72 SIDELINES OCTOBER 2014
FOR HORSE PEOPLE • ABOUT HORSE PEOPLE
Student-Teacher Artistic Duo Thrives
By Dani Moritz-Long
W
hen two artists come together with two different styles
and mediums, the result is sheer brilliance — as is
the case with Tryon, North Carolina, artists Joan
MacIntyre and Sarah Holmberg.
This student-teacher duo is responsible for some of Tryon’s
finest art, including Sarah’s whimsical sculptures and Joan’s
beautiful oil paintings, both depicting various equestrian scenes.
The two met through their passion for horses. Sarah was in
awe of Joan and eventually asked her now-teacher for help with
painting her paper mache horses. That lesson evolved into a
friendship and mentorship in which the two have inspired each
other.
“After a while, she encouraged me to try oil painting, which I
did and I love it,” Sarah said. She added, “We’ve learned from the
differences in our mediums. Sculpting is three-dimensional, while
painting is two-dimensional. Both have their challenges.”
Joan’s resume boasts more than 40 years of professional
artwork. A native of New York, she attended the Tyler School of
Art at Temple University and she studied portraiture under Jossey
Bilan of Scottsdale, Arizona. As a young artist, she sold her first
painting at age 13.
She combines her talent with her love of horses to produce
stunning images inspired by the equestrian world, particularly
racing and foxhunting.
“Horses are my passion,” she said. “The majority of my
paintings are of horses. When I got into Thoroughbreds in the
1960s, I painted many famous ones: three derby winners, celebrity
owners, seven for George Getty III and his wife, Jacqueline. It
was a privilege going to his office where he displayed several
paintings that belonged to his father of his oil tankers. I painted for
numerous jockeys and movie stars. I love racing and had small
successes with some of my own.”
Sarah, on the other hand, draws much of her inspiration from
Phyllis Eifert’s sculptures, having studied with her for five years.
Sarah also draws inspiration from her own experiences in hunters,
equitation and foxhunting.
She began creating her paper mache sculptures 10 years
ago, with the encouragement of her mentor, Phyllis. To create
them, Sarah uses wire, newspaper clippings from the Tryon Daily
Bulletin, Elmer’s glue, water and her fingers. “After the sculpting is
done, I paint it with acrylic in a high gloss,” she said. “I also have
to make or build other items I incorporate such as jumps, hounds,
clothing, accessories, whips, etc.”
Much like her teacher, Joan, Sarah favors depictions of field
hunters and racehorses, although she also enjoys depicting
elegant show hunters.
Together, these artists produce quality artwork celebrated by
fellow equestrian enthusiasts around the world. While they exhibit
very different styles, this duo is the perfect pair.
Joan’s oil painting, “Going Home”
Photos courtesy of Janet Cummings
e
Joan’s oil painting, “The Last Fence”
Sarah’s oil painting, “Mare and Foal”
One of Sarah’s sculptures, which illustrates the use of various
props such as the whip, jump and terrain.
