A Celebration Two Decades in the Making

By Krystle Stricklin

It is that time of year again to try and recap all of the incredible events and experiences of the Portrait Society’s annual The Art of the Portrait conference, which took place this year on April 19 – 22 at the Hyatt Regency just outside Washington, D.C. – where it all began 20 years ago at the very first conference! To celebrate this extraordinary milestone, nearly 1,000 artists from around the world came together for a weekend of learning and sharing, through unforgettable encounters and lasting experiences. 

So Much to See, So Much to Do

With a jam-packed four-day conference, it’s impossible to recount all of the amazing demonstrations, workshops, and panels that occurred over the course of the weekend, but here are a few of the most talked about highlights. Opening night on Thursday began with the crowd-pleasing Face Off event, where 18 artists painted simultaneously in groups of 3. This year our participating artists were Anna Rose Bain, Wende Caporale, Judith Carducci, Rick Casali, Casey Childs, Michelle Dunaway, Rose Frantzen, James Gurney, Jeffrey Hein, Quang Ho, David Kassan, Daniel Keys, Ricky Mujica, Mario Robinson, Mary Sauer, Adrienne Stein, Jennifer Welty and Elizabeth Zanzinger. In keeping with one of our new traditions, we asked fellow artists Linda Brandon, Joseph Daily, Virgil Elliott, Liz Lindstrom, Michael Mentler, and Howard Lyon to take a turn on the other side of the easel and sit as models for the event. There is a long history of artists painting artists, and we are delighted to be a part of that historic practice. Thursday is also the best day to check out the Exhibit Hall where our dedicated vendors are there to answer any and all questions about your favorite products and services. 

On Friday morning, after a rousing welcome from Chairman Ed Jonas, artist James Gurney took to the main stage for a demonstration of his unique perspective on visual perception, communication, and tonal design. Next up were Anna Rose Bain and Quang Ho sharing the stage, as well as their differing approaches to the alla prima portrait. After lunch, attendees scattered off to the first set of breakout sessions, where they choose from six different panels or workshops on topics ranging from Building a Reputation in the 21^st Century, Using Photography as a Tool, Understanding Color with Daniel Greene, or a unique discussion on the value of recording dreams, with artist Leslie Adams on her project, Handwritten Dreams. And, Friday night ended with my personal favorite of the weekend – the 6 x 9 Mystery Art Sale, where attendees have a chance to purchase small works by noted artists. While it is highly entertaining to watch everyone scrambling to buy these beautiful little paintings, in truth, I love this event because each work is so generously donated by past faculty members and award winners, and the proceeds from the sale go toward our scholarship program to help emerging artists attend the conference for free. 

Saturday morning started off early with the Cecilia Beaux Forum’s panel featuring, Anna Rose Bain, Wende Caporale, Judith Carducci, Mary Sauer, and Dawn Whitelaw. This Q&A session about establishing and managing your art career was standing room only, with each of these remarkable female artists offering their practical advice, counsel, and encouragement. Next on the main stage, three legends - Daniel Greene, Everett Raymond Kinstler, and Burton Silverman – came together to share the wisdom of their past experiences and how they continue to look to the future. That morning also included another set of breakout sessions, featuring panels and demonstrations by Rob Liberace, Mary Whyte, Rick Casali, Jeffrey Hein, Daniel Gerhartz, Quang Ho, Dawn Whitelaw, Rose Frantzen and David Kassan. After lunch, noted author James Head shared some fascinating stories and images about the legendary illustrator and portraitist, Howard Chandler Christy, and Daniel Gerhartz returned to the main stage for an engaging demonstration, where he focused on his approach to building form and conveying emotion. 

A Night to Remember
The Saturday evening Gala Banquet is for many the highlight of the weekend. It’s hard to say exactly what makes the night so magical – perhaps it’s the rich food and drink, or the anticipation of the awards being announced, or simply the excitement of finally removing those paint-stained clothes and seeing your friends and favorite artists all dressed to impress. This year, a champagne toast added to the night’s celebration and eased our wait to hear the results of the International Portrait Competition. With a record number of entries, 24 talented finalists were selected to showcase their work at the conference and compete for the Draper Grand Prize, which this year included a $20,000 cash prize in honor of our 20^th year. This year, that coveted prize was awarded to Daniel Keys for his stunning work titled, Innocence. Finally, an honoring of our newest Signature Status members and a thoughtful keynote address by Richard Ormond, rounded out the official end of the banquet, though I have it on good authority that the celebration continued well into the night!

The last day of the conference is bittersweet for most, as we all prepare to say goodbye and get back to our regular, albeit somewhat less exciting schedules. This year, Paul Newton led the morning’s Inspirational Hour, after which Michael Shane Neal and Richard Ormond shared an illustrated conversation about John Singer Sargent on the main stage. And last, but certainly not least, the always-entertaining Jeffrey Hein gave a demonstration on visualizing shape relationships and achieving a likeness even under the most challenging situations. And after the closing ceremonies, many attendees loaded into buses headed for the National Portrait Gallery.

Always Learning, Always Improving

At the Portrait Society, we take ideas and feedback from our members seriously. And for our 20^th anniversary a number of new programs were added to the schedule in response to suggestions made by our members over the years. This year, those especially energized artists, who feel that four days just isn’t enough, were able to arrive a day early to participate in one of three pre-conference workshops with Rob Liberace, Michael Shane Neal, or Mary Whyte. Additionally, on Thursday and Friday night conference-goers could attend free 2 ½ hour open drawing sessions where models were provided along with informal instruction by rotating faculty artists. I admit, I expected a moderate turnout for these sessions, because of our already packed schedule, but both nights the rooms were overflowing with artists, sketchpads in hand, and some of the most determined and engaged expressions I’ve ever seen – and once again, I was blown away by the artist’s perpetual energy to create. 

It goes without saying that this event would not be possible without the generous donation of time and knowledge given by each our faculty artists – many of whom return year after year. These incredible individuals have helped to build and strengthen the Portrait Society community, and we would not be the organization that we are today without them. Our sincerest thank you to our 2018 faulty: Leslie Adams, Anna Rose Bain, Wende Caporale, Judith Carducci, Rick Casali, Casey Childs, Michelle Dunaway, Rose Frantzen, Daniel Gerhartz, Daniel Greene, James Gurney, Jeffrey Hein, Quang Ho, Edward Jonas, David Kassan, Daniel Keys, Everett Raymond Kinstler, Robert Liberace, Michael Shane Neal, Ricky Mujica, Paul Newton, Richard Ormond, Mario Robinson, Mary Sauer, Burton Silverman, Adrienne Stein, Jennifer Welty, Dawn Whitelaw, Mary Whyte and Elizabeth Zanzinger. 

The Whole is Greater than the Sum of its Parts

When individuals come together to form a community, they become something greater than themselves. In fact, the greatness of a community is most accurately measured by the passion and commitment of its members. And once a year, it is my privilege to witness the coming together of this incredible community – to watch as our members savor in the company of old friends, delight in the meeting of new ones, and to see them inspire, support, and learn from one another. 

Come and Join Us

For those of you wondering if attending our conference is the right move for you, let me assure you it is! This short recap truly only scratches the surface of all that the Portrait Society conference has to offer. Some of the things not mentioned here today: portfolio critiques, artist book signing, silent auctions, prize drawings, impromptu paint-offs in the hotel lobby, and late night chats about art, life, and the many ups and downs of the creative process. If you’re looking for a community to grow with and share your successes and failures – we want to be a part of that journey. And if you already have an active artistic “support system,” then come share your knowledge and those experiences with others. Next year’s conference will take place from April 25-28 in Atlanta, Georgia, and registration is already open. I hope to see you all there! 

Krystle Stricklin is a writer and PhD candidate in art history at the University of Pittsburgh, and former Cecilia Beaux Forum Coordinator for the Portrait Society of America. 

Finding Your Way Through the Fog

This year the Portrait Society of America celebrated its 20th year of operation. A milestone for any business, but it is particularly significant for a nonprofit fine art organization. So, it felt appropriate during my opening welcome to share the inspiration that led to the founding the Society.  Quite a few years ago I learned that good public speakers capture and hold onto their listener’s attention through the power of storytelling. The story that I shared Friday morning occurred over 41 years ago but I can remember it like it was yesterday.

Edward Jonas opening the 20th The Art of the Portrait conference

I was just a few years out of college and trying to find a path to becoming a self supporting artist. A goal that had burned inside of me ever since I can remember, to put it more distinctly I felt if I could not find a way, I wouldn't be able to breathe.  Many in the crowd nodded in understanding.

I had built a small 260 ft.² studio on the edge of some Florida wetlands where I enjoyed the natural diversity of the wildlife in the area. It was not surprising one day when I walked out my door and came face to face with a barred owl sitting on the fence a few feet away. I moved to within an arm’s length and still this approximately18 inch bird did not fly. But when it turned its head towards me, I saw that the usually deep brownish-black eyes were clouded and a smokey grey color, immediately I knew the bird was blind. With the assistance of a Florida Wildlife Officer the bird was caught and together we took him to a local veterinarian who found thorns in her eyes. That evening, I found myself standing outside my studio door with a bag of antibiotics, a wild bird in a cardboard appliance box, and a grinning wildlife officer who as he drove away yelled back, “you better get a book on falconry!”

Over the next two weeks I read several volumes on the ancient sport while I cared for the owl. I was able to get her to quietly sit on my gloved hand while I would caress her head. Sadly, the bird passed but the experience left me with a new passion. Armed with a federal and state falconry license, I was soon working with a young female red-tailed hawk that the Florida Game and Fish Commission requested that I trap and remove as the bird was turning a local farmer’s yard into her own Chick-fil-A!  

After many, many weeks of slowly working with this bird to overcome her natural distrust of humans and also to condition her to associate my whistle with food she responded so well that not only could she be trusted to be set free of any leashes, but she would immediately return to my glove whenever she heard my whistle. We had become a team with enough trust built between us that we could confidently venture into the field for a season of hunting.

Red-tail hawks seldom hunt “on the wing” in the manner of a Peregrine Falcon but prefer to find a high perch where with their amazingly powerful eyesight, that is even telescopic, can scan a large area for the slightest movement and possible prey, which for her now had to be rabbits that are far more crafty than barnyard chickens, or so she found out one day.

It was just after sunrise on a crisp fall day and I had found a field that had a dead pine tree conveniently situated on a slight hilltop, it looked like the perfect place for “Khan.”

Edward Jonas, Khan, oil on panel

The night had left some low spots in the field covered with ground fog that would burn-off as soon as the sun’s rays would warm the air. As we entered the field the hawk lifted off my fist and headed for the top of the pine tree, when she landed you could hear the high and low jingle of falconry bells attached to the protective leather jesses on her legs, as she moved up a branch.

Fairly soon as I was walking through some brush a large cottontail busted out into a full run. I looked to the bird who was already off the branch with wings partially folded in a full dive gathering speed for the chase. The rabbit headed first right then left but with the hawk closing on her she made a direct line for the fog.

One of the amazing tricks rabbits, that seem to know instinctively, is that when they have a hawk closing in on them they will head for the lowest scrub tree they can find and shoot under the limbs at which time they will do a right angle and continue to run. The bird either has to smash into the tree or go up and over at which time the rabbit has made their escape. Score one for the rabbit.

And this was exactly the rabbits escape, and the fog was its only haven. They both disappeared into the fog bank leaving behind only the swirling coils of white mist to indicate their entrance. It was all was so explosively quick and exciting to watch and that the rabbit won out is more the norm nine out of ten times in nature.

But now somewhere in that blanket of whiteness I had lost my hawk. All I could hear was the jingle of her bells and the rhythm told me not only had she missed her target but that now she was socked-in and trying to walk out!  That the fog was only a very thin layer between her wings and the clear blue sky was not within her comprehension.

This magnificent and powerful bird with over a three-foot wing span that can soar above the clouds or dive at speeds of 120 mph and that can grip your hand so tightly through a heavy leather glove it can go numb is letting a little mist stop her. I whistled, and she continues to walk towards the sound but still did not attempt to fly.  So I went closer to her and with my field bag fanned an opening so she could see and up she jumped onto my arm.

An amazing day for sure and as I reflected upon it, I realized how we sometimes can let little things seem impossible to overcome, and we let it stop us. Maybe it the way we are looking at the problem and if we only persevered, investigated, pushed a little harder then maybe that big thing might really be nothing. And think what how it means to be that person who can fan the fog away for someone else.

Establishing a career in the arts can seem confusing and overwhelming. After the conference this year we heard from a first-time attendee, “The Portrait Society is such a welcoming, supportive group I wish I knew about sooner! -I learned creating a great painting is the priority even before likeness.  I also learned why I do many things and I have a new perspective on how to improve my work.  Seeing so many different approaches really opened my eyes to new possibilities. It is a great atmosphere to learn in when everyone is an artist.

This was the inspiration behind having an organization “run by artist for artists”? We wanted to provide the opportunity for artists to gather together, share and guide each other.

I believe in it and wish that it existed when I was struggling to find my way through the fog.