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Full instructional video at http://ccpvideos.com/products/mm1d#oid=4_3 Every painting benefits from a well-designed composition. In this video, Mark Mehaffey explains 5 different design elements that can create visual interest and help tell the "story" in your painting.
What is the purpose and value of Art education in the 21st Century? Foley makes the case the Art’s critical value is to develop learners that think like Artists which means learners who are creative, curious, that seek questions, develop ideas, and play. For that to happen society will need to stop the pervasive, problematic and cliché messaging that implies that creativity is somehow defined as artistic skill. This shift in perception will give educators the courage to teach for creativity, by focusing on three critical habits that artist employ, 1. Comfort with Ambiguity, 2. Idea Generation, and 3. Transdisciplinary Research. This change can make way for Center’s for Creativity in our schools and museums where ideas are king and curiosity reigns. Cindy Meyers Foley is the Executive Assistant Director and Director of Learning and Experience at the Columbus Museum of Art. Foley worked to reimagine the CMA as a 21st century institution that is transformative, active, and participatory. An institution that impacts the health and growth of the community by cultivating, celebrating and championing creativity. Foley envisioned and led the charge to open the 18,000 sq. ft. Center for Creativity in 2011. In 2013, the museum received the National Medal for Museums in recognition of this work. Foley guest edited and wrote chapters for Intentionality and the Twenty-First-Century Museum, for the summer 2014 Journal of Museum Education. In 2012, Foley received the Greater Columbus Arts Council Community Arts Partnership award for Arts Educator. She was a keynote speaker for the OAEA (Ohio Art Education Association) 2012 Conference. She is on the Faculty of Harvard University’s Future of Learning Summer Institute. Foley is a graduate of the University of Kentucky and The Ohio State University. Prior to joining the Museum, she was with the Institute of Contemporary Art at the Maine College of Art, the Portland Museum of Art, and the Wexner Center for the Arts. In the spirit of ideas worth spreading, TEDx is a program of local, self-organized events that bring people together to share a TED-like experience. At a TEDx event, TEDTalks video and live speakers combine to spark deep discussion and connection in a small group. These local, self-organized events are branded TEDx, where x = independently organized TED event. The TED Conference provides general guidance for the TEDx program, but individual TEDx events are self-organized.* (*Subject to certain rules and regulations)
Tips on what how to buy art from an art gallery. This is a must to for any collector who is interested in collection art. Dr. Mark Sublette with 25 years of experience in the art world gives you insight to what you need to know before you buy your first piece of art. Website: https://www.medicinemangallery.com Facebook: https://www.facebook.com/medicinemangallery Instagram: https://www.instagram.com/medicinemangallery Podcast: https://itunes.apple.com/us/podcast/art-dealer-diaries/id1384036101?mt=2 Red Flags For Buying Art In A Gallery Red flags for when you're buying art in a gallery. Not all galleries are the same, unfortunately, and like any business, there are really great galleries and there are not so great galleries. And as a consumer, especially if you're maybe beginning consumer, you may not know what makes a good gallery and what not, and you may not even know what general recognized practices should occur in a gallery. So, I'm going to give you a few red flags. If I see these kinds of things – walk away, don't buy, just avoid it, because there's a problem. First of all, if you go into the gallery, and they immediately give you a hard sell there's generally a problem. We are in the business to sell artwork, but more importantly (at least in my gallery), we want to educate; we want to make long-term commitments to our clients, and we're really not interested in just making a single sale. We want to have a relationship. Galleries that are focused heavily on making sales, and pay commissions to their employees are generally not the kind of galleries that are going to have the best kind of art. If they start pressuring you right off the crack to try to buy something and using techniques like this, you're probably really not buying a good piece of artwork. Two, those same individuals generally are going to go, “Oh, we can take off 50%” I see this a lot, unfortunately, in Santa Fe from some of the dealers that are just there grinding. We have a gallery in Santa Fe. Guess what? We don't take off anything. We price it fairly to begin with, and if you don't like the price, I understand, but it's priced fairly. You don't have to come from 50 percent off to get to half. This is very important – any time you see a 50% sale off, or they start to take off money like that, I guarantee you there's a problem; either the piece is not right, and generally when they come down off 50%, they're still above retail, and maybe way above retail, but for some reason that psychology and the human nature is they feel like they're getting a deal. That means that you, as the consumer, need to do some research, and I recommend people doing market research, so they know what they're buying. I send people off, and when they come to Santa Fe, and they look at my rugs, and they want to buy one I'll send them around town – say, “Go do some research. See other ones and you'll come back, because you'll find out they’re priced fairly.” And it's very important that a gallery is willing to let you walk away because if they are, that means they're probably reputable. Another red flag that I look at is if you see artwork just piled everywhere on the floor. If you walk in and there are paintings stacked in rows, generally the quality is probably not there. There's a reason that they're stacked: A) they have too much inventory and it's probably not good inventory, or B) they don't have enough room; they can't afford it. So, you know, they just stack it up, hoping that somebody will buy it. It also says something to me (at least about the aesthetics of the gallery itself) that that they don't have the aesthetics themselves to value the art enough to get it off the floor. Have I put art on the floor? Yeah, I have, but I don't like it, and it usually comes off; it's a temporary thing that I do. Maybe (from) somebody we've just gotten a load of art in and we're inventorying it or getting it put away, but we don't just stack things up on the on the floor. This is a red flag, in my opinion, to an art gallery that just probably isn't that step above. When you're going to an art gallery you should feel comfortable. You should walk away with a good, positive feeling, and you shouldn't feel like you're being sold to. If you get all those kind of things and they’re doing these, (then these) are red flags, and just don't buy.
Proportional Divider The Best Keep Secret to Improve Your Drawing. Stefan Baumann has been Inspiring Millions to paint outdoors for years his mission is to Touch Move and Inspire. Get a free Book at his website www.StefanBaumann.com. The paintings of Stefan Baumann reveal the true spirit of nature by transporting the viewer to distant lands that have gone unseen and undisturbed. With the huge success of Baumann’s weekly PBS television series “The Grand View: America’s National Parks through the Eyes of an Artist,” millions of people witness for themselves the magic Stefan portrays on canvas, his passion for nature and the American landscape. By distilling his love of nature into a luminous painting of brilliant, saturated color that transcends conventional landscape and wildlife art, Baumann has captured the hearts and imaginations of a generation. Each painting becomes an experience rather than merely a picture – a vivid manifestation of his special and personal union with nature and the outdoor world. Through his mastery of light, color and artful composition, Baumann invites you to experience nature in its purity. It is no wonder that for many years distinguished American collectors, including former presidents and financial icons, have sought out his work.
You cannot learn how to paint with oils, acrylics or watercolors in just a few weeks - the old masters spent years as an apprentice to master artists, and many more years refining their skills. You have to plan your learning program and work on it every day if you want to be a great artist. You need to build your foundation on solid principles. I believe there are about 500 to 1000 individual skills or chunks of knowledge you need to know about to become a good artist. I think the word 'talent' is overused in the art world. Talent only plays a role with the one or two painters that become elevated to the status of a great master. For the rest of us, it is not talent, but knowledge combined with a lot of hard work. Some people just have to work harder at it than others. That is what makes you a good painter. Happy painting Barry John Raybould Virtual Art Academy For details of our structured, comprehensive, four-year program for serious artists who want to learn how to paint using any oils, acrylics, watercolors, or pastels., see www.VirtualArtAcademy.com
There are certain elements to any painting that makes it work, learn the three elements that Dr. Mark Sublette looks for in every painting before he buys. The tricks of the trade are shared through this highly informative video, great for beginners to serious collectors.
Tips on what makes a great painting, by an art dealer with twenty five years experience
Today I want to talk about tips on what makes a great painting. Paintings come in a variety of types, design, and quality – some are great, some are terrible, and if you can't figure out what makes a great one from a terrible one, you've got to watch this video. You probably have all heard, “Oh, that guy has a great eye.” And what that means is that person that they're saying has a great eye understands the works of art and what makes something good or not. And pretty much having a great eye (means) you can learn a lot of the aspects by just seeing a ton of stuff and going to good galleries and museums, and seeing what's on the walls. Generally, they got there for a reason because the person who is making the decisions hopefully does have a good eye. This is what my eye tells me to look for when I'm looking at pieces of art, whether to buy, or in artists, to take in as a potential person for my stable. But, one is composition. The painting here to your right is a Maynard Dixon. Maynard Dixon had great composition, (it was) one of his strongest points. If you look at the piece, you can see that the tree is done just perfectly in the setting that you like, and see how the road kind of meanders into the distance. Everything about this works: with the tree and the way the mountains are on the back, and especially that road. This is very key to looking at a good painting. If the tree had been moved in a different position where it's jetted, it just doesn't flow. You have to feel a flow in a composition, and that's kind of what you look for. Two, is symmetry. Symmetry really, for me, refers to: did they get it right size-wise? Is the tree big enough in comparison to where it should be in the mountain? Is the road the right size, or is it off? And one of the things I look for: are the hands too big on a person or is the person's head out of proportion? Or, is the boat wrong compared to the water? Is the shadow incorrect? You know they have to get symmetry; they have to get this dimensionality on their pieces, especially if they're realism. It’s a little different in modern art, and I'll talk about that in another lecture, but it's very important that you look for symmetry. There's been many – a very important show that I've gone to that we,
as dealers, or artists will come around, and we'll look at paintings and go, “Oh my gosh, they're giant people that are walking there,” because they just got the proportionality completely off to what they were doing against the landscape. So, it's very important. Make sure you look at that before you ever buy a painting. Three is color palette. Now: is it a pleasing color palette, or is it something that really just doesn't work for you? Part of this is personal and that's fine. Some people like bright colors (and) some people don't. These kinds of things are a little bit more on the subjective than objective (side), but what I like to look for: is it a pleasing mix? And more importantly, for me, does the artist have the same palette that I can always recognize? Because if I'm looking to buy a specific artist, let's say, Maynard Dixon, I want to know exactly what his color palette is. And I can tell on Dixon's, who I specialize in, from what time frame that painting is strictly by his color palette, because it changed over time – it went from a very bright to a little less bright to a flat. And that's okay, and artists do that, but I know that he was just in his transformation of how he saw his color in his color palette, and that's a very key thing. The final thing has to do with (and this is very interesting, and it may take you a little time to appreciate it) but actually brushstrokes. I can tell an incredible amount about artists by how they do their brush strokes. A very confident artist will leave just a single brush stroke each time. When they put their brush on that palette, mix the color, and put it on the canvas, they know where it's going, and I can tell that they knew where it was going. It's very distinctive where it's going...