Adam Clague: The 4 Actions for Accurate Proportions

NOAPS Clauge A1  “More Whipped Cream”, 24×14, Oil on Linen, Private Collection

One of the most valuable lessons I learned at art school was the 4 Actions for Accurate Proportions.  With just 4 actions, you can draw absolutely anything under the sun…with the correct proportions!

These 4 Actions for Accurate Proportions can enable you to correctly draw absolutely anything (yes, even the human figure)…

  1. Compare distances
  2. Copy angles
  3. Check alignments
  4. Consider negative shapes

Now I’ll demonstrate each one…

Note: In the following illustrations, I measure the proportions of a painting.  However, in real life, I would measure the proportions of my subject first, and then measure my painting to ensure the proportions of my painting matched the proportions of my subject.

1. Compare Distances

A.  Hold out your brush handle (or pencil, etc.) against your subject.  Close 1 eye so you don’t see double.

NOAPS Clauge A2

Choose any 2 points on your subject.  Mark off the distance between these two points using the tip of your brush handle and the tip of your thumb.  In example “A,” I’ve marked off the distance between the top of the girl’s hair and the bottom of her chin.

B.  Now, see if this distance compares to any other distance in your subject.  In example “B,” I’ve discovered that the distance between the top of the girl’s head and the bottom of her chin equals the distance between the bottom of her chin and the bottom of the bowl.

NOAPS Clague_A3

Why this is awesome

Now that I’ve found where the bottom of the bowl goes, I will be much less likely to make her arms too long or too short as I draw them between the head and the bowl.  Continuously comparing distances like this will help you achieve correct proportions, no matter your subject’s shape or size.

2. Copy Angles

Compare a horizontal or vertical brush handle to an angle in your subject to determine how much the angle is tilted.  In this example, a horizontal brush handle makes it much easier to tell how much the girl’s eyes are tilted.

NOAPS Clague A4

3. Check Alignments

Use your brush handle like a plumb line to find 2 points that align to each other.  In this example, I’ve discovered that the corner of the girl’s mouth (A) is directly below the edge of her eye socket (B).  Finding this unexpected alignment greatly helped me to draw the tilt of her head correctly!

NOAPS Clague_A5

4. Consider Negative Shapes

Let’s say I’ve been drawing and re-drawing the arm, and it still doesn’t look right.  But then, I shift my focus and look at the negative shape-that triangular shape of air between the crook of her arm and her side.  I focus on drawing that shape correctly, and suddenly-viola!  Her arm looks accurate too.  Often, correctly drawing a negative shape will automatically improve a positive shape.

NOAPS Clague A6

I’ll demonstrate the 4 Actions in detail in my upcoming online video course, “Learn to Paint Dynamic Portraits & Figures in Oil.”  For more information, please visit

About the Artist

NOAPS Adam Clague

Adam Clague’s work has received international awards and press.  The artist lives near Kansas City, Missouri with his wife and fellow artist Andrea Orr Clague and their newborn son, Gideon.  Adam paints in an impressionistic manner and works from life as much as possible to produce the most life-like results.  The artist seeks to faithfully capture the beauty of God’s creation and to share that beauty with his viewers.

Adam’s work is represented by Ward & Ward Fine Art (Kansas City, Missouri), Hudson Fine Art (Hudson, Ohio), and Gallery Augusta (Augusta, Missouri).

Written by Adam Clague



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Rick J. Delanty: ‘What’s Important Now’

NOAPS Delanty_uprising, acrylic, 18x24

“Uprising”, 18×24, Acrylic, Collection of the Artist, San Clemente, CA

“As a man thinks, so is he.” -Proverbs 23:7

After having been painting professionally now for over thirty years, it appears to me that there are two major facets to the career of a fine artist: the professional and the personal.

The ‘professional’ is about how the paintings get done.  The personal involves how the artist represents them afterward.  Those that view the artwork publicly will wonder about who the artist is personally.  Why did he create this?  What would he say about it?  What are his attitudes and philosophies behind it?  The answer lies in the priorities that the artist chooses for himself or herself, what he or she decides is important in life.  Artists create for a variety of reasons, and for every artist there is a list of priorities that causes the work to look like it does, and causes himself to behave personally as he does.  At some point, everyone need to choose how to select those priorities, because it is a natural fact that we all only have so much time.  Time is running out, whether or not we choose.  But we could prioritize those choices most clearly if we can W.I.N., by deciding ‘What’s Important Now’.

NOAPS Delanty_SNOW CANYON WASH, 12x16, oil on board, 12 17 RR

“Snow Canyon Wash”, 12×16, Oil.  Mission Gallery of Fine Art, St. George, UT

Yesterday there was a memorial service at a local church for a surfboard shaper that was attended by over a thousand people.  But in the testimonials from the pulpit from those who knew him, it was not his shaping, or the fact that he has created more hand-shaped boards than anyone else, or even the quality of his art that was the subject: it was the quality of his life.  That kindly gentleman was interested in everyone, in the goodness that he knew exists within us all somewhere-and he was able to listen.  He put people first.  That’s how he won the Race of Life.  I am sure he is in heaven now.

A pastor in our area so concisely defined the precious opportunity and limited time that we all have to make a difference: “Yesterday is a cancelled check; Tomorrow is a promissory note; Today is ready cash.”  I can live my life.  And i can make my art.  What I need to know is “what’s important now.”  May I create quality artworks by living a life of quality and appreciation for every moment I have.

Written by Rick J. Delanty

Rick Delanty is a California artist painting primarily landscapes and seascapes.  He has been a professional artist for over three decades.  He is represented by Casa Romantica Cultural Center, San Clemente, CA; Coutts Art Museum, El Dorado, KS; OC Contemporary, San Clemente, CA; Mission Gallery of Fine Art, St. George, UT; and Delanty Studio and Gallery, San Clemente, CA. To view more of his work visit

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Jerry Smith: NOAPS Master

NOAPS smith thumbnail_Harbor Dusk

“Harbor Dusk”, 20×30, Acrylic on Paper, Private Collection

At first glance, the viewer gets the sense that the landscape has been abstracted, and to a degree it has.  But upon closer observation, the shapes the artist has constructed become more representational.  This investigation into the shapes, colors and values is what makes the viewer linger, and when we translate the shapes into our own meaning, we are infatuated with searching for more.  The painting releases its secrets, and satisfies the viewer with its revelations.

NOAPS smith thumbnail_Early Morning Ripples  “Early Morning Ripples”, 36×24, Oil on Canvas, Collection of the Artist.

Jerry Smith is a Master Artist with the National Oil & Acrylic Painters’ Society.  Though not exposed to art as a young person, the natural gift of drawing and interest in art was ever-present.  He started a career in business, but after a gift of paint and canvas from his wife, he began to seriously study art.  He read, practiced, studied, and took workshops.  And his art career was born.

NOAPS SMith thumbnail_Green Street January  “Green Street January”, 16×20, Oil, Private Collection

His main genre is landscape painting, and artists such as Don Stone, Omer Seamon and Louise Hansen helped influence his art initially.  Other influences were the Impressionists, particularly Monet and Pissaro.  And though he started out as a realist painter, he moved to impressionism and abstraction.  The rolling hills and farmland are his muse, as well as the rocky coast of Maine.

NOAPS thumbnail_JSmithBlueHaven13x30  “Blue Haven”, 13×30, Acrylic on Paper, Collection of the Artist

Most of Smith’s paintings start out as thumbnails, and these are often done in watercolor.  He may find a subject that he finds inspiring, and from his sketches and photos emerge a series of paintings.  At times the series may alternate between mediums of oil, acrylic and watercolor.  For his more abstracted pieces, he finds he plans out the painting less thoroughly, focusing more on an under-painting, and developing the textures.

Smith uses a basic palette of warm and cool primaries plus some earth tones, usually burnt sienna and raw sienna.  He uses a variety of brushes, mostly long flats in bristle and synthetic bristle.  In his watercolor he uses flats as well, either sable or synthetic sable.  His working surface is gesso-primed masonite, (particularly useful on location) or stretched canvas or his oils, and for his acrylics he uses the masonite or 300lb. watercolor paper.

NOAPS Smith thumbnail_RussetAcres  “Russet Acres”, 21×29, Acrylic Collage on Paper, Private Collection

Jerry Smith holds Signature memberships in numerous national art organizations, a proud accomplishment, along with a family and a forty-year full-time career as an artist.

Jerry has some very good advice for all artists: “We all like to sell paintings, but don’t focus on doing paintings for the purpose of sales, it will lead to stagnation.  Concentrate on where your passion resides and your best paintings will follow.”

Jerry Smith is represented by Gallery Two, Indianapolis, IN; Brown County Art Guild, Nashville, IN; Proud Fox Gallery, Geneva, IL; Castle Gallery, Fort Wayne, IN; and the Walls Gallery at the Greenbrier, White Sulfur Springs, WV.

To see more work by Jerry Smith, visit his website at

Written by Patricia Tribastone, NOAPS Blog Director


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Ober-Rae Starr Livingstone

NOAPS ORSL thumbnail_FeelingYourTouchB-24x48oc-6-17

“Feeling Your Touch”, 24×48, Oil on Canvas, Private Collection.  This painting was juried into the 2017 Best of America Exhibition, and was given an Award of Excellence.

The dreamlike quality of softened light draws the eye toward the setting sun; the warm colors invite us in to a comfortable space where we can relax.  The idealized scene begins in the clouds, and the warm red-golds lead us to the sunset, where we seek to discover what lies in the landscape.  Such is the theme of the paintings by Ober-Rae Starr Livingstone: “I find inspiration in the light and color of sunrises and sunsets and in observing light playing on water, or the changing dynamics of light and shadow as the sun moves across a landscape.”

NOAPS ORSL thumbnail_Every-MomentReduxfinaacl36x48-15  “Every Moment”, 36×48, Acrylic, Miller Gallery.  This painting was a winner of the Artist Magazine 2015 Over 60 Competition and appeared on the cover of the March 2016 issue.

Livingstone has learned his craft through careful study.  He began by painting signs and posters for his father’s lectures, and continued to be encouraged in his pursuit of painting by both his parents.  His path has been mostly self-taught, with only a few painting workshops to guide him.  He observed the quality of light and color found in paintings by such artists as Mark Rothko, Jules Olitski, and Albert Bierstadt.  He found that he needed technical expertise such as that found in work by Salvador Dali.  Then, artist Larry Rivers encouraged him to seek his own personal vision, which has led him to the unique and expressive paintings that are his work today.

NOAPS ORSL ThatMomentB8x10o-p11-17  “That Moment”, 8×10, Oil, Castle Gallery

Ober-Rae currently paints in both oil and acrylic.  His paintings are done on canvas or linen, usually stretched, or unstretched, when the painting must be shipped.  In acrylics, he works mainly with Golden products, utilizing the Golden Open which allows a longer working time.  When painting in oils he uses a range of brands including Winsor and Newton, Gamblin and Williamsburg.  A day in the studio, which is most often his choice for painting, begins with an assessment of work, and choices on what to work on.  He occasionally works en plein air, but his work is more suited for the studio setting.  He begins with reference photos, but by the time he has finished his painting, it may offer no resemblance to the photo.  He begins with a simplified drawing in pencil or charcoal, followed by loose brush work to fill in the shapes and values.  From there he lets his expressive nature flourish, to find the end result that was emerging in his mind.

NOAPS OBSL thumbnail_Getting-There-in-progressA  NOAPS ORSL thumbnail_Geting-There in progress C-30x30-5-16  NOAPS ORSL thumbnail_Getting-ThereMiller-30x30-15

Progress of “Getting There”, 30×30, Acrylic, Miller Gallery

NOAPS ORSL thumbnail_Speaking-Softly-30x40ISAP--10  “Speaking Softly”, 30×40, Acrylic, Collection of the Artist.

Livingstone is grateful for having the opportunity to paint, to have an audience for his work, and for having been published and recognized for his vision.  As he states: “What I know for sure is that it is essential to paint and then paint some more.  Don’t be afraid of making mistakes.  What we often view as a mistake often turns out to be an opportunity to make a change and discover something unexpected, exciting, and uplifting.”

In the words of Marc Chagall: “If I create from the heart, nearly everything works; if from the head, almost nothing.”

In addition to his artistic success, Ober-Rae is also a member of the Board of Directors for the National Oil & Acrylic Painters’ Society.

Ober-Rae Starr Livingstone is represented by the Miller Gallery, Cincinnati, OH; the Castle Gallery, Fort Wayne, IN; and the Liz Beth Gallery, Knoxville, TN.  To see more of his work, visit

To see more of the 2017 Best of America Exhibition, visit

Written by Patricia Tribastone, NOAPS Blog Director

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Ann Hardy: NOAPS Master Artist

NOAPS Hardy Texas, My Texas, Oil, 25 x 25, private collection

“Texas, My Texas”, Oil, 25×25, Private Collection

The rhythmic pattern and bright but soothing colors in “Texas, My Texas” exude a feeling of love for the land.  As the flowers come forward, we are invited to stand in the landscape, and just for a moment understand the artist’s attachment to the scene, and the earth’s ability to produce beauty in any condition.

NOAPS Hardy Blue Butterfly and Geraniums , Oil, 16 x 12, Holder Dane Gallery  “Blue Butterfly and Geraniums”, 16×12, Oil, Holder Dane Gallery, Grapevine, TX.

Ann Hardy has been a creator most of her life, though admits coming to painting later.  In her mid-thirties, a desire for an Arabian horse led her to begin her painting career, selling the paintings at art shows.  She was successful from the beginning, and by 1973 was able to settle on 20 acres of Texas land with a home, a barn, and her Arabian horse.

NOAPS Hardy Honeycrisp Harvest  “Honeycrisp Harvest”, 18×24, Oil, Private Collection

Ann’s college degree in Christian Education didn’t offer many art classes, but she more than made up for it by attending many, many workshops with artists whom she admired.  Even now, she attends college taking graduate art classes, with the purpose of continued growth and contact with fellow artists.

Ann’s style of painting reflects her favorite Master Artists: Fechin, Sargent and Sorolla.  Just as these masters were able to catch a glimpse of light or a fleeting moment, so too has Ann done in her work.  She admits to a “propensity to try everything, (and) have had to focus and refocus and refocus.”  But it is with the oils that she has achieved her greatest success.

NOAPS Hardy Samovar and Reflective Cup , Oil, 16 x 20, private collection  “Samovar and Reflective Cup”, 16×20, Oil, Private Collection

Her work in oils is done on smooth Belgian canvas, using Rosemary brushes, and a palette that consists of Cadmium yellow light, Cadmium yellow dark, Cadmium orange, Medium red, Permanent Alizarin Crimson, Ultramarine Blue dark, Sky Blue, Viridian, Transparent Oxide Red, and yellow ochre.  When working, she looks for interesting shapes with a good value range.  She does a sketch on her support, then starts the painting with a block in of the darks in the correct value.  She then works from the center of interest out.  Ann works en plein air, with photo reference, and from a still life set-up with a single light source.

Ann has some very good advice to beginning painters: “do your research on the workshop teacher, as a good painter may not be the best teacher, and the opposite can also be true”.  She also advises to “determine what they want to achieve (hobby, compete in exhibitions, earn a living, etc.) …that there is no perfect time to get started, just do it!”

NOAPS Hardy Italian Gentleman., Oil, 12 X 16, Private Collectionjpg  “Italian Gentleman”, 12×16, Oil, Private Collection

Ann Hardy has won numerous awards, most notably earning 2nd and 3rd awards in the Oil Painters of America National Exhibitions, and 1st place painting in the National American Women Artists Show.  She is also a Master and Signature member in six art organizations: Oil Painters of America, the National Oil & Acrylic Painters’ Society, American Impressionist Society, American Women Artists, the Outdoor Painters Society, and Tex and Neighbors.  NOAPS is proud to count Ann among our Master Artists.

Ann’s artwork is represented by Davis and Blevins (the Main Street Gallery) in Saint Jo, TX; Holder Dane Gallery in Grapevine, TX; Southwest Gallery in Dallas, TX; and Weiler House Fine Art Gallery in Ft. Worth, TX.

To view more of Ann Hardy’s work, visit her website at

Written by Patricia Tribastone, NOAPS Blog Director


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Dawn Whitelaw: Artist and Teacher

NOAPS Whitelaw Sanctuary12x16CollectionOfTheArtistOIL_edited-1

“Sanctuary”, 12×16, Oil, Collection of the Artist.

Is it possible to identify what sets a painting apart from others?  Could it be the skill of the artist, the chosen image, the application of the paint, or the feeling of the painting?  In Dawn Whitelaw’s painting “Sanctuary” she has chosen an interior of a church as her subject matter, which in itself can elicit an array of emotion.  But it is also her deft handling of the elements of the painting which cause us to linger.  She has chosen to use warm colors at the focal point, surrounded by the cool greys depicting the stone walls.  There are no figures in the painting, creating a quiet reverence for the scene which she lets us see; we almost get the feeling that we crept into this space unannounced, and stumbled upon this beauty.

Dawn Whitelaw discovered her path in art after viewing a portrait done by Cecilia Beaux of Henry Drinker.  The impressionistic style has become the hallmark of Whitelaw’s work, and after workshops with Jim Pollard and Everett Raymond Kinstler, her path for instruction was realized.

NOAPS Whitelaw Dana24x36Private collectionOIL  “Dana”, 24×36, Oil, Private Collection

Today Dawn paints mainly in oil, but has also worked with acrylic, watercolor and gouache.  Her talent crosses all the genre, from landscapes to interiors, portraits and still life.  Every day is full of inspiration for her; all her senses converge to influence what she will put on a canvas.  Dawn’s process includes in large part plein air and alla prima painting.  She also does studio painting, working from reference photos along with her memories, feelings and other information she has gathered from the scene. She uses a variety of surfaces, and her palette consists of White, Cadmium Yellow medium, Pyrol Red, Ultramarine Blue, Transparent Red and Prussian Blue. Her brushes are a variety of shapes and sizes.

NOAPS Whitelaw AFreshCoat14x11IFranklin's Promise Coalition Inc oil  “A Fresh Coat”, 14×11, Collection of Franklin’s Promise Coalition.

Dawn is also a popular workshop instructor.  As a resident artist at ‘On Track Studios’ in Franklin, Tennessee, she invites students to her studio where she teaches a variety of subject matter.  This Spring Dawn will lead a three-day workshop in conjunction with the National Oil & Acrylic Painters’ Society 1st Spring SMALL PAINTING National Juried Exhibition, which will be held at the Richland Gallery in Nashville Tennessee.  The title of the workshop is “Reaching the Next Level” on April 30, May 1 & 2, 2018.  Dawn describes the workshop in this way:

“The process of improving your work is one of the great joys of painting.  However, it is easy to get stalled along this journey.  Sometimes we need a little kick-start and the benefit of a new set of eyes, to get back on the path of growth.  This class is an opportunity to take a good, honest look at your current work and consider what most needs improvement.  Is the area that needs tweaking related to handling the paint?…or is it design, color, value, edges, or concept?”

NOAPS Whitelaw Spring is Stirring20x40 PrivateCollection OIL  “Spring is Stirring”, 20×40, Oil, Private Collection

Dawn would tell you that her greatest accomplishment is not of her own painting, but what she has been able to convey to her students, and the success of those artists.  She also tells us to “Surround yourself with good friends who will keep you honest and enjoy the journey”

NOAPS Whitelaw BearlyThere16x20collection of the artist oil  “Bearly There”, 16×20, Oil, Collection of the Artist

We look forward to meeting Dawn at the NOAPS 1st Spring SMALL PAINTING National Juried Exhibition, where she will also be doing a demonstration of her painting technique.

Dawn Whitelaw is on the faculty of the Peninsula School of Art and the Portrait Society of America.  She is also a Master Artist with the American Impressionist Society (AIS) and a founding member of the Cumberland Society of Painters.  She has won many national awards for her work, including the American Art Collector’s Master Award of Excellence in the AIS Annual Juried Exhibition in 2017.  She is represented by Richland Fine Art in Nashville, TN; Leiper’s Creek Gallery in Franklin, TN; Brazier Studio and Gallery, Inc in Richmond, VA; Beverly McNeil Gallery in Birmingham, AL; and Hagan Fine Art Gallery and Studio in Charleston, SC.

To view more of Dawn Whitelaw’s work, visit

More information and sign up capability will be listed on the website; watch your inbox for updates.

Written by Patricia Tribastone, Blog Director




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Elizabeth Robbins: NOAPS Master Artist

NOAPS Robbins 24x18 impending motherhood  “Impending Motherhood”, 24×18, Oil, Collection of the Artist.  This painting was chosen as ‘Best of Show’ at the 2014 NOAPS Best of America Exhibit

The portrait is a powerful genre for artists.  As humans, we connect closely with images of other humans, and as artists it is our task to communicate both the physical and emotional essence of our subject.  “Impending Motherhood” by Elizabeth Robbins is a painting that imparts both the physical presence and a spectrum of emotions.  Robbins combines her highly refined skills of composition, color harmony, drawing and paint handling and infuses the painting with the elusive nature of heartfelt emotion.  The viewer is able to at once recognize the story, and identify with the deeply felt human emotion.

NOAPS Robbins Ruby 20x24  “Ruby”, 20×24, Oil, Collection of the Artist.

Elizabeth Robbins has achieved many accolades for her artwork, not the least of which is the designation as a Master Artist with the National Oil & Acrylic Painters’ Society.  She is also a Signature Member of the Oil Painters of America.

NOAPS Robbins Gifts from the Garden 28x30  “Gifts from the Garden”, 28×30, Private Collection

Creative interests were always a part of Elizabeth’s life; even as a child she was interested in art, and flowers in particular.  As a child she sold delicately pressed flowers that she framed in shadow boxes to her neighbors, one of which remains in her personal collection.  She never strayed from her interest in art, and studied in college courses, with decorative artist Mary Jo Leisure, and with other artists whose work she admired.  Robert Daley and Dan Gerhartz were also influential teachers for her, especially Gerhartz for imparting to her the theory of temperature, which is a distinguishing element of her work.  She continues to be inspired by other contemporary artists such as Nick Alm and Quang Ho, and finds enjoyment in searching for lesser known artists who inspire as well.

NOAPS Robbins Peonies and Roses 20x24  “Roses and Peonies”, 20×24, Oil, Private Collection

Elizabeth’s work today is mostly still life, and flowers in particular.  Nature provides her with ample subject matter, much of which comes from her own garden where she grows over 80 roses, several peonies, day lilies, sunflowers, fruit trees, and berries. As she states, “My garden is my oasis.”

Though she started out in watercolor and acrylic, she found her favorite medium in oil.  She finds the richness of color and body in oils to be unmatched by other mediums.  She uses a variety of paints, and her palette consists of Cadmium Lemon, Cadmium Yellow Pale, Cadmium Yellow Deep, Cadmium Red, Cadmium Red Deep, Yellow Ochre, Indian Yellow, Raw Umber, Transparent Oxide Red, Alizarin Crimson, French Ultramarine, Cobalt Blue, Viridian, Ivory Black and Titanium White.  Her brushes consist of brights and flats from Royal Sabletek, as well as hog bristle filberts.  She uses Claussens 12 linen mounted by New Traditions, a medium to smooth surface which is mounted to Gatorboard.

NOAPS Robbins 20x24 Indian Summer    “Indian Summer”, 20×24, Oil, Private Collection

Her day often begins by getting office and administrative work completed, and turning to her artwork after left brain work is completed.  She usually works from life, particularly in the summer when her well-tended garden is accommodating her need for subject matter.  Her long experience precludes the need for thumbnails, and she begins on the canvas painting in the Alla Prima style.  She most enjoys painting the flowers she has grown herself, as she finds a personal and emotional connection with them.  Her work is mainly in the studio where she can control the environment, though she at times will work en plein air.

NOAPS Robbins Home Grown 24x24  “Home Grown”, 24×24, Oil, Collection of the Artist

Though life has presented struggles, Elizabeth has been able to make a living through her art.  She has accomplished another milestone by opening Bella Muse Gallery in Odgen, Utah, with her good friend and artist, Shanna Kunz.  Elizabeth also has produced many instructional videos through Bella Muse Productions, which features her own tutorials and those of other well-known artists.

Elizabeth teaches workshops both in her hometown and around the country.  As an instructor, she is giving and encouraging, and many artists have benefited from her expansive knowledge.  And to our readers, her words of encouragement are “Paint what you love.  Don’t listen to negativity.  (There’s plenty out there.)  Be generous, be kind.  Paint from your heart.”

Galleries that represent work by Elizabeth Robbins are: Highland Art Gallery, Lambertville, NJ; Legacy Gallery, Scottsdale, AZ; Montgomery Lee Fine Art, Park City, Utah; Wilcox Gallery, Jackson, Wyoming; Wildhorse Gallery, Steamboat Springs, CO; Illume Gallery of Fine Art, St. George, Utah; Bella Muse Gallery, Ogden, Utah; Beartooth Gallery of fine Art, Red Lodge, MT; and Dick Idol Gallery, Whitefish, MT.

To view more work by Elizabeth Robbins, visit her website at  To view instructional video releases, visit

To view more work in NOAPS Exhibitions, visit

Written by Patricia Tribastone, NOAPS Blog Director




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