Happening Now: Watercolor Live – Art Auction and Online Conference

For artists, art lovers, and collectors: Watch and interact with world-renowned artists as they demonstrate their skills at Watercolor Live now through Friday. Included is an exclusive faculty art auction (live January 20-26).

On the popular Essential Techniques Day earlier this week, Publisher Eric Rhoads and Editor-in-Chief Kelly Kane welcomed us with encouragement and everything we needed to know to have a great week at Watercolor Live.

Artists from all over the world are together online through January 26th to learn, grow, be inspired, make friends, network, and – dare we say it – have fun!

The silent auction and sale takes place through January 26, 2025. View the artworks here.

Watch and interact with watercolor teachers such as Thomas Schaller, Alvaro Castagnet, Bjorn Bernstrom, Xi Guo, David Stickel, Kelly Eddington, Shelley Prior, and many more, hosted by Publisher Eric Rhoads and PleinAir Magazine and American Watercolor Weekly Editor-in-Chief Kelly Kane.

It’s not too late to join us at WatercolorLive.com now, and replays of the event are available. See you there!

Artists: We want to help you grow, become a better artist, learn new ideas and techniques, and give you some world-class painting instruction from master artists — all while introducing you to a community that will support you!

View more fine art auctions and sales here at FineArtConnoisseur.com.

At Realism Live recently, Eric Rhoads and Peter Trippi awarded artist Dawn Whitelaw with the Fine Art Connoisseur Magazine Lifetime Achievement Award. Enjoy the following presentation that honors her journey:

Early Influences and Education

Dawn Whitelaw was born in 1945 to a mother who painted and wrote poetry, and a father who was a surgeon with a strong artistic side. Even her younger brothers are creative to this day.

While painting didn’t come into Dawn’s life until later, she was a ‘maker’ from very early on. Eventually, her father offered to pay for her college education in the arts, but with the agreement that Dawn would also pursue training as a teacher, which she says was “out-of-the-box thinking for a girl in the 60’s.”

She went on to earn a BA at Nashville’s Christian-focused Lipscomb University, LU, in 1967. There, she met Clay Whitelaw, with whom she later married and had their daughter, Benja.

And despite the fact that she swore she’d never teach, it turned out to be something she truly has a passion for to this day.

First Steps Into the Art World

Dawn augmented her LU training by taking printmaking and sculpture classes at George Peabody College, which is now part of Vanderbilt University. Having trained primarily in graphic design, she duly landed a job creating pen-and-ink illustrations for the Yellow Pages.

Next came employment in a small advertising firm, then a stint as interim art director for a Nashville magazine. In 1987 she decided to “up her own game” by attending workshops all over the country. She was an enthusiastic and quick learner. On the side, Dawn taught as an adjunct at LU through 1999.

Mentorship and Artistic Growth

In the following years, Dawn took workshops with Raymond Everett Kinstler, whom today she describes as her mentor. She says, “I can’t even tell you how he shaped my path as a painter. I asked him, ‘How can I be a better portrait painter?’ And he replied, ‘Get out and paint the landscape.’ And that led me down another wonderful path.”

A visit to Dawn’s studio will reveal that she paints not only landscapes and portraits but also interiors, architectural paintings, still life, and even abstracts and experimental works.

Today most of the paintings she sells via galleries are landscapes — some created entirely en plein air. Dawn is unapologetically devoted to a late-19th-century aesthetic that highlights the way light and colors capture our eye.

Connecting with Portrait Subjects

When it comes to portraiture, Dawn says that along with sketchpads, paints, and brushes, one needs to bring sensitivity. Kinstler taught her the importance of aspects such as the way subjects tend to hold their head or posture, or what topic makes their eyes light up. Whenever possible, Dawn travels to meet her sitters, sketching them on site, taking reference photographs, talking with them about their interests, and seeing the clothes and backgrounds they prefer.

She brings the same attentiveness to detail to her landscapes. She says, “You might see a pretty scene, but what was it that made you want to paint it? The more you can connect personally and emotionally with the subject, the more it carries over to the canvas.”

Continuous Learning and Inspiration

Although Dawn continues teaching, she still attends workshops offered by others and is inspired by her peers and students alike. She says, “I learn more than just what the teacher is teaching, but also how students react to different approaches. This experience fine-tunes my own teaching.”

Dawn’s approach reminds us that learning never ends — there is always more growth ahead, no matter how talented one already is.

Dawn Whitelaw is a member of the Plein Air Painters of the Southeast, the Chestnut Group, Portrait Society of America, Oil Painters of America, and the Artist’s Fellowship. She has been featured as faculty for Plein Air South and the Plein Air Convention and Expo. In 2016, the American Impressionist Society elected her to Master status and she has a painting in the permanent collection of the Rahr-West Art Museum.

From Fine Art Connoisseur

It is our pleasure to present Dawn Whitelaw with the Fine Art Connoisseur Magazine Lifetime Achievement Award.

See more from the artist at www.dawnwhitelaw.com.

View more artist and collector profiles here at FineArtConnoisseur.com.

“This has been my goal for eleven years,” said landscape painter Camille Przewodek when she won the Grand Prize of the 13th Annual PleinAir® Salon.

There were 278 paintings included in the judging for the 13th Annual PleinAir Salon Art Competition. This year’s competition drew almost 11,000 entries from nearly 3,000 artists, representing 73 countries. For her painting, “Sonoma Farm Vista,” Camille was awarded a $15,000 cash prize, and her work will be featured on the cover of PleinAir® Magazine.

“It’s my favorite painting spot,” Camille said of ‘Sonoma Farm Vista.’ “I cannot paint a painting from this spot that does not sell. Now I never paint to sell. I try to just paint the best painting I can, and it’ll eventually find an owner.”

One reason Camille returns to this location, which is in Petaluma, California, is the versatility of the views. She explained that because it’s from the top of a hill, she can choose any direction for the view she wants to paint at that time. “I will paint at the same location over and over and over again,” she said. “Even when I return to the same spot, it’s going to be a completely different painting.”

In addition to her art training at Wayne State University in Detroit, and earning a BFA in Illustration at the Academy of Art College in San Francisco, Camille studied painting with master colorist Henry Hensche at the Cape School of Art in Provincetown, Massachusetts.

Camille is a Signature Member of the Laguna Plein Air Painters and the California Art Club; and a Master Signature Member of the American Impressionist Society, Oil Painters of America, and American Women Artists.

Watch the 13th Annual PleinAir Salon Awards Ceremony:

Additional Winners:

Hello from PACE in the stunning Great Smoky Mountains! This week, we’re bringing you a few favorite moments from the 11th Annual Plein Air Convention & Expo, held at Harrah’s Cherokee Casino Resort in North Carolina. The excitement has been building for weeks up to this moment, with hundreds of painters joining us from all over the world for a week of demonstrations, paint-outs, parties, and more.

This year, the Opening Ceremony included a special Lifetime Achievement Award presentation for Kenn Backhaus, who is a Signature Artist Member of the California Art Club, a Master Signature Member of both the Oil Painters of America and the American Impressionist Society, a Signature member of the Plein Air Painters of America. He also served as President of the Plein Air Painters of America.

Kenn led a workshop on the Main Stage of PACE as well, where he explained that when he’s almost finished with a painting, he puts it into a frame to judge how it will affect the presentation of the painting and to help him see what may need further development.

We also welcomed student painters who came on scholarship, and Eric announced that next year we plan to bring 100 students under the age of 25 to PACE, investing $100,000 to support the next generation of plein air painters.

In a much-anticipated segment, we also announced the winners of this year’s PleinAir Salon, which had nearly 11,000 entries from almost 3,000 artists from 73 countries. The top prizes went to Camille Przewodek (Grand Prize, $15,000 cash and the cover of PleinAir Magazine); Steven Walker (Second Place, $3,000); and Charles Newman (Third Place, $1,500).

We wish you were here! Stay tuned for when we announce the location for next year’s PACE, and reserve your spot ASAP: PleinAirConvention.com.

And, read the full daily highlights from the Plein Air Convention & Expo at OutdoorPainter.com.

In the first-ever global virtual art conference for contemporary realism, hundreds gathered online to learn from today’s master artists. Realism Live took place over four days (as well as offering a Beginner’s Day) with live presentations and interviews, recorded demonstrations during which the artist interacted in an ongoing chat room with all the viewers, and nightly Cocktail Hours and Paint Along sessions.

Included was an exclusive faculty art auction with works from 90 artists who have been on the faculty as well as many other esteemed Streamline art events. Next up is Watercolor Live in January 2024! We hope to see you there!

Highlights from the 4th Annual Realism Live

In a special presentation, we awarded Max Ginsburg with the Fine Art Connoisseur Lifetime Achievement Award. This was followed by a fascinating interview with Max and Peter Trippi, during which Max shared his inspirations for 10 of his powerful narrative paintings.

In one of the highlights of this year’s Realism Live, Peter Trippi had an on-camera conversation with Burt Silverman on his approach to art making. Burt shared insights on how his early life influenced his body of work, which he felt was an important preface to how he approaches subjects such as the nude figure.

With a focus on simplification, Pat Fiorello taught us how to paint realistically without getting caught up in all the details. She used a two-stage approach to paint a still life of yellow roses.

C.W. Mundy gave us a lesson on painting “3-D realism,” a process that begins with taking a photograph of a highly dimensional scene, creating depth perception by having the camera pull the main subject into focus while softening the background elements. Using this type of photo reference, C.W. then walked us through his painting process in great depth.

Nanci France Vaz is both an artist and a storyteller through her portrait paintings. Her demo was titled “Imagine” and focused on creating an illusion of reality for the “imaginative portrait.” Nanci used a photo reference of her model, who is a singer/songwriter on the road. Their intention was “bohemian spirit,” inspired by Nanci’s current solo show at Dacia Gallery (NYC).

“There are a lot of tools, but there are no rules,” explained Glenn Vilppu in his encouraging workshop on how to draw, titled “Beginning of a Journey.” Glenn used an iPad to demonstrate how you can go from a stick figure to a gesture drawing, from a “snowman” to a recognizable human form. He says, “There are absolutely no restrictions on what you can think or imagine.”

Wende Caporale is a Master Pastelist with the Pastel Society of America. In 2019 she was honored with a Lifetime Achievement Award along with her husband, Daniel E. Greene N.A., from the Figurative Art Convention (FACE). For her Realism Live demo, Wende shared her techniques for painting a portrait with pastels, beginning with a schematic drawing in charcoal on a textured surface.

Remember to save the date for Watercolor Live, which will include another faculty art auction, and much more for artists and art enthusiasts: WatercolorLive.com

At the 10th Annual Plein Air Convention & Expo (PACE) in Denver, Colorado, Eric Rhoads presented plein air painting legend CW Mundy with the PleinAir Magazine Lifetime Achievement Award.

Watch the video that honors his life and journey to becoming a master painter here:

.

Charles Warren Mundy, today known as CW, was born in 1945 in Indianapolis; his hardworking parents raised two children, a girl Charleen and a boy Charles. Early on, Charles displayed a talent for art and athletics.

He was very familiar with the art of Walt Disney and Norman Rockwell and spent much time observing their work, such as the covers of the Saturday Evening Post. So at seven years old, when he was commissioned by the Daily Vacation Bible School teacher to produce advertisements, he copied Walt Disney cartoon figures with the message, “Come to Daily Vacation Bible School!” onto cardboard.

While growing up, another passion of his was basketball. Charles was a starting guard on the Howe High School Varsity Basketball team, even helping to take his team to the “Semi-State” in 1964. His abilities in basketball earned him a scholarship to Lenoir Rhyne College in North Carolina, and he later transferred to Ball State University in Indiana where he could pursue both basketball and art.

At BSU, CW took every art class they offered and he played in various bands; he became interested in banjo after hearing Flatt and Scruggs’s “The Ballad of Jed Clampett.”

In 1969 he earned an undergraduate degree from BSU in secondary education with an emphasis on art.

After college, CW moved to California and studied painting “from life” under Donald “Putt” Putman in Hermosa Beach. Putt was the first living artist that CW had met who actually had a vibrant art career and was making money in the cowboy western art world.

At the same time, CW also pursued his music, playing in a popular band called The Tarzan Swing Band. Later, he would meet his future wife, Rebecca, while playing in a gospel bluegrass band.

Moving back to Indiana in the late 1970’s, CW combined his love for sports and art and began his sports illustration career and founding his company, Champion Illustrated Sports.

His commissions for the next decade included many professional teams and organizations; for example, he was the first artist / illustrator for the famed Indiana University Basketball Coach Bobby Knight.

CW and Rebecca married in 1989, and shortly after CW made the change from sports illustration to fine art after observing artwork by Clyde Aspevig and Richard Schmid. It was exciting to him to discover these artists painting like the “old pros.”

In 1995, the couple traveled to the Chicago Art Institute for “Claude Monet 1840-1926,” the largest retrospective of his paintings ever assembled (159 paintings)l, which he says “got his attention.” Later in 1995, they visited France and followed in the footsteps of Monet and the Impressionists, on what turned out to be the first of many plein air painting trips to Europe, including a trip to Italy in ‘96, England in ‘97, and Spain in ‘98, and more for a decade.

In 2003, they traveled to the Netherlands because CW was so influenced by the works of the early Dutch Masters.

While traveling, Rebecca would shoot video footage and photographs of CW painting on location. and upon returning home to Indiana, they produced a professional video and brochures of each trip, for the purpose of a gift to clients who purchased the paintings.

Still Life painting grabbed CW’s attention after studying the works of Emil Carlsen, Henri Fantin- Latour, and Impressionists such as Van Gogh, Renoir, and Manet.

CW has also been inspired to paint figurative work in various series, including ballerinas, portraiture, and children at the beach.

For CW, painting representational figures, still life, and plein air became a natural revolving situation, working for several months with the figure, then outdoors en plein air, then back in the studio painting “from life.” The rhythm kept him fresh and excited.
CW has had a teaching career for more than 25 years.

He is the recipient of many awards and honors, including a “Master Artist” with the Oil Painters of America, “Master Artist” with the American Impressionist Society, a “Fellow” with the American Society of Marine Artists, and a part of En Plein Air Masters in France in 2005-2006. CW was recently honored in 2018-2019 to be the first Inaugural Artist-in-Residence at the Children’s Museum of Indianapolis, the largest children’s museum in the world.

CW has been driven to continually be seeking new and fresh ways to paint, never resting on his laurels, always trying to push himself forward.

PleinAir Magazine Publisher, Eric Rhoads, said this of CW, “He is so good, his work so strong, I honestly did not think he could ever get any better, yet I watch him push through, experimenting, and doing paintings that push the boundaries of great painting. In the years to come, CW Mundy will be remembered not only as one of the greats of this generation but will go down in history as one of the greats of all time.”

Please join us in celebrating CW as we present him with our highest honor — The PleinAir Magazine Lifetime Achievement Award.

At the 10th Annual Plein Air Convention & Expo (PACE) in Denver, Colorado, Eric Rhoads presented actor and painter Jane Seymour with the PleinAir Magazine Lifetime Achievement Award.

Afterward, Michelle Dunaway painted Jane’s portrait on stage, finishing a piece she had started earlier that was based on a photo of Jane with Willie Nelson. Jane also took the time for an exclusive photo session with our VIP attendees.

Watch the video that honors her path and dedication to the arts here:

.
Known perhaps most famously for her acting roles such as Solitaire in the James Bond film “Live and Let Die,” Kate Trask in the miniseries “East of Eden,” and Dr. Michaela Quinn in the hit television series “Dr. Quinn, Medicine Woman,” Jane Seymour was born in 1951 in England to a Jewish doctor and a Dutch nurse.

She was raised in Wimbledon with her birth name of Joyce Penelope Wilhelmina Frankenberg. As a child, she was surrounded by the arts. Her father had a love of Japanese art and the family was often casually performing, dancing, and singing. As a teen, Jane wanted to be a ballerina and so she attended a school for performing arts. Around that time, she chose her screen name, after the English queen.

When she was just thirteen she made her professional debut with the London Festival Ballet. That same year, she entered the Arts Educational Trust for dance, music and theater training and danced with the visiting Kirov Ballet at Covent Garden.

Her love of art began at an early age in England, where family gifts were always created rather than purchased, so that the true spirit of giving of one’s self was expressed. Visiting museums was also a favorite family pastime.

Jane began painting around the 1990s when she was prompted by a period of personal challenge. Soon, her art became the expression of a very private healing process.

A profound experience that influenced Jane as a colorist was her discovery of the Impressionists, Matisse’s stunning motifs, and Chagall’s magical palette. Her lively design studies of floral patterns were inspired by the vibrant watercolors of Raoul Dufy. The influence of these artists continues to grace her work today. Jane remains challenged by studying the paintings of one of her most admired artists, John Singer Sargent, and painting in the Grand Manner tradition with legendary living masters.

An inspirational trip to paint in Monet’s Garden in 2001 became Jane’s personal tribute to the Impressionists. From this, she co-produced the first in a planned series of art education films on The Masters titled Journey to Impressionism.

Having commissioned Tom Mielko, the noted Santa Barbara watercolorist, to paint a portrait of her children, she became motivated to begin painting with him. She continues to paint with others, and also had the pleasure of painting with the late Richard Schmid.

Jane enjoys the feeling of being one with nature and the outdoors, painting some of her most beautiful canvases en plein air. Inspiring others to paint, and the feeling of community and healing it creates, are abundantly rewarding to her.

Her art also served as inspiration for Open Hearts by Jane Seymour, a unique and beautiful jewelry line. Inspired by her original paintings of two hearts connected and open at either end, the designs symbolize that love has no boundaries and flows unconditionally.

When she is not acting, writing, or designing, Jane can be found in her Malibu, California painting studio. With a thriving career as an artist and her own art gallery in Los Angeles, she has exhibited in numerous galleries and venues across North America. Over the past thirty-three years she has created an intimate world of delicate watercolors, vibrant oil paintings, pastels, and bronze sculptures, and has accepted select private commissions. She continues to reach new artistic levels by developing her technique, style, and subject matter.

The artist’s first one-woman museum exhibition was mounted at the Butler Institute of American Art in 2004. She has also created set designs for the Houston Ballet and a commission for the Fort Worth Dallas Ballet. She was chosen as the official artist for the 2006 Naples Winter Wine Festival and was a featured painter for the Olympics three times.

A multiple Emmy and Golden Globe winner, recipient of the Officer of the British Empire in the year 2000, which was bestowed upon her by Queen Elizabeth II at Buckingham Palace, and recipient of the Horatio Alger Award, Jane has proven her talents in virtually all media.

In addition to acting, Jane has written over ten books and has launched Jane Seymour Designs, a national lifestyle brand inspired by her homes, art, and family-centered lifestyle. She is also involved in many philanthropic causes and in 2010 launched the Open Hearts Foundation, which provides funds to charitable organizations.

It is a great privilege for us to recognize the life and work of Jane Seymour. Her high-profile career and artistic efforts have raised awareness of painting and art-making worldwide, influencing millions.

Please join us in celebrating Jane as we present her with our highest honor — The PleinAir Magazine Lifetime Achievement Award.

This is a mural commission story that begins in East Aurora, New York. There, a community of makers has built a reputation for high-quality craftsmanship that continues with its base at the Roycroft Campus, the “birthplace of the Arts & Crafts Movement in America.”

Thomas Kegler is a contemporary landscape painter and a Roycroft Modern Master Artisan whose style drew the eye of a political scientist with an artistic vision for his home library.

When Fine Art Today saw the finished work, we had to know more. The following is our interview with Kegler, who takes us behind the scenes of this tremendous project. The mural, a landscape that incorporates historical references, was designed from the beginning to integrate seamlessly with the existing architectural elements of the room it was intended for.

Our conversation begins with the first color study and winds through the process all the way to the custom lighting and cabinets, including Thomas’s advice for artists and collectors who are interested in a similar commission.

Cherie Dawn Haas: I love that your client had the vision to see that he wanted a Roycroft-inspired mural in his own home. Going to the beginning of your process, tell me about the initial drafts for the project. You said you started with Photoshop and a color study, for example.

Thomas Kegler: Yes, the client had shared with me the concepts and many reference images. So I Photoshopped a rough composition by putting things inside relationships because there were so many pieces of the puzzle in this, to try to see how we were going to integrate them, and what was going to be the foreground or the background. Creating this was the easiest way to hash out a quick composition, and also be able to make very fast changes with the client based on his input.

Once the Photoshop composition was approved, then I went to the color study. It was quite small: 2 by 10 inches. It was used to work out the color scheme more than the details at that size. It let us know where the major elements were.

Cherie Dawn Haas: What was the conversation like when you showed him the study? Were there many changes after that?

Thomas Kegler: Most of the changes were happening in the Photoshop compositional arrangement. Once that was pretty well set, we had a good discussion on the overall mood and color concept. After I worked up the small color study, there were only a couple of small, very slight color enhancements, to help call attention to certain architectural features.

Cherie Dawn Haas: Tell us about the custom woodworking architectural components.

Thomas Kegler: Here in my hometown, I worked with an artist who isn’t a Roycroft artisan but works in the same vein. He’s a custom cabinetmaker specializing in arts and crafts, and quarter-sawn oak, which was a dominant feature.

Cherie Dawn Haas: And you mentioned that the lighting was a big part of the mural installation.

Thomas Kegler: We, the client and I, expressed the challenges of how to illuminate a 10-foot-long painting and not have hot spots and have an even light. The cabinetmaker did a little investigation and came across the solution. It’s a fairly flat system where you route a channel into the wood below the painting. You lay in a light track that goes all the way across. It’s beautiful because you can even put a soft filter on top that diffuses the light.

Being able to dial in not only the brightness and darkness, but also the temperature, was really interesting, because in the painting there are, I would say, cool passages in rainforests, and also warm passages of the desert. When you go from a warm light to a cool light on the painting, it’s amazing to see how some areas would just literally disappear and become unimportant, while other areas come into dominance. So the Egyptian section just pops and glows, and if you dial down to the cool, that just kind of dissipates, and then the rainforest comes to light. It’s really interesting to see that experience happening live.

There’s also the in-between light, which is what the client always keeps it at. So you’ve got the warm and the cool and the neutral, which is what you’re seeing in the reference photos. Usually, I paint in a fairly neutral light, so that’s the experience that he’s also getting.

Cherie Dawn Haas: What advice do you have for artists who may be asked to do a similar type of project?

Thomas Kegler: Commissions are kind of a dance in themselves. When you’re working with a client, obviously, the first thing you want is clarity, really good communication, and knowing exactly what the client is looking for.

I’ve worked with enough clients over the years to know that some of them are extremely open, and they really know your work and trust that. They have a vague idea, and they want you to kind of run with it and do your own thing. And then other clients can be at the other extreme, where they have a very clear vision of what they want the artist to do.

Whatever the situation is, I think it’s really important that the artist establishes clarity and communication: what services they’re offering, and having a clear agreement or a contract that outlines it (once everything has been hashed out, get it all in writing). And having clear expectations of the size and a timeline.

I always also build in space for modifications. Often my contract includes two minor modifications, and after that, the client will be billed X number of dollars per hour.

In addition to clarity and communication, it’s important to not surprise the client. Don’t just take the information they give you and then do the painting. I think it’s so important to do small preliminary sketches and color studies to show the client so that everybody’s on the same page. It’s all part of that clear communication.

Cherie Dawn Haas: On that note, what advice would you have for art collectors?

Thomas Kegler: Clear communication (laughs). Ask what they’re looking for, be clear, and discuss the timeframe. It’s kind of like working with a building contractor. Almost always, it takes longer than anticipated, and unusual things can arise or we build in extra time. And then if you deliver to the collector early, it just builds an even better relationship for future work.

I would say 99 percent of the time, I do come in early on the timeframe. It’s always best to leave with a good taste in the mouth on both sides. Coming in with an open mind, and also celebrating the artist’s vision, and not trying to dictate too much. Give some parameters, obviously, because it’s going to be living in your space, and you want to have a connection, but at the same time, you’re approaching an artist for a reason. And hopefully, it’s because the client has a really strong connection with past work. Look at it as an opportunity to not only celebrate the artist, but also challenge them into pushing their creativity a little bit and being open to that.

Cherie Dawn Haas: I agree, and I think that when people do that, it gives the artist room to surprise them in a great way.

Thomas Kegler: Absolutely. I had a really unusual one during the middle of the pandemic. I got this random e-mail from a guy in Australia. So it was a red flag that it was going to be a scam. He wanted to do a commission, so I said, “Sure.”

I usually put Bible verses with my titles, so he asked if I could do a painting based on a verse he chose. I said yes and asked what he wanted the painting to look like. He said, “Surprise me.”

This was a big painting, so it wasn’t cheap, and I thought, “This is completely a scam.” Well, to make a long story short, he sent me a check for half down. Two months later, I sent the painting to him, but he paid for it in full before I even sent it, and he loved it. What a pleasure that was, to simply have a few words as the springboard and have a client just let me run with it. You never know what you’re going to get with commissions.

Cherie Dawn Haas: I bet that was a dream job. I’m glad that you mentioned the titles because I was curious whether you titled this particular painting we’re featuring, and if so, what was your inspiration?

Thomas Kegler: The title is “Continuum, Isaiah 52:7.” Typically when I’m working on a painting, the final title, 90 percent of the time, comes at the end. I’ll ponder what the painting is about.

This collector had visited a lot of these places so he wanted the painting to celebrate a lot of different monuments and significant points of interest in the world. So to me, the painting was about humanity, and about society and culture.

What I typically do is search for Bible verses pertaining to the painting’s meaning, whether it’s as simple as hope, love, or whatever. The majority of the time a verse will just pop to me and say that’s the one that needs to live with that title.

How beautiful on the mountains are the feet of those who bring good news, who proclaim peace, who bring good tidings, who proclaim salvation, who say to Zion, “Your God reigns!” — Isaiah 52:7

Helpful Links:

• Visit Thomas Kegler’s website and discover his works as well as his coffee table books
• Listen to PleinAir Podcast: Episode 48, Thomas Kegler Talks Talent and Embracing Failure 

In an exclusive panel discussion during the 4th Annual Plein Air Live, Kelly Kane, Editor-in-Chief of PleinAir Magazine, interviewed living legends Skip Whitcomb, Matt Smith, and Bill Anton on their experiences as plein air painters, including their “a-ha moments.”

“One of the biggest challenges of outdoor painting is not having control over your environment: light, wind, temperature, etc.,” said Matt in the Plein Air Live chat. “Once you learn to embrace that the focus moves back to the process.”

In addition to this exclusive and fascinating discussion, attendees were able to participate in a faculty art auction, including works by Anna Rose Bain, Mark Shasha, and more.

Here are some more favorite moments from this year’s Plein Air Live:

Pastel painter Jacob Aguiar led an outdoor demonstration on working through the challenges of quickly changing light when painting on location.

Christine Lashley showed us tips and techniques to create a dynamic night painting. “There are different ways to do this,” she said, “with sketches on location or even just working from photos and taking it back to your studio.”

“Critiquing is one of the most important things I do as an instructor,” said Kathleen Dunphy during her special plein air critique session. She added that it’s important to remember, however, that an art critique is just an (educated) opinion. She said to take a critique seriously, to listen to it, and then decide what aspects you want to apply to your painting.

Kathryn Stats also led us through a critique session that included a variety of painting levels. She said she uses her hand to cover different parts of a painting to help determine what composition elements work.

The next Plein Air Live takes place in one year, but you don’t have to wait that long to join many of your fellow painters, including today’s best teachers. Join us in person at the Plein Air Convention & Expo in Denver, Colorado, May 21-25, 2023. Celebrity guest Jane Seymour will be there, and Lori Putnam is leading the pre-convention workshop. There are 4 stages and over 80 instructors. Will you be there?

Fine Art Today would like to congratulate William Suys for being elected Master Signature Member in the Oil Painters of America, a non-profit organization dedicated to the preservation of representational art.

The recognition, he says, “is a heartwarming and humbling confirmation of where I stand as an artist. It is also a huge opportunity and challenge, as it lays a foundation for a new level in my exploration of Art and what I am able to develop and offer. I really look forward to doubling down on my existential effort toward realizing Artistic mastery.”

William’s announcement is wonderful, and our team is happy for him and his many achievements. As he and I continued to converse via email, however, I realized that this “story” is much bigger. His is a story that is representative of why so many of us are drawn to art and from so many different angles. He helps us understand with a fresh perspective why it’s so important. Why it’s so much more than what we end up viewing in a frame.

For example, he shares how his artistic path might have veered toward music, specifically playing the trumpet.  “Both of my parents were deaf, and so much of their world came to them through visual stimulus,” William said. “Still, I always found music incredibly interesting and stimulating.

“When I was in high school, I was learning to play the trumpet; I was in my basement bedroom practicing and my sister was at the door listening. My dad also came to the door, and after a while, he asked her, ‘Is he good, does he sound good?’ (all in sign language, of course).

“At that moment, I decided working on any musical talent wasn’t really fair to them, and I should really focus on areas that they could appreciate, too.”

Without further ado, enjoy the following exclusive and incredibly moving interview with William on his path in representational art, and in life.

Cherie Dawn Haas: Tell us a little about your path in art, and how your work has evolved since the beginning.

William Suys: To be honest, answering this question would require a long, wildly diverse discussion of ‘Life’ and ‘Art.’ As my work evolves, I believe the two are completely intertwined. In this format, I’ll share a few quick notes about both:

I have been drawing in some shape or form since my earliest memories. For some reason, I’ve always been compelled to create things, whether in two dimensions or three. There has always been an urge to produce something that wasn’t there before. It did not start out as a pursuit, it was simply what I did — it is still what I do. I do recall a pivotal moment in my young drawing life: We had a class trip to see an exhibit of drawings by Andrew Wyeth at the Art Institute of Chicago. I was blown away by what I saw. The thought that kept running through my head was, “So …THAT’S what I’m trying to do!”

I enrolled in a commercial art program and moved on to Fine Art in college. Abstract expressionism was in vogue and I realized some artists were more successful simply due to their ability to ‘wax eloquent’ about the schlock they created. I intuitively felt I should hone my craft and my vision would evolve. I also realized the key to being a successful artist isn’t whether you’re trained or self-taught; it is being a self-driven artist … seeking and developing the visual and emotional building blocks that feed one’s growth.

While in school I experienced a great range of “creation,” from the potter’s wheel and sculpting (which may have been my forte) to creating the exploded-view Assembly Manual for Excalibur Motor Cars and having a one-man show. I received tremendously positive feedback and support from my instructors, including requests that I apprentice with a professor who had works in the Smithsonian.

But, because the Fine Art world was a strange and dicey proposition during this time, I morphed from an Art Major to graduating as a Business Major so I could feel secure in my ability to raise a family. As it turned out, I loved that life and the company I worked for, and I learned so much that also strengthened my work and my artistic career. I still drew and painted in watercolor every day.

When I left the company, I switched from watercolor to oils and found rapid success. I was working toward building a major series of paintings while traveling the world to curate an international art collection, but my wife became severely alcoholic and I was prompted to focus solely on the kids and life at home. This caused me to shift toward work that was more basic and could be marketable in local galleries; a safer solution, but also something I feel stymied my larger creative potential. Still, my kids were more important than my art ‘mistress’ and I just did my best.

Curating and purchasing an international collection of art reinforced for me how important it was to deliver a story, message, or emotion in the art I responded to. I also saw the importance of maturity in one’s work; there are often new artists who are very capable craftspeople, but years of work and understanding seem to infuse an artist’s work with depth and gravitas that will stand the test of time.

Fortunately, after a few difficult years, I met and married Kristin. She was a former Designer/Art Director and lifelong “art person” — maybe even more than I was! She understood what I was about and was completely supportive of me and my work. Her desire to see my work develop and my career grow has been a wonderful catalyst. Though she’s an uncompromising critic, I can never thank her enough.

Even with this healthy new life, the past few years have been consumed by the illness and death of my son. He died a Major in the Air Force of cancer from burn pit exposure. This has been so heartbreaking that for the first time in my life, I have not created art on a daily basis. I do, however, feel deeply that the aftermath of this experience is driving me to truly dive into my core principles and I will begin to create work that reflects my soul. Though it’s been difficult, I believe it may result in the true “evolution” of my mature work.

In short, the evolution begins with understanding and developing one’s craft; transitioning from learning how to see to building upon that foundation to eventually express life and feeling in a visual manner. I am really looking forward to what will come in the years ahead.

You’re known for your incredible figurative works, among other subjects in representational art. What are some of the things you consider when painting one’s portrait?

Thank you for that.

When I’m painting someone’s portrait, a simple likeness is only a beginning. I want to bring that specific person and personality to life. I work to fully understand the structure, gesture, and form, and I like to imagine my brush laying both transparent and opaque paint over and around the actual surface of my subject.

I also find it is very helpful to “fall in love” with one’s subject … to fall in love with the beauty of that particular human form and its presence. Once you really become intimate with your subject, celebrating that individual seems to flow naturally and the end result will breathe forever.

What is one of your favorite paintings (by you), and can you tell us about it?

A current favorite is “The Immigrant.” I feel I’m expressing a life … the young subject is engaged within themself, and we are not sure exactly what they are doing or where they are going, but I sense wonderful potential within the world of this piece. I’m happy it expresses a story in beautiful, interesting paint.

How does plein air painting fit into your process?

I always say I do plein air because it informs my work, and I mean it! When plein air painting, we’re being presented all the questions, and they take all forms; the solidity of a building, the transparency of atmosphere, the transition of light, and the translucency of a tree. With each painting, we learn a little bit about how to understand the complexity and beauty of interpreting what is presented to us in the natural world.

As I go forward with my plein air work, I’ll want to build a two-dimensional personal celebration of the environment presented to me — while working toward a genuine emotional response. Because of the immediacy and idiosyncratic nature of each plein air experience, success is not guaranteed, but sometimes serendipity pulls everything together with very satisfying results.

See More Representational Art

• Connect with William Suys and see more of his representational art: williamasuys.com
• Learn more about the OPA and its involvement with representational art: oilpaintersofamerica.com
• Browse more articles on representational art and artists: fineartconnoisseur.com