Month: March 2015

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Stations of the Cross (2 of 5)

This week I am running a series of Stations of the Cross. They were completed during a deadly year, one in which I was being treated for an advanced cancer. For this reason—and because I was traversing new territory for myself—they’re uneven. But their power comes from the underlying story.
The language is simple, meant to be accessible to a child.
The originals are on display at St. Thomas’ Episcopal Church, 2000 Highland Avenue, Rochester NY 14618.

Jesus was beaten.

“This man is innocent,” said Pilate. “He has done nothing to deserve death. I will have him beaten and released.” Pilate had his soldiers whip Jesus.

Pilate went out from his palace. “You have a custom of having a prisoner released for Passover. Should it be Jesus or Barrabas?” The crowd chose Barrabas.
“Then what should I do with Jesus?” he asked them.
“Crucify him!” they answered. 
Pilate hoped that by beating Jesus, he could satisfy the crowd and save Jesus from dying. It didn’t work. It was the first of many sufferings Jesus bore that day.
We all suffer—some of us as children, some as adults. Sadly, some suffer their whole lives. 
Sometimes we can see when people suffer. Other times, it is hidden.
When we reach out to those who suffer, we reach out to Jesus himself.
Jesus was mocked.
The soldiers dressed Jesus in a crown of thorns and a purple robe. They hit him on the face, saying “Hail, King of the Jews!”
Pilate did not want to kill Jesus. “Why won’t you answer me so I can let you go?” he asked Jesus. 
“Don’t you realize I have the power to have you killed?”
“You have no power except that which comes from God,” Jesus answered.
What could Jesus have said that would have changed the mind of the crowd? Their hearts were set against the truth.
There are times when what we do is far more important than what we say. We don’t just spread the good news by talking about Jesus. We also spread it by doing good things in Jesus’ name.
Jesus was condemned.
Pilate led Jesus outside to the judge’s bench. He said to the council, “Here is your King!”
“Crucify him!” they answered.
“Shall I crucify your king?” he asked.
“We have no king but the emperor,” said the priests.
So Pilate handed Jesus over to be crucified.
Pilate was a smart man. He did not want to kill Jesus. He could have saved Jesus. But he did not stand up to the crowd when he knew they were wrong.
It is easy to do the right thing when people around you agree with you. It is hard when other people think you are wrong. Most of us worry about what our friends think. But public opinion will never tell you if something is right or wrong.
Let me know if you’re interested in painting with me on the Schoodic Peninsula in beautiful Acadia National Park in 2015 or Rochester at any time. Click here for more information on my Maine workshops! Download a brochure here.

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Stations of the Cross (1 of 5)

This week I am running a series of Stations of the Cross. They were completed during a deadly year, one in which I was being treated for an advanced cancer. For this reason—and because I was traversing new territory for myself—they’re uneven. But their power comes from the underlying story.

The language is simple, meant to be accessible to a child.

The originals are owned by St. Thomas’ Episcopal Church, 2000 Highland Avenue, Rochester NY 14618, and are traditionally displayed during Holy Week.

The night Jesus was arrested.
On the night Jesus was arrested, he was brought to the house of Caiaphas, the high priest. Caiaphas and his council were looking for a reason to put Jesus to death.
Caiaphas was afraid of Jesus. He did not want to give Jesus a fair trial. He told his council, “It is better for you to have one man die than to have the whole nation destroyed.”
“Are you the Messiah?” Caiaphas asked Jesus.
“You have said so,” Jesus answered.
“Why do we need witnesses?” Caiaphas asked the council. “You heard him! What is your verdict?”
“Death!” the council responded.
They spat in Jesus’ face, hit him and insulted him.
The priests brought Jesus to Pilate.
The members of the council took Jesus to the Roman governor, Pilate. They were careful to stop at the gates of Pilate’s palace. They did not want to go into a place where people were hurt. If they did, they would no longer be clean and they could not eat their Passover meal.
“Take him yourself and judge him by your laws,” said Pilate. But the council could not have Jesus crucified, which is what they wanted.
The high priests carefully followed the law that God gave them. But they used the law to get what they wanted, not what God wanted. We choose how we use our gifts from God—whether for good or evil, to help others or to help just ourselves.

Pilate enthroned.

Pilate asked Jesus, “Are you the King of the Jews?”

“My kingdom is not of this world,” said Jesus. “If it were, my followers would be fighting to save me.”
Jesus did not wear a golden crown or command armies. He wore a crown of thorns and knew his power was in God.
When we follow Christ, our power comes from God and no one can see our riches.


Let me know if you’re interested in painting with me on the Schoodic Peninsula in beautiful Acadia National Park in 2015 or Rochester at any time. Click here for more information on my Maine workshops! Download a brochure here.
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Selling: Pricing (Part 3 of 3)

Keuka Lake Vineyard, 40X30, oil on canvas, by Carol L. Douglas. Priced by the square inch, of course.
This week I’m writing about N., who is a retiree now painting full time. She wants to sell paintings but doesn’t want to be a full-time businessperson. 
The last question N. has to answer is whether she’s pricing her work competitively.
Do you remember our old friend from high school economics, the supply curve? It taught us that pricing is the result of how much supply and demand there is for a product. Where those things meet, there’s what’s called the equilibrium price.
 
Art has regional markets. If you live in a community with an aging population and a prestigious art school, you’re going to have low demand and high supply. That will keep prices low. If you live in a booming new city, you will have more demand and prices will be higher.
Art is not strictly a commodity, however. It has a strong subjective element to its pricing. How valuable a piece of work is depends on how prominent its painter is. One hopes that correlates in some way to quality, but the life and times of Thomas Kinkade teach us that isn’t always so.
Letchworth Lower Falls at High Water, 18X24, by Carol L. Douglas.
I’ve addressed the mechanics of pricing in detail, here. I originally wrote that post for a student who was in a similar position to N.. She ignored my advice entirely, to great success. At a recent solo show, she priced her paintings absurdly low. She sold four paintings. She didn’t make a fortune, but she did earn enough to resupply her paint box for a year, and she doesn’t have a hangover of old work lying around the house.
Letchworth Middle and Upper Falls, 18X24, by Carol L. Douglas
Not that I advise that. Often people think there’s something suspicious about your work being too cheap. They’re right to think that, just as they’re right to suspect the Christian Louboutin clutch they saw on Canal Street might not be the real deal.

Let me know if you’re interested in painting with me on the Schoodic Peninsula in beautiful Acadia National Park in 2015 or Rochester at any time. Click here for more information on my Maine workshops! Download a brochure here.
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Selling: The Venues (Part 2 of 3)

While I don’t generally sell on-line, sometimes someone sees a painting and wants it. This was painted in Castine in 2014 and bought by a collector in New York City.

Yesterday I wrote about N., who is a retiree now painting full time. She wants to sell paintings but doesn’t want to be a full-time businessperson. “Would a blog and Pinterest be a way?” she asked. “I have enough work that I could probably post one painting a day.”

Marilyn Fairman, Brad Marshall and me painting on the shore of Long Island Sound at Rye’s Painters on Location in 2013.
Although I get hundreds of repins from Pinterest I have never sold anything there. I don’t attempt to sell via my blog, but Jamie Williams Grossman can and does with her Hudson Valley Painter. It’s a model of neat, efficient marketing.
Showing work in person raises the ante, because there are high costs to framing and mounting a show. Still, I prefer physical selling to internet marketing.
The auction at Rye’s Painters on Location, 2013.
While art festivals can net good sales, I avoid them as a solo businesswoman; it’s a lot of work to schlep, mount and tear down a show of framed paintings.
Instead, N. might consider entering some plein air events near her home. Restrain your work to common board sizes, and you have a great opportunity to sell without a high entry cost. If the work doesn’t sell you can reuse the frame. The real fun is in hanging out with like-minded painters for a day or two.
Plein air events are an opportunity to hang out with pals as well as sell art. From left, Mira Fink, Crista Pisano, me, Marlene Wiedenbaum, Laura Bianco, Kari Ganoung Ruiz, Tarryl Gabel at Adirondack Plein Air, 2014.
Many buyers want a sense that the work they’re buying has been judged in the marketplace and found worthy. There is no short-cut to this point, but entering juried shows and being shown in galleries are the two time-honored ways of building a resume.
Sometimes people complain that galleries take “too much” for commissions, but that is money well spent. Even if they only sell a few pieces of your work a year, their bricks-and-mortar stores assure buyers of your professionalism, and the sales process is painless.

Let me know if you’re interested in painting with me on the Schoodic Peninsula in beautiful Acadia National Park in 2015 or Rochester at any time. Click here for more information on my Maine workshops! Download a brochure here.
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Selling: Motivation (Part 1 of 3)

Toys in Snow, 11X14, by Carol L. Douglas. I thought I would illustrate this post with the first thing I ever sold, but the truth is that my records don’t go back that far. This painting, however, is owned by the person who pushed me to start teaching.
Yesterday I got an email from N., who’s conflicted. She doesn’t want to spend a lot of time on the business of art, since she has already retired from a successful career. “All I want to do is paint before I can’t anymore,” she wrote.
Nevertheless, her paintings are piling up, and she would like to at least defray her costs. She’s shown without selling, but she understands that visibility is the key to developing a market.
After the storm, 18X24, pastel, by Carol L. Douglas. The buyer remains a loyal collector, but our relationship started at an outdoor art festival.
Before I can advise her about the mechanics of selling paintings, she has to decide if she actually wants to engage in the marketplace. There are excellent painters who don’t, either because they’re either highly introverted or they have other priorities.
Almost all artists take time off from selling here and there. I did that after the crash of 2008. Work wasn’t selling well anyway, and I was feeling the stirrings of a big leap forward.
Nevertheless, for most of us selling and showing are integral parts of the art process. They give valuable feedback on one’s work. They validate that what we are doing is important. They are steps in the dialogue between artist and audience.
The Rio Grande in New Mexico, 18X24, by Carol L. Douglas. This was purchased by a collector of my work, but she never would have seen it had it not been shown in a public exhibition.
I have found that, contrary to expectations, the more time I spend on marketing, the more time I paint. However, marketing does take time—between a quarter and a half of the time I devote to my career. So my recommendation to N. is to plan on living longer, so she has time for both painting and selling.

Let me know if you’re interested in painting with me on the Schoodic Peninsula in beautiful Acadia National Park in 2015 or Rochester at any time. Click here for more information on my Maine workshops! Download a brochure here.
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Rejection

Queensboro Bridge construction, 10X8, Carol L. Douglas

A friend got a rejection letter from an agent on whom she had pinned hopes. This is where her life as an artist begins, where she begins to look inside herself for approval and develops a strong sense of the value of her own voice.

Rejection either makes you or breaks you. Some of us walk away from the encounter so badly bruised that we stop putting our work in the public marketplace. Others get up and paint again.

The Dugs in Autumn, 12X9, Carol L. Douglas
Rejection is part of the artistic process. Last year, I encouraged my pal Tarryl to apply for a show that I thought was a slam-dunk. She was rejected. This year she encouraged me to apply for a show that she thought I would get in. I was rejected. This has nothing to do with either of our abilities or worth as people or inherent talent. It’s about the taste and style of the judges.
It’s paradoxically true that we can be rejected for being either too good or too bad; it’s easiest for critics to see and understand what has already been done, what is in the safe middle ground.
“When they organized their first exhibition [the Impressionists] all already mature artists who had been working for fifteen years or more… Dissatisfied they may have been, but they did not consider that they were as yet beyond the pale. Manet, in fact, still endeavored to show in the Salon, and was bitterly disappointed when he was rejected.” (Richard J. Boyle, American Impressionism)

Indiana sketchbook #1, 12X6, Carol L. Douglas
Let me know if you’re interested in painting with me on the Schoodic Peninsula in beautiful Acadia National Park in 2015 or Rochester at any time. Click here for more information on my Maine workshops! Download a brochure here.
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It takes time

The Harvest is Plenty, 36X48, by Carol L. Douglas
On Friday I had the opportunity of hearing Dr. James Romaine give a gallery talk at Roberts Wesleyan. He described a piece of art as working in three spheres. There is the material—your technical approach to the work. There is the subject. The meaning comes from the marriage of technique and subject. A painting is successful if its subject and technique are integrated so that it has meaning.
Yard,11×44″, 2009 by Joel Sheesley. I’d have missed the references to Thomas Cole and romanticism entirely had Dr. Romaine not pointed them out in his talk.
Gustave Flaubert is reputed to have said, “The art of writing is the art of discovering what you believe.” I think this is also true of painting. The artist starts out with a subject and materials and the meaning appears as he or she goes along. The mind is a mysterious and mighty tool. Allowed to work in the background, it comes up with some powerful stuff.
Dr. Romaine analyzed my painting The Harvest is Plenty. He started by pointing out things that came from the conscious side of my mind, even if they weren’t conscious decisions. I believe in a Providential God, for example, and  I know my Dutch Golden Age painters, which he saw in the low, flat horizon and the rainbow. The bottom two-thirds of the painting, he said, was fairly standard in its composition.
Dr. Romaine talked about Luvon Sheppard’s marriage of the mystical with a real sense of place. To me, it’s awfully important that the place is Rochester, because it tells me what my mission field is.
Then he talked about the storm cloud. It takes up half the canvas; it rises out of the frame over the head of the viewer. When I painted The Harvest is Plenty, I was recovering from a cancer treatment in which I hemorrhaged. Chaos seemed very close to enveloping me. I recollect that I had a terrible time drawing the storm cloud to match my sketch; it chose its ultimate shape, not me. But until he talked about it, I had no idea how autobiographical that storm cloud was.
Much of what is wrong with contemporary art is that the cart has been put before the horse. We are bludgeoned over the head with artificial meaning by artists who can’t or won’t concentrate on their materials. Artists pursue meaning—even when the meaning is explicitly the lack of meaning—instead of concentrating on the material and subject and allowing the meaning to grow up organically from that.

Let me know if you’re interested in painting with me on the Schoodic Peninsula in beautiful Acadia National Park in 2015 or Rochester at any time. Click here for more information on my Maine workshops! Download a brochure here.
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Giving it away

Photo courtesy of the Gunnings.
George and Donna Gunning and Burt Truman have made 2,474 eagle canes and given them free of charge to any Maine veteran who wants one.
About eight years ago, the Gunnings heard about the Eagle Cane Project, an Oklahoma-based organization that makes canes for disabled post-9/11 veterans. George Gunning is a Navy vet and Donna grew up in a Navy family. The idea moved them. They were joined by Burt Truman, who spent two decades in the Navy, Army Reserve, and Air National Guard.
Their version offers a personalized presentation cane to any Maine veteran who has served anywhere, in any conflict. Each cane has a carved and painted eagle’s head, the recipient’s name, and medals indicating their branch of service and honors.
Photo courtesy of the Gunnings.
The canes are funded solely through donations.
The trio were recently honored in the Senate by Maine’s junior senator (and former governor) Angus King. “Earlier in March, I was meeting with members of the Maine Veterans of Foreign Wars, and one of the gentlemen had with him a beautifully carved cane that caught my eye. Thinking it was the only of its kind I asked him where he found something so unique. Needless to say, I was shocked and impressed to hear that, although it was personalized, it was one of thousands made in the same Windsor workshop,” he wrote.

Let me know if you’re interested in painting with me on the Schoodic Peninsula in beautiful Acadia National Park in 2015 or Rochester at any time. Click here for more information on my Maine workshops! Download a brochure here.
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The Christian artist

Dead Wood, 48X36, oil on linen, 2014 by Carol L. Douglas
Tomorrow is the Schoenhals Symposium gallery talk by Dr. James Romaine at Roberts Wesleyan’s Davison Gallery. Luvon Sheppard and I both have work hanging in Objects of Grace at the gallery. We have been asked to say a few words at the end of Dr. Romaine’s talk.
How do you compress what it means to be a Christian artist into a few words, especially when you’re a Christian artist who’s been recently shut down for obscenity?

The role of the artist is much like that of prophet or priest: we are here to tell the truth. Sometimes that takes the form of a beautiful landscape and sometimes that takes the form of pointing out injustice.
He has told you, O man, what is good; and what does the Lord require of you but to do justice, and to love kindness, and to walk humbly with your God? (Micah 6:8)
It is very easy to show and sell art that sexualizes women. After all, just last week Kim Kardashian filmed a naked trailer for her reality show. But use nakedness to talk about injustice and you make people very uncomfortable. And yet misogyny is one of the great besetting sins and something we should speak out against.

The Beggar, 36X48, oil on linen, 2014 by Carol L. Douglas
There is neither Jew nor Greek, there is neither slave nor free, there is no male and female, for you are all one in Christ Jesus. (Galatians 3:28)
The talk and reception are from noon to one PM. If you’re around, I hope you’ll join us.

Let me know if you’re interested in painting with me on the Schoodic Peninsula in beautiful Acadia National Park in 2015 or Rochester at any time. Click here for more information on my Maine workshops! Download a brochure here.
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Choosing your paints

My own palette contains no greens. I mix them.
There are millions of possible palette combinations out there, and there is no one ‘correct’ system. My goals in choosing pigments are:
¡          Lightfastness
¡          Transparency
¡          Single pigment
¡          Position on the color wheel
¡          Environmental friendliness
Understanding the difference between pigments and colors is essential in buying the right paint. Almost all paints sold in the US carry a Pigment CI name in tiny letters somewhere on the label. Learn to buy paint from this, rather than the poetic color name under which the paint is marketed.
Top row: hansa yellow, yellow ochre, raw sienna, burnt sienna. Second row: Indian yellow, cadmium orange, quinacridone violet, ultramarine blue. Bottom row: Prussian blue, ivory black, titanium white. The carrier was Jamie Grossman’s idea and I’ve used it for several seasons instead of tubes.
The single-pigment paints are made with only one pigment. Thus, cobalt blue contains only the pigment PB28; Prussian Blue contains onlythe pigment PB27. Paint manufacturers often blend pigments to approximate discontinued historic colors (Naples yellow or Alizarin Crimson) or to sell cheaper ‘hues’ of pricier paints, like the cadmiums.
My own palette doesn’t usually contain a true red, but when I use one, it’s generally naphthol red, because I’m concerned about the consequences of cadmium manufacture in China. Sadly, I’ve not found a substitute for cadmium orange, which is one of the three solid opaque pigments I use (the others being titanium white and yellow ochre).
Long after my own palette was written in stone, I came across this in a Grumbacher book and realized what I’m doing is pairing primaries.
My palette is roughly based on the idea of paired primaries. This means I have two blues—a warm and a cool—two yellows—a warm and a cool—and two ‘reds’, which in this case are quinacridone violet and cadmium orange. I fill these out with a variety of ‘earth tones’ because these are inexpensive paints and save me a lot of mixing.

Let me know if you’re interested in painting with me on the Schoodic Peninsula in beautiful Acadia National Park in 2015 or Rochester at any time. Click here for more information on my Maine workshops! Download a brochure here.