Chuck Larivey, Virginia Impressionist

My Favorite Cause - Venice in Peril Fund

2011-11-01T17:03:00.000-07:00

VENICE IN PERIL

#539 Venice Salute 20x20 oil on linen - chuck larivey

Mysterious & Romantic Venicebelongs to the world at large. Venice is without doubt a worldtreasure of architectural art with a unique quality of light andatmosphere, making it one of the most photographed and painted cities. Venice unselfishly welcomesall who would enjoy her treasures. Now Venice needs the world, Venice is inPeril and requires funds for restoration and research into the underlyingproblems which slowly destroy its very foundations.

We as artist can help by donating auctionable art or portions of ourVenice themed art sales to the Venice in Peril Fund, established as acharitable foundation by the British after the great flood of 1966.

Galleries can help worldwide by gathering artists to participate inspecial events devoted to Venice in Peril such as WH Patterson, anacclaimed London gallery of fine art. WH Patterson have held annualVenice exhibitions for over 20 years, featuring work by leading UK and international artists, with aportion of all sales going towards the restoration of this wonderful city.WH Patterson alone have raised more than [£160,000] for the Venice in Perilfoundation.

Please checkout the Venice in Peril Fund and see how you might help this worthy cause www.veniceinperil.com

Where do I want my paintings to hang?

2011-08-24T14:33:00.000-07:00

I think a good question any serious artist might want to ask themselves before starting any painting intended for eventual sale...."where do I want my painting to hang"? If you want it to hang in an upscale interior and be paid handsomely for your effort, as I do then you need to paint something appropriate fitting the intention and quality of the room. In other words know your market, what they expect and why! If possible apply this knowledge to your painting……I might add this has nothing to do with the creative process, but why people might buy your painting in the first place.

Because you think some collector will fall in love with your expensive masterpiece and purchase it without consideration of where it will hang – just won’t happen often in the real world. It has to be size appropriate, fit the quality and intention of the collection and the room it will hang. If it doesn’t as much as the buyer might love it they won’t buy it. You might get a commission out of it but, incorporating the buyer’s needs which typically revolves around size.

Like I said, this is not about hampering creativity or painting a pink accent painting. If they liked your painting in the first place it probably had pink. Commissions typically revolve around liking someone’s work and painting to fit a particular space (generally around size).

You as an artist have to decide if your work can accommodate the request.

PAINTING FOR THE BEST WALLS

Size appropriate – Generally large scale

Properly framed to fit your target market

Quality

Jump Factor – emotional need

Painting subject is wide open and has no known limits.

As a designer I was frequently exposed to the process. As an Artist I would have no reason to know or consider the RULES because normally the artist is not part of the selection process, hoping only to have their work selected. Rightfully so because it revolves around the buyer wants and unless an artist is doing a commission the buyer would never enter the picture, that is UNTIL THEY ARE ON THE HUNT!

WHY DO PEOPLE BUY ART…THE HUNT!

As a designer I have information most artists would not have firsthand knowledge of – “what triggers people to buy art”

The “jump factor” or emotional need can cause the budget to go out the window and most likely will. If the painting is the right quality, size and framed to fit the intended space it will leave the room in a heartbeat regardless of budget!

The three rules they won’t break easily (if at all) are quality, size appropriate and properly framed. Make no mistake about this; they left home with a shopping list. The list becomes the bible. They have blinders on to anything not on the list; they walk in a gallery or showroom with a quick scan and leave unless “the jump factor” comes into play. If on close inspection all the rules are met chances are good a deal will be made.

IF NOT! AS AN ARTIST I WANT TO KNOW WHY!

Why didn’t my masterpiece leave the room with Elvis? After all I saw “THE JUMP FACTOR”! Elvis clearly was moved by my painting…HE JUMPED! It fit the emotional need but, it didn’t meet some part of the purchase criteria set prior to entering the room. The all important reasons Elvis was on the hunt in the first place, he was looking for art for a specific location. He had an empty wall to fill and money to burn….

We’ve all heard the reasons often enough, too small, too big, wrong frame and my personal favorite the “wrong colour”. A collector or a sophisticated buyer would not...well might not make that particular statement, however it is important and like price sometimes it can be negotiated. In this case Elvis liked what he saw. My experience as designer and art buyer for upscale clients on close inspection it probably was not the right quality for the intended space. A simple nick on the frame can do it and all of a sudden it’s flawed.

As a designer I can re-frame a painting and maybe fix a flaw, but a client and most collectors won’t. They want a complete package and will walk if it doesn’t match the quality they expect. They can love the painting, the size can be right but, if it’s flawed, poorly presented and cheaply framed they will walk! In truth they don’t have the time or desire to fool with it!

QUALITY

Quality transcends all style preferences. How you present yourself and your art work is paramount and a reflection as to how your work will be perceived by the buyer and finally how much a buyer will pay for it. If you put a cheap frame on your painting believing a collector will pay thousands for it, he won’t unless it’s a serious bargain. A previously stated most and “most” means the majority wants a complete package and will pay more for it only if it is a quality piece. Quality always sells, money always wants the best price to get quality and there is no limit to what money will pay if money wants quality!

Pay attention to detail!!! Present your work in its best suit and you’ll increase your chances of your masterpiece leaving the room!!

RULE 1 - SIZE APPROPRIATE

Paint small and you get to fill small spaces and secondary walls – Paint large you increase your chances at the best walls with the sweetest exposure and best budgets.

In design, a room’s impact wall or walls typically has one element causing a crescendo often accentuated with lighting. These become the all important best walls requiring those very hard to find sweet paintings or art pieces.

It’s the reason the budget is limitless and they will go anywhere to find it!

This is something to keep in mind when selecting a size, where you want it to eventually hang – the market you’re after and how much someone might be willing to pay for it. Depends on how important the wall is – a home could have multiple important walls and likely will but, those feature walls will have a monetary budget value in place based on importance. Secondary walls are often left empty as “negative space” further reducing the need for smaller paintings.

As a designer I know one important piece is better than two on a feature wall. I also know a vertical will emphasize height (desirable) and a square is a good compromise to a horizontal. Chances are good the buyer is looking for a large vertical painting and could compromise to a large square. Not to say horizontal is thrown out with the dishwater but, it has limited uses unless also very tall…You’ll notice I’m discarding the idea of pairs and groups of paintings. Unless presented right this approach could be considered clutter in an upscale interior.

THIS IS OUR TARGET!

Our buyer is looking for one major piece anything beyond that would be a compromise and considered a second choice.

An upscale client rarely accepts a second choice!!

The one exception is a genuine down and dirty collector who will fill every inch until forced to move or build more walls – this collector can be found at all levels. This is not about the “best wall” long filled by our hard core collector. We want him too but, this is about the upscale collector whose environment is well designed, neat about everything and may even rotate the collection by having a “special warehouse” for those not displayed. This is also about the owner with multiple homes and when they sell and they always do. The home is typically sold furnished and complete, including our masterpieces. This same buyer will pay attention to detail and make sure their home is perfect before selling. It will be professionally fluffed, detailed and photographed after all they have to follow the same rules we did as an artist selling them our masterpiece.

Excellent reference sources to understanding what a “Serious Upscale Client” would expect can be found in the pages of AD Architectural Digest (the bible) www.archdigest.com and Veranda www.veranda.com my personal preference.

A Simple Word “Serious”

2011-08-06T17:06:00.000-07:00

A Simple Word “Serious”.....showing great interest in or commitment to an endeavor, skill, or pastime…Wow! A great word “Serious” when you think about it…Clearly I’m boringly serious about my art!! Why would this word even get my attention? It did! And in a split second too….I have used the word before in this blog, but I’m not sure I ever applied it to myself. I’m fairly certain I wouldn’t because I am serious. But, did it always apply?

A question I’m frequently ask “how long have you been painting”? I would typically say 2 years adding “But forever” indicating knee high with my hand. A typical response might be “What happened in between”? If you tell them – in my former life I was a…….. Oh! You decided to do this in your retirement” which given my age could have been a viable reason….they could not have been more further from the truth because from day one I looked at art as career change and approached my new career as any one might a new business venture - make no mistake if your "serious" art is a business!

Recently I was the main attraction at an Artist opening reception in a nearby sleepy harbor town gallery. The first time a large body of my recent work was assembled, framed, lit and then exposed before a wine sipping crowd. It was a new experience for me too because I rarely hang my own paintings. I don’t like clutter or being influence by yesterdays work so dry paintings are quickly packed away or framed and shipped to gallery shows or new owners…as a result this show was a treat for me as a painter and as a designer, because it took both hats to do it!

You know the question I was overwhelmed with….yep! “How long have you been painting”? I’d say 2 ½ years and they go blank in disbelief!!...never getting the chance to say my forever..part. Now what do I do?? The gallery owner over heard it a few times, knowing I need help broke in by saying “he’s been doing it all his life but, only took it seriously 2 ½ years ago” …Well! There you go…one simple word “seriously” wrapped it up nice and tight! My new buzz word got a serious workout the rest of the evening....my new friends accepted my new explanation and quickly move to talking art...my favorite part.

Until that very moment I never had a clean answer why I stopped painting years earlier. In a single moment I knew, I was not willing to take art seriously. As a preteen and a teenager I must have because art had my attention. I studied the old masters. Not exactly something a normal teen would do, but I did. So I was serious at one point but, later it was just something I could do like riding a bike or driving a car….Art was useful making extra spending money as a teen.

As a young adult entering the job market my art, school drafting along with a wood-shop class allowed me the necessary tools to become a commercial bank designer which I did take seriously from the start….quite possibly because it was a bigger more complex medium than oil painting.

Mmmmm...not so sure that holds water in the real world. Oil painting is the creating the illusion of light, colour and depth - I found all the same old design rules applied to oil painting.....even has many of the same buzz words. In the end Good Design is the most critical element in a good interior, building, landscape or a great oil painting without good design all these things will fail.

#430 Winter Koi 48x44 oil on linen

I think a good question any serious artist might want to ask themselves before starting any painting intended for eventual sale...."where do I want my paintings to hang"?

My Second Year Goals

2011-07-20T18:43:00.000-07:00

My first year ended well, I joined a number of artist organizations entered several juried shows including one international and was accepted. I had my website, hosted by Fine Arts Studio Online up and running with some unexpected side benefits. FASO gave me access to artists, contests and newsletters – all valuable in assessing what I would be up against if I wanted to compete in a global arena. Looking back it clearly accelerated my progress and allowed me to “fast track” my career by focusing on “best of breed “.

I stayed within the frame work of my first year goals. The first year wasn’t about selling or even producing salable art, but honing my skills as a painter. I spent 6 months painting en Plein air and developed my awareness and observation skills. It soon became apparent I needed to move into a studio environment which I did. I prefer to loosely paint from photo references, studies and occasionally paint en Plein Air as a refresher course when needed. My First year was really less than 9 months and I completed 202 oil paintings of various sizes 8x10 up to 30x40. I also made it a point to stay within standard sizes and standard frames.

SECOND YEAR

My 2^nd year goals were a continuation of the 1^st and adding the following four (4) new goals:

Develop marketable art

Establish a selling price

Test the market and establish a value

Get accepted in OPA (Oil Painters of America) National 2010 exhibit

I wanted to develop art people would like to hang on their best walls, as a designer I have a fair idea what might be appropriate and I was already getting a fair idea of what might work from the juried shows I was entering. It did help a bit with market testing. However this didn’t help establish pricing and value. Looking back this would be a challenge!!

The first thing I had to do was establish price for my art. Value is established with actual sales.

I tried by the inch, by the hour with material, read what I could on the subject and ended up tossed it all!! No one seemed to have a start-up answer besides art has too many variables so none of it worked!!!

I finally started looking at other established artists with “comparable” art to mine. Many publish their prices and if they had a lot of red dot sold signs they got my attention. In truth the prices went all over the board, but at least it gave me a range and an idea of what the market would bare.

Fine Art Studio Online was big help in this area because of easy access to huge body of well established artist – all you had to do was follow the links to their web sites. Generally it led you to galleries and prices. The pit fall here is you have to make an honest judgment call “is my art comparable”?

In the very beginning I moved around a bit, but eventually with sales I was able to firm up a base for each size I painted and I also keep it within the mid-range of comparable art sold on a national basis (not regional). Another consideration to keep in mind, if you want collectors to buy your work, you have to maintain your line and your prices need to move forward not backwards….to many collectors it’s also an investment!

I can tell you from experience the buying public has a good eye. They always choose the best ones!! As artists we have ebb and flow to our work – in my case it always seem to be in groups of 5 to 10 paintings. I think it happens because we are continually honing and improving our art. I’m a series painter and may do a group Venice theme paintings until I get bored. If I’m on my game the last one is the best, if stay too long it’s my worst.

As a daily painter and I’m organized so all my paintings from day one were numbered photographed and recorded. It has a lot of benefits; I can see patterns very clearly, my progress, my ebbs and flows, my winners (some stinkers) and my sales displayed graphically in thumbnails. If your painting reads well as a thumbnail the chances are it will at 30 feet too. I also don’t believe in painting over or modifying your history – how would you or anyone evaluates your progress as an artist if you destroy your history! I know it’s done, but I don’t!

Galleries would be out of the question as a newbie in a bad economy. Besides I was in the early stages of developing my art and not nearly ready for galleries yet. Juried shows did get you through the front door of some good ones, but art and galleries are regional at best. Newly relocated in Richmond, I had few remaining connections. In all likelihood an outsider won’t sell, unless well established. I was left with the internet and my website, which had a PayPal link. My first sale was actually off the internet from a Google search – a lot to be said for search engines titles.

Art values obviously have a lot of variables; if I wanted to eventually use the gallery system which I did I had to line my prices up to carry typical gallery fees.

I did briefly look at a few local galleries and even made a few submissions via e-mail, what it told me, I was wasting my time, time I didn’t have to waste. I needed another way to know if my art would sell and at what price! I also wanted control over what art was shown and how my art was presented and displayed - as in my art no compromises here!

I got lucky, in my gallery search I came across an art center with a clever artist friendly approach, basically you lease your wall space or studio and they assist with sales and charge a modest fee. I signed up and got involved; they also had a juried art show every 2 months with a well attended opening – typically 1000 plus. All I can say is “Great local exposure”…..exactly what I needed and at the right time!

Within a year, between the internet and the art center I had some of my answers. I did have marketable art and the beginnings of price structure established. Some of 1^st year things which paid off big in the 2^nd and especially going into the 3^rd year were all the organizations I joined and the associated national and international juried shows I entered and participated in. It established a very high bar for myself and gave me credibility as an artist and professional!

#436 Koi and Lilies 20x20 oil on linen accepted in 2011 OPA National exhibition of Traditional Oils

One of my 2^nd year goals was to get juried into 2010 OPA (Oil Painters of America) National exhibit; I was already in the Eastern exhibit twice, but the all important 2010 national was a bit more elusive I missed on my 1^st attempt, my next opportunity would be the 2011 which I was juried in. The completion is fierce because only a small percentage is chosen so it’s really a Hugh Honor and greatly appreciated by this artist!!!

An Unlikely Connection

2011-07-02T06:05:00.000-07:00

While pursuing like minded artists, I found myself on an international site called Paintings I Love http://www.paintingsilove.com/ - basically an artist social network where you upload your paintings and the community vote and comments on each other work. I think for isolated artists (many are) it's a support group and at some level a way of receiving validation. The community is a very good mix of entry level and professional artists. PIL had another aspect - international connections – at the front end it worked and I made many cyber friends, but one in particular, a young emerging British Impressionist I’ll call "Night Painter" teamed up, formed an alliance and became cyber painting mates. We chat art on a daily basis, swap information, support and mentor each other. I push him he pushes me. It works because we have identical goals and in truth completely committed to careers as fine oil painters and will do what it takes!! To date I’ve found few with that commitment and when I do, those are the emerging and successful ones. I think many are caught up in the romance of art and the idea of being an artist and once they understand the commitment (if they ever do) have to make a decision pleasure or professional and what they expect from art. If not, it’s a recipe for absolute failure. Being an artist as it turns out is a very complex undertaking. For me its 24/7, for night painter it’s not, his challenges are greater than mine. He also has full time employment and I might add very demanding at that! Yet he still tries to paint daily or if nothing else catch up on favorite links or watch one of his art DVDs waiting for his weekend of painting. His situation is typical for an emerging artist. Even so he’s making serious progress building his base. I’m 24/7 and as result moving faster and one might say “plowing the path” night painter gets a glimpse of his future.

This unlikely connection allowed both of us to cross international lines, In my case London with the Venice in Peril Exhibit at W H Patterson and him International Salon at Greenhouse Gallery. San Antonio, TX. We both enter juried online and brick & mortar gallery exhibits. We do this because we know if we stay "isolated" as many artists do, we won’t grow and develop into truly fine oil painters, our main goal. You have to know what your competition is and match or better it!! The best way to do it, enter prestigious national and international shows. These events are always at the better galleries, hence the “best exposure” and the “best company”

While our plan is simple the goals are monumental, but like anything if you break it down into workable pieces it becomes manageable - it's different for each, but we both choose to build a proper foundation first. Second we need a good product. There's no point marketing a bad one. Developing your craft, receiving validation, making connections, joining like mined groups and organizations needs to be in place first!

My Review of Centurion Deluxe Oil Primed Linen Rolls

2011-07-01T07:16:00.001-07:00

Originally submitted at Jerry's Artarama Art Supplies

Centurion OP DLX Professional Canvas Rolls Superb performance and perfect color retention Specifically designed for oil painters Oil primed for the most brilliant results Made of medium weight linen All purpose weave and beautiful surface texture Exclusive OP enhanced...

I simply like this product!

By Chuck from Richmond, Virginia on 7/1/2011

Describe Yourself: Artist

Primary use: Business

Was this a gift?: No

The Centurion OP DLX Oil Primed Linen has a fine weave which gives the canvas a nice tooth and not heavy on the texture - Nil absorbancy and colour retention is excellent and no additional priming is required. So far I've stretched it up to 60x72 without any issues. The price is clearly reasonable, but it's not the reason I continue using the canvas!

(legalese)

A Remarkable 1st Year - Taming the James River & Discovering the Sun

2011-06-30T19:06:00.000-07:00

A few months in I discovered a plein air subject with few equals - the rising sun!! It would be a major influence on me going forward. I already spent a great deal of time painting the James Rivers intercity rapids

Taming the River

#29 James River Rapids 8x10 (first one) oil on canvas panel completed en Plein Air 5/7/2009

#31 James River Rapids 11x14 oil on canvas panel Completed en Plein Air 5/8/2009

#36 James at Belle Isle 8x10 oil on linen panel completed en Plein Air 5/13/2009

#179 James River from Belle Isle 18x24 Oil on linen panel completed Alla prima 11/30/2009

By the end of the first year the combination of many en Plein Air studies of the James River, the suns first and last 15 minutes along with many studio paintings resulted in more finished paintings like #179 James River from Belle Isle.

The sun was another story - difficult to photograph and only minutes between dramatic changes.

I had a great sunrise most mornings out my studio window over looking an old farmers field - Very difficult to describe, but fair to say it was stunning and had to be painted. My favorite is when we get a morning fog or due, then everything glows. Those seem to happen frequently between May and June when the the nights are still cool - days are hot and we get late afternoon showers. My fist attempt #45 was a disaster - however I did get a grasp of how fast it moved. The sun has 3-basic colour changes, hot coral, yellow/gold (heat) and finally a lush cream before it settles to the normal blinding light we need sun glasses for. The series was called15-minute sunrise. Below is a sampling of both the en Plein Air and studio paintings resulting resulting from the series.

The Sun and 15-minutes

#45 15-Minute sunrise (first one) 8x10 oil on canvas panel completed en Plein Air 5/23/2009 Note: this is the 3rd lush cream stage - I was chasing the sun with a late start.

#54 15-Minute Sunrise 8x10 oil on canvas panel completed en Plein Air 5/30/2009

#76 15-Minute Sunrise 8x10 Oil on canvas panel competed en Plein Air 6/23/2009 6:30am

#78 Randall Sunrise 11x14 oil on canvas panel completed Alla prima 6/23/2009 (from study)

#82 15-Minute Sunrise 8x10 oil on canvas panel completed en Plein Air 6/25/2009

#88 15-Minute Sunrise 8x10 oil on canvas panel completed en Plein Air 6/28/2009

#107 15-Minute Sunrise 8x10 Oil on canvas panel completed en Plein Air 7/12/2009

#132 15-Minute Sunset (Libby Terrace) 8x10 oil on canvas panel completed en Plein Air 8/8/2009

#182 Belle Isle Quarry - Last Light 16x20 oil on linen panel completed Alla prima 12/7/2009

#190 15-Minute Sunrise 8x10 Oil on linen panel completed en Plein Air 12/22/2009

#192 15-Minute Sunrise 8x10 oil on linen panel completed en Plein Air 12/23/2009

#197 December Dawn 16x20 oil on linen panel completed 12/29/2009

At years end I was comfortable with the sun and frequently use an actual sunrise for my studio painting - after all it's right outside my studio window!

Artist organizations, Art as a Competative Sport & Validation!!

2011-06-29T16:05:00.000-07:00

One of my plans power points was to join artist organizations and become involved.

Early 2009 I looked for a local en Plein air group, but at that point Richmond didn't have one or one I could locate. It would come much later in 2010 (they found me via OPA). I did find several online en Plein Air blogs, such as Southern Plein Air Painters which I readily joined. I soon started posting my en Plein air paintings and writing brief descriptions every few days. I still post all my en Plein Air paintings and occasionally sell one. It allowed me to see what others were doing and it led to other links. It also put me on Google search engines...very cool.

While surfing I came across a few artists web sites and those led to others, but the first one that caught my interest was one a en Plein Air painter who had a rather smart looking site, it included a link to Fine Art Studio Online. Good timing, I needed a web site as one of my first year goals and FASO fit the bill. FASO was very inexpensive, user friendly, newsletters, contests, hundreds of artist
world wide - quite complete. I've been with FASO for several years it now has a significant membership. Great break material, I could look at the best of breed and see what they were doing and compare my art against theirs. I could see my short comings and would go back and work on it until I was happy....eventually I could see snippets of their short comings........PROGRESS!!!

I started entering the FASO Bold brush monthly painting completion - before this I never looked at art as a competitive sport, but when you think about it, it clearly is!! You do plan and you do scheme for position, you do ask yourself "why did this painting get picked over mine"? Better yet when you do get picked - Wow!...I got their attention!! I must be doing something right. It's all about validation - I found that to be the hardest part of painting to find. I never knew if I was on the right track or not. As a designer I knew what worked on a wall, but as a painter I needed outside validation. The monthly contest was invaluable in this way to my growth and maturity as an oil painter - my bar was continuous raised and will continue to do so.

Soon after I started with FASO I noticed different shows and organization the top players belonged to and again got in the game. Mid 2009 the first major organization I joined was Oil Painters of America (2-annual events). I entered the 2009 Eastern exhibit and accepted!!....I was stunned...that was a good day!!

1st VALIDATION

#126 Richmond - Libby Terrace Sunset 18x24 Oil on linen panel completed Alla prima 8/4/2009

The evening before I was painting en Plein Air the sunset at Libby Terrace. I completed (2) 8x10 panels and shot maybe a 100 photos. I used the photos, studies and my fresh memory painting Libby Terrace in my studio the next morning.

A Good Case for en Plein Air….But on our “Best Walls?”

2011-06-28T17:34:00.000-07:00

Speaking as a designer, probably not, but as an artist I came to understand en plein air is a very useful learning tool. My first year required me to redevelop my painting skills, basically relearn everything, because as an artist I eventually wanted to paint for the "best walls". As a designer I knew rather quickly not all painting are worth hanging. As an artist I have different reasons to paint beside “those golden walls”. As a designer the process moved much faster than it might otherwise – I knew the end product I wanted on the "Golden walls". En plein air was critical to the outcome. I did my homework!!

It was clear if I wanted to paint fast running water or an even faster changing sun it had to be studied first hand and understood – “Know your subject” is true of anything you might want paint!! I wouldn’t leave a subject until I reached my goal or taken it as far as I could. I’m a rotation painter (multiple subjects) if I understand the shape I can paint it! Each rotation got better. I just keep adding new subjects – currently its portraiture – my first move was to join the Portrait Society of America and enter the 2011 international portrait contest. I enter three paintings – two which were painted exclusively for the completion. None made it to the finals, but very few do. I then had all three critiqued – a service of the society. Former 2000 Best in show winner and master portrait painter Margaret Carter Baumgaertner did the critique. (a bit scary) I wanted to know my short comings so I could work on it for the 2012 competition. I always could do portraits – never tried from life tho. Generally I knew my subject so it passed as my three entries did. I thought I was going to get clobbered, but I did OK well better than OK. She gave me a great deal of useful information and recommended life painting. I knew en plein air worked so I recently started painting from life. The first go was bit rough, but the second time went very well. I’m at the front end of this project, but I approached each subject the same way….I can tell you it works!

#156 Chris 24x20 oil on canvas 10/3/2009 was my first portrait since 1967 - I thought it might be of some interest - my original style was back within 7 months of my first painting. The heavy clumsy textural style seen in my stinkers collection is no longer evident - I think it developed during the pallet knife years and seemed to hang on each time I reopened my paint box.....surly why I closed it up each time. When I started painting the sun each morning the heavy textural approach gave away to my more natural fluid style.

My 3 submission to the Portrait Society of Americas 2011 International portrait competition

#159 John & Chris 20x24 oil on canvas completed Alla prima 10/8/2009

#439 Julie Adler Sparage 30x30 oil on linen Completed 2/16/2011

#442 Gene Ruark 36x30 Oil on linen Completed 2/25/2011

FIRST 3 LIFE PAINTINGS

#526 20-minute life study 10x8 oil on linen Completed Alla prima 5/26/2011

#527 Two hour life study 20x20 oil on linen Completed Alla prima 5/26/2011

#542 Terry - life study 3-hours 20x16 oil on linen Completed Alla prima 6/14/2011

Painting requires a real confidence in your ability to do something. Painting while pleasurable is a very serious undertaking, it's complex, very competitive and now globally marketed. It's a very demanding Mistress!! Obviously my simple plan expanded dramatically during the first year...LOL

Why Plein Air? The stinker period!!

2011-06-27T15:23:00.001-07:00

Why plein Air? At first I really didn’t know, but I knew my few painting completed en plein air felt better than those in the studio. It made sense to continue…

My 4^th and 5^th were studio paintings, true stinkers!! I used one of my photos and one I heisted off Flickr (by chance) while looking for places in Virginia to go paint – finding suitable places to paint at first was a challenge.

A FEW STINKERS!!

#4 Mirasol 8x8 Oil on canvas panel Completed Alla prima 3/27/2009

#5 No-title 20x24 Oil on canvas panel (palette knife) Completed Alla prima 3/29/2009

ONE OF MY FAVORITE

A friend has a place at Fishing Bay. I drove down with an eye out for suitable material. I also carried my paints and camera, during my visit I painted #6 Ruark Loggia en plein (water view was cold and grey) that day I got my first taste of really cold meant – even colder on the water. Even so, I got a painting I still like today. Later I made it a gift to my host.

#6 Ruark Loggia 11x14 Oil on canvas panel Completed en Plein Air 3/31/2009

After this I did a few more in the studio, but felt it wasn’t working, I needed more information than just my photos. I went back out to my first plein air location, Libby Terrace (very close to me) a park high up on a hill with commanding views of Richmond and the James River. April is still cold in Virginia – I could handle 50 degrees for a bit more than an hour but by mid-April the days were getting better and the trees were starting to bud, even some flowers.

Better days ahead…..

The plan and en Plein Air

2011-06-26T04:51:00.000-07:00

Once I decided on painting as a career and before my 2^nd painting I had a simple plan with set goals – at the end of the day I knew what I wanted out art!!

The original plan was a simple concept, become a financially successful oil painter with an international reputation, paint at least 5000 canvas, leaving those not sold in a trust for the benefit of my family and also included an endowment to the arts supporting emerging artists. I allowed 15 years for the entire project.

I Know 5000 sounds like a big number and it is, but the number is based on on my average out put. Not an unrealistic number for a daily painter or in my case also an Alla prima painter (one session or all at once). The only exception is my larger works which may require several sessions.

YEAR ONE

These 3 power points turned out to be the key and from this list it evolved very quickly into a more refined plan producing a solid platform. The first years results were stunning and beyond my expectations.

Redevelop my skills as a painter
Web site as a launching platform
Join professional artist groups - meet other artist and become involved

EN PLEIN AIR

I needed a good quality product to sell so that became my first project and priority. I allowed one year relearning everything I knew or thought I knew about painting - basically redeveloping my skills as a painter. Plein air seemed like a good place to start and looking back it was a good choice. As proof - my very first en Plein Air painting (#2) and my last (#548) completed last Friday at the VPAP (Virginia Plein Air Painters) monthly paintout at Tuckahoe Plantation. As you can see by the numbers I have 4452 paintings to go:=)

#2 Libby Terrace 8x8 completed en Plein Air on 3/18/2009

#548 Tuckahoe Plantation 8x10 completed en Plein Air at the VPAP paintout on 6/24/2011

I don't know what the tree is, but its "very yellow" and had to be painted - We had at least 25 artist in attendance - special thanks to Marla Colman (VPAP founder) and Stella Jones our host for the day.

Tuckahoe Plantation is a privately owned historic property, a working farm, and the boyhood home of Thomas Jefferson. It has lovely pastures and meadows (with cattle, sheep, chickens, horses, etc.), extensive formal and informal gardens, lovely old outbuildings, a historic house (tours are by appointment only), and a wooded slope down to the canal and the James River. There are bathrooms in the old stable, found in a collection of outbuildings near the house. There is plenty of shade, if the day is a hot one. It is a peaceful location, full of paintable scenes.

http://www.tuckahoeplantation.com

It started with a simple painting and a business plan with goals

2011-06-25T17:33:00.000-07:00

Today I decided to start a blog about one of the most fascinating career choices I ever made, pursuing a career as an oil painter. In this post I’ll only give you a little background on how it started.

I started out as a painter in my early youth, as a teenager I made money at it and continued to do so up until I turned 35. I was also a successful commercial designer. By the way this was a great combination if you also worked. I made an interesting choice to drop Oil painting, I never did anything as a hobby and it included oil painting. I knew if I wanted to go to the next level (whatever that was) I would have give it 100% of my time. It would also be fair to say I leveled out or lost interest so it was probably an easy choice. Over the following decades I opened my dusty paint box twice – 20 or 30 paintings later I would close it again. Not that I couldn’t paint, I just didn’t see it leading anywhere. It wasn’t about time, because my time was always my own and my paintings sold in the past so I had no financial constraints. I believe it lacked a serious challenge, no goal, and no real reason to do it other than a pass time and I didn’t need a pastime!! As a designer I had the creative issues covered. I was dealing with space light and colour and I spent a life time manipulating it...How could a painting compete? Then it couldn’t!!

Everything changes with time and I got weary with design projects, to counter the boredom I would only do projects I’d never done before. That worked for a few years. Then I got lucky. The economy went in the toilet and as a designer “we are a luxury item” and “we got shelved”!!...Lucky!!! Well…at first I didn’t think it was funny, but it happened fast and the timing was right besides I was finished with it (design) and no intentions of hanging on for what might be a long recovery process. One day and I don’t completely remember why I opened my paint box (now totally unusable). I resupplied it, got a few canvas panels and cheap little table easel and on March 16^th 2009 I painted my first Alla prima (all at once) canvas in two decades.

#1 (no Title) 14x18 oil on canvas panel 3/16/2009

As you can see it wasn’t that bad, in fact if it were for sale today it might even fetch a price. The real value of this painting is not the money it might bring but that it got the ball rolling. The big question for me was “where could I take it”. The following day (after sleeping on it) I developed a simple business concept with goals and the game was on!!