Every year, the International Guild of Realism (IGOR) brings hundreds of exceptional artists together for its Fall Salon Online Exhibition, which collectors can view on the official websites of both IGOR and American Art Collector. This year’s exhibition will feature 202 artworks by 198 IGOR artists across 15 countries, working in styles like magical realism, contemporary realism and photorealism. In the following pages, collectors can learn about a variety of artists who have been juried into the 2025 exhibition and see their work.
Artist Victor Mordasov brings a crisp snow scene, titled Golden Stream of Winter,to this year’s show, inspired by the depth and stillness of this serene snow-covered forest and meandering stream. “The water reflects the golden hues of sunlight filtering through the trees with a warm contrast against the cool blues and whites of the snow. The trees, with their dark trunks and snow-dusted branches, [act] like a natural frame around the reflective stream,” he says.
Christopher Forrest, We’ve Only Just Begun, oil on panel, 20 x 16 in.
We’ve Only Just Begun, by nature and wildlife painter Christopher Forrest, depicts a bonded pair of ibises. “I was at a local rookery in the spring as a white ibis flock was getting established in nest-building…An enjoyable subject to paint is weathered wood, and so the branch was featured prominently. This rookery is essentially a shallow copse of trees and vines in a marsh, thus an almost lace-like vegetation background. I attempted to show this but have the birds prominent by keeping the value of the trees and sky close and dark,” Forrest explains.
A toddler sleeping with her pacifier is shown in Alan Fink’s pastel in the upcoming show. “I was incredibly inspired by the quiet serenity of my daughter asleep—a moment of childhood innocence that disappears so quickly in the passage of time,” says the artist. “I enjoyed capturing the play of light and shadow across the forms of her face and the folds of the surrounding pillows and comforter. Through the use of soft pastel, I sought to preserve this moment of peace—for me a reminder of innocence in a turbulent world.”
Victor Mordasov, Golden Stream of Winter, oil on canvas, 30 x 40 in.
“As I am a child of the South with relatives who fought on both sides of the Civil War, this re-enactors event was impactful to me,” Cynthia Cochran Kinard says of her oil The Re-enactors. “Not all soldiers had uniforms. They were from all walks of life and all ages. The storm clouds approaching are meant to depict the dark storm about to descend on our divided nation at that time. After the tremendous bloodshed that ensued I hope we will never forget nor ever live to repeat it.”
Dimitrina Stamboldjiev Kutriansky describes her artwork as “romantic naturalism,” a term she’s coined to express the blending of “romanticism’s poetic intensity with naturalism’s devotion to truth in nature. My paintings elevate the ordinary into the lyrical, transform fleeting moments into lasting poetry, and honor both what is seen and what is felt. In The Last Embrace of Day,the sky’s golden farewell gathers tenderness and grandeur, reminding us each dusk holds both an ending and a promise of renewal—where beauty deepens into meaning.”
Alan Fink, Pink Pacifier, pastel, 18 x 24 in.; Cynthia Cochran Kinard, The Re-enactors, oil on wood panel, 24 x 18 in.
“Balanced Diet was inspired by the joy ice cream brings,” Eileen Cervera says of her sweet tooth-inspired oil painting. “I wanted to capture that playful feeling of stacking scoops sky-high—something that makes you smile and maybe remember summer treats. My goal was to show realism without losing the fun, reminding us that art doesn’t always have to be serious. Sometimes, it’s about savoring a sweet moment and sharing a bit of happiness.”
Road Through the Steppe, by Ekaterina Stolyarova, reflects the boundless silence and quiet strength of nature. “The winding road symbolizes the journey of life,” says the artist, “sometimes uncertain, yet always leading us forward. Through natural light and muted tones, I aim to capture the sense of vastness, resilience and freedom found in the steppe, where every path carries both mystery and hope.”
Jan Delipsey brings a panoramic landscape to the upcoming exhibition. “Canones honors the timeless splendor of northern New Mexico, where sky and stone meet in harmony. The mesas stand as reminders that the land is not ours to own—we are simply part of it,” she says. “Every brushstroke reflects light, shadow and color shaped over eons. This work invites viewers to see the land with reverence while recognizing our place within it. It is a tribute to belonging, stewardship and the enduring spirit of the Southwest.”
Jeanne Crain Leemon’s still life in the online Fall Salon features a color palette of cool florals and botanicals. “My intention for this painting was to strike a harmonious balance, evoking a peaceful beauty and joyful spirit. The harmony is created using the colors of teal green, blue and purple, offset by white,” she explains. “I included the ‘bluebird of happiness’ figurine to add a touch of whimsy and charm, which is still in keeping with the color scheme.”
In a playful, imaginative scene, children’s show character Peppa Pig stands next to a majestic, towering bird, the two visual styles in direct contrast to one another. “In a whimsical encounter, Peppa Pig demonstrates kindness in an unexpected way,” artist Jette van der Lendesays of the piece. “As the sun beams down, Peppa notices the glossy ibis meticulously washing itself nearby. The iridescent feathers of the ibis gleam as it preens, embodying a sense of vanity that often accompanies beauty. Yet, Peppa’s innocence shines through as she approaches the bird with a sense of genuine compassion.”
Top: Dimitrina Stamboldjiev Kutriansky, The Last Embrace of Day, oil on canvas, 40 x 30 in.; Eileen Cervera, Balanced Diet, oil, 16 x 12 in.; Jeanne Crain Leemon, Harmony and Happiness, oil on linen panel, 24 x 20 in. Bottom: Ekaterina Stolyarova, Road Through the Steppe, acrylic on canvas, 11 ⁸⁄₁₀ x 15 ¾ in.; Jan Delipsey, Canones, oil on panel, 25 x 40 in.
Denice Peters works with soft pastels because she prefers the direct, hands-on aspect of the medium. “I paint entirely with pastels and my fingers, letting me feel every part of the process…In this piece, I wanted to capture the contrast between human scale and human achievement. The sheer size of the train next to a full-grown man says so much about our history, industry and the work it took to build the world around us. I use antiques and familiar objects in my work because they carry a sense of connection.”
Kara K. Bigda’s 22-by-30-inch watercolor depicts three lush strawberries scattered on a table. “In Strawberries Preserved, I set out to paint a relatively traditional still life of fruit: one which celebrates the simple and otherwise mundane items of everyday life in a quiet setting,” she says. “I felt that working ‘larger than life’ forced importance onto the strawberries, demanding attention and reverence; and the plastic bag added a contemporary element to an otherwise traditional painting of fruit against a dark background.”
Seen Better Days II, by Patsy Lindamood,is part of an ongoing series exploring abandoned places. “These forgotten structures stir a deep sense of nostalgia, tugging at my heartstrings and sparking curiosity about their past. Who once lived here? Why did they leave? Where did they go?” Lindamood questions. “As an artist, I find myself captivated not only by the stories these buildings might tell, but also by the rich textures and weathering etched into their surfaces. The visual decay—cracked paint, rusted metal, crumbling wood—offers a haunting beauty that speaks louder than words.”
Top: Jette van der Lende, I offer you, oil on panel, 16 x 16 in.; Kara K. Bigda, Strawberries Preserved, watercolor on Ampersand Aquabord, 22 x 30 in. Bottom: Patsy Lindamood, Seen Better Days II, graphite on cradled Claybord, 18 x 24 x 1½ in.; Denice Peters, Maintaining Big Boy, soft pastel, 16 x 20 in.
“I love portraits that make a statement and leave you with questions: where is the person, what is he thinking, where is he going or coming from?” says Kerin Freeman, who brings a 30-by-15-inch oil on block canvas to the show. “That’s what I love about portraits—bringing out the real person, not the facade they show to the world, but who they really are.”
Lynette Cook’s piece in the upcoming exhibition captures a building facade with a dragon design. “Memories [of] clothes drying outdoors takes me back to my childhood. I smile as I remember the freshness of sun-dried garments and the crispy clean sheets that brought a good night’s rest,” she reminisces. “In Chinatown, each item of laundry is carefully placed outside, suggesting each one is valued and precious. The kaleidoscope of colors, shapes and patterns has an artistry all its own and inspires my creativity.”
Peter Swift, Forest Shrine, acrylic on canvas, 48 x 48 in.
Paco Martin’s still life was inspired by the simplicity and vibrancy of citrus fruits, combined with the challenge of capturing their delicate textures using colored pencils. “The interplay of light and shadow, especially on the lemon slices and glass, intrigued me as it brought a sense of realism to the piece,” says the artist. “I sought to evoke a fresh, refreshing mood, highlighting the translucency of the water and the vibrant yellow tones, creating an immersive visual experience that celebrates the beauty in everyday objects.”
“I’m fascinated by the quiet stories animals tell,” says Paige Weber, whose piece in the show depicts a close-up of two horses. “These two horses, all geared up for an event, paused to rest in the sun while their riders chatted. I appreciated the contrast between their calm moment and the busy energy of the event happening around them.”
Wildlife has always been a source of deep inspiration for artist Rob MacIntosh. His oil in the exhibition features a big cat looking directly at the viewer. “The snow leopard, with its rare beauty and piercing eyes, reflects both strength and vulnerability,” he says. “I was drawn to capture not just the detail of its fur and gaze, but also the quiet stillness it embodies. For me, every stroke is a way of honoring the spirit and majesty of these extraordinary animals.”
Forest Shrine, a square composition by Peter Swift,embodies reverence for the natural world in a timeless, almost church-like atmosphere. Swift uses wood sticks and twine to create a primeval, spiritual icon. His biggest influences have been Louise Nevelson, Martin Puryear and Andy Goldsworthy. Following in the footsteps of these iconic artists, his goal is to use common objects to create laconic, resonant symmetries.
Top: Kerin Freeman, Man With Cigar, oil on block canvas, 30 x 15 in.; Lynette Cook, Hanging Out with the Dragon, acrylic on canvas, 24 x 18 in.; Paco Martin, Lemons and Glass, colored pencil on paper mounted to a board, 10.13 x 7.65 in. Bottom: Paige Weber, Sunny Siesta, oil on ACM panel, 14 x 18 in.; Rob MacIntosh, Edge of Silence, oil on canvas, 30 x 40 in.
“My work is a quiet celebration of the everyday,” says Robyn Palescandolo. “I’m drawn to the simple and imperfect, to moments of stillness and to the stunning beauty of nature. My work seeks to portray realism as much as it honors spontaneity, trusting the process to let a painting unfold in its natural rhythm. I hope to offer viewers a pause—a way of seeing that honors the depth in what we so often overlook. Beauty is always there, waiting to be seen.”
The inspiration for Tatiana Shitikova’s landscape painting was a gorge in Switzerland, with a narrow space between the rocks, where the sun’s rays only shine for a couple of hours. “I wanted to capture this amazing beauty on canvas, when light, color and sparkling reflections on the water create a wonderful harmony,” she reflects. It took the artist several months of work and many thin layers of oil before the painting was completed.
Thomas Mewborn has always loved cars almost as much as he loves art. “Particularly these wonderful old Detroit creations,” he says. “Their sculptural bodies and chrome trim are full of saturated colors, great reflections, specular highlights and they just beg to be portrayed on canvas. They are beautiful on their own, but also reflect their surroundings in exciting and abstract ways. I hope to evoke the same appreciation in the viewer for this former American greatness that I feel.” Mewborn’s painting in the show captures a yellow 1955 Dodge Lancer.
Top: Veronique Fournier-Wynne, Bicycle Buddies, oil on linen, 16 x 20 in.; Robyn Palescandolo, Garden Lemons, oil on canvas, 31½ x 31½ in. Bottom: Tatiana Shitikova, Magic Light, oil on canvas, 39.4 x 47.2 in.; Thomas Mewborn, 1955 Dodge Lancer, oil on canvas, 24 x 48 in.
“I poured warmth and whimsy into this oil painting, capturing playful companions on a shared journey,” Veronique Fournier-Wynne says of her oil on linen Bicycle Buddies. “Each figure—a French clown, a rabbit, a wooden bear and a duck—embodies innocence and togetherness, evoking nostalgia and joy. The rich, earthy tones bring a cozy yet vibrant energy, inviting this heartwarming scene to spark smiles and light.” —
International Guild of Realism: Fall Salon Online Exhibition
When: October 15-December 20, 2025
Where: Online
Information: www.realismguild.com, www.americanartcollector.com
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