Learn to Draw & Paint - How & Where to Study to Be an Artist

Learn to Draw & Paint - How & Where to Study to Be an Artist

The answers can be complicated and confusing. Search the web for the phrase "art school" for millions of choices. If you go to the web and Google (search) "learn to draw" you get to choose from 4,880,000 web sites (at least that's what I found while writing this article). By the time you try it, there will likely be more.

If you do a web Search using Google for the term "learn to paint" Google showed 854,000 web sites in the light blue bar at the top of the page under the "Google" logo.

There are degree granting and non-degree granting art schools, art schools with classrooms and online art courses. Some non-degree art courses give "Certificates of Completion."

Finding an art school course to learn to draw and paint that suits your personal needs, allocation and ready time is a challenge.

Here is a list of some of the options:

Option 1: A way to learn drawing and painting is to go to an art school, college or university like Pratt establish (campuses in Brooklyn and Manhattan in New York City, Usa where I graduated and later taught). Two issues for many habitancy are the time and money needed. The Bachelor of Fine Arts Degree I took at Pratt now costs over 0,000.00 Usd for the four year degree program. Of course, this web report is viewed by a worldwide audience. To see the great art schools colse to the world, there is a very good listing of them on the Saatchi Gallery web site page titled: "Art Colleges colse to the World: Universities, optic Arts, Fashion and establish Institutions." The Saatchi Gallery Art Colleges page web site adDress is listed on the links page in the resource box at the lowest of this article.

The Saatchi Gallery list includes the college I graduated from (Pratt Institute, Brooklyn, New York City, Usa) and art schools in many countries all across the world. The Saatchi Gallery art school listings had 57 pages with thousands of art schools listed when this report was written.

Option 2: Take a local art course whether at a incommunicable art school, a local high school, secondary school or college. Of course, some localities don't offer that option and the skills of the teachers are important, so you need to get recommendations and check these teachers out before you enroll. You can Google these choices, ask neighbors, friends and teachers in schools near you. You might also get recommendations from art clubs if you have them in your locality. Some artists give incommunicable art classes to individuals or groups. I used to give incommunicable group lessons in the basement of my home.

Option 3: Just pick up a pencil or oil paints and start drawing and painting. This works for some habitancy like Grandma Moses (Anna Mary Robertson) who taught herself how to paint starting at age 81. See the report about her on Wikipedia (adDress of Grandma Moses report on Wikipedia is listed on the links page in the box at the lowest of this article). Grandma Moses had no art training and her paintings, originally priced at .00 to .00 Usd, now sell in the ,000.00 to ,000.00 Usd range and her annual income was said to be 0,000.00 Usd in the late 1950s. Grandma Moses died in 1961 at the age of 101.

Option 4: Buy some art books and/or video tapes on how to draw and how to paint at Amazon.com, Barnes and Noble online or at your local book store and learn to be an artist. I once had a teacher who said take a few weeks in art school studying the basics (which end of the brush to use, etc.) and paint 200 pictures and you'll be an artist. This works for some people.

Option 5: Online distance studying art courses are for students unable to attend on-campus classes. Online art courses contribute flexibility as to when students study and custom and when they complete lessons. Some offer degrees and some hobby courses issue certificates of completion. Some consist of totally online step-by-step how-to lessons the trainee follows to teach themselves. Others send the students art textbooks, art Supplies and chapter plans. The trainee reads the art textbooks and follows the recommended drawing and painting custom sessions. Next, the distance trainee completes and mails their assigned drawing or painting to their school. An teacher at the school draws or paints a critique with comments of each of the student's assigned photograph and mails the student's work and critique to the student.

Option 6: There is a new kind of art school using the web to interactively teach drawing and painting.

A Digital camera is included in each student's sign up kit along with art textbooks and art Supplies. Students who have their own Digital camera deduct the cost of the Digital camera, usually supplied with the course, from the tuition cost. The kit is mailed to the newly enrolled student. The trainee works at home, reading the art textbooks, practicing, and then doing the assigned chapter artwork from the assignments they get in their personal web portfolio on the school web site.

The trainee takes Digital photos of their completed chapter artwork for each chapter and then sends those photos as email attachments to the school.

The art teacher at the online art school draws or paints a critique of the emailed student's chapter artwork with comments on how the trainee might have great understood the lessons taught in the art textbooks and supplemental on line mini-lessons. That painted or drawn critique of each student's submitted artwork is posted to the school website, a personalized how-to-do-It-better critique for the trainee to see 24/7/365. The student's submitted drawings or paintings and the teacher's critiques are shown on in the student's personal web portfolio at the school's web site.

Subjects covered are drawing, form, composition, color theory, perspective, still life, scenery drawing and painting as well as drawing and painting the figure.

This school offers a "Certificate of Completion" and a Cd with all of the student's submitted work, all of the critiques by the teacher and suggestions for prolonged increase as an artist on completion of the full art course.

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Woad - The Mysterious Blue Plant Dye

Woad is paramount as the source of the blue dye that has been used to dye wool and other fibres for some thousand years in Europe and the Middle East. The pigment is extracted from the dark blue-green, spinach-like woad leaves.

The Woad Plant

Woad (Isatis tinctoria) is a native of the Mediterranean and belongs to the house Cruciferae, more ordinarily known as the brassicas, and is intimately related to broccoli, cabbage and rape seed. Woad grows readily and is determined a noxious weed in some states of the Usa.

Woad is a biennial plant and grows for two years before dying down. In the first year, it forms a low-growing cluster of leaves like spinach. The leaves are harvested for dye output in the first year only, because they have minuscule or no colour when they reach the second year. 

In the second year, the leaves become longer and thinner and the woad plant looks quite different. It produces tall stems up to five or six feet in height with sprays of small, neon yellow flowers. The flowers, which apPear in May, have a marvelous fragrance and attract abundance of bees. The black seeds that follow are winged, resembling small tongues and after producing seeds, the plant dies down.

Woad Blues

Dyeing with woad is very exciting. Wool or fabric is dipped into the vat, left for a few minutes, and then removed. At first the wool is pale yellow, but with exposure to Air, the colour slowly turns to green and then to blue. This change in colour never ceases to fascinate viewers.

Woad is also very economical; 10 grams of woad pigment, for example, dyes more than 200 grams of wool a beautiful medium blue, and at least someone else 100 grams of wool a light blue. 

Traditionally a fermentation vat was used to dye with woad, often started with stale urine. The fermentation removes the oxygen from the vat manufacture the woad pigment soluble. Nowadays, chemicals such as spectralite are usually used to take off the oxygen from the vat.

Woad and the antique Brits

Woad is native to the Mediterranean, originating in Turkey and the Middle East, from where it spread into Europe and has been in use as a dye plant since the Neolithic, 5 to 10,000 years ago. 

Many habitancy have heard that when Julius Caesar's army invaded Britain in 55 Bc, the Romans saw Picts painted blue with woad. There is a great deal of controversy regarding this statement, as it is unlikely that the Roman army, which was generally in the south, ever came over any Picts, who lived in the north of Scotland. Further, woad is difficult to use as body paint and not favorable for tattoos.

Woad as an anti-cancer agent

It is not only a blue dye that can be extracted from woad; the woad plant has also become a weapon in the fight against breast cancer. Modern study has found that this plant has 20 times more of the anti-cancer chemical glucobrassicin than broccoli. It is difficult to citation the chemical from broccoli, so woad provides an effective alternative. Woad can furnish even more of this chemical if the young leaves are damaged. Do not try to eat woad though as this plant is not edible.

Wearing woad

Have your heard the Woad Song? The last stanza goes like this;

March on Snowdon with your woad on,

Never mind if you get rained or snowed on

Never want a button sewed on.

Go it antique Britons! 

Today there is adequate data available on the internet to allow you to grow your own woad, citation the blue pigment, dye some local wool and knit a blue scarf to wear when you are next climbing Snowdon (or your local mountain Peak)!

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House Drawings

Realtors have found that giving a House Drawing to their client's as a windup gift is maybe the finest gift they can offer. The House Drawing hangs on the walls of their client and is a permanent source of referrals for years.

Now that you have decided to give a House Drawing to your client the first interrogate you need to ask is where do I go to get it done? naturally Google House Drawings and look at the choices available. There are many fine artists to pick from so you need guidelines to work from in choosing.

When choosing the artist for your house drawing look for these things:

• Artist Mastery
• Price
• Turn colse to Time

Artist Mastery:
When choosing the artist to do your House Drawing check out their pro references and education. It is prominent to know that the artist is a pro and not an amateur working out of his or her basement. Having an artist with recognition and credentials gives status to your house drawing. Recognitions such as "Who's Who in American Art", pro Clubs, and Artist Societies, are to be sought after. Schooling is the other key item to look for. Does the artist have pro training and credentials from an established college or university? Was the artist educated in Fine Art or an Art connected curriculum?

Price:
Ranking with the mastery of the artist is the cost of the house drawing. You may find the most artist in the world but do you want pay the most price? Be thrifty and thrifty in your price range so that you can afford it and feel comfortable to do this on a rePeat basis. Most artists have a price schedule for their work with varied sizes and types. Look through these items carefully then taste them for more details.

Turn colse to Time:
You can have the finest Artist and the most thrifty price but if you do not receive your drawing in time for the windup what good is it? Make sure that the artist can do the job for you on time.

If you corollary the guidelines above you will be in good stead. Remember, a drawing of your client's home is a windup gift that will give you referrals and leads for years to come.

Stephen F. Condren - Artist

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Introducing The Kengai Style Of Bonsai Art Of favorite Of Bonsai Artists

The kengai style of bonsai art (cascade) is included along with the other stunning and most wanted, nevertheless additionally more complicated to accomplish. The trunk grows downward below the plane of the container, frequently twisting along the way.

Within the natural world, a tree emergent close to an overhang branch to deep snows, avalanches and blustery weather may take on this wrong side up pose. Those soldiery are not regularly accessible to the bonsai artist to reproduce, however. All the same, with wiring and persistence it can be realized.

To get rid of the obstructions commencing growth in this trend, it's central that the tree and pot be placed near the boundary of a desk or counter so the trunk can hang below the flat. In addition, given that the trunk will be on the side and underneath, it's critical to hire a weighty box for steadiness.

As the stalk is trained to compose in the descending U-shape, limbs ought to be taught to grow level to give the tree a filled exterior. Planting openly in the middle, not close to the periMeter of the pot, is regularly done.

Frequently the tree will be allowed to compose up and over, as opposed to plainly going over the rim. This accomplishes a flow to the apPearance and is regularly done along with a tip that is directly over the midpoint. Limbs ought to be cut to form a 'stAir-step' outline to match the flow and endow it with a 'meandering river' apPearance.

Seeing as the trunk and a whole of limbs will live below the container, added concern is critical to make confident that every part be given plenty of water and nutrients. Foliar feeding (applying fertilizer solution by spraying leaves or needles, which is subsequently absorbed by the foliage) is suggested.

Han-Kengai Style Of Bonsai Art

An added style, han-kengai (semi-cascade) is frequently categorized independently. Here, the cascade projects more than the flat surface at the bottom of the container, however neither the trunk nor branches compose below that level. In the semi-cascade approach, the tip remains higher than the altitude of the 'ground'.

The class is not unquestionably distinct, given that a whole of han-kengai will contain portions that are lower than 'ground level', whereas others will speculation out level. In each type they hold on to the curving trunk fashion familiar to both the kengai and han-kengai styles.

The same as with any technique, using the spoton collection tree for your proposed plan is essential. Happily in the case of the kengai and han-kengai style of bonsai art, assorted types will serve well. Junipers are a well-liked preference; however blossoming cherry trees are used as well. Even cedars are employed, everywhere the supple wood makes them an compliant collaborator in the venture. A whole of flowering varieties are used, for instance chrysanthemums. 'Weeping' varieties are as well classic choices, such as willows.

The same as with the kengai, it's vital to make confident that the slow-moving nutrients carry on to get to the tips. Foliar feeding is facilely done but requires to be completed frequently as a component of the watering and feeding practice.

the artist's way

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Artists Do Work for a Living

For those who mistakenly believe that artists "don't work" and on behalf of serious artists every where, let me set the article straight.

We work our keesters off, you just don't have the choice of finding us doing it. citizen have an idea that artists are dreamy floaters straight through life without a care. How do you think that work gets created in the first place?

You may see an artist enjoying accolades at a reception when an award is won. You don't see the hours of time preparation the work for the exhibition or the show. Sketching, painting, mixing media, creating, layering, and the classes, guilds, and study on how to couple it are very time and vigor consuming. Artists have to turn on the creative spigot if you will and let it flow - which is draining on a daily basis. At the end of the day, we're just as ready for happy hour as you are, the only divergence is we are, for the most part, enjoying what we do.

Sure, there are parts of this chosen occupation that I don't want to spend much time doing - such as wiring canvases. Pretty uncreative, but necessary. Chances are, that we enjoy the creative process so much that the mundane stuff is truly a chore.

What you see at art shows are artists on a break from creating. The art show scene is hard work also, do not be mistaken. Setting up a booth in 2 hours can be precisely backbreaking work. Personally, I never feel that my booth is 'done' without 4 hours going into it. possibly it's my high detail, visuals background where there is time to create a overwhelming display without pressure of crowds or judges and parking within range of the tent instead of the outer back 40 of the festival lot with a 12 mile hike to the car. So it's a bit of pressure, to say the least, to have it all together for judges to come and outline out what it is you are creating and give an view on it.

I too stood dreamily by watching artists in their booths at the Atlanta Dogwood Festival every April. Although I was ignorant of the standard etiquette then, request with great nerve how the artist created the work. Duh! Now I know better. This is something one does not do. The artist has come to their medium and body of works straight through trial and error, creating and figuring it out. Why then should they hand the average bystander a laundry list of the steps to create the art?

The art I create has taken 17 years to get to this point. How can I possibly distill it for someone else in a 30 second reply?

I understand now that I am living life as an artist, not just dreaming of being one how difficult it is to see someone take photographs of my image without permission or thought. To overhear, "Oh, that's easy, it's just........" Worse yet, to hear so many good comments on one's creations without netting sales at the end of the day. To these art 'patrons', may I recommend that although it's great to have compliments, we can't buy groceries with them.

I'm learning more about how this works as I go. For sure, some places are not prone to selling art. An open holder street Party is not the best art buying crowd. It's more of a neighborhood all day happy hour/yearly reunion. So an art show that happens to coincide with this is not necessarily going to do very well. citizen are not thinking of buying art at this time. That's fine, but it's not what I am here for. In other words, I feel like I'd have sold more art walking the street at this festival in a bikini rather than going to the trouble of setting up a tent and lugging it all out there.

This is part of what is so frustrating when overhearing the inane comments of the wandering public made in passing. Artists do the same amount of work, either the show is a profitable one or not. We've created the inventory ourselves, gathered it up, hauled it here and have it displayed as nicely as possible for the event. In fact, it's precisely tough when sales don't make, yet the work has to still be done tearing down the display and tents, packing it up, going home and refitting it back into the stream of our lives. Only there's not much allocation for dinner out, because sales didn't make.

True, some of us may be in our pajamas all day, but chances are we are already in our studios painting while you are still commuting in traffic. Or we are cramming time to create among the zillion other tasks involved with raising children. Many of us have worked as hard or harder at home in our pajamas ( I paint in my pj's) than many work elsewhere with business cars, budgets and built in perks - 401k's, healing insurance, and the safety of a quarterly paycheck.

The next time you attend an art show, if you like the work, don't be afraid to say so. Your enthusiastic response is appreciated, but it doesn't pay the bills for the artist ....yet.

Buying the work will show the artist how much you like it. If you're more gung ho than that, Telling your friends how much you like it and Showing it to them are key. Give out the artist's business card, or send an email with a link to the artist's website. Line up palpate for us that might net new works.

In other words, if you like it, back it up with operation and help others see it too. You, the enthusiastic appreciator of our works, are our best networking force. If you're serious about liking the art, then please take us seriously and come to be a motivating force in the sale of it.

And buy it now, before you help us come to be predominant long after we're dead.....the galvanic bill is past due!

the artist's way

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"The Hero Wore Black" "Pebbles" "Find Me" .... 3 Poems, An Artist's Journey of Self Discovery

"The Hero Wore Black" "Pebbles" "Find Me" .... 3 Poems, An Artist's Journey of Self Discovery

"The Hero Wore Black"

The hero wore black
The echo bore gifts,
and no one knows
the broken hope
as much as you and I.
Shadows dancing
in the dark.
The honorable heartbeat
in the chest.
Do you know I hope for you?
Save hope for you?

"Pebbles"

She knew there was no guess
no need to cover her eyes.
A plume in her hat
a disguise
confusing to the wise.
Distracting the mounting current of doting menaces
jealous hearts engage in such trivial accessories.
An accessory
he supposed
and was kept off guard.
With eagerness
pebbles in his hand
and in the current
of such obscenities
he drifted.
Empty spaces
an elevated view
sentimental tunnels
across the moon
and pebbles turn to roses
at the back door
where he was happy
to hold contented
yet unexpected remains.

"Find Me"

Teach me to fly.
Two rooms divide me.
Hoards of voices lead me
guide me
but find me... I can't.
I am not solid
heat me
I'll melt.
In a singular day who can say
if there is a opportunity
to take my breath away.
Find me... I cannot find me.

To all the days that disapPear
to all the ways that interfere
to all the dreams that elapsed ... Unspoken
to all the sacred moments forever ... Broken
if I am yellow
if I am brown
if I am sky
if I am gloom....

if I am you?

________________________

the artist's way

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How to be a Tattoo Artist

Learning how to be a tattoo artist can be intriguing as there isn't exactly a university or trade school to attend and learn from. Here are some cheap ways to begin to learn the trade and art of tattooing.

1. Go to the Source. One of the best ways to learn how to be a tattoo artist is to go to the source and ask. You can gain a wealth of knowledge on how to learn the trade by going to a parlor and naturally asking the artists how they first learned. There is regularly downtime in tattoo parlors and the artists will be willing to tell you how they got started. Chances are you will get a variety of dissimilar answers, both unique and informative and they will open up new insights on how you can learn yourself.

2. custom on fruit. Many tattoo artists got started by unmistakably practicing tattooing easy designs on fruit. It's a decent way to get familiar with the tool and see if it's something you can pick up and feel comfortable with. You'll have to get entrance to some equipment, or else pick up an cheap starter kit and go to work. Once you get good and more comfortable, and most importantly, confident that you can tattoo, then you can move on to giving your friends free tattoos for supplementary practice!

3. Get a Tattoo Book. A great way to learn how to be a tattoo artist is by practicing designs in a good tattoo book. From the sketching of these designs to practicing execution, by finding at and studying unmistakably great designs you can non only come to be inspired to step your game up, but you'll have actual designs to custom creating, and from their you can learn your own strengths, weaknesses, and personal style.

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preeminent (And Infamous) Artists of the electric Guitar

Does the artist make the electric guitar, or the electric guitar make the artist? I calculate the sass to that question would vary significantly depending on who you asked. A maker such as Gibson, Fender, or Yamaha would probably reply that an artist can only be as good as his instrument. But a guitarist, while likely to sass the point of a good guitar, would probably want to take the lion's share of the prestige for himself. This is the "chicken and the egg" question of the musical world and one to which we will probably never know the answer. Fortunately, even without knowing it, we can still enjoy the outrageous talent that electric guitarists have displayed over the decades.

Keith Richards. My favorite quote about this gentleman comes from comic Robin Williams's 2002 Live on Broadway performance: "I know there is a cure for whatever bioterrorism they send at us. I know that there is one, and it lies within Keith Richards, I know that. He's the only man on the planet who can go 'Anthrax? (sniff) Alriiiight!'" Sums it up, don't you think? Mr. Richard, guitarist for The Rolling Stones, is a astonishing example of the rock and roll electric guitar player. He's rebellious, scandalous, filthy rich and still going strong.

Eddie Van Halen. A poster child for the big hAir era of the 80s, this man is still recognized thirty years after the publish of his band's first album, which was entitled "Van Halen." Hey, if both the band and the album are named after you, that kind of says it all. Van Halen didn't confine his talents to his own band, either, and he contributed a guitar solo to the song of another 80s icon. The icon was Michael Jackson and the song was Beat It. No wonder this guy is still (in)famous.

Carlos Augusto Santana Alves. No, I didn't know he had four names either, to me he'll always be "Santana." This gentleman first became predominant over forty years ago and he's showing no sign of slowing down. His genres contain rock, blues, salsa and jazz fusion. His music has experienced a resurgence in popularity over the last decade or so and in 2003, Rolling Stone named Santana whole 15 on their list of 100 many Guitarists of all Time. Talk about getting the industry's stamp of approval.

Jimi Hendrix. There has possibly never been an electric guitarist who more strongly influenced the commerce or who more perfectly embodied a generation. He has, posthumously, been inducted into both the Us Rock and Roll Hall of Fame and the Uk Music Hall of Fame. He has a star on the Hollywood Walk of Fame, a sculpture on the streets of his hometown, Seattle, Wash., and an eternal place in the annals of not only American music, but American history as well. A sizable performer and a great innovator, Rolling Stone named him whole one on its 2003 list of the 100 many Guitarists of All Time. He remains one of the most predominant artists ever to have lived.

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The Artist's Guest Book - The Key to increasing Your Business!

The Artist's Guest Book - The Key to increasing Your Business!

One of the most foremost tools in the artist's firm tool kit is the Guest Book. Along with a briefcase of your work, firm cards and a receipt book, your guest book should be with you any time you are exhibiting your work.

What is a guest book? The Guest Book is your tool to derive contact information from time to come clients and collectors. As such, at art festivals and shows, it could well be thought about the most foremost reserved Supply tool in your display. It is a major source for your mailing list. Without a mailing list, your email newsletters would go nowhere. Announcements of upcoming shows and newly created artwork would be useless.

The primary point to remember is that the people who sign your guest book are interested adequate in your work and trust you adequate to give you their information. They have seen your work or whether talked to you or saw you talking with other people. They have given you permission to contact them again. The marketing truths are, despite handing out firm cards and even chatting with a prospect, it is very likely, in this age of too much information, that you and your art product will be swiftly lost in their minds (refer to my other narrative about firm cards!)

You can be forgotten unless you have the means to contact these people and jog their memories!

There are a few helpful rules I have with regard to the Guest Book and how to use it. Though I have called it a guest book in this narrative and refer to it as a guest book when sPeaking with time to come collectors and clients, it is not the usual puny book you see at weddings and such. Consider it a collection of information. My art Guest Book is a leather bound three ring binder with brass corners. The pages have ample space for my guests to fill in the already printed lines and ask for:

• full name
• complete mailing adDress along with zip code
• telephone (many give cell numbers)
• email adDress
• notes and comments

If you don't ask for and have a space for a phone number, or email or anyone else, no one will write it down. If they don't want to give it to you, they won't, so don't worry that you are invading their privacy. The notes and comments section is very important. Ask the prospect to make a note about what you have talked about, or make it yourself immediately after they leave. When you get home and look at thirty or so names, you won't have a clue who is who unless you jotted down something about your conversation. I also make sure that I can read what they are writing. Blame the Computer, but handwriting isn't what it used to be. A puny research can find the right road estimate or zip code, but when it comes to email adDresses you have no second chance.

My guest book also has abundance of space for people to write. There is room for information for two people per page as well as the same information on the reverse side of each sheet.

I let people know that we will be emailing periodic newsletters with updates about our work and schedules. I also undoubtedly do not share their information with anyone. Period. If I am having an exhibition at a gallery or at a show, I will transmit the Gallery's email announcements with my newsletters to the prospects (and I let the Gallery know that is what I am doing), but will not share a prospect's underground information with an additional one organization. It is common institution for a Gallery or club to ask for your enTire mailing list in order to promote "your" show. Although it seems a reasonable request, once your mailing list is in the hands of another, your occasion to fabricate an exclusive connection with those prospects is lost to you! When your show ends, so does the exclusive you had on those clients. The other Party will be adding your contacts to their comprehensive list. We have over 1000 people to whom we send out newsletters. No matter how many names are on your Newsletter list, each is a possible client! Your list is a gargantuan tool in the advancement of your art occupation and represents many hours of hard work that it took you to derive the names on that list. Do not randomly toss it away!

At the other end of the spectrum from the leather bound book with brass corners, my artist husband, Steve Filarsky carries a small moleskin notebook he keeps in his pocket for notes. He carries it all the time and it is especially handy when he is painting outdoors. If someone expresses interest in his work, he will ask for their contact information or have them note it down in his book. I have used legal Tablets to derive information at a show when the Guest Book was inadvertently left behind!. anyone is better than nothing.

What does it mean to your Art firm to derive a prospect's contact information? We have a friend who does gorgeous institution leather work. Her lowest priced items are 0 and most items are in the 0. - 0. Range. They are not an impulse item. But I can't impress upon her the need to get a guest book. I often wonder how much money and work she has lost over time because she does not think it is primary to remind people about her work. It is so easy for an artist to become complacent and think that they will be undoubtedly remembered! Opportunities lost become even more primary when the artist told me recently that she was entertaining out of state because of her husband's job. How are those past clients to know? undoubtedly her non clients won't know and she is now aware of this!

We see it all the time with artists. It is, unfortunately, far too easy to fall into the reasoning of "I've gotten this far without one." And when the cheaper takes a tumble and gentle reminders to your prospects are in order and even necessary, these artists have nowhere to turn!  I have met artsts who tell me that they have never had to market their art. They say that their clients all came to them through word of mouth only. Those same artists are not saying that now. For those artists who have always known the work that it takes to market their art, today's economic woes are just an additional one bump in the road!

We have learned that the symbolism represented with handing out your firm card and or request someone to sign your guest book can be thought about permission for them to leave! Obviously, we would prefer an immediate sale to just collecting information, so don't jump the gun with your guest book or firm card. I usually wait until they are ready to leave before I ask them to sign our guest book.

Always ask your prospect to sign your Guest Book. Most will. A few will not. They would rather just take your card. That is fine too. Never insist that they give you their contact information.

Your guest book is a great tool. It will enable you to renew connections with people who are interested in your work. When someone leaves a show after having talked to a dozen of more artists, loses your firm card and just gets absorbed back into day to day life, you can still put your art in front of them. Make every dollar that you invested in your art, in traveling, in show expenses and advertisements work for you by installing and maintaining a Guest Book in your Art firm today! All it takes is paper and pen and the willingness to ask interested prospects for their contact information!

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The Artist's Way - Friendship and healthy Hearts

The Artist's Way - Friendship and healthy Hearts

Often in groups of citizen connecting with their creativity together friendships are swiftly formed. Other times, it takes any weeks. Spending time with creative citizen ready to seek new options, I get to seek the richness that comes alive as we get to know each other in this supportive context. Friendships and creativity increasing together. Explore shows that citizen with friends live longer and happier lives. Since it's been established that friendship is assuredly good for your heart and since this note is being written while Valentine's week, hearts are all nearby (along with the media campaign for healthy heart fitness). Your creativity expands with support. Whether you are studying Julia Cameron's book, The Artist's Way in a group or on your own, if you're feeling short on friends, consider some of the questions below.

• Is it time to associate with a friend with whom you've lost touch?
• Do you spend time with a friend at least twice a month?
• Are you uplifted after time with your friend?
• Do you have a friend who needs your withhold right now?
• When you're feeling down, do you have a friend to call?
• When you're feeling joyous, do you have friends with whom to celebrate?
• Are your friendships supporting the heart healthy fitness that we now know is logical?
• How many friends do you have who share your interest in creativity or creative adventures?

As you read these questions, you get a clearer photograph of what activity is next. Friendship is worth scheduling and manufacture time to nourish; so is creativity. While within a friendship, it can be uncomfy sometimes, it's also true that within a healthy one, you get to be both your best and your not so dreadful self and your friend supports you. It's prominent to have a 'safe other' with whom to share your creative bursts of enthusiasm; one who encourages you. consider the following zaps to expound Whether your friendship status could use support:

1. I'm ready to mend a fence with one extra friend or determine to let it go
2. 3 things that I can do differently to improve a friendship that matters to me
3. In withhold of my creativity, I can count on these people:

In conclusion, I'm thrilled to share one of the reminders that has been so so meaningful to me:

"Sometimes our light goes out but is blown again into flame by an encounter with another human being. Each of us owes the deepest thanks to those who have rekindled our inner light." ~ a paraphrase from fantastic Albert Schweitzer

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How Radio Promotion Can Help New Artists

How Radio Promotion Can Help New Artists

Done correctly, radio promotion can be helpful to a new artist. But keep in mind that the end consequent depends largely on you.

First, some realities: If you are reasoning that if you get a track played on a radio middle point that booking agents and venues will come calling to you, it's probably not going to happen. If your sights are aimed at getting played at commercial major shop stations, your chances are slim to none (unless that middle point has a new, local or indie artist agenda which invites submissions). What radio Airplay Can do for you as a new artist is to help test the waters and see what kind of reception your music will get exterior of your home base. That could help you settle which direction to next take your career in.

At the beginning career stage, you need to be proactive at getting Airplay opportunities to work in your favor. Here are some requisite steps to take:

1. Be brutally honest about your product. Make sure your music is a stylistic fit for a radio shop you are interested in. Be sure that your material, vocals and instrumentals are strong sufficient to be playing side by side with the other, established artists. It also helps to get some feedback from others in the know.

2. shop your goods appropriately. Your best chance is at public/community/college/non-commercial radio stations that are receptive to playing new artists and new product. There are resources all over the web that will help you plump stations and study their formats and playlists.

3. consequent up on opportunities. Track your Airplay and get some comments from those who have played your Cd. If there is some strong feedback and consistency in Airplay, then do some explore in that area about potential interviews or gigs.

I have seen new artists take this coming and finally come to be full-time touring artists. However, "eventually" is the operative word here. It took many years of being proactive in contacts and research, construction relationships in the industry, releasing subsequent goods and perfecting their craft to make it happen.

One issue with a wee airplay won't be sufficient to build a career on. But it could be a foundation if you are willing to make the most of it by doing the work and staying the course.

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A Biography of Bob Ross the Artist

A Biography of Bob Ross the Artist

Bob Ross was a versatile painter and television anchor from America who was born in the year of 1942 on 29th October. Bob's place of birth was Daytona Beach in Florida. Before he became noted as a painter, he had a long work in American Air force for about 20 years.

His posting was mostly in Alaska and he used to take care of the healing services there. After retiring from the Air force services he earned huge fame in all over the world for his paintings and television shows.

Bob Ross had an impressive look, which like his paintings apPealed a lot to the audience of television. With his afro hAirstyle and his composed, gentle voice added up to his worldwide popularity.

He used to host a television show connected to art and the name of the show was The Joy of Painting and it is often considered to be the most beloved one among the Americans.

In this show he used to teach the viewers how to paint and the techniques and presentation was impressive enough to make the audience stick to the television Screen. There were quite a whole of kids who used to take their art lesion from Bob Ross through this singular television show.

Some of the paintings that gained huge fame and still remembered by the audience are "pretty petite mountains", "happy petite trees" and "happy petite clouds".

He was a strong believer of the fact that each and every man has an artist inexpressive inside him who can come out if the man is inspired and taught in a spoton way. His shows were dubbed in German and they were broadcasted for the popularity among the audience.

He was quite prosperous as a painter. In fact he started painting when he was posted in Alaska. He discovered a unique technique of painting, which was acclaimed by the art critics of the United States.

This technique is known as the wet-on-wet technique and it involved extra formula of applying the wet paint on an existing layer of paint that is really dissimilar from the accepted methods. He used to paint the darkest clouds and liveliest trees on paper using the uncomplicated 1or 2-inch brushes.

But the most interesting fact about bob Ross is that he never received a pro training of development paintings.

At the same time Bob Ross has got some indispensable comments from the art critics as well as fellow artists. According to them his paintings run short of detailing which is an indispensable part of a good painting. They also say that the paintings of Bob Ross contained a style, which seems artificial.

In fact he also faced embarrassing situations created by the traditional artists who protested against his modern technique of painting. This great persona passed away in the year of 1995 suffering from lymphoma.

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The Artist, Grandma Moses

A German proverb says, "The oldest trees often bear the sweetest fruit". Besides my own Grandmother Anderson, an marvelous self-taught artist, Grandma Moses, truly inspires me. Anna Mary Robertson lived until she was 101 years old, but she had only started painting when she was 76 years old. Her paintings hang in nine museums in the United States as well as in Paris and Vienna. She is best known as Grandma Moses.

The intuit she took up painting so late in life is because arthritis had made it impossible for her to hold her needle to embroider, her favorite hobby. However, she could hold a brush just fine, and not wanting to be idle, she began painting. She is one of the best-known American artists in Europe.

The Artists

Grandma Moses had her own unique style, which proved to be very popular. Well known for nostalgic scenes in gay colors, she visible farm life and the countryside. She had a knack for bringing a simple scene to life.

The Artist, Grandma Moses

An art assembler saw some of her paintings in a drug store priced from to each. He purchased all of her available art, and the following year she ended up having an exhibition at New York's Museum of modern Art. Her art was reproduced on Hallmark Christmas cards, on tiles and fabrics throughout the world.

A German fan said of her art: There emanates from her paintings a light-hearted optimism; the world she shows us is beautiful and it is good. You feel at home in all these pictures, and you know their meaning. The unrest and the neurotic insecurity of the gift day make us inclined to enjoy the simple and affirmative outlook of Grandma Moses.

Grandma Moses painted only from what was in her memory. She wanted to share how she lived when she was young with everyone. In her 25 years of painting, she produced more than one thousand (that's 1000) pictures, 25 of which after she was 100 years old! Her paintings went from the price of - each to ,000 - ,000 each. One of her paintings "Sugaring Off" (1943) was her top selling work at Us .2 million in November 2006.

Her work has been compared to that of Henri Rousseau. The singular style they share designates those artists who live in a developed and sophisticated society, but they are not trained in artistic perception and lighting that most artists excel at. In Grandma Moses' words describing the phenomenon "we make amateur art that sells".

I would be happy to have a tenth of the fame Grandma Moses did with her art. She is truly inspirational and she was not worried about technique or criticism. She just loved painting.

Alas, the story of Grandma Moses would not be perfect without the other part of her bio, which was that she had given birth to ten children, half of which died in infancy. She had begun working as a hired girl at age 12, and prolonged until she was 27 when she met and married Thomas Salmon Moses. She lived in Virginia and made butter and potato chips, selling them to her neighbors. She prolonged to run the farm after her husband passed together with her son.

One of Grandma Moses' paintings, Fourth of July, hangs in the White House and was painted in honor of President Eisenhower.

Some of the artist's quotes follow:

"If I didn't start painting, I would have raised chickens."

"I paint from the top down. From the sky, then the mountains, then the hill, then the houses, then the cattle, and then the people."

"I look back on my life like a good day's work, it was done and I feel satisfied with it. I was happy and contented; I knew nothing great and made the best out of what life offered. And life is what we make it, always has been, always will be."

The Artist, Grandma Moses

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The Artist, Grandma Moses

A German proverb says, "The oldest trees often bear the sweetest fruit". Besides my own Grandmother Anderson, an remarkable self-taught artist, Grandma Moses, truly inspires me. Anna Mary Robertson lived until she was 101 years old, but she had only started painting when she was 76 years old. Her paintings hang in nine museums in the United States as well as in Paris and Vienna. She is best known as Grandma Moses.

The theorize she took up painting so late in life is because arthritis had made it impossible for her to hold her needle to embroider, her favorite hobby. However, she could hold a brush just fine, and not wanting to be idle, she began painting. She is one of the best-known American artists in Europe.

The Artists

Grandma Moses had her own unique style, which proved to be very popular. Well known for nostalgic scenes in gay colors, she illustrated farm life and the countryside. She had a knack for bringing a simple scene to life.

The Artist, Grandma Moses

An art accumulator saw some of her paintings in a drug store priced from to each. He purchased all of her ready art, and the following year she ended up having an exhibition at New York's Museum of modern Art. Her art was reproduced on Hallmark Christmas cards, on tiles and fabrics throughout the world.

A German fan said of her art: There emanates from her paintings a light-hearted optimism; the world she shows us is beautiful and it is good. You feel at home in all these pictures, and you know their meaning. The unrest and the neurotic insecurity of the gift day make us inclined to enjoy the simple and affirmative outlook of Grandma Moses.

Grandma Moses painted only from what was in her memory. She wanted to share how she lived when she was young with everyone. In her 25 years of painting, she produced more than one thousand (that's 1000) pictures, 25 of which after she was 100 years old! Her paintings went from the price of - each to ,000 - ,000 each. One of her paintings "Sugaring Off" (1943) was her top selling work at Us .2 million in November 2006.

Her work has been compared to that of Henri Rousseau. The single style they share designates those artists who live in a industrialized and sophisticated society, but they are not trained in artistic perception and lighting that most artists excel at. In Grandma Moses' words describing the phenomenon "we make amateur art that sells".

I would be happy to have a tenth of the fame Grandma Moses did with her art. She is truly inspirational and she was not worried about technique or criticism. She just loved painting.

Alas, the story of Grandma Moses would not be perfect without the other part of her bio, which was that she had given birth to ten children, half of which died in infancy. She had begun working as a hired girl at age 12, and prolonged until she was 27 when she met and married Thomas Salmon Moses. She lived in Virginia and made butter and potato chips, selling them to her neighbors. She prolonged to run the farm after her husband passed together with her son.

One of Grandma Moses' paintings, Fourth of July, hangs in the White House and was painted in honor of President Eisenhower.

Some of the artist's quotes follow:

"If I didn't start painting, I would have raised chickens."

"I paint from the top down. From the sky, then the mountains, then the hill, then the houses, then the cattle, and then the people."

"I look back on my life like a good day's work, it was done and I feel satisfied with it. I was happy and contented; I knew nothing good and made the best out of what life offered. And life is what we make it, all the time has been, all the time will be."

The Artist, Grandma Moses

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wage Profiles - The mean Wage of a Make-Up Artist

Ever wondered what someone else is manufacture on their job? Well, the answers are out there. If you are inspecting becoming a make-up artist, here are the figures.

A make up artist is as the name suggests an artist. It is their job to apply the make up used by models or performers. It is not just the applying of beauty aids, but they also apply special effects make up that can be whatever from showing aging to creating a monster. It is not a field that one can get ready for with general schooling. Although some college preparing can help, it is more often trade school type instruction and on the job training that is more the norm.

The Artists

The most prestigious area of the make up artist field is the Hollywood apPeal photograph industry. It is a very competing field with very few openings. It was estimated by one magazine that if no new make up artists were hired for the next ten years, every apPeal photograph made during that time could be handled by the existing artists. Although this might be discouraging for someone inspecting this field, it is similar to expert sports. In other words, when a new artist wins a job in the industry, another one gets "cut." Make up artists in Hollywood can be very well paid, too. Earning in excess of a million dollars a year is not unheard of it for the top artists.

wage Profiles - The mean Wage of a Make-Up Artist

Another area where make up artists can work is the much more diverse modeling and photography field. It is not quite as hard to get into this field and some people even begin to do it on a free lance basis. It takes sometime to build up a good relationship with the agencies and photographers, but the rewards justify the effort. A junior free lance make up artist can earn in the middle of 0 and 0 per day, while an experienced one could earn in the middle of 00 and 00 a day.

One record that covered estimated salaries for make up artists listed their wage potential as being in the middle of ,000 and ,700 per year. This was an median for any distinct groups of artists including those working in the theater industry.

The make up artist field is animated and can be very profitable. Sadly, it is also difficult to get ready for it and harder still to find employment in it. Many artists have had to hold other connected jobs, like in beauty salons, while they gradually and thought about gain contact and make contacts. Some are willing to take on jobs without pay to gain the contact and to fill out their resumes. If you are successful, you can expect to be more than amply compensated.

wage Profiles - The mean Wage of a Make-Up Artist

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The Abstract and Non-Objective Artist - Edmondo Bacci

'Imaginary Sensory Data' is a contradiction between 'imaginary,' the one lacking factual reality, and 'real,' the one perceived by the five senses. Edmondo Bacci, born on July 21, 1913, in Venice, Italy, was the legendary artist, who had mastered the art of forceful expression of imaginary powers, where mundane logics gave way to abstract creativity. He would blend corporal and imaginary essence to charge a broad cord of idea, propelled through powerfully symbolic colors.

Edmondo Bacci studied with eminent artists, such as Ettore Tito and Virgilio Guidi, at the Accademia di Belle Arti from 1932 to 1937. During this period, Bacci, in collaboration with Tito, painted a fresco on the ceiling of the church of the Scalzi. Edmondo's other paintings created During this period, reflected the ravages of war, where 'Realism' and color played leading roles. Significantly, this was a turning point in his life, as his style witnessed a shift to newer ones, especially those used by Vedova.

The Artists

Edmondo Bacci held his first solo exhibition at the Galleria del Cavallino in the year 1945. He participated in the Venice Biennale, for the first time, in 1948. This was followed by many more apPearances at the Biennale. In 1951, he was included in the first Genoa Biennale. In 1953, the artist participated in an exhibition of Spaziale, a group founded by Lucio Fontano, the founder of Spatialism. Bacci was a regular contributor to the Spazialismo exhibitions, which endorsed the manifesto of A.G.Ambrogini.

The Abstract and Non-Objective Artist - Edmondo Bacci

In the mid 1950s, Edmondo Bacci met Peggy Guggenheim and prolonged receiving constant maintain from her. Peggy was instrumental in bringing Bacci in taste with influential collectors. Edmondo Bacci's artwork again underwent a transformation During this period, wherein, he began using mixtures and mortars. Bacci held a major exhibition at the Galleria del Cavallino in 1955, and in 1956, he held his first solo show in the United States at the Seventy Five Gallery, New York. In 1957, Bacci held exhibitions at Milan, Rome, & Switzerland, and took part in the "Between Space and Earth" exhibition held at the Marlborough Gallery. He also held shows at London, Beverly Hills, and Aschaffenburg, London.

The 1958 Venice Biennale saw Edmondo Bacci securing a detach room for the display of his collection. In 1959, he received a prize of the Municipality of Venice. Edmondo Bacci breathed his last on October 16, 1978 in Venice.

The Abstract and Non-Objective Artist - Edmondo Bacci

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The Abstract and Non-Objective Artist - Edmondo Bacci

'Imaginary Sensory Data' is a contradiction in the middle of 'imaginary,' the one lacking factual reality, and 'real,' the one perceived by the five senses. Edmondo Bacci, born on July 21, 1913, in Venice, Italy, was the legendary artist, who had mastered the art of forceful expression of imaginary powers, where mundane logics gave way to abstract creativity. He would blend corporal and imaginary essence to strike a broad cord of idea, propelled straight through powerfully symbolic colors.

Edmondo Bacci studied with eminent artists, such as Ettore Tito and Virgilio Guidi, at the Accademia di Belle Arti from 1932 to 1937. While this period, Bacci, in collaboration with Tito, painted a fresco on the ceiling of the church of the Scalzi. Edmondo's other paintings created While this period, reflected the ravages of war, where 'Realism' and color played prominent roles. Significantly, this was a turning point in his life, as his style witnessed a shift to newer ones, especially those used by Vedova.

The Artists

Edmondo Bacci held his first solo exhibition at the Galleria del Cavallino in the year 1945. He participated in the Venice Biennale, for the first time, in 1948. This was followed by many more apPearances at the Biennale. In 1951, he was included in the first Genoa Biennale. In 1953, the artist participated in an exhibition of Spaziale, a group founded by Lucio Fontano, the founder of Spatialism. Bacci was a quarterly contributor to the Spazialismo exhibitions, which endorsed the manifesto of A.G.Ambrogini.

The Abstract and Non-Objective Artist - Edmondo Bacci

In the mid 1950s, Edmondo Bacci met Peggy Guggenheim and continued receiving constant withhold from her. Peggy was instrumental in bringing Bacci in touch with influential collectors. Edmondo Bacci's artwork again underwent a transformation While this period, wherein, he began using mixtures and mortars. Bacci held a major exhibition at the Galleria del Cavallino in 1955, and in 1956, he held his first solo show in the United States at the Seventy Five Gallery, New York. In 1957, Bacci held exhibitions at Milan, Rome, & Switzerland, and took part in the "Between Space and Earth" exhibition held at the Marlborough Gallery. He also held shows at London, Beverly Hills, and Aschaffenburg, London.

The 1958 Venice Biennale saw Edmondo Bacci securing a separate room for the display of his collection. In 1959, he received a prize of the Municipality of Venice. Edmondo Bacci breathed his last on October 16, 1978 in Venice.

The Abstract and Non-Objective Artist - Edmondo Bacci

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salary Profiles - The mean Wage of a Make-Up Artist

Ever wondered what person else is development on their job? Well, the answers are out there. If you are inspecting becoming a make-up artist, here are the figures.

A make up artist is as the name suggests an artist. It is their job to apply the make up used by models or performers. It is not just the applying of attractiveness aids, but they also apply extra effects make up that can be anything from showing aging to creating a monster. It is not a field that one can get ready for with general schooling. Although some college establishment can help, it is more often trade school type instruction and on the job training that is more the norm.

The Artists

The most prestigious area of the make up artist field is the Hollywood request for retrial photograph industry. It is a extremely competitive field with very few openings. It was estimated by one magazine that if no new make up artists were hired for the next ten years, every request for retrial photograph made while that time could be handled by the existing artists. Although this might be discouraging for person inspecting this field, it is similar to pro sports. In other words, when a new artist wins a job in the industry, another one gets "cut." Make up artists in Hollywood can be very well paid, too. Earning in excess of a million dollars a year is not unheard of it for the top artists.

salary Profiles - The mean Wage of a Make-Up Artist

Another area where make up artists can work is the much more diverse modeling and photography field. It is not quite as hard to get into this field and some citizen even begin to do it on a free lance basis. It takes sometime to build up a good connection with the agencies and photographers, but the rewards account for the effort. A junior free lance make up artist can earn between 0 and 0 per day, while an experienced one could earn between 00 and 00 a day.

One article that covered estimated salaries for make up artists listed their revenue possible as being between ,000 and ,700 per year. This was an median for several distinct groups of artists together with those working in the theater industry.

The make up artist field is intriguing and can be extremely profitable. Sadly, it is also difficult to get ready for it and harder still to find employment in it. Many artists have had to hold other associated jobs, like in attractiveness salons, while they gently and determined gain perceive and make contacts. Some are willing to take on jobs without pay to gain the perceive and to fill out their resumes. If you are successful, you can expect to be more than amply compensated.

salary Profiles - The mean Wage of a Make-Up Artist

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Artist impart - David's "The Annunciation"

"The Annunciation" by David is quite incredible! I sat for two hours, on the floor of the Met jotting notes, in order to fully appreciate the painting's message. I have truly been inspired with what I was able to see for myself, as well as sharp the varied persons stopping to view such a masterpiece.

David is a great painter, he was born 1455 and died in 1523 and his work is "Netherlandish." "The Annunciation" is merely one part of an enTire multi-storied polyptych. The medium is oil on wood and was originally commissioned in 1506, by Vincenzo Sauli; a wealthy banker and diplomat for the high alter of the Benedictine Abby Church of San Gerolamo Della Cervara, near Genoa. The ensemble created a synthesis of northern and Italian artistic modes. David achieved a rare equilibrium in the middle of detailed description and elevated exposition.

The Artists

To begin, "The Annunciation" is unmistakably two panels standing side by side, complimenting one another, with the operation of the Holy Spirit approaching Mary to impregnate her with the Christ child, through the gesture by the angel of annunciation. This is a tasteless motif among many Renaissance artists, but David unmistakably captures the moment. The two paintings are an estimated 3' x 4' each, and are spaced well, at approximately 8" for full effect.

Artist impart - David's "The Annunciation"

The angel of annunciation stands alone on the left panel. He is Dressed in soft-toned, light blue, raiment that achieves a "flowing" operation about him. The approximately iridescent cape, of red and green color, is inscribed with Latin phrasing that disapPears within the folds and creases. Motion is achieved through the gesture of action, as the angel signals the dove, the Holy Spirit in the right panel, to advent the virgin.

Action is supplementary hinted at, by the bent knees, as seen through the clothing, as well as with very positive gestures from his hands. By creating a mood or anticipatory action, David lets the angel tell whoever is viewing the painting, that he captured that moment in time as he saw it happen. The gesture of command with the angel's right hand sets a triangular format in the middle of the two paintings. It connects them and allowed for me to consequent from one panel to the next. His left hand begins a secondary triangle, but with the expanding of a three sectioned golden scepter. The scepter is extended upward, toward the area in the middle of the paintings, and apPears to be pointing toward the heavens. The top of the scepter has a pointed crown at the top, with a spiral mid section, and finally a plane handgrip at the bottom.

The room itself is a contemporary setting for that time. It is of a straightforward design with one duplicate pained window and approximately no furniture items. The window itself is split into four wooden storm panels. The two lowest ones are fulfilled, and locked, with a straightforward metal latch, but the top panes reveal a view upward into the heavens through lattice made of metal as well. Nothing recognizable can be seen through the glass, other than the soft tones of a blue sky with clouds. The upper storm doors open inward, invitingly towards the angel.

The flooring in both rooms is comprised of a type of small section tile that alternates in the middle of an approximately ivory tone, and is complimented by a soft rose colored alternation in the concentric pattern. Additionally, laid within the tiles, is another pattern also. The other pattern is set, (alternating), with a softer blue that the angel's raiment and a light shade of green. The tile lines, as with the overall perspective of the pieces, head toward the top area in the middle of the paintings, following the line of the scepter. Although the story is supposed to be in the same room, David seems to have made the same room, in actuality, two separate places. One note of significance is that in the right panel, the floor on which Mary is has a hole on lower left projection on the bottom. There is a stone barrier, or edging, that seems to allow for her disunion from the dark void that is descriptive through that hole. I feel that David is attempting to show that her disunion is from the world below, and the annunciation is occurring on a higher plane than that of that same ungodly world.

The walls on each painting are primarily set with wooden panels, but the left portrait has bluish fresco-type cement topping it about halfway up. The blue of the cement is slightly darker than that of the angel's clothing, and allows again, for the angel to stand out from the painting, and out from the projection of the room itself. There is a Fireplace behind the angel, although he stands before it and blocks one's view, in order to break up the flatness of the wall.

The expression on the angel's face seems as if he is saying, even without words, that all things will be fine; a sort of warmth emanating from within. Aiding the warmth, are two burgundy Pillows, lying across the bench along the wall. They apPear very soft and comfortable, as with the scene. In turn, they associate the left half of the dyad, with the right, by completing a line, (horizontal), across to the top of the small wooden table. On that table, is a bible supported by a third, smaller Pillow that sits before the Virgin. It's open to no singular page, but the primary rendition of David's painting, such as Robert Campin's "Merode Altarpiece," would be consistent with the scene as written: The bible is either open to or implied to the Annunciation. The pages are flapping randomly, and do not reflect any definite point in the book.

The main path of sight originates from the angel, then crossing to the right painting and focusing on the Holy Spirit, the dove, finally to the Virgin. The dove is positioned just off center and above Mary's head in the top of the scene. The flight-path of that bird leads the greatest destination to be with Mary. There is a golden radiation with a bluish hue surrounding the bird, from a source behind it. The Virgin has the same radiation emanating from behind her head also, but hers is not as brilliant, and lacks the bluish hue.

Mary's face apPears somber, and quite perhaps scared. Her hands lay crossed, open over her chest, as she kneels before the Bible. Her gaze stares right at whoever views this work, but it also stares past them as well. I feel, that the face can be drawn out from the scene further, by the Dress she wears. That Dress is a great and rich royal blue color, with a golden design along its border. As with the angel's raiment, the drapery folds created on both figures, is comparable to those of Jan Van Eyck. They yield a depth and feel about them, as with all the fabrics in the paintings.

A white ivory-colored jar flags Mary's right side. Three white lilies stem from it. Those lilies are signifying the Syn. Clearness in the moment...the holiness. That holiness is added to with a soft red velvet bag lying before her, on the floor. There is a set of rosary without a crucifix spilling out toward Mary from that bag. Since the rosary is dedicated to Mary, I take it as a gift from God for her time to come role as the mom of the Christian savior, Jesus Christ. A circular path is achieved colse to the painting from those rosaries, to the dove, and back to the angel. It is a well-balanced portrayal.

Directly behind the Virgin, there is a bed covered in a dark blue cloth. The bedding derives from extensions of that cloth, originating from two tendrils above the view. They come down to engulf the bed all the way to the floor. Again, David's use of a slightly contrasting shade of blue allowed me to pull from the paintings, all the key elements. Blue is a tasteless motif within "The Annunciation."

Light symmetry is also a factor of both panels. The left has a brighter appearance. I assume that since the nearnessy of the angel, in expanding to the open panels of the upper windows, the set of paintings reveals this variation in that manner. In the right panel, Mary is shrouded in a darker light. This darker appearance may be due to the fact that the Holy Spirit is the "light" for that room, in expanding to Mary's illumination from behind her head. Mary's illumination appears to be very secondary in the scene.

As I said earlier, perspective lines are implemented to give depth to the work. The only failure that David attained was the lowest shelf on the table, under the bible. That shelf is out of perspective. It took awhile to pick that out though. Aside from that one discrepancy, all elements within the rooms are set beautifully to a multi-point perspective. The main line of sight heads toward the center area in the middle of the paintings in a 45-degree pyramidal direction, from the tiles.

David's other paintings from this polyptych are masterpieces such as "The Rest on the Flight into Egypt," "The Crucifixion," "The Nativity," and, "Virgin with Child and Four Angels." I got to see them all. Each one drew my attention away from the Met, and into the scenes. I have truly grown from my visit and will return to this newfound treasure of the arts.

Bibliography

1. Art History: Revised edition; Volume 2; Marilyn Stokstad; Harry N. Abrams Inc, Publishing 1999
2. The Metropolitan Museum of Art; Gerard David "The Annunciation"
3. Fa18 @ Suffolk County society College; 2000

Artist impart - David's "The Annunciation"

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Lina Cavalieri: The Artist's Muse

She was a woman preponderant for her beauty, preponderant for her gorgeous soprano voice, painted by Boldini and Muller-Ury, featured in several silent films and herself portrayed in film by her fellow Italian, Gina Lollobrigida. However, Italian opera singer Lina Cavalieri is probably best remembered as the inspiration for Piero Fornasetti's "Variations and Themes."

Born on Christmas Day, 1874, in Viterbo, Latium, Natalina Cavalieri was orphaned at 15 and sent to live in a Catholic orphanage. She chaffed under the correct management of the nuns, and soon ran away to join a theatre troupe. In Paris, she sang in cafes, all the while training as an operatic soprano. Her lovely voice, and even more gorgeous face, opened many doors for her, and she sang with Enrique Caruso in Fedora. She travelled the world as an opera singer, living and loving with equal fervor as she married and divorced three times. The most photographed woman of her time, she reTired to open a cosmetic salon and write a magazine column and a book devoted to charm secrets. While the Great War, she was a silent film actress in the United States, returning to Italy after the war to live with her fourth husband near Florence She worked as a nurse While World War Ii, until her death in 1944.

The Artists

Her charm was extolled throughout her life, but nowhere was it preponderant so thoroughly and so uniquely than in the series of 350 plates created by Milanese artist Piero Fornasetti, and entitled "Variations and Themes." Though Fornasetti no doubt saw photos of the singer-her photogenic face and shape was a favorite of the press-his inspiration was an engraved newspaper illustration that evoked her as a classical charm in the Greek or Roman style. He reproduced that one engraving in decoupage on a plate, then transformed it in hundreds of ways: Cavalieri with a veil, Cavalieri winking at the viewer; seeing out through netting, sipping from a cup, split in half, shattered. Each new creation seemed to inspire ten more, in a witty, yet romantic fashion, never self-conscious or ironic.

Lina Cavalieri: The Artist's Muse

In "Variations and Themes," classical charm is reborn and made modern.

Fornasetti is preponderant for bringing an artistic approach to the everyday object. In his hands, straightforward Screens, umbrella stands, wallpaper, blinds, dishes all come to be canvas or sculpting media for his unique vision.

Lina Cavalieri: The Artist's Muse

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How to Write the excellent Artist Statement

Have you ever read someone's artist statement and said to yourself "what the heck does all of that mean" or "those are some fancy words that I have no idea what they mean?" If you were having a personal conversation with the artist and you were asking about their art, would they talk like that, in those terms? Probably not and neither should the artist when composing and writing their artist statement.

Here are some tips and ideas for all artists to think about when composing a new statement or correction their current artist statement.

The Artists

1. Keep the Statement Simple - What I mean by this is that the artist statement should be written both clearly and concisely for a wide range of people who will read it. The artist is neither sPeaking down to someone who is uneducated with fine art, nor are they talking up to that someone trying to impress them. The best way to write the statement is to do this as if you were sPeaking to someone in person. Basically, an artist statement is an introduction of their art, without the artist being there.

How to Write the excellent Artist Statement

2. The Statement Should Tell Why - The artist should explain why they create this kind of art. This could be in the form of an explanation of the artist's motivation, branch matter or maybe someone who inspired the artist to express their art. In addition, the "why" could also discuss any artistic or personal influences. Overall, the artist is telling the reader the personal reasons why they create their art.

3. The Statement Should Tell How - Explaining to the reader the "how" can be a short sentence or two about the artistic process or describing if there are any extra techniques that were used in producing this art. The artist should not get technical or Supply a step by step guide on how to create their art. If there are any unusual materials used, that can be mentioned too.

4. What it Means to the Artist - Overall, this a personal statement of the meaning of the art for the artist. This may be the most difficult thing for the artist to write about as it will review something personal about the artist. It is very difficult to write about yourself, especially when you need to keep it short. For this, think Twitter and try to write this with 140 characters. It is tough to do but try to do it in at least 2 to 3 brief sentences, maximum.

5. Keep it Short - Remember that people's concentration spans are quite short and that if the artist statement is too long, too involved or poorly written people will just not read it! Avoid big, flowery and involved words. It just does not work. You are not trying to impress anyone, you are trying to review to a very wide audience what your art is about.

Here are some other things to consider and couple into an artist statement::

• Avoid using I and me throughout the statement.

• Do not say "I want to..." or "I am trying to..." Just say it and be precise.

• If you have multiple bodies or work, materials or techniques, have multiple artist statements for each.

• Do not "tell" the reader what they "must" see in your art. That is what the artist sees and the viewer may see or explain something else.

• This is not a biography. Do not get that mixed in with the artist statement.

• If the artist is unsure about the end corollary of the statement, then the artist should have other people read it, commentary on it or find someone that will help the artist.

• After it is completed, the artist should reread it and make sure that the sentence buildings and spelling are perfect.

The artist should then put the statement away. In a few days, they should look at it again and corollary these steps all over again! At that point, the artist will see how a phrase, sentence or a word can be changed in order to make the artist statement clearer and extensive better.

Finally, if the artist is happy with the statement, then it is good to go. If however, the artist is still not thoroughly happy with the statement, put it away again and reread in order to fine tune and review the artist statement clearly.

Remember, the artist statement is sPeaking to the viewer in the artist's absence. Therefore, the artist statement should be short, brief and well written in a conversational language.

How to Write the excellent Artist Statement

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The sublime Chinese Artist - Zhang Xiaogang

The Chinese Surrealist and symbolist artist Zhang Xiaogang has gifted Chinese art by his unique use of Western classical art to generate an private yet indigenous art technique. His predominant "Bloodline" works Supply an productive commentary of the exaggerated Chinese emphasis on collectivism. His "Amnesia and Memory" series is a astounding depiction of recollection and forgetfulness. His subjects by their very lack of expression tell a lot, and this is probably where Zhang's greatness lies.

Born in 1958 in Kunming in the Chinese province Yunnan, Zhang Xioagang is a modern Chinese surrealist and symbolist artist. Zhang's works are much sought after by foreign collectors. He is particularly customary for his "Bloodline" painting range - portraiture which depicts uniformity, and challenges the Chinese obsession with the collective. China's political disturbances and Western painters such as Picasso, Dali and Richter have influenced his work.

The Artists

Zhang took up the study of oil painting at the Sichuan Academy of Art. While studying there, he gained an comprehension an interest of western painting. Surrealism and Cubism had an enduring impression on him. A visit to the Documenta exhibition in Kassel, Germany assisted him in finding his own individualistic style of art. He became a member of a group of young avant-garde artists who became important in the 1980s. In 1985, he co-founded the avant-garde movement "Current of Life."

The sublime Chinese Artist - Zhang Xiaogang

Zhang gave his preliminary solo exhibition in Chongking, at the Lost in the Dreams Gallery of the Sichuan Academy of Fine Arts. Zhang has been able to harness the techniques of western classical art to generate works with a Chinese identity, which suit local needs. Zhang gives point to brushstrokes and color and utilizes flat unidentified backgrounds and dramatic illumination effects to idealize his figures. His "Bloodline" portraits which he started work on in the 90s depict Chinese people, a major inspiration for which are photos discovered by the artist, of his mum as an keen woman in her youth. The subjects in these paintings are expressionless, generally with haunting dark-pupiled big eyes and in a stiff pose. The lack of facial expression is a portrayal of the false apPearance of calmness which conceals emotional turbulence within. It is a commentary of the exaggerated point which the Chinese give to the collective, with souls suffering under the might of collective standardization.

Zhang has two trademark gestures - a minuscule red line that links the different figures in the picture and then winds off the side of the canvas, and irregular color patches. Zhang interprets the color spots as brief feelings of passion and hope in an otherwise gloomy everyday existence.

In 2007, "Bloodline: Three Comrades" was sold for ,112,000 at Sotheby's in New York. The "Amnesia and Memory" series is an additional one important body of work from Zhang. The series investigates the involved link between memory and forgetting and how it affects an individual's mind, how past recollections are continually changed in the present. "Tiananmen Square" critiques the tragic happenings of 1989 and fetched .3 million in 1993, at Christie's auction house in Hong Kong.

The sublime Chinese Artist - Zhang Xiaogang

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