Sue Favinger Smith is a professional artist who began her art career at the age of 50. She writes Ancient Artist: Developing an Art Career After 50, a blog dedicated to empowering artists seeking to reinvent themselves at mid-life. You can subscribe by visiting http://ancientartist.typepad.com./
I wanted to put your information up first because you started this! I left a comment on your blog, but it reminded me of something that affected me profoundly that I'd like to share with all of you about the subject of signature style.
I was asked to bring my work to a gallery in Santa Fe, NM. She had seen the work online and wanted me to show in her gallery. This was my first offer since working in oils and I was very excited and nervous at the same time. Being a "you never know so be prepared" type of person, I also brought some watercolors along for her to consider. I got to the gallery, unloaded all 16 large oil paintings and waited for her approval. I was nervous, but she had said she wanted my work so I assumed she would just pick out the ones she wanted to show, I'd sign the contract and be on my way. I wasn't prepared for her extensive critique which later I was told by another artist was a huge compliment since most galleries don't give free critiques.
She said that my paintings weren't finished, that I painted my oils the way I would use watercolor. This, of course, was due to my lack of knowledge in the medium. She said some nice words and gave me some encouragement, but basically, they weren't what she wanted. She was extremely professional and very nice. As I was packing up all my very large paintings I mentioned to her in passing that I had brought some of my watercolors if she was interested in seeing them. I figured I'd come all this way, I might as well lay it all out there. She took a look at the top painting and asked her assistant to get them all out of the van and handed me a contract to sign. I signed the contract, left the paintings, loaded up my oils and I was back on the road.
The tears started to fall. I was in such an emotional turmoil. I just couldn't figure out how to feel about any of it. I was happy to have a gallery in Santa Fe, thrilled that she wanted my watercolors, but hurt by the rejection of my oils. I was reminded of what my artist friend said who told me how fortunate I was to have been asked when so many other artists spend years trying to get a foot in the door and the fact that I was invited was such a compliment.
This is where the baggage comes into play. Here I am 57 years old and feeling the same way I felt at 8 when I was so excited to show my Mother the drawings I had just done. It never occurred to me that I would be punished for drawing a female body. I wasn't allowed to draw after that and it had a profound affect on my life. I didn't pick up another pencil until I was 30. Baggage is a bitch! The other emotion was because I loved those watercolors. They were my favorites and I already missed them. Crazy right?
When I got home I had to deal with the critique. It was important for me to accept her words of wisdom and apply them to my work. For the next 6 weeks I struggled to do what she suggested. Use more paint. I called it the glob effect. I just couldn't do it. I ruined so many paintings trying to do what she felt was a true oil painting.
When I was contacted by another gallery in Texas you can imagine the apprehension I felt. Driving all the way to Texas with my paintings just knowing that this gallery owner would say the same thing. But she didn't. She loved my way of painting. She said that it was new and interesting and wanted to know how I used my oils to create the watercolor effect. She accepted me into her gallery and took 9 of my paintings.
This is what I've learned from these experiences. Okay, so I'm too sensitive. I can't help it. I'm extremely connected to my art. It's a part of me. Yes, I need to be able to accept constructive criticism, but it is only one point of view. It did totally mess with my head for quite a while, but the information was without a doubt very valuable and I've integrated it into my work to a point.
Not everyone is going to like what I do, but as I've always said, I need to be authentic, true to myself. Because I am a self-taught artist, I'm not influenced by the traditional way of painting. Right or wrong and I don't think there is a right or wrong, it's what my work looks like. It's what I do. This must be what Sue Smith refers to as a Signature Style.
Thank you Sue for this mind opening dialogue.
I wanted to put your information up first because you started this! I left a comment on your blog, but it reminded me of something that affected me profoundly that I'd like to share with all of you about the subject of signature style.
I was asked to bring my work to a gallery in Santa Fe, NM. She had seen the work online and wanted me to show in her gallery. This was my first offer since working in oils and I was very excited and nervous at the same time. Being a "you never know so be prepared" type of person, I also brought some watercolors along for her to consider. I got to the gallery, unloaded all 16 large oil paintings and waited for her approval. I was nervous, but she had said she wanted my work so I assumed she would just pick out the ones she wanted to show, I'd sign the contract and be on my way. I wasn't prepared for her extensive critique which later I was told by another artist was a huge compliment since most galleries don't give free critiques.
She said that my paintings weren't finished, that I painted my oils the way I would use watercolor. This, of course, was due to my lack of knowledge in the medium. She said some nice words and gave me some encouragement, but basically, they weren't what she wanted. She was extremely professional and very nice. As I was packing up all my very large paintings I mentioned to her in passing that I had brought some of my watercolors if she was interested in seeing them. I figured I'd come all this way, I might as well lay it all out there. She took a look at the top painting and asked her assistant to get them all out of the van and handed me a contract to sign. I signed the contract, left the paintings, loaded up my oils and I was back on the road.
The tears started to fall. I was in such an emotional turmoil. I just couldn't figure out how to feel about any of it. I was happy to have a gallery in Santa Fe, thrilled that she wanted my watercolors, but hurt by the rejection of my oils. I was reminded of what my artist friend said who told me how fortunate I was to have been asked when so many other artists spend years trying to get a foot in the door and the fact that I was invited was such a compliment.
This is where the baggage comes into play. Here I am 57 years old and feeling the same way I felt at 8 when I was so excited to show my Mother the drawings I had just done. It never occurred to me that I would be punished for drawing a female body. I wasn't allowed to draw after that and it had a profound affect on my life. I didn't pick up another pencil until I was 30. Baggage is a bitch! The other emotion was because I loved those watercolors. They were my favorites and I already missed them. Crazy right?
When I got home I had to deal with the critique. It was important for me to accept her words of wisdom and apply them to my work. For the next 6 weeks I struggled to do what she suggested. Use more paint. I called it the glob effect. I just couldn't do it. I ruined so many paintings trying to do what she felt was a true oil painting.
When I was contacted by another gallery in Texas you can imagine the apprehension I felt. Driving all the way to Texas with my paintings just knowing that this gallery owner would say the same thing. But she didn't. She loved my way of painting. She said that it was new and interesting and wanted to know how I used my oils to create the watercolor effect. She accepted me into her gallery and took 9 of my paintings.
This is what I've learned from these experiences. Okay, so I'm too sensitive. I can't help it. I'm extremely connected to my art. It's a part of me. Yes, I need to be able to accept constructive criticism, but it is only one point of view. It did totally mess with my head for quite a while, but the information was without a doubt very valuable and I've integrated it into my work to a point.
Not everyone is going to like what I do, but as I've always said, I need to be authentic, true to myself. Because I am a self-taught artist, I'm not influenced by the traditional way of painting. Right or wrong and I don't think there is a right or wrong, it's what my work looks like. It's what I do. This must be what Sue Smith refers to as a Signature Style.
Thank you Sue for this mind opening dialogue.
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