Verica Dering’s comments:

I have been blessed with a really wonderful teacher, Sherry Huntting, who has made my dream of learning to paint like the masters a reality. It was very exciting for me to discover someone in my neighborhood (how lucky for me!) who will teach me the masters’ methods and techniques in an academic, step- by-step approach: first the line drawing, then rendering the values in charcoal and ink, then applying the underpainting in verdaccio, and finally finishing the work in color!

Every step is explained in detail and helps you to
ultimately create museum-quality artistic masterpieces!
I am finishing my copy of Lord Frederick Leightonís Biondina,
and it ís very gratifying to hear from people’s comments that they can hardly
believe this is my first portrait! I am already looking forward to my next work,
a Yosemite landscape in the style of Bierstadt.

                                        —Verica V. Dering

I discovered the portrait of Beatrice Cenci when I was researching the art of Guido Reni, who I recalled was highly spoken of by the great master artist Frank Covino.|
This Roman noblewoman, famous for her tragic story, has also been the subject of poems, dramas and novels.  Eventually, I discovered that this exquisite portrait is now thought to be by an artist of Reni’s circle, the daughter of his long time assistant, Elisabetta Sirani. 
I was drawn to this painting also because there is some speculation that it may have influenced Vermeer’s rendering of his now famous “Girl with a Pearl Earring.”  I did follow Frank Covino’s advice to paint her gown a lapis blue, and found the result much more pleasing.  This was my second portrait, and I can now say that though more challenging than landscapes and still life, I find portraiture to be most gratifying and rewarding.

“Basket with Peonies” was my first attempt at painting still life.  The original reference was squarish, so I made changes that would emphasize the horizontal direction. 
I also chose to paint several flowers from a nursery catalog, substituting them for the nondescript impressionistic originals. I used dry brush techniques to add warmth and depth. 
The basket, originally a challenge, was relatively easy to paint.  Even though the original reference was not thought to be the work of a great master, I learned a lot because of the changes I had to make in order to improve it.  Sherry’s help and suggestions were invaluable!