What are you hoping to evoke with your work? How do you approach that on a technical level? How do you approach that on an emotional level? ![]() References give vital information about a subject but at the same time, a reference can never give me what it was that excited me to paint the subject. This doesn't mean I don't use the reference photo. It does take a lot of practice to learn that. This process will create a personal version of whatever it is I am painting. ![]() I try limiting the reliance on the reference, at least to a certain degree, and interpret the scene instead. Inward intuition is what will guide me in determining what I will put in and what I'll leave out or otherwise change. We are translating what we see into something paintable. Painting is about translation: What do you take from the reference and what do you know you’ll change? Often it is something I glimpse, out of the corner of my eyes. There is usually also something else there that attracts me, something more profound about the scene (or person, if it is a portrait). Of course the subject matter is also important but really to a lesser degree. What does a scene need to have for you to want to paint it? Is it more than just a pretty picture? Today he travels the globe teaching workshop, juroring, and painting. For several decades he worked as a professional illustrator and commission portrait artist. ![]() He took full advantage of his time on the continent including being mentored by Italian master painter Renato Casaro and living in the south of France for 3 years. Make it one of your good intentions for the new year!Īre you good enough? Show yourself.Watercolorist Frank Eber grew up in Europe. I personally don´t have access to such an extensive clientele abroad. Although I am well visible on the internet.ĭo you find it difficult or are you too modest to seek a representative? Don´t postpone! Set off and leave your studio. Consider that I live in a remote village in the mountains of Spain, but my portraits can be seen in galleries in London and Amsterdam. When you decide your quality is good enough then do not hesitate to compose a perfect portfolio and find a good representative or gallery. A good representative with good networks sells your art work better than you ever could do yourself. That reminds me of the importance of having a good agent, representative or gallery. I have been very lucky that I met him and that we were able to work together for years. Not only for me, but also for all affiliated artists. He was a fantastic man and a great agent. (Above, a small pencil drawing for his portrait in oil) One of the models is the son of my then agent, Kees Thijssen of Art Box in Amsterdam. We asked permission to do photo sessions inside. I remember the day we visited a number of pubs in Amsterdam. What you see is a preparatory pencil sketch for an illustration for a large advertising campaign for the Dutch brewery Heineken. A document from my previous life as a commercial illustrator. ![]() Visual for a commercial illustration SurprisesĬleaning up also means that you unexpectedly might come across items that you have forgotten. Consequently the discussions are always of the same nature but rarely without a good outcome. The usual question is: what can be thrown away and what needs to be stored? I am often rash and quickly decided to dump stuff. I am already looking forward to the carpentry because it has been a while since I have held a saw, hammer or chisel. The plan is to make large cabinets with plenty of storage space. These days, around the end of the year, Helma and I are busy clearing the attic.
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