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PAULA HOLTZCLAW FOLLOWING the VIBRANCY Ight up Front, the Painter Paula Holtzclaw (B

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PAULA HOLTZCLAW FOLLOWING the VIBRANCY Ight up Front, the Painter Paula Holtzclaw (B BY CHARLES RASKOB ROBINSON TODAY’S MASTERS PAULA HOLTZCLAW FOLLOWING THE VIBRANCY ight up front, the painter Paula Holtzclaw (b. 1954) confesses, “I usually dive into my canvas. I start out with my intent, and some- times I carry it all the way through. But sometimes the painting begins to sail away from its charted course; I have to recognize the inspiration and go with Rit.” Occasionally this inspiration — what Holtzclaw calls “vibrancy” — is apparent, but at other times it takes a while to dis- cern. Holtzclaw has spent a lifetime learn- ing to embrace the vibrancy, which has itself shaped the course of her life. Born in North Carolina, Holtzclaw was exposed to art as a youngster through her grandmothers, both of whom painted. She still recalls the smell of art materi- als as they introduced her to the basics of drawing and painting. Holtzclaw remained interested in art, but life took her in other directions before she returned to it. In 1972 she enrolled at Western Carolina Univer- sity, but she married two years later and began working for a contact lens company in its Charlotte laboratory. In 1978 Holtz- claw gave birth to twin boys. When they entered preschool, she joined a large oph- thalmology group as a contact lens spe- cialist engaging directly with patients — a welcome change from the solitary work she had pursued in the lab. This preference for being with others would resurface later in her artistic career. Behind Holtzclaw’s soft-spoken South- ern charm is a keen competitiveness. “I have always found myself striving for higher goals,” Underway, 2017, oil on linen panel, 18 x 18 in., Anderson Fine Art Gallery, St. Simons Island, GA she explains. “I often ask myself, ‘Why can’t I 072 JANUARY/ FEBRUARY 2019 FINEARTCONNOISSEUR· COM (TOP) Delta Twilight, 2018, oil on linen panel, 30 x 40 in., collection of F&M Bank, Lodi, CA (LEFT) Banks Channel, 2017, oil on linen panel, 24 x 24 in., Highlands Art Gallery, Lambertville, NJ just relax and enjoy where I am, instead of always reaching for more?’” For instance, while in her thirties raising twin boys and holding down a professional job, Holtzclaw was introduced to the world of tennis. “I became totally consumed. Not content with just playing for fun, I begged games off the best players available. I played on every team and in every tournament I could. Ultimately I captained a United States Tennis Association team and we made it to the state finals for seven years in a row.” RECONNECTING WITH ART In the 1990s, recently divorced and still working in ophthalmology, Holtzclaw began to paint again. The vibrancy had reappeared. “I felt like I was coming full circle and had finally found my calling. I became totally obsessed with painting and gave up tennis. I would paint and study art books after work until midnight and as much on the weekends as I could.” In 1996 she landed her first representation, at Charlotte’s Providence Gallery, which still carries her work today. She also works with galleries in South Carolina, Georgia, Florida, and New Jersey. In 2001, the artist met Chuck Holtzclaw, a certified master arbo- rist who owns a tree-care business. “With much support from Chuck, FINEARTCONNOISSEUR· COM JANUARY/ FEBRUARY 2019 073 (RIGHT) Lake Como Twilight, 2018, oil on linen panel, 8 x 10 in., Highlands Art Gallery, Lambertville, NJ (BELOW RIGHT) Luminescence, 2018, oil on linen panel, 35 x 45 in., to appear in the American Women Artists exhibition at Steamboat Art Museum (May 24– September 2) I left ophthalmology in 2002 to pursue paint- ing full-time. We married the next year and I have never looked back. It’s amazing how ful- filling my new career has been.” The newly- weds moved to Waxhaw, a quiet town 30 miles south of bustling Charlotte. Holtzclaw had to cope not only with the change of pace, but also with the shift from her people-oriented corporate career to the solitary life of art- making. Sparked by her competitive drive, she decided to learn more about the people and institutions of her new profession. Not sur- prisingly, Holtzclaw was successful and soon surrounded herself with a new community of valued colleagues. Today she is an active member of many professional organizations, including the American Impressionist Society, American Society of Marine Artists, American Women Artists, California Art Club, Oil Paint- ers of America, Plein Air Artists of Colorado, Plein Air Painters of the Southeast, Salma- gundi Club of New York, and Women Artists of the West. Her artistic career has brought Holtz- claw numerous awards, but her real prize has been meeting other artists and engaging in the field’s organizations. She has been par- ticularly active as a board member of Ameri- can Women Artists (AWA), which, since its inaugural exhibition at the Tucson Museum of Art in 1990, has highlighted the fact that more than half of America’s working art- ists are female, yet less than 5 percent of our museums’ holdings were created by women. Less than 14 percent of working women art- ists are represented in top galleries, and not one of the 10 highest-selling artworks at auc- tion was made by a woman. In response to this situation, AWA has set a goal to hold 25 exhibitions at museums in the next 25 years. This initiative is already underway through shows that have occurred, or been scheduled, at the Tucson Desert Art Museum, Rock- well Museum (Corning, New York), Haggin Museum (Stockton, California), Steamboat Art Museum (Colorado), and Booth Western Art Museum (Cartersville, Georgia). ing for the sheer enjoyment of being outside and seeing the subject as it truly is.” The painting Underway resulted from a Plein Air Painters of IMMERSED IN NATURE the Southeast event in Darien, Georgia, which Holtzclaw describes as “a Given her involvement in so many organizations, it is fortunate that wonderful little fishing town with old boats and rugged half-dilapidated Holtzclaw loves to travel. “Always on the lookout, I notice painting piers — a painter’s paradise.” compositions everywhere,” she says. “My favorite subjects — bodies of The approach Holtzclaw has developed over the years reflects the water, boats, and magnificent skies — rarely contain figures. I prefer influence of both the Hudson River School (particularly Albert Bier- painting coastal marine and landscape areas that are still untouched stadt) and the Tonalists, especially George Inness. Whether they depict by man, knowing that this is becoming ever more impossible. For at the Hudson, Alps, Rockies, or Yosemite, Bierstadt’s paintings appeal to least a while longer, it can be recorded on canvas. I enjoy plein air paint- her through their luminous skies and distinctive light and also because 074 JANUARY/ FEBRUARY 2019 FINEARTCONNOISSEUR· COM (LEFT) Moonlit Marsh, 2018, oil on linen panel, 12 x 18 in., Cheryl Newby Gallery, Pawleys Island, SC (BELOW LEFT) Orchids with Pears, 2014, oil on linen panel, 16 x 20 in., private collection colors and soft contours foster a contempla- tive atmosphere that is restful to the eye and soul.” Holtzclaw achieved this effect herself with Delta Twilight, which hung in the AWA- sponsored exhibition at the Haggin Museum last autumn. A NAUTICAL BENT Holtzclaw’s father, Robert Manning Brand, was steeped in the sea. She notes, “Like all members of the ‘Greatest Generation,’ my Dad had a strong sense of patriotism and a love for all things military. I’m sure I inher- ited a love of water from him. He bought a small boat and took us out often to fish, water ski, or putt around. I lost count of how many times he brought us to Wilmington to see the USS North Carolina.” Holtzclaw’s father served in the Pacific during World War II and was aboard the USS Damon M. Cummings 643 on Easter Sunday 1945, when the 82-day invasion of Okinawa began. The maritime influence continued when the artist married Chuck Holtzclaw, who once worked aboard a Norwegian freighter, then became a quartermaster and member of the Mobile Inshore Undersea Warfare unit of the U.S. Navy. “Somehow it all ties in,” she muses. “I feel most peaceful and relaxed near the water, and just love being on or near it. Hope- fully I transfer some of that to the canvas.” Given this nautical bent, it is no wonder Holtzclaw joined the American Society of Marine Artists (ASMA), especially after learn- ing that two artists she greatly admires, Don Demers and William Davis, are ASMA Fellows. “Just maybe some of their magical ‘artistic dust’ will rub off on me,” she laughs. “ASMA has afforded me the opportunity to show my art in museums across the country and to meet other outstanding artists in the genre.” Holtzclaw’s career advice for younger artists is based on her own experience. “If you truly love art, pursue it. Don’t let ‘no’ or he wanted to see such unspoiled regions preserved. Inspired by how setbacks discourage you. Choose a couple of the best artists you admire Bierstadt and his peers impacted the emergence of environmental pro- and study with them in any way you can. Paint or draw as often as pos- tections, Holtzclaw feels that “as artists, we have at least some obliga- sible. Practice, practice, practice! As simple as that advice is, it really tion to future generations to document natural areas that are disap- does work!” Holtzclaw might well have added that every artist must pearing so rapidly.” follow his or her own vibrancy, a strategy that has served her well. For Holtzclaw, Inness offers another dimension with his emphasis on imagination and feeling, rather than just objective rendering of the subject.
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