NOAPS – An Alliance of Exceptional Artists Showcasing Outstanding Works of Art in Oil & Acrylic

Best of Show Award: , “Jazz Club”, 20×30, Oil, by Jung Zhao. 

I can hear the jazz music being played. I can see the spontaneous movement of the dancing people as well. What an entertaining musical moment captured in time! I especially like the careful positioning of lights and darks, and placement of colors that creates interest and contrast. The composition is so masterfully crafted in its seemingly looseness. I think the story is so timely as well. Coming out of a long pandemic, people are able to get together and enjoy listening to music, in a fun place like this again.

Second Place Award: “Morning Light”, 22×28, Oil, by Jian Wu.

This is a representational nude figure masterfully done. The use of strong light and shadows, surface textures, and the careful control of color makes this figure so believable. This painting is so fresh, and memorable. Some rich emotions are certainly captured here as well.

Third Place Award: “Joy of the World”, 30×20, Oil, by Lee Alban.

An incredible mastery of realism.The portrait gives this historical public servant such believability. She is nicely positioned in a location by the front of a train. Along with her head’s angle, glasses, and interesting facial expression she tells me a real story of her life experience. I like the subtle use of colors. Also, As a veteran, I think the painting shares an important public service message for today..

I’m sure many artists, like me, think a painting is never really finished until it leaves the studio. Of course, there are paintings that never even see the light outside the studio because they are not ‘finish-able’. There is a phenomenon known to all artists, maybe it occurs in all creative occupations, of projects begun with every measure of enthusiasm but come to an impasse at some point and remain forever incomplete. Something happens along the painting process and the artist loses interest, the energy that carries the work forward gets interrupted or, for whatever reason, the artist just never returns to complete the work. To my mind there is only one way to declare a painting completely finished – sell it off the easel!    Then consider also that there are artists whose particular style depends on NOT completing a painting. Truly there is the argument that some kind of statement is conveyed through the unfinished state of their particular art works.  I knew an artist with Hallmark Cards, back when I haunted all the talents working there, that purposely left her canvases half unpainted. Her theory being that it was superfluous to paint beyond the focal point of the picture.      Consider the most famous of all unfinished paintings which you have seen countless times. The one on the one dollar bill.  One of the most revered portrait artists of American History, Gilbert Stuart, painted a portrait of George Washington in 1795. It was such a success that Mrs. Washington requested Mr. Stuart paint another, just for her. However, George was not as cooperative for the second sitting so Stuart was only able to paint Washington’s face and some of the background. Referred to as the Athenaeum Portrait because of subsequent owners, the finished part was replicated dozens of times by Mr. Stuart. Using the unfinished work as reference, ‘copies’ were finished and sold for $100 each. A good sum of money in the late 1700’s. Gilbert’s justification for not finishing his work was that G.W.’s likeness was so hard to get because of his reserved nature and because his dentures, made of very uncomfortable materials after all, caused his jawline to protrude, hence distorting his face. Consider the frustration from the viewpoint of both parties! After what must have been a difficult session Gilbert kept this part of Washington’s face, strictly for future reference.     On a later occasion artist Elizabeth Shoumatoff was commissioned to portraitize President Franklin Roosevelt in 1943. Not happy with the result and because Mr Roosevelt repeatedly insisted that his portrait be painted straightaway, she returned to the task in April, 1945 near the end of the war. Though she had heard he was ill it was her intension to capture the stature and dynamism of FDR. He was in good spirits during the week of the sitting at the Little White House, FDR’s retreat in Georgia. While Shoumatoff was painting, the President complained of a headache. Mr. Rooseselt suddenly slumped forward, unconscious and died later that day having suffered a stroke. (Talk about a tough critic). In the room at the time, watching the artist at work was Lucy Mercer Rutherford, FDR’s former mistress who had arranged the commission. Ms. Shoumatoff eventually completed a portrayal of Roosevelt and sold a photograph of the original to the New York Daily News for $25,000.00. The unfinished painting she donated to the Roosevelt Memorial at the Little White House in Warm Springs, GA where it hangs today.    Even if a painting is finished, it may be considered unfinished by critical viewers. Think ‘impressionism’. The original impressionist artists took that moniker for their movement from an insult hurled by the press at one of Claude Monet’s paintings, “Impression Sunrise”.   Critics heaped scorn on the work presented in an early impressionist exhibit as UNFINISHED. Further insults compared it to wallpaper.    So, I think the next time I have a painting for which the uncertainty of the state of completion hangs in the balance, I’ll not fret about it, or rush to judge it one way or another.  I’m going to go pour a glass of wine or mix a martini and come back when I can see clearer!

NOTE:  In reading the stories behind these two famous unfinished works I discovered an eerie fact. It just so happens that both portraits of two of our great presidents, in whatever unfinished state and under whatever circumstances, were painted on the same day, April 12, exactly 149 years apart. In 1796 and 1945.

I must leave you with this very apt quote from my good friend Kenn Backhaus:  “If there would be one suggestion that I would advise a representational artist, it would be to trust your eyes, observe and compare.  The translation from either an on-location scene or studio reference material is one best achieved by using and trusting your eyes first!  For instance, if the eyes are not trusted and the mind takes over and suggests what to tell the hand to do…the hand unfortunately will follow the minds sometimes corrupted commands, hence errors are produced as a result. Control your mind to first trust what your eyes observe and compare…”
 Kenn Erroll Backhaus

To learn more about Joseph Orr, visit his website at www.josephorr.com and sign up for his newsletter!

Joseph is a Signature Member and a Founder of the National Oil & Acrylic Painters’ Society.

This painting by John Buxton is full of possibilities; an early morning ride, a secret mission, or perhaps it’s the General’s horse, and they are heading into battle. Nothing gets in the way of the story; the drawing, the composition, the lighting, and the colors are all in perfect harmony. We can’t help but construct the narrative in our minds, and our imaginations take us away. “Full Moon” originated at a Kentucky photo shoot for a commissioned painting, where the artist spent the day driving oxen wagons through a creek. The young man with the horse provided the inspiration, and the artist transformed the image into a nocturne.

John Buxton is an historical artist. He has spent his lifetime producing art, whether as an illustrator or a fine artist. His paintings grace the walls of museums, he has garnered many national awards, and is a Living Master with the Art Renewal Center.

The genre in which Buxton works is considered ‘Western’, however his paintings depict scenes from the 18th Century Eastern Woodland Frontier. These scenes are carefully researched, through reading, consulting with historians, and by actually visiting the sites he wishes to paint. He takes many photos of the landscape in order to accurately portray his idea. He then uses as many as 15-20 photos to capture his idea, then draws his image, adjusting the light and the figures as necessary.

With decades of art experience, John Buxton is able to create these scenes with lifelike reality. His technique varies somewhat based on what the painting may call for; he may begin with a toned canvas or a white surface, and his palette is determined by the needs of his subject. He prefers to work with alkyd oils for their fast drying time.

He paints mostly on stretched linen canvas, and prefers flats or filberts of various sizes. To get an idea of how Buxton works, and the amount of research, thought and skill go into his paintings, watch his short video at www.buxtonart.com.

When asked for a few words of wisdom for our readers, here is John in his own words:

“…wisdom is supposed to emit from the tongue of someone my age , but ……
You have all heard it before : if you want to be the best at what you set out to be or do… then give it 100 % and don’t get sidetracked. Hopefully you have chosen something that you truly love … that perhaps you are a bit better at than average. Build on it. LEARN LEARN by DOING IT  over & over & OVER again. Your mistakes are your learning stages … cherish them. Remember , there are many many ways to be an artist … many many styles and concepts. Learn from as many as possible. Fill your art brain with as much knowledge as you can pack in. Years later it will pop out to solve some problem and amaze you. Most of all HAVE FUN along the way. It is an amazing life.”

John Buxton’s work can be seen on his website at www.buxtonart.com, and is represented by the Lord Nelson’s Gallery, Gettysburg, PA.

To see the NOAPS Best of America Small Works National Juried Exhibition go to www.noaps.org

Written by Patricia Tribastone, NOAPS President

Carmen Gordon: The Inward Significance

“Humility”, 10.5×8.5, Oil, by Carmen Drake Gordon, Private Collection. Winner of Best of Show at the 2021 NOAPS Best of America Small Works National Juried Exhibition, Private Collection.

The emotion in this winning painting by Carmen Drake Gordon is palpable. The delicate rendering speaks softly, quietly, strongly. It is first a depiction of emotion, secondly a portrait. The expression is understood at once, whether the interpretation is sadness, wonder, questioning, or prayerful. It is understood by all, each in our own way; and undeniably a masterful painting.

Carmen Drake Gordon has been an artist from her very first memories. Working as a student teacher at The Academy of Classical Design, she developed a strong foundation in drawing and art history. From there she shared a studio with Paul S. Brown, “who mentored me and taught me how to see color and paint.” Along with other workshops, she has also been mentored by Michael Klein and Louis Carr, who helped guide her with both art and galleries.

“Rusty Enamel and Violets”, 18×30, Oil, Private Collection

Many artists have provided inspiration for the sensitive and delicate technique Gordon has achieved. For her still life and floral work, masters such as Fantin-Latour, Victoria Duboug and Rachel Ruysch along with contemporary artists Klein, Claudio Bravo, Henk Helmantel, Katie Whipple and Kathleen Speranza were influential. For her portrait work, she has studied the work of Colleen Barry, Will St. John and Alex Venezia.

“Dandelions”, 15.5×13.5, Oil, Private Collection

Gordon has chiefly focused on Still Life, which was the core of her training. She has recently turned to portraits and figures, a goal since the beginning of her career. Her main medium is oil, however she also works with charcoal and graphite. Often her paintings begin with a quick sketch, or at times and depending on the subject matter, she will compose a completed drawing for the painting. Very often the painting begins with the drawing directly on the support, done in raw umber.

Inspiration for her work comes from that which surrounds her; her farm, the roadside flowers or “time worn antiques…that stir my imagination into the past. There’s a sense of calm or oneness.” Her portraits are often inspired by the “emotion that the religious or allegorical work the masters would produce. I look to recreate this emotion and use antique clothing to inspire my stories.”

“Self Portrait”, 9×12, Oil, Collection of the Artist

Gordon uses a traditional palette of Raw Umber, Burnt Umber, Ivory Black, Ultramarine Blue, Brunt Sienna, Alizarin Crimson, Chinese Vermillion, French Vermillion, Cadmium Red, Cadmium Yellow, Yellow Ochre, Raw Sienna, and Lead White. With an assortment of brushes, she paints on an aluminum composite panel which she prepares herself.

“Nasturiums”, 24×18, Oil, Private Collection.

Living on a farm, her day begins by tending to her animals and garden. This time spent in nature serves to bring joy and calmness, essential to her creative process. “If I am painting flowers, I will spend some time gathering them from my gardens, fields or nearby roadside ditches. Sometimes I will spend some time in my library searching for answers and inspiration”.

“Forsaken”, 23×48, Oil, Collection of the Artist.

Carmen Gordon has always aspired to be an artist, and her greatest accomplishment is the realization of that dream. Her strong foundation in drawing has allowed her to express the ideas and emotions that inspire her paintings; “It (drawing) is the foundation of the work, and then all the rest comes in play…and with regards to the rest, I think of a quote by Aristotle, ‘The aim of art is to represent not the outward appearance of things, but their inward significance’.

To see more of Carmen Drake Gordon’s work visit her website at http://www.carmendrakefineart.com.

Her work is represented by Collins Galleries, Orleans, MA, and SugarLift, NY, NY.

To see the paintings from the 2021 NOAPS Best of America Small Works Exhibition, visit www.noaps.org

Written by Patricia Tribastone NOAPS Blog Director

Best of Show;   At the Threshold

The very moment I look at this amazing piece of art, I am drawn into the figure and her story. The extraordinary skin tones, the exceptional balance of light and dark values which expertly move my eye throughout the composition. Remarkable edges and restrained color throughout the piece and the amount of subtle detail, which is in the drapery and carpets, then crescendos into the luscious reds of the robe on the woman which only facilitates the feeling of an ancient story. I am certain I must already know this story without ever hearing it. The use of glowing light which helps to create a sense of space and time continues to bounce the energy around this exquisite painting. This piece just oozes an exceptional amount of poise and grace so rarely seen in a contemporary piece.

2^nd Place;   Taking the Train

There is a remarkable sense of place created by the minimal approach to this engaging piece. I can almost feel his thoughts, sense his quiet humble grace all emphasized by the posture and composure in this man. The simple graphic presentation is a perfect example of less is more. I know where he is, the gleaming light reflected off the seats, the balance of careful patterning of the linoleum floor against the vertical stripped upper third of the painting continues to draw the eye upward and surrounds this elegant figure with a quiet dignity which is so current and honest. Outstanding painting which emanates poise and a natural grace.

3^rd Place;  Shelley at Strasburg Railroad

This remarkable painting just possesses so many qualities of excellence. The drawing skill is impeccable, the use of restrained color, the narrative qualities and the historical significance all contribute to an outstanding piece of art. Perfection of perspective and composition and the reflections are extraordinarily rendered. Each texture is believable and exquisitely handled. This piece of art is skill at its peak all the while reminding us of the working people and their important and relevant stories.

Best Landscape;  Tioga River on 140

The rich and quiet use of atmosphere in the subtle color harmonies of the peach tones which sing perfectly against the plethora of greens. It is so difficult to portray a scene which emanates a sense of calm and peace while using such a restrained palette. Lovely perspective which draws the eye up through the water and finishes with a glowing sky at dusk. Gorgeous and beautifully handled brushwork which bounces from fine detail into a soft lustrous and pleasing backlit row of trees which creates a beautiful sense of distance and place.

Best Still Life;  Fringe Benefits

The first thing that struck me about this still life was the luscious use of color. It is extremely difficult to create a full spectrum colored piece and still have the color harmonies of those Yellow & orange apricots bouncing off the lovely rich blues in the pottery. The eye travels easily around the entire composition and the subtle gray background is a perfect neutral to enhance the remaining rich colors. The paint is controlled but still possess a quality of life and movement.

Best People; Emotions IV

What an extraordinary of a surprising presentation of portraiture! The skin tones are translucent and play in perfect harmony with the busy patterns of the suggested Art Neuveau background and the dress. It is remarkable the way both the engaging glance as well as the negative space created by the body balance out the composition in such an interesting and contemporary presentation. I am intrigued and drawn into her story instantly while still wanting to explore all the delicious pattern work which has been exceptionally rendered. Amazing Oil painting.

Best Use of Light & Color;  Macarons

It is almost impossible to praise enough the exquisite use of color and light in this enchanting piece. I believe that I am looking at a beautiful little vignette of an intimate café. The variety of textures are impeccably handled, from the cloth of the tea towel to the plastic & ribbon and then there are those macarons! Bravo, I could just take a bite! The reflective qualities in both the glass pieces as well as the silver of the teaspoon are pure perfection. Bravo, exceptional painting.

Most Innovative;  The Drunken Concubine

There is a lyrical sense of movement which is created and amplified by the arms and hands which surround the key figure in this intriguing painting. Compositionally, the supporting characters are there to draw even more attention to this central figure and her story. There is a tension created by the posturing of the ancillary players as well and an almost sense of dread on their part to an obviously oblivious star character. The limited palette and stark black background only enhance the engaging story and a need to know what might happen next. To accomplish this much emotion with only the movement and placement of the figures is exceptional use of composition. Brilliant painting.

Narrative Excellence;  Entranced

Having spent hours transporting my own daughter to countless hours of dance classes, this scene is particularly familiar. The artist has captured the innocence and intrigue felt by these young dancers so precisely! It so beautifully tells the story of young beginners who are enthralled with what the more experienced dancers are doing. They are believably engaged and possess that appropriately disheveled look that endears the little ones to us. Handled with such charm and amazing graphic qualities – exquisite story telling and brilliant use of paint.

Our sincere thanks to Christine Drewyer, AWA, WAOW-Master, NOAPS for judging the 2021 NOAPS Spring Online International Exhibition. Her time, effort, and breadth of knowledge are much appreciated.

Serenity is the first feeling that comes to mind when viewing “Golden Glimmer” by artist Christine Drewyer. The scene is idyllic, with a path beckoning us to enter. The play of light coming through the trees, the placid water and evening sky create a sense of peaceful contemplation. To paint what one sees is the beginning, but to paint a feeling is masterful.

Christine Drewyer is a full time artist who is known on a national level for her sensitive landscape paintings. She has had a wide variety of experience in the field of art; ranging from attending the Maryland College of Art & Design for two years, to owning and running a successful art gallery in Annapolis, Maryland, to becoming the President of the American Women Artists. Her career has provided her with a vast knowledge base, not only in painting but also in the business of art.

Presently, Drewyer works primarily in landscape, and also paints animals and the occasional still life. She prefers oil as her medium, and works from life as often as possible. For her landscapes, she finds inspiration in many places, in particular the Blue Ridge Mountains, where she has been known to paint plein air in the middle of a stream! The plein air paintings and sketches become part of her reference material, along with photos and a working memory of the place. When painting in the studio, she often uses an underpainting, then uses charcoal to sketch in the scene before moving into color.

The artist’s palette consists of warm and cool colors of the primary triad, plus greens, violets and some earth colors. For each painting, she “create(s) a palette specific to each piece using a triad of a consistent blue, yellow and red tone. I stick to those three throughout the painting which keeps it cohesive and more luminous. I use a warm and cool temperature of each primary and add several earth tones to my palette.”

Christine has had great success with her artwork; in 2018 she won the “Purchase Prize Award” at the American Women Artists National Juried Exhibition “Full Sun” at the Haggin Museum in Stockton, CA. She has served as the President of the Women Artists of the West from 2012 to 2020, and is currently President of the American Women Artists (2020). The two most recent awards have been at the 2021Women Artist of the West 51st America the Beautiful Exhibition.

In her own words, Christine feels that “the making of art is a celebration of beauty and creation…The muse can be a fleeting thing at best and I find it such an honor to be able to do what I absolutely love every day. Because of that, I never take it for granted and always paint what I am excited to paint.”

Christine Drewyer will be the Judge of Awards for the National Oil & Acrylic Painters’ Society 2021 Spring Online International Exhibition.

Her work is represented by the Berkley Gallery, Warrenton, VA; The Main Street Gallery, Annapolis, MD; the Rich Timmons Gallery, Doylestown, PA; and the Seaside Gallery, Pismo Beach, CA.

To view more of Christine’s work, visit www.christinedrewyer.com

Written by Patricia Tribastone, NOAPS President

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“Sundown”, 13×20, Oil on Linen Panel, available at the 2021 NOAPS Best of America Small Works National Juried Exhibition, the Principle Gallery, Charleston, SC.

The quiet warmth of the sunset is a scene that we always remember, but few capture convincingly. “Sundown” gives us not only the scenery, but the feeling of heavy air about to change to darkness, never the same sunset again. Atmosphere in a landscape painting is the one thing that can surely communicate feeling, and “Sunset” has that atmosphere.

Paula Holtzclaw has devoted her time and effort to painting with great success. As a self-taught artist, she has gained national recognition in numerous organizations. Her knowledge and skill, gained from workshops, self-study, and hours and hours of practice has developed into a signature style comprised of realism and impressionism.

Paula draws inspiration from the beautiful yet elusive coast of the eastern US, particularly the marshlands and inlets, uninhabited except for wildlife. She has been influenced by Tonalist painters such as Inness and Whistler, for their “ability to evoke emotion through creating atmosphere and moodiness”. Contemporary artists such as Nancy Boren, with her freshness and humor, and Elizabeth Robbins with florals and portraits.

Holtzclaw works mainly in oil currently, having switched from acrylics. Her paintings begin with a toned canvas upon which she then wipes out the rough design. She has long realized the importance of painting from life, from plein air to still life. Though she may work from photos, the plein air experience is evident in her moody landscapes.

In her studio, one could see more than one work in progress at a time; paintings in different stages await the final brushstrokes as the artist takes the time to “wait and see what needs to be done.”

Paula is currently at Master Signature Artist with the American Women Artists, Women Artists of the West, a Signature artist with the Oil Painters of America, the National Oil & Acrylic Painters’ Society, and many more. She has won numerous national awards, has been featured in prestigious art magazines, and participated in fine art exhibitions in museum settings.

As an assiduous artist, Holtzclaw knows the necessity of many hours of easel time; “just keep at it. Put in miles and miles of canvas. Not every painting works, but in every painting is a lesson”.

The National Oil & Acrylic Painters’ Society is proud to have Paula Holtzclaw on the Panel of Award Judges for the 2021 Best of America Small Works National Juried Competition.

Her work is represented at Anderson Fine Art Gallery, St. Simons Island, GA; Cheryl Newby Gallery, Pawleys Island, SC; Highlands Art Gallery, Lambertville, NJ; Hughes Gallery, Boca Grande, FL; and Providence Gallery, Charlotte, NC.

To see more work by Paula Holtzclaw go to www.paulabholtzclawfineart.com

To view the 2021 NOAPS Best of America Small Works National Juried Exhibition, visit www.noaps.org

Elizabeth Robbins: Awards Judge

Many thanks to our 2020 Fall Online International Exhibition Awards Judge, Elizabeth Robbins. Elizabeth is a Master Artist with the National Oil & Acrylic Painters’ Society. As the judge, Elizabeth took many hours to look at each painting in our exhibition, and took the extra time to write notes on the top award winners. Congratulations to all the award winners, and to the accepted artists. With over 1400 paintings submitted, and 200 accepted, the competition was at a very high level.

Here are the comments by Elizabeth:

As an award judge I look for these things in a painting

1.  My first gut reaction.   I have learned that my first reaction to a painting really tells me whether it deserves an award or not

2.  The emotional impact of the piece.  This goes along with my gut reaction.  My emotional response to a painting could be completely different than someone else.  Everybody’s voice matters.  As a judge I try to listen       to every voice but there are some that resonate more with me than others

3.  Harmony:  Does the painting have a pleasing color harmony.  Is there any color note that just feels out of place or do they all feel cohesive together

4.  Composition:  Does the painting have a composition that feels like a piece of music.  Do elements of the painting connect with one another or do they just feel as if they are all isolated.  

5.  Value relationships:  Of course this is a big one.  

6.  Line and edges:  I love a lyrical line in a painting.  I’m also looking for a variety of edges either more hard or soft as long as not everything is lost or everything is found.  

7. Drawing.  I really don’t mind a painting that the drawing is slightly off because nothing is perfect in life.  I’d rather view a painting that has a very strong emotional impact but some flaws than a painting that is perfect and lacks emotion.  True art comes from the heart not the head.  Someone else might disagree with me but I want to be moved by art.  

Best of Show “Capture” by Richard Johnson

Wow was my reaction when I saw this one. The movement in their bodies is incredible. I loved the drama. I loved the touch of red. The skin tones are remarkable. Edges excited me. I wanted to keep looking at this painting waiting for the next move.

Second Place “Boca Light Sunset” by Neal Hughes

 Beautiful Landscape.  Great composition.  I loved the large cloud shape in the sky in relationship to the smaller land mass. I loved the grays in this painting yet it feels very colorful

Third Place “Roses and Grapevines” by Katie Liddiard

As a Rose lover and painter I just loved this.  So quiet and yet so poetic.  The color palette is just so pleasing.  I loved the more abstract design in the lower leaves.  It’s a painting I would love to have in my collection.

Best Still Life “Spanish Memories” by Jeremy Goodding

Everything about this painting is beautiful.  They lovely grays. The form of the vase, the edges.  The fact the all the flowers are facing down with the exception of the one on the bottom right was intriguing.  It has a story to tell

Best use of Light and Color “Jacobs Ladder” by Jason Sacran

This has a lot of drama to it.  The light peaking from being that tree and the sun rays are lovely, the color temperatures in the shadows are wonderful.  I loved that touch of pinks and violets in the tree.  It has depth and emotion.  Another one I would love to own.

Best People “Conquer” by Pavel Sokov

With this painting I loved the darker shape behind him that followed his body down the canvas.  The look on his face has strong emotion.  The edges are wonderful. Great Harmony

Best Landscape “Light Dance” by Matt Cutter

My first reaction to seeing this painting was just WOW.  The line of rocks and light that lead me to that upper left crescendo is magnificent.  I loved the quietness of the palette yet you can feel the warmth of the sun hitting the water.  Bravo!

Most Innovative “Pursuit of Happiness” by Natalie Wiseman

I would have loved to have seen this one in person.  The complexity of the design is mind boggling.  I love the message it gives.  Very complicated piece and quite original.  The touch of the yellow smiley face is brilliant.  Well Done

Narrative Excellence “Helen” by Sandra Kuck

Beautiful painting, full of emotion.  Lovely skin tones.  The background detail tells a story. Great harmony.  Her outstretched hands with the full bouquet of roses on the left to lead you to the one rose on the right.  Great narrative.  

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Elizabeth Robbins
Robbinsfineart@icloud.com

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