ASMA 2014 AGM Meeting Inner Harbor, Baltimore, Maryland

ASMA 2014 AGM Meeting Inner Harbor, Baltimore, Maryland
American Society
of Marine Artists
Spring 2014
A P u b l i c at i o n
The American Society
Marine Artists
Dedicated to the Promotion of American Marine Art and the Free Exchange of Ideas Between Artists
ASMA 2014 AGM Meeting Inner Harbor, Baltimore, Maryland
October 16 - 19, 2014
• See Page 22 for More Information
Vi s i t o u r We b S i t e a t : w w w. a m e r i c a n s o c i e t y o f m a r i n e a r t i s t s . c o m
From The President
Russ Kramer
One of the Society’s most important initiatives continues
to gain momentum – ASMA’s Young Marine Artist Search
This year we will hold the second annual YMAS National
Competition for high school or college-age kids (16-23) and
hope, through your direct efforts, to have entries from every
state in the nation. We ask each of you to consider finding
a student in your area who might be interested in this
competition. One way to do this is to inquire whether your local art center or
museum has any classes or exhibits for young people and encourage those students
who show an interest in marine subjects to submit for the YMAS National. Also,
direct contact with local high schools and colleges may be effective too. Materials
are available to members who wish to participate and promote the competition;
see a full prospectus in this issue and watch for updates in the monthly e-News.
Entries are due by June 15, and winners, selected by a jury of Fellows, will be
announced on August 1, with award ribbons, certificates, and scholarship money
given out at our Annual Weekend in Baltimore mid-October. All entries must be
original and created by the student from personal photos or imagination. Any
media will be considered (paintings, sculpture, etc.) and any maritime subject will
be eligible. Students should be sponsored by an ASMA member, local art center or
museum who has paid for the student’s ASMA membership ($15 annually).
Of course, the success YMAS has found already, and the reason it will continue
to grow in the future comes down to the dedication of a small group of ASMA
members who have been instrumental in its formation; notably, Dick Elam, Austin
Dwyer, Lisa Egeli, Hiu Lai Chong, Anne Brodie Hill and Charlie Robinson are
all deserving of credit.
* * *
Allow me a bit of personal history here, as it speaks to YMAS and the
opportunity that program offers. I was
once a ‘young marine artist’ in the making
myself. It was clear from the earliest age
that I was going to be an artist and designer,
but what kind? As a mid-teen, my interests
were directed to a future in architecture, and
I was already doing commercial freelance
illustration. But then, I saw “The Marine
Paintings of Carl G. Evers” and was struck
-- THAT’s what I wanted to do when I grew
Russ Kramer at 16
up. I was so inspired I produced a painting
shortly thereafter (which was really a colorized, slavish copy of a Rosenfeld
photograph) and entered it in an art show, where it sold. It was 1976, and I was
16. (The formation of the ASMA was still two years in the future). I guess there’s
nothing remarkable about my experience, except that I would not paint another
marine scene for twenty five years. Instead, I went off into the newspaper business
and later the agency business, had rewarding careers, but always kept my dream
alive to become a marine artist someday. Who knows, had someone encouraged
me to pursue it more formally, or a program like YMAS, I might have stayed with
it from the start.
Obviously, there are many kids out there today, despite all the electronic
distractions, who connect with the idea of becoming artists, even some who are
inspired to paint or sculpt subjects of the sea. I encourage you to seek them out in
your town, sponsor them for a year in ASMA and urge them to enter our national
A Word About
The American Society of
Marine Artists
The American Society of Marine Artists is a
non-profit organization whose purpose is to
recognize and promote marine art and maritime
history. We seek to encourage cooperation
among artists, historians, marine enthusiasts
and others engaged in activities relating to
marine art and maritime history. Since its
founding in 1978, the Society has brought
together some of America’s most talented
contemporary artists in the marine art field.
Managing Fellow
Richard Loud
John Barber
David Bareford
Chris Blossom
June Carey
William Davis
Don Demers
William Duffy
Lisa Egeli
Peter Egeli
West Fraser
Michael Karas
Russ Kramer
Loretta Krupinski
Richard Loud
Ian Marshall
Joseph McGurl
Leonard Mizerek
Paul Mullally
Neal Hughes
Charles Raskob Robinson
Sergio Roffo
Kim Shaklee
Donald Stone
Len Tantillo
Kent Ullberg
ASMA Fellow Emeriti
Norma Jay
Raymond Massey
Victor Mays
William G. Muller
Mark Myers
William Ryan
John Stobart
Donald Stoltenberg
ASMA Honorary Members
J. Russell Jinishian
Richard C. Moore
Graham Stiles
S p r i n g 2014
Published Quarterly by
501(c)3 Organization
Robert C. Semler
Regular Contributing Writers
Charles Raskob Robinson
Christine Diehlmann
D e d i c at e d
to the
and the
Free Exchange
Assorted Scuttlebutt • 4
Membership Information • 4
News From The Fo'c'sle • 5
Regional Reflections • 20
2014 AGM, Baltimore MD • 22
YMAS Update • 23
Design and Layout
Robert C. Semler
The American Society of
marine artists
Russ Kramer
Kim Shaklee
Mike Killelea
Managing Director/Treasurer
Peter Maytham
Board of Directors
Christine Diehlmann
Austin Dwyer
Anne Brodie Hill
Len Mizerek
Ann Mohnkern
Sergio Roffo
Robert C. Semler
Len Tantillo
American Marine Art
Ideas Between Artists
"Highlands Pond" • Debra Nadelhoffer
7. Notes From Brush Hill
Charles Raskob Robinson
featuring Debra Reid Jenkins
14. 1812 - Star Spangled Nation
15. Gadsden Arts Center
16. Fellows Corner
featuring Len Mizerek
"Fog Lifting on the Seine"
16" x 20" • oil • Len Mizerek
the american society of
marine artists
Post Office Box 247
Smithfield, VA 23431
[email protected]
On the cover
"Sweet Dreams"
24" x 24"
by Debra Reid Jenkins
Newsletter deadlines
Dec. 1, Mar. 1, June 1, Sept. 1
All material in the
ASMA News & Journal is copyrighted
and may not be reproduced in whole or
in part without prior written consent of
the American Society of Marine Artists.
| 3
Assorted Scuttlebutt
Robert Semler
[email protected]
Hopefully by the time you receive
this issue, the snow will have melted
and Spring will be "sprung". We, in
Florida, have the distinction of being
the only state in the union that did not
receive our share of snow this year.
Wish I could say the same about the
future of hurricanes, although in the Sarasota area we have been
most fortunate. Let's hope it stays that way.
OK, now down to business.
You will see on page 22 our ongoing plans for the annual ASMA
AGM being held at the Baltimore Inner Harbor, Baltimore, MD
from October 16 through the 19th, 2014. Instructions for making
reservations were not immediately available as our deadline
approached so look for those to show up in one of president Russ
Kramer's eNews mailings in the near future. Everything else is
coming along nicely and it should be another fine experience
for those planning to attend. Phyllis and I have made our plans
already and look forward to seeing everyone. We've missed the
last two. Something very rare for us.
A major change that recently took effect is the appointment of
Fellow Neal Hughes as our new webmaster. Neal brings a lot of
experience with him in web design and experience and we look
forward to his future innovations to our website. You can visit
Neal's own website at:
ASMA's "1812 - Star Spangled Nation" opened in April and
will run through June, at the Connecticut River Museum, Essex,
CT. If you are in the area please be sure to stop by and view it,
and say "hello" to the staff. After it leaves Connecticut, it will then
travel to the Lake Champlain Maritime Museum, Vergennes, VT
(July-Sept. 2014) before the final venue at the Star-Spangled Flag
House Museum, Baltimore, MD (October to December 2014), just
in time for our AGM.
By the time you receive this issue, we should also have a new
Managing Director of the Society. As you know, our "Iron Man",
Peter Maytham, is "retiring" the position after June. He will also
be turning over the position of Treasurer at the end of the year. He
has done a heroic job of keeping ASMA affluent and working like
clockwork and we will miss him greatly. Especially for someone
who was essentially "shanghaied" many years ago. Peter will
always be a member of the ASMA family and we look forward to
many years of friendship with him. "Well done, Peter!"
On page 6 I've once again tried to explain exactly what
is needed in the way of text and photos being submitted for
publication in the ASMA News & Journal. Please read it over and
if you have any questions, just email me before sending material
and I'll help all I can. Being a one-man operation I need all the
help I can get, particularly in the area of reproducible photos and
Continued on Page 27
New Members
Anne W. Black
Yvette Kim
Robert Cairo
Paul Mattoon
Gretchen Durepo
Peter Pierson
Sherl Farabaugh
Paul Warren
Sharon Farkas
Michelle Jung
Robert L. Webb
1812 - Star Spangled Nation
Photo courtesy Connecticut River Museum
First Themed Exhibition now at
the Connecticut River Museum
The exhibition opened to the public on
March 21st, with a special reception held on
March 20th, and will run through June 29th.
Be sure to see it if you are in the area.
Now Showing
Connecticut River Museum, Essex, CT
April through June
Christine’s Log Book
Christine Diehlmann
[email protected]
When you receive this edition of
the ASMA News & Journal, the sun
will be shining, the birds singing and
blossoms will be sprouting. However,
as I write this column, the day is gray,
the temperature is freezing, and snow
is predicted – again. This has been a cold snowy winter for most
of us this year. The Great Lakes were 85% frozen causing havoc
with shipping. An Australian research ship carrying people
from all over the world to investigate “global warming” was
frozen fast in Arctic waters. The rescue ship was endangered
and had to cease operations. Finally, the passengers were
airlifted to safety. Does this evoke a remembrance of Austin
Dwyer’s recent painting of Shackleton’s frozen plight over a
hundred years ago? This winter has also been hard on wildlife.
Everyone knows that Annapolis that the land in close proximity
to the Historic District contains miles and miles of waterfront
– creeks, rivers and the Bay. A little known secret is that the
close-by area to the north contains acres and acres of forest and
woodland that is home to uncounted number of deer. Most
of this forest land is fronted by housing communities that
incorporate the woods into their common land having their
backyards blend into the woods. Our community is called
Cranberry Woods. It is so named because back in Colonial
days, there was a huge cranberry bog deep in the woods.
Ships docking in Annapolis to take on water would often
anchor in Round Bay
to get their water
from our bog, which
was purer than any
other and lasted
much longer. The
bog is also a source
of water for resident
deer. We always
have small groups
of deer wandering
quietly about the
neighborhood, partially hidden in non-winter months. Most
of us are on the alert when we turn into our neighborhood or
start down our driveways in case there are deer in the road.
We can hear them when the windows are open in the summer.
We also know that our tulips will be beheaded before they
bloom and that hosta will grow to large size and suddenly be
cut down to stubs. They hate boxwood and are not so keen
on holly. This winter, we have had daily visits off and on all
day long by a herd of about ten deer. When they started in
on the boxwood and jumping up to shake the wild bird seed
Continued on Page 24
News From The
Member Eric Nils Forsberg
was part of a special segment
on the WGN News, December
24th at 9:00 PM Central Standard
Time. There is also a presentation
on the WGN website http:// The segment is only about 15
"Yuletide Cargo" - 28" x 40" - Oil
minutes long and he was only
Eric Nils Forsberg
a small portion of it, but it is an
interesting story of the Christmas
Tree Ship. It features a short
interview with Eric and shots
of his studio and two paintings
depicting the Rouse Simmons,
Christmas Tree Ship, which went
down in a storm off of Two Rivers
"Sailing Into Eternity" - 24" x 36" - Oil
Wisconsin in November 1912,
Eric Nils Forsberg
with all hands lost.
The two paintings were part of a one man show at the
Wisconsin Maritime Museum in Manitowoc, Wisconsin and
have also been used as illustration in two books.
Signature member Jim Griffiths has an exhibition of 40 of his
military paintings at the U.S. Naval Academy Museum, Preble
Hall, Annapolis, Maryland. The exhibit runs from March 15th
to June 15th, 2014, and is titled "U.S. Navy Ships of War:18981991". Jim will have paintings on display depicting ships from
the Spanish-American War up to the first Iraqi conflict. Widely
known for his paintings of 19th Century clipper ships, this
exhibit at Preble Hall
showcases Jim's great
interest and passion for
these steel navy vessels. Many of these military
paintings have never
been seen in public. This is the first time
all of these works can
viewed together.
"In The Gulf" - Jim Griffiths
Sea History Magazine is doing an article on Signature
Member Louis Stephen Gadal's Night Light series in the coming
spring 2014 issue of their magazine. "I am really excited about
this and hope it gets some attention with the readers. I do find
my Nocturnes are very different and a challenge to do.
Continued on Page 19
| 5
All Things
Deadlines and
Technical Specs for
The ASMA News & Journal
It is time that I make it clear again just how important
deadlines are for publication in the ASMA News & Journal and
also the technical specifications required for articles and images
submitted. I realize not all members are computer savvy and if
you are not, please refer this to a friend who is.
Last year we instituted new deadlines to make things run
smoother for me. I was trying to put together a magazine in
just a little over a week and upload files to our printer. Several
things occurred. There were too many errors and I got burned
out, in addition to having material submitted after the deadline.
So, we moved the deadlines forward to ease the pain. It is
imperative that the new deadlines be adhered to. I will not
accept material after these dates, which are published below,
and in every issue of the ASMA News & Journal.
Now let's get to what I need from you:
TEXT: I need all text submitted one of two ways. Either
directly in an email, or as a Microsoft Word document. I can read
most any version of MSWord. I use an IMac Apple computer,
not a PC, so this software or plain text must be adhered to.
IMAGES: All images MUST be sized for "Print" format, not
internet reproduction. The ASMA News & Journal requires
standard commercial print specifications.
• All images must be 300dpi resolution at a size not smaller
than 4" x 6" (1800 x 1200 pixels) or very close. If you cannot
size them in this resolution, a camera image might be successful
(72dpi) as long as it is photographed at the largest size approximately 25" x 17" (1800 x 1200 pixels), depending on the
• All images MUST be JPG (JPEG) format, RGB color.
• Images may be emailed to me direct as long as any one
mailing does not exceed 10MB of memory, otherwise just email
them one at a time and number them. If you feel you would
rather send them to me on a disc, just contact me at [email protected] and I will give you instructions.
Please read this carefully if you wish to submit material.
Cover art is chosen from art published in the specific
quarterly issue, so do not submit specifically for a cover. Specs
for art chosen will be discussed with the individual artist.
Robert Semler, Editor
ASMA News & Journal Deadlines
Winter - December 1st • Spring - March 1st
Summer - June 1st • Fall - September 1st
the american
society of
marine artists
the 16th
October 2014
December 2015
society of marine
The Society's first
Virtual Exhibition ever
held. In addition, we are
in the planning stages
for special presentations
of the digital exhibition
at appropriate host
venues. Stay tuned!
Notes From
Brush Hill
by Charles Raskob Robinson
Brush Hill Studios, Washington, CT
Signature Member,
Lowell, Michigan
Web Site:
The thought that the
following statement by
Albert Einstein about his
own life story might be
associated with that of
ASMA Signature Member Debra Reid
Jenkins would make Debra very uneasy.
But the connection seems to become
clearer the more one knows her:
“I know quite certainly that I
myself have no special talent: Curiosity,
obsession and dogged endurance,
combined with self-criticism have
brought me my ideas.”
Albert Einstein
For Einstein, the desire to “know
more” bordered on the sacred. He
counseled, “Never lose holy curiosity.”
Debra had it from the beginning and it
flourished as she grew up surrounded
by her creative family. And she became
more curious with age - her curiosity
was not only “holy” but also insatiable.
As soon as she could read, her mother,
Peggy Reid, fueled the fire by opening
a whole new world by introducing her
to the local librarian, Celene Idema.
Finding she could learn much about art
and artists through the writings about and
by artists, she developed strong reading
habits and still discusses books with the
librarian she first met over a half century
ago and today has built a personal library
numbering over twelve hundred volumes.
Most are on art but there are those on
philosophy, dog training, martial arts and
lots of other subjects. “My kitchen table
a.k.a., my desk, always has the subject of
most immediate interest on it, however
every flat surface in my
house is covered with
books. (My poor husband,
Garth!) I also have books
in my truck in case I get
a chance to read while
waiting for something.
When investigating a
subject, I go looking first
in my library and then in
others, which is usually
how my library grows –
buying new and used books at library
sales, antique bookstores - it’s all fair
Ever protective of “holy curiosity,”
Einstein marveled that, “It is a miracle
curiosity survives formal education.”
In this regard, Debra was blessed for,
beyond her K through 12 education, she
focused subsequent formal education on
college courses to learn specific skills and
aspects about art. “I took courses to learn
how to be an artist, not for credits; my
‘degree’ is found on my book shelves.”
But her exposure to art did not start there.
In fact, she was so surrounded by relatives
and others who were in the business of
decorating and gilding furniture that she
thought, “everybody was an artist.” In
grade school in Grand Rapids, her father
introduced her to gold leafing.
To put this furniture activity in
perspective, Grand Rapids, with a
population in the metropolitan area of
over a million is the second largest city
in Michigan after Detroit and has a long
history of furniture manufacturing. It is
known as “Furniture City” and is home to
"Fall Flat River" - 28" x 20" - Oil
five of the world’s largest office furniture
companies. Debra’s Great Aunt Rose
Kozak owned a furniture manufacturing
company that specialized in hand
decorated French floral and Chinoiserie
(stylized Chinese scenery) furniture.
Debra’s father, Russell Reid, and just
about everyone in the family worked
there at one time or another 1.
In high school as an honor student
(and member of the National Honor
Society) her grades enabled her to
enroll in an advanced and imaginative
(but unfortunately no longer existing)
program called the Educational Park.
Run by the city of Grand Rapids and
hosted by the Grand Rapids Museum of
Art, high-grade performers from schools
throughout the city were able to study a
wide range of subjects, including the arts.
Debra took up silversmithing. This gave
| 7
Notes From Brush Hill
her put into perspective the
increasingly chaotic political
and social unrest that swept
America in 1968 and 1969.
And, she notes, “I was right
in the center of the action,
involved in sit-ins and
demonstrations, etc. With
all of the unrest is fair to say
that Grand Rapids at that
time was nothing short of a
police state.”
"Old Willow Riverside" - 40" x 30" - Oil
her a practical foundation in what would
become a revenue generating skill as
she designed and made jewelry that she
sold in street fairs and various art festivals
in the years following her graduation.
But the Educational Park experience
was valuable in another important way
for it introduced her to students from
different neighborhoods and economic
backgrounds of Grand Rapids and helped
Debra is the eldest of three. She has two younger brothers:
Mitch is a commercial artist in California making recyclable
containers (See these creative constructs on his web site, http:// and Steve who she describes as a
“Jack of All Trades” contractor.
Interesting to our story about Debra Reid and her family’s
involvement with furniture decoration, painting and goldleafing, the David Wolcott Kendall School of Art was
established in 1928 in Grand Rapids by a provision in the
will of Helen M. Kendall, the second wife of Grand Rapids
furniture designer David Wolcott Kendall. The school offered
a two-year program in the fundamentals of art and by the
mid-1930s was making a name nationwide as the heir to the
legacy of the craftsmen who built the Grand Rapids furniture
Debra graduated from
Union High School in
Grand Rapids in 1973 and
continued to design, make
and sell her jewelry but
she recognized she needed
additional skills if she was
to make a career in art so
she enrolled in courses at
the Kendall Art School2 and
over a period of two years from the fall of 1973 to 1975
- she studied illustration.
“But all the while I became
increasingly aware that
Kendall was not teaching
me the basic skills I sought.
Moreover, I came to realize
that my real interest was in
painting, not illustrating,
so I terminated my studies at
Kendall and began a systematic search for
an artist in the Grand Rapids area under
whom I could study the basics of painting
and portraiture.”
elected member of a number of national
professional art organizations and had
works in private and public collections
and across the country, principally in
Michigan. Debra signed up for Blovits’
classes at Aquinas College and, while
continuing to work and support herself,
she continued her intermittent studies of
the basics of painting, pastels, anatomy,
painting, and art history at Aquinas
College over the next fifteen years from
1975 - 19903. During this period - in
the mid-’Eighties - her curiosity led her
to plein air painting and she “found this
as compelling as figurative painting.”
She also became proficient in and began
to exhibit soft pastels. In 1989 she was
elected a Full Member of the Pastel
Society of America (PSA)4. The same year
she participated successfully in the Five
State Pastel Competition at the Krasl Art
Center in St. Joseph, MI5 and in the Sixth
Annual International Pastel Exhibition in
Wichita, Kansas.
She found Larry John Blovits (b.
1936) who was an art instructor at nearby
Aquinas College. This Michigan portrait
painter, landscape artist and instructor
work in paints and pastels, was an
While all of this was going on, there
was a serious development in her personal
life. In 1976 in one of the furniture
companies where she worked to pay
for her studies, she met a fellow worker,
Garth Jenkins. Garth, like Debra, worked
there to support his studies6. His field was
computer science and eventually he went
on to become a computer programmer
with a large insurance company. But their
relationship held and they married two
years later in 1978. Garth and the family
of doers he married into designed and
built their first house when they moved
out of Debra’s apartment and, in the mid
’Nineties, when Debra was introduced to
industry. After WWII it expanded, changed its name to the
Kendall School of Design reflecting the school’s national
reputation in furniture design and home merchandising.
When Debra attended, the campus continued to grow and by
1977 the school offered its first Bachelor of Fine Arts degree
and in 1987, following further growth and expansion, it
changed its name to the current Kendall College of Art and
Design (KCAD). In 2001 it further strengthened its position
of depth and scope by merging with Ferris State University
of Big Rapids, MI (about an hour drive away) but remains in
Grand Rapids.
Debra also studied under Nathan Goldstein, a nationally
known artist, teacher and writer who has been active for over
a half century and appears in a number of private and public
collections and museums. (The Art Institute of Chicago, the
National Academy of Design among others.) He has been a
professor at the Art Institute of Boston since 1971 and written
seven books a number of which are used widely in colleges
and universities here and abroad. She also studied under the
portrait artist June Allard Berte, a native of Springfield, MA
with artistic roots in New England (Copley Society of Boston,
Guild of Boston Artists) and New York City (Salmagundi
Club, Society of Illustrators) but with mid-West ties (the
Palette and Chisel Academy of Fine Art in Chicago).
Founded in 1972 by Flora B. Giffuni, the Pastel Society of
America (PSA) is the oldest pastel society in the nation and
is largely responsible for the current renaissance of pastels
in American art. A number of other ASMA members are
Lowell, a town downstream from Grand
Rapids at the junction of the Flat River,
they bought property on the Flat River
and designed and built another house.
Initially that was ideal but gradually
“McMansions begun to spring up all
about us so we moved seven years ago
to nearby isolated property that overlooks
hundreds of acres of open space.” They
live there with two Smooth Collies, smart
pedigreed herders from Scotland, and a
less pedigreed – but no less loved – black
and tan hound, rescued from a pound.
Her studies of illustration and
portraiture led in the early ’Nineties to
book and magazine illustration. As we
shall see, she illustrated a number of
children’s books and magazines and
became a member of the Society of
Children’s Book Writers and Illustrators.7
"Yabba" - 16" x 20" - Oil
As an outgrowth of Sumi Brush work that
she practiced for years, she also launched
a figurative series of young people on
also in the PSA. The National Arts Club in New York City
hosts the Society’s Annual Exhibitions. Of note in the world
of American pastels, the Society’s founder, the late Flora B.
Giffuni, established the only museum gallery in the United
States devoted exclusively to works in the pastel medium.
Named after her, the Gallery of American Pastels opened in
2004 at the Butler Institute in Youngstown, Ohio.
Our readers might recognize this institution as the host venue
for one of the first ASMA Regionals in the Mid-West some
years later.
Garth was looking for work to support his studies and one day
was passing the furniture factory that was closed that day. He
spotted a fire inside, broke into the factory and put out the fire.
Learning about this initiative and Garth’s looking for work, the
Notes From Brush Hill
beaches. Influenced by the Japanese
hanging scrolls known as kakemono-e
with their unique spatial relationships,
she replaced the calligraphy with the
figure. “I was working with the human
gesture and breaking many of the rules of
composition found in traditional Western
painting as I tried to create space that
exists beyond the picture plane as well as
a specific moment in time.” Interestingly,
in the course of painting these beach
scenes, she became fascinated with
patterns that light and water made. And
it was thus, twenty years ago, that her
interest in marine art began in a most
fundamental way.
While Debra’s curiosity was taking
her ever deeper into the water patterns
of marine subjects, her lifetime habit of
doodling prompted her to examine her
related interests in abstract
art. “I began experimenting
with this form of art based on
abstract doodles that I had
done for years. Systematically
I began a formal approach
to examine how patterns,
temperatures, colors, visual
vibrancy all related to each
other. “My approach to
painting abstracts is very
similar to my water paintings.
simplifying masses then block
in major color areas and think
in terms of mark making and
line. I find each manner of
painting helps inform the other.
In the language of curiosity, I
suppose this is seeing the interconnection
of dots. I typically schedule in a few
abstracts each season and when time
foreman of the factory hired him.
F ounded in 1971 by a group of Los Angeles-based children's
writers, the Society of Children’s Book Writers and Illustrators
is a non-profit, 501 C. 3 organization, which is one of the
largest existing organizations for writers and illustrators. It
is the only professional organization specifically for those
individuals writing and illustrating for children and young
adults in the fields of children’s literature, magazines, film,
television, and multimedia. 8
She worked from 1975 – 1980 at the Hekman Furniture
Company and the John Widdicomb Furniture Company. Both
are leaders in the field with solid reputations built on quality.
Widdicomb was founded in 1864 while the Hekman venture,
interestingly, was launched in 1893 by an immigrant from the
allows I experiment with materials and
explore new ideas.” (See Yabba.)
Dogged Endurance
Work. Debra thrives on it and has
ever since she graduated from high
school. As noted, she supported herself
while furthering her art education over
the fifteen-year period from 1975 to
1990 by working at furniture companies.
There she managed hand-decorating
departments and designed period
furniture decorations in Chinoiserie,
gilding (gold leafing), striping and trained
other artists in these skills.8 She became
so proficient at this, she returned to the
Kendall School of Design to teach the art
of Chinoiserie. For a decade during the
’Eighties, she also freelanced as a hand
decorator and as a custom color artist
for a signature collection of a mirror
company specializing in 18th to 20th
Century Chinoiseries.9
In 1990 Debra left the furniture
field to pursue her own painting career
full time. At that time she also created
a line of seasonal, limited edition
gilded hand decorated glass Christmas
ornaments which she marketed through
Michigan galleries. Then began a series
of children books that she illustrated. In
1993 she did the cover for A Time to Be
Silent10 and then illustrated I Wanted to
Know All About God11 by Virginia Kroll
in 1994. Given this demonstrated interest
in children and things spiritual, it is not
surprising that she became that year the
Artist in Residence at the Franciscan
Child Development Center (now known
as the Franciscan Life Process Center)
near Lowell. This beautiful campus retreat
is located nearby and is dedicated to the
Netherlands, Edsko Hekman, but torpedoed by the financial
panic of that year, prompting him to go into baking where he
found success – the resulting company is now another market
leader, the Keebler Company. However, Edsko’s sons did
finally realize their father’s dream and established the furniture
company in 1922.
She worked from 1980 to 1990 at the La Barge Mirrors
Company of Holland, MI.
Published by William B. Eerdmans Publishing Company,
Grand Rapids, MI, ISBN: 978-0-8028-5255-7, Pp. 137
Published by William B. Eerdmans Publishing Company,
Grand Rapids, MI, ISBN-10: 0802850782, ISBN-13: 9780802850782, Pp. 32.
| 9
Notes From Brush Hill
"Big Blue" - 36" x 36" - Oil
education, healthy development and
cultural enrichment of individuals and
communities of people throughout the
greater Grand Rapids area. In the same
year she created the cover for That Wild
Berries Should Grow by Gloria Whelan12
and then illustrated I See the Moon by
Kathi Appelt13 .
In 1996 another window opened
for Debra. The Cricket Magazine Group,
publishers of children magazines
Babybug (for ages six months to three
years) and Ladybug (for ages three to
Published by William B. Eerdmans Publishing Company,
Grand Rapids, MI, ISBN-10: 080285091X,ISBN-13: 9780802850911. Pp.122.
Published 1997 by William B. Eerdmans Publishing
Company, Grand Rapids, MI,
ISBN-10: 0802851185, ISBN-13: 978-0802851185. Pp.24.
Published by William B. Eerdmans Publishing Company,
Grand Rapids, MI,
ISBN-10: 1563974681, ISBN-13: 978-1563974687, Pp. 32.
Published by Waterbrook Press in 2000, ISBN-10:
1578562988, ISBN-13: 978-1578562985, Pp. 32.
10 |
six years) asked her to illustrate covers
for these magazines. This she did in all
but one of the following eight years. But
her book illustration continued all the
while. She illustrated a true story that
occurred on the eve of the Korean War,
My Freedom Trip: A Child's Escape from
North Korea by Frances and Ginger
Park, which was published in 199814 .
Two years later she illustrated Here Is
Christmas by Donna Cooner15 and in
2001 another book, Glory by Nancy
White Carlstrom. “I dedicated this one,
that celebrates life in every form, ‘to my
mother, Peggy Reid, who taught me to see
the glory in all things large and small.’”
– a lesson she learned well as evidenced
by her universal interests and enthusiasm.
As the new Century opened for
Debra, book and magazine illustrating
gave way to an aggressive pursuit of fine
art of her own. The list of exhibitions in
which she participated and one-person
shows coupled with earned awards and
honors is most impressive for the first
decade of the 21st Century. And it seems
to have accelerated from 2010 to the
present. Debra is fast to point out the
role ASMA has played in all of this. It is
an interesting story: An ASMA member,
thumbing through an art magazine
spotted a painting of Lake Michigan
done by Debra. Impressed, he picked
up the phone, dialed the number given,
introduced himself as being an ASMA
member and told her she should join
to broaden her horizons and network
of contacts and professional friends.
Debra, ever modest, was flattered and
joined immediately. “This turned out
to be a transforming experience for it
not only provided contacts – galleries
and museums – outside my world in
Michigan, but provided the opportunity
and excuse to travel to see other parts
of the country, other artists and subject
matter. It has been an ever-broadening
experience for me.” By way of evidence,
the year she made Signature Member in
the Society in 2010, Debra participated
in the ASMA Regional Exhibition hosted
by the Wisconsin Maritime Museum
and the Minnesota Museum of Marine
Art. The next year she was in the 15th
National that traveled 6,000 miles from
the Atlantic, to the Gulf and Pacific coasts
and was hosted by eight fine art museums.
By this time Mystic Seaport had found
her and she participated in their 33rd and
34th International Marine Art Exhibitions
and in their Maritime Miniatures by
Marine Masters in 2012 and 2013. All
the while her work has appeared in a
growing number of national publications.
“You can’t buy showing up in the
studio and doing the work!”
Debra Reid Jenkins
Gentle prodding will elicit an
acknowledgement from Debra that she is
a work-alcoholic and a little more probing
and she will acknowledge that some
might view her as obsessed with her work.
To start with, she is found in her studio
seven days a week – unless, of course,
she is out plein air painting or chasing
storms (more on that later!). “I am a link
in a chain in art. I grew up in a tradition
that you made your living with art. I get
up and go to work seven days a week.”
Artists lead lonely lives and a seven-day
work regime would indeed be a lonely
proposition. But Debra finds painting is
like having a great conversation. “Day
after day, I go into the studio and wait
for the conversation to pick up again. I
lay out the colors on my palette then
the conversation starts again. For every
painting, there is a new vocabulary of
color and I am crazy about color.” For
her it is an on-going conversation based
on a series of critical analyses. “I love the
process. I love the work.”
Some twenty years ago, in her
typical analytical fashion, she sought to
improve her productivity. She realized
that she “saw” music when she was
listening to it. It appeared as colors and
shapes. Clearly, this was a distraction
while trying to compose and paint
other colors and shapes, so music in the
studio was banned. To address the lonely
environment, she invited the company
of radio talk shows and news programs.
But she found this not only distracting but
also frustrating inasmuch as she was in
no position to solve the problems these
talking heads were hyping up. “And I
thought about how very productive the
artists in the Renaissance were and the
fact that they did not have world problems
being broadcast at them incessantly so I
conducted an experiment: For ninety days
I banned them in the studio to see if there
was an improvement in my productivity.
There was, so I extended the period to
six months and then a year and on and
on. That was twenty years ago. On the
other hand, I do listen to recorded books.
They seem to occupy the monkey chatter
part of my brain and allow me to really
get into my work without the distraction
caused by news/talk shows.
Another blessing/problem Debra
has to cope with – in addition to “seeing
music” is her fascination with “looking”
coupled with the fact that she is a selfdescribed “visual sponge.” This near total
recall of visual experiences helps greatly
11 |
Notes From Brush Hill
"Swanskeep" - 30" x 30" - Oil
when composing in the studio based on
observations in the field. But she is wary
of studying the work of other artists too
closely lest she overly absorb what she
sees and jeopardize the development and
growth of her own “voice.” On the other
hand, her curiosity and love for learning
is constantly exposing her to the works
of other artists. Clearly she must strike a
delicate balance.
Another of Debra’s obsessions is
learning. “I love to learn new and more
about everything. I also am constantly
experimenting – trying new colors on
my palette, for instance, to see how they
work and interact with each other. While
I am really organized about my working
process, my approach to research has
more of the trajectory of a pinball
machine. I tend to bounce back and
forth between several books at once. I set
myself self-study sessions where I focus
on a given topic but I’m always looking
for multiple perspectives and these often
lead to new questions. Consider, for
instance, ‘What is composition?’ You
could start with a basic art how-to book
and be given a formula that, in limited
fashion, could be successful and call it
good. However if you are really looking
at lots of different artwork you will begin
to see it doesn’t always follow what you
were told was the answer. So now the
question is, ‘What types of composition
are there?’ Then, does it change from era
to era, culture to culture? And then, do I
have a natural preference? Do my natural
preferences work well with my chosen
subject matter or would my art be better
served by learning something new? Am
I willing to explore further? And on it
Given her ability to absorb and
retain libraries of visual images as well
as her rather varied background in the
arts – from silversmithing to illustrating to
| 11
Notes From Brush Hill
"Dragons Run" - 24" x 40" - Oil
the fine arts (both Eastern and Western),
Debra recognizes her challenge is to
somehow pull all of this together - or
as she says, “connect the dots. Some
people speak several languages. I can
do that visually. I am fascinated with the
language of patterns. And they are all
about us – from the ridges on the back of
your hand to those on a beach or the roof
of your mouth – it is just amazing once
you start to visualize this way.” (See Big
Blue with its patterned shadows, waves,
tree limbs and roots and the geometrical
patterns of Swanskeep - a scene on the
nearby Flat River.)
“So, yes, I suppose you could say
that I am a workaholic about art – that I
am indeed afflicted. But I love it. It is so
much fun.” And lest you think she gets all
of her fun going through these intellectual
exercises in self-imposed confinement
seven days a week, she does not. She is
also a “storm chaser” – something few
of us ever heard of until recently when a
famous one on the Weather Channel was
12 |
done in when the storm he was chasing
unexpectedly turned on him. Actually,
Debra explains this passion as merely part
of her plein air painting. When she hears
news of a pending storm and confirms it
on the webcams stationed along the Lake
Michigan, she grabs her equipment –
especially her camera – and jumps into
her truck (one imagines with her black
and tan hound on the front seat with
her) and heads out for the action. “I like
storms. I like being out at the Lake when
it is crazy wild. Flat line fronts come thru,
power lines go down, sheets of hail rain
down, and great waves are whipped up
by tearing clouds. They move so fast – in
two or three hours the whole saga is over.
It is one of my favorite times. I am a nut for
it!” Well, these storm chases are not just
an emotional release for Debra, for she
then draws on her “visual sponge” skills
and recreates these in her studio. She has
more on her easel and has shown others
at the Mystic competitions. (See Dragon’s
Run depicting the closing scenes of one
of these passing storms on the Lake.)
Debra cites the works of Joaquin
Sorolla (1863 – 1923), Anders Zorn (1860
– 1920), Mark Tobey (1890 – 1976) the
American poet, author and artist who
was one of the “Big Four” who founded
the Northwest School in the 1930’s
centered in Skagit County, WA known
for a style that combined the art of the
Puget Sound with an Asian aesthetic and
calligraphy16but who traveled widely
internationally and was a proponent of
the Bahá'í Faith with a keen interest in
Asian philosophies.
Debra’s interest in Asian art also
prompts her to list the Japanese ukiyo-e
artist and printmaker of the Edo period,
Katsushika Hokusai (1760 – 1849), and
the Japanese painter in the Shin-hanga
style and woodblock print maker of a
century later, Hiroshi Yoshida (1876 1950) who was trained in the Western
Art tradition in Japan and who traveled
widely internationally especially in the
United States. She also has a fascination
with line drawings and DC Comic Book
art – Superman, Batman and the like. “This
is what I like about Wayne Thiebaud (b.
1920) – the artist known for his luscious
paintings of pies and cakes. He flips
back and forth between flat images and
depth using an outline quality. This does
not exist in real life, of course, but it can
work real miracles in two-dimensional
art. It is the way a line is handled – very
expressive.” Charles Thomas “Chuck”
Close (b. 1940), the highly credentialed
(Yale MFA, Fulbright at the Academy of
Fine Arts in Vienna, art teacher at the
University of Massachusetts, etc.) portrait
painter and photo realist, appeals to
Debra’s fascination with the interaction of
elements in abstract art – his combinations
of hundreds of miniature palettes of color
all of the same dimension to create, at a
distance, a striking and vibrant portrait.
And last among
but probably first in
influence upon her – is
Diebenkorn, Jr. (1922
13 |
her heroes –
terms of early
Richard Clifford
– 1993) who
Notes From Brush Hill
schooled in the discipline of classical
art at Stanford University, served as a
Marine during WWII and thereafter was
increasingly drawn to the New York
School eventually became a leader in
abstract expressionism on the West
Coast where he taught at the University
of California, Los Angeles. But Debra
first saw his work when she was in high
school in the Educational Park program
at the Grand Rapids Museum of Art. “The
Museum had purchased one of his works
and I passed it every day. I was intrigued
with how he handled space on a couple
of different levels at the same time. It is
very relevant to my own work now as I
seek to create compositions in color that
exist as flat planes of patterns and recede
in natural space simultaneously.”
A Word to the Wise
When asked about what advice she
would give to young artists starting out
she says, “Look at art as much as you can.
Education is a lifelong process. Try to learn
from criticism rather than be wounded by
it. Practice, practice and practice more.
I recommend entering competitions on
a regular basis. Not for the awards, but
for the practice of meeting deadlines
and learning to work consistently. The
award is having actually created the work
instead of just wishing you had. I believe
it was Picasso who said you have to paint
a thousand bad paintings before the good
ones start to show up. Don’t get attached
to your finished painting, but learn to
love the process.” Clearly Debra Reid
Jenkins does.
Charles Raskob Robinson is
a Fellow of the Society. He
paints at Brush Hill, a studio
built in 1752, located in
Washington, CT and formerly
owned by Connecticut and
New Mexico artist Eric
Sloane. Some of Charlie’s
work may be seen on his
website at:
| 13
1812 - Star Spangled Nation
AS M A’ s F i r s t Th e m e d E x h i b i t i o n
opened at the Detroit Public Library
The “1812: Star-Spangled Banner Nation” exhibit opened
on Friday, January 25, 2014, and was presented by the Detroit
Public Library with support from the Michigan Commission on the
Commemoration of the Bicentennial of the War of 1812.
The traveling exhibit of 25 original oil paintings was created by
the American Society of Marine Artists (ASMA) to help commemorate
the bicentennial of the War of 1812. The paintings, reflecting nautical
scenes from the War of 1812, were created by contemporary artists
For Immediate Release
who are members of ASMA.
November 20, 2013
The exhibit ran through Saturday, March 1, 2014. A series of free
For more information, contact
Romondo Public
Locke, Publications Specialist
public lectures on “War of 1812” themes were offered at the Detroit
Detroit Public Library
5201 Woodward Avenue , Detroit, MI 48202
Library while the exhibit was on display. The lectures were:
(o) 313-481-1344
(f) 313-481-1481
Sat., Jan. 25 Phil Porter “Mackinac in the War of 1812”
[email protected]
Sat., Feb. 1 Jim McConnell “Detroit in the War of 1812”
Sat., Feb. 8 Eric Hemenway “Native Americans in the War of“18121812”
Star Spangled Nation” Exhibit to visit Detroit Public Library
Sat., Feb. 15 Ralph Naveaux “Battles of the River Raisin”
Opening on Friday, January 25, 2014 the “1812: Star-Spangled Banner Nation” exhibit is presented by the
Sat., Feb. 22 Jim Spurr “The Story of ‘Friends Good Will’” Detroit Public Library with support from the Michigan Commission on the Commemoration of the
of the War of 1812.
Sat., March 1 Brian Dunnigan “The American Attack on Mackinac,
The traveling exhibit of 25 original oil paintings was created by the American Society of Marine Artists
The exhibit locations include Buffalo (Fall 2013); Detroit: (ASMA)
to help commemorate theEric
of the
of blizzard
1812. The
reflecting nautical
to view
the exhibit
scenes from the War of 1812, were created by contemporary artists who are members of ASMA.
River Museum (April-June 2014); Lake Champlain Maritime Museum
(Julythe January
the exhibit
be open free
to the
public through
Sept. 2014); Star-Spangled Flag House Museum, Baltimore Following
to 24, 2014 opening,
the will
March 1, 2014. An Opening Program is set for 3:00 p.m., Saturday, January 25, in the Library, 5201
December 2014).
a A lecture
on “Mackinac
in the
Woodward Avenue. Detroit, MI 48202.
free lecture, “Mackinac
in the War of 1812”
will take
place in
the exhibit area prior to the opening program. Phil Porter, Director of Mackinac State Historic Parks, will
of 1812". Porter serves as Director of
The governor-appointed Michigan Commission on the Commemoration of
Mackinac State Historic Parks.
the Bicentennial of the War of 1812 was charged with encouraging, planning and
developing activities, events, programs, observances and services appropriate to
The program also featured James
commemorate Michigan's role in the War of 1812. More information, including a
Spurr, a member of the Michigan War
complete list of War of 1812 bicentennial events, can be found at www.michigan.
of 1812 Bicentennial Commission, who
discussed “A Naval View of the War of
1812”. Spurr is a Senior Partner and trial
The Opening
lawyer, with the firm of Canfield, Paddock
and Stone. Other program participants
An opening program took place on Saturday, January 25, for the “1812: Star
included: Debra Reid Jenkins, Signature
Spangled Nation” marine art painting display at the Detroit Public library. At 2 p.m.,
Member, American Society of Marine
Lacroix’s Company from the River Raisin
National Battlefield Park, Monroe; Janina
Jacobs, United States Navy Detroit
Recruiting District Assistance Center;
Atiim J. Funchess, Assistant Director for
Marketing Detroit Public Library’ and
Phil Porter, Chair, Michigan War of 1812
Bicentennial Commission. After the
ceremony, all enjoyed a reception with
light refreshments and time to view the
14 |
Gadsden Arts Center
set for Region South
By Anne Brodie Hill
Gadsden Arts Center, Quincy, Florida
The Gadsden Arts Center in Quincy,
Florida, will be the host for the 2015 ASMA
Region South Exhibition from April 10
to June 20, 2015. The prospectus for this
regional exhibition will be in the ASMA
News & Journal 2014 summer issue,
and all ASMA members will be eligible
to enter. Please see the website www. for more information
about this beautiful and important arts
center in the Florida Panhandle, close to
Tallahassee, FL. The Gadsden Arts Center
was established in 1994 and has featured
exhibitions by nationally acclaimed
artists, leading artists' organizations, and
private collections. Grace Robinson is the
Executive Director and very familiar with
ASMA. Ms. Robinson was employed at the
Vero Beach Museum of Art from 19982005 and was the Deputy Director during
Robert Lloyd Webb
1947 - 2013
Honorary ASMA member Robert Lloyd Webb died
peacefully at home on December 25, 2013 from complications
of hereditary hemochromatosis. Born in Santa Monica,
California in 1947 to Effie Margaret Young and James Milton
Webb, Bob grew up in Culver City, California. He attended
Culver City schools and the University of Oregon, and
graduated from California State University at Northridge,
with a degree in English.
Bob had a life-long love of history and research and was
fascinated by a wide variety of topics, from the geology of
California to automobiles and aircraft, antique firearms,
sailing ships, the history of the Martin guitar and the
writings of Jack Kerouac. Childhood explorations around
the Los Angeles waterfront with his uncle, Ted Brown, gave
him glimpses of vanishing times and a desire to preserve
and document those times. Maritime history brought him to
the East Coast, first as librarian and educator at the Kendall
Whaling Museum in Sharon, Massachusetts and later as
curator at the Maine Maritime Museum in Bath. In addition
to public programs and exhibitions, Bob wrote dozens of
15 |
the 13th ASMA National Exhibition in
2004. Angie Barry, the Gadsden Curator
of Exhibitions and Collections and ASMA
Signature Member Bill McKeown from
Quincy, FL, will be working with the
ASMA South Regional Representatives to
create this exhibition.
Angie Barry and Bill McKeown in the
Gadsden Arts Center Gift Shop
articles and three significant books: Sailor-Painter: The
Uncommon Life of Charles Robert Patterson (2005), On the
Northwest: Commercial Whaling in the Pacific Northwest
1790-1967 (1988), and Ring the Banjar: The Banjo in
America From Folklore to Factory which was published
in 1984 to accompany a groundbreaking exhibition on the
history of the banjo in America at the MIT Museum.
Music also framed Bob’s life and adventures, from the
hootenannies of his youth, to the True and Trembling String
Band on the West Coast, two tours with the young Tom
Waits, festivals around North America and Europe and happy
afternoons of tunes around the house. A talented player of the
clawhammer banjo, guitar and MacCann duet concertina, he
was also a fine singer of songs of the sea, old-time ballads and
songs of the American and Canadian West.
He was a talented raconteur, and a lucid and facile writer,
comfortable in fiction, non-fiction and poetry. He could
discuss, at the drop of a hat (he liked hats), The Dharma Bums,
the relative tonnage of Maine-built sailing ships, or the banjo's
African antecedents. Whatever his subject, in public or private,
he brought an artist's eye and a scholar's sensibilities to the
discussion. Those who knew him, even briefly, came away
with the imprint of a man dedicated to his work, to collegiality
and conviviality, to scholarship and truth, and to artistic
expression, whether in print, on the stage, or in conversation.
A loyal friend and a loving and supportive husband and
father, Bob is survived by his wife Helen Richmond Webb,
daughter Margaret Richmond Webb, brother James F. Webb,
of Ojai, California, and many cousins, nieces and nephews.
A memorial service is planned for the spring.
| 15
The Fellows
Insights and
Inspirations from
ASMA’s top artists
Len Mizerek
Upon my return from a painting trip
in Europe, I felt like I had gained some
experience in my travels. I decided to
share what I have learned with my fellow
members who venture near and far outside
the studio.
Since traveling overseas has become
more difficult today, you must be even more
prepared as an artist. A good practice is to
familiarize yourself with painting outdoors.
The best way is to go on plein air outings
nearby to get to know what tools you may
need on a trip abroad. Isolate those items
that you find most important and those that
can be eliminated. Carrying less certainly
helps when getting through security as well
as carrying less. It’s smart to plan your trip. I
look for town events that coincide with my
trip such as a boat or holiday festival giving
me some great subject matter. For marine
art this provides a lot of harbor activity
and more to paint. Don’t worry about the
crowds, they usually enjoy watching (as
long as they stay quiet). Check your tide
schedules as a marine artist, nothing is
worse than arriving in a boatless or low
tide harbor.
16 |
I bring half used paints in tubes. I found
they were more accepted by security and
could be checked easily. I placed my tightly
capped oils in a clear plastic bag within
a self-addressed priority-mail box in my
checked luggage (just in case security pulls
it, I can mail them home). All my painting
equipment is kept in one backpack
A big help this trip was to roll my canvas
or linen around a two-inch cardboard tube
within a mail courier box (available at most
overnight delivery shops). The box is about
36” long triangular in shape and very strong
for protecting the canvas inside. It held up
beautifully during my trip and was in good
shape for the trip home. I kept my rolled
paintings on the airplane with me during
the trip home. The best way
to roll your painted canvas
is to are roll with paint side
Since I painted large, I
ordered a roll of oil primed
Belgium Linen (54”x 6 yds.)
which I cut lengthwise into
pieces sized, 18”x 24” and
24"x 36” with some overlap
2” for stretching later. I
recommend Claessens Linen
13 as a good surface to
paint. It gives a good smooth
surface in which to paint.
This makes it much easier
to allow the brush to apply
paint with no annoying
“skips” when you paint.
I toned the canvases with diluted Raw
Sienna before my trip to “kill the white” of
the canvas and allow a more neutral toned
background for me to work.
For smaller canvases, I bring a 12’x
16” or 9”x 12” pad of “The Real Thing”
(brand name) canvas. This gives me the
precut shapes ready for mounting and
framing upon my return. They are toned
before leaving and later mounted to 1/8”
wood panels with acid free glue. I bring
many small and medium Clips to help hold
the canvas on to the “found” cardboard.
My easel is a folding Winsor & Newton
“Bristol” easel along with a convertible
luggage cart that converts into a seat. It is
good to bring extra screws and fasteners for
your easel since I have lost a screw on my
trips. This trip I had to hunt for a 1/2 inch
screw (in an English bike shop) that held my
easel together.
Upon my arrival in Europe, I begin my
search for white spirits or kerosene for my
brush cleaner. It can usually be found in
any hardware or food store. I pour a days
supply into a plastic bottle which I carry
with me. Don’t try to bring any solvents
with you on the airplane it won’t work. If
you use medium, I bring an empty 35mm
film container to hold it. Also, since my
canvas is unstretched, I find a large piece
of cardboard on which to clip my canvas
(check behind furniture stores). I bring a
short clothesline along also to clip my wet
paintings and let them dry in the bathroom
of my hotel room. They normally dry by
morning because I mix some colors with
Alkyds. More on that later. I pack extra
paint tube caps in case one should get lost,
Fog Lifting on the Seine - 16" x 20" - oil
Golden Evening on the Harbor - 16" x 20" - oil
which happens more than I would admit.
A plastic palette knife makes good sense
when going through security. I also brought
an old cut up credit card, which helps for
putting in some masts quickly and sharpen
edges in the painting. This is a time saver
and a life-saver if you are on a rolling sea.
An old sheet or shower curtain is helpful to
save furniture or rental car seats from stains.
I am always interested in trying
other painter’s choice of colors. So, I
will share mine. My palette consists of
the following; Cadmium Yellow Pale,
Cadmium Lemon, Cadmium Red Light,
Cadmium Red Deep, Raw Sienna, Cobalt
Blue, French Ultramarine Blue, Alizarin
Crimson, Dioxazine Purple, Phathlo Blue
and Titanium White. I create my black by
mixing my dark colors together. This gives
more color to the darks and allows subtle
warm and cool shifts in them. Lately, I
have added black to my palette to expand
my usage but I find too much mixing of
black dulls and my colors. I try to shorten
my list of colors that I use. It certainly saves
money and keeps me experimenting with
new mixtures. I squeeze more paint than
needed so that I don’t interrupt the flow of
the painting process. I squeeze my paint
into a small plastic box with lid with ten
plus compartments for holding the paint. I
find that this saves set up time, and makes
clean up easy. At the end of the day, I place
the box into the freezer to keep the paints
fresh. Also, a square palette which fits into
my backpack makes it easy to carry.
I use Winsor & Newton Alkyd paint
most importantly for my Titanium White
and mix with my darkest colors (usually
French Ultramarine, Alizarin Crimson,
Dioxazine Purple). The darks take longer to
dry so I mix Alkyds with my oils. They dry
to the touch, usually overnight. This allows
me to move from place to place. The palette
17 |
needs to be cleaned after each session
as well as the brushes each time or the
Alkyds will solidly dry by morning.
Bring a small container of solid brush
cleaner. Traveling is made much easier
with quick drying ability. To save paint,
sometimes I wait to finish the sky or
water, which requires much more paint.
I can finish them at home in my studio. I
give myself color “notes” to remind me
of my overall colors. When I have too
many paintings to dry, I will hang them
on the clothesline in my room. I leave
a note in the language of the country
in which I have traveled. “Wet Paint”
Please don’t touch. This seems to work with
the help of Berlitz.
For brushes, the #10 Bristle Flat, #6
Flat and #4 flat brushes work best for me.
Working with a large brush saves time and
gives me a quick start with my shapes. I use
the medium brush mostly to define and fill
in smaller areas. I think of the entire canvas
and composition as I work. I “draw” directly
with my paint to start with a mixture of
French Ultramarine and Raw
Sienna. My drawing will dry
as I add a thicker paint. I
will add my highlights close
to the end. I carry a new #3
Red Sable mostly for signing
and painting rigging. I hate
cleaning a brush just for my
signature! A good idea is to
have an “emergency” brush.
This consists of a sawed off
#6 brush at the bottom of my
bag in case I forget to bring
my brushes (which happens
more than I want to admit).
At least I can start painting.
When I find that perfect spot to paint,
I set up my canvas against the light. I don’t
want sun hitting my canvas or palette if
possible. This will throw off my values. I
bring a small painting umbrella for shade.
Small Velcro strips firmly hold the umbrella
to my easel. A found rock hanging from a
plastic bag will keep the easel from tipping
I begin by framing my subject usually
with my hands to see what would work in
my composition. I follow the advice of a
very accomplished outdoor painter, Trevor
Chamberlain, who states, “ Don’t spend all
your time looking for what to paint. Begin by
painting”. I aim to simplify what I’m looking
at in order to understand what elements I
choose for my painting. I ask myself, where
is the structural makeup of my composition?
Shall I paint a large sky or raise the horizon to
emphasize the foreground? What will I use
as my focal point? Where will I place it? All
these questions I ask before one stroke hits
the canvas. Sometimes this comes quickly
but I try not to rush. The layout, position of
shapes and soft edges all are crucial to the
success of the piece. Breaking shapes down
helps me decide. Squint! At this point. I am
not concerned about color.
As I begin, I loosely apply thin paint to
lay in dominate shapes in my composition
and vary them in size and position within
the canvas. I want to remain in control and
direct the viewer. This can be done in any
number of ways either with directional
lines within the painting or larger to smaller
masses counterbalancing each other.
Maybe even using various shades of light
and dark or varying hard and soft edges is
a solution. Where is my center of interest?
I ask myself.
Night Lights - 24" x 36" - oil
Now that I have my general layout and
know where I’m going, I look to keep things
interesting. I may emphasis this or that but
generally, I have a good idea before I begin.
I place my darks first by massing in the
dominant shapes and local color and other
subordinate elements. I squint continuously
at the scene as I work. This helps me simplify
the values of my subject. Where is my
darkest dark? Maybe it’s the hull of a boat
against a lighter sea. Should I emphasis this
contrast? I constantly ask myself questions
as I paint. This keeps me alert and helps me
avoid losing the direction of the painting.
Continued on Page 18
| 17
The Fellows
Island Yacht Club - 12" x 16" - oil
The Fellows Corner - continued from Page 17
about good drawing. Now the lighting takes
over. I look carefully at how the light affects
the scene…is it warm with
cool shadows? Again, I squint
and consider the temperature
of the light is it cool or warm.
I have only two to three hours
to paint till the light on my
subject changes. I may add a
nearby boat or building if it fits
into my composition even if it
is not exactly in my view. After
all, I am in control so I can add
or omit items in the finished
painting! One is inspired to
do justice to the subject and
present the viewer with the
best that can be created.
I’m always considering how the values
relate to every other color on the canvas.
They will affect one another so I am on
constant guard to keep control. As I work,
I’m drawing with the brush keeping the
paint thin. It’s still early. Since my canvas
is toned neutral, I now have my darks and
mid tones in place. I move on to the lights. I
choose my lightest areas and place them so I
have my full range of values for reference. I
isolate elements so as not to confuse myself
and look at too much at one time. Painting is
Finally, I try to stay fresh
in my approach to each painting. Bringing
inspiration into each piece by challenging
myself, this opens up many possibilities and
sometimes with wonderful results.
From The Archives:
Canvas, Paint
Mediums and Dryers
* Since the publication of this
article in 1993, W&N has introduced
"Fine Detail Liquin" which many
marine artists find very useful in detail
work and also glazing. Gamblin has
introduced a nice oil medium similar
to Liquin called "Galkyd", along with
"Galkyd Light" (similar to Liquin Fine
Detail) and "Galkyd Slow Dry". All are
archival and superb products.
From October 1993 AGM "Secret Stuff Workshop"
Various types of canvas materials
and paint mediums for different
applications were discussed. A
majority of the artists polled preferred
Winsor & Newton's "Liquin"* as an oil
medium. A recommended mixture is 5
parts Liquin; 4 parts Turpentine and 1
part Stand Oil. To increase drying time
of white paint, use 3 parts of white to
1 part of Liquin. Cobalt Drier seems
to be the standard drier of choice for
most artists, although caution must be
taken if used over a previously painted
surface. Accelerated drying and
shrinkage of paint containing Cobalt
Drier may result in cracking.
18 |
Most important, I try to always have
fun when I paint.
Len is a long time member of the
Society and former Secretary and lives in
A favorite canvas of marine artists
seems to be Fredrix #589 linen Portrait
weave. It has a fine tooth for very
detailed work as well as for portraits.
Claessens also makes a fine line of linen
canvas. All artists were in agreement
that only linen canvas should be
used for serious work. Cotton Duck
should be avoided since most galleries
generally only accept linen. In addition,
linen "breathes" to help avoid cracking,
whereas cotton duck does not.
the american
society of
marine artists
the 16th
October 2014
December 2015
society of marine
The Society's first
Virtual Exhibiion ever
held. In addition, we are
in the planning stages
for special presentations
of the digital exhibition
at appropriate host
venues. Stay tuned!
News From the Fo'c'sle - continued from Page 5
Member Debra Nadelhoffer's
painting "Shallows", 24"x 30" oil
on linen, was selected for 3rd
place overall, in the Plein Air
Salon competition for OctoberNovember 2013. It will appear in
the next printed issue of Plein Air
She also had 2 paintings accepted
into the Women Painters of the
Southeast Third Annual Juried
Members Show. The pieces accepted are:
"Shallows" - Oil on Linen - 24x30
"Highlands Pond" - Pastel - 12x15
The Puget Sound Group
Northwest Artists Gallery has
three of his paintings in a group
Figurative Artwork show at the
Seattle Design Center, January 19
through March 22, 2014.
"Highlands Pond" - 12" x 15" Pastel
Debra Nadelhoffer
"Shallows" - 24" x 30" Oil on linen
Debra Nadelhoffer
Carolyn Hesse-Low's work
is included in a three-person exhibition, "Triple Threat", at
Knowlton Gallery in Lodi, CA,
through February 2014. Her work is
featured in the January 2014 issues
of Art of the West and American Art
Collector. Her painting, "Afternoon
in Central Park" was the recipient
of the Best Studio Landscape Award
from Plein Air Salon.
"Afternoon in Central Park" - Oil
Carolyn Hesse-Low
Member Bill Schmidt has
been honored by having three of his paintings selected for
the Art in Embassies program, for exhibit in the residence
of Ambassador David D. Pearce in Athens. This is the sixth
time his paintings have been
selected by AIE for exhibition at
U.S. Embassies.
The three paintings chosen
by Ambassador Pearce for
Athens depict scenes from midcoast Maine.
Bill's painting of "Winter Old "Winter Old Womans Cove" - 16" x 24"
Bill Schmidt
Womans Cove" was also featured
in the exhibit Winter Themes 2014 at the McBride Gallery,
Annapolis, MD from January 5 to February 16th.
The Navy Memorial in Washington DC is hosting a yearlong
exhibition and series of events called “The Year of the Coast
Guard.” They will be exhibiting ten works from the Coast Guard
Art Collection, two of which are Signature Member Frank
Gaffney's! They are the 2013 painting of the “Healy Escorts
The Renda” and 2012 piece based on Frank’s deployment in
Hawaii, on a Coast Guard Cutter, “Prepping The New Number
Sandell and Robert Semler
had a two-person exhibit that
opened February 17th at the Hughes
Gallery, Boca Grande, FL. Their two
different styles of work complimented
each other and has been well received.
Over 25 paintings were included in the
exhibition. The gallery season generally
runs from October through June.
"Semper Paratus" - 16" x 30" - Oil on Linen
Robert Semler
"Healy Escorts the Renda"
Frank Gaffney
Robert Semler and Val Sandell
"A Classic Race" - 24" x 36" - Oil on Linen
Val Sandell
Signature Member Suzanne Morris had 2 of her marine
paintings, "Full Moon", 8x10, oil on linen, and "Saturday Sail",
9x12, oil on linen, juried into the Women Artist's of the West
National Exhibition at the Women's Museum in San Diego,
CA. The show opens May 2 with an artists' reception and runs
through May 31. "I am very
honored to be represented in this
show featuring some of the most
outstanding women painters in
the country."
She will also have a solo artist
show entitled "The Color of Light"
at Art Source Fine Art Gallery in
Raleigh, NC. The show, which
"Full Moon" 8" x 10" - Oil on Linen
Suzanne Morris
features 20 new paintings, opens
May 9 with an artist's reception,
6-9 PM, at the gallery and runs through the month.
The Southeastern Wildlife Exposition took place February 1316th in Charleston, SC. Fellow Kim Shaklee has been showing
her work in Charleston Place hotel for the past 18 years. It
has become an annual tradition to head for Charleston each
February to meet with Patrons who attend the show from all
over the country. This year, special guest Jack Hanna stopped in
Continued on Page 27
| 19
by Anne Brodie Hill
[email protected]
After the wonderful response to the
2013 National YMAS (Young Marine
Artist Search) competition, we will
continue our nationwide quest to find
and support young adults, college
students, and high school seniors (ages 16-18), who are
interested in marine art. This search has also led us to several
art teachers, who will encourage and seek out “budding”
marine artists every day in schools across the USA.
Student, teacher, and young adult ASMA membership
will help us continue the ASMA mission of education and
promotion of the genre of marine art. Sponsoring these young
people with a gift membership ($15 for students ages 16-23,
and regular membership of $50) is a wonderful investment in
the future of marine art and ASMA.
One way to find and encourage teachers and students in
your area is to look up the school website, search for the art
teacher’s emails, and send them an email about YMAS and
ASMA. Then you could volunteer to visit the school and talk
and demonstrate painting techniques, or even hold a workshop
for the teachers and students.
Dick Elam, ASMA member in Texas, is encouraging
teachers and students in his area - thanks Dick!
Please see the page in this issue that describes the procedures
to enter a young person in your area in the YMAS National
competition. Please email Anne Brodie Hill if you have any
questions - [email protected]
ASMA South
In January, Anne Brodie Hill was invited to visit and
demonstrate watercolor techniques to North Gwinnett High
School teacher Yvette Kim’s AP senior art class of 24 students.
Anne used these visits to
promote YMAS and ASMA by
giving each student information
about YMAS membership. Ms.
Kim enters her senior students
in the Georgia Watercolor
Society’s High School Seniors
Scholarship Show. Her students
are awarded top prizes each
year and in 2013, her student,
Ha Truong, won the First
Runner-Up award in the YMAS
National Competition.
Wildlife Exposition (SEWE) on
Scott and Kaye Penegar at SEWE
20 |
February 14-16, went on as scheduled despite the terrible snow
and ice storm in South Carolina and the South. Fellow Kim
Shaklee and Signature member Scott Penegar displayed their
sculptures at the Charleston Place Hotel. Scott participated in
the Duet & Quartet on Saturday with another sculpture artist,
building a clay piece to the music of a symphony quartet.
Debra Nadelhoffer also displayed her landscape oil paintings.
Signature member from Florida, Larry Moore, was
published in the March issue of Plein Air Magazine - “Having
Fun With Outdoor Painting.” ASMA members at the Sarasota
Annual General Meeting remember Larry “having fun” on the
docks at the hotel during that weekend on a large canvas - we
all had fun watching him!
To promote the Naval War of 1812 Illustrated, the Social
Studies Department Chair of Riverside Military Academy,
Gainesville, GA, was contacted by email and encouraged to
show this marvelous video production to their students. Mr.
Jobson’s response:
“Riverside Military Academy, established 1907 in
Gainesville, GA, is a college preparatory boarding and day
school for young men in grades 7-12. Riverside follows a
military structure with curriculum and activities designed
around the way boys learn. Our ethos includes teaching
respect for the military through the JROTC program. With
small class sizes and an excellent faculty, RMA strives to
promote interdisciplinary activities where possible. Thus, we
are grateful for the ASMA's contribution of "The Naval War
of 1812, Illustrated" video, which enables us to teach military
history in a visually arresting way that also promotes a better
understanding of the arts.” Mr. Jobson also emailed “Thank you
for this link. You are right; it is full of beautiful art and provides
great detail on an important but often-overlooked portion of
our history. We will certainly add it to our repertoire of visual
resources for our cadets.” Riverside Military Academy is also
home to a wonderful art department, led by Mitch Freeman,
whose student, James Graham, won Honorable Mention in the
2013 YMAS National Competition.
Our new ASMA East Representative, Sharon Way-Howard
sends news from her area. “Hopefully when you read this
there is some small sign of spring like a shivering crocus or
snowdrop blooming. Where I live on the south shore of Long
Island, the Great South Bay has been frozen several times,
which makes the ice boaters happy!
I like to welcome a new member, Jason Goscha, of Gallery
211 in Baltimore, MD. Jason is a lover of the arts and is hoping
to host a marine invitational show at his gallery in the future.
The Excellence Committee for COGAP recently met to
review submitted art for the 2014 Coast Guard Art Collection
and just finished up their selections, but I don’t have all the
names of the accepted artists yet. But you can mark your
calendars for the exhibition and formal acceptance ceremony,
which will take place at the Salmagundi Club, 47 Fifth Ave.,
NY. The exhibition runs from June 21 to July 5 and the official
ceremony will be on June 26, starting at 6:30 pm; all are
Sometimes we receive information from even non-members.
Such is the case of an email from Mary Habstritt, the museum
director and president of the “Lilac Preservation Project.”
The Lilac is a 1933 lighthouse tender with a small dockside
museum in New York City. The Lilac is the only surviving
steam-powered lighthouse tender and Mary hopes that ASMA
will consider the possibility of a plein air day and/or possible
regional exhibit in the future. Sounds like a great place for
ASMA members to visit! They are open from May to October
and further information can be found on their website www.”
Connecticut, Illinois, Maine, Massachusetts, Michigan,
Minnesota, New Hampshire, Ohio, Rhode Island, Vermont,
Wisconsin, Canada and International
Steve Lush
Nella Lush
[email protected]
[email protected]
advisor to area representatives
Lois Salmon Toole
[email protected]
Asma East
Delaware, District of Columbia, Maryland, New Jersey,
New York, Pennsylvania, Virginia, West Virginia
Sharon Way-Howard
From ASMA West Representative, Dutch Mostert, comes
this report:
21st Annual Coos Art Museum Maritime Art Exhibit
“The event will run from July 12th till September 27th, with
an artists preview and dinner on Fri. the 11th, followed by the
gala opening on the 12th.
For the 21st annual, our featured artist will be signature
member Richard Boyer from Salt Lake City, Utah. Mr. Boyer
has received a number of awards at previous CAM Maritime
Art Exhibits, and we are looking forward to being able to
present more of his marvelous work at this years event.
Our jurors this year, representing the Northwest and
Southwest will be Signature Member Frank E. Gaffney from
Mountlake Terrace, Washington, Signature member Ray J.
Hunter from Santa Barbara, California, and Signature member
Marshall L. Johnson from Federal Way, Washington.
The prospectus for the show was mailed to all ASMA
members by the Museum on the 28th of February. If you have
not received it by mid-March, please contact Archi at Coos Art
Museum 541.267.3901, or download it from their website at
We hope you will all send us your best work, and be there
for the opening on July 12th. We usually have between 20 and
25 exhibiting artists attend the opening weekend activities and
it is a great opportunity to meet
fellow marine artists and paint the
beautiful Oregon Coast.
Hope to see you all there.”
ASMA North
[email protected] advisor to area representatives
Bill Schmidt
Christine Diehlmann
[email protected]
[email protected]
Asma South
Alabama, Georgia, Mississippi, North Carolina,
South Carolina, Tennessee
Anne Brodie Hill
[email protected]
Continued on Page 27
Charles Sharpe
[email protected]
Arkansas, Florida, Louisiana, Puerto Rico, Texas,
and the US Virgin Islands
Val Sandell
[email protected]
advisor to area representatives
Robert C. Semler
[email protected]
Asma West
Alaska, Arizona, California, Colorado, Hawaii, Idaho, Indiana,
Iowa, Kentucky, Missouri, Montana, Nebraska, Nevada,
New Mexico, North Dakota, Oklahoma, Oregon,
South Dakota, Utah, Washington, Wyoming
FPO and AE
Bob Dykes
[email protected]
North Regional Representative
Steve Lush sends this report:
“A few ASMA members were
invited to display 8 paintings to
compliment the USS Constitution
Steve Lush and Maris Platais
Asma North
Dutch Mostert
[email protected]
advisors to area representatives
Kim Shaklee
Jon Olson
[email protected]
Alan Ryall
[email protected]
[email protected]
Austin Dwyer
[email protected]
Grant Saylor
[email protected]
| 21
2014 ASMA ANNUAL WEEKEND • October 16-19
Baltimore Inner Harbor, Maryland
restaurants, is just a short walk from our
Registration for the meeting’s various
events will begin soon, and a registration
form will be posted on the ASMA website.
Reservations for the hotel can be made
now, so be sure to book early!
Many arrangements are still being
worked out and exciting activities are still
being added, but here is the schedule as it
stands now.
Thursday October 16
• Members begin arriving
• Check-in at Hampton Inn & Suites
• Casual happy hour at Phillips Seafood
Plans are coming together for a fun and informative Annual
General Meeting this October 16-19 in Baltimore, Maryland.
The Hampton Inn & Suites Inner Harbor will host our
meeting and they are offering rooms at a discounted rates
starting at $129/night. Be sure to book by September 19th in
order to get this rate.
Hampton Inn & Suites Baltimore Inner Harbor
131 East Redwood Street
Baltimore, Maryland
USA 21202-1225
Telephone: 1-410-539-7888
Baltimore’s Inner Harbor offers an incredible variety of
attractions for marine artists. Historic and contemporary boats
and ships line the harbor, the National Aquarium features a
huge variety of marine life, and the water taxis make getting
around the harbor easy. All of this, along with many great
Friday October 17
• Breakfast at hotel
• Registration all day
• Fellows meeting
• Joint meeting of the Fellows & the Board
• Board of Directors meeting
• Tour the historic ships of Baltimore (US Sloop-of-War
Constellation, US Submarine Torsk, US Coast Guard
Cutter Taney & Lightship Chesapeake)
• Tour Fort McHenry, travel via water taxi from near hotel
• Tour Baltimore’s famous National Aquarium, also just a
short walk from our hotel
• Noon-4pm Paint-out on Inner Harbor. Wet paintings then
displayed on easels at Hampton Inn through Saturday
• 4 - 7pm Opening Reception, “1812: Star Spangled Banner
Nation”, Star Spangled Banner Flag House
• Dinner upstairs at the Flag House
Saturday October 18
• Breakfast at hotel
• Registration all day
• 9 - 11:30am General meeting, Hampton Inn & Suites
• Lunch- Members’ choice, at hotel or nearby Baltimore
Inner Harbor
• 1 - 4pm Panel Discussion with gallery owners and artists
• 6-10pm Bob Skemp Dinner, Cocktails & Dinner at
McCormick & Schmick's on Baltimore’s Inner Harbor
Speaker, Dr. William S. Dudley
Sunday October 19
• Painting demonstration, artist still being determined
22 |
American Society of Marine Artists
YMAS National Competition
2014 Young Marine Artist Search (YMAS) National Competition
Art Students ages 16 to 23
June 15, 2014 - Deadline to receive entries
August 1, 2014 Notification of artwork selected by ASMA Fellows
• National YMAS Awards announced at the Fall 2014
ASMA Annual Meeting in Baltimore, MD, October 16 -19,
2014. Award ribbons, certificates, and scholarship money
will be given.
• All entries must be original created by the student
from personal photos or imagination. Any media will
be considered (paintings, sculpture, etc.). No art work
that used calendar or magazine art will be accepted.
Any maritime subject will be considered.
• Students should be sponsored by an ASMA member
or local art center or museum who has paid for the
student’s YMAS membership ($15). Please see www. in “Join ASMA”
To enter:
1. Take a digital picture of the artwork and save it
as a jpeg. Up to two entries per student may be
submitted. For sculpture, please submit 3 views of each
2. Crop the image so that the entire artwork is visible
ASMA Member
AP Art Class
"North Gwinnett High School AP Art Class of 24 seniors and teacher Yvette Kim (white
scarf, red sweater) in Suwanee,GA. ASMA South Rep Anne Brodie Hill was invited to the
class twice in January 2014 to speak about ASMA, YMAS, and watercolor. Yvette Kim's
student, Ha Truong, won the 2013 YMAS National First Runner-Up Award."
without extraneous background or framing showing. The saved image should represent the artwork exactly.
3. Image size should be 300 pixels per inch minimum. The file format must be jpeg (highest quality, no
4. Please title the jpeg “YourNameTitleofArtwork.jpeg”
(Example: “AnneBrodieHillSailboat.jpeg”
5. Save your images to a CD and mail (to be received by
June 15, 2014) to:
Anne Brodie Hill, ASMA
7720 Appaloosa Trail
Gainesville, GA 30506
6. a. Please include this information (printed) with the CD:
Student’s name, year of birth, mailing address, email,
and phone numbers. b. Title of artwork, medium, size, value, and school
name and address.
c. Art Teacher’s name, email address, and phone
d. All information given remains private.
Questions – please contact Anne Brodie Hill [email protected] or call 770-718-7586
YMAS Awards
Photo taken at the Quinlan Visual Arts Center on December 12, 2013, when two of the
YMAS National Awards were given to Charles Calkins (Best in Show) and James Graham
(Honorable Mention). Anne Brodie Hill presented these awards at the Quinlan opening
reception for the new exhibitions opening that day.
left to right:
Anne Brodie Hill, Mitch Freeman (art teacher at Riverside Military Academy), James
Graham, Charles Calkins, Thomas Calkins
| 23
Christine's Logbook - continued from Page 5
down from the bird feeders, we knew it was time to help out a
bit. Our winter food budget has expanded to two bags of deer
feed a week. Our local Southern States fills its warehouse to
the rafters each fall so those “big dogs” who treat our yard as
home will emerge this spring well and strong.
It is never a good idea to feed wild life to the point that they
are dependent. However, we take our cue from what we learned
on a skiing trip to Jackson Hole, Wyoming. Each winter, the elk
come down from the mountains by the hundreds to settle in a
great plain on the edge of town where the Park Service feeds
them. It is a truly awesome sight. The Park Service conducts
regular “hay rides” through this remarkable docile herd. There
are so many that you can hear them breathe! During the course
of the winter, the elk lose their antlers. Each spring when the
elk go back up into the mountains, the local Boy Scouts collect
the antlers and sell them to the artists who make lamps and
furniture of them. As an artist I am fascinated by our deer.
They are so graceful, ready to take flight at the snap of a twig.
There is always one “on watch”. Seeing them with the woods
as background is an interesting exercise in color as the browns
and grays take shape and then also blend into vanishing.
One other of my pleasures this winter is the result of my
taking on another hat to wear in ASMA. Lisa Egeli has taken
on the double chores of working for the Fellowship as well as
organizing the Baltimore AGM scheduled for this October. She
has turned over her job as ASMA East Regional Representative
to Sharon Way-Howard
who calls Long Island,
NY her home. Bill
Schmidt and I are now
Advisors for ASMA
East and would love
to hear from you. It
is such a pleasure to
get to know Sharon
and Bill more closely.
I asked Sharon to tell
me more about herself
"November Twilight" - Sharon Way-Howard
and find that I can
quote her own words.
“I am a representational artist who focuses on the natural
beauty surrounding us. I love working in many different
mediums including watercolor, oil, acrylic and pastel with a
little printmaking thrown in now and then! When the weather
permits, I enjoy working en plein air, especially in oils. Growing
up, I worked in a small boatyard on Long Island’s south shore,
owned by my parents. My Dad and I were avid bird watchers.
This love of the marine environment and birds continues to
this day. Four years ago, my husband and I renovated my
childhood home on a canal in Suffolk County, Long Island and I
was able to design my “dream studio” during the construction.
Teaching is another passion and I do demos for many art
organizations. For the past 15 years, I’ve taught various media
at the Islip Art Museum along with exhibiting at national and
24 |
regional juried shows, galleries and outdoor festivals.”
Before taking on ASMA East, Sharon served as 3rd Vice
President of the Salmagundi Club and was on their Board
of Directors 12 years. She is the first woman and former
Chair of their Art Committee. Sharon is an elected member
of the Pastel Society
of America, Audubon
Artists, American Artists
Professional League and
the Salmagundi Club.
She is a signature Artist
of the Baltimore, Rhode
Island and Missouri
Watercolor Societies. She
"Checking the Ice" - Sharon Way-Howard
is represented by Gallery
North, Setauket, L.I., the
Laughing Gull Gallery in Ocean Beach, Fire Island and the
Courtyard Gallery in Mystic, CT.
Bill Schmidt is practically a neighbor of mine. He hails
from Rockville, MD about an hour from Annapolis. However,
he is one of Annapolis’ McBride Gallery artists so is in and out
of my neck of the woods frequently. Like so many of ASMA’s
versatile artists like Alan Ryall, who is a painter as well as a
Seismologist, Bill Schmidt has an undergraduate degree from
Cornell in chemical and
After working as a
consultant and president
of a training firm,
Bill started to paint
professionally full time.
He is a past president
and longtime member of
the Washington Society
Bill Schmidt hard at work
of Landscape Painters
which celebrated its 100th anniversary in 2013, a signature
member of the American Impressionist Society, and is a
member of the Salmagundi Club and Oil Painters of America.
He is also a member of the State Department’s Art in Embassies
Program. At present, he has two paintings on exhibit at the
residence of the Director (Ambassador) in Taipei, Taiwan
and three in the Ambassador’s residence in Athens, Greece.
He has shown frequently locally, regionally and nationally
in juried shows and in solo and group shows. He was one of
ten prominent plein air painters from across the U.S. invited
to spend ten days painting at the Forbes-owned Chateau de
Balleroy in Normandy, France. A group exhibit of the resulting
works was held at the Forbes gallery in New York City. He has
paintings on exhibit in galleries in Washington, DC, Annapolis,
Solomons Island, MD, Leesburg, VA and Jeffersonville, VT.
After that impressive introduction, I don’t doubt that you
all will love to hear some thoughts from Bill in his own words
on his art. “I became a plein aire painter with my first outdoor
lesson one October day about 50 years ago and have continued
to do almost all my work on site except for adding any needed
finishing touches in my studio. For me, there is a special
excitement that comes from being inspired by a scene and then
meeting the challenge of completing it outdoors before the
light and effects are gone.
Many of my paintings are marine scenes, painted in an
impressionistic or loose-realistic style. The Chesapeake Bay
area is only about an hour from my home, so it naturally
provides lots of material throughout the year. I have also made
many painting trips to New England, with Gloucester and
Rockport, Mass and mid-coastal Maine as favorite locations.
I’ve also painted frequently in Bermuda and California. As
evident from my work, I’m fascinated by harbors, inlets,
boats and coastlines. My countrysides and town scenes have
been done throughout the country, and city scenes include
Washington, San Francisco, New York, Santa Fe and Paris.
Again, even the foreign scenes are mostly done en plein air
using a Pochade Box and archival boards when it’s too difficult
to fly with a full-size easel.
People have asked me how I developed my style and create
paintings that are so easily recognizable as “a Bill Schmidt”.
My distinctive paintings are the result of inspiration, planning
and a colorful palette.
I’m inspired to paint
a scene by the colors,
contrasts, light effects
and design elements
I see before me. I
then make numerous
composition I want
and proceed to paint
en plein air in most
" Returning to Gloucester" - Bill Schmidt
cases. The dozen colors
on my palette enable me to paint bright, lively scenes as well
as react to overcast skies, fog and even rain. Later, I review
the painting in my studio, make corrections and add the little
touches that finish the painting while still keeping my style
of loose realism. I have served as mentor, judge and speaker
and have done workshops and demonstrations for many art
organizations. My art “training” consisted of working with
several superb outdoor landscape painters and studying the
masters of French and American Impressionism and the New
England school of marine painters.”
Bill lives in Rockville, MD which is a suburb of Washington,
DC. He and his wife, Dottie, have three children and five
grandchildren. Besides painting, Bill enjoys art, opera and
theater. He says,” When I am working in my studio, I always
paint to opera recordings because the music energizes me!”
I think both Sharon and Bill would love to get together with
Mike Killelea ASMA’s plein air enthusiast Secretary of the
Board of Directors who has been traveling and painting his
way through Portugal and Russia this fall and winter.
ASMA East is not the only region to have new representation
this winter. Nella Lush has joined husband, Steve Lush,
Regional Representative and Lois Salmon Toole, Advisor, to
represent ASMA North. Charlie Robinson wrote up Nella in
the fall 2013 edition of “Notes from Brush Hill” so I won’t repeat
that information. However, I asked Nella for a few words to
tell the members of ASMA North about herself. Before I do so,
I want you all to know that I take this time with Sharon, Bill
and Nella to help you understand and come to know them as
“your” representatives. It is so much easier to contact people
you feel that you know and we would like you to have rapport
with them so you can all work together on this great project
which is ASMA.
Nella explains her contribution to the art world as follows.
“I am the type of person that likes to share knowledge that I
have gained through the years. Perhaps this is the reason why
I find myself conducting classes, demos and workshops. I do
not consider myself a teacher but I consider myself a motivator
and a mentor. I am the person that gives the permission to
others to be themselves and throw away their fears because
fear of making mistakes and fear not being accepted inhibits
us and blocks the creativity. This is also the reason why I feel
I am not constrained to just paint marine work or any other
subject matter. I am focused in my art but that focus allows me
to constantly listen to my inner voice and paint for myself. In
my last solo show in January at the Robert Lehman Gallery,
among 27 other paintings, I was able to exhibit my 13’ wide
painting. Even though the painting was of secular trunks of
olive trees in Italy, some of the viewers said that they could
feel and smell the ocean even though that painting was not of
the ocean. I feel exhilarated by these comments because these
viewers were connecting to my emotions and that is priceless
to me.
I agreed to join Steve as an ASMA North Rep because not
only are we both ASMA signature members but we share this
creative journey and the need to be of help to others. With that
said, we would love to see some gatherings of members in our
district, a plein air outing, or a workshop or something that
will not only add to the awareness of ASMA’s existence but it
will also allow all of us to share our experiences and have fun
in the process.”
Here are two random items for your consideration. My
Kings Point grapevine tells me that there is trouble with the
payments on the new expanded Panama Canal construction.
Finances are not in tune so some construction has been halted.
Everyone should see the film “Sole Survivor” which is based
on a series of true events with our military in Afghanistan.
It is not just a gripping action packed adventure movie. One
comes away with a deep understanding about what our men
and women are facing over there as well as some unexpected
insights into the Afghan people. Well worth your time!
Continued on Page 26
| 25
Christine's Logbook - continued from Page 25
As promised in the last edition of my column, I am revisiting
that marvelous “Report of the War Shipping Administrator
(E.S. Land) to the President “ at the end of WWII on January
15, 1946 on the operations of the U.S. Merchant Marine and
all shipping during WWII which was sent to me by ASMA
member Keith Adams. The booklet, originally published by the
Government Printing Office, is no longer printed by the U.S.
government. It has been reprinted by the American Merchant
Marine Combat Veterans Just Compensation Committee, PO
Box 1705, Santa Rosa, CA 95402. I think I can accurately say
that for most of us who are not part of the Greatest Generation,
that our first perception of the magnitude and scope of the
invasion of Normandy on D-Day, June 6, 1944 was through
that wonderful classic movie “The Longest Day”. Quoted
below from the WSA report is more illumination on the role
of merchant ships and the merchant seamen involved in
Operation Mulberry.
“In 1944, 74 percent of the WSA tonnage was allocated for
the use of the Army and Navy, compared with 59 percent so
employed toward the end of 1943. Ships allocated to the Army
alone comprised about 60 percent of the WSA fleet, while
the dry cargo tonnage allocated to the Navy amounted to 14
The military calendar of 1944 will explain that increase, In the
beginning of the year, the Allies had taken Sicily, had gone into
the Italian boot, and were hammering at the historic Cassino
gateway to Rome. The beaches at Anzio had been occupied
with substantial losses. General Eisenhower had returned to
England to open wide the valve on the great flood of American
troops and gear needed to build up overwhelming power for
the assault on the Normandy coast. The vast war raging along
the Russo-German front from the Baltic Sea called for more
and more shipments of American war materials for Russian
armies; these had been moving only around the northern and
southern flanks – the North Cape into Murmansk, and the
Cape of Good Hope to the Persian Gulf, until the opening of
the Mediterranean to our ships.
And in the Far East the tempo was stepping up. At the
start of the year, the incredibly difficult Burma campaign was
in its opening phases, and General MacArthur had established
a firm hold on eastern New Guinea. On the eastern sea
approaches to Japan, Admiral Nimitz had begun investment
of the Marshall Islands. The long stretches of the Pacific were
now American highroads to numerous powerful bases where
supplies were being assembled to attack the Philippines and the
home islands of Japan. Our forces were successfully installed
on the northern flank, the Aleutians. All of these movements
needed steady maintenance of supplies by the merchant fleet.
By mid-1944, the global war reached maximum fury. The
greatest sea-bourne invasion in history crossed the moat of
Hitler’s Fortress Europe, the English Channel on June 6. In
the van were 32 American merchant ships to be sunk off the
beachhead to form a breakwater. They were manned by more
than 1,000 merchant seamen and officers who volunteered for
26 |
hazardous duty. These ships, many of which had previously
suffered severe battle damage, were charged with explosives
for quick scuttling. They sailed from England through mined
waters, filed into position off the Normandy beach under
severe shelling from German shore batteries, and were sunk by
the crews to form the artificial harbor. Behind this breakwater,
prefabricated units were towed in to handle the subsequent
debarkation of men and equipment, to make invasion of
Fortress Europe possible.
Ten oceangoing tugs operated by the WSA and manned by
merchant crews assisted in the famous MULBERRY operation
by towing the harbor units into position. Seven of these tugs
had towed prebuilt sections from the United States to England
en route to their assignment. From D-day until the last tug
departed the Channel area, they towed 182 units including 75
“phoenixes”, as these units were called, plus 27 disabled ships
from the landing area back to the safety of British harbors. This
project stands as one of the most remarkable water-bourne
engineering accomplishments of all time.
All merchant seamen and officers in the operation were
commended and the ten masters of the tugs decorated by
Admiral Sir Bertram H. Ramsey, Allied Naval Commander in
Chief, for their part in the successful invasion.
Later, the English Channel was nicknamed by the merchant
crews “Liberty Lane” because of these cargo ships ferrying
back and forth in a shuttle run supplying the Anglo-American
armies in France.”
I hope you noted that the merchant seamen sailed through
mined waters with ships fully charged with explosives and
were under severe shelling from German shore batteries as they
constructed the breakwater that made the invasion possible.
Eventually, after victory “two steel roadways supported
on special floats lead from shore to wharf” protected by the
breakwater of sunken ships and concrete caissons “Phoenixes”.
Maybe I’ll include some more next time.
ASMA News & Journal Deadlines
Winter - December 1st • Spring - March 1st
Summer - June 1st • Fall - September 1st
Please note: Since ASMA uses Bulk Mail, delivery will vary
with each post office. If you have time dated items, be sure
you allow for a 3 month delivery delay when submitting
dated material.
News from the Fo'c'sle - continued from Page 19
Assorted Scuttlebutt - continued from Page 4
From left: Anne Brodie Hill, Bob
Hill, Kim Shaklee, Mike Karas,
and Fern Karas
to admire Kim’s work
during the Thursday
evening gala.
“It is a tremendous
job to exhibit in the
Rotunda, with set-up
Fellow Kim Shaklee's display in Charleston, SC
taking nearly 10 hours,
but the show has been
good to me and I have built a good following of collectors. I
look forward to it every year.”
Though the focus of the show is wildlife art, many ASMA
artists have been participants over the years. In fact, one of
the past Executive Directors of the show shared a memorable
experience of meeting Willard Bond many years ago during
a special exhibition for ASMA which was featured during the
Other ASMA members in this year’s show were painter
Debra Nadelhoffer from Dawsonville, GA and sculptor Scott
Penegar from Charleston, SC.
Other ASMA friends frequent the show too. Anne and Bob
Hill attended again this year, and Fellow Mike Karas and wife
Fern came for a short visit at the end of the show.
ASMA Signature Member Debra Huse’s painting, “Island
Tradewinds” will be featured in the 103rd Annual California
Art Club Gold Medal Juried Exhibition at the Autry National
Center in Los Angeles. There will be an Artists’ Gala Reception
on March 29th and the Exhibition will run from March 30thApril 20th.
Debra recently returned from the 9th Annual Maui Plein Air
Painting Invitational. Held
on the beautiful island of
Maui, the event featured 25
professional artists creating
150 original paintings.
Debra will be participating
in the 16th Annual Laguna
Beach Plein Air Painting
Invitational in October.
"Island Tradewinds"
Debra Huse
strict deadlines.
The other item I would also like to stress again, is the
subject of dated material. A prime example of what we
face occurred with the Winter issue and I'm sure most of
you were affected. Utilizing bulk mail we always are at the
mercy of the US Post Office regarding delivery times. Every
area of the country is different, and most folks receive their
copies somewhere between 2 and 3 weeks after going to the
mailing house. This usually occurs about 8-10 days after the
publication date. In the case of the Winter issue, the deadline was
January 2 and the issue went to the mailing house on January 9,
a bit quicker than usual. Then the country got dumped on with
a continual run of bad weather. That was the main excuse of
the PO, when they could be pinned down. Ultimately, the bulk
mail, combined with the weather, made for a very long delivery
time. So, what I'm saying is that if you submit articles with
dated material, you should take this into consideration. At least
two months time, and sometimes more. We cannot guarantee
dated material. We try, believe me, but it's very important when
exhibition deadlines, etc, are involved. With our eNews, that has
helped, but just keep this in mind.
So, hope to see you in Baltimore and I'll be back in July with
the all important Summer issue.
Regional Reports - continued from Page 21
Museum’s Annual Model Ship Exhibition at the museum’s
home within the Charlestown Navy yard, Charlestown, MA.
This exhibition opened for the public on February 1st and runs
until March 22, 2014. A reception for the museum overseers,
several model shipwrights, and the ASMA artists was held
Thursday night, February 27th at the museum. Fellow member
Charlie Robinson, Signature members Maris Platais, Steve
Lush and Paul Beebe along with ASMA member Ray Crane
each had 1 or 2 works on display. It is hoped that future ASMA/
USSCM partnering will continue as a result of this exhibition.
Steve Lush has a model in the exhibition as well and has been
Ray Crane, Steve Lush and Maris Platais
a member of the USSCM Model Shipwright Guild since 1984.
Steve is a Master model shipwright in the Guild.”
| 27
A Special Offer For ASMA Members Only
Marine Ar
Society of
ww w.ame
Special Reduced Prices
for ASMA members ONLY
by mail and this offer.**
15 th Natio
nal Ex
hibition o
f the Amer
The 15th National
ican Societ
y of Marin
e Artists,
Exhibition color catalog
is now available to
all members for $16.95 ea.
(Members with work in the exhibition: $10.00 ea).
Send a check or money order (Drawn on a US Bank Account) for $16.95 or
$10.00, if applicable, per catalog, plus Shipping and Handling (see below), payable to
ASMA along with your name, shipping address, phone number and email.
9/9/11 11:2
7 AM
Members Appearing in Catalog
ASMA Member Discount Price
*1 to 2 add $8.00; 3 -10 add $15.00; 11 or more request quote
Canada: 1 to 2 add $15.95; 3 or more request quote
International: 1 to 2 add $19.95; 3 or more request quote
o Please send __________copy(s) of the ASMA National Exhibition Color Catalog. Enclosed is my
check/MO for _____________which includes_____________shipping and handling costs.
( o I am an Exhibiting Member )
*Delivery by Priority Mail
2 Please note: Retail Price is $21.95 for Non-Members, + S&H.
Please make checks payable to
City............................................... State..... ...Zip..............
and mail with this form to:
ASMA 15th National
Color Catalog
PO Box 247 • Smithfield, VA 23431
Vi s i t o u r We b S i t e a t : w w w. a m e r i c a n s o c i e t y o f m a r i n e a r t i s t s . c o m
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