First Place: Kerry Eriksen “Gator” Oil on canvas

It was a great day. Starting out very foggy, which cast a magical glow on the everglades, and later turned sunny and warm, it was a great day for plein air painting. Twenty-five of our artists showed up to paint, and while visitors for the day listened to talks at the pavilion, they could see the artists painting the beauty of the refuge. At the end of the day, we gathered in the visitor’s center theater for a meet and greet the artists.

It was great to see all the work produced that day all up on the artists’ easels during the gathering. While we were chatting with the visitors, the juror for the exhibit, Maxine Schreiber, circulated around and judged the works presented. When Steve and Maxine presented the awards, Maxine commented that she was impressed by the quality of the artwork. I have to agree, I am always humbled to have my artwork being displayed along with the truly great artists we have in Plein Air Palm Beach.




PAPB Artists at the Meet & Greet


The Winners were:

First Place: Kerry Eriksen for “Gator” Oil on canvas

Second Place: Lorrie Turner for “Foggy Morning” Pastel

Third Place: Linda Apriletti for “Willows and Lifting Fog” Oil on Linen

HM: Stan Dornfest for “Joyful Loxahatchee” Acrylic on Canvas

HM: Sal Sidner for “At the Pavillion” Oil on Canvas board

HM: Elfirda Schragen for “Two Trees Trail at Loxahatchee” Oil on Canvas


There will be an exhibit of the paintings produced the day of Festival in the  visitors’ center of the Wildlife Refuge that will run from March 5, 2014 – April 30th, 2014. Be sure to visit the exhibit “Plein Air Palm Beach Paints Loxahatchee” and the take a look around the refuge that inspired the artwork, you won’t be sorry. Twenty-five percent of sales of any artwork will go to Friends of the Arthur R. Marshall Loxahatchee National Wildlife Refuge, a very worthwhile organization.

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Plein Air Palm Beach

Postcard for Plein Air Palm Beach

Here is what has been keeping me busy both painting and organizing. Palm Beach Plein Air Artists began with Donna Walsh organizing paint-outs for Palm Beach Watercolor Society. At the same time Ralph Papa organized a Plein Air group to paint in and around Delray Beach FL. In the Spring of 2013, Ralph and Donna decided to merge the groups and thus became the co-founders of Plein Air Palm Beach. We decided to use the Plein Air Palm Beach as the group name, after consultation with key members of the meetup site since this most aptly describes the area where we schedule paint-outs.


We have regularly scheduled paint-outs twice a month from October to May. At the end of the second paint-out we meet for a group critique and a picnic lunch. This year we are planning for an exhibit at the Cultural Council of Palm Beach. The Cultural
Council is sponsoring ten paint-outs around the county and will host the exhibit “Art Outside the Walls: En Plein Air” from April 11, 2014 – June 7, 2014.

Plein Air Palm Beach mission is to work with members, local art groups, cultural centers and the public to support and enhance plein air painting, events and exhibits. We welcome support and sponsorship from the cultural community to enhance our mission. We are in the process of becoming a Florida non-profit group.

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IMG_1378-002Teaching forces an artist to consolidate one’s own education, experience and knowledge of art history into a focused exercise in order to help the student learn. My own philosophy of teaching is to craft exercises where the student will discover new things on his or her own. That is the scientist part of me. To help students learn composition and creating form, I had them reproduce one of Cézanne’s still lifes. I gave them a line drawing of Still Life with Apples to help them learn composition and how to define form with color and shading.


Cezanne was a Post-Impressionist painter whose work laid the foundations of the transition from the 19th-century conception of artistic endeavor to a new world of art in the 20th century. He created space and depth of perspective by means of planes of color, which are freely associated and at the same time contrasted and compared. This was his way of translating and combining the observing eye of the artist and abstracting rather than reproducing nature. In so doing, he broke the rules of perspective and used this process to study the hypothesis of how to strip knowing from seeing—how to paint perception. During the last thirty years of his life, Paul Cézanne painted the same objects–the green vase, the rum bottle, the ginger pot, and the apples–over and over again. This, in my opinion, is truly experimental painting. His multiple paintings of the same subject matter were data in his experiments with shape, color, and lighting.

When my students painted this Cezanne still life, they were dealing with some of the same issues with which Cezanne experimented. Even though they were using line drawings of Still Life with Apples and had reference photos of the original and a watercolor painting I did myself as a demonstration shown here, they still the same issues distinguishing knowing from seeing. This was most pronounced when some students attempted to draw the perspective correctly rather than taking Cezanne’s approach. After they have the experience of not liking their outcome, they are more receptive to advice on seeing and how to look at what they are trying to paint.

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county contemporary
I recently applied for and was accepted into the County Contemporary: All Media Juried Art Show.  I am deeply honored to be among the group that was accepted by Juror Mark Richard Leach, Executive Director, Southeastern Center for Contemporary Art, Winston-Salem, North Carolina.  A representative of the Cultural Council told me they had a good response and had received over 450 entries, of which 44 were being showcased in the exhibit.  Again, I felt honored and excited to be part of the exhibit.  This exhibit opens June 14 and runs until September 7th and is located at Palm Beach Cultural Council located at 601 Lake Avenue, Lake Worth, Florida 33460.  For more information see
A time-honored challenge for artists is to get ones work exposed to art admirers and collectors.

In pursuit of this goal, I entered the County Contemporary Show as it was sponsored by the Palm Beach Cultural Council.  Ever since I became a member earlier this year, I have been impressed with the dedication and professionalism of the Council.  The Cultural Council does impressive amount of promotion for the exhibits and other events that are held there.    It is also just a wonderful space for an Art Exhibit.  I thoroughly enjoyed the most recent Artist as Author exhibit held there and the corresponding lecture series.

When I first got active in the local artist community here in South East Florida, I joined many groups and began to exhibit with them.  I found this a good way to get my feet wet, and I learned a lot about shows and juries.

I soon became a bit disillusioned as it seemed that the same people were always winning.  While that would be acceptable, if the show and hence all the artwork in it was actually getting exposure, the venues were rarely publicized, and foot traffic to see the exhibit was purely by chance.

When I analyzed that it seemed this, in many cases, to be due to big-fish-in-a-small-pond situation.  With member-only shows in local groups with membership numbers of approximately 150-250, and not all of whom would be entering a particular show, the role for newcomers seems to be mainly supplying the prize money in exchange for a miniscule chance of winning.  Even with these shows being juried and thus the prize winners truly deserving of the, it becomes a bit of a catch 22.  Newer members do not think it is worth the bother to enter and yet the group needs to get a certain number of entries to pull off the show.

To try to address this problem that small groups face, different groups have tried various solutions, such as:

    • Limiting the number of times year an artist can win a cash prize.
    • Having the juror select the group of painting that will be the prize winners and then the group leaders decides which artist gets which prize.


    • Coming up with special awards so that insiders who volunteer can be awarded.


All of these solutions pollute the small pond in my opinion.  So at the end of the day I guess I’d rather be a small fish in big pond as long as I like the pond I’m in.

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But is it art?Coming from a science background, I’ve often considered how theoretical constructs could be applied to art. It seems, to me, that, in the case of art theory, the major and most relevant questions are: “What is art?” and “Why is art valued?”

Because of this, the blurb from the book jacket of Cynthia Freedman’s But is it art?  (Oxford University Press, 30 illustrations, 8 color plates, $16.95) immediately caught my eye.

In part, it read:

“In today’s art world many strange, even shocking, things qualify as art. In this book, Cynthia Freeland explains why innovation and controversy are valued in the arts, weaving together philosophy and art theory with many fascinating examples. She discusses blood, beauty, culture, money, museums, sex, and politics, clarifying contemporary and historical accounts of the nature, function, and interpretation of the arts. Freeland also propels us into the future by surveying cutting-edge web sites, along with the latest research on the brain’s role in perceiving art. This clear, provocative book engages with the big debates surrounding our responses to art and will prove an invaluable introduction to anyone interested in thinking about art.”

This book is an excellent introduction to art theory especially for someone, like myself, who has not spent the years of formal study necessary to establish conventional academic credentials.  Comprehensive in scope, the book covers all the major theories and provides a jumping off point for those who wish more information.  The author provides an historical framework of how philosophers and critics have approached the questions, with which I began this section.

The book examines both the business and politics of art with examples of good practice supported by extensive references.  The author also shows how ‘cultural biases’ can be intervening variables in both the framing of the initial questions and the answers.  For example, Freedman points out that the complex symbolic gardens of the seventeenth- and eighteenth-century France have few parallels in the West today.

She sets the stage for discussing contemporary art by pointing out where some of the classical art theories can’t quite explain some of the art we see being created today. In the first chapter, she describs the use of blood in contemporary art but asserts that this use of blood in art in modern urban First World does have the same meaning it does in primitive rituals nor does its use promote the experience of aesthetic qualities like beauty and form.  She suggests that other explanations and new art theories are needed to deal with this approach to media.

Because I am greatly interested in the juncture of neurobiology and art, I particularly enjoyed the section on mind, brain and art.  Freedman connects the theories of Freud who saw art of expression, the pragmatist view of art developed by Nelson Goodman who wrote the Language of Art in 1968, with contemporary cognitive psychology.  She does not delve into neuroscience but does report that Semir Zeki, a professor of neuroesthetics at University College in London, writes that he believes “that artists are in some sense neurologists, studying the brain with techniques that are unique to them but studying unknowingly the brain and its organization nevertheless.”  I have followed a lot of Professor Zeki’s work, and my feeling is that he is referring to things like the way artists discovered that effect of simultaneous contrast in creating art without knowing the neuroscience that is behind the perception.

The author’s reasoned conclusion is the investigation of art theory, like scientific exploration, often leads to more questions than are answered.

Cynthia A. Freeland is the Chair of the Department of Philosophy at the University of Houston and is also the author of Portraits & Persons, The Naked and the Undead: Evil and the Appeal of Horror and was the editor of Feminist Interpretations of Aristotle.  But is it art? has been translated into 14 languages including both traditional and “simple” Chinese and Tamil and is also available as Art Theory: A Very Short Introduction. Her personal website is at

I’m a big believer in self-education throughout one’s life.  Between the Palm Beach libraries, the Paperback Book  Swap website and my Nook, I’m getting a pretty good art theory education./

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IMG_9275Well it’s Spring in Delray

Beach, which means it is starting to get hot.  But the weather was great for the opening event for Delray Marketplace: Le Cirque Delray.

I decided it might be a good place to paint-out so I organized an outing for my plein air group.  Although several signed up, only two of us found each other amid the chaos of marching bands and costumed superheroes.

IMG_9279Even before I realized it was going to get hot and muggy, I had staked out spot in the shade by the bounce house.  This turned to be a good idea as my fellow artist succumbed to heat exhaustion and had to be taken to the hospital by the paramedics.  I gathered up all her art supplies, and she came by later in the evening to pick them up.

Many of the people attending the event thought I was part of the entertainment and asked if I were doing caricatures or face painting.  My husband came by and we had lunch at Terra Fiamma.  It was fantastic, and you can see his review of it on TripAdvisor.

I decided to paint some of the architecture.  This is great way to force yourself, as an artist, to get the correct perspective as you can hear the comments of those passing by.  It’s always better to hear “Oh, I see she is painting the building”  rather than “What is the World is that?”

All painting is a very intimate encounter, but painting plein air is even more so. I do find it challenging to work in this manner and often have to do a lot more work on the painting back in the studio, but I love painting outside, even in a mall.

It is like being all by yourself with your subject while at the same time being in the middle of a crowd.  The major difference is once you set up the crowd has to walk around you.

This proved to be a serious problem when our the group was painting at Delray Beach Play House at Lake Ida Park East .  We were having our critique session, and suddenly, three busloads of school kids were having a picnic around us.  The kids were very good but it was still too much for us, so we had to call it quits that day.

Delray Marketplace is a good place to paint, and because of the 911 call, I got to talk with the manager of the complex, Amy Ferguson, who told me she wants to have our group back at another time.  It’s very nice that the businesses are so receptive to artists painting at their locations.

Plein Air Artists are often looking toward the past, in that they document the structures of a town before they are torn down; at Delray Marketplace, we were at the opening.

Can’t wait to see the bougainvillea next year on the archways!  It will give us some nice shade to paint under./

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My husband, John  and I were at the opening of the  Artist as Author: An exhibition of artists in various creative disciplines who are authors and it was splendid.  It is presented by Cultural Council of Palm Beach County at the Councils headquarters at  601 Lake St, Lake  Worth. The exhibit will be there until  May 18, 2013.

Must see this exhibit

It was fun to drive up to the valet, turn over our keys and enter a magical space of art and culture.  Elaine Meier is the guest curator for the exhibit and has this to say about it:  “Artist as Author is a celebration of creative talent as well as an exploration of the relationship between the arts and the written word.  The artist participating in this exhibit work in multiple disciplines but they all share a passion for excellence… and a Palm Beach County address.”

The exhibit is fantastic and the opening was a wonderful opportunity to see the work, meet the artists/authors and be with others who appreciate culture in Palm Beach County.  There are fourteen artists as authors in this exhibit, all of them captivating.  I guess the one that really caught my eye was Sandra Thompson. She is known for her quintessential paintings of Palm Beach. I was immediately drawn in to paintings and felt like I could walk around in them all day.  My eyes did feast on them for some time.

Great job by all at Cultural Council of Palm Beach with this event.  To find out more information about the exhibit see  Artist as Author Exhibit

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IMG_8736Getting back to painting more regularly has been good: good for me and good for my work. Painting is a lot like dance.  The muscles don’t forget, but to be good requires constant practice.

One of the directions I have been exploring is a mixed media approach using digitized watercolor combined with photography and digital painting.   The initial step is to complete a watercolor in the conventional manner. To create the initial image, there is nothing that can replace the dynamic and expressive way watercolor develops on paper.   Then, it is converted to a digital image.  It is quite exciting to see the details in an enlarged format in a digital image. This approach reveals a level of exquisiteness inherent in pigment in water that is otherwise invisible.

Once the image has been digitized, I combine it with a digital photograph, usually one of the images from my “nature’s wonders” series.  I, then, break up the photo highlighting design elements of the photograph and integrate them into the watercolor image.  In this way, I create the effect of the complexity multiple layers of nature and, if all works well, reveal a level of beauty that is otherwise unobtainable.

One of the digital paintings I’ve created with this process is Hidden Orchid.  Here, I have used a spider-webbing technique on the original watercolor with colors that incorporate the light and reflections of an orchid I photographed growing on a tree.  The photograph was manipulated also digitally to isolate the blossom and stem.  The background light of the photograph was further broken up and moved to enhance design and to integrate that image with the watercolor.  The watercolor image was also modified for transparency, and several layers of different sections with varieties of transparency were integrated with the blossom to give the effect of the complexity beneath the beauty of the blossoming orchid.

I have been pleased that the work I’ve completed in this Art/Science series has been well received on Fine Art America and my CafePress Store, Donna’s Art for Everyone  As much as I’d love to be seen as the next great artist to collect and have collectors in a bidding war over my work, I truly believe in art being accessible to everyone.  So, the fact that prints and merchandise of this new direction has had recent sales encourages me to believe that people are responding to my art.  The problem is most of the local venues for group exhibits do not allow digital work, so I am looking into finding venues that do allow it.  In my view, this is “the new art” of our time, and resistance to it has to be expected.

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webpage2So it’s the New Year, and I restarting my blogging. I’ve felt a bit guilty about neglecting it but life has a bad habit of getting in the way of the best intentions.

I’ll admit that being President of Palm Beach Watercolor Society the last two has taken up a lot of my time and my energy.  However, my term is now ending and I’m turning in a new direction.

For years, I’m been urging fellow artists that they get an artist website and join the modern world with their art. Many of them have replied, “I’d rather just be in the studio.” While I can appreciate that, it’s been a bit painful to realize the opportunities for exposure and sales they are missing.

With that in mind, I’ve started a place for artists who wish to be represented in an online gallery; I call it Art Evolution Gallery. The concept is rather simple but contemporary. Artists evolve over their career, and collectors are always seeking new and evolving artists. I see Art Evolution Gallery as a point of convergence for both evolving artists and savvy art collectors. To find out more about this, drop by

As you know, I’ve long been interested in art history and theory. I just finished reading But is it Art: An Introduction to Art Theory by Cynthia Freeland and have reviewed it on Barnes and Noble. Here is a copy of that review:

Coming from a science background, I wondered how theory could be applied to art. It seems that, in the case of art theory, the major and most relevant questions are: “What is art?” and “Why is art valued?”

The author provides an historical framework of how philosophers and critics have approached these questions. Looking at the business and politics of art, good examples and references are provided throughout. She also shows how ‘cultural biases’ can be intervening variables in both the framing of the initial questions and the answers.

It is not surprising that the conclusion is the investigation of art theory, like scientific exploration, often leads to more questions than are answered. The author characterizes art theory as an explanation of the diversity of the subject,  deals well with why art is special, provides a good overview of the topic and a stepping stone for further reading on the subject.

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It’s been a while since I “blogged.” That’s because I’ve been overwhelmed with the business aspects of being a commercial artist. That sort of thing is necessary, but it’s hardly fodder for an interesting exposition. Frankly, it’s very boring.

I’ll digress a bit at the start. This summer, my husband and I took a four-month trip to investigate various groups and venues on the East Coast I’d heard about and, obviously, to paint or at least get some very good reference photos of things I planned to paint.

A taste of the Old South

Our first major stop was Charleston, South Carolina. As everyone knows, it’s a beautiful city. I was really taken by the historic houses; the area reminded me a lot of Boston. We also visited Magnolia Plantations. All in all, it was a rich, rich area for taking reference photographs. I didn’t really get to paint much as we were only staying a short time, but I always try to sketch something, just to get my feet wet.

We also stopped in the Shenandoah Valley near Lynchburg, Virginia, for a few days. While we were there, I visited Thomas Jefferson’s summer home, Poplar Forest. The building itself is a hexagonal structure, designed personally by Jefferson. The grounds were lovely and I took a large number of pictures that I hope will inspire some watercolors in the future.

Natural Bridge

A highlight of this visit to the Shenandoah Valley was The Natural Bridge. It’s over 200 feet tall and arcs over almost a hundred feet. It was formed by a combination of water and the collapse of the surrounding terrain leaving an awesome natural formation. George Washington carved his initials in the bridge while he was making a survey of the area. Present day visitors are warned not to try to emulate our First President.

I was deeply touched by the juxtaposition of the ancient stones and the present-day verdant growth that complement each other so well. I had such a strong sense of permanence and spontaneity in harmony. I spent quite a while just absorbing the ambience. I had been counseled that there needed to be both an emotional and a cognitive aspect to my art and this seemed the perfect inspiration.
/I’ve been pondering this for quite a while. I was deeply touched by how well the disparate components, the massive structure of the rock in one timescale and the fragility of the foliage in another, completely different, one, worked together. One enduring for eons, while the other constantly recreating itself.

Natural Bridge, Watercolor 22 x 30

I’ve tried to convey that in my paintings and I’m quite happy with it. It was a daunting project since it was on a full-sheet, and I’ve never worked on that scale before. I still need to get it matted and framed. I may have to experiment with cutting mats because when inspiration collides with standard sizes, it’s the mundane that has to yield.

Our next stop was Washington, D.C., where I largely simply toured the museums, particularly The National Gallery. It is a magnificent place. I had visited it before, but it is the kind of place that one can visit over and over again.

Matisse Cut-outs at National Gallery

One display that greatly impressed me was the Matisse “cutting into color.” It is a technique involving freehand cutting of colored papers into attractive shapes, which he pinned loosely to white walls, later adjusting, re-cutting, combining, and recombining until he was satisfied. I had no idea of how big they were. They are bigger than most murals. Seeing them in real-life made me realize that this is why museums are there. Books and photographs are useful, but one needs a place to really experience the art.

After leaving D.C., we stopped along the Long Island seashore and finished up the leg on Cape Cod where I did a lot more of the “investigation of venues” which was one of the goals of the trip. We visited the Cape Cod Museum of Art which is really well done, beautiful grounds and a nice selection of art.

When we were there, they had an exhibit of the works of The Seven Lively Artists. More than five decades after the group formed, the Seven Lively Artists continue to have a standing Friday lunch date at which they talk about upcoming exhibits and painting trips and share stories of past adventures. It was impressive to see a plein air group exhibited other than in a local display.

I did some plein air work while I was on the Cape. I got in touch with the Eastham Painters’ Guild, a wonderful group of people with whom I hope to do further work because they do some outdoor shows. Several members suggest that at some point I might be their artist of the month.

Strong Island

The experience with these people was entirely enjoyable. They paint a lot and have a great practical, no nonsense, way about them; they set up fast and get right to work. I was able to go painting with them on the Chatham harbor from which we had a view of Strong Island. The resultant picture is unique because, forgetting to bring a supply of water, I used the sea water from right off the beach. Now, I can tell people “this painting was painted with THAT water… the water you are looking at.”

We also went painting at some old barns. The gentleman who is in charge of the group is a long-time resident of Eastham. He knows a lot of local history and a lot of people so he can get access to properties which would normally be off limits.

We also visited the Crosby Mansion in Brewster. I took a number of photo references there, particularly the art.

Aside from painting and taking pictures, I used the trip to reorganize my palette. I cleaned it all off, moved some colors around, added a few more and made a map of it. Then, I designed a few sub-palettes because I was studying more about color and I wanted some where all the colors were mixed from the same sub-palette. I created my standard transparent mixing palette as well as an alternative palette and then I did a delicate non-staining transparent palette, an opaque palette, a “Cape Cod” palette and then I took every single tube of paint I had and value-mapped it at the standard strength at which it comes out of the tube. This turned out to be a very useful exercise because it gave me more ability to know how my paint was going to react.

Oct. 15th was the opening at the new place.

After about a month, we went up to Vermont for a two-month stay. Again, part of the goal was to look into the venues and to prepare for those with whom I was already involved. I was already a member of MAC, the Memphremagog Arts Collaborative, in Newport, but I hadn’t seen my work on display in their center so I had been impatient to get to Vermont.

Each regular member of MAC is expected put in time at the center, so one of the first things I did was go through a training course on what was expected. While I’m really non-local, I wanted to be able to do my share. It was very interesting working in a gallery, seeing people come in, look around and buy things. During my stay, I produced a number of paintings that I was able to leave for MAC to display.

My time in the MAC gallery made it clear that for the Vermont market, at least, I’m going to have to focus on more affordable art so now I’m branching out into original watercolor cards in a five-inch by seven-inch format that I can sell at a lower price point. I really believe that one of my goals is to get art into people’s hands. Art should be accessible.
However, this raised an internal concern: “am I selling out.” It took a lot of thought but I’m not at ill ease since I’m still working on art that moves me and that I have to think and ponder about and then create. I love to interpret the natural world, flowers, trees, old barns, and while these are subject that sell, I’m painting them because I love to do it.

These cards have also been a good exercise in patience for me. I do several at the same time and have to wait while they dry. In the past, I’ve returned to my work too soon and ruined some pieces by not waiting long enough, but with the smaller art work, I am finding I can be more fastidious and careful. Interestingly enough, it is taking me the same amount of time to do the small ones as the large ones, but I’m feeling more connected.

While we were staying in Vermont, I used some workshop DVDs to do independent study. One was Don Andrews’ five DVD set that cover topics like “painting with light,” ”granulation,” “how to loosen up” and “painting negative space.” They were very informative and I’m sure I’ll watch them again, and I’m going to a live workshop with him that the Palm Beach Watercolor Society is sponsoring in December.

I also viewed a number of DVDs on watercolor portraits. After I did one for my nephew’s child, Gabriella, I’ve gotten more requests from people for similar work, and I felt that I needed some formal instruction in the area. One I used was by Susan Harrison Tustain that sets down a step by step guide for creating watercolor portraits.

I also wanted to check out some Vermont venues, one in particular, The Old Red Mill, which is used yearly for an exhibit by the Northern Vermont Art Association, which I think I may eventually join. The building itself is a delightful old water-powered mill which is now a shop selling souvenirs and is, typical of Vermont, also a post office. The walls are dedicated to rotating displays of art.

Because I’m interested in the Saint Albans Art Society we drove over to Burlington. The group traces its roots back over a century. However, it is a long drive over two-lane roads, spectacular scenery but a long, long drive.

I also looked into the Vermont Watercolor Society, but they are mostly centered in the southern part of the state. This would greatly limit my opportunities to interact with them or display at their shows.

I didn’t get a chance to look at the New England Watercolor Society exhibit as I had hoped. They are another group that has a long history, starting out as the Boston Watercolor Society. I am hoping to get involved with them in the future.

Aside from “scoping out” the groups, I did some plein air painting at Barton’s Crystal Lake and on an excursion to Eastport and Bar Harbor, Maine. When I wasn’t painting, I was doing photo-reference shoots in the lovely scenery of those states.

Now that I’m back in Florida, I will be doing both the indoor and outdoor shows with the Delray Art League, giving me a chance to show off some of the work I did during the summer. I’m also active with the Palm Beach Watercolor Society and will be getting things ready for some of their shows.

I’m really looking forward to the upcoming season.

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