Gallery owners and managers, Gary Haynes, Scott Jones, and Beverly McNeil got together for Presenting Your Best Self, in which the three experienced art dealers offered valuable information about how emerging artists should market themselves and seek the attention of a gallery that matches their needs and aesthetic.  Though other artists may have a definite bias against using photography as an aid, these artists view photography as a necessary evil and a useful tool if used correctly, that is in conjunction with life work, and not just as a crutch.  Carol Arnold, Ryan Brown, Casey Childs, and David Kassan convened in another session led Dawn Whitelaw in which participants discussed establishing a balance between working from life and working from photographs.  Though it would have been interesting to see the participants as originally scheduled, the combination of Liberace and Oaxaca offered something truly special as student and mentor working alongside each other showed how students can retain the lessons of their teachers and yet produce significantly divergent work.  In Painting from the Inside Out, Teresa Oaxaca and Robert Liberace – who was standing in for an ill Jeffrey Hein – offered a simultaneous painting demonstration in the grand ballroom.
 The were entertaining as well as illuminating, and it’s likely that after the demo, many in the audience decided to raid their kitchen drawers and repurpose some of their spatulas as studio tools.įollowing a lunch break – and posing for the alumni photo – attendees split into smaller groups to participate in the Breakout Sessions, a series of focussed classes and workshops led by members of the faculty.  However, the two had more in common than may have been guessed, especially the way in which they both began in abstraction, and pulled the sitter’s features out of the swirls of color they initially applied.  At first Quang Ho and Rose Frantzen may have seemed like an odd pair to team up  Ho is sedate and contemplative while he works, while Frantzen appears to be anything but. "With their exceptional performance and beautiful finish it is plain to see that Silver Brush has as much regard for artistry and craftsmanship as the most demanding artist.Michael Shane Neal introduces Quang Ho and Rose Frantzen for their painting demonstration, Style/Personality: The Connection.Īfter James Gurney had warmed up the crowd at the 18th Annual The Art of the Portrait conference, it was time for two veterans of the main stage to step up and show how they paint. As they mature they maintain their character and perform, in some cases, even better then when I first used them. "And when I need a little extra definition there is nothing like the RenaissanceĬat's tongue sables to place the paint with surgical precision. I especially enjoy the Grand Prix filbert bushes which I use extensively. "Silver brushes feel as if they have been custom made for me and my painting. Every stroke seems to roll directly from my fingertips, which gives me an essential connection to my work. With beautiful craftsmanship and a refined and responsive feel they are ideal painting tools. "From the first broad strokes to the last precise details, Silver Brushes leave their mark on all my paintings. When asked "Why Silver Brush," Rob answers, Rob's portrait demonstrations have become a favorite for students attending the Portrait Society's Portrait Academies. Robert has been commissioned to paint portraits for clients such as Marc Pachter, long-time Director of the National Portrait Gallery, George H.W. The previous year he placed Best of Show. PORTRAITS: In April of 2003 Robert received the Portrait Society of America's Grand Prize Award in their annual International Portrait Competition. Three of Rob's drawings were selected to be displayed in New York's prestigious Arnot Museum of Art.
Rob is working on a book for Watson-Guptill Publishing which focuses on his contemporary approach for creating "old master" style drawings.
American Artist magazine highlighted Rob's drawing techniques as the cover feature in their May 2002 annual drawing issue.
He works in a variety of mediums including pencil, chalk, pen and ink, watercolor, and oil.ĭRAWING: Rob is perhaps best known for his classic and distinctive style of figure drawing. His work is inspired by the centuries of knowledge, skill, and elegance of the old masters. Robert Liberace is equally accomplished in drawing, painting, and sculpture.