Visual Language Magazine Contemporary Fine Art Vol 2 No 8

VL 

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

contemporary fine art 

Artspan . VL 

August 2013 Volume 2 No. 8 

Victoria Pendragon 

victoriapendragon.artspan.com 

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VISUAL LANGUAGE 

Contemporary Fine Art 

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August 2013 Vol 2 No 8 

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In 1988 through 1989 I experienced the crippling 

of my whole body and the hardening of 

my internal organs due to progressive systemic 

sclerosis. Art as a way of interacting with the 

world stopped for me as I embarked on an adventure 

that would first save and then change 

my life. My very unlikely recovery led me 

towards work where I could be of assistance to 

others and public art took a back seat for many 

years as I used it only for personal therapy, 

exploration and an expansion of my 

consciousness. 

VL Cover Artist 

In 2008, following a divorce from my collaborator, 

I began to feel an irrepressible urge to 

create and that urge found its expression first 

in collage, then in painting on silk and finally 

emerged in a meeting of mediums, in which I 

layer painted silk with collage as well as found 

and created objects. My focus is almost always 

feeling energy. These are still the mediums in 

which I do most of my work. 

I became acquainted with the various manifestations 

of energy during my years of healing 

as I explored one after another so-called alternative 

methods in that there was – and is – no 

known cure for scleroderma. During that time 

I also became acutely aware of the role that 

feelings play in the body and in the way that 

they affect the energy of the body. In my work, 

I strive to create pieces that inspire feelings 

in the viewer, allowing their feelings to evoke 

response. In my Painted Poetry series, I offer 

a little somethng for the mind as well. First 

published as a poet in 1964, I have gone on to 

become both a poet and a published author. 

victoriapendragon.artspan.com 

victoriapendragon.com 


Sea, Sky and Landscapes 

Dannielle Mick 

www.danniellemick.com 


content VL 

WAOW Colorado 2013 

WAOW - Announces the winners of the 

2013 competition. Best of Show Betty Gates 

“Spring Water” 

Painter’s Keys - Robert Genn 17 

ARTSPAN Landscape Painting - 28 

CFAI Colors on My Palette 34 - 37 

Dianna Fritzler and Angela Sullivan 

Read the up close and personal interviews from two CFAI.co 

artists. Find out more about what they use when painting 

and things that are special in their lives. 

Hall Groat 

Lost and Found Edges in Classical Still life Painting 48 

Hall Groat shares painting techniques 

for setting the atmosphere for your 

background in your paintings.. 

VL Gallery Visit with Marine Arts in Salem MA 54 

Generations of Art in this family gallery featuring 

American Maritime Painters. 

VL Studio Visit with American Maritime Artist 

Austin Dwyer 62 

Austin Dwyer’s touch with his brush brings to life the 

beautiful stories in Maritime Art. “I was an illustrator 

during the day, returning home to my studio where I 

finally painted what I dearly loved, marine art.“ 


ARTSPAN Studio Visit Sam Hall with Art Review 

by Hall Groat II 74 

Striving for Excellence in Realistic Paintings devoted to Nature - 

offering Owners and Viewers the sense of Peace and Tranquility that we all 

crave in this hectic world. 

ARTSPAN Spotlight Drew Keilback 102 

VL Studio Visit with Landscape Artist Jason Tako 88 

Sometimes great things can come out of tragedy. Sometimes we learn more 

of who we are through suffering and trial. Any successful artist has to 

pay his or her dues; to work hard and go through a good number 

of failed paintings before they discover their artistic voice. And sometimes 

the struggle can be something not directly related 

to art, yet it can still have an impact on our art. 

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

Impossible to tell. Like most artists I’ve enjoyed drawing for 

as long as I can remember. I think drawing is a primordial 

means of communication and, as children, we instinctively 

pick up a pencil to convey our first messages. For some of 

us the ‘medium is the message’ and we continue 

on to become artists in all its different forms. 

VL Barry Scharf Shares 

Maritime Landscapes Canada 118 

VL Studio Visit with Texas Landscape Painter David Forks 126 

I have just started to learn this process of painting 

and it is abundantly clear to me that it will take a lifetime 

to figure out. There is nothing I can think of that is more 

rewarding and simultaneously puzzling. 


content VL 

ARTSPAN Studio Visit Nick Gonzalez 146 

I grew up on farms in the southern English countryside of Dorset and 

Hertfordshire - my father was a dairyman (he had originally hailed from 

Gibraltar, a very small rock in the Mediterranean Sea, without a single cow). 

My mother had attended painting classes at the London Central School of Art, 

but had to temporarily give up her artistic work for a busy family/farm life, post-war. 

VL Gallery Exhibit with Deborah Flood 158 

Award winning watercolorist, Deborah Flood, a native of Maine, 

has been invited by the International Museum of Art of El Paso, 

Texas, to exhibit 40 of her large Equine and Western Watercolors. 

ARTSPAN Photographer John G Lomba 174 

“There is a mysterious appealing mystical quality about the world’s oceans 

and waterways which captivates many a sailor and land-lubber alike. 

I have been fortunate enough to have been both. But not until recent times 

have I been able to make the association to incorporate what I see with 

photography. That was when I realized that these two subjects could 

work well together in perfect harmony.” 

CFAI.co Art Challenge “Summer Fun” 184 

Best of Show Carmen Beecher “Leap of Faith” 


Artist of the Day 

“Art is not what you see, but what you make others see.” ― Edgar Degas 

Sign up today. 

artistofthedayvl.blogspot.com 

If you want to be featured on Artist of the Day, Contact Visual Language Magazine. 


Carol Engles 

CarolEngles.artspan.com 


Not big enough. 

http://www.timgagnon.com 


Tim is redoing it 

http://www.timgagnon.com 

Website.com 


waow colorado 2013 

BEST OF SHOW – “Spring Water” – Betty Gates 

Two Dimensional: 

1st Place: “Waiting for Evening” – Cecy Turner 

2nd Place: “Buckin’ Fool” – Lindsey Bittner Graham 

3rd Place: “Sunset” – Teri Gortmaker 

Three Dimensional: 

1st Place: “Halcyon II” – Georgene McGonagle 

2nd Place: “But I Love Stilettos” – Tammy Baility 

3rd Place: “Waiting On The #9” – Lori Pandy 

Best Landscape 

“Running Around” - Amy Evans 

Best Animal 

“Preening Macaw” – Cathy Sheeter 

Best Figurative 

“Big Thoughts” – Shirley Hove 

Best Still Life 

“The Silver” – Eileen Nistler 

Juror Awards 

“Tapestry” – Heather Arenas 

“Water To Wine” – Shirley Gipson 

“The Red Door” – Carol Maltby 

Merit Awards 

“China Doll” – Judith Birch 

“Headin’ West” – Judith Dickinson 

“China Vase, White Roses and Oranges” 

– Dee Kirkham 

“Regal Chukar” – Kim Middleton 

“Flower Boy” – Naomi Shachar 

“The Silver Pitcher” – Jody Anderson 

“Flint Creek in Winter” – Jennifer Hunter 

Honorable Mention 

“Collected Canter” – Shirley Wempner 

“Bling” – Cheryl Harley-Volz 

“Safe in her Arms” – Joanne Hanson 

“Ready and Waiting” – Debbie Hughbanks 

“After the Dance” – Kathy Anderson 

“Pulling the Wagon” Linda Wells 

“It’s Been A Long Day” – Linda Walker 

“Thompson Confluence” – Ginger Whellock 

ADDITIONAL AWARDS 

SOUTHWEST ART MAGAZINE 

“Kelli’s Morning Walk – Lyn Phariss 

ART OF THE WEST MAGAZINE 

“Sunset at Lake McDonald” – Sandhyaa Shetty 

VISUAL LANGUAGE MAGAZINE 

“Spring Water” – Betty Gates 

ALLEN AWARD – BEST PLEIN AIR 

“Azalea Impact” – Joey Frisillo 

PRESIDENT’S AWARD 

“Winter Bison” – Mary Ann Cherry 

PEOPLE’S CHOICE AWARD 

“Headin’ West” – Judith Dickinson 

waow.org 


BEST OF SHOW – “Spring Water” – Betty Gates 


Miradafineart.com 


Miradafineart.com 


VL 

VISUAL LANGUAGE MAGAZINE 

Contemporary Fine Art 

Visual Language Magazine Staff 

Editorial 

Editor -in-Chief Laurie Pace 

Executive Editor Lisa Kreymborg 

Consulting Editor Nancy Medina 

Consulting Editor Diane Whitehead 

Consulting Editor Debbie Lincoln 

Feature Contributor Robert Genn Painter’s Keys 

CFAI Contributor Kimberly Conrad 

Feature Editor Art Reviews Hall Groat II 

Feature Writer Barry Scharf 

Feature Writer David Darrow 

VL Sponsor ARTSPAN Eric Sparre 

http://www.kathyoleary.com/ 

Advertising 

Contact: VisualLanguageMagazine@gmail.com 

Marketing and Development 

Executive Director Business/Management Stacey Hendren 

All Artwork is Copyrighted by the Individual Artists. 

Visual Language Vol 2 No 6 

http://www.campionandco.com/ 

http://ArtistDoron.com 


Painter’s Keys 

with Robert Genn 

Painting in public 

June 28, 2013 

Dear Artist, 

Robert Genn’s 

Studio Book 

Yesterday, Susan Winslow of Dana Point, California wrote, “Last weekend I took a two-day workshop from 

the excellent plein air painter Frank Eber. Now a few of us are going to meet tomorrow to paint. We have the 

equipment, but are intimidated at painting in public. Any suggestions” 

Thanks, Susan. I appreciate that women may have more concerns about painting in public, especially alone, 

than do men, but together you should be fine. Alone or in a group, the main aggravations are the inane 

remarks from strangers who wander over to see what you’re doing. 

“That’s pretty good--you should take up painting,” is an encouragement I’ve been offered more than once. 

Decency obliges me to respond to these folks, but sometimes I wish Dorothy would just bite them. 

Funnily, when you work alone, most passersby give you a wide berth--more so in Eastern and European 

cultures. On the other hand, some painters welcome intercourse, and even take the opportunity to hand out 

their cards, upcoming show invitations, or sell directly “right off the easel.” In our area there’s currently a guy 

in a green smock who I’m told makes a living doing this. 

Painter’s Keys - Robert Genn 

After coming off a workshop with a top watercolourist like Frank Eber, I think it’s important to go out again 

as soon as possible while those long soft washes and the Eber spirit are still fresh in your mind. FYI, we’ve put 

a selection of Frank Eber’s work at the top of the current clickback. 

Curiously, people are more likely to stay away if you wear a big hat. Apparently, hat wearers these days are 

perceived as more “independent and private.” Going bare-headed attracts interlopers. Ear buds are useful 

deterrents as well. Sitting in (or near) a cheap panel van puts them off completely. 

Those heading out for the first time often make the mistake of driving around all day looking for the perfect 

scene. You can actually set down anywhere as you’ll almost always see something you didn’t notice at first. 

“Everything outside is exciting to look at,” said the great outdoor painter Irwin Greenberg (1922-2009). 

“There are hundreds of paintings all around.” 

Best regards, 

Robert 

PS: “Plein air painting is the perfect forum for learning, as it is observation-driven. Placing technique secondary 

to observation is the essence of working the field.” (Ken Auster) 

Esoterica: Painting in the remote out-of-doors is the best plein air of all. Occasional passersby, stumbling 

on the vision of a painter at work, share the magic and are sometimes encouraged to stay for tea. I’ve made 

lifelong friends this way. “It’s important to realize how connected we all are as humans,” says the outdoor 

painter Rodney Cobb, “especially as plein air artists.” In my own work in the Rockies I’ve also come face to 

face with mice, yellow-bellied marmots, raccoons, porcupines, wolves and one lone wolverine. So far no grizzlies. 

If these letters stop coming you’ll know that I have. 


MikeMaron.artspan.com 


Michael Maron 

MikeMaron.artspan.com 

Fine Art Watercolor 


Jimmy Longacre 

20 | VL Magazine - VisualLanguageMagazine.com 

longacreart.com

Dyan Newton 

Colors of Life 

DyanNewton.com 

Visit my website for workshops and class schedules. 


achel weissberger 


www.rachelsart.net 

akan@socal.rr.com


The Art of Transformation 

Title of Piece: Integrating Into the Day 

Mixed Media (resist dyed silk, collage, acrylic, found objects, sparkles), 

12” x 12,” framed, $300 

www.victoriapendragon.artspan.com 

VictoriaPendragon.com 

Victoria@victoriapendragon.com 


Lelija Roy 

Aspen Spaces 

Lindyhop Lovers 7 x 5” oil on panel 

Colorado Memories 24 x 48 Acrylic with Mixed Media © Lelija Roy 

lelija.net 


Lelija Roy Capturing Colorado 

Art on a Whim Gallery in Breckenridge, CO 

www.artonawhim.com (970) 547-8399 

James Ratliff Gallery in Sedona, AZ 

www.jamesratliffgallery.com (928) 282-1404 

Commissions: lelija@lelija.net 


Tom Chesar 

TomChesar.com 

Sergeantsville Farm 

Oil on linen mounted on hardboard, 16” x 24 



artspan 

Landscape Painting 

CHARLES JOS BIVIANO 

http://www.josbiviano.com/ 

Eric Palson 

http://www.ericpalson.com/ 

Leigh Campion 

http://www.campionandco.com/ 


Peak to the Pacific 

Eric Bodtker 

EricBodtker.com 


MELISSA DORON 

The Next Door Gallery Houston, TX 

the den-DRAW-logy exhibition 

August 15- September 26th 

Reception Thursday, August 15th 7pm to 10pm 


ArtistDoron.com 


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CFAI.co Colors On My Palette 

Dianna Fritzler 

http://dfritzlerstudio.com/ 

http://www.cfai.co/colors-on-my-palette/dianna-fritzler 

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

Hmmm... for me, these are two different questions. I realized I 

had a passion for art when I was 25 and a girlfriend and I backpacked 

around the world for a year (to our mothers’ dismay). We 

met up with an artist friend in Germany named Scott Fraser. (If 

you aren’t familiar with his master work in contemporary realism, 

you need to stop reading right now and google Scott Fraser art. 

You will be blown away!) Anyway, he very kindly shared his vast 

art and art history knowledge with us as we visited museums in 

Italy and Greece. His amazing insights and knowledge, reeled me 

in and I’ve been hooked on art ever since! 

I never imagined in my wildest dreams that I’d be a selling artist! It wasn’t even on my radar until about 

eight years ago. However, to have the privilege of people actually wanting to buy my paintings to hang in 

their homes is such an incredible honor. So, it’s not so much that I wanted to be an artist. It’s that wonderful 

people and the universe gifted me to be able to love it and make a living doing it. Thank you! 

P.S. I believe we are ALL born artists! It’s just that some of practice it more often than others. 

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

Nature is my greatest influence. You just can’t beat it. I never formally studied art, so I don’t have academic 

mentors. However, I have had numerous talented artists take me under their wing and guide me, 

allowing this journey as an artist to not be quite so bumpy. 

Grand Junction, Colorado, where I live and work, has a very large, talented and incredibly kind artist 

population. I am so fortunate to live where other artists openly and willingly share information, 

techniques, resources and support. 

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

My mentor is always the ultimate Creator. 

There are so many artists I admire and salivate over their work including Cathy Hegman, Diana Woods, 

Mary Mansfield, Barbara Gilhooly, Don Quade and Kevin Box to name a few. Each of these artists’ work 

speaks to me in different ways, each offering pure enjoyment. 

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

There is the nicest guy here in Grand Junction who is a talented carpenter and disabled veteran. He 

custom makes gorgeous wooden cradled boards for me. They’re so pretty and smooth that I sometimes 

feel bad covering them up! I also like Fredrix Pro Deluxe 2.25” gallery wrapped canvas when I desire a 

rougher surface. 

Do you have a favorite color palette 

Napthol red is a my standard. I begin each creation with a Napthol Red underpainting and most of my 

paintings are on the warm spectrum of color. However, I find that more and more I am leaning towards 

cool colors. It really depends on whether I’m doing abstract or expressionistic work. 

Read more at http://www.cfai.co/colors-on-my-palette/dianna-fritzler 


Read more at http://www.cfai.co/colors-on-my-palette/dianna-fritzler 


CFAI.co Colors On My Palette 

Angela Sullivan 

http://www.cfai.co/angelasullivan 

http://www.cfai.co/colors-on-my-palette/angela-sullivan 

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

Art has always been a part of my life though uncontrolled and in its 

rawest form. Some of the fondest memories of my childhood are of the 

times I made countless intricate paper doll clothes. When I was 16 my 

mother bought me a wood art box filled with oil paints. I did not know 

how to paint or anything about painting and so with much determination 

my journey began. Now a day without painting is a day that I feel 

in the depths of my soul that something is amiss. 

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

My father was my greatest influence. From as far back as I can remember he always told me that I can do 

anything if I wanted to bad enough. He would tell me that my paintings were good even from my very first efforts 

which were actually far from being good. 

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

Two artists who have greatly affected my life and encouraged me when I have felt like giving up are Hilda 

Muxo Klinger and Carol Blackburn who comment on my blog almost daily. They both have been a great inspiration 

to me and have given me the push I needed to stay on course. 

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

I love to paint on gallery wrapped canvas. 6x6 is my size of choice but of course I paint larger as the need arises. 

What brand of paints do you use 

Winsor & Newton artist grade paints. I have also used Gamblin with satisfaction. 

Do you have a favorite color palette 

I usually use the same colors but add a few rogue ones in just for good measure. Pthalo Blue, Ultramarine Blue, 

Zinc White, Alizarin Crimson, Cadmium Red Light, Cadmium Yellow Light, Burnt Umber. I do add Permanent 

Rose and sometimes Sap Green for special touches. 

What is your favorite color in your palette 

Permanent Rose by Winsor & Newton 

What subject appears the most in your paintings and why 

I add cherries quite often to my still life paintings. They are just right when you just need to add a little something 

here or there. The subject which I love to paint the most are cows. Any time I paint a cow I find myself 

smiling for no particular reason. 

How often do you paint How many hours a week 

I paint daily. I would say that I paint approximately 20-30 hours a week. 

How would you like to be remembered 

I would like to be remembered as a peacemaker. 

Read more at http://www.cfai.co/colors-on-my-palette/angela-sullivan 


Read more at http://www.cfai.co/colors-on-my-palette/angela-sullivan 


http://www.dailypainters.com/artists/artist_gallery/527/Lori-McNamara 

DailyPainters.com 



Charles F. Mann 

Limited Edition Woodblock & Linocut Prints 

Greek Fishing Boats 16” x 12” 7-block linocut 


CharlesFMannArt.com

Maritime and Landscape 

Art of Chesapeake Bay 

Maryland Artist 

David Terrar 

DavidTerrar.artspan.com 


Lynn Cunningham 

lynnecunningham.com 


Linda McCoy 

lindamccoyart.blogspot.com 

Commissions Welcome. 

Landscapes, Figurative and Still Life 


Hall Groat II 

American Fine Artist 

42 Street, New York City Night Scene, Original Oil Painting 24 by 36 

www.cfai.co/hallgroat 

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


Seascapes and Marine Art 

Peter Barrett 

peterbarrettfineart.com 


David R. Darrow 

so many things to paint. so little time. 

Man of Renewal 

Hoping 

Ashton’s Morning 

46 | VL Magazine - VisualLanguageMagazine.com Kenyan Daughter 

The Wanderer

www.DaveThePaintingGuy.com 

facebook.com/davethepaintingguy 

Portrait of Anne Gillum 

Juno 

David R. Darrow 

Realistic Impressionism 

Accepting Commissions 

david@darrowart.com 

www.DarrowArt.com 

Subscribe to Private Mailing List: 

Etta 

www.DarrowArt.com/list/ 

408.641.0799 


VL Hall Groat II 

Lost and Found Edges in Classical Painting 

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/ 

Add Mystery to Your Paintings Through Losing Edges 

Softening or completely dissolving the edges of parts of the subject contributes to the overall sense of 

atmospheric space, mystery and mood. Realizing form in this manner also mimics the way in which 

we see the world. Try this as an experiment: completely focus your attention on the exact center 

of your hand and notice how your peripheral vision becomes fuzzy and blurred. Humans, unlike a 

camera, do not have the capability to perceive all edges as sharp simultaneously. We see the world 

in continual motion since time does not stand still. Even when we think of a memory within in our 

“mind’s eye” there is a sense of movement to this imaginary vision. 

Hall Groat II, American Artist 

American Dream 

24”x30” 

Oil on canvas 

$3000 Framed 


Shared Value and Lost and Found Edges 

Many artists describe “shared value” as a process of “loosing and finding edges”. Varying the quality 

of edges is an important aspect of suggesting naturalistic illusions. 

The edges of forms will appear sharp, soft or completely diffused based on the quality of light and 

respective values of the neighboring forms and surrounding space. 

Squint, so your eyes are barely open allowing only a small amount of light to enter, and what you 

see will appear as simplified light and dark patterns. Allow your eyes to navigate across and around 

the contours of the forms to determine in what sections the value-key of the subject is similar to the 

background. Where the values appear similar the edge may be softened or diffused, and where the 

values are equal the edge may disappear completely. 


Football 

20”x16” Oil on canvas 

$2,200 Framed 




Lost and Found Edges in Classical Painting 

with Hall Groat II 


Baseball 


PRIVATE COLLECTION IN 

ATLANTA, GEORGIA 


Soccer Ball 


$1800 Framed 



RICCI VICTORIO 

Marina Boats - Acrylic 40” x 30” 

designbyricci.artspan.com 


Boats in Harbor 

Stevekaminski.artspan.com 

The Kern 


Saugatuck 8 a.m.

Steve Kaminski 

Digital Printmaking and Fine Art Photography 

SteveKaminski.artspan.com 

Can’t See the Forest for the Trees 

Orchard Lawn 


VL 

VL Gallery Visit - Marine Arts Salem MA 

http://www.marineartsgallery.com/ 


Yacht Race Volunteer and Thistle New York Harbor by Shane Micheal 



VL 

Gallery Visit - Marine Arts Salem MA 

Established 1968 by Russell W. and Donald V. Kiernan 

Marine Arts Gallery was established in 1968 by 

Russell W. Kiernan and Donald V. Kiernan. It is the 

oldest gallery in the United States devoted exclusively 

to marine paintings. 

The family tradition continues with the second generation 

involved with the running of the gallery. We 

always have a fine selection of early marine painters 

such as Buttersworth, Jacobsen, and many others. 

We have the finest selection of the very best contemporary 

artists including exclusive representation 

of Roy Cross, RSMA, Terry Bailey, RSMA, Richard 

Loud, ASMA and several other emerging marine 

artists. 

We are located in historic Salem, Massachusetts 

on the campus of the Peabody-Essex Museum. We 

have had a representative in Naples, Fl for the last 

16 years. Richard Kiernan is available to advise, 

appraise and purchase your fine art. 



This is End of the Day Nantucket by Richard K Loud 



VL 


llery.com/ 



New Orleans by Roy Cross RSMA 



VL 


Water as always been a part of my life and I do mean the ocean~sea water. 

I had the great luck of growing up on the ocean in the northshore town of Beverly (outside of 

Boston). 

Our summers revolved around small sailboats, and a 13’ Boston Whaler power boat. So, it 

was a natural transition for my family to have marine paintings in our home growing up. 

My father, Russell, had such an avid interest in the early painters, such as Fitz Hugh Lane and 

Robert Salmon that he opened the first gallery in the United States devoted to marine art. 

The Marine Arts Gallery opened in 1968 in the seaport town of Salem, Massachusetts to the 

Peabody-Essex Museum. 

The museum was established by the early sea captains and retains one of the finest collections 

of historical marine art in the world. 

Our beautiful red brick gallery is well known for its hand carved sign depicting a Salem clippership. 

With my dad, Russ’ guidance, the second generation,including my sisters and brothers 

have sold an amazing amount of original paintings over the last 45 years, including reaching 

a milestone recently of selling our 10,000th painting. 

Originally the gallery sold exclusively antique ship paintings, but my dad noticed 20 years ago 

that that market was becoming very limited. So, we engaged what we felt were some of the 

best men and women to paint historical yacht scenes and port paintings. 

We were able to attract the very best artists by engaging a unique program of buying the 

paintings, rather than taking them on consignment. Obviously makes it easier for the artist to 

make a decent living, and as well as proving to our clients that we are confident enough to put 

our money into purchasing the artist work before we ask them to. 

Over the years we have sold to some of the very best museums, including the Texas Seaport 

Museum, the Minnesota Marine Museum, as well as some of the largest fortune 500 

companies. We also offer expert restoration and framing services as well as fine arts appraisals 

for the works in your maritime collection. 

Some of the antique artists we feature include Buttersworth, Jacobsen, Bricher, Stubbs. Other 

artists include Montague Dawson, Tom Hoyne, David Thimgan and Cape Ann artists Emile 

Gruppe, A. Hibbard, and Anthony Thieme. Modern masters include A.D.Blake, Dusan Kadlec, 

Richard Loud, Shane Couch, Terry Bailey and Roy Cross R.S.M.A. 

We are located at 135 Essex Street, with ample parking behind our building. Open 9 to 4:30 

daily except Sundays or by appointment. Our website is www.marineartsgallery.com 





VL 

Studio Visit Maritime Artist 

Austin Dwyer 

DUBLIN, IRELAND 1938 

I was born in Ireland in 1938. Looking back on my life, I remember imagining what 

I would be when I grew up. Parents have their ideas for your future and mine were 

no different. At twelve, my father’s destiny for me was to become a tradesman. 

My mother, with a more romantic direction saw me as a great musician. Even my 

maiden aunt who lived with us, chirped in. I would be a sea captain as were all her 

male predecessors. I admit that I regarded the idea of exploration exciting, so I naturally 

turned to someone Irish. I read all that I could find on Sir Ernest Shackleton. 

I developed a very strong dislike for the cold. I remember one cold wintry night, 

with empathy for those early explorers of the roaring sixties; I went to bed without 

my hot water bottle, an indulgence never repeated. 

Immersing myself in his memoirs and Antarctic expeditions, I was excited, imagining 

his 800-mile journey across a cold turbulent sea. Trekking across a mountain 

to reach South Georgia Island didn’t appeal to me. My ruminations suggested 

pictures of anxiety, all in the safety of my imagination. I soon realized that painting 

those images would be most challenging, and that I could share my images with 

people whose reading of these events might be enhanced by my paintings. 

So it was, at that early age, my ideas about becoming a fine artist were sown. I 

would concentrate on becoming an illusionist. I did make every effort to oblige my 

father to become a bricklayer. I made an effort to please all of their suggestions. 

I built brick walls, floated floors, studied music, took a great interest in literature, 

studied art and went to sea. My travels finally brought me to America where I 

immediately joined the USAF. At last, I could explore the South Pacific from the 

comfort of a C-124 Globemaster 

SEATTLE WASHINGTON, THE EARLY SIXTIES 

Upon my discharge from the military, I met Mig Peters and fell madly in love. After 

she finally consented to marry me, I decided that it was time for me to settle down. 

Together we created 8 wonderful children, 23 grandchildren and 3 great grand 

children. After we were married, I decided to continue with my art education and 

studied at the Burnley School of Professional Art. After graduation I taught there 

for 14 years. In 1968, I developed my own advertising agency. I was an illustrator 

during the day, returning home to my studio where I finally painted what I dearly 

loved, marine art. 

The paintings in this article involve just 4 of Shackleton’s ships and a lifeboat, the 

Caird. The Endurance, Nimrod, Aurora and the Quest, would have been nothing 

more than plates of steel, wood, twisted tar lines and bales of cloth had it not been 

for Ernest Shackleton and the men who served under him. It is their story that gave 

these ships character and soul. 



VL 

Austin Dwyer 

Martime Artist 

ENDURANCE 

The Endurance, built in Norway for polar conditions, was 44 meters long with a 7.6-meter beam. Her 

forward mast was square rigged while her two after masts carried fore and aft sails. Her steam engine 

was 350 horsepower giving her over 10 knots. Unfortunately, Endurance was not designed bowl-bottomed, 

rather she was more vertical-walled which may have contributed to her being crushed and not 

popped up by the ice. I painted her in the Weddell Sea under sail. Later I show two crew members 

sounding ahead of the ship. She finally headed into the ice pack and eventually I painted the evacuation. 

On August 6th 1914, Endurance sailed for the southern regions to the Weddell Sea. Shackleton’s 

quest was to circumnavigate the South Pole. She sailed through heavy ice pack and on January 18th 

after weeks of intense weather, Endurance was completely compressed in the ice pack. She drifted for 

months, locked in the ice, the final pressure crushing her beam until her bow slowly lowered beneath 

the sea. Shackleton and 27 men gathered supplies, lifeboats, and 69 dogs and set up camp on Elephant 

Island. 

www.austindwyer.com 


THE CAIRD 

Shackleton chose the Caird, which was the strongest of the three lifeboats and most likely to 

survive an 800-mile journey to South Georgia Island. It would prove the survival for the rest 

of his men. She was only 22 feet and converted to a sailboat by the chippy that reinforced 

the hull, added a main and mizzenmast, a deck and a rudder. She encountered hurricane 

wind and tumultuous seas. It took 17 days and was the most arduous open-boat journey of 

all time. 



VL 

Austin Dwyer 

THE AURORA 

Shackleton returned to the area on the Aurora to rescue the rest of the crew. Aurora was a 

Barquentine with a 98 horsepower engine. She had a strongly built wooden hull. Her bow had been 

re-enforced with heavy steel plates. I painted her having the rudder repaired after being damaged 

by a storm. 

The Chilean government loaned Shackleton a steamer named the Yelcho and on August 30, 1917. 

All the men were rescued. 



THE NIMROD 

The Nimrod was built for whaling and seal hunting. She had an auxiliary steam engine with a 

top speed of 6 knots. The Nimrod was painted depicting Shackleton’s arrival at Cape Royd’s hut 

on Ross Island. The hut was built as a stopping off point to the south. The painting describes 

Mount Erebus, Antarctica’s second highest volcano and the transferring of supplies to the hut 

just before a fierce storm hit the bay. 



VL 

Austin Dwyer 

THE QUEST 

The Quest was a steamer and schooner rigged. She was 34 meters long with a beam of 7.3 

meters. She was involved in meteorological and geological research. Shackleton’s last days 

of exploration were on the Quest for it was here that he suffered a fatal heart attack. The date 

was the January 5, 1922. 

CONCLUSION 

As a young man, I lived vicariously through these sea voyages of Sir Ernest Shackleton. I will 

never allow my imagination to forget that there is still so much more to paint. 

2014 marks the 100-year anniversary of Ernest Shackleton’s journey to the Antarctic. I am 

fortunate and proud that these paintings will be displayed in Dublin (my home town) as part of 

a permanent exhibition on Shackleton. I have come full circle. Austin Dwyer 



A realist oil painter born and raised on 

the Canadian prairies... 

Drew Keilback 

drewsart.artspan.com 


The Working Waterfront 

Dora Atwater Millikin 

wyndfieldstudio.com 


wyndfieldstudio.com 


niki G 

nikigulley.com 


ulley 

nikigulley.com 


S A M H A L L 

http://www.samhallart.com/ 


Striving for Excellence in Realistic Paintings devoted to Nature - 

offering Owners and Viewers the sense of Peace and Tranquility that we all 

crave in this hectic world. 



Sam Ha 


Path to Park Farm by Sam Hall 


ll 




Hyperrealist Paintings Evoke New Appreciation for Nature 

By Hall Groat II, New York Art Critic 

It was during mid-1960 in the United States that Photorealism emerged, and was a movement that 

naturally evolved from Pop Art. Photorealist artists strive to replicate photographs in paint with 

the aim of fooling the eye into perceiving a painting is actually a photograph, never deviating from 

the exact image. 

Contemporary British painter, Sam Hall, is not a photorealist like many label him. Instead, he 

embraces sensibilities connected with a movement called hyperrealism, through the way in which 

he takes artistic liberties, never attempting to literally render an exact photographic image. Sam 

uses photographic reference as a means of interpreting nature in a very personal manner, incorporating 

subtle pictorial elements to create a heightened sense of Mother Nature that cannot be seen 

by the human eye. An example of this is the intricate depiction and stylization of the thousands 

of tree leaves within his piece called “Park Farm Cottages and the North Downs.” These leaves 

are vivified! Sam states, “I am a self-taught British artist with a unique style, and my mission is to 

help people discover the magic of nature.” Indeed, his work is magical, and through his complex 

stylization of nature, we are transported into a dream-like, illusionistic world, packed with diverse 

emotional, social, and cultural nuances. 

One of my favorite pieces is entitled “Early Morning in Kerala”, which appears to be a scene of 

a caravan of Indian farmers traveling across a river with their livestock. This piece immediately 

catches my eye due to the engaging, atypical composition. A large Thengu (or coconut tree) is 

positioned alongside the entire left side of the canvas, with clusters of long, leaf-like forms breaking 

down from the top edge. These tenuous elements are closest to us in space, which resembles 

the compositional sensibility used in many Japanese vertical screen paintings depicting landscapes 

throughout history. 

Early Morning in Kerala by Sam Hall 




Poppies in Tromso by Sam Hall 


Park Farm Cottages by Sam Hall 

Bushbury Farm, Brockham by Sam Hall 



In a piece entitled Bushbury Farm, 

Brockham, measuring 18x32 inches, 

created in acrylic and ink, two massive, 

iconic trees are placed on center 

stage, as if they are symbolically 

reaching upwards into the heavenly 

clouds. The viewer’s vantage point is 

situated quite low, which heightens 

their larger-than-life nature. The 

greens, blues and spot of red are electrifying, 

and are a visually striking 

symphony of colors. 

Sam Hall undoubtedly is a very skillful 

technician, possessing the gift of 

being able to visually communicate 

the universal beauty of nature. 

Hall Groat II 

Punchbowl Lane, Dorking by Sam Hall 



http://valerietravers.artspan.com/ 

Dramatic End by Valerie Travers 


Valerie Travers 

valerietravers.artspan.com 



Azure by Valerie Travers 

Valerie Travers 

The Island of Guernsey, second largest of 

the Channel Islands, is where I live with 

my two sons and where I feel most comfortable. 

This is home, my roots are deeply 

embedded here and I gain a greater sense of 

belonging with each year that passes. 

Art is second nature to me, enabling a 

connection to the bigger picture and is also 

a way of expressing myself through colour 

and texture. I have many other outlets for 

my creativity, but art has been my main 

focus for the past twenty years. 

Oceans Garden by Valerie Travers 



artspan 

Softly Softly by Valerie Travers 

Reflections by Valerie Travers 



Beverly Fagan Gilbertson 

June Hollyhocks 

bfaganfineart.com 

theartist@faganstudio.com 


Twilight 

davidforks.com 


VL 

VL Studio Visit 

Studio Visit Jason Tako 

VL 

Jason Tako 

Studio Visit 

Jason Tako 

72 

www.jasontako.com 


www.weeklyoilpainting.blogspot.com 


VL Jason Tako 

Sometimes great things can come out of tragedy. Sometimes we learn more of who we are through 

suffering and trial. Any successful artist has to pay his or her dues; to work hard and go through a 

good number of failed paintings before they discover their artistic voice. And sometimes the struggle 

can be something not directly related to art, yet it can still have an impact on our art. 

Born in the early 1970’s, and raised in rural Minnesota, landscape and wildlife artist Jason Tako 

discovered his artistic talent around Fourth Grade. Jason reflects, “It was autumn and our teacher 

drew a Cornucopia on the chalkboard, and we had to draw it. Mine turned out the best and received 

praise both from my teacher and classmates.” Jason continued to excel at art throughout school; 

this was demonstrated by winning Second Place in a state-wide illustration competition. However, 

in his senior year, he stopped drawing and painting altogether and dived head first into becoming 

an electric bassist. 

After graduating with honors from music school, Jason continued to play in rock, jazz and country 

bands. Eight years later, after growing tired of smoky bars, he went through a couple life transitions. 

First, Jason rediscovered his Christian faith, and eventually converted to Catholicism. Not long after 

this, he again felt a desire to start drawing and painting. Jason recalls,“I didn’t know what I was 

doing; I just kept going out and filling as many sketchbooks as I could. It was suggested I go to art 

school, but at the time it seemed they only taught modern art, and I was into representational art. I 

figured that if I kept sketching, something good would eventually come out of it.” 

Evening Sheep-Plein Air 11x14 



Things did start to happen. After several years of 

sketching the wildlife and wetlands of Minnesota, 

Jason married his wife Becky and moved to Pennsylvania. 

Removed from the natural surroundings that he 

was used to, Jason then worked on his watercolor and 

oil painting technique. He eventually started winning 

awards at national shows like The Waterfowl Festival, 

the Society of Animal Artists Annual Show, and Plein 

Air Easton. Despite this success, he felt he still had 

a lot to learn. This drove him to seek instruction from 

world renowned landscape artist Scott Christensen. 

“Scott helped me tie up the loose ends in my work. His 

workshop, as well as the trip out to Wyoming inspired 

me in so many ways.” That year, Jason took two major 

awards at Plein Air Easton, was published in Plein Air 

Magazine and Western Art Collector Magazine, and 

was also told the joyful news that his wife Becky was 

pregnant with their fourth child. 

Last Snow-Plein Air 9x12 



VL 

Jason Tako 

It was not long after this that Jason, Becky and their children went through the most difficult 

time of their lives. When their son was born everything seemed fine. But the next day it was 

discovered that he had some medical problems that might require surgery. This was the start 

of an eight month hospital stay that included multiple pediatric surgeries, and a couple close 

brushes with death for his infant. “There were times of terror, and times when it seemed we 

would never get to go home with our son. Eight months is a long time to be in a hospital. We 

basically just went back and forth from our son’s room to the cafeteria day after day. Since we 

were 2 hours from home, we didn’t see our other children very often. I did try to do a few paintings 

in my son’s room, but I was not feeling very inspired. The only landscape I saw on 

a regular basis was the Philadelphia streets; and I’m not an urban painter.” 

Autumn Maple 24x50 



Farnsworth’s Rest 11x14 

Despite the lack of inspiration, Jason still was able to attend and win awards at several 

plein air painting events that summer, including Second Place at both Mountain Maryland 

Plein Air and Easels in Frederick, and First Place in the Plein Air Camp Hill Quick Draw 

competition. 

In early December the Tako family was finally home and together again. With the exception 

of several plein air painting events and a few day trips, Jason had missed painting 

spring, summer, and autumn of 2012. “We were home and I was ready to paint, but I 

didn’t have much reference to paint from. I used to paint more tonally, almost monochromatic 

at times, with a preference for overcast lighting, but after going through such an 

ordeal I wanted to paint more color, something more joyful. But much of the reference I 

had was from my tonalist days. And here it was, early December, with the colors of spring 

still months away.” 

When spring finally came Jason headed out to paint. The first place he focused on was a 

goldmine of subject matter, the apple orchards in Adams County, PA; miles of rolling hills 

and mountains lined with rows of apple trees and scattered barns. “Originally I went just 

to paint a full moonrise coming up between the twisting apple tree branches. There was 

hardly any foliage at that time, so I returned for several weeks to do further studies of the 

leaves and blossoms as they developed. It wasn’t long before more painting ideas developed. 

One particular day was almost magical. I climbed a hill and walked into several 

long rows of apple trees with foliage and blossoms that formed a tunnel filled with dappled 

sunlight and shadows. Through the openings you could see the purples and blues 

of the distant hills. I sat down and spent the afternoon creating multiple field studies of 

the area. In these studies I captured the light and color in a way I never had in the past. It 

was a big leap for me artistically. My goal now is to continue on this path and explore all 

the options this has afforded me.” 



VL Jason Tako 

“I have learned that when growing as an artist, you hit a point where you need to throw off the 

over-influence of other artists, as well as the concern of what other people think. While these 

things may never totally go away, you need to reach a point where you can honestly say, ‘This 

is who I am, this is how I paint.’ You need to reach a point where you feel your art has meaning 

for yourself and others. I think that all that time in the hospital, and the incredible heartache of 

watching my son go through so much pain and yet overcome the odds against death, forced 

me to look within myself in many ways. Among this was to consider who God created me to be 

and what life really means. This spilled over into who I am as an artist. While the pain of what 

my son and family went through will be with me for many years, I hope to be able to take some 

good from it and create art that will bring joy to a hurting yet beautiful world.” 

Spring Afternoon Woodland-Plein Air 12x9 



October Moon 18x24 

Red Reflections 20x16 

Study for Evergreen and Aspens 12x9 



VL Jason Tako 

Jason is currently working on creating studio paintings from this group of field studies he 

created this spring. His work can be viewed at his website www.jasontako.com and on his 

blog at www.weeklyoilpainting.blogspot.com. 

The Blue Barn 12x24 

Study for Apple Valley 9x12 



Shadow Path 9x12 

Blossoms at Noon-Plein Air 9x12 



Lisa Crisman 

Over the Rainbow 

LeftEarArt.artspan.com 


Beautiful Vibrant Art 

Into the Wild Blue Yonder 

“Art enables us to find ourselves and lose ourselves at the same time.” Thomas Merton 

LeftEarArt.artspan.com 




www.cfai.co/angelasullivan/gallery 

angelasacrylics.blogspot.com

Barbara Jones . waow 

Still Life, Figurative and Landscape Artist 

Granny’s Mixing Bowl Oil 18 x 24 

Received “Best Still Life” Award 

Best of America 2012 

National Oil and Acrylic Painters Society 

For Workshop Information and Artwork Visit 

BarbaraJonesFineArt.com 


ARTSPAN Artist Spotlight 

artspan 

Artist Interview 

Drew Keilback 

When did you realize you loved art and wanted to be an artist Impossible to tell. Like most artists 

I’ve enjoyed drawing for as long as I can remember. I think drawing is a primordial means of communication 

and, as children, we instinctively pick up a pencil to convey our first messages. For some of us the 

‘medium is the message’ and we continue on to become artists in all its different forms. 

Who has been your mentor, or greatest influence to date My mother encouraged me to move to 

Phoenix to continue my art training. It was a revelation for me artistically, in that the light and palette 

were opposed to what I was used to on the West Coast. 

Who has been your mentor, or greatest influence to date The first painter that I can recall wanting 

to emulate was Howard Terpening. His subject matter, then, as now, has always appealed to me and his 

style blew me away. I used to hunt out galleries in Phoenix and Tucson that carried his work in order to 

study them. 

Who is another living artist you admire and why Lately I’ve followed the works of Tibor Nagy and 

David Shevlino. Their brushwork is amazing and they both have a spontaneity and looseness that speaks 

to me. I know that there is a certain amount of abstraction there that I would like to start incorporating 

into my own. 

What is your favorite surface to paint on Canvas mainly and board if I want a bit more detail. 

What is your favorite brand of paint to use Michael Harding oils. 

Do you have a favorite color palette My palette varies from painting to painting. 

When looking at your paintings, your work is diverse from outdoor landscapes, florals and seascapes 

to people. Why draws you to these different subjects; what are your inspirations for your 

work I’m a day to day painter. If something strikes me as being ‘paintable’ I paint it. I’m not making any 

particular effort to convey any philosophical or spiritual messages in my work. I look for composition and 

design in everyday things and tend to simplify all things down to basic geometrical shapes. My overriding 

goal is to simplify or “abstract’ even further keeping a more “painterly’ effect and allowing the brushwork 

to speak. 

How often do you paint Almost daily. 

What is the one thing you would like to be remembered for. As an honest person who lived a free and 

simple life void of any unnecessary complications. 

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 My career as a video composite artist for a major 

broadcasting corporation working with many varied and demanding clients taught me how to absorb 

and deflect criticism from all levels. Corporations play by rules that must not be broken and though the 

producers tend to ask that you think ‘outside the box’, they become very nervous when you cross the line 

and they start building walls immediately crushing creativity in fear of their own failure. I’ve never feared 

failure as an artist because missteps are simply part of the learning process. Every painting is a failure in 

some sense. 


http://drewsart.artspan.com/

Drew is a realist oil painter born and raised on the Canadian prairies. Drawing and sketching from an 

early age, he received his Fine Art training in Phoenix, Arizona. While there, he was deeply influenced 

by the contemporary Western painting style of the Southwest and to this day is an admirer of the works 

of Howard Terpening, Matt Smith and Mian Situ. 

Canadian Artist Drew Keilback in studio. 

How do you overcome these obstacles Is much as I want people to enjoy my work, their appreciation is not what 

drives me. I paint for myself. 

What is your favorite way to get creative juices flowing I take old paintings (or those I don’t like) and cut them 

up. Then I glue the pieces back on to a board in a random fashion creating an abstract design. It works – there’s a 

composition in there somewhere just waiting for a subject! 

Which work of yours is your favorite My favorite is always the one on my easel.. 

http://drewsart.artspan.com/ 


artspan 

Drew Keilback 



“Panagiotis” oil on canvas by Bonnie Shapiro 


Up Close and Personal 

What book are you reading this week LONDON by Edward Rutherford. 

Do you have a favorite televion show I have a short attention span for television unless it’s hockey or baseball. 

What is your favorite food Chicken with curry. 

What color sheets are on your bed right now Without looking, I haven’t a clue. 

What is your favorite color in your closet No favorites there. 

What are you most proud of in your life The fact that I’ve had a career in a creative and artistic field that has 

led me straight into what I love doing the most. 

Who would you love to interview Marco Polo. A true adventurer. 

Do you have a passion or hobby other than painting/sculpting History. 

Who would you love to paint My grandfather that I never met. 

If you were an animal what would you be and why A raven. Free flying, intelligent, mystical with a sense of 

humor. 

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

and fork). I think simply I would answer that this way – my sunglasses, a pencil and a bottle 

Share something with us that few people know about you. In Grade 5 I was disciplined for drawing in my books 

(I guess the teacher thought our books were more about neatness than learning). And I flunked Art in Grade 12. 

If you could live anywhere in the world, where would you live I would never leave the West Coast, but it 

would be nice to spend a little time each year on a Greek Island. 

Anything you would add I’ve copied a quote from an artist by the name of Ken Kewley that is by my easel … 

it says “In painting, you never do what you set out to do. Something else happens. Do not try to make a picture of 

something. Make something.” 

I would also add that I’ve learned that by trying to copy or emulate someone else’s style you’ve restricted your own 

capabilities in unnecessarily confining yourself to something that may not be natural to you. Just let it flow. Just 

paint. 



artspan 

Drew Keilback 


Rockies - Parkers Ridge 



Fern (left) 

A Leaf Fell (right) 



A Peace in Life 

Denice Peters 

108 | VL Magazine - VisualLanguageMagazine.com theartden.net A Summer’s Welcome” 14” x 18

Carol Jo Smidt 

caroljosmidt.com 


LAURA REED 

Distant Horizon 

laurareed.artspan.com 


Abstract Collage Paintings 

Morocan Sunset 

laurareed.artspan.com 



Randall Cogburn 

kirbysart.blogspot.com 


dutchartgallery.net 


dutchartgallery.net 


Shirley Anderson 

Original Fine Art Landscapes and Florals 

Shirleyandersonart.com 

sranderson0903@sbcglobal.net 


Solitude 

Leigh McInerney Campion 

campionandco.com 


“Journey” Oil on Canvas by Barry Scharf 

VL Barry Scharf 

Maritime Landscapes in Desolation Pass Canada 

Barry is traveling right now collecting images for our February Maritime Issue, but I convinced him 

to allow us to take a peak at what his camera has captured. Enjoy and then remember you will get 

to read about the trip and see it all in February 2014. 

“Le Chateau Frontenac” by Barry Scharf 


Above “Pegy’s Cove, Nova Scotia Canada4 ” by Barry Scharf 

Below “First Home” by Barry Scharf 


VL Barry Scharf 

Maritime Landscapes in Desolation Pass Canada 

“The Call Web” by Barry Scharf 

Bar Harbor Maine 3 by Barry Scharf 

https://barrywscharf.squarespace.com/ 

http://scharf62.blogspot.com/ 

www.linkedin.com/pub/barry-scharf-mfa/4/b29/3a0/ 


Melody Cleary 

Oregon Fine Artist 

melodycleary.com 


kathyoleary.com 


California Landscapes 

Still lifes, Figures, 

Oil Paintings 

Kathy O’Leary 

Contemporary Realist 

kathyoleary.com 


Sheri Jones 

Fall Sumac 11 x 14 oil on canvas 

Poppy Sunrise 11 x 14 oil on canvas 

sheriart.blogspot.com 


Poppy Parade 11 x 14 oil on canvas 

Sheriart.blogspot.com 

Mid Morning Light 11 x 14 oil on canvas 

sheriart.blogspot.com 


VL 

VL 

Studio 

Studio 

Visit 

Visit 

Texas 

Texas 

Artist 

Landscape 

David 

Artist 

Forks 

David Forks 

DavidForks.com 




VL 

Studio Visit David Forks 

Pursuit of My Dream 

I have just started to learn this process of painting and it is 

abundantly clear to me that it will take a lifetime to figure out. 

There is nothing I can think of that is more rewarding and simultaneously 

puzzling. Rewarding for every stroke of paint I smack 

down with bold deliberate intent and puzzling for every one 

tentatively, hesitantly and unconvincingly smeared to the surface. 

Painting is my vocation and has become an integral part 

of my being, which I aspire to one day make my career. Oh the 

thought, what a blessed life it will be. My passion is landscape, 

and I am truly inspired by the rugged profound beauty of nature. 

Though I will occasionally paint something different, it is the 

landscape that moves me and ignites the spark at the end of my 

brush. I am learning to see the landscape as a painting and not 

as a literal translation to canvas. I will add, delete or rearrange 

elements in order to create a better work of art. I think we all try 

to keep design, drawing, value and edges in mind while painting 

but my best work has been achieved while my intuition took 

reign of the brush, letting the vision steer the results. Once the 

knowledge is in place, It is the power of the subconscious to 

control the action. The more I can tap into this realm, the more 

spontaneous and proficient my painting process becomes. 



Morning in the Chisos 



VL 


Sierra Del Carmen through the Cottonwoods at Rio Grande Village 



Red Barn

I have recently become much more critical of my own work and rarely am I satisfied with the initial 

completion of a painting. I look at the work in progress and ask myself what I could do to make it better. 

When I started painting five years ago, I read Hawthorne and Carlson as well as books by other 

artists/authors and the message for the beginner was clear; I needed to cover acres of canvas and 

not worry so much of the results but learn from the process. For a few years it was quantity over quality. 

I did small, fast paintings almost everyday before work and wow, some were really bad. In spite 

of myself, I was determined to learn and get better and eventually there were those groundbreaking 

pieces when I just knew I took a step up that ladder to the next level! That was then, and at the time 

moving on from one to another was a must. I have moved beyond that. Now it’s a more methodical 

and deliberate process of nurturing my paintings to completion. Being honest with myself is innately 

important in my self critique and growth as an artist. If you can’t look at your work and admit it is bad, 

there is no way to make yourself better. 

Cuties and Hydrangeas 16X20 

Spring in the Hills 



VL Studio Visit David Forks 

Twilight 



Dusk 

As a painting progresses beyond the block in stage I constantly test notes by stepping back and 

seeing if they work from a distance. If not. I will remove or alter the passage until it is to my liking. 

Some works become wrestling matches but I am pretty stubborn, so I generally work them until I 

get what I want. On occasion I set them aside for another day or let them stew in the back of my 

mind until I have a clear vision for it. I have ruined many paintings by attempting to make them 

better, but I have also created some of my best works after risking them to the trash pile. 



VL 


Sundown in the Valley 

Plain and simple, I love to paint. It satisfies my desire to create and I can enter a peaceful world of my 

own imagination away from the harsh realities of life as we know it. It comes from my heart and my soul 

which pours out of me every time I pick up a brush. I enjoy the challenge of problem solving and molding 

paint into form. I know I have a lot to learn and a long way to go but I feel like I am making strides in 

the right direction. I just want to be the best artist I can be and if by chance one day I am able to be self 

supportive doing so, well.... nothing would make me happier. 

David Forks 



Moonlit Meadow Right Page



Kyle Wood 

kwoodfineart.com 

Website.com 

http://kwoodfineart.com/ 

websitet.com 


http://kwoodfineart.com/ 


Mary Jo Zorad 

ZoradArt.com 


“Can you hear the thunder of the waves 

as they break against the shore 

It’s a sound that my heart treasures 

It’s a sound that I adore.” 

George E Simmons 

George E Simmons 

Poet and Artist 

georgeesimmons.artspan.com 


Diane Whitehead 

DianeWhitehead.com 


dianewhitehead.com 


Debbie Grayson Lincoln 

NoworNever-Debbie.blogspot.com 

DebbieLincoln.com 


CFAI.co 

Summer Juried Show 

“Abstraction” 

Jones 

$500 in total cash prizes 

Open to 2D visual artists worldwide 

www.cfai.co/juried-shows 


Debra 

Debrahurd.com 


Hurd 

Debrahurd.com 


VL 

Studio Visit Nick Gonzalez 

In Germany, where I now live and work, I am considered a 

‘traditional’ painter. It’s not a classification I’d personally use - to 

me, Traditional evokes concepts/techniques based on academic/and/or 

classical influence, (which I don’t much relate to), but 

here I realise, traditional simply means using paint in a more or 

less conventional way, and perhaps using subject matter based 

on an external visual reality. So, in an attempt to assist the 

reader, I could categorize myself as a Traditional Neo-Impressionist. 

“So, in an attempt to assist the reader, I could categorize 

myself as a Traditional Neo-Impressionist. That’s about as 

analytical as I get, for what it’s worth!” 

I grew up on farms in the southern English countryside of 

Dorset and Hertfordshire - my father was a dairyman (he had 

originally hailed from Gibraltar, a very small rock in the Mediterranean 

Sea, without a single cow). My mother had attended 

painting classes at the London Central School of Art, but had to 

temporarily give up her artistic work for a busy family/farm life, 

post-war. 

So the rich English rural landscape, with it’s seasons and 

skies, woodlands and rolling hills, are a fundamental part of my 

DNA, and now that I again live in the countryside (this time in 

Northern Germany), surrounded by quite similar landscapes 

that I was born into, I easily understand my deep affinity with 

the visual elements that inspire me. Although my current work 

is largely based on the sea, coasts and skies, it is all rooted in 

the British and French Schools of landscape painting, dynamic 

traditions which have been constantly refreshed and renewed 

over the years by many of the most gifted painters since. 

I normally try to work on a series of paintings, often unified by 

subject/location. So in recent years I produced a series based 

on a local river, from stream through woodland, out to lake in 

center of Hamburg. Another project used the Downs landscape 

around my previous home in southern England. More recently 

I’ve concentrated on sea/coast and skies - I’m more and more 

drawn to skies for their ‘moody’ potential - and coasts without 

precise location, hoping to create ‘archetypal’ landscapes into 

which the viewer can enter. Although I use photographic reference 

and often simple sketches as a starting point, the painting 

develops a life of it’s own, and the final result can rarely be 

anticipated. 

57 

http://www.gallerynickgonzalez.com/ 


artspan 



VL 


My materials and techniques are a combination 

of traditional and personal preference. I 

normally use ready-made canvases unless 

the work requires a large or unusual format, 

and I prime with a Gesso ground, sometimes 

working with a second Gesso coat tinted with 

acrylic color for ground base, and often adding 

more ground tone sometimes with texture 

paste with a large brush/and/or knife, working 

up the basic composition and areas and creating 

‘accidental’ spaces/planes and textures 

which can be manipulated later. Often I will 

continue to work with acrylic color (sometimes 

only in monotone) to establish and develop 

the picture - the great thing I like about acrylics 

is the speed one can work and change the 

picture at will, and almost instantly alter things. 

Either I will complete the painting just in acrylics, 

or more often I will continue in oils. Glazing 

and painting over the acrylic underpainting is 

a variation on traditional oil painting practices, 

and I find it suits me fine. I use Windsor 

& Newton ‘Artisan’ Water Soluble paints - it 

means no turps odors in the studio, brushes 

can be washed in water and soap, and there is 

a variety of conventional mediums/oils which 

can be mixed with the tube oil paints which 

handle and perform (and even smell) just as 

normal oils. 

For me, the forms that landscape painting come in, vary from high-realism to minimal abstraction, from 

poetic atmosphere to formal construction, from high drama to fleeting moments of subtlety. I do find 

that every painting has it’s own developmental journey - and the act of painting is a passionate process 

of making permanent those initial impressions and visions. My starting point is usually an emotional 

response towards a chosen subject, and my choice of ‘style’ or treatment varies accordingly. For me, 

the painting is not so much about a particular subject as it is about how that subject illuminates itself. 

Therefore, in terms of my technique, I do sometimes paint very rapidly and at other times there is a 

slow process of excavation. In any case, I’m always sustained by a sense of curiosity and wonder at the 

outcome, aiming to discover the ‘magical’ potential within each painting. 

Of course, true alchemy is rarely, if ever achieved (and not for me to judge), but it is the pursuit of some 

rather-hard-to-define qualities that keeps me awake. 



artspan 

Blue Beach. 100cm x 100cm. Oil on Canvas. 

Rocky Beach with Figure. 50cm x 60cm. Oil on Canvas. 



VL 


Light and Cloud. 80cm x 100cm. Oil on Canvas. 



artspan 

The Girl in a Blue Sun Dress. 100cm x 100cm. Oil on Canvas. 

Going Home (Lighthouse). 100cm x 100cm. Oil on Canvas. 



VL 

Studio Visit Nicholas Gonzalez 

New Day. 50cm x 60cm. Oil on Canvas. 



artspan 

Calm Sea 3&4. 50xcm 60cm x 2. Oil on Canvas 

I have had a few months break from painting - we recently moved house and I’ve made a nice new 

studio with a view out to fields, farm and trees and a good patch of sky. As I begin work on a new series 

of canvases and drawings I am as excited and apprehensive today at sixty-four, as I can remember 

being at twenty-four, sitting with a sketchbook and watercolour box in the shade of a rock on the Spanish 

Costa de Luz, trying to make sense of too much light and colour, and understanding why Matisse 

painted mainly indoors in the Mediterranean! The adventure is unending, and I am eternally grateful for 

this benediction, however elusive and problematic. 

Put simply, I love to paint, and I love what painting can be, both for me and in the work of other artists. 

And when someone enjoys a painting or drawing of mine sufficiently to part with a stack of hard cash, 

I never forget that the buyer could have used their money for a host of more practical purposes. It’s an 

affirmation that I don’t really seek, but am always delighted, and a little humbled. 

Nick Gonazlez 



Kim McAninch 

Mark Bidstrup 

Palette Knife Artists 

www.paletteknifepainters.blogspot.com 

Janet Bludau 


Becky Joy

Noreen Coup 

David Edwards 

www.paletteknifepainters.blogspot.com 

Ann Gorbett 


The Spirit of the Sea 


Laurie Justus Pace 

ellepace.comt.com 


VL 

VL 

Deborah Flood 

carmeljenkin.com 

http://www.debfloodart.com 


carmeljenkin.com 

http://www.debfloodart.com 


VL 

One Woman Exhibit at the International 

Museum of Art of El Paso 

Deborah Flood 

Award winning watercolorist, Deborah Flood, a native of Maine, has been invited by the 

International Museum of Art of El Paso, Texas, to exhibit 40 of her large Equine and 

Western Watercolors. 

Opening Reception takes place Sunday July 7, 2013 at 2pm, at the Museum 1211 Montana 

Avenue, El Paso, Texas. Meet Flood during the Opening Reception, view and purchase her 

realistic and detailed watercolors of horses, and Western life. The exhibit runs through 

August 25, 2013. 

Deborah’s works consist of pure Spanish Mustangs that she had the privilege to watch and 

photograph in New Mexico. Paintings created from a horseback ride in the Mountains of 

Angel Fire, New Mexico, a Native Costume Series created from images provided by a 

woman who created and sewed the costumes to help bring awareness to the Appaloosa 

Breed of Horse. The Native costumes are used during gatherings and parades that the 

Calizona Appaloosa Horse Club participates in. Commentary will accompany the Native 

Costume Series, and a special “Tribute to Texas” Painting, featuring one of Darrol 

Dickinson’s Texas Long Horn Bull, ( http://www.dickinsonlonghorn.net/main.cfm ) 

will round out the exhibit. 

Deborah’s accurate yet painterly Watercolors, of Equine and Western Themed Genre, have 

garnered her many Museum Group Exhibits and Invitational Exhibits. 

Deborah Flood was brought up on an Appaloosa Horse farm, in Maine, where she started 

riding at the age of 3. She continued to ride and work with the horses until her early 20’s. 

During those early years, she also kept drawing and painting the horse, and to this day, she 

still paints that love of the horse and the bonds that humans have with them. 

Flood’s bright colors, yet strong attention to detail and the ability to handle watercolor with 

an emotional twist, along with an extensive knowledge of horse anatomy and behavior, has 

Collectors actively seeking her work throughout the United States and Internationally. 

www.debfloodart.com 


Equine & Western Watercolors 

Tell Me it’s Okay. 



VL 

Deborah Flood 

Grumpy Draft 


Bogged Down in Horse Play 


Flood is a prolific artist, using the medium of Watercolor on paper, in the traditional manner 

of layering transparent color, which allows the color below to glow through. 

She is known for whimsical yet accurate details of children and adults interacting with horses 

in a Western setting. Though she hails from the Eastern side of the USA, living in Maine, she 

is drawn to paint the Western landscape and subject matter. Her goal is to portray the emotional 

bond between horse, human and the land. 

Flood enjoys studying the play of light on colors, out in the landscape, and painting every day. 

Flood works from her own reference material, gathered out in the field, and from her experiences 

she has encountered throughout her life. Client images are sparingly used for commissioned 

based work. 

Deborah is a Signature Member of the Texas Watercolor Society, an Elected Member of the 

International Guild of Realism, an Elected Member of the American Society of Traditional 

Artists, an Associate Member of the Artists of the American West, an Associate Member of 

the Western Trail Art Association, and the Founding Member of the International Equine 

Artists. 

Deborah is represented by: 

Angel Fire ArtSpace Gallery, Angel Fire New Mexico 

Duck-Trap Decoys Gallery, Lincolnville, Maine 

The Museum Website: http://www.internationalmuseumofart.net/default.aspx 

Deborah Flood’s Website: http://www.debfloodart.com 

Equine & Western Watercolors 

Between a Rock and a Hard Place 

Angels Walk Among Us 


Patricia A Griffin 

patriciaAgriffin.com 





BULL MARKET 

48’‘x72’’ 

patricia@patriciaAgriffin.com

Patricia A Griffin 

I am a mother, wife, 

painter, farmer, naturalist, 

and constant 

traveler. 

My paintings are a 

testing ground for 

concepts of color, 

structure and energy. 

They are a contemporary 

manifestation 

of an ancient muse. 



Karen Kennedy Chatham 

zazzle.com/artinfusion* 


mailto:chathamclan@netscape.com

zazzle.com/artinfusion* 


LISA McKINNEY 


www.cfai.co/lisamckinney 

Lisa-McKinney.com 

Lisa-McKinney.artistwebsites.com 


The Five Graces 

Lincoln ~ Pace ~ Togel ~ Whitehead ~ Zorad 

the5graces.com 

Diane Whitehead 

Mary Jo Zorad 

Laurie Pace 

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 their artworks - shows to the US 

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


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 

Debbie Lincoln 

Conni Togel 

the5graces.com 


VL 

Photographer Spotlight 

John G. Lomba 

http://www.jglomba.com 

“There is a mysterious appealing mystical quality about the world’s oceans and waterways which 

captivates many a sailor and land-lubber alike. I have been fortunate enough to have been both. 

But not until recent times have I been able to make the association to incorporate what I see with 

photography. That was when I realized that these two subjects could work well together in perfect 

harmony. 

My name is John Lomba, and I have been around the ocean and ships for most of my life. It all 

started out as being the son of an immigrant commercial fisherman. Since then, I have sailed as a 

licensed officer on various commercial ships and now more recently worked the docks and shore-side 

aspect of the maritime industry. I appreciate the fact that most ships/vessels are designed for function 

over form – if you will. I see more than just the rusty tanker at anchor or a fully laden container 

heading out of New York harbor, or working tugboat. 

Given the right circumstances in my mind’s eye they transform into moving artwork. Sometimes I am 

fortunate enough to capture the perfect moment through photography. I hope some of my images 

have the same effect on you as they do me.” 


artspan 



VL 

John G. Lomba 



artspan 



VL 

John G. Lomba 



artspan 



http://arenashawn.fineartstudioonline.com/ 

ARENA SHAWN 

arenashawn.fineartstudioonline.com 

http://www.dailypaintworks.com/Artists/ashawn-2464

http://arenashawn.fineartstudioonline.com/ 

http://arenashawn.blogspot.com/ 

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

http://www.KimberlyConradFineArt.com 

http://kimberlyconraddailypaintings.blogspot.com 

Above: Aspens in Winter - 48 x 36 x 1.5 

Right Page: Aspens in Winter Detail 

http://kimberlyconradfineart.com/ 


Kimberly Conrad 

Contemporary Artist 

Pouring Color into Your Life 

http://www.KimberlyConradFineArt.com 

http://kimberlyconraddailypaintings.blogspot.com 

http://kimberlyconraddailypaintings.blogspot.com/ 


CFAI.co Art Challenge 


June 2013 “Summer Fun” 

Best of Show - Carmen Beecher 

http://www.cfai.co/art-challenge-june-2013-summer-fun/ 

Best of Show 

Leap of Faith 

Carmen Beecher 

www.cfai.co/carmenbeecher 


First Place 

Watermelon Beach 

Carol Smith Myer 

www.cfai.co/carolmyer 




Second Place 

Big Boys Show and Tell 

Carol Schiff 

www.cfai.co/carolschiff 


CFAI.co July Art Challenge - “Tropical Days” - $100 Cash Prize! 

Open to all 2D visual artists! 

Enter now - 

www.cfai.co/art-challenge 


Painting by Maryann Lucas


Third Place 

Paradise in the Woods 


www.cfai.co/angelasullivan 

Submit your portfolio to join 

Contemporary Fine Art International 

www.cfai.co/register 


VL OilPaintingDVD.com 

Step by Step Demonstrations 

OilPaintingDVD.com 

hrgroat1@stny.rr.com 


Hall Groat II 

OilPaintingDVD.com 


THE COLORS OF TEXAS 

artistsoftexas.org 


THE ARTISTS OF TEXAS 

artistsoftexas.blogspot.com 

dailypaintersoftexas.blogspot.com 


http://davethepaintingguy.com/podcast/

Visual Language Magazine Contemporary Fine Art Vol 2 No 8

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