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Rules for Entrants & Submission Guidelines


The juried component of Generations: The Legacy of Mentors is open to all current Maine Art Gallery artist members. Membership is renewed annually. If you are not a member and would like to join, please go to our Membership & Donation page.

New Work Only:

Work shown in the past at the Maine Art Gallery is not eligible.

Original Art Only: 

Original fine art in any media may be submitted, including drawing, painting, printmaking, mixed media, fiber, photography, jewelry, and sculpture. Each artist may submit up to two works which must be their own original work.

Photocopies, color, or computer-generated copies are not acceptable for entry. Giclee reproductions are not eligible.

Show-Ready and Original Submissions Only:

All works must be show-ready upon delivery to the Maine Art Gallery. Work that is different from submitted entries will not be exhibited.


Diptychs and Triptychs: 

Works created in two or three sections will be considered and judged as one entry. Diptychs and triptychs cannot exceed 40 inches.



All two-dimensional entries must be framed. Frames and canvases must be wired and ready to hang (i.e., with two sturdy eye screws or similar hardware and steel wire securely attached). Sawtooth hangers, clip frames or unstable frames will not be accepted.


Size Limits: 

Two-dimensional work must not exceed 40 inches in either length or width, including the frame. Work should weigh no more then 25 pounds. Sculptural work must fit through a standard doorway. Some pedestals are available or the artist must supply their own. 



All work must be for sale. Maine Art Gallery takes a 35% commission of sales.

Entry Fee: 

The $15 entry fee per artist member is non-refundable, and the decision of the juror is final.

Send Your Submissions via email:

1. Submission Email Checklist:

  • Your contact info

  • Up to 2 images

  • Your artist statement

  • Details about your work

  • Your membership status


All information is emailed to SUBJECT LINE must be your last name and show title. Example: Coates: Mentors.

2. Image Submission Requirements:


Attach jpeg files and send all required info to

Jpegs must be titled with your last name and title of the piece. Example: Coates-Summer-Greens.
Images should be 1 to 3 megabytes in size.
Recommended pixel size is about 900 width or height, but not to exceed 1,800 in either dimension.

For each jpeg submitted, please include the following:



Dimensions (H x W, add depth if 3D)


3. Include Contact Information and Membership Status:



City, State, Zip






MAG Member:  YES  /  NO

5. Artist Statement:

Artist statements must be concise, and no more than 100 words. In your statement, discuss who your influences/mentors were (teacher, fellow artist, master or contemporary artists) and their influence on your work. Think about how you as an artist have developed because of these mentors/influences. Please make every effort to edit your statement for spelling, content, and punctuation. The juror will be looking at your statement along with your work when making their decision.

Examples of artist statements discussing influences/mentor relationships:

1. I was around a creative environment, watching and participating in my father’s illustration projects. He arranged to tutor me using the famous artist course as a curriculum. He would critique each chapter and assignment, though sparingly. My father confirmed my innate talent and let it develop without his interference. I worked with him as an illustrator while studying. On my return from school we would paint watercolors together. My father moved from constructive criticism to admiration of my work as it progressed, and I developed my own personal expression. 
2. Many artists have influenced my work. Most consciously to me are Marlene Dumas, Peter Doig, Edvard Much, Picasso, De Kooning, and Matisse. These painters have influenced my style and the language that I use with paint. I saw Dumas & Doig's work whilst studying and fell in love with how they both used paint and colour to create emotion and narrative
3. I would say my strongest influences and support was from close painter friends. We painted in spaces together during Maine summers: Jean Cohen, Alex Katz, and Tom Boutis. Our dialogue about art was intense. We did not do heavy-duty mutual critiques, as in an MFA programs; but we made suggestions on each others' work. Encouragement was provided and appreciated.
4. I think for me, it's more of "what" than "who." Travel is a deep well of inspiration for my creative work. I'm a nonrepresentational painter, and my art is a blend of my feelings about places and experiences I've had mixed with some of the physical attributes of it, like color palettes, light, and terrain. Sometimes I even blend a straight-on cityscape view with what it might look like if you were staring down from a skyscraper or the window seat of an airplane. Some specific artists that I'm influenced by are Richard Diebenkorn and Lee Krasner. I love their use of mark-making, color, and composition.
5. Many artists have contributed to the development of me as an artist. If talking about the technique in which the latest works are made, then these are French designer Jean Royere and Ukrainian artist Alexander Sayenko.


Submission of your entry fee constitutes your understanding of, and agreement to, the juried show guidelines and to the following conditions:

  • All work submitted is your own original artwork

  • Your entry fee is non-refundable.

  • If your work sells, Maine Art Gallery takes a commission of 35%, and you have priced your work accordingly.

  • You grant Maine Art Gallery permission to use images of your artwork and/or your name in promotional materials, including broadcast, online media and other marketing materials.



The Maine Art Gallery is not responsible for technical or computer failures, including problems accessing the Internet, any other computer error, or malfunction, or for late, lost illegible or misdirected entries. Make sure you send your entry to the correct email account according to the directions above. You will receive a reply confirming your entry.



Dates to Remember:


  • Deadline for submitting jpegs and email information: April 7, midnight.

  • Run of Exhibit:  May 2 – June 9. Gallery open Thursday – Sunday, 11am – 4pm. Note that exhibit closes on a Sunday, June 9.

  • Opening Reception: Saturday, May 4, 5pm – 7pm

  • Drop off Accepted work: April 28 and 29, 11am – 4pm; April 30, 9am – noon with signed Artist Consignment Agreement.

  • Pick Up Unsold Work: June 9, 4pm – 6pm; June 10, 9am – 4pm


Meet Our Juror:
 David Dewey

David Dewey paints small, edgy studies and large, tour-de-force watercolors. His architectural and waterfront scenes pay attention to expanses of sky, clear light and shadow.

"Order and life, then and now, mastery and risk, all enliven and balance one another" wrote Susan Larsen, formerly of the Whitney Museum of Art, about Dewey’s work.

"His compositions create tension between the seen and unseen, between the illusion of reality and the fact of invention" - Jessica Nicoll, curator of the Portland Museum of Art, Portland, Maine.

Dewey is the author of the acclaimed, THE WATERCOLOR BOOK - the definitive guide to material and techniques published in 1993. His work is held in significant public collections, including the Bowdoin College Museum of Art in Brunswick, ME, Frye Art Museum in Seattle, WA, the Farnsworth Art Museum in Rockland, ME, the Newport Art Museum in Newport, RI, the Portland Museum of Art, the Addison Museum of Art in Andover, MA and at Rider University in Lawrenceville, NJ. He was the co-founder and co-director of the Joseph A. Fiore Art Center at Rolling Acres Farm, Jefferson, Maine, Curator of The Firehouse Art Center in Damariscotta, and the author of NATURE OBSERVED: The Landscapes of Joseph Fiore, published in 2018.

Dewey exhibits his work in Maine at Caldbeck Gallery, Rockland, Maine.

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