Hahnemuehle Acrylic Paper: A Review by Annie Strack

NOAPS Hahnemuhl 7. Beach, acrylic on paper by Annie Strack

“Seascape”, Acrylic Painting on Hahnemuhle Paper by Annie Strack.

Hahnemuehle offers a variety of papers for every use, including several that are specifically made for acrylic painters.  I love trying new papers. and I was thrilled to try out some of the papers that are made for acrylic panting.  I teach and paint with watercolors, acrylics, oils and pastels and tried the acrylic papers with all of these mediums to see how they perform and compare.  I often switch back and forth between mediums, and I appreciate papers that can hold up to the various paints, solvents, and techniques that I employ.  The papers that I tested are:

* Acrylic Linen Texture 155 lb.  This paper has a slick surface, and performs the most like a traditional gessoed support.  The texture provides a slight amount of tooth that really feels and looks like linen.  It is the brightest white, and is also the least absorbent of all the papers, having an almost plastic feel.  Pastels and charcoal do not adhere to its surface, and watercolors puddle just as they would on other brands of synthetic paper.  For oils and acrylics, this paper can’t be beat.  The surface makes it easy to move the paint around and mix colors right on the paper.  The block form resembles the feel of painting on a linen panel.

NOAPS Hahnemuhle 1. Linen Texture

*Acrylic Cold Pressed Texture Bright White 210 lb.  This paper has a perfect texture, color, weight, and sizing, making it the ideal paper for every medium.  The heavier weight gives the finished painting more heft, and it holds up under heavy impasto techniques, vigorous brushwork or scraping.

NOAPS Hahnemuhle 2. Cold Pressed 210 lb

*Acrylic Cold Pressed Texture 170 lb. Natural White.  This paper looks and feels the same as the 210 lb. Bright White, with the only noticeable difference being the lighter weight, and subsequently, lower cost.  Despite its weight, it still has plenty of strength to perform perfectly well with all the mediums.

NOAPS Hahnemuhle 3. Cold Pressed 170 lb

*College Cold Pressed 160 lb.  This paper has a more natural white appearance, and is the only paper that is not labeled “Age Resistant” (archival).  As a student grade paper, it performs beautifully with all the mediums.  The paper is especially attractive for painting demonstrations and studies that are not intended to become permanent works of art, and is the most cost effective option.

NOAPS Hahnemuhl 4. College 160 lb

The whitest of the papers is the Linen texture, with the others being quite a pleasing white.  I did not notice a discernible difference in color between the papers labeled Bright White and Natural White, although the College paper was the closest to Natural White of all.  The papers are all acid free, and except for the College paper, are labeled “Age Resistant”, meaning archival.

The papers all come in “blocks,” meaning the pad of paper is gummed on all four sides to hold the sheets in place during the painting process.  When a painting is finished, the artist cuts it from the block by slipping a knife under the top sheet and sliding it around the edges to release it.

Blocks are particularly handy for plein air painters.  The rigid pad provides the support during the painting process, eliminating the need for a board, and also prevents buckling or warping.  All the papers proved to provide a firm surface for painting with the tested mediums.  No stretching is needed for the blocks, nor is there a need to gesso the paper.

The papers are pre-sized and ready to use, and can be used with oils as well as acrylics.  The blocks are especially useful for professional artists, art teachers and students for an economical choice for studies and field sketches.

Although paintings on paper are usually framed under glass, it is not absolutely necessary.  Paintings on paper can be mounted on board or other backing and can be displayed without glass.  Varnish can be applied over the surface of the painting to provide protection.

NOAPS Hahnemuhl 5. Abstract painting by Annie Strack, acrylic on paper   Abstract Acrylic Painting on Hahnemuhle Paper by Annie Strack

For more information about Hahnemuehle, visit them on the web at http://www.Hahnemuehle.com and follow them on Twitter.com/Hahnemuehle USA and on Facebook.com/Hahnemuehle USA.

Annie Strack is a Signature Member of several artist societies and an Official Authorized Artist for the US Coast Guard.  She has received hundreds of awards and her work hangs in over 1,000 collections worldwide including USCG, Navy, Pentagon, Senate, VA, and many more.  She teaches painting at Artist’ Network University and for other organizations in workshops and classes around the works, and she is a contributing editor for Professional Artist Magazine.  To see more of Annie’s work visit http://www.anniestrackart.com or follow her on Facebook, Instagram, Twitter, LInked In, Pinterest, YouTube, Blogger, and g+.

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Albert Handell: The Glow of Light

NOAPS HandellRock Ledge by Albert Handell Oil 16x20 $8500

“Rock Ledge”, 16×20, Oil, Private Collection.  Winner of Best Landscape Award in the 2017 NOAPS Spring Online International.

What makes a Master Artist?  If one is to look at Albert Handell’s work, and study it well, we would begin to understand the vast repertoire of knowledge and skill that is required.  When we look at “Rock Ledge”, we can see the perfect combination of skill, emotion, and thoughtful intention.  As the composition leads us in from the upper left we are led around the painting with lines and edges.  The lines vary in thickness and intensity, and bring us in a spiral that takes us to the focal area.  We immediately see the effect of light and shadow, and as we look into the shadow colors we see the interplay of warm and cool, bright and neutral. Handell has pushed the color notes all through the painting to enhance his composition, bringing the surface of the rocks forward and back informing the viewer of depth.  He has used texture to enhance the rough surface of the rocks, and varied the shapes to create a sense of movement.  The closer we look at this work, the more we see that what it takes to be a Master is to know all methods for creating great art, and employ them in a cohesive, interesting and impressive manner.  Easier said than done.

NOAPS Handell pastel painted en plein air for Rock Ledge oil 14xx18   Pastel painted en plein air for “Rock Ledge”, 14×18

For the painting “Rock Ledge”, Mr. Handell was out painting en plein air.  Albert states: “I was on location with my pastels, and my camera, it was a sunny/cloudy day, when the cloud blocked the sun the subject matter was ordinary, when the clouds lifted and the sun shined on the subject, the whites of the calcium was breathtaking.”

Albert Handell has been painting for over 40 years, and is a distinguished artist who has garnered many awards and accolades, and is widely collected.  He is also a celebrated teacher, giving workshops across the country.  Today, Mr. Handell works en plein air in pastel, using his pastels directly, with a watercolor underpainting, or by applying the pastel and washing with alcohol to create an underpainting.  He works with oils in the studio, and finds that separating the mediums helps to keep him fresh.

NOAPS Handell EVENING BREEZE by Albert Handell pastel 18x16   “Evening Breeze” 18×16, Pastel, Private Collection

Albert enjoys painting en plein air, and uses the plein air pastel paintings and carefully selected photos to create his oil paintings in the studio.  He limits photos taken en plein air, and does so only to capture fleeting light, or additional scenes he would like to paint in the studio.

His process for oil painting consists of an underpainting using Gamsol, and once this is established he works from his center of interest outward. As he works toward finishing, he uses contrasting thickness and varied application techniques to enhance the final piece.  His studio paintings range in size from 16×20 up to 48×60 inches.

NOAPS Handell ONE JUNE MORNING by Albert Handell pastel 14x18   “One June Morning” 14×18, Pastel.  Private Collection. 

“‘One June Morning’ was painted on location in Santa Fe.  The subject was back-lit with strong contrasts of darks and lights.  With this type of lighting one must always squint, simplify things and not see too many details in the shadows. Let the edges drift and be soft or even ‘lost’ and they will contrast to the sharp edges of the sunlit areas.  Lost and found edges are very important in a painting in order to give a sense of space and a sense of looseness to the painting.  If the background has competing sharp edges with the foreground edges there will be an overall tightness to the painting, and  this can be corrected very easily by simply softening certain edges.”

NOAPS HandellA MOUNTIAIN STREAM by Albert Handell oil 40x30 $26,500   “Mountain Stream”, 40×30, Oil, Private Collection

Albert has much to share with his students.  He encourages painters to paint every day if possible.  “If you are stuck and you might be, own up to it.  You might need a workshop, to get you out of your environment.  Choose an artist who’s work you like.  Try a few workshops, when you find the workshop instructor who was best for you, stop experimenting and stay with that artist as long as you have to.”

Mr. Handell is represented by Ventana Art  Gallery, Santa Fe, NM.  To view more of Albert’s work and learn about his workshops, visit http://www.alberthandell.com.

To view the National Oil & Acrylic Painters Society 2017 Spring Online International, visit http://www.noaps.org, or see the work on Facebook and Instagram (Natoilandacrylicsociety).






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Debra Keirce: Engineer to Artist

NOAPS Keirce Sips2219449w360   “Sips”, Oil, 16×20 Winner of Best Still Life from the 2017 NOAPS Spring Online International.  Available through the artist.

The exquisite detail in Debra Keirce’s painting “Sips” is certainly remarkable; but this skillful artist has used much more than detail to draw us in.  The composition is carefully positioned to attract us at once to the pot on the lace cloth, then the series of handle shapes takes us rhythmically through the scene.  Small areas of red are placed strategically to lead our eyes, gratifying us with more and more delightful discoveries.  The beverage containers are from various parts of the world, and the theme behind the painting, as Keirce states: “no matter where you are on this planet, there is an opportunity to bond with a fellow human over a cup of tea, some coffee, or whatever…”

NOAPS Keirce DarkHorse   “Dark Horse”, Oil, 16×20, available through the artist.

At a time when classical realism was on the back burner at many art schools, Debra Keirce decided to pursue a degree in biochemical engineering, realizing then that realist art was her natural inclination.  After a successful career as an engineer, in 2010 Keirce transitioned to a full-time professional artist.  She was never far from her art, however, and took many workshops and classes while building a commission business by drawing and painting portraits while still working as an engineer.

NOAPS Keirce Pink Ladies   “Pink Ladies”, Oil, 18×24, available through Huckleberry Fine Art Gallery

Many artists have helped Debra along the way, giving advice and inspiration.  She recalls a few quotes that are frequently brought to mind: “The art journey is a marathon,  It’s not a sprint,” a quote by Robert C. Jackson; and “Keep it simple.  Life gets complicated on its own,” told to Debra by David Cheifetz.  She finds that the most inspiring contemporary artists are those that she has met personally, artists such as Tina Garrett, David Gray, Sarah Siltala and Felicia Forte.  Among her favorite Master Artists are Vermeer for his value schemes and Sorolla for his “luscious play of warms and cools in his outdoor scenes.”  She also finds inspiration from a group of artists composed of five women with whom she has participated in several shows; the group is called WAM-Women, Artists, Mentors.  These women are from various parts of the globe, and stay in contact regularly.

NOAPS Keirce BonVoyage   “Bon Voyage”, Oil, 11×9, available through Seaside Art Gallery

Debra has found her niche in classical realism, and paints in oil and acrylic.  She finds everyday scenes inspiring in addition to the still lifes she sets up in the studio.  She paints on a rigid support such as gessoboard or brushed aluminum panels primed with acrylic gesso.  Her colors include Ivory black, titanium white, raw or burnt umber, burnt sienna, yellow ochre, cadmium orange medium, cadmium yellow medium, cadmium red medium, ultramarine blue, viridian, and permanent alizarin.  Her favorite brushes are Rosemary Shiraz short filberts and Escoda 1492 rounds and liners.  She may have more than four projects going on at once, and her day starts by reviewing what she has been working on and making corrections.  Debra works both from life and photos, making certain to take color notes from life if working from a photo is necessary.  She starts with a grisaille for her underpainting, after which she begins to block in the colors in an indirect style.

NOAPS Keirce TheArtisan   “The Artisan”, Oil, 6×4,available through the artist

Debra’s three adult children are her greatest endeavor, however in art, her greatest accomplishment is that which is to come next.  Her tenacity has been her biggest asset, and she encourages artists to keep trying, don’t give up, art is a marathon, not a sprint.

Debra participates in many national shows, and has won numerous awards.  She is an Art Renewal Center Living Artist and is a member of the Copley Society of Art in Boston, MA.  She is represented by Huckleberry Fine Art Gallery in Rockville, MD, Seaside Art Gallery in Nags Head, NC, and Ellis-Nicholson Gallery in Charleston, SC.  To view more of her work, visit her website at http://www.DebKArt.com.

To view more of the National Oil and Acrylic Painters Society 2017 Spring Online International visit http://www.noaps.org, and view on Instagram at Natoilandacrylicsociety.





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Larry Preston: Beauty in the Everyday

NOAPS Preston 2155717w360   “Three Onions”, 8×10, Oil on Ampersand Gessoboard, Winner of the Best Still Life Award in the 2016 NOAPS Fall Online International.  Available through William Baczek Fine Arts, Northampton, MA.

It is perhaps the reverence with which the still life objects are painted by Larry Preston that make his work outstanding.  The everyday objects are elevated to importance; they are rendered with careful skill, detailing the their glorious existence.  The objects are bathed in light to show their intricate shapes and colors, all set on a neutral background in order that they make a statement.

NOAPS Prestonwild-pink-roses

“Wild Pink Roses”, 22×22, Oil on Panel, Private Collection.

Larry Preston has gained this amazing command of his chosen profession by teaching himself.  At a young age he was interested in art, and though he also became a musician, his art was never far from mind.  In his thirties he began what was to become a successful professional career as an artist.

Although being self-taught, he has had mentors along the way who have encouraged him; namely Don McCabe and Scott Prior.  As a teen, he often visited the Worcester Art Museum, studying the work of the Flemish still life painters.  Old Master painters such as Vermeer, Rembrandt and Sargent fueled his passion, as well as the more contemporary work of Norman Rockwell and Daniel Sprick.

NOAPS Preston two-sunflowers   “Two Sunflowers” 20×10, Oil on Panel, available through the William Baczek Fine Arts.

Aside from still life, Preston also enjoys painting landscapes and figurative work.  His chosen medium is oil, and works mainly on gessoed panels.  His palette is composed of lamp black, raw umber, Van Dyke brown, burnt sienna, raw sienna, yellow ochre, Indian yellow, cadmium lemon yellow, cadmium yellow, cadmium orange, cadmium red, alizarin crimson, purple lake, ultramarine blue, sap green and titanium white.

NOAPS Preston fruit-bowl-5   “Fruit Bowl #5”, 17×30, Oil on Panel, available through William Baczek Fine Arts.

Starting with a charcoal drawing, Preston then creates an underpainting using burnt umber and thinner.  The painting then progresses with many layers of glazes; as few as three layers and as many as ten layers.  The process of painting “Fruit Bowl #5” can be seen on YouTube by visiting Preston’s website, http://prestonfineart.net.

NOAPS Prestonlemons-with-canton   “Lemons with Canton”, 13×24, Oil on Panel, available through William Baczek Fine Arts.

Preston’s art has been recognized with many national awards, and is widely collected.  He considers that making a living through working as an artist his greatest accomplishment.  He has remained true to what he loves to paint, regardless of trends or other demands. His advice to us is to “Paint what you love and don’t give up.  I follow a rule of patience, passion and perseverance.”  His patience, his appreciation for beauty, and his ability to translate that beauty into paint is a gift to everyone who views his work.

Preston’s work can be seen at the following galleries:  William Baczek Fine Arts, Northampton, MA; Principle Galleries, Alexandria, VA and Charleston, SC; Susan Powell Fine Art, Madison, CT; The lily Pad Gallery, Watch Hill, RI; Dean Day Gallery, Houston, TX.

To view more of Larry Preston’s work visit http://prestonfineart.net.

To view more of the 2016 NOAPS Fall Online International Exhibit, visit http://www.noaps.org.  Become a member today, and enter our Best of America Exhibit at the beautiful Castle Gallery, Fort Wayne, IN.



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The Final Choices

NOAPS Paula Holtzclaw Spring Camellias 20x24  “Spring Camellias” 20×24 by Paula Holtzclaw from the 2017 NOAPS Spring Online International

The deadline for entries into the 2017 NOAPS Best of America Exhibition is quickly approaching, and many of us are making our final decisions on which paintings to enter, or we may be putting the final touches on our pieces.  The choices can be difficult; we may have our favorite paintings for reasons that are very personal.  The paintings we choose could be the ones we worked on the longest, techniques or subject matter that we have recently mastered, or images that we have painted many times in different ways.  These reasons have their validity, but the question is: do others relate to these paintings as well?

NOAPS Kay Witherspoon Leaving Winter Behind 14x22  “Leaving Winter Behind” 14×22 by Kay Witherspoon from the 2017 NOAPS Spring Online International

NOAPS Linda Lucas Hardy The Beginning Not the End 30x48  “The Beginning and Not the End” 30×48 by Linda Lucas Hardy from the 2017 NOAPS Spring Online International

The best tool to help us choose our finest paintings, is of course, the self-critique.  We can never predict a judge’s choices, however we can help ourselves by considering some very important points when making our decisions.  Although self-critiques can be readily found on the Internet, for your convenience I will give you a condensed version from plein air artist and teacher Sara Linda Poly:

  1. Do I have a story in my painting, and is it clear?  Is it understandable and not too complicated?
  2. Is my composition strong, with a foundation of values that hold together?
  3. Do I have a clear focal point, and is it positioned well?
  4. Do I have an eye path that leads the viewer around the painting, and doesn’t lead the viewer’s eye out of the picture plane?
  5. Is the direction of light clear, and does it make sense?
  6. Is there some repetition, but not overdone?
  7. Do I have a color scheme, and have I used the colors and neutrals effectively?
  8. Have I used strokework or texture in my painting to add interest, but not overused it?
  9. Do I have drawing errors that are obvious?
  10. Have I controlled my edges, leaving some soft and some hard?
  11. Have I left something to the viewer’s imagination, something the viewer has to finish?
  12. Is there movement in my painting, a rythymn that is dynamic?
  13. Does the painting work from a distance, and pull the viewer in?
  14. Have a used my chosen medium well, and does the finish look professional?
  15. Have I chosen a frame that enhances the painting, and does not overwhelm or detract from it?

Take time to sit with your paintings and evaluate them with an objective eye, asking yourself these questions.  This is time well spent, and will help reveal to you your very best work.

NOAPS Carol Lee Thompson Ready 12x12  “Ready” 12×12 by Carol Lee Thompson from the 2017 NOAPS Spring Online International

NOAPS looks forward to seeing all the outstanding paintings, and thank you in advance for your entries!  To learn more about the entry process, visit http://www.noaps.org/2017-best-of-america, or visit http://www.juriedartservices.com

The 2017 NOAPS Best of America Exhibit will be held at the Castle Gallery, Fort Wayne, IN from October 16-November 11, 2017.

By Patricia Tribastone, NOAPS Blog Director

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Hans Guerin: Narratives, Real and Imagined

NOAPS Hans Guerin1f11c2_9af7e9a8b7c64a06ab2f0acd4ecdaef8~mv2   “Burning Both Ends” Oil, 18×14, Winner of Narrative Excellence from the NOAPS 2016 Fall Online International

The narrative of the painting by Hans Guerin is immediately seen; our culture is very familiar with the metaphor, “Burning the Candle at Both Ends”.  In this well-constructed painting, we clearly see the effect of stress on the figure’s face: the downcast eyes and mouth, the sheen of perspiration on the face, the dark background suggesting night, and even the clothing all tell us the story.  Add to that the exquisite painting skills, and the result is a compelling painting.

NOAPS HPG Mother Earth  “Mother Earth” Oil on Linen, 48×36

Hans Guerin grew up in a family of artists going back six generations, including sculptors, carvers, medical illustrators, and portraitists.  Earning first a political science degree, Hans went on to study at the Schuler School of Fine Arts, where he is now an instructor and assistant Director.  As one can plainly see, art is his true calling.

NOAPS Han Guerin OutoftheEther  “Out of the Ether” Oil on Linen, 26×30

Hans tends to work in multiple genres, all in a very realistic style.  His work often reflects a narrative, where he imparts his personal thoughts and wisdoms through the use of imagery.  He exaggerates the colors, values and forms to create an effect that attracts the viewer’s attention from across a room.

NOAPS Hans Guerin TheNocturne by Hans Guerin  “The Nocturne”, Oil on Panel, 24×16, Private Collection

Although the artist has developed his own authentic style, he considers Peter Paul Rubens to be the greatest of the Old Masters; “He represents unchained mastery.  Any composition however daunting or fantastic can be actualized, as seen in Rubens body of work.” Of contemporary artists, he credits Ann Schuler for her artistic wisdom, and his wife, also a graduate of the Schuler School, for her expert advice.

Mediums and genres vary for Hans; he has worked in scratchboard, acrylic, sculpture, watercolor and pastel, occasionally creating multimedia pieces.  He is known for his still life paintings, but also paints landscapes, wildlife, portraits and figures.

NOAPS Hans Guerin ShellCollection  “The Shell Collection” Oil on Mounted Linen, 24×18, Private Collection.

Introspection generates ideas for Hans, and he actualizes these ideas by working mostly from life.  He often starts with thumbnail sketches on graph paper, which help when the drawing is transferred to the canvas.  He then blocks in the shapes directly in color.  When painting a living object such as fruit, flowers, or a model, he will create a sketch from life that he can later use for the final painting.  He also paints plein air on occasion, which he later uses to create larger and more formal compositions.

Using paints he has made from scratch using black oil, his palette consists of Cremnitz white, Cadmium Lemon, Cadmium Yellow Medium, Cadmium Red Light, Alizarin Crimson, Yellow Ochre, Burnt Sienna, Raw Umber, Sap Green, Cerulean Blue, Ultramarine Blue and Ivory Black, and occasionally Permanent Rose and Dioxazine Violet.  He also creates his own panels and canvases, or uses aluminum or copper as his support.

Hans has won many national awards and recognitions, quite too many to mention, but can be viewed on his website http://www.hansguerin.com.  In his modesty he will site his marriage and child as his greatest accomplishment.

As an instructor, Hans would tell us to “Stay out of the comfort zone.  You will grow as an artist struggling in the composition just beyond your ability, not by playing it safe.”

Hans Guerin is represented by Marine Arts Gallery, Marblehead, MA; Dog and Horse Fine Art and Portraiture, Charleston, SC; and his work can also be seen at the Schuler School of Fine Art in Baltimore, MD.

To view a YouTube of Hans’ process, go to http://www.youtube.com and search Hans Guerin.

To view more of the NOAPS Fall Online International, visit http://www.noaps.org.



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Louise Thies: Success in Diversity

NOAPS theis manofconcretefinished  “Man of Concrete” 34×12, Winner of an Excellence Award sponsored by artframes.com at the 2016 Best of America Exhibit

There is no question that the theme of this painting is strength.  From the stance of the subject, the expression on his face, his musculature, even the dimensions of the painting itself impose upon the viewer a sense that this brawny individual is a force.  The artist has captured a sense of light; couple that with complementary colors and skillful painting, and you have an outstanding painting.

Louise Thies has had a circuitous path to art; she was engaged in art at an early age, particularly as a young person in school.  Although she pursued a degree in computer programming in college, art was never far from mind.  A successful job gave way to a move to rural Missouri where a scarcity of jobs resulted in her opening a taxidermy shop.  She worked hard at this profession, becoming a Master Taxidermist.  The taxidermy was a form of art: “(it) involved a lot of ‘seeing’. Art is all about seeing.  Taxidermy can be art in 3-D.”

Learning art is, of course, a life long pursuit.  Before going back to college to earn a degree in Art Education, Louise had been learning and creating art.  She has worked in a variety of mediums including oils, acrylic, watercolor, and sculpture, but she admits that oils are her first love.  In addition to painting, Louise is an accomplished etcher in granite.  Examples of her work on monuments are found throughout the state of Missouri (these can also be seen on her website).

Inspiration comes easily to Louise; just a glint of light or a story to tell is motivation to start painting.  She works in many genres as well; portraits, still life, wildlife, western art and plein air are all part of her repertoire.  She usually makes her own panels, but will also paint on stretched canvas and linen.  Her process usually involves laying in the whole painting first, making sure her proportions fit well into the space.

NOAPS theis manofconcrete ref photo   “Man of Concrete reference photoNOAPS theis manofconcreteinprogress   “Man of Concrete” in process

Louise Thies is a prolific and award-winning artist, but she states that her greatest accomplishment is being able to make a living at what she loves to do.  Her passion for painting comes through in her work; and the myriad of her subject matter helps to keep her skills sharp and her paintings fresh.

Her words to our readers: “Paint what you’re passionate about and never stop learning or trying something new.”

Louise’s work can be viewed at http://www.thiesart.com

Galleries representing her work include the Hawthorn Galleries, Springfield, MO; MacCreeds Art Gallery, Lebanon, MO; The Vine, Osage Beach, MO; and Bill’s Art Center, Camdenton, MO.

To view more of the 2016 Best of America Exhibit, visit http://www.noaps.org.

Follow us on Instagram at Natoilandacrylicsociety and on Facebook.

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