Unsurprisingly, it’s a picture of me. Surprisingly, the
photographer, JR, claims to own ‘the
biggest art gallery in the world.’ Well, as just one of the tens of thousands
of faces captured in his Inside
Out Project I wouldn’t dispute it...
Over the last decade, JR’s full frame portraits have adorned
streets worldwide. In 2006 his initially illegal Parisian project Portrait of a
Generation gained official recognition. Thus far, JR’s Facebook page has
186,000 likes.
186,000!
Now, you may say that this blogger is too young to appreciate what
life was like prior to such platforms. That she takes it for granted. Well, you
would be right. In part.
I’ve grown up hand-in-hand with the World Wide Web. Honestly, I can barely
remember life before instant access to a wider, faceless, virtual community. But
I don’t take that for granted.
A long-lost conversation with my much-admired Art teacher,
Mr Leighton, springs to mind. At fourteen, I was absentmindedly flicking
through artists’ websites awaiting divine intervention, or inspiration. Inevitably, Mr Leighton came to check upon my progress. As I
revealed tab after tab after tab of unknown, obscure graduates’ artwork he remained
unusually silent. Finally, my teacher reminded me that a visually aesthetic website cannot
guarantee an artist’s quality. And vice versa.
Mr. Leighton encouraged me to really see the art before my
eyes, rather than just look at a plethora of images. However, he also revealed
that, as a young sculptor, he would have relished the opportunity to have had a
website of his own.
So, I want to mention Bridgeman Studio – a new online platform
just weeks away from launch!
Artists, from illustrators to painters to sculptors, will
soon be able to submit their applications. In exchange for an annual fee of
£100 artists will have:
But more about that another time.
You might call it formative experience but Mr Leighton’s
words resonate in my mind today. In order to fully appreciate platforms such as
Bridgeman Studio, that increase an artists’ exposure at the click of a button,
it is vital to recognise how artists have previously gained recognition.
Let us consider the success of the painter and landscape
artist Simon Fletcher.
As an aspiring artist, I have been fortunate to spend some
time with Simon and his charming wife Julie. Over a recent lunch, as we reflected
upon Simon’s career, they shared a lifetimes’ worth of invaluable
advice with me. I’d like to pass some of it on to you.
Simon recalls his earlier years as an artist in England.
Strangers often expressed astonishment that he could support his family through
art alone. Sceptical? Don’t be.
‘One cannot simply be
a good artist, or have an idea that will provoke sensation or outrage. Business
sense is essential.’
In 1982, the Fletchers moved to Southern France. Simon’s
expectation of a receptive and appreciative environment for an artist was well
placed. Even the warmer climate facilitated his vibrant palette.
However, fantastic technique alone – such as that of van
Gogh- cannot guarantee sales. Especially in a poor region like the Midi.
So, Simon began exhibiting in Germany. But, business sense
doesn’t stop with a change of clientele. Simon then questioned the success of
some German contemporaries over others. He discovered a recurring trend amongst
the more prominent artists: giving seminars, intensive workshops and publishing
books. In that place, at that time, these inspired confidence in a client.
Today, Simon has over
ten books to his name. His paintings
are published online with The
Bridgeman Art Library - the world’s leading specialists in the distribution
of fine art, cultural and historical media for reproduction. And so, high
quality prints of his work are readily available to an international market of
over 30,000.
‘Never stop drawing.’
With a Seawhite
of Brighton sketchbook always close to hand, Simon firmly believes in
drawing daily. By putting pencil to paper an artist can achieve something of
paramount importance ‘for any human being: to learn about the world.’ Simon
illustrated this with words; tree; baby; glass. With each spoken an image would instantaneously appear in my mind. ‘Memory recall.’ The majority of us can do that. With perseverance, disicpline and determination we all have the ability to draw well. We just have to keep trying until it looks ‘right’.
Thus, Simon wholeheartedly approves of the hours I spent before
live models and in the study of anatomy at The Florence Academy of Art.
Reflecting upon his own career Simon revealed that significant success came only after the study
of other painters. ‘van Gogh and Gauguin, Rembrandt’s’ self-portraits, Monet,
German expressionists and later on Hockney’s drawing and Frank Auerbach’s use
of paint to name but a few.’
‘Cultivate relationships.’
Have you been told ‘It’s not what you know, but who you
know’? I expect so. Simon is a member of the exclusive Chelsea Arts Club. But that cannot guarantee success, instead artists must diligently nurture their friendships as
well as relationships with patrons. Because, ‘the reality of an artist’s life,
if they are any good, is a lot of time alone with themselves trying to find
inspiration in the face of indifference’.
I’m not suggesting you must immediately scan your address
book in search of a proposer and seconder… but do remain sociable. Facebook
won’t always cut it.
For many years, Simon and the German sculptor Carl Constantin Weber have been
exchanging recipes in their letters.
To be an artist, having wealthy parents or knowing someone’s friend’s second cousin will
not suffice in the long run. Like other professions, the art world requires one
to give and take in equal measure.
So, to thank Simon and Julie for their time, I posed as a hand model for Simon's forthcoming book. And I fully intend to continue putting into practise their advice.
