September 2016 Winners and Finalists
Thank you to judge Mark Lague.
Here are the winners and finalists. Mark has written a brief statement about each painting. Congratulations to everyone!
Master Class Winner
Thorgrimur Einarsson, “Haukadalur”
When you study this painting, you can really get a sense of the artist’s confidence. Very skillful knife work here, both applying paint and scraping it away. The puddles on the path are so simply done, and are clearly the center of interest. I could look at this all day.
Master Class Finalists
Charles Young Walls, “Limelight”
This is a very charming painting. It has a nice value pattern, brought on by a skillful use of alternation. Even though it’s black and white, colour can be felt in the shadows. The uplighting is reminiscent of Degas.
William Schneider, “The Long Goodbye”
While this is a very well done portrait, it stands up as a well composed painting. There is effortless brushwork and a real economy of means throughout. The confidently placed highlight in the eye brings Sargent to mind.
John Lasater, “Evening Marina”
A very serene painting that really captures the feeling of a summer evening. The beautifully simplified shapes of the foreground reflections really add interest, and the warmth of the single light serves as an exciting foil to the blue dominance in the rest of the painting.
Jason Sacran, “The Amen Corner”
This painting is a master class in design. In a departure from his usual work, Jason has broken down shapes to their bare essence. Details are sacrificed for the sake of interesting and varied shapes. I’m feeling an influence from Richard Diebenkorn and even the cutout works of Matisse.
Ned Mueller, “Last Light, Cragnamanagh, Ireland”
By using subtle and subdued cools in the foreground, Ned has skillfully managed to give the boats in the distance the sense that they are absolutely drenched in sunlight. Beautiful.
Emerging Artist Winner
Michael Gillespie, “When David Heard”
This is a very powerful painting. The hands and face are very well executed, and the 2 strips of light on the wall add a lot of drama.
Emerging Artist Gallery Representation Finalist
Kenneth Requard, “Sublime Sabino”
This painting really gives a feeling of Southwestern sun. I especially like the muted burnt orange on the peaks in the distance.
Emerging Artist Finalists
Jose Pardo “Humanity Fell”
I generally find trompe-l’oeil paintings to be cold and technical looking, but this one has a warmth and playfulness to it that is very compelling.
Barbara Schilling, “Summer Roses”
This painting manages to balance the juxtaposition of good drawing and solid values, all the while giving the flowers a delicate feel.
Toby Davis, “E. Grand Avenue, Chicago”
Strong composition and dramatic perspective make this a very successful painting. Also, the monochrome turquoise adds to the feeling of wetness.
Michael Gillespie, “Delanell”
Nice subtlety in the facial expression, and the hair is masterfully rendered.
Budding Artist Winner
Lizz Card, “Five Children and a Computer in Muangsing”
This is a very well thought out composition. The direction that the children are looking actually leads the viewer’s eye through the painting in an interesting way. Also, the faces and hands are very well drawn.
Budding Artist Finalists
Lanny Sherwin, “Mane Man”
This is a very unique approach to painting a lion. Nice bold brushwork and very strong figure/ground consolidation, particularly in the mane.
Tom Afflerbach, “Texas Tower”
This painting feels like an hommage to Edward Hopper. Really strong and well defined value shapes.
Jerell Meyer, “Cinderella”
There’s a quiet dignity to this painting. The soft colour harmony is charming, yet stops short of being sentimental.
Merit Award Winner
While Kelley and Kim don’t have any say in who wins an award each month (that’s entirely up to the judges), they do get to choose an artist who they feel merits recognition. This month’s Merit Award goes to…
Susan Elwart Hall, “Whirlwind”
When it comes to painting a big misconception is that loose and expressive brushwork doesn’t mean that the artist has to have an accurate drawing as a foundation, when in fact, the opposite is true. In “Whirlwind” Susan demonstrates how having a solid understanding of proportion is critical to this seemingly spontaneous piece. She is able to capture the essence of the dancer and her movement without including every little detail. The unfinished background makes the painting seem as though we are having a glimpse into a hidden world within the canvas itself. I don’t know about you but I want to join that dance – well done!