2011 PSoA Conference ReCap - Day 3

----------------------------------

Day three of the Portrait Society of America's annual conference began at the early hour of 8:30 AM;  early, that is, for the group of hardy, social souls who had remained laughing and talking until after 5:30 AM.  Those who did not recover in time from the shortage of sleep, missed out on an entertaining start to Saturday's programs.

Ray Kinstler listening intently to Shane Neal speak to the audience during a break.

In this first demonstration of the day, Heads or Tales, the bespoke Michael Shane Neal worked on painting a portrait of his mentor, Everett Raymond Kinstler, while the two men traded anecdotes about the portrait business.  Kinstler is a wonderful story teller, but a difficult sitter;  Neal's challenge of the morning quickly became not just pinning down Kinstler's likeness, but pinning Kinstler down.  Nearing 70 years as a professional artist, and recovering from a recent automobile accident, the irrepressible Kinstler was active throughout the demonstration.  Nevertheless, before the session was over, Neal was able to bring the painting together with humor and aplomb.

Unable to make this year's conference, Burton Silverman gave his presentation via a digital feed.

Burton Silverman - Hiddenbrook Twilight (2008) - 22 X 31 in.

After a half hour break, Kinstler returned to the stage, along with fellow portrait masters, Daniel Greene and Burton Silverman (via digital feed) to show the audience what they have been creating recently.  Silverman was the first to give his presentation, though he was unable to attend the conference in person this year.  Many of his recent paintings have focussed on the "manual laborer" as subject, carrying on with a theme he first tapped into several years ago.  Next to take the stage was Ray Kinstler, who was introduced to the audience by his protegé, Michael Shane Neal.  Always in demand for his portraits, Kinstler's recent output has been nearly all commissioned paintings of important figures, though he did also present several portraits he did just for himself. These latter works featured montages of celebrities in which Kinstler explored combining his early comic book ink work with his mature oil painting style.  Last to take the stage was Daniel Greene, who showed how his oft-visited subject matter, the New York City Subway System, was still a constant source of inspiration to this respected master.  He discussed his oil paintings and pastel drawings of the subway platforms, and even shared that the graffiti in one image was all of his own creation and featured his name as well as those of his family members.  Much of the work Greene presented was created for an upcoming solo show later this year.  It is remarkable to consider that these three gentleman, so active in the arts, have, between them, enjoyed more than 175 years of successful art careers!

Burton Silverman - Stonemason (2009) - 50 X 30 in.

Burton Silverman - The Stonebreaker - 52 X 32 in.

Burton Silverman - Plasterer (2008) - 28 X 16 in.

Michael Shane Neal introducing Everett Raymond Kinstler

Everett Raymond Kinstler - Dwight D. Opperman - 40 X 42 in.

Kinstler presenting his recent portrait commissions.

Everett Raymond Kinstler - George Seward (2000) - 34 X 38 in.

Everett Raymond Kinstler - Tommy LaSorda (2009) - 50 X 60 in. 

Everett Raymond Kinstler - Dr. Joseph Boyd Martin (2009) - 44 X 46 in.

Daniel Greene - 59th Street (NY Hot) - 40 X 60 in. oil on canvas

Daniel Greene - Sheridan Square - Christopher St. - 36 X 52 in. oil on wood

Daniel Greene - Self-Portrait : Wall St. Station  -  40 X 50 in. oil on linen

After Silverman, Kinstler, and Greene concluded their presentations, I had one half-hour to indulge in one of my favorite activities of the past couple of conferences:  learning from George O'Hanlon of the company, Natural Pigments.  O'Hanlon, a chemist and paint-maker from Northern California, is a member  of ASTM International (American Society for Testing and Materials) and AMIEN (Art Materials Information and Education Network), and his knowledge about historic painting methods is profound.  In speaking with him, or listening to him speak to his customers, I always learn something new.  This year, we were able to talk briefly about painting supports, the benefits of lead white, and the new colors his company plans to release this year, including a genuine (and legal) ivory black.  I hope O'Hanlon, who recently gave a discourse in New York City about historic artist's colors, can break away long enough from his sales table to offer a similar presentation to the attendees of the annual conference;  by the crowds who stopped to listen to him in the vendor's room, a lecture of his would certainly be well-attended.

Rose Frantzen spoke to a large group, outdoors.

Jeremy Lipking

For  the lunch period of the third day, the Portrait Society introduced a new program called Lunch & Learn.  During this segment, attendees who pre-registered were able to have a one-hour question and answer period with a favorite participating faculty artist, while eating their mid-day meals.  The size of the groups were, by design, relatively small, allowing for an intimate feel during the discussions.

Tony Pro

Mary Whyte

Nancy Guzik explaining the need to put in hard work before ever touching brush to canvas.  As example,
she explained the preparations she made before participating in the Face-Off, including practice
paintings, and bringing props with her for the model to hold.

Ruth Reeves (in yellow), National Director of Sales for Portraits Inc.

Judith Carducci

Michael Shane Neal

Next on the agenda was a nearly three-hour demonstration by the People's Choice Winner from Thursday night's Face Off.  This year, the artist who earned that distinction was Anthony Ryder, a painter whose meticulous artwork would not seem to lend itself to alla prima demonstrations.  In fact, up until Ryder began participating in the PSoA Face-Offs, he did not feel comfortable working in such a rapid manner, though he has always worked exclusively from life.  Several years ago, Ryder abbreviated his standard method, and with a little practice, was ready for his first Face Off.  This adapted technique is now part of Ryder's arsenal, and one that he enjoys switching to as a break from his more painstaking approach.

During his demonstration, Ryder discussed his colors, his mixing surface, his easel set-up, edges, and light.  Surprisingly, much of the painting was completed in the last 20 minutes of the segment, and though everyone would have loved for Tony to continue until every inch of his board was covered, time constraints ensured that he end when originally scheduled so the ballroom could be readied for the evening's awards banquet.

On the way back to my room to prepare for the evening ceremony, I happened upon artists Amy Kann and Jonathan Linton who asked me if I would be interested in attending with them an impromptu demonstration by Timothy Jahn in the techniques of the Waichulis Studio.  We soon found ourselves in an outdoor alcove where, with borrowed materials, Jahn showed the training he received from Anthony Waichulis in the sensitive pressure handling of the brush to create smooth transitions of tone.  The surroundings were not ideal, but Jahn reminded everyone that his mentor emphases that his student adapt to any and all situations, no matter how difficult.  With so many talented artists in one location, it is of no surprise that these unplanned sessions take place, and I feel fortunate that I was able to be present to see this obviously passionate and skilled teacher at work.

---------------------------------