Important Message to the World of Fine Art

Dedicated To all past, present and future innovative visual fine artist

What is Visual Fine Art in comparison to other art forms?

Visual Fine Art is the oldest and the highest art form among all other arts.

Origins of the forms of art were found in ancient caves that date back thousands of years, in mankind’s infancy. And pictography was the first way of communicating among early humans. As far as we know, it was the only way to communicate before the spoken and written languages were developed. Pictography was a main method of communication. Pictures of animals or hunters on the caves’ walls has been dated to be more than twenty thousand years old and is ancient proof that pictography has been a basic form of communication.

Fine Art has been determined by being not only historic, aesthetically valuable, and beautiful and also the most tangible among all other art forms. There are numerous historical paintings and sculptures that date back many centuries and are being studied, exhibited and treasured in great museums of Fine Art around the world. This makes Fine Art the most superior over the performing arts of music, singing, dancing and above the art of cinematography.

Art of entertainment is booming! Hollywood stars, singers and dancers are getting all the recognitions and having lavish lives, starting during their young years. However many talented and innovative visual artists get recognized when they are very old or have passed on. This old dilemma needs to be and can be changed.

Why am I writing this message to the world? I am doing my part to be heard and seen as a fellow artist and visual creator who is still around and not that old, and would like to make a positive change in a stale existence of the art world. There should be no more innovative starving artists. True talented visual artists should not strive and struggle in poverty all their lives. We artists need to be recognized and well rewarded during our lives, in the same way as movie stars; performers or even ball players get their recognitions and rewards. Art dealers should no more sell original art pieces from artists that are no longer here to benefit from the sales. No more art dealers selling past artists original works for huge amount of money..Art dealers shouldn’t have any right to resell and capitalize on the work they did not produce and live their lives in luxury by those sales. This is the worst form of stealing from an artist who is long gone. There are many examples of this; one of them is now a famous artist: Vincent Van Gogh, each painting is selling for sixty million dollars. What a shame. When one reads Van Gogh’s biography of his difficult poverty stricken life that he lived, often eating his paints in order to survive and the suicidal ending makes one cry. Vincent Van Gogh does not want us to sob, he wants us to prevail and make sure that no more of his unfortunate life saga repeats ever again. And many other artists want us to change the unfair life pattern of a talented innovative fine artist.

My personal wish is that, when I am gone none of my original art pieces are ever to be sold. This will be my part in changes to the fine art world for better.

What are the differences that exist between the talented creative artist and the commercially technically trained artist?

Academy schooling for art techniques is likened to that of a harness to a horse for an artist. They have no freedom to create. The academy trained artist is confined to the rules and regulations of technical training that they acquire upon graduating from the art academy. These academy artists become commercial artist with their learned, practiced and polished technique. From this, all their work looks very much alike and mass produced.

A good example of a trained commercial artist is Thomas Kinkade. If you have seen his work it represents mostly one image of a house with glowing yellow lights from its windows. Kinkade is a manufacturer mass producer of his same or similar images that are printed on various household products like carpets, blankets, pillows etc, and sold in home accessories stores nation wide. There was a 60 Minutes television documentary made on the Thomas Kinkade manufacturing empire to identify if he is an artist or a commercial businessman. The 60 Minutes showed that he is a very successful manufacturer and commercial businessman, not an innovative artist.
Similar to Thomas Kinkade there is Bob Ross another commercial artist. He has televised art classes that he teaches on public television. Ross teaches his same techniques on how to paint the same or very similar landscapes for hobby artists. He also licenses some of the art supplies under his name to get royalties when the item is sold. Bob Ross is also a very successful businessman. Once, Bob Ross admitted openly during one of his shows that he cannot paint a portrait no matter how hard he had tried.

In the words of a famous Russian writer, philosopher Lev Tolstoy; “An artist should be able to draw, paint, sculpt design anything, and only then are they a true talented fine artist.”

Creative artists are like wild horses, no one controls us. Creative artists are able to fly high in their imagination, we let our creativity loose. We do not know any techniques, mistakes, rules and regulations. We innovate, try and discover spontaneously, everything is new and different each time we are at work. Creativity is very important; this is what keeps the world going.

A good example of a creative artist is Leonardo De Vinci, an Italian man who lived five hundred years ago and is still well known. There is no singer or dancer who lived five hundred years ago and is still known, this is direct proof that Fine Visual Art is the highest form of art above all other categories of art including performing art.. Leonardo’s natural talent and abilities have their mark on progress in art, architecture, technology and science. The first transportation unit, which was then the bicycle, was invented by Leonardo De Vinci. He was so remarkable that his work still remains a mystery and is active in scientific studies today, like his paintings of Mona Lisa and her mysterious smile, his numerous technological inventions and working prototypes and scientific discoveries.

What are technique and style?

Style is a specific technique or way of painting that is comfortable and is adopted by an artist to use. Many academically trained artists adopt a specific technique that they have practiced over the years and feel comfortable with. They stick to their one technique and are afraid to try something new, because as I have mentioned earlier these artists are harnessed.

Creative artists have many styles and we are always trying something new. We don’t like our work to look the same. It would be boring and hinder our creative process. I am posting some of my various art works on this message blog. The majority of the art pieces that you see were created by me a long time ago while in my early 20s.

Personally I reinvent each painting when I paint; this is my goal. Before I begin a new painting I totally forget about my previous painting and begin with new idea, composition, colors, mediums and the different application of paints. I’ll try something different in order to prevent my paintings from looking alike. Often I get a comment,” Your paintings look beautiful and different, like they have been done by different artists..” That is a big compliment for me, this what I strive for. I don’t want my paintings to look the same. Copying your work over and over, like a commercial artist, repetition is a hindrance to any creativity to emerge. Look -alike paintings are not fine art, they are mass produced objects.

Why not believe in yourself and just try it?

My art “career “contained many rejections in fact one rejection after another. Although my art work has been exhibited and some of the pieces were published, I was never paid. So I had to work in various customer service phone banks, retail jobs and do my art out of my small living room. When I grow weary from painting, I make sculptures, draw, and design new apparel and accessories, exercise units, etc. I have a few on going projects that are patent pending and some working prototypes made.

Whenever someone starts any tasks or any challenge it is important to see it through. Challenges are worth doing. They open your mind, liberating you from the limitations that you think you have,building and strengthening confidence. Not trying at all is the real failure. I too, even now, struggle. Just recently my self esteem began to strengthen. I strongly feel it is through doing creative projects not in art alone but in speaking out for me verbally and through writing.

For many years my biggest phobia was the fact that I could not write and I believed this until I got into college. However, I remember having to ask people to write simple notations for me that most people would not think twice about writing. These little acts of kindness on other people’s part were actually embarrassing for me. When I got into college I had to write and this is when I recognized a phobia about writing and as it turns out my problem only existed in my head.

Now I write with confidence, not only I can write, I graduated from college with honors and a degree in Business Management. My favorite subjects were Philosophy and Expressive Writing. Writing for me proved to be a very powerful an effective form of communication. Things get done when we put them in writing. We think that we can not do things but this is a false assumption; our mind has played a trick on us. Fear is our worst enemy. We should focus more on doing the good. We all are God’s best creations and there is no way we are failures.

Why writing versus reading?

I enjoy writing; however I am not a big fan of reading. During my school years, I read what was required of me in order to graduate. What really surprised me is when I was in college and I took my very first philosophy class. I never heard of any philosopher or their philosophical views prior to going to college. Incredibly, I surprised myself; I intuitively knew all of their philosophical thoughts. How is that possible? I would ask myself, I never heard of Plato or of Socrates before this lecture class. I remember that I was able to finish their philosophical sayings spontaneously. This to seem to me as if they were reading my mind and I theirs.

The professor in my philosophy class had a PhD in this subject and had many years of reading and writing on it. He gave me the highest participation points and said, “I never had a student who received this high number of points for participation.”

Some time ago, when I was twelve, my mother took my drawings that I always drew on my own, she took them and me to children’s art academy. We sat down with an art director of that academy. He looked at the drawings and told my mother; “Your daughter does not need to go to the art academy, she is already gifted in art: art schooling can hinder her creative abilities. Just let her do art on her own like she has been doing.”

True gift is given as a blessing and cannot be acquired. Creative fine artist is a gift, amazing voice for a great singer, or great dancers have the unique ability to move and many other special talents. We all have been blessed by our creator with different special gifts, some times it takes time to find out what kind of talents we are blessed with.

This blog contains an important message to the world. Hopefully our modern technological way of communication will help me reach as many people as possible around the globe so they can read and understand this message. Message from the artists, by the artist, for everyone to know about the stiff world of fine art.

All talented, innovative artists will be recognized and rewarded the same way as movie stars, entertainers and athletes. This would make all of us fine artist very happy. One day, the rags to riches story, will happen to all talented and innovative fine artist during their lives, even better, during their young lives.

Analysis of Sir Joshua Reynolds Second Discourse to The Royal Academy Regarding Theory and Practice

Sir Joshua delivered the second installment of his 15 discourses a little over eleven months after his first on December the 11th 1769. He opens by praising the students for their current accomplishments and then proceeds to discuss his theory of Art. The purpose of his theoretical model of Art was to aid the students in their primary objective, which was namely directed at closing the gap between their current level of proficiency and, ‘how much yet remains to attain perfection.’ The central theme of the Second Discourse examines the nature of the independence of the student from the direction of the teaching establishment. To this end Reynolds emphasizes the importance of hands on methodological practices above mere ideology. Thus, building upon the basis of his First Discourse Sir Joshua divides his methodological theory into three inter-related aspects and three periods of study. He explains;

“I shall address you as having passed through the first of them, which is confined to the rudiments… of drawing any object that presents itself… the management of colours, and an acquaintance with the most simple and obvious rules of composition… The power of drawing, modelling, and using colours, is very properly called the language of art… when the artist is once enabled to express himself with some degree of correctness he must then endeavour to collect subjects for expression; to amass a stock of ideas… he is now in the second phase of his study.”

The ‘second period of study’ pertains to the second aspect of theory which Reynolds refers to in the discourses preamble. This period of study involves viewing the Art of the Old Masters in its entirety wherein the student should, ‘consider the Art itself as his master.’ Here Reynolds is careful to warn the student of Art against,’admiration of a single master’, because it would, in his opinion, impede the development of a students imagination with, ‘narrowness and poverty of conception.’ Reynolds instead advises the student of Art to, ‘not resign blindly to any single authority, when he may have the advantage of consulting many.’ Reynolds second aspect of Art theory, is to view the Art of the Old Masters without preference, and this aspect merges subtly into his third aspect of the theory. Sir Joshua explains the third aspect as not dependent or beholden to any of the Old Masters but places the student in a position of complete autonomy. Reynolds explains;

“The third and last period which emancipates the student from subjection to any authority, but what he shall himself judge to be supported by reason. Confiding now in his own judgement… He is from this time to regards himself as holding the same rank with those masters whom he before obeyed as teachers; and as exercising a sort of sovereignty over those Rules which have hitherto restrained him.”

Continuing, Reynolds explains that through a period of intensive practise, a painter begins to develop the necessary artistic skills and knowledge base by emulating the work of the Old Masters. However, this knowledge base is, in Reynolds view, a foundation which the artist is to eventually transcend. What is the student of Art to progress toward after having reached a level of competence equivalent to that of the Old Masters? Sir Joshua explains that the next level to utilise for artistic instruction are the works of Nature itself. The artist is henceforth to become second only to Nature, and it is Nature that must become his constant guide and companion, and act as the measure by which the success or failure of a painters efforts can be evaluated. Reynolds states this succinctly;

“The habitual dignity which long converse with the greatest minds has imparted to him, will display itself in all his attempts; and he will stand among his instructors, not as an imitator, but a rival… comparing no longer the performances of Art with each other, but examining the Art itself by the standards of nature.”

Having defined the three aspects of his theory to the students, Reynolds notes that this general outline lay in advance of the students current level of artistic proficiency. Recall that the Second Discourse was delivered following an awards ceremony at the Royal Academy. The awards that were dispensed were the Academies mark of esteem, bestowed upon those of its students, who at this time had passed through the first level of instruction in accordance with Reynolds first aspect of theory. The students were now poised to acquire the insights of the second aspect of theory, but were unaware of the procedure for doing so. This is the reason why Reynolds offered an early description of the complete path of learning, namely to assist the student of Art to understand his ultimate objective and the means of attaining it. However, in order to prevent the over-eager student from bypassing training in the second aspect of theory and rushing ahead to the third aspect, Reynolds encourages the student to develop a thorough understanding of the methods and works of the Old Masters. He explains;

“The more extensive your acquaintance is with the works of those who have excelled, the more extensive will be your powers of invention… Who shall show him the path that leads to excellence? The answer is obvious: those great masters who have travelled the same road with success are the most likely to conduct others. The works of those who have stood the test of ages, have a claim to that respect and veneration to which no modern can pretend.”

While progressing along the second aspect of theory, Reynolds cautions against the tendency to copy the work of the Old Masters without exercising ones powers of invention, because as he suggests, it numbs the imagination and an artist, ‘sleeps over his work’, so to speak. Reynolds adds that the only saving grace of pure copying is its use as a tool in leaning how to use the coloured pigments of ones palette to the best advantage. He adds;

“By close inspection and minute examination you will discover the manner of handling, the artifices of contrast, glazing and other expedients by which good colourists have raised the value of their tints… by which nature has been so happily imitated.”

Sir Joshua proceeds to reiterate the primacy of utilising the natural world as the ultimate model for the artists eventual imitation and instruction, stating, ‘you cannot do better than have recourse to nature herself… in comparison to whose splendour the best coloured pictures are but faint and feeble.’ Reynolds explains that the purpose of studying the work of the Old Masters is necessarily a means to perfect the students inner vision, rather than as a definite end in and of itself. In this respect, Sir Joshua advises the student to paint an original work in the spirit of an Old Master and then to physically hold the resulting painting up beside that of the Old Master. This act of contrast is an effective device for revealing the students areas of deficiency, and is a method which Reynold explains, is superior to verbal instruction in directing the student toward improvement. Reynolds uses the analogy of a competition to illustrate his point;

“You should enter into a kind of competition, by painting a similar subject, and making a companion to any picture that you consider as a model… place it near the model, and compare them carefully together. You will then not only see, but feel your own deficiencies more sensibly than by precepts… and sinking deep into the mind, will be not only more just, but more lasting than those presented to you by precepts only.”

Sir Joshua explains that the above practice is difficult for those who lack the humility to
accept the evidence of their failings. He comforts the students of Art however by reminding them that of those who have, ‘the ambition to be a real master..few have been taught to any purpose, who have not been their own teachers.’ Again Reynolds cautions the student to avoid absolute independence of thought while they are engaged in the practice of the second aspect of theory. He suggests that the models that the student of Art should choose for preliminary imitation should be, ‘of established reputation,’ and that this should be in preference to following, ‘your own fancy.’ In this respect Sir Joshua personally recommends the student to observe the work of Cavacci and suggests that they should avoid teachers who would offer, ‘ expedients… by which the toil of study might be saved.’ He explains further that a student absorbed in the lessons appropriate to the second aspect of theory has to rely on hard work to realise their goal of equalling the abilities of the Old Masters. Reynolds adds;

“Excellence is never granted to man, but as the reward of labour… I need not, therefore, enforce by many words the necessity of continual application.”

Reynolds explains that one important facet of the Old Masters abilities was their capacity for drawing accurately from memory with, as Reynolds says, ‘as little effort of the mind as is required to trace with a pen the letters of the alphabet.’ This, Reynold suggests, was the result of the same constant efforts which he has been urging the students of the Royal Academy to adopt. Reynolds praises constancy in drawing as, ‘the instrument by which’, the student, ‘must hope to obtain eminence.’ However, after pointing out the fact that various schools belonging to the history of Art followed disparate methods of drawing, Reynolds is careful to add almost as a kind of disclaimer that he had given his advice;

“From my own experience, but as the deviate widely from received opinions, I offer them with diffidence, and when better is suggested, shall retract them.”