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Oil Painters of America

The Artful Sage: A tribute to the wisdom of Lyn Boyer OPA

Oil Painters of America · Feb 12, 2024 · 7 Comments

“Carve your name on hearts, not tombstones. A legacy is etched into the minds of others and the stories they share about you.” —Author Shannon L. Alder  

In 2023, we sadly bid farewell to Signature artist Lyn Boyer, a luminary member of the art community. 

It’s rare to find a person like Lyn whose life and passing has had such an undeniable ripple effect on so many people – too many to even fathom. Her positive nature and compassionate soul inspired and encouraged others to do the same. She was wise beyond her years and understood the value of having deep, meaningful friendships, of which she had many. A highly accomplished artist, with a closet full of award ribbons to prove it, Lyn was a consummate professional and sought-after instructor throughout her career. She loved being an artist and knew how fortunate she was to be able to paint and travel for a living.    

This blog article shares some personal recollections by many of Lyn’s closest friends, reflecting on the extraordinary legacy that she left behind, not only through her art but by the many hearts she touched along the way.  

Havana Nights by Lyn Boyer OPA, 14″x18” oil on linen panel – Award of Excellence / Plein Air Salon Best Vehicle
The Muse by Lyn Boyer OPA, 36″x24” oil on linen panel – OPA National Exhibition

Shelby Keefe OPA

Call me one of the Lucky Ones. I got to be pretty close to this awesome, uber-talented, funny, smart, and seriously capable gal. You ask what I’ve learned from her—well, pretty much a whole ton of stuff! Top of the list is how she inspires me, to this day, to be a CAN-DO single woman in a complicated world making a living in this tricky art business. Hanging around her, looking at her paintings, and observing how professional she was in all aspects of the business pushed me to work harder at upping my own oil painting game. Her lifetime of accomplishments inspire me not to shy away from the hard stuff, like learning a new skill (playing the bass guitar) or taking on the big challenges (operating a Class B motorhome!) She taught me to trust in my own talents and instincts, take risks, and to jump in with both feet to live an interesting and fulfilling life. Now that she’s physically not here, I guess I’ll be camping without her—at least I know she’ll be traveling with me in spirit!  

Door County Plein Air Invitational – Left to right: Shar Coulson, Michele Byrne, D.K. Palecek, Shelby Keefe, Lyn Boyer
Last One Up by Lyn Boyer OPA, 24″x18”, oil on linen panel – OPA Award of Excellence  

Brenda Smaston  

I learned so much from the beautiful and incredibly talented Lyn Boyer, about art and life. “Don’t pet the kitty!” Resist picking at the canvas – I’m sure we all can relate to this!  This was one of her big principles. I think this applies to life, too. Learn when to let things go. “If the composition isn’t good, the painting won’t be either.” If the foundation isn’t good, you can’t build anything solid. That’s life and relationships. “A lot has to do with the love we pour into a painting.” That applies to the people in our lives, too. “Man up, quit the blubbering and figure out how to face whatever it is.” Life is hard. Be strong. Hit it head on. “Create, enjoy and appreciate beauty.” Whether an artist, one who plays with paint or a collector of art – it touches and connects us all on a deep human level.  The one I’ve learned since she died is “You can’t make old friends.” We will have lots of acquaintances in life but few real friends. They’re the ones that tell you the truth. Treasure them. Make time for them. Life is short the older we get.

Lyn Boyer was a true inspiration. There wasn’t anything she couldn’t do, if she set her mind to it. What an amazing example she was in the art world and as a human being. May we all find that strength, grit and determination in search of the beauty in our art, and in our lives. 

Classical Gas by Lyn Boyer OPA, oil on linen, 8″x10” – plein air

Jane Hunt OPA

With Lyn I felt completely seen, understood, and loved. We spent countless hours seamlessly switching from intense philosophical discussions to wildly inappropriate jokes. She was witty, insightful, generous, and unwavering in her values. Lyn fundamentally changed and inspired me as a person, and she taught me what deep, true friendship feels like. Some of my favorite Lyn insights: “Do not confuse what you do with who you are,” “Embrace JOMO (joy of missing out),” and “Sometimes when you’re in a big flock of seagulls, all scrapping over the same filthy french fry, you may be wise to fly down the beach a little…who knows, you may even discover an onion ring over there”.  

Lyn painted this incredible painting while talking, and joking on the phone for five hours with Jane Hunt – that’s how masterful she was. Bean “the wonder dog” was featured in Lyn’s wise and witty OPA blog posts: https://www.oilpaintersofamerica.com/?s=LYn+boyer

Eric Rhoads   

When Lyn walked into a room, her energy and smile dominated the room. She never had anything negative to say. Instead, she always made you feel better. She was always encouraging. Even through tough discussions, she made you feel wonderful. I got to know her extensively because of the time we spent together recording her videos, and her appearances at our events. When you spend a lot of time with someone, you often discover their dark side or their true personality. With Lyn, you always got the upbeat, happy, silly, encouraging special person.   

She called me in the car after getting out of the hospital from major surgery because she felt she had dropped the ball on a couple of things, and this was her first chance to follow up. She should have been resting, and I told her so, but she was driven to deliver what was expected of her. She was a true pro.  

We painted side by side many times on our Cuba trip, and I discovered that Lyn had become one of my closest friends. We laughed for seven days. I think she made everyone feel she was their closest friend. It wasn’t manipulative; she truly loved everyone.   

1937 Caddy by Lyn Boyer OPA, 9″x12” Oil on panel  – plein air / featured in Plein Air Magazine

Lyn was an exceptional and in-demand teacher. She created two art instruction videos that are still available through Streamline Publishing: https://painttube.tv/products/lyn-boyer-2-video-combo?utm_

Suzie Baker OPA  

Peruse Lyn’s paintings, and it’s intuitively obvious that she was a great artist! Those of us who knew her knew that her character, wit, wisdom, and friendship were greater still. Lyn was a wise soul, authentic and balanced, entirely trustworthy and honorable. She was sincerely enthusiastic about her friends’ accomplishments. No artifice or competitive spirit, just a magnitude of rah-rah support that inspired confidence. Lyn could give an insightful critique like nobody’s business! My Lyn Boyer text chain is full of on-the-spot easel critiques. Because Lyn was so authentically supportive, she also could speak truth into the lives of those around her. I am a better artist and human for having known Lyn Boyer.   

Lyn touched many in the art world and was a joy to be around. Left to right: Barbara Jaenicke, Brienne Brown, Suzie Baker, Lyn Boyer, Jane Hunt, Brenda Boylan

Brenda Boylan  

There is one word that clearly describes our late Lyn Boyer. Solid. She was a respected, strong, and calm force in the plein air artist community and will be sorely missed. When she spoke, it was with gracious wisdom gleaned from her life experiences. My first memory of Lyn was just a short moment in time. We were packing up our painting gear, and I had asked her about her easel. I had never seen one like it. She graciously demoed her “set-up” and tear-down and didn’t hesitate to share her clever equipment hacks. I also remember her musical talent with the mandolin. Through the instruments of paint and music, she shared her life. What a loss to the plein-air art community. May her generous and solid spirit continue to inspire us all to be like Lyn.  

Bella Habana by Lyn Boyer OPA, 24″x12”, oil on linen panel

Bill Cramer OPA  

Lyn and I had many good times painting together at the Grand Canyon, Zion, and Sedona plein air events. Aside from the painting, we enjoyed just taking in the landscape, watching tourists, and discussing all subjects. Her straightforward, no-BS take on things was a revelation. She adjusted my thinking about a lot of things for the better, especially concerning the art world. Mainly, it takes a lot of work, and most of it doesn’t get recognized. That you should just do what you want; otherwise, you won’t really enjoy it. And that the stuff you do outside of art may be as important to your art as doing the art itself. In other words, stepping away from it once in a while. As a fan of the Top Gun movies, she often joked that she was my wingman during the plein air events. In truth, we were both wingmen to each other. I will forever be happy having known her and cherish the memories of our time together.   

Beyond Deadhorse Point by Lyn Boyer OPA, plein air

Lyn was also an accomplished musician who played numerous instruments. She was particularly drawn to Celtic music and played in several bands. Here she is playing her mandolin at the Grand Canyon.

Brienne Brown  

During every conversation I had with Lyn, I would learn a new bit of wisdom. One favorite bit that stuck with me is to value authenticity and being true to oneself in life and art. She lived this way, and I hope to follow her example, even while I miss the sound of her voice and laughter.  

Lyn was fascinated by the connection between visual art and music – seen painting here with one of her musical partners, Dave Curley, of Interplay Artists

For Sale by Owner by Lyn Boyer OPA– 14″x18″ plein air, oil on linen 

Lindsay Jane Ternes  

Lyn was a remarkable human, a true painter, and my beloved mentor/“art mom”. She understood the challenges of being a working artist and mother, and she told me, “You are a lighthouse. Your effort is most potent when concentrated, so you have to teach the people you love that your light will come back around.” I have so much gratitude for this incredible torchbearer who generously passed her light to me and to all who loved her. Whenever I pick up a Rosemary brush, I know I have Lyn with me – and her memory will forever be a blessing and an inspiration.   

Continuance by Lyn Boyer OPA, 24”x34” won Best of Show at the Grand Canyon Celebration of Art

Kyle Denning   

I met Lyn while volunteering as a workshop assistant during the OPA National Convention in St George, UT, a few years back. She dazzled the group by taking a very detailed photo reference of an Italian street scene and using big brushes, palette knives, and spatulas, creating a lovely impressionist rendering without any detail in a matter of minutes.   

Two years ago, on behalf of the Southern Utah Art Guild, I invited Lyn back to St George to do her four-day “No Fear Painting” workshop. As always, she was a delight. I’m convinced Lyn loved teaching more than painting. She had no secrets; she shared everything. She was humble, fun, and funny. Each day, she arrived in the same black shirt. She assured us she was changing her shirt every day, however. “Every shirt I have is black,” she said. “So, I don’t have to think about what to wear.”  

It was a joy to be around Lyn. She lifted the spirits and abilities of all around her. I consider it a cherished blessing to have crossed her path.  

The Covid Years by Lyn Boyer OPA, 24″x36” Oil on linen

Jim DeWildt

Forty two years….where have they gone? Lyn and I go back that far. We met in 1981. I was living in Traverse City, Michigan and Lyn had moved to the area. To be honest, I’m not sure exactly how we met, but I can tell you when I met her and saw the quality of art she was producing I was very impressed. Aside from her art, Lyn was a very warm and extremely likable person. Over the years we would bounce ideas off one another and critiques.

We both taught illustration courses part time at our local community college, NMC. Those were really some fun times. I think we learned as much as the students.

One of the most memorable times we experienced together was the time we spent two weeks in New York at the Illustrators Workshop. It was hosted by some of the top illustrators in the country…Bernie Fuchs, Mark English, Robert Hiendel, Alan Cober, and Bob Peak. I think Lyn and I constantly kept pinching ourselves….it was almost surreal!  –  Meeting our heroes of the business.

Years sure have gone by quickly. Fast forward, Lyn moved to Durango, CO and didn’t want to take anything from her studio (and Lyn had one of the greatest studios around).  Lyn offered her whole studio to me, and I mean the whole studio. All of the furniture, art supplies and even all her original pieces of art she had done for many commercial jobs.  Lyn had one of the largest private art reference libraries and was set up on the dewy decimal system. A side note, I told Lyn, “I will take your original art but will have it for you anytime you want it back”. (She did get them from me a few years later). When I walk into my studio, Lyn is the first person that comes to mind. I know that she is there.  –  I feel her presence.

In 2018, Traverse City was holding its very first Plein Air week long event. Lyn had called to let me know she was going to be in it and she was wondering if I was going to be in it. I think I told her I wasn’t since I had really never done on location painting, also I didn’t paint with oils very often. At that time I was doing quite a bit with scratchboard.  Leave it to Lyn, she talked me into submitting samples and as it turned out I was accepted. Lyn flew into TC and stayed with me and my wife Manie. What a wonderful visit we had that week. To make a long story longer, I was not having the best week with my paintings but Lyn, being the cheerleader that she was, told me to do my scratchboard, (be true to yourself) so on the last day I went out, did three scratchboard pieces and colored them with my oil paints. Oh yea, Lyn was doing absolutely beautiful paintings all week. What a joy and thrill to be witness to such a masterful painter. At the big event Lyn took one of the big awards and much to my surprise, one of my scratchboard pieces took the best TC scene award…..I about fell over.  If it hadn’t been for Lyn cheering me on and constantly reminding me that the judges are always looking for new approaches, I probably would not have ended up with the three scratchboard pieces.

Lyn was that person…..always there for you, cheering you on, building you up and with a smile. I will truly miss that and truly miss her.

Buena Vista Social Club by Lyn Boyer OPA, 16″x20″ Oil on Linen Panel

About Lyn Boyer:   

Lyn was an award-winning plein air and studio oil painter whose works hang in private collections across the United States. After returning from studying art at the Royal Melbourne Institute in Australia, Lyn began her long career as an American illustrator and painter.  

Lyn’s early inspiration came from the great illustrators of the Golden Age of Illustration and their contemporaries, the American and European painters of the late 1800s and early 20th century. She was captivated by not only the power of the images but their story-telling ability. Lyn took the focus, energy, and ability to respond in the moment required in plein air painting and used it to inform and bring life to her studio work.  

A devotion to painting en plein air and teaching took Lyn on the road for much of the year before returning to her studio in Durango, Colorado, for the winter months. Her commitment to teaching began with nearly a decade as an illustration instructor. It continued through her workshops, instructional videos, demonstrations, and private mentoring.   

Lyn’s great passion for certain subjects helped her to paint them with exceptional truth:   

Automobiles: “You can take the girl out of Detroit, but you apparently can’t take Detroit out of the girl. The daughter of an automotive designer and a child of the Motor City, my lifelong love of all things motorized was inevitable.” – Lyn Boyer  

Music: Lyn played eight instruments and managed to bring the common languages of painting and music together through her teaching and other collaborations.  

Animals: “When I come across and choose to paint our fellow creatures, something about their guilelessness sets my world right for a bit. Without them, I think we might forget to continue to try to find our best selves.” – Lyn Boyer  

The West: An accomplished horsewoman, Lyn was so enamored of the west, that twenty years ago, she sold her farm in Michigan, moved to Colorado, and fully immersed herself in western art and lifestyle.  

She could apply herself to make, learn, or fix whatever she set her mind to. She shared her joy and wisdom with those who were fortunate enough to have known her.  

Thanks to all of Lyn’s friends who shared their love for Lyn and how their lives were changed for the better by knowing her. We can all benefit from these great stories and words of wisdom that Lyn shared throughout her life to inspire and motivate us to become the best version of ourselves and to live life to its fullest.  

Lyn’s OPA blog posts: https://www.oilpaintersofamerica.com/?s=LYn+boyer

For more information, and to see remaining available works, go to https://www.artworkarchive.com/profile/lynboyer/collections and https://www.lynboyer.com

Please add your own memories of the inimitable Lyn Boyer in the comments below.

Lyn painting The Feed Mill plein air.
The Feed Mill by Lyn Boyer OPA, oil on linen, plein air

Forever in our Hearts

Oil Painters of America · Nov 21, 2023 · 7 Comments

OPA Says Goodbye to Master Signature Artist
Nancy S. Crookston
November 23, 1948 – November 17, 2023

It is with profound sadness and a heavy heart that we share the news of Master Signature artist Nancy Seamons Crookston’s untimely passing last Friday, November 17, due to post-operative complications resulting from shoulder surgery. 

Nancy was a beautiful and talented soul who will always be remembered for her kindness, generous spirit, and exceptional artistic talent.  Her warm and friendly demeanor, coupled with her wealth of knowledge about art allowed her to connect with so many people throughout her life.

Nancy’s demonstration at the 2023 National

An avid supporter of OPA, Nancy was often called on to jury artwork, whether it be for a regional or national exhibition or to serve on the Master Signature selection committee.  She was always willing to share her expertise and was well-known for her giving nature and sage advice.  An integral part of the OPA family, Nancy and her husband Garr regularly attended OPA events, and Nancy was often called on to join a panel discussion, provide a painting demonstration, or give a critique.

Early on in her career, Nancy studied with renowned Russian artist Sergei Bongart, whom she often mused was quite direct and opinionated when it came to critiquing his students’ work. Nevertheless, her hard work and perseverance paid off, receiving OPA Master Signature status in 2002; an honor bestowed on a select group of distinguished artists. Throughout her career, Nancy would go on to win numerous awards, winning the Gold Medal at this year’s Western Regional Exhibition for her painting, “I’ll Show You How It’s Done”.

Gold Medal – Master Signature Division
2023 Western Regional
I’ll Show You How It’s Done
by Nancy S. Crookston OPAM
John Michael Carter OPAM and Nancy at this year’s Masters Show at Illume Gallery West

A proud wife and mother of five, Nancy often spoke lovingly about her children and grandchildren, who often modeled for her beautiful figurative paintings. Having moved from Utah to Alameda, California, in 2006, both Nancy and her husband Garr loved the vibrant art community found in the San Francisco Bay area. Her Facebook friends delighted in her regular posts depicting the people living in Alameda, and her whimsical morning breakfast sketches at the local diner became a fan favorite. 

OPA will forever cherish the fond memories we have of Nancy and will continue to be inspired by her amazing life and legacy. Our heartfelt condolences go out to the Crookston family.

Gold Medal – Master Signature Division
2018 Salon Show
Shirley Temple No Ice
by Nancy S. Crookston OPAM
Gold Medal, Master Signature Division Eastern Regional OPA 2021 – 
On a Clear Day You Can See Forever by Nancy S. Crookston OPAM
Gold Medal, Master Signature Division National OPA 2014 – 
Spettro by Nancy S. Crookston OPAM
OPA group photo at the 2019 National Show at Illume Gallery
Trip to China
Nancy and Garr
Nancy S. Crookston
November 23, 1948 – November 17, 2023

In Memory of John Stobart OPAM

Oil Painters of America · May 22, 2023 · 9 Comments

For today’s OPA Blog, we are sharing a short history of John Stobart OPAM provided by Rehs Gallery of NYC. John’s life speaks of a lifelong dedication to developing a tremendously successful path in Art that transcends generations, and whose career has had a positive impact upon so many of the artists of today and tomorrow.

We admire his spirit and celebrate his legacy.

John Stobart OPAM Bio

1929-2023

John Stobart’s start in life was quite unexpected. His mother died when she was seven months pregnant, making her unborn child’s chance of survival uncertain. Nonetheless, the baby lived, and soon joined his older brother George and his father in their modest home in Allestree, an attractive village north of the county town of Derby, England. 

The Stobart brothers were very close. Although only eighteen months older than John, George was a willing guide to all the intriguing wonders of the area around their home. They even ventured to Kedleston Hall, home to the aristocratic Curzon family, whose residence in Derbyshire dates back to the 1150s. To the twentieth-century Stobart brothers, Kedleston Hall must have seemed like a vision out of a storybook. In later years, John would return often to paint the breathtaking setting and elegant stately home.

It was not until 1938, when Stobart was eight years old, that he first met his mother’s family. Meeting his grandmother, who lived in suburban Roby, also marked a turning point in his young life. The tram that stopped at the end of her street traveled directly to the Pier Head in Liverpool. By the time he was twelve, Stobart was allowed to board the tram on his own and get off when he reached the end of the line. His first trip to the docks left him in awe of the vast number, sizes and types of ships that he could see. In talking about that magical day now, he recognizes it as “a life-changing day”.

The happy days in Liverpool and Weston Underwood would soon be interrupted however. News of Hitler’s invasion of Poland arrived in early September 1939. “And then all hell broke loose.” John and George were soon evacuated to Amber Valley Camp to keep them safe from harm. Amber Valley Camp was largely rural and very appealing for young boys. Stobart spent his spare time drawing as he had from a young age, and gradually began to expand his repertoire to include the design of three-dimensional objects during breaks from school.


By late summer of 1945, Stobart had completed his studies at Derby School and was pleased to learn that he was admitted to Derby College of Art without even being required to take an entrance exam. This was perhaps the first of many “strokes of luck” as Stobart calls them—an unexpected opportunity that would subsequently shape his career as an artist. He began studying with the painter Alfred Bladen. The curriculum at the College was based on the traditional academic program of studying drawing first, then painting, and finally painting from a live model. Stobart was thoroughly enjoying himself; rather than struggling with his studies, he was now in his element. Coursework was supplemented with visits to museums and galleries in Birmingham, and it was there that Stobart was inspired by the work of John Constable. The years at Derby College of Art provided a solid foundation for the young artist’s career.

San Francisco The Gold Rush Harbor By Moonlight in 1851 by John Stobart OPAM
30″ x 50″

Stobart finished his studies at the College of Art in 1950 and left for London to pursue his art education at the Royal Academy Schools that fall. After two years of studying, Stobart left to fulfill his compulsory National Service as a radar specialist with the Royal Air Force. By 1955, he was back in London finishing his studies at the Royal Academy Schools.

Not far from the school was the Burlington Arcade, a center for luxury shops and, more importantly, the J. A. Tooth Gallery. Tooth specialized in equestrian paintings, but he and Stobart had become friends when the artist became a regular visitor to the gallery. Eventually, Stobart brought Tooth a few of his paintings to review, and on one occasion he left two of them in the gallery. The next day, the RA school’s porter interrupted him during life drawing class to say that Tooth wanted him to come to the gallery immediately. One of Tooth’s clients had taken an interest in his painting of a tugboat on the Thames and wanted to purchase it. That client was John Meadows Marsh, Q.C. of Toronto, who was in town for only a short time; despite the briefness of their encounter, the two men formed a bond that would eventually lead Stobart to Canada and the beginnings of his professional career. 

South Street New York in 1875 by John Stobart OPAM
18″ x 24″

During Stobart’s years at school in London, his father had made a major change in his own life, marrying again and moving to Bulawayo in southern Rhodesia (now Zimbabwe). He informed his son of these developments, inviting him to visit and sending a ticket for the trip. Stobart set out for his first ocean voyage. In addition to seeing much of Africa and many seas, the voyage provided Stobart with a detailed understanding of how ships function on a daily basis. He returned with a plethora of oil sketches from the numerous ports he had visited on his voyage.

During his time in Africa, it occurred to him that British shipping companies might be interested in paintings that portrayed their ships in exotic port cities. Back in London, he put this idea into action, obtaining a set of plans for the ship Braemar Castle, and one month later, presenting the finished painting of the vessel in the harbor of Mombasa to the Union Castle Line. Within days he had a sale. This strategy would serve Stobart well for many years; he painted for several British and Canadian shipping companies, first on speculation, but soon on commission.

During these early years of his career, Stobart also made his first trip to Canada, where he stayed with John Meadows Marsh, Q.C., the collector who had purchased his painting at J. A. Tooth’s Gallery. While in Toronto, Stobart also contacted the Maritime Museum in the hope of learning more about sailing ships from earlier eras. Alan Howard, curator of the museum, was familiar with the artist’s work and the two men soon became close friends. Howard introduced Stobart to the history of clipper ships and other sailing vessels, and taught him how the intricate rigging of each type of ship was used under variable weather conditions. His research confirmed his own sense that it was time for a new direction in his work. Turning to the sailing vessels of earlier centuries gave him more scope for his work.

Sugar Importers by John Stobart OPAM
20″ x 30″

In 1966 Howard recommended that Stobart make a trip to New York where there were abundant galleries and a much larger art market. On his train ride down the Hudson, he was joined by a commuter who clearly did not want to talk, so Stobart began to review his black & white photographs of the paintings that he wanted to show the art dealers in New York. At that point, his companion took an interest and the men began a conversation about galleries in New York. By the time the train arrived at Grand Central Station, Stobart had recommendations to visit four galleries that might be interested in his work. When he looked at the business card that his traveling companion handed him, he realized that he had been talking with Donald Holden, the editor of American Artist magazine. This surprising “stroke of luck” would introduce Stobart to the New York art world with a recommendation from one of its central figures.

Following Holden’s advice, Stobart headed directly to the Kennedy Galleries. The gallerist working that day was interested enough in his work to suggest showing it to Rudy Wunderlich, the owner of the gallery. Wunderlich was equally impressed. Although he specialized in Western art Wunderlich also dealt in maritime paintings and Stobart’s pieces appealed to him. He asked if Stobart could create twenty-five paintings in time for an exhibition in six months; naturally, the answer was yes.
His exhibition at Kennedy Galleries opened right on schedule and his career as a maritime painter was securely launched in the US.

Eight months after arriving in New York on the train from Toronto, Stobart returned to London where he continued to develop his knowledge of sailing history as well as his reputation as a maritime painter. Not surprisingly, he found himself drawn to the Thames waterfront but also to the architecture that lined its banks. Stobart realized that there was an opportunity to take on the task of painting American ports based on whatever archival etchings, lithographs of photographs were available; and in the late 1960s, he “challenged himself to recreate faithful impressions of specific ports at specific times.” 

Hannibal, View From Mark Twain’s Boyhood Home by John Stobart OPAM
24″ x 36″

By 1970, Stobart moved to the US. Shortly thereafter, he developed a problem with his eyes and was hospitalized briefly. Stobart explains that this unfortunate event introduced him to a fellow patient named Bob Gregory, who became a close friend and informal advisor on settling in the US. Gregory asked him to house-sit his 13-bedroom mansion in Long Neck Point, Connecticut during the winter months when he typically lived in warmer locations. Having the security of a rent-free—and quite glamourous—place to live gave Stobart time to get his green card and begin to settle into the arts community in New York City; in particular, the Salmagundi Club in Greenwich Village. During this period, he also began to make regular trips to Mystic Seaport.  The working shipyard there not only provided an opportunity to study the construction of historical vessels, but also the techniques employed by related trades such as barrel-making and rope-making. Stobart described it as a “sensational” education in all of the components of building a sailing ship.

Stobart’s reputation as a maritime painter grew steadily during the 1970s and 1980s. He explored new historical subjects such as whaling ships and also began to paint the harbors of smaller port cities such as Darien. Eventually, he broadened his scope of subjects even further, including the port cities along the great rivers of the US and the Great Lakes. It was at this juncture that his friend Bert Wright, a British marine artist, invited Stobart to join him in painting outdoors, following the example of John Constable’s practice of making oil sketches on site. Smaller in scale and more spontaneous than the carefully planned canvases of sailing ships, these plein air paintings have become a mainstay of Stobart’s work since then.

Nature had long served to both inspire and educate Stobart in his work, and his return to plein air painting reminded him of the importance of studying on site. To encourage young artists in this endeavor, he established the Stobart Foundation in 1988. The statement of purpose for the Foundation is very clear. “The Foundation realizes the seminal step for an artist to move from student to professional occurs when each artist learns to use passion and sensitivity to shape the technical skills mastered as a student into a mature and independent visual language recognizable as one’s own. This imperative step is unfortunately most frequently encountered just after leaving the protective environment of the program, and before the artist has a body of work able to be self-supporting in the professional art world. During this time of transition, with the least time and energy available to the fledgling artist to give the required focused attention on this important development, many deserving young artists turn to other methods and opportunities in order to make ends meet.”] To date, the Foundation has provided over 100 fellowships.

Venice Bridge of Sighs by John Stobart OPAM
16″ x 12″

Stobart’s plein air work also gave rise to his involvement with the Public Broadcasting System’s Worldscape series in 1992. The premise was that Stobart and some of his fellow artists would demonstrate plein air techniques in the hope of encouraging people to paint landscapes. There were thirteen programs per year, each one lasting two hours. 

At the same time, Stobart continued to create large canvases depicting sailing ships in the harbors of the world. Occasionally, he would select a specific historical incident as the subject—San Francisco, The Gold Rush Harbor by Moonlight, 1851 is one example. The scene captures the intensity of 781 vessels jockeying for a position in Yerba Buena Cove during the height of the California Gold Rush. The moonlight on the sails and water is both elegant and romantic, but the painting also hints at the absurdity of so many ships crammed together like cars in a parking lot during a holiday sale. In fact, it captures the spirit of the Gold Rush succinctly.

Although the demand for Stobart’s paintings has grown consistently over the decades, he also recognized that limited edition prints of similar scenes would allow more people to collect his work. With that in mind, Stobart developed a series of prints and eventually opened his own gallery in Salem, Massachusetts. As with the paintings, there is a range of subjects from historical harbor scenes to contemporary landscapes and cityscapes. Likewise, Stobart began to publish large format art books featuring his work.

Over the years, Stobart was able to purchase several residences that were well-suited to his painting. It was in Boston that he met Anne Fletcher at an “exercise place” in 1984. The story he told is that her yellow dress caught his eye, but the dozen roses he sent her the next day suggests that he was fascinated by more than the color of her dress. The couple were married in 2020 and lived in Westport, Massachusetts.

Busy Day In The East River by John Stobart OPAM
26″ x 42″

Stobart continued to paint into his 90s, but he also focused on another publication as well as providing educational opportunities through his Foundation. In a letter to a relative in England, he explained his profound commitment to the work of the Foundation, particularly his belief that setting an example for young artists offers encouragement and wisdom about the process of building a career. “New projects arise out of my special mission to explain my pathway to success, which has been somewhat unbelievable but needs explanation. What I need to leave behind is a pathway to success which would be advantageous, informative, and encouraging to students who find themselves in a similar position to the one I was able to get through. And to demonstrate how they can enjoy every minute of the process. In other words, I hope to build their confidence.” Stobart’s optimism and his faith in the “strokes of luck” that came his way belied the reality that his gift for recognizing opportunity and his curiosity about the world were at least equally important to his long and successful career. John Stobart died on March 2, 2023, at the age of ninety-three.

Article written by Howard Rehs of Rehs Galleries, Inc.

OPA Bids Farewell to Its Greatest Fan the Legendary, One-of-A-Kind Joyce Pike OPAM (1929 – 2022)

Oil Painters of America · Nov 14, 2022 · 7 Comments

Joyce Pike holding court

To our OPA community, we sadly announce the passing of one of the all-time greats, Master Signature artist Joyce Pike.  Growing up in California, Joyce always knew she was destined to be an artist.  She began her formal art studies with Sergei Bongart at the age of twenty-three, and later continued with Viona Ann Kendall and Howard Reed. With hard work and perseverance, she earned her spot as one of the country’s premier artists, widely recognized for her beautiful impressionist floral still lifes and landscapes.  When OPA created the Master Signature designation in 1997, Joyce was one of only 3 women to receive this prestigious honor, proving that women could be just as successful as their male counterparts in what was then considered a male-led industry.

A natural teacher, Joyce became a sought-after educator who inspired several generations of art students over her 50+ years of teaching.  She was a regular instructor at the prestigious Scottsdale Artists’ School and taught for many years at the Art League of Los Angeles and the Los Angeles Valley College.  Joyce authored several how-to-paint books through Northlight Publishing and went on to produce over forty-five one-hour painting videos.

Neil Patterson OPAM presents Joyce Pike OPAM with the Golden Brush Award

In 2012, Joyce received OPA’s highest honor, the Golden Brush Award, given to an outstanding member who embodies the spirit of volunteerism and generously gives of his/her time and expertise for the betterment of the organization.  As one of OPA’s biggest fans, Joyce spent countless hours working on behalf of OPA. For many years, Joyce wrote regularly for OPA’s Brushstrokes newsletter. Later, she would Co-Chair OPA’s Master Signature Advisory Committee with Zhiwei Tu OPAM. Over the course of her involvement with OPA, she would be called on numerous times to jury, exhibit, locate potential galleries, demonstrate, or participate in the organization’s educational programs. More importantly, Joyce served as a sounding board for hundreds of OPA artists, providing them with sage advice, inspiration, and encouragement. 

Over and above everything, Joyce was all about faith, family, and friends. She felt enormously blessed to have lived such a wonderful and full life. With her family by her side, Joyce spent her final weeks doing what she loved most, painting. As if on cue, Joyce put the final touches on her last painting and passed away peacefully in the days to follow, surrounded by loved ones.

Joyce will be greatly missed, but her legacy will live on for many years to come.

Zhiwei Tu OPAM

L to R: Master Signature artists Zhiwei Tu, Joyce Pike, and Calvin Liang

I was very sorry to hear that OPA Master Joyce Pike recently passed away. Joyce was an exceptional artist who spent many years volunteering her time and expertise to Oil Painters of America. In the early 90’s, she called many people encouraging them to join the organization. She worked tirelessly spending hours helping OPA Founder Shirl Smithson build OPA into one of today’s leading art organizations in North America. For 20 years, Joyce served as the Chair of the Master Signature Advisory Committee. In 2007 she asked me to serve as the Co-Chair of the Master Signature Advisory Committee, but she did the most work to let me have more time to create art.

More importantly, Joyce was a dear friend always looking out for my best interests. She visited my studio many times and offered me praise and encouragement to continue my painting and to write many articles on my art.  She always said that I was her Chinese son and treated me like a son.

Thank you so much Joyce – we will miss you forever!

Scott Royston OPAM

Joyce Pike OPAM and Scott Royston OPAM

Words cannot describe what a beautiful lady Joyce was to not only me but to the art community. Her loss will never be forgotten. Not only was she a friend and a mentor but also a sister in Christ. She gave every bit of her gifts to glorify God. She’s shared her knowledge freely to encourage others to grow in their careers as artists and I am grateful to be one of those people. The last call that I received from Joyce was basically telling me goodbye. She knew she was going to be with the Lord very soon and to this day it just brings tears to my eyes when I think about that phone call. It hit me even harder than the call that I got telling me that she had passed. But her spirit and her memory will always live on and I will always remember her with every painting I do. Joyce, if you can hear my voice, I want you to know that I love you and could you just ask the Lord to save a small place for me in heaven as I look forward to seeing you again soon. Grace.

Myles Herman

Approximately a week or so before Joyce passed, she called to say goodbye. She was almost in a celebratory mood since she was finally going to go be with GOD. She was hoping for this for some time. In her typical helpful style (a little tongue in cheek) she stated when I get there, “I’m going to teach God to paint”. She seemed to be truly looking forward to that experience. She passed on all of her love and gratitude to Cilia (my wife) and I, as well as all who have touched her life. 

Joyce Pike’s 90th Birthday with good friends Cilia and Myles Herman

OPA’S FIRST VIRTUAL CONVENTION TAKES PLACE THIS WEEK

Oil Painters of America · Sep 14, 2020 · Leave a Comment

If you watched the 2020 National Awards Ceremony on Thursday evening, September 10, or took part in the  International Wet Paint Competition you know that our Convention is now under way. If you participated in the Wet Paint event you are already registered for the remainder of the 2020 OPA Convention. If you have not signed up yet, there is still time. Convention activities will resume with the virtual awards ceremony announcing the winners of the International Wet Paint Competition on Thursday, September 17. The following is a  condensed version of the presentations and activities planned for this year’s convention, with a number of world renowned artists and speakers offering their insights in the world of art, and related topics. 

On Thursday evening, September 17, at 6:30 p.m. Central Time, Juror of Awards John Pototschnik OPA will announce his decisions concerning the winners of OPA’s First International Wet Paint Competition. This event was open to all current OPA members, as well as non-OPA artists throughout the world, with awards being given in three separate divisions: OPA member plein air, OPA member studio, and non-OPA member open division. You may view the International Wet Paint Competition Awards Ceremony live on Facebook or if you are registered for the Convention you may view it on Zoom. 

Following the Awards Ceremony past OPA president, Kurt Anderson OPA will present a talk on the importance of representational oil painting in today’s current art scene. He will include insights into the significant role that OPA is playing in the pursuit of our mission of advancing “the cause of traditional, representational fine art by drawing attention to the lasting value of fine drawing, color, composition and the appreciation of light” and “preserving and promoting excellence in representational art”. 

FRIDAY, SEPTEMBER 18 

Convention activities begin again on Friday morning, September 18, at 10:00 a.m. with Signature member David Dibble’s address on how to “Change Your Studies, Change Your Art”. Da vid will explain how his attention to the elements of value, shape, color and composition work into his creation of paintings that embody clarity and conviction after first having been created as small plein air or studio studies. 

A short break, from 11:15 a.m. to 11:30 a.m., will follow David’s presentation. 

Attorney John DiGiacomo, Esq. will begin his lecture on “Intellectual Property Protection for  Artists” at 11:30 a.m. With extensive experience in intellectual property, internet law, corporate law and international law, John will discuss how to ensure the safety of your intellectual property; the creations of your mind such as your artistic works and designs. His vast knowledge of this area of information is attested to by his having appeared in front of courts of appeals and arbitration organizations such as the World Intellectual Property organization and the South African Institute of Intellectual Property Law. 

Take a break for lunch from 12:45 p.m. to 1:15 p.m. 

OPA member Rusty Jones opens the Friday afternoon session with a demonstration of his talent of painting Western American landscape, reminiscent of John Singer Sargent, Julian Onderdon, Portofino Salinas, and Edgar Payne. His use of colors and depth of perception draw the spectator into his paintings, making one feel as if they are not looking at a canvas but standing on the edge of a field, lake or whatever the landscape. 

A short break, from 2:30 p.m. to 2:45 p.m., will follow Rusty’s demonstration.

National Exhibition Juror of Awards, Rose Frantzen, will be interviewed by the editor of  American Art Collector and Western Art Collector Magazines, Joshua Rose, from 2:45  p.m. to 4:00 p.m. Well known throughout the world for her figurative works, landscapes, and still lifes, Rose is not afraid to incorporate diverse stylistic elements into her works that bring contemporary perspectives to her traditional alla prima approach. Find out more about her through Joshua’s personal interview 

SATURDAY, SEPTEMBER 19 

OPA Signature Member Kelli Folsom opens Saturday morning with her still life demonstration “Taking Risks and Painting Bold”. Having received her B.F.A. from Lyme Academy of Fine Arts, in Old Lyme, CT, Kelli has a background in life drawing, painting, and sculpture with in-depth study and classical techniques. She prides herself on painting directly from life in one or two sittings to pass on the perception and experience to the viewer. Kelli will impart information on how she creates her feelings of intimacy with subjects through her paintings. 

A short break, from 11:15 a.m. to 11:30, a.m. will follow Kelli’s presentation. 

From 11:30 a.m. to 12:30 p.m. CMO of Boldbrush and FASO (Fine Art Studio Online), Dave  Geada, will present his lecture “Breaking Through the Artist’s Wall; How to Create and Sell  More Art While Spending Less Time Marketing”. Dave will help artists move to their next level of marketing and step around the stumbling blocks that might be inhibiting their art sales. He will present a better way to market art online, a topic that is of particular importance during these times of social distancing and limited physical exhibitions. Learn from  Dave how to spend less time and get better results. 

Take a break for lunch from 12:30 p.m. to 1:00 p.m. 

Susan Hotard OPA will round out the day of demonstrations with her presentation “How to  Create a Great Portrait” from 1:00 p.m. to 2:15 p.m. Well known for her beautiful, lifelike portraits Susan will demonstrate how she captures the tones and textures of her subjects’ faces and embraces the subtle expressions of children as well as adults. Susan has taught portrait, figurative, and still life workshops in Texas and Louisiana. 

A short break, from 2:15p.m. to 2:30 p.m., will follow Susan’s presentation. 

A group critique session will be the final presentation of the day from 2:30 p.m. to 3:30 p.m. Some of OPA’s most well respected artists will offer their expertise on a handful of pre-selected paintings. This is a good way to hear input on a multitude of styles and subjects which might introduce you to an idea that you have not had before this time. 

CLICK HERE TO REGISTER FOR THE 2020 NATIONAL CONVENTION

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