a review of pastel painting and technique · a review of pastel painting and technique ... ognized...

Pastel Society of America

A Review of Pastel Painting and Technique

A

Spring 2011 Volume 38, No. 1


“Still Life with Orbs” by Deborah Bays, PSA, pastel, 12 x 15 inches. Article on page 8.

Colleen k. howe, psA

2011 woRkshops

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• August 29-31 - Maynard Dixon Country

View Colleen’s AwARd winning woRk AT: www.colleenhowe.com

Colleen’s effective teaching style focuses on value structureand color harmony. Take your painting skills to the next level inone of her workshops. Register Today!

S P R I N G 2 0 1 1 3

C O N T E N T S

4 Al Aire Libre/Painting OpenAirBy William Hosner, PSA

12The Glow ofMorocco in Her ArtAn interview with Claude Texier, PSA

16Following ADreamBy Joe Hing Lowe, PSA

8Lessons from theTheatreBy Deborah Bays, PSA

PastelagramSPRING 2011

The Pastelagram is a publication distributed toall members of the Pastel Society of America,Master Pastelists, Honorary Members, PSAdonors and advertisers. The contents of thispublication may not be reproduced in whole orin part without the consent of copyright holder,PSA. © Copyright 2011

It is hard to believe that we are now in the year 2011 and that this is Volume 38of the Pastelagram. It has been a great year for PSA. We received 1,269 entries forthe 38th Annual, the most in more than 10 years. It was difficult to choose the171 that were accepted. There were so many beautiful works! Even though we

accepted slides as well as digital entries, the majority sent in were digital. So this yearwe will accept only digital entries. Directions for preparing a digital entry will be onthe 2011 Annual Prospectus. Slides are a thing of the past!

Again, there happily will be two $5,000 awards (that we know of at the time ofpublication) — the Founder’s Award given by The Flora B.Giffuni Foundation andthe Jack Richeson & Co. Award, given by our ever-faithful friend and supporter Jack

Richeson. Not only has Jack always given us awards for our exhibi-tions, but he and his company have over the years donated manygenerous supplies for the PSA high school out-reach program wehave in place. We are equally grateful to our steadfast supporter andBoard member Dianne B. Bernhard, whose foundation has each yeargenerously funded two major awards of $3,000 and $1,500. And ourthanks go to JoAnn Wellner, daughter of founder Florence B.Giffuni, who continues to donate, along with her husband KennethWellner, a $2,500 prize in memory of her parents. We celebrateJoAnn for carrying on the tradition of her late mother by serving asHonorary Chair of our Board and by supporting the cause of pastelartistry. A big, resounding THANK YOU to these donors, and to the46 other award donors, from all of us at the Pastel Society ofAmerica!

We have had great success this past year with the terrific workshops we havehad. A door between the school room and the office has been opened to accommo-date an extra number of students – 15 artists per workshop – and we have had fullenrollment almost every time. Here are the great PSA Signature, Master Pastelistand distinguished artists that we have in our line-up for the coming months andthrough the year 2011:

Plan on spending a day or three days for these super workshops at PSA with yourfriends and colleagues.

In June 2011, several of us will be attending the IAPS Convention inAlbuquerque, NM. What a great happening this is!! I will do two pastel demonstra-tions while I am there and, in addition, PSA will host a “Meet and GreetReception“ on Thursday, June 2. I am so looking forward to meeting all those PSAmembers who do not live near NYC. It will be wonderful, too, to introduce PSA toothers who may not know about us. This convention is a memorable time for all theartists who are there, and for pastelists to come together and talk about what theylove – ART and PASTEL PAINTING!! I look forward to seeing you inAlbuquerque!!

I would love to hear from you. Please e-mail me with any comments and/or ques-tions. Until next time, happy pasteling to all!!

Rae Smith, PSAPresident

March 6 - Claudia SeymourMarch 25, 26, 27 - Sigmund AbelesApril 3 - Dick McEvoyApril 10 - Christine IversApril 17 - Diana DeSantisMay 1 - Sangita Phadke

May 15 - Robert CarstenSeptember 26, 27, 28 - Doug DawsonOctober 9 - Robert PalevitzOctober 21, 22, 23 - Maggie PriceNovember 11, 12, 13 - Liz Haywood-Sullivan

4 P A S T E L A G R A M

Al Aire Libre/Painting Open Air

My journey as a painter has been awinding road, full of exploration and dis-covery. As I look back, it seems as thoughthe purpose of all that exploration was toreturn to the beginning, rediscover theessence of my temperament and acceptwho I am.

I started in art with five years of uni-versity studies; my experience consisted ofmostly abstract and non-objective paint-ing. Then, needing to support a youngfamily, I spent the next 17 years as a pro-fessional illustrator.

World of IllustrationAs an illustrator, I was surrounded by

artists performing artistic miracles in real-ism. Their use of photos, an airbrush orother tools could be amazing. However, Iwas truly enamored with the illustratorswhose work seemed to express what I rec-ognized as a spontaneity and directness,making works sensual and fresh. You know,the great ones like N. C. Wyeth, HarveyDunn, Howard Chandler Christie . . . andon through the twentieth century toinclude illustrators like Al Parker, ReneBouche and Burt Silverman. There waspassion in their work!

I remember when the Society ofIllustrators asked for a retraction from Timemagazine following a critic’s remark aboutAndy Wyeth’s “Helga” series. This critic

Why would any reasonable artist want to leave the comfort of the studio andgo outdoors and deal with changing light and challenging weather to paintpeople from life? After all, everything in nature is in constant motion. Itwould be easier to take a photograph to hold the scene and then work from

the photo. The simple answer: temperament!Temperament has a great deal to do with the manner in which an artist works. I once

visited with an Ohio artist who came to talk with me about open-air painting. He said hehad always worked as a photo-realist on very large canvases, but having decided to give upsmoking, was no longer able to do the same work. I took him to mean that he was no longerwilling to do the tedious detail demanded of photo-realism. His temperament had changed.

“Laundry Day” by WilliamHosner, pastel, 18 x 12 inches

“Awakening Winds” by WilliamHosner, pastel, 26 x 20 inches

William Hosner, PSA, a resident of Michigan,is a Master Pastelist.

“What was any art but an effort

to make a sheath, or a mold

in which to imprison for a moment

the shining, elusive element

which is life itself.

Life hurrying past us

and running away,

too strong to stop, too sweet to lose.”

Willa Cather, “Song of the Lark”

“At the Betsie River” by William Hosner, pastel, 16 x 20 inches. This painting won the coveted JackRicheson & Co. Award at the 2010 PSA Annual Exhibition.

BY WILLIAM HOSNER, PSA

S P R I N G 2 0 1 1 5

ered the luminists like Sorolla and Zornand the great Russian romanticists likeSerov and Repin, along with the greatRussian lyrical landscape painter Levitan.These late nineteenth, early twentiethcentury painters often knew each otherand were influenced by the FrenchImpressionists. Then, while attending theScottsdale Artists School, I came to knowthe work of the Russian Impressionists.They worked from about 1920 to 1970. Ibegan to recognize a bridge for a way to seeand paint.

New Way to SeeWhen I left commercial art I had a

fine ability to render a subject. What I waslacking was an ability to look at things inthree dimensions and translate them intothe two-dimensional magic we call paint-ing. My mind wanted to act like a cameraand capture every detail down to thesmallest bits of information. I could tellthat the great painters I admired wereusing a common system of editing theinformation before them, whereby theywould state the essential and eliminate theobvious. Something I was not doing.

I then decided to study with HarleyBrown and Dan Gerhartz at the Scottsdale

Artists School. I took one- and two-weekintense workshops focusing on the craft ofpainting. These workshops, with two ofthe best living painters I could find, spedup my learning and taught me to not copythe masters but rather seek what theysought. It was at this juncture that Ilearned the technique of squinting-downthe subject (a gentle half closing of theeyes). Now, I was able to read values andedges correctly and to combine shapes forsimplification.

One problem existed yet, and that was,while I had come to a new understanding,I was unable to use this new knowledge. Asmall thing called practice came into view.I knew it would be a long and at times atrying road. And I came to believe thatstyle and originality were not somethingyou could just snatch off a shelf like a canof soup. I thought that if there would everbe anything original in my art it wouldensue through years of hard work.

The Out-of-DoorsI began to work every day from life. At

a point fairly early on I quit using pho-tographs. I felt their use was hindering myability to get true reads of the subjects Iwanted to paint, and I soon fell in love

had posed the question, “Is this fine art ormere illustration?” I also recall thinking atthe time that I agreed with the Society’sposition and that indeed the line could beblurred between the two. It wasn’t neces-sarily an either or, and there was nothing“mere” in great illustration. Today we areseeing more and more acceptance of thisgenre’s work; it is being collected andshowing up in fine art museums. I believeRockwell was even seen in the MoMA.

The good news was that, had I notstumbled into commercial art, I may neverhave learned much about these great illus-trators’ works. When I came into the fieldin the mid-70s, I learned to project a seriesof photos onto a surface and paint directlyfrom them. I achieved good success doingthis. The difficulty was that what my tem-perament was asking of me was not comingacross in the work I was doing.

In 1993, tired of the continued pres-sures to paint with more detail and in theface of computer-generated illustration, Ileft that field to pursue fine-art painting. Ineeded to do that or “take up smoking”because what I was doing was taking mefarther from those great illustrators. It alsowas becoming an increasingly painful rubagainst my temperament. Then I discov-

“Against the Sea” by William Hosner,pastel, 16 x 20 inches.


natural way from the intense experience Iget working from life. Galileo said that tobe ignorant of movement is to be ignorantof nature. I love the movement I see innature and I want to play it out in a vividnarration of light and color!

The colors I see in the natural world,speak to my creative spirit within, and thishas been the case since I was a child anddiscovered color through taste. Like whenI would sneak into my mother’s vineyardand eat her luscious French-ultramarinegrapes. Color is music and taste and whycome to it by second-hand knowledge?The effect of light is like a great composer;the colors are her notes and I am her tran-scriber.

If I am able, I try and imbue the actionI observe: the constant continuation, thepace, the people full of life. I want toreflect not just what I see with my eyes,but what I feel with my heart. This is mytemperament, and therein lies my joy oflife. I celebrate what I see!

A French artist I know expressed thathe thought painting was like being a racecar driver, having to make instantaneousdecisions, knowing at any time you cancrash and burn. I know of artists whom Igreatly admire for their ability to hold longconversations with themselves over pas-sages in their paintings. Whenever I trythat, I rediscover that this is not me.

I have become quite comfortable mak-ing instant decisions, and I can and docrash and burn. I accept that as part of thecost of success in my work. However, sinceI was a child I have loved the thrill of aroller coaster. I think I’ll just keep on rid-ing it.

When I set out to make a painting thefirst thing I do is decide if I want to makeit a one-session painting (a typical paintingsession outdoors is about three hours andthen the light has changed too dramatical-ly to continue), or slow things down andlet the painting develop at its own pace. Inthat case the painting may take two or

with nature and the effects of outdoorlight! Excited by this new love and myobservations of outdoor light on fleshtones and clothing, I started to take peopleout into nature to paint them.

Now, 18 years later, I can finally say Iam true to myself and I do my best to walkin the light of a personal vision, much ofwhich has been revealed to me throughthat hard work. And so, here is where mytemperament thrives and why I choose topaint outdoors, directly from what I see.

I like to paint everyday life themes andtreat them in a direct and natural manner.My models are all people I know personal-ly. I am enthralled with nature and I likethe work to be born in a spontaneous and

“Española” by William Hosner, pastel, 26 x 20inches, was created in 3 plein-air sessions.

“Al Aire Libre/Painting Open Air” (continued)

S P R I N G 2 0 1 1 7

more sessions. Each of these paintings isunique and is complete when it is ready toharvest! When I tell people how long ittook to finish a work of art, I like to say,“Forty Years!” It’s an honest answer; everybit of forty years of successes and failuresgo into each work.

Taking ChancesPainting outdoors, I have to make

things as correct as possible right away. Ihave no time to hold debates with myself.

It is a delicate balance where I need to bedecisive and move quickly yet not lose myconcentration and become sloppy. A typi-cal way to “crash and burn“ is for me to bein a rush at the beginning and start tocompound mistakes; before I know it I canfind myself afloat in a sea of corrective pas-sages. The light then moves on and theday is lost, as is the painting. Over thetime span of any painting I am constantlyon the watch for important observationsthat may not have been there earlier in the

“Orchard Heritage” by William Hosner, pastel, 32 x 40 inches, was created in4 plein-air sessions.

session. For example, once I was painting ayoung girl hanging clothes on a laundryline during a late summer afternoon. Justtowards the end of the painting session, thesun had lowered to a point where she cast ashadow on the sheet she was hanging. Iquickly painted it in. It actually refined theexisting composition by giving it moremovement. At other times I have donethings like that and it detracts from thework, and I have to remove what I have

“Excited by . . . my

observations of outdoor

light on flesh and clothing,

I started to take people

out into nature . . . ”

(continued on page 21)

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“Pears, Piano Shawl and Mandolin” by Deborah Bays, pastel, 30 × 21 inches

Painting is my second career. Forthirty years I was a costume design-er for the theatre. I spent my daysdealing with producers who

thought that doublets came ready madefrom the “Hamlet” store, directors whochanged their minds at the eleventh hour(which meant that the costumes we allworked so hard on would never be seen),actors who couldn’t manage a cape to savethemselves, and actresses who were surethat I was trying to make them look fat onpurpose. And if that wasn’t enough fun,there were whacked out wig makers, thevery mad hatters (it had to be the fumesfrom the hat sizing), the irate armor arti-sans, the frenzied cutters and drapers, andthe stitchers who were more intent on cof-fee breaks and gossip than deadlines. I lovethe theatre, but when they say there are noold costumers, I know why.

Capturing the MagicIn spite of the myriad challenges, there

was a magical time for each and everyshow. That was the first dress rehearsal.The stage manager would call, “Places!” Iwould leave the mayhem of backstage totake my place in the mid-house designerseats. The house lights would dim andthen go out. Sitting in the dark, I would befilled with anticipation and trepidation.

Then the stage lights would comeup—strong, beautiful, directional light—revealing a special world. I have beenpainting this special world ever since.Every object, person, tree, or buildingbecomes an actor. I block scenes and light

TheatreT heatreBY DEBORAH BAYS, PSA

Lessons from the

Deborah Bays, PSA, of Colorado, is an award-winning artist at national shows, including PSA's.

lighting; making compositions with stageblocking positions very similar to crosspoints found on classical painting arma-tures; creating strong abstract shapes takendirectly from the study of scenic design;manipulating value, color and texture tocreate a focal point; and economy of detail,learned from scene painting.

well as a costume designer. These lessonsare about directing the attention of theaudience, or in the case of making a paint-ing, directing the eye of the viewer.

As artists, it is our challenge to formatvisual chaos. To this end, some of the mosthelpful design lessons that I have takenfrom the theatre are the use of directional

S P R I N G 2 0 1 1 9

“Tea with Tchekov” by Deborah Bays, pastel, 24 × 30 inches

“Pointe Shoes, Ribbons and Roses” by Deborah Bays, pastel, 12 × 18 inches

these “stage pictures” for mood and dra-matic effect.

Painting has provided a wonderful out-let for creating a vision that I can at lastclaim as my own. Theatre is a collabora-tive sport. It is all about compromise.Artistic vision becomes relative and mayor may not be satisfying when the curtaingoes up.

Painting, on the other hand, allows forpersonal creative expression. Even withthe restrictions imposed by being a work-ing artist partnered with galleries who mustcater to the whims of their clientele, I findmuch to enjoy and explore with eachpainting that I make. For the galleries Itypically paint classical still life, cityscapesand figurative pieces. My experimentalwork is done mostly for my own fulfill-ment. Both provide opportunities to fur-ther my technique and vision.

StrategiesThere is much that I have been able to

borrow from the theatre that informs mypainting, and much that I have learnedfrom painting that would have served me


tion for a painting’s focal point. A powerfulchoreographic pattern—be it viewed fromthe orchestra (horizontal) or from the bal-cony (diagonal)—translates into a strongcompositional “read.”

I am fascinated by the study of thegeometry that seems to be a foundation toall of the arts as well as nature. Musicalintervals, the rings of a tree, the proportionsof a historical period costume, architecturaldimensions, and a well constructed paintinghave much in common. I use classical arma-tures as underlayments for paintings, muchas a scene designer creates the relationshipof architectural forms for stage settings. Thearmatures that I draft are based on geomet-ric principles (diagonal lines and rectangles)that assist in creating strong compositions.By doing this, I am following the practicesof the Masters who used armatures toachieve harmonious effects. The origins oftheses concepts, which go back to about 500BCE, are attributed to the study of harmon-ics by the Greek mathematician andphilosopher Pythagoras.

Theatrical LightThe subject that interests me most as a

painter is theatrical light. I love directionallight flowing like water over objects, backlight revealing people and objects in sil-houette, and light in the air creatingatmosphere. It is natural for me to paint inthe style of chiaroscuro, or light and shad-ow.

I find that the stage picture translatesbest into still life, interiors and figurativepaintings where light can be controlled.My stage lights are now clamp lights thatenhance the natural north light from mystudio window, and a backlit scrimbecomes a window in my background. I usethe light to move a viewer’s eye across thepainting like an actor moving across thestage.

Developing the CompositionA well blocked stage picture, at its

best, has all the compositional componentsof a well crafted painting. An actor’s strongentrance position becomes the ideal loca-

“Ginger and White” by Deborah Bays, pastel, 15 × 18 inches

“I use the light to move

a viewer’s eye across

the painting like

an actor moving across

the stage.”

“Lessons from the Theatre” (continued)

S P R I N G 2 0 1 1 11

“Animate and Inanimate” by Deborah Bays, pastel, 24 × 36 inches

Court

esy o

f A

bend

Galle

ry

One of the strongest ways to createfocus in a stage picture is to control color,value and texture. It applies exactly thesame way to painting. The star of the showmust be costumed in the greatest contrastof value and the most intense warm colorrelative to the supporting cast and chorusas well as to the stage set. And, when nec-essary and appropriate, textures that shineand glitter attract the most attention.

Whereas the leading lady might wear a lightcolored silk gown, the star of my still lifemight be a china pitcher with beautifulhighlights.

The concept that color, value and tex-ture are all relative is profound. Theatre isnothing if not illusion created by relation-ships and editing. So is painting. They bothfavor large clear statements rather thandetail, and both involve sleight of hand.

The Show Must Go OnLastly, another theatre lesson that I

have put to good use is taken from actingrather than design. Instead of formattingvisual chaos, it helps with the chaos of lifeas a painter in this challenging world.When I must paint for deadlines, in spiteof fatigue, or when painting is too disrup-tive, and the muse seems to have left mein a lurch, I prepare as an actor does tocreate the emotions required for a sceneperformed over and over again. I confess Ibecome a sort of “Method” actor. Thankyou, Stanislovski! I employ techniquessuch as relaxation and concentration tohelp focus, and emotional memory toremind me of why I wanted to make thisparticular painting. When all else fails, actas if . . . q

An interview with ClaudeTexier, PSAInterview and translationfrom the French by Claire Paisner, PSA

Q. There are artists who saythat the natural light of certainplaces has unique qualitiesthat are inspirational for them.Would you say the same thingof Morocco, your birthplace?

A. Yes, it is true that thelight of Morocco is quitebeautiful. As a Mediter-ranean country, its climateis extremely sunny andwarm. Its light is veryintense, with strong con-trasting shadows that arevery dark and dense.

Q. How has this place ofyour childhood been an influ-ence in your art?

A. Having spent the first20 years of my life there, Iam naturally influenced bythe warm colors, typicalclothing, rich craftsman-ship of its artisans, thecountryside and scenes ofstreet life. My memories of Morocco have been a major source ofartistic inspiration.

Q. Did you take lessons in drawing and painting as a child and youngadult?


A. When I was at theLycee (ages 12 to 18), I hadan excellent drawingteacher. I also took extracourses in art during theseyears, first in drawing, thenoil painting. As a childgrowing up, I wanted todraw every moment I could.

Q. In what part of Francedo you live and what is the cli-mate?

A. After living in Paris,then the suburbs of Paris, Inow reside in L’Eure (inNormandy). The climate istemperate, the vegetationgreen and flowery (quite adifference from Morocco!).

Q. How frequently have youbeen able to return to Moroccowhile living in France? Whenyou were there, did you makenotes, take photos, acquireobjects from the country, etc.?

A. I have returned forshort trips as a tourist andvisited places I did notknow, in particular thesouthern part of the country.

But I have not been able to go back frequently. When I did, I tooka lot of photos, brought back many ideas, and acquired some objects(limited by airline weight regulations). I particularly like workingfrom black and white photos representing the Morocco of former

“Transparencies” by Claude Texier, pastel, 24 x 53 centimeters

“Soft Lights” by Claude Texier, pastel, 34 x 46 centimeters

The glow of MOROCCOin her art

French artist Claude Texier, PSA, is a Master Pastelist.

S P R I N G 2 0 1 1 13

is your preferred paper?

A. I do a preliminary drawing in charcoal, sketch in the valueswith a light touch, still using charcoal, then apply the color.Generally, I start with the harder pastels, then the soft sticks, but Istill may do an entire painting with all hard or all soft pastels.Regarding the question of proceeding from dark to light, I work on

times. I enjoy transforming the shades of gray and black into colorsof my imagination, choosing hues according to my inspiration of themoment and my memories. While remaining true to the spirit of thesubject, I never allow myself to be a captive of the photo.

Q. Do you work only in pastel and what drew you to the medium?

A. In 1994, after thirty years of interruption, I wanted to return topainting. The results were bad! I therefore decided to take somecourses, and that’s when I discovered pastel. Since then, I haveworked only in pastel. I loved it immediately, its practical and quickqualities, its transparency and infinite colors, the physicality of fin-gers touching the actual material.

Q. Some artists say that, during long periods of their lives when theywere unable to draw or paint, they were actually painting pictures in theirminds. Have you ever had such feelings?

A. I think that there are surely imagined paintings which oneaccumulates unconsciously and which resurface later on, impellingus toward particular subjects.

Q. Can you briefly describe your working method? Do you work fromdark to light, hard to soft sticks, do you use pastel pencils for detail, what

“I work on the entirety

of my surface,

staying close to all

the colors and values. . .”

“Wool Market” by Claude Texier, pastel, 58 x 36 centimeters

“The Red Necklace” by Claude Texier, pastel, 66 x 46 centimeters


the entirety of my surface, staying close to all the colors and valuesto the greatest degree possible. Little by little, I indicate the finedetails. I don’t use pastel pencils very much. At the end, I apply thestrongest lights. I have used La Carte Pastel Card (Sennelier) agreat deal; now I use mainly Art Spectrum paper because I can wetit to achieve interesting textures, and I find its format more practi-cal.

Q. Your work (whether still life, figure, or street scenes) is known for itseffects of luminescence. As you work, how do you make decisions aboutthe lights in your composition, the areas of greatest contrast, the positionand color of the highlights?

A. The subject I choose gives me a sense of the lights and con-trasts. I want the viewer to feel the source of the light and its direc-tion (as if in a “clair obscur”). The very strong and luminous high-lights come at the end. Since my lights are generally warm, I useyellows, roses, or very pale and luminous oranges for highlights. Inever use white, which I find lacking in flavor.

Q. Do you apply multiple layers of pastel, do you touch the surface toblend or to soften edges?

A. I apply several layers of pastel, but very lightly, allowing for thetransparency of one layer over another. I may use a finger to soften

certain contours or colors, but not systematically. It’s according tothe desired effect. I can also soften or “break“ contours with a lightlayer of pastel.

Q. You have said that you work only on one painting at a time. Howlong does it take to finish a painting? Do you ever go back to it monthslater, or does “fini” really mean the end?

A. It’s true that I can only do one painting at a time, for if I aban-don it for any period, I no longer know how to “get back inside.“ Idon’t have a feel for it anymore.

For me, the quicker it comes, the better it is. I like a style that isdirect, instantaneous, spontaneous. I don’t like to spend more thana day or two on a painting, otherwise I get lost too much in thedetails, and it no longer corresponds to what I intended. For allthese reasons, when it’s over, it’s “fini” for good.

At the same time, I ask myself, “Is the result really valid?” Thatis something I cannot say, and it’s what causes me the most torment.When I stop a painting, it means that I can go no further, I do not

“The glow of Morocco in her art” (continued)

“Playing Cards“ by Claude Texier, pastel, 45 x 35 centimeters

“The Stall” by Claude Texier, pastel, 66 x 46 centimeters

S P R I N G 2 0 1 1 15

see what more is to be done.

Q. You say that you like to leave partsof the paper showing through. Do youalso practice the “alla prima” method,leaving some of the original pastel strokesuntouched?

A. The answer to this question rein-forces what I said in the previousresponse. I like the spontaneity of“alla prima” art. I like my paper toshow through, which lends harmonyto the painting, and I very often leavemy original drawing in its naturalstate, with the pastel and charcoalmeeting and melting into the paper.

Q. What kinds of experiences triggerideas for your paintings, either still life orMoroccan-themed compositions?

A. It’s the simplest of daily passions that plant ideas for new paint-ings. Perhaps it’s a ray of sunlight that falls upon a forgotten object

“It’s not the subject

alone that inspires

the composition, but

the emotion behind it

that overtakes me.”

on my terrace, which leads me to gathertogether other objects for a still-life set-up inmy studio. It’s not the subject alone thatinspires the composition, but the emotionbehind it that overtakes me. I am imbued withthat emotion as I work quickly and sponta-neously for the next day or two. The same istrue when memories from my years in Morocco

flood my mind as images meld with feelings, taking me back toscenes of my youth — the people, the markets, the warm lights. q

“Old Alley,” by Claude Texier, 47 x 32 centimeters


My wife posed for “Sudsing.“ It was adifficult pose for her to hold, but mywife is very patient with the hard posesthat I like. She only wet her hair andused shampoo for the final pose.

F O L L O W I N G A D R E A M

Even as a little boy, I wanted to bean artist. How fortunate I am tohave been able to accomplish mydream. It was not an easy task.

Born and raised in the tiny farmingcommunity of Moonsan, China, I knew Iwas facing a difficult life in a war tornarea and would have a constant strugglefor survival. I emigrated to the UnitedStates as a teenager in 1950 and beganmy formal study of art in 1958. At first Ilived with an uncle in San Francisco andafter a few years moved to New York City.While still dealing with the difficulty oflearning the English language, I was work-ing eleven-hour days in a laundry andsketching on Friday nights from 8 untilmidnight in Bill Lawrence’s studio. Mymotto became, “Keep trying until you getit right.”

After one year of drawing with BillLawrence, I was told to go to GreenwichVillage and sketch portraits. In order to beable to do the street portraits, I practiceddoing them quickly, beginning with halfhour sketches using charcoal or pastels.After working my way down to fifteenminutes, I was ready to go out and earn aliving doing quick portraits.

I later studied with Lajos Markos andDaniel Greene. Lajos Markos could workin any medium and often painted com-pletely from memory. He taught me aboutcolor and how to paint. From Daniel

Joe Hing Lowe, PSA, is a Master Pastelistand was inducted into the PSA Hall of Fame in 1991.

BY JOE HING LOWE, PSAWith Alice Laputka, PSA

“Sudsing” by Joe Hing Lowe, pastel, 40 × 30 inches

lighting effects, shadow,design, relationships,shapes, and color. Forstudio paintings, northlight is preferablebecause artificial lightaffects tonal values bygiving sharper contrastwith less subtlety.

A lot of the propsthat I use in my paintings are pieces that Ihave purchased on trips back to China. Ilike to paint objects that have dust onthem (with the added bonus that house-keeping chores for my “collection” areminimal).

I work in the traditional manner ofquickly blocking in the composition,checking proportions, blocking in theshadows and then the light areas. Thencomes correcting and refining the drawing.The painting is built slowly, layer by layer,

S P R I N G 2 0 1 1 17

Greene I learned moreabout using pastel and alsoabout seeing, drawing, andtone.

After 30 years of teach-ing and painting in NewYork City, my wife, Darla,and I now reside inCranford, NJ, where I teachin my private studio and atthe Ridgewood Art Institute. I enjoy work-ing with my students and sharing myknowledge with them.

I see beauty everywhere. I am intriguedby intricate details; various textures includ-ing dust, dirt and spider webs; and theeffect of light on an object. I paint whatstirs my emotions, and I primarily paintfrom life. Painting from life is the only wayto really learn how to paint. Painting froma photograph is like painting a corpse. Iselect my subjects carefully, considering

This painting is a self portrait cre-ated from memories of my child-hood. To do “Back from Field,“ Idressed like a farmer in China. Formy muddy feet, I smeared my feetand legs with mud from the garden,doing one foot at a time. The win-dow behind is from a farm in NewJersey. I did quite a few paintingsthere.

“I am intrigued...

by various textures,

including dust, dirt

and spider webs...”

This painting was inspired one daywhen I noticed my wife taking a nap.The shawl, which became a focal point,had belonged to her grandmother. Itwas added late in the painting processto add textural interest in the piece.

“Back From Field” by Joe Hing Lowe, pastel,40 x 26 inches

“Grandmother’s Shawl” by Joe Hing Lowe, pastel, 20 × 24 inches


going from the more general to the specif-ic, working all over the paper or canvas.As the painting develops, more attentionis given to the subtleties of colors anddetails. It is important to keep the valuesaccurate; constantlycompare one area toanother; and, at thesame time, be care-ful not to become soengrossed that thepainting becomesoverworked andloses its spontaneity.

Some of my paintings capture amood— sometimes nostalgic, sometimes

The lantern in this paintingwas purchased in New YorkCity’s Chinatown. The sales-person said it was probablymade here and sent to Chinawhere it was well used sincethey had no electricity. It waslater sent back here where Idiscovered it in its (to me)beautiful, dusty condition.

narrative in nature. At times I work underless than ideal conditions, but my passionto paint makes each effort an enjoyableexperience. My paintings sometimes carrya subtle message which the viewer is invit-

ed to discover. I amintrigued by lightand reflected lightand how it influ-ences atmosphereand mood. Myinterest in the com-position is balanced

by my interest in incredible detail.Painting different subject matter sat-

isfies my need for variety, and thus I tran-

“My motto became, ‘Keep trying until you

get it right.’ ”

The model for “Portrait of a Man“ was a well knownNew York City model, Maurice Hunter. During the 50to 60 years that he worked as an artist’s model, heaccumulated a scrapbook of original drawings,including one of mine. He donated the scrapbook tothe New York City Public Library.

“The Old Lantern” by Joe Hing Lowe,pastel, 42 x 22 inches

“Portrait of a Man” by Joe Hing Lowe, pastel pencil,20 x 16 inches

“Following A Dream” (continued)

sition from portraits to still life to land-scape to figurative work and evenseascapes. I also create a change of paceby working in different media, includingpastel, oil, charcoal and watercolor. Ienjoy the spontaneity of my quick studies,as well as my emotional connection tothem. The special qualities produced fromthe planned-out, slower, more detailedpaintings are equally satisfying.

My belief in the power of passion, dedi-cation, and hard work, as well as theencouragement and generosity of spirit ofnumerous people, has made my journeypossible. I still work every day to followthat little boy’s dream. q

S P R I N G 2 0 1 1 19

For a long time I had wantedto paint a chicken. I found anold scale in my basement andused it for “Almost Seven.“The background is from astore in Chinatown that sellschickens. I set my easel upon the crowded sidewalk andpainted the background onlocation.

“Almost Seven” by Joe Hing Lowe, pastel,36 × 24 inches


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NEW Set by Richard McKinley,2010 PSA Hall of Fame

“Sweater Girl,” Pastel by Flora B. Giffuni (1919-2009)

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S P R I N G 2 0 1 1 21

tery cold climate of Northern Michigan,I’ve even suffered frostbite — twice.

Maybe my brother was right when heteased me awhile back about my livingspace. He’d found out that the loft I hadrented was in the former state mental hos-

pital building that has now been trans-formed into beautiful living and shoppingspaces.

Teasingly, he said to me: “Finally, mybrother the artist is where he belongs.” DidVincent get this kind of grief from Theo? q

just put in. If I am not skillful enough inthis removal, I can and have lost the fresh,direct look to the piece and I consider itruined. However, I always take the chance!

Since around 1993, I have exclusivelyused pastel. I prefer to call myself a painter(who chooses pastel) more than to refer tomyself as a pastelist. Painting is more amanner of thinking than a matter of medi-um. To me, the distinction is important.

I’ve been asked to describe my work.Is it naturalism? Positivism? Impressionism?I don’t really care much for labels. What Ican acknowledge is that I love to pour myheart, my soul and my passion into what Isee and experience and do it as directly aspossible, at any cost. Painting in the blis-

“Al Aire Libre/Painting Open Air” (continued from page 7)

“Painting outdoors,I have to make things as

correct as possible right away.”

“Lyric Sunset Old Mission” by William Hosner, pastel, 20 x 27 inches


Visit our websitewww.pastelsocietyofamerica.org

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Vol. 38, No. 1

EditorialEditor: Claire Paisner, PSA

Assistant Editor: Alice Laputka, PSAAdvertising

Christina Debarry, PSALeslie Lillien Levy, PSA

We gratefully acknowledge the contributions ofall writers in this issue of the Pastelagram.

Pastelagram design and production Virginia Hamill, The Hamill Group, Inc.

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PastelagramPastel Society of America

Past PresidentsFlora B. Giffuni, PSASidney H. Hermel, PSAChristina Debarry, PSABarbara Fischman, PSA

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JoAnn Wellner, Esq.Rae Smith, PSA

Dianne B. Bernhard, PSADuane Wakeham, PSA

Jimmy Wright, PSARichard McEvoy, PSASangita Phadke, PSA

Robert K. Carsten, PSAChristina Debarry, PSALeslie Lillien Levy, PSAMaceo Mitchell, PSA,Director, PSA SchoolClaire Paisner, PSAElissa Prystauk, PSABrenda Tribush, PSALee Mei Young, PSA

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Pastel Society of AmericaLorrie B Turner,

PSA

Heather on the Hill 11” x 14”

Pastel Scotland for 10 days!Paint quaint fishing villages,

castles, gardens, so much more

September 8—19, 2011

[email protected] • 954.575.2211www.LorrieBTurner.com

n To set standards of excellence and to encourage the use of pastel

n To unite outstanding pastelists through membership in the society

n To establish pastel as a separate category in major art exhibitions

n To focus attention on the renaissance of pastel and to educate the public regardingthe permanence and beauty of the medium

n To offer workshops, critiques, classes, demonstrations and scholarships as part of our educational program

n To offer a vehicle of communication for

the exchange of news and ideas throughour Web site and our publications,Pastelagram and PSA Update

n To hold members’ shows at prominent galleries and museums

n To culminate the year’s activities with anational annual juried exhibition, open tomembers and non-members

n To honor, yearly, a pastelist of exceptional accomplishment, with election to thePastel Society of America Hall of Fame

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