Buying The Perfect Piece Of Art

Article discusses buying art and also shares the process of finding the perfect piece of art.
Consumers in search of that perfect piece of art often find themselves lost in a tangle of webs created by less than helpful gallery curators, bidding wars, and issues stemming from exhibit proximity and lack of time.

Shopping for accents to complement your home décor should be a pleasant experience, one which you look forward to and that expands your creativity.
While attending a gallery exhibition definitely has its benefits the hors d'oeuvres, conversation and cocktails the draw of the crowd can often be overwhelming.

We are not saying you need to succumb to the perils of dealing with large retail chains, which stock over-produced re-prints cased behind plastic frames. And purchasing your art in the same place you go to buy your milk is definitely out of the question. So, what do you do when you want designer décor but don't want to leave the house to find it?

Buyoutsidethebox.com, an online art gallery, is an ideal solution for all of your creative needs. With a name like Buyoutsidethebox.com, you can expect a selection that you most likely wouldn't find elsewhere. Ruth Mitchell, the creator of Buyoutsidethebox.com, traded in her career in magazine publishing in order to pursue a lifelong dream of owning her own art gallery.

However, Mitchell wasn't one to sit behind a desk all day, pushing papers and dealing with the public. She felt her time would be better spent searching for innovative artists, new concepts, and artwork that ultimately represented something outside the box. Enlisting help from her business savvy daughter, Cecelia, Mitchell soon turned her dream into a reality.

"I had seen Web sites that sold art, but they were lacking in so many ways. I wanted more of an exclusive collection to be offered in a classy magazine format," Mitchell said. "We would start out small, but focus on quality, building on the original concept."

As an avid online shopper, Mitchell was determined to make her new Web site user friendly. "I shop online a great deal myself, and two things I do not like are, having to register to visit a site, and paying a lot of extra costs as you check out," Mitchell said.

"So, we asked our artists to factor in shipping. We can do that with most of the art." With merchandise spanning the gamut, the Web site features paintings and photography, jewelry and glass, women's apparel and children's accessories, textiles and leather books, and a collection of well-written articles.

"Our theme is creative consumerism," Mitchell said. "Anything that falls under that umbrella will show up on our site." In addition to the merchandise sold on the Web site, which is hand-selected by Mitchell from more than 50 artists, Buyoutsidethebox.com offers its customers the luxury of perusing featured collections by visiting their blog.

The blog is much more than an extension of the Web site; it showcases a wide array of any and all things artistic while capturing the essence of creative consumerism. The blog's resourceful list of Arts and Culture Web sites proves to be a valuable tool for any creative mind.

And with an extensive background in magazine publishing, you can rest assure that this isn't just some run-of-the-mill blog but rather a tasteful narrative covering everything from museum profiles to film reviews.

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Buying An Abstract Painting

You may be mistaken in thinking that buying a piece of abstract art would be a simple thing to do. You just select the work you want... and buy it!

The truth will creep up on you as soon as you look at the first painting "it is not quite the right one, so I will look for another".

Here is the first realization - and question to ask yourself - why exactly is this piece you are looking at "not quite right"? The answer can be manifold:

1. It includes a colour I do not like
2. I am not sure it will go with another item in the space I would like to place it
3. A slow realization that a certain personal undesirable association is being emitted from the painting
4. It looks great but I am not sure it will fit the space
5. It is just right but the price is a little bit more than I wanted to pay... and the list goes on.

Although I do not have all the answers I will endeavour to reveal, from my own personal experiences, a few solutions.

So, you see a picture you like but the colour combination is wrong. Put simply the thing to do is to contact the artist and tell them your dilemma. You will find that some of them will either be able to reproduce a similar work in the colours you prefer, or they will be willing to notify you when and if they produce a work that might be nearer to the colours theat you require.

If size is an issue then I would advise the same as above - contact the artist and tell them the problem. I believe you will receive a similar reply to that which I have written above.

Make sure that when you do make a purchase that the artist is offering a return policy. I have a ten day return policy which means that if you buy a painting and hang it in your space - if within ten days of purchasing it you become uncomfortable with it for any reason and you cannot live with it, then you may return the piece and your money will be returned. An important point here worth mentioning is the fact that you have made certain decisions on buying this piece of work, therefore it is worthwhile mentioning it to the artist which will enable them, if they so inclined, to produce a work that has omitted the undesirable entity. This way you may well end up with a work that will be of greater value to you - having communicated your dilemma.

Price can be a tricky challenge - but many artists offer different ways to help you buy the piece you want. If, for instance, the piece you like is too expensive for you then you have a number of choices. Perhaps the most preferable choice is for you to negotiate the price with the artist. However, please bear in mind that the artist has produced a totally unique painting - there is nothing like it in all the world! Also spare a thought for the fact that the artist will have spent time struggling to get the work out onto the canvas. A well known saying is that a piece may well have taken only a few hours to produce, but you should also take into account the years the artist has been at work - so if someone says to me "it can only have taken you three hours at the most" I reply "no... it has taken me FORTY YEARS and three hours!" If you keep these in mind then negotiate with what you might see as a realistic price for you and a price that will have taken the above into account for the artist.

Some artists will not barter prices - but they may be willing to sell you the work if you pay by installments. You have to ask yourself here "Do I REALLY want this piece?" If you answer yes then you will find the money... because you want to - you want the work.

Let us say that you see an artists work - you love the style - you would very much like to have a painting on your wall... but you see nothing that grabs you. Try contacting the artists and commissioning them to painting you a picture... this way you may be able to influence the end result by instructing the artist to use certain colours, or specific shapes. Or if they are not inclined to work that way then they might put you on their mailing list that will inform you when their latest piece is about to go on show - you will be offered "first refusal".

One final thing worth mentioning is the fact that a growing number of artists are making their works available as high quality giclee prints. These reproductions are very close to the original work, and some of the reproduction houses actually ensure that every brush stroke has the appropriate texture and "feel". So in many ways you could purchase a work that is almost identical to the original piece except for one very big fact - the price of the print. The print will be of a limited edition, making it a collectible investment - and it will have been checked, numbered, and signed by the artist.

If none of the above proves to be useful to you then the simplest thing to do is contact the artist and just talk to them, tell them what you think of their work, what you are looking for - anything... just communicate with them, and I think you will find that you will not only buy yourself something that you will love and cherish ... but you will also bond with the artist themself in a way that you could never do if you walked into a place selling paintings and chose a piece hanging on a wall.

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Art Theft: Most Famous Cases in History

Review of the most famous cases of art thefts in history including the stealing of the Mona Lisa and The Scream.

Art theft is an ancient and complicated crime. When you look at the some of the most famous cases of art thefts in history, you see thoroughly planned operations that involve art dealers, art fakers, mobsters, ransoms, and millions of dollars. Here you can read about some of the most famous cases of art theft in the history.

The First Theft:
The first documented case of art theft was in 1473, when two panels of altarpiece of the Last Judgment by the Dutch painter Hans Memling were stolen. While the triptych was being transported by ship from the Netherlands to Florence, the ship was attacked by pirates who took it to the Gdansk cathedral in Poland. Nowadays, the piece is shown at the National Museum in Gdansk where it was recently moved from the Basilica of the Assumption.

The Most Famous Theft:
The most famous story of art theft involves one of the most famous paintings in the world and one of the most famous artists in history as a suspect. In the night of August 21, 1911, the Mona Lisa was stolen out of the Louver. Soon after, Pablo Picasso was arrested and questioned by the police, but was released quickly.

It took about two years until the mystery was solved by the Parisian police. It turned out that the 30×21 inch painting was taken by one of the museum employees by the name of Vincenzo Peruggia, who simply carried it hidden under his coat. Nevertheless, Peruggia did not work alone. The crime was carefully conducted by a notorious con man, Eduardo de Valfierno, who was sent by an art faker who intended to make copies and sell them as if they were the original painting.

While Yves Chaudron, the art faker, was busy creating copies for the famous masterpiece, Mona Lisa was still hidden at Peruggias apartment. After two years in which Peruggia did not hear from Chaudron, he tried to make the best out of his stolen good. Eventually, Peruggia was caught by the police while trying to sell the painting to an art dealer from Florence, Italy. The Mona Lisa was returned to the Louver in 1913.

The Biggest Theft in the USA:
The biggest art theft in United States took place at the Isabella Stewart Gardner Museum. On the night of March 18, 1990, a group of thieves wearing police uniforms broke into the museum and took thirteen paintings whose collective value was estimated at around 300 million dollars. The thieves took two paintings and one print by Rembrandt, and works of Vermeer, Manet, Degas, Govaert Flinck, as well as a French and a Chinese artifact.    

As of yet, none of the paintings have been found and the case is still unsolved. According to recent rumors, the FBI are investigating the possibility that the Boston Mob along with French art dealers are connected to the crime.

The Scream:
The painting by Edvard Munchs, The Scream, is probably the most sought after painting by art thieves in history. It has been stolen twice and was only recently recovered. In 1994, during the Winter Olympics in Lillehammer, Norway, The Scream was stolen from an Oslo gallery by two thieves who broke through an open window, set off the alarm and left a note saying: thanks for the poor security.

Three months later, the holders of the painting approached the Norwegian Government with an offer: 1 million dollars ransom for Edvard Munchs The Scream. The Government turned down the offer, but the Norwegian police collaborated with the British Police and the Getty Museum to organize a sting operation that brought back the painting to where it belongs.

Ten years later, The Scream was stolen again from the Munch Museum. This time, the robbers used a gun and took another of Munchs painting with them. While Museum officials waiting for the thieves to request ransom money, rumors claimed that both paintings were burned to conceal evidence. Eventually, the Norwegian police discovered the two paintings on August 31, 2006 but the facts on how they were recovered are not known yet.

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Art Prints—Finding The Best Value

You’re not in college anymore, and it’s time to take down the posters and replace them with original art. But, you don’t have the money yet for oils or watercolors. Art prints are an affordable alternative, yet they too can be pricey. How can you tell if that art print that’s caught your eye is more than just another pretty face?

Art prints are works of art in and of themselves, and may be handmade by artist-printmakers (artists’ prints), digitally printed (giclée), or photomechanical reproductions (offset lithographs).

Artists’ prints are handmade and are not reproductions of paintings: the print is a unique work of art. The term covers a range of printmaking techniques such as etching, woodcut, engraving, screenprint and linocut. Editions tend to be less than 200, partly because the materials used to make the prints wear out. This type of print is sometimes called an “original print.”

Limited edition reproductions are multiples copies of the same image, but produced in guaranteed limited numbers. This makes the image more exclusive. The market price can rise over time, if demand outstrips supply. Edition sizes vary but are limited by market forces, not by the physical constraints of the printmaking method. Most limited editions are signed and numbered in pencil by the artist with a commitment that no other reproduction of the image will be made.

An open-edition reproduction print can be produced in any quantity and the image may also be used in other ways, such as on tableware. Open editions tend to cost less than limited editions and are much less likely to increase in value.

Giclée prints are made using digital printing technology, usually inkjet. The technology enables users to produce small runs of prints. It also allows retailers to offer ‘print on demand’ services, where buyers select an image and it is printed out there and then.

Several factors influence the price of art prints:

Artist and Rarity
Certainly the name of the artist is a major contributor to value. But the art prints of even the same artist may have widely ranging prices. This added value is due to rarity. The more valuable print may be part of a limited edition run of only a few copies, while the more affordable from a larger open-edition run. But they are both original pieces of art by the same artist. It’s a good idea to be well acquainted with the works of a particular artist and his or her peers as well. Research into an artist’s place in the art world will help you ensure you’re getting a good value.

Editions, Signatures and Seals
Before the twentieth century artists did not routinely number nor sign their prints by hand. A signature can come from the plate but is not much of a value. What counts is an individual signature of the artist on the print, usually with a pencil (ink would eventually fade). Modern art prints are often numbered by the artist himself, i.e., "34 / 100" (number 34 out of an edition of 100).

Condition
It’s not unusual for older art prints to have some flaws. If there aren’t any, check again! It might be a reproduction. While minor flaws such as slight soiling are considered normal, depending on age, other defects, such as trimming into the image or heavily faded colors, can reduce the value of a print considerably.

Quality of Impression
Prints taken early from a plate or woodblock are more precise and detailed in lines than later impressions. Depending on the technique, a block/plate is worn out after a certain amount of impressions. Hardly more than 2,000 impressions could be taken from a woodblock without a rather visible deterioration of quality. Look to the numbering (i.e., 15 / 450) to determine what place in the run the print had.

Size
Larger prints tend to cost more than smaller ones. This rule of thumb is less valid for older prints than for modern ones.

Provenance
Provenance, or the item’s ownership history, can influence value. Prints from a famous collection will usually yield a premium.

Subject
Although a matter of opinion and personal taste, the subject of a print has a great influence on value. You’ll pay more for cute animals, pretty women, nice landscapes, interesting portraits. Commercially non-appealing subjects are ugly, gloomy, or war-related, no matter how classically significant the work is. After all, it’s being bought to put on the wall. People will pay more if they like the image.

In the end, it’s your own opinion of the value of the print that matters the most. You’ll be happiest with an art print that you personally like. Although art prints can sometimes be a good investment, the best way to get the most for your money is to enjoy it every day as it graces your home. The value of that? Priceless.

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Art Myths Debunked

Assumption: Art becomes more valuable once an artist dies.

Actuality: Prices escalate only when demand is greater than supply. Prices can increase if there was a shortage of the artist's work prior to his or her death and if the demand continues to be significantly greater than supply. Art News (November 2003) presented an article on the ten most wanted artworks. These would sell individually for more than $5 Million IF the present owners would let me them go. However, as the collectors know they could not acquire a replacement painting/sculpture/drawing, they won't be selling these artworks.

Assumption: An artist's proof is more valuable than a print from the regular edition.

Actuality: Artist's proofs are routinely consistent with the regular edition in appearance and value. On rare occasions, a color trial proof be judged to be more valuable than the regular edition or an artist's proof. this happens when the reigning experts determine the color trial proof represents a more handsome product than the regular edition or artist's proof.

Assumption: It's just a print.

Actuality: Some artist's do or do not choose to paint. Their art "translates" more successfully using an original print medium such as lithography, etching, serigraphy, or woodcuts. Some original prints have sold for more than $100,000 when done by prominent artists. The only time an art professional might utter "It's just a print" is when they are referencing a reproductive print. This is usually a photographic rendition of an existing artwork, in other words, a photomechanical copy.

Why can't you value my art from photographs?

• Liability
• As long as I am a professional art appraiser, I am held to a different standard than someone functioning strictly as a dealer.
• PLUS I like to be right!!!

Photographs do NOT reveal all condition issues and the public is not trained to properly describe them. How many of you can recognize light staining, mat burning, foxing, etc? These and other condition flaws significantly impact value.

• A reproduction attached to canvas virtually looks the same as an original oil painting in a photograph. Unless I know which museum is currently hosting the actual painting, I cannot be perfectly sure you are showing me a photographically generated reproduction or an actual painting when viewing a photograph. Now there are gicleé prints printed on canvas and enhanced with paint, a hands-on inspection is a must.

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Art in London

London has always been one of the most well known cities in the world. A culturally rich city, London is visited by millions each year. Currently London has several fascinating and unique art exhibits on display, one of the most impressive being a collection of Michelangelo drawings at the British Museum. This exhibit is entitled, “Closer to the Master” and is on display from March 23rd until June 25th.

This spectacular exhibit displays an incredible selection of one the world’s all-time best Renaissance artists. It draws together various pieces from several other museums, creating an entirely unique collection. It brings together pieces of Michelangelo’s work that have never been seen together before and that have been separated since the dispersion of Michelangelo’s studio during the mid 1500’s.  The exhibit displays pieces in chronological order and emphasizes connections between various pieces as well as the importance of various drawings.

Several of the drawings included show the meticulous forethought Michelangelo had in making many of his famous pieces, including paintings, sculptures, and architectures. It is made apparent how he spent hours perfecting every element of a project on paper before he began the actual work itself. Along with the various drawings several paintings and sculptures are also on exhibit on loan from the National Gallery. Several letters written by Michelangelo himself are also on loan from the British Library, offering unique insight into Michelangelo’s persona, showing his complex and petulant character. Among all these drawings are several pieces that stand out more than others as far as their significance. These more notable pieces include; the Study for Adam from the Sistine Chapel, studies for the figure of Day from the Medici Tombs, Flying Angels from the Last Judgement and his final and slightly disturbing Crucifixions.

The London exhibit is open daily from 10 am until 5:30 pm and runs on a timed-ticket entry. The latest time of entry is 4:40 pm, however it is open late on Thursdays and Fridays (until 8:30 pm with the latest entry at 7:40). The cost of entry is £10 for adults and £5 to £9 for concessions. Tickets are available directly at the box office however it is recommended that you book in advance so as to ensure admission alone and also to be able to schedule your admission time. The British Museum is located on Great Russell Street, WC1 and is most easily accessible from the tube (subway) stations at Tottenham Court Road or at Russell Square.

This exhibit in London is exceedingly captivating and will provide memories to last a lifetime. This is certainly one of the most unique exhibitions you will ever have the opportunity to see and its ability to bring together various aspects of Michelangelo’s life is said to be unreal. If you are an aficionado of Michelangelo’s this exhibit is a must and even for those less knowledgeable in art this exhibit is highly enjoyable. This is a must see for anyone who is remotely interested in Renaissance art. If you are going to see only one art exhibit in London all year this is definitely the one to see!

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Art Gallery

Visiting an art gallery is an educational and worthwhile venture.  Why not take the time and visit your local art gallery with a friend or take the whole family.
Art Galleries are generally known for art that highlights the natural beauty all around the world. Everyday there are people creating entirely new works of art, and placing them in art galleries all over the world.

The type of art included in a gallery can vary. Art can encompass a wide variety of medium, such as, drawings, paintings, photography, and sculpture, to name a few. The purpose of the art gallery is to show off the work of local and national artists in a way that people will want to purchase them. Many of the artist’s works can also be bought as prints. This allows the artist to sell more, while making the price more affordable to people.

Local Art Galleries

Most major cities have wonderful art galleries. If you have never visited an art gallery, you should make a point to do so. You may think that an art gallery is not where you would want to spend the afternoon, but you may be surprised at how interesting an art gallery can be. Check your local phone book for an art gallery near you.

Virtual Art Galleries

If you have Internet access, then you can find an online art gallery, my choice as well. If you can view and possibly order from the comfort of your own home why not. Virtual tours of art galleries are a lot of fun.

As with walk in art galleries, virtual art galleries are also worldwide. Listed below are a few galleries that you can visit online.

o Art Vitam, Miami, Florida
o Art of this Century, Paris, France
o Art Space/Virginia Miller Galleries, Coral Gables, Florida
o Artco Galleria de Arte, Lima, Peru
o Casa d’Arte San Lorenzo, Pisa, Italy
o Diana Lowenstein Fine Arts, Miami, Florida
o Espace D'Art Yvonamor Palix, Paris, France
o Galleria El Museo, Bogotá, Colombia
o Galleria Habana, Mexico D.F., Mexico
o Galleria de Arte Isabel Aninat, Santiago, Chile

Take the time to experience wonderful works of art at your local art gallery or on the internet. Even if you are not an art enthusiast, the works of fine artists all over the world will impress you.

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Art - Make It Your Next Investment

There are a lot of people who enjoy decorating with beautiful and original pieces of art. Some may think that they spent a fortune on it, but if the attended an art festival they nay have found a bargain.

Attending an art festival to look for your next purchase of a piece of art is a great way to save money. You never know what you are going to find. There are many different artists supplying a variety in different pieces. Whether it is a wall hanging of sculpture for your prize garden there is a choice. You could even be buying a piece of work made by a future artist who works will one day be worth a small fortune.

If you are a collector or a dealer of art this is an excellent opportunity to purchase for your own investment. It doesn't matter what you are looking for you will most likely find it.

You don't have to go just to make a purchase either. You can just simply get an idea of some things you might want to purchase in the future. Get an idea of the different types of art that is out there. Discover what your taste in art is. It is a nice way to just enjoy your day. Art usually has a calming effect on most people so just go to simply enjoy a day off. There are other things to do when you attend an art festival.

Some people go to art festivals in search of other homemade products. There are stands that sell beaded jewelry. Silver and turquoise is another popular choice in homemade jewelry. This is a great way to purchase something different. Some of it being better quality then jewelry you'll find in a department store.

Crafts are another thing sought out when one attends an art festival. Some of us love crafts, but just don't have the knack to make our own. It is also a great way for crafty people to sell their pieces. Making a profit off their hobby.

Art festivals are annual events in most areas. You may not live somewhere an art festival is held. You can search on the Internet to find out if there is an art festival held in a near by location to you. If you truly love art you won't mind the extra time it takes to attend a festival. Art festivals are a rewarding experience to both who attended them and the artists selling their works. It is something to look forwarded to every year knowing that you will again experience the endless talent of the locals near you.

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Antiques - 7 Reasons Why We Collect Them.

People collect antiques for many different reasons and therefore have many different views.

1. Some people collect antiques because they hold sentimental value. For example, I own a ceramic parrot that had been given to me by my grandparents, a cupboard from my other grandparents and a very old doll that had been given to me by my great aunt.

2. My in-laws once owned an antique business which they set up for sales and auctions. Their basement was always filled with a treasure trove of fascinating and interesting items. They could tell you the worth of any item in the basement. They loved restoring old pieces, not so much so that they could sell it for more but simply because they gained satisfaction from doing so.

3. My son enjoys collecting antique games and old books and even collects them. One of his favorite antiques are the tiddly winks games which he has collected from all over the world.

4. Antique lovers enjoy the chase more than anything. They enjoy searching through stores and antique shops all over the country searching for that specific or unusual item they been looking for.

5. Some people look for antiques as simply a hobby but they very seldom buy anything. They simply enjoy looking at what different areas of the country have the offer. It can be a lot of fun searching through antique stores.

6. Sometimes people who want to furnish their home look for antiques. Antiques of different time periods will often work well together to create a beautiful home.

7. Their other people who deal in the buying and selling of antiques. They are hard-core, know the value of pretty much everything, and always want to buy low and sell high. These folks typically are only interested in the price itself.

Collecting antiques can be a wonderful experience and provide enjoyment for people of all ages.

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An Overview...Originals and Limited Editions

Art collectors have long had the choice of purchasing art on paper or art on canvas.  So what are limited edition canvases and how are they produced?
Art collectors have long had the choice of purchasing art on paper or art on canvas. The paper art included original works such as watercolors, pastels, pencil or ink drawings, lithos, serigraphs and etchings....and limited editions reproduced photomechanically from originals.

Canvases were usually original (and costly) works of art. But now, the growing popularity and availability of limited editions on canvas give collectors “the original look” at affordable prices.

So what are limited edition canvases and how are they produced?

There are several ways of producing canvas limited editions such as the once popular “canvas transfers,” made by fusing the top layer of a paper print onto a prepared canvas surface. The result was an image that appeared as you might expect it to — like a paper print fused to a piece of canvas. Often, to make the print look “original,” the artist (or a technician) added textured varnish or paint to the print surface.

Today's state of the art reproductive technique is the giclée (jhee-clay) method in which high-tech printing equipment sprays millions of digitally-matched ink droplets per second onto a surface. Canvas, paper and archival board are the most common giclée surfaces.

Developed some ten years ago, the giclée has now become the “gold standard” — an important and permanent part of the limited edition world.

This spectacular blend of technology and fine art looks so much like the original work of art that even astute collectors do “double-takes.” Therefore, buyers should be aware that not all “original appearing” works of art are original.

The giclée (unless printed on paper) is meant to be enjoyed without glass, so nothing comes between you and your art.

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Abstract Art As Therapy

Abstract art is not just a mixture of colourful meaningless patterns and arbitrary shapes.

There is, I believe, a definate therapeutic value to be found in most of the enigmatic marks made by the very different styles available today. What appears to be the most important decision to make is a very careful consideration of the specific audience in conjunction with the choosing of the appropriate artwork. This is not something to be taken lightly or quickly. This can cover anybody within the wide spectrum of individual audiences: a busy boardroom environment or a single office or room where quick thinking, fast reactions, and serious decision making is required; or a worker who returns from a hard days work simply wanting to be visually massaged by an easily observed enigma; or even the space inwhich the desperate and mostly misunderstood person who is gradually loosing their tentative hold on the sense of reality. There is a tremendous variety of possibilities.

Here are some suggested associations from one artists point of view:

Colour plays an obvious healing and therapeutic role to be found in a carefully selected crafted piece, and so colour-field work, which is growing in popularity, first conceived by artists like Mark Rothko and Ellsworth Kelly with their vast areas of empty colour space, might add a general feeling of peace and quiet to an otherwise noisy and hectic environment. With there being very few variations within such a large image a gentle sense of immersion into abstract stillness can slow down any fretful or irratic thinking, and even assist with the adrenal challenge of a creative.

Indefinate shapes or patterns by the likes of Jackson Pollock, Peter Lanyon, and Howard Hodgkin (again, similar works inspired by these very different abstract styles can be seen in many exhibitions, shops and galleries), show a very positive association, and may perhaps persuade a mind filled with illogical thoughts to pause, simply take in the apparent spontenaiety, and then take a different direction. Hodgkin style works in particular can be seen as puzzle like canvases inwhich the observer has no real point of reference so is free to "start" anywhere upon the picture. And because there are very few defined areas sometimes the observer inevitably finds themself either regarding the piece with little emotion, and therefore can freely make a comment - positive or not.

Let us not deny, however, the fact that many an image that has the potential to provoke a negative response can also be of great value to the observer who might actually benefit from seeing such a challenging picture that bears such a bad association. Better there on the wall than here inside the head. In this case the classic associations of red for blood and danger, black for death and sin, brown for decay and illness, along with dramatic lines and movements found in a painting are equally valuable stimulii if revealed within the appropriate environment. This comes back to my point made at the beginning - when choosing a picture, very careful consideration must be taken in order to find that one work of art which speaks directly to the very deepest parts of the observer.

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Abstract Art And The Spirit 1

It has been a long and raging arguement that the abstract expressionists of the 50's, 60's and 70's were very busy contemplating their own navels and trying to find the "zen" in everything they did.

I would argue that they were in fact just one very important example of the hungry sleep-drugged soul seeking a way to be heard. However, many artsists of those times, and indeed today, would flatly deny anything remotely to do with spiritual things - or worse still - religious things.

Take, for instance, one of my favourites - Mark Rothko. This tragic artist committed himself to the task of producing massive canvases with many vaguely resembling the outline of a window - especially an after image once the eye has closed. His vast expanses of colour seemed to hunt out a corner or edge in a desperate attempt to complete, or conclude, the picture. Not satisfied with that he went on to give up titling his work saying that he did not want to influence the onlooker in any way. Ironically he failed ... and sadly took his own life. For me his works speak of wonderful tantilizing clues visually demonstrating the struggling spirit seeking (and succeeding!) in revealing herself - now that is real influence! Let me explain by an apparently unrelated route:

I seek to assist my own spirit in attempting to make manifest even the tiniest, most pathetic, weakest fact that the spirit in us all is not only just trying to communicate with us - but is in fact actively seeking to set the whole human balance right ... which is the spirit leading the mind and body back to her source - not the other way round - the mind and body leading the blinded soul to ... well, eventually death.

Not so long ago I came across the writings of Meister Eckhart, a fourteenth century Christian mystic. His words amazed me. He described in his many sermons what he believed to be the truth as to why we are here. He also revealed many tantilizing "images" of the spirit from the least angelic being right up to God Himself. His descriptions were ... how can I put it simply? ... abstract!

In one of his sermons he described God as ... "unknowable" ... "not able to be understood" ... "undefinable". In another he made a statement (one of many which may have contributed to him being accused of heresy!) "People say God exists ... God does not exist ... " left out of context that would be a truly blasphemous assertion. But he went on to say that "... God is far greater ... God is beyond existance". These and many other controversial sayings have impressed me so much that I have come to "see" God as an abstract entity - not, I hasten to add, an anarchic abstract form - but rather a God far more powerful, far more greater - than I can imagine ... in other words totally undefinable. Rather than this putting a distance between me and God, it has done exactly the opposite. And when Eckhart began to describe the life of Christ in an almost completely abstract way - Eckhart said that Christs life was the greatest example of the seeking and finding the uncreated source of the pure soul - my imagination began to run like a film of frenzied obscure visuals. Eckhart has become, to me, the patron saint of abstract artists.

The beauty of Eckharts enigmatic words are intensely inspiring. What better way to illustrate his poetic writings than to describe Gods "isness" in the very basic form of a gigantic flat area of one saturated colour untainted by anythingelse. Strangely enough this could be part of an exact description from one of Rothko's immense, sometimes almost monochromatic, paintings.

But this is by no means the whole story ... one of Eckhart's contradictions said that on the one hand God is totally unapproachable, yet at the same time God is actually very, very approachable ...

However, that is another article.

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