Tips on what makes a great painting, by an art dealer with twenty five years experience

author MedicineManGallery   8 год. назад
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5 Visual Design Elements to Improve Any Painting

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.

Red Flags For Buying Art In A Gallery

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.

Brushstrokes (Part 1) - The Early Masters

How do brushstrokes influence a work of art? What are the different brushstrokes available to artists and which Masters made them famous? This groundbreaking video by artist Jill Poyerd traces the history of artistic brushwork from the pre-Renaissance era up to the 1800s. This is part one of a 3-part series. Music Credits (Part 1): Night Scenes by TheJRSSoundDesign Simple Piano by TheJRSSoundDesign Night Scene by TheJRSSoundDesign Above the Clouds by TheJRSSoundDesign Emotional Flashback by TheJRSSoundDesign Simple Piano by TheJRSSoundDesign

Why people believe they can’t draw - and how to prove they can | Graham Shaw | TEDxHull

Why is it that so many people think they can’t draw? Where did we learn to believe that? Graham Shaw will shatter this illusion – quite literally - in a very practical way. He’ll demonstrate how the simple act of drawing has the power to make a positive difference in the world. Graham specialises in the art of communication and has helped thousands of people to make important presentations. He is perhaps best known for his use of fast cartoon drawings to communicate ideas and is the author of ‘The Art of Business Communication’. This talk was given at a TEDx event using the TED conference format but independently organized by a local community. Learn more at http://ted.com/tedx

Paul Klein on How to Succeed as an Artist

This is a talk I gave for Tandem Press' 25th Anniversary at the Chazen Museum in Madison, Wisconsin. For additional information please visit http://kleinartistworks.com/. If you have a question, please email me at paul@kleinartistworks.com. Thank you.

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.

Website: https://www.medicinemangallery.com
Facebook: https://www.facebook.com/medicinemangallery
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Podcast: https://itunes.apple.com/us/podcast/art-dealer-diaries/id1384036101?mt=2

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...

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