Sumner Winebaum has pursued three careers: at Young & Rubicam, New York as an advertising writer, president of Young & Rubicam, Italy and later, Young & Rubicam, France; then as president of Winebaum News, which became the largest distributor of books, magazines and newspapers north of Boston, but always from the earliest, taking evening studies at New York’s Art Students League to his current full-time engagement, he has worked to learn the craft of sculptor.
In 1953 in New York, Mr. Winebaum married Helen Auerbach, then a successful television and stage actress, now actively involved in land conservation efforts. They have two sons and four grandchildren.
Mr. Winebaum graduated from Portsmouth High School and received a B.A. from the University of Michigan in English, not art.
He has won the Hitchener Award, the deKalb Award, the Lassonde award and many others.
Sumner Winebaum is a prolific sculptor who lives in York, Maine.
I seek to offer viewers a sense of peace and tranquility through the colors and light of my open and spacious landscapes and seascapes. They express my deep love for nature and her ever-changing atmosphere. I especially notice the fast and continuous shift of colors when I am plein air painting. It is great fun and challenging to paint as fast as I can to try to capture the essence of a moment of time in this dear life. It has taught me that everything changes very quickly, so try to be in the now of it all.
Born and raised in rural Maine, I continue to be blown away by the magnificent beauty of layered mountains, open fields, flowing rivers, sparkling ponds and the expansive horizon of the ever moving ocean. My inspiration is, therefore, boundless and extraordinary.
Susan Tobey White defines herself as artist and educator.
As an artist she is best known for her colorful, energetic paintings of dancers, oversized vegetables and decadent food series. In contrast to the high-energy dancers her love of her home state of Maine is evident in her “quieter, although full of movement” paintings of figures, landscapes, lobstering scenes and florals. She welcomes commissions enjoying the challenges they offer. Her most common commissions include dancers, children at play, beach and boating scenes. She has created the images for the 2004 and 2007 North Atlantic Blues Festival Poster and The Maine Celtic Posters for 2008-2012.
As an educator she leads workshops in acrylic painting throughout the year. Having taught elementary art for 15 years she she has the ability to bring concepts to their simplest form. She recently gained the title of being a Golden Artist Educator through Golden Artist Colors, Inc. a prominent manufacturer of acrylic paint.
Jillian Schleicher lives and works from the waters edge at her studio/home in Falmouth, Maine. Her paintings are visual meditations that speak to the entirety of life–what we can see and what lies beyond our senses. Life is her muse. She finds inspiration from life’s seemingly mundane routines and it’s traumatic, heart-wrenching sorrows. One cannot know the agony of great loss without also knowing the exhilaration of great love, great sadness without great happiness, or great apathy without gratitude and appreciation. Her practice is to embrace all that life offers. Her paintings remind the viewer to connect with the peace, joy, and unconditional love that resides within.
Sandra Leinonen Dunn is a Maine painter. Her works are part of private collections throughout the United States and abroad. She is a published children’s book illustrator, best known for her illustrations in ‘The Henhouse’ and ‘The Live Bale of Hay’ (both by author Carol Dean, published by Downeast Publishing). She operates a studio at her home in Chelsea, Maine. Sandra Dunn’s paintings are impressionistic in feel. Her brushstrokes and use of color are loose and light- creating the feeling that the brush has danced across the forms being painted. Sandra Leinonen Dunn’s work is a celebration of color, and a meditation on the happiness found in that which is beautiful to the eye. Sandra is also an educator. She has taught art in the public school system for the past 15 years and has given art lessons and workshops outside the school setting. Her Bachelor in Fine Arts degree is from the University of Southern Maine. Sandra also holds a Bachelor of Science degree in Art Education from the University of Southern Maine. Her art education includes studying at the Boston Museum of Fine Arts School, Whitelands College in London, Maine College of Art , the University of Maine at Augusta, and the Round Top Center for the Arts. “As an art educator I have found teaching to be a constant source of inspiration for my work. I am always interested in learning different art forms in order to expand my own knowledge and skills, which enables me to share these art forms with my students. I paint in a realistic though somewhat impressionistic style and the focus of most of my painting is on nature. I work in both water colors and acrylics, and my preferred subjects are still life and landscapes. My work in photography has inspired me as an artist, and has allowed me to observe in great detail the wonderful design and beauty in nature.”
My recent family history includes people who were adept at multiple forms of craftsmanship. In college I discovered my talent for wood shaping and spent many hours making small sculptures. The creation line and form plus many years of study and practice of photography and metal fabrication melded into the sculpture I now do. Wooden vessels and larger scale work are the culmination of thirty years of artistic and engineering practices.
My work is one of process and material driven reduction. Salvaged wood is carved with hand operated power tools to arrive at the inherent aesthetic, from very unique wood by using personal and appropriated styles. Most recently I’ve started to use metal in combination with wood, brushing it and giving it a grain like surface.
Recent “Core series” works have art historical references. “Core” is a piece that merges the column and the vase, which references the 16th century mannerist painting “Madonna with the long neck” by Parmigianino. The second in this series is also vase like and has associations with tribal sculpture, cubism, and abstraction. Both pieces are gender based and employ negative space. They evoke images of ancient urns retrieved from sunken ships or recovered from ruins, having been restored but still evidencing the ravages of time.
M. H. Lewis (Heather) is an accomplished visual artist with a sweeping range of creative and professional experience, which includes sharing her art, vision, instruction and inspiration with students and the community. Lewis possesses a life-long immersion in the arts – first with artist parents, (her father was the late CCC, Delaware artist – Jack Lewis), then traditional fine art training at The Philadelphia College of Art, and over three decades of actively creating art for exhibition and sale. Her art is refreshing and original – she masterfully recreates the beauty of the natural world around her, and infuses it with a certain emotional vitality.
Heather has exhibited extensively in her native Delaware, Central New York, and throughout New England with work included in prominent private and corporate collections. Though Lewis’s roots are in Delaware, she is a longtime resident of the Maine seacoast which is a constant source of inspiration.
She also teaches privately, conducts creativity coaching workshops, and is an adjunct faculty member for York County Community College in Wells, Maine, where she teaches studio arts classes.
Education: The Philadelphia College of Art- Illustration and Printmaking; SUNY Center for Distance Learning/Empire State College, B.A. Concentration in Drawing.
artist Statement for John M.T. Seitzer
I am a painter who works in oil, acrylic, watercolor and pastel. For subject matter I paint my impression of the play of light on or reflected from an object: boat, rock, building, tree or human form. A shadow cast creates new shapes used to define three dimensional form. Everything I paint is a reaction to what I see. What I see in turn elicits an emotional response, my color choices are determined by the admixtures of a select few.
Some “local” colors replicate what I see, others “found” are used for the sheer delight of their presence on the painted surface.
Luminous and poetic, “ Emotional Landscapes” are the continuing series of all a prima paintings in oil by artist Lynne Seitzer. The scenes are vague yet familiar, like rhythms held in ones memory they strike a harmonious chord in the viewer. The imagery implies a wonderful sense of expansiveness by creating an exaggerated scale of earth to sky. Color is mixed directly on the canvas using large painting knives. It is a direct, active application and the results are evident in the exceptionally rich and vibrant colors. Seitzer states “I believe this process allows more heart and less structured mind to come through onto the canvas.”
Painter. Oils, watercolors and pastels.
After studies at both Minnesota Sate University and South Central College of Minnesota Lynne began as a free lance artist and designer. She went on to become a fashion illustrator, advertising designer and art director for a group of 20 stores. She earned recognition for this work with several national (NRMA) and international (RAC) design awards. This was followed by a decade of illustrating and designing greeting cards for an international stationery company. Here she developed and worked on card lines and stationery for Target, Kinkos, Hallmark Wedding, Disney, Carlson Craft Wedding, Royall of London, Masterpiece and Nuart Cards. In 1999 she and artist husband John Seitzer opened Joy To The Wind Studio/ Gallery in Boothbay Harbor, Maine. There they paint and teach the creative process to students of all ages. Lynnes’ paintings, portraits and card designs have been collected throughout the United States, Europe and Japan. She has been represented by galleries in Boothbay Harbor and Camden, Maine, St Peter, Minnesota, Manhattan Beach, California and Scottsdale and Sedona, Arizona and is currently an invitee of the Art in The Embassies program.
In Boothbay Harbor, I have found a welcoming community of talented artists and individuals who support and encourage me. I am a member of the Studio 53 Fine Arts Gallery cooperative of artists. My work is also at the Hunter Gallery in Grafton, VT and in the Boothbay Region Art Foundation. I am represented by Art Collector Maine. My sculptures have been juried into a number of competitive shows. I serve on the Board of Trustees of the Boothbay Region Art Foundation, an organization that works to support art and artists in the Boothbay Region. I sculpt primarily in stone, but also in epoxy clay and bronze. I accept commissions.
My art is an extension of my love of the colors, shapes and textures of the natural world. The physical beauty of my surroundings is a source of inspiration. It is impossible not to be inspired by the rugged beauty of the Maine coast. And stone is as much a part of what makes coastal Maine beautiful as is the water. Stone sculpting can be as challenging as it is beautiful. It can be both unforgiving and unpredictable. Stone sculpture demands that the artist be totally focused and attentive to every fissure and nuance in the stone because once the chisel strikes, there is no going back. I find the early and late stages of sculpting to be times when I am impatient… cleaning the stone in the beginning and sanding endlessly at the end to achieve a glossy finish can be tedious work. But there is a period of time in the middle that is nothing short of magical. Small chisel strikes transform ragged stone edges into a hand or angle the beak of a bird toward the sun. And while the sculptor guides the chisel, the stones give the sculptor messages that guide his or her work. These messages take many forms…often not welcomed by the sculptor. Cracks or breaks in the stone, how the color is distributed or even the overall shape of the stone give the sculptor messages about how to carve each stone. Sculptor and stone work in concert, each contributing all that they have to the process of creating a beautiful work of art.
Born in the central Maine town of Milo, and raised in the richly natural country setting of a country farm, Stella Marie moved onward to earn a bachelor’s degree in Studio Art from the University of Maine in Orono. Her artistry incorporates many types of commerical art; greeting cards of regional scenes, portraits, animals, businesses, murals, and illustrated book covers for local authors. Elliciting a growing interest among her patrons over the years, her landscape pieces exude a touch of classical atmosphere. New stories for an expanding audience will be illustrated using her delightful technique. Stella has a well-developed sense of technical skills, while adding new designs to her compositions and creating a style all her own.
Stella Marie has painted the surrounding landscapes of her second home in Germany, which includes the beautiful Bavarian countryside. She has traveled to Italy, sketching scenes of the vineyards, fountains, and the unique city of Venice, with its canals and buildings along the Adriatic Sea. She does commission work in portraits, using different media of acrylic, casein, oils, watercolor, pen and ink, pastel and charcoal. At the present time she has a young student taking private art lessons. She welcomes adults and small groups for special lessons in drawing and painting as well.
Among her awards, she has placed best in show with the Bangor Art Society, second place in the Maine Lobster Festival, Rockland, Maine and other awards online.
Stella resides with her husband, Charles, in the downeast area of the state of Maine.
Stella may be found on Maine Women in the Arts: http://www.mainewomenarts.com
You may find her original work online: http://www.artcollectormaine.com
Her reproductions may be found online: http://www.fineartamerica.com
My tapestries and monoprints are about my spiritual connection to ancestral cultures. There is a rhythm, like the beating of distant drums, which connects me to this Spirit Place. The beautiful bold coast of Maine, travels to many countries, the art of the Native Americans, my architectural design background, colors, textures, patterns and layers of life that surround me all inform my sense of design. Turkish Prayer Rugs, Navajo weaving,Peruvian textiles,traditional tapestries, contemporary tapestry and Bauhaus weaving are beautiful works of art and contain powerful bold design and color. I strive to honor these proud traditions.
An artist and designer working in paper, paint, and found objects, Paula Ragsdale has been a resident of Boothbay, Maine, for over thirty years. Her work can be found in private homes, public spaces, galleries, and at her Ragsdale Studio/Gallery located at 11 Sproul Lane (half a mile before Coastal Maine Botanical Gardens) in Boothbay, Maine.
As a member of an artist collective at Studio 53 Fine Art Gallery (www.studio53fineart.com) in downtown Boothbay Harbor, she exhibits her work from May to October (this coming season Ragsdale will be the featured artist for the month of July).
Inspired by the landscape and life of coastal and inland Maine, Ragsdale creates imagery and assemblages via a variety of mediums, primarily acrylic and paper collage. She identifies herself as a mixed media artist/designer with a highly interpretive style.
Paula Ragsdale was born and raised in Levittown, Pennsylvania, a suburb of Philadelphia. It was there in Bucks County where Ragsdale first drew inspiration from the natural beauty of landscape. She has been drawing since childhood.
After completing studies at Bucks County Community College, Paula Ragsdale transferred to Rhode Island School of Design on a full tuition scholarship, graduating (BFA Illustration) in 1981. Immediately upon graduation, she moved from Providence to Boothbay where she continues her freelance art pursuits today. Ragsdale Studio/Gallery in Boothbay is open to the public (please call ahead at 207-380-7554).
FMI: www.paularagsdale.com and she may be contacted at email@example.com.
My most recent landscape paintings are the result of my wanderings around the mid coast area of Maine for the past eight years. Walking in the woods on the mainland, on islands, and along the Damariscotta River near my home, I see paintings everywhere. The complexity of the woods is challenging.
The large scale format of many of my landscapes helps to create a space into which the viewer can enter. My ideas begin in the natural world, but once a work is underway, the paint itself on the flat surface takes on a life of its own. Two-dimentional aspects interest me and the views I choose have patterns that bring attention to the surface of the painting. I am creating a spacial environment, not necessarily of a particular place but of my reverence of a particular place. In fact, I am as interested in painting what’s out there as what’s in here, and in communicating my deep attraction to this mid coast Maine landscape where I live.
The still life paintings are inspired by my home surroundings. As in the landscapes, two-dimensional aspects interest me as much as the subject. I often favor a top down view in setting up my still lifes because it flattens the depth of the paintings and allows for an arrangement of items spread out across the picture plane. Space extends in every direction, and the eye moves from object to object, as opposed to a one or two-point perspective where the eye is drawn to a vanishing point somewhere within the scene.