The Artist's Life

What's the Wisp?!

2012-02-07T04:25:00Z


Elton, 11 x 14, mixed media on gesso board, 2011.

Yesterday was an interesting day for me. I thought I was near finished with a painting I had been working on for over three months, but when I sent it over to my agent in New York, who I call my third set of eyes, (hubby Matthew is my second) he called me rather than send a quick email like usual. What I was left with made my head spin. He said, "It needs to be like a wisp...in the creation as well as in the final viewing. You have struggled on this painting and it shows."

That stung a little. He also reminded me that I do fine art painting because I love it. He also said that the final set of eyes judging any of my painting work needs to be mine.

In this particular painting, I was working from photo reference, as I have often done to translate photo to painting, and I worked in "spots" rather than viewing the work and painting it as a "whole." This is a trap that I have fallen into before, and I was usually on my own to figure it out! I am thankful to now have a community of artists and friends to help me to see when my vision becomes impaired or simply fogged. Seeing my work through their eyes is a gift.

I have a number of deadlines looming and commissions due as well as new projects that I am excited about starting. The beginning of a piece is always my favorite part, because the possibilities are endless! And there is a very busy personal life that needs attention also. So this morning I am reflecting about being present in each moment as I paint and I'm looking forward to starting a new painting and letting this one go, if just for now. The option to return to it later will be there, so I can just relax.


		Wellspring, 24 x 36, watercolor painting, 2006.

But what can I do to assure that "the wisp" happens?

I probably can't do anything specifically. I need to allow the peace, mental space, and inspiration to come so that it has the room to be in my presence and to breathe. I can't corner it or hunt it down. I have to trust that the muse that has visited and romanced me for over 25 years will be back.

Only now I have a name for her. Wisp Maker! :)

~Shen

Shen loves making the flat surface of a painting or drawing come to life. A professional artist and entrepreneur for more than 25 years, she lives to discover new techniques, mix media, and make difficult concepts simple! You will often find her painting live at events of all kinds to "wow" her audience. Her work has been collected by celebrities, corporations, and galleries spanning the globe. She is also an art instructor and keynote speaker, speaking to artists about how to market themselves in new, fun, and creative ways. Shen lives in Vail, Colorado, with her husband and three beautiful daughters. More of Shen's work may be viewed at her website.

Educate + Inspire + Equip

2012-02-02T19:29:00Z


	Old Cedar by Bill Guffey, oil, 18 x 24.		Peasant by Joan Langdon, watercolor painting, 10.5 x 11.5.		Tomiko by Adriana Guidi, oil on canvas panel, 14 x 18.

That's Brian Neher's mantra for his upcoming free art contest, and it is one that I can certainly identify with. These are truly the three essentials I've found that really do lend themselves to artistic growth. And without any one of them, the others are less effective.

So when Brian let me know that art competitions were on his radar (past entries, above), and that he was pulling together a strong list of sponsors like Richard Schmid and Daniel Gerhartz, plus prizes from Yale University Press, Blick Art Supplies, and Jerry's Artarama, among others, I was really impressed. It is so gratifying to know that there are so many artists out there working to put together art contests that can really make a difference to artists.

We at Artist Daily and American Artist want to support Brian's important mission to reach artists and help them along their individual creative roads, which is why we have donated a one-year digital subscription as part of the Grand Prize package for the art competition.

If you are looking for a way to recharge your painting or drawing practice, or are simply interested in gaining some well-deserved recognition through art competitions, this free art contest could very well be for you. Enjoy!

Why Collect Art?

2012-01-24T04:40:00Z


Children on the Seashore by Joaquin Sorolla, oil on canvas, 1903.

I was once again reading through my copy of the catalog for the 1989 exhibition, The Painter Joaquin Sorolla, and came across this 1933 quote by John Paul Getty in an article called Creative Collecting. Ever the opportunist, Getty had decided that since the Crash in 1929, the time was ripe for collecting great art for investment purposes on the cheap, and he set about hitting the auctions.

By that time, avant-garde art was on the rise and Sorolla's work was out of fashion and not on Getty's collecting radar. In a testimonial which, in our view, defines why some art is so powerful that its transcendent expression can speak to the soul of even the most tough-minded of business men, Mr. Getty explained why he bought ten Sorollas:

"In November 1933 I attended the Thomas Fortune Ryan sale at the Anderson Galleries in New York City. There I purchased a total of twelve pieces. Ten of them were paintings by the Spanish impressionist Joaquin Sorolla y Bastida, who died in 1923.

Obviously his work did not fit into any of the five major categories into which I intended to channel my collecting efforts. However I was struck by the remarkable quality of Sorolla's paintings, being especially fascinated by his unique treatment of sunlight.

I am certain of one thing however. Although the purchase of these impressionist works was a major digression from my usual five-fold collecting path, my opinion regarding their beauty, appeal, and artistic merit remains the same as it was when I first saw these canvases at the Anderson Galleries. These digressions serve to illustrate that even the collector who is grimly determined to specialize or limit himself is highly likely to be led or lead himself down many detours and byways.

Although he may prefer one or a few types or schools of art to all others, his acquaintance with and understanding of specific forms of beauty cannot but help expand his aesthetic horizons. He cannot avoid, sooner or later, appreciating other forms, other schools, other categories of fine art. As his specialized collection grows, so grows his tolerance, his understanding and his appreciation—and so grow his depth and dimension as a perceptive, sensitive and well-rounded individual."

If anyone knows of a better reason to collect art, we'd like to hear it. Visit us at The Artist's Road for more great articles.

John & Ann

Art for Thought: Save the Date for...

2012-01-17T04:31:00Z


The Dog, and the Great White Shark Jaw by Jamie Wyeth	The Groom by Daniel Graves	Friends by Dan McCaw

Save the Date for...

American Artist's 75^th Anniversary Exhibition
April 2013 | The Salmagundi Club | New York City

In celebration of American Artist's 75^th anniversary, we are excited to announce a commemorative exhibition that will celebrate the magazine's past, present, and future. Editorial director Michael Gormley and senior editor Allison Malafronte are curating this show to focus on the trajectory realism has followed over the last several centuries; the most influential artists and educational leaders of today who have established a lineage of practice; and artists we feel are taking this movement into the future. As the longest-running art magazine that has always focused on excellence in instruction and mentorship, this exhibition will embody the breadth of American Artist's enduring and well-respected brand—while raising the bar to welcome a wider range of expression.

The show will feature historical works; paintings from a core group of artists we have identified as long-time leaders of our movement—including Stephen Assael, Bo Bartlett, Judith Carducci, Jacob Collins, Martha Erlebacher, Daniel Graves, Daniel E. Greene, Quang Ho, Everett Raymond Kinstler, David A. Leffel, Sherrie McGraw, Dan McCaw, Odd Nerdrum, Anne Packard, Philip Pearlstein, John Howard Sanden, Richard Schmid, Nelson Shanks, Burton Silverman, Jamie Wyeth, Mary Whyte, and more—a third group of up-and-coming artists, who will be invited through recommendations from the core artists, curators' choice, and through an open juried contest that that American Artist will open to the public in 2012.

The exhibition will take place in the spring of 2013 at the historic Salmagundi Club, in New York City, one of the oldest art clubs in the country and a longtime partner and friend of American Artist.The 75th Anniversary exhibition will be one of the first shows to open the club's extensive renovation to their galleries, which will include new floors, walls, lighting, and climate controls; a new skylight in the Upper Gallery; and a state-of-the-art hanging system. The renovation is being funded by a $500,000 grant from The Manton Foundation, created by Sir Edwin A.G. Manton and Florence Manton, members and active supporters of the Salmagundi Club for more than 50 years.

The submission process for the juried portion of the exhibition will be announced in the May 2012 issue of American Artist. Save the date, and make sure you take advantage of this opportunity to exhibit alongside some of the greatest artists of our time in New York City.

Allison Malafronte is the senior editor of American Artist.

Why I Workshop

2012-01-05T05:39:00Z


We spent a lot of painting time along the cliffs outside San Juan.

Painting can be a pretty isolating affair, and though I love the alone time spent with my muse, I miss the collective energy that working in a group of like-minded colleagues provides. I also want to get better at painting, and though I'm certainly evolving as an artist, that learning process is a pretty steep climb and going it alone can be murder. Then it dawned on me that going it alone is a choice--and frankly not the best one for me right now.

We learn better with others around us because we feel safe--and if we feel safe we're likely to take risks. True learning requires that we let go of perfection---we must stretch our boundaries, leave our comfort zone, allow ourselves to experiment, and even make mistakes. I don't know about you, but I prefer to have some trusted friends, and a dedicated mentor, nearby once I summon the courage to cross the threshold into the unknown and untried.


	The courtyards of the inn kept us fully immersed in nature.

The opportunity to take such a leap presented itself to me a few months ago when I received an invite from Teresa Spinner to attend a plein air painting workshop she was putting together with Judith Carducci. Spinner is a portrait artist and owner of Signilar Art Video, which has been producing high quality instructional videos of today's master artists since 1989. Carducci is likewise a respected portraitist and a seasoned instructor.

The workshop was to be held in Old San Juan, Puerto Rico, at the Gallery Inn--which is owned and operated by Jan D'Esopo--Spinner's sister. D'Esopo, an accomplished watercolorist and sculptor, has lived on the property for close to fifty years. Though the house was little more than a royal wreck when she first acquired it, D'Esopo had the vision to transform it, and subsequent adjacent properties, into a magical kingdom replete with planted grottoes, shimmering fountains, and fancy dress dining halls. Now a rustic Spanish castle filled with fine art and period furnishings, it rises majestically atop a high bluff overlooking the fortifications of Old San Juan and the endless sea beyond. Without question the perfect setting for a painting party.

And indeed it was. Spinner and Carducci scouted out landscape sites in advance--though I would have been perfectly content to paint the Inn and its lush courtyards. Old San Juan is a treasure trove of the picturesque--breathtaking natural vistas and compelling architectural forms were to be had at every corner. Our days commenced at dawn as we rushed to the breakers to paint the sun as it crept up over the horizon and bathed the bluffs and forts in a surreal and heavenly light. Group critiques were held over a mid-morning breakfast--freshly prepared omelets and café-con-leche eased the embarrassment of displaying and talking about our still-wet paintings, which never seemed quite up to our hopes and expectations.




Night painting in and around Old San Juan was an atmospheric, moody, and all around exhilarating experience.

We set out again in the afternoon to find the perfect spot that begged to be painted. Open air painting in the tropics is a challenge--squalls are a constant--but then again so are the rainbows. Coming back indoors in the late afternoon, we painted each other, the hotel staff, and for that matter anything that stood still. Carducci was an ever-present and energetic cheerleader, making the rounds to the workshop participants and ever ready to share her encyclopedic grasp of picture making. Demoing throughout the five-day workshop, Carducci's light-filled landscape paintings were an inspiration; and her nocturnes magical in their economy of line, compositional force, and striking play of color.

In three days I became unrecognizable to myself--transformed into something and someone else. "I" the artist, meaning "I" in the sense of the almighty "I", slipped away and in its stead I became an earnest seeker among fellow earnest seekers striving to channel the sights, sounds and smells of life in Old San Juan into sensitive and spirited works of art. I like to think that we succeeded.

If you'd like to see if you might have the same kind of transformational experience in a workshop, be sure to watch out for the March/April issue of American Artist. It is our 75th anniversary issue and comes with our annual workshop and art school directory.

--Michael

Michael Gormley is the editorial director of American Artist magazine.

Working Through My Moods

2012-01-03T04:12:00Z


BlueBillie by Shen, acrylic on claybord, 18 x 24.

With the holidays upon us, I am finding myself in a little bit of a battle with the blues. Whenever I'm feeling down, I find it especially difficult to create. However, I am learning more and more as I get older that it is important to pay attention to my moods—so I don't I end up burning out. Sometimes, I find that I just need to rest, stop procrastinating about something, or pay a little closer attention to my priorities to make certain they are in the proper order. But I often ask myself, "How do I step out into the wonderful world of painting and creation in general if I am not feeling like it?" Here are the steps I go through:

1. Creating is my job. I need to remember that I have to go to work sometimes when I don't feel like it, just like the local banker does. And, there were certainly lots of days I remember not wanting to go to school—just like my teen! Not to mention, I chose the career of art because I love it...and I've often had to love it more than food!

2. The feelings may linger, but no two days creating are ever the same. When I get into my work, creating an acrylic painting like these here, the world usually looks a little bit brighter or if not, it certainly helps to try and be productive rather than just sit around and wait for my mood to change. More often than not, I am glad that I tried and sometimes the results are spectacular!

3. Get Inspired! Look at some amazing art in books, museums, galleries, or online. Or I'll read some of my favorite writings like "The Art Spirit" by Robert Henri or "My Life" by Marc Chagall. Then, there are movies like "Exit through the Giftshop" or "Basquiat"—seeing the lives of such prolific artists certainly leaves me in the mood to throw some paint around!


	BillieSwirls by Shen, acrylic painting, 13 x 19.

This topic also reminds me of one of my favorite quotes from Ralph Waldo Emerson, "Do not be too timid and squeamish about your actions. All life is an experiment. The more experiments you make the better. What if they are a little course, and you may get your coat soiled or torn? What if you do fail, and get fairly rolled in the dirt once or twice? Up again, you shall never be so afraid of a tumble."

When there's nothing to lose, but possibly a great gain on the other side, why not give it a shot? Maybe I'll have a tremendous painting breakthrough that will make my soul sing! Happy Holidays!

--Shen

Art for Thought: Always Respect Truth

2011-12-15T04:25:00Z


My view of Michelangelo's David in the Galleria dell' Accademia in Florence, Italy.

I recently returned from my first trip to Italy, the inspiring and enriching experiences of which could fill the next year's worth of "Art for Thought" columns. I was contemplating which part of the trip I wanted to write about for this month's issue, and after reading Michael Gormley's sentiments about truth in art in his Editor's Note, I knew which story I wanted to share.

I came across numerous artworks throughout Italy that spoke to me, but there was one in particular that had a truly profound effect—one of those rare artistic encounters where you know you are experiencing craftsmanship and creative genius in its highest form. It was Michelangelo's David. I had read and written about the sculpture since I was in college, and I knew it was considered a masterpiece, but I didn't expect it to elicit the reaction that it did. I had seen works of art that were deemed masterpieces and they had left me relatively unmoved, and I wondered if it was going to be the same type of experience.

It was not. I spent the first 20 minutes seated on the bench looking up at this massive miracle of marble in stunned silence, contemplating the message Michelangelo wanted to convey. I was not alone in my awestruck wonder, but the equally speechless gentleman next to me eventually asked, "What do you think it is about this that makes it so compelling?" I didn't have many words at the moment, but I responded by saying that there is something beyond the work itself, some eternal truth coming through that is still relevant after all these centuries.

When I got up and walked around the sculpture, I thought of the story of David and Goliath and the incredible tenacity this young shepherd boy had to face a Philistine giant whom no one else in the Israelite army could conquer. We know that he emerged victorious, but I think it's interesting that Michelangelo chose to depict David before the victory. He is shown courageously staring down his opponent with only a sling and a stone in his hands, strong in stature, unwavering in his determination—yet you know that as a human being, he had to have some doubt and fear. And if you walk around the statue several times and catch his glance at just the right angle, you see the slightest trace of that trepidation.

That is where the truth comes through in this work—the relatable human emotion that resonates with all of us. Who hasn't faced adversity or had to find strength to fight a seemingly insurmountable circumstance? When I went back to the bench, the gentleman by the name of Bruce Brummond shared what he does for a living. He is an author and speaker who has come up with hundreds of acronyms to express the meaning of words. He shared his definition of art as "Always Respect Truth." Truth in art, as Michael Gormley suggested in his editor's note, is that which gets our attention because it recalls life and resonates with us all. And that's exactly what Michelangelo's David was to me: a timeless reminder of our capacity to face our fears with courageous faith, and emerge triumphant.

Allison Malafronte is the senior editor of American Artist.

Photograph Your Art Like a Pro

2011-11-24T04:03:00Z

All the hard work and unique vision that we pour into our painting and drawing can result in artwork that we are proud of. The next step is to make an accurate photographic record of our art to share with friends, collectors, galleries and perhaps to enter into juried exhibitions.

The essential component to that sharing process these days is the making of a professional-quality digital recording of our art. We have two choices—pay a hefty fee to have a pro shoot our work, or invest a small amount of money to purchase our own professional equipment and learn how to make these photographic exposures ourselves. Ann and I have done it both ways and believe that, in the long run, it is far more economical, efficient, and fun to handle the photography ourselves.

This introduction will give you the basics, but to learn what you need to know to get perfect results every time, read the complete tutorial at The Artist's Road.

Regardless of which brands of lights, stands and filters you use, it is essential that you purchase a camera with a good-quality glass lens. Every image must first pass through a lens of some kind, so it is far better to get a camera with good optics but perhaps lower megapixels than the reverse! Buying a good used professional camera is a smart way to do this.

This view shows the Impact Universal Film
Holder frame attached to my light stand,
along with a Tota-Light and heat shield.

This shows the Lexan/polarizing film sandwich I
made to fit in the film holder frames. The LINEAR
polarizing film can be purchased in various sizes
and cut to fit, if necessary.

Note the Tiffen linear polarizing filter on the lens.
When the filter is rotated to 90-degrees from the
orientation of the films in front of the lights
(cross-polarization), the hot-spots and glare on
your art will magically disappear, and the colors
will increase in saturation, depth, and fidelity.
This is why the circular polarizer often sold for
digital cameras won't work here.

You can really see the difference that polarizing made in these two images of my oil painting, Another Night. On the left, no polarizing, and a useless image. On the right you can see how the spectral highlights (hot spots) vanished, leaving well-balanced, rich tones without the heavy influence of the red-yellow tungsten light spectrum.

All that was needed was to crop the image and tweak it a little here and there in Photoshop. We hope it's clear from this demo that a small investment in the proper filters and lights pays big dividends in the results. With most juried shows relying on the quality of our photographs to decide who will make the first cut, it is imperative that artists get professional with their photography. Without top-notch high-fidelity images to show, there is no way to get a fair assessment of our work. And that is entry-fee money down the drain. So learn all about taking professional-quality photos of your art. It is easy and fun, and all the info is at The Artist's Road.

--John & Ann

Desperately Seeking Homer

2011-10-27T03:16:00Z

The Red Canoe by Winslow Homer, watercolor painting, 1889.

Some years ago, Ann and I drove to New York to deliver a vanload of watercolor paintings to a gallery for a solo exhibition of my work. The exhibition was going up for a month, after which we could retrieve paintings still unsold and move them to the next venue. We decided to use the time in between for a little East Coast driving adventure and seek out as many Winslow Homer watercolor paintings on display as we could between Garrison, New York and Prout's Neck, Maine, where Homer lived.

We saddled-up the Westphalia and made our first destination Glens Falls, New York, to see the Hyde Collection pieces. These include works from Homer's painting trips to Cullercoats and the Adirondacks, featuring A Good One, Adirondacks—a real tour-de-force.

Pushing on into Massachusetts, we visited the Sterling and Francine Clark Art Institute in Williamstown and then the Worcester Art Museum. What an education it was to see these well loved and long admired pictures up close and in the flesh, so to speak. One can learn volumes from looking at and analyzing originals. We paid particular attention to Homer's brushwork and the order in which he laid down his washes.

Playing Him (The North Woods) by Winslow Homer, watercolor painting.

The next morning we headed off for the Currier Museum of Art in Manchester, New Hampshire, where we oohed-and-aahed over The North Woods (Playing Him). Wonderful.

On to the Portland Museum of Art collection, where we were fascinated by the museum's practice of putting little canvas window shades over each watercolor to protect it from even the very dimmest ambient light in the room. Portland is a beautiful city, and we decided to stay there for a while and enjoy its charms before decamping for Brunswick, Maine and the Bowdoin College Museum of Art collection.

Our pilgrimage wrapped up with visits to the Farnsworth Art Museum in Rockland, followed by the Colby Museum of Art in Waterville. We tried to see Homer's studio on Prout's Neck, but it wasn't open to the public back then. Disappointed, we consoled ourselves with a long stay in Acadia National Park—a truly remarkable place to see and paint. But that's another story . . .

If you have a favorite artist on your list, we highly recommend making an art-study excursion to take in as many works of theirs as possible. It will be educational, fun, and sure to give you lasting memories.

Be sure to visit The Artist's Road for more educational articles, step-by-step demonstrations and interviews with well-known artists.

--Ann & John

Art for Thought: Recognizing Hidden Talent

2011-10-13T18:30:00Z

On the Threshold of Eternity by Vincent Van Gogh, 1890, oil.
Collection Kröller-Müller Museum, Otterlo, Netherlands.
Vincent van Gogh, today recognized by generations for his contributions
to art, was largely ignored and dismissed in his own lifetime.

In last month's column, when I talked about the advantages and disadvantages of self-promotion, I mentioned how refreshing it is to discover an extremely talented but relatively unknown artist. I suggested that if an artist is gifted and original enough, the right person will discover this talent and bring it into the light, even if the artist prefers to remain reclusive or out of the public eye.

Because this issue of American Artist focuses on discovering unsung or underappreciated talent by highlighting artists who are worthy of our attention, I thought it would be interesting to explore the idea of what makes an artist stand out, rise to the top, or "tip." The term "tipping point" was made popular by Malcolm Gladwell, who in his 2000 book of that name offered interesting insight on why certain products, people, or trends in our culture reach critical mass or become what is today called "viral."

The book divides people of influence in our society into three main categories. Connectors are those with great social networks in their industry who link people together. Mavens are experts in their field who are in the position to start word-of-mouth trends. And Salesmen are charismatic, trustworthy individuals who take a trend to the masses. Gladwell surmises that those with the personality and callings in one or more of those categories are the ones who shape our society and call the cultural shots.

Although this book applies to general societal trends, I think it can also be applied to the fine-art world. Once there is a discovery of a rare artistic talent or ability, how does that knowledge get disseminated? To me, this sociological model implies that artists themselves are only partly responsible for the creation of their own reputation or legacy. Rather, the best way for them to affect that buzz is through becoming a better painter so that someone in the categories of influence will recognize them and bring them to the public's attention. We know from looking at art history that there were artists who achieved high levels of success by having their skill and worth esteemed by people in positions of power—Velázquez, who had royal patronage, comes to mind. And there are also artists whose talent and influence were not fully realized until they were gone, such as Van Gogh.

In the book My Name is Charles Saatchi And I Am an Artoholic, Saatchi—the founder of Saatchi & Saatchi ad agency and one of the most prominent collectors of contemporary art—responded to questions posed by a panel of experts. They ask, "You've been successful at discovering new artistic talent. But are there not always great artists who go undiscovered?" Saatchi responds: "By and large, talent is in short supply. Mediocrity can sooner be taken for brilliance than genius can go undiscovered." Perhaps the biggest tragedy of all—both in looking through art history and today—is when there is an artist of supreme talent or originality among us but no one pays close enough attention to recognize and acknowledge the artist's gift.

Allison Malafronte is the senior editor of American Artist.

Art for Thought: Self-Promotion--A Hindrance or Help to an Artistic Career?

2011-09-13T03:01:00Z

“Most artists do not have the luxury of an agent, spouse, or
supporter to raise their value in the art world, so they
are left to their own devices to create a marketing plan that
best positions them in the highly competitive world of fine-art sales.”

You may have heard marketing experts tout the importance of self-promotion in an artist's career. The common thinking is that there's nothing wrong with tooting your own horn because, after all, if you don't get your name and artwork out there, how are you going to sell paintings? Most artists do not have the luxury of an agent, spouse, or supporter to raise their value in the art world, so they are left to their own devices to create a marketing plan that best positions them in the highly competitive world of fine-art sales.

I think a certain amount of self-promotion of one's paintings, accomplishments, and working methods is necessary for artists to retain a viable place in today's market. But a problem arises when artists spend more time marketing or promoting themselves than they do studying, painting, or participating in enriching experiences that inform their work. What eventually starts to happen is they become more focused on recognition and commercial success than they are on the craft of painting and growing beyond their current level.

I was recently talking with a gallery owner and art-club director, and we were discussing the downside of artists who are over-promoting themselves-they are essentially becoming overexposed. These artists seem too accessible, available, and mainstream, and therefore they start to loose some of the exclusiveness that makes their work stand out. On the flip side of this are the painters who retreat so far from the public eye that they run the risk of becoming an artistic recluse, more or less only painting for themselves because they are too far off the radar for anyone to notice.

I could argue this topic from both sides, but personally, I always find it refreshing to discover a relatively unknown gem of an artist hidden away somewhere painting for the pure love of it, with no other motives in mind. Such a stance can actually work in an artist's favor. The artists who are standing at their easels day and night are the ones who tend to win the respect of fellow painters. Those painters, in turn, make sure that gallery directors, dealers, collectors, and critics know who these artists are, and this word of mouth can bring about a tipping point for the artist's reputation.

Although this kind of attitude toward art making may be the antithesis of Marketing 101 and likely won't help pay the bills, there is something about this stance that I respect. These types of painters are devoted wholeheartedly to their art, and they let the resulting work speak for itself. If the art world listens, so be it. If not, so what? They are accomplishing their personal goals for themselves as painters and people and basing their worth not on volume of art sales or fame but by the artistic standards and values that matter most to them.

I know the ideas of self-promotion, marketing, public relations and, all the other business-related responsibilities that goes into an art career is a sensitive subject for painters, and it is one that they grapple with daily. I'd love to hear your thoughts on this topic, and I encourage you to leave a comment.

Allison Malafronte is the senior editor of American Artist.

Art for Thought: The Nerdrum Effect

2011-08-23T18:15:00Z


Odd Nerdrum gave a two-hour lecture on his philosophies on painting in the library of the General Society of Mechanics & Tradesmen building at American Artist's Weekend With the Masters Intensive: New York City this past June.

There are certain people in life who you simply cannot ignore. Norwegian painter Odd Nerdrum is one of those people. Form an opinion about him one way or another you must, as an encounter with this self-proclaimed prophet of painting leaves you pondering his beliefs long after you've left his presence—and questioning everything art stands for.

After participating in American Artist's Weekend With the Masters New York City event this June, Nerdrum left the art community abuzz, with people all over the country discussing the philosophies and teaching he shared in his workshop and lecture. His presence was larger than life, his conversation and questioning direct and unapologetic, and his painting and sentiments shared with artists profound and thought-provoking.

I had the privilege of observing him paint; listening to him lecture; and having conversations with him, his wife Turid Spildo, the director of the Nerdrum Institute Björn Li, and select artists that he invited into his sphere throughout the event. To make even a cursory attempt at delving into the complexity of his content and the depth of his thoughts would take much more space than I have here; so suffice to say that in the short time I had to interact with Nerdrum, I found myself thinking about art history, aesthetics, philosophy, and what it means to be a painter on an entirely different level.


	Self-Portrait of the Prophet of Painting (The Savior of Painting), 1997, oil. Courtesy The Nerdrum Institute, Disena, Norway.

From his time with us I was able to glean several main tenets of Nerdrum's beliefs and practice. He has taken back the label "kitsch" and in doing so flipped its derogatory connotation on its head. He repeatedly refers to the term "refugee," explaining that that some of the best painters in history have not really belonged to their time or had a home. He believes the best art is born from real life experience, especially oppression, tragedy, and misfortune. He feels there is something lacking in the motivation behind much of what is being created today. And, finally, Nerdrum seemed impressed with the sense of community and camaraderie that American artists are cultivating with one another.

I took these observations to heart, thought about them from many different angles, and allowed them to expand my own ways of interpreting what is happening in today's art world. What will you make of Odd Nerdrum? If you ever have the opportunity to watch this master paint in person or to hear him lecture, I would strongly encourage you to do so. Whether or not you agree with him, your perspective on painting will never be the same.

Allison Malafronte is the senior editor of American Artist.

Ah, Vacation.....Time for More Painting!

2011-08-09T14:07:00Z

I put aside my oil painting work to take up a sketchbook and
watercolors to capture the sights and sounds around me during my trip.

If you are a painter, you know that sometimes the best thing to do is get away from it all...and do more painting. I was very blessed this summer to take a wonderful vacation with my family to Turkey and Greece. When I travel, I like to keep a notebook that is a memoir of the activities of the trip. But for the first time I decided that instead of doing plein air oil paintings, I would try to do watercolor paintings instead and add them to my travel notebook.


I was captivated by the beautiful blue waters I saw during my trip, and tried to recreate the hue on paper.

I got some advice on a limited palette and equipment from my favorite watercolorist, Alexander Creswell. Alex makes extraordinary paintings of architecture and interiors, and even sail boats-under sail! He's kind of an extreme-sport watercolorist and he recommended a set of primary colors, and burnt sienna. I ended up taking Ultramarine Blue, Alizarin Crimson, Cadmium Yellow Light, and Burnt Sienna, in small tubes, and a small plastic folding palette. His most important advice to me was "have fun!"

And, have fun I did. From the beginning of the trip to the end, I did one or two quick sketches a day. I saw quick improvement after my first couple of messy attempts, and rediscovered the pleasure of making art for no reason but the joy of brush in hand, and color on the paper.

The Aegean Sea along the coast of Turkey is unbelievably blue. I was dazzled by the intensity of the color and so beguiled by trying to capture that mesmerizing hue on paper.

Sometimes, we can forget the original spark that got us into this whole "wanna be an artist" mess in the first place: the fun and joy of it! Painting can be magical and addictive! So go on vacation from your regular studio practice and mess around with a new medium, in a new setting, with no expectations except having fun!

I'm back home with a better perspective on how much joy art can bring to my daily life, just through practice and experience.

--Patricia

Art for Thought: Banding Together to Break the Mold

2011-07-12T18:27:00Z


Revue by Everett Shinn, 1908, oil painting, 18 x 24. Everett Shinn was one of the Ashcan School artists or "The Eight," which was led by Robert Henri and included Arthur B. Davies, William Glackens, Edward Hopper, Ernest Lawson, George Luks, Maurice Prendergast, and John French Sloan.

In looking back through art history, there are certain individuals who turned the artistic tide through bold and unconventional ways of approaching painting. Although there were a select few who had the power to do this on their own, most of the artists who changed history did it with other artists by their side. The Hudson River School painters, Russian Itinerants, Italian Macchiaioli, French Impressionists, Ashcan School, and the Modernists are just a few examples of groups who came together with similar aesthetics, philosophies on art, and forward-thinking strategies to change the way painters, patrons, and the public viewed fine art.

Those pioneers are remembered for their courageous approaches and respected by contemporary painters for their willingness to think outside the box and not conform to cultural or societal dictates. In looking at our current artistic landscape, one sees several groups in a similar vein beginning to join forces and take a stance against contemporary ideals. But when I stand back and observe today's art world in the context of what has come before and what's coming, I also see a select few who are doing something very powerful and unique on their own, and speaking volumes through the time and dedication they're investing in their craft. Those individuals will likely find their way to others who have a similar vision and sensibility in the coming years.

Until the time comes for them to join together, what are the criteria for those who wish to stand apart and do something of impact? In a recent interview with California artist Dan McCaw (featured in the September 2011 issue of American Artist), he shared some interesting thoughts on his own work and the path he's taken to find his inner voice. Starting out as a practitioner and teacher of traditional realism in the early 1970s and 1980s, McCaw today paints in a style that seems to bridge the gap between traditional and modern art. One of his main pieces of advice is to not be afraid of frustration or failure as an artist, to keep going when you hit a block until you break through to another level. "Some of my worst days of painting are my best days because I am taking risks outside of my comfort zone and pushing past challenges to find something original."

His other piece of advice is to surround yourself with images and writings of the ones throughout history who took chances and championed new ways of seeing and thinking. When I look at those type of artists—Van Gogh, Vuillard, Henri, Hawthorne, and Klimt to name a few—I notice how they first fought to find a style that was truly their own and then banded together with other like-minded painters to break the mold and change the course of art history. It's encouraging to see the ones who are honing their skills, perfecting their craft, and finding their voice on their own right now; and it will be exciting to see some of the those artists come together to make a collective impact on art in the coming years.

--Allison

Allison Malafronte is the senior editor of American Artist.

Art for Thought: Artist—A Solitary Profession?

2011-05-31T18:48:00Z

In John Milner’s introduction to his book The Studios of Paris: The Capital of Art in the Late 19th Century, he shares an interesting, albeit semi-amusing, quote from Ernest Meissonier, one of the most successful artists of his era. Meissonier states, “Here is a piece of advice worth having: Never let your daughter marry an artist. You will bring her to sorrow if you do. … An artist cannot be hampered by family cares. He must be free, able to devote himself entirely to his work.”

It’s a thought-provoking comment and one that raises larger questions regarding the type of life an artist chooses to lead. Is it possible to achieve great things artistically while pursing other professional or personal endeavors? Is the calling of an artist almost set apart, and does it need to be nurtured in a way that our societal structure doesn’t allow? Do artists need to isolate themselves in order to truly create, or does reclusiveness sever potential sources of inspiration?

The inherent solitary nature of an artist and the irony of how one could spend countless hours alone creating only to then have people all over the world respond to one’s work could be a topic of endless discussion in itself. I’ve heard artists talk about the mild shock associated with opening receptions for their exhibitions: They’re surrounded by more people than they can give individual attention to, answering personal questions about their life and work, and responding to inquiries for purchasing their paintings, only to go home the next day to ensuing weeks or months of isolation in the studio.

Perhaps finding a balance between solitude and sociality is the answer. I recently came across the words of writer Catherine Calvert, who I think summarized the beauty and freedom of solitude well. She writes, “Solitude is for those with an ample interior; with room to roam, well provided with supplies. And I need a day or two every so often to make the journey.” This author’s understanding of the power of being alone and the phrase “every so often” resonate strongly with me. Although I get a tremendous amount of inspiration from spending time with other writers, musicians, artists, friends, and family, I also need regular moments of self-reflection and introspection to get centered and refilled creatively.

How about you? Do you find you are more focused when you are away from the demands and distractions of everyday life, or are you able to successfully juggle your art with outside responsibilities? Do you agree with Meissonier’s quote that artists must be wholly devoted to their work in order to realize their full potential? Let us know by leaving a comment. I look forward to hearing your thoughts.

--Allison

Allison Malafronte is the senior editor of American Artist.