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

“Abundance”, 30×36, Oil, Winner of the Third Place Award in the 2019 NOAPS Spring Online International Exhibition, Private Collection.

Nature gives us unlimited sources of inspiration, and often with such a profusion of subject matter, that it can be a difficult task to make sense of it all, much less paint it.  Here the artist has taken the copious leaves and fruit, and made an energetic and fresh rendering, giving the viewer a sense of movement and light.  The fruit is ripe, waving in the sunlit breeze, with the leaves whispering to us that the season is about to conclude.  All the elements work together; the composition, color, values and brushwork to make sense of the chaotic beauty of nature.

  “Into the Blue”, 36×36, Oil, Private Collection

Growing up among artists, Derek Penix only discovered his own talent and passion for painting shortly after high school. Once he began, his skill was quickly recognized; his paintings began to sell, and he was committed to his art.

  “Manhattan II”, 36×40, Oil, Private Collection

Penix is largely a self-taught artist, though he has taken workshops with Quang Ho and C.W. Mundy, the latter being his most recent and helpful mentor and friend.  His work is impressionistic, being inspired by artists such as Sargent, Richard Diebenkorn and Dekooning.

  “Koi”, Oil, Private Collection

Derek paints strictly in oil, and tends to work in series.  “Abundance”, pictured above, is one of 12 paintings in a series featuring peach trees.  He is not committed to one genre, though, and finds his inspiration in many places, including his travel while teaching workshops.

His palette consists of a range of brands including titanium white, cadmium yellow light, cadmium yellow medium, cadmium yellow deep, cadmium orange, cadmium red light, permanent rose, cerulean blue, cobalt blue, ultramarine blue, viridian green, yellow ochre and Vandyke brown.  Working from photos, Penix prefers studio work.

Penix is currently working on a large commission of 10 paintings, and has come to realize that inspiration, that fickle mistress, is not something to wait for, but to seek.  And that one of the best things for an artist is to have something waiting in the wings…for Derek it is his next series: abstract paintings, where he will explore the play of color.

  “Renewal”, 36×33, Oil, Private Collection.

Derek Penix teaches workshops around the country; to visit his website and learn more about the workshops, go to www.derekpenix.com.  His work is represented by Claggett Rey Gallery, Vail, CO; Gallery 1261, Denver, CO; and Elizabeth Pollie Fine Art, Harbor Springs, MI.

Written by Patricia Tribastone, NOAPS Blog Director

  “A Pink Dance”, 10×8, Oil, Winner of Best Use of Light and Color from the 2019 NOAPS Spring Online International Exhibition.

The fresh color draws our attention, and as we delve into the painting, we see more than at first glance.  The active brushwork adds energy to the dancers; the gestures create the narrative, and the undeveloped areas trigger our imagination.  The warm color palette is offset by neutrals that bring the dancers forward, but keep us looking into the background for more.

  “Hot and Steamy Summer Cooking”, 12×16, Oil, Private Collection

Frankie Johnson is an artist on a path of discovery.  Painting on her own until her 20’s, she began taking classes that widened her scope of creativity, bringing to her intuitive painting a confident, practiced hand.  After taking workshops and working with her mentor, Bonnie Anderson, Johnson began teaching and cultivating that same creativity in others.

  “The Waiter”, 10×8, Oil, Private Collection

Working in an impressionistic style, Johnson finds inspiration just about everywhere.  She enjoys scenery, figures and still life, and is “constantly squinting and looking at scenes to see how much impact they might have in a painting”.  She is also inspired by many contemporary artists, namely Richard Schmid, Nancy Guzik, Mark Boedges, among others.

  “Collage Maker”, 20×16, Oil, Private Collection

Johnson uses a variety of materials, including canvas, various types of boards, both gessoed and linen.  Her palette consists of warm and cool tones of each color: cadmium red light, alizarin crimson deep, ultramarine blue deep, cerulean blue, (sometimes cobalt blue), viridian, sap green, cadmium orange, cadmium yellow light, raw sienna, dioxazine purple, thalo red rose, burnt sienna, burnt umber and titanium white.  She begins by toning the canvas, using a variety of colors to assess the effect on subsequent layers.  She will then sketch in the composition, block in the darks, and indicate the lights. Next she paints the most intense colors, and working around those, makes sure to keep the importance of those first notes in the final painting.

      Progression of “Pin Cushion and Thread”, 8×10, Oil, Private Collection

Johnson currently runs her own Fine Art School in Lake Zurich, IL, which she has done for 25 years.  The school not only has a staff of artists teaching regularly, but also brings in artists from around the world to teach workshops.  Her goal is to continue the tradition of teaching and passing on the joy of creating in a positive environment, just as she was given when she began to take classes.

As a teacher and artist, Johnson encourages artists to continue to take classes and workshops from artists whose work they admire.  Building on “fundamentals of drawing and structured procedures”, painting regularly, making mistakes and problem solving helps to build our confidence as artists.

To view more work by Frankie Johnson, visit her website at www.frankiejohnsorartstudio.com.  Her work is represented by Fine Line Design in Ephrain, WI, and the Castle Gallery in Fort Wayne, IN.

To view more artwork from the 2019 NOAPS Spring Online International, visit www.noaps.org

Written by Patricia Tribastone, NOAPS Blog Director

“Persian Gold”, 12×16, Oil on Panel, Winner of the Second Place Award from the National Oil & Acrylic Painters’ Society 2019 Spring Online International Exhibition; Private Collection.

The beauty of a still life painting is to let the viewer into a private world…to reach in and touch the precious objects and feel a part of their place and time.  The delicate textures, the finely tuned values and colors create subtle nuances for the viewer to discover over and over.  This painting by Nick Eisele accomplishes all of that; with a fairly neutral palette the artist relies on values and understated color to create a sense of quietude, a timeless interlude for us to ponder.

  “Personal Effects”, 10×8, Oil on Panel, Private Collection

Nick Eisele is a recent graduate from the Schuler School of Art.  This young artist had a love of drawing at a young age, and began his advanced study in earnest at age 19.  Though he had envisioned a career in digital illustration and concept art, the lure of the old masters was irresistible, and he turned his attention to fine art and oil painting.  His earlier mentors, Felice House and Sam Woodfin gave Eisele the strong foundation he needed to proceed successfully at the Schuler School.

  “Busted”, 9×12, Oil on Panel, Collection of the Artist.

Eisele’s love of the old masters is evident in his work; his careful rendering, attention to detail, thoughtful compositions and narrative are reminiscent of the 19th century still life painters.  Among Eisele’s favorite painters is Emil Carlsen, known in particular for his moody still life paintings.

  “Bone Dry”, 16×20, Oil on Panel, Private Collection.

Most of Eisele’s work is still life done in oil and some portraiture, however he also enjoys sketching in graphite and digital painting.  His palette consists of titanium white, cadmium lemon, cadmium yellow, cadmium orange, yellow ochre, transparent red oxide, burnt umber, Van Dyke brown, cadmium red medium, permanent alizarin, ultramarine blue, phthalo blue and ivory black.   Using a combination of bristle and soft brushes he works on clayboard panels.  He begins by blocking in clear shapes of shadows with an umber wash to establish the composition.  He then works in a direct manner with color.  During subsequent sittings he refines his details working outward from the focal area. Thick opaque paint is used in the light area, while keeping the shadows thin and transparent.

  “Bobcat”, 5×7, Oil on Panel, Collection of the Artist.

This young artist has achieved many accolades for his work; among his recent awards was a Purchase Award in the Art Renewal Center’s 14th International Salon.  He encourages his fellow artists not to be afraid to fail…and keep painting!

To view more work by Nick Eisele, visit his website at www.nickeisele.com

To view more work from the NOAPS 2019 Spring Online International visit www.noaps.org

Written by Patricia Tribastone, NOAPS Blog Director

“Be Still My Soul”, Oil, 30×40, Highlands Art Gallery.  Winner of ‘Best of Show’ in the 2019 NOAPS Spring Online International Exhibition.

Let out your breath a little, and enjoy the view.  This painting by John Pototschnik allows us to be a part of this peaceful, serene landscape, and allows us to lull into thoughtfulness.  The artist has used every tool at his disposal to give us this sense of placidity; from the composition, the value structure, the neutral colors with bits of brights, soft and hard edges, the vacillation of warm and cool to the perfect rendering of every part of the painting.  This masterful painting is one of many by this artist.

  “Of the Land”, 12×16, Oil, Illume Gallery, St. George, UT.

The pursuit of art began in earnest for John when, after some interest in art during his high school years, and an attempt at business studies in college, he switched his major to illustration.  During a post-graduate four-year stint in the Air Force, he was able to take evening classes at the Art Center College, Pasadena, California.  He continued his study of art through reading, and most importantly, application (easel time!). He spent ten years as a freelance illustrator in Dallas, Texas, after which he began his full time career as a fine artist.  In 1992 John was awarded with the John Steven Jones Fellowship which enabled him to study at the Lyme Academy of Fine Art in Old Lyme, CT, with a focus on human anatomy.

  “Land of Abundance”, 35×65, Oil, Illume Gallery, St. George, UT

John has had only one important mentor in his life; Ed Pointer.  He has been a guide in life and spiritual matters as well as art for more than 50 years. Most recently John has studied with Joe Paquet, and is greatly inspired by his work. For inspiration, John looks to paintings from the 19th century, in particular, the work of Camille Corot, Francois Daubigny, and Jean Millet.

  “Rural Hideaway”, 25×28, Oil, Private Collection

Currently, John works in oil.  His favorite genre is the landscape, both American and European, as well as cityscapes, small towns and farms.  Initially, he uses gessoed paper to create plein air studies, and takes photos of the scenes he intends to work into paintings.  He further develops the idea for the painting on the same type of gessoed paper, using various compositions and colors schemes.  For the final painting, he begins with a drawing using thinned raw umber paint, using his plein air sketches and photos for reference.  This underpainting is a fully developed monochromatic painting where he “captures the desired value range, and therefore an accurate representation of the mood.  When that is dry, color is applied matching the values already established in the monochromatic underpainting.”  Working on canvas or gessoed board with a variety of brushes, his palette generally consists of one color from each of these primaries: Ultramarine Blue or Cobalt Blue; Alizarin Crimson or Cadmium Red or Cadmium Red Light; Lemon Yellow, Cadmium Yellow Light or Cadmium Yellow Pale, plus Titanium White.  Other pigments that might be chosen to replace those above would include Yellow Ochre, Burnt Sienna, Terra Rosa, Indian Red or Ivory Black.

Step by Step Process for “At the Edge of Town”, 24×30, Oil, Illume Gallery, St. George, UT

John’s strong connection with nature is grounded in his search for peace from the noise of our contemporary lives.  The title for his winning painting, ‘Be Still My Soul’ was taken from a Christian hymn written over 260 years ago by Katharina von Schlegal.  While being quiet with nature, John finds the opportunity to be a part of the stillness, to contemplate the “big questions about God, creation, and our purpose and place in the world.  That’s the place I like most to be.”  To read more about the winning painting, in John’s own words, go to www.pototschnik.com

Through his commitment, talent and hard work, John has been able to support his wife of 48 years and his family with his art.  He has some sage advice for readers: “1. Decide what type of art you want to do. 2. Find one or two artists that do that type of work and learn all you can from them and apply it.  3. Stop hopping around from workshop to workshop.  4. Be patient, work and and persevere, because there will be times of discouragement.  Only those that don’t give up succeed.”

  “Staying Home”, 16×27, Oil, Southwest Gallery, Dallas, TX.

John Pototschnik is represented by Abend Gallery, Denver, CO; Highlands Gallery, Lambertville, NJ; Illume Gallery, St. George, UT; Mary Williams Fine Art, Boulder, CO; Southwest Gallery, Dallas, TX; and Wylie Fine Art Gallery, Wylie, TX.  To view more work by the artist, visit www.pototschnik.com.

To view the 2019 NOAPS Spring Online International Exhibit, visit www.noaps.org

Written by Patricia Tribastone, NOAPS Blog Director

“A Garden at La Bonne Etoile”, 16×20, Oil, by Margaret Dyer, Collection of the Artist.  Winner of “Best Impressionism” at the 2019 NOAPS SMALL PAINTING National Juried Exhibition at the RS Hanna Gallery, Fredericksburg, Texas.

A fleeting moment, described only with dashes of color and light, is revealed in Margaret Dyer’s winning painting.  There need be no details to interpret the scene, and one can feel that as the woman is bending over her garden, she may at any moment rise to view us.  The perfectly placed focal point attracts our attention, and we linger in the scene that carries our eyes with hints of orange.  The energetic brushwork looks effortless yet skillful, successfully meshing hard and soft edges.

  “Jose at the Table”, 16×20, Oil, Collection of the Artist.

The desire to be an artist was ever present for Margaret Dyer.  Her early studies encompassed abstract expressionism, and though this taught her the freedom of the brush, it left out the fundamentals of traditional art.  Her pursuit continued, and later she found mentor Kate Fetterolf, who taught her value structure, color and proportion.

  “Jose in the Bedroom”, 11×14, Oil, Collection of the Artist.

Margaret’s first medium was pastel, in which she has worked successfully for 30 years, earning the honor of Master Pastelist from the Pastel Society of America, and has been inducted into the Masters Circle of the International Association of Pastel Societies.  Over the last five years she has been working almost exclusively with oils, after a year of studies in oil with Jim Richards, an Atlanta artist.

Many artists have contributed to Margaret’s inspiration, including such Masters as Degas, Cassatt, Sargent, Mucha and more.  Contemporary artists,such as Quang Ho and Tibor Nagy continue to inspire, although the number of highly accomplished artists today can seem at times daunting.  But there is always something that keeps the artist at the easel, and in Margaret’s words, “maybe it’s because it’s there that I feel most at peace”.

  “Artist’s Model”, 8×10, Oil, Collection of the Artist.

Margaret enjoys figurative work most, and finds the “play of light falling on a  person doing ordinary tasks, (the) subtle drama that is so easily overlooked” her best source of inspiration.  She works at times from a live model or en plein air, but often finds a photo can successfully catch a moment she wishes to express.

Starting with an under-painting in transparent red oxide, with hints of burnt umber and white to enhance values, Margaret then works into color.  Her palette consists of cadmium yellow lemon, cadmium orange, quinacridone red, alizarin crimson, transparent red oxide, burnt umber, ultramarine blue, pthalo blue, and viridian and white.  A painting is usually completed in one or two days.

  “Untitled”, Oil, Collection of the Artist

Although relatively new at submitting oil paintings to competitions, Dyer was encouraged by her recent award with NOAPS.  She considers the vocation of art as being that of a perpetual student, and encourages other artists to do the same.  “Persistence, persistence, persistence.  Don’t give up.  Find a mentor and extract every bit of knowledge you can.  Then find another mentor.  Paint, paint, paint.”

Margaret Dyer’s work is represented by Allison Sprock Fine Art, Charlotte, NC; Cecil Byrne Gallery, Charleston, SC, and River Gallery, Chattanooga, TN.  To view more of Dyer’s work, visit www.margaretdyer.com.  Margaret also teaches workshops, and to see blogs of her recent workshop trip in Florence, Italy, visit www.margaretdyer.blogspot.com.

To view the NOAPS 2019 SMALL PAINTING National Juried Exhibition, visit www.noaps.org.

Written by Patricia Tribastone, NOAPS Blog Director

  “Half Moon Bay Delights”, Oil, 12×12, by Kim Lordier, winner of Best Use of Light and Color from the 2019 NOAPS SMALL PAINTING National Juried Exhibition at the RS Hanna Gallery, Fredericksburg, Texas.

The sun-filled burst of color is the winning element in this painting by Kim Lordier.  Filled with suggested shapes and shadows, the viewers wind our way through the painting discovering the dappled light until we are greeted at the door of the greenhouse.  The active brushwork enhances the feeling of energy created by the light and color, inviting us to linger among the fresh blossoms.

  “Intrinsic Beauty, Monastery Beach”, 27×40, Pastel, Private Collection

Kim Lordier has been a serious artist since the age of 15, when she began selling her animal portraits in pastel.  After attending the Academy of Art in San Francisco, and a brief time working for an airline, Lordier began to actively pursue her art.  Her spark of determination was ignited by an exhibit of the Early California Impressionists at the Oakland Museum of Art, and her path was set.

  “Temblor Range, Spring Patterns”, 18×24, Pastel, Private Collection

Lordier has had many supporters along the way to help and encourage her; from museum directors, magazine editors and collectors, she has gained momentum and name recognition.  In particular, Skip Whitcomb, who works in pastel and oil, has shared his knowledge and friendship with Kim and become a true mentor.  Her impressionistic style has been inspired not only by the Early California Impressionists, but also by the Taos Artists and the Tonalists, all who share the common thread of strong tonal structure with beautiful color and mood.

  “Kinda Like Diamonds in the Sky”, 20×24, Pastel, Collection of the Artist.

Although her primary medium is pastel, Lordier has begun to successfully work in oil.  She prefers to paint from life en plein air whenever possible, and for larger paintings will do field studies and take photos for reference in the studio.  Her process for oil painting is the direct alla prima approach, resulting in fresh color and brushwork.

  “Copa de Oro in Antelope Valley”, Pastel, 11×14, Debra Huse Gallery.

Changing mediums, says Kim, “helps to bring one out of a rut, makes you think outside your comfort zone, and shakes up the process.  The foundational principles are the same, and each medium has wonderful idiosyncrasies that are fun to figure out!”

  Painting in process at the Half Moon Bay Nursery, CA.

Kim Lordier’s work is represented by James J. Rieser Fine Art, Carmel by the Sea, CA; Debra Huse Gallery, Balboa Island, CA; Holton Studio Frame Makers, Berkeley, CA, Illume Gallery of Fine Art, St. George, Utah; and Sekula’s Fine Art & Antiques, Sacramento, CA.  To view more of Lordier’s work, visit her website at www.kimfancherlordier.com

To view the 2019 NOAPS SMALL PAINTING National Juried Exhibition, visit www.noaps.org

Written by Patricia Tribastone, NOAPS Blog Director

“Empty Vessel”, 12×16, Oil, by Blair Atherholt, winner of the ‘Best Still Life’ at the 2019 NOAPS SMALL PAINTING National Juried Exhibition at the RS Hanna Gallery, Fredericksburg, Texas.

The image of tranquility in “Empty Vessel” belies the complexity of the arrangement; the composition, colors and drawing have all been carefully considered.  The drapery leads the viewer to the old jug, loops around the table and back up to the moth in flight.  The colors are orchestrated to harmonize and conduct us around the painting and examine the exquisitely drawn details.

  “The Leap”, 14×18, Oil, Private Collection

Blair Atherholt had a passion for art as a youth, and after a short time studying medicine at Temple University, he chose to return to his first passion.  He enrolled at the Schuler School of Fine Arts in Baltimore, Maryland, where he met teacher and mentor Carol Thompson.  Inspired by Thompson’s teaching and encouragement, and the paintings of Chardin and David Leffel, his main genre is realistic still life painted in oil.  His inspiration comes from various sources: music, life events, or everyday objects.

  “Harshest Critic”, 22×34, Oil, OPA Exhibition, Illume Gallery.

A day in the studio begins with coffee, music and a fresh palette.  His small paintings may not require an initial thumbnail sketch, but for larger paintings he does a sketch to work out the composition.  Working from life, the painting process begins with a simple line drawing, with no underpainting.  He establishes the background first to create the value structure and atmosphere, after which he works on the subject matter in a direct manner.  His palette consists of White, Nickel Titanate Yellow, Lemon Yellow, Cadmium Orange, Cadmium Red Medium, Alizarin Crimson, Yellow Ochre, Burnt Sienna, Burnt Umber, Raw Umber, Ivory Black and Ultramarine Blue.  He makes his own panels of MDF board prepared with oil ground.

          Painting process for “Empty Vessel”.

In March 2018, Atherholt held his first solo exhibition and workshop at the Canary Gallery in Birmingham, Alabama, which was a milestone for the young artist.  The successful exhibition featured a large and cohesive body of work, a major accomplishment for Atherholt.

  “A Still Life for Summer”, 12×12, Oil, Private Collection

The keys to success as an artist, he says are to “work hard, stay humble, and never forget the people who helped get you to where you are!”

  “Single Dose”, 16×21, Oil, Collection of the Artist.

Blair Atherholt’s work is represented by the Canary Gallery, Birmingham, Alabama, and Gallery 330 in Fredericksburg, Texas.  To view more of Atherholt’s work visit www.blairatherholtart.com.  To see the NOAPS SMALL PAINTING Exhibition visit www.noaps.org.

Written by Patricia Tribastone, NOAPS Blog Director

   “Lamplight at le Vieux Logis”, 14×11, Oil.  Winner of ‘Best Realism” from the 2019 Best of America SMALL PAINTING National Juried Exhibition at the RS Hanna Gallery, Fredericksburg, Texas.

The table is set; the setting intimate.  The glasses sparkle, and an air of anticipation is pervasive.  The scene leaves the viewer with questions to complete; who is expected, what will the scene look like when populated with convivial guests?  When we experience a painting that leaves questions in our minds, or leads us to complete the story in our minds eye, the painting at once becomes memorable.  When the painting is done with an excellent hand, it becomes more so.

  “Set for Receiving Royalty, Chatsworth House” 14×18, Oil, Collection of the Artist.

Lindsay Goodwin began her art career early on, teaching children’s art classes by the time she was 16.  She had taken adult classes in classical techniques at “O’Neills Fine Arts, at that time located in Malibu (now in Pacific Palisades, CA), so was well equipped to teach.  This early training served her well, when she later attended the Academy of Art University in San Francisco and graduated with a degree in Fine Arts with an emphasis on classical painting.

  “Gatherings from the Garden, Chateau Bridoire”, 16×16, Oil, Collection of the Artist.

After working with Katie O’Neill and later Craig Nelson at the University, she began to develop her style of Alla Prima painting, or wet into wet.  The classes in Quick Studies taught her to paint with speed and accuracy, without “fussing or overworking.  The speed and strategy with which one needs to be able to work is fast and exciting, and ensures that I’m never bored with what I’m working on.”

  “Prehistoric Elegance at Hotel de Bouilhac near Lascaux”, 9×12, Oil, Jones and Terwilliger Gallery.

Many of Goodwin’s paintings are interior scenes; restaurants, cafes, and historic scenes, “from the rustic countryside interiors to the opulent dining rooms.”  Her inspiration is ignited by dark and light transitions, reflections and mood, and working in the Alla Prima style allows her to capture her initial inspiration.  Her aesthetic has been influenced by painters such as John Singer Sargent, a master of light, shadow and brushwork.

  “Afternoon Tea at the Montage”, 14×11, Oil, Jones and Terwilliger Gallery.

Her day in the studio is often a long one; working wet into wet requires that her paint remains fluid.  While her process is most suited for small paintings, a large painting can be completed in this style by selectively working on specific areas in each sitting.  Her palette consists mainly of a warm and cool color of each primary, plus a few mixed pigments for convenience.  She begins with a quick sketch done in paint, and then proceeds to apply her color.  To view some of her time-lapse paintings in process, visit her Instagram posts at LindsayGoodwinfineArt.

  “Baguettes and Rose at La Bicyclette, Carmel”, 12×12, Oil.

Over the course of her studies and career, Goodwin has come to realize that all artists work somewhat differently; what works for one may not neccessarily work for another.  What is most important, says Goodwin, is to “do what works for you.  Study great art, whatever that means to you, but don’t listen to that voice in your head that says ‘Oh, serious artists work that way…’ Study those rules, but also know when to follow your own.”

Her greatest acheivement?  Her children, a source of continuous pride!

Lindsay Goodwin’s work is represented by Jones & Terwlliger Galleries, Carmel, CA and Palm Desert, CA; and by Ella Richardson Fine Art Gallery, Charleston, SC.  To view her website visit www.lindsaygoodwin.com.

Written by Patricia Tribastone, NOAPS Blog Director

“Snowy Afternoon Walk”, Oil on Linen, 16×20, by Katherine Galbraith, Winner of the Best of Show Award at the 2019 NOAPS Best of America SMALL PAINTING Exhibition at the RS Hanna Fine Art Gallery in Fredericksburg, Texas.

There are many aspects of Katherine Galbraith’s painting that are impressive, but one of the most striking is the apparent effortlessness in the work.  The strokes are sure and confident, the colors undulate between warm and cool, the edges are varied, and there is detail only where needed.  And although each of the dogs is facing outward, the connection of the dark masses holds the viewer in the picture.

  “Before the Storm”, 36×27, Oil on Linen, Collection of the Artist.

Katherine Galbraith began her study of art at a very early age; she began art school and subsequently private art lessons at 11 years of age.  She continued her studies, and after winning a Merit Scholarship to the prestigious National Academy of Design, she studied under Daniel Greene and Robert Phillip.

  “The White Horse”, 16×12, Oil on Linen, Collection of the Artist.

Learning has been an integral part of Katherine’s motivation; she has devoted study to Masters such as John Singer Sargent, Vermeer, Rembrandt, Renoir, Sorolla, and Levitan.  Contemporary artists continue to inspire her as well; the work of David Leffel, Jill Carver, John McDonald, Jeremy Lipking, and Matt Smith to name a few.

  “Blue Hat and Coat”, 28×18, Oil on Linen, Private Collection.

Galbraith paints primarily in oil, and her favorite subject matter tends to be people and animals, where she finds the sacred beauty of everyday living beings.  She paints both from life and from photos.  To begin, she uses a notan or a thumbnail sketch to divide her subject matter into values and basic shapes.  For portraits, she draws a charcoal sketch first, then presents a monochrome painting to her client for approval.  After the initial sketches, she draws her image on the canvas, and does a monochromatic underpainting before committing to color.  She works on portrait grade linen, using a variety of brushes, both bristle and soft synthetics.  Her palette consists of Lead white, titanium white, cadmium yellow light or lemon, cadmium orange or cadmium yellow deep, yellow ochre, cadmium red light, alizarin crimson, terra rosa, ultramarine blue, cobalt turquoise, sap green, French raw sienna, raw umber, burnt umber and ivory black.

    “Lillian”, 36×30, In Progress, and Finished Painting.  Oil on Linen, Private Collection.

Katherine Galbraith considers the ability to continue learning about her art to be her greatest accomplishment, although she has indeed won many prestigious awards and recognitions.  Among these are Best in Show from NOAPS, First Place from the Portrait Society of America, and Second Place from American Women Artists.  She is a Signature Member of both American Women Artists and Oil Painters of America.

A most important aspect of lifelong learning, says Galbraith, is to “be true to yourself.  Choose mentors and workshops from artists you feel can teach you the most without losing yourself…work diligently on your own and try to incorporate those lessons that show you how to improve your painting.  Being a painter is a lifelong calling.”

Katherine Galbraith is represented by the Castle Gallery, Fort Wayne, IN; the Grand Bohemian Gallery in Birmingham, AL; and the Grand Bohemian Gallery in Charleston, SC.  To see more work by Galbraith, visit www.KatherineGalbraithFineArt.com.

To see more work from the NOAPS Best of America SMALL PAINTING Exhibition, visit www.noaps.org.

Written by Patricia Tribastone, NOAPS Blog Editor

“The Gift”, Oil on Linen Panel, 24×18, Private Collection

The random beauty of nature is an elusive yet compelling subject matter, and no better is it represented than in “The Gift”, recently included in the 2018 NOAPS Best of America Exhibit, and soon to be seen at the American Women Artists Exhibit in Steamboat Springs, Colorado.  The flowers, delicately rendered, create a sense of weight and presence.  The colors in the painting are carefully controlled, shifting from lights and darks, warms and cools.  The sense of depth in the painting makes the viewer wish to reach in and touch the fragile petals.

  “Making The Cut”, Oil on Linen Panel, 16×12, Collection of the Artist.

Rosa Montante was surrounded at an early age by stunning works of art.  Born in a small town in Sicily, she frequented the churches, observing the art, the statues, architecture and other works of art that were a part of her early childhood.  These images had an indelible effect on her creativity; by the time she had reached the United States and entered high school, she had taught herself to draw.  The yearning to create art continued, and Montante enrolled in the art program at Nazareth College in Rochester, NY, where she studied sculpture, print making, weaving, watercolor, acrylics and oils.

  “Fresh Tomatoes”, Oil on Linen Panel, 11×14, Private Collection.

Montante has used her creativity in other areas while earning a living; she has worked in photography, marketing, and management.  These demanding vocations left little time for art, but a local art class reinvigorated her need to more actively pursue painting, and for the past 10 years has focused on colored pencil (for her love of drawing) and oil painting.  She has always been inspired by the Old Masters, in particular Caravaggio, Rembrandt, Vermeer and Zorn.  Today’s artists that resonate are Jacob Collins, Jeremy Lipking, David Kassan, Michael Klein and Renato Muccillo.

A day in the studio begins with soft music, and observation of the painting in progress.  After an assessment, she begins her discriminating process of careful placement of each stroke.  She begins each painting with a monochromatic underpainting done with either pan pastels or paint.  Using a linen panel, her palette includes Titanium white, cadmium lemon, cadmium yellow pale, cadmium yellow deep, yellow ochre, transparent oxide red, alizarin crimson, ultramarine blue and phthalo blue.  Her brushes are sable or synthetic sable, allowing her to create soft strokework.

Inspiration comes from ordinary objects with extraordinary beauty: “facial expressions from a person who has lived a lifetime, the frailty and short life of flowers, light’s impact as it touches and bounces…” And words of wisdom….”Paint like it’s your last day, paint what you love and feel what you paint.”

  “Pat’s Roses”, Oil on Linen Panel, 18×24, Collection of the Fort Wayne Museum of Art.

Rosa Montante has had many achievements in her multiple careers, but to her the most outstanding is the purchase of “Pat’s Roses” by the Fort Wayne Museum of Art in 2017.  Montante is a Signature Member and member of the Board of Directors of the National Oil & Acrylic Painters’ Society, a member of the American Women Artists, and the Rochester Art Club.  She currently teaches oil painting at the Art Stop in Penfield, NY.  To view more work by Montante visit her website at www.rosamontante.com.

Written by Patricia Tribastone, NOAPS Blog Director