The American Society Ofmarine Artists 18Th National Exhibition Will Debut at the Jamestown Settlement Museum in Jamestown, Virginia

THE AMERICAN SOCIETYOF MARINEARTISTS News& Journal VolumeXLII Winter2020

AMONG THE SPARTINA Painting the Majesty ofSalt Marshes

AT WATER'S EDGE Understanding Dunes and Sand

NOTES FROM BRUSH HILL Charles Raskob Robinson Dives Deep with Roger Dale Brown

1 Stanley Meltzoff(1917-2006), Blue Marlin 21 (detail), oil

Upcoming Anchor to Windward Campaign The Anchor to Windward campaign will only run until January 30th. Your contribution builds the financial strength we need to insure the long-term effectiveness ofthe Society. While dues cover some ofthe expenses ofrunning ASMA, the Anchor to Windward Fund insures us for the long haul. Please give generously.

March 5 – 8 The 3rd National Marine Art Conference will be held in Jamestown and Williamsburg, Virginia. Plan to arrive Wednesday, March 4th in time for a welcome dinner before an early start on the 5th. Ifyou are a plein air painter, plan for a paint-out in the Historic Jamestown Settlement. Del-Bourree Bach, Christopher Blossom, Michael Karas, William R. Davis, Patrick O’Brien, Morgan Samuel Price, Mark Shasha, Nancy Tankersley and Len Tantillo will be among the presenters. Sarah Cash, Associate Curator ofAmerican and British Paintings at the National Gallery ofArt will be the keynote speaker.

March 6, 2020 The American Society ofMarine Artists 18th National Exhibition will debut at the Jamestown Settlement Museum in Jamestown, Virginia. The show will remain in Jamestown until April 26th. It will then take up residence at the Chesapeake Bay Maritime Museum in St. Michael’s, Maryland from May 15th to September 7th, 2020. The exhibition will go on to visit GulfQuest Maritime Museum in Mobile, Alabama, the Burroughs-Chapin Museum ofArt in Myrtle Beach, South Carolina and the Minnesota Marine Art Museum in Winona, Minnesota.

2 THE AMERICAN SOCIETYOF MARINEARTISTS News&Journal VolumeXLII Winter 2020 Published Quarterlyby

THE AMERICAN SOCIETY OF MARINE ARTISTS 501(c)3 Organization VÉÇàxÇàá

Nicolas Fox, Editor Len Tantillo, Design & Layout AMONG THE SPARTINA 5 Conjuring the beauty ofAmerica's wetlands on Lisa Egeli, President canvas by Michael B. Karas Ann Mohnkern, Vice-President Mike Killelea, Secretary Stu Egeli, Treasurer AT WATER'S EDGE 12 To build the perfect beach scene, just open BOARD OF DIRECTORS your eyes by Mary Erickson PriscillaCoote Sheri Farabaugh Nicolas Fox Anne Brodie Hill NOTES FROM BRUSH HILL 18 Russ Kramer A profile ofFellow Roger Dale Brown by Carol McClees Charles Raskob Robinson Len Mizerek Sergio Roffo Kim Shaklee Len Tantillo CHARLES RASKOB ROBINSON ADIEU 28 Website:americansocietyofmarinea rtists.com Email: [email protected] COLLECTORS TOM &DIANA HAYES 28 Phone: 239-290-0965 MailingAddress: ASMA WEST REGIONAL ASMA CIMM ARTISTS 29 PO Box 2903 Gainesville, GA30503 3RD NATIONAL MARINE ARTS CONFERENCE 29 NEWSLETTERDEADLINES Dec.1,Mar.1,Jun.1,Sept.1 EVENTS OF INTEREST 30 Disclaimer: The opinions, beliefs andviewpoints expressedbythe NEW MEMBERS 33 various authors andparticipants in this publication do notnecessarily REGIONAL REPS 35 reflectthe opinions, beliefsand viewpoints ofthe Editor or official policies ofthe American Societyof Marine Artists.

AllmaterialintheASMANews & Journal is copyrightedandmaynot bereproducedinwholeorinpart ON THE COVER Roger Dale Brown, "Journey's End" withoutpriorwritten consentof See page 20 the American SocietyofMarine Artists© 2019 3 FELLOWS OF THE SOCIETY ManagingFellow C.W. Mundy

David Bareford Chris Blossom Roger Dale Brown FROM THE PRESIDENT William Davis Don Demers Lisa Egeli, Churchton, Maryland William Duffy Lisa Egeli Sheri Farabaugh Bill Farnsworth Neal Hughes DearMembers, Michael B. Karas Russ Kramer Loretta Krupinski As a new year begins, we have selected workfor the 18th National Exhibition, Richard Loud it’s time to register for the 3rd National Marine Art Conference, and we’ve seen Leonard Mizerek some changes with both our website and our quarterly News & Journal. One of Paul Mullally these changes is that this issue has the last ofthe Notes from Brush Hill series by C.W. Mundy Charles Raskob Robinson, F/ASMA. Charles Raskob Robinson Sergio Roffo Those of you lucky enough to have answered the probing questions of an Kim Shaklee interview with Charlie Robinson for his Notes from Brush Hill understand that Len Tantillo not onlydoes he tell the stories ofwho we are as artists to readers ofthe News & Kent Ullberg Journal and other publications (including Fine Art Connoisseur), but these ASMA Fellow Emeriti Notes preserve our stories for posterity. There isn’t enough space here to properly John Barber thank Charlie, but I encourage you to enjoy his profile ofRoger Dale Brown in June Carey this issue, and also take the time to read through the incredible catalog ofstories Peter Egeli he has createdforus. Norma Jay Raymond Massey The 18th National Exhibition has been selected and will be a strong and William G. Muller inspiring display ofthe best in contemporary marine art. Ifyour work was not Mark Myers selected, I hope you won’t be discouraged but will persist and try again for the William Ryan John Stobart next opportunity. To those accepted, congratulations on being included in our signature exhibition. ASMA Honorary Members MaryBurrichter The 3rd National Marine Conference is goingto be great and you will want to J. Russell Jinishian be there. The schedule is full ofpresentations from artists we admire, scholars and Robert Kierlin experts to guide and inspire us, and manyopportunities for fun and comaraderie. Jean Marshall This is also the grand opening of the 18th National Exhibition at Jamestown Peter Maytham SettlementMuseum, so make yourplans now. Graham Stiles The American SocietyofMarine Thank you for your support, and I will see you in Williamsburg and Artists is anon-profitorganization Jamestown! whosepurposeis to recognizeand promote marine artandmaritime Sincerely, history. Weseekto encourage cooperation amongartists, Lisa Egeli historians, marine enthusiasts and President others engaged in activities relating to marine artandmaritime history. Sinceits foundingin1978, the Societyhas broughttogethersome ofAmerica’s most talented contemporaryartists in the marine art field.

4 AMONGTHE SPARTINA g{Éâz{àáÉÇct|Çà|Çzà{xg|wtÄftÄà`tÜá{xá

BELOW: Michael B. Karas F/ASMA, conditions and tides. In winter, massive when first visiting the Lowcountry of Evening Gleam, oil oncanvas, 30 x40 blocks ofice would become heaved up on South Carolina, I was astounded with the the marsh banks as a result ofthe 8 foot vastness of the salt marshes and its by Michael B. Karas, F/ASMA plus tidal range. In some winters, this countless creeks. I saw marshes that produced a rather bizarre but compelling stretchedallthewayto thehorizon. Itwas Foras longas can I remember, I've had subject to paint. It looked reminiscent of like my marshes of New England on a love ofthe sea and shoreline as well as a what I envisioned Antartica to be like. steroids! I eventually purchased a fascination with the tidal salt marsh. Through the 1980’s, I painted a number home/studio in an 800 acre sea island Growing up on Boston's North Shore, ofthese frozen marsh scenes on location, community, right smack in the middle of there were numerous salt marshes and but regrettably have few photographic these marshes. Subject matter abounds in tidal creeks to explore and paint. The records of those pieces. One example is every direction. I am enthralled by the estuaries and marshes of Gloucester, on page eleven. My past painting constantly changing views. From a single Essex, Ipswich and Newburyport were experiences have been the foundation of location, I could paint a number of the source ofmy inspiration in my early my love ofpainting these subjects which completely different paintings. The tidal days as a young artist. I painted the are deep seatedwithin me. stages, time ofday, color ofthe seasonal marshes in all seasons, weather Jumping ahead about 15 years or so, marsh changes, high horizon, low

5 DearMembers,

As a new year begins, we have selected workfor the 18th National Exhibition, it’s time to register for the 3rd National Marine Art Conference, and we’ve seen some changes with both our website and our quarterly News & Journal. One of these changes is that this issue has the last ofthe Notes from Brush Hill series by Charles Raskob Robinson, F/ASMA.

Those of you lucky enough to have answered the probing questions of an interview with Charlie Robinson for his Notes from Brush Hill understand that not onlydoes he tell the stories ofwho we are as artists to readers ofthe News & Journal and other publications (including Fine Art Connoisseur), but these Notes preserve our stories for posterity. There isn’t enough space here to properly thank Charlie, but I encourage you to enjoy his profile ofRoger Dale Brown in this issue, and also take the time to read through the incredible catalog ofstories he has createdforus.

The 18th National Exhibition has been selected and will be a strong and inspiring display ofthe best in contemporary marine art. Ifyour work was not selected, I hope you won’t be discouraged but will persist and try again for the next opportunity. To those accepted, congratulations on being included in our signature exhibition.

The 3rd National Marine Conference is goingto be great and you will want to be there. The schedule is full ofpresentations from artists we admire, scholars and experts to guide and inspire us, and manyopportunities for fun and comaraderie. This is also the grand opening of the 18th National Exhibition at Jamestown SettlementMuseum, so make yourplans now.

Thank you for your support, and I will see you in Williamsburg and Jamestown!

Sincerely,

Lisa Egeli President

horizon, sky and weather conditions present infinite possibilities of compositions. Since there is not always much of a natural elevation to viewthe marsh, I find it is often useful to locate ahighervantage point such as a dock, a high bank, raised roadside or bridge, or from the bed ofa pickup ortailgate. Some artists have even taken reference photos from the height of a stepladder. The sky is a very important element in a marsh painting and should compositionally support everything else that is occurring in the picture. I think about what direction the light is coming from and determine what the center of interest or focal point will be. I’m always looking for any interesting shapes or patterns. These could be exposed patches of water or the serpentine shapes of creeks. Often times, I’ll overemphasize the variations in height or color changes

6 ofthe grasses. Sky reflections as well can tieinoranchortheskytothemarsh. Alot of thought goes into my work and I haven’t even begun to paint yet! In my mind, I often visualize myfuture painting ideas weeks or even months before executing. I enjoypaintingpure nature. I strive to make a painting interesting enough to hold the viewer’s attention and tell astory by itself without having to add a bird, boat, house or figure. That is, unless the painting is about the bird, boat, house or figure. I paint on panels ofall sizes which I construct using oil primed linen glued to furniture grade birch plywood. This is my surface both in the studio and out and

All paintings by Michael B. Karas produces not only a durable and nearly clouds with more or less silhouetted indestructible surface, but also has a thin marsh shapes. Apartial peekofthe sun or Passing Storm, oil, 11 x 14 ABOVE LEFT: profile that significantly simplifies even the entire ball ofthe sun creates an BELOW LEFT: Low Country Splendor, framingoptions. effective center ofinterest. But there is a oil, 30 x 40 Lately, but certainly not exclusively, I danger to watch out for in this. I work

ABOVE RIGHT: Low Country Allure, oil, have been painting scenes looking into hard to depict the sun in a reserved way 24 x 36 the sun. This creates endless and hopefully make it tasteful and not opportunities to paint dramatic backlit too garish. BELOW: Sunset Creek, oil, 8 x 14

7 8 The first thing I do is place a small compositions. Proper perspective is painting on location or in the studio, the mark with a pencil in the center ofmy particularly essential in painting marshes colors on my palette remain the same. canvas. This helps me avoid placing any and the clouded sky. The use of clouds From leftto right, and always in the same part of my composition in the dead reflected in still water is a useful way to order, I squirt out generous amounts of center and assures my horizon line falls create an interesting story or center White du jour, (Permalba,Titanium, Fast above or below this mark. I then commit interest. I find my most successful marsh drying etc…) Cadmium yellow Light, to the placement ofthe horizon and draw paintings are ones that show a lot of Cadmium Yellow, Raw Sienna, Burnt alevellineinthinpaintorapencilusinga distance. I will often understate distant Sienna, Permanent Rose, Viridian, small T square. I am bothered by land masses, islands or trees makingthem Cobalt Blue and Ultramarine. I will paintings I see with crooked horizons and appear further away than they actually sometimes as needed put out Cadmium I am compulsive about making my may be in reality to help create the Scarlet and Ivory Black. My brushes are horizons level! illusion ofdistance. the usual selection ofbristle flats. I used Most times I'll roughly draw out a As a general rule, grass masses in the to use filberts, but found that flats soon composition in pencil, charcoal or thin foreground are richer and warmer in wear down to a filbert shape anyway from paint. Then, thinly scrub in the various color and get lighter and cooler as they my habit ofscrubbing in with the side of masses covering the entire canvas as recede into the distance. Keep in mind, the brush. Lately I’ve added one or two quickly as possible. Once the canvas is with the exception ofunder certain light egberts to my selection and have found covered and a basic composition is conditions, even the lightest distant them useful to lay paint over wet paint roughly established, I begin reinforcing grasses still have to be darker than the sky darks or dark edges more carefully paying or at least the lower portions ofthe sky. careful attention to my drawing and Ofcourse, there can always be exceptions All paintings by Michael B. Karas perspective. I avoid the so often seen to the rules. In fact, taking a risk and blunder of equal sized grass masses on breaking some rules can sometimes lead LEFT: Low Country Essence, oil, 30 x 24 either side of a canvas with a patch of to asuccessful painting! ABOVE: Low Country Enchantment, oil, water right up the middle. I’m always People are always asking me what 40 x 60 striving to be more creative with my colors are on mypalette. No matter ifI’m

9 or two darker, dark colors reflect a value or 2 lighter. I'll often exaggerate the strength or richness of a color and moderate it later ifnecessary. It is much easier to dull a color down than it is to make a dull color bright. Also, I find it is best to paint on the warmish side in the beginning and then loosely apply cooler colors on top to moderate. It is easier to make a too warm painting cooler, but very difficult to make a cool painting warm. An all bright green painting ofthe summer marsh as it appears in nature can be difficult to live with. I look for “excuses” to temper the green such as inventing other colors within the grass masses Paint strokes should follow the contourofthe ground. One ofmybiggest and also helpful in making grassylooking adesirable, looselymixed or broken color challenges when painting marsh grasses edges. will result. I believe there is an inherent in particular, is decidingatwhatpointthe I liketo paintalloverwithrough, fairly quality ofrichness and purity in thicker distant and middle ground horizontal heavy paint strokes. I try not to paint that I find most desirable. When paint strokes must in part transition to manipulate my stroke too much, one or tryingto determine acolor, I'll askmyself more of a vertical stroke to simulate two touches at most. If more color these questions. Is it light or dark? Warm foreground grasses. I mass grasses correction is needed, I apply another or cool? Bright or dull? In water areas, together and avoid painting every blade paint loaded brush stroke on top. Ideally, reflected light colors are generally a value ofgrass. The goal is to create the illusion

10 of detailed grass without actually painting it while trying not to create too much distracting detail. The viewers eye should pass beyond the foreground and into the center of interest. I try to introduce some sky color into the marsh, especially in the distance to connect the distance to the sky. Everything is influenced by the sky and must have a feeling of atmosphere. All of these thoughts considered, the completed paintingshouldbe aharmonious whole.

All paintings by Michael B. Karas

LEFT: Magic Hour, oil, 24 x 36

BELOW LEFT: Colleton River Sunset, oil, 40 x 60

RIGHT: Frozen Marsh, oil, 8 x 10

BELOW: Thunderhead, oil, 11 x 14

11 AT WATER'S EDGE `tÜçXÜ|v~áÉÇw|ávâááxáà{xy|ÇxzÜt|ÇxwtÜàÉyuxtv{Ñt|Çà|Çzá

RIGHT: Mary Erickson at Water's Edge Beach paintings can be obvious. You birds anddolphins. know-seaoats, beachpath, umbrellas. I Every year I return and am always FAR RIGHT: Mary Erickson, Into the Dunes, oil, 36 x 36 live on the West Coast ofFlorida from amazed that I can be inspired to paint January through March and paint the there for another season, and not repeat FAR RIGHT BELOW: William Trost Richards (1833-1905) , The Rainbow, oil same beach, Caspersen, almost every myself. Artist Tim Theis told me once morning. My challenge is to portray that you fall in love alittle bit with each BELOW: Mary Erickson, Summer Song, oil, 24 x 30 more than the trite, typical touristy beach picture. by Mary Erickson Caspersen BeachinVenice is a4 mile stretch of sand, rocks, and palm trees When asked “What locations inspire along the turquoise waters ofthe Gulf you?” my answer is, “Any where the ofMexico. Leftin its natural state, there land touches the sea.” I paint alongthe are no condos, hotels, or evidence of coast in New England in the summer, human existence. You can walk for andthenheadSouthinthewinter. miles and not see a soul, but for the

12 portraityou paint. I believe I fall in love with Caspersen everytime I return. The first time I stood barefoot in the sand painting, and watched the sunrise turn the waves pink, the beauty stunned me andputtearsinmyeyes. I washooked. The beach holds a mystery ofcolor and light, and each dayis made up ofa different palette, a different mood. The challenge is to not paint a “pretty picture” ofthe coast that I love, but to capture the many moods of the shoreline. I am not painting the beach, but visually recording the experience of beingthere. When painting the shoreline, more essential than afocal point, is the mood of the beach. Light effects create an atmosphere, so much more important than the beach itself, it is more the feeling of having experienced that phenom thathappenedthatday. Each day is different at the beach. The sun. The clouds. the humidity. Moonrise, moonset, sunrise, sunset, shadowpatterns, shadowcolors, backlit grasses, textures, waves, flora, rocks, atmospheric effects like fog, storms, windandglare all come in to playwhen depictingthe moodofthe coast. This painting by William Trost Richards depicts a weather event along the shore. Not your typical beach painting. Sand, like water, presents itself as a random pattern. How do you keep it from lookinglike apattern? This lighting effect was in progress when I arrived at the beach, too late for me to paint it. The next morning I arrived in the dark, before sunrise. I set up myeasel, andwhen the skywas light enough for me to lay in the dark areas a footprint in the sand, you will clearly and shapes of the dunes, I planned planes reflect the light (often warm), see this colortriadportrayed. ahead for what I knew was going to the sky opposite the light (often cool), Many artists struggle with happen. As the sun lifted above the and the reflected light of nearby perspective when dealing with natural horizon, the light cascaded across the surfaces, and even clouds. Each subjects. What do you do to make sure sand pathway, and I was able to paint footprint in the sand casts back those your focal point is obviously in the the colors I saw. The effect lasted only reflections. So a path in the sand is foreground and the sand, grasses, water minutes, and in no time, the beach was usually made up of two colors in the & sky in the background stay in the flooded with light. samevalue, andashadowcolor-awarm background? Sand is a series ofplanes and angles, version, a cool version and a shadow There is so much moisture in the air and it is a very reflective surface. The version ofthe same color. Ifyou lookat 13 along the coast, that distance is ABOVE: Mary Erickson, Light Steps, oil, 8 x portrayedeasilybynotingthe change in 16 color ofobjects as theyrecede. Note the ABOVE RIGHT: Don Demers, The Oncoming color change ofthe water as it stretches Sea, Oil to the horizon. By using atmospheric MIDDLE RIGHT: Daniel Ambrose, Morning perspective, you can create the illusion Whispers, oil, 30 x 40 of distance. Edges are softest in the BELOW RIGHT: Joe McGurl, Evening Stillness, distance, colors are lighter and greyed 9 x 12 down, contrast between light and dark

BELOW: Edward Potthast (1857-1927), Beach is decreased significantly. Scene, oil Everything has perspective, even

LEFT: Mary Erickson, perspective diagram water has perspective. The waves have a herringbone pattern, with the pattern flattening towards the horizon. This diagram from my sketchbook is a simplified version ofthis pattern. William Trost Richards is one ofmy favorite artists, because of the way he portrays the sea. He was ridiculed during his career, becuse he painted what he saw during a time when you were supposed to be painting only “what you feel,” and disregard reality. If you do not “feel” something when you see a Richards painting ofthe sea, you just might be dead. His portraits ofthe ocean capture the power and grace of the elements, in beautiful form. Today, as contemporary realists, we have the opportunityto use ourskills to show the beauty ofour passions. Look

14 at a Don Demers painting ofsurfand I dare you to say you cannot feel the impact ofit, the power ofthe surge of the sea. The quiet peacefulness ofa walk on the beach can be portrayed with a soft palette, and cool tones, as in works by Daniel Ambrose. A nocturne by the sea contains mystery and depth, like this painting by contemporary American Tonalist Joseph McGurl, shown at the Inaugural exhibition of the American Tonalist SocietyattheSalmagundiClub inNYC 2019. Joe has perfected his depiction of glare and reflections on the water, and creates mood and atmosphere consistently. There is always activity along the shore. Edward Potthast, Joaquín Sorolla and contemporary painter Lucille Raad all use the the beach as the settingfor their figurative paintings. As a lover of birds, there is always interest and excitement for me along the shore. Herons, egrets, osprey, skimmers, sandpipers and gulls are ever-present. Sketching on the beach is just as enjoyable as painting the scenery for me. These sketches done on location, along with plein air and color studies, will be used for larger paintings executedin the studio. Designing a painting on the beach is similar to designing anywhere, as long as you have chosen your “why” ofthe painting - the single most important thingyou wantto saywith yourcreative efforts. Read Birge Harrison’s chapter on composition in his book Landscape Painting, and use Edgar Payne’s compositions in his book Composition ofOutdoor Painting. Agood exercise is to bring the book out in the field with you, and find elements on the beach that you can arrange to fit one ofPayne’s compositions. Most importantly, to create mood andthedepictionoflightis critical. The beach is full of reflective surfaces, and light bounces all over the place. In fact, to prevent your pupils from dilating 15 while you are painting, lay a grey or Two books I recommendforpainting black blanket under your easel to on the beach are Light, How to See It, prevent the light from bouncing up How to Paint It by Lucy Willis, and underneath you. Another tip while Painting the Effects of Weather by painting in the bright sunlight is to Patricia Seligman. wrap the ferrels of your brushes with Ifyou love the water like I do, the black tape, to prevent the sunlight beach has an unlimited number of reflecting offofa silver ferrel, into your inspirations. No matter how many eyes. That is a recipe for a migraine, times I venture there, there is always a especially painting in the Florida sun! painting to be painted, a storyto tell. It The voice ofexperience… is just a matter of absorbing your

16 surroundings and looking to the horizon, at your feet, and any where in between, to findwhatyoucansayabout where youare. Youdo nothave to travel far to find inspiration, whether you are in a bustling city, a rural communityor along the coast. There is beauty everywhere. But ifgiven the choice, I’d ratherbe atthe waters edge.

ABOVE LEFT: Mary Erickson, Gull Sketch

BELOW LEFT: Mary Erickson, Southern Skies, oil , 10 x 10

RIGHT: Mary Erickson, Moving Offshore, oil, 16 x 20

BELOW: Mary Erickson, Siesta Stroll, oil, 27 x 34

17 18 NOTES FROM BRUSH HILL TcÉÜàÜt|àÉyeÉzxÜWtÄxUÜÉãÇ by Charles Raskob Robinson representative for Nielsen TV ratings, worked) and was even caught in the This unlikely and surprising story and worked in various states – Florida, crossfire ofa bank robbery shootout (but about how a passion for art grew and, Arkansas, Alabama and eventually in survived). with it, the creativity, spirituality and, in Chicago, IL. “I Am an Artist!” short, the “voice” of artist Roger Dale Then in 1992, he got a firmer grip on More memorable and consequential Brown is not only informative for any his own helm and moved to Cape was a most unusual life-changing event artist but also readily comprehended Girardeau, Missouri where his parents Roger experienced when a LensCrafter because, in addition to becoming an were livingand got ajob sellingeyeglasses customer came in one day and, while accomplished and, like many ASMA for Pearl Vision, eventually becoming a Roger fitted him with glasses, their members, largely self-taught artist, he is licensed optician and earning a decent discussion revealed he was a muralist and also an excellent teacher and seriously salary. There he also tooksome art classes Rogertoldhim ofhis interestin art. This credentialed: Fellow of the American and met Brenda Long who had majored led to further meetings, a review of Society of Marine Artists, Master in art and music. They married in 1993 Roger’s high school portfolio and Signature Member ofthe Oil Painters of andlaterthatyear, when Brendahadbeen eventually a job offer as his assistant, America, Master Artist of the American accepted at the California Institute for which he accepted. Impressionist Society, the Salmagundi Technology (Caltech) for graduate Itall was surreal –andbecame more so Club, the Cumberland Society of schoolwork, they moved to Los Angeles when the muralist increasingly failed to Painters, the Chestnut Group, the Past where he began working with keep appointments. Such was the case President ofthe Plein Air Painters ofthe LensCrafters. For a country boy from South East (PAP-SE) and a former Tennessee these were notthe bestoftimes All paintings by Roger Dale Brown member ofthe California Art Club and for he witnessed first hand wild fires, the National ArtClub. storms, mudslides, earthquakes (one of OPPOSITE: Tennessee Creek, oil, 50 x 40 First Evidence ofa Passion which destroyed the buildingin which he BELOW: WorkingBoat, oil, 24 x 30 Roger Dale Brown recalls that his mother introduced him to drawing, crayons and watercolors. He took to it and soon expanded to larger canvases - his mother’s walls – and thumbnail sketches in his father’s cherished WWII book collection. “I was four and this is where mypassion began.” 1 Although Roger did well in high school art courses 2 anddidasemesteratMiddle Tennessee State University but did not cotton on to it. Receiving no encouragement to pursue art as a viable career, his father insisted that he get a “real job.” He was rudderless for some years - working in warehouses and factories, performing in a rock band and even becoming a boxer. Eventually he became a field

19 when he failed to show up for a meeting experience of my life,” he thought to known artist and teacher, Scott L. with designers who had a client who himself, “I aman artist!” Christensen (b.1962)7 that Saunders had wantedamural painted. In the absence of Accelerating Growth as an Artist taken just the year before. “Scott his boss and eager to get work, Roger said “The chaos ofCalifornia life was not Christensen became my mentor and set he could handle the job. Relieved, they the wayI wanted to live so I moved back me on the right path and planted certain said they wanted something along the to Nashville, TN in 1997 and resumed basics in me one ofwhich was one should lines of an Impressionist. Thinking very my mural and faux finish painting set goals for oneself.” So Roger decided to quickly and having nothing to show business.” Soon Roger branched out and paint one plein air work each day in the them ofhis work, he asked them to sit joined the Chestnut Group, an coming year and continue to create tight for afewminutes while he rushed to organization ofmostly plein air painters studio pieces. All the while he kept up a nearby bookstore, bought a calendar supporting environmental and historical with his mural and faux art business. illustrated with Impressionist art and preservation causes in mid-Tennessee 3 Although Roger confesses “I failed to showed it to them. They liked it and and the Cumberland Society ofPainters, reach mygoal (producingonly350 ofthe chose a workdone byClaude Monet and based in the Southeast, primarily in the asked to see what Roger had to offer.t Nashville area.4 He also tooklessons given All paintings by Roger Dale Brown “That night I bought some house paint by the beloved Nashville artist and art ABOVE: Quiet After the Storm, oil, 24 x 30 and canvas from an awning store, taped it supporter Hazel Mae Crye King (1917- 5 to awall in myapartmentandproduceda 2019) and in 2002 studied with Jason ABOVE RIGHT: Awaitinga Voyage, oil, 48 x painting. The clients liked it and I was Allen Saunders (b. 1972)6 . At his 60 commissioned.” Although Roger suggestion, Roger signed up later that BELOW RIGHT: Autumn Mosaic, oil, 48 x 60 describes it as “the most horrifying year for a workshop with the nationally

20 targeted 365), I did spend a lot of time learning – going to my own school with my own curriculum and schedule - and became disciplined and truthful with myself about my progress and how much I had to learn.” Although he was drawn to the Impressionist style of that first painting he did for those California clients, he recognized, “that did notmean thatI couldbe sloppy by thinking what I did looked like Impressionism. Everything should have intent or purpose in a painting.” The Passion Grows as Full Time Artist and Teacher “In 2004 I held my first workshop – which made me practice what I preached.” This turned out to be more consequential than he could have imagined for he realized that he loved to teach and his students included Beverly Ford Evans (b.1959), a third generation Nashville native and graduate from the O’More School of Design in Franklin, TN (a suburb ofNashville)8 and Gary Young (b. 1949)9 . Both would become close friends and fellow artists and, like Roger, would eventually become Members of ASMA. (Beverly is now a Signature Member). As we shall see, they would also play other important roles in Roger’s life.

21 Two years later, in 2006, two other sounding board, being there for critiques market. Second, I study old masters and significant events occurred: Roger began when needed, and just being my contemporaries whose work inspires me, a life-long relationship with Beverly Ford constant, most trusted companion. In especially those who push the limits, and Evans and he tore his painting arm 2014 shebecamemywife.” 10 I continue to build a library of artist rotator cuff while boxing in a gym, The Basis ofHis Success: HardWork books. Inshort, I seekto develop acritical bringing his career as a muralist and faux and Persistence eyeto learnhowto see–basicallyto know painter to a close and forcing him to “The successes that have come myway how a good painting should be created.” become a full-time studio and plein air have been mostly through persistence, Importantly for artists who tend to focus artist. As his passion for teaching and hard work, studying art and art history, on one genre (like marine subjects), paintinggrew, his newcareer tookoffand experimenting and practicing the art of Roger stresses the importance of he began to win awards and attract new observation. At the beginning of every becoming well rounded in terms of collectors and students. So did his year I set new goals to improve my art various subject matters – still life, relationship with Beverly. “She has been a career.” His first goal sounds rather basic: landscapes, figurative, portraits, etc. huge part ofmysuccess. Standing byme, to improve his artistic skills. How? “First, The Importance ofPlein AirPainting organizing my schedule, being my I always paint for myself – never the Roger reckons that he spends forty

1 Most statements that appear in quotes are by the artist. There are a conservation partners to host collaborative art events, a generous portion under the renowned Everett Raymond Kinstler (1926-2019). His interest number of sources for these quotes and other information in this column. of the proceeds from the sale of these original artworks is donated to those moved from portraiture to landscapes and plein air, prompting him to sign These include correspondence and conversations between the writer and groups. The “Chestnuts” have raised close to a half-million dollars for up for a workshop with another nationally known artist, Scott L. Roger Dale Brown and others who know the artist, various web sites, preservation partners through the sale of members’ work. Christensen (b. 1962). Saunders is a member of the Oil Painters of including that of the artist, gallery and published material about the artist, a 4 The Cumberland Society of Painters consists of a small group of eight America, Tennessee Art League, The Chestnut Group, and a founding Podcast hosted by Eric Rhoades, who is the publisher of Fine Art artists and was founded based on the principles of excellence as found in member of The Cumberland Society. Connoisseur and Plein Air magazines and artist himself and who has the work of the Italian-born American John Singer Sargent (1856-1925), 7 The Wyoming born Scott L. Christensen was injured in a sporting systematically interviewed over one hundred artists. The artist has also the Spanish Joaquín Sorolla y Bastida (1863-1923), the Norwegian Anders accident while in college which eliminated any aspiration he had to become given permission to quote from his book: Roger Dale Brown, A Passion for Leonard Zorn (1860-1920), the American Robert Henri 1865-1929) (né a professional athlete but fortuitously opened a whole new world – one in Painting, published by River Valley Studio, Nashville, TN, 2015, ISBN 978- Robert Henry Cozad), the Danish-born Norwegian Peder S. Kroyer (1859- which he would become very successful. While recovering from the 0-692-59593-0, 212 pages. 1909), the American Charles Webster Hawthorne (1872-1930), the accident, he visited his grandfather in the mountains who, wheelchair- 2 Roger Dale was born in Birmingham on April 18, 1963 to Earlene and Swedish-born American John Fabian Carlson (1875-1947) and the bound following a farming accident, had taken up painting. The visit left its Dale Brown, who worked for Nielsen TV ratings. He was the second of American Edgar Payne (1882-1947). mark for upon graduation from college, Christensen abandoned plans to three children, an elder sister, Jan, and a younger brother, Jerry. The family 5 Hazel Mae Crye King (1919-2017) was a Tennessee native who moved teach and coach and began to study the great masters of traditional art. As moved to Nashville, TN where he continued to pursue art in classes at the to Nashville in 1951 and left her mark teaching and supporting the arts in one who intended to teach, he noted how he learned the lessons this new Mount Juliet High School from which he graduated in 1981. that city until she died at 98. She retired at the age of 91. world had to offer – soon to make him both a better teacher and also an artist with an outstanding reputation with attendant awards and honors and 3 The 200 plus members of The Chestnut Group seek to protect and 6 Jason Allen Saunders is a graduate of David Lipscomb University in workshops that have attracted an international following. memorialize on canvas the natural and historic landscapes of Middle Nashville, TN where he began his painting career under the tutelage of Tennessee (the Nashville and Franklin area). Working with various accomplished painter Dawn E. Whitelaw who encouraged him to study 22 percent ofhis time plein air painting and something inside. They are two different sixtypercent in the studio but stresses the experiences but I would not be successful importance of the former for success in in the studio without my plein air All paintings by Roger Dale Brown the latter. One is not subservient to the experience and it, in turn, is furthered by other. “Good painting is good painting my studio experience.” Whether painted LEFT: In the Shadows, oil, 20x30oncanvas butplein airpaintingpermits agreatone- outdoors or indoors, the quantity of BELOW: North ofCharleston, oil, 36 x 60 on-one relationship with nature and you works helps drive his learning experience can’t get that in the studio. There is an – “One can see what works and what falls FAR BELOW: Como, oil, 36 x 60 immediacy in being outdoors that evokes short. Creamrises to thetop.” so manyemotions.” Moreover, “you learn Spirituality the relationship ofshapes and values and One ofthe earlyinfluences on Roger – nuances and how to use important elements and eliminate others. In short, you manipulate what you are seeing into a good composition.” Whether it is the ceaseless movement of the sun or frigid temperatures (The wind chill factor was zero degrees when he went to Maine to paint snow!), painting outdoors “speeds the brush up.” One has to work quickly and the process starts to “come naturally, intuitively. It becomes innate and visceral.” “Indoors in the studio it is just me, God and mycanvas. Paintingon location is myschool, but indoors is where I really can create. I try to use information gathered on the outside to create

23 and, indeed, the artist who suggested he contemplative I become and the more I then I have succeeded.” study under Scott Christensen – was the realize that spirituality is an important Acorollaryto this is that Roger “uses a accomplished artist Saunders (See part ofmypainting and that painting is a scene as a platform to create from it footnote 6 above). Overthe years since he passion –ahuge drive even ifnothingelse instead of being literal to it. If we are first met Saunders it is noteworthy how is there. Painting brings in the spirit – being literal to a scene and do not the philosophies and outlooks of these creates a meditative state wherein one interpret with our own voice, we are two men have become similar–as seen in loses track oftime. We are made in the depriving ourselves of using the talent this Saunders statement: image ofGod, the Creator, so creativityis given to us to its greatest capacity. I have “Most people exist submersed in ingrained in us. Painting what He has grown in my spirituality and it is an deadening noise. Quiet concentration is createdis emulating–showingrespectfor important part of my approach to where I long to spend my days. In my - whatHehasdone.” painting. It was a gift given to me and I journey, as a painter, my desires for “It is in this context when a subject hope through my work it touches solitude abound. The paint, brushes, intrigues me, especially in plein air someoneinapositiveway.” Itis clearthat easel, are just simple tools for expressing painting, I not only attempt to paint it spiritualityis an importantpartofRoger’s my emotional experience with nature. visually but also spiritually. This is what “voice” and one might expect him as a And one sure thing that I have separates an artist from a painter. The recognized teacher to try to indoctrinate discovered, after capturing thousands of artist strives for the viewer to understand his students with it. However, his emotions on canvas, is God exists and He how the subject made him feel. approach is much more humble and never disappoints.” Knowledge gives us the tools to paint and modest: “I let people develop their own Rogerreflects, “The olderI getand the our spirit makes us an artist. When a voices. They might not understand the more I see and experience, the more viewer senses my emotions in a painting, fundamentals of painting in the

8 The O’More College of Design became the O'More College of Painters of the Southeast (PAP-SE) and Quang Ho and Kenn beginning but ifthey persist and keep at Architecture, Art & Design at Belmont University when they merged Backhaus. She also continues to analyze many of the old masters, with the University in 2018. drawing techniques from them that she uses in her work. In addition to the aforementioned PAP-SE, she is a Signature Member of the 9In Gary Young’s view “the shortest path to true spontaneity in art is All paintings by Roger Dale Brown American Society of Marine Artists, the Chestnut Group, Oil Painters through intense planning and much experimentation.” Gary’s goal is of America and the American Impressionist Society, Inc. Of note are BELOW: Golden Moment, oil, 30 x 48 not after illustration, nor to go to a photorealistic approach to art but important companions for Dale and Beverly: their West Highland go after unseen things, rather than just the seen – to describe your ABOVE RIGHT: Journey'sEnd, oil, 24 x 36 Terriers, Buddy and Rachel. state of mind that particular day - in order to demonstrate our unique voice. He is a member of the American Impressionist Society, Inc Oil 11 Roger’s other galleries include: Proud Fox Gallery, Geneva, IL; Painters of America, the American Society of Marine Artists and an Palm Avenue Fine Art, Sarasota, FL; Gleason Fine Art, Inc., Part of the research for this article was taken from a PleinAir active member of the Chestnut Group. Boothbay Harbor, ME; Beverly McNeil Gallery, Birmingham, AL; Podcast about Roger Dale Brown by Eric Rhoades (see Reinert Fine Art, Charleston, SC; and the Leiper's Creek Gallery, 10 Beginning as an interior decorator, Beverly gravitated towards footnote 1). On May 28, 2019 he also interviewed Dawn E. Franklin, TN. painting and studied with many of those Roger studied under at the Whitelaw as part of this ongoing weekly series. Cumberland Society of Painters as well as with the Plein Airs

24 it, eventually they will and their own Inspirations from11 the Highlands that reiterate the visual intent of the work.” voice will become evidentin time.” opened recently at the Berkley Gallery in Underlying this Travel has played an important role in Warrington, VA. Every place they visit creative/destructive/recreate philosophy Roger’s approach to painting - in the they spend time so they can get to really is the conviction that one must be willing development ofhis voice as an artist. He know the subject – a basic for any to accept failure – the riskthat one might and his artist wife Beverly have traveled successful painting. “I get ideas from not bring the painting back successfully. widely and it now constitutes an being on the scene. There I paint and “In trying this approach, I realized that I important part of their yearly calendar. sketch but also write down my thoughts learnedmore when I hadthe guts to fail – Theyhave used all modes oftravel –from and take photos and videos. I also like to to step out ofthe box and try things that driving, living in RVs, to flying and often explore, talkto locals andjustobserve. All are against the rules. I found this to be staying with friends at desired this helps me to become familiar with the invaluable.” destinations. They have been all over the scene, culture and feel of the area and When it comes to painting a studio United States with a particular attraction moment. This is huge in my creative work conceptualizing an idea sometimes to beautiful places such as Maine, which process. Most ofmy studio paintings are is a long process for Roger – involving Roger says “has an old soul” that he easily created from memory so these are months ofwhat one might call percolator relates to, and the West. In his book, A preparation for that.” time where one thinks about it from Passion for Painting (See Footnote 1), A while back Roger’s former student various angles, colors, etc. –orsometimes there are chapters that read like adventure and now close friend, Gary Young (b. it is so clear in his mind he just gets right stories – hiking to great heights and into 1949), introduced Roger to ASMA at it. “Composing a painting is swamps, close encounters with alligators, Fellow Charles Warren Mundy, (known something I really love to do including, snakes, grizzly bears, wolves, coyotes, by most as “C. W.” Mundy). Gary had but not limited to, angles, design, depth mule deer, and the like. They have also served as an assistant in Mundy’s or perspective, and color. I learn from my traveled abroad – to China, South workshops. Roger learned about Mundy’s outdoor paintings. I see what is real as far America and Europe where theyhave just approach to “build up and tear down a as tones and shapes. I feel I have just spent six weeks on a loch in Scotland painting and then bring back the key scratched the surface on being really preparing for their first joint exhibition, elements in the painting in order to creative with composition and am so

25 visualizes – foresees - scenarios ofattack composition down to two main colors, a and defense. The same should happen warm and cool or complements. This with art. I visualize the end of my simplifies the colors for me so I can see painting and all that must occur from the how to compose colors better. I do not opening bell to the finished product, i.e., leave the other colors out but narrowing the knockout punch.” down to two dominant colors allows me Having settled on a subject Roger to understand how much of the other begins the first stage of his painting colors to allowinto mypainting. I decide process, to “Un-Define” the scene in how I am going to key the color and order to eliminate all preconceived value. I keep my painting in neutrals for notions about the subject and its most ofthe painting until the last ten to surroundings in order to really be free to fifteen percent and then I use more see it and appreciate how and why it saturated color. I also put in most ofmy attracts - “to see as an artist” sees it. This detail atthis point. means to observe the subject (or subjects) His Palette, Tools and Application “as justshapes, colors andvalues.” “I use Gamblin and Utrechts paints In the next stage, Roger “Prepares to ABOVE: Roger Dale Brown, 2019 Rebuild” the scene he deconstructed in his mind in the “Un-Define” process. He RIGHT: Beverly Ford Evans, 2019 finds it helpful in creating a painting to view the subject on an abstract basis and lookingforward to comingyears.” cites the Japanese “Notan” process of “Drawingis one ofthe mostimportant visualization as very helpful. The word facets of the art process and one I means “light and dark” in Japanese and it continually practice. I carry a sketchbook involves just that: portraying all subject everywhere I go and draw every matter in the painting as either black or opportunityI have andI schedule time to white in order to appreciate how the practice it.” Although Roger lights and darks interact with each other. acknowledges his approach to creating a This is not a question of “negative” or painting is not for every artist, he has “positive” space but just bringing the certain “vital stages of the painting scene’s abstract shapes together to see process that gives me uniqueness that how they interact. With this clearer becomes my voice as an artist.” He understanding, he then begins to work regards the various “isms” – realism, three to five ofthe abstract shapes as they mostly, although I do tryother brands on abstractionism, modernism, relate to representational art bylookingat occasion. I use Neo-meglip, Galkyd and Impressionism, etc. – as “philosophies” the color and value within each ofthem Gamsol as mediums. Gamblin’s Neo- and, interestingly and importantly, he and start forming an idea using visual megilp is quite versatile. It will create does not adhere to any one ofthem but language. transparency in a color and therefore draws upon them all according to the In the next stage, the “Rebuilding enhance the color. I use it for blending needs ofthe scene and circumstances he Continues.” Here the abstract becomes and edge work along with fluidity of seeks to capture. “I do not want to more representational but he cautions, paint. It will build the body ofthe paint. develop a specific look or style, but a again, aboutbeingan “artist” andnotjust Sometimes I let the paint oil out by fusion ofstyles that has the mark ofmy a “painter” reproducing what a camera mixing it on cardboard. The cardboard voice. Moreover, he warns, “Wanting to would see. In this regards he offers words will soak some ofthe oil out and then I paint in a particular style limits your ofwisdom and experience: “Become the apply it to my scene. I usually do this at creative possibilities.” creator, not the follower.” “Do not the end where I wantthickerpaintand or Most basically, Roger notes, “An artist become tiedto ascene; be inspiredbythe abroken color/drybrush effect.” should be attracted to the subject that she scene.” And, “The artist’s ultimate aim Roger uses a “very limited split or he seeks to memorialize on canvas. I should be to evoke the mood ofa strand primary palette” consisting of: Titanium always start my paintings by visualizing oftime.” White, Lemon Yellow, Cad Yellow the finished painting. I have better In this process ofbringing the abstract Medium, Cad Red, Permanent Alizarin, success when I have an idea in mymind’s closer to representational, Roger finds a Ultramarine Blue, Cobalt Blue, Cerulean eye ofwhat I want the painting to look focal point or centrality ofthe scene and Blue. Healso has aseries ofearthtones on like. In my boxing days, a fighter once starts creating his design around that the palette: Transparent Red Oxide, Raw told me that in the boxing ring he focal area. “I narrow my color Umber, Ivory Black and Transparent

26 Earth Yellow. and other Japanese principles, the in his book A Passion for Painting nearly Roger uses Trekell and Rosemary Russian landscape painter Iaasic Levitan sixty percent would qualify as “marine” brushes and bristle brushes to block in (1860-1900) for the mood he creates works under the Society’s broad until about 70 to 80% ofthe painting is with simple composition and the prolific interpretation ofthe genre. done. “This wayI canworkmyedges and portrait painter Everett Raymond Roger has more irons in the fire. His blend and marrycolors into each other to Kinstler (1926-2019), who mentored next bookwill be devoted to teachingart, get certain effects and aqualitythat I like. Dawn E. Whitelaw and Jason Allen no doubt drawing on the lessons taught Again, it depends on the scene and the Saunders along with another Nashville in his many workshops. A “coffee table” vision I have for the painting. I might artist Michael Shane Neal. Roger took book about his artwork is to follow. He start and finish totally differently than classes with all three ofthese artists and also plans to produce a DVD about what I am telling you but typically this is tookaworkshop with Kinstler. landscape painting and another about how I start. After the initial block in, I As noted, Roger was fast to pickup on marine painting. Clearly he learned how might use different types of brushes or the importance of building a library of to set goals and establish schedules to different tools and techniques to further books about artists. “I have read and accomplish them! my vision for the particular painting I’m studied them immensely. The ones I Roger is not the only one writing working on. These include fan brushes, always return to for study are by John about his work. Articles about him have my fingers, tissue and credit cards. I like Fabian Carlson, Edgar Payne, Arthur appeared in many publications the variety.” Wesley Dow, Isaac Levitan, John Singer including: Plein Air Magazine, Art Heroes Sargent and American realist painter and Collectors Magazine, American Artists Roger met Dawn E. Whitelaw, also RichardSchmid(b. 1934).” Magazine, American Impressionist from Franklin, TN early on when he While Roger views himselfas an ever- Society, International Art Magazine, became amemberofthe ChestnutGroup learning student he confesses, “I love Artist Magazine, Portrait Society of ofwhichsheis aCharterMemberandthe teaching. I have taught143 workshops all America, Nashville Arts Magazine, Cumberland Society ofPainters ofwhich around the country. As long as I can still Artists and Galleries ofthe Southeast and she is a Founding Member. “She was my holdabrush I will teach in some capacity. others. first introduction to professional artists I am slowing down some with the Passion and Life and taught me the mentality ofan artist workshops and traveling and so I have “Life is action and passion. I thinkit is in everyaspect. I hadothers also thatwere been teaching more workshops at my requiredofamanthatheshouldsharethe great mentors but Dawn holds a special studio. Mygoal is to do two workshops a action and passion ofhis time at the peril place for me.” Among these others are year in different states and the rest I’ll ofbeingjudgednotto have lived.” John Singer Sargent (1856-1925) who teach near home in the middle of Oliver Wendell Homes, Jr., Harvard Roger views as “one ofthe best and more Tennessee.” Law School Class of1866 In an address versatile painters this country has seen. He is also a writer and produced his to the Harvard Law School Alumni in The surface quality to his paintings are first book Images of the South, a New York City, February 1916, halfway amazing, playing opaque color against compilation of paintings he did in the through his thirty-year career as one of translucent color, thick verses thin and Southeast that he used as a marketing the most eloquent Justices on the U.S. his edge work was superb.” In the same tool, an incentive for potential collectors Supreme Court leagueis theSwedishAnders Zorn (1860- or as a gift to students that have attended Roger Dale Brown’s life has been one 1920), the internationally successful many of his workshops. In 2015 he of action and passion beginning at four sculptor, etcher and painter – especially published, APassion forPainting, amuch and growing steadily over years of portraits. Roger views ASMA Fellow more ambitious, full-color212-page, 9” x painting and teaching to where his voice Charles Warren Mundy (b.1945) as 12” bookthatcontains both textandwell has become a full-throated enthusiasm “fearless” and who taught him to over 200 images. (See Footnote 1 for for all creation. It is best expressed in the experiment.” “Scott Christensen (b. more information.) The same yearhe also passage from the Book ofPsalms 96: 11- 1962), taught me the foundation of a produced a DVD called Organize and 12 that Roger quotes in the openingpage painting and how to set goals. It was he Paint the Woodland Interior Landscape. ofhis APassion forPainting: who challenged me to paint 365 Although Roger lives well inland, he has “Let the heavens Be Glad, and let all paintings in a year.” Roger values the always been fond ofwater, havinglived or the earth Rejoice; Swedish born American John Fabian visited the Gulf and Atlantic coasts and Letthesearoarandallthatfills it; Carlsen (1875-1947) for his lessons on developed a particular love ofthe Maine Letthe fieldExultandeverythingin it! foundation, Edgar Payne (1882-1947) coast and its islands. Soon after joining Then shall all the trees of the forest for the surface quality that brings ASMA, he became a Signature Member SingforJoyforyourglory.” vibration to his paintings, the American and, in 2019, a Fellow. Evidence of his Arthur Wesley Dow (1857-1922) for his love ofwater is seen in the fact that ofthe Please see Charles Raskob Robinson's composition, design and use of Notan nearly two hundred images of paintings note on the followingpage.

27 g{xXÇwÉytÇXÜt for one with no formal art education but only various degrees and many years of working experience in economics, finance, mergers and acquisitions and international banking so I have gotten far more than I have given. And, second and most importantly, I have come to see first hand and up close how extraordinary the members of our Society are as colorful, unique and fascinating individuals and as gifted, ever-striving artists. It has been a great pleasure to knowso manyofyou so well. Thankyou. CRR

g{tÇ~lÉâ? V{tÜÄ|x4

Diana and Tom Hayes from New Hampshire have been excellent YMAS and ASMA supporters for years. They This concludes the 25-year history of have taken time out oftheir busy lives to this quarterly column. Most were encourage local and state teachers and flooring was replaced in our previous devoted to biographies, approaches and directors of Scholarship Programs, such home. The search showed an elegant materials used byASMAmembers - from as the SAANH, to participate in the chap just my age with an intriguing regular Members to Signature Members YMAS National competitions. Thanks to resume. “Dear Mr. Robinson, I and Fellows. Since more than one artist them, several NH students have won wondered ifyou were still extant—?“ I often appeared in a single column, a total awards in the National YMAS included photos of the prints and their of 124 artists have been documented, competitions. Here, they thank Charles history with us. I expected a form letter often more thoroughly than anywhere Raskob Robinson for his work not as reply. We did not know Charlie then. else. For this reason, the Library of ASMA's helmsman or chronicler, but as Several pages came backin the form ofan Congress, the Smithsonian Institution an artist. email letter. Abit ofa collaboration was and the Thomas J. Watson Research formed over promoting the ‘Naval Library ofthe Metropolitan Museum of Charlie Robinson’s stunning pair of History of the the War of 1812 Art in New York have collected them to prints, ‘The Bird and The Blossom’ and Illustrated’ and recognition of ‘Star record the lives of these contemporary ‘Starboard Tack’ have a prominent place Spangled Nation’ which was on its wayto American artists. Other columns have in our Bedford NH home. In 1984 we the Naval AcademyMuseum and Gallery focused on a wide range of subjects of made the decision to purchase our first in October. We would be there interest to the Society's members from ‘serious’ piece ofmarine art when visiting concurrently for Tom’s 40th class the history ofthe Society (updated every the Annapolis Marine Art five years), various tools and materials Gallery while Tom was favored by our artists, to hotly debated posted to the Pentagon. discussions about the color ofoceans and Thereafter, in four the rendering of atmosphere. In total, homes, ‘the log canoes’ these individual biographies, historical were placed for updates andothertopics total168. immediate attention While readers might think this has when entering Thirty been a generous contribution ofmy time years passed and a good and effort to the Society - and, indeed, bit of original art was these articles over the last quarter of a acquired. Usually from a century have been offered as such, I gallery where the artist hasten to thank all of those who have was known to us. I really made these articles possible by decided to ‘Google’ giving so freely of their time and Charles Raskob Robinson themselves. I also want to confess two in 2013 when the prints things. First, it has been agreat education were down briefly while

28 reunion. Members in the Sarah Hull Two years ago it became obvious the ASMA West Regional at the CIMM Brent Jensen prints had suffered from all the Michelle Jung ‘prominent’ exposure to light. Atthe time Robert Akers James Lawless ofpurchase the galleryhad not had access Susie Anderson Leroy LeFlore to the protective art glass available today. Karen Blackwood Karen Leoni We finally approached Charlie about the Buck Braden Calvin Liang possibility of purchasing replacements. Larry Cannon Robert McPherson He regretted to reply that the limited Mitch Caster Kathryn McMahon edition had long ago been sold out James Consor Lynn Mehta through various galleries. We Pricilla Coote Len Mizerek commiserated on that. Two weeks later I Dee Beard Dean Ann Mohnkern got an email from him saying he had Fred Deloresco Brechin Morgan searched his storage just in case and Austin Dwyer Patrick O’Brien found one last unsold issue. He then Lisa Egeli Jon Olson called his galleries and the mate to that Joyful Enriquez Debra Reid Jenkins onehadjustbeenreturnedto oneofthem Mary Erickson Charles Raskob Robinson by family for resale. Two weeks after that Belvin Evans Judy Saltzman Beverly Ford Evans both arrived perfectlypacked. Unlike the Val Sandell Sheri Farabaugh JeffSewell first pair, each was inscribed with awarm, Catherine Fasciato Kim Shaklee personal statement. Wehad these framed Nicolas Fox Daly Smith and matted to allow for the ‘signature’ Louis Gadal Jerry Smith kindness and endless enthusiasm of Jim Graf Marilyn Wear Charles Raskob Robinson to be displayed Joel Heger Jim Wolford immediatelyupon entering. Carolyn Hesse-Low Karol Wyckoff Diana Hayes with Tom Hayes Anne Brodie Hill Gary Young

THE AMERICAN SOCIETYOF MARINEARTISTS Presents the Third National Marine Art Conference

The American Society of Marine F/ASMA, Michael B. Karas, F/ASMA, tion interested in being a sponsor ofthe Artists’ 3rd National Marine Art Confer- William R Davis, F/ASMA, Patrick NMAC, please contact Lisa Egeli ence will be held in Jamestown and O’Brien, ASMA, Morgan Samuel Price, ([email protected]). Williamsburg, Virginia March 5-8, ASMA, Mark Shasha, ASMA, Nancy 2020, andyouwon’twantto miss it! Tankersley, ASMA, and Len Tantillo, Plan to arrive the evening ofWednes- F/ASMA. day, March 4 in time for a welcome Our Keynote Speaker will be Sarah dinner before activities begin first thing Cash, Associate Curator of American on March 5. Ifyou are aplein air painter, and British Paintings at the National plan to join us for a paint-out in historic Gallery of Art, Washington, and co-au- Jamestown Settlement. thor, with Richard Ormond, of Sargent A highlight ofthe Conference will be and the Sea. the opening reception for ASMA’s 18th We greatly appreciate the support of National Exhibition at Jamestown Set- our sponsors, including American Art tlement Museum. This is the first offive Review Magazine, Gamblin, Golden museums the exhibition will visit over 18 Paints, Princeton Artist’s Colors, Rose- months. mary & Company, Royal Thalens, and Among our presenters at the 3rd Streamline Publishing. NMAC are Christopher Blossom, Ifyou know a company or organiza-

29 30 LEFT: Brent Jensen, St. Katharine Docks EVENTS OF INTEREST London, oil, 24 x 18 BELOWLEFT: Poppy Balser, City Hall, displayed. Living in Montville, CT, with Hamilton, watercolor, 15 x 11 SOCIETY NEWS Groton and Mystic close by, the surrounding ocean is an endless, ever BELOW: Poppy Balser, ASMA was recently TOP: Lisa Egeli, Stephen C. White, and awarded both Best in Show and Best changing subject. She now works in Russ Kramer in Mystic Watercolour for her painting City Hall, encaustic, creating her own medium, Hamilton at the Bermuda Plein Air though she studied other media at the Middle: Mark Daly, Blue Striped Um- Festival. Balser's next plein air event will Philadelphia College of Art, and the brella, oil, 9 x 12 be The Forgotten Coast en Plein Air in Silvermine Guild School ofthe Arts. Her Apalachicola, FL, March 19-29. Earlier subject matter ranges from 12m yacht Bottom: Evelyn Dunphy, Cuddle of in the year, Balser was awarded Best in races to marine life. Sand Dollars, watercolor, 44 x 48 Show at the Parrsboro Plein Air Festival Christine D'Addario’s seaside by Judge NancyTankersley, in Parrsboro, figurative work was selected for “The NS, Canada for her painting Sunset Seasons” Exhibition at the Nassau Glowatthe Weir. County Museum of Art. Dates: Nov “Survivor,” by Serena Bates, ASMA, 15th- March 1st. Co-Curated byFranklin received the Environmental Statement Hill Perrell &Debbie SilverWells. Award in the 2019 Artists for Mark Daly is having a solo exhibition Conservation Exhibition. Learn more at ofworks at Rehs Contemporary Galleries artistsforconservation.org in NYC through December. Image ofone Denise J. Beaulieu joined ASMA this ofthe paintings in the show: Blue Striped year to see what other marine painters are Umbrella, oilonlinen, 9" x12." IMAGE producing and loves the variety Evelyn Dunphy’s “Spirit of Winter”

31 and “Cuddle of Sand Dollars” were included in “Framing Maine”, an invitational exhibition commemorating 200 years of Maine’s statehood at the University ofMaine. IMAGE Colour in Your Life, the Australian art video/TV company has released a film made in Evelyn’s studio which features her work as she creates a painting of Katahdin, Maine’s iconic mountain. It’s available on her website: evelyndunphy.com. ASMA President and Fellow, Lisa Egeli, with former ASMA President and current Fellow, Russ Kramer, presenteda print of Russ's: "LA Dunton at Mystic Seaport" signed by all the living Fellows to Stephen White, President of the Mystic Seaport Museum at the opening of the JMW Turner "Watercolors from theTate" exhibition. Member Belvin Evans, 82, has been given a clean bill of health and has renewed his membership for another two years. His works have been juried into three museum shows and one veteran’s event this year. As Belvin states, “In my Navy you don’t give up the ship.” We look forward to seeing more ofhis work. (IMAGES) Bill Farnsworth, F/ASMA, was elected Fellowin the American Societyof Marine Artists. His painting “Diamond Girls” was juried into the ASMA National, and another work, “Elba Time” was awarded The 2019 AIS National Dickinson Signature Member Award. Nicolas Fox, ASMA, won the Rudolph J. Schaefer III Emerging Artist Award for his painting, “Reliance v. Shamrock III” in the 2019 International Marine Art Exhibition at the Maritime ArtGalleryin Mystic, CT. Paul Garnett, ASMA’s painting “The Golden Devil” was selected for use in a Royal Mail postage stamp set honoring the Royal Navy. Another work, “In After Him!” a painting ofthe Pequod was used in the BradPittfilm AdAstra. “The Long Arm” from his Bounty series of HMS Pandora, was licensed for use in the book “Chasing the Bounty” by Donald Maxton. His “Winter in the Yard” is featured on NMHS’s Christmas Cards. Member Roger Gill was made Artist member in the Rockport Art Association.

32 He is a 4th generation Mariner with (20) years Maritime service installing and repairing International fiber–optic cable systems world-wide aboard AT&T’s cable ships. Rising to the rank ofChief Engineer, Steam Vessels, unlimited Horsepower, Roger is now an Assistant Professor at his Alma-Mater, the Massachusetts Maritime Academy, where he is the student adviser for the Societyof Naval Architects and Marine Engineers. Roger is a member of the Steamship Historical Society of America and has assisted with their educational website. Roger is a 3rd generation artist, and his OPPOSITEABOVE: Paul Garnett, The website is www.artbyrogergill.com Golden Devil, postage stamp Member Jim Graf won an “Award of OPPOSITEMIDDLE: Michelle Jung, Excellence” at the 2019 Art League of Kiss Me in the Morning, oil, 36 x Long Island Members Exhibition in 58

November for his painting “Waiting for OPPOSITE BELOW: Debra Huse, Even- NEW MEMBERS the Call”; a moonlight view ofthe New ing's Gifted Glow, oil, 18 x 24 York City fireboat “The New Yorker” and : ASMAartists at the ASMA Battery Park Fire Station. He was also ABOVE Lana Ballot George Jennings West Regional at the CIMM: From New York Virginia accepted into the ASMA West Regional left to right: Jon Olson, Marilyn at the Channel Islands Maritime Wear, Jim Lawless, Louis Gadal, Museum. Jim Graf, Karen Leoni, JeffSewell, Robert Beck Nadia Klionsky Debra Huse, ASMA, participated in Joel Heger Pennsylvania New York the Fourth Annual Cape Ann Plein Airin Massachusetts. Cape Ann Plein Air, a John Carter Bert McClard Alden Bryan Memorial Award for nationally recognized arts organization, Florida Kansas Landscape from the Annual hosted its annual painting competition, Members Juried Exhibition of the October 6th-14th, 2019. Her seascape, T. A. Charron Jonathan McPhillips GuildofBoston Artists. “Evening's Gifted Glow”, inspired by Massachusetts Rhode Island Mike Mazer, ASMA, received Frank Cuprien's classic work, "At Dusk, First place in Watercolor at the La Jolla" was featured in the Studios on Joel Chaskes VictoriaNelson 2019 Arts Affair in Quincy, Mass the Park exhibition, "California Florida Arizona and received Honorable Mention in Impressionists: The Masters & The the Coos Art Museum's National GreatsTheyInspire". Valerie Collymore Sivananda Nyayapathi Marine Exhibition in Coos Bay Member Mike Jenkins’ “Green Sea Washington Georgia Oregon in October. He won First Turtle” was selected by St. Lucie County, place in Watercolor at the Cape Florida to decorate utility boxes around Mike Eagle JosephPisano, Jr Cod Art Center's All New England the new Crosstown Parkway Bridge. The Connecticut Pennsylvania exhibition in October for his works were unveiled at the openingofthe painting “Oil Barge and Tug” and bridge on September 28th, and featured Karen Gerhardt Dan Reed was juried into the American Artists the workoften otherartists. Professional League's 91st Grand Colorado California Brent Jensen, ASMA’s 24 x 18 oil National Exhibition in NYC." In painting, St. Katharine Docks London, September, John Stobart held an Peter Gough ElliotZeisel won the JFM Enterprises Award of invitational solo exhibition of Canada New York Distinction at the American Mike's paintings in his Kensington- Impressionist Society’s 20th Annual StobartGalleryin Salem, Mass. Arthur Heathcoe National Juried Exhibition at the Corinne McIntyre was profiled Alabama Salmagundi Club in NewYork. in December to the article in Michelle Jung, ASMA's seascape "Maine Boats, Homes + Harbors" painting "Kiss Me In The Morning", Magazine The story describes 36x58, oil was recently awarded the

33 Roland Chip Stevens, ASMA was juried into the 2019 Adirondacks SeekingNewBoardMembers National Exhibition of American The Society, a 501 (c)(3) not-for- Watercolors, Niagara Frontier profit corporation founded in 1978 International Transparent Watercolor and currently with nearly 500 Exhibition, & the Philadelphia members is seeking members to Watercolor SocietyNational Exhibition. serve on our Board ofDirectors. Join ASMA Fellow, Len Tantillo, our dedicated crew in leading the presented a talk about the historical Society’s business affairs. We are detection and reconstruction of a long looking for skilled and enthusiastic lost landmark “In Search of Peter members who understand our Stuyvesant’s Farmhouse” at the New York mission and are willing to help us State Museum in Albany with New York keep ASMAstrong. Times Best-Selling author Russell Nominees shouldbe: ABOVE: Nick Fox, Patrick O'Brien, Lisa Shorto. *willing to serve for a minimum Egeli, Leonard Mizerek and Russ ofathree-year term; Kramer at the NMHS awards dinner at *available to give advice to the the New York Yacht Club Officers ofthe Society quickly by e- mail or telephone at anytime and be BELOW: Russell Shorto and Len Tantillo at The New York State Museum, Albany willing to attend meetings of the Directors inpersonoronline. McIntyre as the early driving force *experienced and have shown behind the creation and growth of the diligence in taking part in the affairs Plein Air Painters ofMaine. The PAPoM ofthe Society and possess a spirit of includes more than 600 like-minded cooperation, professionalism and artists who paint outside together in 10 responsive communication. chapters stateiwide. We are also looking for a Joe Milligan’s “Two Reefs in the Treasurer, so please consider being a Main” received top watercolor award in candidate for our Board in this vital the 2019 Philadelphia Watercolor position. SocietyAnnual Members Show. Please contact Anne Brodie Hill Patrick O'Brien, ASMA, served as ([email protected] or 770-718- We sincerely thank all our members for their vital 7586) ifyou are interested in beinga Chair of the Invitational Art Exhibition contributions to the News & Journal. This issue had at this October's National Maritime more announcements than we could accommodate. candidate, or would like to Please remember that all submissions are subject to nominate another member. Historical Society's Annual Awards editing for content and length, and while we try to Dinner at the New York Yacht Club. include accompanying images where we can, sub- ASMA President Lisa Egeli, Nicolas mission doesn'tguarantee inclusion. Fox, past President Russ Kramer, ASMA gratefully appreciates Leonard Mizerek and Patrick O'Brien the support ofthese fine sponsors were in attendance. Jon Olson, ASMA and his wife, American Art Review Natalie answered Anne Brodie Hill's request and "stepped up to the plate" to help represent ASMA during the 2019 West Regional Exhibition at the CIMM reception on September 14 in Oxnard, CA. Jon gave a very nice speech about ASMA, while Natalie took excellent photos and kept a record ofthose ASMA artists who attended. She sent these notes and photos from the reception to ABH. Jon also brought extra plein air easels and equipment for those who might want to plein air paint in Oxnard, CA the next day.

34 Area Representatives ASMAWest Advisors to Area Representatives (includes FPO andAE) Kim Shaklee ASMANorth (includes interna- [email protected] tional) BrentJensen Jon Olson Carol Shahbaz [email protected] [email protected] [email protected] Dutch Mostert Austin Dwyer [email protected] [email protected] ASMAEast Lynn Mehta Buck Braden [email protected] [email protected] ASMASouth A

Anne Brodie Hill [email protected]

Sharon Way-Howard [email protected]

Charles Sharpe [email protected]

ASMASouth B (includes Virgin Islands) Val Sandell [email protected]

THE NAUTICAL RESEARCH GUILD Advancing Ship Modeling Through Research Annual membership includes our world-renowned quarterlymagazine, Nautical Research Journal, which features photographs andarticles on ship model building, naval architecture, merchantandnaval ship construction, maritime trade, nautical and maritime history, nautical archaeologyand maritime art.

Otherbenefits include discounts on annual conferences, ship modelingseminars, NRG products and juriedmodel competitions which are offeredexclusivelyto Guildmembers. Wehope youwill consider joiningourongoingcelebration ofmodel ships andmaritime history.

For more information contact us at: www.thenrg.org or call 585 968 8111

35 John Fraser, (1858 – 1927) The Yacht America, circa 1907