My Finest Hour

AN EXHIBIT OF PAINTINGS WITH A THEME BY MEMBERS OF AQUANET ART
last rose
"last rose"
11 x 15 inch
lanaquarelle cold press

This painting was done during a workshop in Octobre. We where in a monastary. In the garden I found one last rose and its withered beauty caught my eye. To me this is my best flower painting, done in a mood of totally peace with my surrounding environment . www.claudia-arztmann.ch

Claudia Arztmann
All Maine Woman
"All Maine Woman"
18"x24"
Strathmore 140 lbs

We were strolling around Galilee RI one cold winter afternoon,and this lobster boat coming in captured me with its name. On the way back we saw it parked, and the painting was there with the fishnets and all. I just had to paint it. I thought it was the best painting in my last show.

Betul Aydiner
Harley and Kilo
"Harley and Kilo"
16'x20' matted
waterford w/n paint

Thes two pitbulls took second prize at the Plymouth Guild Annual art Show.

Phyllis McDonough
Under the lily pads
"Under the lily pads"
13"x19"
Arches CP300 lb Windsor Newton paint

Just one of my favorites as I like to paint goldfish; do not know if I have a "best". Would appreciate your comments on painting.

Phyllis Giles
Orchidaceae Phalaenopsis
"Orchidaceae Phalaenopsis"
10" x 8"
Arches watercolor paper

I wanted to paint a botanical style watercolor flower. I was happy with the final results and even enjoyed doing the calligraphy of its latin name.

Lorraine Arsenault
The Bouquet
"The Bouquet"
11 x 14
Fabriano Uno hotpress

In this painting, I achieved what I was looking for, a loose interpretative version of my still life set-up. Finally! Not so easy to get back to that place, I don't know why.

Judy Silver
Central Parkl Sisters
"Central Parkl Sisters"
22x30"
Watercolor on Arches Cold Press 140 Lb

Three sisters pose in Central Park for their portrait. Watercolor family portraits available on commission from http://www.MiriamSchulmanStudio.com

Miriam Schulman
Meditation
"Meditation"
15" x 20"
Arches 140 cp; Winsor & Newton watercolors

This painting represents a breakthrough in my painting process a long time ago. I was challenged to paint "poetic realism," instead of WYSIWYG. I painted on fully saturated paper with a 2" hake brush, using brown madder alizarin, raw sienna, indigo, and warm sepia. (I never use sepia now.) At the time, it was my "best ever," and is still one of my favorites, wherever it may be now.

Nita Leland
Heed the Wailing Ghosts
"Heed the Wailing Ghosts"
6 3/8" h x 6 3/8" w
transparent watercolor on 140 lb D'Arches CP

Harborside "The Narrows". St. John's, Newfoundland, Canada These are the ruins of the wind and sea ravished fishing shacks ("The Rooms") that once housed the bustling 400+ year old, now over-fished, Cod industry. The winds of a tropical storm howling through these ruins sounded like voices crying. My tribute to the souls who walked there before me.

Carol Wickenhiser-Schaudt, IAF
CRYSTAL ORCHIDS
"CRYSTAL ORCHIDS"
28" X 36"
ARCHES 300#

This is the 3'rd in my crystal bowl series. It takes a long time to do the drawing, especially the bowl. After the 4th painting, I'm taking a hiatus. :)

Doris Roberts
Worth Exploring
"Worth Exploring"
12" x 18"
Canson 300 cp

A typical "Caribbean" theme land/seascape.

Barry Launius
The Old Crow
"The Old Crow"
30" x 24"
140 lb. cold-pressed Arches/Golden Fluid Acrylics/ Holbein W/C

The painting of this 1938 Chevy Suburban was created with a fluid acrylic poured background and subject and detailing were painted with transparent watercolors on top.

Barbara Sailor
Sweetgum at Pinnacle Quarry Pond, Autumn
"Sweetgum at Pinnacle Quarry Pond, Autumn"
30"x22"
Watercolor on Saunders Waterford 140 CP

Barry D. Lindley
Ros in red
"Ros in red"
15x22
wc on D'Arches rough

this one sold in about a minute. Wish I could relocate that zone...sigh

Martha Keim-St. Louis
Awashed
"Awashed"
12 x 16 in.
Winsor and Newton watercolors on Arches paper

This started as a class demo to show my students how to make paint flow with the help of water and gravity... Turned out to be one of my finest happy accidents.

Eileen Bondoc-Escueta
Watch Hill Blues
"Watch Hill Blues"
15 x 28
W&N watercolors on 140# Arches CP

One of my favorites because I spent this morning fishing with my son at Watch Hill. It won several awards and he owns the painting now.

Richard L. Price
Evening in North Canterbury
"Evening in North Canterbury"
51 cm x 34 cm
Arches Rough 300gsm

Evening in the foothills at the back of the Canterbury Plains in our South Island. Used to be sheep country but now change to dairying. My favourite painting and now owned by a close friend To me, light is all important

Roy Boston
Orchidée et Palmetto / Orchid and Palmetto
"Orchidée et Palmetto / Orchid and Palmetto "
13 x 11 inches
Watercolour on Arches 140 lb c.p.

Everything went very well while I was doing that painting: choice of flowers, composition and drawing, background. Mant visitors in exhibitions told me that this painting is a real celebration about flowers.

Lorraine P. Dietrich, iaf, news
Southwest Summit
"Southwest Summit"
12 by 16
300 lb Fabriano or D'arches paper Daniel Smith & Winsor WC

This is from a photograph of a friend. I liked the relaxed feeling against the New Mexico colors. The photo of the painting is a little dark but not having tried before I thought I'd like to submit it anyway.

DeAnna Phelps
Canyon Sunrise
"Canyon Sunrise"
22"x30"
Gesso covered watercolor paper

This is one of my favorite paintings. The reason I like this painting is because I only used three different colors, but as they mingled and merged on the paper it gives the illusion of many more colors. I also like the textures created because of how I applied the gesso to the paper before painting.

Annika Farmer
Mother Egret and Babies
"Mother Egret and Babies"
16x20
140 # Arches Watercolor

The Mother bird was in her nest with her Babies. The picture I used was taken at the Alligator Farm in St Augustine.Fl

Rosemary Zweigbaum

""Sophia,(Wisdom), is making hershelf up""
22"X30"
Arches 840 gr

A semiabstrac aquarelle from my serrie "Women's Moments".In our age. technology and knowledge is very very high, but not the same with the wisdom; it is missed. So, wisdom is just making hershelf up.

Simeon Dermentzidis
Point in Time - Tracadie
"Point in Time - Tracadie"
22 x 22in
Holbein paints and Strathmore Aquarius II paper

This watercolour was painted as an attempt to capture and savor a particular moment in time. Early in the summer upon my arrival on Prince Edward Island, I headed directly to Tracadie Beach along the northern coast despite overcast skies and a chilling, raw headwind. As my companion and I made our way through the windblown grasses, sand dunes and black, gnarled trees, the force of the nature was overwhelming. Although the roar of the ocean hung in the salty air over the dunes, I had not yet made a sighting of the water. This painting reflects on that instant of suspended anticipation of the power that lies just beyond the last ridge. I was honoured to have this painting selected by the Canadian Society of Painters in Watercolour for the AJ Casson Medal - top award in 2008.

Linda Kemp
Victor
"Victor"
15" x 17"
W&N on Fabriano Artistico C.P. 140lb

I painted this portrait of my grandson Victor last week, and it is intended as a gift for my son's birthday next friday. This is certainly my most emotional experience of late as a painter.

Gilles Durand
Stay Cool
"Stay Cool"
14" x 20"
Arches 140lb cold press. Alizarin Crimson & Thalo Green with a

Title refers to dominance. Started with water drips into which complimentary colors are dropped and fused by shaking and moving paper. I will never sell this as it won many prizes and got me accepted as signature member of PWS.

M.E. Whitehill
3 Tulips
"3 Tulips"
Half Sheet
Arches CP

I wanted to learn how to paint large flowers. It was started in a workshop with Ann Pember and finished probably a year later when my courage and skill had developed more since I was fairly new at painting. Still amazed at how well it came out, she humbly said.

Louise Franco
Rolling
"Rolling"
SaundersWaterford 200# CP

The small photo is the still-life sketch on which the painting is based. Our instructor, Sharon Williams, had asked us to do a larger version using a limitted palette (Quino gold, Phthalo blue and Dio purple were my choices) and to link lights and darks. Frankly, this is better than ever I thought I could do. I am ecstatic with the result.

Pat Davis