I often get approached by clients who have questions about commissioning art. Some are worried that a commission might be out of their reach. Others, that an artist might not honor a deadline. Artists have fears too, that clients might not like their work or that they might not get paid.
This article was exerpted from Rebeca's monthly newsletter, Rebeca's Art News.
The term plein air is a contested one. Some use plein air only for paintings completed entirely outdoors, while others aren't as strict. People associate it to impressionism, but it doesn't always go hand in hand. Many in the art world don't think plein air paintings should hang in a "serious" gallery. They complain that the subject matter is tired, and that some of the work is not that good. And they do have a point.
But plein air paintings sell. Buyers show up at paintouts, online, at local festivals, in open studios and in galleries. Should you be one of them? Canadian artist Michael Chesley Johnson sent out a survey and discovered certain things about the average buyer.
The Bay Area is full of excellent artists, many of whom teach for a living. Of those, a few live off their teaching efforts, so they cannot all be bad, can they? No, many are excellent, the problem is finding them. But in the absence of a global certification program or Yelp reviews of visual art teachers, identifying someone who is a good artist, personable, and who can also teach can be difficult and time-consuming. If you've never had to look for a good art instructor, you may ask why is it so hard. It comes down to two big issues, teaching style and engagement with the subject.
In most art schools, unless one is pursuing a master's in art education, little attention is paid to the development of an engaging teaching style in artists. When left to its own devices, art education defaults to the medieval guild mode.
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