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Page Autumn 2018
Autumn 2018
‘Get Dusty’ October winners
‘Get Dusty’ September winners
Page 2 Autumn 2018
THE PASTEL SCRIBBLER
Autumn 2018
Contents
Page 3 Letter from The Pastel Scribbler Editor. Website News.
Page 4 - 6 ‘Get Dusty’ September winners
Page 7 - 8 Interview and Gallery September Winner Teresa Allen
Page 9 - 11 ‘Get Dusty’ October winners
Page 12 Featured Guest Judge for October Eric Wilson
Page 13 -14 Article ‘How to photograph your artwork’ by Dolores Saul PGE
Page 15 ‘Get Dusty’ Schedule
Page 16 ‘Get Dusty Competition Rules
Page 17-20 Article China Pastel Biennale 2018 in Suzhou by Dorothea Schulz PGE
Page 21-28 New members
Page 3 Autumn 2018
The Pastel Scribbler Team Editor: Susan Corcoran Writing and Proofreading:
Dorothea Schulz & Dolores Saul
Translation: Dorothea Schulz
Contact: [email protected]
Website: www.pastelguild.org
Note - The Pastel Scribbler is intended for reading on screen. Copyright © 2017 PastelGuild EU and included artists, all rights reserved
Membership Levels For all details of membership levels of
PGE, please go to the website:
www.pastelguild.org
where you will also find all the current
news, competition entries and results.
Website News
URGENT!! New Webmaster needed!
Our new webmaster Michael Schnitker has informed us that has to quit for personal reasons. This means that PGE will be without a webmaster from January 2019. If
you know anyone who is computer-savvy, knows Joomla and would be willing and able to run our website please contact Dorothea Schulz, via the PGE Forum. We would be able to pay a small fee, but PGE cannot afford a fully professional
webmaster, unless we raise the membership fee considerably, which we do not want to do.
Dorothea Schulz PGE chair
Page 4 Autumn 2018
Get Dusty Competition September 2018
Winner Teresa Allen ‘Tree Line View’
Soft pastel on ‘sand’ Art Spectrum paper with acrylic ink underpainting. Size 30 x 30cms.
Own source reference and memory of Obidos Lagoon, Portugal.
Judge’s comments:
‘This painting is joyful! The use of value, creation of light and bits of interesting colour keep my eye moving around the painting. The little surprise of the boat on the water gives me a reason to further explore the painting beyond the lyrical dancing trees.’
‘Landscape - Forest or Woodland’
Our guest judge Karen Margulis PSA said:
‘I had so much fun viewing the work and it was very difficult to
narrow it down for the awards!
I like to evaluate paintings based on my formula for a good painting
D + V + C = P(100).
D is Design or composition, V is value and C is colour. Successful
treatment of these elements make up a good painting (P100).
D . . . Does the design/composition of the elements in the painting
lead me through the painting? Is there an area with more clarity (the star) and other areas to add interest and support the ‘star’?
Are there areas of rest along the journey through the painting? Are
there interesting shapes and negative shapes?
V . . . Is there a strong and simple map of values in the painting? Are
the values cohesive? Is there an interesting arrangement of value
shapes?
C . . . Colour. Is there pleasing colour harmony in the painting? Is
there interesting use of colour? Is there a balance between intense and neutral colour?
In addition, paintings have an emotional component. Does the painting draw me in and tell a story? Do I want to keep coming back
to discover more? Sometimes a painting may not be strong in every
category but has a strong emotional pull or story. Or a painting may
be technically perfect yet have no emotion.
Ultimately I look for paintings that pull me in and keep me looking.
Attention to the elements of a good painting help an artist tell their
story well.
All of the paintings selected for awards were paintings that pulled me in and kept me wanting to come back for more. It was difficult
to elect winners from the many excellent paintings!
Page 5 Autumn 2018
‘February Shadows’ by Kerstin Birk Softpastels on Sennelier Pastelcard Board 50x40cm, my own ref. photo
‘Arbres en Lumiere’ by Francoise Guillaume
52 x 62 cm Pastel on PastelCard
Plein-air and finished in workshop with my own photo.
Judge’s comments:
‘I enjoy the playful mark making and use of colour to express the feeling of warm sunlight.
There is just enough detail to describe the trees and rocks. The bits of contrast move my
eye around the painting.’
Judge’s comments:
‘This painting is another wonderful example of orchestration. I enjoy how the shadows pull me onto the painting. I am drawn into the distance by the effective portrayal of light and shadows’
Get Dusty Competition September 2018 Second Place
Third Place
‘Landscape - Forest or Woodland’
Page 6 Autumn 2018
‘Meditation Time’ by Motti Shoval 50X65 cm. Own photograph reference. Rembrandt and Sennelier soft
pastels on Fabriano paper.
Get Dusty Competition September 2018
Honourable Mention
Judge’s comments:
‘The shapes and patterns are intriguing. I enjoy this
abstracted look at the forest with a wonderful use of interesting and unexpected colours.’
‘Silent Forest by Dolores Saul PGE
UART dark 400, Unison soft
pastels. Size 9x12´and own ref.
Judge’s comments:
‘The muted palette captures the feeling of a frosty woods perfectly. I especially love how the frosty branches are painted. I also enjoy the journey through these woods to the light.’
‘Landscape - Forest or Woodland’
‘Light Tapestry’
by Ruth Mann PGE 43x33cm on Uart dark from my own photo
taken while walking the Dog.
Judge’s comments:
‘This is another great example of using contrast of light and dark to create a
visual pathway through the painting.
I appreciate the use of minimal detail
in the shadows which helps keep the eye moving toward the light.’
Page 7 Autumn 2018
Q: Teresa, congratulations on winning the September ‘Get Dusty‘! Please tell us something about yourself and your artistic career.
Thank you Dorothea, it was a lovely surprise to win the September ‘Get Dusty’ competition and thanks to the judge, Karen Margulis.
I have always been interested in art, studying to exam level. I attended art school in Leamington Spa and studied jewellery and design. In my mid 20’s I embraced the ex-pat life living in Houston, Texas and attended the Alfred Glassell School of Art where I was introduced to oil and acrylic painting. I then studied life drawing at the Vrije Academie in The Hague, Holland before returning to the UK. Nowadays, I work mainly with pastels and acrylics.
Q: What brought you to pastel painting? What do you like about this technique compared to other painting media?
Whilst attending a watercolour class, I was encouraged to use pastel with watercolour on a flower painting and I began to enjoy the pastel more than the watercolour. I particularly like the immediacy and versality of pastel and the fact that you can use it in a painterly or linear way, also the beautiful array of colours available.
Q: How did you learn about PGE? Would you say that being a member has helped you as a pastel artist?
I was introduced to the PGE through their Facebook page. I followed the page for a few months then finally decided to take the plunge and join. I especially like the monthly ‘Get Dusty’ competitions as the subject matter is so varied and pushes me to step out of my comfort zone. I also enjoy looking at the other artists work to see all the different approaches and reading the judges comments.
Q: Please tell us something about your painting process and your favourite materials.
My pastels are layered in a traditional method initially using hard pastels and finishing with soft pastels. I like to do a couple of thumbnail sketches to make sure the composition works. I sketch out the composition with a pastel pencil then I usually underpaint with watercolour or acrylic inks. This method lets me see at an early stage if the colour and composition are working. I use Conte and Nupastels followed by a variety of softer brands from Unison to Great American and always finish with Schminke. I have no
preference to any pastel brand, I am only interested in the colour! I use a variety of pastel papers, Art Spectrum, Pastelmat, Saunders Waterford and Fisher 400 paper and I’m just about to try out Uart paper. My decision on which paper to use depends on what I’m painting and the finished look that I’m trying to achieve.
Q: You are predominantly a landscape painter. What attracts you to this subject? Are there any landscapes you love to paint more than others?
I love landscape painting. I’m attracted to the changing light, the patterns and colours. I am particularly drawn to rural landscapes including vineyards, trees and fields of crops and vegetables. Landscapes change so quickly, so I try to capture a moment and I feel very humbled when people say that a painting reminds them of a special memory, a place or happy time.
Q: How important is plein air painting for you? Or do you prefer to work with photos in your studio?
I really enjoy plein air painting, the challenges and decision making are very different to working from photos in studios. I make a decision about the light early in the day and usually take a couple of photos for later reference. I recently took part in an amazing plein air day with around 90 other artists in St. James’s Park, London. It was mainly oil painters, a few watercolourists and around 5 pastel artists!
However, I don’t like feeling cold so I am a fair weather plein air painter (no winter painting for me!). I also enjoy studio painting, working from my own sketches and photos so I can remember what attracted me to the scene in the first place.
Q: Which pastel painters inspire you most? Which artists would you say have had an influence on you?
The first pastel painters I was introduced to were Richard McKinley and Jackie Simmonds (through videos and books) and Karen Margulis (online), so I was thrilled to have my work selected by her. I have also attended Felicity House’s workshops. She is a wonderful teacher and gave me great help with my plein air set up before I eventually bought my pochade box.
Regarding influence, obviously the Impressionists, Monet and Sorolla, for light and Odilon Redon for his amazing jewel-like colours.
Q: What are your plans for the immediate future?
At present, I have two paintings in the Cranleigh Open Art Competition exhibition and was thrilled to be declared the winner with my pastel painting ‘Girls in Sync’. My prize is an exhibition next summer shared with the runner up and winner of the Public Vote. I will also be participating in the Tadworth Art Group exhibition next May and Carshalton Artist Open Studios next June. I’m also going to be submitting paintings for the next Appart exhibition in May, which I’m working on now.
I also plan to do more life drawing and try out other techniques (e.g. mono-printing) combined with pastel.
Page 8 Autumn 2018
Gallery Teresa Allen
‘Girls-in-Sync’
‘Red Trail’
‘Under the hot sun’
‘Shimmering Stream’
‘Sketching at The Mall Galleries’
Page 9 Autumn 2018
Get Dusty Competition
October 2018
Winner - Dolores Saul PGE
‘A Little Lady’ UART 500, Sennelier soft pastels and
some Carbothello pastel pencils. 22 x 29cm.
Ref: My own photo of my daughter’s
Maine Coon cat
Judge’s comments:
‘I really like this painting. It is
more than just a simple rendering.
The cat has life, soul and charac-
ter. The fur is boldly represented and I particularly like the artists
emphasis on light and colour rather
than detail. I think the whole
thing works very well and this is a
deserved winner’.
Eric says :
It has been a pleasure judging
this exhibition, thank you for
the opportunity.
My best wishes,
Eric.’
Eric Wilson Fine Artist www.ericwilsonsart.com
‘My Four-legged Friend’
Page 10 Autumn 2018
Third Place Get Dusty Competition October 2018
Second Place
‘A Day at the Pool’ by Yolanda Coervers Schoenmakers soft pastel and pastel pencils on pastelmat 30 x 40 cm Reference photo : Vera
Bemelmans with permission
‘Best Friend’ by Jan Harwood 12"x15" Unison and Caran D'Ache pastel pencils on
Pastelmat Ref with permission Karen Broemmelsick.
Judge’s comments:
The limited colour palette and careful
placing of the animal within the space of the picture give this painting a very profes-
sional look. The dog is alive and the pastel
strokes look very free and easily made,
without over thinking. Again, this gives for a
very professional feel. I admire the artists economy of stroke and ability to say more
with less. A well deserved 3rd place.
Judge’s comments:
‘Who could not be attracted to this won-
derful little character. There is more here than just a rendering of the animal, there
is a story and it is a much more complex
painting than most of the entries. I like
the composition and colour, and also the
way the cool light blues of the pool con-trast with the reds and yellows and the
dark greens above. Its a bold and strong
piece in every way, and deserves second
place.
‘My Four-legged Friend’
Page 11 Autumn 2018
Get Dusty Competition
October 2018
Honourable Mention
‘The Frisbee Fanatic’ by Ruth Mann PGE My Milly is mad on frisbee and ball play. This is
from a photo I took recently at the beach. 28x38cm
‘Cavalier King ‘by Olga Diaz Unison soft pastel and pencils. Velour paper. Ref. photo Edwing Butter with permission 41 x 29 cm
Judge’s comments:
‘Lovely use of colour harmony, an unusual
yet intriguing composition and skilful use of
lighting make this a memorable painting
worthy of an honourable mention.’
Judge’s comments:
I have chosen this painting because it
has life and movement and allows
the onlooker to visualize the dog in
all of his fanatical attempts to lift up the frisbee in his mouth. It is a bright
and happy painting and as such, a
very successful one, worthy of an
honourable mention.
‘Capturing Attention’ by Karen Israel
my own photo of Jane's cat
12 x 13,Pastelmat/Panpastel & traditional pastel
Judge’s comments:
‘A bright and realistic rendering made this picture
stand out. It is well executed with lovely attention to
light and to the illusion of depth between the subject
and its background.’
‘My Four-legged
Friend’
Page 12 Autumn 2018
'Eric Wilson is one of Great Britain's leading wildlife artists, a multi-award
winner whose paintings are now widely collected throughout the world.
He has had sell out exhibitions in London, Germany and the United States. His paintings have appeared in numerous magazines and books and
original works have been auctioned at Christies in London.
Eric has recently been the subject of a Sky Television documentary
'Zeitgeist' about his life and work.
He is also a respected teacher of art, with students coming from as far away as Australia for his lessons and he has taught classes in Italy, Holland,
Germany, Austria and Thailand. His instructional DVD 'Pastel Masterclass'
has been a huge success selling all over the world.
The world wide appeal of Eric's work is not only the craftsmanship of his paintings, but the fact that
he has spent a lifetime studying these animals in the wild, from Polar Bears in the frozen north, Gorillas in Zaire, to Tigers in Nepal. Eric paints wildlife from his own direct experience'.
Meet our Guest Judge Eric Wilson
‘CaraCara’
Page 13 Autumn 2018
The first time I wanted to enter a painting into the PGE Get Dusty competition, I was very unhappy with the photo I took. It was too dark and didn’t really repro-duce the original colours. I couldn’t possibly enter this!
Many artists have the same problem when photographing their artwork and yet it is fairly easy to resolve.
In this article, I am going to present you with a simple ‘recipe’ that doesn’t re-quire expert knowledge or expensive equipment. After all, we need our money for new pastels and the best paper, right?
What you will need:
A set of Grey Cards (3 cards in white, grey and black). Try Amazon; there are dif-
ferent brands on the market. They all cost around 8 to 10€ for a medium-sized set.
A compact camera, an SLR or a good smartphone; or ask a friend to take pictures with his camera. For each of these cam-eras, you should set the image size to at least 4 x 3 (4000 x 3000) or better. That's about 3-8 MB on the finished photo.
Software: Picasa (free) or Pho-toshop should be installed on your computer. Years ago I bought an older version of Pho-
toshop ‘Elements’ on eBay for around 40€. You’ll probably get it much cheaper to-
day.
The finished painting should still be taped to the board, so the sides won’t curl. You can cut it to size afterwards.
Place your painting on the floor in a bright spot with no shade; maybe in front of a patio door, but not in direct sunlight. The three Grey Cards are placed side by side next to the painting. Use an intelligent auto mode and take your photo from above; the three cards have to be visible (see picture 1). Two or three photos will normal-ly be sufficient.
Upload your photos to your computer and save. Choose your best shot.
How to continue with Photoshop:
Open the program, select File (photo), open and make a copy first! Then close the original photo. You’ll work only with the copy and always have the original photo as a backup.
Set of White, Grey & Black Cards
Photo before edit
Page 14 Autumn 2018
In the menu, choose Enhance > Adjust Lighting > Levels (2.).
Click on each card in your photo with the matching eyedropper tool and click OK. See the changes in pictures 3.,4. and 5.
GREY
WHITE
BLACK
If necessary, realign your photo with the Straighten tool. The different versions of Photoshop offer different ways of doing that. When in doubt, check your manual.
To crop your photo: choose Image > Crop. Click on the upper left corner in the photo, hold it and drag over the part of the image you want to keep. Save your photo as a .jpg file in your selected folder. See the finished photo of the waterlily.
I will write about how to edit photos in Picasa in another article.
The finished photo
Page 15 Autumn 2018
PGE ‘Get Dusty’ Competition
Join in the fun and whip up some dust, painting for our monthly pastel challenge!
‘Get Dusty’ is a competition for pastel artists of all levels, organized by PGE members for PGE members on a monthly basis.
Prizes to the Winner of each month’s competition are kindly donated by our generous Sponsors.
February Category Portrait/Figure Closing date: 25th February 2019
Challenge: ‘People at work’.
We want one or several figures (half or full, no head portrait) working.
March Category Landscape Closing date: 25th March 2019
Challenge: ‘Landscape (including coastal, but no pure seascape or city-
scape) with artifact’
We want a landscape which includes a human artifact; that could be a building like a church, a bridge, a ruin, a lighthouse, but also a man-made
object like a car, a tractor, a garden chair etc. The landscape MUST domi-
nate in your painting and the object stay an element of your composition,
not the main feature.
April Category Animal Closing date: 25th April 2019
Challenge: ‘Birds on Water’.
That means water fowl actually swimming, drifting, diving. Birds just land-
ing or starting off are also permissible, but there has to be contact with the water.
2019 COMPETITION SCHEDULE
In order to give you plenty of time to complete
entries to the Get Dusty Competitions, we are
publishing all of the challenges for the coming
year.
December/January - Free choice!!
Closing date: 25th January 2019
May Category Still Life Closing date: 25th May 2019
Challenge: ‘Doors or Gates’
The door or gate has to be the main feature, not the building it is part of.
A partial view of a door is allowed as long as the door itself is clearly visi-ble (no portrait of a door handle or keyhole, please).
July/August - Free choice! Closing date: 25th August 2019
September Category Landscape Closing date: 25th September 2019
Challenge: ‘Beginning or End of Day’
We want to see a morning or evening scene. Pay attention to the specific colour of light at that time of day, and the position of the sun! Think of
long shadows or sunrise and sunset.
October Category Animals Closing date: 25th October 2019
Challenge: ‘Parent & Child’
You are free to choose the species you like, but the painting has to include both father and/or mother and their offspring.
November Category: Still Life Closing date: 25th November 2019
Challenge: ‘Prepared Food or Drink’
Please no fruit or vegetable still life showing apples, turnips, pumpkins etc. in their original state.
June Category Portrait/Figure Closing date: 25th June 2019
Challenge: ‘Portrait with head cover and/or glasses’
That includes hats, caps, work helmets or a hijab or headscarf. No full fig-ures please, this is a portrait challenge.
Page 16 Autumn 2018
‘Get Dusty’ Competition Rules
2. Subject of Competition:
Page 17 Autumn 2018
This autumn saw the third edition of the China Pastel
Biennale at the Ming Gallery in Suzhou in Eastern China.
In 2014 and 2016, participation had been by invitation only and had featured some famous pastellists from
the US and other parts of the world. This third Biennale was the first open competition. More than 350
paintings were entered and the jury chose 100 works; 32 by foreign and 68 by Chinese artists. I am happy to say that PGE was represented strongly with 7 artists; Francoise Guillaume and Sylvie Poirson
(France), Dorothea Schulz PGE (Belgium/Germany), Tara Will, Margaret Larlham, Karen Israel (USA) and
TaiMeng Lim (Malaysia).
China Pastel Biennale 2018 in Suzhou
By Dorothea Schulz PGE
‘Blithe Spirits’ by Karen Israel
‘River’ by Francoise Guillaume
‘Moonlight beauty’ by Tai Meng Lim
Page 18 Autumn 2018
China Pastel Biennale 2018 in Suzhou
By Dorothea Schulz PGE continued
More paintings in the
exhibition by members of PGE
‘My Chinese Pearls’ by Dorothea Schulz PGE
‘Broad reach Reds’ by Tara Will
‘Belle’ by Margaret Larlham
‘Transparence’ by Sylvie Poirson
Page 19 Autumn 2018
Suzhou Garden
Plein Air events
China Pastel Biennale 2018 in Suzhou
continued
The Ming Gallery is an impressive group of buildings in Suzhou’s Industrial
Park. The complex includes a pastel museum, several exhibition rooms and
studios for pastel classes.
Suzhou is world renowned
for its beautiful classical gardens, canals and
bridges. For those artists
who had come to partici-
pate in the events, Ming
Gallery had organized a two-day plein air event
with visits to two famous
gardens, a traditional
street which stretches
along a canal, a Buddhist temple and a fishing village.
The visitors were also treated to several
delicious Chinese dinners. Our hosts
went out of their way to make this a
truly memorable experience. It was
also a great opportunity to meet other pastel artists from all around the
world and make new friends - despite
the language barrier.
The opening ceremony in the gallery courtyard was meticulously planned
and executed. The tour through the exhibition showed the amazing versatility
of the pastel medium.
Page 20 Autumn 2018
I was particularly impressed by the high quality of the works
presented by the Chinese pastel artists, some of whom were
still students. There were so many new subject matters and approaches, be it in portrait, still life or landscape paintings;
China Pastel Biennale 2018 in Suzhou
continued
a real breath of fresh air. What an enrichment for
the pastel world!
Yang Hui, the director of the Ming Gallery has big
plans for the future. 2019 will mark the centenary
of the introduction of pastel painting to China and the gallery will organize a lot of events
around pastel for next autumn. China Pastel will
also be present with a delegation at next year’s
IAPS convention in Albuquerque/New Mexico and
plans to introduce some of the convention’s features into to their own pastel festival.
‘Routine’ by Jia Wei
‘A Touch of Blush’ by Wang Haiping
Far left: ‘First Sunrise after the Snowfall’ by Qiu Jidong
Page 21 Autumn 2018
HELLO . . . to our new members
Andrée HIAR from Belgium
I graduated in Oil Painting from the Namur,
Belgium Academy of Fine Arts in 2009,
then in Drawing, same school in 2015.
In 2010 I was granted the National Silver
Medal at the 40th International saloon by
the European Arts Academy.
Since 2015, I am an effective member of
‘Namur Belgian Pastellists association’ and
since 2018 member of ‘European Artistic
Merit’, MAEKV in Sleidinge, Belgium/
Pastel section.
I am a naturalist pastellist, working macro
wise on insects and treebarks. Some of my
watercolors are completed by overlaying
pastel on a few spots.
Corry Walters My name is Corry Walters and I live in The
Netherlands. I have painted with acrylics
and watercolour but more recently have
chosen soft pastel for my paintings. I am
primarily an autodidact and have joined
several workshops to master the technique
of pastel painting.
Landscapes are my passion, but I also
paint other subjects.
My inspiration mostly comes from nature,
because it is magical to translate nature,
with all her colours, to paper.
‘Ciprès japonnais’
‘Tête de mante’
‘Peuplier pastel’
‘Windvanger’
‘Moederschap, Namibie’
‘Meisje uit Peru’
Page 22 Autumn 2018
Danielle Cauchois I live in the north of France on
the coast in Equihen-Plage
near Boulogne sur Mer with my
husband. I always liked draw-
ing and when I retired, I at-
tended a life drawing course
and participated in various classes with Master
Pastellists. I am a member and vice president
of the society ‘Pastel d’Opale ‘.
I chose to paint with pastel after trying various
techniques and now it is my passion
My pastels sticks are faithful companions and
my subjects are from my own photos. They
help me to compose my paintings and to try
my harmony of colours, forms and lights. My
favourite subjects are flowers, plants and still
lives.
HELLO . . . to our new members
Eugene Shcherba lives in Boston, MA.
1990, Eugene dedicated himself to painting
full time. In 2000, he moved to Massachusetts.
Since that time, he has been living and working
in Boston, MA.
2018 -The Pan Pastel Award at the Connecticut
Pastel Society
2018 -Third Place of International Competition
at Art Room Online Gallery
2012, he won Gold Medal of regional painting
competition at Guild of Boston Artists gallery.
Profile: Oil Painting, Pastel and Linocut
I'm trying to show in my works the following
impression which can touch the soul.
Honours: Member of Oil Painters of America
Member of Connecticut Academy of Fine Arts
‘En Livre service’
‘Bambous’ ‘La bananeraie’
‘A breath of Spring’
‘7th Ave New York’
‘Friend’
Page 23 Autumn 2018
HELLO . . . to our new members
Françoise Hervoche was born in Brittany,
France. After a busy life as a lawyer, she now
devotes herself to wellness and personal
support.
Watercolorist first, she discovered pastel
which is now her favorite medium. That’s how
was born a natural link between her painting’s
subjects and her spiritual world: portraits,
dragons, deserts and more are an illustration of
her luminous and colorful universe.
Her meeting and pastel work with Marie-
France Oosterhof have marked a new stage in
the expression of her paintings.
Karen Israel I have been painting in pastel full time since 2011. Prior to that I had a career
as a Physical Therapist and raised a family in the Hartford, Ct area of the U.S.
I paint a variety of subjects, all with the intent of a unique viewpoint and a dynamic com-
position. My subjects are rendered with a strong appreciation for the rigors of formal design. I
paint with abandon regarding my color choices. Much of my work has been displayed through
juried competitions, group and solo exhibits in the New England area and throughout the USA.
I have achieved Master Pastelist with the Pastel Society of America, Master Circle Member with
The International Association of Pastel Societies, Signature Member and past President of the
Connecticut Pastel Society. I am affiliated with many historic art organizations and clubs
including the Salmagundi Club, the American Artists Professional League and the Catharine
Lorillard Wolfe Art Club. I currently serve on
the PSA Board of Governors.
I enjoy teaching pastel almost as much as I
enjoy painting. I have also had the honor of
juror for pastel and mixed media exhibits
locally and nationally. I have conducted
many teaching demonstrations for art
organizations throughout the Northeast US.
Recently, my work was featured in Practique
Des Artes Vol. 47, July 2018 and Pastel
Journal April 2018.
‘With bated breath’
‘Silent Running’ ‘Le Moine’
‘Cheminant’
‘Bouquet’
Page 24 Autumn 2018
HELLO . . . to our new members
Ilnitska Liuba On leaving art school. I have worked in
pastel since 2007. For me the genre of still-
life, especially flowers, is attractive.
Professionally I am a teacher of social-
humanitarian disciplines. Some years ago I
was surprised by the creative activity of such
artists as Konstantin Lomykin whose pastel
works compare to Edgar Degas.
Tatyana Jablonsky's is also one of my
favourite artists.
The infinite world of creativity is many-
sided. Thus, since 2013, I publish collections
of own verses, where the illustrations are
my pastel works.
The space of a pastel for me is an
improbable energy of the perfect image,
invariant shine, warm tenderness and poetic
harmony.
Glenda Lyon
I was born in South Africa, too many more
years ago to mention here. I’m largely a
self taught artist, although I have had the
privilege of attending workshops and
courses by some renowned artists. I have
travelled widely, but have been living in
Spain since 1970. Pastel is my passion
although I do paint in other media, mostly
watercolour.
Note from PGE Board:
In the last issue
Glenda’s pictures were
inadvertently published
alongside the wrong
biography.
We are repeating the
paintings here with the
correction and wish to
apologise to Glenda.
‘Flowers of August’
‘Fishing with Grandad’
‘La Amazona’
‘The Pickle seller, Malaga Market’
‘Still-life’ ‘Irises’
Page 25 Autumn 2018
HELLO . . . to our new members
Luana Luconi Winner, IAPS/MC, PSA
I record history. My job is to record the people
and families that have changed the world. It
has been my great fortune to have painted
CEOs, politicians, military officers, performers,
bankers, symphony conductors, judges, scien-
tists, academics, and their families. And when I
am done working, I paint still-life, landscapes,
narrative figurative pieces for me.
Embracing realism in my art through a period in
the USA when this style was completely
ignored, I continued my specialized art study
with master portrait artists, and then returned
to Italy to study at the Florence Academy of Art
for a brief moment in time.
‘The Classical Singer’
Svenja Starke
I have painted all my life, trying watercolour and acrylic before I discovered pastels. A part
of my family is from the northern region of Germany, and we spent many holidays at the
seaside. It did not take long until I was really addicted to northern landscapes and seascapes, and
still today I feel at home when I am surrounded by these endless skies, clouds, waves, wind
and the wide open spaces. Above all there is this magic northern light - so how could anyone
not start painting this? But I also try to catch subjects or special light situations from everyday life
to test new shapes and colours.
For me pastels are the perfect medium to transfer all these impressions into a picture. It
feels like being just at the beginning of painting every time I start a new painting, and it is
so great and fun to explore how different pastels can behave. I find they really encourage
me to play, to try new techniques and to learn about myself and the artist I am and I want
to become. I am really looking forward to sharing experiences with other PGE members and
to be in contact with other artists!
‘Children of Collodi-Gathering’
‘Wheeling Series: Bikes’
‘Finished Chatting’
‘Roaring Surf’
‘Golden’
Page 26 Autumn 2018
HELLO . . . to our new members
Sylvie Poirson
Sylvie is a self-taught French artist who was
born in Lorraine in Pont-A-Mousson. Passionate for drawing and painting since her childhood, she now lives and works in Bièvres (91).
Sylvie has been working with pastel for over 10 years. Water with all its specific properties is
omnipresent in her work.
An accomplished artist, she promotes the pastel
technique as president of the association ‘Art du Pastel en France’ (APF); she is also a member of the ‘Société des Pastellistes de France’ (SPF)
with regular exhibitions in Feytiat, Tournus and La Rochelle.
Her artistic approach; to interpret the magical and colourful moments of nature by drawing inspiration from her photos or by working en
plein air.
For many years Sylvie has attached great
importance to the highly representational transcription of nature.
Her work currently moves towards a semi-abstract interpretation while retaining the
subject of water as her main thread. "I like to progress in my subject intuitively".
Yael Maimon
Born in 1980 in Israel, she is
best known for her Cats
painting series. Her special
bond with cats was created
while volunteering for years at
an animal rescue center in her
hometown.
Today, Yael takes care of
abandoned kittens, raises
elderly cats and feeds many
street cats. Although grounded
in realism, her artwork is often
impressionist in nature,
traditional yet contemporary.
She enjoys painting in a variety
of media including oil, pastel,
watercolor, acrylic and mixed
media. Her artwork was
featured in solo and collective
art exhibitions in Israel and
abroad. More info at
www.yaelmaimon.com
‘Three Cats Study 4’
‘Two Cats On A Cold Day’
‘Esprit_de_l'eau’
‘Transparence’
‘Empreintes’
‘Sweet Sixteen’
Page 27 Autumn 2018
HELLO . . . to our new members
Enid Goyers
Born in Indonesia, now living close to Düsseldorf, Germany, I am retired and enjoying
the luxury of having time for my hobbies.
At elementary school I had to draw a map of the island Java with the location of the
main cities. Instead I painted mountains . . . all included and I liked it.
I had fun doing it and since then was drawn more and more towards painting. It was
only when I ended my business career that I found my way back to my main hobby
painting. I have tried water colour, oil, acrylics, pastels and pencil and discovered that
maybe pastels would be the best medium for me.
My sincere wish was to study art, but fate took me to other routes.
Consequently I have, after I retired, been trying to find resources and guidance online
to understand and improve .
‘Old and White’
‘Trapped Love’
‘Door to the Past’
Yannis Lamprakis
Yannis was born in Crete, Greece. He is a
physicist. Although he has been painting
ever since he was a boy, the last decade is
considered by him to be his ‘mature’ one.
He is totally self taught, with soft, dry
pastel, charcoal and pencils on paper and
wood panel being his primary medium of
expression.
His favourite subjects are landscapes of
Greece, especially traditional ones, portraits
and fantasy, with lots of details and high
contrast colours. He is also a member of
the Association of Spanish Pastel Painters
(ASPAS).
He has participated in several Greek as
well as international exhibitions (Spain,
US, Majorca).
Page 28 Autumn 2018
Tara Will
Tara grew up watching the creative hands of her grandmother, and had a love of creating
from a young age. She attended Mount Saint Mary’s University in Maryland, double majoring
in Art and Philosophy. She started plein air painting about 5 years ago, going to quickdraws
and hoping one day to be on the ‘juried side’ of these events she loved so much. She has
since participated in several national plein air competitions. Tara enjoys painting quickly,
trying to capture the essence of the space using bold colours and strong marks.
She predominantly works in pastels and in 2017, she achieved her Master Circle Status with
the International Association of Pastel Societies. She is a Signature Member of Maryland Pas-
tel Society and an Associate Member of
Pastel Society of America.
Tara has been featured in the Pastel
Journal’s Magazine Pastel 100 in both
2017 and 2018 and recently exhibited
work at the Mall Galleries in London for
the annual Pastel Society of the UK
juried exhibition.
She currently resides in Maryland with
her husband and four small children.
Brigitte Charles
Since my childhood, I have always
loved drawing. During a few years
in "stand by" for family and pro-
fessional reasons, I kept a passion
for everything related to painting
and art in general. Today, I de-
vote myself entirely to my pas-
sion. Pastel is my favourite medi-
um. I like playing with the trans-
parency of colours and the light.
Pastel is a passion that makes me
vibrate and happiness that leaves
room for dreams. I take part in
numerous regional, national and
international exhibitions as well
as shows such as the Pastel Salon
in Brittany, Pastel Salon in Val de
Loire, Pastel Salon in Périgord,
Pastel International Biennale in
Oviedo, Spain.