Friday, March 1, 2013
Nine great reasons to attend the 2013 Art of the Portrait Conference! This year as we gather in Atlanta to celebrate our 15th annual Art of the Portrait Conference, we look forward to seeing old friends - and welcoming some new ones! In our effort to bring you a new and diverse program each year, we have filled this year's distinguished faculty list with nine new artists, who are eager to share with you their expertise. Our new faculty members are Sam Adoquei, James Gurney, Quang Ho, Evert Ploeg, Lynn Sanguedolce, William Schneider, Daniel Sprick, Joseph Todorovitch, and Aaron Westerberg. Sign up for the 2013 conference today, for your chance to meet these distinguished artists!
Posted by Portrait Society of America at 2:00 PM
Friday, February 15, 2013
Can you guess which of your favorite artists painted this work? Come find out on April 26th at our 2013 Art of the Portrait Conference, during the 6x9: Limited Size, Unlimited Talent Mystery Art Sale.
Back this year by popular demand! Our 6x9: Limited Size, Unlimited Talent Mystery Art Sale will take place Friday night April 26th at our Art of the Portrait Conference event.
Over 100 artists have contributed original pieces, which you will have the opportunity to purchase for $250.
Posted by Portrait Society of America at 11:31 AM
Thursday, October 4, 2012
Mark Your Calendar - Members Only Competition Deadline is December 14, 2012
Last year Karen Kaapcke was awarded First Place in the Self Portrait category and shared these thoughts about her painting and career.
Karen Kaapcke, Self-Portrait with Crooked Glasses
9 x 11", oil on panel
Karen Kaapcke: This painting came about when my private student cancelled her session at the last minute. I was at my studio, and realized that I had the gift of about 3 solid hours of painting time. Though I also had a work in progress that I could have continued with, I thought instead to do a really quick self-portrait, with the challenge of getting it accomplished within this time frame. I have been strongly drawn to self-portraiture for the past 6 or 7 years, and have been painting all sorts and manners of self-portraits, to investigate more deeply this unique category of observational painting. I enjoy balancing off work on longer-term pieces with quick studies, and had been teaching how to bring an oil sketch or study to the level of a more fully resolved painting in a quick and fresh way, and so it was also done in a somewhat instructional manner, as something I would later share and discuss with my student. I also felt it would be good to show my student that it is important to paint no matter what, with your materials at hand, come what may - to paint all the time and in every context!
With this kind of painting, I usually start on a toned panel - but here, I worked directly on the white gesso since the painting came about in a very unplanned manner and that was all I had in my studio. This was actually somewhat helpful, as I had to work really quickly initially to try to get rid of the distraction of the white. I lay in quick strokes to mark out the general map of the placement of forms in a neutral earthtone, and then really quickly got into painting in patches of dark, then the possible lightest light, and finally everything in between with an eye towards building the structures. When I feel things are getting too fussy, I reclaim my energy to obliterate it - bringing it constantly back to a level of simplification. It is important to also constantly observe yourself working, to make sure you are simply, and clear-headedly seeing what's in front of you. Again, when this seems not the case, I gather up the energy to obliterate the marks that have deviated and seem too symbolic, to replace them with the results of pure (as pure as possible!) observation.
After receiving my MA in Philosophy, I trained mainly at the Art Students League in NYC where I studied sculpture with Barney Hodes for a couple of years. At the same time I was studying drawing with Ted Jacobs, and was waiting to get into his painting class. When I began painting, I left sculpture behind in order to focus on the world this opened up. When he relocated to France I continued to work with him there for some time, but also continued to work at the Art Student's League when I had to return to NYC to earn money. There I worked with several abstract painters who influenced me quite a bit, mainly John Hultburg whose monitor I was for a couple of semesters.
This painting, as a part of a larger series of self-portrait investigations that I have been working on for many years, represents a vision of the self that is quick and quirky, a real moment of the self captured, in order to portray an honestly observed and felt reality. The notion of painting honestly has been becoming more and more important to me as I mature as an artist - and the crooked glasses, in particular, stand for that - for the goal of painting as a response to reality, not correcting what your vision tells you by what your mind tries to tell you 'should' be there. When I noticed that I rather unthinkingly painted my glasses as crooked as they really were, not only did I find it a little humorous (since I kept putting off getting them fixed, and it was becoming a real problem!), but true and unjudged.
Posted by Portrait Society of America at 1:46 PM
Friday, August 31, 2012
The September 5th deadline is fast approaching for applications to the mentoring program. Participants of the Mentoring Program will work one-on-one with their mentor over the nine-month period, using personal goals as focus and motivation.
The requirements to apply are as follows:
1) Be a Portrait Society of America Member
2) Be a Cecilia Beaux Forum Member
3) Have experience in the techniques and medium you seek to improve
4) Have specific goals to achieve with the help of a mentor
5)Have a portfolio of 8-10 pieces
The 2012-2013 program will run between January 1- September 1, 2013. For more information and to apply visit CLICK HERE
Posted by Portrait Society of America at 12:20 PM
Thursday, August 16, 2012
Want to relive your conference experience, or missed out on a previous event?
You can add to your collection three new DVDs featuring demonstrations from Michael Shane Neal, Burton Silverman, and Mary Whyte. Each one focusing on a different medium: drawing, oil painting, or watercolor. These DVDS would make a wonderful addition to any artist’s collection. PURCHASE DVDS NOW.
These demonstrations from acclaimed artists Michael Shane Neal, Burton Silverman, and Mary Whyte are now available on the Portrait Society website under the Media tab. PURCHASE DVDS NOW.
Also, check out the other great DVDs we have available in the Series I release including artists Judith Carducci, Daniel Greene, Robert Liberace, Michael Shane Neal and Mary Whyte.
Posted by Portrait Society of America at 5:14 PM
Thursday, May 31, 2012
Congratulations to the finalist in this year's Portrait Society of America's International Portrait Competition. On Saturday, May 26, 2012 in Philadelphia the winners were announced at the Portrait Society's Gala Banquet and Awards program.
The three panel judges were PSoA Board Member Daniel E. Greene, NA, PSoA member and conference faculty artist Mary Whyte and the invitational judge was Brandon Brame Fortune, Curator of Painting and Sculpture at the Smithsonian National Portrait Gallery.
The top five awards were: The Draper Grand Prize presented to Julio Reyes, the Best of Show to Mary Sauer, First Place to Alexandra Tyng, Second Place to David Kassan and First Honor to Lynn Sanguedolce.
Draper Grand Prize
Tread Softly, 42 x 63”, oil
Best of Show
Anna, 30 x 40”, oil
Year at Sea, 68 x 46”, oil
Portrait of My Dad, 32 x 25”, oil
Tom Poynor, 68 x 50”, oil
Orveda, 20 x 16”, oil
Max, 22 x 28”, oil
The Beekeeper, 20 x 24”, oil
Kalos Kai Agathos,7.75 x 13”, cast stone
Margueritte, 40 x 27”, oil
Insomnia, 35 x 37”, oil
Exceptional Merit & People's Choice
Composing, 12 x 20”, oil
Richards Serrin, life size, terracotta
La grande ails, 50 x 50”, oil
I Wanna Be Adored #3, 36 x 30”, oil
Avie, 27 x 19”, oil
The Trapper, 24 x 30”, oil
Paul, 38 x 31”, oil
The Reader, 30 x 34”, oil
I Never Told You, 30 x20”, oil
Posted by Portrait Society of America at 3:09 PM
Saturday, March 24, 2012
Don't miss an opportunity to watch David Kassan paint in the "Face-off," Thursday, May 24, 2012 in Philadelphia; or on Friday afternoon, May 25, or hear his thoughts on "What is a Portrait?" when he joins Burton Silverman, Daniel Greene and Rose Frantzen for this insightful discussion. His afternoon drawing class is already full but we are taking a waiting list. Recently, David shared his thoughts about teaching, "As a teacher, I believe that the most important lesson that I can impart to my students is an understanding of how to develop a keen sense of how to see the world around them, and get that on paper or canvas. I want them to get a strong understanding of how they can have their work represent their individuality, how they are the sum of their unique experiences -- and to have their work reflect this. The technical aspects of what I teach are only a small set of tools that can be used in a million different ways by each individual student." Sign up today for The Art of the Portrait, May 24-27, 2012. www.portraitsociety.org
Posted by Portrait Society of America at 12:07 PM