like this really help aspiring
artists enter into the art scene. When up-and-coming
artists ask my advice, the first thing I tell them to do
after telling them to paint from life as often as possible
and hone their skillsis to enter contests.
Entering contests helps artists in several ways. First, you
receive valuable feedback and critiques, which we all need in
order to continue in a constant upward growth of our artistic
skill. A good critique can help an artist portray with even
more clarity, boldness and sensitivity, the subject they are
choosing to depict. When Michelle Dunaway was a finalist in
last years competition she said, the four critiques I received
on my paintings gave me fresh perspectives on my work and
helped me to more fully understand how some of my artistic
choices translated to the viewer. That is a gift of knowledge
that I will carry into future paintings.
64
Above: Emily and Cathy Dietrich with Robert

Coombs, the 1st annual $10,000 grand prize winner
Below: The Grand Prize Winning Painting, First Leaves
Of Autumn, 16 x 11 inches, Oil on linen panel
Contests also help the artist get their paintings seen by a

large number of people. There were several finalists in the
competition whose work I had never seen before. Now I
will definitely be watching their work because I found it
inspirational and well executed.
Scott Jones, general manager of the Legacy Gallery, has
followed the RayMar competition on the Internet since it
began in 2005. I never miss looking at the monthly entries,
Scott said. Its a great venue for seeing quality artwork and
discovering artists to watch. Scott has even invited artists he
found in the competition to exhibit in the gallery.
Michelle Dunaway reminds us:
The key is to not let the acceptance or non-acceptance
into these competitions define the worth of your art in
your mind. As anyone who has judged a competition
knows, beyond looking at the paintings from a technical
aspect, it comes down to a gut response the intangible
indefinable something that draws you to one painting over
another. It is so subjective. So if your painting does not
make the top finalist it may still be an excellent painting
and if it does make finalist, you still may have room to
grow (we all do).
S o when you paint something with the best you have in
you, you are doing something brave, something vitally
important. You are affirming life and you are doing it in
a creative, positive and powerful way, and that in and of
itself is a great, worthwhile endeavor.
ompetitions such as RayMars and others do much to
C
educate and elevate the standards of representational
painting. They encourage us, as artists, to push ourselves
to do our best work and have the courage to share it with
others. Truly the inspiration that it gives to others is the
biggest reward you can ever receive.
Michelle Dunaway
Mucha and Peonies,
65
My father John, who passed in 2007, instilled in me the belief

you should always remain a student. I take pride in upholding
his legacy and believe our competition helps artists grow and
learn from one another.
Cathy and I believe it is our calling to support the arts. This
year through RayMar we will sponsor American Artists 75th
Anniversary Competition, along with awards in the Plein
Air Salon, and the John August Dietrich Memorial Award in
OPAs Juried Exhibition.
We are proud to be involved in Artists on Arts innovative
publication, written by artists to inspire and share their
knowledge. We enjoy supporting your art and look forward to
meeting you. Your success is our reward.
Genius is not the possession of the limited few, but
exists in some degree in everyone. Where there is natural
growth, a full and free play of faculties, genius will
manifest itself. ~ Robert Henri
About Emily Dietrich

Emily and her mother Cathy own RayMar Art based in
Phoenix, AZ. Emily moved to New York City last fall to
expand RayMars East Coast presence. You will find her at
gallery openings and sponsored art events around the country.
Inspired by the energy of the citys art scene she has enrolled
in painting classes at the Art Students League of New York
and continues to pursue her passion as a classical pianist.
Keep up with Emily and all the news from RayMar on their
Facebook page. Please visit www.raymarart.com for museum
quality panels and wet painting carriers and follow the
RayMar competition at www.raymarartcontest.com.
66

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1

01 The Painters Reference

09 S tanding before creation

27 F ireflies and the art of design

43 C apturing the essence

50 Strength through abstraction

55 C ollectors and the unspoken

61 in support of artists

Like words to a poet or notes to a composer, the marks an

the grocery store of a reference photo is at best limited in

The Lure of the Muse,

back to a fire, or enjoy the quiet of a lost field. This is plein

Plein air studies in Lake Tahoe, CA

A wonderful study of changing harmonies and fleeting

learned its capabilities, and returned to my studio of oils and

You need some plastic portable toilets, details like

Morning at Thousand Islands Lake,

once understood; unfortunately we strive for perfection,

Highlights and Shadows

Practice adjusting your reference in concert with alternating

Adding and Subtracting

Unmodified original image of several

cutting and pasting images together as a conductor adds

Reference photo after many alterations

There are many other ways to mold your reference to have

About Jeremy Mann

After returning to New York from a three-and-a-half year

poem Ode on a Grecian Urn reflects on the idea that beauty is a

Spring Floral, 8 x 12 inches, Oil on panel

Think about the sound of a crowd cheering. Then compare

reason for the stark difference is apparent when we hear

With this you can begin to understand that defining things

This contrast between the work of Whistlera source

We could make a similar comparison with visual art. If you set

After many years of painting, I now believe that great art

The apostle Paul wrote in his letter to the Romans, For

Representational art is the only part of life that actually has

beings is reflected in our art. It is not until paintings or

This observation of inherent beauty is also true for a sunset

If painters of our time only try to duplicate a similar

Realism will be accepted by the art world. It is the humble

At one point I said that I will spend my life trying to

Image 2: I continue drawing with my

Image 3: Starting to focus on atmosphere

Image 4: At this point Im slowing down

Image 5: I have worked two days and put in

Image 6: Working on blocking in the

Image 7: Continue to think about the quality

About Michael Klein

In the case of the LACMA Rock, the public will literally

Figure 1: Real world scale. The Bennie

Figure 2: Scale is used to re-purpose visual

The artist used to go to the mountain and carve out

stationary city rock, unlike the quarry county bumpkin-type

What about the lowly painter?

About William Wray

As an artist, continuing education is necessary and critical to my development.

As I reflect on what I have seen and experienced, one

The Sketch, Gertrude Ksebier, 1902

most subtle trace of twilight light, or the soft coolness of an

The New Song, Anders Zorn, 1903

She is not gone,

I would agree that color does add another dimension to the

01 The Painters Reference

09 S tanding before creation

27 F ireflies and the art of design

43 C apturing the essence

50 Strength through abstraction

55 C ollectors and the unspoken

61 in support of artists

You need some plastic portable toilets, details like

Relation and connection are not somewhere and

As a child I loved the forest. Our house in Maryland,