SALE SALE SALE...Ok, did I get your attention?

What better way to get one's attention but to write the word SALE! for a title!

Really now....Well, here is what's going on...

I have been thinking... since I no longer offer reproductions through my galleries, or my galleries just don't offer giclee' options, then I should somehow offer them for sale elsewhere as I have plenty of inventory, and where else but to share with my faithful blogger buddies. These classic reproductions are priced at drastically reduced prices (50%) to all my new and long time subscribers, to thank you for being such loyal bloggies. It's my gift to you! Just think, that person who has everything, will now have something unique and personal and more of everything.  So, you may be asking..."What is the catch?"

There is no catch!

  

All works are printed on Epson Velvet Cotton, a supreme paper that gives the reproductions a wonderful appearance of "pastel". All are matted in "off white" archival cotton mats and shrink wrapped for shipping. Shipping is FREE through USPS! Did I say FREE? Well, only once, but it's true, free shipping to you or to your recipient. I will be taking payment through Paypal.  Expect about a week for me to get it out the door and to your destination.

Each one is a flat $32. That's it! No shipping or handling charges, no taxes, no extra coal in your stockings...you get the idea?

First come, first served!

"Boats with Ropes"  10x8" $32   Sold

"Lavender Afternoon III"  8x10"  $32

(one more still available)

"Between Moments"   10x8"  $32.  SOLD

"Cafe' Seating"  10x8"    $32   Sold

"Watmough Bay"  10x8"    $32

"Lopez Harbor"   10x8"    $32   Sold

"Curbsides"   10x8"    $32

"Red Blueberry Rows"  10x8"   $32

"September Symphony"  10x8"    $32. SOLD

"Seeing Values Clearly" Workshop

"4 Color Fred"  12x9" Pastel  nfs

Here I have used Photoshop to render the color out of the image, 

leaving the values to indicate shape and form.

Since the day I started teaching workshops on art and pastels, nearly all of my students have told me that values were the hardest thing to understand and get right in their paintings. This had me thinking that perhaps there is a big void in the education of painting and art.  No, I'm not talking about how much a work of art is "worth", although that could be a topic for another blog post. I am talking about the lights and darks and all shades of colors in between that give a work of art volume and shape, providing atmosphere and depth, as well as mood.  So I have decided to offer a one-day workshop on "Identifying Values Clearly" for a mere $95. What a value! The class will be a offered at Sequoia Gallery and Studios in Hillsboro, OR. in February of 2014.  Click HERE for more info and registration. Hope to see you there!

Above, this is a study using only values as the method of creating an image that I had done in a workshop with Kitty Wallis. This was my big "ah ha" moment as my work began to take shape and improve dramatically once I understood how to control this important aspect of painting.

Scholls Overlook, 8x10"

"Scholls Overlook" 8x10"  Oil  ©Brenda Boylan

I must have plein air painted this scene 6 times over the past 3 years. This location is really up there in altitude overlooking the valley edge of the Portland, OR metro area. This is Scholls, OR. Pronounced shhh olzz.  During this little outing I painted in the intense wind, experienced easel toss #5 and had to pee in the middle of nowhere while a passing car saw a moon.  Now this is personal stuff, but it's reality too. That is plein air painting in it's uttermost honesty. OK, there you have it, "me". Now for more serious stuff...

Cropped detail of "Scholls Overlook"

Each time you paint a piece, you bring with you all the painting accomplishments and failures up to the easel. That equates to all the successes and failures bundled up and presented to a blank canvas. Many of my students have told me that they will paint 1 (one) good piece out of every 10. I tell them the odds get much better if you paint more often, daily if possible. When I first started out working on my artistic abilities, I had perhaps 1 out of every 15. Even then, my eyes weren't trained to know what was "good" or not. It just looked good because it was so photographic, and people would think it was really "good". But an artist mentor of mine once said, "Why paint photographically when you could just frame a photo?" That had me stopped in my tracks.  

So much thought went into that statement over the years. What appears to me as I work from my feelings and intellect is to allow knowledge and experience to take over my work, and that can only come with time at the easel. This also takes gallery/museum visits, reading about our artistic ancestors, painting with fellow artists, and a lot of persistence, patience, and mental ability, but so worth it.  So I encourage you to take your work to a higher level by painting every day and your effort will pay off... sooner than later.  

Artists Collecting Art

As an artist, I am always feasting my eyes on other artist's work either online, galleries, or museums so that I may satisfy my desire to be surrounded by beauty. Over the past 7 years or so, I have been collecting art for inspiration, enjoyment, and fond memories of plein air outings. But underneath all those reasons there lay a small, but silent reason for my collection and it is this;  For many artists, there is a huge discrepancy for collecting other's work. 

Are you surprised by this irony? I am.  

Just think...if you are an artist and you are trying to sell your work, yet, you are not enjoying it yourself, then how could you expect others to do the same? In an article Art Collecting: Should Artists Buy Art? in FineArtViews, writer Brian Sherwin clearly expresses this concern. He writes:

"Let us be honest with ourselves concerning consumer attitudes toward buying art. The averatge consumer is content with the Vincent van Gogh poster in his or her living room - OR the mass-produced Thomas Kinkade print displayed prominently in the hall. The average consumer does not see the value of original art - or how owning original art will enrich his or her life. If YOU want to change the way consumers think about owning original art...you need to be part of the solution. You need to take original art seriously (not just you own art). YOU need to by original art from others."

His article pinched a nerve with me.

So today I want to share with you my growing collection with special mention on how I acquired each piece and my thoughts as it relates to my personal collecting habits. In full disclosure, some are from trading my own artwork which has it benefits as an artist, however I am trading "inventory" that I could otherwise sell, some are purchased or gifted.

Mike Kolwalski 8x6" oil  purchase

Mike and I met and participated in the Pacific Northwest Plein Air event back in 2011. A bunch of us decided to paint a nocturne of this little bar in the little downtown area of Hood River. I loved his painting so much that I just had to purchase it. The glow of the neon light reflecting on the people's shirts is what caught my eye.

Sergio Lopez 16x12" oil  trade

This piece reminds me of my weekends at the beach in Southern California. He painted it for Carmel Plein Air in 2012 and was posting his adventures on Facebook. I commented that I loved it and so he offered to trade one of mine that he liked as well.

MIchael Orwick, 12x16" oil  trade

This is a painting of my daughter who modeled for us on a plein air outing a few summers ago. This piece reminds me of that fun summer day of painting under a historic apple orchard on Sauvie Island.

Diane Ahrendt, blown glass tumblers, purchase

I met Diane some years ago while participating in Portland Open Studios and found her to be dynamic and very talented glass blower. We often talked about color and it's endless varieties. We use these tumblers daily and love the wild '70's swirling flame-like edges.

Thomas Jefferson Kitts, 10x8" pastel gifted

This was a dare that Thomas couldn't resist at a local casual paint out. As I began this painting, he poked at me and and so I dared him to make it better. He took the bait as I watched him work out my dusty medium. Afterwards, he just shrugged and left it on my easel as proof he could create in pastel with panache. Touche' Thomas. 

Donna Trent, 9x12" pastel  trade

This was a Northwest Pastel Society painting exchange trade. I was thrilled to receive it for it's color and loose marks.

Blythe Eastman, 7x4x5" clay  purchase

I saw a group of clay bunnies and other adorable animal sculptures at one of my galleries while I was delivering new work for sale. I spotted this one and had to have it. A purchase that brings me warm feelings every time I look at it as it props up some creative books on my studio shelf.

Anton Pavelenko, 8x10" oil  trade

Anton is a good friend, fellow plein air competitor, and I love his work. We often expressed trading and so this is what I picked out of the bunch. (sorry the photo has a lot of glare on it)

Celeste Bergin, 8x8" oil  trade

Traded at a group paint out at a local nature park. About 15 or so artists came out to enjoy the fall color in this marsh located about a mile from my house. I love Celeste's loose brushwork that is so indicative of her "style".

Again another painting exchange gift from the Northwest Pastel Society. I was thrilled to receive it for it's color and loose marks.

Diana Sandford, 10x10" pastel   gifted

And so there you have it. I will continue to collect more art as I stumble upon it either by gallery stops, paint-outs, purchase, or trade. All have given me so much joy and fulfillment.  If you collect art, then I congratulate you! If you don't, then perhaps you may consider this a gentle prompt to get you started in the benefit of enriching your life. 

Be well, 

Brenda