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COLLECTOR'S FOCUS
PORTRAITSthe women workers, thanking me for high-
lighting their achievements, it became
much more than that. I titled the series
Silk and Steel, but they call themselves the
‘Ladies of Steam.’”
As an artist, M. Camille Day’s interpre-
tation of a portrait has an expanded defi-
nition beyond the human face. “I believe
a portrait can be an in-depth look at
almost anything evoking a story, emotion
or memory. This could include animals,
plants or non-traditional objects,” she
says. “To me, a portrait is an intimatestudy in paint, putting the subject on a
pedestal, so to speak, making it impor-
tant, and looking at it a little further and
a little longer than a quick reference in
relation to a larger scene. It’s the story of
just one thing.”
Patricia McMahon Rice has 20 years
of experience in painting with a focus in
studying the Old Masters’ methods and
materials. While engaged in her studies,
she developed a particular love for the
Baroque era technique of painting in oil
on copper and the Renaissance era tech-nique of underpainting and glazing. She
has since developed her own combination
of these two specialties, using a modified
underpainting and glazing on the copper
plate. “I love the glow of the warm copper
mid-tone, sometimes allowing it to peek
through the paint in the shadows, other
times letting it be the background color,”
the artist says.
Sivananda Nyayapathi says that he
loves doing portraits, in particular the
challenge of going beyond the likeness of
the subject to interpreting something that37 38 3940 41