ArtBlog

Taking Inventory

Taking Inventory
November 2010

Once you have accumulated a number of paintings, taking inventory is essential. There are many ways and formulas to organize, store and keep an inventory of your artwork. I have found the following system easy and practical for me.

After I consider a painting finished I sign it and give it a title. On the back on the painting surface I record all pertinent information such as the title, dimension and media. I also give it a “catalog” number or reference. For my catalog number I use my initials and a number. I then document all of this information on a database in my computer which I arrange by categories such as “landscapes”, “abstracts”, “figures”, etc… I finally take a high resolution digital photo of my artwork which I can later use to update my web site and/or use in a presentation portfolio.

Being organized as well as keeping accurate records is tedious and requires some regiment, but it is indispensable if you consider yourself a professional artist.

Yvette Stenzel

Painting from photographs

Painting from photographs
October 2010

Using photographs as references seems to be for many painters a desirable and easily available resource. There are obvious benefits from painting from photographs. Photos can be readily cropped, magnified, altered and mixed to suit your needs. There is no limit to altering digital photos using software such as Photoshop and the results can be both fun and creative. Photos can be a wonderful tool to enhance your creative drive. Of course I would advocate using your own photos and not borrowing someone else’s work. A photograph is a composition that captures a chosen moment in time. Behind the photograph is the photographer who saw a point of interest and made a decision.

I have always liked taking photographs. I remember well the days of working in the darkroom and the excitement seeing the photo emerge magically in a bath of chemicals. Today digital photography offers endless possibilities. I always carry a lightweight compact camera just in case I might come across a captivating scene. When I paint “plein- air”I take lots of photographs for future references since I would often finish such paintings later in my studio.

Regardless how great of a resource photos can be, there might also be some shortcomings to consider. A successful photo doesn’t necessarily mean it is a great choice for a painting. Furthermore, one should not feel compelled to paint everything that is in the photo; somehow I find it easier to leave things out when painting “plein-air”. A friend of mine no longer paints from photos, she prefers to paint from still life installations, live models or on site when possible. For sure a photo doesn’t have either the three dimensionality or the tactility of an installation which add tremendously to our sensory perception. And, if the creative process is mainly experienced as an emotional language, I suppose my friend has a point. Perhaps photographs are too easily used as a shortcut.

Yvette Stenzel

Photo Boston 2010
February in Boston 18×24, Oil on canvas

Painting and Cooking

 

Il buon parmigiano

“Non cooks think it’s silly to invest two hours’ work in two minutes of enjoyment; but if cooking is evanescent, so is the ballet.” (Julia Child)

The weather has been glorious here. Farmers ’markets have returned and the city has regained the undeniable pulse of summer with its vibrant colors and sounds. It is time to change closets as well as pantries; in summer I like to cook summer dishes. Since I like to cook almost as much as I like to paint, I thought it might be fun to connect both.

At one end of the spectrum there are tight painters and tight cooks who follow a recipe almost word by word with a sense of duty. Then, there are cooks who hardly ever do and who like to invent their own recipes. Those cooks are not afraid to take risks. And, as they become more experienced, they are likely to start blending a variety of flavors borrowed from diverse cultures into new, exciting mélanges.

The tight cooks have mastered some dishes to perfection. They do not like it when surprises take them off guard. Improvisation is not easy for them. They are disciplined and neat. Their kitchens are germ free and resemble a laboratory where everything is organized with purpose. They have a utensil for every task and invest in professional cookware. The tight cooks have a large collection of cookbooks which they keep in thematic order. They take notes and keep records. Their meals are always a success but their repertoire tends to be limited.

The loose cooks like to cook to music. Their kitchens are inviting and resemble a general country store. They too have a formidable collection of pots, pans and gadgets which they have acquired as much for their style as for their utility. They have an impressive collection of cookbooks which they consult regularly, but hardly ever follow any one recipe. Whether their meals are simple or elaborate, they are impressive in both taste and presentation. Of course for these cooks the outcome is less predictable and they do fail on rare occasions.
These statements are for sure overly generalized, but perhaps they also contain some food for thought about both the process of painting and cooking.

Inspiration June 2010

“Amateurs look for inspiration; the rest of us just get up and go to work.”
(Chuck Close)

Where do you find your inspiration? You have probably been asked this question a number of times. As far as I am concerned, I have no need to ask myself what inspires me. Thus when asked, I never really know what to say and choose an easy cliché response such as; nature inspires me.

To many it seems an artist somehow gets suddenly an insight, a revelation and is then driven to express him or herself visually. Inspiration is connected with a romantic notion of a magical creative élan. Sounds nice, but I do not believe it.

If one cultivates an appreciation and an enthusiasm for the world and life, if one really sees, then every moment is filled with inspiration. On those days and we all have experienced them, when I don’t feel motivated to paint anything, I just start a painting anyway and usually something happens. Inspiration finds you!

Art Classroom Etiquette – May 2010

Silhouette

A recent incident in an art class created an unpleasant situation that left me and others dumbfounded. It is always shocking when adults behave like narcissistic teenagers. Perhaps we may all benefit from a reminder of basic art classroom etiquette.

-Treat the instructor with the utmost respect and courtesy regardless whether or not you are in agreement. If you don’t like his or her approach find yourself another instructor.

-When you know you are going to be absent, please call ahead!

-Pay the instructor on time and please do not try to cut deals!

-Treat the teacher’s resource materials with the utmost care.

-Do not monopolize the teacher’s attention.

-Treat the art classroom like a sanctuary.

-When arriving late be as quiet and as discreet as possible.

-Turn off your cellphone.

-Be respectful of everyone’s space.

-Clean after yourself.

-Do not distract others from their work.

-Do not give others unsolicited advice about their artwork.

-Do not bring your personal baggage to art class; this is not a group therapy session!

-Please leave your political diatribes, racial jokes and such outside!

-Do not complain loudly and openly about the music selection.

-If you must bring your own music selection use an I-pod.

-During critique do not take over and become an art expert. Silence both your hyperbolic praise and your unconstructive feedback. The teacher is the teacher, not you!

Workshops

Ciao from Parma

Workshops April 2010

“By my teaching I hope to inspire you to personal activity and to present your vision.” (Robert Henri, 1865-1929)

When the weather gets warmer and the light changes to the more vibrant colors of spring, I long to be outdoors to both paint and breathe with greater ease feeling the new grass under my bare feet. Sharing this desire with others is engaging; it is time to participate in a workshop!

Workshops are perfect opportunities for creative pursuits while connecting with other fellow artists. Most workshops I have joined in the past have been an uplifting experience. I have enjoyed the change of scenery and pace as well as the atmosphere of immersion and camaraderie. Away from the familiar, I feel challenged and ready to explore with renewed enthusiasm. Most workshops are less structured, more fun and social than formal classes. Also, I have usually returned home with at least one finished work which gave me a sense of accomplishment.

Obviously not every workshop is the right match. You’ll need to inquire about the instructor. This is crucial, it is far more important than the location. I have heard horror stories about costly painting trips abroad that basically left the participants to fend for themselves. Regardless how captivating the scenery might be, if the instructor’s own art is not to your liking then it is likely the workshop is not for you. Furthermore, you need to find out about the instructor’s teaching style.

Before signing up for a workshop you may want to ask pertinent questions with regard to group size, agenda, structure, set-up, demonstrations, accommodations, supplies and painting sites. Check out the instructor’s web site. Is she or he easy to contact? Open to questions? The web site should include some form of mission statement. What is the instructor’s approach and philosophy? The main goal of a teacher should be to give you new eyes to see. In doing so what is his or her personal style? Is he or she conventional, organized, provocative, innovative? Make a list of questions that are important to you and call the instructor for a brief interview.

In the end I am confident you’ll find that participating in a workshop will no doubt foster your growth as an artist.

Yvette Stenzel

Travels with Auntie

Travels with Auntie

Travels with Auntie March 2010

“One’s destination is never a place, but rather a new way of looking at things.”

(Henry Miller)

“Yvette, you are not going to wear sneakers in Italy!” “Of course not.” I don’t even wear them in Boston unless I am going to my health club. In Italy only my best shoes will do; those that are both comfortable and fashionable.

When meeting my aunt Chantal for the first time, you might think you are dealing with the wrong person…not the 85 year old you expected. This is because you did not know that most 25 year old women are so much older than Auntie Chantal. Her energy, humor, quick wit, engaging enthusiasm and open-mindedness will leave you breathless. When she walks, Chantal moves the air with impressive ease. Not in the all too familiar entitled and self-centered way, but in a way that exudes compassion and commends instant respect. Chantal connects naturally with people. She has a smile and a “bon mot” for everyone. Her insatiable curiosity and discerning insights might even make you acutely aware you the tight (you know what) that you really are, for Chantal is a modern woman who wears stilettos when others think she should not.

My husband thought I was crazy to want to travel to Italy with Auntie Chantal, she wears him out. “It’s OK honey, I can handle her.” What I meant is “I want to be exactly like her when I am her age.”

Traveling with my aunt is an adventure. How can it not be? Her positive outlook will brighten the gloomiest day and her keen insights will tame the most blasé fellow. Unlike me, she can walk up to a perfect stranger especially a handsome one with disarming confidence. I come back from a journey with her, my creative well filled with renewed sensitivity and moreover, with an incomparable élan. Chantal is and will always be “une Grande Dame”.

Everyone especially every artist should have an Auntie Chantal in his or her life. If you don’t, then you must imagine her. Open your heart and take on a journey. You do not need to go to Italy, just take her for a day excursion to the country and welcome the experience with your face turned towards the horizon.

Too much analysis!

Too much analysis!

“If I create from the heart, nearly everything works; if from the head, almost nothing”

Marc Chagall (1889-1985)

Recently at a group painting session after I had announced what I was going to paint, I was challenged with the question “how are you going to paint it?” I would have liked to answer “with pigment, brushes and perhaps a palette knife, you idiot!”, but I didn’t and fell into the trap of banalities instead.

Why do some fellow painters have this compelling need to go on and on explaining themselves? There was a time when I would listen with awe to their endless analysis and theories the way I used to listen in philosophy class. And, of course I would dread it, when it came my turn to say something thinking I better drum up some intellectual jargon, and mind you, I have a vast repertoire of it. Well, that was then! I am no longer in awe.

Sorry folks, I try not to start painting with any preconceived notions, techniques or expectations. Somehow such questions simply do not arise for me anymore. I try to approach every new painting as if I were a novice. This initial attempt of no assumptions and humility fosters at best I believe a potential, the potential to open my creative channels. It is the openness and sense of novelty that does not confine me. It engages me to explore and express myself with less fear on a journey of adventure and discovery. Rather than think about what and how I am going to paint, I try to feel what I am going to paint and sense my way as I go on. Painting, or for that matter any artistic expression, is foremost an expansive, emotionally charged and metaphorical language that defies intellectual rationalization.