Honored with a solo exhibition of pastel landscapes at Chelsea Galleries in Negril Jamaica in 1998, and given a contract to exhibit her paintings on a permanent basis at the Grand Lido Negril Resort in 2002, Pennsylvania artist Georgiana Cray Bart is an elected member of the Salmagundi Club, National Association of Women Artists, American Society of Contemporary Artists, Audubon Artists, and Catharine Lorillard Wolfe Art Club, all of New York City. She is an elected signature member of the Pastel Society of America and Associated Pastelists on the Web. (web address is www.artshow.com) Ms. Bart specializes in still life paintings, portraits, and figures.

Georgiana has received over fifty awards and honors at national and regional exhibitions. At the National Arts Club, New York City, she received two awards in one exhibition for a painting from her "Yellow Mug Series." She is listed in Who's Who in American Art.

Ms. Bart's still life paintings have been published in books and magazines, such as Rockport Publisher's The Best of Oil Painting and The Best of Pastel. Most recently, she was featured in the June 2003 issue of American Artist Magazine. Her Granny Smith Series was featured in an article in the May / June 2002 issue of Pastel Journal Magazine.

Graduating cum laude from Wilkes University in Fine Arts and Art Education, Georgiana holds a master's degree from the University of Pittsburgh and has taught art at all levels most recently at the University level. For their businesses, she and her husband have purchased an historic mansion in Wilkes-Barre, Pennsylvania where Georgiana has her studio and is teaching privately.

Art Critic Al Sarkas has written that the still life works of Georgiana Cray Bart have a "freshness that sometimes is lacking in many paintings today" with "colors that go so well with each painting to make the composition brilliant." Her paintings are related to the work of the Impressionists and the Fauves. Ms. Bart explains that "Using layers of color to achieve a realism which forces the viewer to see the abstract is essential to my paintings. The objects are there only to give the picture space an accent. "