Registration for the Delaware Art Museum’s summer 2026 studio art classes is now open

By Steven Brodsky

… Classes for a wide range of subjects have been scheduled.

Visit Classes – Delaware Art Museum for information.

Posted 4-24-26

Attention wildlife artists: the Pennsylvania Game Commission is now accepting entries from Pennsylvania residents for its 2027 Working Together for Wildlife Art Contest; the featured category of the 2027 Working Together for Wildlife Art Contest is Pennsylvania shorebirds

By Steven Brodsky

The Pennsylvania Game Commission issued the following news release today, April 14, 2026:

WILDLIFE ART CONTEST UNDERWAY

It’s time to break out the paint brushes and easel.

The Pennsylvania Game Commission is accepting works for its 2027 Working Together for Wildlife Art Contest, with entries due by July 31, 2026.

The 2027 featured category is Pennsylvania shorebirds. Qualifying submissions must include at least one of the following species: American golden-plover, black-bellied plover, buff-breasted sandpiper, dunlin, greater yellowlegs, killdeer, lesser yellowlegs, long-billed dowitcher, pectoral sandpiper, piping plover (Great Lakes population), red knot, ruddy turnstone, sanderling, semipalmated sandpiper, short-billed dowitcher spotted sandpiper, upland sandpiper, whimbrel, white-rumped sandpiper, and willet.

Unlike previous years, this year’s contest is restricted to paintings. One or more shorebirds can be featured in an original, full-color, horizontal or vertical painting with a horizontal or vertical image of 14×20 inches or 20×14 inches, leaving no important subject matter within one inch of outside border, due to cropping. The painting must have a 2-inch white border or mat, unframed but signed. The total project size should not exceed 18×24 inches or 24×18 inches. To protect anonymity during judging the signed name will be covered.

All submissions for the 2027 contest must be submitted online at https://www.pgcapps.pa.gov/WorkingTogetherforWildlifeForm by 4 p.m. on July 31. Artists may submit more than one work, but for each submission, there is a nonrefundable $50 entry fee. Artists 18 and younger can enter for free.

All entries will be reviewed and evaluated by a committee of qualified Game Commission personnel.

The artist whose painting is selected for the 2027 Working Together for Wildlife fine art print series will receive $5,000, plus 25 artist proof prints. The winning artist must pencil-sign up to 200 limited edition fine art prints produced from the original painting, with signing conducted at the Game Commission’s Harrisburg headquarters, and the artist receiving the cash award after the prints are signed.

In addition, cash awards will be presented to other top-finishing artists. The artist submitting the second-place painting will receive $1,500; third place, $1,000; fourth place, $800; and fifth place, $500. In the event of a tie, the awards for the two places will be combined and split evenly.

Participating artists will have the chance to view entries after final selections are made.

Official rules about the contest are available on the Contests page of the Game Commission’s website. Each artist must be a Pennsylvania resident. For further information, contact the Game Commission 1-833-742-9453 (1-833-PGC-WILD).

Founded in 1980, the Working Together for Wildlife program has raised over $2 million for wildlife management and research across the Commonwealth.

“Revenues received from the sale of signed and numbered prints help finance wildlife research and management programs in Pennsylvania, meaning participating artists not only have a chance to take home winnings, but to help fund wildlife conservation through their work,” said Lauren Ferreri, who leads the Game Commission’s Bureau of Information and Education. “By inspiring artists, engaging the public and allowing both to help benefit wildlife, the Working Together for Wildlife program continues to promote the Game Commission’s role in wildlife conservation and serves as an important reminder that we all can make a difference.”

Posted 4-14-26

A Conversation With Victoria Browning Wyeth

By Steven Brodsky

Victoria  Browning Wyeth is the granddaughter of Andrew Wyeth and the niece of Jamie Wyeth. She is the great-granddaughter of N.C. Wyeth. Victoria is widely known for her dynamic gallery talks and lectures on the life and art of Andrew Wyeth. Victoria is a gifted photographer; her photos have been exhibited at a number of museums.

What are some of your fondest memories of your grandmother?

One of my fondest memories of my grandmother were our nicknames for each other. I always called my grandmother by two names: “Betsy” or “Mamma Sheep Turd.” I realize the second name might raise a few eyebrows so let me explain. I grew up in New York City, but would spend every summer in Cushing Maine with my grandparents. As a young girl, and as a grown woman, I have always detested sand, dirt and bugs. When I was about nine or so, my grandparents purchased Allen Island (near Port Clyde, Maine), and, in addition, a very large flock of sheep to help with the lawn “maintenance.  Along with the sheep came sheep turds…. EVERYWHERE. So, she called me “City Slicker” and I called her “Mamma Sheep Turd.” When I was in college and we wrote each other letters, the post office at my college would giggle when they handed me a letter because of the return address. I always smile when I think of the looks people gave us when we used these names for each other.

My second fondest memory was when she taught me to put on makeup and put my hair in a French twist. I can still feel her hands in my hair helping me pin it up. When it came to applying makeup she would always say, “Vic… less is more.” To this day I am not much of a makeup person.

Finally, my most recent favorite memory involved cooking for my grandmother (and my uncle Jamie) on Sunday nights. Betsy was the chef in the family – her meals were simply out of this world yummy. Mashed potatoes, cookies, creamed eggs, popovers, etc. You name it and she could make it. After my grandfather died she scaled back her cooking quite a bit. Around six or seven years ago I started cooking Sunday dinners for my family. I wasn’t the best chef at first; I burned fish more than I would like to admit. One of the things that still brings a smile to my face was watching her gobble up every last morsel. She would look at Jamie and me and say, “mmmmm this is good.”

Betsy handled much of the business affairs of her husband Andrew. What prepared her for this?

She always had such a powerful business sense. I’m not quite sure where this came from, but she handled Andy’s business affairs with such grace and intelligence. She was quite the inspiration.

Please describe how Betsy furthered the career of Andrew?

My grandmother helped further his career by supporting him in numerous ways. The most important was through her love: she loved him with all of her heart. She would always tell him what she thought of his newest painting – if he needed to simplify something, if the color was too intense, etc. She was also very instrumental in titling many of his paintings.

What was the extent of Betsy’s involvement in titling the paintings of her husband?

She had a huge role in the titles. Take the painting Wind from the Sea. When my grandparents were discussing the piece Betsy said, “It looks like a wind is coming in from the sea.” Andy replied, “That’s it!! Wind from the Sea.” Her vocabulary was most impressive. For example, she would do the New York Times crossword puzzles in ink. This gave her an incredible bank of words to choose from when she helped to title the work.

Her ability to title wasn’t limited to paintings: when I was in graduate school and writing long research papers, I would call her and tell her my paper topic. She would then call me back with a title. For example, I wrote a paper on shell shock in British troops during World War I. She came up with the title “Over the Top.”

Were you able to observe Andrew while he was painting? If you were, did he discuss what he was working on?

Andy HATED having people watch him paint. He felt that having you watch him paint was an invasion. The only times I watched him paint were: (1) outside my window in the summer. He would work on watercolors or drawings outside my parent’s house in Cushing, Maine. He didn’t know I was looking, but I was. I couldn’t help myself. This is when I was a young girl (under 13). (2) When I would accidentally walk into the house when he was working on something. I would apologize and he would smile and say, “Hi darlin’. I’m just finishing up.” (3) When I posed. This was my favorite because we got to discuss everything. I would barrage him with all sorts of questions about his work, his life, his friends, etc. The last time I posed (back in 2005) I was giving lectures at the Brandywine River Museum. It was so cool because I would incorporate what we talked about into my gallery talk that day. 

How sensitive was Andrew to what critics wrote about him?

He couldn’t have cared less what the critics thought.

Which paintings of his do you believe he remained most attached to? 

He was almost always most attached to the painting that he was working on.

To your knowledge, were there times in Andrew’s life when he was without artistic inspiration? If there were, how did he reacquire inspiration?

To the best of my knowledge this never happened. Even when he was in the hospital (for a hip replacement) he drew his hospital room and the view out the window. He was inspired by everything and everyone.

 Of the photos that you took of Andrew Wyeth, is there one that especially evokes cherished memories? Can you share those memories with us?

The one I took of him painting outside my window in Cushing, Maine. He was painting me and we would start working very early in the morning – 6:45 a.m. I overslept one morning and rushed downstairs. As I looked out of the living room window, I found him sitting out there with his watercolor pad on his lap, tissues everywhere (to blot the paper) and his watercolor box by his side. Whenever I get sad and miss him, this is what I think of and it always makes me smile. 

You’ve given many pro bono talks. Which of those talks have been most gratifying to you? Please tell us why.

My favorite talks, pro bono and paid, have been the ones I have done at the state and local prisons. I feel that those who are incarcerated should be exposed to art as much as possible. Since they can’t go to a museum, I bring a museum to them. For example, this past January I lectured on the work of my grandfather to the gentlemen at the Maine State Prison in Maine. I went on January 16th – which is a very special day for me – the anniversary of my grandfather’s death. It was a beautiful snowy day and I packed my car up with a bunch of my uncle’s and grandfather’s watercolors and drawings and headed to the prison. I thought it would be fun to create a pop-up gallery in the prison and even more interesting to bring one of my grandfather’s models with me. It was a very special day for all of us. I will never forget looking at the reactions on the guys faces as they looked at the art.

The Brandywine River Museum of Art is currently closed to the public (as are other museums) because of the COVID-19 crisis. Is there a painting in the Museum’s collection by Andrew Wyeth that, at this moment, you are especially looking forward to seeing when the doors reopen?

I love seeing my grandmother’s portrait – Maga’s Daughter. I’m very excited to go visit her and say hi.

Posted 6-8-20