Tag Archives: California

What makes a painting beautiful?

I am thinking if people comment about a particular painting and call it beautiful, I have accomplished my mission. But what exactly is it that makes art beautiful? In the ’70s the word ‘kitsch’ was used for art that was considered…well, not beautiful, or substandard!

Wikipedia says:
‘Kitsch (/ˈkɪtʃ/; loanword from German) is a low-brow style of mass-produced art or design using
popular or cultural icons. Kitsch generally includes unsubstantial or gaudy works or decoration, or works that are calculated to have popular appeal.’

I guess that includes Thomas Kinkade! A winter scene with smoking chimney tops and lights on in *every window* of the house, yet somehow green and red trees? Yeah….kitsch! Not beautiful. In his excellent 1950s book Eye of the Painter & Elements of Beauty, Andrew Loomis listed 12 Elements of beauty. After all, it can’t just be one thing!

Here’s what Loomis wrote: Unity, Simplicity, Design, Proportion, Color, Rhythm, Form, Texture, Values, Quality of light, Choice of subject, Technique.

Definitely the bible for me when I first started long ago. Even now every teacher talks about these! They repeat themselves in traditional painting like the backdrop in a Flintstone’s cartoon. And forgood reason! The ones I struggle the most with is ‘Rhythm’ and since I am mostly watercolor painting nowadays, ‘Texture’. Texture in watercolor painting is very limited.
‘Rhythm’ is almost esoteric. You can’t put your finger on it. There’s rhythm in a landscape, the hills. There’s rhythm in a tree or a flower. Everything has rhythm, from the smallest forms to the cycles of the universe (to quote Loomis).

Choice of subject is relative, in my opinion. You can make a pretty drab subject look beautiful. That is when the artist comes in! Just look at Dean Mitchell’s work. Often far from pretty subjects, but beautiful art nonetheless. I’ll talk about some of the other elements in the next blogpost.

Hillside Fine Art welcomes my work!

I am very happy to announce that my work is now represented by Hillside Fine Art in Claremont, California.
I am the only watercolor artist in a gallery that is full of oil paintings. There are many big name artists of the California Art Club on the walls and I am quite honored to have my work exhibited with them! I hope I can do well; I have no idea, only time will tell!

I will have my first ever solo exhibition at Hillside in September! Very excited about that. Reception is scheduled for September 5, 2015. Details will follow. Please come on by if you’re in the area!

Understanding Fine Art Pricing


It is wonderful when people get in touch with me to tell me that they love my work and would like to purchase a painting. Often, those are people who don’t know much about fine art or the art world in general. Many are on facebook and come upon an artists work they like.
I decided to do a blogpost to explain why buying original art from a professional artist can be more expensive than most people think.

Most collectors are very familiar with the art world and visit galleries and art auctions. For the lay people, the whole business is sort of mystifying and strange.

Firstly, the operative word in art is: business
Art is a business. That means, everybody who’s involved strives to make money, even the collectors sometimes. How does an art buyer make money? As an investment. They are constantly out looking for new talent and many try to buy an artists work early in their career. They know once the artist is established, the work will be worth ten times as much.
The value of a painting is therefore a perceived value. If an artist is unknown, nobody will buy their work (except maybe family members and friends) If an artist is well known and has a big reputation, the paintings will be sold for a much higher price.

Emerging artists sell work for a lot less than professionals with a long list of accolades. It’s only fair. Getting established is a lot of work and takes years and years, even if you’re exceptionally good!

Secondly, there are the galleries.
Galleries are a great thing. It is the only place where we can truly admire art work.( aside from Museums) No, the internet does not work. A photograph of something in this day and age can’t be trusted at all. Sadly, there are artists out there who embellish their work with photoshop applications. I know first hand because I was on the board of a big watercolor society and saw a few cases of this with my own eyes. Too bad one can’t name people on here! That’s another issue anyways and maybe worth another blogpost.
Collectors usually don’t buy on the internet. They might look but then they need to see the art. Of course, the do!
Would you commit to buying a car just from a glance at a picture? No way. Art can only be judged in real life.

When it comes to pricing, most galleries take upwards of 50% of the money for a given painting. In San Francisco, there are galleries that take 70%. Yes. The thing is, they do a lot of work for us artists. They promote, they sell and they build our careers. They deserve half the money. Maybe not 70%, that is certainly excessive but 40 or 50% is commonplace. That means the artist only gets 50% after framing, shipping, insurance and other costs. Galleries don’t pay for the frames, artists do.

If I get an email about a certain painting, even if it’s not in my gallery’s possession and I could sell it directly, I cannot undersell my gallery! I will have to charge accordingly. If I undercut them, they will stop working with me.

Lastly, there’s the value of an original. All my paintings are unique pieces unless otherwise noted. That means there’s only one!
It is not mass produced. It’s not available on etsy or ebay. Nothing inherently wrong with places like that, you just won’t find serious artist’s work on there. That’s my opinion. It implies ‘bargain’ and ‘craft’. Not Fine Art.
Speaking for myself, my art does not go ‘on sale’. It’s not available everywhere. It’s exclusive and it will stay that way. For $200 you get a print, not an original.
I am aware that there are some of my colleges out there who give away their paintings cheaply. That is on them. I think it will hurt them in the long run but everybody makes their own decisions.

I hope I shed some light on this topic. I haven’t even mentioned expenses like studio rent, fees for exhibitions and advertizing. All has to be financed somehow. Overall, the job of being a pro artist is not an easy one and most cannot survive without teaching, myself included.

Final tips:
If you’re in a gallery and see a piece you really like, it’s ok to ask the gallery sitter or artist about a payment plan. Most galleries are open to that.
If you buy more than one painting, you can usually ask for a small (10 percent) discount.
If you want the artist to do a commission, be mindful that the price will be around the same (or more) than his or her regular work. Commissions are even trickier since the artist is trying to please the taste of a person they don’t know.

As many art collectors would confirm:
Buying art is an art in itself!

The 4th Annual Plein Air Convention, Monterey California

Frank Eber

Frank Eber

I am happy to be invited as a contributing artist at the Plein air convention!
This is the fourth event and according to the webpage, it is going to be big:

‘Join over 700 artists for the Woodstock of plein air painting.’

April 13-17, 2015 in Monterey-Carmel at the Monterey Conference Center.

In April 2015, join over 700 hundred painters of all levels, including over 60 of the world’s best, for the 4th Annual Plein Air Convention & Expo on the dazzling Monterey Peninsula. The next event promises to be the best yet, with full program tracks focused around three of painting’s most popular media — oil, water-based, and pastels. You’ll work and play with your favorite painters while attending lectures and demos, and this year, you’ll have more opportunities than ever to paint with them, as we’ve scheduled ample time each day to paint Monterey’s extraordinary scenery.

Thoughts on painting

Good painting is very dependend on good observation. When we grow up as kids, we learn to see what we know and the knowing often gets in the way of seeing ‘right’. We don’t really look, we think we know what it looks like! (i.e. ‘if I paint a car I have to paint four round wheels’)

When I first started painting (longer than I care to admit here), my artistic mind was on the quest for realism. I was obsessed with technique and how to paint this and that. I recorded places verbatim and got lots of encouragement with favorable comments from people around me. “Oh, good job, that looks so real..”etc.
As I grew as an artists, things started to change. I no longer looked to paint something as realistic as possible. The correct and scientific rendering of something before me couldn’t possibly be the goal of my art, I could just take a photograph. I started looking for more, something else. I started seeing how objects relate to each other, how they interact, the quality of light and the interconnectedness of everything on the planet. There just isn’t a ‘car’ on a ‘street’, but the interaction of different entities that relate to each other through light, shadow, color, mood. In short, I became obsessed with light and mood.

The paintings I paint now are more of a visual notation that *imply* reality, hopefully like a poetic statement. The tools of the craft and technique have long moved to the subconscious.
It’s an ongoing process. You never stop learning and it is the truth when I say that every watercolour teaches me something. I am by no means there… maybe I will never be ‘there’, whatever ‘there’ is! As the Zen master teaches us, the journey is the destination.
On that note: back to painting…