Posts Tagged ‘landscape painter’
Creativity of the Landscape Painter
A study by Teresa Amabile and colleagues at the Harvard Business School tells an interesting story about creativity. The researchers asked a number of artists to select 20 of their works of which 10 were commissions and 10 were from their regular production. A panel of curators and art experts, knowing nothing of the nature of the research, were then asked to rate each work on creativity and technical skill. While skill ratings turned out to be pretty well the same, the commissioned works consistently rated lower on creativity.
In the studio or on the road, many landscape painters find they are the most creative when they’re simply on the lookout for joy. Experts are now seeing intrinsic reward, when there is no payoff except for the joy, as the silver bullet of motivation and a principal key to evolved work.
Judging Landscape Paintings
Damar Minyak, of Kansas City (area), MO, wrote a response to the January 20, 2012 newsletter written by Robert Genn, Canadian landscape painter. It touched me because I feel very much the same way.
“History has shown that those who set themselves up as arbiters of “proper art” are wrong, almost 100% of the time. Consider as the prime example, the Impressionists, who set themselves up because the museums and “art experts” of their day refused their products. Today, it seems, almost everybody wants to pretend to the title “neoimpressionist” or “post impressionist” or “non-impressionist”, or whatso-everist. Judged shows usually mean “It all has to look like our stuff.” Virtually all of the artists I respect were the renegades of their periods. So, it remains, for my contemporaries. Being told I’m not doing it correctly just makes me smile, and say, ‘Thank you!’ “
The Landscape Painter Visits a Museum
Today: a couple of quotes. The first is by Robert Genn, Canadian landscape painter, from his newsletter last week.
“If a brilliantly good artist happens to live just down the street, his top-up of your efforts may be hard to take. That’s why it’s good to check out dead artists. The dead guy won’t let you take him to dinner or tell you, ‘There’s something wrong with that mouth,’ as several of our subscribers did with my painting of Mel, but he can show you stroke by stroke how things might be. Cruising your eyes over someone else’s work in silence and with respect may be the next best thing to struggling on your own. Art museums help artists realize they’re never truly alone.”
“The way to understand painting is to go and look at it. And if out of a million visitors there is even one to whom art means something, that is enough to justify museums.” (Pierre-Auguste Renoir)
Selling Landscape Paintings (Again)
Last week, Pat Weekley of Clovis, New Mexico wrote Robert Genn, Canadian landscape painter, about trying to sell art in Clovis. The art league members had conducted an auction with wine and cheese and other goodies on a day with perfect weather. Few people came and several art pieces sold for less than the cost of framing.
Genn’s answer was to note that Taos and Santa Fe are known for fine art. If the folks want it known that there is good art in Clovis, they must make better art. They must make art so good that collectors in their Caddies and Lincolns would come – and bring their own wine and cheese! Many readers gave quite good suggestions also, but the bottom line always was that the artists in Clovis needed to make better art!
Why the Landscape Painter Should Teach a Workshop – Part 4
In his article in the December 2011 issue of Professional Artist, Alan Bamberger gives some additional hints for the landscape painter who is interested in holding a workshop. First, decide what you want to teach and plan your agenda ahead of time. Practice in order to make sure that you can accomplish what you want to do within a set time period.
Advertise that no experience is necessary in order to attend, but also indicate that artists who sign up will learn something new. A good workshop teacher knows how to address a variety of skill levels and make sure everyone is comfortable and learns something. Advertise in places where artists and people who like art congregate. These include bulletin boards, newsletters of arts and artist organizations, your own mailing lists, recreation centers, art centers, art schools, cafes, coffee shops and art sites on the Internet.
Determine what supplies are needed and whether or not to provide them. If you’re just starting out, providing them yourself is usually the best option, but be sure to work that into the price. Plan to have 3 to 10 students. You want to make sure each student gets individual attention. If your space is not adequate, ask your best collectors if they can provide you space in exchange for a painting or free workshop. Holding a workshop every month or two is a good frequency.
Why the Landscape Painter Should Teach a Workshop – Part 3
People attend workshops for a variety of reasons. Many have little or no previous experience with art and merely want to relax, have fun and explore their creative sides. Others want to take up art as a hobby but do not want to invest a great amount of time and effort in an ongoing program of study. Trained artists will attend them in order to acquire new skills or learn techniques outside their areas of expertise.
The big advantage of workshops is that participants receive individual attention and support from teachers. Beginners and hobbyists will appreciate the hands on approach for self esteem and personal creative growth. Artists will appreciate it for professional and technical reasons.
With such divergent interest among attendees, making students happy is of prime importance, and there are successful strategies you can employ. The two most important criteria the landscape painter should use for successful workshops are: choosing a method or technique that can be taught completely within the half-day or full day period of the workshop, and insuring that each student comes away with a finished work of art – a diploma.
Why the Landscape Painter Should Teach a Workshop
In the December 2011/January 2012 issue of Professional Artist, Alan Bamberger wrote about Why You Should Teach One-Day Workshops. The most immediate and obvious benefit of teaching a workshop is that they’re a good source of income. In addition, many artists use them to increase their effectiveness at creating and marketing art. Workshops involve working creatively and do not require large commitments in terms of preparation and overhead.
A one-day workshop could run from four to six hours in length, with the instructor charging $35 to $150 per person. A single workshop can net anywhere from several hundred to a thousand dollars depending on class size, if the artist teaches in her own studio. Another benefit of teaching a workshop is the opportunity to sell art. Most artists make sure to display a good selection of their art during the workshop. As students become more familiar with the artist’s work, they feel less intimidated and more inclined to purchase it. In addition, some artists further augment their income by selling art supplies. Teaching a one-day workshop should be considered by all landscape painters.
Tips for Getting a Grant by the Landscape Painter – Part 2
Yesterday’s article about getting a grant for the landscape painter continues: Like the project you’re proposing. Only apply to a fellowship or propose a project that you’re actually interested in doing. Most programs have specific requirements for applications, so make certain you understand them. For example, if you’re not a sculptor, applying for a fellowship to support sculptors is not for you. Follow the proposal submission directions meticulously, with attention to page limitations, font size, spacing, number of copies, etc.
Be professional. Proofread your application for typos, misspellings and grammatical errors. If images of your work are required, provide high-quality photographs or digital files. Program themes and qualifications can and often do vary from year to year so always be certain you have a current grant prospectus. Don’t procrastinate in requesting letters of recommendation: Asking colleagues can be intimidating, but don’t put it off! Writing good letters will take your colleagues some time, so give them ample notice.
Tips for Getting a Grant for the Landscape Painter – Part 1
These tips are listed in the January issue of the Artist’s Magazine and are important for the landscape painter to heed. Search online for opportunities. The internet provides a wealth of information. Network with members of local art associations, such as city arts councils and sign up to receive the clubs’ newsletters. Be conscious of the application deadline. The application process will take time, so start preparing early.
Be wary of application fees. Most legitimate groups that distribute grants and fellowships are nonprofit organizations and don’t require fees for applicants. Many programs are theme-based; therefore your application should directly address the theme. Understand all budget restrictions. For example, if the granting organization is unable to provide support for capital equipment, your budget cannot include funding to buy a camera.
A Must-Have Magazine for the Landscape Painter
One of my favorite magazines is Professional Artist, formerly Art Calendar. In the December issue, on the cover are listed four articles, all very important to the landscape painter: Refine Your Artwork, Master the Art of Critique, Learn to Teach Workshops and Be More Productive.
Also within the magazine are three monthly columns: Coaching the Artist Within, The Photo Guy and Heart to Heart (Are you a 20% artist?) as well as three other interesting articles including Planning Your Art Business (Part 3: Tracking Cash Flow). In the back of the magazine are a bushel of contests, exhibition opportunities, calls to artists by galleries, grants and fellowships, juried shows, publishing opportunities and residencies, some with fees and some without. I find all these articles relevant to me, interesting and thought provoking and the contests interesting to contemplate. Professional Artist comes out ten times per year, costs $37/year and the web site is http://www.professionalartist.com. I wouldn’t be without it! Happy New Year, Everyone!