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: scribbler@pastelguild.org

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.