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Barbara Sullivan works in true buon fresco and lives in Solon, ME.  Her work celebrates and satirizes the monotony of everyday life. She teaches drawing foundations and painting at The University of Maine at Farmington. She holds a BA in Studio Art and Creative Writing from UMF, and an MFA from Vermont College. She has twice received The Adolph and Esther Gottlieb Foundation Grant, a Pollock / Krasner Foundation Grant, and a Maine Arts Commission Good Idea Grant. She was awarded a Percent for Art Project for the Cross Office Building at The State House in Augusta.  Sullivan has been included three times in the Portland Museum of Art Biennial. She has shown widely in Maine and in New York. She is represented by Caldbeck Gallery in Rockland, ME. 
Second Painting: Pink Reach
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Dahlov Ipcar has enjoyed a career spanning seven decades. People around the country love her work. Her hundreds of paintings range from realistic depictions of people working the land in Maine to bold and fanciful displays of animals in real or imagined habitats. These paintings have been in the Museum of Modern Art, the Corcoran Gallery of Art in Washington, the Metropolitan Museum of Art, and the Whitney Museum of American Art. Her murals can be seen in a number of public buildings; her cloth sculptures, some born of legends and Greek and Roman myths, have delighted young and old alike; and her intricate tapestries and hooked rugs are marvels in their own right. Still, this prolific artist is perhaps most widely known and cherished for her books for children.
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Juliet Karelsen was born and raised in New York City and has been living in Maine (on and off, but mostly on) since 1991. She received her Masters in Fine Arts in Painting from the school of the Art Institute of Chicago and received a Bingham Fellowship to attend the Skowhegan School of Painting and Sculpture. She has shown her work in solo and group shows in Maine, Ohio, New York City, Boston, Buenos Aires and Zurich. Her work has been reproduced and reviewed in Harper’s Magazine, Art New England, and the Columbus Dispatch, among other publications. She paints in gouache and acrylic and maintains a studio in downtown Farmington. She lives in an old farmhouse with her husband (writer Bill Roorbach) and their daughter, Elysia.
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Robert Shetterly has lived and worked in Maine for 41 years. For the past nine years he has been painting the series of portraits (numbering now over 165) called Americans Who Tell the Truth. The show has been traveling around the country for over seven years. Venues have included everything from university museums and grade school libraries to sandwich shops and the Cathedral of Saint John the Divine in New York City. It has been in more than twenty five states. In 2005 Dutton published a book of the portraits by the same name. In 2006 the book won the top award of the International Reading Association for Intermediate non-fiction. The portraits have given him an opportunity to speak with children and adults all over this country about the necessity of dissent in a democracy, the obligations of citizenship, sustainability, U.S. history, and how democracy cannot function if politicians don’t tell the truth and the media doesn’t report it.
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Susan Webster is a visual artist and printmaker who lives in Deer Isle, Maine. She has received fellowships from the Women's Studio Workshop (NY), and has been a visiting artist at the the University of the Arts' Borowsky Center (PA) and the College of the Atlantic (ME). She has taught workshops at Haystack (ME), the Center for Contemporary Printmaking (CT), Penland School of Crafts (NC), the Oregon College of Art and Craft. She was an artist in residence at the Maine Correctional Center, where she developed a model arts program. She has worked extensively with an innovative printmaking technique--the gelatin plate process-- that was developed by painter/printmaker Francis Merritt, founding director of Haystack, with whom she studied and taught.
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DeWitt Hardy is a highly recognized American water color artist who resides in South Berwick, Maine. He has had 16 one man shows in New York City and his works are included in the permanent collections of over 40 museums including the British Museum, The Library of Congress, The Smithsonian, The Cleveland Museum and The San Francisco Museum. As well he has been included in numerous group shows and is included in Who’s Who In American Art.
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Daniel Minter was born and raised in Ellaville, Georgia. He studied at the Art Institute of Atlanta and, after graduating in 1981, began working as an illustrator and computer graphic artist. He has illustrated eight children’s books, including Seven Spools of Thread: A Kwanzaa Story, winner of a Best Book Award from the Oppenheim Toy Portfolio, and The Riches of Oseola McCarty, named an Honor Book by the Carter G. Woodson Awards. His paintings and sculptures have been exhibited both nationally and internationally at galleries and museums including the Seattle Art Museum, the Tacoma Art Museum, Bates College, and the Meridian International Center. Minter is the founding director and vice-president of Maine Freedom Trails, Inc. He created the markers for the Portland Freedom Trail, which identifies significant sites related to the abolitionist movement and the Underground Railroad in Portland, Maine. He created the 2004 Kwanzaa stamp and the 2011 Kwanzaa stamp for the U.S. Postal Service.
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Rebecca McCall grew up in Connecticut and has lived in Maine since 1986. Her landscape and portrait paintings have been shown in galleries throughout the state, including the Leighton Gallery, the Hudson Museum Gallery in Orono, and the Hall Gallery at USM, Lewiston. She illustrated the children’s book, Shelterwood, by Susan Hand Shetterly (Tilbury House, 1999), and the cover art for Small Misty Mountain, by Rob McCall (Pushcart Press, 2006). In 2003 she attended a slide presentation by the late Bangor photojournalist Jim Harney, who had just return from a January trip to Baghdad with his many photos of the men, women and children there whom he had met. At the time these exquisite photographs were taken, the Iraqis were already suffering under ten years of imposed sanctions and were now facing a major military invasion. “Never had the human face looked more beautiful to me,” she says, “and never had aerial bombing seemed more barbaric and insane.” She began painting the faces from Harney’s collection as the first bombs fell that March, and Young Man Proud of his Pony is from this series.
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Monica Kelly's painting imagery has grown from her memory and experience of the world around her. Re-envisioning and re-imagining these places, she stands at her easel. She applies paint, lets it dry, and sands it, building layer upon layer. The painting speaks back to her. It breathes its color, form, and light and she responds. Though the subject of her work may have ties to the landscape, Kelly is also fed by the sensual qualities of the paint itself. The painted surface, with its lines, textures, colors and formal nuance, adds another dimension to their dialogue. While she is in her studio, classical music is always playing. For Kelly, music and painting are intertwined. In her latest work, she applies pages from piano music that she has studied onto the panels. In the process of painting and sanding, the musical score becomes hidden and then revealed. In the end, what endures is not the painting hanging on the wall of her studio, but the internal wrestle she experienced in creating it.
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Frederick Lynch is a painter and sculptor, living in Saco, Maine. From 1980 to 2006 he taught drawing and painting at the University of Southern Maine. Recent one-person shows of his work were held at the Farnsworth Art Museum, the Portland Museum of Art and Connecticut College. Current work explores the various relationships between 2 and 3 dimensional crossovers in painting and relief sculpture as well as issues of media translation of one's own work.
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Sean Beavers cannot remember a time when he was not drawing or painting. His interest in art only grew, as he got older. Sean's art has been in numerous exhibits in and around the New York metropolitan area, and in Maine and New Hampshire. His works are in private collections throughout the United States. His work can be seen on book covers, in magazines, and newspapers as well as in reproductions sold worldwide. Sean has created commissions for clients such as: AT&T, The Wall Street Journal, The Turner Networks, Time Life Inc., The Village Voice, Conard Cruise lines and The School Of Visual Arts, Berkley books, Harper Collins, Random House, Ballentine and Warner Books.  Sean teaches drawing and painting at the New Hampshire Institute of Art and the University of New Hampshire, Manchester and The Sanctuary Arts, Eliot, Maine.
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Bradford Sherman's drawings and paintings have since the very beginning been motivated by an underlying love for his natural surroundings. There is no one way that Sherman works, but rather he prefers choosing the best method and medium to express the idea that he has in mind. He has completed pastel paintings in the field and had the good judgment not to touch the piece after returning to the studio, and in contrast is equally compelled to work out the complete development and execution of larger pieces solely within the confines of his studio. In the latter case there is always a good deal of planning of both the design elements and color sense that he feels is right for the piece. Sherman has a fascination with creating the illusion of depth in a painting; using the elements of linear perspective, varied color temperature, edges, and value adjustments to give the painting a feeling that atmosphere stands between the subject and the viewer. While many artists wish to develop a formal and repeatable technique that is both successful and uniquely their own, and spend a good deal of time in pursuit of this end, Sherman admits that much of the thrill and passion of the process for him comes from experimenting with different ways to get there.
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Cynthia Stroud attended the Maryland Institute College of Art, where she majored in sculpture and graduated magna cum laude in 1978. Since then, she has studied at the Philadelphia College of Art, the Pennsylvania Academy of Fine Arts, New York University, Parson's School of Design, and The New School for Social Research, New York City. Over the past twenty-five years, Cynthia has completed a series of commissioned works in bronze, wood, and clay for public and private collections. Her paintings and sculptures are in private collections in the United States, Europe, and Latin America. She prefers to work in a variety of mediums. Most recently these include stone, bronze, oils, pastels, and collage.
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Kathryn McKay grew up on the coast of Maine, influenced by a rich natural world, a wonderful strong mother, and a community full of creative individuals. She studied Liberal Arts at the University of Maine at Farmington, did apprenticeships with jewelers Helga Manning and Daryl Reif, and earned her BFA from Portland School of Art ( now MECA ). McKay has constructed a non-linear art career that allowed work in Graphic Design, Display Design, Freelance Illustration, work as a goldsmith for over 12 years, and commission work in architectural-detail carving. For the past fifteen years she's enjoyed sharing the fundamentals of color and design with young adults, including her son Owen, through her business, Kathryn McKay Gardening & Design. She paints primarily during the winter months, delving into visual inventory collected throughout the seasons and over a lifetime.
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Kate Cheney Chappell is a member of Peregrine Press, Kate Cheney Chappell's mixed media works have been exhibited in a solo show at the New Britain (CT) Museum of American Art, the Portland Museum of Art, and galleries in Portland, Kennebunkport and Monhegan, as well as represented in the collections of the New York Public Library, Bowdoin, Bates and Colby colleges.
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Janice Lynch's current body of work explores the visual effects of combined botanical and geometric forms. Lynch is interested in the phenomena of incongruous forms coming together and merging into new forms. Her approach is to connect quite formal structural elements with 'semi-organic' forms that reflect both modernist and art nouveau sensibilities. Lynch grew up in southern Maine, participating in the making of art from a young age. Painting and drawing became preferred modes of self expression leading to a BFA from the University of Southern Maine. Earlier works were in biennial exhibitions at Maine Coast Artists -now CMCA, and the Portland Museum of Art. She has shown at the Hay Gallery in Portland, and current work is now represented by the Littlefield Gallery in Winter Harbor.
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Salvation by Barbara Sullivan, Shaped Fresco 30 X 46 X 60
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Pink Reach by Barbara Sullivan, Shaped Fresco 32 X 48 X 60
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Blue Moon Games by Dahlov Ipcar, Oil On Linen 30 X 30
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Alex Katz's Couple From Summer Triptych With Hokusai Katsushika Wave by Juliet Karelsen Gouche On Paper 16 X 16
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Fanfare For The Common Man by Robert Shetterly, Dry Point Etching 17 X 21
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Four Crows At Dusk by Susan Webster Collaged Monotypes 17.75 X 24
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Slow September by DeWitt Hardy, Watercolor On Paper 21.50 X 14.50
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Arcadia by Janice Lynch, Oil On Canvas 38 X 26
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Judgement House by Daniel Minter, Mixed Media Acrylic / Wood 24 X 50 X 10
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Young Man Proud Of His Pony Baghdad 2003 by Rebecca McCall, Oil On Board 20 X 24
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Am I No Longer Young? by Monica Kelly, Oil On Gessoed Panel 24 X 32
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Segment Collective 2 by Frederick Lynch, Oil / Enamel On Pine and Plywood
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Orion Over Northern Maine by Sean Beavers, Oil On Canvas On Panel 33 X 33
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New Years Day by Bradford Sherman, Oil Pastel 11 X 14
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Cecile by Cynthia Stroud, Oil On Gessoed Linen 36 X 48
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Lununburg - Drawing On Water by Kathryn McKay, Acrylic On Canvas 24.50 X 24.50
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Healing The Break by Kate Cheney Chappell, Collagraph / Monotype 26 X 17