Let’s Face it – Rejection Hurts

"Anhinga sunning himself"

I took three paintings down to the art gallery thinking I was going to make an easy exchange; replacing those that didn’t sell for fresh replacements. Wrong! The gallery has gained so many new artists that they are more critical and discerning than ever before.

I left one there, and took two home; the one deemed unfit for lack of a frame, and the other for the “wrong” frame. The remaining paintings (four plus one) will have another chance to sell in the coming month.

"Anhinga in Paradise" 16x20 watercolor

The hurting hole in the pit of my stomach driving home reminded me that no matter how many paintings or prints an artist may sell, the hurt of rejection never gets any easier. For that reason, I decided to repeat a blog I did last spring that some of you may have missed. I feel it’s worth repeating:

We all have our babies: those wonderful concepts we develop in our minds and create on paper or canvas to present to the world. But what happens when those adorable children land with a thud on the floor of reality?

(Photo from friend in Uganda)

Let’s face it. Criticism hurts. And critique? “A rose by any other name would hurt so deeply” (forgive the pun). Pride is a wall we use to protect ourselves. When negative comments bump up against that wall, our ego becomes bruised. Afterward, we lick our wounds and patch the crumbling brick and mortar making it higher, stronger and more impenetrable than before.

But even though they hurt, we must take a look at well-intended barbs and examine what was said and why:

• Did the comment or critique come from someone I trust?
• If their suggestions were applied, would it make my project better?
• Were the comments meant to be hurtful or helpful?

Drawing on canvas

After weighing and evaluating each point of view, we are better prepared to make a decision. We can take the criticism at face value and try to incorporate it into our thought process, or we can ignore it and stubbornly go on our merry way; building our wall of resentment higher and stronger.

Learning from our mistakes is difficult. Rejection hurts; criticism stings. It requires swallowing our pride and forging ahead in spite of negative comments. If we allow the critique to offend us and dampen our spirits, we may become the loser by succumbing to self pity. We may allow ourselves to get discouraged and sabotage our own efforts to make our dreams a reality.

"in progress" acrylic

Personal vision is as unique as our fingerprints. No two people are alike. No one can see what is in our mind and heart. Perhaps the criticism of others arouses our own insecurity and lack of self confidence? If that’s the case, we need to rally our own inner cheering squad to remind us of what we wanted to achieve in the first place.

A grain of salt can irritate an open wound, but it may also inflame a new determination to clarify our goals. If nothing else, critique sharpens our focus and causes us to evaluate how we communicate our vision to others.

"Sunset on the Nile" 22 x 28 acrylic on canvas

Critique Carol’s vision on her online gallery @ http://carol-allen-anfinsen.artistwebsites.com

A Workshop by any Other Name

Inspiration and fun highlighted a demonstration by the renowned artist Art B. Cunanan, a water colorist from the Philippines who lives in Ontario Canada. Once longing to be a comedian, Art’s wife, Lu, suggested he stick to painting. A professional oil and acrylic painter at the time, Art moved into watercolor for the freedom it provided for spontaneity. His secret? “You must plan ahead!” He paints for the “light,” which requires leaving areas of the canvas unpainted where you want and need the most light.

“Loose” is his watchword and Art slathered watercolor paints on a dry canvas with vigor and imagination. Using plenty of water and a mop brush or “rigger,” Art places color first in sky areas, using his favorite cobalt blue wash, but only in certain areas. He leaves some white spaces for clouds or light.

Working his way down the canvas, Art splashed in some yellow near the “eye line” Art prefers to paint plein air and from his imagination. For our demo he worked from a photograph so we could see how he applied his interpretation of what he saw to the canvas. Using only a few light pencil marks to define negative space and light, he worked loosely around those parameters.

The rigger brush provided a point when he needed detail, but mostly he washed many different colors over areas of the canvas, leaving them unblended; a splash of alizarin here, a touch of yellow ochre there. He never uses green, but prefers to add cerulean blue to areas of yellow mixing them on canvas to make green. He stressed that too much time on a canvas produces overworking and “tightness.”

Masterful at what he does, he wrapped up a beautiful finished painting in about 40 minutes as we sat with our mouths hanging open. For a beach painting, he also spattered some droplets of color to add texture to the sand and some finer shadows. He stressed that colors should appear in different areas all over the canvas to provide continuity.

Cunanan added people to scenes with simple shapes and the stroke of a brush tip. Two legs were single strokes of a different color (no feet or detail). A head was a simple dab of paint. What brings the people out and makes them viable along wiith other details? Art uses a touch of white gouache on the shoulders and head. His people look realistic and add to the energy and interest of the painting.

I will be taking a full day workshop from Art next week while he is here in Fort Myers. In the Spring he has workshops in Spain and Italy. In the summer, Cunanan teaches workshops in France. Of course, he teaches in his beloved Ontario where he is more familiar with painting snow scenes than beach scenes and pine trees more than palm trees.

Please go to Art’s web site and enjoy his wonderful energetic portfolio
@ http://www.artcunanan.com/ 

Green and Mean or Kermitesque?

Long before the words: “Feng Shui” or its premise came to America, I was the Queen of Green; a nature lover at heart and most alive when outdoors or surrounded by green and earthy wood tones. I experienced first-hand the effects of green as a healer and stabilizer.

In the 70’s, I was the first one on board with my olive shag carpet, my polyester green pant suit, and my olive green appliances. Back then, “going green” meant you colored your life with the stuff. Recycling was still an idea in some hippie’s head, and hadn’t caught on yet.

Unlike my mother, I had to earn my current green thumb through trial and error. I killed more African Violets with kindness than I care to admit. But I was a whiz kid at philodendrons and spider plants, and I was determined to fill every sunlit corner of our home with living color. When silk plants made their début, I breathed a sigh of relief and dotted my interior spaces with no-brainer color.

My mother still held her own, bragging about her 10 year old violet, and a philodendron that was musically speaking: “15 going on 16.” She teased me about my menagerie of “fake,” and dubbed me the “flower” lady. But I wasn’t intimidated. I still held my own as the green queen with yards of olive green carpeting the floors, adorning the kitchen, and draped and hung over every inch of my avocado loving body.

In this blog I’m sharing some of my green and blue-green paintings with you.

The color green means perseverance, patience, growth and healing. Green is related to work, wealth, and career. In my opinion, green is nature at its best.

A photo of an anhinga that inspired my next watercolor painting and “work in progress” is included below. Remember the watercolor is still in its preliminary stages.