The object of art is not to reproduce reality, but to create a reality of the same intensity.
- Alberto Giacometti
Current Hours of Operation
Friday 11 am - 7 pm
Saturday 11 am - 7 pm
Sunday 12 pm - 4 pm
Monday 11 am - 5 pm
Your safety is important to us. We have hand sanitizer throughout the gallery and will maintain a 6 foot distance during your shopping experience. We ask that you also wear a mask when visiting.
Resident artist, Pamela Wilde has been the host of "Open Studio" events here at Artists Emporium. We are proud to exhibit the works of Pamela Wilde, Elinor Tryon, Hal Long, Jeanne Dunworth and Rich Moure.
Opening reception on October 3, 2020 noon - 6pm. Due to COVID19 restrictions, sign up slots will be required through the RESERVATION LINK that follows.
10 guests will be allowed in the gallery for 30 minute increments.
We look forward to sharing this exciting exhibition. This event is supported in part by the Maryland State Arts Council
August 24, 2020
We currently have an employment opportunity for our online gallery, Mid-AtlanticArtists.com. If interested, please visit our "News" section in Gallery Events.
Most of my paintings are done in plein air, or outdoors. While the studio is nice and quiet, I love the vibration of life when outside. I use the palette knife more often than the brush. While these two elements can make the work challenging and sometimes a bit frustrating, I am most often in pure joy when painting. It is my abiding wish that what I paint will bring a smile to your face as well.
I was born in 1963 in Elyria, Oh. From there I moved to Erie, PA. I went into the United States Air Force as a Law Enforcement Specialist in 1982 and was stationed in England. I lived by two castles; Orford Castle and Framlingham Castle. After my tour of duty ended, I settled down in Maryland. Shortly after arriving, I became a Deputy Sheriff for Prince Georges County, MD. After an injury, I was able to retire in 1997 and became a full time stay at home mom.
In school, I was an art major with interests in Greek mythology. I was able to travel to Greece while in the military and visit places I had only dreamed of. At a young age, I was stealing my mom’s paper plates and drawing on them. I would watch my grandmother dry flowers and became fascinated with their beauty and how long they lasted. This became my niche, flowers. I love painting big, bold and beautiful flowers. My artistic career was halted for a while due to the career path I took in addition to being a mom which didn’t leave much time for any extras such as painting. Now that I am retired and the children are grown, I have a lot of time to relax and create. I use acrylics. My paint goes on thick and I don’t use water. After all the paint is on the canvas, I go back and use archival black ink for
fine detail. I use a lot of pointillism and lines. I convey my love for the unseen colors and large happy paintings. I want to make you smile with bright colors and bold black crisp lines, my style is serious yet with a cartoonish style.
I have always loved Picasso and his freedom to be himself. This made me see life in a different light not like anybody else. To see color where there was none. To see lines and shapes and textures only I could process. To just be me and paint how I see it. I have become known in the local art community for my bold colorful style. During the last few years, I have flourished as an artist and defined my style. I have finally come into my own.
Jeweler William Johns had the opportunity a few years ago to travel abroad to countries such as South Africa, Cairo and Nepal. He feels that the positive energy in those places is what inspired him to start making necklaces and bracelets. His jewelry line is called “Beaded Soul”, and he uses a lot of wood beads and stones to give off that positive energy. William Johns resides in Baltimore, Maryland.
Brina's art education was at the Maryland Institute College of Art in Baltimore. Teaching art to students at The Krieger Schechter Day School occupied her for more than thirty years. Here is where she combined her love of teaching, while still following her passion for painting. Her recent retirement has given her the time and mental space to focus on her own art.
Brina paints in both pastel and oil and works both in plein air as well as in the studio. Her inspiration comes from experiencing ordinary places in extraordinary light. All of the variances in nature contribute to the challenge and excitement in working outside. Responding to the fluctuating landscape is what makes painting magic for Brina.
I love the push and pull of oil paint as the medium spreads out over a canvas or panel, whether by brush, palette knife or other tool. We’re making marks here.
A major portion of my work is completed in plein air. I want to capture an experience or sensation of the environment in my work. And, I would like to invite the viewer to join me on this journey. These plein air paintings are done alla prima, completed in one session in order to achieve a fresh and harmonious representation of light. With each new subject approached en plein air I strive to interpret the effects of light, air, and emotions evoked by the subject. And, I often return to
the same subject in different light at different times of the year for a new session.
"Hot Hay Day"
I am a firm believer in Charles Movalli's "painterly painter" philosophy asking the viewer to engage the image and help complete the picture. Translating the elements of light, space and color onto a surface makes the painting process both challenging and exciting. Whether painting a landscape, an interior, or a still life, I strive to express the integrity of my personal approach, as I witness the moment and changing conditions of my surroundings.
Studio work becomes a sincere meditation on the subject of paint, color harmony, composition and all those assorted elements that make up a carefully conceived approach. These paintings may take weeks, sometimes months to conceive and execute. In the end, the studio paintings have a more finished quality about them than the sketches completed plein air. However, they lack some of the spontaneity of plein air work. On occasion a plein air sketch may serve as the foundation for a studio painting.
I spent 40 years as a television news producer, the last 20 for Associated Press Television in Washington, DC. During my television career I carved out time to paint in the studio as often as possible, joining the ranks of plein air painters in 2011. I live in Baltimore, Maryland, with my wife, Joyce, a practicing poet, and our Golden Retriever, Maggie.
"The Lone Loon at Sunset"
My main concentration in art for the last few years has been on realistic plein air oil paintings of the Delmarva peninsula landscapes. I like to portray the open spaces and quietness of the landscape in its many forms and weather conditions. I want the view to feel a sense of peace and beauty when one looks at my paintings.
I have been described as a "high key" painter, who uses bright colors to express her art.
Regular visits to state and federal parks in Delaware, Maryland and Virginia give inspiration. I only refer to photographs when the weather is too rainy or windy to be able to work outside. When it is too cold outside I will work in my van. I also take part in many local Plein Air paint outs held in the spring,
summer and fall. I belong to several Plein Air groups and paint regularly with the Chesapeake Plein Air painters, Chestertown Plein Air artists, Sunshine Painters of Wilmington, Urban Sketchers Delaware and the Art Academy Museum of Plein Air Painters.
Studying the masters and taking regular art workshops from a variety of professionals helps to improve my work. Previously known for my watercolors and painted tile murals, I know work in oil on canvas covered birch boards or aluminum panels. I take my painting equipment into woods, fields or river banks to get the best view. I have made several cigar box pochade boxes for extra light weight use, and continually investigate new and unusual equipment to be used for the painting trek. I'm always thinking outside the "Plein Air" box.
Bruno Baran was born in Baltimore Maryland August 28, 1954, Graduated from Maryland Institute College of Art (Cum Laude) in 1976, Studied with Raoul Middleman, Leonard Bahr, Joseph Sheppard, Paul Mascott, Dan Dudrow, Phil Koch, Barry Nemett, Michael Economos, Abbie Sangiamo as well as with Wolf Kahn in Bennington Vermont in the early 90's. Bruno is a traditional landscape, portrait painter who’s work has been compared to John Sloan and other Ashcan painters of the early 20th century. Recent work has taken on a new urgency with color and light, in quick painting sketches of the lands’ atmosphere and ever changing light patterns, becoming even more aware of edges and how they help manipulate the viewer.
“I’m starting to simplify a few things in my work, from actual brush strokes to color usage to continue my pursuit of capturing the atmosphere of the land.” said Bruno about his recent work and challenges.
“ Being retired from teaching after 42 years has given me a sense of urgency to complete as many paintings as possible.”
“ Working in the open air and then having time for drawing in my new studio has reenergized my work.” Besides painting full time now, Baran was elected to Chairman of the Board of MAPAPA (Mid-Atlantic Plein Air Painters Association) in 2014, a 501c
"Supper Being Served"
foundation dedicated to the preservation and education of Plein Air Painting.
In the past few years Baran has been recognized for a few awards and was elevated to Signature member of MAPAPA.
Karen O’Lone-Hahn is a painter and potter who has tirelessly created since she was first able to conceive of the word “art,” in childhood. With minimal formal training, Karen is primarily a self-taught artist. Her first series included numerous black and white portraits done in oil paint from old family photos. Her next series, “People on the Couch,” was based on photographs of friends and family members, all of whom relaxed on couches. In later life, she shifted gears entirely and created hundreds of paintings in acrylic, each featuring brightly colored cows which existed in peculiar and dreamlike landscapes. This body of work got her dubbed “The Cow Lady,” within both her artistic and local communities. This twenty-year effort became Karen’s imagistic manifesto, “folk art meets surrealism.” Her paintings are built from her raw and unfettered imagination, as evidenced by bold colors, fantastical representative mashups, and a rootedness of inspiration from daily life.
Once Karen created paintings of cows numbering in the hundreds, she took up the potter’s wheel. While
learning from potters around her, she focused on the craft’s formal and architectural elements. Now in control of her medium, her focus has returned to the whimsy found in her paintings. Through unique shapes, color choices, and painting with glaze, she has morphed her painterly work into a three-dimensional realm. Inspiration for her current works often is derived from the farms, gardens, cats, and other creatures which surround her rural home.
Karen has been the recipient of numerous awards and accolades, with her works held in many private and corporate collections across the globe. She is featured in the book “Self-Taught, Outsider, and Folk Artists,” by Betty Carol Sellen. Karen is also the author and illustrator of her debut children’s book, “Millicent and the Far Away Moon,” a book which
features her brightly colored cow Millicent overcoming bullying and self-doubt by vaulting herself through the sky. Karen’s work in numerous disciplines converse with one another, becoming abody of work which shows unity, progression, and a singular voice.
Iris Grundler earned a BSAT degree in Architecture in 1984 at the Catholic University of America in Washington D.C. and immediately began her career in the industry. However, she found that her artistic side was unfulfilled and thus she started painting for leisure and, and in 2005, pursued pottery classes in her local community centers. The daughter of Peruvian parents, Iris' expressive style, and boldness attributed to her origins, with her Spanish and Incan heritage combining with American influences, resulting in an interesting international amalgam.
Iris uses four different clays, porcelain, black clay, brown speckle, and white stoneware, and Each clay have its property; therefore it calls for different techniques; Porcelain show the best of each glaze, She does not use underglazes, all the colors and homemade glazes. The black clay is as tricky as porcelain, when unfinished it shows its beautiful texture, this clay only take very few glazes. Brown earth has minerals that show through the enamel and has a lovely feel too, white stone shows very well all matte glazes as well as celadons.
Every piece is hand thrown or hand built. Sgraffito is the technique that all the pots have in common. It is produced by scratching through the surface and applying black, red or blue slip. Iris’ designs are dictated by the clay as well as each type of clay has its limits.
Sage glazed pottery
My work encompasses two primary genres - "Plein Air" landscapes and figures; using two primary mediums - oils and watercolors. The paintings are surely representational and indeed narrative at times, but the imagery is not about the pictorial. I use the subject matter (whether it be a farmhouse, tree, cloud, wave or figure) as elements of design in order to capture specific natural phenomena, moment in space and time and mood of "event." Painting is not just the celebration of vision but, rather a quest for experience. In this sense, my painting is not a recording of facts seen. It is the process of interpreting a fleeting muse. This process is, as a result, in a constant state of emergency. Like dance, painting
must change anew to the beat of the muse. After conceiving a painting in the field, establishing value relationships, coordinating color fields and bringing forth some detail resolution, I bring the painting home to its studio and let it "cook" for a while. Removed from the subjective space, the painting requires a life of its own. I hold suspicious a painting that is resolved easily. "Pushing and Pulling" an image, adding and subtracting values, adjusting color is what brings a painting together. I generally try to stretch my own canvases. I use four coats of gesso, each layer less thinned that the previous one and I sand between coats. More often than not, I will tone the canvas with Acrylic. This allows me to "Push and Pull" from the middle of the tonal value scale. It also presents a homogeneous color field, enriching the overall body of color. My palette is quite limited consisting of; Yellow Ochre, Cadmium Yellow, Alizarin Crimson, Cadmium Red, Cobalt Blue, Ultramarine Blue, Cerulean Blue, Viridian, Burnt Umber and Titanium White. I may occasionally add another color or two depending on mood and subject. I rarely draw on the canvas, preferring to immediately paint—allowing the "drawing" to sculpt itself. I rely heavily on good "drawing" skills and expressive painterly techniques. I may be seen on many highways and byways painting directly from nature.
My paintings have won numerous awards and have been accepted in many juried exhibitions both regionally and nationally.