Sometimes it is the abstract color work. Sometimes it is the realization that it is not abstract but realistic. Sometimes it is expressionistic or impressionistic. Sometimes it is nothing more than colorful patterns that create pleasure to the viewer. Much of the time it is an intentional design of emotion. Whatever it is, an artist’s first mission is to entertain. If this is accomplished, then all is well in art land.
Swan Lake Reflections (left), recently sent to the gallery by artist, Lynn Burton, is a work that we believe anyone can appreciate. The pattern of colors of nature’s foliage and their reflection leading the viewer’s eyes to the lone floating fowl definitely passes the test of entertainment.
Although we have not had a chance to catch up with the artist since the picture arrived, artists her at Art Center Information have had quite a few conversations about it. The consensus is that it had to be a lot of fun painting. Obviously the artist approached the subject with a certain sense of freedom, however fully aware of pattern and design. Most have come to the conclusion that he was listening to music while he was painting. There’s been several guesses as to the type of music to which he was listening. Was it classical? Country? Slow Jazz, or Rock and Roll? We’ll ask him when we see him.
Richard Burton: Segment of “The Old Woodie” Acrylic on Board
Although artist, Richard Burton, tends toward realism, realism is not his goal, as you can see in the segment of The Old Woodie (at the left). It is easy for you the viewer to see that it is a painting of two old gas pumps from time nostalgic. They seem realistic enough, but they are definitely not photogenically real nor were they intended to be. Mr. Burton is more interested in line, color, design, direction and manipulation of the eye. This is his passion, but he appreciates every style, technique, art-ism, genre, that is or ever has been floating out there since the scribblings of men (we assume it was men…could have been women) on cave walls.
“I enjoy everything that is really good, and I feel confident that I can tell what is really good. However, I can appreciate the endeavor, strife, and creativity of any art whether it is good or not,” he often has said. “When you really think about it almost ninety-five percent of all paintings and pictures that hang on peoples walls is not good art (for art’s sake).”
“If an artist’s work looks realistic enough, many claim it looks like a photograph, which is not a compliment.If it is paint drops dribbled or splattered on canvas, you hear things like: ‘What in the world?’ If it is brilliant magnificent shapes of opposite colors side by side representing nothing but chilling thrilling passion, many say: ‘Ho – hum…so what?'”
The scale of so what goes from the left to the right, round and round, and back again. <REALISTIC TRADITIONAL EXPRESSIONISTIC SURREAL ABSTRACT>and “I feel,” says Mr. Burton, “experimenting with each is a good lesson for all artist. It helps them get their feet solidly planted on their ‘art planet’. Not to worry, they’ll find themselves.”
Richard Burton: “Grinding Gears of Time” – Graphite on Paper
Once Mr. Burton mentioned that his great passion would be to paint a realistic painting of something that was very recognizable but at the same time it would be so abstract that it would literally blow the minds of any of the viewers that ever saw it. As a matter of fact, he stated he wanted it to be similar (in the abstract) as his favorite abstract painting, Wassily Kandinsky’s Composition Vll.
Wassily Kandinsky: “Composition Vll” (1913)
When asked if he was working on such a painting, Mr. Burton replied: “Not yet, but still on my bucket list.” Then he said in retrospect, “Probably kick that bucket down the road a ways…may be impossible.”
Well, we wish him best in his creative endeavors. We know he will continue to create, paint, write, and produce just as his artist brother, Lynn Burton, does.
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Maybe you strongly wish to paint people or still life or dappled sunlight with all its luster shining through a forest of trees in an astounding landscape, or perhaps you are strongly attracted to colorful abstracts. Maybe, your only desire is to make paintings that stir emotions and fascinate people and yourself. It will all work if you remain determined; your work will have life.
Lynn Burton: Bridge Over Autumn – oil on canvas
Unless an artist is determined to fall into a certain style or technique or finds their “niche” and sticks with it, my recommendation is that they not be afraid to experiment around and try different things. It may not define them, but it is a lot of fun…and there is nothing wrong with having fun. When the “fun”is gone, so is the creativity.
Lynn Burton: Flower and Vase – Oil on Canvas
Lynn Burton: Little Tea Pot
Lynn Burton: Unknown
Lynn Burton experiments with a lot of different styles and techniques. He likes to say there are few people that have studied more different artists and their art “genres” than he has. As many do, he has imitated the masters in an effort to “find” himself, but when it comes to having “fun”, he dares any one to enjoy themselves more with brush, paint, and canvass.
A little better than a year ago, he stopped into a local tattoo parlor to see some of the art they were doing. “H-m-m-m,” he thought, and sure enough he was scribbling his muse. As a matter of fact, it was the “art scribbling,” thinking of possible tattoos that led to his now well known painting of “Adam and Eve.”
Lynn Burton: Black and White sketch-“Adam and Eve”
Lynn Burton: “Adam and Eve” oil on board
In conclusion, follow your muse. It may lead you to some exciting and fun moments.
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Artist, Lynn Burton, testing shape and color on painting
Though there may be frustration and heart break, we artists can still call it a win if at least a couple out of every ten of our works turn out to be good. The excitement and thrill of accomplishing that which our muse has directed makes us forget the pain of those that turned out not quite so good.
But let’s be honest, as artists we do what we do and it almost feels like play. Often, our muse takes us on some truly incredible and unforgettable journeys, creativity bravely leading us into the unknown, not knowing where we go, but passionately and willingly do. Admit it…it does almost feels like PLAY.
Remember to experiment. Prepare many canvases or papers in advance and let the creativity flow. Have fun! Enjoy! And consider yourself a better artist because somewhere in all that creativity, activity and passion, you become the BOSS! And it feels s-o-o-o good!
Artist, Lynn Burton, working on airbrush piece of art
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Realistically painting the figure requires more skill and effort than almost any other subject because of the unique difficulties that it presents. An artist has more latitude to take liberties with their “artistic license” when painting such subjects as a still life or landscape.
Of course, an artist can paint the human figure or a portrait using different styles and techniques and still be realistic. But let us not forget that everyone viewing a painting where a figure is portrayed knows what a human looks like and knows whether or not the human anatomy is correct or not. Remember, although the Cubist’s enjoyed taking the figure apart and putting it back together again using different angles and views, in most cases they were anatomically accurate. It was always fun staring at Picasso and finding he had a very great knowledge of human anatomy.
Some artists have actually managed to paint people – portraits, figures, nudes – very creatively using colors, thickness of paint, brush strokes, styles, and more. I can’t help but think of Van Gogh and his many followers and imitators when I mention this. However, none of this necessarily diminishes the complexity of imitating nature when it comes to painting people. It is generally accepted that a well-painted figure is tour de force for any artist.
Lynn Burton: “Untitled” oil on canvasLynn Burton: “Untitled” oil on canvas
Lynn Burton – Paintings of Sunflowers on Gallery wall (Oil on Canvass)
One of Art Center Information’s ARTIST PARTNERS member, Lynn Burton, gave us some sound tips of how to paint and sell your art work in your geographical area. Below are just some of the thoughts he passed on to us.
Tip: Visit galleries in your city and towns nearby and find out what is sellingthe most. If it is something you as an artist can get excited about and you feel comfortable painting in that style and genre, then do it and become the very best.
For example, out here in the plains of Texas, one of the hottest sellers in the spring time is scenes of Bluebonnet flowers. I can’t count how many paintings of these scenes I paint each year of Bluebonnets. Many of these I sell on consignment, and, the ones I don’t, hardly hang in the gallery before they’re sold.
Lynn Burton: Bluebonnets on a Cloudy day – Oil on Canvass
Another very popular flower here in this area are Sunflowers.We have Sunflower farms here. There are acres and acres of nothing but this beautiful flower of every species. They raise them as a cash crop for seeds and oil, and it’s daunting when they’re in bloom. I often walk through rows and rows of them to get the feeling of nature and be part of the scene. I study them from every angle. Often, I lean down and look up to capture the light of the sun shining transparently through the petals and try capturing the effect that the light has on them. It means a lot later when I’m in the studio painting.
Tell my brother, Richard, that he ought try painting Sunflowers. They’re pretty popular in any geographical area, and I’d recommend he use watercolor or acrylic to capture the transparency in the petals – especially when trying to capture the back lighting.
Tip: Sometimes, you’ll find that what sells in your geographic area is a certain genre. Take for example the genre, Southwest Art. It is very popular here in Texas. In your area, it may be Palm trees and oceans, or city scapes, or mountains, or sail boats, or sand dunes. Whatever it is, your chance of selling your art work requires research and thought.
Tip:Paint for yourself. Now this sounds like I’m contradicting myself but I’m not. Most all of us artists have been told “forget trying to sell your work when you’re painting, just paint for yourself and someone will like what you paint.” What a crock! Over the last many years, I’ve painted hundreds of paintings that I did for me…passionately. I loved them when painting them, but no one else did when I hanged them in the gallery. I still have them and they’re gathering dust…but I still love them. Is there anything wrong with painting something that sells? When I say paint for yourself (when trying to sell your work), I’m talking about doing some research in your geographical area and see if what is selling is something about which you can become very passionate. If you can’t be thrilled with passion, and you attempt to paint something of which you can not be excited doing, then it will not be creative. It will seldom become marketable. However, you can take themes and styles and genres and be very creative with them. Do it your way, a better way, a more creative way and you will be passionate. Give it a try. I think you’ll like it and have a ton of fun.
Tip:Art is very competitive. Never stop promoting yourself. One of the best ways to promote yourself is getting others to promote you. The internet offers innumerable opportunities to expand your visibility. We all are trying to figure out how best to sell our work on the internet, so you may not make money, but you will get exposure. It makes you visible. You can take this visibility and use it in your geographic area when talking to local newspapers and art galleries. Talking about local newspapers, send articles about yourself to let them know you are the art rave in town. They’ll ignore you for awhile, but keep doing it and you will build a file in their office. Eventually, when they are digging around for an article to write, they stumble upon you. You can’t buy that kind of promotion…be tenacious.
Tip:Never turn down an opportunity to get yourself in the public eye with your art work at mall shows and art shows. Don’t get discouraged if the audience didn’t buy anything. Take courage, you’re promoting yourself. It’s the most important thing you can do. It’s work, but what did you think?…that you didn’t have to work at marketing? Everything is marketing and promotion. Yes, I know Grandma Moses was discovered by a traveling salesman buying one of her small art cards at a local market in a small town. Two things here…(1) she marketed herself at the market to get exposed, and (2) it was a salesman (someone else…a marketer) that discovered her.
Lynn Burton: Babbling Brook Bridge – Oil on Canvass
Lynn Burton, “The Red Sunset” Oil on canvass (24×48)
When Lynn Burton sent pictures of his latest paintings to Art Center Information, he sent along a description of his inspiration to paint them. In his own words, we are pleased to pass on his remarks to our fans about his painting, “The Red Sunset”.
“I was painting a sign in Dickens Texas about eighty miles north east of here about ten years ago. The sign I was painting read, “Where in the Dickens is Dickens?” The question mark was great big…much bigger than the letters. There were a bunch of horses that were on the land that the sign was posted upon, and throughout the day, I took several photographs of them. While taking photos, I kept wishing they’d just run or do something exciting…something that would make a real good painting.
Anyway, about sundown when the sky turned mauve and the sun became that giant golden orb that it can only do out here on the Texas plains, the horses began running around in a big circle. It was a wonderment…an absolute wonderment to see. My heart started pounding with excitement and I reached for my camera. You know me, I’m just a an old Texan and a cowboy at heart, so I’m not going to tell you that my eyes teared up with emotion…no, I’m sure it was just a little sand blowing into them that watered them up. But I could hardly focus my eyes. I took shot after shot of this marvelous moment in nature, and, fortunately, a few of them turned out to be pretty good.
I always kept thinking that I ought to paint the picture. But I didn’t do it. The photographs continued to lay idle in my “to do” file. I read your article on “backlighting” a few weeks ago and I immediately thought of that day in Dickens and that magnificent scene with the horses. I used the technique in the painting.
Richard Burton: “Grinding Gears of Time” graphite on paper, (18×24)
We appreciate Lynn Burton’s letter describing his inspiration to do such a beautiful painting. He referred a blog post that his brother, Richard Burton, had posted for us a few weeks back. If you are interested in reading the post, simply click on the picture to the right>>>
Also, we would like to invite any of you that have not already done so to join our newsletter which will automatically enter you in free drawing to win a beautiful art book. (Upper right corner of blog sight).
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Texas artist, Lynn Burton, sent a disk of some of his paintings. Regrettably, our major computer is in the computer hospital being fixed and the disk is inside the computer and we can’t show them. However, he did send some photographs along with the disk and we took a picture of a few of them. We’ll discuss these in the next few blogs.
Lynn Burton: Sunflowers (Oil on Canvass)
Sorry for the short blog post, but we are in the process of re-organizing our post sight and giving us more flexibility with its use.
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Pierre-Auguste Renoir, Girl With a Watering Can (oil on canvas)
The system of dabbing and dashing employed by Pierre -Auguste Renoir to preserve a certain sense of spontaneity of an early autumn moment at Argenteuil (a suburb of Paris on the bank of the Seine), capturing a sun dappling of a woman’s torso and finding a way to capture a beholder’s eye even more directly than ever before makes one wonder, why doesn’t the artists of our day have such passion?…why can’t they have the ability to delicately portray the complex while having such understanding? Renoir’s method and technique with color laid down with such a variation of colors from broken bush strokes that formed a vibrant whole interpreted from a distance should be a lesson for each and every artist among us. If ever there were an artist that one wished to emulate, it would be this great master.
As many artist today, Renoir would be what we would call a starving artist. There were times when he didn’t even have enough money to buy paint to work with. Fortunately, he wasn’t without friends that recognized his prodigious talent and helped him along the way. Thankfully and hopefully, many of our striving and talented artists of today have the same fortune. If they strive for the same perfection as this great artist, maybe there will be a time of recognition of their talent. The best to all, and may you have a wondrous holiday.
Sometimes an artist will ignore the most important part of their painting, the part that gives the painting a feeling of “reality”. I’m talking about negative spaces…the spaces that surround a solid. Assume that you see a table and are angled where you see the front legs and the back legs. Is there something in the space between the two legs? Perhaps, they are set on a patterned carpet. If there is something showing up in the negative space, it becomes very important to your final work of art. Do not ignore it. Imagine Lynn Burton’s painting, “Preparing to Ride”, to the left. Had he left out any of the great many details in the negative spaces, the painting would never have been the award winning painting that it is.
R. D. Burton: Winter Kindling
It is the same with Richard D. Burton’s “Winter Kindling”, the painting is filled with different things in the shadows that fills up the negative spaces and keeps the viewer interested in the painting as they discover “some exciting” something else.
Consider this: You notice a neighbor lady stooping over in her garden cleaning out the weeds with a hoe. It’s in the twilight of the evening and an aura of mauve blankets the scene. Her arm stretches out as she chops the weeds. There is a space between her body and her arm. Did you notice it? Did you see what’s in the space? Would that help complete a painting? I feel most professional artists would agree it sometimes is the thing that makes the painting complete.
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Copyright For Artists: Quick And Easy Copyright Protection
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