Visual Language Magazine VOl 2 No 5 May 2013

VL 

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

contemporary fi ne art 

VL 

May2013 

Volume 2 No. 5 

Rob Compton 

RobCompton.com

VL 

VISUAL LANGUAGE 

Contemporary Fine Art 

VisualLanguageMagazine.com 

Subscribe Free Today. 

May 2013 Vol 2 No 5 

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Rob Compton 

RobCompton.com 

Rob Comtpon is primarily a self-taught painter, 

who has learned to paint by studying past masters 

and contemporary artists, by close observation 

of the natural world, and most importantly by 

working with the medium on a near daily basis. 

He lives and works in College Hill, an historic 

neighborhood of Wichita, KS. Rob has exhibited 

in numerous solo and group shows regionally--including 

a solo exhibition at The Birger Sandzen 

Memorial Gallery in Lindsborg, KS, and he has 

shown in juried competitions around the country, 

where he has earned several special recognitions. 

His work is in dozens of private collections 

nationally, and is owned by several Midwestern 

businesses and organizations. He is a member of 

the The American Impressionist Society and the 

Kansas Academy of Oil Painters. 

Artist Statement 

I believe in the landscape, and because of this I no 

longer try to define myself as a representational 

artist or an abstract artist. Instead, my paintings 

continuously explore the landscape as a means to 

create works that are both meditative and dramatic 

and I find that the full spectrum of representation 

more fully allows the character of each scene 

to emerge. Primarily I look to the landscape as a 

means of conveying a simpler perspective. Too 

often our lives seem consumed by our work, our 

tight schedules, our cluttered city streets; but in 

these paintings, the landscape has been reduced 

to the bare essentials: land, sky, light. Even in my 

abstract work, I look to the landscape, and attempt 

to distill images that move the viewer through the 

space and light of the painting, while invoking a 

sense of place and time. Both bodies of work are 

a continuation of the same vision: to distill the 

passing landscape into artworks that freeze a brief 

moment and allow the viewer to hold onto the 

calming qualities of the land, the space, and the 

light. I hope that somewhere within this range, 

you will find paintings that move you. 

VL Cover Artist

R O B C O M P T O N 

Clearing Oil on Canvas 32 x 42 

RobCompton.com

content VL 

CFAI New Artists Pages 5 

Painter’s Keys - Robert Genn Page 12 

Colors on My Palette Pages 21-22 

Carol Schiff and Kelly Berger 

Artspan Focus Page 23 

Beginning Painting Page 33 Hall Groat II 

Dutch Art Gallery Page 39 Rites of Spring 

VL Studio Visit Page 57 Steven DaLuz 

Art Review Page 69 by Sarah Hucal “Over Fields and 

Meadows” 

VL Studio Visit Page 75 Photographer Denise Bossarte 

VL Gallery Visit Page 85 Brushstrokes Studio, Denver 

Artspan Photography Page 91 Cathy Leaycraft 

Artspan Interview Page 101 Carol Tippit Woolworth 

Feature “Edward Reep” Page 107 Barry Scharf 

CFAI Art Challenge Page 119 

Rita Cirillo and Carmen Beecher 

CFAI Blog Review Page 131 Landscape Artists 

CFAI Artists Spotlight Page 133 Plein Air Artists 

Daily Painters Page 140 

CFAI Art Collections under $200 Page 147 

Corrections: 

Corrections from the April 2013 Issue- 

Theresa Paden’s painting, “Barn Owl”, was 

mislabeled in the Daily Painters ad.

VL new artists on cfai.co 

Lunell Gilley 

www.cfai.co/lunellgilley 

Kathleen Schilling 

www.cfai.co/kathleenschilling 

Char Fitzpatrick 

www.cfai.co/charfitzpatrick 

Jeannie Stone 

www.cfai.co/jeanniestone 

5

jillnassau.com 

6

Bonnie Shapiro 

bonnieshapiro.artspan.com 

CONTEMPORARY LANDSCAPE, STRE

ET, AND FIGURATIVE WORKS IN OIL 

bonnieshapiro.artspan.com

The Five Grace 

Lincoln ~ Pace ~ Togel ~ Whitehead ~ Zora 

the5graces.com 

DebbieLincoln.com 

LaurieJustusPace.com 

Zor 

What makes The Five Graces special/unique 

All members of The Five Graces create bold, vividly-colored artworks with an inspirational flair. Several of the 

group are excellent teachers and writers. They work energetically toward touring exhibitions that showcased th 

artworks - shows to the US and to Europe. All five artists are spread out over the US.

s 

d 

Who are The Five Graces 

Debbie Grayson Lincoln (the steady grace), Laurie Justus Pace (the heartbeat grace), Conni 

Tögel (the wired grace), Diane Baird Whitehead (the business-minded, directly spoken grace) 

and Mary Jo Zorad (the quietly inspired grace) have as many similarities as they do differences. 

Their artwork demonstrates a common commitment to a high standard of workmanship. 

To speak with any one of the five women reveals a commonality in what inspires them and 

how they choose to live their lives, with integrity and a commitment to doing their work for a 

higher cause. Each feels her creative inspiration as a passionate and natural calling. 

thefivegraces.blogspot.com for daily updates 

adArt.com 

Charisma-art.com 

DianeWhitehead.com 

eir 

the5graces.com

VL 

VISUAL LANGUAGE 

Contemporary Fine Art 

Visual Language Magazine Staff 

Editorial 

Editor -in-Chief Laurie Pace 

Executive Editor Lisa Kreymborg 

Managing Editor Nancy Medina 

Consulting Editor Diane Whitehead 

Consulting Editor Debbie Lincoln 

Feature Contributor Robert Genn Painter’s Keys 

Artspan Media Manager Sarah Hucal 

CFAI Contributor Kimberly Conrad 

Feature Editor Art Reviews Hall Groat II 

Feature Writer Barry Scharff 

VL Sponsor ARTSPAN Eric Sparre 

Advertising 

Contact: VisualLanguageMagazine@gmail.com 

Marketing and Development 

Executive Director Laurie Pace 

Senior Director Lisa Kreymborg 

Dawn Maron 

11 

Bonnie Shapiro 

All Artwork is Copyrighted by the Individual Artists. 

Visual Language Vol 2 No 4

Painter’s Keys 

with Robert Genn 

Robert Genn’s 

Studio Book 

The downside of isolation 

March 26, 2013 

Dear Artist, 

A fellow I know, whose name will go unmentioned here because he doesn’t want to be seen hanging out in lousy 

company, lives alone in a sunless forest. He’s a regular latter-day Thoreau, and he’s been at it for twenty years-- 

never been to McDonald’s, doesn’t have TV, and boils his own socks. You may know the type. 

Having abandoned painting for the carving of gargoyles on the overhead beams of his cabin, he often takes the position 

that “Art dealers are thieves,” “Cars are the root of evil,” “Lawyers are unmitigated scumbags,” “Psychiatrists 

are smug creeps,” and “Women are high maintenance.” 

He hasn’t filed a tax return in 27 years. As far as I can see, he eats mainly huckleberries. 

In degree, all of us who prefer some form of isolation tend to hold strong opinions. Recently, I found it difficult to 

pick up the phone and give familial appreciation to my lawyer-cousin, Jack, who just bought a new Hummer. 

As artists, we may often be solitary in our work, but we need not be solitary beings. Further, while our art may 

invite a sense of entitlement and uniqueness, it’s a bit of a stretch, like my woodsy friend, to feel superior to others. 

Right now I’m reading the galley proof of Eric Maisel’s new book, Making Your Creative Mark. Eric (a psychiatrist) 

has a chapter on empathy, in which he advises how to be chummy with everyone who might be of use to you 

in your artistic career. When the book comes out in April, I’m taking a copy into the woods. The forest-guy has 

nothing against words. 

Attitudes may be inherited, but most are developed over time--often at the University of Hard Knocks. But those 

who make the choice of full isolation estrange themselves from one of the great gifts--that of also seeing our marvelous 

biosphere through the eyes of others. Interconnection and empathic knowledge of our human family are the 

high-flying flags of civilization. We’re all in this together and no one really knows how the plot will work out. As 

artists, we need to inhale life in all its forms. When you combine great art with great human relationships, the sun 

may shine in the forest. 

Best regards, 

Robert 

PS: “Many artists (like all human beings) alienate their peers and their supporters by interacting poorly with 

them.” (Eric Maisel) 

Painter’s Keys - Robert Genn 

Esoterica: On the few occasions when I’ve tried total isolation, I’ve grovelled my way back to the company of others. 

Partial and limited-time isolation, on the other hand, is how we re-set the compass of our souls. In the pleinair 

painting event, we are quietly adrift on a great river of temporary solitude, alone with our tools and our wits, 

if only for an hour. This sort of artistic quiet time is perhaps the most cathartic of all, for it anchors us to ourselves 

and brings us eventually to the wisdom of reconnection. FYI, Samantha and I recently made a short video called, 

“Shenandoah.” 

12

Ricky Schembri 

RickySchembri.com

Australian Landscapes and Farms 

RickySchembri.com 

14

Jimmy Longacre 

Texas Contemporary Landscape Artist 

longacreart.com

Colors of Life 

Dyan Newton 

DyanNewton.com 

Visit my website for workshops and class schedules.

Katalin Luczay 

SeascapesandLandscapes.com 

Manhatten Art International

Pat O’Brien 

patobriensart.artspan.com 

paobrien7286@gmail.com

Pink 6 x 12 Acrylic on Canvas 

www.paintingadogaday.com 

**cats, horses, bunnies, etc always welcomed.

In the Moment... 

TINA BOHLMAN 

OPS, CFAI, IPAP, AOT 

TinaBohlman.com

Carol Schiff 

Colors On My Palette 

http://www.cfai.co/carolschiff 

http://www.cfai.co/colors-on-my-palette/carol-schiff 

When did you realize you loved art and wanted to be an artist’ 

I always wanted to “be creative”. During the 70’s I owned a needlework shop and I always admired the 

hand-painted needlepoint canvases that I carried. Finally, I decided to leave the retail portion and create my 

own line of hand painted needlepoint. I did this for 20 years. Of course, I wanted to sharpen my skills, so I 

started taking drawing classes and eventually watercolor and pastel classes. Once I did that, my desire to design 

needlepoint was gone. 

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

I was very lucky to meet a wonderful pastel artist in our town. Her name is Sandra Johnson, originally from 

Australia. She has been published in several books and magazines including Artist Magazine. I started taking 

one on one classes with her. She has a wonderful sense of color and freedom in her works. I worked with Sandy 

for eight years. During the last year or so I started painting in oils and knew I had found my media. 

Who is your mentor today, or another artist you admire and why 

I would have to say, the internet is my mentor. We are so lucky to have this great tool at our fingertips, something 

no other generation of artists have had. Hardly a day goes by that I don’t discover a new artist whose 

work I admire. Maybe it’s the way they handle color, their drawing skills, or how they apply texture. I put them 

on my list and study their work everyday. I think that may be the reason my styles vary so much, but I am 

having lots of fun and try to incorporate these little pieces into my works. 

I would have to say that two of my favorite artists today are Andre Kohn and Lynn Boggess, two very different 

styles. I love Andre’s gorgeous figurative work with lost edges and incredible brushwork. Lynn is one of those 

brave souls that straps a 48x60 canvas on his back and hikes through three feet of snow to paint a mountain 

stream. He uses trowels and has the most incredible texture in his works. 

What is your favorite surface to paint on Describe it if you make it yourself. 

I do lots of daily paintings and for ease of shipping and storage, I use canvas panels. I L O V E Pannelli Telati 

panels from Italy. Relatively inexpensive and high quality. Other than that, I like stretched canvas. If I am doing 

a pastel, I use Canson Paper or Wallis Sandpaper. 

21 

Read more at http://www.cfai.co/colors-on-my-palette/carol-schiff/

Kelly Berger 

http://www.cfai.co/kellyberger 

http://www.cfai.co/colors-on-my-palette/kelly-berger 

When did you realize you loved art and wanted to be an artist’ 

My affinity for viewing, studying, and making art is in my DNA. My mother, Judy Bert Frisk, is an accomplished 

watercolorist. Although I dabbled in art in high school and college, I passionately pursued a career in 

journalism and later public relations. All the while, I visually consumed art, painted occasionally and continued 

to study drawing when time availed. FInally, at a career crossroads several years ago, I had the profoundly 

fortunate opportunity to pursue painting full-time. My genetic attraction and need to create has caught up 

with me at last. 

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

As I’ve mentioned, my mother’s early influence was fundamental. The next key influence didn’t come until I 

was in my 30s; Louisiana artist Amy Dixon moved to the Denver area and we became close friends. She heard 

me whine for more than a decade about my desire to seriously pursue painting. After hearing this repeatedly 

and seeing that I had drawing skill, she advised that I “just shut up and get messy with paint already!” 

Colors On My Palette 

Who is your mentor today, or another artist you admire and why 

If there is any credit for my progress, it is shared by Dixon (my early champion and guide), brilliant Denver 

artist Mark D. Nelson (with whom I continue to study), and my three nationally-noted partners at Denver’s decade-strong 

Brushstrokes Studio-Gallery (John K. Harrell, Kit Hevron Mahoney, and Anita Mosher). 

What is your favorite surface to paint on Describe it if you make it yourself. 

I have generally favored stretched, primed canvas, but I’m tinkering lately with canvas-mounted boards and 

unprimed boards. 

What brand of paints do you use 

I have largely painted with acrylic, both Golden and Liquidex. However, Mahoney and Mosher have persuaded 

me to revisit oil (variety of brands). 

Do you have a favorite color palette 

My palette varies from piece-to-piece, but I am often drawn to the greens-red oranges-purples triad. 

Read more at http://www.cfai.co/colors-on-my-palette/kelly-berger 

22

artspan 

FOCUS ON: 

Landscape Painting 

Jane Hunt 

www.janehuntart.com 

David H. Taylor 

www.dhtaylor.com 

23

LISA McKINNEY 

www.cfai.co/lisamckinney 

Lisa-McKinney.com 

Lisa-McKinney.artistwebsites.com

Dforks.blogspot.com 

David Forks TW

o pages 

Davidforks.com 

mailto:dforks@gmail.com

Artspan 

https://www.artspan.com/visual_language#.USzscuvwJvI 

https://www.artspan.com/visual_language#.USzscuvwJvI

Jonelle T McCoy 

Jonelle-T-Mccoy.artistwebsites.com

Oklahoma Contemporary Equine Artist 

McCoysGaitedHorseArtWorks.blogspot.com

Hall Groat II 

Time Square, NYC 

Empire State B 

www.cfai.co/hallgroat 

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

American Fine Artist 

uilding, 

Helmsley Building, Park Ave. NYC 

www.cfai.co/hallgroat 

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

VL 

Beginning a Painting with an Im 

by Hall Groat II 

Professor and Chairperson, 

Art and Design Department, Broome Community College 

Hall Groat II Distant Learning Painting School, 

DVD Instruction Series http://www.nyartguide.net/dvds/ 

The Undertone: Simple Sketch and Basic Value Relationships 

The initial brush marks made on the canvas must suggest in simple terms the essence of the 

subject. One must learn to perceive the still life as a single mass, formed by a group of interconnected 

shapes, no matter how many objects are included within the composition. Oftentimes 

squinting with one’s eyes, barely open, will reduce the subject to simple light and dark 

patterns. Through letting just a little bit of light to enter one’s eyes the subject will appear 

as a simplified spot of value without detail. Study the particular contour of this single mass, 

in relation to the surrounding space— this is the essence of your subject. In the painting of 

the teapot with the peach and apricot (Plate10) carefully study the irregular shapes of background 

and foreground. The big spot of background negative space (or counter form) is as 

important as the still life objects themselves, and must be given equal consideration. 

Plate 10 Plate 11 

33

primatura 

Using a large bristle brush, establish the basic composition and main value spots, including lowkey, 

middle value, high-key areas, with a transparent undertone of warm or cool neutral. With 

still life painting I either use a warm neutral, such as Raw Umber, or a cool neutral, consisting 

of Ultramarine Blue, Raw Umber and a touch of white. Combining warm umber with cool blue 

is not as bold looking as a pure umber undertone and often appears more ethereal and moody. 

A good rule of thumb to follow is work with a cool neutral when painting a warm subject, and 

a warm neutral with a cool subject. Be creative and explore undertone variations to see how 

they interact with different subjects. In the painting of the bread and water (Plate 12) the warm 

umber and cool blue appear softer and vague, which works well for water. 

Plate 12 

Bread and Water #3 | 8x10 in. Oil on canvas | Hall Groat II 

On occasions I will use the pile of muddy paint that is scraped up on my palette from the prior 

painting, instead of Raw Umber. During the course of a painting, I periodically scrape my glass palette 

with a standard glass scrapper and end up with a big pile of very dull, grayed paint. Depending 

on what colors I used before, this pile of mud will be either slightly warm or cool, and works well as 

an undertone for subjects that are lighter in value. You may either sketch the mass out with a bristle 

brush, using a transparent undertone and then thinly scumble the umber within the lines, or block 

it in with simple scumbles from the center outward to form the contour of the mass. Explore both 

approaches! 

After the placement of the basic mass has been suggested, the individual objects may be softly defined 

at the points where they overlap and meet the tabletop. Thinly applied brushstrokes may be 

used to indicate the shadows of the forms, and cast shadows. 

34

VL 

Beginning a Painting 

with Hall Groat II 

White Teapot with Nectarine and Apricot | 8x10 in. Oil on canvas | Hall Groat II 

During this initial stage a paper towel can be used to wipe away back to the original white of 

the canvas or panel, and to also help with modeling form through smearing with the crumbled 

towel a transparent layer of paint over the surface. This is similar to the technique used 

to rub a broad tone of charcoal on to paper. You may need to attempt this technique several 

times before the composition and scale of the forms are the way in which you want them to 

look. 

ground may end up being more visually engaging than the symbolic meaning or story behind 

the subject. The undertone should also be used in the background to further define and adjust 

the contour of the forms (diagram 11). Notice how the handle on the teapot returns to the 

white of the canvas. Placing a small amount of linseed oil on to the paper towel helps remove 

the entire undertone when wiping away areas in order to define shapes. During your next 

painting session explore my approach to the imprimatura to see if it assists you in developing 

your work. 

35

Biggers Studio 

James Biggers 

‘’SPRING TIME’’ 20’’x 30’’ 

OIL/LINEN 

BiggersStudio.com

LindaReedy.com 

http://www.BonnieHamlin.com

Linda Reedy 

LindaReedy.Blogspot.com

VL 

Rites of Spring at Du 

Juried Show Dallas, Texas - R 

Dutch Art Gallery of Dallas, joined together with the Artists of Texas 

for the first annual Rites of Spring Juried Show. Entries were acccepted 

over a six week period and seventy artists from around the world submitted 

paintings to the competition. 

The show was juried by Dr Billie Bauman and Hall Groat II. Juror Billie 

Diane Bauman has owned Earthworks Art Gallery and Studio in New York 

for ten years. She has traveled extensively exploring different cultures and 

their expression of life through the works of art. Her credentials include two 

BS Degrees in Education, along with a Masters in Special Education and a 

PhD in Education with an emphasis on Critical Thinking. She is an accomplished 

hot glass and flat glass worker. She has studied at the Corning Glass 

Museum Studio and has taken intensive Hot Glass Courses from RIT. Her 

work has been shown and sold at the Corning Museum Gallery. Billie has 

served as a juror in regional shows. 

Juror Hall Groat II - Professor and Chair of the Art and Design department 

at Broome Community College, teaches foundation courses in painting, 

drawing, 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. 

Groat has had one-person exhibitions at Everson Museum of Art, Roberson 

Museum of Art, Finger Lakes Community College, Cazenovia College, 

Jasper Rand Art Museum, Lemoyne College, Wadsworth Athenaeum Museum 

of Art, and Washington and Jefferson College, and has participated in 

dozens of group shows throughout the United States. His work is included 

in private and public collections internationally, including Michael Douglas 

and Catherine Zeta Jones, Clear Channel Communications, Bristol-Myers 

Squibb, Cellular One, House and Garden, LTD., Sheraton Hotel Corporation, 

Binghamton University, Everson Museum of Art, Munson-Williams 

Proctor Institute of Art, The State University of New York system, Roberson 

Museum and Science Center and Washington Jefferson College. 

1st Plac 

39

tch Art Gallery 

eception April 6, 2013 

24 Carrot 

e: Judy Crowe “Wine and Lavendar, Provence in the Springtime” Oil on Canvas

VL 

Rites of Spring at Du 

Juried Show Dallas, Texas 

Suzie Baker “ Youth” 18 x 28 Oil on Canvas 

33 

41 

2nd Place:Cheng Lian “ Shoton Festival” 30 x 24 Oil on Canvas

tch Art Gallery 

“The Rites of Spring presents a diverse cross-section of contemporary fine art 

painting. The work ranges from ‘En Plein Air’ explorations of nature’s universal 

beauty to mystical figurative narrations that will indeed engage the viewer on 

many levels. The work is expressive, uninhibited, hones and communicates clearly 

through the medium of digitized RGB color the worldwide web provides. It 

will be fascinating to witness over time the written dialogues evolve in repsone to 

the work within the virtual forum, and read people’s interpretations from Different 

cultures.” Hall Groat II 

3rd Place: Suzie Baker “ Youth” 18 x 28 Oil on Canvas

43 

Ann Hoffpauir - Barbara Jones - Barbara Mason - Beth Van Deventer - Bob Shepard -C 

Donna Page - Dyan Newton - Elaine Monnig - Hebe Brooks - Jan Waldron - Janna 

Jill Randall - Judy Crowe - Kay Reinke - Kay Wyne - Krystal Brown - Laura An 

Linda Reedy - Liz Hill - M. Allison - Margaret Bailey - Marilyn Brumley - Maureen 

Mike Schroeder - Nancy Medina - Nina Walker - Pamela Blaies - Pat Meyer - Patsy 

Susan Bell - Susan Temple Neumann - Suzie Baker - Theresa Bayer - Ti

The Additional 47 

Paintings Accepted to 

The Rites of Spring 

heng Lian - Cheri Homaee 

Hengy - Jimmy Longacre 

tony - Leonora Volpe 

Seeba - Melinda Patrick 

Walton - Rebecca Zook 

na Bohlman 

Reception April 6th 11-4 Meet the Artist 

Dutch Art Gallery 

10233 East Northwest Highway Suite 420 

Dallas, Texas 75238

Rebecca Zook

Dawn Wat

ers Baker

Dawn Maron 

dawnmaron.artspan.com

The Seasons of Life 

Still Lifes, Portraits and Other Works 

DawnMaron.artspan.com

Vanessa Katz 

Contemporary Abstract Artist 

Blossom 22 x 26” 

A Feast for the Senses 

VanessaKatzArt.com

Fallen Leaf Lake 

Kristine Byars 

KristineByars.com

Knife your way through Landscapes, Still Life, Animals and more. 

Class for beginning, intermediate and advanced painters. 

Classes held at Dutch Art Gallery in Dallas, Texas 

Class Size Limited $269 

APRIL 2013 

Two day Palette Knife Demonstration and Class. 

Beginners Welcome - for all levels: 

Friday 4/26 and Saturday 4/27 

For Class Description and Supply List: 

http://artistsoftexas.org/pacebeg2013.pdf 

AUGUST 2013 

Two day Palette Knife Equine Demonstration and Class. 

Mid to Advanced artists: 

Friday 8/2 and Saturday 8/3 

For Class Description and Supply List: 

http://artistsoftexas.org/paceadv2013.pdf 

Contact Pam Massar at Dutch Art to reserve your space. 

Register online: http://dutchartgallery.net/ mail-

Palette Knife Workshops 

Laurie Justus Pace 

ellepace.com 

lauriepace.blogspot.com

VL 

Studio Visit Steven

DaLuz

VLStudio Visit Steven DaLuz 

I am most interested in imagery that evokes a “feeling” within the viewer--whether figurative 

or non-objective, even if the viewer connects for only a brief moment. While I like intellectual 

stimulation in a work, I am more concerned with emotionally evocative work that sparks the 

imagination. I aim for this usually with properties of ethereal light, elements of mystery, and the 

sublime. Entwining images of light, serenity, and calm against darkness, tumult, and chaos is 

what I like best. It presents a kind of metaphor for life’s journey. Lately, I think spirituality has 

crept into my work. Not religious, per se, but a kind of subconscious “yearning”. I don’t fight it. 

For me, the pure beauty and power of art need not explain anything. The raw image alone can 

be enough to pose questions and ignite the viewer’s imagination. 

41 59 

Beacon Black Lake 

StevenDaLuz.com

StevenDaLuz.com 

Threshold 

I am equally interested in abstraction and figuration, so I embrace it. It is simply how my 

brain is wired. Most of my “abstractions” are only partially abstract, in that they refer to 

something real or that could be real. I like to create the “idea” of a place, whether steeped in 

reference to landscape, or to celestial forms. As I paint these, I am transported to another 

realm in my mind. Because they are entirely from my imagination, I just allude to the notion 

of some environment that may allow the viewer to bring up a memory of someplace they have 

been, or would like to be. They have a vague recollection, but the place is not literal. The 

ethereal properties of light suggest a source that can be otherworldly. Light has the ability to 

reveal...and the capacity to blind. Is it the sun Is it from within Is it beyond I leave that for 

the viewer to decide. By creating voids and vaporous depictions, I increase the likelihood the 

viewer will complete the picture for themselves. In synthesizing the figure into some of these 

works, I engage my passion for painting the figure...but, I also believe that because we are 

humans, we relate to the figure. If I disguise features, or obscure identity, I allow the form to 

become more universal. In doing this, I hope the viewer can relate to the figure and imagine 

themselves in such a setting.

Studio Visit S 

Steven DaLuz 

Mythos 

I find myself thinking about matters that go beyond our understanding of this physical realm. Even the w 

some unconscious, spiritual component to it. The longer I live, the more I have come to believe that every 

is connected. I can barely begin to fathom the great depths of the mysteries the cosmos offers, yet we are a 

are more than this physical “shell” that is our corporeal body. The idea of a “one-ness” between humankin 

become something of a fascination for me. I do not try to supply any “answers” to life’s big questions with 

to visually express some of my thoughts and feelings to hopefully engage the viewer’s ideation. I think the 

ing” that we have, as humans, to know that we are not alone in this vast plane of existence. I try to pull th 

to reveal just a glimpse of something that could be. But, that is the beauty of art. It has the potential to m 

61 

stevendaluz.com

teven DaLuz 

stevendaluz.com 

ork I create now has 

thing in the universe 

part of it. I believe we 

d and the universe has 

my work...I simply try 

re is a kind of “yearne 

veil back just a little 

ake our spirits soar. 

Becoming 

StevenDaluz.com

Studio Visit Steven DaLuz 

Descent 

63 stevendaluz.com

Siren Song 

Born in Hanford, California, Steve’s art studies were interrupted by a decision to serve as a medic 

during the Vietnam War era after just one semester at San Antonio College. While serving in the Air 

Force, he completed a BA degree in Social Psychology, and an MA degree in Management. Throughout, 

he remained devoted to making art in his free time. After living 13 years in other countries, 

DaLuz retired from the Air Force, and re-engaged his lifelong passion for art by resuming studies at 

San Antonio College, where he completed an AAS in Graphic Design, followed by a Bachelor of Fine 

Arts Degree in 2003, with a concentration in painting from the University of Texas at San Antonio. 

His paintings and drawings have been featured in art publications such as; American Art Collector, 

Fine Art Connoisseur, Poets and Artists, and Strokes of Genius 3: The Best of Drawing. His work is 

represented by AnArte Gallery in San Antonio, TX; Laura Rathe Fine Art in Houston and Dallas; 

and The Marshall | LeKAE Gallery in Scottsdale, AZ. 

Website: www.stevendaluz.com 

Facebook: www.facebook.com/daluz.art 

64

Diana Cochran 

Egyptian Prince 

Into the Light 

The Old Sire 

SaphyreArabianArt.com

S H E R I J O N E S 

El Tesoro Path 11x14 oil on canvas 

www.sheriart.net 

www.sheriart.blogspot.com

conni togel

sheep incognito 

www.charisma-art.com

artspan 

Over Fields and M 

Annette Conniff “Field Fence Line” Pastel 

Fields and meadows are clearly popular subjects in Plein Air painting. This branch 

of landscape painting has enjoyed a renewed popularity in the last twenty years, as 

many artists have devoted themselves to working almost exclusiverly en plein air. 

Here we look at four talented Artspan artists who work primarily in pastels, and ask 

them what it is about working en plein air that so inspires them. 

Donna Cusano, whose impressionist style is well suited to that of the original Plein 

Air artists, loves the challenge of racing against the changing light. “The practice of 

working on location has made me a stronger painter not only in my physical skills (brushwork, 

color mixing, etc.), but mental skills as well.” she says. “I see the structure of the landscape 

more quickly, my editing skills are keen, and I now apply these heightened skills to all 

of my paintings, whether I am working on a portrait, and abstract, still life, or landscape.” 

53 

69

eadows by Sarah Hucal 

Cusano, who shows widely and has won many awards for her highly-expressive landscape pastel 

works, chose the medium for ability to keep the painting process immediate and simple. Inspired 

during a painting trip along the West Coast of Ireland, Under an Irish Sky, was the result of Cusano’s 

fascination with the vast expanse and the rapidly shifting cloud patterns above. When asked 

what she particularly liked about portraying fields and meadows, the artist explained, “fields represent 

a space and time to just be quiet, to take a long, slow breath and reconnect with stillness. 

While some look at a field and see the minutia of individual grasses, flowers, and other growth, I 

try to see the nothingness of it. I enjoy the process of editing the muchness down to simple shape 

patters and color relationships.” 

Donna Cusano “Under Irish Sky” Pastel

artspan 

Annette Coniff “Meadow” Pastel 

Like Cusano, Baltimore-based Plein Air artist Annette Conniff, loves the challenge of working in 

the open air. “Nature is a task master,” she says, “and the best teacher for me as a landscape artist.” 

Like many Plein Air artists, Conniff enjoys finding the perfect light. “I like to paint fast and 

capture the scene in less than two hours before the light changes too much” she explains. As for her 

use of pastels “Pastels are the perfect medium for my ‘alla prima’ style because of their pure color,” 

Conniff explains, “and the fact that I can apply in all sorts of strokes: wide, thin, heavy and light.” 

She enjoys painting fields and meadows for their texture, which she describes as “constantly 

changing as crops are planted, harvested and rotated during all seasons. It’s never the same, yet 

familiar.” Meadow, was painted on location at a friend’s farm, where she still recalls the ambiance. 

“I painted Meadow on an overcast, humid summer morning. The light was soft and even, keeping 

the colors muted with a nice pop of white from the Queen Anne’s lace among the meadow grasses.” 

71

New Zealand artist Tony Allain finds pastels the perfect medium for his bold landscape works. 

Allain, a dedicated pastel artist whose work has been featured in Pastel Journal, among other publications, 

explains: “as an impatient painter I find working with soft pastels a joy. No color mixing. 

No drying time. No turps or water to worry about, but best of all, no brush cleaning!” 

In terms of Plein Air practice, Allain, like Cusano and Conniff enjoys the race against the sun. “To 

work on location tests the artist on quick decision making and color selection,” he says “but most 

of all, the freshness and spontaneity of producing work within a limited time frame.” Allain’s bold 

work, Towards Lihou Island, Guernsey was painted on location and shown in an exhibition of 

Plein Air works in the artist’s home town. 

Tony Allain “Lihou Island” Pastel

artspan 

Jim Morgan “Line Trail Gap” Pastel 

73 

Of the four artists, North Carolinian Jim Morgan takes the most minimal approach 

to painting with pastels. Morgan enjoys working en plein air for its ability to “improve 

the hand and eye, as well as one’s consciousness of ‘location, light, color and 

shape.” The artist, who has given both group and solo shows across the U.S., began 

working in pastels for their versatility and ease. “Sometimes pastels are the fastestway 

to get what’s in your head onto paper” he expounds. 

Morgan’s piece Line Trail Gap is a perfect example of the artist’s fascination with the 

graphic nature of a horizon. “Where the land meets sky has always held a great interest 

for me, and I don’t seem to tire of it” says the artist. The location, which is part 

of Davidson College campus, is one of a handful that Morgan returns to frequently. 

“Once I find a location that interests me,” he explains “it can keep me busy for years.” 

Although these four artists have vastly different approaches to landscape painting, 

they are united in their passion for working en plein air.

Logan Bauer 

www.loganbauer.com

VL 

Studio Visit Photographe 

Denise Bossarte 

Photography is a contemplative practice for me. I use my photography to learn to synchronize my 

eye and mind and to be mindful of the present moment without thinking or judging. When I am 

simply observing the present moment where I find myself, I am able to discover and capture the 

magic of the ordinary world. As Dorthea Lange so aptly stated, “A camera is a tool for learning 

how to see without a camera.” 

7557 

FoundWorlds.com

FoundWorlds.com

VL 

Denise Bossarte 

Foundworlds.com 

Whether it is landscapes on the grand scale of canyons or landscapes on the small scale of a single 

leaf, my photography is a way of dissolving my preconceptions, my expectations, myself, so 

that the world can reach me through my camera. Then I can see and photograph things in a way 

that shares that experience of magic and beauty with others. 

77 59

KatherineMinott.com 

A Fire 

Katherine Minott 

Foundworlds.com

VL 

Denise 

Bossarte Foundworlds.com 

El Embajador de Mexico Katherine Minott 

Totem for the Boneyard Katherine Minott 

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www.cfai.co/denisebossarte/ 

http://denise-bossarte.artistwebsites.com/ 

FoundWorlds.com

American Impressionist 

Robert ferguson 

Robert Ferg

uson 

“My style of painting is called impressionist realism. From a distance 

they are highly realistic as is the case with classic impressionism. 

My paintings are windows to a place in time. 200 years from now I 

want people to view my works and experience what I experienced 

while creating them. The materials I use are archival quality for 

longevity. I work only from life. I do not use photographs or 

slides. My plein air studies of which I have done over 1000 are from 

Europe and the Western United States. 

Artists that have influenced my work are 

Claude Monet, Edgar Degas, Paul Cezanne, 

Edgar Payne, Maurice Braun, John Singer 

Sargent and William Merritt Chase. My 

paintings are hanging in collections with 

several of these artists”. 

FergusonFineArt.com 

email: rferguson@fergusonart.com 

website: fergusonart.com 

PHONE: 858 705 0814

Debra Hurd 

debrahurd.com

debrahurd.com 

DebraHurd.com

VL 

Gallery Visit with Bru 

Denver’s beloved Brushstrokes Studio-Gallery recently move 

newly revitalized South Broadway “Antique Row.” In doing 

er and show their art in a welcoming, casual environment. 

Founded by nationally noted artists John K. Harrell, Kit Hev 

group more than a year ago. The group has been categorized 

in the nation. 

85

shstrokes-Studio Gallery 

d from its 10-year old home on a historic neighborhood retail block to the 

so, the four owner/artists have renewed their commitment to paint togethron 

Mahoney and Anita Mosher, the trio welcomed Kelly Berger to the 

by veterans of the gallery business as one of the best artist-owned galleries

VL 

BrushstrokesStudio.c 

John Harrell “Falls Last St 

John Harrell at work at Brushstrokes Gallery and Studio 

Anita Mosher ‘The Right 

87

om 

and” 

Way” 

Anita Mosher at Brushstrokes Gallery and Studio

VL 

Visit with Brushstrokes Galle 

Kit Hevron Mahoney painting at work at Brushstrokes Gallery and Studio 

What’s their secret to success 

A mixture of different personalities that celebrate their differences and similarities 

making a collaborative environment for creative expression, a shared commitment 

to the business, a love of direct-contact with art buyers, and a upbeat outlook on life 

and art in general. Each artist brings their individual strengths to the group creating 

a sum that is greater than its parts. 

Housed in a gorgeous turn-of-the-century Victorian storefront, the Brushstrokes artists 

are taking their art to new heights. A grand opening show is slated for Saturday, 

April 20. 

89 

For more information, go to www.brushstrokesstudio.com

y and Studio 

Kit Hevron Mahoney “Then and Now” 

Kelly Berger “Sliced Light” 

Kelly Berger painting at work at Brushstrokes Gallery and Studio

VL 

Studio Visit with Cat 

91

hy Leaycraft 

artspan 

I am on my knees in a bed of decaying twigs and leaves. The ground compresses 

under the weight of my body. My camera dangles from my neck, swinging back 

and forth like a pendulum as I maneuver myself into position. 

I have chosen a spot in the shade behind a large tree. Here I can set up my “still 

life” of reflective glass without capturing my neighbor’s chain link fence. I have 

been photographing landscape using this technique for many years now. I am 

still amazed at the natural beauty that reaches my camera’s sensor. Every shoot 

brings me a new vision. 

I squat and lean; I looking through the viewfinder at the layers of reflection that 

shift as my body movies. The shutter clicks as I capture a composition, and 

move on to find and capture another. 

After an hour or two of looking, arranging, and photographing I collect my 

props and return home to download. 

The new images seem magical as they appear on my screen. I search through the 

new files for the image that speaks to me, the one that transmits the essence of 

the objects I had been surrounded by. 

When I find it, there is joy. 

-Cathy Leaycraft

VLStudio Visit with Cathy Leaycraft 

93

artspan

VLStudio Visit with Cathy Leaycraft 

95

artspan

Gabriele Bitter 

Contemporary Artist 

GabrieleBitter.com

The Evocative Landscape 

“Last Kiss” Oil on Canvas 24 x 30 

Mark Nesmith 

MarkNesmith.com

Laurel Cla 

laureloswaldclark.com 

laureloswaldclark.com

k 

laureloswaldclark.com

ARTSPAN Artist Spotlight 

artspan Carol Tippit Wo 

What is your favorite way to get your craetive juices going Every morning I take a brisk walk around the 

Brandywine Creek with my dog, Bridget. The natural beauty of the area, and all of its wildlife, helps to focus 

my ever chattering brain. 

When did you realize you loved art and wanted to be an artist I’ve always loved to draw, as long as I can 

remember. One Christmas my grandma sent my sister and me (I must have been 8 or 9) oil paint-by-numbers 

kits...and that first whiff of linseed oil was the clincher. I LOVED IT! 

Who has been your mentor, or greatest influence to date My greatest influence would be Priscilla Bender 

Shore. Art in my family consisted of a painting from Woolworth’s. I babysat for Priscilla, who lived across the 

street. Her paintings were incredible, like nothing I’d ever seen before, and her studio was an integral part of 

her home. I’d spend hours contemplating each painting, determined to paint like her some day. In fact, she did 

swimming pool paintings, and a few years ago, as an homage to her, I did some myself. I visited her website 

later and there were her bathers...nothing like my memory! But they were just as wonderful. 

Who is another living artist you admire and why Brad Wright. I’m not sure if he still paints, but about 30 

years ago in Santa Barbara, when I had a studio there, he took me under his wing, forced me to unlearn all 

the academic stuff I’d learned in school, and introduced me to a color palette I’ve used ever since. His work is 

a complex layering of color and texture, much more abstract than my work, but filled with so much life and 

emotion. An endless adventure to enjoy. 

What is your favorite surface to paint on Right now I love to paint on gessoed bristol. It creates such a hard 

surface that the colors sit on top of and remains brilliant. I take a piece of bristol, the thickest I can find, then 

gesso 3 layers, sanding down each layer before applying the next one. 

What is your favorite brand of paints to use Maimeri Puro from Italy. They are very pigmented...brilliant 

colors. 

Do you have a favorite color palette I’m not sure if you mean the physical palette...of which I use a grey and 

glass. Or color, which is the palette of colors I learned from Brad Wright. 12 colors hand mixed, with a couple 

of other colors (cad yellow med, turquoise, cobalt violet, quinacrodine red, naples yellow, thrown in to mix 

things up. This palette is based on complementary colors, light to dark, dark to light. 

What is your favorite color in your closet A very tough question! I love color so much, but oddly enough 

black is the dominant color...green a close second. 

You seem to paint a lot of landscapes. What prompted this 

I travel to France a lot and have fallen in love with the graphic fields and towns, and the magnificent plane 

trees that line the roads and village streets. When not in France, which is most of the time, Lancaster County, 

PA, is a good alternative. The silos remind me of castle turrets, and the the fields are just as beautiful. In fact 

I’ve learned to appreciate Lancaster County after France, realizing beauty is truly everywhere. 

101 

caroltippitwoolworth.com/

olworth 

Contemporary Fine Artist 

How often do you paint how many times a week I try to paint everyday at least for 30 minutes which then turns 

into a longer stint. If I can’t paint I at least do something that has to do with art to move me forward. 20 hours a week 

seems a good average. 

What is the one thing you would like to be remembered for. Color. 

There are many culprits that can crush creativity, such as distractions, self-doubt and fear of failure. What tends 

to stand in the way of your creativity Oh goodness. Where do I start I’d say self-doubt. My inner voice is always 

questioning myself...who do I think I am trying to be an artist Whose going to like this You don’t know anything...blah 

blah blah 

How do you overcome these obstacles Reading about other artists has helped. Almost all of them go through a period 

while painting when that fear of failure pops up. Also, I just force myself through. I’ve come to realize there are no bad 

paintings. They can always be fixed, nothing’s etched in stone. The beauty of oils is that the more layers you lay down the 

more interesting the final piece, so all those mistakes just go into the process of finding the way to a successful painting. 

What are your inspirations for your work The incredible world around me! 

Which work of yours is your favorite Right now it would be my Large Vessel Painting. It’s from my latest series of 

Vessel Paintings which is a play on Native American pottery vs my own personal journey. 




Aix-en-Provence 9x12 oil on paper 

103 


olworth 


caroltippitwoolworth.com/ 

Up Close and Personal 

What book are you reading this week Women In Love by DH Lawrence 

Do you have a favorite televion show The Spiral (French detective series). 

What is your favorite food I love food in general! But if I must choose something I guess I’d have to say...um...the 

exotic flavors of Indian cuisine. 

What color sheets are on your bed right now Dark grey 

What are you most proud of in your life My life! I’ve had such wonderful things happen, have met incredible people, 

traveled to fascinating places, and been handed opportunities that have constantly moved me forward. The sum of 

my life to date would be what I am most proud of. 

Who would you love to interview Nicolas de Stael. He managed to create paintings of landscapes, figures, still lifes, 

honed to the simplest of shapes. And he had a rather hard time of it... 

Do you have a passion or hobby other than painting What is it Cooking. I love being in the kitchen, turning a 

bag full of groceries into something delicious...an alchemy of sorts! 

Who would you love to paint Umm, Albert Einstein. What a face! And what an engaging person to have sitting 

there while I was painting. 

If you were an animal what would you be and why A welsh corgi. I have one and we’re just the same! Bossy. Curious. 

Playful. And a bit shy. Loves to eat. 

If you were stranded on a desert island and could only take three things, what would they be A knife. I could 

use it to get food, carve designs into rocks and cliffs, whittle animals from driftwood, draw in the sand. Complete works 

of Shakespeare. It would take me a lifetime to read through the tome. And the beauty of the language and images, the 

diversity of comedies and tragedies and sonnets, never a dull moment...and perhaps even memorize some things. 

My corgi, Bridget, for company and amusement. 

Share something with us that few people know about you. I’m a worry wort! I worry about everthing! And tend to think 

the world is coming to an end. 

If you could live anywhere in the world, where would you live South of France



Dordogne Spring 2005 36x32 Oil on Linen 

104 


olworth 


Luberon Valley 6 x 8 Oil on Paper 


Edward A. Reep, 

A life in form and figure. 

By Barry W. Scharf 

Soldier’s bath 

Ed Reep was renowned for his contribution as a World War II artist. His watercolors, pen and ink 

drawings and sketches communicated the conditions of life on the battlefield and he did so through 

the eyes of a passionate man with clear vision. In 1988, he chronicled his war years writing A Combat 

Artist in World War II. 

In1970 Ed arrived in Greenville, North Carolina, as Artist in Residence at East Carolina University. 

His book “The Content of Watercolor” published in 1969 was getting great reviews from the art 

world. The first class he taught was to standing room only. By way of introduction, he told a story 

of his adventures as a painter and the time he worked for Walt Disney. Ed loved to tell stories and 

did so with humility and an animated energetic delivery that was exciting to watch and hear. As he 

spoke, the words painted images, and the room fell silent. 

Over the years at E.C.U., Ed Reep taught the magic of great composition, tools of painting, chemistry 

of color and viscosity of paint flow. He was committed to his students in the classroom and 

after school allowed some into his studio. Ed was generous, patient and giving of his knowledge. He 

taught the proper way of building and stretching canvas, how to see the world with different eyes, 

how to think and process creatively, and most of all, how to live an honorable life as a passionate 

artist. 

107

Idiot’s Garden 1972 

During his time in Greenville, the US Government had finely come through a yearlong process and commissioned 

Ed to do a series of works on the Berlin Wall. These were large paintings dynamic in design and 

meaning. One particularly stands out in memory; Idiot’s Garden 1972, was a large painting, the right side of 

the image had varying shades of red sand umbers laid upon shadowed buildings in a blue alleyway, jagged 

lines of broken and translucent glass line the crest of one wall. A second wall topped with large bent rebar 

and wrapped in barbed wire so large it could kill you, brushwork so sharp it could cut you just to look at it. 

On the left side of the painting, a guard tower searchlight shines brilliantly over the wall, looking for anyone 

that might be brave enough to try for freedom. This beam of light illuminates strong angular shapes in 

sharp contrast, backed by a red sky driving the oppressive theme home.

109 

Die Mauer Muss Fallen 1972

Die Mauer Muss Fallen, painted in 

shades of red, shows a church cruelly 

blocked from the western entrance 

by a high wall topped with shards of 

broken glass. Several stained glass 

windows are smashed and missing. 

An unearthly light-post is bolted to 

the church wall. Above and behind 

stands a mournful statue of Christ 

looking down upon the scene with 

the painting’s title written as graffiti. 

Ed Reep was a master draftsman. 

He drew accurate interpretations 

of form, space and vision tempered 

through the eyes of artistic license. 

His practice included drawing from 

the figure and he did so religiously. 

The figure drawing Mish 1970, is an 

example of his sense of line and form. 

The line meanders effortlessly over 

the page hugging a curvaceous body, 

opening and closing so the eye can 

see form from inside and outside the 

figure. The head is the focal point 

accented with detail and color. 

Mish 1970

111 

Perpetuity 1976

Ed’s interpretation of the figure was not limited to drawing. He did many large-scale oil paintings. 

The 1976, painting Perpetuity is one such canvas. We see how he weaved the figure into a complex 

structure of abstract forms. Even though the negative space is colorful and multifaceted, it does not 

dominate the paleness of the beautiful figure seated in the foreground. The face and hand elements 

hold detail and the pale skin stands out, broken only by the fragmented lines that tie the composition 

together. 

Flower Nude #1 1978 Flower Nude #2 1978 

In 1978, Flower Nude #1 and 2 continue the figure oil series. In #1, we see a beautiful girl looking off, as 

though lost in a pleasurable memory. The red scarf on her head directs the viewer to her face. The strong 

geometric bricks that overlay the canvas evoke question. Is this a reflection in a mirror or are they tiles 

on a wall The cool blue spectrum pushes the warmer figure forward and the slight distortion suggests 

that she is somehow defused leaving much for the viewer to contemplate. 

In #2, we see a view of the figure that appears to be balanced on a stalk of transparent flowers. The nude 

has her back to us allowing the image to move from the simplicity of a descriptive line on the right to 

the complex detail of flowers and then into her head in the upper left of the canvas. 

When Ed retired from teaching, he moved to Bakersfield, California. He built a studio behind his small 

home and spent his remaining years there painting watercolor images. He illustrated Japanese Haiku 

poems as only Ed could see them. He created visual color fields that could make your mouth water.

Subject matter in Ed’s hands always came out looking better then the reality. His design sense 

was shockingly impeccable, and often gave even the most immature viewer an insight to a deeper 

meaning within the image. Ed was a visual poet and a master of color and line. He was a maverick 

in his view of the world. Through his paintings, he was capable of exposing injustice and 

evil where he saw it. All this Ed easily surpassed by an uncanny ability to see and express beauty 

with the same brilliance. 

Ed often penned written letters. Aug. 20 1975: He wrote, “My painting is better then ever, and I 

have produced more this past year then ever in my life. This year I did no teaching in the summer 

at all- a new record for me. For even on my other summers off (Chouinard Art Institute sabbaticals) 

I carried a private class plus a scholarship class to make ends meet. So this has been a banner 

year, full of production and excellent sales.” 

“I have been using stencils, freshets and cheap paint of late. I must keep plugging… NEVER STOP 

PRODUCING. You make things happen as an artist and it takes a hell-ova lot of perseverance.” 

Sept. 8 1976: …“ I had a wonderful summer in Spain. The Gaudi architecture in Barcelona is 

magnificent! I am sure it will influence my new work. I used to build and literally “carve” my own 

frames at first. I bought one easel on time payments, as well as my Stanley-Marsh Framer! My 

advice is to any young artist, keep producing new work. Something always happens when you force 

it to happen!” 

May 31, 1977: …“Life is rather difficult, especially when you wish to do something other then make 

a “killing”. Lord knows art is a luxury. Still if one wishes to be an artist badly enough, he/she will 

indeed become one. I mean, like a little shrub one prays for it to grow and spread out a bit. Believe 

it or not, the day arrives when you have to invest in pruning shears.” 

Oct. 29, 1977: “Yesterday I got a painting going after several days of indecision (this is customary 

when I am between series), and it feels good to smell the turpentine, and be functioning again. 

How does one avoid thinking of interruptions, especially those that prevent one from carrying out 

desired missions or simply continuing daily routines like painting” 

Aug. 20 1979: “Be very careful about two things in drawing namely: 1. Try to resolve the total 

gesture of the figure or animal you are drawing. 2. Pay great attention to the structure of head neck 

and shoulders. By this I mean, try to account for the head-brain case, neck- cylinder, Chest or rib 

cage, pelvis, etc. It will help!” 

113

Fallen Idol 1989 

In 1989, Ed revisited the nude in a watercolor entitled Fallen Idol. We see a statuesque form 

toppled. It appears forlorn. The geometric complexity of cool colors appears to be absorbing the 

figure. Above, warm yellows and reds pull us into an implied depth of field. The Idol is caught, 

absorbed by the forces above and below.

In 1989, the provocative watercolor Time Was 

(left image) shows a surrealistic style clock with 

floating hands. Here Ed’s knowledge of architecture 

and objects dominates. One wonders about 

the meaning. The hands are set to 20 minutes to 

twelve. Has the clock stopped The title might be 

a clue and may indicate memories of the past. 

Ed painted Kiowa War Bonnet (below) in 1993. 

This watercolor shows his love for the complexity 

of object as figure. Inspired by the feathery headdress, 

we see floating against a grey liquid background. 

The balance of warm and cool colors 

creates a complementary color-field. The feathers 

gesture as if moved by the wind. 

May 24 1994: “My show has been up (mounted) 

and down. Only four pieces sold, but two were for 

good prices. I can’t say that the market is up as yet 

and I’m not certain what I am going to do with my 

inventory, but my concern is similar to most artists 

who, at an advanced age find their work crowding 

in on them.” 

Time Was 1989 

Kiowa War Bonnet 1993 

115

In 1994, Ed continues his exploration of architecture as figure. Argus, (image below) appears to be 

a classic Victorian home diminished and compressed into a façade, painted with clear detail to the 

filigree and columns. The building appears to be floating on a cloud, attached to the frame only by 

a stair and an old branch. One gets the feeling that we have lost track of time and place. Here before 

us is a sanctuary, a place for us to take refuge from the surrounding nothingness. 

Argus 1994 

June 1, 1995: “I am enjoying my painting 

it is oddly precise even as my hand shakes 

due to tremors. One would think that I 

would accordingly swing paint or paint 

wildly but that just is not so. Strange, no 

pressure to show or succeed—what a load 

to get off my back, that business of preserving 

or continuing or caring about one’s 

reputation. I tired of the art grind long ago, 

and whether or not you know this I detested 

the arty – exhibition world—especially 

the nuts that gather at such affairs. 

Later in the year, we will go to New Orleans 

to teach a workshop, San Antonio to 

jury a show, Ohio for another workshop, 

and North Carolina for vacation. Add to 

that I have been invited to Washington 

D.C. in celebration of an affair “Eye Witness 

to History”, the War Artists of WWII. 

Fifty years later and the celebrations are 

still going on.” 

Feb. 24 1996: “Painted all week (Hah!), that means two or three days. In between painting I garden 

or golf, albeit each endeavor wears me out. Nevertheless, physical exhaustion is something I 

enjoy, notably when accompanied by seeing something develop, grow or build. I love the outdoors, 

despite the fact that I detest camping, sleeping bags, fishing or hunting.”

In 1997, Ed painted the Parade. This colorful image transports us back to childhood where we can 

see only the top half of the goings on. The characters on poles seem to be dancing by and we can 

hear the band playing! This watercolor touches a joyous nerve. Ribbons move rhythmically on the 

poles. The American flag and buildings suggest we are in small town USA. There is so much here to 

look at and enjoy. 

Jan. 18, 2001: “From what I can observe, artists, have one thing, one very positive thing going for them. 

They are, as a bunch, able to cope with old age a bit more easily then many others. Our sense of humor, 

our ability to look in the mirror and get a laugh, our interest in everything (at least a visual interest— 

color, shape, size, scale, old/new et al.) amuses us. However, whereas I always ran around with younger 

people, friends or colleagues, I now prefer those folks my age. It seems that only an elderly person understands 

another elderly person. Ugh! Today I must start a new painting. I have grown tired of working 

on the one I just completed – yet could fuss about and continue to revise or add or remove areas, 

not to mention altering and changing colors. Sometimes it pays to let an image alone and come back to 

it later.” 

May 24, 2001: “Today I painted and finished an image, totally non-figurative and attractive. When 

I paint notably in these past few years, I might “play” with the painting for weeks—changing colors 

through the benefit of all sorts of corrective process. For example, black gesso (and white gesso, although 

this has little hiding power); allow me to alter any painting and especially when I make technical mistake. 

Today, if I spent these few hours of fever painting, I also used about three hours to correct errors. 

The “Golden Years” are a myth! Celebrate and enjoy every facet of life while you can. For what this life 

is worth, we can only do the best we can.and little more. I might add that in another age or circumstance, 

we (artists) might have a greater chance to do more. Alas, most of us spend so much time keeping 

food on the table without much help from anyone; we lose precious creative hours by the score. 

I am not satisfied but grateful that I found a way to keep painting. I doubt if I would paint any better if 

subsidized, but I could have done many more works. At one point, I would have enjoyed doing massive 

graphic murals for architectural edifice. Yet, this may be just a dream. What did they call them “Super 

Graphics” 

Look for the American Artist Summer Issue (2001) I have quite a spread in it and in an effective way it 

will reveal the direction in which my work is going. 

Feb. 16, 2003: “ Just got back to painting—about a day or two to ago on the first image in over 8 

months. Thus, I celebrated by coming own with a cold. 

Now if I only had a good idea. My recent painting has four water bugs in it. All is well .” 

March 22, 2003: “Having down times happens when you are an artist in America and you must come 

to expect it! Now I am not lecturing, nor do I have any great amount of information on how “artists” 

operate in the art world---I never could. Even so, the only way out is to create, paint, sculpt, and do a 

series of things you like. Then plan your next step. Talk to other artists you know or visit the galleries 

with images of your new work. Something good will happen, it always does when you do good work 

first.” 

117

Parade 1997 

Sept. 12, 2003: “Perhaps the proudest moment of my life was when I was told I had won a Guggenheim 

Fellowship. Suddenly the opportunity to become an artist lay before me and I accepted the challenge eagerly. 

A product of the Great Depression as well as World War II, I simply tore into a career that has endured 

throughout my life. 

Oct. 30, 2006: Nothing new… everything is old. I am imprisoned in my inactive studio. Still we dream 

ourselves fortunate especially to live in a free country and to have one another. With all artists, if the work is 

going well that’s important. Oh when will man become civilized 

Sept 13, 2007: First, my bumper sticker reads “ENOUGH IS ENOUGH VOTE DEMOCRATIC”. I don’t 

write much anymore. You will discover (as only a person can) when you are almost 90 or there about, there 

are countless things one cannot (or does not wish to) do. Just reaching this age is a milestone. 

“Since I can no longer pontificate, and since I can no longer advise anyone in or about art. I will end with 

love to you all, (Signed with a flourish) Ed Reep. 

Ed passed away in the last week of February 2013. He is a National Treasure. 

Barry W. Scharf

Best of Show 

CFAI.co Art Challenge “Plac 

ART CHALLENGE 

Best of Show 

Vertigo 

Rita Cirillo 

www.ritacirillo.com 

119 

http://www.cfai.co/art-challenge-march-2013-places-i-have-been/

es I Have Been” March 2013 

Rita Cirillo 

http://www.ritacirillo.com 

First Place 

Piazza 

Carmen Beecher 

www.carmenbeecher.blogspot.com 

ART CHALLENGE

Second Place 

Mom and Daughter-Haiti 

Susan Kemnitz 

www.suekemnitz.com 

ART CHALLENGE 

http://www.cfai.co/art-challenge-march-2013-places-i-have-been/ 

CFAI.co April Art Challenge - $100 Cash Prize! 

Melody Cleary 

Open to all 2D visual artists! 

Enter now - 

www.cfai.co/art-challenge

http://www.cfai.co/art-challenge-march-2013-places-i-have-been/ 

Third Place 

Adobe Big Bend National Park 

Tina Bohlman 

www.tinabohlman.com 

ART CHALLENGE 

Submit your portfolio to join 

Contemporary Fine Art International 

www.cfai.co/register 

122

Lost Maples 16 x 20 Oil 

Diane 

Whitehead 

Sheep Incognito 

DianeWhitehead.com 

Baaandits 

Conni Togel 

Charisma-Art.com

Mary Jo Zorad 

ZoradArt.com

Debbie Gray 

NoworNever-Debbie.blogspot.com 

DebbieLincoln.com

son Lincoln 

NoworNever-Debbie.blogspot.com 

DebbieLincoln.com

Gibson Pottery and Glass 

GibsonPottery.com

Suzan Madison Casey 

Facebook.com/FromMyPorchSwing

Blog Review 

Barbara Churchley 

http://barbarachurchley.com 

131 

Kimberly Conrad 

http://kimberlyconradfineart.com

LandscapeArtistsInternational.blogspot.com 

Landscape Artists 

Lou Jordan 

http://loujordanfineart.com 

Kit Hevron Mahoney 

http://brushstrokesstudio.com 

132

Susan Bell 

Plein Air Artist Spotlight 

133 

http://www.susanbellfineart.com

Niki Gulley 

Plein Air Artist Spotlight 

http://www.nikigulley.com

Kimberly Conrad 

Pouring Color 

kimberlyconradcoastalcollections. 

blogspot.com 

Conrad Coastal Collections, Original Pain

Contemporary Artist 

into Your Life 

tings and “Other” Lovely Things Coastal 

ConradCoastalCollections.blogspot.com

Step by Step 

hrgro 

VL 

Painting with 

OilPaint

Hall Groat II 

ingDVD.com 

Demonstrations 

OilPaintingDVD.com 

at1@stny.rr.com

Spring 2013 Juried Show - “The Tapestry of Life” - Open to Artists Worldwide 

$500 in total cash prizes 

Open to all visual artists 

Enter today! 

www.cfai.co/juried-shows 

Mary Opat

DAILY PAINTERS 

Daily Painters.comDaily 

Ria Hills 

www.riahills.com 

www.riahills.com/dailyblog 

http://www.dailypainters.com/artists/artist_gallery/564/Ria-Hills 

DailyPainters.com 

140

THE COLORS OF TEXAS 

DutchArtUSA.com

THE ARTISTS OF TEXAS 

ArtistsofTexas.org

Nancy Medina 

NancyMedina.com

WENMOHS 

Artists Retreat at t 

Art Workshop Sc 

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

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

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

LIZ HILL 

Drawing and painting the 

figure in mixed media 

May 9-11 

$350 

TOM LYNCH 

Watercolor/ Studio 

May 20-23 

$575 

BO 

O 

O 

$3 

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. 

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

RANCH 

he Bunkhouse 

hedule for 2013 

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

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

B ROHM 

ils, Pastels/ Plein Air 

ctober 25-27 

60 

DON SAHLI 

Oils/ Studio/ Plein air 2 days of each 

November 4-7 

$595 

See you at the Bunkhouse! 

Dena Wenmoh 

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

146

CFAI.co Collectors 

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

Dottie Martz 

Carol Schiff http://www.cfai.co/carolschiff 

Tatiana Roulin http://www.cfai.co/tatianaroulin 

Maria Kitano 

147

Art under $200 


http://www.cfai.co/dottiemartz 

Carol Jo Smidt http://www.cfai.co/caroljosmidt 

http://www.cfai.co/mariakitano 

David Patterson http://www.cfai.co/davidpatterson

CFAI.co Collectors 


Nancy Taylor Levinson http://www.cfai.co/nancytaylorlevinson 

Judy Mackey 

149 

Patty Ann Sykes 

http://www.cfai.co/pattyannsykes

Art under $200 



http://www.cfai.co/judymackey 

Lisa McKinney 

http://www.cfai.co/lisamckinney 

Carolyn McDonald http://www.cfai.co/carolynmcdonald

Dutch Art Gallery 

Bear by Betty Allison 

DutchArtGallery.net

Visual Language Magazine VOl 2 No 5 May 2013

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