Difficulty factors

[Marvin Mattelson]

Economics

[Michael Fournier]

I'm not sure but I think this subject has come up before. I would say that a good artist can paint anything but gets best at what they prefer to paint and paint the most of.

Marvin's short but well put statement of "Economics" I feel hits the reason artists get known for a particular genre. It is very hard to have a focused marketing plan if your portfolio has a few figure paintings, then one or 2 still lifes, then some landscapes.

If you have a lot of each of these then, OK, you in essence have 3 different but complete portfolios. But if you are starting out and need to build a portfolio of portraits then you need to focus on doing as many portraits as you can. Same goes for the artist that wants to sell landscapes. You need to produce more than just a few good pieces to convince a gallery that you can produce good landscapes with any consistency.

I feel it is personal preference that first makes an artist gravitate toward a particular subject matter. After that it is economics, both of time and the economics of the art market that causes artists to become somewhat specialized.

Marvin in one word hit the nail on the head, or is that "put the head on the nail" or "hit the nail on his thumb"?

[Timothy C. Tyler]

This is getting off the point I meant to make, but the economics of today are not so different than those for artists of the past. If one tires of creating large portraits that must meet the approval of demanding clients one can go to the Alps and paint landscapes like Sargent.

If these works are fine, galleries will sell them. If you are traveling, like Sargent you can dash out a painting of a train stop with oxen and sell that. If your client is busy you can paint your hotel room and sell that while you're waiting for the appointment.

But before you can do the sales, you must be able to make the work.

[Mari DeRuntz]

You've introduced an interesting topic, Timothy. I'm not sure what other artists on this site do, but as a student of painting, I paint "stuff" every day. Or draw stuff. In the hands of a master, even still lifes tell a story.

I'm sure others on this site also paint landscapes, set up still lifes, paint cafe scenes, but because this is a portraiture site, portraits are what get posted. In other words, I don't think the professional painters here focus exclusively on portraiture.

Regarding the amateur, or the serious beginner, you're right if you're saying the most important thing is to paint, and that the way to learn how to paint stuff is to set up stuff and paint it. That seems like the most direct route to me.

Critiques generally focus on very basic lessons on form, edges, light, paint-handling, etc, and the the quickest way to learn these lessons is to start with the simple stuff. Set up a still life of two eggs and an apple, and render it in pencil or charcoal. Yes, I think quite a few of us could back up and study the basics for quite some time before we tackle complex forms like the human form. Quite a few of us need to backtrack and explore value and form before we take on color.

To other artists in my position, do not dismiss this as boring or remedial work. The other day I looked at the piece of sharpened charcoal in my hand and thought, what an incredibly sexy and powerful tool this simple object can be!

[Marta Prime]

There was a similar subject to this if I remember correctly. It was a fun subject about how portrait artists are often good at still lifes, but not landscapes. Some such thing.

To be honest, I think you, Tim Tyler, are the most versatile living artist I have ever seen. You can paint anything, and everything you paint is wonderful. That makes you a very valuable commodity in the art world, does it not? Portrait artists tend to "specialize", but nothing wrong with that either. To each his own.

[Josef Sy]

I too think that the best thing is to be versatile and excel at everything and therefore not have a handicap. A great example would be Bouguereau. Foreground and background elements in his paintings are top notch.

[Cynthia Daniel]

The earlier thread is: http://forum.portraitartist.com/show...=&threadid=333

[Timothy C. Tyler]

The thing I've noticed is if you can do portraits well the rest can be learned easily. Landscapes require some aerial perspective and light issues but never is drawing so demanding as the human figure.