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Oil Painters of America

OPA 2013 Eastern Exhibition Winner Spotlight

Oil Painters of America · Dec 23, 2013 · 1 Comment

The OPA 2013 Eastern Exhibition was hosted at the McBride Gallery in Annapolis, Maryland and featured some of the most prominent artists of our day. We wanted to take a moment to highlight some of the award winners at this exciting exhibition.

Mary Qian
Mary Qian was awarded the Gold Medal, a $4,000 cash award funded by OPA, for “Gaze.”

mary_qian
Mary Qian

I studied painting and animation when I was in Brigham young university in Utah. My courses of study ranged from sculpture to abstract art and into the areas of realistic drawing and painting. The more I studied the masters the more I realized that although I have an appreciation of some abstract work and particularly enjoy figurative work by Lucian Freud, Egon Schiele, my strong artistic interest evolved toward realistic figurative oil painting.
I took a job in Chicago doing animation for a computer games. Shortly after settling in Chicago I discovered the historic Pallet and Chisel, its north light studio and its very full schedule of open studios with live models. My life path is changed. I was more and more wanting to paint full time, working predominately from life under natural light.
I soon became a regular at the Pallet & Chisel filling every non working hour with painting and drawing from life. I worked on my own, with fellow painters including OPA past president Zue Tu in our nu-instructed open studio sessions and took classes from P&C teachers and visiting instructors such as OPA master David Leffel.
After years in animation I finally (and nervously) took the leap to becoming a full time artist. Now past masters Rembrandt, Titian and more recent masters Mancini and Repin guide my way and inspire me as I seek to adsorb this amazing and frustrating exercise called oil painting.
What do I do different now that I am officially an artist? Nothing… just more of the same study. I spend hours and hours at the Palette & Chisel where I monitor open studio sessions and teach an occasional class. When not at the P&C I am at my studio working on paintings. I encourage all artist from beginner to accomplished to continue their study of the great painters and above all continue to work from life. Not only is a living breathing human being in front of you as work… but their spirit… their particular humanism cannot help but find it’s way into you… and from you onto your canvas.
"Gaze" by Mary Qian
“Gaze” by Mary Qian

 

I feel my art is like an open diary. It records my life, and the life around me. My paintings are my preferred way to explain myself to the world. They speak of the things I don’t know how to put into words. Painting is a process and it connects me, my sitters and the viewers.  It is a bridge between past and present. I want to paint people, because people intrigue me, especially during the process of communication in silence. I hope viewers will feel what I felt in the moments of painting. See what inspired me!

Susan E. Budash
Susan E. Budash was awarded the Silver Medal, a $1,000 cash award funded by OPA, for “A Pear Dressed For Dessert.”

Susan E. Budash
Susan E. Budash

Susan Budash was born in Chicago in 1949 and currently resides in Amherst, New York a suburb of Buffalo. At a very young age, Susan displayed a talent in visual expression, with a particular fondness for rendering images of trees. Her parents, recognizing her talent, enrolled her in three years of private instruction with Jack Simmerling, the accomplished Chicago landmark water colorist.
Majoring in art during high school resulted in Susan being awarded an Illinois State Scholastic Fine Arts Award. Following high school graduation, Susan continued oil painting, while employed in the computer industry, married and raised a daughter. In 1990 she enrolled at the State University of New York at Buffalo, earning a BFA in Printmaking. Furthering her studies, Susan graduated with an MA in Contemporary Art History in 1997.
Susan paints Landscapes, Figurative/Portraiture and Still Life genre, with her Still Life compositions comprising her signature work. Many of her pigments are hand-ground and her mediums comprise ingredients based on artist’s notes translated from 16th and 17th Century manuscripts.
"A Pear Dressed For Dessert" by Susan Budash
“A Pear Dressed For Dessert” by Susan Budash

 

My studying Modern Art History and further applying that knowledge in creating art, with conventional and non-conventional materials was stimulating and enjoyable, but it left me feeling unfulfilled and unchallenged as an artist. In less than five years I was provided an opportunity to twice visit Italy and see its magnificent art collection. The genesis of this esthetic experience instilled in me a quest not only to return to Traditional Painting, but also to actively seek out the archival methods and materials used by the Old Masters and apply them to my own creative expression. In so doing, I’ve discovered my creative voice.

Elizabeth S Pollie
Elizabeth S Pollie was awarded the Bronze Medal, a $1,000 cash award funded by OPA, for the oil painting entitled “Nine Days of Fog”

Elizabeth S Pollie
Elizabeth S Pollie

Elizabeth Pollie’s exposure to the arts came at an early age. Taken to museums, enrolled in classes by her parents and influenced by her father’s love and practice of art and architecture, she was always clear about her path in life. “Working within the field of visual arts never seemed like a choice, but rather a place of true belonging”. She enrolled in college art classes while still in high school and went on to receive an education at a formal Art School. She earned her B.F.A. at The College For Creative Studies where she later taught.
Pollie worked as a freelance illustrator and had her illustrations published in 3 Communication Arts Illustration Annuals as well as Booth Clibborn’s American Illustration. She left the field of editorial illustration to pursue a full time painting career.
Harboring a deep love of travel and art history, Elizabeth has combined her travels with her painting practice. The images that she creates are imbued with a sense of poetry, mood and depth. The artist paints full time and teaches from her studio, West Wind Atelier in Harbor Springs, Mi. Her paintings reside in both public and private collections here and abroad and have received much national recognition.
"Nine Days of Fog" by Elizabeth Pollie OPA
“Nine Days of Fog” by Elizabeth Pollie OPA

 

A successful representational painting transcends technique and gimmickry, eliciting from the viewer a sense of connection with the truer nature of the subject. In the best of these works we are taken, almost unwittingly, into the heart of the painting. Here we feel, down to the bone, the more intrinsic qualities of a scene_ be they lovely or disturbing, either way we are mesmerized. If we are very lucky our own hearts are broken open

Craig Tennant
Craig Tennant was awarded the Master Signature Division Gold Medal, a $3,500 cash award funded by OPA, for the oil painting entitled “Jim’s Indian”

Craig Tennant opam Photo
Craig Tennant

Craig Tennant, OPA (b. 1946) grew up in New Jersey and began his early art training in 1967 with Grey Advertising in New York. Starting in the mat room he quickly moved to mechanicals, then was made the Assistant Art Director for the Kool Aid account.
In 1970, he joined the staff of illustrators at BBD&O working on major accounts including Campbell`s Soup and Dodge Chrysler for national television ads. His magazine ad accounts consisted of Tarreyton, GE, Shaffer, and Pepsi (Generation). For the next twenty years, Tennant illustrated on a freelance basis for clients including TV Guide, Mechanics Illustrated, Sports Illustrated, Yearly Reports, Field & Stream, Diet Coke, Mountain Dew, Old Milwaukee, and IBM.
"Jim’s Indian" by Craig Tennant OPAM
“Jim’s Indian” by Craig Tennant OPAM

He was elected a member of the New York Society of Illustrators in 1980 and received their Silver Medal Award in 1981. In 1989, Tennant moved to Colorado to focus on western oil paintings. He started his own publishing business, Cheyenne Press, in 1994, to promote his work. The same year, he was voted 21st in the nation`s top print artists (by a U.S. Art Magazine survey of over 850 galleries nationwide.) In 1996 Tennant was commissioned by the Park Meadows Shopping Resort to paint a Colorado scene for the Nordstrom entrance.

2013 Summer Online Showcase Winners Spotlight

Oil Painters of America · Dec 9, 2013 · 1 Comment

Gia Elisa Stamps Holderman
Elisa Holdermen was awarded Second Place, a $1,500 cash award, made possible thanks to Dorothy Driehaus Mellin and the Richard H. Driehaus Foundation, for the oil painting entitled “Waiting”

Holdermen
Elisa Holdermen

Ever since I can remember I have liked to draw and paint, attempting to replicate images I liked. So naturally, I chose art as my major in college receiving a BFA from the local university, and then continuing on to receive a M.S. degree. Those yucky college art history classes exposed me to all kinds of art. My personal likings gravitated to style of the Dutch painters as well as impressionist painters.
Drawing is the foundation for my paintings. It is during this early period of a painting that the composition with the lights and dark shapes are explored and finalized. For many years I painted in a pointillism style, attempting to create my own style of a modern impressionism. This was created with tight singular points of color arranged in a manner which formed the lights, darks and shapes, somewhat like pixels on a television screen. The viewer’s eye will mix the individual points of color creating the expressed image. When I started working with oil several years ago, I found that it allowed some of the colors to bleed over into the neighboring color, giving the painting a different feel than if the same painting had been done in acrylic.
I worked for 20 years as a police officer in order to retire and fund my full time painting endeavor. I usually paint 4-10 hours per day, barring some interferences I can’t avoid. When I’m not painting, I spend my time vacuuming dog and cat hair and flipping a coin with my husband to see whose turn it is to prepare dinner. I usually lose and have to do dishes either way.
"Waiting" by Gia Elisa Holderman
“Waiting” by Gia Elisa Holderman

I consider myself an uninteresting person who likes to paint beautiful and/or interesting objects. I like to surround myself with beautiful objects which will become future subject matter of my paintings. I think that a detailed and intricate object creates a more interesting and exciting painting. I push myself to focus on the minute details that no one would notice, yet overall they complete the painting. The greatest complement I receive is when I am accused of submitting a photograph in lieu of a painting or Painting over a photograph. I know I’ve hit my mark at that point.

Frankie Johnson
Frankie Johnson received the third place award for “Abandoned” in the OPA Summer 2013 Online Showcase.

Frankie Johnson
Frankie Johnson

Frankie Johnson is an accomplished artist with over thirty years of teaching experience in oils and pastels.  She has owned the Mainstreet Art Centre / School of Fine Art in Lake Zurich, IL for 19 years. She conducts workshops in all subject matter throughout Illinois and Wisconsin.  Her paintings are represented by the Joan Champeau Pioneer Gallery in Sister Bay, WI.
Frankie was a finalist in Artists’s magazine competitions, had a painting featured in International Artists and won a Merit Award in an Oil Painters of America Exhibit.  She also won Best of Show in the Landscape category at the Richeson 75 International Art Competitions and had several paintings featured in their Still Life, Floral, Figure, Landscape and Small Paintings Books.
Also juried into the Easton, Maryland, Plein Air competition where she won “Best Marine Painting” and invited twice to participate in Door County’s Plein Air Competition with 40 other artists from around the country. She won 2nd place in Cedarburg, Wisconsin, Plein Air competition  last year and received several Honorable Mentions. She has been a Finalist several times for the Ray Mar on-line painting competitions.
Abandond
“Abandoned” by Frankie Johnson

Frankie currently has a painting in the Oil Painters of America 2013 Eastern Regional Juried Exhibition in Annapolis, Maryland and in the American Impressionist Society National Exhibition in Charleston, SC. She was a selected artist to exhibited in the first Juried Salon Show of Traditional Oils for the Oil Painters of America this summer in Petosky, Michigan. www.frankiejohnsonartstudio.com

How to Prepare a Winning Portfolio

Oil Painters of America · Dec 2, 2013 · 1 Comment

Interview notes by Elizabeth Robbins

Panel of Three of Scottsdale’s Finest Gallery Directors
Artists eagerly poured into the lecture room to hear what Scott Eubanks (Gallery Russia), Scott Jones (Legacy Gallery), and Beth Lauterback (Scottsdale Fine Art Gallery) had to say about Portfolios and getting into galleries.

Elizabeth_Robbins_Scott_Eubanks_Scott_Jones_and_Beth_Lauterbach_OPAIn our modern age of new methods for presenting our paintings; this group of experts gave us a window into their world of submission expectations.
Galleries are swamped with submissions, so artists, do your homework! Find out if the gallery that you desire to be in actually is a good fit for you and your work. For example: Legacy Gallery averages 248 submissions per month. Unfortunately, 95% of these submissions have no idea what kind of work Legacy Gallery sells. Match your subject matter, your pricing and your style to the kind of work that the gallery actually exhibits. Then, be a salesman, sell yourself to that gallery.
Be considerate of the gallery. Don’t walk into a gallery without an appointment and expect them to drop everything and look at your work. Use a portfolio to present your work. The type of portfolio doesn’t matter, digital or print portfolio, although all three of these galleries prefer e-mail portfolios. Whether you show a variety of subjects or just one, your portfolio of images is as good as the worst piece shown. Be sure to show only your best. Galleries are first looking for standout art, and secondly, your bio, good shows, publications in magazines, and competitions. Likewise, they are disappointed if only one piece is strong. They will be looking at your work to see if you consistently produce good quality art that sells. Need they remind you, they are in the business of selling paintings? Their wall space is valuable and they need to move art. It doesn’t matter if you can paint in all mediums and many subjects. In your portfolio, if you do offer them a single medium and a single focus, it is easier for them to see how your work will fit into the gallery. It will tell them if and how they can sell your work.
Be sure to check each gallery for their specific format for submission then stick to those guidelines. It is not about the packaging of the portfolio; it is all about informing the gallery of your best qualities, such as:
Education: Whom did you study with and with what program.
Web site: This gives your work a presence and links to the gallery. In no way should you work in competition with the gallery for sales. Your web site should work jointly with the gallery to create sales for you. Be a partner with your galleries, include links to their web sites.
Competitions: Only include the big shows, not the small shows (no county fair awards, please) and especially not the shows that you entered but were not accepted.
Publications: Articles are great, but not necessary if your work is strong. If you get an article or two, excellent, but in the meantime, put out press releases on your work and your awards.
Images of Paintings: Show only your best paintings with a variety of compositions that will exhibit your strong points.
Personal Rapport: Any gallery that is considering bringing you into their stable of artists needs to feel comfortable about working with you. Are you easy to work with, forward thinking, and creating your own opportunities in your career path? Don’t tell a gallery that you are better than “so and so”. That is not the way to approach a gallery.
Timing: Remember they reminded us, that timing is everything and lots of exposure helps the odds. Put yourself out there every way that you can, magazines, shows, awards, web sites, Facebook, Blog, etc.  They will notice you.  Show them your best painting. Catch their attention. Let them be the judge of what they can and cannot sell. They each have their own client base and know what will and won’t sell in their market.
Rejection: Okay, so you have been rejected from a gallery, pick your self up and try another one. You don’t want to be in a gallery that isn’t excited about your work.

“Galleries often work together sharing information. If your work is not right for their gallery they may recommend you to another gallery that is a better fit.  You can also ask the gallery that has rejected you, if there is a gallery that would be a better fit for your work.”


Question : In the midst of this staggering economy, is this a good time to apply to galleries, or should artists wait until the economy strengthens?
Answer: Do it now. Many galleries are looking for fresh ideas to grab the patron’s eye and pocket book. This may be the time that galleries are replacing or adding new artists.
Question: Do you look at all the submissions?
Answer: Scott Jones, of Legacy gallery, says he looks at everyone’s submission and their websites. He looks for that magical quality that grabs him. Scott did admit that after 3 years of looking at the submissions for the Legacy gallery, only two submissions got into the gallery. This last comment created quite a stir in the audience. A wave of discouragement could be felt throughout the room. However, Scott reminded us that he and the other galleries are always looking at many sources for their artists. He has a list of 109 favorite artists that he is secretly watching and always looking for more artists to add to the list. He regularly checks out their web sites and links that those artists have to other artist’s web sites. That is how he finds other artists. It is easy for him to surf the web looking for new and exciting work. He loves Blogs, but not Blogs or websites that are not updates regularly. He watches artists mentioning other artists. It is a wonderful way to find new painters. Other recommendations: Newsletters: example – Clint Watson’s newsletter – one artist vouches for another. That goes a long way. Contests: i.e. win a Ray Mar Contest. Scott is a huge fan of OPA. It gives artists tremendous exposure. He asked 7 artists at the OPA show to be in Legacy Gallery.
Question: Typically how many paintings do the galleries want from artists coming into their gallery?
Answer: Scott Eubanks- six paintings to start off, four paintings to be hung and two more in the back. Beth Lauterbach answered, six paintings plus good photography of each painting. To create a good connection with her clients she also requires a good contemporary biography (don’t dig too deep into your past) and a good photo of the artist.
All three Galleries agreed:

  • Do keep sending submissions to galleries
  • Keep your web sites current. Only show your best work. Take off your older paintings.
  • Enter shows. Win awards
  • Get exposure from many sources: Magazines, Facebook, Blogs, Newsletters.
  • Don’t get discouraged.
  • Look for galleries compatible with your work.
  • Persevere. Keep putting it out there
  • Seek a gallery that is wild about your art, they need to fall in love with it.
  • Seek a gallery that is run or owned by someone you can trust and is enjoyable.

One of the tough jobs being an artist is that you must find people that share your love of subject matter and style. You must be successful both at painting and also at finding those people that love what you paint.
In closing, for those artists already in galleries, these three galleries all had final words of wisdom!
Question: What if an artist is doing all of the above, but the public isn’t buying his/her paintings?
Answer: Here are some points that Scott Eubanks gave us to consider why art doesn’t sell (besides the poor economy):

  • The painting is not as good as originally thought.
  • It is over priced. What is the actual track record for that artist’s work.
  • Same subject over and over
  • Bad choice of subject matter.
  • All the paintings from one artist look alike.
  • Perhaps the gallery that your work is currently in, but not selling, is not helping you sell the art. Perhaps the gallery itself doesn’t have enough exposure.
Solution:

  • Work your craft, perfect your skills. Climb to new heights.
  • Carefully consider your price and increases based on performance.
  • Choose subject matter that appeals to the clients in your galleries.
  • Find your uniqueness, build excitement in each painting.
  • If your gallery isn’t a good fit and you are not selling, look for another gallery that is a good fit for your paintings and you.
  • Don’t ever compete with your galleries, they are your business partners. Take good care of them.
  • Connect your work to your galleries.
  • Take your older paintings out of your current galleries and replace them with uplifting paintings. Scott Jones called them “Prozac Art”. There is enough stress in everyone’s lives, people are needing and buying peaceful, pretty art that soothes their minds and souls.

Most of all, Beth Lauterbach concluded, “What you do well, continue to do well. If you are selling, keep doing it”.
We all left the room inspired!

Framing: Choosing, Fixing & Shipping

Oil Painters of America · Nov 25, 2013 · 3 Comments

With Dave and Jim Fidler, owners, Classic Gallery Frames and OPA President Neil Patterson OPAM

TYPES OF FRAMES:

Dave and Jim FidlerThere are a number of different types of frames.  The Hudson River School has an ornamental and gilded appearance.  The Whistler style has fewer lines.  Both of these styles are price prohibitive.  Currently many people use the Plein Air style which has closed corners, is simple and reasonable.  They are Asian or Canadian made.
SELECTING A FRAME:
Selecting frames differs in various regions of the country.  A recent trend has been to the dark frames.  Frequently a painting with red will work with a gold frame.
Don’t overwhelm the art with the frame.  This can happen by color using a black frame with a soft image or a heavily ornamented frame with a busy painting. A smaller painting calls for a less ornate frame while a large painting can use a more ornate frame.  The frame and painting need to work together. Try to pull one or more subtle colors in the painting into the frame.
Linen liners, sometimes with a gold fillet, give visual relief.  In California, people found that the liners got dirty from the smog.  Liners are generally more contemporary.  There seems to be regional preferences for liners.  Sometimes a fillet is used instead of linen.  This adds another design element and adds to the appearance of the art.
A shadow box (floater frame) can be used to display an object.  These floater frames are shipped with fasteners.  If planning on using a floater frame, the artist should paint the edge of the painting and be sure the canvas staples are on the back, not on the edge.
The current trend is for gold frames.  The galleries love them and they go well on the walls and pick up warm tones.  However, the Expresso (dark) frames are also very popular.  Many galleries like to mix gold and dark frames on the wall.
A ¼” edge is lost on the painting when framed.
Sometimes frames are made by stacking moldings, combining two different types.
An illustration was shown placing a painting in three different frames: wide liner, gold plein air, dark, and floater.
Closed corners are more professional in appearance than joined corners.  However, they generally come in standard sizes.  The joined corners are more flexible in that they can be made to custom sizes.
MAINTAINING A FRAME
FramesSpots on liners may be removed using white bread, rolled up or a sketching eraser.
Sometimes a closed corner opens.  To repair this, the artist can use cans of black and gold and Elmer’s filler.  Fill the crack with filler and sand down.  On the whole frame spray with black (matte) paint.  Then lightly spray gold paint over the frame.  An option would be to just spray the black and gold paint on all four corners.
An alternative method to repair a damaged frame would be to use modeling paste, texture with a brush or sponge and spray with acrylic enamel paint.  The preferred paint would be matte black.
If the artist can get the gallery to buy the frames, they will be more careful.
SHIPPING A FRAMED PAINTING
Place poly stretch wrap around the painting.  Then add the cardboard corners and apply stretch wrap again.  The artist can also use a plastic bag and then add the corners.  The stretch wrap can usually be purchased at a stationery store.    It should be three or five inches wide.
Another method would be to use foam core with rubber bands.  A carpet underlay may be used rather than bubble wrap.
Once the painting is wrapped, place it in a box.  It is best not to ship on a Friday to avoid the painting sitting over the weekend.

2013 Summer Online Showcase Winners Spotlight – Nikolo Balkanski

Oil Painters of America · Oct 21, 2013 · Leave a Comment

Nikolo Balkanski received the First Place Award of $3,000 cash for his painting of “Sophie” entered in the OPA Summer 2013 Online Showcase.

Nikolo Balkanski with Rudy
Nikolo Balkanski with Rudy
Nikolo Balkanski’s paintings bring his European origin and training ot his art, and his post-impressionist interpretations carry a distinctive quality that easily captivates the viewer with his portrayal of the subject using sophisticated color and remarkable draftsmanship.
Balkanski, and internationally recognized portrait and landscape artist from Sofia, Bulgaria, lives and works in Colorado. Since his move to the United States in 1984, from Helsinki, Finland, his work has undergone a natural metamorphosis.
“Unfettered by self-imposed limitations, Balkanski applies his well-developed skills to subjects as disparate as landscapes, nudes, portraits, still lives and more. His style, technique and especially his use of color result in images that are more painterly than the art that most collectors may be accustomed to seeing.” – U.S.ART
“Of the many exceptional features Mr. Balkanski’s work displays, none is more commendable than his command of atmosphere. This is an elusive quality that all too many otherwise quite competent painters lack the virtuosity to achieve. Balkanski demonstrates an extraordinary understanding of light and depicts it in an altogether convincing fashion. The viewer senses at once the kind of light falling on Balkanski’s subject and is aware of the atmosphere, the weightiness of the space surrounding them.
Sophie by Nikolo Balkanski
“Sophie” by Nikolo Balkanski, 20″ x 16″
This control of atmosphere gives each of his paintings a distinctive mood, an emotional quality independent of an narrative element and even the subject matter. The subtlety this kind of painting requires is mark of uncommon facility and itself would qualify Nikolo Balkanski as a Master.”
One sees at a glance that Mr. Balkanski is schooled in the techniques of the old masters and possesses the exceptional talent to employ their methods in creating thoroughly modern paintings. It is therefore of no surprise that he is so highly regarded by his peers, museum curators, and prominent art collectors.

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