Overcoming Adversity

Inspiration And Motivation: The Prelude To Success

Bill Davidson · Aug 20, 2012 · 11 Comments

"Coastal Concert" 16x16 by Bill Davidson OPA — “Coastal Concert” 16×16 by Bill Davidson OPA

One of the greatest joys of painting is my artist friends and the beauty we are privileged to see and create. We all must struggle some but the difference is that successful painters find a way of keeping motivation ahead of the meaningful struggle.
We all want to achieve at a very high level and create the next great piece of art. Recent psychological studies have determined happier people are generally more successful.

“Happiness is the meaning and purpose of life, the whole aim and end of human existence” -Aristotle

It bears to reason that we all will paint more often and better if we are inspired, motivated and happy.
My favorite two questions for my workshop artists are:

What do you love to paint? And
How would you love for your paintings to look?

I am fortunate to get to teach pleasant artists in my workshops, thanks to all of you. Over the years it has become obvious the number one reason for people not achieving better paintings faster or even painting at their very best is they get discouraged, blame themselves or lose their bliss along the way.

"Alberta Falls" 10x8 by Bill Davidson OPA — “Alberta Falls” 10×8 by Bill Davidson OPA

When we are blasted by deadlines and schedules and worries, take some time to be a human being. Just play with the two questions above and you may just start to unravel more of who you really are as an artist and a genuine person. Do not over-commit yourself or you lose both your happiness and creativity. Recent studies have shown when we work too hard we think we are being creative when in fact we have lost both our happiness and creativity to over-burdensome work and time constraints. Often I have to turn off the lights in workshops to cause people to take breaks and bring fresh eyes to their paintings.
When you are unmotivated, don’t ask yourself what the world needs or what would sell, “ask yourself what makes you come alive and then go do that. Because what the world needs is people who have come alive” – Dr. Howard Thurman
So why not learn from a few notables who have achieved extraordinary success.
I love the comments of, I believe, Everett Raymond Kinstler in one of his videos:

“I start out in this way thinking, ‘this will be the greatest painting of this subject matter ever painted.’ Later in the process I think, ‘this will be the greatest painting of this subject matter I ever painted,’ and finally I think, ‘Hell! I hope I can save this painting!’ [paraphrased]”

Doesn’t this help you chuckle at yourself and free you?
When Richard Schmidt was asked he stated,

“I just paint. I don’t consider my place in history. And don’t blame yourself when something goes wrong. Just learn what you did wrong and don’t do it again. [paraphrased]”

I appreciate Scott Christensen for his help along the way and his piece of advice: “always paint for yourself.” We should always remember this when we are watching others sell a certain genre or style that does not ring true to who we really are.

"Moving Waters" by Bill Davidson OPA — “Moving Waters” by Bill Davidson OPA

Most of us can’t see color, values and shapes all at the same time. A wise artist once told me if I did value studies for two years I would advance rapidly. I love color and I knew that would be the end of my career because it would kill my motivation. The answer of course is to do a whole painting but step-process it. I don’t like to draw with pencil. I love paint so I draw shapes with paints. The key is to make it enjoyable for you in the process and use what you enjoy and do best.
Most representational artists know strong abstract design underlies every piece of representational art, and values are the bones. So interesting shapes and design, held in unity by values, are the backbones of all good paintings. The process for being accepted in OPA shows is very fair and when looking at 2000 or so paintings it becomes real obvious how much the above statement is true.
At higher levels most artists are painting spots of color and value and not objects. Painters say a great painting is greater than its sum of its’ parts. The only way that can be achieved is to paint from the heart, for all really great art is created from the heart.

"Seaward" 40x30 by Bill Davidson OPA — “Seaward” 40×30 by Bill Davidson OPA

Joseph Campbell’s advice in The power of myth is absolutely true: “follow your bliss and doors will open to meet you.”
Perhaps if we all stay more motivated we will all create better art and most importantly enjoy the process more. This is always something I confess to have to be aware of — because as a past lawyer that only focused on results, and now a reformed artist — nothing is clearer to me than that, if the process is enjoyable, I will paint more often and better.
I find that artists are generally humble, share freely and are kind to one another. I consider myself lucky to have found such a great group of people and friends. I think it important that we, as artists, always share what we know. It is often so hard to paint good paintings, so we all need the fresh eyes and keen advice of other artists — as our friends and colleagues. I encourage you to celebrate the awards and excellent paintings of your fellow artists — that’s what makes being an artist really enjoyable. Hope to see you soon, whether in nature or at a show.

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.

Preserving My Dreams

Wanda Choate · May 7, 2012 · 2 Comments

Ola! What a great idea, and how much I enjoy and grow and am empowered by reading the thoughts, musings, and experiences of these real and great painters.
Reading Alan Wolton’s post (once I drove from Nashville to an obscure barn way outside of Chicago to see this extraordinary collection of his water lilies)what a great blessing to see inside his mind a little about layering in those transparent washes, and then to preserve them – discipline. This struck a chord in me (finally?).
About the same time I was going through Architectural Digest – and there was this painting on a bedroom wall (Brooke Shields) of a woman’s head study, all in black, and white, basically a beautiful value study. She wasn’t framed, looked half finished and is exquisite.

I had the privilege last January of going to the Prado and Sorolla’s home. Go, hitch hike if you have to. What struck me about Sorolla’s things was; First. The great, unfinished, quality of his work. It looked like over and over, unless it was a formal portrait, that he would get about 2/3’s done and go onto the next one. Good enough. Next. Also, he has hundreds of those tiny paintings, 5 x 7 or smaller done with 7 or 12 thick brush strokes. Next…Nothing was too precious. He stayed inspired. He painted gorgeous fruit garlands and portraits of his daughters “on the walls” for himself. He painted for joy. Please, Dear Lord, let this be my process shifting. Anyhow, this was where I was when I began “Music Man”. Ah, to be as Sorolla, and still be on that great plane of hope, magic, inspiration, the great challenge to capture something so elusive – when I finish a painting as when I began.
I think that the key for me, the only hope is in being present, moment by moment, choice by choice, focus, discipline. To decide truthfully as I see it. What is my darkest dark, my lightest light, and focus; remain focused on the goal of preserving that value scale.

“A man is what he thinks about all day long.” – Emerson

Frank Loyd Wright has inscribed on the beams of his studio, “What a man does, he has”.

“For as he thinketh in his heart, so is he”. – Proverbs 23:7

What I’m thinking about when I’m painting is what I’m going to create.
This discipline, sustained focus for me, is the key to producing not only work I love but a life I want to live.
I’ve worked out with a trainer (I must be forced) for most of the last 7 years. I want to be strong, but mainly I go for the discipline. I know that if while doing the plank, or attempting push-ups, if I ALLOW myself the luxury of a negative thought I will drop. My strength truly drops 30% because of what I’m thinking. So, whether it’s dieting, exercising, being kind to our mates and small animals, not eating that bowl of cereal at 11p.m, or holding onto that brilliant, childlike elusive transparent under-painting…
I’ve got to stay focused and hold onto the reality of what I think about, I bring about.

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.

Overcoming Adversity

Footer