Featured Artwork: Shelby Keefe

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September 30, 2021

Nobody is Home – Summer
By Susan Wellington
Oil on linen
12 x 9 in.
Available through the artist

This old farmhouse is a favorite subject of mine, and I have returned to paint it in all four seasons. I am drawn by the changes the different light and foliage make to the beautiful, abandoned farmhouse. It saddens me to see the beautiful old structures being lost to neglect, so painting them is my way of saving their stories, their charm, and their beauty.

Nobody is Home – Summer was painted en plein air surrounded by the sounds of a Mississippi summer, cattle grazing nearby, and the trickle of water from a nearby stream. My goal was to give my viewer a sense of place with this piece, and hopefully, to bring back some happy memories of times gone by.

Scenes from my travels and my native Mississippi provide abundant inspiration and subject material. I am a devotee’ of painting en plein air and from life, and I believe both to be essential in “learning to see” as an artist.

You can find my work at The Caron Gallery in Tupelo, Mississippi, Jackson Street Gallery in Ridgeland, Mississippi, and the Pacesetter Gallery in Flowood, Mississippi.

Website: www.susanwellingtonart.com

Featured Artwork: Kadin Goldberg presented by the Grand Canyon Celebration of Art

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September 30, 2021

https://www.grandcanyon.org/events/celebration-of-art/

Hidden Layers
By Kadin Goldberg
24 x 39 in.
Oil

During the 13th annual Grand Canyon Celebration of Art, 23 plein air artists from around the country gathered at Grand Canyon National Park to face the challenges the
canyon presents to those who attempt to capture its beauty, its vastness, its depth,
and its ever-changing light and weather patterns on canvas.

This is the third year Kadin Goldberg has participated in the event and his work this year reflects a deeper understanding of the canyon and its challenges.

All of the participating Celebration of Art artists submit a Grand Canyon themed studio painting prior to the event. Regarding his studio painting “Hidden Layers” Goldberg says:

“It was quieter than usual on the south rim with only a few individuals taking in the last light. Perhaps it had something to do with the season coming to an end, but the Canyon felt even more peaceful than usual this particular evening. As the sun slowly fell on the western horizon, shadows in the canyon unveiled hidden formations and obscured ones once observed. The color of the sun’s rays became warmer, shifting more towards oranges and reds. With the light changing quickly, I took a deep breath and began setting up my pallet.

“As a plein air painter I often get caught up in the excitement of catching the quickly moving light, but this day was different. A sense of calmness swept over me as I began to lay in the first colors. As the purple grey shadows climbed the interior canyon walls I took my time to capture the atmospheric subtleties and warm sunlight in the scene that inspired “Hidden Layers.”

The work of these accomplished artists (both studio and plein air work) will be exhibited and available for purchase at Kolb Studio on the South Rim of Grand Canyon National Park through January 17, 2022 or online at:

For more information contact Kathy Duley at [email protected] or 480-277-0458.

Featured Artwork: Bonnie McGee presented by Grand Canyon Celebration of Art

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September 30, 2021

https://www.grandcanyon.org/events/celebration-of-art/

Where Condors Soar
By Bonnie McGee
24 x 36 in.
Oil

During the 13th annual Grand Canyon Celebration of Art, 23 plein air artists from around the country gathered at Grand Canyon National Park to face the challenges the canyon presents to those who attempt to capture its beauty, its vastness, its depth, and its ever-changing light and weather patterns on canvas.

Bonnie McGee from St. George, Utah is one of this year’s participating artists. McGee’s artwork embodies a deep vocabulary of experience. She captures wild places with humility, acknowledging the smallness she feels in a grand landscape. Painting slows her down, allowing her to stand quietly observant to the beauty around her.

All of the participating Celebration of Art artists submit a Grand Canyon themed studio painting prior to the event. Regarding her studio painting “Where Condors Soar” (24 x 36 in.), McGee says:

“Many visitors to the Grand Canyon see it in mid-day light which washes out the colors to faded reds, greens and grays. The enormity of the chasm still inspires, and the rim walk still delights, but the day visitors miss the light show that only overnight guests experience. As the sun peeks over the eastern rim or dips low in the western sky, its rays illuminate the tallest mesas, setting them adrift like islands in a sea of blue. Abstract shapes emerge and shadows dance in a brief but spectacular light show. A plein air painter has only minutes to capture the drama. Later, in the studio, those plein air studies and photos evolve into a studio piece that hopes to capture the moment. I will never tire of painting sunrises and sunsets at the Grand Canyon.”

The work of these accomplished artists (both studio and plein air work) will be exhibited and available for purchase at Kolb Studio on the South Rim of Grand Canyon National Park through January 17, 2022 or online at:

For more information contact Kathy Duley at [email protected] or 480-277-0458.

Who Took Home Awards at the 22nd Annual AIS

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September 27, 2021

The American Impressionist Society’s 22nd Annual 2021 National Juried Exhibition opened on September 9, 2021 at Gallery 1516 in Omaha, Nebraska. Over $75,000 in cash and merchandise awards were presented, including a $12,000 cash award for Best of Show.

This year’s exhibition features 173 juried paintings; an additional 25 paintings by AIS Masters and board members are also included in the exhibition. All of the images are online at www.americanimpressionistsociety.org. The 22nd Annual AIS National Juried Exhibition is on view at Gallery 1516 through December 12.

Top Winners:

Best of Show: “The Man who Herded the Hairy Cow” by Jove Wang
2nd Place: “James” by Mary Qian
3rd Place: “Summer Light” by Brad Teare

Best of Show: "The Man who Herded the Hairy Cow" by Jove Wang — Best of Show: “The Man who Herded the Hairy Cow” by Jove Wang

2nd Place: "James" by Mary Qian — 2nd Place: “James” by Mary Qian

Impressionist Art - 3rd Place: "Summer Light" by Brad Teare — 3rd Place: “Summer Light” by Brad Teare

AIS Master C.W. Mundy served as Judge of Awards. The opening week included a workshop, panel discussions, collector’s lecturer, demo, painting on location at Omaha’s Henry Doorly Zoo, and the American Impressionist Society Paint Out. Howard Friedland AISM was the workshop instructor and provided a painting demo. Carolyn Anderson AISM served on a panel and provided a “Short History of Art” presentation.

> Visit EricRhoads.com to learn about more opportunities for artists and art collectors, including retreats, international art trips, art conventions, and more.

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The Need to Drift

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September 27, 2021

Learn more at sharonsprung.com.

Sharon Sprung, "Resting, but Complicated," oil on panel, 35 x 36 in.

Contemporary Realism Art > Sharon Sprung recently delivered a new oil painting titled “Resting, But Complicated” to Gallery Henoch. Here, she tells us her inspiration behind the title, the model, and even the textiles.

Contemporary Realism Art > On “Resting, But Complicated”

BY SHARON SPRUNG

Sharon Sprung is on the faculty of the 2nd Annual Realism Live virtual art conference. Register early at RealismLive.com to save!

“Resting, But Complicated” emerged from a spontaneous stream of consciousness, inspired by the need to drift away from the present for a while – a respite from temporary demands of the day to day. From this, there emerged an image of the model resting, not conscious of the world going on without her, having a moment, immersed in her ongoing inner fantasy world.

From that, I segued to thoughts of the Nutcracker Suite. In that ballet a young girl sleeps as the Nutcracker and the Mouse King battle. The Nutcracker is victorious and becomes a Prince who takes the girl on an adventure to different lands, and eventually to meet the Sugar Plum Fairy.

In this painting, the drapery and the multicolor fabrics embody the fantasy world of escape. I endeavored to bring the myriad configurations of patterns and colors to life – in contrast to my sleeping model. To me, textile design is the visual equivalent of the magic that ballet.

It was important for me to imbue the multiple shades and the drapery with a life of their own, multicolored stripes giving way to flowers and blossoms of many varieties and hues,
patterns that seem to be repetitive but can change form before us. With the use of paint texture and edges soft and hard, I enhance the movement and breath of the painting.

The image represents, to me, an escape into those objects that elaborate and enrich my life, layers of rich textiles and the movement of colors intersecting with others that create a world of richness and breadth.

> Visit EricRhoads.com to learn about more opportunities for artists and art collectors, including retreats, international art trips, art conventions, and more.

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Influential Teacher-Painter: Works on View

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September 26, 2021

Frank Vincent DuMond landscape painting — Frank Vincent DuMond, "Approaching Storm," ca. 1920, oil on canvas. Collection of Douglas and Marcia DuMond.

The Lyman Allyn Art Museum has announced the opening of a major new exhibition highlighting the art and teaching legacy of Frank Vincent DuMond (1865-1951). The first exhibition in twenty years to focus on DuMond, “The Prismatic Palette: Frank Vincent DuMond and His Students” explores the artist’s career in depth, with nearly 60 works of art drawn from private and public collections. The exhibition will be on view through October 3, 2021.

More from the museum:

A key figure in American art and art education, DuMond is known for his lush green landscapes and for the important role he played in the Lyme Art Colony in the early 20th century. He taught at the Art Students League of New York for 59 years, instructing multiple generations of artists, including such notable figures as John Marin, Georgia O’Keeffe, and Norman Rockwell. The exhibition, spread through three gallery rooms, will emphasize the work of some students as well as explore the enduring impact of Dumond’s “prismatic palette.”

Dumond was a skilled painter and draftsman with great technical facility and a keen eye for color. He began his study at the Art Students League in New York in 1884, and then studied in Paris at the Academie Julian from 1889 to 1891. While abroad, DuMond produced illustrations for Harpers Weekly, and his illustration work expanded after his return to the U.S. DuMond began teaching at the Art Students League of New York in 1892, and soon spent summers teaching and painting landscapes en plein air. DuMond and his wife Helen, also an artist, were early members of the Lyme Art Colony and purchased a home in Lyme, CT in 1906.

“The Prismatic Palette” highlights DuMond’s enduring contributions to art instruction and color theory. His impact as a teacher lies not just with the many artists he helped train, but also with his art pedagogy and painting techniques, which were passed on to subsequent generations by Frank Mason and other students and are still being taught today. DuMond’s “prismatic palette” offers an important and influential method of pre-mixing color strings that has been helpful for students, particularly for plein air painting.

The exhibition’s curator Dr. Tanya Pohrt notes, “We are thrilled to be exhibiting such exquisite works of art. The exhibition reveals DuMond’s diverse talents and explores his influential career as an art educator.”

To accompany the exhibition, Pohrt will be giving an in-person Curator Talk on September 22 from 5:30 – 7 PM where she will discuss in detail a selection of works on view in The Prismatic Palette. Admission to the lecture is $10 for members and $15 for non-members.

For more details, please visit www.lymanallyn.org.

> Visit EricRhoads.com to learn about more opportunities for artists and art collectors, including retreats, international art trips, art conventions, and more.

> Sign up to receive Fine Art Today, our free weekly e-newsletter

> Subscribe to Fine Art Connoisseur magazine, so you never miss an issue

OPA 2021 Eastern Regional Juried Exhibition

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September 25, 2021

Nikolo Balkanski OPAM, "Blue Skies of Taormina," 16 x 20 in., $3,500, Oil on Linen, 2021

Fine Art Oil Paintings for Collectors > The Oil Painters of America (OPA) will hold its Eastern Regional Juried Exhibition of Traditional Oils at ArtCenter Manatee in Bradenton, Florida from September 28 – October 22, 2021.

Artists, collectors, and art enthusiasts will find a collection of traditional oil paintings representative of the high quality of work being produced by the nationally and internationally acclaimed painters in this exhibition.

OPA’s membership is comprised of over 3,500 artists from across the United States, Canada, and Mexico. Over the years, OPA’s exhibitions have garnered a reputation for being one of the premier art shows in the country receiving over 1,200 submissions for consideration. Of those entries, approximately 110 artists have been selected to be part of this exhibition. Total awards will be approximately $11,500 in cash and merchandise. Well-known national artist Katie Dobson Cundiff, OPA, will serve as the Juror of Awards.

An opening reception and award ceremony will be held for artists, collectors, the public, and press on September 30 at the ArtCenter Manatee from 5:00 – 7:00 p.m. with the awards presentation beginning at 6:00 p.m. Admission is free, and all paintings will be for sale.

Additional Oil Paintings on View

Kathy Anderson OPAM, “Bud’s Old Cherry Tree,” 30 x 24 in., $5,500, oil on canvas, 2020

Howard Friedland OPAM, “La Abuela,” 11 x 14 in.,$2,500, oil on linen panel, 2020

Albert Handell OPAM, “The Red Barn,” 24 X 36 in., $18,500, oil on linen, 2020

See the entire exhibition and learn more at www.oilpaintersofamerica.com.

> Visit EricRhoads.com to learn about more opportunities for artists and art collectors, including retreats, international art trips, art conventions, and more.

> Sign up to receive Fine Art Today, our free weekly e-newsletter

> Subscribe to Fine Art Connoisseur magazine, so you never miss an issue

Artist Spotlight: Kim VanDerHoek

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September 24, 2021

Kim VanDerHoek with her painting “Floating in the Blue.”

Kim VanDerHoek painting en plein air.

How did you get started and then develop your career?

Kim VanDerHoek: What’s the fastest way to learn how to draw or paint? The answer to that question is to work from life, which is why I began my painting journey by working in plein air. Prior to starting on that path, I finished my Bachelor of Arts degree in illustration then worked as a graphic designer. It wasn’t long after I began painting landscapes that I realized I wanted to make it a full-time job.

Since then, it’s been an ongoing learning process figuring out how to make a creative life profitable as well as developing my technical painting skills. Early in my career I was fortunate enough to meet the late artist Greg LaRock who became an unofficial mentor and good friend. His guidance was invaluable.

How do you describe success?

While I don’t want to discount the importance of finances, it’s not the only way to measure success. To me success is having a flexible schedule that enables me to be home to raise my kids, traveling to new locations to paint, having a career I’m passionate about, watching students advance their painting skills, and being creative every day.

How do you find inspiration?

Most often in museums and galleries. When I see other artist’s work in person, I’m always inspired to get back to my studio to try something new. Being open to receiving inspiration from unusual sources has enabled me to combine unlikely ideas into something creative, especially when it comes to marketing my work.

What is the best thing about being an artist?

Exploring an internal feeling and turning it into something visual. When I paint, I don’t have an end result in mind that’s set in stone. I like to have a general plan while allowing room for spontaneity to happen. That approach gives each painting a unique look. It can be a little problematic when I attempt to replicate a spontaneous moment, but I’ve learned and grown so much since cultivating this method that I haven’t looked back. It also keeps my work looking fresh while preventing me from becoming bored and too set in my ways.

Kim VanDerHoek, “Cloud Triptych,” 40 x 90 in., oil, 2020

Kim VanDerHoek, “Floating in the Blue,” 24 x 36 in., oil, 2021

Kim VanDerHoek, “National Mall View,” 16 x 20 in., oil, 2021

Kim VanDerHoek, “A New Season Begins,” 16 x 20 in., oil, 2021

To see more of Kim’s work, visit: www.KimVanDerHoek.com

Inspiring Art Studios: A Tour with Garin Baker

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Cherie Dawn Haas

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September 24, 2021