Free Trial Downloads for Segmation SegPlay® PC (see more details here)
How would you describe Henri Matisse’s painting, shown above? First you will probably note that it is a portrait of a woman – however, it is an unusual portrait because of its strange use of color and its choppy, energetic brushstrokes.
This painting by Matisse was part of the Fauvist movement, which lasted only a few years in the early 20th century in France. The French word “Fauve” means “wild beast”. When you look at this painting, can you figure out why the word for “wild beast” came to symbolize this art movement?
The Fauvists interpreted the world around them through color, but they did not seek to represent the world using real-life colors. Instead they utilized bright, bold colors in unexpected places. For instance, take a close look at the woman’s face in the painting above and notice all the different greens that Matisse used to shape her face. Matisse’s composition is so masterful that the greens don’t seem out of place, even though in real life her face wouldn’t normally appear green.
Due to Matisse’s balanced use of bold color and his strong, painterly brushstrokes, he is able to depict the energy, or essence of the people and places around him. These two visual characteristics defined the Fauvist movement, which evolved from a combination of Post-Impressionism and Pointillism.
The most well-known painters of Fauvism are Henri Matisse, Andre Derain, and Maurice de Vlaminck. They created landscapes and portraits that can be described as “simplified” to the point where they are almost abstract – yet they are still recognizable as landscapes and portraits. Even though the movement was short-lived, the Fauvist artists left behind a body of work that is both visually and mentally stimulating.
Be a Artist in 2 minutes with Segmation SegPlay® PC (see more details here)
If your dream is to show your artwork in a gallery, one of the most common ways to get your foot in the door is to “wow” them with your artist’s packet.
What is an artist’s packet?
An artist’s packet is the first thing that most galleries will see when you approach them with your work. Most gallery owners are far too busy to let artists drop by and show off their portfolios, so instead they require hopeful artists to send an informative artist’s packet through the mail. This allows them the chance to look through your artwork and relevant information at their own pace.
Before you mail off your artist packet to every gallery in your city, first you should conduct due diligence by either researching the art galleries in person or online. Look at the type of art they show; would your work fit in with the styles and subjects they show? If so, call the gallery or check their website to see if they accept submissions. If they do, you’re good to go.
An artist’s packet is basically your way of “introducing” yourself to a gallery owner and/or curator. Be sure to include:
- Reproductions of your art – In the old days, it was the norm for artists to send slides to galleries. These days, while some galleries may still prefer slides, many galleries now prefer CDs or inexpensive, but true-to-life, print-outs. You can call the gallery or check their website to see which format they prefer. In any case, make sure you take high-quality scans or photographs of your artwork so that the gallery owner can get a strong feel for what your work looks like.
- CV or resume – Your CV or resume really shows the what, where, and when of your art career thus far. You should include things like: education, previous exhibitions (such as gallery or museum showings, art festivals, etc), previous and current gallery affiliations, major commissions, works sold or notable private collections, awards and grants, magazine and newspaper mentions, interviews and reviews, workshops you’ve led, artist-in-residence programs you have participated in, and any other art-related accomplishments.
- Press Clippings – If your work has been reviewed by the press, include photocopies of those reviews.
- Artist Statement – The artist statement explains the “why” and “how” of your work. It should answer questions like: What are you trying to express? What does the viewer need to know when he/she looks at your work, in order to understand it correctly? The artist statement should never be more than 1 page in length. Remember that gallery owners are busy people – they wouldn’t have time to read more than a page!
- Bio – Your bio should also not be more than 1 page in length; usually a paragraph will suffice. Your bio will be more casual than the artist statement, letting the gallery owner know who you are and what makes you unique.
- Business card – A business card shows that you are professional, so be sure to include a high-quality business card in your packet.
- A letter of introduction – When you put your artist packet together, put the letter of introduction on top of everything else. Address the letter to the gallery owner by name. (If you don’t know the person’s name, call to find out.) Explain to him or her how you first heard of their gallery and tell them why you feel your art would be a good fit. Again, keep your letter of introduction short and sweet – it should fit easily on 1 page.
- SASE – If you want your materials returned, include a self-addressed stamped envelope.
After you send off your artist packet, you can relax and paint! It is polite to give them a follow-up call a week later to make sure they received the packet, but try not to be pushy. Gallery owners are busy people and they will review your work in their own time.
In a previous blog post, we discussed the benefits of making your own paints, rather than buying commercially-made paints from art supply stores. Two of the most appealing reasons for making your own paints include the ability to control the color and the quantity of the paint that you make. In today’s blog post, we’ll take a more in-depth look at how you can make your own oil paints using just a few simple supplies.
The two main ingredients you’ll need for making your own oil paints are powdered pigment and an oil, such as linseed oil (which most oil painters usually have on hand anyway). The tools you’ll need to mix the ingredients can either be a mortar and pestle (shown above), or a sturdy spatula and a flat glass surface. The mortar and pestle is the preferred choice because it will allow you to grind the pigment into finer particles.
To make your own oil paint, place your desired amount of pigment onto the glass surface or into the mortar. Add a small amount of oil and grind together the pigment and the oil using your pestle or spatula. Be sure to start off with a small amount of oil, because you don’t want your mixture to be too runny.
As the pigment absorbs the oil, note the consistency. If the mixture looks too dry, add more oil. If it is too oily, add more pigment. Your goal is to create a mixture that resembles the consistency of toothpaste.
Once the pigment and oil are thoroughly mixed, then you are ready to paint! The process is as simple as that. Your homemade oil paint can be mixed with commercially-made oil paints, and it may be stored in tubes or airtight jars for future use. segmation dot com.
Did you know that you can easily and affordably make your own paints right at home? The supplies needed to make oil paints, acrylics, watercolors or pastels are fairly inexpensive and they can be easily purchased online or at a local shop. You don’t need a giant studio or an excessive amount of supplies to make your own paints – all you need are a few basic ingredients pertinent to each medium, and a tabletop that you can use as your work area.
You might wonder, “Why should I bother making my own paints?”
There are a number of reasons why it is beneficial for artists to make their own paints. For starters, when you break down a specific medium to its individual components, it helps you to understand the nature of the medium. Taking part in the process of creating an oil paint or a pastel stick provides invaluable insight into the qualities of that particular medium. Plus, the magic of watching loose powdered pigment transform into a usable paint can become part of the overall creative experience.
One of the best things about making your own paints is that you can control the hue, value and intensity of each color. If you need a specific shade of green that is difficult to mix using commercial paints, you can create your own. If you need a range of blues to create skyscapes and seascapes, you can create the exact colors that you need and save them for future use.
It’s easy to forget that there was once a time when all artists either had to make their own paints or purchase these supplies from a local artisan. The vast majority of artists today buy their paints and art materials off the shelf. Most artists don’t even think twice about how these materials are made or what is actually in them. This has changed our relationships to our art materials. By making your own paints, you can reinvigorate your connection to the materials that you use to create art.
In future articles, we’ll take a closer look at the process involved for making oil paints, pastels, watercolors and acrylics.