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Archives for July 2013

Tips for Entering National Shows

Bill Farnsworth · Jul 29, 2013 · 16 Comments

Bill Farnsworth OPA is the winner of the 2013 Juried Salon Show’s Bronze Medal Award. He obliges us by sharing some thoughts about entering national shows.

An Emotional Roller Coaster for Oil Painters.

"Charleston Stories" by Bill Farnsworth OPA
“Charleston Stories” by Bill Farnsworth OPA
All artists want their art to be accepted. Whether it is showing in a gallery, invited to an event, or juried into a National Show. Some of us will show in local art organizations and while they help support local art in the community, it’s the national shows that help the artist’s career. They also put your art in an area with potential new collectors and a possibility for gallery representation.
But the draw backs for some artists is that if they are not accepted they may stop entering all together. I have had the same frustration when entering what I thought was my very best work and then being fed a huge slice of “Humble Pie” in the form of a rejection. As an illustrator I learned quickly that you can’t wear your heart on your sleeve. You feel bummed out for a day, then you get back up and enter another show. Your best revenge is getting better, not getting ticked off at the judge or the show. This business is a roller coaster with big dips and big highs. One big success can erase a 100 failures. Failure is an opportunity to raise the level of your art, but if you get ticked off and blame it on politics, you will set yourself back.

Presenting your best work.

Throughout the course of a year I try to plan ahead and give myself enough time to do a painting for a show. You wait till the last minute it may not be your very best effort.

When we create a great painting there is a difficult decision whether to hold back the piece for an upcoming show or get it out to your gallery, because you know it will sell.
If you are trying to make a living in this business you have to sell paintings and when bills come with relentless regularity, it is very hard to hold back your best work. However some paintings are very salable in a gallery, but may not be show paintings. Figures can be a tough sell in a gallery depending on the artist, but they can make quite a statement in a national show. The level of expertise in all the principals of painting has to be very high. Whatever you enter it has to be your very best.

Showtime.

Ok, so you get in the show. Your happy and now you have to ship your painting to the gallery on the due date. The expense is starting to mount with entry fee and shipping both ways.
Not to mention travel expense to the show if you want to attend the opening. Attending openings is very important and I don’t do it enough.  As an artist, you have the opportunity to meet new collectors and fellow artists. Our occupations are sort of hermit-like, so to get out and talk with people is good for the soul and the career.

"Rhythm" by Bill Farnsworth OPA
“Rhythm” by Bill Farnsworth OPA
Some National shows have some big awards, like OPA, AIS, NOAPS, Scottsdale Salon, ect. If you are fortunate enough to win an award, enjoy it for a few days, maybe a week, but then put you ribbon away and realize that a lot painters deserve the honor as well. If it helps your confidence to become a better artist, great, but if it feeds the unlimited ego, the fall can be hard. Many artists fall into the “post-award ego abyss” and it damages their careers.

Getting exposure online.

There are more and more online shows now, like Raymar and of course the OPA. These are great because you can enter a piece that has sold and you don’t have the shipping expense.
Your work can be seen by thousands who may visit your website. If you don’t have a website today it is like going to a party and hiding under the table. I use Fine Art Studio Online and it has been great. Everybody today has a smart device that they can view art anywhere without physically being in the gallery.
National shows give the artist exposure, and the more you are visible, the more people can appreciate all the work that you have put into your paintings. Good Luck.

2013 National Exhibition Winner Spotlight

Oil Painters of America · Jul 10, 2013 · Leave a Comment

The OPA 2013 National Exhibition was an exciting event with a brilliant display of skill and oil painting mastery.
We’d like to introduce you to a few of our National Exhibition Winners. Meet Tom L. Nachreiner, winner of the Dorothy Driehaus Mellin Fellowship for Midwestern Artists; Shizhong Yan OPAM, winner of the Gold Medal Award for the Master Signature Division; and Johanna Harmon OPA, the Gold Medal Award winner in the OPA Associate/Signature division…

Tom L. Nachreiner

The Dorothy Driehaus Mellin Fellowship for Midwestern Artists

Tom Nachreiner
Tom Nachreiner
Tom Nachreiner – 2013 – Driven by a passion for excellence, Tom spent his earlier years as a nationally known figurative illustrator. More recent years has afforded him the privilege of a fine art rebirth, painting from his heart “en plein air” and conducting year round workshops. Among many other recognitions, recently Tom has won “Best Of Show” at the 2006 & 2011 Cedarburg Plein Air Painting Competition. He won “Best Of Show” at Milwaukee’s Plein Air Event in 2008, and “First Place” at 2008 Door County Plein Air Festival, and “Second Place” at the same event in 2009, and Third Place in 2011. He was accepted into Oil Painters of America National Show in 2009, OPA’s Eastern Regional Show in 2010 and OPA’s National Exhibition in 2012. In 2013 he was accepted into OPA’s National Exhibition in Texas & into OPA’s 2013 Salon Show in Michigan. In 2010 He was published in “Best Oil Painters of America”. This July 2013 will be Tom’s seventh year at the Door County Plein Air Festival of 40 national and international invited artists. In May of 2013 Tom received “The Dorothy Driehaus Mellin Fellowship Award” of $20,000 for his painting “Stretching” at the 22nd National Juried Oil painter’s of America Exhibition.

“I want to say just enough with paint to evoke the imagination.”

Tom paints for the love of dynamic composition, the celebration of color, and the tactile feel of applying juicy, wet paint to the canvas, at the same time having fun, enjoying the sounds and feelings of being outdoors, talking to others, doing what he loves, and trying to learn as much as he can before the end of each day.”
Tom is represented by Edgewood Orchard Galleries in Fish Creek WI, at Katie Gingrass Gallery in Milwaukee WI, and online at www.tomnachreiner.com

Shizhong Yan OPAM

Master Division: Gold Medal Award

Shizhong Yan
Shizhong Yan OPAM
Shizhong Yan OPAM was born and raised in the coastal city of Qingdao, China. Influenced by his father who was an architect, Shizhong fell in love with art at a young age. He studied under various well-known local artists and at the age of sixteen, he was accepted by Central Academy of Fine Arts Affiliated School, often referred as the cradle of fine artists, where he studied for four years. When culture revolution swept China, Shizhong never gave up on his artistic dream. He was exiled worked manual labors in the countryside, but still took every minute he could to paint the world around him. When Cultural Revolution ended, he was one of the first students that were accepted by China Academy of Fine Arts’ graduate program. He continued his study under one of the most well-known artists in China, Mr. Quan Shanshi. Shizhong studied in-depth the styles and techniques of Russian, European as well as American Impressionist masters and was influenced by artists like Rechin, Degas, Cezanne, Sargent, etc.
In 1998, Shizhong and his family moved to the United States where he began a new chapter of his life as well as artistic career. Shizhong now resides in Illinois. He has four collections of artworks published and was published by countless magazines and newspapers. Shizhong has had many solo and group exhibitions in China, United States, Japan, France, Australia, Canada, Taiwan and Hong Kong. He has received many awards and his paintings are collected and loved by collectors all over the world. www.szyan.net

Johanna Harmon OPA

Associate/Signature Division: Gold Medal Award

Johanna Harmon
Johanna Harmon OPA

Johanna Harmon OPA was born in 1968 in Milwaukee, Wisconsin, but spent most of her childhood in Tempe, Arizona. Johanna began designing and recording visual observations at the age of seven, but it wasn’t until almost two decades later that she was introduced to the traditional language of art at the Scottsdale Artists’ School in Scottsdale, Arizona, the Fechin Art Institute in Taos, NM, and the Art Students League of Denver in Denver, Colorado. There, she studied painting alongside prominent figure artists with varied artistic philosophies and approaches such as Carolyn Anderson, John Asaro, Scott Burdick, Mark Daily, Daniel Gerhartz, Quang Ho, and C.W. Mundy.
Her work has been exhibited with the Art Renewal Center, The Artist’s Magazine, California Art Club Gold Medal Exhibition, Oil Painters of America (OPA), Portrait Society of America, and Scottsdale Artists’ School. She has received numerous prestigious awards throughout the years. Most recently she was honored with the OPA Signature Member designation, and acceptance into the 2013 Oil Painters of America’s 22nd National Juried Exhibition— her eighth National Juried Exhibition— where she received her second Gold Medal Award, becoming the first artist to receive two OPA National Exhibition Gold Medal Awards in the organization’s history. Her first Gold Medal was awarded in 2007.
Over the past decade, her work has been presented in numerous solo, group and juried exhibitions, and is collected internationally. Her work has been published inSouthwest Art, Artbook of the New West, and Focus Santa Fe.
Harmon has taught workshops at North River Arts Society in Marshfield Hills, MA, and the Coppini Academy of Art in San Antonio, TX. Currently, she teaches at The Art Student’s League of Denver. Her emphasis is the clarification of visual intention, while nurturing the overall painted subject. This pivotal understanding defines her work today. She credits Cecilia Beaux, Nicolai Fechin, John Singer Sargent, Joaquin Sorolla and Anders Zorn as inspiration.
Johanna now resides in beautiful Highlands Ranch, Colorado, with her husband, Steven, of 16 years. www.johannaharmon.com

Classical (Classic) Realism – Part 2

Mr. John Pototschnik · Jul 1, 2013 · 8 Comments

A three-part series that highlights the origins and resurgence of Classic Realism and its importance to the 21st century artist.

“Traditional skills are necessary for developing a foundational base for the artist to work from. It is craftsmanship that opens the door to effective self-expression.” Juliette Aristides

Juliette Aristides – Back - 29″x 20″ – Charcoal heightened with white
Juliette Aristides – Back – 29″x 20″ – Charcoal heightened with white
My interest was peaked concerning Classic Realism…(I like that term, by the way, as defined by Michael John Angel in last week’s blog)…several years ago when the Classical Realism Journal was first published. From there I discovered the Twilight of Painting by R.H. Ives Gammell, and that opened my eyes considerably to what could be when it comes to the proper training of artists.
In this three-part interview with Michael John Angel, Juliette Aristides, and David Hardy, I am hoping to define Classic Realism, its origins, its resurgence, and its importance to all of us.
Actually, I’m not explaining anything. All this is wonderfully done by these three living masters. If you haven’t read Part 1 of this series, I encourage you to do so before continuing. (Part I)

And now, Part 2 of “Classical (Classic) Realism”

I’ve heard some teachers refer to classical training for the artist as a “resurrection of the humanist spirit in western art”. What is meant by that?
Angel: I may be one of the people you are quoting here. Abstract art generally turn away from the world of people and doesn’t concern itself with the nature of Humankind, except for how to grab its attention. Representationalism concerns itself very much with the world of people and how people view nature – hence Humanism.
Aristides: I take it to mean that the figure is, once again, returning as a central subject in art. It is not only a shift in content but it represents a big philosophical shift as well.
Hardy: Art is returning to the speaking about the human condition and to the miracle of existence within which we find ourselves. Much of western art for over a century has devoted itself to such things as visual engineering and conceptual involvement.

Michel John Angel – Circe – 43.31″x 31.5″ – Oil
Michel John Angel – Circe – 43.31″x 31.5″ – Oil

David Hardy – Without Warning – 16″x 24″ – Oil
David Hardy – Without Warning – 16″x 24″ – Oil

What is your definition of art?
Angel: Art is wide; life is narrow (to paraphrase a Latin aphorism); this also is too big a question. I will say, though, that I believe a painting or sculpture should conjure an emotion in the viewer (it can be a mild one, or strong, lyrical or dramatic) and give the sense of the Eternal behind – the Specific.
Hardy: Art, like love, is more easily described than defined. Both could be expressions of the human soul, the human essence of being. But defining it? I leave that up to the experts.
How would you define beauty?
Angel: I wouldn’t even try. Beauty is much too wide a subject.
Aristides: The discussion about “what is beauty” has been going on for millennium. Any attempt to define beauty would be an act of hubris on my part – (however, that never stoped me before – so I will give it a shot:) Beauty in art is a reconciliation of opposing elements into a harmonious unity (between design, content and execution).
Hardy: Like trying to define love, defining beauty in words is beyond my powers. Identifying examples of visual beauty is more in my line.
Michael John Angel – Pippo – 12″x 10″ – Oil
Michael John Angel – Pippo – 12″x 10″ – Oil

Juliette Aristides – Drawing of Jeremy – 26″x 22″ – Oil
Juliette Aristides – Drawing of Jeremy – 26″x 22″ – Oil

David Hardy – Fallen Rose with Reflection – 6″x 8″ – Oil
David Hardy – Fallen Rose with Reflection – 6″x 8″ – Oil

What distinguishes classical training from other types of art instruction?
Angel: One has to learn specific skills in order to draw and paint realistically (there’s that word again!). These skills – how to make an even tone, how to measure, how to mix paints, how to create colour harmonies, how to model the illusion of form – can be taught, and are taught in the modern ateliers and academies. The state-run schools believe, rather naively, that art requires only passion and that the teaching of skill inhibits creativity. It is also true that many instructors in the state schools haven’t been taught well themselves and have no idea how to draw. There is a great (true) story of a life-drawing instructor in the Art Institute (I think) in Chicago, some years ago. It was nearly Christmas and most of his class had left for the holidays; he decided to draw along with the remainder of his students. After half an hour, he had made an awful mess and said, “This is harder than I thought!”. The life-drawing instructor in a prestigious university had never drawn the figure before.
Aristides: An Atelier is a studio run by a working artist (not an educator). An atelier provides a time-tested, progression of curriculum over period years – so that students reach a high level of technical proficiency. Drawing is taught first, then painting. Students often spend half days with the life model and the other half in their studio. In short it is a skill based traditional form of art education which places its emphasis on the student emerging as a fully trained artist able to open a studio of their own.
Hardy: Classical training involves the sharing of understanding and building of skills that constitute a visual language about reality. This is normally done in small classes with individual guidance. Advanced students in my Atelier when interested, are taught traditional procedures using layered glazing.
David Hardy – Portrait of Young Woman – 12″x 12″ – Oil
David Hardy – Portrait of Young Woman – 12″x 12″ – Oil

Michael John Angel – Galatea – 32″x 16″ – Oil
Michael John Angel – Galatea – 32″x 16″ – Oil

Juliette Aristides – Early Evening – 30″x 24″ – Oil
Juliette Aristides – Early Evening – 30″x 24″ – Oil

Why are we seeing such an interest in classical training for the artist at this time in our history?
Angel: People have always wanted to learn how to make representational drawings and paintings,and they always will. Fashion within the Art Establishment is starting to swing more and more towards Representationalism, and the new “Realists” are getting to be more visible; people are astonished and delighted to learn that this teaching is available to them. I cannot tell you how many letters and e-mails I receive, telling me that the sender thought that representational painting was “forbidden” today!! We are the avant-garde, and we are starting to have a voice – 45 years ago, when I was studying under Annigoni, there was only him, Gammell, signorina Simi and the Russian academies in Moscow and Saint Petersburg (there may have been one in China); now there are hundreds (thousands?) of good schools.
Aristides: We are living in an important time and need every tool available to fully express ourselves. One way that has been historically achieved is by looking back at our cultural legacy and building on it.
Hardy: Because we are maturing beyond rampant rejection of establishment ideas inherited from five hundred years of evolvement and refinement. We are recognizing the stupidity of believing “if it is new it must be better.”
Juliette Aristides – The Spanish Pitcher – 36″x 24″ – Oil
Juliette Aristides – The Spanish Pitcher – 36″x 24″ – Oil

Michael John Angel – Red Mermaid – 59.06″x 29.53″ – Oil
Michael John Angel – Red Mermaid – 59.06″x 29.53″ – Oil

David Hardy – Lemons and Lace – 20″x 16″ – Oil
David Hardy – Lemons and Lace – 20″x 16″ – Oil

Daniel Graves, founder of The Florence Academy of Art, also a living master and leader in the training of artists, talks about many of these same topics in a paper he wrote titled Tradition in the 21st Century.
He explains the difficulty of recapturing the “tradition” of past centuries.” Why can’t we produce Leonardos today? I do not believe it is just because we lack technical knowledge and expertise. I believe it is because there is something in addition to the technique that is also part of the tradition…the essence of the tradition. Given that we do not want to just repeat the work of past centuries, I think one of the great challenges we all face is that of discovering what we are going to paint and sculpt. The narratives that artists tapped into for centuries, the timeless stories from mythology and the Bible, seem less meaningful to people than they once did. To merely record the surface appearance of “reality” has never been the province of painting, whose language is far deeper. From the beginning, artists have painted, sculpted and drawn things that had meaning for them, and the images they have left behind are a living testament, a record of their consciousness on earth.”
Stay tuned for Part 3: the conclusion of “Classical (Classic) Realism”, in upcoming weeks.
For more on these important artists:

  • Michael John Angel
  • Angel Academy of Art
  • Juliette Aristides
  • Aristides Atelier at Gage Academy
  • Aristides Atelier
  • David Hardy
  • Atelier School of Classical Realism

Other valuable related articles:

  • Realism in the Visual Arts
  • The Academic Tradition
  • Impressionism’s Influence
  • Reality Sets In
  • R.H. Ives Gammell

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