by Peter Brown, Oakland, CA, USA There is a pervasive cultural myth about the lonely, cantankerous artist. The fictional Gully Jimson, portrayed in The Horse’s Mouth, is an iconic example. This whole stereotype has always baffled me because in my experience the majority of artists have always seemed quite gregarious. I’ve read about The Canadian Group of Seven, The Taos Ten and many other gregarious groups. Contemporaneously, we here in Northern California had our Society of Six. Within a few miles of my home, I can show you at least 50 artists’ live/work compounds, usually repurposed industrial buildings, where few non artists are to be found. In contrast, I have yet to see such a living arrangement set up for, say plumbers, or psychiatrists. These art communities make good economic sense. The artists share costly assets like kilns and forklifts. They share technical information. They thrive within a fellowship and a friendly sort of competition. I find nothing terribly compelling about artistic isolation. I’ve never visited one of these art spaces and found the artists in thrall to any sort of art guru, or leader. They are generally quite democratic in operation. Several have an onsite eatery where one can hear lively art talk at breakfast, lunch and dinner, and drink some great coffee. In my 20’s, I lived in a similar situation. I was the only painter, but there was a textile artist, two superb musicians, a writer/poet, and a filmmaker. The highlight of every day was our communal supper, which typically ended up with some live music, or a reading, or a slideshow, or a discussion of the latest film or exhibition. My son spent his first seven or eight years in this environment. I cannot imagine I could ever have provided a richer or more stimulating childhood for the boy. When my kid was about 3 1/2 years old, I took him to a museum opening for a major Diebenkorn retrospective. His stroller was parked in front of an etching; I was talking with someone. An older woman, probably a docent, saw my boy looking at the etching and said something like, “Well, my young man, what do you think of this Diebenkorn?” He was a cute kid, but the woman’s tone of voice was rather condescending, and childlike. I was really proud of my boy when he answered with, “It’s OK, but I think I like his big color paintings a lot more.” It seemed then as if the old docent almost swallowed her false teeth. She looked at me, and I gave her my short answer, “No TV.” But that was just part of the story. The human animal did not evolve on a solo flight. We are social creatures. The rugged individualists could not exist without the village or the clan, which they often scorn. Of whatever age, one’s goal should be to become a sponge. Absorb as much as you can. Cultivate a network of friends of all age groups. You might just learn something. There are 3 comments for Not a solo flight by Peter Brown Evaluating method of painting by Barry John Raybould, UK/USA/China/Italy I have for a long time been looking for an objective way to evaluate paintings that I see in museums and a pattern seems to be emerging to me now that is consistent with a great many master paintings. I also use these same criteria for looking at my own work even though it sets the bar rather high. The questions I asked were, “What are the qualities that make a painting a masterpiece and ultimately determine its long-term value? Why are some paintings so much more rewarding to look at than others?” Over the years, as I learned from the teachings and writings of many great artists both past and present, a picture has emerged that now forms the basis of my thinking about painting. Master paintings seem to share two key characteristics. First, they accurately represent a subject and are focused on communicating an idea or emotion. I refer to this aspect of a great painting as the “poetry” of a painting, or the content the artist is trying to convey to viewers. When you look at a master painting, you are moved in some way, and the memory of it stays with you. Master paintings, of course, demonstrate great drawing and color skills, but those expertly handled skills are focused on presenting an idea. The second key characteristic of a master painting is a strong abstract design that is independent of the subject matter. I refer to this as the “music” of the painting, or the sensuous, non-intellectual part. It is created with rhythms and harmonies in shapes, lines, edges, and colors and is analogous to the rhythms in music and the harmonies between individual notes. This aspect of the painting is completely independent of the subject matter. A purely abstract painting has music but little or no poetry. A painting that is merely illustrative has poetry but not music. Great paintings, to my mind, find a place somewhere between these two extremes. Great masterpieces integrate both music and poetry. It is tough to do because the more poetry you put into your work (by making it look like something), the more easy it is to lose the music. Conversely, the more music you put into the painting, the more easy it is to lose the poetry (because as you develop the design, you can easily lose the realism that creates the poetry). As an aside, interesting brushwork creates a different kind of music, music that you can only see close up, and that is why I think this is a key element of a great master. Velasquez and Titian both realized this a long time ago, and set artists down a path that led to master works by great artists such as Sargent and Sorolla. (RG note) Thanks Barry. Barry has applied his theory in a couple of articles for the new Plein Air Magazine. One is on a work of Joachim Sorolla and another on a work of William Ritschel. There are 8 comments for Evaluating method of painting by Barry John Raybould Where to buy art? by Carter Thomas, San Jose, CA, USA My wife and I would like to purchase more original artwork for our home. We have a budget of say $1,000 to $3,000 per piece. When we visit our local galleries we frequently see pieces priced considerably more than that. We can find giclee prints in that price range but I’m not crazy about buying a copy of a picture at that price. I guess I’m looking for artists that are earlier in their career but they haven’t made it into a gallery yet. When I look on eBay, it is hard find what I’m looking for and I’d like to see the real thing anyway. How can I do a better job of finding what I’m looking for? (RG note) Thanks, Carter. Consider going to the Premium Links on our site. About 260 artists are presented there with eight of their works shown. Many of these artists are in early and mid career, many are not yet represented by galleries. Here are some thoughts before making a selection or contacting Premium Link artists: Besides choosing art that you love and can relate to, use your better taste and filtering mechanisms to try to decide which art might have lasting value. As you have suggested, unless you’re merely interested in decoration, you need to avoid giclees and other reproductions. In my books, originals rule. But you need to ask yourself, “Is this an expensive souvenir or an inexpensive investment?” By inexpensive investment I mean that the work shows signs of having long-lasting life-enhancing appeal. Fact is, quality is always in style. Funnily, a souvenir may be cheap, but it can be more expensive than an inexpensive investment. Every year, more and more art is being sold online. Ten years ago, many of us said it would never happen. Now it’s definitely here to stay. But you need to try to make sure the work is right for you, just as you would if you were buying in a gallery. If the image online is not big enough, ask the artist to send a larger image. Many artists are happy to make direct sales over the Internet, and many are willing to send the actual art on approval. If you’re not sure online, ask to see the real thing in person. There are 3 comments for Where to buy art? by Carter Thomas
Archived Comments
Enjoy the past comments below for To go it alone?…
Re Candy Crawford Day..I think you pretty much fall into working with the like-minded…or you don’t.Looking for a group is pretty much a waste of time.Kinda like looking for the perfect mate it happens or it doesn’t. Best thing is to carry on doing what you like and keep your eyes open in case life presents something. It usually does but there again……………….
Creativity requires spontaneity and individuality. It is not a committee project. I suspect your time spent being mentored has given you some needed help in finding your “toolbag”. Now, it’s time for you to fly, little sparrow. You will find, it’s a whole new exciting, exhilarating, even dangerously provocative, and uplifting world, when you do. Every day can be a new challenge, a new opportunity. Consider Georgia ‘Keeffe, after spending too much time associated with academia, burned all of her paintings and started over with what she wanted to do, rather than what everyone else expected of her. Her example is one of a long list of similar stories in so many fields of human endeavor. Here are some comments I recently wrote to a young musician, who was feeling unappreciated and ignored by the “consumption machine”: Almost all of the painters I admire were ignored or ridiculed by the critics and “schools” of their own periods. Some of them defeated those roadblocks, and went directly to the public. Not always easy to do, when a religion or political structure presumes to decide what is and is not acceptable. (These days, for instance, if you don’t regurgitate the liberal pablum, you will be attacked and labeled with one or more convenient witch hunting terms.) The internet makes it much easier to do your own marketing, these days. In fact, the net makes those “go betweens” into the irrelevancies they should always have been. However, you should decide if you want to spend your time creating or marketing your product. Both take a lot of time, and the usual rule is, not many are good at doing both. Maybe, find one capable person who believes in you, and let him or her do the selling — if you must insist on selling. (I don’t particularly care. I am creating for the people of two generations into the future !) Consider these, as examples. All of the “corporate music junk” that is selling today will be in tomorrow’s landfills, when the next market project replaces what the mindless consumer puppets swallow, on their daily feeding frenzy. And some of the most talented and disciplined musicians in the world play for sidewalk tips on street corners and subway platforms, while the corporate monkeys, who can barely scrape together three valid chords get flown in private jets and limos to their next gig. There, the made for manipulation “fans” pretend they are gaining some modicum of pleasure from the loud, smelly mob that is audience participation. The final insult? The whole world is experiencing a a new renaissance, in which most people in the United States and many in Europe will never get to share, until it’s old news. Marketing has replaced talent, and faddism has replaced discernment in the emptied heads of the mass media consumers. If that’s your target audience, well that’s fine, for some. But, your product will be part of tomorrow’s landfill, along with yesterday’s forgotten celebrity status. Oh, by the way, all those painters I said I admire, and were ignored in their own time ? All of the “Temples Of High Culture” (the museums) now want some of their works hanging on their walls.
I would very much like to see some representative examples of the art of Damar Minyak who writes just above.
Creativity needs the company of creativity. An artist alone is an artist struggling, the reclusive artist is usually that because everyone they know are working at a job, but he/she is working at their life, look for those that do the same and share yourself, your logic, your discoveries and only then will you move forward. A true mentor shows you the way forward and then kicks your butt to keep you going in that direction. A true mentor won’t buy into your BS and excuses; they heard them all before out of their own mouth.
Dear Robert, I have learned everything the hard way. I couldn’t find a gallery to carry my work when I first started out if I sold my soul. I knew I had to have shows and I knew I had to get my work out there. Although I never made the same mistake, the mistakes I made were hard learned. Nothing is the beginning and nothing is the end, but when it looks too good to be true, it probably is. There is a phoney around every corner and in the art world, that seems to double. I had a mentor who steer headed my career. He was a wonderful man who not only cared about me, he believed in me. I would come to him with my latest tangle and he would say to me “Just give me the bullets”. In seconds, he would have me untangled with fresh wind in my sails and a whole new trajectory. Sadly, this sweet gentle man died suddenly of an aneurism. He passed away two weeks before my last exhibition. He was scheduled to speak at my show, do a critique and host a blind question and answer session with me. I was devastated. However, News Flash, non of us are getting out of here alive. Mentors are some special people who come around and we need to recognize them when they appear. Everyone has a life lesson for us. But sometimes the lesson is over. John Ferrie
Creativity is about being led, by Spirit, by the One who created us and gave us pure gift to share with others, to help others feel Loved~
Teacher teacher, preacher preacher we nova gonna meet cha. Long live the ADVENTURE.
Many thanks for your last weekly letter-soooo true about lonely travels of us,artistic souls.
I’ve been going it alone for a long time in terms of finding my own muse as a painter. I don’t hang around artists a lot socially. Most of my friends are in other professions. I find this boosts my creative life enormously. I think too many artists spend all of their free time with other artists, going to gallery openings and so forth, a herd mentality. Our professional life must have a great deal of time alone in the studio in front of the easel if we are to discover ourselves as painters.
For 31 years I “went it alone” because I was working at a government job and knew few artists. I never was a “joiner,” but when I gradually became part of a group of eight women painters we now call Pieces of 8, my work grew, my productivity grew, and my joy in the whole process grew. As a side benefit, these are a wonderful group of women who provide moral support in every way, including Life. It has made all the difference to me, and I highly recommend it.
Painting is not a team sport!
On this Thanksgiving weekend I am very thankful and grateful to your twice-weekly letter.Thank you and may you continue on for many years to come.
A nice sentiment, however, there are many historical artists who didn’t like people at all.
And painting is not the only art form. Thanks for the timely, it’s OK message.
I have had a decent working class art career working alone. In my early artlife, I made a decision to not take workshops etc. I did go out to see what was going on in the artworld. I still do, not alot but often. I do have phone buddies, they are artists. Being an independent artist has its advantages. I do it now and I have a good artlife.I sell my own work, I do my own outreach to make sales. I live frugally on purpose, this allows me to go it alone.
Had to add another thing. I called one of my first mentors today. Ned Edmund Jacob. He taught me by example, how to have an art life on one’s own. Ned is an artist’s artist, independent as they come. He winters in Florida and the rest of the year in Maine. Ned is a great example of going it alone.
Life is a juggling act; balance is crucial. Freedom to choose our own priorities as we go along is vitally important; letting others have too much sway in that decision-making is antithetical to the artistic temperament. Enjoy life, every facet of it.
I think there is tremendous creative energy in bouncing feedback off others. Even if I disagree with what I hear back, it helps me solidify my point of view and often pinpoints what is troubling me about a piece. I agree that the majority of my work is done in solitude, but I encourage you, Candy, to keep an eye out for opportunities for creative exchange in the future. It probably won’t look the same as your mentorship — maybe an equal footing, or you as the mentor? — but it’s definitely worthwhile.
I have never had anyone to paint with other than in college and there, of course, you are on a project, not necessarily painting from your own heart. I would enjoy painting with others, if only because it gets lonely painting alone.
Like baby birds, we have to leave the nest where we think we are safe in order to learn how to use our own wings to fly…and risk that we can do it.
No man is an island entire of itself; every man is a piece of the continent, a part of the main; if a clod be washed away by the sea, Europe is the less, as well as if a promontory were, as well as any manner of thy friends or of thine own were; any man’s death diminishes me, because I am involved in mankind. And therefore never send to know for whom the bell tolls; it tolls for thee. John Donne
Young artists tend to go through periods where we must be students and sit at the master’s feet soaking up what we can (and it may not be a professor). We eventually mature/learn/expand beyond what the mentor teaches and the student feels the need to take that which was given and interpret it in his or her own individual way — graduation, if you will. My mentors were mostly historical and I really have not had that close personal influence either in college or later (other than artists I admired at workshops). Whereas I enjoy the occasional camaraderie of other artists, it is rare; they would be friends regardless of a shared interest. Making art is a singular pursuit. All the friendships in the world won’t make us better artists without lone study and individual problem solving. If one needs consolation about the relative dearth in the art market, conversation about increasing our marketability might be worthwhile. However, be careful of negative influences. You may be sapping your own energy for someone else’s benefit. It appears to me if an artist is questioning the need to go it alone the obvious answer is, she is ready to do so. If later one feels the need to step back and gather a group of artist friends around for support, that is easy enough to do. Explore both. Nothing is set in stone and our art and development should stay in a continuous state of growth and flux. Never underestimate the value of personal, individual breakthroughs. No one ever became great by following the pack.
I would like to thank all of you who have shared your insights to my query about “going it alone”. I assure you that I consider every post valuable and I appreciate every comment…..it has been both interesting and inspiring…and I hope it has been for some of you as well. Thank you, Robert, for responding to my question and for the ripple effect it has generated in so many good ways.
Robert, Do you have any examples of Ruby Brown Shand’s work? When I googled her name, only your letter and a federal government website in French came up. The federal website would not allow me to access anything. I was locked out. I’m curious to see what Ms. Shand’s work was like. Thank you.
I enjoy your articles every time, but sometimes your messages come just on time. Things we artists think about, but can’t communicate with others. I live in Mt. Pleasant, SC near Charleston, SC. We have many artists like you described. I wonder where I can fit with them, especially I am a Japanese and feel not fit anywhere personally. Next year, I am planning to go to Italy for art classes or workshop for a couple of months. This idea came to me one day and it is becoming my mission. I am going alone and your article felt so good.
It took me years to realize that a lot of people dont see clouds (unless they are worried about rain) or look at the leaves moving on the trees, reflections in water, flowers in the breeze. These are the things that make me smile and long to paint them.
Everyone needs something different to survive, and many get what they need to thrive. I’m ecstatic to have a devoted and engaging spouse, who also knows how to keep my worst tendencies under control. I don’t need the guys at the bar. A Nascar party. Or a cocktail crowd. And, of the milieu from which I emerged, there was no sign of an artistically involved person, anywhere. I am so incredibly lucky to have my significant other, that, there’s no way I can take full responsibility for whatever I do, including the art I make.
I think each artist has a tendency to work with other artists and mentors, and then as they grow their needs become different. I have worked with several different artists, and I have learned a lot, some advice was helpful other advice was not. This is a good article to share with other artists, and at this point in my career, I’m not studying other artists too much and working on my own more, that is a good thing. I find my best work is when i work and struggle through painting problems, not by asking for another artist’s view, they do not know what we see and what we are trying to do. Thank you for your story. Jim Springett-wildlife painter
I often do not consider a piece finished until it has been critiqued by other artists–and I have contemplated all and acted on some of their suggestions
Inviting fellow artists into my studio/gallery has been a great way to share our common interest in painting, or pastelling, or drawing. As a landscape painter/gallery owner, the commitment to both can be perplexing. The choice was obvious, to set up still-life in the studio and paint while watching the gallery. On Friday afternoons several friends come by and we paint together. It is not a tea-party but serious work and can go on for weeks with the same set-up. My piece “Still life with Deborah” won best in show at our local Art League last week. Another benefit of still-life is that it doesn’t change so there is real possibility of seeing all possibilities in the subject. There is lively banter about what we are all doing and growth through quiet joint participation. See my site at www.jackrichardsongallery.com
For me, to work alone is my cherished time! I need quietness in order to produce a decent piece of art. When attending a workshop there are all kinds of interruptions that can be distracting, but it is also stimulating to see how others work, like sitting on a park bench watching people. But quality time alone is very important, and therefore to ‘go it alone’ is the number one key to success, because it means taking control of ones place in life! Speaking of going it alone, I just opened a little ‘gallery’ to show my works which I think are fairly good paintings and the thrill is also quite stimulating!
To Carter Thomas: You live in an area rich in numerous affordable art-buying opportunities. They are outdoor weekend art festivals. I come up and do one in Woodside every Labor Day weekend (Kings Mountain Art Fair) but there are scads of others throughout the year. Re: going it alone. I’m definitely a loner when it comes to painting. I find it distracting to have others around when I’m working. Socializing is great and I like to see my artist friends now and then, but the real work gets done solo.
Notre Dame Bay Fjords oil painting, 30 x 40 inches by Aleksandr Fayvisovich, New York, NY, USA |
I agree with you kathleen, fellowship can be very inspiring and encouraging, i have been struggling with a creative block of sorts, i have a miriad of images in my mind’s eye, itching to make their way onto a canvas, but find myself procastinating, mulling over medium, technique, etc, simply put , afraid of the blank canvas and my abilities,however humble to just get going and put brush to paper, so i’m contemplating, joining a class so as to have that supportive environment, where you get carried away by the momentum of the group, all those other fellow artists making their mark.Happy painting!!