Style

#11 in the series “Thoughtful Thursdays”

Several months ago, I showed a few of my paintings to a gallery owner.  For the first time in my five year and three weeks painting career, I was told that my paintings don’t have enough detail, that they look as if done plein air. That is French for “on site”, which also translates into “I’m painting as fast as possible because the light won’t hold still and I can’t possibly be careful at this crazy pace”.

This description shocked me, because I love detail! Pencil and the detail possible with that humble instrument have held my attention since 6th grade. I’ve even been accused of “drawing” with a paintbrush. How could someone possibly think my paintings are lacking in detail?

I strive for accuracy in my paintings. My favorite way to paint is to add layer after layer until every last blade of grass is visible. This degree of thoroughness is virtually impossible to attain, both with my emerging (a polite way of saying novice) skills and the need to finish a painting in a timely manner.

The most commonly known and identifiable styles of art are abstract, realism, surrealism, impressionism, primitive. Abstract does not show recognizable objects and is also called “non-objective” art. (Thank you, Captain Obvious!) On the opposite end is realism, which shows things as they appear in real life. Surrealism presents strange subjects as if they were real. Impressionism is lacking in detail because it is all about color and light: I remember how to identify this style because it looks as if the painter didn’t have time to truly study his subject but needed to leave the right impression. Primitive art is childlike with no visible understanding of perspective or proportion.

In addition to level of detail and texture of paint, style is also defined by subject matter and the use of light and color.  A Vermeer is recognizable by the subject of a woman at a task near a window using primary colors and a certain quality of light. Monet was known for his water lilies, Van Gogh was known for his irises and sunflowers, and Botkin is known for her oranges!

One of the reasons it is important to establish a style is to receive commissions. This happens when one’s style is recognizable and consistent. If an artist is tinkering with many styles, a potential customer won’t know if a technique can be duplicated or if it was a fluke.

As I achieve greater proficiency with paint, brushes, and canvas, I’m hoping that my true style emerges. I’m hoping for the detail of Rockwell with the light of Vermeer and the brilliance of Bierstadt!  When my paintings are as consistently recognizable as my pencil drawings, I will know that my style has been established.

I can help with that!

2 comments I hear from people over and over are “I’m out of wall space” and “I’m trying to be careful with money”. Here are my responses to the first: “You can rotate your art” or “Look! Small paintings on little easels look nice on a bookshelf, lamp table or fireplace mantel!” To the second, “Look at these little bitty paintings, hand-painted ornaments and packages of cards – all $20 or less!”

Here are a few more 4×6 oranges in progress – they sit on easels and are $30 each

And these little bitty paintings are $15 each:

So are these ornaments:

Growth, part nine (In which I betray my pencil people)

http://www.artcalendar.com/home.asp Art Calendar is a very helpful business magazine. My favorite writer is Jack White, to whom I refer occasionally as my “guru”.   Three plus years ago the magazine carried an article by him that bluntly stated pencil was almost a guarantee of poverty and oil was the road to success. After I came to and remembered to breathe, I began considering this. It took considerable conversations with my husband, other artists, God and myself before I was willing to even picture myself painting. (To quote my friend S, I had “anal myopia” – just couldn’t see my arse going there!) There were many signs that it was the logical next step, and many offers of help. After a number of attempts to find a teacher, I gave in to Jack’s wisdom that there is not a thing wrong with being “self- taught”. The truth is that I have been taught by friends, books, videos, lots of practice and 2 teachers whose classes I quit halfway through!

These are some of my earliest oranges.

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These are from a few months ago.

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I suppose if you could see both in person or if my photography was more consistent, you could see the difference in the level of skill. But, here’s a bit more myopia for you, in these photos I can only see the difference in my signature!

Growth, part four (Venturing into color)

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Just Picked – colored pencil – 18 x 21″ – $550

Just when I thought I “had it made” and was settling in to The One Way To Do An Art Business, several of my students wanted to learn colored pencil. In high school, my friend Lisa thought watercolors were for babies, and I had the same opinion of colored pencils. First, I had to find a new attitude toward colored pencils; second I had to learn to use them correctly. This happened through books and the Colored Pencil Society of America. They offer seminars and workshops that are phenomenal in their variety and scope  – this is a wonderful organization. http://www.cpsa.org/

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Orange Juice – colored pencil – 11 x 14″ – $200