SKB Legacy News Sea of Cortez-David J

INSIDE LEGACY From the Director From the Editor FEATURED ARTICLE BLOSSOM~ART OF FLOWERS PREPARING THE FUTURE-SKB GRANT PROGRAM FEATURED ARTIST MARK A. KELSO Members in the News Bev Abbott, Andrew Denman, Wes and Rachelle Siegrist A Success Story-Nathanael Grey Birds in Art-Mort Solberg Sr. Book Review-Thomas Moran Pastel Notes-Things to Know When Working in Pastel-Part 2-Carol Santora Traveling and Painting BIG Art Plein Air-Stapleton Kearns SKB Legacy News Sea of Cortez-David J. Wagner Ph.D. ISSUE 17-SPRING-2011 Members in the News-Jeannie Breeding

FROM THE DIRECTOR-PAM DEAN CABLE

With spring comes a welcome sense of renewal. Time to dust off the outdoor paraphernalia and head outside to receive the abundant bounty Nature has provided. Enjoy the spring while your artistic muse goes wild with the possibilities.

In this issue we are proud to present, now on the national stage, the first two premieres of Blossom II ~ Art of Flowers. Buckeyes are now going for the florals! Read what the folks in Darke County, OH, an SKB training area, are up to.

Whenever SKB becomes a part of an artist’s inspiration and growth we all applaud, so enjoy this amazing journey of young artist, Nathanael Grey. You’ll enjoy a little expose’ on the life and times of our teen workshops instructor and all around great guy, Mark Kelso.

Expand your artistic horizon with Carol Santora who teaches us more about the art of using pastel, while we stretch – and I mean really stretch - what we know about plein air with Stapleton Kearns.

As though we haven’t been enjoying ourselves enough, we trekked off to the Sea of Cortez recently to paint its beautiful flora and fauna for a major exhibit and tour of resulting works. The buzz about this trip is still high-octane. Come along and enjoy the adventures. pdc

FROM THE EDITOR-NANCY FOUREMAN NEW E-mail: [email protected]

Amazing projects for SKB Foundation artists are available. Many who attend the fall workshop/seminar in Dubois WY are finding meaningful and successful venues

for their creative pursuits. Success seems to bred success; inspiration comes from

contacts that are experiencing real progress in the field of fine art. Often an idea will inspire another idea and give an artist a new look at what can be accomplished.

“They can’t buy it if they don’t see it.” Hummmm-advice from a relative. Are you finding the best place to exhibit your work? Explore new avenues to create and exhibit your work. Let us know about your accomplishments. 17"ht, 14" dia.

FEATURED ARTICLE

BLOSSOM~ART OF FLOWERS

Pam Dean Cable

The only thing that could possibly distract us from the beautiful environs of Naples, FL was the Feb 9, 2011 Grand Premiere and Awards Event for Blossom ~ Art of Flowers. The exhibit featuring 101 finalists of 2300 entries had been newly hung by the prestigious Naples Museum of Art and our panel of jurors had sharpened pencils in hand. The excitement was palatable, dare I say, even giddy with anticipation. After 1 ! years of development, the moment would soon be upon us. $65,000 in award

money would be announced in the museum’s performing arts theater that evening. More than half the

finalists were on hand to be part of the celebration, with one artist, Vesna Grundler and her interpreter, traveling all the way from Croatia.

BEST OF SHOW Delft Blue with Oleanders, 12x12 Oil

A hush fell over the assembly as head juror, Stephen Doherty, took the podium. As the awards were announced, a large screen behind him displayed the selected image. When the award winning artist was in attendance it was a special moment for recognition and much applause. We were hoping the Best of Show winner would be there, but alas, we had to rely on technology to bring her surprised reaction to the whole audience. Being very poetic in her response and obviously a bit overwhelmed, Berry Fritz of McAllen, TX was awarded $25,000 and a resounding round of applause and cheers from our Naples’ audience.

Capping off the evening, we all headed to Buco di Beppos for a grand Italian party in honor of the

artists. Here was a chance finally to enjoy one another’s company over a glass of wine, pasta and pizza.

CONTINUED- BLOSSOM~ART OF FLOWERS

Next stopWe forare artists...Blossom was the Arizona- Sonora Desert Museum, a world-renowned zoo, natural history museum, botanical garden, and art institute, located in Tucson. Our Blossom exhibitiona fine fit rightart photographer, in with the emphasis here on conservation and nature. The museum grounds feature 300 animal species and 1200 kinds of plants living in their natural desert settings. The birders ina weaver our group and werepainter. absolutely gleeful as they ticked off additional species on their bird watch list and cameras clicked in a steady cadence on a guided SKB tour. In the graceful elegance of a black and white photograph, in the colors and flow of artistic baskets and sculptures,Thank you we Susan share Fisher, with you Director our perceptions of the Art Instituteof the world for this around rare us.opportunity.

The Blossom premiere, May 7, 2011 was yet another very special event as artists, collectors and well-wishers gathered in honor of the talent displayed in the museum’s Baldwin Art Education Building . Live background music selections featured songs with floral titles, a further compliment to the occasion, along with festive culinary delights. Blossom will be available for the next two months to the public before continuing its journey around the country.

Blossom will be permanently displayed in our on-line virtual museum, both finalists and honorable mentions. Watch for our big premiere announcement of this event, coming soon! To see the award winning images go to: www.blossomartcompetition.com

BEST OF SHOW WINNER

$24,000 CASH AWARD

BERRY FRITZ

McAllen TX

th I am often inspired by the 17 Century Dutch still-life painters and frequently use dark shadowy backgrounds for my paintings. For this painting, however, I decided to lighten up. I was aiming for a balanced composition that served to showcase the Delftware ceramics and at the same time celebrate the flowers. All the objects in the painting have an inherent delicacy, especially the flowers, so I thought they would be best served by a subtly neutral color scheme.

PREPARING THE FUTURE ART-RAGEOUS EXPERIENCE-Ohio Children’s SKB Grant Program

The Susan K. Black Foundation is preparing our future artist in the discipline of floral painting. The foundation’s grant in Darke County enables young artists to further their knowledge of several mediums and subjects. Floral painting has become part of that instruction.

Children participate in this program during the school year and into the summer. Parents or a guardian attend the classes with the students, widening the program to family bonding where the adult becomes involved with the activities of the participating young artist.

These students may be our future participants in the growing popularity of Blossom~Art of Flowers.

Daisy Finished Painting

FEATURED YOUNG ARTIST-ABBIGAIL VAN HOOSE Patie ntly working on this acrylic painting, Abbigail finishes the details of the flower center with color. There is a rhythm to the pedals that attract the eye and bring the viewer into the image of this flower. An outstanding ability to execute the medium of acrylic while expressing her interest in the beauty and gracefulness of her subject.

Abbigail has been chosen for the Gifted Art Program: submitting five works of art for review, she was the only perfect score of all children kindergarten through 8th grade on judged criteria in the program.

Abby is a student at the …a visual arts program for children and ART-RAGEOUS EXPERIENCE parents : Darke County Ohio SKB grant program. The program offers an opportunity for children and their families to develop an art language and an artistic way to express themselves. Empowering and transforming young lives with an innovative and artistic learning environment.

Program Director: Debby Brayfield Executive Director: Shirley Hathaway FEATURED ARTIST

MARK A. KELSO Once in awhile someone comes along that makes you proud to be an Driftwoodartist. Pe Althoughrc hI no longer think of Mark as shy and quiet, he is often not visible in a crowd. Most often because he is too busy helping, American Kestrel painting, and lending a hand where needed. He is a supportive member 20 x 14.5 inches of the teen workshop with Wanda Mumm at the SKB workshops in Watercolor Dubois WY each fall.

We have watched his amazing agility; entertaining all with flips and twists during the auction at Headwaters Arts and Conference Center to MARK KELSO boost the bidding. Mark participates in the Quick Draw with speed and precision and reminds us what professional artists are all about. Enjoy the following story about Mark.

Throughout his early years, Mark studied intensively in dance, voice, theatre, the martial arts, and competitive baton twirling. He won over 700 awards for modeling, dance, and baton competitions, including more than thirty world championship titles. From this unusual background Mark chose the visual arts for his career. He majored in painting at John Herron School of Art in the United States and began doing social, philosophical, and environmentall y oriented work in his senior year. This nature/civilization content in his work was translated to wildlife and landscape subjects the following year. They remained his primary subject matter until 2006, where he began to revisit his early inspirations in the genre of Fantasy Art.

Mark has become recognized as an extremely flexible artist. He has many distinct styles of painting, which are all recognized and collected globally in addition to his pencil drawings. The scale of his works has run the gamut fro m 20 x 60 foot murals to 5 x 7 inch canvases. His subjects can include portraits, landscapes, still life and fantasy scenes. However, Mark’s primary interest lies in wildlife with diverse subjects from songbirds and deer, to Kinkajous and Komodo Dragons.

Mark’s art has been exhibited and sold through museums and galleries around the world. His paintings have sold with Christie’s auction house in London, and Bonham’s in Singapore. In the year 2000 he was selected as featured artist for the international “Beauty of Formosa” exhibition with the National Museum of Natural History in Taipei, Taiwan. And in 2002 his art appeared in a special exhibition at the National Geographic Society in Washington, DC. Mark is an inductee of the internationally acclaimed Society of Animal Artists, and has been seen in numerous magazines including Wildlife Art, US Art, Sporting Classics, Art of the West, and Informart.

“…There’s a message within my work that I’m trying to share with others. I truly believe that we are a part of nature-not separate from it, not above it, or beyond it-but one with it. It’s that belief, and the belief in humanities needs to re-connect with the rest of life, that inspires me to paint.” Mark A. Kelso

Some of Mark’s US Exhibitions Include: “Art of the Rainforests” Museum tour 2005-2007 San Diego Museum of Natural History Wildlife Art Exhibition Bennington Center for the Arts International “Art of the Animal Kingdom” Southeastern Wildlife Expo Waterfowl Festival Carmel International Art Festival (Best of Show) Amhakia Studio 7251 Fields Way:: Indianapolis, IN 46239 :: 317-862-0966 :: [email protected]

APPLAUSE- MEMBERS IN THE NEWS

CONGRATULATIONS BEV ABBOTT

Bev has been promoted to Signature Member status in the Society of Animal Artist. Comment from Bev: “Thank you, Pam and Lee, for the art instruction and support you have given me through the years.”

Watch the list of artists in the 51st Exhibition of the Society of Animal Artist; many of the SKB artists have

been accepted. Congratulations to all of them.

Assateague Island National Seashore is located close to Chincoteague Island, Virginia and Ocean City, Maryland and contains over 37 miles of pristine beach. More than 300 wild ponies wander the beaches, inland pine forest, and salt marshes. Assateague became a National Park in 1965 and together with the U.S. Fish & Wildlife Service Refuge and State Park; the land and water boundaries of Assateague Island total over 48,000 acres in Maryland and Virginia.

Andrew Denman and Guy Combs on Assateague Island Photo by Susan Fox

Wild Ponies

CONGRATUALTIONS !!! Rachelle and Wes Siegrist The 51st Anniversary of the SAA’s prestigious International exhibition of the top animal art in the world will premiere at the Dennos Museum Center, Traverse City Michigan-September 17, 2011 “Sally Lightfoot Crab”-Rachelle “Six-spotted Tiger Beetle”-Wes

Wes and Rachelle Siegrist at West Baton Rouge Museum

Wes and Rachelle at the Dunnegan Gallery of Art in Bolivar, MO

NATHANAEL GREY

A SUCCESS STORY

Hoosier Salon Director Nathanael Grey

Four years ago the Susan K. Black Foundation sponsored a young man just out of high school.

I had suggested him to Pam as being someone with a forward motion and a desire to be involved in the w orld of fine art. He was ready to enter college that fall. He did attend the workshop in Wyoming in September before starting school. He painted the entire week in Dubois and continued\ on to Utah to paint further landscapes and learn what he could from local galleries and museums. Many fellow workshop artists helped to encourage him during his experience in Dubois offering your success stories in the fine art world. He is a quiet young man but you can’t miss his 6 ft plus build that towers over most. His tall, thin stature has now changed to be confident and assured with grace and a soft spoken temperament. He has now graduated from Indiana Wesleyan University, Marion, IN. It is my pleasure to announce the appointment of Nathanael Grey to the position of Gallery Director at the Wabash Hoosier Salon Gallery, Wabash, Indiana. This is a satellite gallery for the prestigious Hoosier Salon in Indianapolis. An annual exhibition at the Indiana State Museum calls in the best artists in Indiana. A long history of supporting art in Indiana with three satellite galleries in the state: The Broad Ripple Gallery, Indianapolis, the Hoosier Salon Gallery, New Harmony and the Wabash Hoosier Salon Gallery, Wabash. Indiana has a distinctive history of plein air painters (T.C. Steele, John Bundy, William Merritt Chase, and Otis Adams). Many of the small towns have stories about their painters and the best places to paint that artists still value today. Indiana Plein Air Painters Association has grown from a small group of friends to an organization with over 300 members; reviving the tradition of plein air painters in Indiana and the states connecting, several events during the year keeps art alive in the state. The Hoosier Salon has been a moving force in this effort. It is an honor and a responsibility this young man has taken on; to keep the legacy of the state and carry the responsibility of such a prestigious organization. They have honored him in so doing. He will grow as an artist and a person in this capacity. I am also proud that the Susan K. Black Foundation has been a part of his journey.

Nathanael Grey-Gallery Director Wabash Art Gallery Hoosier Salon: www.hoosiersalon.org 111 West Market Street Indiana Plein Air Painters Association Wabash IN 46992 wwwinpainters.org 1-260-563-0454

MORT SOLBERG SR ACCEPTED in “BIRDS IN ART”

Since 1976, the Leigh Yawkey Woodson Art Museum has organized Birds in Art annually, seeking to present the very best contemporary

artistic interpretations of birds and related subject

matter. Approximately 100 works are selected by a jury. CONGRATULATIONS, MORT !!!

Peregrine Study 6 X 0 Watercolor

CONTINUE LEARNING ABOUT THE AREA OF OUR SKB WORKSHOP

Thomas Moran; by Nancy K. Anderson. This 1997 book seems to be the best Moran book. I am enamored with Moran lately, an artist to whom I had previously

paid little attention thinking his work too colored for

my Presbyterian taste. I had always liked and clipped from magazines reproductions of his Long Island paintings but never really was sold on his theatrical western art for which he is fart better known. Thomas Moran I still like the East coast paintings better but I am certainly going to use some Moran ideas in the Texas THOMAS MORNA paintings I am assembling for Kornye galleries in Fort By Nancy K. Anderson Worth.

Thomas Moran, The Field Sketches-Crammed with reproductions of his location studies for the paintings. It is very useful to see the drawings from which the artist made the paintings; a great landscape draftsman, a little reminiscent of

Constable. Seeing the drawings explains much about how the paintings were made.

Thomas Moran: The Field Sketches 1856-1923 (Gilcrease-Oklahoma Series on Western Art and Artists, Vol 4 Thomas Moran By Anne Morand

PASTEL NOTES

CAROL SANTORA, PSA

THINGS TO KNOW WHEN WORKING IN PASTEL

PART 2

Last issue I focused on Spray Fixatives, Safety and Ventilation. This issue I’d like to talk about 2 valuable things I use when painting: the scrubbing out technique and my grey scale value finder.

Scrubbing Out/Scumbling/Correcting

Aside from blending, layering and mark-making with my pastels (see Legacy News Summer 2010); a key technique I use is ‘scrubbing out’. This can be a correcting tool and a process tool.

When I layer colors in an area I often want my red-orange underpainting to show in places, as well as each color in the layers I add. As I mentioned before, I don’t want to use fixative. I apply the selected

pastel color and then scrub some of it off with the brush. Then I ‘scumble’ more pastel over that area.

Oil painters are very familiar with using this technique. Thinning the layers makes a cleaner layer on top. There are so many ways to use pastel. It’s so much fun!

Pastels are very forgiving and can be easily erased with a rag, a kneaded eraser or a paper towel. A can of air can also be used to remove pastel from a specific part of your painting. Just be very careful. I’ve

removed a larger than desired part of my work. Test the can of air on something else first.

Sometimes I want to correct an edge, so I use an old hog bristle brush – ! inch flat or number 4 or 6 flat works well – to lightly scrub off some pastel. Old ones with the bristles clumped together work well, so don’t throw those used oil and acrylic brushes away!

If you want to change a color layer, rather than adding more pastel on top of it, use the scrubbing technique to remove what is wrong. Trying to add the correct color on top can create a muddy mess and will unnecessarily fill the tooth of the paper.

To avoid filling the tooth too fast, (this can happen if you begin your painting with the softer pastels) start with harder pastels like NuPastel, Faber-Castell Polychromos, or Jack Richeson semi-hard square pastels.

We’ve talked about the technique of blending in the Summer 2010 issue of Legacy News. Pastels have

the capacity for great texture, so blend lightly, and in the beginning lay down only enough pastel to make

it blendable. I avoid blending in the final layers unless I need to adjust a background area.

Carol Santora, PSA, is an expressionist animal painter, capturing the spirit of animals in soft pastel. CONTINUED-PASTEL NOTES -CAROL SANTORA

Overblending will create mud. One way to adjust an area in your painting that seems to be coming forward when it should stay back is to gently ‘scumble’ a harder cool grey pastel (using it on its side) in the value you need over the area in question. At this point in your painting, the layer you will be working on is a softer one. Begin with a light touch. Then step back.

Sorting Pastels with Grey Scale Value Finder

I have gotten in the habit of sorting my pastels into values. It’s very helpful to me when I’m painting. As I mentioned in the Fall 2009 Legacy News, after I purchase new pastels, they are unwrapped and broken in half. I dab a bit on paper and record the brand and color number for future reference.

I sort them by the 10-value grey scale using a ‘Grey Scale Value Finder’. This is a must-have tool or determining color value in

all media. It is made of card stock, in

the size of a postcard, with holes or cut-out shapes in the center of the grey values to allow easy viewing and accurate readings.

You can purchase them at your local art supply store or online at Jerry’s Artarama, Dick Blick, and through other art supply websites. They cost around $3.00.

I have 5 containers with 2 values in each. They are half filled with rice. (The rice helps keep them clean and prevents breakage when traveling.) Numbers 1 and 2 are the darkest with 9 and 10 being the lightest values. (Pictured are containers 7+8 and 5+6). Some artists go one step further and organize their pastel palettes into colors and values.

To use the scale, place the pastel stick behind the opening in the value box, tip the card

slightly and squint your eyes. Move the pastel up or down until the color almost disappears. That’s the value!

CONTINUED-PASTEL NOTE-CAROL SANTORA

Some Advice

Don’t be afraid to leave some of the paper surface or your under painting visible in the finished pastel.

In the finishing layers of your pastel painting especially, spend time evaluating your pastel strokes. John Singer Sargent never put down a stroke of oil paint without contemplating it first. We want to emulate that in pastel, to keep it fresh!

Work standing up and walk away from your easel often. See it from a distance. I guarantee it will look different. My motivation for walking back from my easel is a jar of Jelly Belly ‘gourmet’ jelly beans. I put out my daily ration and savor them as I stand there and look at my work in progress.

If you don’t know where to go next (perhaps the painting is finished), or if you are getting frustrated with an area you are working on in your painting, take a break and leave your studio. Face the painting toward the wall or put it in another room before you leave. When you return, work on another painting. I have several paintings in progress at any one time in my studio.

Study and copy the work of the great pastel masters. There are many different ways to approach a pastel painting. Have fun with it! Junkers happen; they have to for us to learn. Use them as practice sheets or test papers.

If you have questions about pastel painting, please feel free to email me at: [email protected]. Perhaps

I will include some of them in future issues of Legacy News!

Next time we’ll examine ‘Framing and Care of Pastels.’ Happy Painting, Carol!

Carol Santora, PSA, is an expressionist animal painter, capturing the spirit of animals in soft pastel. To see her work, please visit her website: www.carolsantora.com. CAROL SANTORA, PSA

'Until one has loved an animal, a part of one's soul remains unawakened.'……………..Anatole France

TRAVELING AND PAINTING BIG ART

STAPLETON KEARNS

Painting some 24 x 36’s and 24 by 30’s. Here is how I do that……………………………

I carry only one set of each size stretcher. These are the oversized, "professional" stretchers that are about the size of a mans wrist. I like those for bigger paintings as they don't "bow-tie", that is, contort inwards at the middle. The lightweight stretchers are less than ideal for anything larger than an 18 by 24. I carry a box with several sets of large stretchers knocked down, a roll of canvas in its fiberboard tube, a stapler and canvas pliers.

In the morning before I set out to make a large painting I assemble and square a set of the stretchers and mount the canvas on them. After I have finished the painting outside I leave it in the sun to dry. This works particularly well in the desert of course. But I also paint with an alkyd medium, usually Liquin, so I get quick drying times anyway. By about the second day the painting is dry to the touch. I then pull the staples out from its perimeter, and take the canvas off of the stretchers again.

Often I carry a second tube, from a mailboxes store, but on this trip I have only the tube with my canvas in it. I lay the painting out on the ground, or the top of a large bear proof steel storage box and gently roll it, painting side inwards, back on the roll from which it originally sprang. Now I have my stretchers back for use on another large painting.

I have done this many times and have never had any problems resulting from rolling the paintings. It may help that they are still newly painted and very flexible, I don't know. When I get home I will put all of them back on stretchers of the correct size and then finish them in my studio.

This system allows me to carry only two sets of large stretchers and paint as many big paintings on a trip as I like, without having a car full of enormous paintings to protect all the way home from the abuse of travel. Sometimes I have stopped at a UPS store and bought a tube from them, which they sell in many sizes, and mailed the rolled paintings back to myself at home. Works great.

I don't paint small pictures; a 16 by 20 is about as small as I like to work so this enables me to avoid having to do the pochade box miniatures that many traveling artists make. I need full sized paintings for the galleries and I don't want to make them in the studio from sketches and photos, I want to actually paint them on location. I get better results that way, and show the original art rather than studio made versions art in my exhibitions.

Snowcap Announcing my next workshop, SnowCamp At the Sunset Hill House New Hampshire

www.sunsethillhouse.com

CONTINUED-Stapleton Kearns

The Wilderness En plein air-not finished

Here is the painting that I showed you the night that was all in violet. I have colored the image up and chased

down more of the drawing. Tomorrow I will take it off the stretchers and roll it up. I only brought one set of 24 by 36 inch stretchers, and I will put a new canvas on them.

I don't try to finish things entirely on a trip like this. I need to produce as many "starts" as I can. Now I have plenty of information on the canvas. The painting needs more art, not more information; that I can hopefully provide in the studio. I have photos to remember the place by, but in practice I hardly use them as I change things so much, and they provide information, but not art. A piece like this may see a weeks worth of work in the studio before it is

+ finished.

My art sells because of the things I do in the studio. My paintings are tighter than the average plein air painter's.

But most of my efforts there go to getting finish, not adding detail. I try to keep the brushwork fluid and not

tighten down on the piece with small brushes. I develop patterns and enhance the design. I fool incessantly with edges to get the painting to flow the way I want. I link my darks, simplify overly complex passages and tweak color notes hereW. and there. I "police" my shapes carefully trying to make them unique and avoid repetition. When first I bring a painting into the studio, often the work is only half done. Sometimes I can finish a painting in the studio in only an hour or two, but usually I have to pull my hair out over them.

Contributing Material [email protected] www.stapletonkearnsgallery.com

WEATHER REPORT -DUBOIS WY ARTISTS’ FIELD TRIP TO SAN CARLOS,

SONORA, MEXICO

AND THE

SEA OF CORTEZ

Group Photo: Molly Moore Pictured are: Linda Bittner, carol Pieter Brest van Kempen, DeVere Burt, Andrew Denman, Kim Diment, Kim Duffek, Cathy Ferrell, Susan Fisher, Susan Fox, Mary Gerrish, Ann Geise, Shawn Gould, Mary Helsaple, Heiner Hertling, John Kobald, Deian Moore, John Pitcher, Don Rambadt, Paul Rhymer, Rebecca Richman, Carolyn Thome, Christine Sarazin, Rachelle Siegrist, Wes Siegrist, Martha Thompson, Glenn Thompson, Sue Westin, Rommie Williford, Debbe Wilson, Nicholas Wilson.

Leading the field trip: Richard C. Brusca, Ph.D.

Produced by: David J. Wagner, Ph.D. Curator/Tour Director (414) 221-6878; [email protected] FACEBOOK: David J. Wagner, Ph.D.

David Wagner PH.D.

CONTINUED-Sea of Cortez

Photo: Susan Fox

What a trip it was! The whole package…great scenery, interesting animals, terrific traveling companions who are also great artists and, in 2013, the exhibition at the Arizona-Sonora Desert Museum to top it of.

Group shot - photo by Molly Moore

Field Trip to San Carlos, Sonora, Mexico

Linda Bittner, Carel Pieter Brest van Kempen, DeVere Burt, Andrew Denman, Kim Diment, Kim Duffek, Cathy Ferrell, Susan Fisher, Susan Fox, Mary Garrish, Ann Geise, Shawn Gould, Mary Helsaple, Heiner Hertling, John Kobald, Deian Moore, John Pitcher, Don Rambadt, Paul Rhymer, Rebecca Richman, Carolyn Thome, Christine Sarazin, Rachelle Siegrist, Wes Siegrist, Martha Thompson, Glenn Thompson, Sue Westin, Ronnie Williford, Debbe Wilson, and Nicholas

Wilson.

SOUTHWEST ART MAGAZINE ARTICLE

Jeannie Breeding “I am thrilled to have one of my paintings chosen for the article about the Plein Air Artists Colorado Show” www.jeanniebreeding.com

PLEIN AIR ARTISTS COLORADO 2011 SHOW