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Fine Art Schools - Finding Your Niche

However, now fine-arts additional forms include, photography, film, contemporary-art, and print-making. In certain institutes-of-learning however, the expression fine-arts is associated-exclusively with visual-art forms.

Fine Art Paintings

The makeup of a good art painting is the thing that catches the viewer's eye and defines the artwork.The word "fine" does not so much denote-the-quality of this art-work in-question, but the purity-of-the-discipline. The definition-tends into exclude-all different visual-art-forms that can or may be stated to be considered to be craft-work or applied-art such as fabrics.

The visual-arts has-been termed as a more-inclusive and descriptive-phrase for current-art-practice. He common instruments used in Fine art paintings and paintings include graphite-pencils, pens, ink, inked brushes, wax color-pencils, crayons, chalk, charcoals, pastels, stylus, and markers. There are various sub categories of drawing and paintings,they including cartooning, Some drawing and painting methods and approaches such as, doodling.

Contemporary Art

Contemporary-art is an art in which the concept/concepts or idea/ideas which are involved in the art-work take the precedence over traditional-aesthetic and material-concerns. The inception-of-the-term "contemporary art" from the 1960's known to a very strict and well focused-practice of thought based-art that often defied the traditional visual-criteria which is connected with the visual-arts in its presentation-as-text. Contemporary art can be regarded as art that has been produced in the present-period in time.

Fine Art Paintings Suggestions

After painting, selecting the attention for your painting can at times be your biggest challenge. Before starting your painting, obtaining a workable-idea is essential and it'll assist you on your creative-endeavor. Whether you are working with oils, oil, tempera or watercolor paints, the following ideas may be the start of a great art painting.

Balanced-Abstract

You may produce an abstract fine art painting permitting liberty of-expression and makeup. You can incorporate geometric-shapes, bright-colors and defined-lines in your art, these are all considered to be the characteristics of an abstract-art. You can opt to create your painting some what representational or entirely free-form, based only on the color, mild or even motion.

You can decide to utilize geometric or organic-shapes. Remember to keep a sense of balance in your painting. If the painting feels looks unbalanced, you are able to bring it together-more by using repeated-colors, shapes or lines.

Landscape along with the Rule-of-Thirds

A landscape is an easy-subject since it will not move or change greatly.A landscape is a period tested-subject to get a painting. It is possible to sit outside on your-porch and sketch the landscape around you before you start painting. Once happy with the landscape, then you may then start by sketching it on your paper or canvas.

Always think about the makeup and the rule of 3rds when creating your own painting. The principle of 3rds suggests that dividing your composition to a grid of 9 equal-rectangles and placing the major-elements of the landscape, like the trees, mountain tops and buildings, at points at which the grid-intersects.

Is unscrupulous contest killing fine-art printmaking? Or has it killed it already, the movement we are seeing today being the tail wagging after the mind has been severed? Either way, we're seeing the disappearance of the fine-art print as we understand it. It is being accosted on all sides with an insidious digital-copy company which has illicitly co-opted the terminology of printmaking and made it its own.

The electronic revolution has given rise to two noteworthy novelties which affect printmaking. Let's start with the good news. Computers, smart image-creation/modification applications and high-quality inkjet printers also have enabled artists to create original digital pictures and publish them with amazing quality on various substrates. These "digital prints," didn't enter to the generally-accepted definition of original fine-art prints elaborated from the French National Committee on Engraving in 1964, because they didn't exist at the moment, but now they have a valid claim to being contemplated fine-art prints.

That 1964 definition stipulated:

Proofs either in black and white or in color, drawn from among many plates, both conceived and implemented entirely by hand by the exact same artist, regardless of the procedure used, together with the exception of all mechanical or photomechanical procedures, shall be considered first engravings, prints or lithographs. Only prints meeting with such qualifications have the right to be designated First Prints.

The down side of the electronic phenomenon is that exact same technology is being used by unscrupulous dealers to create high-definition reproductions of current artwork and commercialize them as "fine-art prints." A number of the operators are knowingly violating the canons of the centuries-old fine-art-print tradition. Others are simply ignorant. It's difficult to tell which is which. Whatever the case, there is no excuse either for ignoring the convention or For knowingly breaking it.

Neither Moralizing Nor Nostalgia

This insistence upon respect for printmaking customs is vapid moralizing nor luddite nostalgia. Over over 500 decades of proud history the expression "fine-art print" has acquired the status of a trademark for artist-made serial-original works of art. What these works of art comprise might be up for discussion, but what they certainly do not include are artwork reproductions, regardless of the degree of sophistication of these replicating methods used.

What is at stake here are the livelihoods of tens of thousands of contemporary fine-art printmakers whose valuable, exclusive handmade first prints-whether made with etching instruments or computers-are being undercut by traders who, in a classical example of dishonest, disloyal competition, refer to their inkjet duplicates as "giclee prints" or more brazenly, "limited-edition giclee prints." As though the techniques and language of fine-art printmaking weren't arcane enough already to the often-ingenuous art-buying public, along come electronic sharp operators to confuse them with the deliberate usurpation of printmaking's traditional vocabulary. They'd have us believe that this is only trade. It is, I submit, simple larceny.

This is not to say that there's not a legitimate market in the market for inkjet or other types of art reproductions. No one in her right mind would maintain that. It is just that those reproductions aren't fine-art prints, any more than the offset artwork poster is. While it's definitely printed, it's barely a "print." To affirm otherwise in order to commercialize digital reproductions at fine-art costs is fraudulent and should be treated as such in the marketplace, the press and the courts of lawenforcement.

The Issue of Big-Bucks Vested Interests

The matter is further complicated by the dollar fiscal interests in play. Each of the giant inkjet printer businesses have discovered the potential of the giclee marketplace and therefore are fomenting it with a vengeance. They make billions selling not just the large-format inkjet printers used in creating art reproductions, but also the inks and papers. They manage to remain mostly above the fray, but as their communications generally to refer to their printers' usefulness in terms of "graphic art" and "photographic" applications.

I wish to share with you an anecdote which will provide you a good notion of the kind of clout the fine-art printmaking community is up against. Two summers ago a giant computer company (like a quarter of a million workers worldwide) flew a few 60 American art-and-design-world opinion leaders into a charming European capital to stay in a five-star resort and trailer their new-model large-format inkjet printers. The "preview" consisted of an intensive three-day class in the mill including the most intimate technical particulars of their new printers, and hands on exercise sessions. The day workshops have been accompanied by a string of tasty meals and excursions in the evenings. The visit to the mill was followed up by an all-expense-paid weekend in the Arles Photography Festival in France.

This midsize producer spared no cost to convert these imaging view leaders to its own new advanced large-format inkjet printers (and also remember the inks and papers) for use in all sorts of design, industrial and art applications. What, in fact, is the main use to which these printers have been put, concerning volume use? You guessed it, fine-art reproductions. Though from the vast majority they are not marketed as "reproductions" or even "posters" but as "fine-art prints."

A Simple Experiment Confirms that the Trend

How severe is it? I recently did a very simple experiment to gauge the amount of the printmaking death-watch-beetle phenomenon, an experiment that you may repeat yourself if you're inclined. On Saturday, July 5, 2008 I did a Google search for the expression "fine-art prints." I had to wade through 15 websites offering "fine art prints and images" and "giclee prints" before encountering on page two of the search a website (ObsessionArt.com) devoted to signed limited-edition photographs, but I needed to trudge on to the 42nd entrance on page five to come across a hand-pulled fine-art print (Maria Arango's original woodcuts).

Following Maria's job I had to slog through four more pages of reproductions described as "prints" before finding another real printmaker, Laszlo Bagi, a screen-print artist. He appeared in the bottom of page nine of the Google search results for "fine art prints," 97th on the list. I needed to continue on to page 11 to obtain the upcoming sellers of genuine fine-art prints, Santa Fe Editions.

In all, my Google search turned up two purveyors of genuine fine-art Prints out of the initial 100+ results. That is less than 2\%. Another 98+percent are misrepresenting the lithographic, inkjet and offset reproductions they are selling as "fine art prints" Considering this preponderance of deceptive competition, it's no wonder print buyers and possible print buyers are perplexed. Given this state of affairs, how is an honest printmaker supposed to make a living?

What To Do?

How might the worldwide fine-art printmaking community battle this onslaught? Clearly it has to begin by recognizing the facts of this situation and opening a discussion on the subject. Meanwhile, it happens to me that they could start with a worldwide program to educate both potential and actual art buyers-as to what's a real fine-art print. They might also put some strain on the search motors, that are, in all probability, unknowing collaborators in the online print-fraud operations. Why is it that Google, Yahoo, and the other search engines index artwork posters and giclee reproductions beneath the search phrase "fine art prints?" It would appear to be quite a simple matter for them to lure vendors to exhibit honest descriptions of the wares, under penalty of being banned.

Within the previous ten decades, the Charleston Fine Art Dealers' Association (CFADA) has increased from just a few founding members to 13 member galleries which helped alter Charleston's art marketplace. Determined by standards of professionalism, CFADA member galleries represent a diversity of fine art and talent that this fine balance of tradition and history together with contemporary and modern pieces produces a special art scene in Charleston. New and modern rub shoulders with the traditional; the appreciation of background allows for development and growth in a new direction. CFADA will celebrate its 10th anniversary this November with the Charleston Fine Art Annual.

Charleston has had a long-lasting love affair with the arts. As early as 1708, the earliest documented professional artist in the USA, Henrietta Johnston, arrived in Charleston. As a widow, she supported her family by creating pastel portrait commissions. William Aiken Walker was a Charleston born performer and in the early 20th century, Charlestonian Elizabeth O'Neill Verner, who analyzed all around the world, became well know for her etched and pastel scenes.

By 1915-40, the Charleston Renaissance period was emphasized by the work of Verner, Alice Ravenel Huger Smith and Anna Heyward Living room furniture Taylor as well as long visits by nationally notable artists such as Edward Hopper, Alfred Hutty and Childe Hassam.

These artists have something in common; they painted the historical town, Southern life or its inhabitants. The subject matter still brings new talent to Charleston. It is safe to say that many local artists began painting because their creative spirits were truly motivated by their surroundings.

The Charleston artwork market offers the past, current and future listed in works of art featuring excellent works of Charleston Renaissance and 21st century paintings from hundreds of local, national and global artists in addition to abstract and modern art. Prominent art collectors traveling to Charleston to locate artistic gems and local art fans are keenly supporting the visual arts' of the area.

Today, Charleston is considered by arts' groups to be one of the top 10 arts' destinations in the nation. Over the previous 10 decades, CFADA continues to be at the forefront of their art industry in Charleston and its member galleries actively promoted the new Renaissance movement that began altering Charleston's art world in the mid-nineties. They have contributed to Charleston's ranking by raising professional standards, bringing in fresh talent, leading to local art programs and by introducing the best works and art events to the city.

The collaboration of CFADA member galleries together with the community is surely important. Each gallery affirms a significant cause and CFADA as a team raises money for local high schools' art programs and scholarships. CFADA artists have contributed a tremendous amount of resources and time to Charleston's new generation of musicians. Many teach regular workshops for young pupils and provide private lessons.

CFADA is credited with bringing some of the best works of esteemed artists to Charleston. 1 such notable exhibit was the groundbreaking exhibit coordinated by Ella Richardson Fine Art revealing picture works by Picasso, Marc Chagall, and Pierre-Auguste Renoir at 2005. Ann Long Fine Art introduced an exhibition titled Maestros: Charles Cecil, Daniel Graves, Ben Long, and Jeffrey Mims at November 2008 in honor of four master painters who have been teaching classical painting techniques for over thirty decades.