Eleonor Botoman – Fall 2016 Scholarship Winner

EleonorBotomanPortrait_editMeet Eleonor Botoman, a freshman at Barnard College, who is majoring in English and Art History. We would like to congratulate Eleonor on being selected as one of three recipients of our Frederic Whitaker and Eileen Monaghan Whitaker Foundation Scholarships for the Fall 2016 term. As part of the application process, Eleonor was asked to submit an essay response to a question about the Whitakers and their work. You can read Eleonor’s artist statement and essay below:


Artist Statement

As a double major in English and Art History, I’ve set my sights on exploring the art world through art criticism. I currently attend Barnard College, a women’s college in New York City, and I’ve spent my first year studying art history and architecture, researching internship opportunities for next fall, and wrote for the Journal of Art Criticism (JAC). This new student publication had its first issue release in early May and I am currently writing more pieces to be published in the summer and fall semester. I’ve also contributed to Postcrypt Art Gallery, an organization atColumbia University that puts on themed exhibitions of student artwork covering a wide range of mediums from installations, digital design, paintings, and sculpture.

Being in New York, I’ve been able to discover new developments in the art world by exploring all of the museums and galleries just a few subway stops away, and my professors, experts in the art history and architecture field, have guided me through not only the history of art, but also where the future of art is going.

As I begin my writing classes in the fall, I’m eager to develop my writing skills and use the analytic knowledge I gain from English to produce criticisms and theories of my own. I want to question artistic choices, draw comparisons and relationships across movements, understand the artist’s influences and inspirations, and place contemporary works into greater historical contexts. The skills I learn in writing will help me articulate my ideas in ways as creative as the artists I choose to discuss. However, I don’t want to keep all of my learning strictly on-campus.

With the fall semester just a few months away, I’ve already begun applying to internships in different organizations in order to further immerse myself within the art world. Some of these organizations include Artsty.net, a website that not only produces articles but also keeps track of artists’ profiles and pieces as well as guides to auctions and various galleries. There is also Magnus, a new app that identifies the work of art you’re looking at and provides you with all of its information including the artist, the gallery it belongs to, and the current sale price. I am also looking to work for ArchDaily, an architecture journal that looks at up-and-coming architects, explores new developments in design, and studies the impact of contemporary projects (both residential and public works) on the world today.

Essay Question: Compare and contrast Frederic Whitaker and Eileen Monaghan Whitaker’s watercolors depicting Mexican culture

Mexico has been a source of inspiration for many writers and artists over the years, from the Beat poets’ trips south of the border to Diego Rivera’s grand murals of indigenous people. The Whitakers felt this strong pull to Mexico, and captured their awe in beautiful watercolor paintings. Both Eileen and Frederic’s works project emotion into the viewer. The flickering effects of the watercolor evoke a bright Mexican energy. Frederic and Eileen’s pieces may share subject matter, but their individual perception of Mexico causes them to splinter into two subjects of focus: Eileen studies the Mexican people while Frederic documents the Mexican earth, bringing a narrative quality to the forefront of his compositions. In an exploration of their differences, the watercolor artists together produce a whole, richly dynamic image of the power of this Latin-American land.

Eileen Whitaker explores Mexico through its people. Her warm portraits use vivid color to bring a face to a kind of Latin-American energy. She captures moments of daily life, brightened with whites and reds. The figures themselves, however, stand almost rigid poses. She does not use Impressionist brushstrokes to create her pictures. Subjects are rendered to as close a realism that can come with watercolor paints, people documented as if each moment she sees is a photograph. Princess Mariposa (1989) captures the woman with a realistic lightness and her dreamy expression with the rainbow patterned fabrics of her traditional dress. However, there is no intense overlapping of motifs or color in the composition. The mural in the corner, the leaves, the hummingbird, and the butterflies that bloom from behind the woman are included as motifs to further emphasize her identity. The flat white wall ensures no distraction. Eileen sees the people and their lives as the true expression of Mexican tradition, worn in their clothing.

Frederic’s interpretation of the lives of Mexican people emits a more rugged and masculine quality. In the Poultry Merchant (1967), he uses rougher strokes, yet overlaps the washed out tones to create delicate shadows and streaks of sun-brightened white across the feathers. Unlike Eileen, he does not paint the Mexican people with emotion. The merchant’s face appears with only a few minimal strokes while the chickens, the blanket, and his handkerchief are rendered with precision. Eileen captures the expressive quality of the locals’ faces, punctuating their portraits with richly colored cloth, while Frederic defines the Mexican people by traditional objects they use in their lives, carrying into a greater narrative quality of his series of paintings. Two paintings show this documentary quality: Dawn, Nov 2nd (1968) and the Lettuce Pickers (1966).¹ One takes place on an urban street while the other shows men at work in the fields, however Frederic produces two very similar studies on the power of the Mexican landscape. Watercolor is not a painting medium that encourages exact lines so the artist must make the choice to place the most important aspect of the painting right at the foreground where the image can be meticulously rendered. In both Dawn, Nov 2nd and the Lettuce Pickers, he places Mexico at the forefront while the flickering forms of the people linger towards the background. Only one individual sits close to the viewer in Dawn, Nov 2nd, and it should be noted that he wears the most elaborate costume. The Lettuce Pickers appear as generalized forms as well, but in the foreground Frederic places a cardboard box in the corner as a symbol of their agricultural work. He brings the rows of lettuce forward before stretching them all the way towards back of the canvas, sending the viewer’s eye back into a vast and fertile land. Eileen shows individual identities but Frederic uses the Mexican people to create a larger history of a collective identity. Their faces have a formless quality, only enough to differentiate a person within a group. In the darkened daylight of Dawn, Frederic punctuates the men with bright yellow caps. In the Lettuce Pickers, hats play a similar role. This is a symbol of male traditional dress, a practical one that keeps them cool under the hot southern sun. The Lettuce Pickers could become faded into the monotony of the green field, but their bright hats emphasize their hard work. As with the boxes, the hats are a symbol of hardworking spirit, similar to Eileen’s representation of the women’s energy in electric fabrics.

A final point of contrast between the two artists arises with Frederic’s use of a darker palette. Eileen doesn’t shy away from duskier tones, but she prefers bright pinks to her husband’s shadowy blues. This comparison is drawn between two paintings: Eileen’s Se Vende Ajos (1990) and Frederic’s Flower Market (1977). Both pieces address the bustling Mexican marketplace, however there is variation within color schemes. Eileen’s painting projects warmth with hues of orange, reds, and purples. The figures are arranged so that each item for sale can be represented. Oranges and garlic are presented by the merchants and fabrics draping in the background are only partially blocked by the man in the center while the rest of their patterns are unobstructed. The scene is inviting, decorated for the viewer. Frederic’s work, on the other hand, shows a louder, busier scene. All of the shapes reduce in definition to enhance the frenzied setting. The women’s dresses merge together in tones of blues and purples. Sellers carry clouds of blossoms. The sky is darker, drawing attention to the flowers and the dynamic movement of the crowd. In Eileen’s painting, the man engages with the viewer, welcomes them into the selling space. Frederic places the viewer behind the women sitting in the shade with their children. They do not participate, perhaps because they cannot keep up with the chaos of the market, and the viewer is encouraged to observe in order to learn about the culture. Frederic’s paintings capture a dynamic story of Mexican life while Eileen’s works follow a more stagnant tradition of portraiture and elegant expression of culture. 

¹Unbeknownst to the author, the setting for Frederic Whitaker’s watercolor painting “Lettuce Pickers” was Salinas, California, not Mexico, as suggested. This is an understandable misconception as the painting is included with collections featuring Mexico and Mexican culture, and details regarding where “Lettuce Pickers,” was painted were not available to the author as of the writing of this essay.

Carrie Taylor – Fall 2016 Scholarship Winner

CarrieTaylor PortraitMeet Carrie Taylor, a senior at Georgia State University, who is majoring in Studio Art. We would like to congratulate Carrie on being selected as one of three recipients of our Frederic Whitaker and Eileen Monaghan Whitaker Foundation Scholarships for the Fall 2016 term:

[I am] only 6 classes shy of my B.F.A. degree, [and] upon graduation I will be able to be financially independent while working in my field. I have been a working artist for a decade and have a stunning portfolio, but often I am overlooked [in] the application screening process since I lack a Bachelor’s degree.

The B.F.A Studio Art program grooms the working artist. In my final year, I will work closely with professional artists and have dedicated studio hours. It will teach me the boundaries needed to successfully raise my infant son as a single parent and work in an unconventional profession with opportunities for office hours and freelance work. I have always been a great student, as I maintain an above B grade point average, and I have received recognition and awards in both my educational and work environments. I would like to believe that hard work does not go unnoticed, and though we may face challenges, we can overcome them. I want my son to believe in himself as he believes in me.

Going to class for me is attending my studio. It is another place of work. I have found through the challenges of my past year it is also a place of retreat and healing. I have had a dormant interest in art therapy, and if I can achieve my short-term goals I can continue to believe that despite challenges, art is a constant and a place of serenity for healing. I would like to further pursue qualifications and responsibility in order to be part of the promise and promotion of creative expression in art therapy.

Carrie Taylor_My Sunshine_4x6_2015

“My Sunshine” 2015, 4 x 6 in. ©Carrie Taylor

Carrie Taylor_Daisy_4.25x5.5_2015

“Daisy” 2015, 4.25 x 5.5 in ©Carrie Taylor

Xiaoyan Zhao – Fall 2016 Scholarship Winner

XiaoyanZhaoPortraitMeet Xiaoyan Zhao, a junior at the California College of the Arts, who is majoring in Painting and Drawing. We would like to congratulate Xiaoyan on being selected as one of three recipients of our Frederic Whitaker and Eileen Monaghan Whitaker Foundation Scholarships for the Fall 2016 term:

Ever since my grandfather passed away in March 2015, he had been the source of inspiration whenever I paint. Like other Alzheimer and Parkinson patients, my grandfather also endured similar symptoms such as gradually lost his memory, gradually lost the ability to read, speak, walk, swallow. In his final months, the only things he could do are blinking his eyes, sometimes tearing, and lifting fingers. From home to nursing house, from nursing house to hospital, in the three years at the end of grandfather’s life, what he experienced has become the experience of our family, grandfather and mine.

Life and death shock me deeply. Memory, family, time became my language of artistic expression. In this semester, I began tending to the pleasure of life, rather than thinking of death. Through this way of thinking life and death, joy and sadness to explore moderation philosophy, so as explore life and art.

I want to tell people with my painting: If your parents, or grandparents live alone or in the nursing home, go to visit them, because they may live in a very lonely place, they need us.

Xiaoyan Zhao, Grandfather, the loss of memory,22.5_30,2015

“Grandfather, the Loss of Memory” May 2015, 22.5 x 30 in. ©Xiaoyan Zhao

Xiaoyan Zhao, PARALLEL SPACE,22.5_30,2015

“Parallel Space” May, 2015, 22.5 x 30 in. ©Xiaoyan Zhao


Catherine Ross – Fall 2016 Honorable Mention

CatherineRossPortraitMeet Catherine Ross, a junior at Pacific Northwest College of Art, who is majoring in Painting. We would like to congratulate Ms. Ross on being selected as one of three recipients of our Fall 2016 Honorable Mention Commendations for a Frederic Whitaker and Eileen Monaghan Whitaker Foundation Scholarship:

I am a multi-disciplinary artist working in Portland, Oregon. After spending the last ten years traveling in over 20 countries, learning Spanish, Portuguese and French while working as a painter, I returned to the States and am currently pursuing a BFA in painting at the Pacific NorthWest College of Art. Combining painting, video and sound, sculpture, and performance, I push the boundaries of media and materials to create hybrid works that explore the possibilities and limitations of the body. My work considers class, race and gender, the commodification of the body, labor, the forfeit of physicality for online avatars, obsessive self-documentation and consumption of one’s own image in the digital age. I have recently founded a painting club and movement/performance club at my college. I am currently creating an artists’ collective for women that encourages collaboration and support for female artists in my community. I plan to get an MFA after graduation, focusing on art and dance as ways to engage the local community and increase compassion and connection in local/national/global communities.


Constraint 2016 by Catherine Ross 16" x 20"

“Constraint” 2016, 16 x 20 in. ©Catherine Ross

Liberation 2016 by Catherine Ross 16" x 20"

“Liberation” 2016, 16 x 20 in. ©Catherine Ross



Yesenia Brambila – Fall 2016 Honorable Mention

Meet Yesenia Brambila, a junior at New York University, who is majoring in Classics and Fine Arts. We would like to congratulate Yesenia on being selected as one of three recipients of our Fall 2016 Honorable Mention Commendations for a Frederic Whitaker and Eileen Monaghan Whitaker Foundation Scholarship. As an applicant for the Art History emphasis scholarship, Yesenia was asked to submit an essay responding to a question about the Whitakers and their work. You can read her essay and artist statement below:

Artist Statement

The ancient world of the Greeks and Romans and the art they produced have fascinated me for as long as I can remember. Every course I take at NYU is an attempt to understand this era of art more and to bridge the gap between my time and theirs. I have never been as passionate about anything as I am with this. My dream is to receive a doctorate in this area and to become a professor of classical art. Though I would be the first in my family to receive a doctorate, I believe I am capable of doing it because I have the work ethic and dedication needed to achieve this dream. I joined the Presidential Honors Scholars Program at NYU for the opportunity to write a senior’s honor thesis in the Classics (which, as a soon to be junior, I have already started conducting research for). And for the past two semesters, I have taken two languages (French and Latin) at once. Next semester, I plan to continue with Latin while adding on both Ancient Greek and German. I do all these things not only to prepare myself for graduate school, but to give myself a better understanding of the ancient world. 

Essay Question: Compare and contrast Frederic Whitaker and Eileen Monaghan Whitaker’s watercolors depicting Mexican culture

In their watercolor paintings, Frederic Whitaker and Eileen Monaghan Whitaker show that though they share both a similar style and a similar interest in depicting Mexican culture, the two artists focus on various aspects of this subject. While Frederic Whitaker shows a greater interest in painting the full picture of Mexican culture, Eileen Monaghan Whitaker shows a greater interest in the people that represent this culture. Rather than choosing to depict all of the elements that compose Mexican culture, Eileen focuses instead on the personalization of the figures she depicts. 

It is evident that these artists shared not only a marriage, but also thematic content in their works. For example, Eileen’s “Bird Watcher” and Frederic’s “Birdwatchers” is a clear example of the two artists sharing a specific subject. But, they represent them in their own unique ways. In Eileen’s version of this subject, the main, and only, figure in the painting has her back turned to us and she is assumingly watching the bird in front of her. With the figure placed so close to the foreground and her back turned, it’s as if the viewers are meant to feel as though they are intruding on the woman, which gives this scene a sense of intimacy. Frederic’s somber and gray version of the scene, on the other hand, is composed of two figures with one of them holding an infant on her back. The figures are shown side-by-side in profile. The viewers are able to follow their downcast eyes to the numerous birds at their feet. And so, unlike Eileen’s version, here the viewer is not an intruder, but simply a spectator to the scene.

In these paintings, both artists also share stylistic elements in their depiction. For example, both provide merely hints of the background to the scene. Both backgrounds are painted with quick and wispy strokes and so the viewers can understand that they are not what is important in understanding this scene. Also, though the use of color in these paintings will soon be elaborated on, a continuity in the color scheme is visible in both paintings throughout their respected scenes. The vibrant colors in Eileen’s depiction are visible in every area such as the figure, the bird, and the vague background, just as the somber tones are visible in Frederic’s figures, birds, and his just as vague background.   

These color schemes are significant towards understanding the difference between the way these artists represent this Mexican culture. Despite the fact that her only figure has her back turned to the viewers, Eileen shows a concern for personalizing the woman. In the painting, she wears a colorful dressing and a headdress that matches its vibrant color scheme. A large, jeweled earring hangs from the ear visible to the viewers. With all these elements of personalization, we are able to get a sense of what this woman’s tastes in clothing and jewelry are. To contrast this, Frederic’s scene lacks both vibrant colors and personalization. His two figures wear large, dark cloaks that hang down their bodies which enhances their hanging heads and downcast eyes and except for their gaze towards the birds, there is no sense of their interests. This imagery of hanging and dark colors is typically associated with mourning, and it is through this association that the somberness within the scene is translated.

Now, this somberness does not suggest that Frederic believes Mexican culture itself to be somber and melancholic. In terms of what it says about the culture, his painting’s lack of personalization and the placement of the figures gives the spectators a direct view of the scene. Frederic does not rely on the identity of his figures to tell the story of this culture. He relies on the full composition of the work to tell a complete story of this culture, while Eileen tells a complete story over the shoulder of a vibrant and tasteful woman.

Of course, one painting cannot act as an indication of an artist’s entire body of work, and therefore act as a spokesperson for that artist’s approach to their subject; however, these two works are appropriate for illustrating the connections and discrepancies between a husband’s and a wife’s work. In their explicit sharing of a subject and implicit variations in that subject’s presentation, the comparison of Eileen’s “Bird Watcher” and Frederic’s “Birdwatchers” can be regarded as a microcosm to the comparison of the artists themselves. These are the paintings that show just to what extent Frederic Whitaker and Eileen Monaghan Whitaker differ in their depictions of Mexican culture. And they show just how important not only style and subject are, but the eyes of the artist translating that subject into painting.

Jacob Garcia – Fall 2016 Honorable Mention

Meet Jacob Garcia, a junior at University of Houston, who is majoring in Fine Art. We would like to congratulate Jacob on being selected as one of three recipients of our Fall 2016 Honorable Mention Commendations for a Frederic Whitaker and Eileen Monaghan Whitaker Foundation Scholarship:

 At the University [of Houston] I hope to gain a better understanding of what makes artwork great. So far, I have been learning the fundamentals as I just transferred from a Community College. I have learned important lessons in my classes on how to make artwork stand out in excellence. I learned about composition, and using it to make the piece interesting, dynamic, and to even help guide your eyes around the artwork…

Watercolor seems to be under-appreciated as a medium because I’ve had people look down on me for using them as if I was a child playing with paint. For me watercolor is more than that because it can create beautiful artwork with various techniques and have a transparent look that may be harder to achieve with other paint. After I finish my studies at the University I would like to get a job where I’m able to paint on a daily basis and use watercolor of course. It could be any job ranging from designing hallmark cards with watercolor or working on designs for a film company. I would also like to work from commissions, not only because it’s a guaranteed paycheck but because I know people will ask me paint things I haven’t before. It would be beneficial in that regard because I don’t always get a chance to paint some random texture like wood grain or some things I haven’t thought of yet.

I know my skill is only going to get better because I practice almost every day. I push myself really hard to get where I want to be and even if it’s a little watercolor sketch of a flower or a full figure study that takes a few day, I try to paint every day…It takes many hours to finish a watercolor painting and I want to dedicate my time to my art.


“Anathematised” 2016, 11 x14 in. ©Jacob Garcia



"Harley Quinn Study," 2016 7.5 x 11 in. ©Jacob Garcia

“Harley Quinn Study” 2016, 7.5 x 11 in. ©Jacob Garcia

Spring/Fall 2015 Scholarship Winners!

It is with great pleasure that The Frederic Whitaker and Eileen Monaghan Whitaker Foundation announces the winners for its Art Scholarship for students studying Fine Art or Art History/Museum studies. The Art Scholarship Program was established to help art students meet the diverse educational needs of today’s professional art and museum world and we hope that the Scholarship Award will aid these talented students along their artistic/professional journey.  We wish them all the best of luck in their future endeavors!

Brenda ClementeBrenda Clemente

“I am so thankful and honored to be able to receive such a prestigious award! This was my first scholarship entry ever and naturally my first win, thank the heavens. Any sort of publicity via social media is absolutely welcome, my goal has always been to have a large platform of people to see my work.”

“I am a young, passionate artist. Watercolor has always held a special place in my heart. I would like to study illustration first because it is a conventional field of study that could bring many job options to me. Children’s books, web design, painting, digital art, character design, portraiture, and film are all interests of mine that I see as career possibilities. This will not be the last time you see my name, I plan to work hard the rest of my life in the art realm.”

“I grew up and went to high school in North Carolina. I was very active in my school’s art community – won contests, painted sets, mentioned and referenced in my school’s yearbook/magazine. I find artistic influence through beautiful things, faces, music and films but rarely reference other people’s art. I am quite particular about keeping my voice vivid through my art, I want to keep a sense of individuality. No one in my family is the least bit artistic so up until I was a sophomore in high school, I never used paint, brushed, charcoal, clay or oil. Aside from one very mediocre AP art class in high school, I have never taken a single college level art class in my life. I have been attending a Community College (Central Piedmont) for my general education courses while working as a full time nanny to pay for my up coming art school tuition. I wish to enroll next year to the Savannah College of Art and Design in Savannah Georgia, I have been previously accepted to the university (my senior year) but had no means to pay for the lavished tuition. Since denying my acceptance letter, my father lost his job and forced my family to move to Miami where he would after 20+ years of self employment, work an office job. My life has taken many unexpected turns in the last few years but I am happy to say I have every intention of continuing my education and perfecting my art. Portraiture has invariably been my favorite subject because I’ve always seen it as the most challenging. I am in no way satisfied with my own work which is why I want to go to school so desperately. I am the first of my family to actually enroll in college. I cannot explain my undying gratitude for your foundation’s kind words and financial assistance, I assure you it will be used with grace.”


10582831_10202394963148672_7533338713256932264_oEmma Randolph

View her website: http://randolphemma.wix.com/pieces-of-me-by-emma

“Thank you so much! I could not be more proud to receive this scholarship! This is such a huge gift and I am extremely proud and honored to be the recipient.”

“I will be a senior at the University of Minnesota Morris this following year (2015-2016). I will be completing majors in Studio Arts, Secondary Education, and French as well as a minor in Art History. Watercolor is my favorite studio medium, followed by drawing and ceramics. I am a self taught watercolorist, beginning roughly six years ago. I choose to paint the human figure (typically women), because it is what I connect with most. I am deeply honored to receive this award, and am excited to be able to show my work through such a reputable source. Thank you so much!”

“Education has always been an important part of my life. I know how important having one is for the future. An education is, in my opinion, the single greatest weapon a person can have in their arsenal for the future. I learned this through my mother, who was the first person in her family to go on to higher education. This was even more amazing as she was the youngest of nine children, and had been criticized for choosing to get a college as opposed to starting a family after high school. Since then my mother has also finished grad school and has become teacher. She taught me that education is a gift.”

“My Native heritage was almost destroyed by my grandmother, who was ashamed of her ethnicity and attempted to destroy papers documenting her heritage. Thankfully my mother and I were able to recover these incredibly historical documents. Growing up as a native student I have completely thrown into the world of racism. I have been asked on plenty of occasions if I get money from a casino, have I ever lived in a Teepee, etc. I was made uncomfortable by these questions, and thank god the harassment never escalated beyond them. I want to continue to represent the Native community through my schooling, as well as through my accomplishments at the university of Minnesota Morris.”

“I was appointed co-chair of the student run improv group, c-chair of art club, president of the French club, help found a theater company, and sit on the committee for our Student Education Organization. I am the student liaison for the Humanities and Arts Department, representing the Studio Art section. This position gives me the opportunity to authorize class schedules for upcoming semesters, review budgets for previous and upcoming semesters, aid in the hiring of new faculty and staff as a student perspective, etc. I have also been on the Dean’s List every semester I have attended the University of Minnesota Morris. I have also recently been selected by an anonymous committee to receive the American Indian Salt Springs Teacher Scholarship. This award is given annually to a student who is an education major and has exhibited both academic success and involvement in culture.”

“I have studied abroad twice already (a two month excursion through the English Language Teaching Abroad Program (ELTAP) in Ireland to teach immigrant children English and July in Paris, a month long intensive French language trip), and plan on completing my student teaching in New Zealand next year. I also plan on studying abroad for a full semester next year.”

IMG_0735 IMG_0968

WIN_20150624_122133 (2)Felicia Vowles

“My name is Felicia Vowles and I am a young artist. I’ve done art all my life. I am attending UTA this fall and will be majoring in Studio Arts and Art History. My goal is to work with art for the rest of my life and have an influential impact on the way people see the world through art. I am very grateful to be receiving this scholarship and am glad that it’s bringing me one step closer to my goals in life. Thank you so much! I really appreciate you investing in me and believing in me!”

“Ever since I was little I wanted to be an artist. As I got older and I learned more about what it takes to be a successful artist I started to realize where college fits into it all. I started to see that while as an artist I could make it on my own, going to college would open more option to me and teach me things that would take me so much longer to learn on my own. I am transferring to the University of Texas at Arlington this fall and I am going to major in Studio Arts and Art History. I also hope to get my teaching certification also so that I have that option open to me. The first goal is to be a successful fine artist and make and sell my art, work with galleries and museums for shows, and create beautiful things. I also want to work in galleries and museums, both with internships between school years and also once I graduate. I love art history and seeing the things others have created. I want to know how museums work and help other artists achieve what I’m hoping to achieve. As I get older, I may decide to teach but that isn’t my initial goal. I know I could be really good at teaching and I feel art education is very important so as I said I want to keep that option open to me in case I decide to go that way. I am so passionate about art in all its forms and I feel I know so little about it despite spending my whole life thus far focused on art. That’s one thing that I’ve discovered in college already. I thought I knew the gist of what art is out there already but I know so very little and I know college will help me learn more about all of it.”

Felicia’s essay:
Artists see the world very differently from those around them and so when working and creating they either work inward and intuitively or outward and rationally. The difference between these two are that one uses the mind’s eye and how they perceive things compared to working realistically and creating things as close to reality as humanly possible. Both Frederic Whitaker and Eileen Monaghan Whitaker used both sides to create their works; sometimes using both at once.
Working intuitively is often more abstract and fluid compared to working rationally and striving to create exactly what you see as it is. Frederic Whitaker did studies of still life’s and figure drawings both in which the topics were generally fairly detailed with soft lines but little to no background. In this he is straying more towards that abstract fluid side. One great example is his watercolor titled Special Guest. The reclining female figure and background are both fairly detailed but there is a lack of sharp, clear lines that brings it closer to reality. There is a good amount of shading but the shadows are sharp and blocky helping to make the figure seem more angular. The background and the blankets the woman is reclining on trail off into the white of the paper instead of being fully drawn out the edge of the painting. The wall in the background has little detail and the painting on the wall is just detailed enough to give us an idea that it is supposed to be a landscape. There are many reasons why Frederic Whitaker might have done this painting like this. It could be because of time or the way watercolors work or for some other reason. Either way it’s obvious he was working both rationally and abstractly at the same time. Eileen Monaghan Whitaker did much the same in her still life’s but her architecture study is where one can really see the rational side of her work. A great example is her painting titled Cuenca Spain (Cathedral). The detail she put into this piece is extraordinary, especially when one knows how difficult watercolors can be. The rooftops, the walls, the sky, the landscape, even the people and the birds are very detailed. She painted this as it is seen and did so as close to realistic as she could. Frederic Whitaker also did a series of architecture that had the same beautiful detail just as Eileen did pieces that had the same intuitive style as Frederic’s figure studies.
Working intuitively or rationally are the basics of the arsenal of artists. Both Frederic Whitaker and Eileen Monaghan Whitaker created things through both aspects and they did so wonderfully. An artist can see the world differently and thus can create things in ways that others would never think of. This is what makes them amazing.