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Daniel Smith Cover Artists

Leslie Williams Cain - Reference 2004-05, Cover A
Walla Walla, Washington
Leslie Williams Cain's chalk pastels capture the openness and quietude of the region east of the mountains in Washington state. As a Walla Walla native who continues to live and work in the area, Cain renders the character of the land and the nuances of the light throughout the seasons with profound understanding and care. Cain conveys the freedom felt when encountering the expanse of fields and rolling hills, yet also suggests a sense of isolation with images of lone weathered barns amongst the crops and empty skies.

"Farmhouse, Oregon Hills"
Pastel on paper, 41" x 29-1/2"

Phyllis Meyer - Reference 2004-05, Cover B
Beaverton, Oregon
Phyllis Meyer's mixed media paintings are often remembered images of landscapes and animals, bright in color and highly textured. This painting is one of a series representing a spiritual journey made to New Mexico. Phyllis' work has been exhibited widely in Oregon and Washington and shown in California and Arizona.

"Taos Pueblo"
Acrylic/mixed media, 22" x 28"

Carol Acquilano - Reference 2004-05, Cover C
Rochester, New York
Carol Acquilano paints the landscape in and around her native city of Rochester, New York. Her favorite place to paint, however, is in Italy, where she feels the connection to her ancestoral roots. Also a printmaker, Carol has exhibited her work in Boston, Chicago, Philadelphia, Rochester and Cortona, Italy. Contact Carol Acquilano at www.artsrochester.org/artists/acquilano.htm

"Siena Hills"
Acrylic on canvas, 60" x 48"

Robert Connell - Spring 2004
Connell begins each drawing with deft brush strokes on black sumi ink on white paper. He adds gouache over the ink to further define his objects. This added dimension reveals the dichotomies in Connell's work between white and black, color and absence, the material and what is immaterial and ultimately, realism and abstraction.

"Yellow Warehouse"
Sumi ink and gouache on paper, 22" x 30"

Jaime Olaya - Reference 2003-04
Jaime Olaya's pastel paintings depict memories of his native Columbia. His subjects, frequently women and children, are painted in fresh, bright hues that recall the vibrant tropical colors of his homeland. Jaime's work has been exhibited in Latin America, New York, Miami and Seattle.

"Woman Selling Flowers"
Pastel, 19" x 24"

Leslie Brown - Summer 2003
"The subject of my seascape images is the juxtaposition of natural and manmade rhythms and their relationship to each other. My compositions are planned in depth with strong directional devices to create an initial impact to the viewer.

Daniel Smith Acrylics provide me with the crispness and detail I need to achieve the very specific light that is such an integral part of my pieces. Retarders and Flow Releasers are used to give me the paint consistency to blend acrylics.

"California Dreamin'"

Joan Archer - Winter 2003, Cover A
Seattle, Washington
"This painting evolved through the application of several mediums; watercolor, gouache, pastel, acrylic and India ink. The vision behind the piece was the many faces of daily life and how I weave them together. I hope the painting offers both hope and inspiration to the viewer."

"A Long Day's Journey into Night"
Mixed Media, 22" x 30"

Lois Silver - Winter 2003, Cover B
Seattle, Washington
"Leaving a bad situation, on course to a positive future or heading towards a life of crime?"

"Past or Future"
Oilbar on Canvas, 24" x 30"

Gigi Gelfan - Reference 2002-03
Seattle, Washington
"I am delighted by the way colors play off of each other and how different combinations will set a mood or feeling. I'm a plein air painter and normally work outsite. Although, since coming to the Northwest, I've had to learn to work in the studio as well.

"I started this piece with a photo of an older woman and realized halfway into it that it was turning into an image of my mom! The sunny smile and rose garden setting typify what my mother is to me - a happy gardener! For this painting, I used a single Daniel Smith Red Boar bristle brush, and a combination of Daniel Smith, Rembrandt and Sennelier oil paints."

"The Gardener"
Oil on Panel, 12" x 14"

Rock Newcomb - Winter 2002
Payson, Arizona
Rock Newcomb's still lifes and landscapes, including paintings of prehistoric Southwest artifacts and nostalgic scenes from America's rural past, have the ability to whisk us back in time. Using techniques acquired through many years of experience with scratchboard, transparent and opaque watercolors and oils, Rock is able to achieve compelling results with acrylics.

A teacher art for 25 years and a full-time artist today, Rock also conducts several workshops each year. His work hangs in corporate and private collections worldwide, and he is represented by galleries throughout the U.S.

"A Beautiful Time"
Daniel Smith UltimateTM Acrylics on Claybord

Steve Frenkel - Summer 2002
Marietta, GA
"Most of my work is about imaginary built and natural environments...where memory and imagination combine to create new worlds full of humor, ambiguity, and unexpected juxtapositions. I use various colors of Daniel Smith Acrylic Gesso to begin my works on canvas. They are grounds for greate achievement! And Daniel Smith Picture Varnish with UV-Absorber ensures my images will last."

"Beach Road"
Alkyd on Canvas

Lynd Ward (1905-1985) - Reference 2001-02
Renowned as an illustrator, Lynd Ward studied art in New York and in Germany, where he mastered wood engraving. Early in his career, he created wordless novels told completely through series of engravings.

Later, he became a prolific illustrator of children's books and won the 1953 Caldecott Medal for The Biggest Bear, which he also wrote.

"Ritual" is an excellent example of the dramatic composition and technical mastery that characterized his work.

Wood Engraving, 1966, 11-3/4" x 7"

Tomoo Inagaki - Winter 2001
Born and raised in Tokyo, printmaker Tomoo Inagaki also worked as a commercial artist and teacher. After World War II, he specialized in highly stylized prints, often involving cats. Sophisticated compositions, rhythmic lines and subtle color schemes reflect the physical grace and elusive nature of his favorite subjects often with a touch of humour.

For larger pieces such as this, Inagaki carved plywood faced with sections of veneer, and applied watercolors and sumi to handmade Japanese paper in several printing stages.

"Cats in the Moonlight"
Woodblock Print, 1966, 24" x 18"

K. Gwen Frank - Reference 2000-01
Calgary, Canada
K. Gwen Frank was born and raised on the prairies of southern Canada in the province of Saskatchewan. After graduating from the printmaking program a the Alberta College of Art & Design, she went on to study at The University of Calgary and continues to lecture and conduct intaglio workshops both in Canada and the U.S.

Gwen describes her technique as "a mix of litho pencil and airbrushed aquatint on multiple copper etching plates." She says, "I'm inspired by every day surroundings and relationships, but I try to infuse them with my own perspective. To bring out the sublime with the mundane, I pay attention to events on the fringe of focus, opening up a narrative to embrace mystery in what others might see as merely commonplace. In my Calgary studio, I continue to work from my deep passion for the life and land of the prairies - a land in whose language I think and dream."

"Native Flowers"
Multiple Plate Etching and Aquatint, 12-1/2" x 16-1/2"

Augusta M. Asberry - Summer 2000
Bremerton, Washington
An artist since childhood (when her drawing in class often resulted in conferences with Mother Superior), Augusta Asberry began painting her African Dancers in 1992. "My images of costumed dancers are linked to ancestral homage, religious rights and the social occassions and everyday expressions of joy so central to all African cultures, " Asberry writes. The figures themselves are patterned after the primitive styles of ancient African artists. "All my dancers have one thing in common, the reverence for cloth."

Asberry's work is shown nationally and is in private and corporate collections in the U.S., France, Germany, Denmark and Holland.

"Dance for a Quiet Place"
Mixed Media, 20" x 42"

Dinah Cross James - Winter 2000
Bend, Oregon
"My work is highly personal, based on experiences that have been very important to me. The series of paintings that included this piece sprang from the recurring vision of rich colors swirling in a cluster surrounded by rings, birds and ladders reaching into deep space."

Turquoise, the color of water, is metaphor for birth. The red is the center represents life's challenges, tests and experiences both positive and negative. The deep, infinite blue on the far right symbolizes spirit and space. Surrounding these colors and forms is a luminous yellow field representing consciousness, light and awareness. Lines flowing through the piece are threads of life, uniting all the other elements."

"Symbolic Sight No. 3"
Oil on Canvas, 37" x 50"

Cathy Fiorelli - Millennium Edition 2000
Hamilton, Ohio
"In my work, I like to give an impression or interpretation of nature. My subjects tend to be somewhat personal and based on my own surroundings. This piece was inpired by the poppy field at my first home in Kansas. The poppies opened and unfolded for a very brief period in summer, sometimes only a day, before the Kansas wind would rip the blooms apart."

"Recently, I've been working in a more painterly style and focusing on monoprints, using alkyds or oil paints as inks and printing on Rives Lightweight or Somerset Satin."

Reduction Block Print, 10" x 13"

Penny Stewart - Sept-Oct-Nov-Dec 1999
Colorado Springs, Colorado
"Chianti Color was inspired by the late afternoon sunlight illuminating the colors, patterns and textures of this northern Italian vineyard. To recreate the luminosity of the scene, I painted the buildings and fields with my most transparent pigments to contrast with the trees where I used opaque, sedimentary pigments. I exaggerated the curves of the hills and fields to create an undulating rhythm in this painting's design."

Penny Stewart is represented by the Smith-Klein Gallery in Boulder, Colorado.

"Chianti Color"
Daniel Smith Extra FineTM Watercolors, 22" x 30"

Billy Hassell - May-Jun-Jul-Aug 1999
St. Louis, Missouri
Texas native Billy Hassell has made a career of painting the flora and fauna of the American wilderness. Hassell's paintings have earned him more than 25 solo exhibitions and representatino in several museum collections.

Hassell is represented by Meredith Long & Co., Houston; William Campbell Contemporary Art, Fort Worth; Adair Margo Gallery, El Paso; M B Modern, New York and Gerald Peters Gallery, Santa Fe.

"At the Portage (Revisited)"
Daniel Smith OriginalTM Oil Colors on Canvas

Linda Weber Kiousis - Jan-Feb-Mar-Apr 1999
Cleveland, Ohio
"Affodyl is Middle English for daffodil and means 'early-comer.' The scene is the Smokey Hollow district of Youngstown, Ohio."

Watercolors, 22" x 29"
Private Collection

Wayne Thiebaud - Reference 1998-99
Wayne Thiebaud's work, like that of other artists who achieved fame during the Pop Art movement fo the 1960's, reflects his early experiences in the commercial art arena. He began his career as a cartoonist and advertising art director, then earned his art degree and began teaching - first at Sacramento City College, then at the University of California, Davis.

Thiebaud's paintings, drawings and prints combine exemplary technique, brilliant color and inventive perspectives. Perhaps best known for his lushly-painted iconographic still lifes of everyday objects such as cakes and pies, Thiebaud has concentrated in recent years on figurative work and multi-perspective urban landscapes.

Oil on Linen, 1990, 36" x 22"

Janthina duSavage - Summer 1998
Bremerton, Washington
Janthina duSavage's lifelong interests in natural history, sculpture and her Native American heritage are reflected in her paper sculptures. She casts handmade cotton rag paper in large molds, then applies smaller paper elements by weaving, tying or gluing them to the cast paper structure. She uses Golden Fluid Acrylics to highlight portions of her works.

"Heron Habitat"
Handmade Cast Paper with Acrylics, 22" x 34"

Jean Grastorf - Spring 1998
St Petersburg, Florida
Jean Grastorf teaches workshops throughout the Southeast and is a frequent contributor to artists' publications. "Sun-Lit" won the top award at the National Watercolor Society's 1997 Annual Exhibition

Watercolor, 28" x 40"

Tony Fitzpatrick - Reference 1997-98
Chicago Chicago artist Tony Fitzpatrick is a steady Daniel Smith customer. "I'm a big fan of your inks and your etching tools," he says.

Fitzpatrick's work has received a lot of attention over the last few years. His subject matter is often fairly universal - birds, flowers, animals - but his style is distinct to his time and place. Although at first glance they may seem vaguely historical, Fitzpatrick's etchings could only exist in late-20th century America. In many of them, central figures are surrounded by swarms of tiny, doodle-like images - crossword puzzles, dice, snowmen, boxers, circus performers, devils, ships, sirens - evoking everything from carnival signs to tattoos to Yellow Pages cartoons.

Fitzpatrick is a poet, an actor, a father and a blues fan, all of which works its way into the complex weave of his work - multilayered stories that enchant with their dark nostalgia.

"Havana's Bird"
Color Etching and Aquatint, 4" x 5" Represented by Davidson Galleries, Seattle, Washington

Kim Drew - Spring 1997
Seattle, Washington
Kim Drew, a native of Issaquah, WA, is a multi-discipline artist who enjoys plein air painting, always keeps a sketchbook going, and has been known to wrestle with clay. A Signature Member of the Northwest Watercolor Society, Drew has won numerous awards for his work and is currently represented by Jaz & Jaz, Seattle.

"Robert's Garden"
Watercolor, 10-5/8" x 13-5/8"

Johnny Friedlaender (1912-1992) - Reference 1996-97
Paris France
In his late teens, Friedlaender studied painting at teh Breslau Academy with Otto Mueller and Carl Mense. He first exhibited in Dresden at age 18, then began to concentrate on printmaking. In 1937, he settled in Paris, where he became involved in the Resistance during World War II.

Friedlaender's postwar work combined various etching techniques to achieve a multitude of effects. "Composition," an abstract work dating from the early 1960's, shows his mastery of printmaking technique.

Color Etching with Aquatint, 21-1/2" x 16"

Helen Hyde (1868-1919) - Reference 1995-96

"Moonlight on the Viga Canal"
Woodcut printed on handmade Japanese paper, 11-7/8" x 13-7/8"
Courtesy: Davidson Galleries, Seattle