Paint Outs, the Good, the Bad and the Ugly!
November 8, 2009
Red Mooring Ball at Low Tide with Fog
It’s only been two weeks since my last post but in the world of “cyber-time” it probably seems like I disappeared into the witness protection program. I was at the Crescent Beach Paint Out and enjoyed a full week without internet access or good television reception.
First Light
The paint out was fun if not challenging. We had plenty of good subject matter but not enough time to get to it all. I did 9 paintings in 6 days. 7 were exhibited, 1 was for my host and 1 was deemed unfit for public consumption. The first of the six days was spent exploring. Overall the show looked great. The artists deserve a round of applause. The pics in this post are of paintings I did during the event.
The Meagan Garret
My last post began a discussion about “the process” of creating art within the context of a plein air painting event. It occurs to me that I should take a step backwards and say a little about the events themselves because many of you may not be familiar with how they work. Participating artists are selected by invitation or submission process. Organizers usually designate a territory and often limit the number of paintings each artist can exhibit. Paintings have to have been created during the event and must be for sale. Proceeds benefit the artist and the promoting organization. These events do contribute to an artist’s income but most artists don’t rely on them. The best thing about paint outs is that they are like mini “Artist in Residency” programs. They enable the artist to work away from home without distractions and in the company of other working artists. Artists are pretty much left to do their own thing. No says where to paint or what to paint. The aforementioned painting territories are usually broad and loosely enforced. Many artist regard boundaries as guidelines rather than absolutes. I tend to fall into that category. Many events provide host for lodging and other perks like meals and socials.
If you are an artist who wants to include some paint outs on your schedule here’s the good, the bad and the ugly:
- Avoid events that require an entry fee. Entry fees are simply revenue for the sponsoring organization and are often not applied to all invitees. There are plenty of great events which won’t charge you to participate.
- Only enter events that provide hosts for housing. You don’t want to have to pay for a place to stay. I have enjoyed some fantastic accommodations and made great new friends this way.
- Don’t bother with plein air painting competitions. Judges usually reward their friends and names they recognize. These events become very political and will often leave you with a sense of disillusionment. I’ve seen enough questionable shenanigans that I have sworn off of them.
- Shows which have an Artist’s Choice award are good. This means the artists vote by secret ballot for their favorite painting. The one with the most votes wins. It’s a super fair way of awarding the best work.
- Choose events in places that inspire you or which support a cause that you believe in. Inspiration makes doing your best work easier.
- Have fun but conduct yourself with a sense of professionalism. No need to perpetuate the myth of the eccentric artist. You are a small business person in a vital industry.
- Remember, ALL of the other artists involved know something you don’t. So make learning a priority.
- Paint in places where the public can find you. Hand out business cards promotional material from the show.
- DO NOT make a fuss over onlookers who watch you work. Yes, they may be sneaking a free lesson but you’re best off to embrace them. These people will buy the painting they watch you paint!
I’ll have another post up later this week about “the creative process”. It’s good stuff. Until then….
Artists Blogs Worth Reading!
July 8, 2009
St. Petersburg Pier
There are a lot of artists out there writing blogs. It’s a wide demographic. There are artists of all levels from beginners to seasoned professionals blogging. Motivations are also varied. Some do it for fun. Some are vying for attention. Others do it out of the same passion that fuels their art. I write blogs because I hope to stay relevant and make a contribution to fine art in St. Petersburg, Florida and beyond. Currently I regard myself as an average to above average painter with a decent local reputation and good potential for growth. (If I didn’t think I could get better I probably wouldn’t paint. Would you?) It’s the belief in my capacity for growth that makes me thirst for knowledge. I’m a scavenger really. I’m convinced that every artist out there, whether awesome or mediocre, has probably figured out something I haven’t. I want to know what they know. Add it to what I know. Maybe even become a painters version of the Borg collective. The quest for knowledge is fun when it pertains to a passion. It’s even better when I find seasoned professional painters who take the time to write blogs for the purpose of lending the benefit of their experience to people like me. Recently I have discovered two such pros worth mentioning.
Courtesy of Mary Byrom, a Maine artist whom I met in Idaho at one of Scott Christensen’s workshops, I have become aware of a painter named Stapleton Kearns. Kearns has been established and making his living painting pictures for 30 years. I really have to tip my hat to Mr. Kearns because not only is he a very, very good painter but he is a diligent and persistent blogger. He posts an article every day. His articles provide daily insight into the mind of an established painter and seem a valuable resource for those of us toiling to gain further command over elusive prey: Shapes, Values, Colors and Edges. Kearns doesn’t know me but if you check out his blog please let him know I sent you.
I first heard the name Bill Reese at the aforementioned Scott Christensen workshop. I don’t remember the context in which his name was mentioned but for some reason I remembered it. I hadn’t made the effort to find William F. Reese online until Don Maier, founder of the social network Plein Air Artists mentioned reading his book. I quickly found Reese’s website. Reese is a painter of fifty years experience. Along with his enjoyable paintings his site contains some great “musings” with comments by artists such as Matt Smith. Mr. Reese is not as prolific a blogger as Kearns probably because he spent significant time writing the book, which I purchased. I mention the book entitled The Painter’s Process – The Inner Voice because I came away from it with a feeling that completely surprised me. Not because I’ve never had the feeling before but because I never got it from an art book before. Whatever chord The Painters’ Process struck in me I came away feeling that “I am okay”. With wisdom rooted in life experience Bill communicates a set of values which transcend the painting advice given in the book. He persistently prods his readers to figure out why they paint, to define success for themselves. He penetrates the shallows of wealth and fame with his own ideals and reasons to paint. Simply put, he spent his life painting with the hopes that he would create a piece, the beauty of which, would stand the test of time. He doesn’t know if he accomplished that and probably never will. He gave that goal his best effort and fell in love with The Process.
Both Reese and Kearns will be assimilated. Resistance is futile!!
Tales from the Plein Air Crypt!
June 18, 2009
Student Art Day
There are a lot of “paint out” opportunities for plein air artists in Florida. Tops among them are events such as The Forgotten Coast Plein Air Invitational in the Panhandle, Wekiva Springs in the Orlando area, Florida’s Eden in the Gainsville area and The Art of Giving in St. Petersburg. I participated in 6 or 7 Florida events this spring. Painting in these events, for me, is not only hard work but a fantastic education. I look up to other artists and learn by looking at their work and asking questions. A few are guarded but most will tell you exactly how they do what they do. It is great experience. Looking back at spring 2009 I would like to share:
-the funniest thing that happened to me,
-my new nickname,
-the best advice I received and
The “funny thing” that happened is a story I tell most often outside artistic circles. It’s more funny”poignant” than funny “ha, ha”. Let set the stage before telling the punch line. During the event at Dudley Farm (which is a fantastic park, best in the state maybe!)I attended a birthday party for Mitch Kolbe at a beautiful old cracker house on the edge of Lee’s Prairie. During the party a woman, one of the artists, struck up a conversation with me about “How wonderful President Obama’s stimulus package was going to be for the economy”. I briefly commented that we need “recovery not stimulus” and quickly changed the subject. This wasn’t the place for a political discussion. Especially if it was going to be an Obama love-fest. The friendly woman remarked how I reminded her of her husband and that was that….or so I thought! The next day I was enjoying a meal in the lunch tent with three other artists, all women and all new acquaintances. The woman from the party sat down and blurted out, “So Robert, how is that you are an artist AND a republican?” (As if the two are mutually exclusive.) She said she could tell from my comment about “recovery” that I was a conservative republican. I guess she thought it was her job to “out” me in front of the other artists. I replied, “Well you got me. I am officially outed. I am a conservative and a republican.” With that the other three women at the table stood up in unison, turned their backs to me and sat at another table. Sure I was a little stunned but not completely surprised. I’ve known for quite some time that those who preach tolerance often only tolerate those who agree with them. Still you have to admit, liberal or conservative, this story is hilarious!
Painting the Wekiva River
At the Wekiva Springs event I really felt like the new kid on the block. I knew a couple of the other artists but so many were new acquaintances that it was literally like being at my first summer camp. It was a lot a fun. The scenery was beautiful if not a little imposing. During “Pizza Night” at the rec hall one of the artists was asking for advice on pricing her work. Her paintings were really good and everyone thought she was thinking way too low. Someone suggested that she charge $6.00 per square inch. To which she inquired, “Does anyone have a calculator?” I quickly rattled off the top of my head…well, 14 x 18 = 252. 252 x 6 = 1,512. So charge $1500 for that one. I noticed that all the other artists sort of had this glazed over, look of disbelief on their faces. So, I did it again….12 x 16 = 192. 192 x 6 = 1,152. So charge $1150 for that one. Now the glazed over looks turned to surprise as they realized I was really doing it and not just making things up. Some shouted, “THANK YOU, PROFESSOR”. What can I say. I went to Catholic school. I love math! Well the nickname has followed me around. Those who were there still call me professor. I kind of like it. I hope it sticks.
Also during the course of the Wekiva event I spent some time on a pontoon boat painting with Larry Moore. Like a lot of people I admire Larry for his outstanding work, creativity and sense of humor. He is also generous and sincere when asked for advice. When I half jokingly asked him to be my mentor Larry paused, looked intently at me and said, “You would be your own best mentor.” He elaborated, “You already know everything you need to know, just keeping working and it will come into fruition.” Immediately I clicked back in my mind to a statement I heard come from Scott L. Christensen who said that his big breakthrough came when he stopped listening to others and began doing his own thing. Nothing I have heard has made more sense than Larry’s comment. I have decided to take it to heart.
Until next time, Paint On!
The Art of Giving in St. Pete
June 10, 2009
Keeping Watch over Round Lake
As a result of the economic downturn the number of people in real financial need has grown significantly. In Pinellas County there are in excess of 6.000 homeless, many of them taking up residence on the streets of my home town, St. Petersburg, Fl. I don’t have to tell you that the ranks of the unemployed has also grown causing many families to struggle in their efforts to pay their bills and keep their heads above water. Despite some bad press a couple of years ago, St. Petersburg, as a community, actually does care. There are many outreach ministries, faith based and otherwise. One such organization is called Daystar Life Center. Founded by Monsignor McNulty in the basement of St. Mary’s Catholic Church in 1982, Daystar makes a fine art out of giving. As you might imagine the slow economy has made things tough for organizations like Daystar. Demand for their services are way up while donations from benefactors are down.
All of these realities were in the back of my mind when I was approached by two artists about organizing a plein air painting event this spring. Their motivation was that they were not accepted into a local paintout called Paint the Town. Although formerly involved with that event I had no interest in organizing a Salon De Rufusee’. I did, however, think this was a great time for the art of plein air painting to serve something besides its own self interest. I took my idea for an exhibition and sale of plein air paintings benefitting Daystar to city councilwoman and owner of Interior Motives gallery, Leslie Curan. As expected, she loved the idea and we began planning immediately. I got a group of artists together while Leslie and her staff handled publicity. We were flying by the seat of our pants but we believed in what we were doing. When all was said and done, 8 local artists had six weeks to produce (5) plein air paintings within the St. Petersburg city limits.
The Pier
Opening Night
The show, which opened May 23rd, was a success. The paintings looked great, sales were very good and well over $1,000 was raised for Daystar. Ironically the two artists who a originally approached me backed out. They made what they thought was a good choice for themselves. This show was not about “artists doing for themselves” it was about what art could do for others. It was about being outwardly focused, civic minded and concerned for those in need. There are still a few paintings available as the show hangs at Interior Motives until June 19th, 2009.
A special thanks goes to councilwoman Leslie Curan for her extreme generosity and Jane Walker for her dedicated hard work at Daystar.
Leslie, Jane, Robert
“Key” Your Paintings for Special Effect
February 17, 2009
Last Wednesday afternoon, after a day working in my home studio, I could not escape nature’s call. No, no, no, that’s not what I mean. I mean it was a beautiful day outside and I was ready to escape to my outdoor studio. Which, for all intents a purposes these days, is Fort Desoto Park. Fort Desoto is located in West Central Florida, on the Gulf Coast near St. Petersburg. St. Pete is where I live. It is also home for Major League Baseball’s Tampa Bay Rays (which may come as some surprise to most ESPN sportscasters). It is also where I was once founding president of the St. Petersburg Representational Art Association. I am no longer involved with the organization or the plein air event it sponsors…but that’s another story. Let me get back to this one.
Every year, from January through April, snowbirds of all types flock to Fort Desoto. Both the human and waterfowl varieties are attracted by the peaceful, reflective, calm of the park’s bays and estuaries as well as the pastel colors and rhythmic surf of it’s Gulf Beaches. The North Beach is a particularly popular spot. It is haven to sandpipers, skimmers, northern gulls, Canadians, Long Islanders, Europeans, Mid westerners and the occasional Floridian. A beautiful spot to the say the least and a favorite for this plein air painter. I rarely see other artists out there unless they are participating in a class or workshop which I am conducting. To a certain extent, the natural beauty of Fort Desoto Park is somewhat unrecognized. For this reason I have chosen to feature it in my upcoming solo exhibit.
For me plein air painting is more about study than it is finished paintings. Once in awhile I go out looking for that big idea but more often than not I use it to study nature. This day was like most. I found an open picnic table on the North Beach, beneath the friendly shade of Australian Pines not more than 20 feet from gently breaking waves. I planted my tripod firmly in the sand, sat on the bench with my back to the table and went to work. In this 30 minute study I would attempt to capture the soft pastel colors in a relatively “high key”. “Keying” a painting relates value and color in a way that is referred to as either “high” or “low” key. In a “high key” painting dark accents and shadows are painted in a medium value range. Mid-tones and lights are painted even lighter. In so doing the artists sacrifices color intensity in the lights as they become washed out. This approach allows for more color in the shadows and the result is a soft, peaceful, pastel look. In a “low key” painting dark accents and shadows are painted on the low end of the scale while mid-tones and lights are painted in a mid value range with more intensity. The result is crisp, colorful and more dramatic. In lower key painting it is said that the shadows carry the drawing while the lights carry the color. In high key paintings the shadows may carry the drawing and most of the color. In this 6″ x 8″ wave study the color intensity is kept to a minimum in both the shadows and lights in an effort to emphasize the soft gentle roll of small surf. All five types of light are clearly, yet simply indicated, depicting just enough form to tell the story.
During the course of this little study I was approached by numerous onlookers and interlopers. Some respected the fact that I was working, others considered my presence an open invitation to talk. One of these asked why I didn’t just take a photo to paint from. This of course opened the door for me to do a little proselytizing for the practice of painting from life and an explanation of the how the human eye is better than the camera. In next weeks article I will offer some tips for interacting with, and in some cases coping, with all the curiosity seekers who may approach you while you paint outdoors. Till then, God Bless.
