Letter from the Editor
By Kerri Lawnsby
Many of the wonderful articles
this issue relate to plein aire painting, and we had hoped to bring you
the inside story of Stefan Baumann, a local artist who has just
launched his national television show "The Grand View,"
which is all about plein aire painting in national parks. Circumstances
beyond our control prevented this article from being published in this
issue, and timing kept us from being able to provide a
behind-the-scenes story with a different local artist. Our next issue,
to be published early January, will include another great story about a
local artist's success...stay tuned!
The staff at In the Studio Magazine
also wanted to take a moment to thank our Managing Editor, Angie Young,
for doing such a fabulous job getting this new publication up and
running this year. Angie has decided to pursue other opportunities in
the publishing field, and we wish her well!
Candidates for our new Managing Editor are
being interviewed now, and we are excited to get a fresh start with an
energized staff for the January issue. Happy Holidays!
Kerri Lawnsby
Director, Society of Local Artists
director@svlocalartists.org
Art & Chemistry--A Wonderful Synergy
By Christen Cabe
What do an artist and a chemist have in common?
Seemingly these minds would work vastly differently—one indulging in
the creativity of the left brain, the other analyzing formulas in the
right brain. But there are times when the two come together to form a
wonderful synergy. Wine is a great example of chemistry meets art. In
the Livermore Valley, age-old methods of winemaking and preservation
developed by chemists of yesteryear thrive in a culture that cherishes
a good Zinfandel. And wine tasting is not the only way visitors enjoy
the vineyards. Artwork by Sonya Paz celebrates wine and life with
lively, fun and vibrant Cubism-Pop Art compositions inspired by the
rolling hills of California wine country. Livermore assistant winemaker
and chemist Lynn Hearn, is a Paz enthusiast and avid collector of these
“Spaz Art” masterpieces.
Hearn grew up in
Decorah, Iowa in a loving, dynamic Norwegian family. Her attention to
detail and predilection for science led to a medical degree from the
University of Minnesota, Rochester in 1974. Hearn began working as a
chemist, experiencing a wide spectrum of the medical field—from
pediatrics to the emergency room. After her husband lured her to
California in 1977, the Hearn household doubled in size with two
children that kept home life busy and lively. Balancing work and
children soon led Hearn to seek work closer to home so she could spend
commute time with family, rather than on the road. Living so close to
Livermore Valley wineries, the choice was clear: Hearn became a
winemaker. She is now one of the proud winemakers of Concannon Vineyard, known for producing America’s first Irish vintner and the world’s first Petite Sirah.
So, what do Hearn, a chemist, and Paz, an
artist, have in common? For starters, Hearn believes that she and Sonya
share attention to detail and an appreciation for color. Beyond this,
both women have a family and a universal need to smile. Hearn first
encountered the Sonya Paz’s artwork while perusing Ebay for objects
from the Eames Era, a revolutionary twentieth century movement that
sought to change the way people live through interior design. Hearn
loves the detailed simplicity of this particular aesthetic, a dynamic
balance that she also sees in the work of Sonya Paz. Hearn recalls,
“Sonya’s work stood out like a sore thumb (in a good way).” She
purchased her first piece in 1999, just as Paz was emerging as a full
time artist. When asked if she had any reservations about buying from
an artist off Ebay, Hearn says, “I guess I’m finally at a stage in life
when I know what truly sparks my interest.”
After purchasing many pieces from Sonya Paz
online, Hearn developed a working relationship with the artist whose
work inspires her. Hearn supports online auctioning as a means for new
artists to gain exposure and feels that this method of publicity was a
smart decision on Paz’s part. However, she much prefers collecting art
through the artist’s studio or by direct contact with the artist. “It
is my personal opinion that after initial exposure, the artist can
establish a clientele without the online auction,” says Hearn. Having
commissioned Paz to create several artworks for her, Hearn is able to
acquire works fairly easily. She recalls a beautiful sunflower piece
that Paz painted for her, as well as an artwork from Paz’s Music
Metropolis series. But Hearn is not particular about the theme of the
work. Her collection of fifteen to twenty pieces includes a variety of
themes, all of which she hand-selected to be part of her collection. Hearn’s collection is never out of her sight
or her reach. Rather than storing her paintings in a lifeless, distant
facility, she proudly hangs them in her home and in Concannon
Vineyard’s Tasting Room and lab. They’re also found in her husband’s
office. She generously turned over a couple of pieces to her two
children, who have also become Paz fans. Interestingly, she has a habit
of moving the paintings around her house, maintaining the element of
surprise that guests feel when they first walk into a room and see
Paz’s art. “Life is art,” Hearn says. “Life is always a continual
movement.” While Hearn does like the Cubist and Surrealist elements of
Paz’s pieces, these are not the only reasons for her interest in the
artist’s work. She feels that Paz’s unique paintings are full of life
and are infinitely original. She is always amazed at this artist’s
endless creativity and her ability to create compositions that are at
once simple and detailed. Hearn’s strong ties to her Norwegian heritage
have also had an effect on her artistic taste. Much of popular
Norwegian art is symbolist, graphic, and boldly colorful, tapping into
the expressive possibilities of visual art. Hearn is drawn to the
variety of mediums being used by Norwegian artists. Beyond the canvas,
she appreciates and has collected such mediums as metal, wood, fabric,
and pottery. What matters most to Hearn is that the art evokes a
reaction. She says, “I always feel a strong connection to the art and
believe it speaks to me. When that happens, it comes home with me to a
very happy house.” Hearn appreciates Paz as an artist, a woman,
and a mother. In a world where everyone could use a positive lift,
Hearn is proud and delighted to be the owner of Sonya Paz’s bright and
playful paintings. She describes this inspirational artist as “one
dynamite lady” and has no intention of selling any of her purchases.
She encourages collectors to follow their instincts when considering a
purchase. “You will know when you see the work if it is for you,” she
advises. It is precisely this spark between art and its viewer that
began her interest in Paz’s colorful palettes and ignited a desire to
fill her life with these one-of-a-kind works.
A Hotfooting History of EN PLEIN AIR Art
By Mark P. Lawley
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Patent drawings by John Rand of the metal paint tubes, invented 1841.
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The same invention that makes
brushing your teeth more sanitary also contributed to an artistic
heritage. Indeed, without this invention, Impressionism might not have
happened, and outdoor painting might still be viewed exclusively as an
exercise rather than a genuine artistic pursuit. The invention is the
collapsible metal tube, and John Rand, an American portrait painter,
obtained a patent on it in 1841. This light, airtight tube is the same
kind that holds your toothpaste. (Families previously stored it in
porcelain jars).
Before the invention of
the collapsible tube, artists who wanted to leave the studio to make an
en plein air work had to lug their oil paints in animal bladders, glass
vials, or tin foils. These containers leaked, were inconvenient to
transport, and did not keep paint fresh for long periods of time like
Rand’s hermetic tube could. The American portrait painter and inventor
made something that would ultimately allow artists to easily carry some
of their supplies outside of their studios. Moreover, since oil paints
could be squeezed out of collapsible tubes in measured amounts while
still leaving the rest tightly enclosed, artists did not have to go
through the hassle of re-sealing their paint like they did when they
got it out of bladders or vials. Instead, they could get the oils they
needed from their tubes and go immediately to their canvas. This meant
they could be more spontaneous in their painting; the impediment of
messing with vials and foil did not loom over their shoulders as they
searched out a place to work. People could joke that toothpaste tubes
inspired artists to be more impulsive with paint.
This is not to say that
outdoor painting did not exist before the collapsible tube. Though the
painting of nature was typically done in the studio prior to this
invention, it is absurd to think that no one ever went outdoors with an
easel before 1841. Still, Rand’s device certainly allowed for works to
start and finish outdoors. Since lighting conditions change throughout
a day, larger works required artists return repeatedly to the scene
with their easily carried supplies at the same time of day until their
painting was finished. Though Rand’s tube could not freeze time for the
artists, it made the prospect of frequent trips more palatable.
The collapsible tube
took off in European markets. Italian and French painters, now armed
with the invention in their carrying cases, could go outside and paint
their direct impressions of nature. Early outdoor artists that did
this, such as those of the Barbizon School
and I Macchiaioli, were struck by how their works dealing with nature
contrasted traditional conceptions of it done indoors. They explored
this difference and developed a new style that grew in popularity.
Outdoor painting was no longer considered just skill-building exercise,
but instead, became recognized as a legitimate, serious art form. Then
during the 1860’s, the Barbizon School and I Macchiaioli contributed to
the start of Impressionism in France. Without Rand’s tin tube, there might be no Monet nor Cezanne, no Garden at Giverny nor Chateau Noir.
Not only could the Impressionists be
spontaneous with their oils because they had collapsible tubes, but
they could also more conveniently paint outdoors for longer periods of
time. Perhaps changes in light around them as a day progressed actually
focused their attention on the light itself, and this might partly
account for the importance of a sense of luminosity and atmosphere in
their works. The differences between natural appearances and
traditional artistic representations created in the absence of the
subject material undoubtedly pointed the way to a new realm of artistic
exploration—one in which other breaks with prevailing artistic
attitudes were not only acceptable, but desirable. The echoing effects
of the American invention were soon to return home.
Before the Impressionistic influence came to
the United States (mostly through Americans who studied in French art
academies), the Hudson River School
of the 19th century was already doing en plein air paintings of the
landscapes back east. But as civilization spread to the remote places
these artists popularized in their works, they had to move further
westward to find nature devoid of urban sights. By 1890, Impressionism
had come to America where it would be interpreted and transformed with
some structural characteristics of realism.
Initially, American Impressionism
was centered on the east coast, but it, too, spread westward. By the
1930’s, Impressionism gave way to schools geared towards realism, such
as the Ashcan School,
and later, the Regionalists. Then the plein air tradition took a recess
during the dizzying artistic developments surrounding the two world
wars and afterwards, and so we come to the present day. Outdoor
painting has been enjoying popularity, particularly amongst Californian plein air painting clubs
(The Oak Group, The Outsiders, Plein Air Painters of America,
California Art Club and others). These modern outdoor artists are a
part of a heritage that, compared to the centuries of “indoor” art, is
still rather new. And yet already, a host of other inventions have
influenced en plein air painting: sunscreen, digital cameras,
automobiles, and Off! Spray.
Your Painting Isn't Done Until It's Ready to Hang
By Susan Kraft, Art21 Gallery & Framing
Before I opened an art gallery
and framing design studio in Palo Alto, I was a painter selling my
works through a variety of means. Unlike most artists I deal with now,
I also learned the art of framing design. This allowed me to control
the look when integrating my art into my client’s home. It also turned
into a second source of income after a sale closed. Most clients who buy my
art want me to design the frame. They believe, and rightfully so, that
the painting is not finished until it is ready to hang. And who better
to put the finishing touches to the look and feel of the piece than the
artist?
As a gallery director, I
meet a lot of artists who think their painting is done when they clean
their brushes. They bring their work to me with raw sides and no wire
on the back. They haven’t thought of the mechanics of hanging and
framing. In essence, they are surrendering their control over the final
look of their work.
Some artists do frame
their own work, but use cheap materials. I don’t mean low-cost or
simple. I mean cheap. Edging your work with cheap framing lowers your
perceived value. Some artists let the collector’s favorite frame shop
make the final framing decisions and collect that financial
transaction. If you want this sale,
think about why the customer bought your work, where it is going to
hang, and think three-dimensional. You don’t have to use the standard
framing materials commercial shops use. Be creative; be an artist to
the end. When I design framing
for a client, I look to their taste and sense of style. My job is to
create a solution to fit my client’s particular needs, not to satisfy
my own artistic tastes. The end result has to add to the look and feel
of their home. Here’s an example.
Diane, a regular client, had just acquired a new painting, which was to
hang above a decorative tile mantle. I had Diane bring in some tiles
along with the artwork. The design in the tiles corresponded with the
geometric patterns found within the painting. I always begin a design
from the inside out; the frame comes last. First, I familiarize myself
with the art. It was a Ressinier painting of a pensive woman. Her
chocolate hair fell in loose curls around her face, the crown of her
head topped with a delicate wreath of blue flowers. The softness of the
woman’s fair complexion was echoed by the gentle contours of a flowing
cream and beige gown. The gown proved a transition point, which unified
figure and ground as it melded into a stylized, geometric background. I
proposed we create an inner frame out of the tiles themselves,
positioning them in uniform one-inch intervals around the painting. Our
last step was to choose the frame hefty enough to support the weigh of
the entire project. (Go to frame shops and look at the samples – I work
with designers at my framing studio frequently.) We chose a frame with
a curved profile and a distressed surface to echo the rotund shapes
within the painting and coincide with the brushstrokes. The frame is a
rich, deep brown, with an inlayed band of lighter wood that contained
subtle hints of the grays, blues, and reds found within the painting.
The frame was complete with a hint of gilding that highlighted the gold
accents of the painting. With the design
completed, I began construction. The first step was to determine the
frame size. I added the dimensions of the painting to the tile
dimensions. 
Figure 1. Draw a blueprint of your design
After assembling the
frame I cut a piece of ¼” plywood which would fit under the frame to
serve as a backing to my project. I then cut another piece of plywood
identical in outer dimension to the first, but a window inside the same
dimension as the canvas, the build up. Next, I glued the build up piece
onto the plywood base and gessoed the entire surface. I covered the build up
with silver and a mixed copper, as well as silver, blue, grey and
green, to match the warm dark gray hue of the tiles. I mimicked the
surface of the tiles by applying an uneven coat as a top layer to give
an aged effect. 
Figure 2. Mixing paint to match to tiles
I next used an awl to
gauge holes in the wood, identical to those that define the surface of
the tile. By mixing Paynes Grey with water, I created a wash that
seeped deep into the gauged holes. I positioned the painting in the
center of the build up, level with the tiles, and attached it to the
backing with glue and screws. My final undertaking was to assemble
mounted painting and frame, touch up the edges of the plywood to match
the frame edge and the project was complete. 
Figure 3. Assembling the pieces
The result is a skillful
blending of art and frame, a beautiful, creative, custom-built product,
and a more than satisfied customer. If you offer your creativity for
the final presentation, you can tap into another level of art sales. Susan Kraft is co-owner of Art 21 Gallery and Framing in Palo Alto, and also an artist. Her website is www.art21.org.
What to Bring When Painting Outdoors
By Jeff Bramschreiber, University Art
Having everything you need at
your fingertips when you need it is absolutely essential for a
successful plein air outing; the opposite situation a recipe for
disaster. So how do you bring all the stuff you need, and still keep
the load to a workable amount? The answer largely depends on three
things, the length of your excursion, the type of painting or drawing
you will be doing, and the type of area in which you will be working.
What follows are some suggestions on equipment and materials to make
your next trip a pleasurable one.
Let’s start with the
basics, your clothing. Your attire should be loose and comfortable and
in keeping with the environment. Clothing that is too heavy or too thin
can cause real discomfort and leave you at risk from exposure. Dressing
in several lightweight removable layers is a good rule of thumb. A wide
brimmed hat and a good pair of sunglasses are a must for keeping the
sun off the face and out of your eyes. Last but not least, make sure
your shoes, socks and shoelaces are in good working order and fit for
the terrain; the wrong shoe on the wrong terrain can lead to irritation
and even injury.
Now that you are
properly attired, the next things to consider are your materials and
how to carry them. This is where planning for the kind of work you are
doing, and for the length of your session, is so important. Quick
sketch trips under a few hours do not require lots of stuff. A pocket
sized Moleskin sketchbook, 5 mm. mechanical pencil and eraser may be
all you need. Watercolorists can make do with Winsor Newton’s classic
Pocket Field Box that includes twelve ¼ pans of color, water bottle,
sponge, fold out palettes and a travel brush. Combine this field box
with an Arches or Fabriano 5x7 watercolor block and you have the
makings of a great watercolor kit. Likewise, pen and ink artists or
charcoal artists have several good portable options. Acrylic, pastel
and oil painters on the other hand, need a bit more room even for a
quick trip, not to mention an easel of some sort and possibly a chair.
For the acrylic, pastel
and oil painters, there are several good containers or totes available
from Art Bin. My personal favorite is the Mega-Tote; it comes with six
roomy plastic storage boxes, several storage pockets of various sizes
and a shoulder strap. Canvas panels and Canvasette pads offer a
lightweight alternative to full size canvasses for the acrylic and oil
painter. For the pastelist there is a brand new product available from
Canson: Mi Tientes pastel paper mounted on 4 ply white rag and precut
to 16x20 size, a great travel size. These same boards can be used as
mat choices for your finished work.
Sooner or later when
painting outdoors you will need to invest in a good outdoor easel. A
good easel is one that is lightweight, versatile, portable and stable
and there are two brand new easels that fill the bill nicely. The first
is the Pochade Box from Guerilla Painter. This well made 9x12 box is
apart of a plein air system of modular accessories, that includes a
tripod, palettes, towel holder, brush washer, pastel boxes, brush
caddy, fold out trays and even an umbrella! The other new easel is The
St. Paul’s Travel Easel by Daler Rowney. This is a sturdy wooden field
easel that can handle canvas or drawing boards or lay flat for
watercolorists. The St. Paul collapses down into a durable green duffle
bag that has handy pockets in a variety of sizes. On the subject of
chairs, Mabef makes a very good beech wood and leather painter’s stool.
If you are like me and prefer a little extra back support, there are
several brands of collapsible “captain’s” style chairs available at
most sporting goods stores.
Now that you are
outfitted for your plein air session, there are a couple of
miscellaneous items that need to be considered for your trip. First,
you should have plenty of bottled water and use a good sunscreen.
Second you should bring some sort of energy snack like granola or trail
mix with you. Third you should bring a simple first aid kit and insect
repellent. And finally, don’t forget your camera and film. All these
sundry items can be stashed in a small duffle that can easily be
carried to your site. I am sure you will agree that by using some of
these storage and equipment tips, you really will have everything you
need right at your fingertips. Enjoy your trip!
Jeff Bramschreiber is Community
Arts Liaison for University Art Center of San Jose and the Triton
Museum of Art in Santa Clara as well as a local award winning artist
and instructor. Jeff can be reached at (408)297-4707 or (408)629-7883
or via e-mail at snjbram@aol.com .
CALIFORNIA ROYALTIES - LONG TERM CONSIDERATIONS FOR ARTISTS
By Stephen C. Wetlesen, Esq
No doubt the story has often been
told of great artists of the past who sold masterpieces for a pittance
only to see successive owners reap huge benefits upon resale after
resale as value appreciated, while the artists themselves got nothing
and languished in poverty. California Civil Code Section 986 was
enacted in a modest effort to remedy such injustices by providing for a
small but potentially substantial royalty for the artists, and, in
limited circumstances, their heirs, upon resale of works.
What does this mean for you?
You could be earning a 5% royalty every time your artwork is resold. If
you reside in, or sell your work in California, the artistic royalty
provisions of California Civil Code Section 986 apply to you.
The California Civil Code is
a series of statutes designed and periodically amended by the State
Legislature to establish, promote and protect the rights of and state
the duties owed various classes of individuals and organizations in
society. The California Civil Code can be found in most counties' law
libraries and in law offices in book form, and is also available on
computer disk and online.
However, artists would do
well to consult a qualified attorney duly licensed to practice law in
this state for advice on royalties. This article is intended as a brief
overview on California artistic royalties and is certainly not a substitute for the competent advice of licensed attorneys!
Essentially, California Civil
Code Section 986 provides that artists who are U.S. citizens or
California residents for the past year who are selling their works in
this states or who live here, regardless of where their art was
originally painted, are entitled to a royalty of five per cent (5%) of
the sales price each time their work is resold (but not the original sale of the work by the artists themselves following creation of the work).
This right of royalty may be
assigned to others, and, as to artists who have died after January 1,
1983, is inherited upon the death of the artist by his or her lawful
heirs and remains in force until the twentieth anniversary of the
artist's death, at which time it terminates.
This right of royalty can not be waived except by a written contract that serves to give the artist more
than the statutory five per cent (5%). Any other purported waiver or
release of this royalty is unlawful, invalid, null and void and cannot
be legally enforced.
When a gallery, museum,
dealer, broker or other seller resells the artist's work, they are
legally required to hold back the said five per cent royalty to pay to
the artist, his or her heirs or assigns, if these persons can be
located. Therefore, it is extremely important for artists to keep all
owners or holders of all their works appraised of their current
whereabouts, including addresses, phone numbers, emails and alternative
contact persons. This information should appear on all certificates of
authenticity to establish a work's provenance, and should be thoroughly
updated whenever there are changes.
If the seller cannot locate
and pay the artist within ninety (90) days of the sale, the seller
shall transfer an amount equal to five per cent (5%) of the sale to the
California Arts Council. The Arts Council will then attempt to locate
the artist, who may file a written claim on the amount. If the Arts
Council cannot locate the artist and no claim is made within seven (7)
years of the date the artwork is sold, the royalty terminates and the
said five per cent money goes to the Arts Council itself for use in
acquiring fine art for the Art in Public Buildings program.
If the seller fails to pay
the said five per cent royalty or transfer that same amount to the Arts
Council, the artist may bring a legal action within three (3) years
after the date of the sale or one (1) year after the artist discovers
the fact of the sale, whichever date is longer. Such lawsuit may
include an award of costs of suit and the prevailing (winning) party
shall be entitled to an award of reasonable attorney fees.
There are a number of important exceptions to this royalty. Chief among them are as follows:
The royalty does not apply to
most resales of the work less than ten (10) years after the initial
sale of the work. Readers are invited to examine the statute themselves
or consult a duly licensed California attorney to determine precise
circumstances where this ten (10) year rule will or will not apply.
Therefore, the royalty is a long term consideration.
The royalty does not apply to resales of art works under one thousand dollars ($1000).
It does not apply to
art resales where the amount generated is less than what the sellers
themselves paid for the art (i.e. the sellers have taken a loss).
The above is a brief overview of the law, and is absolutely not
a substitute for a very careful study, analysis, interpretation and
evaluation of California Civil Code Section 986 and its meaning. Anyone desiring more deep
and detailed information and analysis of California Civil Code Section
986 and the California artists royalty is most strongly urged to
immediately and without delay consult such a licensed California
attorney to protect their rights, which may be subject to important
rigid statutes of limitation. Time is of the essence.
Stephen C. Wetlesen, Esq is a member
of the California State Bar and duly licensed to practice law in
California. He may be reached at (408) 262-8655 during regular business
hours or emailed at SCWetlesen@aol.com.
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