Over a 35 year career, illustrator and artist ROBERT LOGRIPPO has won numerous awards from the Society of Publication Designers and the Society of Illustrators. His work has appeared in Redbook, Playboy, Seventeen, forbes, Cosmopolitan, Guide Post, fortune, and Readers Digest magazines; in books from Random House, Dell, Ballantine, MacMillan, Houghton-Mifflin, Harcourt Brace Jovanovich, Knopf, Dutton Penguin, Silver Burdett & Ginn, and Book of the Month Club; on products from Nabisco, Main Street Press (Lang Graphics), Celestial Seasonings Tea Co., and Avon Cosmetics; on album covers for RCA, Caedmon Records, Electra Records, and ABC Records; and as posters for ABC Summer Olympics, and Louisianna-Pacific 25th Anniversary Poster. With work in collections all over the world, this former instructor (Parsons School of Design & Pratt Institute) has been SAM’s Art School Director since 1997. She had an intense love for the South and traveled around North and South Carolina and Georgia. Her habit of stopping in the middle of “nowhere” to paint when she was traveling, helped her become one of the best known southern plein-air painters. A deeply religious individual, she had a thirst for knowledge and a generous nature and encouraged other artists in their endeavors The vantage point which Hattie chose for the painting, is a view from the bottom of a large hill. The brushwork points to the direction of the stark white lighthouse. The houses next to the lighthouse, as well as the lighthouse itself are surrounded by pencil marks that were sketched before paint was laid down to define the architecture of the structures. Saussy used short diagonal strokes for the grass and sky in promoting a flow nature of elements. The houses and lighthouse itself are painted in such a way that exposes brush marks that are longer as well as straight. Bright pinks and purples are used to illuminate the structures against the cool setting of blues and greens of the natural elements of the land and sky. However, the artist was able to use variations of the same palette throughout the whole painting. The palette she (Saussy) used is muted with lavender and violet pastels in a cloudless sky, which melt into the light greens of the grass. With lively brushwork and lots of incidental color, Saussy turned what could have been a very boring rendition of hill and sky into an environment that is full of energy, albeit a quiet energy. Hattie’s use of movement and gentleness of stroke is enhanced only by who the lady was herself. It is unmistakable that a bit Hattie lives on in every painting.