The American Society of MMAARRIINNEE AARRTTIISSTTSS Upcoming THE AMERICAN SOCIETYOF MARINEARTISTS

Published Quarterlyby VÉÇàxÇàá THE AMERICAN SOCIETY OF MARINE ARTISTS 501(c)3 Organization Of Fish and Fisheries 5

Nicolas Fox, Editor LenTantillo, Design&Layout

LisaEgeli, President IT'S ALL ABOUT DRAWING 10 Ann Mohnkern, Vice-President Mike Killelea, Secretary Stu Egeli, Treasurer

BOARD OF DIRECTORS LOSER OOK Del-Bourree Bach AC L 16 PriscillaCoote Sheri Farabaugh Nicolas Fox Anne Brodie Hill Russ Kramer BILL MULLER 20 Carol McClees Len Mizerek Sergio Roffo Kim Shaklee Len Tantillo INSPIRED BY TELEVISION 15 ASMAMailingAddress: ASMA ASMA'S WEST COAST REGIONAL 24 PO Box 2903 Gainesville, GA30503 EVENTS OF INTEREST 27

NEWSLETTERDEADLINES REGIONAL REPS 32 Dec.1,Mar.1,Jun.1,Sept.1

Disclaimer: The opinions, beliefs YOUNG MARINE ARTISTS 33 andviewpoints expressedbythe various authors andparticipants in REMEMBERING VICTOR MAYS 34 this publication do notnecessarily reflectthe opinions, beliefsand viewpoints ofthe Editor or official policies ofthe American Societyof Marine Artists.

AllmaterialintheASMANews & Journal is copyrightedandmaynot ON THE COVER bereproducedinwholeorinpart withoutpriorwritten consentof the American SocietyofMarine Artists© 2019 FELLOWS OF THE SOCIETY ManagingFellow C.W. Mundy

David Bareford Chris Blossom FROM THE PRESIDENT William Davis Don Demers William Duffy Lisa Egeli Sheri Farabaugh Neal Hughes Michael B. Karas DearMembers, Russ Kramer Loretta Krupinski Richard Loud As summer ends, the sailing gets even better here on Chesapeake Bay, and the Leonard Mizerek marshes come alive with color. These are the roots ofmy own need to create art Paul Mullally aboutthe water, andeachofyouhave astoryabouthowwaterfeeds yourwork. C.W. Mundy Charles Raskob Robinson As a Society ofpeople who create and/or care about , we approach Sergio Roffo the subject from manydifferent angles. While our tradition is rooted in historical Kim Shaklee maritime life, we now include all manner ofart about the water and things that Len Tantillo live in it. This issue of the News and Journal reflects that variety, while also Kent Ullberg showing how we can learn from it. We all have different strengths, and learning ASMA Fellow Emeriti fromoneanothermakes us betteratwhatwedo. John Barber June Carey After a period of relative calm, we have begun an exciting series of Peter Egeli opportunities to exhibit, to discover and to grow. Congratulations to artists with Norma Jay work accepted into our West Regional Exhibition, open now at Channel Islands Raymond Massey Maritime Museum in . Next up, our 18th National Exhibition will be William G. Muller juried from among your submissions to create an outstanding showcase ofthe Mark Myers best ofthe best in contemporarymarine art. And in March that exhibit will open William Ryan in Jamestown, Virginia during our 3rd National Marine Art Conference, for John Stobart which we have apowerful series ofpresentations linedup. ASMA Honorary Members MaryBurrichter I encourage you to take full advantage ofall your membership offers. Discover J. Russell Jinishian and learn through the wonderful articles in this Journal, showyour finest workin Robert Kierlin museums around the country in our 18th National, and engage with other Jean Marshall members at the Conference. And continue to find inspiration from water and the Peter Maytham in whatever ways you do, whether surfing Pacific swells or fly fishing in Graham Stiles Minnesota or sailing in Cape Cod. Our variety ofexperiences and approaches makes us astrongerSociety. The American SocietyofMarine Artists is anon-profit organization My best, whosepurposeis to recognizeand LisaEgeli, President promote marine artandmaritime history. Weseekto encourage cooperation amongartists, historians, marine enthusiasts and others engaged in activities relating to marine artandmaritime history. Sinceits foundingin1978, the Societyhas broughttogethersome ofAmerica’s most talented contemporaryartists in the marine art field. OF FISHAND FISHERIES TÇTÜà|áà|vexäxÜxÇvxyÉÜà{xUÉâÇà|yâÄfxt

The truth is that many fish alone do viewer into the underwater world ofa not really conjure up dynamic whale’s eye view in the luminous blue . The drama is in the vessels waterofthe westcoastPacificocean? that catch the fish--time to dust off The trade in these parts began in the by Loretta Krupinski your imagination hat. There are many 1600s as fishing stations and excellent paintings of lobster boats at shipbuilding were scattered along the I cameto Maine20 years ago “forthe the dock, underway or moored in the shoreline andislands. The needto catch waters” as Humphrey Bogart said in abundance ofharbors here. fish generated many industries: Casablanca. I didn’t set out to paint fish Who could not embrace Tom shipbuilding, fish packing plants, or even become a Maine historical Hoyne’s paintings ofthe drama ofthe canning, lobster traps (wire traps today painter, but I did. Maine’s shoreline is Gloucester fishing schooner, and the ), dried and smoked fish, coopers, rich in shipbuilding and fishing. dorymen rowing back to the schooner nets for trapping, technology evolving Eventually, one might need to learn to with their catch? Or Don McMichael’s into nets for bottom fishing on paint fish. beautiful whale paintings that bring the trawlers. All this industry contributed to buildingthe thrivingtowns alongthe coast. The fishermen here in Maine are very caring about fishing quotas so as not to deplete our native species. Because of overfishing, cod has been disappearing in Maritime Canada and Maine for years. The National Marine Fisheries Services also recently announced the protection of the remaining 435 Right whales that swim in Canadian and Maine’s waters. The problem is entanglement issues from vertical lines (ropes) from lobstertraps on the bottom to the bouys above. The whales are getting stuck in the lines mostlyin Canada, where they prefer the cooler waters and abundant plankton on which to feed. (Fishermen are too salty for whales to eat.) It has been suggested to cut trap limits in half. A400 trap limitwouldbe reduced to 200 – which is not sustainable for alobsterman. Another problem is the lack of herring for lobster bait over the last few years. Quotas are also in effect for herring. Other types of fish and fake bait (unlike fake news) are all on trial. No bait, no lobsters. Thelargebodies of

fish here are herring, mackerel, pogies, repairman, who knewhis fish after alife haddock, seaurchins andscallops. on the water. I can also tell the But I am now able to tell the difference--says she who works from difference in color between offshore old black and white photos--between a and inshore Cod, thanks to my furnace haddock and a cod, which are in the same family. (Answer: It’s in the tail.) I love to eat lobster but don’t paint them. Never a pretty sight, they don’t call them “bugs” fornothing! Here is an easy way to paint many many fish, either in a net or on the dock. Begin by penciling in several whole fish. Scatter them about leaving spaces in between. Continue to fill in the left over spaces with other parts of the fish – heads, tails, mid-sections. This also works well ifyou are apileoflobsterbouys. Itis importantto identify a specific fish if needed. Do your research.

Editor’s Note:

Artists like Loretta Krupinski have been drawn to fish and fisheries for millennia. Why? Or more precisely, why do people like painting, and looking at, paintings of fish and fishermen? There are a thousand bio-historical reasons this subject could resonate for us. To name just a few: we evolved from marine life forms; all ofus had gills at one point (in the womb), and most human societies developed around active fishingports. But the more aspirational motivating factor may be envy. Fisherfolk live a romantic and picturesque life, even if it can be grindingly hard, dull, and dangerous at the same time. They work where most of us only play: through rough , in the dark ofnight, despite gale force winds and powering through massive waves. Also, as Loretta notes, on many levels, fisherfolk are struggling to survive culturally. With depleted fishing lives: we’re not in constant danger of gallery, enriches us, helping us see how stocks (halibut practically disappeared being drowned or having a hand crushed precious all ourlives are. from Georges Bank as far back as 1850 by a falling block or getting frostbite Members of the American Society of due to overfishing), the increased severity while trying to stabilize loose gear in a Marine Artists have chosen marine art ofweather events due to climate change, February gale. No, we’re not in danger, because we hear the call ofthe sea. Is it and increased competition from modern but we long for it. We all look for any wonder that we should lionize those technologies (including refrigeration), meaning in our lives, and contemplating who work on it, and honor the animals the American fisherman is up againstit. paintings that depict that struggle for that have fascinated and nourished us Many of us live pretty comfortable survival, if just for a moment in an art sincethebeginningoftime? - N.F. IT'S ALL ABOUT DRAWING g{x\Çw|áÑxÇá|uÄxtÇwbäxÜÄÉÉ~xwUtá|vTÜà|áà|vf~|ÄÄ

black and white. The resolution was bythe magicofthe thingthatwe would poor. Reception was worse…we only get up and hour earlier than the prayer got three channels. The broadcast day program justto watch the testpattern. I began at 7:30 AM with prayers and can stillseeitvividlyin mymind. Itwas ended at 11 PM with the Star Spangled an intricate cross design with Banner. The news came on twice aday concentric circles framing a circular with each program lasting only 15 shape with the profile ofan Indian chief minutes. Welovedit. complete with headdress--ah, the good My brother and I were so mystified old days. My favorite programs were, Captain Video and his Video Rangers, Andy’s Gang, and by Len Tantillo Howdy Doody. Beyond the In 1955, when I was nine years old, programing specifically aimed at wegotourfirstTVset. Thepicturetube kids there were variety shows like was about the size ofthis page turned Ted Mack’s Original Amateur sideways and its face was curved glass Hour and Arthur Godfrey, tear that had a muddy greenish color when jerkers like Queen for a Day and the TV was off. Back then all TVs were dramatic fare like Playhouse 90 and Loretta Young and, ofcourse, the want to draw. sported a very artistic, sharply trimmed weather. Yes the weather, a very short Inspired, I was readyfor mynext big goatee. He spoke confidently, add-onto the15 minutenews. step. Jon Gnagy. convincing his audience that, “yes, you So why, do youask, do I bringup the Jon Gnagy was America’s first too can be an artist but you must first weather? Drawing. The weatherman, television art teacher. His show was learnto draw.” I was allin. Tex Antoine, was an artist complete called Learn to Draw. The opening Every week I would get my yellow with smock. There were no fancy music was a Viennese waltz. Gnagy no. 2 pencil, complete with pink eraser graphics displayed behind him. Radar always wore a checkered shirt and and a sheet of8 ½ x 11 inch blank forecastingwas amilitarysecret, I guess. Tex used crude diagrams to give the audience a sense ofthe meteorological situation. We only saw that chart for a shorttime afterwhich the cameracutto him and a flip chart ofblank newsprint on an easel. It was time for Uncle Weatherbee. As Tex told us about what to expect tomorrow he quickly and confidently sketched his trademark mustachioed character in whatever appropriate attire was required to suit the next day’s weather. Uncle Weatherbee might be sad or happy, shivering or sweating or hiding under anumbrella. I was hooked, notso much about the forecast but by Antoine’s wit and skill with black chalk. It made me typing paper and dutifully await instructions from the master. I didn’t know at the time that he was drawing with charcoal on newsprint, but it didn’t matter, I was ready for the challenge and enthusiastically anticipated the masterpiece I was about to create. I’m pretty sure the resulting work never rose to the level ofartistic achievement I envisioned, but it was always fun to try. When I look back on that time I realize what a great debt ofgratitude I owedthoseguys. Theygotinto myhead and neverleft. Theylit afire ofcuriosity that never went out. Even as a kid I could appreciate the energy emanating from a simple pencil mark. Since then I’ve come to appreciate the attraction of inspired draftsmanship. What began with Tex Antoine and Jon Gnagy geometrically expanded to include masters ofdrawing from Leonardo and Michelangelo to Ted Kautzky and Gordon Grant. My dog-eared copy of “Drawing with Pen and Ink” by Arthur L. Guptill is never out ofarms reach. For those ofyou interested in the art of drawing that book is a treasure trove andit’s still in printfrom its firstedition publishedin1930. It would be impossible in this short feature to get into all the nuances of drawing so I offer up a very generic overview of a few aspects of that mediuminawiderangeofskillsets. John Stobart is a masterful painter with an outstanding talent in drawing. His refined works in pencil easilystand alone as works of fine art. For this article, however, I choose to present how John uses simple thumbnail sketches to work out compositions. This technique is used by most professional painters and allows us to assess numerous possibilities before we master lithographer, Stow Wengenroth power ofcontrast and dynamic line to even getclose to canvas. and our own Terry Miller who use create atmosphere and evoke emotional On the otherendofthe spectrum we monochromatic tonal expression in response. have highly skilled artists like the late creating fine art. Their workutilizes the Gordon Grant and Rodney Cole achieve similar results using their own unique shading styles. Grant was prolific and famous for his loose line work. Anyone lucky enough to have one of his lithographs knows what I mean. On the other hand, Bill Ellsworthshows us thepowerofasingle line in his striking , largely based on his own life experiences. The same can be said for the exquisite scrimshaw of David Smith and the effortlessly complex compositions ofE. W. Cooke’s pen and ink work. It’s all drawing. Simple, and complex, and as important and relevant today as it was eons ago on the cave walls ofAltamira, Spain.

Rodney Cole,

E.W.Cooke, (1811-1880), Yarmouth HerringBoa t, penandink Heroes of Illustration.” Pete started this set of fourteen INSPIRED BY TELEVISION minute shows a couple ofyears ago and has been adding them regularly from month to month. They aren’t art tu- by Len Tantillo torials but instead a look back at the Golden Age of We’ve all been mesmerizedbyartists who paintanddraw Illustration and on the tube. Theyamaze us with theirabilityto confidently the dozens of and quicklycreate acomplete image in record time, usually skilled artists within a30 minute program. While some inspire us, others once widely only pique our curiosity. I don’t know what I remember known whose more aboutBob Ross, his hairandvoice orhis “happylittle work is today trees.” Thefactofthematteris thatI, alongwithmillions of mostly forgotten. others, watchedmanyofhis shows. The illustrators Here are three ofmy favorites, and what I learned from featured range in each ofthem: techniques from Jon Gnagy’s “Learn to Draw” program ran throughout traditional to the 1950s on NBC TV. Each more stylistic week he would show us, step artists who were bystep, howto createasimple influenced by the black and white composition trends of their using three basic shapes, the times, most not- cube, the sphere, and the ably art nouveau cone. It seemed amazingly and art deco. Pete easy, and most ofall it looked is very interesting to listen to with his heavy Yorkshire ac- like fun. By today’s standards cent and his unusual pronunciation of words like his lessons would seem best “gouache.” I find his programs enthralling and addictive suited to pre-adolescent chil- andhope he carries on forsome time to come. Forthose of dren. All I can sayis thatback you who are computer savvy you’ll find him online on the then I loved it and still have YouTube website. my “Learn to Draw” book. In closing, I’d just like to say that you never know what Helen Van Wyk’s program, “Welcome to My Studio” you’re goingto learn from the old idiot boxifyou don’t stay spanned years on Public Television. Her warmth and sin- tuned. cerity were matched only by her great skill as a painter. I watched everyone ofher dozens ofshows and always came away inspired and enthusiastic. The great thing about Helen’s teaching style was that she wasn’t really asking you to copy her paintings as so many shows ofthis type were designedto do, but, insteadto payattentionto howshewas making them, so you understood that you could easily re- late her lesson to your own work and benefit from her insight. It worked for me. Her constant reminder to “make it ...breakit...and make it again,” still resonates in the back ofmy mind when I work. Her advice at the end ofeach program was that ifyour painting became overly frustrat- ing or a complete disaster you “could always stop working andmake soup.” Helen mayhave been agoodcookbutshe was an even better artist. Ifyou are interested in “Welcome to My Studio” you may be able to stream it from the PBS archives online or find episodes ofshows on disk at your local library. The entire series of disks can be purchased from various distributers online as well. Last, but not least, is Pete Beard’s video series “Unsung

ACLOSER LOOK g{xTÜàÉyY|Çw|ÇzfÉÅxà{|ÇzàÉct|Çà by Sheri Farabaugh variety of subjects. I began seeing have found to be beautiful and want What should I paint? That was the beauty in things I’d never really looked you to take another lookat. Although I question I struggled with most when I at: light creating patterns on water can’t explain why, ordinary objects can started painting 14 years ago. The running over rocks in a creek, mussels become extraordinary when they’re question was partly inexperience with shells left from dinner had amazing painted. choosing subjects, partly a perception color and pattern. A painting ofearly After studying the paintings of that my subject should fit a certain morninglightatmygate atthe Phoenix Antonio Lopez Garcia, Zoey Frank, mold, and mostly that I hadn’t learned airport was afavorite. Daniel Sprick, and Andrew Wyeth, I to see things in terms ofvalue, lightand Light creates wonderful effects when realized that there is beauty beyond color. Still lifes offlowers or fruit, large it hits water. Close up scenes ofwater traditional subjects, and that in fact the panoramas of the translate into three viewpoints: light subject was the least important Mountains, figures in were hitting the bottom surface revealing consideration when creatingbeautyin a ubiquitous subjects. Classes with some rocks and often resulting in an orange- painting. These artists have rendered very talented instructors at the Art ish glow when reflected offthe muddy Student’s League ofDenver turned my bottom; light reflecting offthe surface Sheri Farabaugh oil attention to focus on light, value, and of the water, and shadows cast by shape. Often itis lighton asubjectthat objects behind the pond. All ofthese makes itbeautiful, andlightbecame the subjects are a conscious effort to direct Sheri Farabaugh, Fall Reverie, unifying element in paintings ofa wide the viewer’s eye to something that I oil, 32 x 48 paintings of bathroom the challenge that can take a lifetime sinks, the inside of a becomes rendering that scene so that dishwasher, sandwiches others can see whatyousaw. andfries, donuts andanail in a board that were Editor’s Note: stunning. So finally the Confronted with so many choices for answer to that question, painting subjects, a lot ofartists get frus- “What should I paint?” trated. How to winnow those choices? Paint beautiful shapes Most importantly, consider your identity created from a beautiful as an artist. Do you wantto paintbighis- value pattern with a well torical scenes or contemplative haikus? thought out palette of color--or in Andrew Wyeth’s case, almost an John Ursillo, colored pencil, absence of color. Artists like these have started the Anne Brodie Hill, , process of opening my eyes to the beauty that JohnSingerSargent(1856- surrounds us at all times. 1925), , It’s there ifyou are looking for those beautiful shapes John Atwater, , and value patterns. Then, alkyd, 11 x24 Do you wantto include the human figure painting to painting, but we need to don’t tryto assaya naval battle scene, and or not? Do you want to paint a wide present to who we are when we first con- ifyou’re in a bumptious phase, don’t try viewshed or just one poetic element of ceive ofa new work. It is that presence to scale it down to do a small, thoughtful that view? Do you love the Impression- that will translate onto the canvas and still-life. Capturing both the simplicity ists, 19th century classicists, the engage the viewerofthatworkforyears to and complexity ofdetailed views affords Tonalists, modernists? Then find your come. Once you’ve done your interior both the artist and the viewer a rich style through identifying who you would work, it is often easyto find the next sub- experience andanewwayofseeing. like to paint like—Monet? Sorolla? But- ject. If you’re in a contemplative mood, – N.F. tersworth?—without worrying about the Romantic bugbear of“originality.” Then look at those paintings that really grab you. You will see a theme emerge. Is it harbor scenes? Beachscapes? Rough water with storm tossed square riggers or re- flections on still water in a cool forest pond? Once you define what you love, begin there. I was struck by a show of Vincent Van Gogh’s work that featured his early “Potato Eaters” phase. With none ofthe style most ofus are familiar with, he painted dirty shoes, ragged clothes, and the detritus of a finished meal. Because we all grow and change as artists, we don’t have to be the same from BILL MULLER T_|yxÄÉÇzctáá|ÉÇtÇwà{xgtÄxÇààÉXåÑÜxáátZÉÄwxÇTzx by Nick Fox was turned into a park. And it was there, and paper on his return home, he set to in June of1941, that a five-year-old boy workto recreate whathe’djustseen. WilliamGordonMuller(b. 1936) named Bill Muller saw his first sidewheel He became a riverside regular, spending much ofhis free time watching I recentlyhad the pleasure ofspending steamer. the shippingactivityon the Hudson river. the day with Bill Muller at his home in “They made no noise, you know, “In the 1940s,” there was still an Cotuit. Bill is one ofthe founders ofThe except for the beat ofthe paddlewheels” abundance of steam-powered watercraft, American Society ofMarine Artists, and Bill told me excitedly as we sat in his including ferries and tugboats.” Bill one could say its primum movens, as he house in Cotuit this past August. “And if started riding the big steam Staten Island tracked down John Stobart in the engine was tuned right, there was ferryboats like the Knickerbocker so he in the early1970s and told him theyhad almost no smoke.” The ship was the could feast his eyes on all the shipping in to do something to recognize America’s Hendrick Hudson of the Hudson River the harbor, including troop and liberty maritime historythrough art. Day Line. ships returning from World War II. Under a tulip tree on Inwood Hill in “She was dazzling white in the Throughout his life in school, Bill had 1626, Peter Minuit bought the island of morning sun and soared five decks high drawn and sketched, becoming Manhattan from the Lenape Native above the water. I could hear the something of a celebrity for his satirical American tribe. Three hundred years rhythmic beating of the paddlewheels cartoons, particularlythose drawn during later, the Inwood Hill area, with the last along with faint strains ofmusic from the math class. remaining natural forest on the island, ship’s orchestra.” Demanding crayons While his first love, the 1906 Called to the company headquarters the flight tookplace in October of1958. For Hendrick Hudson, had been scrapped in next morning, the Commander ayearandhalfatHenning, Bill workedin 1951, in 1954, at the age ofsixteen, Bill confronted Bill with his artwork and another end-of-era field, building models got the job of Assistant Purser with the demanded to know if he had drawn it. ofocean liners for display in travel offices newly restructured Hudson River Day When Bill gulped that he had, instead of and board rooms for Cunard, French Line. Risingto the rankofQuartermaster being reprimanded, the Commander Line, Italian Line, Lines just two years later, at 19, Bill was taught humorously told him he loved cartoon and others. the river, and took his first turn at the art and had wanted to pursue it, but was Bill studied advertising, art, design wheel ofthe Alexander Hamilton just a lousy at it. He posted Bill to the Fort and illustration at the in few days into the summer season. The Gordon Training Aids Art Department, Brooklyn, and by the mid-1960s was Day Line steamers at that time regularly where he spent the rest of his military hired by one ofthe top Madison Avenue carried as many as three thousand service sketching, drawing and advertising agencies, Sullivan, Stauffer, passengers up and down river, often illustratingvarious Armypublications. Colewell & Bayles (holders of the stoppingat Indian Point Park, nowhome Returning home in December of Noxzema and Pall Mall accounts among to NewYork’s nuclearpowerplant. 1958, Bill finished a 27 inch long scratch others). Bill was the odd man out, as a In 1956, Bill hoped to get through his built model of the Alexander Hamilton non-smoker, on the American Tobacco military service before the 1959 summer that he’d started five years earlier. The account. Remaining with the agency for Day Line season. But he was rejected by model received a lot of attention, even a decade, Bill spent many Saturdays on the Navy for allergy induced Asthma. being written up in the newspaper, and the Alexander Hamilton, beinginvited to Despite his protests, the Navy was garnered an immediate job offer from take the wheel on visiting the pilothouse. resolute. Bill ended up in the Army, Arthur Henning, owner ofa professional By 1963, the Hamilton was the last which told him, “Don’t worry son, the making business in Mount steamer of her kind operating in the Armywill cure youofyourasthma!” Vernon, New York. The offer coincided As an MP in training at Fort Gordon with Bill’s passing an initial Coast Guard in Georgia, Bill put his cartooning skills exam toward a pilot’s license. But his All paintings byBill Muller to work once more, depicting his older colleagues from the Day Line Company Commander in polka dotted dissuaded him from entering their dying oilon canvas underwear and garters bawling out a field. young M.P. for being improperly attired. The first trans-Atlantic passenger jet oilon canvas United States. The steam powered tugboats were all gone by 1970. The Hamiltonwas decommissionedin1971. Bill started making oil paintings for himselfofthis world that was vanishing before his eyes. While getting some ofhis new works photographed at the ad agency, an executive offered to buy one. Bythe end ofthe day, all three were sold. Clare Barnes, a creative chiefat Sullivan Stauffer, became a champion of Bill’s work, encouraging him to “capitalize on his maritime knowledge and artistic skills.”

All paintings byBill Muller

TugCornell, oiloncanvas WestPoint, 1915, oilon canvas Normandie, PortofNewYork, oilon canvas A SadEnding, oilon canvas While still working at the agency, Bill remains aFellowEmeritus ofthe Society. state of longing for something lost. But returned to school at the Art Student’s In 1983, Bill was offered his first one- saudade is not just gloomy nostalgia. It League, painting only in his free time, man exhibition at the Smith Gallery on recalls the excitement, pleasure and good which he was fortunate enough to share Madison Avenue. The show was a feelings brought about by the object, with his now wife, Paulette Kampa, success. In the mid-Eighties, Bryan while acknowledging that the missing who’d been a colleague at Sullivan McCallister, of the legendary New York thing may never return. Throughout Stauffer. But the creative demands of tug boat family, was looking to build Bill’s career, he has shared the excitement, advertising art proved too hectic to steamship replicas to be operated by the pleasure and good feeling ofthe lost age permithis growthas anartist, so hetooka South Street Seaport. None ofhis marine ofsteam powered transportation with an less demanding art job with a product architects knew what those steamers admiringpublic. His keen eye and careful packaging company. Able to spend more really looked like. He commissioned Bill hand have rendered that lost time at the easel, Bill started selling to draw up plans to create replicas oflate magnificence with ebullient joy. paintings through New York art galleries, 19th Century side paddle being featured in magazines, and getting steamers that ran on diesel, commissions. not coal. The 125 foot ships Having encountered John Stobart and built from his plans, the his work at the Kennedy Gallery in the Andrew Fletcher and the mid ‘60s, John said he thought they Dewitt Clinton, toured the should do something to recognize city’s waterways for decades. American marine art and artists, like the By 1987 Bill was painting full Royal Society ofMarine Artists. Bill and time at his Westchester home John became co-foundingdirectors ofthe and studio, supporting his fledgling ASMA. Bringing in other artists wife Paulette and daughter and enthusiasts, the group coalesced into Jennifer through his work as the American Society of Marine Artists, an artist. and was officially organized as a non- There is a word in profit in 1978. In his time, Bill held Portuguese, “saudade,” that almost every administrative position. He refers to the deep emotional ASMA'S WEST COAST REGIONAL g{xV{tÇÇxÄ\áÄtÇwá`tÜ|à|Åx`âáxâÅXå{|u|à|ÉÇ by Nick Fox The American Society of Marine Artists is proud to bring our 2019 West Regional Exhibi- tion ofthe finest in contemporary marine art to the Channel Islands Maritime Museum in Oxnard, California. Our jurors, Fellows Len Tantillo and Len Mizerek, have selected the best ofthe best, includingworkfrom ASMAmembers all across the United States, including thirty-three Signature members, five Fellows, and thirteen regular members. The premiere ofthe exhibition took place on September 14th at the Museum in Oxnard, California and was a tremendous suc- cess. The paintings will remain on exhibit until December30th. An annually occurring event, the ASMA West Regional show has grown considerably over the years. Heather Behrens, curator ofthe Channel Islands Maritime Museum, doubled the number ofworks presented from last year’s show due to the high turnout and favorable responses from mu- seum visitors. The museum is “very happy” to host this particular exhibition each year, and we look forward to a continuingrelationship. ASMA signature artist Anne Brodie Hill was a driving force in working with Curator Behrens, and ASMA West representatives Brent Jensen, Dutch Mostert and Buck Braden, made sure the exhibition came together smoothly. Plan a visit to beautiful Oxnard before December 30th, or if you’re in the area, make sure you stop in to see the exhibit and the rest ofthe fabulous collection at the Channel Islands Maritime Museum. As youplan yourpaintingschedule for2020, make sure to include this importantexhibition in the course youchart.

EVENTS OF INTEREST SOCIETY NEWS The Brick Store Museum in Ken- nebunk, Maine hosted member Dianna Anderson’s solo exhibition “A Place To Be” in the Bauman Family Gallery in August and September. The showwill feature plein airandstudio oil paintings aboutMaine andFlorida. A show of Mark Beale, ASMA’s workcalled “LowcountryNocturnes” is at Reinert Fine Art in Charleston from September 6th to the 30th. He was in- cludedina12 artistinvitationalshowat McBride Gallery in Annapolis, and is featured in Fine Art Connoisseur’s Oc- tober/November issue with a piece titled“ANewDawn.” The painting “Morning Tranquility” by Member Dale Byhres won second place at the recent Federation ofCana- dian Artists “O Canada!” exhibition in Vancouver, British Columbia. Laura Cooper, ASMA, was featured in Cape Cod Art 2019. Allyson Pless- ner, who profiled Cooper for the piece declared, “Cooper compares painting to puttingtogetherapuzzle. Inhercase, her “puzzles” are arresting, compelling works ofart.” San Francisco. Her “Winter Waters” PriscillaCoote, ASMA was awarded EW EMBERS Third Place at the Parrsboro, Nova was included in the N M Scotia International Plein Air Paintout California Art byjudge NancyTankersley, ASMA. She Club’s Gold Medal also took Second Place at the Castine, Show in Pasadena. Maine Plein Air Paintout. Her works She will also have have been accepted into the ASMA works in the Birst in West Regional Exhibition at the Chan- Art show at the nel Islands Maritime Museum and into Leigh Yawkey anumberofjuriedgalleries. Woodson Art Mu- In April, Kathleen Dunphy presen- seum in Wausau, ted “What to Do When the Workshop WI and the annual is Over: Becoming Your Own Instruct- Society of Animal or” atthe2019 PleinAirConventionin Artists show at the Briscoe Museum in Austin, TX. Both shows will tour na- tionally through 2020. Show at the Lighthouse Artcenter Gal- lery’s 2019 Lighthouse Plein Air Festival inTequestaFlorida. Signature Artist Paula Holtzclaw, ASMA and Fellow Sheri Farabaugh, F/ASMA were featured in the Americ- an Women Artists Exhibition, “Looking West: An Exhibition High- lighting Works By American Women Artists” at the Steamboat Springs Art Museum in Steamboat Springs, Color- ado that ran from May 24th to September2nd. Debra Huse, ASMA was awarded an HonorableMentionatthe15thAnnual Plein Air Easton Art Festival for her painting, “Historic Log Canoes Peter Egeli, FE/ASMA and his wife Difference” sharing her art and process Regatta.” For more information about Stu (ASMA Treasurer), attended the while exploring a briefhistory ofartists Plein Air Easton, please visit plein- opening of Roger Dale Brown’s show who have made a difference within aireaston.com. Debra’s nautical at the Gleason Gallery in Boothbay their personal environment at the Mint painting, “Paradise Found”, will be fea- Harbor. Museum Randolph in Charlotte, tured at the 20th Annual American Mary Erickson, ASMA, will be North Carolina. Impressionist Society National Juried presenting “Making Art, Making a Bill Farnsworth, ASMAwonBestin Exhibition at the historic in , September in Birmingham, Alabama, October 10 poraryArtlocatedin theWassauclub in 19th-October 2nd. For more informa- through November 11, 2019. The Wassau, Wisconsin . tion, please visit this website for details opening reception will be on Thursday, For the second year in a row, Mick americanimpressionistsociety.org. She October 10th from 5:30-8:00pm. McAndrews received the Best Mari- will also be participatingin the time Painting Award, This time for his Cape Ann Plein Air Painting painting “Harbor Road Princesses” Competition and Festival, from the Artists Paint Ocean Cityplein October 6th-14th. For more air competition in Ocean City, Mary- information, please visit land. capeannpleinair.com Signature artist Suzanne Morris, is Michael Karas, F/ASMA pleased to have her painting “Baby judged this year’s National Young Marine Artist Search. Please see Young Marine Artists, p. 33. Richard Loud, F/ASMA, was featured in Cape Cod Life magazine July, 2019 Member Gayle Madeira’s painting “Storm At Sea” has been Gayle’s painting “Young American chosen to be in the Oil Painters of Dreaming is also appearing in the America’s 2019 Eastern Regional Ex- “Painting The Figure Now” exhibition hibition at the Beverly McNeil Gallery, at the Wausau Museum of Contem- Blues” included in the 26th National painting stored in a target range. The David Smith, ASMA, recently com- Marine Exhibition at the Coos Art unused target range was safe storage, pleted two scrimshaw belt buckles for Museum, Coos Bay,OR. Her work has anditwas there the paintingwas found. Prince Felipe and King Juan Carlos of also been acceptedto the 11th National Executive Director ofthe Golden Gate Spain. The two are avid sailors: Prince exhibition of the Plein Air Painters of Audubon Society was in attendance at Felipe represented Spain in the 1992 NewMexico, Oct 4-27, at the SantaFe the rededication. Later, Wilma was giv- Olympics in the Soling Class. King Juan Carlos is a multiple world champion in Art Collector Gallery. She is excited to en astudio aboard the historic museum the6 meterclass. be one ofeight women painters juried ship USS Hornet, preserved by the Roland(Chip) Stevens, ASMA’s book to compete in the Cape Ann Plein Air Navyand LeastTern Colonyvolunteers Shipwrecks ofLake Ontario was reviewed Festival Oct.6-14. She is very honored for its service recovering one of the in The Explorer’s Journal - Summer to announce that Mariott Town Place moon landingcapsules 50 years ago. 2019. Carl Schuster wrote: [Shipwrecks] Suites Outer Banks, in Kill Devil Hills ASMAFellowandArtRenewal Center is a story ofdecades ofmeticulous plan- has named Suzanne it’s resident artist “Living Master” Sergio Roffo, F/ASMA ning and the gratifying results Jim and has opened Suzanne Morris Studi- won third place in the Plein Air Painting Kennard and his associates have achieved os Galleryinthenewhotel. event at the 14th International ARC through persistence… Wreck divers ASMA Signature artist Wilma Salon Competition. know the thrill offinding a piece ofun- Parker reports that her painting “En- Member Nancy Silvia of Santa Fe, known history, which comes into view dangered Least Tern” was recently New Mexico, has recently been an Artist when eachlostship reveals its presence. unearthed at former Naval Air Station in Residence atAcadiaNational Park. She Kathy Dawkins, co-chair of the 49th will be heading to Cape Cod this Alameda and rededicated by volunteers annual Waterfowl Festival’s Featured September as an Artist in Residence at ofthe Antioch Dunes NWR and Cali- Artist committee says NancyTankersley, Cape Cod National Seashore, working fornia Least Tern Colony at Alameda ASMA’s work (Podgin’ For Oysters) “ex- fortwo weeks in one ofthe historic“dune emplifies everything that is special about Point. The last time Wilma saw the shacks” on the Outer Cape. She is look- painting, she presented it as a parting the Eastern Shore, and highlights the im- ing forward to returning to her New portance of preserving the health of the gift to the Alameda Station. Captain England roots, staring out to sea and Dodge, head of the station, had the Chesapeake Bay for future generations. listeningto the gulls. We are planning a few special events Coos Bay, was a tremendous success. This ASMA sanctioned show includes many ASMA artists and Signature Artists. The events surrounding the exhibition included a dinner and Silent Art Auction fundraiser for the museum and a Plein Air Paint Out at “The Boneyard” in nearby Charleston, Oregon. ASMA Signature Artist Calvin Liang is the Exhibition’s Featured Artist. Signature Artist Richard Boyer took best-in- show for his work “Departure from Manhattan. Two works by ASMA Fellow, Charles Raskob Robinson were included in the exhibition. Other ASMA Signature Artists participating included Don McMichael (whose work “Narwhal in Ice” won the around the subject of the painting and theVero Beach arts scene. Director’s Award), Austin Dwyer, think they will be some ofthe highlights Karol B. Wyckoff, ASMA’s watercolor Frank Gaffney, Elaine Hahn, Mike of this year’s Festival.” Tankersley is also “Baxter’s” won Best ofShowin the Doors Mazer, Dutch Mostert, Donna Lee the instructor in her second Liliedahl & Windows exhibition at the Cape Cod Nyzio, Jon Olson, Karen Snoots, and video, “Essential PaintingPrinciples.” ArtCenterin Barnstable, MA. Member Sharon Way-Howard has Marilyn Wear. Participating ASMA moved to Vero Beach, , and has members Cathy Boyer, Louis Stephen become an ASMA South Regional Rep- COOS ART MUSEUM Gadal, Ian Hanks, Joel Heger, resentative. Sharon was previously the Pamela Ingwers, Coral Lehtinen, ASMA East Representative, and contin- This year’s 26th Annual Maritime Karen Leoni, Lynn Mehta, Suzanne ues her dedicated service to ASMAin the Art Exhibit at the Coos Art Museum Morris were also featured. This annual South. She is excited to get involved in from July 13th to September 28th in event is sponsored in part by the Oregon International Port ofCoos Bay and is funded by a grant from the Coquille Indian Tribe. Salmagundi Club and the Washington ASMASouth A EGIONAL EPS R R Society of Painters. Her Lynn Mehta has volunteered to take Anne Brodie Hill work is found internationally in private [email protected] on the role of ASMA East and public collections, books, Representative. Thank you, Lynn. magazines, and galleries. Sharon Way-Howard Lynn is recognized for loose [email protected] impressionistic paintings abundant Charles Sharpe with color and paint. She lives in [email protected] Alexandria, Virginia, near the Potomac River. She grew up along the Pacific Ocean, in La Jolla, California and has ASMASouth B painted as long as she can remember. (includes Virgin Islands) Inspired by all the world around her, Val Sandell the scent of salt air always uplifts her [email protected] spirits. Old fishing shacks, marinas, ASMAWest and old boats trigger her imagination. (includes FPO andAE) Mehta earned her B.A. in Art from San Diego State University, and has studied BrentJensen with internationallyacclaimed artists in [email protected] theUS andabroad. Dutch Mostert A member of the American Society [email protected] of Marine Artists since 2017, Mehta was honored with Signature Area Representatives Buck Braden Membership the same year. Mehta also [email protected] holds Signature Membership in the ASMANorth (includes interna- Mid-Atlantic Plein Air Painters Advisors to Area Representatives tional) Kim Shaklee Association and she has served on their Carol Shahbaz board since 2016. Itis importantto her [email protected] [email protected] to foster a sense of artist camaraderie Jon Olson and sharing through membership, [email protected] ASMAEast teaching, and an open attitude. She is a Lynn Mehta Austin Dwyer Juried Artist Member of the [email protected] [email protected] YOUNG MARINE ARTISTS The Society’s Young Marine Artists program celebrated its 11th year ofnurturing and supporting young artists interested in depicting marine subjects. ASMA Signature artist Anne Brodie Hill is the chairperson of the Young Marine Artists Search, supporting and encouraging Societymembers around the country who are interested in bringing the Young Marine Artist Search to their locales. This year, Fellow Michael Karas judged the submissions from around the country, which included more than 50 works from students in Georgia, Massachusetts, New Hampshire and Texas. Congratulations to all the students and art teachers who participated in 2019’s Young Marine Artist Search and to those top winners to whom the Societysends ribbons and award checks. If you are interested in bringing the YMAS program to your local school, please contact your regional representative or Anne Brodie Hill ([email protected]). 2019 American Society of Marine Artists YoungMarine Artist Results: Best In Show and First Place 3D: “Cuttlefish” Elizabeth Martin, 10th Grade, Windham, NH, Windham HS, Art Teacher: Janet Robbins Second Place 3D: “Oyster Catcher” Samantha Schmoeller, 12th Grade, Galveston, TX, Ball High School, Art Teacher: Colleen Moore Third Place 3D: “In the Can”Mary Katherine Piel, 12th Grade, Galveston, TX, Ball High School, Art Teacher: Colleen Moore First Place 2D: “Collection ofthe Deep” Lingyi “Ada” Hu,12th Grade, The Derryfield School, Manchester, NH, Art Teacher: Becky Barsi Second Place 2D: “Plunge” Catie Cook,12th Grade, Gainesville, HS, Gainesville, GA, ArtTeacher: Sarah Claussen Third Place 2D: “Sunken” Katherine Salazar, 12th Grade, Gainesville HS, Gainesville, GA, ArtTeacher: Sarah Claussen Honorable Mention: “Jaws” Brennon Campbell, 12th Grade, Mill Creek HS, Hoschton, GA, Art Teacher: Mike Lasseter “Home Sweet Home” Jessica Lee, 12th Grade, Rockwall Heath HS, Rockwall, TX, ArtTeacher: Susan Aston painting that wonderful flavor of your REMEMBERING VICTOR MAYS watercolors always crosses my mind. I try to imagine how you would portray by Len Tantillo If the circumstances had been a bit that particular scene. How you would A few years ago Victor Mays's health different I think our common interests populate that environment with was rapidlyfailing. Anote went around could have been the basis for an credible characters, so important in the society that ifwe had something to outstanding friendship. Alas distance effectively engaging a viewer. I say to Vic we better get to it. I and timing and mylack ofassertiveness consciously or unconsciously measure composed the following letter and sent prevented all that from happening. My myhistorical workto yours. it to him about aweekbefore his death. loss…andone I sincerelyregret. Thank you for all those beautiful I never knew whether or not he had a I want you to know that your work paintings. I know that they will inspire chance to readit. and your dignified persona will never artists in the days and years to come as be far from my thoughts. Ever. theyhave inspiredme. Many years ago, at one of my first Your earthly presence and Dear Victor, ASMA annual meetings you gave a talk continuing contributions to American Before I ever knew that ASMA thattouchedon theuseofthecameraas maritime culture will be dearly missed existed I knew who you were. Your a modern day“artist’s sketchbook.” You but your spirit isn’t going to leave any work has been a constant source of showed us how you collected various time soon. inspiration to me. We share a deep and bits ofinformation that you could use With as much admiration as I have abiding interest in history. Your ability as reference materials for details in your to give, Len to convincingly portray historical paintings. Whenever I open my file subjects and imbue those images with drawers and search through the palpable atmosphere amazed me then thousands of pictures I’ve taken since VictorMays, (1927-2015), The and amazes me still. I cannot fully that long-ago presentation I always CoastalSchoonerLuluWEppes, water- express howmuchI have appreciatedall thinkofyou. color, 12x21 your work. When I’m working on a historical THE AMERICAN SOCIETYOF MARINEARTISTS

The American Society ofMarine F/ASMA, Michael Karas, F/ASMA, tactLisaEgeli ([email protected]). Artists’ 3rd National Marine Art William R Davis, F/ASMA, Patrick Please checkourwebsite formore Conference will be held in O’Brien, ASMA, Morgan Samuel information and for an announce- Jamestown and Williamsburg, Vir- Price, ASMA, MarkShasha, ASMA, ment when we open registration for ginia March 5-8, 2020, and you Nancy Tankersley, ASMA, and Len the Conference. won’twantto miss it! Tantillo, F/ASMA. Plan to arrive the evening of Our Keynote Speaker will be Wednesday, March 4 in time for a Sarah Cash, Associate Curator of welcome dinner before activities American and British Paintings at begin first thing on March 5. Ifyou the National Gallery ofArt, Wash- areapleinairpainter, planto joinus ington, and co-author, with Richard for a paint-out in historic Ormond, ofSargentandthe Sea. Jamestown Settlement. Wegreatlyappreciate the support A highlight of the Conference ofour sponsors, including Americ- will be the opening reception for an Art Review Magazine, Gamblin, ASMA’s 18th National Exhibition Golden Paints, Princeton Artist’s at Jamestown Settlement Museum. Colors, Rosemary & Company, This is the first offive museums the Royal Thalens, and Streamline exhibitionwillvisitover18 months. Publishing. Among our presenters at the 3rd If you know a company or or- NMAC are Del-Bourree Bach, ganization interested in being a ASMA, Christopher Blossom, sponsor ofthe NMAC, please con-

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