Living Jewels | Lionel Asselineau’s Pastel Birds

Lionel Asselineau’s pastels of living jewels capture the velvety softness of a feather, the down on a seed pod, the spirited cheekiness of a sparrow. The former jeweler takes as much care in painting these scenes as he once used when setting a solitaire. “Just as in the creation of a piece of jewelry, I try to bring to each of my paintings the greatest accuracy, the greatest meticulousness,” the French artist says.

His uncanny virtuosity, borne of intimate knowledge and close observation, brings us back to nature, inviting us to treasure small, rich moments and to pause awhile in our headlong course.

See more of Asselineau’s winged inspiration in the June 2016 issue of Pastel Journal, available in print or as a download, and on newsstands May 10.

Subscribe to Pastel Journal magazine!

pastel-bird-Symphonie du Marais II (pastel) by Lionel Asselineau |

Symphonie du Marais II (pastel) by Lionel Asselineau

l'Automne au Jardin II (pastel) by Lionel Asselineau |

l’Automne au Jardin II (pastel) by Lionel Asselineau

pastel-bird-Féerie Hivernale (pastel) by Lionel Asselineau |

Féerie Hivernale (pastel) by Lionel Asselineau




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Explore the World of Pastel | Pastel Journal June 2016 Issue Preview

Pastel Journal invites you to explore the world—and the world of pastel. The June 2016 issue introduces you to six artists who share their desert, arctic and coastal explorations and their tips for painting what they see before them. PLUS: Learn how to speak the international language of color.

This inspiring issue is available at in print or as a download now and on newsstands May 10. Enjoy your journey, wherever it may lead!





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Luminous Landscapes | Linda Mutti Pastel Gallery

Linda Mutti‘s luminous landscapes rendered in pastel are based on the Santa Barbara, Calif., environs in which she lives. Mutti is a half-hour or less drive from a variety of beautiful vistas—mountains, oceans, bluffs—that inspire her paintings. “I like scenes that have big shapes,” she says. “A view has to speak to me on an inner level. Mornings and afternoons are my favorite times to paint, because the color is more saturated. When I find the scene that moves me, I can feel that excitement. I call it ‘the dream of my painting.’ All the excitement and the hope is still there, alive and well.” Sometimes that dream involves trees reflected in the water or craggy ocean cliffs, but it’s usually the feel of the day that moves Mutti to paint.

Learn more about the artist’s process, her long journey to success and bask in more of her pastel landscapes in the June 2016 issue of Pastel Journal, available in print or as a download. Also available on newsstands May 10th.
pastel-landscape-Dawn-Linda-Mutti-9-x-12 |

Dawn (pastel, 9×12) by Linda Mutti

The Mystery of the Trees (pastel, 12x16) by Linda Mutti

The Mystery of the Trees (pastel, 12×16) by Linda Mutti

pastel-landscape-Mutti-The-Golden-Hour-16-x-20 |

The Golden Hour (pastel, 16×20) by Linda Mutti

pastel-landscape-Sunkissed-Linda-Mutti-12-x-16 |

Sunkissed (pastel, 12×16) by Linda-Mutti

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Splash 18 Runners-Up

Rachel Wolf’s Runners-Up Selections for Splash 18:

Abgott, Anne – LeHigh
Adkison, Melissa – The Exhibit
Ainsworth Mout, Gloria – Sunflower Angel Surprise
Akimbo, Trowzers – Still Life with Oaxaca Coyote and Serape
Alexander, Kathleen – Two Persimmons
Anthony, Scott – Sedimentary Colorado
Armendariz, Tony – Havana Pharmacy
Baffa, Bill – Saddle Up
Baker, Sally – Sun-Drenched Solitude
Baker, Linda Daly – Double Shadows
Baker, Linda Daly – All Aboard
Baker, Linda Daly – Cascading Sunlight
Beanland, Rex – Winter Sun, Inglewood
Beard, Freeman – Almost daylight
Beesley, Terrece – Freshly Cut
Belich, Janet – Split Hairs
Bent, Sarah – Carnations & Blue Bowl
Berry Bergeron, Kathleen – Hello There
Betts, Judi – Ready to Crack
Billeci, Patricia – Catherine
Bird, Matthew – Still Life with Lemons & Crystal Pitcher
Blackell, Margo – Lunch Break in the City
Blore, Janice – Moonlight Magnolias
Bond, Denny – Essential Oils
Bonnycastle, Andrew – The Rush Hour – Toronto Streetcar Driver
Brabec-King, Cindy – Tea Seeps and Recipes
Brace Granhaug, Kimberly – All Things Considered
Brehaut, William “Daniel” – The Siting
Brown, Brienne M – Strolling Up Front Street
Brown, Helen – Faith, Hope & Charity
Buchanan, Robert E. – Marsh
Bullas, Will – Pirate
Campbell-Carter, Melanie – Amorphophallus titanum (infructescence)
Canfield, Stella – Rhapsody in Bleu
Carey, Peter – Anise Swallowtail
Chabrian, Deborah – Just Picked Apples
Chandler, Marsha – Vegetable Medley
Chapline, Cheryle – Nature’s Tangle
Chapline, Cheryle – Shades of White: Iris
Chi, Lei – Pebble Beach
Chien, Chung Wei – Aosta
Chong, Kah Wah – Manali March 04
Chow, Jansen – Morning Market
Collins, Kathy – Beach Riders
Creel, Carol – Perfume Bottles
Cretney, Brenda – 4-H Cow
cunning, kathleen – 58 eldorado
Danecke, Lawrence – Lunch Break
Davis, Barbara O’Neal – Window Dressing
Deemer, Kittie – The Intensity of a Look
Delehanty CWA, Sandy – Petal to the Metal
Dentinger, Ric – Cactus on a hot tin roof
Dentinger, Ric – Luckenbach Feed & Fertilizer
Devine, Richard – Canadian Rockies
DiNicola, Joann – Vermont Here To Stay
Dolphin, Gail – He Loves the Sun
Dutton, Richard – Winter Light
Eesley, Joyce – Hibiscus
Eldridge, L. S. – The Tooled Edge
Erfle, Linda – Capsaicin Connection
Erfle, Linda – White Tights and Giggles
Evans, Janice – April Marshland
Fechenbach, Diane – Reflections, 11 Views
Ferris, Lynn – Shadowplay
Foster, Sherry Adams – Summer Tomatoes
Fox, Ryan – Hecho en Potosi
Gackstatter, Gretchen – Green and Golden
Germany, Allyn –  Terlingua Taxis
Gerrish, Charlene – Vacancy
Giles, Kathleen – Chocolate Martini
Gill, Jean K – Inferno
Gordon, Nanc – InDepth Coleus
Granger Kerbs, Denise – Of Oak and Cane
Hammerman, Beverly – The Last Day Of Summer
Hart, Ann – Chin Up
Haynes, AWS, Richard William – MORNING LIGHT
Henricksen, Gail – The Good Life
Hibbard, Carolyn – Savannah Blues
Hill, Mike – Yellow Ribbon
Hitchens, Patricia – Travelin’ Trio
Holter, Michael – Great Scot
Holter, Michael – Blue Morning Istanbul
Humphrey, Lesley – Maya
Hyoung Jun, Lee – Way above the people
Jablokow, Peter – Calumet River Vertical Lift Bridge
James, Alan – Bar Reflections II
Jefferson, Lisa – Angles Of Iris
Jefferson, Lisa – Kale Garden
Johnson, Kie – In the Studio
Johnston, Sue – Left Behind
Jones, Rance – Playing With Light
Jones, Rance – Dos Por Sesenta
Jorgensen, Cheryl – Floating Market
Jozwiak, Bev – The Destroyer
Kakde, Vijay – Bazaar Road on Sunday
Kalin, Jean – Aglow
Keller Larkins, Kathryn – Through Security
Kent, Gregory – Just before the storm
Lai, Ze Ze – All Night Long
Lai, Ze Ze – Season’s Greetings
Lanzoni, Kathleen – White Blossoms
Lavine, Alexis – Whiskered
Lax Kozar, Nancy – Aspen Brilliance
Lin, Fealing – Anytime Sooner
Liontas-Warren, Katherine – Open Flood Gate at Medicine Park
Lowe, Cheryle – Kimberly
Magallanes, Guy – Gung Hay Fat Choy
Makowski, Robin Lee – Frank’s Southwest Treasures
malnati, francois – apples on aluminium foil
Mason, Paul – Scenic Turnout 2 South
McAllister, William – VAL
McAnally, Terry – Quiet Time
McCartney, Anne – Winter Walk
McClung, Catherine – Mid Summer Night’s Dream
McClung, Catherine – Evening Splendor
McCormack, Geoffrey – ScienceForAChanghingWorld
McDermott, Mark – Edinburgh
McIntyre, Donna – A Tisket A Tasket
McKinney, Trish – Family Stroll On 42nd Street
Meyer-Plath, Stuart – NY Flag Series_Statue of Liberty
Mondloch, Dan – Late Day Light – Duluth
Mondloch, Dan – Grand Marais Lighthouse
Montgomery, Audrey – Hanging On
Morris, Steve – Avian Candominium
Nelson, Vickie – Heads Up
nichols, r mike – Family Foto 3
Nunno, Judy – Afternoon Snack
Oliver, Roberta – 47th and Broadway
Olsen, Barbara – The Light in her Eyes
Park, Adele – Compost Cruiser
Pate, Monika – Roots
Pelissier, Sandrine – The Tree Place
Peluso, Catherine – Brooklyn Diner
Pena, Juan – Capri Village
Perez, Luis – Farnese Mailbox
Perez, Luis – House #8, Farnese, Italy
Perlbachs, Victor – Afternoon on Brook Avenue
peterson, cynthia – Fire and Ice
Peterson, Carol – Dominican Dancer
Peterson, Carol – Dominican Dancer
Petty, Jim – Portrait of Artist John Marbury
Petty, Jim – Carrie
Powell, Suzy ‘Pal’ – Days Gone By
Powell, Tom – A Moment – Cafe du Monde
Powell, Tom – A Moment
Poyerd, Jill – Backcountry Glade
Preslan, Kris – Cars I’ll never Own, #15
Preslan, Kris – Trasporto Romantico
Privitera, Lana – Winter Care Package
Purcell, Robin – After The Fire Vlll
Quick, Marion – The Burn
Quiel, Cathy – Out of Pocket Series – T-REX STAGE
Rankin, David – View of the Bhagirathi River in the Ganges Himalayas
Rankin, David – Sulphur-Crested Cockatoos in the Delhi Zoo
Reardon, Michael – Arezzo
Revino, Gwen – Reaching For The Sun
Rogone, Anthony – Glass Light
Roper, Sherry – Pomodori
Rose, Marilyn – LeaveWellEnoughAlone
Saltzman, Judy – Swimming in Circles
Schilling, Lynn – At The Lake
Shea, Alisa – The Missing Piece
Simpson, Penny Thomas – Another Blooming Cactus
Smith, Harold Dean – Changing Seasons
Smith, Harold Dean – Ancient Rudder (Santorini, Greece)
Smith, Kay – SophistoCat
Smith, Jerry – Port Clyde Autumn
Steinbach-Garcia, Teresa – Husk
Stickel, Sean – Super-Mini Colors
Stinebaugh, Diane – Bee on Purple Flower
Strohschein, Sandra – Morning Commute
Strong, Dellene – Australian Native Iris
Stubbs, Chris – Swiftly Fly the Years
Su, Kevin Mu-chen – Sunset
Sudhi, Sujit – Fifty shades of snow
Sun, Ching-Ping – A Rainy Evening in Prague
Tablante, Jimmy – Good Morning Maui
Tanabe, Keiko – Before a storm, Venasque, France
Taylor, Don – Arches of Augsburg
Thienpondt, Fernand  – White Steps to the Airport
Tse, Rainbow – Sunset Saunter
Tse, Rainbow – Forward
Tuliszewski, Carmella – Glimmerglass
Tunseth, Dee – Escalera a La Villita
Ulrich, Peter – England in the Rain
Umemoto, Diane – Autumn Light, Victoria Park
Waller, Carrie – Celebration
Ward, Marney – Butchart’s Begonias
Ward Wolford, Lois – Are You Sure
Warren, Soon – Cherries with Reflection
Warren, Soon – Baby’s breath Sprinkle
Washington, Margaret – Copenhagen Sunset
Watry, Lorraine – Bamboo and Lilies
Watson, Deborah E – The Reel Story
Weil, James – Yosemite Falls from Swinging Bridge
Werneck, Daniela – Whatever
Wheeler, Rick – Harris’ Hawk
Wight, Nicki – Zimbabwe Grandma
Willey, Herb – Swimmers on Beach Blvd
Wolfe, Monique – Cat Scan
Wolford, F Cole – Spreepark I
Yager, Pat – Autumn Gold Rhododendron
Yates, Marvin – Let Light Shine Out Of Darkness
Yeh, Cheng Fen – Dream Chaser
Yu, HsinHsin – Ring-necked Pheasant
Zhen, Lian Quan – Red Rock Creek

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Landscape Painting: Location, Location, Location

As they stand silhouetted against a blazing sunset with Tara illuminated in the background, Gerald O’Hara says to Scarlett, “It’s land, Katie Scarlett. Land, land. It’s the only thing worth fighting for, worth dying for, because it is the only thing that lasts.” Gone with the Wind (1939)

The Land that We Love
A look at Revelatory Contemporary Landscape Painting

By Betsy Dillard Stroud

Painting Abstraction with Betsy Dillard Stroud

Take an online art course with Betsy at!

As a child, I wandered through woods, waded in creeks and hung upside down from trees. I sat in shaded moss beside springs, with water so cold it took your breath away. Every fall, Papa raked the leaves up in our yard and my sister Caroline and I would jump into them with full abandon. Perhaps that’s where my love of landscape began developing. As I sat by creeks on rocks, listening to the melodic burble of the water and just let my mind wander, I think it was my earliest way to meditate.

Virginia, where I grew up, is a majestic example of the glories of landscape in America. The spring is burgeoning with every kind of flower, and the fall is ablaze with crimsons, bright yellows and oranges. Now I live in Arizona, and the color is incredible—almost beyond belief. The light shifts and mountains are indigo one minute and then suddenly magenta. The tertiary landscape is a subtle and lovely backdrop to drop dead gorgeous sunsets.

Our love of land is engraved in our DNA, I’m sure, and it flourishes in landscape painting, which always changes, with every perception, every visionary painter. If landscape painters were at the same location, each expression, technique and version would be completely different. From Watercolor Masters and Legends, here are a few of the inventive landscape painters and their expressive approaches to location, location, location. Let’s take a look.

Landscape Painting Inspiration

Landscape painting inspiration | Stephen Quiller,

“Aspen Patterns in La Garita” (watercolor, 22×30) by Stephen Quiller

Stephen Quiller reminds me of Thoreau’s famous words in Walden. “I went to the woods because I wished to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived.” Returning from the woods and filled with their serenity and beauty, Quiller captures those aspects by layering color upon color, medium upon medium, brushstroke upon brushstroke. With the contrast of both opaque and transparent washes, he executes the full spectrum of emotion and spirit of his landscape adventures, expressing that irenic glimpse into the world he has created. When the big burn happened near Creede, Colorado, he also recorded that event, a definite art historical reference to the 18th century theme of the beautiful and the sublime. The beautiful is just that–beautiful–and the sublime is the horrific (describing the sometimes destructive side of nature).

Abstract painting | Barbara Nechis,

“Pleistocene” (watercolor, 22×30) by Barbara Nechis

With Barbara Nechis, astute observation of nature is the key. She memorializes nature with lots of pictures, yet those pictures are not the inspiration for her paintings. They are just memories of a place, a time, a thought. On a totally wet surface, Nechis begins her magic, capturing that elusive feeling through her brushstrokes, not trying to emulate reality, but creating ambiguous forms that transport us visually to her emotional and spiritual connection to place. Soon images emerge. Those images of nuance and subtlety, often juxtaposed with the white of the paper, are strong reminders of place without shouting out “location, location, location.”

Landscape painting inspiration | Ken Holder,

“Clouds Over Mountains #24” (watercolor, 22×30) by Ken Holder

Ken Holder’s versions of landscapes have captivated me for more than 25 years. Combining realism with abstraction and getting away with it is no easy feat, and Holder’s work is a lure, a compelling mystery of representational imagery painted in acrylics, enhanced with abstract scraps and shapes of watercolor that he has torn or cut, painted, shaped and inserted around and into the landscape painting, itself. Like a sculptural relief they allow the viewer to enter a creative world of both imagination and iconic representations of nature.

We can see then, that like bystanders at an accident, landscape painters have their own perceptions, their own expressions and versions of what lies within their optic and subliminal feelings about this land that we love that is rapidly disappearing before our eyes and may soon be “Gone with the Wind.”

Abstract painting by Miles Batt |

“Sweet Harbor” (watercolor, 22×30) by Miles Batt

This blog is dedicated to the memory of Miles Batt, Sr. (November 12, 1933 – November 13, 2015) and to his body of work, which represents one of the most creative and inventive approaches to landscape painting in the 20th and the 21st centuries. Magical and chromatically electric, Miles created his versions of “location, location, location” and made us gasp at the beauty and skill of these paintings, and at the same time laugh at the whimsical and delightful metaphor of his significant red button, always a voyeur to his rapturous adventure in color, shape and line. We will miss Miles with all our hearts, but he will live on through his contribution to the world of watercolor.

The world of landscape painters are recorders of our times. They perhaps most of all preserve those memories that will live on forever.

For more landscape painting inspiration, click here and order your copy of
Watercolor Masters and Legends.

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Fine Art and Forensics: Melissa Dring’s Jane Austen Pastel Portrait

The immediate sense of recognition we feel looking at a pastel portrait by Melissa Dring (featured in the June 2016 issue of Pastel Journal) may well be influenced by another side of the English artist’s life: her work as a police forensic artist. And one part of Dring’s art-making in which she has been able to combine her skills in forensic drawing and portraiture to intriguing effect is when she has undertaken to make a likeness of a historical figure of whom no portrait exists: English novelist Jane Austen (1775-1817).

Jane Austen (pastel portrait, 25x20) by Melissa Dring | pastel portrait

Jane Austen (pastel portrait, 25×20) by Melissa Dring

Her first foray into this field was when she was asked to produce a portrait of the Italian composer, Vivaldi (1678-1741). Since there are no reliable portraits of the composer, a filmmaker preparing a documentary on him asked Dring to work up an image. Using one quick sketch made during the composer’s lifetime, augmented with written accounts of his appearance, the artist produced a painting that was embraced by the filmmaker and his backers. This work led to a commission to make a portrait of Austen, which has received considerable acclaim. The painting has all the lively immediacy of a Dring fine art pastel portrait made from life, but its construction was the result of meticulous research and much thought.

“David Baldock, director of the Jane Austen Centre in Bath, approached Scotland Yard, who recommended me,” says Dring. “Dave had already heard of my work on Vivaldi and asked me to take on the commission. He needed me to apply my police forensic methods and my portrait skills to making a new Austen portrait, as she might have looked in her late 20s, during her time in Bath from 1801 to 1806.”

As was the case with Vivaldi, there are no undisputed likenesses of Jane Austen. “In both cases sketches survive, as well as a wealth of character and personality eyewitness accounts,” the artist says. “In 1810, Jane, perhaps a little reluctantly, allowed her adored elder sister Cassandra, an amateur artist, to make a tiny pencil and watercolor drawing of her.”

Unfortunately this sketch was never considered a true likeness. “The family never liked it and I always think it makes her look as if she’s been sucking lemons. It hardly represents the image one associates with Jane, the lively and witty young woman who gave us stuck-up Mr. Darcy in Pride and Prejudice and the air-brained Mrs. Bennett. However, Jane, unlike the rest of her large family, never let anyone else draw or paint her, and apart from a tiny black-and-white silhouette, and a back view, that’s all we have to go on.”

Dring launched into considerable research to refine her sense of Austen’s appearance. “I searched for likenesses of the other Austens, starting with her parents with their long distinguishing noses,” she says. “Luckily we have images of all her siblings and there’s a silhouette of Cassandra.”

The artist was also mindful of the social class and practical qualities of the author. “Jane grew up in a country parsonage, before her years in Bath, and though she was a romantic, she wasn’t at all sentimental. She knew all about killing the family pig, brewing beer for the household—much safer than drinking water—and coping with her nieces’ fleas in her bed when they visited. All mentioned in her letters.”

Dring carefully researched Austen’s dress for the pastel portrait, choosing a red-spotted muslin that Jane herself mentioned buying in a letter to her sister. She then visited the National Trust collection of historic costumes to ensure that the dress style and construction were authentic. But perhaps, in the end, the most authentic feature of the Austen portrait is the expression of the sitter.

“Above all else, I wanted to bring out something of Jane’s lively and humorous character so evident in her writing,” says Dring. “Her expression is a complex one of delightful private amusement. She’s going to poke fun at some pomposity somewhere, or she’s planning to send Marianne off with Willoughby or some other mischievous plot. She’s still, but underneath that cap she’s seething with ideas.”

By John A. Parks (


Read more about Melissa Dring in the June issue of Pastel Journal, which is available now at in print or as an instant download, and on newsstands May 10.

Or, for just a few more dollars, subscribe to Pastel Journal and never miss an issue! Get your issues in the mail HERE or as digital downloads HERE.





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A Return to Painting

“It’s never too late to get to where you’re going!” ~An artist returns to the work she loves

by Lisa Argentieri

This is how I became an internationally recognized, award-winning painter after more than a 25-year hiatus from painting and the art world.

Painting by Lisa Argentieri |

“The Kiss” (watercolor, 16×22) by Lisa Argentieri

Like all artists would testify, we know at an early age that we are meant to create. The desire to make objects that would be admired was in my soul. At seven years old I clearly remember handing over one of my drawings to the art teacher in school for her review, and she exclaimed, “You draw like Henri Matisse!” I, of course, then had no idea what she meant, but had a feeling it was a good thing! The attention and appreciation my art was receiving fueled me on. I would draw constantly, and pour over art books. I knew I wanted to be a “famous” artist.

My formal classical training in art began at the age of 15. As an art apprentice I sculpted, drew, photographed and painted in all mediums. I then pursued my BFA degree at the School of Visual Arts in NYC.

I had the ambition, but I needed to make a living, so after graduation, I worked in the graphic arts field. I put away the brushes and canvases and unfortunately, my dream.

Decades passed and my thoughts about art or painting passed with them. But looking back now I see my mind’s eye for composition and design was still there. My formal training never left me, and in my mind the paintings stayed dormant until the day I received a brochure from the local library offering a pastel drawing class. “Why not go?” I thought, so I went. Unknown to me then, the universe had provided the vehicle that would unleash the force to fulfill my vision.

I watched as the instructor, using a live model, was showing the class how to draw in pastel. The group was instructed to do it on their own. After over 25 years I was suddenly drawing again! All of my training came back to me. That old “buzz” was soaring in me and I reveled in it. Then I became aware that the room had gotten very quiet. Feeling eyes looking at me, I ceased drawing. When I turned, all the other students had stopped what they were doing and were looking at me in awe. I had found the missing link in my life and my passion for art came back!

Painting by Lisa Argentieri |

“Waiting” (watercolor, 18×20) by Lisa Argentieri, selected from 1,400 entries for the Wide Open 6 National Open Call Exhibit, May 2015

Watercolor has always been my favorite medium of choice. I then feverishly painted and studied and used the internet extensively. The internet was my tool for world-wide exposure: watching painting videos and friending via Facebook world-renowned painters. With online searches I learned what the best art organizations and art supplies were and made connections that I never dreamed possible. I was personally encouraged and given advice by the late great watercolorist Nicholas Simmons, and three years later had the unbelievable privilege of meeting and painting with the world famous watercolorists Keiko Tanabe and Thomas Schaller.

Six months into painting, I entered my first juried show with the first watercolor I painted directly from the model (with no preliminary drawing, as is my signature style). My painting was accepted into the prestigious Salmagundi Art Club, NYC open exhibition for non-members show, and won The Award of Merit for Watercolor. I was then invited to become a member of the world’s oldest established art club.

When I entered and won the online watercolor contest from Daniel Smith Artist Materials I gained tremendous exposure. I since have been featured on their website three times with demonstration articles. I entered and won Dick Blick art contests and subsequently had my painting featured in their ad on the back cover of Watercolor Artist magazine. I have had covers and interviews in local newspapers and magazines. I have exhibited twice in museums, all the things I had dreamed of as a child.

I get such joy when I receive emails from people telling me that I inspired them to return to art. I get satisfaction by donating paintings to non-profit organizations. This is why I paint, to bring beauty into this world.

But truly, the moment I felt that I arrived was when the Escoda Brush Co. (Barcelona, Spain) featured my art on their website, for there my watercolors are amongst the world’s finest contemporary painters.

So remember, it’s never too late to get to where you are going.


Lisa Argentieri Bio |

​Lisa’s signature style is free-flowing, organic and fearless with bold, lively color. Lisa’s work is almost always painted from life and in one session, without the use of preliminary drawings or studies.
Her paintings have been selected into major shows including: The Salmagundi Art Club, The Brooklyn Waterfront Arts Coalition, The Allied Artists of America Inc., The Catherine Lorillard Wolfe Art Club, Audubon Artists. Inc., ALLI’s 54th & 56th L.I. Artists’ Open Exhibitions, L.I. Museum & Islip Museum.

Lisa’s paintings have been published in Watercolor Artist, Dan’s Papers, Newsday, Times Beacon Newspapers, Anton Newspaper Group, The Village Connection & ACES magazines.
Lisa is a member of several art leagues & an Artist Member of the prestigious Salmagundi Art Club, N.Y.C.

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