The Artistically Challenged Person’s Approach to Choosing Artwork for the Home
December 15, 2009 by Portrait Painter
Filed under Impressionist
The Wow Factor
Did you ever walk into someone’s home and look around and suddenly become embarrassed by your own homes décor? It just seems that some people are artistically gifted while the rest of us suffer from some form of artistic dysfunction. It can be irritating to have to try so hard just to hang some pictures. But once you get the knack of things, it is really not so hard and your home’s interior can remind you of those homes with that special Wow factor.
Artwork, by its very nature, is a personal expression and every individual will receive it on a personal level. Some paintings just call to you and you simply have to have it while others just do not make sense. This is true for everyone, and not just the artistically challenged.
Start Small and Simple
If you are ready to tackle some new and improved decorating ideas, and ready to start with the artwork that hangs on your walls, then pick a room and jump right in. It is usually best to start with your favorite room in the house simply because this room is probably a place that you already have a vision, even if it is very small. Most people have white walls, but if you have a bit more splash to your room, that will work just fine as well. Start small and just pick a color scheme. Just like that. Something that will compliment what is already painted or wallpapered to the room, but one color that really works for you. It is okay to be daring and go with reds, greens, blues, or even yellows and oranges. Often, once we have latched onto a basic color scheme, us artistically challenged can work through our dysfunction and move forward. However, part of our dysfunction is the tendency to over use our color. Start small, but stay simple.
Let us say we were having a bold day and we picked orange for our color scheme. We do not need paintings and artwork that are completely orange. Maybe just one nice piece that is mostly orange, but the rest should just have a little of that color reflected in the work.
Themes, Clashes, and Other Artwork Disasters
Rule number one in overcoming artistic dysfunction is never mix styles and themes in the same room. Some people can get away with that and it looks fabulous. But we are not so fortunate and we must keep it very simple. If your orange room has one lovely impressionist piece in it, then stay with various forms of impressionist artwork throughout the room. Some experts say that you should maintain the same style throughout the entire home. Others say to vary but only room by room. I am in favor of room by room because I do not like boredom, and too much repetition is boredom.
Some colors work well with others and other colors are an atrocious disaster when blended or even in the same state as another color. I have yet to see a well blended sample of orange and pink, although I am sure some highly creative type compiled them beautifully.
If you are not sure, ask. Asking questions and gathering ideas from other people is the best way to learn. If you are looking for specific answers then you have to ask specific questions. Bring a photo and explain that you are looking for something that will compliment painting well, not match it. Part of learning the fine art of decorating with artwork is learning to compliment pieces rather than match them. You do not have to be pushed in purchasing something you do not like, but the experience of watching someone find you a painting that compliments the one you started with can be very beneficial. In fact, after a few tries, you may even begin looking yourself, with confidence. By enhancing your decorating talents step by little tiny baby step, you will be able to put together impressive themes and décor without wasting money on pieces that do not work.
Understanding abstract art – Part 6
October 29, 2009 by Portrait Painter
Filed under Abstract & Cubism
Abstract art, like any art, should not be “explained” as a how-to. Appreciating art is as far from a skill or craft as you can get. Each person has the ability to understand a work of art- even if their only understanding is whether they like to look at it or not.
People I have met who have not studied art at all often tell me they don’t know when I ask them what they think of an artwork. I tell them that it’s okay to not like it, even if they don’t know why. Visual imagery is a very powerful tool in our moods and our daily lives. Even simple colors effect how we feel without our knowing it. Think of advertising, where fast music and bright colors make you feel energetic. Dark images and slow music lend to mystery or solemn memories. Images and colors are understood on a basic instinctual level. An abstract level, you might say.
I am an artist, and I generally paint abstract paintings. I also enjoy some combination between abstract and figurative- basically people/ figures, and shapes and colors all mixed in together. I think abstract art is powerful because it can convey thoughts and feelings, ideas, evoke emotions. Anyone who has ever seen a picture of something and done a double-take, or stopped, or gone back and stood in front of it for even a few seconds, has appreciated art. If an image is powerful enough to get and hold your attention, it has done its job. The reason that Abstract Art can have a little more power is that it is not an attempt to “feed” you an idea through a recognizable common image. Abstract art gives you, the viewer, control over what you make of it.
When I paint using many bright colors and shapes and movement, I am painting my feelings at that time. I am painting the way I am seeing the world at that moment. When you walk over and look at that painting, you automatically project your current emotion, thought, feeling onto mine. You will react based on your own personal perspective. If you show twenty people a picture of a horse, they’ll all “see” a horse. If you put an abstract image up, you will likely get twenty different responses according to what they drew form the image. I refer you to the Rorschach Inkblot tests. It’s all relative.
I think that, essentially, is the main draw, for me at least, of abstract art. Each and every person will get a different experience out of each image. That is how art should be, a personal experience that can also be shared.
There Are Reasons Why A Dog Painting Is Becoming Popular Nowadays
September 30, 2009 by Portrait Painter
Filed under Portraits
Dogs are said to be mens best friends. These pets protect us more than we do protect them. Whether you have a pet store or you just want something new for your home, dog painting is an ideal masterpiece which will match your set-up. As a tribute to the dogs that accompany you each day by guarding you from danger, you should consider having a painting for this creature. Dog portraits painting are very popular that a lot of artists have included as one of their primary offerings. Why are dogs so famous subjects for paintings?
Different looks. A dog may have different angles the way you project a variety of images. This pet may be so angry at some points and may be very tame in other incidents. This fact gives the artist the option to pick the best one to work on. You may also present pictures to your service provider if you have one – and agree which will be ideal for a dog painting. You will be surprised how beautiful the dog portraits painting will be after the work had been instituted well by your painter.
Matches all color media. Whether you want just a mere black and white concept in your dog painting or you want it to be colored, dogs are indeed great subjects which will fulfill the promise of a good artwork. Even with a pencil or charcoal used to sketch a dog portraits painting, the masterpiece is full of life and will definitely project the angle presented by your dog. With a colored concept, the painting will come out as vibrant as you expect it to be.
Variety of purposes. A dog painting concept may be used in the house or in your office and yet still leave a mark to people who come across the sight. It is with deep appreciation that you will see how valuable dog portraits painting are. You will be surprised that the painting blends well with where it is posted. In fact, even painters use dogs as subjects for art exhibits thus attracting dog-lovers to visit the show.
A dog painting is a good treasure to keep. It is a known fact that people have an extreme and deep love for dogs when compared to cats or other pets. This being so, dog portraits painting are indeed considered an in-thing nowadays. Since you appreciate the animal in its so-called human form, you will surely applaud painters for considering dogs as their subjects. You will surely be attracted to own one for yourself.
These are just some of the sound ideas why a dog painting is undisputed as one of the greatest works an artist will spend time on. As you value your dogs existence in your premises, so do artists give high regard to this amiable pet. If you want to have one of the best paintings of this mammal, you must consider going to the best artists who will make a great deal out of your dog portraits painting. Make sure your requirements are matched and the dog will project a good and remarkable aura that your visitors will be happy about.
Mystical Abstract Art
September 8, 2009 by Portrait Painter
Filed under Abstract & Cubism
When attempts have been made to describe a work of abstract art many people have used words like “feelings”, “emotions”, and “soul”. I think these words are clues to what is actually happening within both the viewer and the artist.
The world of art and the environment of the mystical go back a long way together with many facets in common with one another – one being that they both seek to look into a deep unknown – and then seek to manifest it into this physical world by one means or another.
Therefore it is understandable that a non-representational picture can be difficult to comment on. The viewer might be “moved” by the artwork, but they may not really know why. I believe it has something to do with their sleeping soul being gently (or violently) shaken into a specific awareness. The earthy physical body may have very little understanding as to what might be happening, so they are left to struggle in explaining a spiritual concept from a physical point of view.
However, as an artist who has acquired (and lives by) a little understanding of certain spiritual aspects, here are my offerings of what I believe happens when a viewer comes across a mystical abstract painting.
In order to do that I want to present the whole episode from all aspects:
The Spirit
One of the Spirit’s major intentions is to bring spiritual understanding into the physical realm. One way to do that is to enter time and manifest a potential opportunity for a receptive body. That receptive body can either be the person being offered the opportunity – or the messenger of it. If they are the messenger then there are many ways in which that message can be put across … and one of them is by producing a provocative illustration or allegory in the form of an abstract painting.
The Messenger
… Or Artist in this case … Or more specifically an artist who is prone to take note of their own inner enigmatic visuals. Once inspired the artist then sets about translating these visions into a personal style of depiction. I think it is quite probable that many an artist will be unconscious of what exactly they are putting down upon the canvas … all they might know is that there is an urgent complusion to work with particular colours, or in a specific style.
The Art
A personalized manifestation of the inner visuals … portrayed on board or canvas – or any other handy appropriate medium at the time. The artist lets the visual take shape in their mind and allows for interpretation into the physical world … which results in an artwork of surreal allegory, or be-riddled story, or just a simple abstract presentation of specific colours or shapes. Each element of the art will include (or be) a potential key ready to allow the appropriate viewer entrance into its intriguing yet creative environment.
The Viewer
A receptive observer viewing the art may initially have an indefinable affinity with it. They are perhaps first emotionally drawn to the image before them. And as their thoughts begin to trigger other thoughts, gradual realizations start to become apparent … gaining strength until they acquire a personal creative understanding seen only by themselves but which may eventually involve others who come into contact with them.
The Gift
The originally unknown vision now begins to unfold its truth within the receptive viewer. This can be in many guises … a simple affirmation … a personal revelation … a specific spiritual, mental, or inner encouragement … an energizing edification for a hungry or floundering soul … offering a sense of contentment within a challenging situation … This gift can be as simple or as complicated as is required for the viewer. Its influence can be timeless – remaining relevant over a period of days, weeks, months, or years.
So the next time you seek to produce a piece of art or decide to visit a gallery do not hesitate or dwell upon any lack within you … rather open your eyes (after all they are supposed to be the windows of the body) and prepare yourself to either see in order to create – or see in order to receive.
On Becoming an Artist
July 28, 2009 by Portrait Painter
Filed under Old Masters
How does one become an artist? It makes sense to start with this broad topic, rather than the fundamentals of drawing, painting, etc, because this is the basic framework for everything else. To say that a person is “born” to be an artist is a romanticized cop-out. Some people may have a greater aptitude for learning the craft, but the inclination towards art is shaped by a person’s experiences and the influences they encounter in life. I could easily be a jockey today if I had grown up around the race track. Instead I grew up in an environment where artistic and intellectual pursuits were encouraged.
In it’s most basic form, the desire to create art is all that’s really needed in the beginning. But to pursue art as your life’s work, to be a “serious” artist, requires a well-rounded foundation, one built upon a broad range of knowledge and experiences.
Art reflects the world around us, and often the world within us. The old advice to “paint what you know” is certainly valid, but just what do you know? Most take this maxim to mean that you must paint or draw your backyard, your neighbor or your dog. I “know” these things too, but I also “know” history, literature and mythology. I have traveled in a number of countries; I have been in the military. I know my life, and I know something of myself, too. This knowledge is reflected in my work.
Writers are encouraged to write as much as possible from their own experiences so that it sounds authentic. Why should a visual artist be any different?
The wider the range of your knowledge and experiences, the deeper and broader your art will become. Exposure to great works of literature and philosophy have given me new ways to look at life and the world, as well as giving me ideas for new artwork. It has allowed me to see how others have viewed these things before me. Some artists have been optimistic; others cynical; but every age has had both optimists and cynics, demonstrating a continuity in human affairs. Both art and psychology tell us that whatever you feel, others have felt the same way you have. The more you read and study, the more you’ll see this too.
The more well-rounded a person you are, the finer an artist you’ll be. It’s “cross-training” at its most intellectual level. This also applies at the more technical level, when developing the actual skills for creating art. To create fine art requires mental focus, patience, discipline, superb hand-eye coordination, well-honed decision-making and problem-solving skills. It requires you to be a good student, one who knows how to study and practice. It also demands the ability to look at your work objectively, not an easy task. I spent a year or two playing and studying chess many years ago, and found that it improved my drawing ability, probably because chess demands so much concentration and foresight. And if you are an artist that works in a representational style, try studying and working in a more abstract style for a while, and vice versa. You’ll gain a greater understanding of both.
Da Vinci and Michelangelo were remarkably well-rounded individuals who could think logically, practically and analytically, thanks to their activities in engineering, architecture and the sciences. They applied these skills to their art, and the results speak for themselves. I can think of no better proof for my contention than of these two extraordinary men.
I think it would be helpful now to address the merits of being a formally trained artist, as opposed to being a self-taught artist, such as myself. There can be no doubt that a school trained artist has a considerable advantage over one self-taught; you have someone knowledgeable to ground you in proper technique and help you to correct your mistakes. The self-taught artist must go to great effort to be as constructively critical of his work as he can, concentrating extra effort on the areas in which he is weak, something that will be difficult for some.
But I think all students are ultimately self-taught; no one can make the effort for you. And I have seen many works by academically trained artists that are so formulaic that they look like they came out of a paint-by-the-numbers kit. The self-taught student may fall into improper practices if he isn’t careful, but he may be freer in his artistic expression than his school trained friend. Keep in mind that Van Gogh was largely self-taught, receiving only minimal classroom instruction.
I don’t want to scare anyone away from pursuing art; as I said before, all you need to start with is the desire to start. But gradually, bit by bit, you may find that expanding your sphere of knowledge and experience will improve the quality of your work, and your life. This all reminds me of the criticism that students have perennially made — why should I study geometry, French. Latin, etc., when I’m going to wash dishes or mow grass for a living? You’re right — you don’t need these studies for everyday accomplishments. But creating fine art is not an everyday accomplishment –it is an extraordinary endeavor that requires extraordinary abilities. I hope that my thoughts here can be of help to you in developing these skills.