Money

It’s Just Paint and Canvas

Rick Delanty · Jan 14, 2013 · 4 Comments

"Perihelion" by Rick Delanty, 24x24 — “Perihelion” by Rick Delanty, 24×24

What is the true “market value” of a painting? How does a potential collector know that a fair price is being offered? After all, the price can be negotiated… It’s not like a car, a stereo system, or a suit jacket that contains technical components and can be shopped between stores. It’s only paint and canvas, right?
Lines, colors, shapes, usually on a flat rectangular surface: that’s how we most often define “a painting.” As an objet d’art it has perceived value, both inside and out of the marketplace. Often paintings contain little or no moving parts. Precious metals may be employed, but not usually — it’s simply canvas by-the-yard and pigment. The materials of which a painting is made today are not much different than they were thousands of years ago, when early man painted and engraved shapes of animals on cave walls, with crushed plants and vegetable matter for paint, and animal-fat crayons and fingertips for brushes. The technology of paint-making and the variety of painting surfaces have significantly improved since then, but paint is still made of pigments and the surface of a painting is still usually flat. Doesn’t sound that impressive, does it?

“The synthesis of truth and beauty…is the highest and deepest reality.”Ovid

"Point Glow" by Rick Delanty, 16x20 — “Point Glow” by Rick Delanty, 16×20

Let’s consider the work of those early artists, at places like Lascaux and Altamira: they were the agents of man’s first recorded history. Their wall paintings speak to us through the millennia, even though their materials were elemental. Those artworks still communicate human ideas, perceptions, the very milieu in which early men and women lived. Those paintings today give us an insight into a culture, basal psychology, and the soul of early man. Those artworks were — as all artworks have been since those first paintings were created—visions, thoughts, dreams and an exploration of what it means to be human. Those paintings in sedimentary sanctuaries were not — and are not now — simply colored dirt on stone: they are the reality of a time gone by.

“ We keep our eyes on the things we cannot see: for the things which we can see are temporal; the things that are unseen are eternal.”2 Corinthians 4:18

"Sunset Billows" by Rick Delanty, 16x20 — “Sunset Billows” by Rick Delanty, 16×20

It’s the vision encapsulated in those ancient artworks that give them their true value, not the materials with which they are made. Then as now, it is the material that gives the immaterial form and meaning, and which gives any painting its value. How well a contemporary artwork does that for each viewer or potential collector in today’s marketplace, how deeply the painting establishes a personal connection, is what gives the work its significance and worth. Paintings enable us to see more than the obvious, to break free of our prejudices, to elevate our thoughts. The author Charlotte Bronte expressed this ability of the artist to help us “see” on a higher plane: “I try to avoid looking forward or backward, and try to keep looking upward.”
The artist is the catalyst in this process of Imagineering and revelation. It is through the artist’s eye that new possibilities can be discovered, and comprehended. In fact, former President John F. Kennedy underlined that creative significance: “I see little of more importance to the future of our country and of civilization than full recognition of the place of the artist. If art is to nourish the roots of our culture, society must set the artist free to follow his vision wherever it takes him.” The painter does what the director does for a film, or the composer for a symphony. He or she draws unrelated concepts together, instills pattern, variety and unity, and discloses the essence of an idea. If we look through the painter’s lens, we are treated to a new perspective on reality. The visionary artist is a conductor on the journey to an exotic destination. We begin to understand that here is something higher in that artwork, than just paint and canvas.

“An artist is not paid for his labor, but for his vision.”James Abbot McNeill Whistler

For a painting, it is the experience of the artist expressed therein that is of utmost value. The material nature of the work is quite secondary. A painting that conveys the power of emotion to the viewer is more than “just paint and canvas.” It is the description of a heartfelt concept that has been forged into tangible excellence through a creative process of envisioning and technical facility. It even has the power to change lives. “(Art) has the capacity to penetrate even the most callous skin and to ignite a revolution from within,” as musician Benjamin Moore so eloquently reminds us. Pursuing art with our whole hearts and minds is probably the most civilizing undertaking we can do as artists. “What a privilege it is to be able to take brush in hand and put paint on paper in this troubled world,” is our encouragement from artist Veronica Stensby.
A painting’s value is not in its material nature, as “just paint and canvas.” Rather, it is the vision an artist expresses with those materials that is of value: that slice of heaven, the best of the Best, that idea of the Ideal, that is the central core of both the material and spiritual worth of an artwork.

The Art of Survival in the Survival of Art

Bill Farnsworth · Jun 25, 2012 · 2 Comments

Since the Great Recession hit, most artists have been impacted. Collectors cut back on luxury items and art is at the top of the list. Workshop enrollment is down as well, and if you teach a lot of workshops that can be a big impact. Some artists have taken on part-time teaching as a steady gig. Doing a couple of day’s part time teaching is fine, but if you go full time it may really impact your studio time.
As an illustrator for many years I learned very fast how to hustle if I was going to pay my bills. Self-promotion was a constant thing even with an agent. Making new contacts in the Illustration world was a constant thing. Tailoring my art to the Illustration market was not much different than the fine art field. However, the fine art has allowed me to paint what moves me and still be able to sell. The last two years I have transitioned into all gallery work, which means every painting I produce is spec. So now I am trying to use what I’ve learned in the commercial world, into the fine art world. Not all of it overlaps but the business practice does.
I try to do all E-mail correspondence, phone calls, and all other loose ends before 10am and then I will have an open block of time in the studio where I can think about the painting process and not a little thing in the back of my mind. If I want to contact a gallery by phone I will have to do it after 11am, if an email won’t work. At night I might go back into the studio to touch up a little, but mostly I plan for the coming months. Keeping steady workshops planned is difficult, but you can spread them out over the year. Teaching is great way to verbalize your approach and can be a great learning experience for you as well as the student. If the area you are in during the workshop has some great scenery, take advantage and paint it or photograph it on your free time.
I keep a studio calendar list of all my upcoming workshops, shows and paint outs so I don’t lose track of opportunities. Knowing when an important show is coming up will give you more time to set aside your “show pieces”. It’s always a tough thing to do a good painting that will sell and set it aside for the shows. Choosing my own painting for a show is sometimes hard for me, so I might post it on Face Book or have some artist friends over to get a reaction that will help me in judging the right painting for an upcoming exhibition.
Recently, I have been rethinking my framing and expanding my choices. I have about four frames that I use all the time and they look great on almost everything, but sometimes having a half dozen other choices might be the difference for a Collector riding the fence. I learned early in my career that a bad frame can kill a good painting. Let’s face it; it’s the package for your product. I was in a show at The National Arts Club years ago, and that year Everett Raymond Kinstler won best in show for a stunning painting and an equally beautiful frame. When the show came down and I picked up my art, one of the curators of the show told me my painting was very well done, but the frame made it look amateurish. He was right. Looking around at the other paintings with beautiful wide gallery frames made an impact on me.
As an artist, I am not the best business person, but have learned a lot over the years in order to survive in an extremely up and down market. Some of my artist friends have taught me a great deal about good business and I have been able to use some their advice. When you sell a painting at a gallery make sure you can follow up with another piece to replace the sold painting. If there is a blank space on the wall, it will get filled with another artist’s work.
The last element in our survival in Art is the psychological aspect. Artists, I think tend to be a little insecure because of the volatile nature of the business. If we don’t sell a painting in a month we second guess the subject matter we paint and everything else. Having the right frame of mind is essential in creating our best art and succeeding. The illustration field taught me to have a thick skin because one day maybe a diamond and the next a rock. An artist’s ego can be a dangerous thing. Win an award, be happy for a couple of days, and then put your ribbon away. Living in a good environment surrounded by loving family and friends , will always be a solid foundation during the bumpy ride in Art.

When the Money Doesn’t Follow

M Kathryn Massey OPA · Mar 26, 2012 · 11 Comments

Back in the 90’s there was a popular idea, “do what you love – the money will follow.” That seemed plausible, and for many of us in the world of art, this has become a reality. Many painters are sitting on lucrative art careers either through well placed portrait commissions, print reproductions or popular workshops with an accredited institution. However, in the world of Occupy Art, 1% vs. 99%, I, like many of you, fall into the latter: the 99%.
As my brief bio states, I began to paint at age 41 with no prior instruction or education in painting. I knew I wanted to paint, and around my 41st birthday, I began. The rest as they say, is (almost) history.
Most of us were not full time students when we began our careers. Nor were we married to, or partnered with an established painter whose career was already doing well, and in turn, might ‘introduce’ us to the best galleries, invitational shows and teaching institutions, thereby eliminating much of what the majority of painters go through early in their careers. Many of us didn’t come with a Trust nor were we independently wealthy. In other words, we created the space we needed to paint because it wasn’t put before us. We found ways to work at learning to paint with unique and different challenges. None of these ways should ever be discounted or diminished.
My own instruction consisted of a 5-day workshop about once per year, and in the remaining 51 weeks, I painted when and where I could around a marriage and children ages 3 and 5. I also worked out of the home part time to help sustain our family. In 1999, I began to paint full time and saw great progress in my work.
This is probably how most of the women in the OPA memberships worked at their art career and certainly, some men. Many men who have taken my workshops did so upon retirement because they now had the energy and time to paint. It takes courage and tenacity to do so.
In 2006, my family broke apart as I divorced my husband. I could have remained married to a man who was leading a life outside our relationship, but I didn’t close my eyes to that fact to be safe and insulated. My career had to be put on hold to stabilize my sons and my own sense of well-being.
Starbucks?!
I was determined to keep painting, but lost my health insurance in the divorce. I learned if I worked 20 hours per week at Starbucks, I could provide full health benefits for my sons and myself. I was the oldest person working there for some time. I was 53 when I began. In total, I worked there, part time for over 4 years.
While my work during 2006-2010 wasn’t my best, I kept painting and learning to paint. I began to work on a book that is now ready for print; I continually developed my workshops, and was affirmed I am a good teacher; I practiced painting as much as I could within the parameters of my new family situation. I was completely on my own, but it didn’t stop me.
At the end of 2008, the financial world collapsed. All of us have been impacted by this fact. Like you, my sales have fallen off. Traditional art galleries 30+ years in the business are at an all time low in sales and clients. Some galleries closed their doors from the strain. More web based galleries and art exhibitions are popping up.
In addition, many painters who would normally travel to a workshop and spend money on tuition, lodging, food, and transportation are just not as eager now, or able to do so. Many on-line workshops are available to purchase so painters can stay home and hang on to the money they legitimately need in these tough times. I don’t hold this against them. We all need to adjust.
What now?
This article is to generate ideas and input for all of us. I already mentioned one way I found health insurance. Here’s how I’m paying for my tax prep this year.
I have artwork in a posh Victorian inn in northern California. I gave the owner a painting that I created with her signature logo wine showcased in a still life arrangement. She loved the painting, I gave it to her, and in return, she gave me two nights free to stay at said posh inn worth the value of the painting.
Bartering. It’s an old concept and has its place. The logo wine painting is and was the most appealing of all my paintings to the owner. She didn’t have money to pay for the picture outright, but she did have something else: gift certificates for any room in her upscale inn. I parlayed that into a trade for my tax prep. I gave one of the two certificates to the CPA preparing my taxes.
I have other examples that are seeing me through this crunch time. Part-time work, volunteer work, etc. Both have me in the community and being with people. These create opportunities, or, that’s how I choose to see them.
I know there are other creative ways you have put in place to work through this difficult economy. Please, let’s hear what you are doing that might help our OPA members transition through these lean times to keep painting.

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