The Pastel Journal, February 2011 Sample - Artist's Network
The Pastel Journal, February 2011 Sample - Artist's Network The Pastel Journal, February 2011 Sample - Artist's Network
full-time day job—she appreciates being able tostart painting whenever she has a spare minute.The location in November Sky is Ballston Beach inTruro, which she describes as an ever-changinglandscape. “The Atlantic Ocean batters away at it,and has cut back 15 to 20 feet of dune since thepainting; both houses have since been movedback. I chose the scene because of the unbelievablelight from a late day sun that was on theclouds and just brushing the beach.”She painted the piece on Wallis pastel paperand used primarily Sennelier pastels for the fallbrush and Winsor & Newton pastels for theclouds, which posed the biggest challenge in thepainting. “This was the first painting in whichI strayed into my now standard green andpurple combination for clouds, rather than theblue-grays I’d previously used.”Waiting (above) is a composite location comprisedof a rowboat that rests on the breakwaterat Wellfleet Harbor (a favorite subject for manylocal artists) and a marshy landscape anothertwo miles west. “I thought the boat sitting on thegranite wasn’t so pretty,” Sanders says, “but onthe sand, echoing the colors of the sky, I knewit would be something else. The challenge, then,was to keep the lighting consistent and to accuratelycreate the shadow that the boat would castwhen I wasn’t really looking at a shadow.”Waiting (12¼x12)Amy Sanders (www.amyksanders.com) is an award-winning artistand signature member of the Pastel Society of America. She hasexhibited in galleries in Connecticut and on Cape Cod. Her workis represented by the Addison Art Gallery of Orleans, Mass.February 2011 • www.pasteljournal.com 21
Marsha Hamby SavageSOUTHERN MYSTIQUEGeorgia artist Marsha Hamby Savage has alwaysbeen an admirer of the natural world. “Some ofmy earliest memories,” she says, “are of takingoff my shoes and wading in a creek, pickingup a pretty rock, looking at the moss and runningmy hands over it. There’s something aboutmoss that just makes me want to feel it.”The moss is characteristic of a landscapethat is shrouded in green. “The South has gentlerolling hills, mountains and pastures coveredwith many shades of green and no relief fromwarmer earth colors,” says Savage. “It seemseverything is tinged with some type of green.Every time I paint en plein air, I’m confrontedwith a different green than I saw the last time; Ican hardly believe there is yet another shade.”The respite, of course, occurs in the sky,which, according to the artist, is often tingedwith pink, lavender or yellow where it meetsthe horizon. “Although many times we don’t getto see as much sky,” she points out, “becauseof the abundance of trees. It has an intimatefeeling compared to the vast landscapes of ourmiddle and western states.”For Mossy Creek (below), which depicts ascene in the North Georgia Mountains, theartist used Terry Ludwig pastels, her favorite,on Ampersand Pastelbord, a surface whichallows for a watercolor underpainting. Shealso chose this surface—with a watercolorunderpainting—for Shadow and Moss (opposite),a studio pastel based on reference material fromMossy Creek (9x12)22 The Pastel Journal • February 2011
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Marsha Hamby SavageSOUTHERN MYSTIQUEGeorgia artist Marsha Hamby Savage has alwaysbeen an admirer of the natural world. “Some ofmy earliest memories,” she says, “are of takingoff my shoes and wading in a creek, pickingup a pretty rock, looking at the moss and runningmy hands over it. <strong>The</strong>re’s something aboutmoss that just makes me want to feel it.”<strong>The</strong> moss is characteristic of a landscapethat is shrouded in green. “<strong>The</strong> South has gentlerolling hills, mountains and pastures coveredwith many shades of green and no relief fromwarmer earth colors,” says Savage. “It seemseverything is tinged with some type of green.Every time I paint en plein air, I’m confrontedwith a different green than I saw the last time; Ican hardly believe there is yet another shade.”<strong>The</strong> respite, of course, occurs in the sky,which, according to the artist, is often tingedwith pink, lavender or yellow where it meetsthe horizon. “Although many times we don’t getto see as much sky,” she points out, “becauseof the abundance of trees. It has an intimatefeeling compared to the vast landscapes of ourmiddle and western states.”For Mossy Creek (below), which depicts ascene in the North Georgia Mountains, theartist used Terry Ludwig pastels, her favorite,on Ampersand <strong>Pastel</strong>bord, a surface whichallows for a watercolor underpainting. Shealso chose this surface—with a watercolorunderpainting—for Shadow and Moss (opposite),a studio pastel based on reference material fromMossy Creek (9x12)22 <strong>The</strong> <strong>Pastel</strong> <strong>Journal</strong> • <strong>February</strong> <strong>2011</strong>
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