Here's a page devoted to some of the many interests I have, largely concerned with artistic interests in mind.  You, as the reader, can determine whether or not an entry on this page is worth reading or checking into.  Personal as well as general interest topics, commentary, articles and advice will be found here. 

                                      What is Acrylic Paint?

                First used in the 1950's, acrylics are now established as among the most important innovations in paint technology.  Acrylics are made from pigment (color elements; natural and chemical based) and an acrylic binder that forms a hard, clear film as it dries.  It is this transparent film, reflecting light from the pigment itself, that gives acrylic color its brilliance.               

               Acrylic paint is fast drying paint containing pigment suspension in acrylic polymer emulsion.  Acrylic paint can be diluted with water, but become water resistant when dry.  Depending on how much the paint is diluted (with water) or modified with acrylic gels, media, or pastes, the finished acrylic painting can resemble a watercolor or an oil painting or have it's own unique characteristics not attainable with other media.

                Extensive research has shown that acrylic paint is far more durable than oil paint.  This may come as a surprise for many who consider oil paint to be the "best", most durable painting medium.  It is not.  It's an incorrect assumption.  Anyone who has been in an art museum can't help noticing the often-times horrendous cracking in some of the old master paintings.   I was at first shocked at just how bad this looked to the overall appearance of the picture!  Very distracting to whatever scene was depicted, I was amazed they would even display paintings in this condition.  Basically all of the Old Masters of painting now have this very unsightly cracking to some extent on there paintings. 

               Additionally, many of the older formulations of oil paint pigments fade through time.  So much so, that in many cases, the color does not even resemble what the artist originally intended, which, in my viewpoint reduces an Old Master painting to something resembling an art student work, as they "experiment" with how different colors appear....a sorry "legacy" for most work left to us by the Old Masters.

             Modern acrylic paint is a "give and take" paint medium requiring a trial and error approach.  The end results, however, speak for themselves. 

                         "Mendocino  Coast  Inlet" 

                  12 in.  x  12 in.   acrylic on canvas

                     Original painting by Gary  Fish

   "Trail  to  the  Coast" 

20 in.  x  24 in.   acrylic on canvas

                    Original painting by Gary Fish

                 (click lower right corner for enlargement).

 Artistic Wonders of the Natural World

Why  Landscape?

The Landscape is ALWAYS in style.  You can tear it up, plow it under or build on it.  But basically speaking, nature is pretty darn resilient.  That counts for a LOT from my viewpoint.  Without Nature, we humans wouldn't even be here. For me, the Landscape offers endless fascination and comprises virtually all the elements of pictorial art, from pure abstract to realistic portrayals. 

Every single landscape scene presents different challenges to the artist.  It's not just "another landscape painting", as the antagonists like to mumble.  In reality, it's a moment in time, captured and interpreted through the eyes of the Artist.  Each painting, unique in its own way.

The natural landscape is always around us in some way or another.  As concrete, asphalt pavement and endless buildings cover the land...this makes our natural Landscape all the more valuable, in more ways than one. 

I've been painting the landscape since 1978.  Happily, I am not amongst those many, many artists and hobbyists who've switched to painting landscapes because they decided it was easier to make a sale doing so. 

It is, in fact, very challenging to come up with scenes that are fun to paint, but will also stand the test of time.  I experiment and try new things with virtually every painting I do.  If it doesn't look right to me, I work on it until it does.  Some paintings remain unfinished for years, while I decide how to give it that final touch which will give it the overall effect that I'm seeking.

Abstract art, realistic art, modern art, etc. are all to be found in the landscape as I see it.  Throughout my long career as an artist, I have delved into most types and styles of art, and always come back to the Landscape as the "ultimate" inspiration to paint.  It's also the most challenging.

Years ago, I used to paint my own portrait (looking into a mirror) on or around my birthday!   A sort of chronological depiction of myself with each passing year, as Vincent Van Gogh used to do.  The goal was to get as much "information" on the canvas as I could within one hour. 

The Impressionists held this approach in high esteem, plus, it forces me to take in the entire "scene" (my face) rapidly, without undue contemplation and delay, and render the scene as I saw it.  The main idea of this was to sharpen my sense of observation; always a prime concern when working on a painting.

The other aim for me was (and continues to be)  a "Master Landscape Artist" specializing in this, rather than a "Jack of All Trades...Master of None" approach, trying to paint all types of subject matter...while not being especially good at anything in particular. 

By and large, this "Jack of All Trades" approach is primarily the domain of the novice and those trying to "be everything to everyone".  Nothing wrong in trying, but I've never seen a single artist (famous or unknown) who succeeded at master of everything...despite all attempts.  No one lives long enough to attain this, basically.  

Famous Impressionist painter Claude Monet, for example, dabbled in a few figure paintings and such early in his career, but he knew his challenge was really in being a "Master Landscape Artist".  He's now regarded as one of the world's finest artists whose paintings sell for millions of dollars....each.

I find that, indeed, I can paint (and draw) almost everything fairly realistically.  It's largely a matter of intense and focused observation, which I do with every painting in order to "make it look right".  We've all seen landscapes which seem to "lack authenticity", in one way or another.

The Landscape fascinates me with it's myriad moods and lighting effects (...not to mention literally endless subject matter).  Additionally, with all the housing developments that pop up, where acres of untouched land get plowed under and erased, I think it's a good thing to remind us all that untouched land has a "primeival magic" that affects us.  When it's gone....it's really gone.

Unlike fashions, where hairstyles change (often dramatically) and clothing styles change, making a current trend (like skin tattoos) often look ridiculous (and dated) within a few short years....our environment (nature) is always consistent...and ALWAYS in style.

An Interesting Fact:

                   Try this little experiment next time you're watching television; take note of what type of artwork is on the walls in various commercial advertisments.  

                Not surprisingly, more often than not, some type of landscape scene is predominant.  I'd say roughly 75 to 80% of the time.  That's a very high percentage by any standard. I would bet this will be the "standard" approach for the future as well.

                    The reason for this dominant exposure is because the landscape is the most easy to relate to, for most people!   Television commercials aren't designed to alienate the viewer.  That's the last thing they want to do!   They are always meant to pull the viewer in to watch and listen to the "message" of the commercial.  To make the viewer feel comfortable.  It's a vitally important marketing tool that's very effective.

            A recent trend for some TV advertising is to downplay what artwork is on the walls, instead showing bland frames with a large beige circle or something that doesn't pull the viewer's attention from the product or service being promoted (i.e., insurance, a computer program, etc.)  As if anyone would actually place such non-descript "artwork" on the walls of there home!

                 The second most common type of painting seen in television commercials is abstract art and photography of various types becoming more common.  Figure paintings (people, animals) come in way down the list, and are rarely seen.   People and animals... while fun to paint...are much too personal for wide audience acceptance.

                  - Ancient Family Heritage -

                            Fish Family Coat-of-Arms

                       The name  Fish is part of the  ancient legacy  of the Anglo-Saxon tribes of Britain. The first authentic mention of a Fish family in  history is in 1066 A. D. when a family of that name followed William the Conquerer to England from Normandy.

                 The Fish surname can be traced back to medieval lords over 1,000 years ago to Yorkshire, England, where the family held political and economical influences in the area.  The surname derives from the Olde English 7th century word "fisc" meaning fish. 

                   Aside from a  McCartney  clan  connection, another "famous fish" (no direct relation) was Hamilton Fish (1808-1893) who was the 26th United States Secretary of State under President Ulysses S. Grant, 18th President of the United States (1869-1877). The English  family of Fish is believed to be a branch from an old Saxon family which, in the tables of German nobility, dates from a remote era.

                        Many old family names, such as mine, have a  Coat  of  Arms (shown above).  I stumbled  onto  mine  many  years  ago.  I  love  the  exotic,  imaginative interpretations these heraldic artists  devised to describe, via images, what  constituted a families  background and  heritage.  

                      As one would  expect, the name  was taken on by someone who worked in the ancient fishing industries who caught or sold fish.  Eventually, the name was passed down to descendants, whether or not they were associated with or part of that profession.  The earliest family names were all derived from what job or business the individual(s) were involved in (i.e., Taylor, Smith, Woods,  etc.)

                    The basic simplicity of the crest design was so that from a distance (often on the battlefield) friend and foe could get a clearer view of who was opposite them, as the family banners waved in the breeze.  It was a safety factor,  since combatants were usually dressed in armor of some sort, and could not easily be identified without banners of this sort.               

                     From what I was able to uncover about mine was that the fleur-de-lis (the three  stylized flower designs on  the central shield) indicated some sort of royal  standing  from the Yorkshire County region of England where my  ancestors held a "family seat" (land and an estate) from  feudal  times, prior to the Norman Conquest in 1066 A.D.

                    A family seat was the principal manor of a medieval Lord, which was normally an elegant country mansion and usually denoted that the family held political and economic influences in the area. Fun to think about, but apparently my British ancestors were "dethroned" at some point, so that it's very hard to trace what exactly  this royal connection may have been. Probably land or property owners.

                       I always imagine that somewhere in Britain is an ancient, vine covered castle or manor house that once housed my early  ancestors.  About seven years ago, I decided I was "tired" of the name Fish, and started signing my paintings with the name Farris (a pseudonym). 

                 Then I discovered through genealogical research my Fish family had a genetic connection with the McCartney clan of Britain.   I submitted the required information for a genealogical website and there it was!  Related to the McCartney clan of Britain! 

                I was sure there must be a mistake. I went to a second genealogical website and again submitted the requested information.  Amazingly, there it was again....RELATED TO THE McCARTNEY Clan of Britain.  Further research convinced me.  

                As a kid I recall many times when my dad would say we're "Scotch-Irish-English".   The Fish family began in Scotland, immigrated to Ireland and then finally to England.  From England to the United States.

                    Of the many creative family names, that seemed like being in the "top three", without much dispute! That sounded GREAT to me, so now I'm quite proud to have the Fish name. I have incorporated the shield of my  coat-of-arms  into my business logo design. 

- Artist Gary Fish on painting location in the magnificent Sierra Nevada Foothills region of  Northern California - 

-  Escape from "Pollutionville" -

              Like a dream come true, I'm finally out of  the widespread sick and dying forests of southern California...and DELIGHTED to be so! 

              Polluted air not only affects the lungs...it can damage the heart as well.  A recent study from Boston, MA. has determined that long-term exposure to air pollution (even at low levels) can cause brain damage and neurological disorders.  It's a "no brainer", I dare say!

          Excessive, suffocating air pollution (smog), Bark Beetle infestations and drought conditions have weakened and killed enormous areas of pine tree forests in that area (over ONE MILLION pine trees in the San Bernardino National Forest, alone). An appalling and irreversible disaster for that region, regardless of how it's looked at.

             As if that wasn't serious enough (which it is), enormous, record-breaking forest fires have also destroyed many thousands of acres (due to unprecedented drought conditions for over seven years), scarring the landscape beyond belief for many long years to come. 

             Seems like that area has been cursed by bad luck that never ends.  It almost took me a lifetime to finally move out of that region of California.  Fortunately for me, however...now residing in the much healthier forests of Northern California... the healing from all that grim "stuff" is well underway!

           Northern California forests (while not nearly as dry as So. Calif. forests) are more densely wooded, and still prone to disasterous fires, so we're set up to travel light.  Packing up and leaving an area when fires get too close, isn't a major problem for us.  Forewarned is forearmed, as the saying goes (...we make substantial use of our "forearms", loading up our truck). 

         GOLD MOON STUDIO can exist and function virtually anywhere I choose, by design and intention.

- Gold Moon Studio -

                                        *  *  *

(Paul McCartney doing his "Uncle Albert" imitation...)

Sir Paul McCartney, the outdoorsman, with his Range Rover vehicle at his Waterfall Estate (Woodlands Farm) in Peasmarsh, England

- Painting LARGE on Location -

        One example of my outdoor painting gear. 

This particular set-up was used on the west side of Lake Tahoe when I was putting finishing touches on the canvas.  (Finished canvas can be seen on the Painting page.  Painting title is "Lakeside, Lake Tahoe").  

I have numerous types of equipment with which to paint with, sometimes I go with the idea of taking a basic studio with me, such as in this case.  Othertimes, I take only the bare basics.  I've done it all at one point or another, and just go with my instinct.  (This one was like a camping trip, so I brought lots of equipment).

Notice the painting itself is in shade.  I rotated the painting around the tree as light changed and sunshine hit the canvas making it difficult to see colors.  On small size canvases (24 in. x 30 in.) I use a standard French easel I've had for many years, but for anything larger I improvise.

In this case, a large pine tree worked nicely to stabilize the large canvas.  The ice chest/cooler the painting rests on is utilized as a storage box.  All the gear you see on the right side of photo (except small table) fits into this "cooler".  

An elastic bungee cord is attached to the rear hangers on the painting and stretched around the tree to prevent the winds from blowing the painting over and damaging it. (I use another heavy duty cooler for actually keeping drinks cold).

The chest to the left hand bottom corner is designed for the artist and seems to be based on a fisherman's tackle box, with similar compartments.  It's indespensable for outdoor work, and I've also had it for years to carry all the small, miscellaneous items.

On the right side of picture is the recognizable "TV dinner table" on the ground next to it are large plastic boxes which carry hundreds of dollars worth of brushes of varying sizes.   Since I now work exclusively in acrylic paint, I carry two sizes of plastic brush cleaning tanks to keep brushes wet.

It's worth mentioning that on the small table is a spray can of matte acrylic spray.  I use this fast drying spray to seal the surface and allow for more smooth blending on the painting.

In the brush department, I use a wide variety of brushes.  Including my bristle brushes which I used when painting in oil.  They work great for certain effects and blocking in areas.  However, they work better when the bristles are coated with copal painting medium which I used with my oil paints, otherwise hogs bristle quickly soaks up water and becomes limp and useless.

After over thirty years of painting, it's safe to say I've gone through many brushes and tried out lots of equipment.  Improvisation is really the key.  But it's wise to keep a checklist of what you have with you, as it's all too easy to drive away from home leaving a critical piece of equipment.

In my first years of outdoor painting I even neglected to bring canvases on a few memorable occasions!  Nothing like driving thirty miles to a location and discovering there's no canvases in the car. 

Since I paint in the studio as well, it's all too easy to forget something even if you have double sets of painting gear (which I have).  I have favorite brushes which I rely on for getting the job done and I've arrived on location more than once having left them in my studio.   Make a check list and use it.

       - Another World....Another Artist -

Notable  Northern  California  Artists

            This is a new section of my website which I'll devote to noted, historic artists work from the Northern California region.  I'll change the picture and/or artist from time to time. 

               By and large, these paintings will be either individual paintings that I admire in some way, or work from a particular artist I admire in some way.  (To discover more about an artist shown here, do an internet search for the name of the artist shown below). 

Either way, it's a place to clearly show how artists in the past paved the way for artists of today and in the future....   

                                                                                             "Boats Returning Home"

 oil on canvas

            Artist:  William Ritschel (1864 - 1949)

                    The amazing William Ritschel!  He produced numerous high quality canvases of views throughout California and elsewhere.

                     Obviously a superb draftsman and illustrator, he seems to be amongst the more talented of the many early fine artists of the Northern California region. 

                         A flambouyant character, Ritschel lived in a number of other regions of the U.S. before finally settling down in Carmel, California where he built a house on the coast overlooking the ocean.  He produced numerous high quality coastal paintings.

 William  Ritschel

"Mr. Genetics"

-  Sir  Paul  McCartney  -

MBE, Hon RAM, RCM* 

                                   __

                A legend in his own mind, and that of millions of his fans worldwide.  Looking amazingly "fit" for a fellow his age!  We wish him continued good health and many more years of great music ahead.   

(It's worth noting, he's also quite an artist in oil paint, and other mediums.  See link below).       

 *  The following are honorary awards.  It basically means Sir Paul was nominated by committee to receive these honors.

  MBE - Member of the Most Excellent Order of the British Empire

         Hon RAM - Member of the Royal Academy of Music

              RCM - Member of the Royal College of Music

                     Sir Paul McCartney Paintings -

       Paul tends to paint very colorful, abstract scenes

For those who like there paintings more on the abstract side, here is a link to Sir Paul's recent book on his own paintings: www.maccafan.net/Library/Paintings/Paintings.htm

*

-  CLASSICAL  ADVENTURES  -

This is not a website for or about Sir Paul McCartney, or his many endeavors.  However, since there is a genealogical ancestry connection be- tween he and I, it's rather difficult to overlook the many remarkable accomplishments and achieve- ments this fellow has made in his lifetime.  Most would agree, I'm sure. 

If you prefer or simply have no interest in pop music or the Beatles, there are about six or seven remarkable CLASSICAL MUSIC albums composed by Sir Paul McCartney that you may be pleased about knowing of.  Many people are unaware of this fact. 

"Ocean's  Kingdom"  album cover

(compositions by Sir Paul McCartney)

These various classical music albums he's composed are so amazingly well done, it's virtually impossible to tell them apart from the traditional classical music giants of the past, if you were to hear them played. 

This is not a sales pitch, it's a critical observation by me, who often listens to classical music as I work on paintings. If you haven't heard any of Paul's classical compositions, I strongly urge the reader of this post to discover for yourself how fine Sir Paul McCartney's classical albums are. 

I suggest going to the Amazon website and do a search for "Paul McCartney classical music".  Information and reviews from actual buyer's of these albums can be read and researched.  Decide for yourself.

I highly recommend them!  They're truly great.

 By the way. You don't have to be a "fan" or supporter of classical music, per se, to realize that it's a large part of life, whether we like it or not.  What is often played in the background of a typical movie?  It's basically classical music, written to dramatize or set the mood of the storyline. 

That's what I learned many years ago.  Music is an adventure.   I play it to evoke some sort of emotion while I paint.  It's the "soundtrack of life".  It just depends on how you look at it.  Some prefer a country music soundtrack, others may prefer a rock n' roll soundtrack, or one of the numerous other music styles.

Having been a musician myself, I play quite a varied selection of music as I paint.  It all depends on my mood at the time. 

                                     * * *

Addendum:  Research has shown there is a genealogical ancestry connection between the Fish family and the McCartney clan. 

                 Many family names have notable persons in there ancestry lineage, mine happens to be the McCartney clan, amongst others.   It certainly explains a few traits I have in common with Sir Paul, which surprised even me!                                

Original fine art, technical advice and general commentary on the business and industry of art

*

While this region of the Sierra Nevada Mountain Range has numerous and varied species of trees, the most common around my studio is the Ponderosa Pine, Sierra Lodgepole Pine, Incense Cedar and Douglas Fir trees.

The Oracle Oak

Surrounding my new studio in the Foothills of the Sierra (Gold Country), there are a few Oracle Oak trees.   Considered rare, it grows  primarily in the more lush Central Valley region of Northern California, and Gold Country Foothills.  The Oracle Oak is a natural hybrid of the Black Oak and the Interior Live Oak.

A suitable photograph of a mature Oracle Oak tree.  GOLD MOON STUDIO has four or five of these attractive trees just outside the building. Pines and Oaks...my favorite combination of native California trees! 

The dependable, gas-guzzling

- Dodge Dakota -

on location data gathering mission in western Nevada.

                                            E x p l a i n e d

           For those reading this who wonder what GOLD MOON STUDIO is all about, or what purpose it's suppose to serve, here is my explanation.

          Basically, the primary purpose of GOLD MOON STUDIO is to promote and market my original acrylic paintings.  The two pages of original paintings on this website coupled with explanations of there origins, largely comprise works beginning with my "official" start in art galleries displaying and selling my paintings in the Palm Desert, California area (which I no longer do and have not done for nearly fifteen years).

      Most of my paintings from that era were documented using 35mm photographic slides or transparencies since digital cameras were not yet available to the general public.  It serves no practical purpose to post every painting I've ever done.  This is not a "Story of Artist Gary Fish" website. 

      An unknown number of my earlier photographically documented images have been lost or damaged over the years during various moves I've made.   However, a sizeable collection exists of my paintings photographed using slides or transparencies.

      As such, I've used what I currently have documented to compile a GENERAL OVERVIEW of my career as a freelance artist. The intent is to show  direction and consistency in my work as an artist as well as to foster a greater appreciation and awareness of our environment, both here in the United States and abroad.  

       Alongside this, I post newly completed canvases which are listed as available for purchase by collectors and art buyers.  These are, of course, photographed using modern digital cameras.

        The other pages on the GOLD MOON STUDIO website (www.argospaintpal.com) are published here for the more curious reader who may find knowledge or interest in discovering new subjects related to the art world for me in particular as well as in generalized terms.  

        GOLD MOON STUDIO, with a "retro" website look, also serves as a sort of "permanent online art gallery show", since I rarely do actual art shows in a physical art gallery setting.  The time and hassles involved in such undertakings tend to preclude those activities.

          As this is a website concerned with and based around original paintings, I've never felt the urgent need to "update" the basic look of my pages, though I've had numerous opportunities for such.  I much prefer a more functional looking website...not a "flashy", glossy website.  GOLD MOON STUDIO is a website about paintings, not a slick, often distracting "high tech" look website. 

          I've seen a LOT of artist websites that push the slick, contemporary look, but it ends up too often highlighting the mediocre quality of the artwork featured.  I end up recalling the slick website....and not the artwork! 

Most artwork, regardless of what it may be, ends up being DECORATIVE.  Whatever the intentions were of the artist who created the artwork in question, as time goes on, the original intent is lost since artwork usually outlives the artist. 

As a result, most artwork ends up being decorative.  Something to hang on the wall in a home or office setting that signifies something they like.  My paintings were always intended to be something pleasant and decorative, so that development is of mimimal concern for me personally.

          It's all a matter of personal opinion, of course,  and that's mine.

For those seeking more information on California Impressionist artists (particularly the early California Impressionist artists), I highly recommend this particular book, "California Impressionists".

Authors are Susan Landauer, Jean Stern and Donald Keyes.

100 pages with 72 color images.

 - Kings of England -

                            - King Richard I -

        ( 22nd  King of England from 1189 to 1199 )       
                     

 A section to my website, centering on the historic listing (pictorially) of the various Kings (and Queens) of England.  [And no, I did not paint or draw the image of the king you see above.  These images are taken from historical sources and old manuscripts available online].

You may wonder what has the Kings of England have to do with original paintings?  Primarily, it ties in with the types and styles of art that were prevalant during  each of these "kingly" reigns.

Like the Kings before him, most images were based on crude, cartoon-like sketches.   This particular image shows a more realistic, if somewhat crude, appearance.  He looks like someone you wouldn't want to annoy.  Richard I was also known as "Richard the Lionheart".

Just like in "real" life, some of these kings were fair and temperate, while other kings were harsh and brutal.  A picture is worth a thousand words.

This far back in history, reliable images of people were generally hit and miss, at best.  Finally, however, we are beginning to see more realistic portraits of these historic kings.  I couldn't find any background information on this particular portrait, but it's old and looks similar to a few other old portraits of Richard I.

We can only assume he actually resembled this  image.  Kings (and other royalty) generally had the best chances of being portrayed in some way or another.  

Of interest perhaps to art historians mostly, it's still intriguing (to those interested) to see how art has changed, evolved and developed through the ages (from the British standpoint, in this case).

With my interest in history, I thought this would be a "fun" way to show these historic English kings through the existing art. Was Richard I a "good" king, or a "bad" king?  Research it and decide for yourself.

No other motive, purpose or political agenda is intended with these listings other than to show the various artistic depictions of these historic figures.  If you, as the reader, seeks to discover further information on these Kings, I would advise starting with Wikipedia which excels in concise, documented data on a wide range of subject matter.

Roughly once a month, I will post a new King of England listing on this site location.  It's an adventure for me, as well.  Most of these English Kings I'm largely unfamiliar with and I get the fun of learning about them along with the readers, here.

           - Michael  McCartney -

Believe it or not, Ex-Beatle Paul McCartney has a REAL brother, Michael, pictured above. (And another distant relative for me).  Bearing little resemblance to his famous brother, I look more like Michael than Paul does!   (...though I clearly lack Michael's rather "oversized" lower lip).

Known primarily as a photographer, Michael McCartney dabbled briefly in the music business under the name Michael McGear.

 "...yeah, but I can SING better than you, and you know it".

Paul and Michael McCartney as seen at a recent social event....

 ....and in year's past.

             Underachievers?

While you would be in very serious trouble as a lawyer or doctor (and most "professions") practicing without proper academic credentials, the same does not apply (and never has) for success in the Arts.  

Art (and painting in particular) is one of the few professions where success is achievable simply by applying oneself. Even without a so-called "art education", real financial success was and con-tinues to be possible to this very day for self-educated artists...if quality work justifies it.

The following artists you may have heard about, lacked college degrees and many were even school drop-outs, yet they rank today as landmark artists widely acclaimed by critics and the public alike. Many have work valued in the millions of dollars in many cases. 

These are just a few of the internationally acclaimed, self-educated, artistic "under-achievers".   They are a group too numerous to list, but here are some notables you might recognize.

Vincent Van Gogh, Paul Gaugin, Henri Rousseau, Charles Russel, Paul Bransom, George Catlin, James McNeil Whistler, Milton Avery, Winslow Homer, Grandma Moses...and Claude Monet, who walked out on his art college "educatiion", disgusted with the curriculum and how it was taught.  Claude Monet became independently wealthy in his own lifetime through sales of his paintings.

(And if you view these famous artists as mere aberrations of success in the Arts, pick up a copy of Southwest Artist or American Artist magazine sometime. Its pages have articles on accomplished, self-educated artists in nearly every issue.  It's nothing out of the ordinary, much to the chagrin of the pontificating academic artists and illustrators who are none too pleased with this "reality check").

 How is it even remotely possible that these people (and many, many others) could attain such artistic integrity, value and notoriety without having earned so much as a college degree or having attended an art college?  How could that be possible in the real world?

It's called TALENT.   Natural talent, in many cases.

It may not be yours or  my definition of talent, but these many dedicated, self-educated artists attained a level of technical superiority that far surpasses reality for most people (or artists, for that matter).

It's the talent that comes from hard work, sacrifice, diligence, research and staying "in the game"... no matter what.  Underachievers?  BY WHOSE CRITERIA?

       They have earned the title of Master Artists.

(This same situation exists in the music business, as well.  Two notable musicians, John Lennon and Paul McCartney, were self-taught.  They couldn't even read music for most of there careers, much less write it.

Yet that had no bearing on the finished product (i.e., Beatle songs) which catapulted both of these songwriter/musicians into world-wide stardom.  They learned to compose songs by trial and error, and it brought them millions of dollars in return). 

Many authors and novelists also have little, if any, "official" training or credentials.  Despite this, they have achieved great financial success by being highly original and creative writers.  Success stems not from academic pontification, but through individual talent.

                  Artistic  Investment

Financial Investment Market data has demonstrated that when most markets are down...good quality, one-of-a-kind original art is a facet of the investment markets that increases in value.

Art collectors (and those simply wanting to "hedge there bets") purchase choice art works assuming an artist and his or her work will retain monetary gain in the future.   Like an automobile collector would purchase a one-of-a-kind Ferrari or other rare vehicle. 

              Single items have investment value.

The quote above is attributed to the famous French composer, Claude Debussy.  In those few words, it makes quite a statement of fact. 

Implausible as it may sound, believe it or not, that's really what creates the guidelines for all of current and past academic art. 

You could also say, "Works of art CREATE rules".  Creating the art also creates the "rules" or guidelines for future art.

-  IMPRESSIONISM  -

A style or movement in painting originating in France in the 1870's, characterized by a concern with depicting the visual impression of the moment, especially in terms of the shifting effects of light and color.

 -  as defined by  The Oxford Dictionary

Another Record Breaking Art Sale

Here's another example of a recent record-breaking art sale, and another solid reminder of what well-financed people can and will purchase if they see "value" in that item.  In this case, a large painting by an American artist, Jean-Michel Basquiat. It sold in a New York auction for $110.5  MILLION.

With the generic title of this work, "Untitled", it would appear to have come straight out of any high school or junior college art class (i.e., "Painting 101").  The artist died of a heroin overdose at age 27.

I used to be outraged at art sales like this, wondering how and why anyone in there right mind could possibly invest huge sums of money in this sort of item.  At the same time, I'm also fully aware that no matter what level of income, everyone has there own outlook on what's considered "quality".

Like someone who loves the color lime green and has a closet full of lime green shirts, dresses, coats and even shoes.  They LOVE lime green and that's what they choose to have around them (or ON them, in the case of clothing items).

Nothing any of us can do about that, nor should there be.  People buy what they like, and likely always will.  Art collectors and investors nearly always indulge themselves in "artistic ventures".  Many for investment purposes, over any particular great desire for an attractive painting or sculpture.

One can imagine how many thousands of artists and art students have painted "colorful skull" paintings such as the one shown above.  And you would be correct, yes, there are thousands of artists who have painted similar scenes and never made a fortune from doing so.

Yet this particular one now gets major attention because a wealthy Japanese businessman apparently bought it.

An  Artists  WORST  Nightmare!

Most artists have there "special nightmares" that sort of define there journey of being artistic.  I'm no exception.  The following description concerns a jerk who was an acquaintance of mine from a town I once lived in, while trying to establish myself as a viable, marketable visual artist.

I'll refer to this jerk as "CASANDRA".  

I was in a high-end art gallery in Palm Desert, CA. in the late 80's, and gradually gaining a foothold in the competitive art gallery scene in that area, having sold my large Impressionistic landscape paintings there for about a year.

One day, the owner of this gallery asked me if I knew of any abstract artists who might like to show there work in this gallery.  I told her that I had a neighbor who painted large abstract paintings as a hobby, and I would ask her if she was interested. 

This neighbor, Casandra, was indeed interested in showing her work in this high-end gallery of which I was a member of.  Casandra delivered three or four of her large abstract canvases to the gallery. 

A week went by, and then a month...then two months went by.  Casandra didn't sell a single painting during this period.  Nothing!  So she started calling the gallery, interupting the owner and salesmen at the gallery to ask why she hadn't sold any of her paintings.  Apparently, according to what the gallery owner told me, Casandra called enough to be annoying. 

Casandra simply had no appeal to the gallery patrons.  NO SALES.  So, Casandra decided the best "remedy" would be to slap together a few landscape paintings.  She figured since that is what I had been selling, she could also do the same and someone would actually buy it! 

Again, Casandra had NO SALES on these amateurish landscape paintings.  No one even asked about them.  The art-buying public had no interest in Casandra's paintings, be they abstract or landscape.  The entire venture was a total disaster for Casandra. 

The end result, of course, was that it cast me in a dim light since I was the one who referred her to my gallery.  The gallery owner and her sales people began looking at me wondering why I had referred this jerk to the gallery!

I explained to them that I was merely trying to be helpful and friendly with Casandra.  Assuming she (Casandra) would behave in a respectable manner to everyone concerned.  Well, it wasn't to be.  Casandra had failed miserably, and she knew it. 

When I confronted her about this, she bluntly stated that she did all that "out of desperation".  I explained to her it was a poor excuse for having failed at selling even one painting, and that it was clearly her problem dragging everyone else through the crap that was clearly and obviously all her doing.

Of course this amazingly poor performance in the Palm Desert art gallery scene destroyed rather effectively any future chance that she may have had with other art galleries in that area.  Word spreads amongst art galleries when someone sells and when someone does not sell.  Within a few short weeks, most of the area's art galleries knew that Casandra's paintings were NOT selling.  It doesn't get any worse than that for a new artist!

Casandra had made a foolish and embarrasingly bad plunge off the cliff, as far as creating a good reputation with the prestigious Palm Desert art galleries went.   A clear disaster, plain and simple, for Casandra.

The moral of this sad tale is "proceed with great caution when considering extending a helping hand to another artist".  As for me, I will be very unlikely ever again to try and help another artist get ahead, at my expense.

Since I had already established myself with this art gallery,having sold my first painting through them in ONE DAY'S TIME, I was in no danger.  But it took a few months to shake off the after-effects of having been the fellow who referred this jerk Casandra to my art gallery (with whom I had no further contact with after this incident).

I apologized to the gallery owner for Casandra's bad behaviour...and poor performance.  Something I should NEVER have had to do, were it not for Casandra's amazingly poor behaviour, and her obviously sub-standard and amateur art work.

Lesson learned.  The HARD way!

 "....for a different online art site experience".

- TECH TALK -

For anyone curious about what goes into "being an artist", this section may shed some light on it. It's not as simple as it looks, and certainly entails more than just applying paint to canvas.

This section will be devoted to discussions about the more technical aspects of painting with acrylic paints.  Additional entries added periodically:

* * *

The two paintings you see on your left, are some examples of my own paintings. It's just an example of what you can do with acrylic paint. Personally, I prefer a lively, "brushy" Impressionistic look. But the versatility of the acrylic medium allows for a multitude of styles and techniques.

I've painted exclusively with acrylic paint for the last eighteen years. I previously had worked exclusively with oil paints for twelve years, but developed an allergy to turpentine and other solvents used with oil paint.  A common malady I've heard other artists complain about. As a result, I chose to stop using oil paints.

In the course of those eighteen years I've used acrylic paints, I went through many incarnations of my basic studio equipment. Initially, I bought the available palettes intended for use with acrylic paints.

After a few years, however, I began to realize these palettes were utilizing outdated and outmoded technology, as well as presenting possible health hazards due to the development of dangerous black mold.  (I should have tossed these "palettes" into the trash).

After three years of using these rather primitive palette designs readily available in the commercial art markets, I began exploring the "how's" and "why"s" of acrylic paint, in general.

If you're an artist who uses acrylic paint, you're well aware of the rapid drying tendencies of the medium. While you can certainly use this fast drying "quality" to your advantage in some instances, it can also present severe frustration and annoyance!

Once dry, acrylic paint cannot be removed (except with rubbing alcohol) nor can it be blended. So you either work VERY rapidly, or figure out some way to slow the drying time.

For my own personal working method, it was obvious I needed something to slow down the fast-drying tendencies of acrylic paint, but also to allow for super-easy clean-up....two things which greatly concerned me about using acrylic paints.

*

-  How I Price My Work  -

Like any professional who charges according to each individual "patients or clients" need, I apply the same principal for each individual painting I produce. Primarily because my working methods have to account for variable time factors. 

Without exception, each individual painting I do requires different production times to effectively complete and finish it to my specifications.

I price my work based on three factors: 

   LABOR - How many hours devoted to creating a finished painting. It varies from painting to painting. Some evolve and reach completion rapidly, while others do not. These original artworks all consist of variable factors.  I use a fair professional hourly wage which I apply to all my work based on experience and knowledge of my particular artistry (i.e., acrylic painting).  This is the primary factor I use to establish each individual paintings selling price. 

I prefer a mid-range pricing index so that a more reasonable cost-to-labor factor is present for those who would like to purchase my paintings. 

   TOTAL COSTS  -  This particular factor is minimized since I tend to absorb most of the costs of running my studio.  And I've never charged anyone for the paint I use, or the brushes I use.  I consider all this a "cost of doing business". I use what I need to complete each painting, and don't pass that on to the buyer/collector.

Unless otherwise stated, I rarely use frames. Too many variables involved with picture frames, not to mention additional cost to the buyer/collector. I leave it up to the buyer.  I'm a contemporary artist, and I prefer a modern, sleek look that canvas wrap presents. ["Canvas wrap" - staples are on rear of canvas, invisible from front and side view, designed and intended to be hung as is].  Click here for a better understanding of this.

   OVERHEAD - Another nebulous factor I try and minimize.  Depending on where I'm working, cost factors vary.  All I need is space to paint, lighting fixtures and electricity.  My workplace, GOLD MOON STUDIO, functions on efficiency and practicality, not extravagance.

My signature on a painting indicates a particular painting is finished to my satisfaction and expectations.  That means a lot to my buyers and collectors, both past and present.  It's also one of the most authentic means of identifying a painting's author.  Signing a painting is normally the last procedure I do to indicate a work is finished.

Generally speaking, there's more than a few ways an artist can set prices on his or her work. Many artists, particularly painters like myself, prefer pricing there work according to the size of a painting.  All 18 in. x 24 in. paintings are priced at a certain pre-determined price, as is a 12 in. x 12 in., and so on.  

Each size has a set price, regardless of any other factors.  A sort of mass produced,  "cookie cutter" approach made simple for buyers/collectors so as to minimize "buyer confusion" when buying same size paintings which would otherwise be priced differently.

There's a pro and con to this method of pricing.  Unfortunately, many artists figure out ways to very rapidly complete a painting so that they can make more of a profit using less actual labor (at the expense of there buyers). I could do the same thing, but have never felt comfortable doing that.  It sort of undermines the whole intent of creating a "work of art", as I see it.

This "price by size" method is a double edged sword.  For the art buyer/collector it can mean they're paying a possibly higher amount for a painting that only took three hours to complete.  Simply because a certain size painting is given a pre-set price. 

Journey Through a Multi-Million Dollar Estate -

I was recently exploring various online websites concerned with real estate housing.  My search brought me to an exclusive real estate website which featured enormously expensive estates.  I wasn't specifically looking for anything like this, but curiousity enticed me to look, so I clicked on the link.  See what I was "missing out on", in a manner of speaking.

This particular estate was overlooking the ocean off Big Sur, California. One of the most expensive regions in the United States. Like anyone, I pictured myself lounging amongst the designer-quality furnishings, gazing out the windows with unfettered views of the ocean, relaxing in the outdoor hot-tub and generally daydreaming about what it would be like to actually live in this grand, custom-built estate.

The REAL reason I was looking at this estate was to see what type of artwork was on the walls.  Like every other magnificent house I had looked at over the years, I was struck by the seemingly random, eclectic art on the walls.  I had noticed this in basically every home I looked at.

The living room had a large, abstract painting and a few smaller works with a more realistic appearance.  The master bedroom had a small, framed painting of a horse, a couple of small framed landscapes and a few small framed photographs (black and white) of someone's face.  Nothing "spectacular" from my standpoint.  Nothing that any one of us couldn't find with comparative ease.

And that's the lesson to be learned from this "mini-adventure" into an enormously expensive home.  Everyone has there own selection of "favored art" on there walls, regardless of how expensive or modest there homes might be, or what level of personal income we may have.

It's another verification of how we all pick and choose artwork that suits our individual preferences.   All these works of art can be found at art galleries in all areas of the country.

Update:

I noticed something quite revealing recently, as I watched these various televised interviews by those somehow connected with this grim Corona Virus pandemic.

Because of the "stay at home" policy, these people were seen discussing things in the relative safety of there homes and offices.  There simply isn't a better way to determine exactly what people chose to display on the walls of there immediate environments.

I had suspected for many years that paintings and prints depicting some sort of landscape were the dominant type of artwork most people would chose to display in there homes and offices.   I was correct in my assumption.

These people were doctors, lawyers, news reporters, authors and those important enough to be interviewed on television.

I couldn't make out the artist signatures from any of these, but it's safe to assume that some may have been painting by the person being interviewed, a child, or other family member.  Most, I would guess, were bought by the people being interviewed.

Abstract paintings came in second place.  A small handful featured images in simple black and white.  Either drawings or photographs, as such.  Figure paintings and drawings came in a clear last place in popularity. 

No surprise to me.  I had assumed that long ago, but, until now never had any real-life, direct visual evidence of that.  I figured many, many years ago that we all see (and hear) enough people at work and elsewhere, we don't really want to see "people paintings and drawings" in our homes and offices as well.

Hi-Tech  vs.  Traditional Art -

I think it's safe to say that Hi-Tech art applications will definetly have an impact on the existing art business in the coming years.  Anyone who has an interest in art in general can't help notice how image editing programs have opened up numerous avenues for artistic expression.

Comparatively simple things like colorizing digital photographs has already made an appearance, especially on the internet.  Recent advances have made it fairly easy to create new types of art, using computer imaging programs.  How long it will take to really have a noticeable impact on traditional, hand drawn artwork, is anybody's guess.

The saving grace is, of course, all the older traditional paintings and drawings which have dominated the art market amongst art buyers and collectors.  Historically famous artists like Claude Monet, Vincent van Gogh and dozens of others have generally created a distinguished (and highly lucrative) hand drawn "style" which I don't see being minimized by advances in hi-tech art.

As such, I don't see why hand drawn art now and in the future will suffer to any great degree from competition with hi-tech art.  My guess is that hi-tech, computer generated art will become a more defined "new type" of artistic expression all it's own.

In the meantime, those of us using our talent for creating hand drawn art will no doubt continue to maintain this traditional approach.

Prints or Giclees from Paintings -

Most artists at some point in there careers have the opportunity to make prints and/or giclees from there original paintings.  That applies to me as well.  I've resisted the urge to make prints of at least some of my paintings which I've had repeated requests for. 

Basically, it's the primary method artists get more income out of a single painting.  Sell prints. Many years ago, however, I decided instead to market my work as a singular, "one only" item.

While this puts my paintings out of the reach price-wise of some people, it also makes my work more valuable to many more buyers and collectors since it's a singular item.  YOU, as the buyer, are the only person to own a particular painting.

This is a tremendous attraction to many art buyers/collectors, and is something I prefer, as well.  It's a great feeling to know that you are the only one to have something unique.  Your neighbors, friends, etc., will never have what YOU have!

You can stand out from the crowd, and be confident that what you own is unique.  The other advantage is that this "unique item" (i.e., a painting) you own will most likely increase in value over time. 

It becomes an investment.  Like money in the bank that gathers interest over time.  Since no prints, posters, giclees or "limited editions" exist of any Gary Fish paintings, the originals will be worth far more since they are a singular item.

 Wisdom  and  Advice  from  Our  Elders -

When I was in my late teens, I was thoroughly entranced by the idea of being a musician for my life's career goal.  After about twelve years or so of pursuing this, however, I came to realize that perhaps it wasn't such a "great idea" afterall, despite having met and performed with at least one authentic musical legend, along the way. 

I don't smoke cigarettes, nor am I much of a drinker.  Both of which seemed to be ever-present in the music industry.  Not to mention the nomadic lifestyle which I wasn't too thrilled with.  Living out of a suitcase had minimal appeal to me.  My second greatest love was to be a free-lance artist, which I've pursued from my late teens.

Then I read something that changed my life.  Some researcher decided to gather comments from older people, male and female, who were living in retirement homes and basically in the last "golden" years of life.  The question posed to this large group was, "What was the greatest regret you have as you look back on your life"?   A fascinating question, right?

The answer stunned me, and I NEVER forgot it.  Apparently, most elderly, retired people had the most deep-seated, gnawing regret at never having pursued with any real intent the true interests and desires of there lives.  In short, they never pursued there "dreams" and now, in there last few  years of life,  it was simply too late.  No time left to chase dreams! 

They would go to there graves never having realized how there lives might have gone had they pursued there dreams, whatever that dream may have been for each individual. 

Even in my late teens, I was always aware that someday I too would have to face this same situation.  I never for a moment doubted the wisdom of older people.  I listened carefully to what older people said.  What purpose would be served by them lying, I thought? 

It wasn't the concern of how there own children would end up.  And it wasn't the concern for there grand children, or a surviving spouse, or what may have happened if they had moved to Florida instead of New Hampshire during there "productive" years.  No, it wasn't anything obvious like that. 

It was a simple, basic failure to realize that chasing dreams in life had a MONUMENTAL, long-lasting, deadly serious impact that would haunt them right up to the last years of life.

Like all of us, I may have a few regrets during my own life....but not having chased my dreams will NOT be amongst them.  For that saving grace, I'm thankful for having the awareness (and tenacity) to pursue my dreams of an artistic, creative life. 

Whether or not anything "great" comes from that, isn't as important as simply having pursued it without second-guessing myself or following the crowd, like mindless sheep going to the slaughter.  Come "hell or high water", I have pursued my primary interests from a young age.

And yes, there has been plenty of both hell and high water along the way, but I've stayed the course, stayed focused on my goals and remained true to myself.

Traditional brick and mortar art galleries going extinct?

I recently read an online article from San Francisco describing how some new "tech firm" was expanding and taking over building space occupied by mid-level art galleries. 

I've been in the art business long enough to realize it's a business that's fraught with uncertainty, except in the best economic conditions, which don't happen much anymore.  This article blamed the growing "outdoor art fairs" business and the internet for largely destroying the tradional brick and mortar art galleries.

You can look at this in a number of different ways.  Certainly downtown San Francisco, in the well-established Financial District, has benefited in the past with "well-heeled" foot traffic.  People with money to spend, who bought from these galleries, and had easy access via street location.

The reality is different in small, resort area towns like the one I currently live in.  Most artists prefer to live and (whenever possible) sell there art close to where they live.  Simple logic.  With certain areas of the city re-centering itself with new industry and business, the galleries get pushed out.  The tenacious and imaginative gallery owners seek out new locations.  Some prefer city locations, some "head for the hills", or even move to other states.

Since I've lived primarily in rural areas almost my entire life, I can speak with some awareness of how these areas do business.  No question resort areas do a higher percentage of business, since people visiting these resort areas are there with money to spend.  Some people seek out art galleries to buy, others look for clothing stores or other specialty stores.

I personally never entertained the idea of being a "wealthy artist".  It's certainly possible for an artist to become wealthy, but the majority have to settle for something less.  Less is not always "bad".  It all depends on how you approach it.   It's nice to drive a Mercedes Benz sedan, but you certainly don't need one.

Big city art galleries will continue in new areas of the city, some will relocate elsewhere, some will "retire".  It's all there.  Artists have always had to "scramble", to some degree.  Imagination is the best solution. I've known gallery owners to relocate five or six times, as they seek better areas to sell art.

If someone is running an art gallery to make lots of money, it's not likely to happen.  Keep overhead low and don't ask so much for pricing of artworks.  That's the best overall approach for this business.  High expectations in the art business is largely the realm of newcomers. 

Personally, I like the idea that artists take more control over there product.  Too often, art galleries price themselves out of the market by jacking up art work to help cover rent and utility bills.  They are forced to find more logical areas to do business.  Preferably where rent and leases are not too excessive.  It's a matter of balance. 

Get it in Writing!

Regarding business contracts, a teacher once wisely informed me, "If you can SAY it...you can WRITE it".  I try and stick with that.  It's fair and logical.  It's basic "Business 101" for any young artist starting out. 

A hard lesson I learned many years ago when I first began exhibiting and selling in art galleries was the tendency of some galleries to verbally "promise" something, only to "forget" they said it, later, when it really counted.  They didn't want to bother with dealing with essential paperwork and agreements.

Once you get that sort of unprofessional tactic by someone, my recommendation would be to cut the conversation short, turn around, and walk out the door.  Don't do business agreements with anyone who avoids simple written contracts.  It opens the door to numerous shenanigans you will most likely end up regretting (not to mention the annoyance).

It's simple logic.  Contracts keep everyone involved aware of basic agreements and special circum-stances related to each artist documented and up front...where it should be for the interest of all concerned.

Imagine doing a building remodeling contract...WITHOUT the contract!  It would end up in disaster at some point, with serious and costly expenditures for all concerned.  A "fool's game", at best.  It simply wouldn't be done.

If they're willing to play "fast and loose" on basic agreements, you can bet they'll act in a similar manner on other important things, as well (like getting paid for work sold, and when).  "Little" things like that.

"Forgetting" what you tell someone you're doing business with.  It's an old trick people often use to escape possible legal problems.  All it really does is leave you, the artist, feeling misled and rightfully angry. It leaves the artist at risk of being jacked around, and who needs that? 

If they won't sign on the line next to there name, assume they're not on the level, which could mean potential problems for you down the road. 

Why else would you not want to sign some sort of agreement and make it binding for all concerned?  It denotes dishonesty, plain and simple.  You don't need it.

Verbal agreements, or handshakes are fine but they, too, can be "forgotten".  Not much protection from talk.  That's why they say, "Talk is cheap".  Doesn't cost a cent.  You have to weigh your options with verbal agreements.  Try to keep verbal agreements and handshakes confined to minor things.  You can't be forcing gallery people to sign every little thing that's said. 

A general "Artist and Gallery Agreement" (which is what I use) specifying "terms and conditions" is normally the safest way to keep everyone mindful of the overall situation for artist and gallery.  Plus, a blank section is available for special conditions and agreements that effect your specific situation (if any) with a gallery.

If they make excuses or balk when I bring out the form....that tells me everything I need to know.  I cut the meeting short and head for the door.  Reputable art galleries normally have there own Artist/Gallery Agreement forms so everyone knows what the "fine print" specifies.

Art as Decoration

Something I began to notice (and pay attention to) as I painted my own perception of what art was all about, I gradually came to the conclusion that nearly ALL artwork becomes, at some point, DECORATIVE.

It may start out as some "big declaration" of something, but as time goes on and different people take ownership of something artistic, paintings and images nearly always become a thing of decoration!

Every owner of artwork has his or her own initial perception of what significance a painting or image has for them.  Often it's just the colors in a painting that make a painting the "perfect choice" for displaying a painting somewhere.

My own paintings are decorative, and I don't see that as a drawback.  It's what the image shows is what makes my paintings suitable.  That's what I display in my own personal rooms.  It's not intended or designed as some hidden statement, other than what is seen in the painting, and that's fine with me.

What makes a "good" (or great) painting?

From my experience of owning a gallery and selling my work through other galleries, it's obvious a "good" painting is largely based on one's own personal definitions.  Believe it or not, there's no official definition of a "good" painting nor is there any "golden rule" for judging a paintings overall quality.  It's all based on personal likes and dislikes.

Many people (like me) gravitate towards landscape scenes, while someone else might find abstract paintings to be the "best" type of art.  A large percentage of art collectors prefer paintings with heavy impasto (thickly applied paint), others prefer the thin, delicate look of watercolors.

Having owned an art gallery myself, years ago, I can tell you that it's impossible to put a definition on what is considered a "great" painting.  Is it color(s)?  Is it scene-specific (ocean scene, city scene, open landscape, etc.)?  Is it how well the scene is drawn?  Is it realistic?

The answer is based on what the individual thinks is important, and it varies considerably!  In a small, country art gallery I once visited I asked the owner what is getting the most sales.  She said that city street scenes were selling well.  Not abstracts, portraits or even landscapes.  And this in a country art gallery, many miles from large towns.

The gallery owner said it was because people coming here from the "big city" areas found the city street scenes attractive enough to buy!  The locals in this small town were surrounded by nice countryside and didn't need to buy a painting showing it.  But something was very attractive to city people about city street scenes.  It reminded them of the areas they live in.

Personally, I've painted scenes I thought were "great" and yet it took awhile to find a buyer for them.  Other times I did paintings I thought were lacking in some way, yet they sold quickly.  And over the years I've painted everything from thick to thin paint on my own work. 

Occasionally I'll do both thick and thin on the same painting.  Either way, they're just as likely to sell.  There's just no real way to determine a good painting, it seems.  It's all based on who's looking at the work and what preferences they have.  It's as simple as that, and likely to always be that way.

Years ago, when I first decided to become a freelance artist, I decided to enter a handful of local art shows.  The idea being to see how the public reacted to my work.  Fortunately, the reaction was very positive!  One trick I enjoyed doing was to stand back ten or twelve feet from my display, wait for someone to walk up and look at my paintings.  Then I would approach them and ask them, "What do you think about this guys paintings?"

Most people didn't know I was the artist, so it was great fun to hear "uncensored" remarks by people.  I don't recall anything negative.  Basically all the responses were positive.  From thereafter, I knew I was going to be relatively successful, as long as I marketed with a sensible and reasonable approach in areas that had a year-round customer base.

Another thing I would do is wait until someone was standing there in front of my display of paintings then I would approach and  ask them what they liked and what they disliked about a painting.  Some people said they liked the colors, or how I made water look like water, or that a scene reminded them of a place they had been to.

The value of a painting is another aspect of a "good" painting. I've seen paintings by world famous artists in museums that I wouldn't pay more than a few hundred dollars to buy.  Though, because of the artists place in history, the price for a well-known artist may be in the millions of dollars. 

I've seen shoddy, rapidly painted Monet's and I've seen much more carefully painted Monet's.  But because of the artists name, these paintings often sell for millions of dollars.

Like most things, if you like it in some way....you may buy it.

 I'm often asked, what is the most difficult time I have had being an artist?

 I would say developing my own interpretation and outlook.  When a person studies heavily with an art teacher(s), or even another artist, the tendency is to interpret things through those people's eyes, instead of your own. 

Over time, it can be the cause of tremendous "developmental problems" with your own personal outlook as an artist.  Many people don't seem too concerned about that, but I do.  We all need some guidance and a basic skill-set, but not a ditatorship, it's counter-productive to individual requirements.

To this day, nearly thirty years after getting early training and direction from an artist/teacher I befriended, I still find myself debating about how I want a painting to look like.  In spite of this, I can see that I have attained a fairly recognizable "look" in my work....but it didn't happen overnight.

What may apply to one person may not apply to another.  You must figure it out on your own to obtain your own artistic identity.

Secondarily, I would suggest being VERY careful about where you work.  I have had magnificent, quiet studio areas where I could work undisturbed, and I've had very disruptive, noisy studio locations that slowed my painting to a crawl. 

Dealing with insensitive, rude neighbors who weren't the least concerned about how I might be affected by there behavior or activities. A few, largely out of jealousy, deliberately tried to stir up problems for there own amusement.   

Thirdly, be very careful about who you befriend and/or take into your confidence!  There is a LOT of misguided individuals out there who may not be as "friendly" as they pretend to be, but are only befriending you for there own selfish purposes, including sensitive business connections. 

I've had three or four of those "types" over the years, and the effects they cause can last for years...the last thing you want or need to move forward in your chosen career goals.  Keep your eyes and ears open to these kinds of people and avoid them at all cost.

Holding grudges, while satisfying on some levels, only succeeds in channeling off energy that could be better directed towards creativity.  Hard lessons learned are usually the most valuable in the long term. 

A cloth of many colors!

If you're an aspiring artist, do not be afraid to experiment with all the colors you can get your hands on!  I recently read an article from some well-meaning, but clearly uninformed, retired lady about how proud she was that she only used three tubes of paint to get "all those colors" on her paintings in her art gallery show.

The three colors are red, yellow and blue.  They are known as the "primary colors".  Yes, you can make a LOT of colors from those three colors.  But here's the rub.  The many other colors available consist of ground up minerals and chemicals that allow for far greater color combinations. Thousands more combinations, in fact!

And in this computer age, you need all the color you can get.  I made a point of buying all the dozens of other colors many years ago and I'm still discovering new combinations from those colors that delight the eye!  It's called learning by doing. 

Get some of the "odd" colors and see what you can come up with!

Entry 1 -

One thing I started dealing with rather quickly was surface preparation of whatever support I was painting on (canvas, panel, etc.). While you can use a variety of things to cover or seal the support on which you're working, for my purposes, a matte clear acrylic finish spray seemed to work best.

A gloss or semi-gloss cover merely prevented the acrylic paint from adhereing properly, and allowed the paint to bead up rather than covering. This matte finish acrylic spray also workswell as a final "varnish" to seal the finished painting surface. Since it's a matte finish, there's no annoying and distracting glare or light reflection from nearby windows or lights, which then allows your painting to be seen from any angle.

For smaller paintings (8" x 10", 12" x 12", etc.) gloss or semi-gloss clear acrylic spray will work, if you prefer, as the problem of reflection is less with a smaller surface area.

Entry 2 -

Assuming you have your surface prepared, or sealed, you can now begin to place your colors into the ARGOS Paint Palette. The indented groove at the bottom of the palette is where you place the colors. Allow a half-inch to an inch separation between colors.

Once the colors have been placed, you can now begin scooping up a bit of the color(s) to place in the central flat mixing area of the palette. To slow or retard drying, use a water spray mister. Spray once or twice over the palette. Don't overdue it!You'll soon realize just when to lightly spray the palette. You don't want a skin to form over the colors! Once that happens, you'll have to remove the skin, since it will not mix or desolve into the rest of the paint.

The ARGOS Paint Palette can be hand-held or placed on a flat surface. Whatever works for you. I do both. When you stop painting, simply snap the clear plastic cover onto the top of the palette (after spraying a light mist of water). I recommend using distilled water in the sprayer, as it will cut down on the chance of black mold forming. That's what I use.

Once you snap the "clearview" cover on, it will seal the palette from drying out too rapidly, until you're ready to work again. Multiple palettes may be used if you're working on something large, and perhaps need a large amount of color for something like sky colors. I do this regularly.

The built-in easy clean-up features of the palette design allow for palette re-use. NO need to buy anything extra.

Entry 3 -

Before I get too far along with this blog, let me make it clear that the ARGOS Paint Palette is designed for ease of use, whether you're a professional, a novice or hobbyist. That was basically the whole idea with the palette when I decided to tackle this; simplify the necessary task of mixing paint, and at the same time keep the paint moist and workable for as long as needed.

While it's possible to keep the paint sealed in the palette (with the cover properly secured) without it drying out for at least a few days, the paint will last much longer if sprayed two or three times with the fine-mist sprayer supplied with the palette.

I've gone for about five days without needing to spray the palette, which is pretty good. And of course, if you're wanting even more time, simply spray the palette again two or three times and secure the cover. No hassle. No toxic mold.

You DO want to avoid having too much water in the palette. You don't need water pooling up or sloshing around in the bottom of the palette for the ARGOS Paint Palette to perform properly.

Entry 4 -

Anderson is the name of one of the major acrylic palette makers who manufacture and market these "mold prone" palette designs. All you need to do is shop any well stocked art supply store (in your own neighborhood or on the internet) and you will find them.  They're supposedly designed for acrylic paint usage.

And I used them all, over a period of about five or six years, as I struggled to gain some foothold of knowledge about painting with acrylic paint. If you are a fast or rapid painter, I'm quite sure these older palette designs would work well enough for you. The primary problems being that they seriously dilute your paint mixtures, requiring tiresome re-blending and mixing as you try to get back to the original color you started with!

Sounds easy, but anyone who's tried this knows just how difficult and annoying this can be! It eventually wore me out, after a few years of this. And if you don't finish your painting, and decide to keep your palette, you made the disturbing discovery of black MOLD starting to form in the palette and on the "special" palette paper inside after sitting for a few days.

Strange that I ended up "saving" myself from this mess by my own ingenuity, but I felt, at the time that I had no alternative. Never a good feeling to have anytime, anywhere for anything, but that's the reality I faced. I wasn't quite ready to throw in the towel, as it were, and abandon painting.

For those unaware of the many qualities of acrylic art paint, it's only fair to forewarn you of how fast it dries! Trying to relax, and leave your palette out in the open air (as you normally would with oil paint) is an open invitation for all of your paint to dry so hard it's unusable within fifteen to thirty minutes.

Before it dries hard, it starts to form a rubbery "skin" which, of course, is insoluble as well. Having painted exclusively in oil paint for the first twenty-four years of my career, I can tell you I nearly went mad as I struggled to learn how to use acrylic paint!

While some qualities were similar to oil paints...many were not, and it created quite a challenge for me, initially.  For the first few years, I was certain acrylic paint was basically a "junk" art medium, with very limited applications. But as I struggled onwards, I began to be fascinated and challenged by this medium. I didn't want to be "defeated" by a different kind of paint, basically.

I researched well known, acrylic painters and stumbled onto a few that had a style that I liked and could relate to. By observing the work of artists you like, you can often find "solutions" to problems encountered in your own work, as well as getting inspiration in general.

Entry 5 -

By the way, NEVER balk at the idea of adapting SOME of the look and working methods of any artist you find appealing. It's all part of evolving your OWN look, believe it or not. You will never be able to paint like someone else, anyway, right? So don't waste your effort trying.

Roughly eighteen years into my career as a fine artist, I had a huge interest in Claude Monet. I even went through a period of about six or eight months where I tried my best to have my paintings look like something Monet would do! Well, obviously a few paintings had his "look", but most did not.

Eventually, most of these paintings sold. But one or two of them hung for many months in gallery windows, attracting minimal interest....or buyers. The remedy?  I repainted these canvases with more suitable desert scenes, which then sold.  

You don't HAVE to seek out your own "look", but most serious artists do.  A "personal style" evolves as one paints.  And this will happen as you work on each painting you do. Unconsciously you explore different styles and methods of application as you work.

At one point during this period for me, I also felt that a really "good" artist had the same look for each painting. Later I realized that you only stifle your creativity taking this approach. All "good" quality artists transition through various periods where there paintings change in appearance.

One of the most pathetic "artistic reality checks" I had was during my years in the southern California desert regions. This odd character, an art teacher from somewhere in San Diego, had an exhibition of recent paintings he had done. Nothing unusual there, but the subject matter was.

This fellow had about twelve canvases of varying sizes (some fairly large, nearly two by four feet) depicting forest WILDFIRES in the local landscape around the Los Angeles/San Diego area; huge flames destroying large areas of the forest. Billowing smoke...the whole mess. Unfortunately for southern California residents, a sadly common sight in the dry, often parched terrain of the entire southern California area.  Many fires revealed to be arson related.

Not sure if any of these rather ugly, disturbing "flaming landscapes" were sold during this show, but it reminded me again of how off-kilter someone could be and still be considered "artistic". I had a small gallery at the time, which he wanted to display this stuff in.  I refused.  Where would paintings of this sort be displayed? In the living room? How about the family room/den?  Better yet...the garage.

Entry 6 -

As far as paint brushes go, my advice would be to simply collect as many as you see fit. The price of brushes has actually gone down in recent years as modern production methods develop and it will give you exposure to different types of brushes and what they can do for your particular art style. You'll also quickly figure out which brushes suit you and which ones do not.

Since I've been painting for over thirty years, I've collected quite an assortment of brushes of varying types and quality, including a few of the very first hog bristle brushes I bought when I used oil paint.

With water-based acrylic, a "normal" hog bristle brush would go limp and useless in a few minutes of use, since the bristles absorb water. The trick is to coat the bristles in copal oil medium, wipe off the excess and let it dry for a few weeks.

By accident, I discovered how valuable these brushes still were when using them for the initial blocking in procedures. They leave a nice mottled look, which breaks up the harsh, flat look acrylic can leave when applied evenly with nylon brushes.

Paint brushes for acrylics seem to come in an endless variety of brush types these days, by a wide assortment of manufacturers. A recent trend is using plastic handles rather than the traditional wood, which swells in contact with water, cracking the coating on the wood handles.

I'm finding these new plastic handle brushes to be nearly indestructible. I purposely left a few soaking in wather for a few weeks, and they appeared not to suffer any damage, which amazed me. Wood handle brushes will eventually soak up water and crack the varnish sealer on the brush handle. I've had a handful do this over the years, and it makes holding the brush uncomfortable, and some of the varnish tends to break off into the paint...something to be avoided, to say the least!

The "game" with all the tools and materials one uses for creating is to lessen (if not eliminate) any problems these tools might generate in normal use. When I first started painting (in oil paint) I sometimes had to buy brushes that were not perfect. Many had poorly aligned bristles, or damaged bristles from mishandling by customers as they "pick and choose" through a selection of brushes in the art stores. 

But I needed certain brushes and had to buy what was there. In some strange way I began to look on it as a "challenge" to see if I could use these less-than-optimal brushes and see if I could find a workable solution for there continued useage. 

It just meant I had to work that much harder to achieve the results I was after, but I also learned things along the way.  And that was the important thing.

But it's definetly something an artist should avoid as it just makes painting more annoying and difficult. I was trying to "learn" something from using inadequate brushes. Well, in certain circumstances these "inadequate" brushes worked just fine, but one should never resort to this sort of tactic since it just adds annoyance to your labors.  I should note these brushes were minimal and did not downgrade any work I did, otherwise I wouldn't have used them.

Nowadays, I tend to use these less-than-optimal brushes for only basic lay-ins, where they perform just fine, since subsequent brushwork with good brushes largely covers over the "inadequate" brushstrokes. I find that most brushes can be used for a very long time. I still have about five hog bristle brushes that were among my very first brushes for painting in oil paint.

As the bristles wear down, they tend to be used more for lay-ins (blocking in), rather than more delicate, specific finishing brushstrokes. In the end, when the bristles are basically worn down to practically nothing, I save them and use the handle for mixing paint.

Don't rely too much on a companies name, reputation or cost of there products. Companies come and go all the time. A new, unknown company may come out with some excellent quality brushes, and an old, established company may come out with a not-too-impressive line of brushes. Often times, large companies rely upon name recognition, and cut corners (and quality) to cash in on the unsophisticated buyer.

Fortunately, this doesn't happen too often, but in years past, I can recall buying some pretty crappy brushes from big-name brush makers! As with many everyday products we all buy, art supplies are subject to the very same conditions.

Researchers are constantly discovering new and innovative ways to produce and manufacture brushes. Fiber quality of the early artificial fiber brushes are noticeably inferior and more difficult to work with compared to the newer fiber brush developments, which are quite superb in workability. The only REAL way to find out all this is to buy different brushes and test them out.

Currently, I'm using brushes made by Royal. They're made of the latest nylon fibers, with just the right amount of "spring back" flexability in them. And they have clear acrylic plastic handles which put an end to the swelling and cracking of traditional wood handles...a great improvement if you've ever had to toss out a good brush because of the handle falling apart.

As acrylic paint is a relatively new, non-traditional painting medium, I have no problem being non-traditional in my approach to using it for fine art purposes. Annoying at times, it can also be fun, since it allows one to devise his or her own working methods to utilize this fascinating and surprisingly versatile medium.

Personally, I've always liked the "brushy" look of Impressionistic paintings. It's become a well-accepted, even classic "look" since it's first general use in the French art world of the late 1860's. While this brushy look is quite easy to get using oil paints, it's considerably more challenging to get that same look using acrylic paint, since acrylic paint has such a rapid (and largely unnecessary) drying time.

I hate to think about how many paintings I discarded during my early years of using acrylic paint, because they looked "scratchy". That miserable, scratchy look was actually what forced me to explore the many types and styles of brushes on the market.

Learning by "doing" is actually the best, most efficient and effective way to get what you want out of something. No one can tell you, or explain to you how to do all this (i.e., being an artist)...regardless of how "convincing" they might try to be. 

I noticed (early in my career) as I examined the history of various artists, that there was actually a higher percentage of self-taught artists (i.e., Claude Monet, Vincent Van Gogh, etc.) who had attained world-wide fame than there were schooled artists who had attained major recognition!   

A closer examination clarified it; the "schooled" artist was usually someone who was centered more in the art teaching arena, rather than free lance, and relying  heavily on "snob appeal" by attempting to impress with scholastic achievements or references.

While a few find scholastic achievements for an artist appealing, most saavy art collectors and buyers know all too well good quality artwork ...regardless of how it all came about... stems from a variety of sources.   They're looking at the end result.  Acclaimed western "master" artist, Charles Russel was self-taught and self-educated...and thrived.  

I know that personally speaking when I buy artworks, the only thing I'm looking for is quality....not references! I pay no attention what-soever to an artists background or "scholastic achievements" primarily because it's no guarantee of real talent.

Rather, I look more at an artists catalogue  of previous completed works as a more accurate indicator of real, consistent talent.   QUALITY is what I seek.

Entry 7 -

Much has been said by lots of artists about the relevance of "plein air" (outdoor painting) and work that is studio done.  Here's my take on it...

Originally, many years ago (the 1850's) the outdoor sketch was merely a way to quickly document information about a scene.  Nothing more.  (There were no cameras yet). Roughly and quickly painted, these sketches were meant to show relevant colors and forms about a scene, which would later (back in the studio) only be used for reference as a more finished painting was done, based on these sketches.

The French Impressionists were amongst the first group of artists to start displaying (and selling) these "plein air" paintings.  At the time, this was a novelty.  As the artists gained fame, this sketches became valuable, primarily only to collectors of a particular artist.

Years later, especially in America, artists discovered these rough sketches could be a valuable source of quick income, since they were painted quickly (usually within an hour or two).   Thus, a whole genre of "plein air artists" popped up and began promoting in galleries and other venues, these quick sketches.....at increasingly higher prices!

Although I also did a large number of these outdoor sketches in my early career, I was never comfortable marketing them as such.  Problem being they usually lacked most detail and looked surprisingly similar to other artists work who also painted outside.  Sort of like one artist in various "moods" on different days. 

I decided at that point that this concept of marketing sketches  done outdoors had serious flaws.  Aside from being unfinished, they looked too much like other artists sketches....something which I disliked, since I wanted my own identity.

The plein-air "style" is presently trending downward after many years of very serious over-exposure in galleries and outdoor art shows, as artists realize you can't get sufficient individual identity from such "quick sketch" work. 

Many artists who previously sold these outdoor sketches quite easily, now find it much more difficult to do so, as the art buying public tires of the unfinished look these sketches offered...and the similarity they have to other artists painting outdoors.

Thoughtful studio work; while being labor inten-sive...and certainly more difficult in general...is essential for the more finished picture/painting. Basically, it's the only real way for an artist to have a distinct "look" for his or her work.

Entry 8 -

 Framing:  You can have many options and choices in regards to framing a painting.  Through the years, I've explored just about all of them.  For my particular style, I have the choice of many frame styles.  Gold leaf, stained wood and virtually everything in between.  

During my years selling and displaying original art in the Palm Desert, CA. art galleries, I became an avid supporter of the basic "canvas wrap", or wrap-around look.  It was modern, contemporary and allowed the artwork to impress on it's own, without the intrusion of some sort of frame.

In canvas wrap, the canvas is stretched around the bottom, top and sides on large support pieces (wood).  The painting is extended to these areas, so that it gives a look of a scene projecting out slightly from the wall about 1 1/2 to 2 inches.  I have continued to pursue this style in my current work.

The primary benefit of this frameless style is that the painting's frame doesn't clash with furnishings in whatever room it's displayed....a BIG concern to most collectors and art buyer's.  The option is always there to actually frame work, if desired, and occaisionally buyers of my work do decide to install a painting in some sort of frame. 

If I were to frame a painting of mine, I would chose a simple, gold frame.  More often, however, the work is left frameless as I have intended these paintings to be. 

Why Do Some Artists Attain World-Wide Acclaim?

Have you ever gone to an art show or exhibition and wondered why a well-known artist  is so famous when it looks like something a little kid, or your next door neighbor could do (...and probably do it better)?  That's a question many people ponder.  It's one of the "mysteries of the universe"...until you probe the specifics.

These famous artists didn't drop out of the sky, blessed with "god-like artistic powers" anymore than  any of the current batch of "famous" artists have.  Basically, they were  artists in the right place at the right time, which in historic terms, has a HUGE impact.   Nevertheless, how could it be possible for an artist (usually deceased) to become so famous when his or her work looks so "amateurish"?

After years of reading various articles about this subject, it became quite apparent that placement in history was the primary indicator of how "valuable" an artist's work may become.  A factor no artist can foresee or plan for. It sounds simple, but it's more complicated than might be imagined.

For example, take French Impressionist Claude Monet.  I've seen (and participated in) art shows where at least a few of the participating artists in the show was easily as talented and qualified as anything Monet ever did, yet there prices were only a few hundred dollars.  In Monet's case, he was among a group of around fifteen artists who pioneered a "new" look for a painting.

Art critics of the time (1860's) labelled the look these artists developed as "impressions".  The label stuck, and so these fifteen or so artists were henceforth known as Impressionists.  In Monet's case, he was an aggressive businessman who knew he could develop a suitable art career for himself, and proceeded to do so.  No artists prior to the Impressionists were painting in the colorful, lose brushwork style that epitomized the Impressionist "look".

Another example, Jackson Pollock.  Personally, I have to stifle the urge to burst out laughing whenever I see a "genuine Pollock".  Why is this alchoholic's work so famous?  Primarily because he was "in the right place, at the right time".  He decided that dribbling paint onto a large canvas was great therapy, or something. 

Pollock's agent saw potential in these strange, radical paintings, but knew that "radical sells", the same as traditional sells.  If anyone else was "dribbling" paint at that time, they should have marketed their work more aggresively. 

As it is, Jackson Pollock got the attention...and notoriety.  There's a buyer for almost any artwork, if it's promoted properly and in the right places.  And it applies to artists who work in all the various mediums (oil, watercolor, acrylic, sculpture, etc.).

By and large, promotion and marketing are the key elements behind success in the arts.  Convince the public of your "unique and valuable" place in the art world.  Little value is placed on technical abilities, though it certainly doesn't hurt to be proficient.  It's the finished work, and how well it's promoted that counts.

Many (but not all) of today's artists promote their scholastic achievements to imply "artistic value" of some sort, though data shows both schooled and unschooled artists have a virtually identical chance of financial success.  It's the quality of the art...not the academics...that indicates an accomplished artist.

Art schools and college names are bantered about in the hope someone, somewhere will be impressed.  Or the artist enters many, many art shows for better visibility and maximizing exposure (and access) to the public.

Others, such as myself, learn by doing.  Observation, struggle, refinement and deligence are promoted.  Once basic skills are mastered, the door of creativity is wide open for exploration.  For some, it's all too much, and they fumble around and lose focus and direction.  These artists end up on the sidelines, and usually are forgotten over time.  Lost in the shuffle, you might say.

A good example of all this is the respected and long-running PBS show, "Antiques Roadshow".  The most ridiculous, common-place... even poorly executed paintings and drawings are "validated" by experts as being worth thousands upon thousands of dollars not so much for their superior quality, but for some unique place the artist occupies in history. This, despite looking like something a child might produce in art class.

I remember looking at a few Vincent Van Gogh paintings in a large museum, and thinking how "overrated" he was.  That may be true, but his placement in history gave him a unique edge that made him stand out from the crowd.  Today, there's literally thousands of artists world-wide who paint in a style immitating Van Gogh (and often produce work of a better over-all quality), yet they receive little attention.

While maddening to many artists (myself included), I've come to understand the machinations behind all this simply by many years of reading art-related articles.  Placement in history, promotion, and marketing.  Without these three key elements, a master artist gets lost in the crowded art world. 

In the end, of course, an artist can't expect to become "valuable" for investment, since we never really are aware of our own placement in history.   Forcing the issue will just create misery and frustration for the artist, so the subject of notoriety is best left to historians.

We artists just produce our works, and hope the public has a general acceptance and appreciation of it.  A "simple" solution for a complex issue.

The "Real" Norman Rockwell

For those who consider Norman Rockwell's work to be the pinnacle of "what a real artist is", consider this largely unknown fact.  He worked largely from PHOTOGRAPHS.  He was apparently "utterly ashamed" of this fact, and considered it "cheating", according to research by one of his biographers.  

Around 1935 he discovered taking photographs of his neighbors, and arranging the scenes which people connect with him today to create his paintings which were shown everywhere on magazine covers....a once lucrative method for artists to make big money.

He would project the images he took on canvas and trace around them!  Hardly the "wonderful" master artist his fans would like to promote.  Projection is largely an illustrator's tool, which is what many art critics consider Rockwell's work to be.  Rockwell was basically an illustrator.

He would simply trace the projected image with pencil and fill it in with paint from there, largely eliminating the tedious, time consuming method of free-hand drawing.  Sort of an early version of "paint by numbers".  

Will wonders never cease!

                    - More Fun Stuff -

For those interested in knowing more about the British Isles, here are a few highly rated and informative programs thanks largely to the British Broadcasting Corporation (BBC).

These multi-chapter programs are available on DVD. Great for getting an overview of the British Isles, they're also great for seeing some of the creative art and artifacts to be found there.

"Seven Ages of Britain"

by David Dimbleby

Highly recommended!  A seven disc DVD set covering the development of British art through the ages.

*

"A History of Britain"

hosted by Simon Schama

*

"Coast"

hosted by Neil Oliver

*

"A History of Scotland"

hosted by Neil Oliver

*

"A History of Ancient Britain"

hosted by Neil Oliver

*

 "Cave of Forgotten Dreams"

 by Werner Herzog

                                      Neil Oliver

Scottish Archaeologist, Historian and Author.  Host for a number of BBC programs, he excels at emphasizing the many artistic achievements accomplished by the early inhabitants of the British Isles.

                   California  Impressionist

                        - Maurice  Braun -

                 (1877 - 1941)                

My personal favorite amongst the early California Impressionist painters.  Maurice Braun managed to carve out one of the more unique styles from that large group of artists, with a great sense of coloristic harmony that distinguishes him to this day.

 (...I hope he managed to keep that oil paint off of his fancy suit).

Does Donald Trump Really Own This Masterpiece?

Whatever you may think of President Donald Trump (....and we all have our opinion, right?) you may be surprised to know that he appears to like Impressionist paintings!  It has been reported that he told a reporter in all seriousness that he actually OWNS this Renoir painting titled, "Two Sisters (On the Terrace)".

The painting, 39.6 inches by 31.9 inches, was painted by French Impressionist artist Pierre-Auguste Renoir in 1881.  Despite Trump's declaration that he "owns" this masterpiece, the much respected ART INSTITUTE of CHICAGO has refuted that claim, insisting THEY actually own the original.

Since Renoir was not known to duplicate his paintings, it may well be that Donald Trump is mistaken in his claim, at least according to art experts. 

           Speaking of Investments...

"La Montagne Sainte-Victoire vue du Bosquet du Chateau Noir"

              ( 25.6 in. x 31.6 in.,  oil on canvas, 1904)

artist:  PAUL CEZANNE  (1839 - 1906)

                                           *

                                                                                           
"High Desert Shadows"

              (20 in. x 24 in.,  oil on wood panel,  1986)

                               artist:  GARY FISH                           

An internet news story from early January 2015, stated that the Edsel and Eleanor Ford House sold this painting (shown above) by famous French Post-Impressionist artist, Paul Cezanne (1839 - 1906), to  a  private  art  collector   for a mind boggling 100 MILLION dollars ($100,000,000.00)!

This is as good an example as it gets, regarding how perceived value can affect a single, unique art object.  Especially if it pertains to a historic artist. Paul Cezanne was a French Post-Impressionist painter.

Though Cezanne has never been (and likely never will be) one of my personal favorite artists of that time period, he was, nevertheless, mentioned by Picasso and Matisse as being an "inspiration" of sorts. 

When I first read the article on the internet concerning this Cezanne painting, I glanced up and noticed I also have a gold framed painting hanging right above my desk.  That painting shown above was one of the series I did while living in the Southern California high desert region.

Being one of the last, large paintings I did of that area, I decided to keep it for my private personal collection.  Incidently, the painting depicts a desert bush known as "cat's claw", because of it's thorns which snag on everything that comes near it. (Click on lower right corner of image for enlargement).

The idea behind this entry you're currently reading is not to point out how I compare to a famous artist, but rather, how art work by a famous artist (Cezanne) can attain such perceived value to an art collector swayed by historical ties, rather than being based on a quality piece of work.

Virtually every plein-air (outdoors) artist has done paintings such as this Cezanne, and is lucky to sell such a piece for three or four hundred dollars, at best.  However, since Paul Cezanne falls into that rarified category of "Historically Significant Artists", his paintings are now valued in the millions.

No wonder I'm getting gray hair....

 [Further information concerning "High Desert Shadows" painting shown above is on Gary Fish Paintings, Page 2]

            The  Mighty  Briefcase               

               While it may seem odd to mention a briefcase on an original art website, I consider this often overlooked item an indespensible part of nearly all business transactions away from the office (or in my case, the studio).

When I recently looked for a new briefcase, I began to notice they are a work of art on there own.  Especially the hand-made leather models, which is what I was seeking.  Practical functionality with the "artistic flair" of the leather craftsman.

With laptop computer inside, binder, and all the other gear that makes doing business more "fun" and agreeable, it's a "modern classic".  While I have a completely functional synthetic leather one for rainy situations, I also have (and prefer) the organic real cowhide leather briefcase. It's just unbeatable.

It sort of brings to mind the "caveman in leather" image.  Nowadays, however, it's evolved into the perfect accesory for conducting business.  As it turns out, the modern briefcase has evolved into an almost artistic expression of its own. 

I'm a great admirer of quality, functional crafts-manship. Imagine waltzing in the front door of a client with the briefcase shown above?  (They just might open the back door and you could waltz right out again!) 

Not exactly "my cup of tea", but a great example of a custom briefcase for someone.  Moral of the story..."never under-estimate a good briefcase!"

  [The incredible, exotic, custom (one-of-a-kind) briefcase for a man (shown above) was hand-crafted of bull hide by Mitchell Fine Leather Goods, in Wisconsin, U.S.A.  Priced at over $1200.00, it's not for the faint of heart.]