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The Pastel Journal

The Pastel Journal September/October 2020

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Pastel Journal covers topics of interest to working pastelists as well as those who work in pastel as an additional medium along with those who are just experimenting with the medium.

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United States
Peak Media Properties, LLC
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6 Numeri

in questo numero

2 minuti
it’s personal

“The one thing that you have that nobody else has is you. Your voice, your mind, your story, your vision. So write and draw and build and play and dance and live only as you can.”—NEIL GAIMON This is one of those occasions when the work of the featured artists in this issue might not appear—on the surface—to have much in common. Bert Collins (page 24), for instance, is best known for pastel landscapes depicting the picturesque scenery in and around her home in the Ojai Valley of California. Her work captures nature at its most serene and exudes poetic, almost meditative qualities. The paintings of Kristin Divers (page 32), on the other hand, couldn’t be more different. Her latest series of pastels take viewers inside a working steel mill. The…

3 minuti
daniel e. greene: in memoriam

Daniel E. Greene, Pastel Society of America Master Pastelist and Hall of Fame Honoree, will be greatly missed by a fine-art community in which the artist was ever present. In a post on Artists Network, Pastel Journal’s Editor-in-Chief Anne Hevener wrote: “Greene was a contemporary master of figurative realism. He was also a teacher and mentor to numerous artists and a friend to our own Artists Network family, serving on our editorial advisory boards and contributing many times to feature stories in Artists Magazine and Pastel Journal.” Greene’s career spanned seven decades, and he was always refining his approach to his subjects—even as the accolades rolled in. Complacency was never an option for the industrious artist, who got his start doing street art in the 1950s. In a feature article from our…

2 minuti
dealing with rejection

Don’t Put All Your Eggs in One Basket AVOID THE AVOIDABLE Often, rejection is the result of subjective forces, such things as taste, trends and other people’s priorities or insecurities. Other times, it’s the result of oversights for which the artist is responsible. It could be sloppy presentation, for example, or an exhibition proposal or grant application that’s lacking in substance or clarity. Take steps to avoid careless mistakes that needlessly set you up for rejection. Applying for one grant a year or submitting work to one gallery is only a gesture. You’re unlikely to get results from minimal effort. Instead, create opportunities for things to happen. Think big and broad. Make inroads in many directions. What you want is a lot of baskets with lots of eggs. Try, Try Again Each time you receive…

3 minuti

A1916 encyclopedia entry on Thomas Anshutz (American; 1851–1912) noted, “Although a master of both oils and watercolors, he was unrivaled in pastel.” Anshutz came to the medium in mid-career, well after he was established as an oil painter and teacher. He was a longtime instructor at the Pennsylvania Academy of the Fine Arts, where he forged a bridge between 19th- and 20th-century schools of realism. Born in Kentucky, Anshutz moved to New York in the early 1870s to study at the National Academy of Design. In 1875 he relocated to Philadelphia and was soon one of Thomas Eakins’ most promising students at the Pennsylvania Academy of the Fine Arts. Within a few years, Anshutz was Eakins’ assistant, and the younger artist eventually succeeded his mentor in several prominent positions. He taught…

6 minuti
mexico: en plein air and beyond

As I sat on the rooftop deck of Casa de la Noche on my last night in San Miguel de Allende, eating pizza under the stars with new friends, I couldn’t believe it was just a few months prior that I’d first heard of this captivating city in Central Mexico. A friend who lived in Mexico years ago had recently extolled the town’s many virtues—the vibrant colors; the art schools and famous Parroquia, a majestic neo-Gothic church that towers over the city and glows vivid coral at sunset—so the place was already on my mind when I spied an ad for a January pastel workshop in San Miguel de Allende with pastel master Richard McKinley. My husband assured me he wouldn’t mind puttering around town while I painted, so I…

11 minuti
a paradigm of beauty

When Melissa Hefferlin graduated from high school, her paternal grandmother gave her a set of Rembrandt pastels. Later, while attending the Otis Art Institute of Parsons School of Design, in Los Angeles, a model at the school introduced her to noted California artist Michael Newberry, who became Hefferlin’s first mentor in the medium. “After class at the Institute, as his apprentice, I’d go to his studio, and he’d either let me paint beside him or would set up an assignment based upon a particular weakness he’d found I had,” says Hefferlin. I’d do the assignment; then he’d critique. He’s a wonderful pastel painter and was generous in his willingness to teach me his extraordinary technique—and having a good set of my own pastels made all the difference. To this day,…