Pastel Society of America

A Review of Pastel Painting and Technique

Winter 2008 Volume 35, No. 2

Pastel Society of America

C O N T E N T S

3 Review of the2007 AnnualExhibitionPSA’s LuminousMajor EventBy Rainie Crawford, PSA

12A Live Model inYour StudioBy Ilene Gienger-Stanfield, PSA

16The Painter andThe Self PortraitBy Jeff Webb, PSA

8Conversations onAerial PerspectiveBy Frederick D. Somers, PSA

PastelagramWinter 2008

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 2008

Cover: Self portrait by Jeff Webb,PSA, "Who’s There?" (1988), pastelon stretched paper, 50 x 38 inches.See more of Jeff’s renditions ofhimself throughout the years in hisarticle about the “why” of self por-traits.

W I N T E R 2 0 0 8 3

“The power to suggest connections betweenideas and objects has always been the point ofart.” Maurice Denis (1870 – 1943).

That power was clearly evident inthe stellar array of pastel paint-ings gracing the walls of TheNational Arts Club on Sunday,

September 16th, when the much anticipat-ed awards ceremony and dinner for the35th Annual Open Juried Exhibition forPastels Only took place. The occasion wascharged with the keen spirit of artistsgreeting artists, old friends reconnectingand new friendships in the making.

Awards CeremonyThis evening one found the door at the

top of the stairs closed, and guests andattendees instead entered the main gallerythrough the mansion’s stately lounge, eachwarmly greeted by Flora B. Giffuni, PSA’sfounder, honorary chair and past president.

Seating for the presentation wasarranged facing the rostrum and a newfloor-to-ceiling viewing installation. Inlieu of slides, Power Point was utilized todigitally project the images of award-win-ning paintings with a brilliant clarity.

Another surprise was in store—the

Review of the 2007 Annual Exhibition

PSA’s Luminous Major EventFIRST PRIZE

Daniel Greene, PSA, “Study – Robert Beverly Hale,” 37 x 44 in.Great American Artworks Award

SECOND PRIZE

Tim Gaydos, PSA, “More Coffee?” 44 x 48 in.Art Spirit Foundation, Dianne B. Bernhard Gold Medal Award

BY RAINIE CRAWFORD, PSA

Rainie Crawford, PSA, is a Master Pastelist. TheConnecticut artist’s work is featured in severalbooks and magazine articles and is included in thepermanent collections of two museums.

viewing of a video interview of Flora B.Giffuni by Duane Wakeham and Urania C.Tarbet, an unexpected and altogethercharming entertainment. This will surelybe an important archive for the PastelSociety of America and a well-deservedaward of distinction for Flora.

Rae Smith, in her new role as PSApresident, introduced Aldon James, presi-dent of The National Arts Club, whobriefly greeted the group and thenexpressed a remembrance of RichardPionk, whose elegance and art and spiritwill long be with us.

The singular honor of induction intothe PSA Hall of Fame was presented to themuch-accomplished Sally Strand ofCalifornia, three of whose luminous pastelswere on display for the duration of theshow.

With us from Wisconsin were JackRicheson and his wife Linda. Well knownto artists everywhere for his family-run artmaterials business, which also sponsors aschool, a gallery and a fine arts publishingenterprise, Jack was named “Friend ofPastel Honoree 2007.”

Among the many distinguished guestspresent were A.Van H. and Dianne B.Bernhard, Gary T. and Zeny Erbe, EverettRaymond Kinstler, Lila T. Gold, immediate

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

Harvey Rogosin, “Face of Vernazza,” 14 x 11 in.

“The occasion wascharged with the keenspirit of artists greeting

artists, old friendsreconnecting and new friendships in

the making.”

Brian Cobble, PSA, “Lexington Alley,” 18 x 27 in.National Arts Club Award

Review by Rainie Crawford, PSA, (continued)

past president Barbara Fischman, recentlyretired Board of Governors member AldenBaker, and Robert K. Carsten, author ofmany articles for The Pastel Journal andother art magazines.

Jurors of Awards for this year’s showwere Terence Coyle of New York City,artist and instructor at the Art StudentsLeague; Dr. Alex Rosenberg, printmaker,author, publisher and past director of theTel Aviv Museum; and Jeffrey Wechsler,senior curator at the Jane VoorheesZimmerli Art Museum, Rutgers University.As always, the jurors had complete autono-my in their selections.

The ExhibitionTwo hundred and thirteen pastel paint-

ings selected from eight hundred thirty-nine entries adorned the walls with count-less variations of interpretation, techniqueand craftsmanship.

The first prize went to Tim Gaydos ofNew Jersey for his painting “More Coffee?”receiving the Art Spirit Foundation,Dianne B. Bernhard Gold Medal Award.In it, he persuasively depicted three ordi-nary people in a generic diner interior withinsightful skills, summoning the viewer toimagine the thoughts and wishes of theyounger waitress. Daniel Greene’s boldly

gory. The 51st prize, the “Popular VoteAward,” which was tabulated at the end ofthe show, went to Cynthia R. Nockold forher “Eco Dreams,” a lively and colorful

abstract.All in all, there were

many challenging and sig-nificant paintings. Awholly engaging urbanfaçade by Harvey Rogosinof New Jersey, “The Raceof Vernazza,” showed dis-tinction of design, and thenear-abstract choice andfocus of color shapes ledthe viewer effectivelythrough the scene. Ohioartist Stacie Seuberling’s“Autumn Surprise” was a

deceptively subtle concept of that season,resulting in a breezy, comely landscape, asubject that is so often overdone.

A challenge for the viewers’ imagin-ings was Connecticut’s Peter Seltzer’s

executed, extraordinary portrait, “Study —Robert Beverly Hale,” received the GreatAmerican Artworks Award. Greene, ofNew York, has participated in every PSAAnnual Exhibition of the Pastel Society ofAmerica for the past thir-ty-five years.

Figural paintings wonthe hearts of the jurors andviewers alike, taking all butone of the top covetedprizes, the exception beinga dramatic, handsomelycomposed “LexingtonAlley” by Brian Cobble ofNew Mexico, which wonthe sixth-place NationalArts Club Award.

More than half of thefifty awards were garneredby paintings in the figural/portrait catego-ry; fifteen prizes were awarded in the land-scape/cityscape category; and nine awardswent to pastels in the still life/floral cate-

W I N T E R 2 0 0 8 5

Stacie Seuberling, PSA, “Autumn Surprise,” 9 x 9 in.

Bill James, PSA, “The 27th Virginia,” 29 x 17.5 in.

“Figural paintings

won the hearts of the

jurors and viewers

alike, taking all but

one of the top

coveted prizes.”

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

hands of a veteran colorist. This isConnecticut resident Frank Federico athis best, employing abstraction as the truthof the scene with the sensitivity of a poet.

Paul Murray, from New Mexico, wasrepresented competently with his “ElPiscador Bar” showing four disarmingyoungsters hurrying past the bar, its dark-ened doorway adding an almost ominousmystery to this interesting composition.

From Colorado came a completechange of pace. Also touched with shad-owy drama in a narrow horizontal formatwas Deborah Bays’s “A Dime a Dance,” acolorful invention of three pairs of ladies’platform high-heeled shoes. New YorkerJimmy Wright’s variation of his sunflowertheme titled “Pompeii No. 4” was exuber-antly displayed against a background ofrich, vibrant red.

A lush study in blues and yellows,“The Air Field” by Bill Creevy of NYC,effectively showcased the misty radiancethat enriches his work.

“Annual Report 2007,” a self-portraitin profile by Sara Sue Pennell ofMassachusetts, left us wondering about herfeline companions — In spite of the notetacked to the window mullion, which can-didly announced “The cats are fine!” theirimages were still missed. The painting by

meditative still life, “Alchemy,” done withsingular skill and esprit. The pastel is acomplex arrangement, involved as muchwith content as with concept, which fullyexplores the picture plane.

In pleasantly relaxed contrast and asAmerican as pie was New Yorker RozHollander’s “Baskets of Apples, WindyBrow Farm,” an appealingly rendered stilllife showing her candid, adroit approach topastels. Jenny M. Lin of New Yorkentered color-filled “NYC — SubwayScene 2,” which easily held its place onthe wall with its prevailing graffiti.Floridian Bill James’s painting, “The 27th

Virginia,” was a narrow vertical formatstudy of four country patriots with firearmsat the ready, the artist’s free painterly styleeasily capturing and imprisoning foreverthe steadfast bearing of each man.

“Zen Reflection” is an affirmation ofthe power and romance of color in the

“To select a small

number of pastels from

more than 200 artworks

for this short overview

proved a very difficult

task for me. . .”

Frank Federico, PSA, “Zen Reflection,” 40 x 36 in.

Paul Murray, PSA, “El Piscador Bar,” 18 x 23 in.

Review by Rainie Crawford, PSA, (continued)

W I N T E R 2 0 0 8 7

PSA Signature Members

The following artists mentioned in the above review are Signature Members of the Pastel

Society of America: Flora B. Giffuni, Duane Wakeham, Urania C. Tarbet, Rae Smith, Richard

Pionk, Sally Strand, A. Van H. Bernhard, Dianne B. Bernhard, Everett Raymond Kinstler, Barbara

Fischman, Alden Baker, Robert K. Carsten, Tim Gaydos, Daniel Greene, Brian Cobble, Stacie

Seuberling, Peter Seltzer, Roz Hollander, Bill James, Frank Federico, Paul Murray, Jimmy Wright,

Bill Creevy, Sara Sue Pennell, Peggy J. Rose, Rhoda Needlman, Elaine Augustine, Elizabeth

Mowry, Bob Rohm, Timothy John-Luke Smith, and Lucille Stillman.

FLORA B. GIFFUNIATELIER FOR

PASTELSTHE ONLY ART SCHOOL

DEVOTED SOLELY TOPASTELS

ONE-ON-ONE INSTRUCTION

CLASSES IN PORTRAIT,FIGURE, LANDSCAPE,

CITYSCAPE, STILL LIFE,ABSTRACT

ALL LEVELSBeginner, advanced, and

professional

INSTRUCTORSFlora B. Giffuni (Emeritus)

Jason Chang Barbara FischmanCharles GottliebMaceo Mitchell

(School Director)

Jeff WebbSuzanne Young

Send for schedule of classes c/o Pastel Society of America

15 Gramercy Park South, New York, NY 10003

Historic Tilden Mansion in New York City,where PSA and its school are located.

Peggy J. Rose of New Jersey stole manyglances and hearts with its romantic“Marshes on San Joaquin River,” the out-growths in dramatic relief against the lastgolden vestiges of sun. Like a Technicolordream vaporizing upon awakening, NewYorker Rhoda Needlman’s “SpringBouquet” fairly bursts with her unshake-able style and palette.

Among the many other excellent pas-tels which deserve to be recognized are:“Three Sisters” by Elaine Augustine fromAlabama; “Golden Chamisa” byColorado’s Frances Dodd; “Self Portrait(Stainless Steel Reflection)” by Lee Kasaiof Connecticut; “Late Afternoon Shadows”by Elizabeth Mowry of Colorado; “Shadow

Light” by Bob Rohm of Texas; “CalmMorning” by John Sagartz from NorthCarolina; “Procurement # 2” by NewJersey’s Timothy John-Luke Smith; and“Senegal Dancers” by Lucille Stillman ofArizona.

To select a small number of pastelsfrom more than 200 artworks for this shortoverview proved a very difficult task forme, and I agonized over all those remark-able images I had no space to mention.

Congratulations to all the artists repre-sented in this celebration of our medium,to those accepted in this national exhibi-tion for the very first time, and to thoserewarded with Master Pastelist status.Bravo! �

Peter Seltzer, PSA, “Alchemy,” 32 x 46 in.

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

Recently a serious student com-mented, “I have seen how hepaints but what I really want toknow is ‘How does he see?’ ”

While the ultimate answer to that ques-tion may be tantalizingly elusive, all of usin the arts press forward in pursuit eachtime we approach the canvas. Such hasbeen my journey.

I am convinced that much of what wepaint originates in the quiet conversations

ConversationsON AERIAL PERSPECTIVE

BY FREDERICK D. SOMERS, PSA we have within ourselves. Sometimes theartist is able to articulate that conversationin a statement, but more often we must lis-ten to ourselves to become aware of it.That conversation may include the foun-dational principles from our experience orfrom a teacher, or it may include the“Wow!” — the sudden discovery that cap-tures our imagination. The more I amaware of my internal conversations, thebetter choices I can make and, yes, the

“Blue Bird Day,” 18 x 24 in. on Canson paper

This is the most traditional exampleof aerial perspective. This waspainted in clear midday sun, but Iadded softer, grayer forms to cre-ate distance. Though the middleground is lighter, soft edges andoverlapping shapes allow the mid-dle ground to still be interpreted asmoving away from the viewer.

W I N T E R 2 0 0 8 9

The FarDespite the endless variety of ways to

render a subject, Leonardo da Vinci’s les-son still holds true. The artist RobertGenn’s Web site summarizes the threeaspects of perspective passed down to us bythat Great Master. The first has to do with

how the size of objects seems to diminishaccording to distance; the second, themanner in which colors change the fartheraway they are from the eye; the thirddefines how objects ought to be finishedless carefully the farther away they are. Inthe context of painting the illusion of

“The more I am

aware of my

internal conversations,

the better choices

I can make and,

yes, the better

I can see.”

“Gold and Scarlet on Azure Waters,” 18 x 24 in. on Canson paper

Both the middle ground and the horizon disappear as I stood on the edge of a 60-ft. highbluff above a river. With no far shoreline visible, the reflected color of trees and sky on moving water invites the viewer to interpret a space beyond the scope of the painting.

better I can see. I can then choose thebest tools to communicate in my painting.In the end, though, like the virtuosopianist who has practiced his fingeringexercises until the motions come withoutthought, with practice I can move for atime beyond the rational into the placewhere those conversations become quietand the painting flows.

Even after decades of painting, thepure response to my subject is always guid-ed by the words that pass through myawareness. Composition for a painting isone choice. Another is perspective, inparticular, aerial perspective, whichbecomes a tool for creating a sense ofmovement, even in the works that displaya very shallow depth of field. If I were tochoose to recreate my subject in a strictlyrealistic manner, I would be laying outvanishing points and marking the angles ofthe planes to ensure accurate perspective,but I am rarely drawn to those subjects.

Frederick Somers, “Season of Singing,” 18 x 24 in. on Canson paper

Focusing detail at the top and showing distance reflected in the water causes theperspective to reverse. I see theseimages as allegories for the heavenstouching earth. Trying to create the feel-ing of space when the image is directly atmy feet is one of my favorite challenges.

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

three-dimensional form in space, we cannow explore aerial perspective.

John F. Carlson in “ElementaryPrinciples of Landscape Painting” beginshis chapter on aerial perspective by point-ing out the gradations of color and value inevery “flat mass” in nature — even inVermeer’s plaster walls. The principle thatcolors become cooler and lighter, and thatyellows fade as they recede from the eye, isan effective tool for all artists, whether wepaint a still life or portrait, an interior or amajestic landscape or even pure abstrac-tion. The eye sees something and themind translates it into a presumption ofdistance. The brain learns this early in life,and we artists play tricks on the brain bymimicking in our paintings what it wouldexpect to see. I find that making thesegraded transitions on one’s painting is akey subject of conversations that I have,both with my students and with myself.Often the solution to a painting that “justdoesn’t work” comes through examiningand correcting these subtle value relation-ships that visually move planes back inspace.

Artists who are new to working in pas-tel presume that they would need an end-less array of pastels to achieve this, but inmy workshops one of the techniques I tryto teach early on is how to use brokencolor and changes in application pressureto make gradual changes in value and incolor intensity without changing sticks.

The NearIn many of my paintings completed in

the last several years I have focused on thesubjects directly at my feet. Hiking part-ners have come to expect that, when theyturn around, they may find me, while stillwearing my fully loaded backpack, kneel-ing over an intriguing clump of grass androcks or leaning over a backwater pool.Even in the paintings generated by thesetreks, the principles of aerial perspectivestill hold true.

Having established this, though, I alsocontinue to explore ways to push the per-spective far beyond the boundaries of theimage. I might choose as my focal pointthe top of the composition and let theforeground become the graded flat mass; or

On Aerial Perspective (continued)

Frederick Somers, “A Rare Beauty,” 9 x 12 in. on hand prepared sanded surface

My head was lying on the ground for thisview of a Trout Lily blossom. Soft, fadedblades of grass create a sense of space.

“The principle that

colors become cooler

and lighter, and that

the yellows fade as they

recede from the eye,

is an effective tool

for all artists. . .”

W I N T E R 2 0 0 8 11

I might look nearly straight down into thewater, with surface subjects both on and inthe water, along with sky reflections on thewater. I might focus on a bright reflectionthrough a curtain of backlit trees so thatthe foreground objects have the least colorand I rely on their sharp edges to establishtheir position. Most recently I have triedsome motifs that remove both foregroundand horizon and display only the reflec-tions.

My artwork derives not only fromtoday’s sunshine on a distant horizon orglint of light on the grass by a pool, it con-tinues to be linked to the pleasures I felt asa youngster exploring the woods and riverbottoms near my Nebraska home. Myhouse was crowded, but the countrysideoffered freedom. Today, while I still revelin the time spent in pure looking and see-

Cool Shadows, Warm Maples,” 11.5 x 8 in.on hand prepared sanded surface

I had to simplify both the foreground and the background and use cool colortemperature in the back against the warm rocks and trees to create depth.

“I want the painting to

convey not just what is

before my eyes but also

what I see with my

heart.”

ing, I am also attuned to other experiencesin nature — the fragrance of new grass, thescolding of a bird whose nest I have dis-covered, the rustling of a flower’s petals.

My personal conversations nowinclude a search to bring greater horizons,beyond those the eye can see, into thethoughts of my viewer. I want the paint-ing to convey not just what is before myeyes but also what I see with my heart. �

Frederick Somers, PSA, of Minnesotawas the cover artist for the book “PureColor: Best of Pastel.” He has been cho-sen American-Swedish Artist of the Yearand has works in museum, corporate andprivate collections.

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

As a painter of people, I am always onthe lookout for models that inspireme. About eight years ago I wasapproached by a group of artists with

the idea of having a figure drawing session,and since then I have provided the spaceand the models for a weekly open-doorpainting/sculpting session to local artists.While I work mostly in pastels, the otherparticipants use a variety of media. Themodels and artists have changed through-out the years, but the reliable weekly ses-sion has not.

Since we live in a rural area of Oregon,where the houses sit on fairly spacious lots,I had built a large studio apart from ourliving space. It is a 1,200 square-foot struc-ture with painted concrete floors for easycare. The ceiling is slightly vaulted andthe space is generously lit with color-cor-rected tubes that can be turned on and offin three “banks” so the entire studio does-n’t always have to be lit. There are nowindows on the south side of the building,which eliminates direct sun and shadows.Against a vacant wall is a large modelstand made of 3/4-inch plywood on bricks,around which can fit 8 easels, all withprime real estate. The model stand is largeenough so that furniture and props can beused to add interest to the scene. A closetfull of costumes, thrift store clothing andbackground fabrics, along with a utilitysink and bathroom, complete the space.

Ilene Gienger-Stanfield, PSA, is a signaturemember of Northwest Pastel Society andteaches workshops nationally. Her work hasbeen featured in articles and she has won topawards in several major magazine competi-tions.

BY ILENE GIENGER-STANFIELD, PSA

A LiveModel inYourStudio

Gienger-Stanfield completed each of these threeportraits in three hours at model sessions hostedin her studio. They are pastels on Canson paperand samples of what she calls her Alla Primawork. She uses La Carte sanded pastel board forher more developed work, examples of which areshown on the following pages.

W I N T E R 2 0 0 8 13

in modeling. After explaining what wouldbe expected and what she would be paid,the young woman accepted and became aregular. Other participating artists havealso provided good model leads in thesame manner. However, the most conve-nient method is through networking withother venues that hold figurative sessions,

such as colleges, artists’ studios, academies,and non-profit educational galleries. Theyare usually happy to trade model lists (withthe model’s consent) to keep their lists cur-rent.

The model sessions are held everyTuesday from 10 am to 1 pm, barring majorholidays. If I am unavailable, anotherartist runs the session so local artists canrely on regularity. Because there are sever-al places in the area that offer short-posesessions, I opted for the three-hour pose sothat artists could more thoroughly developtheir visions, while still being required towork with spontaneity. The model posesfor 20 minutes, with 5 minute breaks in-between. Before coming out of the posefor the first time, tape is used to indicatewhere the feet or other pertinent bodyparts were placed, making it easy for mod-els to find their way back into the same

The studio has easy access to the commu-nity with plenty of front-door parking.Each artist pays $12 for a three-hour ses-sion. There is a new pose every week.

If I had a smaller studio, I would stillbe happy to host a model session. I wouldwant to have a roster of six regular artiststo assure that two or three would show(plus myself) — the minimum to covercosts.

I do not have a problem finding mod-els because of one major factor: they don’thave to pose nude. I do, however, have tofind models that are somewhat calm indemeanor, interested in the process, andreliable. Approaching a prospective modelin public, with business card in hand, isnot unheard of. For instance, once when Iwas in a coffee shop, I asked an unusual-looking waitress, who seemed personableand easy going, if she would be interested

“The models and artists

have changed throughout

the years, but the

reliability of the weekly

sessions has not.”

Ilene Gienger-Stanfield, “Reflection,” 25 x 19 in.

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

position. In setting the pose, I make surethe model is comfortable. Three hours is along time to stay in one position. For suc-cess on everyone’s part, the model can’t beunder stress. If a pose that has been cho-sen turns out to be stressful, I suggestshortening the sittings to 15 minutes withfive-minute breaks. A 75-watt Veriluxspotlight, sold in art stores specifically formodels and still-life set-ups, is positionedto add drama and shadows to the model.

Ideas for poses can be found in maga-zines, catalogs, and artwork, or suggestionscan come from the model or from partici-pating artists. Sometimes artists and mod-els arrive with a preconceived concept ofwhat they would like to do, or perhaps a

review of the props collection will suggesta theme. A pose can relate to an activity,such as gardening, a type of outfit(Victorian clothing or “grunge” dressing),or a mood conveyed by the model’s gaze(serenity, intensity, dejection etc.). I rec-ommend posing the model so that all per-sons around the platform have a workableview. This requires a quick check of eacheasel’s position before setting the timer forthe first 20-minute pose. If artists are inter-ested in sketching, they are welcome tomove around the room.

On top of the studio desk is an opencalendar with the models’ names andphone numbers penciled in on the daythey have agreed to pose. I call to confirma few days ahead of schedule to avoid theawful situation of artists transporting andsetting up their supplies only to find thereis no model! I pay a little above the goingrate and usually rebook the models rightafter each session. I want them to beenthusiastic and to pass on their positiveexperiences to other models. The studiouses the honor system for payment and hasa bank in the top drawer of the studio deskwith plenty of bills for change. Makingmoney is not the priority. Having a livemodel and precious fellowship in the stu-

“Loveliness,” 34 x 25 in.

Ilene Gienger-Stanfield, “Daily Task,” 31 x 21 in.

“My Tuesday sessions

give me the necessary

access to models

for more developed

work.”

W I N T E R 2 0 0 8 15

dio is. That being said, having enoughmoney to cover the overhead is very help-ful. So the flat weekly fee guarantees therewill always be money in the bank.

There are lots of personal benefits fromthis arrangement. My Tuesday sessionsgive me the necessary access to models formore developed work. It’s no effort to bepunctual and I don’t have to haul my sup-plies or waste time traveling. With pastels,of course, there are no preparatory tasks —the sticks are right there and ready to go! Ido not teach during the three-hour periodin order to concentrate fully on the com-pletion of my artwork (I do teach in othervenues). Depending on the pose, I maychoose to paint the full figure, partial fig-ure, or portrait. I strive for freshness andgusto and find pastels uniquely suited tomy style. I love their organic feel, theirresponsiveness to varying hand pressures,the way they lend themselves to big,sweeping strokes. The limited time span ofthe Tuesday session also encourages avibrant approach toward one’s subject.Seldom do I take a photo to finish mypainting, but if a photo is needed, it is pol-

icy to ask the model first and then tipaccordingly. I generally don’t work on mypainting after the model is gone, exceptpossibly on the background.

Use what you can of my experience

and make it your own. Be respectfultoward your models and consistent withyour schedule. Enjoy the camaraderie ofartists and the honor of painting a fellowhuman being from life. �

Ilene Gienger-Stanfield,“Shoe Shine Boys,” 18 x 25

“Beads,” 21 x 13 in.

“I strive for

freshness and gusto

and find pastels

uniquely suited

to my style.”

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

Why do artists create self por-traits? Is it due to some sortof strange narcissistic obses-sion? Perhaps sometimes it

is. Or is it an attempt to examine thehuman condition through the only beingwith whom the artist feels so completelycomfortable? Again, that is a possibility.Could it be that when artists want to painta portrait, the only agreeable and willingmodel (sometimes at very odd hours) canbe found in the frame of a mirror? I tellmyself that is why I paint so many self por-traits (several hundred over four decades indifferent media, starting as a child). Butthere has to be more to it than that.

A very wonderful teacher and mentorof mine, when I was working on my mas-ter’s thesis, said to me that every timeartists paint a portrait of someone else theyare painting a self portrait. They cannothelp but bring some of their own feelingsand character into the features of the sitterand project their own personal experiencesonto the sitter. At the time he said that tome I was an arrogant young “pup” in hisearly 20’s and so certain I had all theanswers that I rejected the whole concept.It wasn’t until I grew up a bit more that Irealized he was correct. I will take his

Jeff Webb, PSA, is a Master Pastelist and anadjunct art professor on Long Island, NY. Hewas one of the charter members of PSA at itsfounding and served on its board for over 20years.

AND THE SELF PORTRAITT he Painter

BY JEFF WEBB, PSA

“Me” (1999), pastel on paper, 24 x 18 in.

“She looks at herself instead of looking at you, and so doesn’tknow you. During the two or three little outbursts of passion

she has allowed herself in your favor, she has, by a greateffort of imagination, seen in you the hero of her dreams, and

not yourself as you really are.”*

*An excerpt from one of the thousands of tales of NarcissusPage 401, 1953 Penguin Edition, translation, Margaret R.B. Shaw

W I N T E R 2 0 0 8 17

statement and add to it by saying thatevery piece of art created is some form of“self portrait,” even a landscape, still-life ora wildy abstract non-figurative painting.

So, if every painting an artist does isactually some form of self portrait, then whydo artists have the compulsion to actuallypaint their own likeness? Hmmm. Perhapsthere is a wee bit of narcissism there. Arewe more comfortable closely examining our-selves than doing that to another? I’m notso sure, because when I was in art school Ihad no trouble staring at and examiningevery part of a model’s figure so intentlythat I almost felt I could take that part awayin my memory. Such staring and examiningoften embarrasses the sitter more than theartist. I don’t think the idea of comfortreally answers the question.

Perhaps the term narcissism is a bit tooextreme, but is it at least about some levelof self love or admiration? Artists whodon’t admit that such is the case, especiallyin self portraits, I believe are lying to them-

selves. Some degree of self-regard is part ofthe inner strength that keeps artists going.Almost ALL artists “deep down inside” feelthey are creating the most important work oftheir day. This attitude is healthy. It’s whatdrives us and it does exist pretty deep, so itrarely interferes with our interaction andrespect for our peers, but it is there.

During his lifetime RembrandtHarmenz Van Rijn (1606-1669) painted atleast 100 self portraits that we know of. Hiscontemporary Peter Paul Rubens (1577-1640) painted very few by comparison. Arewe to draw the conclusion that Rembrandtwas more narcissistic than Rubens? Most ofus wouldn’t see it that way. Rubens was avery successful and wealthy artist who was abit of a dandy and always immaculatelygroomed. Rembrandt, on the other hand,may have been more stylish in his early lifebut, as his financial state collapsed intoruin, he saw and represented himself moreas a working craftsman. Rembrandt left usan autobiography in these very insightful

and beautiful paintings. I relate to that thought. I include myself

and my friends and loved ones in many ofmy paintings because the theme of my workis deliberately autobiographical. So, is thatit? Is the self portrait the artist’s way of leav-ing a journal, a diary? I think so, but thatcould be said about all of one’s work, notjust self portraits.

We return to our previously mentionedpoint — the availability of an agreeablemodel. This is the popular explanationthat artists give for painting so many selfportraits, and there is certainly a lot oftruth to it. I will sometimes use myself as amodel to create characters for illustrationsbecause I can regulate the lighting andpose to my wishes. When I’m strugglingwith a large composition, either an illustra-tion or an intricate interior scene, I oftentake a break from the larger piece and doany number of different studies, just toclear my head. Some of these may be littlestill-life paintings, landscapes or a portrait

Jeff Webb, “Self Portrait on a Hot Summer Day” (1987) Pastel on sanded paper, 24 x 20 in.

“Could it be that when

artists want to paint a

portrait, the only agree-

able and willing model

(sometimes at very odd

hours) can be found

in the frame of

a mirror?.”

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

head. At 1 A.M. there are very fewprospects to model for me except myself. Ioften work late into the night because thephone doesn’t ring and most respectablepeople don’t come knocking at your door atthat hour. If I want to paint a person, it’sgoing to be me. (I don’t like working fromphotographs.) So there is great truth to theidea that self portraits grow from necessity.

But that’s not really the whole story. Isit that we want to take a piercing look atourselves and tell the truth about our being?How often have you seen self portraits cre-ated by very attractive people and the resultis some hideous creature? Conversely, unat-tractive artists can appear very handsome orbeautiful in their self portraits. Are thesetruthful pictures? Well, yes, they are becausethey are honest representations of how theartists see themselves.

My paintings of interiors are neater andtidier than they actually are. The view isorganized and balanced. The colors conveya mood. The world in my paintings seemsto work just a little bit better than the

world that I live in. Is my painting someform of Emerson-like transcendental escape?Am I painting myself as an attempt to con-trol who I am and who I want to be? I likemyself just fine, but I wouldn’t say that Ihave an unnatural narcissism. I like beingaround people, but I also enjoy being alone.I am responsible for creating a whole lot ofself-portraits and I’m not really sure why.Perhaps it is a little bit of all of the aboveand perhaps there are reasons that I am notconsciously aware of. But isn’t that whatART is?

It is very difficult for us to step outsideof ourselves. Robert Burns said it best whenhe stated, “Oh, what a gift that God couldgive us, to see ourselves as others see us.”

In self portraits, artists do not step outsideof themselves to see themselves as others see them,they invite the viewer to step inside with them.

That’s what that wonderful rascalRembrandt did, and that’s why we respondto his self portraits the way we do. That’swhy we feel the emotional pull across allthose centuries! �

“I include myself and

my friends and loved

ones in many of my

paintings because the

theme of my work

is deliberately

autobiographical.”

Jeff Webb, “The Artist and Model” (1985), pastel on sanded board, 12 x 16 in.

W I N T E R 2 0 0 8 1 9

PASTELS GIRAULTGirault—since 1780

225 years celebration of tradition, pride, excellence!

PASTEL ETC.310-640-8388

WWW.PASTELETC.COM

Visit our websitewww.pastelsocietyofamerica.org

We encourage our members to havean e-mail address and access to the

Internet for important communications from P.S.A.

The galleries of The Clifton Arts Center, Clifton, NJ.

Elissa Prystauk, PSA, (left) curator of the exhibition, chats with PSA president Rae Smith at the opening of the exhibit.

Jeff Berman, PSAwith his pastel in theClifton show, part ofhis ongoing series onConey Island

2008 WORKSHOP SCHEDULEPSA SCHOOL

Sunday, January 20Christina Debarry, PSA – Florals

Sunday, January 27Christina Debarry, PSA - Florals

Sunday, February 10Ivy Rutzky - Landscape

Sunday, February 17 Maceo Mitchell, PSA - Color &Composition

Sunday, February 24Christina Debarry, PSA - Florals

Sunday, March 2Christina Debarry, PSA - Still Life

Sunday, March 9Jeff Webb, PSA - Portrait

Sunday, April 6 Christina Debarry, PSA - Still Life

Sunday, April 27Jimmy Wright, PSA - Using Pastel toDiscover Van Gogh’s Flowers

Sunday, May 4Robert K. Carsten, PSA – Still Life

EditorsClaire Paisner, PSA (Winter issue)

Alice Laputka, PSA (Summer issue)

AdvertisingChristina Debarry, PSA

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

Pastelagram designed and produced by Virginia Hamill, The Hamill Group, Inc.

◆

PastelagramPastel Society of America

Past PresidentsFlora B. Giffuni, PSA

Sidney H. Hermel, PSAChristina Debarry, PSABarbara Fischman, PSA

Flora B. Giffuni, PSARae Smith, PSA

Rhoda Yanow, PSAJimmy Wright, PSA

Elissa Prystauk, PSAMary Hargrave, PSA

Dianne B. Bernhard, PSA Christina Debarry, PSABarbara Fischman, PSA

Barbara Hibbs, PSAMaceo Mitchell, PSAClaire Paisner, PSA

Dan Slapo, PSABrenda Tribush, PSA

Duane Wakeham, PSA

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PSA OfficeCindy Harisch, Office Manager

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Pastel Society of AmericaPSA MEMBERS

EXHIBITION The PSA Members Exhibition atthe Clifton Arts Center, Clifton,NJ, Nov. 14 – Dec. 15, 2007, wasfeatured on the premier jazz radiostation, WBGO.FM and wbgo.org

Photos by Denise Roland

Looking over an issue of Pastelagram,a handout at the exhibition.

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