54 Artists Magazine January/February 2020
Nancie King Mertz
POINTERTOWARDEXCITEMENTExperiencing a place in person and
painting it en plein air is the favor-
ite working method of Nancie King
Mertz (nanciekingmertz.com). “The
true color of light and shadow can
only be seen by direct observation—
and I also enjoy the interaction with
people,” she says.
The Flatiron District, as a whole,
is a draw for Mertz. She describesthe signature landmark as serious,
imposing and stately, but also as the
exciting epicenter of the neighbor-
hood. “The Flatiron Building ‘points’
to a section of converging traffic and
rushing pedestrians, providing a great
intro to the area,” says Mertz.
Painting in Madison Square Park
or on the street looking up at the
Flatiron, an artist can easily becomedistracted—or be distracting. Mertz
says that earbuds and her favorite
tunes help her stay focused and,
possibly, uninterrupted, but they
don’t stop tourists who want a pic-
ture of a real-life painter from taking
snapshots. “Lots of selfies are taken
behind my back,” says Mertz, “but
that’s the way of the world now.
Typically, viewers are respectful.”Flatiron
by Nancie King Mertz
pastel on sanded
pastel paper board,
16x12