Sunday, January 29, 2012

Artists who refused Honours

In the UK, both the Government and the Monarch confer honours on various people for the contribution they've made to society.  David Hockney, for example, has very recently been created an OM by the Queen which is extremely prestigious as it's a personal award by the monarch, there are only 24 at any one time and it's one of the highest honours in the land.

If an honour is proposed, you are advised in advance and then have to keep quiet until it's announced.  However, you don't have to accept an honour and some people do refuse.  Up until now some people have chosen to indicate they've refused an honour while others have just kept their heads down and avoided all the fuss.

I came across a very interesting story this week which appears to indicate that there are some very illustrious names amongst those artists who have refused an honour.  Below is the table I've compiled of just the visual artists.

Name of artistHonourYear
Francis BaconCBE1960
Lucian FreudCBE1977
LS LowryOBE1955
LS LowryCBE1961
LS LowryKnight1968
LS LowryCH1972
LS LowryCH1976
Henry MooreKnight1951
Source: The Telegraph - People who snubbed honours from the Queen: in full

Explanation of Honours in order of Hierarchy 
(Explanations come from the The British Monarchy Website and Direct gov: types of honours and awards):
  • Order of Merit (OM): This is a relatively modern Order, and is one of the most coveted of British distinctions. The Order is restricted to 24 members (as well as additional foreign recipients). As with the Royal Victorian Order, the Order of Merit is in the sole gift of the Sovereign but carries no rank apart from the initials OM after the name.
  • Companion of Honour: (a maximum of 65 at any one time) This is awarded for a pre-eminent and sustained contribution in the arts, science, medicine or government.
  • Knight or Dame: This rewards a pre-eminent contribution in any field of activity (usually, but not exclusively, at a national level), or in a capacity which is recognised by peer groups as inspirational and nationally significant, and demonstrating sustained commitment. Awarded for:
    • a pre-eminent and sustained contribution
    • being recognised by peer groups as inspirational
    • the impact of the contribution being felt at a national level
  • CBE: This rewards a prominent national role of a lesser degree, a conspicuous leading role in regional affairs through achievement or service to the community or a highly distinguished, innovative contribution in his or her area of activity.  Awarded for:
    • an achievement or service in a leading role at a regional level
    • making a highly distinguished, innovative contribution with a wide impact
When you actually read the list of creative people who have refused honours (eg  Roald Dahl, Graham Greene, Aldous HuxleyCS LewisEleonor FarjeonAlfred Hitchcock, JB Priestley, Paul Schofield, Evelyn Waughyou actually begin to wonder which list creative people would prefer to be part of!

Certainly not one which comes from a system which makes a knight out of banker Fred Goodwin (who hopefully will lose his knighthood very soon!)

However, there are those that say turning down an honour is a strategy for helping you to get a better one later.  The Telegraph calls this game "posh poker" and asserts that it's a game which is only open to the creative types who know that if they continue to stick around another offer will come their way in due course.
The late Lucian Freud – a keen racing man, incidentally – played a blinder. He turned down a CBE in 1977, only to scoop a Companionship of Honour in 1983 and the Order of Merit in 1993. Painters, generally, are pretty good at posh poker. David Hockney turned down a knighthood in 1990, only to get the Companionship of Honour in 1997 and the Order of Merit earlier this month.
Some have also accepted an honour at a later date.  Henry Moore is an interesting example.  He turned down a knighthood in 1951 and yet he was not averse to accepting honours and prizes per se.  Perhaps he didn't mind an honour for a specific piece or type of work?
From 1949 to 1956 he was a Trustee of the Tate Gallery, London, and of the National Gallery, London from 1955 to 1974. He took International Sculpture Prizes at the 24th Venice Biennale in 1948 and at the 2nd Sao Paulo Biennale in 1953. The award of Companion of Honour in 1955, the Order of Merit in 1963, and the Erasmus Prize in 1968 are just a few from a list of over seventy accolades he gained from over a dozen countries.
It is noticeable that most of those who have refused government honours have accepted numerous prizes from their peers for their work. Maybe it's a case of creative artists only caring what their peers have to say about their work rather than society at large and the government in particular?

Cover of the book "L. S. Lowry, a biography" by Shelly Rohde
There is one artist who really did mean it though - and why am I not surprised he's a northerner from my part of the world!  As The Telegraph points out in The honours list refuseniks who want it both ways
The master of the I’m Not Playing routine was the painter L S Lowry. He holds the record for honours turned down. He refused the OBE in 1955, the CBE in 1961, a knighthood in 1968, and the Companionship of Honour twice, in 1972 and 1976. Born plain Laurence Stephen Lowry in Lancashire in 1887, he died plain Laurence Stephen Lowry in Derbyshire in 1976.
Jonathan Jones in The Guardian (Don't call me Sir: why do artists snub royal honours?) points out that the refusal of honours may have an alternative explanation
The fact is that public honours in Britain are bound up not just with royalty and snobbery and memories of empire, but also with the bonding of a business elite, a political elite, a judicial elite, and local elites. As we become more self-critical as a nation, it is starting to look like Sir Fred's honour was no exception – that there is something insidiously corrupt about the way the honours system binds the top people.

Why would a serious artist want to be part of that? Why would Freud want what bankers and police chiefs get? 
Jonathan suggests that maybe it's time for a different sort of gong - one that is only for creative people and which has no connection whatsoever with the government and establishment elites.  Maybe he's got a point.

However I can't think how it would be awarded without the establishment of yet another elite!

PS  Guess who forgot all about her tax return which has to be submitted online by 31 January otherwise I collect a £100 fine!  "Who's made a mark this week" will return when the tax return is completed.  For others in the same boat take a look at Gayle Mason's post Self Assessment - Filing Deadline and Penalty Change

Friday, January 27, 2012

What are the priorities for an aspiring artist?

California Sunset by Albert Bierstadt
- a model for all aspiring painters of Californian landscapes?


What do you think are the priorities for an aspiring artist?

I received an email the other day which struck me as being from a "Mr Everyman".  That's because what he was saying is probably representative of a number of artists who have moved beyond being a beginner.

"Mr Everyman" has been painting landscapes in California for about three years.  He's sold art and would like to sell more but is in a quandary as to where to display that art online to get the best results.

I took a look at his website - with difficulty as it doesn't work properly.  I'd characterise his art as being not unlike a lot of other artists who are serious leisure painters who are both trying to improve and also aspire to being full time painters one day.  Also, as yet, there is nothing particularly distinctive about his art in terms of style or use of media.  Just like me, he's no Bierstadt as yet!  (Isn't that Bierstadt painting of a Californian Landscape at the top of the post a wonderful example of Luminism?)

Do have a read of the email from the artist - and then I've got some questions for you.
My name is *****, and I’m an artist living in California. I paint landscapes, and am wanting to find an online gallery to sell my ORIGINAL pieces of work. I basically will be selling my older gouache/oil landscapes, and gouache abstract/collage pieces. I’m an amateur, and my work does have issues with composition and design, and color harmony (things I’m getting much better at now!). However, I have sold some prints of my work and a few originals at coffee shops and other similar places, so I know my work is sellable.

That being said, I read your blog on online selling, and unfortunately maybe my mind has become poisoned because after reading numerous wetcanvas posts from various people, I’ve become very confused as where to sell. Etsy seems great, although many artists seem to think it’s not good for fine art and instead better for ‘crafts.’ Fine Art America seems good, although it appears as though that art is much higher quality than mine….so maybe Yessy, although I’ve read where their traffic is dwindling. UGH! This has lead me to become paralyzed in deciding where to sell.

If you were me, what would make the most sense? And to add to this, it would be great to list on ebay, and use one of these other sites to market my art but make the final purchase via ebay. Maybe that’s getting too complicated, lol!

Anyway – please help! I value your advice over anyone else because you seem more informed, and hence I’m leaning toward Etsy but wanted your viewpoint!
Now I'm a great believer in the wisdom of crowds so, having given him some advice, I asked whether it would be OK to post his letter online because of its generic questions - and he's fine about that.

What would YOU advise this artist to do and why?

For example: 
  • Should his focus be on developing his artistic skills or developing his marketing and sales - or both?
  • Is developing a good looking fully functioning website a priority for an artist wanting to sell art online?
  • Should an artist wanting to sell art online develop a blog?
  • Which, in your opinion, is the best online gallery for those wanting to sell original art - and why?
  • Are there some online sites which are better for original paintings while others do better if you're trying to sell giclee prints?

Note: I'm not linking to the artist or showing any of his work as my experience suggests this can create a distraction and/or people feel they can't comment.  Think of him as "Mr Everyman" - you will have seen a lot of artists like this gentleman on your travels around the internet.

Wednesday, January 25, 2012

14th International Exhibition of Botanical Art & Illustration - Intent to submit

The 14th International Exhibition of Botanical Art & Illustration at the Hunt Institute for Botanical Documentation in Pennsylvania takes place in the Autumn / Fall of 2013.

However in order to submit work you need to submit an "Intent to submit" form by 31st January 2012.  Yes folks - that's by next Tuesday!

Catalogue of the Hunt Institute's 
13th International Exhibition of Botanical Art & Illustration, 2010
Cover illustration: Fiona Strickland, 

watercolor on paper of Helianthus, Last sunflower, 2008
© 2008, Fiona Strickland, All Rights Reserved
Collection of Hunt Institute for Botanical Documentation
Submission Guidelines

The Hunt Institute for Botanical Documentation is currently accepting submissions for the 14th International Exhibition of Botanical Art & Illustration which will be held in the Autumn / Fall 2013 (exact dates have still to be determined).

How often is International Exhibition of Botanical Art & Illustration held? 

This exhibition is held every three years.  The last one was in 2010.  The catalogue for that exhibition is still available

Who can enter?
The exhibition is open to all botanical fine artists and illustrators working in any medium on paper or vellum whose work has achieved a standard of excellence and who have not yet been represented in the Hunt Institute’s series of International Exhibitions.
Basically:
  • top class botanical artists
  • ... who live anywhere in the world (this is an international exhibition)
  • ... who have NOT had artwork accepted and displayed in the Hunt Institute’s series of International Exhibitions
You can check out all the artists who have had work accepted and displayed in previous exhibitions in the Cumulative Index of Artists (pdf file)

What's the timeline?

The timeline for entering this exhibition is rather more extended than for other exhibitions - it's just over two years from beginning to end.

The submission process has also been changed this time around.  There are six stages
  1. Intent to submit - the notice of the intent to submit has to be received by 31st January 2012
  2. Submission of images - submit digital images, to be received by 15 June 2012
  3. Request for original artwork - submit original artwork, to be received by 26 October 2012
  4. Shipping 
  5. Acceptance - acceptance/rejection will be notified within a week of receipt
  6. Request for biographical information and portrait photo - accepted artists only
You can download:
1. Intent to Submit

Where can I find the Forms to submit work?

Tuesday, January 24, 2012

How to become a member of the Society of Botanical Artists

This is a post about how to become a member of the Society of Botanical Artists (SBA).

"Membership" is a term used in this post to denote botanical artists who have achieved the status of member through the process of election to the SBA.  It should not be confused with the membership status related to any other organisation or anybody who pays to be a "friend" of a society.

This is the reference page on the SBA website for "how to become a member".  Anything stated which is not contained on that page or in the information sheet about how to exhibit/become a member (downloadable as a PDF file) are my own personal observations.

How to become an Associate Member of the Society of Botanical Artists

In order to become a member of the Society of Botanical Artists, botanical artists must first achieve the status of Associate Member.

Many Art Societies are now taking the step of introducing a two stage process in election to full membership.  Having an Associate Membership stage enables any Art Society to check out both capacity and commitment - over a period of time:
  • capacity to deliver at the quality of a signature member
  • commitment to become fully involved with the Society and to maintain that commitment 
An Associate Membership stage also prevents an art society becoming a victim of the signature membership junkie.  That's an artist who collects signature memberships from different art societies but fails to contribute on a regular basis.

The first step

Monday, January 23, 2012

Society of Botanical Artists Annual Exhibition 2012: Call for Entries

The Society of Botanical Artists is to be congratulated on having an informative and accessible "how to" webpage for those wanting to submit to artwork to its Annual Exhibition and/or become a member.  It's not something which I find on the website of every art society.

The purpose of this post is to remind me - and others - that the deadline for entries to the 2012 Annual Exhibition of the Society of Botanical Artists is 27 February 2012 

Below I highlight the key points for those wanting to enter the Exhibition.  At the end I provide links to previous posts on this blog which include images so you can see the type and quality of work to aspire to.

Tomorrow I'll be summarising how botanical artists can become members of the Society of Botanical Artists

Society of Botanical Artists - Annual Exhibition 2012

How to enter the Exhibition

The exhibition information sheet for 2012 is downloadable as a PDF file here.

Who can submit work

Artists living all over the world submit work to this Exhibition - and are exhibited.  Many is the time I have taken a photo for somebody who lives thousands of miles away.  (If your work is accepted please do get in touch if you'd like your work photographed in the exhibition).

What sort of work can be entered?

Sunday, January 22, 2012

22nd January - Who's made a mark this week?

David Hockney 
The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven) - 2 January 

iPad drawing printed on paper 
144.1 x 108 cm; one of a 52-part work 
Courtesy of the artist 
Copyright David Hockney
This post this week has rather a slant towards Hockney, digital art on an iPad and pastels - which pretty much reflects my week.

His iPad drawings and how he has reproduced them for the exhibition really stimulated me to investigate further

Art Blogs and Artists

Digital art

Sight of the iPad Sketches at the Hockney exhibition on Tuesday prompted a quest to find out how he prints them so big and the purchase of a second stylus for my iPad - having lost the previous one within the first 24 hours!
Drawing and Sketching

Saturday, January 21, 2012

"Pastel" iPad sketch as a movie

I'm posting a video of the creation of a sketch using:
The aim was to see if could get the sketch to emulate soft pastels and be created more or less in the same way as I would work if using pastels for real.  Can I just stress I was playing and it was very basic!



[UPDATE: This was originally posted via YouTube but that produces a landscape format for a portrait format video - which was rather unsatisfactory. I've now reposted from Flickr. Both allow you to change the size of what you see on your blog. However the Flickr video format is much better than YouTubes!]

It took some time(!) to work out how to get it posted on the blog but I got there in the end!

To produce the video I had to:
  • download Brushes Viewer on to my iMac (this requires Mac OS X 10.5 (Leopard) or higher) so that I could read the Brushes file - which is the animation of the sketch and shows the strokes I made in the order I made them
  • email the brushes file of the animated creation of the sketch to myself
    • by selecting "Mail Actions" from the Share menu at the bottom of the gallery view in Brushes
    • This creates an email titled "Brushes Painting Actions" and automatically includes the relevant file as a compressed file
  • save the file from the email I received on my iMac
  • open the compressed file and extract the brushes file and view using Brushes Viewer
  • export the movie as a .mov file.  Option included size, compression, quality and frame rate (but I haven't investigated how to vary those as yet)
  • view the .mov file in QuickTime Player
  • Upload .mov file to YouTube and Flickr
  • Upload the YouTube movie to Blogger
Phew!

This is what comes of going to see the Hockney exhibition and watching videos of him sketching plein air using his iPad, the Brushes app and a stylus!

The video is called iPad sketching using Brushes and a Griffin Stylus and you can find it on Making A Mark - the Video Channel

I expect I might be doing a few more of these.........

Friday, January 20, 2012

National Exhibition of Wildlife Art Exhibition 2012: Call for Entries

In 2011, the National Exhibition of Wildlife Art had a record number of visitors, a record number of entries and record sales. Over 18,000 visitors came to see the exhibition at Gordale, Cheshire over 17 days - with 700 attending the Private View.  50% of the work sold - and I know few open art exhibitions that can boast figures like that.

A month ago I highlighted the two Wildlife Artist of the Year art competitions (see Wildlife Artist of the Year 2012 - Call for Entries (x2)).  Below you will find a summary of the Call for Entries for the NEWA Exhibition 2012.

Winner of the 
Daler Rowney Award 2011
for Best Watercolour
Bearded Dragon
by Tracy Hall

3.5" x 1.5"
watercolour
£350
National Exhibition of Wildlife Art 2012: Call For Entries 
The aims of the exhibition are to promote and display outstanding examples of wildlife art from both professional and amateur artists.
The NEWA Exhibition is an open annual competition which has a range of prizes and awards but its main claim to fame is that it sells the most wildlife  art of any exhibition.  All works in the exhibition are also displayed on the NEWA website (you can see the 2011 exhibition - sorted by artistkeyword and catalogue number)

It's certainly an open exhibition that any serious wildlife artist in the UK should be submitting work to.

The Call for Entries for 2012 has been published.  These are the Exhibition Rules and Conditions.

Who can enter?  There are no limits in the rules

Deadline for entries: Application forms must be completed by 6th June 2012 and artwork must be delivered 4-5th July.  Works must arrive at pick-up points before 2 July 2012.

Eligible artwork

Thursday, January 19, 2012

How to produce a large 300dpi TiFF print of an iPad sketch

...is the question I've been asking ever since I saw the Hockney exhibition.

So far I have established:
  • he uses the Brushes app on his iPad
  • Hockney's people state that to avoid pixellation as the size of the print increases, they use a new piece of software which allows prints in a much larger format.
I've looked and looked on the Internet and I can find no mention of the name of the software.  So I asked the question the other way round - the search query was "software used by Hockney to prevent pixelation for large prints of ipad drawings"!

So what's the software?

I'm still not sure - but I've found a suggestion - by a chap called Russ Croop (towards the bottom of the page in the link) - who's a photographer who has been creating large prints from iPhone/Brushes. I've summarised his suggestion below

Brushes Viewer app website - also available as an Apple app
There is a Brushes viewer (the quote is from the Brushes app site)
    You can open your .brushes paintings in Brushes Viewer, a free application for Mac OS X. Brushes Viewer allows you to replay your paintings stroke for stroke, export them at very high resolutions (up to 1920 x 2880), and even export them as QuickTime movies.
    1. Use Brushes Viewer to export iPad sketch at 5X the native size (using the TIFF format) which produces a large file
    2. Import to Photoshop Elements and touch up imperfections (eg unpainted spots)
    3. Select Image/Resize/Image Size
    4. Unselect resample image box 
    5. Type 300 in the resolution box (which changes the file to a higher resolution ie 300dpi which is what is usually required for professional printing) but creates a much smaller image
    6. Select resample image box
    7. Check you have the units correct for the size of image you want (eg inches or cm)
    8. Type in the size of the image you require (eg 20 inches high) - and PS Elements resamples it to create a new large image @300 dpi and keeps the aspect ratio in proportion so long as you also have the "constrain proportions" box checked
    9. Also make sure that the Bicubic Smoother is selected (option just below the resample command) as this is the best option when enlarging images.
    I tried it - and I now have a very large digital sketch 20x16" in Tiff format sitting on my iMac - which was originally created on my iPad.

    I followed all the instructions except for the Brushes viewer bit at the beginning as I already had the digital sketch on my iMac.

    Now can anyone improve on that as a method of enlarging digital sketches created on an iPad?

    Any queries? Any suggestions?  Any recommendations? 

    PS  Two more posts today related to the Hockney Exhibition

    Tuesday, January 17, 2012

    Review: David Hockney RA - A Bigger Picture

    The new David Hockney exhibition of landscape paintings at the Royal Academy of Arts is like a breath of fresh Yorkshire air.

    David Hockney RA - The Bigger Picture is one of the most impressive exhibitions I've ever seen at the RA.

    It's also one of the most accessible and least intimidating exhibitions I've seen in a long time.  I think it's going to be very popular.
    David Hockney RA - The Bigger Picture
    Giant Exhibition Banner
    hanging above the main entrance to Burlington House

    Hockney has filled the main galleries at the RA with some 150 images.  There are sketches in sketchbooks, larger drawings on Arches watercolour paper, a large set of watercolour paintings, oil paintings of every size and very large (and some very, very large) framed colour prints of digital sketches from his iPad.  Plus iPads displaying sketches and a film from a novel grid of nine digital cameras displayed on eighteen LED screens.

    What's most impressive is that this is NOT a retrospective - despite the fact the artist is now in his seventies.

    Examples of his earlier landscapes are referenced in Gallery 2, however the remainder of the gallery comprises works completed in the last few years.  This exhibition is about his current work.  Almost all the art is paintings of the landscapes he's found in the East Yorkshire Wolds west of Bridlington where he now lives 'on location".

    The exhibition demonstrates a prodigious output for an artist of any age.  For an artist in his seventies it's quite remarkable.

    David Hockney
    The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven) - 2 January
    iPad drawing printed on paper
    144.1 x 108 cm; one of a 52-part work
    Courtesy of the artist
    Copyright David Hockney
    This review is going to be an overview - an account of my experience of the exhibition today.  Since I've got pages of notes(!), I propose to continue and review specific aspects of the exhibition on The Art of the Landscape - my landscape art blog (see end for more details).  That'll also give me time to absorb what I've seen and to reflect  on it further.

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