About David A. Leffel

About the Artist

Sherrie McGraw was born in Wichita, KS and grew up in Ponca City, OK. She studied both in college and privately for five years until her passion to learn more took her far from the Southwest. At the world-famous Art Students League of New York, her early interest in becoming an artist came to fruition with instructor David A. Leffel.

In the tradition of Rembrandt, McGraw's interest in the chiaroscuro way of seeing is evident in her work. Light is seen brilliantly illuminated against rich backgrounds, the subject painted with lush brush strokes and rich color.

Hovsep Pushman and Walter Murch have also heavily influenced McGraw. '' I am sympathetic to Titian who thought at age 60 that he was just beginning to learn to paint. It takes time to develop technically and artistically before what is possible can even be understood.''

A quote from a recent article on McGraw in Art Talk:'' The art world's ageless argument about whether an artist is born or created continues to rage...I personally have come to the conclusion that at least in her case an artist is most definitely born.''

Major Group Shows:
Prix de West, National Cowboy Hall of Fame, Okla. City, OK
American Women Artists Invitational Exhibit, Sorrento, Italy
Artists of America, Denver Rotary Club, Denver, CO
Lineberry-VanVechten Museum, Taos, NM
American Women of the West Show, Tucson Museum of Art, Tucson, AZ
Gilcrease Miniature Show, Gilcrease Museum, Tulsa, OK
American Miniature Show, Settler's West Gallery, Tucson, AZ
Grand Central Art Galleries, New York, NY
Hudson Valley Art Association, Westchester, NY
American Artists Professional League, Lever House, NY
Salmagundi Club, New York, NY
Allied Artists of America, New York, NY
Parrish Art Museum, South Hampton, Long Island, NY
Pastel Society of America, National Arts Club, New York, NY

Publications:
March 1998 Art Talk
Nov/Dec 1998 Art of the West
May 1995 Southwest Art
Aug 1992 American Artist: Painting Shadows and Light
April/May 1990 Southwestern Woman
Sept 1989 Southwest Profile: A Way of Seeing
July 1985 American Artist
1992 Oil Highlights, American Artist
1998 Daily Life and Still Life
1986 Art, Chinese Magazine
1991 The Santa Fean

Teaching Experience:
1988-1992 Art Students League of New York, NY
1988- present Fechin Institute, Taos, NM
1984- present Scottsdale Artists School, Scottsdale, AZ
1977- present Private Classes

Select Collections:
Senator John Warner
The Mellon Family
John Geraghty
Rosina Florio Estate
Mitzi and Doug Barrett
John Mellencamp
George and Pam Carlson
Forest Fenn
Howard Terpning
Dan Ostermiller
Nat and Connie Troy
Diane Cash

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Painting with a Concept
by Sherrie McGraw

At first, learning to paint must include painting things well. This is reasonable. Consequently, most painters feel they have succeeded in this quest when they can paint the subject convincingly and capture a look of reality. However, any thinking person might ask if more is possible than this technical proficiency.

If you have ever been moved by a great work of art, you may have wondered if it possesses something else. ''How can paint, shapes, color, and edges be so compelling?'' Paintings with more impressive technique often lack this ability to move the viewer. Instead, they impress with rendered detail and inspire wonder at the work involved. Some may lack technical prowess and instead rely on sentiment or storytelling. Some may simply depend on bravura brushwork.

Standing before a great painting, the inquisitive painter must wonder where the magic lies. The image compels you to examine the surface beauty and return again and again, leaving a lasting impression. What is the lure?

The underlying culprit is the concept. Rather than seeing each object as a separate entity, concept creates a relationship between objects, thereby creating something greater than the whole. This underlying visual message creates a beauty beyond subject matter and is the real reason behind the painting. Abstract ideas, though difficult to grasp, directly affect the development of an artist. The less personal and the more universal the motive, the more compelling and sublime the statement becomes.

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About the Artist Sherrie McGraw was born in Wichita, KS and grew up in Ponca City, OK. She studied both in college and privately for five years until her passion to learn more took her far from the Southwest. At the world-famous Art Students League of New York, her early interest in becoming an artist came to fruition with instructor David A. Leffel. In the tradition of Rembrandt, McGraw's interest in the chiaroscuro way of seeing is evident in her work. Light is seen brilliantly illuminated against rich backgrounds, the subject painted with lush brush strokes and rich color. Hovsep Pushman and Walter Murch have also heavily influenced McGraw. '' I am sympathetic to Titian who thought at age 60 that he was just beginning to learn to paint. It takes time to develop technically and artistically before what is possible can even be understood.'' A quote from a recent article on McGraw in Art Talk:'' The art world's ageless argument about whether an artist is born or created continues to rage...I personally have come to the conclusion that at least in her case an artist is most definitely born.'' Major Group Shows: Prix de West, National Cowboy Hall of Fame, Okla. City, OK American Women Artists Invitational Exhibit, Sorrento, Italy Artists of America, Denver Rotary Club, Denver, CO Lineberry-VanVechten Museum, Taos, NM American Women of the West Show, Tucson Museum of Art, Tucson, AZ Gilcrease Miniature Show, Gilcrease Museum, Tulsa, OK American Miniature Show, Settler's West Gallery, Tucson, AZ Grand Central Art Galleries, New York, NY Hudson Valley Art Association, Westchester, NY American Artists Professional League, Lever House, NY Salmagundi Club, New York, NY Allied Artists of America, New York, NY Parrish Art Museum, South Hampton, Long Island, NY Pastel Society of America, National Arts Club, New York, NY Publications: March 1998 Art Talk Nov/Dec 1998 Art of the West May 1995 Southwest Art Aug 1992 American Artist: Painting Shadows and Light April/May 1990 Southwestern Woman Sept 1989 Southwest Profile: A Way of Seeing July 1985 American Artist 1992 Oil Highlights, American Artist 1998 Daily Life and Still Life 1986 Art, Chinese Magazine 1991 The Santa Fean Teaching Experience: 1988-1992 Art Students League of New York, NY 1988- present Fechin Institute, Taos, NM 1984- present Scottsdale Artists School, Scottsdale, AZ 1977- present Private Classes Select Collections: Senator John Warner The Mellon Family John Geraghty Rosina Florio Estate Mitzi and Doug Barrett John Mellencamp George and Pam Carlson Forest Fenn Howard Terpning Dan Ostermiller Nat and Connie Troy Diane Cash [Back to TOP] Painting with a Concept by Sherrie McGraw At first, learning to paint must include painting things well. This is reasonable. Consequently, most painters feel they have succeeded in this quest when they can paint the subject convincingly and capture a look of reality. However, any thinking person might ask if more is possible than this technical proficiency. If you have ever been moved by a great work of art, you may have wondered if it possesses something else. ''How can paint, shapes, color, and edges be so compelling?'' Paintings with more impressive technique often lack this ability to move the viewer. Instead, they impress with rendered detail and inspire wonder at the work involved. Some may lack technical prowess and instead rely on sentiment or storytelling. Some may simply depend on bravura brushwork. Standing before a great painting, the inquisitive painter must wonder where the magic lies. The image compels you to examine the surface beauty and return again and again, leaving a lasting impression. What is the lure? The underlying culprit is the concept. Rather than seeing each object as a separate entity, concept creates a relationship between objects, thereby creating something greater than the whole. This underlying visual message creates a beauty beyond subject matter and is the real reason behind the painting. Abstract ideas, though difficult to grasp, directly affect the development of an artist. The less personal and the more universal the motive, the more compelling and sublime the statement becomes. [Back to TOP]
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