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 www.ober-rae.com.

To see more of the 2017 Best of America Exhibition, visit www.noaps.org/events

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 www.AnnHardy.com.

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 www.dawnwhitelaw.com

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 www.elizabethrobbinsart.com.  To view instructional video releases, visit www.bellamuseproductions.com.

To view more work in NOAPS Exhibitions, visit www.noaps.org/events.

Written by Patricia Tribastone, NOAPS Blog Director




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J. Russell Wells: Inspiration and the Narrative

NOAPS jeff wells Allure 24x36

“Allure”, 24×36, Oil on canvas, Castle Gallery, Fort Wayne, IN.  Winner of Best Figure Painting at the NOAPS 2017 Best of America Exhibit.

The relaxed pose of the model in J. Russell Wells’ painting “Allure” belies the careful planning that has taken place in the composing of the work.  When looking closely, one first notices the repeated shapes of the figure and the sofa.  The model’s arms are placed to draw attention to her face, and from there the viewer rhythmically travels through the composition.  The values are lightest near the face, while the rest of the painting has been subdued.  The colors are almost monochromatic with the exception of the figure: a strategy often employed by Sargent in his paintings.  Then there is the model’s expression; thoughtful, almost indifferent, caught in a reflective moment.

The inspiration for Wells’ work came from a series of poses, during which the artist played with different lighting while taking photos.  The photos revealed the shots that best expressed the initial concept, and from there the painting was created.  As J. Russell states: ” She (the model) understood that every part of her posture, from her fingers to her toes, was important.  Having a great model is always inspiring.”

NOAPS jeff wells at her vanity 40x24  “At Her Vanity” 40×24, Oil on canvas, R. S. Hanna Gallery, Fredericksburg, TX.

Wells has always been interested in art; from Rockwell illustrations to automotive caricatures, and as a young boy he would often copy these images.  He later majored in studio art with an emphasis on printmaking, painting, drawing and sculpture.  After university he developed his skills in oil painting, and worked on commissions for Interior Designers in Chicago in portraiture, landscapes, large-scale abstracts and sculpture.  Music has also been an important part of his life; he played trumpet in a 14 piece jazz band for 25 years.

NOAPS jeff wells free bird 30x40  “Free Bird”, 30×40, Oil on canvas, Collection of the artist

J. Russell’s introspective nature often leads him to create narrative works.  He starts his painting session with quiet reflection, often reading scripture, praying or writing down his thoughts.  His studio is a sanctuary, and his paints and brushes the precious instruments of his inner self.  With the music in the background, he will set up his tools while the model relaxes into her pose, and then the work begins.  He is careful to remember his initial concept, and whether working from life or a photo, he keeps that concept in the forefront.  Other notions may surface, but they play a secondary role to support the initial narrative.

NOAPS jeff wells a new day 40x30  “A New Day”, 30×40, Oil on canvas, Collection of the artist

His working process begins with a pencil or charcoal drawing, similar to a notan, to help discern the values and composition.  He usually paints with the direct technique, and at times will use an indirect technique to alter the temperature of an area and add interest.  His palette consists of Titanium white, Brilliant yellow pale, cold black, Canton Rose, yellow ochre, raw sienna, thalo green, Kings blue deep, violet grey, flesh ochre, (a type of Terra Rosa), Madder lake deep, transparent oxide red, and sepia from a variety of paint manufacturers.  He uses an oil primed canvas by Raphael or the Gamblin Ground on canvas and board.  His tools range from fine brushes, ink brayers, silk screen squeegees, to fingers and rags.

J. Russell likes to experiment as well.  He looks to new ways of seeing, mark making, and design.  He studies the masters, the current artists and contemporary works, as well as music and poetry.  He takes one or two workshops every year from an artist whose work he admires, one that differs from his own techniques: “there are many creative expressions, that if one is open to learning from them one might find cross-over into their own work.”

NOAPS jeff wells white roses 16x20  “White Roses”, 16×20, Oil on canvas, Private collection

Wells is inspired by artists of the past with a wide range of styles; from Van Gogh to Sargent to Pollack.  He is also inspired by contemporary artists such as Vincent Desiderio, Casey Baugh, Jeremy Mann, Alyssa Monks, Gerhardt Richter and Antonio Lopez Garcia.  His most important mentor is his wife, Janice, who “believes in me and encourages me.  She is also my greatest critic.”

Wells cautions artists not to take themselves too seriously; “Paint somewhat detached so you can make decisions void of attachment.”  If an area of a painting becomes precious, you may well have to wipe it out if it competes with the overall message of the painting.

To view more work by J. Russell Wells, visit his website at www.jrussellwells.com

To view more work from the NOAPS 2017 Best of America Exhibit visit www.noaps.org/events

Written by Patricia Tribastone, NOAPS Blog Director



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Get Recognized

NOAPS marc hanson Delta Soup

“Delta Soup”, 22×30, by Marc Hanson, winner of 3rd place from the 2017 NOAPS Fall \On-line International.

The 2017 NOAPS Fall On-line Exhibition is a remarkable collection of outstanding work from artists all over the world.  A variety of styles, genres and themes showcase the skill, imagination and creativity of contemporary art today.

Marc Hanson’s painting, “Delta Soup” is a very moody, atmospheric scene that gives one the sense of a damp, chilly day where the even light casts no shadows.

NOAPS Fei Gao Kazakh girl in a dress

“Kazakh girl in a dress”, 70x100cm, by Fei Gao, winner of a Merit Award from the 2017 NOAPS Fall On-line International.

In contrast, the painting by Fei Gao, above, is a stunning example of fine detail and draftsmanship, painting in a highly realistic style.  The painting not only attracts for the exquisite rendering of the dress, but also for the expression on the young woman’s face.

noaps adam Clague glowing grapefruit

“Glowing Grapefruit”, 6×6, by Adam Clague, winner of an Award of Excellence from the 2017 NOAPS Fall On-line International.

Another contrast of painting style is shown in the painting by Adam Clague.  This small painting done in an alla prima style deftly combines warm and cool colors along with vigorous brushwork to engage the viewer.

These are just a few of the fine examples of paintings represented in the On-line Exhibit.  More paintings can be viewed at www.noaps.org/2017-fall-online.

One of the tag lines for the National Oil and Acrylic Painters’ Society is ‘Get Recognized’.  With so very many great artists as are alive today, we sometimes feel as though we are swimming in a pool so large we will never be noticed as artists.  The likelihood of our paintings selling for $450 million is more than a bit remote, and just selling at all is sometimes a surprise.  So how does an artist get recognized today, and is it all that important anyway?

Recognition, of course, comes in varying degrees from various sources.  From a friend or family member saying “I like your painting” to winning a national award, a bit of recognition is validation for the artist.  It is that validation that just may inspire us to get started on our next idea for a painting.

The National Oil & Acrylic Painters’ Society is a great place to get recognized.  With 4 exhibitions a year, two online and two gallery exhibits, there are ample opportunities to see your work hanging alongside other great artists.  All the shows are exhibited on the website, and on Facebook and Instagram.

Check out the NOAPS homepage www.noaps.org for information on the upcoming shows for 2018, and make a resolution to ‘Get Recognized’ with NOAPS!

Written by Patricia Tribastone, NOAPS Blog Director



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Catherine Marchand: Painting Beauty and Emotion

NOAPS Marchand In the Morning 16x12 Oil on Linen  “In the Morning”, 16×12, Oil on Linen, from the 2017 NOAPS Holiday Small Works Show at the Cathy Kline Gallery, Parkville, MO.

Delicate, soft brush strokes help to define the emotion seen in Catherine Marchand’s painting, “In the Morning”.  A sense of peace and quiet pleasure are found in the young girl’s expression, and if she were to look up at the viewer, she would undoubtedly smile.  This quiet beauty and happiness is a theme in Catherine’s paintings; her paintings tend to make one linger to enjoy the moment that she has captured in her work.

NOAPS Marchand Sharing Secrets 30x40 Oil on Canvas  “Sharing Secrets”, 30×40, Oil on Canvas, Private Collection

Catherine’s beginnings in art were from a young age, as with most artists. She started out with glass as her medium, and at age 16 she was already sculpting with it.  By her 20’s she was traveling across Ontario, Canada, demonstrating her glass blowing and sculpting, while selling her work.

Later, family life took center stage as Catherine home-schooled her children.  But a return to art came when she attended the Artra Academy of Realist Art (wwwartraart.com) where she studied drawing and acrylic painting in the classical tradition with Frank Haddock, the founder of the school.  Since then, Catherine has switched to oils, and studied with various artists throughout Canada and the US.

NOAPS Marchand Morning Fragarance 24x28 oil on linen  “Morning Fragrance”, 24×28, Oil on Linen, Picture This Gallery, Alberta, Canada.

Catherine’s focus is mainly painting women and children.  She begins with an idea, such as a mood or feeling, something beautiful that “I am excited to paint”, and then develops the idea into a setting, paying attention to every detail.  She may have the model sit to capture the essence of the light and skin tones; then for the painting she works from one of her many photos taken during the modelling session.  In the studio, after her prayer, she begins with a toned canvas and a loose sketch done in paint. She wipes out the lights first and establishes the darks in sepia tones, and then works back and forth with the lights and darks to model the form.  Her choice of support is Odessa Linen, and her palette consists of Titanium white, Lemon yellow, Cadmium yellow medium, Indian yellow, Ochre, Sienna, Cadmium orange, Winsor red, Permanent alizarin crimson, Ultramarine blue, Turquoise, Sap green, Oxide brown and sometimes black.  She uses a variety of mongoose and bristle brushes.

NOAPS Marchand Before 18x14 Oil on LInen  “Before”, 18×14, Oil on Linen.  Private Collection.

Aside from being a mother and a valued member of the NOAPS Board of Directors, Catherine recently completed a successful commission of Colonial era village, which included a setting completely done from her imagination.  In doing such a painting, she had moved out of her comfort zone; a good idea for all artists!

Though Catherine has enjoyed much success, she feels she is learning still.  In her words: “I think the best thing to do is practice from life as much as you can…it’s putting the miles on the brush that will take us farther down the road to our goals in painting.  What a joy and a privilege to be able to play in this field; it is a precious gift.”

Catherine Marchand is represented by Greenwich House Gallery, Cincinnati, Ohio; Picture This Gallery, Alberta, Canada; and The Main Gallery, Alberta, Canada.  To see more of her work, visit her website at http://www.catherinemarchandart.com.

To view more of the NOAPS Holiday Small Works Show, visit http://www.noaps.org/events or follow on Facebook or Instagram (Natoilandacrylicsociety.

Written by Patricia Tribastone, NOAPS Blog Director


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