McWatt Fine Art

Artist Intent

1/28/2016

Many see a painting and ask, "What does that mean?" I follow the words of Picasso who said, "When I have made the last mark, the painting no longer belongs to me, it belongs to the viewer."

Many artists have a concept in mind or start with a question they answer through paint and other means. They then send a message in their art for viewers to interpret in whatever way they relate through their own experiences. I hold resolutely to this motto. While it is only the viewer's interpretation that matters, I will deviate from my policy and reveal the question and answer I had in mind for 'Lifecycle I' - Oil 40" x 30". First in a Lifecycle series of 5 paintings.

I asked myself, "What is the most fundamental point about existence and how can I represent an entire lifecycle through existence in the simplest of graphics?" I elected to say, "We enter, we travel a road, we leave." Having said that, every interpretation that any viewer might apply to this piece is the correct one, regardless of my intent or the interpretation of someone else.

2 Comments

Painting in Tonal Values

5/7/2014

3 Comments

One of the greatest problems that limits potential artists from creating is the mistaken belief that in order to paint, they must first know how to draw. Knowing how to draw is an unnecessary skill for a painter, and can inhibit the ability to produce a creative piece of artwork. It is a false assumption that artists who produce striking paintings must draw first. I propose that the ability to reproduce a realistic image is not an essential requirement to create a compelling painting.

Painting is an acquired skill and can only improve with practice. When must you start? Now! Because it is the same way you started on every path in your life - at the beginning, learning by trial and error, practicing to become better at what you do and not knowing the outcome until it happens.

The artist Dominic Vignola says, “If you are not familiar with anatomy, composition, or perspective, then you have nothing to unlearn. The illusion of these things will automatically be present in your work when you paint tonally. When one learns to see in terms of light and shadow, no subject is too difficult to paint because one no longer attempts to paint "things" but rather the way these things look, thereby achieving convincing results every time." Example of Vignola’s tonal vision is shown in the two images below from one of his early stages to final product.
More at http://www.oilpaintingwithoutdrawing.com/

If one is an admirer of impressionist technique one may consider the early image final, but if drawn to realism one can continue developing the image to a more faithful representation of nature. Note the shadow of the pear that is placed true to where the light strikes it. This type of creation need not be limited to a representation of objects as they are, but can be made from the imagination by simply bringing forth an image of where the light strikes it.

Arbitrary color can be applied depending on its propensity to advance or recede. Warm colors tend to come forward while cool colors stay back. Such effects can be reversed depending on density, size and placement of the colors - simple but challenging manifestations with which one can experiment as one progresses. One of my early experiments using arbitrary color to represent tonal value, volume and placement in a selected space is shown below.

It is up to the artist to include or exclude shadow depending on his/her desire for compositional structure and for faithfulness or lack thereof for realism in its representation. There are no rules for making such determinations. It is entirely at the discretion of the artist. This work illustrates that form can be expressed in the simplest manner without a realistic captivation, but by observing tonal value and the shapes in which variations in value occur.

True reality can never be grasped; it is embedded in the deepest part of the artist’s mind and she continually strives to render it. In an attempt to express vision, the artist makes a creation and must eventually be satisfied that the piece is complete, but the search for reality continues. In the words of Leonardo Da Vinci, “Art is never finished, only abandoned.”

Each person has a vision of the world that is unique. Ridding oneself of the inhibitions that prevent beginning a work of art is essential. It’s the only way to secure the joy of knowing whether you are captivated by what you have taken upon yourself to learn. Embrace the process itself. Do not be afraid of failure and be bold and true to your vision.

Edited by Donna M. Schweibert

3 Comments

Painting to Abstraction

4/24/2014

1 Comment

Prehistoric cultures used markings on objects such as rocks and pottery as symbols to represent their spiritual beliefs, as well as to decorate their objects. Many of these simple forms were independent of references seen in nature, i.e. the world’s first abstract art.

Abstract form is manipulation of natural line, shape and color divorced from reality, either partially or completely. Abstract painting can be considerably more difficult and more sophisticated than paintings of natural objects.

Abstract art can be considered ugly or simple. There is a high level of sophistication in the use of color and form to bring forth a harmonious abstract work, however. Abstract paintings take the viewer on a journey beyond the reality of the world and into reality as seen by the artist.

At the end of the 19th Century, many artists moved from realistic representation and entered into various forms of abstraction. Abstract forms that retained appearances of realism included impressionism and pointillism. At the turn of the 20th Century, abstraction entered a period of early modernism that separated itself from impressionistic work.

Fauvism was characterized by strident color and non-realist line and practiced by Matisse and many others. Picasso, Braque and others simultaneously practiced cubism, which represented both seen, and unseen views of the same object juxtaposed in a variety of shapes. Abstract art has been used in paintings to make social statements that represented artists’ views about war, political order and poverty, for example. One of the best known, and considered by many to be the most powerful among anti-war paintings is “Guernica”, created by Picasso to protest bombing of the Basques in the Spanish civil war.

Several other abstract variations merged in an effort to represent the true nature of matter and also to create visual harmony. Post Modernism followed with even further abstraction, eventually leading to development of performance art and installations using videography and other media.

A present day abstract artist, Dennis Towers, produced the two paintings below. In the first painting, subtle variations in color and shape create ambiguity by suggesting several dimensions present in the piece. Repetition of shapes hold a painting together but it is difficult to introduce numerous multiples without seeming monotonous, yet this is not the case here. The variations in color create levels of depth that transport the viewer on a voyage into the world of green.

In his second painting, contrast between the colors of two similar shapes in strength, density and tonal value create a certain mystique.

Towers says this about his work “one can explore the line, form and shapes used to build the abstract image and marry these with the properties of the medium – hue, value and density to achieve a personal aesthetic interpretation. In this way it is my hope that the viewer can experience the visual and emotional melody of the piece.” More artwork by Towers can be accessed at: https://www.facebook.com/dennis.towers.art.

As you can see, abstract paintings may be absorbing if one is willing to take the time to try and appreciate the work for what it attempts to accomplish. Artists continue to create exceptional paintings that range between pure realism and extreme abstraction and there is beauty to be found in all of these art forms.

Edited by Donna M. Schweibert.

1 Comment

Pricing a Painting

4/3/2014

2 Comments

The main issue for most art enthusiasts when considering the price of artwork is often that of deep personal appeal. One individual may bypass a piece of art entirely, while another would pay whatever price is stated for the piece. Thus, subjective perception of value that the viewer places upon the work enters the equation of value being received for the price being asked. But there are other factors to consider.

Art enthusiasts may start by comparing a favored work of art with other pieces of art offered by the same artist. The artist may have price variations for artwork that, on the surface, is similar in appearance. This can be due to factors such as competitive pricing by other artists on similar themes, time taken by the artist in completing the work, material used, framing cost and in some cases subjective assessment of the artist on quality of a particular piece compared to another. The more common determinant of pricing is competitive prices offered by other artists in the same location or in the vicinity where the art is sold. Equally attractive work by other artists in the same geographic area but which carry broad price ranges can confound the issue of price. The artist must then make a choice on establishing the value of her own work relative to alternatives available to the prospective buyer.

A conversation between the artist and consumer, whenever possible, can be informative and can provide a more objective assessment of whether the work is reasonably priced or not. The art consumer is likely to feel more comfortable with the purchase price by asking questions about the selling history of the artist, prices received for similar work and how recognized the artist is in different geographic regions of the country. An artist whose work commands a certain price in one region may move to another area of the country where he is less well known or where different economic conditions prevail and this may dictate a change in price for the work.

Gallery promotion is another variable and can play a large part in pricing one’s work. Galleries traditionally charge a substantial commission for selling a piece of art. This is a deserved fee, given that artwork is generally accepted on consignment and galleries use their own resources to provide for show space, utilities and advertising to exhibit the work. Galleries also have a following of art collectors and other traffic that increases exposure to the artwork. Some galleries purchase directly from artists and mark up the price taking into account gallery costs required to sell the work and return on investment. Depending on pricing policies of a gallery, artists may or may not have the option of charging lower prices in different locations, for example through cooperative galleries where artists share a smaller carrying cost but most often do not pay a commission on sales, or if they sell work directly from their studios in which case there is no additional overhead cost.

One consideration for an enthusiast drawn to a particular artist’s work but unable to afford the price of the original painting, is to determine whether the work is available in a limited edition print series. The artist may have issued such a series, but if not, may be willing to create a printed edition to meet the financial considerations of the customer. In this case, you as a potential buyer can request a very limited series to be produced as the fewer the number of prints produced, the more valuable the print.

The personal experience of the viewer, cultural taste, economic conditions, and whether the artist is established are some of the factors in play when considering price. Careful examination of the artist’s history, the work of art itself and the objectivity of the artist in determining prices can help clarify the value of a work.

2 Comments

The Painter's Process

3/17/2014

4 Comments

Some artists paint Plein Air in the outdoors, while others paint both Plein Air and in an indoor studio space. Some are exclusively studio painters. As far as process, some artists build their work in stages while others paint expansively with immediacy. These are just some examples of the vast variety of styles and processes from which painters work.

To enhance your understanding and appreciation of the work of a particular artist in whose paintings you may be interested, some of the areas you can explore are: 1) What triggers the artist’s impulse to create? 2) How does she choose a subject? 3) Where does the artist find a source for his/her paintings: from nature, from imagination or elsewhere? 4) What is her creative process? 5) What belief system does the artist hold that leads him in a certain way?

Another useful area to probe is the uniqueness of the artist’s work. Artists usually reach a point where their work differs noticeably from the work of other artists. Though the work may appear similar on the surface, it may be strikingly different in specific and identifiable ways. As Christian Krohg wrote in an article about Edvard Munch, painter of ‘The Scream’: “He paints, or rather regards things in a way that is different from that of other artists. He sees only the essential, and that, naturally, is all he paints.”

An Artist Statement can usually answer some or all of the questions posed above. Whether or not there exists such a statement by the artist, answers to your questions should inform you about the prompts that drive the artist and may enhance your appreciation of the artwork. The distinctive nature of an artist’s work may contribute to its value.

It has become customary for artists to sign their artwork and most artists do so. However some may prefer not to place marks on their work once it is finished, unless the mark somehow becomes a part of the general composition through placement, color and size of the signature.

There is a perception among some members of the public that the value of a work of art is somehow reduced if it is not signed. This may be true in cases where the artist’s ‘fingerprint’ is not easily recognizable, but in other cases the value may be greater than if signed. In some cases, the work may be signed at the back of the piece or in some obscure place that is not readily visible. Some artists have a ‘fingerprint’ so unique that they believe it is easily identifiable as their own creation and thus see no need to sign their work. In other cases a signature may not exist if the artist thinks that an additional mark on the piece will detract from the composition.

4 Comments

How to Look at a Painting

2/11/2014

3 Comments

Beyond the initial impulse that causes the observer of a painting to look intently at it, there are some characteristics that enhance satisfaction. These characteristics lie in the structure of the piece and apply particularly to paintings that are not of a purely abstract nature.. One of these relates to the position of the artist in creating the composition.
Can you tell if the artist is looking up at the subject, or down or straight into the work? Identifying the location of the artist in relation to the images within the composition places the viewer in the space of the artist. It is gratifying to be able to connect with the artist’s intent in this way.

The artist may also choose to exclude effects of light and shadow if she / he concludes that doing so will make the creative work more harmonious, more representative of his / her vision or enhance it in some other way. When examining a painting, can you tell where light strikes the objects in the piece? Are all the elements reflecting the light represented in the natural state as perceived in nature or not? If there are shadows, are these falling in the expected direction and length in relation to the light source? Many inclusions, exclusions and distortions are often conscious choices of the artist. Such a determination by the viewer sets up a conversation with the artist who is not present but speaks through the art.

The focal point represents a specific area that can be defined either by a deliberate attempt of the artist to draw the viewer into the piece, or it may simply be a non-deliberate effect that is intuitive to the artist and is automatically built into the composition. Where is the focal point in the piece? What is that area and where is it located that causes the eye to converge at first glance? How is that area represented? Is it with light or dark, something present in the space or simply pure space?

Color in the composition is used in numerous ways to create interest and beauty. These include, but are not limited to, juxtaposition of colors that enhance each color. The use of density, translucency and size of a color are used to have an object hold its place in the space it occupies in the painting.

Repeated shapes, not necessarily of the same size or color, also have a subliminal effect of keeping the viewer engaged and act to pull the composition together in harmony. Are there shapes repeated in the painting you are watching and if so, can you identify them all? Lines that converge, either by pointing to or touching a single point on the frame, especially at its corners, also have the effect of containing the image most harmoniously.

The Golden Mean divides the painting into uneven but mathematically proportionate parts. In a painting, the distance between two edges that represents the Golden Mean approximates a proportion of slightly less than two thirds of the distance between the edges of the frame. The Golden Mean may appear as a hard line that runs completely or partially across the length or width of a painting.

“In philosophy, especially that of Aristotle, the golden mean is the desirable middle between two extremes, one of excess and the other of deficiency…To the Greek mentality, it was an attribute of beauty… Both ancients and moderns believed that there is a close association in mathematics between beauty and truth”. http://en.wikipedia.org/wiki/Beauty.

Edited by Donna Schweibert

3 Comments

Spiritual Truth in Art

2/2/2014

3 Comments

The English word spirit comes from the Latin spiritus, meaning "breath", but also "spirit, soul, courage, vigor.” This concept relates to an interconnected, universal consciousness where separate "spirits" form a greater unity. The truth of what “spiritual” is belongs uniquely to each individual. This makes it impossible to define a shared expression upon which everyone may agree.

An artist is a product of his or her time who brings that culture to any given work of art and is therefore a conduit to the spirit of the time. An artist whose work resonates is able to create a universal connectedness to an audience and in effect, to share his or her spirit with the world.

The spiritual aspect of art is sublime in that when a work of art touches a place deep within the soul, it captures an enduring and meaningful moment in a person’s life. Artists capable of capturing the spirit in medium have a unique gift. I believe every person, over his or her lifetime, has seen the work of artists who, through their expression, have connected spiritually with him/her as viewer.

Today I feature the work of oil artist John T. Nebiolo of Alpha, NJ whose expression captures that spiritual truth. I recently purchased one of John’s paintings that touched me deeply and connected me to the mystery of his spiritual truth. John ‘s Facebook link is shared below and you are invited to view his work there:

https://www.facebook.com/jnebioloart‎

I am privileged to be a member, along with John and many other gifted visual artists, of the Facebook Group “Art Exchange”. This is a site where artists and the public can view original artwork by member artists. The purpose of the group is to open the possibility for artists to purchase and exchange their work, but more widely, for the public to have the on line ability to view and purchase artwork if they are so moved. Art Exchange Facebook link below:

https://www.facebook.com/groups/229358020558700/

Blog edited by Donna .M. Schweibert

3 Comments

When to buy art?

1/29/2014

2 Comments

When you see something that touches you deeply! When it stops you in your tracks! When these two things happen you are on the verge of owning an object of immense satisfaction to your inner self. A good piece of artwork offers something unique to who you are and will bring long lasting satisfaction. It will also be part of your legacy that will contribute to the satisfaction of others near to you. It will be there for you as long as you live. It will tell your descendants what fired your soul. It will tell them who you were.

A good piece of art will, in all likelihood, intensify those initial sensations of deep satisfaction, the more that you enjoy it. It will do so because the first elements will always exist in it, but over time you will discover other aspects that will bring meaning and satisfaction.

I came across an anonymous quote: “When buying from an artist you’re buying more than an object…. you are buying a piece of a heart, part of a soul, a moment of someone’s life”. This is the same heart and soul and moment in life that is somehow intricately interwoven with your heart and soul and moments in your own life.

These soul-satisfying experiences will capture you, not only at the time you stop to gaze at it, but in future moments over the course of your lifetime.

2 Comments

Why do Art?

1/9/2014

3 Comments

I came across these words and thought what a wonderful gift it would be to share with the world. I have no reference for this but I credit the author.

" Some day you may be as old as I am. Please take my advice, and don’t waste your short life. Invest your youthful vitality in your art. Share the best of your spirit with the world. Your body may die but you cannot die, So, don’t worry about petty things like bodies, money and possessions. They pass with the body and are meaningless. Don’t worry what anyone thinks of you, don’t seek approval, except from yourself". Your art and ideas are signs of your spirit. Your beauty endures forever, as do you".

We become caught up in the web of life and our ongoing struggle to endure. We forget what's truly important. Everyone who creates is an artist. It matters not what is created, it is your own, unique to you and you alone. It is your Art. As long as it engulfs you, as long as it absorbs you fully in the moments of its creation, as long as it transports you from a place of concern with daily living and puts you in a place where time and space do not exist, as it will, it satisfies your spirit . Art puts us all in every single moment in time. The NOW is all that matters because the last moment is simply a shadow of a memory and the next may never come. Don't waste this one. Do art - Create!

3 Comments

The Value of Art

12/21/2013

0 Comments

So many consider ‘good art’ to be creative works that please them personally, thus they regard some artistic creations as art and reject all else. On another level, some use their own criteria on what is beautiful to define art and use what does not meet such criteria to define non-art. So what is it that constitutes value in a work of art that would cause some to be mystified by it, while others would not consider it worthwhile enough to warrant a second glance?

English musician and visual artist Brian Eno suggests that the value placed on art depends on whether one considers it art or not. Therefore someone may attribute sufficient value to a work of art making it worthy enough to justify large sums, while another would not accept it even if offered as a gift.

Eno states this in his treatise on art: “Stop thinking about art works as objects, and start thinking about them as triggers for experiences. (Roy Ascott’s phrase.) That solves a lot of problems: we don’t have to argue whether photographs are art, or whether performances are art, or whether Carl Andre’s bricks or Andrew Serranos’s piss or Little Richard’s ‘Long Tall Sally’ are art, because we say, ‘Art is something that happens, a process, not a quality, and all sorts of things can make it happen.’ … [W]hat makes a work of art ‘good’ for you is not something that is already ‘inside’ it, but something that happens inside you — so the value of the work lies in the degree to which it can help you have the kind of experience that you call art”.

It seems incumbent upon all of us to rethink our own perspectives on art and the value we place on it. Such reflection may broaden our dimensions to include an experience and a beauty that might presently be excluded from our inner world.

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Artist Intent

Painting in Tonal Values

Painting to Abstraction

Pricing a Painting

The Painter's Process

How to Look at a Painting

Spiritual Truth in Art

When to buy art?

Why do Art?

The Value of Art

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