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

Winner of Best of Show: “Golden Number 3”, 20×30, Oil by Ni Zhu

This was my top choice because it has a number of elements that work together to make it a masterful painting. In addition to the technical and compositional considerations it has an undefinable aspect that I consider to be perhaps the most important thing in a painting. And that is the feeling or emotion that you experience when you see a great work of art.

Some of the more formal concerns that I think make this painting work have to do with the angles of the strong dark value mass created by the boats and reflections help to make it a dynamic and powerful composition. These shapes create a wedge that is countered by the oar which becomes an accent mark that leads your eye to the central figure in the composition. There is also a horizontal dominance that is countered by the vertical poles on the front of the boats. We also see beautiful atmospheric color harmonies in this work where the warms are dominant but the artist creates a cool balance that is mostly in the upper left portion of the work. This is all supported by the brushwork and surface texture of the painting. The paint is applied with confidence but without compromising the drawing or draftsmanship and looks almost effortless.

Many of the things I mention here are a matter of personal preference and there is no way to say definitively that one painting is better than another but these are my reasons for choosing this as the top painting in this show.

Second Place: “A Day in 1980’s Series No. 2”, Oil, 72.5×100 by Jie Zhuang

I was attracted to this painting by the overall feeling the artist conveyed through an informal composition and great handling of the paint. Our eye moves through the composition in what looks like a classroom with many children and a figure who appears to be the teacher and there is a tranquility and harmony that we experience. There is sophistication in the way the darks on the bottom are connected to form a mass that is countered by the light upper portion that forms a lighter mass and in between these major masses are smaller light and dark shapes in a kind of staccato pattern. Color is used sparingly which allows the overall dark light pattern to dominate. The artist shows proficiency in drawing the figures that are casual but accurately handled. All together these elements help to make this painting stand out and deserving of recognition.

Third Place: ” View from My Studio Chambersburg”, 12×16, Oil, by Katriel Srebnik

The main thing I like in this painting is the great color harmony and atmosphere. The artist captured the subtlety of the color that was due to the air and snow between the buildings and the viewer. The house on the left demands attention because of its size and darker value but the wires tie it to the rest of the composition and the figure creates a nice balance. This painting evokes memories and feelings of days past for me since I live in an area where this type of day occurs occasionally in the winter season. Although I realize some who live in different climates may not relate to this subject in this way it made me see this as a top award winner.

Best Still Life: “Apples”, 20×36, Oil, by Lawrence Preston

The apples are gorgeous! They are such a luscious red with touches of gold and green; you can just taste their sweetness with a slight tartness. The apples in the pitcher look like they are floating because the pitcher is ghost like. I love how the light just kisses the lip of the pitcher.

Most Innovative: “Head Chef”, 25×34, Oil, by Michelle Richeson

I enjoy looking at the chef working easily, in total control of his realm. I am wondering what is inside each pot and container. What is he cooking? As I study the composition I am noticing an X design. That X or “diamond” is in the stainless steel backsplash tile and hits his shoulder and top of his head, then continues onto the other side of his other shoulder and meets at his hands holding the tongs and oven-mitt. As I study the image I notice the panting technique. Looking closer I can see that it is very transparent. This is most noticeable in his head. This technique is one of the reasons why I gave it most innovative.

Narrative Excellence: “Son of Mary and Joseph 2”, 90x73cm, Oil, by Jon Paulson

The contrast between the blood streaked, pale skin and the black background adds to the dramatic scene. I have seen this narrative before throughout art history but not like this. The limp body of Christ with his arms draped over the shoulders of the two lowering him from the cross is amazing. I can feel his weight due to the hand pressing into his chest and his armpit covering his head. No one is making eye contact, allowing the viewer to feel free to explore every inch of their bodies without confrontation. The composition looks like a figure 8, which reminds me of the symbol for infinity which further strengthens the narrative in a way I have
never seen.

“Awake My Soul”, 24×18, Oil on Canvas by Mary Jabens. Winner of BEST LANDSCAPE

Immediately the bright yellow glow from the trees and water reflection caught my eye. I also
enjoy all of the curves in the composition. They create a nice rhythmic dance of color. It
conveys a feeling of relaxation and drama.

“Morning Coffee” 24×24, Oil on Panel by Robert Bucknell. Winner of BEST USE OF LIGHT AND COLOR

The pattern of the fabric, the shadow design and the objects sing together. Then the light adds
fun pops of bright areas and dance with the red, gold and black. A lovely triangular
composition is offset by the diagonal shadows.

“Delorean”, 14×18, Oil on Canvas by Keith Willis. Winner of BEST PEOPLE/FIGURE

This portrait captivated me. Her pose is intense but also relaxed, almost bored at the same
time. The red plaid shirt has been painted exceptionally well. Each stripe has soft blending and
shading which adds to the shirt’s shape, folds and creases. The complimentary colors work
great and enhance her beautiful skin tones.

It was an honor to have been the juror of such a beautiful exhibition. It was a difficult task selecting the paintings for an award!

First Place: “Stephanie, The Lady of Steam”, 24×36, Oil, by Lee Alban. The amount of incredible detail is stunning to me. After I enjoyed looking at the technicality of the work I appreciated the subject matter. It is special to see a young women represented in a role usually represented by a man. The bright yellow gloves with smudges of grease, and her shoulders creates a subtle diagonal composition with her head in the middle. Her braided hair catches my eye, it is so soft compared with the hard lines of the engine. The cool colors around her head enhance her as the focal point.

Second Place: “Witness”, 24×30, Acrylic, by Tom Heflin. I was captivated by the perspective. At first I thought it’s a picture on a wall, but quickly realized that it is a view through a boat window. How clever! I was also captivated by the attention to detail, I can feel the rough texture of the wood. Beautiful use of complimentary colors.

Third Place: “Brothers”, 24×36, Oil, by Cathy Weiss. First I was struck by the diagonal composition, then the sweet moment these two brothers are having. The elephant on the right is making eye contact which is off center making it interesting. I have painted paintings of rhinos and elephants and I know how difficult their skin is to represent. I commend your ability to capture their subtle color changes and wrinkles.

Thank you to Sarah van der Helm for her knowledge and time judging the 2023 NOAPS Spring Online International Exhibition!

Be sure to check next week’s blog post with more insights on the award winners from Sarah van der Helm.

To view the 2023 Spring Online International Exhibition go to www.noaps.org/2023-spring-online

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