Thursday, March 15, 2018

Leaving a Legacy: The Story of Louise Jopling -

Louise Jopling by Sir John Everett Millais
"What I know, I chiefly learned alone. Hard work and the genius that comes from infinite pains, the eye to see nature, the heart to feel nature, and the courage to follow nature—these are the best qualifications for the artist who would succeed." Louise Jopling

Born in 1843, Louise Jane Jopling is known to many as a notable portrait and genre painter, author and teacher. Brought up in the Victorian era, Louise was one of few women artists who achieved a high level of professional success in her lifetime. Reaching this level of achievement was exceptional for women of her generation. 

At this time, women had very few rights and their lives were bound to their father and/or husbands. A women’s place in society was still perceived as passive and their behavior governed by emotion. John Ruskin, Britain's leading art critic at the time wrote: "I have always said that no women could paint."

Self Portrait
Throughout her life, Louise worked to increase gender equality in the arts and in the lives of women. Believing that women should receive the same education as men, Louise was part of the growing number of independent, career-oriented women who sought to push the limits set by a male-dominated society and exercise control over their own lives. 

Marrying at the age of 17, Louise wed Frank Romer, her first of three husbands. The couple moved to Paris, where he worked for Baron Nathaniel de Rothschild. It was the Baroness de Rothschild who encouraged Louise to study art. 

Portrait of a Lady, Louise Jopling
At age 23, Louise began her studies with Charles Joshua Chaplin, who taught private art classes specifically for women at his studio. Chaplin studied and instructed at the École des Beaux-Arts in Paris. Mary Cassatt, Marie Gonzales, Louise Abbema and Henriette Browne were among the group of women artists that attended the Chaplin studio. Louise's work was soon recognized. At age 26, she exhibited at the Royal Academy for the first time.

While in Paris, Louise's first husband abandoned their family. This prompted Louise’s move back to England. After the death of Romer in 1872, she was free to marry again. In 1874, Louise married Joseph Middleton Jopling, a self-taught watercolor artist who worked with Vanity Fair and regularly exhibited at the Royal Academy. During her second marriage, Louise’s painting career thrived and she was the primary earner for the family. Joseph Jopling died in 1884. In 1887, she married lawyer, George W. Rowe.

Ultimately, Louise established the Jopling School of Painting for women. The school which provided women with the same studies as other institutions. She strived to create a learning environment that would welcome women who sought to master the art of painting. For Louise, the school was not only a way to earn a living but provided a unique and enriching experience.

Long-term supporter of the National Union of Women's Suffrage, Louise actively supported feminist causes. She also served as vice-president of the Healthy and Artistic Dress Union, which advocated for less restrictive clothing.

A Modern Cinderella, Louise Jopling
These life-long passions influenced her paintings. Her work connected with the aesthetic movement of the Victorian era, feminism, and Japonisme. Depicting women in more modern dress, her paintings often contradicted the societal norms associated with women being passive and definitions of femininity. However, they were not so overt as to draw disapproval or be excluded from exhibits. 

Women emerged in a way like never before by breaking into history painting. In the past, women figures were often presented in unfavorable roles. Now, they were taking their image into their own hands and started portraying women as modern icons. Painters were cautious that they did not present subjects as feminists, but infused the paintings with the rights of women and to change the prevailing portrayal of femininity.

Serenity, Louise Jopling

Another important form of support for women's causes came about through the painting and giving of portraits by women who shared a common mindset. These paintings became part of collections in women's colleges, societies, and clubs. They were made by women to be viewed by women. This became known as a form of matronage - the commissioning and collecting of art by women to disrupt the representation and signification of woman. 

In 1889, Louise signed The Declaration in Favour of Women’s Suffrage. Later on, she set aside her career to support the Artists Suffrage League, creating posters and banners for the organization. 

Louise Jopling was not one to accept the social contrivances of human invention that were designed to keep her from working in a field of her choosing. She was a shining example for the women of her time and instrumental in the creation of a path for the many women artists who would follow. Louise Jopling remained active in the suffragist groups with diverse responsibilities until she died in 1933.

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Artfully Yours,

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Annette Goings Fine Art Website

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*History of the Amersham Area
*Women in the Victorian Art World
**Louise Jopling, Reluctant Aesthete, Convinced Feminist
* Royal Academy 

Monday, March 28, 2016

Museums, Tulips and Seattle

Pike Place Market

Seattle in the springtime, the tulips are in bloom and art is in the air. Seattle is one of the places I frequent and enjoy writing about. I Have written several articles about trips to the greater Seattle area about several museums and art happenings. Recently while planning a trip to to the northwest and before finalizing my schedule, I checked the Gage Academy of Arts website. 

Female Nude with Skeleton

While looking at the Gage Academy of Art's schedule of events, I saw a workshop offered by Colleen Barry. She normally teaches at the Grand Central Atelier, in NY.  The timing was a delightful coincidence and I was able to join the workshop before it was filled. I am particularly excited about this workshop because last year I had the opportunity to interview Colleen Barry  for the Portrait Society of America. You can see the article re-posted here. Of course I look forward to sharing my thoughts about the workshop in an article in a few weeks. 

Leon Gaspard

Soon after arriving, I visited the tulip fields in Skagit Valley. It's was a few weeks before the peak season however, the fields were looking beautiful. Later, I visited the Pike Place Market and the Frye Art Museum. The Frye Museum had several current exhibits. One exhibit was Fechin, Gaspard and Repin, Russian Paintings exhibit and the Frye Salon. The Frye Salon is the recreation of the collection of Charles and Emma Fry as it appeared in their home gallery. 

Ilya Repin

The Russian Paintings: Six paintings by Fechin, Gaspard and Repin

These painters lived more than 150 years ago. In 1870 these painters created the Society for Traveling Art Exhibitions and are in the permanent collection of the Frye Museum. These painters would become known as the Peredvizhniki or the Itinerants or Wanderers. This group of artist wanted to establish a national art. One they felt would be more accessible art that reflected the lives of ordinary Russian peoples. 

The Frye Salon

The Frye Salon - The paintings in this exhibition are from the permanent collection and arranged in the same manner as when the paintings hung in the home gallery of Emma and Charles Frye.

Harbor Tripoli, Felix Ziem

Hanging paintings salon-style, can be a dramatic way to decorate a space. In the Frye Exhibition, we can see the range and styles of frames that are used. Frames are diverse, with varying dimensions and the placing of the artwork next to one another creates an interesting effect.

Here I Am, Leopold Schmutzler

Salon style dates back to 1670 and the French Royal Academy of Painting and Sculpture. Salon style hanging grouped artworks in large halls where paintings were displayed side-by-side and stacked one on top of the other. This style of exhibiting paintings began as a means to display all of the works of the recent graduates. To fit all of the paintings into one room, the curators arranged the paintings in this manner. 

This painting is one of my favorites!

To read more articles related to this trip please click on the these links.
Colleen Barry
The Frye Museum of Art
The Gage Academy of Art

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Monday, March 14, 2016

Portrait of Sophie Claire - A Step-by-Step Approach

Sophie Claire

Recently I completed a portrait of a beautiful and energetic young girl Sophie Claire. In her family, it's a tradition to have a portrait made around a certain age. The mother and father both had their portraits painted around the same age as Sophie Claire. In a couple of years, I will create a portrait of Sophie Claire's younger sister, Emily. 

When the parents were presented with the portrait, they were extremely pleased. When Sophie saw her portrait she opened her arms wide and wanted to give her portrait a big hug, we let her have a small one. For me, this meant a job well done. Having portraits made is a wonderful way to honor those you love. For me and it's a pleasure to be a part of the process of creating a cherished keepsake for these and other families. 

It's been about a year since I've published a step-by-step article. In this article, I'll share with you a few photos of the Sophie Clair portrait in progress, the materials I used and my overall approach.

Graphite reference portrait

On my initial visit with Sophie Claire, I first took quite a few photographs of her. It's best to take as many pictures of your subject as time and patience allow. The is a primary advantage of the digital camera over film cameras, the ability to take copious photos. With numerous shots, you have a better chance of obtaining and working from good reference material. This is especially true with younger people who are so often full of beautiful energy. It's hard for them to maintain a pose for very long, so having multiple poses is important. 

Typically I will work from life and do an initial drawing. However, with children, I work primarily from photos. One of my first steps is to make many sketches and then do an initial drawing based on the reference photo. The preliminary portrait is drawn with graphite and not intended to be a finished piece. 

Drawing a preliminary portrait allows me the necessary time to study the person's face, compare their features and work through my thought processes. When I analyze the initial drawing, it will serve as a guide and reference. It will help me focus on the areas that might need more attention in the finished portrait. 

Tools of the Trade

As you can see the shelf area of my easel is where I keep my tools handy. For this portrait, I used Conte, Pitt Pastels, and charcoal. I also use many different erasers, a good brush, an Exacto knife, sandpaper and old t-shirts cut up into smaller pieces. This pre-drawing is on 300# drawing paper. After the reference drawing is "complete" I begin the finished portrait. 

The paper used for this finished portrait is BFK Rives - Tan. The paper is mouldmade in France and is 100% cotton and acid-free. This paper doesn't hold up well to overworking or a lot of erasing. Too much erasing will pull away the fibers.

Easel shot
My easel is arranged to allow the 1/2 to 3/4 size reference portrait is on my board and in full view as I work on the finished portrait. By this time I have determined what needs to happen in the finished portrait. So I am using my initial drawing to guide me. 

The newsprint taped in the middle of the two portraits acts as a guard for my hand - a resting place as I work. It also serves to keep the edge of my hand from picking up the material and or smudging the paper.

Because the paper will pick up any lotion or natural oils on your hand it's best to touch the paper only when necessary and only then after checking to ensure your hands are "dry".


During the process of the portrait, I took photos with my cell phone which doesn't quite represent the true color of the paper and drawing materials. The finished portrait was professionally photographed

I hope you have enjoyed this step-by-step description of a portrait painting. 

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Monday, January 18, 2016

Interview Article with Artist Marc Dalessio

Marc Dalessio, Self Portrait
Marc Dalessio is a naturalistic painter who is equally adept at painting portraiture and landscapes. I first saw his landscape paintings at the Ann Long Gallery in Charleston, S.C. While visiting the gallery, his work instantly caught my attention. Marc's paintings give the impression of effortlessness and spontaneity. His colors have a sense of clarity, freshness, and aliveness. You feel as if you are standing in the scenery. 

Marc an accomplished artist who studied at the University of California at Santa Cruz and the Charles H. Cecil Studios in Florence Italy and currently lives in Croatia. He has taught at the Florence Academy of Art and teaches workshops abroad.

This summer Marc taught two workshops in Boston, and I was able to attend one of those workshops. The one I attended was held on the banks of the Charles River on the Esplanade. Prior to the class, I contacted Marc to see if he would agree to an interview, and he kindly agreed.  

What do you feel is an integral component to the work of an artist?
Marc:  I believe great art is a combination of technical skill, having something to say, and having a strong emotional response to the subject.

Greguric Breg, Marc Dalessio
What role does the artist have in society?
Marc:  I think art is pretty fragmented today in regards to the artist's place in society. There are lots of different arts which accomplish different goals. For me, Plein air landscape painting holds an important place in society as it shows the viewer the beauty in the natural world around them.

Which style of art do you most identify with and why?
Marc:  Late 19th-century Naturalism is probably my favorite style of art. I love the way the artists looked at the world around them and captured it with such empathy and honesty.

Which artists inspire you? What is it about their work that draws you in or pushes you further?
Marc:  Isaac Levitan and Telemaco Signorini are the two artists who inspire me the most. I love the religiosity of Levitan's work. There seems to be something greater than just the view in his work. Signorini also seems to have a real reverence for his subjects, but I love the wit and the politics in some of his best work.

What personal narratives or intentions do you translate into your paintings?
Marc:  Sometimes I try to show parts of the world with a balance and harmony between the man-made structures and their natural setting. In other paintings, I try to show people the beauty in the seemingly mundane world that surrounds them. We don't always stop to realize how miraculous even our little neighborhoods can be. The artist can show people that beauty where they hadn't noticed it before. 

In the Face of All Aridity, 47"x59" Marc Dalessio
To date, what’s your favorite painting that you have created and why? 
Marc:  My favorite painting is a large painting of a small vegetable garden in the Tuscan countryside. I titled the painting ‘In the Face of All Aridity’ after the line in the poem ‘The Desiderata’

The painting shows the garden at the height of August, when the grass has died all around. It’s a little parable on the energy, love and dedication needed to keep the things we need and love alive through dry times. It’s a painting that’s over six feet long and was done entirely on site at the garden. 

Technically, it was a great challenge to capture the various plants over the course of the weeks it took to paint the piece. It also has a lot of meaning to me as I’ve spent many summers on that wonderful property and it has been an integral part of my growth as an artist and a person.

Compression of values. You talk about this in one of your videos. Would you please expand on this topic?
Marc:  Compression of values is the idea of having minimal value changes in a similar area of the painting. Beginning painters will often key their values by looking at one value and then the value just next to it. Compressing the values is really about looking at any two values and then comparing them first to each other and then to a third value.

In Plein air landscape painting, we often use the sky as the third value. So a good example of this would be to look at the shadow of a tree then the light part of the same tree and compare the two. Then, the two values are compared to the sky, and the painters will see that the light and dark of the tree are actually quite close in relation to each other, especially when compared with the light of the sky. So the light and dark of the tree will be 'compressed' to be quite similar to each other. We do this, in part, because the full value scale in nature is impossible to recreate with oil paint.

Wheat Fields Along the Clitunno, Marc Dalessio
How do you approach your work, techniques, materials, and processes? Has your practice changed over time?
Marc:  For my plein air work, I usually do a lot of scouting with a pencil and sketchbook first. I can move from subject to subject faster and find the best compositions. Once I’ve decided on a location, I’ll go back with my paints.

I use a limited palette of ten colors (titanium white, cadmium yellow light, cadmium yellow medium, yellow ochre, cadmium orange, cadmium vermilion, cadmium red medium, cerulean blue, cobalt blue, and ultramarine blue) and a medium based on a recipe from a student of Anthony Van Dyck. I use a method called sight-size, whereby I see the view next to my canvas at the same size.

My practice has changed surprisingly little over the years. Charles Cecil first trained me in these methods 23 years ago, and I find they work very well for my purposes. I’ve honed down the limited palette he originally showed me as I found I never used some of the colors (an earth red, Naples yellow, and viridian).

What advice has influenced you?
Marc:  An early teacher I had, Hardy Hanson, used to say that one should always be improving. He would say that our last brush-stroke, as we lay in bed dying, should be the best brush-stroke we ever made. I think that always influenced me, this idea that we should constantly strive to better our work.

Via San Agostino, Marc Dalessio
Do you have any advice to share?
Marc:  From my experience as a teacher, I see that painting students don’t draw enough. My advice to painters starting out would be to get in the habit of keeping a sketchbook and drawing all the time. It is really essential. One can only paint as well as one can draw. 

I would also say to slow down. I see students trying to finish paintings much too fast. Speed should be secondary to accuracy. If one paints an accurate painting slowly, they will later get faster. If one paints an inaccurate painting fast, they will never get the accuracy later.

Are you involved in any upcoming shows or events? 
Marc:  In 2016 Marc will be showing paintings with Constantine Lindsay in London and Laura Grenning in Sag Harbor, NY. In May 2016 Marc will be showing at the Ann Long Gallery in Charleston, S.C. Marc will be at the Gallery on May 27th for the opening day. The show will run until June 10th. 

Marc will be doing workshops in Europe in 2016 and he has retained an association with the Florence Academy of Art and will hopefully work with them again in the future.

Thanks to Marc for such an insightful interview. To see more of Marc's work please visit his website. Marc's website is home to his gallery as well as his blog, articles, and videos. He provides information on grinding your own paints, as well as the various materials and methods he uses and videos. 

Note: I spent a week in Boston first going to museums and then attending Marc's workshop. Leo Mancini-Hresko of Waltham Studios hosted the workshop. Leo offers ongoing classes and workshops at his studios in Waltham, MA. To read more on my trip to Boston please click here. 

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Artfully Yours,

Please click to visit
Annette Goings Fine Art Website

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Interested in reading more articles on Artist's? Just click on the artist's name.
Paula Holtzclaw
Chris Saper
Colleen Barry
Robert Liberace
Olena Babak 

Louise Jopling - coming soon

Monday, November 16, 2015

Paula B. Holtzclaw and her Artistic Path

Evening Moon, Paula Holtzclaw

"I choose to paint what is beautiful and meaningful, knowing that this act of celebrating and communicating the beauty in this world has the power to uplift and inspire." Paula Holtzclaw

Paula Holtzclaw, an award-winning painter from Waxhaw, N.C., is known primarily for her inspirational landscape paintings. She is a versatile artist, painting both still lifes, and landscape scenes. But she is best known for her coastal paintings of eco-rich pristine marshlands with cloud-filled skies. Her paintings transport you to a place of harmony, wonderment, and natural beauty.

I first saw Paula Holtzclaw's work a few years ago at the Cheryl Newby Gallery in Pawleys Island, SC. I was captivated by her paintings and began to follow her work. Paula often visits Pawleys Island and the gallery, but it wasn't until this year that I had the opportunity to meet her when she served as the judge for the 3rd Annual Seaside Palette, a Plein air painting event in Georgetown, SC. To read more on the Seaside Palette, please click here

As a committee member for the Seaside Palette,  I spent time with Paula by showing her around Georgetown and subsequently interviewing her for this article. I was surprised to learn that Paula began painting the same year that the Pawleys Island Festival of Music and Art (PIFMA) was founded. Both were celebrating their 25th anniversary. 

Paula Holtzclaw in her studio
"The artist is nothing without the gift, but the gift is nothing without work." Emile Zola
I asked Ms. Holtzclaw what sparked her interest in art. She said she started at a young age and learned to love painting by watching her grandmother paint. Actually, both of her grandmothers painted, and one in particular, would share her paints and canvases with her. 

When visiting her grandmother, she began to love the smell of the oil paint, of the linseed oil, and other aromas that emanated from her workspace. Even today, these smells are a catalyst for many pleasant childhood memories. These early years nurtured her creativity and inspired her to become an artist.

Paula said it seemed that art was always present in her life. While growing up, she would often find herself in her room painting and drawing. During college, she took an art class but did not relate to the format being offered. Also, she said at that time, one did not think about art or painting as a career choice. After graduation, she went to work in the medical profession instead.

A Touch of Lace, Paula Holtzclaw

Around 1990, Paula once again began to paint for her personal pleasure. She would come home from work and study and paint in the evenings. Soon people began to buy her work. By the late 1990's Paula was represented in several art galleries. Once her painting income equaled that of her "day job" and with the encouragement and support of her husband Chuck, she left her 25-year medical career to focus on her painting and become a full-time artist.

Paula who is primarily self-taught believes that an artist’s education is a continual process, whether you are self-taught or traditionally educated, there will always be more to learn. Recently, she has studied with artists, Joni Falk, Linda Gooch, Jeff Legg and Scott Christensen.

Seaside Palette and Judging.
Shining Through, Paula Holtzclaw
Paula said she was honored to judge this year's Seaside Palette competition because Plein air painting and Pawleys Island are both near and dear to her heart.

When asked what criteria she used to judge the competition, Paula said she first considered the initial impact - the thing that initially grabbed her and made her stop to take a second look. She said it's something that she feels, and that speaks to her on a personal level.

She also viewed the art objectively, looking for composition and design, the use of color or value and movement in the painting. She focused on how one's eye moves around and through the painting. 

Lastly, she considered skill and intent and how the artist showed control over his or her medium. Another element was the artist’s use of color and a painterly style to make a big impression. Usually, presentation plays an important role, but in this case, it was not a factor because framing was not required of the artists.

Landscape Painting
Paula and Chuck a Board Certified Master Arborist share a common love of trees and support the preservation of the landscape. With this in mind, I asked how her paintings reflect her love of the environment: "I think it goes without saying that the preservation of our natural environment is critical to our civilization and to sustaining the health of our planet. As no one completely understands it's complexities, my art attempts to portray the joy and beauty of the unspoiled landscape as well as the sheer sensual wonder of being immersed in it."

Vestige, Paula Holtzclaw

Dream Project
When asked what she might consider a dream project Paula shared that her mother had grown up on a large southern farm, growing cotton, tobacco, and vegetables. As a child, she played in their old barns. 

Paula said, "I love barns, particularly the old tobacco barns. They speak of the times and the heritage of the old South. But they are rapidly disappearing from our landscape. I've painted quite a few, but I would like to research them more in-depth and paint a series."

The Artists Role in Society
When asked about the artist's role in society, Paula replied, "For me, it brings to mind the verse "to whom much is given, much will be required." The artist's role is important because the footprints of an artist stay with us, generation after generation.

Orchids with Pears, Paula Holtzclaw
“An artist has the ability to create, document, and impart the beauty of this world around us. Like music, art is able to unite, to evoke emotions strong enough to bring tears, to heal, and to inspire. It is truly a gift, and a blessing to have even a little bit of that ability.”

It was a pleasure to meet and spend time with Paula. She is truly a talented artist with a beautiful spirit. Her paintings are a true reflection of her personality. 

Upcoming shows:
Ms. Holtzclaw's paintings are in museums, national juried exhibitions, and private and corporate collections throughout the U.S.

Shows and locations:
American Impressionist Society at Trailside Gallery in Scottsdale, AZ.
Oil Painters of America Salon Show in Birmingham, ALA. 
Women Artists of the West At Tucson, Art Museum, AZ.
American Women Artist Show in Scottsdale, AZ. 

About Paula Holtzclaw
Paula Holtzclaw is a Master Signature Member of American Women Artists, a Signature Member of Women Painters Southeast, Associate Member Oil Painters of America, and Plein Air Painters of the Southeast (PAP-SE) and Signature Member of the American Society of Marine Artists. Please see Ms. Holtzclaw's website for her works. 

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Thanks for joining me, and please continue to send me your comments. I enjoy receiving your emails, comments on the blog and Facebook. If you like this article, please share this post with your friends or on Facebook.

Until next time...

Artfully Yours,

Please click to visit
Annette Goings Fine Art Website

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Interested in reading more articles on Artist's? Please click on the artist's name for more.
Chris Saper
Colleen Barry
Robert Liberace
Olena Babak 
Marc Dalessio - coming soon
Louise Jopling - coming soon

Monday, October 26, 2015

Plein Air Painting and the 3rd Annual Seaside Palette Part 1

Georgetown's Harborwalk Looking Towards Goat Island

For the past 25 years, every September through October, the small coastal town of Pawleys Island, S.C. has been host to a spectacular musical and visual event The Pawleys Island Festival of Music and Art (PIFMA). Located south of Myrtle Beach, Pawleys is one of the oldest summer resorts on the East Coast. 

Squonk Opera

As the kick-off for the annual festival, this year's annual Seaside Palette was held September 25-26 in the historic port town of Georgetown, S.C. Here, you will find beautiful views of the harbor and boats, Goat Island, and stroll past historic Charleston style homes and shops, while beautiful live oak trees arch over the streets. 

Plein air or landscape painters traveled from all over South Carolina to participate in this year's Seaside Palette. On Friday morning, the artists arrived, checked in, and then left to scout around Georgetown for their place to paint. Once settled, the artists painted throughout the day. At the end of the day, everyone gathered together for an artist's reception held at the Cultural Council of Georgetown County.

On Saturday morning, the second day of the event everyone went back to their easels, working to complete their paintings. Georgetown was bustling with Plein air artists covering the town. The Chalk Walk participants were busy transforming the sidewalks into masterpieces, and the Squonk Opera gave three musical performances. 

Visitors and locals toured the town, taking part in the activities and stopping at the outdoor cafes. It was a family-friendly and enjoyable atmosphere for everyone.

Kaminski House
In the afternoon, the artists took their paintings to the lawn of the historic Kaminski House for judging, the wet paint sale and a reception on the lawn other festivities included dance performances and music. 

This year's judge for the Seaside Palette was Paula Holtzclaw, an award-winning artist and resident of Waxhaw, NC. Locally, Ms. Holtzclaw is represented at the Cheryl Newby Gallery in Pawleys Island, SC. 

Paula Holtzclaw
The Seaside Palette continues to grow and expand. This year, more painters were welcomed to the two-day Plein air competition. Many beautiful paintings were completed, and quite a few were sold. Thank you, to all who participated, and congratulations to the winners.

Seaside Palette Winners   
First Place:        Kellie Jacobs
Second Place:    Tammy Medlin
Third Place:       Laurie Meyer
Honorable Mention: Margaret Little and Ruth Cox 

A little history. The Pawleys Island Festival of Music and Art began as a one-day event and has grown to include activities throughout the year - a culinary symphony, a garden party, wine gala, and concerts by nationally known performers. A few of this year's headliners were Aaron Neville, A.J. Croce, and Steve Tyrell.

PIFMA,  a non-profit organization  began with the goal to enrich people's lives through an awareness of the arts. Through the efforts and success of the festival, PIFMA has been able to create yearly scholarships in music and the visual arts. It also has a very active community outreach program.

The Visual Arts committee is integral to the larger organization and fosters the arts through events such as Gallery Crawls, Independent Film Festivals, Chalk Under the Oaks, and more recently, the Seaside Palette. The Seaside Palette and "wet paint" sale were created to promote and enhance opportunities for local artists. 

This year's co-chairs for the Visual Arts Committee were Barbara Kee and Pat Puckett. They both felt that this year's Seaside Palette was the most successful to date and both have a strong vision for the future of this event. Their goal is to create an awareness of Plein air painting and to expose more people to art and the potential that art brings to our daily lives. 

While this year's Seaside palette is over, the committee is already back at work planning and preparing for next year. To stay posted about next year's events, please refer to the Pawleys Island Festival of Music and Art's Visual Arts page. 

Paula Holtzclaw Interview -  Part 2
During the Seaside Palette, I spent time with Paula Holtzclaw, who judged the competition. I showed her around Georgetown and was able to interview her. In part 2 of this article, I will share more information on Ms. Holtzclaw as an artist, as well as her criteria for judging the Seaside Palette competition.

For the second part of the article please click here.

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Artfully Yours,

Please click to visit
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Photos by Sue Goree and myself.