| Author | Message | ||
  loisenna |
I just love the landscape by Dake It really touched me and inspired me to do more landscapes this summer. | ||
Jimmy |
When I decided to paint I wasn't imagining that I'd ever be selling paintings. I have sold a few now, and I find that it's easy to get caught up in the idea of trying to paint to please others and to make money... but that's not why I paint... so I have to keep myself in check. I've also learned that I crumble under a commission. If someone asks for a painting of a particular subject I have a terrible time getting a good painting. I only have a few years of painting under my belt... so I'm on a steep learning curve... and I find that my most successful work comes from painting what I am interested in painting, not necessarily what others want. | ||
Dake |
Hi, I'm sorry I didn't have time to explain more about the painting yesterday, I was at work and thought it was time to post something as it's been so long. I was distracted just as i was uploading so had to leave, thus no explanation. This was painted last year in about May which is autumn(fall) in Australia. Is a little creek/river/wetland in the on a farm in the south west near where I was born and raised. It was painted in the space of about 30-40 mins facing south east as as the sun was almost setting in the west behind me. The cool forground came as a result of being in the shadow of a ridge with trees to the rear right. The palette as I recall is probably raw sienna, quin gold(Art Spectrum Australian Gold..the only ArtSpectrum colour I bother with)Perm Aliz, FUB, and Cobalt Blue deep. There could easily be some Indian red in there John as it is on my palette. As I paint i don't really think about what pigments i dip into...a bit of this a, bit of that, pretty intuitive really, mostly i fly by the seat of my pants. The paper is a pre stretched *hand made* 320gsm(150lb approx) Australian paper called Blue Lake. Some salt was sprinkled to indicate flowering vegetation. It's a 10x14 (1/4 sheet) I'm pleased you enjoyed seeing it. | ||
Eugene |
George, I'd stake my life that Dake didn't do this beautiful painting on YUPO. It's the best thing I have seen posted thus far. | ||
Robert |
What I think is really interesting--beyond the amazing control this shows in the wet in wet passages, is the totally counter-intuitive way the forground is blue (cool for those in the other camp) and the distance orange (warm for those in the other camp). Totally the opposite of "by the book" painting in which landscapes blue as they receed into the distance and in which one uses "warm" colors to bring things forward --you did the opposite and it works beautifully. | ||
George |
There is an old saying - some artists are admired by their peers (artists), and others paint for the public. Dake, a bit blotchy in the field (lower right) for my taste, but the colors, the quality of the light, the mood, and the strong sense of space are all top shelf. You are very talented. | ||
John Preston |
Quite gorgeous...looks like a triad palette, which three? On my monitor it looks like ultramarine, raw sienna and a cool red of some sort (indian?). | ||
jdaneman |
Second Robert's WOW and love the light use of salt and the touch of scratching out. Lovely. | ||
jandrle |
The other day I was walking and thinking about work... shows, sales, what sells, the topic of this thread... and my brain stopped short and this entered my mind... It is all about the art. What I am finding is that the more I paint from my heart, with passion, the more it is accepted, appreciated and purchased. I used to paint what I call "tourist art" and that always sells. If a person wants to sell, just go into any of a million small communities, figure out what the population values and paint it... it will sell. Or do churches and collaborate with their groups to sell prints and cards... there is plenty of money to be made that way. I just decided I wanted to go a different direction and am finding it fun, rewarding and pretty well received... Jane | ||
Robert |
Wow---Dake | ||
Eugene |
Robert, This is a little off the subject of your original post but-- In recent months I’ve changed my thinking about my goals in painting. I no longer paint to sell or to get into shows because I’m retired and do not need to sell for a livelihood. I know this is a luxury that not all of us have and I don’t blame anyone for painting to sell or please others. And I know that it is a wonderful feeling to have others admire ones work. Acceptance is important to all of us. But on the other hand, there is a great feeling of freedom to do exactly what YOU want to do, and not have a care about what others think. After 55 years of painting, I think I’ve earned the privilege of being a little selfish As for showing in exhibitions, I think one of the most important benefits that I got from it was seeing how my work held up when hung with strong compitition. Often a painting that I thought was pretty good, suddenly didn’t look so good when hung next to a really outstanding painting. Also, exhibitions keep you up to the latest trends. Styles change in watercolor. Sadly, many of the prize winners of 50 years ago wouldn’t have a chance in today’s shows. I’m no longer entering shows, except for a few locals that can be hand delivered. However, I think younger artists should go for it! Prizes look great on resumes. Enough said. I value other opinions, and would like to hear yours. | ||
Eugene |
Dake-- really like your painting. Tell us about it. What kind and weight of paper? Do I detect a little salt in the foregroumd? It has that loose almost accidental quality that is so hard to do. I KNOW IT WAS NOT ACCIDENTAL! | ||
Dake |
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Robert |
Eugene Well, I love everything you've posted (quiet landscapes mostly) and would like to go out and paint plein air with you just to sneak a peak at how you work. | ||
Eugene |
Robert, I agree that judges and buyers do not always agree. Things that get into shows are usually things that stand out from the competition, often strong in colors and values and subject matter-- not always what most people want hanging above the sofa. Most of my sales are quiet landscapes and florals, not always what I consider my best work. In fact I'm often surprised that I sometimes sell things that I think I should have thrown away. I guess this is wrong , but then I think that maybe they saw something in the painting that I missed. Am I right or wrong? Your opinion is valued. | ||
Raliegh |
While selling art in the early 90s, I noticed most buyers like art that reflected their decorating colors. Not real deep. The art that really attracts me is the artist "spotlighting" the play of light. The awesome scenes of nature coming alive. There probably are those who decorate and then those who truly love art. | ||
jdaneman |
Picture I mentioned--I look at it and go "meh" | ||
jdaneman |
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jdaneman |
I've noticed what I like is far different that what people who occasionally buy a painting like. They love this one sunflower painting I did. I was neutral on it--it was ok, but I didn't think it was my best work. I like street scenes, markets, etc, in bright shades. I did notice at an art show that these muted landscapes seem to grab people, but also bright florals. Draughtsmanship seems to be secondary--but with me it's pretty important. What do judges want? Anything in particular that stands out? | ||
Robert |
Do the people who look at your art like certain subjects, color schemes, approaches better than others? I'd like to see if there is a common theme among us. For me, it seems people like water landscape subjects painted in muted colors such a ultramarine and siennas. Strangely what people seem to like is very different from what judges or galleries seem to like. |
