In this 25th of The Art of Watercolor, we begin the News by the Baltic Bridges 2016, held in Lithuania and the 15th Biennial of the New England Watercolor Society . Finally, the exhibition organized at the Shenzhen Museum, in tribute to Xidan Chen.
Two Americans are revealed,   L.S. Eldridge and Vickie Nelson, as well as the South African Kate Graham and the Australian Yvonne Overton , French Véronique Sustrac.
Peggi Habets makes us meet the heart of humanity, and Polina Egorushkina gives us a sense of freedom with an abstract painting. Diane Boilard also represents nature in its color scheme.
The life of an artist is that of the JapaneseKeiko Tanabe , portfolio is Mark Elsmore's who transcends the everyday. Jacques Villares Castillo and   Michael Reardon also are urban watercolorists.
We visit color in its raw state in the workshop of Lyn Evans and take a lesson on values with Lois Wolford. Demo on the street stage with Miguel Linares Rios and Maya-inspired portraits for the American Jan Ledbetter.

The News

Ken Goldman, Totally Fried. 56 x 56 cm

International Master Watercolor Exhibition

The exhibition is held at the Puyao Art Gallery in Jimo. It places the artist at the center of its concerns. It was devoted to both Asian masters and Western artists.
The curator of the exhibition is the Chinese watercolourist    Tianya (See previous issue, AoW24).If the artist is ready to donate an exhibited work, the organizers must pay for his trip to China.

Brian Stratton, Green Stones, 54 x 73,5 cm

John Yardley, Canalside, Venice. 36 x 50 cm.

  Stanislaw Zoladz, Sälviken, 56 x 76 cm.

Baltic Bridges 2016

This International Watercolor Biennial has been held in Lithuania since 2006. Selected by a jury, more than 200 works are exhibited in Kaunas. Eugenijus Nalevaika explains the theme for this year 2016.

    The theme of the Biennale, “Challenges and Issues”, was announced in February 2016. All artists working in watercolor were invited to submit high quality photos of their works. The main selection criteria were as follows: excellent technical mastery, originality, compliance of the works with the theme. In addition, the works must not have been painted before 2014 and at least one of the watercolors proposed must be 50 cm or more. It was possible to propose up to 5 painting. More than 110 artists from 15 countries submitted their work: the jury viewed 500 images and selected 60 artists.    

Page 14 Eugenijus Nalevaika

6 artists received the diploma of the International Watercolor Biennial Baltic Bridges: Irena Breiviene (Lithuania, opposite painting), Girmantas Rudokas (Lithuania), Mall Paris (Estonia), Dainis Gudovskis (Latvia), Friederike Graben (Germany) and Lena Johansson Fahlén (Sweden). These prizes reward the diversity of approaches to watercolor and the modes of expression of each of the artists.

Irena Breiviene, Am inos melodijos. 70 x 100 cm.

New England Watercolor Society (News)

Cobweb Patrol by Gerarde Doucette, 2nd price

What is News? Not so new, since the first exhibition took place in 1885, under the original name of Boston Watercolor Society. Exhibitions were held annually until 1892, when the society was reorganized and renamed the Boston Society of Watercolor Painters. Among the 27 founding members were Thomas Allen, president until his death in 1924, and John Singer Sargent, honorary member.

    To become a signatory member, artists must be accepted in 4 exhibitions (within ten years) in what must be one of the most demanding biennials in North America. We have approximately 200 active signatory members, with 5-7 more every year. Artists must submit works in water-based mediums on watercolor or synthetic papers. They must also reside – or be represented by a gallery – in one of the New England states.  

Page 16 Dawn Evans Scaltreto, présidente de la News

Pack Ice 4, Antarctica, by Lisa Goren



Tooled up 49x70cm

L'Américaine LS Eldridge

    Art has always been part of my life. For my seventh birthday, I asked my parents to get a bike and go visit the Tate Gallery in London. By studying both mechanical art and drawing, I discovered the power of dynamic spatial relationships. So it is not surprising that I explore and integrate these two disciplines in my works. My work focuses on representation, the construction of the work being there to tell the story while the components used allow to deliver symbols and clues to the viewer. While I am drawn to many subjects, those that I favor include bold elements that I find inherently charismatic.    

Page 20   LS Eldridge

ZOOM SUR… TOOLED UP : This work received the Gibson Luckenbill RBC Wealth Management Realism Award at the Pennsylvania Watercolor Society International Exhibition in 2015.
In Tooled Up, colored shadows symbolize the ethereal yet transient nature of objects and memory. To achieve a luminous, transparent look, I ran multiple color washes over my sheet, wet-on-wet, then finished with a wet-on-dry glaze. I was careful to reserve the white of the paper for the light highlights, but I also used a wet brush to remove paint and thus reduce certain effects.

Iris Sun 51 x 56 cm

American Vickie Nelson

    Watercolor captured my heart from the moment I put paint on paper. That was in 1982, and that love at first sight continues to this day.
Impressionist-style flowers, animals and clowns are the subjects that I paint most currently, although I have already tried my hand at all subjects.
It is really the act of painting that fuels my passion for watercolour. I consider myself a purist and try to capture the look of what I want without adding other elements, such as gouache, gesso or collages.
But I'm also not opposed to using it to make a work viable. It is the beauty of pure watercolor that fires my imagination and comforts my spirit.
I live in Camas, Washington, and I also teach. I trained in art through workshops and internships with well-known artists, such as Irving Shapiro, Charles Reid, Eric Wiegardt, Frank Webb, Mary White, to name a few.    

Page 22 Vickie Nelson

Frost over Apsley. 35 x 53 cm

Australian Yvonne Overton

    It was while attending a two-day workshop that my interest in the watercolor medium was born; I had never considered painting before, although I had drawn all my life and had a career in styling, design and teaching.
Once retired, we left our isolated farm to settle in a rural town, where I was able to begin a university education, which ended in obtaining a diploma from the Newcastle University, where acrylic and oil were popular mediums. The real journey could then begin with the challenge of watercolour, this technique that is at once beautiful, exciting but oh so frustrating at times.
Because I have always been an isolated artist, I mainly acquired my knowledge and know-how through books and magazines, supplemented by a few internships here and there. As I have affinities with the countryside, I paint traditional landscapes, in particular the rivers and water points of our region where the weather is often hot and dry, emphasizing more particularly the fluidity and transparency of painting in order to obtain this subtlety of light and form.
In general, I mix the paint with a large quantity of water then I apply a wash quickly on the entire surface of the paper. Then, with less water, I build forms in positive while the paper, while drying, goes through all the phases of humidity and semi-humidity.    

Page 23 Yvonne Overton

Snails.2014. 20 x 22 cm,

French Véronique Sustrac

AoW 24 contest winner, Véronique is an engraver, illustrator and watercolourist. She was born in Avignon. Today, she lives and works in the Paris region, in Chilly-Mazarin. A graduate of the National School of Fine Arts in Paris, she won the Pierre Cardin (1999), Joop Stoop (2004) and Paul Gonnand Prizes (Taylor Foundation, 2009).

    I am often surprised, in view of exhibitions, magazines, artists practicing watercolor, the diversity of possible renderings, both very complex in technique and rich in adventure and discovery. I inscribe my approach in this perspective of technical mastery and creative momentum by leaving the door open to improvisation, to "accidents", to the transgression of established rules. I can, for example, in a spirit of discovery, make a watercolor using a mixture of dark, almost saturated shades, and in the wet, deposit bright, luminous colors, in creamy touches, find whites by sculpting the material and on the dry, paint in glaze to accentuate, modify a color or amplify a form to make it more realistic. I am working on this technical complexity at the moment, tackling the theme of roots, intertwining lianas and various plants. It's risky, but the result can be very satisfying, a touch close to velvet, a texture that I particularly like.    

Page 94 Véronique Sustrac

Still life on a garden table, Watercolor and graphite, 45 x 38 cm

Shirley Trevena's favorite painting of

    My favorite painting case this indoor/outdoor theme is something that shows up in a lot of my paintings. Views through doors, windows onto open spaces are depicted in many of my still lifes. I have wide windows in my house and lots of plants, both inside and outside; the living room and the garden are only separated by a window.    

MY WORKING METHOD: The only preparatory drawing I did for this painting is a small sketch of the white lilies. I like to work with a pencil outline; this gives me the freedom to add or remove colors as I work. The objects and flowers are mainly arranged on the right of the image, but the composition is balanced by the white bench, as well as by the wall and the banner in the upper part.
THE RESULT: I sought in this work to find a way to add mystery to the formalism of a still life; this interior painting gives the viewer a simple glimpse of the garden outside. The ornate bench and porcelain provide more clues to this delicate position, not quite inside, nor outside. But the crimson amaryllis are the real stars of this show…and they shine in the sun. Page 86   Shirley Trevena

My last painting

These artists have already been published in the Art of Watercolor, we find their last painting.


Monkstone point
  Naomi Tydeman
48 x 48 cm

The view is of Monkstone Point, which I see most mornings and evenings.


Scissor Bridge,
  Peter Jablokow
66 X 104 cm

Since the wheels of the wagon were very impressive, I decided to give them a lot of importance, in the foreground.


Blue Boy,
Carol Carter
76,2 X 56 cm

I try to remain expressive without feeling constrained by the anatomy of the animal or the details.


Everything and nothing,
Jean Vigué
18 X 28 cm.

These notebooks give me a certain freedom, without a priori and without external judgment, quite simply the pleasure of the moment



The Jacobin Fountain,
Franck Hérété
60x80 + 80X80 + 60x80

Constantly renewing itself: subjects, colors, textures, but also formats.


The River Meon, Hampshire
  Joe Dowden

The previous version lacked symmetry, and the river was brushed a bit too fast.


Symphony of Rust n°14,
  Lok Kerk Hwang
56x76 cm cm

My goal is to draw their charms and the hidden beauty of our daily lives.


Li River,
Michal Jasiewicz
35x54 cm

I had found a beautiful location, a dam on the Li River.