Issuu

Journal of the Portrait Society of America volume XXVII 4 th Quarter 2025

issue no. 107

d i r e c t o r ’s l e t t e r

s we move into the final months of the year, I’m pleased to share with you some highlights of our two-day in-person Portrait Society Board Meeting held at the National Arts Club this past November. Our discussions centered on an exciting and important goal:

Board Members Michael Shane Neal, Chair, Nashville, Tennessee Dawn Whitelaw, Vice-Chair, Franklin, Tennessee Wende Caporale-Greene, Treasurer/Secretary, Woodbury, Connecticut Quang Ho, Denver, Colorado Mary Whyte, Charleston, South Carolina Louis Carr, Cary, North Carolina Executive Director Christine Egnoski

FROM THE DESK OF CHRISTINE EGNOSKI

Broadening the impact and visibility of the Portrait Society’s programs From our educational initiatives and annual conference to member exhibitions and scholarships, the Board is committed to ensuring that our programs continue to inspire artists, engage new audiences, and strengthen our community. We’re exploring new ways to expand outreach, highlight the achievements of our members, and celebrate the enduring power of portraiture in today’s art world. Some of the ideas being explored include: • Creating an online community where members could exchange knowledge on a variety of topics, including framing, social media, marketing, commission agreements, etc. • Extending the conference learning experience throughout the year • Redesigning the website for member interaction • Securing an exhibition venue to showcase work being created by our members We are hard at work establishing a long-range strategy in order to implement these exciting ideas and will update you on our progress. A special thank you to our volunteer boards. Serving on the Executive Board is Michael Shane Neal (Chair), Dawn Whitelaw (Vice Chair), Wende Caporale-Greene (Treasurer), Louis Carr, Quang Ho, and Mary Whyte. Also, volunteering their time on the Advisory Board is Sam Adoquei, Susan Basham, Peggy Kinstler, Sandra Murzyn, Burton Silverman, Timothy Standring, Jennifer Welty and Sheila Wolfe. As we welcome in a New Year, we would like to hear from you! The Portrait Society hosts over 30 programs and publications including the annual conference, Wednesday Webinars, digital videos on a variety of topics, Signature Status designation, scholarships, grants, this quarterly full-color journal, dedicated section in International Artist magazine, social media accounts, State Ambassador program, and three competitions with generous awards. As a non-profit organization dedicated to fine art portraiture and figurative art, what is it that you would you like to see from us? Please send me your ideas, and I look forward to receiving them. Thank you for your continued support, and as the Portrait Society enters our 28th year, we look forward to serving our members and making a meaningful impact in the visual arts.

Christine Egnoski, CEO

Caption: Portrait Society Board Members: Wende Caporale-Greene, Christine Egnoski, Michael Shane Neal, Mary Whyte, Susan Basham (bottom row); Sheila Wolfe, Dawn Whitelaw, Louis Carr, Jennifer Welty, Timothy Standring, Sandra Murzyn, and Peggy Kinstler (top row); Sam Adoquei, Quang Ho, and Burton Silverman (not pictured)

2 I The A r t of t h e Po r t rait

Advisory Board Sam Adoquei, New York, New York Susan Basham, Nashville, Tennessee Peggy Kinstler, Easton, Connecticut Sandra Murzyn, Manitowoc, Wisconsin Burton Silverman, N. A., New York, New York Timothy Standring, Denver, Colorado Jennifer Welty, Santa Cruz, California Sheila Wolfe, New York, New York Staff & Newsletter Contributors Kim Azzarito, Director of Programs Amanda Oliver, Membership Director Allison Gilliard, Special Programs and Outreach Becka Darling, Executive Assistant Karey Mortimer, Special Events Coordinator Kerry Vosler, Writer, State Ambassador Coordinator Scott Jones, Writer, Washington State Ambassador Sargent Circle Platinum Members Susan Basham Bryan and Alice Essary Sandra Murzyn Leslie Nordness Michael Shane Neal Sarah Perot Brant and Joelle Phillips Trish Savides Henry Garth Smith, MD Mary Whyte Gold Aida and Kevin Garrity Hope and Billy Reis Teresa Spinner Louis and Jessica Sterchi Silver Melinda and Jeff Balsar Peggy Kinstler Jerry Williams Sheila Wolfe Carol and Darryl Yochem Mailing address: Portrait Society of America P.O. Box 11272 Tallahassee, FL 32302 Shipping address: 1109 S. Magnolia Ave. Tallahassee, FL 32301 Toll free Telephone: 1-877-772-4321 Web: www.portraitsociety.org The Art of the Portrait® Newsletter is published quarterly by the Portrait Society of America. All contents copyright Portrait Society (unless otherwise noted). No part or whole of this newsletter may be reproduced or transmitted in any form unless prior express consent has been given. Please send submissions to the editor at the Portrait Society. Design Charity Myers I THE CREATIVE POOL DESIGN thecreativepool@gmail.com

table of

Susan Lyon, Piggy Back, 26x40”, pastel charcoal

CONTENTS

Legacy and Vision: Marianne Rice

Business Side of Art: Scott Jones

State Ambassador Report: Kerry Vosler

Signature Status Designees

Mary Whyte: Christine Egnoski

A Day in the Life: Becka Darling

Step-by-Step: Oliver Sin

Portrait Society Member News

New and Renewing Members: September, October and November

The Art of the Portrait annual conference

Cover: Mary Whyte, Coming to Camelot, 36x24”, watercolor w w w. p o r t r a i t s o c i e t y. o r g

I 3

legacy and vision

THE ART AND LEGACY OF

NORAH NEILSON GRAY

By Marianne Rice

she was an art instructor and a voluntary nurse in France on the front lines during WWI. Her relatively short life and career were filled with ambition, achievement and diversity of experience. Born in Helensburgh, Scotland in 1882 to a prosperous auctioneering and shipowning family, Norah Neilson Gray was one of seven children. She would reach adulthood as Glasgow was emerging as a creative center of artistic innovation. The rapid industrialization in locomotive manufacturing and shipbuilding at the dawn of the century elevated Glasgow to one of the wealthiest cities in the world. By 1900, this financial prosperity built affluent social classes of industrial magnates, ship-owners and whisky barons eager to collect art. An ideal environment for a boom of creativity, the Glasgow School of Art would become the epicenter of an artistic movement that attracted instructors and students like Norah Neilson Gray. Gray began her artistic career at a private drawing establishment just outside Helensburgh called, “The Studio.” Here she received lessons from local art instructors, Misses Park and Misses Ross, themselves former students of Bouguereau. In 1901, the Gray family moved to Glasgow so Norah could attend the Glasgow School of Art (GSA), where she remained a student until 1906. During her time at GSA, Gray would study under the Belgian Symbolist painter Jean Delville and Scottish painter Francis (Fra) Newberry. Under the leadership of Fra Newberry, women were given equal prominence at the Glasgow School of Art, accounting for nearly half of the students by 1901. From this fertile soil, both the ‘Glasgow Boys’ and the ‘Glasgow Girls’ would flourish, making their mark in the history of art and innovation.

Norah Neilson Gray was a Scottish artist and member of the later coined ‘Glasgow Girls,’ a loosely held, dynamic group of female artists associated with the Glasgow School of Art at the turn of the century. Diverse in their talents, the ‘Glasgow Girls’ were unified in purpose - to assert themselves as female artists and improve the professional opportunities for women in the arts. Norah Neilson Gray would do just that. Gray’s work was widely exhibited, awarded, and continues to hang in numerous national and private collections. Known for her portraits, Gray painted primarily in oil but also in watercolor. She worked in illustration and fashion design; 4 I The A r t of t h e Po r t rait

While a student at GSA, Gray exhibited a painting of her sister at the Royal Academy. After graduation, Gray would remain on staff at GSA until 1918, teaching fashion design and drawing. She would also go on to teach at St. Columba’s School for Girls in Kilmacolm. At St. Columba, Gray was granted the nickname ‘Purple Patch,’ for being adamant that her students learn how to look for color in the shadows.

By 1910, Gray was exhibiting regularly at the Paris Salon, where she was awarded a bronze and silver medal. She also exhibited at the Royal Glasgow Institute of the Fine Arts and held her first solo exhibition at Warneuke’s Gallery in Glasgow. In 1914, Gray illustrated a volume of work by William Wordsworth and was elected as a member of the Royal Scottish Society of Painters in Watercolor. She was later chosen as the first woman to join the prestigious hanging committee of the Royal Glasgow Institute of Fine Arts.

In 1915, motivated to demonstrate her patriotism and driven by the desire to contribute to the war effort, Gray volunteered on the front lines in France as a Voluntary Aid Detachment nurse at the Scottish Women’s Hospitals. There, she would have trained in first aid, hygiene, sanitation and patient care. Exposed to the grueling realities of war, Gray’s participation would help challenge the idea that war was a purely male experience. During the war effort, Gray continued to make time for art, creating some of her most notable work. Hôpital Auxiliaire 1918 shows the organized women’s hospital at Royaumont Abbey, near Paris. The Belgian in Exile, a portrait of a refugee who fled to Scotland after the invasion, was shown in Glasgow in 1916, the Royal Academy in 1917, and received a bronze medal at the Paris Salon in 1921.

3 4

After the war, Gray returned to portrait painting and her studio in Glasgow. An untimely death at age 48 ended the artist’s career. In recent years, retrospective exhibitions of work by the ‘Glasgow Girls’, including Norah Neilson Gray’s work, took place in Kirkcudbright Scotland in 2010 and 2014 and in Glasgow in 1990 and 2022. Characteristic of her technique, Gray used unconventional compositions, a limited color palette and a reductive focus on form with the use of flat planes of color. The influence of Glasgow’s unique form of Art Nouveau is perceived in Gray’s work, creating a brand of modernism distinct to the era and the artist. Norah was not the only high achieving woman of her family. Her sister Muriel was an English lecturer at Glasgow University, and her sister Tina was a surgeon. These ambitious sisters believed that work done by women was on equal footing to that of men, a sentiment echoed by Gray’s early mentors and collectively embodied in the work of the ‘Glasgow Girls.’ When Norah Neilson Gray died in 1931 of cancer, she was considered the foremost female painter of Scotland.

1. Exotic, 44.4x34.2”, oil on canvas, 1923 2. The Belgian in Exile, 49.4x34.2”, oil on canvas, 1915 3. Hôpital Auxiliaire d’Armée 301 – Abbaye de Royaumont, 28x38.6”, oil on canvas, 1918 4. Golden Eyes, 39x20”, oil on canvas, 1917 5. Little Brother, 50x40”, oil on canvas, 1921 w w w. p o r t r a i t s o c i e t y. o r g

I 5

business side of art

THE ART OF BEING DISCOVERED I had a conversation last month with Anthony Waichulis at a show he curated. We recalled some past interactions for his students at the ÀNI Art Academies. I later saw an artist’s Instagram story from a gallery I have frequented. It occurred to me on my prior visits that their grand piano offered a terrific way for an artist to introduce themselves. I smiled as I listened to her playing beautifully. I mention both experiences as they prompted me to look back in my archives for something I had sent to Anthony for his students on the often-asked question, “How do I get found by a gallery?” This article is based on that email from February 2018. You might think that things must have changed since then, but I still agree with what I shared: Let us assume you are a figurative artist wanting to show in Scottsdale. I would first pick the galleries to target. A shotgun approach contacting every gallery does not work. Where does your work make sense – contemporary or realism, themes and subject matter, price points, other artists? Let’s say my former gallery is one of your options. I would make sure to sign up on the gallery’s website for newsletters. I would follow the gallery on Facebook and Instagram to make sincere comments on shows and paintings you admire. It would quickly become apparent that as the General Manager, I was highly active personally on both Facebook and Instagram, so you would send me friend requests and follows. Watch what other artists and galleries I follow and comment on and follow along, like and make genuine comments, and invite me to subscribe to your newsletter and send me an example. You would notice

By Scott Jones

that I follow, support, and comment regularly on specific art contests and art organizations. These groups now become options for you to get my attention. You see that I am on the faculty of the Portrait Society. Hmmm… you could attend the conference to hear my presentation, meet me, and certainly enter their member competitions. Also, it would become quickly apparent that I am a big supporter of the Scottsdale Artists’ School and that the gallery has previously done exhibitions featuring instructors at the school. You could contact the school about being an instructor, and you see there is an art walk every Thursday – a time to visit the gallery and express your appreciation for the artists the gallery represents. Is this extreme in some way? I will say that in the business world you do everything you can to get in front of the right decision maker for the company you want to sell to. Why would art be any different? Back in the mid-80s, this might have been referred to as guerrilla marketing where you create a strategy focused on low-cost unconventional marketing tactics. My comment about being an instructor is an important one. As more artists have turned to teaching workshops, it has become readily apparent which artists have the attention and admiration of other artists as teacher/mentors. That is absolutely a positive – credibility from others, visibility online and in publications, artistic pedigrees, and artists now visit new locations to teach and gain added exposure. Plus, I like the fact they are giving back. Finally, it does all come down to the work. Every gallery out there wants to find new artists with artwork that will sell to the gallery’s clients. They want an artist who can consistently produce quality works. The gallery wants to increase prices over time to everyone’s benefit–the gallery, the artist, and the collectors who have previously purchased. The hardest thing for an artist to do is to take a very realistic view of their own artwork and determine where it belongs to find buyers. Not every artist is going to be in my former gallery, nor should they be. Understand there is a hierarchy in the gallery world. Start where you can and be successful. Red dots are contagious. I have told successful artists participating in the tent shows in Scottsdale that there is no way a gallery can duplicate their sales during that 10-week period when they are there every day creating and selling their own art and personally interacting with buyers. What a learning experience! If they are willing and able to commit to those 10 weeks, they should do so, and when they cannot, then start looking for a gallery downtown who will benefit from their past successes.

Anna Rose Bain’s newsletter – I immediately clicked on the link to see her new website. I also noted her upcoming workshops. 6 I The A r t of t h e Po r t rait

Scott Jones has been a passionate art collector since the age of 16 and shifted his focus to selling art nearly 20 years ago. While having retired this year from the gallery world, he remains committed to the success of artists. He serves as State Ambassador of Washington for the Portrait Society.

state ambassador

irst, please welcome our new State Ambassadors: Fio Lombardi (Georgia), Lisa Manzo (Colorado), and Li Volk (Southwest Florida). Would you like to be an ambassador? We are looking for Ambassadors for Miami and Central Florida regions as well as Arkansas, Iowa, Louisiana, Maine, Montana, North Dakota, Oregon, South Dakota, Vermont, West Virginia, Wyoming, and International regions of Canada, South America, and Asia. Here is what our ambassadors have accomplished this quarter. Janelle Hatherly (Australia/New Zealand) hosted a virtual Christmas party and discussed a DownUnder Exhibition in the near future. Crystal DeSpain and Lisa Manzo (Colorado) created a successful WhatsApp conversation group for their different regions. Crystal shared a video snippet of Anna Rose Bain’s Saks Show on their new Instagram Colorado PSOA page. There is also talk of a coming face-off event.

Eric Crenshaw (Maryland) invited Lacey Lewis, a distinguished artist, to deliver a successful presentation outlining her approach to marketing works of art. Billy Seccombe (New Jersey) met together with members for the many art openings in the pre-Holiday season. Nicole Troup (Pennsylvania) met with members in Pittsburgh in September for a live model session in a private studio. Betty Bullen (Tennessee) hosted the first Tennessee Members Exhibition at the beautiful Customs House Museum. Twentynine members participated with 42 works of art. The successful event saw a large crowd of both members and the public in attendance. Thomas Root demonstrated the art of the portrait while painting a well-known attorney.

Jeanine Jackson (Connecticut) said that portrait artists took advantage of autumn in Connecticut with a Plein Air session led by Grace DeVito at Waveny Park, New Canaan. Linda Harris Reynolds (Delaware) continues to offer community life drawing classes once a month. At the beginning of each session, Linda gives a 15-minute “Tips & Tricks” talk for drawing the figure. Andrea Steinbauer (Europe/UK) said the next zoom meeting will be in January/February 2026. The next European/UK newsletter will come out in Spring of 2026. Pennsylvania members met for a live model session in a Li Volk (Southwest Florida) hosted a Portrait Society of private studio in September. America free demonstration by Portrait Society Signature member Fengshi Jin. He is a professor of art in China who is deeply influenced by Russian Realism. The event was open Carol Farlie (West Texas/New Mexico) will offer another free to the public at the Avenue Gallery in Crossings at Siesta Key lecture at the Palette Club in Midland in February and at the Mall in Sarasota. Watercolor Art Society of West Texas in Lubbock in March. There is a face-off planned for September in conjunction with Melanie Harding Bates (Kentucky) said several Portrait the Museum of the Big Bend’s Trapping of Texas Exhibition. Society of America painters went to LaGrange, KY and painted en plein air in the town. Scott Jones (Washington) is moving forward in 2026 with plans to host a Portrait Society Members Exhibition and faceKim Abbati (Illinois) hosted a very successful Portrait Artist of Illinois event. The month-long show ended with a take-off of the off at the ArtLove Salon in downtown Seattle. Watch for a Paint from Life event in the coming months in Seattle. British show “Portrait Artist of the Year.” Their version brought 5 local Chicago area celebrities and 25 artists together for 4 hours of painting while fans gathered and voted for their Kerry Vosler favorite finished portrait. The McCord Gallery and Cultural National Coordinator Center had its largest turn out of the year.

w w w. p o r t r a i t s o c i e t y. o r g

I 7

signature status

SIGNATURE STATUS DESIGNEES This year marks the thirteenth class of Signature Members inducted by the Portrait Society of America. We are proud to honor these accomplished artists, whose dedication and achievement continue to uphold the Society’s educational mission and its high standards of excellence. Earning Signature Status grants members the privilege of using the designation PSS (Portrait Society Signature) on all personally created works—a mark that reflects our shared commitment to creating, advancing, and celebrating the art of portraiture. Congratulations to the six artists selected this year, who now join a distinguished community of exceptional painters holding this esteemed designation. 1. Laura Arenson, I Solemnly Swear I Am Up To No Good, 22x18”, oil 2. Frances Bell, Rose Hulse and the Masai Necklace, 59x59”, oil 3. Jaq Grantford, Through the Window, 62.9x66.9”, oil 4. Sherrie McGraw, Nudo Nello Studio, 10x16”, oil 5. Kazuya Ushioda, Specialize, 20x17.9”, oil on panel 6. Rainny Zhao, Echo No.1, 18x24”, oil

8 I The A r t of t h e Po r t rait

1 3

Signature Status Recipients Leslie Adams, Harry Ahn, Daud Akhriev, Jing An, Laura Arenson, Anna Rose Bain, Robert Barrett, Gwenneth Barth-White, Margaret Baumgaertner, Frances Bell, Michael Bergt, Suchitra Bhosle, Ned Bittinger, John Borowicz, Mary Buckman, Elena Burykina, Judith Carducci, Louis Carr, Ali Cavanaugh, Kevin Chambers, Chung-Wei Chien, Casey Childs, Robin Cole, Ellen Cooper, Joseph Daily, Robin Damore, John Darley, Gabriela Dellosso, Stephanie Deshpande, Grace Devito, Kexin Di, Qiyu Dong, Kerry Dunn, Ruth Fitton, Katherine Galbraith, Romulo Galicano, Tina Garrett, David Goatley, Thomas Caleb Goggans, Kristy Gordon, Jaq Grantford, Barbara Hack, Ben Hammond, Johanna Harmon, Liz Harris, Seth Haverkamp, Dana Hawk, Lihuai He, Jeff Hein, Garth Herrick, David Hettinger, Primary Hughes, Natalie Italiano, Jacqueline Jasper, Fengshi Jin, Vasudeo Kamath, Sam Knecht, Linda Kollacks, Lisa Kovvuri, Olga Krimon, Pramod Kurlekar, Shana Levenson, Chin-Hsien Lin, Jie Liu, Jun Liu, Shuang Liu, Ying-He Liu, Yu Liu, Howard Lyon, Kevin Macpherson, Sherrie McGraw, Iliya Mirochnik, Kathy Morris, Gregory Mortenson, Ricky Mujica, Mary Muller, Annie Murphy-Robinson, Richard C. Nelson, Paul Newton, Alexandrea Nicholas-Jennings, Olga Nielsen, Ted Nuttall, Carol Peebles, Evert Ploeg, Alicia Ponzio, Aapo Pukk, Kishor Purekar, Ted Reed, Mardie Rees, Tim Rees, Sally Ryan, Patrick Saunders, Oliver Sin, Nathaniel Skousen, Peter Smeeth, Sharon Sprung, Ardith Starostka, William Suys, Judy Takacs, Jianwu Tan, James Tennison, HsinYao Tseng, Kazuya Ushioda, Susan Wakeen, John Seibels Walker, Patricia Watwood, Louise Weir, Jennifer Welty, Amy Werntz, Thomas Wharton, Ernest Wood, Wesley Wofford, Ming Yu, Elizabeth Zanzinger, Stephen Zhang, Rainny Zhao, and Vladimir Zlotskiy

w w w. p o r t r a i t s o c i e t y. o r g

I 9

feature

BEYOND TECHNIQUE: A CONVERSATION WITH MARY WHYTE ON AUTHENTICITY AND THE ARTIST’S LIFE

By Christine Egnoski

1 1 0 I Th e A r t of t h e Po r t rait

2 1. Red Rooster Café, 24x31”, watercolor 2. Book Cover for An Artist’s Life: Unlocking Creative Expression

For more than five decades, watercolorist Mary Whyte has built a career defined not by trends or movements, but by an unshakable devotion to storytelling through the human figure. From her earliest memories of painting rural Ohio to her decades-long immersion in the Gullah community of South Carolina’s Lowcountry, Whyte’s journey reflects an artist who has consistently chosen authenticity over approval. Her paintings—alive with gesture, atmosphere, and lived experience—reveal both her technical mastery and her belief that art must speak from the heart to endure. Egnoski: You grew up in Ohio and went on to study at the Tyler School of Art in Philadelphia, graduating in 1976. What were some of your earliest artistic memories or influences that pointed you toward becoming a professional artist? Whyte: My earliest paintings were of rural Ohio as I knew it—the Amish plowing their fields, farmers collecting maple syrup, the locals stringing holiday lights in the town square, children catching fireflies on a warm summer night. I began selling my paintings in a small gift shop in Chagrin Falls when I was in high school. My first solo exhibition occurred when I was nineteen. It was then I made the firm decision that I would live my life as an artist—no matter how much success I might or might not have. If I had to live in a cardboard box on the street, I would make art the center of my world. Egnoski: In your early career, you worked in Pennsylvania before relocating to South Carolina. What prompted that move, and how did the change of environment affect your approach to your art? Whyte: I enrolled in an art school in Philadelphia, where my work was viewed as trivial. At the time, abstract expressionism was taking hold of the New York art scene and, as art students, we were expected to follow. It wasn’t until several years after I graduated that I was able to find my own footing and feel confident that what I had to say as an artist was unique and had merit. That first awakening happened when I moved to South Carolina and, by chance, began painting the Gullah women of Johns Island. Although I knew the community was tight-knit and generally closed to the outside world, I felt here was a powerful and meaningful story that needed to be told. In retrospect, I believe the women saw and felt my earnestness and trusted me to come into their lives. I painted the women for over thirty years—cooking, raising their children, making quilts, and tending the garden. The women and their families became the subject of hundreds of works and numerous publications including Alfreda’s World and Down Bohicket Road. Egnoski: Your work has stayed firmly figurative, even as many artists move in other directions. How do you see the role of representational art today, and what keeps you committed to it?

Whyte: Yes, my work remains largely figurative and representational. Some have described what I do as narrative. Beginning thirty years ago, I witnessed a growing market for figurative work in the South and Eastern United States. More recently, I have seen an increasing number of galleries representing abstract work. All of this is to say that tastes and trends evolve and change. Unless we are commercial artists, our focus should be not on what is trending in the art market, but what is trending in our heart. If we chase the market, our work dies.

w w w. p o r t r a i t s o c i e t y. o r g

I 11

feature

3 Egnoski: Watercolor is often considered a challenging medium. In a recent interview you described how unexpected effects in the medium can become opportunities rather than mistakes. Can you touch on this? Whyte: Watercolor has unique challenges. Its fluidity, necessary speed of execution, and sometimes unpredictable results, is more than many artists can handle. Sargent rightly described watercolor as “making the best of an emergency.” It is for all these reasons I love the medium more than any other. Egnoski: Many of your pieces depict very specific communities— Gullah women, working Americans in vanishing industries. Could you walk us through your process: from initial idea to finished painting? Whyte: For the watercolor Coming to Camelot (shown on cover), my model was my neighbor Dot, now in her mid-nineties. My ideas are envisioned by first doing a thumbnail sketch to work out the composition. After that, using a standard pencil, I draw the key shapes on a sheet of watercolor paper 1 2 I Th e A r t of t h e Po r t rait

(usually Arches 300-pound cold press). In all of my paintings, I paint from big shapes to little shapes, with the details last. Backgrounds are painted in first or early, since they set the stage. In this painting, I also incorporated Caran D’Ache water soluble wax pastels to give a grainy texture to the wall hanging behind the model. The areas where you see white, such as in the model’s hair and dress, are where I left the paper blank. In the finished painting, I focused the detail on Dot’s face and the texture of her hands. The dress she is wearing is mine, which I chose because of the bright, festive colors. The majority of my paintings, including Hauling Out and Marcus, depict people who live in my area. Other works, including Red Rooster Café, were done further from home. Decisions on who and how I paint are done intuitively, based on the emotion the person and the setting invoke in me. Egnoski: Your newest book, An Artist’s Life: Unlocking Creative Expression, explores not only your art but your creative journey and philosophy. What motivated you to write this more personal, reflective book at this point in your career?

4 Whyte: I believe too many artists spend their lives painting other people’s paintings. It’s a huge loss for both the artist and the public and is one of the reasons I wrote An Artist’s Life: Unlocking Creative Expression. Recently published by the University of South Carolina Press, the purpose of the book is to help artists find their true artistic voice and to get past roadblocks such as fear, self-doubt, and procrastination. Using anecdotes from my own experience, as well as images of recent work, the book also includes numerous exercises so that artists of any media can strengthen their creative skills. Egnoski: What role does writing play in your artistic practice, and can you share what projects or exhibitions you’re currently working on? Whyte: I find writing a necessary component for my work, especially for the books that accompany museum exhibitions. My current exhibition, We the People: Portraits of Veterans in America, opened six years ago and is still traveling. Comprised of fifty large watercolor portraits of veterans from all walks of life, the show will open May 2026 at the Grohmann Museum in Milwaukee as part of our nation’s celebration of the 250th year of our Constitution. The same month, another exhibition of my work called Salt of the Earth, will open at the Gibbes Museum of Art in Charleston. 3. Hauling Out, 28.75x36.75”, watercolor 4. Mr. Okra, 28.5x38.5”, watercolor 5. Portrait of Dr. Ralph L. Brinster, 41.5x29”, watercolor

5 w w w. p o r t r a i t s o c i e t y. o r g

I 13

feature

6 Egnoski: Looking ahead, can you tell us about any upcoming projects you are working on? Whyte: Currently I am exploring combining music with projection mapping. This coming March 20th and 21st, I will be collaborating with the Charleston Symphony Orchestra on a major concert celebrating America 250, where images of my work will be projected over the orchestra in perfect sync with the music. The project has required months of filming and editing. Egnoski: Finally, if you could give one piece of advice to an emerging artist today, beyond mastering technique, what would it be? Whyte: Yes, I would say to an emerging artist instead of focusing on what you do well, focus on what you do unlike anyone else. This alone will make all the difference in the world in your art. You will have left your mark and given proof of a life well-lived.

6. Special Delivery, 27.5x40.25”, watercolor 7. Marcus, 15.5x20”, watercolor

1 4 I Th e A r t of t h e Po r t rait

SCOTTSDALE ARTISTS’ SCHOOL

BECOME EXCEPTIONAL The Scottsdale Artists’ School Teaching Artistic Excellence with the Best Artists of our Time

More than just an Art Class Explore, Discover, Be Inspired Learn Fine Art from Living Masters

JOSEPH TODOROVITCH MAY 26 - 29, 2026 I SCOTTSDALE

scottsdaleartschool.org

800.333.5707 • 480.990.1422

w w w. p o r t r a i t s o c i e t y. o r g

I 15

a day in the life

A DAY IN THE LIFE WITH SUSAN LYON

By Becka Darling

For celebrated artist Susan Lyon, a day in the studio is both a quiet ritual and a continual unfolding of curiosity. Her mornings begin unhurriedly, easing into work through emails, editing, and preparing reference photos before settling into focused painting sessions. Lyon’s rhythm is shaped as much by her creative energy as by her desire to stay connected, whether mentoring artists around the world on Zoom or surrounding herself with the voices of classic novels and thoughtful YouTube channels as she paints. Travel, friendships, and the comforts of home all weave naturally into her practice, grounding her while fueling new ideas. Grateful for the wealth of artistic resources now available, she embraces both learning and sharing, offering community through her YouTube channel and Patreon. In every part of her day, Lyon works to remain present, intuitive, and generous, qualities that shape not only her art, but the way she moves through the creative life. How does a typical day in your studio begin? What does your daily routine look like? A typical day for me in my studio starts between 9:30a-10:00a. I work on my computer a bit, doing emails, editing videos, working on photos to paint from. I paint for 60-90 minutes at a time then take breaks and do more computer stuff. I also meet people on Zoom from all over the world for mentoring, which is probably my favorite part of my day. It doesn’t happen every day, probably three times a week on average. Are there certain times of day when you feel most inspired or productive, or does your creativity come in waves? I am more of a day painter than a night painter. I am most productive between 12:00p-4:00p. Yes, my creativity comes in waves. I find it hard to be very productive right before a trip and right after one. I don’t like to paint when I am stressed or tired. I love to have books on tape or YouTube videos playing as I paint. My favorite types of books are longform classic novels.

You often paint from life and travel for inspiration. How do those experiences weave into your daily practice when you’re back home? The great thing about travel is that when you get home you are so appreciative of what you have. I love to be cozy and “in my bubble.” We live in a rural area and tend to be homebodies, so it’s nice to plan trips but also love being home. 1 6 I Th e A r t of t h e Po r t rait

What are some of the small, perhaps unexpected, moments that keep you grounded or inspired throughout the day? Most of my really good friends live in states other than me, but when I am feeling uninspired, it’s great to have long talks with my artist friends. They always help me get a clear perspective about any situation. Being an artist can feel lonely and just having people to reach out to helps me a lot. I truly do feel grateful for all the amazing information we have at our fingertips. I am at an age that came up without the internet, so I remember what it was like to wait for art magazines to come out each month. I love Pinterest and all the YouTube channels out there on art as well as on spirituality. There is so much out there for free, and I eat it up.

I started a YouTube channel because I also wanted to give all that I have learned to people who can’t travel or afford workshops or paintings but who still want an artist community. I also have a Patreon, but with YouTube, I feel like I can reach more people. It’s a passion for me to let people know they are not alone, because most artists go through the same ups and downs. I try to be as transparent as I can. At the end of the day, how do you know when a painting is finished, or when it’s time to step away and rest? I started doing a countdown years ago to help me finish paintings. When the painting is about 85% done, I take a notebook and go across the room and start to write a list (a very detailed list) of exact brushstrokes I want to do on the piece. I really study and break it down to less than twenty brushstrokes. Then I cross off the individual sentences as they are done. When they are all done, I tell myself I did the best I could at this time. I am not a perfectionist; this list of writing helps me get to the end.

How do you incorporate teaching into your schedule, and do you feel sharing your knowledge allows you to be a better artist? I love to teach, and I do three to four workshops a year at most. I consider my patreon.com/susanlyon and my YouTube @susanlyonfineart my offering as a teacher also. Through Patreon I mentor one-on-one through Zoom. I would say half of my time is consumed by making art videos and mentoring. I definitely think teaching makes me a better artist, but also, it’s a mirror to how I react to situations. I learn all the time about how to be a better person through my experiences with students. What advice would you give to a young artist? My advice to any artist is to take time each day to be still and quiet. I couldn’t hear my intuition for most of my life; you won’t know which direction to go if you can’t hear and feel what tugs at you. Be different, be bold, seek out artists who inspire you. Most of the successful artists I know showed up early at shows and took classes to learn as much as they could. How does sharing both a life and a studio with another artist influence your creative process? Do you find collaboration, competition, or something entirely different emerging in that space? I don’t share a studio with my husband, but we paint together often. Luckily, we are interested in painting the same subjects and traveling to the same places. We don’t have any competition between us, and I really want him to be successful! I don’t know anything else; I have been with Scott since I was 19. We don’t have a life of a stable income, so we have to reinvent and make things happen. I don’t think people realize how selfmotivated you have to be as an artist. 1. Maasai Mother and Baby, 24x30”, oil 2. Faithful, 30x40”, pastel charcoal 3. Grandma’s Hand, 21x16”, oil

3 Susan Lyon is an American painter known for her sensitive mixed-media portraits that blend realism with impressionistic color. Raised in Oak Park, Illinois, she studied at the American Academy of Art and the Palette & Chisel Club before establishing her studio in rural North Carolina with her husband, artist Scott Burdick. w w w. p o r t r a i t s o c i e t y. o r g

I 17

instructional

STEP BY STEP

By Oliver Sin

STEP ONE: Laying the Foundation Using a Stabilo #645 CarbOthello pastel pencil on Strathmore Pottery Greentoned paper, I began by lightly establishing the essential shapes and planes of the head. At this stage, accuracy and proportion are of utmost importance; every subsequent step depends on the strength of this foundation. This initial construction serves as the structural blueprint of the portrait. The solidity and believability of the final drawing are determined by the precision achieved here. Conceive of the head as a series of simplified geometric planes—the forehead, cheeks, and jaw—before attending to smaller features or details. Do not rush this phase. Errors in proportion at this stage cannot be corrected by later applications of tone or detail. STEP TWO: The Two-Value System of Light and Shadow Next, I reduced the portrait to two essential value groups: light and shadow. I toned only the shadow areas, maintaining consistent stroke direction to clarify form. This binary design establishes the framework of illumination and defines the major structure of the head. Understanding the relationship between light and shadow is fundamental to achieving convincing form. Squinting at the subject will simplify the value relationships and help you to better identify the shadow shapes. Avoid introducing strokes in conflicting directions too soon, as this can disrupt clarity and create a muddy surface. STEP THREE: Developing the Three-Value System In this step, I introduced a third value, midtone, to bridge the transition between the established light and shadow areas. I applied this tone delicately to unify the form. The inclusion of a midtone enriches the value structure, lending greater realism, depth, and a natural sense of roundness to the face. I use light pressure to distinguish the midtone from the darker shadow masses. Over-darkening the midtone diminishes contrast and can cause the drawing to appear flat and lifeless. STEP FOUR: Deepening the Shadows Next, I reinforced the core and cast shadows, concentrating on key areas such as beneath the nose, under the chin, and within the eye sockets. Strengthening the shadows intensifies contrast and imparts a more convincing illusion of threedimensional volume. Continuously compare the darkest darks against the lightest lights to preserve value balance. Do not darken all areas indiscriminately. Reserve the deepest tones for focal points where contrast enhances form and expression. STEP FIVE: Accenting with Highlights I employed a Stabilo #100 CarbOthello white pastel pencil to apply highlights selectively and place them on untouched areas of the toned paper to preserve their purity and brilliance. Highlights introduce vitality and direct the viewer’s attention to key features, such as the eyes, nose bridge, and lips. Apply highlights sparingly; restraint ensures greater visual impact and contrast, and excessive use of white pastel can flatten the drawing and diminish its depth. STEP SIX: Completed Drawing Through this sequential process, from foundational construction to the refinement of light and form, the portrait evolves with structural clarity and expressive depth. Each stage reinforces the principle that strong design, disciplined value control, and patience are the cornerstones of a compelling likeness.

1 8 I Th e A r t of t h e Po r t rait

Using toned paper serves several important educational and practical purposes in portrait and figure drawing: Establishing a Middle Value Toned paper provides a neutral midtone background, allowing the artist to work both upward and downward in value. This means you can add darks with charcoal or pastel pencils and lights with white or lighter pigments, creating a full value range efficiently. The paper itself represents the midtone, which simplifies value organization and helps students think structurally. Enhancing Value Contrast Because the midtone is already present, the contrast between light and shadow becomes more immediate and visually striking. The highlights appear more luminous, and the shadows gain greater depth, creating a stronger illusion of form and light. Saving Time and Effort Working on white paper requires building the entire tonal range from scratch. In contrast, toned paper naturally fills the middle spectrum, reducing the time needed to establish atmosphere and harmony. This lets the artist focus on refinement and subtle transitions rather than starting from zero. Creating Mood and Unity Different paper tones (warm, cool, neutral) influence the emotional atmosphere of the artwork. For instance, a green or gray tone can impart calmness and classical balance, while a warm beige or sienna tone evokes warmth and humanity. The underlying hue unifies the overall color harmony of the drawing. Training the Eye to See Values Accurately From a teaching perspective, toned paper trains students to observe and organize value relationships more consciously. It reinforces the principle that every tone in a portrait must relate to the surrounding tones of light, midtone, and shadow rather than relying on the brightness of white paper. Toned paper functions not merely as a background but as an active participant in the value structure of the drawing. It bridges light and shadow, enhances visual impact, and fosters disciplined thinking about tonal design, an essential practice for any serious portrait artist. Oliver Sin is a dedicated educator and portrait artist known for his expressive, gesture-driven approach rooted in classical drawing techniques. A faculty member at the Academy of Art University since 2001, he inspires students to explore the human form with honesty, energy, and discipline.

Portrait of Juan, 12x18”, pastel pencil on toned paper w w w. p o r t r a i t s o c i e t y. o r g

I 19

member news

1. Echo Baker’s painting, Girl in Vintage Hat, was juried into the American Impressionist Society’s 6th Annual All Member Online Exhibition. 2. Jane Glickman Cavala’s painting, The Diner, was exhibited in the juried exhibition, Art: Pairings and Echoes, at the Belvedere Tiburon Library Art Gallery. 3. Rosanna Gaddoni’s drawing, Companions, received the Best Wildlife and Animals Award in the Almenara Art Prize 2025 international art competition. The award winners were announced at the Gala in Córdoba, Spain.

4. Fernando Garcia-Monzon’s portrait received first prize at the “Portrait of a Princess” award, launched by the Royal Body of Nobility in reference to H.R.H. Princess Leonor, heir to-be to the Throne of Spain. 5. Mahua Mazumdar held a solo exhibit “Expressions in Light” at The Art League Gallery, in Alexandria, Virginia, in November and December 2025. 6. Andrea Schneider’s charcoal drawing, One Fine Day, was accepted into the Catherine Lorillard Wolf Art Club’s 128th Anniversary Annual Open Juried exhibit at the Salmagundi Club, NYC.

3 4

7. Andrea Steinbauer was preselected as a finalist for the prestigious Salon 2027 of the Muenchner Kuenstlergenossenschaft, royal privileged since 1868. 8. Wendy Wagner completed ten portrait drawings for an organization in Naples, FL called St. Matthews House. The show is called Faces Beyond Homelessness and challenges the assumption of what being homeless looks like. For more information, visit stmatthewshouse. org/faces. 9. Jackson Wrede was awarded 1st Place for Dune Buggy in Art and Color 365 Magazine’s international portrait competition. Jackson said this is a tremendous honor after receiving 2nd place in last year’s contest.

2 0 I Th e A r t of t h e Po r t rait

5 7

6 8

exhibitions 1. Amy Sherald: American Sublime is open now through April 5, 2026, at the Baltimore Museum of Art. The exhibition tells the story of Sherald’s vision and practice through 38 paintings created from 2007 to the present, showcasing her as a defining voice of her generation who transformed American portraiture. Learn more at artbma.org.

1 2

2. The Susan Powell Fine Art Annual Holiday Show 2025 is on display now through January 17, 2026. This year’s exhibition features Portrait Society artists Kelly Birkenruth, Grace DeVito, Susan Jositas, and Andre Sjodin. See all artwork at susanpowellfineart.com. Pictured: Grace DeVito, Blueberries and Lemons, 8x10”, oil 3. The Portrait Society of Atlanta Spring Exhibition 2026 hosted by The Hudgens Center in Duluth, Georgia will be held February 14 through April 18, 2026. This is a members-only competition. Learn more at portraitsocietyofatlanta. org. Pictured: 2025 Fall Open Juried Exhibition 3rd Place, Diana Kirkpatrick, Obsession Cuba, charcoal

3 4

workshops 4. Jimena Agra will be teaching a Figures and Fantasy Art Retreat in Portugal with UpTrek from June 12–19, 2026 — a full week of fantasy-figure painting focused on mermaids and mythology, open to all levels. Learn more at uptrek.com. 5. Maria Battista will be teaching a classical figure sculpting workshop at the Estelle Center for Creative Arts in La Veta, CO, May 31-June 5, 2026. All levels may register. Learn more at www.estellecreativearts.com. 6. Louis Carr is teaching a “Creating Emotional Connection: Harnessing the Power of Expression” workshop at Scottsdale Artists’ School, March 23-26, 2026. This workshop focuses on creating emotional connection through human expression through a blend of lectures, live demonstrations, and individualized instruction. Learn more at scottsdaleartschool.org.

7. Natalie Italiano will be teaching a “Costumed Portrait Painting” workshop in Haines, Alaska as part of Studio Incamminati’s “In Your Town” series, June 8-12, 2026. This immersive five-day workshop is designed for both beginning and experienced painters who want to strengthen their ability to paint portraits from life. Learn more at studioincamminati.edu. w w w . p o r t r a i t s o c i e t y . o r g I 21

renewals & new members RENEWING MEMBERS A special THANK YOU to our renewing members in September, October and November

SEPTEMBER Patron Naomi Allen, UT Carole Allison, RI Luis Alvarez-Roure, NJ Melanie Harding Bates, KY Vincent Blair, NY Sandra L. Bozer, MI Katie Bradford, GA Jean-Marie Chapman, WI Sandra Chaput, GA Renee Cifuentes, OH Diana Coco-Russell, TN Judy Lee Emerick, PA Marilyn Gasparini, FL Tina Gleason, TX Megan W. Grinder, TN Jan Homan, MI Vasudeo Taranath Kamath, India Deborah D. Kepes, GA Leigh Anne Lewis, CO Karen Perrella, CT Pamela Ramey Tatum, FL General Maria Andrea, GA Helen Avalon, FL Irene Bailey, NC James A. Burrell, IL Stephen Bush, PA Kimberly Bustillos, AK Lindsay Carroll, NC Carolyn Cheney, MI Mary Anne Cochran-Fox, VA Leanora Marion Colletti, SC Katherine Cudney, AZ Susan Daly-Voss, FL Nan Dawkins, VA Stephanie Deshpande, NJ Gabriella Di XX Miglia, CA Rita Salazar Dickerson, CO Lauren Dohring, FL Martha Doty, CT Rebecca Finelli, VA Shari Ford, TN Jolynn Forman, UT Patricia Fritz, NJ Johana Garcia, VA Katie C. Garner, GA David Earl Garrison, IA Laurie Gibson, CO Jenni Gingerich, WA Laura Gooden Griffith, TN Samantha Griffith, TN Fran Hall, OH Terry C. Hall, MT Patricia Hanszen, TX Caroline Healy, VA Carrie Howard, WA Julie Tsang Kavanagh, CA Cherie Kimmell, TN Linda Kollacks, IL Judith K. Leeds, NJ Ying-He Liu, MA Cheryl Lockhart, WA Patrice Maloney, NY Elisabeth Marsch, TN Meghan McCall, TX Eric McGhie, CA Susan Neese McKinney, MO Cris Metcalf, NY Ann Moeller, AL Candace X. Moore, CA David Morris, IL Kay Maureen Moses, NM 2 2 I Th e A r t of t h e Po r t rait

Kim Johnson Nechtman, AZ Anna S Nelson, TN Shayna Newsome, OR Lee Nicolay, HI Thelma Ogle, TN Tammy Oliver Cook, MS David Pagani, NM Diane Paoletti, AK Cees C. Penning, FL Amy Dudash Robinson, NJ Amanda Russo, IN Kay Salem, TX Diana Dee Sarkar, TN Kathleen Simko, FL Tonja Smith, NC Mary Stovall, TX Jim Edward Stovall, TX Michael Strickland, GA Makeda Sylvester, GA Joeleinn Tabler, OK Lesley Underwood, CA Helen Vlasic, MI Amy Werntz, TX Kathie Wheeler, WI Katie Williams, GA Rosanne S. Wolfe, PA International Min Chen, China Anthony M Foss, Canada Lihuai He, China Marissa Lee, Trinidad and Tobago Linda LeGrice, Canada Heather Lenefsky, Australia Juan Martinez, Canada Rosemary Mihalyi, Canada Alexandra Telgmann, Germany Ka Li Wong, Austria

O CTO B E R Patron Lilliam A. Ambroggio, FL Anna Rose Bain, CO Alexandrine Bartlett, NM Francine Bizal, MO Evette Hulsey Borchich, GA Patricia Ridge Bradley, OK Helena M. Chiou, NY Sandra Cohen, MD Samuel H. D’Ambruoso, CT Henry Egan, CT George H. Gensic, IN Anna T Gustafson, MN Joel Heger, CA Christina Hetzler, MI Sharon Lloyd Hourigan, PA Scott Jones, WA Tara Keefe, CA Robin Lazarus-Berlin, MD Luana Luconi Winner, NC Marc Richard Mellon, CT Jean Ignatz Morris, AL Mercedes Nugent-Head, NY Mark Owen, CO Julie Flom Pizzo, FL Lisa Reifsneider, FL Jill Rudzik, KY Peter Tresnan, NY Linda S. Weaver, NC Jennifer Heyd Wharton, SC Steven Whyte, CA Marilyn WilliscroftGoldberg, FL Sheila Wolff, FL Cindy Woods, NM General Joseph Accorso, NY Dona Alexis, CO Tanya Asadovsky, FL

Tucker Bailey, NC Barbara Baum, SC Kimberly Beck, UT Robert Becker, OH Linda Lea Bertrand, MA Debby Bird, FL Donna M. Blanton, TX Lewis Blevins, CA Michael Bowman, OH Michael Brazao, VA Leslie Blair Bridgman-Cimei, NJ Judson Charles Brown, NY Lynne Bucaro, SC Stephen Cefalo, SC Tracey Chaykin, CA Yuanan Cheng, MA Richard Chenoweth, VA Stina Clemmensen, CA Steven Clevenger, IL Randy Blake Clontz, NC sandra cointreau, CT Sandra Colquitt, GA Joyce Danko, PA Behnaz Darabi, LA Tawanda Davis, FL Chris diDomizio, GA Kathleen Digney, SC Christine Angelotta Dixon, VA Diana Djibirova, NY Sarah Buell Dowling, TN Jason Drake, NC Boz Droca, TX Linda England Duckworth, SC Marc Duquette, NY DanidKarim Eid, CO Melissa Elliott, CA Marjorie Elwood, CO Eva Evangelista, IL Sara Beth Fair, AL Sahar Fakhoury, NC Tina Figarelli, IL Nanette Fluhr, NJ Sandra Massie Forbush, VA Becky Gottsegen, LA Frank Griffen, CA Eileen Adele Hale, CA Cynthia Hamilton, IL Deb Hanes-Nelson, KS Annette A. Hanna, WA Erin Colleen Hardin, AL Nelia Harper French, MN Daryl Hartman, CT Neil Heimsoth, MO Stephanie Helmey, TN Patience Heyl, NM Mary Hoffman, SC Nicole Horn, VA Hana Horstkamp, MD Lunjia Hu, CA Primary Hughes, MI Suzanne V Jack, TN Dawn Jacobsen, SC Andrea L. Jacobson, TX Adrian Jensen, VA Virginia Price Johnson, VA Guy Joy, CA Jessamyn Kaback, CA Emma R Khalil, OR David King, TX Janet Arfin Kingan, FL Chris Kling, FL Mary H Klunk, FL Gwenn Knapp, PA Elayne Kuehler, LA Deborah Leber, NJ Karen Levinbook, CA Kathy Lindert, PA Louisa Louie, CA Matilda Luk, NJ Kevin Macpherson, NM Michael Maczuga, AZ Avery Maples, TN Lisa Maranto, TX John Markese, IL DJ Matheny, MO

Mahua Mazumdar, VA Hilary McCarthy, CA Patty McGeeney, CA Dee Ann McIntyre, NM Jane McIntyre, FL Rosanne McKenney, MS Jeff Merrill, FL James R. Michie, UT Laura Mocnik, MI Anne Molasky, MO Susan Monte, CA Sreedevi Nair, TX Christine Norris, NY Emily Olson, CO Daralyn Peifer, MN Robert Dale Perrish, MI Oscar Peterson, NJ Thomas Philbrick, MI Amparo Pikarsky, NJ Debra Pinciotti, PA Jennifer Polnaszek, TX Eleanor Driver Post, GA Linda Ellen Price, AL Viktor Puzanenko, TX Andy Quisumbing, OH Ted Reed, VA Marianne Rice, WI Jan Richardson, WI Jose Rivera, MI Harriet Marcia Rolnick, CA Allan Rosen, TX Deborah Savo, NJ Cathy Schwartz, VA Maureen Scullin, NC Wilfred Allen Sessoms, NJ Julie Orsini Shakher, FL Inna Shchehlova, NC Carol Sheets, AR Eddie Shelton, VA Pamela Shumway, IL Jen Skipper, VA John Slivjak, NJ Colton Kirk Smith, UT Elizabeth Goode Spaulding, VA Jennifer St James, CO Sharon Stocking, TN Catherine Susky, GA Susan Sutherland, TX William A. Suys, WI William Taldone, FL Patricia Tefft, IL John Tenney, CT Carol Terry, AL Trevor Wade Thomas, CO Louise D. Thompson, SC Anna Toberman, IL Jeffrey Tokarz, NY Karin Toppel, CO Christophe Vacher, CA Brian Vines, NC Cindy Wagner, CT Samuel Walter, CT David N. Ward, IL Catherine Watson, FL G. A. Wells, KY Diana Whitney, WA Carol Wilks, MD Paula Winter, TX Trish Wise, TX George Wright, MD Lynn Yoder, PA International Girish Bakhru, India Frances Bell, United Kingdom Chung-Wei Chien, China Rick Cullis, Canada Moira C. Dedrick, Canada Lyn Diefenbach, Australia Bahaa Faiad, Egypt Ruth Fitton, United Kingdom Shuai Han, China Kira Hill, New Zealand Bin Huang, China WanNing Liao, Canada

Bing Lv, China Alexandrea NicholasJennings, Canada Mario B. Panis, Philippines William Rogers, Canada David Sandell, United Kingdom Vicki Sullivan, Australia Jean-Paul Tibbles, United Kingdom Louise Solecki Weir, Canada Chuanbo Yan, China Haixiang Zhu, China

N OVEM BER Patron Shay Blum, NJ John Borowicz, MA Janis Chrane, AL Angela Classi, NY Rachel Ruth Ferguson, WI Beth Brennan Grabish, GA Ann Manry Kenyon, FL James Lehrer, CA Joan MacDowell, TX Teresa Mattos, CA Kathy McClendon, NM Karla Z Pirona, FL Robert L. Raab, WA Terry L. Reimer, CA Jody McDonald Rider, MI Timothy James Standring, CO Rosencruz E Sumera, CA Tillie J. Yow, GA General Victoria Alexandra Abramov, FL Jimena Agra, CA Susan J Anderson, FL Diana J. Austin, AZ Raymond Authement, LA Echo Baker, CA Jennifer Balkan, TX Kristen Barron, MA Constance Bath, FL Chris Benavides, OH Michael Bergt, NM Darlene Bigus-Doheny, LA Janis Casco Blayer, AZ AnnDrea Boe, NE Barbara Bova, CT Richard Sidney Boyd, CA Valentine Brandner, IL Linda Tracey Brandon, AZ Sue Braswell, VA Diane Brehmer, NY Cynthia Brewster, OH J. M. Brodrick, OR Debra Buchanan, OH Tonya Burdine, CA Richel Burkey-Harris, MN Christopher Burns, TX Ellen Buselli, NY Debra Lee Butler, CO Elena Caravela, NJ Todd Casey, CT Connie Paige Chadwell, TX Shere Chamness, CO Stephanie Chang, MD Caroline Cheng, CA Robin Cole, CO Constance Commette, FL John D Cook, TX Lily Curley, CO Debr Rae Dar, CO Judeth Davis, WA Katy Despot, CT Isolde DeVries, NC Jacob Dobson, IN Jane Du, TX Catherine Eagleson, ME Karen Eclavea, HI

Stella Ehrich, VT Anthony Enyedy, CA Erin Farnsworth, UT Casey Field, TN Mary Ann Ann Floyd, AL Cheryl Folkers, WA Kelly Foss, NY Nancy Foster, CO Sandy Furst, NJ Gavin Glakas, VA Evan Goldman, MD Regina Guarino, NJ John Hanley, CA Jack Haran, MA Cheryl Mann Hardin, AL Julieanne Harris, PA Charmaine Harris, OK Kristina Laurendi Havens, GA John James Hickey, CA Jean Hildebrant, AZ Kara Holman, DC Heidi Hornberger, CA George Ianaki, MD Robert Johnson, VA Monique Johnson, CA Pam Kampner, FL Sara Kaplan, CT Tim Kelly, MD Colleen Kent, GA Melissa H Kuzma, MD Mike Kenneth Laiuppa, CT Robert Larson, UT Sharon Hopper Larson, MO Bev Lee, CO Jong Lee, CA Jean Lewis, IL Lan Li, CA Donna Linder, FL Erik Linton, UT Wendy Lo, CA Debra Lott, KY Patricia Maguire, FL Johanne Mangi, CT Mary Marzano, IL Vicky McLain, SC Loretta McNair, CA Emily Schultz McNeil, OR Donna Mitchell, PA Kelley Mogilka, CA Lauren Mohundro, GA David Montgomery, AZ Mattie Ree Neal, TN Eileen Nistler, WY Mary O’Brien, MA Margaret Okeefe, NY Yumi Overson, WA Sally Painter, FL Candance Parton, TN Emily A. Pastor, OR Sangeeta Patel, WI Desree Pettera, KS Nancy Plank, CA Sunil Potdar, IL Leslie D. Pratt-Thomas, SC Carolyn Rasche, GA Mary Reid, AZ Connie Lynn Reilly, GA Drew Rhian, MS Joseph Riggi, GA Romeo Robinson, TX Edward Robitz, OH Teresa Rogers, FL Laura Roney, NV Ayana Ross, GA Julie Rumsey, ID Antonia Ruppert, IL Diane Russell, OR Kasie Sallee, OK Kameh Saman, WA Kate Scalf, NC Steve Scheuring, PA Sarah Sedgwick Anderson, CA Gaye Sekula, TX Daune Sheri, CT Cathy Shippee, WA

Cindy Simon, NE Rhonda Mann Sims, AL Raghda Skeik, MN Diane Staley, VA Tanner Kendall Steed, CO Suzanne Stoltenberg, MD Carol Strebel, OH Terry Moore Strickland, AL Lisa Strieter, KY Kimberly Strittmater, WI Susan Helen Strok, CO Tara Stuart, GA Julio Suarez, MI Chantal Sulkow, NY James W Swanson, IL Susan Talbot-Elliott, VA Eugena Talvola, CA David Tanner, VA Elizabeth Taylor, GA Hayley Thorp, NC Svetlana Trofimova, PA Leonora Volpe, TX Susan Duke Waters, GA Gail Eleanor Wegodsky, GA Qiuzhen Wei, CA Jeanne Whitney, WA Deborah Wicks, NC Rebecca Woodward, IN Sara Zak, NY International Lynley Bradnam, New Zealand Sian Crichton, Canada Bertrand Desmaricaux, Belgium George Doros, Canada Yan Huang, China Marika Istahl, Estonia Agnes Janovics, Ireland Jessica Le Clerc, Australia Atanas Mihaltchev, Canada Robyn Moon, Australia Cher Pruys, Canada Marion Richards, Australia Peter Smeeth, Australia Svetlana Solonikova, Russian Federation Phoebe-Louise Celia Stewart Carter, United Kingdom John Suh, Republic of Korea Daniel Wasserman, Israel Jinghan Wu, China Jiaxuan Yi, Canada Yanqi Zhai, China NEW MEMBERS A WARM WELCOME to our new members that joined in September, October and November

S E PT E MB E R

Patron Sheree Cobernus, GA Xima Lee Hulings, TN Fay Bridges Hyatt, GA Ric McCormick, TX Robin Pau, FL William Calvin Person, TN Patricia Quinn Williams, GA General Dee Abbate, IL Don Arsenault, CT KiWon Ballman, UT Nancy Boyle, MA Gabrielle Castle, ME Chris Coleman, GA Kathryn Dennison, NY Cindy DiBlasi, AZ

Andrew Elsten, MI David E Fisher, CT Jerri Freeman, GA Sandra Garfinkel, SC Karen A Gideon, CA April Graves, IL Curtis Green, CA Sara Greene, CT Mindy Harmon, TX Ana Hedberg, MI Gena Houghton, GA Brad Imotichey, TN Jana Kiwala, FL Jacqueline Langlinais, LA Janel Rae Lewis, FL Laudi K McDonald, TN Jon Moore, SC Kim Natarajan, GA Richard F Parker, AL Rosalien Payne, GA Lydia Reyle-Corcoran, PA Thomas Burton Root, TN Sheri Sands, TN Stacy Sopcich, KS Linda H South, FL Kimberly Dowd Swanson, MD Tyne Olivia Tyson, SC Melanie Vaughan, GA Q Rose Wang, MA Lindsay Wesolowski, CO Lori Morrell Whitaker, TX Derek Duane Wilkinson, KS Laine Williams, CO Katie Winston, TX Richard Wortzel, PA Visionary Dominic Pe Benito, NJ International Laura Arenson, United Kingdom Christopher James Arnol, Australia Teresa Bolen, Japan Wenming Tao, China Ning Wang, China Student Isabella Lezcano, NJ

O CTO BE R Patron Liz Bailey, TN Carie Cartwright, VA Kelley Gaidos Estes, TN Josie D Grant, AZ Frank Leonardo, NJ Teresa R Meuter, GA General Emily Ann Anderson, NC Pippa Arend, OR Janet Atkinson, NJ Cheryl Bosch, VA James Douglas Brantley, AL Anthony Lloyd Bruce, TX Sandy Bury, IL Laida Arcia Carro, FL Stephanie Charnas, MI Bridgette Comellas, NC Terry Cramolini, SC Rodney B Crossman, FL Olga DeLuca, WA Ganine Giorgione Derleth, GA Jenny Elizabeth, UT Mel Fiorentino, FL Jean Hilliker Fowley, NY Bradley Wayne Giles, CA Scott Glaser, RI Donna Glover, MD Margi Hopkins, OH

Kevin Hu, NY Jeanette Marie Jones, WA Jenny Jun, WA Rochelle Kalish, NY Susan Marie Lee, LA Judith Showell Loeber, DE Leon Lou, MI Leisa Marie Luis-Grill, TX Molly McLaughlin, MA Brian McLaughlin, MA Shannon Meadows, GA Rob Mooij, PA Ian Paul Morrison, IL Mark Nakell, ME Helen D Nash, TN Christopher Olsen-Bates, CA Mike Penn, OH Mark Potteiger, RI Tom Ruple, SC Lisa P. Stockdell, GA Shirley J. Terrien, WI Laura Timares, AL Genevieve Tucker, Diana Unrein, KS Greta Vaughan, SC Carol Wetterauer, TX Bennie Williams, OK

Noune Sarvazyan, GA Gary Sauder, CA John F. Scavnicky, OH Treslyn Shipley-Gleeson, IL Thomas Tholen, PA Joanne Tompkins, NY Carlandrea Tortorelli, DC Weichen Rachel Tu, CO Kristen Valle Yann, FL Kimball Anne Willson, CA Zhaoming Wu, CA Ming lon Young, FL Jeromy L Young, LA International Juan Guo, China Scott Hebert, Canada Niamh Ann Kelly, Ireland Peicong Li, China Nadia Molugova, Italy Armelle Swan, Australia Garry Allen Watin, Philippines

International Francesca Elizabeth Adami, United Kingdom Diqiu He, China Anna Marie Jepson, New Zealand Huidong Li, China Mathew Nagendran, Canada Mark Reeder, Canada Leslie Sneesby, Canada Xionghong Xia, China Qiang Xu, China Wenqing Xu, China Student Anna Cadger, Canada Christopher Estes, TN Cara Danielle O’Reilly, CT

N OVE MBER Patron Mark Stephen Hunter, MI Pam West, NM George Zipparo, NY General Rob Adamson, UT Elizabeth Sheridan Adinolfi, CA Jessica Aviles, FL Brian Axtell, WI Gayle Bledsoe, GA Jennifer Camp, SC Yanling Chen, MD Cora Cherubini, OH Lesa Cook, MD Jane E Corbellini, TX Eric David Dempsey, GA Kai F Deng, GA Mary Lee Dorrell, IL Myroslav Duzinkevych, NY Charles Everett, FL Guinevere Monet Gerardy, KS Allison Baldwin Gobbell, CA Kathleen Erin Hall, PA Brye Holliday-Rhodes, PA Rebecca J. Jones, TX Holly M Kidder, ME Diego Mora, CT Cristian Mora, CO Maryna Novohorodska, MD Christopher Rossow, CA Suzanne Royal, GA w w w . p o r t r a i t s o c i e t y . o r g I 23

The Portrait Society of America P.O. Box 11272 Tallahassee, FL 32302

info@portraitsociety.org | www.portraitsociety.org | 877-772-4321

Non-profit Organization U.S. Postage PAID Permit 977 Tallahassee, FL