Coppini Academy of Fine Art
Go to current website:


For a number of years this was the website for the Coppini Academy of Fine Art. Coppini became a popular sculptor of Southern and Texas heroes. His bronze and stone figures still stand throughout Texas, including those of Robert E. Lee, Jefferson Davis, Stonewall Jackson, Albert Sidney Johnston, and Sam Houston. The Coppini Academy of Fine Arts was chartered in the State of Texas on February 21, 1952 as a non-profit organization dedicated to the promotion of classical, representational fine art. Pompeo Coppini gifted his studio to the artists of San Antonio as a place to meet, paint, draw, and discuss representational art.
Content is from the site's 1999 -2010 archived pages as well as from other outside sources.

The new owner of this domain has chosen to keep an edited version of the original site and to point visitors who have inadvertantly ended up here while searching for the Coppini Academy of Fine Art to the academy's current website found at:

Coppini Academy of Fine Art, Inc.
115 Melrose Place
San Antonio, TX 78212


"The Littlefield War Memorial" by Dr. Pompeo Coppini Located in the University of Texas in Austin.

Brief Coppini History      

 Coppini Medal

It was founded in 1945 at Trinity University by the late  DFA Pompeo Coppini, internationally famous sculptor, who endowed the Academy with an estate dedicated to the encouragement of worthy accomplishments in the field of art.

The original name of Classic Arts Fraternity was changed to Coppini Academy of Fine Arts in 1950 in honor of the founder. During his long, active career, Dr. Coppini created numerous public monuments, landscape groups, statues and bas reliefs and inspired many students. His autobiography titled "From Dawn to Sunset" includes photographs of many of his works. Among his best known works are the Alamo Heroes Cenotaph in San Antonio and the Littlefield Memorial Fountain in Austin.


His protegee; Waldine A. Tauch, DFA, Sculptor, under the guidance of Dr. Coppini became an internationally known sculptor in her own right.

 She received many honors testifying to her high place in the field of art. Among her best known works are the statue of Moses Austin on the grounds of City Hall in San Antonio, The Texas Ranger of Today in Dallas, Browning's Pippa in Waco and Higher Education Reflects Responsibility to the World in the Trinity University Graduate Center in San Antonio.

Drs. Coppini and Tauch are represented throughout the country, richly so in Texas and especially here in San Antonio, Texas.

Presently the Academy is an active place of learning. The Studio is a hub for creative endeavor during the week, the gallery is opened periodically for exhibits and the remaining rooms are maintained for special events and the business headquarters of the group.

The Academy was organized for educational purposes, to further interest in art through programs, demonstration of art technique and workshops, and to serve as a means for public exhibition of art. All administrative duties are performed by the members on a volunteer basis.

The purpose of the Academy is to encourage better acquaintance and understanding between artists and patrons, to encourage worth accomplishments in the field of art and to serve as a means of public exhibition for the active members of the Academy.

The Coppini contributes a scholarship award each year to a deserving art student towards the students college art fund.

Coppini regular monthly meetings are held on the third Sunday of every month in the upstairs gallery. The Executive Committee meets at 1pm in the Coppini Apartment. At 2:30pm the General Meeting begins and artwork is received for the Artist of the Month Competition at 2:00 pm.  Demonstrators and/or guest Artists are announced in each previous newsletter . Our monthly meetings are open to members as well as non-members. Come join us!




Pompeo Coppini

Dr. Pompeo Coppini (1870-1957)


COPPINI, POMPEO LUIGI (1870-1957). Pompeo Coppini, sculptor, was born in Moglia, Mantua, Italy, on May 19, 1870, the son of Giovanni and Leandra (Raffa) Coppini. He grew up in Florence, where he was a student at the Accademia di Belle Arte and there studied under Augusto Rivalta. He graduated with highest honors in 1889. On March 5, 1896, Coppini immigrated to the United States with very little money and no knowledge of English. On February 27, 1898, he married Elizabeth di Barbieri of New Haven, Connecticut; he became an American citizen in 1902.

Coppini, hearing of Frank Teich'sqv search for a sculptor, moved to Texas in November 1901. He was commissioned to model the statue of Jefferson Davisqv and other figures for the Confederate monument (1901-03) subsequently erected on the Capitolqv grounds in Austin. Other Texas commissions followed, one of the best known being the Littlefield Fountain Memorial (1920-28) at the University of Texas at Austin. He also did the seven bronze statues along the south mall of the university grounds, all of which were associated with the Littlefield commission except the sculpture of George Washington (completed 1955). Coppini's Texas works include a statue of Rufus C. Burlesonqv at Baylor University in Waco (1903), the monument to Sam Houstonqv at Huntsville (1910), a monument at Gonzales in commemoration of the first shot fired for Texas independence (1910), a statue of a Confederate soldier at Victoria (1911), busts of Albert Sidney Johnston, Robert E. Lee,qqv Jefferson Davis, and Stonewall Jackson for the Confederate monument at Paris, Texas (1903), and a group statue called The Victims of the Galveston Flood (1903-4), which was given to the University of Texas, Austin. Coppini also modeled the equestrian monument to Terry's Texas Rangers (the Eighth Texas Cavalryqv) on the Capitol grounds (1905-07), the Charles H. Noyes Memorial in Ballinger (1918-19), the John H. Reaganqv Memorial in Palestine, with its personification of the "Lost Cause" (1911), and the bronze doors of the Scottish Rite Cathedral in San Antonio (dedicated 1926). One of his best-known works is a statue of George Washington in Mexico City (1911).

Coppini lived and worked in San Antonio until 1916, when he moved to Chicago for financial reasons. Three years later he moved to New York City to facilitate the production of the Littlefield Fountain Memorial. He was assisted on this and other major projects by sculptor Waldine Tauch,qv who began studying with Coppini in 1910 and continued to work with him as his colleague and foster daughter until his death. In 1937 Coppini established a studio at 115 Melrose Place in San Antonio in order to work on a major commission for the Texas Centennial,qv the cenotaph to the heroes of the Alamo (1937-39) on Alamo Plaza in San Antonio. Other Centennial commissions awarded to Coppini were the commemorative half-dollar (1934) and the Hall of Stateqv bronze statues of Stephen F. Austin, Thomas J. Rusk, William B. Travis, James W. Fannin, Mirabeau B. Lamar,qqv and Sam Houston (1935-36). Coppini's contributions to the state were recognized in 1941, when he was awarded an honorary doctor of fine arts degree by Baylor University. Recognition and appreciation of his work extended to Italy, for in 1931 he was decorated "Commendatore" of the Crown of Italy for his contribution to art in America.

Coppini is represented in the United States by thirty-six public monuments, sixteen portrait statues, and about seventy-five portrait busts. When expressing his own attitudes toward art and sculpture, he often criticized modernism, which he attributed to a general lack of screening of pupils in art schools. He thought that art training should be a regular branch of learning in a university, with strict standards that would assure adherence to classic and academic artistic traditions. He emphasized the importance of individual instruction from experienced artists. From 1943 to 1945 he was head of the art department of Trinity University in San Antonio. In 1945 he and Tauch cofounded the Classic Arts Fraternity in San Antonio (renamed Coppini Academy of Fine Arts in 1950). Coppini died in San Antonio on September 26, 1957, and was buried in Sunset Memorial Park in a crypt of his own design. He was survived by his wife and his foster daughter. The San Antonio studio now serves as a museum of Coppini and Tauch's work.

BIBLIOGRAPHY: Pompeo Coppini, From Dawn to Sunset (San Antonio: Naylor, 1949). Coppini-Tauch Papers, Barker Texas History Center, University of Texas at Austin. Patricia D. Hendricks and Becky D. Reese, A Century of Sculpture in Texas, 1889-1989 (Huntington Art Gallery, University of Texas at Austin, 1989). Vertical Files, Barker Texas History Center, University of Texas at Austin.

Looking back, immigrant sculptor Pompeo Coppini (1870-1957) remembered the San Antonio of 1902. For him, it was love at first sight.

In late November of that year, after five years in New York, he found "real Italian sunshine." old houses resembling those in Sicily, and Smiling native Musicians.

Turn-of-the-century San Antonio was a dusty town of 50,000 people and less than a mile of paved streets. In his new hometown, Coppini and others of the "Chili Thirteen" founded the annual Fiesta Week. Also, as he was proud to recall, he alerted Miss Clara Driscoll to the danger of a commercial development adjoining the Alamo chapel, thus helping save the site.

His career led him to Chicago and back to New York, but Coppini returned in the 1930s to plan a Cenotaph, or empty tomb, for the spot where most of the Alamos heroes were thought to have died. This and other Centennial commissions were a culmination of his art, as well as his passion for San Antonio's romantic past.

He built a studio at 115 Melrose Place for the creation of the massive Cenotaph. Every Sunday he welcomed visitors. He said, "Some people marveled at my agility and endurance...I almost hated to be reminded that I was sixty-eight."

Another Texas Centennial commission was a bronze sculpture of Moses Austin by Coppini's protégé and foster daughter, Waldine Tauch. The statue stands near City Hall, facing the Spanish Governors' Palace. Coppini remembered that in 1901, the Governors' Palace was a headquarter for a wholesale banana merchant.

Pompeo Coppini's final legacy to his adopted homeland, other than his art, was an endowment for the  Coppini Academy of Fine Arts,  to be located in his studio at 115 Melrose Place. The studio where the Cenotaph was created continued to be used by Coppini's star pupil, Tauch until her death in 1986. Now it is used for workshops and classes. A gallery upstairs shows current art by members of the non-profit academy, as well as sculptures which Tauch and Coppini made of each other. The refurbished living quarters of Pompeo and his wife Lizzie contain original furnishings, more that 20 sculptures by Coppini and Tauch and other personal mementos.

As a young man, Coppini landed in this country with only $40 and a few letters of recommendation. Scrambling for jobs and coping with a lack of English, he volunteered to design a float for a parade in a Greater New York celebration. Pompeo and a friend worked in bitter cold, by the light torches in the middle of a coal yard, to build the structure. The finished float was awarded first prize by the New York Journal. The trophy for the float is one of the treasured mementos in the sculptor's home.

Much of Coppini's time was spent planning public monuments with civic committees, which sometimes brought satisfaction, sometimes frustration. In addition to the great and near great, some of his subjects were private citizens. Often he portrayed allegorical figures. After a lifetime of depicting sacrifice and bravery in monuments to was heroes, Coppini saw a new face of was in the advent of the atomic bomb. A statue he named "Atom" was created in hope that viewers would "think of the potential danger in using science for self-destruction..."

"Atom" is on display in the Italian collection of the Institute of Texan Cultures in San Antonio.

Major Coppini works include the Littlefield War Memorial fountain and statues at the University of Texas, a heroic statue of George Washington in Mexico City, a monument to General Sam Houston in Huntsville, an equestrian statue of General John Hunt Morgan in Kentucky, the Texas Centennial half dollar and sculptures at the Texas Hall of State in Dallas. He was knighted by the King of Italy and wrote a 1949 autobiography, "From Dawn to Sunset".

Tauch is known for "Texas Ranger of Today" in Dallas, "Browning's Pippa" in Waco and "Higher Education Reflects Responsibility to the World" at Trinity University.





Irene Taylor

Irena Taylor has been "creating art" since childhood.  Life with its numerous interruptions has not changed her career goal to continue developing as an artist with greater skill, sensitivity, and integrity, and that her artwork become more and more beautiful.  After receiving her B.A. in history from Houghton College, she followed an eclectic path of art education.  She studied at Rutgers University, the De Cordova Museum School of Art in Massachusetts,  Paul Ingbretson's Atelier for classical drawing and painting,  with James Horton, with Ted Seth Jacob and numerous workshop instructors.  Her studies include Chinese brush painting, pastel, watercolor, oil, photography, pen and ink, and drawing, drawing, and more drawing.  Irene works in several media.  Unless commissioned otherwise, her choice which medium to use for a subject often depends upon visualizing the final work.

Irene has participated in several group shows in Massachusetts, England, and Texas and won awards for her work.   She  holds workshops, demonstrations, and currently teaches privately and holds art classes for children at the Coppinni Academy of Fine Arts  where she was named 2003 Artist of the Year.  She has served as a board member of  both the Coppini Academy and Chelmsford Art Society (CAS), assisted as judge at local school art competitions  and has organized several shows for art groups.  She is a member of the San Antonio Watercolor Group, CAS, the Regional Art Consortium of San Antonio (RAC), and the Coppini Plein Air Painters.

Irene lives in San Antonio, Texas with her husband and their two "almost all growed up" children.

Brad Braune

Born in Abilene, Texas in 1951 Brad lived there until he was 13. His maternal grandmother, Maybell Hutchins was a primitive Texas painter and ceramist, and he spent a major portion of his childhood painting and working with her. By the time he was in his early teens, his family had permanently relocated to the ranch they owned near the small Texas town of Hico, where he had already spent much of his childhood. In 1974 he received a bachelor of architecture degree from Texas Tech University where he also studied art and painting. It was also in 1974 that he first moved to San Antonio and began working as an architect at The San Antonio Development Agency in the planning department. In 1975 he left S.A.D.A. to work for Cerna, Garza, and Raba. He spent the remainder of his career as an architect with the prestigious San Antonio firm of Ford, Powell, and Carson, where he had the opportunity to work with world renowned architect Oneil Ford.

After 1978, he began painting full time. For a period of years, he had his work exhibited in numerous museum and gallery exhibitions, and participated in a series of competitions where he regularly won awards.

In 1981 he was commissioned by MOKA, a publishing company to design the first Texas Folk Life Festival poster. This image of the longhorn cow with a balloon tied to her horn has become a familiar symbol of the nationally recognized annual festival. Only one edition of 3000 posters was printed and now those original posters have increased in value. Originally priced at $25, now the unsigned posters are valued at $1000, and signed copies have sold for as much as $2000 each. There were a small number of the posters signed and numbered by the artist for the Institute in 1981, and some of these have been known to sell for as much as $6000 each. He was commissioned again for the 1991 poster on the ten year anniversary of the first poster. His original painting for the 1991 Texas Folk Life Festival hangs in the US Embassy in Moscow. Also in 1981, he created the painting for the cover of the Frost Brothers Christmas catalog This idea of a wreath made of prickly pear cactus is considered to be a traditional southwestern decoration during the holiday season. It was this painting that inspired the creation of actual wreaths. It was during this same period that he moved to New York where he lived and worked for several years, regularly returning to San Antonio where he kept a studio.

In 1984 he was commissioned by The Joffrey Ballet to create a painting for the ballet "JAMBOREE" by Gerald Arpino. The ballet with Brad's painted front curtain made it's world premier in San Antonio in June of 1984, and it's New York premiere at Lincoln Center in March of 1985. He also created the original scenic backdrop for the cult play A TUNA CHRISTMAS by Joe Sears, Jaston Williams and Ed Howard. TUNA CHRISTMAS, along with Brad's painting was performed at the White House for President and Mrs. Bush in 1990. He has now returned to San Antonio, where he continues to paint and exhibit his work throughout the country and abroad.

Gladys Roldan-de-Moras
(210) 422-5045
Always proud of her Colombian and Mexican roots, Gladys Roldan-de-Moras' passion for art is reflected in her colorful work. Each one of her paintings captures the essence of the moment; often there is a hidden message the artist wants to convey. Strong colors, soft edges, hard edges, light and shadow are all captured by the artists hand. Because of her talent she is rapidly being recognized as an important emerging artist.
The product of a long line of artists and artisans Gladys was born in 1965 in Monterrey, Mexico. She began enjoying Art at a very young age and took a circuitous route to become a fine artist. After attending Medical School she left her promising medical career to become the fine artist we know today. In 1984 she moved to Austin where she received her degree from the University of Texas.
She has studied the art of painting under the guidance of distinguished National and International instructors such as Dan Gerhartz, Morgan Weistling, CW Mundy, George Strickland, Frank Lalumia, Daniel Greene, Scott Burdick, Kevin Macpherson, Ron Rencher, Sherrie McGraw, Ken Backhaus, Laura Robb, Janice Yow Hindes, William Hocker, Harold Phoenix, Helen Van Wyk, John Budicin, C.J Beck, Profr. Gustavo Trujillo Martin del Campo and classes/ lectures by Richard Schmid.
Gladys credits her growth as an artist to the years of study and guidance under Daniel F Gerhartz
Michelle Hockett
 (210) 698-6478

Michelle Hockett has been gifted in drawing and music since childhood. Even as a child she was capturing liknesses in her portrait sketches. She pursued music and art at Oberlin College in Ohio. During her long career as a professional musician in Washington, D.C., she explored her passion for musical expression through tonal color. While still playing music she
studied drawing and painting at the Art Student's League in Alexandria, Virginia, and was particularly influenced by study with Avis Flemming who focused on the rhythm and gesture of the human form. Since moving to San Antonio, Texas, she has pursued painting classes at the Southwest School of Art and Craft and taken workshops with Gregg Kreutz, David Leffel, Robert Johnson, Gladys Roldan de Moras and Guido Frick.  Michelle also drew and painted in Gregg Kreutz' class at the Art Student's League in New York City. 

She was juried into the Coppini Academy of Fine Art in San Antonio where she paints and exhibits regularly with other artists and won the June, 2006 "Artist of the Month" award for her painting "Studio Vase" as well as other numerous awards.  In addition to the Coppini, Michelle exhibits at the Regional Artist Consortium (RAC) Gallery and at the San Antonio airport.  Michelle is also a member of the San Antonio Visual Artists (SAVA) where she regularly exhibits in the gallery, and as of summer 2007 she was juried into the Oil Painters of America as an associate member.  As of July 2008 Michelle's paintings can be seen at the Good Art Company Gallery in Fredericksburg, Texas.  She presently has a number of her "kitchen" still lifes on exhibit at Rather Sweet in Fredericksburg as well.

Ron Watkins
 (210) 509-4677<
Hello, my name is Ronald Watkins. I was born in Wilkes Barre Pennsylvania and have been painting for over 20 years.I always try to learn my craft from the best.I have read every art book I could find and have watched just about every oil painting video out there. Some of the artists I've studied under include Gregg Kreutz,Carolyn Anderson,John Budicin,Gladys Roldan-de-Moras,and Janice Yow Hinds.
I believe that 80% of being a good painter comes from making hundreds of oil painting studies from life.One should paint as often as possible and remember there are no short cuts to that.Like anything else in life one wants to be good at, one must practice and practice.

I now reside in San Antonio, Texas and teach at the Coppini Academy of Fine Arts.

During Ron's 20 years of painting he has studied under the guidance of many distinguished national and international instructors such as Michael Molnar, Dan Gerhartz, Scott Burdick, Sherrie McGraw, John Budicin, Janice Yow Hinds, and Gladys Roldan-De-Moras.

Memberships:  Coppini Academy of Fine Arts and the American Society of Portrait Artists.

Kraig Kiedrowski
About Kraig Kiedrowski
A Montana native, Kraig Kiedrowski has lived and worked in New York, California, Montana Texas, and Utah.

He studied painting and drawing at the Art Students League in New York, Leighton Studios in San Francisco, and Montana State University at Billings.

A winner of several awards his work appears in many collections in the US and abroad. The Hunt Gallery in San San Antonio, Texas, the Bingham Gallery in Salt Lake City, and the Burris Sporting Art Gallery in Loxley, Alabama represent his work.

Kraig currently conducts classes and workshops in plein air landscape painting, still life, figure drawing and methods and materials.

He is currently living and working near San Antonio Texas.


2010 Workshop Schedule

There is a $100 non refundable deposit for all workshops. Workshop balance is due 45 days prior to workshop, we have small intimate classes of 8 to 12 students. If you drop out and we fill your space, you will be reimbursed, less your deposit. If Coppini cancels the workshop for any reason, you will be reimbursed in full.


Henry Yan
Oil Painting - The Figure
July 8-11 2010
Henry Yan Workshop
I paint and I teach.
I paint people, I paint landscapes and I paint anything that inspires me to mix colours and brush them on canvasses.
Galleries, private collectors and commisioned clients are those to whom my paintings went.
I teach drawing, I teach painting and I teach anything that my students like to share with me. Many years I have taught, and still I am teaching--full time--Academy of Art University --San Francisco.
I've seen energetic students, I've seen sleepy students, life is delicious--as long as one's happy.
About me? My shoulder hurts, my throat's sore--because
I paint and I teach


Johanna Harmon
Painting the Figure in Oil Workshop
SEP 20-22
$ 350
"Faces fascinate me.  I am especially drawn to the qualities that make an individual unique--the kind of beauty that you cannot invent.  In particular, I look for nurturing personalities.  Once I'm captivated by how a person carries themselves or how a child gestures, I am driven to meet the challenge of not only capturing a likeness on canvas but more importantly, breathing life into that likeness."    
—Johanna Harmon

Johanna Harmon has been a student of life since her childhood in Arizona.  To express her feelings about what she saw back then, she started drawing at age 7.  Observations and emotions continue to be at the core of her paintings.  Not only does she document the world around her, she also expresses her personal response to the glory of creation, whether exemplified by a dancer's discipline and grace or by a little girls indulgence in the colors and fragrances of a secret garden.

Bringing to life a multi-dimensional person on a two-dimensional canvas requires mastery of the formal aspects of art.  Harmon's skills are both accurate and beautiful.  Drawing has always been her passion, and for the past decade, she has succeeded in turning the power of color, light and shadow into effective tools that animate the stories on her canvas.  Her sophisticated brushwork adds movement and energy to the surfaces of her paintings, especially the luscious, impastoed passages of oil pigments that contrast against thinner, more subtle applications.

As much as Harmon paints for the public, she also admits that for her, painting is a path of self-discovery.  "To paint is to honor who I am, one brushstroke at a time," she says.  Although she works very methodically, at some point, Harmon lets intuition reign.  When that happens, she is at one with the canvas, which takes over, bringing the painter to the role of the observer once again.

In viewing Harmon's paintings, one senses the reverence and compassion that first drew Harmon to the person.  Her paintings record unique and individual moments in life, those fleeting seconds that add up to the magnificent, complex symphony we call life.—Susan Hallsten McGarry


Carlene Reeves
Oil Painting - The Romance of Still Life
OCT 18-20, 2010
“Painting is about seeing light, color harmonies, and visual relationships. Whether I’m depicting a landscape, portrait, or bouquet of flowers, I focus on the qualities that both distinguish and unify the objects in front of me. That dichotomy sets a mood which I hope to convey to others. If I’ve done my job successfully, I know that viewers will take away their own experience of seeing the beauty and perfection of what is often considered commonplace.” Carlene Reeves

Carlene Reeves has been a student of nature and art all of her life. Drawing, painting, and exploring art history were her pursuits at San Jacinto College and the University of Houston, Texas. When she moved to Taos, New Mexico, in the mid-1990s, she became a student of light and color. “When you paint from life, light and color are never the same. Every day is a learning experience,” she says.

Today, Reeves lives an hour north of San Antonio, Texas. “The Hill Country has a gentle beauty,” she says of the nearby shoreline of Canyon Lake, embracing live-oak forests, and her roses soaking in the summer sun. Her studio, which is upstairs from that of her husband/artist Ron Rencher, harbors her collection of art books, an easel, portrait stand, and still-life staging area. Flowers in various phases of blossom grab the eye, as do shelves of props: porcelain pitchers with luscious glazes, hand-painted teacups, crystal vases, silver and brass bowls patinaed by time, and hand-stitched linens. “All of the props have meaning to me,” she relates. “However, when I set up a still life, I’m telling a story about the relationships of the objects to one another. Each bloom, onion, or apple has its own character, like a face. I create an arrangement that has both a ‘star’ and subordinate players which give the star context and enhance its natural splendor. ”  Reeves’ painterly canvases have found audiences locally and internationally. Collectors appreciate not only her orchestration of color and values, but also her expressionistic brushwork, which creates a three-dimensional experience on the canvas. When asked about her influences, Reeves says she strives to achieve the luminosity of impressionist Frank Vincent Dumond and the colorist qualities of California impressionist Franz Bischoff. To achieve their technical mastery, Reeves has pursued classes at the Scottsdale Artists School, Arizona, and the Nicolai Fechin School of Art, Taos, and independent studies with alla prima painters, including Lajos Markos, Kevin Macpherson, Greg Kreutz, Huihan Liu, Marlin Linville, Dan Gerhartz, Sherrie McGraw, and 1 12/10/2009

William Henry Earle, who was a student of Dumond. For the past five years, Reeves herself has become a sought-after instructor. Although she does not assign symbolic meanings to her floral paintings, Reeves confesses to combining the visual science of color and light practiced by the French Impressionists with the 19th century Romantic tradition of allowing the emotions to dominate the intellect. Using the basic tools and principles of fine art, she tells her students to find their own style and spiritual truth. “Paint what your heart is drawn to,” she says. “A painting that captures a meaningful moment in your life will live on in the memory of each person who sees it.”

Ecole De Paris, Osaka, Japan
Authentique Gallery, St. George, UT,
Mission Gallery, St. George, UT,
CC Gallagher, Avalon, CA,


Carol Marine
January 10-14 2011

Oil Painting Workshop
"Whether you are painting for a living or hobby, painting small and often is a powerful way to rapidly improve your skills. There is a fast growing group of people, called daily painters, who do small paintings every day, post photographs of their paintings on a blog, and then sell them through eBay, with a usual starting price of $100. In this way, many artists are finding they can grow quickly in skill and finally make a living with their art, after struggling for years in galleries and at art fairs.

On October 5th, 2006, Carol began the practice of doing one small painting a day and posting them on her blog. Each of these small paintings is for auction on Ebay & through her ebay store. Since then Carol has begun teaching workshops across the country about daily painting, and is a member of Daily Paintworks, a distinguished group of daily painters. Carol divides her time between painting in and out of the studio (out with Plein Air Austin), teaching and playing with her family.

Carol is represented by:

Wally Workman Gallery in Austin, TX
Corse Gallery Atelier in Jacksonville, FL
West End Gallery in Provincetown, MA.
Just Looking Gallery in San Luis Obispo, CA
Rivervend Fine Art in Marble Falls, TX &
Galeria Gardner in San Miguel, Mexico




Life Models Needed
If you would like to be included in our model base, please email or call the instructors directly or stop by the studio and introduce yourself


9:00am-NOON     Monday Painting Group - Closed Group

6:00pm - 9:00pm  Ron Watkins 210-509-4677
Oil painting beginners to advanced

9:00am-NOON     Kraig Kiedrowksi (Instructor)  Life Drawing Instructional Class  call Kraig  @  210-566-0528

12:30pm-3:30pm  Sculpture Class with Trace Guthrie Contact : Cell- (210) 219-3864     Hm. (830)609-6196
Class Schedule:  August 24th (FREE DEMO TO ANYONE + student orientation) Sept 7th 1st day of class
August 24th (FREE DEMO ON SCULPTING BY TRACE GUTHRIE - 12:30PM) Free & Open to Public
Web site:
6:30pm - 9:00pm  Brad Braune (Instructor) Painting in Watercolor 210-735-6562 

9:00AM-12:00Phil Simpson  (Instructor)  830-537-9192  Paint in Oil, Watercolor, Acrylic

2:00pm-5:30pm    Open

6:30pm-9:30pm    Open Studio (no Instructor)  Draw/Paint from a Live Model ($7 without instruction) or ($10 with instruction) 
  Monitor:  Rene
  Participate in Wednesday night life drawing session with adult models of different gender.  This will be  one pose for the night, alternating weeks of costumed models and nude models are featured. This is Open to the public (students welcome)  bring your own  supplies, easels provided.


Noon- 3:00pm     Open Studio Painting the Model (no Instructor)  Monitor: Donna Bland 

3:30pm-6:30pm    Portrait Painters Group (no Instructor) Participate in Thursday afternoon portrait painting session where models of different ages, gender and apparel are featured.  This is one pose for the session for a completed work of art.  Model will pose from 20-30 minutes with 10 minute breaks between poses.  Open to the public, bring your own supplies, easels provided.
Monitor:  Daniel Arredondo - Monitor  E-Mail:

7:00pm-9:30pm    Open Studio (no Instructor) Quick Draw - Life Drawing Session  (Fee $7.00) 
Monitor:  Joe Zaidel 210-497-8120    E-Mail: 
    Participate in Thursday night life drawing session with adult models of different gender are featured.  This is multiple poses for gestural drawings.  Poses start with 15 one-minute poses, three-minute poses,  five-minute poses and a few ten-minute poses.  Open to the public (students welcome)  bring your own  supplies, easels provided.

8:30am-1:00pm     Gladys Roldan de Moras  (NEW FALL SCHEDULE: SEPT-DEC 2010)
Session I  (oil painting class for intermediate to advanced students)  (4 classes per month)

2:00PM-6:30PM     Gladys Roldan de Moras  (NEW FALL SCHEDULE; SEPT-DEC 2010)
Session II (oil painting class for intermediate to advanced students)  (4 classes per month)

7:00PM - 9:30PM    Class time available

9:00AM-NOON     Hunter Art Group  (Please drop by to discuss joining the group)  210-824-8502 during class

1:00pm-4:00pm    Irene Taylor - Youth painting classes

6:00pm-9:00pm     AVAILABLE FOR RENT



President's Notes


President's Notes. NOV 2006 


"I think that there is nothing so delightful as drawing"–Vincent Van Gogh.
"Drawing is the artist's most direct and spontaneous expression, a species of writing; it reveals, better than does painting, his true personality"–Edgar Degas.
"Drawing is the basis of art. A bad painter cannot draw. But one who draws well can always paint"–Arshile Gorky.
"Drawing includes three and one half quarters of the content of painting...Drawing contains everything but hue"–Jean-Auguste-Dominique Ingres.
"It is not bright colors but good drawing that makes figures beautiful"–Titian.
"Drawing is the first of the virtues for a painter. It is everything; a thing well drawn is always well enough painted"–Ingres.
And there are thousands more quotes by accomplished artists regarding the importance of drawing. Members should all take advantage of the open life drawing sessions on Wednesday and Thursday nights every week at 7p.m. to improve and maintain drawing skills. Hal Martin


President's Notes. DEC 2006
The time has rolled around for the last of my brief monthly communiques of my 4 years serving as president of CAFA. I feel privileged to have been selected to this position after only a couple of years at Coppini and having come from a background in a non- related field. The position involves a bit of what we used to term in medicine as "scut work," but overall, I feel that I got more than I gave for the experience in terms of insights into art and organizational management from those with whom I worked. I hope that most of the decisions made during the last 4 years were, and will continue to be, beneficial to CAFA. I enjoyed representing Coppini to the public and other organizations and would be happy to continue to do so in the future. However, as I said in my first note, administration is not my long-suit and I feel that any organization should benefit by having periodic leadership change to infuse new ideas and enthusiasm into the group. In that regard, I feel certain that Karen McCauley, who has an extensive art background and is a longstanding member of Coppini, will bring a new dimension to the president's position, which will benefit CAFA. I will remain on the board next year in an ex officio position and, as previously stated, will be involved in a long range CAFA strategic planning effort to be chaired by Dr. Tony Arabia. Most importantly from an individual standpoint, I will continue my association and interaction with the other members of Coppini who have contributed greatly to my own development as a painter and appreciator of fine art. I would like to express my appreciation to all those who have served as board members and volunteers over the past 4 years...CAFA could not continue to function without this volunteer effort. Special thanks to our resident groundskeeper Dana Butler who keeps the building and grounds looking so nice. And, last but certainly not least, my appreciation to our Art Director, Louis Mar, who, over the years, has probably done more for Coppini than any other member and has made my job relatively easy. Finally, I would like to extend a personal invitation to all members and their spouses or significant others to join Gene and me at our home on 28 January for the yearly social and voting for the Artist of the Year (details elsewhere in the newsletter). Hal Martin


President's Notes JAN 2007 .  
Since I joined almost 7 years ago, we have made a host of new friends at Coppini. One of our real joys in life is sharing our home with others for social gatherings; events like the Artist of the Year party allow us to get to know each other that much better. The multiple conversations were very stimulating, certainly complimented by the wonderful foods that everyone brought, as well as the “ beverages. ” Overall, the evening was very enjoyable, and those who were unable to come missed a great opportunity to interact with fellow members. Our personal congratulations to Trace Guthrie , our new Artist of the Year, and again to Artists of the Month Susan Carlin, Kim Roberti, Ron Watkins, Sonia Griffiths, Michelle Hockett, Patty Cooper, Donna Bland, and Mary Lopez . Finally, although my term as President is over, we plan to remain fully active at Coppini and are looking forward to taking advantage of the educational opportunities and making many more new friends with common interest in representational art during the years to come. 
Gene and Hal Martin
Final Thoughts from Outgoing President Hal Martin


President's Notes  MAR 2007
A brief hello—I would like to let everyone know what a great privilege it is to serve as president of the board of the Coppini. I will work with the board to bring in new ideas and make Coppini more visible in the San Antonio art scene. With the great new ideas of an enthusiastic board,  the help and input of the general membership, and some new organizational ideas for the future of the Coppini from Coppini member, Dr. Tony Arabia, we can bring Coppini into a larger part of the San Antonio Arts. Call anytime with your ideas—I would enjoy hearing from you.              Karen McCauley