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  • Power Struggle, oil on canvas, 32 x 42 inches, copyright ©2014

About 25 years ago I was teaching at what was then called The Academy for Realist Art, now called The Gage Academy. I initiated their plein air program, but for various reasons we parted company. Shortly after I left the academy Sue Perry called me and asked if I would consider teaching the plein air classes independently. That is how my plein air program began. Since that time, Sue has become a good friend, and I have continued to provide a "third eye" for her ongoing painting practice. She has become a serious and dedicated painter, and serves as an inspiration to others.

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About 25 years ago I was teaching at what was then called The Academy for Realist Art, now called The Gage Academy. I initiated their plein air program, but for various reasons we parted company. Shortly after I left the academy Sue Perry called me and asked if I would consider teaching the plein air classes independently. That is how my plein air program began. Since that time, Sue has become a good friend, and I have continued to provide a "third eye" for her ongoing painting practice. She has become a serious and dedicated painter, and serves as an inspiration to others.

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  • ARBORETUM ABSTRACTION oil on canvas, 22 x 28 in, copyright ©2004

From 1998 through 2005 Atsuko Lindley was my class monitor, for both plein air and studio sessions. Ako had been born in Tokyo, and moved to the United States in her late teens. She attended San Jose State University, majoring in art, and got her first job out of school at the Oakland Tribune as an illustrator.

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From 1998 through 2005 Atsuko Lindley was my class monitor, for both plein air and studio sessions. Ako had been born in Tokyo, and moved to the United States in her late teens. She attended San Jose State University, majoring in art, and got her first job out of school at the Oakland Tribune as an illustrator.

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  • POPPIES, oil on canvas, 14 x 10 inches, copyright ©2010

In the late 1990s I was offering plein air classes privately, after piloting a 1995 program through the Gage Academy, which was then called the Academy of Realist Art. I had gone through a succession of monitors, those student participants that helped the class run smoothly in exchange for a tuition waiver, eventually working with Ako Lindley, a Tokyo born and bred Japanese woman who had made the U. S. her home for many decades. Ako was well connected in Seattle's Japanese community, and during her tenure as monitor she induced several other Japanese to join the class. One of these was Ritsuko Taneda.

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In the late 1990s I was offering plein air classes privately, after piloting a 1995 program through the Gage Academy, which was then called the Academy of Realist Art. I had gone through a succession of monitors, those student participants that helped the class run smoothly in exchange for a tuition waiver, eventually working with Ako Lindley, a Tokyo born and bred Japanese woman who had made the U. S. her home for many decades. Ako was well connected in Seattle's Japanese community, and during her tenure as monitor she induced several other Japanese to join the class. One of these was Ritsuko Taneda.

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  • Zoom  session

Since the early days of the coronavirus pandemic, we've been having online group critiques, using the Zoom platform, every Tuesday at 4pm. These Have evolved to include either an extended discussion of aspects of painting technique or art history.

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Since the early days of the coronavirus pandemic, we've been having online group critiques, using the Zoom platform, every Tuesday at 4pm. These Have evolved to include either an extended discussion of aspects of painting technique or art history.

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