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Betsy Naumchik Original Art

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About ...

Betsy is predominately self-taught and has had limited training. She studied briefly at Rochester Institute of Technology, Pennsylvania Academy of Fine Art, and spent many years painting in oil color under the guidance of a well-known representational painter. Betsy has compiled a body of work that has spanned many years without seriously showing or marketing her art.

Her abilities began at an early age. As a child, coloring "Inside the lines" morphed into painting on any wall available to her. As a teen she experimented with whatever painting medium was available.

Initially, her serious personal works were concentrated in pen and ink. Her concern was form and detail through line and subtle washes, because of this her transition into painting with oil and acrylic was a difficult one. She to this day can hear "So, when are you going to put some paint on that canvas?" This initial technique has become the foundation for the work she is now producing. Within her is a force and feeling of what she views as the natural world around her, Betsy chooses what is important in her composition, making the work uniquely hers.

As happens with many, life and family took precedence. Painting and creating on a personal level took a backseat. Betsy spent close to 20 years mentoring children, ages 5 to 17 in the subject of art, enabling them to embrace their artistic sight, to see what is not immediately seen whether it be in front of them or inside of them, and also broadening their minds on the rich history of art throughout the ages. While imparting these skills to others, she was honing her own.

Betsy's style and technique are uniquely hers, resulting in an impressionistic yet realistic final result. Her interests and subject matter, common and naturalistic, gives the viewer a choice to appreciate it for what it is or explore the image and ponder her technique. She leaves this decision entirely up to the viewer.

Me ...

I am a life long resident of Southern New Jersey, USA. I have always been comfortable with and amazed that I can draw and paint. What moves me as a person of paint is the ability to use it to represent what I want the viewer to see. I find interest in the natural world around me and what it can suggest to us. It's hidden wonder and overlooked qualities strike up conversation within me. There are simple things which become monumental and complex when observed and thought about. The flap of a wing as a bird attempts to take flight, and everything surrounding it which contributes to the tension of the moment. Recognizing similarities between species, the use of color as identification. The bud about to bloom, the inside of a worn broken shell, usually never thought about or even seen. Have you ever stared into the eyes of a loyal animal friend or studied a pair of shoes that have seen their last walk? I try to look past the obvious, and pick out what's important. I question what type of paths those shoes tread or the subtle color I see in the horizon and the complexity of values I see in the stand of trees. I prefer to handle the broken object and wonder where it's been. For me, there is a lot to see and consider. I strive to capture the logical and abstract structure of reality whether it be suggesting movement or something entirely static. My work has veins of both realism and abstraction. When viewing my work, the real is easily acceptable, upon its contemplation is when the obvious logic of being real shares the stage with it's subtle abstractions.

The way I paint ...

I love the use of color to create form. The medium I am using indicates whether I paint heavy or light. Sketching first and laying on light washes of color I set the tonal values thereby creating an underpainting. Over the underpainting, thin transparent layers of paint or glazes are applied. Loosely at first, eventually as things progress texture is suggested and my application of paint becomes controlled and tighter. By doing this, I am able to concentrate on what attracts me to the subject matter and hopefully draw the viewer deeper into the painting. I do, in the final stages of painting, become obsessed with detail but I leave room for the viewer to fill in the blanks. My goal is to relay the impression of realism.

Finally, the specifications ...

When painting with watercolor, I use acid free watercolor paper along with professional artist grade pigment. If I was framing a piece I would have it professionally mounted on acid free board and placed in a frame, I tend to use a simple 1 or 2" moulding, under UV protected glass. The back is finished with hanging hardware.

Concerning reproductions ...

My orginals are professionally reproduced using inks developed to withstand fading. These giclee prints represent the original piece beautifully. Each original has a print run of 50. Each print is hand signed and numbered. Because it is a reproduction, alternate sizing is available. Images can also be reproduced on canvas.