Innholdsfortegnelse for Fall 2024 i The Pastel Journal

As someone who loves to read but doesn't have unlimited hours of free time (who does?), it's important to me that I make good choices when it comes to my book list. Recommendations and reviews carry a lot of weight, of course, but sometimes what I'll have is a stack of worthylooking books and the problem is where to start. On these occasions I employ a trick I learned from one of my daughters: I read the first line of each book and see what happens. Nine times out of 10, one of these initial sentences will make an impression that sets it apart. It may be that each of the first lines is solid, even intriguing, but one of them will—for whatever reason—take hold of my imagination. This, it…

Recently, while I was doing a pastel demonstration, someone exclaimed, “You make it look so easy!” To which I quipped, “If only you could hear the voices in my head!” We all had a good laugh, and I explained that painting never feels easy. Easy isn't the point. Then I got tripped up by a thought: What if the people in attendance could hear the voices in my head? I'd be mortified! My internal monologue would clear the room. The Golden Rule Put another way, I would never talk to another person the way I talk to myself. I would never bully and belittle and second-guess a student. I would never tell them that they aren't good enough, that they didn't try enough, that their painting is failing, that they…

Michigan artist Anne Kindl's exuberant florals, with their joyously saturated colors and dancing marks, look as if they might have been painted in short, energetic intuitive sessions at the easel. In actuality, the artist works through a slow, thoughtful process for each painting. “While the end result of my pastels may appear free-flowing and abstract,” she says, “there's a specific discipline employed each time to arrive at the end point.” PRECISION MEETS INTERPRETATION Given the seeming spontaneity of Kindl's florals, it may be surprising that she came to painting through a career in graphic design. She earned her bachelor of fine arts degree from the College of Design at Iowa State University and then spent 25 years as a graphic designer for corporations and nonprofit organizations. “Graphic design exacts a…

“The Impressionist Revolution from Monet to Matisse” explores the fascinating story of Impressionism from its birth in 1874 to its legacy in the early-20th century. Told almost entirely through the Dallas Museum of Art's exceptional holdings, the show reveals the rebellious origins of the independent artist collective known as the Impressionists and the revolutionary course they charted for modern art. The exhibition is a radical reintroduction to these outcast artists, exploring the experimental techniques and subjects that set a new course for art in the late-19th and early-20th centuries Breaking with tradition in both how and what they painted, as well as how they showed their work, the Impressionists redefined what it was that constituted cutting-edge contemporary art. The unique innovations of core members, including Edgar Degas (French; 1834–1917), Claude…

The latest Pastel World Exhibition—presented in June at the 15th convention of the International Association of Pastel Societies (IAPS)—celebrated nearly 200 pastels that demonstrate an exceptional use of the medium and artistic excellence more broadly. The biennial show is made up of juried finalists from an Open Division, as well as a Master Circle Division, creating a showcase that features the work of legendary pastelists and the community's rising stars. We are delighted to share a few outstanding paintings from the Open Division, along with some behind-the-work stories from the artists themselves. The creative innovation and expression—evident even within this select group of paintings—is an inspiring reminder of the talent and unlimited possibilities in an ever-expanding pastel world. Yanqi Zhai THE WRITER ANDRĚ (PASTEL, 13x10) Pastel Society of America Mr.…

Workshops Pastel Journal accepts advertisements for workshops, but does not endorse or recommend any workshops listed. Artists considering participating in any workshop are encouraged to conduct their own investigations. Albert Handell, PSA-MP and Hall of Fame Honoree, AIS, OPA-Master Artist November 9–10, 2025, Sante Fe, New Mexico Blue Bird Workshop December 4–7, 2025, Santa Fe, New Mexico 4-Day Studio Oil Workshop January 21–25, 2025, Austin Area, Texas 5-Day Pastel and Oil March 2025, San Antonio, Texas April 8–11, 2025, Raleigh, North Carolina Plein Air Convention Lake Tahoe June 16–20, 2025, Abiquiu, New Mexico July 2025, Taos, New Mexico To register for any program, contact the Handell Studio via phone or email. Studio Visits Welcomed.Visit Albert's website for further details and information. www.alberthandellstudio.com 505-603-1524 cell • alberthandell@msn.com Doug Dawson, PSA-MP, IAPS/MC,…

George M. Cohan (American, 1878–1942) was a prolific entertainer. He excelled as a songwriter, playwright, singer and dancer, producing dozens of Broadway shows and writing early20th century standards such as “Over There,” “Give My Regards to Broadway,” “You're a Grand Old Flag” and “The Yankee Doodle Boy.” Cohan's standing as the father of American musical comedy is commemorated with an 8-foot bronze likeness in New York City's Times Square. It's the only statue of an actor on Broadway. In 1916, his reputation ascendant, Cohan sat for a pastel portrait by Harrison Fisher (American, 1877– 1934). Fisher was, at the time, almost as well known as Cohan. Cosmopolitan called him “The World's Greatest Artist,” and although the title designation was promotional—Fisher was a frequent contributor to the magazine—it signified his popularity…

This painting was a game-changer for me in the sense that it launched a new way of working, as I began using abstract monotypes to inspire pastel compositions. I had no idea when I created the black-ink monotype how the unique textural qualities of the print would inspire a bird's environment. It was a huge departure from the monotypes I'd been doing, following Degas’ approach, in which he used a subtractive process called dark-field monotypes. In this method, dark ink is rolled over the plate; the lights are removed; and textures are created by various tools used to put on ink and take it off. When the plate is printed, all the texture and variation in tone is revealed. Degas would then cover parts of the printed image with pastel.…