Serendipity played an important role in meeting Dorothy Fratt. I was eager to learn how to use acrylic paints and Dorothy came highly recommended by the owner of the art supply store where she purchased supplies. I called her and arranged to begin classes. Little did I know that this would be the happy beginning of the rest of my life! Dorothy was a delightful, enthusiastic, inspiring, and well-known, highly regarded contemporary artist and a fabulous teacher!
Dorothy started her new students by teaching the basics. We learned how to stretch and prime our own canvases and how to set up a palette for a full complement of colors. For each class she set up an arrangement for us to paint. They were very unusual and different each time. Some were simple, such as a collection of rocks or seashells or a pair of old worn chukka boots. Others were more complex such as a combination of a variety of items that would require a light, medium or dark mix of colors. Every set-up presented a different challenge and new experiences mixing colors.
Chukka Boots, 1969, acrylic on canvas, 12x16 inches — by Nancy Kravetz under the instruction of Dorothy Fratt
Rock Collection III, 1971, acrylic on canvas, 25x24.5 inches — by Nancy Kravetz under the instruction of Dorothy Fratt
We learned to use acrylic paints on primed and unprimed canvases for different results, using either brushes, sponges or both. Most of the paintings were done at an easel, however, in some instances they were done with the canvas on the floor and then stretched on stretcher bars when the painting was finished.
Acrylic paints were difficult to get used to after using oil paint for so many years. Dorothy made it much easier with helpful suggestions. Even after I finished studying with her, she was very helpful problem solving the unexpected. For example, one painting had been mishandled and there was a big bump on the surface. She simply said: “Use a damp sponge to wipe down the back of the canvas and let it dry.” For a design issue, her comment was: “Turn the canvas upside down and perhaps you will get your answer.” When it came to color issues, she was amazing! She could look at a painting and instantly suggest subtle color recommendations to improve it.
Abstract Multicolor Composition, 1969, acrylic on canvas, 36x30 inches — by Nancy Kravetz under the instruction of Dorothy Fratt
Road to Adventure, 1969, acrylic on canvas, 24x36 inches — by Nancy Kravetz under the instruction of Dorothy Fratt
During classes there were lots of casual conversations related to art. Dorothy would go from easel to easel giving individual help to students, and there were occasions when she would stop to comment. I recall her stopping to look at a painting I was working on and saying: “That looks similar to an Arthur Dove painting.” When I was in her watercolor class, she paused at my easel to say: “That reminds me of a Turner watercolor.” In each situation, she would go to her art library and show me other works by those artists. It was a great learning experience, and very exciting. It also motivated me to read more about the world of art.
If there was an article in Art In America, she thought we would find interesting, she shared that information, too. When there was an important art auction in progress, she would comment on the painting being auctioned. Dorothy was a “born teacher” and I feel blessed to have had the opportunity to study with her. I felt like the classes included a complete art world education along with painting lessons. It was very exciting! My passion for art took on a whole new meaning and I looked forward to each class.
As a mentor and longtime friend, Dorothy was the best! She encouraged me, along with her other students, to enter shows and she knew when and where they were being held. She took a personal interest in all of us.
Bark Patterns, 1970, acrylic on canvas, 24x24 inches — by Nancy Kravetz under the instruction of Dorothy Fratt
Rock Collection II, 1971, acrylic on canvas, 16.5x20.5 inches — by Nancy Kravetz under the instruction of Dorothy Fratt
In 1971, there was a “Four Corners Biennial of Painting and Sculpture” at the Phoenix Art Museum. Dorothy encouraged me to enter the show with a painting. On the day of the opening, she called and said: “Let’s go together.” She picked me up. We went together and it was a wonderful show—my first time entering a painting at a museum. At the end of the reception when awards were announced, I was surprised and delighted to receive a 1st Place Purchase Award from the First National Bank of Arizona!
In 1973, Dorothy entered my name for an “Artist Of The Month” show at the Lawyers Club in downtown Phoenix, and that was my 1st Solo Exhibition.
In 1974, Dorothy arranged studio working space for three of her students at Yares Gallery in Scottsdale, where a small building was for rent. Jackie Carson, Pam Gilbert and I shared the space and when we had a show of our work, Dorothy came to help us hang the artwork in the space we called “The Studio”.
Dorothy Fratt, teacher and mentor was a dear friend for close to fifty years. We kept in touch often with lengthy phone calls, visits and letters during the summer. And it was always exciting to attend the beautiful solo exhibitions of her artwork at Yares Gallery. I think of her often with fond memories and gratitude for the time we shared and for the enormous impact she had on my life.