Visual Language Magazine Contemporary Fine Art Vol 2 No 1 January 2013

V I S U A L L A N G U A G E 

contemporary fine art 

VL 

January 2013 

Volume 2 No. 1 

Cover Artist Kimberly Conrad 

www.cfai.co/kimberlyconrad

How many Blogs do you post on every day 

Save your hours for the studio and painting...you need 

The Fairy Blogmother 

http://thefairyblogmother.blogspot.com/ 

VISUAL LANGUAGE 

Contemporary Fine Art 

January 2013 Vol 2 No 1 

@GraphicsOneDesign1998-2013 

visuallanguagemagazine.blogspot.com

Kimberly Conrad 

Though her style remains quite diverse, Kimberly believes 

she has the heart of an Abstract Expressionist, or even 

more accurately, an Action Expressionist, as she is most 

definitely an “action painter”. Her preferred application, 

used in her non representational abstract paintings, as 

wells her landscapes, seascapes and aspens is to “pour” 

her paint, manipulating the flow with water and body 

movement. She use no sketches or brushes, allowing the 

paint to move freely and tell it’s own story. 

“Each painting is a journey , dictated by primarily by my 

current thoughts and emotions, be they happy, sad, peaceful 

or frenzied.It is a mysterious relationship, and is thrilling 

when the painting finally reveals itself, and our private 

journey becomes a story to share.” Kimberly Conrad 

Conrad has enjoyed gallery representation throughout the 

state of Colorado; her work can also be found in private 

and corporate collections worldwide, including Corporate 

Offices, Hotel and Restaurant. 

CFAI.co Cover Artist

Features this month 

New Artists Pages 5-6 

Painter’s Keys - Robert Genn 

Page 8 

Art Challenge Pages 15-20 

Juried Show Pages 27-30 

Best of Show Art Challenge: Ann Rogers 

Best of Show Juried Show: Judy Crowe 

Colors on My Palette Pages 23-26 

Featuring John Harrell and Linda McCoy

in Visual Language 

Hall Groat II Art Review 

Pages 39-40 

Featuring Texas Artist Laurie Pace 

Blog Review Abstract Artists 

Pages 43-50 

Features include Kimberly Conrad, Elizabeth Chapman, 

Nancy Eckels, Kim McAnnich, Rick Heck and Mary Jo Zorad 

Daily Painters Pages 65-66 

Collection Starters under $200 

Pages 67-74 

Featuring Sunny Williams, Carol Schiff, Maryann Lucas, 

Linda Rupard, Patty Ann Skyes, and MaryAnn Brooks

ART TELLS THE STORY 

Nicholas Elliot 

Professional Member 

France 

www.cfai.co/nicholaselliot 

Alejandro Castañón 


United States, Texas 

www.cfai.co/alejandrocastanon 

Esther Miller 

Associate Emerging Member 

United States, Texas 

www.cfai.co/esthermiller 

Velia Lala 

Associate Emerging Member 

United States, Louisianna 

www.cfai.co/velialala 

5

NEW ARTISTS ON CFAI.co 

Manuela Valenti 

Signature Member 

United States and Italy 

www.cfai.co/manuelavalenti 

Lynne Cunningham 


United States, California 

www.cfai.co/lynnecunningham 

Karen A. Taddeo 

Associate Member 

United States, Florida 

www.cfai.co/karentaddeo 

6

Visual Language Masthead 

VISUAL LANGUAGE 

Contemporary Fine Art 

Visual Language Magazine Staff 

Editorial 

Editor -in-Chief Laurie Pace 

Executive Editor Diane Whitehead 

Managing Editor Nancy Medina 

Deputy Editor Debbie Lincoln 

Feature Editor Art Reviews Hall Groat II 

Feature Contributor Robert Genn 

CFAI Blog Editor Kimberly Conrad 

Associate Editor Lisa Kreymborg 

Feature Contributor - Robert Genn Painter’s 

Keys 

Advertising 

Contact VisualLanguageMagazine@gmail.com 

Marketing and Development 

Director Laurie Pace 

Senior Director Diane Whitehead 

Junior Director Lisa Kreymborg 

Nancy Eckels (USA) 

Nicholas Elliott (France) 

7 

All Artwork is Copyrighted by the Individual Artists. 

Visual Language Vol 2 No 1

Painter’s Keys 

with Robert Genn 

November 27, 2012 

Dear Artists, 

Robert Genn’s 

Studio Book 

One foggy morning, I was painting on the edge of the Seine within a few miles of Monet’s home in Giverny. In the 

distance and coming upstream toward me was what looked like an American birch-bark canoe. Barely able to 

make out the unlikely apparition in the mist, I figured the canoe to be haphazardly made, and its occupants to be 

two teenage boys. Sure enough, as the canoe came alongside, it was a patched-up mishmash paddled by a couple 

of kids who had probably overindulged on The Last of the Mohicans. 

It didn’t hurt that I knew a wonderful story about Jean-Marie Toulgouat. Born in Giverny in 1927, the year after 

Claude Monet died, Toulgouat, as a boy, had taken painting lessons from Blanche Hoschede Monet, one of Claude 

Monet’s adopted daughters. Sometime near the beginning of the Second World War, Jean-Marie and a schoolfriend 

built an American Indian-style canoe. The story goes that they soon ran out of proper boat-building materials. 

“Blanche provided the answer to the boys’ problem,” reported the London Daily Telegraph on the occasion of 

Jean-Marie’s death in 2006. “In old age, Claude Monet had been in the habit of having his gardener burn those of 

his pictures which he had come to consider not good enough. Blanche had tried to impede this by instructing the 

gardener covertly to store the condemned paintings in the garage. She now told Jean-Marie that he could finish off 

the bow and stern of the canoe with pieces of these canvases. Thus Jean-Marie and his friend paddled the Seine in 

a boat partly constructed from the works of Claude Monet.” 

Toulgouat grew up to become a popular painter. But his greatest legacy was his restoration of Monet’s home and 5 

garden in Giverny. The property, which was almost derelict by 1970, is now a National Historic Site. More than 

a million visitors pass through the studio, home and garden every year. On Mondays you can paint on the premises. 

FYI, we’ve put up some of Toulgouat’s and Monet’s paintings at the top of the current clickback. If you get a 

chance, please drop me a note. I’m curious if others have experienced a deja vu while painting. 

Just in case you’re wondering, Toulgouat’s canoe was later reported to have been burned. 

Best regards, 

Robert 

5 

Painter’s Keys - Robert Genn 

PS: “Lots of people will protest that it’s quite unreal and that I’m out of my mind, but that’s just too bad.” 

(Claude Monet) 

8

Sign up to receive our magazine release monthly at 

VisualLanguagemagazine.blogspot.com 

9

Anne Hines 

AnneHinesArt.com 

Submit your portfolio to join 

Contemporary Fine Art International. 

www.cfai.co/register 

10

WENMOHS 

Artists Retreat at 

Art Workshop Sc 

Lodging is available on a first come, first serve basis. There is additional hotels and motels in nearby Marbl 

Lunches are prepared for you and in the evneings, everyone brings food to share along with a favorite bottl 

for over eight generations and is today an active cattle ranch. 

JUDY GELFERT 

Oils/Studio February 9-10 

$240 

PAT CANNEY 

Oils/Studio Working from photos or 

mannequins February 19-21 

$350 

CAROL NELSON 

Acrylic/ mixed medium/ S 

abstract February 25-28 

$450 

LIZ HILL 

Drawing and painting the 

figure in mixed media 

May 9-11 

$350 

TOM LYNCH 

Watercolor/ Studio 

May 20-23 

$575 

http://www.wenmohsranch.com/Art%20Classes.htm 

BOB ROHM 

Oils, Pastels/ Plein Air 

October 25-27 

$360

RANCH 

the Bunkhouse 

hedule for 2013 

e Falls. Our aim is to make you happy and see to it that you have your best learning experience ever. 

e of wine. Life is truly good at Wenmoh Ranch. The Texas Ranch has been in the Wenmoh family 

tudio/ 

DON SAHLI 

Oils/ Studio/ Plein air 2 days of each 

March 4-7 

$595 

RUSTY JONES 

Oils/ Plein air 

March 20-22 

$350 

ROBERT BURRIDGE 

Acrylic, Studio/ abstract 

April 1-5 

$630 

Also soon to schedule will be the great teaching team of KAREN 

VERNON and KEN MUENZENMAYER. 

For those of you looking for a great holiday gift idea--other than 

a class at the WENMOHS RANCH, En Plein air Pro is offering a 

15% off until the end of 2012 on all of their artist easel packages. 

See you at the Bunkhouse! 

DON SAHLI 

Oils/ Studio/ Plein air 2 days of each 

November 4-7 

$595 

Dena Wenmoh 

http://www.wenmohsranch.com/Art%20Classes.htm 

12

Layering experiences with color, 

paper and texture into life. 

S U Z Y P A L P O W E L L 

www.cfai.co/suzypalpowell 

http://www.suzypal.blogspot.com/ 

13

www.cfai.co/suzypalpowell 

14

CFAI.co Art Challenge “G 

Best of Show 

ART CHALLENGE 

15 

http://www.cfai.co/art-challenge-november-2012-gratitude/

atitude” November 2012 

Ann Rogers 

http://www.cfai.co/annrogers 

Left: Winning Painting 

Church 

Watermelon 

by Ann Rogers 

ART CHALLENGE

First Place 

ART CHALLENGE 

Nathalie Kelley 

Freedom 

17 


Second Place 

ART CHALLENGE 

Tempy Berg-Gilbert 

Librarians Tea Time 


Third Place 

Melissa Doron 

Lady Liberty 

ART CHALLENGE 

19 


Honorable Mention 

Linda Bell 

Lisa McKinney 

ART CHALLENGE 

Abigail Gutting 

Marie Williams 


N I C H O L A S E L L 

http://nicholaselliott.blogspot.fr/ 

http://www.nicholaselliott.co.uk/Still-Life-Painting-Archive(2135317).htm

I O T T France Fine Artist 

When Nicholas Elliott joined CFAI.co it was evident he was a serious 

painter that connected with his heart and soul into his work. VL 

caught this posting on his blog and we believe it tells Nicholas Elliott’s 

story. 

During the course of this months daily paintings I am working 

on ‘freeing up’ my work. 

http://nicholaselliott.blogspot.fr/ 

In the Still Life Painting Archive on my website (www.nicholaselliott.co.uk) 

you will note that my work is very detailed. 

Those paintings take 5 to 7 days to complete and involve several 

techniques to arrive at the finished article. 

In the daily paintings I hope to capture the “itness” of whatever 

it is that I am painting in a single sitting if possible . . . 

but certainly within the day. Hopefully over the course of the 

month, by limiting the amount of time I spend on these small 

paintings and using mostly large brushes, I will achieve more 

immediacy in and expression in my work. 

During this project posting my results from the previous days 

work is rather like running down a busy high street naked 

though! Even more reason to work even harder.

John Harrell 

http://www.cfai.co/johnkharrell/ 

http://www.cfai.co/colors-on-my-palette/john-harrell/ 

COLORS ON MY PALETTE 

When did you realize you loved art and wanted to be ‘an artist’ I first started painting at the age 

of five. My grandmother who was an oil and pastel painter gave me a set of oil paints for Christmas. 

My first painting was a still life of fruit. 

Who has been the greatest influence from your past to mentor you to this career My Grandmother. 

Despite her battle with polio she continued painting her whole life 

.Who is your mentor today, or another artist you admire and why I think my partners Kit Heveron 

Mahoney, Anita Mosher and Kelly Berger at Brushstrokes Studio Gallery. They all continue to 

inspire me artistically to push myself in my work everyday. They all have made great strides in their 

own careers which proves to me everyday being an artist is the best career in the world. 

What is your favorite surface to paint on Describe it if you make it yourself. I enjoy the sturdiness 

of primed cotton canvas mounted on hard board. 

What brand of paints do you use Golden Thick Bodied Acrylics 

Do you have a favorite color palette I have standard Colors that I use most days but truly let the 

painting I’m working on dictate the color palette I use. 

What is your favorite color in your closet Baby Blue 

What subject appears the most in your paintings and why Figures in the urban setting. I think 

they tell the story of an urban composition and bring life to their surroundings. 

How often do you paint How many hours a week I paint five to six days a week with as many 

hours a day. 

How would you like to be remembered That life inspired my work and my work inspired my life! 

23


http://www.cfai.co/johnkharrell/ 

http://www.cfai.co/colors-on-my-palette/john-harrell/ 

24

Linda McCoy 

http://www.cfai.co/lindamccoy/ 

http://www.cfai.co/colors-on-my-palette/linda-mccoy/ 


When did you realize you loved art and wanted to be ‘an artist’ I was always amazed by art, but also 

convinced I wouldn’t be able to do it. I didn’t start painting until I was 35, I took a local oil painting workshop. 

It was an awakening for me and I have been painting ever since. 

Who has been the greatest influence from your past to mentor you to this career 

My mother who sat for hours and hours coloring with my sister and I while we recovered from Rheumatic 

Fever. 

Who is your mentor today, or another artist you admire and why For watercolor I admire the works of 

the incredbible Nita Engle. She has an incredible glow to her watercolors. John Lovett for the way he uses 

watercolor and ink. For oil painting I enjoy the work of John Singer Sargent, for not only his color palette, but 

the enormous body of work he created. The detail of his portraits in the jewelery and clothing, achieved with 

just a brush stroke are an amazement to me. 

What is your favorite surface to paint on Describe it if you make it yourself. For small detailed still 

life paintings I use gessoboard, I like the smooth surface. Other oil paintings are completed on canvas. For 

watercolor I use Arches 140lb cold press paper, or Sennelier 140lb cold press. 

What brand of paints do you use The majority of paints on my palette are handmade from Blue Ridge in 

Asheville, North Carolina. I like Gamblin’s Titanium White, and all of the other colors I use are from Winsor & 

Newton. 

Do you have a favorite color palette For oil paints I use white, cadmium yellow, cadmium yellow medium, 

permanent rose, cadmium red light, napthol red, pyrol ruby red, ultramarine blue, colbalt blue, cerulean 

blue, thalo blue, thalo green. This is my main palette of colors, but I will add a new color if I feel like experimenting. 

I do not use burnt umber, except on the very rare occasion I need a burnt umber back ground. I 

never mix it with any of colors on my palette. This is true in both oil and watercolor. My watercolor palette, is 

lemon yellow, aurolean, cadmium scarlett, permanent rose, windsor red, cobalt blue, ultramarine blue, cerulean 

blue, paynes grey, thalo green, these are all Winsor Newton colors. 

What is your favorite color in your closet Turquoise 

What subject appears the most in your paintings and whyFlowers, for the sheer beauty of their color, 

intricate detail and grace. Hyacinths are definitely one of my favorites. When the sunlight warms the petals, 

also creating deep shadows, I will paint until I have captured every nuance. When I am painting, their fragrance 

fills the room. 

25 

How often do you paint How many hours a week Everyday, sometimes eight hour days if I am working 

on a detailed painting. I keep a sketchbook nearby, if I think of an idea for a painting or I need to do some 

thumbnails I will drop everything and sketch it. 

How would you like to be remembered As a good colorist.

http://www.cfai.co/lindamccoy/ 

http://www.cfai.co/colors-on-my-palette/linda-mccoy/ 

COLORS ON MY PALETTE

Best of Show Autumn Colors 

Judy Crowe 

www.cfai.co/judycrowe 

http://www.cfai.co/juried-shows-colors-of-autumn-fall-2012/ 

Juried Show Fall 2012 

When you think of Fall colors, what names of paint color come to your head first 

Oranges, reds and all warm colors, the color of fall! 

Do you most often paint from photographs, a mental picture, or real life 

I paint from life in the studio or outdoors probably 85 % of the time, then I use my memory and photos. 

What do you do when you have a creative block 

Work anyway…or do something having to do with my art to stimulate my motivation such as send out 

emails, work on framing, varnishing, etc. I also look at good art produced by master painters and just think 

about what I want to say with my art perhaps by visiting an outstanding gallery or by visiting a museum 

show. 

What painting of yours has the most meaning to you and why 

My painting “ Old Sweet Story “ because it represents my faith journey. 

What is the most challenging part of your creative process from blank canvas to finished piece 

The hardest part of a painting for me is finishing a piece and knowing when to stop. I feel that the end of 

the painting process is the time when it becomes yours, with your own signature on it…meaning your own 

finishing touches. Those are the things no one can teach except time and many failed paintings, experience. 

Sometimes I need to let a painting set up for days or weeks to really know whether I feel it is finished. 

I turn it against the wall so that I can’t see it and then look later with a fresh eye. 

What is on your easel right now 

Nothing…! I have been away. I have been to Tucson for the National AWA show and am looking forward to 

getting back to the studio. 

About Judy Crowe 

My work is mostly about everyday life. I find a lot of inspiration and joy in painting the beauty of everyday 

things, places and people. My goal is to create something of lasting value with confidence and honesty. 

I began painting over 20 years ago and have been fortunate to study with many gifted and giving professional 

artists. 

Professional memberships include American Women Artists Association, Outdoor Painter’s Society, American 

Artist’s Professional League, American Impressionist’s Society, Oil Painters of America, and Alla Prima 

International. I have exhibited nationally in various juried competitions and shows. 

My work has been featured in several fine art publications such as International Artist, American Art Collector, 

Southwest Art, Galleries and Artists of the South. You can read these articles and view my work online 

at www.judycrowe.com 

27

www.cfai.co/judycrowe 


Juried Show Fall 2012

Jason Tako First Place 

www.cfai.co/jasontako 



When you think of Fall colors, what names of paint color come to your head first 

I generally use a limited palette of Cadmium Lemon, Cadmium Red, Ultramarine Blue and Titanium White. 

Given this limitation (pun intended) I don’t generally think of a particular pigment name, just the fact that I’m 

going to use a lot more Cad. Lemon and Cad. Red than normal. 

Do you most often paint from photographs, a mental picture, or real life 

For my wildlife, I have to use photos since animals don’t pose. However, for my landscapes, I almost always 

work from smaller field studies that I have painted on location, as well as photos. The field studies are 

extremely important. They give me the accurate values and colors that a camera can’t capture. Also, since 

I have already painted the scene while standing in it, I have an organic connection that gives me more confidence 

in the studio. This confidence can manifest itself in the freedom to change things around to create a 

more pleasing composition. The photos are usually used for details that I may not have had time to capture 

in my field studies. 

What do you do when you have a creative block 

I do everything from calmly putting the painting away for a while to sailing it across the studio like a frisbee. 

I strongly recommend the former solution. But I have come to realize that most of my blocks, or problems, 

stem from poor preliminary planning and impatience in getting started.

What painting of yours has the most meaning to you and why 

This is a very tough question, as there are a number of paintings that have meaning for me. For instance, 

there is one of my beautiful wife that I did a few years back. It almost sold, but I now have it hanging in my 

studio. I also have paintings I did of our children that hang in our home. As far as landscapes, I have one 

called “Early October Wetland” that is on my website. This scene depicts a wetland on my childhood bus 

route in rural Minnesota. This scene has a lot of meaning for me. Plus I love the way I handled the brushstrokes. 

What is the most challenging part of your creative process from blank canvas to finished piece 

Making compositional decisions and judgements, especially when a piece is almost finished. Many times 

there is no right or wrong solution, just preferences. I can drive myself crazy deciding if I should put a tree 

branch here, or a sky hole there. I always seek perfection even though I know I will never really reach it. 

What is on your easel right now 

Honestly, nothing at this time. I just finished a show, and I’m working on a bunch of small preliminary pencil 

sketches to work out new landscape compositions. Like I said, if I don’t get it right, or at least close in the 

preliminary process, I’m just creating future frustration for the easel. 

About Jason Tako 

Jason started drawing at a young age. It was discovered by his teachers and peers that he possessed a 

knack and desire for artwork, a desire that he pursued until his senior year when he switched to playing 

electric bass. About 10 years later, after realizing how much he missed being outdoors and recording his 

observations, Jason bought a sketchbook. He painstakingly worked his way from pencil to watercolor while 

using nature and wildlife as his subject matter and teacher. A love for wildlife and landscape came natural 

being that he was born and raised in rural Minnesota. 

. 

Jason went to college and earned his degree in Applied 

Visual Arts and was encouraged by his teacher Bara 

Arens to pursue a career in fine art. Jason furthered his 

studies under renowned landscape artist Scott Christensen 

and a constant passion for plein air painting. 

Using a soft and limited palette that usually consist of 

only the three primary colors plus white, Jason seeks to 

portray reality in both form and light. “Light affects form, 

but form also affects light. We do not paint light only, 

we also paint what light illuminates. Even light needs 

something to shine on for us to see.” Jason’s use of 

soft edges, textures and varied thicknesses of brushstrokes 

shows his search for creating paintings that 

combine lighting along with a strong feeling of texture, 

form and solidity. This gives his work a look and feel 

that is refreshing and unique among today’s wildlife and 

landscape art. “The human eye doesn’t see every single 

feather, hair or branch in perfect outline, it sees masses 

and shapes or color, it sees structure and light. These 

objective images translate into a subjective emotional 

human response. This is what I want people to see and 

feel in my work. 


www.cfai.co/jasontako 

30

Kristin Grevich 

I believe that artists are born with a gift to see the beauty of this earth. The beauty is so breathtaking that we are 

driven to create and share our visions. 

These paintings are from the show called: “The Gift” 

I received a gift from Beverlee of a cabin in Northern Minnesota. From this gift came paintings of the people, life, 

animals and beauty of the northern landscapes. 

kristingrevichart.com

kristingrevichart.com

T I M L I N C O L N 

Portraits and Commissions 

www.cfai.co/timlincoln

Barbara Haviland 

www.cfai.co/barbarahaviland 

Barbarahavilandfineart.com

ABSTRACTING.... 

Why Abstracts 

As a child, my parents took my sister and I to many many places of beauty. Looking back, I think the 

things that made an impression on me were not so much the actual sites, but the color combinations, the 

contrasts between light and dark and soft and hard edges. Painting abstracts gives me the chance to focus 

on just those things....to make them more important than just trying to replicate a scene or a view of 

something tangible. By narrowing the focus of my work to just the elements that made me say, “yes, that 

moves me, that focuses my emotional response”, I can portray and pass on what I experience. 

The finishing of a painting is very much tied to work and focus. I cannot paint by just thinking about 

it. The painting gets done when I sit in front of the canvas and apply paint. This sounds simplistic, but 

even on days when I don’t seem to be accomplishing much with the application of paint to canvas, I am 

moving forward. As long as I am in the moment and continuing to work, I eventually get to a place where 

good things begin to happen....where the hand and the paint take over, and the rest of me just follows 

along. This doesn’t sound particularly mysterious or intuitive, but much of abstract painting is just about 

doing the work, applying the paint, spending the time, and getting into the mental zone.

Nancy Eckels 

http://www.cfai.co/nancyeckels

Nancy Eckels 

NancyEckels.com 

Condition Red 36 x 24 Acrylic

Abundant Joy 48 x 72 Acrylic 

NancyEckels.com 

View Through Autumn 48 x 48 Acrylic 

Mingle and Merge 40 x 40 Acrylic

Contemporary F 

by New York Art 

Hall Groat II NY Critic Review 

A Review of Artist Laurie Pace 

Hall is taking a month off for the Holidays and so in the slot this month is a small write up he did 

on Texas Artist Laurie Pace in 2008. 

“The work of Laurie Pace is firmly rooted in both the classical ideal and 20th century 

Modernism along with nuances of 19th century Barbizon school romanticism. 

Similar to many postmodern artists, Laurie’s work varies in form and makes witty 

allusions to artistic sensibilities from the past. Her paintings speak volumes regarding the 

sensual and evocative nature of visceral oil paint. 

The manner in which Laurie handles this classic medium reaches far beyond the mere 

objectiveness of the subject at hand, and touches upon such elements as timeslessness, 

compassion and perhaps even grace. A painting of a horse is not merely a horse, but an 

iconic expression of the omniscience of all nature. The viewer is lured in through the use 

of symbolic colors and sassy paint handling, and can’t help but experience similar 

sensations as the horse, whether it be vulnerability or longing.” 

Hall Groat II 

Professor of Art 

Broome Community Colleg 

President of the New York Art Collection 

www.cfai.co/lauriepace 

39

ine Art Review 

Critic Hall Groat 

www.NYArtGuide.net/groatii/index.html 

www.cfai.co/lauriepace 

Hall Graot II NY Critic Review 

Painter Hall Groat II, professor of fine and media arts at Broome Community College, teaches foundation 

courses in painting, drawing, color theory, and computer graphics. Groat earned a master of fine arts degree 

in painting and drawing from City University of New York at Brooklyn, a bachelor of arts in art history, minoring 

in studio art at Binghamton University, and attended graduate and certificate programs at Buffalo State College, 

Syracuse University, and Savannah College of Art and Design. He also attended summer sessions at 

Chautauqua School of Art, Chautauqua, NY, and Vermont Studio Center in Johnson, Vt. 

40

Texas Artist Debbie Lincoln 

http://www.cfai.co/debbielincoln 

http://nowornever-debbie.blogspot.com/

Debbie’s New Year’s Challenge 

50 Cows over 50 Days 

When asked why the cows and what direction was the challenge, Debbie replied: 

“I have been thinking of ways to challenge myself without paying an arm and a leg and going 

to workshop after workshop. 

One way to send the brain in different directions is to limit the available colors to paint with - 

limiting the palette. I have done this before with mixed results.” 

Currently she has had many cow images submitted to her for these small paintings. If you are 

into cows... this is the artist you want to send your favorite cow photo to immediately.

Blog Review 

Nancy Eckels Lorrie Boydston Elizabeth Chapman 

Rick Heck 

Rick Heck 

Kim McAninch 

The artwork found on the pages of http://internationalabstractartists.blogspot.com 

is a bounty of color and style. The strength of this art work will amaze you. You 

might want to subscribe to this blog for updates.

InternationalAbstractArtists.blogspot.com 

Nancy Eckels 

Elizabeth Chapman 

Rick Heck 

Lorrie Boydston 

Nancy Eckels 

44

Kim McAninch 

http://www.cfai.co/kimmcaninch/ 

Abstract Artist Spotlight 

45

Nancy Eckels 

http://www.cfai.co/nancyeckels/ 

Abstract Artist Spotlight

Elizabeth Chapman 

www.cfai.co/elizabethchapman 


Mary Jo Zorad 

www.cfai.co/maryjozorad 



Abstract Artist Spotlight 

www.cfai.co/kimberlyconrad

Rick Heck 

www.cfai.co/rickheck 

Florida Artist Spotlight 


Daily Painters Abstract Gallery 

http://dailypaintersabstract.blogspot.com/ 

http://rasako.artspan.com/ 

SAKO 

http://filomenabooth.com/ 

BOOTH 

http://VanessaKatzArt.com 

KATZ 

ENGLES 

http://carolengles.artspan.com/ 

51

LOPEZ 

http://bloga2euros.blogspot.com/ 

BAYER 

http://www.tbarts.com/ 

WHITEHOUSE 

NELSON 

http://amywhitehousepaintings.com/ http://carolnelsonfineart.com/ 


http://dailypaintersabstract.blogspot.com/


http://dailypaintersabstract.blogspot.com/ 

http://bobcoonts.com 

COONTS 

CHAPMAN 

http://melizabethchapman.artspan.com 

LINCOLN 

http://www.artabstractz.com/ 

http://janicewarriner.com/ 

WARRINER

BARDELL 

http://endabardell.com/ 

http://carolnelsonfineart.com 

NELSON 

YORK 

http://brendayork.blogspot.com 

DIEFENBACH 

http://www.etsy.com/shop/BellaCosaArt 


http://dailypaintersabstract.blogspot.com/

ELIZABETH CHAPMAN 

www.melizabethchapman.artspan.com 

Bob Coonts 

BobCoonts.com

Linda McCoy 

www.cfai.co/lindamccoy 

http://www.dailypaintworks.com/Artists/linda-mccoy-1806

Coastal Collections 

www.cfai.co/kimberlyconrad 

http://conradcoastalcollections.blogspot.com/


Discover your personal sea coast to enjoy year round, 

From Conrad Coastal Collections. 

www.cfai.co/kimberlyconrad 

http://conradcoastalcollections.blogspot.com/

LAURIE PACE 

http://www.cfai.co/lauriepace 

51 

Starlight Run

MiradaFineArt.com 

30 x 40 Acrylic Overlays on Canvas

Oil Painting DVDs 

Professor Hall Groat II 

OilPaintingDVD.com 

Step by Step Demonstrations 

hrgroat1@stny.rr.com

Vickie Guthrie 

www.cfai.co/vickieguthrie 

12x16 oil “Hecho in Mexico” http://vickieguthrie.com/works/1026512/hecho-in-mexico 

Glimpses of Life through Soften Realism 

VickieGuthrie.com 

Artist of Texas

D A V I D P A T T E R S O 

Glass Sculpture 

63 

www.cfai.co/davidpatterson

DAILY PAINTERS 

ily Painters.comDaily 

Delilah Smith 

Carol Marine 

Catherine Nolin 

Dan 

Gerald Schwartz 

Carmen Beecher 

Carol Carmichael 

Dreama Tolle Perry 

Cori Soloman 

Julie Ford Oliver 

Karen Margulis 

Tom Brown 

Mark 

65 

Connie Chadwell 

Gretchen Kelly 

DailyPainters.com 

Filomena Booth 

Sarah Sedwick

DailyPainters.com 

iel Peci 

Diane Whitehead 

Jamie Williams Grossman 

Barbara Jaenicke 

Justin Clements 

Hall Groat II 

Kay Crain 

Jeanne Illenye 

Adam Webster 

Mary Maxam 

Jo MacKenzie 

Robert Joyner 

Cathleen Rehfeld 

Gerard Boersma 

Brenda Ferguson 

Carol Nelson

Collectors 

http://www.cfai.co/gallery/art-under-200/ 


Carol Schiff 

$150 6 x 12 inches http://www.cfai.co/carolschiff/ 

67 

Linda Rupard 

$150 15 x 22 http://www.cfai.co/lindarupard

Maryann Lucas $100 

6 x 6 inches http://www.cfai.co/maryannlucas 


http://www.cfai.co/gallery/art-under-200/


Sunny Williams 

$199 12 x 12 inches http://www.cfai.co/sunnywilliams 

Tim Lincoln 

$175 18 x 14 inches http://www.cfai.co/timlincoln 

69 


Patty Ann Sykes 

$149 10 x 12 inches http://www.cfai.co/pattyannsykes 


Maryann Lucas $50 

6 x 6 inches http://www.cfai.co/maryannlucas 



MaryAnn Brooks 

$150 20 x 16 inches http://www.cfai.co/maryannbrooks 

71 


Carol Schiff 





Carol Schiff 


Collectors 

73 http://www.cfai.co/gallery/art-under-200/


Maryann Lucas $50 7 x 5 inches 

http://www.cfai.co/maryannlucas 


Mary Jo Zorad Artist of Washington 

www.cfai.co/maryjozorad 

ZoradArt.com 

MaryJoZorad.blogspot.com 

75

MaryJoZorad.blogspot.com

Marie Fox 

www.cfai.co/mariefox 

Soaking Up Some Sun

on a Far Away Beach 

78

Diane Whitehead 

http://www.cfai.co/dianewhitehead

DianeWhitehead.com

Hall Groat III 

Making Memories and Keeping Them Close. 

www.cfai.co/hallgroat 

http://www.nyartguide.net/groatii/

American Fine Artist 

A Little Bit of Something Old and Dear. 

www.cfai.co/hallgroat 

http://www.nyartguide.net/groatii/

THE COLORS OF TEXAS 

Dutch Art Dallas Texas 

DutchArtUSA.com 

Fourth Annual Showing of the Artists of Texas at Dutch 

83

THE ARTISTS OF TEXAS 

Art in Dallas, Texas November 3rd through December 31st. 

ArtistsofTexas.org

LISA McKINNEY 

www.cfai.co/lisamckinney 

LMcKinneyGraphics.blogspot.com 

Lisa-McKinney.artistwebsites.com

87 

Nancy Medina www.cfai.co/nancymedina

NancyMedina.com

Dutch Art Gallery 

Painting by Kristine Byars 

DutchArtUSA.com

Visual Language Magazine Contemporary Fine Art Vol 2 No 1 January 2013

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