50 x 36 in.
Graphite and pastel

Robert Carsten ‘Guardian’: Pastel Award for Portrait, ‘With its frontal pose and triangular design, this powerful portrait speaks volumes about its subject. Top lighting serves to delineate expressive qualities within the sitter’s hands and face that are simply mesmerizing. Subtle variations in the pose relieve any overly symmetrical qualities and subtle colors and textures of the robe reference the background. A masterful portrait.’

Courtney Harris & Julia Welch, Curatorial Research Fellows, Art of Europe, MFA, Boston, ‘The emotional connection between sitter and artist here is palpable. A remarkably inventive use of various media and textures enlivens and creates intrigue in this work. The patterning with rice paper, making up the form of the seated figure, contrasting with painterly forms. Despite the monochrome palette, there is compelling vitality and emotional expression.’

Belle Struck, Chair Governor’s Academy, MA, ‘This portrait confronted me as I saw it. Patricia’s adept handling of the medium and subject matter immediately put the viewer in the room with this woman and within the gaze of the artist. The mark making is loose and confident, the composition, strong and the size, impressive. This piece continues to speak to me long after I have left the gallery.’

Al Miner, assistant curator of Contemporary Art at the Museum of Fine Arts in Boston, ‘This charming portrait of a young woman beautifully and sensitively captures her simultaneous innocence and budding sexuality. Her body curls in tandem with the swirling patterns of the fabric that surrounds her; her hunched shoulders tell one story while her exposed thigh and direct gaze communicate a time of life we’ve all experienced.’ (Curators statement for Works on Paper National Juried, Fitchburg)

Inez McDermott, Art Historian, New England College, ‘This compelling portrait provides a wonderful juxtaposition of colors, patterns, and objects. The placement of the figure and its ambitious size and perspective are bold choices.’

Katherine French, Director Emerita of Danforth Museum, in her juror’s statement for Off the Wall, June, 2015, writes “Memory and imagination in representational art is an interest of this curator, and poetic reinterpretation of memory certainly plays a key role in (these artists and work) .  This was especially true of Patricia Schappler’s Coming and Going…each display the artist’s virtuosic ability to go beyond facility in order to extract a deeper, more resonant meaning by filtering it through emotion.”

Jeanne McCartin, curator for Gallery 100, Portsmouth, Fosters Daily, March 16, 2015, NH, “Schappler’s works are life-sized narrative figurative executed largely in graphite.  These works are technically exquisite but lose nothing of their emotional life to technique. They are powerful for their size and emotional impact.”

Al Miner, assistant curator of Contemporary Art at the Museum of Fine Arts in Boston, Exhibition Statement. “We are left to look deeply into this boy’s eyes and soul as he begins to look deeper into himself. Wearing sloppy gym shorts he is easy to relate to. We all know this boy, maybe you were him once or maybe you see your now grown son in his stance,” Miner wrote. “Titling the work ‘Fourteen’ and not the real boy’s name heightens the familiarity. He hasn’t yet grown into his big hands, and while his budding musculature is visible in his torso, his shoulders slightly bow and his eyes expose his softness. “The large scale matches his bravado, but isn’t so large as to make him confront us as an adult equal,” he added. “‘Fourteen’ is a portrait of both a person and of male adolescence itself.”

Ed Rubin, Juror for Infinity Figurative Expo,“Patricia Schappler’s Within This Garden is a stunning work of art. Technically, it is flawless: the figures are beautifully proportioned, the composition is carefully and intelligently thought out, and the graphite line-work, shading, and shadowing are exquisite. Beyond the rhythmic technique, this piece simply reaches out and grabs me, demanding that I study these individuals who, within this garden, are bound together by something bigger than themselves. What is it? My answer changes each time, and that is the genius of Schappler’s work.”

Nicholas Capasso, Curator for the Fitchburg Museum, MA, ‘The prize-winning entries (in ‘Home’, Attleboro Arts Museum) display mutually-reinforcing excellence in technique, form, and content to powerfully evoke emotional and psychological responses.’

Ellen Grimm, the Sunday Nashua Telegraph, February 6, 2005,“Grace’ is a luminous painting (using) thick layers of paint, giving the image a certain heft and richness…Schappler seems to want to pull us in close…”

Andrew Dye, www.keene.edu/tsag, Image of “Elan.” “In this large, gutsy piece, Schappler seems to capture all of the emotion of her young subject in a fluid manner without struggle,” explains Dye.

Cynthia Jones, In (Schappler’s) drawing “In My Garden There Grows”, she has combined graphite, pastel and charcoal groups of Michaelangelo-sized figures in various poses from which eminate a sense of massive strength… Unguarded, enigmatic features inspire a feeling of secretly entering a garden scene. (Schappler) deftly combines reality with symbolism in a vista that shows her ability to capture, with the simplest of the artist tools, life’s sturdiness.”

Chloe Johnson, The Wire, Portsmouth, NH, “Some pieces stand out (such as)…Patricia Schappler’s larger-than-life charcoal with mascara and foundation as media. It’s a privilege to view such variety of creative endeavors coming out of the Greater Seacoast.”

Robert Craven, Art New England, April/May, (NHAA 52nd Exhibition review.) “Another commanding image is Patricia Schappler’s massive pastel-on-paper triptych “In the Land of Giants”. The glowing colors, deep volumes, foreshortening, dynamic shadow effects, and gestural immediacy of this family portrait lend it a baroque quality of spiritual immediacy…”

Ellen Grimm, The New Hampshire Sunday News, January 26, (Image of “Kimono”) “There is quiet mischief at work in Patricia Schappler’s “Kimono,” a dramatic triptych painting-collage…On one side (of the garden) is a burst of flowers, barely contained…with a kind of sinuous energy. Even some of the shadows seem alive, as if on the verge of crawling off into the thicket…this is no ordinary garden…” 

Ellen Grimm, The Nashua Telegraph, September 14, p. F1 (Image and review of “Madrigal”) “In Madrigal, Schappler has created a walk-in collage painting… of a forest scene, with slender trees and branches slung like cables…in some areas she seems to have caught the very moment that falling leaves settle on the ground” 

Rich McKown, Art New England,  (Review of the Lassonde Show, Portsmouth, NH) “three artists produced innovative works including Patricia Schappler’s lush painting/collage In the Garden of Eden,(which) flows easily between it’s three panels.”

Alice Fuld, Keene Sentinel, (Image and review of “The Unfoldings”) “Take for example, Unfoldings, two large, bold drawings…it was handsome enough, skillfully done, but, in this case, a second closer look revealed a lot. First of all, the(Schapplers work) was in layers. Some of the figures were composed of one layer over another, neatly meshed so that viewed from afar they appeared to be on one level. In addition the artist had scrawled barely legible written messages in pencil all over the drawings… something was going on in this work, a tale was being told, that I’d missed…”

Ann Bryant, The Seacoast Online“First prize went to Patricia Elliott Schappler for her acrylic painting titled “Heading Downtown.” A nontraditional, urban landscape, this piece draws your eye to the bottom and into the background, the motion like water down a drain, inevitably through the green light and down the street. Reflective glass and familiar industrial shapes make this fun to look at.”

Ellen Grimm, The Nashua Telegraph, p. F1, September 2003 (Image and review of “The Children”) “Among the few figure paintings in the show is “The Children” by Patricia Schappler, a striking portrait of three pre-teens sitting poolside against a backdrop of rose vines…Schappler heightens colors so that light and shadow have almost sculptural heft and form…Schappler captures the children’s individuality while avoiding the pitfall of idealizing them.”

Staci Milbouer, “Those coming to see Patricia Elliott’s work – which fills the huge walls in the Swart Gallery as if they were created for that purpose – have a real treat in store. No stranger to the Center, (she) has taught there for many years.  There are her trademark, large graphite drawings, some of which are mural size.  For example, “Auntie B” shows a loving image of an older woman, seated on a couch.  it’s a touching portrait, showing all the lines of age in the woman’s face, and all her expressions of compassion.  But the really wonderful thing about Elliott’s portion of this show is that she’s been given enough space to display…later examples like the mesmerizing family portrait, “Whither My Garden There Grows” which are populated and poetic.”


Daniel Smith Catalogue, Image of the Children, 2003
Kollmorgan, Andy, The Monadnock Ledger, Image and Review of the Land of the Giants
Salisbury, Jesse, The Telegraph, Image of Inside Here and Brenna
Art New England, Image of the Land of the Giants
Manchester Union Leader, Image of While She Sleeps, Cynthia Goslin, Interview with the artist
Milbouer, Staci, The Sunday Telegraph, Images of Sig and Ann, the Music Man, and Larry
Tracy Paula, The Union Leader, Artist Interview