JANUARY 2013 Vol.19 No. 1 - Arteast Ottawa

Canadian War Art
Grow with Art,
October 23, 2012 ,
Dr. Laura Brandon
Twenty-eight Arteast members were out to
hear this engaging speaker at the monthly meeting at the
Orleans Client Services Centre. Historian and writer, Dr.
Laura Brandon, had a great deal of interesting
background to present. Following chronologically the
process of building and housing the Canadian War
Museum collection, we were led from the early
representations by garrison troops to modern-day
illustrations and interpretations of war and military
history. With vivid examples from all periods, we had a
comprehensive picture of Canadian documentation and
interpretation of the wars through five different
collections. The early works, produced mainly by
European military
artists as
reconnaissance or
leisure time activities,
were often taken
overseas, and many
are now in the
National Archives.
War Artist Nevinson
The Canadian War
Memorial Collection of WWI was the idea of Lord
Beaverbrook, who undertook paying artists to paint the
dramatic events on the front in a heroic fashion. Not only
did he choose artists and photographers from Europe,
especially Great Britain, he also chose a few Canadians as
well. Many of the Group of Seven–Fredrick Varley, Arthur
Lismer, A. Y. Jackson–as well as Frank Johnston, who did
aerial views, were hired by the head of the National
Gallery at that time. Each artist used the innovative style
and technology of the day to express his experience of
the First World War. While these works did not fit the
‘heroic style’ that Lord Beaverbrook would have wanted,
the images have a strong individual modern style.
(Contd. p. 4)
JANUARY 2013 Vol.19 No. 1
L’art canadien de la guerre
l’Art en Herbe
le 23octobre 2012
Dr. Laura Brandon
Vingt-huit membres d’Arteast assistaient à la
soirée mensuelle au Centre de service à la clientèle
d’Orléans. Historienne et écrivaine, Dr. Laura Brandon
avait beaucoup de connaissance du sujet à nous livrer.
Elle a présenté le développement chronologique de la
collection du Musée canadien de la guerre. Débutant par
les troupes de garnison jusqu’à l’époque moderne, elle a
illustré et interprété l’histoire militaire et celle de la
guerre. Par différents exemples de toutes les époques,
puisés dans cinq collections, nous avions une meilleure
compréhension de la documentation canadienne et de
l’interprétation des guerres. Les plus anciennes œuvres
ont été principalement produites par des artistes
militaires européens en
reconnaissance ou
durant leurs loisirs, dont
plusieurs sont aux
Archives nationales.
La collection ‘Canadian
War Memorial of WWI’
était l’idée de Lord
Beaverbrook. Il payait les
artistes pour aller peindre au front les moments
dramatiques. Il ne choisissait pas uniquement des artistes
et photographes d’Europe, spécialement de Grande-
Bretagne, mais aussi quelques artistes canadiens.
Plusieurs du Groupe des Sept dont Frederick Varley,
Arthur Lismer, A.Y.Jackson, et Frank Johnston, engagés
par le directeur de la Galerie nationale, ces artistes
prenaient des vues aériennes. Chaque artiste essayait
d’être innovateur pour exprimer l’expérience de guerre.
Même si les œuvres ne correspondaient pas aux attentes
de Lord Beaverbrook, chaque artiste faisait des images
fortes dans un style moderne.
(suite p.4)

ADMINISTRATION
THE EXECUTIVE
President: Mary Ann Varley
Vice-President: Josie De Meo
Past President: Carmen Dufault
Treasurer and Membership:
Dorothy Zorn, Rosalind Wong
Secretary: Virginia Dupuis
MANAGEMENT COORDINATORS
Grow with Art
Lead: Christina Patterson
Mary Ann Varley, Lisa Johnson, Bob
McAlpine, Susan Thompson
Budding Artists
Lead: Susan Ashbrook
COMMUNITY OUTREACH
Josie De Meo
Volunteer Coordinator
Josie De Meo
GALLERIES
Arteast Juried Awards Exhibition
St. Laurent Complex, 525 rue Côté
Cheryl Mattice, Mira Wasilewska,
Maryse Legault
Jury Facilitator: Cheryl Mattice
Trinity Gallery, Shenkman Centre
Maureen Rooney Mitchell,
Mari Brown, Clarisse Cheseaux, Josie
De Meo, Virginia Dupuis, Isabella
Lévêque-Bouchard, Lindy Nadarajah
Promenade Arteast, Shenkman
Centre, 245 Centrum Blvd. Orleans
Maureen Rooney Mitchell,
Kate Daller, Isabella Lévêque-
Bouchard, Clarisse Cheseaux, Gaby
Liu, Claire Ouseley
St. Laurent Complex, 525 rue Côté
Josie De Meo, Beata Jakubek,
Isabella Lévêque-Bouchard
LIBRARIES
Orléans
Arlette Castonguay, Betty Anne
McDonald
Blackburn Hamlet
Francine Stolz, Roger Larose
Ray Friel Cumberland
Aline Joanis, Clarisse Cheseaux
North Gloucester
Christine Gendron, Elisabeth Krug
Web Administrator
Helen Rosseau,
webadministrator@arteastottawa
.com
Translation
Isabella Lévêque-Bouchard
Official Photographer
Charles Frost
Publicity: Jane Cass
Arteast Digest: Karen Miller
Communiqué
Editor: Elisabeth Krug
A\Editors: Carmen Dufault,
Bernard Poirier, Susan
Thompson.
Newsletter Mailing:
Aline Coulombe, Dorothy
Zorn, Randy Wilson, Rosalind
Wong
2
ADMINISTRATION CONTACTS
Ashbrook, Susan 613-833-8312 ashbrookcreative@gmail.com
Brown, Mari 613-834-6652 colourblob@yahoo.ca
Cass, Jane 613-741-8290 janecass@rogers.com
Castonguay, Arlette 613-446-5793 arlettecastonguay@gmail.com
Cheseaux, Clarisse 613-834-9465 clarisse.cheseaux@sympatico.ca
Coulombe, Aline 613-830-4667 alinecoulombe@hotmail.com
Daller, Kate 613-747-8018 kdaller@gmail.com
De Meo, Josie 613-590-7627 josiedemeo@rogers.com
Dufault, Carmen 613-824-3237 carmendufault@rogers.com
Dupuis, Virginia 613- 830-9042 vrdupuis@sympatico.ca
Frost, Charles 613-837-3757 csfrost@ncf.ca
Gendron, Christine 613-824-4790 christinegendron@sympatico.ca
Jakubek, Beata 613-837-8060 beata.jakubek@yahoo.ca
Joanis, Aline 613-834-0669 alinejoanis@yahoo.com
Johnson, Lisa ljohnson2010@rogers.com
Johnston, Ted 613-748-0346 ej407@ncf.ca
Krug, Elisabeth 613-244-5248 ek8781@gmail.com
Legault, Maryse Langler-legault@sympatico.ca
Lévêque, Isabella 613-824-3797 levequei@sympatico.ca
Mattice, Cheryl 613-824-7835 cherylmattice@me.com
Miller, Karen 613-837-2676 marzipanroad@bell.net
McAlpine, Bob 613-736-5569 rma@mcalpine.ca
Nadarajah, Lindy 613-834-4555 lindycousineau@rogers.com
Patterson, Christina 613-834-5614 c_patter@yahoo.com
Poirier, Bernard E. 613-744-5773 bep-cp@magma.ca
Rooney Mitchell M. 613-830-9224 artsy-fartsy@rogers.com
Rosseau, Helen 613-834-8661 hrosseau@rogers.com
Stolz, Francine 613-830-2665 fstolz@sympatico.ca
Thompson, Susan 613-841-1964 susanv.thompson@rogers.com
Varley, Mary Ann 613-745-2996 varleys@rogers.com
Wilson, Randy 613-733-8810 rks.public@rogers.com
Wong, Rosalind 613-837-7939 rosalindwong@rogers.com
Zorn, Dorothy 613-834-1734 dzorn1624@rogers.com
ARTEAST is a highly active not-for-profit visual arts organization in
Eastern Ontario. Membership is open to artists, both amateur and
professional, and all who enjoy and wish to participate in the visual
arts. Standard Membership is $30.00 per year and
Contributing Membership is $80.00. Activities and opportunities
include: * Regular monthly meetings with guest speakers/
demonstrations, *Promoting and advertising opportunities *
Networking opportunities * Social events * Opportunities to grow
and develop as an artist, * Free exhibition space at local libraries.
Arteast exhibitions * Annual Arteast Juried Awards Exhibition,
*Trinity Art Gallery Exhibitions, * Budding Artists’ Exhibition.
Executive meetings are held at 7:00 p.m. on the Tuesday
preceding General Meetings, at the Shenkman Centre, AOE
offices, 2 nd floor Lise Roy meeting room. Any member who
wishes to contribute is invited to participate. Please contact the
President if you wish to attend and be included on the agenda.
Article submissions to Communiqué: quarterly publication,
with issues in January, April, July and October. The Editor
welcomes submission of articles. Email: ek8781@gmail.com. Text
should be a separate attachment in WORD or WORDPERFECT
format, maximum length 500 words, NO TABLES please. Photos
should be in JPEG format. Deadline for submission is a minimum
of one month before going to press.
NOTE: Opinions expressed in any article contained herein are
not necessarily those of Arteast, the Editor, or members as a
whole.

PRESIDENT’S PERSPECTIVE DE LA PRESIDENTE
January 2013
As I reach the final months of my term of office
as president, I reflect back on the last two years.
There have been some very good times, some
scary moments, and finally mentorship and what
it means to me.
Warm memories of great times spent with all of
you. I think we have been very successful in
maintaining an active program of shows,
meetings and fund raisers. The Budding Artist
Show is back and a great success. All of our
shows are continuing with strong support from the membership.
Trinity Art Gallery Shows were both successes, as was AJAE.
What a wonderful gift the Promenade Arteast wall is from the
City of Ottawa to showcase our works throughout the year! The
four east end libraries are showing our work and we have signed
contracts for the St. Laurent Complex for shows throughout the
year. In addition, we are able to enjoy our many outreach
programs in local schools and community centers. Nuit Blanche
was a great success. Grow with Art has had exciting trips to
Montreal. The GWA meetings have been successful. We are on
sound financial footing with a well-managed budget. Many
friendships have been forged and cultivated through these past
two years.
And now for those “Scary Moments.” I look back over my
shoulder and realize that those were the moments when I was
scrambling. Illness can take its toll on members and especially
those who have been hard-working volunteers. Glad to see
Joanne Tremblay, Boni Penna, and Lindy Cousineau's Crystal all
on the mend. We are grateful for what you have done for
Arteast! The shows at the Blackburn Library continue, as did
AJAE. Ah, then there was the website, which is now very well
maintained by Helen Rosseau. Thankfully, Elisabeth Krug was
able to step up as our very capable editor of the Communiqué
newsletter. We wish Bernard Poirier and Carmen well and are
very happy when their health permits their participation in
Arteast events. There were some scary moments at home as
well. Husbands and grandchildren all need attention and this can
distract us from our tasks. I regret that I have not always been on
top of Arteast business, but I have always had wonderful help
from such understanding Arteast members.
My biggest distraction was the recent illness and death of my
father. My parents were loving supporters of my art throughout
their lives. Only those who have such a loss know it is the natural
course of life but also the grief that goes with that loss. I miss
them very much. Their nurturing and encouragement was really
important in my development as an artist. I hope I am just as
supportive a parent and grandparent.
In closing, I will be handing over the job of President to the very
capable and warm-hearted Josie De Meo. I know you will support
her as wonderfully as you have supported me. Cheers!
Mary Ann Varley
3
Janvier 2013
Étant à la fin de mon mandat de présidente, je veux
faire un retour des deux dernières années. On a vécu
de très bons moments, d’autres difficiles et
finalement le ‘mentorship’ et ce qu’il signifie pour
moi.
De chaleureux souvenirs passés avec vous toutes et
tous. Je crois que nous avons maintenu avec succès
un programme actif d’expositions, de réunions et de
levées de fonds. L’expo ‘Artistes en herbe’ est de
retour et connaît un franc succès. Toutes nos
expositions continuent grâce au grand support des membres. Les
expositions de la Galerie d’art Trinity tout comme celles d’AJAE
sont un vrai succès. Le mur de la Promenade Arteast , quel
merveilleux cadeau de la Ville d’Ottawa permettant de donner
une visibilité quotidienne de nos œuvres.
Les quatre bibliothèques de l’Est présentent nos travaux et nous
avons signé des contrats au Complexe St.-Laurent pour des
expositions en continu. Par surcroît, nous sommes ravis de
présenter des programmes enrichis dans les écoles locales et les
centres communautaires. La Nuit Blanche a été une belle
réussite. L’Art en herbe a favorisé d’agréables voyages à
Montréal. Les réunions du l’Art en herbe ont été populaires. Nos
états financiers sont bien gérés. Depuis deux ans, plusieurs
amitiés se sont développées.
Et maintenant, pour les ‘moments pénibles’ : quand je regarde
en arrière, je réalise qu’on a vécu des moments de combat. La
maladie a affecté des membres qui ont travaillé fort comme
bénévoles. Je suis contente de voir que Joanne Tremblay, Boni
Penna et Crystal, fille de Lindy Cousineau, toutes sont sur la
bonne voie de rétablissement. Nous sommes reconnaissants
pour tout ce que vous avez fait pour Arteast.
Les expositions à la bibliothèque Blackburn continuent tout
comme celles de l’AJAE. Et, il y a aussi le site web qui fonctionne
bien maintenant grâce à Helen Rosseau. Grand merci à Elisabeth
Krug qui a pris la relève comme éditrice performante à notre
bulletin ‘Communiqué’. Nous souhaitons bonne santé à Bernard
Poirier et Carmen et sommes toujours contents de les revoir aux
événements d’Arteast.
Il y a eu aussi des épreuves dans ma famille. Maris et petitsenfants
tous ont besoin d’attention, ce qui peut nous distraire de
nos tâches . Je regrette de ne pas avoir pu mettre tout le temps
aux affaires d’Arteast. Mais, j’ai toujours eu le support et la
compréhension des membres. Mon plus grand désarroi a été la
maladie et le récent décès de mon père. Mes parents ont
toujours été des supporteurs aimants et indéfectibles concernant
mon art. Bien que ce soit la vie, seules les personnes qui ont vécu
une telle perte comprennent cette douleur. Ils me manquent
beaucoup. Mais leur aide et leur encouragement ont été
important dans mon développement artistique. J’espère être
aussi ce parent et grand parent aidant. En terminant : je céderai
le poste de présidente à la très habile et chaleureuseJosie De
Meo. Je sais que vous l’aiderez aussi merveilleusement bien que
vous l’avez fait pour moi. Au revoir! Mary Ann
Trad. I.L. Bouchard

IN THIS ISSUE
Grow with Art/ L’art en herbe: Canadian War Art....................................................................................1,4
Grow with Art/ L’art en herbe : Insides and Outs of Composition..............................................................5
AJAE 2012: ANNUAL ARTEAST JURIED AWARDS /EXPOSITION ANNUELLE PAR JURY.......................6,7,8,9
Promenade-Award Winners – Gagnants 2011…....................................................................................10-11
Arteast Think Tank Update to Members...............................................................................................12-13
The First Nuit Blanche in Ottawa / Colour Mixing Workshop with Susan Ashbrook…………………..……..…14
Ads, Notices…………………………………………………………………………………………………..………….…….................…15-16
Canadian War Art, Dr. Laura Brandon, GWA contd. / suite
Dr. Brandon explained that during the
first and second world wars, there were
150 artists employed by the Armed
Forces, but after the end of WWII there
was a gap in official use of artists by the
Department of National Defence. Some
regiments actually hired artists on their
own to document their experience during
the Cold War and on Peacekeeping
missions. No artist was hired during the
Korean War, but one soldier, Ted Zuber,
painted 15 pictures about Korea, 25 years
after the war, and these have been added
to the War Museum collection.
In 1968 a new program was established,
the CAF Civilian Artists Program, which
lasted until 1995. These works tended to be
documentary, often focusing on the
technical/mechanical in style and subject matter. That
program was replaced by CFAP in 2001. CAF/CAP
artists were contracted to give a certain number of their
art works to DND, but CFAP artists are not required to
contribute specific art works. The art of this period was
more contemporary in approach, a good example being
the Somalia works by Gertrude Kearns.
The October talk had many humorous moments–such
as when works reminded Dr. Brandon of Monty Python
etc. It was a very informative and pleasing
presentation. Mary Ann Varley
War Artist Charles Comfort, WWII
4
Le Dr. Brandon mentionnait que durant
la première et seconde guerres, 150
artistes étaient employés par les Forces
de l’armée. Mais, suite à la Seconde
grande guerre, à la demande du
département de la Défense nationale, ce
fut un vide d’emploie d’artistes.
Actuellement, quelques régiments
engagent des artistes pour documenter
leur expérience, tels que la Guerre
froide et les missions de maintien de la
paix. Aucun artiste n’a été engagé lors
de la Guerre de Corée, mais le soldat
Ted Zuber a peint 15 tableaux, 25 ans
après la guerre, oeuvres ajoutées à la
collection du Musée de la guerre.
De 1968 à 1995, il y avait le ‘Civilian Artists Program’.
Les œuvres tentaient surtout à documenter dans un
style technique/mécanique. Ce programme a été
remplacé par le CFAP en 2001. Les artistes du CAF/CAP
devaient donner un certain nombre de leurs œuvres au
DND, tandis que les artistes du CFAC ne sont pas obligés
de remettre des œuvres spécifiques. L’art de cette
période a une approche contemporaine, exemple, les
œuvres de Somalie de Gertrude Kearns.
La conférence d’octobre s’est déroulée avec des
moments drôles, exemple, lorsque des œuvres
rappelaient au Dr. Brandon le Monty Python etc. Quelle
belle présentation éducative et agréable !
Tr. I.L. Bouchard
More information/ Plus des renseignements: Canadian War Museum website, Canada’s War Art, Backgrounders in
Canadian Military History: http://www.warmuseum.ca/education/online-educational-resources/dispatches/canadaswar-art/

The Insides and Outs of Composition
Grow with Art – l’Art en Herbe
September 25, 2012
Presentation by Mary Ann Varley
The planned speaker, David Kearns, was inadvertently
double booked, so Mary Ann Varley gave a presentation
on The Insides and Outs of Composition. Twenty three
people were out the first session of the year.
She began her presentation with what is considered the
“inside” of a composition– the heart of the matter, which
begins with the initial concept. As artists we have to
consider why we love this subject, what other thoughts
come to mind to support this concept– such as your
personal background, your dreams, historical and literary
connections, and even music–this is all part of our
inspiration. She quickly reviewed the elements of design
and how they are arranged through the principles of
composition.
Every artist has their own planning cycle, where the
concept is identified and reflected upon. Then the
concept is reconstructed for a more engaged composition.
Technically, each composition has to have a focal point
and an entry point for the viewer, and this was
demonstrated through a couple of little exercises. A brief
discussion of the golden mean was presented, and some
quick tricks to achieve the perfect focal point by using the
ratio of 1:1.618 as a mathematical way to
achieve perfection.
Mary Ann suggested some ways one can
improve compositions by kicking the
concept up a notch with some ideas from
Nicholas Roukes. 1
• Subtract or simplify
• Repeat shape or idea
• Combine or link images
• Magnify items for interest
• Transfer to a new background place
• Own your subject completely and emotionally
• Be aware of the movements and forces in the
picture and enhance them through gesture and
position
• Change the scale of some objects
• Substitute, switch and replace
• Fragment or open up objects for greater interest
• Crop or detach objects for greater interest
1 Roukes, N., Art Synectics: Stimulating creativity in art. 1982.
Davis Publications Worcester,Mass.
5
• Twist or distort the form out of its real shape for
dream like qualities
• Disguise, camouflage, deceive the viewer
• Contradict the laws of nature–“fish can fly,”etc.
• Use Optical illusions, reflections, etc.
• Parody/ mock/ caricature
• Prevaricate–bend the truth–a tree house or a
castle in the tree?
• Form analogies which are logical and illogical for
new perceptions and metaphors
• Hybridize or cross-fertilize, not only content ideas,
but elements also
• Metamorphose–change /grow
• Symbolize use iconographic or personal symbols
• Mythologize build a belief system around your
subject
• Fantasize–surreal/outrageous/ bizarre thoughts
on the content and context of the subject.
Mary Ann concluded the presentation
with some suggestions to check good
composition. Such as:
a. What was my original
objective?
b. What is my focal point? Does
my eye travel to other areas?
Why?
c. What is my value scale?
d. Have I achieved harmony/unity through
arrangement? Colour choice? Warm or cool?
Relationships (no kissing)?
e. Do lines/shapes/objects complement each other?
Are there distracting things?
f. What creates surprise and interest? Is there
enough variety and contrast?
g. Is there one centre of interest?
h. Is the eye led through the picture to the center of
interest?
i. Is the eye kept within the picture frame?
j. Is the centre of interest your focal point position?
k. Does the greatest tonal range appear at the focal
point/centre of interest?
l. How do the positive and negative shapes interact?
m. Is the composition warm or cool in its colour
choice?
n. Is the rhythm, movement, and pattern of
brush/pencil strokes enhancing the composition?
o. Interesting or boring? Why?
Mary Ann Varley

Day Lilies, oil
AJAE 2012: ANNUAL ARTEAST JURIED AWARDS EXHIBITION
St. Laurent Complex, September 29- November 30, 2012
The annual Arteast Juried Awards Exhibition for
2012, as usual, did not disappoint. Forty-three
artists contributed one art work each to be
judged and displayed in the main hall of the St.
Laurent Complex. Although each art work was a
winner, the judges had the difficult job of
choosing from among them the first, second, or
third place, in a variety of categories. There was
also an overall category, Best in Show, and
Christopher Tinkler was chosen for his work,
Broken Ascent, in carbon pencil. The nine
categories were established by the medium
employed, and the judges had their prescribed
criteria.
Oil/ Huile : 1st /1er, Mike Stenson, Day
Lilies; 2nd /2e , Elisabeth V. Krug, Kitchen
Window (Interior).
Opaque Acrylic/ Acrylique opaque : 1 st
/1er, Betty-Anne McDonald, Like Father
Like Son; 2nd /2e, Virginia Dupuis,
Reunification; 3rd / 3e, Beata Jakubek,
Windy Day.
Like Father Like Son, acrylic
Other Media , Mixed Media/ Autres
mediums, technique mixte : 1st /1er,
Jessie Parker, Across the Piazza; 2nd/ 2e, Karen Miller, fiber, Fungus Adventure;
3rd /3e,Tara Dawes, Stormy Peace, encaustic.
Transparent Watercolour / Aquarelle : 1st
/1er, Dwain Syke s, Sentinels Along the Ridge;
2nd /2e, Norman Goddard, Cactus Land; 3rd
/3e, Rosalind Wong, Canadiana.
A big shout goes out to all the volunteers– and
their tireless efforts: organizing, categorizing,
hanging, communicating – and all with
smiles on their faces! Without their
dedication the show would not go on! I
am sure we would all like to thank each
Across the Piazza, mixed media
one personally for their endeavors.
Thank you : Helen Rosseau,Tom Scott,
Mira Wasilewska, Cheryl Mattice, Maryse Legault , Maureen Rooney
Mitchell, Lindy Nadarajah, Virginia Dupuis, Jose De Meo and Rosalind Wong,
along with other artist volunteers who gave their all to make sure the event
was a resounding success. Without the hard work of all these volunteers,
Arteast would not be the driving force in the Ottawa art community that it is today.
Vicki E. Rutherford
6
Mary Ann and Mike Stenson
Mary Ann and Betty-Anne McDonald
Sentinels Along the Ridge, watercolour
Rosalind Wong (l.) and guest

AJAE 2012: EXPOSITION ANNUELLE PAR JURY POUR PRIX
L’exposition annuelle 2012 par jury pour prix d’Arteast s’est déroulée avec succès au
Complexe St.-Laurent. Quarante-trois artistes, dont une œuvre par artiste a été jugée et
accrochée dans le hall principal du Complexe. Puisque chaque œuvre était gagnante, il était
difficile pour les juges de déterminer la première, deuxième ou troisième place des diverses
catégories. Une autre catégorie s’ajoutait : ‘mention spéciale’ gagnée par le tableau Broken
Ascent de Christopher Tinkler. Les médiums se regroupaient neuf catégories et les juges
répondaient aux critères établis.
Riomaggiore-New Vision 5
Water-Soluble Media/ Médium soluble dans
l’eau : (one entrant) 1st / 1e Isabella Lévêque-
Bouchard, Light Wave.
Photography / Photographie: 1st / 1 er , Roy
Whiddon, Minaret; 2nd / 2e, Ruth Dick, Dandy
Lion; 3rd / 3e, Jane Cass , Morning Mist on Fairy
Lake
Works on Paper and Hand-Rendered,
Papier et estampe : 1st / 1e,
Christopher Tinkler , Broken Ascent;
2nd / 2e, Ted Johnston , woodcut,
Canal in Venice; 3rd / 3e, Monique
Miller, etching , Crossroads.
Computer Generated Artwork / Œuvre
générée par ordinateur : 1st / 1e,
Robert Arnold, Riomaggiore - New
Vision 5.
Three Dimensional Artwork / Œuvre
tridimensionelle : 1st / 1e, Patrick Imai,
soapstone carving, Reaching for a Star.
Une grande acclamation à toutes et tous les bénévoles pour leur inlassable
effort : organisation, catégorisation, accrochage, communication, le tout
Minaret, photography
fait avec grand sourire! Sans leur dévouement l’exposition n’aurait pas
lieu! Nous aimerions les
remercier
individuellement pour
cet effort. Des mercis
particuliers s’imposent
auprès de : Helen
Rosseau, Tom Scott,
Mira Wasilewska, Cheryl
Mattice, Maryse Legault,
Maureen Rooney
Mitchell, Lindy
Nadarajah, Virginia
Mary Ann, Tara Dawes
Dupuis, Jose De Meo, Rosalind
Wong, ainsi qu’aux autres
Mary Ann, Monique Miller
artistes bénévoles qui ont aidé à assurer le succès de cet événement.
Arteast ne pourrait être une force vive dans la communauté de l’art sans
l’implication de ses membres Tr. I.L. Bouchard
7
Light Wave, water soluble media
Reaching for a Star, soapstone

Christopher Tinkler
Susan Cornthwaite
Carmen Dufault
AJAE 2012 PHOTO GALLERY
St. Laurent Complex, September 29-November 30, 2012
Carol Renaud
Bernard Poirier
Elisabeth V. Krug
8
Jane Cass
Alex Kotlyar
Louise Bérubé
Kate Daller

AJAE 2012 PHOTO GALLERY
St. Laurent Complex, September 29-November 30, 2012
Clarisse Cheseaux Joanne Beaubien.
Caroline Malek.
Virginia Dupuis
Karen Miller
Maryse Legault
9
Norm Goddard
Elizabeth Baechlin
Joanne Tremblay

Promenade Arteast : Award Winners-Gagnants 2011
Bernard Poirier, Swan Lake,
watercolour
Shenkman Arts Centre, Oct. 25, 2012 – Jan. 8, 2013
In late October 2012,
Promenade Arteast
was graced with the
2011 AJAE Juried
Award winners or
viewers’ choices. The
main entries are drawn
from last year’s AJAE
show plus a few
viewers’ choices from
Queenswood Villa. The
exhibit continues
through to January 8.
The show reflected the
varied talents of
Arteast, with all visual
media represented. Twenty-five pieces from 20 artists
were hung. They included oils,
acrylics, water colours, pastels,
photographs, works on paper, and
mixed media. Sculptures were not
included–as there is no secure cabinet
(yet) for the Promenade.
The vernissage on October 28,
attracted viewers on its own merits,
as well as drawing viewers from the
adjoining show in Trinity Art Gallery.
Although several artists were present
to meet with visitors, the majority of
those represented were absent.
Represented in this show were: Robert Arnold, Jane
Cass, Margaret Chwialkowska, Justus Cohoe, Kate
Daller, Aline
Dubois-Belley,
Virginia Dupuis,
Lynda Dyson,
Diane Groulx,
Ted Johnston,
Veronica Keith,
Frances A.
Langstaff,
Isabella Lévêque
Bouchard, Betty-Anne McDonald, Maureen Rooney
Mitchell, K. Lindy Nadarajah, Jessie Parker, Bernard
Poirier, and Roy Whiddon.
By Ted Johnston (above)
10
Depuis la fin
d’octobre
2012,
Promenade
Arteast est
honorée
d’avoir les
gagnant(e)s
de
l’Exposition
annuelle par
jury pour prix
AJAE de 2011
Maureen Rooney Mitchell,Glimpsing an
Earlier Heaven, oil
ainsi que ceux du choix du public à Queenswood Villa.
L’exposition est en cours jusqu’au 8 janvier 2013.
L’exposition reflète la variété de talents d’une vingtaine
de ses membres et de l’éventail de
médiums représentés tels que : huile,
acrylique, aquarelle, pastel,
photographie, travail sur papier et
technique mixte. Faute de cabinet à la
Promenade, les sculptures ne peuvent
pas être encore exposées.
Le jour du vernissage, le 28 octobre, le
public a montré de l’enthousiasme à la
vue de ces tableaux tout comme ceux de
la Galerie d’Art Trinity. Un certain
Jane Cass, Train Trestle,
photography
nombre d’artistes participant(e)s étaient
présent(e)s pour rencontrer les visiteurs.
Ces artistes sont :
Robert Arnold, Jane
Cass, Margaret
Chwialkowska, Justus
Cohoe, Kate Daller,
Aline Dubois-Belley,
Virginia Dupuis, Lynda
Dyson, Diane Groulx,
Ted Johnston, Veronica
Keith, Frances A.
Langstaff, Isabella
Lévêque Bouchard,
Betty-Anne McDonald,
Maureen Rooney Mitchell, K. Lindy Nadarajah, Jessie
Parker, Bernard Poirier, Roy Whiddon.
Trad. I.L.Bouchard (d.)

Promenade Arteast : Award Winners of 2011 Oct. 25, 2012 – Jan. 8, 2013
Kate Daller. Susan
Diane Groulx, La Couette de mon Pays.
Robert Arnold. Woman in a Window (A-15)
Betty-Anne McDonald. Fragile.
J. Beaubien-Goddard
Margaret Chwialkowska
Maureen Rooney Mitchell. Lobster Pots.
Roy Whiddon. It's Not Polite to Point.
11
photos by Virginia Dupuis
Virginia Dupuis. Japan 11-03-11.
Jessie Parker. Ready and Waiting
Linda Dyson

Arteast Think Tank
November 2, 2012
Update to Members
from the notes of Marion Jean Hall prepared by Mary Ann Varley
This year our Think Tank took place on Friday night, November 2, and was a supper meeting. There
were 15 present, including executive and members.
Our task for the evening discussions was focused on “BIG PICTURE” PLANS FOR ARTEAST 2013
and on to our 25th Anniversary in 2015. Ted Johnston chaired the meeting, and Marion Jean Hall took the
minutes. The topics were projected on a screen as we went along so that all could follow easily. For each of
the following topics we attempted to answer the questions by :
Examining our programs and organization: where do we want to be in one year, and in three years?
What initiatives do we have to take to achieve these goals?
Our topics were:
A. Incorporation
B. Arteast Memberships in the community
C. Membership
D. Services to member– there are 4 items:
1) Displays/Shows
2) Communications-Internal
3) Grow with Art/L’art en herbe
4) Other services we should provide to our members?
E. Financial Plans
The discussions were very fruitful, and the executive feel that they now have a clear path for planning
our next year and forming the base for our plans leading up to our Silver Anniversary in 2015.
A. Incorporation: We want to achieve this goal in 2013. We see several steps to take including research
for our name and possibly a name change. Several possible names were suggested. Fortunately our
constitution and bylaws are up to date and in good order for us to take the step to incorporate. We also
discussed the nature and possible source of members for a Board of Directors. We discussed the role
the directors would take in developing our business plan and giving good advice to the elected
executive for achieving its goals. Sources such as the Orleans Chamber of Commerce and the AOE
Council for suggestions for the possible Board members were discussed. We concluded the discussion
by indicating that the Steering committee of Mary Ann Varley, Carmen Dufault and Ted Johnston
would plan to continue to work to achieve this goal within the next year, pending new provincial
legislation.
B. Arteast Memberships in the community: We looked at the corporate ones first. Many suggestions
were made including those with whom we share a common interest, including AOE Arts Council, the
City of Ottawa Cultural Department Liaison Mike Taylor, Ottawa School of Art, and various other art
groups/associations in the city. We felt we could do more collaborations and connect with community
at large in new ways such as joint field trips etc. Secondly, we looked at those community events
which we have a shared or common interest. These included Nuit Blanche, Festival Orléans, Connect
Café. We also considered how we could tap into their ideas and network with and through them. We
specifically looked at the project by the National Capital Sculptor’s Network who are sponsoring
projects at the Ottawa Boys and Girls Club.
Contd. p. 13
12

C. Membership in Arteast. We looked at membership in Arteast. Discussions centered around how we
hold on to members. Why members leave. What activities draw membership? It was generally felt that
members joined Arteast in order to show work in our shows. Ultimately we felt we needed to manage
our membership list better with information on volunteering, interests, and abilities.
We also looked at how we reward volunteers. We felt that the personal contact made with our
members such as the phone calls made by Josie is an excellent contact with them. We also discussed
awards such as reduced membership fees for longstanding executive and volunteers but we felt this
should have a clearly established criteria which would be supported by all members. There was also a
suggestion that we encourage shadow or mentors for each executive position in order to share out the
workload and get new members to volunteer for executive positions.
D. Services to members. There are 4 items and we began with (1) Displays/Shows. All the shows seem
to be working well with only a few little changes to be made. It was generally felt that Budding Artist
needed to have tighter criteria for entry and have it published early especially to art teachers in the area
and possibly through Café Connect. In addition, we would like to get a firmer handle on the contracts
with the local libraries. Possibly a letter to the chief librarian and the library board to indicate how
glad we are to have these opportunities should be written.
Next we tackled our (2) Internal Communications. The actual cost of the paper newsletter and postage
was a concern and we looked to streamline this. We receive money from the city for our Grow With
Art/L’art en herbe and 40% of our newsletter costs are covered through this. But members must accept
that without a grant we may have to increase fees in order to cover these costs. Email bulletins and
website were praised as working very well. Possible “FaceBook” and “Twitter” were also discussed as
ways to reach out to members. The brochure is highly effective and a really good way to attract
members and inform them of all our activities. Evidence is that most members use the form on the
brochure to join or renew their membership.
Next, (3) Grow with Art/L’art en herbe is such a wide ranging area that it was felt that they really
needed to restructure. One area is Professional Development for membership and another area is
Outreach to the Community. We know we get our grant for our outreach so we would not want to
make too many changes. But the changes to make GWA more easily administered were proposed.
The Grow with Art committee will consider restructuring and present this to the executive. It was
decided we would not add any more projects in this area until it is re-evaluated.
It was noted that there is an urgent need for a reporter who would write Grow with Art articles for the
Communiqué.
In (4) Other services we should provide to our members, we discussed rewarding and recognizing
volunteers with a clearly established criteria. The 25th anniversary will provide us with a great
opportunity to do this in a special way.
E. The last topic and probably the most important was the sound financial plan for the future. Specific
information about each element of the budget will be needed if we are to make sound decisions not
only for incorporation but also in regards to our shows and projects. An overview for each elements
revenue and expenditures will be required in order to make a reasonable plan for the next and upcoming
years.
In conclusion, these were very necessary and engaging discussions and we thank all the members who
participated to keep Arteast on a steady course for the future. Members can expect to see the full plan of
action presented at the Annual General Meeting in the New Year. The executive would encourage members to
bring forward any concerns and any constructive comments as we move forward in 2013 and toward our 25th
anniversary in 2015.
Arteast Think Tank 13

The First Nuit Blanche in Ottawa
LA VIE EST BELLE / LIFE IS BEAUTIFUL
Saturday September 22, 2012
OOH What a Saturday Night – and Arteast was there!! Despite some local sceptics, Josie De Meo was
instrumental in getting our Arteast project into the program of the first ever Nuit Blanche in Ottawa, on Saturday
September 22, 2012. The project was simple – to give young artists a chance to do some painting and be part of the
night for artists.
A bold group of Arteast volunteers came out to support our project. Thankfully the skies cleared and our little
setup in the park behind the Parkdale Market turned out to be an ideal setting, as there were children playing their
already. Josie De Meo had the tables set up with protective covering and even a small tent in case of rain. Lighting was a
problem but Marc Meloche worked the phone until someone from the city came to turn the switch. There was a small
parade into the park at 7:00 p.m. with drummers drumming and many costumed children and adults.
Lisa Johnston, Pari Zati, Maureen Rooney Mitchell, Helen Rosseau, Claudine Page, Joanne Larose, and Mary Ann
Varley all had a great time helping the children try out painting on the big canvas with acrylic paint, or making little
watercolours- with a shake of salt for special effects! Proud parents enjoyed watching their children and taking tons of
photographs. Mari Brown dropped by with friends and family, too. Arteast volunteers took plenty of photos, check our
web site.
We finished up by 9:00 p.m. and then we headed off to join the festivities in all sorts of venues, both in the west
end and in the Byward Market area. The general feeling of joy and celebration pervaded every venue. The St Brigid’s
Centre for the Arts, The Rectory, Planet Coffee and the Thousand Elephants project, Galleries, the OSA, and all the
installations were stimulating and engaging for all. WHAT A SATURDAY NIGHT! Thank you, Josie, and all the organizers of
NUIT BLANCHE! We can hardly wait ‘til next year. Start planning your own ways to celebrate “the night for artists.” By
Mary Ann Varley
Colour Mixing Workshop with Susan Ashbrook:
The Michael Wilcox Method
Refreshments were provided,
and many brought their
lunches for a social time
together mid-day. The afternoon was spent working on individual
projects, with Susan giving helpful hints for colour mixing solutions. Using
split complimentary colours was challenging at first, but it became a very
useful tool in the artist’s toolbox, for me personally. This unique method
of accurate colour mixing is particularly useful if one were copying an
image, or even for the plein air painting. Virginia Dupuis was the
photographer for the event, and Mary Ann Varley was the Grow With Art
organizer.
Mary Ann Varley
An exciting full day workshop with Susan Ashbrook took place on Saturday
November 24 at the Queenwood Heights Community Centre, 1485 Duford
Drive. There were twenty two participants including many new members of
Arteast. The course material was very carefully prepared, with individual
paint on forms, to guide us through the steps to better colour mixing using
only 6 colours. The Michael Wilcox method uses split complimentary colours
to achieve accurate colour mixing.
14

Paint in Provence at the Centre Artistique de Piégon
15
By Ellen Desmarais
Have you ever wanted to paint in the south of France?
The Centre artistique de Piégon , created by the Swiss artist Jean-
Pierre Eichenberger, is a working retreat for sculptors, painters, musicians
and those who enjoy an atmosphere of arts and music. It is located in a 17 th
century manor house in Provence overlooking lavender fields, vineyards and
olive groves. Together with the architectural features of the Centre itself, a
vast selection of interesting focal points is available in the area.
Located close to many picturesque villages in Provence, such as, Nyons, Buisles-Baronnies,
and Vaison-la-Romaine, there is accommodation for 12 guests;
gourmet meals are served on the terrace or in the dining room. There are
meeting rooms, a library and a gallery where concerts, conferences,
exhibitions and workshops can be held throughout the year. The Centre is
easily reached from the airports of Marseille or Lyon, and from the TGV (high
speed train) at Avignon or Orange where car rentals are available.
For more information and photographs, go to: www.art-piegon.org, or watch
the video on YouTube:
www. youtube.com/centreartistiquedepiegon. You may write or telephone
Sheela or Claude Eichenberger in either English or French. E-mail:
piegon.centre-artistique@wanadoo.fr Telephone from Canada: 011 33 4 75 27 10 43. Mail: Centre Artistique de
Piégon, 26110 Piégon, France.
Norman Pirollo:
Philadelphia, 2013
Niche Awards Finalists to announced February
website: http://www.nicheawards.com/

NOTICES AND HANGING SCHEDULES
GROW WITH ART
Professional Development for
Visual Artists / Développement
professionnel pour les artistes en
arts visuels.
Meetings on the 4th Tuesday of every
month, 7:30 p.m., Orleans Client
Services Centre, 255 Centrum
Boulevard, room 340, - except in July,
August, and December.
January 22, 2013: Annual General
Meeting and Presentation:Websites
and Blogs: What artists need to be
connected. By Jesse B. Hildebrand.
February 26, 2013: To Frame or Not to
Frame. By Patrick Gordon.
March 26, 2013: Acrylic Mediums and
Gels. By Susan Ashbrook.
April 23, 2013: Coloured Pencil Art. By
Allison Fagan.
����������������������������
Norman Pirollo: Atrium Gallery , 101
Centrepointe Dr., Ottawa, Go Figure,
solo exhibit, March 22 –April 22, 2013.
Olga Radushkevich: Ottawa Little
Theatre, permanent exhibit; OMMA
Gallery, Nepean Sportsplex, Jan.- April;
Same But Different , Trinity Gallery A
Shenkman Ctre., Jan.10–Feb 12, 2013.
LIBRARY EXHIBIT
SCHEDULES
Library exhibits change every second
month, the uneven months:
Jan., Mar., May, Jul., Sept., and Nov.
Orléans Library
1705 Orléans Boulevard, K1C 4W2
Changes on the first Tuesday:
January 8, March 5, May 7, July 2,
September 3, November 5, between
10:30 and 11:30 am.
Contacts: Arlette Castonguay, 613-446-
5793, arlettecastonguay@gmail.com.,
Betty Anne McDonald, bettyanne.mcdonald@sympatico.ca
North Gloucester Library
2036 Ogilvie Road, K1J 7N8
Changes on the second Tuesday:
January 15, March 12, May 14, July 9,
September 10, November 12, between
10:30 and 11:30 am. Contacts:
Christine Gendron, 613-824-4790,
christinegendron@sympatico.ca,
Elisabeth Krug, 613-244-5248,
ek8781@gmail.com.
Cumberland Library
1599 Tenth Line, K1E 3E8
Changes on the third Monday:
January 21, March 18, May 27, July 15,
September 16, November 18, between
7:00 and 8:00 pm. Contacts: Aline
Joanis, 613-834-0669,
alinejoanis@yahoo.com, Clarisse
Cheseaux, 613-834-9465,
clarisse.cheseaux@sympatico.ca.
16
Blackburn Hamlet Library
199 Glen Park Drive, K1B 5B8
Solo or group, advance reservation.
Contacts: Francine Stolz,, 613-830-
2665, fstolz@sympatico.ca, Roger
Larose, 613-834-0271,
rdlarose@rogers.com.
Kerstin Peters. Nov.29 – Jan. 31.
PROMENADE ARTEAST
Six Shows a Year
Shenkman Arts Centre, 245 Centrum
Contact: Maureen Rooney Mitchell
October 25–Jan. 8, 2013: 2011 AJAE
Prize Winners
Jan. 10–Mar. 19, 2013: Artistic
Interlude.
Mar.21–May 21, 2013:
Members’Exhibit.
May 23–July 23: Plein Air,Cumberland
Village.
Exhibits change every two months,
with an average of 19 artworks hung.
TRINITY ART GALLERY
Shenkman Arts Ctre.
Contact: Maureen Rooney Mitchell,
Feb. 14–Mar. 19, 2013. Mosaic.
ST. LAURENT COMPLEX
Holiday Mix – till Jan. 26, 2013
Winter Mix. 2013.
ARTEAST WEBSITE:
www.arteastottawa.com
Committee members and contacts also
at p.2 of this issue under “GALLERIES”.
MEMBERSHIP FORM NEW RENEWAL
Name ……………………………………………………..E-mail …………………………………………..
Address …………………………………………………………………………………………………….…
City ………………………….Postal Code …………….Tel (H) ………………… (W) ……………..….
Media …………………………………………………………………………………………………….……
I am willing to help with Exhibitions Executive Workshops Receptions Other
Membership fee is $30.00 per year payable to Arteast and addressed:
The Treasurer, Arteast, Box 5, suite 260, 245 Centrum Boulevard. Orléans ON K1E 0A1