Archive for October, 2011
The Undiscovered Plein Air Painter
Recently I came upon a discussion by some of the many million plein air painters who are trying to sell their art. All felt that selling was the key to a happy life.
However, others disagreed: Someone quoted a friend: “Paintings are sold when they are painted, not when they are sold.” “Why not just take the time to make better art?” suggested Robert. “An artist is one who creates art. Create the best art you are capable of creating, because you must, and for the joy and satisfaction of creating it. The rest will take care of itself.” said Carl. Deborah suggested Deborah Paris’ book, Studio & Business Practices for Successful Artists and can be found on her blog. Virginia mentioned Alyson Stanfield’s book, I’d Rather [Be?] in the Studio also that Stanfield has an informative blog. Lastly, Donald suggested that the books by Jack White, artist and author, are on Amazon as well as on his web site and are highly recommended.
SEO Optimization for the Web Site Owner
Today I attended a class at the local Chamber of Commerce. The class was entitled “Achieving Top Search Engine Positions” and was led by Ira S. Wolfe, a Social Media Architect (www.socialmediaarchitectsofdelmarva.com and www.bestsmallbusinesssolutions.com ). It was for folks who have a web site or blog.
I learned about searching for keywords with Google’s Keyword Tool. Sometimes a small difference in what you search for produces big differences in the outcome. Using Adwords can be expensive, but you might want to try it for a short time or for a limited budget. In some cases, using Adwords is like day trading on the stock market. Google Analytics can give you all kinds of information and it would pay to spend some time learning how to use them.
This was an introductory class but it inspired me to work on my web site of abstract tree paintings. Mr. Wolfe was an excellent presenter and if anyone out there can get a group together, I recommend you ask him to lead your discussion.
Photographing Your Plein Air Paintings
The highest paid blue collar job in Manhattan in 1909 was “chauffeur” because people didn’t think they could drive their own cars. Today plein air painters must learn that they can photograph their own art and do as good a job as the professionals. These tips are from Canadian artist Robert Genn:
You need a camera with at least 8 mega pixels. Check your camera’s handbook and set the camera on the highest resolution and quality possible in JPG. Hang your unglazed art vertically on a neutral-toned outside wall at eye level in open shade on a bright day between 11 and 3. Take several shots almost filling the frame from a few feet away at a medium focal length. In other words, not wide angle and not telephoto. When you look through the viewfinder, make sure the painting is not keystoned (off square) or pincushioned (curved edge). You can crop it if you wish, but you need to save it without any resizing, as a very high quality JPG before you send it by email.
Plein Air Painters’ Workshop
Anna and I just returned from a weekend at Hameau Farms near Belleville, PA. We left Friday afternoon for a plein air painters’ workshop with Susan Nicholas Gebhart from that area.
We had a small problem with a flat tire on the way there. Otherwise we had a great weekend, met several new friends, had delicious food and a great workshop.
Creativity for the Abstract Painter – Part 2
Here are a few more ideas about creativity that might help the artist who creates abstract paintings. Again, from Dr. Amabile’s report.
People are happiest when they come up with a creative idea, but they’re more likely to have a breakthrough if they were happy the day before. When people are excited about their work, there is a better chance that they will make a cognitive association that incubates overnight and shows up as a creative idea the next day. One day’s happiness often predicts the next day’s creativity.
The most creative teams are those that have the confidence to share and debate ideas. When people are doing work that they love and they are allowed to deeply engage in it – and when the work itself is valued and recognized – then creativity will flourish.
Creativity for the Abstract Painter
Several years ago, Theresa Amabile, researcher and professor at Harvard Business School, completed a study about creativity. Some of her findings may be useful to painters of abstract paintings as well as others.
Folks get creatively engaged when they have a sense of playful progress. People are most creative when they care about their work and are stretching their skills. It happens over a period of time – one day to the next in a cooperative environment can produce more creativity than the hot expectation of a bonus.
People are the least creative when they are fighting the clock. When people are working under pressure, their creativity goes down not only on that day but for the next two days as well. Creativity requires an incubation period; people need time to soak in a problem and let the ideas bubble up.
Mary Cassatt – Impressionist Painter
Mary Cassatt (1844-1926), a prim and proper Philadelphia native, spent most of her life in France. She was largely self taught, believing she could learn more from the Old Masters at first hand rather than conforming to the mediocrity of studio instruction.
The French were bemused by her choice of peasant women and their children as models – it did not fit with their sense of elegance. Cassatt sought strength, finding beauty in a mother’s immutable love for her child, not in some fleeting concept of style. She was accepted by the Paris Salon in 1868, but later was asked to join the Independents – the Impressionist painters. Cassatt was a student of Degas despite his cynical and assured manner. She saw in him a sensitive human being whose uncompromising standards would not allow him to be less totally honest no matter the cost.
Cassatt was highly regarded by her fellow artist and critics alike in France, but her work was slow to gain widespread attention in America. Today she is recognized as one of America’s finest artists.
Going Big from Plein Air Paintings
Last week Robert Genn, Canadian landscape painter, had some ideas about how to change a small 8” x 10” plein air painting into a large studio piece. Here is what he said: Effective large paintings are often merely small paintings enlarged. This is how they gain power and authority. The temptation is to put more elements into larger paintings, thus weakening the overall compositions.
To make better bigs, first consider copying small paintings onto the larger formats you have in mind. Enlarge the size of brushes you use, squeeze more paint – you’re going to need it. Where really large amounts are needed, premix. In acrylics, storage in yogurt cups with lids makes for ease of operation and avoids all kinds of problems. Artists need to eat a lot of yogurt.
Gridding, pantographong and projecting-up are useful tools in the art of bigs. Don’t be embarrassed about using these tools – it’s just practical and intelligent. The time honored convention of the thumbnail is most useful in planning bigs. Go small – and let the sketch tell you what size might work best.
Visiting High School Art Classes
Friday, I visited a local high school art teacher and was part of each of her six classes. At the beginning, she asked each student to write a question for me to answer later.
In each class, I spoke for a few minutes about how I became a landscape painter and I showed a few of my paintings. Then each class went outside for a while and sketched the scenery with colored chalks or with pencils and later colored the drawings with colored pens.
When we returned, she showed some of the students’ works on the overhead projector. Then I answered some of the questions submitted earlier. I enjoyed the day very much. It was great to see the drawings of the students and to be a part of the interactions with them.