|
Jeanean Songco Martin
Fine Art
by Jeanean Songco Martin on 6/8/2010 10:45:18 AM
Quick study vs. sustained study: This is the other successful plein air quick study that I felt had merit. Working for just a few hours and not laboring on details. Again, the idea of a plein air study is to quickly surmise the landscape elements throught the gesture, capture a sense of light and form, work through the composition trying different configurations and then walk away from it. Leave it alone. I sometimes have a very hard time doing this and the energy of the mark and the freshness of the paint become labored and the whole idea of a quick study is lost. That is not to say that one can not work on a painting on consecutive days of the same weather condition and continually pull out other elements and refine the work. I also do this kind of painting but the "quick study" should be just that.
Comment on or Share this Article >>
by Jeanean Songco Martin on 6/8/2010 10:36:09 AM
Study for View from my window at Le Calendal, Giverny France
I saw several exquisite "studies" by John Constable at the Victoria and Albert Museum in London. It is interesting that he did so many of these in preparation for his larger pieces. I was very inspired by his tecnique of "roughing in" the masses and keeping the freshness and quick energy of the study alive.
A plein air study is very different from working on a painting on consecutive days. I do both. In the case of the two paintings done recently in Giverny from my hotel Le Calendal. Because I was also teaching and helping the participants I did not actually have extra time to work on these two paintings. Upon inspection of the works I am really glad that I didn't have any more time because they feel very fresh and unlabored. I will take these two paintings and make two more that will incorporate a little more information and refinement but I will keep the "freshness of the mark and spontaneous response" that I think are evident in these two pieces.
by Jeanean Songco Martin on 6/8/2010 9:26:22 AM
Just got back from a whirlwind painting tour of France. I taught a Plein air Painting Workshop in Paris/Giverny/Provence. Nothing could prepare me for the amazing sights and sounds of this magnificent country. The first four days lapping up the Paris culture and trying to absorb the Louvre and the Musee d'Orsay and L'Orangerie. Just overwhelmed by the immensity of the collections. To paint in Giverny in the late afternoon early evening was a religious experience. I truly felt the presence of the Monet the master standing in his footsteps on the bridge overlooking the lilypond. At the hotel Baudy I could imagine the American Impressionist sitting around the cafes discussing the recent paintings and wanting so much to be part of the painting revolution that had started in this little country town. Arles in Provence colors were delightfully refreshing. Warm pinks, cool blues, hot yellows, creamy whites and soft lavendar ancient stones still reflect in my memories of a place so far away but so dear to my heart. I hope to return some day.
Comment on or Share this Article >>
by JEANEAN SONGCO MARTIN on 4/26/2010 1:28:43 PM
THOUGHTS ON: PORTRAIT SOCIETY OF AMERICA CONVENTION:
A few of my painting buddies from the Tuesday Portrait group attended the Portrait Society of America Convention. I must say I had my reservations but was pleasantly surprised at the caliber of work and variety of artist chosen to participate. The highlight for me was the portrait demonstrations by two very different artist. Veteran Burton Silverman whose sensitivity to mark and ability to render form is remarkable and the energetic and witty Rose Frantzen's stories were as entertaining as her viruoso magic with the brush, Two great painters, two very different sensibilities, which supports my view that there really is no "right or wrong way" to paint, there is only your way. Sometimes attending a conference like this filled with talented artist can inspire and invigorate our own work. I highly recommend the conference to those who would like to meet firsthand the most successful portrait artist in the country. I was sorry to miss Jacob Collins demo. I am sure his studied and analytical, cerebral approach was very different from other more active demos but this contemplative approach is definitely reflected in his beautiful work. As for the work in the People's choice exhibit. There were many strong pieces. My choice was Scott Burdick's "Quaker Gap Portrait", which was as interesting compositionally as it was a solid portrait. I loved the subdued quality of Michael Klein's "The Wash Girl", which hearkened back to the 19th c. French academic paintings of Bouguereau. I was intrigued by Ellen Cooper's Emma triptych. All and all a very fun day and gave me much to think about in my own figurative work."
Comment on or Share this Article >>
by Jeanean Songco Martin on 2/9/2010 12:14:00 PM
UNIQUE STYLE OF PAINTING
By Jeanean Songco Martin
In Response to Clint’s article “The Wordless USP” I agree that
marketing art is unlike selling other retail goods. it is very unique and takes more than just a gimmick
to make it work for you. The reality
is in the studio not in a catchy phrase or hyped up resume.
Paint for yourself and no one else. As a young art student in
College I painted for my teachers. I sought approval and acceptance from artist
that I admired. I still get
pleasure from positive remarks and enjoy the same gratification from a good
critique of my work. But the
difference is now as a professional artist I paint for myself first and hope
the work will appeal to others.
Hopefully, as my work continues to grow it will attract a “unique
audience”
Developing a personal style is a result, a by-product of hard
work. Stay on the true course of painting, which is to communicate your
feelings. Finding the poetry and essence of painting is a personal journey that
only you can take. If your work
reflects your own personal vision a “unique personal style” will inevitably
develop.
Comment on or Share this Article >>
by Jeanean Songco Martin on 2/8/2010 8:07:04 AM
WHAT TO PAINT? IT’S YOUR CHOICE
The
creative process varies among artist.
Some people know exactly what they want to paint and how to paint it.
Others flounder around and through a process of discovery, end up with a painting. The decision what to paint can be
pre-determined and planned or “found” during the process. The work process is an essential
element in the everyday life of the artist. Without a sense of purposeful work the continous thread of
creation can be broke. Stopping
and starting work can be counter productive.
The
search to find the right expression is a very personal one. Be very aware of
the choices you make and be prepared to support your choices. Through a careful “selection” of the
formal elements of color, line, composition, texture, a realistic or abstract
interpretation, one can achieve the goal of creating a painting that perfectly
expresses your feelings in a meaningful and convincing statement.
Paintings
are a direct expression of who you are.
From the moment you pick up a brush or determine what size canvas to use
or what color choices, you are “pre-determining” the outcome of the painting.
Comment on or Share this Article >>
by Jeanean Songco Martin on 2/5/2010 10:10:35 PM
Jeanean Songco Martin commented on:
The Advantages to E-Newsletters
Having a monthly newsletter was one of the best things that I could have done for myself and I highly recommend it to every artist. In the beginning I was a little reticent and had a hard time composing the letter. I questioned my own "worthiness" and wondered did my art career deserve to be highlighted each month. My reluctance to "brag" about my accomplishments and "show off" my latest paintings was a real hurdle that needed to be addressed.
To my surprise after sending out the very first newsletter I received so many positive responses and encouraging words that I quickly got over the insecurities and doubts and now enjoy "sharing" my latest paintings and accomplishments. Not to mention the benefits of being able to advertise my workshops and also great art shows that have moved me and hopefully will bring others to see and open discussions.
Having a monthly newsletter also encourages and motivates my work to come to some kind of conclusion. There are still many paintings that hang around in limbo gathering dust but ones that I am feeling good about and know that they have merit I am just itching to post on my newsletter.
I hope you will all consider starting your own!
Having a monthly newsletter also encourages and motivates my work to come to some kind of conclusion. There are still many paintings that hang around in limbo gathering dust but ones that I am feeling good about and know that they have merit I am just itching to post on my newsletter.
I hope you will all consider starting your own!
Comment on or Share this Article >>
by Jeanean Songco Martin on 12/17/2009 7:44:13 AM
FASO: ARTICLE DEC.17, 2009
In response to Lori Woodward's article about dreaming/working I would agree that dreaming is essential but the work must follow. As a child I too was a dreamer. I remember sitting in class with the "glazed" feeling of being there but yet not being there. My mind always wondered outside the closed room. Losing oneself into the dream state is a good place to be. Even the act of painting is like being in a dream. Sometimes I have to go to bed to get into that dreamlike sensation to think about my painting and how it could be achieved or improved.
I have found that keeping an "idea journal" is very helpful. Some of the pages in my book are:
Ideas and sketches of future paintings
Notes about upcoming shows or shows that have inspired me
Reminders of deadlines
Self-critiques of current paintings with specific plan of "attack" to finalize ongoing work
Clips and poscards that inspire
Words of wisdom by other artist
The source of inspiration goes on and on but the most important task is to actually COMPLETE something. I go back and check off the things that have been completed. Setting goals and completing them gives a sense of accomplishment and control over the chaos and "dream state" which fuels the idea. Work, putting brush to canvas is the only way to fully realize the dream. Through work the dream advances to reality and becomes a true work of art.
by Jeanean Songco Martin on 10/30/2009 12:28:53 PM
 THE COTTONWOODS SCREAM YELLOW: Painting at the Rio Grande Nature Center Bosque in New Mexico I found the most stunning Cottonwood trees. The yellows and gold leaves were screaming with color. They were! I could hear them! They were screaming yellow. The color and majesty of these trees were to be the theme of my painting.
Besides the bright yellow color, I also love very much the organic twining tree trunks and limbs. I am remembering a phrase from a book that I picked up called "The Painterly Approach" by Bob Rohm. I don't normally spend much time reading "technique" books I prefer to look at master paintings and visit galleries of contemporary artist I admire. But this book was interesting and helpful. Mr. Rohm talks about using a limited palette, which I always prefer. He talks about using warm and cool color as well as value, which I am challenging myself to do more of. He also talks about "approach". Beginning the Cottonwood painting one might be inclined to spend hours trying to capture all the intricate and complicated twisting and turning of the tree limbs and minute details of branches and leaves. From the very beginning I did concentrate a little to much on the "linear" aspects. Paying too much attention to detail. Only when I began to loosen my approach and feel the forms more in a painterly manner did I achieve my goal. Which was to talk about the "shock of color" that was in front of my eyes. I am glad that I went out that day because today is a winter wonderland. I will write about that experience next.
by Jeanean Songco Martin on 4/22/2009 3:11:53 PM
Jeanean Songco Martin’s Response to:
“Finding Your True Motivation” article written by Lori Woodward Simpson
In the article, Lori defines the “fine artist to mean one who follows their heart, paints for themselves and develops their work according to their own vision rather than the request of a potential buyer or art director”. The commercial artist ,on the other hand, is ultimately painting for someone else first with monetary gain at the forefront and not necessarily painting what they would like to paint or believe in.
I consider myself to be a slow-emerging, mature artist, which means that life has taken me down many paths but always back to the center, to my art pursuits. I have always tried to paint in a way that expresses my feelings, in essence to follow my heart. Painting is after all a combination of the hand, heart and mind.
If one strives for excellence and stays on course keeping close ties to exactly what it is that motivates your work and not simply painting for commercial gain, I think the work will grow in a positive way. Lori also makes reference to the fact that there will be times when you feel like giving up. I like to quote an excerpt from “Desiderata”, found in Old St. Paul’s Church of Baltimore, Md in the 17th c. “If you compare yourself with others, you may become vain and bitter, for always, there will be greater and lesser persons than yourself. Enjoy your achievements as well as your plans”
Stay on course, believe in what you do and stay connected to your feelings and you will know where to find your individual “aesthetic path”. The art will flow out effortlessly because it is coming from a place that has meaning and purpose. The commercial aspect must be secondary to the creation of works of art that have value measured in artistic integrity and truth.
|
